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9worldstales · 3 years

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MCU “Thor”: Who’s to blame for Thor’s banishment?

So I’ve seen around people blaming Loki for Thor’s banishment and…

… I can’t help but wonder if they realize that, by saying so they aren’t just pinning the blame on the wrong person but they’re doing a HUGE, GIANT SIZE disservice to Thor.

But let's list sources used for this first.

SOURCES MENTIONED:

Movies: “Thor” (2011), “Thor – The Dark World” (2013)

Comics: None mentioned

Direct-to-video animated film: None mentioned

Motion comics: None mentioned

Books: None mentioned

Novels: “Marvel Cinematic Universe Phase One: Thor” by Alex Irvine (2015)

Webs: None mentioned

Others: “Thor” old movie script, Interview “Director Kenneth Branagh and Kevin Feige Interview THOR”, interview “EXCLUSIVE: Screenwriter Don Payne Talks Thor!”, Interview “SDCC 2010: Chris Hemsworth Interview THOR”, Video “Thor (2011) Chris Hemsworth Kill Count”

Although “Thor” is meant to be an origin story for both Thor and Loki…

Kevin Feige: The movie, very much, is an origin of Loki, almost as much as it is an origin of Thor. We had to ride that balance. There were drafts where Thor took over too much, and there were certainly drafts where Loki became too prominent, and I think we found a nice balance that is clearly the origin of both of those characters. [Director Kenneth Branagh and Kevin Feige Interview THOR]

…the focus was mostly on Thor and his journey to learn humility.

I mean, this is not MY interpretation of the story, it’s basically what everyone involved in the production says the story is about. Thor is unworthy, the banishment is just, from it he learns humility and becomes worthy again.

Don Payne: Whereas we’ve got an extra-dimensional being once worshipped as a god by the ancient Norse who’s banished to earth and stripped of his powers to learn humility, all set amidst the Shakespearean intrigue of a dysfunctional royal family. You just have to find the things that make Thor timeless and relatable as a character. It certainly helps that he’s charismatic and likeable, albeit flawed. He’s banished for good reason, but I think people will want to go on the journey with him and root for him to find redemption — particularly with Chris Hemsworth’s performance. [EXCLUSIVE: Screenwriter Don Payne Talks Thor!]

Kenneth Branagh: That story arc of the flawed hero who must earn the right to be king is in our piece, but what’s key is the stakes. There, it’s Europe and England, and here, it’s the universe. When that family has problems, everybody else is affected. If Thor throws a fit and is yelling at his father and is banished, suddenly the worlds are unstable. [Director Kenneth Branagh and Kevin Feige Interview THOR]

Chris Hemsworth: At the beginning of this film, he’s certainly a brash, cocky warrior who’s about to inherit the keys to the kingdom, and his father thinks that he’s not ready. It’s the journey of him learning some humility through the film. I think he’s one of those people who has his heart in the right place. He’s doing what he’s doing for his family and to protect the kingdom, and he thinks it’s the right way to do it. It just happens to be a very aggressive way of doing it, which probably isn’t the right way. It’s about tempering that raw emotion that he drives off most of the time, into the right direction. [SDCC 2010: Chris Hemsworth Interview THOR]

And in fact Thor makes a 180° turn from how he started.

The boy then man who insisted he wanted first to kill all the Jotun then give them a lesson is the one who sacrifices his chance to meet Jane again to save them.

Young Thor: When I’m king, I’ll hunt the monsters down and slay them all! Just as you did, Father.

and...

Thor: March into Jotunheim as you once did. Teach them a lesson. Break their spirits so they’ll never dare try to cross our borders again.

versus

Thor: You can’t kill an entire race!

The man who said his father was an old man and a fool, becomes the one who says there will never be a wiser king than Odin.

Thor: And you are an old man and a fool!

versus

Thor: There will never be a wiser king than you. Or a better father. I have much to learn. I know that now. Someday, perhaps, I shall make you proud.

The man who returning from Jotunheim was too busy to care for how Fandral got hurt so that it was Odin who had to say to get him to the healing room, is the one who, once back to Midgard, first worry about having his friends getting Heimdall on the healing room and then about what he’ll do with his brother.

Odin: You cannot even protect your friends! How can you hope to protect a kingdom? Get him to the healing room! Now!

versus

Thor: Get him to the healing room! Leave my brother to me.

The man who thought his father’s lessons were wrong, then admits his father was right.

Thor: While you wait and be patient, the Nine Realms laugh at us. The old ways are done. You’d stand giving speeches while Asgard falls.

versus

Thor: Neither did I. My father was trying to teach me something, but I was too stupid to see it.

The man who first was told by Loki going to Jotunheim was madness and did it anyway then tells Loki how destroying Jotunheim is madness.

Loki: Thor, it’s madness.

versus

Thor: Loki, this is madness.

The man who would start a fight just because he was called ‘princess’ versus the man who kept on refusing to start a fight with Loki even after the other hit him four times and only does so when Loki threatens Jane.

And then there are the comparisons that got lost because some scenes got cut. For start an even better comparison, in which another man calls Thor "Princess" and Thor this time refuses to fight.

Jotun: Run back home, little princess. [Thor stops in his tracks. Loki goes white. He knows what's coming.] Loki: Damn. [In one quick move, Thor pulls Mjolnir, swings it, and KNOCKS the Jotun clear across the plaza. The Asgardians reluctantly draw their weapons, gather into a circle around Thor. Volstagg looks around at the angry Jotuns approaching them.]

versus

Drunk townie: You were in the diner with that hot girl. [Thor doesn't like where this is going.] Drunk townie: I wouldn't mind her doing a little research on me. [He laughs. Thor is annoyed.] Thor: I have no quarrel with you. But she's a lady. You should be more respectful. Drunk townie: And you should shut the hell up, princess. [Selvig looks to Thor, concerned that he's going to lose it. But, to his surprise, Thor remains unaffected by the Townie's baiting.] Thor: I will not fight him. Drunk townie: Then it'll be easy to kick your ass.

Or like the deleted one in which Frigga said that Thor believed to be ready… when in the end Thor will realize he’s not.

Odin: Do you think he’s ready? Frigga: He thinks he is. He has his father’s confidence.

versus

Thor: There will never be a wiser king than you. Or a better father. I have much to learn. I know that now. Someday, perhaps, I shall make you proud.

You might remember Thor smashing a cup because he wanted another drink… well there’s a deleted scene in which, just before the Warriors Three and Sif reach Midgard, he brings a cup to Izzy in payback for the one he broke.

Thor: This drink, I like it. Darcy: I know. It’s great, right? [Thor hurls the empty mug at the ground, SHATTERING it.] Thor: (CALLS OUT) Another! [ISABELA ALVAREZ (60), the diner’s proprietor, glares at Thor from behind the counter.] Jane: Sorry, Izzy. Little accident. What was that? [He doesn’t understand. The other patrons stare at him.] Thor: It was delicious. I want another. Jane: Well, you could have just said so. Thor: I just did. Jane: No, I mean, ask nicely. Thor: I meant no disrespect. Jane: All right. Well, no more smashing. Deal? Thor: You have my word. Jane: Good.

Versus

As the group finishes breakfast, Thor looks at the mug in his hand, gets an idea. Thor: [About a cup] May I have this? Darcy: Sure. Thor: Thank you. Please, excuse me. [Thor leaves. In front of her diner, Isabela prepares to open for the day. Isabela sweeps the front porch. She looks up to see Thor approaching. She eyes him suspiciously. He offers her a MUG.] Excuse me, Isabela. Isabela: Oh my gosh. Thor: To replace the one I broke. Please, forgive me for my behavior. Isabela: Okay, thank you. Thor: if I may, I’d like to come back here for more of yours splendid "coffee". Isabela: Any time.

And then you might remember how Fandral was hurt in Jotunheim and it was Loki and Volstagg who helped him, while in a deleted scene we’ve Selvig being hurt and Thor helping him.

And so on and on and on.

Thor started one way, this caused his banishment and the banishment changed him.

If we go and say Thor didn’t deserve to be banished, that it was all Loki’s ploy, we ignore how Thor before was an unworthy person and after he became a worthy person. We turn Thor into a person who’s ALWAYS worthy, regardless of him acting one way or its exact opposite but for some reason was misjudged and punished unfairly and never really had to change because he was perfect as he was.

We turn Odin into a fool who punished a worthy son for crimes he didn’t do and then took the punishment back not because Thor changed, but because he realized he made a mess.

The idea Thor’s banishment is Loki’s fault is against the authors’ intentions, damages Thor by stripping him of his growth and, ultimately, it’s totally false, so trying to pin the blame on Loki so as to make him look bad is simply wrong.

Although Loki did some things that triggered Thor’s reactions, Thor wasn’t completely and utterly brainwashed. It was Thor’s decisions who ended up bringing those consequences and Loki had no idea Odin would go as far as banishing Thor.

In a deleted bit Loki says Odin normally ALWAYS forgive Thor.

Fandral: Well, if he doesn’t show up soon, he shouldn’t bother. Odin looks like he’s ready to feed him to his ravens. Loki: I wouldn’t worry. Father will forgive him. He always does.

From Thor’s reaction to his banishment it’s clear it’s the first time he got such a punishment and that he assumed all he had to do to be forgiven is to retrieve Mjolnir.

The novelization is not shy to say that:

Odin had always favoured Thor because Thor was a warrior, just like him… [“Marvel Cinematic Universe Phase One: Thor”]

The Warriors Three and Lady Sif clearly follow Thor because they don’t think it’ll end up in Thor being banished for disobeying Odin’s orders even though they know he shouldn’t have done it.

This proves it was the first time Odin reacted as such to Thor’s disobedience.

But let’s dig more into the story.

Loki yes, caused the coronation to be delayed by having three Frost Giants sneak into the vault and attempt to steal the Casket.

His purpose was:

Loki: That was just a bit of fun, really. To ruin my brother’s big day. And to protect the realm from his idiotic rule for a while longer.

Loki has no reasons to lie to Laufey about this. The ‘a while longer’ clearly imply he didn’t expect it was permanent. If he had said ‘to have him banished forever’, it would have affected Laufey just the same, he wouldn’t have judged him worse.

Thor’s reaction to the invasion is entirely Thor’s.

Thor: The Jotuns must pay for what they’ve done! Odin: They have paid, with their lives. The Destroyer did its work, the Casket is safe, and all is well. Thor: All is Well? They broke into the weapons vault! If the Frost Giants had stolen even one of these relics... Odin: They didn’t. Thor: Well, I want to know why! Odin: I have a truce with Laufey, King of the Jotuns. Thor: He just broke your truce! They know you are vulnerable! Odin: What action would you take? Thor: March into Jotunheim as you once did. Teach them a lesson. Break their spirits so they’ll never dare try to cross our borders again. Odin: You’re thinking only as a warrior. Thor: This was an act of war! Odin: It was the act of but a few, doomed to fail. Thor: Look how far they got! Odin: We will find the breach in our defenses and it will be sealed. Thor: As King of Asgard.... Odin: But you’re not king! Not yet.

Loki doesn’t even talk here. Thor, despite Odin thinking the opposite, insists they should just attack Jotunheim until Odin reminds him he’s no king.

This is relevant because if the coronation has concluded and the Jotuns had found on their own the way to get into the Vault, Thor would have waged war against them. This is what he wants to do and discussing things with Odin doesn’t change his mind, Odin merely forces him to shut up with his ‘I’m the king’ card.

Originally he would leave slamming the door behind himself, a sign he was still upset. We don’t see this, but we see him he’s still upset enough he turns a table upside down.

Then he has a discussion with Loki.

Thor: It’s unwise to be in my company right now, Brother. This was to be my day of triumph. Loki: It’ll come. In time. Thor: What’s this? Loki: If it’s any consolation, I think you’re right. About the Frost Giants, about Laufey, about everything. If they found a way to penetrate Asgard’s defenses once, who’s to say they won’t try again? Next time with an army. Thor: Exactly. Loki: There’s nothing you can do without defying Father. No, no, no. I know that look. Thor: That’s the only way to ensure the safety of our borders. Loki: Thor, it’s madness.

It’s true, if Loki had revealed he had been who orchestrated the break of the Frost Giants instead than telling him he also thought they were a threat, Thor might have calmed down. But this is not excuse enough for how Thor disobeyed Odin’s order, and only proves Thor wasn’t fit to be king right there because he insisted on going to Jotunheim even though Loki also reminded him this means defying Odin.

This is a serious matter but the key of it is that Thor wanted doing it before and still wants to do it now. He just can’t control his own wish to fight the Jotuns even if his father told him no. He’s not thinking. He’s not a common warrior, he’s the man who’s meant to be king.

If it takes him so little to wage war, then he’s unworthy of being king.

And does Loki really want for him to go to Jotunheim?

Not in the slightest, he knows it’s madness, in fact, believing Thor can’t be stopped, he tries to have him tattled out to his father.

Fandral: Well, at least he’s only banished, not dead. Which is what we’d all be if that guard hadn’t told Odin where we’d gone. Volstagg: How did the guard even know? Loki: I told him. Fandral: What? Loki: I told him to go to Odin after we’d left. He should be flogged for taking so long. We should never have reached Jotunheim. Volstagg: You told the guard? Loki: I saved our lives. And Thor’s. I had no idea Father would banish him for what he did.

In a deleted scene we see that as the group is about to ride toward the Bifrost Loki leaves them for a moment to talk with a guard. He’s not lying when he says he warned the guard.

The novelization digs a lot in how Loki didn’t want them to reach Jotunheim and in how Odin KNEW Thor would just do something, so it’s entirely possible Thor would have acted even if Loki had disagreed with him or had told him nothing.

“Why did he always seem to get into trouble because of his older brother? Wasn’t he supposed to be the wiser one? Odin has expressly forbidden that they enter Jotunheim. Yet it wasn’t the first time Thor had done something reckless. And it wouldn’t be the first time Loki was powerless to stop him.” [“Marvel Cinematic Universe Phase One: Thor”]

Loki had made a decision. True, he could not dictate his brother’s actions, but that didn’t mean he couldn’t continue to make plans of his own. As the others checked and double-checked that they had everything they would need for the journey to Jotunheim, Loki slipped away. When Loki rejoined the others, they were on their way to the Observatory. Hogun gave him a curious glance, but he ignored it. What he had done was none of their business. [“Marvel Cinematic Universe Phase One: Thor”]

They were on their way to Jotunheim. And what would happen once they got there was not in the hands of fate, but in the hands of his impulsive brother and his warrior friends. Loki would not be able to manipulate events there. He had to trust that the arrangements he had made would be enough for them all to survive. [“Marvel Cinematic Universe Phase One: Thor”]

Odin spent an uneasy night and felt no better in the morning. He had not seen Thor since their argument in the Vault. There had been shouting in the banquet hall as Thor told his friends what had happened, but Odin had heard nothing since. Frigga had tried to reassure him that Thor’s temper would ease and this would blow over, but Odin knew better. His son felt himself to be king already, whether the ceremony had been completed or not. He would take action. It was his nature. Odin hoped only that the action would not cause more problems than it solved. Just then, a guard rushed to him, and Odin’s misgivings were proved correct. Thor had taken his friends and journeyed into Jotunheim. Odin felt a deep well of fury rise up within him. Thor has deliberately disobeyed his orders. So, too, had Heimdall, who should not have let anyone pass on the Bisfrost – especially not a war party going to Jotunheim. “Tell the barn master to have Sleipnir and my battle gear to be readied immediately,” he ordered the guard. [“Marvel Cinematic Universe Phase One: Thor”]

Once in Jotunheim Laufey notices Thor wants to be there to wage war. He even warns him that if he keeps this up he would unleash something terrible… and it’s not Thor but Loki who accepts Laufey’s offer for them to leave, Thor doesn’t accept it even if they’re outnumbered and risk being all killed because, as Laufey said, he craved for battle.

Laufey: Your father is a murderer and a thief! And why have you come here? To make peace? You long for battle. You crave it. You’re nothing but a boy trying to prove himself a man. Thor: Well, this "boy" has grown tired of your mockery. Loki: Thor, stop and think. Look around you, we’re outnumbered. Thor: Know your place, Brother. Laufey: You know not what your actions would unleash. I do. Go now, while I still allow it. Loki: We will accept your most gracious offer. Come on, Brother.

Ultimately, even if Laufey and Loki had almost persuaded Thor to leave, all it takes is a small provocation and Thor starts attacking Frost Giants.

Jotun: Run back home, little princess. [Thor stops in his tracks. Loki goes white. He knows what’s coming.] Loki: Damn. [In one quick move, Thor pulls Mjolnir, swings it, and KNOCKS the Jotun clear across the plaza. The Asgardians reluctantly draw their weapons, gather into a circle around Thor.]

Loki is clearly not happy with his brother’s actions, he didn’t want this. It’s Thor who decided to do this anyway and, during the battle, we see that Thor is in a great spirit as he destroys a Frost Giant after another for a total of 145 Frost Giants (you can see the dead count in the Youtube video “Thor (2011) Chris Hemsworth Kill Count”).

Through the battle first Sif and then Loki TWICE will urge Thor to leave, they’re outnumbered they’ll end up getting killed if they remain there and it gets no better when Fandral gets wounded.

When Odin shows up Thor is all for continuing the battle.

Thor: Father! We’ll finish them together!

This is not Loki dictating his moves. This is all Thor and ultimately it’s Thor who argues with his father once they’re back, which is the last straw for Odin.

If Thor had kept quiet or had acted sorry Odin might have still forgiven him. He does not.

Thor: Why did you bring us back? Odin: Do you realize what you’ve done? What you’ve started? Thor: I was protecting my home. Odin: You cannot even protect your friends! How can you hope to protect a kingdom? Get him to the healing room! Now! Thor: There won’t be a kingdom to protect if you’re afraid to act. The Jotuns must learn to fear me, just as they once feared you. Odin: That’s pride and vanity talking, not leadership. You’ve forgotten everything I taught you about a warrior’s patience. Thor: While you wait and be patient, the Nine Realms laugh at us. The old ways are done. You’d stand giving speeches while Asgard falls. Odin: You are a vain, greedy, cruel boy! Thor: And you are an old man and a fool! Odin: Yes. I was a fool to think you were ready.

This is no Loki needling Thor, this is all Thor, this discussing matching the one he had in the Vault with Odin previously.

And, credits when it’s due, at this point Loki tried to interject.

Loki: FATHER-- [Odin turns with a growl and gives Loki a look which stops him in his tracks.]

Only at this point Thor will be banished and while yes, the way Loki chose to interrupt the coronation clearly had upset Thor and his words didn’t manage to calm him down, it’s also clear that not only Loki didn’t want for them to go to Jotunheim and almost get killed but that it’s Thor’s reaction to the situation that causes his banishment and that situation could have happened regardless of Loki having a hand in it or not.

Invasions happens.

The difference between “Thor” and “Thor: The Dark World” in which another invasion takes place, is that although Thor is always trying to disobey to his father in both movies, in the first he did it because he wanted to go at war with the Jotuns, in the second he did it because he hoped to spare Asgard from a war.

In the deleted scene for “Thor: The Dark World” even Odin acknowledges Thor was right.

Odin: I thought you’d been blinded by passion but in truth you were the only one who could see and you... did what needed to be done

His motive for disobeying his father in “Thor: The Dark World” is the exact opposite than it was in “Thor”, but if he’d been the old Thor he would have had no qualms to drag all Asgard into a war.

So yes, Loki set up the situation, but if Thor ended up being banished it was solely for his own reaction to the situation, a situation that could have happened in other circumstances.

Would Loki coming clear with Odin lift Thor’s banishment?

No, of course not, because none of Loki’s actions are what moves Odin to decide for Thor’s banishment. What pushes him to decide for such a punishment are Thor’s reactions to the situation. If Loki had confessed the most this could cause was for him too to also be banished.

And, to Thor’s credits, he grew in his banishment and became a better person. This is important, it doesn’t deserve to be underscored.

Also, as said before, Loki couldn’t predict the punishment would have been banishment and he didn’t control Odin either.

Not only Loki actually tried to stop Odin, but even Frigga in a deleted scene begged Odin to reconsider and he refused.

So yes, Thor’s banishment ultimately turned out to be convenient for Loki, but he didn’t deliberately orchestrated it, he didn’t plan that far.

So really, let’s just Thor have his moment of personal growth in which he becomes a better person in his own movie, let Odin have his own agency in deciding if to punish his sons or not and just accept the whole trip to Jotunheim wasn’t something Loki wanted nor Thor’s banishment something he could predict.

In short simply accept the story as its authors wanted it to be.

I get not everyone might be aware of interviews and deleted scenes but really, I would say the movie made the whole thing obvious enough to be understood just by watching it.

#thor #loki #thor odinson #loki odinson #odin borson #kevin feige #kenneth branagh #don payne #mcu thor #mcu thor the dark world #laufey #jane foster #jotunheim #asgard #midgard #fandral #volstagg #frigga #9 worlds study

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ofmermaidstories · 3 years

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Spoilers for the latest chapter of Something!

I'm gonna go ahead and apologize now because this is long; please feel free to ignore my wordy ass, I just have a lot of feelings about a certain someone that showed up in the new chapter lol.

I am still trying to get my shit together enough to write a proper review, but I did want to come yell at you for making the grape boy somewhat likeable, like...

Firstly, how??? Secondly, why?????!?!

Lmao, in all seriousness tho, it's nice to see him have a personality that isn't just "Mmmm, tits" *drools* I like to think that everyone in the series grows up and (mostly) out of the worst of their habits, and while Mineta is still a bit of a lecher here he isn't nearly as offensive/creepy as he comes off in show. In fact he's actually sympathetic in a lot way. The bit about seeing his first dead body before "getting laid" hit different like... He tries to play it off like a joke, but dude has to have just as much PTSD as the rest of them, maybe even more given that he wasn't able to fight back in the same way as someone like Bkg or Deku would be able to with their super powerful offensive quirks. They were all just kids, but they had to face hell full on from jump, and let me stop before I get too in my feelings lol.

In a lot of ways, he reminds of you the boys from school — crude. Taking for granted the safety from being in a pack, unchallenged. Leering at posters, saying off-colour things because no one corrects them.

That's exactly the way I view him, just a crude little thing that refuses to be put in his place for long lol. Still, with his being a hero I would hope that he keeps a cap on it while he's on the job--in fact I'm sure he does; if he didn't I'm sure that Aizawa would've yanked his licence by now, the likes of Deku and Kiri wouldn't continue to associate with him, and that's saying nothing of the shit that would get posted to social mead and such. I feel like the only reason he says what he says to the Reader is b/c she's a little gremlin herself and he knows he's got a bit more leeway, yanno?

The little hangout session that they had at the end of the chapter was weirdly heartwarming?? I want a friend(???) that I can be a surly little shit with and draw on and that will call my bf that's not really my bf but should be my bf because he's (that is Mineta) got more emotional intelligence than me lmao. Never thought I'd see the day when the grape would make for such an excellent wingman--tho I gotta wonder what that text he sent to Deku said. Probably something along the lines of "come get yo girl, she must be bored/lonely af because she asked to hang out with me" followed by "are you ever gonna close the deal or not? or have you already hit it??? >:)" just to give the guy an extra push (or maybe he's got a better sense of self-preservation than what I give him credit for, idk lmfaooo...)

Okay, this is WAY too long, I just had to get it out of my system lol. I loved the new chapter lots and I cannot wait to see how things play out in the next one!!

LOL, oh Puck, i adore you sdlkfjsdlkfjsdlkfj

me being a shit-stirrer/asking myself questions i don’t have answers for under the cut

Cat asked me this question earlier today, actually — why Mineta. And honestly? Part of it is the challenge he represents — like, how do you write him into a fic and mature him up so that he’s at the very least, tolerable, but also keep the backbone of his character (which is being a little degenerate). Like, is it possible? One of the most popular tags on ao3 for mineta minoru is something along the lines of “mineta minoru is replaced with shinsou hitoshi” LOL so…….. why didn’t I just use Shinsou? Or Aoyama or Iida, as Cat suggested? And beyond the part of me that delights in giving myself perceived challenges, there were two stark reasons that stuck out to me, when i was first mulling over his inclusion.

1) the fact that he can draw. it’s literally as simple as that. ever since the BNHA exhibition opened up in Japan and it was revealed that there was a scene in there with a class blackboard and the kids having their little drawing competition — and that Mineta was objectively the most skilled — i was like, “i have to include that”. LOL. it’s like you say, Puck, our Reader is a little gremlin herself — i thought if I was going to write a Reader that could handle interacting with him (ie, be in a position to pay him out) it was going to be this one. I think being in the manga industry and starting out on this journey of creating and drawing a Shonen manga sort of put Reader in this unique position of… being in what seems like a boys’ club? So she’d be used to the male gaze within her field. I follow Horikoshi’s assistant (former assistant?) on twitter and let me tell you, that man is not shy about the things that he likes to draw LOL.

the 2) thing was the philosophy i’ve sort of accidentally given myself LOL and that’s the fact that — as a Bakugou stan, if i’m giving grace to a character who was a literal violent bully then………. i can use my magic powers and hand it around to the other characters, too, LOL. and like, i would argue that with Bakugou it’s different, like we’re currently seeing in the manga how he has grown and learnt and is actively changing, which is the key to any kind of redemption. do i think Mineta will ever undergo that in cannon? absolutely not lmao, i see him as being being Hori’s idea of comedic relief, he’s always going to be a horrible little degen. but i want it for him…… if only to justify why the boys of Class-A collectively ignore his bullshit, for the most part? Like, none of them actively call him out on it?? i think of the time he tried to climb the wall to spy on the girls in the onsen — and how it was literally only Iida scolding him and how it took a child to stop him. Or the one when he found the stupid hole into the girl’s changing room and while the boys all looked grossed out….. Jirou’s the one that point an end to that?????? I saw a TikTok (derogatory) suggesting how like, none of the girls of Class-A would trust Aizawa, as adults, because he didn’t do anything to put an end to Mineta’s bullshit, and it was a devastating suggesting. None of us want to believe that our favourites would be passively okay with this kind of behaviour, right?? Which means……. Mineta’s gotta change LMAO. And if Hori isn’t going to do it then imma borrow him and do it myself. Does it work? I have no idea LMAO i can’t judge anymore, my meter is broken. but i’m gonna work with what i’ve given myself and it either will, or it won’t LMAOOOO kldsfjlksdjflkdj fic is about having fun at the end of the day. :’)

But it’s like you point out, Puck — Mineta is also a child, when these kids get trotted out to their first War. And he’s also not as offensively built as the hard-hitters like Deku and Bakugou and Shouto are. Even if it’s not explored in the manga, that War is going to change them all somehow.

So, my gameplan for Mineta was to grab ahold of the tiny things about him — the talent for drawing, the like one [1] observation he has about the wreckage of the war/pro heroes during the war arc, his tears for Bakugou when B wakes up afterwards and how he tells Deku how cool he was and how much he admires him, in the current Bring Deku Home chapters — and try to envision a sleaze bag who learns that the bullshit he pulls won’t be tolerated, even if he’s still ultimately a skeeze LOL. i mean, he’s never going to drop that er…. appreciation for the female form. and i mean, hey, live your best life King, i’ve distinctly noticed a hand-fetish floating around on this site lately so i’m not gonna be like “NO men can’t like ANYTHING”. But the thing with him being a sleaze and open with his leering is like, he’s actively made the girls of his class uncomfortable with that in the past — how do you write it so that he’s not doing that in a position of power with the women he works with (and saves!), as an adult?? Maturity only goes so far. How much can I bank on the war and the subsequent bullshit they’re gonna face from it on…. transforming him??? It shouldn’t be up to the girls he’s learning with to police him, they’re just children. I have a vague gameplan for it — whether or not it works will be one thing; whether i can naturally shove it into the fic is another, LOL. Guess we’ll see. 🧐

SAYING ALL THAT,,,,, i’m actually really glad you liked (???) the ending scene with him because it’s my favourite LMAO lkdjflkdsjflkdjfkldsjf. 😭😭 Reader is by no means perfect, and she and Mineta both need to start treating each other with more respect, but her bullying of him was fun to write and I like imagining a Mineta who considers himself to be close with Deku (whether or not Deku thinks the same is up for debate) going along with it. i could see this version of Mineta being enough of a shit-stirrer to say something like, “gotta lock that shit down” to Deku LMAO kdfjlkdsjflkdsfjdklsfj and then getting left on a skyscraper somewhere…. RIP short King.

#the puckish rogue: adventures and magic 🪄✨🔮#something just like this - fic #mer-spoils-everything #ofmermaidstories-asks #mermaids talks about 🍇#puck you are always thoughtful and lovely with your comments and i want you to know how much i appreciate them — but mostly how much #i appreciate you for existing in this world 😭 and how by chance we exist at the same time and like the same things 😭💕🌷

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royalynx · 3 years

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( * 💀 / daniel ezra, cis male, he/him ) — is that kingsley shacklebolt i just saw rushing down the corridor? i hear they’re a twenty two year old gryffindor, returning for their seventh school year, but their friends would tell you that they are grounded & commanding as well as opinionated & strong-willed. if you want to know more about them, i guess i could tell you that they’re pureblood, and from what i hear, they’re currently allying with the order. when our divination professor looks into their crystal ball, they see: the calming presence in the back of the room, muggle records hidden in drawers, steaming mugs of tea, the warmth of a hug, the burn of quiet fury.

CHARACTER INSPIRATION: Luke Cage (Jessica Jones), Kingsley Shacklebolt (Books: Order of the Phoenix through Deathly Hallows), Jake Reilly (Private Practice), Terry Jeffords (Brooklyn Nine-Nine), Alphonso ‘Mack’ Mackenzie (Agents of S.H.I.E.L.D.), Matt Simmons (Criminal Minds), Odafin Tutuola (Law and Order: SVU), Spencer James (All American).

TRIGGER WARNINGS: ???

LINKS: Pinterest (Coming Soon). Playlist (Coming Soon).

𝐒𝐓𝐀𝐓𝐈𝐒𝐓𝐈𝐂𝐒

I N T R O

full name ➵ Kingsley Akiel Shacklebolt

nicknames ➵ King; Kings; Kas; Shack; Shacklebolt; Royal

pronouns ➵ he/him/his

orientation ➵ bisexual biromantic

birthdate / age ➵ May 8th, 1957, 15:32 am / 22 years old

birthplace ➵ Birmingham, England

childhood home ➵ Birmingham, England

current residence ➵ Hogwarts, Scotland

religion ➵ atheist

occupation ➵ full - time student at Hogwarts School for Witchcraft and Wizardry

P H Y S I C A L

height ➵ 5 feet, 10 1/2 inches / 179 cm

weight ➵ 78 kg / 171lb

body type ➵ mesomorph ( athletic; generally hard body; well defined muscles; rectangular shaped body; strong; gains muscle easily; gains fat easily )

hair ➵ black, shaved/cropped

eye color ➵ dark brown

dominant hand ➵ ambidextrous

FC ➵ Daniel Ezra

voice ➵ Daniel Ezra

special characteristics ➵

tattoo of a lion on the back of his neck that roars when danger is near

acne scars on cheeks

perfect posture

smells of ➵

broom wax

toothpaste

lavender, anise, basil, bergamot and lemon; geranium, ylang-ylang and jasmine; oakmoss, vetiver, tonka bean, patchouli, vanilla and sandalwood - Brut by Faberge

E M O T I O N A L

zodiac ➵ taurus sun (x); virgo rising; virgo moon

MBTI ➵ ISTJ (“The Logistician”)

positive traits ➵ grounded; commanding; courageous; considerate; observant; dedicated; forbearing to an almost mind-boggling degree; put-together; knowledgeable; self-reliant.

neutral traits ➵ fearless; calming; stolid; diplomatic; paternalistic.

negative traits ➵ opinionated; strong-willed; quiet; stubborn; high-minded; aloof to some; reticent; stoic; overcritical; has very high expectations of himself & others.

likes ➵ playing Quidditch; freshly baked bread; playing Gobstones at 3am; a warm bed; muggle record players; purple; watching the sea; forehead kisses; DADA; organized notes; wearing rings; honeycakes; David Bowie; dragonhide boots; chocolate frogs; firedrakes; Charms; Firewhiskey; watching the fire in the Gryffindor common room; twenty; red wine; laughing with Frank and Alastor; Transfiguration; The Beatles; his sister

dislikes ➵ legilimency; bigotry; raisins in chocolate; Divination; messy desks; foggy London; Sacred 28; people flaking on him; his team losing Quidditch matches; pumpkin juice; using school brooms; sushi; magic quills; pixies; History of Magic; the treatment of squibs by wizarding society; muddy orange; gigglewater; the texture of mushrooms; feeling unsettled; licorice; rollercoasters; toads; the word mudblood; Turkish delight

amortentia ➵

freshly cut grass

roast chicken dinner

aftershave

sandalwood

M A G I C

blood status ➵ pureblood

wand ➵ Alder wood with cherry trailed over the front like the path of a river, or a lightning bolt, White River Monster spine core, 14 and a 1/4 inches, solid

whilst Alder makes for an unyielding wood, its ideal owner is not stubborn or obstinate, but often helpful, considerate and most likeable. Whereas most wand woods seek similarity in the characters of those they will best serve, alder is unusual in that it seems to desire a nature that is, if not precisely opposite to its own, then certainly of a markedly different type. When an alder wand is happily placed, it becomes a magnificent, loyal helpmate. Of all wand types, alder is best suited to non-verbal spell work, whence comes its reputation for being suitable only for the most advanced witches and wizards. (Cherry, a very rare wand wood creates a wand of strange power, most highly prized by the wizarding students of the school of Mahoutokoro in Japan, where those who own cherry wands have special prestige. The Western wand-purchaser should dispel from their minds any notion that the pink blossom of the living tree makes for a frivolous or merely ornamental wand, for cherry wood often makes a wand that possesses truly lethal power, whatever the core, but if teamed with dragon heartstring, the wand ought never to be teamed with a wizard without exceptional self-control and strength of mind.) The use of a White River Monster spine produced spells of force and elegance.

patronus ➵ Lynx

E D U C A T I O N

Hogwarts class ➵ Gryffindor, 1981

extracurriculars ➵

Gryffindor Prefect / September 1980 - June 1981

Captain of the Gryffindor Quidditch Team / September 1979 - June 1981

Gryffindor Chaser / October 1975 - June 1981

Charms Club / September 1975 - June 1981

Toothill Duelling Club / September 1978 - June 1981

Slug Club / December 1977 - June 1981

courses & exams ➵

Ancient Runes - O

Charms - O

Defense Against the Dark Arts - O

Herbology - O

Arithmancy - O

Muggle Studies - O

Potions - O

Transfiguration - O

Care of Magical Creatures - O

now studying Alchemy ( predicted an O )

M I S C E L L A N E O U S

health ➵

strawberry allergy

pets ➵

Archimedes; the family owl ( great horned owl )

handwriting ➵ Sebastian Bobby

F A M I L Y

Ora Shacklebolt (nee Kayoude) ➵ paternal grandmother; socialite; alive

Kingsley Shacklebolt I ➵ grandfather; Wizengamot member; alive

Yara Audley (nee Idowu) ➵ maternal grandmother; homeschooled; apothecary worker; alive

Akiel Audley ➵ maternal grandfather; homeschooled; Quidditch supply store owner; alive

Alaric Shacklebolt I ➵ father; Gryffindor; Senior Auror for the DMLE; alive

Meera Shacklebolt ➵ mother; homeschooled (opted out of attending Ilvermorny / Hogwarts); apothecary worker; alive

Eralia Audley ➵ maternal aunt; homeschooled; Senior Assistant to the Jamaican Minister of Magic; alive

Gabrielle Shacklebolt ➵ paternal aunt; Hufflepuff; Ministry employee; alive

Edward Shacklebolt (took wife’s name) ➵ paternal uncle; Hufflepuff; job; alive

Khenan Shacklebolt ➵ paternal uncle; Ravenclaw; curse breaker for Gringotts; alive

Kingsley Akiel Shacklebolt (II) ➵ self; Gryffindor; Future Senior Auror for the DMLE; alive

Bianca Omnira Shacklebolt ➵ sister; fifth year Ravenclaw; unknown future; alive

𝐅𝐑𝐄𝐄𝐅𝐎𝐑𝐌

his parents used to say he was born for diplomacy. that’s what they’d drilled into him since he was born: fight the good fight, be honest and good and stay calm, always. they can only catch you off guard when you aren’t. he’d always been somewhat of a natural diplomat — the oldest child, expectations hung from his shoulders as if they were coats and he, a coat rack. he’d always been a quiet child, somewhat unassuming, almost shy, content to play and be alone, often found even as a baby, simply amusing himself with his fist over crying, wailing for attention. when they attended the galas and balls befitting of a family part of the sacred 28, little changed. in fact, he was praised for it — how level-headed he was, even when all he wanted to do was scream and shout and set fire to the curtains by the window to stop them yammering on about the importance of blood purity and their precious, precious privilege, how he smiled politely and shook hands and never, ever made a scene. he hated them. he hated every last one of them. their fake smiles and empty eyes, how they hated for no reason and believed themselves to be superior — a kernel of a fallacy that kingsley, even as a child, could never subscribe to.

but kingsley was nothing if not a good man, and a good son, and so, he stayed silent — at least, to everyone who never crossed the boundaries of their home. to them, kingsley was a young wizard who showed particular promise in their circle, but to those who saw him at home, his internal torture over it was obvious. he had muggle neighbours, even muggle friends, people who made him laugh and gave his parents presents when his beloved baby sister was born, and he could not abide the dual life his parents were living. when they were home, they were tolerant — amused, even, by the muggles they surrounded themselves with, something his mother always said was to keep them grounded, because she’d already lost one sibling to pureblood mania and refused to lose herself, or her husband, or either of her children. when they were at the galas, they were cold, a little aloof, they laughed along with jokes at muggles expenses, they shook hands, ate appetisers, danced and never seemed to show any remorse for the roles they had to play those nights, though he knew they had to feel guilty (he hoped they felt guilty.) he knew they felt they had to do it to survive — to thrive, even, in a world in which they weren’t always welcome, but he hates it.

he loves his family. kingsley loves them with every part of him, loves his younger sister with his entire heart, is never not seen at home without her practically hanging off his ankles, and then his knees, and then his hips, until she’s too tall and too old for that, he loves his mother and relishes her hugs and the way she always knows what to say to make him feel better, he loves his father and that deep, slow river of calm that seems to run through him, the same river kingsley has always felt took root in him, but he hates their legacy. he hates their part in the sacred twenty eight. he hates every part of it. he hates that they agreed to this — to what feels like a mortal lock, an unbreakable vow, tying themselves to this until the end of time. he hates that he understands why — their blood runs pure, he knows, in other wizards standards, but knowing what the sacred twenty eight stands for? what it really represents? kingsley thinks that their blood is the blood that’s dirty, that they’re the ones who ought to be ashamed of themselves for their existence, that they’re the ones who value opulence and power over people’s lives and that makes them wrong and evil and undeserving of their magic. it’s the first time — the only time — his parents have ever seen him truly angry — he remembers it well, being fourteen and all uncontrolled fury for the first time, how the quiet anger had burned and swelled under his skin until he couldn’t hold it in anymore, and how he’d made all the glass windows in the dining room shatter, the glass raining like sand when his father waved it away with a swish of his wand, kingsley’s chest heaving as he yells, raging against their indifference, feeling oddly soothed when his mother pulls him into his arms and whispers that she’s sorry. she’s sorry. she knows, she knows. he wishes that were enough — that apology, that acknowledgement that they were — are — hypocrites.

even still, his love for his family, flaws and all, remains, though he’s slowly pulled back from any engagement with the pureblood world over the years. he’s very proud to be his father’s son — the son of an auror, recipient of the order of merlin second class — and his mother’s. he’s proud to be his sister’s big brother, her protector. he’s even more proud when he gets his letter to hogwarts, confirming what they all already knew — magic is strong in the shacklebolt family. he picks up the family wand, purchased in america in the early 1920s — alder with cherry trailed over the front like the path of a river, or a lightning bolt, white river monster spine core, fourteen and a quarter inches, solid — and he feels a piece of himself slots firmly into place. hogwarts is where his father went, where his father’s father went (over ilvermorny), and though he can no longer pretend to be complacent to their every whim in regards to the sacred twenty eight (something which both his parents have since begun to shun), he knows getting sorted into gryffindor would make them both proud, and that’s what he wants, so that’s what be did — the bat barely touched his head before declaring him a gryffindor. even now, as a twenty two year old seventh year on the brink of graduating into a fully fledged war, he wants to make them proud. he wants to be a pillar of strength, safety, tolerance, love, support, he wants to be the friendly face ushering people to safety, he wants to be the one raining hellfire down on the prejudiced idiots who think that they’re any different to anyone else, with magic or without, on this planet, that they’re superior in any way because of their blood.

#revelio.intro #kingsley;#i hate this graphic #but i am not remaking it bc it took me 50 years to find an image #skdjfnsdkfjnsdf

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kdramachitchat · 3 years

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The Devil Judge Ep 13 - To Kill Or Be Killed

The Hyungsan-dong Slums

Episode 13 of The Devil Judge begins with Yo-Han screaming to the heavens after K’s death. With Sun-A gleefully slips away after showing him Ga-On at the slums, he rings Soo-Hyun and asks for her help. Despite his best efforts, Yo-Han collapses on the ground breathing heavily due to his injury and passes out. Soo-Hyun eventually saves Ga-On too from the horde of protestors at the slum. Then all of a sudden the SRF Foundation turn their attention to So-Yoon, injecting her and taking the girl away.

While on the way back, Soo-Hyun asked Ga-On why he was there, he said that he received a strange phonecall that his Professor was abducted and Soo-Hyun said that he’s still in the hospital. Ga-On was definitely tricked by Juk. Ga-On then asked her how’d she knew that he’s there, Soo-Hyun lied that she heard a message from the police radio (we already know that it was Yo-Han that called her).

Yo-Han’s team stopped arrived at his location and saved him from his bleeding. The lawyer informed him that the people who has been assisting him as been kidnapped. He was worried so he tracked Yo-Han’s located and found him. The first thing Yo-Han said after he got up was to tell his team to go find Han So-Yoon.

Looks like Yo-Han is slightly better and is able to drive, calls Elijah and yells to her why she wasn’t picking up the phone. He warns Elijah not to open the door for anybody else. Yo-Han was able to arrive home and he hears Elijah talking to someone else. Yo-Han then sees Ms. Jung at his home talking to Elijah. Elijah wants Ms. Jung to stay due their similarities. She continues to stare down at Yo-Han but Elijah warns Ms. Jung too not to cross the line.

Sense of Comfort

Elijah notices though she’s slightly weird and observed that Yo-Han was sweating, then she sees him covered in blood. Yo-Han then comforts Elijah and says that everything will be okay.

On the other hand, Soo-Hyun is wrapping up Ga-On’s wound. Soo-Hyun scolded Ga-On after he apologized saying that he shouldn’t continuously be hurt for her sake. Soo-Hyun doesnt want Ga-On to ruin his life and she’s all he needs. Shockingly Ga-On decides to kiss her?!!! Soo-Hyun gets freaked out and leaves. Honestly at this point i see Ga-On as someone who is a hypocrite and is not so sharp. He is by far my least favorite character.

Country in a frenzy

The whole country is turned upside down thanks to President Heo’s press conference. President Heo introduces a 10 pm curfew and has set up emergency rescue attempts as murder and they’ll be charged with maximum sentence.

President Heo also made another press conference announcing that the live court show will be disbanded and will establish a emergency court instead. This new court will have the disruption of pandemic assistance or relocation, the spreading of slander & illegal gatherings and protests. Judge Oh will continue to be the aid of the SRF Foundation and will preside over the emergency court. I wonder what she will say about this. Other associate judges also will be selected from applicants with a strong sense of nationalism. Does that mean that Ga-On and Yo-Han will be out? Ga-On tells Soo-Hyun that they have to stop this madness, and yet she still feels conflicted about Yo-Han.

Yo-Han and Lawyer Ko talks through the phone that they need a plot. Someone on their team needs to be inside the main control room of the new court. Ga-On then enters Yo-Han’s office dragging Yo-Han’s non existent efforts. Another knock is heard and we don’t see who it is. Then Judge Oh enters, talking about being the head Judge while Ga-On calls it him & Yo-Han being sidekicks, Yo-Han surprisingly agrees to it and tells the PD to make sure things will look good & to consider his position.

Soo-Hyun then continues with her investigation

While Soo-Hyun continues to investigate, heading over to see a man called Jung-Joseph.

Judge Oh is being used

Ga-On knows this the virus a lie and approaches Judge Oh, who’s obviously the spokesperson for the SRF. You can see her doing speeches and alarming messages in-front of the huge televised screens on the streets. Ga-On continues to warns her yet she refuses to believe this is all fake as Ga-On eventually leaves in frustration and calls Yo-Han. Judge Oh decides on finding out the truth though and heads down to the slums herself. When she does, she sees the reality of the streets and finally seems to understand.

A flashback of Judge Oh entering Yo-Han’s office. She tells the 2 men to count her in and will do everything she can. Yo-Han asks her if she means what she said.

Yohan questions the President

Yo-Han stops by the President’s office and asks Heo if there really is a virus and warns him to stop all this commotion, requesting him to cease it. Heo attacks him and says what if he won’t. Yo-Han threatened Heo that he will reveal the truth behind everything on the live court show, until the point where the public sets the Blue House on fire & drags the President out. President Heo knows that he got the people’s back, so whenever he tells the public who tells them that strangers are dangerous & urges to stay home via Yo-Han telling the public to go out and save strangers on the streets. President is confident that the public will choose him over Yo-Han, despite Yo-Han’s popularity he’s still the President. Those who created the President are the same people who created Yo-Han. Yo-Han tells him though not to test his luck.

Live court show on the streets

The judges all work together. After what Judge Oh saw earlier on, she’s ready to work with them and take down the SRF. She’s so naive and finally she saw the light and starts working with the other judges! Im actually so happy about this. After they arrived on location, the PD is shocked with what’s happening on the streets. Judge Oh is determined that they need to show the world what’s happening for real. The judges decides to have a impromptu trial and enters the scene.

Yo-Han shows the truth of what’s really going on. The President calls Chairman Park who is the head of the station, yells at him to end the broadcast. To call Juk Chang and request his security to end Yo-Han.

Ga-On is even attacked too & captured on film. Soo-Hyun happens to see this and rushes to the scene. Choong-Sik is completely out of control, beating down a defenseless old man after seeing Judge Yo-Han being attacked. Yo-Han yelled to Choong-Sik after anger and Choong-Sik sarcastically tells him to come down. The President is angered and tells whoever he’s speaking to to shut down all the electricity in the country to hide the broadcast. The app is still up though. At the slums, there’s still fire and phone lights. I believe it’s a metaphor saying that the darkness can never beat the light in times of violence.

And just like that, floodlights shine down the slums to reveal the people in unity. Yo-Han being all Dumbledore tells the oppress that the darkness can’t beat the light. The people starts attacking, which creates a emotional scene leading to the ending of the episode. This moment reminded me of a Harry Potter moment for a bit.

At the end of the episode, when Soo-Hyun shows up she’s shot dead. Ga-On is shocked especially after professing her love to Ga-On until her last breath, she collapses on the ground and passes away. Even during this moment, she still cares for Ga-On as he was hurt. Ga-On screams in agony. WTF. One of the most likeable characters on the show is shot dead. OK, i am honestly so mad.

#2021 #The Devil Judge

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ratingtheframe · 4 years

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Enola Holmes, The Devil All the Time and i’m thinking of ending things: Everything I watched in September.

Thank God we are almost at the end of the year. With October just around the corner and 2021 in full view, it seems like the film industry is slowly piecing themselves back together after months of being on a complete hiatus. Cinemas are slowly starting to return back to normal and streaming services are now full to capacity with content.

Netflix in particular has some exciting things to come and the successful release of Harry Bradbeer’s Enola Holmes and Antonio Campos’ The Devil All the Time, has proven that their ability to produce outstanding content hasn’t been stunted at all by COVID-19. Here are the 31 titles I watched this month and for you to add to your watch list.

Searching (2018) as seen on Netflix

Searching recently came onto Netflix, however the film was actually first released in 2018, screening at Sundance Film Festival. It had a very impressive response and grossed $75 million worldwide and with a budget of only $880,000 it was certainly a success. I rate this film highly, due to the simplicity and execution of it, with a lot of twists and turns in appropriate places. Structurally, the film is flawless and it’s clear a lot of thought had gone into the payoff of the entirety of the film. Certainly an indie filmmaker's dream and a film to watch to learn about the “less is more” rule of screenwriting.

Score: 10/10

Zodiac (2007) as seen on Netflix

I’ve been avoiding Zodiac on Netflix for a loooong time, and after watching it I wonder why I didn’t check it out sooner. David Fincher’s (Fight Club, Panic Room, the Social Network) thriller based on the case files of the “Zodiac Killer” stars the likes of Mark Ruffalo, Robert Downey Junior and Jake Gyllenhaal, all of which had amazing on screen chemistry. The dialogue and structure is Aaron Sorkin-esque as you figuratively become one the detectives, unravelling the case as the two and a half hour film delves deeper and deeper. You honestly feel as if you become one of the team whilst watching Zodiac and just for that, it goes down as a praise worthy film with a perfect structure and surprising twist to the end. Zodiac is the thriller of thrillers.

Score: 11/10

I See You (2019) as seen on Netflix

Now a film like I see you has me questioning

Netflix’s

choices a little. The film scores handsomely on

Rotten Tomatoes

, with a metric score of

78%,

which is quite high for a largely gimmicky film. I can’t quite fault the overall concept, however the story itself fell flat by the end. Things just seemed to mount too much to the point that it became overtly inauthentic and questionable. Instead of paying attention to the movie, I found myself picking up all the irregularities such as why a police man would suffocate someone, drive them to their own home and then shoot them in the head. Surely a policeman would just leave her in the woods? On a brighter note,

Judah Lewis’ (Babysitter: Killer Queen)

was quite praiseworthy in his performance, but it wasn’t enough to drag the film out of a hole of confusion.

Score: 2/10

Fear and Loathing in Las Vegas (1998) as seen on Netflix

If there is one film that you NEED to watch from this list, it would be Terry Gilliam’s Fear and Loathing in Las Vegas. The crackhead energy in this film is OFF THE CHARTS as Johnny Depp and Benecio Del Toro play two drug addicts exploring Las Vegas. The production design in this is marvellous and really captures the psychedelic world the two men enter every time they’re high. I particularly enjoyed Depp’s narration throughout this; his voice is the most sensual yet hilarious thing to listen to for 2 hours straight. Fear and Loathing in Las Vegas is HILARIOUS and such a well rounded, off the wall film to watch.

Score: 12/10

I’m thinking of ending things (2020) as seen on Netflix

Even though I watched i’m thinking of ending things nearly a month ago, I’m still recovering from it. Charlie Kaufman (Adaptation, Being John Malkovich) directs this satisfying yet highly confusing tale based on the Iain Reid book with the same title. Despite it’s perplexing plot, I certainly can’t fault the film’s performances or set design. Jesse Plemons, Jess Buckley, Toni Colette and David Thwelis made a surprisingly good ensemble and the makeup in this film is probably the best I have ever seen. HOWEVER and this is a big however, the waywardness of the story can’t override the success of artistry behind the film. I feel like there’s becoming a trend where films are visually perfect but make zero sense. By sense I mean a clear, concise story, that has character journeys and some sort of resolution at the end, no matter how big or small. I’m thinking of ending things that had just about NONE of these elements, and that doesn’t make it a bad film at all. It’s certainly not a film I’ve seen before and perhaps it raises the questions whether films need to make complete sense in order for them to be good. We can take a look at experimental cinema to delve deeper into that theory, for within this type of cinema, films can still be appreciated even when they are confusing. Perhaps the meaning of i’m thinking of ending things, is more powerful and higher than the average movie goer can understand, but still appreciate.

score: 9/10

Hacksaw Ridge (2016) as seen on Amazon Prime

Again, another film I’ve been avoiding for a loooong time and regret not watching sooner. The film stars Andrew Garfield as a devoted Christian who goes to war to serve his country, but refuses to carry a weapon yet lives to tell the tale. Preacher Desmond T. Doss saved the lives of between 50-100 men on Hacksaw Ridge during the Second World War. He was heavily commended for his service and the film itself earnt 6 Academy Award nominations. It’s a story that was born to be on screen and it’s hard to believe it was all true. Andrew Garfield’s performance was exemplary and he is definitely underrated as a truthful actor.

Score: 10/10

Fear (1996) as seen on Netflix

I am sucker for a thriller, good OR bad and this one from 1996 was surprisingly decent. Starring Mark Wahlberg and Reese Witherspoon in their early days, Fear follows a pair of young lovers whose strong relationship turns into a possessive one, when Witherspoon’s character, Nicole learns the true intentions of her boyfriend. It's a 90s teen flick that isn’t talked about enough and certainly an easy one to get sucked into as a guilty pleasure.

Score: 10/10

Make Up (2019) as seen at the BFI Southbank

Make Up first screened at the London Film Festival last year and was later released this year. I wanted to catch it at the festival and was glad it made it into cinemas. The eeriness of the british film directed by Claire Oakley, was a slow burnt, intriguing watch, however as artistically visual it was, a satisfying resolution to the film was missed. The payoff of the story was easy to define despite it’s ambiguity, however it wasn’t as hard hitting as it should’ve been, which is common in most indie features. The better ones expose ideas and truths in a punchy way, such as La Haine or Whiplash. The film’s genre was also undefinebale and although the story was interesting, I wouldn't be inclined to come back for more of it.

Score: 7/10

Zoolander (2001) as seen on Netflix

I’m not a huge comedy fan, however it’s about time I watched Zoolander, for it’s probably one of the most iconic films of the early 2000s. The film follows a model targeted by a fashion brand who wants him to kill the prime minister of Malaysia. Anyone who was anyone in the 00s is in this film, from Naomi Campbell to Lil’ Kim, Paris Hilton, Donald Trump, Lenny Kravitz, Natalie Porter and even David Bowie. How they managed to get these famous faces as well as the actual cast (Owen Wilson, Ben Stiller and Will Ferrell) onto this film is certainly a mastery at casting. As far as comedies go, Zoolander is iconic and a must watch for those who are thoroughly in love with these types of outlandish films.

Score: 8/10

American Pie (2001) as seen on Netflix

This is the my first time seeing American Pie and for someone who hates comedies, it thoroughly made me laugh. I definitely had to look past at the amount of misogyny and questionable scenes in this film and just sit back and enjoy it all. I felt that all four leads (Jason Briggs, Thomas Ian Nicholas, Chris Klein and Eddie Kaye Thomas) were well casted as an ensemble and were really down to earth in their performances. They were authentic in being high school boys still figuring themselves out and in the end I found each one to be highly likeable. As a comedy, this is definitely a go to and an iconic film from the early 2000s.

Score: 9/10

Clemency (2019) as seen on Amazon Prime

A Sundance Film Festival graduate, Clemency was a deeply moving and well shot film that exposed the shocking reality of prison inmates on death row in the US. The word clemency is essentially a term used to define an act of mercy by the justice system, who at the last minute of a prison’s life can grant “clemency” if they feel worthy of doing so, stopping them from being executed. Factors such as new evidence or a parole grant can influence this decision and this film shows the abrasiveness of such an idea. Imagine being a prisoner moments away from death and because of Clemency, you sit there thinking your life can still be saved. But as this film depicts, this isn’t always the case and the masterful acting of Alfre Woodard puts this grief into context beautifully. Her performance ignited this film and it was easy to see this story got to her on a deeper level, that went beyond serving a character. A seriously good film that is professional, dynamic and heart wrenching.

Score: 10/10

Gladiator (2000) as seen on Netflix

I never saw myself as someone who would like Gladiator, however Ridley Scott’s Oscar winning film thoroughly surprised me in an unexpected way. Moving past the amazing visuals and outstanding production value of this film, the actual story itself was just so damn good. It had an excellent, Hollywood worthy structure that saw a hefty and clear journey of it’s lead, Maximus (Russell Crowe). I was VERY surprised to see Joaquin Phoenix play alongside Russell Crowe, who gave a great performance as a bratty roman emperor. Gladiator was nominated for 12 Academy Awards in 2001, which is unsurprising seeing as it's a pretty much flawless film, with the character’s fierce journey being the main contributor to this.

Score: 11/10

American Pie 2 (2001) as seen on Netflix

Now sequels are known to be the downfall of some films, especially as the first films were okay on their own. However, I definitely enjoyed American Pie 2 as much as I enjoyed the first. The performances of all characters seemed to get better with time and it still remained outlandish and hilarious to watch.

Score: 9/10

3096 days (2013) as seen on Netflix

When you laugh more at a film than you should have, there’s something clearly wrong. This Netflix film based on the true story of the kidnapped Natascha Kampusch was directed by German-American director Sherry Hormann. This is gonna sound whack, but one of the most annoying things about this film was the lighting. It felt as if it was never truly dark in this film and because of that, it distracted from the fear of the situation young Natascha was in. Lighting plays an important role in thrillers and horror films, as the idea of these films is to keep people constantly on edge and the dark is something that does that perfectly. I felt safe when watching this film and although it’s meant to be a biopic, I don’t think it captured Natascha’s situation as best as it could have. Another thing that really let the film down was the dubbing from German to English. This is a pet peeve I have with films, but is understandable seeing as the majority of people are too lazy to follow foreign language subtitles and miss out on some of the best films ever made. Because of this, it forces foreign language films to cater towards an English speaking market so the film becomes more viable. I would’ve respected this film a lot more if it was completely in German and had English subtitles.

Score: 5/10

Cruel Intentions (1999) as seen on Netflix

About a year ago, I saw the Glenn Close and John Malkovich film version of the french novel Dangerous Liaisons and I fell asleep. Maybe it was the film I had seen before it that had made me nod off or the fact I couldn’t understand what the hell was going on. However, Cruel Intentions follows the same story with younger leads; Sarah Michelle Geller, Ryan Phillipe and Reese Witherspoon and is set in the modern day. As you can probably tell by now, I am a sucker for a 90s teen movie and Cruel Intentions was all that and more, for the performances and story structure in this film were top notch. Ryan Phillipe is a much underrated actor and heartthrob, playing a jealous and callous Sebastian, the step brother of Sarah Michelle Geller’s character, Kathryn. Both of them were spiteful, abrasive and mean and I LOVED IT. Their non-fuckery was enviable as they cheat and turn the lives of others upside down. Reese Witherspoon was an angel in this film, and I thoroughly appreciated the strength of her character throughout. Cruel Intentions sits highly as a film from the 90s and boasts a hoard of young talent from that era.

Score: 10/10

Wildlife (2018) as seen on Netflix

If you are in love with Paul Dano as much as I am, you’re gonna want to marry him after you find out that he’s also a director. His first feature Wildlife, stars Jake Gyllenhaal and Carey Mulligan as a couple battling the demons in their relationship whilst caring for their young son. I really really REALLY can’t wait to see what Paul Dano directs in the future based off this film. It’s everything I love about a good indie film; well shot, a perfect cast and a touching story. It truly is a beautiful film and one I would recommend to my indie lovers out there.

Score: 10/10

The Perks of Being A Wallflower (2012) as seen on Netflix

My excuse for not having seen The Perks of Being A Wallflower is that I thought it would be yet another predictable high school blunder, with flat dialogue and basic character arcs. And I was half right in that. The first half of the film (mostly exposition) was filled with cringey dialogue and basic high school motifs that set up the film. Some moments were overtly far fetched and it took me a while to fall in love with the main character instead of feeling desperately sorry for him ALL THE TIME. Ezra Miller, Emma Watson and Logan Lerman all together as an ensemble was whack casting that just about worked. However, once we made it through the blizzard of exposition and got to the heart of the story, it truly was a touching and tear jerking movie to watch and for that, it scores highly. “We accept the love we think we deserve” was the ringing message of the film and certainly something I carry around with me daily as I reflect on the unfulling crushes I’ve had in the past.

Score: 9/10

The Devil All the Time (2020) as seen on Netflix

Probably my most favourite film on this list, The Devil All the Time is pure ART. I have a full review uploaded onto my tumblr account so please do check it out to see an in depth review of the Netflix film. All I will say is that it is a must watch film with an unreal cast and story.

https://ratingtheframe.tumblr.com/post/629443058079055872/the-south-of-america-meets-gritty-gothic-horror

Score: 11/10

Way of the Gun (2000) as seen on Amazon Prime

Ryan Phillipe and Benicio del Toro star side by side in this action packed crime thriller about two guys who kidnap the wrong woman. Simple in it’s log line with the potentiality to be limitless in its telling; ie the basis of every good film. Juliette Lewis (the it girl of the 90s) also stars in the film and really compliments the performances of both leads. Any film that Juliette Lewis is in, is a good film and she is an actor with a very impressive portfolio of work under her belt.

Score: 9/10

Judy and Punch (2019) as seen on Netflix

I’ve been waiting since the end of last year to see Judy and Punch and was thrilled to see it had been put onto Netflix. However, after watching it, that thrill deteriorated and what was left was a disheartened feeling towards this film. It’s a shame to say this, seeing as the story of Judy and Punch is so satiable and fulfilled in its possibilities of telling it. However, probably the biggest problem within this film was its pace; it was too quick of a film. The beginning was organic and smooth, but as it went on it started to become continuously rushed. There were characters I didn’t have time to get to know and actually didn’t even end up knowing their names. There’s a point in the film when Judy is welcomed into an isolated society outside of her home, most of which in that society were women. I would’ve liked to get to know them better and see how they influence Judy’s character and revenge on her husband. The film felt very rushed, which is a shame because everything else; acting, production and story were well aligned.

Score: 6/10

22nd July (2018) as seen on Netflix

I remember the 22nd July 2011 as clear as day but for all the wrong reasons. On this day, 77 people in Norway were killed by a terror attack caused by a right wing, anti-immigrant supporter, Andres Brevik, who was a member of a radical organisation and spent nine years preparing his attack on Oslo and Utøya Island. The most shocking part of this massacre was what happened on Utøya Island, which was the main body of Netflix’s film 22nd July. Viljar Hanssen was a teenager attending a political youth camp on Utøya Island in the summer of 2011. Whilst on the island with his younger brother, a bomb went off in the centre of Oslo, outside a government building, killing 8 people. By the time news of the attack got to Utøya Island, its perpetrator had also arrived, and begun gunning down the kids on the island. 69 people were killed, most of which were under 18. Viljar Hanssen was shot five times, in the head, arm, legs and hand. The attack lost him an eye, several fingers and bullet fragments still remain in his brain. He also lost close friends and the ability to perform in many activities he used to do growing up. His ordeal and that of many on the island, is captured in 22nd July, that from beginning to end, approaches this story with sensitivity and facts. Out of the many events I have heard of that include a massacre of some kind, this attack always sticks out in my mind. The perpetrator was truly merciless in his rage against immigrants coming into Norway and he made sure to express that hatred in such a shocking and profound way. The entire story is one that is so hard to believe and is important in preventing future attacks of this kind.

Score: 11/10

Les Misérables (2019) as seen at Curzon Bloomsbury

Les Misérables was nominated for Best Foreign Language film this year at the Oscars and despite it being thrilling and highly well made, I felt quite disappointed by it. The film was accurate in exposing the many communities now prevalent in France today and it was definitely one of those gritty, Cannes worthy films to sink your teeth into. It's not a bad film at all, it's just one I found hard to relate to and therefore I switched off whilst watching it. In fact, I think Portrait of a Lady on Fire was a better contender as Best Foreign Language film at the Oscars and I was left fuming when I found out it hadn’t been nominated in that category. Les Misérables is a film I’d recommend but found it hard to love it overall.

Score: 9/10

A Cure for Wellness (2016) as seen on Netflix

The logline for Shutter Island (2010) is as follows: Teddy Daniels and Chuck Aule, two US marshals, are sent to an asylum on a remote island in order to investigate the disappearance of a patient, where Teddy uncovers a shocking truth about the place.

And the logline for A Cure for Wellness is as follows: Lockhart, an executive, is sent to a wellness spa in the Swiss Alps to retrieve his company's CEO. At the centre, he encounters strange activities that make him investigate the illness of the people.

Notice anything? They are literally the same film and it's not just the loglines that share an alikeness. On watching A Cure for Wellness, I noticed how similar it was to Shutter Island, from the location, to the colour grading, costumes and even lighting. Both films are almost identical and I pretty much hate both films anyway. I’ll admit, A Cure for Wellness has a better story and tells it better as well, but if it's just a rip off from Shutter Island, is it all that good? I appreciated the production value of this film yet it was hard to tear it away from Shutter Island’s own production. Overall, I found it quiet gimmicky and too close to Shutter Island for it to have much originality.

Score: 6/10

U want me 2 kill him? (2013) as seen on Netflix

The only thing that let this film down was the acting. There’s something about solely British productions that rub me the wrong way. Admittedly, their structure is always good and the story is well put together, however the artistic side of these films lacks in parts, from acting to set design. U want me 2 kill him? Is based on a true story which really alleviated the film. I thoroughly enjoyed delving into this story and it was an interesting, engaging plot. However, its production value and acting is what let it down.

Score: 7/10

After (2019) as seen on Netflix

So in short, this wasn’t a good film. The twist was satisfying, however the rest of it was just plain annoying. Any film that uses reality tv type music in its montages pisses me off. It's just such a cringey way of showing emotion on screen and I’d much rather they use music with no lyrics or music that actually conveys the emotion of the scene. The relationship between the leads, Hardin and Tessa (Hero Fiennes-Tiffin and Josephine Langford) was very predictable and the conflict between the two only made up like 5% of the film; 2.5% at the beginning and a further 2.5% at the end. For the rest of the 95% of the film, they were pretty much happy throughout, meaning the story had nowhere to go, besides the fact that Tessa’s mom disapproves of Hardin. But besides that and a shocking revelation..that was about it. No one died, no one was really hurt. Hardin was made out to be more troubled than he actually was (his dad is chancellor of a college for fuck’s sake) and I found myself laughing when I shouldn’t be. As for After We Collided, I can’t wait to tear it apart this month.

Score: 4/10

Miss Juneteenth (2020) as seen at BFI Southbank

Miss Juneteenth is the underdog movie of the month for me. You can read a full, in depth review of it right here:

https://ratingtheframe.tumblr.com/post/630357041253400576/she-my-dream-now-miss-juneteenth-review

Score: 11/10

Monsoon (2020) as seen at BFI Southbank

Why this film was praised by critics is unknown to me. The number one thing that this film did wrong was not showing ANY conflict on screen whatsoever, the characters merily TALKED about conflict. Conflict and actions based on those conflicts is what moves a story forward, and this film was certainly static. The story follows a man (Henry Golding) and his return to Vietnam as he learns about the war and the life he left behind. But the film shows no war, no deprivation or heartache that many vietnamese people had to go through. It's just filled with empty shots of Vietnam and Henry Golding looking out at the city. Why not just make a documentary about The Vietnam War with Henry Golding presenting it, as that is what this film was virtually. You can’t get away with nice looking shots to produce a praise worthy feature. Maybe I’m getting the wrong jist of the film, but in terms of its telling, I didn’t feel anything at all whilst watching it and if I didn’t feel anything, I wasn’t thinking about anything because it was so mundane.

Score: 5/10

The Riot Club (2014) as seen on Amazon Prime

I’ve had a strong soft spot for Sam Claflin since he played Finnick in The Hunger Games. My crush on him was further confirmed with The Riot Club a British Production based on Laura Wade’s theatre play Posh that shows the ongoings of Oxford’s Riot Club. The group of ten men are all self entitled posh twats who think their education and parent’s money allows them to act in a horrendous way, with their initiation ceremonies and club rules. Sam Claflin plays Ryan, a 1st year student at Oxford and one of the Riot Club’s newest members. Max Irons plays Miles, another new member of the club, who becomes the focal point of Ryan’s jealousy, causing him to do some unspeakable things in one night out of envy for Miles. The ten men in the film work brilliantly as an ensemble, which is unquestionable seeing as five of them went to Guildhall School of Music and Drama, three went to LAMDA, one studied drama at University and the last went to Bristol Old Vic. All the leads in this film are well trained and it's clear to see that in their performances. A really enjoyable, yet eye opening film that exposes the privilege of some living right in the UK, including Boris Johnson and David Cameron, who were former members of this heinous club.

Score: 10/10

Enola Holmes (2020) as seen on Netflix

Hmmm...there is a great deal of hype going around for this film and with a 92% rating on Rotten Tomatoes, Enola Holmes is well liked. This is understandable, seeing as Fleabag’s director Harry Bradbeer directed this film for Netflix and the cast includes the likes of Millie Bobbie Brown, Henry Cavill and Sam Claflin. I have never seen Millie Bobbie Brown in anything and yet I don’t think she’s doing anything special for me at this moment in time. As a viewer, I am 100% not into actors talking to the camera, a communication technique that I think should stay in theatre. I get this is a big part of Fleabag however I think Enola Holmes could have done without it. Another movie pet peeve is when the opening of a film explains what the film is about directly, something Enola Holmes did in an artistic, yet blatant way. Audiences aren’t dumb and will catch on with given clues, there’s no need to go through a character’s entire history in the opening of a film. For kids aged between 8 and 12, this film is great and Enola Holmes makes a great hero for many young girls. I don’t fall in this age bracket and therefore I enjoyed it a whole lot less.

Score: 6/10

American Murder: Family Next Door (2020) as seen on Netflix

Netflix is known for producing some of the finest, most eye opening documentaries out there. Despite this one being quite simple using found footage, its impact is certainly something that grew organically throughout the documentary. You can read my full review of American Murder: Family Next Door here:

https://ratingtheframe.tumblr.com/post/630780350645354496/netflix-documentary-delves-into-the-murder-of-a

Score: 10/10

Peppermint (2018) as seen on Netflix

I was thoroughly shocked to discover this film was made 2 years ago. You’d think we’re past a time of creating bad films that actually get released, but I guess we’re not. Peppermint was released in the same year as The Favourite, Blackkklansman and A Star is Born, three courageous films, all of which were showered with awards. Peppermint had two major problems; 1) it was boring and 2) the lead wasn’t orchestrated properly. The mexican drug cartel who murder the protagonist’s (Jennifer Garner) husband and child was almost insulting. Because it felt so inauthentic and gimmicky, I didn’t really understand why the drug cartel in the film was even mexican. Peppermint proves that a good story can turn bad in the wrong hands. The script was quite terrible and surrounding that was the nonsensical, half asked directing which saw Jennifer Garner get way too many injuries to still be alive in the end. The whole thing just had my eyes rolling, as nothing about it was original or provoking at all. In fact, the film didn’t even EXPLAIN how Garner’s character became a bloodthirsty vigilante. It merely showed us her training as a cage fighter. Das it. Nothing else in her character made her into this dominant and highly skilled fighter who takes down an ENTIRE DRUG CARTEL ONE HANDED. It, made, no, sense and sits a good example of how NOT to make a film. Also the only reason why it was called Peppermint was because of peppermint ice cream...yeah I don’t get it either.

Score: 2/10

And that is September, which marks an entire year since I’ve been critiquing movies and in that time, I’ve watched well over 350 films. There’s a lot more to come though, for the London Film Festival commences in October and titles such as Dune and the No Time to Die await a winter release. Stay tuned!

#movie review #netflix #movie recommendation #SeptemberMovies #movies #the devil all the time #enola holmes #zodiac #reviews #im thinking of ending things #cinema #bfi london film festival #bfi southbank #curzon

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retphienix · 4 years

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I did it :)

So, I cried. That's a given.

Also this might be the most overwhelmingly happy ending in the series so far, you know, if you're used to every entry ending with "KIRYU DIE?????"

Bonus points because this ending DID NOT immediately reveal that he lives! I know my intro here is all unserious and the like but genuinely, that does a lot for making the scene so much more impactful and it worked here even though I know he returns for Y6.

So, I'm gonna do this post like the last big post because there's too many thoughts to expel.

Timestamps as I rewatch so I can share my thoughts. Then a short conclusion because honestly? This game has taken all my words multiple times.

I just want to calmly and happily say my final piece at the end :)

0:39 - Spoiler, this ending SUCKS because it doesn't include a final rhythm battle for Haruka! Now I think I read somewhere that there's a member of that assassin clan she can dance battle as a final challenge but I clearly didn't do that right and missed out and that's beside the point- THERE'S NO RHYTHM GAMEPLAY IN THIS FINALE >:(

9:00 - I EARNED IT, I'M USING IT!

13:00 - Spoiler for later, Shinada doesn't get to say this from what I recall. Instead Baba gets a different wake up call, but that works out :)

17:00 - Not now, but this will come up, I offer to you my johns for what happens in the first boss fight. My eyes were dry as hell so I missed some QTEs which means I didn't get the flashiest stuff to happen. This actually happened at the end of Y4 also but I restarted just to capture good footage- not this time.

17:30 - MOUSE. MOUSE MOUSE, A LITTLE RAT, MOUSE. Love to see it.

19:00 - The audible sigh I let out when they played the same song I've heard like 40 times in my playthrough was palpable. I do dig the song! But there are what? 4 Idol songs? They really needed more or to not saturate their use so much :(

19:40 - I legitimately gasped and went "Oh no... of course it's you!" at Baba's role in this. It added a lot of weight to the way he practically begged Haruka not to show up.

20:50 - So here's the gist. Majima's plan didn't work out, we know that. Majima has a REALLY good line and motivator moment where he says he's following orders now to protect Haruka because she means more to Kiryu than anything (and that's how Majima rolls), Majima then reveals some shit which can be amounted to "I think you've gotten weak and wanted to protect you!!!!" which does ring slightly hollow since we saw Majima at a ridiculously low point earlier. So either his low point was him contemplating Saejima's survival chances, or his low point was sincere (it sure sounded it) and his worry over Saejima being weak was just also happening at the same time. I don't really mind either way to be honest, we beat him up. I fail some QTEs.

33:00 - Baba deciding not to fulfill his orders on his own accord is actually extremely important and good as hell. It shows that all this changed him and gave him the motivation to forge his own path- or rather it began to though he's overwhelmed with doubt. It's extremely good.

33:50 - The fact he intentionally leaves evidence shows how much doubt he has though, he's giving up entirely more than forging his own path, he's just refusing to follow the orders of another but hasn't found the strength to continue on his own. It's really good is all.

38:00 - This was the first cry I had beating the game x.x Shinada is just a phenomenally likeable character, and watching him accept where his life has gone and what it's meant to others is way more touching than I'd assume considering it's a tale of a baseball star.

40:50 - THIS WAS HYPE AS HELL AND LEAD TO MY SECOND CRY. THIS PRISON FAMILY HAS NO RIGHT BEING THIS ENDEARING. Also, more or less, they get to deliver the message Shinada was supposed to lol.

42:50 - THIRD AND BIG AS HELL CRY. SHINADA YOU FOOL, YOU'VE A FOUND FAMILY AFTER-ALL!!! I genuinely adore this moment so much is all. It's such a wonderful payoff for this loveable fool. After all the runnin' away he has a home.

43:36 - I love Shinada so much the silly fuck.

46:00 - I got a laugh out of Akiyama KICKING ASS in the news footage (didn't mention but the first brawl cutscene was rather lacking wasn't it?) and Kiryu just like... punches a guy. It's hilarious to me. Also you best believe- I UNLOCKED IT, I'M USING IT!!!

48:00 - Now this is a, well, it's a bad reveal. Like look, there is a metric ton of good going on in this finale- but the reveal that Aizawa is his son and is evil and is the final boss is just too much zero-build-up-payoff. It's the worst part. It's not like extremely detrimental or anything- like it doesn't take away from the good stuff- but it's just entirely uninteresting and bad. It makes Aizawa's interest in Morinaga bizarre and uninteresting since he got no payoff, he had buildup with Saejima and then in the final scenes he's just like "Yeah, Mori was nice but who gives a fuck I am the one who killed him (I think he said) and I aspire to be strong as fuck because all of YOU IDIOTS have FRIENDS and CHARISMA >:(" and like, who fuckin' cares bud.

52:00 - Now I'll more or less sum up all of Akiyama's payoff here. 1- I unlocked it so I'm gonna use it! 2- He offhandedly says he wants to be a legend in this town, which in Y4 he already was- he was a myth, a city mystery- but of course he means like Kiryu not the loch ness monster. 3- He gets to be a legend by being the only civilian (or person in general) the Omi would bow to. It's kind of not built up at all and is a bit lame, but to be honest Akiyama has a pretty bit part in this entire game. He's kinda just a convenient returning character with motivation to assist Kiryu and a career that allows motivation to get involved through Park. To be blunt, his part in the story is weak. I wish it was stronger. But it's inoffensive and he at least gets something- as minor as it is. Getting to say he's king of the world is something, you know?

56:00 - I will say that the build up of "Oh shit, these are Kanai's men!" and the reveal that "Oh shit! They are WATASE'S men and all the clans who the Tojo were seeking alliances with!" is a good one. Watase is a fine enough character which I bring up only because I was told he was a standout- but he wasn't for me. His scenes are great, his growth with Katsuya is nice, but he's barely in the game and really only exists to be betrayed and then to be like "I'm one of the good yakuza despite being a war-lusting one because being a good yakuza is just complicated enough to allow this overlap" which is interesting for sure, but I don't know. Unless he does stuff in the subsequent games I didn't catch much in this one. Maybe he does- I assume he runs the Omi now!

1:00:00 - I kinda summed it up but yeah. Here's the final boss, Aizawa, a character we were mislead on and who's motivation is empty as fuck. It's, whatever. It's not the good part of the ending. The good part is everything prior and directly after. Like his entire deal is anti-silver-spoon talking points but also he includes being charismatic or capable as silver spoon-isms??? He pretty much just wants to be leader because he's strong. He'd arguably be more interesting if he just said it that way.

1:11:00 - The lyrics to Dream are anything but subtle and I love them and I love Haruka. Sliding this in here- Majima gets no payoff >:( Park's dream is accomplished in seeing her star on the stage, but no Majima moment? No sight of him accepting her loss? Lame.

1:14:00 - I genuinely LOVE that Aizawa focuses in on Kiryu's gunshot wound. He still accepts it as a fair fight because Kiryu presents it as one, but even then he pays mind to it as you'd expect someone wanting to fight at their strongest would- he wants to fight Kiryu at his best and he's accepting this because Kiryu presents as his best even when wounded- it's pretty cool. Fight happens. It's fine stuff, flashy and fun. Still maybe the weakest final boss yet because he has no build up. I'd be the first to admit without looking it up I can't list every final boss thus far, but like, Nishi was built up, Mine was built up, Goda was built up, I just, in this moment, don't recall having a big "WHO THE FUCK, THIS MEANS NOTHING?" fight in yakuza and this is certainly one of those.

1:25:00 - I cried AGAIN. Haruka just hit me with a truck of emotion here is all.

1:41:15 - This is a beautifully shot, emotional, and tragic looking ending. Heck, at 1:43:00 I initially thought he was being awoken in a hospital bed and I was like "Heh, there's the old Kiryu dies fakeout!" but no! They hammer home, they go for broke, they give a TRAGIC AS FUCK bitter ending on top of an ending that's like 99% happy as fuck in terms of offering everyone involved hope for the future. This was a good end :)

So then, some overall thoughts I maybe didn't get out- I mean there's no way this post touches everything but I want to at least try to because I like sharin' the experience and what I got out of it.

The fighting styles were mighty uneven as far as strengths or fun factor. To be blunt,

Kiryu has an overpowered counter attack and heat mode and since heat mode is underwhelming as hell that means he has JUST a counter attack- his strikes don't really hit all that well considering the improvements other characters saw this time around, so he's a bit one note here.

Saejima feel even meatier than before, nothing particularly 'stands out' but the fact that he has super armor as long as he has heat is a pretty big factor in making him feel good to use.

Akiyama got the short end of the straw this time around. His new gimmick is the launch combos and they are... well... less than shit at least from what I could feel during gameplay. They don't hurt much, they burn heat like crazy, and they can MISS, all while being a move that targets just one enemy- has no counter to blocking or armor- and provides no armor in turn.

Despite not losing anything, he kinda got screwed.

(I'm lead to believe Akiyama is invulnerable during his aerial combos which my blurb in my finale post complained felt worthless and cited that as a reason.

If so then I was wrong but I still hold all my other complaints towards it, just not the 'it has no armor or invuln' bit assuming that's true.)

Shinada wins out for being unique and being a weapon oriented character that actually does well with weapons. Weapons have always been something I pretty much ignore in Yakuza and the series itself has always desperately tried to make them interesting with things like weapon skills, Kamiya works, and the like. But other than the god weapons like the golden gun weapons just never felt good to manage.

Using them, sure, that's fine, but managing them? Durability and skills and limited movesets and all that? Nah. But Shinada really does a lot to make them less shit! His innate abilities that raise durability a metric ton REALLY make weapons feel better to use with him- and his unique movesets with weapons are pretty damn good (mostly. The pipe/'normal one hander pole size object' moveset is worthless as heck, it regularly misses).

He's fun.

===

Revelations were a miss this time around for me. Since you couldn't have seen them if you tried on my blog let it be known- I ONLY got the quest related revelations for each character- which is to say- ONE rev per character.

Revelations in 5 are weapon based, and not just 'bat or pole or gun' or whatever- they are DISPOSABLE TEMPORARY weapon based.

What you are supposed to do is go to the specific place on the map where that one revelation weapon spawns, hope like hell you find an enemy, and wail on them like crazy. If you use a weapon x amount of times then you'll get a revelation according to the internet. This is beyond ridiculous and means a normal playthrough will get none of these, while a focused one will be bored out of their mind GRINDING to get these.

I did not bother.

===

Now.

Yakuza 5.

This might be my favorite Yakuza overall.

I still think 0 is probably the best overall for most people, it has the best style, it has from what I've experienced the best gameplay, it's story is tear jerking and exciting and fun.

But as a yakuza game overall, I really have to give it to 5 personally. Because 0 tried to work within its bounds- it made itself a great entry point to the series or a great addition to Yakuza 1 / Kiwami as background.

But 5 is building on 4 previous games and it does so fucking phenomenally.

There's something to be said about a later entry in a series gaining extra payoff thanks to multiple entries of build up and character depth and 5 fucking does it.

I just. It explores the motivation of some fan-favorites so well, it expands characters so fucking well, I know I've harped on about it but just Saejima- man! Saejima goes from a run of the mill "Decent" character to a fully fledged and explored entity! And I LOVE him!

And no he's not the only shining spot, like hell he is, but he's such a posterchild for what 5 does right in my eyes- take something that's already good and breath some life into it. Also I adore it's laser focus on a singular theme and all the ways it wanted to explore it.

Like. I think Kiwami and Zero take the cake for the most fun I've had " 'playing' Yakuza so far, but 5 takes the cake for the most fun I've had 'in general' like gameplay and me just thinking about it because there's so much to think on.

More time will tell as I compartmentalize my thoughts and perhaps forget some details as one does, but right this moment- this might be my favorite Yakuza game.

I love it.

Also, woot! I beat Y5 before Monhun Rise came out :D Now I can start that game without putting a story on hold!

...

Except I also told my sister that I'd start Omori after Y5. So I guess alongside monhun I'll be playing through a game with a hefty and wonderfully done story. Which is what I didn't want to do with Y5.

I just can't win, lol.

#RetPlays #Yakuza #Yakuza 5 #Youtube

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no-gays-in-russia · 3 years

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Someone Has To Die: Review

TRIGGER WARNING: mentions of suicide, murder, homophobia.

SPOILER ALERT: major spoilers for all three episodes of Someone Has To Die.

Introduction: Someone Has To Die (”Alguien Tiene Que Morir”) is a Spanish/Mexican miniseries of three 50 minutes long episodes set in the 50s which follows the story of Gabino, a young man who has just come back to Spain after living in Mexico with his mother’s family for 10 years. With him he brings his friend Lazaro, a Mexican ballet dancer. Soon, rumours start spreading that Lazaro and Gabino are in a relationship, fueled by Lazaro’s profession (everyone believes that a male ballet dancer must necessarily be gay) and by the intimacy between the two of them. However, Lazaro is straight and actually attracted to Gabino’s mom, Mina (spoiler: it’s mutual), while Gabino is in fact gay and has feelings of romantic nature towards Lazaro, despite them not being reciprocated. Although they are fake, those rumours keep growing, with the help of Cayetana, the girl that Gabino is supposed to marry and sister of Alonso. Alonso is an old friend of Gabino and it’s made clear throughout the show that before the latter left for Mexico something of homoerotic nature happened between the two of them, although it is never specified exactly what; long story short, Gabino is the only one to know that Alonso is also gay and let me tell you, homeboy has a shit ton of internalised homophobia. When the rumours reach their maximum height, Mina tries to help Lazaro and Gabino run away to Paris, but Gabino’s father, who works at a prison, finds out and, advised by his mother, gets Gabino arrested, while Lazaro is able to escape. Mina and Lazaro are then found having sex in the woods and that’s when chaos ensues- Gabino’s father wants to kill Mina and Lazaro, he tells Gabino to do so, Gabino refuses and points his shotgun at his father, his father points his gun at Gabino, then Alonso kills Gabino’s father, Gabino’s grandma kills Alonso and then Lazaro and finally Gabino kills his grandma. And that’s how the show ends. Another important element of the plot is that, while everyone believes Gabino’s grandpa died in a hunting accident, he was actually murdered by Gabino’s grandma, and young Gabino witnessed it (this is a big part of the reason why he was sent to Mexico shortly after); there’s also a subplot involving the family’s maid, quite significant because it leads to Gabino’s dad finding out the truth about his father’s death, but I don’t want to go into too much detail so I’ll stop here.

General opinion: after watching the masterpiece that is Young Royals (I will make a post on it soon), this struck me as a pretty average show; not bad, but not exceptional either (there are some great elements, but they are an exception). The acting is realistic but stiff, the characters are mostly unidimensional and sometimes unlikeable when they shouldn’t be, and the ending sort of leaves you thinking: what’s the point? The show as a whole is not meaningless at all (quite thoughtful and sensible at times, actually), but that’s what the ending feels like- everybody’s dead, now what? What does that mean? How was that significant to the plot? I liked Alonso killing Gabino’s father, because it shows that after all he cared for Gabino and was willing to help him, and I also liked Gabino killing his grandma, showing his strength and proving everyone who described him as fragile wrong, but I feel like Alonso and/or Lazaro should have been kept alive.

The characters: now, the characters are the most important thing in a tv show for me; if everything’s good but I hate the characters I cannot keep watching it, if everything’s horrible but I hate the characters I will keep watching it. The fact that I got through the entire show proves that they are not terrible, but I didn’t love them either. I will now analyse all of the main characters one by one, starting from Gabino. About Gabino, I noticed a discrepancy between the way he is described by other characters and the way he appears through his own actions and words. The adjectives that are most used to describe Gabino in the show are “dreamer” and “fragile”. Now, I’m not saying Gabino is not a dreamer, but since the other characters stress this aspect so much I would have expected his behaviour and words to demonstrate that much more than they actually did. And speaking of fragile, to me Gabino seemed the absolute opposite- I actually perceived him as an incredibly strong character. Throughout the entirety of the show he went through Hell so many times (got rejected by the man he loves, got beat up by Alonso, got put into jail by his own father, witnessed half of his family and closest friends dying in front of him) and he never gave up. He always responded with strength, murdering his grandma, not committing suicide when Alonso advised him to. However, this discrepancy might be caused by the fact that it had been 10 years since any of the other characters had last seen Gabino (although if I’m not mistaken Lazaro too describes him as a dreamer), so they might describe what they remember him as without realizing how much he’s changed throughout the years. But I still felt like in his case the show did too much telling and not enough showing. But now, let’s move onto the other character involved in the rumours: Lazaro. With Lazaro, I have a different issue: I felt as though he was supposed to be a likeable character, but I ended up really disliking him. At first we see him as a bit naive, a very good friend to Gabino, extremely passionate about dancing, a dreamer more so than Gabino (he repeatedly voices his fantasies about visiting Paris and getting to dance at the Opèra); but in the end, he proves himself as being selfish and unfaithful, as he literally has sex with Mina while Gabino is in prison. Your best friend has just been arrested and your first thought is to fuck his mom? And let’s not forget that Lazaro knew that Gabino loved him, so he knew this would hurt him even more. And when Cayetana pretends to offer to him to leave for Paris with her, he agrees- again, proving how little he cares about Gabino being in prison. He has some very good moments as well, including one of my two favourite scenes in the show, but my overall opinion on him is not positive. Now let’s talk about the three characters that we were actually supposed to perceive as negative: Cayetana, Gabino’s grandma Ampara and Gabino’s dad Gregorio. Cayetana’s sole personality trait is that of being evil- there doesn’t even seem to be a motivation behind her actions, she just does it because she is an a-hole. That’s pretty much the same with Ampara, with the small exception that she justifies her actions by saying it’s all for her family (hard to say whether she actually believes her own words or not). But in the end, both characters fail at being fascinating, meaningful villains: they’re plain and unidimensional. The case is a bit different for Gregorio: he’s overall a despicable character, but further traits are added so that he is not just a plain villain- he is a bad person, and that makes a big difference. In particular, I love that they make him a conflicted character, portraying the contrast between the pain he causes Gabino and the pain he himself feels realising how much he’s hurting his son. However, in my opinion, the best, most interesting and most lovable characters in the show are Alonso and Mina. Alonso may be interpreted as a negative character himself, but he sort of redeems himself towards the end. He does some very good things (killing Gregorio to protect Gabino, Mina and Lazaro), some very bad things (kidnapping Gabino and Lazaro, hurting Lazaro’s leg, beating Gabino almost to death) and some things that weren’t exactly good but which he did with good intentions (repeatedly advising Gabino to leave Spain forever, bringing him a gun while he’s in prison and advising him to kill himself). I think the only mistake they did was making him hurt Gabino and Lazaro in such a way, because they wanted him to be a redeemable and likeable character but honestly that was almost unforgivable. But at the same time I can see that Alonso’s violence on Gabino was the result of him taking his feelings towards Gabino (probably some feelings of romantic nature and jealousy towards his supposed relationship with Lazaro) and transforming them into something that he felt to be more acceptable and more manageable, and on top of that it was the manifestation of his disgust, fear, anger, frustration for his own homosexuality. All in all, Alonso is a very complex and conflicted character, sometimes submissive and others extremely corageous, good and bad, selfless and selfish. But if perfection was almost reached with Alonso, we move even closer to the perfect character with Mina- I want to slap her and hug her at the same time, and that’s what I love. Even more than Alonso, she is an incredibly complex character. I think she’s the main character more so than Gabino- so many interesting clues about her personality and her personal history are continously thrown around and you just want to know more and more about her. From her clearly feeling inadequate and different because she’s Mexican and leaving in Spain to her love story with Lazaro (who is Mexican like her- something to note), to the contrast between her desire to help others and her fragility which often makes it impossible, Mina is a well explored, multi-dimentional, lovable and despicable character.

My favourite scenes: finally, I want to discuss two scenes that I thought to be absolutely brilliant (if the entire show had been like those two scenes I would have considered it a masterpiece). The first takes place when Gabino and Lazaro are back home after Alonso’s attack; Lazaro is mending Gabino’s wounds, when the latter stops him and tells him he’s sorry for getting him involved. Lazaro replies he’s not done anything wrong, but Gabino states: <<I love you, and that’s the problem.>> Lazaro says: <<I love you too.>> and Gabino: <<But not in the same way.>> And that’s when Lazaro says the most beautiful line in the show: <<But I love you still, and that could never be wrong.>> That line equates platonic and romantic love, stating that despite them being two different kinds of love they are still exactly the same thing: love. So just like no one would ever say Lazaro is wrong for loving Gabino platonically, at the same time Lazaro states that no one could ever say Gabino is wrong for loving him romantically, because that’s exactly the same thing: love. And love is never wrong. The second scene takes place after Mina and Lazaro have been found together in the woods close to the club and Gregorio gets Gabino out of prison to take him there with him. Gabino is alone in his father’s car, Alonso sees him and goes to sit in the car with him. Alonso tells Gabino about how terrible he feels having to lie every day about who he really is, and then asks him to describe what it is like having sex with a man. Gabino tries to resist, but after Alonso begs him he gives in and recounts the first time he had sex with a man. Alonso is profoundly moved by his story and visibly tries to contain his emotions, but he fails, as tears start streaming down his face; then, once Gabino is done talking, he grabs the gun he’d given him in prison and tries to shoot himself. Gabino is able to stop him and Alonso breaks down crying, hugging Gabino while the latter promises him that they’re always going to be there for one another. Such a touching moment.

#gay #tvshow #netflix #review #i love gay shit #give me the gay shit

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fictionfromafar · 3 years

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The Khan by Saima Mir

The Khan

Saima Mir

Point Blank

Released 1st April 2021

#RandomTTours

The Khan has been one of 2021’s most highly awaited British crime novel debuts. Although this is Mir’s first novel, she has written The Times, Guardian and Independence and her essay on It’s Not About The Burqua (Picador) appeared in Guardian Weekend and received over 250,000 hits online in 2 days.

Regular followers of my reviews will note that I rarely review or post about British crime novels. Although I admire many of our homegrown writers, in this period of sustained lockdown and with Britain distancing itself politically from its nearest neighbours, I have felt keener to learn about different cultures. The reasons I wanted to read The Khan is as had an intriguing story line and appeared to credibly focus upon a British subculture that I am keen to learn more about.

The scene is set from the attention grabbing prologue with the description of an area of a north English city (Bradford although unnamed) in urban decay which is evidently a daunting place for a woman to walk at night dressed in a burqa.

The name Khan has been used everywhere from Turkey to Mongolia to signify a ruler of people. Soon we learn there is no exception for Akbar Khan. He is the leader of the city’s biggest organized crime ring, known as The Jirga leading the Pashtun community. Among their activities are drug cartels, money laundering and prostitution rings. While the male members of his family are actively involved in these activities and the women are complicit, one member of his family had turned back on them all.

Jia Khan is a successful solicitor based in London who single-mindedly left the family home some 15 years earlier. As we meet her she has reluctantly she agrees to return to her home city to join a celebration for the marriage of her younger sister. While detached from her father’s organization, she is aware that another organised crime gang called the Brotherhood is trying to muscle into the city. They are led by the sinister Andrzej Nowak whom Jia has already met. Surprisingly to him, she had not been intimidated by his presence. Local businesses supportive to The Jirga soon come under pressure to pay protection money and some are burned down when they refuse to comply with the new gang.

Shortly after the wedding, Akbar Khan is lured from his house alone. He is found murdered. His family and The Jirga swear revenge on Nowak’s gang. To prevent chaos from enduring Jia as the eldest child of Akbar resolves to lead the crime ring, to modernise it and regain their supremacy over the city.

In a story high on atmosphere we learn so much about the background to the family and indeed to many other South Asian families that have migrated to this area of Britain in the post war years. The Khan delves into key issues that they have faced in terms of the extent of social and economic integration achieved, the prejudices they have encountered in looking to join the workplace, in the justice system and from the authorities. The plot also allows for a social history of a town like Bradford from its boom period to economic decline. These are really key issues that are examined in detail very effectively. There is also some reflection on the Muslim faith and how The Qur’an honours, guards and protects women yet this could perhaps have been developed a little further for the readers' enlightenment.

As Jia begins to mingle more with the people who looked up to her father and wish to pay their respects, she begins to realise the good that he did do for his community. This includes enabling others from poverty stricken areas of Pakistan and Afghanistan to support themselves within their communities or establish themselves in the UK. Along the way we appreciate how Jia’s life changed with the tragic death of her brother Zen in a car accident. This is a key episode that led her to turn her back on her family. As she replaces the older statesmen of her father’s organization, she has to clear their doubts about her leadership firstly due to her gender and also her lack of experience. Eventually she hatches a plan to entrap Nowak and his gang. The action builds up considerably in the third part of the novel which some exciting action scenes fraught with emotion.

While Jia is a powerful and intelligent character, it is fair to say that she is not a particularly likeable. The role of sympathetic protagonist is filled by her estranged husband Elyas. They met young and had a love marriage but it did not last. Elyas has raised their son in Jia’s absence while working as a journalist. Hopefully a follow up to The Khan, would allow for exploration of a more tender portrayal of Jia. Although of little importance to the overall plot I did feel there was a slightly clichéd characterisation of East European villains. This is sadly a regular theme within British crime fiction. I believe this novel could have been even more effective if the rivals had been given a bit of greater depth. Had they been a different subcultures of South Asians for example, Mir could undoubtedly have written about them with greater conviction. I can also see why the author might have wished to avoid an Inter-Asian conflict. These though are my very minor quibbles and there is perhaps scope for development in these areas in subsequent novels.

In my opinion the role of a crime fiction novel is not simply to excite the reader but also to provide some reflection of the issues in the society it represents. The Khan fully succeeds on both levels. This is a compelling and memorable story that truly shows a different side to British crime and indeed to British society than many other books in the same genre. The concept, themes raised and storylines in the Khan will live long with me. More than that, this should open new avenues to emerging writers. British crime fiction is at its best when it breaks new boundaries in such a credible manner. If you read just one new British crime author this year, it should be Saima Mir.

Please check out these other reviews of The Khan:

Many thanks to Anne Cater of Random Things Tours and Point Blank for a copy of The Khan in return for an honest review.

#crime fiction

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askthewitchlady · 4 years

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Ajin: Demi-human (season 1) Review

THIS REVIEW WILL CONTAIN SPOILERS

Oh my goodness was this a slog to get through, Three days people, it took me three days to get through 13 episodes Because OMG Setting aside the fact this is some of the ugliest 2d to 3d rig work I have ever seen, I have never seen a show have some much going on with out achieving anything. Ok ok ok let me start this properly.

In the world there are being known as Ajin, these Demi-human beings are rare with only three known cases in Japan, the Ajin are capable of resurrecting from fatal wounds making them Semi-immortal, they also have the ability to summon being known as ‘black ghosts’ which can be used for all sorts of things. There is unfortunately no way of knowing if a person is an Aijin until they suffer some for of mortal injury at that point their body will regenerate and they will live this is the case for Kei Nagai, a high school student studying to be a doctor. While the government of Japan have led people to believe that Ajin are kept in protective custody it is learned that not only are they but most other countries use Aijin as test subjects for medicines and weapons, including life fire testing, because of their regenerative abilities.

Story time

17 years ago during a war in an unnamed African nation the first Ajin was discovered. Reffered to as a soldier of god because he could not be killed the soldier was immobilized and claimed as property of the US government.

Now Kei Nagai is an apathetic highschool student studying to be a doctor on his mothers demand. While to his ‘friends’ he seems like a cheerful if easily taken advantage of boy the truth is he is apathetic and cut off from the people around him seeing only the value they have to him personally. While walking to school he and his friends note another boy their age Kaito sitting outside a convenience store they comment on how weird he is and question if Kei is his friend after Kaito waves to him, Kei denies this and they walk on.

At school the subject of Ajins is brought up because of their value in the medical feild, one of Keis friends shows another classmate a video of Inhumane testing on an Ajin subject. The boy also asks his teacher if the truth about the high reward for an Ajins capture is true. For some reason this startles Kei and his reaction draws attention so he asks if Ajin aren’t really human. His teacher says they are not.

Reminiscing he vaguely remembered the death of a childhood pet, after burying it while trying to console his sister he wonders about death and witness’ something strange. curious about the memory he decides to visit his sister in the hospital and tries to ask her about what she remebers but she refuses to discuss it being outright hostile to him.

still lost in thought and wondering about Ajin as well as flicking through Study cards Kei misses the stop light and begins to cross the street before being hit full on by a truck. the truck drags his body quiet a ways as it skids to a halt and his friends are horrified by what they’ve witnessed, the driver is shaken and climbs out desperate to say that it was Keis fault when to their shock Kei crawls out from under the truck dazed t first he is confused about what happened before quickly realizing and becoming upset he insists he’s human and begs for his friends to believe him however he realizes they only see him as a way to make money by turning him in. in terror Kei screams unintentinally releasing his voice, another unique trait of Ajin that causes a temporary paralasis in those who hear it, before fleeing the scene.

a little later Yu Tosaki and his body guard and assistant Izumi Shimomura of the Ajin control branch of the government arrive to question Keis friends and his mother. As this is going on it is revealed that Kei has fled to a local Shrine and then into the woods beyond, desperatly thinking who might help him he remebers Kaito who had been a childhood friend but whome he’d been told not to be around anymore by his mother. Desperate and worried Kai Might also want to turn him in but feeling alone Kei calls Kaito and the other boy is ready to help his friend filling a duffle bag with supplies and heading out, knocking out a poliece officer who had found Kei Kaito offers his old friend a hand up and they flee the area on a motorcycle.

The Bad

Despite how much I’ve written that happened in the first episode. it not actually a lot. theres a lot of nothing in this show and thats a major problem. I a not against quiet moments, for example Hiyao Miyazaki is very well know for his long silent scenes, but even these scenes serve to tell story in one way or another, I get the feeling either the writer or director of this show wants to emulate that but the quiet scene in the show just don’t accomplish anything. theres also a sense of ‘artistic padding’ where things are added for the art of it, I don’t know if someone in the production team had higher aspirations or if they where just desperate to cover the ugly modles but it doesn’t work.

The episodes feel long but almost nothing happens. or a lot happens but none of it matters or is memorable. The motivations of the antagonist make no sense, and while I have a theory of who he truely is I won’t say untill I do my reviw on season 2 (Which won’t be for a while because this was so hard to sit through)

Kei himself is a terrible protagonist, there are moment whre you think he’ll get better, but he really doesn’t in fact I thought the show was going to pull some kind of switch and make the story focus on the friend Kaito who seems to really genuinely still care about Kei even though they hadn’t been friends for years and who insists even if Kei is an Ajin, he’s still Kaitos friend so that’s all that matters. But Kei leavs Kaito after only a couple episodes

It’s clear that there is something not right with kei from the get go, the first time we see his phone all his friend are listed not by name but number literally ‘friend 1′ ‘friend 2′ and so on, and as the show goes on theres an impression that the creators where trying to make Kei a Psychopath. I’m not talking Ax wielding movie psycho but a clinical psychopath, no empathy no connection to the people around him, a general callous nature and his willingness to use then abandon anyone who might have value. I’m not a fan of using mental illness as a way of making people ‘other’ mental illness is demonized enough, and frankly it’s hard to empathize with a protagonist who openly admits they don’t care about anyone.

There aren’t any real stand out characters either, they all feel like cut outs, you have you deceptively friendly antagonist, you have your to serious government agent, and his body guard who obviously has a crush on him, you have the best friend, you have the friendly granny.

It’s just all been done before and better.

Now about episode 8 a character name Ko Nakano is introduced and for a moment I thought Oh the shows just going to give us a new protagonist... NOPE! he get capture by Kei who keeps him locked in an old shipping truck for the rest of the season, Fuck that noise. honestly Kei gets less and less likeable as the show goes on. He abjectly refuses to get involved with trying to stop the antagonist, Sato’s, terrorist plot even saying openly he doesn’t care what happens to other because he’s found a nice place where he can live a quiet normal life. Kei had in fact been taken in by a kindly older woman who convinced the villagers kei was her grandson from tokyo who had gotten into trouble and was staying with her.

That being said.... There’s a couple good things

The elderly woman is quiet charming, she doesn’t care about the Ajin or what ever other trouble Kei seems to be in she just sees a young man who helped her after she fell and lets him stay. If not for another villager recognizing his picture on the news and reporting him to claim the rumoured reward Kei clearly would have been happy to stay in that little village forever and just live a quiet life.

The opening theme song is pretty good. the CG is frustrating in that in the opening they show shots of characters as they looked in the manga and those drawings are amazing, This would have looked so much better 2d Animated.

The black ghosts are kind of neat.

theres a couple interesting fights with the Ajin, since they recover almost instantly from death they’ll actually kill themselves in combat to resurrect with out their injuries or to even escape grapple or escape the effects of tranquillizers, so that’s neat

I haven’t got much here guys I’m sorry I’m trying but this just, I feel like there might have been something good under all the thick thick thick padding.

Final Thoughts?

I don’t recommend it, even for one watch it’s just a slog, it’s not enjoyable it’s not even a good time killer because it feels like it drags.

Everything from plot point to characters to scene have been done before in better shows, and the aesthetic is just Ugly, terrible CG modles with awkward round movements to avoid collision issues clearly, and the backgrounds look like someone took photos and then put them through the photoshop watercolor filter.

There’s nothing worth reccomending about it, I know Netflix has stuff way better then this so go watch that because this so Not worth your time.

#anime #anime review #Netflix #netflix review #Ajin #ajin demihuman #ajin demi-human #reveiw #So not worth it

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rantshemlock · 5 years

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It: Chapter 2

It: Chapter 2 is an almost three hour movie in which just about nothing of value happens

this review contains implied spoilers for the movie! if that bothers you, don’t read ahead.

It (2017) had some incredible setpieces with brilliant monster designs and fantastic practical effects, bolstered by a couple of excellent performances from the show-stealing Finn Wolfhard and Jack Dylan Grazer, along with an outstanding performance by Bill Skarsgard as Pennywise. this, and the simplicity of the plot, make up for the fact that the character writing was often shallow and the dialogue laden with exposition.

It: Chapter 2 has almost all of those qualities, but also one major flaw: it's a bad movie.

there’s a lot to unpack when it comes to why exactly It 2 is such an extreme drop in quality to the first movie; the biggest is the story, which is a mish-mash of new footage of the child actors and the characters as adults, and is probably the biggest pisstake in film history in terms how much of an extreme waste of time it is. for a film to so thoroughly enforce the idea that the characters’ actions are pointless and serve nothing is unbelievable. as a movie that should be a triumphant ending to the saga, we’re given what is explicitly told to us to be pointless.

It 2′s sin is that it doesn’t build up to anything. not storybeats, not relationships, often not even scares. things are laughably obviously telegraphed, even more so than It 2017′s often heavy-handed exposition. the movie wants us to care about the characters because of their past together, but rather than building off the first film’s two hours of story it instead patches in new settings and scenes that no viewer has any attachment to.

“remember the club house? you love the club house!” the film says, showing us to a set we’ve never seen before and have no reason to care about other than it dictates we have to now care about it. the first movie was incredibly well received and is now beloved, it has more than enough emotional moments to build off of, but the film rejects all that in favour of bringing up new ideas, new concepts that hardly get built upon. it demands you care, but doesn’t earn that compassion or attention.

unresolved issues is the name of the game in this movie; characters are constantly shown to have problems, huge, serious problems. Beverly is being abused by her husband, something we’re shown in overly graphic detail. Mike is suffering from untold trauma from standing vigil over Derry for years. Bill is fucking up his movie and his relationship with his wife. Richie is living a lie, deep within the closet. what’s most egregious is not just that these issues don’t get resolved, but that they never get addressed.

we are meant to believe that these characters care about each other, care deeply, have a connection that would drive them to die for each other, but no one notices that Bev is covered with bruises and is desperately avoiding home. no one questions Mike’s erratic, terrified behaviour. Bill forgets his wife exists. as i watched the movie i found myself asking, if Ben loves Beverly so much, why can’t he see her pain?

in the first movie, the characters’ issues were deeply entrenched in their psyche, were part of what Pennywise used to manipulate and attack them. in this movie, they haven’t moved on from their childhood issues and their adult issues are merely tacked on, lip service to the idea that they have grown up but a refusal to actually spend time examining what their issues as adults are. all the characters are suffering in some way, but they never share these things. for all their love and trust, they never developed past their childhood and they never learned how to be adults. their arcs from the first movie are reset completely; their development in that film never happened. for how little that film ties into this one and how much this one wants to retell history with new content, it might as well not have existed at all.

if It: Chapter 2 lacks anything, it’s tact. it’s carelessly violent and shallow, throwing around horrifying concepts and spending no time to flesh them out. while the idea in the book that Pennywise’s presence leads to more violence, abuse and bigotry deserves criticism, this film manages to do an even worse job. what in the book might be questionable and in need of updating becomes uncomfortable and thoughtless in the movie. the gay hate crime at the film is one of the most prominent examples; always a horrifying thing to read in the movie it serves even less purpose, exposes even less about the town, adds nothing, means nothing. goes nowhere.

let’s talk about being gay. let’s talk about Richie.

here’s a fun fact; discounting Nightmare on Elm Street 2 (as painful as it is for me to say this, as someone who fucking adores that movie) It: Chapter 2 is the first horror movie in a big franchise to have a gay hero, unless there’s some information i really badly need to be updated on. making Richie gay was a good move, and i think Richie was the perfect character to pick for it. he’s by far one of the two most likeable characters in the film, the most memorable, gets the best moments and the best lines.

but the conclusion the film gives him, combined with the hate crime earlier in the movie, after he spends the entire film in the closet letting no one know he is suffering, is that he will never be happy. he can’t open up to anyone about what he’s feeling; he never tells any of the others, even Eddie, the character strongly implied to be the love of his life. while Ben and Beverly are given one of the best and most visually striking setpieces of the film to reunite in, there is no such moment for Eddie and Richie. there is no catharsis for either of them.

while making Richie gay was an excellent idea, to try and throw a bone to us starving gays to have someone to cling to, but the ending of the movie left me feeling completely hollow. i did not want my takeaway from his character to be that he is traumatised beyond the point of any healing.

the politics of gay representation in this movie are bad, and so is race.

Stephen King is a writer with a dirty reputation for his habit of using “native americans” as shorthand for something magic and not understandable, and this film manages to not only dig up the few traces of this from the book but also make it worse, turning the ritual of chud (something that the book implied only worked because the characters believed in it and had no tie to native americans) into the act of ignorant, misinformed indigenous people who get not a single line to explain or defend themselves but are only allowed to be set dressing to later be ridiculed and demonised.

Mike, the sole black character of the movie, is served horribly in this film. while in the novel he was one of the most important characters, a thoughtful librarian and historian carefully gathering the history of Derry to research the truth of It’s influence, he was given no screen time in the first movie and in this one is the detested outsider of the group. he is pushed into the position of mentor and guide, rather than friend, and comes across almost like the old stereotype of the magical black character, someone who is only there to provide guidance to the white leads through insight he mysteriously and magically possesses. the film stripped away his position as historian and researcher from the first movie and now scrambles to make up for that, leaving him without the history and characterisation to allow us to understand who and why he is.

on top of this, despite the enormity of his sacrifice to stay in Derry and the clear mental strain it’s put him through -- Isaiah Mustafa gives Mike more depth and thought than anyone else did and brings in his performance layers of subtlety this film doesn’t deserve -- the other characters are mocking and derisive of his attempts, don’t trust him and accuse him repeatedly of lying to and betraying them. these moments go nowhere, also. he is always immediately ‘forgiven’ without any thought as to his own suffering or the continual selflessness of his actions. he’s the thoughtless punchbag to a film in which the character continually martyrs himself for the comfort of others.

he isn’t even given the dignity of being called the leader of the group, despite doing everything for them and coming up with every idea. for some reason, the leader is nominated as Bill, despite James McAvoy’s performance being lackluster to the point of fading into the background entirely and the character of Bill doing next to nothing in the film at all.

but again -- the characters in It are not allowed to care about each other’s pain and suffering outside of a few moments. they come with their mental turmoil and they are either completely cured of it or allowed to remain in it, unmentioned again.

there’s not a bad actor in this -- James Ransone is astonishingly good, pitch-perfectly recreating Jack Dylan Grazer’s every mannerism, Bill Hader is both funny and heart-rendering when needed, Isaiah Mustafa moves mountains to make the script give him some depth, and Bill Skarsgard is again incredible as Pennywise -- but there’s also not an actor who isn’t horribly, horribly maligned by the script. Jessica Chastain, an actress of tremendous power and presence, is given next to nothing to do or say. more thought and care is given to Stephen King’s cameo as a shop owner than the role of Henry Bowers.

the film has its moments. Richie and Eddie are a delight, and the monster design and practical effects are again top of the line. it’s just a painful shame that so much talent and craft, the skills of the incredible artists and designers, the hard work of the enthusiastic and engaged cast and the intricacy of the sets are wasted on a movie that has no direction, no idea where it’s going and no point to make about anything.

also, it’s pretty fucking galling for a movie to continually make jokes about how despised a writer’s endings are only for it to take the far better ending of the book and discard it for something so ridiculous it was a strain not to laugh in the theatre.

It: Chapter 2 has no reason to be as bad as it is, but all the goodwill in the world can’t save a story this fragile, this pointless, and that refuses to engage with any of the subject it brings up to this degree. It wants us to take it very seriously indeed, but there’s nothing here to latch onto; this movie is someone screaming ‘oh the horror’ in a beautiful room filled with set dressings that crumble to ash.

#rantsfilmwatch #my writing #it 2017 #it chapter 2 #justice for richie :(

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littlemisssquiggles · 5 years

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Hello! So, I read your last musing, about Oscar's most powerfuls spell, and it made me realise one thing: in the old Remnant, everyone could cast magic from their hands, but Ozma used a cane for it. Do you think that he may have been handicapped? Maybe he wasn't as connected to the world magic as much as others and he needed to use a medium. We know that he used a cane because he didn't believe in aggression, but what if it was also a sort of magic prosthesis?

Hey Yellow. Ironically that’s something I noticed too to after I finished posting my last Pinehead headcanon. Thus far, Ozma and essentially all of his successors are the only ones who used an object as a conduit to channel their magic

As to why, I’m not sure. I do like your concept of Ozma originally being magically handicapped than other magi from First Remnant. But since you also mentioned the tidbit about Ozma (and technically all the Wizards) preferring to use a sceptre/cane as their weapon of choice as it’s less lethal, it’s making me consider a different new headcanon about Ozma. Here me out:

What if…in his youth, Ozma was a completely different person.

When we were first introduced to his character, he was described as man who fought for righteousness and the people. But what if …this wasn’t always Ozma’s personality? What if …Ozma used to be the complete opposite of who we met him as during his younger teenaged years? Probably when he was roughly around the same age as Oscar is presently.

Since First Remnant was described to be home to kings and queens, what if… Ozma was possibly a young prince in his time. This could be a small little nod to his Oz counterpart of the same name who was a princess. But despite being of noble blood, imagine if…Ozma was rather spoilt and selfish in his youth, caring very little for others which was inclusive of the very people who lived within his family’s kingdom.

And because of this lack of empathy towards his fellow man, Ozma would often abuse his powers. Let’s say…rather than being magically handicapped, Ozma was quite talented in the mystical arts but lacked proper disciple as well as the patience to learn how to properly control it.

Since ‘arrogant’ was a word once used by Cinder Fall (as propagated by Salem) when describing Ozpin; as Ozpin is the current version of Ozma’s soul, perhaps in his past Ozma was very supercilious to a detrimental fault.

Picture…a fourteen-year-old Ozma, crowned prince of a kingdom devastated by poverty and ruled by greed, being the type of cocky adolescent whose vanity was only outmatched by his lack of self-control in using his own abilities.Like imagine Young Ozma being the type to walk around proclaiming that he was the greatest magi in all the land because of his abilities, having come from along line of powerful witches and wizards on both sides of his family.

Picture…Ozma being the type to cockily challenge others to a duel of might and magic since he’s arrogant enough in his abilities to know that he’s strong enough to wipe the floor with any opponent (or so he believes) whether his opponent was willing to participate or not. As a matter of fact, picture a scene where Ozma is training with his royal tutor using servants as his sparring partners. However Ozma keeps disobeying his master’s orders and going overboard with his magic to easily win his matches since the boy is fully aware that his lesser magically incompetent servants can’t put up much of a fight against.

Pretty soon the easy wins start to bore Ozma and he demands a proper challenge; to which one servant responds that there are no more servants for Ozma to fight since he’s beaten most of them while the rest were to scared to face him. Ozma then challenges his tutor to a duel claiming that since he was such a so-called powerful warlock then he’d be provide the challenge Ozma craved. At the first the tutor refused Ozma’s challenge after acknowledging the destruction and pain he had caused he past targets. However when Ozma begins mocking his tutor and belittling his abilities, he finally conceded for a chance to teach Ozma a much needed lesson.

Long story short, the tutor, of course, wipes the floor with Ozma much to the astonishment of the feeble spectators who all rushed to help their beaten prince. However Ozma wasn’t finished. Despite the tutor voicing that the match was won in his favour, the humiliating defeat angers Ozma to the point that he loses control of his magic, unintentionally summoning a much darker power which he unfortunately unleashes upon his tutor.

Of course the tutor masterfully dodges Ozma’s attack only for it to collide with the ceiling of the training room, causing debris to cave down on top a pair of servants caught in the crossfire.

This of course badly wounds both of them and Ozma is genuinely stunned at what he had done. You ever noticed how Salem is mostly the only magic we’ve seen to use dark magic whereas Ozma (and the Wizards) don’t? I’d like to think that dark magic by RWBY terms stems from the power of destruction derived from the God of Darkness.

I’d also like to think that in his youth, Ozma learned just how devastating such type of magic could prove in the wrong hands, in more ways than one.

Anyways, as the injured servants are whisked away and as Ozma was still recovering from the shock of using the forbidden dark magic, his astonishment is short-lived as he was suddenly pulled aside to be scolded by his tutor, infuriated for his behaviour and his sudden misuse of the dark arts.

This in turn only serves to further annoy Ozma as he claps back at the older warlock, threatening to have his father—the king—behead the man for so much as daring to speak back to him in such a manner. As a bold reminder, Ozma even tells the tutor wizard that he was a servant of his kingdom and as a servant of his kingdom, he bows down to Ozma. And as you might expect, this threat causes the tutor wizard to resign as both Ozma’s mentor and a servant of his kingdom; joining the rest that came before him.

I’d like to think of Ozma being such a poor student that he racks up mentors faster than the servants can find one willing enough to take the job. Beside I like the satire of Ozma formerly being a pretty terrible student in his first life as compared the humble teacher he comes to be in later lives.

Both as Professor Ozpin and his predecessor—the King of Vale since he founded the huntsmen academies and I’m still holding onto my hunch that the Warrior King—King Phadrig as I dubbed him—trained the very people who fought under him during the First Great War; including Great-Grandpappi Arc ( Jaune’s ancestor) according to my theories.

I know these theories more or less paint a different and less likeable version of the Ozma we know, but again hear me out again. To me, I find characters who start off being one way and slowly evolving into another way kind of fascinating to follow.

Like for example, a story about a timorous street cop, who desired to be promoted to detective but was a pushover for most of his career, slowly transforming to become the most intimidating crime bosses in the city; using his previous experience and knowledge from working in the force to outsmart his previous peers. It was originally meant to be an undercover gig that the cop wanted to use as means to rise in the ranks and finally achieve respect from his fellow cops who would look down on him. But what it leads into is a narrative that makes the audience question whose side this cop character really is many times throughout his arc as he does shady things that makes you wonder where his loyalty lies. Is he still the good cop working to stop the criminals or has hereally switched sides finding the life of a vicious crime lord his true calling since it brought him the satisfaction and respect he always craved? Doesn’t thatsound like a compelling character to follow?

Or, in the case of my small theory here, picture a hero’s journey about anarrogant little prince who cared very little for others outside the family thatspoiled him rotten ultimately growing up to become one of the most virtuousheroes in all the land whose chivalry and devotion to protecting mankind endsup transcending time and history.

The beginning and end stories are such a stark contrast that you’re left wondering how on earth did said character come to be so different in the end, thus lending to the ongoing intrigue of watching the chapters that contributed to this change. You’re left interested in following along to see how the storyreaches this ending in a sense, if you get what I mean.

That and I also like the juxtaposition of Ozma formerly being one of the worse students imaginable in the younger years of his first life but ultimately growing to become a humble man who now passes down his years of knowledge to guide others.

Anyways, let’s continue with the theory idea:

So Ozma is boy who desires to be great like his family but lacks the patience to be one as well as earn the respect of a mentor willing to teach him to be the person he desires to be. At least, not until Ozma meets someone— an old, wise nomadic wizard hailing from a faraway land unknown who ultimately became theperson who changed Ozma’s life forever. For the sake of this headcanon of mine, I’m going to dub this old wizard as Merlin; and going off the name alone you can probably tell or ready where I’m going with this.

Now let’s say, in a land of powerful magi blessed by the Gods there was one fabled to be the most powerful wizard in all of First Remnant—believed to have descended from the First Man created by the Brother Gods.

But in spite of being this legendary mage, no one knew anything of this true identity. Each legend spoke differently but they all shared one common detail—a mystical staff that was said to be the weapon of the legendary mage believed to have been bestowed him by the Gods themselves. Or something like that.

There was not a single child born into First Remnant who didn’t grow up hearing the legendary stories of the nameless great and powerful wizard. Among them was Ozma but he always believed the tales were all hogwash. Glamourous fairy tales of one powerful wizard who travelled the world using his magic to aid others in need yet no one has ever seen him before? How ridiculous, were the thoughts of a teenage Ozma.

And the fact about him fighting with a staff when magic is available by the mere snap of one’s finger just made the stories even less enticing to the boy’s ear ears.

Now in Ozma’s kingdom, like I said, there was this bum—as Ozma referred to him. He wasn’t actually a bum. He was in fact a humble nomad proclaiming to hail from a land far away—a land of light as he described and his travels eventually brought him to Ozma’s kingdom.

The only reason Ozma addressed him as a bum was because the strange newcomer’s attire matched the lower class that lined the streets of his kingdom in droves making the stranger blend right in.

Let’s say…poverty was quite rampart in Ozma’s kingdom since the kingdom royals—his family— did very little to help its citizens and they raised their son to do the same. But this bum—the nomad— peeked Ozma’s interest.

From his home, Ozma would always observe the man. Each day the bum would perform the same routine—come into the kingdom from his temporary abode outside in the forest, sit in the same spot, pretend to accidentally drop a couple of lien into the hands of the starving poor folk who needed it (or perform some other type of good deed) and when the day was done, he would return quietly to the forest from whence he crawled out of only to return again the next day.He was a strange one, as Ozma would often say to himself but in a strange way, Ozma couldn’t help but be oddly fascinated by said man.

Who was he anyways?

The most interesting thing about the man is that he carried a strange sceptre. Ozma always found the sceptre to be the most outlandish thing about the bum since it contradicted with everything else about him.

To fast-forward this idea a bit, let’s say—one day, another kingdom attacked Ozma’s under the pursuit of conquering his throne.

Unfortunately they succeeded. In the span of a single night, Ozma lost everything he once knew. His family. His home. His crown and dignity as the royal heir. He almost even lost his life when the assailants came after him. In spite of fleeing into the forest, Ozma eventually found himself cornered on a lonely bridge suspended over a deep canyon.

Outnumbered, injured and outmatched, Ozma was like a rat trapped in a maze and it’s not like his magic was enough to help him this time. His lack of trainingin control of his powers came back to haunt him as he was easily overpowered by the more experienced assailants.

One of the attackers even resorted to using dark magic to restrain Ozma, twisting his body with the malicious intent of killing him slowly. But in his moments of pain, to the young boy’s astonishment he is rescued by an unlikely saviour.

It was the bum who arrived to protect Ozma from the assailants. And that’s not even the most surprising part, the bum was also a magi. But not just any magi. He was the great and powerful wizard of legend: Merlin the Myth.

I know that Merlin is the legendary sorcerer derived from Arthurian Legend. So imagine if there was a RWBY character inspired by him who played a pinnacle role in Ozma’s Origin story and was the man who made him into the champion of justice we know he came to be?

I know it’d probably be more in character to have Ozma start off as the type of eager hero archetype willing to fight for the people, as we saw with our main RWBY heroine: Ruby Rose.

However, as I;ll say again I like the contrast of Ozma coming from privilegedbeginnings governed by greed and selfishness only to ultimately change to become a better man as a result of all the life changing experiences he endured during his youth while attaining the companionship and guidance of an old soul who left a lasting impression on him.

I like the idea of Ozma formerly being a spoiled prince who initially started to go down a path of revenge when his family is murdered by another kingdom that conquered his own. I like the idea of Ozma being taken under the wing by a legendary yet kind wizard who genuinely saw good and greatness in him and wanted to help him in some way.

Using this idea, imagine young Ozma practically begging Merlin to be his mentor upon learning that the legends about him were real. Picture Ozma boldly demanding that Merlin teach him how to become a powerful magi like him for the sake of returning to his conquered kingdom and slaughtering the people who took it from him out of revenge for what they did to him and his family.

Unfortunately Merlin wasn’t having any of that and refused to teach Ozma at all if his intentions were to use his teachings for harming others. It is only when Ozma agreed to Merlin’s way that the old sage took him in with a smile.

(Side Note: If I also had to depict Merlin the Myth, I’d picture him something like this image above while sometimes adopting an animal form in the shape of a brown owl or white owl. A lot of the images and art I find on Merlin have him featured with an owl of some kind.

Since we know magic in RWBY can be used to turn people into animals, perhaps Merlin used his to shape-shift into an owl and that’s how he traveled from place to place and explains why no one could ever saw his face. He’d always transform and fly off before they could. Just an idea).

Resuming: Since Ozma was desperate for Merlin to teach him, he agrees to temporarily abandon his vendetta for the sake of learning from Merlin. However, truth be told Ozma had merely lied to Merlin so that he would provide him what he needed.

The boy still hungered for vengeance and when Merlin learnt this, he told Ozma that if revenge was his path then there was nothing he could teach him that will be of benefit to him. Enraged by the old wizard’s words, Ozma storms off and attempts his vendetta anyways.

Using what little he had learnt from Merlin, he returned to his kingdom and tried to stage a one-man attack. Ozma had planned to singlehandedly take back his throne by killing the new king and his family just like what he had done to him and his.

However, what made Ozma stop in his tracks is when he soon realized that the new conquerors had young children—four innocent little princesses who were absolutely oblivious to what their father—the king—had done.

In order for Ozma to enact his revenge, it would mean taking the lives of these four girls. In spite of his anger clouding his judgement. In spite of every fibre in his body screaming at him to defend his family’s honour, Ozma…couldn’t do it.

So basically Ozma fails in his vendetta. He believes he is done for when he is caught by the new king. But to Ozma’s surprise, Merlin appears and comes to his aid a second time.

In a nutshell, Merlin protects Ozma and when questioned by the young boy about why he came back for him, Merlin simply replied that despite his impulsive, bratty behaviour—the old soul could still tell that there was a kind heart behind it. In spite of only knowing Ozma for a short time, Merlin was willing to place his fate in the more honest soul he saw in him.

In Merlin’s eyes, he believed that Ozma was destined for greatness. All he needed was proper guidance. Sure he was more than a little rough around the edges but in time, Ozma could be great if he was willing to put in the work to becoming a better person. Perhaps even the type that others could even call a hero.

Ozma scoffs at the very thought of it .Him? A hero? Impossible. He wasn’t even a prince anymore. He had no crown. No kingdom. His own people didn’t even miss him, not like he had ever given them reason to. Ozma was a nobody now and from here, where was he supposed to go? Who was he supposed to be now moving forward?

That’s when Merlin would prompt him with the statement, “Well that’s what you get to figure out. This is your chance to decide your path, young Oz. Your future. You think you lost everything but in actuality, you’ve been given a tremendous opportunity.”

“For what?” Ozma would ask.

“To start over,” Merlin replied optimistically, “begin a new leaf. Before you believed you had to abide by a destiny that was handed to you from birth. Now, you get to decide it for yourself. To forge your own path and decide the type of man you want to be in time.”

“But how am I supposed to do that?” Ozma would then inquire, “I am a prince without a crown or kingdom and a child without a family. I’m just…a boy. How am I supposed to do anything now?

“…Well I never said you have to figure it out right now,” Merlin would reply casually, “and I never said you would be going forward alone either.”

Basically in a nutshell, Merlin agrees to give Ozma a second chance. He agrees to stay by his side and continue training him as his mentor; so long as Ozma gives up his vendetta entirely and devote himself to

And this time, Ozma agrees after realizing finally, that regaining his kingdom was a lost cause.What would even be more interesting is if the reason why Ozma came to this conclusion is because he came to the startling realization that he and his family were in fact the bad guys in all of this. Ozma’s family were tyrants who treated their people like garbage. Ozma used to notice it but at the time, he never cared much for it since at the time he was raised to turn a blind eye to these things. It would be an interesting twist if the new conquerors were good people. Another kingdom who learnt of Ozma’s family tyranny and decide to conquer it in order to help the people who were suffering. Now the people were happy with its new rulers.

Consider it a stained victory—one where neither side is black nor white. They’re each right and wrong in their actions and their reactions to the given circumstance. A starving kingdom was finally freed and living in prosperity under the reign of better, compassionate rulers. However at the same time, an innocent child lost his family in cold blood shed and has his life nearly taken by these same people.

I dunno if that makes a lick of sense at all. I just like the idea of it. I kind of like the idea of Ozma abandoning his title as prince upon learning the truth about his kingdom and what his family used to really do. After that, he was taken in by Merlin who practically raised him like a surrogate father. Together, the two travelled Remnant Merlin mentoring young Ozma on the ways and disciples of how to be a proper powerful magi through righteous rather than sheer talent alone or something like that.

It is through Merlin’s teachings where Ozma learnt the reason as to why he chooses to fight with a sceptre. RWBY has described the Long Memory as being very special to Ozma and essentially all the Wizards that came after him. Through the Lost Fable, we got a sense this is the case since as fans saw from the episode, the sceptre has been with Ozma since his first lifetime.

What was even more interesting is that even after he died the first time, even Salem still held onto the staff. I’d like to think that during their time together, Ozma must’ve told Salem the history behind his signature staff and why he held onto it for so long which in turn contributed to Salem cherishing it after Ozma’s death since it was the last thing she had of him.

I also found it pretty interesting how Salem even held onto the staff after humanity had been restored, after she had become corrupted by the Grimm Pools of Darkness. Not only has the Long Memory sustained time with Ozma (and essentially his descendants) but also with Salem pre-Ozma reincarnation. Wouldn’t been interesting if this somehow lent to the magic within the sceptre.

Like imagine if…the Long Memory was a mystical archive that secretly stored memories from Ozma and all of his lifetimes which is inclusive even of the time he spent with Salem—from the time he met her, to their travels, to the day he died to even before when Salem had the sceptre in her possession and Ozma was able to learn from the cane of Salem’s loneliness, depression and anger after losing him. Or…something like that. Mostly spit balling here.

Once upon a time, I shared a theory about the Long Memory being Ozma’s cherished weapon because it was a gift to him by someone very important from his past. At first, I pegged it had been given to him by the original Four Maidens during his lifetime as the Hermit.

Mind you, this was pre-V6. Eventually I settled on the theory that the weaponwas given to Ozma by an old relative/ mentor who helped him become the man he was.

I figured the Long Memory was either made for Ozma by his old mentor or passed down to him after he set out to start his own journey. To add an extra layer of sentimentality to the Long Memory, I thought it would be nice if the weapon originally belonged to Ozma’s past mentor who then gave it to him upon completing his training as a sign that he was ready. For me, I kind of like the concept of Ozma inheriting his master’s weapon as a symbol of his growth into an outstanding magi, not to mention the everlasting bond he shared with his mentor.

A passing of the torch, so to speak.

Plus it’ll add more significance to the weapon being called the Long Memory having been passed down from Ozma’s former mentor him to him and eventually he passed it on to his next incarnates. This is where I going with the idea of a Merlin-character in RWBY for Ozma’s Origins.

Resuming my theory concept, if a Merlin-inspired character did exist in Ozma’s past, then I like the thought of this character training Ozma fromsince he was a very young teenager; fulfilling the role of the gentle sagewhose wisdom and guidance aided Ozma throughout his life well into his adultyears.

And even after Ozma was forced to depressingly part ways with said mentor (like perhaps he passed away by the time Ozma was older), the lessons and fond memories he shared with his man stayed with and still continue to guide him in some sense after all this centuries.

I like the idea of Ozma transforming from the snobbish boy he used to be to becoming a righteous soul by the time he was a man all through the teachings of the old soul who never lost fate in him and stood with him through thick and thin.

I really like the idea of a Merlin-esque wise old mentor character raising and loving Ozma like a son. And by the time Ozma was finally ready tostart his own journey, Merlin was ready to live this world on the peace of mindthat he had lived long enough to see Ozma grow up into a great young man.

Then following his mentor’s death, Ozma inherited his iconic weapon choosing to fight with it as a means of carrying on his mentor’s legacy in a way. This could add another layer as to why the Long Memory is special to Ozma. Not only was it his weapon but it was also the weapon shared by the kind-hearted old soul who shaped him into the champion he became. I like the idea of the Long Memory not only being symbolic of the memories Ozma shared with his fellow Wizards during their lifetimes. It’s not even symbolic of the years he spent with Salem.

No I’d to think that in addition to these memories, the Long Memory additionally chronicles the memories Ozma shared with the man who trained him. It is a memoir of the times they shared together, journeying, training, living, laughing. More than that, the Long Memory is also a remnant of that mentor since he has wielded it since it he was around Ozma’s age. It was the weapon that Merlin’s mentor trained him with and it is also the same weapon that Merlin used to pass his lessons onto Ozma.

The Long Memory is special to Ozma since it’s something he shares not just with his successors but also the man who was essentially like a second father to him. His hero and it’s his way of remembering him always no matter how many lives he’s lived.

Or…y’know, something to that liking XD This doesn’t necessarily need to happen for Ozma’s story. I mean, Ozma doesn’t really need to have his own mentor. However, since part of his reincarnation cycle does involve his past self imparting guidance onto his present self, it’d be interesting if that ties back to Ozma’s history. I dunno. It’s just an idea XD

And…yeah, I believe that’s all folks. That’s my answer. Sorry if this response turned out longer and took longer than usual to edit and submit. Nevertheless, I hope it was at least enough to actually answer your question, Yellow. I know I deviated from what you originally asked me but let me know what you think if you can. Until then, as always, take care.

~LittleMissSquiggles (2019)

#yellow-eyed-green-crocodile #squiggles answers: rwby #rwby ozma #oscar pine #professor ozpin #rwby theories

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milkboxing · 5 years

Text

STRIKING GOLD ↯ txt

SUMMARY ⋮ your somewhat notoriously influential high school garage band urgently needs a replacement to their keyboardist whose arm is broken and you happen to be, at the precise instant they find you, free-styling the tomato song on the antediluvian piano found in the music room.

GENRE ⋮ humour, rock band!au, high school!au

ZAK’S NOTE ⋮ guitarist!beomgyu kept darting from one corner of my mind to the other and i just couldn’t help but write this shit.

Committing irreparable mistakes was one of the few things that Huening Kai was known to be good at by all, and even if he knew the repercussions that his broken arm due reckless biking would have on his band and the performance they were supposed to give for the upcoming school festival, the chances of him wearing his elbow pads would most likely be one in a million. He was nevertheless the happy-go-lucky and sickly optimistic boy he was and despite the fright he gave to his elder band mates, they chose to overlook his misconduct after a few inevitable reproaches. However, as much as they wish they did not have to race against the time that was quickly catching up with them, they could not let down the school, their local audience and all the threatening fingers pointed at them. Precisely. Like that of the vice student council onto whose frail shoulders the accountability of preparing for that event of capital importance reposed. Rumour had it that she was planning the murder of Soobin, the band’s leader who was also her prime partner as the previous student council but the latter was so taken up by rehearsals that he was bound to ditch the poor girl.

“For the last time Soobin,” she hissed, poking the tall boy’s chest, a visible crease between her eyebrows, “I have painstakingly managed to deal with everything encompassing the festival so far, if you plan on calling it quits with your band, you better be giving me a helping hand. . .” She was unable to complete her sentence as he heaved out an exasperated sighed. “I’m sorry,” he softly let out, running a hand through his hair, avoiding all eye contact with her, “I’d gladly do that but the dean is counting on us and he firmly believes that with or without Kai we should be in a position to perform. He says that we’re his meal ticket, whatever that is supposed to mean.” The girl frowned and Soobin’s pupils were then shaking a little. “I can’t put my hand on someone to replace Kai yet,” he added, “I’m sorry once again, Eunji. Once our lives are back to normal I’ll treat you to tteokbokki or any food you like and you have my word this time!” Soobin left with fast steps after patting her on her shoulder, picking up his pace as he spotted his classmate and best friend, whom you believed to be named Choi Something, at the other end of the corridor. Eunji turned and with battered puppy eyes, watched his back as it shrunk and muttered under her breath, “Screw you and those convincingly cute dimple of yours.”

You didn’t mean to but you happened to hear that part and you subtly reared your head, enough to peek at Eunji behind the door of your locker, her shoulders drooping like withered flowers and her braided hair unfortunately resembling a fringed mayhem. A pat on the shoulder? you mentally sympathised with her, she must have reached the peak of being friend-zoned. Banging the aperture of your locker shut, you readjusted your duffel bag on your shoulder and checked your watch, incognisant to the fact that the obnoxious noise you had produced snapped the elder girl out of her morose rêverie. Undecisive about what you would do of all the time you had to kill, you roamed around the busy school hallways where students were darting to and fro with boxes, boxes, desks and more boxes but none of the classrooms you passed by was fully empty. Somehow, while your conscience was swimming among the waves of Antlantis, your steps led you to the music room which reeked of mildew and the air was so heavy — especially when the greasy, brownish curtains gave the eerie impression of drawing the four walls closer together, as if the room was gradually shrivelling while the obscurity was lurking around, waiting to seize the opportunity of gobbling you up — that you had to suffocate a gulp in your throat.

Without losing any more time, you casted off your bag and dumped it on a chair, grateful enough that the abandoned desks, despite catching enough dust to permanently change of colours, were not covered in bird or lizard shit as you expected it. You pulled apart the curtains, strenuously opened the rusty windows, the hinges of which categorically refused to move due to rust, turned on the fan and instantly regretted it as the dust started swirling and chaotically flying around the room, making of you a Reindeer Rudolf who could not stop sneezing. To top up the whole thing, you stubbed your foot against the piano bench while you were blindly reaching out for the button to switch off the fan, your eyes stinging. Five minutes later, the dust had stabilised, the room was well aerated, the odour had either dissipated or been assimilated by your complex organism to such an extent that you couldn’t smell it the same way anymore, and your fingers were lazily gliding along the keys of the old piano. Loud footsteps and muffled voices that you knew belonged to the members of your somewhat notoriously influential school band could be heard in the corridor but you couldn’t care less.

Suddenly, an idea struck your head and you would have sworn that if your life was a cartoon, a light bulb would have popped up above your head at that very instant. Using your limited knowledge of whatever you had picked at the piano tuitions you had attended for six years and recently quit, you started skittering your fingers along the keys of the piano, your touch leaving whitened fingerprints everywhere. What seemed much better in your mind to be the melody of the nastily catchy and annoying tomato song, a famous nursery rhyme, escaped from the musical instrument and after a few more tries and unusual determination that you find hard to show for your studies, you managed to upgrade it to the most resembling version of the original song. You were, unluckily, too busy having an intense and sensational performance for your imaginary public, fervently tapping on the keys while humming to the lyrics that you missed to realise that the hallway had grown oddly silent and the door creaked open to reveal a few curious heads, piled one onto the other.

“LUMPY AND GORGEOUS FIGURE DRESSED IN RED—” yelled a voice that you failed to recognise because of how strained it sounded, but that nevertheless called you back to earth and drove you into ending the song with a sinister piano version of a keyboard smash. “—SWEET AND SOUR FLAVOUR, FASHIONABLE TOMATOES!” sang the oldest boy of the bunch, showing up with a seemingly dyed silver hair (unless you were right to think his hair turned grey, from all the stress he bore.) You stared at him, an inevitably judgemental expression adorning your face as the other boys projected either revulsion or amusement on their faces. Except Taehyun, this boy could withstand anything with an intimidating poker face but somewhere you could sense his confusion. “Yeonjun-hyung— hyung—” called out Beomgyu, a sophomore student whom you knew to be the lead guitarist of the band. He was a likeable guy, cheerful and a little irksome with his crazy loud laughter at times but based on what you’ve learnt he didn’t have many friends from his grade and hence hung out with your classmates Huening Kai and Taehyun all the time. “That’s enough hyung, yOU CAN SHUT UP NOW!” he yelled, calling the elder boy back to reason. Thankfully that sufficed, you were ready to fling your bag at the grey haired dude’s face. The two of them winged up bickering while the three others boys turned their faces to you (and that sucks because you had mentally planned on tiptoeing to the door while they were distracted), eerily in synchronisation, their lips stretching into mysterious smiles. Oh fuck, you cursed under your breath, they want something from me.

ii.

“To quote Hamlet,” you exasperatedly explained, slowly and emphasising on each word, “act three, scene three, line ninety-two, NO.” The boys’ faces fell, apart from Kai’s. He didn’t know how to give up and you could definitely tell that from the way his hazel eyes scrutinised you, that he was not going to give you the heave-ho so soon. Kai was a tough cookie — come hell or high water, he would neither avert his firm gaze from you, nor allow you to take the french leave and even less erase that fucking aweless rictus from his mouth. In other words, you were trapped like an artless little rabbit in a den of wolves. “Come on, please. . . [name]. . .? That’s your name, right?” trailed off Soobin, his glances endlessly shifting from his teammates to you, making sure to obtain nods and other responses of approbation. You couldn’t help but remark that despite his eminent presence, he was not especially self-assured for a leader. “Yeah, and no. The festival is tomorrow and there’s no way I could play a fucking keyboard for you. I won’t even be able to memorise the song lyrics,” your eyes widened as you added, “actually scratch that, i don’t even know how to sing!”

“Hey, calm down,” reassured Kai, snaking his arm around your shoulders, “We’re not asking you to be Mozart or Maria Carey. The melody is short and pretty repetitive so just being in tune will do. As for the singing. . . Simply try not to sound too much like a dying whale.” You gave him a sarcastic smile as he dumbly responded with a giddy one. Slapping away his arm, you replied on a passive aggressive tone, “First of all, don’t touch me unless you want to lose the other arm as well and secondly,” you turned to the rest of the boys, “I’d rather keep a low profile, if I ridiculise myself tomorrow I don’t think I’ll ever be able to get over the embarrassment of it. . .” The room suddenly fell tragically silent, the tense atmosphere weighing like a heavy load on everyone’s shoulders. “You won’t make a fool of yourself,” spoke up Taehyun. Your eyes met his and he firmly stared back, without showing any sign of emotion, like he usually does and you were reminded of his forgotten presence. “We’re not expecting you to be perfect [name]. There are times when the microphones decide to betray us in the middle of a performance, or a wrong guitar chord, a minimal voice crack that can seem to put it at stake. . . We don’t give perfect stages because we are only here to have the blast of our lives. My point is that, it’s human to make mistakes but that shouldn’t stop you from going forward,” he lectured in the most Taehyun-ish style ever. He had always been the voice of reason, as far as you remembered. “I mean, they usually make mistakes,” he pointed at his members, “not I.” Involuntarily, a giggle left your throat as the four other boys scoffed and wailed disapprovingly.

After five long minutes of debating your inner self and considering all the pros and cons to their proposition of being the substitute of Kai for the festival, you decided to simply say fuck it and gave in. “I’ll do it—” Your sentence was cut short by the band members’ relieved sighs and exclamations. (You were persuaded that the one who cried out for his mum was the grey haired dude.) “—but on one condition!” The boys exchanged confused glances with each other and some of them obviously gulped, fearing that you might want from them something that they could hardly afford. “What is it?” asked Soobin but more boldly than before. “Well, don’t ask me to put on some winged eyeliner, smoky makeup, a leather jacket and Doc Martens or I’m going to turn into the Hulk, crack my fucking shirt open and step on your necks; then run back home to wear a comfy pair of PJ’s!” The oldest of them all replied with a strangled chortle, “Don’t worry about that. As the person in charge of outfits here, I’ve made sure our Lumberzacks theme will be on point.”

“That’s even worse, goodness,” you sighed, “I quit.”

“I’m Yeonjun, by the way,” he introduced himself, coming forward to shake your hand, “Senior year, previous ace of the basketball team and top student. I’m pretty sure you know me already though.” You winced. You didn’t. “Not really but you have a nicer name than I would have thought. I had mentally named you Grandpa, because of your grey hair, you know?” you patted Yeonjun on the shoulder, “No offence though, I love the colouring. Besides, as our dear friend Kang Taehyun, right here, would say; there’s no shame in growing old—” His aura turned from charming kitty to growling dog in a matter of seconds. “If you really sing like a dying whale out there, you’ll be a depilated bitch after the performance.”

“Oh yes, snatch my wig bud.”

iii.

Two hours before the opening of the embellished hall, you were sitting on the cold parquet, amidst the mess of cables and under the colourful projector lights, eating a pizza with Beomgyu and Kai. Newspapers were glued to the windows and the curtains were closed, with only a few glow-in-the-dark stickers in form of spaceships, planets and other celestial bodies glimmering dimly in the atrociously dark hall. The decor was breathtaking; there were painted balls of all sizes hanging at the edge of the stage and ovnis and rocks made of papier mâché surrounded the musical instruments and a marmalade orange and yellowish tie-and-dye bedsheet was hung behind them, portraying a sunset or what the boys believed to be in some way, the atmosphere on planet Mars. Having arduously practised with them and with the generous assistance that Kai brought to you, despite his little piques and the other things he does, rubbing you the wrong way, you felt like you were ready to give an otherworldly show.

Yeonjun approached the three of you, with a hanger, a black sweater dangling from it and the name of their band, TXT, written somewhere on it. He stole the last part of the pizza before handing you the piece of clothing (more like throwing it in your direction.) You heaved out a sigh of relief. It was not like you actually believed he would pull out a pink checkered shirt and an axe for you but for your defence, he sounded strangely convincing when he brought up the Lumberzacks concept, the previous day. “You can keep it,” he said, while taking a seat in your circle, “Mm, this pizza is so good! I’m seriously starving right now.” Kai reached out for a can of Sprite but after a few failed attempts of plucking the tab in order to open it, you had to do it for him. That was when, out of the blue, it hit you. “Hey Kai,” you made direct eye contact with him, “you don’t need your arms to sing, do you?” The boy choked, soda threatening to precipitate down his nostrils as you disgustedly passed a tissue paper to him. “I— I don’t but. . .” he gulped, “you’re not thinking of. . .”

“Yup. I’m definitely thinking of getting you a sweater, a microphone and a damn chair,” you stated, to which he retorted: “Look at how aesthetically appealing the stage is, you don’t wanna drag a chair in the middle and have me in my plastered arm sing in front of the whole school—” You tutted, interrupting him, totally unwilling to hear him whine lamer excuses. “Fuck the aesthetic Ning,” you claimed, “I’m dragging your ass onto that stage whether you like it or not.” He was bound to surrender when Beomgyu added, his cheeks filled with food, “Datsh right bruh shtahp bein ah pushy! (That’s right bro, stop being a pussy!)”

At four, the hall had turned into a hive of activity and three quarter of the whole student body at school was present, their mobile phones as well as a ton of snacks in hand. It was soon filled to the brim, and in the middle of the tumult, you spotted Eunji, strenuously hopping and snaking among the sweaty bodies of the cantankerous students while murmuring “excuse me” nonstop. She was carrying a huge pack of water bottles and you realised that they were for the band but you were internally worried about her visible dark circles and her trembling hands, fearing that she might collapse at any instant. On seeing her approaching the door of the dressing room, you stepped forward so as to receive her. All of a sudden, Eunji tripped over someone’s bag and would have heavily fallen to the ground if Soobin had not bolted at the speed of light to catch her. Some of the water bottles had left the pack and you hastily picked them up from the ground but before entering the changing room again, you slightly peeked at the two oblivious lovebirds. “This festival is not worth you losing sleep over it,” reassured Soobin, grabbing the girl by the shoulder while leading her to a free place (where he had intentionally placed his belongings before) in the front row, “you’ve done a great job and it’s thanks to you if today’s event is a success. Sorry again for being such a dick but if it’s not too much to ask, would you like to stay. . .?” A sparse blush highlighted the tall boy’s porcelain cheeks and a smile made its apparition on his brightened face when Eunji accepted his proposal.

“See you later, then.” He awkwardly waved at her.

“Sure. Good luck Soobin!”

The enthusiasm in the hall was electric. The cheers were deafening and the flashes of the camera would have blinded you if you did not focus on fixing the keys of the keyboard instead of staring at the crowd, in the obscurity, dancing and a particular little group of them screaming along the lyrics. You exchanged complicit, overjoyed glances and smiles with the other members of the band. Soobin’s singing lines, as you had guessed, were mostly dedicated to the vice student council, you concluded as you caught him several times, glancing in her direction. When Beomgyu’s solo part came, the projector lights all focused on him and he went hardcore, passionately plucking on the strings of his beloved guitar, his neck veins popping and sweat dripping down his cheeks. For the split of a second, you felt your own heart skip a beat. Goodness, you soared, he indeed is a ladies’ man. What was at first a performance that you dreaded with everything you had, prolonged with an unexpected encore and eventually ended up metamorphosing into a free-styling concert. At that very moment, you realised that your euphoric self was for the first time in so long, in seventh heaven.

💌 MASTERLIST

#txt #tomorrow x together #choi soobin #choi beomgyu #choi yeonjun #huening kai #kang taehyun #band!au #txt imagines #tomorrow x together imagines #txt scenarios #txt blurbs #txt reactions #zakwrites🌥

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fredheads · 5 years

Text

i’m only good at being bad, bad

read on ao3

a/n: believe it or not i'm not trying to "justify" gladys' actions or make her "likeable" or help people understand her i just like reading women ranting about how much they hate their husbands sometimes and i thought other people might! gladys loves being bad, bitches!

inspired by @fredsythe

Gladys Jones was a woman without morals, and she liked it that way.

Morals did little for her but slow her down. Once you got smart enough, you didn’t need anyone else’s judgement on right and wrong, and God knew she’d had enough of other people’s judgement for a lifetime. Gladys wrote her own rules and lived by her own code. Hers. No one else had a say: not this town, not the law, not her dipshit of a husband. Not anymore.

Fred Andrews had morals, that was true. He was one of the good ones - one of the very, very few good ones. She’d known him since they were kids and she still marvelled at his stubborn commitment to good. She was glad she’d made him Jellybean’s godfather. On the off chance that anything happened to wipe her out early, Jellybean would grow up nice and sweet and normal. That was a big If, though. Gladys had no intention of dipping out early.

Gladys owned this fucking town.

The gold rays of the early-evening sun hit her skin as she coasts along the outskirts of Riverdale in Reggie Mantle’s borrowed car. It was a nice piece of machinery - purred under her thighs like a happy kitten. The new car smell was still on it. She flips her shades down, shakes her hair out in the breeze from the open window. Her arm dangles out the driver’s side as she holds the wheel with one hand, warm from the sun.

She’d sworn once that she’d never come back. She’d sworn it again after she’d walked out on her drunk of a husband, packed the family car, and laughed all the way to Ohio. She’d hated the whole stinking town since she was in middle school, and yet, here she was. Chances are everyone here had a similar story: dreams of leaving that fell through. Riverdale was a place you were born dying to get away from.

Gladys had said fuck that. Gladys had made this shithole work for her. It was about time she’d got what it owed her.

While everyone else scurried around the streets of her hometown like rats in a maze, Gladys had been laying her traps. A thread here, a thread there, child’s play, really, but she was careful. No mistakes. One day soon, she’d blow the fuse.

The fact that she was taking the whole town down with her was a kind of poetic justice. After all the time she’d suffered at its hands she’d be the one to suck it dry. Honestly, the stupid place was begging for it. Riverdale had sat there like a ripe peach after the Clifford Blossom fiasco, caving in from the inside. Waiting for someone smart enough to come along and turn water into gold.

Waiting for her.

If all went according to plan, the leeching of Riverdale would set her and her daughter up for life. Jughead too, if he wanted it - she’d leave him something regardless and let him take it or leave it. She loved the kid to bits, no matter how much of a pain in the ass he’d turned out to be. But she had a feeling about him, and her feelings were rarely wrong. He was too deep in his father’s pretty stories. Too righteous, too moralistic to let her get away with her due. Gladys didn’t have time to grovel at a teenager’s feet. When he was older, maybe he’d understand. For now, it was her and J.B. It was better that way.

The house on Elm Street was a nice idea, but it would never last. She knew that now. Gladys had done her time playing Suburban Dreamhouse. FP hadn’t known a good thing when he had it, so now, here they were. He had it coming, as they say in showbiz. He only had himself to blame.

Her lowlife husband was never born to be a criminal. A drunk, maybe, a lazy pickpocket, but not a criminal. FP hated the place too, but didn’t have the foresight to think outside of the city limits, had lowly little small-town aspirations - a house on the nice side of town, a 9-5 job. Since they were kids, he’d pinned all his misery on the south end of town, the fact that he was born on the wrong side of the tracks. FP wanted to cross the tracks and settle down and that was it.

She’d thought it was cute, once. She’d thought a lot of things about her husband were cute. She’d been soft on him, and that was her downfall, she supposes. The moment he’d walked into the Whyte Wyrm in his letterman jacket, sticking out like a billboard, and she’d given the idiot a cursory once-over and thought to herself, almost incidentally: he’s cute.

And then he wasn’t cute. And then he was very, very far from cute, and then he was so repulsive she hated the sight of him. Sometimes, lately, a nagging affection came back like a disease, the most fleeting of fondness for his messy morning hair or his earnest attempt at wooing her again - but she shut those thoughts down as soon as they arrived. Gladys was made of sterner stuff now, and she had FP to thank for her thick skin. She was done with his drinking, lying, cheating ass, and she was done for good.

Even in these rare moments of tenderness, there was no guilt. None. FP would take the fall for all of it, and be too stupid to realize what was happening until she was long gone. That made her happy. FP had coasted through their life together for too long, thinking he could do whatever the hell he wanted and get away without punishment. It was high time for some karmic payback.

Gladys Jones could play God.

Fred Andrews had morals, but he was no sheep: he decided right from wrong and he upheld it. Gladys was just as staunchly wedded to being a bad guy: she was deep in her badness and she loved it. FP was weaker stuff - he waffled from one to the other and still expected to be praised. Still expected to come out on top.

But FP had never been a winner. Gladys was the winner. At least she had been up until she married him.

She runs through the plan again, all her moving pieces. Diligence, that was what she taught her daughter. Be diligent, but have fun with it. Be whatever the hell you wanted to be, but be smart about it.

FP was stupid. Had always been stupid, and after a while, he’d dragged her down into his stupidity with him. Gladys Cohen had been in charge of her own future. Gladys Jones was a stupid woman with the same deadbeat husband waiting at home for her that every other stupid woman had. Innocent women who had made one miscalculation and ended up married to shit. Her mother had been in that position once. Hell, so had his. There were a lot more good women than there were good men in the world.

He’d trapped her into a life she’d never wanted, and then he’d whined that it was her fault. After she’d done nothing but bend to his every whim the entire time they were married, always cleaning up his messes and wiping his hands clean.

FP had wanted a house, so she’d played housewife. Then they’d lost the house, because FP had lost his job, and she’d packed and stored and sold everything they owned that didn’t fit in a crappy little double-wide a stone’s throw from where they’d grown up on the shit side of town. And still, he whined. Still, everything was unfair to him, everything was someone else’s fault. Fred’s. His father’s. Her’s.

She’d thought maybe it would be the kick he needed. Landing on his ass in the trailer park he’d grown up in would force him to look long and hard in the mirror, maybe pull his act together enough to fix things with Fred. Or else they’d lean on one another, maybe rob a liquor store or two outside of town, fuck in the getaway car, like in the old days. But instead, he’d slumped into booze, spending days in a slack-jawed stupor in front of the TV. Forgetting about Jughead’s science fair. Forgetting to pick up Jellybean from a sleepover. Forgetting everything, in fact, except that night’s football scores.

Then causing scene after scene in public. Passing out on the front lawn. Starting fights and breaking dishes. Crying whiskey breath against her neck at night, asking over and over for forgiveness. Refusing to go to the A.A meetings. Scaring their children half to death. Whining when she asked for the simplest of courtesies like she was some nagging housewife that had to learn her place. Coming home later and later until he stopped bothering to come home at all.

And the whole time the sex was horrific. And she looked like the fool.

Well, Gladys Jones held grudges.

Then she’d learned from Archie in Toledo that FP and Fred were on speaking terms again. That her husband had a job again, was going to meetings, was working on himself. It had sounded too good to be true. Sure enough, she’d come home and found out he was fucking a cult-deranged Alice Cooper on their marriage sheets.

So. He had it coming.

A shotgun to the head would be too good for him. No. She had to watch him unwind. She’d designed this game, and she’d designed it to hurt. Hurt him the way he’d hurt her with his insolence, his brain-numbing stupidity. Time and time again she’d almost caved, convinced herself that she could forgive him, but this was the final nail in the coffin. This one was punishable by death.

If it was Fred, it would have been different. She, FP, and Fred had always had an arrangement that worked. But Alice, in addition to being a slap in the face, was Gladys’ own sloppy seconds. God, it made her fingers itch. And yet she had no doubt that they both disparaged her, had decided that she was to blame. Probably talked shit about her, curled up in her mother’s bedsheets, on a trashy trailer-park mattress. Both of them not knowing how good they’d almost had it.

She parks the car across two spots and gets out, the engine still humming. Her high-heeled boots snap like gunshots on the concrete steps as she lets herself into the diner.

“Slice of cherry pie, Pop.” He leaves a strawberry milkshake on the counter as he moves to get her pie, bound for a table near the window, and she eyes it as she slaps a few bills on the counter. It’s the same rush she got in high school after pinching money out of the tip jar at the Wyrm - it wasn’t her money to worry about. She could order whatever the hell she wanted.

Her eye lands on an occupied booth across the diner as she nibbles on the cherry she’d pinched off the milkshake. With a decisive toss of her head, she saunters up to the dark-haired students.

She dangles the keys at Reggie Mantle. “Brought your car back.” He reaches for the keys and she pulls them away. “I still need a ride home.”

He just nods. A little scared of her, but mostly respectful - and that was how she wanted it. She wasn’t interested in terrorizing kids, just teaching them who was boss. Teaching them what was possible. Pop drops off her pie and she stabs it with the fork.

Self-respect, that was what FP was lacking. Alice Cooper had even less, by the sound of it. She’d have put him through this anyway, but it just gave her that little extra push to make him suffer. Once it all went south, FP’s stupid ass would have a decision to make. He could go cry to Alice and land on his ass. Or he could go seek comfort from anyone else and end up the same way. No favours for FP Jones. Not ever again. Oh, it was going to be fun. She was having fun already.

Gladys spears a mouthful of her pie and grins. It was good. Best pie in town.

Or maybe everything tasted good when your husband was about to get what was coming to him.

#gladys jones #fp jones #my writin #cw for f/lice..... i mention them s*eeping t*gether

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