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dutchdread · 3 years

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Hi again, I'm the same anon from your last ask. So my next question then is why would you consider it to be a bad story if Cloud ends up with Aerith in the end? You also say Cloud and Tifa supposedly have something going on, but even if they did, Aerith doesn't know that. Neither Cloud nor Tifa tell anyone, or even show that there's anything going on between them throughout the whole story. Did you see that in Remake that Aerith even asks Cloud if Tifa is someone special and he says no?

Thanks for the question. Your question is comprised of two parts, why Cloud ending up with Aerith would be a bad story, and then the secondary part about Aerith not knowing about the history between Tifa and Cloud. I think understanding the later will be helpful to understand the former so I'll start with that. This goes back to what I said in my last reply concerning the difference between thinking someone is a bad person, and thinking they're a bad character. First off, let me just make clear that I don't judge Aerith too much concerning her behavior in the OG, since as you rightly state, she didn't really know that there was anything going on between Tifa and Cloud, she probably knew there was some attraction there, but nothing about the extent or the history. And if in the remake it turns out she's actually blissfully ignorant I'll be more lenient there as well. However, in my opinion the remake heavily implies she does realize there is a thing between Tifa and Cloud. You mentioned Aerith asking if Tifa was Clouds girlfriend, and him replying "no". However, as always, there is context here, for starters, the scene doesn't end there and then. Aerith replies knowingly "but she's someone special". Moreover the scene is also only one scene in a series of relevant scenes concerning Clouds relationship with Tifa, which starts with Jessie asking about who Tifa is too Cloud, this plotpoint then continues through Aeriths flower. When Aerith gives Cloud the flower she mentions that his girlfriend will love it, then later when Aerith asks him who he gave the flower to Cloud says he doesn't remember, and Aerith calls him out on the lie. The question is then answered when Aerith goes to the 7th heaven and discovers Cloud gave it to Tifa, prompting a smile from Aerith. She figured it out, actually, she probably figured it much earlier, but now it was confirmed. She had a hunch about Tifa, just like Jessie, Cloud was defensive at first, then evasive, but ultimately, Aeriths hunch was correct, Cloud gave the flower to Tifa. He can pretend all he wants, Aerith knows. Personally, I think she smiled because it reminds her of the future. Throughout remake Aerith is hinted to know more than she lets on, and that's especially true concerning Tifa and Cloud. When Tifa is kidnapped she pushes Cloud to go after Tifa, calling Tifa Clouds special person. If I recall correctly she even uses the same terminology that she used to describe Elmyras husband. She actively tries to make Tifa jealous by calling Cloud her bodyguard, and then she straight up tells Tifa to follow her heart. She gives me the distinct impression that she knows perfectly well where Cloud and Tifas hearts lie, and is trying to push them into action. This is borderline confirmed during the Aerith resolution where she basically straight up admits to knowing more about Clouds feelings than she actually should, assuming you think that this apparition is at least somewhat related to the current Aerith in some manner. The thing that really clenches this in my opinion is a trace of two pasts, where Tifa straight up tells Aerith about her and Clouds history. If Aerith doesn't get it by then, then she's being willfully ignorant. But lets say she does indeed not know, that would to some degree absolve her as a person. But it would still make her a bad character, because WE, the audience, know. We know that Cloud is supposed to end up with Tifa, we know that's how the story goes. And when you rewrite old stories in such a way that you take things away from one character, just to give more to another character, you run the giant risk of insulting the characters involved. You see this in things like the star wars sequels, where they effectively character assassinated Luke Skywalker in order to artificially make Rey seem better. But there are two reasons why this doesn't work, for one, it tends to create Mary-Sue like characters who just get given everything, and two, it inherently causes the fans of the other characters and stories to resent the character that's taking it away.

People don't like people who are simply handed everything, even fictional ones.

In a sense, this is also why Cleriths so often seem to hate Tifa, because they feel like Tifa took their story away from them. The difference, of course, is that Cloud ending with Tifa is a part of the original game itself, while Aerith coming back to life and ending up with Cloud would be a 25 year retcon which would blatantly disadvantage one character in favor of another, this in turn would reek of favoritism, which in turn would generate bad blood in the player. A character who needs to take away from other characters in order to be put forward is not a good character. Good characters add to the characters around them, not take away, that's what Aerith in the OG does, that's what Aerith ending up with Cloud, would not do. This effect would then be magnified by Aeriths already over importance to the plot. Having the universe revolve around one character generally isn't good writing. One of the things that makes Lord of the rings so timeless and beloved is that Frodo is just a small hobbit in the grand scheme of things. Likewise, one of the key elements that makes FFVII so appealing to human nature is Clouds humanity and lack of importance. The fact that Cloud turns out to not be a soldier 1st class, but just a grunt who wasn't good enough, who still ends up being the one who saves the world, speak to the human spirit. Aerith living and ending up with Cloud wouldn't be just a small difference where the overall story would stay the same with only the love interest switched, no, it would inherently ripple effect into all other aspects of the story. From the smallest details to the overall themes of the story, from directing to the personalities of characters, everything would be effected and all of it would fall apart. I could go over a hundred examples but I'll limit myself to some of the smallest and largest. Stories have a flow, where what is happening follows logically from what came before. It's not that it's impossible to write a story where two characters that are roughly similar to Cloud and Aerith fall in love, get separated by death, and where the Cloud character mourns and pines for her after she's gone. The problem comes when you add in Tifa, Zack, and all the other context and details of the story. Consider Zack, if we take the concept of Zack as it relates to Cloud and Aeriths relationship and boil it down to the essentials we could see it as a story about a girl falling in love with a boy because he's channeling the spirit of her dead ex, the main internal conflict the characters need to overcome could then be the question of whether these feelings are true, or whether they are just the shadow of her feelings for the old boyfriend. On the surface, this premise works as the basis of a story. The problem lies in the execution. If you write such a story there are a few things you can and cannot do. For one, you have to make this love exceptionally obvious, you can't tell a story about whether or not feelings are true if you never even get to establishing the feelings in the first place. One of the key things you need to do for this is establish the two characters central importance to the others internal emotional arcs. The first thing you DON'T do is establish a second female character and have Clouds emotional arc revolve mainly around her. If you want to tell a story where Tifa and Clouds relationship turns out to just be friendship, while Aerith and Cloud turns out to be love, then you show the scenes establishing that. However, whenever Cleriths argue for a story like this they have to assert that Cloud no longer loving Tifa is just something that happened off-screen and is never mentioned. But if this were true, this would be extremely important to show. So again, if this is the story, then this is bad direction, aka, storytelling. Scene choices matter, if your story requires you to assume that the scenes you're shown aren't important, and that the crucial bits have to be imagined to happen of screen, then that's bad writing. And the reason you can't suddenly do it now, 25 years later, is

because of a thing called "set-up". Even if they were to change to story to suddenly direct it as such now, it would constitute a drastic change of direction, which means the larger 2-decade long story we've been told is no longer a single coherent whole. If the story in remake is that Cloud always loved Aerith, then why wasn't the ground work for that lain 25 years ago? If you want to say that the story is about Cloud loving Aerith, and ending up with her eventually, then you can't have Cloud not speak her name for the second half of the original game, and devote that time completely to establishing port-mortem that Cloud wasn't himself while with Aerith, and that his true self has deeply ingrained feelings towards another woman. And not some minor character who exists only as a plot-device, some fake hurdle designed to try to raise some fake tension, but Tifa, a character who is routinely established to be the "heroine" of the game, someone of equal importance to Aerith who cared for Cloud while he was in a coma, whose history with Cloud started his internal character arc, whose history with Cloud resolved his internal character arc, and who lives with Cloud 2 years later.

And the same thing goes for Zack, it was possible to write him as negligible when it was just FFVII, if you ignored the addition of Tifa and JUST focused on the Zack element as a side character. But the addition of Tifa and the existence of Crisis Core cause the narrative to become disjointed when trying to view it as a single story. This is why people so often want you to ignore Crisis Core, because they understand that if a conclusion of a story is that Zacks role isn't that important, then why did your story spend an entire game cementing the importance of Zack? One of the things I hear most from Cleriths is "why couldn't Cloud just get over his childhood crush on Tifa and fall in love with Aerith? It happens in real life" , or some other variation of "why couldn't this happen?" But this shows the problem with how they want the story to go, because stories aren't real life. Anything CAN happen in a story, but not anything should. Stories have a concept called " checkovs gun", if a gun is introduced into a story in the first act, it has to be fired somewhere down the line. If the gun turns out to not have a role in the story, why was it there? But the same thing doesn't apply in real life, in real life, chekovs guns almost never fire, with few exceptions, real life is a bad guide to how to write stories. Stories written like real life, generally suck. If characters in stories behaved like characters in real life, half their lines would be "uhhhhh", and half the scenes would be them sitting on the couch having meaningless unrelated events happen.

The entire flow, pacing, and sequence of events is wrong in a Clerith version of this story. In order to sell the idea that FFVII is a story about Aerith and Cloud getting together you first have to sell the idea that all these plot threats concerning Tifa essentially don't matter. But if they don't matter, then why are they there? What purpose do they serve? What purpose does Tifa serve? Or Zack? In order to "fix" their preferred interpretation, Cleriths need to get around this problem, which causes them to have to re-interpret everything that happens and twist it in order to create the appearance of a coherent story. This requires them to resort to minimizing characters, character assassinating characters, and generally misrepresenting everything that happens. I think there is no bigger indication of why Cloud and Aerith getting together would suck as a story than looking at how the people who propose this version of the story look at Cloud and Tifa as characters. What follows are some excerpts from the dumbest person I've ever debated.

This went on for over 200 replies, this is not a mentally sound interpretation of the story, but this is what you need to believe in order to get the Aerith/Cloud love story to work. You're forced to minimize Tifa and her importance to the story, and you need to demonize Cloud. So basically you have two options here, you either have to say "all this stuff with Tifa and Zack, doesn't matter", all their scenes, all those plot threats, they all aren't a part of the larger story being told and ultimately amount to nothing. Or two, you remove all those scenes or rewrite them to instead focus on Cloud and Aerith. And both those approaches suffer from the same basic problem, they're both effectively going "screw everything, all that matters is Cloud and Aerith". Which brings me back to my earlier point. If your story is pushing everything aside in order to hype up the main character, you're not writing a good ensemble story, you're writing a bad fan-fiction. This is the writing people HATE. Cloud is no longer a sad but likable character with complex motivations and feelings who wasn't as important as he thought he was, no, he's cliche self-insert main character that the world revolves around, who every girl genuinely loves regardless of whether or not it makes sense, even though he's a complete asshole who abandons children and takes advantage of women just because he's "lovesick". No other man could ever compare, a week with him braindamaged and you forget all about the man you pined after for 5 years. Aerith is not compassionate to a man who blames himself for his failings and thinks he'd do more harm than good, she's compassionate to a piece of human filth who refuses to go save children because he doesn't care about them. She's not just a girl with a big destiny and a tragic fate, no, the universe itself resets to make sure she gets laid. Tifa isn't a powerful woman who devotedly supports the man she loves through his darkest hours, instead she's a weak unimportant doormat without self-respect who even in 2 decades could not measure up to a week with Aerith. Zacks connection with Cloud doesn't come with complex implications about Aeriths feelings, Zack never really mattered, his entire story of getting back to her? Doesn't matter, it only exists to show how much Aerith must love Cloud to choose him over Zack. The entire lifestream reveal concerning Cloud? Doesn't matter, nothing matters, it's in the past. The central reveal of the story isn't important because Clouds true self suddenly likes Aerith now.....good writing. etc, etc, etc. Where Aerith was once a part of an ensemble cast, the heroine of the external plot, tasked with saving the world through her powers as an ancient, while Tifa as the equally important heroine of the internal plot saves Clouds through their shared feelings, now everything instead revolves around Aerith, and the other characters only exist in service to her, not as characters in their own right, but only to make sure she and Cloud gets together, like every hated mary-sue in history. The pain of her death? Gone, the impact and nuance of the story? Gone. Literally everything that made FFVII special? Gone. And concerning the small, even the little details would no longer be coherent, Cetras thematically guide people to the promised land, note: "GUIDE", but now Aerith would suddenly be the promised land herself. The through-line of Cetras "returning to the planet"? Gone, if Aerith doesn't die that doesn't link to the story anymore at all. Tifa's bar being the 7th heaven, aka, the final heaven, aka, the promised land where Aerith guides Cloud to? Suddenly a meaningless name. Tifa's last name "lockhart" being a direct hint towards the "tender feelings locked up inside Clouds hart"? Completely trivial, the feelings weren't that important to the story. And I could go on for hours, every aspect of FFVII, from small to large, would be fundamentally poisoned if Cloud ends up with Aerith.

I could rewrite the story to make it work, but that's the point, then you'd be rewriting the story in order to diminish every other character and story in favor of Cloud and Aerith. Which brings us back to it becoming a horrible fan-fiction where no one and nothing matters except Cloud and Aerith. It's ok to write unimportant characters, it's not ok to make your important characters unimportant in retrospect in order to wank off another character. Thanks for asking.

#cloti #FFVII #ffvii remake #cloud strife #aerith gainsborough

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incorrect-quotes-from-she-ra · 3 years

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Morning! I hope you don't mind if i give you yet another She-Ra thought I'm too damn lazy to post on my own. Also, it's long again. I WILL find that character limit some day.

So, we know the way Shadow Weaver raised Adora resulted, among other issues, in her being selfless to the point of self-sacrifice, which came to a climax in the Heart's failsafe business.

And it's been suggested that this was basically intentional on Shadow Weaver's part. Basically, selflessness is a very beneficial quality for others to have. My theory is that <b>her plan for Adora had always been specifically for her to someday use the failsafe and release all magic</b>.

(i will admit i am also curious how formatting works in this app. thank you for your help with these experiments)

So, evidence. Let's start with her name. I know this is a remake and they were stuck with the existing names, but there's a scene where Scorpia complains about it ("yeah i GET it, everyone LOVES you"), which constitutes the writers acknowledging its meaning, which makes me think it's fair game to analyze.

First, I'm obviously assuming Shadow Weaver choose it, as part of her ongoing parenting plan. It's also possible it was her original First One-given name, we don't know. Neither quite works because either she or Light Hope should have had some issues knowing what the name was and they clearly knew automatically. Really the entire series is weird in that everyone communicates with everyone else way too easily, and i will definitely rant about that someday.

For now let it stand that Shadow Weaver is the parent figure, it makes the most sense for her to pick the name, both in-universe and narratively, so i shall assume so by default. I have two things to say about that choice.

First, as we all have noticed, most of the princesses have names ending in -a. All of them, if you count "Glimma". It's never said to be intentional, but it would make sense. And then IF such a tradition exists among Etheria's royalty, it's not unreasonable for Shadow Weaver, a notable and moderately respected member of the land of knowledge, to know about it.

And then if she knew, of course she would take it into consideration when looking for names. Admittedly it's a little weird with the anti-Princess propaganda that the Horde has, but she doesn't really need to explain or justify this. Hordak has a very [i]laissez-faire[/i] attitude, and everyone else she clearly doesn't care about.

And if she knew or suspected that the princesses' powers were related to the Heart of Etheria, which i will argue for later, then giving her a princessy name is also adequately ironic.

The second name bit is that Scorpia clearly knows some Latin, but not enough. True, <em>adorare</em> means to worship and/or to love, but Latin verbs are more complex than that. _Adora_ specifically is 3rd person singular present indicative active. The translation would be "she loves".

Names aside, i want to talk about how they (we) learned about the Heart of Etheria. Castaspella doesn't know what to do, Shadow Weaver suggests they take a road trip to research, which she's reticent about but concedes is probably the best use of her time, and they find success. We don't know how long it took them, but i had the distinct impression that it wasn't very long.

Naturally, I'm suggesting Shadow Weaver knew all along, and led Castaspella on the trip to have an excuse for the inevitable "how do you know?". Also tricked her into thinking it was /her/ discovery, and maybe even that she was succeeding where Shadow Weaver had failed before, if necessary.

That's why she's so excited to share their results with everybody, and Shadow Weaver cuts her off, apparently just to antagonize her for fun, but I'm suggesting it was also because for her this is the culmination of a decades-long plan, and she wants to Get On With It.

It's also interesting that there was a mural depicting the Spell of Obtainment in the hallway leading to the failsafe. It was a reminder of Shadow Weaver's past, and an opportunity for her to show she regrets her results but doesn't repent from her choices, which i quite like actually. But I'm also saying that, meta-textually, it was a signal that she'd been there before, literally.

And then there is the potential in-universe connection, since we don't know what exactly the spell was meant to be obtaining. Power, for sure, and from what happened we're probably meant to assume it's tapping into some sort of demonic entity or dimension.

Fair enough, except that it never comes up again. And it's kind of a big plot point that Etheria is isolated from the rest of the cosmos, which may or may not conflict with it having a contactable "hell". Meanwhile there's the Heart of Etheria Project collecting all that magic, which Mara's allies (and their descendants) would know something about, have access to at least one backdoor to, and may well have tried to tap into its power at some point.

And then what went wrong may well be one of the defense mechanisms of the Project, though I'm admittedly veering into unfounded speculation.

So, a rough timeline. Light Spinner was always motivated to excel and craved power. She was probably always envied the princesses, who command greater magic than most sorcerers with apparently none of the study and practice.

She took to researching everything she could that might lead to power, eventually discovering the chamber with the failsafe, and presumably other information left by Mara's Friends, either in other chambers or in documents she's since removed. She would have learned a lot of things from this.

As i suggested, i believe she knew there's some connection between the princesses at large and the Heart of Etheria. Incidentally, i don't know exactly what that connection is, and in particular whether princesses were created by the Project or an existing phenomenon that the First Ones co-opted. But it doesn't matter, exactly.

What's important is that there's clearly a connection, more specifically a control system for the princesses and their magic, which is presumably related to how Shadow Weaver was able to tap into the Black Garnet's power. With Hordak's help, obviously, since she clearly believed it when he claimed he could cut her off at will, but he's later shown to have basically no understanding of First Ones' tech, so the knowledge must have come from her.

For the record, i would guess she thinks princesses are artificial, empowered both magically and politically to keep the planet in check, and that they would be depowered once the failsafe was fired. I also think that may be true, actually, since it almost happened when Entrapta was messing with the system, and if i recall none of them were shown to use any magic after Adora did fire it, while she clearly used Perfuma's power. But anyways!

Back to what Shadow Weaver learned, she would know some of what the failsafe does, namely disrupt the system that's hoarding most of the planet's magic, thereby spreading magic to all (most notably her), and some of how to use it, and the fact that she couldn't do so and hope to live, and some of the criteria for who can. That part is important.

But first, she also learned the Spell of Obtainment, deemed it more likely but didn't think she could do it herself, despaired of getting help until she thought Hordak's rise to fame would give her #casus belli#, lost her patience when the Mystacor leadership disagreed, etc etc etc. Pretty uncontroversial in this part, i think.

After she'd joined the Horde, when Hordak showed up with baby Adora and wanted to lump her with the rest of the orphans they have, Shadow Weaver pleaded to have her get special treatment. She even said that she's special, and it couldn't have been her leadership skills or good heart, since she didn't have either yet. It's heavily implied she could recognize her as a First One, but it's not clear why she would care, since they were known for leaving behind advanced technology, which a baby also doesn't have. Unless, of course, she knew there are devices only a First One could use, and maybe has plans related to that.

So I'm pretty sure she learned the criteria that the failsafe requires, devised some spell or technique to check people for them that she pretty much used all the time, just in case, and was very surprised when a newborn tested positive. She was also surprised when Hordak made her personally responsible for the raising of the kid, but her reaction is pretty much "ok, that could work, i guess".

Also also, i suspect she can read First One script. Not perfectly like Adora, but better than Bow's parents probably. Mostly because when she puts Adora's hand on the crystal and says "i think you know the password", that seems like a very transparent attempt to pretend she knows it too when she doesn't. But that seems irresponsible at such a crucial moment, she and Castaspella should really have researched it earlier. Or at least her line there should have been "you can read this, right?" or somesuch.

So I'm thinking it's a double bluff, hoping everybody assumes she doesn't know so she doesn't have to reveal how and why she knows, again.

And that's all i have, i think? This is not nearly as well laid out as i would like. But then, nothing ever is, right?

Also it's not even close to morning anymore. Thank you if you even got this far, and have a good evening!

hi!!! this took me a while to answer, i'm so sorry about that <3

i'm very low on energy today so i cannot summon up the brain energy to respond properly to this, as much as i want to, i'm really sorry for that as well

i love this theory!! it actually fits in really well with canon and makes, like, a LOT of sense now that i think about it. i definitely wouldn't have thought of this on my own, so thank you for sharing this with me!! :D

#asks #leo answers stuff #IM CLEARING OUT MY INBOX #CAUSE I FINALLY HAVE THE TIME #long post #spop meta #shadow weaver

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rockislandadultreads · 2 years

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Suspenseful Stories featuring a Strong Female MC

Murder at Sunrise Lake by Christine Feehan

It starts in her dreams. Hideous flashes from a nightmare only she can stop. Images of a murderer stalking the ones she cares about most... Stella Harrison thought she got away from the traumas of her past. Running the Sunrise Lake resort high in the Sierra Nevada mountains has brought her peace, even though she doesn't truly share her quiet life with anyone. Not even Sam, the hired handyman that notices everything and always seems to know exactly what she needs. Stella doesn't know anything about Sam's past, but somehow over the last two years his slow, steady presence has slipped past her defenses. Still, she knows she can't tell him about her recent premonitions. So far there's been no murder. No body. No way to prove what's about to happen without destroying the life she's built for herself. But a killer is out there. And Stella knows that this time she'll do whatever it takes to stop him.

And When She Was Good by Laura Lippman

When Hector Lewis told his daughter that she had a nothing face, it was just another bit of tossed-off cruelty from a man who specialized in harsh words and harsher deeds. But twenty years later, Heloise considers it a blessing to be a person who knows how to avoid attention. In the comfortable suburb where she lives, she's just a mom, the youngish widow with a forgettable job who somehow never misses a soccer game or a school play. In the state capitol, she's the redheaded lobbyist with a good cause and a mediocre track record. But in discreet hotel rooms throughout the area, she's the woman of your dreams—if you can afford her hourly fee. For more than a decade, Heloise has believed she is safe. She has created a rigidly compartmentalized life, maintaining no real friendships, trusting few confidantes. Only now her secret life, a life she was forced to build after the legitimate world turned its back on her, is under siege. Her once oblivious accountant is asking loaded questions. Her longtime protector is hinting at new, mysterious dangers. Her employees can't be trusted. One county over, another so-called suburban madam has been found dead in her car, a suicide. Or is it? Nothing is as it seems as Heloise faces a midlife crisis with much higher stakes than most will ever know. And then she learns that her son's father might be released from prison, which is problematic because he doesn't know he has a son. The killer and former pimp also doesn't realize that he's serving a life sentence because Heloise betrayed him. But he's clearly beginning to suspect that Heloise has been holding something back all these years. With no formal education, no real family, and no friends, Heloise has to remake her life—again. Disappearing will be the easy part. She's done it before and she can do it again. A new name and a new place aren't hard to come by if you know the right people. The trick will be living long enough to start a new life.

Last Woman Standing by Amy Gentry

Dana Diaz is an aspiring stand‑up comedian—a woman in a man’s world. When she meets a tough computer programmer named Amanda Dorn, the two bond over their struggles in boys’ club professions. Dana confides that she’s recently been harassed and assaulted while in L.A., and Amanda comes up with a plan: they should go after each other’s assailants, Strangers on a Train–style. But Dana finds that revenge, however sweet, draws her into a more complicated series of betrayals. Soon her distrust turns to paranoia, encompassing strangers, friends—and even herself. At what cost will she get her vengeance? Who will end up getting hurt? And when it’s all over, will there be anyone left to trust?

Not a Sound by Heather Gudenkauf

When a tragic accident leaves nurse Amelia Winn deaf, she spirals into a depression that ultimately causes her to lose everything that matters--her job, her husband, David, and her stepdaughter, Nora. Now, two years later and with the help of her hearing dog, Stitch, she is finally getting back on her feet. But when she discovers the body of a fellow nurse in the dense bush by the river, deep in the woods near her cabin, she is plunged into a disturbing mystery that could shatter the carefully reconstructed pieces of her life all over again. As clues begin to surface, Amelia finds herself swept into an investigation that hits all too close to home. But how much is she willing to risk in order to uncover the truth and bring a killer to justice?

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smokeybrandreviews · 3 years

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Smokey brand Retrospective: The Gift and the Curse

Brendan Fraser has seen a resurgence lately and i love every bit of that. Dude has been one of my favorite actors for decades. I’m an Eighties kid who grew up during the Nineties so i was right there when he came onto the scene. I was a massive fan f all of his early work; Bedazzled, George of the Jungle, Encino Man, Airheads, Blast from the Past, and even Monkeybone. Dude hit his stride right around the Aughts and then completely disappeared. We found out later it was because of some really f*cked up sh*t but he made it through and proved he still had with Robot Man on Doom Patrol. I’m so glad this guy got another shot at this movie star sh*t but i wanted to revisit the franchise that put him on the map: The Mummy.

The Mummy

I love this campy ass flick, man. I saw this one in the theaters because, at the time, i was super into CG. It had only been a few years since Jurassic Park blew that sh*t out the water and only a few months after The Matrix made everyone sh*t the bed. The Mummy just missed that window but it was still incredibly enjoyable. This was my Indiana Jones because i didn’t care about Indy for a long time. It’s not that they were bad movies, i was just too young to appreciate them. The Mummy came out right at the time i started to really understand why i liked cinema, what a good permanence truly was, and how beautiful a film could be. The Mummy covered almost all of those bases. Fraser did an excellent job as Rick O’Connor and Rachel Weisz stunned as Evelyn Carnahan. F*cking Evie, man. I was already a fan of Fraser but this movie made me really pay attention to Weisz and she became one of my favorite actresses. It helps tremendously that she is f*cking gorgeous! Rounding out the cast is John Hannah as Evie’s brother, Johnathan and Arnold Vosloo as the titular mummy, Imhotep. Also, i can’t not mention the scummiest of scumbags, Benny, portrayed so effortlessly by Kevin J. O'Connor.

I absolutely adore this film. It’s a not the best example of Nineties cinema, how can it be, and it’s a terrible remake of the original Universal Mummy but it does what it wants to do very well. I love the ideas and the world they built with this campy clusterf*ck. It shouldn’t work, it should be terrible, but it’s one of the funnest films i have ever seen. It has it’s issues, absolutely, but they are minor compared the non-stop action, the incredible cinematography, the dated but ambitious CG effects ,and solid performances from every principal actor. They really let Fraser do his thing and that energy carried over to the rest of the cast. Evie is every bit the bad ass as Sarah Connor or Ellen Ripley but is still a very girly-girl; Something that seems to be frowned upon nowadays. Imhotep id an unrelenting, vicious antagonist who controls powers from long ago, literally willing the seven plagues of Egypt into modern times. This movie is all over the f*cking place but it worse so well and every time i see it, i have as much fun as i did way back when i was a ripened fourteen years old.

The Mummy Returns

Boy, this one suffers terrible from Sequelitis. It does nothing new and is an almost exact retread of the first film but we have new characters and a new villain in the guise of... The Scorpion King! Yes, this is the first film that titular Arachno-Monarch makes his first appearance portrayed by a very young, very beefy, and later, very poorly rendered, Dwayne “the Rock” Johnson! That’s right, long before he was Franchise Viagra, way before he was punching out Dom into a stalemate in them god awful Fast flicks, The Rock got his start here, in the sequel to The Mummy and he’s f*cking terrible! Oh my god, is he bad but it works. His awful, awful, performance fits right in with the utter camp of this ridiculous franchise ans, to no one’s surprise, i loved every second of it. Now, as much as i love The Rock in this thing, i have to absolutely give it to Patricia Velasquez as Meela Nais, the physical reincarnation of Imhotep’s regicide partner and f*ck-buddy, Anck-Su-Namun. I didn’t talk about her much in the entry about The Mummy but that as mostly because she was more a plot device rather than a character. She isn’t much else in this one either but at least we got to actually see her for more than ten minutes. Plus, that fight between her and Nefertiri was f*cking glorious. Sixteen year old Smokey appreciated the f*ck out of that.

The returning cast hits their points perfectly. That chemistry never falters. Fraser, Weisz, and Hannah are exceptional together and Vosloo is, somehow, both far more menacing and hilarious at the same time. There’s this scene toward the end where he is utterly defeated and it’s the funniest sh*t i have ever seen. I also really enjoy both Oded Fehr as Ardeth Bay far more in this one than the last because he gets to do sh*t finally. Adewale Akinnuoye-Agbaje was also a welcome surprise as the muscle, Lock-Nah. Dude just kinds of stands around and i think he gets into a fight with Fehr that was pretty cool but a little trite. Obviously, as a film from the early Aughts, it has it;s problems. There’s a ton of culturally insensitive sh*t that Zoomers would probably be upset about but, you know, f*ck em. It’s like a sense f humor is illegal nowadays. That said, having Rachel Weisz, as gorgeous and half-naked as she is and was, portray an Egyptian is a little much nowadays. At least Patricia Velasquez is a type of Brown? An attempt was made. This thing is a mess and i enjoy every second of it. The Mummy Returns is substantially worse that the first but, at the same time, just so batsh*t that it is equally as entertaining. But f*ck that kid, though. Every time he’s onscreen all of the good times are thrown right out the goddamn window!

The Mummy: Tomb of the Dragon Emperor

I gave this one the hard pass for years. It looked like trash. Like straight up dog sh*t. This thing came out seven years after Returns and i just didn’t care. I was one hundred percent in my hipster film snob era and couldn’t be bothered. For a full f*cking decade and some change. Seriously, i just watched this thing the day before yesterday. For the first time. It was the inspiration for this retrospective because, after seeing this train wreck, i went back to check out the first two just to get the taste of dogsh*t out of my mouth. There are several changes made to the formula that immediately take me out of this film. First, and most egregiously, no more Rachel Weisz! She didn’t come back for the third. The reason behind her absence has run the gambit from vanity, to scheduling conflicts, to literally never getting a script. I don;t really care why, all i know is that her absence was felt. Maria Bello did her best but she isn’t MY Evie. Another “choice” was to age up that awful f*cking kid into an awful f*cking adult. That’s right, this is a “passing of the torch flick” and Luke Ford’s Alex O'Connell was supposed to take over the franchise going forward. That didn’t happen because this is Rick’s franchise. The Mummy would be nothing without Fraser and the at was proven when this thing tanked. It wasn’t all bad though. I really liked the new mummy, Han. They did some really fin things with his abilities and Jet Li never once phoned in an action scene. Unfortunately, even with the strength of the brand and outstanding lead performances, this thing still sucks.

I had a time with Tomb but it wasn’t like the time i had with it’s predecessors. I don’t know if it’s because I'm so much older and hardened by life but all i see is the flaws in this one. It doesn’t have the nostalgia goggles like the first two so i can’t enjoy it like i enjoy those. I just see plot holes instead of camp. Bad CG instead of rustic attempt. Poor set pieces instead of Nineties jank. Bad character writing instead of unfortunately hilarious dialogue. Tomb isn’t terrible but it ain’t good wither. It;s mediocre and i know the first two aren’t great but they’re better than whatever this wanted to be. It’s weird to see because there are a lot of great ideas here. I can see the vision that lays outside the margins and it’s frustrating. Fraser does is in his element as Rick and Li’s Han is a physical powerhouse but that’s not enough. As awesome as this movie gets when those two are on screen, literally everything around them is dismissible and i don’t understand how or why. I think a lot of the chemistry was lost when the focus was shifted to Alex from Rick and the recasting of Eve really didn’t do this film any favors. However, even with all of my frustrations, i can’t say i had a terrible time with this thing. It was entertaining, if a little bogus.

#The Mummy #The Mummy Returns #The Mummy: Tomb of the Dragon Emporer #Brendan Fraser #Rachel Weisz #Smokey brand Retrospective

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jazinerambles · 3 years

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Persona 2 Innocent Sin Review

I wanted to have some time in between playing the game and writing my thoughts for Persona 2 Innocent Sin. I will be referencing it and other Persona games so there may be some light spoilers for games 2-5.

I played the psp version of the game on a Playstation TV. I beat the game at 76 hours on the dot. I have not completed most of the theater missions, but I have completed the main story of the game and did do a few sidequests.

My review will be organized in several sections-gameplay, story, music, characters, LGBTQ representation, extra content, wishlist and recommendation.

Gameplay:

Persona 2 Innocent Sin was released in 1999. Therefore plays as a game from 1999. The PSP rerelease updated menus, changed the difficulty, and added all out attack art similar to P3-P5 for the fusion spells. I love the all out attack animation and although the menus got a little cumbersome, it didn’t really impact gameplay for me.

The biggest complaint about Persona 2 IS is how easy and repetitive it is and the high encounter rate. The battles for the most part are easy and if you set up all your attacks in the first round, you can basically use autoplay until an emergency occurs or you encounter an enemy in which you must change it up.

I never saw the gameplay as repetitive as others do and I feel those who do only just battle and that’s it. I was constantly trying to get all the fusion spells, max up my personas to trade them for items, try different combinations for the demon negotiations and spread demon rumors to get items, spells, and cards (you need cards to summon new personas in the velvet room.) Demon negotiations also allow you a better look into each of the characters’ personalities and relationships. Events in the game will change how the characters react in these negotiations so it is always nice to go back to them throughout the course of the game.

The demons you encounter have emotions. I believe they are intrigued, happy, angry and fearsome. Make them happy and they will offer a pact with you and give you free stuff and willing to spread rumors for you. Make them angry they will fight you. Make them fear you they will run away. Make them intrigued and you get the cards needed to summon personas and even more if you already have a pact with them.

I wanted to return to the big complaint though, the high encounter rate. This was something that I felt hot and cold about. Most of the time this didn’t bother me, because I needed to level up my personas anyway. But when I needed to backtrack and explore further, it did get a little bothersome.

You can use estoma to avoid enemies weaker than you. It is not a passive skill, so once you have a persona that has it, you have to cast it every time it wears off. At the Mu casino, you can also purchase a disguise kit that does the same thing, but it effects last about the same amount of time and it is ridiculously expensive. Just use estoma.

As briefly mentioned above, unlike Persona 5 in which you can just catch Personas, in P2IS there are only two ways to get them. You get cards from demon negations, take those cards to the velvet room and then trade them in for a Persona. But you have to enough cards to summon it and the persona has to be 5 cards within your character level.

You can also talk to the demon painter, for him to make you cards for the specific arcana you want by using blank cards. These are also given through demon negotiations that you have a pact with.

In P2, ALL your characters are capable of changing out Personas, but their compatibility with different personas varies with their Arcana.

The other way to get personas is through the story. There are certain actions that you must take to get the prime personas and then the final personas. These personas are character specific and you can’t give them to other characters.

I wanted to talk about three more things before I move on to the story: rumormongers, fusion spells, and dungeons.

Persona 2IS is based around rumors. Just like P3 is for the dark hour, P4 the midnight channel, P5 around palaces and so on...

To get certain items and progress the story, you MUST gather and spread rumors. There are five characters throughout the game called rumormongers. They will give you information in exchange for receiving information. You then share this information to the detective agency, pay a fee for them to spread them for you, and there you go. rumor spread. As mentioned earlier, there are also demon specific rumors.

Fusion spells were something I really enjoyed in this game. Although hearing “Are you ready? Here goes” and “Let’s go everybody” will be stuck in my head for the rest of eternity...

Basically, to create a fusion spell, members in your party require a requisite spell and then that party member is placed in a specific order when taking turns. Once that spell is unlocked, it will let you know if you have the requisite spells and you no longer have to adjust the order of party members. Some of the spells you need to unlock fusion spells are persona specific. The fusion spells are elemental.

I will not go into weaknesses of elemental spells, I am just going to say that you aren’t “down”’ed like you are in 3-5.

Finally, my first real pet peeve with this game-the dungeons.

Oh boy. Air raid, AeroSpace and one of the four Zodiac dungeons (I am pretty sure its Eikichi’s) gets ALL my hate. There are cheap gimmicks that make the game artificially hard but only for these dungeons and more so, frustrating.

But I am not going to go into detail why, and the other dungeons are not bad at all. But play the game and experience these dungeons for yourself. That is all I am going to say about that.

Story:

This section will be nowhere was long as gameplay. The story did not go where I thought it would, but that’s a good thing. I would go in completely blind if you can. The ending definitely surprised me a bit. I think it has one of the best stories of the persona games.

It does not follow a calendar like the later Persona games and time just blends together. By the end of the game, you won't know if a day, week or month passed from the beginning to the end.

Music:

The music is actually really good. It is the reason why I played the game in the first place. Just don’t look at the soundtracks names. Spotify has it available if you live in the US. You are better off listening to the soundtrack because I promise you that most dungeons songs will be cut off due to the frequency of battles.

Some of my favorite songs are Smile Hirasaka, Unbreakable Tie, Kurosu’s theme, Joker and the Taurus dungeon’s theme.

Characters:

Despite Persona 2 not having social links, I feel like I know these characters better than some of the persona games that do have social links. It is also the only Persona game that I can say without any hesitation that I like the entire main cast.

I truly love them all, but my favorite would probably be Yukino or Maya.

Unlike other Personas, the dynamics for Persona 2 IS are different, because not all of your party members are high school students. The adult characters have adult problems, the high school students have high school problems, and all of them have deep psychological problems and abandonment issues that will take years of intense therapy (or Philemeon) to forget.

One of the biggest themes of Persona 2 is confronting your past and learning from the mistakes of your childhood. And the characters do! And by the end of the game you are so proud of how far they have come. And then things happen...

LGBTQ representation

Let me say that I started P2IS off on the wrong foot, but I am still absolutely justified at being upset by it. One of the very first interactions you can have with a NPC is through a very uncomfortable exchange between you, Eikichi and a transman that is pretty transphobic. And to add the icing on the cake, Atlus refers to him as a “weird woman.”

I was literally going to just stop playing the game like an hour in because of that, but I decided to continue.

What I discovered was a game that has highs and lows when it comes to LGBTQ representation.

You can play as a bi character who can confess his feelings to men and women. *Stares hard at Persona 4 and Persona 5*

You have a gay character that has an interesting story, character development, is unabashedly gay and isn’t a walking stereotype. Nor is his entire arc centered around gay panic.

From what I understand the dialogue from the NPC does get better, but I am not holding my breath.

And the one sapphic kiss scene we get in a Persona game is a kiss of manipulation and not love. So that is a little sad.

But overall, P2IS does try to make an effort. And it definitely makes a better effort than its successor released almost 2 decades later.

Extra content:

Again, Persona 2 doesn’t have social links or a calendar. Please don’t approach it like the other games where you have to fill up your time between dungeons. It is not a necessity, but there are things you can do.

Mu is a casino that you can visit that allows you to play mini games to gain coins that you can use to get weapons, rare items, and even unlock personas. I spent a little too much time at Mu....

You can also talk to NPCs to do side missions. Be careful though. You have to do the side missions in a given amount of time or you may not get rewarded for it. Also P2IS is very much like Final Fantasy 9 where it is much better to go to a place sooner than later, because there may not be a later...

You also have the factory which is an optional dungeon that opens up more and more as you progress through the game.

There is the theater which is a PSP exclusive which has side missions unrelated to the main story that you can play. They are okay.

Wishlist

I hear so many people wanting a remake of P2IS so the game can be more accessible. I am very torn about this. Besides the difficulty and maaybe tweaking the encounter rate a bit, I wouldn’t change a thing. However, I also know that I couldn’t enjoy Shadow of Colossus until the controls were updated. Like I tried and then just gave up.

I honestly don’t want a remake. I don’t trust the Atlus of today with this game.

I do want it to be acknowledged and more accessible though.

But if I had to make a wish list, this is what it would be. Again, this would be a “it would be nice list.”

Make the battles harder.

Update cut scenes? I really like the art for the cut scenes already, but would like some more. Maybe keep the drawings but update the CG?

Social side quests. I do not want social links in Persona 2. However, side quests that allow you to learn more about your character like a social link would, would be something I would be very interested in.

Make the portraits consistent. The art from the original game and the new art put in the PSP game (I am talking about you climax lady) clash so much. Pick one style and stick to it.

I want to fight Ms. Ideal. Let me do it for reasons. Give me a chance to battle her.

I want the option to switch out characters. I love both Jun and Yukki, but I want to be able to play with both.

Let me skip the animation when I create a new Persona.

*EDIT* I can’t believe I forgot this and feel awful I did, but I do think they should keep the trans NPC, but change the dialogue and the the name. It isn’t the NPC that is the problem but the dialogue and actions. Otherwise, I think it would be ok.

I think that’s it.

Recommendation:

So should you play Persona 2 IS? Short answer, yes. Long answer is that it is complicated. In a few months the game will no longer be accessible for psp consoles. The physical version of the game is ridiculously expensive. You will have to accept the fact this game is on psp and its sequel’s psp version never came to English speaking markets.

You may not like the graphics, gameplay, or that it doesn’t feel like the later persona games. And as much as I love this game, that is alright. You do you. But I truly do think you are missing out on a great game. So if you have the opportunity to do so, yeah absolutely give it a shot.

#Persona 2 #Persona series #persona 3 #Persona 4 #Persona 5

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lany-d-flow · 3 years

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Thoughts: Barret as a Father Figure

I wanted to give my perspective on this topic, as it's one of many stigma-heavy thoughts about the actions of FF7 characters. I'll try to provide examples based on anecdotal experience and the circumstances surrounding Barret and Marlene's lives.

So, is Barret overall a bad father?

So, short answer: No, I don't think so.

Long answer:

Okay, anyway, anyone who has seen or played Final Fantasy 7 is probably aware of two characters: Barret Wallace and Marlene Wallace.

We first see their dynamic early in both Final Fantasy 7 and Final Fantasy 7 Remake. We also see a bit of this written in further works of the Compilation of Final Fantasy 7 such as "On the Way To a Smile: Episode Barret and Episode Tifa".

On the surface, we see Barret's unconditional love for his daughter. So many quotes from the game reflect this:

"She's tougher than me"

"That's right, little angel, I am!"

"She's cute as a button, with the heart of an angel..."

...And many more quotes I could cite. As one more example, during the ending of Final Fantasy 7 Remake, we see a moment of Marlene taking care of reunion flowers while under Elmyra's care. After looking at them, Marlene and Barret call out to each other, foreshadowing a reunion in one of the next installments of Final Fantasy 7 Remake.

All right, so we see that these two love and think the world of each other. However, some view Barret as a poor father figure to Marlene for trusting her into someone else's care multiple times throughout the story, including but not limited to:

Having Tifa care for Marlene while AVALANCHE goes after mako reactors in Midgar; having Elmyra care for Marlene while Barret joins the crew to go after Sephiroth; and after defeating Sephiroth and Meteor, trusting Cloud and Tifa to act as parental figures to Marlene while Barret heads back to Corel to atone for his past and find a new purpose besides being a man with a weapon as his right arm.

All right, so based on these moments, one could argue that Barret is not being a good father due to how often he leaves Marlene in the care of someone else, and instead of truly settling down as her caretaker, pursues purpose(s) he thinks are more important.

However, I do not fully agree with this view, nor do I fully agree with other views that Barret's incapable of being a good father. Do I think he could be a better Father to Marlene? Perhaps, yes. Many of the roles that our heroes in Final Fantasy 7 have are not done perfectly. There are examples I could discuss now, but I'll save that for later. For now, I argue the reason Barret leaves Marlene in the hands of others is that...

Life’s answers for the greater good aren’t always as simple as they seem. To do what’s best for someone you look after--in this case, Barret’s daughter--there may come a time when someone else can fill in as a guardian if the person does not have enough emotional availability to care for an individual.

Allow me to demonstrate explain, first by starting with how long Barret has been her father figure in the first place: around 4 years. Barret adopted her to take his Dyne’s place as Marlene’s father figure. Dyne, his best friend, was lost when Shinra took their usual cover-up approach when a mako reactor incident occurred in Barret and Dyne’s hometown, Corel. Instead of owning up to their mistake, Shinra decided to destroy everything remaining in Corel, including its inhabitants. Barret tried to save Dyne, but his right arm that was holding Dyne was shot by a Shinra trooper, causing him to lose control of his forearm and leading to Dyne facing an unfortunate fall into the Corel prison. Among the inhabitants in Corel, Marlene was an infant when Barret took her in as an adopted daughter. Infact, here’s her character bio in a Final Fantasy Ultimania:

Barret’s four-year-old adopted daughter. She views Barret as her real father, having no memories of her birth father, Dyne (Barret’s old friend). Marlene is remarkably composed for a young child and even occasionally runs 7th heaven by herself. - Final Fantasy Ultimania Archive Volume 2 (Pg. 063).

So based on the context the story gives us, we can conclude Barret spent 4 years looking after Marlene while residing in Midgar. He was probably in the middle of taking on odd jobs during this time, of course, and could not see her 24/7. However, such action is necessary if he is to make a living for himself, and more importantly Marlene. Ultimately that part is up to interpretation. What’s not open to interpretation is when Tifa became a part of AVALANCHE, she was the one looking after Marlene during Barret’s missions with his crewmates (Wedge, Biggs, Jessie). While we know Barret was not always around to watch Marlene, we can conclude that he knew who to entrust his daughter’s safety towards, as someone like Tifa has many motherly qualities, and above many things, wants people to live, especially people she cherishes (And of course she eventually becomes Marlene’s mother figure along with Cloud acting as the father figure when Barret heads to Corel). Eventually, when the team decides to go after Aerith at Shinra HQ, Barret entrusts Marlene to someone else once again. This time. it’s Aerith’s step-mother Elmyra, who will continue to watch over Marlene until the end of our heroes’ journey. Perhaps we’ll get a moment of reunion near the end of Final Fantasy 7 Remake when the team returns to the people they are fighting for, but for the next month Marlene is without her father.

All right, we know the endgame of Final Fantasy 7. The team survives the Lifestream-Holy-Meteor clash and they are alive, but now they must find a purpose in their new lives. While Barret stays with Cloud, Tifa, and Marlene at edge for some number of months, helping to build a new Seventh Heaven bar and home for Cloud and Tifa, he eventually decides to embark to Corel and leave Marlene under the care of Cloud and Tifa.

Wow, what a way to not look after your child that you dote on so much, right? For being her adopted father, Barret sure does leave Marlene in the hands of someone else pretty often. For some people, this can lead to the conclusion that Barret is not a good father figure to Marlene and needs to learn how to settle down and act as a real parent for her. While it can be said that Barret’s not an amazing father, I believe what he’s doing does have a realistic approach. He has no job, he doesn’t feel fully available to watch his daughter, and in the midst of this there are two people who are more than willing--and happy--to look after the person he cares about so much. If Marlene can receive a better quality-of-life from someone close for the time being, isn’t it best to give her that better life for now?

Well, I want to get a bit anecdotal about this. I come from a family of 7 children so I got 6 siblings: 2 older half-sisters, 1 younger full-blooded sister, 1 younger half-brother, and 2 younger half-sisters (5 sisters, 1 brother). Well over a decade ago when there was 4 of us, my biological father and mother divorced, and the aftermath was extremely detrimental to everyone. My mother was in a heavy state of depression and lost a lot of money; there was very little food to come by; us children were pretty much doing as we pleased with little consequence at the time; and my birth father was hardly there to support anyone but my younger sister and me.

So what action did my mother take for my older sisters? She sent them to another state for a year where our grandparents resided, as they were in a financially and mentally stable situation that could benefit my sisters for the time-being.

I could be here all day talking about the outcomes in minute detail, but to make sure that doesn’t happen, I’ll give the general aftermath: Eventually my mother recovered, found someone who became a doting step-father for all of us, and has unconditionally supported all of us in what we do with our lives.

The point here is that life throws us in complicated situations, and parents sometimes hit said situations that involve their child(ren). Many parents will absolutely dote over their children. Barret absolutely dotes over Marlene and is extremely concerned for her safety. But like Barret, there arise decisions in one’s life that involve changing guardianship for children. Some people have to work overseas and cannot take their children with them, so for a little while they can entrust that duty to someone else they are close to. If I’m going to draw parallels from other games, then the Persona series is a good example. I’ll be more specific: Persona 4. The protagonist is sent to Inaba where his uncle, Ryotaro Dojima, resides with his daughter. This happens because the protagonist’s parents’ jobs require that they be sent overseas. But his parents do not have to worry about their son’s livelihood because he’s sent to be supervised under someone that they trust, and someone they’re related to.

Conclusion

Nobody is perfect, and life is complicated. Sometimes there are roles in our life that we want to accomplish, but when it involves someone you care about, especially your own child, you want to make sure they have the best life possible. Maybe Barret would love to spend his time with Marlene as much as possible, but before he can really do that, he needs to get his own life together first. When that happens, then he can return to the person he loves more than anyone else in Gaia. Let’s always remember: Children are brought into this world, and it’s a cruel world, just like the real world. We want them to be as prepared as possible for the challenges life throws at them, so while they’re still young, look for the greatest good they can get, like Barret does.

#ff7 #ffvii #ffviir #final fantasy 7 #final fantasy 7 remake #final fantasy #barret wallace #marlene Wallace #barret #life gives us interesting situations #anecdotal experience #ff7 remake #Ff7r

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mrjoelgarcia9 · 3 years

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Let’s Talk #StarWars: The Sequel Trilogy

The Sequel Trilogy is not as good as the Original Trilogy.

However, it is still far superior to the Prequel Trilogy.

For my overall thoughts on The Force Awakens, The Last Jedi, and The Rise of Skywalker, feel free to keep reading. There will be spoilers.

During the decade after Revenge of the Sith wrapped up the Prequel Trilogy, rumors swirled online over the possibility of additional films. Disney’s acquisition of the franchise was a surprise to fans, but it opened the possibility for new stories to be told with additional films and spinoffs.

The Sequel Trilogy, the final part of the Skywalker Saga, takes place 30 years after Return of the Jedi. The galaxy is caught up in yet another war. The remnants of the Empire have become The First Order, while the Rebels are now the New Republic. The mysterious Kylo Ren is looking for the Jedi Luke Skywalker.

As this occurs, a stormtrooper (Finn) defects and winds up running into Rey, a woman who has lived most of her life on Jakku. They wind up joining The Resistance, led by Leia of the former Rebels. Through three films, and several twists and turns, they take on yet another major galactic threat.

Disney’s ownership of the franchise has become a very toxic topic for fans to deal with, such as when Lucasfilm declared the Expanded Universe of books, comics, and most of the TV series to be non-canon. It was primarily done to condense the continuity into just the films, The Clone Wars, and subsequent TV series like Disney+’s The Mandalorian.

Frankly, a casual fan who only sees the films (and maybe the TV shows) would probably not care enough to look up obscure characters such as Mara Skywalker or Prince Xizor.

As someone who only sees the films, and mostly ignores everything else, the Sequel Trilogy is a mixed bag. It is not the worst film trilogy ever made, being far more enjoyable and less annoying than the Prequels. However, it is also not as good as the Original Trilogy.

The Force Awakens does a good job reestablishing the franchise for both newcomers and long-time fans. It quickly introduces the new characters and uses the Millennium Falcon to then reintroduce the original characters. The action pieces were visually amazing, it had a lot of memorable lines, and ended on the right note. The only problem was the plot being eerily reminiscent of A New Hope to an extent (more on that later).

The Last Jedi was really good. It is the darkest film in the franchise, having all of the characters at their lowest possible points. There were a lot of great moments, especially with the slow confrontation between the ships and Rey and Kylo’s force meetings. It also had a few problems, such as the elongated casino planet sequences, the previously unmentioned sacred Jedi texts, and the film refusing to end.

It should have ended after Kylo took control of the First Order but then drags itself out with another climax in order to have him fight Luke. This sequence would have probably worked better if it were part of the next film.

The Rise of Skywalker was a decent conclusion. Like any third part of a trilogy, it struggled to wrap up the story. In this case, both for this trilogy and the entire saga while also leaving the door open for future adventures. It also had a lot of backtracking, with characters introduced in The Last Jedi reduced to supporting roles, Finn becoming a glorified shouter, and the sudden return of Palpatine.

It streamlined the plot to focus only on Kylo, Rey, and surviving original characters. The film sadly reeks of desperation by the filmmakers in an attempt to appease everyone after the previous film’s divisive response. The end result leaves longtime fans extremely bitter, casual fans lost and confused, and everyone else wondering who were the Knights of Ren.

All three films have two things in common: They were too long, like any Star Wars film, and badly recycled plot beats from the Original Trilogy. Here are three of the more obvious ones.

Death by Lightsaber: Obi-Wan in A New Hope; Han in The Force Awakens

A Reluctant Mentor: Yoda in The Empire Strikes Back; Luke in The Last Jedi

Palpatine Dies: Return of the Jedi and The Rise of Skywalker

It is understandable why most fans are bothered with the Sequels reusing the exact same beats, making them look like faux remakes. The Force Awakens is far more obvious, with only a handful of deviations making it clear it is not a full-blown repetition.

The Last Jedi tried to be different; Empire Strikes Back ended with the Empire basically winning, whereas Last Jedi ended with both sides at a stalemate. The Rise of Skywalker is mostly its own film, with the only major elements it recycles from Return of the Jedi being that of a character related to the villain and aforementioned death.

Despite those problems, what makes these films better than the prequels is everything else. Jar Jar was nowhere to be seen (and presumably dead).

When it comes to special effects, the films prioritized animatronics and puppetry over CG, the latter of which have badly aged the prequels. CG is used but only when necessary.

The lightsaber fights are a good compromise between those seen in the Prequel and Original trilogies. The former were hyperactive, goofy, and acrobatic, while the latter were slow-motion fencing matches. In these films, they have the right amount of gravitas, knowing not to get excessively insane. The closest they ever got to over the top was the fight at the Death Star remnants.

The acting felt far more natural and not as wooden as in the prequels. The performances actually had emotion and at no point sounded forced or angsty. It was great seeing Harrison Ford, the late Carrie Fisher, and Mark Hamill, among many others, return for the trilogy. At no point do they upstage the new actors, such as John Boyega, Daisy Ridley, and Adam Driver, allowing everyone to have their own shining moment.

The Sequel Trilogy has several flaws, from the repetition of certain plot beats to certain characters being wasted. When put alongside the Prequels, they are still the better films due to the acting and special effects. It may not be as good as the originals, but they are masterpieces compared to The Phantom Menace.

Regardless of how you watch the Star Wars films, it would be best to watch these films last, as they reference most of the saga’s first six films. Alternatively, just watch Revenge of the Sith and then the other six films.

The Force Awakens, The Last Jedi, and The Rise of Skywalker are available to own on 4K, Blu-ray, DVD, and Digital. All three films, as well as the entire Skywalker Saga, can be streamed exclusively on Disney+.

Until next time, thank you for reading!

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keeponshouting · 3 years

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After Infection

This is a rewrite and hopefully eventual completion of a massive multiverse mash-up of my OCs with a couple belonging to @whenromancesmoked and a few others from back in the day. I have absolutely no idea if anyone else is going to be interested in reading this (ok, I know a few people who will probably read it) but psh. I’m having fun and want to share.

Note: This is also a George Romero tribute of sorts. Like I started it for giggles because my PB for one of the characters was in the Dawn of the Dead remake and it just snowballed, which I guess means I should throw a WARNING: ZOMBIES sign up here or something. Anyway!

After Infection: Dawn of the Dead

It had seemed like a good idea at the time – or, well, more accurately, it had seemed like the right thing to do. There was a request from fellow hunters in a small town a few hours’ drive south and things had been quiet lately back home so Nate had figured that they could spare the time and energy. Besides, Dennis had been going pretty stir crazy for a while. Even if it was a hunt, it would be a good excuse to get out on the road for a while, a sort of vacation.

It had not turned out even remotely like a vacation.

They had been a little too late to the original party but apparently just in time for things to get much, much worse. Nate had brought a variety of tools just in case but he had primarily been prepared for an infestation of what locals called “hell rats,” a creature that was pretty common in the south and usually pretty easy to handle if you found their nests quickly enough. Sure they were venomous but as long as you were careful… He had not been expecting an infestation of zombies.

“The lot looks pretty clear right now.” Dennis is hunched over at the door, using the peephole to take a quick survey of the goings on outside their hotel room while Nate brews a second pot of coffee to get him through whatever the morning brings. After all, as long as decent coffee is available, he might as well take advantage of it. Lord knows he might have to go without for a while and God help his poor boyfriend’s patience if that happens.

When Dennis stands up straight again, his head is just about even with the top of the doorframe and he yawns as he leans back against the door, arms crossed over his chest. “So, come up with any plans yet or are we still waiting for the caffeine to kick in?”

Nate snorts into his cup and foregoes actually taking a drink for the moment in order to respond. “You ask that like I have any idea what sort of plan to use here. I’ve met exactly zero hunters who’ve actually had to handle zombies in the past decade at least. I honestly don’t think they’ve ever been a problem this far north before.”

“Well, there sure are a lot around here for something that’s never been a problem.”

“Some forms of infection can spread at an exponential rate in populated areas.” He drains a good half of the coffee in hand. “Our best bet is probably just to find out if there are any other non-infected people anywhere around here.”

Dennis flops across the bed, face down, with a muffled grunt.

Nate just silently continues drinking as the percolator finally finishes beside him and he very seriously considers making a third pot, just in case.

---

Zombies – shambling, groaning, flesh-eating, nearly Hollywood perfect zombies. For fuck’s sake. This should have been such an easy fucking job and now there are zombies.

Viktor strings together another line of curses, voice little more than a low growl, as he chambers another cartridge. Beside him, a terrified little girl whimpers. He simply scowls, sets Glock number one aside, lights a cigarette, and pulls out number two. “Zatraceně zasraný vědci.” Leaning over toward the window, he catches sight of a proper target and empties the last bullet into the back of its skull. What a fucking cliché.

This was supposed to be simple. They had agreed on that fact the moment that the specifications of the job had crossed the table. It should have been routine, easy money. Three towns, three targets, each plan the same; get rid of the scientist, call their employer, and let the clean-up crew come in and deal with the rest. The first two hits had gone off without a hitch. So, of course, it just figures that last one would have to be so much more complicated than it should have been.

“I—I—I w-want m-m-my d-da—daddy.”

Viktor’s jaw clenches as he exhales – slow and even, two thin streams of smoke – as he reloads the gun in hand and wills himself to remain calm. His patience is wearing thin at this point, though. He had not planned for going into this as usual and coming out as a babysitter. The target’s five-year-old daughter was not supposed to be in the house at the time of the hit. She only stayed with him on the weekends. What an absolutely brilliant turn of events that this was apparently the first Monday that she had ever spent with her father.

Dropping his half-smoked cigarette on the floor, he shoves himself up to his feet. He had lost contact with Miguel some time earlier, likely as a result of the scientist’s neighbor backing into an electric pole at full speed after one of the zombies had rushed her car. The impact had cut power to the entire neighborhood and he can only assume that it must be the cause of the interference. With long-range communication down, that leaves only one alternative: he needs to get within the functional range of their radios. Unfortunately, the hit had been planned for the late evening and he had only been able to make it as far as a vacant apartment building a couple blocks away before night had started to set. From here, short-wave does him about as much good as a water pistol.

“Come on.” Viktor has already reached the door and taken quick stock of the corridor beyond by the time he bothers to look back. Unsurprisingly, his unwanted charge remains unmoved, still curled up as small as she can possibly make herself, which is pretty damned small.

“A-are you g-g-gonna take me b-back to da-daddy?”

God give him strength but that stuttering is getting real old real quick. “Ne.” He swings the door open as quietly as possible and waits for a moment, listening for any movement outside, before carefully stepping out and making his way to the stairwell. With the knowledge that their escape route is currently free of hostiles, he takes a deep, centering breath and heads back to where he began.

“Look, holčička.” He crouches down in front of the child and tries to sound as reasonable as possible. Given his current level of frustration, he thinks that he is doing a fairly decent job. Miguel, however, would likely disagree. “Either you just come with me and go wherever I go, quietly and without complaint, or I leave you here. Your choice.” Yeah, Miguel would definitely disagree.

From the way that the little girl’s eyes go so much wider than he would have ever imagined possible, he feels safe in assuming that she disagrees as well and, five minutes later, they are creeping down an alleyway with more stealth than Viktor ever would have expected of a kindergartener.

---

What was taking so long?

That is the question that had led Alex out of the band’s bus and that was the question that he now wants to keep from crossing anyone else’s minds. This is all way too fucked up, like the should not be real kind of fucked up. None of this should be happening.

On the ground, backed up against the flat tire of the car that their driver had originally gone to help, Alex kicks hard into the jaw of what may have once been a perfectly lovely young woman and sends her sprawling backward where she lands on top of the monster still gnawing on the corpse of a man who should have still been living and breathing and driving their goddamn bus. Alex’s hand gropes around behind him for anything even remotely useful as a weapon and lands on the tire-iron just in time to smash it into the face of the dead woman once more lunging in his direction. Another strike as she tries to get up and he cringes and almost loses his lunch at the feeling of her skull cracking open and her brain splattering across the pavement. Hell, he really might have lost it if not for the howl coming at him far too fast. This time, he opts not to look as the hears the wet crunch and just leaps to his feet and starts running back toward relative safety.

“Alex?”

Oh fuck. “Stay on the bus, Val!”

“Don’t you fucking tell me what to do, Niccols! What the fuck is going—”

Alex fails to hear the rest as he spins around to slam the tire-iron as hard as he can into something else behind him. This time it gets yanked right out of his hand as the body drops and he scrambles back onto the bus, practically picking up a protesting Val in order to get her out of the way of the door that he immediately slams closed. He lets her go as he collapses into the driver’s seat, wide-eyed and hands shaking, and it takes him a moment to register the sound of his dog whimpering by his knee, let alone that of his own name. When the world comes back into focus, though, Val is staring at him in horror. It takes him another moment to realize why.

“Alex? What the fuck happened?” Whether she sounds more panicked or angry, Alex is far too dazed to tell. Her hands reach for his face, his shoulders, moving down to check every inch. “Are you okay?”

Taking a deep breath, he raises a hand to wipe at his face. No. No he is not okay. “Yeah. I’m fine.”

Val does not look like she believes him at all. “Is that—Fuck. That—That’s blood! Why the fuck are you covered in blood?”

Breathe, Alex. Always a good plan to breathe. “Shh. Don’t…” Never mind. Telling her to keep it quiet is pointless. Everybody else will have heard it already.

He shoves himself back to his feet, legs weak and wobbly, and stumbles as he makes his way through the curtain that separates the cabin from the rest of the bus. It is instantly evident that the rest of the band did, in fact, hear all of that. All three of them are already staring at him before he even properly steps into view. He is pretty sure that Sasha is the one choke out an “on shit” and it is definitely Macy whose response comes out as barely a squeak.

“Blood?” On his feet now, Macy rushes in to cling to Alex’s shirt, bodily fluids not withstanding. “None of it’s yours, right? You’re not hurt? You’re okay?”

Again, Alex reminds himself to breathe, turning just enough so that he can see where Val still stands in the doorway, Parker lying on the floor a foot or so behind her, his ears back and expression scared. For her part, Val is gripping the doorway so tightly that Alex can only assume that she is trying very hard not move and crowd him any further.

“None of it’s mine.” He looks at the faces around him, all of them staring, all confused and various degrees of frightened. It brings everything right back into focus. “We need to—” It takes a deep breath in and a slow breath out to get his thoughts back in line. “Everybody grab a bag, pack food, necessities, just—just whatever.” Stepping a little closer to Val, just near enough to pull one of her hands down from the wall and give it a quick squeeze. “We gotta get outta here.”

---

Nate leans out of the passenger side window just far enough to level his sights on one of the creatures that already looks less human and fires. One shot, between the eyes, and it hits the ground and disappears beneath the feet of its companions. He hears a quiet gagging sound come from the driver’s seat and finds himself feeling a bit queasy in turn. They are both going to need to make some real changes to their perspective re: what constitutes a monster and they need to make those changes really quickly because as of right now, it is going to be really difficult to get out of this mess without completely rewiring their conscience.

“Um, Nate?”

With barely a glance spared toward Dennis, Nate focuses himself on reloading. “Yeah?”

“How many, uh—how many of them are back there?”

The question gives him pause but Nate squints to get a count anyway. “About a dozen in view. Why?”

“Because we need to, uh—we have to stop for a minute.”

Nate drops back into his seat so quickly that he nearly smacks his head off the door. “We what?”

Not even bothering to look at him, Dennis simply peels one shaking hand off of the steering wheel to point at something ahead. “We have to stop.”

Nate has to squint but he starts moving the moment that he sees exactly what Dennis is looking at. “I’ve got the door.”

It was rather obvious even from a single glance at a decent distance that the man up ahead, standing stock still in his torn slacks and a blood, rolled shirt-sleeves, was staring straight past the car speeding toward him and cursing the sight of the ever-growing number of zombies trailing behind. Dennis hits the gas and is slamming the breaks in what feels like no time.

Nate shoves the back door open and feels like there is really no room for argument when he shouts to the man to get in but he has been wrong before and apparently he is right now. Instead of heading straight for them, the guy curses in a language that they are now close enough for Nate to tell is definitely not English and turns away.

“Hey!” Dennis spins in his seat to look behind them, which Nate is sure that he immediately regrets. “What the hell? What’s he doing?”

“I don’t know. He’s just—” And that is when the stranger pulls his gun, takes out three approaching zombies in relatively rapid succession, and finally turns to sprint back toward the car. “—getting a little girl.”

The child is practically flung into the back seat and their new passenger wastes no time slamming the door behind himself and snapping, “Go. Now.”

Dennis really does not need to be told and floors it the second he knows the door is closed.

“Take a left onto Carver,” the man continues, his tone speaking volumes regarding how unwilling he would be to hear any question or protest. “Follow signs for the mall plaza.” He leans out the window to pick off a few more of the monsters before Nate’s slightly incredulous look catches his attention and his scowl is honestly pretty terrifying. “You’ll be out of gas before the edge of town so, under the assumption that you wish to live—”

Nate’s eyes narrow in suspicion but Dennis has absolutely no qualms against following the orders of anyone with a plan right now and practically takes the aforementioned turn on two wheels when he nearly misses it.

---

“Are you sure you can hotwire this piece of shit?”

“It’s not a piece of shit, it’s a fucking classic.”

Val rolls her eyes at that as she continues trying to calm the utterly panicked Macy currently clinging to her so tightly that he might as well just climb into her goddamn skin. “Fine. Can you really hotwire this ‘fucking classic’?”

Two seconds later, the engine revs up as Alex sits back in the driver’s seat with a trin and a waggle of his stupid eyebrows. Sasha squeals in relief and flings her arms around him from her place in the back seat, as he laughs. “My mechanical genius is wasted on this red wire green wire bullshit.”

He pops the trunk just as something begins to stir inside of the nearby diner and Val shoves Sasha aside to squeeze Macy in so that she can help Nico load their bags at record speed. By the time she flings herself into the front passenger seat, there are already zombies starting to stumble out of the woodwork. Fuck seatbelts. “Gun it!”

Alex hits the gas and they peel out of the parking lot just as the diner’s doors give way.

He had tried to explain what had happened while they packed. It had felt impossible for Val to actually wrap her mind around it at first but once she had seen the mess outside? She had practically dragged Alex and Macy off in search of the nearest source of potential transportation. They needed to find something quickly and it needed to be something fast and she needed to not think about how painfully familiar the blood and gore looked, though she had only ever seen anything like it in her nightmares. When Alex had needed to stop and vomit into the nearest garbage can, she had a feeling that she understood why and a little pocket of rage flared to life in her chest – not because he had to stop but because he never should have been the one to wind up with someone else’s blood on his hands.

“Where are we going?” Macy is the one to finally ask, almost inaudible from where he has curled up against Sasha now, and Val catches his eye in the rearview mirror before she looks toward Alex.

Alex, however, is entirely too focused on driving to really think but so much and instead catches her eye before clearing his throat. “Nick?”

In the back, Nico turns away from the horrors outside of his window. “What?”

“How do you defend yourself against a zombie invasion?”

“Wha—Zombies aren’t exactly my specialty here.”

“No,” Alex agrees, “but zombies are supposed to be a helluva lot dumber than, say, Reavers, right? You know Reavers.”

“So?”

“So how would you defend yourself against an invasion of retarded Reavers?”

The drummer just stares at him for a moment with an expression that plainly says that he may consider that to be the dumbest question that he has ever heard. Eventually, thought, there is an answer. “I’d find the most well-stocked, easily-fortifiable location I could think of and hope I could wait out the attack or find some other way to get through them.”

There is silence in the car and then Alex shrugs. “All right. So, where’s the most well-stocked and easily-fortifiable location we can think of?

Five minutes later, they find themselves screeching into the parking lot of the local mall. The location almost seems somehow normal, given the situation at hand. In fact, were it not for the shrieking horde behind them or the knowledge that Alex is currently doing seventy into a public lot, it might almost feel a little reminiscent of home. Val almost finds it funny, really. What’s funnier to her than coming to a mall for safety, however, is the fact that they were obviously not the only ones with that idea, as they are definitely not the only ones pulling into the place with a bunch of undead goons straggling along behind them.

---

“Miguel.”

There is a burst of static in his ear as Viktor leans out to empty his 22 into the crowd of creatures still chasing behind the car that had picked him up on the highway. Once within range, he takes out a couple of the ones latching on to the other car that had pulled in to the lot at about the same time, too. When his magazine clicks empty, he makes a snap decision to save his 20 for later and drops back into the seat to reload. The driver glances at him in the rearview, looking a little bit frightened, while the original passenger only eyes him for a moment before leaning out of the other side with a freshly loaded shotgun. His fellow gunner might not be terribly trusting but at least Viktor can respect that. Besides, who needs trust? The guy’s a fairly good shot.

“Zatratím tě, Miguel!” The little girl still curled up beside him whimpers. He can hear it over the gunfire, the static, all of the goddamned zombies. It is grating on his very last nerve. “Odpovídáš mě!”

He could hope for no better response than to lean back out just in time to watch as a line of four hostiles drops one by one.

“En ingles, ’mano.” Another line of undead hit the ground as the line sputters out then clears up again, leaving room for easily the most welcome voice he has ever known. “Now where the Hell have you been?”

Viktor nearly laughs. “We can trade stories later, miláčku. Right now, I need cover fire while I try to get these people into the posraný mall.”

“Going shopping?”

“Sklapni. We try the mall or they come to your shop.”

“How many?”

Viktor glances toward the other vehicle still circling around the parking lot with them. “Eight plus me.”

“Well, if they dropped you—”

“Miguel.”

“Sí, sí, the mall sounds like a plan. There’s a garage off to your right. No good angle for me to shoot the lock off but I can keep the number of uglies down while you get in.”

“Děkuji.”

“That means thank you, sí?”

Viktor rolls his eyes. “Sí.”

The line bursts back into static with a laugh.

---

As it turns out, the garage door does not, in fact, require a shot to the lock. It rolls up just enough for the two cars to through before Dennis’s little hatchback even hits the ramp. On the other side, a young woman motions for them to hurry while two men in security uniforms stand to either side of the entrance to help keep the monsters at bay, though it appears that this Miguel guy really only needs the most basic of assistance. His precision is honestly kind of terrifying and Dennis is just as glad not to see any more examples of it as he swerves off to one side so that the other car has room. Nate and their scarier passenger are both out before he even has the damned thing in park, seeing to it that nothing gets in the way of girl at the door to slam the thing shut.

“We saw you on the security cameras,” of the security guards explains as he climbs up to try and jam the gears.

The other car’s driver takes a moment to collect himself, then grabs a wrench and makes his way over to the ladder. “Here. Let me have a look at that.”

“Figured we couldn’t just leave you out there.” The guard climbs down to let the driver up. “Then Shannon said she thought you were headed this way.”

“Thanks.” Dennis finally climbs out only to stretch over the top of his car.

The woman now known as Shannon simply smiles. “No problem. Mercy for your fellow man or something like that.” She laughs and shrugs, looking slightly flustered, though that is probably to be expected, all things considered. “Anyway, come on. Let’s get you all inside. We’ve got food, clothes, relatively comfortable furniture… We’ll get you poor things all cleaned up and sorted out in no time.”

There is a general rumble of agreement as the little group follows her to the door that leads into the connected store, allowing themselves to be ushered toward where another girl is waiting somewhat impatiently. That is, they all follow along aside from one man, anyway, who simply mutters something into his headset before switching it off and making his way back over to the hatchback. Shannon looks back, confused, as does Nate, though he looks more suspicious about it.

Dennis just sighs. “The little girl.” Then he ducks through the doorway and drags Nate away after the rest.

---

“Come on, holčička.” Viktor crouches down beside the open car door with a sigh as the child remains curled up in the center of the back seat. Children. How did anyone actually deal with children, let alone have them by choice?

The little girl simply whimpers and mumbles, “There are monsters out there.”

Well, at least the stuttering has stopped and he supposes he can concede that she has a fair point. “The monsters are outside, not with us.”

Before he can receive a response or think of anything more convincing to say, there is someone else coming up behind him, bending down to look the child in the eye with a painfully sympathetic and all too sugarcoated smile. He might be able to handle the sight of it at any other time but right now, with everything that he has just been through and the way that she has the gall to place one of her hands on his shoulder as if—God, he would really like to wipe that smile off of her face.

“Hi, there,” she says, voice floating in a way that speaks plainly of a familiarity with appeasing people under the age of seven. “I’m Shannon. What’s your name?”

Caught slightly off-guard, the child squeaks. “Um. I—I’m—” The little girl shoots a quick glance toward Viktor then, almost as if asking permission to speak with this new stranger before she finally answers. “I’m Amanda.”

Shannon’s smile becomes even brighter, even sweeter, if that is even possible, and Viktor has to dig his nails into his palms to keep himself from taking out her kneecaps when she leans even further over him, hand squeezing his shoulder. “Amanda? Well, that’s a pretty name! Are you hungry, Amanda?”

The little girl nods.

“Well, we’ve got all sorts of food inside. We’ve got toys, too, and games and books and all sorts of neat stuff.”

“And—and no monsters?”

Shannon laughs. “And no monsters.”

Still curled up in the seat, Amanda chews worriedly at her lip for a moment longer, eyes flashing back and forth between the two adults still there in the door. Shannon keeps smiling, encouraging. Viktor just stays crouched there with a clenched jaw and a headache starting to build behind his eyes. When the girl finally moves, though, it does not go entirely as expected. Rather than reaching for Shannon’s offered hand, she instead launches herself forward to wrap her little arms tight around Viktor’s neck and duck her head in under his chin, completely unaware of the rather undignified look of surprise that he is entirely unable to keep off of his face. Unhelpfully, all Shannon does in response is giggle.

#otto writes #original characters #zombies #violence #lol wut #writing: after infection

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steve0discusses · 4 years

Text

Yugioh S4 Ep 25: Oh Hai Mai

Heyyy we’re back. Thank for bearing with me, it’s been kind of chaos over here. Everything from a pandemic (we are very sloooowly reopening over here but I’ve been quarantined so long I can french braid my damn leg hair.) to important political protests, to getting an evacuation order because an arsonist burned down 90 acres in the heat of summer (luckily we’re all fine), to a vole that ate everything in my pandemic self-care garden so I lost my entire mind and waged war and dug so many holes and put out 17 mouse traps and set off so many critter bombs under the ground trying to kill the little bastard like it was Caddyshack (It’s still alive, ps, I lost that war). These last 3 months have been the longest decades of my life. The only month longer was the one where I’m pretty sure I had mono and it made me positive that my basement was haunted.

Man, bring back my haunted basement, Sorry if this comes through in my writing, I tried but, I can’t edit it out. You get FML-Rachel today.

Lets get back to a good, mindless distraction, lets turn on Yugioh.

BUT------->it just so happens that this episode of Yugioh has cop stuff in it, I’m just going to be blunt. We’re going into Valon’s backstory, he’s very much a victim of problems within the bizarre Yugioh legal system, and much like a Gotham supervillain, he is a symptom of the problem more than the cause.

I’m not going to ignore that, but in case you are overwhelmed about that right now, if you want to like...save this for later--I have another FMA recap coming out soon that I wrote in a simpler time before....the corona freakin ruined us all.

Last we left off, we were on the heels of Joey Wheeler, who decided to book it down the street because he wants to murder the hell out of Valon.

Youknow...Joey is one hell of a protagonist. He just does...so MANY antagonistic things.

Joey has decided that although the world is ending, and everyone left alive will be absorbed into the Great Leviathon’s big yummy tummy, which can only be prevented by three people, of which he is one of--he’s going to go sprint in completely the other direction.

We even managed to get Kaiba on board. We were ready. We were done, but then Joey had to lose his freakin mind because that’s just what Joey Wheeler does sometimes.

Normally heroes avoid the call to duty because of a severe lack of self confidence, but this is Joey, and he’s going to avoid the call to duty because of too much self confidence.

And so Joey and his Chaperone turn a corner and walk into this random orc who’s just casually living his best life and touring SF.

One of my worst fears walking through SF, tbh. Running into high school people. Not so much the orcs.

Yo, I wonder what the bushman was doing through all of this? So IRL, we have this guy who just...hides in a bush and jump-scares tourists. I can’t imagine what it must be like to be in a bush and then just...all these orcs show up and you’re all.

...oh no, now I’m the fool...

I just want to know if bushman made it, or if he’s in a paper card that’s just a picture of foliage.

(read more under the cut)

Anyway, Joey was already in the process of running, so they just turned around on this street of...so much parking.

Like y’all there is SO MUCH PARKING this episode. I was trying to pay attention to anything else, but like...do you see this!? It takes nearly half an hour usually to get a spot but this--this right here?

And the crazy thing is, recently my bro had to go pick up some old guy from a cruise that...got quarantined...and so bro had to go the Pier and like--this is what the city looked like. This is a pandemic, it’s just lots of parking, so I want to criticize Yugioh, and I normally would, but I can’t. I’ve seen the receipts. They called it. This is what the endtimes look like and it’s so much parking.

Also, they were too lazy to draw cars but damn, they called it.

So, left with no other option, Joey decides to...be Joey, and punches a huge orc covered in armor.

So Valon’s here, because apparently SF has just...no one left alive in it except for these few kids and that one Uber Eats driver. I imagine it’s a lot easier to find Joey if you just follow the only one screaming in Japanese in a Brooklyn accent at the top of his lungs.

And Valon decides that this one way street isn’t good enough, and that they must duel somewhere else.

I assumed it would be a tall structure, but considering Kaiba just blew up the tallest structures in the Financial District...I was like...what else is tall? And bear in mind, I’m a mess, so I was like...OMG I wish it were Macy’s!!!

Now I hear you saying that’s weird, and we shouldn’t have a very fancy Macy’s in 2020, and you’re correct. but we still have one, and the top floor is just...a massive Cheesecake factory, and I can’t think of anything more 00′s than a Yugioh duel on top of that specific Cheesecake Factory.

And I’ve never really thought before about where the best Yugioh duel would be, and it’s there. It’s at the high rise Cheesecake. Listen Yugioh, if you need an insider to choose locations for your Netflix remake of S4--call me.

So anyways, instead of doing the right thing and going to the Cheesecake Factory on top of Macy’s like any other self respecting 00′s teenager, Valon and Joey are going to drive through the most boring parts of town.

They had an opportunity to go chase eachother through any tourist attraction, Lombard street, Ghirardelli Square, the Palace of Fine Arts, China town, reuse some assets and drive through Japan town, that fountain that looks like Yoda--but no...they decided to drive through literal trash.

Just...a missed opportunity, and it should have been a Cheesecake Factory.

Also, I totally and fully acknowledge that a strange nostalgic affection for the Cheesecake Factory is a weird Millennial thing (much like our weird encyclopedic knowledge of Sailor Moon) but listen. You have your thing, too. You go do you, I’m gonna soak my sorrows in a bowl of Chinese chicken salad so wide, it’ll last me 3 days.

Anyways, Joey’s gonna steal that guy’s bike.

Yugioh just predicting the future in 2003. We actually have a HUGE problem right now with vehicle theft in the city to an almost comedic degree, which is partly why the parking situation has gotten so incredibly dire. It’s kind of incredible that this guy left his bike out because after about 1 day in the city you learn pretty fast that you need to be constantly checking on your street parked vehicle--I mean, that guy was just asking for it, honestly. If Joey hadn’t taken it, some other guy would have absolutely taken it, (even that orc would’ve taken it, the city has no consideration for cars.)

Sorry --one sec-- that was an earthquake just now. As I’m typing this. Just a little guy. Just a little treat for me...

...but still like...c’mon. I’m also getting this weird issue where Tumblr doesn’t save my drafts so like...this is like the 3rd time I’ve had to write this like...I just want to make a Yugioh post for my tiny funtime tv blog, Universe. Don’t @ me right now, Universe.

SO MUCH FREAKIN PARKING.

...is it the space between two piers? What is this? We don’t have rivers in SF, it is a peninsula covered in very steep hills. Like very VERY steep hills. All water just rolls into the ocean and there’s a couple of lake thingies but...no rivers that I know of (And like maybe this is a thing, and I just haven’t seen it? Learn something new every day.)

*loud, audible sigh* home. Where we belong. At the warehousssssssse.

Back at the RV base, Duke Devlin is still babysitting. Maybe this is to make up for the two seasons he spent trying to date a girl Rebecca’s age, that they felt like going out of their way to show that he has indeed no longer horny now. Got to hand it to them, that’s a lot of character development right there. Although at the same time, it has made Duke Devlin a very non-character.

But imagine how insanely complicated would it have been if Duke got involved in that bizarre love-square that is Yugi, Tea, and the Ghost that killed Yugi by accident.

PS that’s either a freeway onramp (which is too far South from where they were, I think) or it sure does look like old Embarcadero behind them. Youknow, that lifted street from the 80′s that fell down in Loma Prieta and was never rebuilt? I just freakin love that it’s still here in 2003. This bizarre Yugioh alternate California.

Anyway, because this is alternate California, Seto set a massive fire and the entire city didn’t immediately go up in flames. Apparently they just kinda ran away from the explosion and damage before anyone noticed.

Probably because most people on Earth are dead anyway, so what more can these two actually do?

And so Yami ends up getting lectured by the wife.

And justifiably, the wife seems to have absolutely no confidence that Yami will be able to do a damn thing right.

Wifes all around this episode.

Speaking of,

At this point, Arthur Hawkins senses that Yami’s nearby, so he opens the door just to freakin dump some guilt on him.

...Rebecca seems to be a character that’s mostly there to recap the lore and also to dump on Yami. I don’t mind that. Yami needs to get dunked more often, and I’m saying that in S4, where the entire season’s tagline is “how many times can we dunk on Yami?”

So lets check on Yugi, how’s that kid doing? It’s been quite a number of episodes since we last saw him.

Yep, still hanging out in the Han Solo cosplay room.

And then, because I guess everyone is just hanging out in the same 4 blocks, Mai and Tristan have a heart-to-heart.

In the show, this conversation was Mai (who is now a serial killer) saying “Oh hey, Tristan, where’s Joey?” and Tristan saying “It’s ALL YOUR FAULT he wants to kill Valon--thanks a lot, Mai! GODS!” all indignant like.

Not how you would ordinarily talk to a serial killer, just saying. No one from the Yugi crew fears this woman...at all...and she has killed over 20 people in front of them and is trying very hard to kill Joey Wheeler all the time.

Like what would it actually take for them to fear this woman? They can’t, right?

Meanwhile, Valon is trying to explain to Joey that his obsession with Mai is in fact damaging any relationship they could have had.

So then when you’re like OK...this is actually very valid points on Valon’s part, and Joey really does need to step back and let people make their mistakes considering Joey was barely a part of her life to begin with. But then, Valon just turns a 180 and...it becomes a catty love triangle where only one person in the triangle even feels romantic emotions.

I just...so Valon is doing this fight because he thinks Mai is in love with Joey.

This whole time I was like “well maybe it’s more that Valon is trying to defend Mai’s right to make her own choices” but no...he just straight up thinks Mai is in love with Joey. And, in fighting Joey, Valon himself is ignoring Mai’s life choices

Just a whole lot of misunderstanding that would have been fixed with better ways than dueling with cards. At least that one guy in S2 who tried to marry Mai actually dueled HER instead of some random guy.

It just really feels like these boys are having a pissing contest and Mai was never let in on the deets that this was even happening.

Mai needs to hang out with older men. Set her up with Roland, this is ridiculous.

Back at the RV, which got very, very big in this shot, Seto has an odd convo with Mokuba about how they are probably not going to get Kaiba Corp back. And then no one really argued with him about that.

He’s taking it really well. Maybe because this isn’t even the first time or the second time or even really the third time Seto’s lost everything. Kid’s really freakin great at failure. At least this time Mokuba isn’t currently abducted, which is really good improvement for these two.

Outside the RV, Tristan has decided to...give up as well, just right here, in the middle of traffic. Then he gets Orc’d...these orcs are kind of like Slenderman, in that they kinda...show up...but then that’s all they do because the designers didn’t actually want to animate anything.

And then this happens.

God bless this story boarder for this random series of events presented in just this way.

Also here’s yet another example where Tea just has...no fear. She’s actually only out here because she was like “that’s it, we’re getting another driver” and was going to chew out Duke Devlin. The Orc being in the middle of the road was not the reason she walked out here.

Anyways, Yami killed it because everyone here can just throw cards forever, these things are not threatening.

The subplot of everyone refusing to drive with Duke Devlin after he busted his car in Death Valley is still ongoing, and it’s still low key hilarious that no one will outright say “Duke, your driving is just so bad” and instead, Duke just has to sit there and watch Joey STEAL A MOTORCYCLE just so he won’t have to drive shotgun with Duke Devlin.

Rebecca, our plot-dump device, then informs us that Valon has Special Rules.

Because Valon, if you’ve forgotten, has a card that allows him to physically punch his opponent in the face.

They should have invented that card a long time ago TBH.

SO, lets get into Valons tragic backstory. First off, go turn on your Les Mis Soundtrack, because this is some old school cop stuff.

So apparently Valon, as a child just...stayed in the system forever. We don’t know why yet, but lets just assume that it’s tragic and heavy handed. If he steals a loaf of bread and ends up in 12 Juvies (which is a line from the show and not an exaggeration--12 Juvies) then I will expect him to be singing by the end of this and I will be very disappointed if he does not.

Anyways, he was such an asshole, that he caught the attention of some very illegal rich bastard who was trying to turn prisoners into...card murders. (it was Dartz.) because apparently...Dartz also funds prisons and that is...that is some deep lore.

And so probably about the same time that Yugi was Dueling to the death on Pegasus’ Island, and about the same time that Marik was hanging out in the ocean next to Pegasus’ Island with a pair of binoculars, and about the same time that Noah was underneath Pegasus’ Island just watching Pegasus steal KaibaCorp, Dartz decided to make his OWN murder island--because I guess he got jealous.

Anyway, Valon won, and didn’t even need to set anyone on fire.

Those little green things there--those are all souls of prison inmates.

YUGIOH.

Millennials got DARK, OK? Freakin...we had a show for 9 year olds that went deep into the school-to-prison pipeline and didn’t even try to hide it under any layers of symbolism. Like Hunger Games at least had two people survive.

This was a show to sell PAPER CARDS.

+++++++++++THIS IS A RANT WHERE I WENT OFF ABOUT PRISON TALK IN KID’S SHOWS FEEL FREE TO SKIP++++++++++++++++++++

Now, there’s a lot of good conversation going on right now about errors in the modern justice system on not just a local scale, but on a global scale, especially regarding racial profiling and criminalization of poor, sick, and young, and we better keep pushing it. But it’s surprising when people pretend like this hasn’t been talked about for a long time. Because...we’ve been talking about it in kids and YA shows for a long time. This is not something that just popped up in 2020.

Like millennials didn’t invent this obsession with dark and gritty stories with uncomfortable themes. It’s been around for thousands of years, but back in the 90′s and 00′s, a lot of shows for YA and younger enjoyed talking about the problems with prisons and abuse of power with our justice systems--a lot. Batman, X-men, Death Note, so so many, hell, even the OC.

And like, don’t get me wrong, we still have these shows running around, but I’ve been there’s been a trend of stories (not saying names) where just...nothing bad happens. And, that’s kind of sad because...they CAN have small elements that are more progressive in them, but only brought forth with a very risk-free cotton candy fluffy coating to make the majority of the population happy.

I could go long about this, and I’m getting very cryptic. If a kid escapes to more colorful worlds where nothing bad ever happens, that’s OK--sometimes you need that, but when nothing bad ever happens surrounding certain experiences where bad things normally happen--the meaning of the story changes because it isn’t a real experience anymore.

Like I don’t want to tangent too much, and I just had to delete a lot of examples, but I know a lot of people want to write stories about misrepresented minorities and about real deal serious situations and are just so afraid of misrepresentation that they go in completely the wrong direction by not putting in anything uncomfortable at all. I think it’s important to look at the work and ask yourself is this about the minority the work should be about--or is this work about patting the majority of the population on the back and saying neat, we’ve achieved utopia without having to even do anything?

...anyway, obvi I’m ranting, but I feel like we’re taking a step backwards when it comes to the importance of kids programming and that we do need to talk to kids about prison again. This is a show about paper cards, and they don’t do a great job at talking about...the reality of prison, this was exaggerated with genre stereotypes, but at least they didn’t cover it with rainbows and unicorns, because this isn’t about how great Joey and the “normal” people are at saving Valon, this is about how society screwed Valon beyond repair, and I am 99% certain we will see this guy’s soul stuffed in a brick above Dartz’ snake fireplace.

Like, yeah he duels to the death on an island, but that’s imagery that is very close to real life prison issues. We don’t talk to kids a lot about how a lot of inmates get enlisted into the military during war times (and quite literally...duel to their death...on islands). We don’t talk about how we use inmates to betray eachother for a chance at maybe getting amnesty. We don’t talk about how a lot of the victims of this system are essentially children, and have been caught in a system of endless prison for what will probably be the rest of their lives. We don’t talk about how we’re systematically turning kids into criminals so much in kid’s shows of late...and Freakin Yugioh just did in a filler season.

....................I think our standard for modern kids programming to talk about serious issues is way too low if Yugioh just threw this out there in a filler season, is all I’m saying.

++++++++++++++++++END OF PRISON RANT++++++++++++++++++++++

So, Valon is free but...is he?

Not really, he’s just gone from one jailer to another, but at least this time he gets his own room. Don’t blame him for latching onto Dartz’ dream to end the world, because the world for him has been one behind bars. He doesn’t know it. Never been there.

It’s just interesting juxtaposed to Joey because Joey had some sort of Season Zero history with a gang and I haven’t watched that episode yet.

So that’s it for now, again, I’m very slooow lately. I slept for 3 hours today...and I don’t know why. But hey--we all got through three (four???) months of this...we just gotta go...one month at a time.

That and I accidentally did my taxes early so there’s that. See? Good things still happen.

Also, because I only slightly referenced the most incredible movie ever made on San Fransisco soil, I’ll just leave this here. The true hallmark of our city.

youtube

Anyway you know the drill, here’s the link

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vgperson · 4 years

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What Did I Do In 2019?

#vgperson

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angrylizardjacket · 4 years

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you wrote ‘don’t forget’ on your arm // 2 // charlotte&lola (penny&jupiter)

Summary: The Dirt.

A/N: @misscharlottelee and @local-troubled-writer . warnings for attempted suicide, overdoses, drugs, alcohol, swearing, angst, and everything else in The Dirt movie. Very Long.

Part 2 of 2

----

Lola’s holding Nikki’s hand. Jupiter’s sitting behind them in the theatre, with Seo on one side and Penny on the other, with their siblings, and various band members’ children filling the row beside them; the band themselves, and the cast, sitting in the row in front.

And Lola’s holding Nikki’s hand in her white-knuckled grip, nervous. She doesn’t speak. The lights go dark. Jupiter doesn’t know quite why they do it, but they take Penny and Seo’s hands too.

“The 1980s. The worst fucking decade in human history...”

Jupiter’s never gone out of their way to learn much about their family history; it’s never done them any favours, and they don’t wanna read about how debauched their family was. Nikki, technically their stepdad, was a base player, and that’s all they cared to know. Love of their mom’s life. Whatever.

“That’s Tommy, our drummer. He makes a lot of bad choices.”

It’s with a huff of amused resignation that both Jupiter and Penny make a noise of agreement, trying to detach themselves from watching Colson as Tommy go down on a girl on the big screen in front of them. After hearing them, Lola casts a quick glance over her shoulder, giving an amused smile.

The first thirty seconds gives Jupiter more information than they’d ever wanted to know about their extended band-family, though they knew Mick was their favourite for a reason.

So it comes as a shock to see Nikki’s life laid bare in the first few minutes, so quickly after that. About shitty boyfriends his mom had had, how he’d framed her for abuse, how he’d been put into the system, how he’d met Lola.

“And then there was her, the only person I’d met who could top my psycho mom origin story.” The film crash-cuts through two second clips of a young Lola arguing with her mother, and her mother shoving her into a candle, followed by young Lola screaming in a hospital bed, her in court, and finally her glaring down at a young Nikki in a group home. She kicks him hard in the shin while he’s asleep on a sofa, contrasting the voice over. “The only person in the world who seemed to give half a shit about me.”

And Jupiter finds theirself with a strange, hollow feeling in their chest; five minutes and they know more about their stepdad than they’d ever bothered to learn in the before.

“Dude! Fuck yeah! Finally my turn!” Tommy’s voice rings out, and the scene shifts.

Jupiter knows Tommy’s story almost too well, but Penny’s grip on Jupiter’s hand turns suddenly painful.

“If I knew you were gonna make me late, I wouldn’t have invited you at all!” Tommy groans as he steps into the kitchen, and the camera whip-pans around to show Charlotte, all dressed up, looking as ready to go out as Tommy, contrasting the rest of the family.

“I’m never going to say no to your mom’s cooking,” Charlotte tells him with half a bread roll in her mouth, before smiling sweetly at Tommy’s mother, thanking her.

“Just keep him out of trouble,” his mother tells her with an amused smile, and Charlotte stands, taking another bread roll and heading to Tommy.

“She can try.” Tommy snorts, clapping her on the back, “come on, I don’t wanna miss them!”

Charlotte, as portrayed by Josie, is bright and cheerful, sarcastic and more earnest than the rest of the band put together, and Penny’s hand in Jupiter’s is trembling as Tommy’s voiceover explains that Charlotte’s his cousin, and the only person in the family who ‘wasn’t a square’.

Nikki and Lola meet Charlotte and Tommy that night in the diner, and Lola’s bleeding, same as Tommy, and Charlotte asks if she’s dead.

“Charlie’s the only person I’ve known who could talk Lola out of a bad idea,” Tommy’s voice over explains, just as Lola, in the diner, grimaces and spits a mouthful of blood.

“Fuck you,” Lola glowers at Charlotte.

“And Lola’s one of the few who could lead her into one.” Tommy adds candidly in hindsight.

But then Tommy’s twirling his drumsticks, and Lola goes from looking murderous to intrigued; she and Nikki share an impressed look, and the scene cuts to the one of Mick’s introduction.

Surprisingly enough, Jupiter wasn’t shocked by any of Mick’s story, they’d spent a lot of time with him in their early 20s, he’d taught them guitar.

But then there’s Vince’s introduction, his first jam session with the band, and the naming of the band. In the background, there’s Lola, always there, always unexplained, just around, just like Charlotte, the two chatting, forming a fast friendship in the background.

And then the first gig rolls around, the scene starting with Lola kicking in the greenroom door.

“We had only three things that gave us an edge that night;” the voice over of Nikki informed the audience, “our look, our killer sound, and the best roadie on The Strip.”

“House is looking pretty full,” Lola told them, making a beeline for the bottle of JD sitting next to Nikki, who was applying his makeup. Tommy pauses his drumstick twirling to fist pump. “Nice pants,” she tells Vince, who was stretching in a pair of white leather pants, grinning.

“They cost my girlfriend like eight hundred bucks.”

At the end of the scene, she gives Vince a kiss, for luck, followed by a wink, and Jupiter, who knew this part of their mother’s story, still feels a sense of discomfort. This wasn’t just gossip anymore; their mother’s history is public knowledge, now more than it’s ever been.

The fight that ensues during the band’s first gig shows Lola get punched in the face by someone in the crowd, and later, once everyone’s been tended to, Charlotte and Lola can be seen by the bar at the back of the crowd, and Charlotte’s checking if Lola’s nose is broken, both women laughing at the situation. It’s a blink-and-you’ll-miss-it moment, but neither Jupiter nor Penny does, and later letting out a gentle, fond ‘oh’.

A montage follows, of the band getting their act together, writing music, playing at pubs, their names on the marquee, making a backdrop, always with Lola and Charlotte somewhere in the background.

But then Vince’s girlfriend catches him with Lola, and all she does is laugh, while Vince chases after his girlfriend, butt naked. Charlotte takes the photos of the band with the giant hot dog, and she and Lola help dye Tommy’s hair, and generally indulge in the band’s bastard antics.

It’s clear from their body language that the women are close by the time Zutaut is introduced and the band is playing the Troubadour. Charlotte’s given his business card while Lola pack’s up the band’s gear after a gig, while the rest of the band debauch themselves in the crowd.

A record deal comes, then the introduction of Doc McGee, though Mick pauses the film for a moment after Doc is introduced by punching out an unruly guest at a house party.

“This didn’t actually happen. Doc never came to this filthy shithole. That guy? That happened, but it wasn’t Doc.” The scene rewinds to show Lola knocking out the guy, throwing him out of the party. “When she wasn’t fucking or sucking the rest of the band, she did a pretty good job as our security detail, and now, we had the cash to pay her for her,” he cleared his throat pointedly, “services.”

The scene shifts, however, to show Doc McGee and Doug Thaler outside a door labeled ‘STAGE STAFF ONLY’.

“Doc we met at the Santa Monica Civic Center after a show...”

But when we come back, it’s to the version of the story where Doc is the hero in the apartment party, being introduced by Zutaut.

Charlotte is there for their first stadium show, giving them all a pep talk while Lola's nowhere to be found. Tommy makes a point of hugging her tight enough to lift her off the ground.

“You keep me sane, Charlie.”

“Get off me you grub; wash the vomit out of your fuckin’ mouth!” Charlotte exclaims in protest.

Which is a sharp contrast to the reveal a few moments later, after following Zutaut asking after his girlfriend, to reveal Vince and Lola tag teaming said girlfriend. When they emerge, the rest of the band admonishes the pair of them, but Lola just rolls her eyes. When she steps away, Charlotte punches her in the shoulder and Lola blows a kiss to her.

“I found out many years later, and it hurt. Really bad.” Zutaut tells the audience in an aside, “bottom line is, don’t ever leave your girlfriend alone with Motley Crue, ever! Because they will fuck her.”

Another montage, of band rising in fame, posing for magazines, of meeting a then-relatively unknown Guns ‘n’ Roses, including shots heavily implying Charlotte’s burgeoning romance with Duff McKagan, and Lola’s equal parts mocking and supportive.

“How many chicks have you fucked so far?” Nikki asks, reclining, fully clothed, by the pool, enjoying a day off during their tour with Ozzy Osbourne.

“Three,” Vince tells him, eyes still glued to the ass of the girl who had just passed them all.

“No, not today, on the tour,” Nikki enthuses, and Vince’s expression lights up.

“Oh man,” he laughed in a dazed, high sort of way, “I lost count after that gangbang in Salt Lake City.” He chuckled, and by Tommy, Charlotte makes a noise of disgust, “prude.” Vince rolls his eyes at her where she’s sitting at the back of a chair with Lola on the end.

“She’s just mad ‘cos she left her own piece of ass in LA,” Lola snorted, and Charlotte shoves her from the chair.

“Did you ever stop to think that the slobs who fuck you guys probably fuck every other band who comes through town?” Mick cuts in with his characteristic monotone.

Charlotte sticks her tongue pointedly out at Lola, still sitting on the ground.

“I’m a one-band slob!” Lola turns her nose in the air as the rest of the band laughs.

“We’re like pussy brothers with the whole scene!” Tommy exclaims.

Ozzy Osbourne imparts his words of wisdom, snorts ants, and it’s followed by a montage of the band absolutely raising hell, setting fires, smashing up hotel rooms and throwing entire hotel rooms worth of furniture out of windows. There’s cocaine and nudity in abundance, intercut with a remake of the Looks That Kill music video, which featured both Lola and Charlotte.

Then, with the song rising in intensity, it cuts from Vince meeting Sharise, to Charlotte catching Duff cheating on her, and smash-cuts to Charlotte wielding a baseball bat.

“Sucks to suck!” She yells from where she’s standing on top of his car, and smashes his window.

“Fore!” Lola yells, delighting in the mayhem, and takes out his side mirror with a golf club.

And then they’re introducing Razzle; Penny, beside Jupiter, goes still.

His introduction is tongue in cheek and fond as he receives a blowjob under a table when he first meets the Crue.

“I fucking -” the shot cuts mid sentence and his eyes follow a brunette who passes in front of the camera, “ - love America.” And the camera pans out to reveal it’s Charlotte, with freshly died hair and a bloodthirsty expression. He stands, away from his band on the sofa in Vince’s house in the middle of a party.

He follows her to the bar, which Lola’s behind, eating cocktail onions and talking with Charlotte, who’s still mad about Duff.

“Hello, Miss Lee,” he says with a hint of nervousness. Lola watches the interaction with wide, amused eyes, and Charlotte turns, about ready to kill, but she sees Razzle’s earnest smile and unique look, and lets herself relax a little; he’s not Motley Crue or Guns ‘n’ Roses coming to bug her, but she knows him, if only because of Tommy.

“You’re always this proper, Hanoi boy?”

“The rock and roll scene in the eighties has never been known for being a breeding ground for soulmates as much as it had been for various venereal diseases,” Tommy’s voice over cuts in, “but fuck if Charlotte and Razzle weren’t the exception.”

There’s tabloids upon tabloids telling the audience about the hottest new couple, about Hanoi Rocks drummer and Motley Crue’s... well, they always call her something different, never anything nice.

“Every day blurred into the next back then,” Nikki told the audience over the visuals of a montage of various concerts, of Lola walking in on Charlotte and Razzle getting busy in a dressing room, of drinking and debauched parties in mansions, of Tommy meeting Roxie, “and yeah, maybe we started to loose ourselves, but fuck it, we’d never been happier.”

“Move in with me,” Vince tells Sharise. And the film smash cuts to -

“Marry me,” Roxie tells Tommy, and again, a smash cut -

“I’m fucking pregnant.” Charlotte whispers to herself in a dirty bathroom stall.

“Well,” Nikki’s voice over mused, before it cut to a shot of Lola and Nikki furiously tearing at each other’s clothes in the back of a tour bus, “we’d never been happier.”

After that, they’re on tour; Tommy’s parents meet Roxie, and subsequently Roxie calls Tommy’s mother a cunt since she’d said ‘Roxie’s like Lola; a groupie’.

The next scene has a tonal shift, a moment of levity as it’s the band meeting Charlotte’s baby, and in the theatre, all grown up, that baby finds herself with tears in her eyes. The band in the film loves her, as does Hanoi Rocks, who also get to meet her, and Charlotte and Razzle look so fucking proud.

They play God Bless The Children Of The Beast over a montage of baby Penelope growing up, of Charlotte finding herself at home while her various families - blood and not - had to go away on tour. She and Razzle call on the phone but there’s a party happening at his end, and she tries to call Tommy but he doesn’t pick up.

Razzle falls asleep in the studio, looking at a photo of Charlotte and Penny from his wallet, clearly still thinking about them, but he’s in Finland, writing music, and Charlotte just can’t leave the life she’s created. He wants to go back to her but he’s under contract.

Charlotte goes to visit Lola and Nikki, only to find their house trashed from a house party that she clearly hadn’t been invited to. Lola’s asleep on the lawn. Charlotte leaves without waking her.

When Charlotte calls Razzle again, his bandmate, Sami Yaffa picks up, and Charlotte starts crying, starts venting. Sami talks to Razzle about how he should see Charlotte more often, and Razzle, sleep deprived and missing Charlotte like a physical ache, asks why he cares so much.

Razzle flies to see Charlotte and they argue, Charlotte crying, Razzle desperate, both under pressure and acting irrational after not having seen each other for far too long. Penny, all of two years old, hovers in the doorway, watching as Charlotte pulls the engagement ring from her finger and tells Razzle she needs some space if he’s really going to accuse her of things after one phonecall with his bandmate.

“Have you heard from Charlotte?” Tommy’s speaking to Lola over the phone, and when she tells him she hasn’t, asks why, he hesitates. The audience doesn’t hear the rest of what he says, but Lola’s reaction says it all.

“In the years that have passed since this moment, I have become a much different woman, have learned to let go of my anger, have made peace with my past,” Lola’s first and only voice over segment is delivered with a soft, sad tone, “but I don’t think I’ll ever forgive the universe for taking Charlotte from us.”

“What did you do? What did you fucking do?!” Lola’s bawling as she confronts Razzle, who seems clueless, bewildered. Lola punches him in the face. “I know she left because you fought; what the fuck did you say to her to make her leave?” Lola shoves him, and he stumbles back, apologises even though he doesn’t quite know what he’s apologizing for. Lola grabs him by his collar, hollering, “she’s gone! They can’t fucking find her, and now she’s fucking gone!”

It hits him, the expression on his face changing to devastation, and Lola dissolves into tears, the fight leaving her as she cries against his shoulder.

“Charlotte?” His voice breaks, tears tracking down his cheeks, expression blank and shocked.

“It was never his fault.” Lola’s voice over murmurs.

Lola’s high at Charlotte’s funeral, clinging to Tommy and swaying, and Razzle’s holding baby Penny, who’s asking after Charlotte.

Penny’s full-on crying in the theatre, her face against Jupiter’s shoulder, who’s shocked and shaking beside her. Seo squeezes their hand, and then extracts his hand from theirs to pet Penny’s head.

Charlotte’s off her fucking face in the next scene, the party at Vince’s house, almost catatonic against Nikki as he snorts another line of coke. Tommy sees Heather Locklear and somehow she’s the most beautiful, most stable girl at the party, and she’s mean to him, and doesn’t say sorry for his loss, and he might be in love.

Razzle, who’s melancholy drunk, even though it’s been months since Charlotte’s death, goes with Vince to get more booze, even though they’re both drunk, and it all happens so fast, the car crash, making Penny an orphan all within five minutes of screen time.

“You can’t take her! You can’t fucking take her from me!” Tommy’s drunk and hollering at the older couple who’s picking up Penny; Razzle’s parents.

“Get your shit together, Thomas; if she stays with you people, what happened to- to Nicholas will happen to her, I know it will,” Razzle’s mother says with tears in her eyes, “we can’t let that happen.”

“She’s my niece! She’s Charlotte’s kid! She’s all I have left of her!”

They show Vince’s trial, and Penny’s baby photos from her time back in Finland, while Nikki narrated how he and Lola hadn’t even visited Vince in prison, as they’d discovered the wonders of heroin. Together, the drug had made their love invincible, as long as they never touched the outside world. But they bring Tommy in, and Mick’s tired of them all, and by the time Vince gets out of prison, newly sober, their lives had gone to shit.

Doc tries to fire Lola, but she laughs hazily and tells him he doesn’t have the authority, so Vince tries to fire her because she’s on heroin, and Lola takes a swing at him, but she misses and topples to the ground.

He calls her a mess and he’s right.

Lola and Nikki get better at acting like they’re not out of it, and Tommy gets his shit together with Heather, and by the time they’re working on their stage show for the Theatre of Pain tour, they’re in some sort of haphazard order. There’s something sad in Lola’s eyes when she tells Tommy that he and Heather are cute together, but they cut away to Vince and Skylar before it can linger too long.

Tommy mentions how he misses Penny when he sees Skylar, how she should be with him, with family, how he’s finally gotten his shit together.

But then they’re on tour, as narrated by Tommy over Girls, Girls, Girls, his debauched days away from Heather, despite their engagement. He mentions fucking Lola as:

“Two am, renew my mile high club membership by falling back into bad habits... and again at three am, and again at five in the bathroom of the strip club... I’m so fucking weak.”

Nikki sees his mother again after years, and even Lola can’t even bring him out of how hard he’s spiraling this time, self isolating, overdosing after Tommy’s wedding to Heather. Lola’s not at the wedding, but Penny is; she’s a flower girl and Tommy looks ecstatic.

Instead, we see Nikki flatline in the back of the ambulance, we see Vince watch the news reporting on his apparent death, and cut to a shot of Lola finishing a bottle of JD and letting herself fall into the pool on her and Nikki’s property.

Cutting back, Vince tells his daughter that he loves her, and he holds her tight, before a realization comes over him, and he tells her gently to go back to sleep.

The paramedics revive Nikki with enthusiasm, and then we see Vince running barefoot across Lola and Nikki’s lawn, before seeing her illuminated and floating in the pool. He dives in after her, and pulls her out, performs CPR while crying, telling her that he can’t lose her too. Spluttering to life, Lola, soaking wet and still undeniably drunk, tells him he should have left her in there. The scene fades to black as Vince cradles her to his chest.

Nikki tells the audience that he’s hit rock bottom, that he’d start to make a change to his life... right after he goes back to heroin again.

The band, and Lola, go to rehab, and little by little things start to get better. More than anything, they’re trying, Nikki’s trying to enjoy feelings again, but Lola’s uncomfortable, and everyone’s on each other’s nerves; without the drugs and alcohol, it seems like the music isn’t sounding right.

“I forget what happened,” Mick tells the audience in an aside, “it’s all a blur. But with Dr Feelgood we got our first number one album,” and the visuals change to that of their various concerts over The Same Ol’ Situation, “and I think we played something like a billion shows to a billion people in a billion cities all over the world, and it was our first tour without Lola, as she was off being having another kid -”

“First kid, you senile fuck,” Lola’s voice over interrupts with annoyance.

Tommy tries to call Heather, but she doesn’t pick up. Vince tries to call Sharise but she won’t let him talk to his daughter. They’re all getting burnt out, it’s clear to see.

“Guys, I really fucked up,” Tommy sits down with the band at an after party, looking conflicted, “Heather’s been all weird and distant, and...” he hesitated, “I’m pretty sure Lola’s kid’s mine.”

“Are you fucking kidding me?” Nikki snaps, leaning forward, teeth bared, “no fucking wonder Heather’s been weird, Lola’s only -”

“Ten weeks along, I know -” and Vince looks almost physically ill.

“How the fuck do you know the kid’s yours?”

“Because,” Tommy hesitated, “it was right before Nikki OD’ed.”

“Right before your fucking wedding,” Mick spat, and Tommy at least had the decency to look guilty. Nikki looks genuinely hurt.

“Fuck you, man, you’ve already got the wife and fucking kid -” Nikki growled.

“Look, I’m not fucking proud of myself!”

“Go fuck yourself.”

Vince ends the argument by announcing bitterly that he needs a fucking drink, that he’s sick of not having any fucking fun, and the whole band deteriorates from there.

They get back to LA; Sharise has left Vince, Heather leaves Tommy, Nikki comes home to a heavily pregnant Lola, but looks at her like he can’t believe she’d betray him.

“What if we gave this a shot,” Tommy asks Lola when she comes to him in tears, and she sniffles, blinks in confusion, “us, me and you and Penny, and baby Lee, what if we gave it a real shot?”

When Jupiter is born, it’s just Lola and Tommy in the aftermath, looking happier than they have in a very long while. Looking hopeful.

They call the baby Jupiter, and in the theatre, Jupiter themselves is shocked.

“You didn’t... deadname me.” They muttered quietly over their shoulder, and Lola gives a small, sad smile, shaking her head. Of course not.

The hope they feel in the film is shortlived, as Nikki and Tommy get into a fight, over Vince, but the tension is more than just his absence. Vince leaves the band, and the world feels fractured. They get a new lead singer, but it doesn’t feel the same, and when Tommy gets home to see her making dinner with Penny helping out, and Jupiter in a bassinet on the kitchen island, his smile is a little sad, a little forlorn. Lola smiles at him, but something about it isn’t quite right.

Vince sees the band do an interview without him, and while it’s disheartening, it’s overshadowed by his daughter in hospital. He tries to tell her it’ll be okay, but it’s not working, she’s terrified and teary and young, and it’s breaking Vince’s heart.

When the band’s not together, they’re falling apart.

Skylar is dying, Mick’s in pain, reminiscing about the band’s early years, and Nikki gets the rights back to their music as their record label drops them.

“This is what you wanted,” Zutaut tells him, “are you happy?”

Nikki doesn’t answer.

Tommy asks Lola if she loves him. She answers; of course, but there’s something sad about it.

“And Nikki?”

“I’ve always loved him,” her voice is quiet, and Tommy gives her a sad smile.

“I know, Lols.”

The scene cuts, and Nikki’s sitting alone in his backyard, drinking a beer.

“I had our music back, but Zutaut was right; we were better before. Now I just had to get the band back,” he paused in his voice over, and there was a knock on a window near where he’d been sitting. Looking up suddenly, wildly, the camera reveals Lola, looking both nervous and hopeful, “but first I needed her back. The first person I’d given half a shit about.”

“Lola.” He says in the scene, getting out of his chair, voice disbelieving. Lola nods, steps forward, smiles.

“I’ve missed you.”

Then Vince loses Skylar, his whole world falling apart as Sharise sobs, and Nikki goes to visit his father’s. Frank Ferrana is dead, died on Christmas day, and so he leaves, goes back to where Lola’s waiting.

He needs the band back, and he goes to Tommy first.

“Hey man,” Tommy opens the door, exhaling a lung full of smoke.

“What I did at your wedding,” Nikki starts, swallowing hard, “I didn’t...” he fumbles through his words while Tommy stares him down, waits for an apology, “and... and with the whole thing with Lola, I -”

“What’s up, Nikki?” Tommy grumbles, taking another drag of his cigarette.

“I was really fucking selfish, and I shit on something that was important to you, both times, and I am really sorry.” He explains, sincerity clear in his words.

“I know you pretty well, Sixx, so I kind of get it,” Tommy sighs, before adding, “and it’s okay.” He pauses, before grinning, “but could you say that last part one more time for me?” He snickers.

“Don’t fucking push it, T-bone.” Nikki rolls his eyes with a grin as Tommy laughs, and invites him inside.

“I’m really sorry about... about Lola.” Nikki adds, a little guilty as he steps inside.

“Yeah,” Tommy puts on a show of being a little disappointed, “I’m pretty sure she’s gonna end up the one that got away.” He muses, and Nikki apologises, again, much to Tommy’s delight, “nah, man, it’s all cool, you fuckers have been in love since you were sixteen; I know she loves me, but it’s never gonna be the same.” He gives Nikki a good-natured shove.

There’s no hard feelings, and Jupiter meets Nikki - Uncle Nikki - with delight.

Tommy and Nikki find Mick after his surgery, pick him up to go find Vince, and with gentle words they get the blonde back. Nikki’s got a speech, because he’s always got a speech, about how they’re brothers in arms, about how their friendship means more than any fucking band, and when he apologises about what happened to Skylar, Vince breaks down. No-one can blame him.

The last shot starts with Lola, a few months pregnant and holding a clipboard, knocking on a door that says Nikki Sixx, calling his name.

He opens the door, smiles at her, and gives her a kiss before she goes to get the rest of the band, one by one, as Home Sweet Home plays. They walk to the stage, the four of them, grinning, back in action, back at home. They walk onto stage, and Nikki gives a smile to the camera.

In loving memory of Charlotte Lee and Nicholas “Razzle” Dingley.

The credits rolls, and the theater bursts into applause, Jupiter and Penny clinging to each other and bawling.

“You did good, Penny, you did so fucking good,” Jupiter tells her, before moving back, and turning to see their mother, with tear-stained cheeks, watching the pair with pride in her eyes. Without hesitation, Jupiter leans forward to hug their mother tightly, both sobbing.

“I love you, Jupiter,” Lola murmurs against her shoulder.

“I love you too, mom.”

#Razzle Dingley #Tommy Lee #tommy lee imagine #nikki sixx #nikki sixx imagine #razzle dingley imagine #razzle x charlotte #mick mars #vince neil #the dirt #motley crue #the dirt imagine #motley crue imagine #the angry lizard writes

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whitleyschn33 · 4 years

Note

What if Whitley is secretly just a fusion of Allister and Bede from Pokémon sword and shield? XD on a more serious note what if Whitley had a froslass that his mother gave him?

Are you a psychic?

Because a couple days before I got this ask (which was weeks ago, I know, and I’m very sorry, things have been insane), I started a new Nuzlocke run of Pokemon Shield, and for kicks and giggles because of the “Whitley the Pokemon Trainer” stuff that’s been going around, I made my avatar Whitley, and of course started trying to figure out how a RWBY/Shield AU would work out.

I realized halfway through my plotting that Whitley honestly does fit Bede more than who I cast him as, but a) I wanted him to start at the same place the player does, and b) it’s my AU, so who cares?

Whitley is the younger brother of the current champion, Weiss Schnee, who became champion 2/3 years ago after leaving home to complete the Gym Challenge. Winter, the eldest Schnee sister, left home nearly a decade ago, and wound up as Galar’s Ice Gym Leader. Whitley has remained behind with their mother in their estate outside Postwick.

Willow is neglectful, an alcoholic that spends more time than not drunk in her rooms. Jacques, an abusive jackass and also a business partner of Chairwoman Salem, usually works from home, but during the lead-up and during challenge season, moves to an apartment in Wyndon to focus on the extra work sent his way. This is Whitley’s favorite time of the year, as it gives him the most freedom to leave the estate and go into the nearby towns of Postwick and Wedgehurst.

Oscar Pine and Ruby Rose are the closest things to friends Whitley has, who he visits when he gets the chance to escape his house.

Oscar is Ruby’s cousin - her mother, Summer Rose, is Oscar’s aunt, who Oscar came to live with after his parents were killed in a freak train accident when he was fairly young. Oscar helps Summer with the Budew and Wooloo they breed, farming flowers and wool and selling both in Wedgehurst.

Ruby is the granddaughter of noted Pokemon Professor, Professor Ozpin, and currently works as his assistant while she tries to figure out what she wants to do with her life. Ruby was one of the four rookie challengers that made it into the finals of the Gym Challenge season that saw Weiss become champion, despite being two years younger, but lost against her sister in an early bracket.

Ruby’s half-sister Yang is Galar’s Fighting Gym Leader, taking the role on after making it fairly far in the finals of the gym challenge.

Whitley and Oscar often hang around the Pokemon Lab with Ruby, taking advantage of all the interesting tech and books, as well as the comforting atmosphere. Professor Ozpin works from home a majority of the time, but comes by often enough to recognize Whitley as his grandchildren’s friend and pick up enough hints about his home life.

Close to the beginning of the new Gym Challenge season (called GCS from here on out), Ozpin invites the three of them to his home on Route 2, Ruby guiding them with her Yamper Zwei for protection.

Once there, Ozpin offers to sponsor both Oscar and Whitley in this year’s GCS, and give both of them a starting Pokemon. Oscar’s thrilled, having wanted to venture out into Galar for a while now to learn more, but Whitley is far less so, hesitant to leave his mother alone and terrified of his father’s reaction if/when he found out.

Ozpin assures him there’s no pressure - the Pokemon is his regardless of whether or not he chooses to take on the challenge, so he should just focus on getting to know his chosen Pokemon before deciding.

Oscar lets him go first, since this will be Whitley’s first Pokemon, while he’s had his own Wooloo before.

Whitley considers the Sobble for the matching aesthetics, but realizes he’s probably isn’t patient enough to deal with the constant crying. He settles for Grookey, having at least had a bit of experience with grass-types from visiting Oscar’s Budews. Oscar takes the Sobble.

A small barbecue/party is held at Ozpin’s place, then everyone heads back to Postwick. Whitley takes the Grookey home, and despite being perpetually drunk or hungover, even Willow can’t miss her son bringing home a Pokemon. Reluctantly, Whitley tells her about the professor’s offer, and Willow goes quiet, wandering off to think and leaving Whitley to bond with his Grookey. (In my playthrough, I got a female Grookey I named Rhya - what do you all think Whitley would name his?)

Nearly a week later, the night before Whitley’s heading out to give his answer to the professor, Willow comes to him to give him her blessing and supplies - a mix of her own, Winter’s, and Weiss’ - in the form of a map, money, a hat, a Bag (a case that acts like a Box, but for items rather than Pokemon), camping supplies, etc. Whitley’s understandably shocked by all this, and it certainly throws him for a loop on what he’s going to do next.

The next morning, Oscar, Ruby, and he head over to Ozpin’s place. At Ozpin’s request, he and Oscar have a battle that Whitley manages to win. Hopped up on that and spurred on by his mother’s blessing (and some not-so-subtle comments on wanting/needing a rival from Oscar), he accepts the recommendation, agreeing to accompany Oscar as they attempt the GC.

Whitley returns home briefly to pack and say goodbye to his mother, and gets one final gift - an Egg his mother found a while back, presumably from her Froslass and a random Pokemon that had been passing through the Slumbering Weald. (For your headcanon, anon~)

What happens next... would require me finishing my playthrough, and honestly a Nuzlocke probably isn’t the best way to determine what Pokemon Whitley would choose. I may go through again as a non-Nuzlocke, looking at what Pokemon are available that I think would suit Whitley and try to make a team for him. I’ve got plenty of time now.

Miscellaneous

Gym Leaders:

Milo is replaced with Taiyang, who, when not involved with the GCS, focuses on teaching new trainers, recommending the best of the crop to the Gym Challenge.

Nessa is replaced with Ren - a calm trainer whose Pokemon can flow like water around obstacles, or slam into opponents like a wave.

Kabu is replaced with Qrow - a trainer from an older generation trying to improve himself.

Allister is replaced with Neo - a silent Trainer that can disappear seemingly without a trace, known for her Pokemon’s ability to seemingly dodge any hit.

Opal is replaced by Maria - an older woman that seems to have secrets, searching for an apprentice to soon become the new Fairy Gym Leader. Upon meeting Ruby, who shows up to cheer on Oscar and Whitley at their matches, drags her off to convince her to be the next Fairy Gym Leader, muttering something about “having the eyes for it.”

Like said above, Melony is replaced by Winter, who got the job nearly a decade ago. Known for her powerful attacks and well-disciplined Pokemon, even her multiple type disadvantages don’t seem to turn the tides.

Piers is replaced with Blake - a Trainer specializing in dark types that refuses to use Dynamax, concerned about the effects it may have on the Pokemon that use it constantly. She made it to the finals of the GC, but ultimately fell near the end.

Raihan is replaced by Pyrrha - the near-unbeatable crown jewel of the Gym Challenge, the last obstacle before the finals, and the reason so few challengers make it to them. A prodigy of a trainer that took the position at 14, and has come extremely close to dethroning Weiss multiple times during her reign as champion

Others

Jaune is a Normal-type Gym Leader that just took over this year.

Nora is the Electric Gym Leader, nicknamed “the Hammer” for her tendency to oneshot opposing Pokemon with powerful Thunderbolts and Discharges.

Sun takes Marnie’s place - not Blake’s sibling, but someone that cares for her deeply, and does his best to help spread word of her cause by fighting in the Gym Challenge without Dynamax like she did.

Chairman Rose is replaced by Salem - rather than trying to solve the potential energy crisis, she simply wants to destroy the world and remake it in her own image. Cinder replaces Oleana, pulling the strings to set everything in place for Salem’s plan.

Emerald and Mercury are Bede’s substitutes - kids Salem and Cinder fund on the off-chance of being useful for dirty work.

Team Yell does not exist.

And holy shit, this has gotten long, so I’m gonna stop here before I start just flat out writing fanfiction.

But, uh.... yeah, I can very much see Whitley being a part of the Galar region! A Froslass would be a good aesthetic addition to his team - perhaps a companion rather than a competitive Pokemon, since they have so many type weaknesses.

Thank you for this ask! I thoroughly enjoyed my excuse to ramble about an AU that’s been knocking around my head for a while (and can probably be prodded into doing so again).

Have a wonderful day/evening, and stay safe!

#whitley schnee #rwby #pokemon #rwby pokemon au #galar #oscar pine #ruby rose #ask reply #fanfiction

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dippedanddripped · 3 years

Link

As the number of abandoned storefronts and closed retail outlets continues to mount, the once unremarkable activity of shopping at brick-and-mortar stores can feel like reality askew — like a stroll through the Twilight Zone. As this glum new normal becomes, well, the norm, signs of life can be almost as jarring.

Take, for instance, a pair of storefront windows on Beverly Boulevard in West Hollywood. Just recently they were lifeless reminders of an upscale furniture store, now defunct. Then, in August, they began to fill with seemingly unconnected objects: bluejeans piled in a chest-high mound, a lounge chair upholstered in denim, a mannequin in a jumpsuit with an eyeball for a head standing amid a sea of paint-splattered drop cloths.

Hand-painted signage in the other window offered only that this “Appointment Only” storefront with the cryptic displays, and the 6,000 square feet of retail space behind them, are the domain of Gallery Dept.

Despite the name, Gallery Dept. isn’t a gallery or a department store but a hybrid clothing label that sits somewhere in the Venn diagram overlap between street wear label, denim atelier, neighborhood tailor and vintage store. Just as accurately, you could call Gallery Dept. the personal art project of its founder Josué Thomas, a designer whose own creative urges are just as disparate and layered.

With so many small brands in a state of retreat this summer, Mr. Thomas’s label has not only weathered these spirit-crushing conditions but thrived. In less than two years, Gallery Dept. has moved from a crowded workshop a few blocks down Beverly Boulevard to its new space in part because its hoodies, logo tees, anoraks and flare-cut jeans — each designed and hand-painted by Mr. Thomas on upcycled or dead-stock garments — have become unlikely objets d’art in a crowded street wear market.

This corner of the fashion industry is a crowded one, and in recent years there have been a glut of collaborations and merch drops that have taken on a corporate cadence. In contrast, Gallery Dept. is something of a bespoke operation, offering street wear basics that are blessed with an artist’s (in this case Mr. Thomas’s) singular touch.

Mr. Thomas began to cut jeans and screen-print shirts as the mood struck in 2017, and since that time Gallery Dept. has grown from an underground cult label for collectors to one with atmospheric clout after being worn by Kendall Jenner, LeBron James, Kendrick Lamar and two of the three Migos (Offset and Quavo).

Those lucky enough to enter the appointment-only space, now booked with up to 20 appointments a day, are greeted inside by a 20-foot-tall span of wall that reads, “Art That Kills” in a large crawl text, and the occasional reference to Rod Serling’s seminal sci-fi program.

Throughout the sunlit store, Mr. Thomas’s abstract paintings and writings fill the spaces between clothing racks and bright brass shelves heavy with the brand's thick hoodies and sweatpants. Over the chug of sewing machines, one can hear snippets of bossa nova Muzak, a vinyl-only mix also made by Mr. Thomas. (There are also plans to release music by other artists, including the New York rapper Roc Marciano, under an Art That Kills imprint.)

Gallery Dept.’s new space was financed on the strength of e-commerce sales from this past spring, and not with the help of venture capital or outside investors, Mr. Thomas said on a recent walk-through. This freedom gives him and the label, which now employs 12 people, the freedom to operate on its own esoteric terms. And there are a few. In the store’s dressing rooms, there are no mirrors to survey a fit. (“We’re going to tell you if a piece works or not,” he said.) Nor are there price tags on its garments.

“If the first thing you look at is the price, it’s going to alter your thinking about a piece,” he said. “I’d rather people engage with the clothing first.”

The Gallery Dept. does not indulge pull requests from stylists or send its pieces to influencers, a practice Mr. Thomas explains with a trace of punk indignation.

“Kendall doesn’t get a discount,” he said. “We don’t seed. I don’t care who it is — we don’t cater to different markets.”

Wearing cutoff carpenter pants and a white T-shirt, each dusted in a fine rainbow splatter, Mr. Thomas looked every bit like an artist roused from his creative flow, complete with paint-stained hands and individually colored fingernails. Standing in a mauve-carpeted room, Mr. Thomas pointed out his latest ideas: pewter jewelry in eccentric shapes, like an earring in the shape of a zipper pull, made in collaboration with the Chrome Hearts offshoot, Lone Ones, and shorts cut from dead-stock military laundry bags — while explaining the origins of his own style.

“I liked my parent’s clothing growing up,” Mr. Thomas said. “As a teenager, I was able to fit into my dad’s leather jacket. The beat-up patina on it was perfect, and I realized that that was personal style. It was something you couldn’t go to a store and buy.”

Mr. Thomas, who turned 36 in September, never studied fashion or garment making, and he can’t work a sewing machine. But growing up as the son of immigrants from Venezuela and Trinidad, he watched as his parents subsisted on their raw artistic skills to create a life in Los Angeles. And he now uses those same talents as an artist and designer: sign-painting, tie-dying, screen printing. For a short time, his father, Stefan Gilbert, even ran a private women’s wear label.

Similarly, in his early 20s, Mr. Thomas worked at Ralph Lauren. As one of the few Black people in creative roles in a predominantly white company, he soon realized that the only way to survive in the fashion industry would have to be with a project of his own making.

“I was the ‘cool’ Black guy, but there was nowhere for me to go,” he said. “Best case would have been sourcing buttons for women’s outerwear or something.”

Gallery Dept.’s spontaneous inception came about in 2016 when Mr. Thomas sold a hand-sewn denim poncho off his own back to Johnny Depp’s stylist. At the time Mr. Thomas was focused on making beats and D.J.-ing, but after selling all of the pieces he’d designed for a small trunk show at the Chateau Marmont, he realized he’d discovered a new creative lane.

It had less to do with ponchos, which were dropped from subsequent collections, and more to do with old garments being remixed in the heat of artistic paroxysm, with as little second-guessing as possible. With the help of Jesse Jones, a veteran tailor, Mr. Thomas began churning out made-to-order pieces for customers who often were unaware of what, exactly, they had stumbled into.

“We were creating pieces while we were selling them,” he said.

Working with heavy vintage shirts, hoodies, trucker hats, bomber jackets, whatever was at hand, Mr. Thomas would frequently screen-print the brand’s logo, adding paint or other flourishes as the feeling struck.

Today that extends to long-sleeve tees, sweatpants and socks. At the time, he also began blowing out the silhouette of vintage Levi’s 501s and Carhartt work pants into a subtle flare, accented with patches and reinforced stitching, resulting in a streetwise update of the classic boot-cut jean.

Mr. Thomas christened this style of jeans the “LA Flare.” And where denim has so historically hewed to “his” and “her” categories, the LA Flare is the zeitgeist-y “they” of street wear denim. (The label labels its items as “unisex.”)

The jeans come with a luxury item’s price tag, with a basic version starting at $395. Custom tailoring and additional touches by Mr. Thomas, can push the price upward of $1,200. One early collaboration with Chrome Hearts, a pair of orange-dyed flares patched with that brand’s iconic gothic crosses, has gone for $5,000 on Grailed.

“There is nothing like Josue’s repurposed jeans,” said George Archer, a senior buyer at Mr Porter. “They are both a wearable piece and a work of art. No one else is doing what he’s doing.”

For Mr. Archer, who first noticed the Gallery Dept. logo popping on men in Tokyo in March, Mr. Thomas “interprets and creates” clothing as if it was an end in itself — and not a commodity to be monetized. (Nonetheless, Mr Porter hopes to monetize a collection of Gallery Dept. pieces via its e-commerce site later this year.)

“You can feel the warmth of Josue’s hands on each of the pieces,” said Motofumi Kogi, the creative director of the Japanese label United Arrows & Sons. An elder statesmen of Tokyo’s street wear scene, Mr. Kogi found the label on a trip to Los Angeles last year. It’s not only Mr. Thomas’s artistic touch that stands out to him but his vision for remaking a staid garment into something that Mr. Kogi believes has not been seen before.

“He took this staple of hip-hop culture and refreshed it,” he said, referring to Carhartt pants.

Getting the people who make that culture to buy in was another matter. “The first year we did the flare, in 2017, skinny jeans were in,” Mr. Thomas said. “Rappers would come into the shop and say they’d never wear a flare. Now, everyone is wearing it.”

On Instagram, fit pics by rappers like Rich the Kid, along with the aforementioned Migos, Quavo and Offset, Gallery Dept.’s flare has become a familiar silhouette, skinny jeans breaking loose below the knee, usually coiled up at the ankle around a pair of vintage Air Jordans.

One fan of the jeans, Virgil Abloh, sees Mr. Thomas’s “edit” of the classic garment as the next chapter of its history.

“Their flare cut is the most important new cut of denim in the last decade — since the skinny jean,” Mr. Abloh said. A self-described Levi’s “obsessive” who owns more than 20 pairs of Gallery Dept. jeans, he walked into Mr. Thomas’s workshop one day after a routine stop at the Erewhon Market across the street.

“I thought: ‘This is amazing. Here’s some guys editing their own clothes in a shop,’” he said. “It reminded me of what I was doing when I started out, painting over logos, making hand-personalized clothes.”

Mr. Abloh considers Mr. Thomas’s work to be the fashion equivalent of “ready-made” art, and he offers Shayne Oliver of Hood by Air as a distant contemporary. He suggested that he and Mr. Thomas come from a lineage of Black designers that is still in the process of defining itself.

“He’s a perfect example of someone creating their own path from a community that hasn’t traditionally participated in fashion,” Mr. Abloh said. “I see Josue as making a new canon of his own, showcasing what Black design can do.”

Mr. Thomas didn’t argue with that. But he was also a little preoccupied with whatever was taking place at the tips of fingers to get lost in the thought. The future of his brand, after all, depends on his ability to stay in that moment.

“People want things that aren’t contrived,” he said, pulling at his own shirt to drive the point home. “This paint came from me working. I wanted to recreate this feeling. Once something is contrived, when you can see through it, it’s ruined. There’s only so much you want to explain.”

#design #gallery dept #streetwear blog #upcycle designers

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supremeuppityone · 4 years

Photo

Written for Klaroline Valentine's Day Bingo 2020 @kcvalentinesbingo

Prompt: Casablanca

Author’s note: This was inspired by Ricky Gervais’ 2020 Golden Globes monologue, in which he thoroughly pissed me off.

Warning: Potential triggers; implied assault survivor

Please review here.

Red. Everything was red. The rage sank into Caroline’s bones until nothing was left. From the uncomfortable murmurs of the rest of the audience, it was clear that she wasn’t the only one furious with Alaric Saltzman’s patronizing speech to open the Oscars ceremony.

“If you do win an award tonight, don’t use it as a political platform to make a political speech. You're in no position to lecture the public about anything, you know nothing about the real world. So, if you win, come up, accept your little award, thank your agent and your God and fuck off.”

There were so many things wrong with the washed-up comedian’s vile statement, that Caroline let out an audible gasp, not bothering to let her features settle back into a polite mask. Her agent was going to be pissed if the cameras happened to catch her now. But it was nothing compared to how pissed Katherine would be in a little while. As a nominated filmmaker, Caroline understood she was in a unique position to make a call for social change. And as one of the few female filmmaker nominees, it was her responsibility. She covertly took out her phone, typing a quick message to her staff, and then leaned back into her seat with a self-satisfied grin. Game on.

Her documentary focused on Congolese women who were taking back their communities torn apart by sexual violence. It was her honor to give voice to the warrior women who had created safe spaces for women — teaching them self-defense, providing legal representation, and fostering marketable skills.

She toyed with the orange and red bracelet, hiding a bittersweet smile as she recalled the way some of the women at the community center had attempted to teach her how to make the rolled-up paper beads. It was the day she shared her story with them. Her pain had been her own for so long. She’d nearly punched Katherine for telling her the bracelet clashed with her designer gown and that she should instead go with the loan from Bulgari.

The back of Caroline’s neck prickled as though she could feel the weight of someone’s stare. Casually glancing around the packed theater, her blue eyes widened when she realized Klaus Mikaelson was staring at her. Wildly famous, the dimpled British actor’s mantle must be overflowing with prestigious Oscars, BAFTAs and Golden Globes. Why was he staring at her? Again. Despite years in the industry, this was the first awards season her work had garnered enough attention to warrant nominations. And unwanted attention from A-listers.

A few months ago, she’d attended the Directors Guild Awards, slightly starstruck and still in disbelief that her work was finally getting recognition. She nervously was sipping champagne when someone insistently tapped her shoulder. Familiar with many of the more heinous Hollywood Gropers, she whirled around, ready to shred some wrinkled, self-entitled balls. She stopped short when she realized it was a skinny teenager who somehow managed to look even more nervous than she.

“Um. Hi! So, um I think you’re Caroline Forbes. Right?”

Caroline softened, assuming his painfully earnest demeanor meant he was an intern or one of the stage assistants. Her smile was gentle as she said, “Yes, I’m Caroline. What’s your name?”

Brown eyes went round with excitement as he took both of her hands in his, wildly shaking them up and down as he gushed, “I’m Henrik and I go to USC and we just studied you in my Defining the Feminine Narrative class!”

Flustered, she could feel an enormous smile spread across her face. It was rare that she encountered someone who knew who she was. Now what? Offering to sign something or pose for a photo sounded unbelievably pretentious. “Oh, wow. Thank you,” she finally said, “I had no idea.”

“I’m actually um, doing a research paper right now on your documentary about dowry-related violence in India,” he shyly confessed, hiding behind his long brown hair.

“Seriously?! I just started cataloguing some additional footage; trying to decide if there’s another story to tell. If you want to give me your email, I’d be happy to share my research with you. Maybe it will inspire you to create something amazing.”

Before Henrik could respond, an unexpected voice interrupted, “Impressive chat-up lines, little brother.”

Klaus stood there with his sexy dimpled grin that always spelled box office gold. And he’d been poured into that tuxedo. Damn. “Klaus Mikaelson,” he said, as though she hadn’t watched every movie he ever made, “and I had no idea Henrik was such a fan.” He put a companionable arm around the timid boy, telling her, “Henrik’s the true talent in the family. Thank you, love, for noticing.”

He eyed her with interest, and she immediately reddened, cursing her painfully white skin for making every emotion so obvious. “These ceremonies are so frightfully dull. Would you like to join us at our table, and then perhaps later, you and I could go for a drink?”

Damn it. He was one of those guys. Now flushed with irritation rather than embarrassment, Caroline replied, “You should ask Tatia. It’s only polite — since she’s your date.” Lately, the gossip sites had exploded with headlines gushing about the whirlwind romance between Klaus and the stunning supermodel, Tatia Petrova. Even if there was the chance it was a clever ruse to garner media attention, there was no way Caroline wanted any part of that nonsense.

Klaus flashed that dimpled smirk again, his accented voice amused as he said, “Tatia is more of an...inconvenience than a permanent fixture in my life. There’s only so much frivolous chatter I can tolerate. But I suspect that you would provide endlessly fascinating conversation, sweetheart. You’re starting to make a name for yourself with all those exotic travels and penchant for saving the world. There’s a light that shines in you; it sets you apart from the rest.”

He was seriously giving her the ‘you’re not like other girls’ speech. Dick. “Pass,” she said flatly, already starting to walk away. “But thanks for adding bad pickup lines to my ever-growing list of atrocities I need to save the world from.”

Thunderous applause interrupted her thoughts, bringing her back to the present. Where Klaus was still staring at her rather than paying attention to the clip they were showing from his nominated performance. His performance in the Casablanca remake had earned him the Best Actor nomination, with critics and media outlets proclaiming his work in the big budget production to be a crowning achievement in his stellar career. Despite her indifference to the original 1940s movie, she still eagerly went to see Klaus’ remake, and his performance as the expat Rick had left her breathless. His American accent had been impeccable, and she actually got a bit teary-eyed when he arranged for his onscreen love interest, Lisa, to board the plane to safety while he stayed behind.

Caroline could feel the heat rising in her cheeks the longer Klaus stared at her, irritated at herself for paying far too much attention to the gossip sites that announced Klaus’ amicable split almost immediately following their disastrous first encounter. She did not have time for Hollywood fuckboys. Even the ones with dimples. She had a world to save. Lost in her thoughts of burying her stupid crush on Klaus, she completely missed that he’d apparently won and was being herded offstage.

She leaned forward eagerly as her documentary category was called. Regardless of the winner, her documentary had garnered enough attention that a few months ago, she’d learned an anonymous donation singlehandedly funded the Congolese women’s charity for the next decade. It was rare that people surprised her. Maybe one day she’d learn the identity of the generous donor. While the vignettes played for each nominee, her heart giving a funny little tweak as she held her breath in anticipation.

“And the winner for best documentary feature is...Conflicted Hearts: Congolese Women Fight Back, by Caroline Forbes!”

The thunderous applause was deafening, and Caroline sat there in shock for several moments, unable to get her legs to move. When she finally managed to walk to the stage on shaky legs, she fervently hoped she hadn’t sweated through her Arcadius original. She cringed as Alaric grabbed her hand, pulling her toward him for a congratulatory kiss that she managed to avoid by jerking her head away. He should know better. Hazel eyes flashed as he angrily hissed, “Just smile for the camera and keep the whole ‘boohoo women bitching about a little flirting’ bullshit out of it. No one cares about your whiny politics.”

She burned him with her gaze, the oranges and reds of her gown a perfect backdrop for her fiery rage. Not bothering to respond to his unspoken threat, she stepped to the podium, pleased to be bathed in the stage lights, drawing energy from their warmth. “I’ve now been told twice tonight not to get political. It’s stupid to think I’m going to start following orders now. We’re some of the most fortunate people in the world. We have an extraordinary platform that allows us to reach millions. And it’s our responsibility to use it. We live in this world too and we should be working just as hard as anyone to make it better.”

The loud clapping sounded like vindication, and she hoped that the cameras were zooming in on Alaric’s face as it immediately purpled in anger. “My film is dedicated to the Congolese women who let me into their world, whose unparalleled strength gave me the courage to put into words my own trauma. They are warriors, and I hope that the anonymous donor who helped fund their women’s charity for the next decade understands the hope they’ve given to so many.”

Her smile was a vicious blade as she announced, “Thriving in front of my bullies is sometimes the whole reason why I get out of bed. I just started a charity tonight because I know I can’t be the only woman who’s been told to keep ‘boohoo women bitching about a little flirting bullshit out of it’. My organization will help women speak out about sexual harassment and assault in the workplace, providing much-needed legal assistance and support to help them overcome the personal and professional consequences that make it difficult to speak out. It’s called ‘CARE’.”

The standing ovation was immensely satisfying, but then she added, “And it stands for Condescending Asshats Refuse to Evolve’,” which had the theater shouting her name excitedly. Not a bad night.

As Caroline was ushered backstage, she basked as so many warm smiles and enthusiastic handshakes congratulated her, pausing only once to catch Alaric’s furious expression. She held his gaze just as fiercely, pouring out every viscous word she wasn’t ready to speak. But one day she would be.

Backstage, she nearly ran over Klaus. Flushed from his own win, he beamed at her while offering her a steadying hand. “Congratulations, love. Your win was well-deserved, and I don’t recall a more compelling speech. You’ve set a precedent tonight that undoubtedly will bring about much-needed change.”

She blushed to the roots of her hair, wishing she hadn’t worn the intricately plaited hairstyle so she could give her hands something to do. “Uh, thanks, and you too. Your work in Casablanca was amazing.”

“You saw my movie?”

Caroline was taken aback by his hopeful, pleased tone. “I’ve seen all of your movies. Everyone has.”

“I’ve seen yours too,” he confessed, ducking his head shyly. “Henrik is quite the fan and has all of your documentaries — even the one you created fresh out of film school where you exposed the hypocrisy of a ‘morality clause’ for beauty pageant contestants in your hometown.”

“Seriously?!” She gaped at him, unsure of what to say. She hadn’t thought about that in years. That documentary had gotten the attention of several groups, which eventually led to funding for bigger projects and more exposure to the causes that she was the most passionate about. “I had no idea that you’d...I mean, I’m flattered you took the time to watch my films.”

The tips of his ears reddened as Klaus replied, “Meeting you was a bit of a revelation for me. Your drive, your fearlessness at giving people a platform so their voices and stories can be told — it’s inspiring. It made me want to make some changes in my life, which I started doing several months ago.”

“I had no idea. I’m, uh, glad to have helped. Can I ask about the changes?”

“Maybe someday I’ll tell you,” he answered enigmatically. “In the meantime, I’d be honored if you would accept my donation to your CARE charity. I’m doing my best to be a reformed condescending asshat.”

#kcvalentinesbingo #uppity bitch fanfic #klaroline fanfic #klaroline aesthetic #aesthetic #klaroline #this one took an unexpected turn for me #writing has a mind of its own #klaroline does hollywood

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