#I’m thinking that the main characters are going to be an alien bounty hunter and a broke human STEM student.

[spiritshaydra]

Ngl one of these days I kinda wanna try making a comic about space lesbians out of spite, just because I’m sick and tired of all the gay space comics being just,,, two twinks. And there’s a severe lack of science-fiction yuri in general 😭 (I can think of like. One off the top of my head. But it’s dimensional travel yuri not space yuri)

The gays got that Bravern anime but us girls need something too!!

I’m specifically talking about a story that’s got delicate care put into it and how the characters are written, with the focus being entirely on their dynamic and not the [CENSORED FOR SAFE READING] and [REDACTED] along with [CARTOON SOUND EFFECTS] that runs rampant in most of the stories I’ve seen on AO3.

[joshfmpyeartwo]

Dating sim / Visual novel

A made a second board on pinterest for the next idea. I’ve wanted to take on some form of character design and some more detailed pixel art for a while now so for this idea, it would also be a collaboration with a friend from my class, to enable to me to put my full attention on art and story (My specialism). The ide to make a dating simulator came about in a discussion about doki doki literature club and Dream daddy, although we weren’t entirely serious at the time, this is probably the best choice to show off my game art and storytelling skill set, as well as my friends experience with widgets and programming. 

The moodboard I have created for this idea started on mythology as I have always been really fascinated with Gods and their stories. I was specifically looking into the modernist revisiting of greek Gods and how they would look in a present day setting. The idea at this point was to make a cafe/bar in olympus and create a game similar to Coffee talk. After this I started to move more into direct inspiration for the character design. I started looking at all all of the characters from the game Hades, as it’s one of the only video games to depict greek Gods. Considering this is my FMP and I hadn't done illustrative art before, I decided to move my ideas over to some high resolution pixel art and simplistic illustrations which is the entire top half on my board.

The main art styles, i’m looking at are the soft, simplistic illustrations (the images on the right), semi-detailed pixel art with a red to purple colour palette like the middle left image, and chibi, low res pixel art like the far left image.

My mindmap for this idea has: Art, Visual novel, Gameplay and Love interest as it’s 4 main themes. All of these are the most important aspects in a dating simulator as the game wouldn't be remotely playable without even one of these topics.

I added Love interest as a way of expanding the ideas for what the love interests are going to be . The obvious one, and the one I explored wit the moodboard, was Greek mythology because of their link to Midas and the destruction of Gods topic on our initial mind map, I think this could be a really good idea. I also Added the Norse mythology because the stories involved in it are incredibly interesting, creating a few more options when it comes to creating a story or opportunities for more complex and interesting character design. I also put down alternate reality to give me more options of time period and setting. I was mainly trying to create a line up of characters that haven’t really been seen in another visual novel. For this reason, I also thought it would be cool to look into adding some time travelling/alien characters.

Visual novel was added because it’s what I see as the most important part of making a game like this work well. Without any visual novel would lack substance or fun. This was also an opportunity to look at some ideas for a story. I was going down the norse mythology route and was thinking about creating a modern ragnarok, where the only way to save the world is to date all of the gods. For the alternate reality characters, I was looking into some sort of space bounty hunter dating simulator, or even a time travelling one, where you visit different famous historical events and date people from them.

The art theme is equally important because the gameplay is usually pretty basic. I’ve used this as one of my themes to generate some ideas for what aesthetic I would want our game to capture. The one I’m leaning towards the most is the chibi pixel art portraits, or ones similar to the Senpai in Friday Night Funkin because I feel more comfortable creating pixel art. Having said this I also enjoy more simplistic hand drawn stuff. I also love the more cartoon, thick outlined art in Dream daddy, which could even fit with the time travelling or alien ideas. Although it’s rarely been done, a 3D visual novel is also possible, and I now have the experience to make it look good in the context of a visual novel. I was looking at 2.5D (like octopath traveller), and cel-shading (in something like Zelda).

Although the gameplay is mostly going to be up to my friend, it can’t hurt for me to look into it because it can also affect the story and art depending on what it is. Ours is going to include various puzzles and minigames to determine the outcome of certain interactions, and possibly dates, or serve as a combat mechanic, and treat the dates as if they were a battle.

The idea is you'll flip between going on quests to build up your attributes and then talk to each God to try and impress them to save the earth.

Doki doki literature club is a deceptive psychological horror disguised as a cute visual novel. I am researching this game as it has an incredible progression and story. It relates to this idea through the style of gameplay and our game would follow a similar gameplay style as the poem building mechanic. You can change your style of gameplay to impress a certain God.

Coffee talk is a visual novel based around the intertwined lives of a fantasy based community in the city. Looking into this would be a good idea as it shares a similar art style to what I'd be looking at replicating. It uses high resolution pixel art profiles of each character, not to mention most characters are designed after mythical beings which could translate well to Greek Gods. I also love the coffee making latte art minigames, they add a bit of fun on the side of the heavy story based gameplay.

Dream daddy is a dating simulator following a dad that's just moved into the neighborhood and starts trying to date all the dads. The thing I like about this game is that it doesn't push one person towards you, it gives you a bunch of options with varying personalities. I've chosen to look into this game as it's one of the few visual novels that can sustain a players attention to the dialogue. A lot of visual novels don't attempt to add humor or even just realistic interactions which is something I think this game does really well. When I'm writing the script for our game I'll have to keep this in mind.

Hatoful boyfriend is a dating sim based around birds. It has a massive focus on humor and bringing light to how stupid a lot of visual novel clichés can be. I decided to research this for a similar reason I chose dream daddy. Because it's writing isn't entirely focused on strange inhuman encounters and cringe dialogue, it's closer to being satire with a mix between dating sim clichés and comedy. I'd like to do something similar, maybe leaning more into a genuine dating sim with good writing and a bit of comedy. It's worth keeping this in mind when writing the dialogue to make sure it sounds fluid and interesting.

Monster prom is a game where you play as a college student trying to get one of your classmates to come to the prom with you. The reason I've picked this game is that I really like how it handles character design. Each character looks exactly like their personality.

[giveamadeuschohisownmovie]

My pitch for "The Amazing Spider-Man 3″:

MAIN STORYLINE:

Picking up a few weeks after “Spider-Man: No Way Home”, Peter Parker (I’m not calling him Garfield Peter/Peter 3 because he’s the only Peter here) has a renewed sense of energy. Even though Gwen’s death still lingers in his mind, he’s come to terms with his past. Things are looking up for Mr. Parker...

...until he’s contacted by his universe’s version of Doctor Strange. Strange says that Earth-199999′s (MCU Earth) tampering with the multiverse has caused a rippling effect, harming other universes. Although MCU Strange patched up the problems in his universe, his spell damaged the Amazing-Verse, which is why Strange summoned Peter to the Sanctum.

Think of it like this; when Strange exposed the MCU to the multiverse, he may have fixed the leaks on his side, but he didn’t fix the cuts made to the other universes. So Tobey and Andrew’s universes are still open to the multiverse, which could be problematic since who knows who or what can crossover from the other side.

Strange says he’s already spotted one person crossing over from a different universe. Peter confronts the visitor and, much to his surprise, it’s another Spider hero. The visitor is Spider-Gwen, specifically the same Gwen from the “Into the Spider-Verse” films. Hailee Steinfeld reprises the role, but in live-action.

Obviously, Peter is speechless upon meeting Spider-Gwen. Although this isn’t his Gwen, he’s still meeting a version of her. In fact, he’s meeting a version of Gwen who lost HER Peter, creating a parallel between the two of them. 

Strange tells Peter that he needs to capture Gwen, but Gwen says she’s traveled the multiverse before and can send herself back. The reason why she’s in the Amazing-Verse is that she needs to find her dad. Apparently, George Stacy fell into the Amazing-Verse and has gone missing.

Despite Strange’s commands, Peter decides to help Spider-Gwen find her dad. Not only will he make sure another version of Gwen makes it back to safety, he’s going to save another version of George Stacy as a way of atoning for the fact that his universe’s George died protecting him. 

SIDE NOTES:

1) This movie establishes that characters in alternate universes have a high chance of looking like someone else, which is why the three Peter Parkers all look different. In my head, Amazing-Verse Stephen Strange is played by Ethan Hawke (meta reference to how Ethan almost got the role of MCU Strange).

2) Spider-Gwen’s version of Captain George Stacy is played by Jeremy Renner. This is to create a spiritual connection to the MCU; even though this is Gwen and George, you feel something familiar with their relationship since you’re also thinking about Clint and Kate. It’s basically the same energy as Evan Peters playing Ralph Bohner in “WandaVision”, evoking the feeling that he’s X-Men Quicksilver. 

3) Before anyone even thinks about it, Amazing-Verse Peter Parker doesn’t fall in love with Spider-Gwen Gwen Stacy. However, they do talk about and bond over their universe’s versions of each other.

4) The main villain of the movie is Amazing-Verse Kraven the Hunter, who is a Kree bounty hunter in this universe. He comes to Earth seeking to collect Spider-Man for a trophy and captures George Stacy in order to use him as bait. The reason why Amazing Kraven is an alien in this version is to pay-off the line about Garfield’s Peter wanting to fight an alien. 

[pandaponderart]

Underrated Anime Part 1:

Hello my fellow Weebs, I’m back for some more Anime blogging, this time to talk about so not so well known ones. Some that have got forgotten with time, some that new Anime fans have maybe never heard of and the ones that I feel deserve more love and recognition. I’ve been watching Anime for about 13 years so I’ve seen a lot so this will be in at least 3 parts, so hopefully you like this and look forward to more. Til then enjoy, hope you can find some new anime you’ve never heard of thanks for reading and look forward to part 2!.

1. Azumanga Daioh(2002)

Starting off with an older Anime, and one of the best and earlier comedy, slice of life Anime that paved the way for a lot of other Anime in the same genre like Nichijou and Daily Lives of High School Boys. Off the wall and highly unrealistic, this comedy is completely over the top in the best way possible. it’s old but gold and should be crowned as one of the best comedy Anime to exist.

With the most lovable cast, you have Chiyo the 5th grader who is so crazy smart she gets placed in a high school class, then there’s Osaka, who’a real name is Ayumu Kasuga who’s named that because she‘s from Osaka. Osaka isn’t the smartest and neither is her other classmate Tomo Takino who will do anything to avoid studying. Then to balance out the cast is Koyomi Mizuhara aka Yomi, the smart one who keeps everyone in line and Kagura the sporty one. Then of course can’t forget to mention the teachers Yukari Sensei who is anything but the normal responsible teacher and to balance her out Minamo Sensei the responsible one. There’s no real plot with Azumanga Daioh but there’s not meant to be it’s just an over the top comedy slice of life, with moments that will make you laugh from your gut. It’s all about the characters and the ridiculous situations their put in and each one is a lovable idiot that really drives the show. Give this one a shot if you want a show that will put a big smile on your face the whole way through.

2. Eden of The East (2009)

Another older Anime, not everything on this list will be older Anime but there’s so many good ones like this!. Eden of The East is an action, mystery with elements of romance with one of the most unique stories I’ve seen in Anime. It’s a short watch being only eleven episodes with two movies following after which I recommend watching because they continue the story. I’m really surprised not more people know or talk about this show but it need to be talked about more!.

With one of the funniest and most bizarre starts to an Anime, our lead charcter Saki is on a trip to Washington D.C, when she gets in trouble for throwing a coin in the White House’s fountain she’s saved by a naked man who claims to be a terrorist. Not only is this mysterious man naked and claims to be a terrorist, he also has amnesia and is carrying a phone with 8.2 million dollars. Saki befriends this strange man and throughout the story they try to uncover more of his past, his involvment in an incident called careless monday and a dangerous death game with other players. They must also spend all of the money as instucted by the mysterious voice in the phone Juiz as well as try to save the world.

3. R.O.D The TV( 2003)

Ok I know I said this list wouldn’t only be older Anime but I guess the older Anime just has my heart and this one has a special place in mine. One of my all time favorites and one of the earliest Anime I saw and it still holds up to me til this day. It is hands down probably the most underrated show on this entire list and if you only watch one of these Anime please make it this one. The story is completely original, the characters are complex and endearing, there’s action, heartwarming moments, comedy and mystery, I wish there was more Anime like it, it deserves to be a classic.

It‘s a one of a kind show about the paper sisters Michelle, the oldest bubbly bookworm, Maggie the seemingly intimidating quiet giant. Then you have the youngest sister Anita who unlike her sisters hates books, she’s a bit rough around the edges but loves her sisters. Although they aren’t actually sisters they have a detective agency to help find lost books to help pay for rent while also doing odd jobs like being body guards. Their first assignment is to protect the author, Nenene Sumiragawa who is being threatened to be killed at her book signing. The paper sisters aren’t called that just because of their love of books, they can turn paper into weapons and whatever else they please, but each having their speciality. Nenene finds out they‘re paper sisters just like her friend who ‘s missing, Yomiko Readman and asks them for help finding her. They try to help Nenene find her friend, while solving other cases and saving the world with the power of paper.

4. Baccano(2007)

Probably the most well known but also I think one of the most under appreciated Anime, from Durarara’s creator, Baccano. I feel like most newer Anime fans won’t know this one and although it’s a beloved series by many, I still feel it’s underrated. Also another bias opinion shocker, it’s one of my absolute favorites but that’s why it’s here. It’s once again a shorter anime with only 13 episodes but it somehow manages to combine all of the storylines cohesively, it’s a wild ride full of mystery, murder, and magic that will keep you on board the entire time trying to piece everything together. Also warning it jumps around a lot so make sure to pay attention everything pieces together!.

Based in the 1930’s in the prohibition era you have several stories involving different characters going on but they‘re all connected to one thing the transcontinental train, the flying pussyfoot. Yes that’s actually the name of the train, why, still no idea but all these characters from different walks of life end up here somehow. Now to introduce some of these crazy characters, first off the goofy thieves in love Isaac and Miria, who aren’t the brightest but can steal just about anything. Lad Russo the sadistic hit man who loves to see people die, including fantasizing about killing his fiancé one day. Then you have the ones involved in gangs, all In different ones, but nonetheless involved in some sort of crime. First there’s Firo, the youngest of the Martello family and one of the immortals in the show, then there’s Jacuzzi Splot and his partner Nice, Jacuzzi is a big wimp and crybaby but will protect his loved ones with all he’s got and Nice is a bomb expert and his childhood food. Those are some of the main characters it’s such a large cast it’s hard to name and explain them all. This one is a must watch especially if you liked Durarara, jump on the hype train of this wild show.

5. Black Cat (2005)

Now quick disclaimer before I begin talking about this one, I haven’t watched this in years so it may not hold up as well as I’m remembering but when I watched it I really enjoyed it so that’s why it’s here. This was one of the earlier Anime I watched I’m pretty sure my friend showed me it but it caught my interest from the beginning. It’s not the most groundbreaking show to exist and I’ve heard that the manga is apparently better but that’s for almost every show. It’s got cool action, funny moments and a great cast of characters, plus not gonna lie I had a crush on train when I was younger. its just a fun show and definitely worth giving a watch!

Train Heartnett is an infamous cold blooded assassin who works for the organization Chronos, and because of his lack of empathy for killing he’s named Black Cat. But after a chance encounter with a bou hunter named Saya Minatsuki, they become friends and Train decided he wants to leave Chronos to pursue an honest living as a bounty Hunter. However chronos and particular his fellow member Creed Diskenth are not pleased with this and try to get Train to rejoin Chronos. Along the way Train teams up with fellow bounty hunter on the brink of broke Sven, the bio mech weapon and little girl Eve and master thief and seductress Rinslet Walker. Together they try to escape from Chronos and get enough money for their next .

6. Arakawa Under The Bridge(2010)

Where do I begin with this one first off, this is one of the weirdest Anime I’ve ever seen but just like Azumanga Daioh that’s what make it so good. Beautifully animated by Studio Shaft with some of the most colorful and visually appealing animation I’ve seen, it’s pure eye candy. it’s equally as strange as it is hilarious and it’s just a fun time that’s not meant to be taken seriously. So if you want a good laugh and something thats truly one of a kind in story and characters give this crazy show a shot.

The show begins with one of our main characters Kou Ichinomiya getting stuck by his underwear on a bridge by some kids, he falls into the river and is saved by a mysterious girl. Kou is the son of a wealthy businessman and his life motto is to not be indebted to anyone, so when he’s saved by this girl he asks what he can do. He finds out that her name is Nino and what she wants is to fall in love, so she asks Kou to be her boyfriend. At first Nino seems like a regular girl but she claims to be an alien from Venus and lives in a box under the bridge, not wanting to be in debt Kou agrees and begins living under the bridge with Nino. However Nino isn’t the only one who lives under the bridge there are many other strange characters like hoshi, the aspiring musician who wears a star on his head, and the captain who’s a human in a kappa suit. I highly suggest watching this strange sci-fi romantic comedy for something different and fun to watch.

7. 91 Days (2016)

The newest Anime on this list so far, see I told you it wouldn’t be only old ones!, this is also the darkest Anime on this list so far. This has been highly overlooked since it’s release in 2016, it reminds me of baccano and in parts like death note. If you like mafia movies or just a dark gritty story with some light hearted moments, it s short show but nothing is rushed and it’s solid from front to back and keeps you on the edge of your seat.

Just like Baccano, 91 Days takes place in the prohibition era in a town called Lawless where crime is rampant and illegal alcohol sales are thriving. In this town our protagonist Aviicio‘s family is killed by one of the mafia families, The Vanetti Family. He receives a mysterious anonymous letter telling him to return to lawless to infiltrate The Vanetti Family. He tries to befriend the families son Nero, to find an opportunity for revenge, the story keep you constantly guessing if they’ve truly become friends or if he’ll kill him. Please watch this wonderful mafia crime drama of friend vs foe.

8. Yamada Kun and The Seven Witches (2015)

This is one of the ones that I still really want to read the manga for because I just couldn’t get enough of it! i’m still hoping for a sequel one day! The premise of body swapping has been done many times in Anime and cinema as a whole but this one adds a unique enough of a twist to keep it fresh and interesting. I looked forward to watching this weekly each week meeting a learning about each new witch and learning what power they had.

Ryuu Yamada is a high school delinquent who wants a fresh start at a new school, despite the intention to start with a clean slate he soon falls into old habits of laziness and getting into fights. One day he trips on the stairs which leads to an accidental kiss with fellow student Urarara Shiraishi which causes them to switch bodies. Another student Toranosuke Miyamura learns that they can switch bodies and recruits them to his Supernatural Studies club. There they learn about the other seven witches that all have different powers

9. Arslan Senki (2015-2016)

The second to last of the list comes from the creator of my all time favorite Anime Fullmetal Alchemist, while it’s a very different series and not quite as good as FMA it’s still deserves a spot on this list and deserves your time. It’s hard not to compare it to FMA but it really is it’s own thing, and it actually came out before Fullmetal, it’s a historical drama about war and strategy and a character growing into his potential. Just as Hiromu Arakawa is known for there’s still some comedic moments and some great character development and a well done story, Plus if you like this there’s two seasons so there more to enjoy.

Ok I promise from this point forward I won‘t say anything more about Fullmetal Alchemist this is about Arslan Senki, here’s the story. In the year 320 the Kingdom of Pars is at war with the neighboring kingdom Lusitania. Pars is ruled by the ruthless king Andrangoras III who has a son who’s the complete opposite of him Arslan. Although he doesn’t know how to fight Arslan tries to prove his worth by joining the battle, but things take a turn for the worst when one of the kings officials betrays him. The once prosperous Kingdom of Pars is seized, and since Arslan is the kings son he must flee to avoid capture. So he sets off with his loyal bodyguard Daryun to find allies to help take back the kingdom. Knowing that Arslan is still alive he is still faced with pursuers from other kingdoms and the head of the Lusitania army, a mysterious man with a silver mask who knows a secret that could jeopardize Arslan‘s succession to the throne. Arslan is a gentle, kind person that doesn’t enjoy fighting, he must learn to fight and protect himself and gain the courage to lead an army to regain his home.

10. Shingeki No Bahamut: Genesis (Rage of Bahamut) (2014)

Leaving one of the best for last, not to be confused with the popular series with a similar name Shingeki no Kyojin(Attack on Titan) this show is just as good. One of the first shows from one of my favorite Anime studios, Studio Mappa. I had low expectations when I heard this was a card game adaptation from a new anime studio but I decided to check it out despite that and it was the best decision. This has all the elements of a great anime, the beautiful animation, the unique characters and the compelling story and all the cool action scenes are just a plus. There is a second season too but I’ll leave that for another time, ok time to stop gushing about this wonderful show, time for the story!.

Years and years ago the ancient powerful dragon Bahamut reeked havoc on Mistarcia, a land where gods and demons lived harmoniously with humans. The gods and demons manage to seal away Bahamut with the god key and agree to split it to keep him sealed. Now that the the peace has been restored we meet the main characters and one of my favorites the orange Afro haired bounty hunters Favaro Leone. Favaro is constantly on the run from his adversary and fellow bounty hunter Kaiser Lidfard who‘s main purpose in life is to get revenge on him. One day both of their lives are thrown into chaos when they meet the mysterious girl Amira who holds half of the god key sealing Bahamut and wants help reaching the land of Helheim. I also can’t forget to mention my other favorite character and the fourth member of this unlikely crew Rita the zombie necromancer little girl she is just the definition of cool. Then there’s the characters that want to steal the god key the demon Azazel and the knight Jean D’Arc who are constantly in the characters way but you’ll find out more about them in the show. These unlikely heroes must face the threat of the battle of gods and demons, the pursuers of the god key and incoming threat of Bahamut awakening.

[viper-commander]

Here’s something that Bayverse never addressed is the isolation.

In every movie someone is introduced and then killed off. Ratchet, Jazz, Ironhide, Jetfire, Shockwave, hell even Starscream, the immortal cockroach, were killed. Almost everyone that first arrived at Earth died or were killed off for unforeseeable plot purposes

(I’m using Wiki to identify the deaths of each one because I don’t really remember anything besides big explosions, Optimus Prime, and random humans)

Jazz, got some respect at least (despite dying in the first movie) and was ripped in half by Megatron, the slagger, himself.

Rachet, his final killing blow was landed by Lockdown, you know the bounty hunter, but we all know it was really the humans that caused his death.

Ironhide, well Ironhide died in the third movie, killed by Sentinel Prime.

But among the many background deaths there are in Bayverse, the worst Autobot death was Jetfire. Jetfire died offscreen, by what is suspected to be suicide, so he could give his frame to Optimus Prime to use as armor. That is...I’m not even going to describe how utterly wrong that is.

Finally, I’m just going to say that Optimus has died a total amount of four times in the Bayverse series. No, I don’t think that’s healthy to die a total of four times and come back to life because somebody needs you to kill someone.

The only Autobot to stay relatively alive throughout the whole series is Bumblebee.

Bumblebee, the lovable little bee that can and will murder you if you show the slightest hint of aggression. Should I mention how lonely it’s gotta be when everyone you knew and ever cared about keeps dying?

Like, even Sam, the Totally Unique Protagonist and Not Some Random Boy, dies offscreen in some freak act of nature. I mean like, that’s his best friend! Sam the weirdo Human was Bumblebee’s best friend and he’s dead.

And this is the main Autobot cast.

I don’t even know which Decepticons are who. They’re all grey and have no distinct plating or any of their identifiable traits besides some vague menacing detail.

If you could recognize Shockwave the first time he appeared on screen, I am very proud of you because I couldn’t recognize him and Shockwave is one of my favorite characters! Like, why does he have all that wiring exposed? Isn’t he going to be afraid of rust or sand or some alien thing making its way into his internals?

Personally, if I arrived on some alien planet with my whole body exposed to the elements, I’d try and put something on! Like plating. Where oh where are your bodacious boobies Shockwave? Or your cute little helm fins? Or what about the purple paint?

I liked the purple.

Shockwave died a humiliating death (in the third movie) because he got his head stuck in a parachute.

Then don’t forget Soundwave. Soundwave died in the third movie like some nameless grunt unidentifiable from the many other Decepticons that died there.

Should I mention that all of Soundwave’s cassettes are dead?

Finally, the most shocking death was Starscream. We all know that Starscream dies (or is currently dead or indisposed) at least once in every series but this time, this time, Starscream stayed dead. Should I express my shock at that?

Most of the Decepticons, when they died (save for Megatron), died nameless deaths as unidentifiable grunts never to be mentioned or seen again. No characterizations whatsoever.

Anyways, off-track here. The only constant we have here is Bumblebee and Optimus Prime. They’re the only ones to come back as the same person they were before, with an extra serving of trauma of course.

Every person they knew from the war or on Cybertron is gone. The few Cybertronians that we trusted to always be there i.e. Ratchet, Soundwave, Starscream, hell even Megatron are just gone.

That’s...that’s horrifying.

Even the cockroaches are incapable of staying alive on this alien planet.

And every person Optimus Prime or Bumblebee befriended or known (because they’re the only one alive at this point), whether they be human or Cybertronian, has died at least once and either never came back or had a very lucky resurrection.

The only people they have around them are the squishy, organic, lifeforms called humans who come in a basic average size which is about the size of your palm. These humans come from a multitude of cultures that are nothing like your own, they do not understand you and usually fear you unless you prove that you will risk your life for them despite never actually understanding them.

Humans live only an average of a few decades with a maximum life-span of a single century. Compared to a Cybertronian that can live for hundreds of millenium, that’s astonishingly short.

Humans come in many different shades of what feels like the same color and size, they can’t change their paint or switch their plating. They can decorate themselves with ornamentation or clothing but they have to clean constantly change or they start to smell or something.

Humans are soft. They have flesh and internal bones, they heal and can’t just patch themselves together. They can’t be kicked or thrown or tossed around in a playfight else they break or bruise themselves.

The biological differences alone are astounding and I would be a little freaked out by this as well. (Assuming I found a species of squishy, gooey, humanoids the size of my palm, that constantly expelled waste fluids, and did not understand what bread is) However this xenophobia extends the other way too.

These humans see you only as a machine, an advanced Artificial Lifeform that doesn’t count as being actually alive or an actual person. But the ones that do consider you as a person are...strange, even by human standards.

It’s isolating.

Everyone you have ever known is probably dead by now, or will be dead soon. Then the locale, even if you befriend them, they can’t actually be your friend because it’s not the same. They can be a good companion but only until the end of their lifespan which is probably like for a day compared to our whole lifetimes.

Anyways.

The sheer isolation of the Autobots in Bayverse is astounding. At least in other Transformers series you kind of always knew that there were more of them out in the stars somewhere but here, here, they really feel like the last of their kind.

[feralprancinghomosexual]

Sci fi/Fantasty TV shows where gay people don’t go to superhell to focus on instead:

Lovecraft Country - genuinely the best tv show I’ve watched in forever. It’s a period show but it entirely focuses the show on black experiences with a heavy emphasis on women and there are several queer people in it.

Wynonna Earp - majority of main cast are women. The later seasons are a hot mess but the main queer couple don’t die and there’s demons and shit.

Nancy Drew - it’s the cw so like it could get shit at any moment but very enjoyable crime/ ghost story with a poc queer woman as part of the main cast and her sexuality is never a big deal.

I’m Not Okay With This - it got cancelled bc it is on netflix and has queer characters but it focuses on a queer woman in a small town who suddenly develops telekinetic powers. I’m very bitter this got cancelled but it’s mostly a complete story.

Daybreakers - very fun post apolocalyptic story that, Again got cancelled (yay netfllix) but the season kinda stands on its own. It has an interracial queer couple!

Another Life - I debated putting this on here because the show has a lot of writing issues but there’s queer, poly am, and a trans character in it so idk it’s up to you. It’s kinda like arrival, alien, mass effect, and the expanse smushed together.

Doom Patrol - one of the most sensitively told and nuanced coming out of the closet stories I’ve ever seen. Yeah a queer person dies and there’s tragedy but there’s also some really positive elements to it. I didn’t ever think I would be writing this about Doom Patrol.

Marvel’s Runaways - i am still furious this got cancelled the way it did but the story is complete and the queer women in it have a happy ending together. God I miss this show.

Killjoys - the series has ended but the story is complete and there’s a queer couple in the main cast. The show starts with interstellar bounty hunters and ends up trying to save the whole system.

Star Trek: Discovery - oh boy does this show struggle to figure out where it’s going but it’s worth it. Currently has two queer married men, a lesbian, and a trans man and a nonbinary person in a sort of relationship?? It’s complicated. Queer people do die but it mostly doesn’t stick. It’s star trek - you know the score.

Sense8 - just the queerest thing I’ve ever seen. It would be easier to count the straight characters. Finished but complete.

[monstersmutpeddler]

Choosing Theo (The Clecanian Series Book 01)

By: Victoria Aveline

Monster Scale

Level 01: Basically Human

Theo is basically a large, muscular human with scars that look like tattoos. 

Once a Clecanian finds their fated mate, they get stronger/faster, their eyes can turn black temporarily and they get blue tattoos on their wrists. 

They also purr. 

My Overall Rating For The Book

“I Bought The Book And I Want It Signed Please Holy Shit”

This book is a ton of fun, and is a fantastic start to the series! The world building is interesting, and I can’t wait for more!

Overly Simplified Summary

Jade has been kidnapped by bad aliens and rescued by good aliens. Now she has to follow the good aliens costumes/rules and figure out why she was taken by the bad aliens in the first place.

If you want a sci fi alien romance where the love interest is a bounty hunter that thinks the leading lady is an undercover spy (she’s not), and does everything he can to blow her cover, but everything he does makes her fall in love with him more, then this book is for you.

Keep reading for ‘This Book Has Everything’ and possible Trigger Warnings.

This Book Series Has Everything

[x] Touch them and I’ll kill you vibes

Theo will do anything to protect Jade.

[x] Big buff love interest 

[x] Soul mates or fated mates

Yes, but only after character development.

[x] Miscommunication happens between leads at some point

Theo thinks Jade is an undercover spy because he cannot believe someone would choose him in the choosing ceremony. 

[x] Love interest goes on a rampage when main character is either hurt or kidnapped

[x] Girls are abducted by bad aliens and then rescued by good aliens

[x] Girl ends the book pregnant or is pregnant

[x] Straight 

[x] One’s a sunshine and the other is a grump

[x] Main character gets chased in the woods by the love interest at some point

[x] Super scary/dangerous but very gentle and sweet with the one they love

[x] Forced proximity

This is more due to the planet's rules/customs than anything else. Even in space you can’t escape politics and rules. 

[x] Main character and love interest talk about their problems or tragic pasts and heal together

[x] Lead or love interest gets injured and the lead or love interests drop everything to take care of them

[x] There is something wrong with the current female population hence humans

Virus killed off a lot of the women a while ago, and now there is a 75/25 new baby split between males and females. So not a lot of ladies. 

[x] The side character steals the show and makes you want their own book

Fejo is a gem and I’m so glad he gets his own book omg. 

Please give me Rhaego’s book. God, what a man. 

[x] Society where men have drank respect women juice

The guys literally go to school to learn how to be good husbands.   

[x] The couple has equal power in the relationship

[x] Happy Ending Guaranteed

[x] They purr like a FUCKING CAT

Here is a link to read/buy the book!

Trigger Warnings

[x] Kidnapped/held captive against their will

Jade is kidnapped by bad aliens, and does end up captured again by more bad aliens. She gets touched and hit, but Theo saves her. 

[popculturebuffet]

House of Mouse April Fools Special: Donald’s Pumbaa Prank (Patreon Review for WeirdKev27)

Hello all you happy people and welcome to my April Fool’s Special! And it’s also my patreon review for the month as Kev just so happened to randomly hit this one and once I realized it was an april fools episode I moved it up since things have been kinda hectic in the old brainpan lately, and as such my output slowed down a bit so I really wasn’t in great shape to do 4 episodes in one day. So instead see what hyjinks, fart jokes and murders of beloved disney characters insue under the cut as the hosue of mouse gets a bit foolish

The Wraparound:

It’s April Fools day at the House of Mouse and Donald pulls a prank on MIckey by cutting his break lines.. wait no that was last year. No this year he just puts some wax on the stage and MIckey trips, Donald laughs. Now if this were the real world this would be really dangerous and probably destroy their friendship and MIckey’s spine. But this is a cartoon that runs on cartoon physics. He was in no real danger. So Mickey’s retaliation on the other hand.. is just showing embarassing footage of Donald. It makes him come off as unecessarily cruel as instead of an actual prank or joke it’s just “Hey look at this embarassing footage of my friend I dug up”

This plot DOES get a lot bettter though after the setup: Pete talks Donald into kidnapping Pumba, planning to use Pumbas farts to clear out the club...

Yeah i’m not big on fart jokes. I’m not against them, when used right they can be comedy gold.. this song from bobs burgers is one such example

It’s just a lot of times farts and other bodily functions are used as the joke alone. That’s it. There’s no actual laughs or content too said laughs, i’ts jsut this is gross.  Thankfully this episode does not go really deep down the grossdout rabit hole, as we don’t see the fart on screen.. but it still dosen’t make “Pumbas’ ass gas is going to destroy the house of mouse” funny. 

There are some funny gags though: Donald’s method of distracting Timon so Pete can kidnap Pumbaa is to just stand there not saying anything and weirding Timon out , their replacement is just a bowling ball, two horns and a sack of something, and when Timon goes looking for Pumbaa, finds Zazu under a plate the hyena’s have.. and then just leaves him there. Seriously Timon just.. let’s Zazu die and I am here for it. 

Donald meanwhile thinks Mickey is planning another prank after mickey apologizes and has a special thing planned but it’s really jsut a lifetime achivment award, so Donald tries to stop it, then reveals the truth when Pumba shows up.. and gets his award taken away. Even though he had every reason to think Mickey was going to pull something because honest as he is i’ts april fools day. Mickey just... obnoxious in this one and it speaks to a larger problem with the series I remember from when I was a kid that i’ve noticed once or twice now: The show tends to have Squidward Syndrome, i.e. it treats Donald who can be obnoxious as wrong.. even when he’s done nothing wrong THIS EPISODE, like spongebob did to squidward at times, or if he has done something wrong his punishment is dispororitante. Donald did a minor prank.. and MIckey publicly humiliated him and Donald TREID to stop his prank. And goes above and behond to stop it, taking the fart attack at ground zero. Speaking of which the fart attack scene from parks and rec, also a good fart joke. 

And MIckey.. learns nothing by playing the test footage again even though Donald was just ground zero at an attomic level ass.

Final Thoughts for the Wraparound: It’s not great. I”m noticing that trend with Season 1 in general, where they really just didn’t have a ton of idea of what to do with the wraparounds. The episodes still vary in quality, but outside of the pilot most of the season 1 episodes are pretty disapointing as an adult, very simplistic plots that often don’t use the club’s nature to their full advantage or the characters to the same. It would get better though, but it’s something to notice. onto the shorts. 

The Friend for Life: This is a pretty simple one. Sam and Max, are after the mad Thesipian, whose exactly what he sounds like. We even get a really neat visual gag as sam just.. uses his little buddy as a sword while the Thespian uses a candelabra. But while our Freelance Police catch the weirdo, and Max takes a ride in the saftey tramp they set up for the guy, he escapes when the two are distracted by Norm, THE FRIEND FOR LIFEEEEEEEE. An obessive fanboy played by Patrick Mackenna of the Red Green Show, esentially playing an older and stalkery version of Harold.. now I think about it this might be his dad. I mean we don’t know where he went or what hapepend to the guy. Maybe he just went to the states to obesss over a rabbit and Dog. I don’t know. 

Lorne wants to help our heroes while Max understandably wants to run him over and sam just runs past him the minute they can. But despite finding the thespians layer  Max: (Singsong) We’re here to arressttt youuu Sam: (Also singsong): Rememberrrrr.. crimesss against humanitty? But it turns out Lorne, THE FRIEEEND FOR LIFFFEEEE, kidnapped him and puts on a show for htem of fighting thier old eneimies and a roller coaster death trap. Our heroes escape and begrudignly thank lorne even if they find his stalker shrine a bit much. 

Final Thoughts for The Friend For LIfe: A really solid episode and the fact i’ve binged several sam and max episodes since then really speaks to how good this one was. Seriously really funny stuff and I didn’t even cover half the great jokes in this one. Check it out, it’s on youtube. 

Mickey’s April Fools: An odd one but a fun one. MIckey is taking his asshole pills and goes overboard with his pranks, faking proposing to Minnie and faking his death after Mortimer pranks him. But it works... I mean is it grossly out of character? Oh god yes. Would it have made more sense by swapping out Mickey, Minnie and Mortimer with Donald, Daisy and either the boys or pete? Entirely. Is this short still hilarous. Yup. While i’ts not the best they’ve done on the show, it’s still really entertaining. The two end up getting him back, MOrtimer by faking a will reading only to have it go really poorly for Mickey as his death was reported, donald refuses to help due to Mickey’s last words to mortimer being “I’ve never undestood him” and Goofy being.. goofy. And MIckey is left hanging from a pole by minnie because fuck him. An out of character one.. but the sheer oddity of mickey being this dickish in the house of mouse shorts makes it work.  Be A Man: As a debut album for Randy Savage this Album is audotirally fucktacular, and with some polish randy could’ve had a long and successful rap career. As it stands, it is a sad one off not ein his career. 

Critters: On an asteroid prison, a group of dangerous aliens known as Krites are set to be transported to another station. The Krites engineer an escape and hijack a ship, prompting the warden to hire two shape-changing bounty hunters to pursue them to Earth. Studying life on Earth via various satellite television transmissions, the first bounty hunter assumes the form of rock star Johnny Steele, while the second remains undecided, thus retaining his blank, featureless head. On a rural Kansas farm, the Brown family sits down to breakfast. Father Jay and mother Helen send teenage daughter April and younger son Brad off to school while waiting on mechanic Charlie McFadden. A former baseball pitcher, Charlie has become the town drunk and crackpot, with claims of alien abductions foretold by messages through his fillings.

Playing with overly potent self-made fireworks and Charlie's slingshot, Brad takes the blame when Charlie accidentally shoots April and is grounded as a result. On the roof that evening, Brad mistakes the Critters' crashing spaceship for a meteorite; Jay and Brad investigate and interrupt the creatures consuming a cow. The creatures thereafter kill and feed on a local police officer, and later besiege the farm and cut its electrical connection. While checking the circuit breaker, Jay is attacked by one of the Critters and, being severely wounded, just barely manages to escape

.In the barn, April is about to have sex with her boyfriend Steve when he is killed by the one of the Critters; the creature itself is slain when it devours one of Brad's lit firecrackers. The remaining Critters sabotage the Browns' and Steve's cars, forcing the Browns to hole up inside the main house. Meanwhile, the two bounty hunters search the town for the Critters, causing a panic at the church and bowling alley, with the second hunter assuming the form of various townspeople, including Charlie. Brad escapes the farm to get help and runs into the bounty hunters, and upon learning of their true nature and intentions, he leads them to the Critters' location.

The last surviving Critters kidnap April and return to their ship when the bounty hunters arrive, and attempt to flee. Charlie and Brad manage to rescue April, but Brad drops a large firecracker he intended to use to destroy the ship when the Critters discover their escape. Just as the Critters take off and destroy the farmhouse out of spite, Charlie throws a Molotov cocktail made from his whiskey bottle into the ship, causing a fire which detonates the cracker and kills the Critters. The bounty hunters leave in their ship after giving Brad a handheld device to contact them in case of future invasion, and also restore the house. Unbeknownst to them, Critter eggs can be seen in the barn inside a chicken's nest that seem to be ready to hatch.

Final Thoughts on Critters: Critters is a wonderful film, despite what Rapheal from the teenage mutant ninja turtles might think but fuck him he has scabies. It’s fun, energetic, and ahs a great premise of instead of it JUST being on our heroes to repel the invaders, their caught between two diffrent sets of aliens instead and instead of a chisled jawed heroes the good aliens are simply bounty hunters with no care about collateral and only doing a job. It’s a damn fine film and I still need to make time to watch the sequel. 

Donald’s River Thing:

This is a simple one. Donald plans to go fishing, finds out it’s his and Daisy’s anniversary, her half birthday and valentine’s day and has to take her along and make it like a thing while being a dick about wanting to still fish, but in a very funny way while the local fish fight back. This is easily the standout of the episode incredibly funny, increidbly wholesome, and an incredibly good time. Really great stuff. 

Invincible Episodes 1-3:

This seires is fucking fantastic and you should go watch it. GO WATCH IT. 

Final Thoughts overall: 

YOUR NOT WATCHING IT

Final Thoughts Overall: This is a decent episode not much to say except HIT IT BOYS

[violetfaust]

Episode 3 of What If...? ended where it should have started.

Nobody was asking "What if there was a murder mystery?" We wanna know who would be the Avengers if the first string was knocked out.

Fury was starting with Captain Marvel and a thawed-out Captain America. Who else would join c. 2011?

By process of elimination, not:

Asgardians--In this universe, Loki seems to have taken over the earth pretty easily with a united Asgard behind him. Have to assume that after his Heel Reveal, he's going to remain the antagonist (at least until Thanos shows up collecting Infinity Stones). Among the Asgardians, the only people who seemed to really dislike/distrust Loki are the Warriors Four (incl. Sif), but they are not likely to team up with the planet that murdered Thor. There IS an Asgardian wild card, though; see below.

Ant Fam cluster--Hope is dead, Janet is still lost in the quantumverse, Hank is presumably in prison forever, and Scott also hasn't yet been released. The Ant-man suit is locked in a basement. But see below for wild cards.

Isaiah Bradley--Leave him alone!!! Let the man have peace! But also he doesn't seem to have been known to SHIELD and the people in the Army who experimented on him think he's dead.

Bucky Barnes--Still mind-controlled by Hydra, but also quite possibly dead. There's a good theory that since Hope died on a mission in Odessa in 2009, she was involved in the shootout where Natasha met the Winter Soldier. And if the Winter Soldier killed her, I imagine Hank would have gone after him even before the potential Avengers.

Defenders/Netflix MCU cluster--I haven't watched these shows, but from what I can glean online, none of them are active heroes in 2011, and the only one who has powers at the time is Jessica Jones, who is resisting her friend's pressure to take on a costumed identity. Jessica could end up being a wild card if Fury did an open call, but that doesn't seem smart when your main antagonist is the guy who rules the world.

Spider-Child--Is eleven. Also unpowered.

Dr. Strange--Still busy being an arrogant asshole surgeon (instead of an arrogant asshole wizard sorcerer).

Vision--Doesn't exist, and with Tony and Banner dead, never will.

Wakanda cluster--If I understand correctly, T'Chaka is currently the Black Panther and he is busy being a king and raising a family. Erik/N'Jadaka is unpowered and racking up kills in Black Ops. I'm not sure if a threat to the entire world (Asgardians) would be enough to lure T'Challa out of Wakanda but my gut says probably not.

Wanda and Pietro--Unpowered, supposed to be teenagers I think? May not even have been recruited to Hydra yet.

Yelena Belova and the rest of the Black Widows--Still under mind control for another five years. Possibly a wild card if she finds out who killed her sister, though she's more likely to go for murder than joining a team.

Okay, so who ARE the possibilities?

Iron Fam cluster--Pepper and Rhodey are alive and have access to Tony's tech. One of them could definitely take up Tony's legacy, and Fury knows where they live. My money is on Rhodey, since Pepper would probably be the one running all the businesses.

SHIELD agents--Fury packed the OG Avengers with two of his agents, so he definitely promotes from within. The obvious choice is Melinda May, who is established as Natasha's equal if not superior. I can only assume she wasn't on the roster from the beginning because she isn't based on a comics character and so didn't yet exist was on desk duty following the trauma of the Bahrain incident. But since her partner Coulson is alive to ask her nicely, she'd come back into the field for this. (Maria Hill, as Fury's personal deputy, would stay with SHIELD.)

That makes four.

Now for the fun part--the wild cards!

Valkyrie--Is out in space, probably already established as a bounty hunter on Sakaar. She wouldn't give a shit about Asgard or Midgard--BUT what if she already knew Carol, and joined up as a personal favor to her...?

Ava Starr (Ghost)--Has had her powers since childhood and apparently at this point was actually being used by SHIELD as an assassin. Her backstory is as horrifying as Isaiah's, frankly, and I'd like to think that she was kept secret by the Hydra side and Fury had no part in her abuse. But if he knew about her, her genuine superpowers might outweigh her mental instability so he would recruit her.

Sam Wilson--In 2011 Sam was out of the army; Riley had died and the EXO-7 Falcon project was scrapped. He could become Falcon at any time--but he seems to have been entirely off Fury's radar and had no access to his gear. He doesn't meet Steve until 2014 and that's completely by chance. BUT. If the entire world has been taken over by superpowered/magical alien beings (and that's what the Asgardians are), I can't imagine him NOT fighting back somehow. Whatever resistance there is, he'd be part of it. So he might come into contact with the Avengers that way, and if he did, he'd immediately offer his "resume" as he did to Steve in CA:TWS.

The Yellowjacket suit--The Ant-Man suit is locked in a basement, but Hank was arrested wearing the Yellowjacket suit. That gives Fury access to it, and barring it having some kind of kill switch (probably literally), he can just drop whichever agent he likes into it. I was originally thinking Coulson, but...far more evilly...what if it was Rumlow or Grant Ward...? Thus putting a Hydra mole into the Avengers from the very beginning...?

So here's my roster:

Captain Marvel/Carol Danvers

Captain America/Steve Rogers

Iron Man/James Rhodes

The Cavalry/Agent Melinda May

Valkyrie/Brunnhilde

Ghost/Ava Starr

Falcon/Sam Wilson

Yellowjacket/Grant Ward (muwhahahaha)

[miss-spooky-eyes]

OC Inspirations: Devinahl & Indy

I was (delightfully) tagged by @vespertine-legacy​ a while ago and I’ve hesitated to do this because I knew I was going to talk WAY too much - but it was weighing on me, so I decided to open up about the sources from which I stole, that is, drew inspiration for Devinahl and Indirae.

What three fictional characters is your OC a combination of?  

This doesn’t apply to every OC - not even mine - but its certainly true for a few : Many of our characters are, to an extent, inspired by characters we see in movies, books, games, TV shows, etc.

Does this apply to any of your OCs? Was it a conscious decision on your part or not? Is your OC a combination of three (or more) fictional characters?

If so - post some GIFs / pics and tell us about them! What does your OC draw from other characters?

Too much Devinahl & Indy chat after the cut.

DEVINAHL

The truth is that when I came to creating my Imperial Agent Devinahl, and in particular fleshing out her backstory in far, far too much detail, there were some sources that I went to extremely explicitly and deliberately. And chief among them was ...

1. Garak, Star Trek: Deep Space Nine

That’s right. Garak from Deep Space Nine. Plain, simple Garak. Outcast. Exile. Spy. Addict. Perennial liar. Patriot. Terrorist. Would-be genocider. Very good tailor.

(If you haven’t seen DS9, then you need to. It’s like Star Trek, but if it was actually good? And Garak is a big part of what elevates it.) 

Is it weird to compare my ancient video game Barbie/gorgeous sex bomb badass assassin and seductress to a cold-blooded space lizard who spends his days hemming pants? Possibly. But there are aspects of Garak’s character that, consciously and unconsciously, I made parts of Devinahl’s DNA. 

Firstly, Garak is a patriot. He loves Cardassia so much that despite seeing its flaws with absolute clarity, despite having been exiled and reviled by it, he would die without question to serve it (of course, he’d much rather make someone else die). And while seeing that as a weakness, despite knowing that the Cardassia he has committed to serving is disappearing before his eyes, there is still a part of him that believes that that commitment - that neverending sacrifice - is noble. The only noble part of him. That’s central to Devinahl’s character (which is, in turn, the way I made sense of the IA storyline). That while hating and despising the Sith, she would nevertheless believe in the Empire - not so much believe that it is good (at best, I think she sees it as order and stability where the Republic is corruption and chaos) as believe that her commitment to it is the only redeeming thing available to her.

Secondly, the way that Garak will take his needs, vulnerabilities, sincere emotions and package them in ways which gets him what he has to have to keep going, without ever giving up full control? Particularly in the extraordinary episode The Wire, in which a dying Garak tells Dr Bashir a series of lies about himself in order to elicit Bashir’s forgiveness, because he needs to be sincerely forgiven but without ever telling the truth?

Out of all the stories you told me, which ones were true and which ones weren’t? My dear doctor, they’re all true. Even the lies?

That is everything I tried to do with Dev, particularly in my fic about her and SCORPIO, particularly when it comes to her and Arcann. To know what she needs, as Garak needs absolution from Bashir, and tell just enough truth - put herself into just vulnerable enough a position - to get it, but never without reserving something, holding something back, whether it’s the knowledge that she can maneouvre herself out of SCORPIO’s clutches at any time or her real name? That’s a fucking survivor.

Thirdly, the relationship between Devinahl and Sifter (the spymaster who finds her as a traumatised child and grooms her for Intelligence) and specifically, the deathbed scene I wrote in Riddle was directly inspired by Garak’s relationship with Enabran Tain and that death scene. 

Yes, Devinahl was not Sifter’s actual daughter, but in every real sense she was formed by Sifter - and had Sifter had just one day with Dev like Tain had with Garak, Dev would have been lost. She would have turned herself into a carbon copy of Sifter, and she would have died. But the bittersweetness? The acknowledgement that the parental figure you love will never, not even now that they’re dying, love you as you want them to?

‘I should have killed your mother before you were born. You have always been a weakness I can't afford.’ ‘So you've told me. Many times. ...’ ‘Elim, remember that day…in the country. You must've been almost five.’ ‘How can I forget it? It was the only day.’

(The love and infinite sadness with which Andrew Robinson says that line, ‘It was the only day’? I’m crying just thinking about it. Anyway, it was everything I was thinking about and wanted to achieve in that scene.)

Oh ... and Devinahl’s ambiguous relationship with her implants? Well, Garak also has an implant in his head. And that’s all I’m saying about that.

2. Oryx from Oryx & Crake by Margaret Atwood

A novel character rather than from TV or movies, I hope that’s OK. And I know that there are ... very problematic elements to the way Atwood writes about Oryx, her family, her culture, her background. But she was one of the strongest elements that went into creating Devinahl and her backstory.

There were specific aspects of the story Oryx tells to Jimmie - particularly the parts about being told to scream and make a fuss if a man tries to take you away to a hotel room, and then being told not to make a fuss when a man tries to take you away to a hotel room - that became part of Dev’s story. But there was also a general attitude and way of looking at life I wanted to capture and incorporate. Oryx’s philosophy of value?

Of course (said Oryx), having a money value was no substitute for love. Every child should have love, every person should have it. . . . but love was undependable, it came and then it went, so it was good to have a money value, because then at least those who wanted to make a profit from you would make sure you were fed enough and not damaged too much. Also there were many who had neither love nor a money value, and having one of these things was better than having nothing.

I wanted to create a character who could look at life and suffering and abuse, even her own, and view it in that dispassionate way which horrifies someone from my middle-class Western background - and then I wanted to test that idea, to bring it up against SCORPIO and have SCORPIO try to break it down with torture, to see if it was just a cool facade/necessary illusion. I wimped out of really testing that belief, instead having Dev always know that she could get out of her situation/having her find a way to be loved without truly having to sacrifice her protective patterns ... but if I was a little braver and better, I’d have tested it to breaking point. How far can a character go who thinks like that while still remaining, on some level, compassionate/human/likeable?

3. Saffron (Firefly)

I could have gone Black Widow (definitely the inspiration for Dev’s aesthetic in terms of outfit etc). But the plain truth is that I thought more about Saffron while dreaming up Devinahl/writing her backstory than I did about Black Widow (yes, Widow turned her weakness into strength in a manipulative fashion all the time, but Garak did it better, and other than that she mainly looked after boys in a way that I did not want Dev to be limited to). 

Firefly, for a show that had - what - 13 episodes? - exercises far too much of a hold on my imagination and Saffron, especially in the first episode in which she appeared, was such a tremendous character. The way that she found exactly the triggers to turn each member of the crew inside out? (And if she’d had more time, it absolutely would have worked on Wash and Inara, too - it only didn’t because she had to hurry.) Dev has that. I can’t write it, because I suck, but she has it. 

Oh, and nobody will ever know Devinahl’s real name (apart from you, if you read my fic about her backstory) and she’d die before letting you know it. That’s straight from Saffron. As is, I suppose, the man who would accept her just as she is without needing to push to know her secrets, except it worked out a little better for Dev and Arcann than it did for Yolanda and Durran Haymer because Dev and Arcann will always have pegging.

INDIRAE

(This will be a lot shorter than the section on Devinahl, I promise.)

1. Steve Rogers, Captain America (and whatever else)

I have never been super into the MCU, but the key reference I used to find a way into Indy’s character, back when she was nothing more than a cool-looking Cathar Bounty Hunter, was Steve Rogers. (November can attest to this)

Indy’s physical size - she’s six foot if she’s an inch, and big - is key to her personality, but equally key is the idea that she would always experience that size as uncomfortable and slightly alien to her. Like Steve Rogers, she started out as the scrawny kid always getting beat up by everybody ... And when she got her strength (with a hefty assist from the toxic waste run-off into what was her family’s only source of water) and suddenly got TALL and STRONG? She did not like bullies - which was what led her to help Coda out of a jam at the spacesport and started them on their road.

(If there’s a better way to play the BH storyline than as a stone-cold mercenary with an utterly unwilling heart of gold ... then I don’t know about it.)

2. Xena, Xena Warrior Princess

I’ll be completely fucking straight with anybody about this (so to speak): I love Xena, I had an obsession with it as a teenager I’m still unpacking, and the show tends to feed into my characters in an ... odd way.

Indy is physically imposing like Xena, is the main thing; and her dynamic with Coda owes a lot to Xena’s with Gabrielle (although Coda is as big and tough as Indy, she is the fast talker/smooth operator to Indy’s laconic strongman). I wanted Indy to dominate action scenes the way that Xena does, be that kind of a force of nature; and watch her struggle to find ways to channel that charisma, to need Coda’s help to understand how to do it.

3. Dottie Henson, A League of Their Own

OK, first of all, I do not want to hear any kind of mockery. This is, unironically, one of my favourite films of all time.

Again, we come back to the core theme of a character struggling with her own greatness/potential. That’s what is the most fascinating through-line of A League of Their Own: Dottie, this unbelievable baseball player/physical presence (yes, she’s very tall, just like Indy) who is so terrified to admit that she wants anything more than her smalltown life and dreadful husband, even while the evidence of her talent and passion for the game is burning up these ... fields? Diamonds? I don’t know baseball apart from this film.

Indy certainly hides behind not wanting to be a bounty hunter. She doesn’t believe in any Mandalorian nonsense about romanticising what is an unglamorous job. She’s just doing it for credits and afterwards, once she’s secured her family’s future, she’s totally going to go home and settle down in some acceptable, domestic way. Being on the Mantis with Coda, it’s absolutely just a means to an end. She doesn’t want to be there, she doesn’t care about it, it’s not who she is, she doesn’t need it. This life, the adventure, the freedom, the fighting for survival, it’s certainly not what gets inside her and what lights her up, no, not at all. 

Oh, and Dottie is also a reluctant leader. She doesn’t see why her talent should put her in the position of telling other people what to do - but then, on the other hand, she sees so clearly what they need to be doing, and when she says to do it, they listen. She doesn’t want to carry this team, but they’re only a team so long as she carries them.

(Don’t worry, Coda’s not going to let her lie to herself for too long.)

[disneyplusfan]

Revisiting our first viewing of The Mandalorian S01E01

A look back at our reactions to Season 1 episodes as the new season of The Mandalorian begins.

November 24, 2019

The Mandalorian: Chapter 1 recap by K (includes detailed spoilers)

A Mandalorian bounty hunter tracks a target for a well-paying client.

Directed by Dave Filoni

Written by Jon Favreau

Music by Ludwig Gӧransson

Airdate: Nov 12, 2019

As I write this, I have watched the first three episodes of The Mandalorian three times now. I’m hooked. I did not expect to be. I expected to like it well enough — but not to love it. 

I’m a Star Wars fan for *cough* many years, since childhood. Adore the original trilogy, intrigued yet annoyed by the prequels, less than wow’ed by the final trilogy. I like Rogue One. I also liked Solo, although I get that I’m one of maybe three people in that camp. I have not watched Clone Wars. So this is my frame of reference.

Boba Fett is perhaps my favorite character. He is one of the best characters in the franchise, and I will die on that hill. You know next to nothing about him, and that adds to his mystique. I read Tales of the Bounty Hunters and Tales of Jabba’s Palace back in the day, and “Last Man Standing: The Tale of Boba Fett” and his showdown with Han Solo will always be the quintessential Boba Fett/Mandalorian story for me, canon or not. I was enraged when they changed his voice in the original trilogy to Jango’s (like he couldn’t just be disguising his voice??). 

For me, Boba Fett is the original Mandalorian against whom all others will be measured. I have spoken. 

All this to say, my standards were high. My expectations for The Mandalorian in particular would have been even higher, if I wasn’t somewhat disappointed by the final trilogy of films. And this was the first live action Star Wars television series, so it’s uncharted territory. 

I also managed not to be spoiled at all for this show going in, which was how I like it. Everything came to me fresh as I watched.

From the establishing shot, the cinematography is like the original series movies. Check. You feel immediately immersed in the Star Wars universe. Check. It’s a snowy ice world, like Hoth but greyer and flatter in terrain.

The titular Mandalorian, who is all but certainly not Boba Fett, as he looks a bit different in his armor (and the show is set 5 years or so after Return of the Jedi, which you don’t know yet in the show itself but meaning Boba Fett should be dead by now, or at least dying in the Sarlacc’s belly), looks good. Same imposing figure, same mysterious-yet-badass immediate impression in his imposing armor and weaponry. Can he pull it off? I mean that for the actor as much as the character. I know nothing about which actor is playing him (Pedro Pascal, from Game of Thrones, I learn later). I’ve remained completely unspoiled. 

He’s holding a tracking device. So, also a bounty hunter. Check.

He’s heading for an establishment, a darkened bar, or saloon, or cantina. Inwardly I eyeroll a little. Another cantina?

From inside the bar we see the round spiral blast door opens from the middle outward and the Mandalorian is darkly silhouetted against the icy white exterior landscape. 

Nice, iconic character-establishing shot. I am interested.

Simultaneously, the music starts. A soft, repetitive, lulling theme of eight wind notes vaguely Native American in tone that we will come to know quite well. For now, it adds a touch of mystery and suspense. The lulling, almost hypnotic aspect of the music gives the sense this is all just routine, and the Mandalorian’s short, almost imperceptible shake of the head as an insult is hurled at him seems to add to this effect.

Two patrons of the bar, a couple of aliens, have been roughing up a meek, chubby merman guy, some kind of aquatic creature. He’s a new species so that’s interesting. They are bullies, who threatened to cut off his glands, so the violent type, and it feels like Mos Eisley or worse. Inwardly I eyeroll again because we’ve seen this before in the original Star Wars film, A New Hope. Don’t they have any new ideas? 

The Star Wars universe has at least one entire galaxy to play with. Yes, establish place as the Star Wars universe with familiar things. But within that we don’t need to keep seeing so many of the same things we have seen before. Give us some easter eggs because we’re fans, but give us new things to love, too. It’s a balance, and I personally want more new than repeat. One of my main gripes with the final trilogy is that it’s too much of the same, just with new characters who aren’t fleshed out and developed enough for me to care about them. But that’s another review.

So it’s a cantina, and they want Star Wars fans who are perhaps not as well versed as me (like say, my sister) to be oriented. Fine, I’ll be patient. I don’t doubt a bounty hunter will frequently find himself in such places.

All the patrons’ eyes are on the Mandalorian as he enters and stands at the bar counter. If you haven’t started to feel vaguely Western elements yet, they start to come now. He’s got his back to the rest of the bar, waiting. Almost baiting. The bullies immediately shift focus leaving the merman alone to go pick on him instead. It’s a mistake and everyone knows it. But they must test our hero. And I too, as if just another patron at this cantina, want to see them test him. I’m curious. 

The loud one calls him “Mando!” and we have something of a name to call him for now. But it might be an insult and I’m not quite sure yet. 

They seem interested in his armor — Beskar Steel — and this is something I personally have not heard of before. I’m interested.

A bit of Mandalorian taunting and a quick fight later, one of the bullies who tried to escape the bar is pulled into the blast door entryway as the Mandalorian’s grappling hook yanks him halfway back inside, and closes it, severing him in half. I let out a bitter laugh. It wouldn’t be Star Wars without some bully losing a body part in a bar fight, right? Check. And the Mandalorian proved himself badass, so far. 

He goes over to the merman, who first just tries to thank him, then bribe him with credits and a drink. The stoic, imposing Mandalorian simply places a disc on the table in front of him, and immediately a holographic image pops up showing his face and name in Basic. 

“Is that a bounty puck?” the merman asks. A device that’s new to me, perhaps not to others. Further interested. The weak man tries bargaining some more.

The Mandalorian brings a hand to his blaster and speaks for the first time. 

“I can bring you in hot, or I can bring you in cold.” 

Cut to opening title credits. 

Perfect first line. 

The voice itself doesn’t immediately wow me. It’s not as grizzled as Fett’s, it’s younger and somehow... unseasoned? I’m not sure. But it’s not Jango’s voice, so I’m willing to accept it. And again I think, why couldn’t Boba Fett have kept his original Jeremy Bulloch voice? 

Title credits. Nice font. The drum beat theme music that also sounds vaguely Western. I like it. 

Then we are back outside on the ice world, walking back up the path where we first saw the Mandalorian. He’s got the merman in handcuffs. 

“I need passage, to the yards.”

An Ortollan, a species from the original series, plays a little flute and a land speeder comes up piloted by a droid. 

“No droids.” 

I find it interesting that our Mandalorian would prefer a living creature to a machine as a programmed droid should be more reliable but perhaps machines can be remote controlled, or else there’s a story there that I really want to hear.

The Ortolan plays his flute again and the next speeder comes up, a red one. It's considerably more broken down than the previous one, driven by an older guy in a hooded coat. “Where to?” 

They pull up to a silver-colored ship of some kind, bigger than the Slave IV I think. Kind of clunky, really, more like a C-130 cargo transport than an F-16 fighter jet — not what you’d expect to be necessary for a bounty hunter to make quick getaways. Merman agrees with me. 

“You’re kidding me, right? I’ll hire us a Livery Cruiser. I’ll pay for it. Just trying to make it pleasant.”

The speeder pilot meanwhile is scanning the horizon anxiously and demands payment. The Mando pays him. “I’d stay off the ice if I were you.” Something’s gonna attack, and probably from beneath the ice. Can’t wait.

Merman is worried and watches the speeder depart into the distance as the Mando readies the ship. 

Something launches up from under the ice and consumes the speeder, and a snakelike body with dragon-like spinal plates disappears beneath it again. Merman freaks out and demands they hurry as the ice cracks in their direction. 

The Mando yanks him out of the way just in time for a giant walrus-tusked creature with a long body launches out next to the ship. It catches part of the ship’s landing gear in its mouth as they try to take off and there’s a familiar sound effect like the Falcon losing power. 

The Mandalorian grabs his tuning-fork weapon from outside the cabin doors (where it stays when it’s not on his back) and heads out to fight. The creature has one of the landing gear legs in its mouth as the music swells very tribal. One zap from the tuning fork weapon and the creature is electrified, immediately lets go, and they escape.

The ship is more impressive in air than on the ground as two enormous jets fire. It seems heavy though. I don’t see any weapons except two forward cannons of some kind, but of course there is probably ample hidden weaponry. Can’t wait. 

Once in space the merman starts bargaining and conversing but the Mandalorian is silent, having none of it. 

“I like your ship,” the merman says, now trying to butter him up. “She’s classic. Razor Crest, am I right? Pre-Empire?”

So it’s an older ship. The cockpit, entryway and ramp, halls and hull are quite wide and roomy. It makes sense that a bounty hunter needs room to carry cargo. I suppose some quarry may be quite large depending on species. I’d like to see him have to capture something large. I wonder if he has a larger ship because he’s young, and can’t yet afford something speedier. Or perhaps he loves it, despite being old and possibly rickety, like Han loved the Falcon. It doesn’t look like it’s been through the wars, though, so that’s a mystery. Can’t wait to learn more about the ship. 

Merman goes below on the pretense of having to use the evacuation tube. There’s some funny toilet humor here. There’s no restroom, the evac tube is in the middle of the floor against a wall--kind of like a New York City basement apartment I viewed once. To the right of the evac tube is a wall with what looks like a palette inside -- I guess that’s where the Mandalorian sleeps? It’s hard to tell.

Merman keeps exploring as he talks. Finds a cache of weapons but surprisingly just closes it again. And then he finds the other bounties.

This actually pissed me off on first viewing. The Mandalorian has several other quarry below deck--all encased in carbonite. I did a massive eyeroll here. Boba Fett (really, Vader) encased Han in carbonite as a matter of convenience at the location they were at in Cloud City. It was a test to see if he could transport Luke that way to the Emperor--IF he survived. But it’s NOT like it was the preferred mode of choice for bounty hunters to transport their quarry. So why would this Mandalorian just happen to have not just bounties in carbon freeze on his ship but has a carbon freezing /chamber/ on the ship, as he shoves the merman into it. 

This really annoyed me until a friend suggested maybe the other hunters heard about Fett and Han at Jabba’s Palace and it became a thing once they knew it wouldn’t kill the bounty. After some thought I have accepted this idea, even though it seems quick if this is only set 5 years after Jedi. Still, the other Mandalorians would have been among the first to know, and it’s a more practical mode of transport allowing low risk of escape and not having to address your quarry’s various biological needs. Also easily stackable while protecting them. So okay, I’ve come to accept it. 

Mando arrives at a spaceport in a semi-large desert city, that actually looks a lot like Tatooine--both what we’ve seen from the original trilogy and the prequels. They never actually state where we are at any of these locations, but this is my theory. There’s a droid like Red, there are people walking around dressed like Tatooine inhabitants. More evidence comes later in the series.

He enters another drinking establishment that seems to be the meeting place for his contact. The feel is very much like the bar where Han shot Greedo, and I wouldn’t be surprised if it was even the same one years later. Aliens of all types, again, watching him closely.

He meets his contact and returns the fobs. Payment is arranged. The Mandalorian says the Empire is gone, and he accepts Calamari flan at half than Imperial credits at full payment. 

The question of the next job comes up. Guild rates are high. The Mando wants the highest. 5,000 doesn’t cover fuel these days. 

The contact says “Well, there is one job.” No puck. Face to face, direct commission. Pays well. “Underworld?” No codes. The Mandalorian accepts the chip.

More of the city. Goes to a back-alley establishment. Arrives at a door with a  TT-8L/Y7 gatekeeper droid, like at Jabba’s Palace. Inside is a walking garbage-can droid like in the Jawa’s ship. I take this as more evidence we are on Tatooine, though of course these items could be sold throughout the galaxy.

Inside there are four Stormtroopers. An older man with an Imperial pendant who is clearly the leader and client. “Greef Carga said you were coming.” So that’s the Mando’s contact back at the bar. “He said you were the best in the parsec.” Haha, at least we are using parsec correctly now.

A side door opens, which startles the Mandalorian and he draws his tuning fork weapon (a modified amban phase-pulse blaster rifle). The four Stormtroopers draw also. A younger man with glasses comes in, shielding his face, apologizing profusely. The client introduces him as Doctor Pershing. A scientist. The Mandalorian still has weapons drawn in both hands, facing off with the Stormtroopers. “We have you four to one.” “I like those odds,” he responds. “He also said you were expensive. Very expensive.” 

All calms down and the client invites him to sit. He unfolds a block of beskar steel as down payment. He has more upon delivery of the asset -- alive. Proof of termination is also acceptable for a lower fee. The Doctor protests. 

No puck. Tracking fob, age, and last known positional data only. The quarry is 50 years old. 

“It is good to return the beskar back to the Mandalorians. It is good to restore the natural order of things after so much disarray, don’t you agree?”

The Mandalorian pauses here and almost imperceptibly again cocks his head. He touched a nerve. Amazing how an actor can still convey so much behind a helmet. I still don’t know this actor but he’s pulling it off. 

More of the city. Whatever that laughing thing was at Jabba’s feet, two of his species are roasting on a spit. One more is in a cage. (It’s a Kowakian monkey-lizard like Salacious Crumb. I had to look that up.)

The Mandalorian ducks in behind a curtain. Down some steps. Strings here that sound very Star Wars. A long hall with other Mandalorians about. Some have the helmet antenna like Fett. Some are small, running. Children.

At the end of the hall over the archway is a Mandalorian skull emblem. Within is a person working at a forge, hammering metal and heating it over a ring of open gas flames like Bunsen burners. The blacksmith, which IMDB tells me is Armorer, comes forward and sits down with our Mandalorian. There is fur around the collar, the helmet is different, golden with two small horns, and looks more like a gladiator helmet. From the way she moves, and especially once she speaks, this is a woman. I am intrigued, since I have not seen a female Mandalorian before. They nod respectfully to one another. The Mando produces his payment: the Calamari flan--and then, the bar of Beskar steel, marked with an Imperial insignia at one corner. She is visibly surprised and impressed.

“This was gathered in the Great Purge. It is good it is back with the tribe. A pauldron is in order. Has your signet been revealed?”

“Not yet.” 

“Soon.” 

A pause here to discuss armor. Any show about Mandalorians was going to have certain elements. Ships, weapons, lore, armor. 

Mandalorian armor is famous in the Star Wars universe. Beskar steel, the material it is made of, is strong, and can withstand almost anything, yet very light, rather like mithril in the Lord of the Rings universe. It would seem the Great Purge by the Empire included not just Jedi but Mandalorians, and their armor was melted into bars, as currency or for transport. (This is speculation on my part.) And that a goal of the Mandalorians is to reclaim as much beskar as possible, and reforge it back into Mandalorian armor. 

The blacksmith does just this and makes him a pauldron, or shoulder cover, from the bar of beskar. She tells him this is extremely generous and the excess will sponsor many foundlings.

“That’s good,” he responds. “I was once a foundling.”

“I know.”

A bit more of our hero’s background. 

Her forge is a combination of computerized part designs and heavy iron machinery, like a 3-D printer on steroids. And as it bangs out the new pauldron each loud clang of metal on metal shows us a brief flashback of our Mandalorian’s memories. A battle with fire and sparks all around. A woman in dark red robe carrying a boy also in dark red robe. He is terrified. Presumably this is our hero. She is carrying him, he’s maybe 8-10 years old. A man is with her, her husband? People getting shot--massacred--all around them as they run. Explosions. She opens an underground container of some sort, deposits the boy. He has brown hair, brown eyes, and olive skin. He reaches for her as the doors close. And then the pauldron is completed; the flashbacks stop.

Having viewed 3 episodes already, this becomes a pattern and I love this device. You get a little more of his backstory with each piece of armor, with each clang of the forge. It’s perfect. It makes sense that in these moments as he waits in this safe place, he might slip into memories. Or perhaps they come unbidden at this time for some reason. There’s also a nice theme of memories being buried beneath his armor, along with his emotions. And only when there’s a chink in the armor, does it show through.

The pauldron goes on, shiny and new, and for the first time I notice the wipes. A center point wipe expanding outward, with fuzzy borders, and so very Star Wars that it makes you smile. 

He heads to another planet that looks from space like Tatooine. If we weren’t on Tatooine before, we might be now. We are at least in the vicinity. It’s a desert planet with jagged sandstone cliffs all around. He lands his shiny ship, and gets out with the fob. He looks through his turning-fork weapon’s scope, and spots two distant creatures I can only describe as land grouper with legs and long tails. Suddenly he is attacked by one, sinking its teeth into his arm before he can get a shot off, and then a second, and though he fights with flamethrower and even fists, it looks like we will lose our hero until someone shoots them with taser darts. 

It appears our hero is not wounded, but his arm pieces are damaged. 

A small man with a piglike face and a kind, wise voice and goggles on his head. An ugnaught. Remember them from the original trilogy? IMDB tells me his name is Kuill, although this is never actually said in the episode, so I will refer to him as the ugnaught. 

I suspect anonymity is a running theme in this show, as part of the Western genre. So far we’ve heard almost no character names (which makes writing reviews a little difficult). I’m wondering if there’s any significance to the ones we do know, vs. the ones we don’t.

“You are a bounty hunter. I will help you. I have spoken.” This last part is his trademark line, as we’ll see. I love it. 

We go to what looks like a wind or moisture farm. There is, from what I can see, only one sun. 

The ugnaught tells the Mandalorian that others have come looking and died. He will show him the way for half of the blurg they caught. Mando will have to learn how to ride them to pass to the compound. 

On the first few attempts the blurg throws him. Apparently it’s a female; the males are all eaten during mating. (Thanks for that tidbit, Kuiil.) He gets thrown again and loses patience, asking for a speeder. 

The ugnaught challenges him. 

“You are a Mandalorian. Your ancestors rode the great mythosaur. Surely you can ride this young blurg.” 

Our hero is challenged; the words touched him. He approaches the blurg like a wild horse that needs breaking in, and the Western theme is back, even in the music. Eventually he succeeds, a triumphant moment that impresses the ugnaught, and they’re off across the landscape full of ravines that only the blurg can jump, apparently. The theme music swells until they arrive at a cliff where they can spy on the encampment. This is where the bounty hunter’s quarry is. 

Mando tries to pay him off. Ugnaught reveals his motive: it’s been an endless stream of warriors trying to get this quarry, breaking the peace. He’s read the stories about Mandalorians and believes ours can make quick work of it and bring peace back to his land. 

Our boy does some recon with a hand telescope and the place is swarming. Then he spots a bounty droid, and groans. The droid is just walking right in, and demands the asset be produced.

The bounty droid looks like IG-88 from The Empire Strikes Back and again, for a moment, I almost eye rolled because really, can’t we see something new? All bounty droids look the same? But whereas IG-88 just stood there, this one moves, and the way he moves is COOL. Although humanoid in appearance like 3PO (head, two arms, two legs), unlike 3PO he appears to operate around a central pole or spine, allowing his parts to rotate 360 degrees. This includes his head, his eyes, his arms and therefore weapons, and his waist/hips. It gives him an amazing advantage as he can just keep spinning and shooting. The way he steps over a body is awesome. He’s also really skinny and thus hard to hit. Whole new respect for the IG series. 

This IG unit is also funny, and his repartee with our Mandalorian is instant comedic chemistry. There’s a fantastic shootout, where they team up, and as they are outnumbered, the bounty droid seeing no way out, keeps trying to self-destruct. “Do not self destruct!” our Mando keeps shouting at him, and after a very badass moment with an [ion machine gun], by the end they win, and everyone in the yard lies dead. Mando helps him up, saying “You’re not so bad for a droid,” and the droid replies likewise. I saw a sidekick in the making. They shoot their way inside, kill a few more people until there’s no one left, and determine the quarry is just before them in the corner. 

Except there is no one there, just a white ball looking thing with a net over it that the fobs indicate is the target. 

They remove the net, and open the ball, which is really more egg-shaped. 

And then it opens, it looks more like a bassinet with a blanket inside. 

“Wait--” says Mando. “They said 50 years old.”

“Species age differently,” replies the IG unit. And we get our first glimpse over the top of the blanket as he says “Perhaps it could live many centuries. Sadly, we’ll never know.” And as he’s speaking, a little head peeks over the blanket.

Oh. My. God. And in this one moment, I am glued to this show forever. 

It’s a baby Yoda. 

Except it isn’t Yoda, because Yoda’s dead. But we don’t know Yoda’s species name, and we don’t know the baby’s given name, so we will call it what the internet has dubbed it in the meantime: Baby Yoda. 

And this moment, above all, is the biggest reason I am so glad I wasn’t spoiled. 

Baby Yoda is the most adorable, most precious, most endearing thing you have ever seen. And in a franchise that has at times been criticized for its more saccharine “cute” creatures that appeal to young children (Ewoks, anyone?), this is one we can all get behind.

Baby Yoda is CUTE. <3

Baby Yoda is everything.

Remember my aversion to anything we’ve seen already? I NO LONGER CARE. Looking at those huge brown eyes and long floppy ears, this doesn’t even cross my mind. 

I would give my life for Baby Yoda. I know this all in one second.

And the IG unit is about to kill it. 

Apparently our Mando feels something similar. 

“Wait,” he says, and reaching out he lowers the IG unit’s weapon. “We’ll bring it in alive.”

“The commission was quite specific. The asset was to be terminated.” The IG unit raises his blaster again, aimed squarely at the crib.

The camera closes in on the Mandalorian’s helmet, fixed on the bassinet, and there is a red blaster flash from his right, reflected in the helmet. The Mando’s head never moves. 

But the IG unit falls to the floor, shot in the head. Sizzling. He’s toast. 

Our guy shot him without even looking. He’s fixated on Baby Yoda, as we all are. He puts his own blaster away, and tilts his head.

The camera cuts to a gorgeous profile, backlit from a doorway. The Mandalorian stands before the crib, which is now floating in the air at waist height. He raises a finger towards the crib, as a tiny finger comes up from inside it. They don’t quite meet. 

End credits. 

End credits for this show are a series of beautiful concept drawings and if you know Star Wars at all, these are some stunning art. The whole theme also plays over the end credits and it is hauntingly beautiful. Ludwig Gӧransson’s score is perfect. 

Thoughts.

Themes: Space western. Anonymity. (Even the ship still has no name, just a model.) Foundlings. Characters that seem to have no family, but instead bond in other social ways (covert/religion, bounty hunter guild/profession). Remnants. Loss.  

I LOVE the concept art at the end. Fans love this concept art, and I have a couple of books of it myself. Nice way to incorporate it into the series. You can see how the original concept and final product differ (very little, in most cases) and a few intriguing pieces that were either filmed but cut from the final edit or never filmed. I love how they add the 3-D effect to some of the drawings, and I still don’t know how Hollywood achieves that. 

Concept art round-up: 

Mando and Baby Yoda’s ET moment 

Some intriguing glow-dice game between two Mandalorians? I need to know more about this.

Mando firing a blaster

Mando entering a cantina

Mando and Kuiil on Blurrback

Mando and IG-11 taking cover during battle

Mando and Kuiil entering Kuiil’s home

Mando walking on the icescape with his back facing the camera

Mando battling the ice creature while hanging out of the Razor Crest

Mando and IG-11 standing shoulder to shoulder

Mando on Blurrgback

Taika Waititi is amazing as the IG unit bounty droid. Never would have guessed it was him.

Werner Herzog is perfect as The Client, I love his voice, and the article/video about him crying over Baby Yoda. 

This show is going to get me writing fanfic again, dammit. 

*****

The Mandalorian: Chapter 1 recap by K (includes detailed spoilers)

A Mandalorian bounty hunter tracks a target for a well-paying client.

Directed by Dave Filoni

Written by Jon Favreau

Music by Ludwig Gӧransson Airdate: Nov 12, 2019

Run Time: 40m

Greef Karga (Carl Weathers)

The Client (Werner Herzog)

Dr. Pershing (Omid Abtahi)

Kuiil (Nick Nolte, voice)

IG-11 (Taika Waititi, voice; Rio Hackford, performance artist)

Mythrol (Horatio Sanz)

Alpha Trawler (Tait Fletcher)

Beta Trawler (Ryan Watson)

Quarren Trawler (Dmitrious Bistrevsky)

Armorer (Emily Swallow)

[coccsd]

Dumb Summary: An alien doctor is on the run, another doctor who was alien doctor’s friend is killed by some bad people. Mulder finds a storage room full of people in tanks, tries to show Scully (is dramatic af in the process), Scully misses it. Mulder gets kidnapped, Deep Throat smuggles Scully into Fort Marlene- Scully actually sees something. Deep Throat is killed. The X-Files are closed.

Themes: Toxic green blood, hiding evidence, withholding information, being watched, disappearing evidence, cancer, hydrides.

Favourite Quote: If this is monkey pee, you’re on your own.

Roll Credits:  😞

State: Maryland.

Main Minor Character of the Episode: Dr Secare.

Special Prop of the Episode: Purity Control.

Inappropriate Mulder Humour: My mother usually likes me home before the streetlights come on.

Scully Favourite Sentence:  😞

Scully Suffer:  ❌

Mulder Drives:  😃

Scully Drives:  😃

Brief Case Appearance:  😃

Glasses:  😞

Reports:  😞

Shoulder Pads:  😃

Trenchcoats:  😃

Scully Says OMG:  😞

Scully Autopsy:  😞

Scully Ditch:  😞

Scully Pyjamas:  😃 (blue ones)

Scully Wears A Skirt:  😞

Mulder Wears An Ugly Tie:  😃

Scully Smiles:  😃

Scully Misses It:  😃

(Stupid) Tiny Gun Appears:   😡

Mulder and Scully Almost Die:  😃

Mulder’s Hand on Scully’s Back:  😞

Mulder and Scully Talk on the Phone:  😃

Scully Costume Change Counter: 4.

Mulder Costume (Tie) Change Counter: 4.

My analysis is under the cut.

I was halfway through watching Fallen Angel when I realised that it would be pointless for me to talk about the mythology is an episode that, outside of Max’s abductions, could really be classed as a MotW. It’s strange to think that your mytharc starts at the season’s final. The Pilot introduces Mulder, Scully, the running story, and abductions and Deep Throat introduces informants for Mulder but it’s The Erlenmeyer Flask that sets up everything to come within the next four seasons. The Erlenmeyer Flask is the Pilot of the mythology and it can work as one, too.

TEF was the first episode I watched of the original series (not intentionally). With the exception of not knowing who anyone was I didn’t feel lost watching the episode, I didn’t feel like I should have known something when watching it.

And I didn’t.

Everything that is mentioned in this episode is introduced in first episode. There’s not even the mention of Samantha (again, because that is abduction not clones- yet) So you could watch this episode without watching the other 22 and follow along quite easily.

So the mythology is broken down into three themes- Abduction, Clones/green blood, and The Black Oil. These three themes co-exist in each mythology episode one may play a bigger part in a particular episode. In this episode: Green blood (and it’s complications to humans)

“To have a hybrid living out in the real world? Too great a liability. What if he should need emergency medical procedure? The man has a blood chemistry that is alien and very likely toxic.”

In Deep Throat’s expositional speech, we learn that Secare has green blood because he’s an alien-human hyrid. It is toxic to humans and releases a retrovirus- a virus that looks to sting the eyes and puts you in a bad situation.

We also get introduced to “black organisations.” Groups within groups conducting covert activities, unknown to the highest levels of power.” This is a reference to the Syndicate- something that I won’t go into too much detail here because they aren’t explicitly mentioned yet. This organisation comes in the form of the Crew Cut Man- basically the organisation’s Bounty Hunter. He kills anyone that comes close to discovering what Secare is- Secare, Berube, Dr Carpenter, Mulder, Deep Throat…He’s the hit-man tasked with hiding the evidence.

Which leads me to my next theme- Hiding/destroying evidence. Now this happens whether you’re watching a MotW or a mytharc episode but it’s more of a bigger deal in the mytharc. Deep Throat says it straight out:

“They’re systematically destroying all the evidence…Dr Berube, the bodies here. Without the evidence, you two have no case. Who would believe the story I just told you?”

And that is basically a sum up of the X-Files. Mulder and Scully have a case, they find the evidence, the evidence gets destroyed. It’s the gag along with Scully Missing It (which also happens in this scene) but it has more of a consequence in this episode. Destroying evidence doesn’t just come in the form of clearing out a storage, it comes in the form of murder, murders that aren’t going to get any justice served to them because all the murders are premediated, they’re designed in a way that nobody would think to look any further (Berube’s “suicide”, Carpenter’s “car accident”) all things that nobody would be bothered to investigation without a proper reason.

This organisation has Mulder, they know he’s getting his information from somewhere and eventually come to the conclusion that that somewhere is Deep Throat- they have their mole.

There are two thoughts I have when it comes to this final act: As mentioned, if this organisation is going around killing everybody who happens to know about these hybrids- they have Mulder, why do they not kill Scully? Now I have two theories concerning this.

1.      They thought Deep Throat would save himself and let Scully make the deal therefore they could kill Scully, kill Mulder, take the embryo and “forgive” Deep Throat.

2.      They think Scully is on their side and the plan from the get-go was to kill Deep Throat.

Honestly, I have no idea which one is the closest and I’m just going to put it down to having this new idea, not all questions have been answered (they also have to not kill their two leads so this show that is making a lot of Fox executives rich can continue) Who knows? But Deep Throat is killed, Mulder is thrown on the ground, and Scully is told to trust no one (I made a separate post unrelated to this rewatch explaining/ranting why this catchphrase was Scully’s and not Mulder’s)

And that’s pretty much it. The X-Files are closed, Mulder and Scully are being reassigned. This is all just part of destroying the evidence. Throughout this episode, Deep Throat is telling Mulder that he’s “closer than ever [to the truth]” and this organisation gets scared of that so boom! the X-Files are shut down, everyone who knows is dead, and their secret is safe.

[plotbunny-bundle]

Meet my New (and first) Sith Warrior Adamainna! 

((I’m actually not 100% sure about how I pronounce her name. I think I’ll call her Ada or Mina for short. And so will Vette when I get that friendship going.))

Adamainna is a Sith Marauder. She’s a deadly and playful combatant. Ada is fearless on and off the battlefield.  She’s Dark Side but Light curious. And generally curious, nosy and can be playful at times. While Adamainna is cruel or ruthless for the sake of it, she has no real sense of morality and will do cruel things because she was ordered to or for petty amusement. Empathy and Mercy are foreign concept to her. 

She’s not the most critical thinker and is loyal to Darth Baras because it hasn’t occurred to her not to be. She will learn. 

If Ada wasn’t a 6 foot tall Sith Pureblood is would be dangerous to let her meet Jedi. She could be susceptible to conversion. Good thing she looks a monster to the Republic.

Background: Ada comes from a family of Sith. She’s practically the Empire’s nobility. She might actually be. She was trained from childhood in the way of the Sith, leaving her a weird combination of sheltered rich kid and killing machine. She never left the Empire before. Or had a real conversation with an alien before Vette.

Ada is the youngest of 6 siblings and one of the four still alive. Two of her siblings are already Sith Lord in their own right. With two siblings so ahead of her Ada knows she won’t inherit from her family. Mostly likely an older sibling will take over before Ada reaches lordship. If she wants anything, she’ll have to prove herself to Baras or create it herself. 

Ada’s place youngest leave her in a vulnerable position. She’s not necessary for family’s legacy. Afterall they already had two (maybe three) successes. That’s pretty good for Sith training. Which is why her parents/guardians were fine to kick her out of the nest early and let Tremel use her in exchange for favors. (Wow I said I wasn’t going to give her a tragic past but then I do 2 dead siblings and parents that wouldn’t be that upset if she dies. Oops.)

Ada’s main goal is to make a name for herself in the galaxy. Her short terms goals are whatever she’s told and to enjoy herself. Adamainna still has a good deal to learn about being Sith and hatred. Time and character development will tell if she learns. Or if she learns Empathy instead. Maybe she’ll learn both.

Other facts about Ada

She’s younger than she looks. She’s a teenager. She just turned 18. She’s young then Vette!

She actually likes Vette. She thinks she’s entertaining. But Vette doesn’t like her. I think she’s still scared of Ada.

She has very long hair. It goes down passed her waist.

I’m going to make her a force blind older brother and make him my bounty hunter. I decided this while typing this up.

She’s into fashion. She has 7 outfits already and I’m not on Balmorra yet.

She doesn’t have ill will towards her family but isn’t close enough to be upset by her older siblings’ deaths. She still sees her older siblings as competition.

Her family is rich and she gets an allowance from her parents. When one of her older siblings (kills them and) takes over she’ll be cut off.

She can’t read or speak Huttese for shit and has to rely on Vette. Vette may start charging on Nar Shaddaa.

[fyrapartnersearch]

Howdy there! How are you?

Self

My name is James Home. I’m a 23 year old trans male from Olympia WA. In time zones that’s PST (Pacific standard time) am a visual artist, graphic designer, and storyteller. My Briggs acronym ENFJ. In saying so I’m a huge talker and communicator, physically and literally! Personal interests of mine include BOTW, FFXV, and Hanibal atm. I have a lovely and incredible wife named Isabella. We both additionally like DND (were even painting our minis), collecting Halloween decorations, and watching Avatar the last air bender with our roommate. Though I do have a history in plenty of other fandoms as well and always on the lookout for recommendations.

Preference

So for myself I love to take care of my Rp partners in all accommodations possible.

Meaning if your heart has been craving fluff, rough smut, or a plain ol hug. IM GAME! If none, no biggie let’s make a plot spot!

Roles I usually fall under are but not limited too….

-DOM , Vers, Power bottom

-caretaker, guardian, teacher

-father, handler, knight

-beefcakes, robots, selfless leaders

And so much more!

The roles I lean towards are

-caretaker, strong and silent-ish type, and flamboyant entertainers.

-male roles, trans male roles, open to trying a female role?, non binary, pangender role.

- I do enjoy topping, some aspects of BDSM, and some hard kinks.

-fallen leader, relearning about a loving world, hopeful in a dark world.

-not taking their role as important as they should have or are, “I’ve been doing this for years. But this is new”, and “I brought you your favorite drink wanna cuddle, I’ll provide the sugar?” Types

And so much more!

As far as story things themes are

-highly complex kingdoms

-High pace fantasy

-society by the ocean

-abandon green houses

-heavily dense forests

-fae and fiend worlds

-AUs of pre-existing universes from shows

-magic incorporated

-supernatural

Worlds we design collectively.

My HARD NOs are…

NO MINORS ROLEPLAYING WITH ME, 19 AND UNDER DO NOT APPLY

-abuse in active Rp (can be used from background and really has to depend on circumstance)

-harm of any children

-harm of expected mother

-any form of r*pe play

-blood play, degrading play, hard impact play

-crying kinks, humiliation kink, and electric play

-no smoking kinks either or character usage of substances.

Writing

I’m not too big on proper grammar or sentence structure as long as there was an idea getting across. I’m ok with role playing as many people as you’d like to actively work on, so doubles, and even triples are okay. Plus working two different stories is fun! I do prefer paragraphing and we all know the feeling of one word responses. This is a hobby and creative outlet from myself so that’s why I have no big stressors about punctuation or spelling.

Storytelling

Here are some story concepts I’ve come up with. Yet if you’d like to imply your own let’s talk about it!

Counterpart pathways

A magical filled fantasy realm where all is possible including the bad. One summer day a incubus/demon hybrid named Jona, father of three, learns someone has kidnapped all three of his boys! He's on the hunt for clues and finding them at all costs. Gathering the best crew possible of Moof the best wolf bounty hunter in all the realm, Bell the boys spider caretaker shapeshifter, and Glover the bull/bison hybrid the green alchemist, set off to find the children. Along the way by gathering clues they encounter obstacles and trials of skill and pursuit! Will they ever find the three octopus babies ? Will Jona have closure and put on a shirt? Will Bell ever stop stealing everything shiny? Will Moof grow more confident in his teammates? Will Glover not stop shaking and being such a wuss? Who will help this odd 4 on their epic abnormal quest?!

Puddles

A time traveler that gets stuck in between dimensions due to their powers temporarily weakened from the extensive work they've been doing end up meeting a stranger who takes them in. Not used to the timeline they shows up in, they have to knowledge of normal behavior. They must figure out a way to recharge their abilities but has not of the slightly clue as to what it causing them to have lost them in the first place. Is the person that's helping them good or evil? Who's side are they on? How will they figure them out? Why do they find the stranger oddly familiar?

When men become mortal

An alien/robot/human species that survives by using different masks/chips for various occasions. It's like buying different clothes but they adapt or transform the hoist for a month or less of another body/form/identity. The main character experiences a technical difficulty where their head socket cannot adapt to a new face for long and has to get it repaired. Though along the way he seems to find that not wearing a false identity they actually enjoy seeing the outside world with no expectation of appearance. The other is a identity artist, the one whom develops different faces and identity. He spends hours tweaking details of bodies and faces. He always has the nicest things because of his work and from important commissions and work for certain clients.They meet at a gallery that the artist is hoisting at a museum. The individuals there are decorated like some of the model pieces and others artist curators-part sellers. The faceless one decides to go to the museum to see what's or who's being showcased and since he has a little bit of extra money he saved up for the occasion. Everyone finds him interesting since he doesn't have an appearance, they think he's a model. Thus they send him to meet with the artist for the show. The artist doesn't know him at all. They find eachother very different but most parts similar. From their meeting the artist gets inspired by his original face. Coming to realize that even himself that he has given into the world he never wanted to.The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities. Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans.The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities. Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans. Thus forces the artist to reveal his true identity. A human being. Not a hologram. Plus he's not just an artist but a ex-con scientist from the labs that have bloomed into a internalized war. Faceless becomes confused and also hurt that the artist to mention this. Only for the two of them being followed. The artist informs the robot that the hybrids (the children of the robot-species, generations of offspring) are the real threat to society. The one who hoists and is in charge of the power sorce is human and machine. The first of its kind, and also the previous mentor of the artist/ex-scientist. Who will get to the power source first. Our main dynamic couple or the robotic uprising that believe all humans should cease to exist once and for all?

Gay Cryptids

Themes

Active night life

Next to the ocean, sea, body of water.

Beach city/lost boys/Mad max?/punk/ regal?/neon lights/old mascots/vapor wave af

Carnival / festivals

Dark market authenticity

Biker gang(s)

Aquatic features, art, incorporated in surroundings

Lifestyles like fish importing, dock workers, sushi shops, fancy diners

Common foods are all fish and sea foods

The city was a work in process for a resort city, and a major violent storm came too early taking out some of the fancier parts of the island. Most of the higher end houses and mansions were believed to be damaged in the outer edges of the island. There had been a castle built as a main part of the hotel/resort. Old costumes, sets, mascots were left to rot by the seas breeze. Barnacles, ivy, and vines with exotic flora and fauna growing wildly cover the buildings. Possibly even growing in the mansion and other houses. The main part of the biker gang is in a abandoned church next to the sea caves is where the biker gang mostly resides and work primarily as hit men and women. The island would be decided by the two head family of vampires one powerful family versus the other in over control if the current situation of resort in the actual tourist location.A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young. Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young. Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.

Plausible locations

Old mill

Carnival / freakshow

Rides and amusement

Abandoned Church

Greenhouse

Garden

Boat house

Log cabins

CAMP grounds

Old schools

Warehouses

The Docks or Port

Boat houses

Boat docks

Abandoned Hotel

Studios

Bike store

Surf or like diving store

Knickknack shack

Ma and Pa restaurants

Antique stores

Downtown

Library

Hospital or infirmary excotic masion

I have story plots for days SONNNN so these are at skim level for plot.

If you’d like to contact me the best ways are

Discord at

Agodnamedhome#4202

Onlyagodnamedhome@gmail.com

I work from 11:30 to 4 Monday-Friday

But available before, and after for sure.

Thursday’s at 5 are my therapist appointments

Weekends are 100% free atm

Looking for a long term, short term, a friend!

[agodnamedhome]

Howdy there! How are you?

Self

My name is James Home. I’m a 23 year old trans male from Olympia WA. In time zones that’s PST (Pacific standard time) am a visual artist, graphic designer, and storyteller. My Briggs acronym ENFJ. In saying so I’m a huge talker and communicator, physically and literally! Personal interests of mine include BOTW, FFXV, and Hanibal atm. I have a lovely and incredible wife named Isabella. We both additionally like DND (were even painting our minis), collecting Halloween decorations, and watching Avatar the last air bender with our roommate. Though I do have a history in plenty of other fandoms as well and always on the lookout for recommendations.

Preference

So for myself I love to take care of my Rp partners in all accommodations possible.

Meaning if your heart has been craving fluff, rough smut, or a plain ol hug. IM GAME! If none, no biggie let’s make a plot spot!

Roles I usually fall under are but not limited too….

-DOM , Vers, Power bottom

-caretaker, guardian, teacher

-father, handler, knight

-beefcakes, robots, selfless leaders

And so much more!

The roles I lean towards are

-caretaker, strong and silent-ish type, and flamboyant entertainers.

-male roles, trans male roles, open to trying a female role?, non binary, pangender role.

- I do enjoy topping, some aspects of BDSM, and some hard kinks.

-fallen leader, relearning about a loving world, hopeful in a dark world.

-not taking their role as important as they should have or are, “I’ve been doing this for years. But this is new”, and “I brought you your favorite drink wanna cuddle, I’ll provide the sugar?” Types

And so much more!

As far as story things themes are

-highly complex kingdoms

-High pace fantasy

-society by the ocean

-abandon green houses

-heavily dense forests

-fae and fiend worlds

-AUs of pre-existing universes from shows

-magic incorporated

-supernatural

Worlds we design collectively.

My HARD NOs are…

NO MINORS ROLEPLAYING WITH ME, 19 AND UNDER DO NOT APPLY

-abuse in active Rp (can be used from background and really has to depend on circumstance)

-harm of any children

-harm of expected mother

-any form of r*pe play

-blood play, degrading play, hard impact play

-crying kinks, humiliation kink, and electric play

-no smoking kinks either or character usage of substances.

Writing

I’m not too big on proper grammar or sentence structure as long as there was an idea getting across. I’m ok with role playing as many people as you’d like to actively work on, so doubles, and even triples are okay. Plus working two different stories is fun! I do prefer paragraphing and we all know the feeling of one word responses. This is a hobby and creative outlet from myself so that’s why I have no big stressors about punctuation or spelling.

Storytelling

Here are some story concepts I’ve come up with. Yet if you’d like to imply your own let’s talk about it!

Counterpart pathways

A magical filled fantasy realm where all is possible including the bad. One summer day a incubus/demon hybrid named Jona, father of three, learns someone has kidnapped all three of his boys! He's on the hunt for clues and finding them at all costs. Gathering the best crew possible of Moof the best wolf bounty hunter in all the realm, Bell the boys spider caretaker shapeshifter, and Glover the bull/bison hybrid the green alchemist, set off to find the children. Along the way by gathering clues they encounter obstacles and trials of skill and pursuit! Will they ever find the three octopus babies ? Will Jona have closure and put on a shirt? Will Bell ever stop stealing everything shiny? Will Moof grow more confident in his teammates? Will Glover not stop shaking and being such a wuss? Who will help this odd 4 on their epic abnormal quest?!

Puddles

A time traveler that gets stuck in between dimensions due to their powers temporarily weakened from the extensive work they've been doing end up meeting a stranger who takes them in. Not used to the timeline they shows up in, they have to knowledge of normal behavior. They must figure out a way to recharge their abilities but has not of the slightly clue as to what it causing them to have lost them in the first place. Is the person that's helping them good or evil? Who's side are they on? How will they figure them out? Why do they find the stranger oddly familiar?

When men become mortal

An alien/robot/human species that survives by using different masks/chips for various occasions.

It's like buying different clothes but they adapt or transform the hoist for a month or less of another body/form/identity.

The main character experiences a technical difficulty where their head socket cannot adapt to a new face for long and has to get it repaired. Though along the way he seems to find that not wearing a false identity they actually enjoy seeing the outside world with no expectation of appearance.

The other is a identity artist, the one whom develops different faces and identity. He spends hours tweaking details of bodies and faces. He always has the nicest things because of his work and from important commissions and work for certain clients.

They meet at a gallery that the artist is hoisting at a museum. The individuals there are decorated like some of the model pieces and others artist curators-part sellers.

The faceless one decides to go to the museum to see what's or who's being showcased and since he has a little bit of extra money he saved up for the occasion. Everyone finds him interesting since he doesn't have an appearance, they think he's a model. Thus they send him to meet with the artist for the show.

The artist doesn't know him at all. They find eachother very different but most parts similar. From their meeting the artist gets inspired by his original face. Coming to realize that even himself that he has given into the world he never wanted to.

The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities.

Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans.

The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities.

Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans.

Thus forces the artist to reveal his true identity. A human being. Not a hologram. Plus he's not just an artist but a ex-con scientist from the labs that have bloomed into a internalized war. Faceless becomes confused and also hurt that the artist to mention this. Only for the two of them being followed.

The artist informs the robot that the hybrids (the children of the robot-species, generations of offspring) are the real threat to society. The one who hoists and is in charge of the power sorce is human and machine. The first of its kind, and also the previous mentor of the artist/ex-scientist.

Who will get to the power source first. Our main dynamic couple or the robotic uprising that believe all humans should cease to exist once and for all?

Gay Cryptids

Themes

Active night life

Next to the ocean, sea, body of water.

Beach city/lost boys/Mad max?/punk/ regal?/neon lights/old mascots/vapor wave af

Carnival / festivals

Dark market authenticity

Biker gang(s)

Aquatic features, art, incorporated in surroundings

Lifestyles like fish importing, dock workers, sushi shops, fancy diners

Common foods are all fish and sea foods

The city was a work in process for a resort city, and a major violent storm came too early taking out some of the fancier parts of the island. Most of the higher end houses and mansions were believed to be damaged in the outer edges of the island. There had been a castle built as a main part of the hotel/resort. Old costumes, sets, mascots were left to rot by the seas breeze. Barnacles, ivy, and vines with exotic flora and fauna growing wildly cover the buildings. Possibly even growing in the mansion and other houses. The main part of the biker gang is in a abandoned church next to the sea caves is where the biker gang mostly resides and work primarily as hit men and women. The island would be decided by the two head family of vampires one powerful family versus the other in over control if the current situation of resort in the actual tourist location.

A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young.

Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.

A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young.

Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.

Plausible locations

Old mill

Carnival / freakshow

Rides and amusement

Abandoned Church

Greenhouse

Garden

Boat house

Log cabins

CAMP grounds

Old schools

Warehouses

The Docks or Port

Boat houses

Boat docks

Abandoned Hotel

Studios

Bike store

Surf or like diving store

Knickknack shack

Ma and Pa restaurants

Antique stores

Downtown

Library

Hospital or infirmary excotic masion

I have story plots for days SONNNN so these are at skim level for plot.

If you’d like to contact me the best ways are

Discord at

Agodnamedhome#4202

Onlyagodnamedhome@gmail.com

I work from 11:30 to 4 Monday-Friday

But available before, and after for sure.

Thursday’s at 5 are my therapist appointments

Weekends are 100% free atm

Looking for a long term, short term, a friend!

[tacitcantos]

After the cinematic atrocities that have been the new Star Wars movies it’s no surprise that The Mandalorian has been hailed as the first successful new Star Wars property in the Disney era. And it’s not hard to see why: its production values are stellar, its story simple but archetypal, and it fully embraces the grunge of the original trilogy. And while it is without a doubt better than the new movies… that doesn’t make it good.

A lot of you are no doubt going to disagree with me. And that’s understandable, because The Mandalorian isn’t bad exactly. It’s more that it’s not good, or as good as it could or should be. It’s a plodding and unimaginative series that meanders around flashing fanservice at the audience because it knows most of the audience will be pleased by any invocation of Star Wars iconography no matter how lacking in substance, a passable pastiche of Star Wars and various westerns, but not a particularly smart or good example of the genre, with little depth under the surface.

And it is a pastiche of westerns. From the twang of its music to the barren landscapes that fill it, The Mandalorian is firmly entrenched in the traditions and tropes of the western. Like all westerns its stakes are personal and its character iconic, lone gunslingers and dusty outlaws and unscrupulous criminals, and the plots of its various episodes vary from reminiscent to outright copying: the relationship between Mando and the young bounty hunter in episode 5 is extremely reminiscent of the one in Clint Eastwood’s Unforgiven, and episode 4 is a beat for beat remake of the Magnificent Seven.

It’s in comparison to the westerns it so clearly wants to ape that the problems with The Mandalorian become most visible.  It draws on the atmosphere and tropes of the genre, but isn’t willing to put in the effort to make either successful on anything but the most superficial level.

The western and its tropes are relatively rigid because it’s been so extensively and exhaustively explored that to be successful any modern day western like The Mandalorian either needs to nail its beats and themes, deconstruct it, or bring something new to the conversation. And The Mandalorian does none of those things.

All the places The Mandalorian has problems or is unsuccessful are due to not not understanding its genre and its genre conventions. There’s four core, interconnected ones that permeate The Mandalorian:

The series has no clear thematic message. It’s not really trying to say anything; not about the warrior culture of the Mandalorians, not about bounty hunting, and not about the postwar status of the Star Wars galaxy. Worse, it has nothing to say about the themes of the western, the genre it’s firmly entrenched in.

Mando is a shallow and static character. There aren’t any real layers or complexities to explore. What you see on the surface is very much what you get, with no hidden depths or surprises. Static characters can be a powerful tool in the right hands: Clint Eastwood’s laconic gunslinger in A Fistful of Dollars and The Good The Bad and The Ugly is proof of that, but Mando is too jokey and fallible to have the gravitas of that kind of silent killer.

Its plot is impersonal and predictable. The plot of most of the episodes are a series of events with little to no character growth or thematic exploration. They’re simple and tend towards sloppiness, with predictable turns and twists which makes watching them cognitively unengaging.

There’s a far more interesting story to be told in this time period that The Mandalorian almost completely ignores. Post Imperial fall but before New Republic ascendancy is a setting that’s perfectly in keeping with the western and could lead to all kinds of interesting story possibilities. Story possibilities that The Mandalorian completely ignores, and ones that makes its own absence of message and character all the more glaring and conspicuous.

As I said before, each of these problems are sort of circular and feed into and make the others worse, but let’s try and tackle them one at a time anyway. Starting with...

1. The Series Has No Clear Thematic Message

Theme and message are key to any successful story. They’re the soul of a work, the underlying pattern that gives the events of a story meaning. A work needs a viewpoint, needs an idea it finds interesting to explore through its characters and plot, or the work has no deeper resonance and feels shallow and forgettable.

For example, Unforgiven is a movie with such a pointed message and theme that it single handedly revolutionized the entire western genre.  It’s a movie that wants to show the difference in the appeal of bounty hunting vs the ugly reality, to deconstruct the glamour and tropes of the western, and how killing takes a toll on those that do it. It was such a thorough and brutal deconstruction of the genre that everyone western or neo western after Unforgiven is in conversation with it whether it wants to be or not.

The Mandalorian… it’s not that it needed to deconstruct the western genre in the way Unforgiven did exactly, but it did need to have something to say, some theme or viewpoint to express. And it really doesn’t.

Take Mando’s dislike of droids for example, and his perfunctory arc to overcome that dislike. What’s the narrative purpose? Obviously it’s initially meant to show that he was traumatized as a child by the death of his parents, but what does it say thematically? What does his learning to trust the IG droid say? If, for example, the show had an anti-warrior culture viewpoint, it could use the concept of a droid having choice instead of just doing what it’s programed to make Mando question his own Mandalorian training: did he truly have another option after his parents’ death? Was he indoctrinated? Taken advantage of? I’m not saying that the show specifically needed to have a pro or anti-warrior culture viewpoint, but it did need to have a viewpoint on something.

Not only because not having a message makes the show forgettable, but also because it has serious negative ramifications on the plot and pacing. It’s why The Mandalorian feels so listless much of the time. Because it has nowhere to go, it doesn’t care about getting there fast. There’s no burning message that the show’s creators want to impart to the audience, no topic it’s fascinated by, and so it tends to meander around pointlessly, its plots and characters empty vessels. None of them can mean anything, because The Mandalorian has no meaning. It’s just kind of… there, transposing fanservice for depth.

2. Mando is a Shallow Character

The problems with Mando as a character start in the first episode. The first episode of a series should introduce the main character, give the audience an idea of who he is and what he wants. A first episode doesn’t need to completely expose all of a main character’s layers, but it does need to define him clearly and make him a character the audience can identify with. Who is Mando? What does he want? To collect bounties, obviously, but why? Is it a drive for justice? Does he take pleasure in the hunt? Does it disgust him to have to deal with criminals?

The first episode of The Mandalorian completely punts on answering any of those basic questions. It’s 45 minutes long, but somehow doesn’t tell us anything about Mando besides the immediately obvious premise that he’s a bounty hunter and a Mandalorian.

A better structure would’ve, just as an example, followed Mando through a whole hunt. Maybe when he tries to leave the original planet with the blueface alien his ship is blown up or they’re stopped by a crime syndicate who wants the blueface alien for their own reason, and the rest of the episode is him trying to get off the planet with his bounty. You could punch up the character of blueface alien, start a dialogue between him and Mando that actually gives us an insight into his character. Maybe he lets the blueface alien go at the end because of the bond they’ve formed, maybe despite the bond he still hands him in because at his core he’s a bounty hunter through and through. Either option tells us something about him.

The only real emotional layer the episode reveals about Mando is in a scene where he visits his Mandalorian clan and it’s shown though flashback that his family was murdered when he was a child, and we can infer that he was taken in by the Mandalorians afterward, but again, we get no indication of how he feels about it.

What’s strange is that there’s a more interesting version of this scene in episode 3, where it’s revealed that only one Mandalorian can go above ground at a time. This is a potentially interesting idea: why was Mando chosen instead of the other Mandalorians? Does he feel a burden to represent his people? Is this his driving motivation? Does he feel like he’s not equal to the task? But there’s no followup to this scene to give us a hint to what Mando is thinking about it wasting a perfectly good opportunity to ground him as a character with a concrete motivation.

This whole scene could actually have created a potentially interesting conflict for Mando where he’s torn between saving baby Yoda from the imperials and not tarnishing Mandalorian reputation by betraying a client. Sadly absolutely nothing is done with this idea, as the rest of the Mandalorians seem entirely happy to cover for him when he tries to escape with baby Yoda.

And choosing to save baby Yoda is pretty much the last character growth Mando goes through for the season, besides some perfunctory getting over his dislike of droids in the finale. He’s a largely static character, unchanging and flat. As the series goes on he’s fleshed out a little, but only a little: who he is as a person is still shockingly vague and vacuous by the end of the season.

It’s one of the reasons the series a whole is really emotionally flat, without any ups or downs, triumphs or failures, joy or despair. For example, in the last episode when Mando sees the piled armor of the dead Mandalorians, did anyone feel that as a punch to the gut? Of course not, because we don’t really know who Mando is, don’t have any way into his head, don’t identify with him in the way that we do with the best fictional characters.

Static Characters and How to Write Them

Part of the reason Mando is a shallow character is because he’s a static character that doesn’t undergo any real change. Now, static characters aren’t inherently shallow ones: there are countless examples of iconic static characters in fiction, and especially westerns, but the rules for making a static main character effective are different than those for dynamic ones, and is in many ways harder: not changing or growing through the story can make them feel stale and lifeless, and makes for a passive and unengaging viewing experience on the part of the audience.

There are a few ways to make a static character compelling, but all require careful deployment of the character in coordination with the rest of the story. Here are a few, but notice how none of them really apply well to The Mandalorian:

One approach is to reveal different layers to the character throughout the story. Instead of changing they remain the same, but our understanding of them changes. This doesn’t really work with Mando though, because as we talked about, he’s not a complicated or complex character. What you see is very much what you get and there are no hidden layers beneath the surface one.

Another approach is to have the character growth heavy lifting taken on by another main character. It’s why the lone badass archetype is almost always accompanied by a more relatable secondary character. It’s an approach that’s effective because it lets the badass keep his mystique, while also letting the story reap the narrative benefits of having a character grow. The Mandalorian actually kind of does this by giving Mando baby Yoda at the end of the first episode, but the problem is that baby Yoda is just as static a character as Mando, even if he’s a much cuter one.

Yet another approach is to use the static character as a focal point for other more dynamic characters. They can become a mirror and contrast for those secondary characters and their growth. This requires a deep bench of characters though, and the only really recurring characters of note in The Mandalorian are ex rebel dropshock lady and discount Lando, neither of whose actor can portray anything resembling a human being, and both characters who are even shallower than Mando.

A final approach is for the static character to simply have overwhelming charisma or gravitas. Clint Eastwood’s unnamed gunslinger in the Dollars Trilogy is a perfect example of this kind of character; a figure of dread, more force of nature than person. Mando fails at that though, because he’s far too fallible and his badassness swings wildly from one episode to the other: sometimes he’s able to wipe the floor with dozens of battle droids, and other times he meets an ignoble defeat at the hands of Jawa’s, after which he throws a flamethrower temper tantrum at them.

Helmet Woes

Part of the shallowness and lack of gravitas of Mando’s character stems from the decision for him to never take his helmet off. Facial expressions are an undeniably massive part of human interaction and communication, and the primary way that most actors express their characters thoughts and emotions, which in turn is key to getting viewers to identify with and care about that character.

There are ways to make a faceless character work, but it requires skill on both the writing and acting side, skill The Mandalorian clearly doesn’t have. The dialogue often feels try hard, as though the writers feel the need to bludgeon the viewer to make up for Mando’s lack of facial expression, and often veers wildly from sullen to uncomfortably jokey and pedestrian.

There are a fair few movies and tv shows that have been able to make a faceless character work. V For Vendetta, for example, used strategic head tilting and theatrical body language to characterize V. An even more effective example is Boardwalk Empire’s Richard Harrow, who’s actor is able to use the half mask of the character’s face as a tool to make him by turns compelling, sympathetic, and chilling.

Both cases though require an actor who understands how to communicate solely through voice and physicality. And as likable and talented as he is, Pedro Pascal, who plays Mando, is not that actor. His vocal inflection is limited, his body language nearly nonexistent, and you can always tell he’s not entirely comfortable in the armor, that it’s not the second skin it really should be for a Mandalorian.

Just look at Mando’s default stance. Because of the bulkiness of the armors gauntlets, Pedro Pascal often walks or stands with his forearms rotated outward, giving him a strangely ballerina esque stance not at all evocative of a hardened and ruthless bounty hunter.

Even with an actor better suited to the physicality of the role though, the idea of a faceless main character will always be fundamentally mismatched in tone with the show as a whole. Face is personhood, and a faceless character should be an enigma: a lone bounty hunter who’s story is told through action and not words. The movies The Mandalorian should be emulating are of the kind Clint Eastwood’s Dollar trilogy exemplifies: archetypal stories imparted through visuals and largely bereft of dialogue.

You can see a more modern example of this approach to storytelling in 2015’s Fury Road which has minimal dialogue for the first third but still manages to tell its story effectively and compellingly. Or for an even more extreme example of this laconic approach, see Genndy Tartakovsky’s excellent series Primal, whose tale of a man and his dinosaur has no dialogue whatsoever.

But The Mandalorian isn’t willing to commit to that mode of storytelling. And that’s depressingly predictable: it’s a Disney property after all, and that means it needs to appeal to a broad audience, that it’s a cog in the endless intellectual property money machine. In that machine that kind of audience narrowing approach isn’t something they’re interested in.

So instead The Mandalorian as a whole tends to be pedestrian and safe, a show the whole family can watch together. Which would be fine, but that show is fundamentally at odds with the faceless main character The Mandalorian insists on. It’s another example of the show wanting to invoke the atmosphere of the western without willing to put in the effort to make it work.

3. Its Plot is Impersonal and Predictable. 

Another place the show isn’t willing to put in the effort, or maybe simply isn’t talented enough to, is with its plot: both in the broader arc of the season and each episode. Just as with Mando’s shallowness as a character, right from its first episode the problems with the plot of The Mandalorian are glaring. The structure of the episode is innately flawed, disconnected and episodic without a clear through line.

An action sequence unrelated to the main plot at the beginning of a story to prove the main character is a badass is a perfectly serviceable trope, but The Mandolorian burns through ten of its 36 minutes on a hunt that has nothing to do with the main plot of the episode and the only information it imparts to us about Mando as a character is that he's a bounty hunter and a badass. The episode needed to be leaner, bereft of anything that didn’t move the plot forward or give us a reason to care about Mando.

The series is full of little slips and missed opportunities like that. The structure of the last two episodes, where Mando gathers a team to face the forces he’s been running from all season is far more boring than it needed to be. For a show about criminals and low-lifes and bounty hunters in the best tradition of the western, having Mando’s allies be completely trustworthy is a real lost opportunity.

A better structure would’ve had each member of the team have differing motivations and goals so that there’s an underlying tension to the episode. Will Cara go rogue at the chance to take out a high level former Imperial officer? How well reprogrammed is the IG droid? How trustworthy is Discount Lando? These are questions that are hinted at, but the show never makes credible enough to create any real tension. Cara doesn’t care about the Imperial aspect of the forces pretty much at all. And any hint the IG droid is even mildly untrustworthy is defanged by the montage that makes it clear he’s now his own person. Discount Lando decides not to double cross them as soon as it’s revealed he was going to, pricking any tension from that balloon before it has a chance to be inflated.

The episode that’s most illustrative of how weak the plots in The Mandalorian are though is episode 5, in which to pay for repairs to his ship Mando teams up with a younger bounty hunter to go after a high profile criminal.

This is a promising start. Pairing the older and more experience Mando with a cocky young gunslinger is a great way of exploring Mando’s character through contrast, since after all he must have once been something like the younger bounty hunter. How has he grown? How has bounty hunting changed him? How does bounty hunting change everyone who does it? What does it take to be a bounty hunter?

Your guess is as good as mine, because the episode goes on to explore exactly none of those questions. Mando and kid capture the bounty, the kid double crosses Mando, Mando kills him, and then him and baby Yoda jet off to the next planet. That may sound like an overly glib description of the plot, but that’s all there actually is in the episode. The plot of the episode is entirely impersonal. Things happen, but it means nothing from a character or thematic perspective.

Narrative Economy

Every beat in a story shouldn’t just push the plot forward, but also build character and theme. While not westerns, some of the best examples to illustrate this concept come from James Cameron’s early filmography before it started to become self indulgent and… blue. Aliens and Terminator 2 are both masterpieces of sparse and effective storytelling.

Take the yellow power loader from Aliens. Not only does it serve the plot purpose of allowing Rippley to battle the xenomorph queen at the end of the movie, but earlier in the movie it also serves as a character beat:

“I feel like kind of a fifth wheel around here, is there anything I can do?”

“I don’t know. Is there anything you can do?”

“Well I can drive that loader.”

This beat tells us something about Rippley; she doesn’t like feeling useless, and it’s also the first step in her arc of proving herself to the marines.

The Mandalorian is nowhere near as tight in its storytelling or plotting. The incident with the sand people halfway through episode 5 is bizarrely representative of so much about The Mandalorian.

This incident serves no plot purpose, the sand people don’t ever come back, and it tells us nothing about Mando. It’s a pointless aside that’s only there to provide fan service.

A better version of episode 5 would’ve seen some kind of bond be formed between Mando and the kid so that the kid’s betrayal and Mando having to kill him would’ve had some weight and meant something. Considering how extensively and blatantly the show cribs from westerns it’s bizarre they didn’t go this direction. The pairing of the old veteran gunslinger and the young brash one is a really common one in the genre, and best exemplified by the previously mentioned relationship in Unforgiven.

As we talked about, in Unforgiven the pairing of Clint Eastwood’s retired gunslinger and a fresh young bounty hunter is used to show the difference in the appeal of bounty hunting vs the ugly reality.

And the movie weaves that theme through its plot. For example, when Clint Eastwood and the young bounty hunter eventually catch up to the criminals they’re hunting the ensuing gunfight is anything but heroic. Morgan Freeman’s character shoots one of their targets through the gut, and both sides are left listening to him call out and beg for water as he slowly dies.

The experience so perturbs Morgan Freeman’s character that he abandons the chase. The shoot out thus both moves the plot forward, and reinforces its theme that killing is hard and unglamorous and takes a toll on those that do it.

4. The Post War Story the Mandalorian Could’ve Told

What’s frustrating about The Mandalorian is that there’s a far more interesting story to be told than the one we got onscreen, a way to recontextualize Star Wars iconography in a way that’s visceral and immediate and thought provoking and more in common with the westerns it wants to evoke. Werner Herzog’s speech in episode 7 really makes it clear what a missed opportunity the series is as a whole, and hints at what could’ve been:

“The empire improves every system it touches judged by any metric. Safety, prosperity, trade opportunity, peace. Compare imperial rule to what is happening now. Look outside. Is the world more peaceful since the revolution? I see nothing but death and chaos.”

Placing The Mandalorian in the post Return of the Jedi timeline opens a lot of fascinating story possibilities and perfectly sets the stage for it’s western setting of a lawless frontier where there’s no strong central authority. While the fall of the empire in Return of the Jedi is without a doubt a good thing for the universe on the whole, all revolutions are messy and any time a regime falls, good or bad, it creates a power vacuum.

A power vacuum that should be filled with crime syndicates armed with abandoned imperial equipment, planetary governments who are newly independent now they’re out from under imperial yoke and are looking to flex their muscle against their neighbors, new republic expeditionary forces looking to woo those same planetary governments into the new republic itself, and most importantly Imperial remnants. It’s simply a universal truth that large groups of heavily armed soldiers don’t simply pack up their things and go home when they’re newly disenfranchised.

And not just one Imperial remnant or two, but dozens, each with their own motivations. Much in the same way real world terrorists and revolutionary groups often hate each other as much as their designated enemy, all these imperial splinter groups should be infighting and scrabbling amongst themselves for resources and power.

Imagine how much story juice there is to be squeezed in exploring those splinter groups: one could’ve been led by a petty warlord who’s little more than a heavily armed bully interested in money and power, another a strict believer in the Imperial doctrine of stability before human rights and actively fighting against the New Republic, another still a decent person who now out from the militaristic drive of the empire is just trying to keep the planets under their protection safe from crime syndicates and upheaval.

And a bounty hunter is the perfect character to explore this story. With crime syndicates at such a high tide there’s plenty of bounty hunting to be had, and a fledgling new republic would no doubt be putting out hundreds of bounties on imperial war criminals and fleeing high level officers. And a Mandalorian specifically works perfectly: someone who’s largely impartial and uninterested in the greater politics of the galaxy, of the struggle between New Republic and Imperial remnants.

There Except Not

The Mandalorian vaguely gestures at some of these ideas, but it’s always in an undercooked way: the messiness of revolution exists only within a single line from Cara about leaving the New Republic and in Werner Herzog’s speech in episode 7. The concept of newly empowered crime syndicates is sort of there in episode 4 with the raiders preying on the local village with an AT-ST. But the raiders are a tiny outfit that apparently messes with a single isolated village and there’s no indication that the galaxy or even this part of space is suffering from them as a whole (or even that they’re a consequence of the post war status quo. For all we know it’s always been like this).

Infighting between Imperial splinter groups exists for all of the thirty seconds it takes Werner Herzog to die at the end of episode 7 so that the series can get a new big bad. It’s never explained and exits as swiftly as it’s introduced.

And all of this, all of the above, all the missed opportunity in The Mandalorian, hurt its story as a whole. Even just the concept of different Imperial splinter groups with differing motives could’ve been fodder for an episode or two of Mando using his cunning to pit them against each or double cross both, perfect for plot twists and reversals. Or for another example, take Cara’s reason for leaving the New Republic:

“And then when the imps were gone the politics started. We were peacekeepers. Protecting delegates, suppressing riots. Not what I signed up for.”

“How’d you end up here?”

“Let’s just call it an early retirement.”

This is a really interesting idea: the conflict and challenge in transitioning from fighting a pure evil like the empire to the much harder and less straightforward job of governance is a great arc Cara’s character could’ve explored and grown through throughout the series. But this snippet of dialogue is all there is of it in The Mandalorian, and she has essentially no other character growth or development.

There’s a really fascinating post war story to be told in The Mandalorian, in the power vacuum in an empire’s fall and the complexity of transitioning from rebellion to governance, a story that fit it’s western atmosphere and ambitions so much better than what’s there right now: but the show is completely uninterested in telling any of it.

Weaving those elements into its plot and characters and messages would have helped fill some of the emptiness at the core of the show. And that’s really one of the best ways to describe The Mandalorian. Yes, it’s pedestrian and badly paced, but more than anything it’s empty, a space western without anything to say.