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2020 in Movies - My Top 30 Fave Movies (Part 3)

10. WOLFWALKERS – eleven years ago, Irish director Tomm Moore exploded onto the animated cinema scene with The Secret of Kells, a spellbinding feature debut which captivated audiences the world over and even garnered an Oscar nomination. Admittedly I didn’t actually even know about it until I discovered his work through his astonishing follow-up, Song of the Sea (another Academy Award nominee), in 2015, so when I finally caught it I was already a fan of Moore’s work. It’s been a similarly long wait for his third feature, but he’s genuinely pulled off a hat-trick, delivering a third flawless film in a row which OF COURSE means that his latest feature is, beyond a shadow of a doubt, my top animated feature of 2020. I could even be tempted to say it’s his best work to date … this is an ASTONISHING film, a work of such breath-taking, spell-binding beauty that I spent its entire hour and three-quarters glued to the screen, simple mesmerised by the wonder and majesty of this latest iteration of the characteristically stylised “Cartoon Saloon” look. It’s also liberally steeped in Moore’s trademark Celtic vibe and atmosphere, once again delving deep into his homeland’s rich and evocative cultural history and mythology while also bringing us something far more original and personal – this time the titular supernatural beings are magical near-human beings whose own subconscious can assume the form of very real wolves. Set in a particularly dark time in Irish history – namely 1650, when Oliver Cromwell was Lord Protector – the story follows Robyn (Honor Kneafsey, probably best known for the Christmas Prince films), the impetuous and spirited young daughter of English hunter Bill Goodfellowe (Sean Bean), brought in by the Protectorate to rid the city of Kilkenny of the wolves plaguing the area. One day fate intervenes and Robyn meets Mebh Og MacTire (The Girl at the End of the Garden‘s Eve Whittaker), a wild girl living in the woods, whose accidental bite gives her strange dreams in which she becomes a wolf – turns out Mebh is a wolfwalker, and now so is Robyn … every aspect of this film is an utter triumph for Moore and co, who have crafted a work of living, breathing cinematic art that’s easily the equal to (if not even better than) the best that Disney, Dreamworks or any of the other animation studios could create. Then there’s the excellent voice cast – Bean brings fatherly warmth and compassion to the role that belies his character’s intimidating size, while Kneafsey and Whittaker make for a sweet and sassy pair as they bond in spite of powerful cultural differences, and the masterful Simon McBurney (Harry Potter, Mission: Impossible – Rogue Nation, Tinker Tailor Soldier Spy) brings cool, understated menace to the role of Cromwell himself. This is a film with plenty of emotional heft to go with its marvels, and once again displays the welcome dark side which added particular spice to Moore’s previous films, but ultimately this is still a gentle and heartfelt work of wonder that makes for equally suitable viewing for children as for those who are still kids at heart – ultimately, then, this is another triumph for one of the most singularly original filmmakers working in animation today, and if Wolfwalkers doesn’t make it third time lucky come Oscars-time then there’s no justice in the world …

9. WONDER WOMAN 1984 – probably the biggest change for 2020 compared to pretty much all of the past decade is how different the fortunes of superhero cinema turned out to be. A year earlier the Marvel Cinematic Universe had dominated all, but the DC Extended Universe still got a good hit in with big surprise hit Shazam! Fast-forward to now and things are VERY different – DC suddenly came out in the lead, but only because Marvel’s intended heavy-hitters (two MCU movies, the first Venom sequel and potential hot-shit new franchise starter Morbius: the Living Vampire) found themselves continuously pushed back thanks to (back then) unforeseen circumstances which continue to shit all over our theatre-going slate for the immediate future. In the end DC’s only SERIOUS competition turned out to be NETFLIX … never mind, at least we got ONE big established superhero blockbuster into the cinemas before the end of the year that the whole family could enjoy, and who better to headline it than DC’s “newest” big screen megastar, Diana Prince? Back in 2017 Monster’s Ball director Patty Jenkins’ monumental DCEU standalone spectacularly realigned the trajectory of a cinematic franchise that was visibly flagging, redesigning the template for the series’ future which has since led to some (mostly) consistently impressive subsequent offerings. Needless to say it was a damn tough act to follow, but Jenkins and co-writers Geoff Johns (Arrow and The Flash) and David Callaham (The Expendables, Zombieland: Double Tap, future MCU entry Shang-Chi & the Legend of the Ten Rings) have risen to the challenge in fine style, delivering something which pretty much equals that spectacular franchise debut … as has Gal Gadot, who’s now OFFICIALLY made the role her own thanks to yet another showstopping and definitive performance as the unstoppable Amazonian goddess living amongst us. She’s older and wiser than in the first film, but still hasn’t lost that forthright honesty and wonderfully pure heart we’ve come to love ever since her introduction in Zack Snyder’s troublesome but ultimately underrated Batman V Superman: Dawn of Justice (yes, that’s right, I said it!), and Gadot’s clear, overwhelming commitment to the role continues to pay off magnificently as she once again proves that Diana is THE VERY BEST superhero in the DCEU cinematic pantheon. Although it takes place several decades after its predecessor, WW84 is, obviously, still very much a period piece, Jenkins and co this time perfectly capturing the sheer opulent and over-the-top tastelessness of the 1980s in all its big-haired, bad-suited, oversized shoulder-padded glory while telling a story that encapsulates the greedy excessiveness of the Reagan era, perfectly embodied in the film’s nominal villain, Max Lord (The Mandalorian himself, Pedro Pascal), a wishy-washy wannabe oil tycoon conman who chances upon a supercharged wish-rock and unleashes a devastating supernatural “monkey’s paw” upon the world. To say any more would give away a whole raft of spectacular twists and turns that deserve to be enjoyed good and cold, although they did spoil one major surprise in the trailer when they teased the return of Diana’s first love, Steve Trevor (Chris Pine) … needless to say this is another big blockbuster bursting with big characters, big action and BIG IDEAS, just what we’ve come to expect after Wonder Woman’s first triumphant big screen adventure. Interestingly, the film starts out feeling like it’s going to be a bubbly, light, frothy affair – after a particularly stunning all-action opening flashback to Diana’s childhood on Themyscira, the film proper kicks off with a bright and breezy atmosphere that feels a bit like the kind of Saturday morning cartoon action the consistently impressive set-pieces take such unfettered joy in parodying, but as the stakes are raised the tone grows darker and more emotionally potent, the storm clouds gathering for a spectacularly epic climax that, for once, doesn’t feel too overblown or weighed down by its visual effects, while the intelligent script has unfathomable hidden depths to it, making us think far more than these kinds of blockbusters usually do. It’s really great to see Chris Pine return since he was one of the best things about the first movie, and his lovably childlike wide-eyed wonder at this brave new world perfectly echoes Diana’s own last time round; Kristen Wiig, meanwhile, is pretty phenomenal throughout as Dr Barbara Minerva, the initially geeky and timid nerd who discovers an impressive inner strength but ultimately turns into a superpowered apex predator as she becomes one of Wonder Woman’s most infamous foes, the Cheetah; Pascal, of course, is clearly having the time of his life hamming it up to the hilt as Lord, playing gloriously against his effortlessly cool, charismatic action hero image to deliver a compellingly troubling examination of the monstrous corrupting influence of absolute power. Once again, though, the film truly belongs to Gadot – she looks amazing, acts her socks off magnificently, and totally rules the movie. After this, a second sequel is a no-brainer, because Wonder Woman remains the one DC superhero who’s truly capable of bearing the weight of this particular cinematic franchise on her powerful shoulders – needless to say, it’s already been greenlit, and with both Jenkins and Gadot onboard, I’m happy to sign up for more too …

8. LOVE & MONSTERS – with the cinemas continuing their frustrating habit of opening for a little while and then closing while the pandemic ebbed and flowed in the months after the summer season, it was starting to look like there might not have been ANY big budget blockbusters to enjoy before year’s end as heavyweights like Black Widow, No Time To Die and Dune pulled back to potentially more certain release slots into 2021 (with only WW84 remaining stubbornly in place for Christmas). Then Paramount decided to throw us a bone, opting to release this post-apocalyptic horror comedy on-demand in October instead, thus giving me the perfect little present to tie me over during the darkening days of autumn. The end result was a stone-cold gem that came out of nowhere to completely blow critics away, a spectacular sleeper hit that ultimately proved one of the year’s biggest and most brilliant surprises. Director Michael Matthews may only have had South African indie thriller Five Fingers for Marseilles under his belt prior to this, but he proves he’s definitely a solid talent to watch in the future, crafting a fun and effective thrill-ride that, like all the best horror comedies, is consistently as funny as it is scary, sharing much of the same DNA as this particular mash-up genre’s classics like Tremors and Zombieland and standing up impressively well to such comparisons. The story, penned by rising star Brian Duffield (who has TWO other entries on this list, Underwater and Spontaneous) and Matthew Robinson (The Invention of Lying, Dora & the Lost City of Gold), is also pretty ingenious and surprisingly original – a meteorite strike has unleashed weird mutagenic pathogens that warp various creepy crawly critters into gigantic monstrosities that have slaughter most of the world’s human population, leaving only a beleaguered, dwindling few to eke out a precarious living in underground colonies. Living in one such makeshift community is Joel Dawson (The Maze Runner’s Dylan O’Brien), a smart and likeable geek who really isn’t very adventurous, is extremely awkward and uncoordinated, and has a problem with freezing if threatened … which makes it all the more inexplicable when he decides, entirely against the advice of everyone he knows, to venture onto the surface so he can make the incredibly dangerous week-long trek to the neighbouring colony where his girlfriend Aimee (Iron Fist’s Jessica Henwick) has ended up. Joel is, without a doubt, the best role that O’Brien has EVER had, a total dork who’s completely unsuited to this kind of adventure and, in the real world, sure to be eaten alive in the first five minutes, but he’s also such a fantastically believable, fallible everyman that every one of us desperate, pathetic omega-males and females can instantly put ourselves in his place, making it elementarily easy to root for him. He’s also hilariously funny, his winningly self-deprecating sass and pitch perfect talent for physical comedy making it all the more rewarding watching each gloriously anarchic life-and-death encounter mould him into the year’s most unlikely action hero. Henwick, meanwhile, once again impresses in a well-written role where she’s able to make a big impression despite her decidedly short screen time, as do the legendary Michael Rooker and brilliant newcomer Ariana Greenblatt as Clyde and Minnow, the adorably jaded, seen-it-all-before pair of “professional survivors” Joel meets en-route, who teach him to survive on the surface. The action is fast, frenetic and potently visceral, the impressively realistic digital creature effects bringing a motley crew of bloodthirsty beasties to suitably blood-curdling life for the film’s consistently terrifying set-pieces, while the world-building is intricately thought-out and skilfully executed. Altogether, this was an absolute joy from start to finish, and a film I enthusiastically endorsed to everyone I knew was looking for something fun to enjoy during the frustrating lockdown nights-in. One of the cinematic year’s best kept secrets then, and a compelling sign of things to come for its up-and-coming director.

7. PARASITE – I’ve been a fan of master Korean filmmaker Bong Joon-ho ever since I stumbled across his deeply weird but also thoroughly brilliant breakthrough feature The Host, and it’s a love that’s deepened since thanks to truly magnificent sci-fi actioner Snowpiercer, so I was looking forward to his latest feature as much as any movie geek, but even I wasn’t prepared for just what a runaway juggernaut of a hit this one turned out to be, from the insane box office to all that award-season glory (especially that undeniable clean-sweep at the Oscars). I’ll just come out and say it, this film deserves it all. It’s EASILY Bong’s best film to date (which is really saying something), a masterful social satire and jet black comedy that raises some genuinely intriguing questions before delivering deeply troubling answers. Straddling the ever-widening gulf between a disaffected idle rich upper class and impoverished, struggling lower class in modern-day Seoul, it tells the story of the Kim family – father Ki-taek (Bong’s good luck charm, Song Kang-ho), mother Chung-sook (Jang Hye-jin), son Ki-woo (Train to Busan’s Choi Woo-shik) and daughter Ki-jung (The Silenced’s Park So-dam) – a poor family living in a run-down basement apartment who live hand-to-mouth in minimum wage jobs and can barely rub two pennies together, until they’re presented with an intriguing opportunity. Through happy chance, Ki-woon is hired as an English tutor for Park Da-hye (Jung Ji-so), the daughter of a wealthy family, which offers him the chance to recommend Ki-jung as an art tutor to the Parks’ troubled young son, Da-song (Jung Hyeon-jun). Soon the rest of the Kims are getting in on the act, the kids contriving opportunities for their father to replace Mr Park’s chauffeur and their mother to oust the family’s long-serving housekeeper, Gook Moon-gwang (Lee Jung-eun), and before long their situation has improved dramatically. But as they two families become more deeply entwined, cracks begin to show in their supposed blissful harmony as the natural prejudices of their respective classes start to take hold, and as events spiral out of control a terrible confrontation looms on the horizon. This is social commentary at its most scathing, Bong drawing on personal experiences from his youth to inform the razor-sharp script (co-written by his production assistant Han Jin-won), while he weaves a palpable atmosphere of knife-edged tension throughout to add spice to the perfectly observed dark humour of the situation, all the while throwing intriguing twists and turns at us before suddenly dropping such a massive jaw-dropper of a gear-change that the film completely turns on its head to stunning effect. The cast are all thoroughly astounding, Song once again dominating the film with a turn at once sloppy and dishevelled but also poignant and heartfelt, while there are particularly noteworthy turns from Lee Sun-kyun as the Parks’ self-absorbed patriarch Dong-ik and Choi Yeo-jeong (The Concubine) as his flighty, easily-led wife Choi Yeon-gyo, as well as a fantastically weird appearance in the latter half from Park Myung-hoon. This is heady stuff, dangerously seductive even as it becomes increasingly uncomfortable viewing, so that even as the screws tighten and everything goes to hell it’s simply impossible to look away. Bong Joon-ho really has surpassed himself this time, delivering an existential mind-scrambler that lingers long after the credits have rolled and might even have you questioning your place in society once you’ve thought about it some. It deserves every single award and every ounce of praise it’s been lavished with, and looks set to go down as one of the true cinematic greats of this new decade. Trust me, if this was a purely critical best-of list it’d be RIGHT AT THE TOP …

6. THE OLD GUARD – Netflix’ undisputable TOP OFFERING of the summer came damn close to bagging the whole season, and I can’t help thinking that even if some of the stiffer competition had still been present it may well have still finished this high. Gina Prince-Blythewood (Love & Basketball, the Secret Life of Bees) directs comics legend Greg Rucka’s adaptation of his own popular series with uncanny skill and laser-focused visual flair considering there’s nothing on her previous CV to suggest she’d be THIS good at mounting a stomping great ultraviolent action thriller, ushering in a thoroughly engrossing tale of four ancient, invulnerable immortal warriors – Andy AKA Andromache of Scythia (Charlize Theron), Booker AKA Sebastian de Livre (Matthias Schoenaerts), Joe AKA Yusuf Al-Kaysani (Wolf’s Marwan Kenzari) and Nicky AKA Niccolo di Ginova (Trust’s Luca Marinelli) – who’ve been around forever, hiring out their services as mercenaries for righteous causes while jealously guarding their identities for fear of horrific experimentation and exploitation should their true natures ever be discovered. Their anonymity is threatened, however, when they’re uncovered by former CIA operative James Copley (Chiwetel Ejiofor), who’s working for the decidedly dodgy pharmaceutical conglomerate run by sociopathic billionaire Steven Merrick (Harry Melling, formerly Dudley in the Harry Potter movies), who want to capture these immortals so they can patent whatever it is that makes them keep on ticking … just as a fifth immortal, US Marine Nile Freeman (If Beale Street Could Talk’s KiKi Layne), awakens after being “killed” on deployment in Afghanistan. The supporting players are excellent, particularly Ejiofor, smart and driven but ultimately principled and deeply conflicted about what he’s doing, even if he does have the best of intentions, and Melling, the kind of loathsome, reptilian scumbag you just love to hate, but the film REALLY DOES belong to the Old Guard themselves – Schoenaerts is a master brooder, spot-on casting as the group’s relative newcomer, only immortal since the Napoleonic Wars but clearly one seriously old soul who’s already VERY tired of the lifestyle, while Joe and Nicky (who met on opposing sides of the Crusades) are simply ADORABLE, an unapologetically matter-of-fact gay couple who are sweet, sassy and incredibly kind, the absolute emotional heart of the film; it’s the ladies, however, that are most memorable here. Layne is exceptional, investing Nile with a steely intensity that puts her in good stead as her new existence threatens to overwhelm her and MORE THAN qualified to bust heads alongside her elders … but it’s ancient Greek warrior Andy who steals the film, Theron building on the astounding work she did in Atomic Blonde to prove, once and for all, that there’s no woman on Earth who looks better kicking arse than her (as Booker puts it, “that woman has forgotten more ways to kill than entire armies will ever learn”); in her hands, Andy truly is a goddess of death, tough as tungsten alloy and unflappable even in the face of hell itself, but underneath it all she hides a heart as big as any of her friends’. They’re an impossibly lovable bunch and you feel you could follow them on another TEN adventures like this one, which is just as well, because Prince-Blythewood and Rucka certainly put them through their paces here – the drama is high (but frequently laced with a gentle, knowing sense of humour, particularly whenever Joe and Nicky are onscreen), as are the stakes, and the frequent action sequences are top-notch, executed with rare skill and bone-crunching zest, but also ALWAYS in service to the story. Altogether this is an astounding film, a genuine victory for its makers and, it seems, for Netflix themselves – it’s become one of the platform’s biggest hits to date, earning well-deserved critical acclaim and great respect and genuine geek love from the fanbase at large. After this, a sequel is not only inevitable, it’s ESSENTIAL …

5. MANK – it’s always nice when David Fincher, one of my TOP FIVE ALL TIME FAVOURITE DIRECTORS, drops a new movie, because it can be GUARANTEED to place good and high in my rundown for that year. The man is a frickin’ GENIUS, a true master of the craft, genuinely one of the auteur’s auteurs. I’ve NEVER seen him deliver a bad film – even a misfiring Fincher (see The Curious Case of Benjamin Button or Alien 3) is still capable of creating GREAT CINEMA. How? Why? It’s because he genuinely LOVES the art form, it’s been his obsession all his life, and he’s spent every day of it becoming the best possible filmmaker he can be. Who better to tell the story of the creation of one of the ULTIMATE cinematic masterpieces, then? Benjamin Ross’ acclaimed biopic RKO 281 covered similar ground, presenting a compelling look into the making Citizen Kane, the timeless masterpiece of Hollywood’s ULTIMATE auteur, Orson Welles, but Fincher’s film is more interested in the original inspiration for the story, how it was written and, most importantly, the man who wrote it – Herman J. Mankiewicz, known to his friends as Mank. One of my favourite actors of all time, Gary Oldman, delivers yet another of his career best performances in the lead role, once a man of vision and incredible storytelling skill whose talents have largely been squandered through professional difficulties and personal vices, a burned out one-time great fallen on hard times whom Welles picks up out of the trash, dusts off and offers a chance to create something truly great again. The only catch? The subject of their film (albeit dressed up in the guise of fictional newspaper magnate Charles Foster Kane) is to be real-life publisher, politico and tycoon William Randolph Hurst (Charles Dance), once Mank’s friend and patron before they had a very public and messy falling out which partly led to his current circumstances. As he toils away in seclusion on what is destined to become his true masterwork, flashbacks reveal to us the fascinating, moving and ultimately tragic tale of his rise and fall from grace in the movie business, set against the backdrop of one of the most tumultuous periods in American history. Shooting a script that his own journalist and screenwriter father, Jack, crafted and then failed to bring to the screen himself before his death in 2003, Fincher has been working for almost a quarter century to make this film, and all that passion and drive is writ large on the screen – this is a glorious film ABOUT film, the art of it, the creation of it, and all the dirty little secrets of what the industry itself has always really been like, especially in that most glamorous and illusory of times. The fact that Fincher shot in black and white and intentionally made it look like it was made in the early 1940s (the “golden age of the Silver Screen”, if you will) may seem like a gimmick, but instead it’s a very shrewd choice that expertly captures the gloss and moodiness of the age, almost looking like a contemporary companion piece to Kane itself, and it’s the perfect way to frame all the sharp-witted observation, subtly subversive character development and murky behind-the-scenes machinations that tell the story. Oldman is in every way the star here, holding the screen with all the consummate skill and flair we’ve come to expect from him, but there’s no denying the uniformly excellent supporting cast are equal to the task here – Dance is at his regal, charismatic best as Hearst, while Amanda Seyfried is icily classy on the surface but mischievous and lovably grounded underneath as Hearst’s mistress, Marion Davies, who formed the basis for Kane’s most controversial character, Arliss Howard (Full Metal Jacket, The Lost World: Jurassic Park, Moneyball) brings nuance and complexity to the role of MGM founder Louis B. Mayer, Tom Pelphrey (Banshee, Ozark) is understated but compelling as Mank’s younger screenwriter brother Joseph, and Lily Collins and Tuppence Middleton exude class and long-suffering stubbornness as the two main women in Mank’s life (his secretary and platonic muse, Rita Alexander, and his wife, Sara), while The Musketeers’ Tom Burke’s periodic but potent appearances as Orson Welles help to drive the story in the “present”. Another Netflix release which I was (thankfully) able to catch on the big screen during one of the brief lulls between British lockdowns, this was a decidedly meta cinematic experience that perfectly encapsulated not only what is truly required for the creation of a screen epic, but also the latest pinnacle in the career of one of the greatest filmmakers working in the business today, powerful, stirring, intriguing and surprising in equal measure. Certainly it’s one of the most important films ABOUT so far film this century, but is it as good as Citizen Kane? Boy, that’s a tough one …

4. ENOLA HOLMES – ultimately, my top film for the autumn/winter movie season was also the film which finally topped my Netflix Original features list, as well as beating all other streaming offerings for the entire year (which is saying something, as you should know by now). Had things been different, this would have been one of Warner Bros’ BIGGEST releases for the year in the cinema, of that I have no doubt, a surprise sleeper hit which would have taken the world by storm – as it is it’s STILL become a sensation, albeit in a much more mid-pandemic, lockdown home-viewing kind of way. Before you start crying oh God no, not another Sherlock Holmes adaptation, this is a very different beast from either the Guy Ritchie take or the modernized BBC show, instead side-lining the great literary sleuth in favour of a delicious new AU version, based on The Case of the Missing Marquess, the first novel in the Enola Holmes Mysteries literary series from American YA author Nancy Springer. Positing that Sherlock Holmes (Henry Cavill) and his elder brother Mycroft (Sam Claflin) had an equally ingenious and precocious baby sister, the film introduces us to Enola (Stranger Things’ Millie Bobby Brown), who’s been raised at home by their strong-willed mother Eudoria (Helena Bonham Carter) to be just as intelligent, well-read and intellectually skilled as her far more advantageously masculine elder siblings. Then, on the morning of her sixteenth birthday, Enola awakens to find her mother has vanished, putting her in a pretty pickle since this leaves her a ward of Mycroft, a self-absorbed social peacock who finds her to be wilfully free-spirited and completely ill equipped to face the world, concluding that the only solution is sending her to boarding school where she’ll learn to become a proper lady. Needless to say she’s horrified by the prospect, deciding to run away and search for her mother instead … this is about as perfect a family adventure film as you could wish for, following a vital, capable and compelling teen detective-in-the-making as she embarks on her very first investigation, as well as winding up tangled in a second to boot involving a young runaway noble, Viscount Tewkesbury, the Marquess of Basilwether (Medici’s Louis Partridge), and the film is a breezy, swift-paced and rewardingly entertaining romp that feels like a welcome breath of fresh air for a literary property which, beloved as it may be, has been adapted to death over the years. Enola Holmes a brilliant young hero who’s perfectly crafted to carry the franchise forward in fresh new directions, and Brown brings her to life with effervescent charm, boisterous energy and mischievous irreverence that are entirely irresistible; Cavill and Claflin, meanwhile, are perfectly cast as the two very different brothers – this Sherlock is much less louche and world-weary than most previous versions, still razor sharp and intellectually restless but with a comfortable ease and a youthful spring in his step that perfectly suits the actor, while Mycroft is as superior and arrogant as ever, a preening arse we derive huge enjoyment watching Enola consistently get the best of; Bonham Carter doesn’t get a lot of screen-time but as we’d expect she does a lot with what she has to make the practical, eccentric and unapologetically modern Eudoria thoroughly memorable, while Partridge is carefree and likeable as the naïve but irresistible Tewkesbury, and there are strong supporting turns from Frances de la Tour as his stately grandmother, the Dowager, Susie Wokoma (Crazyhead, Truth Seekers) as Emily, a feisty suffragette who runs a jujitsu studio, Burn Gorman as dastardly thug-for-hire Linthorn, and Four Lions’ Adeel Akhtar as a particularly scuzzy Inspector Lestrade. Seasoned TV director Harry Bradbeer (Fleabag, Killing Eve) makes his feature debut with an impressive splash, unfolding the action at a brisk pace while keeping the narrative firmly focused on an intricate mystery plot that throws in plenty of ingenious twists and turns before a suitably atmospheric climax and pleasing denouement which nonetheless artfully sets up more to come in the future, while screenwriter Jack Thorne (His Dark Materials, The Scouting Book for Boys, Wonder) delivers strong character work and liberally peppers the dialogue with a veritable cavalcade of witty zingers. Boisterous, compelling, amusing, affecting and exciting in equal measure, this is a spirited and appealing slice of cinematic escapism that flatters its viewers and never talks down to them, a perfect little period adventure for a cosy Sunday afternoon. Obviously there’s plenty of potential for more, and with further books to adapt there’s more than enough material for a pile of sequels – Neflix would be barmy indeed to turn their nose up at this opportunity …

3. 1917 – it’s a rare thing for a film to leave me truly shell-shocked by its sheer awesomeness, for me to walk out of a cinema in a genuine daze, unable to talk or even really think about much of anything for a few hours because I’m simply marvelling at what I’ve just witnessed. Needless to say, when I do find a film like that (Fight Club, Inception, Mad Max: Fury Road) it usually earns a place very close to my heart indeed. The latest tour-de-force from Sam Mendes is one of those films – an epic World War I thriller that plays out ENTIRELY in one shot, which doesn’t simply feel like a glorified gimmick or stunt but instead is a genuine MASTERPIECE of film, a mesmerising journey of emotion and imagination in a shockingly real environment that’s impossible to tear your eyes away from. Sure, Mendes has impressed us before – his first film, American Beauty, is a GREAT movie, one of the most impressive feature debuts of the 2000s, while Skyfall is, in my opinion, quite simply THE BEST BOND FILM EVER MADE – but this is in a whole other league. It’s an astounding achievement, made all the more impressive when you realise that there’s very little trickery at play here, no clever digital magic (just some augmentation here and there), it’s all real locations and sets, filmed in long, elaborately choreographed takes blended together with clever edits to make it as seamless as possible – it’s not the first film to try to do this (remember Birdman? Bushwick?), but I’ve never seen it done better, or with greater skill. But it’s not just a clever cinematic exercise, there’s a genuine story here, told with guts and urgency, and populated by real flesh and blood characters – the heart of the film is True History of the Kelly Gang’s George MacKay and Dean Chapman (probably best known as Tommen Baratheon in Game of Thrones) as Lance Corporals Will Schofield and Tom Blake, the two young tommies sent out across enemy territory on a desperate mission to stop a British regiment from rushing headlong into a German trap (Tom himself has a personal stake in this because his brother is an officer in the attack). They’re a likeable pair, very human and relatable throughout, brave and true but never so overtly heroic that they stretch credibility, so when tragedy strikes along the way it’s particularly devastating; both deliver exceptional performances that effortlessly carry us through the film, and they’re given sterling support from a selection of top-drawer British talent, from Sherlock stars Andrew Scott and Benedict Cumberbatch to Mark Strong and Colin Firth, each delivering magnificently in small but potent cameos. That said, the cinematography and art department are the BIGGEST stars here, masterful veteran DOP Roger Deakins (The Shawshank Redemption, Blade Runner 2049 and pretty much the Coen Brothers’ entire back catalogue among MANY others) making every frame sing with beauty, horror, tension or tragedy as the need arises, and the environments are SO REAL it feels less like production design than that someone simply sent the cast and crew back in time to film in the real Northern France circa 1917 – from a nightmarish trek across No Man’s Land to a desperate chase through a ruined French village lit only by dancing flare-light in the darkness before dawn, every scene is utterly immersive and simply STUNNING. I don’t think it’s possible for Mendes to make a film better than this, but I sure hope he gives it a go all the same. Either way, this was the most incredible, exhausting, truly AWESOME experience I had at the cinema all year – it’s a film that DESERVES to be seen on the big screen, and I feel truly sorry for those who missed the chance …

2. BIRDS OF PREY & THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN – the only reason 1917 isn’t at number two is because Warner Bros.’ cinematic DC Extended Universe project FINALLY got round to bringing my favourite DC Comics title to the big screen. It was been the biggest pleasure of my cinematic year getting to see my top DC superheroines brought to life on the big screen, and it was done in high style, in my opinion THE BEST of the DCEU films to date (yup, I loved it EVEN MORE than the Wonder Woman movies). It was also great seeing Harley Quinn return after her show-stealing turn in David Ayer’s clunky but ultimately still hugely enjoyable Suicide Squad, better still that they got her SPOT ON this time – this is the Harley I’ve always loved in the comics, unpredictable, irreverent and entirely without regard for what anyone else thinks of her, as well as one talented psychiatrist. Margot Robbie once more excels in the role she was basically BORN to play, clearly relishing the chance to finally do Harley TRUE justice, and she’s a total riot from start to finish, infectiously lovable no matter what crazy, sometimes downright REPRIHENSIBLE antics she gets up to. Needless to say she’s the nominal star here, her latest ill-advised adventure driving the story – finally done with the Joker and itching to make her emancipation official, Harley publicly announces their breakup by blowing up Ace Chemicals (their love spot, basically), inadvertently painting a target on her back in the process since she’s no longer under the assumed protection of Gotham’s feared Clown Prince of Crime – but that doesn’t mean she eclipses the other main players the movie’s REALLY supposed to be about. Each member of the Birds of Prey is beautifully written and brought to vivid, arse-kicking life by what had to be 2020’s most exciting cast – Helena Bertinelli, the Huntress, is the perfect character for Mary Elizabeth Winstead to finally pay off on that action hero potential she showed in Scott Pilgrim Vs. the World, but this is a MUCH more enjoyable role outside of the fight choreography because while Helena may be a world-class dark avenger, socially she’s a total dork, which just makes her thoroughly adorable; Rosie Perez is similarly perfect casting as Renee Montoya, the uncompromising pint-sized Gotham PD detective who kicks against the corrupt system no matter what kind of trouble it gets her into, and just gets angrier all the time, paradoxically making us like her even more; and then there’s the film’s major controversy, at least as far as the fans are concerned, namely one Cassandra Cain. Sure, this take is VERY different from the comics’ version (a nearly mute master assassin who went on to become the second woman to wear the mask of Batgirl before assuming her own crime-fighting mantle as Black Bat and now Orphan), but personally I like to think this is simply Cass at THE VERY START of her origin story, leaving plenty of time for her to discover her warrior origins when the DCEU finally gets around to introducing her mum, Lady Shiva (personally I want Michelle Yeoh to play her, but that’s just me) – anyways, here she’s a skilled child pickpocket whose latest theft inadvertently sets off the larger central plot, and newcomer Ella Jay Basco brings a fantastic pre-teen irreverence and spiky charm to the role, beautifully playing against Robbie’s mercurial energy. My favourite here BY FAR, however, is Dinah Lance, aka the Black Canary (not only my favourite Bird of Prey but my very favourite DC superheroine PERIOD), the choice of up-and-comer Jurnee Smollet-Bell (Friday Night Lights, Underground) proving to be the film’s most inspired casting – a club singer with the metahuman ability to emit piercing supersonic screams, she’s also a ferocious martial artist (in the comics she’s one of the very best fighters IN THE WORLD), as well as a wonderfully pure soul you just can’t help loving, and it made me SO UNBELIEVABLY HAPPY that they got my Canary EXACTLY RIGHT. Altogether they’re a fantastic bunch of badass ladies, basically my perfect superhero team, and the way they’re all brought together (along with Harley, of course) is beautifully thought out and perfectly executed … they’ve also got one hell of a threat to overcome, namely Gotham crime boss Roman Sionis, the Black Mask, one of the Joker’s chief rivals – Ewan McGregor brings his A-game in a frustratingly rare villainous turn (my number one bad guy for the movie year), a monstrously narcissistic, woman-hating control freak with a penchant for peeling off the faces of those who displease him, sharing some exquisitely creepy chemistry with Chris Messina (The Mindy Project) as Sionis’ nihilistic lieutenant Victor Zsasz. This is about as good as superhero cinema gets, a perfect example of the sheer brilliance you get when you switch up the formula to create something new, an ultra-violent, unapologetically R-rated middle finger to the classic tropes, a fantastic black comedy thrill ride that’s got to be the most full-on feminist blockbuster ever made – it’s helmed by a woman (Dead Pigs director Cathy Yan), written by a woman (Bumblebee’s Christina Hodson), produced by more women and ABOUT a bunch of badass women magnificently triumphing over toxic masculinity in all its forms. It’s also simply BRILLIANT – the cast are all clearly having a blast, the action sequences are first rate (the spectacular GCPD evidence room fight in which Harley gets to REALLY cut loose is the undisputable highlight), it has a gleefully anarchic sense of humour and is simply BURSTING with phenomenal homages, references and in-jokes for the fans (Bruce the hyena! Stuffed beaver! Roller derby!). It’s also got a killer soundtrack, populated almost exclusively by numbers from female artists. Altogether, then, this is the VERY BEST the DCEU has to offer to date, and VERY NEARLY my absolute FAVOURITE film of 2020. Give it all the love you can, it sure as hell deserves it.

1. TENET – granted, the streaming platforms (particularly Netflix and Amazon) certainly saved our cinematic summer, but I’m still IMMEASURABLY glad that my ultimate top-spot winner FOR THE WHOLE YEAR was one I got to experience on THE BIG SCREEN. You gotta hand it to Christopher Nolan, he sure hung in there, stubbornly determined that his latest cinematic masterpiece WOULD be released in cinemas in the summer (albeit ultimately landing JUST inside the line in the final week of August and ultimately taking the bite at the box office because of the still shaky atmosphere), and it was worth all the fuss because, for me, this was THE PERFECT MOVIE for me to get return to cinemas with. I mean, okay, in the end it WASN’T the FIRST new movie I saw after the first reopening, that honour went to Unhinged, but THIS was my first real Saturday night-out big screen EXPERIENCE since March. Needless to say, Nolan didn’t disappoint this time any more than he has on any of his consistently spectacular previous releases, delivering another twisted, mind-boggling headfuck of a full-blooded experiential sensory overload that comes perilously close to toppling his long-standing auteur-peak, Inception (itself second only by fractions to The Dark Knight as far as I’m concerned). To say much at all about the plot would give away major spoilers – personally I’d recommend just going in as cold as possible, indeed you really should just stop reading this right now and just GO SEE IT. Still with us? Okay … the VERY abridged version is that it’s about a secret war being waged between the present and the future by people capable of “inverting” time in substances, objects, people, whatever, into which the Protagonist (BlacKkKlansman’s John David Washington), an unnamed CIA agent, has been dispatched in order to prevent a potential coming apocalypse. Washington is once again on top form, crafting a robust and compelling morally complex heroic lead who’s just as comfortable negotiating the minefields of black market intrigue as he is breaking into places or dispatching heavies, Kenneth Branagh delivers one of his most interesting and memorable performances in years as brutal Russian oligarch Andrei Sator, a genuinely nasty piece of work who was ALMOST the year’s very best screen villain, Elizabeth Debicki (The Night Manager, Guardians of the Galaxy Vol. 2, Widows) brings strength, poise and wounded integrity to the role of Sator’s estranged wife, Kat, and Aaron Taylor-Johnson gets to use his own accent for once as tough-as-nails British Intelligence officer Ives, while there are brief but consistently notable supporting turns and cameos from Martin Donovan, Yesterday’s Himesh Patel, Dirk Gently’s Fiona Dourif and, of course, Nolan’s good luck charm, Michael Caine. The cast’s biggest surprise, however, is Robert Pattinson, truly a revelation in what has to be, HANDS DOWN, his best role to date, Neil, the Protagonist’s mysterious handler – he’s by turns cheeky, slick, duplicitous and thoroughly badass, delivering an enjoyably multi-layered, chameleonic performance which proves what I’ve long maintained, that the former Twilight star is actually a fucking amazing actor, and on the basis of this, even if that amazing new teaser trailer wasn’t making the rounds, I think the debate about whether or not he’s the right choice for the new Batman is now academic. As we’ve come to expect from Nolan, this is a TRUE tour-de-force experience, a visual triumph and an endlessly engrossing head-scratcher, Nolan’s screenplay bringing in seriously big ideas and throwing us some major narrative knots and loopholes, constantly wrong-footing the viewer while also setting up truly revelatory payoffs from seemingly low-key, unimportant beginnings – this is a film you need to be awake and attentive for or you could miss something pretty vital. The action sequences are, as ever, second to none, some of the year’s very best set-pieces coming thick and fast and executed with some of the most accomplished skill in the business, while Nolan-regular cinematographer Hoyte van Hoytema (Interstellar and Dunkirk, as well as the heady likes of Tinker Tailor Soldier Spy, SPECTRE and Ad Astra) once again shows he’s one of the best camera-wizards in the business today by delivering some absolutely mesmerising visuals. Notably, Nolan’s other regular collaborator, composer Hans Zimmer, is absent here (although he had good reason, since he was working on his dream project at the time, the fast-approaching screen adaptation of Dune), but Ludwig Göransson (best known for his collaborations with Ryan Coogler Fruitvale Station, Creed and Black Panther, as well as career-best work on The Mandalorian) is a fine replacement, crafting an intriguingly internalised, post-modern musical landscape that thrums and pulses in time with the story and emotions of the characters rather than the action itself. Interestingly it’s on the subject of sound that some of the film’s rare detractions have been levelled, and I can see some of the points – the soundtrack mix is an all-encompassing thing, and there are times when the dialogue can be overwhelmed, but in Nolan’s defence this film is a heady, immersive experience, something you really need to concentrate on, so these potential flaws are easily forgiven. As a work of filmmaking art, this is another flawless wonder from one of the true masters of the craft working in cinema today, but it’s art with palpable substance, a rewarding whole that proved truly unbeatable in 2020 …

#wolfwalkers #wonder woman 1984 #ww84 #love and monsters #parasite #parasite movie #the old guard #mank #enola holmes #1917 #1917 movie #Birds of Prey #birds of prey the fantabulous emancipation of one harley quinn #tenet #tenet movie #2020 in movies

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crystalsexarch · 3 years ago

Text

Six: Avatar - E

You have some nerve, Hades. Blushing like a virgin.

Allow me just this once to play the role.

Explicit. Second-person ambiguous WoL. Despite their differences, the Crystal Exarch and Emet-Selch pine for the same Warrior...and develop similar habits.

CW: tentacles?

Also on AO3.

Part of the 2021 FFXIV Writing Challenge

A wisp. A wanderer. A shadow of a shadow. You are to him what moths are lanterns; a sign that light is there, but not the light itself. Never the light. No, not even close.

And yet he watches you. Something in your affects sways him—the spark behind your eyes, the way you carry yourself from room to room. You remind him, almost, of what it felt like to be truly vulnerable.

Eons have passed. Empires have come and gone. Vulnerability was long ago rooted out from the Ascian Emet-Selch’s repertoire. However, for you—for something shaped like you—he has worn many masks in private. As you wander about the First, trying your damnedest to impede his patient plan, he goes through the motions of brooding, craving, and pining in his private quarters somewhere ancient beneath the sea.

You’ve been many things to many people. A traveler. A voice from ages past. A cackle on the battlefield, before would-be defeat. A secret reason to keep fighting. You are the least imperfect iteration of the worst possible you. As much as you are an argument to stop at seven Rejoinings, you are even stronger evidence that he needs to keep going. That he needs to go all the way.

He could do it like a beast on hand and knee. He could do it like a man, hunched over and pitiful. He could conjure something to fuck—in the image of something worth fucking—but why limit himself to one option at a time? In this foolish dance, he does his very best to please every part capable of feeling pleasure. And when the bliss fails to change his mind, he knows again that the way forward is a bitter one. He knows the resolve of his mind is greater than the lust of his body.

The lust always begins and ends with you. Old you, ancient you. The one strong enough to take him as an equal. Sometimes, he kicks his boots up on his useless dining room table and fits both of his hands around his cock, tossing his gaze elsewhere like he’s too bashful to bear the sight. A show of shyness for no one but himself. He imagines how the teasing might go.

You have some nerve, Hades. Blushing like a virgin.

Allow me just this once to play the role.

You’ll have to work hard to convince me.

He can never get your voice right, but he hums in amusement anyway. Once he’s had enough of using his own hands as a hole, he bids away his clothes with a flicker of magic. Dark particles scatter, leaving him fully exposed to an audience of none.

How exciting. He loves to play for a crowd.

One natural benefit of remaining unsundered—he retains the full scope of his abilities. Thus, calling up a chorus of slick, swollen-headed vines is a simple task, accomplished with his eyes closed. Spreading his legs, he lets them lap at his body and vie for the right to plunge inside. Two hardy tentacles bind his hands high above his head.

Oh my, warrior! What are you up to?

Silence, Ascian, and let me work.

He doesn’t know when new you, broken you started slipping into these moments, but he cannot deny that flashes do come. It’s laughable, that your pitiful, sundered form would appear to taunt and tease him with tentacles. None of your magic could spread him how he spreads himself. Two arcane heads leak upon his hole until one presses inside and starts pumping. A tiny rush of cool air leaves the ring of his lips with a muted groan.

Look at yourself.

He keeps his eyes closed, despite your imagined command. The fog of limbs tugs his right leg from the table. Another arm of darkness slaps onto his chest and squeezes. Emet-Selch treats himself impolitely, and he pretends any version of you would do the same. If you called him disgusting, he would laugh and tell you to fuck him harder as punishment for wanting it so badly.

And he does want it badly. The second head slips in. Both vines fuck at the same tempo, spread apart by a single beat. One at a time they find his sweet spot over and over again, until he’s whimpering out loud.

“Harder…”

He forgets he is safe here, sometimes. He forgets this place is untouched by yours or any other presence. He can process loss if he wants. He can weep into his hands and no one shall ever be the wiser.

“Harder. Please…”

But doing so would force him to admit a weakness. This dramatic mess is the closest he shall get to re-processing what he thinks he’s already processed, confronting what he confronted centuries upon centuries ago. One tentacle wraps around his cock and another sucks at his head, while the rest double down on their assigned tasks. Every sense he has is firing in full force all at once, and soon—

Come for me, Hades.

Everything is gone in an instant. He rights himself in his chair and hunches over, folds his hands in his lap. This is the only way he can stomach longing, because it’s the only way he can believe it’s just for show.

You are the center of his mission. The focus of his hatred. The seat of his passion. You are the thing he wants to destroy, and that which he seeks to recreate through destruction.

A beacon. An absolute. Sometimes the thought of being close to you is enough to make him weak and weeping. That his name—his title—might share the same page as yours in a history book is solace from the fact that he shall be remembered as a villain.

If all goes according to plan. And in the Crystal Exarch’s mind, after centuries of browbeating himself into accepting the dark path, all must go according to plan.

When he touches himself, a bitter aftertaste follows the pleasure. Your victories have inspired more than hope in his private chambers. A Lightwarden slain, a hooded man hardened. He likes to sit on his knees and lean his head against his desk, looking down upon the want he’s nursing. He uses his hand of crystal to pressure his inner thigh and his hand of flesh to stroke.

The first time he indulged like this, he tried to get it over with as soon as possible. Once he granted himself permission to imagine you straddling him, the escalation was quick and effective. He was able to come and clean up in a matter of minutes. He was able to walk away half-believing he wouldn’t do it again.

But he does. Dozens of times, sometimes more than once in quick succession, like he’s a hot-blooded scholar finding partners at the Find. Your presence, while inherently new to the Exarch after decades of waiting, is also intoxicatingly familiar. As he remembers the scent of your room in the Pendants, he recalls what it was like to fill somebody twice and still want to keep going.

The first orgasm comes with a gasp. He catches it with crystal, while his spoken hand jockeys for a few more complete motions. Up and down he rubs, until he’s shivered through the brief oversensitivity that chases even the most virile of miqo’te after climax. As it passes, he takes a deep breath and makes a V of two crystal fingers, sticky with cum. His tail whips beneath the mess of robes at his back, as he smears the letter down his shaft. He’s ready for the next, and so is his imagination.

A hero. A message. A promise. A symbol of a future worth fighting for, and one future worth avoiding. Hope incarnate. Victory incarnate. A walking, breathing legend, whose stories shall fill the annals of history from wall to wall.

A human. A person who wants things, perhaps wants people. What if you wanted him?

He starts stroking again, and his eyes flutter closed. Your mouth would be so warm around him, your tongue so deliberate at his slit. He imagines you lapping until you taste the leak of precum, then lowering your lips to the root. He would grip you by the hair and force you down, even when he knows you can go no further.

He would. He would—G’raha Tia, a scholar, an archon, an Exarch. His eyes cross at the concept of compelling you to do anything, much less let him fuck your mouth. He squeezes his cock from the base and focuses on his memory of your body—all the places you are strong, all the places you are soft. By the time he pulls his second orgasm, his tail is thumping like a hare's foot against the floor of the Umbilicus, and his legs are on the verge of cramping from the strain.

He looks down again and watches himself bob against the flat of his palm. Is he a fool to imagine he has any more right than the common admirer to jerk off to your image? In his deepest fantasies, he often plays the role of a romantic hero himself—one you might see as an equal. Though he imagines getting rough with you, he'd be just as happy to let you have your way in all ways, he thinks. You are a chance he must never take. An arrow that must not be plucked from its course. He might call you his reason for living.

Ultimately, he believes you'll be the reason anyone is able to survive.

#ffxivwrite2021 #emet-selch #crystal exarch #ff14 fanfic #ffxivfanfic #mywriting

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mottephobia-imagines · 4 years ago

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BNHA as Hetalia Characters (Axis + Allies only)

Hahahahaaaa.. I’m still Hetalia trash 😇

—

Mirio Togata as America

I first put Denki as America but then I saw a post and now I can’t stop thinking about BTT SeroKiriKami so yeah-

Mirio and America have more things in common other than being blond, blue-eyed precious beans that need to be protected

First of- s t r o n g. They’re both canonically some of the strongest characters in their respective series despite their relatively young ages (Mirio being above some pro-hero levels despite still being in high school and America being well America lmao)

Additionally, they both have drive; they have a determination to become as strong as they possibly could, and stop at nothing to get there

Also, they love helping people! Mirio wants to save a million smiles, and America is a self-proclaimed hero (who admittedly isn’t the best but he’s trying okay)

Both of them kinda also have a hidden intelligence? Like, as in one would never think of them to be highly intelligent people because they’re so goofy and energetic

Since it’s implied that both Tamaki and Mirio game in their free time, him and America are also avid gamers (imagine them playing smash together lmao I feel like they’d break all the controllers)

Both v v competitive too (not as much as the next duo tho)- they’ll never back down from a challenge and face it head on with all their might!

Also, they’re basically the blond boy of the month but it’s every month lmao

(In my eyes they’re both cute little golden retrievers shshsjdjskal)

In conclusion, they’re sunshines who deserve the world and more

Katsuki Bakugo as England

Okay fr hear me the fuck out-

I know it’s an unlikely pair

But they have their similarities just bear with me here

Yes, I was initially going to put in Romano for Bakugo (anger issues gang)

But then the more I thought about it, the more I realized that unlike Romano, he wouldn’t back away from a challenge or run at the slightest scare- Bakugo would take that shit and smother it into the ground

And while England may sometimes be portrayed as a prude gentleman type, we can’t forget his history- this man is probably one of, if not the most, ballsy countries to exist (at least back in his prime)

England is smart, calculated and cunning- how could you not be when you’ve conquered nearly the whole damn world?

He’s proud and maybe a bit too egotistical, and while lacking the anger issues and probably dead vocal cords of Bakugo, he sure as hell matches him in the pride and power aspect

Bakugo, on the other hand, is literally top of his class; boy is a nerd and has a perfect record

So he’s by no means any less smart than England, maybe a little more reckless, but he’s 16- you can’t exactly compare his mindset to a country’s

Even so he does act quickly on the battlefield, much like England assessed situations very precariously (most of the time)

Both of them would probably look an opponent dead in the eye and tell them to do it, bet you won’t pussy ass

On a lighter note tho, they’re two blond, spiky-haired tsunderes who are way to proud and smart for their own good

They also both listen to rock/punk so there’s that too

foreverfurrowedbrowclubTM

Aoyama Yuuga as France

I know I just said SeroKamiKiri is the BTT but once again hear me out

I couldn’t not put Aoyama in as France

It’s literally a match made in Heaven guys cmon

They’re both sparkling, flamboyant and fabulous blondies

Although sometimes their attitude can be interpreted as holier-than-thou, really they just know that they’re amazing and don’t care what people think (we stan confident kings 😤)

They also know that they deserve the best luxuries in life, and definitely won’t settle for anything else

In terms of courage, they’re pretty much on the same level; they get scared easily and will more than likely either back out of the challenge or give up the moment they feel tired

The difference is, France will never regain whatever bravery he had before the French Revolution, but Aoyama is slowly building his courage up in his journey to become a hero

They also take things in stride, willingly or unwillingly (whether it be an ugly outfit or a defeat, they won’t be a sore loser lmao)

While not necessarily flirty like France, Aoyama can still charm people with his whims. Also, their relationship towards people that they can’t charm kind of mirrors one another? (Might be reaching here lmao)

I do think though sometimes that Aoyama shows some similarities with Poland/2P!Romano, but he has the most similarities with France so 🤷🏻‍♀️

Toga Himiko as Russia

You may say she’s more like Belarus but nay nay I say

Belarus is the more kind of ‘stoic’ cruel in my mind; she doesn’t show much emotion besides annoyance and getting angry

Russia however

He’s ‘childishly’ cruel- looks innocent but is capable of some horrible, monstrous things.

Even though his face says otherwise, he does take some glee in torturing harming others (like, a lot)

Toga also does this, but in a much more obvious way lmao. She’s a villain, who drinks blood, there’s no doubt she hasn’t killed anyone. She also takes a lot more pleasure from hurting people than Russia does

They not that close with people, but the ones they are close to they are immensely protective of (Toga and the LOV, Russia and his sisters)

They also are capable of being highly intelligent, knowing more than what people think they know (Toga helping Twice our, and I high key headcanon Russia as a manipulative and cunning bastard who’s done many horrible things to people to get his way)

(I still love you Ivan)

I think this goes without saying but they’re really really violent

Russia just likes using his magic metal pipe of pain, and Toga likes her knives

They also have some really shitty pasts that have lead them to be who they are today

They may look cute on the outside, but they are oh so very cruel on the inside

Shota Aizawa as China

Haha, old man syndrome-

These two have more in common than you’d think

First off, they have that wisdom that comes with age, and are trying to get the younger ones to learn it (Aizawa does this better lmao)

I can totally see them complaining about ‘kids these days’ even tho they’ve done the same shit back then-

Along with wisdom comes cunning and craft. I headcanon China as a low key genius, so he’s probably on par with Aizawa, if not better (in terms of battle strategy and such)

Even though they come off as strict, all they really want is the best for their students/siblings

They’re both physically strong (China was probably once hella jacked, and Aizawa speaks for himself)

They do tire out quite easily tho so there’s that

Both have a penchant for cute animals like cats (Hello Kitty’s a cat don’t @ me)

On a darker note, they’ve both suffered losses of close friends. While China has definitely lost a lot more, Shirakumo’s ‘death’ still took a huge toll on him. Likewise, China has lost all his ancient friends over the years, making him the last one left (except turkey and Mongolia they don’t matter rn)

Tenya Iida as Germany

You cannot tell me this isn’t also a match made in heaven

They’re literally, at their very core, almost the exact same person

Iida is a stickler for rules- he follows every single one of them. Any and every. Pretty organized too, if I do say so myself

Likewise, Germany is also very strict with rules and regimens. He’s also canonically OCD so mans cannot stand messes (people or things)

It may make them seem like pains in the neck but really it’s the only way they know how to interact

Also have some angsty connections with their brothers

Although not as easily provoked as Germany, Iida can still be just as terrifying (mans tried to kill Stain I mean come on-)

As with nearly all of these characters, they’re both strong as hecc

Also, I feel like both of them are somewhat pressured by what their other family members have accomplished and want to achieve the same thing (Iida coming from a family of superheroes, and Germany really looking up to his father and brother and wanting to be like them but less yknow)

They don’t really know how to communicate well?? Like, of course they can talk and hold conversation but they have difficulty with most social interactions (it’s adorable)

More often than not the louder voice of reason within their friend group (Everyone in the Dekusquad besides Deku himself is the voice of reason lmao, and Germany is a no-nonsense kind of guy)

Smart bois (In Gakuen Hetalia, Germany is said to be one of the smartest students and tutors Italy, and Iida tries his best)

All in all very awkward and loud losers beans that need to learn how to not be so stiff lmao

Shoto Todoroki as Japan

Y’all already know I had to pair the introverts together

Calm, collected and reserved- these two mind their own business like it’s a sports championship lmao

Even though they may come off as intimidating sometimes, in reality they’re just shy and don’t really know the basics of social interaction (more than Germany and Iida lmao)

They’re both fairly strong, too (Todoroki with his icy hot quirk makes him one of the most OP characters in MHA imo, and Japan definitely doesn’t carry around a katana just for show)

Very very convoluted and not so great childhood (Think the sengoku period was Japan’s childhood so he was basically torn up as a kid while Todoroki had to deal with Endebitch)

Also both pretty smart??? Like, high key they’re both very intelligent and skilled

Both their friends are slowly helping them get out of that super duper introverted mindset, but the poor bbs are still trying to learn how to be a lot less stiffe

They’re also really into architecture esp traditional Japanese architecture (canon in both)

I honestly think they’d get along pretty well if they met, tbh

(Japan would get him into anime and manga and the bookworm in Todoroki can’t resist)

The strange circumstance of Italy

Honestly, I could not find anyone in MHA that was remotely similar to Italy

I was very close to putting in Mina or Nejire, since those two come to mind whenever I think of bright and bubbly (Maybe Kirishima too, but it just doesn’t fit)

So while those two are pretty much the most fitting I feel, they don’t completely encompass his character enough yonow?

Like, I genuinely cannot find anyone who is similar enough to compare him to

So for now, until I can find a suitable pick, Italy won’t have a MHA character to be paired up with 😔 sorry guys

—

What do you guys think? Do you agree or do you think different characters should be put in place?

If this gets enough notes, I might make a part 2 including female nations and the others (or whatever characters you guys request)

Requests are still open! You can ask for edits or character imagines/headcanons!

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lordofcrowns · 5 years ago

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➤ “If I were to warn you, what would I say...?”

C A P T A I N C Y R I L S T A C Y

Cyril is highly defensive, hard to hit, and extremely quick to punish anyone that gets in his melee range. Melee to mid-range is where he’s the most dangerous, because that puts his opponent both within bullwhip range, and grabbing range. In combat, Cyril’s motive is always to subdue his adversary, not to kill. His goal is to force them to surrender, and he will employ whatever nefarious and cruel tactics he must in order to manage this swiftly. He will grapple, choke, bruise, beat and break bones without hesitation if he has to.

His bullwhip is the weapon he’s the most proficient and dangerous with, as well as being the weapon with which he can inflict the most pain and fear. Typically his whip is used for crowd control - it is most often utilized to halt someone’s retreat. It’s common for people to attempt to flee, only to be tangled up in the coils and yanked back into Cyril’s range. It’s common for individuals to suffer dislocated joints or snapped limbs when this happens, to say nothing of the way the whip cuts into the skin upon latching onto them.

Once someone is stunned, entangled, or otherwise slowed enough for Cyril to get a firm grasp, he can use his right hand to shock them and effectively paralyze them long enough to shackle or bind them. In most encounters, once he’s shocked someone, unless there is outside intervention - the fight between those two is over.

U N T O U C H A B L E

While it’s no secret the Captain keeps his right eye covered, the reason as to why widely remains a mystery. Those oblivious to his name and reputation will typically assume he lost that eye somehow, or perhaps that he keeps it covered as some sailors prefer to do, to allow for better sight in the darkness below decks as well as to sharpen one’s aim. Few ask, as it’s of course terribly rude to pry into such things.

Those who do know of him will often insist the covered eye is magic, a source of power and the very thing that renders him “untouchable”. Rumors often circulate that this magic eye is also the source of the crackling lightning that sparks and manifests from his right hand, allowing him to knock people down for the count so easily once he merely gets a hold of them.

As if to deliberately reinforce the frankly wild belief and ridiculous rumors that he is invincible, Cyril outwardly bears no scars nor marks on his body.

[ bold for often // italicize for situational // strikethrough for never ]

commander / duelist / “honorable” / dishonorable / would have others do their fighting / stealthy / long-ranged / melee / technological / sorcery / superhuman abilities / has fought in an illegal tourney / a lover of fighting / a hater of fighting / cowardly / reckless / strategic / uses underhanded tricks / renowned for their skill / trained ( sword and shield ) / untrained / keeps skills secret / won a battle / lost a battle / ruthless / merciful

╳ F L A W S

♔ S T R E N G T H S

Tagged by: @whitherliliesbloom & @windupzenos ( Thank you both! )

Tagging: @verdandir @manawalls @finalvalor @noscean-scholar @wanderlust-spirits @cero-tia @menphinasbow @windup-dragoon @thebratcat @mystellis @reshaepocan @pearlescent-scales @bastets-ocs @alun-ura @finalsongxiv @amurr-reha @ennochian @mieyun @deviri @ashadowatthefork @unmend @candideangel @alinteau @sati-ffxiv @bolt-from-the-dark @ishgardianblossom @shroudblessings @sunnythanalan @windupnamazu & anyone else interested!

[ I know I’m a bit late on this one, so no pressure & if you’ve already done it / been tagged - my apologies. Also, please feel free to use me as your tagger even if I didn’t mention you, I would love to read more of these! ]

Full stat breakdown & continued Cyril related ramblings under the cut:

C O M B A T M O D E : C A P T A I N C Y R I L S T A C Y

★★★★★★★★☆☆ — STRENGTH ★★★☆☆☆☆☆☆☆ — OFFENSE ★★★★★★★★☆☆ — DEFENSE ★★★★★★★★★☆ — SPEED ★★★★★★☆☆☆☆ — DURABILITY ★★★★★☆☆☆☆☆ — ACCURACY ★★★★★☆☆☆☆☆ — AGILITY ★★★☆☆☆☆☆☆☆ — STAMINA ★★★★★★★★★☆ — TEAMWORK ★★★★☆☆☆☆☆☆ — STEALTH ★★★★★★★★★☆ — MELEE ★★★★☆☆☆☆☆☆ — BLADES ★★☆☆☆☆☆☆☆☆ — BLUNT ★★★★☆☆☆☆☆☆ — RANGED ☆☆☆☆☆☆☆☆☆☆ — MAGIC ★☆☆☆☆☆☆☆☆☆ — TRAPS ☆☆☆☆☆☆☆☆☆☆ — MEDIC & ★★★★★★★★★★ — BULLWHIP

G E N T L E D I S C L A I M E R : Cyril is written more akin to a thriller genre villain, sometimes teetering over into horror depending on the situation - while still being set in high fantasy. I just realize he might be a bit much, perhaps too dark or violent, depending on your preferred entertainment genre / expectations, so please consider this a soft warning if that’s not something you enjoy!

O V E R V I E W [ C O N T I N U E D ] :

When in a fight, Cyril typically will come across collected, poised and honestly rather cocky. Cyril is something of an expert at breaking people’s morale and shattering their confidence, and that kind of behavior on his part often starts the very moment he and an opponent, or potential opponent, meet. Cyril will insult, belittle, talk down to, and make a great display of pity towards his adversary - this usually includes offering them ample opportunities to surrender to him before things get bloody.

In the inevitability that someone refuses to surrender, he’ll then dare them to prove themselves to him, which he will equate to proving themselves worthy of autonomy. Cyril will demand their attention and effort, and rather playfully jeer at them the whole time, especially if they seem distracted in any way [ say, for example, if he’s holding their loved one(s) hostage ]. That, however, is typically only his behavior at a distance, or as the fight begins and the two are getting a feel for one another.

Once a fight picks up, and especially once Cyril’s genuinely in melee range - you can expect him to start pushing and forcing himself into his opponent’s personal space. Definitely a byproduct of his confidence, but also typically something he can get away with due to sheer size and strength. He’ll grab, grope, and try to get people into uncomfortable holds they can’t easily wriggle out of. Choke-holds are common, whether he’s wrapped his arm about their neck from behind, or simply clasped his hand about their throat. Getting up in someone’s space may also mean pinning them to the wall, or pinning them down on the ground - he’s skilled at grappling and comfortable with either. It’s also common, both as a way to disorient as well dishearten, for Cyril to slap an opponent if he sees an opening. Usually a slap in the face is paired with an insult - maybe they let their guard down, maybe their footwork is poor - whatever it may be, Cyril will capitalize on any chance to humiliate his opponent.

In addition to getting uncomfortably close, one can expect him to snarl, shout, curse, and even growl at his opponents. Words may still be exchanged, but instead of playful banter one might instead hear whispered threats or extremely dark insinuations and other foul comments. It starts to sound like he’s finished being playful, though that isn’t necessarily the case. After all, he usually treats people like playthings, and encounters are often a game played at his leisure. Cyril likes to scare people, and he likes to see their reactions. He also just so happens to be entirely too willing to make good on any threat he whispers.

At his worst, if an opponent refuses to go down, or say his temper is getting the better of him - Cyril’s restraint will falter and he’ll start being unnecessarily violent. His temper is notoriously fickle, so whether his reaction is appropriate for the encounter he lashes out in or not is hard to say. He has a history of beating people bloody - be it with his whip, his body, or both - until they pass out. Cyril has kicked and crushed people under his boot hard enough to shatter bones and crack ribs, as well as doubtless inflicting many a concussion slamming people against this or that structure. His temper boiling over to such a degree as to see such behavior is rare... but not as rare as it should be.

O U T O F C H A R A C T E R N O T E S :

Cyril is written to be a powerful and ideally ( if I’m doing my job right ;; ) terrifying villain to go up against. He’s supposed to feel impossible to overpower, coupled with losing to him of course having massive & heavy repercussions - both for a hero / heroine and for that individual’s loved ones. I really wanted him to be scary and unforgivable.

While not invincible in any way, he would like to have others believe he is. Therefore, he invests no small amount of effort into selling that invincible image, with a generally rather high success rate. Rumors abound of an “untouchable” Captain Stacy, who boasts no scars and loses no duel. Which... it’s true he’s not yet lost a duel, but why that is can be written about another time.

I’ve written Cyril to intentionally be a villain that someone cannot simply overpower with brute force. Winning against Cyril is going to take strategy, forethought, and ultimately in some cases, stooping to his level or even flirting with a diplomatic relationship. He is a pirate, after all, pirates love to parley.

He’s generally meant to put a hero / heroine in a difficult position, where they’re forced to make decisions and do things they wouldn’t ordinarily do in order to defeat him, because again - simply overpowering him is not going to work. And at the same time, he cannot just be ignored or avoided, because his trade and his tendencies are too cruel and intrusive to cast a blind eye towards. Morally, he cannot be allowed to continue what he does, and someone has to put an end to it. I wanted to make him a villain that challenged heroes on a deeper level than just physical strength.

At least, all of that is what I hope for when I write him. Did I succeed? Who knows.

Thank you for reading! 🌹

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rockrevoltmagazine · 4 years ago

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INTERVIEW: TODD MICHAEL HALL

RockRevolt Magazine: Lets talk about your debut solo album coming out in early May, Sonic Healing. I gave it a listen and fans of classic rock should be very excited for this record. There’s no questions bands that had a major influence on you such as Boston, Rush & Foreigner influenced the direction of this album. Sonic Healing could plug right into this era. Tell us how it all came together.

TODD MICHAEL HALL: I have wanted to do an old school rock album for quite a few years now. Something I talked with Joe at Rat Pack Records about. I knew Joe because he negotiated with my band Riot and the last Riot album almost got released on Rat Pack Records. At the time Joe asked if I might want to do a solo album. He was thinking something in the metal vain, I was thinking more old school rock. It didn’t end up going anywhere at the time. Then after being on The Voice, the song “Juke Box Hero,” which I did and I consider to be in the classic rock category. I don’t consider it hair metal like Blake Shelton did. Not sure why he jumped to hair metal, apparently when people hear me they think of hair metal. Anyway it was kind of hitting, it had like a million views on YouTube. So then I call up Joe and said I’m telling you I really want to do something in the classic rock vain. I have a bunch of songs written, can you hook me up with someone that can help me transform them into hard rock. The thing is when I write as a songwriter I write by myself. I play on acoustic guitar so what tends to come out is more singer/songwriter type stuff. He said I have this guy, and it happened to be Kurdt Vanderhoof from Metal Church. He said let me see if he’s interested. He talked to him and got back to me and said Kurdt loves classic rock, it’s a big influence on him also. He wants to talk. We got on a Zoom call and talked about what each of us had in mind. I told him I was looking for that riff oriented, melodic vocal, catchy chorus kind of stuff, feel good rock. He and I joke that we are both old enough to remember the KTEL commercial about freedom rock. With the hippie looking dude who says what’s that? The other guy is like that’s freedom rock. Well turn it up. (both of us laughing as I remember the commercial as well – classic). To this day Kurdt and I will be joking, turn it up dude. Kurdt’s a great guy, we just had a lot in common. Funny thing is I loaded up like 20 of my songs and suggested we just use some or all of it. He said it was great stuff and we can come back to that but why don’t we start with me just pouring out and writing some stuff and see what happens. Which was his polite way of saying Todd we’re not going to use your crap (joking). I get where is coming from. I never really experienced this before, he had to finish up something in Seattle and he got to his place in Southern CA and he called me and said I’m going to start writing now. A few days later he sent me five songs. Then he’s just sending like a song a day. I got another one then another. Over a period of like 21 days he sent me 18 songs that happened to be during the shutdown. I put total focus on it. I would walk around, listen to the songs and they were just singing to me. It was like he and I were having a battle. I would be like I just loaded one up to Dropbox and he would be like, yeah I’m loading up one tonight. Just back and forth. Literally these songs were written over the course of four weeks, last March into April. Then we did the final recordings not long after that. The album has been in the can since June it just took a long time to get all the promo material together with all the shutdowns. We really liked what he was doing and what we came up with. We just never got around to the songs I brought to him originally. It ended up being an all Kurdt and Todd thing.

How about the other parts on the album such as bass and drums? How did you handle that?

We recorded during the shutdown. Kurdt had his own home studio and I had the same thing. Kurdt basically played the bass and the drums on this as well, it’s all us. Of course for the video we wanted to have an entire band and the videographer, Jamie Brown, is the one that found people for us. The bass player is a fella named Drew Heart, he’s actually a singer from Las Vegas. He has a few different bands that he’s in. He’s also a singer on an album with Kurdt called Vanderhoof I think from the 90’s, he had some experience with Kurdt as well coincidentally. He’s not a bass player by trade but was in the video. It turns out he’s from Michigan and we got along really well. We have a lot of the same influences. It was fun to have him around, I would love to have him in a band, he would be great backup vocals. I’m not use to having singers in the bands I’m in. The drummer in video was a guy named Abel. It’s kind of a funny story. The “Overdrive” video was the second video we filmed. Day one we filmed a video for “Let Loose Tonight” and the drummer in that video is a different guy named Dustin and he wasn’t feeling well so the night before the second video Jamie called up Abel and asked if he could show up the next day and learn the song. He did an incredible job and really helped make the video great as he put on a great show.

youtube

Do you plan on touring behind the record?

Kurdt and I both have a lot of excitement behind the album, we both say it’s something we’d buy. We are excited to present it live but the challenge is if there is enough demand. From my time on The Voice a lot of people in my hometown would like to see that. Then maybe book some other shows locally over the course of a weekend. I know Kurdt has some people in mind to play with us if we were going to do something. But right now we are not sure we’ll have to see as things open back up.

Do you think you and Kurdt will work together again?

I would love to and I believe he feels the same way. We’ll see what happens. I remember the first album I did with Riot V, it felt magical. Then the second album we did felt more like a labor. That’s what I wonder, this first album with Kurdt was magical, so I’m curious to see how it would happen the second time around. I would say I’m definitely down for doing something again. I very much enjoy this style of music. But before then I have to record vocals for the next Riot album.

Getting into your experience on The Voice how did that come about and then of course you worked with Blake Shelton how was that?

I had seen shows like that over the years and was always somewhat interested. Then my sister got an email and said I should try out as they were having an audition in Chicago. I figured what the heck. I think there was a couple thousand people there. After I was done they said come on back tomorrow. Of course I wasn’t prepared, no change of clothes, toothbrush or anything. So I drove 5 hours back home. Then I had to prepare, I never did karaoke or have any tracks prepared so I had to get that together. So I ended up getting the “Juke Box Hero” track and Judas Priest “Another Thing Coming,” I think I did Bryan Adams “Someone Like You” and Journey “Don’t Stop Believing.” I did all but the Bryan Adams song the next day for them. It was a weird experience. Then I got a call back for a blind audition and when you are doing those you’re still in a group of 80+ people so you don’t know for sure. But I did get my shot. For me you sometimes fantasize, I wonder what could happen. But for me I didn’t think I would win or have a career in music only and not have the day job. I was going more for fun and a great experience and it was. Experiencing television and music production at that level it’s hard to describe, it’s amazing. And the people associated with the show were very friendly, nice to the musicians. Not like you are best friends, once the show is over they move on and have a new group to work with so it’s not like Blake and I are buddies. But everyone is really nice. No intent to slag the show but you don’t spend much time with your coach. Your time with the coach is on camera so there’s not a lot of interaction. Even with the song selection it’s not something you talk to them about. You’re more dealing with producers on that. Hopefully I’m not bursting anyone’s bubble on that. I would say as far as disappointments from the show, this is very minor compared to the lessons I took away. I just had this fantasy that Blake and I would sit down, have a beer together and just have a half hour to discuss influences and what we wanted to do and that wasn’t a possibility. But he’s a busy guy so I understand that.

I bet most people do have that fantasy, I’ll get on The Voice and will sit around talking music and work a plan together. But the reality is they are there for filming and drawing the audience but beyond that there’s no interaction. But it was a cool experience?

Yeah definitely. And I think if I got further that would be more the case. Before my knockout round they had to prepare me for my next song, “More Than A Feeling” by Boston if I had been back for the knockout round. If I had been back I would have been performing for Blake with the band. But we were doing it via video chat. We did chat it up a little bit. I think if you’re Todd Tillman who won for Blake’s team you probably got a little more chat time with Blake. I imagine the further you get the more personal time you get. It was a great experience. And great exposure.

Did things change for your music career or was it more of a blip and you move on?

To some extent it is kind of a blip. But you do gain followers on social media that you didn’t have before the show. That helps. I think the pop culture is a bit fickle. You see over 4 million views on my “Juke Box Hero” video and you think if I come out with a new album in a similar style I should really be able to key into this because there are so many people that liked it. Doesn’t necessarily translate that way. But I think there is so much noise and inputs and some many distractions. So I think The Voice has a certain apparatus that allows you to get a lot of attention but most of those people are more The Voice fans than your fans.

You mentioned you are working on a new album with Riot V, how’s that going?

It’s going well. I think the COVID situation had potentially two different effects on bands. One is I have all this free time for music. On the other hand it’s oh man we can’t go out and tour to support this album so why bother. And with no deadline you can kind of slack a bit and that’s kind of where the Riot album has been. We’ve had the songs written but let 2020 get away from us. We are just on hold to release the album until we can tour behind it.

Anything else going on?

I reached a point last year that my business, I run a manufacturing company for restaurant equipment so that had an impact which was stressful. Even now that orders are starting to come back it’s still tough with lack of materials so there is a ton of stress. Not a whoa is me thing, it’s just that music is a passion thing I pursue in my free time so it’s difficult to say yes at this time. It’s hard to find time for anything. At this time I don’t see me taking on any other projects. I did have the question did any famous people want to work with you because of your time on The Voice but no that really hasn’t happened.

Have you met any of your idols? If so what was that experience like?

What’s weird for me if you meet someone in like a meet n greet line I don’t consider that really a meet. I think for me getting to meet someone is to meet them as a fellow musician. That is much more along the lines of what you are asking. When I was on The Voice and I walk out and James Taylor is there, granted it was on film and we only had 10 minutes to sit and talk. To have someone like him throw a compliment your way feels pretty incredible. Also what is weird for me, for example Geoff Tate was incredibly influential to me in my younger days. There is a part of me, a little boy that still craves Geoff Tate to say hey Todd good job. I actually met him, my brother Rick had a record store and Queensryche did an in store for Operation Mindcrime. I met Geoff and I gave him a copy of my Harlot CD we produced in 1988. I told him he was a huge influence on me. Back then most independent bands like us didn’t have a CD so I figured that should impress him. Now that I’m in a band and people hand me CD’s often I get it that he was a busy guy and why does he give two shits about me. But I had this fantasy that he would listen to that and write me a note saying good job. Obviously that didn’t happen. To this day if I get approached like this, I’m not saying I’m a great person or anything like that, I’m sure I don’t get as much as Geoff Tate does but I make it a point to give it a little listen and find a way to compliment it. First of all if it’s not my taste they still went through the trouble to write and produce the song and I know how much goes into that. Getting back to it I still have this fantasy of bumping into Geoff as a fellow musician and we could talk and get to know each other. At the same time who knows maybe we have completely different views and maybe we wouldn’t get along. Sometimes you hear stories about people in general. At this point I’d say the closest I had with that was touring with Primal Fear, Ralf Scheepers is an incredible singer I had bought an album of his back in the 90’s that I really liked. It was interesting and cool to meet him. I got to know him really well and that to me is a little more along the lines of what you are talking about, a unique experience. As well as the experience with Kurdt. But in general when we are playing these festivals and Judas Priest is headlining, they have their own little dressing room and pathway. And they have people to make sure you don’t walk in there. I haven’t had much experience with the big dogs.

We all have this perception that you are all hanging out backstage but that’s obviously not that way it is.

Some of them will hang out in the normal food tent and they are around and if you are brave enough you can walk up and bug them. For me that’s not quite the same. I remember the drummer from Judas Priest was in there and our drummer is like I want to get a picture with him and he was cool but there’s a part of me that’s like you just interrupted him, you’re not really meeting them. I tend to be like I don’t want to annoy someone. Although I did with Michael Sweet and Biff Byford from Saxon and Jeff Scott Soto. So I have done that but I don’t post it to social media for me it’s more of a private thing. More of a personal memory.

Top five albums everyone should own?

Oh man that is so tough. I really loved Malice and Warrior. There was a band called The Front I really loved. But I would say if you are in the hard rock genre it would be tough not to say an Iron Maiden album like Piece of Mind, that’s a classic. Certainly in the Riot catalog you could throw Fire Down Under, not because I’m in Riot but I feel it’s a great album. I think for me it would be hard not to put Holy Diver from Dio in there. He was so incredible. I would say something by Queensryche, Operation Mindcrime.

I wish you nothing but success on the release of your first solo record. As I mentioned for a classic rock fan this is an album you should check it. Any final words?

Thanks for helping spread the word. Anyone that gives me any type of attention or shot I appreciate it. This is a passion thing and I’ve got so much joy from music over the years and just want to return the favor and bring some joy to others.

Connect with Todd Michael Hall(click icons):

INTERVIEW: TODD MICHAEL HALL was originally published on RockRevolt Mag

#Blake Shelton #Kurdt Vanderhoof #Metal Church #Riot V #Sonic Healing #The Voice #Todd Michael Hall

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hex6rcist · 5 years ago

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Yay, finally off of work! I believe I requested fluffy headcanon letters O, U, V, X, and Y for Aizawa. I was also curious if you write for Present Mic, I know some writers don't like writing certain characters.

Yay! Sorry for the mixup. I’m glad to finally do your requests. <3 And I’m totally up for writing for Present Mic.

On Cloud Nine - What are they like when they are in love? Is it obvious for others? How do they express their feelings?

Calm on the outside but totally freaking out on the inside.

He kinda feels like he’s being obvious and might get a little upset if the object of his affection can’t tell.

Like you didn’t notice that he was in love with you by the way he said hello to you first? How dare you.

The only person who can probably tell is Present Mic. He recalls all of Aizawa’s high school crushes.

Once he decides he’s going to confess he’s super up front.

It might not be entirely romantic but it is very endearing.

Understanding - How good do they know their partner? Are they empathetic?

He’s a master of body language, if your demeanor changes even the slightest you can bet he’s noticed.

If you’ve been together for a while he already knows what to do and is prepared to be your emotional support squad. Anything that you normally need to put you in a good mood magically appears wherever you go. It doesn’t take a genius to figure out who it is.

If you haven’t been dating for that long it’s a bit of trial and error. He’ll give everything a shot and stick to whatever gets him the best result. Spending more time with you makes you mad at him? Okay space it is. A snack he left for you goes ignored? He’ll try a cup of tea next time.

Once he nails down how to cheer you up he’s on top of it. He lives to make his s/o smile.

Value - How important is the relationship to them? What is it’s worth in comparison to other things in their life?

Aizawa isn’t one to date casually let alone take on a relationship. If he’s making the choice to be with you he’s all in.

Being a pro hero he’s used to putting other’s before himself and that quality definitely extends to his personal life. He values his s/o’s well being above his own. He’d pair well with someone with the same type of tendency so they balance each other out.

XOXO - Are they very affectionate? Do they love to kiss and cuddle?

He’s more of the low-key affectionate type.

Aizawa enjoys little forehead and nose kisses, snuggling on the couch, and hand holding.

He’s however not a big fan of PDA, he thinks it’s kind of embarrassing.

The most you’d catch him doing in public is resting his hand on your waist or kissing your forehead.

He prefers to show affection through acts of service. You need your car cleaned out? Done. Laundry piled up? Done.

Yearning - How will they cope when they’re missing their partner?

He’s the kind of guy who will keep pictures of you all over the place. He likes being able to see his partner in some way or another throughout his day.

Expect good morning and good night texts. Even if he doesn’t have the time he likes to do something little for his s/o to let them know he’s thinking of them.

If he’s dragged away from his partner for an extended period of time he actually gets pretty grumpy. Especially if he’s used to sleeping next to his s/o sleeping without them there becomes a challenge for him.

#aizawa #aizawa x reader #shouta aizawa #shota aizawa #bnha imagines #bnha headcanons

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blainehasapen · 4 years ago

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I just made this sketch so I can talk about stuff I would like to see in the prequel to Breath of the Wild www.youtube.com/watch?v=uDMWRR… Link's Family- In Creating a Champion, (a guidebook and concept art book) we have a concept of Link with what looks like a his Grandfather and a little sister. I would want to see that so we can look at the character of this iteration of Link. It would also be a little sad for BOTW, since it's 100 years after this game, so the Grandpa would be dead, and the sister would be at the very least old and close to death like Impa. Linkle- Since this game is a Hyrule Warriors game, they might as well put Linkle in. For those who don't know, Linkle in the original Hyrule Warriors is a girl who believes she has the Spirit of the Hero because of a magic compass her grandmother gave her, so she goes off to save the Kingdom of Hyrule in a green hood, and equipped with a pair of crossbows. In this game she could be a self-appointed champion after the main story, who wants to save Hyrule from the calamity, or some other returning evil like Vaati or Majora. She could even be Link's sister, grown up wanting to finish what her older brother started. Link obtaining the Master Sword- From the looks of the trailer, this might actually happen, but I would want to see Link first obtain the Master Sword, and prove himself as the Hylian Champion. Maybe he pulls it out of desperation to save someone, or some sort of life or death situation. First introduction to the Champions- It would be cool to see Link's first encounter with the rest of the Champions before any of them have those titles. I'd imagine for Revali, he would challenge Link to prove his superiority, and maybe Link wins, and that's why he hates Link. Maybe Link gets injured in Zora's Domain, and Mipha heals him, and finish the opponent Link was fighting together. Maybe Link tries to sneak into Gerudo Town to find a Yiga spy, gets caught by Urbosa and they fight, and something like what happens in Ocarina of Time occurs, where Link keeps going in to find the spy, and eventually gains Urbosa's respect. And then something like what happens in Twilight Princess, where Link and Daruk have a friendly spar, and Link matches Daruk's strength with his speed. Amiibo/costumes- I want amiibo to unlock certain items for characters, and if lucky,you get a new skin for the characters. For example, use the Skyward Sword Link amiibo, you get a skin that looks like him, Or the Toon Zelda amiibo makes Zelda look like the Wind Waker Zelda. As for the BOTW amiibo, the Horse-Back Link will give Link the Hylian Tunic, the Archer Link will give Link the Tunic of the Wild, the Zelda amiibo gives her the Gerudo clothes,the Bokoblin will give Link the Boko mask, the Guardian will give Link the Ancient Armor, Daruk gives himself the Ancient Rudania Armor, Urbosa gives her the Ancient Naboris Armor, Revali gives him the Ancient Medoh Armor, and the Mipha one will give herself the Ancient Ruta Armor. Aslo the Sheik gives Zelda either Sheik's costume, or Ocarina of Time Zelda, and Ganondorf would probably have Dark Link or something.

#zelda #the legend of zelda #breath of the wild #hyrule warriors #age of calamity #link #daruk #revali #mipha #urbosa

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hyrulecast · 4 years ago

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[ ⤏ send me “plots please” … and I’ll respond with 3 (or more) interesting plots / relationships / connections I can think of for our muses! ]

@shadowborders: plots please, soldier hanging out with daruk or time? or how'd wild feel about a disaster dragon?? :v

Time shoving everyone out of the way for this one like--

[Hero of Time] Listen. I know he’s got a bad track record for not being the greatest motivational speaker for the next Hero but-- He knows a thing or two about failing and everyone dying and kicking off a ‘Downfall’ timeline. Same hat, right?

He also knows a thing or two about getting back up and trying again. He’s not an admirer for anyone but he really respects the Hero of the Wild. If at any point Soldier’s not feeling all heroic or up to the task, this spirit (or time traveler idk) is ready to kick his butt into shape with his brand of childish competition. Granted, Time might even start off an interaction by not telling Soldier who he is. Just a generic “Fight me.” challenge and mocking his form or lack thereof lmao.

[Daruk] Daruk’s protection extends past his magical force field, he’s actually really protective in social situations too. Link getting crowded or overwhelmed? Link getting chewed out for something minor? Daruk would go full dad mode and push everyone/everything away to get him some proper space. He doesn’t understand the magnitude of the pressure Link’s under, but he’s aware there’s more to him than the Stoic Silent Knight™ with no emotions. Whether or not the Little Guy wants to stick with Daruk afterwards or go off and be alone for a bit, this goron’s got his back.

[Hero of the Wild / Hunter] Disaster dragon meets disaster man of the wild. With how long Volga’s been around I think Link’s..... very simple ways of approaching things would leave a mark on his forehead for how many times he face-palms. For starters, he falls for almost every Yiga Traveler’s trick. Too social and too trusting for his own good. Which probably works in Volga’s favor?? Because Link would treat him the same way. He’s mostly open and friendly to anyone who’s not in the process of trying to kill him or who expects him to be someone he was 100 years ago. If I read correctly Volga’s main haunt is the Akkala region which is quite lonely and barren. Link would happily stick with a travel companion while trying to find a certain Spring of Power.

#▲; i am error ( ooc )#▲; memes ( answered )#shadowborders

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theseadagiodays · 5 years ago

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May 4, 2020

This is Not a Performance

Irving H Bolano’s incredible repurposed newspaper fashion for the Met Gala Challenge on Twitter #HFMetGala2020

May the Fourth be With You as you reach the next chapter of this current sci-fi drama we seem to be living through. As the saying goes, reality can be stranger than fiction. But it just happens to be a many red-eyed virus rather than an evil, black-masked father that we’re fighting as we all walk around like Storm Troopers.

There are so many aspects of our lives, during Covid, which make it feel like we are actors in a make-believe story. First of all, we’ve all become movie stars, with our faces, homes, and even pets showcased on our own silver screens. As isolated as we are, our private lives now play out in the public sphere more than ever - no paparazzi required. For some, this invasion of privacy is unwelcomed. But for many people, it satisfies a secret longing to share themselves with a wider audience. After all, deep down, everyone wants to be seen and heard (I guess, me included, since I have this blog, after all). It’s why TikTok and YouTube and Facebook have become multi-billion dollar companies so quickly. And now, while this pandemic is a harsh daily reminder of the impermanence of all things, it makes sense that these digital missives are an attempt to seek immortality, in some strange way.

As someone whose work responds to human’s need to have a voice, I truly get why this is the case. And I love that this time has turned housewives into opera stars, and health care workers into hip hop dancers, and housepets into circus performers. But, at the same time, I have become very aware of the masks that we wear, even inside our homes, to portray a certain self to the world that may stray quite far from our authentic selves. The expression “dance like no one is watching” acknowledges the fact that we all tend to perform when we have an audience, and perhaps we’re only truly ourselves when we don’t. I understand that the way we “perform” ourselves online gives each of us a chance to reinvent the fictions we want our stories to have. So, while I surely take some guilty pleasure from intimate glimpses into strangers’ lives, I also do so with a certain skepticism about the veracity of what I’m seeing.

This became particularly true for me when I received a recent link from my friend and amazing singer/songwriter, Dominique Fricot. Capitalizing on this current trend of oversharing, he cleverly asked his fans to film their morning routines for the music video of his new song, Wake Up, by his duo, Flora Falls. Dom’s warm tenor voice blended with his partner’s breathy tones feel just like a lazy morning in bed. But I’ll leave it up to you to decide just how accurate these portrayals of people’s idyllic daytime rituals actually are.

https://m.youtube.com/watch?v=EbsqXou5FeY

May 5, 2020

Homeschool Heroes

About twenty years ago, I was invited to adjudicate a youth music competition in the Yukon. Travelling to one of the northernmost inhabited spots on earth, I imagined that my greatest surprise might have been a polar bear or Northern Lights sighting. But it turned out to be something entirely different. Among the 25,000 residents of the thriving metropolis of Whitehorse exists a treasure trove of talent. I could not believe the incredibly honed skills and nuanced expression with which these 11-18 year-olds played. Wondering why, I developed a theory that I now call SLoW: Sheltered Living Wonder. When long, dark days, cold climates or pandemics force people indoors, they tend to spend inordinate amounts of time on creative endeavors and skill development. In other words, they slow down and take time for wonder.

This theory has surely applied during these past few months of sheltering in place. One of the most remarkable examples has been the inventiveness that many of my friends have brought to their first attempts with homeschooling. So, I wanted to give a few shout outs to some of these Homeschool Heroes and the highly imaginative projects they’ve done with their kids.

Stunning Easter Eggs made from natural materials and dye, by my friend Jane Cox and her kids (Botany lesson)

Candy Covid virus, made by Amelia, my friend Jen Sanke’s daughter, as she learned about the virus’ proteins (Biology lesson)

But perhaps the prize for most complex homeschool project has to go to my architect friend, Bryn Davidson, who upon returning from Australia, in late March, had to fully quarantine for 2-weeks. So, with his 5-year old son Bei as helper, this Physics lesson allowed him to enjoy home delivery beer while in isolation. Just brilliant!

https://youtu.be/FF9-2dWoUtc

May 6, 2020

Living in livestream

So today, 5 million British Columbian’s awaited our “sentence” with baited breath, as word spread that our provincial prime minister would deliver the Re-Open BC plan at 3 pm. I have to admit, it felt a bit like when you were “grounded” as an adolescent and then your parents returned certain privileges to you. Of course, I’m well aware that our province has already been far more licentious than many places around the globe. We’ve been fortunate to maintain reasonably low numbers of infection (just over 2,000), with counts as low as 8 new cases per day, at this point. So, while our provincial parks closed, our beaches never did. While we were encouraged, within a reasonable range of home, to be active outdoors, we were not restricted to walks only within the 100 metre radius of our house, as my Israeli friends were. And while we could still shop at gardening and furniture stores, to make sheltering at home more enjoyable, New Zealanders had nothing but grocery stores and pharmacies open, for two months.

I have sensed the gratitude my fellow Vancouverites have felt about these privileges. But that does not mean that we aren’t still anxious to return to other aspects of living which we’ve missed. When lockdown began, ominously on the Ides of March (the 15th), I’d harboured a secret hope that certain restrictions might be lifted on my birthday (exactly two months later). And it turns out that Phase Two of the BC ReOpen plan will commence on May 19th, just 4 days later than I’d hoped. What I most look forward to experiencing again are small gatherings with friends, (we’ll soon be allowed to socialize in public with up to 10 people); meals inside certain restaurants and pubs (those that are able to function within WorkPlace BC’s safety regulations); visits to registered massage therapists; and hugs with select people, (”using one’s own ‘risk assessment’.”)

But in the long-range plan, the harsh reality for artists has been laid out, as Phase Four (which includes resuming large-venue concerts, conventions, and international travel) can not occur until either a vaccine has been developed, an effective treatment plan is widely available, or herd immunity is achieved. And this is not estimated to occur until mid-2021 or later. So, the prospects are still bleak for symphony orchestras, opera and dance companies, artists who perform in crowded bars, or musicians who travel for arena shows and festivals. This likely means that in order to satisfy audiences’ need to access live performance, and for artists to continue to share their creativity, livestream formats will still have to persist for some time. Therefore, I thought I’d share a few regular weekly livestream arts events here, both from Vancouver, LA & NY.

Canadian National Live Art Champion, Dmitri Sirenko, who we featured at our non-profit’s annual benefit on February 20th, 2020

Every Monday Night at 7 pm PST (Vancouver) Poetry Slam: https://www.facebook.com/Vancouverpoetryslam/

Every Thursday at 5 pm PST (LA): LIVE Art Battles - Watch painters do their magic in just 20 minutes: https://www.youtube.com/channel/UCWJoWGVwzGtk99nTOCib9vg

Every Thursday at 8 pm EST (NY): Spotlight on Plays - famous actors perform readings of theatre pieces, online: https://www.broadwaysbestshows.com/post/the-best-of-series/

May 7, 2020

Collateral Blessings

So many thoughtful writers are adding to the discourse, as we all strive to make meaning from what can feel like a senseliess time. I have so appreciated the abundance with which people are sharing these missives, right now. Every day, bursts of inspiration or flickers of insight come my way, thru texts, emails and Facebook. Like adventurers, traveling together thru the dark of night, we shine light on guideposts, anywhere we can find them, as we collectively quench each other’s thirst for wisdom.

One of the most profound writings I‘ve recently discovered came from a stranger’s blog. In The Examined Family, Courtney Martin, without ever diminishing the gravity of the havoc that this virus has wreaked, writes about some of the assets that have also come out of this time. New friendships with neighbors. A long-neglected puzzle completed with her kids. The time to draw and truly notice an artichoke in her back garden. My good friend Juan calls these collateral blessings. This reference to the accidental gifts that this cruel virus has given us, is a beautiful twist on “collateral damage”, a term coined to explain accidental friendly-fire deaths during the Gulf War. Commenting on the anticipatory nostalgia that she projects she will feel about certain things, once this time has passed, Courtney writes:

“I instantly feel overwhelmed at the prospect of schedules and stuff. I don’t want to go back to our former accumulation or frenetic pace. I don’t want to stop texting (my neighbor) my little triumphs. I don’t want to forget about the artichokes in the garden. I don’t ever want to forget this happened--the grief and the beauty of it. I’m not even sure that will be possible, but if it were, I wouldn’t want it. I don’t want to vote like it didn’t happen. I don’t want to eat like it didn’t happen. I don’t want to consume like it didn’t happen. I don’t want to schedule like it didn’t happen. I don’t want to mother or daughter or befriend or neighbor like it didn’t happen. I don’t want to sit inside this little life, noticing and appreciating and breathing, like it didn’t happen. There is unnecessary suffering all around me, and inside of me, too, but there is also necessary meaning. May we hold on to that.”

You can read her full entry here: https://courtney.substack.com/p/unnecessary-suffering-and-necessary?token=eyJ1c2VyX2lkIjo3OTg0NDcyLCJwb3N0X2lkIjozNzU1NDMsIl8iOiJCTnk2VyIsImlhdCI6MTU4NzA1MjgyMCwiZXhwIjoxNTg3MDU2NDIwLCJpc3MiOiJwdWItMjA5MjIiLCJzdWIiOiJwb3N0LXJlYWN0aW9uIn0.puI9NMne-783ypInpvTkJ96T237WcrTo2ItDhqlkMiY

May 8, 2020

Nostalgia

I’m rarely one prone to nostalgia. My childhood photo albums are in storage. I have no family heirlooms displayed in my home. My tendency is to revel in the present or dream about the future. But this pandemic has strangely turned me into a sentimental fool. Perhaps this return to simpler times, where we seldom shop, where we wander mostly by foot, or where we get to know our neighbors better, makes us long for the past in certain ways.

For me, I’ve honored this by resurrecting my daily teenage Twizzler habit - a candy I’ve rarely eaten since then, but that now feels so satisfying during my Netflix & Chill evenings (while watching films almost as old like Groundhog Day & Anchorman).

I’m also listening a lot to Old School Hip Hop, where the explative-free rhymes of the 90’s feel so strangely innocent. It’s refreshing to listen to these musicians spit verses that merely celebrate the joys of dance and rap, rather than ranting about gun violence and other societal ills. Run DMC It’s Tricky (https://www.youtube.com/watch?v=l-O5IHVhWj0) and Beastie Boys Body Movin’ (https://www.youtube.com/watch?v=uvRBUw_Ls2o) happen to be personal favorites.

Last month, I was tickled by an old memory while planting a lilac bush in my backyard. I suddenly remembered a story about my college boyfriend, whom I hadn’t thought of in 30 years. Our relationship started a bit secretively, so as not to hurt his ex’s feelings. So, one May afternoon, we snuck away to a distant park that was hosting a Lilac Festival. Unfortunately, our ruse was quickly spoiled when a candid photo of our picnic under the purple blooms was plastered all over the front page of the Rochester Democrat and Chronicle the next morning.

Another sweet memory returned in culinary form. Every Tuesday, for 7 years, my mother selflessly drove me an hour from home and back, for my flute lesson. And to break up the long drive, we regularly stopped at Bickford’s Pancake House for my favorite adolescent treat: breakfast for dinner. Their specialty was the Dutch Baby Apple. And I finally made my first homemade attempt at this deceptively easy delicacy, last Tuesday.

This has also been a time to return to bedtime stories (some I’ve read to friends’ kids, and others for adults to hear.) The Great Realisation by British performance artist, Tom Foolery, has been making the social media rounds. But in case you missed this touching tale that looks back on this time as if the tale is being told in a not-so-distant future, it’s a wistful story about some aspects of modern life that we may never long for in the future:

https://www.youtube.com/watch?v=Nw5KQMXDiM4

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