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minijenn · 4 years

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Random Keys/UF Crossover Ideas

Because I’m torn between both of my projects right now and I hate myself, here’s something that’ll only really appeal to the very niche audience of people who read both Universe Falls and Keys to the Kingdom. Basically its a list of somewhat spoilery (for Keys more than UF) headcanons of what it might be like if the Gravity Falls world scheduled to be in Keys was a Universe Falls world instead (in the sense that it still takes place in Gravity Falls physically but like... its set in the universe of Universe Falls (oy I’m explaining too much lemme just start rambling off the random ideas that have been popping into my head over the last several days of this hypothetical crossover of my two stupid fanfics):

For reference’s sake, on the UF end of things, this would take place somewhere around the middle of arc10ish, pretty close to Weirdmageddon as the GF world in Keys is gonna take place pretty close to Weirdmageddon too.

For Keys, the trip to this world would still take place in the same spot the GF world does, so semi close to the end of the story, as one of the last Disney worlds of the fic (guess it wouldn’t really be a “Disney” world here but ehhhhhh)

Guess I better give some context about what’s going on in each fic around that time; UF’s is easier to do so we’ll start with that; basically without spoiling a certain upcoming arc ender too much, during arc 10, everyone’s sorta frazzled what between all of the interdimensional travel, worries about Bill coming back and causing chaos, worries about the Diamonds possibly getting involved in stuff, shaken by the recent revelation that Rose allegedly shattered Pink Diamond and so on (basically there’s a lot going on in the leadup to UF’s ending hahaha)

Context for Keys (again without getting too spoilery (gotta tread even more careful here) is that by this point in the story Sora is basically in nonstop Panic Mode about the whole norting thing thanks to a certain encounter with one Bald Old Fuckhead during the Aladdin world immediately before this; so Sora’s on the run from basically his entire support system cause he’s all worried about unintentionally hurting his friends (and he also just doesn’t want Riku or Kairi in particular to see what’s happening to him cause Disaster Bi).

Cont. Context for Keys cause that last bullet point was Long: Despite all this fuckin Angst, Sora’s still out searching for the Keys on his own in the hopes of securing the final few for the guardians of light before he can be fully norted and forced into handing them over to the Organization instead

Not to mention those freak relatively dark/light powers of his are alll outta whack cause he A. Doesn’t know how to control them At All and B. Is Emotionally Distraught so that’s only making things worse

And the entire gang is more or less out searching the worlds tryin’ to find Sora (he yeeted his Gummi Phone off a fuckin cliff or something just so nobody could get in touch with him smh what a waste of a perfectly good cell phone); among the teams that are out doing so include the one we’re gonna focus on here, Ven and Roxas

Back to the UF end of things, I wanna talk about where each of the Mystery Kids are at this point; Steven is sorta all over the place with, again, the revelation that his mom could have been a murderer; Dipper is hella nervous about the idea of Bill getting his hands on the Rift (even moreso after RMD cause PTSD is Somethin Else kids), Mabel is in that mindset of not wanting the summer to end so they can all stay together, and Connie is basically (as usual) the only one with any brain cells as she’s trying to hold the gang together

(lowkey spoilers for the Keys GF chapters start here) So Sora arrives in Gravity Falls, suffering from all the angsts and anxieties and whatnot and just Not Having a Very Good Time Emotionally/Mentally as he starts lookin around for the Key in the woods or whatever

But lo and behold everyone’s favorite Evil Corn Chip just so happens to be spyin’ on him, and before too long Bill makes his appearance and acts all friendly to Sora, claiming that he can basically undo the whole norting thing (which he knows all about because of course he would, this is Bill Fucking Cipher we’re talking about here)

Sora’s skeptical but at the same time he’s sort of willing to do whatever he can at this point to keep his heart from being taken over by Mr. Bald Old Fuckhead and all Bill is asking for in return is for him to nab some sparkly snow globe that he claims already belongs to him but was stolen by some local family who Bill makes out to be pretty bad so hey, why not at least give it a shot? (dumb, the kid is dumb this is something we’ve established many times over by this point)

So Sora sets out to look for both the rift and the Key (while also being harangued by Xemnas who’s the Org. baddie of the GF world but errrrr i don’t have a ton of ideas about what he’s gonna do yet so we’ll just skip over that for now and focus on somethin else)

Something else being the fact that Sora happens upon a bunch of kids being attacked by a group of Nobodies, so he swoops in to save them even though the kids already look like they’re holding their own pretty well against them (two of them are out here swinging swords around, one’s really handy with that grappling hook while another one has some sort of magical shield? Its weird??? But cool imo)

So they all team up to take the Nobodies out and following that, Sora meets and mostly hits it off with the Mystery Kids

Mabel is super hype (she kinda instantly crushes on Sora as soon as she sees him even though he’s too fuckin old for her); Steven and Sora radiate the same sort of Sweet But Sad energy so of course they’re best friends immediately

Connie’s a lil bewildered by Sora (who the hell goes around swinging a giant key like its a sword, that’s just not practical???) but Dipper’s distrustful radar is instantly raised for a a number of reasons, but the biggest red flag he notices about Sora by far is that his eyes are yellow (btw by this point his eyes will more or less be completely yellow and his hair almost entirely white; he usually wears his hood up to try and hide that, but it got blown off during the forementioned fight)

So the kids were out and about in the woods for mystery hunting reasons, mostly cause they were trying to cool their heads from all of the stress they’re under mentioned earlier (and cause hey, the summer’s ending soon and they gotta spend all the time they can together at this point)

However, they quickly change gears when they learn about Sora’s quest to find some magical Key and they all eagerly decide they wanna help with that cause it sounds hella rad; Dipper would likely be the only dissenter to this plan, but he’d be lowkey about it, kinda deciding to keep a suspicious eye on Sora all the while (he doesn’t really act like he’s being possessed by Bill, but ya can never be too sure nowadays...)

So they all set out in search of the Key (Sora decides not to tell them about Bill or the rift just yet, but even so right off the bat he’s basically decided “yes I’m adopting all four of these kids as my new little brothers and sisters and no one can stop me”)

So cut to the other end of things and we have Ven and Roxas who have basically only just met each other face to face for the first time (they’re both basically constantly doin that spiderman look alike meme); they’ve been more or less teamed up to look for Sora together tho, and they both got a massive guilt complex about the whole thing cause they used to be able to directly protect him inside his heart but now they can’t since they’re out of it so they’re determined to find him and make sure he’s OK

They also show up in Gravity Falls, arriving much closer to the Mystery Shack and the Gem Temple than Sora did; since its the closest thing nearby, the boys decide to venture over to the Mystery Shack to look first

After some brief, confused yet fun conversation with Soos and Wendy, they bump into Stan and that initial meeting goes something like:

Stan: Who the hell are you two supposed to be? You twins or something?

Roxas: No??? What the fuck is a twin??

Ventus, realizing that Roxas has like 0 real world experience or regard for world order at that moment right fucking there: (oh fuck oh fuck oh fuck) Ummmm YES WE ARE WE’RE TOTALLY TWINS AHAHA AREN’T WE BROTHER?

Roxas, immensely confused: What the hell is a brother??

And then Ford shows up and Roxas looks between him and Stan is just like “ooooh ok now I get what a twin is” and Ven is just like “oh my god I think Roxas managed to catch some of Sora’s stupidity after all asdkjalsdkalsd”

Anyway after all this awkward confusion is over, Roxas and Ven bring up that they’re there looking for someone, and while neither Stan nor Ford are that invested, they do offhandedly mention maybe the Crystal Gems can help

Ironically enough, the Gems happen to burst into the shack right then and there, taking refuge from the surge of strange creatures swarming outside (Nobodies & Heartless); the Gems are rather overwhelmed by them since their weapons don’t work that great on them so they’ve come to seek Ford’s help (since he’s got all those weapons and lasers and shit he keeps stockpiled)

In this Ven and Roxas end up meeting the Gems and both of them are just like :O (Ven’s lowkey like, “Aqua would get along great with these ladies, they’re total badasses just like her!”) and the Gems just kinda pass the boyos off like “yeah whatever there’s a fuckton of monsters outside meanwhile where are our kids?”

Stan and Ford are like *shrug* cause neither of them are very good at being Responsible when it comes to keeping an eye on these danger-prone kids and the Gems are just like *facepalm* “Morons” so they set out to find the kids and Ven and Roxas are like “well they know their way around here so why not go with them to see if we can find Sora too!” and so they all head out on a lil adventure

Then a whole bunch of stuff happens on both sides of the plot that I haven’t bothered to figure out; bunch of cute character interactions and whatever; insert possible second encounter with Xemnas in here somewhere where he basically shows up just to intimidate Sora but Sora’s like “no way jose, you touch any of these precious kiddos and you’ll Die”

Somewhere in here, under... some circumstances, Sora and the MK make it back to the shack but like... everyone’s gone? (cause they all went out to look for them, didn’t even leave a note, fuckin rude)

They search the house for anybody and then, on complete fuckin accident, Sora finds his way down into the basement (the portal room to be exact) and what else does he find down there but that thing Bill asked him to get (the rift)!

Though he’s a little confused about why its there (Bill did say some awful family “stole” the rift from him, but none of the MK are awful, they a bunch of Good Kids); Sora still pockets it like a desperate dummy dumb anyway and doesn’t say a word about it to the kids because he thinks they might be too innocent and young to know anything about it anyway (he’s wrong of course because much like him these kids are Traumatized with a capital T but we’ll just ignore that for now)

Still on the search for that Key, Sora and the kids head out only to run right into Stan, Ford, and the Gems on the way out; course, Ven and Roxas are still with them and they see Sora and they’re like :D while Sora’s just like “aw fuck” and runs away from his problems like always

So he rushes off into the woods and who else would show up but that Motherfuckin Evil Corn Chip again who’s like “yo kid ya got the stuff” and Sora’s just like “brb having a panic attack rn” but then he ends up obliviously handing the rift over anyway cause again he’s incredibly desperate for any way out of his current horrible situation

Of course because I’m a sap for Drama, he happens to do so just as all four of the MK show up, having followed him into the woods and ohohohoh boy oh boy let’s just say them seeing Sora just up and giving the rift over to Bill would be a Moment (well, at least for Steven and Dipper cause they actually know what the fuckin rift is unlike Mabel and Connie who still wouldn’t at that point)

So basically Bill is a little shit and takes the rift, but he can’t actually fuckin do anything with it cause he’s a physical object and he’s still intangible (or somethin like that idk I just don’t want Weirdmageddon to happen cause it would make things too complicated) so he’s like “fuck gotta find some stupid sap to possess so I can smash this dumb thing” and he nearly targets Sora (cause the kid was already stupid enough to help him in the first place so why not?) until Steven ends up being the one to fend him off using his shield

Bill shrugs it off and makes off with the rift anyway (its like... hovering or something? idk I’m running out of steam) and everyone panics of course, especially Sora cause he’s just like “well shit I certainly Fucked Up didn’t i?” and the MK are both a mix of “YOU THINK?” (from Dipper and Connie mostly) and “imo not your fault Bill’s tricked just about all of us he’s an asshole” (from Steven and Mabel)

Amidst this a bunch of lil things also happen; the Stans and the Gems show up (along with Ven and Roxas), basically everyone is immensely confused (aka those who have no idea what the fucking rift is) and alarmed (those who do know what the rift is) that Bill has what he needs to more or less fuck the entire world over

So everyone just decides to put everything aside and team up all together to track Bill down and get the rift back before he can break it (there’s a lot of heartwarming trust moments in here, mostly cause trust is like... the cornerstone theme of the GF chapters in Keys for obvious reasons)

They eventually do find him and *insert big epic battle scene here* where everyone teams up to basically beat Bill to death or whatever (don’t ask me how they be doin that if he’s intangible, again I.... I’m tired and this post is long enough as it is)

Yadda yadda yadda they beat him, get the rift back and effectively prevent Weirdmageddon from happening to begin with (which just does SO much wonderful fuckery for UF’s timeline moving forward but whatever, this ain’t about that)

Oh and during that Climactic Battle Scene somewhere there’s some bit about Sora learning to better trust others/himself that leads to him getting the world’s Key? I-I I dunno its a work in progress...

Anyway after this there’s a lot of good character interactions all around, reconciliations between the UF characters and the Keys characters, particularly between Sora and the MK (again he’s adopted these kiddos and don’t you forget it)

So with the Key in hand, Sora starts to leave and Roxas and Ven almost convince him to go back with them until *insert Big Keys Spoiler here that results in the Organization getting their hands on that Key Sora just got and also results in Sora running away again cause... reasons*

And that’s the end of the chapters or whatever idk

There’s probably more ideas I had in mind for this but I literally can’t do anymore my brain is dying

I might possibly write this for reals someday i dunno I’m stuck in two personal hells here so I might as well combine ‘em

Yes I’m aware this post leans more heavily on Keys than UF but its set in the world of UF so fuck off

Feel free to add on with any thoughts you might have about the idea

I’m tired

Amen

#jen writes #universe falls #keys to the kingdom #long post is loooooong #headcanons #ideas #who am i kidding i will literally never do anything with this idea ofther than this very fucking post #then again... i like Angst :)#and UF and Keys both got plenty of it

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schmergo · 5 years

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Scarlet Pimpernel at Lincoln Center (informal review)

I just saw the most amazing show at Lincoln Center last night. I said to someone the other day that I don’t usually write informal “reviews” of limited-run productions because nobody else would probably be able to get tickets to them, but this was something special. It was a one-night only semi-staged version of The Scarlet Pimpernel, which originally ran on Broadway from 1997-2000 and has never yet been revived. A rarely-performed musical, my friend Wren and I discovered it in 10th grade and quickly fell in love with the catchy score but never thought we’d see a professional production.

When I first heard about the Lincoln Center concert, I burst into tears with excitement and thought, “Oh MAN, I wish I could go!” and moped around for a few days. Then I realized, “Hang on, I have some money saved. I have lots of unused vacation days. It’s only a four-hour bus ride away. What’s stopping me from going?” And I am so glad I did. Was it a flawless production? No. Was it painstakingly and meticulously designed and rehearsed? Definitely not. But was it one of the liveliest, most entertaining shows I’ve seen with top-notch vocals, hilarious gags, and tremendous audience response (actors sometimes having to cut off the excessive cheers and applause after certain numbers) that culminated in a 100% standing ovation? All that and a bag of pommes frites.

If you’re unfamiliar with the story, The Scarlet Pimpernel is based on a classic adventure-romance novel by Baroness Emmuska Orczy. Set during the French Revolution, it’s often called the original superhero story, in which a disguised vigilante hides behind a mild-mannered secret identity. When fashionable English gentleman Sir Percy Blakeney suspects his new bride, Marguerite, may be a spy for the French Revolution, he sets off on a mission to rescue innocent people from the guillotine- without his wife finding out. But he and his band of merry men don’t fight terror with terror. No, they employ witty disguises, tricks, and antics, leaving behind the mark of a flower called the Scarlet Pimpernel (Percy’s family crest). Back home, the men escape suspicion by exaggerating their mannerisms into ridiculous caricatures of fancy fops who care more about French lace and silk than French Revolutions.

But when Marguerite’s ex-lover Chauvelin (now a high-ranking French agent) blackmails her into discovering the true identity of the Pimpernel lest her brother die, she little knows how close to home her mission will hit.

It sounds like it could either be an overwrought melodrama or a Looney Toons short- and indeed, it is a bit of both. The musical itself endured many extensive rewrites during its short run, never quite finding the right balance. This concert seems to be a mish-mash of about three different past versions with at least one new song. But despite the jarring shifts between heart-wrenching ballads and silly slapstick in which tap shoes become a valuable component in a duel and executioners are distracted by 123 rampant geese, this performance was so rich in heart, joy, and spirit that the whole audience beamed along.

Of the leading roles, the only one I’d never seen or heard before was Tony Yazbeck, inhabiting the many hats (literally) of the Pimpernel himself. I can confidently say that he gave one of the most brilliant performances I’ve ever seen, period. Although he’s already an accomplished performer, I suspect this one-night show might catapult him to being a massive star. He’s, like, a quadruple threat, with so much stage presence that he shimmers. Yazbeck’s Percy can be ludicrously silly or achingly sincere, powerful or vulnerable, with a powerhouse voice and untiring energy and grace. I was sitting close enough to see all of his facial expressions, however over-the-top or subtle, and he was totally immersed in the character the entire time, sometimes hurling his script to the ground with emotion. (Remember, it was a staged concert with about a week of rehearsal.) He frequently breaks the fourth wall, trying to steal a violinist’s bow, dropping ad-libbed comments, sitting in the audience or dancing down the aisle, without dropping his polished English accent. I can’t wait to see what he’ll do next.

My personal favorite singer, Norm Lewis, co-starred as sinister French operative Chauvelin, who I can best describe as a more seductive Javert who is constantly humiliated by those around him. Having recently seen him in the Music Man, in which he gave a jovial performance but struggled with some lyrics, I was relieved to see that he held his script in hand most of the time here. He still flubbed the occasional word and seemed overly reliant on his script at times, but oh my good golly, I have NEVER heard his voice sound better. He has one of the richest, most powerful voices on Broadway, not to mention a huge vocal range, and this score puts all of it to use. This is the 6th time I’ve seen him live (plus his filmed performances in the 25th anniversary Les Mis concert and NBC’s Jesus Christ Superstar), and every song he sang here sent huge chills up my spine and fireworks off in my brain. Gosh, I love him. I do think Mr Lewis bit off a little more than he could chew doing these two semi-staged concerts only a week apart— he did seem less confident than the other performers— but I still feel so lucky to have seen him in both.

Laura Osnes sparkles as the sensitive and vivacious Marguerite. Her voice is higher and lighter than how I’d heard the role performed before, but she can certainly belt out a tune when required. She gives nuance and genuine feeling to Marguerite’s inner conflict, even joining in a sword fight to defend her husband! Osnes shows remarkable poise, rarely consulting her script. She has especially great onstage chemistry with Corey Cott, who plays her little brother with earnest puppy dog eyes and a strong pop vocal.

Though I didn’t like all of the changes in the song listing, lyrics, and script, I was completely invested the entire time. The able and versatile ensemble took on a variety of roles, from Percy’s merry men to French guards. Drew Gehling gave a particularly scene-stealing turn in the dual roles of Robespierre (stern and sardonic) and the Prince of Wales (utterly zany and wearing a magnificent feathered hat). Backed by a chorus of over 200 people and a full orchestra, the music was nothing short of sublime.

The pared-down nature of the show mostly came across in costumes and props, or lack thereof- Percy’s elaborate 18th century suits were clearly necessary to the plot, but stood out against most characters’ contemporary clothing. Supporting characters merely threw on a cheap-looking accessory or two to connote a different character or disguise, and Marguerite wore modern ball gowns. Sometimes, the script referred to characters changing clothes without the actors actually doing so. Still, the movement and staging was more complex than I had expected, and I was particularly taken by the effective guillotine prop.

All in all, I left the theatre electrified and touched that this huge audience- David Geffen Hall holds 2,738 and this show was pretty much sold out- had all seen and evidently loved this musical that means so much to me, that over 200 people put in so much effort and enthusiasm to bring it to life, and that I got to be there.

Another thing that unexpectedly moved me was Percy’s character arc. I’ve always strangely related to Percy despite not being heroic, rich, or fashionable, but I AM known for being kinda silly and flamboyant. And like Percy, I like to think there’s more to me than that. Although Percy becomes the Pimpernel out of anguish and desperation, he seems to genuinely relish getting to act so weird and over-the-top. He seems so comfortable in his own skin. Even when his identity is unmasked, he continues to be outlandish, even forcing Chauvelin into a tap dance battle. He and his wife desperately love one another, his friends care about him and always have his back, and he’s able to be his true and complete self— strong, smart, and brave, yes, but also in touch with his feminine side, compassionate, theatrical, romantic, and generally outrageous. As someone who feels equally accepted by my loved ones despite my outsized personality, I love this non-conformist romantic hero who proves you don’t have to be macho and grimly stoic to save the day.

“And that is why the lord created men!” Percy sings after springing a trap on Chauvelin. Marguerite and Madame Tussaud, who both helped, cough. “And women!” he sings to cheers from the audience.

I loved this show. I wish you could have been there. I’m heading home on the bus right now and this piece reminded me more then anything how much I value and appreciate all of the people in my life. Onward, ho!

#scarlet pimpernel #musical theatre #musicals #tony yazbeck #norm lewis #laura osnes

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c-bulletaftermidnight · 6 years

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Ok I said I wouldn’t ask but your TFA answer was so awesome I’m curious - things you liked/disliked about TLJ?

Oh boy, oh boy

Liked:

_ Uuuh. Kylo becoming Supreme Leader and cementing himself as the true villain I guess since it’s interesting to work on it’s gonna the political & military landscape of the FO??

_ Kylo being shown off again as a good tactician when fucking up the Raddus.

_I’m glad Phasma’s gone.

-Finn & Rey hugging at the end of the movie that’s it.

That’s it.

Dislikes:

_ The worldbuilding has been fucked up just to respond to Rian’s whims when he have barely any explications about the context.

_ Fucking bad designs everywhere.

_Boring cinematography except a few times.

_ The fucking zooms-in and Kylo looking like he’s stuck in a washing machines when he barrels rolls around the TIE Silencer.

_ The FO is suddendly overpowered with money and personnal. The loss of SKB has like no impact on the organization. This episode should have explored to their backstory but Rian simply didn’t care.

_ Everybody in this movie shut off their brains.

_ Hux went from “officer didn’t had not much battle experience” to a total joke. His traumas due to his upbringing are ignored and his sufferings are reduced into supposed moments of comedy .And it’s not like Rian didn’t knows his past, he even gave him a first name. Hell he didn’ even bother explain Hux’s past to Domhnall and he discovered that his character had a first name when an interviewer asked him about it (Domnhall seemed pretty angry about it since he invest himself a lot in reserches and stuff for the characters he plays.) Knowing how Domhnall had to improvise the blaster scene, i’m sure he would have objected even more of Rian’s decisions. His purpose half of the movie is to do Huxposition on the bridge, being totally incompetent and thrown around. It’s gonna be hard for JJ to repair this and have the audience take him seriously as a villain.

_ Poe, well, I never cared much about his character. I even tried to read the comics but I felt barely nothing about him. But I was hoping TLJ would help but instead they managed to makes me hate his character. The Poe/Holdo arc was badly written. There was many ways to make an arc like that make sense but also more emotionnal for these two characters. I hate how one second they makes him this macho man who keeps understimating lady officers but a second after, the female characters are “haha, I like him ;)” Yeah sure.

_Finn’s arc who is reduced as total coward and a joke and where war has to be explained to him (a fucking child-soldier) by a woman that constantly think about hurting him when he mentions Rey, the person he is close to the most and then is forced as a potential love-interest to him for some reasons. The DJ explanations are just bad (of course, the Resistance has to buy weapons. We knows that Rian, thx) The suicide run was also pretty stupid. Also the fact that him and Rey didn’t reuniting on the Supremacy screams so much Rian wanting them to interact as less as possible in the movie. Finn deserves better.

_ Rey’s arc. Can we even talk about an arc? Her character regressed. As if she didn’t dealt with years of abuse and survival on Jakku and as if Kylo never tortured her and hurt her closed ones. Hell she even get tortured twice in the space of two days because of Kylo. The Force-skype stuff feels so forced. Adam & Daisy only have good chemistry when their characters are set against each other. Rey talks about how she is scared of the Force within her but we see her then has no problem to deal with it and master everything in one second (rendering the existence of jedi school pretty useless like you just have to download the Force-powers of a master jedi and that’s it. The Force.exe is installed. ) The small training scene where she cut the rock looks pretty stupid, her sword fighting position is pretty bad during it. Going to the dark side has no consequences on her. She has no agency. Replace the word “Force” by the plot and you’ll see what I mean.

_ Luke. Has someone who has to deal with depression, I think showing Luke as irritated and stuff can makes sense. I kinda relate since my temper changed a lot. I had a lot of patience & kindness but now, everything irritate me (from a member of my family intruding in my space to hearing the ringing of the phone) I’m scared to see my friends, I feel like a walking failure that I will never be satisfied about myself or will satisfy my parents, I just want to be left alone & if this lead me to die that way, then so be it. The problem is how wonky the writing leading-up to this Luke is bad. Everything is about to make us feels sad for Kylo (I don’t). Kylo’s turning against his family upon learning that he is the grandson of one of the most dangerous war criminal would makes senses. Luke blaming himself because he felt he failed to help his nephew after years of work instead of randomly popping his lightsaber would have made more sense. Luke’s grieving all his others students would make more sense. Luke attempting to reason Kylo after the massacre but still failing would make sense. Luke looking for a solution on the island and then failing to find one, thus made him feel unable to see his sister face to face would makes more sense. There’s is barely any emotionnal moments for Luke and the Final holographic showdown feels like they absolutely wanted to avoid Kylo to kill Luke directly (like c’mon, he’s been committing war crimes since the first minutes of TFA)

_ Kylo. TLJ is a bad attempt at Kylo’s pity fest.It’s interesting that his traumas are acknowledged while the other character’s are pretty ignored despite having a tragic’s past that should impact them as well. Everything is about him. Most of his actions are pretty villainous, he’s no grey character like people are trying to force us to believe because he looks sad. This is an humanized villain arc (which he didn’t need after seeing TFA), not a redemption one. At least he is now the main villain too, so there’s tha (But the “Uwu save ben solo” stuff going around spoil my liking of him as a villain. I’m not here to see whether Kylo is gonna turn LS for a third time in ep9. It would be too repetitive at this point) I just hate the “ You are truely Han solo’s son”line because it is obvious he is more like his mother. Only father figures are important to the characters in SW, it seems. Also the goddamn scar being moved on his eyes but it doesn’t impair his vision despite being cut by a freaking lightsaber. Like Rian could have gave us a legit explanation why Kylo was weakened & needed Rey to fight the preoatarians guards: Losing an eye would be an huge handicap tha het is not used to yet so he needed help to take the throne.

_ Leïa is only here to looks sad and for Kylo’s momentarily manpain (and Marry Poppying around space). Like really, you reduce Leïa fucking Organa too that?? The woman ready to move time and space just for the sake of saving freedom? the princess of Alderaan who saw her planet being destroyed but kept up on? the woman who was mainly in charge of the strategizing of Hoth’s evacuation? The woman who was willing to stay on Bespin just for the sake of massacring stormtroopers because Vader gave Han away to Boba Fett & would have stayed if Lando didn’t pulled her off to the Falcon? The woman who had to face the galactic backlash of her being Vader’s daughter but still kept on? A woman full of anger but also sense of duty?

_ Rose, rose, rose… I was excited to meet her so imagine my disappointment upon discovering she was just here to lecture & push around Finn & being forced as another love interest that doesn’t even work. It’s like she forgot that her sister died the same day and that she should still be grieving. We don’t even get to see her use her mechanic’s skills in the whole story. The message about her character makes no sense between her last line in tlj and all the destructions she is willing to provoke (not all the ppl working at Canto bight are rich, has it show in the Canto Bight book) or let happens. KMT doesn’t deserve that.

_ Yoda’s appearing bcos I hate this hypocrite of a gremlin and was expecting for Luke to dunk him in the sea.

_ Chewie, the glorified cab driver.

_ The battles are a huge clusterfuck & the most badly written space battle I have ever seen.

_The way Poe’s piloting skills feels to OP when you compare to other pilots, in particular in recently RO.

_D’qar’s battle is a fucking tactical mess. Everyone has been conviniently dumb down. Same during the slow-mo chase. What’s even the point of bringing the whole fleet of star destroyers if they are just useless.

_ Bad infiltration scene on the Supremacy on the same level as RO’s one. I’m just tired of infiltration scenes in SW. Please stop that shit.

_ The preotarian guard fight is a choregraphic mess that has no stakes for the characters. Everyone is just waiting for their cue and twirling around. It’s like it was shooted in one go. And there is a difference between Luke in ROTJ kicking a blaster out of the hand of a foe looking bad due to technical problems of the time. And a knife suddendly being edited out at the last minute because the mc would have die then

_ Crait. A good example on how not taking in account the worldbuilding that could be used in battle. So you’re gonna tell me that the Resistance decided to hide away in a base with no issue other than big metallic door in the front? Sounds like a good plan.

_ Leïa never taking command of the battle and strategizing and letting Poe deal with all that despite that she is the general that Poe is a demoted member of the Navy who caused a shit-ton of mess among the Resistance like 30 minutes ago

_ Hux is still depicted in a idiotic way & using bad tactics again. If this is supposed to be a movie about the characters learning about their mistakes,well it didn’t do its job.

_ What is even the use of the third cannon of the gorrilla walkers??

_ What was even the point to use these old speeders besides for being destroyed?

_ Rey shooting down 3 TIES in one shot seems to break a lot of SW physics. Her disappearing of the whole fight shows how much Rian didn’t care abt her character beyond having her interact with Kylo.

_ Y’know, I have Battlefront 2 and in the game there is mining tunnels on the battlefield that you can use to hide. In the movie they are not present, the whole Resistance sit dumbly in trench and just wait to be massacred. I was hoping those tunnels would re-appear in the movies & would be used to sink the walkers by bringing them down with bomb used for mining but nope. The image of walkers falling in a sinkhole, provoking a storm of red dust, coloring the outfits,armors and vehicles in red would have been pretty badass to see.

_ The ramming canon trained on like 10 kilometers instead of using the gorrilla walkers designs and adding to them the mini death-stars canons. They can’t use it all the time tho bcos it would need to cool down before shooting again. Aren’t these supposed to be artillery vehicles ffs???

_ The Resistance not even rigging their escape ships with bombs so if the FO penetrated their base, they can at least cripple them by exploding them. So much for a group that is supposed to be specialized in guerrilla warfare.

_ Talking about guerrilla warfare, i was expecting at least a pursuit and firefight in the mines. No use of the worldbuilding during battle scenarios once again.

_ Leïa should have been the one to confront Kylo, not Luke. Showing her willing to fight her own son and dies during it for the freedom of the galaxy would have been a good way to send her off and building her as this strong, resilient, legendary leader willing to fight her own family for the good cause. It would have been a good middle finger to people who slandered her upon learning she was Vader’s daughter.

_ Rey effortlessly levitating these rocks. Showing her struggle would have made the ending scene more rewarding.

_ The news of the Battle of Crait spreading super fast despite that the Resistance official journalist, Suralinda Javos wasn’t even present during it for documenting or something.

_ Broom boy & the way it is implied that he might join the Resistance or something because of his Force-powers. A fucking child.Involved in a war. I thought Finn being a child-soldier was bad thing?

And I’ll stop there for now, because there is so many problems with this movie, i’m never gonna be finished with it.

#tlj criticism #rian there's no point abt subverting expactations if you can't write coherent characters and plot

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reekierevelator · 3 years

Text

A Visitor

A short story by Brian Bourner in times of covid

We had been in the grip of the covid-19 pandemic for well over a year but the new vaccines finally had it on the run. The country was opening up again. We were at last officially allowed to mingle freely. But the world had changed.

Radio and TV still talked endlessly of the problems faced by students who had missed out on education, of how domestic abuse cases had soared and mental health problems had multiplied. The light the pandemic had thrown on endemic problems of race and poverty constantly reverberated. People had reached a new appreciation of who were society’s real ‘key workers’ and knew they were undervalued and criminally underpaid. Floods, fires, and murders, still barely achieved a mention even in the local news.

Business practice had also changed radically. Companies like mine now saw no reason not to allow employees to continue to work from home. Like many other firms they were in the process of selling off their office building for conversion into much needed housing. Visual contact with other people via computer technology had become the normal mode of interaction. Lack of interpersonal social contact no longer singled you out as unusual in any way. The exotic video meetings and video phone calls of a couple of years ago had long since become boringly routine.

I had always been asthmatic and a brush with tuberculosis a few years back had hardly helped. The constant pandemic fear of infection had marked my psyche indelibly. For people like me, at high risk from the virus, shielding and self-isolating for months on end had become second nature, the new normal, and was psychologically imprinted. I lived like a medieval hermit in a cave, dependent on local villagers to bring me food. At thirty-seven I was otherwise self-sufficient, happy to live alone in isolation. The last thing I wanted was to risk infection from physical meetings with other people.

Occasionally new variations of the virus still cropped up here and there. Announcements of quarantine arrangements and local lockdowns had become mundane, barely newsworthy. Likewise, there were still deaths and hospitalisations, but not the thousands experienced at the pandemic’s height. Health was no longer top of the government’s agenda. Despite innumerable ‘long covid’ cases, and people suffering long-lasting psychological after-effects, the government’s focus had shifted inexorably back to the economy.

When the doorbell rang on Monday morning I was slaving over my laptop, just as I had been all morning, trying to complete a company report. I was still in my pyjamas. I still needed to wash and dress ahead of a video business meeting scheduled for 12.00 noon. But the doorbell was insistent. Angrily I threw open the front door expecting to find yet another box of groceries on the doorstep, or some hot food I’d forgotten I’d ordered, or even some parcel delivery man waiting for a signature.

Instead I found myself facing a woman dressed rather shabbily who was carrying a grubby old holdall. Initially shocked at the lack of face mask I remembered that things had moved on. Her mud-spattered black coat was buttoned to the top and flapped around a slender body. Though hairdressers had been open for a few weeks now she had clearly been unable to secure an appointment. Her frizzy auburn hair sprouted from her head like weeds. A long narrow face attempted a smile but her skin was lined and weather-beaten. She looked exhausted. Her dark eyes, set far back in her ruddy crumpled skin, bored into mine, pleading and watery. When she opened her mouth and said “Hello Martin” recognition slowly began to dawn.

Over the course of the pandemic I had virtually forgotten what manners and social niceties were appropriate for visitors. “Gina,” I spluttered in surprise, “how nice to see you.” I cautiously ushered her into my flat, squeezing myself against the wall in commemoration of the recently abolished two metre distancing rule.

“I’m sorry if I got you out of bed,” she said, entering the living room while I rushed to throw a dressing-gown over my pyjamas. And even before sitting down she launched into her tale of woe. “It really drove me crazy. I’ve never ever been stuck indoors for that long before. Shops, restaurants, pubs, galleries - all shut down; nothing to do and nowhere to go. Work all disrupted too; jobs furloughed or disappearing. Just watching endless murder dramas on TV, or reading books about murders, or listening to radio presenters I’d like to murder. Still, you look well. I knew I could rely on you.”

It was strange because in fact I had not seen Gina for three years, and it felt like far longer. I searched my brain for her surname and eventually came up with McLaughlan. We had met at Manifest Destiny, a large advertising and design practice. Though we were in different teams there our paths crossed occasionally. She never said much, only once or twice mentioning that she could only bear the work there because the building was almost entirely glass so that inside she almost felt she was outside.

From what I could remember she had mostly been attached to another colleague, Ruby Maguire. She seemed to trail around after Ruby a lot. And Ruby was someone else I had not seen for a three years, not since I’d left Manifest Destiny for an administrative post with Box Clever, the cardboard box manufacturer. It had proved a wise move. The firm had done great business during the pandemic. It had expanded and I had been promoted.

Gina told me she too had moved on from Manifest Destiny, not long after me. She had gone from billboard designs to helping organise and design outdoor film sets. It had entailed working freelance but sounded a lot more interesting than designing cardboard boxes. “But,” she went on quickly, “the pandemic killed it all off stone dead.” She turned towards me with an angry grimace. “And when the wok vanished the pandemic ate all my savings. No official help for the likes of me. I couldn’t even pay my rent. No more sleeping in my lovely sun room. I ended up in a cramped hostel. It was hellish.” The resentment and hatred in her tone was palpable. “It drove me demented. And when the hostels closed to prevent the virus spreading I tried sleeping on the floor of anyone who would let me. It was unbearable, often like being stuck in a cupboard. Sometimes I couldn’t find anywhere at all suitable and just lived rough, outdoors in all weathers, but at least not suffering, lost in some little, dark, unknown room.”

“Good grief Gina, that’s awful, I’m so sorry.” And having commiserated I told her that of course she was welcome to take a bath and stay the night. I rustled up a quick meal for her which she ate looking longingly out of the window. And later I dug out some spare pyjamas. When I showed her my tiny windowless spare room her face froze and she stood rooted to the spot. She looked about to turn, dismiss the offer and run away, but recovered herself in time to mutter vague words of thanks.

I showed her round the rest of the flat then raced to turn up just in time for my video conference. My hair was uncombed, I was still in my dressing gown. On screen my boss and our potential customer both wore worried frowns, obviously thinking I would have been as presentable wearing a large cardboard box.

Gina slept through the rest of the day.

After finishing the meeting, writing up notes, dressing, and grabbing a sandwich I phoned the old unit at Manifest Destiny. I hoped someone here could give me a bit of background since I barely knew anything about Gina.

“Hello, Manifest Destiny, Terry Ryland speaking.”

“Hi, it’s Martin Hislop here. I used to work at Manifest Destiny. I wonder if there’s anyone there who remembers Gina McLaughlan. She’s popped round to see me unexpectedly, obviously regards me as a friend, and might stay a day or two. I don’t want to seem a total socially inept idiot but I’m afraid I can’t remember anything about her. I don’t want to put my foot in it. Is there someone who could spare a few minutes to fill me in?”

“Well there’s me I suppose,” Terry replied noncommittally. “All the staff work from home now. It’s my turn to be the telephone exchange today. It’s a rota system. I can’t shout a question out across the office floor any more. I’d have to contact staff individually.”

“Well, do you remember Gina yourself?”

“Yes, I think so. Worked on billboards. She always kept close to Ruby. Ruby Maguire sort of looked after her. She had some kind of problem, couldn’t stand being indoors, got wound up with it. So Ruby would take her for regular breaks outside.”

“You mean she was claustrophobic?”

“Yes, that’s it, good worker but a little bit off her trolley. They called Ruby her mentor but she was more of an unofficial carer.”

I thanked Terry for talking to me and understood why my spare room had not seemed as attractive to Gina as I’d imagined. It would be much better if she stayed with someone who understood her condition, say Ruby.

It was later in the evening, just as I’d pulled out my mobile to search for Ruby Ellison’s contact details, that I heard Gina emerge from her room and rustle around in the kitchen. I was thinking that if she stayed a while I’d need to order more food and my expenses would increase when Gina slipped into the living room beside me.

“I was wondering,” I began brightly, “since my flat’s very small, why not ask Ruby Maguire if you can stay with her for a while?”

The suggestion generated no immediate response but her eyes narrowed and I caught a mean and suspicious glint.

She stared at me silently, her lips curling, and eventually muttered, “No, I’ll be happy enough here.” It came out as a sort of low growl as if she was daring me to argue.

I looked back at the phone screen. The search for Ruby Ellison had found dozens of references. But I was shocked to see they were all about Ruby’s death. Police were continuing to investigate the case of thirty-two year old office worker, Ruby Maguire, found dead in her flat. Apparently she had lain there for over a week until her manager had noticed she wasn’t bothering to log in for Zoom calls any more. The circumstances were suspicious. The police were requesting information on anyone seen entering or leaving Ruby’s flat in the week before her death. I looked up from the screen and blurted out “Heavens above, it seems Ruby has died!”

I was even more startled as Gina suddenly leaned over me, grabbed my phone and threw it at the wall. I was flabbergasted. I stared at her in shock.

“If you’re not happy about me staying on here, maybe you better leave yourself,” she said as if it was the most natural suggestion in the world, an entirely reasonable proposition. As normal as smashing mobile phones against walls. There was a manic undertone to her voice. Ignoring the question I jumped up and tried to brush past her. But she grabbed hold of the dressing gown I was still wearing and I saw the blade of my own kitchen knife flash in her hand.

Fortunately, I managed to twist myself around, allowing my dressing-gown to fall to the floor, and rushed out the living-room door as she came after me. I barely managed to reach my bedroom and slammed the door shut. The door had a lock and though I’d never used it before, I did then.

She was outside the door, fumbling with the handle and breathing quickly. ‘Ok, let’s get together,’ she panted. ‘Ruby always said you liked me. She said you only ignored me at work because relationships had to be kept on a professional footing.”

“Ruby was good to you,” I shouted. “Why did you do it?”

“Ruby tried to lock me up. All night in a tiny room. I was only allowed outdoors for one hour a day. She tried to blame the government, said it was a lock-in, a government ruling.”

“A lockdown, it was a lockdown.”

“She made me live in a room the size of a cupboard. Said it was all she had. Said I couldn’t go outside. We argued more and more. Struggled. Then she died. And I left.”

“And came here.”

“She said you were a good man, knew your address. I thought it would be different for us. We’d be good together. We could live together, sleep in the living room with the curtains open. But you want to lock me up in little room too. You’re just as bad as Ruby.”

“You’ve got it all wrong,” I yelled, and then the carving knife was thrust in through the door jamb.

The woman was delusional. God knows what had got into her. I opened my bedroom window and yelled “Help!” over and over at the top of my voice.

Fortunately, neighbours called the police. By the time they arrived Gina had escaped through the back door but the neighbours had spotted her leaving and the police soon picked her up.

I was still trembling, partly from the shock of the knife attack and partly from seeing several people occupy my flat for the first time in ages. I went over the details several times answering the police questions.

“It was unbelievable,” I kept repeating. “The woman seemed almost normal but she was clearly deranged. She came at me with a carving knife. You wouldn’t think a little thing like claustrophobia would be enough to tip you over the edge like that.”

One of the policemen commented matter-of-factly, “Oh yes, we’ve seen a lot of that kind of thing recently. Mental health problems. Old people’s dementia worsening till they’ve completely forgotten their relatives. A chap round the corner said life wasn’t worth living if he couldn’t meet his old cronies in the pub. Topped himself. The coronavirus, eh? It drives people mad.” Then to change the subject he asked “What’s your line of work?”

“Oh, at moment I’m designing cardboard boxes shaped like coffins. Natural burials. Environmentally sound. There’s been a big increase in demand recently.”

#COVID-19 #coronavirus #short story #Reekie Revelator #edinburgh #scotland

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imaginekpoplikethis · 6 years

Text

When It’s Her - Detective! Jung Hoseok X Reader - Part 3

Sorry, I was going to post this earlier but woke up to a message asking me to come into work 😭

But Guys omg i already know how this story is going to end and I don’t know when that is but I’m exciteddd

Here’s the next part with lots of love from me 💕💕

Part 1 Part 2 Part 3 - Here

Hoseok would be lying if he said he didn’t believe Dae-Jun had something do with this case. With her case.

Then again, it was his job to not jump into conclusions. Just because he disliked the man did not mean he could throw him behind bars and call it a day. That would simply bring about no justice, not to mention there would be a possibility of never seeing Y/N again if he pissed him off too much. If he was the culprit, he is completely capable of getting someone to finish the job he started whether he has or has not been caught.

It had been a couple of days since his visit to the company, each day bringing about no new information.

He and Jin-Sun had gotten together to summarise what they already knew and to, hopefully, make some small speculations. Drawing up a suspect list this early in the case with the limited amount of information they had was usually illogical. This was proven with the fact that it only contained one name, Dae-Jun.

It seemed as if he had hit yet another dead end and he was close to pulling his hair out.

“Jung, I’ve got your coffee.” With Jin-Sun’s words came a tinge of sadness. He already knew the bland taste of the coffee the young man had made for him would be disappointing. When Jin-Sun strolled from the entrance of the break room to him, he couldn’t help but discreetly grimace at the steaming coffee he held in his hands.

No offence to him but he can’t make coffee for shit.

Jin-Sun offered Hoseok a nervous smile. The slight glare said man was giving was one he would rather not be on the receiving end of. When Hoseok realised he was emitting a somewhat foul mood, he quickly dropped his expression, replacing it with one that could only be described as blank.

Jin-Sun didn’t know which was worse. The new expression his face held was, dare he say it, creepy. When he first entered the department, his new colleagues had jokingly introduced Hoseok as a ray of sunshine and he was quick to find out why. The young man was bursting with joy and constantly smiling. It seemed like there was never a dull moment with him around. The only times he would adopt a serious outtake was when he was working on a case but even then he was never as emotionally drained as he is now.

“Sir, can I ask... do you know the victim?” Hoseok’s eyes snapped up to meet Jin-Sun’s before he had even finished his sentence.

“No. I wouldn’t be working on this case if I did. Why?”

His eyebrows furrowed as if he was thinking about how to word his next sentence without offending Hoseok.

“Well, you’re noticeably sadder recently. It’s really out of character...”

Hoseok barely stopped himself from visibly breathing out a sigh of relief.

For a second I thought he was catching on...

“Just an extreme lack of sleep is all.”

That isn’t necessarily a lie though it is playing into the reason why I’m like this.

“To be honest, I wouldn’t be surprised if you were kind of sad about this. She made the best coffee and she was a great person to speak to too. I’m kind of upset she’s gone.”

His eyes were lowered, a downcast look wiping away the small bit of nervousness that had been etched on his face.

“Jung, there’s someone waiting to speak to you.” A female colleague popped her head around the entrance of the door, shooting both men a polite smile. Yi-Hyun was the name of the dark haired girl who currently stood at the doorway. She was fairly new to the department, only having worked on maybe four cases in total, her first being with Hoseok. You could say she was sort of like his apprentice and a good one at that. She graduated at the top of her class just missing top spot which was something she was unbothered about. All in all, she was a talented addition to the department.

A tap to his shoulder brought Hoseok out of his thoughts to see Jin-Sun motion towards her with his head. Rising from his seat, he exited the room and followed Yi-Hyun to the interview room, causing him to raise an eyebrow. She simply turned towards him, giving him a small wave and set on her way back to what he assumed was her desk.

Pushing open the door, he was greeted with none other than Dae-Jun. He was seated comfortable on the semi plush chair, a leg resting on his thigh and his arms crossed.

A smirk was dancing on his lips.

Hoseok frowned at him, a corner of his mouth twitching upwards in a disgusted manner.

“Hey, detective. Gosh, do I have something interesting to tell you.”

Hoseok’s eyebrow raised once more.

“I’m a private investigator.”

Dae-Jun dismissed his words with a flick of his wrist.

“Same thing. Anyway, there’s someone who holds a grudge against my beautiful lady and you may just want to look into her.”

Hoseok didn’t comment on his choice of words and opted to remain silent.

“It may seem strange but Lee So-Min was extremely jealous of Y/N and she just so happens to work at my company as head director of the marketing team!”

He spoke in an ecstatic tone as if he was delivering news of presents.

“Jealous of what? Last I checked, she seems to have the better job.”

“Well, what do you think girls get jealous over? Men of course. Y/N had all of my affection and time whilst So-Min was left alone. Maybe, I acted as a catalyst to her hatred towards Y/N but who knew a couple of nights alone together could change someone like that?”

Did I miss something here?

“Wait, hatred? I thought you said she was just jealous? Those are two different emotions.”

Dae-Jun leaned back in his seat, an indifferent expression replacing the smug one he had moments prior.

“Please. It wasn’t unknown how much she disliked her. Besides, with jealousy most of the time comes hatred. Especially between two women.”

He spoke so confidently you would think he studied women’s behaviour as a living.

“Why are you selling your go to woman out?”

His face grew dark at Hoseok’s words and he rested his hands on his knees, leaning forward.

“Watch what you say... that’s all in the past. I’d never do anything to hurt Y/N now.”

Paying no mind to his attempt at sounding intimidating, Hoseok pressed him for more information.

“Now?”

The smirk returned as did Hoseok’s annoyance.

“Well why do you think we broke up in the first place? You don’t think she just fell out of love with me, do you?”

With a personality like that I wouldn’t be surprised.

Hoseok narrowed his eyes at the man who seemed way too calm for it to be natural. In fact, he seemed to be gaining pleasure from discussing the apparent tension between the women in his life.

“So you cheated on her and she found out.”

Though Hoseok’s face bore an unimpressed look, his words held no particular tone to them. Dae-Jun dropped his smile and glanced towards the only window in the room.

“That bitch So-Min told her. She must have thought that by fucking up the relationship I had with the only woman I truly care about, i’d somehow begin to love her. She’s delusional.”

“I think the correct word would be ‘misled’.”

Dae-Jun’s eyes briefly snapped back to glare at Hoseok before he returned his attention to the window.

“Whatever you want to call it, it doesn’t matter. She ruined my relationship all over some stupid one off night. Or maybe three but that’s not the point. The point is, after I rejected her and gave her a piece of my mind, she had it out for Y/N. Man, if you knew what she had done to her...”

Hoseok’s interest was piqued as Dae-Jun’s words trailed off.

“I heard one time she dumped a steaming hot drink on her at work. I guess that was one of the more recent incidents...”

Hoseok had once again managed to sneak away from work for half an hour which he decided to spend at Latte Da, unsurprisingly. As he reached the glass door, a grin plastered on his face, he had to jump back to avoid being hit with the door. If it hadn’t been for his good reflexes he’s probably be nursing an injured nose right about now.

Spinning on his heel to spot his would have been attacker, he was met with the rather tall frame of an office worker, speeding towards her car. Without a glance back she threw open her car door, got inside and drove off.

Frowning to himself, he finally made his way into the café only to be met with the scene of the girl he was currently interested in dripping wet with a dark liquid. Her usual co-worker had taken it upon herself to untie her apron and remove her jumper for her when she cried out in pain. It was only then that Hoseok noticed the scalding red marks that were decorating the skin of her neck, hands and partially her cheeks. Before he reached the desk, she was ushered into the staff room and disappeared from sight. She was soon replaced with Ki-Yong

“What just happened? She’s covered with red marks that look really painful.”

“I don’t even know. Some woman just came in, ordered a drink, asked for it to be heated up a bit more and just threw the whole think at her. I couldn’t go after her because she was crouched on the floor in pain. It was so hot! I don’t think it was enough to scar or anything but still... I wouldn’t want a hot drink thrown on me...”

It was then that both workers noticed Hoseok’s presence and returned to their respectful jobs, the girl asking for his order in a slightly disturbed voice.

Her words didn’t register in Hoseok’s brain as all he could think about was the look of agony that danced on the pretty face he thought about so often.

Hoseok was fuming when he had realised the reason behind that whole incident. Blaming the man sitting in front of him was like second nature and he had to clench his fists tightly, digging his nails into the palms of his hands to stop himself from doing something he knew he would come to regret.

“Man, I flipped at So-Min when I heard that.”

His eyes were distant as he was recalling the memory he had just voiced. It was then that Hoseok realised that there was one thing he didn’t quite understand.

“If she was this much of a problem, why didn’t you fire her?”

Nervousness flickered briefly across his face, his eyes dropping to inspect the floor. He seemed to be mentally debating with himself whether he should explain his reason for not ridding the company of its marketing head.

“Well, between you and me... she’s got a shit ton of dirt on me. Nothing too serious but... enough to fuck up my dads company.”

What a surprise. The Vice President has some secrets he’s keeping.

“Anyway, we’re going off topic. What I came to say is, you might want to question Lee So-Min. She’s...”

He didn’t finish his sentence, instead rising from his seat and stretching, going out of his way to groan rather loudly. Giving Hoseok a mock salute, he strolled out of the door, no words being said.

Dae-Jun is holding way too many secrets for his own good...

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bruno-news · 7 years

Text

It’s Joy Time for Bruno Mars

WE’RE JUST CAVEMEN, hitting on rocks,” says Bruno Mars. “It’s no different—you’re a caveman and you got a rock in front of you, you hit it with a stick to get everybody dancing. This is our time to forget about everything, it’s joy time. So who’s the best at hitting that rock? Who’s going to make the village dance the hardest?”

At a casual glance, you might not know that Mars is one of our superstar cavemen. Pulling up to an upscale Italian restaurant on an anonymous street in L.A.’s San Fernando Valley, alone in a relatively modest Cadillac, he parks in back by the dumpsters to slip in quietly. In contrast to the flashy outfits he wears onstage, he’s dressed in a simple collarless bomber jacket, a white Gucci logo T-shirt and camouflage pants. A small crucifix on a thin chain hangs around his neck.

But at age 31, the singer/songwriter/producer dynamo born Peter Gene Hernandez is unquestionably one of the most highly decorated figures in pop music, with 21 Grammy nominations and 21 Hot 100 hit singles. He has sold over 170 million singles and 26 million albums worldwide and notched his first five No. 1 hits faster than any male artist since Elvis Presley. His third album, 24K Magic, debuted at No. 2 in November; more than two months later, it was still parked in the top five.

On this drizzly January day, Mars is trying to take care of business before heading to Japan for promotional duties. He’s finalizing plans for the album’s second single, the breezy, drop-top banger “That’s What I Like,” and plotting out his performance for the Grammy Awards. Today, he’s mostly bouncing between meetings and calls to assemble the staging for his massive world tour—already more than 100 dates this year, starting in late March in Antwerp, Belgium, and hitting the U.S. in July.

“I want the show to be powerful, because people spent some money on a ticket,” he says. “I’ve seen some awesome shows. I’ve seen Prince and Michael Jackson ; those are nights I will remember forever. I’m not doing my job unless I leave a piece of me everywhere I go—if you do the right show, it will stay with people and they’ll tell their kids about it. I hope people can see what I was feeling when I made the records. Then I want to go beyond their expectations and fly.”

With his old-school dedication to entertaining and his grounding in classic pop and R&B songwriting, Mars stands alongside Adele as one of today’s most universally beloved musicians. “My mum loves Bruno Mars and my son loves Bruno Mars and he’s 5,” says James Corden, host of The Late Late Show—and, recently, the Grammys—in a phone call. “I love how joyful, positive, uplifting his music is. It excludes no one. Everybody is welcome.”

Mars makes no secret that being onstage comes much easier to him than being in the studio. Almost four full years passed between his quadruple-platinum Unorthodox Jukebox album and the release of 24K Magic. He works so obsessively on each song, he says, that he drew up parameters for himself in order to get the concise, nine-song project finished. “I wanted to make a movie, where each song has its own moment,” he says. “So ‘Versace on the Floor’ is the tender moment, ‘That’s What I Like’ is the fun moment, and the ballad at the end [“Too Good to Say Goodbye”] seals the deal. That’s how I kind of tricked myself into making the album.

“We were trying really hard to tap into the ’90s R&B music that we grew up with, and it’s a very fine line—it can get tribute-y, it can sound forced,” Mars adds. “But that New Jack Swing sound brought me so much joy as a kid, so we took that on and did our best to try to get that feeling, that effortless fun.”

His interest in exploring the sounds of the past has sometimes led to accusations that Mars is just a talented copycat. When 24K Magic was released, one publication offered a track-by-track analysis of which artist each song was imitating. Not surprisingly, Mars gets heated about such criticisms.

“Man, that pisses me off so much!” he says. “It’s so easy to say that, but anyone that does that kind of shit has never written a song in their life. That’s why I’m here, because of musicians before me.

“Don’t get me wrong—there is plagiarism when you just say ‘Hey, man, what are you doing? I’ve heard that already.’ And I’m not stupid, of course it sounds like [the ’90s]. We’re using these vintage instruments and there is a certain sound, but it’s not just regurgitated. You can tell that we were listening to ’90s R&B. It has that spirit. That’s what we capture, and that’s what I want.”

Every time I think about it, my whole story is just weird,” says Mars. “Even I don’t get it!” He was born and raised in Honolulu, one of six children—his Filipino-Spanish mother was a singer and dancer; his Jewish–Puerto Rican father was a percussionist. By age 4, young Bruno (the nickname came from his father, who thought the infant Peter resembled wrestler Bruno Sammartino) was performing five days a week in the family band, the Love Notes, singing Michael Jackson and Temptations covers.

According to his older brother, Eric “E-Panda” Hernandez, when Bruno was just a few years old, his parents dressed him up as Elvis for Halloween. “He was already so in tune with Elvis that he was imitating the moves, the lips, drawing a crowd,” says Hernandez. “I thought, ‘Holy cow, he’s a showstopper already!’ ” “Little Elvis” went on to perform at halftime in the 1990 Aloha Bowl and had a cameo in the 1992 film Honeymoon in Vegas.

“If you took your kid to school with you every day, and you were studying rocket science, he’d probably be a rocket scientist,” says Mars. “So that’s just it—my dad and mom took me to work every single day, and I got to see what it’s like to entertain an audience. I got to entertain everybody who came to Hawaii—a roomful of people that didn’t speak English, from around the world—and to see what music can do, and how it can bring the world together.”

Above all, he learned the power of a great song, the fundamentals of writing music that far outlives its creator. Hernandez, who is now the drummer in Mars’s band, recalls Bruno constantly studying music videos—doo-wop, Michael Jackson, Elvis, anything he could get his hands on—in the bedroom they shared.

“I’ve been singing amazing songs since I was a kid,” Mars says. “They weren’t my songs, but they were classics. So I’ve trained my brain to know what it feels like to sing an amazing song—when you do a lot of covers, you see it; you’ll play a song and you see everybody freak out when you get to that chorus, everyone is singing. It taps into something, whether it’s nostalgia or it just makes people feel a certain way.”

His father gave him a guitar and started teaching him to play—surf music at first, classics like “Walk Don’t Run” and “Apache.” The influence ran deeper than just the music, as evidenced by the silk-shirt-and-shorts set, white shoes and gold jewelry he sports on the cover of 24K Magic. “The style stuff all comes from watching my dad—the pinkie rings, the pompadour, everything,” Mars says with a big grin. “My dad would take me to school in some big, busted-up Cadillac, and he’d be wearing a rhinestone jacket and have his hair all whipped and greased up, flashy glasses, and I was like, My dad’s not like the other dads at school! I’d try to get out of the car, zoom out. And now I’m the one driving the busted Cadillac, wearing some gaudy shit, and it’s what makes me happy.”

“Bruno is a fashion leader, with a sense of style that is truly his own,” says Tommy Hilfiger, whose clothes Mars sometimes wears onstage. “He is almost chameleonlike—for one concert, he’ll wear an animal-print shirt, then the next, he’ll be in a tuxedo, and it’s all him, he is totally in control of his presence.”

After graduating from high school, Mars moved to Los Angeles to pursue a musical career. (He now lives in the Hollywood Hills with model/actress Jessica Caban, whom he has dated since 2011.) He was signed by Motown Records in 2004 but then dropped. He kicked around town, signing a publishing deal, playing in cover bands and soaking up all he could from sympathetic, successful songwriters. He wrote songs for K’naan, Brandy and Flo Rida and, in 2009, co-founded a production team, the Smeezingtons.

His breakthrough came with the hits “Nothin’ on You” by B.o.B. and “Billionaire” by Travie McCoy, both of which featured his voice on the hooks, and then with Cee Lo’s 2010 smash politely known as “Forget You.” Just weeks before that song dropped, Mars released “Just the Way You Are,” the first single from his debut album on Atlantic Records, Doo-Wops and Hooligans. The irresistibly sweet ballad went to No. 1 and topped the adult contemporary chart for a record-breaking 20 weeks. (The next single, “Grenade,” also went to No. 1, and the ukulele-driven trifle “The Lazy Song” cracked the top five.) After a brief tour opening for Maroon 5, he played headlining dates for more than a year, as the album saw sales of more than six million units worldwide and an unbelievable 300-plus weeks on the Billboard Top 200.

On the road, though, Mars became aware of the limitations of his repertoire. “The first album was so ballad-heavy,” he says, “and when I toured I was like, ‘Man, I need to dance!’ We gotta pick this up, because we can offer more and we’re kinda stuck. And that’s where ‘Locked Out of Heaven’ and ‘Treasure’ and a lot of tunes on the second album came from, because we wanted to push the tempo.”

With an Anglo-reggae groove reminiscent of the Police (Mars and Sting sang together at the 2013 Grammy Awards), “Locked Out of Heaven” shot Unorthodox Jukebox out of the gate in 2012. The album explored disco and classic soul styles and topped charts around the world. And then, at the end of 2014, Mars was featured on producer Mark Ronson’s earth-quaking, booty-shaking, record-breaking throwback “Uptown Funk.” Certified diamond, for sales over 10 million, the song is only the eighth single in history to spend at least 14 weeks at No. 1. “Uptown Funk” won three Grammys, including record of the year, and for months it was unavoidable—on your TV, in your car or at sporting events.

Mars says the song emerged only after a long struggle and that they had almost tossed it away. “We went through some trials and tribulations,” he says. “I’m not lying when I tell you that we were fighting—I was on tour and Mark would send me something and I’d be like, ‘Are you out of your mind?’ And I’d send him something back and he’d be like, ‘No, my version is better.’ We were both fighting for the greater good of the song.

“You press play and it went, ‘This here’s that ice-cold…’ and it was like, ‘Oh, what’s about to happen?!’ But then ‘Oh, man, that’s what you got? Nah, never mind, turn it off.’ And that kept happening for months.

“Finally the solution was that we just needed to dance—to say, ‘Don’t believe me, just watch,’ and that’s it. Don’t try to write a hook. You don’t need more; that already said everything. But it took us a while to feel that, because the way we were doing it was so unorthodox, piece by piece. When we finally got together and picked up the instruments, we got to feel it. That’s when the superpower comes in.”

Even after cranking out so many hits—plus collaborations with and writing efforts for everyone from Lil Wayne to Alicia Keys, Adele to Jay Z and Kanye West—Mars has no formula or shortcuts; songwriting remains an instinctive craft.

“When you’re in the studio, you can feel the energy shift,” he says. “It’s no different from telling a good joke—you can tell when it lights up the room. Or from telling a shitty joke that makes everyone want to leave and you hear the crickets. So you’re always trying to find that magic and then capitalize on it.

“You find something—‘put your pinkie rings up to the moon’—and everyone’s excited, but now what? What does the bass sound like, or the drums? If ‘24K Magic’ is supposed to sound like I’m having the time of my life, you gotta hear me smiling on the record.”

There’s no bigger stage than the Super Bowl halftime show; Bruno Mars is one of a few performers who have played it twice. In 2014, he played during a rare northern excursion, as the 48th annual game took place in New Jersey. “Rehearsing in the cold sucked,” he says. “We got lucky on the day, it was 50 degrees, but two days before it was -9 or something.” His action-packed performance was the highest-rated halftime show ever (since surpassed by Katy Perry and Lady Gaga) and earned widespread raves, especially considering that his career hadn’t quite reached the spot’s usual mega-A-list status.

Then last year, on the heels of “Uptown Funk,” Chris Martin of Coldplay invited Mars and Beyoncé to join the group’s halftime set. “I told Chris, ‘This is your Super Bowl performance, you deserve it, go kill ’em,’ ” Mars says. “But he’s such a sweetheart and he kept saying, ‘Bruno, this is a gift I want to give to everybody.’ He talked me into it. He’s a sweet talker, that guy. And she signed up, and all of a sudden I’m in rehearsal dance-battling Beyoncé—what the hell happened?”

Mars is proud of his work ethic and dedication to every appearance, something Corden can attest to after they filmed a Carpool Karaoke segment last year (the clip has had nearly 40 million views on YouTube since airing in December). “My biggest memory of that day was that the second it ended, I got a little depressed,” says Corden. “Like the last day of vacation, where you’re on the plane home and feel sad that it’s over. It was so euphoric, I just wanted to do it again. There’s a moment at the end of ‘Uptown Funk’ where we’re just sitting there and breathing heavily, and that was real. His commitment was everything—we left it all in the car.

“I think he’s 100 percent on his way to being one of the greats,” Corden continues. “There are great showmen who get by without always having great songs and great songwriters who aren’t great showmen, but he’s both those things. He has this unquantifiable energy, where you want to watch it and be a part of it somehow.”

Hernandez notes that his brother works tirelessly, showing up for every sound check, sometimes arriving before the rest of the band. “He sees something lacking in the business, maybe something we were influenced by as kids that’s missing today, and he sticks to his vision,” says Hernandez. “He’s put that work mentality on the rest of the band, where he makes us want to be great.”

The rain has stopped and as the sun goes down over the Santa Monica Mountains, Mars heads to the restaurant’s back patio for a cigarette. He seems in no great rush to get back into the scramble of preparing for a tour and keeping the business humming. With the long process of an album finally complete, he says that although he’s open to the idea of more new music or another collaboration, he wants to be careful.

“I just don’t want to feel gross,” he says. “It’s as simple as that. I don’t want to feel gross, I don’t want to regret any decisions. Even if I turn down a sweet check because I don’t want to be on that billboard, hawking some shit to the world—I just don’t need to do that. Because you get one shot at this.

“I’m not a model. I’m not an ice skater. I’m not a chef. I’m here to do music. And I want to be able to look back and say, ‘Yeah, I did it the way I wanted to do it.’ Whether it triumphs or fails, I can live with that.”

#bruno mars #interview #wsj #2017

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umusicians · 3 years

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UM Interview: Michaela Slinger

Michaela Slinger is a “legendary songbird in the making” who combines youthful, energetic, harmony-rich melodies.

While working a full-time job at a non-profit job, she felt underwhelmed and trapped which led to writing sessions in her apartment. Slinger took a leap of faith to pursue her music career full time, working for several non-profits on a part time basis. In 2019, Slinger independently released her debut single and music video “Flux”. To date, the single has amassed over 500,000 streams on digital platforms to date.

Amandah Opoku sat down with Michaela to talk about her new single “Make You Sad”, upcoming debut EP, the success of her single “Flux” and more!

Amandah Opoku: Michaela, thank you for doing this interview today! Before we kick off please tell our readers about yourself and one random fact people do not know about you. Michaela Slinger: Thanks for chatting with me! I’m a 24-year-old indie-pop artist with 604 Records based out of Vancouver. The short version of my artist story is that I grew up performing and singing constantly (mostly in musical theatre), started songwriting beginning at age 10, and then put music mostly on pause to attend university and begin my working life from 17-21. It felt pretty soul-crushing to not have music as the focal point of my life, so I released “Flux,” my first single, independently after quitting my full-time job in 2019.

From there, connections and opportunities happened, and I was working with two producers and collaborators at 604 the following year. A random fact about me is that I’m left-handed, left-footed in soccer, and pretty much left-dominant in everything. I had to learn right-handed guitar at school because that was all they had, but I’m convinced I’d be a better player if I had learned left-handed.

Amandah Opoku: If you could describe your music in three words, what words would you choose and why? Michaela Slinger: The first word is ageless. I write to express emotional landscapes that everyone from age 15 to 95 can identify with, whether it’s navigating a hard conversation with a loved one, questioning who you are, or coming to terms with the end of a relationship.

The second is dynamic. I’m big on synthesizing musical influences from across many decades—in any song, you might hear nods to 70s folk and big 80s drums alongside current pop sensibility. I like having unpredictable moments in my songs.

The third is ethereal, in part because that’s often a word I hear listeners use to describe my music, and also because I strive for vocal delivery and melody that transports you into my musical world.

Amandah Opoku: Before pursuing your music career, you were working at a non-profit organization. What was the moment you realized that you wanted to create and pursue music as a career? Michaela Slinger: There were many moments that informed my decision to leave my full-time non-profit job. To clarify, I still currently work for a few non-profits, but in a part-time and flexible capacity that allows me to prioritize and grow my music career!

In my full-time role, there would be days where I’d sit at my desk in my office, alone, obsessively reading blogs and analyzing new artists on Spotify playlists and tearing up because it felt like I was watching other people live out my life. I took a day off work to record “Flux” with producer Nygel Asselin, and I biked home from that session around 2am with the demo blaring on a loop, almost in disbelief that an idea from my head had become this amazing, full track. I was hooked, and from there knew I needed to switch my life up.

Amandah Opoku: What artists would you say have influenced you musically both through your sound and lyrically (songwriting)? Michaela Slinger: This question always stresses me out because I’m afraid to leave influences out! I listened to a ton of 80s music with my parents growing up, so I have a real love for pretty much any artist you’ll find on a “Best of 80s” playlist.

John Mayer and Taylor Swift were two songwriters I obsessed over from the time I was in middle school. They’re both true craftspeople with lyrics and story-telling. At my high school, country was popular, so I listened to artists like Zac Brown Band, too. But I remember also listening to artists like Rihanna and Sia around that time, captivated by the energy and power their pop songs could convey.

Other important past and current musical inspirations for me are Maggie Rogers, Joni Mitchell, Etta James, Fleetwood Mac, ABBA, Haim, Jacob Collier, The Weeknd, SZA, Lorde, Harry Styles, Miley Cyrus, Arlo Parks—I’ll stop my stream of consciousness there.

Amandah Opoku: 2020 has been quite a year for all of us. How has the pandemic affected you as a musician? What have you learned about yourself? Michaela Slinger: I had started performing live and gigging around Vancouver in October 2020, and I’d only just started to get into a rhythm of rehearsing and playing my songs with a band. When live performance stopped, I felt like I’d just started to find my groove. I’m definitely an extrovert, and I get my energy from being with other people, so I found the situation quite deflating. I also typically have little song or lyric ideas coming to me all the time, but during the first few months of the pandemic I wasn’t really writing at all.

However, as someone who’s always identified as Type A and productive, I’ve found a lot of joy in slowing down and doing more things for pleasure rather than output. I go for walks and bike rides constantly, I’ve learned how to knit, I read so many amazing books, watched incredible new TV shows, and my partner and I cooked new recipes from scratch—it made me realize how intense and unsustainable much of our constant high-achieving, results-driven culture is.

Amandah Opoku: In July 2019 you released your debut single “Flux” which achieved half a million streams on Spotify on Apple Music. Congrats!! And how does it feel to achieve this after you took a risk leaving your non-profit job to pursue a music career? Michaela Slinger: Thank you! It feels incredibly validating. I think “Flux” is a great song and music video, but it was also a symbol of this big vulnerable leap I was taking in my life and a shifting of values. To know that it resonates with so many other people gets me excited for all the music I have left to share across my lifetime.

Amandah Opoku: With the success of “Flux”, are any of the negative thoughts you may have had something of the past? Michaela Slinger: I think our brains are lifelong experts at churning out negative thoughts! We’re so quick to normalize big achievements or proud moments in our lives and get back to the business of being hard on ourselves. The success of Flux sets me up for comparison and self-doubt when I release other tracks that don’t “perform” in the same way, but it’s also a strong and confident foundation for me to build off of. Learning to manage negative thoughts and self-talk, however, is more in the realm of growing older, meditation, reading, journaling and unlearning.

Amandah Opoku: You recently released your new single “Make You Sad”. What inspired the song? Michaela Slinger: I was inspired by a challenging conversation I had. You know how sometimes two people bring years’ worth of baggage and insecurities and past hurts into a discussion about something specific, and it turns into a referendum on the entire relationship? It was that.

Amandah Opoku: What was the writing and recording process like for “Make You Sad”? Michaela Slinger: It was a dream! This song is unique in that it was a three-way co-write with my two producers and collaborators, Kevvy and Louise Burns. We met up at 604 Studios and I shared a few voice notes with them off my phone. We started riffing right away on what would become “Make You Sad,” and each person was on their A-game. We left that day with a demo that was quite developed, and I think we even used some of the vocals from our first session on the final track.

Amandah Opoku: Did the writing and record process for “Make You Sad” differ from the process you undertook for your debut single “Flux” which you released in July 2019? If so, how? Michaela Slinger: Completely. I wrote “Flux” totally alone in my living room, and it was just guitar and vocals. I brought it to my producer, and he built the track up. I’d never recorded my own material before, so I was just getting a sense of the studio and production for the first time.

With “Make You Sad,” the lyrics and melody and production and sonic landscape all came together at the same time in that session with Louise and Kevvy. It still felt as personal to me as “Flux” did, but my own writing was impacted and elevated because the three of us were all jamming and creating in a shared moment.

Amandah Opoku: You are also currently working on your debut album with Kevvy and Louise Burns which is set for release later this year. What can fans expect to hear on your album? Michaela Slinger: The album is finalized! That feels wild to say. I’m so excited to release it. Since it’s the first body of work I’ve released, it’s a pretty wide snapshot of my head and heart. Some songs are several years old at this point, while others were written in late 2019 or early 2020. Obviously, there’s the common thread of my lyricism and vocals, and the subjects I’m exploring, but I infuse different sounds: there are big pop tracks, sweeping string ballads, folk-country inspired songs, and tracks that share roots with R&B.

Amandah Opoku: As you continue to pursue your career as a solo artist, what goals have you set for yourself? And what do you hope to achieve within the next 5 years? Michaela Slinger: I like to keep my big and wild goals close to my chest, and also to try my best not to set goals solely on things like metrics or streams or audience numbers—the pandemic taught me that we often place so much emphasis on things outside of our control.

That said, I’m driven to get to a place where I’m a full-time artist, whether it’s solely on my own project or writing for other people. I want to continue building my production chops—I just got Logic, but demoed most of my first record on Garageband. And I want to continue meeting and collaborating with new people who can expand my sound and push me as a creative!

Amandah Opoku: For new fans who come across your music, what would you like them to take away from your music? Michaela Slinger: That pop or pop-adjacent music can have real depth to it, and that so often we feel alone living our complex inner lives, not realizing that there’s overlap and common ground with countless others in the world.

Amandah Opoku: With “Make You Sad” out now, what can fans expect from you next? Michaela Slinger: An incredible music video for the track, directed and filmed by my incredible team of dear friends: Miranda MacDougall, Callum Gunn, and Harry Hill. This one is different from my other videos thus far, as I play a supporting role to the lead character.

Amandah Opoku: Michaela, thank you for sitting down with me! Before we close this interview, is there anything you want to say to your fans and our readers? Michaela Slinger: I’m so grateful to people who continue to seek out and support new and emerging artists! Your sharing and comments and streams have a very real impact on me and my career. Thank you!

Connect with Michaela on the following websites: https://www.michaelaslinger.com https://twitter.com/michaelaslinger https://facebook.com/michaelaslingermusic https://instagram.com/michaelaslinger

#Interviews #Amandah Opoku #Michaela Slinger

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entergamingxp · 4 years

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DualShockers’ Favorite Games of 2019 — Rachael’s Top 10

December 31, 2019 4:00 PM EST

There were plenty of games of 2019 that I enjoyed immensely, but if I had to pick just 10, here were my favorites of the year.

As 2019 comes to a close, DualShockers and our staff are reflecting on this year’s batch of games and what were their personal highlights within the last year. Unlike the official Game of the Year 2019 awards for DualShockers, there are little-to-no-rules on our individual Top 10 posts. For instance, any game — not just 2019 releases — can be considered.

Here we are again at the end of another great gaming year. Even though we didn’t see as many huge titles like Red Dead Redemption 2, Marvel’s Spider-Man, or God of War as seen in 2018, my year has been packed full of some amazing titles regardless. Thankfully, I didn’t have to solely rely on AAA games to have a great gaming experience, as this year we saw many fantastic indies that included Untitled Goose Game, Outer Wilds, Lost Ember, My Friend Pedro, to name a few. This only goes to prove how far independent studios have come along, and how they have firmly made their mark within the gaming industry.

As a gamer, I’m very open to what I will play – which is probably a good thing in this business. As you’ll tell from my diverse list, I’m not afraid to jump into whatever piques my interest. That may be from the adorable and cutesy, to the dark and twisted underbelly of the video games universe. As much as I love experiencing all areas of gaming, there’s one factor that always calls me home, and that’s immersive storytelling. I don’t think there’s a feeling in the world like sitting back and getting completely lost within a world interwoven in an amazingly captivating narrative. Since the start of time, humans have used storytelling as a way to connect to others, to bring people closer together and how the world is right now, there couldn’t be a more apt time to continue this tradition in the games we play.

As we slide into 2020, I’m excited to uncover what’s in store for me – especially with my most anticipated game mere months away, The Last of Us Part II. But until then, allow me to share with you what has been my Top 10 games of 2019. Let me tell you, it wasn’t easy to narrow it down to just 10!

10. Sayonara Wild Hearts

Sayonara Wild Hearts is a beautifully crafted piece of kit. It oozes bags of appeal and a refreshing, upbeat soundtrack that accompanied the game’s style perfectly. Other than its eye-popping visuals, the underlying story of heartbreak made this short, heart-pumping title really stand out.

I played it all in one go from start to finish and since then, I’ve been recommending gamers to give this unique and worthwhile title a try. On a side note: Queen Latifah’s voice is the epitome of ASMR.

Check out DualShockers‘ review for Sayonara Wild Hearts.

9. Divinity: Original Sin II

Unfortunately, I didn’t get the chance to play this game when it first released back in 2017 but when I saw that it was releasing on the Nintendo Switch, I knew that I had to play it. Divinity: Original Sin II is acclaimed to be one of the best western-style RPGs ever made, with stellar writing, voice acting, and brilliantly crafted tactical combat, and I couldn’t agree more.

The Switch’s small screen in handheld mode is perfect to get up close and personal with the bucket loads of action and endless, compelling dialogue. Divinity: Original Sin II’s emotion-wrought fantasy world really does make it one of the finest RPG games of recent years.

Check out DualShockers‘ review forDivinity: Original Sin II on Nintendo Switch.

8. Mosaic

Over the past few years, I’ve seen a rise in talking about mental health in video games. I love that we are now more open and free to discuss these issues that affect so many of us, and that developers are willing to take this on and adapt it to their games.

Mosaic offers a painstakingly realistic look under the heavy covers of depression and burnout in the workplace. I applaud that Krillbite Studio made no apologizes as they dove head-on in tackling these difficult subjects in Mosaic. Its cruelly dark and, at times, hard to play because of how authentic the main character plays out his troubles. But this is, in my opinion, when you know you’ve made a great game; when the player feels what you’re portraying.

Check out DualShockers‘ review for Mosaic (by me!).

7. Planet Zoo

When it comes to management sims, I tend to get a little overwhelmed with how much you have to do. You almost have to divide yourself into a million pieces to just stay afloat, but thankfully Planet Zoo offered much more manageable gameplay that I thoroughly enjoyed.

With its plentiful tutorials and smart UI, I spent hours taking care of all the zoo’s creatures, and who doesn’t want to care for a baby lion cub? Frontier Developments also tackled important educational and conservation topics throughout, which gave me bags of insight into each species. If you’re looking for a management sim that won’t take hours just to know what you’re supposed to be doing or kill every brain cell due to an overload of tasks, Planet Zoo may be the one for you.

Check out DualShockers‘ review for Planet Zoo by me, again.

6. My Friend Pedro

My Friend Pedro made me feel like I was actually really good at games. It made me feel like Neo from The Matrix with its slow-motion gunplay and super crazy stunts that offered one hell of an adrenaline-filled ride.

From barrel riding to swinging off chains to achieve the ultimate stunt-shot, My Friend Pedro provided me hours of entertainment. I was a bad-ass ninja on a skateboard with a talking banana; what’s not to love?

Check out DualShockers’ review for My Friend Pedro.

5. Life is Strange 2

This tale of brotherly love between Sean and Daniel Diaz begins as they try and flee America to start a new life in Mexico, and it hooked me from the get-go. Sure, it was a little slow in the beginning but it soon picked up steam and turned into a goldmine of storytelling.

What I appreciated most about Life is Strange 2 is how deeply it resonated with me in how well it addressed a lot of the current political and social issues we see in America today. Dontnod Entertainment obviously went to great lengths to make the player feel and care about what happened to these brothers, and for that, they have my respect. I’m really looking forward to knowing more about their next game, Tell Me Why – my guess is that it will be another emotionally hard-hitting adventure, and I’m totally here for that.

Check out DualShockers‘ review for the first episode of Life is Strange 2.

4. Concrete Genie

What can I say about this wholesome and charming game? I feel like it would be better to take my heart out and let it tell you, because that’s where I’ve stored everything that has touched me from this beautiful title. Concrete Genie throws you into the shoes of Ash, a young sensitive boy you loves to paint. When his town gets consumed by a dark, negative force coupled with some bullies set to make his life harder, Ash goes on an adventure where he meets the most adorable genies and together, they right so many wrongs.

Just before playing this game, I was going through a rough patch in life, so jumping into this adorably endearing title made that period much more bearable – I honestly couldn’t stop smiling throughout my entire time playing it. If you’re looking for something that will lift your spirits throughout these winter months, consider Concrete Genie. I dare you not to fall in love with Luna.

3. Luigi’s Mansion 3

I sometimes tend to lean towards games that are pretty dark and sinister, but as you can start to tell from this list – I’m trying to change that. In freshening up my game playing habits more, I found myself wanting to give Luigi’s Mansion 3 on the Nintendo Switch a shot and boy, am I thankful that I gave this game a chance.

There’s so much to love in the third installment of the adventure series that lets Mario’s chicken-livered twin Luigi take control. The graphics in Luigi’s Mansion 3 are a kaleidoscope of beauty that pops straight from the beginning, and in my opinion, the best graphics currently on the Nintendo Switch. Coupled with impressive animation, fun levels, and acute attention to detail, this game was an absolute pleasure to play. I honestly have never had so much fun hoovering in all my life – just ask Chrissy Teigen.

Check out DualShockers‘ review for Luigi’s Mansion 3.

2. A Plague Tale: Innocence

In case you didn’t know this about me, I love games where I must fight to stay alive, so here I am again getting sucked into a world where I have to go head-to-head with forces that wants me dead – sounds charming doesn’t it? This time I’m running from rats in this deeply somber tale of the evil that scurries in the dark, and it’s not just the rats, FYI.

What I loved most about A Plague Tale is the narrative between the two siblings, Amicia and Hugo de Rune, who are thrown into a dangerous world where all they have are each other to rely on. Amicia, who constantly has to reassure her little brother Hugo, and Hugo constantly asking a barrage of questions is so life-like that you almost forget you’re playing a video game due to how well Asobo Studio cultivated the relationship between them both. A Plague Tale: Innocence will propel you into a broken and terrifying world, but also remind you that beneath the cruelty of its environment, a deeply set unconditional love story between a brother and sister waits to be uncovered.

Check out DualShockers‘ review for A Plague Tale: Innocence by yours truly.

1. Days Gone

From its very first reveal at Sony’s E3 2016 panel, Days Gone had me hook, line and sinker. As I’ve already stated, there’s something immediately appealing to me about apocalyptic survival games, (hello, The Last of Us). Whether it’s a metaphor from my own internal struggles, I’m not sure, but what I do know is that trying to stay alive in a world that wants to swallow you whole captivates me on a whole other level.

Days Gone has a meaningful and varied narrative with just the right amount of pain, hope, and unexpected surprises to keep you glued to your seat the entire ride. Bend Studio crafted something personal and unique to them where they invited players to enter this world with an open heart and a little patience, where only then would your gaming experience really pay off in this stellar title.

The story is rich and meaty with a wide array of diverse characters you meet on your journey around Oregon’s beautiful landscapes, with countless areas you can interact with and explore. I’ve even found myself mindlessly riding my drifter bike for hours from one end of the map to the other, merely to soak in the scenery – the lakes, mountains, and forests are breathtakingly beautiful that I’ve already filled up a lot of space on my PS4 with the games built-in photo mode. Hats off to Bend Studio on this epic adventure; I can’t wait to experience what’s next from the studio.

Check out DualShockers‘ review for Days Gone by – yep you’ve guessed it.

Before you leave, I’d like to share some Honorable Mentions that didn’t quite make my top 10:

Untitled Goose Game – What a cute little asshole.

Disco Elysium – I haven’t yet finished this game but so far, I’m finding it really enjoyable with a cracking narrative.

Hearthstone – I finally dove into this online digital collectible card game at the start of 2019 and in my opinion, it’s the best card game out there.

Call of Duty: Modern Warfare multiplayer: this is where I go to release some pent up frustration. There’s nothing quite like finding unique ways to kill strangers online.

Death Stranding – I’m still peeing and pooping my way around this strange world. It may or may not fall into my Top 10 in 2020, but as of right now, it’s unsettling and addictive for reasons that are beyond my comprehension at present.

Check out the rest of the DualShockers staff Top 10 lists and our official Game of the Year Awards:

December 23: DualShockers Game of the Year Awards 2019 December 25: Lou Contaldi, Editor-in-Chief // Logan Moore, Managing Editor December 26: Tomas Franzese, News Editor // Ryan Meitzler, Features Editor December 27: Mike Long, Community Manager // Scott White, Staff Writer December 28: Chris Compendio, Contributor // Mario Rivera, Video Manager // Kris Cornelisse, Staff Writer December 29: Scott Meaney, Community Director // Allisa James, Senior Staff Writer // Ben Bayliss, Senior Staff Writer December 30: Cameron Hawkins, Staff Writer // David Gill, Senior Staff Writer // Portia Lightfoot, Contributor December 31: Iyane Agossah, Senior Staff Writer // Michael Ruiz, Senior Staff Writer // Rachael Fiddis, Contributor January 1: Ricky Frech, Senior Staff Writer // Tanner Pierce, Staff Writer

December 31, 2019 4:00 PM EST

from EnterGamingXP https://entergamingxp.com/2019/12/dualshockers-favorite-games-of-2019-rachaels-top-10/?utm_source=rss&utm_medium=rss&utm_campaign=dualshockers-favorite-games-of-2019-rachaels-top-10

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