#The Great Fayz Reaction | Explore Tumblr Posts and Blogs

paalove · 2 years

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A Not me/Gone serie au !?

Talented, brilliant, incredible, amazing, show stopping, spectacular, never the same to all unique

ok idk if this was a prompt or just a reaction to me posting about it but i CHOSE to take it as a prompt haha

if you know the gone series, i've upped the age for the poof from 15 to 18 (so gumpa could still be Big Brother obvs) and if you don't, this... may not be comprehensible... or maybe it will! idk! have fun xx

They’re months into the apocalypse and the half of the garage that isn’t full of babies is still filled with noise.

Eugene, after a struggle, successfully throws Yok over her shoulder and slams him onto his back, and as she’s crowing about it, giggling and jeering, he groans. He groans for significantly longer than he needs to.

Teenagers.

Okay, Gumpa’s one too, but in the FAYZ seventeen-going-on-eighteen feels a hell of a lot older than these fourteen- and fifteen-year-old infants. Not just because he might be on his way to a mysterious disappearance the way all their parents and teachers went, but because he’s responsible for, again, these infants.

The literal ones too, but they’re upstairs.

“Good, Eugene,” he says, going over to offer Yok a hand up. “Try being a better sport about it, though?”

Yok giggles, “We’re good. She knows I’d beat her if you let me use my speed, hia.”

“And if I could use my fire-“

He has to intervene before they get into round seven hundred of ‘whose superpower is the coolest’ – it never goes anywhere but the kids get so heated about it. It’s not relevant whose is coolest, or most theoretically useful, regardless.

So he makes sure to stay between them as he says, “You know you can’t join powered sparring until you stop accidentally injuring yourselves every time you use your powers.”

As they’re both gearing up to protest that, an interruption bursts through the door.

The heavy door, the one that they’ve deliberately weighed down and barricaded off, and it opens silently – even if he couldn’t see the school uniform or the glasses, he’d know who was arriving.

White uses his powers to carefully lower the door back down, so silently that his quiet crying can be heard over the sound of it.

In an undertone, Gumpa tells Yok, “Black’s scouting the old apartment building,” but Yok just looks bewildered at him.

“Hia,” cries White as he reaches them, “Todd- He gave-“

After which point he’s unintelligible.

Grabbing him into a loose hug Gumpa hisses at Yok, “Get Black.”

Comprehension dawns on Yok’s face and there’s a blur before Gumpa’s eyes as he uses his speed to depart. Only one shelf by the smaller door they actually use ends up teetering precariously, and he’s distracted from rubbing White’s back by watching as it slowly topples, dumping sheet metal.

Yok needs to get better at that.

Loud crying goes up from upstairs, and Gumpa winces – it’s Sean’s shift up there and he’s great at entertaining the kids, but stopping them from crying isn’t exactly in his skillset.

He directs his attention to the crying teenager.

“What did Todd do?”

There could be any number of answers to that question, he knows. Todd’s the one they call ‘The King’ at the boarding school he and White had been attending when the dome formed; for all he’s not among the oldest, his social cachet has let him seize control of the school, and so of about half the population of the dome that seals them off.

His social cachet, his penchant for cruelty, and his and White’s powers have done that.

They’re in the process of convincing White to leave and to not let his well-controlled and powerful telekinesis be used to prop up Todd’s rule, but White trusts Todd, listens to what he says… and it’s not like Todd’s tentacle isn’t a formidable mutation in it’s own right.

Eventually, White’s crying recedes for long enough to say, “He let me see the photos.”

With that, he pulls himself out of Gumpa’s arms and looks even less comforted than when the hug had started – that makes sense. Exchanging a glance with Eugene, he sees in her face that she knows which photos White means, and who that news is most significant to.

“Of when Chompoo… poofed?” he checks.

Knowledge is trickling down the back of his neck like sweat – White wouldn’t be this upset if they showed anything good. Gumpa’s eighteenth birthday is in three weeks.

He allows himself one moment to feel the terror and returns his gaze fully to White.

White, who tearfully shakes his head and says, “When she was taken.”

But he won’t clarify.

“Eugene,” Gumpa starts, wincing at the knowledge he’ll have to make it up to her, “Can you relieve Sean from the nursery? His shift should be ending.”

That’s a lie, and the outrage on Eugene’s face says she knows it as well as he does. She’s a nice girl, if inclined to throwing her mutation-fireballs towards people who annoy her, so she takes a look at White and clearly understands the necessity.

Black won’t be here for a while; he’d never agree to let Yok carry him, not since what happened with the bird.

He pleads with Eugene silently, using his eyes, as White tries to get the shaking under control, and she rolls her own eyes and heads up the ladder.

Taking all the babies up there in the first place was very time consuming, but with all the hostilities between the school kids and the townies, and the powered and those without, there needs to be somewhere under the dome that’s safe and insulated from the fighting. Outsiders don’t know the layout of the garage; that should keep them safe.

When Sean descends, in a shirt stained with orange baby-food, he hops off the ladder and runs to grab White in his arms.

“What happened, White,” he’s all-but-cooing, stroking his hair, and for all Sean’s not doing anything different from Gumpa the effect couldn’t be more different, as White visibly calms down and stops shaking.

It’s not so long before White’s able to say into Sean’s collar, “There was a monster in the pictures. It was going to eat her – I’m pretty sure it did. And that means the adults, all of them-“

The only reason Gumpa doesn’t fall over is that a freshly-returned Yok catches his shoulder.

Wide eyes tell him Yok heard too.

#not me #not me the series #robfic #seanwhite #yes that says todd's tentacle.

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pepsinutellaandlaptops · 2 years

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Surprised to see that the most positive reaction to my little project so far has been Albert. Going in to this I thought that people would be most excited to see Dekka or Brianna, or Drake. Those characters always seemed to be the obvious fan favourites, or the ones with interesting designs, but people seem to have the most to say about Albert, and honestly? I see why. He’s such an interesting character, and despite not having any powers, he has such an important role in the FAYZ, and it’s not immediately good or bad. He’s a character with truly good intentions, but he isn’t entirely a hero, but has still saved so many lives; powers or no powers.

SPOILERS: The scene in Light where Albert nearly breaks down crying over the graves in the plaza, and tells the adults just how fucked up the situation was, is one of my favourite parts of the series, and I think it’s because it came from Albert. He had no obligation to, but he kept people alive. Even after he was attacked and very nearly killed, he still came back to keep the kids alive. And yet he still has guilt, guilt that kids still starved, and went thirsty, and killed each other over boxes of thin mints.

MG should have definitely done more chapters with Albert. He was a great character, whether you agree with his approach to capitalising the FAYZ or not

#the gone series #gone books #gone micheal grant #residents of the fayz #the fayz #jamm ramblings #albert hillsborough #that scene where he advertised his nonexistent company to all the parents at the barrier was iconic #I laughed so hard

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goneseriesanalysis · 4 years

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Subversion of Tropes

Spoiler warning for Fear, Lies and Plague down below

TW: mentions of s@xual @ssault and r@pe

In my recent post, Misogyny in Gone, I pointed out numerous instances in the series where misogynistic tropes are present, and how that affects the narrative of the story. The women often seem to be underdeveloped, sexualised and demonised for choices and characteristics that their male counterparts make and have with no consequence. Of course this is not true for every female character, and it is certainly not present all the time, but it still has a huge impact on the story. There is one scene in particular though, that seems to subvert these tropes and I wanted to talk about it as I think it is both a really important aspect of the story and introduces us to a fascinating power dynamic, that I really wish mg had developed further.

The interplay between sex and violence is a theme that is heavily prevalent in Plague and is present in both Lies and Fear. It shows up in many different forms throughout the series and presents itself in multiple ways such as: Caine and Diana’s relationship, Astrid and Orc’s Scene in Plague and Drake with pretty much every attractive woman he comes across. This is a theme that mg writes particularly well – Astrid and Orc’s scene in Plague (with a small cameo from Drake) is one of the best written examples of this trope I have ever read. However, for me personally, this scene is marginally outdone by another example of this trope that occurs in Fear – that being Caine’s cementing.

Not only does this scene have the cathartic tint of revenge to it, but it also subverts this trope in that it is the woman who is the perpetrator and the man (boy) who is the victim. When I first read Fear, nothing about this scene seemed even remotely sexual to me (because I was a child and unless it was outright stated I was never going to pick up on it.) But, when I re-read the scene a few days ago in preparation for my misogyny in gone post, I noticed how reminiscent Penny’s takedown of Caine is to the way women typically experience sexual violence (both in media and real life.)

So the scene starts out with Caine turning up to Penny’s house to discuss the situation with Cigar. Great. Fast forward a bit and we get to Penny outright telling Caine that she has a crush on him….and him outright rejecting her. Instead of accepting this, she pushes, telling him that she could be anyone in his imagination. He rejects her again. And she does not take that well. While she doesn’t show it on the outside, we as a reader get to see her internal monologue, where she has an extremely inappropriate reaction to his rejection. It is clear from this that she feels entitled to his affection, despite him never giving any indication that her feelings were reciprocated. Penny seems to believe that Caine has falsely led her on, but we as a reader know that he has rejected any and all advances that she has made and has not ever, in canon, used her crush to manipulate her. (Before I continue I want to make it clear that I am by no means saying that Caine is innocent. Penny has every right to be angry with him for a multitude of other reasons. But her reasoning here is misguided.) So the first question that this brings to mind is: Would Penny have continued with the cementing if Caine had welcomed her advances?? I think mg left this purposely ambiguous. But I like (and I use this word very loosely) the idea that she wouldn’t have. The trope of a woman having to cater to the desires of a man in order to avoid violence is one that is common in all types of media, and is one that we see throughout Gone as well. The best examples being Astrid with Sam and, of course, Diana with Caine. Both of these women are forced to conform to what Sam and Caine want them to be in order to be safe in the FAYZ, and so mg flipping the switch on this and having Caine’s inability to capitulate Penny’s desires being the final straw to his downfall (even if he was unaware of this fact) is an amazing touch.

This theme is then continued in the way that Penny takes Caine down…by drugging him and incapacitating him. Now, these are occurrences that are usually associated with date r@pe, which is something that is mostly experienced by women. Of course, this is not what actually happened in the book, but the association is there for a reason, I’m sure. Given Penny’s attraction to Caine, her take-down of him is inherently sexual in both its execution and come about. Her extreme reaction to his refusal is probably a result of her less-than-ideal childhood. We are told than Penny’s father used to take inappropriate pictures of her older, but still under-aged sister. When her sister became of age, Penny assumed that her father would move on to her, but instead he skipped her and began taking photos of her younger sister. Mg doesn’t really go into much detail on how this must have affected Penny’s psyche – only that she was so jealous that she took her father’s laptop into the school and showed the other students, resulting in his arrest. It is heavily implied that Penny’s parents were not affectionate – they neglected their children (at least emotionally) and so Penny sought out attention and affection, as any child would. Seeing how much time her father spent with her older sister, and seeing why – it isn’t hard to believe that Penny would equate sexualisation to affection, and even love. (lemme just have a cry real quick.) This makes sense when you take into account her reaction to Caine’s refusal (which was actually pretty mild) and even when you look at earlier events – such as him helping to bathe her. I can’t speak for everyone, but if someone broke MY legs and then came in to help bathe me, I would not be happy, and yet Penny seems to almost enjoy it. We then learn that Penny and her sisters were sent to live with their aunt after their mother became too depressed to care for them. And, once again, Penny found that her sisters were getting all the attention. So she reacted with violence – by putting bleach in her older sister’s cereal. She later found out that her father had committed suicide in prison, after being beaten by other inmates. And so Penny’s formative years have been tinted with sex and violence – two things that no child should be exposed to (although that’s kind of the whole premise of the series.) When you look at her past it becomes clear that her take-down of Caine was an attempt to gain control over one of the many people who have denied her affection in favour of giving it to someone else. As she associates sex with affection, and responds to a lack of affection with violence, it makes sense that she would attack him in a way that is associated with sexual violence.

My final point is in relation to the actions that she takes while Caine is unconscious. She does three things that really give us an insight into her mentality regarding the cementing:

- She cements him

- She makes a tin foil crown for him

- She cuts off his shirt

These actions again are reminiscent, at least subtextually, of the act of r@pe - a sexual crime done with the intent to both incapacitate and embarrass the victim – in essence, a power-play. And this is exactly what Penny does. She begins by entrapping him in the cement, taking his power from him. We know that Penny was not scared of Caine’s power, this was not an act of paranoia as the cementing of the Coates kids was. But rather, she knew how much his power meant to him, how much he relied on it – and she wanted to make him feel just as powerless as he had made her feel. This is further reinforced by her making the tin foil crown. Of course, she partly did this to cause him more pain (she literally stapled it to his head), but the main reason was to embarrass him. To turn his own narcissism against him. And then, to top it all off, she cuts of his shirt – which is just straight up sexual assault. This is the moment in the scene where the interplay between sex and violence really comes out. As she sees it, sexualisation is a form of affection. But as her whole life she has been denied any form of affection she has twisted this in her mind to where she sees violence as a viable outlet of emotions – or rather a replacement for affection. I think Caine’s cementing showed the breaking point for Penny – there are so many things she wants to communicate (her anger at Caine for all the horrible things he has done to her, her affection towards him, her desire for power and respect) and she just doesn’t have the emotional intelligence to do it, due to years of witnessing sexual assault and experiencing neglect. So instead everything gets distilled down into this twisted act of violence where she both expresses all of these things and gets none of them.

I really love this scene as I think it is a great example of mg’s writing ability. I know her attack of Caine was not only due unrequited affections, but I think this side of it is really excellently written, and makes me wish that we has seen more of Penny. I think it would have been a very interesting plot twist and a great use of character if Penny had managed to discard of Drake in Fear and take over his role in the story. Anyway this was only meant to be a short post and I really rambled on (as if anyone is surprised by now). Thank you for reading and please feel free to comment on/ criticise this!! :)

#the gone series #penny

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my025lifecrisis · 3 years

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Update: Explaining the plot of HUNGER by Michael Grant (w/ my friend Chelsea, who hated it lol)

Hello FAYZ Fandom!

Hi I’m Jay! Eight years ago, when I was a teen, the GONE series by Michael Grant was my absolute favorite YA series.

I’m 25 now, and revisiting the books, along with my friend Chelsea, who, as you can tell from the title, was not a fan. BUT her curiosity to know what happens in this buck-wild series is carrying her through.

So, for the next few months, I will be recapping the entire series to her and recording her reactions. As of writing, we finished HUNGER yesterday, and I thought it would be fun to share some highlights from those conversations.

1. The two of us are major Albert stans, and we would honestly support a coup if he wanted to organize one.

2. There’s a scene where Diana is describing her appearance, noting her “sculpted” (*insert WTF face*) eyebrows. This led to one of many great conversations we’ve had about how Michael Grant treats his female characters.

3. In the scene where Caine THROWS A RADIOACTIVE FUEL ROD through the roof a nuclear reactor chamber, we imagined the Darkness sensing this like “Nononono! Be gentle w/ that!”

4. This exchange we had during one recap session, which gets me everytime.

Chelsea: Wait, Brittney died?

Me: Yeah

Chelsea: But you just said she becomes a major character.

Me: Oh. Spoiler alert, she comes back from the dead.

Chelsea: asdfjkl;asdf

5. As far as Chelsea knows, Drake is dead. And I’m very much looking forward to her reaction when I reveal his resurrection story lol

-----

If you liked this recap, then woohoo! I would love to do more text posts like this! I plan on sharing our buddy-reading experience on Youtube, but those videos take a looong time to edit. The text posts would allow me to share Chelsea’s thoughts/reactions more quickly and easily for the few ppl who would be interested.

#young adult books #young adult scifi #gone #gone michael grant #FAYZ #fayzian #michael grant #sam temple #Drake Merwin #Caine Soren #edilio escobar

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gone-series-orchid · 5 years

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not sure if you're still taking gone asks, but I was wondering if you found any aspects of the series unrealistic. Obviously, powers and stuff aren't real, but im wondering more about like, character motivations and reactions to situations.

are you kidding? i’m always taking gone asks! thanks so much for sending this, it’s a great question!

in terms of gone’s character realism, i think mg overall does a pretty good job. a few asks ago i talked about how i thought caine’s character arc felt pretty shoddily written, mainly because i think mg had a solid idea of caine as a villain in the early books that sort of dovetailed into putting him firmly into the “anti-hero/tragic villain” trope in the light, despite him doing numerous terrible things and not showing any remorse for them (because, as the early books indicate, he’s heavily implied to be sociopathic--or at least severely manipulative, and lacking in compassion and empathy) by the time he dies. i blame mg’s sentimentality on ending the series he’d been working on for 7 years--there’s always a temptation to treat your characters more charitably (and give fanservice!) when the end’s in sight and this’ll essentially be their last hurrah. but that’s just what i’d hypothesize; i don’t have any insight into mg’s writing process or anything. anyway, caine’s sacrifice and love note to diana fell flat for me personally. i don’t think mg’s writing of caine as a character has mustered up the goodwill and sympathy in the audience that that kind of heel-face turn demands.

diana is a weird character for me. on one hand, i really like it when she gets her her own pov chapters and we get to see what’s going on in her head. i like that she fully knows caine’s a monster and struggles with her feelings for him as a concept. the only problem for me is the messy way she gets there. in the early books, from what i can remember, diana is fully cognizant of how sadistic and abnormal caine and drake are. she’s a smart girl who is essentially using caine for safety and security, as well as using caine’s attraction to her in order to bolster her low self-esteem due to her adolescence being spent in the presence of creepy adult men who sexualize her for her growing body). that looks good on paper, but diana seems to fall full tilt into loving caine anyway in the later books, which i find a confusing leap. i understand that the trauma of the fayz and all the general baggage she carries around is indubitably a contributing factor, but...i dunno, something about the execution feels weak to me. i don’t think we get enough of a proper bridge between “diana thinks caine is sick and manipulates him” to “diana thinks caine is sick and loves him.”

i think mg essentially wanted a tragic dark parallel to astrid and sam’s healthier and (at least somewhat) mutually respectful relationship, and decided to bypass the process of developing diana to the point where she’d want that with caine in favor of attributing her infatuation to trauma and stockholm syndrome, which can’t help but feel like an unfortunate regression from diana’s character as she is first introduced. to be clear, i’m not trying to say that characters who become stuck in abusive relationships are inherently less interesting or are morally weaker than characters who don’t! it’s just that, to me, that didn’t seem like the natural trajectory for diana’s character in the first book. it felt more like mg had to backtrack her initial savviness regarding caine’s true nature in order to create more interpersonal drama for the coates gang, and that’s disappointing that mg felt he had to do that to such an initially interesting, morally ambiguous female character. i can’t see him doing that to a male character in order to develop a semi-plausible (abusive) love story, is what i’m saying.

i think diana’s character gets a lot more interesting when she’s separated from caine and (ugh) pregnant, though that also has a lot of baggage--diana only gets to significantly develop when she’s carrying caine’s baby, which just feels...gross to me. this is a purely “me” reaction, and probably stems from me being significantly older now than i was when i first read the books back when i was 13, but i can’t help but think that there were better ways for the gaiaphage to get a human form than for two fifteen-year-olds in a dysfunctional, abusive relationship to have multiple instances of unprotected sex. i don’t think mg is particularly gratuitous or scummy about it or anything, but i feel it’s a bit unfortunate. not to mention that the fact that diana feels she has to change for the sake of her child is a pretty unfortunate thing--it means that, ultimately, her feelings about herself have not changed, they’ve just gotten worse.

she doesn’t feel she has to change for herself, she feels she has to change for her idealized, hypothetical child still growing in her stomach.

at the age of fifteen.

idk, it seems to imply a loss of selfhood that’s characteristic of pregnant female characters--they lack the agency they once had because oh, the baby. and that just becomes even more tragic when the female character doing that sort of “i have to change for my child” thing is a child herself who hasn’t the life experience to fully know or understand her own self yet. and i don’t think mg understands the full tragedy of that.

diana doesn’t fully inhabit that trope, of course. i really love that she survives the fayz and seems to fully recognize--and more importantly, accept--that, whether he “loved” her or not, caine was bad news. i like that diana’s baby becomes corrupted by the gaiaphage, because--while i don’t like that it adds more trauma to diana’s bucket--i’m glad that the idea of her pinning her hopes for redemption on an infant who’s unlikely to survive the harsh environment of the fayz anyway are dashed. it sounds cruel, but it’s true.

whew! i’m sorry, i feel i’ve ranted long enough. i might have some more thoughts in the future, but i don’t want to overload you with Stuff. feel free to send more asks! and thank you again! :)

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butlerxbutler · 6 months

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一斗さん写真殆ど撮ってなくてすまん

#原神 #genshinimpact #荒瀧一斗 #Arataki Itto #雄弁なフェーイズ作用 #The Great Fayz Reaction #@butlerxbutler

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genshinimpactresources · 6 months

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Genshin Impact | "The Great Fayz Reaction Debate" Event: Thrilling Time Stopping Challenges Event Notice

#genshin impact #event notices #event artworks

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plusplayerpage · 7 years

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Would You Survive?

Sam Temple is an ordinary high school kid living in remote Perdido Beach, California, when his life is suddenly turned upside-down. In the blink of an eye, all of the adults--fifteen and up--vanish. As the youth within Perdido Beach, and the surrounding area, nicknamed the FAYZ, realize it’s free from any outside authority, all hell breaks loose, and the lives of everyone inside turn into a fight for survival. When kids begin developing superhuman abilities, things become even more dangerous, as they battle hunger, disease, an evil creature which has taken up residence in the FAYZ, each other, and themselves.

Gone was one of the fastest reads for me in years. With a Science Fiction-Fantasy Apocalypse vibe to it, it had me hooked through the entire six-part series. One of the most intriguing parts to it, is the constant shift in perspective. Though it’s mainly centered around Sam, there are at least fifteen other secondary characters the book repeatedly switches between, and it captures all of their perspectives amazingly well. Though the superpowers and magical aspects of the book are not meant to be realistic, the characters’ reactions are. All of the point-of-views, whether they’re evil or good, is examined throughout the course of the series. Michael Grant explores the different responses to a lawless reality--bonding together in the face of danger, as well as the every man for himself mentality. Despite many of the choices they make, all of the characters in Gone are understandable from their own perspective, and very well-developed in their thinking processes. I loved this book, because it gave me a new way to think about the basic human survival response, and the way it interacts with a high level of cognitive thought. The Gone series is a great Lord of the Flies type survival novel, and will make you consider the human mind in new ways.

-Samara, (Dusen)Berry Blogger and member of the River Teen Advisory Board

Check out all the books in the series: 1. Gone 2. Hunger 3. Lies 4. Plague 5. Fear 6. Light

Dusenberry-River Library

5605 E. River Rd., Ste. 105

(520) 594-5345

Would You Survive? published first on http://ift.tt/2iaLlRL

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