#RIPLEY'S CHARACTERS REAL

[marshmellopie]

AJFDHFGJDKFBSDLSDOVV..,G.,.,E.F,EW.GGE./ (POSITIVE)

I GOT IT DONE BEFORE MIDNIGHT, FUCK YEAH.

HAPPY BIRTHDAY @marshmellopie !!! (And on off-site bestie !!!)

Yippee :3

[Not enough time to colour or make a digital drawing but I did my best !!!]

[aq2003]

i was the target demographic of "fan who would hate this season the most". my critrole tastes were specifically aligned and designed in a lab to hate nearly every single creative decision and change that was made

[theboombutton]

...but why isn't her name Lynne?

[so-that-was-okay]

Hm, not a fan of these shows with main female characters who are supposed to be geniuses but the shows are all comedic. Like these women are never shown as serious/regular people, they have to be funny, borderline ridiculous/over the top.

I get that it might make them more... palatable for the general audience but it sucks. And you wonder why I have very few favorite female characters. The ones I really like are nothing like that.

[echonvoid]

My version of the Poppy Playtime protagonist. They’re based on Aliens Ripley but if older. They couldn’t remember a whole bunch from the week or so around the Hour of Joy; they were attacked by Huggy and managed to make it right outside the front doors with the help of one of the other employees, who, valiantly (read *stupidly*) ran back inside to try to help. He never came back out. Anyway, Protag was found by paramedics, but the inside was empty of bodies by the time they got there. There was a shit load of blood, and after a brief scan by the cops, they just shut that shit down. They lost a couple cops and paramedics, but mostly used their instincts and ran. Like smart people who survive a horror movie.

So the protagonist ends up in a couple month long coma and comes out of it with a severed nerve that connects to their larynx. Now they haven’t been able to properly talk for 30 years (ignore my math, I’m still unsure how I fucked it up so bad)

I can’t decide if they’re late 50s or 60s. They’re farsighted, but their reading glasses have broke, so it’s really hard to see all the small faded text (which is why you can’t just read any ole file while playing)

They feel guilty bc they had been so proud to be a part of something with so much benefit and joy to kids, and now they’re finding out the actual *EVIL* that was happening to those with connection to the place. They feel guilty bc they feel like they should’ve known; *how could they have let this all happen right underneath their very nose*;etc. etc. they also have a burning hatred for the other managerial heads in the company (they themselves being head of toy production; their name is destroyed bc the prototype was enraged that one of the five main evils of the company got away or some shit like that)

It took them a while to figure out how to live and function without speech; and after a few years of slogging through a comphet (compulsory heteronormative) marriage, they finally went through a nasty divorce. Shortly after they figured out their own gender identity (or at least started the awkward process of) and their own sexuality.

Thirty years later (almost on the dot) they got the message and tape that cried for help from the factory and nearly shit themselves. Proto definitely assumed that the company had just shut down, cuz you know that the cops were paid to keep a building with almost 500 (or so) employees, that went missing and were presumably dead, under wraps from the public. They’re definitely super grateful they’ve been doing tumbling and martial arts classes, so they have been in incredible shape and can do all the crazy shit required to stay alive.

Edit: this is what I’m gonna call the Survivor AU cuz I realize that the game takes place in 2005 and not, like, 2025. And we apparently played hooky during the “hour of joy” in canon lore. Oh well

God this chapter fucked me up, in a good way. It was spooky as fuck, tense and terrifying; they’ve super upped the quality. But now I have just enough brain rot and characters to attach to to actually go through and draw up the design that’s been banging around in my head for ever.

[ripleylacross]

In a thrilling chapter opener, the creeping totalitarian state formed by the Glassblades has finally caught up to the Frozen Memories group. Caught off guard, outnumbered, and unaware of how bad the situation had gotten in their weeks of travel between cities.

Divided, questioned, and imprisoned. Telbin was placed into an anti-magic facility, Poppy was tricked into returning to the regeneration pod that started all her problems, and Ash (picturedI to) was dropped into a maximum-security prison. Skyler is nowhere to be found, and the Glassblades want her. Badly.

Two years later, an old friend sends his regards…

…and a way out.

[specialinterestshows]

Thinking of making my next fic Rhea Ripley x lady!reader, whichever I haven’t done yet. Thoughts?

[wheelie-butch]

watched Alien again yesterday for class with my housemates and when we got to the end we were discussing the Ripley in her underwear scene and the like rumour that she refused to shave and they had to airbrush out her bush and one housemate was like 'they should have just put her in bigger pants then to cover it' and I was like 'no wrong we deserve bush' but then my other housemate was like 'NO they should have put her in boxers' and that was CORRECT.

[bringbackthepornbots]

the other day spouse & i went out to watch Alien (1979) in theatres for its rerelease, and in addition to such useful thoughts as "this is the only filmset i've ever seen that gives an impression of absolute grime while everything looks perfectly clean" and "Ripley Scott decided to simply not light his film and I have spent my life trying to catch the same effect in my writing. I am in Hell"

-- in the middle of all of this, i leaned over to whisper "this film is just Moby-Dick in space"

and I STAND BY THAT QUIP

[pinspec]

i really like the way arcane is exploring police brutality and class essentialism through caitlyn’s character. i’ve seen a lot of people getting upset about this, and yes—it is supposed to be disturbing. caitlyn’s position of power, her anger regarding her mother’s death, and her increasing hatred of the people of zaun is going in a dangerous direction because that’s what happens when privileged people lash out against their “aggressors” who are, in reality, oppressed.

many people seem angry at both caitlyn and the showrunners for developing caitlyn’s character in this direction. it’s upsetting. it’s tragic. caitlyn hitting vi with the butt of her gun like a true cop and leaving her to cry wrenched my fucking heart.

but this is why i love stories. corruption arcs and dark nights of the soul can make them extremely interesting.

i love analysing the layers of characters. my instinctive reaction towards caitlyn’s corruption arc was excitement—the path she’s going down is like that of a star wars villain. she is a dangerous (and simultaneously vulnerable) person who is grieving and lost and is therefore malleable, and ambessa medarda has decided to use caitlyn’s grief and anger to serve her own purposes. this will leave caitlyn with blood on her hands and a hard path towards redemption.

i would urge my fellow arcane enjoyers to remember that characters are not real individuals and the aim of telling stories is not necessarily to guide them towards happy endings, perfect relationships, and moral correctness. i obviously don’t support caitlyn’s actions (just making this clear after receiving a confused comment on a previous post).

my heart breaks for vi after act 1. i hope she’s able to find her feet again after the awful shit she’s been through—losing not two but three parental figures, being pushed to become an enforcer despite her serious cognitive dissonance surrounding this, deciding to take it upon herself to kill her estranged sister, and finally losing caitlyn whom she had come to think of as a reliable constant through everything that has happened.

i’ll enjoy watching her punch her sorrows away with some awesome rhea ripley-esque makeup on, though.

[burning-academia-if]

Burning Academia [Play Here]

Demo Updated: June 7th, 2024 (Prologue-Chapter 2)

Current Word Count: 91.4k (w/code)

Word Count per Play Through: ~34k

F.A.Q | Navigation | Bonus Content | Pinterest | Spotify | Character Quiz |

You never thought you'd go to college, due to your circumstances. But you especially didn't dream you'd be forced to attend the prestigious Vales Grove University after being attacked by wraiths in their library. What started as a visit to a long time friend, ended with your hands burned, your innocence questioned, and the startling realization magic is real. To apologize for what's happened to you, or more accurately, to keep an eye on you, the Headmaster himself offers you enrollment with all fees waived. With no real choice in the matter, you become a student, and try to ignore the suspicion everyone throws your way. Besides, you have worse things to deal with. Like how you've started to attract ghosts and other dead things, or the fact that there is a very living thing inside your head, waiting for you to lower your guard and take control. And most pressing of all, managing your obligation to a family that hasn't been such a thing in years. Tread carefully, if the ghosts don't devour you, the university certainly might.

Customize the MC; gender, appearance, personality, etc!

Romance six questionable love interests, or not!

A morality system which changes how your story will go. Do you belong to the day, the night, or somewhere in between?

A complicated family, which you've been shackled to your whole life. Will you ever be able to escape them? Do you even want to?

Survive college, your job, and attempt to not have a quarter life crisis.

Avoid getting devoured by all the things that go bump in the night.

Retain your free will.

Dawn: The world has never been kind, but that hasn't stopped you from giving up. You'll run through the night and embrace the rising dawn. A path of becoming hope.

Day: There's light in the world, if one only knows how to look. As long as you hold on, the light will find you, too. A path of finding solace.

Dusk: All you've known is suffering, and you won't stand for it any longer. Regardless where that leads you, or the choices you need to make to save yourself. A path leading to freedom.

Night: There's no hope here, not as things stand. You'll change it all, even if you must stand in the darkness. A path of destroying everything which has sought to destroy you.

More simply: Dawn/Day: traditional good paths, Dusk: anti-hero path, Night: "villain" path

Rook Bellerose [M]: A "best friend" you've known for almost a decade now. He's never let you get close even after all this time. He's the king of jokes and immaturity, but after the events which led to your enrollment at Vales Grove, something's changed. Maybe it's the guilt, or maybe it's the mask finally slipping.

Beck Castro [M]: Rook's detested roommate, although you aren't sure why. He's the kind of guy who likes to hear himself talk, and he's pretty good at it. He can captivate a room or get himself out of any situation. For whatever reason, he's taken a keen interest in you, and has offered his help for whatever you might need.

Rhea Windsor [F]: The Headmaster's daughter. Everyone who talks about her often complains that she's the traditional prim and proper young woman one would expect from a Headmaster's daughter. However, the more you talk to her, the more you realize she's the exact opposite with a dorky personality and a streak of clumsiness.

Zoe Ripley [NB]: A loner who hides in the library to avoid people. They saw what went down the day you were forced to attend Vales Grove. Despite their prickly attitude, you get the sense they aren't a bad person, and despite how they act, they've never refused to help you. If anything, you seem to be the one person on campus who doesn't get on their nerves, professors included.

Lars Angel [M]: The most exhausted person you've ever seen, and that's saying something. He's a grad student, and one you keep running in to. He can't stand you, and you can only guess at why. With a sharp tongue and a bitter disposition, he tries his best to avoid you. Too bad you both keep running into each other. It looks like fate has other plans.

??? [M/F/NB]: The thing which haunts you. You have no idea how the two of you got connected, but you can feel it in your blood, organs, neurons, synapses. You know it's evil, you know it wants to consume you, but tell me? Has anything ever cradled your soul so gently before?

Poly Route options:

Beck/Rook [triad]: Dawn or Day Path

Rook/??? [triad]: Night Path

Rhea and Zoe [V]: Dawn or Dusk Path

[RO Portraits]

CW: Gore, violence, discussions and depictions of death, parental neglect, emotional abuse, parental abuse, alcoholism, depression, classism, mtc

RO Route CWs (contains spoilers): Read here

[victoriadallonfan]

Let's Talk About the Alien vs Predator Films

Talk about wasted potential, am I right?

I'm struggling to format this in an interesting way, since so much has been covered over the past 20 years since the first film was released. You can read my thoughts on Aliens Franchise and the Predator Franchise as well.

Note that it doesn't include Alien: Romulus, but suffice to say it was a good movie!

I think the best place to start is with covering the themes of Alien and Predator, and the history before these films were created (and the failure of Fox).

My fellow AvP enjoyer @agendergorgon has already posted some thoughts on the topic, giving me a lot to think about, so check out their blog too!

For the purposes of this review, I am not going to include Alien 3, Alien: Resurrection, Prometheus, nor Alien: Covenant.... mostly. The AvP films really don't take much of anything beyond the first two films, though I will touch on Prometheus when it comes to religion.

Ditto for the Predator films, but that's because Predator wouldn't get a third film until 2010, 3 years after the AvP duo.

The themes of Alien Franchise:

I'm sure the first thing to come to mind is that the Alien series is about sexual assault, and you'd be correct. The xenomorph is designed to be extremely phallic, the facehuggers quite literally rape their victims, Burke locks his victims (including a child) in a room to be raped, Ash tries to murder Ripley by thrusting a rolled up porn magazine down her throat etc etc.

Some of you might also remember how Aliens was noted by James Cameron to be a criticism of the Vietnam War, Corporate Greed, and the callous arrogance of the US Military. The xenomorphs represented the innumerable "faceless" soldiers that could overwhelm more advanced enemies with ambush tactics and numbers, Burke thinks only in "goddamn percentages" and how this could benefit himself and the company, and the Colonial Marines are not only woefully mismanaged a newly brought on commander but also completely delusional with their own sense of invulnerability, only to break and panic under pressure once they meet a foe who is determined to fight to the death.

(I will NOT be tackling the fucked-upness of comparing people fighting for their independence vs a fucking Xenomorph, because holy fucking shit, it is literally the opposite AND worse counterpart to having the Predators be colonizers)

But, in the broader scope of the series, Alien - and the xenomorph - represent the uncontrollable, unfathomable, unknown. What are they? Why were they there? What are their motives? How did they end up in that ship? Were they built? How do they 'see'? Why did the xenomorph spare Jonesy the Cat? Are they intelligent life? How on earth do they function with their bizarre biology?

We don't get any real answers to these questions in the original films. The whole point of these movies is that there are things that mankind does not understand, and the horrors of space are vast. And equally terrifying is the arrogance of man (and synth kind) to think they can harness this horror for profit at the expense of human lives.

The themes of the Predator Franchise:

There's been tons of articles on how Predator is either a reconstruction or deconstruction (depending on who you ask) of the 80's action hero flick. A team of muscle laden, big gun toting, sweaty men spouting off one-liners as they mow down their enemies in a secret CIA led operation during the Cold War, interrupted by the presence of an intergalactic hunter than treats these badasses like mere toys. The massive Arnold Schwarzenegger is smacked out like a mouse facing off against a particularly cruel cat, needing to rely on tricks - not his brawns or guns - to stay alive and eventually defeat the Predator.

Others might point to its related take down of machismo. The opening scene is rife with characters testing each other's physical strength against each other such as with Dillon and Dutch, Ventura and Dutch have a small face-off in the helicopter as they try to make a pecking order, Ventura makes a whole speech about being a "sexual tyrannosaurus" and then mocked about sticking a gun up his "sore-ass", Hawkins repeatedly tries to make pussy and sex jokes, and they end up with a single woman in the group who is treated more like an object and baggage than a person for much of the movie. All of these men are emasculated by the Predator, some of them not even lasting a single second to its predations (both in tech and physicality), all of them losing any sense of quips and confidence, and the sole woman of the group survives because she didn't fit the movie's (and Predator's) mold of "tough as nails". When Arnold/Dutch is rescued by helicopter, it's not a cheerful one; he's haunted by what he endured and remains silent as the film pans into his thousand-yard stare.

All of this applies to Predator 2 as well, amping up the violence, dick measuring, and rules of the Predator targeting anyone who thinks they are tough shit for carrying a gun or knife. Even Danny Glover's victory is bittersweet, because he is now left in the middle of dozens of officer deaths, and entire subway car filled with corpses, and an antique flintlock pistol that promises the return of the Predators to Earth.

In a much broader sense, the Predator films are about the oversaturation of violence and lack of care for human life. Predator 1's main plot before he arrives is the CIA using Green Berets and then Dutch's special ops team to clean up their dirty work, giving them false information and not even reporting the Berets being MIA in furtherance of their Cold War goals (slaughtering guerrillas who were working with Soviet Russia). In Predator 2, the police are seen as being ineffective because they trample on each other's jurisdiction, with the Federal task force being willing to kill their own cops to keep the Predator existence a secret and letting it hunt people down for a better chance at capture and experimentation.

The Predator creatures are the epitome of such greed and arrogance. They are the General Zaroffs of The Most Dangerous Game, taken to a new height by showing that human lives literally mean nothing to them beyond a trophy hunt. They care nothing about our social lives, our politics, our loved ones, because for them this is nothing more than the equivalent of posh British Elite going on a Fox Hunt: cruel and sadistic, just to placate their egos. They will violate the corpses of the dead and taunt those in mourning, for the thrill of the game. And in that sense, the Predators are very human antagonists: they are not unfathomable nor are their goals beyond our understanding. The horror of the Predators is that they are creatures we can understand, communicate with, and even see similarities in their culture to ours... and that culture is putting us on a trophy rack alongside other skulls of creatures they felt a thrill to hunt.

So, did the Alien vs Predator films cover even half of these topics?

Well... kinda? Just... not well.

Not well at all.

The Build Up

Alien and Predator have a connected history dating back to the creation of the Predator itself. Stan Winston was on a flight with James Cameron some time after the famous director had finished with Aliens, and the director made a comment about wanting to see a monster with mandibles, which eventually led to the creature we know and love today.

Predator's debut on screen was also often compared to Aliens due to the superficially similar premise of a team of commandos going on a mission and fighting an unknown alien threat.

Despite what some people think, the AvP series wasn't started by the films.

Yes, there was a particularly memorable scene in Predator 2, where the City Hunter is admiring his trophy room and a xenomorph skull can be seen mounted on the wall (though, fun fact, it's actually an inaccurate depiction as xenomorph skulls look more humanoid facing), but that wasn't the first time the duo met in media.

And I'm not referring to the 1993 Arcade Game either (since that only came out a year after Predator 2).

The Alien vs Predator comic first appeared in 1989. And there were publications continuing ever since.

Think about that going forward. There was 25 years of content to choose from, storylines they could adapt, interesting forays into the cosmology and interactions between Yaujta, Xenomorphs, and Humanity.

The movies used exactly none of it (barring 1 thing: the Predalien).

Alien vs Predator (2004)

The plot of this movie is that Weyland-Yutani corporation detects a heat bloom under the ice in Antartica that reveals an underground pyramid, and in a race against his competitors, Weyland rounds up a team of elite experts led by Lex Woods to investigate the ruins (and find that the Predators have left them a convenient tunnel to enter the deep ice). Only to find out that this was a trap, as the pyramid comes to life activates a Xenomorph Queen, unleashing a brood of facehuggers on the helpless crew, all the while the Predators hunt them down. After a spectacular shitshow and release of the Xenomorph Queen, Lex and the last Predator (Scar) have to reluctantly team up to escape the pyramid and blow up the xenomorphs, ending in a final battle with the Xenomorph Queen. Scar perishes in the fight, but Lex manages to send the Queen into the depth of the artic ocean, and is rewarded by the watching Eldar Predator with a spear for her troubles. A post-credit scene reveals that Scar had a chest-burster inside of him, birthing the Predalien!

Rewatching this movie, I'm surprised at how good it looks. The opening scene of the satellite in space, several shots of the ship (and spaceship), the frozen tundra, the set pieces like the Xenomorph Queen Prison, and the CGI!

The CGI! Of 2004! I was shocked that they looked so good for something that is 20 years old now, but they did really well for themselves.

But it was the practical effects that blew me away the most. The shifting Pyramid is absolutely iconic and the abandoned whaling station is suitably creepy. The face-huggers look amazing and the xenomorphs are just *chefs kiss*. It's so funny seeing these Xenomorph effects compared to that of Alien:Covenant, and seeing how much work bodysuit and puppetry can do to make a monster look so much more terrifying than a CGI creature.

I know a lot of people didn't like the Predator's bulky appearance in this movie, but honestly... I dig it? It makes sense that not all Predators are literally built the same, and that the ones who would choose to go hunting in the artic would be the bigger ones who could hold more body heat. And the movie does a really great fucking job of making these Predators look badass and distinct from each other, with Celtic having the coolest mask of the whole group.

And the way the movie is shot is really fantastic! There are a lot of wide and tracking shots where the movie lets the atmosphere do the work instead of badgering us with words, taking its time to build up tension and soak up the visuals. One of my favorites shots they did was slow roam through the Predator ship as the systems come to life and we get to see holograms come on-line, feeding information directly into their masks. Equally good was when the Xenomorph Queen is awakened to cackling electricity and ominous lighting, showing us how vast this chamber is and how huge this Queen is in comparison to the one Ripley faces.

The same goes for most of the actions scenes, with a decent amount of cool slow-mo shots for things like Face-huggles launching themselves, Predators leaping across chasms, and showing Scar's impressive athleticism when he leaps 10 meters into the air and stabs a spear through the Queens skull.

And I can always rewatch the first time Alien Meets Predator Fight. God, that score! The music is just so damn good!!! You really feel like you are watching two massive horrors from space finally finding themselves sharing a space together.

Honestly, the Predators using the Xenomorphs as some kind of fucked up exotic pet for hunting trials and training fits the lore PERFECTLY. It’s actually a literal fox hunt not just metaphorical (and of course, in typical Alien fashion, it all went to shit).

Aliens vs Predator: Requiem (2007)

"Wait, Ridtom/VictoriaDallonFan, are you about to say something nice about AvP:R?!"

Well, after turning up the brightness and hanging blankets over my windows and then watching the movie underneath more blankets... yes!

For one thing, the Alien and Predator effects are spectacular! Some of the best work I've seen in the franchises! The fight scenes are creative and use really cool set-pieces like the sewer and power plant, where we get to see Wolf (the name of the Predator of this movie) absolutely kick ass and slaughter his way through hordes of Xenomorphs. Not that the xenos are left in the dust, as they get plenty of murders on screen and even outsmart Wolf on occasion.

I actually like the Predalien design and the idea that it’s more intelligent than the average Xeno, including holding personal grudges and understanding Predator behavior.

And the Predator tech is really cool too! We got laser grids, land mines, power fists, converting the plasma caster into a plasma pistol And I love the moment where Wolf kidnaps one of the human protags to use as live bait. Such a dick thing to do but so in-character.

Even the bits we get of Wolf mourning his fellow dead hunters was a neat addition.

And to be honest, I didn’t mind the idea of seeing an actual xenomorph infestation in real time, in a small town. I think that sort of setting would be really fun for a one-shot story.

And… that’s it. That’s all the good stuff.

What Went Wrong?

I compiled a list of sources where I got a lot of information on the AvP production: Source 1, Source 2, Source 3, Source 4

Note that a lot of these are 20 years old so I apologize for the outdated and honestly abhorrent word use that some articles and videos may use. And another apology for using the Xenopedia wiki, it was just a good shorthand for other information.

In short: Fox fucking sucks. They will absolutely self-sabotage themselves in order to make a (perceived) profit. Tom Rothman is the most well known (and he’s gone to Sony as of now), but Fox has had a looong history of being stingy and terrified of any risks for their films.

The sheer amount of drama involving Alien 3 and Alien Resurrection is an insane rollercoaster.

AvP removed pretty much any sense of horror and purposely had the design of the Predators to be more “human” and “heroic” (hence the weird human eyes and bulky physique), with a PG-13 rating for more audience numbers. While the human characters aren’t bad, they are not unique or even memorable (barring the fandom romantic tension between Lexi and the final Predator). Also, it was very weird that the Predators couldn’t kill a single Xenomorph, meanwhile the Colonial Marines couldn’t trip without blasting apart swarms of them. It felt like they really wanted to save money on the film in that regard.

AvP:R was even worse, with it being filmed with such a lack of lighting that people could not actually see any of the movie, and even modern advancements in color grading make it a strain. The human characters are awful, just absolutely boring and unremarkable beyond being veiled callbacks to characters from Alien, and we get a bunch of stupid Dawson’s Creek drama involving teenagers who look like they are 30 years old fighting over a girl who has no personality because she was written to just be “hot girl”.

If the story had focused entirely on the wife coming home from the war and dealing with the fact that her own daughter doesn’t feel close or comfortable with her after years of being gone, there could have been focus and themes and yadda yadda yadda.

Also, while this movie at least has horror aspects, did we REALLY need to see the Xenomorphs eating the fetuses and belly bursting out of still screaming mothers? Like, there is horror and then there is just being gross.

Final Thoughts

I often wonder if AvP took the wind out of the sails of Prometheus. Both play with the idea of humans worshiping aliens as gods, because Ancient Aliens is fucking everywhere, but it’s really hard to take Prometheus seriously when you remember AvP did basically the same setup (with arguably smarter characters).

And these movies have really soiled the idea of the AvP franchise barring the video games and comics. There’s apparently an AvP anime locked up in Disney Vaults and so far, both franchises have kept their respectful distances from each other.

However, with the recent successes of Alien: Romulus and Prey, there’s been a bit of a stir with some comments hinting at a potential AvP future.

Who knows. It’s been 17 years, perhaps 3rd time is the charm.

[utilitycaster]

okay watched Cloak and Dagger and here are my thoughts in brief

I don't think showing Ripley's backstory is bad. Part of why Ripley is an interesting character to me in a way that, to use my favorite punching bag, Otohan, is not, is because we had hints of what made her this way - fleeing the Empire; a list of names on Animus that included Bertrand Dwendal. Part of why I mock Otohan relentlessly is because she is a one-dimension villain, and Ripley never was that, which is why she's an interesting villain. Tragic backstory, in my opinion, enhances one's villainy, rather than reduces it: what sort of monster suffers and decides to do the same to others, rather than is driven to work to improve the lot of others? That's essentially why Caleb is in the end a heroic character and Ludinus is the culminating BBEG more so than Predathos.

Glintshore is one of my favorite battles of Campaign 1 and it also would not, in my opinion, translate well to animation. There was a great line in the Midst Messages from Xen in reference to Moonward about how in most rules-heavy TTRPGs, when you enter a big battle, time stretches out significantly, but in a systemless game like Moonward, it goes very quickly, which gives it a very different vibe and makes players make very different decisions. The emotional weight derives largely from how the party enters combat already heavily drained and never regains their footing, and how the cast is well aware and the sense of dread (and belief that Percy might be permanently dead and Taliesin will have to roll up a new character) sets in long before the battle ends. [long tangent about good parasocial vs bad parasocial in actual play put off until I have time to actually read Watch Us Roll, but this is Good Parasocial]. It's actually an interesting test of the challenge we face for the finale of the series: you are not going to get as efficient an emotional punch as Sam saying "Nine" in a show that doesn't have a concept of spell levels. I had struggled with how one might recreate the Glintshore battle and the answer is "you don't".

Ripley's speech was great no notes, love her being fucking awful and consumed with vengeance to the end. I think just as the theme of "your resentment will destroy you" is an enduring one throughout Critical Role, so is "every mortal is in theory someone who could change and become better, but if you shoot the hand that's trying to help you, well, get rekt lol"

The music over Percy's death is corny as hell. However, I am already on the record as someone who mutes It's Thursday Night for being corny as hell and who pokes fun at Matt's more purple prose and I seem to have stuck around regardless. I have made my peace with the fact that a good chunk of the cast spent their formative years just absolutely immersed in anime, and given the Extreme Anime Vibes of Percy in TLOVM I can't say I love it, but I also can't say it's not sort of fitting. Please do cut that scene with different music though, because it would be funny as shit.

I need to watch episodes 8 and 9 (going to now!) but much as I love the glintshore fight, you know what I love more? Episode 1x69 (nice). Real Tragedy Enjoyers know the proof is in the aftermath. If 8 and 9 also suck then I'll be back here in like an hour but if they're good then it's whatever.

Grog is always on some level experiencing a Sitcom B Plot and if you ever find yourself disliking a TLOVM episode, remember you're watching a sitcom where Grog is dealing with a Bird that is Very Here (metaphorical).

[lavaridgecookie]

Horror Movie Time with Sonic F/Os

General imagines for watching horror films with Sonic characters! What types they're into, what kind of movie watcher they are, etc. I originally wanted them to be able to be read as romantic or platonic, but eventually I just kinda went full romance.

Characters: Sonic, Shadow, Silver, Amy, Rouge, Omega

Spoiler warnings for Poltergeist and Alien, and a very minor spoiler warning for The Thing

Sonic:

Is more a fan of the 'campy' horror movies, although he'll also watch slashers - they get his blood pumping and his heart racing, and he lives for that. He doesn't like seeing you actually afraid, so he'll definitely take your tastes into account when picking a movie- if you say no to a specific thing, he'll tease you a bit but he'll pick something else.

Does NOT like supernatural horror. He will not watch ghost movies. He won't watch movies about doomsday scenarios. Basically, if he doesn't think he could fight it off in real life, it horrifies him and he can't stop thinking about it. What if that stuff happened to him? Happened to you? Haunts him for days or months afterwards. You made the mistake of watching The Thing with him, and for three weeks afterwards you had to talk him out of making you do the blood test every time you were apart for more than 5 hours.

He's fine with werewolf movies, for obvious reasons. Been there, done that, still tries to use his foot to scratch his ear sometimes.

All in all, he just wants to have fun with the movie, and with you. If you say 'tonight, we are watching a bunch of Disney Channel Original Scary Movies and eating our weight in popcorn,' he'll be just as happy as if you wanted to watch every Halloween movie.

Shadow:

Is a more all-around moviegoer, although since meeting you, he's found slashers are harder to watch. He can't help but think about you suffering through those scenarios, and ultimately dying.

Meanwhile, he loves sci-fi and supernatural horror. He's a product of science, he knows what it can do, so he can completely relax when watching movies like Alien.

In fact, and he'd never tell you this, he likes that one a LOT more after meeting you. He can easily see you in Ripley's place- resourceful, smart, trying to keep everyone alive. Going back for Jonesy seems like something you would do. He likes imagining you, triumphant, coming home to him.

Shadow likes it a LOT when you cling tightly to him- you can grab his arm as hard as you want, you can squeeze him like you're a boa constrictor, whatever. It doesn't hurt him, he's the Ultimate Lifeform! He likes the physical contact that he doesn't have to ask for, but he also very much enjoys knowing he makes you feel safe.

You should definitely expect him to start appraising the movie afterwards- he doesn't actually care, but he wants to talk to you and he's not great at conversations without a set topic. Please indulge him.

Silver:

is kind of a weenie and and doesn't really like actually scary movies all that much. He's been through enough, thank you. He's much more of a children's Halloween movie guy- your Mostly Ghostlys, your Scary Godmothers, your Cry Baby Lanes. Basically, nothing scarier than Tremors.

If you do make him watch a horror film, he's shaking in the first five minutes, and once bodies start piling up he's crying into your shirt.

There is one exception.

He loves Tobe Hooper's Poltergeist. Everything about it speaks to him, and he loves sharing it with you. He'll hold your hand whenever Steve and Diane are supporting each other, and he'll pull you into his chest and hold you during the scary parts. Afterwards, he'll tell you about how he hopes you two can be together like that someday- how he'll never abandon you when things get tough, and how he knows you'll stick by him, too.

He likes it because throughout all the horrible things, everyone is looking out for each other. He loves that everyone lives. And if you like the movie, too? He's the happiest hedgehog that ever lived.

Rouge:

Is a big fan of slashers- the gorier the better! She's the kind to cheer when some idiot gets murdered. But she also much prefers watching them at home, with you. She wants her head in your lap, taking sips of red wine in between mouthfuls of heart-stoppingly buttery popcorn, just having a great time with you.

But, and you won't find this out on the first date, she's also a huge film buff and adores the cult classics. If you so much as mention cult horror, she'll start trying to get you to watch her Criterion Collection DVD of Hausu, and wants to discuss the finer points of horror.

And she is trusting you not to spoil her reputation by telling anybody else about this. Especially you shouldn't tell anybody that she LOVES Them!

She also really likes horror films with a romantic bent, and she keeps saying that she'll tease you during them but honestly when the time comes her eyes are glued to the goddamn screen... it's the perfect time to slip your hands into hers.

Amy:

Likes two kinds of horror moves. She loves psychological horror- it keeps her guessing, keeps her engaged. When you watch with her, she likes to voice her theories out loud, and loves to hear your thoughts on it!

In the same vein, she also likes cult classics- her favourite is the 1962 film Carnival of Souls. Expect a lengthy discussion every time you guys watch a more 'cerebral' film- she really does like to hear how you felt about it! It helps her feel like she can see into your world a bit better.

But on days where she doesn't have that much brainpower to spare, she really enjoys a good horror/comedy. Her go-to is the Three Flavour Cornetto trilogy, but honestly she's not that picky. You guys watched Werewolves Within together and about died laughing. The genre is basically the mental equivalent of icecream to her.

Whatever you two watch, you are smushed up together in one corner of the couch. Doesn't matter who's in front and who's behind, one of you has your head in the crook of the neck of the other.

123-Omega:

He also like slashers, and he's kind of unbearable to watch 'em with. Every time anybody dies, he either says 'That would not have happened to me' or 'I would not let that happen to you.'

It's kind of cute, but once you're an hour and seven deaths deep, it can get a bit annoying. That said, you appreciate him for who he is, so you knew this was a bit inevitable and you love him anyway.

Once you asked him what he would do to protect you from 'unkillable' slashers like Michael Meyers, and after a second of thinking, he picked you up, took you out to the gun range, put you down behind him, and proceeded to absolutely obliterate everything in front of him one long, sustained round of heavy fire. Probably used up at least $6k of artillery. He then turned back to you and stated 'Michael Meyers could not survive being turned into a fine mist'

You were still in your jammies, and you couldn't help but laugh so hard you fell over. God bless your loving sentry turret.

~~~

Hope you all enjoyed! These were fun to write for, and I'd definitely be willing to do more for other characters if requested!

[fortjester]

you know what i DO want to talk about? that scene on top of the truck where nona’s arguing w varun, and varun asks “do you love?” and nona says, “yes - no yes. i don’t know what it means. i say it, but i dont know what it means. did i ever know what it meant?” which is truly heartbreaking to hear from a character who’s spent the entire book up until now loving most everything she lays her eyes on with nearly reckless abandon.

and fifty pages later - after paul’s birth (pyrrha saying, “it’s not love, what you’re about to do. it’s a mistake.” being almost immediately replied to with, “the perfect friendship, the perfect love.”/”life is too short, and love is too long.”), and kiriona’s interrogation (”okay. different question -- do you love her?”), a near constant barrage of “what does love really mean?” and “what is love?” and “what would love make you do?” “what lengths would you go to for love?” when she’s already struggling with the idea of knowing if she’s felt love at all - she very nearly gives in to that despair, the lack of certainty that she knows what her feelings mean and that she’s allowed to feel them. she’s mourning, and she’s not able to reach pyrrha through her grief, and everyone else she’s with is more broken than she’s ever seen them before. but then paul reminds her of noodle. and nona, in a moment of lurching panic, decides to live, if only just to save noodle.

to me, that’s a devastating moment of raw, human love. it’s like that moment in alien (1979) where ripley’s about to abandon ship, and then goes back when she realises jones (the ship cat) is still on board. nona was ready to let them all die, hopless and lost and sad, every one of them-- but noodle, a sweet yet unimportant pet, is what brings her back.

and i think that’s what make’s paul’s statement of, “it’s done, it’s finished. you can’t take loved away.” hit as hard as it does. she’s just had this crisis of faith in her own personal belief system of loving-things-for-the-sake-of-loving-them, only to have it reaffirmed, and is now facing the abyss of personhood, facing returning to a self who was hurt and was deeply angry, going so far as to say, “i’ll be different...and palamedes -- i won’t love him...i won’t love anything, i won’t know how.”

paul says, “don’t worry,” (even though she just explained why she was worried), “we loved you too,” because maybe nona’s right and she won’t know how to love anymore, but she needs to know that she did. she did love, and she was loved, and there was never a doubt in anyone elses mind that she loved them fully and completely and genuinely. maybe she thought she was faking it, maybe she thought she was just making it up, but it was real, and now it’s done, and no one can take it away. no one.

[specialagentartemis]

Something always fascinating to me is the "character who thinks they're in a different genre" phenomenon. The theme of the story you are telling determines what the right and wrong actions to take are; but the characters, reacting in-universe to the situation, don't know what story they're in, and the exact same responses can be what saves you or damns you depending on what kind of story the author is telling and what the story's message is about what life is like.

In Wolf 359, Warren Kepler approaches the mysterious and powerful aliens with threats; he kills their liaison and tries to position himself as a powerful opponent. However, he's shown to be wrong and making things worse: his preemptive aggression is unwarranted and unhelpful and bites him in the ass. The aliens want to communicate and understand humanity and share our music. It's Doug Eiffel, the pacifistic (and kind of scaredy-cat) communications officer who loves to talk and share pop culture, who talks to them and understands that the aliens are scary not because they want to kill us but because they don't understand the concepts of individuals and death. Talking to them, communicating with them, understanding where they're coming from and and bringing them to understand a human point of view, is what succeeds. Openness rather than suspicion, trust rather than aggression. Kepler thinks he's a dramatic space marine protecting the Earth from the alien threat by showing them humans are tough and can take them, but that's not the kind of story this is.

Conversely, in Janus Descending, Chel is in awe of the strange and beautiful alien world around her. She wants to touch it, understand it, get up close to it. When she sees a crystal alien dog, she wants to befriend it, despite Peter's warning. But when she gets close to it, extending her arm in greeting, it attacks her and drags her down into the cave to try to eat her. This sets the inevitable tragedy in motion. Suspicion is warranted; trust will get you killed. Because this is a sci-fi horror, with a major running thematic reading about how racism and sexism will destroy your brain and your society, and how the people who think they're too smart to be prejudiced don't see their own prejudice and will end up ruining the lives of the people they still don't fully see as equals, this kind of trust that Chel shows this strange alien is tragic. However it is also a horror story where there are very real hibernating space snakes ready to wake up and eat the fresh meat that has landed on their planet, and by being too trusting Chel has accidentally introduced herself to one.

Kepler, suspicious and ready to shoot any alien he doesn't understand, would likely have survived Janus Descending; Chel, with her enthusiasm for learning about and meeting aliens, would have been a wonderful and helpful member of the Wolf 359 crew.

In a similar manner, in Alien, Ellen Ripley yells to the rest of her crew not to bring the attacked crewmember with the alien on his face back on the ship and into the medical bay, you don't know what contamination that thing might have; she's ignored. She tells them not to let the crewmember out of quarantine even though he seems fine; she's ignored again. Ripley is the one person protesting this isn't safe, we don't know what's going on, and she is consistently ignored, until an alien bursts out of her crewmate's chest and then eats everyone and Ripley is proven to be right and also the only survivor. (And it turns out that the science officer consistently overriding her protests was an android sent by the company that contracted them, and said android was given orders to bring the alien back so the company could study it and do weapons development with it, try not to let the crew find out about it, and kill them if he had to in order to do so!)

Ripley's paranoia and mistrust of the situation was correct, because Alien is a space horror and the theme is in space no one can hear you scream (also corporations consider you expendable).

Conversely, in All Systems Red, we have a damaged and almost-combat-overridden Murderbot being brought back into the PreservationAux hab medical bay after being attacked by other SecUnits. Gurathin becomes the one person protesting this isn't safe, we don't know what's going on, he doesn't want to let Murderbot out because it's hacked and probably sabotaging them for the company contracted their security and sent it with them. Gurathin thinks he is the Ellen Ripley here! He is trying to warn his teammates not to make a dangerous mistake that will get everyone killed!

However, All Systems Red is a very different story than Alien, and Murderbot is neither a traitor on behalf of the company to sabotage them and steal alien remnants for weapons development, nor a threat to the humans - it's a friend, it's a good person, and it wants to help them against both companies willing to screw them over. Trusting it and helping it is the right thing to do and is what saves their lives. Gurathin is proven to be wrong.

If everyone on the Nostromo crew had listened to Ellen Ripley, they would still be alive (except Kane. RIP Kane), because this is a horror story about being isolated and hunted and going up against this horrifying thing that wants to kill and eat you and just keeps getting stronger. If everyone on the PreservationAux team listened to Gurathin, they would all be dead, because this is a story about friendship and teamwork and trust and overcoming trauma and accepting the personhood of someone very different from you.

Same responses. Different context. And so very different moral conclusions.

Warren Kepler was about how the brash violent over-confident approach to things you don't understand is wrong, and that openness and developing that understanding between people is what's important; Chel was about the tragedy of trust destroying a Black woman who wanted so much to believe in a world that could be kind and beautiful. Ripley was about a woman whose expertise and safety warnings were ignored and brushed aside and everyone who did so died because of it; Gurathin was about how even justified fear shouldn't mean you make someone else a scapegoat and mistrust them because they seem scary.

Sometimes you're in the wrong genre because you need to be, because the author is trying to show how not to react to the situation they set up in order to build the mood and the theme they're trying to convey.