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dankmyfarrik · 3 years

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Our Angel | Chapter Five: Such An Angel

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Summary: You are hired to pleasure a lonely Mandalorian. It’s just a paycheck.

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Individual Chapter Warnings: The same as usual but with an unhealthy dollop of angst and misunderstanding. (There’s a F bomb in there somewhere too).

Word Count: 6k

Din knew he was being rude.

He had skipped the usual morning caf in favor of anchoring in the cockpit, thoughts on the ceiling or the streaking stars—waiting for the ship to drop from hyperspace.

So, naturally, his thoughts wandered back to Grogu. Like they always did. Worse still, staring at the stars (and thinking of the kid) are both things you were supposed to distract him from. It wasn't working, of course, because you weren't there.

You were in the hull, by the now cold caf you always set out for him. Din was avoiding the hull (and evidently the caf) because you were there.

So he sat in the cockpit, watching the stars, thinking of the kid.

The kid he would never see again.

It's for the best. Even if it hurts… a lot.

Din tore his gaze from the specific patch of glass he blamed for making him remember. He thought the new ship would be better for him, fewer things to associate with memories—a fresh start—a new life. Or, more accurately, resuming his old life with a new ship.

He couldn't stare at the controls; it would remind him of the ball, weight heavy in his pocket. The one he forgot to give the kid. Or pretended to forget; he wanted something to remember Grogu by—even though it was the kid's toy. Din might regret that for the rest of his life. Needless to say, that was why he didn't let his dead stare lie on the controls for very long.

So, instead, he stared at the joint between the glass and the support rod. When that didn't work, he assumed it was the stars' fault.

Grogu would always look and point at the stars.

Maybe one day they would look at the same star at the same time. But he would never know. Not anymore.

It's for the best.

His stomach growled. He ignored it.

Sorgan was only a few clicks away; he'd eat then if at all.

The bounty wouldn't take long anyway; the tricky part—finding out he was hiding on Sorgan—was now over. The planet didn't have many great places to hide. And Din had allies there… maybe he would see her again.

"We want you to stay," she had said, "you and your boy could have a good life. He could be a child for a little while, wouldn't that be nice?"

He should have stayed. Or at least he had thought he wanted to. It wasn't best for the kid. Life with a hunter, life with him was not suitable for a child. But if he had stayed…

Then Grogu would have never been with his own kind.

With a huff, Din gave up on staring out into hyperspace entirely—it brought back too many memories. He looked down at his glove instead.

Grogu would squeeze his thumb through the leather when he was nervous; he squeezed his hand to say goodbye. A silent goodbye.

Because it was a goodbye. They would never see each other again.

Maybe it wasn't entirely the stars' fault.

Perhaps staring at the other glove would offer a less painful distraction…

You knock on the cockpit door. He didn't respond, and you entered—holding a tray.

There you are again, bringing flavor and feeling into his life.

What was your agenda? You were obviously lying about your work experience in space. What did you want from him?

The beskar? doubtful. You didn't seem to know what it was.

What did he have to offer you to make you go out of your way for him? The food wasn't poisoned… Perhaps you were trying to bring his guard down and strangle him in his sleep. Or kill him at the height of sex and take the ship. But you had said you didn't know how to fly, which he believes because you would have left him on Hoth to die. And you didn't.

Which means you wanted him alive (for now at least), so…why?

He was waiting for the shoe to drop. You were hiding something.

"Here is some lunch in case you will be gone for a couple of days. And I warmed up the caf. Once you eat that," you set down the plate, "you can have this," you slightly lift the fat on your ass and let it fall back in place. Din didn't bother to hide his gaze.

But then you suddenly lost your confidence, unsure, "If, of course, you want and feel up to… that."

"Thank you." It was short, clipped, cold.

He didn't comment on your awkwardness or the bantha in the room.

Din knew he was being rude.

He had taken you—hard—and left you in the mud. Like an asshole.

He remembers seeing the fringes of tears on your eyes. And he didn't do anything. He felt like anything he would do would make it worse, so he chose to walk away.

And made it worse.

But you had unintentionally driven a sword straight in between the plates of his armor. You reopened a wound - reaching feelings he tried so hard to contain and repress. And he lashed out in his pain. And retreated, wounded, to the cockpit. To the stars and his thoughts.

And here you were offering him lunch and sex.

What was your agenda?

—-

"It will be safe if you want to leave the ship."

Sorgan was beautiful. You had landed in a meadow, and with the ramp down, you could hear the birds and feel the cool breeze on your skin.

Mando didn't take up your offer, but he did bring down an empty plate, putting it in the wash as you peaked up from your sketchpad. The new coloring pencils blended nicely, but you couldn't seem to focus on making anything worthwhile.

You had tried to restore some semblance of job security—bringing him food. You had brewed caf, he never came down, and after he missed breakfast, and lunch, you settled for a late lunch/ early dinner, rehearsing what to say over and over again. You had scraped most of it, forgetting your words as the visor pinned you down.

You usually aren't like this. But the idea of losing the credits sent you into a life or death panic. You need this job, and if food and sex are going to get you to stay—then that's what you are going to do.

Men are simple creatures, after all.

You needed him to like you. And if this went wrong, you didn't have any other ideas.

"Do you know when you will be back?"

"Before nightfall." He examined a blade but decided against it, putting it on the weapons rack. Then he turned on his heel and left.

But Maker, he wasn't making your job easy.

—-

After about 45 minutes, you were restless, pacing back and forth on the ship. During landing, you thought you had spotted a village; it looked like giant mirrors surrounded it. You were like a caged loth cat who could smell food just beyond reach. You wanted to investigate, and Mando did say it was safe…

With a bag in hand, your boots touched the soft grass at the bottom of the ramp and carried onwards before you gave it another thought.

Fifteen minutes after that, you heard the sounds of children playing.

When you broke through the woods, you realized they weren't giant mirrors but rather square plots of water. There were farmers carrying baskets of tiny bright blue creatures you didn't recognize. And just like the farmer from Batuu, droids buzzed around assisting the workers. It was peaceful, a tiny shred of paradise hidden on a planet you never knew existed before today.

The group of younglings you heard playing before rushed up to you. You must not have looked very threatening because you could see parents in the distance and they didn't seem concerned with the foreigner.

The kids surrounded you instantly - radiating excitement. The children back home were always eager to see you because you brought color and art into the otherwise dull Canto Bight side streets. Even if it was just for an hour or so each day, they cherished every moment before they had to go back home. Guilt rose in your chest for leaving them, but you had a job to do.

"Are you friends with the Mandalorian?"

Three more joined, cutting off your routes of escape. Normally you would distract them with art or redirect their enthusiasm elsewhere, but there was no stopping these younglings.

Another chimed in, "You live on his ship?!"

Then a girl in pigtails who barely came up to your waist, "What's that like?"

You swallow hard and search your years of experience working with preschoolers for something age-appropriate to say, "Yes, I'm uh. I'm his… mechanic! I'm the Mandalorians mechanic."

They all hushed in awe, and you thought you had won them over until, "Well, what do you do?"

"I… I fix his ship when it wants it," you pause, "when he wants it fixed."

Why did that still sound sexual?!

"Cool!!"

"Wow!"

"Do you get to see bounties in carbonite?!" It was from a blue Twi'lek boy who managed to push his way through the crowd; he was missing a front tooth.

"Sometimes!"

"Eww!" Squealed the girl from before.

But before they fired another bullet to dodge, a woman approached. She stood strong and confident—a village leader.

"Now, let's give our guest some space, okay?"

The children flocked to someplace more interesting.

"My name is Omera," she reached out her hand, and you took it.

"Josaphine," you smile.

"Nice to meet you, Josephine. The Mandalorian arrived just a while ago. Here, this way."

You followed her down a well worn, bustling path. You liked Omera, she was warm and welcoming, and effortlessly swept you into a comfortable conversation.

"Yes!" You laugh, "I put the jar on the top shelf AND locked the compartment, and the kids were STILL able to get all the way up there! I wouldn't even have noticed if they didn't leave crumbs everywhere."

"They always get themselves into messes but never out of them."

You hummed in agreement.

There was a comfortable pause; you listened to the bird's chirp and the subtle bubbling of water.

"I'm glad he has someone in his life now… after," she murmured.

They way her voice softened on 'after,' you knew there was a story behind it. A story you were expected to know. And 'someone like you' implies she 100% noticed your awkwardness with the kids and interpreted it…

You opened your mouth to say… say what? Oh, sorry we aren't together? I'm his sugar baby? He is single handedly paying for my family's food?

But she continued before you had the chance, "I know he is almost," she tilted her head, thinking about the word for a moment, "soft."

That caught you off guard. Mando soft? Tell that to the bite mark—that's still not fading—on your shoulder.

But there have been other moments like when he held your face in his palm, or when he rested his helmet against your forehead.

You both turned a corner and your heart spiked, despite knowing where she was leading you. Mando was there, casually leaning against the side of a hut, drink in hand.

"Can I offer you any spotchka, Ms. Josephine?"

"Not at the moment but thank you," you said, "maybe later?"

"Of course," she smiled then turned to Mando, "feel free to make yourselves comfortable in the meantime."

"That is very kind of you." You've never heard that tone through the modulator before.

Omera stepped closer to him.

"We owe you a great service," she took his hand in her own, "this is the least I could do."

He held her stare. A dull pain situated itself in your throat, but you couldn't explain why. Your panic from earlier bubbled forward. These two were obviously meant to be together. Why did he even hire you? Why were you even here? He should just settle and enjoy a quiet life that doesn't involve getting shot at. Mando wasn't your knight in shining armor afterall.

And you can't lose this job. And you were going to lose this job because he should stay with this beautiful woman and have a happy family... And you couldn't lose this job because then the lights would go out again. And—

"Hey. Are you okay?"

"Huh?" You replied eloquently.

Omera had left; it was just him and you. He had moved from where he was leaning, drink forgotten, and placed a hand on your shoulder as you just looked at where the glove met your top with a dumb expression. He was…soft.

"Let's go for a walk."

"Where?"

Mando hummed, "Somewhere I haven't been in a while."

—-

The sound of the river helped you relax. You followed along it, listening to the current - the small noises of water lapping against defying stones, or the birds in search of twigs for their nests. The air was heavy with dew as you breathed in the sweet smell of bark.

He paced next to you, step for step, even when his stride would naturally take him farther.

Neither of you were talking, which you gathered he probably preferred, and sometimes you did too. But not like this. If it weren't for the crunch beneath your boots, the birds or the river to distract you, this would be unbearable.

"What happened to the bounty?"

He doesn't respond right away, and for a moment, you don't think he is going to; he just tilts his visor down at you—seeing through you. As if not finding what he was looking for, he gives up and answers, "Hunting. He's with a group and will be back before nightfall."

You try for humor, "Shouldn't he be running?"

"Apparently, he has lived here almost a year. He ran away and established a new life, and the villagers welcomed him with open arms."

"Is he dangerous?"

"No."

Up ahead, there is a covered bridge made of the same twisted branches as the rest of the village homes. It arched above the water and below housed stacks of straw for livestock: a duck and a trail of fluffy little yellow ones passed underneath it.

It was such a beautiful place; you could see why he would hide here. And if he wasn't hurting anyone… it just didn't seem fair.

"It's not my job to decide," Mando said as if sensing your worry. You knew that and didn't blame him. By the tone of his voice, it almost sounded like he was sorry too—a hunter sympathizing with his bounty. You had only been with him for a few quarries, and most of them were hardened criminals... This man was out of place to be hunted by someone like Mando. Maybe that was why Mando felt sorry for him. The man just didn't even stand a chance. You wondered for a brief moment how many out-of-place bounties Mando fetches and if he ever shows them any kindness. Or if he just locks them in carbonite.

You need this job. And if it wasn't Mando's job to decide who runs free, then it certainly wasn't yours.

"Omera said the village owes you a great service?"

You were both under the shade of the bridge now. Your steps pause, and you turn, facing the river, watching the ducks follow their mom through the current.

"Omera is modest," he glanced down and thumbed his glove, "the village was attacked by raiders. I was on the planet at the time because." He stopped himself abruptly, like a holo whose cord was ripped from the wall. You turned back towards him, but he continued, omitting the notion, "They hired me, but the raiders had an AT-ST."

Your eyes widened despite yourself, "AT-ST?"

He nodded. "I couldn't do it alone and yet they give me the credit," he stepped closer, "She helped me. Trained her people to fight with me. She led them in battle next to me."

He took your hand in his and placed a palm on your hip, guiding you both backwards to the shadows under the bridge. The back of your thighs hit the straw, and he gently lifted you up, encouraging your legs to part, stepping between them. He rolled his hips forward, creating friction despite the clothing.

Oh. So he does know other positions besides just bending you over.

You were beginning to think that was all he wanted. Despite all of your previous attempts to encourage him in between your legs like this, he had never taken the bait. It was only now, when he had thought of…her.

Why did that make you inexplicably angry? He was paying. You were getting paid. What did it matter—he could pretend you are whoever he wanted to, and you should smile and take it.

But a soft, warm palm lightly cupped the side of your face, his helmet cold against your ear when he spoke, voice quiet, and you could almost hear him—his real voice—without the modulator, "I haven't been back here since. And I wanted to come back with you."

His words weren't meant for you; each syllable clumped into an indignant dark lump in your throat. His words were meant for her. But he was in between your legs, ruffling up your skirt, pulling down your panties, and whispering sweet nothings into your ear.

This was something so tender, something so unlike before; there wasn't a glove in your mouth or hand pressing on your neck. This wasn't how someone would treat a sex worker. Instead, there was emotion, yearning, longing in every touch, every gasp and pant that echoed through the vocabulator.

"Ready for me?"

You nod.

He rested his helmet against your head—a kiss.

And you just couldn't take it anymore.

"Are you kissing her or me?"

He tilted his helmet ever so slightly, his mouth only an inch from yours if it weren't for the metal; he seemed taken aback by the question. In part, probably, because you had identified the Keldabe Kiss for what it was, although your plethora of Mandalorian knowledge died there. In larger part, however, was that your question was presumably unwelcome—especially if he was trying to forget. Because, you gathered, that was why you were here: the elusive event Omera had referenced - one single moment important enough to have all other time in this hunter's life referred to as before and after.

"You."

But the answer was too breathy; he was in between your legs. He had an obligation to that response. You didn't believe him. But you could still let him forget. You weren't here for him to just get off. You were a distraction. A portable and expensive distraction that was, for some reason especially needed on this tucked-away arboreal planet.

You gasp. He was desperate to be inside but not to leave - rippling your bodies through waves of rolling pleasure. His hands were everywhere; you felt comforted in his embrace as he guided himself into you over and over again. Time seemed to stall as he filled you. The noises were only slightly audible under the current and chirps.

His helmet was now warmed from where it was pressed to you. But he dipped lower, into the crook of your neck and whispered, "Just like that, you feel so good."

Your high took you by surprise. It wasn't like getting hit by a speeder as all of your other experiences with him have been. This felt closer to laying down on a beach, letting the waves wash over you—slipping into bliss. You didn't have air to gasp - your jaw just loosely hung open as your eyes flickered shut.

You were limp and useless when he spoke again, "That's my girl." And that time, you whimpered. Dead to the world, he placed a hand on the back of your head, and guided you to snuggle in the crook of his neck. Your nose rested in his cowl, safe from the metal on his shoulder and rim of his helmet. You breathed him in, relaxing your body around him as he continued to fill you at his languid pace.

You could tell his high was similar to yours - just a quiet gasp as his grip momentarily tightened before laxing. He sunk into the mutual embrace, mindlessly running his fingers through your hair.

You suspected he regretted this sudden show of affection. But he seemed so content, as if he had longed for intimacy but could never indulge. A thirst he could never quench. It was awkward with the armor, depriving you both of warmth of skin against skin. It was usually easier for him; you gathered: to bend you over and take from behind. Yet you had managed to maneuver around his thigh plates and other bulky armor.

But the real world eventually caught up to him because he double-tapped your arm, and the light turned green.

"Thank you."

The awkwardness from before set in. Mando cleared his throat and stepped back from you. The combined releases began to dribble down your leg as you stood on almost wobbly feet. He used the inside corner of his cape to quickly wipe it away, and you hoped he actually cleaned his cape… Then he stood to full height, saying with a gruff, half-turned away from you, "let's head back."

——

Two cartoon frog sketches later and the kids were absolutely head over heels for you. Mando had slinked back to some hut with his spotchka while you were, once again, surrounded. After you ensured everyone in your possy had a frog sketch (or three), you could sense their attention began to drift back to your mechanic job.

"You know what guys?" You pull a jar from your bag, "There is something you could help me with."

Sorgan

After yours was finished, some of the youngest ones managed to find their own containers they filled with dirt. While some made fairy gardens, others took a different approach and settled for mudpies.

As the sun dipped below the horizon, transforming the baby blue sky into a blend of oranges and purples, their parents called the kids one at a time to head in for the night. And you said your goodbyes.

It was good timing too because not even 10 minutes after the last youngling had left, the hunting party returned.

At first, they were just a walking collection of shadows. Mysterious and unknown, shapeless figures approaching this safe nook. You jumped up to warn Mando, but he had already spotted them. But as they became closer, you saw the individual faces, the smiles, the triumph. Because slung over a strong shoulder was a carcass that could feed the whole village. The whole group carried pride in every step. And then they spotted Mando. Recognizing the warrior, they waved and greeted him, their smiles growing.

Except for one man. His excitement vanished like a puff of breath to a candle.

The man looked as though he would cry.

The group dissipated into the huts, and some followed the carcass, others lingered close enough to eavesdrop. The man approached the bounty hunter and spoke with a facade of bravery, "Time to go?"

Mando nodded.

The man parroted the movement in a nervous gesture, nodding quickly and subtly in agreement. He didn't hold out his hands for the cuffs but never glanced for a way out or an escape. Mando turned to you and jerked his helmet to the side indicating it was time to head back.

"Until our paths cross," Omera said, walking up to the three of you, then turning to Mando, "Be safe in your travels. Thank you once again."

And after a few goodbyes, the three of you were off.

—-

Alright, so you actually thought Milton was a nice guy. Talkative, yes. But all around, a much better conversationalist considering that you would have otherwise been following the Mandalorian's footsteps in silence.

Milton, however, made sure to fill that silence. Despite Mando's (definitely) tense shoulders and slightly faster pace—desperate to get back to the ship. You learned all about the company he used to work at - some boring credit card bureaucracy assisting the New Republic.

"Honestly, Mando, I swear! I was only tryin' to skim off a thousandth of a credit for each transaction," he dogged under a branch that had swung back, nearly hitting him, "My only fault was drastically underestimating how many beings live in the Outer Rim."

Mando still didn't acknowledge a word, plotting ahead when the man continued, "I had only expected 10 or so credits a day - y'know, under the radar n such. Well, imagine my surprise when I woke up the next monin' with ore 10,000 in my account!"

You couldn't control your breathless laugh—well, that's certainly one way to get Mando after you.

"I just. I just needed the credits, y'know?"

Ugh. Now that got you. You did know. But here you are trudging through a forest with a bounty hunter in hopes that he'd have you later. All so that one day maybe, just maybe, you wouldn't know the desperation that followed you like a shadow. And this man thought he could just sit back and rake in credits.

Well, at least you weren't surprised when Mando shoved him in carbonite the second the ramp door closed behind you.

——

Inspiration still wasn't striking.

You had put Sorgan's jar on your makeshift spot half under the mattress/ between your bag with the flimsy light you had wired from the kitchen. The light kept the plants alive; you were surprised (and slightly proud) of your growing collection.

You had thought doodling the contents of the jars would get you back into the swing of things, but the pencil felt foreign in your hands. You couldn't get the pressure quite right—mind wandering back to Mando. How he left you in the mud and then not even days later treated you like you were the love of his life. Maker, it was like those princess holo's Tim can't stand where the lovers kiss surrounded by singing animals and fairy lights.

The pencil lead snapped on the paper.

It all culminated into making your job of finding out what he liked extremely difficult. You didn't know what he wanted from you besides just being a distraction. Which, you weren't even being a good distraction—stewing here over your beat-up sketchpad. You honestly didn't think the two of you were even compatible. But you could only pray he wouldn't come to the same conclusion because you had to be here. You had to make it work. Somehow—

"Joey, set everything down and get to the cockpit."

Your head swiveled around, but no one was there; it was a voice from overhead (because, of course this fancy ship can do that). This didn't sound like a booty call—not that you could tell much from the vocabulary—he sounded more urgent…well, more urgent than when he wants…that.

With nervous hands, you climb the ladder.

"Buckle in."

You gasped, "Are those asteroids?!"

The entire field of view, which would normally be the sparkling expanse of stars, was now a minefield of hurdling blue rocks.

If you thought those buttons were confusing before, they were definitely now. Half were blinking. Half were beeping. And Mando was the conductor of it all. It would honestly have been impressive if you weren't scared to death. And even more scared by the fact he suddenly seemed content with carrying on a normal conversation as a chunk of ice the size of one of the huts back on Sorgan nearly missed the glass.

"I thought you said you were in space all of the time?"

The blood that was pounding like lightning through your veins froze. "Mando! This is hardly an opportune moment!!"

Something hit the side of the wing, and you lurched forward in your seat; more alarms sounded. Now some of the lights were blinking and beeping. And even though there were a bazillion more important things, you couldn't help but wonder for a quarter of a second, why it was necessary so many buttons needed to do both.

"So it's not true?"

"No! I love space! I have clients in space all the time," you nearly scream, eyes going wide, as a piece that utterly dwarfed the ship barreled forwards. The ship pulled upwards—and you know you would have fallen out of your seat ages ago—wrapping around the giant asteroid.

And after that, the view was empty.

The twinkling stars were back, and the worst of it was behind you. Mando's posture stayed the same, but you sunk back into your seat, heart hammering.

"If you were in space all the time, then you would know that was a comet breaking in atmo," you sunk back into your chair further. He tagged on as if it was even necessary, "asteroids aren't made of mostly ice."

"So," and then he said the thing you feared in your nightmares, "why are you lying?"

——

You didn't know how this started happening. Even if you could focus enough to retrace your steps, you didn't think it would have made sense to how you ended up here: yet another crate.

"Liar." He bit into the side of your ear. His iron grip firm on the back of your neck as he hammered into you. You spasmed around him, tears staining the sides of your face.

"Oh, like you're such an angel yourself, using me to fuck that widow in your head!"

Yeah. You still haven't gotten over that. And this whole situation is making you even angrier. When he wanted her, it was all romantic, under an old bridge. Of course, with you, it's like he's playing kirffing whack-a-mole. And you knew you were being ridiculous. You shouldn't even care. You had already established that the two of you weren't even compatible. Mushy feelings weren't professional, and yet it hurts anyways.

But he lashed at you before you had the chance. "What do you want?" He pressed deeper, and you could feel him in the back of your throat. "Kill me? Take my ship?"

"What?! No! Why would I… why would you just assume that?"

Mando balled a gloved fist into your hair, turning your face to the side so he could see if you were lying without a single fault in his rhythm. A light from overhead shimmered with his armor, blinding you. There was only the impenetrable 'T,' a gaze you forced yourself to meet. "Making me food too? What are you getting at?!"

"The food?! I was tired of eating grey sludge and trying to be nice to you, Buckethead!"

This wasn't good. You've been with him for 17 days, and you've already pissed him off to the point he thought you were plotting to murder him with muffins. Your family needs this! Stop being difficult!

Another particularly hard push of his hips made you wonder how much this crate (or you) could take. You hated how you couldn't keep up this facade because, by the way you twitch and spasm around him with every rasp, he knows you are loving every moment of this. But he can't lie, the pure thickness giving him away—he's just as affected. Still, all of it combined is just not enough to push you over the edge.

He was clearly too mad to notice your needs, so you tried to wiggle a hand down… but he slammed your wrist back onto the create, hissing, "You can touch your pretty little pussy after I'm done."

Okay, now that was just too far. A high-pitched whine would have been more pornographic, but you were really pissed. A low, dangerous growl rolled from your throat, Really?!"

In retaliation, you try to buck your hips back, hoping to get some friction. But he huffed a laugh, pinning your legs back to the side of the crate with his knee, forcing your ass in the air even higher. You lost any wiggle room you had, now stuck to be merely drilled into relentlessly as your jaw slacked open—taking it.

Mando continued the argument with a cocky grunt at his overly exuberated physical dominance, "What about the farmer back on Batuu? He give you a shiny couple of credits too? I'm paying for—"

"Paying for what?! Exclusivity?!" You sneer with a laugh, "I was helping him with his hover cart. Shiny, I'm all yours." As if on cue, his thrusts got even harder—claiming you. Ugh, men.

"Cart?" His breathes, too close to the edge for his tone to keep it's bite.

"Yeah. I know how to fix things."

His hips stutter. "W-what kinds of s'things—m'kirff feels s'good Joey—you know," he audibly gulped, "carburetors?"

He held you up, hands locked to your hips, forcing you up and down on his cock. Slick dripping to the base of him, and you whine, his pace brutal. He cums hard, filling you then dribbling as he steps back. He's now calm and relaxed while you are orgasmless, tightly strung, pissed and—

Mando pulled you against him, tilting your chin to look up at the visor. Your palms land against the metal plates on his chest, cool against your burning skin. And without warning, he plunged three fingers inside of you, pumping, and one circling right over your swollen bud.

Embarrassed you tried to turn, but he kept you looking up, pinching your chin. His fingers curl once, twice, three times, and you're done for.

You sagged against him, and he held you and stroked your hair just like under the bridge. He put a (thankfully ungloved) sticky finger up to your lips, and you oblige, licking your combined releases as he hummed in approval.

He double-tapped your arm with his free hand, and the light turned green.

"Thank you," you tried to mumble around his fingers.

"Look," he sounded exasperated but calm, "I don't care—it's not my business. Just if you are on the run, let me know if there is a ship or somebody I need to take care of."

You saw how he could come to that conclusion…because people in your profession might need to run away… Someone after you wasn't what he was worried about—he didn't even care. As if it was expected and completely normal. It was whether or not he had to be bothered in getting rid of whatever imaginary person was after you.

He just nonchalantly offered to murder for you. And the offer wasn't lost; you felt its significance. He still wanted you around enough that he was willing to go out of his way for you. Apparently, your reasoning was enough to justify your lying, and now he didn't care; he wasn't going to push it. You both had secrets but as long as it didn't affect the other, it was apparently fine.

After he deemed his finger clean, he pulled it from you, leaving a thin trail of spit. He turned to walk away, but you caught his attention when you called for him one last time,

"Oh, and Mando, I know carburetors."

You had mimicked his eloquent pre-orgasm phrasing, and all he gave you in return was a short nod. But somehow, just below the helmet, you just knew he was blushing.

Taglist | Next Chapter

Authors Notes: I stole the riverside sex scene from Peaky Blinders Season 4 Episode 3 (49:03). And that scene gave me an inspiration “trail” for most of this story! My thought process was pretty convoluted so the only thing still identifiable as Peaky Blinders/not original was in this chapter but I still wanted to credit them nonetheless. See you in the next one!

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kaelinaloveslomaris · 4 years

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could you please do a break down of all the tags you use and why? I think they're so cool

Thanks! I actually answered a similar ask a few months ago, but it doesn’t really break down who each of the tags are for, so I’ll do that here, as well as listing where each of the tags come from. Most of them are song lyrics, either directly from the song or a condensed variation of several lines. Often the whole song fits the character in question, but sometimes just the one line stuck out as fitting.

This got a lot longer than I was expecting it to, so I’m going to put it under a cut.

First the individual character tags:

“this precious child” is for Luke. I actually borrowed that one from @littlesparklight and got the idea to use personalized tags for characters and relationships from her too.

“the ashes call my name” is for Vader. It’s from Point of No Return by Starset. A good portion of my tags are from Starset songs. Their music just fits Star Wars so well.

“what’s your life without a cause” is Leia’s tag. It’s from The Soldier by Lacey Sturm.

“I’m not an easy target” is Han’s. It’s from Born Again by Thousand Foot Krutch. It’s meant to be a reference to how he likes to pretend he’s all hard and doesn’t have a bleeding heart.

“one step closer to destiny” is for Anakin. It’s a slight variation on a line from Is Your Love Strong Enough? by Bryan Ferry. The full line is “Just one step at a time and closer to destiny.”

“searching for a new hope” is for Obi-Wan. It’s from A New Hope by Broken Iris. The title itself is of course fitting, and really the whole song fits the PT trio, and I used other lines from it for other tags too, but this line in particular fits Obi-Wan and his whole tragic life. After Qui-Gon, he looks to Anakin to be his hope, and then to Luke.

“angels should never touch ground” is for Padmé, and it’s from Beautiful Girl, also by Broken Iris. This whole song fits Padmé and Anakin, both during the ten year separation between TPM and AOTC, and also after ROTS.

“you can’t fight the friction” is for Piett. It’s from Friction by Imagine Dragons.

“we could be heroes” is Wedge’s tag. It’s from Heroes by Zayde Wolf. The song really fits his dedication to the Alliance and everything it stands for.

I don’t use this one much, but “shooting star” is for Biggs. I can’t actually remember where this one came from. I thought it was some variant of one of his lines to Luke, but it might actually be something I picked up from a fanfic somewhere, I don’t actually remember. I do know I had it before @azalea-scroggs used it in Black Squadron, so it wasn’t that fic. We probably got it from the same place, haha.

I use “emperor idiot” for Palpatine, and that’s just spite.

“stardust in her eyes” is Jyn’s. It’s from Galen’s nickname for her, “Stardust.” I just made a phrase from it.

“more than words and guns” is for Veers. I think @th3rm0pyl43 suggested that one for me. I think it’s from a song, but I don’t know which one.

“oh don’t you see that lonesome dove” is for Ahsoka. It’s from 10,000 Miles by Mary Chapin Carpenter. It’s the song from Fly Away Home, one of my favorite childhood movies, and it never fails to make me cry. This is one of those songs where the whole song doesn’t really fit, just the one line, and it’s more aimed at Rebels!Ahsoka than TCW.

Now onto the relationship tags:

“you’re my dark star” is for Luke and Vader/Anakin. It’s from Dark On Me by Starset. I actually wrote a post that breaks down how and why that song fits them so well. I’ll reblog it when I’m done with this post.

“echoes of a promise” is for Luke and Padmé. It’s from You’re Not Alone by Lacey Sturm. It’s kind of about how Vader sees echoes of Padmé in Luke, and how Luke’s faith in his father is a mirror of Padmé’s faith in her husband.

��there’s a memory of how i used to be” I use for posts paralleling Vader and Anakin. It’s the first line from Point of No Return by Starset, the same song that Vader’s tag is from.

“brothers in wings” is for Luke and Wedge. It’s a play on words for “brothers in arms,” since they’re wingmates.

“they’ll never stop us” is for Luke and Biggs, and that one is a piece of Biggs’s dialogue.

“bound by fire and ice” is for Luke and Han. It’s just a phrase I came up with, referencing how their bond is sealing in fire (all the battles they’ve fought together) and ice (the events on Hoth).

“do you still believe in one another” is for Luke and Leia, and it’s from Hey Brother by Avicii (though I prefer the cover by RUNAGROUND).

“do you still believe in love I wonder” is for Leia and Han, also from Hey Brother. I purposely used matching lines for these two tags, because of how the trio’s relationships are all tied up together, and the song really fits the whole trio.

“dumpster diving” is my tag for the OT trio (+Chewie), and it’s a reference to the trash compactor, and finding treasure (their friendship) in unexpected places.

“he was a good friend” and “broken brothers” are both tags for Anakin and Obi-Wan, and it depends on the content for which tag I use. The first one is from Obi-Wan’s line to Luke in his hut in ANH.

“in the light of all the stars aligned” is for Anakin and Padmé. It’s from Telescope by Starset. It’s also kind of a play on Across the Stars.

“to your grave I spoke” is for Vader and Padmé. It’s also from A New Hope by Broken Iris, like Obi-Wan’s tag.

“you went dark on me” is for Vader and Obi-Wan. Like Luke and Vader’s tag, it’s from Dark On Me by Starset.

“I’ll use you as a warning sign” is for Anakin and Ahsoka. It’s from I Found by Amber Run. Most of the song doesn’t really fit, but that line seemed to.

“but I’m losing this and I’m losing you” is for Anakin/Vader and Ahsoka. It’s from Broken Pieces by Apocalyptica Feat. Lacey Sturm. It’s for Anakin when Ahsoka leaves the Jedi order and for Ahsoka after she realizes exactly who Vader is.

Whew! That’s a lot of tags, haha.

#asks #about my blog

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rptv-starwars · 4 years

Text

'The Empire Strikes Back' at 40: What the 'Star Wars' sequel's iconic special effects owe to Ray Harryhausen

By Ethan Altered-States (Ethan Alter)

Yahoo Entertainment, Yahoo Movies • May 27, 2020

https://www.yahoo.com/entertainment/the-empire-strikes-back-star-wars-special-effects-ray-harryhausen-212159259.html

[article was edited for brevity, clarity, and to omit dumb commentary by the original author]

Dennis Muren poses with an AT-AT walker behind the scenes of The Empire Strikes Back. (Photo: Lucasfilm)

Both Ray Harryhausen [special effects creator prominent in the 1960s for stop-motion animation] and The Empire Strikes Back (ESB) are celebrating milestone anniversaries this year. 2020 marks the 100th birthday of Harryhausen, the special-effects pioneer behind vintage Hollywood spectacles like The 7th Voyage of Sinbad and Jason and the Argonauts, as well as the 40th anniversary of the second movie in the Star Wars original trilogy.

But they have more in common than the calendar year: The AT-ATs and Tauntauns that walk through ESB are inspired by Harryhausen’s menagerie of stop-motion creatures, from cyclopses to krakens. “They had character, they had performance and they had purpose,” says Dennis Muren, who parlayed a childhood spent watching Harryhausen’s films into a groundbreaking career as a Star Wars F/X legend. “They were wondrous to look at, and the designs of the shots were dynamic. Ray’s work grabbed you emotionally, because it began with him. I’m the same way: being emotionally connected to the performance and design of a character who, simply put, looks really neat.”

Currently the Senior Visual Effects Supervisor and Creative Director at Industrial Light & Magic (ILM), Muren first joined George Lucas’s pioneering visual effects studio in 1976, when it was still making and photographing spaceships in a Van Nuys warehouse. After the success of Star Wars (A New Hope), Muren followed ILM to the Bay Area as Lucas planned for a sequel. “It was the hardest film by far,” Muren says of how ESB came together behind the camera. “Everything just got bigger. The spirit of the film was still fun and adventure, but it had more romance, it had more action, the Empire was bigger and the universe was bigger than we thought on the first movie.”

Muren’s role also expanded with ESB as he took point on directing the fleet of miniatures in the film’s iconic opening on the ice planet, Hoth. With the advent of digital technology still many years away, Muren and his team brought the Rebel’s herd of tauntauns and the Empire’s squad of AT-AT walkers to life by hand. And through it all, he followed the example established by Harryhausen.

“I always think of the Cyclops from The 7th Voyage of Sinbad, who comes out of his cave roaring and angry, and his hands are up because he’s ready to grab one of the sailors,” explains Muren, who later won his first Oscar for his work on the film. (He currently has nine statues, the most of any living person.) “That’s what I always strive to put in my work: that there’s a reason for that creature to be there. You’re not just giving the audience an effect: You want them to feel something from it, whether that’s ‘Oh my God, that’s amazing,’ or ‘Oh, that’s really creepy,’ or ‘Wait, that’s impossible!’”

In honor of ESB's 40th anniversary, Muren walked us through the seemingly-impossible task of making the Hoth sequence, and his own close encounter with his F/X hero.

Yahoo "Entertainment": You said that The Empire Strikes Back was the hardest Star Wars film to make. What was the reason for the degree of difficulty?

Dennis Muren: Well, The Phantom Menace may have been equally difficult, because there was a lot of real groundbreaking work on that in terms of getting all the digital stuff to work. But we had two supervisors on that. For Empire, we had just moved up from Los Angeles, and only brought about 12 people up from the 50 in L.A. and had to hire locally just to get the thing done. All of us working on it wanted to top ourselves, and George had already done that with the designs. The number of lands and battles you saw in Empire was at least five times more than you saw in Star Wars. You had an ice planet and a city in the clouds — how are you going to get that to look right?

Doing any kind of compositing over a light-color background is very, very hard. And the whole movie was full of that in addition to your normal space battles. The vision was so big, and we had a couple of years to do it, but it took us so much time to get the fire to do it and the people to do it. We all wanted what George wanted, which was also what the audience wanted: to show you that this universe is so much bigger than what we saw in Star Wars.

Yahoo "Entertainment": What was the most challenging part of the Hoth sequence specifically?

Dennis Muren: The opening tauntaun shot was one of the most difficult things, and the most interesting. The story behind that was that George had brought back this helicopter shot from Norway [where the Hoth exteriors were filmed], and it was about 200 or 300-feet off the ground with the cameras looking straight down. He didn’t know whether if that shot was going to be necessary to the movie, but at the very end, he said, “Yes, it’s necessary to have this shot. Do you think there’s a way you can add a Tauntaun to this?”

There wasn’t! There were no tracking markers on the ground that would have helped us make the stop motion camera map exactly with the moves the helicopter made, and then we could have combined that with an optical printer. But none of that stuff was there. I thought about building a big model, but I didn’t think it would work with the background. George said, “Well, just think about it.” I spent 15 minutes thinking about it, and figured it out in 15 minutes! I learned an amazing lesson from that: There’s usually an answer, there’s always some way that you can fiddle around with what you know to attempt. If I had stopped thinking at 14 minutes and 59 seconds, we wouldn’t have had that shot in the movie.

Yahoo "Entertainment": The tauntauns definitely feel very Harryhausen in their design and behavior. Did their form match what you could accomplish then with stop-motion or did the stop-motion dictate their form?

Dennis Muren: George had the idea for a galloping horse kind of thing, and I think Ralph [McQuarrie] and Joe [Johnston] worked on the design. I was involved in how we were going to create a setting that looked like it was going to be real, and wouldn’t be encumbered by any of the cameras. I don't know how many shots we had of it — maybe 12 or 15 or something like that, and they were some of the last ones we did. There were a couple that George added right at the very end of that. It was like, “We can finally take a breather after two years, but no, there’s one more shot!”

Dennis Muren (behind the camera) filming Suzanne Pasteur (a friend of Lorne Peterson's) on her horse for tauntaun movement reference. (Photo: Lucasfilm)

Yahoo "Entertainment": I remember connecting to them very strongly as a kid — I always through they’d be fun to ride.

Dennis Muren: That comes from the design and purpose of it. It doesn’t act like an evil creature: It’s a fairly big, bulky thing and it actually looks kind of cute with a horn and steam coming out of its nose. It’s not a creature that could kidnap you or anything — it’s just a beast of burden. That’s true of all the Star Wars movies: The behavior is familiar, so the audience can relate. Even with the designs of the spaceships; I tried to show how they would bank off to fly to another planet or something, like an airplane would do in the air even though there’s not gravity in space and that would never happen. It looks really neat and you can relate to it.

Luke Skywalker (Mark Hamill) on a tauntaun on the planet Hoth in The Empire Strikes Back. (Photo: Lucasfilm)

Yahoo "Entertainment": In terms of the AT-AT walkers, that’s a case where you’re bringing character to a non-living thing. There’s behind-the-scenes footage of the ILM team studying elephants for movement reference.

Dennis Muren: When we saw the designs, we thought they were kind of like big animals. We went to an animal park in Dunn, California, and put a bunch of chalk marks on the elephant and had it walk by left to right and right to left with the camera on. That gave us the weight; those things would have weighed thousands of tons, and we had to make it look like they had gravity or else they were just going to look silly — not as powerful and as evil as they're supposed to look. We also shot the elephants in slow motion to make them look even bigger, and observed traits like how far up the knee goes up and how far forward the body travels. Does the foot just lift up? Does it drop back down again? All that stuff was used as a basis so that when we went to animate, we had a body part to do that.

We also had some really good equipment to look at the frames as we were shooting them and make sure the animation was working well. Like now, there's all sorts of stop-motion photographers, and ours wasn’t done like Ray would have done it where you couldn’t tell if you made a mistake and could go back and say, “Did I move this too far?” We were able to compare and say, “Oh yeah, we did move it too far,” and then change it to move to a better place. So it's probably more of a fluid motion than you might have seen before and that was important. Any sort of chatter in the stop-motion looks like the mechanics of the walkers. They're all mechanical anyway, so there's got to be little bumps and grinds in the motors. So that adds to the feeling, you know?

Yahoo "Entertainment": Besides Hoth, what was your favorite sequence to work on?

Dennis Muren: I don’t know — they’re all so different! [Laughs] I really like the asteroid sequence; that might top Hoth a little bit. It was also really difficult, but a lot of fun to do. George wasn’t interested in the beats of the action, but the attitude. It had to have a certain clarity to see what was going on, which was difficult because the asteroids were coming in from any direction. I did a mock-up of that sequence and realized that everything had to be based on the Millennium Falcon blasting through the asteroids. We came up with the idea of having all the asteroids going in one direction, from one side of the screen to the other, and then you could show how the Falcon makes evasive maneuvers.

Yahoo "Entertainment": Did you get a chance to meet Ray Harryhausen before his death in 2013?

Dennis Muren: Oh, yes. I was probably about 14 at the time, and he used to be in the phone book as was almost everybody else in those days in L.A. I called him up, and he was living up in Malibu, so my mom drove me two hours up to his house, and I met him and his wife. They were just the nicest couple in the world. They invited me in for an hour or two, and we kept in touch. As I got older, I went back to his garage and showed him my home movies, and he showed me some of his early home movies. He was a kindred soul. He later moved to England, so I didn’t see him very often after that.

Special effects legend Ray Harryhausen working on a model for a Clash of the Titans character. (Photo: Courtesy Everett Collection)

Yahoo "Entertainment": Did he ever visit you while you were making Star Wars or Empire?

Dennis Muren: No, but I did see him while I was working on Dragonslayer. We were at the same studio in England, and he was making Clash of the Titans. I think I brought him by to show him the dragon, and the rear-projection work. We were working on the next step beyond stop-motion, which was the combination of animation with a motion-controlled motorized camera. He didn’t entirely relate to that, and I can understand why: It could take five days if you’re lucky to get a full shot. At the end of the day, [his method] didn’t have quite the realism that ours ended up having, but he also had the energy to just get in there and grab the figure with his hand and spend the next eight hour animating it.

After Empire and things like the Tauntaun sequence especially, I realized that we needed to get away from stop motion and try and look for something else. I would say that we didn't get the tauntaun to move quite as much as we wanted to, and there were some shots that we didn’t quite finish. But George was utterly accommodating about everything, and there was a feeling of real accomplishment when it was all over. Empire just opened everything up: You can see there’s a lot more stories you can tell, and they’re still going on.

#star wars #empire strikes back #empire40th #ray harryhausen #george lucas #lucasfilm #yahoo news #stop-motion #80s movies #i love the 80's #denis muren

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summahsunlight · 5 years

Text

Pathways, a series of drabbles

Title: Friendship

Word Count: 2014

Pairings: Kes/Shara, Luke/Sela (OC)

Characters: Kes, Shara, Luke, Sela (OC), Poe, Kaleb (OC), Evelyn (OC)

AO3/Master List

Poe, Kaleb and Evelyn meet for the first time.

Yavin IV, 8 ABY

Nothing exciting ever happened on Yavin IV. Which was perfectly fine for his retired military parents, but for little Poe Dameron, it was the most boring place in the galaxy to live. It was hard when you only had the native wildlife as your friends. Poe was certain that other children his age, on more populated planets, had each other to play with. He wasn’t stupid; he knew that he probably had more freedom to roam his home planet than most kids and his mother always tried to make it up to him by taking him up in her A-wing.

Poe glanced up at the blue skies, his brown eyes watching as the clouds swept by. His mother had indulged his love of ships and flying since the moment he could talk. Someday, he was going to blast off this rock, he was going to go to flight school, he was going to become a pilot—perhaps the greatest pilot the galaxy had ever seen.

It was getting late in the day and he knew if he stayed out in the jungle much longer, well, his parents would start to worry. They might have let him have free range of the jungle, but that didn’t mean they worried less about him. Poe looked down the path towards the ranch, and smiling, took off in a run, leaping over unearthed tree roots and grabbing onto low hanging vines. He laughed with delight as his feet left the ground, as he flew through the air on the vines. He landed just at the edge of the Damerons’ property and blinking into the bright sunlight realized there was ship parked in the nearby clearing—a ship that he did not recognize.

Visitors were also rare for the Damerons, being on the far reaches of the Outer Rim and it was not time yet for their supply order to be delivered. Poe’s brow furrowed as he sprinted towards the front porch, curiosity getting the best of him. His mother had the windows open, letting the warm jungle breeze move through the house. Creeping under one of those windows he could hear voices. Papa, and Mama, of course, but there was another woman and man, and their voices were not familiar to him. However, the way his parents were talking to the couple, Poe guessed that they knew Kes and Shara.

There were questions about how the Damerons had been since they both had mustered out of the military, questions about life on Yavin—Papa and Mama answered them, with laughs and happy sighs; they loved the peace here, they loved being with their son.

And there were more questions, from Papa, on where their friends were going to stay while the Temple was fixed up and their new house was built; a small silence, and then the man asked if Kes and Shara could take them in… but only if his family wouldn’t be a burden to Papa and Mama…

“Of course, you can stay here as long as you like, Luke,” Shara exclaimed. “And you’d never be a burden!”

“How long do think it will take for the Republic to send those supplies to get that Temple up and running?”Kes asked.

“Hopefully not long,” the man replied in a soft, warm tone. “After all, no one has lived in some of those temples for thousands of years.”

Poe lifted himself onto his tiptoes and peeked into the window. Seated at the dining table with his parents was the man, Luke, who wore a black tunic and pants, and one of the most beautiful women he’d ever seen in his young life. If angels existed, Poe imagined they would look like her. She had long copper brown hair, pulled back in a loose bun and in her lap, a baby girl slept, peacefully. A little boy with sandy brown hair moved about her legs, munching on a fresh koyo fruit, the juice dripping down his chin.

Shara chuckled and used a cloth napkin to wipe his chin clean. Her brown eyes shined brightly watching the small child move around her table. “Poe gets just as messy when eating koyo fruit. I think you and he are going to become great friends, Kaleb.”

Kaleb simply smiled at his mother and reached for more koyo fruit. Poe’s tummy grumbled, reminding him that he had not eaten any lunch yet. After breakfast, he’d taken off to the jungle, to get lost in his adventures—to defeat the Empire in his X-wing. Now that the Empire had been thoroughly defeated by Poe, he was hungry. He thought about leaving his hiding spot and going inside so he could enjoy koyo fruit with the other little boy, but the woman was asking after him.

“Where is Poe?” the woman inquired, looking around the house.

“Probably half-way up a Massassi tree right now,” Kes said with a warm chuckle. “Always exploring that boy, with his head in the clouds.”

“He tried taking my A-wing up the other day, on his own,” Shara added, with a shake of her head. “Had it in pre-flight mode and everything, all on his own.”

Luke glanced in his direction and Poe dashed out of sight. He was incredibly proud of himself for getting the A-wing into pre-flight mode all by himself, and he was sure he would have gotten it to launch if his mother had not found him. “Smart boy,” the man said, with a soft laugh. “Sounds like he’ll make a great pilot one day, Shara.”

Poe beamed with pride from his hiding spot. His mother and father would tell him he could be anything he wanted, but they never acknowledged he’d make a great pilot. Poe surmised his mother never said it because she didn’t want to upset his father; Kes hated the idea of his son joining the military and becoming a fighter pilot. The former Pathfinder wanted a different life for his son.

Inside the house, Poe heard the scraping of chairs on the floor. Kes was telling Luke that he’d walk him down to the Temple and they could reminisce about old times while they checked for repairs that needed to be done before his students moved in. Poe jumped from the front porch and hid in the bushes his mother had planted, watching as Kes and Luke left, walking down the path towards one of the old, abandoned Massassi temples, recanting stories of their days fighting in the Rebellion and how they both had hated the cold on Hoth. He watched them go before he climbed back onto the porch and then slipped in through the front door.

Shara heard him and turned to smile at her son. “There you are. Come here, little pilot, there’s some people I want you to meet.”

Poe gazed across the room at the woman. The baby girl in her lap had woken up and was now eating some koyo fruit as well. The little boy, Kaleb, was leaning against the woman’s leg, his blue eyes watching the older boy, cautiously. Poe shifted his gaze to the baby; her cheeks pulled into a warm smile and he couldn’t help but smile in return at her.

“I don’t think we have to worry about the children being friends, Sela,” Shara said, ruffling her son’s hair. “Looks like Evelyn already likes you, Poe.”

“I think we’re all going to like the much quieter life here on Yavin then on Hosian Prime,” Sela replied. She gave her daughter a kiss on her head and put the little girl down. “Too much chatter and invasion of privacy in the Capital. Don’t get me wrong, Shara, I knew what I was signing up for when I agreed to marry Luke—you don’t marry the hero of the Rebellion and start a family with him without the holonet breathing down your neck. But stars, it was really starting to affect the children.”

Shara frowned, watching as Evelyn wandered over to Poe, her sticky fingers holding out some fruit to him. “We might be living in the far reaches of the galaxy, but we still get the holonet; their obsession with your children, and Leia, disgusts us.”

Sela ran her fingers through Kaleb’s hair. “It’s why Luke wanted to leave; a quiet place to raise our family but also to rebuild the Jedi.”

Poe tore his eyes away from Evelyn, not caring that her sticky little fingers had latched onto his. He’d only heard stories of the Jedi, from some of the older men down at the colony, and his mother would often tell him tales of Luke Skywalker. Luke. “Are you Skywalkers?” the boy asked, eyes shifting towards Sela.

“Not just smart, Shara, but insightful,” Sela said with a smile that lit up her whole face. “Yes, we’re Skywalkers. I hope you don’t mind we came to live here.”

“You’re going to live here?” Poe questioned; brow furrowed in curiosity. Why would anyone want to live here? Nothing happened on Yavin IV. It was a boring place.

“Luke needs a place to train new Jedi,” Sela answered him, honestly. “Do you think you can show Kaleb around? Show him all the fun places to play?”

“Sure. Can he climb trees? Those are the best places to play. You can pretend to be fighting against the Empire up there.”

“He can’t climb trees—yet—but I bet you can teach him.”

Brown eyes met blue ones. Poe had never actually taught anyone, anything. But if it meant having a friend and not just the woolamanders, well, Poe was going to try to teach Kaleb how to climb trees. He felt a tug on his arm and Evelyn let out a little cry as she stumbled over her small feet. She fell on her bottom and large tears rolled down her cheeks.

Poe glanced between Shara and Sela, a look of guilt and remorse passing over his young face. He didn’t mean to hurt the little girl; he had completely forgotten that she was even standing with him and holding his hand. He had just gotten so excited at the thought of having real friends… “I’m sorry!” he gasped. “Did I, did I hurt her? I didn’t mean to hurt her!”

Sela picked Evelyn off the floor and wiped her baby’s tears. “You didn’t hurt her,” she assured the little boy. “She’s just learning how to walk and she’s a little unsteady on her feet. She scared herself more than actually hurt herself.” She gently touched Poe’s curls. “You’re a sweet boy.”

“As sweet as they come,” Shara said, handing him a bowl of koyo fruit. “Poe, do you think you can take care of Kaleb and Evelyn for a few moments, while I help Sela bring their things into the house?”

“Yes, Mama,” Poe said, munching on his koyo fruit. He watched as Sela placed Evelyn on the floor. Immediately she started to cry when Sela left her sight.

Cautiously the little boy sat down next to the crying baby. Poe smiled at her, softly. “It’s okay, your mama will be right back.” He held out some fruit to Evelyn. Her big blue eyes looked towards where her mother had gone, and then at her older brother, who was lounging over the chair, just watching. “Here, Evie,” he said, giving the little girl a nickname that would stick with her well into adulthood. “You can have some of my koyo fruit.”

Evelyn tentatively grabbed the fruit he offered, her cries not as loud or persistent. She finished her piece and then reached into his bowl for more. Poe continued to smile at her and talk to her. By the time his mother and Sela returned, both Evelyn and Kaleb were sitting with Poe on the floor—the bowl completely empty.

Poe turned his smiling face up towards his mother. “See, Mama, I took care of them. We’re friends now!”

Somehow, Shara knew that they would always be friends, the three of them, and that they would always take care of each other.

#star wars #star wars fanfiction #poe dameron fanfiction #luke skywalker fanfiction #poe dameron #kes dameron #shara bey #luke skywalker #sela swift (oc)#kaleb skywalker (oc)#evelyn skywalker (oc)#kes dameron x shara bey #luke x oc #daddy luke!#it's little poe!

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questions-within-questions · 7 years

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My big The Last Jedi post

Spoiler free until you get to the page break

I love the theme of this film. It’s pretty much exactly the theme from the star wars sequal trilogy I had playing in my imagination when I was a child. But it really took me in surprise with how the film executed it. It’s not as simple as “there’s a lesson the heroes are learning, meanwhile the bad guys and some idiot Jedi are standing of the way of that”

The pacing of this film? It’s well documented that I hate the pacing of the Star Wars films. I think all of them, save for Revenge and Awakens, have terrible pacing. This film has three story-lines and is really, really long. I love long films, but even I thought “Wow I don’t expect a star wars film to feel this long” but the pacing almost makes it work because there’s a clear plot (Screw you Phantom, Clones and Empire) and a lot of the film keeps you on your toes about how it’s going to end.

A lot of the reviews I read have complained that Finn and his story-line is the short end of the stick? I don’t understand that. I freaking love Finn and Rose’s story here. It’s not big on character arcs but it is big on character exploration, world building, and damn I love Rose? I was always eager for the plot to return to their story.

And I LOVE that world building. Thing I disliked about Awakens? No space politics; I didn’t feel like I understood how this setting worked. And, yes, I still don’t really feel like I know what the Republic even is at this point. But Finn and Rose go to a core world planet (which, we never see in the movies. Courasaunt is literally the only planet we spend any time on that isn’t a sleepy back water in the films. Naboo is the next in line and even that felt like an outsider in the republic) I freaking love seeing what that looks like. Rose says some really profound stuff about the people who live in the side of the galaxy which isn’t war torn. I’ve seen a lot of people complaining about Luke having his character ruined. And I am so freaking happy because I hate fanon Luke. Everyone expects Luke to be a chosen one and to be a Jedi Grand Master like Yoda in the prequels and to be this super-sayan human deity. And yet Luke’s entire character arc in Return is realising that he’s better than that, beyond that. And I’m glad this film follows through with it. It’s a great performance from Mark. Hux is, weirdly enough, the character I think who benefits the most from this film? Like, he’s not in any way different from how he was in Awakens, but the tone and plot just benefits him more. I didn’t even notice he existed after my first watch of Awakens, but in this I was always happy to see him on screen. Shippers are going to have a fucking field day.

Kylo Ren also is a character who’s arc I really, really enjoyed in this film? Which, woah that’s a surprise. I still think Rose and Finn’s storyline is more enjoyable, but Kylo’s and Rey’s is really compelling and had me surprised. Their conflict is really easy to understand and ties in really well thematically with both the film and where the franchise is right now. Kylo is probably equal only to Poe in terms of how much character development he gets, with Rey in a close third place. SPACE BATTLES. Damn, I complained that Awakens didn’t have enough battles and this film did me a solid. Now that writers seem to have a strong hold about how battles actually work in this setting, especially in space, things are just really satisfying. People have complained that this film is too funny? What? How is that a bad thing? Y’all just want a star wars film to make you miserable because that’s how you think you remember Empire making you feel. Anyway time for Spoilers ++++++++++++++++++++++++++++++++++++ Lot’s of spoilers now. If the prequel trilogy is about the failings of stoicism, the original trilogy is the triumph of emotion, this trilogy is setting up to be about letting things go, moving on.

Which, you know, Star Wars really badly needs to do. It’s horrifically formulaic. So having Luke Skywalker say “You don’t need Luke Skywalker”... it works for me. I’ve been hating on the Jedi for a decade now, and Luke’s criticisms of them ring so true. The force isn’t something to be wielded. Hording the force into super soldiers isn’t what the force is here for. The force is something that is best utilised by everyone, together, rather than a lone hero. Which I think wonderfully explains why the Jedi failed and the Rebellion succeeded. Yoda seemed to realise this, a finally reached the end point of his character arc. Forgoing his hubris and helping Luke destroy the temple. I was actually about the forgive the green bastard but then he makes this pun “There’s nothing in the library that Rey doesn’t already posses.” BITCH KNEW ABOUT THE BOOKS. But this is why I love that Luke’s last battle isn’t him using the force in an amazing display of power to destroy the first order, but rather using the force in an amazing display of power to cause a distraction so that the Resistance can live. But how amazing is Rey and Kylo’s take on this? Two kids who spent the entirety of the previous film obsessed with the past admitting that actually, the past has been cruel to us. Kill that sentimentality. Of course the reason they differ is because Kylo is evil and thinks the end point of this is destroying the republic, resistance and the first order. Rey literally rolls her eyes at this shit. But it’s really compelling to see why these two kids would both do a 180 and turn on the legacies that previously controlled them, all be it in very different ways. Rey is just ungodly powerful, and that’s fascinating. It’s revealed that she has no lineage, she’s literally nobody special. She’s just some random kid who happens to have amazing power. (And damn she’s strong in the dark side too) which makes for a very interesting Star Wars protagonist. Because we’ve had Anakin and Luke both be chosen ones due to their conceptions. Anakin defined by the dark side and Luke by the light. It feels fresh to have Rey be the hero now. Luke literally says, “I’m going to give you three lessons. Not about how to be a jedi, no, about why the Jedi suck”. She drops out of Luke school before even taking the third lesson! She still kicks ass fighting the royal guard. It’s impressive. It’s all pretty damn dwarfed by some of the shit Luke and Snoke pull. That galaxy spanning stuff has the be the biggest displays of force power we’ve ever seen mortals do in the films. I know people are saying that Leia flying through space like an angel is bullshit powerful, but damn, if you watch Star Wars Rebels; force pulling yourself through space is just the easiest thing to do. Very pretty. Though her cloak billowing up to look like angel wings? A bit heavy handed what with Carrie’s recent passing. Speaking of Snoke. The number one Raylo shipper? Snoke. I love his evil plan in this film. I know it rhymes a lot with the Emperor's plans, but it’s like he watched Return of the Jedi and was like “Hmmm, I could use this to my advantage” and I love that he died like a punk. I still have no idea where he came from, why he has such weirdly long legs, what his motivation is, or why he’s such a obvious retread of Palpatine, but hay it was fun watching him be an evil bastard and die so to be a stepping stone in Kylo’s story. He also slapped Rey in the face with her own lightsaber using the force? Literally yesterday I posted to tumblr wishing this would happen. (I also theorised that Rey was her own parents so shit me did I gasp when she saw herself behind the dark side mirror) That scene in Snokes throne room is a wonderful subversion of Vader’s promise to Luke in Empire? “Together we could overthrow the emperor and rule this galaxy” this is a subversive look at, “Hay, what if Vader had actually followed through on that?” Speaking of Raylo. Damn the ship wars are going to be intense. This film gives massive material to all of the popular ships. Huxlo and Raylo especially, without saying anything definite at all. There’s literally nothing in the text to suggest that Hux, Kylo and Rey aren’t all disgusted with each other. But damn there is fuel for those fics now. I did a little dance every time Phasma turned up. She’s so cool. She’s somewhere between Bobba Fett and General Grievous in terms of “really cool character who does nothing and dies” So that final scene. It’s already controversial. And I bet the editing team were anxious about leaving it in. It was probably tempting to end on our cast of heroes. But you know what? Empire did that and that ending sucked. Having a force sensitive kid telling his own stories about the Resistance as he looks up at the horizon? Thematically it’s just more satisfying. Though this film really does try to have it’s cake and eat it too with killing the past. The Jedi temple is destroyed, but the books survive. Kylo shuns the Vader mythology, but plays the exact role that Vader did in the battle of Hoth in the final battle. Luke says we don’t need Luke Skywalker, but the final scene is a boy being inspired by his mythology. LIST OF STUPID THINGS I LIKED Adam Driver visibly slipping on those really polished First Order floors, and the editor just keeping it in. Space nuns!? BB-H8 turning up and the film instantly recognising that this droid is A MAJOR THREAT. They killed off Admiral Ackbar!? Luke’s smile when he saw R2!!! Rose looking out over the casino planet. Saying all these people are happy. And not one of them cares about the war we’re dying in. Damn. I love it.

#Big media analysis post #star wars #The Last Jedi #The last Jedi spoilers #luke skywalker #Rey #Finn #Poe Dameron #Princess Leia #Kylo Ren

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starwarsbookshelf · 7 years

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Luke?

I would love to share some of my headcanons for our darling little Sunshine Angel of Death! Thank you for asking!

What they smell like: Like every Skywalker ever, (except maybe Padme) this child smells like engine grease and mechanics, he also smells like campfires and star-fire and trouble.

How they sleep (sleeping position, schedule, etc): The only natural morning person in his entire biological family. Leia hates his guts. He’s quite comfortable falling asleep in cramped spaces in what most people would consider to be uncomfortable positions (such as the cockpit of his X-Wing). He is a cuddler, like his father before him. Usual victims are Leia, Han, and Chewie, though Wedge has fallen victim a time or two and there was that one epic Rogue Squadron puppy pile.

What music they enjoy: Space Punk and Metal. The really loud, angry stuff. It always surprises people when they walk in on him working on his fighter with Artoo blasting tunes for him. (Why no, this isn’t based on the most common reaction people who know me in RL have to finding out what music I like, not at all.)

How much time they spend getting ready every morning: He is his mother’s son. (Only about five-ten minutes, most days. He grew up on a farm, he knows how to leave getting out of bed to the last minute, roll out, make yourself fabulous in no time at all, and get on with life. Because he is a morning person but he was also a teenager.)

Their favorite thing to collect: Jedi artifacts and information, model ships.

Left or right-handed: Right, like most pilots though eventually trains to some level of ambidexterity. (have you seen some of the flying? You need both hands operating at at least similar capacity for that.)

Religion (if any): The Tatooine slave religion (courtesy of @fialleril), the New Jedi Order.

Favorite sport: Racing. (Again, he is a Skywalker)

Favorite touristy thing to do when traveling (museums, local food, sightseeing, etc): He just likes to explore and meet people. He always ends up making friends in the weirdest places.

Favorite kind of weather: Has a similar fascination with rain to his father. Does not, however, like muggy weather. (Because Dagobah was misery.) There needs to be actual water droplets, falling out of the sky. Mist is not okay.

A weird/obscure fear they have: Okay, he actually hated the Tauntauns on Hoth. He was convinced they were out to get him.

The carnival/arcade game they always win without fail: None of them. Han thinks it is hilarious.

Aayla Secura

Ahsoka

Firmus Piett

Han & Leia

Anakin

Sabé

Send me a character and I’ll give headcanons! And if you’ve already sent one in, feel free to send another! Or several more if you wish! Just please try to keep it to one character per ask. (Han and Leia together was fine and actually worked really well, but for the most part, just one at a time!) And I love background and minor characters.

#the free skywalker #ask and it shall be answered #character headcanons ask #rain rambles

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blue-mint-winter · 7 years

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BFC 1: Before the Storm - ch 1&2

I started reading Before the Storm today. Prologue was about Yevetha taking over Imperial ships during their evacuation and killing unarmed workers and their families on shuttles in cold blood. We get the picture that Yevetha are murderers and a future threat.

First chapter started with New Republic’s Fifth Fleet attacking a planet, I skimmed the battle description, but from what little I read it was quite competently written. It was just hard getting into the battle if I had no idea who they were fighting and why. Next scene was a debriefing of Defense Council on Coruscant, and Ackbar explained that it was a test for the new fleet. Interesting point was raised that NR fleet is used to deep space operations but they aren’t good at attacking or defending a planet - a conventional war, example of failure was Hoth (though it could be argued they succeeded at evacuation before the planetary shield failed and there was no point in staying in Echo base).

The political discussion was a delight. Peramis, one of new Senators on the council, accused Leia of sinister plans, that she’s going to oppress and invade Republic planets because she’s Vader’s daughter. Everyone is shocked at the guy’s insinuation and senator Yar demands apology. Leia gets the respect that she’s earned for the years in the service of Rebellion and New Republic. This is so refreshing :)

Next we go to Yavin, where Luke is in the ruins of a Massassi temple. He gives Streen a final test by sending bats at him when he’s climbing to the top. Streen passes the test and they discuss Massassi and their extinction because Streen is translating their sacred books. Massassi wanted to become like gods and that’s why they pursued the dark side. Then Luke tells Streen he’s leaving because he needs to follow the Force. Basically he needs a break from everyone hassling him with every little thing. Streen is going to take over the Academy. Then Luke is Extra by jumping off the temple’s top and using his robes as wings to fly down :)

After The Crystal Star it turns out that Han is just a regular house husband with a government position as liaison military officer with Leia, so he’s at her beck and call. We don’t know if he gets salary and how big it is, but we know Ackbar got him or even invented the position so Han can have clearance for classified information and talk to Leia about it.

Solo kids are another delight. Jacen and Jaina were rebellious against Han, but in the end they learned he’s now in charge of the house. Only Anakin was a little angel. There’s also talk of their Force abilities and how playing with them makes the kids go to sleep. Han is worried about Jacen avoiding physical exercise and only concentrating on the Force because he wants to be like Luke, that is get things done by just thinking (Jacen is 100% most relatable to me, again, I didn’t think it was anymore possible XD). Han thinks that Luke should show Jacen that training body is as important as training the mind.

Solo family unwinds by playing together in a swimming pool!!! soo cute

Next we learn that Luke is hiding in plain sight, that is on Coruscant, where he is Extra again - he reconstructed Vader’s castle on the beach using only the Force and he made it camouflaged from both sea and space! But Leia felt Luke’s presence. Han suggests that they invite him to dinner. For the moment they decide that Luke deserves his vacation.

#star wars eu #black fleet crisis #sw eu #luke skywalker #solo kids #before the storm #star wars legends

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car-loanz · 6 years

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10 best Hollywood chase scenes you really must catch

Some of the most memorable scenes on screen involve chases. Pulse-quickening car pursuits with danger at every turn. Imperial troops on the tail of rebels and smugglers in a galaxy far, far away. Man vs. plane, with everything at stake. Whatever the scenario, they captivate us with elements of surprise, stress, sometimes comedy, and always top-notch action.

Here are 10 of the best chase scenes in Hollywood history for you to check out, and the fun trivia behind the epic entertainment.

Fast Five (2011)

The Fast and the Furious franchise is loaded with over-the-top car chases and “Fast Five” is no exception. In the finale, Dom (Vin Diesel) and Brian (Paul Walker) are racing through downtown Rio de Janeiro in their modified Dodge Charger SRT-8s while being tailed by the Rio police. The catch? Attached to the cars is a vault that belongs to Rio’s biggest crime lord, Hernan Reyes.

Trivia

Some of the downtown Rio scenes in the chase were actually shot in Hato Rey, Puerto Rico.

More than 200 vehicles were destroyed by the vault during filming.

Six versions of the eight-foot high vault were created with specific uses – some for close-up shots, others to drag through the streets.

Mad Max: Fury Road (2015)

Though the whole movie is one big car chase, the finale takes the cake with Furiosa (Charlize Theron), Max (Tom Hardy) and the Vuvalini tribe driving back to Citadel and clashing with Immortan Joe and his armies. The scene features vamped-up cars and plenty of weapons as the two sides speed through canyons and desert, battling each other to the death.

Trivia

More than 80 percent of the effects in the film are real, practical effects, stunts, makeup and sets.

The older actresses playing the Vuvalini did their own stunts.

The film used three identical war rigs based on a Czech all-wheel-drive military vehicle.

The Dark Knight (2008)

The first showdown between the Joker (Heath Ledger) and Batman (Christian Bale) does not disappoint. This memorable scene shows the Joker and his clowns chasing down and attacking Harvey Dent’s (Aaron Eckhart) convoy, which inevitably lures Batman into the fray, on his übercool Batpod. What ensues is an epic ride through the dark, underground streets of Gotham City as Batman attempts to capture the villainous Joker.

Trivia

The Gotham City license plates were based on Illinois license plates.

One very pricy IMAX camera was destroyed while filming the chase scene. It was one of just four in the world at the time.

As filming took place in downtown Chicago, citizens called police to report that “police” were in pursuit of a dark vehicle of an unknown make and model.

Star Wars: Episode V – The Empire Strikes Back (1980)

Pursued by four TIE fighters, Han Solo, Princess Leia, Chewbacca and C-3PO enter the Hoth asteroid field trying to lose Imperial ships while simultaneously avoiding massive asteroids. Not the easiest feat, even for Han. Mixed with comedy and fast-flying action, it’s here that Han utters the famous line, “Never tell me the odds.”

Trivia

The Millennium Falcon model was made much lighter than in the previous film in order to have the ship move and turn more fluidly.

During the scene, a pilot briefly can be seen bailing out with a parachute after the TIE fighter is hit by an asteroid.

When the Millennium Falcon first enters the asteroid field, the third asteroid to appear in the top-left corner is actually a potato!

North by Northwest (1959)

One of the most iconic scenes in movie history is when Roger Thornhill (Cary Grant) is attacked by a crop duster plane, while waiting for a meeting with the mysterious Kaplan, at an isolated bus stop. Alfred Hitchcock’s camera angles create panic throughout the scene as Thornhill ducks and dives for his life.

Trivia

The crop duster chase scene featured a real airplane while the scene in which the plane crashes into the fuel truck included large models of both the truck and plane.

The crop duster scene was meant to take place in northern Indiana, but was shot on location on Garces Highway in Kern County, California.

This scene inspired the helicopter chase in the James Bond movie “From Russia with Love.”

The Bourne Ultimatum (2007)

In the third installment of the Bourne series we find Jason Bourne (Matt Damon), still tracking down his true identity, in a high-speed, adrenaline-pumping pursuit through the streets and homes of Tangier, Morocco. This time Bourne is after Operation Blackbriar asset Desh Bouksani, and prevents him from killing Nicky Parsons (Julia Stiles), who has been helping Bourne.

Trivia

While filming in Tangier, the crew had to close down the busiest square in the city for several hours.

The meeting place Nicky chooses in Tangier is Café de Paris, which was a popular spot for spies and emissaries back in the day.

Because Tangier is a very crowded city, the flow of people was hard to control and the actors had to push through a crowd of locals, not extras.

What’s Up, Doc? (1972)

They don’t make them like this anymore. The 11-minute chase is relatively slow-paced by today’s standards, but perfectly choreographed for comedy. It features the two protagonists, Judy Maxwell (Barbra Streisand) and Howard Bannister (Ryan O’Neal), stealing four suitcases and being pursued by multiple characters all wanting their possessions back. Starting on a delivery bicycle in downtown San Francisco, the duo take their lives in their hands as they ride through Chinatown, down the steep inclines of Lombard Street, and end up crashing a stolen Volkswagen Beetle in San Francisco Bay.

Trivia

The chase scene cost $1 million to shoot, took 19 days and required 32 stuntmen.

Shots of the floating Volkswagen Beetle were a parody of the vehicle’s ability to float on water, which was shown in advertisements at the time.

The comedic scene was a spoof of the 1968 movie “Bullitt.”

Point Break (1991)

When federal agent Johnny Utah (Keanu Reeves) goes deep undercover to find bank-robbing surfers he finds himself chasing leader of the pack Bodhi (Patrick Swayze), who’s wearing a Ronald Reagan mask, through a Southern California neighborhood. It’s a high-paced and enthralling foot chase.

Trivia

Keanu Reeves observed real FBI agents in Los Angeles to study for his role.

Director Kathryn Bigelow used a stripped-down, hand-held 35 mm camera nicknamed the “Pogo-Cam” to film the chase scene.

Patrick Swayze, who usually did his own stunts, did not do the stunts his character performs while wearing the Reagan mask – they were carried out by a stunt double.

The French Connection (1971)

Detectives Popeye Doyle (Gene Hackman) and Buddy Russo (Roy Scheider) are on the hunt to intercept a massive drug shipment from France. Naturally, an awesome car chase follows. Popeye takes over a civilian’s car and goes after an elevated train, with the hit man aboard, through the streets of New York.

Trivia

Many of the near-collisions in the movie were real and unplanned since the chase scene was filmed without the proper city permits.

Gene Hackman did a lot of his own driving throughout the chase scene.

The most famous shot of the chase comes from a camera mounted on the car’s front bumper, giving a low-angle viewpoint.

Bullitt (1968)

For perhaps the best car chase scene of all time, “Bullitt” gives us a 10-minute pursuit, with unmistakable ‘60s cool, on the streets of San Francisco. Here, Frank Bullitt (Steve McQueen) is careering after criminals up and down busy roads in a green 1968 Ford Mustang Fastback GT. This full-throttle, tire-squealing scene became the inspiration for later Hollywood car chases.

Trivia

Steve McQueen made a point to keep his head near the open car window during the chase scene so audiences would know he was driving.

The car chase called for speeds of 75 to 80 mph but the cars actually topped speeds of 110 mph.

Filming the chase scene took three weeks and resulted in 10 minutes and 53 seconds of footage in the film.

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