Blake Lively and Michiel Huisman in "The Age of Adaline" (2015)
After miraculously remaining 29 years old for almost eight decades, Adaline Bowman has lived a solitary existence, never allowing herself to get close to anyone who might reveal her secret. But a chance encounter with charismatic philanthropist Ellis Jones reignites her passion for life and romance. When a weekend with his parents threatens to uncover the truth, Adaline makes a decision that will change her life forever.
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You know how you can get the "you're special" conversation with the Narrator in the various Chapter IIs? Well, I got very curious about everyone's responses to that, and some of these are very interesting...
At its base, the conversation goes like this:
And then whatever other voice you have with you chimes in after that. There are a few exceptions that I'll cover because I find them interesting, but the ones that follow this pattern are:
Broken
Cheated
Hunted
Opportunist
Skeptic
Smitten
(Some of the above have further back-and-forth with the Narrator, but that's a bit outside the point of this post!)
There are a few variations that really intrigue me, though...
One just changes up the order slightly, nothing else, but I think even this simple change still has some character implication to it:
Stubborn
Which makes Stubborn, interestingly, one of the only ones who buys into that as easily as Hero, possibly the only one (but, funnily enough, possibly not...).
On the other hand, changing up the formula drastically:
Paranoid
Paranoid doesn't even let Hero respond before responding himself, and I only showed the rest of the conversation to show that the Narrator has no chance at all to deliver his "Of course you're special. Why else would you be here?" lines -- he's put on the back foot by Paranoid's suspicions, and even when he tries to be soothing and encouraging again, Paranoid shuts that down too. If Stubborn is the most receptive, Paranoid may very well be the least.
Another major variation, which I find very interesting and can't even quite put my finger on why I find it so interesting (except that I like Cold so much):
Cold
Like Stubborn, Cold speaks up right after Hero's response before the Narrator can get into his own "Of course you're special" lines, and like Stubborn, it's in a way that seems surprisingly receptive. He actually takes the place of the Narrator responding with that, actually -- the Narrator doesn't say those lines at all, making this the only other time other than with Paranoid that he doesn't.
And the final variation...
Contrarian
There are no screencaps for this. Because interestingly, I don't think you even can get this sequence with Contrarian. Or if you can, I wasn't able to figure out how. You can't get to any of that questioning at all from what I'm able to tell.
And I think Contrarian would enjoy knowing that he's the most uniquely disruptive out of all of them.
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Hi! Thanks for opening your inbox to questions/prompts! If you get around to it, I was wondering how Ice and Mav feel about the very public nature of Rooster and Hangman's wedding/marriage in your fics, it must be very weird to them, especially talking to other people in the Navy about it. Also I just really adore your Slider fic and if you have other thoughts on how Ice and Mav are perceived by their other friends and Sarah I would adore that too
Ive posted all the stuff you suggested above in previous wip wednesdays actually but here’s a little snippet of icemav being Perceived!
everyone has a different strategy for dealing with icemav and their bullshit (Cougar, to openly accuse/make fun of them; slider, to let them get away with it; mav, to survive on scraps; ice, to pretend it isn’t happening, etc.) & sundown’s strategy is to play dumb & pretend ice came out to him decades ago so they’re both in on the secret. it’s actually a great strategy—circumvent ice’s denial by pretending he isn’t denying anything. but easily counteracted by ice’s counterstrategy of ALSO playing dumb and going along with it, so he and sundown never really get anywhere in seriously discussing it. Sundown’s like “man I’m so happy for you guys, glad you two are still together, you guys are really true love personified for real :)” and ice is like “:) thanks! idiot!” & doesn’t really internalize the message.
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DOLORES DEI — “I don’t *understand* you, Harry. You aren’t dying, you’re just sad. Why is everything an apocalypse to you? People don’t die of sadness! I’m… I’m not trying to kill you, Harry…” Her holy gaze falls to her feet. “I never wanted to hurt you at all.”
DRAMA — She speaks the truth, sire. All she ever did was love you.
RHETORIC — No. Don’t let her control the narrative. She’s *wrong.* People die of sadness every day. Sadness the likes of which she has never and will never know. Tell her about the body on the boardwalk, his mouth full of chewing gum to mask the smell of disappointment. Tell her about René’s angry little heart full of barbs and spines that repelled all but one man. Tell her about Cuno’s father, wasting away and leaving nothing but a specter that will dog his son’s footsteps forever. Tell her about Ruby. Tell her about the Bad Day.
“I never wanted to hurt you, either. I just wanted you to understand *my* hurt.”
“Just because you can’t imagine something doesn’t mean that it isn’t real.”
DOLORES DEI — “But that’s not true, is it?” Her beautiful eyes are full of pain. “You *did* want to hurt me. You wanted me to be sad, too. And then you wanted me to leave you and prove that you were right about everything. About me, about life…”
She sighs, brushing a strand of hair from her face. “Well, you got what you wanted. I’m gone and I’m never coming back. Are you happy? Does it feel *good* to be right?”
INLAND EMPIRE — Nothing will ever feel good or right again. You have made certain of that.
RHETORIC — It feels better than the constant dread of being abandoned. It feels like vindication.
“I never wanted to hurt you, either. I just wanted you to understand *my* hurt.”
“Just because you can’t imagine something doesn’t mean that it isn’t real.”
DOLORES DEI — “This again!” She pinches the bridge of her nose, and the gesture makes her look strangely more human. “What do you want me to say? ‘I’m sorry for not being born poor?’ ‘I’m sorry for not being an alcoholic?’ ‘I’m sorry I don’t want to die?’ I’m not going to ruin my life just to understand where you’re coming from, Harry!”
And then, her expression softens. Like light passing through stained glass. “You’re not well, Harry. You don’t need to die. You just need help.”
EMPATHY — She genuinely wants you to be better. And she believes that you can be.
RHETORIC — But she fails to understand the difference between you two. Poverty, addiction, the pain wracking your bodymind… She can leave these realities behind. Go back home to her parents, start a new life on another isola and be a new person. And so she did, and so she is. But you? It’s too late for you. It was too late from the moment you were born, in the death throes of the revolution. It was her people that killed it.
VOLITION — Is any of that her fault? Is it wrong for her to save herself from you, just because you can’t? You can be sad and angry at this wedge the world drove between you, but why did you have to misplace that anger? You took it out on her just because you could. You made it impossible for her to stand by you without getting stabbed in the back. You even became a cop so you could take it out on other people, too. Stop this, Harry. No more cruelty.
“There is no helping me. The world isn’t built to help people like me. I realized that in Martinaise. None of us can just *leave.*”
“Fuck you. You don’t know what I need.”
“I want to get better. Would you love me again if I got better?”
DOLORES DEI — She smiles, and it’s tinged with pity. “Oh, Harry… You are what you are. I’ve already forgiven you for that. And you may not forgive me, but I am what I am.” She closes her eyes, head bowing just slightly, almost like a prayer. “But we cannot *be* together anymore. Don’t you see that? There is nothing good left that can come of it. It would just be… more of this.”
Her Innocence Dolores Dei opens her eyes and looks around her— at this strange set you have constructed to act out a million different conversations that all end the same way. “I can’t live in your nightmares, Harry. And neither can you.”
VOLITION — You don’t have to anymore. Let her go, Harry.
“See you tomorrow.”
“Goodbye, Dora.”
DOLORES DEI — She smiles that pitying smile again. It’s not going to be that simple. “See you around, Harry.”
INLAND EMPIRE — You can try to rid yourself of this place, this feeling… But it will come back to you eventually. What you build at low tide will be swallowed up again someday.
VOLITION — And then you’ll build it again. As long as you live. You can do it.
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#ADateWithNarry
hello, my name is jay, though most folks call me soup. i'd like to petition a date with the narrator. big fan of his game! i used to write headcanons for him a lot, and there's still a part of my heart that flutters when i see him on my dash. he and i share a love of stories in common. i'm an english major aspiring to be a writer. i feel like he and i would have a lot to talk about, and i do admire his voice quite a bit. my favorite quality of his is his sense of showmanship. he put a lot of work into his game, and it shows.
(and maybe if i can, i'll just blow him a lil kiss 😘)
<3
AAA tysm for the submission yo! I was going to get my narrator to respond on this post bc submissions are supposed to go to his blog, but it just ended up on an hour-long rant about principle and how he might not reach his followers on his blog so ill just post this and let him respond on his own.
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