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gsstories · 8 months

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Creator's Wrath

(In the Mega Pizzaplex...)

It has been about two weeks since Miss Virtud had been out on sick leave and now she was back! She was so excited to see the animatronics once again and they were clearly happy to see her as well. Making sure everything was alright with the Glamrocks first, checking on DJ and making sure they were all running smoothly before going to the Daycare when the children left.

The woman walked inside the Daycare, looking around the place. The place was spotless as always, the play structures looking shiny, every toy and barrel was in its proper place, Sun must have cleaned up immediately when the kids had left. Genesis smiled before looking around for the cheerful animatronic.

'Heya Sunnyyyy! I am back!' Genesis exclaimed before hearing footsteps and suddenly being picked up and wrapped in a tight hug.

'Miss Gen! Oh, it has been so long! Moony and I missed you so so much!' Sundrop said as he hugged the small human close with a bright smile on his face.

'Haha, I missed ya too Sunshine!' Genesis chuckled as she hugged Sun back.

Sun kept hugging Genesis and laughing as she pet his head, the animatronic retracting his sharp rays so they don't hurt her. But then Genesis heard something unusual come out of the Daycare Attendant.

A sob.

Genesis' eyes widened and she looked at Sun confused and worried when he fell to his knees, still keeping her close.

'Sunny...?' She asked.

'I-I am... So glad you're back...' Sundrop sobbed, black tears running down his face.

'Hey, what's wrong? Why are you crying?' Genesis questioned as she held Sun's faceplate in her hands, drying his oil tears. 'Did something happen...?'

'It hurts Miss Gen... I-It hurts so bad...' Sundrop cried as he shivered and leaned into her touch. 'They were so cruel...'

'Who? What happened while I was gone...?' Genesis asked.

'Parts and Service worker...' Sundrop mumbled as tears kept falling.

That's right. When Genesis had been gone, those from Parts and Service were tasked to fix and upgrade the animatronics while she was away, including Sun and Moon. Everything was going fine until one particular worker just decided to be an asshole. They didn't care how much Sun and Moon screamed in pain, they didn't think robots could feel any pain so they kept them online while they tore them apart and upgraded their bodies. It was all so SO painful... The worker was made clear of the rules Miss Virtud had made: no keeping animatronics on when being fixed or upgraded, no decomissioning animatronics without her knowing, no hurting the animatronics, etc. This person, however, disregarded those rules and did whatever they pleased with the DCA.

Those weren't rules though.

They were warnings.

Genesis was enraged when Sun explained everything to her. She held Sun close to her, his head on her chest as they sat on the floor while the animatronic cried his metal and electric heart out. The woman despised seeing her creations like this, hurt and sad. She frowned as she pet his head, a way to comfort him while holding his hands, caressing the back of it gently.

It took a while but Sun stopped crying and looked up at Genesis, tears still in his eyes that he attempted to wipe away.

'I-I'm sorry Miss Gen, I was just so happy to see you I...' Sundrop said as he trailed off.

'There is no need to apologize. I am so sorry you had to endure all that...' Genesis said. 'What about Moon...? Is he okay...?'

Genesis was even more worried when Sun looked away from her.

'Moon, he... he hasn't been the same... He has been more... defensive. The light started... h-hurting him.' Sundrop said.

'What? That is not supposed to happen!' Genesis was shocked. 'Your programming was supposed to affect the change of AI when the lights turned off or on, not supposed to cause pain!'

'We know Miss Gen... Now it hurts him when the lights turn on. Please help us... It hurts...' Sundrop begged as he teared up again.

'I'll fix this, I promise.' Genesis said. 'Can I talk to Moon please?'

Sundrop sniffled before nodding and standing up. He went to the light switch and hesitantly turned off the lights. His rays retracted as a familiar blue nightcap with yellow stars popped out, half his face turning dark and his red and yellow appearance turning more blue and white. White eyes slowly flickered into red that quickly landed on Genesis' figure.

'Moondrop?' Genesis said, worried.

Moondrop said nothing as he approached Genesis and sat down in front of her. The engineer pursed her lips as she gently held Moon's faceplate. The animatronic didn't say anything, just leaned into her comforting touch and closing his eyes.

'H-Hurts...'

Is all he said before laying on Genesis' lap, curling into a fetal position. The woman frowned as she pet his head, letting him rest. She was going to make sure a certain worker had a hell of a week.

'Eleanor.' The young voice of a child called out to a black haired, gray eyed and white dressed girl around 18 years old.

'Yes?' Eleanor turned to the child.

'What will Miss Genesis do to that person?' The child asked as she and Eleanor watched Genesis make the worker's life a living Hell under her management.

The worker was running around doing multiple tasks at once, getting chewed out by Genesis, and just being so stressed they might as well die on the spot.

'She's just giving them what they deserve.' Eleanor simply said.

'Because they hurt Sun and Moon.' The child said.

'Mmhmm. Now, how about we watch the band rehearse?' Eleanor said as she held the young girl's hand.

'That would be fun.' The child said as they walked away.

'I sure hope so Charlie.' Eleanor said as she and the young girl vanished.

Just vanished as if they were ghosts.

#oc #au #mega au #sundrop #fnaf dca #fnaf au #fnaf security breach #fnaf charlie #charlie emily #ghosts #psychic medium #fnaf missing kids #moondrop #genesis virtud

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nerianasims · 3 years

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Billboard #1s 1986

Under the cut.

Dionne & Friends -- "That's What Friends Are For" -- January 18, 1986

While listening to this song, I think it's a very squishy ballad with a nice sentiment that's not for me but is tolerable. Until a certain point. That point is when Elton John has his big part. Dionne Warwick, Stevie Wonder, Gladys Knight: Great, amazing, I love them, and though their talents are wasted on a song this slight, they make it listenable. Elton John's talents are not wasted on a song this slight. Couldn't they have brought in someone else? There's no way Prince would do something like this, but what about Paul McCartney? Kenny Loggins? Billy Ocean? I guess George Michael was too young for the song's schtick. But I'd take even Lionel Richie over Elton John.

Whitney Houston -- "How Will I Know" -- February 15, 1986

Whitney Houston was an amazing, phenomenally talented singer. And she oversang. Almost all the time. She didn't have to; she knew how to sing with subtlety and grace. But oversinging was (and is) popular, so that's what she did. It means I don't like most of her songs, including this one.

Mr. Mister -- "Kyrie" -- March 1, 1986

I'm not Christian any more, but one can pull inspiration from anywhere. I love the phrase "kyrie eleison." There's something beautiful about that combination of sounds, and there's also something beautiful about the sentiment. The music does not live up to it, unfortunately, though the opening is gorgeous. It also gets super repetitive at the end. It's pretty good, but I want it to be great, and sadly it is not.

Starship -- "Sara" -- March 15, 1986

I'm going to have to listen to "White Rabbit" a dozen times to cleanse this from my brain. A band that used to do stuff like that devolving into making this garbage is extremely depressing. This song starts with music box tinkling which sounds nice. Then saxophone over it which... okay. Just the sax would have been nice, but over the music box it's a little much, but I can keep going with it. Then they add a harmonica layered over it, and it's like I'm listening to a parody of mid-80s easy listening. And then randomly there's a drum crash and the weak voice of this guy comes in along with massive synth, and I start to wonder if I'm being punked. Are we sure this song wasn't a joke?

Heart -- "These Dreams" -- March 22, 1986

I watched the video probably hundreds of times when I was a kid. (On Betamax!) I adore this song. I got to it and went well, this is gonna win 1986, because there's only so much rational distance I can take from what was my favorite pop song when I was 9 years old. This song didn't start my Romantic sensibility, but it spoke to what was already in bloom. "There's something out there I can't resist." We'll see what else is on the list.

Falco -- "Rock Me Amadeus" -- March 29, 1986

I love the movie Amadeus, even though it constitutes a massive slander against poor Salieri. It gets Mozart pretty spot-on though. And I always loved classical music, was surrounded by it from infancy, so I was glad to see its popularity spread by the movie. (Yes, at age nine. I've always been a huge nerd.) This song is really fun and well-made too, though of course I can't understand any of the German lyrics.

Prince -- "Kiss" -- April 19, 1986

Prince sings this almost entirely in falsetto, so one would guess I would hate it, since falsetto usually sends me running in the other direction. One would be wrong. I adore it. Prince was that kind of artist -- he could get away with anything. He was notoriously arrogant, but was it really arrogance when it was just a proper conception of his own abilities? Anyway,

of course "you don't have to be cool to rule my world" deeply spoke to my experiences. I was the most uncool girl in school. Until high school, when somehow my not giving a damn about being cool (as I'd failed at it my whole life) actually helped me.

Also when Prince drops to a low note on the last "kiss," it is incredibly hot.

Robert Palmer -- "Addicted to Love" -- May 3, 1986

I have no idea what I'd think of this song without the video. The video infuriates me. The clone-looking emotionless women aren't "sexualized." No, you have to be treated like a human being on at least some level for that. They are purely objectified, treated literally as blank interchangeable things, with nothing at all inside them. The song is skeevy anyway, though I guess the music's good. But blech.

Pet Shop Boys -- "West End Girls" -- May 10, 1986

I've never liked this song and I've never really understood why. It's the kind of song I felt I should like. But I've always felt (since I noticed it as a teenager) that there was something missing. Now I know why: According to the Stereogum article about it, the band leader doesn't like rock n'roll, and is a pop critic. Oh. Some rock is exactly what this song needs. Without it, it's too cold and removed, and to me sounds smug. Also how can you be a pop critic and not like rock n' roll? That is a wrongness.

Whitney Houston -- "Greatest Love of All" -- May 17, 1986

Whitney Houston doesn't oversing on this song as much as usual, so that's good. Though she still oversings. What's not good are the music and lyrics. The music is bland as can be. Lyrically, it starts with "I believe the children are our future" and there's a verse about "the beauty they possess inside." Blargh.

Then after the first verse there's a total change in theme, going into how the narrator never found anyone to look up to. And that the "greatest love" is loving yourself and only depending on yourself and no one else. I despise this sentiment deep in my bones. Not of loving yourself -- though the song claims that's "easy to achieve," which is bollocks of the first order. Rather that you should only depend on yourself. That's literally inhuman. We are social creatures; without depending on each other, we are adrift in nothingness. So yeah. I hate this song.

Madonna -- "Live to Tell" -- June 7, 1986

This song gives me chills. The music is gorgeous and perfectly suited to the lyrics. I listened to the "True Blue" tape many, many times from about age 10 until, um. Well, I listened to the album on Spotify the other night. This song is the standout for me on it. I always thought that Madonna was singing about having been emotionally abused as a child herself. That is apparently not it at all; it's a song for a movie soundtrack. But to me it's about familial abuse. And always has been. It felt like she was singing for me. "The light that you could never see/ It shines inside, you can't take that from me."

Patti LaBelle & Michael McDonald -- "On My Own" -- June 14, 1986

Not the Les Miz song, sadly. It's about how the narrators are breaking up. Patti LaBelle is great, but I am so bored. Michael McDonald isn't bad, but he can't match Patti LaBelle, and even she can't stop this song from being deadly dull. It took me like 5 tries to be able to listen to the whole thing.

Billy Ocean -- "There'll Be Sad Songs (To Make You Cry)" -- July 5, 1986

What makes someone decide to put a parenthetical in a song title? Is there a formula? Anyway, he's singing (in his head) to someone he wants to be with. The "sad songs" are not actually supposed to be sad songs, it seems, but love songs that make him think of her. I guess. I don't know. Something about this song is turning my brain to mush. The tinkly parts and the violins are nice I guess. But I'm going to fall asleep at my desk if I try to listen to this song any more.

Simply Red -- "Holding Back the Years" -- July 12, 1986

Just looking at the lyrics, this song should be deeply depressing. He feels that so far his life has been a waste, but somehow he'll "keep holding on." There's a beautiful saxophone part. The song is not depressing -- it's Blues. It's terribly sad and cathartic at the same time. I'm not thrilled with Mick Hucknall's voice though.

Genesis -- "Invisible Touch" -- July 19, 1986

I did not pay attention to any of the lyrics of this song except the chorus until just now. I thought it was about a woman with an "invisible touch" whom people fall for left and right, and that's true. What I did not know was that she was supposed to be doing it on purpose. Which, okay, sort of like "Maneater"? Except no, because "Well I don't really know her, I only know her name." Then how do you know this about her?! He sounds like a stalker. Or this sounds like a first draft. The music is good enough, and the chorus could make for a good song around it lyrically, if they had bothered with that.

Peter Gabriel -- "Sledgehammer" -- July 26, 1986

I used to think this song was meant to be about a guy who was going to basically tank for you (and also have sex with you.) Well, apparently he wants to solve only one of your problems in particular: namely, that of your lacking orgasms. The "sledgehammer" is supposed to be a metaphor for his dick. Ow? Whatever, I'm going with my own interpretation of it. I like the beginning flute part, which is actually from a keyboard demo. It's a fun song, but it gets pretty repetitive.

Peter Cetera -- "Glory of Love" -- August 2, 1986

"We did it all for the glory of love" is a sentiment I usually adore. But this song is a limp dishrag. Did what for the glory of love? Why does she seem to be thinking of leaving him? And Peter Cetera being "the man who will fight for your honor" is a hilarious idea. His voice is nasally and he sounds like a faker. He comes off as someone who only vaguely understands the small-r romance of flowers and chocolates, and not at all as someone who understands the Romance of a castle far away. Bryan Adams did much better with this kind of thing in the 90s.

Madonna -- "Papa Don't Preach" -- August 16, 1986

The article I'm reading about this says there was a controversy over this song regarding abortion somehow, with left-wingers being upset that the narrator didn't consider it and right-wingers praising her for keeping the baby. Maybe in California. That is not what I remember in Michigan, and I do clearly remember a controversy. What I remember is right-wingers being absolutely incensed that Madonna was singing about the pregnancy of an unmarried young woman (or teenager, though I always felt the narrator was college-age) at all. I also remember one on the radio being angry that this working class girl was keeping her baby rather than giving it up to a rich family.

It is a really good song. Actually it is kinda Romantic. The narrator's in a dramatic life-changing situation, she has to choose whether or not to marry a guy before she's sure she's ready, and there are intense violins. Her father disapproves of her boyfriend, but she needs her father's advice. She's also not ashamed. She's in a difficult situation, but there's no guilt. Good. And this is what made so many people so angry with Madonna, and what was so deeply important about Madonna. She refused to even pretend to be guilty about sex in her music, ever.

Steve Winwood -- "Higher Love" -- August 30, 1986

I think this is about wanting to believe in a god. But then there's "I could make the sun shine from pure desire." Maybe it's about Aphrodite. Chaka Khan sings on this song, and she's obviously the best thing about it. It's not great, but it's enjoyable enough.

Bananarama -- "Venus" -- September 6, 1986

Speaking of higher loves. Bananarama are obviously having a wonderful time singing this 80s dance version of this song, and who wouldn't? The "she's got it" of the song of course also means "I've got it", hence "I'm your Venus." And Bananarama leans into that in a really fun way. It's a great version of a great song.

Berlin -- "Take My Breath Away" -- September 13, 1986

This is the big love ballad from Top Gun. I have managed to escape ever seeing Top Gun, though I've picked up some ideas about it. Mainly that it's a commercial for the U.S. air force, that Tom Cruise looks blank in it a lot, and that there's some kind of volleyball scene. Before I knew it was a commercial for the U.S. air force and therefore avoided it, I avoided it because of Tom Cruise. He has always been a total cold shower to me. As I've said since I started noticing these things (which was right around 1986), he reminds me of a Ken doll.

So the song. It sounds more like it belongs with a fantasy movie than in a modern military movie. Though I guess Top Gun is a fantasy too. But not the kind in which people usually look through hourglasses. It's a big, emotional ballad. I like it but I don't love it. If it weren't associated with Top Gun possibly I'd like it more.

Huey Lewis and the News -- "Stuck With You" -- September 20, 1986

This is a middle-aged man singing to his middle-aged wife about how he's "happy to be stuck with you." It's like if dad jokes became sentient and got married. It's cute and bouncy, and honestly pretty true-to-life. You can't be all higher love all the time.

Janet Jackson -- "When I Think of You" -- October 11, 1986

If "Nasty" had gotten to #1, it would have taken my "best of the year" spot. Sadly, it didn't, and this was Janet Jackson's first #1. "When I Think of You" is a really good song though. Janet Jackson is the best of the Jacksons and always was in every way. I think she was even a better dancer than Michael. (I don't know about "is", considering her age, but she's still a better artist.) "When I Think of You" is a very simple love song lyrically. When her "world gets crazy," she thinks of you to calm down. If this were easy listening, it would be unbearable. But it's a dance song, and a fun one. There's some great bass and interesting syncopation.

Cyndi Lauper -- "True Colors" -- October 25, 1986

This is such a beautiful song. It's helped me through some rough times ever since it came out -- the tape it's on was one of my first. It's straightforward in both lyrics and music, so there's not much to say about it besides that it's a great song.

Boston -- "Amanda" -- November 8, 1986

I am listening to this song now, and I don't recognize it. When they get to the chorus near the end it sounds kinda familiar, but I'm not sure that's because I recognize this song in particular, or because it sounds like every song like this in existence was put in a blender and this is the resulting slurry. Either this wasn't played on the radio much where I lived, or I changed the channel as soon as it was. It wants to be a power ballad, but it's an absolute nothing.

The Human League -- "Human" -- November 22, 1986

I guess it's an apology song, but "I'm only human" doesn't sit right with me as a real apology for something truly bad. He cheated on her. Which I do consider forgivable, depending on the circumstances and apology, but his is that she wasn't around so he was driven to cheat on her. And he should forgive her because he's "only human." Then the woman comes in and says she cheated on him too when they were apart, because she's human too. That makes the song tolerable. Maybe they need an open relationship. They still both sound whiny. And I don't like the music. It's boring and repetitive.

Bon Jovi -- "You Give Love a Bad Name" -- November 29, 1986

SHOT THROUGH THE HEART! AND YOU'RE TO BLAME! I love this song. Also I thought Jon Bon Jovi was hot at the time, though nowadays that 80s perm is hilarious. His voice is still hot though (so is he nowadays, grey hair and all, with his more contemporary haircut.) This song got plenty of radio play. Still does. And deserves it. It's technically a heartbreak song I suppose, but the video gets it right: It's Bon Jovi goofing around on stage in front of a joyous crowd. I love the bass, I love the guitars, and I did mention Jon Bon Jovi's voice is hot, right? Voices over looks every time for me, though both together is obviously welcome.

Peter Cetera and Amy Grant -- "The Next Time I Fall" -- December 6, 1986

Christian fundies had a deep and abiding hatred for Peter Cetera. Maybe they still do. I encountered this multiple times online over the years, and finally looked it up -- it's because of this song. Amy Grant used to be a singer of Christian music only. Then she had a pop hit with this dweeb, and certain usual suspects decided she was being corrupted by him.

The only way this song could corrupt anyone is if they started smashing things because they were so bored. The narrators have been heartbroken but are gonna try it again with each other, and it's as passionless as possible. Amy Grant's a better singer than Cetera by a ways, as she does not sing through her nose, but it's not like anyone could elevate this sludge.

Bruce Hornsby and the Range -- "The Way It Is" -- December 13, 1986

People are racist and treat poor people like shit. And people say that's just the way it is, but don't you believe them. This is true. We have come incredibly far, and things change. It's a good sermon, but as a song it's too simplistic for me, both musically and lyrically. I agree with the sentiment, but it's not a song I really want to listen to either.

The Bangles -- "Walk Like an Egyptian" -- December 20, 1986

Of course I loved this song when I was a kid, all the kids did. But I was already a Bangles fan. I had their first tape, which is their best and has the least pop sheen. I would prefer "Hero Takes a Fall" had been a big hit, but oh well. "Walk Like an Egyptian" is still fun.

BEST OF 1986 -- "These Dreams" by Heart WORST OF 1986 -- "Sara" by Starship

#billboard number ones

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