#this motherfucker is very intentional with his character design choices

[gloomyloomy]

me, minding my own business:

my brain: hey did you ever notice how zoro and sanji were designed to be connected by the number three? sanji’s name (san) meaning three, and zoro’s three swords and three earrings, being distinctive character traits?

me: i- where did this come from, i don’t even think about them that often..?? what the hell am i supposed to do with this?! hey- hey! come back here!!!

#like please i’m trying to sleep #i’m bothered because we all know oda doesn’t just do shit like this for the hell of it #this motherfucker is very intentional with his character design choices #he even made shanks and mihawk’s heights with a 1cm difference so people would compare them #and the same with king and queen #AND WOW GUESS WHAT #HE ALSO DID IT WITH ZORO AND SANJI IM SO SHOCKED. (NOT) #sanji is 177cm and zoro is 178cm tall #what am i supposed to do with this information #OH AND GUESS WHAT THEY ARE PART OF … #THE MONSTER TRIO #this literally offset me going to sleep by like 20 minutes #one piece #zosan #i guess?

[jippy-kandi]

Digimon Adventure: Last Evolution Kizuna Movie Review

I've seen the film. It was pretty good! Spoilers under the cut.

So, before I watched it, I did read a few bits and pieces of random spoilers. However, I did NOT read the novel – because I wanted to judge the film on its own merits and not be thinking about “what the novel did better”. But I knew things like most characters were sidelined, who the villain was, and how the movie ends. I still have not read the novel.

This is not a “proper” review of the movie -- because what’s the fun in that? You can google actual reviews of the movie by anime websites, if that’s what you’re after. These are just my personal thoughts, impressions and fangirl ramblings (I bias Yamato hard). Plus, a few comments from two others I went to the screening with for a different perspective.

It was like nerd city at the movie theatre, LOL. So. Many. Nerds. Some people even brought Digimon plush toys to the screening! I’ve never witnessed that before. It was great though, being surrounded by so many Digimon fans. I think the cinema was more than half full -- and this was an 800-seat cinema! 400+ Digimon fans? Whoa! I actually thought like only 20 people would show up, LOL.

I tried to put the following thoughts in “order” but some of it isn’t due to the nature of what they’re about . . . plus, I couldn’t 100% remember what order the scenes were in.

Screen time distribution (most to least): Taichi/Yamato, Koushirou, the 02 kids (roughly: Takeru, Hikari, Daisuke, Miyako, Ken, Iori), Mimi, Jou, a hamburger, a whistle, a beer, Sora. (Sora got shafted hard.)

Taichi was exactly just Taichi, which is 1000x better than tri. Taichi. He really did seem like a 22-year-old version of Adventure Taichi, beer-drinking and porn-watching and all. Thank you, Toei. Please don’t fuck him up in the reboot. (Although maybe that’s the idea?)

Yamato is the coolest motherfucker on a motorcycle. He looked SO DAMN GOOD in this movie. There were even a few gratuitous shots of his arse for no apparent reason, LOL. Or maybe that’s just me thinking, whenever he’s bending over or his back’s to us, “That’s a nice arse.” XD (HE IS THE ONLY 2D CHARACTER I THIRST FOR, I PROMISE. I’m actually engaged to Jungkook of BTS.)

Koushirou was the same old Koushirou we all know and love, doing smart stuff and generally being useful. He has no pointed interest in clothes or girls (Koumi began and died in tri., you guys). When it was shown that he was a company president, some people in the audience laughed, lol.

Takeru was pretty bland. I guess tri. Takeru will always be the definitive Takeru to me. This Takeru definitely evolved straight from 02 Takeru (who was also bland AF). But he was fine? I miss overly confident, charming Takeru. Also, where was your crush on your big bro??? lol

Hikari . . . was also fine? I don’t have much to say about her. I like tri. Hikari better (because she was cute? *shallow*). This Hikari was just serviceable. I think because everyone really is just playing second fiddle to Taichi and Yamato, they didn’t really add charms to the other characters. They just . . . serve the plot. And it seemed, at the beginning of the movie, that Takeru and Hikari were going to be in it a lot -- but they have most of their scenes in the first third-ish of the movie before disappearing until the end.

Daisuke was also exactly the same. But I’ve never been a fan of him, nor do I hate him (though he did get on my nerves in 02 sometimes . . .). I just don’t care about him, or any of the 02 kids, personally. :P

I don’t think Ken had a personality in this movie, LOL. He was fine, though. Serviceable. I’m sorry I lack opinions here, but there really wasn’t much to go on. He has no Kaiser issues or anything, he just seems like a normal, well-adjusted kid . . . with no personality, lol.

Iori didn’t have a personality either -- but everyone has always known that. Ha! XP He is just an extra reading lines. I found it odd that he seems so short though? I kept thinking he was still a 9-year-old because of the height difference between him and the others . . . I think Toei forgot that HE IS 17 AND THUS SHOULD BE VERY CLOSE TO FULL ADULT HEIGHT. Puberty is amazing, Toei! (Yeah, he can just be a really short person, I know. I wouldn’t have made that design choice, though. Especially when he’s short compared to Daisuke . . . who is short compared to Yamato . . . and Iori really is a midget.)

Miyako . . . it’s probably due to her voice actress, but she was SO LOUD. And I found her annoying because of it. In fact, she was the only annoying character in the movie to me. Loud people can be charming . . . but I didn’t find her charming. Sorry, Miyako fans. =\

Mimi has an e-commerce startup at 21, lol. OK, you go girl. She was definitely shafted, but she was in it a bit more than Jou I think, and definitely more than poor Sora. Probably a few minutes? Yeah, not a lot, especially compared to Taichi and Yamato. In one of her (four?) scenes, she loses consciousness and ends up in the hospital -- and Taichi, Koushirou and Jou are in her hospital room when Yamato bursts in and goes, “Jou!” You know, instead of acknowledging Mimi, THE COMATOSE FRIEND IN THE HOSPITAL BED. I just found it funny that’s how they chose to frame that scene. :P

Jou only had a few lines, but he was still in it more than Sora. But he is really just a doctor here. He could’ve been an extra hired for a doctor role and I wouldn’t be able to tell the difference, lol. Oh, Toei, please give all the characters almost-equal screen time in the reboot? Please???

Sora had like four lines and thirty seconds of screen time, TOTAL. I think the decision to hold her back from THE ENTIRE PLOT was SOLELY to have the scene where she reacts to Taichi blowing the whistle, so you know that the sound is going out of Neverland and reaching the real world (or whatever dramatic effect they were going for). I really think that’s it. That, or her voice actress did something terrible to Toei and they’re punishing her. :P

The movie basically opens up with Parrotmon attacking. Takeru was the first to be shown, then Hikari, then Taichi. Taichi is wearing those special goggles Koushirou made for him and he looked goofy AF lol. At one point, Greymon tackles Parrotmon into a building where you see some people inside running away from the rubble. My sister said (without knowing anything about tri.): “Does Tai not care that his digimon definitely just killed some people in that building?” I chuckled because . . . well. ;)

Yamato enters the scene COOL AS FUCK on his motorcycle (most of his entrance is shown in a clip that Toei released) and thank you Toei for doing that for him. He deserves a showy entrance. :) Although I do find it funny that he’s obsessed with motorcycles, given I still remember giggling as a kid at him NOT liking riding on the back of some guy’s scooter in Digimon: The Movie.

The music was nice and nostalgic and I have no complaints.

There is a quick scene of Yamato seeing a kid in a music store getting a harmonica, and watching a street performer singing. Obviously he’s thinking about his passion for music as a kid/teen (and his childhood in general?) and it was a nice touch. I think by the end of the movie you would’ve understood that Yamato was letting go of his past (childhood) and heading towards the future (adulthood).

A friend of Yamato’s makes a comment to him that Japan’s Self-Defense Forces are going to recruit him into the military due to his experience as a Chosen Child. Yamato replies, “that’s the dumbest thing I’ve ever heard”. BUT . . . this is Kizuna telling you EXACTLY what is going to happen, lol. I actually “predicted” Yamato’s career path years ago -- but it wasn’t hard, as there is really only two ways it could’ve gone, lol. Military test pilot or commercial air pilot -- which one, especially given the context Kizuna just gave us, is more likely? ;)

Yamato is shown wearing GLASSES in class (looking nerd-hot AF). Toei Animation must not have researched Yamato’s astronaut career as intensively as I did, and therefore did not know that astronauts need 20/20 vision lol. Oh well, he can get it corrected. :p (Or, he doesn’t actually need glasses but WEARS THEM AS A FASHION STATEMENT. Because I can believe that. XD)

I think Yamato had about three different outfits in the movie? And he looked good in all of them. Are there people out there who think he’s not fashionable? I'd find that opinion strange, given the fact that the staff behind 02 and tri. were actively designing him as the well-dressed cool guy of the group. He wears exactly the kind of clothes the well-dressed cool guys at my high school/university wore. Sure, sometimes they force green tops on him purely for nostalgic reasons and it therefore clashes -- there is only so much you can do with a green top -- but overall, he is supposed to come across as someone who cares about his appearance. If you don’t think so, you’re either not into fashion or you aren’t aware of 2005-2010 fashion as a teen/young adult. (If Yamato was a millionaire, I’m sure he’d dress identical to BTS with super expensive clothes lol. But he dresses very well for a “normal” person. :p)

Taichi was shown with two of his friends who were asking him about his aspirations or something, and the guy looked like an unattractive nerd. My sister said: “I didn’t like how they showed Tai with sloppy friends, but showed Matt with good-looking people.” LOL. Her favourite as a kid was Taichi, BTW. XD;

Menoa and Imura were . . . OK characters. Menoa seemed likeable enough at first, but when her real intentions were revealed she turned into a typical, crazy, possessed villain. Imura was really just there to service the plot, like a necessary extra on set. There was nothing more to him.

Menoa’s English is terrible. And it’s very noticeable because she inserts random English words into her Japanese sentences, lol. I laughed when Koushirou told her that her Japanese is very good (because SHE IS ACTUALLY FLUENT IN JAPANESE . . . and not so much in English). Yes, I know it’s because it’s a Japanese voice actress -- but it was still funny every time she spoke heavily accented English, followed by fluent Japanese. :P

Menoa’s partner digimon, Morphomon, was cute in design. Eosmon was the villain digimon and was Menoa’s attempt at recreating Morphomon, who disappeared on her. Does this sound kind of familiar? lol

Omegamon devolves into Koromon and Tsunomon when fighting against Eosmon. Back in Koushirou’s office, Menoa explains that you only have a limited amount of time with your digimon before they disappear and that fighting accelerates it. Taichi has a circle of lights on his digivice that lose a bar of light every time he fights with Agumon. When the lights all disappear, Agumon will disappear. Koushirou and Takeru look at their digivices to check if they’ve got it – they don’t, and they are relieved. Yamato then checks his and . . . well. He has it. His eyes start watering and he storms out of the room saying something along the lines of his bond with Gabumon will not be broken. I FUCKING LOVED THIS SCENE. Top 3 in the movie for me, personally. We all have weaknesses. Emo Yamato is mine, lol. I like it when he gets so emotional he cries in front of other people. :3

The “porn stash” scene with Agumon at Taichi’s apartment was HILARIOUS. The funniest scene of the movie. Everyone in the cinema laughed so hard. It was Taichi’s reaction that sold it -- it was BRILLIANT. The magazines actually had girls on the cover wearing bikinis, so, at least Agumon kept his innocence! lol

Gennai randomly appears in Taichi’s apartment to confirm the thing everyone should’ve always known (but that they just made up for Kizuna and which DEFINITELY led to “creative differences” with Digimon series director Hiroyuki Kakudou). This, of course, would be the whole idea that the more you “grow up”, the more your bond with your partner digimon breaks until, eventually, they disappear. Does the idea have problems? Yep. Menoa lost her partner digimon Morphomon at age 14 because she decided to accelerate her learning and go to university . . . meanwhile, Koushirou is the president of his own freaking company and still has Tentomon by his side. Yeah, OK, Kizuna. And, sure, you can argue that it’s about BECOMING AN ADULT -- but I think you’d just be drawing lines where YOU want to draw them. How mature is 14-year-old Menoa to be an “adult”? Is Koushirou really not mature enough at 21? And what about Jou, who I definitely think is an adult in all sense of the word? And so on. So arguments about this I think are valid, but at the same time . . . it’s Digimon. I think it’s a flawed idea but I also just shrug and accept it as it is, lol.

I “love” how Gennai just pops in when it’s convenient to the plot. Hello Gennai, what’s dark Gennai up to? Have you seen him around licking underaged girls anywhere? No? You’re just popping by to confirm shit to Taichi? OK, cool. See you in the tri. sequel, never. (He actually does give Taichi a reasonable answer as to why the growth/bond thing was never brought up before: that it’s like talking about how long you have to live. I bought it.)

Yamato is basically the reason the 02 kids are even in the movie, lol. He asks them to investigate Imura and Menoa for him and they do so. They contact him later on with info and they ask that he take them out for okonomiyaki (which is awful by the way, lol) as thanks and he smiles and says he can do that. This is just a nice exchange between them. :)

Yamato eventually confronts Imura (or is it the other way around, lol) and Imura HAS A GUN. Which was surprising to me because I remember that in the English dub, Puppetmon’s gun was censored, so seeing a gun in a Digimon movie was a little surprising. Anyway, Yamato doesn’t seem concerned by the fact that this dude can just shoot him dead, lol. Gabumon is with him, but still. Imura can still kill you before Gabumon kills him, you know. XD But it’s all good because Imura turns out to be an undercover FBI agent who wants to arrest Menoa, THE REAL VILLAIN. I was spoiled with this so no surprise.

There is a scene where Yamato has his hand tenderly on Takeru’s face because he lost consciousness. It was sweet, but I would’ve liked it more if Takeru had more of a personality in the film so I could actually care about him, lol. Yamato’s such a caring big brother, though. :)

Yamato was perfect in this movie. PERFECT. I had a few issues with his characterisation in tri. (I think he was, overall, about 80% Yamato), but he was ALL YAMATO, ALL THE TIME here. He is my favourite fictional character of all time, so DEAL WITH THE BIAS. I love him and, honestly, Yamato>Taichi all day, every day. I totally understand you, Sora. DON’T @ ME TAICHI STANS. XP

The ONLY minor quibble I had was that Yamato asks Taichi if they should really try to save the other kids, because fighting means it speeds up their bonds breaking. My quibble is: YAMATO IS NOT FUCKING SELFISH. He’s SO selfless. He would fight to save the other kids NO QUESTIONS, even if it meant he’s accelerating the destruction of his bond with Gabumon. But I give this scene a huge pass because it basically had to go like that, because ONE person out of Taichi/Yamato had to be reluctant so that the OTHER person pushes forward and has a “hero” moment. And who’s going to get that “hero” moment? The actual hero and MAIN CHARACTER of Digimon, Taichi, of course. SO I GET IT. I even agree and would’ve written it that way too, for Taichi to be the leader and reassure Yamato that this is what they’re doing (unlike in tri. where Yamato 1000% deserved the mantle of LEADER and Taichi could’ve whinged off the edge of a cliff and I. WOULD. NOT. CARE.). BUT I will still rant about this 30 second scene in my blog and scream to the universe that Yamato Ishida is the most selfless fictional being on the face of the planet and you better fucking know it. :)

Menoa is Maki 2.0. As soon as Menoa is revealed as being behind the evil stuff, she is instantly psychotic. So Maki 2.0 she definitely is. But . . . I don’t really care. Could Toei have been more original? Yes. But I can’t be bothered to criticise them for recycling a plot, because I’d rather criticise tri. for doing it in the first place, LOL. OK, honestly? At least Menoa’s plot had an actual resolution, instead of Maki being revealed and then . . . fucking off out of the entire series so abruptly. Like??? Kizuna followed through with it, tri. did not. That’s why I’m OK with the rehash, because Kizuna did tri.’s plot better. (Maki’s plot would’ve been good if the tri. writers didn’t get lazy AF at the end and just . . . didn’t . . . finish it.) I might also be giving Kizuna a huge pass because it made me feel things, lol.

The movie really picks up after Menoa reveals her intentions and they end up in Neverland (a place she created in the Digital World?) where she claims all the Chosen Children can stay as children with their partner digimon forever. It became a lot more interesting after that. But that’s also near the climax, lol.

In Neverland, all the kids who have lost consciousness are in their child forms (from the first season) and are basically Menoa’s puppets. This was really cool; it not only gave you nostalgic feels to see them like that, but it was also pretty creepy to see them with glowing red eyes. The Chosen Children, as kids, attack Taichi and Yamato. I laughed when Patamon attacked Yamato’s face and Tentomon tackled Taichi, lol. But I have to say though that Sora’s absence was VERY glaring here. Because . . . everyone was there, but her. :(

Other Chosen Children from the past are present in Neverland too. I FREAKING SAW MICHAEL, MIMI’S AMERICAN FRIEND, STANDING BEHIND HER. I was so surprised at his appearance that I didn’t catch anyone else. There were definitely others, but I didn’t make them out at all because I was so caught off-guard with Michael. XD; (I DON’T EVEN GIVE A SHIT ABOUT HIM, LOL.)

Someone said that Taichi called out Meiko’s name in the movie . . . well, I’m pretty sure that Yamato does, and he calls her by her last name, “Mochizuki”. This is when they’re in Neverland and Menoa shows them her “collection” of Chosen Children. Meiko pops up for one second. It was like Kizuna went, “Oh! Hey, tri. existed by the way. Now let’s move on.” lol

While being attacked by the Chosen “puppets” in Neverland, Taichi manages to reach his hand out and grab Hikari’s whistle and blow it -- effectively “waking” them all up from their puppet states. Everyone in the cinema got hit with audible FEELS, because when Taichi blew Hikari’s whistle the screen flashbacked to that scene from the first movie. I found the collective audience reaction more powerful than the scene itself, lol. But I really liked it, too. :)

So while everyone else is in Neverland . . . SORA IS IN HER APARTMENT HUGGING PIYOMON. Thanks, Sora, you’re a real friend. *cough* After Taichi’s whistle blow, she intuitively knows what’s going on and says she believes in everyone . . . THANKS AGAIN, SORA, YOU CHEERLEADER. OK, look: I do think it is pretty selfish of Sora to choose not to fight. I understand all the reasoning behind it, I even think SHE DESERVES TO BE SELFISH FOR ONCE etc., and I am fine with it -- but I still think it’s selfish. Because it is. And that’s OK, nobody is perfect, and people are selfish from time to time. If only it wasn’t glaringly obvious that her selfishness happened only because Toei just wanted her out of the way for most of the film . . . her absence, as stated before, really was noticeable in scenes where literally everyone else was included but her. (I’d also just like to point out that her voice actress was STILL CREDITED THIRD after Taichi and Yamato in the ending credits. LOLing forever -- such little contribution, such big recognition. XD)

But don’t get me wrong, I love Sora. I really fucking do. Taichi used to be my second favourite character in Digimon for a long, long time -- but Sora managed to dethrone him from second place (fucking Yamato probably helped, LOL). I think, screen time-wise, Kizuna did her a bigger disservice than Our War Game did. Yes, let that sink in. Remember how little she was in that movie? It’s worse in Kizuna. But story-wise and character-wise? Kizuna probably did better, because Sora was angry over a hairclip in Our War Game lmao. If you haven’t already, check out her memorial story short “To Sora” that Toei Animation released online. It’s six minutes of Sora . . . which is 5 and a half more minutes than in Kizuna! XD;

There’s a scene where Agumon and Gabumon tell Taichi and Yamato that they like watching them grow up. It was very touching, but also very brief. It was one of my favourite moments though. It made me have quick flashbacks in my mind of itty bitty Taichi and Yamato growing up into who they are now. The enormity of everything they had been through since the first season. THE HISTORY. THE GROWTH. It hit me right in the feels.

Taichi and Yamato’s homoerotic-ness was actually toned down a lot, especially compared to tri.. They don’t have forced disputes where they get angry at each other and the gay sexual tension shoots through the roof. They’re just . . . friends. Two dudes who drink beer together and moan about their lives. The partnership between them and their digimon were the focus of the movie, more so than the friendship between them. I actually liked this, and I usually care more about the human connections over the human-digimon ones.

“Shipping moments” – if you squint hard enough. Takari: At the start, Takeru shields Hikari from harm. Sorato: While Taichi informs Yamato about the lives of some of the other Chosen Children, Yamato lets Taichi know what Sora is up to -- that she’s seriously studying flower arranging. Kenyako: Ken asks Miyako, and only Miyako, if she’s OK (when Daisuke is right next to her). Taiora: Sora says Taichi’s name when he blows the whistle in Neverland and she hears it all the way in the real world. (My sister legit whispered to me: “SHE DIDN’T SAY MATT’S NAME.” BITCH, he ain’t the one whistling! XP) Now, Digimon Adventure tri. shipbaited hard -- but Kizuna did not do this. All of these very small moments felt very organic and passed as if they were a natural part to the story, instead of something shoehorned in with the explicit purpose of shipbaiting. I really liked this approach. The Sorato one in particular (surprise, surprise) said a lot about Yamato’s relationship to Sora without being explicit about it. He knows what she’s up to when her childhood best friend doesn’t? Yeah, those two are definitely hooking up after classes. :P (I jest. But it does tell you with one sentence that Yamato and Sora keep in touch, which I appreciated. You gotta do that if you’re having babies together within the decade, you know?)

There were next to NO evolution sequences. I might remember it happening once or twice? Max. And . . . that was a REALLY lame choice. Especially when Agumon and Gabumon evolve to their newest forms; Taichi and Yamato are just floating with them up into the air and then, poof, the new evolutions are shown. Google tells me they’re just called Agumon -Bond of Courage- and Gabumon -Bond of Friendship- respectively . . . they were not named in the movie. Here’s the thing: I don’t really care about digimon and evolutions. But it was so underwhelming; they really should’ve amped it up with an evolution sequence to be like HERE BE THESE NEW AWESOME FUCKING DIGIMON ‘bout to kick your arse. It seems like such a no-brainer that I really don’t know who would sign off on a evolution sequence not happening. Oh well. As for the designs? They are OK, but definitely could’ve been better. I think “cool AF” when I see Omegamon and all his forms. I don’t think that of these new evolutions lol. (But my sister liked them and thought they looked cool, so . . .)

Also . . . the fighting scenes in this movie were pretty bad. Very underwhelming. Our War Game and Diablomon Strikes Back did a lot better. I both like and dislike the animation style in Kizuna. I do actually like the art of it, like how it looks. But I kinda dislike how it’s actually animated, because it doesn’t really look like they’re moving fluidly enough. It’s a bit too choppy. I just expected the fighting/action scenes to be more exciting (I was hoping Our War Game-level) and of a higher standard. But they are not, unfortunately.

Everyone in the cinema audibly GASPED when Taichi and Yamato were just talking to Agumon and Gabumon after the final battle, and then they turned around and they . . . just . . . disappeared. And then Taichi and Yamato CRIED. SO. HARD. And I actually started repeating in my head, DO NOT CRY, DO NOT CRY, lol. I didn’t cry! Almost, though. :p I really loved this scene. And I really think, narratively, it would’ve worked A LOT better for the movie to end on this scene. The actual ending scene that comes after it felt a little too out of place and tacked on to me. More on that later.

There was a small smattering of applause at the end of the movie, lol. But I did not clap, because I find that weird. :p (Even though I clapped, alone in my house, when Parasite won Best Picture at the Oscars LOL.)

The ending credits showed different photos of the kids. Unfortunately, I . . . don’t really remember most of them. XD; I think I saw Sora arranging flowers? And maybe Daisuke and Ken having dinner? I definitely saw Iori doing kendo, because I thought it was cool. And the one photo I definitely remember for sure: Yamato standing in front of a space shuttle. I stan astronaut!Yamato so hard, you guys have no idea how happy it made me that he’s pursuing his dream omfg my little baby boy. XD;

This is definitely Taichi and Yamato’s movie. Everyone else is just playing supporting/cameo roles -- some more than others, as outlined way above. (Well, except Menoa I suppose . . . and Koushirou to the extent that he’s just needed to be the Digi IQ.) But if you’re NOT a fan of either Taichi or Yamato? I think, though you’ll probably love all the nostalgia bits, you’ll also be really disappointed -- especially considering this is supposed to be the final instalment of the original Adventure continuity. It’s a great “love letter” to Taichi and Yamato specifically, but not for the other characters, sadly.

I saw the movie with my sister (a non-fan who used to like it as a kid) and a friend (a casual fan now, but she used to like it a lot years ago). I’ll refer to them as “S”(ister) and “F”(riend), respectively.

After the movie ended:

S: “Did you cry? Because two guys beside me were literally sobbing. SOBBING.” *Judging.* (LMAO.)

What was our favourite part of the movie?

Top 3 scenes for me were Yamato storming off with his eyes watering when he realises his bond with Gabumon has an expiry; the brief “speech” Agumon and Gabumon give to Taichi and Yamato about wanting to see them grow up; and Taichi and Yamato crying at Agumon and Gabumon vanishing. EMO EMO EMO.

S: “Sora doing fuck-all.” (LMAO.) F: “Yeah! What was up with that? It’s like they forgot she even existed.” S: “Sora is just a cunt.” (Note: S has a dry sense of humour and isn’t really being malicious. BUT . . . I do think most viewers watching Kizuna would have a poor opinion of Sora in this movie . . .)

F: “I liked the 02 kids. I guess it was mostly Davis. And I liked when Veemon was riding on Armadillomon’s back and Wormmon was trailing behind. It was just this random thing but it was funny. Maybe I just like making fun of Wormmon.”

About the idea that growing up affects your bond with your digimon:

S: “What I took from it was that you shouldn’t grow up too fast. Cherish your childhood, cherish your memories. But, eventually, you do need to grow up.”

F: “I don’t understand how this whole “Digimon disappear when you grow up” thing wasn’t known. Weren’t there older people with Digimon before? You’d think they could have made a more specific threat that was just affecting their digimon, not be like, “Yeah this happens to everyone, it’s just a fact of life that we’ve never addressed before.” It felt a bit like they were telling the audience to grow up and get over Digimon.”

What would we rate the film?

I probably have to watch it again to give a definitive score, but at the moment, I give it about a 7/10. It was good, but not great. The last half was pretty great though -- it definitely started out slow (there was a lot of exposition via Menoa vomiting words). Is it better than tri.? Chapter 3: Confession, no. Confession is better, I think, but I also haven’t seen it in years. But the rest of tri.? Probably. Especially the pile of shit that was Chapter 6: Our Future. *cough*

S: “4/10.″ (LOL.)

F: “It was better than tri.. I guess a 7/10 too.”

Sequel?

I think it’s definitely a possibility. I feel like the very last scene of the movie was slapped on just to be like, “Well, if we don’t do a sequel, you know that Taichi and Yamato are definitely going to reunite with their partners eventually for the 02 epilogue to happen.” The scene is of Taichi and Yamato saying something along the lines of meeting Agumon and Gabumon again one day.

And while it’s an uplifting ending, I actually think the movie would’ve ended better with the scene before that -- with the digimon disappearing and Taichi and Yamato crying. It would’ve made a bigger emotional impact and raised the movie up just a notch higher to end on such a ballsy note. But, of course, it would’ve meant a sequel definitely had to happen. So the actual final scene was added on so that a sequel doesn’t need to be made -- but that it leads to the 02 epilogue “off-camera”, in case they really don’t do a sequel.

I think there’s a 50/50 chance of a sequel. The movie actually does close the Adventure story pretty well -- it has all the ingredients to lead to the 02 epilogue without actually taking you there. But it also keeps the possibility of a sequel open, where they can show you exactly how Taichi and Yamato reunite with their digimon.

And, honestly, the only “barrier” I see to a sequel happening is that the reboot is airing next month -- and it’ll be confusing for the next generation of kids to follow one continuity, and then have a movie released with characters they recognise, but in an entirely different continuity. Unless, of course, the sequel comes out in another two years and the reboot has finished after one season (though there’s always a possibility it goes on beyond one season).

S: “Yes, I think there’ll be a sequel.”

F: “It seemed quite final. But obviously if the 02 epilogue is accurate that can’t be the end. Unless Matt finds Gabumon again on the moon I guess. “Oh hey yeah we don’t really disappear, we just go to space!” Yeah, it could go either way. Maybe they are saving Sora’s big part for the sequel!” (XD)

And that’s a wrap! I’ll probably read the novelisation of the movie eventually . . . and it’ll probably be like 95% the same, lol.

#digimon #digimon adventure last evolution kizuna #digimon last evolution kizuna #digimon last evolution #digimon kizuna #review #spoilers #50% thirst #30% jokes #20% actual content #XD

[evamohns]

For me the problem is not William's character as such. He's an asshole and shows need these kind of characters. What I'll never support though is the fact that he pressured Noora into a relationship even though she was absolutely not into in from the beginning and this was framed as something "romantic". I'm sorry, but it was not. I don't know what Julie wanted us to take away from that clichee "romance": That girls need to be pressured to realise they maybe could like someone? ... (1/?)

That being a creeperand emotionally maniulative is romantic? That girls who do not give in arestupid? That it’s totally ok for guys to not take no for an answer? Thatblackmail is a legit way of making girls yours? Also William is portrayed assomeone who is always right, just misunderstood. He doesn’t need to own up tohis mistakes because excuses are made for him. This makes it seem like Noorawas wrong in realising he is an asshole. He was, and is (not only to Noora, butto Vilde and all the other girls), but the way their relationship is shownmakes it seem like the man always knows best and has the right to get the girlhe wants – no matter what she thinks. Julie made a choice in making William anasshole. She also made a choice to romanticise it. So for me Noorhelm and allit stands for is super problematic.

OKAY. Buckle up kids, this is gonna take awhile.

First off:

William never pressured her. Not onesingle time. But more on that later.

Vilde and William. Was. A. One. Sided.Relationship. Vilde materialised and narrated a whole scenario in her head thatwas not happening. They were attracted to each other, they slept together, endof story. The audience was never given any indication that William wanted anythingmore, he didn’t lead her on after the fact, I’m guessing that in William’smind, they both got what they wanted and that’s that; but then here’s this girlcrawling at his feet that he has no romantic interest in, and the onlyplausible way he sees to free himself and her, is to stomp out any residualfeelings. Which he does, brutally.

But before we get hyped up aboutthe following scene, I just want to mention something I’ve talked about before:if it was William following around Vilde, obsessing over her, finding any opportunityto be around her when it has been clearly shown that she ahs no interest in himromantically, there would be no misconceptions and calling Vilde manipulative, abitch, or any of the like. People would be crucifying William for stalking orwhatnot, and praising Vilde for her wit and crushing of a pathetic first year.Instead they choose to ignore that fact that William never made any promises toVilde, and didn’t owe her anything afterward, and vice versa.

But getting back on track, William’sfirst advance was after Noora belittled him in front of the group (rightfully so),and he was immediately brushed off, though the edit still chooses to show Nooralingering on William’s retreating figure, implying interest and obviously foreshadowing.After this, he doesn’t speak to Noora or show any other interest in her untilthe staircase scene (‘you’re so fucking beautiful’). And, anon, if you can findanyone, anti- or pro- who honestly, 100% believes that Noora was not positivelyaffected by William in this moment, I’ll be legitimately shocked. That scenewas flirting 101, and no one can say otherwise.

Cut to the xmas party scene, wherewe later find out that William has agreed to a date with Vilde in order toultimately be closer to Noora.  Yes, thiswas a shitty thing to do, but as soon as Noora realises what he was doing, sheasks him to stop and he does on the condition of one date. Not a relationship,not sex, just an hour with her, talking, to which she accepts. He picks her up,brings her a blanket and cocoa and remains polite, recognises she doesn’t necessarilywant to be there and so keeps his distance, tries to impress her, and offers todrive Noora home after cutting the increasingly positive date short.

The party at William’s house isthem getting to know each other, exploring their attraction, having fun,PLAYING w EACH OTHER, and William being relatively reserved (the stripping partdoes make me roll my eyes IF I’M BEING HONEST lmao). And it’s here that we seeNoora take the first real step forward into their relationship – lying andsaying that she has to stay over, and once this info is outed, William has afoot in the door, and he knows it. Anyways, fast forwarding through the cabinep and we get to the Syria party. A party that was designed to raise money solelyfor the Penetrator’s buss,  but afterinviting Noora and getting thoroughly confused by her reasoning for not wantingto go, decides to include the refugee cause to the funds raised, all so Noora MAYshow up.

Okay, this is where I start to getheated, because people always seem to forget about this motherfucking scene.Noora is being extremely difficult and stubborn and, to be honest, rude towardhim, and he asks her point blank if she likes him, and tells her that that willbe it if she doesn’t. He’ll stop and leave her be. He. Will. Stop. And. Leave. Her.Alone. If. She. So. Chooses. And she says what she says, and William leavesimmediately. Noora has to sprint and catch him, and SHE KISSES HIM. She initiateseverything, William was ready to stop and give up. It’s Noora who STARTS THERELATIONSHIP.

What part of all that is emotionallymanipulative? Oh, nothing? You don’t say.

Alright, now to the drama, andwhere I can see some people misconstruing everything. Nico enters andeverything basically goes to hell. William is trying to protect Noora from his brother,but Noora doesn’t understand why until after everything happens many episodeslater. So, we have William adamantly trying to keep Noora away from his brother,but in a textbook case of ‘Why Communication is Important in Relationships’, bothof them omit information that would turn out to be vital and would have stoppedpractically everything in eps 7-11 from happening, they take that break. And it’sin these eps, where they have little to no communication, Noora gets drugged/drunk,and wakes up with Nico, and basically has PTSD from it, that William reallysteps up, even though he doesn’t know what’s happening, why his girlfriend isspacing out and having panic attacks. He soothes her, her calms her down, helets her get the sleep she desperately needed, he writes her goddamn paper for her,he doesn’t invade her privacy and snoop on her computer, he stays with her forfifteen hours straight and meanwhile organises everything about the Norway Daything with Eva, Vilde, Sana, and Chris on Noora’s behalf.

And then, comes the fucking text.William, after being told they were on a break, which he accepted, after makingup, after being shut out again immediately, after Noora breaking down, is senta photo (or was it a text – I can’t remember), of Noora with his brother, thismonster he tried so damn hard to keep Noora way from. And Noora can’t give hima straight answer when he confronts her, because she really doesn’t know atthis point. And, he doesn’t lash out or become aBuSiVe, he walks away. Hejust, walks away. He doesn’t get aggressive, he doesn’t yell, he literally justwalks the fuck away.

Noora finds out Nico is a piece ofshit, gets more insight on William, realises she did fuck up, realises thatWilliam was only trying to protect her from Nico. While he’s still extremely angryat her, when she confronts him in the hallway, he again remains silent anddoesn’t lash out at her. She says what she needed to and he listens, and agreesto meet her for their talk.

The talk happens, they make up, andafter everything, William goes and turns himself in for the bottle smashing becauseof everything Noora has told him and taught him.

I’m sure I’m forgetting something Iwanted to say, but yeah, there’s that. Noora was pretty much in control theentire time they were actually together. She was controlling who they told,where they were seen, the break was her idea, and she was the one to seek outWilliam and make up with him. Noora was head over heels in love with him, andhe for her, and if there is any flaw in their relationship in s2, it’s fuckingcommunication with a capital C, not abuse, not manipulation, but fuckingcommunication. If they had just said everything they needed to say, at anypoint before episode 7, the entire second half of the season would not havehappened, but that’s none of my business.

Okay, so quickly over season 3 and4: Noora after knowing about Nico, William’s sister, his parent’s, and his fearof abandonment, ups and leaves him without telling him about it, without eventalking to him out it, and again, he remains silent – he doesn’t lash out, herdoesn’t hurt her in any way, he thinks that that is what she wanted, truly, andso he lets her go. When Sana sends that email, he drops EVERYTHING and comesback home to her. So emotionally manipulative, I know, wow.

Anyway, just some rounding off someof your points:

William never pressured her into sex. Afterrealising she was very serious about not wanting sex, he is the one stoppingthem from going further (revue room, clumsy scene, bench top kitchen scene, 2x12bed scene), and yeah he probably shouldn’t have said ‘I should probably ask ifyou’re ready, but I don’t care’, but if we are believing that Noora literally textedhim ‘I want to fuck you’, there doesn’t leave much room for misinterpretation.

When he was told no, he stayed away. The Justin Bieberscene: she says no, he leaves. She says she doesn’t like him: he leaves. She saysshe’s not ready for sex: he complies with that request and stops Noora whenevershe got a bit too heavy handed. She asks for a break: he agrees without a realfight, even though he knows it’s not what’s best for the both of them.

Blackmailing is wrong, he shouldn’t have donethat. But I don’t think it was with the exact intent of MAKING Noora HIS!!!!!!,for fucks sake.

The man always knows best: I honestly don’t knowwhere you’re going with this point. Whenever it’s shown that either of themthink they know best, it’s shown that they both are wrong, and/or shouldn’thave thought that way. See, lack of communication, Noora lying about whathappened for so long, William not telling her about the fight, the whole argumentabout the fight and the break, Noora lying and saying she has no feelings forhim in 1x05, etc.

William not owning up to his mistakes: Whatmistakes did he make exactly? The blackmail for a date: solved. Lying aboutNico: had valid reasons to. Being a dick: every other character on this show isan asshole, at one point or consistently, it seems to be a running characterflaw – none of them are just as upfront about it as William. Being abusive: heisn’t. Being emotionally manipulative: he isn’t.

So there, that’s my takeaway of William’s character andtheir relationship, and from now on, anytime I get an ask like the ridiculousone above, even after all this time, and after my opinions on this topic havebeen well an truly been put through the wringer, I am referring everyone tothis post. So one last time: no one is ever going to change my mindset, sendingin messages like these will only fuel me to write more about why William isactually one of the most compelling characters on the show, why his and Noora’srelationship is an incredible journey of self-discovery, and why William shouldnot be singled out for being A KID, just like the rest of the them, for beingunreserved about who he is, and for loving the fuck out of Noora Amalie Saetre.

#noorhelm #skam #william magnusson #ask #🎶and dream of para-para-paradise🎶

[hellomissmabel]

Vienna

MASTERLIST

AO3 account

Pairing: Sebastian Stan x plus size!reader

Warnings: Fat shaming, angst, fluffy ending

Word count: 2.302

Summary: Sebastian and Y/N are taking a time-out while Sebastian finishes up filming for his new movie. They’re not splitting up for Sebastian it feels that way and in one final attempt at making amends, he shows up unexpectedly at Y/N’s door.

A/N: Written for @caplansteverogers

Inspired by the song “Gasoline” by Halsey. Lyrics in italics.

All plus size fics can be found here

Are you insane like me? Been in pain like me? Bought a hundred dollar bottle of champagne like me? Just to pour that motherfucker down the drain like me? Would you use your water bill to dry the stain like me?

It’s early when you can hear the doorbell ring, the display of your alarm saying it’s not even 6 a.m. on this dreary Wednesday morning. Swinging your feet over the edge of the bed, you stretch your arms and look at yourself in the mirror on the other end of the bedroom. You’ve got a royal bed head and your shirt is slightly crooked. In your dusty pink pyjama shorts and light grey t-shirt you shuffle towards the front door of your New York apartment, expecting to see your landlord to ask you about the rent again.

“What the fuck are you doing here?”

“Y/N…,” the voice on the other side of the door responds when you want to slam the door back into his face. “I just flew all the way here so please, just let me in.” You relent and he closes the door behind him, a guilty look on his face, before following you over to the couch. He sits down but you don’t, instead leaning against the wall and keeping your distance.

“What are you doing here, Seb?,” you question him as you suppress a yawn, crossing your arms over your chest to hide your taut nipples pressing through the fabric of your shirt. You usually sleep covered under a million blankets, so you never realised until now how chilly it’s in your apartment without the heating turned up to match the early autumn cold.

Sebastian fidgets with the paper bag he’s holding, putting it on your living room table so you can look inside it. “I found these while cleaning up our bedroom.”

“It’s not our bedroom anymore,” you snap back before you can bite your tongue, regret coursing through your veins as you see his shoulders slump like a lost puppy from the corner of your eye.

Inside the paper bag is  your old college sweater, which you thought he would’ve just thrown out after your separation. There’s also the camera Seb broke on your trip to Vienna, when you first came out as a couple and were at your happiest.

“I thought you might want these back,” he mumbles under his breath, resting his back against the couch cushions as he folds his hands in his lap.

Lastly, a half-empty bottle of the expensive champagne you got for yourself the day you broke up. But instead of drinking it like you intended to, you poured it down the drain as soon as you saw a pic of Seb pop up on Instagram, the girl’s caption stating she was glad he finally got rid of this fat cow.

“Thanks for the sweater, I thought I’d thrown it out…,” you smile sadly at him, feeling grateful that you had it back. “But you can keep the bottle, though. And that camera is broken, so I won’t be able to use it anyway.”

Seb nods, already expecting such an answer, and gets up from your couch. “I’m sorry I woke you up.”

Being face to face again with the man you loved so much, and still love so much, cuts your heartstrings in a thousand little snippets. That man knows just what to say and to do in order to tug the right memories. But you’re strong and just as long as he doesn’t say those three words, you’ll be fine.

Are you high enough without the Mary Jane like me? Do you tear yourself apart to entertain like me? Do the people whisper ‘bout you on the train like me? Saying that "you shouldn't waste your pretty face" like me?

Lingering a little too long for your taste, you push yourself off the wall and walk in front of him back to the door. He follows suit like a lost puppy until his chest is inches away from your back and as your hand stops seconds away from reaching the door knob.

“You still smell so good,” he whispers into your hair, his breath fanning your neck. “Like fresh laundry. Or an early spring afternoon in Vienna.”

You know what he’s trying to do by bringing up your trip to Vienna. The broken camera was a subtle clue and you didn’t realise it at first, but now you can see things clearly. “Don’t, Sebastian.”

The former brunet inhales deeply, running his hand down his face. “What am I doing, Y/N?”

“You were leaving,” you reply dryly, attempting to turn around again and open the door for him but his arm locks you in place.

“I mean, what are we doing?,” he rephrases, intense blue eyes burning holes in your face. “I love you, Y/N. I know we can’t go back to Vienna but maybe we can bring Vienna back to New York?”

Your fingers slide off the door knob and you sigh heavily. “I - I can’t go back to that life. I can’t go back to pretending to be someone I’m not.” Your eyes meet his and you immediately notice the painstaking hurt behind them.

“Look at you, Sebby.” You scan his clothes and give him a sad half smile. “You dyed your hair blond for your new movie. You dress up smart for big premieres and women all over the world swoon over you. They even write fan fiction about you.”

Collapsing your back against the surface of the door, you allow yourself to be cornered by Sebastian, his hands placed on either side of your head as he leans in closely. “Do you like the blond hair?”

Eyeing him curiously in confusion as to where this unexpected question came from, you shake your head at his silliness. “Of course I like your hair, Sebastian. But that’s not the point I’m trying to make here.”

Sighing softly, you press your hands to his chest and gently remove yourself from the door, tiptoeing back to the living room and onwards to the kitchen to make yourself a strong cup of coffee. “I don’t recognise you anymore, Seb. How can you keep your own unique identity if you continue to lose yourself in all these different characters?”

Again, he follows suit in uncomfortable silence, perched against the kitchen counter as he watches your every move very intently. “I’m just the girl next door, Seb,” you continue as you wait for the coffee machine to finish, “I’ve always been the girl next door.”

“But I don’t fit into your world. I’m not cut out for the glitter and glamour of the stardom. I don’t fit into the fancy gowns designers used to send me because I have a bigger body than the runway models they usually dress up.”

And all the people say "You can't wake up, this is not a dream You're part of a machine, you are not a human being With your face all made up, living on a screen Low on self-esteem, so you run on gasoline"

Pouring yourself a cup of coffee, you take a sip and revel in the warmth dripping down your throat and easing the soreness of the early morning wake up call, putting reality on hold for just a little while longer. Sebastian however, he doesn’t let your words wrap themselves around his heart. “I want to try this again, Y/N.”

You place your cup back on the counter, your hands falling limp at your sides as you cast your eyes downwards in contemplation. “I don’t think I can, Sebby.” The vulnerability in your words causes the goose bumps to cut like a knifes through your skin. “You promised to give me a couple days to figure things out. This isn’t exactly the time-out we agreed on.”

Sebastian takes a couple firm strides towards you, closing the distance until his hands cup your cheeks and his lips slant over yours. “I love you,” he whispers lowly and you know you’re done for. “I’m sorry but I can’t stand it anymore. You’ve been gone for too long and I’m going mad.”

“Sebastian…,” you try to reason with him but instead of letting you finish, his lips cut your off.

The kiss lasts longer than any other kiss with Sebastian before. Is it a minute or two? Ten minutes? An hour or two or three? You don’t know. You’ve lost all sense of time, only focused on the soft press of his lips on yours, that cheeky sliver of tongue slipping past your lips as you gasp when he squeezes your thigh.

He’s the first to deepen the kiss, but also the first to break it, instead peppering butterfly kisses down your neck and throat, crouching on his knees in front of you as he lifts up your shirt, looking up at you through thick, luscious eyelashes for permission.

The soft press of his lips on your tummy means your undoing. “I missed giving you tummy kisses. I missed your tummy, your thighs, your butt,… I missed my plus size girl.”

Are you deranged like me? Are you strange like me? Lighting matches just to swallow up the flame like me? Do you call yourself a fucking hurricane like me? Pointing fingers cause you'll never take the blame like me?

It’s like the earth moves under your feet, your heart bursting as you run your hands through his blond hair. “You know just the right things to say, don’t you?”

“Can I take you to your bedroom?,” he queries gingerly as he gazes lovingly into yours eyes. You bite your lip in doubt but you’ve already given your heart to Sebastian a long time ago, so the choice will never be yours to begin with.

He carries you bridal style to the bedroom, shedding himself of his shoes, trousers, jacket and shirt before crawling onto the bed and joining you underneath the covers. You hadn’t even bothered to take off any of your clothes, because it’s not that kind of intimacy you’re both looking for.

What Sebastian and you have always sought in a significant other, it’s that unbreakable emotional connection that transcends anything physical. Not just plain, sexual desire but a deeper skin contact.

His hands dip underneath your shirt, his sweaty palms providing the necessary warmth you’ve been craving for all this time. “I’m sorry, I’m so sorry, Y/N. I should’ve paid more attention to you. I should’ve seen how you were feeling. I should’ve been there to help you.”

Resting your cheek on his broad chest, you hum sadly. “I’m not gonna lie, I was really unhappy, Seb. People would comment online about how sweet you were to take a fat girl to a movie premiere. And the more parties or screenings or other events we attended, the more people would chime in and voice their surprise that you, Sebastian Stan, are still in love with me even though I’m fat.”

“I’m so sorry, baby.” His lips press a chaste kiss to your temple. “I’m so sorry. I can’t apologise enough.”

“It’s not your fault I got fat shamed on the internet, Sebastian.”

“That doesn’t change the fact that I should’ve stood up for you…”

“You did defend me, Seb, but the damage had already been done. The worlds keeps on turning, spitting hateful comments at whoever wants to hear them. I was so close to depression I just – I just had to take a step back from everything. But I’m better now. I want you back, Sebastian, but we have to make some changes. Otherwise we’re going to get caught in a hurricane again.”

Sebastian doesn’t believe his ears. “I’ll do anything you ask of me. I will take care of you, I miss you so much. I miss having you around. I miss you so much every single time I lay my eyes on our photo wall. I can’t live without you.”

“We have to communicate more and better,” you state frankly, your voice very clear about what you want and don’t want. “We keep a low profile. No accidental videos posted on Instagram of the two of us. I still can’t believe the whole world saw me do a kissy face.”

“The whole world didn’t see you do a kissy face,” Seb chuckles playfully with a wink. “If the whole world saw you do a kissy face, then the whole world saw just how much I love you.”

“Sebastian…,” you whine quietly at his attempt to light that same flame again. But the wildfire between you never really died down because this kind of love cannot be contained.

“We’ll talk more. We’ll talk every day until you’re sick and tired of my voice. No more impromptu Instagram posts. Like I said, Y/N, I will do anything and everything. I love you.”

You know he means it and as you look into his eyes, you have to admit to yourself it’ll always be Sebastian, no matter what he looks like. “How long are you supposed to keep the blond hair?”

“Not that long anymore. Filming is almost over. Why?”

You run a hand through his hair, chuckling at the golden shine. “It’s just – it makes you look younger.”

His chest rumbles with hearty laughter. “I’m 35, love. That’s still young.” During a short pause, Seb pulls you on top of him, his arms tightly around your waist. “But old enough to make a serious commitment.”

“What do you mean?,” you pipe up as your brows knit together in thought, your lips pecking the tip of his nose as your mind mulls over his intentions.

“Y/N,” the actor exhales with a nervous chuckle, eyeing the woman in his arms lovingly, “Please move back in with me.”

Tagging: @avengerofyourheart @a-little-hell-to-raise @marvelingatthewonder @mrshopkirk @hardcorehippos @knittingknerdy @winterboobaer @italwaysendsinafightt @viollettes @hymnofthevalkyrie @feelmyroarrrr @justareader @austinamelio @volklana @howlingbarnes @themcuhasruinedme @theoneandonlysaucymo @caplansteverogers @amrita31199 @emilyevanston @minervaem @howlingbarnes @buchananbarnestrash @youandb @you-and-bucky @fvckingsteverogers @thatawkwardtinyperson @barnes-heaven @that-sokovian-bastard @abovethesmokestacks @marvelrevival @marvel-fanfiction @justanotherbuckydevotee @barnes-heaven @heartmade-writingbucky @buckyywiththegoodhair @captnbarnesrogers @its-not-a-phase-hux @melconnor2007 @ivvitm1109 @toofuckinfabulous @ailynalonso15 @hollycornish @delicatecapnerd @camigt1999 @learisa @curlyexpat @palaiasaurus64 @fanndas-snow-goddess @crisssivonne @yourenotrogers @tomhollandzs @supernaturaldean65 @beeeeeeeeeeeeeeeep @aletheladyinred @sniktlogan @xbergiex @reniescarlett @promarvelfangirl @capbuckybuchanan @lovemarvelousfics @yknott81 @rrwilson66 @pegasusdragontiger @salty-holographic-stickers @sammyissassy @sebstanchrisevanchickforever19 @kudosia @bellejeunefillesansmerci @lumelgy @mizzzpink @southernbellestatues @daringtodreamawake @neurotic-narwhal @cokamarie24 @blue1928 @movingonto-betterthings @breezy1415 @isnt-the-blog-youre-looking-for @jesspfly @weenie-butt @debzybrazy @fuckingchaotic  @always-an-evans-addict @petersunderroos  @thegreentgirl @nedthegay @eve1978

Tag list for all plus size stories: @suz-123 @kiwi71281 @whatisaheroanyway @ilovebeingjoyful @veronicalei @meganlane84 @thescarsweleave @isaxhorror @pleasantdreamqueen @georgiadean37 @revlismoriarty @lostinthoughtsandfeelings @evyiione @salamander-falls @taylorjacksonandtheolympians @jughead-wuz-here @jasmineladjevardi @sonofadeanwinchester @3dsaunt @marvel-at-bucky @nothin-after-79 @sexy-sea-basss @shesmade0fcandy @wtfisalltherandoms @mrs-dr-strange @disneymarina @secondsandstars @brandybucky @metal-armed-dino@amethyst09 @sydsmut @princess76179 @marvelsdaughter @spideynygma  @beautifulbri26 @allyp1023

#sebastian stan x plus size! reader #sebastian stan #plus size reader #sebastian stan x plus size reader #caplansongficchallenge #plus size #plus size girl

[elkian]

I think I pinned down a major element in the difference between Bioshock 1 and 2′s writing

Character Motivation

NOTE: Contains spoilers for and criticism of Bioshock 1, possibly minor spoilers for Bioshock 2. If BS1 is your favorite game you may want to give this a miss.

---

(this turned into a list of BS1 grievances, ctrl+F “the twist” or “BS2″ if you want to jump to the relevant point)

I’ve mentioned it before in my Bioshock run, but Bioshock 1 has some glaringly obvious writing issues. 

Most notable to me were the first Plasmid injection - because as far as I can tell, and I spent some time trying to trigger a radio call, there is absolutely reason given for you to use it. As a Person Playing A Video Game, I’m going, “oh, here’s a locked door and a shiny item. If I grab the item it will probably (help me) open the door”. The player character has no such motivation. That’s okay, video games can be like that.

Less so how the Plasmid-getting actually works. IDK about anyone else, but I could not see the syringe before picking it up. Additionally, despite the pieces of advertisment about, there aren’t actually any explanations about what a Plasmid is or actually does. The goofy period-appropriate ad design doesn’t tell me, a player just starting this game, that not only am I actually gonna get in-universe superpowers but also a torturous DNA-modification cutscene.

So it was extremely surprising to press E to pick up this round glowing thing and have the player character immediately jam a horse needle into his arm with no apparent impetus.

Point 2 is in Arcadia. Searching boxes and bodies here yields crafting supplies. Again, as A Person Playing A Video Game, I know what’s happening. But the player character has no reason to start picking up crafting goods at this time. It’s around 5-15 minutes of gameplay after you start picking them up that you actually find a place for them, and 10-ish minutes after that for your Voice Over Buddy to mention them.

Frankly, a large part of my problem with these bits is that the devs have a tool right there to avoid them; Atlas is telling you all sorts of things, it would be simple to have him say, “Hey, this is gonna hurt like a somebitch, but I need you to grab that shiny thing in the dispenser and inject it into your body to open this door.” He DOES tell you about crafting, just way too late - and later in the game they absolutely have items show up on already-searched containers after triggering a plot flag, so this one is also p inexcusable.

In fact, from my point of view, the devs improve at making video games as they made the game. Part 1 had a lot of other minor issues - rooms where the surprise mob surprised you by having the room fill with smoke or fog as soon as you hit a plot trigger; the entire medical wing section felt more like a boring, grind-y pseudo-tutorial than an actual good plot segment; supposedly-Plasmid-abusing not-monsters failing to use any of the superpowers your character obtained seemingly effortlessly.

Later in the game, there is no fog- or smoke-rooms (at least not on Easy difficulty), but they combine two points by having Houdini Splicers - who use Plasmid powers that include, aside from pure offense, smoke-creation and teleportation, in a way the player can still track. It’s much, much more elegant than the previous areas. 

In a number of small other ways, particularly the writing, the game just becomes smoother the further into it you get (not in a way that feels intentional). Unfortunately, the first half of the game feels very much like they made the game, then wrote it, then built the second half around what they wrote.

One thing is The Twist. While it does explain some things - it makes an amount of sense for your character to know things about how Rapture and Plasmids work - it makes the entire fabrication of Atlas.... almost pointless, from the PC’s point of view. While you do start shaking off some indoctrination by the end, Fontaine can lead you around pretty effortlessly. He doesn’t need to win over your love or sympathy. I mean, yeah, he’s playing dead (I guess Ryan could hear him and realize who it is?) and Atlas is an established front, but it just doesn’t really hold up to close inspection. The entire point of Atlas is to fool the Player, at the cost of plot integrity.

After The Twist, you’re still dancing to someone else’s tune, but someone with whom I think the Player is much more sympathetic to. The whole ‘a man chooses, a slave obeys’ doesn’t really read as much of a choice-based plot if the vast majority of the plotline, minus some ending details, is in the hands of people other than the Player/Player Character. 

My motivation in BS1 differs from the character’s, because even at the end I don’t know my character’s motivation. And while blank-slate PCs and inscrutable PCs can work, I’m not entirely sure 2k was ever consciously going for that. If they were, I shouldn’t have to wonder.

---

The motivation in BS2 is much clearer, imo. I kind of wonder if the reason the Big Daddy segment in BS1 was so fun is because it came with a complete clarity of purpose - you want to protect the Little Sister.

The PC motivation in BS2, thus far, is extremely clear: Find your Little Sister. She contacts you throughout the game, clearly in need of help, and you want to help her, find her, reconnect with her. Unless they pull another twist at some point (and they better have the best motherfucking writer in the universe on board for it tbh), I know exactly what my character wants, and I agree with it.

This also makes the voice-over and helper characters fit into the plot better - Tennenbaum remains within established personality parameters. Sinclair is looking to turn a profit, and bringing down Lamb might help that goal - I don’t trust his character, but I understand that we need him to accomplish our clearly defined personal goal. We’ll tolerate him for as long as he helps us, and if he turns on us, I personally have no problem killing him - and I don’t think Delta would, either.

BS2 still has some writing issues, but both the map and the overarching plot read much, much clearer to me.

#elk text #2nd #October #2017 #October 2nd 2017 #elk plays bioshock 2 #i wonder if the bit with cohen was so good because it was easier to at least project motivation on

[mrmichaelchadler]

War of the Words: Calum Worthy, Jackie Long, and Joseph Kahn on Bodied

Joseph Kahn’s “Bodied” is unlike anything you’ve seen before. It’s a hyperactive action-comedy set in the world of rap battling, where brilliant minds fire jaw-dropping disses at each other and the arena is a safe space for non-PC culture, no matter how offensive. In a story co-written by Joseph Kahn and Alex Larsen (with a screenplay by Larsen, known as the battler Kid Twist), "Bodied" takes the form of a rap music “Whiplash” as a dorky white kid named Adam (Calum Worthy) becomes the protege to Jackie Long’s character Behn Grimm, a master battler. Adam’s initially teeth-gnashing anthropological interest in the rap battle world (and in the use of n-word) becomes an impetus for him to genuinely join the scene, where his analytical skills become an asset in establishing himself as a rapper. 

This is the third feature film by music video director Joseph Kahn, who has always had a sharp eye on pop culture (“Torque,” “Detention”) and makes the experience of rap battling all the more in-your-face with his kinetic filmmaking. Kahn has also written criticism before from his filmmaking perspective, as with this incredibly eye-opening blog post on “The Dark Knight” and action editing. He's always been a filmmaker to watch out for, and now with "Bodied," and a recent mysterious meeting with Marvel, Kahn is making a mark of his own. 

RogerEbert.com sat down with Worthy, Long, and Kahn to discuss their wildly entertaining film, the preparation that went into coming off like real rap battlers, the blessing this project got from executive producer Eminem and more. 

My first question is for you, Joseph: “Bodied” definitely takes place in 2018, but its needle drops are like “new classics” of hip-hop, including J-Kwon, Yung Joc, DMX. Why those songs? 

JOSEPH KAHN: There’s a particular era of rap music that has a beat that’s funny to me, quite frankly. Now, rap is not funny. It’s not party music anymore. 

What about Soundcloud rap? 

No, I think it’s all laid back. The beat feels too laid back. The type of comedy I’m going for is high energy, and with propulsion. At the time I was making the movie, it just felt like the funniest beats to put against a white guy, that era of rap sounded really funny to me. And it seemed like the type of music that he simply should not be listening to. 

Jackie and Calum: What scared you the most, and excited you the most about this project?

JACKIE LONG: I don’t think nothing too much scared me about the project, at all. I wasn’t scared to do the project, but the best part was taking the project. I know it’s a very controversial movie, so that was the biggest thing for me, the controversy that it was talking about with free speech. I was happy to take the role. 

Did that particularly excite you, the non-PC nature? 

JL: The world needs to hear what this movie is talking about. You gotta definitely not be afraid of nothing, so this is like the perfect movie for that. 

CALUM WORTHY: The biggest thing that scared me about this project was some of the material that I had to say. Coming from where I was coming from, where I was protected by this major brand for a kid’s network, I was leaving that and suddenly I was putting a lot on the line to tell this story I cared about, knowing that I could face some backlash from my audience, however much I am an artist. And what excited me was the character of Adam, he’s the antihero, almost to the point of being a villain, and with some extremely complex choices. He defends his friends who are rappers for most of the movie, and then ultimately stabs him in the back. It’s like a Shakespearean theme. 

How did you guys iron out your rap battles, which are like Shakespearean monologues themselves? 

JL: Since the first day we met, it was work. We knew we both had to take each other under each other’s wing and make a good movie. We already knew what was expected, and we knew how this man would craft it. So if we do the right thing and study it and do what we’re supposed to do, we know we’re going to do a good job, and lucky enough he’s such a good sport, he wasn’t one of them actors who’s like, 'Nah, I’m going to do my own shit, I don’t need this shit' it was like we really bonded and really went to work. And deep down with the other battle rappers and doing research. 

CW: You know it’s a good script when every time you say the words, it triggers that emotion, it takes you to that moment. When I was practicing the raps with the other rappers, I wasn’t able to say the lines without being triggered emotionally, the way I wanted to on set. And obviously you try to keep that for the day, but that’s how you know you’re dealing with a really good script. 

Were you guys rehearsing constantly with the battle raps?

JL: On the double rap, that was more of a spontaneous scene, we had the other battle rappers do that. But the other stuff that we had was all written by Alex Larsen, who wrote it word for word. Our words were more telling the story of our characters, the other battle rappers, theirs was their story as well, but they could ad-lib because they’re professionals. 

CW: This was a script that was so tight and so smart, it was the smartest script I’ve ever read. I didn’t want to change a single word because every single line pushed the movie forward and the story forward. 

It’s almost like doing a basketball movie, but the other actors in it with you are Lebron James and Michael Jordan. 

That’s intimidating. 

CW: It’s extremely intimidating. And I’m not cool, I’ve never stayed cool in my life. 

But when you’re working on that finale, which is like a 40-minute rap battle, how do you keep that energy? 

CW: You rehearse it like a play. 

JL: You got good background actors as well. They gave us good energy. IF we didn’t have them as well, to feed off that energy, we couldn’t have probably done what we done. You need background, and there were some great background actors to give us that energy and to make us really feel like we were battle rappers. Some of the shots that we did sometimes was without them even knowing what we were about to say, and he shot it to capture real cheers. At the end of the day, when we were getting that message from them about how good we was, for me I was like ‘I’m going home to really study and kill this. I got these battle rappers, they’re vouching for us. Shit, this is amazing.” So I thank the background actors as well. 

They provide an immense energy. 

JL: They hung in with us man, and I thank the background actors. I started with that world, I come from that. I used to do background. And people always ask me, ‘How did you start?’ I say ‘background acting.’ I don’t say ‘extra’ because that’s disrespectful, I’m a background actor. And you can only move up if you take it serious. So, any background actor out there, my message to you is don’t go to set and get at the girls or dudes or go get the food, real ask the actors if you get the opportunity, what classes did you take, what did you do to get into acting? Ask questions, don’t just get in there to meet somebody, really watch the craft of the actor that you like. 

Joseph, how did you work with Alex to write the story? 

JK: We designed the story; film is architecture. It’s only two hours, and it’s maybe 60 to 100 scenes, so we worked out all of the scenes and motivations, and what should happen and why they happen. You really do think out all of the thematics, before hand. Then some motherfucker has to write that script. And I was off busy. My original intent was actually to cowrite it with him, and I was thinking 'I’ll do the dramatic stuff, he’ll do the rap stuff.' And then this dude, has a fucking writing … he’s a literature major. I’m directing all of these commercials and music videos, and then a couple months later he’s like, “Hey, I did a first act.” And I read it, and it was brilliant. I was like, ‘This dude is a better writer than me.’ And I said, ‘Alex, write the rest of the script,’ and there it was. 

Why is he not touring with you guys? 

JK: He’s hibernating. He’s in a moose barn milking his moose. 

JL: He kinda look you!

Is he white? 

JK: He’s a white dude who’s in Canada and milking his moose. 

CW: Talking about Justin Trudeau. 

That’s the energy of the movie: a lit major talking about rap music. Did you guys have a lot of debate about this stuff? There’s so much discussion in the movie it could be its own college course.

JL: We only had 22 days of shooting man, we couldn’t discuss too much shit. We had to really learn our lines, work, go home and get whatever rest we could, and come back to work. The discussion was for the people, the fans. 

Doing an interview for this kind of movie seems kind of pointless because it’s not about getting answers? It’s the discussion. 

JL: Exactly, we want you to leave the theater and be like, ‘Wow, did you fucking hear what they said? Oh my god.’ That’s what the movie’s about, it’s not about us giving you answers. Everybody got something that relates to them in this movie, everybody. I don’t give a fuck what race you are. 

CW: It’s an unusual theatrical experience, because right now content for the most part, is watched individually, we watch it on our own. This is a true group experience, and you want to experience it with a crowd, because it starts conversation. What some people laugh at, what some people get hurt by, that’s what’s exciting about this movie. 

Do you guys see that there is a set of rules that do form in the movie? Some definite no-nos? Completely open to non-PC limits? 

JK: I think that’s one of the fun parts about the movie, that the rules keep shifting. The rules shift. There are no rules, essentially, because there are no rules to life. What is a civilization? It’s an agreed upon set of terms that we all do to not kill each other, essentially. Because we are predators, human beings are predators. We did not get here and have seven billion people in the world because we don’t kill things, we kill everything. We eat it, we knock animals out of their homes, and kill each other, and each individual civilization, these little communities that we have, are agreements that “we are going to sit next to each other and we’re not going to kill each other.” That’s it. Period. 

We’re just going to get along. And not offend each other. 

Right. So then we have different communities get together, and the actual act of battle rapping is this wonderful, interesting metaphor for how we can essentially start poking each other for the kill, but stop. When you insult somebody for fun, and they accept, you’re literally challenging them not to kill you. 

… Joseph, what kind of books are you reading these days? What podcasts are you listening to? 

JK: I can go check my Kindle. 

Jackie and Calum: What kind of blessing did you guys get from executive producer and music supervisor Eminem? 

JL: He gave Joseph more advice than he gave us, and he gave Joseph advice on the movie, pointer tips, stuff on the actors, who they are. I never got to speak with him, the only thing I know about him through Joseph, is that he thought that me and Calum was real battle rappers. 

CW: The best part about having him involved in this film was knowing that we get his stamp of approval. Because I think that for fans of rap, they’re always wanting to make sure its legitimate when actors are portraying a rapper. With Eminem involved, we weren’t going to make this film unless one of the greatest battle rappers, if not the greatest battle rapper of all time was approving it, and making sure that it was legit and authentic. 

JL: When he thought that we were battle rappers, I mean, that’s when you know that the movie was good. We not no damn battle rappers. 

JK: You want my reading list? The Stranger by Albert Camus, Fantasyland by Kurt Andersen, Leonardo da Vinci biography by Walter Isaacson, Cognitive Semiotics of Film by Warren Buckland. The Wall by Sartre. 

So you got some existential shit, and semiotics, but you’re also interested in pop. 

JK: Buckland’s best book is his one on Steven Spielberg, it’s really funny. 

Are you going to do any more criticism? 

JK: I spoke at Stanford, like six months ago and taught a bunch of film classes there. And they want me to be an artist in residency, but I don’t have time. 

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