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witchofthesouls · 1 year

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You know what trope I love, the whole ‘eldritch horror/aspects of nature in physical form in human form’ specifically with death. Death the endless from the Sandman is my favorite character due to how refreshing it is to not see a natural part of nature not be demonized.

Imagine a physical manifestation/embodiment of death in the transformers universe. They are so old, older than the gods that preoccupy the universe they share and has reaped many. Death ingrains themselves into every species, sharing with their love and their lust of life, for self enjoyment and to sympathize with the souls they will one day charter. Every soul, no matter what age or species, recognizes them.

Than the Great War of Cybertron breaks out. Death knew war was bound to happen to its petty societal class systems, but never imagined it would directly cause the death of Primus. They can still remember the sadness on his face when he took their hand to be carried to his fate. The death count grew higher and higher, and death did as they have always done since the beginning, with some faint glimmer of hope that they would see what they had done now that their god is dead. Death never took pleasure in the brutality and savagery of war nor in the fear and anger and sorrow in it.

Now, it’s once expansive population was reduced to a scathing thousands. Now Death faces their own crisis. Reap all cybertronians who are the one causes of their extinction or interfere and give them a second chance?

Death’s mind is made up when they take the form a young human girl, making it easier to get close to the so called ‘Autobots’, to see for themselves if they and the ‘Decepticons’ are worthy of a second chance.

Plus, they missed human food. Especially, ice cream.

(If the bots do discovered their/her identity and they ask why Death would help. They/she would simply smile, a bit of ice cream on the corner of their lips. “I am death. I am inevitable. What’s a little while longer?” Was all they/she said as she ate another spoonful of ice cream.)

Okay, commentary because this tickled my brain so much like Woah and I do have things along those lines.

And same here, anon, but more like Aspects that take on a humanoid/mortal form or have Avatars to take on very specific Aspects because such entities are far too immense for a true physical embodiment.

But that's a different topic, so the embodiment of Death in Transformers does exist, depending on the universe and how viewers want to take it.

The most explicitly direct is Mortilus of the Guiding Hand from the 2005 IDW, and then there's Unicron himself -Lord of Chaos, Chaos Bringer, and Planet Eater.

Primus and Unicron are stated to be brother-twin entities. Opposites, yet equals.

His self-proclaimed mission is to end all creation, which is very ironic considering he is a being of Chaos. The spark of that brings forth Life. Unless that's the point. He is the Bringer -the harbinger of Chaos, so he is the embodiment of Death and Finality; the End before the Beginning.

So if Unicron is steadfast in his role of Uncreation or the herald of the ending/beginning cycle, then now it raises the interesting question in TFP, what if Earth is its own entity?

In the wise words of the mushroom meme: Decay is an extant form of Life.

Because would make so much sense:

This would neatly tie into the Autobots' confusion and dismissal over the many Earthen inhabitants' biological necessity and/or enjoyment to eat other creatures and living byproducts. (This raises questions about the lack of dietary options and possibly a far more limited fauna and flora amongst modern Cybertron.)

As well as the nature of Earth and its inhabitants since Death and Chaos touches many associated concepts: conflict, renewal, rejuvenation, evolution, illness, decay, destruction, change, regression, mortality, and so much more.

Could have been incorporated into the mythos of the Age of Antiquity, and a linkage to Optimus’ past as Orion Pax’s role of an archivist. There are very, very few things that Optimus could truly keep of his old self, so perhaps he would enjoy looking into databanks and open-access libraries. This could have opened dialogue with their human charges on the differences and similarities between the strict strata of Cybertron and the role of the internet in the modern day.

It would fill in the plot hole of Unicron, somehow not destroying the world when he switched to a bipedal mode, nor does he have a fondness for any creature of Earth.

(The place most likely galls him since there is life even at the most extreme conditions on the planet, and the dominant lifeforms mimic his brother-twin's own creations.)

Patterns form and patterns break, but some Laws are absolute. So by Unicron's own nature, Earth was born to follow the cycle of the universe. (Or unknowingly formed in his slumber to keep his own self alive. Otherwise, Unicron shall become obsolete.)

So not only Earth is deep in the galactic-equivalent of the boonies, this planet is the Cybertronian-equal of Space Australia.

Which becomes even far more terrifying should the cyberization process have been successful because Earth is not Cybertron. It is its own entity. It would look at these newcomers and say Challenge Accepted on nightmare mode.

Truly worthy to be classified as a Death Planet.

And on a side note: If Megatronus Prime was the closest reflection of Unicron by Primus’ own hand, then would that mean he was supposed to fulfill a role or be an Aspect of Death on Cybertron? Anon, my mind is reeling here!

#ask #transformers #transformers prime #tfp #unicron #primus #gaea #mortilus #megatronus prime #optimus prime #optimus #religious imagery #creation myth #cybertronian culture #maccadam #my thoughts

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ms-scarletwings · 5 months

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Every Dredge Aberration (2023), Bonus II

A beastly lord slinks through cavern and cliff. He slugs through earth and time and the wind joins his bellow before he returns to his recluse. Eventually, a pestilent sound rouses him from his burrow. There is an interloper above his halls, and they will know his wrath. No trespass evades his infernal gaze, and no vessel escapes his collection. Well, maybe all but one. “Serpent” they call the cliffs’ master, a name which lends the mind to instance threads of devilry and epic mythos. Such analogies are definitely not inappropriate for the giant aberration that stalks the Gale Cliffs. For two decades, he has patrolled and altered their passageways with slow lurch, one burning coal of an eye scanning for food or foe. Armed with strength to grind through rocksides, petrified scales, and a toothed maw fit to cleave through the largest of the world’s mammals, not even the seasoned whalers of the region play challenge to this monster. No mere fisherman could hope to test his ire and return unscathed…none, save the very man who may have indirectly led to its birth.

Hatched in the Hollow

Unlike the hostile angler of the previous area, the Gale Serpent has had no shadow of mystery set over its creation. Originally approaching this, and gathering information, I assumed I was to theorize some horrible mutation of a local fish gone awry, as I did with the Marrows Angler. The conger eel aberration was of special interest for demonstrating the ability of the Entity’s corruption to transform flesh to crystal and rock. Howbeit, there is an obelisk to the Southeast corner of the Gale Cliffs which flips this original hunch completely around. The Serpent, in fact, was not life turned to stone, but lifeless rock given soul.

All it had taken was for the crimson sorcery to seep into a deep crevice, as it is adept to, far down into the hearth of the very mountains themselves until this great eel had breached through- The wyrm, sculpted my malice, and animated by a dark energy, is in fact the one behind the detriment of the settlements around its home. Its tunneling through the underwater crags was named as causing the collapse of an entire village, which also coincided with the disappearance of the whales that the neighboring town so relied on for a thriving industry. Stories told of both corroborate that, like all strange occurrence fanning out from The Marrows, the serpent’s creation was spurred by someone dredging up the Book of the Deep. This would put the age of the beast at 20 some odd years, likely the same as the other nightmares of the major islands. In all of that time, the Serpent has in turn sculpted the cliffs into a proper domain for his liking. One that all but the well-prepared and bold dare encroach upon.

A Dragon of the Depths

The concept of the Gale Cliff’s snake would appear delightfully inspired from a great shadow of the horrors thought of by men. From the biblical leviathan, to coiling Jormundgandr, to the many aquatic wyrms of Greek tales, the sea serpent has been a subject repeated through vast swaths of oceanic legend. Where landlubbers dreamed of great scaled predators that ruled the skies and earth, there were likewise the dragons of the seamen’s paranoia, equally as tenacious and fearsome. Through the power of the Deep, these fears were brought to reality in this massive eel. His length alone dwarves the fisherman’s boat by about 5 or 6 times, and his bite is twice as punishing as the Night Angler’s. With the whales he once feasted on no longer in range of his hunting ground, he’s more than willing to make meal of the pirates and sailors that are brave enough to return. Though having no use for human trinkets, he greedily drags our treasures down to keep in his lair, and he turns quick rage to those who venture to plunder his burrow. Like so many of the terrible dragons of men’s tales, he guards his hoard, he devours the livelihood of those living too close, and he lives in a labyrinth of his own design.

Tactics

Several factors about the Serpent make him a far less avoidable threat than the Angler, and many investigating the cliffs for the first time will learn this the hard way. Even still, he is far from an inevitable threat to one’s journey. For one, the light of day provides no protection from his attacks as can be expected in The Marrows. The serpent listens for visitors in the narrow wind tunnels between the mountains at all times. By the time he emerges from the cliffs, he has already began to hone in on the ship, making silence or shutting off the lights to hide a useless action. There is an amount of predictability to his charge, if one pays attention to the rockwalls throughout the Gale cliffs. There are a number of visible, gaping tunnels beneath the waterline, where he will reliably emerge from, or retreat into. Avoid passing directly by or over one of these if a quake begins. The landslides and shaking rumble are the telltale sign that he is both awake and hunting you. While he behaves no differently at night, the fog and its own effects make encounters with him all the more dangerous. The sudden rocks that will appear at high panic can slow down an escape or even present their own lethal threat. All except for his hateful eye, the fog makes him more difficult to spot at a distance, lending an even more sinister appearance to the monster in the darkness.

Another way to tell if one is being pursued is attention to the red tinge that will increasingly encroach on their vision. Its intensity can serve as an indicator of how closely he is approaching as well as a warning to quickly stop any fishing/dredging activity in order to make a getaway. As far as speed is concerned, it is the single weakness of the Serpent; this makes an upgraded engine or the use of the words of Haste most key in evading his attacks. Even a slower vessel might be able to corner him sharply enough for a near miss, but distance will be the greatest shield. Banishing words, when available, can also serve as a reliable deterrent.

Interestingly, the Serpent’s eye only opens when he is in a hostile state. If slinking away, or passive, it will remain closed.

The Serpent is such a sluggish swimmer, indeed, that any vessel with a base speed of 40 knots or more does not have much to fear from him even without the use of the book’s spells. Of course, it becomes no less important to still carefully navigate the passageways it will be traveling through. The maze of the cliffs and their frequent waterspouts make a panicked dash unfeasible, especially for boats possessing a weak hull integrity. In time, though, this mighty aberration will be left treading behind as the one before it.

#dredge game #dredge serpent #The serpent dredge #dredge #Gale cliffs #dredge Gale cliffs #dredge spoilers #scarlet talks about things #fish horror

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void-acolyte · 1 year

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Feeding the Abyss (Rhoads Brazos) – Review

(Originally posted on my library Wordpress. )

Overall Rating: 5/5 Narrative: 5 Atmosphere/Setting: 4.5 Lovecraftian: 4 Acolytic: 5

I read this story in the midst of a physical sickness, and I came out of it still sickened, but with an occult fever and fervor for Shub-Niggurath in addition to my ailment. As you may very well know already, volumes about the Dark Goat of the Woods are scant, yet Brazos’ work is wonderfully atmospheric and characterizes Shub so accurately that following my reading I awoke from sleep with strange dreams and an overwhelming urge to be with Mother, which I have never experienced from a Mythos story before.

The work starts out in a clearly modern setting with our main character Lilly eagerly looking for a job. Upon finding one in the mortuary industry, she begins her first day and it’s more than what she expected… From there it develops into a gritty story about sacrifices to the gods, and what parts of yourself are sacrificed along the way.

The main themes of this work are those of loss, death, and renewal. Love actually features quite prominently in this story, both platonic and romantic. How the gods help with loss or do not help with loss was an interesting touch in this work, as well as how gods and man orchestrate miracles of a sort. The theme of renewal (though it hit at the end) was so poignant that by the end I found myself wanting the same kind of transformation that Lilly goes through.

Shub-Niggurath is portrayed as a god that is both loving and ferocious, protective of her followers and demanding sacrifice.

Overall, this work portrays both Shub and her followers accurately, and does not cut corners when it comes to the emotional or spiritual weight of its story. This makes the entire story memorable, and one I possibly apt to use in my own spiritual work.

Note: This story can be found in the story collection Cthulhusattva.

#shub niggurath #words

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astaroth1357 · 3 years

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Demigod MC Series: Nyx

Nyx is a primordial goddess and the Greek personification of Night - the mother of Hypnos, Thanatos, Nemesis, and many more. She's a mysterious figure in their mythos as there's little surviving info about her cult. What is known, however, is that she was portrayed as beautiful, powerful, and feared by Zeus himself.

Demigod MC Series: Intro, Aphrodite, Hermes, Hades, Dionysus, Demeter, Athena, Hades Pt. 2, Poseidon, Ares, Hestia, Nyx

Lucifer

What happens when you take a being born from the darkness and place them in a realm of eternal night…?

The answer came when the MC first stepped out of the portal. Everyone in the room was wholly expecting a normal-looking, confused human they could get up to speed, however…

The MC's skin suddenly darkened until it was as black as a shadow, their clothes levitated around them as if they were defying gravity, and glimmering speckles dotted their skin like twinkling stars.

Even their eyes turned a pure, glowing white without irises or pupils… Like two crowning stars locked into a body made from the shimmering night sky...

They weren't human. At the time, Lucifer wasn't even sure he could say what they were... Breathtaking, certainly, but there was something else about them that he couldn't place… something… foreboding...

Diavolo must have had the same unease because Barbatos was put in charge of monitoring them. The butler would send reports to them both and the results would range from benign to nerve-racking...

They kept their distance from his brothers and most people, but their power seemed immense... Barbs would report seeing them making small items float or summoning a meteor shower from their fingertips!

Lucifer ended up actually tasting their powers only once. When they stepped in to protect Beel and Luke and he went to attack them…

The whole House began to shake and the candles of the tomb started going out one by one as the air grew intolerably heavy... He could have sworn he saw a vortex of… something... swirling at their feet...

He backed off immediately and Beel and Luke got off with a warning, mostly because he was trying not to look utterly petrified...

He's never met a more beautiful and dangerous creature in his life… Pact mark or no, this is probably the only person the firstborn will admit he never wants to have to fight because he'd lose, big time.

Mammon

He was expecting to find a human when he walked into the Student Council room, not an alien!!

Mammon was seriously scared of the MC when they first met because he legitimately believed they were an extraterrestrial sent to probe him!!... Or whatever else those scary movies say aliens do, lay eggs in his stomach?

He straight up avoided them like the plague until the Goldie incident more or less bound them together. But even then there was a distance between them he just couldn't place…

Naturally, it bothers a demon a bit if their master doesn't seem to like them, so he eventually cornered them one day to force them to tell him why they'd been running off!

As it turned out, the MC actually knew as little about their new form everybody else! They had been perfectly normal in the human world, but for some reason the Devildom supercharged them! They could tell that they were powerful, but had no idea how to control themselves yet and it scared them...

So Mammon became their first unofficial "coach." Not that he knew how to train them or anything, but he was the first person supportive enough to even try to help them learn their new powers.

It led to some… interesting misadventures. Like when the MC unexpectedly burst every water pipe in the House or when they got a little too frustrated and ripped the kitchen apart with an accidental twister, but hey, Mammon was always there for them at least.

Of course, because he's who he is, he's not above asking the MC to help him with his schemes for "training purposes…" Infiltration is more fun if you're weightless, after all!

Speaking of weightless… His favorite way to float is when the MC gets excited and hugs him. They can't help but levitate them both off the ground when they're that happy and it makes the whole hug that much sweeter.

Leviathan

It's… it's like he's in his very own Magical Girl anime!!! Uh, "I'm a Demon and this is My New Life with a Magic Starchild!!"-or something like that. 🤷‍♀️

He didn't even think their transformation was real when he first saw it! He really thought it was an elaborate body art cosplay but then their "freckles" rearranged themselves when he frightened them, so it had to be real!!

He'll declare that they're probably (literally) the coolest thing on the planet. They have the looks of an epic fantasy character plus insane powers to boot!

…though uh… they may need a training arc or two to learn how to control them… 😅

Since their powers are apparently tied to their emotions, Levi's seen them do a whole bunch of stuff that's not entirely on purpose... Like, they can make things float when they're happy and push everything down when they're sad.

So once he showed them one of those "tragic ending" animes for fun, but they cried so hard that they increased gravity and accidentally sent his bathtub crashing into the basement…

The worst of it is when they're mad, though. He made the mistake of making them play a rage game once and they ended up shattering all the glass in his room! His aquarium wall and Henry's fishtank included!!

They were able to make a zero G sphere of water in order to save Henry's life, but the cleanup was brutal… They were super sorry, but Levi took most of the blame himself anyway.

Honestly, he'd have been more mad but their body is clearly not something they can control just yet. Plus, it's so cool that he can put up with a little destruction anyway, you know?

Satan

Well, isn't that an interesting phenomenon?

Meeting a demigod is exciting enough, but one who reacted to the Devildom like that? It was pretty much unheard of!

Though he'd hate to admit it, Satan stalked the MC just as closely as Barbatos for a little while... But only because he was a little unsure of how to approach them…

They kept to themselves and their powers seemed "a little" unpredictable (see Levi's orphaned bathtub). Thankfully, Mammon ended up recommending the MC to him since Satan's one of the smartest guys around.

Satan made a better coach than Mammon, anyway. He was far more knowledgeable and actually able to hypothesize the strength their powers, which came in handy because uh… well…

Look. The whole realm 'ooohs' and 'ahhhs' over their appearance but they're all fools - no morons - for not noticing what potential the MC actually has. Satan was positive that the MC is the most powerful being in the Devildom, without question.

They had a complete control over gravity, atmospheric pressure, and even astronomical bodies… If they wanted to, they could literally pluck a planet out of orbit and send it careening into who knows what!

Want more terrifying? They could create near-matterless vacuums at the palms of their hands with the potential to suffocate, crush, or rip apart basically anything they wanted with implosive force….

Does he even need to spell out why that's utterly horrifying??

At least the MC seemed to be a genuinely nice person who wanted to control their powers better… Their emotions often got in the way but they tried their best.

He likes the MC a lot, but he'd be lying if he said that they didn’t also terrify him… They may have been pretty normal in the human world, but give them endless night and they may as well be a god...

Asmodeus

Oh… My… Father!!! They're GORGEOUS!!!!

From the moment their transformation completed, Asmo had never seen anything like them! He said that they were like a living droplet of the night sky!

They were magnificent!! They were radiant!!! He was posting pictures of them before they had even said their first sentence!!

So Asmo was pretty much patient zero for any and all rumors and hype about the MC after that... Apparently someone like them only visits the Devildom every one, maybe two, centuries so everybody was bound to get talking.

Thankfully, the MC's habit of ducking out of the House kept them from becoming a full on sideshow. Unfortunately, however, Asmodeus was relentless!

He'd beg them to try modeling or make videos with him because of their unique look! He'd lay on the praises, but it was a little... much. It wasn't until Mammon finally stepped that he backed off a bit.

Asmo sometimes forgets that not everyone puts as much emphasis on looks as he does... Though he meant well, he hadn't realized that the MC maybe wouldn't appreciate him making such a big deal out of their appearance change. Pretty as it was, it was still involuntary to them...

Of course, after they told him this he cooled off and stopped putting them out there so publicly but even still he could hardly keep his eyes off of them... unless he was looking in a mirror, of course. 😘

A fun fact about the MC: when they blush, their skin makes a pink nebula. And thanks to his antics, Asmo has seen their lively pink cheeks many, many times… 🤭

Beelzebub

Belphie would like them, wouldn't he...?

Beel's first reaction upon seeing the MC was genuine sadness, as seeing the stars with his twin brother still gone often brought him…

The sadness didn't last too long at least because Beel tried his best to see the MC more like a person than a work of art or an oddity. Sure, they looked different - like really different - but they still laughed, cried, and ate like everybody else so they couldn't be that different.

Though then again, most people don't end up floating in midair when they laugh… Eh, oh well. It's not like those little details bother him. 🤷‍♀️

He always remained certain that Belphie would like the MC so he told them a lot about him. Since his twin loved stargazing, it'd only be natural that he'd like someone who looked like the stars, right?

Aside from the occasional tangent about his brother, Beel would also help the MC with their training by letting them help him with his training!

Controlling gravity can be pretty nifty for strength/resistance exercises, so there would be days where Beel would just pull a Dragon Ball and walk around at 1.5 or 2 times Earth's gravity thanks to having the MC on his back!

Sure, lifting a glass of milk becane so difficult that he literally broke a sweat from trying, but he felt like he can juggle motorcycles afterwards so who's complaining? Not him!

Belphegor

……

………….

Was it some kind of joke?

The MC was not human. There was no way in heaven or hell that whatever he lured to the attic was supposed to be a human!!

Really, everything about the MC and their situation seemed directly designed to throw a monkey wrench into his plans...

One: They weren't human so how was he supposed to ruin Diavolo's dream? Two: They were clearly some kind of magical being so they could likely defend themselves…

But third ans most embarrassing of all... he honestly, genuinely, has never seen a more amazing person in his life. Blame it on his soft spot for the stars, but the moment the MC step up to his prison bars, he was smitten...

And. He. HATED IT!

Look, as much as he loved the night sky, he wasn't about to let some random non-human derail his anger! He was stronger than that!

He managed to hold onto his bitterness just long enough to make a halfhearted attempt on their life after they got the door open, but uh…

His brothers found Belphie when he fell through a newly-made hole in the ceiling... Said hole was made when his body slammed to the ground hard enough to crash through the attic floor... 😣

If the damage they caused wasn't enough to change his mind (which it was), then their distress when they thought they might have hurt him certainly did. Even their tears looked like stardust...

After far too long, Belphie got over his denial and began to properly love MC. If he liked stargazing before, he adored it now because he never even has to get out of bed! He can just roll over and follow the "stars" on the MC's body!

Unfortunately, that same love means it also takes a lot to ditch him if they get sick of being his personal night's sky… The brothers have found him floated up and sleeping on the ceiling on numerous occasions so the mortal can get some fresh air (clever MC)...

#obey me #obey me shall we date #shall-we-date-obey-me #obey me lucifer #obey me mammon #obey me leviathan #obey me satan #obey me asmodeus #obey me beelzebub #obey me belphegor #obey me headcanons #obey me demigods

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lokiondisneyplus · 3 years

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Disney+'s Loki Season 1 was weird, wild, and wonderful; all spurred on by the god of mischief himself, as Tom Hiddleston’s Loki went to the far reaches of the MCU’s reality and back to change everything, including representation in our corner of the sacred timeline. As discussions about representation for the LGBTQIA+ community focus on seeing themselves in media, Loki’s premiere during pride month elicited discussions and excitement from fans and critics. The topic, what does Loki being bisexual. Where do we go from here has been on everyone’s mind, but the answer is simple. As Loki prepares for Season 2, it’s time for Marvel to take the next step and explore the character’s gender fluidity.

Loki’s MCU popularity is somewhat ironic given the character's original roots in the mythology. The Norse counterpart to Hiddleston’s trickster was the son of the giant Farbauti and the goddess Laufey, who managed to wiggle his way into Odin’s family. He is described as a shapeshifter; taking multiple forms like a salmon, a mare, and an old woman. Depending on the source material, Loki (much like other deities) shapeshifted and schemed his way into the myths that shape the world: When bound to a rock beneath a serpent, if the serpent drips venom on him it causes earthquakes. He sired Hel, the goddess of death, Fenrir, the wolf, and Jörmungandr — a snake eating its own tail.

Loki has counterparts in multiple other pantheons (Anansi from West African and Carribean mythology, Hermes from Greek Mythology, to name a few) but he’s front and center in Marvel and the fan dedication to the character (where else are you going to get a room full of fully grown people screaming a villain’s name?) means that Marvel can tell stories with him including stories that focus on what Loki represents in comics canon, who the character has become in the modern mythos of the MCU.

In the MCU, Loki's story is a sad one. In Thor, he discovers that he was adopted, that he will never be King of Asgard despite his brother Thor being a brute, and decides to make himself an enemy of the Gods of Asgard and the humans on earth slowly learning about what lies beyond the solar system. Outcast and alone, he becomes Thor’s primary motivation to fight, battles the Avengers and nearly takes over earth, and finally sacrifices himself to save Thor and the other Asgardians seemingly undergoing a redemption arc. In fact, Loki has had two redemptive arcs, both of which speak to people who have struggled to repair themselves and contribute to society. His story is that of someone who has always sought to accept himself — much like those in the LGBTQ+ community.

Now that his redemption is (seemingly) out of the way, there are other parts of Loki’s comic history that writers can tackle, including his shape-changing abilities and his fluid sexuality. Neither are unusual in the media (you could make an argument that Loki’s mythological arc where he gets impregnated and gives birth to an eight-legged horse is a sort of ancient world blockbuster event).

Loki being genderfluid should be Marvel’s next step in on-screen representation because all of the character’s traits point to it being the logical choice. For one thing, the story of a being who feels abandoned in their own family is one common to every sphere, but it fits in well in the LGBTQIA+ community. Statistics regarding transgender children point out that over half have considered some sort of self-harm without support. Support leads to a decrease in suicidal thoughts as well as suicidal attempts. Loki never went through those things, but for many now cheering his bisexuality seeing a character with that backstory doing good and being seen in the public doing some good is much-needed representation.

In all other continuities, Loki is a bisexual genderfluid being. Using the so-called “God of Outcasts” to introduce bisexual and genderfluid characters to the MCU is a smart decision. Loki’s large fanbase puts him on avengers merchandise and front and center in Avengers canon. His villainy and transformation to anti-hero with two redemptive arcs has brought his engaging character to the forefront of his own story. As he says, he’s “writing his own destiny,” something members of the LGBTQ+ community can relate to, and he and his variants can ask the audience to question their preconceived notions of the bisexual and genderfluid community.

There are certain behaviors that come with being genderfluid. There is the notion that constraining oneself to a particular set of societal expectations of gender is ridiculous. There is a focus on individuality over conformity on such a base topic. As so many people say, gender is a spectrum and to describe individually what gender means to specific people, doesn’t do it justice.

Rather there are practices and behaviors that Marvel could study and put into stories. Loki’s change in appearance and outfits could come with new pronouns (a facet of being transgender and genderfluid, as pronouns are a source of hot debate in the cisgender community) and audiences would be more willing to accept it thanks to the dedication of his loyal fans and his anti-hero status. Loki is cunning, Loki is full of guile, and Loki has proven himself because people love the character. Villains from underrepresented groups are frequent. The audience’s love has writers wanting to explore his sympathetic backstory. That changes the equation. Members of the LGBTQ+ community understand what it’s like to be declared villains.

The show has made massive strides in representation, even casting queer actors to play Loki(s). DeObia Oparei’s Boastful Loki exemplifies just what Loki and the MCU should be striving for, representation and work — building characters who can be examples to others. Oparei went to Twitter and thanked Marvel for its work, but it’s work that must continue.

From his beginnings as a trickster god to his inclusion in the modern mythos of the MCU, Loki is a powerful figure, and the new Disney+ series has set him up to be both a real anti-hero and an embraced character. Since audiences have now embraced his sexuality, it’s time to embrace the next step and use Loki, Sylvie, and any other Loki variants to explore what being transgender, what being genderfluid, truly means in modern mythology and beyond.

Loki Season 1 is streaming now on Disney+. A second season has been announced.

#Loki #genderfluid

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inkdemonapologist · 3 years

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Some of my doodles for Session Six of our Call of Cthulhu game!! We finally got back up with that potion-maker from Last Loop and tried to explain EVERYTHING to her, since she’s the one who seemed the most ready to believe us last time (Also, we saw her voluntarily possessed by a spirit at one point, so it seemed like it would be a good starting point to explain some of our problems).

This went.... chaotically, as there are 0 tells for who’s talking and everyone was very insistent on contributing to the conversation. The alive versions of Sammy and Joey mostly stayed out of this mess.

ALSO!! WE’VE PICKED UP SOME NEW INSANITIES! Henry has a mania that compels him to draw/document everything he learns (in case we lose memories or loop again), Sammy still has the mask thing, Joey’s picked up an obsession with symmetry after witnessing his body horrifically transformed by a corruption across half of it, and Sammy, after seeing the Star Pool lurker’s indescribably horrible non-ink-demon form, is filled with a terrified respect for it and has become strangely deferential. I DID NOT EXPECT SAMMY’S SANITY DROPS TO LINE UP SO PERFECTLY FOR CANON PROBLEMS,

Anyway, have some more out-of-context quotes!! Some of these are just conversation because imagining people trying to hold a conversation with three different voices coming out of “Henry” is my favourite thing now.

[Sammy is played by me, Joey is played by Boo (inkyvendingmachine), Henry is played by Maf (inkcryptid), and Thren (haunted-hijinxer) is our GM!]

[Sammy] *summarising* (So we're gonna run by Josephine and see if she has anything that maybe we should know, uh, based on our current predicament, which has gotten even more complicated than the previous time we talked to her, which hasn't happened yet!)

[Alive!Sammy] Is something wrong? [Henry] No! No, everything's fine. Let's go. [Alive!Joey] ...I don't think anything's been RIGHT for a while...

[Sammy] (Are we, as a, uh, unit -- do we have the mask on?)

[Ghost!Joey] There's... three of us in here? [Ghost!Sammy] Sure, that's a normal thing to say!

[GM] Josephine looks like she is trying to figure out what to say, but she is having... trouble. [Ghost!Joey] Have you ever had someone... hang out with you... during the festival? Like, kind of, possession? [GM] She raises an eyebrow, but nods, and says "Yes, that's part of my duty, as a leader of this religion." [Ghost!Sammy] Fantastic. That seems to be happening to us. [Ghost!Joey] We're not, exactly sure how we managed to get... in the past again... but we're -- *points with Henry's non-sketching hand over at the live ones* [Joey] Live!Joey just confusedly shrugs and sips his coffee. [GM] "...Uh, go back a minute."

[GM] "And you don't know how this happened?" [ghost!Joey] Not exactly? I -- [Henry] Sammy fell into a Star Pool, and Joey got killed, or, was a host for the cultists. [ghost!Joey] I don't know if I got killed, but, [Henry] Well, you looked goopy. [ghost!Sammy] I don't know what was going on with me, either; I still seemed to be running around. [Henry] Also very goopy.

[ghost!Joey] So, that's a confusing answer! Um. Let's pretend *points at alive!Joey* that he didn't listen to you, and he went up to the Star Pools anyway, without the potion, and then something happened up there that resulted in whatever is happening to us now, which included us losing our memories and waking up later as the same... entity, but we didn't know for a while, and.... uh... it looks like the last time we saw our bodies that weren't alive and human still, they looked... corrupted by the Star Pools. [ghost!Joey] Do you know what might've happened to cause all that? [GM] "...I think there's a lot to unpack there," she says.

[GM] And, indeed, one of them has turned up a pair of gloves! It's somewhat worn, but they don't have holes or anything. Though they might not match your ensemble. [Joey] As long as they match each other, that's fine! [GM] They do that. [Sammy] (I mean, Henry has-- not to rag on Henry's fashion sense, as a man who's worn nothing but the same shirt and suspenders for twenty years, but Henry doesn't have much of an ensemble going on, really.)

[chatting while Joey's player steps away for a moment] [Sammy] Sorry for making you guys deal with Alive!Sammy; Ghost!Sammy genuinely doesn't know how to argue for this. [Sammy] It's like, yeah I dunno! Sounds like a raw deal! [Henry] Henry also doesn't know how to argue for this, it's like, Hey! Do you want a whole bunch of awful, horrible, terrible memories? ....No? Oh. [Sammy] CANT IMAGINE WHY!! [Sammy] Like, please? I'd like my body back? ...it's your body, we'd be sharing it-- but not like this situation, uh, [Henry] Just please, take... I have... take Sammy back. [Sammy] Could you take this off of my hands, I'm really tired of dealing with it, [Henry] I love 'im. But I need a break. Please come take your lost.... self. [GM] Your wayward self. [Henry] Who's this sassy lost child. [Joey] *re-entering chat* Ah, we're talking about Sammy. [Sammy] OH MY GOSH.

[Henry] I ROLLED A ONE HUNDRED! [Sammy] Henry is VERY tired and distracted. [GM] Henry's sketching again. He was left unattended for a bit and he's sketching again. [Henry] Yup, [Sammy] *sputters* HE CAN'T BE LEFT UNATTENDED, WE'RE BOTH HERE [Joey] HE LITERALLY CAN'T!! [Sammy] THAT'S THE WHOLE PROBLEM!! SAMMY WOULD LOVE TO LEAVE HENRY UNATTENDED!!!

[Sammy] Is the voice familiar? [Joey] Is it the Lurker's? [GM] A bit...? [Henry] A bit familiar or a bit like the Lurker's? [GM] ...Yes.

[ghost!Sammy] Joey, what do you think it was? [ghost!Joey] I think it has something to do with our situation, and perhaps the fact that-- [ghost!Sammy] "OUR SITUATION" doesn't really clear anything up, that could be a LOT of things right now!

[Sammy] Sammy doesn't want to be back in the actual time we belong in! He's dead in that one!

[Sammy] I guess it's also Alive!Sammy's turn. I don't, uh, [Sammy] ...there's too many Sammys, [Joey] (Alive!Sammy just goes WHAT THE FUCK) [Sammy] Yeah, I don't think he's prepared, when he turns the corner, to find cultists with swords, and Henry immediately drawing a gun and screaming at them; I don't think he's prepared for any of this, or has a game plan for what to do in case this happens, other than just, yelling, “WHAT ARE YOU DOING?!” [GM] at Henry, or the cultists? [Sammy] ....BOTH????

[Joey] Does Joey know of any way to interrupt magic? [GM] Injuring someone is a good, classic way to do that.

[GM] So, you can do an attack, whether it's with the gun or with your fists! [Sammy] *flipping through character sheet* I mean, I feel like I'm probably not just shooting him, I-- wHEN DID YOU ADD "DUSTPAN" TO MY WEAPONS???

[Sammy] The idea of Joey just continuously accidentally killing people is REALLY funny to me.

[Sammy] This is going MUCH better than the last time that we fought anybody! [Joey] Apparently Joey just needs to be really angry, and then my dice are like, “yeah, you can kill people.”

[GM] *flipping through the rules* Here we go, "Disrupted spellcasting, for example, if they are shot!" Well, okay then-- [GM] ......ohhh. [Sammy] Uh, [Henry] "Oh?" [GM] HM! ........ let me get a d8. [Henry] Concern...???? [Sammy] It's probably fine. It's... it's probably fine. [GM] ........ [GM] Uh..... huh. Well. That's an 8. [Sammy] On the d8. [GM] Yyyeah,..... you disrupted his, casting,,, it's not a serious spell so most of this stuff is not extreme, but I rolled an 8, and that says, [GM] "A mythos monster is accidentally summoned." [Sammy] WHAT?? [Henry] WHAT??? [Sammy] WHAT???? [Joey] *dying of laughter in the background* [Sammy] I DIDN'T KNOW THAT WAS AN OPTION??? OKAY!!! [GM] I didn't think it was, at this level of spell!! [Sammy] Remember when I said that this was going well? I NEED TO STOP SAYING THINGS.

[Joey] How is Sammy putting on the mask? [Sammy] With his.... hands...? [Joey] No, like, how is it laying on his head, [Sammy] OH.

[Joey] Ghost!Joey would like to turn it so it's like, in the middle of his head. But like, on forehead, so that they can still see. [Henry] (A fancy visor!) [Sammy] (...you can still see if it’s on the side...) [Joey] (Joey would really like it if we, put it in the middle.) [Sammy] (...I FORGOT YOU HAVE A SYMMETRY THING)

[GM] You felt, when Sammy and the cult leader were both giving the Lurker commands, that there was a kind of tug-of-war going on there, and it seems like the cult leader won that round. [Henry] Wait, we can give the Lurker commands? [Joey] We're allies. [Sammy] Yeah, we're the host. [Henry] Oh, um, [Sammy] Sammy asked it for help! It didn't, uh... this is how things always go for Sammy, so, I feel like this is correct.

[Sammy] (...Henry pulls out a gun, someone tries to grab him and he just bashes that person over the head, Joey tries to help by shooting this cult leader to stop him from casting a spell, and this horrible weird bendy monster is unleashed, Henry IMMEDIATELY kneels to this creature, and it starts listening to him, and he grabs the amulet and starts directing it to murder people after pulling the mask down over his face, so, yeah!! I can see that being pRETTY UNSETTLING actually!!)

[Joey] And I've already accidentally summoned a demon, somehow! [GM] This is just how Joey rolls, he just aCCIDENTALLY SUMMONS DEMONS, apparently! Even when OTHER PEOPLE are casting spells, Joey finds a way to accidentally summon a demon!

[Sammy] We do need those; those ARE our bodies running away,

[Lurker, when asked if he can shapeshift] It depends on the host! I didn't do this. It's pretty awesome, though! I feel like this is actually something that was designed to be this way, for the first time I can remember! Deliberate, you know what I mean? [Henry] “Yeah!” Henry says, not knowing what he means.

[Sammy] We're very focused on getting out of here. [Henry] We're channeling Wally Franks! [Sammy] NO! Don't channel Wally Franks! He didn't get outta there he just YELLED ABOUT IT, which is what WE'RE DOING RIGHT NOW!! LET'S ACTUALLY GET OUTTA HERE!

[GM] You guys go around a corner that at least obscures you from immediate sight, though it's good the Lurker is as, uh...... [GM] ........ [GM] ........ [GM] ...uh, for lack of a better word, bendy as he is, [players explode with laughter] [GM] I TRIED, I couldn't think of anything else! [Sammy] NO I SAW THE GEARS TURNING IN YOUR HEAD

[GM] You have a small Bendy. [GM] He's blinking. [Henry] Henry is.... is having, a moment,

[Sammy] We're honoured you're joining us, but we really should get moving?

[Henry] Just let him ride on his shoulders like a kid, that'd be adorable! [Henry] Henry's having SO many emotions right now. He wants to be respectful, but also, oh my god, that's so cute?? and also my OC???? Oh my god??????

[GM] I don't think the Lurker is familiar with the concept of piggyback rides. I mean if he's asked I'm sure he's down for whatever, but, [Henry] Henry's gonna ask the Lurker if he wants to climb on his shoulders and ride. [GM] The Lurker thinks this is a FANTASTIC idea, because nobody has ever carried the Lurker around before!

[Alive!Sammy] Sammy's very pale. [Alive!Joey] You have a... Bendy now, Henry...? [Henry] Uh, kinda! This is the Lurker. [Alive!Joey] “The Lurker”? [Henry] The giant monster? He's... small now, so he's not a giant monster.

[Alive!Sammy] Henry WHAT is going on? Or, whoever you are right now, [Henry] It is me; look, I've been letting the others talk because I have no idea what's going on. I don't know... I just want to get everyone out of here alive. [GM] (What a Henry thing to say) [Alive!Sammy] *snarking* Well, we're alive SO far! Maybe don't run at people with swords, in the future? Might help with that. [Henry] That was Sammy. That wasn't me. [Joey] (*laughing* "By the way, that thing you were lecturing me about? That wasn't me, THAT WAS YOU!")

[GM] The Lurker settles down when it is clear that the hug is not a threat.

[Henry] (I AM LOSING IT! I hope you know what you've done to me!) [GM] (I was not expecting this either but here we are!!) [Henry] (Maybe it was my idea. I can't believe I've done this.)

[Joey] Alive!Joey at some point shows Bendy how to hold the pencil. [GM] He says "Oh, hey, neat!" and has an easier time. [Henry] Oh my god, cute? [Sammy] (*losing it in the background*) [Joey] I was just thinking that if he's sitting next to Henry, and he watches the Lurker fumble with the pencil enough, he's going to just, reach up and-- [Sammy] (I LOST NINE SANITY TO THIS ASSHOLE!!!) [Henry] (But he's so cute!) [Joey] (Well now he's cute, maybe you get some sanity back!) [Henry] (Like petting a cat! You get sanity back from petting the Bendy.) [Sammy] (Yes, he is adorable, I will serve him faithfully.)

[GM] Make a navigate check. [Joey] *rolls terribly* Joey doesn't know where the fuck we're going. [Henry] I missed the navigate check too. [Sammy] Ohhhh boy, we better not get lost... [Joey] Sammy, do you remember where we're going? [Sammy] Oh, don't ask Sammy. Don't ask either Sammy. [Sammy] Alive!Sammy will eventually ask "You DO know where we're going, right?" [GM] You guys..... uh, get lost! Well, let me check one thing. [GM] *rolls* [GM] ... THE LURKER, APPARENTLY, CAN GET YOU BACK TO WHERE HE APPEARED,

[GM] What a useful pocket demon. [Henry] I love our pocket demon. [Joey] I love our son... [Sammy] Joey, [Joey] Firstborn... [Henry] Adopted from a cult! [Joey] We went to Haiti and adopted a son. [Sammy] Sammy's role as third wheel here is getting weirder and weirder.

[Sammy] I can't believe Binoculars is a Bendy fan.

[Joey] (Meanwhile, Ghost!Joey remembers something? There is an inscription on the floor between the laundry room, and Josephine's room, that does not allow the passage of evil spirits. I... don't think the Lurker is going to make it past that.) [Henry] (Ohhhhhhhhh) [Sammy] (Hmm. Also... BRINGING THE LURKER in to see Josephine feels, hostile???) [Henry] (OH... I didn't think about that; he's just my kid now!)

[Joey] (I have literally no idea for Joey.) [Sammy] (Gosh, what a thing to ask... I just have to appreciate, what a thing to ask a Type Three -- "Okay, what's YOU?") [Joey] (Joey looks down at the mask, feeling all of his inner masks,,,) [Sammy] ("I'M COMPOSED OF THINGS THAT MAKE OTHER PEOPLE THINK IM SUCCESSFUL,,,")

[Ghost!Sammy] After you. [Ghost!Joey] Actually, I would feel more comfortable if you went first, [Ghost!Sammy] ...Fine. Fantastic. [Joey] (This is-- I don't know if Sammy can feel it, but this is definitely out of, still thinking about the slight guilt that ran through him when Sammy was blaming EVERYTHING on him, and telling him to keep them out of this,) [Sammy] (I mean, Sammy just thinks this is risky and wanted Joey to be the guinea pig, so, that's nice that you were thinking of him!)

[Sammy] A quick kiss won't be enough time for Sammy to like, stop bluescreening in time to react to this? So, um, uh, he- he just, uh, needs, uh, a- a minute, but he, will be, blushing furiously. I think that's the only reaction! [Joey] Perfect~ [GM] The spirit lady probably flashes him a thumbs up. [Joey] *laughing* Sammy DIES. We did all of this to get him alive again, and he just DIES. [Sammy] SLAIN INSTANTLY.

#call of cthulu: haunted hijinx #when in doubt just keep drawing #sammy lawrence #joey drew #Henry Stein #I get way too much of a kick out of non-henry Henrys #i wanna draw so many of these convos but like ITS ALL JUST ONE GUY #TALKING TO HIMSELF

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thanksjro · 4 years

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More Than Meets the Eye #13- Swerve Doesn’t Have Any Friends

Okay, let’s go ahead and get this out of the way.

It’s a FUCKING SPORTS BRA AND RUNNING SHORTS ALEX.

And don’t think I don’t see that friggin’ cleavage alien back there. You ain’t slick.

I’m going to make it a law that all comic book artists learn how to draw clothes that don’t vacuum-seal themselves to women’s bodies. Milne gets six months for this infraction alone, and Roche gets a year for the initial bra crime he committed back in Last Stand. Learn how women’s underwear works, you ninnies.

Our issue opens up with Swerve stretching his radio personality muscles.

Oh, Guido Guidi, whisk me away to flights of fancy!

Our artist for this issue is none other than Guido Guidi, ascended from fanwork to deliver us from evil with his near-superhuman ability to emulate other artists’ styles and just make things look really pretty. He was responsible for the mythos pages in the 2012 Annual, AKA the best part. He also filled in on some of the art for Last Stand of the Wreckers, not that I really noticed because he’s just that good.

Swerve lets Blurr know that while it might have looked like the Lost Light had exploded, thus killing everyone onboard back in issue #1, that isn’t actually what happened. I’m glad someone filled in the Cybertronian populace on that.

I was never great at math, but those speech bubbles might be phoning it in a bit.

Swerve says that he’s having a great time on the quest, despite all the hiccups, and we get an explanation for why this long-range communications system hasn’t been seen prior to this point. It’s been broken for a while- most likely due to the quantum jump that started the series off with a bang- but Blaster managed to get it running again. Good job, Blaster. With this little setup for our framing device out of the way, we get into the meat of the story.

Swerve is being nosey about things that weren’t any of his business, happening in a closed off room, when Drift drags him down the hall and hid him away for safety. Swerve doesn’t much appreciate being manhandled, but there’s a method to the madness here.

Drift’s nose has vacated the premises once again, so we’re just going to have to deal with that. And how shapely does one have to be to be known as “the guy with the legs”? I mean, Drift is RIGHT THERE.

Drift uses his own powerful legs to kick down the door to Cyclonus and Tailgate’s room. It turns out that the horrific screaming wasn’t the sound of a murder or sexual relations taking place, but rather that of Cyclonus singing in Old Cybertronian.

My god, he’s completely enamored with this unrepentant murder machine.

We are just all up in Cyclonus’ grill for this panel. Nothing but lips. Was this specified in the script? Because it feels like it might have been specified in the script.

Old Cybertronian, or the Primal Vernacular as some might call it, was last seen in general when Rodimus channeled the will of the trapped Titan all across Tailgate’s chest. It was last seen spoken when we met Vos, the terrible murder gremlin who turns into a gun and uses his face to cause puncture trauma.

Comic books are wild, y’all.

Now that we’ve established that no one’s being killed, Drift goes back to what he was doing earlier, with Swerve deciding to tag along because he’s horrifically lonely. He invites Drift to come room up with him, because I guess if you’re going to sell off your comatose roommate’s bed out from under him, you might as well go for the guy who’s third in command, is probably one of the hottest guys on the ship, and slices people into chunky salsa if they try anything funny.

Drift politely declines, and awkwardly removes himself from the conversation when Swerve doesn’t take the hint, returning to his sword lesson with Rodimus.

Oh thank god, the obnoxiously pink room is back.

Ultra Magnus bursts into the room, appalled by the actions of his fellow crew members. Some of his concerns are well-placed. Others, well…

Is- is that another friggin’ retainer on those lower teeth? Why does this design choice keep showing up?

So Magnus has imprisoned roughly a third of the ship at this point, and Rodimus suggests he take a chill pill. Magnus doesn’t even know what a chill pill even is, so we’re forced to make use of our most dangerous weapon- the threat of a good time, courtesy of Swerve.

The fact that Ultra Magnus hasn’t reduced Swerve to an oil stain on the floor is genuinely astounding. The guy has zero respect for bureaucracy or proper business management. It has been MONTHS, you dinky little man, get your act together as a business owner.

Swerve takes the bribe, and soon everyone’s shipping off to Hedonia, where the drinks are plentiful and the women… well, most of the Lost Lighters don’t even know what a woman is, so that aspect doesn’t really come into play. Thanks, Furman.

Also, Rung’s back to normal. Don’t worry about it, not a big deal.

Swerve isn’t having much luck on his Roommate Quest, as Tailgate spurns his advances, stating that he’s good kicking it with Cyclonus, mainly because they’re both old as shit.

I see we haven’t quite hit the threshold on the “Cyclonus is allowed to have friends now” meter. Give it a few more issues, I’m sure we’ll get there.

Man, zero for two for Swerve on trying to get a hot roommate. Maybe third time’s a charm?

Rodimus pops into the back of the shuttle to remind everyone that their entire race is more or less despised by the entire galaxy, and to play it safe by using their holomatter avatars.

The revamp by Brainstorm and Rung is truly a blessing, because the avatars in IDW were awful to look at up to this point.

Y’all, that is HOT ROD. Jesus wept.

Getting back to Tailgate’s questionable taste in companionship, Tailgate asks if Swerve and Blurr connected right away. Swerve gives him an affirmative, then starts listing off the guy’s racing stats until Ultra Magnus plops down between the two of them, drawn in by the melodious sound of statistics.

Magnus is having a hard time relaxing, but he’s giving it his best, and I think that’s very commendable of him. It’s hard trying new things.

On the surface of Hedonia, it would appear the B-Movies are having a Pride event in the entertainment district.

Okay, moment of truth- show us those avatars!

Oh thank god, they aren’t totally hideous. Though, isn’t Rewind old as shit? I guess youth is a state of mind. Still, I can’t believe we missed out on silver fox Rewind.

Rung’s line is in response to folks at the time claiming that Rung was a self-insert character, which is interesting, because we’ve already seen what a self-insert looks like when it’s Roberts doing the inserting, and we’ve also seen his Mary Sues.

Rung, while an original character who had appeared in Roberts’ pre-professional works (a single line of text in Eugenesis, where he was a psychiatry play-on-words), he isn’t what I’d consider a Mary Sue. Mary Sues are usually stunningly beautiful, beloved by their peers, insanely talented in ways that no other character is, and typically have some sort of connection to another character that more or less forces them into the story despite not needing to exist.

Mary Sues don’t get their friggin’ heads exploded, or exist in a constantly-forgettable state. Sure, he’s the only therapist we’ve ever seen in the Transformers franchise, but there was kind of a massive need for that sort of character to be created, seeing as all of these sons of guns have PTSD and clinical depression. And, as we’ve seen in previous issues and will continue to see later on, he’s really not even that great at it.

That isn’t to say that he doesn’t have certain traits befitting such a characterization, merely that they don’t add up to equal that sort of whole by issue #13. Transformers (2009)-era Drift is way closer to a true Mary Sue than Rung is.

Anyway, where the hell did Tailgate get to?

They really just let Frodo Baggins in this bar all babybjörned up, huh? Does Tailgate even know what a baby even is at this point? Does he just think he’s a very small person? How much human media has he consumed? We haven’t gotten into the reproductive process for the continuity yet, but fresh Cybertronians aren’t exactly a one-to-one to human infants. Damn it, Roberts, what the fuck am I supposed to make of Babygate?

Whirl’s off in the corner, disguised as a 12-year old girl who’s fucking STRAPPED. Magnus has disappeared, but Rewind locates him pretty easily as Rung makes a comment about Magnus needing to make an appointment with him.

Oh hey, Verity. Been a minute. Careful, ol’ six-eyes over there is leering at you.

The fellas come back to the bar as they truly are, and sit down for a round of drinks. Whirl gets Ultra Magnus a drink that sounds disturbingly like a Cybertronian equivalent to Milk Coke, and we get a little anatomy lesson. Transformers have something called a Fuel Intake Moderation chip, something that keeps them from getting drunk on pretty much the only thing they can consume. Swerve suggests Magnus turn his off so he can have a good time- which I don’t personally agree with, but this is Captain Stick-in-the-Mud we’re talking about here. Magnus gives it a shot.

And that’s a series wrap on Ultra Magnus!

No, the man’s just got no tolerance and has been knocked the hell out by his drink. Things begin devolving. Tailgate is crying. Skids has found out that Whirl didn’t give Magnus Milk Coke at all, but instead the equivalent of liquid cocaine. Swerve is convinced he’s going to prison. Rewind is filming the whole thing.

Nobody actually checks to see if Magnus is actually dead, until Rung gets around to it. Swerve, you’re a doctor by original trade, what the hell are you doing?

The boys sit Magnus at the table to wait out his nap. Hours later, nothing’s changed, except that they’ve started up the nemesis game, and Whirl’s decided he’s going to be rude about monoformers being monoformers. Rung gives a non-answer, because that’s just who he is as a person. Skids names Misfire as his worst enemy, only because he’s still missing a good chunk of memory and can’t remember if he had a worst enemy, but still wants to contribute to the conversation.

Rung, don’t be a dick, he did his best. You were right on top of Fort Max, it was a tricky shot.

Ultra Magnus finally starts waking up, and that’s the point where everyone decides to foot Swerve with the bill for the emotional labor he’s going to have to perform by explaining just what the friggity-frack happened.

Magnus starts laughing, then crying, then offloads his troubles onto Swerve. Magnus feels like he just doesn’t fit in on the Lost Light. He’s just trying to do his job and everyone makes fun of him, or disrespects his authority. He’s trying, he really is, but he’s just not built for post-war life. He’s actually tried to leave his position on the Lost Light, but they just keep pulling him back in.

Probably doesn’t help that Rodimus seems more interested in Drift’s opinion on matters than his own SIC half the time.

Oh no, he’s making digs at the things Swerve’s sensitive about. Where is Rung?

Magnus just wants to be understood, y’know? He’s a fully realized creation. He’s got interests. Like music! And the fact that Swerve is missing his Autobot badge!

This was the point where MTMTE was still bouncing back and forth on whether it wanted to commit to the crotch badge. It was a tumultuous time for everyone, very dark days.

WHERE THE FUCK IS RUNG

Magnus, having had enough of sharing his feelings, takes another sip of his cocaine and slips back into unconsciousness. Swerve admits to his limp body that people don’t actually like him, but rather only stick around because of what he can offer- namely, a good time.

The rest of the Swerve posse comes back, with Cyclones having joined the party. Rung shows off his new model ship, which gets Rewind started on his movie collection. He pulls up the opening ceremony for the Ark 1. Y’know, the Ark 1, that ship that Cyclonus was on that disappeared into the Dead Universe for six million years. The Ark 1 that Tailgate was supposed to be on.

Before we can get started however, someone throws the model at Rewind’s head.

That someone is none other than Cyclonus, who proceeds to fly into a rage, throwing tables and shoving the still-unconscious Ultra Magnus to the floor. My word, what a reaction! What could possibly be setting him off so much? Does he not like being reminded of his fated trip to the stars? Is this a manifestation of trauma from that event?

Who knows? No time for questions, Skids is too busy punching him in the face.

Tailgate intervenes, explaining that because Cyclonus and himself are so goddamn old, the engex Cyclonus consumed is wreaking havoc on his body. He tells the rest of them to go on while he tries to calm Cyclonus down. Interesting that Rewind doesn’t have any sort of input on this, given that he is also super fucking old, but there’s no time for questions! We’ve got to get Ultra Magnus back on the shuttle in the next 20 minutes, or else they’ll be stuck on Hedonia FOREVER.

They start throwing Magnus on the floor repeatedly, trying to get his t-cog to spin up. No dice, however.

It’s 4AM. Do you know where your Domey is? Because Rewind sure as hell doesn’t.

Okay, time for Plan B.

I’m guessing not, Rung. I’m guessing not.

Using Magnus as a trampoline does the trick, and the boys are rewarded with the sight of Magnus’ alt-mode… resting on its roof, upside down. They get him sorted, pile in the cab- Rewind is driving, which leads me to believe he at least has some experience handling a vehicle. Chromedome does turn into a car…

I don’t even know what that sort of activity implies for a Transformer. We won’t go any further down this line of thought.

The boys manage to get Ultra Magnus to the shuttle in time, and all’s well that ends well!

This is about the time that Blaster knocks on the glass at Swerve to wrap things up, seeing as he’s been at this for over nine hours now. There’s one last little aside before we’re done with our story, however, and it involves just what happened in the bar after everyone else left.

Cyclonus calmed down almost immediately after the rest of the guys left, paying for what he broke and inviting Tailgate to have a seat.

Well, I say invite, but it’s really more of an order.

If you’d already figured out at this point that this jumpy little marshmallow was lying about being the biggest badass who ever lived, a gold star for you! It turns out, dear Tailgate has been crafting a fabrication, spinning a yarn, telling a tall tale since Day One on the Lost Light. The story has been feeding us a steady diet of fish the whole time!

Red herring!

Red herring of Tailgate’s own design! Autopedia’s mods are a friggin’ joke.

Tailgate was supposed to be a the Ark 1 launch, but it was because he was on the cleanup crew. Boy’s a sluicer, and his arm SHOULD say "waste disposal”. Through a cunning use of his wits and cold reading, Tailgate faked his way through the dismantling of the bomb on Temptoria. A smart boy, he is, if not a bit self-centered.

Which brings us to why exactly Cyclonus freaked out in the bar: he wasn’t having an episode, but rather faking a reaction to prevent Tailgate’s lie from being exposed. He still thinks that Tailgate should come clean about this whole thing, before things get really messy, but it wouldn’t be an issue of MTMTE without some raw-ass emotions getting thrown about.

Cyclonus, who hasn’t allowed himself to feel anything other than simmering rage or national pride for over six million years, is beginning to feel something for Tailgate.

That feeling is sympathy, and maybe a little pity.

He offers to teach Tailgate a song to help him feel better, because that’s what he does when he has feelings.

And given that Cyclonus seems to sing often enough that Tailgate’s gotten used to the horrific sound, it might be that Cyclonus has feelings a hell of a lot more often than he lets on.

Roberts, how many times are you going to make Tailgate cry? How much pain are you going to subject him to before you’re satisfied?

The scene closes out on the two of them getting their karaoke on in the empty bar, in the god-awful language that is Old Cybertronian. I can only imagine that they get kicked out of the bar pretty quickly after this.

Getting back to the present, Swerve has finally, finally finished his story, closing out with an invitation for Blurr to come visit Swerve’s.

Blaster gets ready to shoot one hell of a voice message at Blurr, but there’s a problem; the number Swerve has isn’t long enough to be a personal hailing frequency.

Yeah, turns out that Tailgate isn’t the only liar on board the Lost Light.

Four million years ago, Swerve met Blurr at a publicity event, got way too friendly with a celebrity, pestered the guy until he gave him a fake number, and has convinced himself that he made a life-long friend to this very day.

Big oof.

Later, back at Swerve’s, Swerve is busy cleaning the glassware when Ultra Magnus comes in, sober and having just gotten out of surgery to fix his fuel tanks. Guess that second sip of Nucleon really wasn’t a good idea.

Swerve tries to tell a lie about what happened the night before, only to have the dawning horror that Magnus remembered the entire night, as he’s presented with a new badge. Swerve, bolstered by the fact that, while Magnus didn’t enjoy the previous evening, he appreciated having company, begins to ask Magnus if he’d want to room with him.

Wow, zero for three! That’s rough, buddy.

Kind of a bummer end to this whole issue, but it was still decently light, tone-wise, for MTMTE. A great deal of fun was had, in between all the mortifying reveals of our characters inner demons.

...Well, shit.

#transformers #jro #mtmte #issue 13 #maccadam #Hannzreads #text post #long post #overthinking about robots #incoming analysis #comic script writing

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mythos-transformer-corner · 1 month

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I didn't realize I posted this in 2014!! It's been 10 years since I originally posted this god lord XD.

So ya Phinny's been around for awhile. I will say; I am proud how much my art improved in that amount of time.

Think it might be time for another update soon? ;).

#draw this again meme #oc #tf oc #TFphoenix #good god this is old #mythos-transformer-corner #tfa #tfa oc #original character

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dweemeister · 3 years

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NOTE: This is the second film released theatrically during the COVID-19 pandemic that I am reviewing – I saw Wonder Woman 1984 at the Regency Theatres Directors Cut Cinema’s drive-in operation in Laguna Niguel, California. Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health officials.

Wonder Woman 1984 (2020)

It took decades for a female superhero movie to make a lasting cultural impact. The honor fell to Patty Jenkins’ Wonder Woman (2017) – no matter what you think of it, the film dispelled any perceptions that a female-driven superhero movie could never be a cinematic phenomenon. Jenkins returns, as does Gal Gadot as Diana Prince/Wonder Woman and Chris Pine, in Wonder Woman 1984. This sequel is at its best when not proclaiming to the audience its self-importance – an aspect commonly found in and that plagues the Marvel Cinematic Universe (MCU) – and, unfortunately, its poor screenplay oscillates between a flighty romp and superheroic maximalism. For Patty Jenkins, whose filmography is regrettably small mostly due to the lack of opportunities afforded to women directors, she could not have envisioned Wonder Woman’s success, nor the impossible expectations put upon her to surpass the first film. As it is, WW84 is an entertaining, if troubled sophomore effort.

Seven decades after we saw her in the first film and after a prologue during her childhood on Themyscira, Diana Prince (Gadot; Lilly Aspell as young Diana) is working as a restorationist at the Smithsonian Institution’s National Museum of Natural History in Washington, D.C. In her off hours, she performs the occasional heroic act as Wonder Woman. One of the newest hires is gemologist Barbara Ann Minerva (Kristen Wiig). Diana and Barbara, from an FBI request, identify a stolen artifact as the Dreamstone – a gem that, according to legend, has the power to grant a person one wish. On accident, Diana wishes for her long-dead lover Steve Trevor (Pine) to come back to life; envious of Diana’s looks and wallowing in self-pity, Barbara off-handedly wishes to be like Diana. Both wishes come true, but in ways profaning the literal meanings of the respective wishes. For Barbara, this means a transformation into one of Wonder Woman’s archnemeses, Cheetah. Elsewhere in D.C., struggling television infomercial pitchman Max Lord (Pedro Pascal) wishes to procure the stone to revive his flagging business.

Robin Wright and Connie Nielsen are barely in the film as Antiope and Hippolyta, respectively. Lynda Carter, who played Diana on the ABC television series Wonder Woman from 1976-1979, has a self-aware moment which will delight fans.

1980s American culture is the nostalgic fixation at this moment in popular culture (with the march of time, each decade seems to be beholden to its own moment of nostalgic media cycles). Think of television shows like Stranger Things; movies like Adventureland (2009) and It (2017). The generation that came of age during Reagan’s America grew up in a time where the veneer of the Soviet-backed Eastern bloc was crumbling from within, and where Reaganomics spurred prevalent materialism and indulgence. Unadulterated greed and desire are in every corner of WW84 – from the terrible attempts at flirting with Diana and Barbara that easily qualifies as harassment, the difficulty in renouncing wishes on the Dreamstone, Max Lord’s inability to balance his business commitments in order to make time for his son, Alistair (Lucian Perez). WW84 captures this consumerist, entitled attitude throughout, and remarks on how corrosive this mindset is. Admittedly, it is simple messaging from the screenwriting team – Jenkins; Geoff Johns (a DC Comics writer and producer for comics, television, and film since 2000); and Dave Callaham (2014’s Godzilla, 2019’s Zombieland: Double Tap) – but they never contradict that central message.

WW84 progresses to its hackneyed, natural conclusion. But along the way, the screenplay is bogged down in the havoc that ensues from fulfilled wishes via the Dreamstone. The film’s impressive, animated start cannot build on its own momentum when – after the fulfillment of Barbara’s wish – it begins to clearly delineate its time between Diana/Steve, Barbara, and Max Lord. In their respective thirds of WW84, each character learns more about their granted wishes and the Dreamstone’s nature. The set-up for each third follows the same process: a monologue dripping with disappointment with their life directions, confusion in discovering their wish becoming true, and the exultation of their wild imagination defying all sense of reality. WW84 cannot help itself slathering on the foreshadowing and the repetitive narrative structure. The screenplay’s sins are compounded by the screenwriters’ inability to properly and consistently define the limitations of the Dreamstone’s powers – leading to expositional dumps occurring in the movie well past their welcome. As morbidly entertaining as watching humanity run amok with half-baked and ill-considered wishes is (credit to whoever choreographed the third act’s mass chaos), WW84’s unpolished storytelling leaves behind a somewhat befuddling mess.

The movie’s relative lightness in its opening two acts, though entertaining, throws away Diana’s characterization of a solitary, somewhat maternal protective figure in favor of a decades-long yearning for Steve. Are we really to believe that she has spent every waking moment since World War I pining – no pun intended – for someone she knew for probably less than a month? Whatever chemistry Gadot (whose performance as Diana remains at a laudable standard) and Pine had in the first film has evaporated into a labored dynamic in WW84, and she is too quickly is prepared to leave behind her life as museum preservationist by day/superhero-if-not-by-night-then-during-non-working-hours for him. Her behavior concerning Steve – and this is not even mentioning the ethically murky fact that Steve’s soul inhabits the body of a male stranger for the entirety of his resurrection – does not square with any notion of human growth, especially as most of the twentieth century has passed Diana by.

Putting aside the amusing transformation of Barbara from a bookish, clumsy gemologist to an unspectacled femme fatale, the emergence of not one, but two, villains weakens the characterizations, motivations, and portrayals of both. Thus, WW84 spends less time sympathizing with Barbara’s status as a social outcast, so too the relationship between Max Lord and his forgiving – at film’s end, at least – son (the only aspect of Lord’s life that exists outside work). The film’s divided attention between Barbara and Max Lord assures that their concluding actions become too cartoonish, depthless. It’s not that I am demanding that WW84 (or any superhero movie) should provide brooding, soliloquizing philosopher-poets for a villain. Far from it, especially when noting what the likes of Christopher Nolan and, more recently (and exasperatingly), Zack Snyder have offered in their interpretations of D.C. Comics characters’ mythos. Instead, Barbara and Max Lord become caricatures, rather than fully realized, flawed individuals who retain strands of their goodness even as their actions plunge them into villainy.

Though lacking a moment matching the brilliance of Wonder Woman’s entrance into No Man’s Land from the first film, WW84 contains its share of pulsating combat scenes. Cheetah’s debut during a confrontation at the White House is crisply edited by Richard Pearson (2004’s The Bourne Supremacy, 2006’s United 93) and shot by Matthew Jensen (Wonder Woman). The fight, unlike so many littering action movies nowadays, makes geometric sense of who is doing what and where. This collaboration of cinematographer and editor reaches its peak with a vehicular fight in Egypt that resembles something out of an Indiana Jones movie (minus the comedy that usually occurs during an Indiana Jones vehicular fight). It is a wonderfully choreographed scene, but one mired in its poor depiction of the Egyptians involved. WW84 concludes with a dud of a fight. This is not because of terrible CGI, or the revelation that their mothers share the same name. Instead, it is the lack of lighting that destroys this moment. The final fight between Wonder Woman and Cheetah is so poorly lit that the combat becomes an amalgam of flailing limbs and incomprehensible movement. Cheetah, who by this point appears as if she wandered off the set of Tom Hooper’s Cats (2019), appears to be nothing more than a ball of spotted fur. It is a disappointing end to an erratic sequel.

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Longtime readers know that I have pilloried composer Hans Zimmer again and again for dispensing with melodies and for relying too heavily on ostinatos, electronics, and musical texture on his recent film scores. I’m a simple person with certain biases: as a classically-trained amateur pianist-violinist, I prefer scores that have musical interest within and outside the context of a film (would I enjoy playing this score in an orchestra and listening to it in a concert setting?). The worst of his imitators and colleagues at Remote Control Productions are on a train to my musical shit list. His score to Wonder Woman 1984 is a rare bright spot (aside from maybe his work in the Kung Fu Panda series) in a decade marked by excess. The film opens with “Themyscira” – a synth-y prelude quoting Wonder Woman’s motif, but one that blossoms into orchestral triumphalism. This cue crescendos from 0:27 to 1:11 on the back of string ostinatos, regal brass, and chorus chanting pianissimo. The orchestra and chorus explode to life at 1:11 in a majestic, ascending melody celebrating the joys of Amazonian life on Themyscira. A hummable, singable melody in a 2020s Hans Zimmer score? Yes! Alongside Wonder Woman’s now-iconic electric cello motif, Zimmer has composed a secondary motif for her beginning at 1:53 in “Themyscira” (and which eclipses the electric cello motif in terms of appearances in the score). Another throwback occurs during the cue “1984”, a jubilant cycling of rhythmic melodies that could easily been in a 1980s film scored by Alan Silvestri, perhaps even younger Zimmer himself. Even when Zimmer is introducing villainous motifs or the motif for the Dreamstone, his contemporary obsession for droning synth is tempered by ostinatos in the strings and winds, rather than ear-splitting percussion.

Zimmer’s love theme for Diana and Steve is “Wish We Had More Time” – and I cannot recall the last time the composer brought forth such affecting romantic music. A languid melody led by strings speaks to Diana’s longing – however one may disapprove of it – in ways reminiscent, but still inferior to, of Italian movie scores during the 1980s and ‘90s (think: Luis Bacalov, Ennio Morricone, Nicola Piovani). One quibble: beginning at 1:13 until 2:12 in “Wish We Had More Time”, the second violin tremolos are much too loud, and are just as audible as the melodies by lower strings, first violins, and winds. Hans Zimmer’s score to WW84 is the most thematically fascinating he has composed over the last decade, and it – not Nolan’s Dark Knight trilogy, not Inception (2010), and sure as hell not the sonic assault that is Dunkirk (2017) – represents the best of what he can be as a film score composer.

The temptation to elevate the dramatic stakes for sequels is present among all the major Hollywood studios. WW84 is not immune to this temptation, but it, at times, resists it. Its ungainly conclusion and dreadful narrative structure reflect those expectations, but one could not classify it as grimdark, such as almost everything Zack Snyder has directed. This is not a Wonder Woman limping her way through apocalyptic or post-apocalyptic times. Patty Jenkins’ sequel, however flawed, unironically celebrates its own corniness and absurdity – one cannot say this about the MCU (which does so only via metatextual humor). Many of us can no longer experience for the first time Wonder Woman emerging from the Allied trenches of WWI, but Wonder Woman 1984 provides a vision of superhero movies particular to creator William Moulton Marston, director Patty Jenkins, and Gal Gadot’s portrayal of Diana Prince. It even allows for faint echoes of the Lynda Carter Wonder Woman series that would not have been appropriate in the first film. Flawed though this film is, its approach, after a decade or so of building cinematic universes of dramatic escalations, signifies a refreshing change of pace.

My rating: 6/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

Also in this series: Wonder Woman (2017)

#Wonder Woman 1984 #WW84 #Wonder Woman #Patty Jenkins #Gal Gadot #Chris Pine #Kristen Wiig #Pedro Pascal #Robin Wright #Connie Nielsen #Lynda Carter #Geoff Johns #Dave Callaham #Matthew Jensen #Hans Zimmer #My Movie Odyssey

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lightdancer1 · 3 years

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Memento Mori is my set of stories that work in the Death Cycle. Not all of my Sandman stories or ones featuring Death of the Endless go in this specific cycle, several of them are simple standalones. The cycle explores my headcanons about Death of the Endless.....including their much more unpleasant sides which are given the blunt full exploration of all the elements that are lurking horrors in the corner, so to speak.

They also introduce the idea of a set of entities hostile to the concept of Death that could loosely be identified as 'supervillains' able to conceptualize targeting the Endless and with a direct ideological hatred of the concept of Death. What happens with and because of these entities also exists to show that the concept of 'supervillains' as applied to the Endless is a concept that wouldn't go anywhere near where people would think it would.

Something powerful enough to kill or rewrite a concept that every single reality and living being in the DCU, including almost all of its villains, take for granted is not something that can be punched into submission by the good guys. It would not move into a setting neatly or cleanly, and the collateral damage of its passing would be devastating for anything and everything in its path.

And that's when the entity is an insane concept of Chaotic Evil made manifest. When it's a more rational and sane and benevolent type.....

#memento mori #death of the endless #death cycle #urhalzantrani

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worryinglyinnocent · 4 years

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Fic: The Dead of Night

AU-gust Day Fourteen: Vampire AU Fandom: Stargate Universe Pairing: Nicholas Rush x Gloria Rush

Rated: T

Content Warning: Blood, vampirism, cancer mention.

Summary: Nick reflects on his and Gloria’s lives since she became a vampire to save her life.

Note: This uses the vampire mythos from the short-lived TV series Moonlight.

The Dead of Night

Nick waited until the last vestiges of sunlight had vanished beyond the horizon before closing the curtains and switching on the lights. He wasn’t surprised at how quickly he had made the transition to nocturnal activity; he’d never been one for consistent sleep patterns at the best of times, and Gloria’s long illness had just exacerbated that. Now it simply made sense for him to be awake when she was awake.

He made the ten-step journey down into the cellar, listening to the comforting hum of the chest freezer. His breath curled into mist as he opened it, and he had to smile at the sight that met him. One would have expected vampires to sleep ramrod straight with their arms crossed over their chests like in classic Hammer horror movies, but Gloria was curled up in the foetal position with one arm flung over her face just like she’d slept when she was alive.

Nick shook himself. Gloria was alive. Not in the same way as previously, perhaps, but alive, nonetheless.

He reached into the freezer and stroked her arm where it was covering her face.

“The sun’s down, Glo. Time to get up.”

Gloria gave a catlike hiss, swiping at his hand, and when she sat up and opened her eyes, Nick could see the irises pale and silvery, pupils like pinpricks. Her mouth curled up in a snarl, fangs fully out, and Nick stumbled backwards, his heart pounding. Even though he knew that Gloria would never attack him consciously, there was always that undercurrent of fear when she first woke up thirsty, and Nick hated it.

“I’m sorry, I’m sorry.” Her face was human again now and looking very guilty, although her eyes were still too pale, and her fangs were still pinching her bottom lip. “I’m just thirsty.”

Nick went over to the fridge in the corner and took out a blood bag – prime A-negative. He brought it over to Gloria as she got out of the freezer and shut the lid, perching on it beside her as she drank.

“You’re running low.”

Gloria nodded. “I know. I’ll have to go and see my man at the hospital tonight. Do you think anyone notices all the blood bags going missing?”

“Well, if they do, I don’t think that they would suspect vampires.”

Up until a few months ago, Nick himself would have disputed the existence of vampires. There were times even now when he wondered if his and Gloria’s current lifestyle was all the result of an exhausted fever dream, and he would wake up in the hospital by her bedside, nothing having changed.

They had almost accepted fate. They had almost accepted that Gloria wasn’t going to survive her second battle with cancer and that she was entering her last days; they had almost accepted that she wasn’t going to leave the hospital. Almost, but not quite. Although neither of them had said anything, they were both hoping for a last-minute miracle, some kind of reprieve that would reach them against all the odds and save them from oncoming heartbreak. Nick was a firm believer in science to the exclusion of all else; he had never been a spiritual man and he did not pray for deliverance as Gloria did, but that didn’t stop him from hoping for something, anything, however inexplicable it might be.

That inexplicable reprieve had come at three in the morning on a moonless night. Nick wasn’t asleep. The chair beside Gloria’s bed was too uncomfortable for sleep at the best of times, and for the past few nights he had been scared to close his eyes in case Gloria slipped away whilst he was asleep.

“I can sleep when I’m dead,” he had muttered in response to her gentle chastising that he needed rest. Gloria had snorted.

“No, you can sleep when I’m dead.” The gallows humour had been funnier than it had any right to be.

On that fateful night, Gloria wasn’t asleep either. The chemo had messed up her circadian rhythm so much that night and day were all much of a muchness to her, and she slept when she could and stayed awake when she couldn’t.

The lights were off, and they were just looking at each other in the gloom when the porter had come in.

“I know a way to make it better,” he had said. “But it comes at a price.”

The subsequent conversation had lasted almost till daybreak, whereupon the porter had returned to his home in the cold morgue drawers and Nick and Gloria had been left wondering if the discussion had really just happened, if vampires really did exist and if one had just offered to save Gloria’s life.

It had been a difficult decision to come to, and not one taken lightly. Ultimately they both wanted more time together, even if that time would be spent in an eternally nocturnal world.

The first week after Gloria’s turning had been the worst. She was constantly thirsty, and the house was far too warm for her; in the end she’d had Nick lock her in the cellar to stop her going for his own throat out of insane greed. Since then, though, they’d settled into a now-familiar routine, and everything was almost the way it was before – aside from their life being conducted entirely under the cover of darkness.

Well. Almost everything. Nick sipped his coffee, watching Gloria slip away into the night to get her fix from the hospital, the cool box swinging ominously by her side.

Gloria was alive, and more than that – provided she stayed within her limits, she would never die. She was locked in time now, but he, Nick was moving onward. He was still going to lose her to time eventually. Before, she had not had enough time. Now, she had far too much. Or he had far too little.

He was still staring out of the window when she came back, the cool box obviously heavier. They would have to move soon before their strange habits attracted too much attention, but they had already been through so much upheaval over the past few months that neither of them could stomach the thought of more just yet.

“Hey.” Gloria came into the kitchen having deposited the blood safely in her fridge. “Have you been sitting here the whole time. It’s not like you to get lost in thought. Although…” She came and sat beside him, taking his hand in her much colder one. “You have been in a world of your own a lot more lately. What’s wrong, Nick? What are you thinking about?”

Nick sighed, squeezing her hand. “Me, you, us. The logistics of our life now.”

“I know it’s not exactly what we planned…” Gloria tailed off, leaving the rest of the sentence unsaid.

“I don’t regret it,” Nick said. “I’d rather have you alive like this than not alive at all. I’m just not sure that I thought through some of the implications at the time.”

“Like what?”

Their conversations on the topic had been fairly comprehensive, and Nick knew that they had discussed his current misgiving more than once. He just hadn’t paid it as much mind as he ought to have done.

He skirted Gloria’s question, looking her steadfastly in the eyes – now back to their usual colour, no trace of the eerily pale silver of her hunger.

“Glo, if I asked, would you turn me?”

Gloria looked at him for a long time, searching his face for something, although Nick did not know what she was looking for, nor whether she found it there.

“If that was what you truly wanted then yes, I would,” she said eventually. “I know where your train of thought is going, and don’t think that I don’t share it. Being gifted with so much time having had so little left, well, it alters your perception of it. I can’t get used to the inevitability of losing you now any more than you could get used to the inevitability of losing me before.”

Nick nodded. “I’ve been thinking about it a lot. I keep trying to talk myself out of it. Hell, I keep thinking that this is all just a strange kind of wishful thinking on my part and I’ll wake up and you’ll be back in the hospital. But when it comes down to it, I don’t know what I have to lose.”

“You do,” Gloria pointed out. “We went over it at great length and in great detail with William before he turned me.”

“Exactly. I know all that. I’ve seen you change. I’ve lived through these last few months with you, and I still can’t think why I wouldn’t want to spend the rest of, well, forever with you.”

Gloria brought his hand up to her lips, pressing a kiss to his knuckles.

“Ask me again tomorrow,” she whispered.

The routine continued for the next fortnight, a strange kind of Arabian Nights tale.

“Gloria, will you turn me?” “Ask me again tomorrow.”

“Yes.”

Her acquiescence was so sudden that Nick thought he had misheard her.

“You will?”

Gloria nodded. “I think you’ve stuck with the notion long enough to really want it. Are you ready?”

She brought his hand up to her lips again, this time hovering over the pulse point in his wrist. Nick could feel his heart pounding in his chest as he nodded.

The pain of her fangs sinking into his skin was sharp and blinding, like a lightning flash, and Nick gritted his teeth through it, squeezing his eyes tight shut. He felt warm wetness against his lips, and he knew that Gloria was offering her own blood to complete the transformation. Salty and metallic, he didn’t really notice the taste as he began to feel the change – veins stagnating, body cooling, the unquenchable hunger rising up…

“Nick, my love?”

He opened his eyes. In the darkness, suddenly everything seemed sharper. He was ridiculously thirsty, and he could feel the points of fangs, new and awkward, in his mouth. Gloria’s hands were warm in his for the first time in months.

“Hi, Glo.”

She smiled, and Nick smiled back. It might not be the best or easiest path they could have chosen, but they had each other, and they had forever, and that was enough.

#SGU #Nicholas Rush #Gloria Rush #Nick/Gloria #vampire AU #AU-gust #Worry does AU-gust #vampire cw #blood cw #cancer cw #Fic: The Dead of Night

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creativenicocorner · 4 years

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Lets half-ass a discussion about Merlin at 2 3am!

Stop me if you heard this one before:

An old man goes out into the world set firmly on a code for chivalry, going on an unending quest to do what he thinks is good, causing more problems in the process, making ladies uncomfortable, and did I mention making more problems? While the subtlety of reality passes over his head.

Now with that in mind Lets Talk About How Merlin’s character design reveals so much about him, and how I don’t think it isn’t a coincidence so many people associated that design to Don Quixote.

In fact the mere association to Don Quixote is a big tip that things aren’t what they seem, and I’m not just talking about seeing giants out of windmills, but rather how the perseption of the character Don Quixote has changed so much in the public consciousness.

That there is an intentional (I think) dissonance between expectation and reality.

Our first thoughts of Don Quixote is perhaps this fuddy duddy old guy on a quest to live out the adventures and chivalry of his books, and romanticizing said lessons while trying desperately to put them into practice.

From, The Man of La Mancha singing about Dreaming the Impossible Dream

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Or to go even further the fuddy duddy old guy in the ballet interpretation of him, doing roughly the same thing although following the book a bit more, and yet conveniently dropping a few details ( for those interested you can find the full 2hour ballet with Natalia Osipova, with the choreography by Rudolph Nureyev, here [ x ] )

And maybe, if you’ll bare with me...maybe once Merlin did see himself as that, specific, Don Quixote does here...once...doing what is right and just...once believing himself to be this fantastical noble chivalric version of himself...truly believed it. Maybe at some point our Merlin got wrapped up in this preconceived notion of himself in the name of what he thought was right (his version of the chivalric code) blind to the consequences...and perhaps over time becoming not so blind to his actions the harder the ‘choices’ became and the ‘bigger the picture’ he saw.

Who’s to say? This bit we’ll just have to wait and see how the story pans out. (I’ll save the discussion and HC on how Merlin and Morgana are just like two gods messing with a giant chess board without paying too much care as to what happens to their chess pieces, for another time)

I don’t have the skill of screen shots, but there’s this...this moment of eerie stillness that is so weighty when Merlin has Jim tied up. No Dialogue. Just the two characters sitting in front of the other. That is just silence. A pause. A beat. Merlin can barely even look at Jim. Inviting the audience to reflect while Merlin reflects on how best to answer Jim’s question:

“Why me?”

And delivery wise? [ chef kiss ] amazing. The whole ordeal? With the fight and the cornering and the idea of choice that isn’t entirely there?

Like, all the power to the writers there to have me realize what a horrible situation this is. Like I was on edge and side eyeing this Merlin since he first woke up, from that stranger danger approach to Claire, how he spoke to Blinky and Strickler and just uugh lot of red flags.

AND YET

This show invited me to contemplate and sit in this situation with these two characters. If I could I’d shake all the writers hands. Like WOW what a horrible situation! I felt it!! Gutturally!! You did your job team, and I appreciate it and thank you. h e c k

Like what a moment to reveal (or rather show the last straw) this uncanny bad side to a character the public consciousness up to very recently and thanks to several tv adaptations and a few movies had us think Merlin is right off the back a good guy and WHAM the rug is pulled right out from under us and just WOW.

You know who else isn’t an all together great guy, who the public consciousness transformed into this fun old guy who means well and just wants to romanticize chivalry and a code long since gone Dreaming that Impossible Dream re-imagined into a tragic out of touch man?

Don Quixote. Well...Alonso Quixano to be more precise

I could go on but Overly Sarcastic Productions explains it with an eloquence far better than mine. Here’s a link to the video if it’s not working here [ x ]

youtube

Some neat take aways:

Don Quixote (written in 1605 by Miguel de Cervantes) was written as a critique and dissection of the at the time popular chivalric romance. Basically the Arthurian and expanded mythos.

The protagonist causes more problems than good to those around him. To the point other plots just fly over his head.

Dulcinea ( or rather how the protagonist treats women)

How the reality of the plot is so much more interesting and complex than the fantasy in Alonso’s mind

Duality.

Really, I invite everyone to check the video out it’s [ chef kiss ] neat!

tldr: I don’t think the character design choice was a coincidence, but intentional. As most character design choices are. After all character design is a way to describe a character visually to the audience in as blunt or as subtly as the creator needs. Yet here served as a sort of juxtaposition of two literary characters who both had their nature and how they were perceived change in the public consciousness over time (which is really neat to use story wise and keeping the audience on their toes, and use as a foreshadowing device .)

In one corner Merlin transforms from Welsh legend, to Christian Arthuriana be it half demon or advisor, to wise old helpful teacher, to what we have now

In the other Quixote transforms from a questionable old man used as a critique to the genera of chivalry, to opera and ballet centerpieces, to Dreaming the Impossible Dream and embodying fully that persona almost from the get go.

Now if the design choice is for this association in particular I’m not sure. For all I know there might be more information in the art book which I don’t own. Or something will come up in the story proper, which I’m very excited to see what will happen in Wizards! Where will this rollercoaster go?!

I don’t really know where I’m going with this. I guess I just find it fascinating how characters can be taken and changed through the public eye over time. Take the Wicked Witch of the West for example.

but I digress.

Tune in next time and I might half ass about Geoffrey of Monmouth’s Merlin, who, while also being a Roman Catholic Cleric, was inspired by local Welsh legends of Myrddin Wyllt (Myrddin the Wild by Elis Gruffydd a Welsh chronicler, transcriber, and translator) a poet and seer, who’s stories resemble that of a figure named Lailoken.

Or maybe it’s not that deep, but for now I think I’ll tap out of this rabbit hole.

#2 cents #Nico blabs into the void #I hope you had fun - and hopefully any of this made sense?#Trollhunters #Tales of Arcadia #Wizards

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chiseler · 4 years

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The Crowd Doesn’t Just Roar, It Thinks: Warner Bros.’ All-Talking Revolution

“Iconic” is a gassy word for a masterwork of unquestioned approval. But it also describes compositions that actually resemble icons in their form and function, “stiff” by inviolate standards embodied in, say, Howard Hawks characters moving fluidly in and out of the frame. Whenever I watch William A. Wellman’s 1933 talkie Wild Boys of the Road, these standards—themselves rigid and unhelpful to understanding—fall away. An entire canonical order based on naturalism withers.

To summon reality vivid enough for the 1930s—during which 250,000 minors left home in hopeless pursuit of the job that wasn’t—Wellman inserts whispering quietude between explosions, cesuras that seem to last aeons. The film’s gestating silences dominate the rather intrusive New Deal evangelism imposed by executive order from the studio. Amid Warner Bros.’ ballyhooing of a freshly-minted American president, they were unconsciously embracing the wrecking-ball approach to a failed capitalist system. That is, when talkies dream, FDR don’t rate. However, Marxist revolution finds its American icon in Wild Boys’ sixteen-year-old actor Frankie Darro, whose cap becomes a rude little halo, a diminutive lad goaded into class war by a chance encounter with a homeless man.

“You got an army, ain’t ya?” In the split second before Darro’s “Tommy” realizes the import of these words, the Great Depression flashes before his eyes, and ours. No conspicuous montage—just a fixed image of pain. Until suddenly a collective lurch transmutes job-seeking kids into a polity that knows the enemy’s various guises: railroad detectives, police, galled citizens nosing out scapegoats. Wellman’s crowd scenes are, in effect, tableaux congealing into lucent versions of the real thing. The miracle he performs is a painterly one: he abstracts and pares down in order to create realism.

Wellman has a way of organizing people into palpable units, expressing one big emotional truth, then detonating all that potential energy. In his assured directorial hands, Wild Boys of the Road sustains powerful rhythmic flux. And yet, other abstractions, the kind life throws at us willy-nilly, only make sense if we trust our instinctive hunches (David Lynch says typically brilliant, and typically cryptic, things on this subject).

I’m thinking of iconography that invites associations beyond familiar theories, which, in one way or another, try to give movies syntax and rely too heavily on literary ideas like “authorship.” Nobody can corner the market on semantic icons and run up the price. My favorite hot second in Wild Boys of the Road is when young Sidney Miller spits “Chazzer!” (“Pig!”) at a cop. Even the industrial majesty of Warner Bros. will never monopolize chutzpah. The studio does, however, vaunt its own version of socialism, whether consciously or not, in concrete cinematic terms: here, the crowd becomes dramaturgy, a conscious and ethical mass pushing itself into the foreground of working-class poetics. The crowd doesn’t just roar, it thinks. Miller’s volcanic cri de coeur erupts from the collective understanding that capitalism’s gendarmes are out to get us.

Wellman’s Heroes for Sale, hitting screens the same year as Wild Boys, 1933, further advances an endless catalogue of meaning for which no words yet exist. We’re left (fumblingly and woefully after the fact) to describe a rupture. Has the studio system gone stark raving bananas?! Once again, the film’s ostensible agenda is to promote Roosevelt’s economic plan; and, once again, a radical alternative rears its head.

Wellman’s aesthetic constitutes a Dramaturgy of the Crowd. His compositions couldn’t be simpler. I’m reminded of the “grape cluster” method used by anonymous Medieval artists, in which the heads of individual figures seem to emerge from a single shared body, a highly simplified and spiritual mode of constructing space that Arnold Hauser attributes to less bourgeoise societies.

If the mythos of FDR, the man who transformed capitalism, is just that, a story we Americans tell ourselves, then Heroes for Sale represents another kind of storytelling: one firmly rooted to the soiled experience of the period. Amid portrayals of a nation on the skids—thuggish cops, corrupt bankers, and bone-weary war vets (slogging through more rain and mud than they’d ever encountered on the battlefield)—one rather pointed reference to America’s New Deal drags itself from out of the grime. “It’s just common horse sense,” claims a small voice. Will national leadership ever find another spokesman as convincing as the great Richard Barthelmess, that half-whispered deadpan amplified by a fledgling technology, the Vitaphone? After enduring shrapnel to the spine, dependency on morphine, plus a prison stretch, his character Tom Holmes channels the country’s pain; and his catalog of personal miseries—including the sudden death of his young wife—qualifies him as the voice of wisdom when he explains, “It takes more than one sock in the jaw to lick 120 million people.” How did Barthelmess—owner of the flattest murmur in Talking Pictures, a far distance from the gilded oratory of Franklin Roosevelt, manage to sell this shiny chunk of New Deal propaganda?

How did he take the film’s almost-crass reduction of America’s economic cataclysm, that metaphorical sock on the jaw, and make it sound reasonable? Barthelmess was 37 when he made Heroes for Sale; an aging juvenile who less than a decade earlier had been one of Hollywood’s biggest box-office titans. But no matter how smoothly he seemed to have survived the transition, his would always be a screen presence more redolent of the just-passed Silent-era than the strange new world of synchronized sound. And yet, through a delivery rich with nuance for generous listeners and a glum piquancy for everyone else, deeply informed by an awareness of his own fading stardom, his slightly unsettling air of a man jousting with ghosts lends tremendous force to the New Deal line. It echoes and resolves itself in the viewer’s consciousness precisely because it is so eerily plainspoken, as if by some half-grinning somnambulist ordering a ham on rye. Through it we are in the presence of a living compound myth, a crisp monotone that brims with vacillating waves of hope and despair.

Tom is “The Dirty Thirties.” A symbolic figure looming bigger than government promises, towering over Capitalism itself, he’s reduced to just another soldier-cum-hobo by the film’s final reel, having relinquished a small fortune to feed thousands before inevitably going “on the bum.” If he emits wretchedness and self-abnegation, it’s because Tom was originally intended to be an overt stand-in for Jesus Christ—a not-so-gentle savior who attends I.W.W. meetings and participates in the Bonus March, even hurling a riotous brick at the police. These strident scenes, along with “heretical” references to the Nazarene, were ultimately dropped; and yet the explosive political messages remain.

More than anything, these key works in the filmography of William A. Wellman present their viewers with competing visions of freedom; a choice, if you will. One can best be described as a fanciful, yet highly addictive dream of personal comfort — the American Century's corrupted fantasy of escape from toil, tranquility, and a material luxury handed down from the then-dying principalities of Western Europe — on gaudy, if still wondrous, display within the vast corpus of Hollywood's Great Depression wish-list movies. The other is rarely acknowledged, let alone essayed, in American Cinema. There are, as always, reasons for this. It is elusive and ever-inspiring; too primal to be called revolutionary. It is a vision of existential freedom made flesh; being unmoored without being alienated; the idea of personal liberation, not as license to indulge, but as a passport to enter the unending, collective struggle to remake human society into a society fit for human beings.

In one of the boldest examples of this period in American film, the latter vision would manifest itself as a morality play populated by kings and queens of the Commonweal— a creature of the Tammany wilderness, an anarchist nurse, and a gaggle of feral street punks (Dead End Kids before there was a 'Dead End'). Released on June 24, 1933, Archie L. Mayo's The Mayor of Hell stood, not as a standard entry in Warner Bros.’ Social Consciousness ledger, but as an untamed rejoinder to cratering national grief.

by Daniel Riccuito

Special thanks to R.J. Lambert

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latitudesunknown · 4 years

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Tiny Haven Gazette #1 - Part 2

Welcome to part 2 of the Tiny Haven Gazette, issue 1!

🛏️ Field of Dreams

Dreams can tell you a lot about a person. This week, let’s look into Kali’s dreams...

"No, please... stop! Don’t do it!! Give me back my muscles! AAAH!”

"Uh...? Ah, Maddy! Hi. I... was thinking. Yes. Yes. Deep, deep in thought...”

“I have this recurring nightmare where a scoundrel appears and steals all my muscles.”

🍨 Friendship Corner

The day our Resident Representative managed to get stung by bees no less than 5 times in a row (”it’s because of those stupid flowers!” - Maddy), Vanessa had some sound advice for her.

“Ah! What’s up with your face? You got in a fight? With whom? You gave them a good wallop, I hope?”

And Raymond has joined the “waffle” camp!

“Question... I heard some people are calling you waffle... Would you mind if I do too?”

🧳 New Arrivals

This week we finally had a new visitor on the camping grounds! Maëlle is an adorable little duck that speaks like a fashion mogul and instantly conquered our Resident Representative’s heart.

“What an enchanting place, darling! I know it’s wrong of me, but I’m horribly jealous!”

A new plot of land was immediately set up for Maëlle to move in. It was tough getting her to accept (just like Kali before her, she left it all to fate. Fate isn’t kind to us), but we triumphed!

The islanders were mostly delighted at the thought of having a new neighbour. All, that is, except for Kali, whose fears should be assuaged the second he actually meets Maëlle.

“Maëlle sounds like a really tough name. And NO ONE is allowed to be tougher than me!”

Maëlle promptly moved in a lovely English park decor. We expect many delightful afternoons spent spinning cotton candy at her place!

🗺️ Tiny Haven Office of Tourism

This week marked a very important step in our island’s life...

“It looks like someone is on they’re way over!”

We got our first visitor! 🎉

This was a very exciting night, especially since the entire process was new to all of us.

The incoming flight announcement makes sure you cannot miss your guest’s arrival.

So dashing.

Islanders were torn about Aqua’s visit. Some, like the ghost, felt a bit self-conscious.

"Unfortunately... I don’t feel comfortable transforming in front of strangers...”

Others, like Renée, were thrilled.

“It seems we have a visitor today!”

Aqua loved our island, and our Resident Representative flew back to Mythos with him, curious about finally seeing new vistas.

✈️ Foreign Shores: Mythos

Here is our Resident Representative’s report on visiting Mythos:

I hadn’t really been expecting anything, but the bird’s view of the island as we flew in still took me by surprise, and took my breath away by the same occasion.

"Put your seats back in the upright position, and make sure your seat belt is fastened and tightened.”

The visit mostly consisted of me running around going “ooooh”. His island felt HUGE compared to mine, but interestingly enough, he told me he had gotten the exact reverse feeling when he’d visited mine.

As you can see we made sure to follow social distancing.

I met some of the locals...

"I thought you might be a spy... but what could you be spying on around here?”

But the most surprising part of my visit, by far, was this revelation:

Floors! Your house can have FLOORS!!!

I had never even thought this might be possible. And I know the road to paying my current mortgage is going to be long and hard, but god help me, I will spend my days fishing until I can unlock my attic!

On Mythos, I also got the amazing opportunity of picking apples. Yes, islanders, you’re not dreaming. Tiny Haven will soon be able to make apple pies and cider! 🍎

✈️ Foreign Shores: The Shire

A few days later, our intrepid Resident Representative decided to travel again, this time to The Shire, the lovely abode of @astorytotellyourfriends. Here is her report:

The Shire is a lovely place, once again looking huuuuuge compared to our island. Justine intends to turn it into Hobbiton little by little, and I’m super excited to see the end result!

“Hop hop hop! Where’s your home? Oh, you’re just a tourist? Well, nice to meet you, A Tourist!”

The dialogue is inconsequential, but I am SO IN LOVE with this adorable pink cow, I desperately want her twin to come to my island. Is there any way I can make sure of that?

And I also got cherries! We now have all the fruits on our island! I don’t know for you, but I can’t wait for that first bite of a sweet cherry pie! 🍒🥧

My glitched controller grew out of control, forcing me to cut my visit short, but I’m very excited about visiting again soon! Thank you for your hospitality, Justine! 💕

#my controller has officially gone out of hand #at some point i'll have to see if i can get it changed for free #seems nintendo did put sth into place because all the 1st gen controllers are glitched #until then i bit the bullet and ordered new ones #canNOT wait to play with a controller that does exactly what i tell it to #should seriously be life-changing #animal crossing #animal crossing new horizons #long post #my post #tiny haven gazette

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