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notspiders · 7 months ago

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Oh, Honey! (Bumblebee! Reader x Monster! 141)

General Warnings: Mostly fluff. Reader is female and is described as rather small and chubby. Reader is clumsy. Reader has a very large family. Characters may act out of character. Poor grammar is likely. Cussing. Part 1??? Note: Monster! 141 belongs to @bluegiragi

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Price watches you through the window.

Truthfully, he isn't sure how he and his team ended up here. One day they were being chased by a bloody team of zombies/cannon fodder, the next- he's laying on this extremely cozy bed (although it is a bit small) with his wounds nicely patched. Soap has gone hunting with the other women. Ghost is satisfied that they're all safe in this... rather massive cottage and has been snoring away in the next room for the past hour. Gaz has told him that he's going to just fly around and keep an eye out- just in case if the enemies somehow find themselves through the dense woods and into this clearing.

They really were lucky, Price thinks. According to you, the woods were a force themselves. Navigating through it, especially at night, is practically impossible. Compasses don't work. There's no signal and, of course, any type of aircraft just fail here. The woods are miles long and unless you packed enough supplies- it's suicide to dive back in and try to find your way out. It's just that sometimes the woods can help you, and sometimes the woods just gives you Mother Nature's middle finger and kills you. So there's that.

Naturally, the team was suspicious.

1) The explanation made no sense. 2) They were just outnumbered by a ton of enemies and to stumble upon this welcoming lot is... well, it's too good to be true, yeah? 3) You and your family are just way too happy. 3.1) There are no guys in your family. Your mother stated that men generally just wandered in, the family would treat them, and then they go away by themselves after a few nights. 3.2) Honestly, all of you look the same. Maybe there's like, a difference in hairstyles, body types, and obvious age gaps between the women here and there, but Jesus… Gaz has already made the mistake of confusing you, your cousins, your many sisters, and other random girls multiple times last night. 3.3) Scratch out the 'massive cottage' you guys claimed it to be. It's a mansion. Your 'family' is very large. There are many aunts, other women, cousins, other girls that were adopt into the family- Just no men. All living under the same roof and might as well be an army itself with how efficient you all did your tasks.

That said, it's very rude to point guns at innocent, clueless civilians. You, an adorably chubby, little bumblebee-hybrid (identifiable by the two rather pathetic buzzing wings behind your back), opened the door to them last night and stared blankly at their guns before cheerily ushering them in without freaking your head out. Next thing they knew, they got some quality homecooked meals cooked and served before them, plenty of drink (the honey mead everyone shared is excellent), proper treatment with their wounds (with... herbs), and warm beds. Ghost had stayed up the whole night and snooped around (just in case) but reported nothing interesting except for a few old hunting rifles and some overdue library books. Yes, each girl did carry a tiny foraging knife, but he's pretty certain they could still punt them like footballs ten at a time.

Morning comes- the team properly introduce themselves without being too specific of their occupation. There was a great deal of oohing and aahing as Price unfolded his one wing. His smoke did cause one girl to faint and her mother quickly asked for Price to... stop. He did his best and has, for now, stopped smoking his cigar. Everyone just steered clear from Ghost. Many children were petting Soap's head and playing with his fluffy tail, and others were stroking Gaz's wings.

Despite all the attention, Price's gaze is always on you. Maybe it was because of the fact that he's seen you first. You were just the cutest out of all of them. He wanted to whisk you away just to squish every soft part of your body and have you cuddled up beside him in his nest back home.

He's sorely disappointed to be told that he needs to return to bed so that his wounds can heal faster. No matter. The window gives him a very nice view of the clearing outside. Some girls are tending to the farm. Others are beekeeping. Plenty have gone to the outskirts of the forest to forage or hunt. Soap has offered to go out with the girls and they gladly accepted his help. (Tomorrow, he'll get off of this bed and join everyone too.)

Right now, you're picking the berries in your garden. It's amusing to watch you. Sometimes you bend over to pluck a few pretty flowers too- he's gotten a very nice view of your plump arse here and there. He's watched you buzz your small wings to just barely get a foot in the air and pluck an apple off the tree. Oh, how he wished to simply go out to lift you up himself... Your weight would be nothing to him.

From his observations, he's smartly deduced: Your body is round. Your little wings aren't designed for distance.

He loves the way you'd burrow your nose into any flower. Sometimes you remind him of Johnny's eagerness by the way you'd get a bit too enthusiastic and faceplant into the bed of flowers to take in the scent.

Price watches you get up, bump into your cousin (or is it sister? Or is this another girl? He couldn't be arsed), and the two of you collectively squeaked and apologized at the same time. Adorable. Fascinating. Beautiful. He hasn't felt this way ever since the time he xaight the glimpse of the shiny Excalibur in that stupid rock.

The lunch horn has been blown. He's been told that today's meal would be freshly baked bread and creamy chicken with wild rice soup. There’ll be tea and coffee for the drinks.

Price wishes his lunch would just be you.

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fantastic-nonsense · 11 months ago

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I think people who genuinely wanted Percy to rebel against the gods and overthrow the system kind of...miss the whole point of the series

The question is not whether or not the gods deserve to rule; the books are kind of unambiguous that they don't! That the gods are generally undeserving of their children's loyalty is the one thing that Percy and Luke both agree on! But PJO is less about divine right to rule vs. ruling via consent of the governed and more about improving dysfunctional family systems. It's not about whether unfair rulers deserve to continue ruling; it's about forcing the gods to be better, fairer rulers and a better, fairer family given limited alternatives.

Because what are the alternatives, as presented to us within the scope of the original PJO series?

Option 1: allow Kronos to topple Olympus and take over. Clearly not a viable alternative for all of the reasons the books show us.

Option 2: the demigods overthrow the Olympians and rule the world themselves. Okay. How's that going to work out long-term, given demigods are mortal and cannot control or protect their parents' domains? Demigods will die out within a generation or two, so that's potentially a one-generation short-term solution, and then everyone's right back where they started. Except worse, because now the world has been out of divine balance for a century and the gods have a completely legitimate bone to pick with all demigods. Materially worse outcome.

Option 3: demigods ignore the gods and their will entirely. They integrate into the mortal world, refuse to participate in quests or talk to their parents, and pretend prophecies don't exist. Except that's clearly not a viable option, since we see that demigods usually can't safely exist in the mortal world without monsters coming after them, the gods are cruel enough to use blackmail and engage in hostage situations to get demigods to act as heroes, and prophecies have a way of coming true regardless of everyone's best attempts to circumvent them. Again: materially worse outcome.

And for Percy, for the demigods at Camp Half-Blood, for Luke and for everyone else who defected....for the most part, they don't actually have an inherent problem with the gods ruling them. They just want to be acknowledged, valued, and loved by their families, to be treated as more than a tool for their parents to wield whenever their services are needed. That was the core thesis of the demigod rebellion, which was wholly separate from Kronos' specific motivations for overthrowing the Olympians, and it's why Percy's asks at the end of TLO were what they were.

The point was always that had Percy grown up in a slightly more dysfunctional family environment...had he grown up with Frederick Chase's seemingly conditional love or May Castellan's madness instead of Sally Jackson's steady, quiet, unconditional love...he could have turned out like Luke. Like Ethan. Like the dozens of demigods who defected from camp to join Luke's cause. Percy could have turned out just as a bitter and angry and vengeful. Just as ready to tear down the system. Just as willing to betray and kill his own family for the sake of making a point.

But instead, Percy openly reprimands the gods for abandoning their families and using them as cannon fodder in their own petty disagreements. He forces them to acknowledge and claim their children. He demands that everyone who is part of the godly family be recognized and accepted, not just those related to the Twelve Olympians. He asks for those unjustly punished (like Calypso) to be set free and accepted back into the family. Because that's the point at the end of the day: not forcing bad rulers to step down, but changing an insanely dysfunctional family system that the gods and demigods are all members of into a better, safer, and more accepting environment for demigods to grow up and live in.

Overthrowing the gods wouldn't solve the problem at the heart of the series, which is the gods' shitty parenting and family management skills. It would only exacerbate the massive familial fault-lines that Kronos exploited and leave the demigods open to more godly manipulation. Which is why the series ends as it does, with Percy using his wish to tangibly improve the lives of his family instead of selfishly improving his own life (via accepting immortality/godhood) or overthrowing the gods. Because the conflict isn't about the gods as rulers. It's about the gods as parents.

PJO's core thesis is Percy, who grew up knowing unconditional familial love, looking at this whole world of children who didn't and saying "that's not fair. Gods should be better than this!" But instead of destroying them the way Luke wants to, instead of overthrowing them and putting himself on the throne, he instead challenges them to be better parents and family members. To be part of the solution instead of the problem. And Percy's demands don't solve everything, but they were necessary first steps! Without forcing the gods to acknowledge a bare minimum floor of inclusion, the cycle would simply begin all over again the next time a major conflict popped up.

So that's the problem Percy solves and how he successfully fulfills the prophecy: by believing that the gods had the capacity to change and forcing them to break the cycle of familial abandonment, he preserves Olympus and takes the first steps towards a new status quo, one that is objectively better for demigods than the one he grew up in. That's why he succeeds, and it's why Percy overthrowing the gods would have made for a much less satisfying ending than what actually happened.

#pjo #pjo meta #percy jackson #luke castellan #ethan nakamura #annabeth chase #long post #pjo tv #wow it's been awhile since I've written proper pjo meta lmfao

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imbecominggayer · 3 months ago

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Writing Advice: Too Many Characters

A common advice when writing stories is "don't write too many characters". But, like with everything creative and good, there is no definitive answer to how many characters should be in a book!

So I will be discussing numerous variables in storytelling which impacts how many characters you should have and what makes something in a book "pointless".

Themes! Themes! Themes! (Omori Spoilers, Not Too Much)

The most important question that a writer has to ask themself is "what is this scene/book/media trying to do?". If your story is based on the relationships we have with others and the impact they can have on our psyche then having a close-knitted community of people will drive the message of intimate connection better then just having more people in there. If your story is focused primarily on introspection, looking inward, individuality, and other spiritual activities then the protagonist is more likely to spend longer durations of the media by themselves.

An example of these to forces is the popular game of Omori.

(SPOILERS ABOUT OMORI<3)

Omori is a game that focuses on acceptance first and foremost. Self-acceptance to be more specific. Due to the fact that the game is a piece of introspection both for Sunny and for the player, the most important moments in the game such as the "reveal" sequence of pictures and Black Space are ones that are done on your own.

However, the game also prioritizes the relationships Sunny has between his friends as this serves as motivation for the final duet. The final duet was an act of bonding as Mari and Sunny just wanted to spend time together, doing something they liked.

The introspection moments are pushed towards the end of the game because it's only when Sunny has that support and belief in his friends, can he rise above his doubt and shame and fear.

2. What Is The Purpose Of This Character?

All characters need to have a purpose in the narrative. Both within the context of the world and in the context of the book.

Within the context of the world, they need a goal that is going to impact the protagonist either positively or negatively.

Within the context of the book, what is this character giving to the audience that wouldn't otherwise be there?

Pro tip: All the characters you have need to have more then one purpose! Characters that give exposition can't JUST give exposition.

If you have a love interest that can be cut out without taking away a vital part of the story either from a thematic(theme) standpoint or a narrative(plot) standpoint, just replace them with an object and move it along!

If you have an ally character that only shows up twice and can be changed into "I went down to the store to buy these items", give that "ally" tag to someone more story relevant"!

3. Priorites?

Ask yourself this: "Do I have the book length to dedicate time to this person?"

If the answer is no, follow my next steps. If the answer is yes, here is how to make them better.

When I say "prioritize", I mean you need to figure out what type of character this character is. Are they a main character? A side character? Cannon fodder? A symbol? WHAT ARE THEY?

Also, can you give these character responsibilities to someone else? This simultaneously gives those characters deeper complexity and eliminates more characters

Example: Love Interest, after being trapped by the villain, uses their intelligence in order to provide information about the villain to the hero. (Love Interest + Ally + Informant)

Example: Friend is revealed to be a double agent on the side of the Villain. However, it's revealed that Friend was secretly a triple agent who is finally redeemed from their original believed betrayal. They're back to being an ally. (Friend + Betrayer + Ally + Enemy)

#writing #on writing #creative writing #writeblr #writing advice #reading #character advice

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trillscienceofficer · 5 months ago

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I would like to clarify that when I say that Seven's situation on Voyager is fucked up (like in this post I wrote yesterday) I don't mean that Janeway should've listened to her demands and let her go in “The Gift”, or that Janeway and the Doctor had no right to start removing her implants (leaving them would've killed her after all). What I mean is that the fucked-upness is in the whole situation that made Seven's reclamation from the Borg possible but also put her in an environment (the USS Voyager) where survival is guaranteed by the close collaboration of everyone on board, which also means concessions of personal freedom and privacy. Other crewmembers entered this pact voluntarily (we can discuss some other time what choice did the Maquis actually have other than join the crew), but Seven unequivocally did not. Yet it's the only way she could've been reclaimed because we know, and the show drives this point home multiple times, that she was so young when she was assimilated that Seven of Nine, Tertiary Adjunct of Unimatrix Zero One alone would always choose the Borg. She knew of no other alternative.

I don't think letting Seven go back to the Borg in “The Gift” would've been an actually ethical choice, even if it's true that that was what she wanted. She was undoubtedly a prisoner, but I think that we forget (well, I do sometimes at least) that Seven, outside of any metaphor, can be very dangerous. She is strong and quick, she has Borg weaponry and technology at her disposal, she is relentless when pursuing her goal, and even as a drone she knows how Voyager works inside and out. Janeway took the gamble of disconnecting her from the Collective in “Scorpion, part 2” because they were expecting her to try and assimilate Voyager on her own, which she promptly tried to do as soon as the Species 8472 was no longer the main threat. So imho the ethical question posed by “The Gift” is, what do you do when an extremely dangerous individual asks you to be freed so she can rejoin the genocidal alien army of brainwashed zombies that terrorizes the galaxy? They will likely pursue you afterwards, but even if by some lucky chance they don't, you'll still have given back both a weapon and cannon fodder to the genocidal alien army. In addition to that, there's the concrete possibility that your prisoner might one day start living a different life once the brainwashing loses its hold on her.

So no, I really don't think that Janeway made a bad or even questionable choice in “The Gift”, even if it's painful to see Seven struggle against it. The complication has only just started at that point, imho. The fucked-upness comes from her having to “become an individual” in a highly-regulated and closely-surveilled community, one she could've never chosen on her own. On one hand this allows Seven to develop skills she completely lacked in a somewhat safe environment, but on the other hand it limits quite severely what she can or can't do. And while at first she rails against those limitations (she spends the entirety of season 4 doing just that), with time she starts understanding the value of living on Voyager. She manages to resist the Borg Queen's threats in “Dark Frontier” because she has learned compassion in the meantime, eventually choosing voluntarily to return to Voyager. It's a turning point that definitely does a lot to compensate for her lack of agency in “The Gift”. She thinks of Voyager as her new collective, which is equally a testament of how far she's come as much as it is a worrying admission that her new group identity is not that far off the Borg, in her mind.

By season 7 Seven is outright grateful for everything Janeway has done for her, but it still doesn't make her arc learning to ‘fit in’ any less of an exercise in shaping herself into the mold she was given as her only possible future. Is it better than being a murderous, mind-controlled zombie? Yes, it absolutely still is. Seven's independent thoughts and actions now matter, even when they clash with the rules, which is just not comparable with being a Borg drone in any way. Yet it's easy to see why her role on Voyager is also stifling, and that again she can't choose differently because she knows of no other alternative, and none are available to her anyway.

The fucked-upness also comes from extra-diegetical, production reasons, of course. The stupid ideas about what a woman is and what Seven should do to really be one (does she even want to be one?), the fact that a medical practitioner could control so closely how she presents and what she eats, the lack of actual clothes in order to make her a sexy babe for the 90s Trek target audience (“males aged 16-40”), the lack of locks on Cargo Bay 2 where she regenerates, and many other aspects that I'm sure I'm forgetting now... Ignorant, ‘default’ assumptions on how things ‘are’ that the show simply refuses to acknowledge. I know they only seem so obvious now because more than twenty years have passed since Star Trek: Voyager was on the air and the culture (in the US) has changed so much since then. This, I agree, is the kind of fucked up that I could easily do without and Seven's story would be better for it.

So in conclusion, when I say that Seven's situation is fucked up it's not so much because I think Kathryn Janeway should have chosen differently when it came to her; it's more that Seven's arc on Voyager is very complicated, for the most part, by design. Even if I think Janeway could've handled some things in a different way, in most cases it makes sense for her character to have taken those decisions regarding Seven, and I don't always think it would've made for a better story if she hadn't. Obviously I wish the production-level assumptions weren't there, and I think part of what Star Trek: Picard did right in its first season was flipping a lot of those assumptions on their head in just a handful of episodes where Seven appears.

Personally I find it valuable to keep in mind that Seven's storyline on Voyager can be complicated and fucked up without necessarily wanting to make it ‘better’. It still is interesting and effective because it's far from perfect, because everyone tried the best they could given the very difficult circumstances, because we've never seen the whole crew, much less the Captain, outside of survival mode. Yet Seven is also a survivor of almost unimaginable violence and coercion and it makes sense, I think, that her presence regularly poses ethical challenges to what other characters and even the audience might consider ‘right choices’ or ‘right behavior’. Survivors in real life, I think, often challenge our societies (none of them perfect, and where many also live in survival mode) in precisely the same way.

#seven of nine #kathryn janeway #voy

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songofthenightingale19 · 5 months ago

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Basing your personality around a Hogwarts house is so passé, why not use different completely arbitrary categories? I present: the Nine Houses

Second House:

we all live in a fascist military empire, pt. 1 aka "Military propaganda? Oh, you mean the ideology I've built my entire life around?"

Third House:

decadent court life, political intrigues and body modifications without consent - what more could you want?

Fourth House:

we all live in a fascist military empire, pt. 2: elctric boogaloo aka child soldiers make great cannon fodder, trust me!

Fifth House:

How To Get Rich Through Colonialism In Three Easy Steps (NOT CLICKBAIT!!), will kill you with kindness and the angry revenant they just summoned

Sixth House:

librarians trapped in bureaucratic hell, "Let me introduce you to my 572 cousins who all finished university in their teens at the cost of their childhood!"

Seventh House:

Roses are red

Violets are blue

I'm agonizingly dying of blood cancer and I hope you are too

Eighth House:

planetwide cult led by teenager, exhibit A - personally I think the puritans were too lax about the whole religion thing

Ninth House:

planetwide cult led by teenager, exhibit B - oops! All satanic worship!, 500 geriatric nuns that may have taken "human resources" a bit too literally

#the locked tomb #tlt

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nudibro · 2 months ago

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TOXIC DEVOTION !!! CW for blood, creepy face/imagery, knife !!!

. . .

From time to time I think about how Narinder would've treated the Lamb after their second sacrifice. Would he even keep them around at all? Like- The Lamb has defeated four gods for the man, that alone should tempt Narinder into giving the Lamb some type of reward. Or maybe he'd just toss them away like fodder.

MY personal head cannon? He would have kept them around along with the imbalanced relationship they had. Narinder only knows how to be a god and a god he will be, a selfish god at that. The Lamb would only obey since it's all they know, being death's loyal vessel.

With all of that you get something rather toxic...

ID UNDER CUT

[ID: Image 1: Fan art of the video game Cult of The Lamb. A rough digital sketch. Narinder, also known as the one who waits, stands beside The Lamb while holding a dagger to their neck and grips onto the wool on their head with his other hand. On his face is a wide creepy smile with dilated eyes. A bit of drool drips down from Narinder's mouth. The Lamb has bloody tears coming from their eyes and their hands are pressed together like they're praying. Their nose also has little blood coming out of it. The Lamb holds a solemn expression. The Lamb's wrists are shackled. A crown slightly floats above Narinder's head with it's red eye glowing. All three subjects stare directly at the camera. Image 2: A close up of Narinder, The Lamb, and the crown from the previous image. End ID]

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victoriadallonfan · 6 months ago

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Lets Talk: The Predator Franchise

About two months ago, I put my thoughts into my feelings on the Alien Franchise, and why I felt that they've been faltering so much.

It felt only fitting that I do the same for the Predator franchise, but I ran into a very curious thing... there's only one bad Predator movie.

A shocking statement, I know, but I'm not counting the AVP movie series (that's it's own separate thing). The Predator (film) is easily the only bad film in the entire series, but I'll get to that later.

First things first: lets talk about Predator (1987).

It's an all time classic, a great deconstruction of the 80's action film, with insanely quotable dialogue and memorable characters - not just the Predator itself, but all the human characters are easily recognizable.

Unlike the Alien (1979) and Aliens (1986), Predator is not predominantly a horror film, nor is it emphasizing a tough topic such as sexual assault. It does HAVE horror aspects (the first time they find the skinned corpses is intensely unnerving, especially when they realize that this group of marines apparently lost all self-control and fired in all directions), and it does touch a bit on how the US government is using its own soldiers as cannon fodder to destabilize third-world countries.

But it's not really built to scare the viewer so much as to present a simple idea: what if these action heroes met a bigger, stronger, more advanced version of themselves? And the result is a near total party wipe.

Watching the original film, you realize that the Predator is depicted as incredibly unfair. The majority of its kills are it sniping someone from afar, rushing them when they aren't even looking (while cloaked), and doing a combination of the above. It would have killed Arnold while his back was turned, if the net trap hadn't been set in place.

Hell, it even kills a wounded soldier that Arnold is carrying, after Billy's "last stand" (that lasted mere moments at best, implying the Predator didn't give him the time of day).

(Also, speaking of Billy... he's psychic? Apparently?)

But yeah, the Predator depicted is not the honor clad warrior that some fans may stan (and some writers believe) but more like the equivalent of Counter-Strike hacker. The fact that it takes Arnold untold amounts of traps, ingenuity, and willpower for the Predator to finally face him man to man, no tech, no weapons is meant to be a testament to how impressive Arnold is.

Likewise, the Predator decides to blow himself the fuck up while cackling manically like a supervillain as he tries to finally kill Dutch, also opens him to showing that as alien as it is, it's remarkably human. A spite filled asshole of a human, but humanish nonetheless (amplified by him copying human speech on prior occasions).

It's a really great film about how alien life, if more advanced than our own, might see us as lesser people or outright livestock to hunt (keep a pin in that).

Predator 2 (1990) is often divided amongst fans.

Some hate the fact that it takes place in the "modern day" LA, instead of sticking to the blazing heat of the jungle (as the lore of the first movie implies that the Predator or a Predator visits at the hottest time of the season to create the local bogeyman figure), but this film does a fine job justifying the LA heatwave and honestly... the idea of keeping the Predator to one type of biome is pretty limiting. So I don't mind that.

As one can tell already, I don't think this movie is bad. As good as the first? No, it rehashes a bit too much for that. But it's still a fun and good movie.

And, notably, scarier.

But for context, Predator 2 is set in the far future of... uh, 1997 LA, where there has been open warfare between the LAPD and the Jamaican and Colombian Cartels. Like, not drug busts or stings, but actual warfare with armies of gangs and shit.

The late 80's and early 90's loved to depict LA as a dystopian hellscape where "law and order" was the only defense from total anarchy (as anyone who has ever lived in LA can tell you, racial tensions, especially between the public and police have not been good to say the least).

This entire setup is like a D.A.R.E nightmare or wet dream depending on who's asking.

(Also the Jamaican drug leader, King Willy, might also be psychic? This is the last time it's brought up, but man, I sort of wish we could see future plot lines where people are randomly psychic in these films.)

Anyways, the situation is certainly perfect for this Predator (named City Hunter to differentiate between Jungle Hunter), who takes to the city with a gusto. The difference in how the Predator is portrayed is fascinating, because the bare bones remain the same: he hunts people who are deemed as sport with alien technology.

Fitting with the ultra-violent theme of this film however, this Predator feels like a legitimately horror movie monster. Unlike the Jungle Hunter, City Hunter doesn't prefer to attack from afar, but rather ripping and tearing in close quarters combat, and when he does use ranged weaponry, it's stuff like spears, bladed discs, and nets that shred people into bloody messes.

And he's 110% a bigger asshole that Jungle Hunter: when the City Hunter decides to focus on our lead man, Danny Glover, he doesn't just hunt the man but psychologically torture him. He murders his partner - who is probably the least threatening human in the entire series - just so he can taunt Glover with his necklace at his own grave. He then copies the innocent words of a child just so he can use it as a creepy catchphrase when he decides to hunt Glover's other partners.

The iconic subway massacre perfectly exemplifies both aspects of the City Hunter. He interrupts a massive stand-off between armed civilians, gang members, and the police, just wading in and killing everyone indiscriminately as people frantically scream and claw over each other trying to escape.

(Speaking of, this film does have a LOT of fun having the Predator on modern sets. The above subway scene, City Hunter investigating a meat locker, and him performing emergency surgery in an apartment bathroom are all really cool).

Also, for being so divisive, this film creates a lot of Predator lore: the Predator won't kill (unarmed) children, he won't kill pregnant women, and he WILL kill the elderly if they are packing heat.

And this includes the trophy wall (with xenomorph skull - actually funny because we never see a Predator collect a xenomorph skull in the AVP films) and that the Predator tribe will honor and respect those who defeat their kind with a reward.

It does include that the government is aware of the Predator existence and tries to capture them, but this won't be a major plot line again until The Predator (2018) though it gets some tongue in cheek reference in Predators (2010).

Anyways solid film, lots of cheesey scenes and very tropey stuff that hasn't aged well (or aged in a way that makes it amusing). It's also that last movie that actually tries to be true horror, in my opinion. The rest of the films stick to Action with Gore, but Predator 2 is truly the last film where you feel like this was written to be a horror film.

Also, this film will be the last to really play into the world as being an overly dramatic action movie earth. It's all realism from here.

And then the film franchise will go quiet until 2004 and 2008 for the AVP films (that I won't cover here).

Finally, we get to Predators (2010), and obvious title call back to Aliens (1986) and I have to say, a pretty good trio of ideas: The human targets are actually kidnapped and dropped on a safari planet, there are multiple Predators with their own unique designs and gimmicks, and there is a internal war between the Bad Bloods (aka the Predators who break the "honor code") and the 'normal' Predator clans.

(It should be noted that Bad Bloods have been a thing for years in comics and books, but not really in the mainstream until this film introduced it to movie audiences)

I have to say, despite having a fondness for the film and loving the new ideas, this film is not as enjoyable as Predator or Predator 2. It unfortunately suffers from what I call 2010ism, where there's a lot of CGI blood/gore, a lot of lighting/shadows aren't natural in a horror sense, and the dialogue isn't memorable because it wanted to ditch the action movie dialogue.

The last part isn't necessarily too bad, and it even works with how Adrian Brody is portrayed as a cynical asshole who is purposely meant to be the opposite of Arnold in every way. But the most memorable dialogue is definitely from Walter Goggins (including his highly disturbing "bitch raping time" speech).

Also, it really wastes Topher Grace, Laurence Fishbourne, and Danny Trejo, along with the whole idea of a gang of multinational killers/soldiers/enforcers forced to work together. Not nearly enough time is given to them to bond as a team and have a moment where they show off how cool they are like Predator and Predator 2 did.

Coupled with the safari world being just... a jungle, it feels like a lot of good ideas with "safe" execution.

I don't mean to rag on the film, it's still very fun, and a lot of that is due to the Bad Bloods.

The idea of a particular group of Predators being so evil that they are even warring with their (smaller) counterparts is a great idea, imo, and these Bad Bloods are memorable for their gimmicks.

You had one who used drones as "falcons" to scan and scout out large tracks of terrain, another who employed alien "hounds" to harass humans like a fox hunt, and the leader who had a rapid-fire plasma caster that was overpowered as hell. They also employed other tech like alien bear traps, net traps, and voice decoys.

This movie definitely had the most advanced Predator tech seen on film at the time, making the Jungle Hunter and City Hunter look low tech by comparison, and I think also served to try and force the idea of the Bad Bloods being really "unfair" compared to others.

And of course, we get our first Predator vs Predator fight, which was suitably graphic and badass. Also, I liked that one Predator died by a human pulling a suicide vest attack. Idk, I thought it was pretty ironic considering that's what predators do when they are about to lose, and thought it was neat.

Ultimately, there isn't much else to say about Predators (2010), even though the film ends on a cliffhanger with more people (and aliens) being dropped on the planet. I enjoyed it, it had a lot of cool ideas, cool tech, and cool lore... but if the prior films could be compared to novels, this one felt more like a guidebook.

And now... eight years pass and we get The Predator (2018)

Where do I begin with this movie.

I guess I start with the obvious: it's bad. It's a genuinely awful movie with few redeeming qualities. I'd say it's on the tier of Alien: Resurrection, except this movie is actually offensive because of autism ableism (turns out that autism is actually the next step of human evolution and makes you naturally predisposed to using Predator technology).

And don't get me started on the sex offender controversy.

Sorry, I'm getting ahead of myself. It's just that this movie... jesus christ, I rewatched it for this post, and it feels like a fever dream.

The Predator (2018) ultimately, is a film that looked at everything that came before it and said, "What if we did it all on a grander scale? And make it bad?" The plot is that a Predator is being hunted by an even larger, more powerful Predator, because it plans on harvesting humanity. You see, in this movie, some Predators use the genes of animals they hunt to improve themselves. The Super Predator as he is called, is a massive 10 foot tall monster that has turned his body into a super weapon, with technology built directly into his biology.

The Good Predator arrives on Earth to warn humanity and deliver a "Predator Killer" suit of Iron Man armor that will help humanity defend the Earth from the oncoming invasion force. The Super Predator wants humanity harvested because... autism makes them super geniuses.... and he declares that a 12 year old boy with autism to be the greatest Predator he's ever met... just because he has autism...

Look, I don't know how the fuck I'm supposed to describe the plot of this movie. It's just bad. It's stupid. At one point they turn a Predator hound good by giving it a bullet lobotomy.

It feels like this movie hates everyone. It hates the Predators, literally killing off the Good Predator not even halfway through the film. It hates the cast, because all of them are forgettable except for Olivia Munn and Super Predator, and it kills the mystique of the Predators because it has Super Predator monologue like an actual supervillain.

The dialogue is genuinely awful, the actors have no chemistry, and the comedy (oh yes, this film acts like a comedy on several occasions) is the definition of cringe. I would call it "ChatGPT writes Predator" but honestly, ChatGPT could do it better.

Let it be known that my words do not do how awful this movie is justice. You can only understand how bad it is by watching it, but it's absolutely NOT worth the time.

Is there anything good about this movie? Besides the Holiday Special on home release?

The effects are pretty good. We see a lot of high tech Predator stuff and that's always cool. I think this had the highest budget of any of the films and it shows.

There's an action set-piece where Good Predator escapes from a government facility and uses an M4-Assault Rifle which is badass. One of the best action scenes in the movie and a neat tie-back to the government investigating them.

The Super Predator is a cool concept and I actually enjoyed him for a large part of the film. I liked that he could just pick up a human like a toy and gut him like a fish before tossing him aside. I love the idea of a Predator that isn't a hunter, but rather a soldier sent in to fuck shit up, showing off the different tech. Really gives the impression that their society has different roles and tech for Predators beyond hunting.

I wish they gave him a helmet and didn't let him monologue like a supervillain.

And that's it. That's the good stuff. Nothing else matters. It says a lot that I don't think Super Predator or the autism plot has been accepted into lore in comics or books.

It's even been argued that this film was deemed non-canon because of how abysmal the reception was.

Suffice to say, after this awful film, fans were pretty low spirit. Which made it all the more surprising when Prey (2022) was released 4 years later.

There was a lot of drama about this film: the franchise is dead, why is the film so woke for including woman and minorities, how can any human expect to beat a Predator with a bow?

This drama is stupid and should rightfully be mocked.

Prey (2022) was a breath of fresh air for the franchise and I'd argue the best film in terms of quality.

It quite literally goes back to the roots of the series and does something that really elevated the film: it made the Predator symbolise something!

This film takes place in the 18th century on the Great Plains, following Naru the Commanche healer who dreams of being a hunter. Meanwhile, a young Predator - known as the Feral Predator for his aggression - is dropped on the planet for his first ever hunt.

Obviously, you can see the parallels between the two as Naru learns to use tricks and tools to handle her weaknesses, while Feral uses brute-force and high tech equipment to slaughter the animals and humans of the planet. The Bear hunt scene, where Naru is forced to flee from a bear and helplessly watch Feral kill the creature with it's bare hands (haha), thus condemning her in his eyes as not a threat is perfect character foil.

Also, he's such a piece of shit, cheating the moment he feels like his prey has the better of him. But in a good way that makes sense for his character.

But on the grander scale, the Predator represents colonialism. A secondary antagonist of the film are the French fur trappers, who have been skinning wild buffalo and depriving the commanche of their food source, openly compared to the Predator skinning animals/humans for trophies instead of resources.

It's actually a lesson Naru has to learn from her brother and mother, that to become a true hunter is about doing so to support a community, not just for ego and idolization.

Its no accident that the Fur Trapper leader dies when Naru sabotages his gun and Feral dies when Naru does the same to his gun as well, with both of them trapped and crippled without any means of escaping their demise.

This film finally moves to make the Predators feel like evil villains who are supremely selfish, much like the first 2 films emphasized (and the third film did to a lesser extent).

But talk of how amazing Naru is as a protagonist and how great the Feral predator is as an antagonist, the film is just good. The cinematography is gorgeous, the actors are great, the Predator effects and costume are terrifying, and lore wise, it does a lot to show that the Predator society is not stagnant.

They evolve over the years and it shows.

And my god are the action scenes incredible. The Predator vs Fur Trapper fight is probably one of the most iconic scenes in the entire franchise now, and for good reason.

Or Naru's knife fight massacre

All in all, this film really shows that the Predator films can be more that action films and... whatever the fuck The Predator (2018) was trying to be.

These films can be used to explore the history of humanity and symbolize concepts that deal with oppression, bigotry, and dehumanization.

The title of Prey - the focus on making the protagonists human - versus the Predator title is incredibly fitting.

While a sequel is left up in the air, we do have confirmation that a new standalone film - titled merely Badlands - is set to come out soon.

I can only hope they learned the right lessons from Prey and we can leave the horrid past of The Predator (2018) behind us for good.

#Predator #Predator franchise #avp #aliens vs predator #yaujta #Predator 2 #Predators #predators 2010 #The Predator #The Predator 2018 #Prey #predator prey #Prey 2022 #film #film analysis #movie #movie analysis #predator seris

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mr-jack-letterman · 7 months ago

Text

HELLO HI

God I love the Submas fandom, all of you are so nice <3

In any case, I have a silly Au for y'all to munch on.

Allow me to introduce you all to Covalent Twins :]

Covalent

Adjective

- Relating to or denoting chemical bonds formed by the sharing of electrons between atoms.

Or in this case, the sharing of Emmet between 2 Ingos from different timelines NSNDNNDDD.

This Au is essentially the answer to the question: "doesn't being sent to the distant past inherently mean you are also now long dead in the future you just left?"

The answer is yes and no btw

The explanation for this involves a lot of time nonsense that I'm very bad at explaining but the Tldr is basically this:

When Ingo gets sent to the past, this creates a connection between the past and the future. This makes time get all fucky and split into two separate timelines (Timeline A and Timeline B)

Timeline A:

Time in this timeline runs parallel to the future as long as Ingo stays within it (essentially, if Ingo stays in the past for 2 years, then 2 years pass in the present).

Due to this connection, Akari (aka Dawn) gets sent to this timeline (But not Timeline B) and the game events of PLA play out (+ a lot more Ingo bonding because uncle Ingo supremacy)

Akari manages to get her and Ingo sent back home with the power of Arceus, causing both timelines to merge back together again into one cohesive line with only the events of Timeline B being remembered by history.

Ingo and Emmet get their happy ending.

This Ingo got sent to Hisui when he was 29, stayed there for 2 years, and went home when he was 31.

And Timeline B:

This timeline was created as a cannon fodder timeline so Akari and Ingo can keep doing time shenanigans in Timeline A without disturbing the space time continuum even more.

This timeline is therefore not connected to the future the same way Timeline A is.

The Ingo of this timeline (Nicknamed "War" or "Warden" for simplicity.) lives through the PLA game events but with Rei taking the place of Akari.

War doesn't bond with him the same way Ingo does with Akari because Rei isn't a faller.

The events of the game are the exact same (minus the Arc phone, Rei taking the place of Akari, and catching Arceus).

Despite Rei calming the nobles and catching Palkia and Dialga, he is still not the chosen hero. Warden is unable to go home or regain his memories.

Warden lives in Hisui and serves as a warden for the Pearl Clan for a total of 7 years before dying alongside his partner pokemon, Gliscor (nicknamed Nimbasa), while protecting Lady Sneasler from a Zoroark attack at the age of 36.

Warden drifts as a ghost for many years, with only Nimbasa the Gliscor as company. He watches his friends grow old, and eventually die. They pass on to the afterlife, but Warden stays on earth, wandering the Alabaster Icelands and Mount Coronet, searching for people from a life he can't remember even in death.

Warden watches as Hisui changes into Sinnoh. Jubilife Village becomes Jubilife City. Pokemon species die out and new ones are born.

As the world slowly becomes more and more familiar, the great Sinnohs, Palkia and Dialga, take pity on the lost warden, and decide together to lead him home.

It may take 150 years, and many miles of travel, but Warden is pulled by an unknown force towards the Unova region. Though he is unable to touch anything or speak to anyone, it's all so painfully familiar.

He is pulled towards Nimbasa city, (ah! That's where he got the name from!) and eventually to an apartment.

There, he is greeted by a young girl, barely 17. A man in black, who looks exactly like him, give or take a few years and a few scars.

And a smiling man in white. The man he has been searching for for over 150 years...

And they're staring at him, truly staring at him, not through him.

Why is the man in white crying?

*evil laughter.mp3*

So yeah! The twins have an older brother now :D

I mean he's dead and also Ingo just 5 years older and from a different timeline but still!!!

If you've made it this far I believe you deserve a gold star ⭐ and also some art for your troubles.

So here's War and Nimbasa ↓

And some fluffy interaction between War and Emmet as a bandaid.

If you guys have any questions regarding how this Au works, or are interested in seeing more of it, don't hesitate to shoot me an ask :D

I hope I enjoyed reading about my silly Au, even if it was a bit long lol.

*fades back into the void of Submas fics.*

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