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#i was also playing a nosferatu earlier
confusedwithglitter · 2 years
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thesixthplaneteer · 6 months
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OC-tober day 2 - New OC
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My newest character I'd call an OC is Ralph, the love interest and coterie-mate to my wife's character Khloe in the VTM game I'm STing for, The Poisoned Peach. Ralph is a spiced up self insert and has been a blast to play.
A factoid about him is his full name is Randolph Gaylord King IV. He's a thin blood but has the clan curse of his Nosferatu sire. My goal when playing him is to be the coolest and dorkiest guy in the room. I wanted to write something focused on just the boy but also wouldn't be any spoilers for my wife, so here is his embrace! I hope you enjoy!
The warm summer night air blew hard, causing him to stumble as he drunkenly tried to navigate a city he’d never been to before. Ralph took a deep breath and tried to focus on his phone which had directions to his hotel on it, but his head was swimming and his vision blurred. “Fuckin’ Marta ass,” He half slurred and grumbled out loud. “Last train at midnight ass.” He switched to his Instagram to check how posts from earlier in the night were doing. 
There were several posts of him posing with other Instagram celebrities, nearly all he could not remember the names of. The more popular people he’d posed with got his own posts better hits, as he thought they would. Annoyingly, the pic he took of someone taking his prosthetic foot wasn’t doing well. It was an embarrassing situation he’d hoped to monetize but obviously it wasn’t as interesting as the barely concealed female presenting nipples in his other pictures. 
He soon looked up and realized he had no idea where he was. “Fuuuuuuck.” He let out in frustration as he quickly looked back to his phone, pulling up the directions again... just to see that he’d overshot his hotel by over a mile somehow. “Fuck two electric boogaloo. Fuck it, I’ll Uber-loo.” Grumbling in resignation, he tried to find the app.
He opened his eyes after what felt like a long blink. His head throbbed and it felt like there was a knife twisting in his stomach. He choked on the smell of shit and piss that saturated the air. He blinked to clear his vision but the room was dark. His blood ran cold as the years of military training started to kick in. He kept silent and slowly felt around to get an idea of where he might be. His prosthetic was gone, there was a slimy substance on most surfaces, he could hear rats squeak and scurry. He prayed he was wrong, but he put the clues together and figured he was in the sewer. 
Pulling himself up against the wall, he gripped at his stomach as the twisting pain persisted. Like an insane hunger he’d never experienced before. “The fuck!?” He mumbled as he felt a sharp stab suddenly in his belly, the source directly from his own fingers. He rubbed at their tips, and felt that his nails had become extended and pointed. “What the fuck!?” His heart started to pound in his chest, and he struggled to hold back panic. 
He didn’t have much more time to his own thoughts, as suddenly a light flashed on. It wasn’t a particularly bright bulb, but in the pitch black of the room, it may as well have been the sun. He blinked rapidly to combat the trauma to his eyes and clear his vision. He couldn’t see anyone, but his fear of being in the sewer was confirmed. 
“Who’s there?” He choked out. There appeared to be no one, but someone had to have turned the light on.
“Oh poor Randolph. So scared when not surrounded by your bimbos and himbos.” A voice like grinding stones said from seemingly nowhere. 
Ralph spun and looked around. He saw no one, even the rats were silent now. 
“What did you do to me!?” Ralph yelled out, feeling a white hot anger rise within him. 
“I made you one of us! One of the normies. I ripped you down from your pristine pedestal and humbled you. Now you’ll know the same pain me and my brethren have felt all our lives!”
Ralph turned to now see a creature standing where there was nothing before. Dark, beady eyes peered out from beneath a hood. Its skin was mottled gray, its teeth crooked and jagged. Its wicked smile was so wide it seemed like his lips would split. It held a mirror in its hand and raised it above its own head to meet Ralph’s gaze. 
A cold numbness went through Ralph's body as he saw what he knew was him, but refused to believe it. His eyes were black and amber, his nose upturned and bat-like. His hair was just wisps of what was. His skin was splotchy. His nails were black and grown out like claws. 
The creature beyond his own reflection was smiling and speaking. Making grand hand gestures. But all Ralph could hear was the beating of his own heart in his ears. All he could feel was the desire to drain the creature dry. The thought of opening its throat and drinking from it like a fountain. Ralph’s eyes darted down to the floor as the creature spoke to him. He keyed in on a broken brick in the path between him and it. When the creature turned and its eyes were not on him, he made his move.
“You’re stricken, so stupid, you can’t even speak-” 
The final words he heard as his body lurched forward. He leapt and pushed off the ground with his hands like a feral beast. The creature’s eyes and his own met before the first blow was struck. All of that confidence was gone. Fear was on its face, soon followed by brick. The first strike was hard and threw the creature off balance, the mirror it held falling and breaking on the concrete. It sputtered out something but Ralph was quick to keep pressing the advantage, slamming the brick into its face again, bringing it to the ground. It was like hitting a sand bag. The contact was solid but it was obviously not doing the amount of damage he expected. Still, he was unrelenting. He was on top of the creature before it could get up. It tried to throw him off, and was almost successful, the scrawny frame of the creature hid its strength well. Whether through pure rage or muscle, Ralph stayed on top and beat the creature until the brick crumbled to dust. 
“Get him off me!” The creature cried out in panic. 
Ralph didn’t take the time to register the cry for help. He started to go in with fists where the brick failed. But his arm was stopped, an iron grip on his wrist catching him mid-swing. He tried to spin and punch the sudden second attacker, but they grabbed his other hand as well. This one was bigger and more monstrous than the other. A cleft lip revealed teeth befitting a cryptid rotting within its mouth. Its eyes were a bright red that almost shined. There was no nose on its face, not even nostrils. Its ears were elongated and several inches of lobe hung down from them. 
The fight left Ralph as he realized he wasn’t walking away from this. He went limp in the new creature’s grasp. Somehow, it was able to speak clearly through the cleft lips and monstrous teeth.
“The kid is a shit and what he did wasn’t right. But I can’t let you kill him. That’s for someone else to decide.” His voice was soothing and warm. “Name’s Jorge.” 
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thirtytwoelvismovies · 7 months
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Dracula Sucks | Phillip Marshak | 1979
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I have a complicated history with this film. Phillip Marshak’s late-‘70s x-rated adaptation of Bram Stoker’s Dracula was released amidst a flurry of vampirific films and TV shows: John Badham’s Dracula starring Frank Langella, Werner Herzog’s Nosferatu, the parody Love at First Bite (which clearly inspired Marshak’s film). On television, Richard Lynch starred in the TV movie Vampire, and Tobe Hooper adapted Stephen King’s Salem’s Lot (which starred Reggie Nalder, who appears in Sucks as Van Helsing). On the periphery, the Australian flick Thirst, and Jean Rollin’s incredible Fascination.
The film is mentioned in a Dracula movie book I had as a kid, which also noted Dracula The Dirty Old Man. It was obviously on my list of must-see Dracula flicks for the longest time. I acquired a barely-watchable bootleg VHS copy of it in my late teens in a horror newsgroup. I wouldn’t get to see it in its proper form until I picked up the Vinegar Syndrome’s 5 Year compilation. So here we are, five years after that release, and I ordered VS/Peekarama’s 4K release.
This is a film that had incredible potential, but is just not a good movie.
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One of the first all-star extravaganzas of the Golden Age of Porn, you had superstars Jamie Gillis, Serena, Annette Haven, John Leslie, Paul Thomas, John Holmes, Kay Parker and Seka (in her first feature) all hanging out in a castle somewhere in Northern California. None of them are particularly thrilled to be there (especially John Leslie and Paul Thomas). The sex scenes do not raise your blood pressure in the slightest.
The script pays so much homage to Lugosi’s Dracula that it straight up lifts the majority of its dialogue from John L. Balderston’s adaptation of the stage play that formed Tod Browning’s 1931 film. “A moment ago I stumbled upon the most amazing phenomena,” quips Reggie Nalder’s Van Helsing as he exposes Dracula’s scheme, echoing the same dialogue spoken by Edward Van Sloan nearly 50 years earlier. Why mess with perfection, I guess.
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The film has some genuinely cool moments (which I attempt to encapsulate in the above gifs) but Marshak can’t decide if it’s an adaptation or a parody of the source material. Bill Margold’s presence is downright unpleasant (ditto for his audio commentary on this 4K release). Ditto on John Holmes’ rape of Seka (an unfortunately common trope in those days). Even more reprehensible is David Lee Bynum’s Jarvis, the chauffeur/porter, who is there for comic relief. We first see him when Thomas (playing Harker) and Haven (Mina) sit at the piano and play “Swing Low, Sweet Chariot” while Bynum sings along as it cuts away to various sex scenes under way. Ghoulish, cold stuff. To make matters worse, the script channels every abhorrent racial stereotype imaginable, so David Lee Byum is stuck doing a jittering, teeth-chattering, bug-eyed Mantan Moreland impression. It’s the kind of thing which had mostly disappeared from mainstream Hollywood films by this time, but here it’s on full display, and indicative of porn’s issues with race, in particular its issues with Black men, which persists to this day. (Side-note: Margold’s commentary grossly refers to Bynum as “I don’t know what happened to him, I think he was one of the first ones to die of AIDS…” which is inaccurate and another reason why Margold’s position as a source for X history was always questionable)
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The film’s saving grace is Richard Bulik, who does a straight, note-for note impression of Dwight Frye (rivalling Peter MacNicol’s turn in the Mel Brooks flick Dracula Dead and Loving It.)
The score also has some great moments. But it’s an overall spectacle of disappointment. The Vinegar Syndrome release includes both Dracula Sucks and the Lust at First Bite, a longer and even more confusing cut. Dracula Sucks is the one to watch. The special features on the Bluray include a featurette of Margold and screenwriter Daryl Marshak re-visiting the film’s location, as well as two of Phillip Marshak’s earlier films (which I’ll get around to watching later).
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Other than the fantastic Blue Ice, I’m not familiar with any of Marshak’s other X stuff. But Blue Ice (a Philip Marlowe-meets-Indiana-Jones supernatural type flick) works better as a film not only paying homage to various classic films and genres, but one that is trying to live alongside mainstream films.
It’s the third time I’ve paid to own Dracula Sucks. Not a good film, but worth seeing in this stunning 4K transfer, warts and all.
Further reading: press for the film in Cheri Magazine / Newspaper ad-mat for its 1979 Toronto premiere.
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senadimell · 1 year
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It’s been several weeks since I started watching Nosferatu, and I finally picked it up last night since I now have a knitting project suitably mindless that I can do without having to look at it and can watch the movie in peace. I’ve finished the third act, and I have to say, this is honestly really faithful to Dracula. Since it’s never been a secret that Nosferatu is heavily inspired by Dracula (read: an unauthorized adaption), I’m going to assign Dracula names to the roles characters play in the story rather than use their actual names most of the time.
The character combinations are interesting, but make a lot of sense given the large cast of characters in the book. I haven’t gotten far enough for most of the secondary characters to be a major presence, but I’ve read that they’re mostly absent, so the focus remains mostly on the Jonathan and Mina figures.
One of the biggest changes so far is that Mr. Hawkins and Renfield are combined into Knock, a now-malicious solicitor secretly in kahoots with the Count.
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Narratively speaking, this actually makes a more of sense than it might sound at first. Mr. Hawkins is mostly a plot device in the original story, not really a character, and given the restraints of a silent film, it would be rather challenging to establish why and how the Count wants to visit England. When you strip down the conversations from the captivity portion of the novel, you’re left with the challenge of how to convey the Count’s desire or to establish how exactly he made arrangements with a foreign solicitor, so giving him an agent abroad is a pretty economical way to convey that. Then, when the Count is travelling, using Knock as a Renfield-figure and thrall of the Count serves to heighten the tension, and while the “the life is in the blood” speeches are a little less mysterious, they do pair very well with the back-and-forth between the not-Demeter and not-Van Helsing teaching a botany class about carnivorous plants. 
The major downside of that choice is that it removes much of the nuance present in the books regarding the characters under the Count’s sway. Renfield and Seward’s back and forth about the nature of sanity is so far completely absent, and I expect this will be the case through the movie, going off of the visual language’s cartoonishly malicious depiction of Knock. Renfield’s humanity is really just not shown, and while Knock’s gleeful manner while eating bugs is quite similar to Renfield’s manner in the book, I highly doubt the element of resistance will show up.
Still, overall, this feels like a simplification rather than a warping of the story. Unfortunately, it’s a simplification that results in a caricature of mental illness, and yet I don’t think it’s a fundamental misreading of the story, unlike Drac/Mina pairings.
The second major change so far is that Mina and Lucy’s role have been combined into one, and given their similar narrative roles as vulnerable and beloved targets, this makes a lot of sense. Now, the Mina-figure is the sleepwalker. There is a slight change in that the prophetic dreams start earlier, but it also serves to emphasize her connection with Jonathan without the letter and journal devices. It also establishes her vulnerability early on, pretty much as soon as we realize that Jonathan is in peril, which is an effective way to convey the peril of Lucy-Mina without diary entries and serves to jump-start the middle act of the story (which I admittedly found rather slow during Dracula Daily)
In a related vein, there’s another convenience change that’s either big or small depending on what you view as an important theme. In Dracula, the Count seems primarily interested in England, and his later vendetta is the result of his predatory nature, not the driving motivation. In Nosferatu, that’s flipped, and his primary motivation to leave his castle is to track down not-Mina. He presumably did first send for a solicitor, though, so the motivation isn’t absent, it’s just less developed.
Apart from character changes, the biggest other change is that the Count spreads plague rather than just killing or turning characters. So far, it doesn’t feel fundamentally different from the book, but I don’t know yet if it will have larger plot implications down the line.
I will say, though, that the time period is always waiting a little bit uncomfortably at the back of my mind. It came out in 1922, and there’s just so much going on in the Weimar Republic at this time. It’s a culturally wild time. I don’t know a lot about this film, or its make, or how it was received, so I’m just left with vague implications about the various changes and how they would be received. What does it suggest that he spreads a plague? What does his increased focus on preying on Mina mean? What are the implications of the fact that he has an apparently willing agent abroad, or that Renfield is only a slavish caricature, totally devoted to the count?
I don’t know the answers to these questions, but they’re always looming somewhere as I watch.
#dracula daily#nosferatu#i initially was confused by why he was travelling by boat before realizing i'm conflating germany and the weimar republic#and forgetting about different territorial boundaries#then i also wondered whether or not the plague device diminished the effectiveness of the captain's sacrifice—why was he tying himself up?#i think i would not understand why he's doing it if i wasn't already familiar with dracula#still though i really loved those scenes#which i guess makes sense. the demeter passages were one of my favorite parts of Dracula Daily#however i will say that watching the captain and mate throw the corpse of their crewmate overboard was visually effective#in a way that i think the fearful journal entries would not have been able to translate directly to film#and i think one of the most impactful changes made by the chronological format (she says having only read it that way)#because for me the slow terrifying countdown was one of the most ominous parts of the book#because i was both concerned for the crew of the demeter but also worried about the main characters#if they survive and make it that's terrible; if they don't it's a tragedy#and since as a modern reader i already kind of know that dracula is a vampire and bad news#i don't think that the unravelling the mystery of the abandoned ship would have led to any real dread#i may not have known much about Dracula but as a modern reader i do know that the count's a vampire and that means bad news#(okay more accurate to say until her dream)#I have to say: epistolary to silent film might be one of the widest gulfs to jump (with maybe only ballet being further?)#because your ability to use words is very limited and an epistolary is all about the words#the thing they do have in common is the need to distill things down to their essence#because the conceit of the epistolary requires you to at least believe the characters are recounting what happened#so you can't get TOO detailed or verbose without an explanation for how their memory is so good or they don't get fatigued#and when they recount things they're really summarizing what happened. so they have to pick what matters most#and with a silent film you're trying to convey emotions without verbal/speaking people's primary form of communication#so body language is exaggerated and you are very limited in how much you can use words#and have to boil things down to their essentials
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sunalwaysatyourback · 10 months
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CHAPTER 8
Castle keep
Master Post
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BUCKLE UP, WE GOT JASTA 1 THIS CHAPTER!!
Château du Malinbois, electricity scarce, stone, and medieval in structure. This is where we FINALLY get the pilots again! And not just any pilots.
The Circus
We watch this chapter through Erich von Stalhein, a vampire flier who is in the midst of being examined. More like a physical exam, as Dr. Caligari is very interested in the vampire condition. He keeps questioning Stalheim while the man is laid on a table during this. The exam room is the only one with working electricity as the rest of the Château is lit by candlelight and sunlight is never let in. Soon enough the lights are turned off and stalheim is allowed off the table to redress and rejoin the other fliers in the rest of the building. Most notably a great hall filled with plane souvenirs from fallen enemies. The fireplace adorned above it with full wings from a downed RE8. This is very much described as Manfred’s room. Right down to the numbers cut from fabric and pinned up to the chandelier of an engine only the lightbulbs of Manfred’s real counterpart are replaced by candles.
Comrades are there playing cards. Ernst Udet, who is said to be sporting the vampire fashion of ragged velvet antlers. He just grew them….like that guy from that fall out boy music video. Like he’s described as having them grow from his skull, for fashion. Can you hear my bewilderment? Another Flier named Hammer, who had just been awarded the Pour or Merit, and Theo Kretschmar-schuldorff.
But wait there’s more! So Bruno Stachel, the only flier without a von in his name, is drinking the last of a French girl. Stalheim thinks lowly of him because of the time of day, “a nosferatu should not feed by day; it made him duller when the time for real hunting came.” But Bruno also has 31 victories and Stalheim only 19. So jealous maybe? Which side note, but it’s actually mentioned here, that 19 is a respectable victory count in any other Jasta but Jasta 1. Manfred currently sitting at 71 leads by a huge margin and so everyone else is held to his standards.
You know who keeps the score? Fucking Göring. Don’t worry he’s described as a born toady and not really a great guy so that consoles me a little but I hate that he’s here.
Stalhein also only counts his victories if he drinks blood, which his last victory, while officially counted, resulted in him having to retreat after the downing as to not be spotted by an enemy who could live to tell the tale. So like in the earlier chapter of a beast pulling the British plane back into the clouds, Jasta 1 probably hunts in a shapeshifted form. Idk if they go up in their planes and leave them mid air or just go up without that aid.
We are treated to Manfred’s newest victory now being relayed as well, Captain Albright. Remember him? I barely do. In fact Manfred is such an efficient hunter in this book he’s really only targeting high profile enemy pilots, those with high victory counts themselves. “Now his blood was up, he sought worthier prey.”
Then as they’re talking, Manfred bursts through the curtained window with a wild boar he was hunting. Half shapshifted, (said to be the best shapeshifter in Jasta 1) with bat like arms and long claws the boar is chased around the room. The blood streaming from it draws out Lothar, and riles the rest of them up into the chase. Stalhein still sticking to his guns about day feeding, but is temped by it.
The boar is eventually chased down the hallway, Manfred leading the charge they get into the same formation they’d use in the air. Richthofen being the tip of the arrow. “Richthofen had fixed the animal’s eyes. He liked his kills to know him personally, to treat him with respect. As he moved forward, his arms extended, the visage of membrane folds hanging beneath them. The fingers of his right hand bunched together, nails gathers into a thin pyramid point.”
He kills the boar, in which the scene turns into a feeding frenzy once he takes his share of blood and leaves the animal for the rest of them. Stalheim taking an ear for himself but not without injury from Udet’s antlers. (Seriously why the fuck is that a thing??)
Bonus a waltz, because the pilots are said to listing to a Strauss waltz, then an Aria from Die Fledermaus
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xxgothchatonxx · 1 year
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Here’s my revised/summarised version of my “sex appeal of Dracula” post I made last night when I was half-falling asleep, which certainly explains a lot 😂
Ok, book!Dracula is not sexy. He’s not intended to be sexy, nothing he does in the book is sexy; he’s a horrifying monster and also pretty pathetic and stupid.
But film!Dracula- actually, technically he started out looking like a typical monster with Nosferatu (the unofficial first Dracula film) but then developed into being the suave sexy gentleman with Bela Lugosi in 1931. Which he actually started earlier when he played Dracula on-stage. He was still the villain but when you cast someone as charismatic as Lugosi, the villain’s going to become sexy.  
So, I have stated that I don’t find a lot of “sexy Draculas” that sexy but I’ve come to realise that it’s mainly some 21st century attempts. Even with Gary Oldman, the writing drives me insane but acting-wise, yeah he is sexy! But I do find it interesting to look back on the history of Dracula in film and television to see what context those adaptations were made in, because that’s a pretty good indicator of what made, or was supposed to make, him sexy. 
To summarise, after the 1970s, when a little novel called Interview with the Vampire was published, vampires went from being horrifying seductive monsters to sympathetic antiheroes. And that’s how we got Frank Langella, Gary Oldman, Gerard Butler (oh Gerard..), Jonathan Rhys- next! (to clarify - I do think he is a really good actor but it is obvious that they cast him because he was hot, not because of his acting chops!), and Luke Evans (oh Luke)
A couple of years ago we had Claes Bang and next year we’re getting Nicolas Cage so my guess is the current state of “sexy Dracula” (what can I say? That hungover Goth God look is really doing it for me) is feral, unhinged dad-jokers... I’m so proud of how we’ve progressed 😂
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cocoabubbelle · 1 year
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Watching “Scooby Doo, Where Are You?” (1969-1970 CBS) + Thoughts
Episode 13: Which Witch is Which?
Unlucky number 13
Will the culprit be a woman this time who faces consequences for her actions? (See Episode 8: Foul Play in Funland). And yes, I know the term witch isn’t synonymous with an explicitly female practitioner of magic; I was just curious.
Lovely backgrounds, as usual.
Buff Nosferatu/Igor, is that you??
Shaggy doesn’t judge based off of physical appearances of others unless they are being creeps.
I take back what I said; Shaggy freaks out when Nosferatu-Igor holds up his lantern so the Gang gets a better view of him 😅
I beg everyone’s pardon; this “creature” is actually a Zombie.
“Well, I’d like to know more about that zombie.” Why? Just go home already! “This sure looks like the place where you can find out.” Rude. Swamp’s End town actually looks like a cute dwelling area imo.
Lumberjack looking fella has such a high and elderly voice. Is it me or did the team behind this show not have that many voice actors to use?
Scooby you should at least ask before you snag jelly beans from the convenience store/tourist shop/??? place.
Lumberjack dude and his buddy Zed are probably the criminals, mostly because there are no other people yet or random paintings of anyone else who might also be the culprits.
Not sure if the jumping bean Scooby accidentally eats is based off of the Mexican Jumping Bean (fun fact: not actually a bean), but it serves its comedic purpose. I wonder if it will come into play later?
As usual, Fred sends Shaggy and Scooby to do the more arguably dangerous work. Maybe it’s because he knows that deep down the duo have what it takes to get themselves out of trouble, but still.
Shaggy offers to flip a coin so both he and Scooby have an equally fair chance to check out the suspicious figure outside Zed’s house. How much d’ya wanna bet he’s using a double-sided coin?
Ok he’s playing fair. Sorry for doubting you man.
Big-creepy-shadowy-figure-turns-out-to-be-shadow-of-a-harmless-creature gag!
Correction: Zed = Zeb with a B
Zombie is probably Zeb because the lumberjack is back with the rest of the Scooby Gang unless he snuck away and followed our duo.
Where’d they get the boat???
Boys are rowing because 1) Fred is buff, and 2) Shaggy was established in earlier episodes to be athletically inclined in their school based off of conversations.
Call me a coward but if I’d see a gator/crocodile in the swamp I’m supposed to be rowing in, I’m getting out of that town ASAP.
Witch made voodoo doll replicas of the Scooby Gang in the short amount of time they’ve been in town, save Scooby (can’t do animal likenesses?)
Scooby sticks a needle into Shaggy’s voodoo doll (not cool, Scoob), but the pain Shaggy feels is explained by a random fork he somehow backed into (how??)
Of course Daphne’s the one the witch kidnaps. Let me guess; a secret trapdoor?
Yes it is. Also, Freddy checking out how the trapdoor works furthers my suspicions that the Lumberjack and Zeb are both the culprits working together (what, is there some kind of treasure that they found and don’t want anyone else to find?)
Derelict Riverboat
“Every time we split up, it’s like I’m stuck with you.” Shaggy calling out Fred’s [and by extension, the writers’] tendency to always pair Shaggy up with Scooby.
“Don’t be such a fraidy cat.” Don’t call the kettle black, Mister Pot. (Though my Shaphne instincts blind me into assuming that Shaggy can set aside his normally skittish self when it comes to Daphne.)
Was Zombie man really just waiting around hiding in the deck box hoping that one of the remaining Scooby Gang members would open it so he could scare them?
Zombie man confuzzled over Shaggy and Scooby pretending to fit in inside the riverboat’s abandoned salon? Understandable. Zombie man sneaking up behind Shaggy to switch his cards so he’d have a full house? Hilarious.
Cute Tiny Frelma moment as Fred admires the way Velma accidentally gets a secret door to open for them.
“Uh oh! What’s that?” *muffled sounds that are obviously Daphne underneath a sheet* “Yikes! A ghost.”
Sneaking-away-from-bad-guy-only-except-bad-guy-happens-to-be-right-behind-you gag.
Shaggy and Scooby dress up as the witch with a mop and a tablecloth in order to fool the zombie. If Zombie wasn’t actually Zeb or the Lumberjack in disguise and therefore knew what his partner-in-crime looked like (and, y’know, seeing Shaggy and Scooby run into the closet anyway), they would have succeeded.
I’ve never owned a dog but I don’t think you’re supposed to hold onto them by the tail like Zombie is doing because I think that hurts them.
Scooby Snacks have the same power as Popeye’s Spinach, it seems.
Artists making Daphne hold onto Freddy’s arm again (Fraphne?) because apparently that’s the only way to clue us in they are together without any significant dialogue, or the damsel in distress needs to have a strong man to hold onto in times of tension.
Poor Shaggy gets pummeled by the gang mistaking him for the witch.
Airboat conveniently has keys for the gang’s getaway.
Maybe Lumberjack and Zeb not in cahoots? (Witch turns out to be a dummy in a sheet)
Fred can’t stop the boat because the throttle is stuck. Sounds like you should have checked that BEFORE starting up the boat, don’tcha think?
Anchor Scoob drops conveniently catches onto a sunken, armored bank car. So Lumberjack and Zeb aren’t treasure hunters; they’re thieves.
Witch isn’t a dummy (he just used the dummy to pull off tricks.
Let’s see if Fred’s trap works this episode.
It does!!! (Though Scooby almost biffed it by accident)
Law enforcement! Hi Sheriff.
Ha! It is Zeb, and the lumberjack Zeke. (Was his name dropped earlier in the episode??)
Day 13 of no “And I would have gotten away with it too, if it weren’t for you meddling kids!”
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nazariolahela · 2 years
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I played The Cursed Heart earlier today and seriously I dont get the hype. MC is so dumb and Kieran looks like Nosferatu (the vampire in the movie). And off course the BDSM elements where is claimed and more or less kidnapped by him and if you choose the 🔥 options he abuses MC and drags them by their hair across the floor. Well done Pixelberry.
If I’m being honest, I actually don’t mind it. It gets better as the book goes on, but I also have not bought any of Kieren’s love scenes so that helps.
The only scene I bought was his background scene for the book. They are still elements of romance, because unfortunately it is a single LI book, but for the most part you can avoid them.
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bloodcryptskull · 1 month
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Why I have a problem with Vampire: the Masquerade (TW content ahead)
Given that "Vampire: the Masquerade" is the popular "Go to" choice when you're playing as Vampires but the major problem with this game however is how it's designed to be especially when I'm more knowledgeable about Vampire literary works from the 19th century about how diverse Vampires can actually be which then I realized just how rigid V:tM truly is when it universally defines Vampires from Hollywood Pop Cultural Osmosis especially from Anne Rice's works that is such as Sunlight burning as the biggest example that is which as it turns out that it's also a much more recent invention from no earlier than 1922 Nosferatu film of course.
The other biggest issue with this game is the entire "Personal Horror" theme where you have Beast, Frenzying and the entire Humanity (and Path) system that rob players of your agency especially when the game is designed to have it's characters akin to being abusers pretty much or how society itself views them in general that is and especially I'm tired of it's community regarding Vampires as "Rape Metaphors" as well which I kinda feel it's trivializing the actual subject matter as well.
Then there's the "Political Horror" theme which is really one more element just to rob the agency of your player when you're really nothing more than a disposable pawn in someone elses game and in reality, you're not really playing the game, you're really getting Used, Abused and Disposed of.
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Cat People and the Horror Genre
BY JULIA SCHNARR 
  Cat People, from the nineteen forty two RKO studio is a horror film surrounding a few characters with dramatic elements and an antagonist who can turn into a cat and cause havoc. The main character, Simone Simon, plays the woman who can turn into a cat and terrorize the rest of her friends while she does. A lot of the story plays out as a plot with couples cheating on one another, and that leads to a much higher tension for the plot and the characters. There are elements to this film that make it a horror, but many of them can also relate to the genre of mystery. Finding out who is killing others in this film, only to find out it’s a woman who can turn into a cat is the main point of contention for the characters to find out. Some of the film techniques to represent horror are the shadows that cross the wall when the cat lady is attacking, which is something we’ve seen before in Nosferatu. This is a used film technique to allow the audience to interpret the horror they are seeing without too much direct detail leaving imagination to do the extra work of the situation. The element of fear can also come from the casting of a large cat, one that hopefully was not abused on set as back then they did not have strict rules about animal cruelty. The large cat was caged, and would pace back and forth in its cell for others to gawk at it and become afraid of it. At the end of the film, the cat woman releases the cat from its prison and it runs off. Some other characters see the cat and believe it to be Simone Simon’s character, the woman who turns into a cat. Cat People was remade years later after about 1980 and although I have not seen this version, it looks like it could differ much from the first Cat People due to the progression of special effects and technology that have become so relevant in films we watch as history progresses. Overall, Cat People was an interesting film but for me did not keep up with the general horror genre as much as other films. Vampire and Nosferatu are some of the earlier silent films I’d prefer to watch over this one but we have something very important to learn here from watching and dissecting this film.
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Vampire in Venice
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Augusto Caminito’s VAMPIRE IN VENICE (1988, Shudder, Roku Channel), aka NOSFERATU IN VENICE aka PRINCE OF THE NIGHT aka 88 MINUTES OF MY LIFE I’LL NEVER GET BACK, was supposed to be an unofficial sequel to Werner Herzog’s 1979 NOSEFERATU THE VAMPIRE, so the producers hired Klaus Kinski despite the fact that his character had died pretty conclusively at the end of the previous film. Then Kinski refused to wear the makeup from the earlier film and behaved erratically on the set, including sexually assaulting two of his female co-stars. As a result, Caminito was left with less than half the film completed when he ran out of money and assembled the picture from what he had. The result is an incoherent mess. Characters appear out of nowhere, and some die off-screen. Instead of biting victims in the neck, Kinski appears to be biting them in the nose (imagine Bela Lugosi saying, “I vant to suck your nose” or “I vant to drink your snot”). He also has to strip the women before biting them. It’s hard to tell what this film could have been if completed sanely. A princess (Barbara De Rossi) invites a British professor (Christopher Plummer) to Venice, the last place Nosferatu (Kinski) was spotted in the 18th century, to find out what happened to him. They conduct a séance which ends up summoning him. Don’t you just hate it when that happens? They seem to be making up their vampire mythology as they go along. Daylight and crosses have no effect on the vampire, but he will die if he loves a pure woman and has to sleep in his coffin for 24 hours every 24 days. Aroo?!? Plummer seems to have trouble getting a sentence out in one breath, which is either the result of a lifetime of smoking or a misguided attempt to sound portentous. The score combines choral voices and a synthesizer. At times the chorus seems to be singing “Nosferatu” over and over. The synthesizer occasionally sounds as if its battery were running low and at other times as if there were bird caught in it. The film is beautifully shot by Antonio Nardi and uses some terrific interiors in Venetian palazzos. Maybe if they had cut the cheesy dialog and played it silent it might have worked as an avant-garde experiment. As it is, come for the travelogue, stay for the stupid. Or better yet, don’t stay. Don’t even try watching it.
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A LITTLE LESS CONVERSATION, A LITTLE MORE REACTION
Check out Your Humble Narrator's short article, online at Phoenix Magazine, about the upcoming TCM/Fathom Events revival of Star Trek II: The Wrath of Khan at select AMC Theatres on Sunday, September 4, Monday September 5 and Thursday September 8...
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...and also of the showing of Nosferatu at the Orpheum Theatre here in Phoenix next Tuesday.
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It's bad enough that Nosferatu is marking its centennial this year, but it's really irksome that Wrath of Khan is being shown in observance of its fortieth anniversary. Wrath of Khan is forty freakin' years old.
I have a bit of personal history with this film. My review of Wrath of Khan was the first movie review of mine ever to appear in a daily newspaper, the Erie Times-News. I was twenty years old, and had been submitting my work to the editors there for a while without success. My break came because the regular reviewer disliked sci-fi, and horror, and action pictures, and pretty much any kind of movie in which, as he liked to put it, "the dialogue appears in word balloons over the characters' heads."
Needless to say, I was more than happy to relieve him of this beat, and Wrath of Khan was my first opportunity to do so. I dragged my then-girlfriend to it at the Strand on 10th Street in Erie. I think she was a little taken aback at how much I responded to it. She knew I was a nerd; she didn't know I was that much of a nerd.
Forty years later, it's still a favorite of mine. All these years, however, I've had a complaint about the movie, and I doubt there will be a better occasion than now to air it. But it involves a moment at the very climatic moment of the film, so if you've never seen it, and want to discover it for yourself, consider this a MAJOR SPOILER warning.
Okay, for those still reading: Near the end of Wrath of Khan, Kirk's titular nemesis, grandly played by Ricardo Montalban, is dying aboard the starship Reliant, scarred by radiation burns, but still lashing out at Kirk by trying to detonate the Genesis Device, spewing Ahab's invective toward Moby-Dick all the while. Meanwhile Kirk, aboard the Enterprise, and his crew are frantically trying to regain warp speed so that they can escape the blast zone. The director, Nicholas Meyer, cuts between the two vessels, with Khan's crazed, disfigured face gleefully watching the Enterprise on his viewscreen.
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At the last second, of course, warp speed is attained, and the Enterprise zips away to safety as the Reliant explodes behind her. Yay, the good guys win; all is well, except...Meyer doesn't cut to a reaction shot so that we can see Khan register, in that final second, that Kirk has defeated him once and for all.
I've never understood this omission. Everything about the way the scene is shot and edited up to that point seems to set up such a reaction shot, maybe even a final "NOOOOO!" from Montalban. It would have been the perfect payoff to Kirk's much-parodied roar of "KHAAAAAN!" earlier in the film.
I'm well aware that the reason for the dissatisfaction I feel at the lack of this shot has to do with my persistent, spiteful feelings about revenge in melodramas. Khan himself, in this movie, quotes a "Klingon proverb" that "revenge is a dish best served cold," but the innumerable action pictures that end with the bad guy simply being killed leave me cold; they're entirely unsatisfying. Far better that they should live long to wallow in their defeat; at a minimum, they should die knowing that they've lost. There are a few movies that have grasped this: the original Cape Fear, also The Princess Bride among them. But few movies have ever left me hanging in this regard as badly as Wrath of Khan, wonderful as it is.
Was such a shot planned, but never shot? Was it shot, but cut for some deliberate reason, or just for time? Did Montalban have to leave early that day? Or was it truly never considered? If I ever get the chance to interview Meyer (no matter what the subject of the interview is supposed to be), these are likely to be the first questions I ask him. Or, by some chance, does the shot exist after all, and is it at last included in the "Director's Cut" being shown at the TCM/Fathom Events revival?
In the meantime, I'll ask you: Am I the only one that ever noticed this or felt this way?
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twistedtummies2 · 2 years
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Count-Down: Number 20
Welcome to Count-Down! All throughout the month of October, I’m counting down my Top 31 favorite portrayals and reimaginings of the King of the Vampires, Count Dracula! “Shall we dance?” Number 20 is…Zhang Wei-Qiang.
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Or is it “Wei-Qiang Zhang”? I’ve seen him addressed both ways, and being an ignorant American oaf, I’m not sure which is the proper method…I’m sticking with the way it was written in the credits. :P Zhang Wei-Qiang is not a name I expect ANY of you have heard; as far as I can tell, his appearance as Dracula is his only screen credit of note. Wei-Qiang played the Count in a particularly bizarre adaptation I only found out about earlier this year: “Dracula: Pages From a Virgin’s Diary.” Yes, that title is ridiculous, and it really doesn’t seem to have much (if anything) to do with the movie itself. Thankfully, the film is much more interesting. “Pages From a Virgin’s Diary” is a peculiar blend of dance film and arthouse/experimental flick. This production was directed by Canadian arthouse director Guy Maddin; it was a commissioned work from a local TV producer, who wanted Maddin to create an adaptation of a ballet version of the story. The problem was that Maddin had no interest in ballet, and really didn’t know what to do with it. As a result, the film DOES utilize dance and ballet, but only as ONE method of telling the story; the dance itself is not the focus. In fact, the picture has apparently been criticized by some as “the most inept dance movie in history.” Having said that, the majority of critics and even audiences seem to find this to be a very solid, albeit offbeat, interpretation. Again, the dance is one part of this picture, but not the WHOLE picture. The TV movie uses a mixture of surrealist editing tactics and Expressionist-inspired lighting, shots, and sets, styling the film in the vein of a 1920s silent picture – sort of a blend between “Nosferatu” and something by Dali. Most of the feature is in black and white, but splashes of color – primarily vibrant red and sickly green – are used to either highlight certain motifs in the story, or simply to shock and startle the audience. The feature attempts to explore some of the underlying themes and concepts people have gleamed from the original novel over the years…how many of them were intentional when Stoker wrote his story is up to debate. There are several themes involved, but the chief ones are xenophobia/racism, which was quite prevalent in Victorian society (because, you know, it’s totally NOT relevant NOWADAYS, naturally not, no…ahem…), and also various sexual themes. Now, the latter is nothing new, BUT the way the film DEALS with those ideas IS. I could go on for PAGES about the many ways this movie explores its concepts, but I want to keep this fairly brief, so I’ll focus on Dracula himself as much as I can. A friend of mine accurately described this picture, in short, as “a picture PRIMARILY about the domineering nature of man and how superficial and callous man can be.” Basically ALL of the men in this movie are…well…essentially creeps. And Dracula is no exception, himself. Maddin purposefully wanted to portray this Dracula as “The Perfect Lover,” and in a way, he is. All of the other men in this story envy and fear him: one because he’s an exotic foreigner, one because he seems young and virile, one because he’s so absurdly wealthy, etc. Either by sheer brute force or else force of will, he can and will have any woman he wants; he is able charm the stars into their eyes, offering them eternal life and excitement of more than one kind. BUT, while Dracula is the “perfect lover,” he is NOT the perfect PERSON. While the men all hate him for rather shallow, petty, and sometimes utterly repugnant reasons…perhaps because we’re seeing him through that veil, so to speak, he IS, in fact, a terrible creature. He is basically the worst nightmare a Victorian Man can face: someone who will take all the things you cherish or covet, and will emaciate you through them. He’ll take your women, he’ll take your money, and he won’t give a darn about any of it. When he turns Lucy into a vampire, it isn’t just a case of the men misunderstanding or anything; he turns Lucy – beforehand a childlike innocent and pure soul – into a vicious, animalistic, treacherous, conniving creature of the night like himself. He alternates between seducing his victims and then just taking them without any pretense. No amount of money, power, or pleasurable companionship is enough to satisfy him. I really love this take on Dracula and how it plays into the movie’s themes: we know the so-called “heroes” in this version aren’t very heroic, so…what does that make our villain, when he is still so villainous? Dracula is the centerpiece all these unsettling and disturbingly relevant ideas turn on: he is the rich man to desire, the foreigner to fear, the manipulator to mistrust. He is all of us, and none of us…and that is what makes him so fascinating in this interpretation. Well. That, and this performer sure can dance. Tomorrow, the countdown continues! Hint: He has Universal appeal.
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Gossip
Fandom: Ikemen Vampire
Characters: Leonardo Da Vinci x Nevia @silhouette-of-a-dream​‘s OC (with Emrys Jernigan and Anya Nosferatu making an appearance (both being OC’s of my own)
Prompt: A little look into this motley group of found family members. Last surprise for Mama’s birthday. 
Word count: +1k 
Masterlist
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Leonardo liked to believe himself to be a deep sleeper. He often enough pretended to be one, what with the residents of the mansion occasionally tripping over him. To spare them the guilt the man thus often pretended himself to sleep through it all even if it made him chuckle when they would quietly apologise, or leave a sneer behind. Today, however, he was not given such an option as wild gestures and harsh pokes woke him up and a pair of deep blue eyes glared right into his.
“Emrys,” was Leonardo’s only response, languidly rolling himself over as he took his time sitting up from his bed. The warlock was not made of that patience, however, wildly continuing his gestures without any care on whether the pureblood would understand or not. It came with the unfortunate circumstance of Emrys finding out early on that Leonardo had studied up on sign language, or at least on the development of it, which the male happily played into whenever convenient.
“Anya is what with Nevia?” The pureblood snorts in amusement, but the look in Emrys’s eyes is so glaring and unappreciative of the chuckle escaping the man that Leonardo steels his face quickly, not wanting the signs to run any more rapid like the warlock tended to do when he was annoyed. It was no surprise to Leonardo to know that the Nosferatu was planning something with Nevia. The two purebloods were old friends after all and Anya had some catching up to do.
“And how is that a problem?” Leonardo teasingly questions, earning a book into his direction from Emrys whose frustration was clearly boiling over at the thought of the Nosferatu near Nevia. After all, the warlock didn’t have such luck in his encounters with Anya. Or rather said, it was the impression left.
Another throaty chuckle escapes the man as he watches Emrys’s fingers move in rapid succession, a cigarillo already lit as he gets up from his bed. “Alright, alright, I understood,” Leonardo mumbles from under his breath, but the quasi-amusement could not be hidden as the pureblood is ushered out of the room.
Fairly speaking, Leonardo still didn’t see an issue in the matter. But Emrys saw one and Leonardo couldn’t deny him his help. Not when the warlock went through the trouble of waking him.
“I’m just saying, Goldilocks’s door is much too convenient but I actually managed to get something good out of it for once…”
The distinct voice of the Nosferatu, fast paced and excitable, sounded through the dark halls in which the Nosferatu kept themselves hidden until now. A rapid fire of a story rolling out with all sorts of interesting this and that’s that were previously meant to be kept a secret following after each other in quick succession as the pureblood grimaced to himself, wondering how long Nevia had been stuck listening to that.
“Don’t you think it is terribly interesting to see him embarrassed for once? I for sure would lose my cool with how cool he pretends to be. Always going on and on about how old he is and so on... So I took it upon myself to…”
Stopping in his steps Leonardo didn’t mean to eavesdrop, yet he couldn’t help himself but wanting to listen in on this conversation that was so obviously about him. Did Nevia consider him annoying for always keeping his ‘cool’? Did he pretend to be so? Leonardo didn’t think himself to be, though he also knew that he often found himself comparing his experiences to theirs, even if it was unneeded, for their lifespan wasn’t any shorter than his was.
And, Leonardo had to admit to himself, he was terribly curious about what exactly would make him lose his cool. Or what the other supposedly had found. But most of all, Leonardo was curious to know what Nevia had to say about him.
It was an answer he was never to receive as Nevia’s voice silenced Anya’s rambling one with a single call of her name.
“I don’t think it to be annoying at all,” the pureblood spoke and Leonardo actually feels his breath still at that, a confusion setting in as he tries to peek out from over the corner. Just to catch a glimpse of Nevia’s expression as she says this.
“Besides, the man is listening in on this conversation.” As a trained assassin Nevia’s senses were sharper than average and it was no surprise that she had caught Leonardo and Emrys standing so near, a chuckle escaping her as Leonardo can almost imagine that slight roll of her eyes. A habit she had picked up from the warlock who loved to roll his own eyes excessively.
Stepping out of the shadows Leonardo doesn’t feel the least bit of guilt for being caught. Just as little as either woman seem to feel caught themselves. “Shame, I was looking forward to hearing you out,” Leonardo says as he nudges a sulking Emrys along with him. Only the warlock seemed to mind the situation as he trudges out of his hiding space, though everyone knew that to be related to an individual more so than the rest.
“Emrys claimed that you were taken away,” Leonardo explains mirthfully and the scoff that escapes Nevia, accompanied with the pout from Emrys’s side is such an endearing moment that the pureblood doesn’t mind the sudden halt of the earlier conversation.
“I wasn’t,” Nevia clarifies, a reassuring hand landing on the warlock’s shoulder who seems to relax a little despite the anxious looks thrown over to the other.
“But I wasn’t about to share what makes Leonardo lose his cool either,” she continues with a wink thrown into his direction, “unless he really wants me to, it is rather endearing after all,” Nevia continues with a teasing remark and Leonardo actually feels himself shift a little uncomfortably, wondering what exactly it was that Nevia had figured out about him. After all, it was Nevia who knew him most intimately, which meant that she was also the most likely to know about his weaknesses.
And to this Anya beams up, her eye widening as she steps towards Nevia, who steps away as Emrys tugs at Nevia, running into Leonardo who still stood solid as he caught the duo.
“We’re going home,” Leonardo gently informs the pureblood, protectively putting an arm over Emrys and Nevia as he pulls them into his chest. A kindness to the warlock who was feeling increasingly uncomfortable with Anya so near. But also partly selfishness, for he didn’t want Nevia to share her knowledge with anyone else.
Anya, however, is never one to let anything go as she gives chase, “don’t leave me hanging?” she calls after the retreating group of three, but receives no response as the curious soul is left with all sorts of questions by herself. It wasn’t something anyone pitied her for.
“Thank you for warning me,” Leonardo would tell Emrys later when they had returned to the mansion, an affectionate hand running through the wild brown tresses of the younger male. The signs that the pureblood receives in response earns a chuckle before he turns towards Nevia and tugs her along by the hand, golden eyes beckoning the other to tell him what exactly she had figured out about him.
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juuls · 3 years
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I totally think that there should be a Goodreads (book review site) version/skin/mod/whatever you call it where you have the option of ‘being’ Roger Ebert:
The ability to give 0 star or Thumbs Down reviews.
The ability to give half star increments.
A carefully selected and curated pool of form reviews from past Roger Ebert movie reviews where he holds nothing back (either in praise or in derision), which we can select to express our praise or disdain for what we just read, such as:
There are some… unfortunate(ly hilarious) reviews Ebert has left over the years:
On North: “I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it.” (Ouch.)
On One Woman or Two: “Add it all up, and what you've got here is a waste of good electricity. I'm not talking about the electricity between the actors. I'm talking about the current to the projector.”
On Freddie Got Fingered: “This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels.”
" “Tommy Boy" is one of those movies that plays like an explosion down at the screenplay factory. You can almost picture a bewildered office boy, his face smudged with soot, wandering through the ruins and rescuing pages at random. Too bad they didn't mail them to the insurance company instead of filming them.”
I mean…. Owwwwwww!
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But….
He does have good reviews as well, that would work in our Goodreads mod!
“Viewing Hiyao Miyazaki's "Spirited Away" for the third time, I was struck by a quality between generosity and love. On earlier viewings I was caught up by the boundless imagination of the story. This time I began to focus on the elements in the picture that didn't need to be there. Animation is a painstaking process, and there is a tendency to simplify its visual elements. Miyazaki, in contrast, offers complexity. His backgrounds are rich in detail, his canvas embraces space liberally, and it is all drawn with meticulous attention. We may not pay much conscious attention to the corners of the frame, but we know they are there, and they reinforce the remarkable precision of his fantasy worlds.”
"Contact" is a film that takes place at the intersection of science, politics and faith. Those are three subjects that don't always fit easily together. In the film, an alien intelligence transmits an image of three pages of encrypted symbols. It is clear where the corners of each page are. It is also clear that the three corners are intended to come together in some way to make single image. Scientists are baffled in their attempts to bring the pages together. The solution, when we see it, provides an Eureka Moment. It is so simple, and yet so difficult to conceive of. It may be intended as a sort of intelligence test.
“There is a quality to the color photography in Werner Herzog's "Nosferatu the Vampyre" that seeps into your bones. It would be inadequate to call it "saturated." It is rich, heavy, deep. The earth looks cold and dirty. There isn't a lot of green, and it looks wet. Mountains look craggy, gray, sharp-edged. Interiors are filmed in bold reds and browns and whites -- whites, especially, for the faces, and above all for Count Dracula's. It is a film of remarkable beauty, but makes no effort to attract or visually coddle us. The spectacular journey by foot and coach to Dracula's remote Transylvanian castle is deliberately not made to seem scenic.”
On Se7en: “The killer, as I said, turns himself in with 30 minutes to go, and dominates the film from that point forward. When "Seven" was released in 1995 the ads, posters and opening credits didn't mention the name of the actor, and although you may well know it, I don't think I will either. This actor has a big assignment. He embodies Evil. Like Hannibal Lecter, his character must be played by a strong actor who projects not merely villainy but twisted psychological complexities. Observe his face. Smug. Self-satisfied. Listen to his voice. Intelligent. Analytical. Mark his composure and apparent fearlessness. The film essentially depends on him, and would go astray if the actor faltered. He doesn't.”
" “Groundhog Day" is a film that finds its note and purpose so precisely that its genius may not be immediately noticeable. It unfolds so inevitably, is so entertaining, so apparently effortless, that you have to stand back and slap yourself before you see how good it really is.”
So yeah: Roger Ebert, if nothing else, we salute you for your cattiness and love for movies—so much so you even went to see Catwoman. Yikes.
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hithisisleon · 3 years
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RESIDENT EVIL COMING TO DEAD BY DAYLIGHT POST
Hey I'm coming back from the dead as Leon The White to talk about the best part of the Resident Evil showcase : Resident Evil coming to Dead By Daylight !
Yes yes we all saw the trailer, we can't wait to attach that sweet Umbrella Corp charm to our survivors and our killer's hooks but I want to talk to you about the possibilites regarding Survivors, Killer and Map !
SURVIVORS :
Yes I know we all have our preferences as to who we would like to see introduced as survivors and since it's a special occasion, Resident Evil's 25th Anniversary, we'll probably get 2 survivors like the Stranger Things DLC ( which can also mean that we could get other characters skins on top of said characters like Heather Mason getting Alessa Gillespie, Cybil Bennett and Lisa Garland skins ).
Our number one pick is the most obvious, at the end of the showcase, Matthieu Côté delivers this line :
Look, you have two choices here : kill or be killed. It's your call !
Does it sounds familiar ? I hope it does because it's coming directly from this :
So it's safe to assume that our number one character is going to be Claire Redfield !
As for number two, they'll probably pick a male character and huh... Yeah yeah you know what I mean, it's going to be Leon Kennedy.
It makes perfect sense : he's the other part of the duo from Resident Evil 2, the most popular old school RE, and the main protagonist of Resident Evil 4, the game who revolutionized the gaming industry and which brought fresh air to the franchise.
Another reason why it makes perfect sense for this duo to be in this game is that around the same time we will get Infinite Darkness, which features Leon and Claire ! Perfect promotion.
Also don't lie, if they get alternate costumes, you're going to love to play as Leon in his RE4 outfit with the jacket and Claire in her Let Me Live outfit... And the Cleon shippers will be happy.
As for those who would have prefered others like Jill or Chris, or even Rebecca and Billy why not, I'm sure they will be available as Legendary Skins.
KILLER :
Now this one is a particuliar case, and I'm thinking the same thing regarding the map.
They can go the way they did with the Silent Hill chapter and pick something different from the best games : Midwich Elementary School from Silent Hill 1 for the map, Pyramid Head from Silent Hill 2 as the killer and Heather Mason from Silent Hill 3 as the survivor.
If we go by popularity it would be either Mr.X or Nemesis ( No I'm not counting Lady Dumitrescu because the game isn't out yet and don't lie, her popularity is 100% due to how horny on main you freaks are )
Mr.X will have to be punching survivors as his main attack but as for his secondary I dunno... Maybe mutated Mr.X instead so he could do more damage ? And that way you could have the classic Tyrant from RE1 as a skin ?
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As for his Mori it'll probably be a head grab and him crushing your head or he might impale you with his mutated hand/claw before tossing you aside.
( Also you know his chase music is going to be modded into "X gonna give it to ya" )
Nemesis will punch and/or use tentacles to whip you good or catch you, either way he's going to do some damage and you know you will shit your pants when you hear him scream "STAAAAAAAAAARS !" from a distance.
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His mori will probably be an oldie but goldie and by that I mean he will grab survivors like Brad and tentacle-throat them to death.
BONUS :
The characters I want for killers here are just ideas I came up with and whom I know will probably not get picked but it's worth mentioning them because you'll agree that they would make great killers.
1/ Nosferatu ( Code Veronica X )
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I don't think I have to remind you the fucking bone chilling screams he make when you see him for the first time as Claire in Code Veronica, nor how creepy is his theme during the boss fight ?
Now imagine that in a game where he chase you around with a new rendition of his theme and his tentacles swinging around and attacking you while the others hear him screaming at you in the distance.
Not to forget he could also poison you with the spores he just released so like The Plague he could make you go around the map to find a way to cleanse yourself and here we could see blue herbs being used !
His mori could be one of the death animations from his boss fight in Code Veronica where he brings Claire close to him and impale her with his big tentacle before giving her the "This bitch empty, YEET" treatment.
2/ Alexia Ashford ( Code Veronica X )
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Oh boy look at that, another character from Code Veronica, who would have guessed ? ( It's in my TOP 3 RE games so my bad )
Alright Alexia has always been one of my favorites bosses from the Resident Evil series and I think she's honestly one of the best, her design is nasty, her mutations are disgusting and her orchestral theme is just GORGEOUS ( "Ironic" Palpatine said )
Imagine her normal attack being bitchslaps like she gives to Wesker in Code Veronica, nice right ? But for her secondary attack like in the game she throw her blood in a direction and trace a fire line with it, something that can work in DBD since Pyramid Head does something similar with his great knife.
Her mori will probably be her summoning those tentacles from the ground to impale you or grab your leg and smash you on the ground on repeat until you die, or if we stay classic, she can grab you by the throat and light you on fire, burning you alive.
MAP :
As I said earlier during the killer part, they might follow the Silent Hill chapter formula, picking one bit of each game so here are some neat locations to pick from.
1/ The Spencer Mansion
a) The Mansion
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It's just too iconic.
b) The Arklay Lab
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I will shit myself if I see a Tyrant coming at me while I'm on a gen.
2/ Raccoon City
a) The streets of Raccoon City
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You think you can hide but he will find you.
b) The RPD
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Nothing better than exploring the corridors of the RPD and seeing a licker passing by a window while trying to sneak around to avoid the killer right ?
3/Rockfort Island
a) Prison Camp
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Perfect for the sadistic pleasures of the Entity !
b) Private Residence
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I really want to hear another rendition of "The Suspended Doll" when I join the map 👉👈 ... Special mentions to other maps that I can't show because tumblr doesn't allow more than 10 pics :
RE1 Guardhouse, RE2 Lab, RE3 Clock tower, RE Outbreak Jack's Bar, RE Code Veronica Antartica Mansion, RE4 Village, RE4 Castle, RE4 Island
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