#this was the best change/addition to the remake

[httpsserene]

Oscar saying”touch grass and find someone that will fuck you cause it sure as hell won’t be me” and also “in Vegas everyone of you that was rude WILL be going up to my sweet lovely beautiful smart girlfriend and you WILL be apologizing.”

Can you imagine if he ever finds out about the one that burned her with coffee? Oooff she’s done for

𝐮𝐩𝐭𝐨𝐰𝐧 𝐨𝐩.𝟖𝟏

𝘄𝗼𝗿𝗱 𝗰𝗼𝘂𝗻𝘁: 1.2k words 𝗽𝗮𝗶𝗿𝗶𝗻𝗴: oscar piastri x fem!black!reader 𝗴𝗲𝗻𝗿𝗲: blurb. part two to a prev. fic.

✧*̣̩⋆̩☽⋆゜omggg i wish i got to this lil addition sooner !!! i was sitting here like lowkey like, how out of pocket would oscar be after he learned that a delusional fan intentionally burned his girl??? but here’s how i think it would exactly go down! this starts pretty much directly after best i ever had ends, like post-bath sex and everything. ✧*̣̩⋆̩☽⋆゜

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your skin is warm, your muscles relaxed, and your legs feel unstable. the phantom weight of oscar resides between your legs from minutes past when he helped you ride him to an orgasm in the bath. to think that if you managed to convince him to break up with you, you’d never have the best sex of your life again. 

you’re sitting on the countertop next to the sink, towel slipping down around your waist as oscar massages lotion into your brown skin, when you tell him that exact thought. he’s standing between your legs (his towel securely tucked around his tiny ass waist), wet hair curled on his forehead and he hums in dissent, 

“there wasn’t a single time this past month where i even thought about breaking up with you.” your breath catches at his words and there’s not an ounce of a lie in his tone. after the pampering events of tonight, you didn’t think you needed anymore reassurance that he’s not going anywhere but it’s incredibly nice to hear it. you pause trying to think of the word to express just how sweet oscar is, but he speaks before you.

“woah, wait a minute,” oscar’s brow is furrowed, gaze focused on the back of your left hand, where there’s a slightly inflamed patch of skin, “babe, did you burn yourself? when did this happen?”

he gently brushes his thumb over the spot to gauge how sore the spot is and frowns when you wince and slip your hand out of his grasp. you cradle your hand to your chest and shrug dismissively, “happened earlier t’day at the shop; some girl dumped her coffee on me.”

“what?” oscar stares at you, puzzled, “she purposefully dropped hot coffee on your hand?”

“mmm, well i can’t say that she did it ‘on purpose,’” you sigh, “but, she was wearing an oscar piastri mclaren hoodie and she did laugh about it with her friends afterwards.”

“you’re being serious? a fan dumped a literally burning hot cup of coffee on you,” oscar attempted to clarify, like he can’t believe it. 

you miss how his expression is growing stormier and keep rambling on about your experience, “oh, i’m dead serious ‘roo. most of your fangirls have decided that i’m the spawn of satan because i can’t physically be by your side at all of your races. i mean–do they really think i would rather be learning about thermodynamics when i could be on the pitwall?”

“you know, at the end of the day i’m surprised at the fact that she had the balls to do it,” you continue (the aussie looks less impressed the more you keep talking), “highkey, i was getting sick and tired of all the girls who would come up and tell me i made their order wrong–when i most definitely did not!--and i had to remake their drink. so, props to her for changing it up on me, i was not expecting that.”

oscar rubs at his forehead for a few seconds before he purses his lips and cocks his head at the side to look at you, and then it dawns on you…maybe he doesn’t find this as amusing as you did.

“kanga, baby–she burned you. she intentionally harmed you, you could sue her, i think. you should sue her! i, personally, want to ruin her life,” oscar states, dead serious.

you shrug, “it’s not that serious to me. i’ll just put some ointment on it and it’ll be gone in a few weeks. and, she can be as jealous as she wants—you’re still here in between my legs, rubbing lotion into my skin after you just fucked me until my legs were jello. i really could not give a fuck about her, trust that.”

oscar grumbles unhappily, “well, i give a fuck. nobody should think that they can get away with hurting you, regardless of how serious the injury is. where’s the ointment?”

you lean forward, pressing kisses to oscar’s pout, “‘s in the medicine cabinet, ‘roo. if you want to address it, i won’t stop you, you can handle it how you like. as long as it doesn’t get you in trouble with the pr team, i’m fine with it.”

and that’s when you find out just how fine mclaren is with having oscar publicly call his fans crazy. 

it’s race weekend in las vegas, and fp2 has been delayed. you were falling asleep on your feet in the garage, so oscar had tucked you into bed in his motorhome, letting you take a nap while he went to do some interviews.

he’s caught by ted kravitz from sky sports and the best opportunity that oscar has ever had falls directly into his lap.

“oscar! how are you feeling, mate?” ted starts, “you certainly had an interesting break leading up to this race, and, you’ve managed to take the world of formula one on another spin with your tweet defending your girlfriend—would you care to expand on that?”

oscar smiles, “i would love to talk about it actually.”

“oh,” ted looks baffled, looking at the camera in shock, before he gestures for oscar to speak.

“well. i stand by what i said,” oscar states, “if anybody thought i was being rude, i really don’t care. what i do find rude, however, is the fact that my girlfriend was being harassed at her job by people who call themselves my fans.”

“oh, mate, i thought you were being rather nice about the situation,” ted offers, “but, you’re saying fans have gone to lengths to ‘harass’ your lovely girlfriend in person?”

“unfortunately, i’m telling the truth. it got to a point where a fan was bold enough to burn her with boiling hot coffee.”

“no!” ted gasps, aghast.

“yes! as soon as she told me, i told her that she should press charges, but she didn’t want to. i guess she’s a lot nicer than me,” oscar scratches at his jaw.

“well, i’m pretty sure that’s at least an assault or injury claim right? i think that fan should be taught a lesson. it’s wild to think that someone who calls themselves a ‘fan’ would hurt one of the best WAG’s,” ted looks disgusted.

“yeah, well–i hope that woman knows the whole interaction was caught on camera and that my girlfriend is well within her rights to press charges. it would suck that an act you committed out of jealousy and envy has the chance to give you a lifelong criminal record, huh?” oscar’s eyes shine with a threatening twinkle, “i can’t imagine being so obsessed with a man you never had and never will have, and you proceed to take it out on his beautiful, intelligent, ambitious, loving, and extremely supportive girlfriend. it kind of seems…” he pauses for effect, searching for just the right word, “...desperate—doesn’t it, ted?”

“it seems absolutely demented, oscar.”

the clip hits three million views in four hours and trends for weeks.

taglist: @saintslewis @cherry2stems @lorarri @inloveallthetime @mindless-rock @biancathecool @barnestatic @my-ylenia @katekipshidze @darleneslane @lovingaphroditesworld @smoothopz @vetteltea @tallrock35 @iloveyou3000morgan @smartstupyd @spideybv28 @loomiscorpse

© httpsserene2023

#oscar piastri x reader #oscar piastri x female reader #oscar piastri x black!reader #oscar piastri x you #lando norris x reader #logan sergeant x reader #f1 x reader #f1 x female reader #f1 x black!reader #f1 x you #oscar piastri fic #oscar piastri fanfic #formula 1 fanfic #f1 imagine #f1 smut #oscar piastri smut #formula 1 x reader #f1 fluff #f1 fic #f1 fic rec #oscar piastri imagine #oscar piastri #formula 1 x black!reader #serene’s chapters. #⋆⭒˚｡⋆. series special: formula 1 #♡ ༘*.ﾟ love interest: op.

[fullscoreshenanigans]

Your analyses are the best. They are so fun to read and I over think everything afterwarrs

Thank you!

For analyses above my level, I highly recommend checking out these if you haven't already read them:

The two chapters of Kei Toda's Reading The Promised Neverland with a British/American Literature Scholar (2020) that have been translated into English by fans (Chapter 2: Religion by @thathilomgirl & @0hana0fubuki0 | Chapter 3: Gender by @1000sunnygo)

Anime Feminist's "Emma’s Choice: The gender-norm nightmare at the heart of The Promised Neverland" article (2018) (good follow-up to Toda's chapter on gender)

Jackson P. Brown's "Thoughts on… The Promised Neverland, and Black Women in Manga" (2018) blog post and Zeria's video essay/blog post (2019) on Krone's depiction

Jairus Taylor's "The Unfulfilled Potential of The Promised Neverland Anime" (2021) which made me more open to the idea of a remake of S1

For tumblr posts (some of these I'm linking through my blog because I either had a minor link addition or think the OP's/prev's tags deserve to be seen and rebloggable, but you can just click through to the original post):

@puff-poff's exploration of the demon world's culture (Part 1 & Part 2)

@just-like-playing-tag's examination of the farm system, Emma character analysis launched by a minute change in S2e02, and mini-Isabella analysis regarding her treatment of Ray (along with her blog just being a wealth of knowledge in general)

@hylialeia's post on the series' handling of Norman's plan/the oppressed and oppressors

@avadescent's analysis of the S2 ED album art (Norman and Emma are perpendicular; Emma and Ray are parallel.)

@linkspooky has a lot of analyses from when the series was running but special mention to this analysis of Norman's character

@vobomon also has a lot but special mention to her Norman is autistic and Norman has PTSD posts

@goldiipond's "Ray is autistic" essay

@emmaspolaroid with some of the best Emma and Emma & Isabella meta in general

@nullaby's post on Isabella and Ray's relationship

#The Promised Neverland #Yakusoku no Neverland #YnN #TPN #TPN Meta #Character Analysis #FSS Chatter #FSS Asks #TPN Krone #Sister Krone #Kei Toda #Reading The Promised Neverland with a British/American Literature Scholar #definitely forgetting some but these are the ones that first come to mind and I could easily find again #there's also some fanfics out there that are so foundational to me for my interpretations of the characters #(𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝑌𝑜𝑢𝑟 𝐹𝑖𝑛𝑔𝑒𝑟𝑠‚ 𝐵𝑒𝑡𝑤𝑒𝑒𝑛 𝑡ℎ𝑒 𝐿𝑖𝑛𝑒𝑠 my beloved <3; along with bsa's and sae's works and others) #but this is already a bit of reading #also probably a number of discussions on TPNtwt that I'm missing out on but I fucking abhor the format for long-form discussion #even with thread unrollers #Sunny idk if it's just my browser but I think some of the pic links on your blogspot are breaking </3 #if you take a shot for every time I mention on this blog how I still can't believe the S2 ED album art is real you'll get alcohol poisoning

[infinitebrians]

Favorite Games of 2023 Part 5: Dragon Warrior 1+2

I now after having played Dragon Warrior 1+2 (now commonly referred to as Dragon Quest 1 and 2) for the Gameboy Color completely understand why this series became the massive cultural juggernaut that it is now. I played these two games as a complete spur of the moment thing during the last two weeks of the year due to being totally surprised by how pretty the Gameboy Color remake of Dragon Quest 1 looked while watching a Gigaboots stream ( https://youtu.be/1ELg0p31zZI?feature=shared ) of it. I really could not get over how pretty the battle backgrounds looked and how many unique locations they had, it made a limitation of the game (battles only having one enemy per encounter) one of it’s strongest aspects to me. This is of course is in addition to the really fun character and enemy sprites all being distinct and memorable as well. I didn’t even approach this game expecting to want to finish it let alone finish both but the way the games felt like they were always moving forward (DQ1 more than 2 in that regard) kept me interested all the way to the end.

Dragon Quest 1’s combat is as simple as it always appeared to be, a game entirely consisting of one versus one matches of trying to out damage the other. It was a game of breaking new ground in terms of video game genre so it has an excuse at least and even then as with the GBC remake, it’s still decently fun. As a result though, jumping over to Dragon Quest 2 immediately afterwards with its introduction of party members for both you and your opponents felt world changing. Being ganged up on was scary and learning spells that hit multiple enemies felt like a massive upgrade in power. What made the battle systems in both games really click was just how snappy they felt. Random encounters were almost always over within a minute at maximum, attacks are quick, menuing feels immediate, and enemies are felled within one or two rounds. It’s a popcorn like approach to combat, small tasty satisfying bites, easily consumed and never distracting.

What made it more fun to me was trying to find the most optimal way to finish encounters in Dragon Quest 2 in the most efficient way possible (least rounds taken, without wasting unnecessary amounts of magic points). The enemies were all really easily identifiable as to what they’ll do in an encounter (be tanky, heavy hitters, poison appliers) and what made them interesting was the variety of ways they were grouped up with other enemies. Playing through these encounters in manner of quickly reading the situation and giving a fast response in turn eventually made me associate the game with that of Tetris. In both, you’re given the capability to read your current issue at hand and come to a best possible solution in split second timing. In both, you’re never made to feel like theres only ever one way to solve this problem but instead given the freedom to utilize improvisation. This fast, responsive setup to its gameplay always just clicked well with me in creating a flow state that gave a good feeling of thinking without having to think about it.

I totally played both of these with guides and with a good amount of use with the 3DS’s virtual console save state feature. In Dragon Quest 1 it was mainly just always having a map open the whole time so I could know where to go and what town/dungeon was where. In Dragon Quest 2, I don’t think I would have liked that game anywhere near as much as I do currently if I attempted to do it’s convoluted, worldwide search for trinkets that are only hinted at. A friend gave me a PDF of a scanned Prima strategy guide made for the games when they were originally released, it felt like the most appropriate, nostalgic way to play this sort of game. I even did what I always did as a kid and flipped through the whole thing looking for cool art of your characters, one of my favorite parts of my dad always buying the strategy guides for Zelda games or looking at my cousin’s Final Fantasy guides. I attempted to minimize the direct following of the guides and try to figure most things out on my own but after spending what felt like an appropriate amount of time with Dragon Quest 2’s fetch quests, I just did what the guide told me to the end. As for save states, I mainly just used them as a more modern means of saving the game AND a means of trapping any and every metal slime i found in a time loop hell until they gave me the tons of experience that I desired. As a result of that, I found grinding enjoyable and being powerful to just crush everyone afterwards satisfying.

Something I kept joking with my friends while playing through Dragon Quest 2 was the idea that ‘if I can finish Dragon Quest 2 before the end of 2023, then that announced remake of Dragon Quest 3 has to come out in 2024!’ Over the week of playing it the joke became more of a self imposed challenge. This resulted with spending all day December 31st finishing the game up (though partially that was because I just could not put the game down, I was just really enjoying the game at that point). So I accomplished my goal and now the curse of that Dragon Quest 3 remake is lifted and will absolutely come out this year and if it does it’s entirely because of me, you’re welcome. Now though my issue is I really want to play DQ3 right now and now I feel like I should wait out for that remake. I got the want for more Dragon Quest and now I gotta hold it off for the time being (or I can just play that GBC remake of 3, have you seen the enemy animations in that they’re incredible!)

#drawdogs #art #pixel art #gif #writing #favorite games of 2023 #dragon quest #dragon quest 2 #dq

[midnighttrain-project]

Hello everyone! It’s time for another development blog!

Thank you very much for the support I received in the previous post! This time, the focus will be pixel art! In particular, we will talk about the creative process behind the new sprites of the remake.

As some of you may already know, MerúM is the artist in charge of the pixel art in Midnight Train. Let’s ask him some questions about it!

🌙🚂 Interview with MerúM 🚂🌙

Lydia: First of all, could you introduce yourself?

MerúM: I call myself MerúM. I am the pixel artist of Midnight Train: New Moon, and I am in charge of the sprites and animations of the characters. I also worked on Aria's Story and the previous version of Midnight Train doing the same job.

Lydia: The character sprites in Midnight Train: New Moon look quite different from the original version. Is there any reason for this change?

MerúM: Well, before the switch to RPG Maker MV, I was already working on the new sprites and animations for the Midnight Train remake. However, once we changed programs, I noticed that the character sprites were very small compared to the current screen dimensions. I decided that this was a perfect opportunity to redo the sprites from scratch as well, increasing their dimensions and detailing them more than the previous version allowed me, without wanting to move them too far away from the previous chibi style.

Lydia: Right now, you already completed all the characters sprites for chapter 1. Was there any challenge or something you’re really proud about? 

MerúM: After changing the sprites, the expressiveness of the characters has improved a lot. Characters now have many more unique animations and expressions, solidifying their personalities. I think this new style works very well with the aesthetic of Midnight Train’s world and makes them look quite unique from character to character.

Lydia: Could you describe your workflow and what programs you use to create your work?

MerúM: For my sprites, I use Aseprite. Before starting with a specific character, I tend to draw their base sprites and their walking animations. After this, I receive a list of events that will occur in the game related to those characters, and then I create the sprites and animations that fit into said scenes using the base sprites as a reference. Usually, I am in charge of designing how these scenes will look in pixel art, but with some more specific or complicated scenes I have received a quick sketch of how the sprite/animation should look like as a visual aid, and thus arrive at the version that best suits the scene.

Lydia: I’m just curious about something… Who is your favorite character from Midnight Train?

MerúM: I think all the characters are fantastic, maybe I could consider Neil Lawton my favorite. I think, in the end, we should all be a little like Neil. Even if you are afraid at first to move forward, just do it. This is what Neil does, he may be afraid, but he faces this fear to survive.

Lydia: Is there anything else you would like to tell us?

MerúM: What else could I say? I think Midnight Train: New Moon brings a story that will appeal to anyone who is passionate about mystery stories. By the way, it's fun to mention that in addition to Justice, Purity and some secondary characters, I have been the main designer of Larissa, one of the new characters in this remake. I hope you play Midnight Train: New Moon and get to know her!

🌙🚂 Progress 🚂🌙

I hope you liked the interview with MerúM! I wouldn't have been able to create my games without his help, as I'm pretty bad at pixel art. I'm excited to see all the sprites he will create for chapter 2! I personally can't wait to see Apollo's animations. Now, I want to report about the development of the game. I’m almost finished with the maps of chapter 2, so I expect to start programming this chapter very soon! Literally, there is only one map left…! I wanted to add a new puzzle to this map, so I’ve been stuck brainstorming ideas… Ahh, it feels like facing a final boss before proceeding to the next step.

Thank you a lot for your support and patience! See you next time~

#midnight train (game) #midnight train new moon #midnight train game

[gunsatthaphan]

~ Monthly BL Breakdown: July 2023 ~  

🕶️ Happy August!!! 🌻

Disclaimer: ALL shows can be streamed here or here, as well as on Youtube and other platforms. For more info on where to watch what, check out this post!

New breakdowns are coming at the end of every month - feel free to add stuff!  -> previous breakdowns

What came out this month? (green = seen/currently watching)

🌟 Be Mine SuperStar - July 3rd (Thailand) ✅

🌟 Minato Shouji Coin Laundry Season 2 - July 5th (Japan)  

🌟 Stay by My Side - July 7th (Taiwan)

🌟 Stay With Me - July 7th (China, censored) 

🌟 Senior Love Me? (short film) - July 7th (Thailand) 

🌟 Low Frequency - July 8th (Thailand)

🌟 Hidden Agenda - July 9th (Thailand) ✅

🌟 Bump Up Business - July 9th (South Korea) 

🌟 Laws of Attraction - July 15th (Thailand)

🌟 The Star Season 2 - July 15th (Myanmar) 

🌟 Wedding Plan - July 19th (Thailand) ✅

🌟 After Sundown - July 20th (Thailand, cinema-release)

🌟 Jun and Jun - July 20th (South Korea)  

🌟 Monochrome (short film) - July 25th (Thailand) 

🌟 Papa, What Is Love? Season 2 - July 28th (Philippines) 

Monthly likes/dislikes

❣️ Be Mine Superstar - once in a while a trashy low budget show comes along and hits just the right spot - this is that show lmao. I was looking forward to seeing JaFirst again but I did not expect to like it this much lol. It’s ridiculous but the kind that makes me laugh a lot. JaFirst completely reversing their roles has me rolling and is working extremely well. Love Stage vibes all around. I love it so far. 

New series & movie announcements

🎥 Night Dream - Date TBA (Thailand) 

🎥 I Love You I Kill You (novel adaption) - Date TBA (Thailand) 

🎥 Beyond The Duo (short film) - Date TBA (Myanmar) 

🎥 UniverSad (novel adaption) - Date TBA (Thailand) 

🎥 Iridescent love - Date TBA (Thailand) 

🎥 Nai Hia Bok Mai Chop Dek - Date TBA (Thailand) 

🎥 The Hell Guards (Hey Don't Mess With My Heart) - Date TBA (Thailand) 

🎥 Even If I Try To Fall In Love With You (君となら恋をしてみても, manga adaption) - Date TBA (Japan) 

🎥 Wishing Upon the Shooting Stars - Date TBA (Taiwan) 

🎥 Bad Guy My Boss - Date TBA (Thailand) 

Other news from the BL world

❗️ The following BL productions & actors won at this year’s Asia Top Awards 2023:

Ohm Thitiwat: Best Actor (609 Bedtime Story)

Tar Atiwat: Rising Star (I Will Knock You)

PeeTitle: Popularity Award (La Pluie)

Gun Napat: Best Performance in a BL (Luminous Solution) 

Mew Suppasit: Best Serial Actor (Love Me Again) 

KinnPorsche: Most Popular BL Series

❗️ Former StarHunter actor Bas Suradet (2Moons, Gen Y) has joined Studio WabiSabi, along with 4 other new faces in their New Generation Lineup. 

❗️ The novel ไหนเฮียบอกไม่ชอบเด็ก will be adapted into a series by MFlow Entertainment. Auditions are currently being held. Further details are unknown. 

❗️ The upcoming GMMTV BL Cherry Magic released its pilot trailer after an 8 month delay due to copyright issues. Workshops are currently happening. The show will likely air in early 2024.  

❗️ GMMTV announced that GeminiFourth will no longer be part of the upcoming BL/GL drama 23.5 due to changes in storylines & characters. They have been replaced by View Benyapa and June Wanwimol who will play the roles of Aylin & Luna, making it a GL-only drama. Further cast additions include Ciize Rutricha and others. 

❗️ Actor Tul Pakorn (Together With Me, Manner of Death) announced his retirement from acting as he is pursuing a career in real estate in New York after getting his master’s degree. 

❗️ The upcoming Domundi BL Middleman's Love has started workshops. The show will likely air towards the end of the year. 

❗️ The Japanese BL Ossan's Love is rumored to get a third season which will likely premiere in January 2024. Further details are unknown. 

❗️ The Norwegian web series SKAM (2015-2017) will get a Korean adaption called Skam Korea. The series has a total of 7 remakes from 6 European countries + the US. Auditions are currently being held. 

❗️ GeminiFourth announced that they will be starring in another BL series which will be a novel adaption. Further details are unknown. 

Upcoming series & movies for August

👉🏻 Stay Still - August 1st (Hong Kong) 

👉🏻 Sing My Crush - August 2nd (South Korea) 

👉🏻 The New Employee (movie version) - August 3rd (South Korea) 

👉🏻 Love in Translation - August 5th (Thailand) 

👉🏻 My Personal Weatherman - August 11th (Japan) 

👉🏻 Love Class Season 2 - August 11th (South Korea) 

👉🏻 Only Friends - August 12th (Thailand) 

👉🏻 Friend. Boy Friend - August 19th (Thailand) 

👉🏻 Lucky Love - August 20th (Thailand) 

👉🏻 My Universe - August 20th (Thailand) 

👉🏻 Kiseki: Dear to Me - August 22nd (Taiwan) 

👉🏻 Why R U? Korean Remake - August 24th (South Korea) 

👉🏻 Crazy Handsome Rich - August TBA (Thailand) 

#doreens monthly bl breakdown #thai bl #bl drama #upcoming bl #update #bl news #august is gonna be wild im so ready #bring it

[klonoa-at-blog]

From: Nintendo World (May 2009)

Complete evolution in a remake. Originally released in the competition's first generation, the game Klonoa became famous for uniting graphically superb scenarios, hyper-fun platform gameplay and a very charismatic protagonist in the same package. Now, with this Nintendo Wii remake, things... have changed little. At first, you'll notice that this game is a kind of "remake on steroids": it's exactly the same thing you saw on old consoles, but now with sharper graphics, 3D scenery that really looks 3D, and a or other gameplay tweaks. Despite offering absolutely nothing new, it manages to amuse up to a certain point.  Klonoa tells the story of a type of "humanoid rabbit", who, after falling from a gigantic ring coming from space, gains a little friend called Huepow. Later on, the protagonist has a nightmare of pirate ships and dark clouds, and wakes up only to discover that his imagination has become a reality. Now to investigate why this is all happening and prevent the world from being swallowed by darkness, you must take the rabbit and his cosmic friend through a series of levels in the best platform style, while unraveling mysteries in real time.  Graphically, the game is quite beautiful, I admit. The settings are alive, verdant, remarkably designed and well designed. You even get a sense of depth, although you can only move in two axes. You use a button to jump, which when pressed continuously will make Klonoa float for a short time. In addition, the intrepid hero has a ring that allows him to capture enemies and throw them in three spectrums of movement - front, back, and background. Couple this simple but responsive gameplay with superb graphics and gorgeous cutscenes, and you have a platform game worthy of the glimpse of excellent RPGs.  The problem is that the game is kind of short, and at times too easy. The enemies succumb easily to your movements, while it is difficult for them to overthrow your character. Despite the air of innovation that this Wii version manages to give, you can't deny that the primary objectives can be completed without major mishaps.  At least the boss battles can be a bit of a headache, which keeps the replay factor of this title at a really satisfying level. But don't expect epic fights or find an enemy that can beat you right away: as I said before, it's relatively easy to overcome obstacles, and all you'll need here is a little attention. Of course, stupid blunders like "jumping beyond the reach of the ground" and the like won't be forgiven by even the dumbest of your naysayers.  The extras are really good: reproduction of the game's music, reverse mode, visualization of the concept models of the primary stages of development of the game. Everything you're entitled to and more. It may not be innovative, but it's worth the investment.

#klonoa #wiimake #magazine #translation

[gabithefanwriter]

The Little Mermaid

Ariel (2023) x Female! Mermaid Reader

You are my World.

This is based off of the 2023 version. I’ll be making more Ariel one shots in the future (more of Halle’s, more of Ariel 1989 and genderbend Ariel?👀). Not my best work.

I haven't seen the 2023 version but Halle as Ariel has me in a chokehold. I'm not sure how many changes from the animation were made in the live action remake, so forgive any inaccuracies. Also, it's kinda rushed. I'm sorry I had an idea and I have no idea where it went. Not my best work. And it isn't edited.

Readers of any background can read this. Skin colour is not specified. Also I'm sorry for the awful changed lyrics.

"Ariel! Wait up!" I cried out after her, swimming until we were at the same speed. "What's going on?"

"I saved the prince! I brought him to the shore! His legs are so fascinating, Y/n! He is also really handsome! There were so many things that he had that I was so confused about! Oh, how I wish I could learn more about it, about him!"

I listened to every word, my own heart breaking even as I had a massive crush on her. It wasn't even a crush - I had fallen in love with her since the start of our journeys. She sang to me, how she wanted to see the world above, how she dreamed of nothing more or less.

I listened to her words, and smiled, even as we both swam out a fair distance from the grotto. She waved goodbye and swam back home and I stayed there, waving like the lunatic I am.

I swam in the grotto even after she left. I understood her, that she wanted to be part of his world, but I wanted her to stay here with me.

I looked up through the small hole at the top between the rocks and slowly twirled.

"Up there they walk,

Up there they run,

Up there they stay all day in the sun.

I wish she could see

That I want to be

Part of Her World."

I turned and looked down, only to gasp when I saw Sebastian gaping at me with wide eyes, and I couldn't help but immediately swim over. "Sebastian, don't-"

"You love Ariel?" He shrieked. I bit my lip and looked down at my f/c tail. "Well...yeah, Sebastian. What's not to love about her? Her desire to learn about others, the way her eyes twinkle when she discovers something, the way she's so easy to talk with? And let's not even get started on her beauty! Her voice - oh, how I wish I had a voice like hers. I could listen to her all day!"

"The king would support it, I'm sure! He loves having you around. He's say he views you as another daughter and already an addition to the family," Sebastian reassured. I frowned and glanced down at the red crab, a sigh slipped past my lips. "I mean - it's not just whether or not King Triton accepts me. It also depends on whether Ariel accepts me, but if I were to be honest, I think she has a type for humans, and I think she might not be into girls."

Sebastian crawled over to climb onto my arm to reach my shoulder, my h/l hair gently brushing over him as I swam to the coral reefs where I remember first meeting Ariel.

"What would she give

If she could live

Out of these waters?

But what would I pay

To hear her say

She loves me back?"

I looked up to see the sun glowing brightly above the surface. Sebastian still clung to my shoulder as I swam until I was certain that if I outstretched my hand, it would break through the surface.

"Betcha on land

They understand

The struggles with unrequited love.

Where women love women,

Although it's not uncommon,

It's improbable!"

I turned to Sebastian as we 'fell' down to the sand slowly, stretching out on the sandy bottom.

"I'm ready to hear what she's learned today,

Hold in my words as I hear her say

How fascinated she is with the upper world!

The way her tail twirled,

Eyes with passion,

Up there she might have more fun!"

I looked back up at the surface, hugging myself and flapping my tail.

"I wish she could see

I just want to be

Part of her world."

I felt Sebastian's heartbroken stare on my back, a sigh escaping past my lips. "I would do anything to have her be with me, Sebastian. I just love her so much."

"Why didn't you tell me?"

I spun around and saw the very mermaid we were talking about. I bit my tongue to suppress a gasp when she stood there, staring at me. "You love me?"

"I-uh..."

"I love you too."

She swam closer, her hand going from her

I stared at her, from her eyes to her lips, slowly swimming up and kissing her gently. Her arms wrapped around my neck as my hands went to the back of her neck and the other tangling in her hair. "I love you, Ariel."

"I love you too, Y/n." She smiled as we kissed again, pulling me until she was flushed against me.

#ariel x reader #Ariel x female reader #the little mermaid #the little mermaid 2023 #the little mermaid x reader #halle bailey #halle bailey x reader

[rivalsilveryuri]

wait what is ur favorite gen if it’s not gen 2

OK. so this is the worlds most complicated question 4 me aside from "whats your gender and sexuality" (there are no other questions) like.. UGHHH i literally CANNOT answer this without going on a HUMONGOUS essay not kidding. though if i DO it'll be really rambly.. and. not go anywhere really... (guess what?! point of no return V)

Favourite pokemon gen is a VERY difficult question for me. its easier to say my least favourite gen. Which would be gen 8. because it feels just… boring and forgettable in a way that .. no other gen feels? And is honestly a total mess in my opinion, but.. not in the way gen 9 sorta was? Cause while i definitely have a lot of gripes with gen 9, I do think theres a decent amount of positives and stuff to work with, and stuff that WORKS, and things that really stand out. ..compared to how bland gen 8 felt 2 me. And pointing out which gen im neutral about is fairly easy, aka sinnoh. (might need to really replay it and think it over tbh)

(though theres always one thing that complicates this and its like. the remakes? because sometimes i like a main gen game or hate it, and then i have opposite feelings about the remake, so its like. is the remake…. technically the gen of the origi… ok. whatever, this is a whole complication, i think i'll just go with like. whenever i say favourite gen it just means "favourite region" and remakes can count as well (minus gen 4 sorry ur remake was Like That) to make this easier)

And sayign which gens i Like… But don't tend to feel .. TOO much about ? like kanto… gen 1 has sooo much rep and content that its like.. frlg is fun, (and so is its SECOND remake, good lird) but theres not too much 4 me to chew on .. in . a.. deeper sense? aside from blue, red and leaf, personally. It's not bad! But I don't think anybody's really rearing to say gen 1 is undoubtably the best game mechanics.. visual.. story.. or.. anythin wise. it aint BAD.. but its not really.. much more ta me……

(also i'll specify, mechanics/ gameplay are like.. yes theres type additions, ability changes, oh and the split early on and myah myah and some games have gimmicks and other stuff like mounts, and supposedly bw/bw2 is harder [base game, not hard mode]-

(which. dude did you know. like. this is fucking silly to me but.. upon beating the maingame of black you unlock hard mode. "okay well, whats the issue?" well. upon beating the main game of white. yyou um. get. easymode.) (like im sorry but why the shit would you make DIFFICULTIES VERSION EXCLUSIVES…….. WHO PLAYS THROUGH AN ENTIRE POKEMON GAME.. AND IS LIKE "ah yes wait let me delete my save and do all of that again but like. even easier" W.. WHY… WHY IS… EASY MODE… UNLOCKED… AFTER BEATING THE GAME,, WHY IS HARD MODE A VERSION EXCLUSIVE???? A GENUINELY INTERESTING FEATURE N CHALLENGE?? i know people have probably said this before but its SO baffling to me. what a design choice)

-…but generally the core is the same, and ive never particularly ran into a bump in pokemon games, so it isnt really TOO much of a gripe to me. i love meaningless grinding. i was the worlds most boring little kid, i would start up a pokemon game just to grind to level 40 immediately after getting a starter for FUN. i could watch paint dry for hours i do NOT mind. The only time gameplay comes up is just. How Much is there to do? yknow? how much content.)

but my feelins on kanto are ironic cause i like johto more. sorryyy! i think johtos just more fun 2 me, partly because silver is SOO personal to me, and what they did with kanto was just a more welcome shakeup 2 me tbh. and i like the sort of feeling parts of it give off, and like. yes theres the big hole of like. team rocket being even MORE of a wet fart in that game than b4. likr sure hgss DEFINITELY gave it an overhaul but it still wasnt .. GREAT… since it was the lowest presence an evil team kind of had (until gen 8.) and while yes, they were trying to contact giovanni, and giovanni .. was.. there .. he just got time travel assassinated.. its still kinda.. eh? and being one of the games with a HUUGE identity crisis in the way that gen 2 is forever stuck to gen 1 in a way… gen 1 isnt? but shrug. I don't really mind it. OH and i love silver in crystal. he's so so funny in crystal, whats wrong with him… and i like the legendary beast stuff! i like it, it feels pretty fucking cool.. and eusines funny. pokemon crystal is so fascinatign 2 me i want to pick it apart with my teeth, i love the aesthetic, the music, everythin. (even if the late grind is HORRIBLE) ..but idk if gen 2 is my favourite. We'll.. get back to this later .

SO WHAT IS? Um.

See .. this is kinda where i have 2 now explain a timeline. I KNOW. i know. .. (said through tears) You're just gonna have to sit down with me here because i am so insanely autistic about pokemon. pokemon has been my special interest since i was a tiny pea brained baby. i was literally known purely for pokemon when i was younger because i would NOT shut up about it. (….and here i am writing an unneccesarily long, entire essay. well.) My first game was xy. when i was . uhh .. gosh.. somethin likr… 9? i couldnt finish it because i genuinely couldnt read and got stuck on that furfrou puzzle. i know. its so insanely easy . its unreal. But i gave up. and i didnt have any internet so it stayed that way. for several years. I KNOW. OKAY. leave me alone…

but in the meantime i got oras and. this is when the autism kicked in . severely….. i fucking LOOOVE ORAS . ORAS HEADS LETS GOOO LETS RISE WOOO WOOO IM SOOOOO BIASED. UNREAL-Y BIASED. CRITICAL THINKING DIES HERE WOOOOOHOOOO . and . its a whole thing. i love the way oras looks. its so so so pretty, like. SHOCKINGLY pretty dude. I also really like the weird fusion oras and xy had of like. chibi models, the realistic (? i have no better description 4 this. models used in cutscenes and battles), AND the art. which was definitely unnecessary but i think the eeny weeny models were cute.. Also oras' music. i know its NOT original but i really like the way they remade it. yes the trumpets are almost absent, and some major changes were made to some tracks, which were devisive but honestly? i really like the original soundtrack (because the way rse's soundtrack sounds is really impressive) and the remake is just very lovingly done imo? it just feels nice 2 listen 2…

but . all my.. Current, More Developed Brain Opinions aside. at this point i could read. amazing development. so, i liked lisia. hated brendan. (we had beef.) thought wally was odd but fun, and i REALLY liked zinnia… and of course maxie and archie and their admins too.. and by the way, i liked this game SO much, that i completed the entire pokedex at age 10/11. for fun. so its safe to say i . may like oras. i liked it SO much i then pestered one of my older brothers when he was over to find a tutorial for that segment in xy.. and eventually beat that too. i like gen 6, but i understand a lot of people DONT, and thats understandable. lysandre is SUCH a mess, so are the rivals, but i generally found it charming. though i definitely understand why it was received Very Badly. but xy isnt my favourite.

A few years later, a bit older, when i was then 12.. i played gen 7…. and really liked it. but i dont have too much to SAY about it. (this could honestly be because i didnt replay gen 7 again, having one savefile for my entire playtime. and while i still have an unreal amount of time in usum, i didnt obsessively replay it like i did with oras.) but there's nothing 4 me 2 say that hasnt already been said.. i liked gen 7. completed the dex when i was 12. i liked lillie and gladion and hau, (and i think people either A) dumbed them down way too much, or where excessively critical over hau being. Nice. which….) and team skull.. which is one of my favourite evil teams below magma/aqua, and its definitely one of my favourite gens. but i think… people have said it before but sm had the better story, usum had the better gameplay. usum is JAMMED full of sooo much content its unreal….but i HATE what they did with lusamine. also the ultra recon stuff was kinda … uhh. it was REALLY hyped up in advertising like "oooohhh who are these mysterious people?!?!?" and they just kinda… didnt have a presence??? at all??? like. umm. ok . but i like gen 7. … i like halves of gen 7.

Then . ..gen 8 came out. and uhh. well. I lost a WHOLE lot of faith. cause when it came out almost.. …5 .. years ago .. stars abovr . i got really pissed. cause i HATED IT. i played through it, i wanted to give it a chance, and it was .. fine.. at first. but then i started thinking about it. and thinking about it. and you heard a LOT of things about it at the time. and then i hated it. i hated pokemon . and then i did not touch this game series for the next four years. I heard NEWS about pokemon, but i just kind of grew more spiteful over the years and stuck my head further underground.

#VOICEMAIL #good lird. i am SO sorry for the person i become whenever I talk about pokemon #i never get to ramble about it to this degree . WORDS GET AWAY FROM ME </3 #I HAVE 2 REBLOG 2 ADD PART 2 . HELP ME. SORRY.......

[claypigeonpottery]

CLAY PIGEON COMMISSION DETAILS

Commission Slot List

Please see my price list for approximate prices, as well as examples of the shapes/sizes of pieces I can make

Commissions are accepted on a first-come, first-served basis

I reserve the right to refuse any commission

Please send me a private message to arrange a commission—not an Ask (you can also email me at [email protected] but I am more responsive here)

and I’m still accepting dibs on my unfired original pieces

I will make copies of my existing pieces, or work with you to create something new

I can make a close copy of my own work, or I can change the colour and carving choices

If it’s a new work, I will send you pictures of the sketch for your approval

Large scale revisions can only be made during the sketching phase. Literally. Once it’s carved, there’s very little I can do to change it.

Small additions or adjustments can be done right after the piece is carved, when I send you pictures, that is the time to mention anything you want changed.

Please be detailed in your description and send reference pictures if possible 

I don’t charge extra for original pieces, despite sketching time

WAITLIST

If you ask for a commission when the slot is closed, I have one waitlist slot for each type of commission. If the waitlist slot is open, I can put you on it after getting some details about your commission to confirm that it’s one I would be willing to take. 

If you ask for a commission when the waitlist is closed, I'll ask you to message me again once the slot is open again.

I will do my best to give you an accurate timeline for when I will start your commission and when it will be completed.

PAYMENT, ETC

I take 20% of the cost of the piece before starting

You are responsible for shipping cost, on top of the cost of the piece (I can estimate shipping cost for you, but it won’t be exact until the piece is ready to ship)

I do all my transactions through Paypal invoices

All my prices are in CAD

Prices vary depending on size of the piece, the style of decorating, and the amount of detail 

Commissions can take as long as six months, depending on piece size and kiln schedules

I will do my best to keep you updated about your piece’s status and approximate timeline, but if you have questions feel free to message me

If there’s a problem with the piece (warping, a flaw in the glaze, no longer food-safe, etc), I will either lower the price or remake it, if you choose

I reserve the right to refuse to remake a broken or flawed piece, but I will refund your deposit

Once the piece is finished, you have two weeks to arrange payment and shipping. If you communicate with me about needing longer and give me a specific date, I will hold it for you until that date. After that (and a couple reminders) I will make it available for other people to buy. I can’t hold pottery for people indefinitely

If you want a piece by a specific date, I will charge an extra $20, since it’ll mean juggling kiln time with other potters and coordinating with the studio’s kiln tech. I cannot guarantee that it will be done by a specific date. The farther out you order it, the better.

I WILL

make portraits of people or animals

make prose or poetry into pottery 

make memes into pottery

depict nudity or sex

depict blood, death, or gore

I MIGHT

depict original characters

depict fan art

I WON’T

copy another artist’s work without the permission of that artist

ONCE I'VE ACCEPTED

I will keep you updated with an approximate timeline and do my absolute best to get it to you in a reasonable timeframe, but…

Please remember that pottery is a slow process. 

Once I build the piece, it has to dry for a few days up to a couple weeks before it’s ready to carve. Once it’s been carved, it can take a couple months to be fully dry, especially if it’s a large piece or a mug.

Drying pottery slowly prevents warping and cracking, so it can’t be rushed, and if a piece goes into the kiln before it’s fully dry, it will explode. Any moisture in the clay will rapidly expand as it turns to steam and literally blow the piece apart. 

And, unfortunately, with a shared kiln, sometimes the schedule just doesn’t allow me to fire for a couple weeks. 

Thanks for reading, I appreciate it!

#commissions

[dragonflyable]

In a time of live action remakes, this one gets pretty close…. 

When fans first heard or saw that another remake was coming, the best way to describe their mixed reaction was “cautious”. After all, this is one of the best animated shows ever. And now that Netflix’s version of ”Avatar : The Last Airbender" is out, the response is still mixed… I think that fans who like it can admit it’s not prefect, and those who hate it can say it’s not as bad as it could have been. Either way, it’s exceeded expectations!

If you’ve seen the original animated show like I have, it’s impossible to give your opinion about this remake without comparing the two.

Story & Use of Time

With only 8 episodes to tell the first arc of the story (which originally took 20 episodes), you have to make the most of the time you’ve been given and have some solid writing. To its credit, it’s NOT a “shot for shot, actually the same script” remake of the first season. They take the story to new places, but they still could have used at least 2 more episodes. 

At times when the series does do its own thing and tells the story in different ways, it’s actually really enjoyable. Although some characters their storylines have been changed, others have been expanded. There are some changes and additions to the story that do work in this version. Of course, there are also some nice hidden references and more obvious call-backs, but they work their way in nicely.

Unfortunately, there are also times it felt like they were following the textbook. Trying to squeeze in elements or characters from the original because “they have to be in it”. Because of this, some things feel rushed or not that well written. 

Cast & Characters

The cast did a great job! I really enjoyed watching them bring these characters to life. You can tell that they understood the source material and gave their best while preforming these iconic characters. And the main cast has a chemistry and dynamics similar to the one the original voice actors brought to the animated series.

Effects, Action & World

They really did manage to bring the power of bending to life in this version, with great effects (for a live action TV show) and wonderful choreography for the close up battle scenes. The larger action scenes of warfare are also very impressive. 

And it’s not just the bending, because the world itself and the creatures are also remarkable. Some designs and locations do get an update, but for the most part they stay true to the original look of the world. It’s still a world you wish you could visit.

Conclusion

It’s clear that there was actually effort and dedication that went into making this series, which is something to admire even if they didn’t get everything right. They did capture the spirit of the original series, which is why I think it’s worth watching at least once. 

I had a good time watching this version, and it made me want to watch the original “Avatar” adventures of Aang and Korra all over again! And if you didn’t like it, you can also go watch the original “Avatar : The Last Airbender”, and if you haven’t, you really should!

This remake does deserve another season with more episodes, but we’ll have to wait and see…

#my review #ATLA #avatar #avatar netflix #atla #avatar the last airbender #atla live action #ATLA Netflix #Avatar Netflix #trailer #netflix atla #Netflix #atla aang #atla zuko #atla sokka #atla katara #atla gyatso #atla iron #Gordon Cormier #Kiawentiio #Ian Ousley #Dallas Liu #Paul Sun-Hyung Lee #Lim Kay Siu #Youtube #atla netflix

[pastamansta]

🔥 Tim Burton (him as a person or his aesthetic, your choice!)

"Beetlejuice" (1988) reminds me a lot of another film I watched recently; "Tombstone" (1993). Sold by an aesthetic and a FANTASTIC performance from a side character, audiences were conned into loving a mediocre film. I'm not Lindsey Ellis, so don't expect me to talk about the cartoon.

"Batman" (1989) and its sequel is proof that Burton will not be giving up his aesthetic for God or money. Gotham is heavily disconnected from both the film and its source material, with little reason other than its director. There's a reason no one calls these "Keaton's Batmans," they call them "Burton's Batmans." Jack Nicholson is great as The Joker, but that's no hot take. The hot take is that Devito is too horny as The Penguin, and it makes me uncomfortable for a film that's already so sexual.

"Edward Scissorhands" (1990) is a bitter, bitter film where artist finally meets muse. Not, like, in the plot, but in the production. Depp and Burton were made for eachother... or at least that's what I'm supposed to think. This movie's just too messy, however, and can't decide where its focal point lies and leaves me wishing I had just watched "How the Grinch Stole Christmas" (2000) instead.

"Sleepy Hollow" (1999) leaves me, a fan of the original text, I know that's probably a weird thing to say, miffed, even if understanding. Outside of some pacing issues, it's a bold reimagining that feels like Burton attempting to get out of his comfort zone... but I just didn't need this story to be turned into an homage to B-horror. Go watch that Disney short, eh?

"Big Fish" (2003) is his best film. I am hardly qualified to speak on it, and even if I did, I would cry. So, you know, just go watch that shit.

"Charlie and the Chocolate Factory" (2005) is destined to be compared to "Willy Wonka & the Chocolate Factory" (1971), and why wouldn't it? In thirty-four years since the making of the original, not a single person worth listening to said "i need this done right," including Burton himself, which is why he tries to add so much, but no amount of additions changes the fact that he casted his muse instead of someone who could, you know, act like Wonka? So, you know, destined for failure and to be loved by everyone who won't watch movies made before 1987.

"Corpse Bride" (2005) is one of only two claymation films that Burton would actually direct, and he uses this time to steal a Jewish story and make it less Jewish. I don't like the ending or the songs and it feels like it could be cut in half and achieve the same effect.

"Sweeney Todd: The Demon Barber of Fleet Street" (2007) literally doesn't have the iconic opening number from the stage play??? Overall, there's rarely a pairing of source material and director that works as well as this one... If only I enjoyed the source material, eh? So dark, so bitter, so edgy, so... nothing. I never think about this movie. When I do, I think of Mrs. Lovett's dream sequence and remember the good old days of "Big Fish" (2003) when Burton liked to use color.

"Alice in Wonderland" (2010) is one of my guiltiest pleasures in all of film. It is the reason why every time Disney announces a live-action remake, my ears perk up. If all of them were as wild, unhinged, original, creative, and inspired as this one... Well, I think Disney might not be fucking bleeding money right now. No one ever even mentions that it's a sequel to the original animated film. A SEQUEL, not a remake. Sometime movie-goers surprise me with how little they think.

"Frankenweenie" (2012) blows. I don't care how unique it is, I do not like it.

"Miss Peregrine's Home for Peculiar Children" (2016) is one of the funniest remnants of the teen dystopia genre. Like, it hardly applies, but is trying SO HARD that it's unbelievable. Also, props to Mr. "Black People Aren't My Aesthetic" for casting Samuel L. Jackson as a dude who eats white babies. (I do not mean that.) Seriously, this is proof that Burton, as a modern director, should no longer be taken seriously.

"Dumbo" (2019) is AAHAHAHAHAHAHAAAAAHAHAAAAHAHAHAHA I FUCKING HATE THIS DUDE HOLY SHIT

If I didn't mention, I haven't seen it. Yes, I know I skipped some big ones. I may watch them one day, but I am in no rush.

[toskarin]

what do you think of raito’s new versions of the character themes for unicel? i think most were good changes! but I will miss previous nanase theme deeply

I'm inclined to agree! to go over some quick highlights,

the character select theme is great, but not better than the original. it's still one of the best character select themes out there, but it was never gonna be easy to top Gathers Under Night. THAT BEING SAID I love the network theme

Tearing Bullet > Keep On Shining but that carries some bias for me preferring Kaguya conceptually to Tsurugi. Keep On Shining also just isn't a very memorable track imo

Icefield White Knight II trading out some guitar for that excellent piano solo is a trade I'll happily make. good fucking shit

Scraper Sky High II goes extremely hard. all good changes here.

Blood Drain Again II... it's Blood Drain. it's Blood Drain Again Again, and you know what? it's got more of Blood Drain in it. I'm really happy with it.

Night Walker II!! dude it's Night Walker! but II! I like the new additions and generally appreciate all that was done here

Beat Eat Nest II is good. what'd you expect. it's Beat Eat Nest. come on.

Bad Surface II is fun. I like it

the tuning changes on Gallant Girl II make it more listenable, but I'm still kind of sad it got less obnoxious. this is me being annoying, but I agree on missing the original

Maximize Power! II is Maximize Power! again, but I never cared for Maximize Power, so that's not really... a point of praise. I wasn't going to love a new arrangement of it lol

I miss the arps in Snow Sisters II. not a change I really enjoy

Forceful Step II is a remix of a song that was always kind of a joke. it really just needs to show up to be funny, and it does show up. it's good, even if I prefer the original

Mutual Situation II is different from the last time we heard it, specifically lacking a piano solo. I wonder whether that means it was cut or the soundtrack in this test is a different version. either way, it's fine, I'm actually one of the people who really liked Mutual Situation

I wasn't expecting to say that Unseen Entities II would be one of my favourite tracks in a UNI game, but this remake fixes most of what I didn't care for in the original. insane. it's not my favourite song of the batch, but it EASILY had the most dramatic improvement

Walk Like a Lily II didn't really need the guitar, but I could take or leave it. I like the song well enough to where I feel about the same about this version

Monochrome Memory II is one I imagine a few people were curious about my opinion on just because of that cover I did a while back. my opinion is that I'm glad I didn't arrange that far into the song so I can lie and rerelease my cover as a UNICEL version. (it's a nice refreshing of the track though)

[kits-foragings]

Homebrewery Link

This is very much a remake/straight upgrade of the existing Sun Soul Monk, a subclass that most people regard with a resouding meh. The basic idea here was to make its feature actually synergise with the Monk's core kit way better.

More below the cut:

Tied Radiant Sun Bolt in with a couple other abilities: letting the Monk do a diet-smite of its own, as well as a short-range AOE attack, the latter of which is based on the Ascendant Dragon. Might change it, who knows.

Solar Flare (really wearing the Dragonball inspiration on my sleeve here) is a more defensive feature, taking inspiration from the Light Cleric's Warding Flare, with a additional potetial to blind.

Flashing Burst, this is the good shit. Giving the Monk access to radiant versions of two of 5e's best damage spells might be a bit much, but I feel it captures the Dragonball Energy Blast fantasy better than anything else could.

Finally, Living Light. This was initially going to be the 3rd-level feature instead of 17th, but I took what was there and scaled it up. A flight speed, more consistent damage, radiant sunlight, just a bunch of small but significant boosts.

#dnd #dnd homebrew #subclass #5e homebrew #homebrew subclass #monk #dragonball

[ultimateanna]

The creators (Ukyo Kodachi and Mikio Ikemoto) of the Boruto manga, in addition to his strange look and the style of clothes of Sarada, exposes Sasuke and Sakura are not the best parents who allow their daughter to wear revealing outfits from a young age. At her age, Sakura dressed more modestly.

At the same time, once many were outraged that Jill Valentine had a too provocative outfit in the original Resident Evil 3, which is why her outfit was changed in the remake.

#naruto #boruto #boruto naruto next generations #boruto next generation #spoilers #sarada uchiha #uchiha sarada #うちはサラダ #boruto spoilers #boruto two blue vortex #mikio ikemoto #ukyo kodachi #boruto: two blue vortex #manga #jill valentine #ジル・バレンタイン #resident evil #resident evil 3 #biohazard #biohazard 3

[dededaio]

Thought of a fun thought experiment that will either age brilliantly or horribly quite soon.

So, we all know that Kirby's Return to Dream Land Deluxe is coming soon, right? Like REALLY soon. Less than 2 months kind of soon.

We still don't really know much about what this remake will change or add except for:

1 new copy ability

new multiplayer mini-games

looming Magolor Castle (that is left unexplained for now) in promotional artwork

I don't mention the visuals because it's the most obvious and expected change coming from the remake of 2011 Wii game.

So I want to do something fun. I'll list my predictions on what this remake will change and/or add. I will be splitting them into predictions that are likely and predictions that are more on pipe dreams territory. I'll present arguments and/or evidence towards each point as we go. Let's begin!

Things that I think are likely to happen:

Playable Magolor. I mean, come on now. Not only he's now included on the cover, which he wasn't in the original game, he's also one of the most popular characters in the franchise now. Like he's actually probably the most popular addition to the series since Meta Knight and Meta Knight was introduced in 1993. I'm not entirely sure yet how this would work (it partially goes into pipe-dream predictions territory), but I'm certain it will somehow happen. It helps that modern Kirby games on Switch had a tendency to have a late-game unlockable that is super OP and is related to game's storyline in some way. Star Allies had playable Mage Sisters, Forgotten Land had Masked Hammer and Morpho Sword as milestones for beating main story mode and post-game campaign. Magolor only makes the most sense to follow suit.

Dedede, Meta Knight and Bandana Dee will receive their updated movesets from Star Allies. While I wasn't overall a huge fan of how Star Allies treated those three characters, being way less polished than later DLC Dream Friends, one things they got right is by finally giving them more original moves into their arsenal. They basically started out as hammer clone, wing and sword clone hybrid and spear clone respectively, which, I assume, was byproduct of RTDL's co-op being a late addition in the development. Giving each of them more unique moves in SA was a great move and them to carry over into RTDL DX would be excellent choice as well. Not only they would stand out more against contemporary copy abilities they were based on, it presents more fun gameplay possibilities (I'm sleeping and dreaming how much I will spam super dedede jump in various boss fights like grand doomer). But the best of all, we have an evidence of this potentially happening, ladies and gentlemen! In trailer footage we got we can decipher Meta Knight doing Galactic Counter that was introduced in Star Allies.

If this is anything to go by, all new additions are set in stone and it's just matter of seeing more of it in the final game.

The boldest prediction yet, mainly because it's not based on anything except for my gut feeling. But Magolor Castle will be the hub-world for the post-game in RTDL DX. It makes the most logical sense as it would be a good way to differentiate post-game from the main story where the hub world was Lor Starcutter. What we will do there? Who knows, there's tons of possibilities. It will most likely house mini-games but I doubt they would design such elaborate looking location just to be a place where you could pick a mini-game. There would certainly be more stuff to do, but what would it be?.. Time will tell!

Things that I want to happen but aren't necessarily likely:

King Dedede, Meta Knight and Bandana Dee becoming playable in single-player (outside of arenas). There are many ways how it could work, but the idea I'm betting on (and therefore hoping for) the most is introducing Guest Star-like mode where each of them get an abridged and changed take on the main campaign's levels, taking advantage of their individual movesets in the process. I feel like them being locked behind co-op in the original game was some of the biggest shortcomings of RTDL so I genuinely hope remake will fix that.

Entirely new post-game story. Extra mode that original RTDL had is less than stellar, to say the least. It's basically the same game again with slightly updated bosses and halfed health bar. Lame. If this remake were to go down the route of recent Switch Kirby titles, introducing an extra-mode that actually continues the story of the main game is the way to go! It can go down many ways, but personally I think the most fun (And funniest) plotline for such extra mode would be helping out to build Magolor's theme park (aka Magolor Castle we've been seeing on the cover art), mirroring the story of the main mode, but with lower stakes and reestablishing Magolor's current status-quo on-screen instead of it being left to Miiverse information.

Old Extra mode being remade into a difficulty option. I think both this game and Forgotten Land were developed co-currently so they are bound to share some of the game design philosophies. Getting rid of the old extra mode entirely would probably be too harsh and unfaithful to the original game... But if you were to repurpose it instead, it's a different story entirely. It will become this game's "Wild Mode", I wager.

These are all the main ideas I currently have for what this remake will have in store. I hope I got at least one of those things right. See y'all in 2 or so weeks when they will actually drop a new trailer.

#kirby's return to dream land #kirby's return to dream land deluxe #speculation #long post

[popculturebuffet]

Little Retrospective of Horrors: The Musicals (Monthly Muppets Madness) (Comission for Emma Fici)

Welcome back all you strange and intresting plants to both my little retrospective of horrors AND monthly muppet madness my (usually) monthly look at anything muppet related. And after a blood apptizer or the original corman film, you can find that review HERE, i'ts time to get to the chunks of fileted dentist main course with the stage musical and one of my all time favorite films, it's 1986 film adaptation.

Originally I was going to do the stage version seperate... but when I sat down to watch the best visual and audio quality one I could find on youtube, the 2008 production from the American Musical Theater of San Jose which you can find HERE if your curious.. I found out that in addition to being a great movie on it's own.. LIttle Shop of Horrors is an EXCELLENT adaptation: While there are changes to make it work better as a film, cut songs for time and some changes in Seymours character we'll get to, most of the dialogue and music is exactly as it was in the stage play. At it's core the film is simply the musical as it's best self, taking all the great parts of it, trimming a bit of fat and giving us some knockout performances in the lead rolls. The film has some issues, we'll get to that like everything else... but on the whole even looking past my nostalgia.. it's still just a complete joy to watch and a love letter to the original

So i'll mainly be looking at the movie, but still covering the stage play here and there including the cut songs.

Good then let's dive into the giant man eating plant under the cut and see how it still talks, moves, sings and busts our balls after all this time.

Ya Never Know:

Little Shop of Horrors was the second collab and the brekaout one for the duo of Howard Ashman and Alan Menkin, a lyrcist and composer respectfully. It's , to my shock this very musical that caught Disney's eye, leading to the two composing songs for The Little Mermaid, Oliver and Company, Beauty and the Beast, Aladdin, and of all things Cartoon All Stars to the Rescue, which I covered this 420. Sadly Ashman passed away in 1991, same year I was born, of AIDS, never seeing the finished Beauty and the Beast. His lost is a tragic one and i'ts sad a voice was robbed from us too soon by a disease that might of had better treatment had the goverment not been homophobic idiots. Menken is still working for Disney to this day, often returning for the unecessary live action remakes. Hey if it gets a certified legend a paycheck, at least some good comes out of those.

At any rate, back then the two were theater writers, whose previous show, God Bless You Mr. Rosewater, hadn't done well. Wanting a fun project, Ashman thought back to an old play of his about a plant that had a magnetisim about it, a cult of personality.. and then realized it was a ripoff of beloved film from his teen years, Little Shop of Horrors. He pitched the idea to Menken who after seeing the film was absolutely in love, with it's 60's setting giving him plenty of inspiration.

"Howard and I work fairly quickly once we have the handle on what we’re doing. But we did go through a long period of outlines and song styles that we discarded. I decided that I wanted the musical approach to come from some early 1960s music—the girl group sound. It has a very dark, menacing ring. You can almost hear whips and chains in the background. There were two ponytailed teenagers in the movie and we decided to turn them into a black trio that functions as a Greek chorus, commenting on the action.”

Ashman added in the same interview

“People who see our show say, ‘It’s just like the movie.’ It really isn’t. The movie falls apart in the middle and has a weak ending. We added the S&M romance between Audrey and the sadistic dentist. We dropped the character who eats carnations and got rid of Seymour’s mother, who had an iron lung and bitched about everything. Most important of all—the bodies fed to the plant in the movie were accidental deaths, like a bum who is hit by a train. In our version, the deaths are planned by Seymour and he kills off some very important characters. I think our show has a more coherent structure. Once the musical was finished, a major problem was to find someone who could play Audrey II, the malevolent plant that reduces the cast to a minimum.”

This tightend up but still rediculous show was put on at the two's regular theater, the WPA (which they joked stood for "We put on anything). It was soon a success and much like Audrey II grew, and grew and grew, with the play being a sizeable hit with critical acclaim, paticuarlly for it's puppet. Said puppet was done by Martin Robinson, a seasame street vetran who'd play snuffleupaguss, and did a great job making nit really seem alive.

Some Fun Now:

One of the plays producers, David Geffen saw the Film's Potetial, and wanted to make a film adaptation, and got some pretty big names attached: both Martin "Old Genius Yells at Cloud" Scorcse and John "Multiple Murders" Landis were attached at one point, the former wanting to shoot it in 3D

Geffen then offered the film to an at the time rookie director, but one who'd still more than proven himself. Frank Oz. Muppet Maestro extrodinare, co-director of the Dark Crystal who was just coming off Muppets Take Manhattan. Oz turned it down at first as he didn't really have a cinematic approach to it. Once it came to him though he quickly agreed. They had a script.. but Oz wisely noticed it was stage bound.

This is important as some musical adaptations fall flat simply because of staging: for instance a good chunk of the flack the adaptation of in to the woods got.. was that it was shot and staged like a play.. despite being you know a movie. It probably also didn't help it was shot like someone took a baseball bat to all their lighting rigs.

So Oz's first priority being "take this already great script and simply make it cinematic" is one of the very first great things I can point out about the film. Having now seen both while the Stage PLay is excellent as is, Oz takes what's there and elevates it: While most of the action's still in the titular shop, the shop itself is now split level and most musical numbers are taken beyond one of the plays three locations to really make them pop with Skid Row now being a giant crowd number to show how desperate things are, Da Doo being a full flashback that's ironically presented like a stage play, Dentist being mostly set in Orin's office and on the back of his bike, and Suddenly Seymour being taken to a back alley. All simple touches but ones that make the numbers feel a bit more alive and keeps the setting from feeling clostrophobic: we still spend most of the picture in the plant shop but unlike the musical or original film, you don't start to FEEL it. Giffen and Ashman liked what he had and thus we were off to the races.

Casting wise there dosen't seem to have been a lot of drama. The only real bit I got form the interview I used is that Cyndi Lauper was considered for audrey, and while she would've been great i'm sure, I wholly agree with Oz that Ellen Green, who originated the role, was perfect. I can't imagine anyone else in the roll.

A Strange and Interesting Plant:

That brings us to the puppetry and if anything proves this has muppet blood it's the team Frank Oz assembled: To design it he brought on Lyle Conway, the designer for Dark Crystal, to make it he brought on the team from Labyrinth and to move it he brought back Robinson and added Brian Henson. I can't overstate how much Oz was the right man for the job based on this alone: someone else COUDL'VE done it but the effects wouldn't of been nearly as perfect without a team of this level and someone to put it together of Frank's level. It's far from the only reason this film is good, but it's certainly one of the highest.

I can't gush enoguh about the plant puppets: it looks real, the rubbery nature of it resembling the texture of a rubbery plant in real life, the lips being perfect to open and emote and usually resting in a mildly unesettling smile, perfect for the smug manipulator Twoey is.

Something I hadn't really taken note of before but Oz pointed out was the baby versions designed, with it's flowers resembling a bonet, a nice touch to show how harmless it looks at first.. which helps sell the message: just because something or someone LOOKS harmless dosen't mean they can't be dangerous in the right circumstances.

It only gets better with each phase and I notice how Twoey looks creepier at each phase... being fairly mundane in it's first two, a bit unerving when we get to "I can talk and I can move" , and truly terrifying in it's last few phases, with it's teeth growing and growing each time as it's powers grow.

As for getting it to move right that took a trick I"m STILL impressed by and still looks near seamless: so when playing the dailies back, Oz noticed tooey didn't quite move right. It was a bit slow.. but he noticed when rewinding or fast forwarding it Toey moved just as it should. So he had a bit of a bonkers idea: have the actors move slower in scenes with the plant as a puppet, so they could speed up the footage. And to his credit while many a director would just run with this and tell the actors to get over it, especially at the time.. oz genuinely worried about the problems this faced and was sympathetic in pitching it. And to their credit... everyone was game. They saw it as a fun challenge.

Otherwise productoin seemed to go fine... with two big exceptions. The first was after test screenings, the studios wanted to replace Levi Stubbs with Rodney Dangerfield to make the plant less scary

Look I love Rappin Rodney. He's the best. He gave us one of the greatest lines in all of cinema

He's dearly missed.. but while he CAN sing, unsuprisingly, he's just not a good fit for this role. Audrey II is a tempting force, a manipulator, a smooth talker, and Rodney is none of those things. A schemer yes, a loveable everyman yes, a rap god, yes. But he was not Audrey II, Levi Stubbs was and i'm so damn greatful this abomination didn't happen, as hilarious as it would've been.

There was ANOTHER problem with test audiences, one i'm sure you all know and if not your going to... but that's best saved for when we get to the end. For now with all the behind the scenes behind us, for now, let's take a look at the events that started on the 21st day of the month september, in a decade not too long before our own, when the human race suddenly encountered a deadly threat to it's very existence. And this terrifying enemy suddenly surfaced, as such enemies often do,

In The Seemingly Most Innocent and Unlikely of Places.

We open the film with our title track.. and the stage show too but i'll just be saying "the film" for simplicites sake, though i'll still be covering where the versions diverge, unique stuff to both etc.

The title track is a decent , fun number to introduce it, done over a black screen on stage and in front of Mushniks in the movie.

Regardless of versoin it's sang by Crystal, Ronette and Chiffon, a trio of black singers and local teens who serve as our greek chorus. Their treatment is also one of the bigger diffrences between the stage and screen versions: on stage the three interact with the cast more and are more actual characters, getting a whole number with Seymour we'll get to and trying to get rid of Orin.

In the musical while two of their scenes interacting with the main cast remain, Mushnik shoing them away and the trio recommending Audrey date Seymour, their role as a greek chorus is emphasised, with the three appearing in more places and costumes, like on a roof in evening gowns for "Some fun now' in the dentist office for "Dentist!", in the florist at night for "Suppertime", and in an office in "The Meek Shall Inheret".

I prefer the film version. While they still had to have them as characters.. .after act 1 of the play they mostly vanish aside from chorus bits. This not only gives them more to do, but helps create a nice little question mark: are these three showing up everywhere, is it in the characters heads, artistic lisense, are they magic? We really don't know and I like it that way. The scenes of them as real people are still there.

Tichia Arnold, Michelle Weeks, and Tisha Campbell do a phenominal job in the roll and have a hell of a vocal range. They aren't given as much as the rest of the cast and it is a shame three of the only black performers in the cast aren't given as much to do in this version, but they still make the most of what screentime they have. Fun fact, Arnold and Campbell would later go on to both be on the sitcom Martin. I've never watched Martin, I never really want to, but I figured it was worth pointing out.

It's once we actually get inside the shop, Mushnik's Skid Row Florists that we meet our three leads: Mr Mushnik, the shop's owner played by character actor Vincent Gardenia, shrill voiced and gold hearted Audrey played by Ellen Greene as previously noted and my boy, the man the myth and the legend, Rick Moranis as Seymour Krelborne, Mushnik's hired hand, adopted son in all but legal papers, and hopless nerdy klutz.

The trio are perfectly cast.. granted that goes for everyone. Gardenia is hilariously shouty as the hammy Mushnik, being a worthy sucessor to the original film's equally hammy highlight. Mushnik is made a bit more of a dick here, as instead of being mad at Seymour for simply being really bad at his job he abuses someone whose just a tad clumsy, who he adopted and he basically treats as an indentured servant. He's also bumped down from Deutragonist to main cast.

Audrey gets a huge glow up going from a pretty forgetable character, to a tragically heartbroken one, a woman who assumes, very wrongly, she deserves the abuse her dentist boyfriend Orin gives her. Granted I don't like how Ashman seems to think BDSM is the same as domestic abuse, but Oz does a good job in the film downplaying the bdsm part, instead making it clear Orin is just a sadistic bastard. More on him later. Greene plays audrey perfectly: she has a goofy, perfectly doofy voice for adurey.. but she portrays it with such sincerty and heart. Audrey is a genuinely kind person: you can see why Seymour falls for her even if she can't see it. Audrey is someone who, as I relate to all too easily, hates themselves and sees their not worth it. We also get some nicely sex positive messaging with her, especailly for the 80's: while the bdsm mentions have aged like Ragu on a sidewalk, especially after 50 shades of grey ALSO didn't get what BDSM was and linked it to abuse, the internalized misogny audrey has, that just because she was a stripper (as is heavily implied) once and likes to dress how she pleases she's unworthy.. when really she's fine as is and fine as who she is. It's Orin who deserves to die.

Finally we have Seymour himself, played by the man, the myth, the boy, Rick Moranis. Rick Moranis slaps. He was an icon of the 80's and while he had to leave to raise his kids, he left at the height of his game. Moranis was the nerd of the 80's so he was perfectly cast. What this film also shows off , and thus i've always known about, but dosen't get shown off in say ghostbusters or other awesome roles.. is the fact that Moranis can sing. Moranis has a gorgeous voice, as does most of the cast here, and perfectly captures this version of seymour: someone who like Audrey, dose'nt think much of themselves but wants more for themselves, they just don't see a way out of where they are.

And where they are is DOWNTOWN, aka skid row, one of the best numbers of the musical. While it's decent enough in the original stage, Oz takes it up a notch, making it a giant, impactful crowd number, taking us all around as we hear just how hard it is for the people of skid row and how hopless it is.. and how much both Audrey and Seymour want to escape it despite the odds being against them. it's a beautiful I want song and one of the best, backed by Beatrice Reading's beautiful belting to open the song. A true masterpiece

So after that number we get a fun time passing montage, as with each shot we see it pass... and eventually see Mushnik throw up his hands and give up. They haven't sold anything all day, and he's going to close down the place.

Seymour however has a solution: they need a hook, an attraction. IT's him rather than Dick Miller who has the idea here which honestly... is just plain smart. While they sadly cut the Dick Miller Flower Eating guy out of the musical versions, I get he was suplerflous and he gets a perfect succesor in a moment and it makes way more sense for Seymour to just present the idea of his strange and intresting plant himself.

Seymour brings it up, the Audrey II. Audrey is flattered, Mushnik thinks the idea that this will work is laughable but figures why not... and then a weird man enters. This weird man is played by future comedy legend Christopher Guest of Waiting For Guffman and Best in Show Fame. I.. I can't understate how much I loved this guy even before finding out he was christopher guest a few years ago: his weirdly hammy way of talking, his suit, the way he says "what a stragne and intresting plant" you have to see him for yourself sometime. I also love how he titls his head when everyone says "twice as many"

As for how Seymour got it that leads us to Da-Do, a fun doo wop exposition number that in the movie is turned from just Seymour telling us in frame, to a neatly staged bit that looks like a play in construction. He buys it from Chang (Da-Do), a chinese botnist who sells him weird and intresting plants. Chang didn't make this one though, as TO-TAL ECLIPSE OF THE SUN! (ding), leads to the plant beaming in and while neither man knows how it got there, Chang sells it to Seymour anyway for a dollar nintey five.

The strange man almost walks bout but then comes back to buy a dozen roses , then TWICE AS MANY, TWICE AS MANY? (Twice as many?), leading to a flood of new customers and the florist being saved

Problem is Tooey isn't feeling so good Mr. Krelbourne, so Seymour's forced to spend the night trying to fix it. It's then we get another banger, Grow for Me. Spoiler: this entire soundtrack is fucking great in both versions, but especially the film. Oz shows his smart framing again here, having the number in the basement rather than the main area, giving us a bit of breathing room. The number is really just rick singing to the plant while moving around but his awesome and sincre vocals and the hilarious lyrics make it a joy.

When Seymour asks "whaddya want from me blood"... Tooey's response is...

So he opens a vein and the plant grows for him, leading to Seymour getting an interview on the radio

In both versions the interview is off screen, with us only seeing it through Mushnik and the trio (in the stage) and audrey (in the film) listening. What the film adds is a nice extra bit of Seymour actually going to the station. The station bit is really there for one and only one reason: so we can get a John Candy cameo. And frankly every film while he was alive should've been mandated to have a john candy cameo

John Candy is a comedy legend who died too young. He also has a history with Moranis, as the two were on the awesome sketch show SCTV in the 80's, so it was likely an easy ask to get Candy on here. The two also once did a song together on SCTV. It is also not necessary to this review but i'd be doing a diservice if I didn't play it for ya

Even when the man is trying NOT to play good he slaps. if anything the fact he can sing well enough to sing awkwardly on purpose and still have it not HURT to listen to and be funny.. god I love this man.

Anyways John plays Wink Wilkin, a local DJ whose really just there for John Candy to show how hilariously awkawrd it is when a dj does a bit while someone's standing right there watching it. He's also on the Blu Ray cover for some reason

This SCTV character is not vincent gardenia, what are you doing.

Anyways in the stage version Seymour coming back from the interview, after failing to give the adress, leads to "Ya Never Know", our first cut number.... KINDA.

See while the other three cut numbers are entirely gone from the musical, Ya Never Know was simply remixed into "Some Fun Now", taking the last part of Ya Never Know and making it into a slightly diffrent song. This change is for the better as while Ya Never Know rocks, it tightens up the pacing and instead of a random mid day musical number, we get a later juxtopistion of the fun and upbeat "Ya never know" with Seymour giving more and more blood to Toey.

Before we get to Some Fun Now though we have another number as the trio ask Audrey what the heck she sees in Orin. And what I do like is that while most people around Audrey tell her to "Just leave"... the film and stage show make it clear that it isn't that easy. It's honestly a great depection of abuse: while the idea that most victims have low self esteem isn't great, the idea that their abuser chips away at that and exploits that is very clear in how Orin treats her and how Audrey sees herself. Not only that, we get a very VALID reason why she dosen't leave him "If he does this when he likes me imagine what he'd do if I left?". The only people Audrey has in her corner are a kind nerd she dosen't want to see horribly mangled and an old man who would certainly try. No one would protect her if she left, so she can't. It's a horrible and tragic circumstance and a shockingly frank depection of abuse in what's otherwise a pretty light musical, and a hint that this musical.. isn't nearly as light as it appears on the surface.

So all Audrey can do is dream of a house somewhere that's green, leading to our next number. And as a kid.. I hated this one. It was long, it went on forever and I didn't really find the jokes that funny. oh hahaha 12 inches was a big screen.

As an adult... it's heartbreaking. Audrey is so trapped in her situation all she can do is pine for a future she thinks she can only dream about, one she feels deep down she and Seymour will never have and will never live to see. The last part's true depending on the ending, which makes it hurt that much more: knowing what's comign for her, knowing what twisted version of her dream she gets.. it hurts. It tangibly hurts.

Outside of being beautiful, well crafted sad, this sequence also brings an element I really didn't notice before to the foreground: captalisim. The film really takes the screws to our society, how some barely scrape by and can only dream and how some can ONLY get ahead through sheer luck. Seymour only found Audrey II because of a freak TO-TAL E-CLIPSE OF THE SUN! (ding). When your poor.. the world just wants to keep you that way and while working your way out IS an option.. it may not always work out. Mushnik has a nice flower shop for what he can get.. but it's dying simply because he can't afford a place not on skid row, where few people can really afford what he sells. And as the film goes on we see sometimes the way out... will eat you alive in the process.

Anyways, captalizim aside, I also love the designwork here. I used not to register just how much work it must've been to make this sort of thing but OZ and co really went out of their way to make some truly neat sets that feel unreal and plastic. So while it's still not a song I go back to a lot, it's one I apricate a lot more.

So we then get Orin.. and to my shock his intro's a bit diffrent in the stage play. Him riding up on his motorbike while singing on a purposefully crappy green screen is so awesome I hadn't thought "Well yes Jake but that's impossible to do on stage. ". Instead he talks with the Trio a bit. As you can probably guess... I prefer the film version, and once again it's less nostalgia or familiarity and more just showmanship. It's not really a fair contest as Frank made sure this was as film friendly as possible, so each number is him going all out while on stage it's just like any stage musical: it's what you can do on a stage. Dosen't make it any less awesome, my hatchetfield reviews should make that clear, it's just hard to compare to what OZ pulled off.

At any rate Dentist! is one of the most iconic numbers of the film and that's thanks in addition to Menkin's perfect 50's greaser ditty, to the charisma of one Steve Martin. Like Moranis I shoudln't have ot introduce steve martin who at 78 is not only still acting and has never quite stopped, he's also currently starring in the popular Only Murders in the Building with fellow SCTV alum Martin Short. I'd love for Rick or Ellen to pop up on there frankly even if I don't watch the show.

At any rate, Dentist is a gloriously hammy, surpisingly dark ditty about just what a monster orin is and how since "his temprament's wrong for preisthood and teaching would suit him still less" his mother recommended he become a dennnntttiiist and he'll be a sucess. And he is.. somehow. 1960's I suppose. The film gleefully outlines him as a hamm over the top villian, not just from shooting puppies with a bb gun and poimsning guppies when he was done but from little things Martin adlibed, with Orin just flat out socking his nurse in the face and tearing the head off a doll. It's so over the top it's hilarious and the song is so damn catchy and well done you can't help but sing along once you know the words. Add on the fact Steve Martin does a shockingly good elvis and you have one of the most perfect musical numbers and most hilariously over the top villian songs there is.

We soon meet Orin properly and what I love is that while Steve Martin gleefully hams it up with orin most of the time... he tones it down just enough when audrey enters. It's best shown when he meets Seymour. With Seymour he's flashy, happy to see him and recommends he get out of skid row asap. With Audrey.. he's quitely meancing, getting snippy when she dosen't add DDS to his name and snapping at her when she dosen't. But what makes it work.. is that it's kept realistic. Yes Orin is a greaser dentist about to be eaten by a plant, yes he's a bit goofy.. but the actual effect of his abuse and how he does it is played creepily real. He dosen't hit her in front of Seymour, with us only knowing he does because orin keeps leaving bruises, but it's very clear he has a tight control over her and Seymour's deeply uncomfortable the whole time, unable to actually DO anything to stop the guy despite knowing Audrey going off with him will only result in more pain for the poor woman.

Before Seymour can get an out for that we have to go back to the stage for one of the most suplerflous subplots i've seen in some time: So Mushnik is terrified Seymour is going to leave him and take the money and run, so he tries to adopt him. A 25 year old baby boy. Or 30 if you go by the movie which cut this out. We do get a great number out of it "Mushink and Son", where Mushnik tries to convince Seymour who mostly disagrees because he can see the lines but then Mushnik holds his breath for too long and Seymour agrees to become his son. It's entirely stupid and I love it, but I can see why i'ts cut. As a joke it's fine, hilarious and the number is fun. As part of the plot.. it goes nowhere. The florist shop is renamed Mushnik and Sons Skid Row Florist.. and that's it. It has no impact on Mushnik's later demise, the plot or anything but making Seymour feel on top of the world, which he already was. It's a nothing plot point only likely kept in all future versions because otherwise Mushnik's actor dosen't get a song.

So we get back to the main plot from that cul de sac and Seymour has a bit of an issue: while he could feed Twoey himself fine, he's not only tapped from previous feeings.. but Twoey is HUNGRY.. and with a loud whimpering feed me, Seymour finds out his plant can talk, he can move his trap he can demand more food.

With this Audrey's voice actor joins the party, Levi Stubbs. Stubbs was a member of 60's vocal quartet the Four Tops, a vetran singer who to my suprise was one of the inspirations for Hall and Oates. And their STILL active, switching out members as they go. They were such a big deal that Stubbs had to get the rest of the group's permission for this but thankfully he did.

Stubbs is a standout, perfectly nailing Twoey's character, maniuplative, smooth, and sinister. He can slip from threatning to tempting in an instant. One minute he'll be talking up Seymour the other he'll be telling him "does this look inanimate to you punk?" or telling him "Must be blood, must be fresh" one of my faviorite line deliveries from Stubbs as it's just so damn creepy. It underlines what Twoey needs.. someone to die for it. And a line Seymour isn't ready to cross.

So to push him over it we get the best song in the film, Feed Me (Gonna Get It), it's the first of THREE villian songs for Twoey in the film, two in the play, and it's the most iconic, outlining what this plant is right away: A deadly force.. but also a smooth manipulator, offering Seymour WHATEVER it takes to get him some lunch. The iconic "Would you like a cadilaic car, or a guest shot on jack par, how about a date with Hedy Lamar you gonna get it?". The I don't know bridge also nicely shows that Seymour. .isn't sold... this is a lot to ask and it's a high price tag. He sees the dollar signs.. but also sees the blood stains he'll have to clean out.. and the blood he can't ever scrub off his concious.

WE then get my faviorite part of the movie period. Twoey loudly belts out "a lotta folks dessserrrveee to die" a deftly manipulative line: after all it's a bit easier to muder if the person is bad right? One less scumbag right? or rather.. one lest dentist as in both versions Orin hits audrey where Seymour can see it and thus we get one of the best duets there's ever been as the two sing together. a one, a two IF YOU WANT A RATIONALE, IT ISN'T VERY HARD TO SEE NO NO NO, STOP AND THINK IT OVER PAL! THE GUY SURE LOOKS LIKE PLANT FOOD TO ME, THE GUY SURE LOOKS LIKE PLANT FOOD TO ME!

Now (It's Just the Gas0

So Seymour goes to GO GET IT. Cue the dentist office. And the movie adds something back the stage musical took out. While most of it's characters were either excised for serving no real purpose (Seymour's Mom, Dick Miller, The Sex Worker, the Mourning Lady, the Cops), or changed up (The two teeny boopers becoming the trio), Oz saw fit to bring one cut back: the dental mascochist, Arthur Denton in this version.

For this cameo Oz once again casted a big name, this time on purpose: Bill Murray, asshole and comedy legend. Look recent reveals like.. dangling a teenager over a garbage can and rampant sexual harassment may not have me liking him as a person, and it's certainly hurt films I love such as Meatballs. But as usual with these sort of assholes.. I HAVE to give credit where it's due. Murray is, as usual fucking hilaroius, nicely playing off Martin, a pairing we really haven't gotten outside of this one scene, with Orin being disgusted since Denton gets turned on. And like Nichelson Murray has this hijlarious jolly energy, though his is a bit more over the top fitting his style.

Anyways Seymour goes in for his checkup, which like the original film, Orin plans to take WAY too far and fuck up his mouth, giving Seymour ANOTHER reason to want the man dead. And it's there things change... as in both versions the same event happens, if slightly diffrently. It's been shown before this in Dentist! that Orin is addicited to Nitrious Oxide, having made up his own special gas mask to endulge, a weird bubble helmet in the stage and a simplier one on screen that's still JUST goofy enough. Problem is ... the thing works a bit too well and Orin snaps off the knob... just as, in the film at least, Seymour points a gun at him.

HIs death is utterly horrifying in both versions. I like the films as Martin does a fantastic job selling orin is dying and the horror that he's dying as he's laughing, coughing wildly between laughs. I also LOVE the exchange they have, something original to the film that sums things up perfectly

Orin: What'd I ever do to you?! Seymour: It's not what you did to me.. it's what you did to her. Orin: Who? (it dawns on him as the lights start to go out) Oh... her.

It's a simple moment but it shows in one last bit.. Orin realizes why his grave was dug.

The stage version of Orin dies the same way.. but it's extra unerving.. as he SINGS while it happens. Our penultimate cut number, Now (It's Just the Gas). I get why this one was cut: while the others were either reformatted or simply too suplerflous to live.. this one would've been fine. Here's the best live version I could find on it's own. Jake Gyllehal is seymour for some reason

As you can see it's a nice mix... it's horrifying.. and really puts Seymour in a moment of truth: he COULD save Orin... but he ultimately can't bring himself to. This change is also big as it adds more moral greyness to Seymour: BOTH let the man die, but Seymour in the musical thinks it over more. Let's it set in more.

WHile I prefer the theater version... I still love both scenes and for what it adds to Seymour: it's forever a question of "did he let orin die on purpose or simply got too nervous to decide and the time ran out?" In both versions the guy simply.. can't pull the trigger.. but is letting Orin die a horrible death any better? is it REALLY Seymour's right to kill the guy? It makes the world better.. but was that his call? I like that the musical dosen't really answer these questions. Seymour feels GUILT.. but for what, for wanting audrey and clearing the way or for killing someone? For how orin died? All that's clear is there's no blood on his hands.

After this we get a stunning scene of Seymour feeding Audrey II. The stage version is excellent, with shadowed lighting as seymour throws the parts in. I really love the OZ version though, as he throws in a jazzy instrumental of mean grene mother from outer space... and some horrifying laughter as Seymour throws him parts wrapped up. Originally the parts were NOT wrapped up but the MPAA took issue with this.

Can't imagine why.

So with this we enter act 2 and finally get past our last cut full song, Closed for Renovations. It's cute and it exists, that's about it.

So the store's doing better, Seymour's star's rising and he only has nightmares from guilt every OTHER night.

He's not the only one as Audrey has a jolt of guilt from Orin's death. How varies, with the movie version talking to the cops and the musical version getting a far more heartbreaking jolt: Seymour wearing a jacket like his to try and impress her.. only for the ptsd and guilt to get to her. Audrey WANTED him gone.. and thus fears this is her fault. Seymour, who knows exactly who made him plant food comforts her.

This leads to one of the shows best numbers and one of it's signatures. It's also one of the few that's really not that diffrent between versions: Oz simply adds a sunset for a nice cinematic touch. IT's a tender, genuine romantic ballad between Audrey and Seymour finally confessing to one another and confriming their better than their brains give them credit for. Can relate. It's tender, well done and REALLY shows off Greene and Moranis' vocal range. The two REALLY hit the high notes, ESPECIALLY Greene. While Somewhere That's Green let her show off a little this is a whole damn parade of her vocal talents. It's nice, warm.. and very sad given what's about to happen in 2/3 versions of this story.

Though what happens next no matter the version isn't exactly chipper as Mr. Mushink confronts Seymour. And this.. is one of the biggest changed scenes in the whole musical and those changes are deeply important. In both Mushnik has figured out he killed orin the film version saw Seymour hacking and slashing up the corpse, the musical version got a call seymour had a bag there and saw red spots on the linoleium.

While those are still similar enough what seperates the Mushniks is intent: despite his earlier greed, Gravis GENUINELY wants to help Seymour in the play, begging him to come tell the cops his side and part of him clearly not beliving Seymour did it or if he did, he had a good reason.

The film version.. is the utter bastard we're used to. He holds Seymour at gunpoint and offers to let Seymour run away if he gives him the plant.. framing it as helping but really just wanting the money. One is a suprise show of decency.. the other is exactly what you'd expect, but with Garendia still giving Mushnik a nice tinge of clear horror at what his surrogate son has done. Either way it drives home how far Seymour's sunk, with Audrey before this showing the consequences. He killed a man..a nd he dosen't get to walk away.

Or does he? After all Twoey would prefer the more manipulatable person and thus sings to Seymour to feed Mushnik to him What I like is no matter the version, it's ambigious if Audrey II is actually communicating with Seymour.. or it's simply the Audrey II in his head. Mushink dosen't HEAR Audrey II but is that artistic license or is what's about to happen all seymour?

Well how MUCH it's Seymour depends on the version and it's something that hurts the original ending of the film: In the play.. Seymour is fully responsible. Twoey's talking him into it sure.. but Seymour tells Mushnik to look into the plant for the money. Which is stupid, and a nice takeaway from the original film, sure, but he still actively lead Mushnik there.

In contrast in the film... Seymour's at gunpoint, nervous and reluctantly backs him up to tooey, and is geninely unsure of how to tell him how to care, drawing it out.. and once again making it hard to tell if Seymour simply got nervous and Twoey took advantage or Semyour led him.

It's a key part of the film version; Seymour's guilt is way more ambiguous, which makes him more sympathetic. It's hard to tell how much is just making the wrong decision under pressure, and how much is intetnional. He also shows way more guilt.

Where Do I Sign?

What dosen't help is that both versions of the film cut out something important, the bridge of "The Meek Shall Inheret". The Meek Shall Inheret is a number I love, as Seymour's fame rises.. but as shown by Moranis' deft acting, it's eating him alive as the guilt is. And the bridge makes this clear.. but also makes him once and for all acountable.

Now did Oz go a bit TOO hard on adapting this bit? Fuck yes. I don't even know exactly what i'm looking at. There's a good bit or too like the bleeding painting of mushnik.

What's important is the singing and my GOD does moranis fucking kill it. This is easily his best vocal performance in the film..a nd it got left to the soundtrack. A real shame even if I do GET cuting this goofy version, if not you know, simply reshooting it. You don't NEED Audrey hugging a plant. Or plant seymour.. or most of this. The vines are a nice touch tho.

What's needed.. is Seymour's moment of weakness. WIth Orin, he simply acted too slowly and let a bad person die by his own hubris. With Mushnik, it was a moment of weakness or a moment of stress. Both left men dead and both aren't something he can walk back and will always carry with him.

The question is.... does Seymour give into the plant or fight back, does he KILL the beast before it grows and loose everything to do the right thing or selfishly give in? IT's the latter.. that seals Seymour's fate. That little last speck of insecurity and self hatred, that tiny voice that convinces him Audrey loved him for the plant and not who he is. And that's.. how Audrey II wins.

And leaving that out meant he couldn't POSSIBLY win. Which brings us to our finales.

Schrodinger's Audrey

The leadup is the same: with his guilt spiraling , Seymour asks Audrey to run away with him and get married, leaving Audrey II behind. The stage version.. runs on plot contrivance. Up to this point it's well plotted and the actual tragic finale is a heartbreaker.. but how we get there is

Okay so Seymour talks to Audrey about running away.. IN FRONT OF TWOEY. The one person he shoudln't. And it's not like the play dosen't have an alleyway set or they can't just dim the lights so it's implied he's not in the shop. I get the final plant puppet is MASSIVE but you COULD hide it. even just have Seymour throw a sheet over him.

Then while he's getting Twoey some sirloin, Audrey comes by because she can't sleep. That's it. The entire tragic ending.. happens because of stupidity and concidence. And seymor's hubris and weak spine, but the fact the last 15 minutes happen because of this just. .baffles me. The play is so good otherwise, honest, and the rest of the ending is great. But this one part just.. astounds me in both how flimsy it is and how it's never been re-written. WHy wouldn't you?

So Twoey tricks Audrey into getting him some water. She's nervous and senses something's off... but sadly not before Twoey eats her alive. And it's with that action the ending snaps back into the quality of the rest of the show, as Seymour comes in to save her.. but it's too late. His actions have had a consequence and his refusal to try and kill Tooey while he still could... cost him the only good thing in his life that didn't come with strings attached and never had. Audrey, selfless and kind as always, asks to be fed to the plant, not realizing what Seymour has become or what he's done and simply wanting to be with him somewhere tha'ts green. And to their credit while Twoey is a monster... in both this version and the film, he let's Seymour gently place her inside, honoring her sacrifice.

Seymour is left a mess after this, and only snaps out of his suicidal spiral when a salesman offers to make MORE Audrey II's... and thus Seymour gets the picture: The plant wants to conquer the world.As brilliantly put in the film in one of my faviorite parts in the whole thing.

Seymour: Every household in america, thousands of ya eating, that's what you had in mind all along isn't it?

Seymour: We're not talking about one Hungry Plant Here, we're talking about world conquest

Audrey II: And I wanna thankkkkkk youuuuuuu

It sells that this is SEYMOUR'S fault.. and in the play at least.. it's too late. He made the wrong choice... and it's too late to save the world.. or himself. Despite every attempt, despite going into the plant to kill it.. Seymour dies. THe plant gets sold to every supermarket in the world... and as "Don't Feed the Plants" plays, we learn everyday jerks like Seymour bought the deal. The world is doomed... and evne if the chorus tells us "we still have a chance" it dosen't seem likely.

And this ending.. is fantastic. It's a well needed aseop: that ANYONE can do horrible things with the right motivation. It's probably less shocking nowadays in the true crime boom built off that premise, but even then most people watching that stuff think "Naht hat isn't me". The point of the show is ... no it could be. Seymour isn't a HORRIBLE person, he isn't pure evil... but he still let two people die horrible deaths because it was easy and backed down from the hard path... and paid the price. Actions have consequences, and doing horrible things to get ahead just isn't worth it. It's not worth loosing your soul to feed the plant.

So that leads us to the film which infamously has TWO endings. The original was a variant of this one, the other something diffrent Both start the same way though: Frank fixes one of the few problems with the play by.. not having Seymour be a complete putz. He makes the plans to flee where he thinks Tooey isn't watching, in the Alley, and tries to sneak out, then does the sirloin thing as a compromise, clearly planning to leave after that. And rather than hapinstance.. it's Twoey that kicks off the finale. Seymour's going to renege on their deal? Well that's just fine.. then he's no longer of use.. and neither is Audrey. So he calls her over and reveals himself, with a truly nice shot from her apartment across the street as we see the plant grinning. She's certainly feeling uneasy.. but her kindness and trusting nature make it easy to see why she tries to feed the plant some water when asked.... and ends up lunch.

This is where the two endings split. A Schrodinger's Audrey if you will: She's not alive OR dead despite the obvious implications towards the latter while being eaten.. i'ts only when she's pulled out can you tell which ending you have: if her wedding dress is clean, it's the theatrical cut, if it's blood i'ts the original.

So before we talk about the different endings, you have to ask

Most films have test screenings: these are a way for studios to see if they have a hit on their hands or arbitrarily bury a movie, gage audience reactions, see what might need to be cut or what needs to be reshot. These aren't a bad thing entirely as sometimes testing can really help a film.

In this case it did and it didn't. The film was a cinch to get raitings for most of it... laughter, hollering. It was a crowd pleaser... until we get here. Until they kill Audrey then Seymour. Hearts are broken and the bad guys win.. and no one was happy with them getting only 16 percent liking it. Oz suggested another test.. and same result.

So while he wasn't happy about it, as the original ending had a lot of expensive puppets, minitures and fit more aseop wise.. he changed it so the film would get released.

It was then.. that the original ending was lost. All frank had was a black and white workprint which he DID put on the dvd.. till Giffen told him to take it off and said "Oh we'll just put the color one on" now where did I put it..

Yeah he didn't have it and it still frustrates me the ending was mostly lost. Thankfully a fan happened to have the original print and it was restored in 2013, but for most of my life the theatrical ending WAS the ending. I only saw the original one in a lifestream someone was doing around halloween and in the janky workprint.

So on paper it'd be obvious with ending is better: The original, the director's intended vision. But it's just.. not that simple. The hard truth is , as much as I love this film NEITHER ending completely works. Both are good.. but neither COMPLETELY fit the film Oz made

The original is , as said, close to the plays: Audrey is pulled out and Ellen green acts her heart out as she asks to be fed to the plant. If ther'es one big tragedy to this ending not getting in it's that Greene didn't get her oscar for this scene. God damn.

So Seymour decides to unalive himself out of guilt, only to meet the sales guy, realize tooey's plan and go to stop him. We also get one line that isn't in the thetrical cut "Your a monster and so am I" it shows tha tunlike the musical.. Seymour has realized their both monsters.. but only one is getting out of here. He has to do the right thing even if he dies.

He tries his best as we get one of the best numbers int he musical, my clossseeee second faviorite mean green mother from outer space as Audrey II talks about how badass he is in one long, awesome villian song, one of the best in existance. He easily beats Seymour. Ashman and Menkin made this for the film, to get nominated for best original song, which worked. They lost somehow but hey, points for trying. MGMFOS is a banger, and one of the musicals best in any medium, nad i'm glad stage productions added it in as damn is it fun. IT's also a puppetry feast as the giant final puppet moves, grooves and has little backups. it's a truly awesome musical moment and a spectcale for the eys, a deserving finale

And it's also... why this ending dosen't quite work. In the play Seymour goes down swinging and while still likeable, wasn't the best person by the end. His death went down easier. Movie Seymour showed WAY more visable guilt, being wracked with it and while he tried to dodge it it was clear it was eating him alive... and without that bridge, without that one moment of weakness... he comes off less as someone who willingly sold out to twoey after the two murders, and more as somone whose swept up in the tide of all he ever wanted but desperate to escape it as he knows the price tag is caked in blood. And as bad as he was.. some of that blood was his father figures.

As a result a 3 minute musical number where Seymour is humilaited AFTER the guy nearly killed himself AFTER having to give up the love of his life, knowing it was all his fault she's dead... is a bit much. It's karmic overkill. Seymour dosen't deserve to walk off scott free, he has to live with what he's done. But OZ both made Seymour way more sympathetic.. and then piled on way more punishment. I'm again not saying Seymour deserves to get the hell out of this unscathed, he let two horrible things happen and needs to stop the monster he created. But this was overkill

It dosen't help that after Seymour's death, and the plants taking over... the ending drags on for a WHILE. The director's cut does have GREAT puppet and miniture work that's just outright wasted in the theatrical cut, cool shots of the plants taking over the world. It's neat stuff. But it's also not edited like it probably would hav ebeen had it been propertly released, so it's about 30% good content and 70% the plants fucking shit up while laughing a lot. It's cool at first but after a while you just want it to end. And the end of Audrey II bursting through the screen is awesome but I GET why the test audiences hated this: It's not just the bad guy winning, that's a horror staple, i'ts that he basically rubs your nose in it for 15 minutes. The ending isn't terrible and I do get why people prefer it, as THEMATICALLY it's better.. but I wish we could get a cut with it edited down. otherwise while still a LOT of overkill for seymour, it'd flow way better.

So that means the focus group ending is 100% better right?

Yeah while I like the theatical cut ending a touch more... it's far from perfect. It's not bad: Seymour rescues Audrey, realizes what's going on from Jim Belushi (And we get the iconic line "IF you two kids would just stop singing for a minute"), and goes to confront the plant one on one to atone for what he's done. It helps that while we don't get the great your a monster and so am I line, we do get Seymour going in. He COULD run from the thing.. but he knows running is what got him into this. being passive, not helping anyone when he could. It's only actoin that will get him out

Mean Green Mother works WAY better as a villianous last stand than as a victory lap. It's still boastful, still awesome and Seymour is still outmatched.. but it works better when it's not "Someone whose genuinely trying to atone for horrible things getting battered" and more "A hero barely surviving against the beast he created. " Context helps.

It's HOW Twoey goes out that makes this kinda weak, as is Seymour just.. getting away from it. Feed the plants and you can escape the consequences of your actions! You can just bluescreen them to death and get your somewhere tha'ts green..e ven if it comes with a strange and inresting plant.

Thematically the ending dosen't QUITE work, changing it more to "accepting personal responsiblitY" than "your actoins have consequences and you can't just avoid them less they destroy you". But honestly.. it dosen't hurt the film bad enough. The changes to Seymour mean we root for him more. We're probably not supposed to, but Rick Moranis is just too damn likeable and sympaathetic and portrays the guilt too well. But the new aseop "When you do a bad thing, you need to own up to and face it not run away from it or claim you could've done nothing" DOES really hit in an age where many a person will deny they did anything when their ugly past takes root. Seymour did fuck up, but he coudln't exactly tell the cops, and while it took a push risked his life to undo his mistake. Again it's far from perfect, but for an ending that had to be made on the fly it works well and for the film Frank Oz made.. it works perfectly.

So that's Little Shop of horrors... and as should be obvious.. I love both vresions. The movie more, ending issues and all. It has phenominal performances, wonderful numbers and top notch effects. If you haven't seen it and this hasn't convinced you, I don't know what else I could possibly say except.. thanks for reading.

Next Time: We finish this retrospective with the piece of little shop history we all like to forget.

#little shop of horrors #halloween #ellen greene #rick moranis #steve martin #vincent gardenia #audrey II #seymour krelborn #horror #musicals #musical theater