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lara635kookie · 9 months

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I already did Maelstrom so it's time to do the other psycho/sociopath character. Welcome to my Paper Star Character Analysis.

We first see Paper Star talking to Maelstrom (obviously). He asks her to bring him the hat of Carmen Sandiego. She was holding an origami of a sheep and she makes a paper star with it and shoots it to a skeleton, cutting his head off. Then Maelstrom says:"I'll take that as a yes" and the camera zooms on Paper Star's eyes, showing a little bit of her, but still in the dark. We must notice that Paper Star has the longest villain introduction of all the operatives. Usually they just show up, their names appears on the screen with a background and you're done. As for Paper Star, the episode makes a mystery showing glimpses of her in the darkness, creating a climax and a whole vibe of danger just so she could get a more impactful villain presentation than the others. Another thing that proves her spotlight and why she's far away from all the other villains is that she is the only character besides Carmen ("Where in The World is Carmen Sandiego?") that has a theme song(I do not care if It's just a disturbing four melody high-pitched tune, a bop is a bop). Her theme might not have lyrics (besides some la la la la I guess) but the melody and the way she hums it It's absolutely creepy, scary and terrifying, I love it (God bless Kimiko Glenn for her outstanding voice acting). When presenting the Magna Carta heist plan we see the following dialogue:

Shadowsan:Would I be correct in assuming that you have a particular operative in mind for this misdeed, Professor?

Maelstrom:Well, the crime involves stealing paper, does it not? (If I remember correctly he says that and then looks at Doctor Bellum right after, which might be a hint that indicates Paper Star uses some different kind of paper that Bellum modificated its composition or something 'cause how tf paper is so sharp to the point is lethal?) (But apparently It's just normal paper since we often see her running out of her own papers and using regular papers nearby that somehow make the exact same amount of damage)

Shadowsan:She is far from ready.

Maelstrom:Questioning my judgment after my compelling intro, dear Shadowsan? (I think in some voiceovers he asks "Questioning my sanity?" which just makes it even funnier lol Maelstrom you are in fact insane and a threat to society, Shadowsan is right and should question whatever you say or do lmao)

Of course he questions your judgment, Maelstrom. He knows that Carmen can take down any other agent easily but Paper Star would demand more work from her. He knows that Paper Star is just as deadly as you and he doesn't want Carmen dead. Paper Star may be even MORE mortal than Maelstrom 'cause I don't know if that's just me but he passes me the vibe of killing quickly or having someone else killing for him and would just watch the victim die. I just have that impression that Maelstrom wouldn't want to have his hands and his fancy clothes dirty. He would like torture but it wouldn't be mandatory, a point proven as we see him using the crackle rod in the driver and letting Brunt almost die drowned in extremely cold water instead of doing something that makes the victim suffer even more. Meanwhile Paper Star, for having a cutting/stabbing kind of weapon style I think she would like killing in a slow, painful and torturing for the victim kind of way. And the more blood the better. She like big, dramatic and creative deaths, knowing thousands of innovative ways of murder with AND without paper, and some invented by herself(headcanon that you cannot convince me otherwise). I just feel like she would have killed that driver in the most horrible way possible and if Brunt stopped the car almost dying of cold, unlike Maelstrom, Paper Star would have finished the job. Her behaviour being like this is proven by her encounter in Mumbai's "historic elephanta caves" with Le Chevre, in which she tortures him with her origamis and I just KNOW she would have killed him without hesitation if he didn't give her what she wanted. If she did, she probably would call Maelstrom and invent a lie and he would tell her where to escort the papers.

Anyway, skipped ahead too much. So, back to the faculty, Shadowsan HIMSELF aknowledges the fact that Paper Star looks like Black Sheep:Unruly and another word I forgot(reckless?). As we all know all the members in Team Red have an evil villain counterpart, being:

Player:The Troll;

Ivy:The Mechanic;

Zack:The Driver;

Shadowsan:Lady Dokuso.

And logically (and canonically) Carmen's counterpart is Paper Star. So if Carmen is the most skilled person on the good side, it's only fair Paper Star is the most skilled person on the bad side. And it showed. Paper Star is like Carmen's Black Mirror (catch the reference here pls), possibly representing what Carmen would have become if she had forgotten her ethics and morals and fully embraced V.I.L.E.'s ideals. They have a lot in common, like:Both started as the youngest in their class, both showed to be prodigious thiefs with uncommon and distinguished natural talents and skills, both being teacher's pet of a faculty member(Coach Brunt for Black Sheep and Professor Maelstrom for Paper Star), both inclined to not follow rules that don't convey to them, both encounter pleasure in fighting, both with VERY sharp tongue using answers full of irony and sarcastic comebacks, both with high self confidence, both are very clever and possess an extremely high intellect and wits, both are shown to have a quick and strategic way of thinking, both are very insightful, both have very few weaknesses, etc.

So, again with the faculty:majority vote backfires Shadowsan (no one is surprised with it at this point) and Paper Star is sent on the mission, which only reinforces Maelstrom's persuasion powers and leadership over the other faculty members, given it was his idea.

We then see Paper Star singing and jumping(I have a headcanon that she has ADHD and that's why she's so hyperactive and she started origami to improve her attention) and breaking the security camera's screen with her paper shurikens. Then Carmen arrives and right after she says:"Hmmm Papers" (iconic, just like pretty much almost everything she does) she is officialy introduced. The first thing Carmen says after Paper Star is introduced is:"Paper Star, I see you haven't lost your touch." A compliment, instead of a teasing provocation, which is rare for Carmen. And the first thing she says after we officially know her appearance once and for all is:"Red is a smart color for you. It will hide the stains." Literally the first phrase she says after being completely introduced is implied murder.

This girl got so many iconic quotes besides that one, like:

"Mind your own mittens, Kitty Cat."

"Unless you care to find out who here has sharper claws."

"You should run." (Too many implied murder threats to count)

"Nowhere to hide, not very smart."

"In my world, paper beats steel." (It's Paper Star's world, we're just living it it) (Her world is crazy and unpredictable just like her)

"Such a pretty package."

"The more you struggle the tighter it gets."

"Bye bye little Black Sheep."

"But my ears were burning."

"If you insist."

"Guilty as charged, but I never come to a party empty-handed."

"Too bad I shred your pretty glider."

"I told you before:Sheep don't fly. Not on my watch."

"Oh, Is that why you want it so badly, huh?"

"Is there a point here?"

"Hum, sounds valuable."

"What are you hiding?"

"It really should reduce, reuse and recycle." (Environmentalist from the girl that kills trees, how ironic)

"You look like an operative who would get caught." (Amazing judge of character) (Goat Cheese's worst mistake was calling her Pippi Punkstockings) (I laughed tho)

"No need to speak in code." (Her absolute disdain and disrespect for the pattern protocols man) (It's really her way or the highway)

"Perhaps the fish does swim at midnight."

"It will give you a thousand paper cuts unless you tell me the last drop location." (He will bleed too much with these amount of paper cuts, she is totally capable and would have kill Le Chevre there, hands down)

"Your mastery over poison potions is legendary, Lady Dokuso. It would be prudent of me to respect my elders." (Polite Psychotic Princess)

"All this talk about the great Carmen Sandiego but in the flush you're just a paper tiger." (She is literally the only agent that has the honor to say that since, let's be real, it was easy for her, she thought it would be harder and she wanted it to be challenging, that's how good she is)

"There goes Paper Star."

"First one to bag our host wins."

"I know that voice."

"Boo."

"Is that what they say?"

"Oh, such a shame I don't believe in ghosts."

"Puffer fish. Very pointful."

"These brochures are chalk full of...Cutting edge information."

(I think I just listed almost everything she talks is the whole entire show but she is just THAT memorable and deserved more screen time)

Sadistic. Cruel. Maniac. Call her whatever you want but girl knows how to get shit done. They fight for some time("they never protect the face" Paper Star just protected her face, she isn't V.I.L.E.'s five star student for nothing)(Le Chevre, Tigress, Gray, LEARN)(But to be fair she was still at school at that time so the subjects were probably still fresh in her head) but at the end, to everyone's surprise, Paper Star WINS Carmen Sandiego, the only villain to do that so far, at least on that point on the story. She CAPTURED Carmen and stole the Magna Carta and I think y'all ignore the fact that if V.I.L.E. was competent and the cleaners were there with the helicopter, they would have got Carmen to V.I.L.E. and thanks to Paper Star we would have Evil Carmen WAY SOONER. But sadly for Paper Star, V.I.L.E., unlike her, can't do their fucking jobs right (how they survived centuries without getting caught is a total mystery to me) and the cleaners weren't there and as we see Paper Star is the type that likes doing her job by herself, she didn't have a partner and didn't seem to have any way of communicating with V.I.L.E. either so she had to improvise and ring the security alarm because she knew the local authorities would catch her and then she would be transferred to V.I.L.E. by Roundabout. I honestly believe it was pure script protection that made Paper Star, who had Carmen completely unable to move, kill Carmen right there(she made a knife and tried to stab Carmen on the neck eeatly in the fight). She would have had her hat, the Magna Cartas and would be V.I.L.E.'s savior and biggest idol. But she probably wouldn't have the A.C.M.E. card so I let it slide since they showcased how good she was still giving her a hell of a win over Carmen. I don't think she decided to not kill Carmen to obey V.I.L.E. but because she thought the cleaners would take Carmen to V.I.L.E. and she would be able to prove how good she truly was to the faculty. Unfortunately for her, that police waiting gave time to Carmen, allowing her to escape. I think V.I.L.E., even Maelstrom, underestimated Paper Star and didn't expect her first mission to go THAT WELL and didn't sent the cleaners because they didn't expect her to be able to capture Carmen. Shadowsan seemed to be the only one that realized Paper Star was a hidden gem and a rare jewel, like Black Sheep were, and she didn't want Paper Star to harm Carmen.

Much like Carmen and her risky behavior, drawing attention V.I.L.E. doesn't want on them, Paper Star is similar on that aspect, since she leaves a paper mess behind her crimes. And that's probably what made V.I.L.E. want Le Chevre to escort the Magna Carta to safety. Compared to Paper Star, who also like Carmen is a fashion icon and has a very characteristic kind of style that draws unwanted eyes(red for Carmen, neon for paper star) (and both have iconic makeup - red and purple lipstick, amazing eyebrows and eyeliner) (and iconic head things - Carmen's awesome long hair with her iconic fedora and Paper Star's Melanie Martinez hair with her iconic hairstyle), he is much more discreet. But of course Paper Star wants to prove herself and finish the job, making Le Chevre angry saying he had completed more successful missions than her. Yes Le Chevre, but have you ever been the youngest in your class and V.I.L.E.'s youngest operative, at the end of your teenage years, didn't even graduated yet but was so remarkable and gifted faculty gave you special permission to a important mission against an opponent that has defeated a lot of V.I.L.E.'s agents (including you) and not only you could steal it successfully from THE Carmen Sandiego, known for having a massive stealth reputation, but also capture her? No? Exactly. That's the point. Besides, all of the missions you completed were before Carmen. After her, you failed all of them(at least it seems like it). If Paper Star had already a level compared to Maelstrom and Carmen and was BY FAR better than all the other operatives, who unlike her had already graduated and had more experience, and her very FIRST mission was being THAT successful, being something completely unexpected for a trainee with less than one year of training, at THAT age, this girl would be UNSTOPPABLE in no time if she kept that rythm.

Like, we know by Coach Brunt that official codenames are assigned just after graduation. Until there, first names only. Yet we never get Paper Star's real name, even knowing her and Carmen had a few classes together. Also all the faculty members refer to her as Paper Star instead of her real name, which makes me think she got a codename (and probably a stealth suit too) earlier than she should. That's the power Maelstrom holds, 'cause we see Black Sheep being Brunt's favorite and Gray being Bellum's favorite and they didn't have the privileges Paper Star gets. If Countess Cleo or Shadowsan had a favorite as well(Shadowsan always pretended his favorite was Tigress) they would never be able to convince the rest of the faculty to break so many rules for an specific agent, I just know it. Paper Star clearly realized that and knew sticking to Maelstrom was the fastest way of success on that field. In my head, Paper Star always pretended to be Maelstrom's "puppet", pretended to fall for his manipulation and that she was a submissive little girl he could control, so she could win everything she always wanted and eventually a faculty member position that let's be frank Maelstrom would clearly give it to her when he dies/retires. And if he didn't, I can totally see Paper Star going on and taking it either way just because she can. She's the most qualified for it anyway. I think that maybe Maelstrom knew about Paper Star's true intentions, since he's a psichology doctor and psychiatry is his forte, and just rolled with it 'cause both of them bought mutual benefits for one another, each helping the other one to achieve their personal goals. But unlike Paper Star, Maelstrom seemed to be a little bit more aware that he's clinically insane than her.

Anyway, she almost kills Le Chevre, forcing him to tell her where to escort the magna carta and she goes by the name of "Tammy Origami". This name that no one would have in real life just shows how extra she is, just playing around and challenging Carmen to "come and get her if she dared." Unlike Carmen, for Paper Star stealing is a game. She wanted the thrill of the fight to get as many points as she could to win the game. Then Carmen keeps an eye on her on the train(Paper Star making a paper knife to eat was the cutest thing ever, prove me wrong) and then they have the gayest fight ever, almost kissing multiple times. But another thing about this fight that draws attention is how balanced it was, even after Paper Star ran out of paper. As Paper Star is that one villain with a long-range projectiles as a primary weapon, that stops you to get near her, you'd expect Carmen to easily beat her down in a physical fight, since It's not Paper Star's focus. But surprisingly, Carmen took longer in a face-to-face fight with Paper Star than with Tigress, for exemple, that has a close quarters kind of style. I think that happened not only because they were in a train in movement but also because deep down, in their subconscious, even themselves know how alike they are. Paper Star just immediately knew Carmen's fighting style, even having fought her just once, being able to think quickly, awnsering to it, just like Carmen knew Paper Star wouldn't follow the protocol.

So Paper Star jumps on those stairs with the Magna Carta and we don't mention enough that if that thing Carmen took from the train wasn't there, or Carmen hadn't thought about it, or didn't pulled that from its place in time, or had missed the shot, Paper Star would have fully completed her mission. Which means:Unlike all the other missions so far Carmen won out of pure and sheer luck. There were plenty of factors that could stop that improvised cutting boomerang or whatever of hitting its target, such as:Distance, wind power, weight, height, force applied in the arms and on the object itself. Things impossible to calculate in that speed, doesn't matter how good of quick thinker you are. Specially 'cause some of those things are imprevisible:They can change in a second. So, let's be real:Carmen had more chances of missing than actually getting it right.

Also she could have just get on the platform we see a bird on after Carmen's gone, making it even harder to Carmen to shoot that steel circle thingy but whatever, I guess you can't get everything right(My hands are itching to make an angry speech about how Paper Star only lost because Carmen is the main character, she's got plot protection and how that's a kids show so you gotta show good triumphing over evil even if it's not exactly so simple like that on real life).

Back to V.I.L.E. we hear the following dialogue:

Shadowsan:Did you not assure us that Paper Star was ready?

Maelstrom:I never instructed her to break protocol. (Another proof that even with most of Paper Star's and Maelstrom's interests colliding, Paper Star still prioritizes herself and what she wants over Maelstrom and even V.I.L.E. itself)

Paper Star walks in jumping and singing her typical horror movie kid/doll song.

Coach Brunt:Faculty only, Sassy-Pants. (I love how people aknowledge her socks) (Also yes coach Brunt, my girlie is a sassy bad bitch, the baddest badass alive, thank you for noticing)

Paper Star:But my ears were burning.

Maelstrom, standing up:You failed to complete your mission.

Paper Star:Guilty as charged, but I never come to a party empty-handed.

She shows the A.C.M.E. card and throws it on Maelstrom's direction. It's interesting to notice that while Maelstrom doesn't even flinch, Coach Brunt and Countess Cleo slightly go to the side, protecting themselves. It's funny how even faculty is scared of her. They know how powerful she is with paper in her hands(I know that A.C.M.E. card is probably not paper but I'm a firm believer that anything, even the most common things, becomes a weapon in paper Paper Star's hands, like fans, tinfoils, magazines, museum folders, etc).

They are scared like they should be scared. She single-handedly revealed to V.I.L.E. the most secret international organization of modern era. Can you relate, Le Chevre? No, I don't think so. No other operative can relate to her. She's in a league of her own. The only competent agent V.I.L.E. had in a long time.

So I guess Carmen knew that Paper Star was a worthy adversary and wasn't going to give her an easy time, since she stepped up her game on their next encounter. I think she was aware of her luck and tried to guarentee her win easily next time, considering Paper Star had very few weaknesses but using this weaknesses to her advantage in a better, yet more subtle way, that Paper Star won't notice. Yes, Paper Star it's way ahead of it's time and in a more advanced level than most, but she's still young. She's still impulsive, imprudent and has a lot to learn. Knowing that, Carmen does a better job in defeating her in Japan.

Instead of just running away with the sword, Paper Star chooses to hide in its box with it waiting for Carmen for the sake of her presentation. Girl gotta make an entrance. She wanted to fight Carmen and this time around Carmen was more prepared since they met before in a place, when Paper Star shredded her glider and they fought on a rooftop. Back to the present fight, it goes on a little bit with the fans and right when Paper Star is about to use the sword, Carmen steals it from her(still mad Paper Star couldn't use it). Carmen not only did what she did before(getting her out of paper, which works but not alone) she took her to a place the paper that was there was a glue trap that make her stuck. Way to go, Carmen!

Her third appearance was with Tigress on Halloween and I think y'all remember how that went. I don't got much to say about it but let's go. First:Girlie must have something against skeletons. If I had a nickel for everytime paper star cutted a skeleton's head I would have two nickels. It isn't much, but It's weird it happened twice. Second:Can't you see she's dressed as Melanie Martinez anime girl version? Third:You cannot convince me Tigress didn't fought Paper Star 'cause she knew Paper Star had the sharper claws there. Paper Star clearly wears the trousers in this relationship. Paper(Top)Tiger(Bottom). Jokes aside, they also have a mission to complete but if Tigress also wanted it, Paper Star would have killed Tigress right there. Prove me wrong after everything I previously stated(spoiler:you can't). Fourth:We see Paper Star saying she recognizes the chef's voice and Tigress saying she recognizes Carmen, which only highlights so far who's more committed to the mission, even Paper Star being "the plus one", since Tigress was the one that got the party invitation. Fifth:I like how Tigress is the one that sprays him and how Paper Star is the one that catches him when he falls. I expected to be the other way round, considering the fact the chef was a pretty big guy and Paper Star is pretty short and slim. We stan a strong queen. Speaking of which, love how Tigress says:"WE only play with the wicked witches" instead of "I only play with the wicked witches", including Paper Star, already falling for her charms lmao(they are so in love your honor, it makes them look stupid lmfao). Btw they should have worked together more often. I wished both of their characters were more explored, even though I don't like Tigress that much. They fought Carmen really well together. Carmen clearly couldn't handle both of them at the same time. She only won because Paper Star and Tigress mostly attacked her individually, after the other. We see this because the only time they attack together is on the very beginning of the fight. Paper Star shoots her shurikens and Tigress avances, being able to break her broom. If they had a better teamwork as a duo this episode could have had a different ending. Sixth:Paper Star is apparently a sponge 'cause girlie got soaked and then appeared all dried out on the next frame like it was nothing(I know it's just the animation but still, it was funny). Seventh:We got a compensation of the way we were robbed on season two:Paper Star finally used a SWORD! A tinfoil one. Not an ancient one way more cooler but I'll take what I can get. Eighth:Paper Star wanted to stab Carmen so badly. I remember the only other operatives that tried to actually kill Carmen were Spinkick and Flytrap when they followed Shadowsan with the tracker/locator in South Africa and cutted the head of a scarecrow with a red fedora thinking it was her(Gray didn't tried to kill her in the train, only tried to make her unconscious to take her back to V.I.L.E., argue with a wall). And that was on V.I.L.E.'s orders. The other operatives only kill when they have too, when they need, when it's something necessary, but still last case. Paper Star kills for fun. The only persons who tried to kill Carmen a couple of times and almost did it was her and Coach Brunt. Her evil counterpart and her former mother figure. Coincidence? I think not. Nineth:Tigress saying:"She was cramping my style anyway" lol bitch Paper Star's got more style than you. At least she ain't a furry. Tenth:My personal theory is that Paper Star read the recipe on the paper and thought V.I.L.E. could make money with that recipe, since she probably knows V.I.L.E. is going through a financial crisis(that isn't hard to figure), their rice is horrible and everyone loves this guy's secret recipe, so even though that paper had no material value, V.I.L.E. could make a little bit of money out of it so they can at least recover a little bit of the damage Carmen had caused.

Her fourth(fifth if you count her brief appearance in the steal or not to steal interactive special, but I don't because she doesn't appear in all routes) and last apparition was in the last episode, when we see her tied up with red strings in front of a museum. Two years later, Carmen finally got her. The fact she's the last villain we see Carmen capture speaks volumes. The fact she was the one chosen to be in that position instead of any other villain we see in that screen of villains A.C.M.E. hasn't located yet says something. Again, similar symbolism with Chief and Maelstrom. The most powerful hero defeated the most powerful villain(Just remembered Paper Star still owes both Maelstrom and Carmen a hat btw lol).

A curious thing about her character is that we tend to like her and hate Maelstrom(at least that's the case for me). So why that happens? For many reasons, such as:Paper Star, even appearing less than him, we know more about her. She's got more personality. She balances the evil with her cute and colorful style. People tend to underestimate her, like:"How dangerous can she even be?" and she proves them all wrong. Also because she's a very good villain. She's one of the reasons we like Carmen so much, because she makes Carmen not to look like a Mary Sue that wins all the time(I mean, she kinda wins all the time but Paper Star at least gave her more difficulties). With all the others I go like:"Carmen can easily win." With Paper Star(and Coach Brunt, but I also hate Coach Brunt for pretty much the same reasons I hate Maelstrom and Roundabout)(I kinda like Countess Cleo and Doctor Bellum tho)(And I love Shadowsan)I go like:"She can win, but definitely not easily." If Paper Star existed on real life I would hate her and be scared of her but we should normalize liking the villains because they are good villains. Because they move the plot and without them we wouldn't have the story we like so much. Paper Star actually represents a real threat to Carmen. It's good seeing Carmen fighting with an equal, someone who ACTUALLY has chances of winning her. So refreshing and revitalizing because if Carmen just wins easily every time the story gets repetitive, predictable and boring. So the villains are one of the factors that allow the storyline not to fall into boredom. And Paper Star is just so interesting everything she touched became too and we love her for it, so thank you Paper Star.

So, again, why is Paper Star so impressive? Because she had so much potential that was wasted and even still managed to be one of the best characters in the series. And because the first time we see her she didn't even had her graduation day yet, but she was so good and full of potential that they granted her permission to have an important mission and she was not only the closest to defeat Carmen being V.I.L.E.'s youngest operative and at least one year younger than Carmen, and even failing at her mission she still had a victory over Carmen, and a HUGE one:she revealed the most secret organization of actual days, A.C.M.E. We must not ignore the fact that if it wasn't for Paper Star stealing Devineaux's card, A.C.M.E. would still have the advantage of V.I.L.E. not knowing they existed. She successfully was the ONLY PERSON that could steal from THE Carmen Sandiego. That's worth more than the Magna Carta if you ask me(and the wiki I'm using information from agrees with me). And girlie still survived on her own for two years after V.I.L.E.'s take down, what a queen. Everything indicates that she was one of, if not the last villain captured because they show a screen with all the villains A.C.M.E. already captured with a red X and Paper Star wasn't one of them so I believe she wasn't one of the villains who were captured and then escaped but someone who survived without V.I.L.E. two years, proving her superiority. I believe that because they mentioned people who would hide in the dark just doing secret jobs like the cleaners so I believe that was also the strategy Paper Star sticks with. Also, they really missed an opportunity there:Everyone would love seeing an epic battle between these two and instead we just see Paper Star tied up in front like a Museum. Like, C'mon give me more. Carmen is the best but Paper Star got CLOSE. Like too close for confort. She got caught but I believe she's gonna escape just like it's said a lot of villains are doing. A.C.M.E. ain't enough to contain her. And that's it. Let's wrap it up for today. Bye!

#carmen sandiego #carmen sandiego 2019 #a.c.m.e.#paper tiger #paper star cs #paper star #v.i.l.e.#character analysis #yes that's too long and most likely no one will read but I needed to vent about her and decided not to divide in parts #i got carried away

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featherchan · 1 year

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Lego Monkie Kid Verse

[ P.S: Please do not reblog! This is for personal use. ]

STORY

Kanako Ryuuzaki is a talented and skilled thief known as Scarlet, who is the fourth generation from a long line of female phantom thieves. They work for hire from politicians, gangsters, demons, and even gods, anyone who can afford their hefty fees. And being an expert at their job, they always deliver as promised.

For their services, a contract must be forged with their employers. This is mainly to protect herself and their crew. One of their many golden rules is that once the item is delivered, Scarlet and their associates will have no involvement in whatever happens to it. These have become almost a common occurrence, where her employers often blame them for their own failures.

Kanako runs a successful pop-up cafe called Dahlia Kiss, which is also a cover for her Scarlet operation. She works as a waitress which she co-owns with her partner-in-crime and marksman, Noburu Makoto, who works as Dahlia Kiss's cook. In addition to being a cover, 'Dahlia Kiss' is also a well-functioning cafe. And with Kanako's charm in helping her serve the tables and Noburu's cooking skills, makes them a dynamic duo. Their co-ownership of Dahlia Kiss has only helped them travel around the world, kill time and fund parts of their heist operations.

SKILLSET AND WEAPON

Often dealing with dangerous employers and situations, Scarlets trained themselves to be strong mentally and physically. And to be well-equipped and prepared to deal with any situation.

SKILLSET

+ Combat: Scarlets are taught in various martial arts and weaponry. And Kanako's choice of weapon is a whip. They often combine different styles to defend themselves and those they love.

+ Master Disguise: Generations of Scarlets are trained in the mastery of disguise. They even learn to throw their voice to imitate others, without the assistance of a device to do so. Often, they use their beauty and charms to deceive, tease, and toy with people, manipulating others to their favor.

+ Poison Resistance: Often dealing with low-class thugs who use underhanded methods. Those who inherit the name of Scarlet are trained to ingest poison, as part of their practice to protect themselves from being poisoned. They often ingest non-lethal amounts, aiming to develop immunity and high resistance against it.

WEAPON

+ Scarlet Whip: A normal whip that Kanako employed as her weapon of choice. It is brown in color, completely covered in small rhombs, and possesses a notably large handle, in comparison to the thin rope part.

+ Torn Whip: A dangerous whip was given to her as a payment from a Demon clan. From an appearance perspective, it looks like a normal dark red colored bullwhip. However, activating it turns it into a vine-like whip covered in thorns that lashes out with hellfire. This temporarily grants her demonic power, making her invincible and even reaching the same level of power as a demon. It makes it possible for Kanako to cause physical harm to a deity, which she often tries to avoid, as it could lead to huge consequences if she were to cross and anger a deity.

The whip is also a dangerous weapon that can cause harm to its enemies and also corrupt the minds and souls of its wielders. This is why she used a special glove to lessen its effect and used it for a limited time to avoid its effect from taking hold of her.

+ Star Whip: A whip was also given to her as payment, but by a Celestial God. The whip's handle is visible. It has a simple, cylindrical form with a black central part and silver edges. When the weapon is being used, blue celestial matter resembling water appears out from the handle, where it is surrounded by orange-white light that twists around its entire length. The whip grants her a celestial blessing, temporarily making her invincible and granting her the power of a deity, which allows her to hurt even a demon. It can also be summoned by Kanako wherever she is located.

The downside to the weapon is that it drains a lot of energy out of her when used for a prolonged period of time. This could be dangerous, as it could drain her life force or shorten her lifespan.

+ Perfume and Poison: Using the knowledge inherited from her ancestors, generations of Scarlet have been trained in the art of using perfumes and poisons. These have a wide range of effects from breathing fire to causing people to fall asleep. Her ancestors had developed a large number of concoctions, but she could only carry 5 with her at a time.

==== List Perfume and Poison =====

# Topaz Dream: It makes people forget all the events and memories from the last 24 hours. # Dragon Breath: By taking a little sip of the poison, and by using certain breathing techniques. Kanako can exhale flames like a flamethrower.

# Velvet Seduction: In the form of perfume or lipstick, it allows her to make people susceptible to her 'suggestions', by becoming her temporary puppet. A person's susceptibility is usually limited to a period of time, depending on their strong will. However, strong-minded people are usually capable of resisting it.

# Emerald Illusion: A perfume that causes people to experience an illusion, in a short period of time, whether it be longing for or desiring something. Yet, strong-minded people are capable of shaking it off easily. # Blue Drop: A perfume that is capable of immobilizing a victim in ice. However, strong individuals with brute strength can easily break the ice to free themselves. # Salvia Kiss: It takes the form of lipstick and paralyzes its victim. # White Mist: A sweet-scented perfume. It caused people to fall asleep instantly. # Black Torch: Scarlet's most powerful, dangerous, and forbidden potion. It gives the user inhuman movements and strength to become faster and stronger. It’s only to be used as a last resort, as it takes a heavy toll on the user's body and shortens their lifespan.

#[ new story | theLioness ]#[ au verse | theLioness ]#[ verse | monkie kid ]#[ do not reblog ]#[ this is a personal au for my blog only ]#tw long post

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agent-cupcake · 3 years

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i believe i am legally and morally obligated to ask how the wolves fit into this mobster AU 👀

~As thieves, of course! Have I ever mentioned my love of heist plots? For a while I toyed with the idea of an Ocean’s Eleven style rework of the Cindered Shadows DLC which was basically the prototype for this gangverse AU. There are ideas from that story that I think are great (Sexy powerful casino owner Rhea, Edelgard playing banker for the operation, Claude taking on the role of some super rich foreigner needing to secure his briefcase in the vault before dramatically feigning a catastrophic illness) but that is a tale lost to time.

~In our actual alternate universe, Yuri is the smooth as silk, multitalented and criminally inclined conman leader of the specialized group. Unlike the other house leaders, he’ll take his schemes to wherever the money is... but his true home is Fódlan City.

~He grew up in the southeast area of Faerghus officially known as Cathedral Street and unofficially, and quite aptly, called Abyss. It was, at one point, a government funded housing project that promised affordable living and better jobs. But, due in part to the dysfunctional bureaucratic relationship between Faerghus and the city government during the recession, Cathedral Street became a trap, keeping the poor locked into dead-end jobs and unfair rental contracts. It became a place for misfits and criminals, pretty much disconnected from the rest of the borough and city for all that anybody cared about the abandoned project.

~The internationally famous thief known only as Aubin has a suspicious number of similarities with the old man who taught Yuri all the tricks of the trade in his youth.

~For all of the shared quirks between the two, some people joke that the Mockingbird is Aubin himself.

~Although his one true passion is con jobs and heists, Yuri is willing to engage in all sorts of shady endeavors... Assuming there’s enough money involved. This includes, but is not limited to, brokering extortion, buying and selling information, fencing, arranging sales, and fixing any sort of “problems” powerful people might find themselves having. Yuri’s skillset doesn’t necessarily make him qualified for all jobs, but he has a special talent for finding the right people and organizing them together.

~He’s got fantastic aim and an impressive collection of guns. Yuri’s not one for very much hand-to-hand but he’s always got knives and such hidden on his person. You know, just in case. He also has an impressive knowledge of first aid.

~Yuri is an enthusiastic supporter of both Dimitri and Claude and their efforts to knock down the corrupt elite and “clean up”... especially Claude weeding out the business of human trafficking. Very sportingly, Yuri swore to never steal from Claude’s casinos. He's nice like that.

~Yuri doesn’t see things in terms of conflict of interest because, professionally, the Mockingbird has no interest in politics. Personally, he just enjoys the satisfaction of seeing abusive scummy people getting thrown from their ivory towers. Especially when they come begging to him for help and can’t cough up enough money for his services.

~Physical objects don’t have much value to Yuri, even money doesn’t mean much to him to an extent. He knows how easily it can all be taken away, knows that in his line of work nothing is truly permanent, and he knows how to survive without any of it.

~That said, he loves shopping. Especially at high end places. Clothes are a special weakness of his. Plus, he loooooves spoiling his mom with fancy nice things. The first thing he did when he began making money was give her the money to buy a nice house and car in her own name, assets that belong solely to her to both live comfortably and have as a security net.

~He picked up the other three Wolves kind of by accident. For the most part, his job never involved any consistent cast of people. He had people he trusted and would hire for jobs, but they didn’t work specifically for/with him. But then Aelfric hired him to steal something and he wound up working with Balthus, Constance, and Hapi. Unlike most people, they weren’t bound to any group or organization. They were skilled, but underutilized. None of them would ever admit it, but they were all missing something.

~Also, Aelfric’s job ended up being a trick. He hired a skilled but inexperienced team so he could have useful idiots to throw under the bus after he got what he wanted. Unfortunately, it did not work out so hot for him. Fortunately, it brought together four useful idiots who formed an incredibly sought after criminal organization.

~Before Balthus met Yuri, he was a disinherited alcoholic one binge away from being completely homeless as opposed to the almost-homelessness of working random jobs and couch surfing. He got picked up because he was good at punching and familiar with both the elite world and the criminal underbelly.

~He’s a terrible liar, but he is fantastic at intimidation and beating people up. He acts as a bodyguard and Yuri’s right hand man. Having something worthwhile to dedicate himself to actually helped him straighten out a lot.

~Although he’s not the one who comes up with schemes or anything, his straightforward approach to problems often helps Yuri from thinking himself into a corner. Sometimes the best way to solve a problem is to take it as it is, Yuri likes to overcomplicate everything.

~Constance is the demolitions expert who gets an uncomfortable amount of joy from her job. There is, as she says, an artistry to what she does. She is not a vulgar street thug with a molotov, she is an expert of the architectural and structural, a master manipulator of destruction and dismantlement.

~The Nuvelle family was of decently high standing when she was young. Her father was on the local board working his way up. While he was in office, the topic of the “Brigid Deal” was hot. It had to do with government interaction with international businesses and corruption. When the Adrestian board had to start answering for this, they made Mr. Nuvelle their fall guy and called it case closed. There was rampant speculation about the accident that befell her family after the fact, especially when it was rumored that he had evidence of deeper corruption, but nothing ever came of it. The ensuing media circus and ruin deeply impacted Constance. She got a scholarship to go to school, but many people noted that despite her intellect, she was erratic and rather antisocial. There might be some deeper psychological reason for her love of demolition of structure and trauma inflicted by a corrupt system, but who knows.

~Hapi is pretty much the straight man to the rest of them. She doesn’t get carried away with the details, hyped up on violence, or frenzied by the idea of blowing something up. Sometimes it seems almost like she’s along for the ride, but she’s the only reason the Wolves don’t implode through their sheer quirkiness.

~She was a teenage runaway who wound up in Abyss and fell into the criminal world kind of by accident. Even more than Yuri, Hapi harbors a deep resentment for the negligence of the government.

~She’s a very skilled jewel thief, Hapi especially goes for ones obtained and profitable through unethical means. She’s also a decent pickpocket and knows how to run and/or spot a lot of typical scams. Despite her proficiency with guns, Hapi’s not really keen on the violence part and will always advocate for alternative methods to solving problems if it’s possible.

#yuri leclerc #balthus von albrecht #constance von nuvelle #hapi #fe hapi #fe yuri #fe balthus #fe constances #fe3h #fire emblem three houses #headcanons

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tcm · 3 years

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New Year’s Eve in Classic Movies By Raquel Stecher

There are few things that fill me with more joy than a terrific New Year’s Eve celebration in a classic movie. New Year’s is a special holiday and, in my opinion, highly underrated. Think about it. It’s essentially everyone’s birthday. It’s a time for us to turn the page into a new chapter in our lives individually and collectively. It’s a time of hope, of resolution, of embracing change and of setting new goals for the future.

In movies, New Year’s can effectively demonstrate a character’s evolution. It can be strategic in a plot where the character sheds an old life in order to transition to a new one. It’s also a fantastic way to depict revelry with a grand party filled with confetti, streamers, noisemakers and a glass of champagne or two. And if you’re the type who prefers to stay at home for New Year’s, binge watching classic films like THE THIN MAN series or the Marx Bros. movies can be a wonderful way to wind down. Let’s ring in the New Year with some classic movies that embrace this very special holiday together.

When I think of New Year’s movies the first one that comes to mind is BACHELOR MOTHER (’39). Starring Ginger Rogers and David Niven, this delightful romantic comedy tells the story of a shopgirl who inadvertently winds up with an orphan baby and cannot convince anyone in her life that the baby is not her own. BACHELOR MOTHER has my favorite New Year’s Eve sequence. Rogers gets a complete makeover with new pieces from the department store, including a shimmery dress, a mink coat adorned with orchids, a veil, a purse, gloves and shoes. She is the epitome of elegance. The class difference becomes apparent here as David (David Niven) convinces Polly (Ginger Rogers) to speak fake Swedish so she won’t feel out of place with David’s upper-class cohorts. This is done to great comedic effect. The sequence goes on to include a four-course meal and plenty of dancing. The lovebirds get separated in a crowd in Times Square only to be reunited just in time for a New Year’s kiss.

In the Rat Pack movie OCEAN’S 11 (’60), New Year’s serves as the perfect time to orchestrate a major heist. Led by Danny Ocean (Frank Sinatra), his team of 11 WWII buddies plan to rob millions from five Las Vegas casinos: the Desert Inn, the Flamingo, the Riviera, the Sahara and the Sands. The film stars Rat Packers Frank Sinatra, Sammy Davis Jr., Peter Lawford, Dean Martin and Joey Bishop accompanied by other talent including Richard Conte and Akim Tamiroff. The heist is timed specifically to ringing in of 1960. As everyone sings “Auld Lang Syne,” two members of the team blow up an electrical tower, blacking out the entire Las Vegas Strip. This is when the rest of the team get to work robbing each of the five casinos and making their escape. The characters find themselves at a crossroads in their lives in one way or another. While this isn’t explored with every character, it is examined with a handful. There has to be an impetus for them to commit this crime. New Year’s in 1960’s Las Vegas is a mix of kitsch and glamour. Each of the casinos has their own outlandishly styled party.

Who wouldn’t want to ring in the New Year with Nick and Nora (William Powell and Myrna Loy)? In AFTER THE THIN MAN (’36), the duo visits the Lychee Club, a seedy nightclub, on a mission to help Nora’s cousin Selma (Elissa Landi). Her husband Robert (Alan Marshall) has been missing for three days and the two discover that Robert has gotten involved with the wrong crowd. The film boasts a wild welcome home party followed by an equally epic New Year’s party at the Lychee. Nora tells Nick that she’s looking forward to their “first New Year’s alone” when suddenly they are joined by a group of ex-cons. Nick enjoys the revelry with scotch in one hand and a toy saxophone in another. There is an accidental kiss, lots of streamers, plenty of booze and two song-and-dance numbers led by hoofer/actress Penny Singleton.

THE APARTMENT (’60) is best known for being a dark romantic comedy set during the Christmas season, but New Year’s proves to be a major turning point for the two main characters. C.C. Baxter (Jack Lemmon) is working his way up the corporate ladder by letting his superiors make use of his apartment for their extramarital trysts. Things get complicated when he discovers that his love interest, elevator operator Miss Kubelik (Shirley MacLaine), is having an affair with his boss. Their Christmas Eve is dire with Kubelik attempting suicide and Baxter trying to bring her back to some semblance of a life. The New Year’s Eve sequence, set in a Chinese nightclub, much like in AFTER THE THIN MAN, is when Kubelik realizes she wants to shed he old life and start afresh. She quietly says “ring out the old year, ring in the new. Ring-a-ding-ding” as she contemplates a new life for herself, resulting in one of the most iconic ending scenes and lines in movie history.

#New Years Eve #New Year's #2021 #2020 #celebration #party #TCM #Turner Classic Movies #Ginger Rogers #Rat Pack #The Apartment #Thin Man #Nick and Nora Charles #1930s #1940s #1960s #Raquel Stecher

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casualotptrash · 3 years

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Fixes to the Persona Series

Oh boy I hope you all are ready to talk about this for the hundredth time!

My recent tirade about the FES vs Portable discussion started to make me think about what I think could be done in the next coming installments of the series to make it either feel a bit more fresh or just as an overall improvement. Now, I know many of the things I’m about to say have been said time and time again, but...this is my post so I’m going to give my opinion on this :)

Enjoy and feel free to vent with me about your biggest gripes with the series, because I’m always ready for a salt-fest.

(This post will pretty much have any spoilers about Persona 3, 4, and 5 (including Royal) so beware if you haven’t finished those)

To clarify right off the bat, anything I don’t mention in here as something I would fix I either don’t think it is a problem or I just happened to forget it.

1. Player Gender Options

(Royal Spoilers)

Starting off with a great one, I think that an improvement to the series would be to allow an option between a male and a female MC. I don’t think this choice would affect the story in Persona 3 or 4 very much (and we’ve seen that with Persona 3), but I have imagined and seen so many fanfics about how it would actually be a really interesting twist for Persona 5. For most of the story it probably wouldn’t matter too much, but it could impact the first palace so much. The first palace/story arc is already one of the best arcs in the game, so imagine if the player could relate to Ann and Shiho on an even deeper level? To be clear, I’m not saying the player has to be sexually assaulted or something, but I imagine Kamoshida would at least treat the player more like Ann rather than just a delinquent nuisance.

Also, and this just came to mind, but picture this: in the third semester Maruki actualizes things that he thinks will make others happy. Obviously, Joker and Akechi are against this. In the game itself there are a lot of clues to point that Joker does care about Akechi, and does want to see him again, but in the end they both agree that they need to fight for the real world that they worked for, not for a fake reality. If Joker was a female, they could still go the route of doing this (especially if romancing Akechi was an option? Or they just hint at them having feelings but Akechi doesn’t want to commit because he’s a self-loathing boi who needs to work on himself first).

Alternatively...what about a badass narrative of a girl, in a powerful position as the leader of the Phantom Thieves, fighting against a man who believes he knows what’s best for her and tries to appease her by just bringing back Akechi? Kinda like a “Yeah fuck what you did, you just need Akechi/a man and he’ll make you happy” type of thing. Obviously this would all be subtle, because I do think Maruki has good intentions, but he also blames himself for all of the hard things Rumi has gone through and may internalize that as women needing a “strong man” to protect them. Of course this might seem too preachy for people, but I thought it was an interesting idea to run with and that some people could relate to the whole “Woman trying to think and do things for themselves? Nah just sit in your little fake world and be happy, thanks.”

(Sidenote, Sae would be such a good role model...after her change of heart of course. You crush it girl.)

However, I do understand that this could be a lot of extra work, especially when the game is so long and tedious. That’s why I would also be fine with the strategy of “switching off” per say. By that I mean if Persona 5 has a male MC, then Persona 6 would have a female MC, and if a 7th game was made (in 2040 or whatever) then it could go back to a male. This would eliminate the issue of having to record all the voice lines twice or any other extra work that would come with having to make both genders an option. Honestly I know this option doesn’t matter too much to people, they just want an MC who is either a self-insert or actually a character (more on that later), but I do think it would be a very nice inclusion especially for the female fans of the game. It kind of sucks that three of the most popular games in the series all have male protags, and the female protag who was introduced often gets shafted for very dumb reasons. (Oh no, you have the option to romance a kid that most people don’t even choose or like, that means she’s a p*do! :I I know this comment is normally a joke but seriously it’s not funny).

2. Setting of the game (not transfer but also maybe involve the other games?)

(Spoilers for the Arena games and Persona 5/Royal)

So there are two main points to this suggestion: where the game takes place and how it relates to the other games.

As we all know, the three latest entries in the mainline Persona series have all followed a certain trend. They are all high schoolers, who transfer to a town, and know basically no one there. This formula has been repeated for the last three games, and while they are still great games, I think this trend needs to change. Any amount of switching this up would be better than nothing in my opinion. For example, the MC could be a new college student who goes to a new place for college (if they wanted the MC to move somewhere), and there meets the party members who are a mix of people who also don’t know the area (new to the college) and those who do know the area/some people there. This would appease people who have been really wanting an MC to not be a high schooler, while also giving the feel of meeting new people and seeing a new place.

On the other hand, the next game could take place in the MC’s home town, where plot stuff happens and they connect more to the people they already knew (aka party members) to solve the plot stuff. They could be in high school or college, either I think would work, but it would appease people who don’t just want to be a transfer student each time and also have some connection to the characters prior to the game. However, this would be difficult to do given the current “flow” that the games have, that is that the MC doesn’t know anything and has to ask a million questions. It would be very strange to go up to someone you have known most of your life and ask them a basic question, which is why that style of storytelling(?) would not fit well with this and other methods would need to be used.

Now, for the second point, I understand that they don’t make strong connections to the other games because they want each game to be able to be played as a stand-alone, and not to hold people back by forcing them to play the other games to understand this. Makes sense, but usually what happens is that people play one game in the series and then try another game, if they really like the one they started with. After playing through the ones they want to, and if they like them, then there is an appreciation for the series as a whole. Of course Atlus sneaks in little references here and there, like having the P4 gang go to Iwatodai or some TV news announcements on P5 that allude to Adachi and other characters, but those cant always cut it. One of the biggest letdowns I would come to know is the fact that the Shadow Operatives are not mentioned at all, outside of those small references, in P5.

Persona 5 literally has the PT’s broadcasting all of their heists, and includes major government officials like Shido. There are also the mental shutdowns/psychotic breakdowns, which also have people confused, along with how the PT’s steal hearts in the first place. I don’t know about you all, but this seems like the perfect opportunity to get the Shadow Operatives involved. This is like...literally what they were made for? Investigating persona/shadow activity and such, and we already know that the PT’s deeds reached at least Hawaii so it would be strange for the SO’s to have not heard anything. There are headcanons that they were blocked by Shido or something, which is pretty interesting to think about/develop, but it was only thought up to make an excuse for why they aren’t there. Persona 5 introduced a lot of people to the story, so yeah some people would probably be very confused about who the SO’s are and stuff, but it could payoff in the long run for long-time fans and those who play the other games after.

Depending on the story of P6, I don’t think it would be a bad idea to start including casts from the other games into newer ones...especially when each game introduces 8-9 new characters per game, and those games usually get made into spin-offs that include the characters made in the previous games! Counting only the characters introduced in the previous games (3-5), Persona Q2 has 33 characters (11 P3, 10 P5, 10 P4, and 2 P3P, this includes the velvet room assistants for each respective game). That’s a ton! Sure, having new characters each time is part of the fun, but I believe there is definitely a way to split them up. I don’t think it would be too much of an issue to have a smaller party member group (you can only have 4 fight at a time anyway), that way there is still the enjoyment of seeing new characters, while also filling up some of those spots with preexisting ones.

3. Characterization

This kind of piggybacks off of the second point, but personally I think they need to stop with the self-insert protags. First, like I mentioned earlier, it kind of messes up the “flow” of the game since they have to pretend that the character doesn’t know anything because the player doesn’t know anything (yet). For example, how many times did the option to say “Probation?” or “Expelled?” or something like that come up as a dialogue choice in P5? Too often, in my opinion. I assume anyone over the age of 15 would probably know what those things mean, but in case anyone doesn’t they have to make it an option to say.

Adding onto this, it also seems like people start to like the characters a whole lot more when spinoffs or movies/animations come out that really expand on the character, because in those games/mediums the player is taken out of the self-insert role. I would say out of the three games, the Persona 3 protags have the most characterization in game through their dialogue. I haven’t watched the movies, but I heard it fleshes the MC out a lot more. In Persona 4...well, I see what they’re going for but I also feel like Yu has the personality of a cardboard box. The animations definitely helped out this one, as did Arena, and I’ve seen other people agree that they liked Yu a lot more after playing/watching those things.

As for Persona 5, I think they tried to give Joker some characterization (and oddly enough “Joker” has a lot more to him than Akira/Ren, but he still fell more on the side of self-insert. P5 the animation is...of questionable quality, but I think Xander did a good job in the Dub (which is the one I watched) in trying to make him feel more like a human being. I haven’t played Strikers, but I assume it goes more on the route of P5 because you’re still controlling Joker. Oddly enough, I feel like the dancing game gave him the most characterization? Call me crazy, but his dance moves and voice lines just ooze of his suave, friendly, and supportive attitude. I wish that they took whatever those voice lines embodied and just put them into the game, because I would like Joker a lot more than I already do (which, to be clear, I do still like him a lot).

Although this doesn’t have much to do with the characterization, it would also be nice if Atlus could just put the “canon name” in the game while also still having the option to choose your own name. Again, this might add a little more work but maybe if someone chose the “canon” option then their name could be spoken in voice lines, but if they don’t then the names would be left out (except for text) like usual. Honestly this is mostly up to personal preference because I like some of the “not canon” names more so I would want to use those if I could, but I also don’t like having the characters just randomly cut off in the end of sentences when they’re saying your name. Just kind of breaks immersion, which is probably why I really like Joker because at least they say “Joker” quite a bit.

(Little rant, but why do the PT’s get like two group names? At first Morgana defaults to “The Phantom Thieves of Hearts” but then when you get to choose the name of your team, that name is what shows up instead. However, everyone still calls you the “Phantom Thieves” and the gang refers to themselves as that too! I get naming the group is kind of cool, but I would have preferred if they were just called The Phantom Thieves (of Hearts) and that way their name could be spoken in dialogue too.)

4. Choices matter...please? (romance and regular dialogue)

This might be easy or difficult to implement, I’m not so sure because I’m not a game developer, but I really wish choices mattered more in this game. I feel like most of these suggestions (especially later on down the list) are just little things that could be added to the game that would really amp it up, and this is one of them.

When I talk about choices mattering, I do not mean that dialogue should be so open that there are branching paths and that your choices affect the story. What I mean is that you could choose two different options and not get the same exact answer. I get that this isn’t always the case, but when it is it feels very strange. In this same vein of things, please stop with the illusion of choice because everyone sees right through it. I didn’t really see this as much in P3, and I still need to finish P4, but it was definitely apparent with P5. I felt that so many times in the game there were two options that were just “Option A” or “Synonym for Option A” as the choices.

Along the same lines, I think it would be great if romance choices were actually acknowledged. Again, there is a little of this in P3 and P4 where some party members comment on your relation to the other party members (Ex. Junpei saying to take care of Fuuka if you date, Yukari stating that Akihiko probably wouldn’t want FeMC going on a group date if they’re dating, and Yosuke coming to assumptions about who Yu spends the summer festival with), but they are very few and far between. I also saw no evidence of this at all in P5, which was pretty disappointing. In fact, in Persona 5 Royal if you are dating Ann and go on the Christmas Date with her, she makes some comment about not wanting the others to find out about them. Like...girl, considering someone can finish Ann’s social link as early as June or so on NG+ I’m pretty sure your friend group would notice if you’ve been dating for 6 months?? I know that romance is definitely not the focus of the game, but if you’re going to include it why is it shoved into the farthest corner and never touched?

Don’t get me wrong, it is cute to see the romances in the game play out and such, but on the same hand I can see how much better it could be. In reality it kind of sucks to romance someone in the Persona games because no one acknowledges it, and you only get like 3-4 small scenes in each game to spend with them (beach in P5, festival in all, Christmas in all, valentines except for 3, White Day in P5R). Just imagine if you could take a walk in Kyoto with whoever you romanced, or were able to take your partner to the Jazz Jin in P5R and they would get like special date dialogue or something? Very very small additions, but it would go a long way in making the romances feel a bit more connected.

5. LGBT Romances

I went into this in some detail in Part 3 of my FES vs Portable debate post, so I to save your eyes from reading more I’ll just quickly say that Atlus definitely needs to add in more LGBT romance options because it’s ridiculous at this point. The fact that you can’t romance any guy (because all of the MC’s are male, this is not including the FeMC stuff because that’s not typical in the Persona series) but can have a whole harem (despite what they may do to you) is just ridiculous. They’d rather let you date a fully-fledged adult than someone of the same gender.

Also they’re cowards for scrapping the Yosuke romance and that’s that :)

6. Fixing Social Links

Link to the stand-alone post about this section.

I literally was going to include this in this post, but this section alone (which I knew was going to be the biggest) was almost as large (a few hundred words off) than everything prior to this point put together. I’ll make a separate post with just this section soon, but this criticism of mine can basically be boiled down into the fact that the main growth of a character should happen outside of their social link in order to avoid tonal whiplash in the story, and that this will fix the problem of some characters feeling “one-note” if you do not do their social links/confidants. Essentially, go back to the P3 method.

However, something that needs to be fixed for all of the games is that you shouldn’t only get social link points for saying what the person wants to hear. I get the train of thought that if you say what they want to hear they will like you more, but that’s not how real friendships work? Obviously you shouldn’t be saying something that offends them and think it will raise your points, but sometimes people just need to hear things?

I can think of three standout examples: Nozomi in P3 (Gourmet King), Mishima in P5, and Shinya in P5. Nozomi’s link is a hot mess in of itself, but it was very frustrating to at one point just be like “Hey can you chill?” when he’s trying to induct you into a scam/cult or whatever, and it reverses the social link. Like ok buddy fuck you too, I was just trying to say no and that you need to stop scamming people?? For Mishima in P5 (I’ll go more in depth on him in a later post), it’s just kind of strange that you can clearly see him starting to obsess about the PT’s but you can’t really tell him he needs to stop until the social link demands it. Even then, the only way to get points is pretty much to go “Wow Mishima, you’re the best! You’re the reason we exist! We love you!!!” and it just feels kind of wrong. Shinya’s is very much along the same line as that, except you basically have to do something even worse and encourage him to keep being a bully? Thankfully P5 doesn’t reverse confidants, but I probably would have done so with Shinya because I kept telling him he shouldn’t bully others until I realized how to get points with him. It just feels wrong to encourage such behavior until the character suddenly realizes they’ve been acting wrong. No shit, I’ve been trying to say that.

I think social links need quite the fix to them, but this is definitely one of them. Strong, real relationships are not just built upon telling the other person what they want to hear.

7. Have Characters Hang Out

This is mostly a suggestion based off of P5′s downfall in this aspect. I think that P3 and P4 did a good job at showing the characters hang out in other aspects, or hang out separately outside of the MC. P4 had a lot of good group hangouts, but not many scenes without the MC. P3 had the opposite where members kind of hung out together a bit, but also showed or mentioned them hanging out without the MC. However, P5 didn’t have much for the group hangouts and also I can’t really recall a single scene of the party members hanging out outside of the MC.

Along with all of the problems I mentioned earlier with the cardboard cut-out personalities, I feel that this contributed to P5′s group feeling a bit less cohesive. Obviously when they all hung out they acted like a real group of friends, but it’s hard to see it as legitimate when 95% of their hangouts are just meetings for the Phantom Thief stuff. The only times they hang out outside of the PT stuff is the TV station, the fireworks festival, helping Futaba + the beach trip, and the culture festival. Like I said, I can’t recall them hanging out together outside of being with the MC/PT business, although I could have missed some stray text message if one was mentioned.

In this aspect, P5 feels like a small step down from P3 and a huge step down from P4. I think some of the events in P4 are a bit unnecessarily long, but at least they go through the effort of showing that the group is also a real friend group, not just people trying to solve the murder. Strikers may be a step up from P5, but I haven’t played it yet so I can’t judge that.

Also bring back school trips to prior locations of Persona games. Imagine P5 group going to Inaba and it turns out this is the small country town that Joker came from? And they sprinkle in references to P4? *chefs kiss*.

8. Remove/Change Certain Tropes

(Spoilers for the babe hunts, stupid ass hot springs scenes, and Ryuji abuse after certain palace)

By that spoiler tag, you can probably tell that this is the category I’m most passionate about. I can deal with social links feeling a bit disconnected. I can deal with the MC being a self-insert. What I cant deal with anymore? These. Dumb. Ass. Scenes.

Let me explain (insert Sojiro voice here)

Every game has three main tropes. One, the babe hunt scenes. Two, the hot springs scenes. Three, one character being dunked on by everyone else. I’ll go through each, scream about my feelings about them, and why they need to change.

First, the babe hunt scenes. I don’t have much of a problem with this trope to be honest, I just think it could be done better in some games. I actually think the one in P3 was quite funny, because the group treated it like an “operation” which added a bit to humor. Truth be told, I was just a bit disappointed in P3P FeMC route when you didn’t have your own version of the “babe hunt” thing. I know Yukari and Mitsuru aren’t the types to go hunt for boys, but perhaps the MC could have suggested it as a fun idea. In P4, this scene happens in Okina and largely remains the same as the P3 formula, but I think it lacks just a bit of the humor that the P3 one had. Lastly, in P5 this scene happens during the beach trip but compared to the others it’s pretty...lackluster?

It shows a montage of Joker, Ryuji, and Yusuke talking to girls but no actual dialogue goes on. After talking to three or so, Yusuke disappears and this is when Joker and Ryuji meet the two “flamboyant” men again. This time, the men either chase them down or call after them (?) depending on if you’re playing Vanilla or Royal. I don’t like how they use these men in the first place, but on top of that it kind of takes the “babe hunt” out of “babe hunt” if you don’t actually...hunt for babes? Like no actual dialogue is spoken when trying to convince the girls, which was most of the fun in the other scenes. You don’t even have free reign to walk around at the beach, and the scene is formatted in a more cutscene type of way. It just makes P5′s babe hunt fall flat in many ways, and overall I finished the scene with a strong “meh.” The only good things about this was watching Makoto and Ann defend themselves and Yusuke with the lobsters.

Now for the hot springs scenes....hoo boy.

Simply put, in my opinion, these scenes suck ass in almost all of the games. P3 is the least egregious in my opinion, for a couple reasons. First is that it shows that Junpei and Ryoji were kind of trying to peep on the girls, and Akihiko and MC were just dragged into it. They have some funny dialogue, and in FES and Portable they even included the option to try and evade the girls. I found the little evade minigame to be really fun, even though every time I can’t help but fail because I want to say “It was a cat!” I find it interesting that there is the option for the men to get off scott-free, and that their dialogue after the trip is over changes slightly because of this.

On the FeMC side, I also find it fun that you have the reverse of the minigame and actually seek out the boys. My only letdown with this entire scene is if the boys are caught. I get it, it’s supposed to be funny with Mitsuru executing them and such, but as a reasonable person with a brain it seems really dumb to me that Mitsuru would just punish all of them when it’s just Ryoji and Junpei’s fault? This is nothing against Mitsuru, but her actions just seem so...exaggerated for some reason? Like Mitsuru is usually smart, and even if she is embarrassed I don’t get why she would punish innocent party members. A huge disappointment for me was that the FeMC isn’t able to stop Mitsuru from doing this either. Not even a choice to try and encourage Mitsuru or discourage her (so both options would be available). You just kinda sit there and watch, even after Akihiko say “It was a misunderstanding!” or something. For me it was especially strange because MC was dating Akihiko at that point, so why wouldn’t I try to hear him out? Just struck me as kind of dumb.

If I thought that was dumb, P4 and P5 were out to really make me roll my eyes and sigh in disappointment. Unlike P3, which has most of the scene being pretty good besides the very end where Mitsuru punishes the boys, the P4 and P5 scenes are all bad. This is not the first time anyone has said it, and won’t be the last, but they aren’t funny scenes in the slightest.

In P4, it’s actually the girl’s fault that they’re in the hot springs when the boys walk in. They stayed over their allotted time and into the time when boys are supposed to be in there. So what do they do? Get flustered, yell at them, and throw buckets at the group. Oh, and they don’t listen to the boy’s protests at all. Really.

Who thought this was a good idea?? The girls even realize after that they were in the wrong, say they should apologize, but I don’t think they ever show a scene of them apologizing after. This whole scene, like the hot springs ones in general, are just exaggerated (ie. throwing masses of buckets) to be funny, but they really fail in my opinion. It just serves to make the player kinda angry (since they’re usually on the receiving end) and make the girls look wildly unrealistic and dumb. I have never really thought that needless physical abuse is funny, so these scenes are just the bane of my existence apparently.

There actually isn’t a hot springs scene in P5, but they did add one in Strikers.

If they wanted to still do these scenes, maybe they could switch from making it “just beat up the boys” into something else. For example, the girls could try to peep, or walk in on the boys. Equality y’all, sometimes girls can do those things too (but still don’t beat them up. Just don’t beat anyone up). If none of that happens, or maybe that’s how the scene ends, the rest of the scene could just be a chill, relaxing scene between those involved. Essentially, how the scenes go before the whole “lets beat up the boys” thing comes in.

Lastly, on basically the same vein as why I don’t like the hot springs scenes, I’m starting to get real sick of the “let’s shit on this one character” trope. In Persona 3, I don’t think it’s that bad because they kind of do it with Junpei but they also give him a lot of character development, and eventually the sort of hostile shitting on him turns into just gentle teasing.

For P4 I still don’t think it is too bad, because Yosuke is kind of the one being shit on but he also does the same to the other people in the group? I suppose the only thing that really sticks out to me is how Teddie abuses Yosuke’s wallet (making him buy/pay for a lot of stuff with his hard earned cash), but I also don’t like Teddie at all in the first place so I may be biased about him. Oh well, he still shouldn’t do those things and I don’t really find it funny but to each their own.

However...this problem walks and rocks the fucking runway in Persona 5. Namely, this happens with Ryuji. The most obvious aggressor in this is Morgana, because him and Ryuji butt heads so often, but the other thieves kind of do it as well. Obviously they don’t do this all the time, but it’s extremely frustrating when they do. Morgana getting into arguments with Ryuji at the drop of a hat get old very quick, and the other thieves poking a bit of fun about how dumb Ryuji can be is also not that riveting. Despite all of that, the scene that highlights all of this is the scene after Shido’s palace collapse.

You all knew this was coming, but I couldn’t resist talking about it. The scene is so tone deaf in so many ways that it takes away all of the emotional impact that they were trying to build. Even the first time I watched this scene, in which I didn’t think they would kill off Ryuji, I could still sympathize with the group being concerned about him. Then when he shows up they...just beat him up and leave him unconscious next to a pole while they walk away? Wow.

On all subsequent playthroughs I just skip this scene, but I truly cannot understand why that was the angle they went for. Were they trying to insert some humor right after an emotional scene? That can be done in certain cases, but....why??? It’s so unbelievable it’s almost laughable. It’s not even like the bath scene where the the girls think the guys are trying to peep on them. It’s simply because he survived which I assume is what they wanted!

“Oh no you made us thought you were dead (even though he didn’t because he couldn’t control any of this), we’re going to beat you up!” Now you just make the characters look like irrational idiots.

Seriously Atlus, stop doing this. In most cases it just serves to make the player kind of frustrated, and in this case it it literally takes all of the emotional weight out of the scene and makes me think worse of the entire female cast. Please. Stop.

Well that’s the end of that. I don’t think I said anything too revolutionary, although my opinions about the social links and characterization might get me some flak. I just want the characters to be more than one personality trait... This was a really long post again, so kudos to whoever made it to this point!

Next time, on Dragon Ball Z Casual’s pointless posts: something Persona related :)

#long post #persona 3 #persona 3 portable #persona series #persona 4 #persona 5 #persona 5 royal #p3 #p3p #p4 #p5 #that's a lot of p's #ready to get shit on for my opinions #but maybe just ask me first before doing so #who's ready to play persona 6 when it comes out and be slightly disappointed #I am!#but I'll still like it because it's persona

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dweemeister · 3 years

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NOTE: This is the third film released theatrically during the COVID-19 pandemic that I am reviewing – I saw Raya and the Last Dragon at the Regency Theatres Directors Cut Cinema’s drive-in operation in Laguna Niguel, California. Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health officials.

Raya and the Last Dragon (2021)

As Raya and the Last Dragon, directed by Don Hall and Carlos López Estrada and written by Qui Nguyen and Adele Lim, made its theatrical and streaming bow, the United States was grappling with a wave of highly-publicized hate incidents towards Asian-Americans in the midst of the COVID-19 pandemic. This spike in racially-motivated verbal abuse, assaults, and homicides began with the pandemic and, frustratingly, had only been receiving national attention in these last few weeks. Despite the nation’s racist origins entwined with chattel slavery of black people and its continued unequal treatment of minorities including Asian-Americans, I am not qualified to say if the U.S. is “more” or “less racist” than other countries. But I can hardly think of any other people that interrogate racial inequality and oppression as much (and as publicly) as Americans – an undeniable strength. There was no way Raya and the Last Dragon’s cast and crew could have anticipated the film’s fraught timing, but the film provides a much-needed, positive, and heavily flawed, action-adventure romp drawn from Southeast Asian cultures.

The very notion that Walt Disney Animation Studios was attempting to craft a film using an amalgam of Southeast Asian cultures stoked my excitement and dread. Southeast Asian cultures – including, but not limited to, Cambodia, Indonesia, Laos, Malaysia, Myanmar, the Philippines, Thailand, and Vietnam – are often lumped into those of East Asia (China, Korea, Japan), which dominate Asian-American depictions or Asian-influenced media in the United States. What gave me pause is that Disney’s track record in films featuring non-European-inspired characters and places inspired by non-European cultures is mixed. Aladdin (1992) and Pocahontas (1995) are aggregations of (and indulge in stereotypes towards) Arabs and indigenous Americans alike, especially in their presentations of “savagery” (Pocahontas in particular is guilty of false equivalences).

Cultural aggregations in fictional settings are not insensitive, per se. Yet, Disney’s stated intentions on this film are undermined by a voice cast ensemble almost entirely composed of actors of Chinese and Korean descent – you can bring up Adele Lim’s response to the voice casting controversy all you want, but her response contradicts the film’s promotion. Amid its gorgeous production and character design, Raya manages to avoid the worst mistakes of its Disney Renaissance predecessors. But its hero’s journey is too cluttered and too littered with the anachronistic and metatextual jokes plaguing the last decade’s Disney animated features.

Five centuries before the events of Raya and the Last Dragon, the land of Kumandra saw its people live in harmony with dragons. That relationship, however, would be devastated by the appearance of the Druun – a swirling, purple vortex that turns living beings into stone. In the conflict against the Druun, the last dragon, Sisu (Awkwafina), makes a fateful sacrifice to save Kumandra by concentrating the dragons’ collective power into a magical orb. Soon after, Kumandra’s five tribes – Fang, Heart, Spine, Tail, and Talon (named after parts of a dragon) – fight amongst each other for control of the orb (Heart eventually gains possession of it), effectively partitioning the land. In the present day, the Heart tribe’s Chief Benja (Daniel Dae Kim) proposes and hosts a feast-summit to discuss and heal Kumandra’s divisions. Benja has taught his daughter, Raya (Kelly Marie Tran), the ways of a warrior and the necessity for Kumandra’s tribes to realize their oneness. At the feast-summit, Raya befriends Namaari (Gemma Chan; Jona Xiao as young Namaari), the daughter of Fang Chief Virana (Sandra Oh). Predictably, Namaari betrays her new friend in an orchestrated ploy to pilfer the dragons’ orb for Fang. Just as the Druun make a surprise invasion of Heart, the botched heist sees the orb break into five, and each of the tribes makes off with part of the orb. It will be up to Raya to recover the other four pieces of the orb, lest Kumandra succumb to the Druun.

The film’s screenplay is, charitably, a mess. Though Qui Nguyen (primarily a playwright) and Adele Lim (2018’s Crazy Rich Asians) are the credited screenwriters, Raya’s phalanx of story credits (mostly full-time, white employees at the Disney studios) suggest studio interference. Raya seems as if it is trying to cleanly differentiate certain tribes as based on a certain Southeast Asian nation. Instead, it comes off as a brew of mish-mashed parts (this problem extends to the otherwise stunning animation). With the exception of those from the militant Fang, the bit characters from the various tribes do not behave any differently from the members of other tribes. The partition of Kumandra, five hundred years before the events of Raya, feels like as if it had never existed for lengthy stretches in this film.

After Kelly Marie Tran, as Raya, narrates the mythology and history of Kumandra in the opening minutes, the film’s structure tethers itself predictably to the monomyth. The fracturing of the dragon’s orb into five parts sends Raya onto a tedious adventure: the physical travel to a new part of Kumandra, introduction of a sidekick (all of them are comic reliefs), an action setpiece involving a necessary assist from new sidekick, and the integration of that sidekick into Raya’s ever-growing party. Lather, rinse, repeat. To squeeze the four other tribes into the film’s 107-minute runtime and set up a climax and resolving actions results in a frantically-paced movie. Almost all of the film’s dialogue is subservient to its structure, the hero’s journey. This disallows the viewer to learn more about our lead and her fellow adventurers. In arguably the most important example in how the dedication to story structure undermines the characters, take Raya’s repeated mentions to her newfound confidants that she has difficulty trusting others. Six years have passed since the day of Namaari’s betrayal and Raya’s discovery of Sisu. How has Raya’s sense of distrust evolved over time, and how does it manifest towards those of other tribes? Does it appear in moments without consequence to her quest, in gusts of casual cruelty? In terms of characterization, Raya is showing too little and telling just the basics – a dynamic that also applies to the film’s most important supporting characters.

Ever since Tangled (2010), the films of the Disney animated canon have increased their use of metatextual and anachronistic humor (e.g. Kristoff’s comment about Anna’s engagement to a person she just met in 2013’s Frozen and Maui’s Twitter joke in 2016’s Moana that still makes me gnash my teeth when I think about it). Invariably, the success of the Marvel Cinematic Universe (MCU) has seen its brand of pathos-destroying humor bleed into the Disney animated canon and Star Wars. Like so many films in the Disney animated canon, Raya takes place in a fantastical location in a never-time far removed from the present. From the moment Raya meets Sisu, the circa-2020s humor is ceaseless. For Disney animated movies set in fantastical worlds, this sort of humor suits films that are principally comedies, such as The Emperor’s New Groove (2000) – a work that owes more to Looney Tunes than anything Disney has created. Instead, Raya’s comedy will suit viewers who frequent certain corners of the Internet, “for the memes.” Do Disney’s animation filmmakers believe the adults and children viewing their films so impatient and unintelligent about human emotions? That they will not accept a scene that deals honestly with betrayal, disappointment, heartbreak, or loss unless there is a snide remark or visual gag inserted within said scene or shortly afterward?

Raya seems like a film set to portray its scenarios with the gravity they require. But overusing Awkwafina’s Awkwafina-esque jokes and a DreamWorks- or Illumination Entertainment-inspired infant causing meaningless havoc will subvert whatever emotions Nguyen and Lim are attempting to evoke. These statements are not arguing that Raya and Disney’s animated films should be humorless, that Disney should stop casting an Awkwafina or an Eddie Murphy as comic relief. Instead, Raya is another case study in how Disney’s brand of ultramodern humor is overtaking their films’ integral dramatics. Raya is noisy, clamorous – no different than anything Disney has released in the last decade, save Winnie the Pooh (2011).

Production designers Helen Mingjue Chen, Paul A. Felix, and Cory Loftis have worked on films like Wreck-It Ralph (2012), Big Hero 6 (2014), or Zootopia (2016). Each of these films feature glamorous, near-future metropolises or sleek digital worlds. Where the tribespeople of Kumandra might not be behaviorally-differentiated, the color coding, lighting, and biomes of each of the five lands comprising Kumandra ably distinguishes Fang, Heart, Spine, Tail, and Talon from each other. As if taking cues from the production designs of Big Hero 6’s San Fransokyo and, to some extent, The King and I (1956), it is difficult to pin down specific influences on the clashing architectural styles within the lands, in addition to the unusually empty and cavernous palaces and temples and varying costumes. As picturesque as some of these lands are, the art direction does not help to empower the characteristic of the tribes and their native lands. Nor does James Newton Howard’s thickly-synthesized grind of an action score, which prefers to accompany the film’s excellent combat scenes rather than stake a clearer thematic identity for its own. Howard uses East and Southeast Asian instrumentations and influences in his music, but, disappointingly, they are heavily processed through synthetic elements and are played underneath the film’s sound mix.

Character art directors Shiyoon Kim (Tangled, 2018’s Spider-Man: Into the Spider-Verse) and Ami Thompson (2017’s MFKZ, 2018’s Ralph Breaks the Internet) embrace the (generally) darker and varying skin complexions of Southeast Asian peoples. The skin textures are among the best ever produced in a Disney CGI-animated feature, and the variety of face shapes – although still paling in comparison to the best hand-drawn features – is a pleasure to witness.

The number of films starring actors/voice actors of Asian descent (all-Asian or majority-Asian), animated or otherwise, and released by a major Hollywood studio makes for a brief list. Raya and the Last Dragon joins an exclusive club that includes the likes of The Dragon Painter (1919), Go for Broke! (1951), Flower Drum Song (1961), The Joy Luck Club (1993), and Crazy Rich Asians (2018). Among those movies, Raya is the only entry specifically influenced by Southeast Asian cultures. Its cast may be headlined by Kelly Marie Tran (whose skill as a voice actor is one of the film’s most pleasant surprises), but most of the roles went to those of Chinese or Korean descent. No disrespect intended towards Gemma Chan, Sandra Oh, or veteran actress Lucille Soong, but the majority East Asian cast only serves to further monolithize Asians – as the amalgamated story, plot details, and production design have already done. I will not second-guess any fellow person of Southeast Asian descent if they feel “seen” through Raya. What a compliment that would be for this film. How empowering for that person. But the life experiences of those of East Asian and Southeast Asian descent are markedly different. Disney’s casting decisions in Raya – all in the wake of the disastrous Western and Eastern reception of the live-action Mulan (2020) – have revealed a fundamental lack of effort or understanding about the possibilities of a sincere attempt at representation.

To this classic film buff, the discourse surrounding Raya strikes historical chords. When Flower Drum Song was released to theaters, the film was labeled by the American mainstream as the definitive Asian-American movie. Opening during the height of the American Civil Rights Movement, the film (and the musical it adapts) looked like nothing released by Hollywood (and on Broadway) at that time. In that midcentury era of rising racial consciousness and the lack of opportunities for Asian-Americans in Hollywood, the marking of Flower Drum Song as the absolute pan-Asian celebration was bound to happen – however unfair the distinction. Even though Rodgers and Hammerstein (two white Jewish men who made well-meaning, problematic attempts to craft musicals decrying racial prejudice and social injustices) composed the musical and zero Asian people worked behind the camera, those labels remained. With some differences in who wrote the source material, The Joy Luck Club and Crazy Rich Asians have followed Flower Drum Song’s fate in their categorizations. Will Raya? Time will be the judge, the only judge.

Before time passes judgment, we have some present-day hints. Though not released by major studios, the quick succession of The Farewell (2019) and Minari (2020) point to an experiential specificity that Raya attempts, but never comes close to achieving. Whether through aggregation or specificity, Hollywood benefits from the perspectives of underrepresented groups. Widespread claims that Raya too closely copies Nickelodeon’s Avatar: The Last Airbender (2005-2008) reflect that dearth of East Asian and Southeast Asian representation in American media. For too many, ATLA is the Asian fantasy. These simplistic observations and bad-faith criticisms (one could rebuke Disney’s vaguely-European princess films on the same principles, but I find this as lazy as the bad-faith ATLA criticisms) also suggest a lack of understanding that Asian-inspired stories are drawing from similar tropes codified by Asian folklore and narratives centuries old. If one reads through this reviewer’s write-ups, you will find an abiding faith in the major Hollywood studios – past, present, and future – to be artistically daring and to genuinely represent long-excluded persons. Many might see this faith as misplaced. But even in the major studios’ flawed attempts to depict underrepresented groups, like Raya, they concoct astonishing sights and form moving links to the cinematic past.

Assuming you have not skipped to this paragraph, the write-up that you have read may seem scathing to your eyes. Raya is no Disney classic – there has not been one for some time. However, I thoroughly enjoyed my first viewing of Raya. After a few weeks’ worth of keeping my agony private over the recent uproar over attacks on persons of Asian descent in America, it was a surreal experience to see even an amalgamated celebration of Southeast Asian culture. Over this last year, we have lost people and things that emboldened us and ennobled us. In this season of unbelonging and otherizing feelings for Asians in America, Raya’s timing is fortuitous. It is emboldening and ennobling.

My rating: 6/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Raya and the Last Dragon #Don Hall #Carlos López Estrada #Kelly Marie Tran #Awkwafina #Izaac Wang #Gemma Chan #Daniel Dae Kim #Benedict Wong #Sandra Oh #Thalia Tran #Lucille Soong #Alan Tudyk #Qui Nguyen #Adele Lim #James Newton Howard #Disney #My Movie Odyssey

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nightcityheat · 3 years

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ᴠ ᴀs ɴᴘᴄ || ᴘᴇʀsᴏɴᴀʟ ᴏ̨ᴜᴇsᴛ ᴄʜᴀɪɴ

[prelude]

Rome can be first seen chatting with either Judy, Evelyn or Suzie at Lizzie's during the first act, but he doesn't have a real role until after Evelyn is rescued from the Scavs.

V finds him at Judy's apartment having a whisper-fight with her. Rome is blaming Judy for not telling him what's been happening and for not getting him involved when she discovered Eve was missing, while Judy faults him for refusing to help Eve with the Heist she asked and thus having no right to point fingers now.

V can intervene and stop the fight from going further or let it happen but, in any case, Rome ends up leaving, saying he overstayed his "welcome".

[side mission] ɴᴏᴛᴏʀɪᴜs

After some time, Rome calls V directly, asking them out for an amicable drink at the Afterlife, saying he must apologize for how he left things last time and mentioning he has business to discuss. Once there Rome reveals that he got his hands on some intel, some big Scavengers operation in Pacifica, and wants V's help to dismantle it. It would be a sort-of vengeance of his own for Eve and also the occasion to free a bunch of people from the scavs' clutches.

The mission can involve Rome as either a fighting companion, if you choose the right dialogue with him (mostly involving his relationship with Judy and Evelyn, but generally by being nice to him), or, otherwise, as ranged support, T-bug style.

[side mission] ᴛᴏxɪᴄɪᴛʏ

Once on the mission, Rome reveals there's actually a second part to the job, and that he needs V to pick up some important gear/implants from the Scavs' hideout before going further, which can lead V to protest.

Some unaccounted for enemy reinforcements force them to rush the mission and, as the situation quickly snowballs, it becomes a matter of choosing between the cargo or saving the captives. If both Rome and V are on the field they can split tasks and the job will succeed; if only V is on the field they will have to choose.

Following the second outcome, whatever V has chosen, Rome will take the blame on himself at the end of the mission, saying he's sorry his intel was fucked up and that he never meant to put V in that position.

[side mission] sᴛᴜᴘɪᴅ, sᴀᴅɪsᴛɪᴄ ᴀɴᴅ sᴜɪᴄɪᴅᴀʟ

Some days pass until Rome contacts V again, saying that he feels like he owes them an explanation and that this is the good occasion for V to see what the whole cargo situation was about with their own eyes.

If V accepts they are led to an industrial zone of Watson, where Rome reveals they are waiting for his contact, the source of the Intel on the Scavs' hideout. Rome was given the lead in exchange for the cargo he was to find there, but as the intel turned against them he now hoped to get things straight once and for all. V can accuse Rome of having brought them there only because he expects a fight, but Rome guarantees it's not like that.

His contact arrives, Ryo Kasumi, an Arasaka agent of sorts, which allows Corpo V some unique lines of dialogue. The deal unfolds itself to be unexpectedly informal and Ryo confesses to the likely presence of a mole and to their intent to deal with that.

If the cargo has been recovered Ryo pays Rome and V an abundant extra for it; if it hasn't, they show some disappointment but tell Rome that they'll deal with it.

They leave following that, and Rome offers V a drink at his apartment, not far from there. If V accepts they'll be able to visit Rome's place, loot some unique shards and messages, and unlock a special conversation with him. Rome will talk about his old friendship with Ryo, at the time when they were still a Tyger and hadn't joined Arasaka yet, and about his relationship with gangs and corpos. How, having lived in Watson his whole life, he doesn't feel like judging people for joining one or another, and he's gotten used to making deals with who he can and how he can for his survival. V can tell him they believe he's doing his best, or, instead, push him to do better.

[side mission] ᴍᴀʀʀʏ ᴛʜᴇ ɴɪɢʜᴛ

The next time Rome calls V is to say he has a lead on the Arasaka mole that got them in trouble and to ask if V wants to join the fun. Rome sends V the location to a rave and, after some "playing it incognito", dancing, drinking, and a potential kiss, they finally stumble upon the mole and, after a quick conversation, V can decide their fate; they can let them go, deliver them to Arasaka or kill them.

In any case, following that, V has a Relic malfunction, which they can blame on the music or the alcohol but, one way or another, Rome will say it's getting late and that he's tired too, which leads them to part ways.

[side mission] sᴡᴇᴇᴛ ᴅʀᴇᴀᴍs (ᴀʀᴇ ᴍᴀᴅᴇ ᴏғ ᴛʜɪs)

[wip]

#cyberpunk 2077 #cyberpunk2077 #cp77 #v as npc #male v #street kid v #oc : virus

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sushigirlali · 4 years

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If You Don't Love Me, Lie To My Face - Part I (Reylo Fanfic)

Part I | Part II | Part III | Epilogue

Summary: Grifter!Rey helps U.S. Senator Leia Organa's son, Ben Solo, out of a jam when a couple of muggers invade her turf. Afterward, she debates robbing the rich American herself, but can she protect her heart while stealing his?

Pairing: Rey + Ben Solo | Finn + Poe Dameron

Rating: E

Continuity: Modern AU

A/N: For the first time ever, I’ve actually written most of the story before I started posting! I think it will be way less stressful since I don’t have to “keep up” with updates. New chapters will be posted each Friday. Enjoy!

Master list –> AO3 | ff.net | Tumblr

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If You Don't Love Me, Lie To My Face - Part I

By: sushigirlali

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Kennington, London

——————

There are moments in life that make you question everything that came before. A look from a stranger, an incident at your job, a terrible movie... things Rey Niima was usually able to push past without pause, but tonight, she was finding it extremely difficult to ignore the feeling that her life was about to change forever.

"Hey, give us your wallet!" A pair of brawlers had cornered a man at the mouth of a nearby alley, drawing Rey's attention as soon as she stepped out the back door of her favorite pub, The Black Prince.

"Excuse me?" the would-be victim responded indignantly. His voice was deep with an American lilt, his stature intimidating.

Did these fools really think they could steal from a man like that? But then, not all criminals were as intelligent as her.

"You heard me! I want your wallet!"

Rey hung back from the potentially violent situation unfolding before her, sizing up the assailants. Their outfits were all black, including the ski masks covering their faces, but she couldn't see any identifying marks or gang affiliations. "Must be lone wolves," she thought.

There was something familiar about the tall one doing the talking, but she couldn't place them. It probably didn't matter, though, because the redwood with the nice accent looked like he could take the both of them with one hand tied behind his broad back.

Still, for some reason, she was finding it hard to walk the other way. Definitely not because the man was the most striking person she had ever seen. No, it had to be due to the fact that these bums were causing a ruckus on her turf. At least, that's what she kept telling herself, frozen to the spot as she was.

"Listen, I just got done volunteering at a shelter all day and just want to get home. Please allow me to leave unmolested."

"Volunteering at a shelter?" she muttered under her breath. "Well, fuck. But it's not your business, don't get involved." Rey was turning around to go back inside the pub when the sound of a gun cocking drew her up short.

"Don't make me repeat myself again, pretty boy."

"Whoa, hey, there's no need for that!"

"Then empty your pockets! Now!"

"No," he said crossly. "Put that thing away before somebody gets hurt."

"Dammit," Rey groaned, retrieving the silver baton clipped to her belt. Sometimes, she really hated having a conscience; in her line of work, it was a real liability.

"Hey, get your hands off me!"

"Oh, for fuck's sake," she growled, resolutely stalking toward the turbulent scene. "Oi! You lot!"

The big guy and his sidekick paused to look in her direction. "What?" the leader said in a surprisingly feminine voice.

"Not a guy," Rey mused. "Based on your absolutely abominable bullying technique, I don't think you're getting that guy's wallet any time this century, so why don't you just leave him alone and move along."

"Excuse me?" the woman said threateningly.

"I'm sorry, did I stutter?"

"You move along, little mouse, this doesn't concern you!" the shorter guy spat.

"You do know who's neighborhood this is, don't you?" Rey said tauntingly.

"Yeah?" the first one said dismissively. "So what."

"So, knock it off! We don't need the fuzz coming down here because some hooligans are roughing up a foreigner."

"Hooligans?! And who the fuck are you?"

"Me?" Rey sneered, flicking the baton out to the side so that it extended into a long poll. "I'm no one."

"Phas," the skinny guy said nervously, obviously recognizing her at last, "we should go."

Rey had never been so proud of her reputation as a grifter who was just as likely to steal an expensive piece of art from the peerage in an elaborate heist as kick a thug's ass in the street.

"But the boss—"

"He'll understand."

"But—"

"Phas!"

"Fine. But don't think this is over!" the woman yelled before running off with her companion.

"Well," the American said slowly, "that was an experience I never wish to repeat again." He smiled at her. "Thank you," he said sincerely.

"You're welcome," Rey replied gruffly, still riding high on adrenaline. "Do you always walk around by yourself at night in a city not your own?"

"Do you always save unsuspecting passersby from thieves?" he retorted.

Her phone went off, but she didn't answer it. Up close, the man was even more attractive than she had initially thought. "Suit looks expensive, too… and is that a Breitling?" Perhaps it was her lucky night after all. "Only if they're handsome," she said smoothly.

"Oh, uh…" he flushed at her compliment.

"Hmm… not the reaction I expected." It was kind of refreshing, though. "Sorry, I—ugh, one sec," she said as her cell went off again. "My brother," she explained, checking the caller ID. "I have to take this or he'll just keep phoning until I pick up."

The man shrugged, "No problem, I'll just wait over here." He stepped up onto the curb and walked a few paces away.

Rey nodded and lifted the phone to her ear. "What?" she said shortly.

"Who's the stiff?" Finn asked without preamble.

"Nobody."

"Right," he huffed. "Are you working him?"

"Undecided, stop pushing."

"Whatever you say, Rey. Just be careful."

"I will. Where are you anyway?" she said, humored by his tough older sibling act.

"Hanging outside the pub, just around the corner. Why? You need me?" Finn teased.

"No, I'll catch you later. Don't wait up." She ended the conversation before he could respond and stuffed the phone into her back pocket. "Sorry about that, uh…?"

"Ben," the stranger supplied, moving closer again. "Ben Solo."

"I'm Rey," she said, holding out a hand.

Ben's lips quirked and he gave her a firm handshake, his huge hand dwarfing hers. Rey felt a shiver run up her spine at the brief contact, but she shook it off.

"So, what's that for?" he indicated the weapon still in her hand. "Joining the circus?"

"No," she grinned, "it's a bo staff. I use it for self defense."

"And the defense of others," he said warmly.

"On occasion." She folded the bo staff back into a baton before reattaching it to her belt.

"Can I get you a drink?" he nodded toward the pub. "To say thank you?"

"I was actually on my way home before I… bumped into you."

"I could… walk you home? If you want." He didn't sound desperate, but it was a near thing.

"I'm not from around here," she said evasively. She couldn't really bring him back to her base of operations, which was only a few blocks down the street, but she didn't want to stop talking to him either. "What a dilemma."

"No? Where are you from then?"

"Nowhere."

"Okay… Well, I promise I'm not a pervert or a serial killer or anything," he said earnestly, "so you can come back to my hotel with me if you want. It's late and I'd hate for anything to happen to you."

She crossed her arms. "Because I'm a woman?"

"Hey, I'm 6'3" and double your weight and I almost got jumped like ten minutes ago," he reminded her. "It can happen to anyone."

"Fair enough," she allowed, lowering her defenses. "Still…"

"I can call my security detail if you want verification that I'm not a psycho," he offered. "I'd just like the opportunity to get to know the woman who saved my hide."

Rey's interest sharpened. "That's sweet, but uh… security detail?"

"Yeah," he said nonchalantly. "My mother is a U.S. Senator. I'm in town on her behalf. She was supposed to come herself, but her re-election campaign is heating up and she couldn't spare the time."

"You disapprove," she said perceptively.

Ben's dark brows shot up. "Yeah, actually. You a mind reader, Rey from nowhere?"

"Something like that," she smirked. "I prefer the term grifter."

"Grifter?" he said curiously. "What does that mean, exactly?"

"Oh, you know," Rey winked for effect, assuming the privileged American was about to run in the opposite direction, "I swindle rich people out of their valuables by preying on their weaknesses. Basically, I'm a professional bad guy."

Ben looked hopelessly confused by her explanation. "But you just helped me."

"Well, sometimes I like to help out the little guy." Rey looked him over. "Little big guys too."

"Like Robin Hood?" he said, disarming her with a crooked smile.

"What? I wouldn't say I'm—I'm a hero or anything," she stuttered.

"Well, you're my hero," he said smoothly, holding out a hand. "That's my driver pulling up over there, in the black Jag. Join me? Please?"

"I… okay," she agreed, placing her hand in his, "but just for a little while." This time, she couldn't ignore the shiver.

——————

Alarm bells should be going off in her head, but Rey felt perfectly comfortable with her new companion. It was odd, considering her trust issues, but Ben didn't seem to be only interested in her looks. And she knew she looked good tonight, her dark leather leggings were basically painted on and her lacy bra was visible through a mostly sheer black tank top. Add on her subtle smoky makeup and half-up hair style that emphasized her cheek bones and...

"Rey?"

She loved the way he said her name, almost like a caress. "Yes?"

"Are you hungry? I haven't had dinner yet."

"Oh, sure," she said, never one to give up a free meal. Though she did kinda wish something else was on the menu… "What is wrong with you? You just met the man! Note to self: masturbate more."

"Chinese okay?"

Her mouth watered. "Perfect."

"What do you like?"

"Besides you?" she said without thinking. "Uh, I mean—anything, really. Noodles, if they have them."

Ben let her comment pass, but he was beaming. "I like noodles too. Maybe some kind of chicken? Orange?"

"Excellent," she seconded.

"You're easy," he said, but then caught himself, looking horrified. "I mean to order food for, not—"

"It's okay," she laughed, patting his thigh. "I know what you meant."

"Sorry, I haven't done this in a long time," he said sheepishly, catching her hand before she could remove it.

"This?"

"Gone on a date."

"Oh." Was this a date? Rey couldn't remember the last time she had been on one. Pretty much anytime she'd been alone with a man not her brother in the past ten years it was because she intended to rob them.

"Not that this has to be a date," he said quickly, releasing her hand. "Sorry, I keep saying stupid things."

Dammit, but he was cute. "You don't have to keep apologizing," she replied lightly. "Let's just have dinner and talk and see where that takes us." Maybe the night would lead to some fun extracurricular activities, maybe not, but at least she'd be able to case his place. Based on what she knew so far, the guy definitely came from old money. "Just keep reminding yourself that he's potentially a mark, not a boyfriend, Rey."

"Sure," he smiled, looking relieved. "Hey, Poe?" he said to the driver. "Can you pick up some food after dropping us at the hotel? We're starving."

——————

Ben fumbled a little opening the door, but quickly recovered and ushered Rey inside with a gallant sweep of his arm. The hotel was nice, but not extravagant, something she found odd for the son of a U.S. Senator. Then again, he had apparently been helping out at a shelter all day, so maybe he really was as down to earth as he seemed.

"The bathroom is through there if you need it," he pointed toward the bedroom.

"I'm fine, thanks."

"Okay, I'm just going to grab a quick shower. Poe should be back within the hour, so make yourself at home."

"Can I join you?" she was tempted to say. "Sure, I'll just watch the telly."

Ben nodded and left the room. A few seconds later, Rey heard the water start. Flipping on the TV, she left it on the cartoon channel before having a look around.

There weren't any expensive electronics or pieces of art in plain sight, so Rey could only assume that anything valuable would be in his room. "Oh, well, nothing gained, nothing lost. Better update Finn, though."

Yanking her cell out, Rey sent a quick text to her brother with Ben's name, the hotel's address, and a couple sentences about the modest state of his living room. He answered her almost immediately, sounding concerned.

Finn: Are you sure about this bloke? If you're not there to rob him, I assume that means you're interested in something else?

Rey: Yes? Maybe? I don't know. We just met, but…

Finn: At least text me later, okay? So I don't have to worry

Rey: I will. Love you 3

Finn: Love you too, peanut

Finn: ...check the room safe if you get a chance. Those types of hotels always have them and you never know what might be inside ;)

Rolling her eyes, but knowing he was right, Rey listened for a moment. It sounded like Ben was still in the shower, so she took the opportunity to pop into the bedroom and search his closet. A standard issue hotel safe was at the back, surrounded by some very nice black suits.

It wouldn't have been hard to crack the safe if she had her gear, but her heart wouldn't have been in it even if she did. She didn't want to rob Ben Solo, which was a first. Still, she did appreciate a challenge...

"Did you need something?"

Rey whipped around to see her host in nothing but a low slung white towel. "No, I—uh…"

"Would you like something to change into?" he inquired kindly.

Unable to respond with his magnificent chest and long thighs on display, Rey just shook her head in the negative. His brow creased and she felt like a kid who had been caught snooping for Christmas presents. "Shit, shit, shit, I've totally blown it!" Backtracking to the living room, she wasn't surprised when he followed. "What should I do? Oh, god, I don't want him to think…"

"Rey, what you said earlier… about being a… what did you call it? A grifter? Are you—mmph!" he started, unable to complete his thought as Rey impulsively reached up to kiss him.

But instead of pushing her away and demanding an answer, Ben threaded his fingers through her hair and dragged her closer. Taking his response as permission, Rey wrapped her arms around his waist, gripping his bare back as the kiss went on and on.

Somehow, they ended up next to the couch. Rey pushed Ben into a sitting position and climbed onto his lap, rubbing her clothed core against the tent in his towel. "Rey," he whispered, lips trailing down to her neck, "Rey, I want you."

"Yes," she responded as he reached for her waistband. Coming up on her knees, she growled when he yanked her leggings and underwear down her hips with one forceful tug. Things were getting out of control, going too far too fast, but she didn't care; she wanted him too. "Help me," she demanded, legs trapped by the constricting garments.

"I've got you," he huffed, reaching behind her to unzip her black combat boots and pull her pants the rest of the way off.

Meanwhile, Rey tore her top and bralette over her head before going to work on the towel barely covering his lap. "Wow!" she blew out a breath, zeroing in on his ardent erection when it was uncovered. He was big, maybe bigger than anyone she'd ever been with. Would he fit?

"Fuck," Ben sighed, sitting back to stare at her body, "you're beautiful, Rey."

Feeling weirdly shy about the sincerity in his sinful voice, Rey kissed him again in lieu of a response, reaching between them to spread herself for entry.

"Wait," he said, gasping for air, "what about protection?"

"Implant," she mumbled, rubbing her slit against the tip of his penis. "I'm clean, are you?"

"Yeah, I haven't—oh, god—uh, done it in a while."

"Good." She felt strangely possessive of him, this man she had just met. It pleased her that he didn't sleep around. "Fuck me, then. Raw."

Ben slammed his mouth down on hers again, positioning his dick with one hand and gripping her left buttock with the other. But he didn't ram himself home, instead he teased her hole, sliding only a fraction of the way in before retreating. He did it over and over, mimicking the action with his tongue until she was incoherent with desire, squirming, imploring him to fill her…

And then he was, and she found that he fit very well inside her indeed. His thick cock seemed to be made for her, hitting all the right spots and ones she hadn't even known existed until now. "Ben!" she cried, furiously pumping her hips in time with his thrusts. "This is—you're—"

"I feel it too!" he returned, palming her breast and teasing her erect nipple. "From the first moment I saw you, I—"

She licked his mouth, begging for entrance, not wanting to hear his sweet words even as they made her heart soar. He opened for her, but was obviously frustrated that she had cut off his declaration. Before she knew it, the hand squeezing her ass drew back and lightly smacked against her butt-cheek.

"Oh!" Rey jolted at the slight sting, but it wasn't in pain. On the contrary, she requested, "Again! Ben, do that again, please! I'm—"

Knock, knock.

"Oh, shit, Poe's at the—"

"Don't you fucking dare, Ben Solo," she growled, bouncing up and down on him with renewed vigor. But the driver started knocking harder, likely because of the guttural sounds erupting from Ben's throat. "Come on, man, can't you tell we're busy?!"

"But—shit!" Ben hauled her against him, no longer playing, just looking for relief before his friend broke the door down.

Rey found his soft grunts and swears endearing, so she took pity on him and increased her pace even further. "Come for me, Ben," she instructed, grinding down on him with all her might. "Come now and then we can eat. Or you can eat me, whichever you prefer."

The dirty talk seemed to work, because in the next minute, Ben was biting down on her shoulder, shaking with the force of his orgasm. Not far behind, Rey led his hand to her swollen nub, needing just a hair more stimulation to tip over the edge. Almost instantly, his trembling touch sent her into climax. Still vaguely aware of what's-his-name banging on the hotel room door, she pressed her mouth to Ben's pectoral to muffle her cries and came for what felt like ages…

"That—was—amazing," Ben panted, hugging her so tightly she thought she might pop. "The—best—I've—ever—had!"

"Me—too," she couldn't help but admit.

Loosening his hold, Ben cupped her cheeks and kissed her softly. "Thank you."

"Ah—you're welcome," she said, smiling like an idiot. Before she could lean in again, Poe resumed making his presence known.

"Ben? Are you okay? Answer me! Did that woman kill you? Your mother will be so pissed if you're dead." He hit the door again. "Either answer me in the next ten seconds or I'm going to get security!"

"I'm fine, great, alive, whatever!" Ben called back loudly. "And annoyed," he said to Rey. "Go into the bedroom for a minute while I get rid of him."

"Okay," she agreed, gingerly getting up. They both groaned when he slipped out of her, which Rey found gratifying. "Can I use the shower now?"

"Sure, there are towels under the sink. My sleep shirts are in the top drawer of the dresser," he offered.

"He wants me to spend the night?" she mused, feeling giddy and terrified all at once. "Alright," she said aloud, picking up her clothes and disappearing into the bedroom she'd been casing earlier, "call out if you need backup."

"Will do," he chuckled, "will do."

——————

Ten minutes later, Rey emerged from the bathroom feeling fresh and back in control. Picking a long sleeve shirt out of Ben's dresser at random, she pulled it over her naked body before toweling off her wet hair. The black cotton was as soft as it was big, but Rey didn't mind; it smelled like Ben.

Catching her reflection in the floor length mirror by the closet, she was amused to see that the garment fell to her knees like a sack, giving her already slender body exactly zero shape. "Oh, well, it's not like I plan on wearing it lon—"

A disturbance in the living room suddenly diverted her reverie. Sneaking to the door, she carefully cracked it and peaked out.

"You can't just keep her here!" Poe nearly shouted at Ben.

"Keep your fucking voice down," he snarled back. "You're not my boss or my mother and you can't tell me what to do. I'm a grown ass man!"

"Maybe so, but you're acting like a teenager! You can't just sleep with some chick you picked up off the side of the road when Leia is counting on you to—"

"I told you," Ben said through gritted teeth, "she saved my ass and I wanted to get to know her. I didn't hire her for the fucking night!"

"Could have fooled me," Poe scoffed. "For all you know, she could have been in on the attack and—"

"Get out!" Ben ordered, clearly at his wit's end. "I'll call you when you're needed again, if you are."

"Are you firing me?!"

"Not yet," Ben said grimly, marching to the door and flinging it open. "Just go before I forget that you're my best friend and say something I regret."

"Fine," Poe said, storming out of the apartment. "Let me know when you come to your senses!"

Ben slammed the door shut, then turned around and leaned on it. Scurrying back into the bathroom before he caught her eavesdropping, she started combing her hair, attempting to look natural in case he came in after her. When he didn't, she tried not to feel disappointed.

Leaving her damp hair hanging loose around her shoulders, Rey found him sitting at the dining table in his towel with several brown paper bags in front of him. He looked lost in thought and she hoped he hadn't taken Poe's opinion about her motives to heart. "Wotcher, Ben?" she asked hesitantly.

"Hmm?" he said, looking up at her. "Sorry, I was just...uh…" The arrested look on his face made her toes curl. "Wow, you look amazing."

"This old thing?" she joked, sidling up next to him. "I borrowed it from a mate."

"He has good taste," he said, opening his arms.

"I certainly think so," she said coyly, moving to sit sideways on his lap. Rey curled one arm around his neck and placed the other one on his chest. "Are you still hungry?"

"For food?" he choked, holding her so that she wouldn't slide off.

"Food," she nodded, leaning her forehead against his, "and other things."

One of Ben's large hands inserted itself between her thighs. "These kinds of things?" he murmured. "I think we can—fuck!" he bit his lip as he discovered that she wasn't wearing anything underneath his shirt.

"We can certainly fuck," she teased, "but—oh!" Rey gasped as he stood with her in his strong arms. "Ben? What are you…?"

Before she could get the words out, he'd pushed their dinner out of the way and laid her down on the table. Placing the backs of her knees in the crook of each arm, Ben pulled her forward until her butt was on the edge of the table and her pussy was level with his mouth.

"Having dinner," he said in the most ridiculously sexy tone of voice she'd ever heard, flipping his nightshirt up so that she was bare from the waist down.

"Oh, god!" she whimpered as he lowered his head. "Ben, you don't really have to—ah!" Gripping the back of his head as he started to lick her folds, Rey shuddered every time his long nose bumped against her clit.

"Enjoying yourself?" he said a little arrogantly. "Is this why you came home with me? Cause you wanted me to make you feel good?"

Considering how very well he was treating her, and the uncertainty on his face, she decided to play along. "Yes, Ben, I wanted you the second I saw you!"

He smiled slightly, then resumed tasting her. "So, does that mean you want to come?"

"That would be lovely," she sighed, enjoying the pressure of his wide mouth.

His mouth quirked at that. "Never heard sex described that way before."

"Then you're doing it with the wrong people."

"Oh?" his gaze turned hot. "And how many people have you been doing it with?"

"Not many," she said hurriedly, "and not in a long time."

"Good girl," he said silkily. "So, if I were to put my fingers inside you, would your cunt feel… full?"

"Yes!" she panted, so wet she was dripping onto the table now.

"Let's see then."

Arching her back as he slid two fingers inside her body, Rey realized that she had never really known sexual satisfaction until tonight. She was twenty-five and still basically knew nothing about sex and relationships. "Huh."

Ben stopped moving, lifting his dark head to look at her. "Rey? Is everything okay?"

"Yeah," she said dreamily. "I guess I've just never felt this way before."

He held her eyes for an extended moment, amber striking against hazel. "Yeah, me too." And then he was fingering her again, sucking and teasing her slick opening until she was crying out his name in ecstasy.

Afterward, he scooped her up in his arms and carried her to the bedroom, kicking the door shut behind them. Needless to say, they skipped dinner that night.

——————

Rey grunted as she felt Ben leave the bed the next morning. He had been her heater since the sheets and pillows were strewn about the room. "Come back," she said hoarsely, throat worn from use. "I'm cold."

"Just a moment," he laughed, opening the bedroom door to fetch something from the living room. "Your cell has been going off for an hour straight."

"My cell?" she yawned. Then, "Oh, no." She sat bolt upright. "Wait! Don't—"

"Rey?" Ben called in disbelief. "Who the fuck is Finn?"

——————

A/N: I love Kingsman and always think about Rey being a punk with a heart of gold like Eggsy. I didn't include the spy angle, but I was able to visit The Black Prince, where scenes were filled for the movie, a couple years ago and have fond memories. Anyway, reviews are appreciated! <3

#reylo #reylo fic #reylo fanfic #kylo ren #ben solo #rey #modern au #my fanfiction #sushigirlali

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crbcmasterlist · 4 years

Text

(Art by the lovely and wonderful @eldstunga)

Character Dossier - Captain Ela Kira. Pirate, Smuggler, Thief, Lover, PITA.

Name - Ela Kira (Possibly not born name)

Age - Unknown, Approx late twenties to early thirties by Galactic Standard Calendar.

Birthplace - Unknown (Possibly space born. Paperwork has conflicting statements. Possible forgery.)

Citizenship - Iridonian and Republic citizenship. Unconfirmed Imperial Citizenship.

Occupation - Transport Hauler Captain. Former military service, possibly Republic, but unverified.

Affiliation - Neutral and largely independent, but unconfirmed Imperial connections.

Hair colour - Silver gray

Eye colour - Orange

Skintone - Tanned and light orange

Height - 5'8

Weight -

Build - Strong and toned figure.

Tattoos - Iridonian Zabraki facial tattoos, star system right forearm, tech styled left forearm.

Augmentation - Minor eye modification. Unknown purpose - eyes have noticeable glow to iris with faint visible black lines, sclera darker and more grayish in colour.

Other notes - Scar lines on right cheek

Ela Kira is a pirate, a thief, a smuggler, and a criminal by all accounts and definitions under the Republic. A trail of boarding actions, heists, contraband and broken laws follow her across her over a dozen major systems, along with as many small bounties often placed by corporations seeking reprisal.

The oddity lies in the fact that while she fits all those descriptions - Ela does not fit them. Of all 47 confirmed piracy raids linked to her - only 6 had cases of minor bodily harm to sentients, with the situations being either someone attempting to surprise her or otherwise. Ela either seems to convince her targets into cooperation or stuns them and leaves them safely out of the way. It has been noted several crews report 'extremely annoying behaviour' from her, such as singing over the ship PA or playing Hutt Opera music, but otherwise no abusive or hostile behaviour to them.

Ela's preference for non-violence and non-lethal even extends to rivals and foes, with reports collected by several saying she famously doesn't hold grudges - even against repeated attempts on her by some of them. Most of her direct rivals seem annoyed by her at worst, but lack the usual murderous ill will found amongst most pirates. The limit of this ‘no grudges’ rule isn’t clear, as most of the ones we spoke to were unaware of anyone pushing her too far, though rumours exist.

Many bounty hunters we spoke to also reported this, some even remarking she seemed happy to see them, flirting and providing banter to 'regular' hunters who arrested her. She has even been cooperative at times out of familiarity.

It should be noted that several hunters confirmed her attitude has worked to some degree. A few admitted to successfully catching her, only to release her on, to quote a specific hunter; "very good and happy terms until round two for usual fun" - they refused to clarify further. One commented in passing that Ela is, using an exact quote, 'A better snuggler than she is smuggler' but also refused to clarify on this.

Further inspection into her piracy reveals a pattern and motive that helps explain this unusually friendly attitude towards her.

Ela focuses largely on stealing either credits or raiding corporate transports carrying very specific cargo. Twelve of her raids all involved her stealing medical equipment and supplies that had been sent for disposal and destruction - despite being functional and useful still. The fact said equipment has been tracked to sentientarian aid vessels and work only adds to the unusual behaviour of Ela.

To put it simply, she seems to steal from the rich corporations to give to the poor and in need of aid. Most credits she takes have been tracked to funding relief and medical efforts, as do most things she steals. The rest of the credits are seemingly dispensed across a dozen cantinas, clubs, and bars.

It has even been noted that several transport captains in the sectors Ela operates know of her and, like her rivals and hunters, treat her as a frustrating nuisance at worst. Some have been accused of aiding her through leaking the contents of their cargo, but this has been proven false on all accounts. They have been accused of being ‘overly cooperative’ as well, which is an unusual accusation and often dropped after the captains and crew point out they’re still being held at blasterpoint or stunned by the pirate.

It is, however, very clear she has supporters and sympathisers who do leak such things as her as the method and nature of her methods are too organised not to have such intel given to her.

Ela largely works alone, with the exception of making use of various droids to assist her larger or more complex operations. The few instances of her working with other sentients has seemingly always via her being hired, and only when the job follows her interests.

The pirate is often described as an open and energetic character, with a cheerful friendliness that can easily be mistaken as naiveness and innocence. Ela is neither, having proven herself as cunning and intelligent, but seems more than happy to play dumb for fun or her own odd amusement at times. Combined with her martial skills and piracy experienced, she is proven very capable of holding her own as needed, or outdoing opponents in other manners.

Overall, Captain Ela Kira is something of a decent person who's taken to piracy and heists for her own goals and excitement, with no apparent care to enrich herself on a financial level. Whilst she is still very much an issue and a criminal, it's of a better class than most of the more murderous characters. Attempting to get her to work towards our own goals and as an ally might be possible, if not for an apparent backer who already has the strings to pull her out of most arrests and prisons without too much fuss.

Additional note - She dislikes Kowakian monkey-lizards (and some sister species) with some passion and has been known to be openly hostile towards them. Given the nature of Kowakians this isn't a large surprise, however she is seemingly struck with very bad luck when dealing with them. Several escalations involving the creatures have gone poorly for Ela, which only furthers her negative views on them. This only powers the cycle of behaviour towards and from them.

It isn't clear what has caused this dislike to occur beyond the abrasive nature of the average Kowakian, but it seems to be going well in their favour more than Ela's.

#Character Dossier #SWTOR #Star Wars #old republic #Swtor oc #star wars oc #Zabrak #Pirate #Ela Kira #Smuggler

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quarterfromcanon · 4 years

Note

27-29 for the get to know my favorites game

Hello, lovely! Thank you for these. :) Trios turned out to be a surprising challenge (I apparently have more favorite groups of four than three), but I’m pretty happy with the ones I remembered after giving it some thought. The final picks are under the cut! <3

Top 5 BROTPs

1. Paula Proctor & Rebecca Bunch (Crazy Ex-Girlfriend) - Naturally, this was the immediate choice that sprang to mind. It’s the first relationship on the show I really fell in love with, and it’s the one friendship in the series that consistently tugs on my heartstrings. It’s flawed, complicated, and messy but the genuine connection underneath it all is strong enough that I’m hopeful they can work through their problems. I would’ve preferred to see more emphasis on that effort in the fourth season (and a lot more work on Rebecca’s friendships with Heather and Valencia as well), but I want to believe things improved between them after the finale.

2. Steve Harrington & Robin Buckley (Stranger Things) - The general public opinion of Steve Harrington has been on such a journey since Season 1, bringing him now to a status of common fan favorite. As such, I think a delicate balance needed to be struck in finding a suitable match to team up with him on adventures. This person needed to:

A) Have good chemistry in their interactions with Steve

B) Bring a new dynamic to the table that he didn’t already have with an existing connection

and most importantly

C) Be a unique and engaging character that the audience would care about individually, so they didn’t get lost in simply being an offshoot of Steve’s story. They couldn’t be relegated to perpetual sidekick with little else to define them.

As far as I’m concerned, Robin Buckley fits the bill on every account. She’s artistic, resilient, loyal, and - especially endearing to me - a movie buff. She has a quick wit, a sharp mind, and a big heart. Being friends with Robin helps Steve take the specter of his high school self less seriously so he can put it behind him, and she helps him more fully embrace the person he’s becoming in the wake of that lost status. Having Steve for a friend helps Robin resolve some lingering emotional scars from school as well. It gives her an opportunity to share her authentic self with a peer and - to her relief and ours - find acceptance after revealing a pretty important secret. I can’t wait to watch the two of them be adorably nerdy and goofy bros at Family Video in Season 4, presumably with some daring fights against dark forces when they’re off the clock. Does saying I hope Kali comes to Hawkins somehow and bonds with one or both of them mean I can speak that into existence? I’m doing that now. It’s worth a try. If it happens in some capacity when the time comes, know that I will throw a One Blogger Party of epic proportions.

3. Wynonna Earp & Nicole Haught (Wynonna Earp) - I had to use this specific screencap because it perfectly encapsulates the chaotic energy that makes me loves these two together so much. Their separate approaches to their shared work environment are at pretty much polar opposite ends of the spectrum, but they make a pretty solid team when they play to each other’s strengths and communicate. They also both love Waverly most of all, so it feels like they were bound to work out their differences eventually since neither would want to make her feel torn between her sister and her girlfriend. The hijinks they get up to in each other’s company are just top shelf. I look forward to at least a little bit of fun like that from every season. If I wind up having a lasting partner later on down the road, it’d be cool if their personality balanced well with my sister’s on this level. I’d also be really happy if I ultimately gelled with her person in a way that sounded unlikely at first but worked. Fingers crossed for both outcomes, but I guess we’ll have to wait and see.

4. Emily Thorne [Amanda Clarke] & Nolan Ross (Revenge) - I have two things to quickly clarify for those who are unfamiliar with this show.

#1 She has two listed names because she was born Amanda Clarke but goes by Emily Thorne for most of the series to hide her true identity.

#2 Despite the impression this picture may give, Nolan is not marrying Emily; he is simply walking her down the aisle.

These two are there for each other through so much - the looming threat of discovery, jail time, capture, near death experiences, heartbreak, the passing of loved ones, etc. - and they make it to the other side with a deep bond the likes of which they’ll never experience with another person. It is at times heavily one-sided because of how much drama Emily deliberately dives into, but it’s something that she tries to make up for during her more self-aware and less self-involved times. There’s genuine love and mutual respect there by the finale and it’s really gratifying to witness the journey they’ve taken together.

[~Slightly spoiler-y closing statement after these brackets~] I was pretty sure I knew where the show was going with romantic ships by the end. I knew for certain it wasn’t my personal OTP for her because they’d already killed that person off quite some time ago. There was a part of me that could’ve found some contentment in leaving the story with these two as a couple. After all, one of my favorite ship dynamics is Reluctant Acquaintances to Best Friends to Lovers, but it was not to be. That being said, the platonic friendship they shared was a big part of the heart of the show and I cherish it for that. Nolan was a rare exception for Emily, a genuine bond formed in the years when she was tried to operate like her heart was made of stone. I also think working with Emily gave Nolan a sense of purpose and let him flourish in his area of expertise. I’m not sure how either of them would feel about the musical reference but, to slightly paraphrase from Wicked: because they knew each other, they have been changed for good.

5. Penelope Stamp & Bang Bang (The Brothers Bloom) - I have seen Rachel Weisz and Rinko Kikuchi in more roles since this movie than I had prior to watching it for the first time so, if anything, my fangirling over this friendship has gotten worse rather than more manageable. x) This post classified the film under the subgenre whimsical noir. It turns out that’s a style I instantly adore every time I stumble upon it. One of the titular brothers, Stephen, lives so deeply immersed in the variations of the world he writes for their heists that even those closest to him are essentially characters he can interact with on a daily basis. His feelings for them as people can get very muddled with his feelings for them as interesting OCs to move through narratives. A big trouble with this is that his living archetypes can often get reduced to clichés. He’s not always mindful of their nuances or allowing for the full range of their autonomy. Penelope is selected by Stephen to serve as the “manic pixie dream girl” who will be his brother Bloom’s forever love and Bang Bang is essentially presented as a “dragon lady” stereotype. I haven’t done a rewatch in years so I may be giving the movie too much credit here, but I remember this choice feeling at least semi-deliberate. It could be interpreted as a way to illustrate how Stephen warps real life to fit his vision. At least, I can definitely remember scenes that felt like they debunked the one-note assessments of these two. What I genuinely love, though, are the little moments when Penelope and Bang Bang are able to just spend time together with little to no interference from Stephen or Bloom. They share their hobbies and teach each other new skills. It feels like they truly perceive one another as whole human beings on a level that neither guy is capable of doing since they’re both so immersed in the drama of the plot. When the women are with each other, they get to be more than an extension of the men who maneuver them; they get to be themselves. Penelope is the only one Bang Bang clearly wants to maintain contact with once the heist is finished. I think that says a lot. Honestly, this is another BROTP that could slide to OTP. If someone wrote fic of them completely severing ties with the brothers and going off on their own - romantically or platonically - I wouldn’t be upset at all.

Top 5 Trios

1. Luke, Leia, & Han (Star Wars Episodes IV - VI) - Oh dear, I’m overwhelmed just looking at a picture of them together. Star Wars has been a part of my life since childhood. Getting to watch the original trilogy felt like a rite of passage (when I was really little, Mom used to find things for us to do outside the room while Dad watched because she was afraid some of it might scare me). Princess Leia resounded with me on a level that almost no other fictional royalty has ever quite matched. Han’s wardrobe is still some serious #aestheticgoals and I would 100% wear replicas of his jackets and vests if I had them. I also remember thinking that Luke’s new look in Return of the Jedi was SO COOL with the all-black wardrobe and green lightsaber. Wow, imagine that, an edgy costume change that shared vibes with the common Disney villain color palette called to me as a baby fan of antagonists and antiheroes! Who ever could have foreseen that sudden spike in appreciation? :P Anyway, one of my lingering sorrows about the more recent trilogy is that we never got to see all three of them as aged adults in each other’s company. I still wanted our new cast to get their time to shine, of course, but I do lament the absence of at least one little trio reunion.

2. Luna, Neville, & Ginny (Harry Potter series) - The Silver Trio, pictured here with the first set of three that comes to mind when thinking about the books and movies. I do still love Harry, Ron, and Hermione, but I’ve found a growing appreciation for this other team-up over the years. They’ve been through a lot too, even if they are not always present where the main action is. Bullying, loss of parents, manipulation of the mind and body, abuse at the hands of authority figures - they’re all left with internal (and probably external) scars to bear. There’s also something to be said for how strong they all were in the school year set during Deathly Hallows, when the Golden Trio wasn’t around to inspire and unite those who wanted to stand up to ever-increasing tyranny. It can be easy, unfortunately, for them to get written off based on the oversimplified stereotypes that have gotten associated with them. People remember Luna as being weird and spacey, Neville as awkward and hapless, and Ginny as bland and lovestruck. They’re all far more nuanced than that, and they accomplish great things while fighting for and beside their friends. I’m planning on doing a re-read of the books at some point, and I really look forward to revisiting these brave kids.

3. Irma, Marion, & Miranda (Picnic at Hanging Rock) - Ah, yes, my very recently discovered darlings. I have many thoughts about them all. I’ll try to keep this as condensed as I can while still making sense. Some spoilers will follow, although those won’t answer every question the story poses. There are audience members who ship the above characters as a throuple, which I totally get, but for me it’s like soulmates of a different kind. These three have met at a point in their lives when they all burn with compatible intensity. They long for the same dream version of youth, for a way to begin life free from the confines of a world that won’t accept all their hearts contain. While the people that surround them may not be willing to bend the rules, nature itself appears to show them mercy. How often do we see a story of girls who just... love other women so much that a sacred location goes, “Y’know what? I’m gonna help you escape your restrictive society. Permanently.” This miniseries definitely depicts the setting as being involved in messing with the investigation, as a mystical place that befuddles unwanted intruders. I love the way these three fortify each other in times of pain and fear, and there’s something deeply moving about how standing side-by-side helps them defy the odds.

4. Sarah, Alison, & Cosima (Orphan Black) - Okay so, technically, when I picture our core team in this show, the net is a little wider. My mind tends to also include Felix, Mrs. S., Kira, Helena, Donnie, Delphine, and Scott. However, I think you could kinda argue that those characters have a stronger connection to one of the above three than they do to the other two. Thus, this ends up being the central triangle. They’re all such solid performances and the fact they’re all played by the same person is incredibly impressive (not to mention the, like, twelve other clones Tatiana brings to life throughout the series). Watching them go from tense strangers to sestras was wonderful. I’m glad they had each other through the increasingly complicated web of lies and schemes they had to unravel and survive.

5. Galavant, Sid, & Isabella (Galavant) - Remember how James Marsden was in Enchanted? If you dialed down the deliberately cartoonish quality of that performance and allowed for more not-so-G-rated humor, I feel like you’d have a general sense of what Galavant is like as a character. Sid is his squire and Isabella is a princess whose mission happens to combine with Galavant’s, albeit fueled by different driving motivations. They find themselves involved in a lot of shenanigans because of Galavant - even in his own universe, he’s into the whole dashing knight thing more than is strictly necessary - but they make a fun little team to follow through the world of this musical television series. I’ve gotten fuzzy on the details since I watched it air live four years ago, but I remember the series being enough of a summer feel-good time that I’d be game to revisit the show again someday.

Top 5 Family Relationships

1. Stevie Budd & The Roses (Schitt’s Creek) - The whole fish-out-of-water setup for this series was already pretty fun in and of itself, especially given how outlandish their lifestyles evidently were before the show begins. The thing that makes it special, though, is how the absence of all their expensive distractions finally helps them prioritize being a family. The Roses do a lot of work to reconcile who they were with who they find themselves becoming in the present. It’s sweet to see them collectively conclude that growing closer to each other is one of the few things they do not regret in the slightest. They also silently agree to adopt Stevie along the way and, boy, does that give me a lot of Big Feelings, particularly in the later seasons.

2. River Song & The Ponds (Doctor Who) - I think it’s been like seven years or so, give or take, since I watched Doctor Who with any regularity. These three have resurfaced in my mind many times since then. They all love with such fierce and unwavering devotion, spanning lifetimes. It’s fascinating - and often heartbreaking - to learn about the things they’ve experienced and endured. Oh gosh, and once the show reveals how River’s story overlaps with theirs, and you pay attention to how she looks at them, IT HURTS but it’s so engaging to watch. The emotions are all flooding back just remembering them now. Argh, what great characters... </3

3. The Tico Sisters (Star Wars Episode VIII: The Last Jedi) - Rose appears in two installments of the third trilogy, but this is the episode that has both Tico daughters. We never get to see them interact onscreen in the film, but I still feel the bond between these sisters so intensely. I found out later that Kelly was present for the filming of Paige’s death scene (which happens so early in the movie that it doesn’t feel like a big spoiler - please forgive me if it is). I’m glad that was something they decided to do behind-the-scenes, because it definitely informs Rose’s grief. She’s sitting in the dark, picturing her big sister’s final moments with such horribly vivid detail that it feels like she was there, and yet she can’t do anything to change how it ends. The shape of the sisters’ necklaces immediately establishes that they were a unit even when acting independently, that they felt like two halves of a whole - all they had left of their family. Now there is only one, and that fact is a weight around Rose’s neck both figuratively and literally. It serves as a visual reminder of how she carries Paige’s absence always, trying to discover and embrace who she is on her own while still honoring the memory of a relative she loved so deeply. I think she reaches the end of Episode VIII feeling like she’s someone of whom her sister would be quite proud. I’m very proud of her, too.

4. The Tyler Siblings (Wonderfalls) - Jaye is comically different than the rest of her family, and the show establishes that right out the gate when we learn that she’s the only one whose name doesn’t rhyme with the rest (left to right, the others are Karen, Sharon, Darrin, and Aaron, respectively). Her relationships with her parents could certainly lead me off on some analytical tangents but, predictably, it’s the sibling stuff that interests me more. I think it could be said that all three do more living inside their heads than they do out in the world, and that they’ve all grown up to be borderline loners (Ironically Jaye, who is considered the most troubled, is the only one I remember being shown to have formed and maintained a friendship). Aaron’s a very philosophical and analytical person, so you get the sense he talks to himself more than to others, although he still manages to resurface from those deep contemplations so he can goad and tease his sisters from time to time. Sharon is high-strung, competitive, and brings that “disaster lesbian” energy to basically every social interaction she has. Jaye’s standoffishness seems to stem from both the difficulty of fitting in with people and the fear that connections will fall apart once they manage to form at all. They’re all just messes trying to make the best out of the situations they face, and I appreciate that. I also enjoy how prominently the Jaye and Sharon sister bond features throughout the show’s only season. It starts out on pretty rocky ground, but they grow a lot in regard to how willing they are to communicate and express their love for one another.

5. The Brothers Proctor (Crazy Ex-Girlfriend) - The family dynamics in their house are in need of some serious work, without a doubt. I’m just really touched by how close these two have become without Paula’s notice. It’s possible they always were, in that we-fight-but-we-care way that siblings can often be, but the supportive side of that really moves to the forefront as they get older in the series and it warms my heart. There’s such a glaring difference between The Household As Paula Views It and Things That Are Happening While She’s Not Paying Attention. I can’t help using fic as a way to explore that. I happily find excuses for her sons to make pop-in appearances, just to check up on them. I'm so pleased that, as of Season 4, they seem to have become fairly well-adjusted in spite of everything. Oh, and I am still not over the revelation that they attend renaissance festivals together, in character, for fun. What precious cuties who would no doubt dislike me referring to them as such! Paula, please give them an extra hug from me!

#About Me #Answered Asks

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loquaciousquark · 5 years

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Talks Machina Highlights - Critical Role C2E42 (November 20, 2018)

Dani was actually goofing around quite a bit here, but this still makes me think of some glorious 90s band, so I’m keeping it.

Anyway! The inimitable @eponymous-rose has done more than her share of recaps lately, so here I am picking up where I’ve been slacking off. Tonight’s guests are Marisha Ray and Laura Bailey (with special guest appearance from Ronin! Awwww), so I can hardly wait. We’re discussing Episode 42: A Hole in the Plan.

Tonight’s announcements: Brian is bursting with an announcement he’s not allowed to reveal for another six months. His favorite guess: something about him stealing all the money from the company and moving to an island, but that’s actually his long game, not the short one.

Throughout November, they’re raising money for Operation Supply Drop, Travis’s favorite charity, which supports both active and retired military.

No episode of Critical Role this week due to Thanksgiving. There will also be no episode of Talks Machina next Tuesday; instead, they’ll be airing Sam’s Fireside Chat! This was a reward from the Critter donations to the Pablove Foundation.

Critical Role hoodies are back in the store; the print is very similar to the original with a bit more embellishment on the text on the back.

“Honey Heist 3: Tova’s Honies” airs this Friday at 7pm Pacific! Marisha: “It was bear-nanas.” Laura: “Oh, no.”

CR Stats: Jester has cast Blessing of the Trickster 31 times; 15 of those times were on Nott. Jester technically won her bar brawl with Sorris! She dealt 16 points of damage to his 15. Beau continues to have the most natural 20s with 49. She also has the most natural 1s, womp womp. Marisha: “Well, I roll a lot, you know?” Brian: “Well, your husband is also a tyrant and not to be messed with.” Marisha says she thinks Gil’s die is cursed and everyone gasps. How dare.

Does Brian feel the pressure of following Dani, who was such an excellent host last week? No; when he went through the potential list of fill-ins, the only one that made sense was Dani.

Marisha sees Darktow as a super-abusive socialist society, which does not sit well with Beau. It’s a silk trap.

Jester’s conversation with Caleb was triggered by Fjord’s kiss, especially with her wondering if it really meant anything to either of them. Laura thinks of her high school crushes and how hard you crushed & how devastated you were at every perceived slight; Jester only has the view of romance through her mother, which means physical affection is very different from emotional affection in her mind. On Brian’s asking, Laura’s high school crush was Han Solo. When Laura’s sister was 12, she paid her $15 to paint Han and Leia in a dip kiss, which she still has framed in her current house. I’m dying, this is adorable.

Beau doesn’t exactly trust that Fjord is going to do the right thing, but him sleeping with Avantika doesn’t trigger her red flags in terms of “looking out for each other, keeping each other in check.” She’s looking more for them bullying someone when they don’t need to, being violent when it’s not necessary. “Pursuing power to endless depths and fucking hot pirates, that’s fine with Beau. She just doesn’t want to kill children.” Brian marvels at how this fits into Jester & Caleb’s conversation about killing people from the most recent episode.

Jester can tell Caleb is tortured, and more than anything she wants people not to be sad around her. She just wants desperately for him to be happy.

Marisha has thought a ton about what Beau would have said if Jester had come to her first about the kiss, especially since it was Jester’s first kiss (Marisha assumes, and Jester answers in an adorably non-committal not-not-a-negative). Beau would have been game for it. She doesn’t know if Beau would have given good advice, but she would have tried her best.

Brian spills that Mary’s character’s CHA in their home game is 6. They discuss Nott’s score of 5 and enjoy themselves mightily at both of their expenses.

GIF of the Week! By @ropadoper, it’s Liam casting Reduce and then the Wall of Fire at the end of the episode, both of which involve Marisha falling out of her chair to the floor in reaction so that only her forehead is visible. Everyone is being so cute this episode I can hardly stand it.

As a reminder, an international shipping facility has been created in the UK. Laura asides to tell Travis the keys are in the diaper bag. Literally everyone is in the studio tonight except Sam, EVEN ASHLEY.

Jester thinks the Traveler always gives very good advice, but his suggestion to trick Fjord was the first time ever she felt a little hesitation to follow his advice. Brian: “Is that because he’s never been wrong or because she’s never been allowed to disagree?” Laura says it’s always been amazing advice so far, much more a best-friend relationship, but this was the first time she didn’t want to take his suggestion wholesale because she wasn’t sure it’s how she wanted to get Fjord to like her. Marisha really likes the dynamic of finding out your childhood best friend is a god.

Beau finds herself still being careful with her walls--Marisha imagines Beau was put in a lot of, like, pageant dresses as a kid--so when Jester commented on her hair and then laughed, she felt a little of that “wait, what, do you actually care? Do I look like shit?” Laura says she laughed, not Jester, because it was the most random thing to compliment Beau on.

Beau’s haircut came into being because it was cool & because Marisha wishes she were brave enough to try an undercut.

Brian’s convinced Fjord’s got gills. Dani: “What do you think Fjord is?” Brian: “Obviously a water man. Water genasi. What are water genasi?”

Beau wasn’t surprised Allison rejected her; she’s used to it. Ack. She was looking for an ally against Avantika, Big Brother style. “Instead she just shat in an alleyway with Nott.”

Laura’s not perturbed the Traveler hasn’t mentioned Fjord’s god; he doesn’t really talk about/care about other gods or patrons. Brian suggests he’s actually the Dongfather in disguise. This show’s collective mental age is smaller than Pike, haha.

Beau felt like such an interloper when Sam asked her to help with Fluffernutter, like the best friend trying to be in on a joke without really knowing what’s going on. Marisha also takes a moment to praise Laura for her Jester over the last few episodes; she’s digging into the metaphorical popcorn every time Jester & Nott start going off. (Me too, bud.) Jester’s description of the insect carrying a piece of bread is one of her favorite D&D moments ever. Both Marisha & Laura are agog at how many little plans they’ve tried have gone disastrous and then circled back around to being mostly okay again.

Beau was a little hurt when she wasn’t asked to help break into the captain’s quarters, since that’s her specialty, but it was eased by being able to help with her knowledge anyway. However, she knew since she didn’t have any magic, she had no escape plan aside from jumping off the boat. She laughs that that’s what they ended up doing anyway.

Jester views sex as a transaction, which is why she’s not particularly bothered by Fjord sleeping with Avantika.

Fanart of the Week: @jdillustrates, with a lovely portrait of Caduceus.

Jester’s warring between the logical part of her brain (he was saving her life) and the romantic part of her brain (did he want to kiss me, though?).

There are reasons Beau learned Deep Speech--not as complicated as most people think--that will be revealed eventually. “Nerdy reasons, not because she was kidnapped and turned into a cultist.”

Fjord/Avantika does make her jealous, but it’s also serving a purpose. Laura compares it to telling the high school crush to go hang out with a best friend, only to have them start dating.

Marisha doesn’t feel like Beau’s plans were overly shot down this episode--it’s something she hadn’t even noticed until this question. Marisha feels like it’s so much of a group effort with everyone trying to get to the right plan that it’s hard to pick out who contributed what part of which plan.

Brief interlude to examine a portrait of Brian that looks like George Michael.

In re: the Molly disguise: Beau felt like there was just a wall of regret walking towards her, because it was the friend she let die and the one-night stand. Beau never felt it was actually Molly, though. Jester picked Molly because when Nott said “Keg,” she instantly associated it with “someone who is really cool--who’s also super cool?” Everyone commiserates over how into the night’s shenanigans Molly would have been.

Beau was frustrated while being detained, but she also knew it was going to happen, so it wasn’t a huge issue. She felt like that was where the challenge began for her--anything to get the guard away from what was going on.

Another brief interlude where everyone experiments with how to make power vaginas with their hands. “This is the car salesman power vagina.” I feel like wherever the rails are for this show, they’re so far gone they might as well be little stars in the sky.

Laura thinks Jester’s reaction to Caleb’s backstory would be much different than Caleb imagines it. Both Laura & Marisha talk about how Caleb’s convinced the moment people realize, they’re gone; there’s also the complication that Beau’s “comforting” is not actually that comforting. “She’d say, ‘you know, they won’t care,’” (which Marisha points out, Caleb would respond--how could someone not care about this?) when what she means is, “They love you and won’t abandon you over this.”

Laura and Marisha are both pumped about Caleb’s Wall of Fire--the walk to the dock was like “getting called to the principal’s office, except the principal is going to kill you.” Laura’s immediate reaction was regret she’d tossed the gems, but she loved his decision since she was panicking IRL & her heart was legit pounding. They also both get super enthusiastic bashing Nott’s plan to dump the haversack in an alley. “It’s bright pink! Someone would have definitely seen it!”

Marisha really misses Professor Thaddeus, but is convinced she’ll never see him again. Dani: “He’s your Nymeria, your Arya.” Marisha, tearfully: “He’s gonna come with his flock of owls and gouge out everyone’s eyes but ours.”

Laura’s convinced Sprinkle is magic, since he definitely should be dead twice over.

Quebec is for Lovers: After Dark edition

Neither Laura nor Marisha are cooking this year. Laura & Travis have no Thanksgiving plans at all this year. My gosh, if they were here my parents would be stuffing them full of turkey yesterday, even though they have no idea who they are.

Brian teases Max over messing with Trinket & carrying him back and forth in his car. Dani wants one TM where Brian isn’t mean to Max. Max, offscreen: “I’m FINE. I’m GOOD.” Marisha laughs that Max was okay with Brian’s teasing but shooting daggers at the TDs laughing.

Brian gives Dani an A for amazing and adorable, but not asshole.

Dani ships Percy/Vex, Keyleth/Vax, and Fjord/Jester. Close after is Kima/Allura & Caleb/Jester. She would be surprised if it happened, but wouldn’t object. Marisha asks, as a shipper, what does Dani look for in a quality ship. Dani likes clear feelings with clear reciprocation, canon connections; she doesn’t ship a ton of subtexty stuff.

Laura has been relistening to Vex’s playlists & crying. Both she & Marisha really miss Vex & Keyleth. Liam texted Laura the other day a fanvid of Vex & Vax that made her cry.

Marisha gets emotional seeing fanart of older Keyleth because it means that she’s living on & being happy. Noelle also came up & thanked Marisha for giving Tova a purpose after the latest Honey Heist, and everyone talks about how many hours they’ve spent creating and living in these people.

Marisha can’t listen to Tokyo Sunrise by LP anymore because it instantly makes her cry.

Beau is not a mindflayer. Everyone’s convinced, Marisha.

If Laura had Jester’s paint set, she’d draw home improvements. She’d draw a door for her bathroom into Ronin’s nursery. Marisha would draw more producers--”Not to undermine the ones I have! We’re so overworked!”

Brian looks to Max for the time left, only to have missed Dani literally just giving him the signal.

Brian starts to say he’ll see us next week, but Dani tells him not to confuse us since there’s no TM next week. Brian: “We’ll see you next week this Thursday Critical Role on youtube.com, Logan Paul guest starring, along with Paul Rudd, Rudney Dangerfield...”

Max, as the sound fades: “Okay, please...”

And that’s it for tonight. See you next time, everyone!

#critical role #critical role spoilers #talks machina #talks machina spoilers #long post for ts

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dukeofriven · 5 years

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[Note: this post originally appeared in this thread. Owning to Tumblr’s inability to update reblogs with edits because it is a hellsite programmed by a secretive cell of former Stasi operatives to avenge the fall of East Germany, it has thus been re-edited and reformatted here for your reading pleasure.] JK Rowling’s wizards are the most useless, lazy, incapable dumbfucks in the history of fiction. The average Muggle? You take away their technology and they would be able to complete the basic tasks of feeding and clothing themselves without shitting on the floor. If a wizard ever lost their magic in Harry Potter, though, they would die. They’d be dead in three days. They’re garbage and I hate that I’ve come to hate Harry Potter - a series I once loved - because an author inexplicably hailed for her world-building is daily revealed to be appallingly bad at it. I realize this is a really dumb thing to be this angry about but I’ve been told for years what a great world-builder J.K. Rowling is, and that was not even true when the books were coming out. The Time Turner ruined all of Harry Potter forever, not because it offers easy time travel you can hold in your hand (although it does), not because you ask ‘why don’t they just use the time turner’ with every subsequent scenario forever (although you do), but because it was an enormous, flashing red light warning everyone that the series was going to attempt to make the transition from Fairy Tale Logic to Serious Fiction logic and fail. Badly. Really, really badly. I still think Harry Potter & The Philosopher’s Stone is an almost perfect book: a distillation of decades of boarding school genre fiction combined with magic, friendship, and wonder. It is a book that owes as much to Enid Blyton and L.M. Boston as it does to C.S. Lewis or T.H. White and other authors with two first initials. Its sense of place is magisterial, from the frumpy, soul-crushing suburban sadness of Privet Drive to the ephemeral curio-shop wonderland of Diagon Alley to Hogwarts itself, a bastion of astonishment, homeliness, and delight. What it isn’t is the sort of framework on which you can support the horror that is the torture and murder of Charity Burbage in front of her colleague Severus Snape, who could not rescue her because he could not break his deep cover as a spy against Wizard Hitler 2. Long-running series can experience changes of tone and complexity. This is neither something laudable nor worth reviling; it’s a neutral phenomenon. Sometimes series do it well: Susan Cooper’s The Dark Is Rising and Terry Pratchett’s Discworld are both series that by-and-large end with books focused on far more complex issues than their earlier entries. TV series do this too: contrast the early episodes of Steven Universe or Adventure Time with episodes from later seasons. With Adventure Time, for example, trying jumping from the pilot to Remember You and see how hard you get tonal whiplash) Lois McMaster Bujold sublime space opera The Vorkosigan Saga doesn’t just change tones but also genre: space adventure, murder mystery, political thriller, goofy regency romance, comedy of errors, heist movie, schizoid identity crisis - on and on. The latest entry in the series has almost no plot to speak of, but is instead a musing on age, gender roles, grieving the loss of a lover, and the hope of new life. Some series, however, manage the transition poorly, largely because the initial tone cannot be harmonized with the later tone (Mass Effect jumps immediately to mind). But Harry Potter has more than just a problem of its tone getting darker: its trying to have darker events fit in the same world in which people can walk around with names like ‘Mundungus,’ the Hogwarts school song can be a nonsense poem, and the Philosopher’s Stone was defended with a series of video game puzzles. In a world in which the villain openly tortures somebody to death, the Philosopher’s Stone shouldn’t have any whimisical bullshit about its magical defences: it should have trip mines in the floor and an enchanted statue with a gun, because Voldermort isn’t a guy you confound with drinking potions and flying keys. You should just kill him. The charming fairy world of wonder of HP & The Philosopher’s Stone has room for a love potion. The later books, in which it is revealed that Voldemort was essentially born from rape, is not place where Ron Weasley can hand-out a book to Harry called Twelve Fail-Safe Ways to Charm Witches without seeming like a predator in the making. The cradle that is The Philosopher’s Stone cannot hold a beastly baby like Deathly Hallows any more than Grindlewald pontificating about the superiority of wizards can sit comfortably in a universe in which wizards took until the 18th century to accept the outhouse! Not that fascist ravings are inherently logical; but even non-fascists in Harry Potter never act like wizards are anything other than 100% better than muggles at all times. They can’t, because if the series were ever to do that it would have to acknowledge that the two worlds are different: neither better, just different. Instead - well, as Ron once bitched, magic makes coffee perfect every time, so it’s not clear how muggles stand being alive and don’t just roll-over and die from the hellacious half-life that is living with imperfect coffee. This has nothing to do with irony, a suggestion that ‘oh Grindewald talks a big game about wizardly superiority but wizards didn’t use toilets and cal themselves goofy names like Flumpus MacFludgeon: Rowling is using dramatic ironic to lampshade how wizard supremacy lacks self-awareness. No: this is about a world that is silly being asked to host a genocidal dictator and his crimes. It’s like those tedious ‘grimdark’ AUs that always show up in bad fanfiction by authors attempting to be serious: what if the Sesame Street gang had to deal with ICE, what if Po started haemoraging while hanging-out with Laa-Laa, what if Peppa Pig learned that she was adopted and her real parents were brutally murdered as part of gang war because they were heroin dealers and so on. (The best skewering of this edgelord comedy is still probably either Andrew Hussie’s Muppet Babies/Saw comic or any encounters the Shortpacked staff ever had with the Transformers: Buckets of Blood guy.) In Harry Potter, Rowling built a wonderful little fantasy world that ran happily on the logic of fairy tales and fairy stories, and then decided she was never going to be taken seriously as an author unless she introduced Hitler to the equation. And it never works for her. It’s not like it couldn’t have worked. The Lord of the Rings is famously a very different book from The Hobbit. It did, in fact, introduce Hitler into a little fantasy world but Tolkien made it work by abandoning huge portions of the Hobbit’s tone, style, and structure: he wrote a completely different book. Frodo isn’t scarfing-down Bertie Bott’s Every Flavoured Beans on the slopes of Mount Doom. The moment, say, Cedric Diggory lay dead in Harry’s arms, we needed to never meet Mundungus Fletcher ever again, or Weasley’s Gooftacular Prank Nonsense, or Ron getting Harry a book about love spells. All the very least that needed to go away, at least until the very end, because Rowling is not an author with the skill to keep the silly and the sublime on the same page. That’s fine in and of itself: all artistic people have strengths and weakness, nobody is skilled at every element of creation. J.M. Barrie was very good at writing a book about an eternal child, but a bit crap at writing a biography about his mother. Arthur Sullivan spent his life quietly seething no one wanted to listen to Ivanhoe instead of The Mikado. There’s a reason Jerry Lewis never released The Day the Clown Cried. Virginia Wolfe is a great writer, but that doesn’t mean she would have written a great run on She-Hulk. [Although now that I’ve said it I can’t think of anything I want to read more.] There’s a great bit in the Lord of Rings after the Shire has been scoured of Saruman where the Hobbits essentially open-up their larders and allow people to have fun again; there’s also a nice bit slightly earlier where Great King Aragorn puts on his old Strider clothes just so he can be his D&D character again: when series change tone, unless you’re really good at walking on a knife’s edge, the quieter, gentler, lighter world isn’t gone forever, but it does have to go away for a while: which means its time to tamp-down on the people with silly names and personalities - like Slughorn, who slips into book six like the second-coming of the vain and silly Lockhart, even though that’s the book where Dumbledore dies.

Rowling keeps trying to makes her old tone fit with her new world without having to pull a Tolkien and actually write differently, which produces moment after moment of tonal whiplash in which the latest Potter-related movie literally involves referencing the holocaust but she also drops some fun trivia about wizards shitting on the floor like animals. (You could describe the entirety of the first Fantastic Beasts film as Tonal Whiplash: The Motion Picture. I’d say that’s an essay for another day but I do not want to have to watch that movie again.)

It needs to be said that a primary reason these tone shifts ‘don’t work’ for Harry Potter is that the logic of a fairy tale is different than the logic of a mundane story. The logic of a fairy tale tends to be self contained: it doesn’t have a smart ass running around asking questions like ‘why’ because there is no why; a thing is the way it is because it is the way it is. Fairies steal babies on the third Sunday of every month, and nobody in the story asks ‘well what about in countries that use different calendars, and what about the shift from Julian to the Gregorian calendar that skipped eleven days?’ because such a pedantic question has no substance in a fairy-tale world. The Clever Child might question what the fairies need with babies, but she’s not about to break-down the week-to-week investment metrics on the Fairyland Infant Exchange. It’s not that one cannot critique or bring critical thinking to fairy stories; it’s that in a fairy story you don’t ask how the sewer system works because it’s not pertinent to what the story is trying to convey. It’s being the guy at the book club who is mad nobody wants to discuss his theories on the music of Rush: its not that the theories are bad, it’s that in this time and place they are of limited relevance. Harry Potter, however, does not belong to to the world of fairy stories, but to the legacy of Tolkienesque fantasy - the world of

In The Hobbit nobody would ever ask if Hobbiton had sewers - it’s not important, and if you ask those kind of questions expecting there to be a serious answer of grave import you’re being a twit. Lord of the Rings, though? Not only is it a valid question, but Tolkien probably wrote a paper explaining the etymology of the Westron word for ‘sewer’ and how sewers were first invented by Shítlívær the Noldor as a way of helping the Blessed Isles cope with all the crap that tumbled out of Fëanor’s mouth.

The world of The Hobbit is one you could enter and expect to quickly find yourself on an adventure. The world of The Lord of The Rings is one you could enter, walk-about, and study without anyone ever exepecting you to solve some sort of regionally-disturbing social problem: in short, it wants you to be invested in the existence of its world in a different way than The Hobbit. Even then, although The Lord of the Rings is more grounded than The Hobbit, it is not so grounded that it doesn’t leave room for mystery, and questions that refute Wittgenstein’s assertion that all questions must be answerable. Tolkien loved to create complex worlds, but there was stuff he knew wasn’t worth elaborating on. It’s really his fans and authorial heirs who developed the somewhat worrying belief that a good worldbuilder has to have an answer to literally every question or else didn’t think their world through. (This has killed more potentially good books than bad cover art ever has.)

The Lord of the Rings leaves room for The Undiscovered Country. Harry Potter wants too… but can’t. Firstly, Rowling obviously understands the need for what we might call poetic mystery - like the gateway in the somewhat unsubtly name Department of Mysteries - but she also wants you to know how wizards pooped three hundred years ago. You get the feeling she knows exactly how and why that gate works, and what it is, but she withheld the knowledge because she likes mystery’s aesthetic more than she ascribes to any idea that an author might have lacunæ in the knowledge of their own work. That is, she would never put something into her work that she didn’t have an answer for - for her there is no undiscovered country that exists beyond the knowledge of even the author; she is an omniscient deity. Not for her is C.S. Lewis’ insistence that for her characters: All their life in this world and all their adventures had only been the cover and the title page: now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before. Rowling knows exactly what happens to every one of them from the moment they were born to the moment the rot in the ground and the day-to-day schedules of their lives in heaven. Secondly - and far more of an issue - is that Harry Potter becomes a world that invites you to pick up each part of its structure and think about it, because the author has - with loving care - built that entire world for you to interact with. A place for everything, and everything its place. Except JK Rowling is a lazy thinker who never, ever considers the consequences of anything she says. Nagini is actually an Asian woman cursed to live as a snake, wizards used to magically disappear their shit from wherever they just stood and shat it out, Hermione Granger can have a time travel device to attended a bunch of classes but Harry can’t grab one off a nearby shelf and go back fifteen minutes and save his godfather, and nor a few years later can the Minister for Magic’s protection detail keep them on hand to go back half an hour and tell their past selves ‘Hey Voldemort is about to walk in here and kill y’all thought you ought to know.’ No author can work-out every aspect of every element in their works - that’s impossible, and why ARGs are solved by the internet hivemind in half a day even though they took a far smaller group of minds months to devise. But Rowling is intellectually lazy - she adds the holocaust to her Magic Fun Land without sparing a single moment to think that idea through. She then gets defensive when confronted by the suggestion that her worldbuilding might have been shallow. Hey your American wizard houses seem a bit racist also America doesn’t really use the house system in its schools - and her response was to lash out and not listen. Rowling tried to move Potter from a fairy logic world with its own rules into our world with our rules and our history but she doesn’t know our history very well, or even our rules, so she tells us wizards shat on the floor until the 18th century while the rest of us sit around going ‘but humans have never done that as social groups - even in horrible slums and facility-free prison cells humans create a designated place for taking a shit even if it’s just ‘that corner over there.’ We don’t just drop pants and go whenever!” This is because, as a worldbuilder, J.K. Rowling is actually kind of rubbish.

#Tumblr #J.K. Rowling #Harry Potter #Harry Potter and the philosopher’s stone #wizards #muggles #the wizarding world #Charity Burbage #Severus Snape #Voldemort #shit #time turner #Enid Blyton #L.M. Boston #C.S. Lewis #Hogwarts #long post

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comicteaparty · 5 years

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July 15th-July 21st, 2019 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from July 15th, 2019 to July 21st, 2019. The chat focused on Radioactive Underground by Ezra Rose.

Featured Comment:

Chat:

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Week Long Book Club~! This week we’ll be focusing on Radioactive Underground by Ezra Rose~! (https://tapas.io/series/Radioactive-Underground)

You are free to read and comment about the comic all week at your own pace, so stop on by whenever it suits your schedule! Remember, though, that while we allow constructive criticism, our focus is to have fun and appreciate the comic. Below you will find four questions to get you started on the discussion. However, a new question will be posted and pinned everyday (between 12:01AM and 6AM PDT), so keep checking back for more! You have until July 21st to tell us all your wonderful thoughts! With that established, let’s get going on the reading and the chatting!

QUESTION 1. What has been your favorite scene in the comic so far? What specifically did you like about it?

QUESTION 2. What do you think caused Robbie’s scar that is briefly seen? Further, why is Robbie taking medicine? What might all this have to do with Griffin’s particular concern for how Robbie is doing?

ezzy

Wow what a wonderful comic surely who ever made this comic is very smart and also handsome

RebelVampire

QUESTION 3. At the moment, who is your favorite character? What about that character earns them this favor?

QUESTION 4. Which aspect of the world has caught your eye the most so far? Why does it interest you? Also, how do you think it will play a role in how the story unfolds?

RebelVampire

1) my favorite scene is probably the first scene we see robbie at maki's. i liked the little flirty dialogue and then the ultimate payoff with it at the end. like i really felt like i was in robbie's shoes during it cause i wasnt sure if there was chemistry and then the "robbie with an i e " thing really sold it for me. just a great banter setup i can really appreciate. 2) Given the opening scene, I gotta imagine Robbie was fighting monsters or w/e he fights in the underground and took on a challenge he wasnt ready for. And that probably nearly killed him and thus why the scar and medicine. Cause the medicine is probably keeping his heart going or something like that. As for Griffin's concern, Griffin gives off a kind of motherly feel to me despite the aggressive attitude. And it seems she and robbie have a sort of mother-son bond (at least a little bit). and ya know, mom's worry when their sons almost die.

3) my favorite character atm is probably robbie. While this could change as the characters become more familiar, I really just like Robbie's design. It feels edgy and relateable at the same time without being overboard. I also think it super suits his personality. 4) I'm really interested in the underground aspect of the comic. Cause it really doesn't feel like their underground, yet it's clearly a thing. And given robbie's crush isnt from the underground originally, itll be interesting to see how the cultures differ. Since there already seems to be some inequality going on. In terms of the story, I definitely think the underground's probably...status in society is probably a breeding ground for crime. hence robbie's entire life situation.

ezzy

>:3c

RebelVampire

QUESTION 5. What has been your favorite illustration in the comic so far? What specifically about it do you like?

QUESTION 6. Why do you think Yui was supposedly kicked out of the family business, and how do you think she got involved with Griffin? What theories do you have about the rest of Griffin’s crew? Alternatively, who do you most want to learn more about?

RebelVampire

QUESTION 7. Which characters do you enjoy seeing interact the most? What about their dynamic interests you?

QUESTION 8. What do you think the ultimate goal is for Griffin’s group as for why they steal? Is it just for money, or is there some larger picture? Further, what do you think Robbie’s personal investment is in the whole thing?

RebelVampire

5) My fave illustration...s is probably the ones of Griffin on this page. https://tapas.io/episode/1357536 Griffin looks so cool, and something about this up-close shot choices really made me appreciate her really cool, badass design. Instantly won my heart over as a top-contending chara for favorites. 6) Yui sort of strikes me as the type who rebels just to rebel. Like the teen who never got out of the rebellious phase because she's 2kool4skool. And from what we've seen with her relationship with her family, rebelliousness is not well-received. And I can see from her families perspective how it kind of just looks like Yui lazes around and then throws attitude. I don't really have theories about the rest of the crew, although I definitely do want to get to know the completely non-human world. They'd be a great insight into the rest of the non-humans that are in this world.

7) I probably enjoy seeing Robbie and crush chick the most. They've got really cute chemistry that just makes me squee on the inside. And I also hope he continues to be called Robbie with an i e for a while. 8) I think the answer to this question depends on perspective. Most of the crew, like Robbie and Yui, are probably just in it for the money. While I think Griffin is in it for the money, I also think she has a bigger picture idea. Like eventually aiming for the grand jewel and making people super pissed. Or more I should say, she's waiting till they can make the heist of a lifetime and retire on a beach in Hawaii. As for Robbie's personal investment, besides money, he kind of maybe just has nothing better to do? So far my impression of him is hes the type to think hes not good at a lot of stuff besides running and fighting. Thus morals be damned, lets steal things? XD Plus if he needs medicine, hes gotta pay for it somehow. So to summarize, his investment is needs money + belief in lack of job opportunities. I think if something better came along hed be heavily tempted.

RebelVampire

QUESTION 9. What sorts of art or story details have you noticed in the way the comic is crafted that you think deserves attention?

QUESTION 10. Who exactly do you think Griffin is? In other words, what’s Griffin’s backstory and why is Griffin invested in stealing? Further, why do you think Griffin keeps the group at arm’s length and has them drop her off at random locations?

RebelVampire

9) One deal I appreciate is the balance of Griffin's design. Like there's this right blend of human and non-human traits that you could even guess she was a half-breed before anybody even said anything. And being able to get that across immediately visually is really A+ work there. 10) I think Griffin was probably someone a lot like Robbie. Just in the underground, nothing to do, no opportunities, and so she took the easy route of theft. However, I think she was at least once part of a bigger organization (given the connections she has) and that she kind of betrayed them and ditched them. Like I said earlier, I think she's both in it for the money but kind of has some bigger idea picture about retiring in style or something like that. As for keeping the group at arm's length, I actually think it's to protect them. Cause she clearly seems to know dangerous folks who know her and have a bone to pick. So by not letting the others become too notorious, she keeps the heat on her.

ShaRose49

I started this one awhile ago and I thought it was very well-drawn(edited)

ezzy

Thank you i try very hard

RebelVampire

QUESTION 11. What do you think are this particular comic’s strengths? What do you think makes this comic unique? Please elaborate.

QUESTION 12. Why do you think the new girl working at Maki’s has come to the underground? What might it have to do with her relationship with her parents? Further, what role do you think she’ll play in the larger story?

spacerocketbunny

1. Favourite scene is probably the one where everyone is in the diner after the heist! The banter is fun and I like how the characters interact. Yui and Robbie are great, they act like siblings who can't stand each other but of course cover each other's asses if they get in trouble. Also the moment when Robbie meets Sky, she asks his name so she can label his food but then he asks for her name and she pauses like "why are you asking the server's name lol" 3. Ummmm Griffin because she's a mysterious babe?? Love me a stoic lady with questionable motives ;)) also Sky is so sweet, I love that she's an artist! 4. Love the demons and other folks that are integrated into the world, it's a lot of fun! I hope there'll be more interesting people to see :)

5. The latest pages with Griffin on the phone look great, great colours, nice backgrounds, I like how the colours are starting to become more dynamic! 6. Mmmm my guess is that she's a bit messy and callous and probably messed something up in the family business. Too early to make any hard speculation but if anything I think it was Yui's fault probably... I want to see more of what these heists are for, and how their group operates. I'd like to see more on Griffin and her origin since it was pointed out that she was a %100 human (I'm assuming the other half is demon?) 7. Right now Yui and Robbie because of the bickering they do, but now that I've seen Sky blush after interacting with Griffin I'm

9. I like the style of the comic, it's angular and sharp and I like the character designs! I feel like the comic's aesthetic and mood is still being realized but it's progressing with each page and I can't wait to see how it develops further! 11. Like previously mentioned I think the style is definitely a strength, it's fun and offbeat and I like that it's one that I'm not seeing in the comic scene right now. The character interaction is great too, even as early as it is I'm already invested in these characters and I want to know more about them, they're a fun lot and they all play off each other in a great way. I'm interested to see where this comic goes and how it'll develop, I'll definitely be checking back for updates

RebelVampire

QUESTION 13. What are you most looking forward to in the comic? Also, do you have any final thoughts to share overall?

QUESTION 14. Who do you think Solomon Reiki is, and what does they want with Griffin? What does this have to do with the guard who Griffin fought during the heist? What could this mean for Robbie and the rest of the crew?

RebelVampire

11) I think the comic's strength are definitely the character designs. There's a lot of personality packed into them. Not just the main characters we've seen so far but even the side characters as well. It makes for a really dynamic setting and cast that immediately catches your eye. Somehoe all the designs also really suit the tone of the story as well. 12) I feel there definitely has to have been a falling out with her parents. And she fled to the one place where she thought they would never look for her or something. Given she seems somehow hardcore herself, I could totally see her joining the crew and going on thieving adventures. Or at the very least being an informant of some sort. 13) I'm looking forward to learning more about the rest of the crew and seeing how they all play off each other. Cause that will definitely have a big impact in terms of how the heists go. 14) Given my previous theories, I think Solomon Reiki was Griffin's old boss who is super pissed at Griffin's betrayal of leaving. But until recently they havent been able to find Griffin so hence the guard. Heard some rumors and sent the guard to confirm whether its the traitor or not. Of course, this probably gonna put the rest of the crew square in sights and get them unwanted attention from bigger criminals or something like that.

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB END!

Thank you everyone so much for reading and chatting about Radioactive Underground this week! Please also give a special thank you to Ezra Rose for volunteering the comic and creating it! If you liked Radioactive Underground, make sure to continue to support it via some of the links below!

Read and Comment: https://tapas.io/series/Radioactive-Underground

Ezra’s Patreon: https://www.patreon.com/ezrarose

Ezra’s Ko-Fi: https://ko-fi.com/ezzymourao

Ezra’s Twitter: https://twitter.com/SuperSonicSoda_

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #book club #bookclub #webcomic book club #webcomic bookclub #comic tea party #ctp #radioactive underground #ezra rose

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eddycurrents · 5 years

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For the week of 26 November 2018

Quick Bits:

Action Comics #1005 gives us a reappearance of The Question and a HERO Dial--possibly counterfeit, possibly just doesn’t work for villains--amidst an advancement of the underground mob arc, a surprising “conclusion” to the arson case, and a revelation of who the Red Cloud is. Although there are many spinning plates, and a decided lack of conclusion to most of the arcs, I actually quite like how Brian Michael Bendis is crafting this story. You could argue that it’s decompressed, but it feels a bit like old school superhero soap opera, and that feel really works for Superman. It’s also aided immensely by the gorgeous artwork from Ryan Sook and Brad Anderson.

| Published by DC Comics

Amazing Spider-Man #10 concludes the “Heist” arc in a fairly impressive manner. Nick Spencer really seems to get Spider-Man, Mary Jane, and their world and is delivering some great character moments here, with great heart and humour. Humberto Ramos, Victor Olazaba, Edgar Delgado, Michele Bandini, and Erick Arciniega also do a wonderful job with the art.

| Published by Marvel

Aquaman/Justice League: Drowned Earth #1 concludes the “Drowned Earth” event in fairly epic fashion from Scott Snyder, Francis Manapul, Howard Porter, Scott Godlewski, Hi-Fi, and Tom Napolitano. While this even is definitely a vehicle to move Aquaman to his new status quo for incoming Kelly Sue DeConnick, it’s also been a great story in its own right. Building on Aquaman and Justice League mythology, while also advancing the Legion of Doom and Totality story for the main Justice League book. Also, Super-Pirate should continue as one of Superman’s looks.

| Published by DC Comics

Archie 1941 #3 explores bits of basic training with Archie getting into the usually kind of hijinks that he would and the problems back on the homefront with those left behind. I really like how this series is coming together, looking at some of the basic personal fallout from the war. Also, Peter Krause and Kelly Fitzpatrick’s art remains a huge boon to this series.

| Published by Archie Comics

Barbarella #12 brings Mike Carey and Kenan Yarar’s run on the series to a close, with a kind of retrospective as one of Barbarella’s early antagonists attempts to exact revenge. Very nice guest piece illustrated by Jorge Fornés and Celeste Woods. This has been a fun and entertaining series, definitely feeling like some of the stranger sci-fi that you see out of Europe.

| Published by Dynamite

Batgirl #29 has some great art from Paul Pelletier, Norm Rapmund, and Jordie Bellaire for this conclusion to “The Art of the Crime”. Also some very interesting development in the status of the Dark Web and Grotesque.

| Published by DC Comics

Beyonders #4 takes a different approach to the material that the team already has, leading them to a new location wherein they hope to save the world and unravel the mystery. The light humour adds a nice touch to the otherwise dense subject matter.

| Published by AfterShock

Black Panther #6 gives some much needed backstory, focusing on the Emperor, his rise to power, and his connection to the Wakandan pantheon. Very interesting implications to both where the gods went and in the Emperor being a host for a symbiote. Beautiful guest art from Jen Bartel, Paul Reinwand, and Tríona Farrell.

| Published by Marvel

Coda #7 has some pretty big revelations as Hum & Co. confront the Pilot, and his schemes to “fix” his wife look like they’re baring fruit. Si Spurrier and Matías Bergara really are creating something epic here.

| Published by BOOM! Studios

Daredevil #612 concludes “The Death of Daredevil” from Charles Soule, Phil Noto, and Clayton Cowles and with it Soule’s run on the title. It’s good, with some nice character bits and twists for this final chapter.

| Published by Marvel

Die!Die!Die! #5 burns Bethany and Theodore as “Paul” turns on them for his side of the battling senators, even as John confronts his side alerting them to something nefarious being afoot. This is still mostly an insane action book, but at least there is something resembling an overarching plot and direction developing.

| Published by Image / Skybound

Edgar Allan Poe’s Snifter of Terror #2 gives us an entertaining and somewhat strange adaptation of Poe’s Ligeia from Rachel Pollack, Rick Geary, and Michael Garland. Also a very different take on Jules Verne from Stuart Moore, Ryan Kelly, Rico Renzi, and Rob Steen. This issue is rounded out by a poem, another prose piece, and a wonderful new Black Cat short from Hunt Emerson.

| Published by Ahoy

Faith: Dreamside #3 takes Doctor Mirage and Faith into the deadside where they’re searching for Monica Jim’s soul. Very interesting landscapes and characters from MJ Kim and Jordie Bellaire, capturing the oddity of what’s going on in the story.

| Published by Valiant

The Flash #59 continues the “Force Quest” arc with a cursory investigation of the slaughter of Gorilla City. We don’t really get any answers there, but there is a broader bit of information about the four forces as a means to protect the multiverse. Also we learn just how bloody that Gemini are willing to get. The avatar of the forces motif that Joshua Williamson is bringing in is very reminiscent of the rainbow-coloured Lanterns of Geoff Johns and of the various Parliaments (and the Red and the Rot) in Swamp Thing and Animal Man, but it’s interesting to see where he’s going with this.

| Published by DC Comics

Hellboy and the BPRD: 1956 #1 begins the next chapter in the BPRD’s history, with change definitely coming as they begin operating under the government’s purview and start having more overt bureaucracy and demands on results. You can definitely see that change in the feeling of alienation that Hellboy’s having from his friends and family as he tries to deal with the loss of his dog. Interesting decision to have different plotlines illustrated by different artists, it kind of echoes the previous breakdown of the series’ stories as discrete units, but now under one umbrella much like the changing nature of the Bureau. Great art in each too from Mike Norton, Yishan Li, and Michael Avon Oeming.

| Published by Dark Horse

House Amok #3 starts to break the illusion, with Dylan relating how she became disillusion with the madness that her family is living. Gorgeous artwork from Shawn McManus and Lee Loughridge.

| Published by IDW / Black Crown

Infinity Wars: Arachknight #2 isn’t a bad conclusion to this origin story for the Spider-Man/Moon Knight mash-up character. Great art from Alé Garza, Victor Olazaba, and Ruth Redmond. Really like the design for Arachknight’s costume.

| Published by Marvel

Infinity Wars: Weapon Hex #2 finishes up one of the more balls-out insane Infinity Warps origin tales, from Bens Acker & Blacker, Gerardo Sandoval, Victor Nava, Israel Silva, and Joe Caramagna. This one has been an entertaining mash-up of X-23 with Scarlet Witch and Quicksilver that ports over a lot of the irreverence of an All-New Wolverine or X-23 tale and all the nervous energy of Honey Badger into this story.

| Published by Marvel

Ironheart #1 is off to a pretty good start from Eve L. Ewing, Kevin Libranda, Luciano Vecchio, Geoffo, Matt Milla, and Clayton Cowles, working to give a bit more personality and relatable situations for Riri Williams. There’s still the cold and awkward behaviour from Riri, but Ewing is spotlighting that she’s distancing herself and that may not be great for emotional development. Wonderful artwork from Libranda, Vecchio, Geoffo, and Milla.

| Published by Marvel

Justice League Odyssey #3 sees Philippe Briones and Jeromy Cox take over the art duties from Stjepan Sejic, It’s definitely a different style, but it still looks good.

| Published by DC Comics

KINO #11 continues this fairly dramatic change in tone and status quo for the series from Alex Paknadel, Diego Galindo, Adam Guzowski, and Jim Campbell. It is really damn good, bringing in a fair amount of mystery and intrigue, with two Alistair Meaths running around.

| Published by Lion Forge / Catalyst Prime

Mighty Morphin Power Rangers #33 gives us a bit of Ellarien’s history as she navigated this universe tending towards entropy and found herself as its sole Ranger. I really like the new direction and mythology that Marguerite Bennett and Simone Di Meo are building.

| Published by BOOM! Studios

Old Lady Harley #2 introduces us to a very frightening extension of the Batman idea with Bruce plugging himself in to the Bat-computer in order to police Gotham through his Bat-robots. It’s interesting, though, how Frank Tieri can go from this grim vision of the future to the more ridiculous hilarity of Arkham Asylum as an old folks home.

| Published by DC Comics

Paradise Court #5 brings the series to a close with the revelation of what’s been going on in the planned community and what its true purpose really is in dramatic fashion. This has been a good little horror thriller from Joe Brusha, Babisu Kourtis, Leonardo Paciarotti, and Taylor Esposito. If you enjoy Bentley Little or Scott Nicholson novels, you’ll probably like this.

| Published by Zenescope

Quincredible #1 is the first Catalyst Prime series to be co-branded with the Roar imprint, Lion Forge’s teen label, (though I suppose at least Superb was also rebranded with it) and it’s a pretty good debut from Rodney Barnes, Selina Espiritu, Kelly Fitzpatrick, and Tom Napolitano. This first issue introduces us to Quin, another teen affected by the Event, who has developed what might be invulnerability. Barnes focuses the story on his community involvement in New Orleans, bringing up class and racial divides, as well as a problem Quin has with bullies, to really make the story feel rich.

| Published by Lion Forge / Roar / Catalyst Prime

Regression #12 continues to be bleak, entertaining the very real idea that the “bad guys” are going to win. I think that’s probably one of the reasons why I like this series, not because the Valgeroti are right or worth cheering for, but because Cullen Bunn has created a compelling horror tale where the wrong thing feels like a satisfying end resolution. Also it comes with some phenomenal, beautiful, and grisly artwork from Danny Luckert and Marie Enger as they work their terror.

| Published by Image

Scarlet #4 is an interesting penultimate chapter to this mini from Brian Michael Bendis, Alex Maleev, and Josh Reed. Most of it is discussion of what will happen when Scarlet surrenders and her giving her goodbyes to her friends. Really makes you wonder what’s going to happen in the finale.

| Published by DC Comics

The Silencer #11 begins “Cold Cold Heart” and it feels like the title is working towards an end. I know that many of the other New Age of Heroes titles have been cancelled and are winding down, but I’ve not seen anything in that regard to this one. It could just be working its way through change. In any event, it’s pretty damn good. Seeing all of Leviathan as it exists now is fairly neat and the art from Jack Herbert, Tom Derenick, and Mike Spicer is great.

| Published by DC Comics

Spider-Girls #2 takes a bit of time to trade stories about Normie Osborn before going to him to warn him about the Inheritors on their world and work some magic on the scrolls of the Spider Cult. Nice character development from Jody Houser here.

| Published by Marvel

Spider-Gwen: Ghost Spider #2 explores an alternate reality where Harry Osborn was Spider-Man and Gwen became the Green Goblin. It’s an interesting emotional ride as we see what happened in this reality, beautifully illustrated by Rosi Kämpe and Ian Herring. One thing that isn’t quite clear, though, is why having our Gwen help their Peter find their Gwen because she’s necessary to help our Gwen is blackmail, though. Maybe I missed something, but it seems like the heroic thing to do.

| Published by Marvel

Stranger Things #3 largely works to create an atmosphere of despair and defeat as Will continually tries to reconnect with his mother, or anyone, back in the real world and fails. The artwork from Stefano Martino, Keith Champagne, and Lauren Affe perfectly convey that feeling.

| Published by Dark Horse

Strangers in Paradise XXV #8 takes a running leap into the strange. Or stranger, as Katchoo returns with the package for Jet. Terry Moore is really taking this tale into a different direction from the initial intrigue thriller plotline. Also, a nice return of Libby and Sam from Motor Girl.

| Published by Abstract Studio

Teenage Mutant Ninja Turtles #88 has quite a few “holy crap” moments as the Mutanimals aid the Turtles in repelling the EPF from Burnow Island. Huge revelations about Bishop’s history and a hero moment from Slash. Dave Wachter and Ronda Pattison deliver some incredible artwork all throughout.

| Published by IDW

Teenage Mutant Ninja Turtles Macro-Series: Leonardo #3 is one of the most beautiful Turtles books I’ve seen. The art from Sophie Campbell and Brittany Peer is gorgeous, guiding us through a fairly introspective tale of what Leonardo really wants out of life, while still advancing major plot points with the fate of the Foot Clan.

| Published by IDW

These Savage Shores #2 continues this brilliant series from Ram V, Sumit Kumar, Vittorio Astone, and Aditya Bidikar. It is a thoroughly stunning combination of horror tale, tragic romance, and political drama rolled into one absolutely beautiful package. The world is deep and enthralling, brought to life in amazing use of mostly variants on 9-panel grids from Kumar and Astone. The design sense alone makes this series interesting to read just from a technical perspective, but Ram V and Kumar put so much into the story and storytelling that it transcends just style. This is a truly great comic.

| Published by Vault

Titans #30 continues to break the team into pieces. The rebuilding, if they ever make it there, should be interesting.

| Published by DC Comics

Vampirella/Dejah Thoris #3 nicely moves this along, introducing even more of the various peoples of Mars as Vampirella searches for aid for her people. Great art from Ediano Silva and Dinei Ribeiro.

| Published by Dynamite

The Warning #1 is fairly decompressed, slow, methodical, but there’s still an interesting premise here of genetic manipulation of soldiers and an alien invasion. The art from Edward Laroche and Brad Simpson is very nice. Laroche has a style somewhat akin to Chris Sprouse and Jonathan Luna and it works to give this a bit of distance echoed by the existential narration.

| Published by Image

Wonder Woman #59 continues G. Willow Wilson and Cary Nord’s first arc on the series, with an interesting rebirth and reinterpretation of Ares that’s possibly deadlier than the previous one. Love the artwork from Nord, Mick Gray, and Romulo Fajardo Jr. So far this has felt a lot like Greg Rucka’s original run on the series over a decade ago, a nice mix of modern sociopolitical analogues and DC’s take on Greek mythology.

| Published by DC Comics

X-O Manowar #21 sees Juan José Ryp somehow level up his artwork. The designs, detail, and storytelling this issue are just incredible, made even more beautiful with Andrew Dalhouse’s colours. Matt Kindt, Ryp, Dalhouse, and Dave Sharpe are crafting a very interesting next chapter in what started as the Divinity saga, building upon the recent Eternity mini as Aric and co. confront David Camp in New Eden.

| Published by Valiant

Other Highlights: Atomic Empire, Books of Magic #2, Come Into Me #4, DC Nuclear Winter Special #1, Fantastic Four #4, Hex Wives #2, Invader Zim #37, Jim Henson’s Labyrinth: Under the Spell #1, Man-Eaters #3, Marvel Action: Spider-Man #1, Marvel Two-In-One #12, This Nightmare Kills Fascists, Oh S#!T It’s Kim & Kim #4, Old Man Hawkeye #11, Pandora’s Legacy, Red Sonja #23, Redneck #17, Rick & Morty #44, Sex Death Revolution #2, Spider-Man/Deadpool #42, Star Wars: Darth Vader #24

Recommended Collections: A Walk Through Hell - Volume 1, Amazing Spider-Man - Volume 1: Back to Basics, Black Hammer Library Edition - Volume 1, The Book of Ballads and Sagas, Eternity Girl, GI Joe: A Real American Hero - Volume 21, Harbinger Wars 2, The Highest House, The Mighty Thor - Volume 5: Death of the Mighty Thor, Quicksilver: No Surrender, The Realm - Volume 2, Spider-Man/Deadpool - Volume 7: My Two Dads, Summit - Volume 2: Price of Power

d. emerson eddy does not know, and has never met, those three people who have never been in his kitchen.

#This Week in Comics

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