#does this count as foreshadowing. like it's not the type that helps you figure things out but it's still a cool detail to hint at his goals | Explore Tumblr Posts and Blogs

ashleysalcove · 4 months

Text

Title: The Outsiders

Author: S.E. Hinton

Publication: April 24, 1967

Synopsis:

No one ever said life was easy. But Ponyboy is pretty sure that he's got things figured out. He knows that he can count on his brothers, Darry and Sodapop. And he knows that he can count on his friends—true friends who would do anything for him, like Johnny and Two-Bit. But not on much else besides trouble with the Socs, a vicious gang of rich kids whose idea of a good time is beating up on “greasers” like Ponyboy. At least he knows what to expect—until the night someone takes things too far.

First Line:

When I stepped out into the bright sunlight from the darkness of the movie house, I had only two things on my mind: Paul Newman and a ride home.

Favorite Character: Dallas Winston

OTP: Dallas and Cherry ☺️💕✨💖

Favorite Quote: “I could fall in love with Dallas Winston,” she said. “I hope I never see him again, or I will.”

Rating: ★★★★★

My Thoughts:

*SPOILERS*

Life is funny isn’t it? Funny in the way the things we like sometimes change as we age and mature. I think Taylor Swift is the only musician from my early teens that I still love, probably even more now than I did back then, at twenty-eight. I can’t tell you a single book I’d read back then that I would still enjoy today that isn’t for nostalgic reasons.

The Outsiders by S.E. Hinton is a book that I was supposed to read at fifteen years old for my advanced English class, but at the time I had so much going on at home that I wasn’t interested in anything and by my last class, which was Science, I was fighting to keep my eyes open. Years later I bought it again to read on my old iPad, but I only got through 1 and a half chapters. I wasn’t paying attention to what I read and I guess I just wasn’t interested in those types of stories at that time. I loved the Twilight Saga and Fallen and etc.

Today, at twenty-eight, I was able to read and finish it thanks to my kindle. I think that’s one of the drawbacks of being a ‘mood reader’ and one of many reasons I love my kindle. Being able to read the books I’m in the mood for the second I’m in the mood for them has helped me become a more voracious reader. Before, I’d always be in the mood to read something else by the time the book I ordered arrived.

I am of the belief that everything happens the way it’s supposed to. Everything happens for a reason. I don’t think that the meaning and the themes of The Outsiders would have resonated with me at fourteen or even twenty-two for that matter the way they have today. There’s something about being in your late twenties and reading a book like The Outsiders and thinking back on your childhood and the people you’ve interacted with or grown up around that makes this book more meaningful. Of course, those who read it back in high school and reread it today as adults might have differing opinions.

S.E. Hinton’s writing is so simple and beautiful and lyrical even which is surprising since she wrote The Outsiders in High School. That is amazing and quite an impressive accomplishment for a teenager to have especially since it’s considered an important piece of literature today. How many 16 or 17 year olds can say that they wrote a book that would be read over and over for years and in some cases even banned for, in my opinion, showing the hard truth of realities? Probably not many.

I love the characters so much. I love Dallas Winston. I can fix him (no really I can). I think Johnny Cade had a better understanding of the insides of people than Ponyboy does. Maybe it’s because Johnny had a more difficult home life than Ponyboy or maybe it’s because Johnny has seen a lot more than he has. I don’t know, but what I do know is that Johnny Cade deserved better than the ending he gets.

I love the foreshadowing S.E. Hinton does throughout the book. I think it’s very impressive she was able to do so on her first book and at such a young age too. I feel like there were times she could’ve gone into a little more detail like the fatal fight between Ponyboy and Johnny and the socs in the park. I feel like there could’ve been more emotion than there already was.

I think S.E. Hinton is incredibly skilled at dialogue. The dialogue and relationships between the characters just flow so beautifully throughout the book. My favorite scene is when Two-Bit, Johnny, and Ponyboy are walking Cherry and Marcia to Two-Bit’s so he could give them a ride home. I love the dialogue between Cherry and Johnny and I love how real it felt and how you could feel the pain Ponyboy feels when he shouts that it’s not fair that the greasers have all the rough breaks and how you could feel the figurative slap Johnny feels when Pony tells him that Johnny’s parents don’t care about him.

I love Ponyboy’s thinking that Darry hates him and I have to wonder if I would have thought that too had I read it when I was younger and if I had thought that how would I see things if I reread it as an adult? I guess I’ll never know. When Darry slaps Pony, as a reader, you can feel the hurt on both ends. As an adult I knew that Darry behaved the way he did and treated Pony the way he does partly because Darry loves him and is afraid to lose him but also because Darry wants Pony to be able to have the opportunities he had but was unable to explore.

I love the scene after everything goes down and the boys look for Dallas and find him at the one guy’s place, I forget his name, and the way Dallas came out to talk to them even though he was tired and sore from having his ribs cracked. I loved the way Dallas smiled when he realized Pony thought he had been with a girl. That way he smiled, I could see him so so clearly, and I think that’s when I started to love him. I love how Dally helped them out and the way he keeps his mouth shut and takes the blame for something Two-Bit did when he could have easily ratted him out. The hair on his chest. The way Dallas opens up to Johnny after Johnny says he and Pony are going to turn themselves in. The way he talks about Cherry and how she hates him and when I read that all I could think to myself was: if only you knew!

God, I fucking love Dallas Winston.

In the beginning of the book Pony only sees people on a surface level. He doesn’t see past their roughness and thinks of them in almost the way socs do. Pony grows up so much throughout the book. I love his relationship with his brothers and how soft all of the guys in their little gang are for each other. You can feel the love between all of them.

To Dallas those guys are the only family he has. They mean the world to him and it shows. I mean, how many people would you go to the door to see with freshly cracked ribs? How many people would you help run from the police to protect them from the hardness that jail can bring you?

Johnny didn’t deserve to die the way he does. Johnny Cade didn’t deserve to die at all. The final moment with Dallas and Johnny in the hospital is heartbreaking. The way Dally hoped that telling Johnny that the greasers beat the socs would make everything better. He thought for sure that if anything could have saved Johnny it would’ve been learning that. Reading it reminded me of Jennette McCurdy talking about how she naively thought that telling her mother she finally reached their goal weight would bring her back. And when telling Johnny that doesn’t work, Dallas tries again and harder this time because now it’s urgent. It was urgent before but now it really is because the thing Dallas thought for sure would save him wasn’t saving him. He tells Johnny that he’s still being called a hero and that he and the boys are proud of him.

Dallas has the biggest heart out of all of them and I think that’s why he prefers to be so hardened or to make people think he was. It was his way of protecting himself from more heartbreak but he’d let his guard down when it came to that lost little puppy that was Johnny Cade who idolized him and admired him so much. He didn’t even see it coming. I think the line that sums up Dally is one he speaks himself: “… you get tough like me and you don’t get hurt. You look out for yourself and nothin’ can touch you.”

I want to say that Dallas didn’t deserve to die the way he does, because he didn’t, but it’s hard because it was his choice. He wanted to die. He lost the one person he let himself love and I have to believe that it was also guilt that led him to dying the way he did. Guilt for being the one who told the boys about the church and how to get there.

God, I fucking love Dallas Winston.

#the outsiders #bookblr #alcove reviews #dallas winston #cherry valance #spoilers #s.e. hinton #classics #literature #ponyboy curtis #sodapop curtis #darry curtis #johnnycakes #two bit mathews #steve randle #this was more of me loving dally than anything else #Oops

2 notes · View notes

qlala · 2 years

Note

Hi, Q! As a big fan of your writing, I'm really curious about your nanowrimo process. Like in terms of what keeps you motivated/validated? Did you set some goal for yourself beforehand that you're trying to achieve (aside from the daily word count)?

I've tried it twice, the first time I was actually posting every day what I wrote the previous night. It wasn't my greatest work by any stretch of the imagination, but at least the process itself was fun, validating and interactive. I've enjoyed it a whole lot. And then the next year I decided that I would spend some actual time and thought on finessing what I wrote, instead of half-assedly editing it during my lunch break, and then I would post the whole thing after the fact. Well, guess what, this fic has never been finished, its 40000 words skeleton is buried in my drafts forever. I cannot even look at it, it makes me physically ill.

I really wanted to try again this year but there seems to be a mental block in my head I cannot break through. What keeps you going? Do you have a self-validation tip for this process that you could share?

first, let me let you in on a secret:

I have been trying to write this fic. for five years. and three NaNoWriMos jsldkjslkj

So I am not necessarily THE best person to give advice about staying motivated with writing projects. But I can say a few things that have been making this year work really, really well for me as opposed to previous years! And this answer got pretty long, but if even one part of it helps, I’ll consider it a success!

So the short answer: 1) making a detailed outline, 2) not editing in November, and 3) a healthy dose of external motivation. The longer answer:

Detailed Outline

If I’ve already lost you, please come back. I promise I hate outlines. I didn’t have an outline for this fic for five years. The outline was a hail mary throw, at least half motivated by panic that the show was going to end and no one would care about the fic by the time I posted it, and I did not expect it to work. But it changed absolutely everything about the writing process for me.

I didn’t realize until after I made myself stop typing scenes and start just figuring out the major beats in a notebook that up until then, what I’d been calling “writing” had actually been two things at once: writing, and planning.

By figuring out the major plot beats, then making a scene-by-scene outline, I got to do all the planning ahead of time. I know which plot points I need to foreshadow and when; I know what’s going to coax the characters two steps forward, and what’s going to send them one step back; I know exactly what the antagonist’s next move is and when they’re going to make it.

I thought I would miss that, and that I’d have no motivation to write once I knew everything that happened, but it turned out to be the opposite. Because by doing the planning ahead of time, I don’t have to multitask anymore, and I have so much more mental space to create. It’s like having all your paints mixed and your canvas primed before you even pick up a brush. You can just focus on the art.

I love being able to pick any scene off my list, in any order, and just let myself have fun writing it. The extra time I have that I’d previously used for utilitarian things like “how does this lead into the next scene” can now be used for fun things like “how can I set this scene up to call back to something that happened the show?”

2. Stop editing

Because actually I lied, before. What I used to do, and what it sounds like you did, wasn’t just two things at once: it was three. Writing, planning, and editing.

You know that little chant from Dune, where they’re like, “I must not fear. Fear is the mind killer”? That’s editing. Editing is the mind killer. By editing as you write, you’re like, reverse-validating yourself. You’re taking yourself out of the creative process to look for everything wrong with your writing and your story.

It’s also a time suck, and NaNoWriMo is a sprint. Editing is what December is for. When you free yourself from both planning and editing—by planning before, and editing after—writing will feel a lot more internally rewarding. You’re just making. You can get it nice for other people to look at, later. The first draft is for you, and specifically the part of you that loves your story. Don’t let the rest of you nitpick it apart yet.

3. External motivation

Here's the other thing: if I don’t update my word count on the NaNoWriMo website every day and keep my streak going, I will stop writing this fic. I wish I were joking.

Even with everything I just said, I need external motivators to actually get me to set a daily hard deadline of midnight to make myself carve time out of the day to write, and write fast. Missing a day last year and losing my streak was the nail in the coffin for that attempt (which had already been dying a slow, painful death, because I’d had no outline, and every day I was just adding another 1.6k of filler into the front half of act 2).

So I recommend using NaNo's website to keep a running word count and streak going, even better if you have add some buddies on there who will at least in theory be seeing whether you update every day or not. (You can add me, if you want! My username is fatherofthebride.)

I also definitely, definitely couldn’t be doing this without two great friends and beta readers, who endure some truly novel-length rants via text as I either talk through problem areas with them or send them excited recaps of a scene I just wrote and am really excited about.

If external validation works for you, but daily posting of the new writing doesn’t, I really recommend grabbing someone to chat to about how the fic is going and share snippets with, and/or posting about how it’s going/posting teaser snippets of the WIP.

And that's the end of the numbered list! I hope there's something at least a little helpful somewhere in here and I also really hope I actually answered your question <3

#also if you want specific recs i like jami gold's romance beat sheet for outlining and scrivener for writing software #scrivener's price & learning curve are ungodly but using google docs for nano last year made me want to throw my laptop into the ocean. so.#nano prep 22

4 notes · View notes

skittidyne · 2 years

Note

12 and 18 for the writer ask meme?

12. Is there a trope you haven’t written yet but really want to?

i suppose there's a couple, but overall i've hit most of my targets! i do want to write sloppy drunk sex, if that counts as a trope? and i'd love to try my hand at a royalty type type that has ladies in it (shoves blood will have blood under the bed) so i can have fun with the devotion of ladies in waiting...

18. What is a line/scene you’re really proud of? Give us the DVD commentary for that scene.

OKAY SO WE'RE GONNA GO BACK IN TIME FOR THIS ONE BC IT REMAINS ONE OF MY CROWNING ACHIEVEMENTS

(uh. pedestal spoilers ahead. a fic that is 11 years old...)

throughout the ENTIRE fic, there was the warning of the dark-haired monster, and later on, we had nick's famous black hoodie. (separate things, but related in what i pulled off - bear with me!) pedestal was sparse on physical description, but what we did know: that nick wore a black hoodie, that nick had black hair, that the narrator looked like his little brother, and that lola dressed like a goth and had black hair.

this was set up in the 10s-20s of a 160 chapter fic.

fast forward to after nick goes evil - we catch a handful of incriminating glimpses of a figure in a black hoodie. the narrator is repeatedly warned about the dark-haired monster, too. the narrator, and the readers, assume these to be the same person*.

cue the finale.

lola is the figure in the black hoodie; she's one of the big bads. seriously, that reveal - the foreshadowing of a GOTH TRAINER but everyone was sooooo focused on nick, readers and narrator a like - still fills me with golden light. i can't 100% say with certainty that it was planned from the beginning, since pedestal was written so long ago and had zero outline for most of the fic, but i am good at accidental foreshadowing like that. or maybe my subconscious hoards details like that to pop up in my conscious mind later. i don't know how it works, but i love it!

it didn't get as much reader attention, but at the very end, des (pedestal), the narrator's starter, watching the approaching moral event horizon - i'll just put an excerpt here.

"You are going to stop the dark-haired monster?" Des questioned, voice low and even more frightening.

I looked back down at Lola. Pitch black hair, always had that dark of hair. She had been behind this all. She had twisted Nick, put him up on the white thing's pedestal just to help him fall again. He had died because of her. "I am."

"No." Des shook his head and took a step towards me. He reopened his eyes and they were hard. Resigned. "I am."

"...What?" No. I wasn't going to let him do that—but in my surprise, he had taken a couple more steps towards us, until he was so close I could have reached out to touch him.

I started forward, intent on wrestling him back if I had to, but he told me simply, "My color eyesight is not very good."

I paused, set back by his bizarre and random statement.

Des turned on me and physically pushed me out of the way, placing himself between Lola and I. "To me, your hair looks as dark as hers. I will not permit you to do this, Trainer. Not to her, not to anyone. Can't you see what she is trying to do?"

as i said, it didn't get as much reader attention, but given the comparison with nick's brother (and a very lively art community, so there were canon character designs), the narrator could've been the dark-haired monster, too. not black hair, but dark brown - and what does it matter to a starter pokemon?

i'm still very proud of pedestal, and those plot twists are still high up on my heart pedestal of Written Things To Be Proud Of

[ask me more things here!]

#sorry this was late #ask #ask meme answer #anonymous #i know that answer was long but OH GOD am i proud of that twist in pedestal #the lola one was bigger #but des quietly accusing the narrator of being the monster from the future is near and dear to my heart

2 notes · View notes

appleciders · 3 years

Text

Rachel + Leah + Water, the Director’s Cut!

Okay, so I made this gifset exploring Rachel and Leah and the ocean, but because there’s a ten gif limit and a major point of gifsets is for them to look nice, I had to sacrifice a lot of the behind the scenes thoughts and initial versions that came along the way. I still wanted to talk about them though, because I found a lot of them really cool, so I figured I’d stick all that in this post. It’s gonna get long, so you can find the rest under the cut!

So first up, we have Leah as we first see her in the water. (I’m using shitty screenshots because tumblr has a 2mb limit for gifs on text posts and I don’t feel like compressing these down lmao.) Here, she’s face-down, unconscious, floating on a fragment of the plane. This is the first time we see any of the girls in the water.

As Leah gives her dramatic speech talks to the detectives, we see flashbacks to the girl’s lives pre-island. There we see that one of them already has a very strong relationship with the water already, in her before-life: Rachel.

Rachel, as we know, is a diver. We see her take a magnificent tumble into the pool, but when she surfaces, her coach is sternly head-shaking. She corrects Rachel’s form, and after she walks away, Rachel echoes the correction, clearly frustrated with herself.

Back to Leah. We next see Leah waking up on her lil chunk of flotsam. When she realizes what the hell’s going on, she does what we all would do and starts screaming in terror.

Her panic gets interrupted by Jeannette’s classic Raise Your Glass ringtone. (This was my alarm for two years in high school, and when I watched this for the first time I did have an out-of-body experience). She swims her way over to the Hello Kitty suitcase and—irrationally—unzips it, but we’ll cut her some slack because she’s in some serious shock. As she tries to get the phone, it slips through her fingers and starts spiraling down to the bottom of the ocean. She dives after it.

Unfortunately, she quickly runs out of air and has to give up. She then spots Jeannette floating nearby, checks her out, judges her to be “just a little roughed up,” and then sees land and has a big oh-thank-fuck moment. Because we saw Gretchen’s team placing all of the girls, we know that Linh and Leah were the only two that were put out in the open water. The other girls were put in the beach, or, in Martha’s case, near the shore. This was probably done to quell some of Leah’s suspicions about the crash, but it does give me a couple questions about how they got the other girls wet—did they hose them all down? Pour a couple buckets over their heads? Bob each of them up and down a couple times in a big net like fries in a fryer??

Anyway, not important.

Next that we see, Leah has pulled Jeannette/Linh in from the water. (My Australian parents, who can never pass up an opportunity to give ocean safety tips, chimed in at this point in our first watch to say “See how she’s doing it! You always want to hold someone from behind and pull them in that way. Good job, well done.” So there’s some approval for you, Leah.) As Leah nears the shore, Dot and Toni come tearing in and they help pull the two of them out.

The rest of the episode after that really only concerns fresh water—Toni and Shelby set out in search of it, to no avail, and Nora helpfully plugs Diet Coke reminds us multiple times that sugar’s heavier than water, so “sugar sinks.” We do set up a goal for the next couple episodes, though: Rachel says, “I'm gonna swim out to the plane tomorrow. See if I can find anything,” and Leah volunteers to come with. Rachel gives her a nod of respect.

Moving on to episode two, we have Rachel and Leah’s (iconic) first real conversation. Rachel says she’s still going out to the wreckage. Leah looks out and looks back at her, incredulous, and says, “Rachel, the water’s insane.” Here’s a big recurring association—the water and “insanity.” (I use insanity here because that’s the language they use, along with psycho/crazy. In no way does that reflect my actual beliefs about their behavior nor am I condoning the way they use those words.) Leah points out the rip current (“well done,” said my mum), and explains her very brief stint as a norcal surfer. Rachel still looks set on going, but then Leah says:

Turns out, Leah can be as ripe with foreshadowing as Fatin. This marks the appearance of their second main association with the ocean—death. After she says this, Leah turns Rachel’s attention inland, and the two agree to climb a big hill to scope out their situation.

Episode two is also obviously Rachel’s episode, so we see a lot of her relationship with diving.

We see her plunge over and over and over again, drilling technique and form, but despite all her hard work, we learn her coach advised her to quit the team. Instead, Rachel throws herself in twice as hard, and ends up with an eating disorder. By the time the nationals come around, she’s too physically weak to dive safely, and she ends up hitting her head as she goes down. She surfaces in the pool with blood flowing around her.

She refuses to see that as the end of her diving career. She says she’s gonna “get back out there” and “be fucking great again” and she tells Nora at the end of the episode that she needs her to let her believe that.

In episode three, we finally see Leah and Rachel’s trip out to the plane! Nora comes along with them, her relationship with Rachel smoothed over after the events of ep two. “Nora’s a good swimmer,” Rachel explains as she invites her, “We were both water babies.” Water’s clearly been central to Nora and Rachel’s identities since they were really young.

The three of them make their escape from the rest of the girls as the topic of building a shelter comes up. “Not interested in putting down roots!” Rachel calls. In keeping with the elements theme, Rachel isn’t looking to be grounded. She climbs super high into the air and she dives deep into the water, but earth isn’t her thing. (See: the quicksand scene. Whoops.)

Anyway, the three of them paddle out into the water. Rachel dives down, scopes out the plane, tells Nora she doesn’t expect her to “fucking free dive in open water,” and then looks to Leah and asks if she’s ready. Leah reluctantly agrees.

We get our first shot Rachel swimming down into the ocean and our second shot of Leah (first the phone, second the plane). In the wreckage of the plane, they discover the black box, affixed to the wall. They keep trying to wrench it free, but it’s stuck, and Leah—who’s primary activity is, like, reading—keeps having to surface for air. Rachel gets frustrated and grabs her leg, holding her down.

Leah screams and fights, but Rachel doesn’t let go. We cut away, and when we see them again, they’ve emerged victorious (Rachel) and drowned as dogs after a bath (Leah and Nora) with the black box in hand. Later, Leah mutters the above line to Fatin, calling Rachel a “psychopath.” For those keeping score at home, here’s where we refer back to the association between water and “insanity.”

In episode four, the ocean benevolently bestows a bag of takis upon Nora, and we have our whole shelter-building shebang. It’s all very land-based until Leah and Fatin go head to head, which ends with Fatin smearing her blood all over Leah’s face. Leah, with her usual flair, strips off her clothes as she walks into the ocean. She stays down there, passively letting the water wash the blood from her face.

This shot parallels a couple things. First, the drifting blood visually parallels Rachel in the pool after her diving injury. Second, we have Rachel staring out at the water where Leah’s disappeared and going, “Man, that is some real Virginia Woolf-type shit.” Dot has no fucking clue what she means, so Fatin interprets: “It means that bitch is crazy. She said you were the psychopath of the group.” Now it’s Leah who’s done something in the water that’s been deemed insane. The water and “insanity;” the water and accusations of insanity within their relationship.

Those accusations pop up in episode five, but the episode is pretty focused on the inland search for Fatin, and revolves around fresh water, not salt water. (That could be a whole nother post lol.) It’s in episode six where we again see these two return to the ocean.

Rachel is diving in the ocean! For fun! She’s picking up pretty shells (which granted isn’t the safest thing to do in the pacific, cone snails are not our friends), and she’s grinning, and she’s generally enjoying herself. With the, uh, finale situation, we’re probably not gonna get to see her smile for a bit, which is sad, because she should get to do this more often! This shot visually echoes her diving for the plane and Leah diving for the phone, except she can be in a better mood because there is no end goal.

So she goes diving, ends up finding a bunch of mussels, gathers ‘em up, and brings ‘em back to camp. They all chow down, but wind up with serious food poisoning. Martha and Toni ring death’s doorbell a couple of times. Rachel blames herself—she’s the one that went swimming out there, she brought the mussels back. Again, we see that connection between the ocean and death.

And that association comes back bright an early in ep seven! The tide surges higher than they’ve ever seen, taking down their shelter and leaving them all scrambling.

While Leah convinces Fatin that her life is more important than her suitcase, Rachel is left with a decision: help Nora, screaming to her from where she’s clinging to a rock for dear life, or grab the black box. In a move that contrasts Toni’s immediate and unquestioning aid of Martha, Rachel picks the black box.

After, when they’re debriefing, Nora’s quick to bring it up. She doesn’t hide her hurt. “It happened so fast,” she says, “we all acted irrationally. Like Fatin, who jumped into a rip current to save her toothbrush. Or Rachel, who left me for fucking dead.” I think this counts as a double whammy for the “insanity” and death count—I think “acted irrationally” is as close as Nora gets to calling anyone crazy, and is honestly a better descriptor of all the other instances of “insanity” that we’ve seen, and the ocean was the source of the very real risk to Nora’s life.

(Honestly, I think Rachel thought she was making a rational choice here—just with some grim fucking calculus. Still, given that nobody’d responded to the black box by then, I think it was a decision fueled by the need to keep hold of hope more than actual rationality.) In a fun contrast to the rest of the episode, it’s Leah that keeps a level head in this situation.

The rest of the episode is low on water scenes, though Leah’s paranoia about Shelby is fueled by her sneaking off to the water, which could fall under the “insanity” category. It also marks where Nora begins to take an active role in breaking apart Rachel’s fantasy about diving again.

Ep eight has one of the best montages in a series of great montages, with the playing in the water scene! A plane has seen them, they’re gonna be saved, and they all get to get high and act like kids.

I have this lingering and probably irrational concern that the entire water play scene is choreographed and that it’s chock-full of foreshadowing. Like I know to some extent they likely were just like “yeah guys go goof off in the water,” but like...the wave pulling Rachel and Nora apart here...I mean.... (Rachel is probably gonna get more blood on Dot in the near future, too. ) That aside, their horseplay gets interrupted when Leah notices some blood on Dot, which Rachel realizes is her own period blood.

Fatin then chimes in with her ever-gleeful foreshadowing: “Shark week for Rachel.” So while this whole encounter with the water actually seems mostly good for a change, it’s colored by the tie-in to what we know is coming.

In ep nine, reality has set in that rescue isn’t imminent. Everyone’s starving, Leah has started to spiral, and Rachel’s unusually skittish. By the tide’s edge, Nora asks for her help fishing, but Rachel refuses, saying that she’s weak. Nora flicks water at her, and Rachel flinches, clearly scared.

Starvation seems to have triggered Rachel’s trauma around the water leftover from her diving accident. In response, Nora reaches out a hand and says, “Let’s go for a walk.”

Meanwhile, Leah’s spiral has reached critical. She starts ranting about the ocean and the water and pushes past Dot, sprinting into the waves:

And so she’s taken to heart the way they think Jeannette’s body “escaped” the island—the tide—and it’s been spun like cotton candy in her head. She’s right, technically—Jeanette/Linh’s body was moved off the island by boat, and there’s definitely an argument that if they really did all swim out Gretchen’s team would save them, or at least try to. This is also a very real suicide attempt. So it’s kind of a culmination of the threats of death and mental health issues that’ve been wrapped up in the ocean since the start.

On Rachel’s end, Nora has taken her up to a cliff. Rachel calls the whole thing “borderline insane,” walking up when they’re so low on energy, but Nora tells her she needs to make a truce between herself and the water.

“You’re afraid of it now,” she says, and Rachel replies that, “All it ever did was make me sick.” Nora immediately surges forward to say “That’s not true!” Rachel, incredulous, says, “Isn't this what you want? For me to hang it up? For me to forget the whole fucking diving game?” Nora says, “No. I don't know. I don't want you to forget you.” She then tells Rachel she should dive off the end of the cliff, that she marked it to make sure it’s safe. Rachel says she can’t.

There’s a lot here. First, there’s the first time we’ve seen of Rachel explicitly call herself sick. In episode two, even in a treatment center, she still denies it, says she’s just an athlete who knows what it takes. But now she’s reached a place where she acknowledges her eating disorder—and also probably her recent illness with the mussels—and ties it directly to the water. It’s the reason she’s sick.

Nora’s fear that Rachel will forget herself also just hammers home how central the water has always been to Rachel’s identity. Cutting herself off from the water would be cutting off a core part of herself. (...whoops) And we’ve seen that it does bring her actual joy, when she’s allowed to relax with it, but she’s had such traumatic associations rolled up into it now. Nora doesn’t want Rachel to do diving as a sport anymore, because of how badly it’s hurt her, but she does want Rachel to keep diving and swimming as like, a form of unevaluated personal expression.

At the moment that Rachel’s refusing to jump, she and Nora hear shouts from the mainland. They see Fatin and Dot screaming after Leah. Confused, Nora asks, “Where is she going?” but Rachel understands immediately, with absolute certainty, without needing to be told—“To fucking drown to death.” Seven episodes after Leah called heading into the water a death wish, she’s finally proving it true. Rachel squares her shoulders, takes a few deep breaths, and sprints into a dive.

Unlike all her other dives high altitude dives we’ve seen her do, this dive isn’t qualified based on aesthetics. This dive matters because of what it will do, not on how it looks. And what it does do is bring her into the ocean, where she needs to be for her friend. So with strong strokes, she swims out towards Leah.

When she reaches her, she takes hold of her, pulls her into her chest from behind. She begins to swim with her back to shore. This rescue directly parallels Leah’s rescue of Linh that we talked about above. It also, as the Out in the Wilds podcast insightfully pointed out, really calls Rachel and Leah’s relationship back to the beginning. Whereas Rachel had initially held Leah down in the water, putting her in danger of drowning, Rachel here pulls her out of the water, saving her from drowning. Together, they make it all the way back to the shore.

Finally (and, like, if you’ve made it all the way down here? bless you. thank you), we have episode ten. The ocean doesn’t really figure into episode ten until the very end. Rachel has had a long episode of healing—she’s happy to be full and she’s in a good place with her sister and things seem to be going pretty okay. She decides to heal her relationship with the water, too. She heads out, telling Nora that she’s “Just gonna float, Nor. Just float.”

Just floating. After all the times we saw her plunging into the water, purposefully, with frustration, with drive, with so much to prove and with so much sacrifice and self-abuse to prove it with, Rachel finally just wants to float. She wants to let herself relax. She wants to let the water carry her.

Of course, that means there has to be, like, a massive marine carnivore waiting to mistake her for a seal.

Visually, this shot really parallels the opening shot of Leah on the fragment of plane. Instead of being face-down, though, she’s face-up, and she’s conscious, just not of the threat from below.

The shark bites.

In a horrible parallel to Leah’s Virginia Woolf moment and Rachel’s diving accident, we see blood pool in the water. Rachel is pulled under. The girls on the land start screaming and running toward her. We know Rachel doesn’t die, but this is still a near-death experience, one that probably cost her her arm. Leah, covered in dirt and her own blood after crawling out of the pit Nora led her into, can only stand and watch, shocked and horrified.

So that got! Way longer than I meant it to! And honestly most of this was condensed into very concise tags in a post I made a few days ago! But if you made it all the way down here, you’ve now seen everything I wanted to fit into that gifset but couldn’t. Thanks for sticking with me, friend <3

#the wilds #rachel reid #leah rilke #the wilds meta #this got away from me a bit lol #there was absolutely no proofreading on this so if something doesn't make sense...oops #leah x rachel

72 notes · View notes

ordinaryschmuck · 3 years

Text

What I Thought About "Yesterday's Lie" from The Owl House

Salutations, random people on the internet who absolutely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons!

Here it is! The midseason finale of The Owl House Season Two! An episode featuring Luz going back to the human realm, is hyped up to heaven about how painful it'll be for the audience, and features more anxiety by how Creepy Luz is a thing. And BOOOOOOOOY howdy were fans not ready for this. I'm sure as hell not ready for when I wrote this intro at *checks time* thirty minutes before watching the official premier. Yup, the words you're reading right now are from me in the past, when everything was still pure and simple. Whereas future me is still probably destroyed by the events that transpired. Isn't that right, future me?

Future Me: Actually, it wasn’t that bad. The ending hurt, sure, but other than that, it wasn’t too painful.

Wow, that is some neat input! At least, I think it was. I wouldn't know because I literally wrote that after watching the episode. With the words you're currently reading being written at *checks time* twenty-six minutes before the premier...this whole intro is confusing, isn't it, future me?

Future Me: Sure is.

Yeah, it's definitely confusing. In any case, let's dive into this spoiler-filled review as we find out together just how painful this episode was! Take it away, future me!

Future Me: Will do! Major spoilers ahead, folks!

Now, let’s review, shall we?

WHAT I LIKED

Luz’s Room: We only see it for a short time, but everything about it just screams Luz. The pile of weird-looking stuffed animals, the witch hat in the center of the floor, and the fact that she has bunk beds, a single child's dream (Or so I've heard). It's a small thing, but I love it.

Vee: Here she is! The character previously dubbed Creepy Luz who now turns out to be yet another new addition to the ever-growing list of characters that we, as a fandom, would give our lives for. Because holy s**t was Vee the best type of expectation subversion. Showing us all the ominous ways of how she basically took Luz's place made fans assume that Vee was an evil doppelganger. Turns out, she was just a tortured soul that was desperate to live a new and better life and lucked out in finding Luz's. What Vee does is...questionable at best, but seeing what she went through with the experiments Belos pulled on her, you understand why she would do it. And I personally love it's that same background information that makes Vee resentful of Luz of all people. Luz's life is a relative dream come true, and running away from that would be insane to someone who spent most of their existence through imprisonment and experimentation. It's an intriguing point of view, even though it's admittingly flawed given how it's mostly Camila that seemingly made Luz's life bearable. But the flaws don't matter. What matters is that you can see where Vee is coming from, and to me, personally, I think she's understandable enough to make me root for her to have some kind of happy ending. Whether as Luz or as herself, I'm hopeful to see Vee get some semblance of peace.

Camila: *Round of applause* Don't mind me! Just taking the time to love how all them sons of b**hes who thought Camila was a bad mom are now heavily invalidated. 'Cause, guess what? Camila is a fantastic mother, both to her daughter and her daughter's doppelganger! Allow me to walk you through the highlights:

How Camila looks like she’s not okay with the fact that "Luz" is clearing out her weird stuff, seemingly acting too different to the Luz she knows. Added to the fact that Camila doesn't like it.

How Camila drove Luz to camp whether than letting her take the bus

The fact that Camila takes that box of junk back in, not willing to part with the tin foil sculpture Luz made.

The way she was willing to play along with the game she thought Luz was doing, supporting her daughter's creative mind that Camila admits to being glad to see.

And, best of all, the willingness Camila had to help this poor creature, despite the lies it lived.

It's that last part I really want to touch upon, though. Because an action like that shows just how much Luz's heart comes from Camila. The kindness and generosity of helping this poor creature, who she has every right to run out on, proves how Luz learned to be everything she is today through Camila's own loving heart. Vee was scared and hurt, and the second Camila saw that she was then more than willing to help because of it. It's something that Luz would do, and it proves that even though Camila didn't exactly get everything right, she's still a great mom where it counts.

“A new life”: A perfect line.

Initially, it makes audiences think that it has everything to do with replacing Luz. It's only through future context that we know it's about escaping the s**t show Vee once lived through that it's clear she's talking about starting over. It hits us with intrigue on the first viewing, only to hit harder with the feels during a second. Really well-done.

Luz in the Mirror: A well-done surprise that makes fans curious about how this even happen in the first place. Kudos to you, writers.

The New Portal: I don't mind that they found a way to build this off-screen. Showing Luz and the gang slowly building a new portal would have been a little too tedious to watch, and it's so much better to just start this episode out with it. Besides, maybe we'll get the slow and steadier version now that we've seen how quickly building one might not have been the best way to go, given how fast that thing fell apart.

Luz Between Dimensions: I have no clue what the hell that place she was in is called, but it's awesome! The overall design of the realm is the correct type of unsettling, like it's oozing with mystery, but it's somewhere that you probably don't want to be in for too long. Whoever designed it deserves all of the credit because I don't want to even think about all the hard work that went into making this look as well-made as it was.

Luz Resisting to See Amity: What? Luz and Amity are adorable, and seeing Luz's immediate thought about seeing Amity makes my shipping heart scream with glee. Don't judge me!

Hiding Luz’s Dad’s Face: Well, that was a fun story while it lasted.

So, it turns out that Luz's dad really was a part of Luz's and Camila's life at some point, but not anymore. As for why remains to be seen, as we don't really know yet if we'll see him make an appearance. I'd say that the odds are high that he will, given how much of a point this episode made about keeping his face hidden. Shows don't usually do that unless the goal is to hype up some official reveal, and I can't wait to see what comes of it.

Luz Telling Herself to Count to Five: Hey, more evidence for how I relate to Luz! I know how it feels to be all panicky about a specific situation, and I only got better when I took the time to calm down for a bit. Sometimes, I even tried the "count to x" method that Luz used...it never worked, primarily because it made me feel worse when people told me to do it, but I still tried it! Plus, there's also some narrative foreshadowing when after Luz says five, the realm shows her Vee, or Number V, which is a pretty cool detail you'll notice on a rewatch.

Luz Helping Vee: I gave Camila praise for helping Vee in the end, but that doesn't abstain Luz from her own set of recognition. The second that Luz realized that Vee wasn't really a threat and is far from evil, our favorite human does what she can to help and even makes a deal where they're both happy. Because, of course, Luz is that perfect of a protagonist who is more than willing to help others in need. And it's why we love her so.

Looking for Magic that Eda Left Behind: A pretty cool idea that gives Luz and Vee a chance to bond and giving us an insight into Eda's past antics and misadventures in the human realm. Not much I can add to it, though.

Gravesfield: It's surprisingly not as jarring as I thought it would be to spend an episode in the human realm. I thought for sure, after all that time in the Boiling Isles, there would be something off about walking around a normal environment for a change. Turns out, it's almost easy to get used to. Or, for me, it is.

But I will say that there's this neat use of colors when comparing Gravesfield with the Boiling Isles. In Gravesfield, the coloring looks dulled down and standard, which is a stark contrast to the bright vibrancy of everything we've seen in the Boiling Isles. It's a subtle way of showing how things are different, aside from the major discrepancies we could come to expect. And I think that's why I appreciate it much more.

Eda’s Called Herself Marylynn in the Human Realm: Hang on...hang on...do you mean to tell me that the crack theory about Eda being Stan's ex-wife is actually true?

...

...What even is this show?!

Vee Making Friends with Camp Members: This shows the most apparent difference between Luz and Vee. Where we see Luz is already fearing the many ways that could go wrong with interacting with teens, Vee revealed that she adapted to her situation and had a chance to make friends. The implications of this are worth discussing another time, but for now, I'll say that it's pretty intriguing that we gain this much insight into both Luz and Vee through such a small thing.

Belos Wanting to Learn How Basilisks can Drain Magic: ...Didn't Raine say that Belos was taking away magic? If so, I think we can figure out how he's doing it. The question now is: Why?

Jacob (The Curator Guy): This guy was a riot. At first, Jacob seemed like a threat with the way he trapped Vee and was apparently stocking her, but the second he goes off about his conspiracy theories, it becomes clear what type of character he is. And was it a blast seeing how much of a crackpot this man is. It wasn't cool seeing him wanting to dissect the precious angel that is Vee, but I still chuckle about things like his "Flat Eather's Certificate." So while he's not that much of a threat, he's still fun to watch.

The Owl Beast was in the Human Realm: ...How did that happen? When did it happen? And how the hell did Eda get out of a situation like that?! Who knows, but it's still a shocking piece of news to learn.

Luz Telling Camila the Truth: Hey, she faced her fear after all! Although, the results aren't as pleasant as when Amity faced her fear two weeks ago.

Camila is a Veterinarian: ...One insignificant reveal...managed to destroy so many fanfics. I mean, we probably shouldn't have just assumed Camila was a nurse...but what the f**k else were we supposed to think?! Sorry for seeing the scrubs, and the first thing that came to my mind was "nurse" and not "vet."

By the way, that had to have been intentional, right? There's no way that Dana Terrace didn't think we'd assume Camila was a nurse. She'd had to have put off a reveal like that just to trip up her fans. And if that's the case, then that is a major d**k move...but that's why I mildly respect it.

Two Human Brothers went to the Demon Realm: Turns out we don't have to be in the Boiling Isles to learn more about it. Because now we have more information about how two humans were taken to the Isles with the help of a witch, thus setting up a grander reveal if it turns out that one of the humans was Philip and the witch was Belos. Because if that's true...then there's more of a history between those two than we thought.

Jacob has a Training Wand: This helps me believe that it's highly likely for Jacob to make a return and to have a power boost for when he does. After all, focussing all that attention on the training wand is way too convenient for it not to come up again in the future. Meaning we're most likely going to get more pain from Jacob if he shows up again.

Camila Beats the Crap out of Jacob for Vee: ...Writers, don't make me choose between Camila and Eda on who's the better cartoon mom. I know Eda's technically not a mom...BUT I STILL DON'T WANT TO CHOOSE DAMNIT!

Also, the sandal...just...

Why the f**k does Camila have a sandal in her purse? I don't know. Is it still funny that she does? Most certainly.

Camila and Luz’s Talk in the Rain: Ooooooooh, I was not ready for this...

I wasn't ready for the crying.

I wasn't ready for the hurt in Camila's eyes when she found out Luz chose to stay in the Boiling Isles.

I wasn't ready for Camila asking if Luz hates being with her that much.

I wasn't ready for Luz profusely stating how it was never Camila's fault.

I was not ready for Camila to tell Luz that she'll try to do better.

And I definitely was not ready for Luz to barely have enough time to promise that she'll come back.

This episode wasn't the twenty-two minutes of nonstop angst that I thought it was going to be...but this short scene more than make up for it.

Luz Tries to Stay Strong: Yet another thing she unwittingly learned from Camila. Camila tried to keep a brave face when Vee was with her and Luz, most likely not wanting to tear either of them down in the process. Luz does the same thing here as she avoids talking about the details of what went down in her sort-of journey back home. And seeing her clearly fake smile slowly droop into an uncertain frown, it uh...it definitely tore me up inside.

WHAT I DISLIKED

I want to say it's perfect, but there's one major issue that really bogs this episode down.

Continuity Error in How Vee Replaced Luz: Having Vee take Luz's place the same day Luz appeared in the Isles is a smart idea on paper...if it wasn't for the fact that it's impossible.

Because Eda closed the portal door the second that she saw Luz, meaning that there's no way for Vee to go to the human realm. It's a major plothole that makes no sense, and it might just be the first time ever that this series wasn't so closely knit with its story. Which ends up taking a dive in quality in the process.

IN CONCLUSION

I'd say that "Yesterday's Lie" is an A-. Everything about Luz, Vee, and Camila is incredible, combined into a story that ends in tragedy and uncertainty for the future. That plothole may drag things down a bit, but everything else is handled so well that I'm not lying when I say it's easy to forgive and forget.

(And that's ten episodes in a row without a single stinker. HOW THE F**K DOES THIS SEASON KEEP WINNING?!)

#the owl house #the owl house spoilers #toh spoilers #luz noceda #camila noceda #camila is a good mom ok!#toh vee #emperor belos #what i thought about #the owl house reviews

52 notes · View notes

generallybarzy · 4 years

Text

hey there, stranger. viii

one, two, three, four, five, six, seven an: merry christmas to those of you who celebrate!!! I meant to get this out on Christmas eve but I worked until our store closed last night so I literally just finished this right now! chapter nine will be out tomorrow, I just decided to break it into 2 parts, christmas eve and christmas day, so that you could read it without having to wait too long! This chapter and the next are really sweet, with a liiiiiiittle hint of foreshadowing here and there. Hope you enjoy! word count: 2.9k

Christmas approached faster than you expected.

You had made up your mind earlier that Christmas Eve into Christmas morning would be the day you spent in Mat’s bed and finally stayed with him. You couldn’t be more overjoyed that Mat had decided to stay in New York over Christmas. You honestly didn’t know what you would do without him. Every second that you didn’t spend in class or babysitting for the Seidenberg’s- whose children were very interesting in your dating life now- you were with Mat. Out on dates, or just at home with him, resting. Things felt right with him. Almost too right.

It was Christmas Eve, it was chilly and all you wanted was to cuddle under some blankets and watch TV with him, so when you saw him come to the living room with your shoes and jacket in hand, your face dropped.

“We’re not going out, are we?”

He laughed at your instant reaction and nodded. “Just for a bit. But I have an early Christmas gift for you first.” He moved from the hallway to where you were on the couch, stopping by the tree to pick up the biggest of the very few presents you had set there for each other.

“Mat, this better not be something expensive.”

“Well-”

“I thought we agreed to keep our Christmas shopping light?”

“It’s not expensive! It’s not too expensive, I promise.” He handed you the box, wrapped haphazardly in red paper and held together with what looked like a whole roll of tape. You couldn’t help but laugh softly at it again like the first time you saw it.

The first thing you noticed when you stepped into Mat’s apartment was the two boxes under the tree the two of you had put up the other night. After you had agreed to spend Christmas with him, he immediately pulled you out to a tree farm and hauled it up the stairs to his apartment, claiming that you would decorate it so pretty and fill the house with presents. They were wrapped almost grotesque, in a way that you knew Mat had never wrapped a gift before, and you couldn’t help but laugh at them.

“What?” Mat mocked an offended look as you stood in his living room, laughing at his work.

“Have you never wrapped a gift before?”

“Hey, it has character!”

“It sure does have character. You sure you want me to open it and ruin this masterpiece?” You said now, taking the box in your lap. Mat just smiled and nudged you playfully, urging you to open it. You tore apart the paper, your heart soaring at Mat’s eyes watching you gently as you finally opened up the box under the paper. “Oh my God, Mat.” There, settled in the box, was a pair of brand new, clean white skates.

Mat smiled at your reaction. “Sooo, we’re going skating tonight.”

“What? I- I can’t skate?”

“Yeah, I figured.” The smirk on his face lit up a fire deep inside you. “I can teach you. I think it’d be a fun date, yeah?”

As nervous as you were to skate with him, you couldn’t help the smile spread across your face. “So you think a good date idea is me humiliating myself?”

“Yeah!” He laughed. That loud cackle that made your heart glow. “C’mon, get your coat, it’s chilly.”

“Rockefeller?”

“Absolutely.”

The walk from Mat’s apartment to the subway was chilly, but as you snuggled into his side while sitting on the subway train, your arm tucked under his black plaid coat, tight around his hoodie-clad waist, and his arm heavy across your shoulders, you knew there was no where else you’d rather be. He held your hand and laughed as you jumped out the subway doors the second they opened and dashed for the stairs. Mat couldn’t take his eyes off of you as you climbed the stairs back into the city and gazed around, the Christmas lights making your eyes gleam in wonder. It was a type of beauty he hadn’t seen before. A beauty not in physical appearance- even though you had plenty of that- but a beauty in how wonderful you were, how the city lights hit the joy in your eyes, and the way Mat’s heart pounded and his face warmed up when he saw you.

I want you so bad right now.

When the Christmas tree came into view after the short walk, Mat could feel the way your arm tightened around him, squeezing to get his attention. “Mat, look at the tree!” It was cute, almost childlike how excited you were. He chuckled at your outburst, and you punched his side slightly. “Shut up, this is my first Christmas here.”

“No, no, it’s cute.”

What did I do right to be with you right now?

You didn’t see his pink face.

You didn’t feel nervous about falling on your ass and making a fool of yourself, not until you were sitting at the edge of the rink at the Rockefeller Center, with Mat kneeling in front of you and tying your laces. You watched his big hands move skillfully, as if tying skates was second nature to him at this point.

“All done.” He stood with ease, his own skates making him appear so, so much taller than he already was, not even bothered by the fact that he was balancing on blades, but you had a little more trouble, your legs shaking the moment you stood up. “Hey, hey, I got you.” Mat smiled, a little bit, teasingly, his hands finding your waist. “We’re not even on the ice, babe.”

“I don’t think I’m gonna make it.”

He laughed, boisterous and loud. “I promise, you will. Trust me?” His hands found yours and pulled, urging you towards the ice. “I’ll take care of you. I’m good at this.”

Like a fool, you smiled.

“Alright, I trust you.”

Mat’s first step onto the ice was easy, it was habit, like the ice was like a home to him at this point, as if he was even more comfortable gliding over the ice than walking on land. You, on the other hand, were much less graceful. Mat held his hands out to you, and you took them carefully after almost falling immediately after stepping into the rink. “I hope you’re excited to see me fall.”

He smiled. “I’ve never been more excited.”

The first lap around the rink took five long, giggly minutes, Mat’s hands big and warm and holding yours tight, skating ever so gracefully backwards and glancing back to make sure he wasn’t about to run into anyone while also making sure you weren’t about to fall. "C'mon, babe." He smiled as you stumbled for the hundredth time that night.

"Sorry I'm not a professional like you, Mat."

"No, I like you like this. It's cute." You were about to blush, to tell Mat that he was so cheesy and soft, when he continued on. "Cute like… endearing, like how we laugh at a really clumsy deer learning to walk"

"Ouch, Mat!" You couldn't help but laugh as you faked annoyance and smacked his arm lightly. He stopped skating abruptly and let you glide into his chest.

"What? It's the truth, Bambi."

His hand fell to the small of your back, pulling you closer to him and pressing your hips to his. It was nothing but a simple, helpful act to keep you from slipping to the ground, but something in how close you were pressed into his hard body made your tummy flip and turn. Your hands slid up his chest and to his face, cupping his cheeks in your gloved hands and pulling him down to give him a quick peck. For a moment, the rest of the world disappeared. It was just you, Mat, the ice, and the sparkling Christmas Tree towering over you. There was nobody else around. For that second.

“Let’s keep going, Mat.”

He smiled, his cheeks pink and warm from the kiss. “You sure? A few minutes ago you were begging me to get you off.”

“I trust you. Don’t let me fall.”

“Of course not.”

He moved to your side, his arm around your waist, and helped guide you to move your feet, and soon, with his help, you were moving along. Mat couldn’t take his eyes off of you, simple as that. The little concentrated look on your face as you focused on making your feet move the right way looked so adorable. He couldn’t believe he was lucky enough to call you his.

And he didn’t notice the groups of girls with their phone’s camera aimed at you or the whispers they made to their friends.

He pecked your cheek again. “Are you having a nice Christmas Eve?”

“Are you kidding?” You looked up at him, your arm tightening under his jacket, around his hoodie-clad waist subconsciously to steady yourself. “This is amazing. You know what would make it better?”

“What?”

“If it would snow.”

“Hmm.” Mat motioned up to the sky, “Like that?” You turned your face to the sky, where snowflakes had started to come down lightly, sparkling in the lights.

“Oh my god.” You whispered in awe, your cheeks warm.

"All the best things happen softly." Mat repeated your words from a few weeks ago, his voice soft and eyes in awe of your beauty as the snow began to lay, sparkling, in your hair. You turned towards him, cheeks pink and eyes warm, and leaned up to beg for a kiss.

"You're amazing, Mat."

"Not as amazing as you."

"C'mere."

He sunk into your kiss, leaning the two of you against the edge of the rink so that others could skate around you. You smiled against each other's lips, absolutely giddy and chilly and craving your lover's warmth. Mat's hand glided from yours up to the curve of your neck, his chilly fingers dipping under your hair and making you giggle. The way your lips were curving up against his made him giddy, and he mirrored you, and soon you two were nothing but a giggly mess, surrounded by snowflakes and twinkling Christmas lights.

And the rumors you didn’t hear yet.

"Damn." Mat broke away first.

"I'll never get over kissing you, Mat."

"Same here."

"You're a good kisser."

"Not as good as you." He smirked, rubbing his thumb across your bottom lip. "So, I had planned to go window shopping along the avenue, but if you're too cold or your feet hurt, we can just go home and cuddle?"

"Hmm." Your feet did hurt, now that you thought about it, but the idea of being out in the city with Mat longer was tempting. "Well, I do like being out here with you. But nothing beats cuddles." Mat nodded, just absolutely gleaming that you had finally warmed up to that type of closeness. "Anyway, we have next Christmas to go window shopping, right?"

"Next Christmas?"

"Yeah, next Christmas."

So you were implying that you'd be here at least all year. Maybe more. And Mat couldn't handle that. His heart pounded in his chest.

"So I haven't scared you off yet?"

You laughed. "No, the opposite, really."

"That's good."

You stood in each other’s arms in comfortable silence for a few more moments, just enjoying each other. He hadn’t scared you away. He had made you more and more sure that he was gonna be worth it. He was here for the long run, and there was very little he could do to scare you away- that, you knew.

"Wanna head home, baby?"

"As much as I love skating with you, yeah. I'm getting chilly."

“Cuddles it is, then.”

------

You stumbled into Mat’s apartment, giggling and rubbing your hands together, shaking the snow off your clothes. Mat pulled off his wet jacket and shoes and rushed to the thermostat, turning the central air system as warm and cozy as it could get. You kicked off your shoes and dropped your jacket and skates by his door, following him into his bedroom and snickering at how he was already changed into sweats and was pulling a thick crew neck over his head.

He looked up, his hair still a wreck from pulling on the sweater, to see you in the doorway, still shivering through your giggles. He pulled you close and wrapped his arms around you, swallowing you in his warmth. "C’mon, we can’t have you cold. Go through my drawers, babe. Take any clothes you want, and find me in the living room, alright?"

"Okay."

It didn’t take you long to decide on something of his to wear. Easily your favorite article of clothing of his, the soft light gray hoodie was lying on his bed, just calling for you to grab. You slipped it over your head and grabbed a pair of his sweats, pulling the strings tight around your waist and rolling up the ankles. After grabbing some of his large socks from the drawer, you caught sight of yourself in his mirror. So, this was you now, huh? Cuddling up in your boyfriend’s oversized clothes, in his apartment, about to go snuggle on his couch. You were almost dizzy with emotion, and you couldn’t stop smiling at yourself as you looked at yourself in his clothes. You were someone’s girlfriend, someone’s favorite person. Again. And this time you felt safe in his arms. You felt loved.

“(Y/N)?” Mat called from the living room.

You took another deep breath and opened the door. Mat was standing by the couch, in big, fuzzy socks and sweatpants and his fluffy sweater, holding two steaming mugs.

“Hey, Maty.”

“Hey, baby.” He laughed through the word, his eyes running up and down your figure. Your figure was hidden behind his baggy clothes, but he had never loved you more than at this moment. You were wearing his clothes. You were in his clothes. There was something about seeing you like this that was so much more beautiful than anything else. More beautiful than the first time he saw you, than when you babysat together, than when you cuddled for the very first time. There was something beautifully intimate about seeing you in his clothes. As if in a way the two of you were becoming more and more intertwined every date. He finally realized he’d been staring and sucked in a breath. “Thought you jumped out the window and ran away or something.”

You laughed. “No, never.”

He grinned and held out the mugs as you moved towards him. “I made us hot chocolate.”

“Is it good? I know you’re not very good at cooking.” You took the mug anyway, giving him teasing eyes.

“Ouch!” Mat laughed and took a sip of his own chocolate. “Hey, c’mon, it’s pretty good!” He watched with a proud, gleaming smile as you took a sip, and you could barely taste it when he continued. “Right? Isn’t it so good?”

“It is, baby.”

“Wanna, maybe, watch some Netflix before going to bed?”

“That sounds perfect.”

Mat’s couch was large, large enough for him to stretch his long, six-foot body out on, and stretch out he did, pulling you down beside him. He tucked you back against his chest, his thick arms around your waist and his big feet nudging at yours under the blanket. As the night dragged on, the snow coming down heavier against the windows, you could feel his breath against your neck, you could feel it getting softer and softer as he fell asleep. “Baby,” You turned towards him, lifting his face between your hands. He hummed in response, his eyes opening and his lips smiling. “Let’s go to bed. You look sleepy.”

“I am.”

“So am I.”

“Let’s go.” Mat rolled off the couch sleepily and lifted you.

“Mat, you don’t have to carry me, bubs. Looks like you’re gonna fall over.”

“I wanna.”

You laughed when he hoisted you up in his arms and reached for the remote to turn off the TV. He stumbled towards the bedroom, giggling and nearly falling over, before shutting off the lights and dropping you onto the bed, crawling up next to you and making the bed bounce as he flopped his heavy body down.

“Mat.” You pulled his face up from the pillow to look at you. “C’mere, I wanna hold you like the other night.”

“Oh, for sure.”

Mat had never felt more comfortable in his life than when he had his head resting on your chest, your fingers tangled in his hair and your arm around his shoulders. And you’d never felt more safe than when his arms were around you, his lips against your skin and his weight heavy on top of you. You’d never felt this safe with any other man in your life, and Mat was so, so gentle and amazing to you.

“Did you have a nice night?”

“It was amazing.”

“Mmm.” Mat squeezed you in his arms. “I’m so happy you’re warming up to me now. I’m so happy we’re clicking so well. I was afraid you wouldn’t...”

“I am. I’m comfortable. We click so well, baby. I’m sorry it was a little difficult at first.”

“‘It’s my fault too.” His voice was sleepy and soft as his hand found your cheek in the dark, his thumb rubbing circles on your skin. “Will you stay in the morning?”

This time, you weren’t unsure. This time, you knew how you felt. This time, you wouldn’t run.

“Of course, bubs.”

#mat barzal #mathew barzal #mat barzal x reader #mat barzal fanfiction #mat barzal fic #nhl fanfiction #nhl fic #fic #mathew barzal x reader #op

97 notes · View notes

365days365movies · 3 years

Text

March 17, 2021: Darby O’Gill and the Little People (Review)

This is a delightful movie, and WAY better than anticipated!

I mean it, I had a really good time with this movie. And I’m hoping that there are more folklore-based movies coming up, because I genuinely enjoy them! But as for this particular movie, I’m a sucker for some good Irish stories, what can I say? If anybody has any suggestions for more of these, PLEASE send them my way, because I love ‘em.

But OK, let’s get into my thoughts in full, huh? Recap can be found here and here! On to the Review!

Review

Cast and Acting: 8/10

Man oh man, do I love Albert Sharpe and Jimmy O’Dea in this movie! The two actors, both of whom are Irish, nail their roles, and I honestly love them both for it. Their interactions are a lot of fun throughout the movie, and they make both Darby and Brian fun characters to watch bounce off of each other. As for the rest, they’re...mostly good. The interesting thing, though, is the fact that of the main cast outside of those two, only Kieron Moore is Irish. Yeah, Janet Munro is English, as is Estelle Winwood, and Sean Connery is...well, Sean Connery. Any oddly enough, their roles in the film feel way more generic, and less authentic to the environment of the movie. To be specific, the film feels more Disney and less cultural when they’re on screen. Part of that is almost certainly the scenes that they’re given, but I can’t help but feel like there would be more to those scenes if they were cast more authentically. Also...Sean Connery is Sean Connery. Yeah, he’s basically just Sean Connery, BEFORE James Bond, even!

Plot and Writing: 8/10

I love the plot of this story, which takes quite a bit from Irish folklore. Of course, that’s the idea, as Walt Disney collaborated with the Irish Folklore Commission for years to make this movie, and bought in a lot of Irish influence in developing it. He traveled to Ireland on a few occasions, and even spent extended time at the Dublin Library just doing research in developing it. And it shows! The movie itself is based on a book by H.T. Kavanaugh, and further adapted by Lawrence Edward Watkin, with help from Disney. It’s a good script, and a...mostly well-paced story. Bringing in the Banshee and the Death Coach as late as they did was...not well-done. Sorry, that’s just truth. They should’ve been at least foreshadowed or mentioned early in the film, but they both pop up really late in the game. Also, the horse’s identity as a pooka is...just sort of dropped on us? I dunno, some writing could’ve been improved. And that isn’t counting the sometimes corny, DIsney-esque writing. But, as said, it is a Disney movie.

Directing and Cinematography: 9/10

Robert Stevenson is one of Disney’s most hallowed directors, and responsible for three of my childhood favorites: Herbie the Love Bug, Bedknobs and Broomsticks, and, well...Mary Poppins. SO YEAH. Dude has accomplished! And it’s well-directed, very well-shot, and...very Disney. And, no, there’s nothing wrong with that. But it’s composed of a lot of stagnant shots. But, thanks to cinematographer Winton Hoch, those shots all look pretty great, too. It’s a great looking movie!

Production and Art Design: 9/10

Same thing here, as I’d love to visit this Ireland. This film really paints the countryside as idyllic and pleasant, and this is a movie that any cottagecore fan should internalize deeply. Which is ironic...since this was filmed in California. Uh oh. I DEFINITELY don’t know Ireland, because I SWEAR that I didn’t know that until typing this review. So, yeah, maybe less accurate than I thought. Still, given that fact, this is a great looking movie. Despite some...slightly dated effects.

Music and Editing: 9/10

Speaking of dated effects...yeah, some of these are pretty markedly dated, like the pooka up above. However, the size-bending little people sections are AMAZING. Seriously, the effects there are VERY good, and it’s genuinely hard for me to figure some of them out. You’d think that this would be extremely easy, given that the film is 62 years old, but...no, I don’t intuitively know how they did it! It’s impressive! The editor, by the way, is Stanley Johnson, and he does a good job, all things considered. And the music! GAAAH, THE MUSIC! Oliver Wallace nails the tone of this score, and I adore this soundtrack. It’s just...good!

86% seems right, if not a little low, if I’m honest!

Roger Ebert called this movie the best Disney live-action film, which...it definitely isn’t. Sorry, nobody-but-NOBODY beats Mary Poppins for that title. Still, I do actually like this movie a LOT, and it’s up there with my favorite live-action Disney movies. I’ll have to rewatch those at some point, honestly. Maybe I’ll let you all know when I do.

But OK, let’s get back to that chronological progression of films, huh? Looks like I’m still in 1985, and...oh. It’s Woody Allen again. Topical?

March 18: The Purple Rose of Cairo (1985)

9 notes · View notes

dukeofonions · 4 years

Text

Puppet vs Video Games (The Gimmicks of Sanders Sides)

If you’ve followed me for awhile (meaning the short amount of time I’ve been running this blog) then you’ll probably be aware of what my opinions are of the “gimmicks” that have been making themselves prevalent in recent Sanders Sides episodes. Now just to make things clear, almost every episode of Sanders Sides uses some kind of gimmick.

Well, besides the first one, which consists entirely of talking with no added effects.

And I, being the faceless entity that sits behind a computer screen judging an online web series, am going to rant about that because this is my blog and I do what I want. So let’s begin…

The Prologue

As season one progresses we see things like location changes, a song, Thomas’ friends making several appearances, simple editing tricks (like putting text or pictures on a screen) minor costume changes (Logan and Patton dressing as Sherlock and Watson) split screen effects, and even an episode featuring an animated segment.

At the end of Season One we were introduced to the concept of “Rooms” which added a whole new layer to the story and got people excited to see what the other rooms would entail. Still, up to this point, the gimmicks remained mostly in the background as small ways to sprinkle in some extra storytelling while the dialogue continued to be the main thing carrying the series.

Then Season Two began with Fitting In, which featured a few more props that served to signify each of the Hogwarts houses. This made sense seeing as that was the focus of the video, and for fans of Harry Potter, it would be fun to see the characters wearing things from the different houses.

After Fitting In, we got Moving On which featured the introduction of Patton’s room. Like with Virgil’s, a lot went into designing his room. There is a lot to look at, who knows how long it took to find all the stuff they showcased in the background? On top of that they also had the filter they used to give the room a dreamlike quality, and my favorite detail, the pictures that continue to change throughout the episode depending on what the characters are talking about.

It remains one of my favorite set pieces from the series just from the amount of detail they put into it, and it felt like a step up from Virgil’s room (which I also love) and it makes me excited for the rest of the rooms that have yet to be revealed.

However! I am not here to discuss the rooms. Even though I already did…

After Moving On, however, is when things start to change with the series.

During the 12 Days of Christmas, the Sides are each given their own custom Christmas sweaters, but that’s only part of the gimmick. The centerpiece for this episode is, of course, the song sung by all four Sides. This moment is pretty significant as it marks the first time all four of them appeared on screen together at the same time.

This was just the tip of the iceberg for what was to come…

Immediately following 12 Days we get Can Lying Be Good? Which featured a new location where the video spent the majority in, using quick cuts with the cameras to give off the illusion of Roman pretending to be Joan (including clever uses of audio) and of course, Deceit himself. The makeup and costume was unlike anything we’d seen in the series yet. Throw in some more split screen to show two Sides on screen together, as well as some clever costume choices for character Thomas, makes this episode (in my opinion) the best at utilizing its effects and filming techniques to tell its story.

And then, things start to shift again….

The next episode we get is Why Do We Get Out Of Bed In The Morning? Which took some time to produce, coming out in April after CLBG? Was released in February. Still, good time considering what was to come.

This episode had some mixed reviews once it finally came out, but I plan on tackling that later. The reason this episode (which was really just a longer, drawn out version of Losing My Motivation but starring Logan and Roman) was the use of animations.

For Logan, his arguments were displayed via “Stop Motion” writings of graphs and charts which he used to explain his points. And from a short behind the scenes video, each of these were drawn by hand and took hours to make. From what I understand, all of Roman’s bits were animated on a computer, though I don’t have much info on how they were made.

Within the episode, these different types of animations were used to help Roman and Logan illustrate their points. And while on their own they’re quite adorable, they aren’t necessary for the telling of this story. One thing this episode was criticised for was how the writing felt off. Everything seemed rushed and none of the characters felt in character, and while I don’t recall anyone outright saying it, it’s likely that perhaps the team felt pressured to get this video out on time, and thus might have skipped out on other elements in order to make up for the time spent working on the animations.

Whether that was writing the script, filming, or editing, we don’t know. All I know is that the general consensus for this episode was that it was just okay. As a Logan and Roman fan though, it was kinda disappointing for their first episode with them taking the spotlight together to just be viewed as “okay” and isn’t a favorite of mine.

Things picked up a little after Crofters: The Musical was released only a few days after WDWGOOBITM (that title is a monster to type no matter how ya do it) and it featured a song as its gimmick. The mood was a bit lighter, we got to see Logan having fun, and hey we even got our first main Roman angst foreshadowing! Good thing that wouldn’t be dragged out for several episodes, right?

All in all, things were definitely looking up for Sanders Sides. From the looks of it, we were going to start getting more frequent updates!

Then the Drought happened and we had to wait almost six months for a new episode.

At least that would be the longest we ever had to wait for something.

Before I get into the beef of this post I wanna bring up three more episodes, Embarrassing Phases, Selfishness vs Selflessness, and Dealing With Intrusive Thoughts.

Like the other episodes throughout Season Two, each of these episodes have different gimmicks. In Embarrassing Phases, it’s the Halloween costumes. In SVS, it’s a location change plus costume change, and in DWIT we get the introduction of Remus along with a musical number and a few props.

I’d say each of these episodes does a good job at incorporating their gimmicks into the story. Embarrassing Phases involves them talking about Halloween and using costumes as metaphors or something like that (This may be one of the few times I say something positive about this episode don’t get used to it)

With SVS, thanks to some clever acting, we can see Janus get the idea of using the courtroom scenario to try and get his point across. He first does this by suggesting that Thomas may not be as innocent as he seems, and after Patton defends him, that’s when Janus switches to the courtroom in order to put Patton to the test and literally defend Thomas as a lawyer.

Then in DWIT, given that Remus is a very outgoing character, it makes sense that he’d use a song to explain who he is and make a dramatic entrance. Plus, the series has used songs before so it’s not surprising to see this here. And seeing as Remus is creativity, it’s only fitting that he’s able to conjure random things throughout the episode. Okay, that was a long prologue, onto the actual reason most of you probably clicked on this post. Part One: The Puppets

Learning New Things About Ourselves also does a good job of handling its gimmick and incorporating it into the story. Like the three I just mentioned, there’s a set up and a pay off. We get an idea of what’s to come with this moment:

“I don’t feel content,”

“With my content.”

Which is obviously a reference to some random children’s educational program (most likely Sesame Street) by showcasing how two words that are spelled the same can have different meanings. Great now I sound like some educational children’s program.

Then later on, we get the actual set up that comes from Thomas becoming frustrated that he can’t figure out what the problem is that’s causing this whole dilemma. He says, “We’ve got an issue. Something that I’m not aware of yet, something that may be unlocked with the right question. This is like... fundamental learning!”

After he says that, he gets an idea and asks the others how he used to learn things and each one responds accordingly:

Logan: Textbooks!

Roman and Virgil: Mistakes.

Patton: Puppets!

And of course, initially, Thomas questions this and no one really understands what Patton means by this. But he explains and makes a case for it, “Thomas used to learn all kinds of new and helpful things from puppets when he was younger! Like how to count and his ABCs. Maybe it’ll be easier to work through issues when puppets are involved.”

We see Thomas consider the idea, and then Logan sets up a joke with him saying Thomas has outgrown that kind of stuff only to have him express his love for the idea.

After that, the Sides (excluding Logan) change into their respective puppets and continue on the episode.

One important thing to note (which I will bring up later) is that this scene takes place around the 15 minute mark. At least by that point, everyone except Logan has changed into a puppet. With the video being 38 minutes long, this is about halfway through the episode, and by the 31 minute mark the Sides begin turning back to normal.

Which means the puppets roughly take up only about 15 minutes of the video, slightly longer if you count Logan’s puppet, but you get the idea.

Also I’m bad at math so if I got this wrong sue me. There’s a reason I’m sitting here writing this instead of doing something with my life.

From then on, the conversation continues with everyone still trying to figure out what the question they need to be asking is. Of course, plenty of references to other educational kid shows are thrown around, but that now makes sense seeing as they’re fully embracing the puppet idea. Patton furthers the conversation along by finally getting Thomas to start asking “Why” and uses another reference to do so, which starts the next part of the conversation and brings us the next major conflict in this episode, Logan.

He gives his opinion, stating that no one takes Thomas seriously and that he should switch careers in order to obtain that status instead of devoting his time to making silly videos.

This of course, causes dissension within the group, and leads to Roman once again insulting Logan before realizing that he’s been going too far. After being prompted to apologize, Roman attempts to express his feelings to Logan and say sorry, but it doesn’t exactly help him feel any better which is when Patton suggests he try a different way.

And, Roman being Roman, decides the best way to do this is through song. A song that’s reminiscent of those one might hear on Sesame Street (there’s probably others but I’m rolling with this one) so it fits with the puppet thing. Again, it’s justified.

The episode ends with Logan finally understanding where the others are coming from and Thomas finding the right question to ask, which he is able to answer and it solves the dilemma.

Logan turns into a puppet, there’s another Sesame Street reference, and Roman is finally gonna start addressing his issues!

Good thing that won’t be brushed under a rug by the other characters for three more episodes right?

All in all, in case you couldn’t tell, I adore this episode and it still remains one of my favorites to this day. It doesn’t beat you over the head with the references, which are used cleverly and in a fun way that also keeps the story moving along. The designs for the puppets are cute and match each of the characters, and the puppetry is amazing!

Plus the song is an absolute bop and it still makes me emotional sometimes.

Which begs the question, was the sixth month wait worth it? Well, after hearing all that went into making this episode and seeing the final result, I’d say it was worth it.

It’s also nice that we got a behind the scenes video where we got to see the full story on how this episode was made and all the difficulties Thomas, Joan, and Talyn faced when trying to make it a reality. Did they need to use puppets? No, but what matters is that they were able to take the idea and incorporate it into a story in a way that was fun and felt justified for existing.

Not saying this episode is perfect, there are a few problems here and there, but overall this remains one of my top Sanders Sides episodes and one I’ve watched repeatedly since it came out.

Now that all that positive stuff is out of the way, let’s get to the fun part….

Part Two: The Video Games

I’m gonna be blunt, Putting Others First does not do as good of a job with incorporating video games into its story like LNTAO does.

However, I can’t exactly talk about this episode without talking about the extremely long wait we had in between episodes. The last official episode (that follows the main storyline, so not Asides) came out on June 25, 2019. POF came out May 1st, 2020.

Almost 10 months, the longest we’ve ever had to wait for an episode. And if you wanna go further, remember that POF was meant to be the follow up to SVS, a part two if you will, SVS came out March 31st 2019, so by the time POF came out, it had already been a year since this set up the conflict for wedding vs callback.

By that point, some people were no longer interested or as excited about the new episode, but that changed briefly when a trailer for the episode dropped after a new Bloopers video was released a few months before POF was finally released.

Keep in mind that up until this point, we weren’t entirely sure what the hold up was for this episode. We’d only gotten the vague answer of “There’s a special sequence for this episode and we’re working with another artist in order to make it, which is why it’s taking so long.”

Okay, fair enough, and the trailer revealed what exactly that sequence was, animation!

Now I’ve already explained in another post why I have problems with how vague Thomas and co. are when it comes to giving information about upcoming videos, so I won’t get into that here.

What I am going to bring up since it relates to some of my points is this, remember when they said it was a “special sequence” they were working on? Well, after the video is released we find that it isn’t one, but 10.

I’m not counting each time a sequence was used (For example, the opening segment which is later followed by Roman imagining a different outcome in the same style or every single one of Logan’s low-down’s, and the two trolley problems are counted as one sequence for this post specifically) because I really don’t wanna go through and count every single time Logan popped up on screen, but tell me, why in the heckity heck did they feel it was necessary to include 10 of these animated segments?

And okay, there’s actually 12 (maybe 13? The Pokemon reference uses two different styles) but why are there so many? How are they necessary and what is their reason for being in this episode?

Remember earlier when I mentioned that the puppet stuff didn’t start until the 15 minute mark? Well, POF literally begins with a video game sequence, and then the game references just keep coming. The intro gets a retro remix along with the rest of the music, and once Thomas enters the picture his curse words are covered by a gold coin and the “mario coin” sound effect.

And then, not even three minutes in, we get yet another video game sequence recapping the last episode, after we already had a recap of the last episode less than a minute ago!

To be fair though Rhythm Redux is a bop and I’m not sure why they felt the need to include a “flashback” after the intro when they were going to include this song anyway since it does a better job at explaining things than the random shots and dialogue from SVS.

With LNTAO, none of the “puppet bits” began until after the Sides changed into puppets, besides that one bit of foreshadowing with the “Content with my content” line. There was no change to the intro’s music, nothing besides that one bit to foreshadow the puppets coming into play.

Another thing LNTAO does that POF doesn’t is establish a set up, and pay off for the video games. Right off the bat, we get the video games, then later we get Patton’s line about how “Life isn’t like one of your video games” just a few minutes before the next video game sequence takes place, which just felt out of place to me the first time I watched it and I felt like that line was put in there just to remind the audience “Oh yeah, this is a video game themed episode!”

Which, okay, there actually was some bit of set up before this back in SVS. Thomas mentions that he planned to spend his time at the wedding playing “Word Crush” on his phone, then as POF begins, that’s exactly what he’s doing.

And there are certain instances where the sequences work.

The beginning sequence ties back into Thomas’ comment from SVS and, in a way, sets up the video game thing (even if it does make me somewhat cringe but that’s mostly Lee and Mary Lee’s characters) and I wouldn’t have as much of a problem with how “Rhythm Redux” was incorporated if they hadn’t included the flash back after the intro. Again, why did they need two different recaps? They only needed one and it did a good job of explaining everything on its own.

I will also say the Trolley Segments work due to the discussions being held, they’re talking about “Morality” so why wouldn’t you bring up one of the oldest moral dilemmas out there? It also ties in with my favorite part of the video, the “Final Boss” fight with Lilypadton vs Janus. I was not expecting it, and adding Janus’ reveal on top of that just made everything even better. It was dramatic, and I loved how the health bars that were used for Patton and Janus changed to represent Thomas’ deteriorating mental health.

All in all, there was potential here with the video game theme, and there were scenes where it was used well. But all the others that I didn’t mention? They just felt forced and out of place to me and honestly, took me out of the moment.

Another episode I want to compare POF to is Logic vs Passion (I am not typing either the title or the acronym out again) where they both incorporate their gimmicks in a similar way.

Logan and Roman both use their respective animations to illustrate their points of view, and throughout POF all the characters use different video games to illustrate their own points.

The issues I have with these episodes is that these conversations could have been had without the use of any of these things. The Sides have had discussions and used examples to elaborate their points in the past without the use of visuals.

Now, can visuals help with storytelling? Yes, and I mentioned several instances where POF does this. But honestly, the whole video game theme seemed out of place for this particular video. Compare it to SVS which only had a location change, the episode focused almost entirely on its dialogue and still manages to be dramatic and engaging. You can easily follow along with the discussion without the need for fancy visuals.

With POF, it seems like they just try to rush from one video game reference to the next, leaving little room to breathe in between before another video game is thrown into your face. What could have been a simple discussion like in SVS (which still managed to balance humor with its more serious themes) we got a rather bloated middle section which, honestly, I don’t remember much about.

I’ve watched the video several times and without fail, I always find myself spacing out throughout a good chunk of the middle until the whole Lilypadton scene takes place. That’s when I became interested, especially when Janus entered the picture to bring in his points and act as a bit of an “anti-hero” in the whole thing.

I simply believe this video could have been a lot simpler, and probably more cohesive if they’d left a lot of the video game stuff out. The last thing I want to be when consuming any type of media is bored, and honestly if it wasn’t for me making all these analysis posts on the episode, I probably wouldn’t have watched it again save for my favorite parts.

Not only that, but we waited 10 months for this episode because of the video game sequences, and again you have to ask yourself, was the wait worth it?

I have to say, unlike with LNTAO, it wasn’t worth it to me. They could take the video game sequences out altogether (even my favorite ones) and I wouldn’t really care. This episode just doesn’t need them, they don’t justify their use in this episode. Whereas in LNTAO, I love the use of puppets and if they were to be taken out, I would miss them.

Now is this to say I hate the episode? No, there’s actually a lot I like about it. Patton’s development, Janus, and the ending with Roman are all amazing on their own. But really, who’s to say Janus couldn’t have confronted Patton in person instead of a video game world?

Logan didn’t need to appear via little “Pop ups” and could have been called upon by Patton for help only to be brushed aside when what he says doesn’t help his case at all. Then when things start getting out of hand, “Logan” comes back to try to fix things but it doesn’t work, which is when he reveals himself only this time everyone, including the audience, fell for it because Janus has stepped up his game when it comes to disguising himself.

Of course, the same could be said about LNTAO, they didn’t need to be puppets, right? Well, considering that the message of the episode was that you can use unconventional methods to express different ideas using different mediums, and Logan spent the whole time seeing the puppets at nothing but silly and childish only to come to this realization himself, it makes sense why puppets were used.

However, you can actually apply that same message to POF, where they used an unconventional method to get their points across.

The only problem, like with Logic vs Passion, was that the gimmicks alone couldn’t carry the episode.

Logic vs Passion wasn’t as good as other episodes (and I may do a full review of this in the future) and in POF, it just felt like there was too much being crammed into this one episode. We went from discussing different types of morality and why people do good things to Janus suddenly beginning his “acceptance arc” with Roman having a breakdown at the end. Honestly, the point where Janus enters the conversation feels like a completely separate episode from what we’ve had thus far. Not only that, I have my own issues with how Janus’ character seemed to suddenly do a 180 (which I already talked about in another post) so while I love the ending scenes on their own, I admit that maybe they should have been handled differently.

Of course, at the end of the day, all of this is just a matter of opinion. Lots of people loved the video game segments, and others didn’t like the puppets. Some people love all the gimmicks used in the videos, others wish for things to go back to the simpler formats of the older episodes and honestly, I agree.

It seems like with every new episode the team is trying to outdo themselves and take things up another level each time, which is something I can admire, but it is something that can be overdone. Just look at Sanders Asides, it was supposed to be this simple little thing, but it might as well just be another episode. There’s nothing to distinguish it from any of the other main episodes, and if the rest of Asides is going to be the same way, then what’s the point of making it a separate series at all?

Now, Thomas and Joan have said that after this episode, they’re going to start using more practical effects and make things simpler, which I take as a sign of them learning to step back from all the gimmicks they use and just let the characters shine on their own for a while. Which, if that is the case, good on them.

We don’t come to this series for the effects and flashy scenes, we come for the characters. They’re what we love and want to see more of. If you want more proof, just look at what people mostly took from POF, they took the character moments. It wasn’t the video game references that resonated the most with people, heck, people outright seemed to ignore the fact that Leslie Odom Jr. made a cameo.

What do you think that says?

Not saying people didn’t love the video game references, because a lot of people did, but it wasn’t the main thing people responded to.

It’s okay to explore different mediums for storytelling. But sometimes, as a creator, you have to stop and ask yourself, “Is this really necessary for the story?” And believe me the hardest thing to do is cut out something that I spent hours working on because, when I viewed the story as a whole, that particular thing just wasn’t necessary for the story. Maybe I enjoyed it, and perhaps others would too, but at the end of the day, I’d be glad that I made the decision for the betterment of the story.

Okay, now this got way longer than I meant for it to be (how ironic) but you’ve all been waiting for this post for awhile and I didn’t want to postpone it further.

I do hope you enjoyed reading this jumbled mess and, as always, feel free to let me know what your opinions were! Regardless of whether you agree or disagree, and I’ll see y’all next time!

#sanders sides #dukeofonions #episode criticism #patton sanders #logan sanders #roman sanders #virgil sanders #janus sanders #remus sanders

56 notes · View notes

fizzingwizard · 4 years

Text

Episode 6 was AWESOME. Finally it really and truly felt like Digimon Adventure!!

This episode plus the last one makes me eat my words of despair over the blandness of episode 4. I’m counting that one as just a miss. I’m hoping that it doesn’t bode for the tone they’ll take with all Sora episodes though. Sora’s easy to overlook because she’s already kind, brave, and responsible - the main things the other kids need to work on. Still she never bored me in old Adventure. I only ever wanted more of her and that was my hope for 2020 Sora. Her intro episode wasn’t a great start, but guess what, she got to be pretty darn cool in this episode, and overall the tone of this ep was such an improvement on ep 4 that I’m back to thinking we will absolutely get a modern, cool girl Sora who rocks her spotlight episodes in the future. Pray with me friends.

By the way we finally got some decent animation in this episode. So I took gratuitous Taichi pics and I’ll post a couple to start us off bahahaha

Okay, so this was the much-awaited MIMI episode. Heck yeah. It’s called “The Targeted Kingdom.” Who is the queen of the kingdom, I’ll give you three guesses, eh what’s that Mimi? like WOW you got it on the first try!

More below!!

^ So I’m not quite sure what’s going on here. I think Sora is standing on Taichi’s back and Piyomon is helping lift her (them?) up into the trees so Sora can look around? They are trying to find the way to the ocean. This seems like the most awkward way possible to go about it but you do you kiddo...

See, Adventure Taichi would be making jokes while this is happening. 2020 Taichi is thinking about The Big Picture, at least as much of it as he knows of. He’s turning into such a pensive type. Yamato’s gonna have to work hard to keep his lead brooder status.

Also I was thinking... there’s a few times in this ep, and more in others, where I feel like the animators don’t show us enough... Idk what to call it, movement? The fall out of actions? Like why don’t we see them climb into the tree? Why are we zoomed into so close when they fall out? Later during the big fight scene, there’s stuff going on that could definitely be shown in a clearer, and also cooler to watch, way. My theory of course is it’s all budget issues but what a bummer.

The kids’ first intro to the bottomless pit that is a Digimon’s stomach. They have no food (seriously? in that pack of emergency supplies Sora brought by pure happenstance there is NO food??) so they go... steal some. But they don’t know they’re stealing.

Not that SHE cares.

Mimi: Bahaha... you’ve fallen into my trap! *cutest maniacal laugh ever*

^The trap

There is another trap that comes later in the ep and I’ll just say here. It’s some Jessie & James level shit. Way to go Meems!

ugh soooo cuuuute I want twenty

Introducing... Queen Mimi! Yes, Queen. They’ve upgraded her!

Honestly, I love how she’s introduced as royalty, but she’s dressed as a cowgirl. No one would ever ask Mimi to pick just one theme. Like her kimchi fried rice with whipped cream and strawberries, Mimi is not afraid to mix genres!

Like I said, the animation in this ep is a cut above what’s it been recently, which is a relief. And everyone’s appearance is so much like Adventure that I wonder why they changed anything xD But I’m just so grateful everyone kept their unique eyes. It was the one thing I missed in the animation of Tri, even though I wouldn’t have wanted high school kids to have baby eyes. But the eyes really highlighted each character’s individuality. Glad that’s still a thing even if not every animator pays attention to it.

Taichi & Sora: Were those your fruit trees? Uhh sorry? My Digimon was close to death and we were starving...

Mimi: You will starve again unless you learn the meaning of the law!

that’s a little les mis interlude for ya youre welcome

So Mimi arrived in the digital world, separated from the others, and immediately became Queen of the Tanemon. I SENSE A TREND.

Mimi doesn’t come across as ditzy and selfish as she did in early Adventure. I am not sure if that side of her’s been erased in favor of simply making her reluctant to fight because she’s soft-hearted, or if we’ll see her self-centeredness appear later on. I hope so. Right now the 2020 story is very focused on the plot and not on the children’s growth, which is a huge departure from Adventure, but I don’t think it will remain that way. I hope not at least. But I do think it’s possible that they’ll rewrite Mimi to be a bit less self-centered and/or airheady, and I’m not exactly against that. After all, post-Adventure Mimi showed her cool side more when she was willful or opinionated, and I’m on board with more of that in the 2020 show too. A better balance would definitely be a good thing in Mimi’s case.

She kind of made me think of Sailor Moon in this episode, lol

GASP! We are all Chosen Children! Mimi immediately says NOOO WAY i’m queen of the Tanemon!! But not because the Tanemon are catering to her every whim (they’re not, as far as I can tell! Though they did make her a throne!). Because she honestly feels a responsibility to look after them. Again, pretty different from old Adventure.

Pocket Koushirou returns and Taichi tries to absorb him into his brain!!

Taichi: *grunting* HNNNNGGGG!! Give me me your curiosity!!!

Koushirou: Are you Vademon!?!?!

Koushirou shows video footage from the human world that shows the effect the power outage is having. Though it’s not a complete blackout yet, some places like hospitals have already lost power and are in trouble.

Mimi sees her grandfather, the president of Tachikawa Industries, on the TV helping people in trouble. VERY DIFFERENT. VERY COOL. I approve

Koushirou also points out that there is INDEED a time lapse between the human and digital worlds. I’m not exactly sure how different the time lapse is from old Adventure. At first, I thought it was much smaller, but thinking about it... given how slow the video from the human world was moving, it might be sizable. But I don’t think it’s as big as old Adventure. At any rate, Taichi and Sora figure out this means Mimi was on her own with Palmon and the Tanemon village for longer than they realized.

Also makes me wonder just how much time Yamato’s spent in the digital world...

Mimi feels torn between wanting to help her grandfather and needed to protect the Tanemon village! Naturally Taichi suggests they work together!

And a Tanemon rudely kicks him in the face!! Just kidding. But it was too cute not to cap

Mimi brings the waterworks like three or four times this episode.

Mimi: Alright! You work for me now!

Taichi: ...??? Okay I guess????

Yes, Princess or Queen, Mimi is still Mimi <3

So they join up and uhh... get ready for war I guess??

I MEAN HOW CUTE IS THAT

So this is the second Team Rocket trap, a giant hole in the ground. How did they dig it? How did the build that raft two eps ago?? Inquiring minds want to know

Greymon is surprisingly limber for a chubby dinosaur.

Taichi does what he does best in battle scenes: stand in immediate danger and look up a dinosaur’s bum.

OGREMON MAKES HIS BIG APPEARANCE IN A MIMI EP. I totally called it last week. Okay, technically he already appeared in episode 5... but we barely saw him okay! He uses Soundbirdmon (who may indeed not be sentient?) to mind-control other Digimon to find and apparently kill?? the children. Ogremon honestly sounds kind of mind-controlled himself but not sure. If he is, it’s a different kind of control. He may just talk like that because he’s an ogre and not very articulate...

I guess I capped this because CUTE CUTE CUTE

So speaking of rushing into immediate danger... Not only is Sora right in the middle of the right, she’s HANGING OFF BIRDRAMON’S LEG. This show is SO not promoting child safety hahahhahaha

Cute Taichi. Cuter still - Taichi and Sora tag teaming it. PLEEEEEASE give me more of this!! I want nothing more than for Sora to join Taichi and Yamato as a heavy-hitter. I always headcanoned her that way growing up. Let Sora kick ass 2020!!

^Palmon’s method of rescuing Mimi... effective, yet questionable

Capped because Cute.

Sora and Birdramon take down the blue bird digimon (sorry... forgot its name... will likely forget the name of every other Digimon not from old Adventure as well. i am a senior citizen). Taichi cheers for them and says “You nabbed the best bit from me!” SO CUTE. Come on, they are the best team!!

Meanwhile, Palmon: *screams bloody murder*

Mimi: Palmon! Noooo!

Episode 6: Palmon friggin DIES

I mean she is like glitching in and out. So it totally FIGURES it would be a Mimi ep that tells us “yeah kids we’re not Pokemon!” I mean. Keep watching...

Mimi recalls being all alone in a strange world when she meets Palmon. Btw they totally revamped the Pyokomon Village for this Tanemon village, I dig.

EVOLUUUUUTION!!

Boxing!!! Cactus!!! Eat this Precure!!!!

While Togemon takes out Drimogemon, Greymon rushes in to protect the kids from Ogremon...

... AND FREAKING SAWS HIS HORN OFF.

Like I said. THIS AIN’T POKEMON, KIDS.

Isn’t this actually darker than old Adventure? I mean I guess at least no one dies (I think? uhh...) and I suppose that’s less dark... but sawing off body parts... Idk man... I’m down with it, I just don’t know that it’s any nicer than old Adventure... hahahaha

POW! Err, Drimogemon’s drill ain’t looking too good either...

More waterworks as Mimi tells Palmon she loves her, and Palmon says it right back. Foreshadowing for Mimi/Koushirou tiffs in the future!? It was lit last ep that Koushirou tried to say he loves his partner and choked on it. Something tells me these two are gonna butt heads again ;)

Ugggggghhhh so cute I can’t staaaaaaand ittttt

Mimi decides to go with Taichi and Sora and leave the Tanemon village, Idk, I guess they’ll be safe now??? at least they won’t be targeted for having a human child among them.

Also I like her leaf bag. The Tanemon totally made it for her.

We end with Ogremon gripping his broken horn and fricking sobbing. This... does not bode well.

I want to hug him

so cast your votes, who gets the first hurt/comfort scene with Ogremon? Will it be gentle chastisement from Mimi while she patches him up with stuff from Sora’s pack? Or will it be Jou and the toilet paper you know he brought even if it makes no sense?!? hahahaha

I give this ep a 7/10 WELL DONE. That’s what a Digimon episode should be. Very close to VERY VERY GOOD.

I missed the trailer for next week so have more gratuitous Taichis instead.

#digimon adventure 2020 #digimon psi #psi spoilers #fizz watches digimon 2020

28 notes · View notes

lvnatiq · 4 years

Text

Surrealtà | Nicky Valentino x Assassin!OC

A/N: Hello, my fellow Valentinhoes! I already mentioned this series that will be approximately 10 chapters long (if not more). I tried to keep the prologue short trying my best to not bore you. The dialogues between the characters are modified according to this story and yes, there will be a lot of new characters alongside the original ones. With that being said if you have any questions or suggestions, let me know :)!

Enjoy, toots.

Warnings: Violence, mentions of death, usage of inappropriate language.

Prologue: Inferno

“Do you ever doubt your actions? I mean, you know the uproar about them being ethically wrong.”

Andrea's words revealed her agitated behavior. Her sincere concern for her friend was boggling her mind with more questions.

“Why would I doubt my actions when there are enough people already doing that.”

Heaven lifted her glass to her lips and stopped moments before taking a sip.

“I never give people anything more or less than what they’ve done.”

The sour taste of alcohol lingers on her tongue while it makes its way into her system causing her body to warm up.

“If they kill, I kill. Easy as that.”

“You know what’s going to happen when they get you behind bars, right ?” said Andrea. Fully aware of the fact that her attempts at getting her to tap out were not affecting Heaven at all.

“I don’t."

Heaven said as she turned her head towards the anxious eyes that were studying her. Her smirk becomes more prominent as she sets her booze down on the glass table.

“Because It’s not going to happen."

Upon hearing her words Andrea couldn't manage to hide her astonishment.

“How can you be so sure ?”

“I’m not but do I have any other options? I am not someone that you would want to see panicking.”

Heaven said as she continued to play with the rim of her glass. She proceeded as she eyed her reflection on the glass table.

“I might appear dangerous when I let my anger take over, but panic?” she scoffed as she pushed her long locks away from her face.

“I wouldn’t wish that on my worst enemy.”

“Why?” Andrea said, engaging herself with the conversation more and more. Afterall there were no limits to her curiosity.

“I lose control.”

Says Heaven as she collects the documents scattered over the table and then stands up from her stool. She lowers herself at Andrea's eye level as she proceeds with her speech.

“...and If I lose control, my love...”

Andrea drops her gaze as she couldn't bring herself to look straight into her eyes. Heaven whispers her last words, unaware of the fact that this statement will be the foreshadowing of what was about to come.

“All hell will break loose.”

With that, the curiosity killed the cat.

January 1st, 2020

The cold breeze of New York combed her long locks as she stared at her watch. Her pupils dilating as her eyes followed the second hand, continuing to count the seconds.

"Thirty more to go. Then it's time for the Fiesta."

Pushing back the hem of her coat, she pulled out a brand new Glock 19 and a suppressor. Her hands started to wander around the gun as she let the feeling of absolute power captivate her senses. After rolling the silencer onto the muzzle of the Glock, she placed her gun back at its previous position.

The silencer, her infamous nickname.

Nobody knew her true identity nor her background. At this point in her life, others weren't the only ones to do so. Her memory was as unreliable as her trigger. Her past, present, and future remained unknown to her. In her opinion, keeping her past locked in the forbidden spaces of her mind it's for the better.

"Henry Harding, age 46, a prick who traded the life of his wife for the comfort of his stacks."

She reminded herself as her steps quickened. The darkness of the night emerged as the light of the day shuttered under its vigor. Her breathing became apparent, evaporating in front of her eyes.

"His right hand, Richard Kindell, a coward who sold his soul to the same devil that killed his son. Porca miseria! What type of leverage does that son of a bitch has over Richard that keeps him loyal no matter the cause?"

She cursed under her breath as she took a sharp turn. Upon seeing the large crowd in front of the theatre she decided to examine the atmosphere surrounding her. Women in elegant dresses were accompanied by men in suits. Their sweet conversations concerning their excitement about the movie, pervading the air with love. Utterly oblivious of the fact that they were soon to be bystanders of a tragic ending.

"Tragic but a well-deserved ending."

Her plan was too simple for her liking. She made Richard get the same gun that she had attached to her thigh, two weeks before she sent the suspicious mail to Henry. The mail that contained information exclusively known by the two of them regarding Richard's son's death. She was simply using their trust issues as an advantage.

"25 meters till the warfare."

As she moves closer, the ticket booth becomes more visible and her eyes meet the man of the moment, Murray.

"Smile, Heaven. You don't want to disappoint your audience."

She said as she put her killer smile on, turning heads as she walked by. Her charming nature and her mysterious aura always captured people's attention. Even so, she couldn't care less.

Her hair flowing in harmony with the wind, her steps overflowed with confidence, and her eyes gleamed with the fact that she could finally put an end to what the judiciary system defined as a dilemma. It's time for Maria's long-awaited vendetta.

"Hello, Murphy. How's the night treating you?"

Murphy gave her a heartwarming smile, accompanied by sincere laughter.

"So far so good. What about you my dear?"

"Lovely, I'd say. New York has its charm, you know."

She said as her hand reached her pocket, searching for the ticket.

"Seems so."

Murray said as his eyes carefully scanned Heaven's. Sensing his unusual behavior, Heaven glued her eyes back onto his as she took a step further.

"How do you figure?"

She asked as she gave him a smirk. A smirk that often got people's breath hitch, hands sweat and their heartbeats accelerated.

"Your eyes."

Said Murray letting his body language do the favors, he pointed at her eyes.

"They tell a lot."

He said as he positioned himself back behind the booth. Murray was a part of her plan even though he didn't know much about it. She didn't lie to him but she also didn't tell him things that were none of his business. Such as her soon to be attempted murder.

"I suppose."

She said as she lifted her wrist casually to check the time.

"Aces. Perfect timing."

She dipped her hand back again into the pocket of her coat. Unable to feel any sort of texture regarding the existence of the ticket, she slid her other hand into her other pocket.

"Nothing."

"Your ticket, my dear?"

Without disrupting her composure, she thought of a quick backup plan.

"I need him to participate, I lost my ticket. How is this even possible?"

She thought as she closed her eyes shut. Letting out a deep breath, she opened her eyes only to reveal her teary vision. She strongly held on the cuffs of her coat making her knuckles turn white as she lowered her gaze to the floor. Even the most successful artist would be envious of her skilled performance.

"Murray, my ticket is missing."

Murray studied her reaction as he gave her an apologetic smile.

"I'm sorry my dear. I don't think that we have any other tickets left for the night."

Upon hearing his words she raised her gaze to meet his, giving him a look that will scar him for the rest of his life.

"Murray, You know that I can't miss this. Tonight was my main reason for coming to New York. I'm desperate for your help."

She said slowly pushing her coat back to display the outline of the gun beneath her dress. Her innocent demeanor was falsified by her reveal. Murray gave her an empty look, seemingly unaffected by her threat. He stopped for a second before turning to her with a smile.

"I got you, Heaven."

He said as he reached under the desk revealing a golden ticket. He slowly extended his hand as hers followed. Then, he retracted it. Unaware of the dangerous game he was playing with Heaven's patience.

"One last thing, Heaven."

He indicated to her to come closer as he leaned in. Not wanting to waste any more of her precious time Heaven obliged.

"It's time for you to prioritize yourself. For the sake of your good."

He said as he gave her the ticket and pushed the gate open for her.

"Have fun, my dear."

Heaven, unimpressed by his discourse, stepped inside. Hearing the gate close behind her. The heavy smell of tobacco dominated the large area blinded by the lights of the enormous chandelier and golden decorations that reminded her of the Palace of Versailles. A palace that was full of people with extravagant attires laughing and cheering, adorning their social interactions with excessive reactions. Baffled by the unanticipated environment Heaven took a few steps back, letting her back hit the wall.

The wall, located exactly where the gate should be. As her confusion gets the best of her, at her right she notices a man reading a newspaper. She walks close enough to see the contents of the front page. Only to realize that the front page was listing absurdly familiar names of the several presidents. Names that surely belonged to the 20'ies. Heaven gently closed her eyes then she leaned her forehead against the palm of her hand.

"Where the hell am I?" she muttered as her own words, followed by her deep voice, echoed inside of her head. She gave one last glance at the velvet wall where the entrance gate should've been.

"Abandon hope, all ye who enter here."

Vocabulary:

Second hand: the hand on some watches and clocks that moves quickly, showing the seconds.

Fiesta: an event marked by festivities or celebration.

Porca miseria: in this case used as “Bloody hell”.

Vendetta: a blood feud in which the family of a murdered person seeks vengeance on the murderer or the murderer's family.

"Abandon hope, all ye who enter here.": A message warning one about a hopeless situation from which there is no return. The Italian version of this phrase appears in Dante's Divine Comedy as the inscription on the entrance to Hell. The phrase is most often used humorously.

#nicky valentino #two against the world #fictif #nix hydra

40 notes · View notes

killersolo · 3 years

Text

OC ask games but instead if reblogging the asks I answer them myself for Eugene's development

put under a read more cause this is....long [also i couldnt answer all questions oops]

dnd character ask meme by gendermybeloved

what kind of clothing does your character like to wear? do they have a style? anything they avoid wearing? Eugene wears button ups, a lot, with funky little patterns on them. Usually they are blue, turquoise, green and pink. He usually just wears blue denim pants, however if his shirt is blue he tries to avoid wearing blue pants under them. As for shoes he just wears, usually white, sneakers.

what's their current hairstyle? has it changed? do they change it often? Eugene's hair is short, but the long kind of short. He usually wears it with a small crest, but sometimes he lets it down too. During Mann Co. it was a lot shorter because Soldier demanded they'd all keep their hair short. In his mid-teens [15-16] he started off with a bit of a mullet that eventually grew into longer hair that he'd keep in place with a headband, [think Your Worst Nightmare kind of long] he cut it off at around 17.

is your character more articulate in their thoughts than their words? if yes, do they do anything about that? do they care? Eugene is more articulate in his thoughts, he tends to have very rambled thoughts that make sense to him but when he has to out those words it can be a little chaotic/rambly as well. But if he has to prepare text it comes out a lot more structured. He doesn't do anything about it cause he enjoys being a little chaotic like that.

would your character sing along to a vaguely familiar song, even if they messed up the lyrics as they went? No, Eugene will only sing along if he knows the words. If a song is vaguely familiar he'll only hum along with it.

if they wear any, how does your character go about applying makeup? Eugene doesn't wear makeup.

do they usually sleep in a certain pose? does it change? Fetal position is the go to but not a necessity when sleeping.

how would they react to eating something that was spicier than they expected it to be? Tears would form in his eyes and he'd cough a little but he's too stubborn to admit he can't handle it/it's too spicy.

are their hands steady? Yes, absolutely. Thanks to sniper training they got steadier than before.

if someone gave them flowers, what would they do with them? He'd be very confused. Eventually he'll accept them but it's very uncomfortable and awkward for him. If something like this [affection and/or something so confronting and unexpected] happens to him he'll be the type to say no out of discomfort even though he'd want to say yes.

would they sneak out at night to look at the sky? how long would they stay there looking? Absolutely, he'd use his dogs as an excuse to go outside and he'd just stay there for as long as he or his dogs like.

how do they feel about casual endearments? (babe, etc) Uncomfortable, he'd need to get used to them a lot.

what colour would they paint their room? would there be a design on the ceiling? He'd be too undecisive to choose colours or patterns. On the ceiling there are those green and purple glow in the dark stickers.

what helps them fall asleep when they're having trouble doing so? ASMR or watching those YouTube documentaries.

do they tend to run hot or cold? do they do anything to deal with that? xx I'm not sure what this question means

what's a sound they can't stand? The sound [and sight] of people eating.

would they draw patterns in frosted windows/fogged up mirrors? what would they draw? He'd draw smiley faces and dogs [and male genitalia when it's appropriate.]

do they fidget? how and/or with what? A lot! He has multiple fidget. He scratches his neck a lot, he scratches his thumbs a lot too, and he rubs his knuckles over his chest sometimes [ this also because of the scar itching].

would they sing a lullaby, if the opportunity arose? Nah, not a fan of lullabies.

do they see patterns in the world around them? do they point them out to people? All the time, but he barely points them out because more often than not people look at him weird for either not seeing the pattern or confusion.

do they like to keep plants/growing things in their space? His favourites are cacti and succulents, though most of them are fake because he forgets to take care of them a lot.

do they touch or mess with their hair/horns a lot? Usually only the hair on his neck thanks to his neck scratches, and a hand through his hair once in a while but that's it.

when they speak, do they have a default tone of voice? if yes, do they try to change it? why?

do they wrap their arms around their stomach when it hurts?

what kind of bookmarks, if any, do they like to use? No bookmarks, only memory. When it's a book they read in class, he uses colour coded sticky bookmarks for discussions in class.

do they keep books on their person? what kind? Only when he needs to bring them to his job, or when he plans on reading them [for example on a long train ride].

do they write in their books? do they mind other people writing in their books? what do they write? Yes, he writes in his books mainly for things he notices or for discussion points in class [like foreshadowing or patterns or smth similar]

do they write often? why/what about? Not really, Eugene sometimes tries to write down what he feels, because he has troubles expressing emotion and he hopes it may help him.

if they can fly, how do they feel in the moment their feet touch the ground again? n/a

if they wear any, where did they get their jewellery? He has matching sword necklaces with Demoman, but he only rarely wears it. He doesn't like jewellery too much as it feels bothersome to him.

have they ever tried to count their own freckles? do they count other people's? n/a, no freckles.

did they climb all over/onto things as a kid? Only in trees.

can they play darts? would they? He can easily play, and win, darts thanks to his aim as an ex-sniper but he doesn't because he just thinks it boring.

where are they in a group hug? (dead center, outside, etc) Nowhere, group hugs are too overwhelming [too much touching]

what's the first thing they think when they hear an alarm? what's the first thing they do? His ears perk up and he looks around to try and figure out what is going on.

do they sing with their head voice or their chest voice? Chest voice

(if they have hair that needs to be brushed) how often do they do so? do they do it gently? n/a

how would they pass the time on a train? Either reading, listening to music or playing puzzle games [like picross or I Love Hue].

do they bother to clean ink/chalk/gunpowder/etc off of their fingers? are they likely to forget it's there and smudge their nose? im not sure how to answer this one

do they keep working even when their wrists start to cramp? if they do, do they give themselves a break when the work is done? He does keep working because, once he's started something and is in the right mindset he doesn't want to stop and once again he's too stubborn to stop as well.

if their mattress became uncomfortable as time passed, would they notice it? would they do anything about it? He wouldn't notice because he already gets barely any sleep anyway.

20 assorted OC asks by pieniharmaakani

Why did you pick their name? I blame Eugene from Animal Crossing.

Why did your character get that name in-universe? I haven't thought about this yet tbh.

How do they talk in a formal situation?

How do they talk with close people?

If they got a tattoo, what kind? If they have tattoos, what would their next one be? He's got an aboriginal kangaroo tattoo on his upper right arm/shoulder. A crocodile tattoo from his lower back to his stomach, and a snake tattoo from his knee, going around his leg and ending at his foot/ankle. For his next tattoo he maybe wants something small on his hip or collarbone, but he isn't sure what.

Alpine skiing, cross-country skiing, downhill tobogganing/sledding, or ice skating? Ice skating, as it's most similar to roller-skating.

Their 2020s AU quarantine craft of choice? Music, and trying to cook but failing poorly.

Which era of historical fashion do you think would fit them?

What's their most annoying trait? His stubbornness and struggle to let go [inflexibility].

What makes them nice to be around?

What do they look for first in another person?

What do other people often notice first in them?

Their cliche YA novel scent combo? (Like 'X smelled like rhododendron and dewdrops and the pages of a 100-year-old library book 😩')

Good or bad at math? Bad/average.

Likes studying languages, yes or no? Yes!

Kitchen catastrophe or gourmet home cook? Catastrophe

What's their breakfast like? Boring, just the regular cereal with milk, and if he's late just the nearest thing he can get his hands on.

Do they have a favourite accessory / item of clothing? If yes, why that? Nope not at all.

What cute thing were they into as a tween that they cringe about now? (Let them know I love it!)

What kind of people are their type that they find most attractive? (Either platonic, romantic or sexual attraction.)

Oc Asks Game by inky-duchess

What is your character's reaction to a minor inconvenience? Such as getting their jumper caught on a door handle? Normally he wouldn't mind but when he's having a bad day he'd lose his mind.

Tea, coffee, hot chocolate or other? Tea is the usual hot drink! The other two only in specific situations.

What does their safe space look like?

What do they consider to be an unforgivable action? Why?

Do they have any nicknames or pet names or other aliases?

What kind of books comfort them? What books help them heal after a hard day?

Are they a naturally assertive person or are they painfully shy? Usually a bit assertive but when a situation is unfamiliar he can be a bit taken aback/shy, but he can adapt quite quickly.

Do they consider themselves a friendly person or aloof? He considers himself friendly, but he can come across a bit aloof at certain times.

What is your character's trigger point? What makes them angry, sad or makes them go off?

What kind of jokes make them laugh?

Do they enjoy pranks or do they hate them? Are they likely to fall for a prank? If the prank is harmless he enjoys them. He falls for pranks a lot because of his obliviousness/naiveté/whatever that thing that autistic people have is called.

Are they an overall healthy person? Do they make for a good patient or a terror?

Describe your character's typical wardrobe for the regular day. Button up, jeans and sneakers.

Are they a simple person to please or difficult?

What is the first thing people notice about them?

What do they look for in a friend? A love interest?

Who are they soft for? Do they find being soft easy or difficult?

Describe your character through a Brooklyn 99 gif or line.

What does your character consider to be their lowest point?

Does your character have a comfort item?

What would be one item that they would hate to lose most?

What are their eating habits like? Do they snack throughout the day? Or do they eat sparsely? Sparsely, he forgets to eat quite a lot and even when he does it's not really enjoyable.

What is your character's favourite food and who cooks it best?

What are your character's special skills?

What are somethings they find difficult to do? Or say?

Are they an animal person? Do they have pets? Eugene loves animals more than anything in the world, he absolutely melts at them. He's got 2 dogs himself as well.

What are their opinions on children? Do they view children as sweet angels or evil crotch goblins? He really doesn't like kids,,,at all. He doesn't want kids either.

If your character was in today's world, what social media platforms would they avoid? Or be prominent on? He'd try to avoid facebook, instagram and twitter, though he would post to instagram or twitter just once in a while. He uses discord for friends and even 1 class for the pandemic. WhatsApp is used mainly for contact.

Are they an organised person? Or more laissez-faire? It's organised chaos. He's got everything organized but only in a way that he knows where everything is.

Do they dwell better in chaotic situations or more linear situations? Linear

Your character has been invited to a masquerade ball. What mask do they wear?

Your character is having a prom night/debs. What kind of outfit do they wear?

How do they act around people they don't know? Are they shy around strangers or dismissive of them?

Can your character drive? If so, what kind of driver are they? If not what's their preferred manner of transport? He can drive just fine, he's a very relaxed driver but can't focus when other people in the car talk too much.

What attracts your character to another person? What kind of person do they do for?

Tell us something about your OC that doesn't make it onto the page? He's got quite the bit of trauma/ptsd. The reason I haven't talked about this yet is because I'm not sure how to write it accurately, yet.

Your character has been kidnapped. Who has kidnapped them and how do they escape?

How does your character unwind after a long day?

What's your character's guilty pleasure?

Your character's friend has just been mugged. What's their reaction?

Your character has been punched into the face. What's their reaction? He's not a huge fan of violent/physical confrontations, so he'd just get angry with whoever punched them. If they punch a second time, Eugene will gladly return it.

Does your character celebrate their birthday? If not, why? Yeah

What is the DND alignment? Chaotic Neutral

Hogwarts House?

Star Sign? Leo

Does your character believe in anything? Religion? Superstition? He's neutral on it, but he find it fascinating and interesting to talk about.

What is your character's reaction when someone does something nice for them? Discomfort.

Is your character easy to make cry? Or angry? Or annoyed? Not angry or annoyed but frustrated.

What is your character's biggest fear? Most irrational? Being forgotten.

How does your sleep at night? Are they a heavy or light sleeper? Do they dream or have nightmares? Do they find it easy to sleep or are they more a night owl? He's more of a night owl, but when he sleeps he does have nightmares quite often. He only sleeps when he's completely exhausted.

#out of classes #headcanons #//just wanted to do this for fun #:D

1 note · View note

tlbodine · 5 years

Text

Twisty Turns and Horror

“Every story ever told can be broken down into three parts. The beginning. The middle. And the twist.” — Jack Black as RL Stine in Goosebumps

I want to talk about twists.

Specifically, I want to talk about two primary types of twists in the horror genre, and how and when each can be employed -- and the pitfalls of both.

But first, a caveat: What do I mean when I say “twist”?

A plot twist occurs when the audience’s expectations are subverted.

Based on the existing information in a storyline, a reader or viewer expects a certain outcome. A twist occurs when something unexpected happens instead. But a twist is not a mystery. A mystery presents a question -- who did it? how? what happened? -- and then challenges the audience to figure it out before the characters involved. A good mystery requires you to lay down foreshadowing and set up all of the clues, providing red herrings as necessary to distract the audience, before tying it all up at the end with a neat bow.

A twist, on the other hand, does not necessarily require such setup and foreshadowing. And, indeed, some of the very best twists in the genre do away with such things entirely.

So with that out of the way, let’s talk about the two types of horror twists -- what I’ll refer to as The Hitchcock Twist and The Shyamalan Twist.

By nature of the subject matter, this will be spoiler-heavy, so follow under the cut!

Alfred Hitchcock and M. Night Shyamlan are two directors who made their careers from creating movies with a twist. Although plenty of other horror directors employ the same techniques, the careers of Hitchcock and Shyamalan are defined by twists in a way others are not.

But -- however much he may try to emulate him with his signature on-screen cameos -- Shyamalan trades in a very different type of twist than Hitchcock. Taken at a plot level, the two approaches to storytelling are actually completely opposite.

A Shyamalan Twist Occurs at the End, Reinterpreting Everything That Came Before

Let’s briefly review Shyamalan’s twists to see what they have in common, shall we?

The most famous -- in The Sixth Sense, we discover at the end that the character played by Bruce Willis has actually been dead the entire time, and that he is just another of the ghosts the little boy can see.

In The Village, we learn that what appears to be a rural pioneer settlement is in fact a modern commune that’s been lost to history for a couple generations, and the monsters are manufactured as a way to keep the inhabitants in line (and from escaping).

In Unbreakable, we discover that the story isn’t just the hero origin story for Bruce Willis’s character, but the origin story for the villain Mr. Glass -- who was responsible for the accident that set the hero on his journey in the first place.

In The Visit, we find out that the kids haven’t been staying with their grandparents at all, but rather with a pair of escaped and murderous mental patients.

What do all of these have in common? The twist is revealed at the climax of the film, and it acts to completely reinterpret the events that came before it. You’re left leaving the theater to think about everything that came before the twist, and try to find a way to piece it all together. All of your expectations up to the climax have been subverted, and you’re left to do the work of figuring out how to make sense of what you’ve seen (or not, of course - perhaps you leave the theater without ever thinking about it again).

Done well, this twist can be incredibly powerful because it invites interaction from the audience even after the story is finished. The twist introduces new questions that it doesn’t answer, and conversation can spring up around finding solutions for it -- either within the text itself, or contemplating it in a larger context. Done well, a Shyamalan twist can lead the audience toward introspection and create a haunting effect.

Done poorly, of course, it can feel cheap, cheesy, unearned, or just downright stupid. That’s the greatest risk of the Shyamalan twist -- it can leave the audience thinking, “Who cares?”

Of course, Shyamalan didn’t invent this sort of twist -- it’s just what he’s best known for -- and there are tons of other examples out in the wild. Here are a few to consider:

The Twilight Zone -- When I’ve delivered this talk before (if you can call “rambling about movies to my coworker” a talk), it’s been pointed out that this twist was really codified first by The Twilight Zone, and I should really call it a Serling twist. Well, I’m not doing that for two reasons. One, because Serling never tried to draw a direct parallel between himself and Hitchcock, so Shyamalan is really inviting himself to this discussion. Two, because The Twilight Zone uses the formula a little bit differently.

First, not every Twilight Zone episode had a twist ending (although the most famous ones did, probably for the reason I mention above -- people like to talk about surprise endings, and they stick in the memory). But more importantly, the twists were the story. The sci-fi/horror shorts were structured like jokes where the twist was the punchline, often crafted to deliver a particular message or parable. Most of the episode existed to set up the twist, with little time spent on extraneous plot and character development. Thus, Twilight Zone stories are more clever than shocking. Still, they are a treasure trove of storytelling to study, and they make for a wonderful compare/contrast with Shyamalan’s films.

Other notable Shyamalan-style twists:

Fight Club, where we learn that Tyler Durden is not real, but rather the alter-ego of the seemingly meek and unnamed narrator.

Memento, where we learn that the film’s core mystery has been solved numerous times, only to be forgotten -- and that the main character is being manipulated every step of the way.

Orphan, where we learn that the titular orphan with homicidal tendencies is in fact a grown woman with a peculiar form of dwarfism who is manipulating the families who adopt her. (the movie is better than that plot synopsis makes it sound, I promise)

In Hide and Seek, we learn that the little girl’s evil imaginary friend (at times implied to be a ghost) is in fact her father’s alternate personality.

There are, of course, lots more. There are also some near-misses. For example, despite its bleak “gotcha”, the ending of The Mist -- where the main character mercifully kills his fellow survivors before running out of bullets to use on himself, only to find that help was just around the corner -- doesn’t quite count. It’s a shocking and heart-wrenching twist, but it doesn’t fully redefine the film that came before it.

Pros to the Shyamalan Twist:

Gives your audience something to think about long after they walk away, generating discussion and hopefully that haunted “I need a minute” feeling to process the story.

Invites a second watch/read in order to pick up the clues and pieces and see how the story unfolds differently after you know the ending.

Cons to the Shyamalan Twist:

Can feel cheap or un-earned if the twist makes the events of the film no longer seem to matter (eg, “it was all a dream!”)

Often ends up relying on ableist mental health tropes (split personality, escaped lunatic, etc etc.), so please do something new with it

Can completely fall apart if the ending is spoiled ahead of time, making it difficult to succeed in a post-internet environment.

All in all, the Shyamalan Twist can be a powerful storytelling tool, but it can also fall flat on its face. The thing that will make it succeed is if the other elements of the story, especially the characters, are compelling enough on their own to make the reader want to know more.

A Hitchcock Twist occurs early in the film and changes the rules of what you’re watching

A primary characteristic of the Hitchcock twist is that it happens early in the story -- about 1/3rd to 1/2 of the of the way through. It sets up a premise, invites you to get invested in the characters and their situation, and then pulls the rug out from under you by dramatically changing the movie into a different type of story altogether.

For example:

In Psycho, the first 47 minutes of the 109-minute movie are all about Marion Crane, a woman who steals money from her job and skips town before ending up at a seedy roadside motel. These 47 minutes spend a lot of time building Marion’s character and setting up what could be a crime thriller...until she is abruptly and violently murdered, and the narrative shifts over to the killer.

In The Birds, a socialite and a lawyer spend almost half the movie developing a relationship, from their meet-cute to the ensuing quasi-romantic stalking, the weekend getaway, meeting the locals, befriending the family, attending a party. It honestly feels like a romance (with a few creepy details) right up until a flock of birds starts attacking party-goers.

In Vertigo, the main character is a retired police officer turned private investigator who is hired to spy on a man’s wife, only to fall in love with her, a situation made complicated by her apparent madness and/or possession by a dead ancestor. This madness drives her to commit suicide. Except then the movie keeps going, and we discover that everything up to that point (2/3rds of the film) was actually a complex setup to disguise a murder...a revelation that honestly takes a backseat to Scottie’s newfangled, creepy obsession with the not-actually-dead girl of his dreams, which then ends in a new murder. It’s a convoluted story that’s much easier to watch than to explain, but it’s a wild ride from beginning to end.

What do all of these Hitchcock films have in common? They set up one storyline, spending lots of time developing the characters and progressing the plot, only to take an extremely sharp turn. Some might argue that Hitchcock thrillers are just very slow burn, taking their time to luxuriously build up to a crescendo, but I think it goes deeper than that -- some of these movies abruptly change genre.

In no instance is this as self-evident as in The Birds. The effect of watching it is akin to what might happen if you made a Lifetime movie and then halfway through the zombie apocalypse just happened to take place. It’s brilliant, and it replicates the feeling of real life horror -- where bad things happen suddenly and unexpectedly to ruin your everyday life -- better than any other storytelling device.

Hitchcock is the master of this type of plot, but there are other stories that employ a similar technique:

Gone Girl introduces us to a man whose wife has gone missing, and spends a lot of time building up their relationship history and casting doubt on him, so that we begin to suspect that he’s a murderer...only to learn, quite abruptly, that not only is his wife still alive, but she’s the one who set this whole thing up. It’s masterfully done, and the twist occurs about halfway through, giving us plenty of opportunity to see the marriage turn into a real cat-and-mouse game between two equally awful people.

You’re Next sets up a pretty standard home invasion premise, but it goes sideways when one of the guests begins to fight back. Brilliantly, this is a twist not just for us but for the people in the film -- it’s a turn of events that ruins the evil scheme, where the whole invasion was a setup and many fewer people were meant to die.

Hereditary lays down all the foundation for the little girl to be supernaturally creepy, the driver of whatever badness the film has in store...right up to the moment of her death. (The film then double-helixes with a Shyamalan twist ending, just for good measure)

Million Dollar Baby seems at the outset to be an underdog sports film, right up to the point where it actually becomes a treatise on assisted suicide (among other things).

Interestingly, the Hitchcock Twist finds a home in dramas as much or perhaps more often than in mainstream horror. The reason for this is probably because the twist demands strong characterization, and that sort of lengthy, nuanced character study isn’t as common in genre fiction. This, by extension, means that genre stories that do successfully deliver this kind of twist are often better received by mainstream critics.

For example, look at Game of Thrones. Ned Stark’s death is absolutely a Hitchcock Twist. At the outset, an audience has certain expectations for how an epic fantasy is supposed to play out -- and brutally killing the main character and ripping apart his family as a “reward” for acting noble is definitely not it. This subversion of expectations is one of many reasons the story resonates so far beyond the usual bounds of fantasy fandom.

Pros to the Hitchcock Twist:

Done well, it can make your story feel more literary and/or transgressive, providing cross-genre appeal for audiences who might not normally see or respect your type of work.

It keeps the audience on their toes by subverting their most crucial expectations; once you pull the rug out from under them, anything can happen!

Cons to the Hitchcock Twist:

It can lose the trust of your audience, who may not want to follow you around the bend and might feel betrayed or confused by the sudden shift in expectations.

It’s tough to market because there is almost nothing you can say about the story that will appeal to the target audience without also giving away the twist.

It requires a lot of skill with characterization to make up for the slower pace of the plot.

If there’s one thing that both Hitchcock and Shyamalan twists have in common -- and one take-away I want you to keep -- it’s that successful twists rely on strong characterization. You absolutely must write good, believable, compelling characters first and foremost, or the audience isn’t going to care what happens to them, no matter how twisty those events may be.

And one final caveat: You can really only afford a couple of major twists per story. You can double up, offering both a Hitchcock and a Shyamalan twist in a single story (see above re: Hereditary), but it’s extremely tough to pull off and can make your audience confused and even downright angry if you fail.

What are your favorite movie twists? Reblog and tell me all about them!

And if you enjoy this content, please consider leaving a tip in my tip jar: Ko-fi.com/A57355UN

#writing advice #horror #horror movies #how to write horror #m night shyamalan #alfred hitchcock #long post #please reblog this #I spent like 3 hours writing it

41 notes · View notes

2k18leo · 5 years

Text

TMNT 2007 talk

Okie dokie since we’ve been on hiatus for a long long time, but I still want to talk turtles, I figured I’d talk about the TMNT 2007 film again. If you’ve been with my account for a while you may know what a huge fan I am of this particular movie (of course I love the other films and may talk about them at a later date, but this one just hits differently for me mainly because it’s what got me into the Ninja Turtles in the first place)

So, I have already briefly covered my take on the 2007 film as a whole. Aaaand, @my-sai-and-i _and_i wrote a post that goes in depth about the emotional scarring that the fight had on Leo and Raph. It’s a wonderful post and you should def check it out 👌🏼

I am currently watching the 2007 film (yet again (HA what is my count up to now? Can’t keep track. Lol moving on—)) and once again I am breathless at the climactic fight BATTLE that Leo and Raph have. Every single time I watch it, my love for the franchise grows even more. I think this may be because I’m actually such a fan of the TMNT trope that is the constant butting heads of the two oldest brothers (oof sorry not sorry 🤭). I’m also going to talk mainly about this fight scene because it’s literally the EXACT scene that I started watching when I was first introduced to tmnt. That is already talked about in another post, however 😂

Okaaay, let’s get into this thing. First off, the score for this chase scene is already making you very anxious for some sort of confrontation between the two boys. It gives you chills right off the back. Whenever Nightwatcher accidentally cornered himself I got to thinking what it would have been like if we had seen Leo and his trip out into the city instead of the diner scene with the 12th monster. Like, was he just out looking for Raph and heard police scanners saying there was an issue with the diner? Then he headed over to possibly help, but ran into the vigilante Nightwatcher. I can only assume he was already looking for Raph since Splinter right beforehand advised Leo that he needed to get off his high horse and work things out with Raph. Since April and Casey were in the lair, I’m sure Leo didn’t expect Raph to go back to their apartment. He probably went around to their old hangout places in the city (before Leo was sent to South America) but since he had been gone so long, maybe he figured his brothers didn’t hang out anymore since it wasn’t all four of them. Sure, Casey’s a great friend, but never a replacement for one of the turtles. Leo could have also gone back to the construction site that they had partly demolished with that first monster a couple nights prior. Raph did make a point in saying that they needed to find out who was responsible for the sudden burst of creatures in New York. Don’t get me wrong, learning where the 12th monster was when Raph fought it was important I guess? I mean, it made the stone generals stationed in the area, but still not THAT close to where Raph and Leo ended up (they ran quite a ways. A mile at least.)

Okay, back to the rooftop scene. The setting was beautiful and I just— *chef’s kiss* love it. The rain. The red glow of the Red Eye Club sign. Which, I’m just now thinking about this but if an English teacher was asking you what the red sign symbolized I do believe that that could be some sort of symbol/foreshadow that Raph will be the one who comes out victorious in the upcoming brawl. In case I’m not completely giving that a whole-ass stretch, I looked up the Red Eye Club to see if it was a real place but all I got were a bunch of pictures of marijuana so I’m gonna assume NOPE. It could be a minor detail or it could just be a coincidence 🤷🏽‍♀️ I mean the neon sign did not have to be red specifically. Lol don’t @ me 😂

Anyway, I love the way the rain falls on the metal of Raph’s armor. I can only imagine how much of a BITCH that rain was to animate.

Leo starting off with the good cop persona is very in touch with his character and I like. He’s still the “talk first, shoot later” wise character we LOVE, while Raph is so much the opposite (which we LOVE JUST AS MUCH (ugh sorry im gushing again)). I like how Raph stayed silent. He didn’t give his identity up. He didn’t try to stop Leo from starting a fight. He WANTED to fight Leo. And this was the perfect opportunity without Leo holding back by being aware of his own brother under the suit. It’s sort of like a Red Hood/Batman type scene. And, it’s hardly audible but, Leo then continues to try and calm down the vigilante by saying “The road you’re on is a dead-end. Believe me, I’ve tried it.” He has no idea who is behind the mask. For all he knows, he’s talking to a complete stranger, yet he is still trying to be the voice of reason. The Nightwatcher could be a deranged murderer for all he knows. He is only aware of what the News has been recently saying. You can tell he doesn’t know everything about this vigilante (which, side note but, this all seems a bit hypocritical if I’m honest. Up until Donnie and Mikey got jobs, all the turtles/Casey/possibly April did was vigilantism. I mean, does Leo think that the Nightwatcher is correlated with the monster sightings? Is that his main reason for being a vigilante to stop a vigilante??) ALSO when Leo said “…believe me, I’ve tried it” is that referencing his time in South America? I know he “got caught up in his own world” and “forgot about everyone else” but does that necessarily correlate with what he’s talking about? Did something really bad happen in South America that we didn’t see? Did he become like Hawkeye (cough* Ronin) in Endgame?

This also makes me wonder what would have happened if Donnie and Mikey had gone out to help Leo search for Raph. It could have been like a Teen Titans scene where Robin was posing as Red X and the rest of the titans unknowingly fought their ally because he was seemingly just another villain. If things played out that way, I’m not even sure that Raph would have put up much of a fight. He didn’t have any major beef with his younger brothers. The scene would have probably been way less emotional as well. Plus, Leo probs wouldn’t have been captured.

Whenever Raph first wields his weapons, signifying he’s ready to fight, Leo gives a very small smirk. He wants to fight as much as Raph does. But for different reasons. Raph knows his opponent and is angry with him— furious even. Leo… I think deep down he loves to fight. He knows he’s good at it. He knows he’s going to win. But it’s probably been a long time since he’s actually felt that great adrenaline rush of a fight (yes, I’m aware he was in the fight with the first monster but that’s not a one-on-one duel) Which is why when he says “Trust me when I tell you. You don’t want to do this” he says it in a way that he’s still trying to be the voice of reason… BUT it’s also very much a threat. He’s been wanting a proper fight for a while. There’s a certain thrill I’m sure he gets when he’s faced with someone who is probably an even match for him. Even with the threat he gives, he’s fully aware that his opponent will strike.

COCKY LEO.

I’m not going to even try to get into the subject as to why on earth Leo cannot recognize his own brother under the suit because @my-sai-and-i already explained that WAY better.

I mean, Leo is chuckling as the Nightwatcher does his second swing. It’s funny to him because he still knows he’s going to win this fight. There is no doubt in his mind that he will defeat this amateur clown in a costume. But this is the way, I’m absolutely positive, Leo acted as a teenager to common criminals on the streets. He’s always known how good he was at fighting, so I can bet money he was cocky growing up. And yeah, it’s way different than how he was fighting the raiders in the beginning of the film. Back in South America he acted all dark and silent, more than likely trying to keep up the persona of the Ghost of the Jungle. If he acted all cocky and obnoxious to the raiders, I’m sure word would get out, which might frighten the villagers even more. Being his sneaky stealthy self, he was less likely to scare the villagers, and probably able to keep up the thought that he was just a peaceful legend (kind of like Katara as the Painted Lady in Avatar (I’m referencing soooo many other things, but it makes sense to me 😂)) So, now that Leo’s back in the place where he grew up, of course, his old cocky tendencies would come back. It’s almost nostalgic for him.

Another thing. Leo is completely defensive for the majority of this fight. He hardly ever throws an actual blow. He jumps back out of the way when the Nightwatcher swings his chain at him again. Which is a completely smart move. Another reason to note that he KNOWS WHAT HE’S DOING. He’s fought for about 20 years (we don’t actually know their ages in this movie (or do we ?) but I would guess around 18-20 ??) so he’s fully aware of the fact that one of the best fighting techniques is letting your opponent tire themselves out so you can then finish them off and become victorious. But Raph’s temper has always led him to go guns blazing. Shoot first, questions later.

Leo continues to mock the Nightwatcher because he knows he’s going to get a rouse out of him. He spent a good enough time sparring with Raph to figure out how to egg on that temper. A temper that would then make Raph angry and thoughtless, thus becoming rash with his fighting technique. Ultimately becoming careless and in total defeat. Again, don’t get me started on how Leo has NOT recognized his brother yet. Even after Leo has eluded yet another strike from the chains and the Nightwatcher turns around, Leo still gives a CHUCKLE to his face. He’s begging for that temper to be released. He’s ready for a real fight. And Raph’s more than ready to finally kick his big brother’s ass.

Raph absolutely takes on the offense with a full charge to Leo as he does three heavy swings. Leo eludes all three until coming back with a counter-attack on the third. Leo does a fair job of holding his defense until Raph throws a huge right hook to the side of Leo’s head. I mean, it’s enough to knock him back a few paces and shake it off. This is when his face really goes completely serious. He’s just been caught off guard. There’s something in him that’s telling him to quit the wise-guy act. I mean, it was a simple punch, something I’m sure he is mentally beating himself up for misreading. Yet, he doesn’t charge back. He stands his ground while Raph is still the offender.

Then Leo tries to continue to coach this dude by telling him how anger is destructive. This is probably something Splinter did as they were growing up. Also, Leo never once unsheathes his weapons on the Nightwatcher (yes, he ultimately does with Raph, but that’s later on. Hold tight, my dude). Even when the Nightwatcher drew out his chains, Leo didn’t react by drawing his own blades. I feel like being able to hold your own during hand-to-hand shows power/strength, while fighting with weapons shows skill. Which is another reason why I think Leo teased him at the beginning of the fight; he didn’t really expect this vigilante to have had any actual training with these weapons. He’s probably just some punk who thinks it’s cool. Another Casey Jones or Purple Dragon that could probably be knocked on his ass in 3 hits max.

Leo’s uppercut is powerful as hell. He shot Raph like 6 feet in the air. And that can’t be easy. I can’t imagine how much these boys weigh. They’ve got the mass of a typical bodybuilder + the weight of their shell + the weight of their weapons PLUS Raph’s entire armor. That’s heavy as hell.

Okay. The “Goodnight, Dark Prince” line. I don’t like it. It doesn’t seem to fit. When has this character ever been referred to as the Dark Prince? The only other thing Leo has referred to this vigilante is Nightwatchmen. Though, I get that it would be kinda redundant to say “Goodnight, Nightwatcher.”

That’s another thing. Leo never meant to kill this dude. Just knock him out to drop him off at the police station later. Leo doesn’t kill. I mean, the very beginning of the film where he had his one-on-one with the raider leader almost implied that he killed him. Because the shot changed as soon as Leo made contact with the guy and all you hear is a loud scream making a flock of birds fly away in fright. If he was dark enough to kill these types of men (because IF he killed him, that probably wasn’t the first guy he had killed) in South America, that’s most likely the “dark path” / “dead-end” that he was referring to earlier. But I guess being back in the city does make him revert back to his old tendencies (but it shouldn’t completely disregard whatever messed up shit he had done in South America. That stuff should still be carried with him). Not even Raph is low enough to kill criminals. In his first scene in the film all Raph does is knock out some burglars and chain them up for the cops to find later on. It makes me wonder what would it have been like if Raph had gone to South America instead of Leo, while Leo stayed in the city. Would Leo have taken on his role of his own Nightwatcher? In the 2012 series, we see him become some sort of vigilante but he’s got Karai and Shinigami with him. It doesn’t seem very in character for Leo to go solo like Raph did. Of course, Leo would still miss the fight, but I’m sure he’d wise up and get a job just like his younger brothers.

Okay, here we go. Here’s that brother angst we’ve been waiting for. When Leo first realizes who’s actually behind the mask, he’s not angry. He’s not mad. Not even disappointed. He’s really just shocked out of his mind. Complete disbelief. He just walks closer to Raph in hopes to talk to him. Perhaps apologize for fighting him just moments before, that he truly had no idea. But Raph doesn’t even turn to face his brother before doing a powerful back kick to Leo’s chest. Which, of course, takes Leo by surprise. Sure they had had a couple arguments since he’s been back but honestly that’s how Leo remembered things being with Raph. He remembered small quarrels. Nothing serious. They had always butted heads. Even though Splinter warned Leo that Raph had taken Leo’s absence pretty hard, he didn’t really know what that meant until now. He didn’t understand why his brother had so much pent up rage toward him.

And Raph is throwing all these words at Leo. Calling him out by saying that he believes the world revolves around him. That they couldn’t possibly survive without him. I’m sure these words sting a bit to Leo but that’s not what he’s focused on. He’s starting to register everything. THIS is why Raph has always had an issue with him. THIS is the reason for his younger brother’s constant attitude. And when Raph says that they got along just fine without Leo, for a split second, you can totally see the pain that causes Leo. Like, that shit hurted. But he raises his voice and retaliates by calling him out on his bullshit. He’s telling Raph how immature it is that he’s taken up this new persona (*cough* still a tad hypocritical since he did basically the same thing as Ghost of the Jungle) because it’s causing danger to their family. I mean, at least the villagers were never truly afraid of Ghost, but the citizens of New York are terrified at what the Nightwatcher is and his motives. It’s all they’re talking about on the News lately. Raph has been causing a panic without even realizing it because he’s been too blinded by his own good intentions.

But Raph doesn’t want to hear it. Leo hasn’t been around. He left. He wasn’t there when the turtles were just sitting by without a leader while criminals still ran amok. I mean, Raph has been angry at the thought “why does Leo get to go?” “What are we supposed to do now?” And with Donnie and Mikey being too passive to stop Raph, there really isn’t anyone around to keep Raph from straying from this road. How can Leo honestly expect things to go back to normal?? How can this big shot waltz back into our lives after he’s missed the last year and a half? And how the hell does he think he’s still the boss of me?

And now Leo is trying to explain to him that the reason for being gone so long was to better himself for Raph and the boys. It wasn’t up to him to go to South America and be gone for so long. He didn’t ask for it. Just like Raph never asked to be second best. He didn’t want someone to lead him. This is just how things turned out. Neither of them can help what they went through in the past. It’s just a recipe for disaster when one party is trying to be the best they can be for the other party and positively beats themselves up if they let the second party down. Aaand when the second party is completely resentful of the first party because they were chosen for the role the second party wanted. Leo can’t get over the fact that no matter what he does to better himself for Raph, Raph will still disregard it. And Raph can’t get over the thought of the living embodiment of perfection that is his older brother, so he’s angry with himself for not being as perfect and takes it out on Leo.

And Raph has become his own leader. He’s become a lone-wolf that doesn’t need a leader anymore. He has good intentions (even though they are not being followed through quite right) and Leo is just coming back and messing everything up. Things have changed and Leo needs to realize this. But Raph also needs to take into consideration that Leo is trying to realize this. He’s been trying to reconnect with his brother. But Raph has put up such a strong wall around everyone that he thinks talking isn’t going to help.

Leo telling Raph that he isn’t ready to become his own leader is a tiny bit selfish in my opinion? I mean, I agree, but still. Like Leo sees that Raph never went on a hardcore training period off in some jungle halfway across the world. So, he thinks, how CAN Raph be ready if he hasn’t done that? But that’s the thing. Leo and Raph have their own way of doing things. Leo, in multiple iterations, tries so hard to have his brothers be exactly like him. If he achieves something a certain way, he expects his brothers to reach their achievements by doing it the exact same way. But Raph is fully capable of reaching his achievements his own way (same with Donnie and Mikey). That’s something that Leo has had a difficult time wrapping his head around.

I also don’t feel like Leo outwardly staying that he’s better than Raph is true to his character. There’s no doubt in my mind that Leo believes that and has thought it on SEVERAL occasions. But with his “gotta be the bigger man” personality, it’s hard to believe he would stoop so low as to actually say it to Raph’s face.

Now Raph laughs at this. And I feel like most of it is a fake laugh, but there’s still a part of it that’s real because he’s finally ready to show Leo that he’s better than him. This is the real fight that RAPH has been waiting for. The perfect match. The leader and the lone wolf. The Ghost of the Jungle and the Nightwatcher. Leo and Raph.

Leo still tries to have him call off this fight. He’s confident in himself that he will win. Both parties are, in fact. They’ve both developed such different fighting styles since the time they’ve sparred together, that they’re basically strangers to each other now. They both know this isn’t going to end well. That things will be different after the dust (rain?) settles. Leo has a negative outlook on it. He doesn’t think that Raph will ever be happy towards him again. If anything, Raph will probably shun him. This defeat could push Raph over the edge. This could make Raph leave for real. He doesn’t want that. It pains him that he has to fight his little brother. But Raph? Raph has a positive outlook. He believes that after he defeats Leo, Leo will then see Raph’s true potential. He’ll be recognized as the best, no longer second-best. He finally gets to prove to Leo that things are different.

Leo visibly sighs and shakes his head knowing there’s no getting out of this fight. His stubborn little brother won’t back down. It wouldn’t be honorable for Leo to stand down and admit defeat. It also wouldn’t be honorable to disgrace Raph by completely disregarding that he’s his brother and just going for the kill. He’s at a complete crossroads here. So, ultimately, he draws his swords.

The shot of the two boys staring at each other from across the roof — I want that as a poster !! It’s so gorgeous. I’m just noticing this now but it’s split JUST down the middle in terms of color. It gives a very yin and yang type picture. Leo is on the side where the red neon sign is glowing bright, thus making him glow a faint red color. Raph, on the opposite end, is on the side where the shine of the moon is hitting down, making his armor almost glow a pale blue. Ugh so much symbolism I may cry. Right off the bat you can tell the differences in the two boys. Raph has been in his ready-stance for a while. He’s been waiting for this. Leo stands tall with blades in hand but not in an attack stance. There’s still that sliver of hope that Raph will back down. It’s still early enough to put this behind them, but that window is fading fast. As the rain beats down around them, Leo realizes that the window is closed. Nothing will stop this fight. It’s happening. There is no going back.

Per the theme this rainy evening, Raph is the first one to charge. He runs like the brute he has become, fists clenched around his sai so he’s ready to stab or punch. Leo charges in a very graceful samurai run. Also the music. The thundering drums that beat so deep and so fast. It’s such a powerful scene.

The shot of the tip of Leo’s blade grazing the water on the roof is STUNNING. Honestly, who thinks of these details because I hope they got a RAISE back in 2007 😂 it’s beautiful

I also love how they both jumped toward each other as their first move. This shows that they are now both on the offense. Something snapped inside Leo to make him change up his tactics a bit. Almost to throw off Raph, who has never been the best at a defensive position. His strong suit is in the offense.

Still the differences between their fighting styles after the jump. Leo did a beautiful forward shoulder roll, which is a proper technique of coming out of a forward jump. It keeps your momentum going into your next attack. Raph landed on his feet which, may not be ideal, but gave him a split-second advantage to be on the offense for the next attack. Leo then had to block with his sword. This fight goes FAST. I’m watching it so carefully and I’m sure there are things that I’m missing. I love how Leo does a roll over Raph’s shell, and up until now I figured he had made contact with his shell, but he actually didn’t because just as Leo started his roll, Raph ducked forward out of the way. Then Raph does a couple kicks towards Leo’s head, which cause water to sprinkle EVERYWHERE and it’s gorgeous. Raph is just going ham and not letting up on Leo as he’s still going for those strikes. (Lol I took a stage combat course over the summer so I know a little bit of the lingo (but good god I am no expert so please call me out if you know I’m using improper terms)) Watching this scene makes me want to do a move chart with a list of moves they are doing and in the order they’re doing it haha. Finally, Leo is able to squeeze in two strikes towards Raph, both of which he ducks and then blocks.

The camera angles are wonderful. Have I talked about that yet? I mean the shot of the two of them squaring off. The little shot of the two of them fighting between the E and the D in the neon sign. And even the upcoming shot from below when they’ve got their weapons locked together. So beautiful.

This scene also really shows the details of the Nightwatcher suit.

And when Leo is able to do an X cross block with his swords at the downward blow Raph is throwing with his sai, and the camera angles are just moving with the characters. UGH. Here you can see that Leo really is mad. The fury of the fight is showing through his eyes as he watches his brother with a predator-like stare. *frantically looks up synonyms for furious* and boy oh boy, Raph is just seething as he twirls his blades. This small segment of them circling each other (sort of like a Spaghetti western style) is a fighting trope that I really dig. Sais are actually a lot larger than I gave them credit for. Those sharp boys are HUGE.

The way they have their teeth bared as they circle each other reminds me so much of two very dominate male animals fighting. Like two lions fighting for the pride. When Leo finally comes to a stop his eyebrows furrow just a tad bit more, almost impatiently waiting for Raph to make another offending move. Or possibly giving thought as if the fight was coming to its end. And Raph’s pupils are crazy dilated as he charges yet again. It’s like a sickness that has infested his mind, this constant need to one-up his older brother. It’s making him crazy. And the heaviness of that armor is making Raph charge like a rhino or something. And the shot of Leo tightening his grip on his blade gives the implication that there may have been a split second where he believed Raph was ready to be done with the fight.

Their eye contact hardly ever breaks during this scene. Raph is wanting to see that split second of worry in his brother’s eyes. He’s wanting to see that hesitation.

Now Leo charges and he has taken full offense. He strikes at Raph many times, closing him into the wall under one of the two signs. He throws seven blows before doing a jumping spin kick to Raph’s abdomen. You can tell that blow sent Raph back a ways, maybe even farther if that wall wasn’t there to stop him. He probably has some form of whiplash. And even as he’s starting to lock eyes with his opponent again, Leo’s sword comes RIGHT BY HIS NECK. Leo literally got so close to making a fatal would for Raph. And no, Leo had no intention of killing Raph. He was probably aiming to give Raph a nasty slash on his cheek. Just a warning. Something that would remind Raph to stay in his place.

Now here it is. The locking of their weapons. The climax of the fight. Raph is enraged and is gritting his teeth so hard that he’s shaking. In the shot from below, you can see the absolute force that they are using to one-up the strength of the other as their muscles are just quivering. And Raph tries to make himself become larger to push Leo back. Leo gives a quick glance down to his weapon in fear that the thin blade will give out. Swords aren’t meant to withstand this kind of pressure.

And when they do break. b o i. The shock and pain that sweeps through Leo is heartbreaking. He just lost. Even before Raph throws the final blow. Leo’s swords are finished, just as he is. His swords. The weapons he’s most likely had since he became leader all those years ago. A literal extension of his body. Taken away from him in an unforgivable instant. And right as Leo is taking a glance back up to Raph, Raph is already coming up to powerfully kick him straight through the jaw. Through his kick, Raph is still in his jump twirling around to deliver the fatal blow to his brother’s head. The spear of his sai is centimeters away from Leo’s head as he falls back and hits the concrete behind him. As soon as his eyes open after being knocked back, he registers how close that blade was to piercing his skull. He’s been around long enough to recognize a deadly shot. You can tell his mind is racing in that fraction of a second as he sees the blade and looks back up to Raph to question why on earth he would throw such a potentially devastating blow. And just like that, Raph standing above with Leo pinned to the ground, he has won. He has defeated Leo. Even still, you can see their expressions change numerous times as they process what has just happened. Raph still bares his teeth in anger/triumph. He’s finally showing Leo what he thinks of his “place”. Finally showing him that he is a worthy opponent to Leo.

Again, Leo is in shock. All he’s thinking is “why” and “what” and many other synonyms for said terms. You can see his eyes flit between Raph’s own as he continuously tries to read what his brother is thinking. Then his brows furrow once more as it finally sinks in. Raph hated Leo for so long. Up until the point where he came close enough to kill him. It didn’t matter how much Leo trained to be better for Raph. Raph still hated him. Every fiber of his being. He’s confused and frightened still as to why. Just because they fought doesn’t mean there was any resolution. Leo is still left in the dark as to WHY his brother actually despises him.

Raph, still seething, is beginning to shake all the way up to his face. Then it hits him. What he’s done. His pupils widen as his eyebrows slowly shift up. That’s Leo. That’s his older brother. That’s his family. That’s who he’s got pinned down. Who he nearly sent a sharp blade through the skull. Who he nearly murdered. Leo is still staring up at him, I’m sure wondering how someone could be filled with so much hate. Maybe for a split second, if the Ghost of the Jungle actually did kill those raiders in South America, Leo saw himself in Raph. Perhaps that scared him. This could have been the path Leo was headed down if it wasn’t for April coming and pleading for Leo to return home. No one was able to help Raph. No one tried to stop him from going too far down this path. Was it because he had been absent? Was this all because he left? This is what Raph really thinks of Leo, huh?

I love how no words are spoken here, yet again. It’s brilliant what can be said without any actual words. There’s so much emotion between the boys after what just happened.

And here’s Raph again. Still processing. He tries to shake it away as if it’s just a bad thought or a nightmare. He’s in disbelief of his own actions. He then starts to shy away from Leo as if in apology but honestly what’s to be said after that that will make everything better? He also looks a little to the right of Leo, but we don’t get to see what he’s looking at. Up until this point, I’ve always just figured he was just looking away in thought, not on anything in particular. But now, I feel like he could possibly be looking at the rain falling on the concrete roof as if to help him figure out that this is reality. That he’s actually here in this moment. And so is Leo. OR, he could be looking at Leo’s broken swords, which is also bringing him back to reality. He destroyed a part of his brother. He could have done so much more destruction. He gets up ever so gently as if Leo is a paper doll that will break under his weight or a sudden shift of movement.

Leo still clutching onto his sword handles is probably subconscious instinct, like when something suddenly scares you and your muscles clench up and you hold tighter onto whatever. And here you can see that he’s actually showing that he’s in pain. His adrenaline is wearing off so the blows from just moments before are actually beginning to enflame his body. I’m sure there’s a part of him that’s scared of Raph now. Like there’s no more teasing or mocking. If he were to try it again, I’m sure he believes things could spiral out of control again. Something neither of them wanted anytime soon. His face is a little hard to read when he stands up, but mostly because he’s in pain and is showing that in his gestures and expression. Knowing Leo, he’s probably mentally asking so many questions. I’m sure he wants to talk. I’m sure he wants Raph to talk. But what on earth are either of them to say?

They’re exhausted from the fight. Leo is visibly heaving his body. Raph is still stunned as ever as his eyes are fixed on his brother who is SOMEHOW ALIVE ?? He shakes his head slightly as the thought creeps through his mind again. As the more devastating idea enters. He doesn’t even want to consider what the aftermath would have been like. What if it actually happened. What if Leo wasn’t standing right in front of him? What if he was still on the concrete ground, covered in rain pellets, immovable. Just… still. With a single sai protruding from his head. No. He messed up. How could things ever be the same again? How could he move on from this? How could he go home and face his family? His brothers? Splinter? He feels like such a little kid. A scared child who’s worried about the consequences of his actions. He would be disowned. He would be shunned. He would be hated. What was he to do? He glances down at his weapons, still in hand, and gives a tiny gasp. These were almost murder weapons. Of his own brother’s death. So, he runs. Any specific destination, probably not. He just needed to be away from Leo. He has no idea if he’ll ever see him again. Or his family. He just messed up way too horribly. How would anyone be able to forgive him? How could Leo even be facing him?

As he turns away to disappear into the night, Leo inaudibly tries to call him back. Even after all that, Leo’s still trying to reach out to him. He doesn’t want Raph to leave. This is something they NEED to discuss. He’s not mad or angry at his brother. He’s confused. He could see it in Raph’s eyes that Raph was guilty about what he almost did. I’m sure he doesn’t audibly call out to Raph because he’s partially too exhausted to do so. Plus, I’m sure there’s still a bit of fear right on the surface.

As Raph runs, he is most definitely ugly crying. But we can’t see that because of the pouring rain :’D so. And then Leo gets captured and yadayada. Wow. I think I may be FINALLY done talking about this 😂 I’m exhausted. If you read this much I’m honestly super proud of you and I appreciate you haha you’re amazing. If you have anything you want to talk about concerning the ninja turtles (preferably the 2007 film because it’s fresh on my mind, but I’m also down to talk about the other movies or the tv shows) don’t even hesitate to ask. I love talking about the turtles. We can debate certain topics, gush about OTPs, talk about issues we had with certain things. I love all that.

63 notes · View notes

jq37 · 5 years

Note

thoughts on this week's ep?

**spoilers for broadway brawl**

***Before we start, I remembered as I was typing this one of the important notes I lost from last week’s recap: Interesting that Christmas seemingly went off without a hitch. I expected Santa to come back into play somehow (like, someone would check on him to make sure Christmas was still on or he’d call them in to help or something) but he hasn’t, at least not yet.***

My guys, my guys, my guys. Was that something or was that something?

I think I am on record as saying that combat is my least favorite part of ttrpgs generally speaking because I’m here for the RP but when a combat episode shines it really freaking shines (see eg: that first combat ep of Bloodkeep where everyone went full Galaxy Brain except for Matt who couldn’t hit a single thing) and this is such a good example. This is easily a top five ep of the season for me, maybe top three so let’s get into it and break down why it was so awesome.

We start right where we left off with Titania and members of her court having come into the theater to beat the tar out of Misty mid-show.

Quick note: At the end of last ep, it was set up so that Misty was thrust on stage right after hearing the mirror was on stage which would place this fight right at the top of Act 2 but at the start of this ep, Brennan seems to indicate that it’s taking place during what would be the closing number. Which would make more sense but imagine you go see a play, the first act is super dope, and then the second act is an insane, minute long fight that’s pretty unconnected to the plot and then a buff, naked, beautiful man tells you the show is over and you should leave. Wild. Anyway.

Pixies with tommy guns in inherently funny.

So one of the things that makes this fight really great is the way it directly ties into the story in a way besides “These bad guys are in our way.” Misty is using this show as a part of her reincarnation spell so if the show is messed up, it fails and she’s on her last life. Brennan has a cool mechanic of making her roll death saves every round at a difficulty lower than her modifier (which is s/t crazy like 11) but that gets harder with damage done to her and performance checks failed by other players who decide to jump on stage. It’s a great way to make the battle feel like it has more personal stakes and it’s my fave original Brennan mechanic since the Family in Flames Sophie’s Choice situation.

(I love that the death save counter is changed for theater comedy/tragedy masks for this. Nice touch.)

Em, Esther, and Wally are also at the fight which is clutch.

Also, Sondheim is specifically here which is an insane detail to add just because.

WILD that no one knows what’s going on with the ritual initially because, as Lou almost does, getting all the civilians out is the smart move and it would COMPLETELY ruin Misty’s plans instantly.

Lou having Kingston take the stairs bc’s he’s 50+ years old and has no time for that nonsense has equal but opposite energy to him doing extra rolls for Fabian to do unnecessary parkour before a simple attack because Fabian’s Like That.

Murph fireblasts the hell out of Titania’s foot soldiers right off the bat from outside of counterspell range which is very cool.

“Give me a performance check for the cockroach.”

“You’re upstaging me bitch?”

Another great thing about this fight is that because of it’s theatrical nature, everyone’s RPing it more than a usual battle ep (or more intensely maybe is what I mean).

Titania hypnotizes Don Confetti and his goons into fighting for her.

“She doesn’t know she’s in a play but she does sing most of her dialogue which is helpful for you.” Titania is just Like That.

Pete drops an erupting earth and drops a sick 37 damage on those same minions Kug got.

I didn’t notice before but yeah, Ally does roll die like a f-ing beyblade champion.

Emily hearing Murph’s low key, offhand comments and cracking up is great.

“Get Sondheim!” (Emily and then Ally: WHAT?!)

Actual living dude Stephen Sondheim being involved in this fight is just so ridiculous and fun and crazy.

We go around to Misty’s turn and she has to beat a 28 (upped from 10) and she fails which feels worse than a normal failed death save somehow.

Lou, in a very good RP move, tells Pete to tell Misty to end the show so she can tell them not to so the group has a valid reason to not evacuate which is a thing they (or at least him and Ricky) would obviously want to do.

Sophie, the madwoman, jumps out of the balcony, grabs a costume, then runs on stage. Emily’s glee at being told that her grabbing the costume will give her advantage is great. She’s always trying to figure out how to make the most of her moves. She is the living embodiment of the concept of method to madness (which is from Hamlet since we’re talking Shakespeare today).

Ox is constantly dying (Brennan!) but also it’s like, why was he even there before the fight started? I’ve never seen a non-service dog in a theater.

Ricky: Is this part of it?

Oh, forgot to mention that everything that happens on stage is kinda shielded by the Umbral Arcana so everyone watching thinks it’s part of the show, which is a cool plot detail.

Ricky gets fULLY NAKED (Emily, with perfect comic timing: Now do I roll with disadvantage?) and leaps into the fray. He casts Protection from Evil and Good on her which (1) He does by Magic Mike body-rolling on her while he’s naked and considering how much shorter she is that her raises some interesting questions about positioning and (2) is the most clutch use of this spell I’ve seen in a while. It’s a spell I always wanna take as a Paladin because it makes sense character-wise, but I’ve never been able to actually use it because we’re never fighting fiends, fae, or celestial.

Brennan’s dime change change reversal of the critic’s comments on Ricky’s body rolls when Zac re-rolls his 11 makes me glad I never had to face him in a debate team setting.

Ally: What’s Esther’s deal ;)/Brennan: *Esther’s Weapon Stats*

“Your only secret you’ve ever had in your life is that you have a crush on her.”

Wally has a beautiful singing voice and a working knowledge of Midsummer's which is wild.

Lou’s periodic, “My man”’s when Ally/Pete does something cool. He’s very dialed into being Kingston.

Ricky’s aura keeps everyone near him from being charmed and Misty saves everyone else w/ a nat 20 counterspell. Few things in D&D are more satisfying than a well executed counterspell.

Titania trying to get Pete to be her consort or something when he just over the super posh Priya is very funny.

“I mean between me and Sondheim, get Sondheim!”

“DO WE HAVE HOMEWORK TONIGHT?” (“We did have homework.”)

Anyway, Misty has one success now!

Misty tries to use puppet to get Titania to drop her crown and it doesn’t work. Brennan says the crown is Crown of Stars which I looked up and it’s actually a spell, not a physical crown, but I’m assuming he used the mechanical effects of the spell on a physical item.

Brennan doing all these musical/singing bits when he absolutely doesn’t have to. I love it.

I love Ricky and Sophie being the two martial fighting heavy hitters of the group. Like, the two fighters, having the spellcasters’ backs.

I hope the one kung fu fan in the back of the theater never sees another Broadway show again because he’s gonna be so disappointed.

“I’m just so inspired by that beautiful penis.”

Murph, out of character, verbally acknowledging how insane what they’re doing is. I love when someone pauses in a game of D&D to just recite what’s currently happening out of context so everyone can appreciate how crazy it is. D&D. Gotta love it..

Emily and Siobhan have a quick conversation in the background about whether Sondheim did Les Mis or not (not, that’s Claude-Michel Schönberg) while Brennan and Murph are Ring nonsense.

I also was mildly suspicious of Alyssa so I’m glad Kingston checked her out.

The entire roast of Brennan when he’s selecting D6s is an instantly iconic D20 moment. I can’t do it justice. You kinda just have to see it.

“Someone call Wizards of the Coast!”

Em, Wally, and Alyssa go out when Titania puts out a huge spell that blinds Kug.

“Yummy, yummy, tastes like ass.”

On Misty’s next turn, she rolls a fail which makes it 2 failures to 1 success. Brennan mentions that a nat 1 counts as 2 failures and a nat 20 counts as 2 successes. I’m sure that won’t be relevant later because you can’t foreshadow things when dice rolls are completely random.

Misty fails on puppet again again and Titania goes full Wicked Witch of the West on her and starts Jonesing for those shoessss.

Emily’s Emily(tm) move of the session is doing a flying leap at Titania, hitting her with a stunning strike and having Brennan retract the Box off Doom he was pulling out because she can’t save when she’s stunned. She just plummets out of the sky.

Don Confetti respecting the sacrament of marriage as he goes full Opera ghost and tries to garrote Sophie.

Ricky (still naked) grabs the crown from Titania, tosses it to Misty, and, with some improv and a good charisma roll, makes the show suddenly make sense to the very confused but entertained audience.

I’m so glad that Murph decided to turn into a bear and that they made the Winter’s tale ref. I should have had faith in Brennan and Siobhan, the theater nerds. Exit pursued by a bear y’all.

Lou and Emily bonding over being proud of their die for rolling well when they lend it out for a big roll.

Really wish Pete had wild magic surged in this fight. Just to add that extra bit of chaos.

With a very good turn (no damage taken, no performances failed) Misty only has to avoid snake eyes to get through this turn. She leapfrogs over that low bar and rolls a nat 20, instantly fulfilling her win condition. At this point, the play is superfluous and Titania is still down.

“Brennan lost and now he knows reddit is gonna eat his ass.”

OK, remember how I said earlier that Misty seems like the kind of character you nudge a little temptation at just to spice things up? Yeah, her killing Titania and getting the crown of the Seelie Fae makes me a liiiitle apprehensive, but we’ll see how that turns out.

“I killed my queen! This is America we don’t have royalty here.”

“Bear, I don’t know who you are, but take me on your back, let me ride on stage.” —creator of West Side Story, Stephen Sondheim

Misty charms the critic at the show to make sure they get a good review which is such a fae thing to do.

Kingston’s clearly not loving attacking Don and Co. post “real fight” what with his whole Do No Harm thing (well, that’s Dr’s but same principle applies I assume) is a good character detail. For that matter, so is Ricky just taking Titania’s crown and not beheading her which he super could have done while she was down but it would have been very incongruous with everything else about him.

Brian “This isn’t Loony Tunes” Murphy throws Sondheim as a projectile weapon at a pixie who snaps the pixie’s neck and then does a monologue at the audience.

I love it when someone rolls low on an insight check and Brennan gives them useless info and then they repeat it in their character’s voice.

4 mins from the end of the ep, Siobhan realizes there are two Perrys in this story for the first time and has a bigger reaction to that than almost everything else in this ep except her nat 20.

Ricky looks for costume faun legs to cover his fully out dick instead of costume pants or even his own pants.

Misty starts glowing with reincarnation energy and she runs into her dressing room for privacy. Also, she still super hasn’t told anyone what’s going on. (ALSO, assuming she’s gonna make the world think she died, it’s gonna be wild for the company of the show to have their leading lady put on the performance of her life and then die on opening night).

“Who am I to refuse a crown when it’s placed so deftly upon my head?”

You know that behind the scenes thing where Brennan is like, “Yeah, I knew Siobhan was gonna steal that book,”? I got some of those vibes during the crown scene.

The implications of what Misty did are gonna be left until next ep but Brennan says something about her creating her own court and it looks like she’s recruiting followers in the promo. IDK how I feel about that (these stories tend to have great power--especially tied to powerful magical items--as a corrupting force) but I am very excited to see how it goes down! See you then!

#the unsleeping city #dimension 20 #asks #galfast

35 notes · View notes