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beyondanimations-blog · 4 months ago

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An explanation of 10 Principles of Animation to Improve your Animation Game

Even with all the efforts made to use computer technology to make animation easier, many artists find it difficult to create visually striking works in this medium. Creating visually stunning animation demands adherence to a certain set of principles. You start by following the rules of physics and the basics of animation, but what about more ethereal concerns like character appeal and emotional timing?

In 1981, Ollie Johnston and Frank Thomas, two talented Disney animators, proposed twelve fundamental animation principles to create more realistic animation. Since then, practically all professional animators have embraced the ideas that some have dubbed the "Bible of animation."

The concepts were initially meant to relate to conventional, hand-drawn animation. However, they are still very relevant to computer animation today and are used in both user experience design and character animation. Best practices to learn animation.

The following twelve principles of animation are taken from "one of the best animation books of all time," The Illusion of Life: Disney Animation, and are shown with examples.

The ten principles of animation are:

Squash and Stretch

Anticipation

Staging

Straight Ahead Action and Pose to Pose

Follow Through and Overlapping Action

Slow In and Slow Out

Arc

Secondary Action

Timing

Exaggeration

Let's explore each principle of Animation one by one.

Principle of Animation - Squash and Stretch

Animators use the Squash and Stretch technique to depict the hardness, flexibility, and weight of an object.

When an item falls in an animation, for example, it collapses out when it hits the ground and expands to keep its volume. This demonstrates how adaptable the item is.

In the same way, characters compress and extend their bodies to convey emotions.

The illustration of the Squash and Stretch method in the motion picture The Lion King. When Simba tries a bug for the first time, notice how this method highlights his reactions.

This method gives your scene greater depth and clarity, which makes the animation seem more lifelike. On the other hand, when it is overdone too much, it might become comical. If you are looking for a graphic designing course in Jaipur, Beyond Animation is the best institute to learn graphic designing.

Principle of Animation - Anticipation

In animation, anticipation sets the viewer up for what's going to happen next. It involves a minor motion or action that comes before a major one.

For example, a character will often get momentarily before jumping. Animation's use of anticipation is seen in this squatting action, which alerts viewers to the approaching jump.

This approach gives the animation a natural feel because it mimics the way people move and behave in real life, where minor motions frequently precede our actions.

Principle of Animation - Staging

In animation, staging includes setting up backgrounds, props, characters, and camera angles.

In the Movie The Lion King, the major attention lies with the four people on the stone ledge. The image gradually fills with more features as the camera zooms out, enabling the audience to completely understand the situation.

When there are too many things happening at once, the spectator becomes distracted. Thus, effective staging is essential to a compelling narrative.

Principle of Animation - Straight Ahead Action and Pose to Pose

There are two methods for drawing animations: Pose to Pose and Straight Ahead Action.

Drawing an action frame by frame results in a smooth flow of movement in straightforward action. This technique requires sketching first, usually without knowing the last frame, and then drawing sequentially.

However, this method takes a lot of time because it has to draw several frames for a single operation.

Principle of Animation - Follow Through and Overlapping Action

Two essential techniques used in animation to produce realistic and flowing motion are follow-through and overlapping movement. Even after the character has stopped, several approaches keep certain portions of the character moving.

For example, when a figure wearing a cape runs and stops, both the cape and the person's hair waver briefly before returning to the person. Here, the character's motion is reflected in the cape. The overlapping motion is depicted by the cape and hair's tendency to move at a different pace than the figure. Photoshop courses are top-rated nowadays.

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Principle of Animation - Slow In and Slow Out

In the real world, things take time to accelerate. They don't suddenly accelerate to 100 miles per hour.

Animators, therefore, make character motions start and end slowly, with rapid movement in between, to produce a more realistic effect. The movement is more realistic because of this variation in pace.

To achieve this effect, animators add extra frames around the start and finish of the action to provide a sense of slow motion. To highlight the speed, they show fewer frames between each other.

Principle of Animation - Arc

The term "arcs" describes how an item or character moves in curves as opposed to straight lines. Humans walk in curved patterns. Even seemingly little actions, like moving our heads, have curving paths. Consider moving your head straight ahead. It's almost disturbingly robotic.

Hence, animators use this curved trajectory motion approach to create a more realistic and organic animation. For instance, a character's sword swing is animated on a curved route as opposed to a straight one.

Principle of Animation - Secondary Action

The secondary action gives the first action more information and improves it. These incidental behaviors may develop a character's personality or show their feelings.

Principle of Animation - Timing

The pace of the scene, which is based on the quantity of frames working, is referred to as "timing." The scene will look slower with more frames used. However, the scene will seem faster with fewer frames.

It is important to ensure that the timing of every item in the animation is appropriate for its size and weight. If a character is shown rolling a big ball, for example, the time will change based on the ball's weight. Beyond Animation offers a very affordable web designing course in Jaipur.

Principle of Animation - Exaggeration

Animation with exaggeration is used to improve the narration and produce a dramatic impression.

This approach is used to increase the effect of gestures, attitudes, and even positions.

Animators can also add humor to their work by exaggerating specific aspects of the animation. For example, the situation is funny when a character walks into a pole by mistake and makes dramatic facial expressions.

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weelittleweasley · 4 years ago

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defender (g.w.)

prompt as requested by @a-vintage-kat: in your eyes, there was no tolerance for people who were unkind for no reason. that was one of the many reasons george weasley adored you so much.

paring: george weasley x fem! hufflepuff reader

warnings: harassment (that the reader sets MF straight), mild language (like two words)

word count: 2.2k

“That’s not fair, Georgie,” you laughed as George plucked the book from your hands, holding it above his tall stature. You were trying to enjoy the cool fall weather in the courtyard, reading under your favorite tree before George had disrupted your peace. “Give it here, come on,” you stood up and held out your hand, requesting the leather coated book to be placed back in your hands.

Instead, George placed the book on his head and balanced it as he walked carefully as to not make it fall. He jumped on top of one of the courtyard benches, pretending as if it were a balance beam as he walked its length with the book still perched on his head. George chuckled as you called out his name in protest, him walking further and further away from you.

“Georgie, come on, give it back,” you stood and folded your arms, feigning to be cross with him whilst he giggled around the courtyard, tossing the book in the air now and catching it.

He looked over at you and smiled at the disgruntled pout on your face. “Aw, is my angel upset because her doting boyfriend is giving her a good tease?” he made fun of you as you rolled your eyes, secretly holding back a smile. “You can’t do your work because your dashingly handsome beau is distracting you?” George cooed as he slowly approached you as you threw your head back with a groan in protest. “Give us a kiss,” he puckered his lips mockingly. “Then I’ll give you your book back. Just one little peck and it’s all yours.”

Giving him a hard time, you mad a mad dash in the opposite direction, running away from George. You hear him grumble under his breath with a cheeky laugh before hearing his footsteps not too far behind. You’re being chased now through the courtyard by George, giggling wildly as you run from him. But George’s legs are longer than yours, making him much more agile than you are.

Within mere seconds, you are scooped up into his arms as you squeal. “Gotcha,” he laughs before he drops to the grass, pulling you down with him. The two of you fall onto the lush grass, laugher, entangled in each other as you catch your breaths. George brushes your hair out of your face as you lay on top of him, propping yourself up on his chest. “Hello, gorgeous,” he smiles.

“Hi, Georgie,” you smile back. “My book please,” you reach for the book resting next to him.

But George grabs your hand before you can reach the book. “Ah, ah, where’s my kiss?” he raises his brows as you roll your eyes before smiling. “That’s my angel,” he speaks beneath his breath before grabbing your yellow tie and pulling you down to kiss his lips. You are smiling into the kiss as he tenderly cups your face, inhaling the crispy fall air. You pull away and look into his chocolate brown eyes and melt. “You’re a sight for sore eyes,” George huffs as you pull yourself off of him and get back onto your feet.

You brush the grass off of your skirt as George comes back to his feet. “A sight for sore eyes who is not going to finish her reading assignment on time, thanks to you, Mr. Weasley,” you drop your left eye into a wink as George chuckles, placing a kiss on the top of your head. “Walk me to class?”

George pulls your hand in his before placing a kiss to your knuckles. “My pleasure,” he tells you before grabbing your bag as you hold your two books in your other hand.

The two of you start down the corridors, making light chatter to each other as you lean into George’s side, smiling widely. There was a certain comfort that George brought you unlike any other. He felt like home, but also like a breath of fresh air. Regardless of the situation, George would drop anything if you needed him and that was reassuring to know that you had someone on your side no matter what. And you were fiercely loyal to him and his family. When it came to fights and drama, you liked to steer clear, not really engaging into animosity. But if it involved your friends or family, you would be the first person to defend them, coming in full force.

It was how George fell in love with you. You stood up for his family when no one else would. Ron, in typical fashion, was getting picked on by the Slytherin quidditch team and in the blink of an eye, you were standing in front of Ron, physically shielding him as you held up your wand defensively at Adrian Pucey’s throat. Your face was red with anger as you threatened to hex him, Pucey immediately halting his taunting as he walked the other way. You had turned to Ron, asking him profusely if he was alright or needed anything. George saw how much you cared for other people, even if you didn’t owe them anything. George admired how you always wanted to do the right thing, even if it put you in harm’s way.

Like now.

As you walked down the hall, you heard a familiar voice taunt someone. You stopped in your tracks and listened carefully, trying to recognize the voices speaking. “You alright?” George monitored your face as it contorted, trying to figure out what was happening. You held a finger to your lips, trying to signal to him to be quiet. But in typical George fashion, he could read the room very well. “What’s going on?”

“Shhhh, George,” you whispered as you let go of his hand, walking down the hall to see the scene before you.

Cornered in the hall was Hannah Abbot, a young Hufflepuff, clutching onto her book, knuckles white as Cormac McLaggen leaned up against the wall next to her. He spoke low as Hannah tried not to meet his gaze. “Come on, Abbot, I see the way you look at me during Potions. I think asking for a date isn’t unreasonable,” Cormac brushed back a piece of her hair as Hannah shifted uncomfortably.

Your blood boiled at the scene as you exhaled through your nostrils like a bull about to crash into a matador. It was quite obvious that Hannah, as she should be, was not interested in Cormac’s prospect, but this didn’t stop him from repeatedly asking her for a date, touching her gently on her face as she cringed. “Hold my books, George,” you growled.

George smiled with delight and anticipation as he grabbed the books from your hand as you pulled your wand out of your robes. George was highly excited to watch you kick some ass. “Glady,” he beamed. “Go get him, tiger,” he pat your bum in encouragement. George followed behind you in case you needed back up, but you usually didn’t in these situations.

When you got mad, which wasn’t often, it was a sight to see. You were usually very sweet and kind to people, but only to those who deserved it. To those who didn't, you became a different person.

“Oi!” you bellowed from down the hall, stomping toward Cormac and Hannah. Hannah’s face instantly relaxed when she saw you coming to her rescue, a relieved look washed over her face. Cormac on the other hand, spun around slowly and gave you a smirk that only made your blood boil more if that was even possible. “Can you not see that Hannah’s not interested in your offer?” you stopped right in front of him.

Cormac smiled at you, mocking you non-verbally. “This conversation doesn’t concern you, (Y/L/N),” Cormac spit as you took another daring step towards him. He took a step back.

You chuckled angrily, “Oh, I think it does. It’s quite clear by her body language that Hannah is uncomfortable. So how about you stop and walk away now before we have a bigger problem on our hands.” The grip on your wand was iron as you glared at McLaggen who just stood in front of you with his arms crossed. “You alright, Han?” you look at your younger friend with a concerned smile.

Hannah walks away from the wall and walks towards you and George, exhaling a held in breath. “Fine now,” she breathes. “Thank you,” she whispers to you before George takes her hand gently and asks if she needs anything before offering to walk her to class to make sure she gets there with no other interruptions.

Now you and McLaggen were alone and you could have your way with him.

“Well, you just cost me a date,” Cormac growls at you as you maintain your position, unafraid of the coward before you.

You lift your wand so it is aimed right at McLaggen’s chest as he gulps. “What I did was rescue a poor girl from your maniacal behavior. You are disgusting, you know that? A proper tool,” you spit at him as Cormac rolls his eyes and dares to try and walk away from you. Cormac takes three paces away from you before you call out with a flick of your wand, “Levicorpus!”

In an instant, Cormac yelps before being hoisted into the air by his ankle at the mercy of your wand. “What in the bloody hell is wrong with you?!” he screams out which soon makes a few students gather and laugh at the scene before them. “Put me down! Right now!”

With a devilish smile, you yell back, “What’s wrong with me? My problem is with you, McLaggen! You never seem to understand when someone isn’t interested. You are gross. Not only for the sake of other’s, but for the sake of yourself, keep it in your pants and hands off, you imbecile!”

Your taunting makes Cormac writhe, trying to get out of the hex, but to no avail. This only makes him look even more stupid, causing the now audience to point and laugh at Cormac which makes him blush in sheer embarrassment. “Put me down now!” he screams out, failing around wildly.

You hold him there for a few more seconds before George appears at your side. He looks up at Cormac’s position as starts wildly laughing. “Quite the pickle you’ve gotten yourself into, McLaggen!” George calls out as you laugh.

“Weasley, tell your girlfriend to put me down!” Cormac writhes again, fighting against the hex and clearly losing.

George wraps an arm around your shoulder and kisses your temple, pride swelling in his chest. “Eh, I think you should do as the man says,” George looks at you as you give George a twisted look. “Drop him.”

Your face lights up, Cormac protesting, knowing damn well what’s coming next. “Don’t you dare!” Cormac exclaims.

Before he can say much else, you flick your wrist and Cormac plummets to the ground with a thud. The audience before you erupts with loud laughter as Cormac groans in pain before making his way to his feet. “When will you ever learn,” you start, still holding your wand up as a threat, “that you are repulsive.”

Cormac fixes his robes and glares at you darkly as you stand there, triumphantly smiling. “When will you ever learn that you are just a dimwitted Hufflepuff who will never achieve anything short of failure,” Cormac speaks through gritted teeth before spitting at your feet.

This makes George furious as he lunges towards the younger Gryffindor, about to beat the life out of him. But you place a hand on George’s chest and speak simply, “No, McLaggen,” you smile. “I’ll be hot and successful, while you’ll just be boring, stupid, and bald.”

“Bald? What do you-”

“Calvario!” you cry out.

With a flash of green, all the hair disappears from Cormac’s head. His eyes go wide and he pats the top of his head, in shock that his luscious locks were now gone and replaced with a shiny bald top. The crowd is crying with laughter as Cormac screams in horror and runs the other way and towards the bathrooms.

You stand there in victory, relishing in it all as the audience files away, chatter erupting about how funny it all was and how you gave him what he rightfully deserved. George wrapped an arm around your waist and pulled you close to him as you started walking down the hall, “You are something else,” he shakes his head as you smile up at him. “I know you can defend yourself, but I still don’t like the way he talked about you and he’s gonna get a personal message from me about it,” George speaks through gritted teeth.

“I think he’s had enough taunting for the day, Georgie. The thought is sweet and although I would love for him to get what he’s owed, it’s okay,” you squeeze the hand that rests on your hip.

George sighs, “I just want you to know that I’m here to protect you as well. I may not do it as well as you, but I’ll protect you no matter what. I want you to know that.”

You smile up at your love and brush his cheek with your thumb. “I do know that, Georgie. Thank you,” you speak as he kisses your palm sweetly, resting his cheek in your hand lovingly. “You’re my person.”

“And you’re mine,” George speaks to you before ducking down to kiss you gently. “Now let’s get you to class before you get yourself into more trouble.”

#Fred and George #george weasley imagine #george weasley imagine #george weasley #george weasley x #george weasley x reader #george weasley x reader imagine #george weasley x fem #george weasley x femreader #george weasley x hufflepuff!reader #Harry Potter #harry potter fandom #harry potter fanfic #Harry Potter Smut #harry imagine

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inkandpen22 · 3 years ago

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Permanent Chaos (3/?)

Pairing: MGK x Female!Reader

Word Count: 3.2k

Warnings: mild swearing, mentions of smut, mentions of underage drinking

Part Summary: Sam and Y/N are on The Late Late Show to promote The Seasons of Life.

Masterlist

Before the interview, Nicole practices questions with me so I don’t get blindsided. Meanwhile, Sam and his manager, Steven, practice talking about our upcoming photo shoot for Vanity Fair. Steven is much more laid back than Nicole. Sam is free to do whatever he pleases. The country sees him as an average twenty-something. If he ever messed up he would be forgiven. Nicole emphasizes to me whenever she can that I have no room for error. I must be a saint as “America’s Sweetheart.”

There’s a knock at the door to our dressing room and Steven opens it. A man with a check board and a headset instructs, “Ms. Voss, Mr. Merka you’ll be on in five. If you could follow me.”

“We’ll be right off camera if you need us!” Nicole informs me and Steven agrees with a hum.

“Have fun guys!” he adds.

Sam holds the door for me and the two of us follow the man down the hall into backstage. Sam takes my hand as a precaution, just in case the chaos might separate us. Through double doors, we enter backstage and we’re stopped behind where we’re meant to enter. Loud music begins to echo from the stage and I recognize the song as one of Machine Gun Kelly’s. He’s all the rage now, one of those rockstars that girls fifteen and up obsess over. I don’t have much space left in my mind to obsess with everything going on. As we wait, I bop and sway my head back and forth to the beat absentmindedly.

The man says over his shoulder, “he’s great huh!”

I frowned confused, “wait, is he performing live?”

The man raises an eyebrow as if the answer is obvious. “Yeah, his interview was a few minutes ago. I’m surprised you didn’t cross paths when you got here.” He’s then pulled away by a lady dressed in all black. “I’ll right back! Stay right here!”

I scoff under my breath, the dude treated me like a dingus.

“Well, he was friendly” Sam mutters sarcastically under his breath.

“Right! Geez, he’s what? Only around four years older than you? At least he looked it. My bad for not knowing I’m apparently in the same building as a god!”

Sam snickers but covers his mouth since we’re not allowed to be loud. The song ends and the crowd goes wild on the other side.

“Ladies and gentlemen, Machine Gun Kelly!” The applause goes on and on with James attempting to speak over it into the camera. “After the break, we’ll have the breakout stars from the hottest show of the decade The Seasons of Life, Y/N Voss, and Sam Merka! So don’t go anywhere!”

The audience gets loud at the sound of our names and a shot of adrenaline rushes through me. People rush around backstage to get the music equipment off the set. Sam and I move up against the wall so people can get through. The crew is yelling to make the switch quick. Propping myself up against the wall, I watch the chaos happening. Sam leans against the wall and faces me. I don’t mind the tight quarters though. He acts like a wall, blocking me from the craziness.

“It never gets like this on set,” Sam says, scanning the stage.

“That’s because we don’t film live,” I remind him with a chuckle.

My arms cross over my chest and Sam props his elbow on my shoulder. If this was a photoshoot, this would be a great shot of us. We’re being ourselves, depending on each other as per usual. We’re comfortable with one another. To kill time, I glance around as people move about backstage. My eyes meet a lengthy, bleach blonde, tattoo-covered musician walking off stage. He instantly goes for the guitar case against the far wall in the corner. As if he could feel me looking, his attention snaps away from his guitar and toward me. His focused features gently fall as he stares at me from across the busyness of the show. A chill shoots up my spine and spreads across my face. Instantly, I'm drawn in and can't find the means to look away.

Sam steals my attention when he straightens up in my side view. “We’re on,” he informs me.

I immediately bring to focus and adjust my floral pencil skirt to appear put together.

The man from before leads us up to where he left us last. “Okay, here’s the deal. James will announce your names. There will be cheers, you will walk out together and sit on the couch. The order in which you sit doesn’t matter.” He pauses to press on his headset, “sure, alright, one minute.”

I shift my head to the side and yet again I see them, the same pair of eyes that made me freeze. I quickly snap my attention forward as though I’ve been caught red-handed. He’s not what I had expected. I’ve heard of Machine Gun Kelly, who hasn’t? I’ve seen pictures here and there. I’ve heard a song or two. Never in a million did I ever imagine we would meet eyes and he would make me stop breathing for a second. It was nothing short of groundbreaking. It’s dangerous and immaculate at the same time.

Soon, the noise of the audience dies down to signal the end of the commercial break. Sam and I are told to walk out so we cross through the corridor. Sam leads and reaches his hand back for me to take. I do so mindlessly since it’s what we always do. We wave to the audience and James stands up to greet us. He hugs Sam and they exchange a few words. I keep on waving to the audience and point towards a girl who has a shirt with the show’s title on it. Sam moves over so James and I can say hello.

“Hi, James! How are you?” I greet as we embrace.

“Excellent, how are you, Sweetheart?” He charms.

“Great! Excited to be here!” I gush as I shuffle to the side to settle on the couch beside Sam.

“Thirty seconds!” A man, whom I assume is the producer, announced loudly.

I sit down next to Sam on the light blue velvet couch. He sits back and crosses his arm over the back of the couch behind me then slides it down to rest over my shoulders. I lean into his side, crossing my legs toward him.

“Five seconds!” James sits down in his black desk chair next to Sam and looks into the camera. He’s given the signal and he lights up. “I’m joined here by the two biggest young stars of the decade, Y/N Voss and Sam Merka!” The audience applauds loudly and I wave to all of them. James turns to us with a bright grin. “First off, how are you two?”

“We’re great, couldn’t be better!” Sam answers with a charming smile. He takes my hand and I rest them on my lap instinctively.

At the start of the series, our management and the show’s team encouraged us to be mildly affectionate in public situations to promote interest in our tv counterparts. Since then, it’s come so naturally to us because as friends we genuinely feel better when we have physical contact when on display. We’re security blankets for one another.

James continues, “you two play the power couple, Hollyn and Elliot, on the hit show The Seasons of Life, better known simply as Seasons. It’s all anyone is talking about lately! Has all the publicity changed your lives at all?”

Nervously, I tuck a strand of my hair behind my ear before I speak. “I can’t speak for Sam, but at least for me, I answer with a confident “yes!” The Seasons of Life has changed every aspect of my life. When we first started filming the first season, I was still living in South Carolina. I went to a normal high school and had to travel back and forth between here and there. Back then, no one really knew of me. I was your average teenage girl trying to have the best of both worlds.”

James nods, seemingly fascinated by my response.

Sam smiles in agreement, switching his sight between James and myself. “My story is basically the same except I was in college studying law.”

“That’s right!” James perks up, “There’s a decent age gap between the two of you!”

We glance at each other and nod, both of us grinning.

“Does that make the more romantic scenes between Hollyn and Elliot harder?” James inquires.

“No, not at all” I answer, squeezing Sam’s hand.

“Y/N has always acted with such maturity and grace that she makes it unbelievable easy onset. The eight years feel nearly nonexistent.”

“We haven’t had too many extremely romantic scenes,” I add jokingly, looking fondly at Sam.

He meets my gaze and hums in agreement. “Have to build up that suspense!”

James laughs at Sam’s remark and goes on with his questions. “Last year, during the season finale, Twitter blew up because your characters finally got together! And had that bow-chicka-wow-wow scene,” James wiggles his eyebrows. The audience cheers in excitement. Everyone was over the moon about the scene. “Y/N, what was going through your mind during that scene?”

“Sam, Jonathan, and the rest of the Seasons family never fail to make me feel so secure onset. For that scene, in particular, Jonathan made sure it was just the three of us on set so that space felt relaxed. It was my first time ever filming a sex scene of that magnitude and I was so lucky to have this fella right here to help me,” I gush as I place my hand on Sam’s knee with a pat.

“That’s lovely,” James feeds into the sappiness that the audience eats up. “Was there ever talk of getting a double for you?”

“I told our director, the producers, everyone that only I can do the scene. It didn’t feel right to me to have someone else play Hollyn. Especially for a scene that would have such an impact on the characters involved. The fans had been begging for Elliot and Hollyn to finally get together and I couldn’t pass up being a part of the moment when they finally did. It wouldn’t have been fair to the fans if it wasn’t me playing the role.”

The audience approves of my response with their loud reaction which eases my nerves immensely.

“Absolutely incredible,” James compliments. “I can’t imagine the scene being done without you two. I mean, you two have such chemistry! What were your reactions to watching the infamous final scene? Did you watch it together?!”

Sam and I side-eye one another then burst out laughing because I can recall my exact words. I’m sure he can too.

“This is a question for Y/N,” he points out between laughter.

I hit the back of my hand on his stomach, “why me?!”

“You said!” He chuckles, so he does remember my words.

I get the giggles as James pushes me to answer. I settle down and catch my breath. “Well, I had a watch party at my house with the cast, and right after the scene happened and the show cuts to the dramatic final credits, I yelled “yay! Hollyn finally got laid!”

James hides his face with his cards as he laughs. Laughs of all kinds spread throughout the audience and I can feel my face getting warm. James’s laugh is contagious and I can’t stop.

“You all know how uptight Hollyn could be! Maybe she’ll be a little more laid back!” I add with a shrug and James bursts out laughing.

“You two are absolutely hilarious,” he wipes his watery eyes. “And adorable! Please tell me you’re dating in real life!”

Sam hiss between his teeth and glances at me. “I’m sorry, we’re not…” he answers hesitantly.

“What!” James’s jaw drops, “but you two are so cute together! I mean, you’ve been holding hands the entire time!”

We shake our heads and Sam explains for us both. “Y/N and I are super close. We can see how people would assume we’re dating but in all honesty, we’re just really good friends. Considering, for example, to have done the final scene from last season we kinda have to be. We met when she was just a teenager and I was in graduate school. We’ve seen each other grow. We’ve been around the world together and since our characters are paired together, so are we. Meaning, we’re constantly together and I’m thankful we are because I’m so lucky to have such an amazing partner in all of this.”

“Aw, isn’t he the sweetest!” I pout playfully and rest my head on his shoulder.

“Ugh, can we change the whole “only friends” thing?” James begs. “I ship it!”

The audience agrees and then he moves on to talk about the next season. We say all that can be shared at the time being and we share some pictures from filming yesterday as a teaser for the season.

“Y/N, is that you crying here?” James questions.

The photo on the scene behind us shows the part where I cry because Elliot just told Hollyn she’ll only ever be a rich girl from Los Angeles.

“Yeah, the first episode is filled with drama! Elliot and Hollyn already have a rocky time.”

“No! You’re joking!” He whines, disappointed.

We flip through more photos and answer a few more questions. James says into the camera that when we get back we’ll be playing a game. The game is Who is Most Likely To? Between me and Sam who is more likely to…

After the commercial break, James looks toward the camera with the utmost enthusiasm. “And we are back with Y/N and Sam! I have given each of them a paddle! One side says Y/N and the other reads Sam! Now, the game is Who is Most Likely To? So, between the two of you, who is more likely to “fill in the blank?” We all set?”

“We’re good!” Sam and I say at the same time as if we practiced.

“Alrighty, question number one...” James reads his cards. “Who is most likely to sleep until noon?”

I instantly flip my paddle to myself without a second thought. Sam is such an early bird. The type to get a five-mile jog in by ten. I lean forward and Sam said me as well.

“I’m not gonna deny it. If I could I would stay in bed all day,” I giggle without shame.

“You have stayed in bed all day,” Sam teases and I playfully nudge him in the arm. The whole set finds it humorous.

“Who is most likely to get a tattoo?” James reads with a raised brow.

The audience “ooh’s” in anticipation. I flip my paddle to Sam’s side, never in a million years would I get a tattoo.

“Y/N, you flipped your paddle super fast. Why is that?” James inquires.

“Mhm, nope! There will be no ink on this skin!” I wave my head frantically. “Sam can do whatever he wants with his body but it’s a no for me.”

“We’ve actually talked about tattoos before and I plan on getting one here soon,” Sam describes.

James asks him about what he plans on getting and that conversation goes on a minute or two. Sam explains where he plans on placing the tattoo and when he’ll get it done.

James reads over the card and smirks, “who is most likely to date another celebrity?”

Sam, no doubt. I feel no urge to date, thank you very much.

“Oh! Looks like we got ourselves a mix-up! Sam said Y/N and Y/N said, Sam!” James laughs toward the audience.

“Me?!” I gasp, earning amusement from the audience.

Sam turns his body to face me, “why not?”

“You know, if you two dated this could work itself out,” James points out to get a reaction from the crowd.

“I’m not really looking to date at the moment,” I explain, and James is surprised. I explain further, “the show is important to me and this summer I just want to fun. Plus, my schedule is quite hectic and I would feel bad for dragging someone else into it all.”

He completely understands and asks the final question. “Who is most likely to get married first?”

I flip my board to Sam again. James starts to laugh and I comprehend that it’s the same case as last time. I check Sam’s and I’m right, he said to me.

“Why do you keep putting me?” I fuss playfully.

“Because it’s true! You’re such a little liar to say me!” Sam teases.

“You’re older!” I reason.

“Oh please,” Sam rolls his eyes and leans back into the couch.

“I’ll have to agree with Sam on this one,” James adds and I look to him betrayed.

“Y/N, you’re America’s Sweetheart! Every young guy’s dream girl!”

I hide my face in my hands and shake my head with a giggle.

“Doesn’t mean I’ll be the first to get married! I have no interest in anyone right now!” James and Sam beam as I finish.

“Ah, ah see! You said “right now,” James points at me.

These two are teaming up on me now.

“Thank you so much you two for coming in! It’s been a lot of fun!” James thanks.

“Of course, it was a blast!” I charm.

He stands and so do we. He hugs Sam then me, “you two make me laugh like no others.”

James looks into the camera and wraps up the end of the show. “Thank you, Julia Roberts, Adam Levine, Sam Merka, Y/N Voss, and Machine Gun Kelly for joining me today! Have an excellent night everyone! Until next time!”

The band starts their music. Sam and I dance to the beat and James join in. The produces yells that the show has cut to a commercial.

To hear my name and Machine Gun Kelly’s name mere seconds apart is something I never thought I’d hear.

“Thanks again for coming!” James repeats once the show is over.

“We had fun! Thanks for having us!” Sam compliments.

The duo shares a brief “bro hug” and James embraces me one last time.

Then, Sam and I head backstage to our dressing room. Nicole and Steven should already be back there since I didn’t see them on the set.

“That went well!” Sam mentions while we walk down the hall.

I hum, “totally not getting married first though.”

“Whatever, you’re lying to yourself,” he laughs as he opens the door to the dressing for me.

Nicole and Steven are waiting for us and instantly begin talking about the Vanity Fair shoot tomorrow. It’s never-ending.

____________________________________________________

Masterlist

Tags: @canyoubuymetoast @bri-3530 @asil1652 @andstilltryingtofindmyself @nadia2021 @olafsidehoe @mgkobsessed @fairywriting101 @ferrell-cat @naylanae-0308 @tonystarkswife10 @alexsa56 @brocksbabyyy @stormrider505 @magnificenthumancopangel @sarcasticfangirlus @lilramencup95beech @missyviolet123 @skeleton-gxrl @glitterybearllamaflap @margaritaville20 @amoresixx

#machine gun kelly #mgk fanfic #mgk smut #mgk aesthetic #mgk imagine #mgk

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thosewickedlovelies · 4 years ago

Text

An Ode To Marcus Moreno’s Arms

Pairing: Marcus Moreno x GN!Reader

Rating: Mature

Summary: You’re a training specialist in swordsmanship at Heroics Headquarters, so you see a lot of Marcus Moreno.

Tags: Reader has a vivid (sexual) imagination, but there’s only a few brief sections.

Word Count: 2,272

A/N: This started out as an ode to his arms, but his arms are connected to the rest of him, so. Alternative title: In Appreciation of Marcus Moreno

My assumption/headcanon of his powers are telekinesis, plus general exceptional physical prowess and weapons skills? Idk, we weren’t given much, but those feel like solid abilities for someone implied to be the super among super heroes. Idk what this is but I regret nothing.

More content/worldbuilding set in this universe 💗

Marcus Moreno’s arms were capable of many things.

You knew this because you saw them on an almost-daily basis. You were one of the training specialists at Heroics Headquarters, one of a large, ever-expanding staff of instructors who were experts in their respective fields of combat or weapons. Your job, essentially, was to be a superhero minus the powers- and use your abilities to keep the Heroics in top form.

Your expertise was swordsmanship, which meant you spent more time with Marcus than any of the other heroes. All of the physical trainers and specialists sparred with the Heroics in mock villain showdowns, but you also helped them hone specific skills. You were here because your skillset and abilities matched Marcus’s.

So you’ve had plenty of opportunity to behold his arms at work.

One would think that they’d be most enticing mid-action, but it was a cosmically ironic fact that there was never really a wrong moment to ogle. How that man could make merely unsheathing his swords so erotic was beyond you.

But by now you’d seen it from every angle. You were as familiar with Marcus’s technique as you were with your own, and knew well the cycle of muscle contractions which rippled up his whole body. It started with his legs: setting his stance, primed and poised on the balls of his feet. Then every muscle in his torso, his clinging t-shirts sliding over taut flesh as they rode up with the lifting of his arms- his arms. Biceps suddenly incredibly present and visibly straining past barely-existent sleeves, tendons flexing rigid and obvious, a tangle of pathways you wanted to map with your tongue.

This show was best when he had started his day with tactical theory sessions, because then his expressive face got involved. Oh yes, it wasn’t enough for him just to be built the way he was, his face had to go and be attractive as well.

Tedious strategy debates with Miracle Guy during these sessions never failed to get under his skin- you could always tell how much steam Marcus had to let off based on the clench of his jaw. Or the way he’d drag his bottom lip over his teeth, nostrils flaring in an almost-snarl. When that happened you knew he gripped the hilts of his swords a little tighter, because you’d see the ridges in his wrist dip and pull like piano strings perpendicular to the line of his gloves. The blades would sing little sharper on those days, his arms freeing them in a jerk rather than their usual smooth, deliberate slide.

It was amazing you ever made it beyond unsheathing your weapons.

But oh, were you glad you did, because watching Marcus Moreno fight was truly a treat. The control he had over his body was remarkable; even when his limbs flung and stretched, they were to ready to contract again at a second’s notice. “Fight” was really too limited of a term for it- Marcus manipulated his body in an incredible harmony of mind and muscle, using his weapons- including his telekinesis- as extensions of himself.

You wondered sometimes how fine his control over his telekinesis was- if he could use it on himself. If he did use it somehow to give his blows that devastating extra speed and strength.

It was easy to understand, after witnessing him, why battle is often described as a dance.

On particularly ruthless training days, his tan skin would gleam with sweat. It would bead and trickle along the pulsing veins in his arms, drawing your attention even more, and salacious scenes would flash behind your eyelids: those same glistening forearms visible in your peripherals as they box you against a wall, that same intent glitter in his dark eyes as they come closer and closer, breathless, his chest heaving into yours-

You never let on to any of this though. You were a master of the blade, and had trained too thoroughly to let the appearance of an opponent get to you. Besides that fact, you would never do anything to risk your place with the Heroics. Although you were an authority figure, they were still superheroes, and thus unlike anyone else you’d worked with- it made for a challenging, stimulating dynamic in which you were constantly both instructor and student.

Even outside of the training arena, Marcus’s arms were a sight.

Holding data pads or writing utensils as he led the Heroics in discussions of group tactics, deftly manipulating characters onscreen or scribbling things on a whiteboard. Sometimes he would go to these sessions straight from physical training, and the cooling sweat on his skin would raise goosebumps all along the smooth flesh.

You observed how gently his arms could move in yet other circumstances.

Training specialists often joined in when the Heroics were given new gadgets to play with. And although these days tended to be slower, they still made you sweat. Watching the caution with which Marcus handled the gear at first, the slow care he reserved for things with which he was still becoming familiar. The precision and that control he always kept- even when his frustration slipped out in the form of snarky remarks, he was always conscious of his movements. As he gained confidence, the surety would return to his motions, his shoulders squaring in quiet triumph- his broad, broad shoulders, which you had imagined far too many times propping up your thighs while his hands and mouth were otherwise engaged between them.

You wondered if Marcus would treat your body like something new he had to master. If his hands would probe and caress with the same thoroughness. If the same wicked delight would steal over his features as he learned how best to coax you toward his desired goals; if his fascinated smirk would change after the thousandth time he had taken you apart.

It didn’t help that these sessions highlighted that he was a kind, competent teacher. His teammates exasperated him sometimes, but Marcus was the first to step in when one of them was struggling. A light touch to rearrange their stance, an encouraging word or smile. If you hadn’t personally felt the power thrumming under his skin, you would have never guessed that such a soft man was capable of his immense abilities.

Occasionally you had to remind yourself not to get all dopey-eyed when he was instructing the kids. If you thought he was patient with the adult Heroics, it was nothing compared to how he interacted with their younger counterparts. Equally firm and joking in turn, he taught them every trick he knew while desperately hoping they would never have to use the knowledge.

Some days were easier for him than others- the times they practiced with weapons could have unexpectedly diverting consequences. Marcus let Guppy hold his katanas, once- she was fully capable with her shark strength, but the vision of the diminutive girl brandishing swords that were taller than she was, her face aglow with a ferocious grin, had all the others in fits.

You swore he was suppressing laughter himself as he carefully took them away from her. His hands, already distracting enough, looked comically vast compared to hers as he delicately maneuvered them to pluck the swords from her grasp. Something about the sight of his thick fingers, resettling themselves around the hilts with reflexive ease, made your mouth dry.

His fingers squeezed other things, too, and it made flames leap low in your belly every time.

Lime wedges, on the rare occasions he indulged in drinks stronger than wine at the Headquarters bar. His friends’s shoulders, in affection and farewell, after relaxing with them at said bar following hard days. You longed to be one of those who Marcus slung an arm around in jest, a laugh shaking his shoulders and sparkling in his eyes. Would his skin be as warm as it was while swinging a weapon? What would his body feel like softened in mirth, instead of vibrating with focus?

You didn’t blame him for his more formal attitude during work hours. His days were busy, and you rarely saw him off the training mats. You had shared a few evenings with him on nights when the bar was quieter, though. He was perfectly friendly, treating you just like anyone else he was getting to know.

Tonight was one of those quieter nights, but you didn’t do more than cast a quick glance at the small group sitting in the corner before slumping to the bar. You were worn out today, and just wanted something strong and solitary before going home.

You sighed into the numbing wash of your drink, your eyes drifting shut. Nobody would bother you this evening; it wasn’t that kind of atmosphere.

Except- the barstool next to yours scraped against the floor.

You inhaled deeply, preparing to politely rip into whatever idiot was assuming you needed company- only to have the words struck off your lips by the apprehensive brown eyes of Marcus Moreno.

“Hey,” he said, clearing his throat. “I’m sorry to bother you. You can tell me to march right back to my table if you like, but uh, I just wanted to see if you were all right. After today.”

You could see that he genuinely meant it- he was perched only partially on the barstool, ready to take off again if you said the word. But his gaze was curious, concerned.

You brow furrowed. “After today?” you echoed, too caught off-guard to think of anything else. What could he mean? Nothing special had happened today. He’d disarmed you, sure, but it wasn’t the first time that had occurred in the eight months you’d been working with him.

Marcus shifted uncertainly. “You just seemed...tired. Reflexes slower than usual,” he noted wryly. “And, well. We have matching bags.” He pointed to his face, where dark shadows were visible beneath his eyes. He offered a self-deprecating, tentative smile, conscious that he was treading in new territory.

It takes you a minute to process. In all the time you’ve spent observing his fighting techniques to perfection, you’d never considered that he could have been using those same opportunities to observe you. It provokes a funny feeling in your chest, twisting your breath up in your lungs like tangled ribbon.

“Oh,” you murmur, surprised but unoffended by his mention of the bags under your eyes. “Well...I am tired today, I guess.” You took a sip of your drink, gauging his interest, hesitating before continuing. “My sister broke her hip, so she just moved in with me for while she heals. It’s been...a stressful transition,” you admitted.

He angles himself toward you, attention fully committed and eyes widening in sympathy. “Oh gosh, that’s terrible. Do you need some time off? I can clear it with the boss for you, work with Santino for however long you need.” He seemed to straighten up, as if ready to spring away and take care of it the moment you answered.

“No, please,” you chuckled in appreciation of his earnestness. “I might need a few shorter days, but neither of us need me fussing over her 24/7.” Both you and your sister were strongly independent. It meant that you had often been at odds when you were younger, but you were all each other had now, and had made efforts to improve your relationship.

Marcus nodded in understanding, settling again. He seemed at a loss for if he should leave or say something else, so you made the choice for him.

“Tired of getting your ass kicked in my lessons, Moreno? You know Santino doesn’t work you as hard.” Your fellow swordsmanship instructor was slightly younger, a newer hire who was still a little bit in awe of the Heroics.

You didn’t usually speak so flippantly to him, but his eyebrows arced high at the challenge, a smile tugging on his lips. “Sounds like somebody needs a reminder of who kicked whose ass today, ma’am.” Rolling right along with your apparent newfound playfulness.

You pinpointed, suddenly, what was different about him tonight, why this interaction felt different compared to your others. There’d always been an air of deference about him before, as if even outside of the arena he considered you a superior. But tonight he was just treating you like a peer, a regular person. Maybe it had taken your excessively dragging day for him to come to terms with the fact that you were a regular person, but the ice finally felt like it had broken between you and you just...talked, after that. For longer than both of you probably intended.

“Shoot, I have to go get Missy,” Marcus realized, catching sight of his watch. “But you- you’ll be here again? I mean, I see you here a lot.” He stumbled over his words.

Did he? It was true that you were often at the bar at the same time, but for him to acknowledge that meant that he actually noticed you. Remembered your presence.

“Yeah, I’m here pretty regularly,” you confirmed, cautiously hopeful.

“Good. I mean, I’ll see you, then- next time.” His voice rasped low, but there was a nervousness in his expression. He twisted his jacket between his large hands.

He wanted to see you again. “Yes.” You smiled at him, surprise and pleasure shining through. “I’ll see you next time,” you said with conviction.

His eyes crinkled in answer, and your breath caught. Your ordered yourself not to watch him leave the room.

You drove home with a quiet grin on your face.

#we can be heroes #wcbh #wcbh fic #marcus moreno x reader #marcus moreno x you #pedro pascal #pedro pascal characters #NOBODY LOOK AT ME

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escxpedes · 4 years ago

Text

loopholes (fin.)

Remember when I said I’d post this like two days after the last part? No? Me neither... Sorry about the delay, I’ve had a severe lack of motivation. (It’s mental illness innit.) I feel like every part of this story gets longer and longer, and makes even less sense. If you haven’t read the other two parts, I recommend you do so. These technically can be read standalone, but I think it’s cuter when you read them knowing the context. Even though, again, they seem to make less sense the more I write. Lots of new information came about season 5, and it’s both nerve-racking and exciting at the same time! Three cheers for anxiety, amiright? Hope you all are doing well, I’m excited to hear the feedback on the last part of this series. Let me know if there’s anything you’d like me to write, I’m a sucker for prompts! x

part one | part two

loop·hole

noun | A loophole is an ambiguity or inadequacy in a system, such as a law or security, which can be used to circumvent or otherwise avoid the purpose, implied or explicitly stated, of the system.

hands that wrap around my wrists, (and arms that feel like home.)

Shutting down the monitors she was using, Riley tries not to think about how her sleep deprivation affects her body. It’s one thing to work as a distraction, but the drag in her pace tells her this coping method is wearing her down.

How is she supposed to save innocent lives when she’s so exhausted.

And she is, exhausted, that is. Not just physically, but mentally and emotionally. Every part of her is weightless, suspended in air, and it feels like she can’t do a single thing about it.

An irritating helplessness encompasses her, tightening its grasp on her sanity.

She wants to cry out, throw something, cause a scene. Instead, she buries her feelings deep in her subconscious and tries not to focus on how tight her chest is.

It’s an occupational hazard, she tells herself. It’s nothing she can’t handle, she repeats daily. It’s almost a mantra by now, echoing inside her head and ramping up what seems to be an infinite supply of determination.

It’s the only way.

Mac waits for her outside, leaning against the building while she locks up. Her vision is still kind of fuzzy due to lack of energy, and her body doesn’t seem to be completely awake yet. She can physically feel Mac’s concerned gaze burning a hole in her cranium as if staring hard enough will give him access to all recesses of her mind.

“Ready?”

She nods, feigning a smile, and bumping his shoulder with her own, “You never mentioned why you stopped by so late.”

Ignorance is bliss, right?

“I left my phone in the labs.” She can hear the exasperation in his voice; concern rushes forward and sends a pang through her heart.

Suddenly, she’s irritated too, not with Mac, but for Mac. He does the right thing for humanity despite all that humanity has done to him. She can’t imagine how frustrated he must be with the entire situation, once again putting the world before himself.

He’s had so little time to process everything.

She knows he could use a break but also knows that he won’t admit he needs one.

For how smart he is, he can be really stupid sometimes.

When she turns her head to look at him, she can tell she’s lost him to his own thoughts. His eyebrows are furrowed, his usually clear eyes unfocused, and his mouth is set in a grim line.

If she listens closely, she can almost hear the gears turning, working out possible solutions, and thinking through every outcome.

It’s not an uncommon expression.

She stops abruptly, “Hey.”

This seems to shake him from his trance, his eyes meeting hers in a questioning manner.

“You are doing the best you can under the circumstances, but pushing yourself too hard won’t solve anything,” Her hand finds its way to his arm and squeezes reassuringly, “You can take care of the planet, but make sure to take care of yourself, too.”

The look he gives her is so full of gratitude and affection that nearly every emotion that Riley’s fought to contain bursts through its confinement and surges through her body.

“Thank you.”

Her breath catches in her throat, making it hard to breathe.

“What for?”

She really hopes the shaky breath that follows goes unnoticed.

“For always believing in me, no matter what.” His gaze is piercing, robbing the ability to form words from her throat.

She rakes her mind for something, anything, to say that will stop her from doing something she would totally, one hundred percent regret.

“It’s what Jack would do.”

It takes everything in her to break eye contact and shrug nonchalantly. Humor laces her tone, despite the sincerity of her statement. It is something Jack would do, something he taught her to believe in. Not necessarily in Mac, but what her gut is telling her.

It seems that in any given situation, before or after Jack’s departure, Mac’s intuition has always mirrored her own. Since the second he broke her out of prison, they always had the same values. Just like Jack, she learned how to read and understand Mac.

She knows how to interpret his rambling. She knows that no matter the situation, he’ll always put everyone else first. She knows that whatever crazy plan he’s come up with, it’s constructed with the best intentions.

She knows that no matter where he goes, and no matter what he does, her instinct is to trust him.

So she does.

With every ounce of her being.

She desperately wants to share this with him, especially if it would probably make him feel better. However, she knows the second she starts talking, she won’t be able to stop. Mac’s got a way of doing that, translating her thoughts into words that tumble out of her before she can control what they might mean.

The grin Mac throws her, which conveys understanding and amusement, allows the tension between them to dissipate.

“Speaking of Jack, he would absolutely kill me if I let you drive home in your state.”

Before she can get a word in edgewise, he’s already opening the passenger side door of his truck. The tone in his voice leaves little room for debate, as if he’s ready to refute whatever argument she can muster up, so Riley doesn’t argue.

She wants to, but just the idea of operating a car sounds exhausting.

Besides, she’s missed this. She’s missed Mac, not just as someone she’s possibly in love with, but as her best friend. With everything going on, she’s hardly been able to see him.

The absence of him in her life hurts just as much as having him in it.

She literally can’t win.

The silence that follows is comfortable, the rumbling engine serving as white noise to Riley as she dozes off against the window.

She tries to, anyway. Driving with Mac is always an adventure, which is useful when trying to avoid being killed by a terrorist organization. Maneuvering Los Angeles traffic? Way, way less so.

“Maybe driving myself home wouldn’t have been such a bad idea.” She mumbles, fighting the urge to grab the handle above the door.

“Hey! I always get us home in one piece.”

“Physically maybe,” an amused smile finds its way to Riley’s face, “But mentally? I should sue you for psychological trauma.”

The look of disbelief that follows is enough to get her through several lifetimes, or it could be the smile he struggles to hide under his offended facade.

“Ouch,” Mac puts his left hand over his heart, “That hurts right here, Riles.”

The nickname throws her off, causing her stomach to flip. It’s just a silly name, it shouldn’t affect her like this, but her heart still clenches uncomfortably.

She attempts to brush it off, trying for a humoring grin that feels more like a grimace.

Though the comfortable atmosphere doesn’t change, the playful energy is replaced by more silence. As buildings pass outside, all Riley can think about is how much she hates silence. Man, what she would do just to get rid of it for a little bit. It’s constant these days, and it always finds her no matter where she goes.

Her fingers tug at her bottom lip, a nervous habit she’s recently adopted, as she tries to think through possible solutions to the predicament she’s found herself in.

She must be pretty engrossed because it takes her a minute to realize Mac’s spoken again.

“What?” Her brain slows down enough to pick out his words, something about how much sleep she’s gotten recently, “Oh, I don’t know.”

She tries not to notice how concerned he looks when he asks, “You don’t know?”

Not really

Logically, she knows that she sleeps almost every night. How long? It’s hard to tell sometimes. If she’s lucky, she can get a couple hours in before her brain goes into hyperdrive. Other times, she’d rather be doing something productive on her rig instead of staring at her ceiling fan.

She props her elbow against the window and rests her head in her hand, “I guess it hasn’t been a priority.”

From the corner of her eye, she can see him open his mouth and close it abruptly, trying to find the right words to comfort or soothe her.

As always, Mac is trying to rectify the situation.

“You know you can talk to me about anything, right?”

She doesn’t miss the parallel and throws him the same reclusive look he had given her on multiple occasions.

“That’s my line.”

There’s an irritating tension that fills the space, like the feeling you get when you can’t get past a certain level on a video game. It’s a little stifling, urging Riley to do whatever it takes to make it disappear.

“C’mon Riley, you’ve been off ever since, you know, the whole codex situation. At first, I thought, well, it was kind of traumatizing for everyone involved, but then you moved out and,” He trails off, and she can physically see him putting all the working components together, “Is it the apartment?”

God, she wished it was just the apartment. Sure, it plays a part in all her problems right now, but she knows that it’s more of what the empty apartment represents than the apartment itself.

Still, she’s glad he came to that conclusion. It’s easier to lie to him when it doesn’t pertain to the actual issue at hand.

“The apartment’s fine,” she says after a moment of hesitation.

“It’s the AC unit, isn’t it?” His lips compress shortly before he shakes his head, “I knew I should have looked at it.”

As he starts ranting about the condenser coils in her air conditioner and how easy it is for them to get dirty, Riley can’t help but let a soft laugh fall from her lips.

“Mac, it’s not my air conditioning.”

When he opens his mouth to respond, she holds her hand up to stop him. “It’s not my heater either, or my ceiling fan, or anything that might require your unique expertise.”

“But it has something to do with the apartment.”

The statement is blanketed in excitement as if he knows he’s getting closer to uncovering the truth. He’s always been so obsessed with knowledge and learning, never quite capable of letting things go and living in ignorance.

His eyes light up with child-like curiosity; it’s highly annoying and endearing at the same time.

She feels her self control loosening.

With Mac, she feels secure, like maybe she can put herself back together again. She could confess to a crime, and he wouldn’t look at her any differently.

That helplessness kicks back in, tearing her apart from the inside.

When he slows to a stop in front of her complex, she hasn’t answered him yet.

In the back of her mind, she’s a little proud of herself for only joking about his driving once in the ten minutes it took to get there.

She stares at the lobby entrance and can feel the soft flannel of his shirt, giving him a hug before she exits his truck. She can hear the sleepiness in her voice as she leans against the door and tells him goodnight. She can see herself walk through the double doors and not turning around.

She can see it so clearly, but she remains planted in the passenger seat.

Fear tangles itself in her shoulders, in her stomach, in her heart.

Not just because she dreads the idea of spending another night counting the minutes before her alarm goes off, but because she doesn’t want to leave with their friendship in this state.

She just wants everything to go back to normal, to get back some semblance of their old friendship before she knew how she felt.

Mac waits beside her, a patient and comforting presence.

“It’s just so quiet. Up there, it’s just me and my thoughts. They never cease or quiet down; it’s a constant loop. I try listening to music or watching TV, but I can never focus on any of it. Then, I start panicking because I don’t know if it’ll ever go away. There’s no comfort, no stability. I’m just… alone.”

With every word, a little of the weight falls from her shoulders.

It almost feels like she can breathe again.

“The only time I don’t feel like that is when I’m working,” she clenches her hands in her lap, “At Phoenix, I can get to any room in the dark with my eyes closed, and I’m constantly surrounded by people I’ve known for years. It feels… safe.”

Mac’s silent, reaching over to grasp one of her hands.

“You don’t feel safe here?” He encloses her left hand between his own and squeezes, the pressure and warmth spreading through her body like wildfire.

She meets his eyes, “Not in the way that matters.”

He turns the truck off, hopping out before Riley can say anything else. He walks around the hood of the car and pulls the passenger door open, “Come on.”

“What are you doing?”

He helped her out of the truck, “You trust me, right?”

More than he’ll ever know.

“You know I do.” She eyed him suspiciously as he opened one of the complex’s doors for her, following as she entered.

“From what I can recall, Bozer got you a Nintendo Switch for your birthday earlier this year. It’s been a while since I’ve had the pleasure of destroying you in Super Smash Bros.”

His voice was quiet, trying not to disturb the people trying to sleep.

“First of all, you’ve never destroyed me in Super Smash Bros, and you never will if you keep playing with Luigi,” She grinned, watching as he shook his head in disagreement, “And second of all, it’s two in the morning.”

He shrugged, “That’s never stopped us before.”

He wasn’t wrong, but things were different now.

Riley tried not to think about Desi, wrapped up in Mac’s bed, peacefully sleeping and blissfully unaware of this entire exchange.

Not that she had anything to worry about.

It didn’t matter anyway because clearly, Riley had issues with saying “no” to Angus Macgyver.

“Fine, but prepare to get your ass beaten.”

He grinned triumphantly, “That sounds like a challenge.”

She unlocked her apartment door, stepping into the dark and quiet entryway. She faltered a little bit, her heartbeat quickening with newfound anxiety.

As always, the apartment radiated energy that always put Riley out of place.

Mac closed the door behind him, helping himself to any food he could find in her fridge. There was an intimacy to it, a closeness that made the apartment much more bearable. Her shoulders dropped a little, the anxiety easing a little as she took a deep breath.

She busied herself in the living room, connecting the switch to her TV and grabbing a variety of different pillows and blankets.

It was, after all, a tradition for these types of events.

Mac joined her after a couple of minutes with two beers, “Your fridge is worse than mine.”

“Will you get it started,” Riley ignore his comment, handing him one of the controllers, “ I’m going to change.”

When she returned in a comfy ensemble of leggings and a sweatshirt, Mac was scrolling through the character list. She hopped the back of the couch to sit next to him, watching as he hovered over Luigi for what feels like an eternity.

“You’ve got to be kidding me.”

Mac’s determined expression didn’t falter, “You’re just jealous of my skills.”

Those skills proved to be no match for Riley’s, though, after she managed to beat him in the first game. It became much more entertaining when she did it again in the second. She tried not to laugh, but it became nearly impossible with his onslaught of complaints.

“You’re such a cheater, you can’t do that!” He pressed down hard on the keys as if smashing them harder will make Luigi speed up.

Jokes on him, Luigi was the slowest character in the game.

Very slowly, her exhaustion began to creep up on her. She knew she was done for when Mac actually managed to beat her. He seemed just as surprised as she was, but he suggested switching to a movie anyway.

They ended up choosing a documentary, something that Mac had been interested in watching recently. Riley didn’t care what they watched, as long as she got to lay down.

Mac placed a pillow in his lap and tapped it gently.

“So, was this your plan,” She comfortably adjusted her body, so her neck wasn’t in an awkward position propped up on the pillow.

In front of them, a monotone voice explained the phenomena surrounding the universe.

“Homo Sapiens are social creatures; we need people to survive,” Riley could feel Mac’s fingers coursing through her waves, creating a soothing pattern that calmed any remaining tension in her body.

“You feel comfortable at Phoenix, sitting around the fire pit at my house, or spending time with the team at the arcade because we’re there. It’s okay to need us, Riles, because trust me, we need you, too.”

Mac’s words barely resonate with her, and she hummed noncommittally in response.

His fingers gently combed through the tangles at the nape of her neck, “I don’t think we build homes in material things like houses or apartments, but rather, in the people we surround ourselves with.”

Laying there, with her head on his lap and his fingers in her hair, Riley could only think one thing:

He couldn’t be more right.

#macriley #macgyver #Angus MacGyver #riley davis #just cute things #hope you enjoy!!

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sugar-petals · 4 years ago

Note

Can you tell us how to please a soft sub and hard sub? Like what could a guy enjoy?

it’s 95% individual, i’d ask + negotiate before ideas for play. i can suggest scenes but still, it might not be his limits. to remember is what differenciates the two: hard subs enjoy pain + power, soft subs don’t.

you can likely please the latter if you’re a gentle femdom aficionado. still depends on what kind of GFD you like, but you can grow into the role you agree on, shift. it’s a bit easier: fewer prerequisites. ofc there’s etiquette + talent, but you can please by tuning into the role pretty well.

the former: not as flexible. there are set qualities. understand this as a ‘needed with good reason’ profile rather than gatekeeping. sadism is the requirement. no 50-50 zone, you feeling that you are a natural is key. your sub won’t be happy if you merely try it. it’s usually clear to a domme anyways, you either lick your fingers for s/m or not.

↳ as for specific kinks. what i can give you is a list of things to AVOID for each.💡it’s a roundabout way to see what he prefers and each sub’s a different case but it’s a compass.

✏︎ soft subs — don’ts

hair-pulling -> choose fondles and pats instead wherever he likes it the most.

name-calling -> praise is usually preferred

yelling -> whispering/soft-spoken, this is an asmr zone ☁️

hard spanking -> lighter squeezes

no squishy props -> use pillows, blankets, plushies if he wants. but, in any case, you’ll need pillows. can’t have enough of those.

tears -> only as a spontaneous release [during aftercare], most soft subs aren’t into dacryphilia

chaos -> soft subs love consistency.

too much genitalia focus -> don’t forget the smooches and forehead kisses, and massages possibly. if he likes that, tend to seemingly neglegible body parts even, like ears and toes. boop the nose.

toy overwhelm -> back to basics, never forget he loves your hands. idea: choose pastels for color if you do get toys. dramatic black/red/metal is for the hardcore femdom department and suits the mood better. you likely have that preference already if you strictly soft dom.

breath play -> stick to neck kisses. mouth gags, same thing, he probably isn’t comfortable with it.

leaving marks -> 50-50, again, ask what kind you can and cannot leave. if he likes it, do 20% marks, 80% affection.

pragmatic, planned aftercare -> make it extensive + adapt easily. seems counterintuitive since hard subs take a lot more, but let me tell you soft subs think aftercare is literal catnip. if you’re a big brain domme, you transfer some aftercare favorites to the main act. also, about pragmatism: unlike with hard subs (see list below: #21), come up with a more fine-tuned safeword/limit system. these are play scenes where you can go into many different directions so that’s why.

straightforward -> it’s no problem if you’re the indirect or shy type as a domme, it’s about careful questions toward him here. many soft subs approach their dommes well with wishes. ironically, hard subs are the other way around, they might anticipate more unless they’re very extroverted. the biggest hard subs were the quiet kiddos at school 😉 soft subs can be bubbly and reveal their demands rather easily.

deprioritize your orgasm -> make him tend to you in a lazy, slow demeanour. spoil each other.

all over the place -> stick to bedroom bed, bathtub and couch unless otherwise requested. the point is to have a safe and comfortable spot.

breaking him -> never push, always guide. again, consistency, no highs and lows.

suppressing critique -> he wants to know where to improve, show him exactly how to do things the right way and work with mistakes. not humiliating, more like teaching.

dungeon -> keep it above ground.

hands-on ownership -> show him he belongs to you in other ways. spoil him, that’s the best way.

high heels -> too impractical for 80% of GFD activities. fetish gear generally doesn’t work here. just mentioning, it’s probably already clear to everyone. and, purely soft dommes don’t gravitate towards dominatrix fashion in the first place.

passive -> unlike with hard subs, you likely do a lot of the work. soft dommes are busier than people expect.

atmosphere? -> switch on the fairy lights, candles, make it dim. make it as romantic as possible.

power imbalance -> air to breathe for any hard sub, but soft subs prefer flatter hierarchies. mind you, your position is still one of guidance.

✏︎ hard subs — don’ts

tender voice > grit and growl in their ear aye

questions > proportion-wise, give more commands instead.

no tools -> introduce some devices according to your couple taste.

lenience -> tame that provocateur 😄 you define where his place is. show him, physically. under your foot, kneeling, bowing? find that perfect position for the two of you.

only caressing > choke and slap him, but ask/announce right beforehand.

unbridled aggression -> misguided way of dominance unless it’s primal play. i know it’s more negatively connotated but deliberate brutality is the word, you exact it while keeping rather cool. unless... he fancies you as the angry mistress, or passionate, punishing. but then again, no aggression. just brutality. the difference is huge. the more sadistic the play, the more contained your action. not all understated, just very directed and according to how you spoke about it, and according to the feedback in front of you. you get perfect awareness, not dizzy tunnel vision and fluctuating feelings. i say brutality because it indicates a person knows what they’re doing. aggression and anger means you bottle your judgement. the brain switches off there, it gets too erratic. also, aggression is less severe and a means to an end while brutality is for its own sake and goes heavy which is what hard subs enjoy: since they’re masochists. aggressive and violent dommes are just assholes, brutal hard dommes... are good dommes. 😛

free reign clothes -> tell him what type of outfit makes him domme candy. experiment plenty. don’t worry, most hard subs enjoy being told what to wear. and even if they don’t, suggesting it won’t piss them off. also, you can get strict and exacting as fuck with this. hard subs want your possessiveness in creative ways.

plain undressed -> chances are CFNM could be a hot idea sometimes, or fetish wear which is often appreciated in all things hardcore. then again, dressing up is no must, but definitely try all-black outfits, suits etc, whatever makes you radiate authority and the upper hand. remember, hierarchy. your superiority is what he enjoys during sex, he actually gets confused if you don’t show it in your particular way. if it’s not clothes, it’s the voice, anyway. the voice lives in his head rent free.

no control -> full body attention, grope him the way he likes. also, the nape of his neck is where your hand belongs. guiding his head is just...mmh ❤️

monotony -> hard subs like a rollercoaster. roleplay = perfect opportunity.

static plans -> important: hard subs learn fast. since pain-pleasure is involved their sensations are more intense so feedback is usually unequivocal. mind you, soft subs can sort their preferences well but for them it takes exposure to variety.

what’s a nipple? -> pinching and more is most likely welcome. ask and test.

spoiling -> spoiling no. rewards, yes. he works for it. what does he work towards? pleasing you completely. in your body and commands.

shy domme -> when it comes down to it, you need to be resolute and eloquent. if you struggle with it, e.g. start with being stoic. pick your favorite pokerface and have a signature smirk lmao! and definitely do in-depth talks. yes, about his desires. unlike soft subs, some guys take more time to open up here.

dry -> lube. keep it wet, especially his tear ducts anyway.

unsure experiments/not knowing the outcome -> seriously tackle and prepare skills. yes, whip your pillow first. you can ‘try’ things with soft subs, but you ‘do’ things with hard subs. why? less room for errors. you please him by being precise. don’t let it intimidate you, simply take it as a responsibility he respects you greatly for.

heels -> hard subs might like that. plus, you’ll often simply stand. he does lots of the work. hard dommes can be more laid-back than you’d expect. remember, you kick his ass and give orders. he’s a pretty active party. exception: he’s tied up.

hesitation -> hard dommes have to be quick. especially since we edge a lot. also, never hesitate to praise.

forgetting skin -> stimulate large areas as much as you can.

unarmed -> chances are he likes knife play, ask about it.

too much caution and pampering -> an insult to his esteem. i’m not kidding. he feels in his element when you don’t hold back anxiously. trust his strength 😊 it’s a perk of femdom in the first place, you may be working on more muscles and often more space on the body, most maledoms don’t have that luxury. the same goes for safewording, keep it simple and applicable for the heat/reflex of the moment. it’s counterproductive to be overcautious since it makes it too complex.

the usual spot -> if he’s down: play everywhere, consider every room together. a cold and hard surface does something for a hard sub. as does rug burn if he likes that. make him do all kinds of things 100% naked on a carpet while you watch, it’s so humiliating. i did it, the result was my sub discovering even higher levels of sluttiness.

suppression -> ask him to let it out vocally when he’s shy or not experienced. you’ll both love what follows. most hard subs are screamers. i hope you don’t have neighbors.

soft illumination -> use artificial light. not just to make your patient - doctor roleplay perfect, but because a hard domme needs to see what she’s doing for safety reasons already. use your (soy wax!) candles to ruin his back instead.

serious -> hardcore femdom is at its best when it’s peppered with little giggles. bring a feather just in case.

PS: these can even apply if they enjoy doing both, you have to match your tone according to the mood and plan then.

#anon #ask #cub mail 🐆#d/s talk #long post #d/s ed #d/s etiquette

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stranger-who-writes-fiction · 3 years ago

Text

Ya know what these self-indulgent Supergirl: Woman of Tomorrow posts need? Self-indulgent banner art, that’s what.

Spoilers for issue #4!

Let’s start this off right with CREATOR CREDITS. Issue 4 of Supergirl: Woman of Tomorrow is titled “Restraint, Endurance, and Passion.” Written by Tom King, Art by Bilquis Evely, Colors by Matheus Lopes, Letters by Clayton Cowles, and Edited by Brittany Holzherr. (w/ Assist. Editor: Bixie Mathieu & Senior Editor Mike Cotton)

THE STORY:

Right, so this? This issue? Best one yet.

Also the bleakest of the bunch thus far; even though we don’t always see the brutality of the space pirates that Kara and Ruthye are following, there’s...the suggestion of it. The aftermath. And how Kara responds to it.

Okay, getting a little ahead of myself. BASIC PLOT SUMMARY: Ruthye and Kara continue their pursuit of Krem, who has taken up with Barbond’s Brigands.

The Brigands basically just. Murder and terrorize people, for profit.

Each planet they visit brings new horrors, as well as people who need Supergirl’s help.

And help she does.

KARA-CTERIZATION:

I yell a lot about the art on this book, and have, in fact, openly admitted that I’m primarily here for Evely and Lopes.

Well, that wily son-of-a-gun King went and wrote some of the best ‘Super’ stuff I’ve ever read and dang it, dang it, now I gotta yell about the words too. XD

Specifically, I wanna yell (in a good way!) about some words that occur towards the very end of the book.

Kara and Ruthye have Seen Some Things; things like genocide and mass grave sites and horrible violence, and upon reaching a planet where peaceful monks were slaughtered, Kara’s had enough, and needs to leave because if she screams, she’ll destroy what little is left of the monks’ monastery.

Here’s the text in full, because my gosh. It’s so good:

“What I write next I write based on my observations in those long-ago days at the side of the greatest warrior in the history of this august reality we all call home. It is important to note that my assertions do not rely on anything Supergirl said. It was not a subject we ever discussed or even approached, but nonetheless I believe it to be as true as the turning of worlds. You see, what is not well understood about the daughter of Krypton is that her power was not one of action but one of restraint, endurance, and passion. She did not choose to fire a beam from her eyes, or have breath of ice, or run faster than a speeding bullet. Or any of her other well-documented miracles. No, she held back her heat vision to look you in the face. She warmed her breath to converse with you. She slowed herself to walk by your side. Ever moment of every day, she suppressed the forces churning inside of her. All of the energy of a dead world that strained against her many barriers, eternally demanded to be released. I believe this effort hurt her. I believe she lived her life in pain. But I reiterate again, for I think it important enough to repeat--These beliefs are based on my time at her side, watching her as she moved through strife and sorrow. If you were to have asked her, I have little doubt she would have claimed that such as assertion was absurd. She would say she felt fine and well and then she’d as you if you needed any help.”

A long chunk of words, I know (this comic is DENSE!) but like. This is it. This is one of the defining attributes of the Supers--all that raw power at their disposal and they choose to help people, to be kind, to suppress that power for the benefit and safety of others.

HNNNNNNNG.

Hope, Help, and Compassion for All.

Whole lotta folks claimed at the outset of this book that King did not understand Kara, that he was a bad fit. And that may be so, I suppose--there’s a whole other discussion about like. The violence and swearing and ‘does that belong in a Supergirl book?’ But the characterization? Getting that Kara and Clark are just good people?

King gets it. He got it in Superman: Up in the Sky and he gets it here, in Woman of Tomorrow.

Other things King gets! Kara is stubborn! Kara is passionate! Kara is going to fix things, even if the effort of doing so hurts her, physically, emotionally, and mentally!

(Fuuuuuuun fact for the crowd saying that Woman of Tomorrow is vastly superior to the CW show: TV Kara is ALSO all of those things! King isn’t pulling this stuff out of thin air. It’s almost like...gosh. I don’t know! Both the show and Tom King are pulling from the character’s comic history, or something!!!! HOW NOVEL.)

Like, seriously. There’s a lot of overlap. Stop pitting Karas against each other!

Anyways!

I promised art, so here is art!

Oh, right, forgot to mention, Kara literally THROWS HERSELF INTO THE SUN to express her grief and anger, so as to not cause that unnecessary destruction. She gives new meaning to the phrase: Set yourself on fire to keep someone else warm.

More art yelling: GOTTDAMN, the way Evely draws Kara just colliding with the surface of the sun and then the way Kara’s hair like...becomes the flames...

I am FEELING FEELINGS. HOW DARE.

Also, props to King and Cowles; King for deciding to have that initial scream, Cowles for the way the letters burst forth from the point of impact on the sun, and then back to King who decided that it would just be...devastating silent screaming from Kara, for the remainder of the scene.

Back to the characterization, I just wanted to highlight something I mentioned...earlier on, I think? In these posts? But haven’t brought up recently, and that is how this book has not once brought up Zor-El, and I think Superman only got a quick mention in issue 2.

Honestly, I think that’s gotta be some kind of record.

It’s so refreshing. Not because I think there should never be mentions of Clark, or anything--I love that boy--but because so much of modern Supergirl comic drama is mined from the same like, angsting over her place compared to Clark, or her crazy sometimes-a-supervillain dad.

There is no Clark and Kara drama here, no manufactured friction, because it’s just. A cool Supergirl story!

Gonna keep going, but let’s do it with some more...

AAAAAAAAAAAAAAAAAAAARRRRRRRRRTTTTTTTTT!!!!

Once again, Mat Lopes is all over the dang place with his palettes, it’s marvelous.

Each new planet gives Evely the opportunity to go hog wild on the worldbuilding and design, and similarly! Each new locale is an opportunity for Lopes to set the tone with colors. Like, here, towards the beginning of the book, we’ve got a planet bathed in this warm, pale yellow/orange light.

(Quick note: “Sure, yeah, I get it. We all have our duties. And it’s mine as a neighbor to do what I can to help you with yours. Please.” A+ Kara content. We love to see it. And then locating the remains of the alien’s daughter, so that they can go visit the grave site and have some emotional closure???? It’s just. So. Touching.)

Anyways, back to colors.

Like!!!! LOOK AT THAT JUMP. From the soft, almost pastoral feel of the delicate oranges and yellows to HARD GREEN, PINK, AND PURPLE. (Difficult colors to pull off in print, I might add.)

(This is also an interesting scene, character-wise, because I think it helps re-contextualize some earlier stuff with Kara. Like, I’m mostly thinking that incident on the bus, where she was swearing at the passengers as the space dragon was about to destroy them. Here, we see Kara kind of...goad this alien woman into releasing her pent up emotions by yelling at her/getting her to fight, and you can clearly see at the end of it that Kara did not mean the things she said, because check this out:

She goes and gives her a hug once the woman is able to finally cry.

It’s not ‘Kara is being mean, Kara is swearing at her’, it’s, ‘Kara has an unorthodox solution to a problem, and she’s gonna FIX that problem, NO MATTER WHAT.’

Circling back to the bus thing--again, that could be an instance of ‘unorthodox approach to a weird situation that Kara is going to handle because lives are at stake.’)

But also, DIG THAT KIRBY KRACKLE, BAY-BEEEEE!

And a little Strange Adventures easter egg! The Pykkts!

(I think those guys are unique to the Black Label series, rather than deep Adam Strange lore, but don’t quote me on that.)

Moving on to YET ANOTHER PALETTE, one I’ve dubbed, ‘Treasure Planet Purple/Grey’

Love Ruthye’s snoozing against the door, waiting for Kara.

Also, just as striking as the colors of the environment, are the colors used on Kara.

If you compare this page with the previous one, Kara’s eyes are a paler shade of blue, and the red-rimmed look on her eyes here is not as intense as the red-rimmed look we saw back in issue one, when she was confronting Krem.

All of which to say! There’s a pale, haunted quality to both the linework and the colors. Like. We know Kara has Seen Some Things. But she’s shoving all that stuff down to protect Ruthye, to save Krypto, and to stop these monsters, and you get all of that WITH COLORS AND LINES ON A PAGE.

I love it, I love it so much.

OTHER BOOKS WISH THEY HAD THIS LEVEL OF CHARACTER ACTING, I TELL YA! THEY WISH THEY HAD THIS BEAUTIFUL ALCHEMY OF INKER, COLORIST, AND WRITER WORKING IN SUCH TIGHT TANDEM!

Ahem. XD

Alright, last bit of art, lest I just. Post the whole issue in here. (Which I’m honestly always tempted to do but Strong Feelings about Piracy hold me back.)

JUST HECKIN’ LOOK AT THAT BLUE, MAN. JUST LOOK AT IT. S’BEAUTIFUL.

And more stunning character acting from Evely. Like. Bottom middle panel. The expression, the tilt of her head and the shadows on her eyes...

*insert silent flailing here*

Oh, also, KRYPTO LIIIIIIIIIIIIIIIIIIIIIIVESSSS (for now).

I’m never right about these things, so I’m glad the one time I’ve correctly read a thing is when it involves Krypto not, ya know. Being dead. XD

Also absolutely love that Kara’s instinct is to send Ruthye home to protect her--once more leaning into that whole, ‘I’m going to protect you, even at great cost to myself’, though of course we know that she can’t send her home, not here, not now, just halfway through our journey.

ERRRRRRGH, so mad we’re not getting twelve issues of this! CURSE YOU, POOR SUPERGIRL TRADE SALES! CURSE YOOOOOOU!

That said, King’s pacing? Has been phenomenal. I feel like Strange Adventures and even Mr. Miracle kinda...I’m not gonna say dragged, that’s not quite right. But it is more build up, I guess. Takes a while to get to the payoff.

Here, I think King is pushing things steadily along as he doesn’t have the benefit of an additional four issues, so he has to get to the point, so to speak. Keeps everything moving.

SOME FINAL, MISC. STUFF:

I’ve sort of glossed over the darker stuff from this issue, and I just wanna note that like. This is a book that features a bad guy getting stoned (in the death sentence way, not the drug way) on panel. Like. I can’t recommend this to children.

I can’t even really recommend it to some other Supergirl fans, because I know that the King elements will be too off-putting.

It never feels like the book is going too far, though. At least in like an...exploitative way? If that makes sense?

The violence is handled with discretion, I guess is what I’m trying to convey. This could very easily tip over into like, gross shock factor territory, if not handled well, but I think the creative team pulls it off.

...Still wouldn’t hand this book to kids, though. XD

As mentioned, we’re halfway through this series! Can’t wait to see where it goes--every time I think I have this book figured out, it surprises me. So, like. Bring on the Dinosaur planet! With no sunlight! I wanna see how Lopes handles THAT. XD

(But Oh, OooooOOooh, we gotta wait until NOVEMBER.)

(Hhhnnnnng!)

(Then again, maybe that’s good; we’ve got the TV show in the meantime, and then once it ends we can pick right up with new Supergirl content just a few weeks later.)

(...Aw. Made myself a little sad, thinking about the TV show coming to an end.)

So as not to end on that sad note, here once again is tiny, smushed Kara:

Give ‘em the ol razzle dazzle.

#stranger speaks #supergirl: woman of tomorrow #supergirl: woman of tomorrow spoilers #dc comics #comics talk #comics opinions #comics thoughts #long post #are those the right tags? I can never remember #gif

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gumnut-logic · 4 years ago

Video

youtube

Coffee

This is @godsliltippy ‘s fault because she was so kind to me and posted Pocket Virgil to help me through the day. Above is the original three clips, of which Pocket Virgil is part of Clip Two. After watching Pocket Virgil try again and again with no success, I kinda wanted to help him, so this fic happened.

Total meta crack, that really didn’t go anywhere, but hopefully will be fun nonetheless. Certain laws of both physics and worldbuilding were totally ignored, so there may be some brain frying concept-wise.

This is for Thunderfam and for all the kindness you continue to bestow upon me. I’ve said it before and I’ll say it again. You guys are amazing. ::hugs you all::

Leave sense at the door. I hope you enjoy it :D

-o-o-o-

Virgil Tracy was grumpy.

He knew this idea was good an all and he fully supported Lady Penelope when she suggested they document some of their rescues for the general public.

But not once...not once! Did she mention that he would be dragged out of bed before the sun, thrown on a set to perform, and the only coffee they would provide would be thimble-sized, consequently cold and allocated to break times.

At the moment, ‘break’ was definitely a keyword. Sans coffee, Virgil Tracy was quite ready to do something of the kind to the director.

“Now, Virgil, I know you’re tired, but you are the calm brother, the respected peacemaker of the family. Snarling at the camera isn’t quite in character.”

In character? He was playing himself, for goodness sake. He was in character, character sans coffee! Across the studio, he eyed the Tracy villa swimming pool and wondered if there was a possibility of filling it with coffee.

“Can we try again?”

Virgil grunted at the director. Bet he had had his coffee. Bet he was allowed to access that wondrous machine up so high on that shelf. Bet he hadn’t given one thought to how his precious Tracys might feel about the matter.

Yeah, Virgil Tracy was not in a very good mood at all.

The director stood up from the set and stepped away to be half hidden by the camera again.

Virgil lowered Two’s hatch and climbed aboard. All prepared to launch Two with a smile.

He grit his teeth.

Backing her up into her hangar again, he closed the cliff face and waited for the call.

“Action!”

Practised fingers went through their motions and Two cruised out onto her runway under the fake sunlight.

A poke at a control and the palm trees moved aside...not quite the way they did at home, but well enough...and Two taxied towards her ramp.

“Cut!”

Oh, for the love of...what now?!

“Virgil, you are grinding your teeth. I would say we could mute it in post, but you look like you want to kill someone. You’re the valiant hero, the gentle giant, not Hannibal Lecter daydreaming about dinner!” Virgil stared up at him through the windows. Usually, Virgil would be mortified, but it was barely past 7am, he had been up late for a real rescue last night, hadn’t slept well, and there was no damned coffee!

The director stared at him a moment longer before throwing up his hands. “Okay, you know what? Take fifteen, go find some coffee, for all our sakes.” He ended that with a glare and turned away calling the crew to a halt.

Virgil sat there staring at the replica of his ‘bird’s controls. He had been in the real thing last night. Saved sixteen lives.

He was just tired and not really being fair to anyone, including himself.

He just wanted coffee. Please, I just need coffee.

If his inner voice sounded like a dehydrated man in a desert pleading for water, it was just being honest.

The thing was that the crew had coffee. In that machine on the shelf. Sure, the cup was bigger than he was, but it might be just enough to put his brain to rights.

But he couldn’t reach the button to activate it. In fact, the one time he had tried, some smart ass on set had filmed him jumping up, trying to reach it. It had made the rounds until it hit Gordon, who then promptly made sure the rest of the world had the opportunity to enjoy laughing at his brother.

But then Gordon still didn’t know who poured dye in his pool...while he was in it.

The full body make-up his brother had to wear that day to hide the purple was almost worth it.

But coffee...god, he needed coffee. If only he could extend his reach. If only he could grip the cup...

Virgil blinked.

The solution was obvious. Oh my god. He felt like kicking himself for not thinking of it before. You idiot!

There was one piece of equipment he had brought on set that wasn’t fake.

It was here for two reasons. The first was that it was built for Virgil, only he could wear it and it was cheaper to just wear the real thing than to build a poorly functional duplicate. Secondly, Virgil preferred to have one on hand as often as possible, just in case, and since they had been spending so much time in Aotearoa on set, he had stashed one with the lead model maker for safe keeping.

He exited the fake Two and leapt out onto the runway. The fact that one of the set hands saw him and immediately made herself scarce was kind of depressing. He had been a grumpy bear this morning.

But that was all about to be solved.

He eyed the director and, making sure the man wasn’t looking, grabbed one of the discarded thimble-sized coffee cups and slipped away towards prop storage.

It was a hike and he had to dodge wheels and staff who didn’t see him. Those who did all immediately looked at their watches and, just like the set hand earlier, hurried out of his sight.

Maybe he was beginning to get a reputation.

Serve them right for not giving him coffee!

He found his helmet and his exosuit exactly where he expected them to be. Some neurotic librarian type had attached a huge name tag with a barcode onto it.

Virgil’s shoulder mounted laser took care of that.

It was almost comforting to slide on the equipment. The surety of its strength settling on his shoulders, its weight snug at his hips and ankles.

He sighed.

Of course, that one moment of relaxation was interrupted by Steven, the lead model maker, suddenly bursting into the room.

“I don’t know, Scott. That sounds kind of dangerous. The real Thunderbird One might be able to handle you surfing it, but I’m not too sure of the mockups.”

“I’ll talk to Brains. We’ll make it happen.”

“Why are you feeling the need to surf on the outside anyway?”

“Because it looks cool?” Scott cleared his throat. “Ah, because that is what happened during the incident we are portraying and accuracy is important.”

Virgil hunched down behind a scarily accurate model of that moon buggy Scott was always raving about. He dared not move because the wheeze of the suit’s hydraulics was far too familiar a sound to hide from his brother.

But then, since Scott was buzzing around at Steven’s eye height thanks to one of his jetpacks, his older brother really didn’t have a single leg to stand on.

Mostly because he apparently didn’t need them.

Virgil found himself grinding his teeth again.

He really needed coffee.

“You actually surfed on the outside of Thunderbird One?”

“Well, yeah.”

“That is so cool, man.”

“That’s what I said!”

Steven reached past Virgil’s hiding spot and picked up one of the fake explorer pods and Virgil remembered that he was supposed to clamber up the side of an equally fake mountain later in the morning.

Hell, coffee was mandatory.

Fortunately, Steven appeared to have everything he needed and both he and Scott left almost immediately after that, Scott coming as close to raving as Virgil had ever heard him, babbling about surfing on One.

Sounded about right. Scott and Alan might as well have been twins if it wasn’t for their age difference.

They both gave Virgil grey hair.

But then so did Gordon.

John was easier, cool and calm and sensible most of the time. But that just meant that when he did slide off the rails, he did a proper job of it, likely taking most of them with him.

Hmmm, must remember to grab some more hair dye on the way home tonight.

With the coast clear, he secured his thimble cup to his suit and made a run for it.

He made it across the floor to the blessed coffee machine without interruption this time, though he had to admit, his suit was much noisier than he had realised. But a good percentage of the crew were focused on that scene Scott was filming.

He could still hear his brother declaring that he knew his stunts better than any stunt man.

Virgil had to agree. If anyone was capable of surfing Thunderbird One, it was Scott.

The idiot.

Now, not only was he doing stupid stunts to save people, but now just to show off.

Virgil had a good mind to kick his ass. He was as bad as Alan.

No, correction. Alan wasn’t that stupid.

Virgil found himself taking a step in his big brother’s direction and it was only the wheeze of his suit that made him realise exactly what he was doing.

Coffee, goddamnit, he needed coffee!

Without a second thought, he fired a grapple line up to the bench top and was gratified it secured with a thunk. Pulling himself up with the right equipment was so much more efficient than the equivalent pseudo rock climbing he had had to do last time.

Before he knew it, he was up there standing next to the huge dispenser of coffee. He gazed up at it for a moment and blessed its existence.

But unfortunately, Sadie who had been kind enough to set it up for him last time wasn’t available.

Hell, if his assistant hadn’t been called away at the last minute, he would have gotten his coffee that day. As it was, the director had found out about the incident when Virgil arrived late on set and had given Sadie a dressing down that involved images of Tracy brothers falling into giant vats of coffee and being boiled alive.

As if Virgil would be that stupid.

Boiling himself would be such a waste of good coffee.

But there were no more attempts at giant coffees for Virgil Tracy from that point on. It was banned.

So, this time, he had to set it up himself.

He was consequently reassured that yes, he was really good with his tools. The suit hummed in appreciation as he made it do what he needed it to do and despite dropping coffee granules all over himself at one point – he was considering eating them off the counter, but then considered that a caffeine overdose wasn’t wise – he set up the machine ready to dispense some black heaven.

The teacup he had used last time had been pushed away to one side, but his exosuit made it a simple job to manipulate it into position so he could stand on it.

With the extension of his claw, he easily reached up and hit the green button.

It was a pleasure just to hear the coffee machine start up.

He was seriously tempted to take off his helmet and breathe in the gloriousness that was the scent of brewing coffee, but he still had to get that coffee cup into a position from which it would be safe for him to drink.

He may be coffee and sleep deprived but he wasn’t an idiot.

So, he stood there watching the coffee machine make the drink of the gods.

It was a little mesmerising.

And then the process was complete. The machinery quietened and the coffee cup sat waiting for him.

He didn’t hesitate.

It took both claws and a secure grapple to the shelf above the bench for stability, but he manoeuvred the cup down onto the bench top.

Steam fogged up his helmet as he looked down from atop the upturned teacup, so finally, he broke the seals and lifted it off his head.

Oh.

Ohhhhhhhhhhhhhhhh.

He almost melted on the spot.

The smell was heady, intoxicating. Drowning in the dark liquid no longer seemed a bad idea.

He leant over a little further.

Ohhhhhhhhhh, it was just too good.

“Virgil! What the hell do you think you are doing?!”

It was Scott’s voice. Unmistakeable.

He would want to take away his coffee.

No.

No!

Not his precious coffee!

His brother flew up onto the bench and alighted without a sound. “Virgil!”

Virgil hissed at him. “Go away.”

That earned him a worried frown. “That’s not safe.”

Screw safe, he wanted coffee. He unhooked his thimble cup from his waist and reaching down, scooped up some blessed, steaming liquid manna.

It was hot.

It was delicious.

He poured it down his throat.

Oh, god, yessssss.

Another scoop and he sculled some more. His tongue scalded a little, but he didn’t care.

More.

He was guzzling like a dying man at water filled oasis.

“Virgil?”

“Virgil!”

And suddenly the coffee cup disappeared.

No, no, no, no, no, no!

He over balanced and would have fallen if it wasn’t for a sudden thunk of a grapple on the back of his suit.

He looked up to find Scott securing his grapple line to a coffee cup hook underneath the overhead shelf as Virgil teetered on the edge of his teacup, barely prevented from falling by the cable’s connection to his suit.

And there was no more coffee.

No.

Please.

“I need coffee.”

Scott floated down to Virgil’s eye level and Virgil realised exactly who had taken the coffee cup away.

The director was standing behind his big brother.

Virgil was in so much shit.

Damnit.

“I just want coffee.”

Scott was frowning at him. “Are you okay, Virgil?”

“DO I LOOK OKAY?!”

Um, that may have come out a little bit louder than intended. But then he was hanging partly suspended from an empty coffee cup hook.

Much quieter. “I just need coffee.”

Scott’s eyes were wide. “I think you’ve had enough coffee.”

No, he needed more. Buckets more. “Please, Scott.”

“Uh, no. We’re going home.”

Virgil blinked. “What?”

But Scott had turned away and was talking quietly to the director.

Virgil caught a glimpse of something shiny out the corner of his eye and turned to find a single drop of deep brown gold suspended from the coffee dispenser.

Coffee!

Without thought he leapt for it.

Perhaps it was a good thing that Scott actually did think, because a yank on that grapple line probably prevented Virgil from being scalded.

“What the hell, Virg?!”

He blinked as he hung fully suspended by his brother’s grapple line, swinging slowly back and forth, one very unhappy commander glaring at him.

Umm, yeah, maybe that was taking it a step too far.

Scott’s words were firm. “Shed the suit and go and sit in the car.”

“Sco-“

“Now.” Blue fire lasered him where he hung.

Virgil gave in with a single nod.

Scott lowered him to the bench top and Virgil dropped the suit with a clatter. He stomped off in a huff as Sadie was called over the PA system to come and assist him.

He only wanted a decent coffee, for crying out loud.

After all, Gordon did get that massive hot dog the other day, and John had slept in his bagel, for goodness sake.

Why couldn’t he have his coffee?

It just wasn’t fair.

-o-o-o-

FIN.

#thunderbirds are go #thunderbirds #thunderbirds fanfiction #Virgil Tracy #Scott Tracy #crazy meta #meta crack #meta #nutty is nuts #he just wants coffee

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apathetic-revenant · 4 years ago

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tidbits from the Fellowship of the Ring director + writers’ commentary track (feat. Peter Jackson, Fran Walsh and Phillipa Boyens)

the prologue, and issue of how to work all the exposition about the Ring into the film, was a source of great difficulty for the writers and went through a lot of iterations. in some versions of the script Gandalf would have told Frodo the story of the Ring in Bag End as he does in the books. at one point they decided to scrap the prologue altogether, only to get a note back from New Line that they had to have it, so Peter, Fran and Philippa had to assemble it from the existing footage they had while they were in England putting the soundtrack together.

the framing of the prologue and exactly what information would be in it also went through a lot of changes before it was ultimately decided that it needed to be from the 'perspective' of the Ring itself since the Ring is in a way a central character in the story. at one point the narration would have been done by Frodo, from the perspective of him writing the book after the quest was over, but it was felt that he didn't have the necessary perspective to make it work and that an immortal character like Galadriel worked better.

although prologue!Bilbo is only seen for a few seconds, costume designer Ngila Dickson meticulously made sure his outfit matched the descriptions given in The Hobbit, including the brass buttons on his waistcoat that he later loses while escaping the caves.

the population of Hobbitton in the opening was mostly recruited from farmers and people living around Matamata, where the Hobbitton exterior set was built. two of the hobbit extras later got married after first meeting on set.

the shot of Sam with the flowers in the extended cut is the only time in the films Sam was actually shown gardening.

the shots of Frodo greeting Gandalf were done with four actors--Elijah Wood, Ian McKellen, a small scale double for Frodo and a large scale double for Gandalf. when the closeup is on Gandalf, Ian McKellen is interacting with four-foot-tall Kiran Shah. when the closeup is on Frodo, Elijah Wood is interacting with almost-eight-foot-tall Paul Randall.

while many of the scale shots of the hobbits are actually done using very simple techniques, Peter Jackson chose to invest time in a few impressive ones early on so as to help really sell the idea for the audience from the beginning. one of these is the shot of Bilbo taking Gandalf's hat and staff as Gandalf enters Bag End--it was actually a very complicated shot that involved making big and small versions of the props and then carefully merging them together with CGI.

most of the Bag End scenes were shot by filming the actors on two different sets, a large-scale one for Ian Holm's scenes and a small-scale one for Ian McKellen's scenes, and then merging them together. however the scene of Bilbo serving Gandalf tea was done with both actors on the same set and used forced perspective--there are actually two tables of different sizes lined up to look like one table, with Gandalf interacting with the larger table and Bilbo with the smaller one.

Gandalf hitting his head on the ceiling was an unscripted accident left in because it worked so well.

before including Thorin's map from The Hobbit in Bag End, the writers made sure to double-check where the map canonically wound up in the books. they gave the task of researching this to Henry Mortensen, Viggo Mortensen's son and a diehard Lord of the Rings fan.

Peter Jackson expected to get pushback from the studio about the amount of smoking in the film, and in particular was ready to have to fight to keep in the scene of Gandalf and Bilbo smoking before the party. however no one ever brought it up at all.

most of the hobbit actors in the party were friends and relatives of the cast and crew. although the books state that Bilbo invited 144 hobbits to his special table, "due to budget constraints" the actual amount of hobbits at the party is probably closer to about 100. viewers are advised not to count them too closely.

some of the hobbit children listening to Bilbo's story were played by Peter Jackson and Fran Walsh's own children. one of them, Billy Jackson, was the only actor in the movie not wearing a wig, because he already had "naturally perfect hobbit hair."

the "Proudfeet!" shot was framed as a homage to Ralph Bahksi's animated Lord of the Rings, which was what originally got Peter Jackson into LOTR.

during Bilbo's speech, the polystyrene birthday cake had so many candles on it it actually caught on fire and started to burn. the take was going so well, though, no one wanted to interrupt Ian Holm, so the cake is just sort of quietly burning away in the background while Bilbo talks.

the seventeen-year time skip in the books had to be compressed in the movie because they needed to get the story going quicker and keep up momentum. Gandalf's appearance when he comes back to Bag End is meant to imply that he's even more disheveled than usual because he's ridden pretty much nonstop all the way to Minas Tirith and back.

the scenes of Gandalf in Minas Tirith were the first time Ian McKellen had been in his Gandalf the Grey costume and makeup for months, as when those were shot he had been filming as Gandalf the White for some time.

there was discussion about using subtitles onscreen to identify locations, since there was worry that audiences would have a hard time following all the different places seen throughout the movie, but ultimately it was decided that this might feel too cheesy so it was dropped.

the voice of the Ringwraith that shows up in the Shire looking for Bagginssss was done by Andy Serkis.

the Green Dragon scene was cut for time in the theatrical release, which Peter Jackson was disappointed by both because it was a chance to see the main hobbit cast in their 'natural environment' before the adventure really starts, but also because it demonstrated the hobbit tendency to be gossipy, insular and distrustful of the outside, a trait they had some difficulty getting across in the films.

the full Ring poem is never heard in the movies; the filmmakers wanted to get it in there and at one point it was recited in full during the Council of Elrond, but it wound up being cut.

the Ring 'speaks' with Sauron's voice at certain moments to try to emulate the sense of psychological horror and dread associated with descriptions of the Ring in the books, which was very hard to replicate on film.

in one very early draft of the script, Merry and Pippin would have been introduced when they were caught eavesdropping on Frodo and Gandalf along with Sam.

Jackson chose to shoot the duel between Saruman and Gandalf as physically as possible because he didn't like "wizard fights" in movies "where old guys shoot lightning out of their fingers at each other" (gotta disagree with you there Pete).

Billy Boyd offered to use a Gloucester accent for Pippin instead of his natural Scottish one, but tended to lose some of his comic timing while doing so. it was decided that the Tooks had enough of a Scottish vibe that the natural accent worked better for the character anyway.

the shot of the hobbits falling off the cliff was one of the first things ever shot for the series. it was also the cause of one of the few serious accidents during filming--one of the stuntmen dislocated his shoulder during the fall, apparently just as a freak accident as the stunt itself was not especially dangerous.

the scene where the hobbits first meet the Black Rider looks like it's in remote wilderness somewhere but was actually shot in a park in the middle of Wellington.

the insects coming out of the ground while the hobbits are hiding is meant to convey the idea that everything living tries to instinctively flee from the Ringwraiths, but Jackson admits he isn't sure if that came across well on film.

the Buckleberry Ferry almost sank between takes and had to be saved with bilge pumps.

like Bag End, the Prancing Pony set was built twice, once at normal scale and once at large scale to film the hobbit actors on. some of the people seen walking past the hobbits in the backgrounds are actually on stilts.

the basis of the Ringwraith scream sound was provided by Fran Walsh screaming while suffering from a throat infection.

no real trees were harmed during the scene of the Isengard orcs chopping down Fangorn Forest: it was two fake trees shot from different angles as they were pulled down.

the question of whether it was appropriate to reference tomatoes in the Weathertop scene (since they are new world vegetables) was apparently a source of some contention among the writers. Peter Jackson was of the opinion that in a movie with a Balrog, a tomato should not strain suspension of disbelief that much.

the fight scene with the Ringwraiths on Weathertop was the first thing Viggo Mortensen ever shot for the films, and also the first time he'd ever used a sword.

the scenes of weapons being forged in Isengard were shot in a foundry and the molten metal seen being poured is real molten steel, because they couldn't come up with a convincing way to fake the appearance of molten metal. the workers at the foundry were recruited to play the orc extras in the scene.

Lurtz was created to provide a kind of 'face' for the Uruk-Hai as well as to be a villain that could physically confront the Fellowship at the climax, since both Saruman and Sauron stay within their respective domains and, aside from Saruman's scenes with Gandalf, don't actually directly interact with the protagonists.

replacing Glorfindel with Arwen is acknowledged as taking a big chance, but the writers were already struggling with the sheer amount of introductions to new characters in the film and didn't want to introduce yet another new character only for him to almost immediately disappear from the story again.

filming the chase scene between Arwen and the Ringwraiths was interrupted by massive flooding at the location. the cast and crew took a break from filming to help shore up Queenstown with sandbags.

when Gandalf escapes from Isengard, Saruman is holding his staff with one hand because Christopher Lee had injured his other hand smashing it in a hotel room door and couldn't hold anything with it.

the scene of Sam and Frodo in Rivendell talking about going home was a pickup shot after the main filming was completed, which is why Sean Astin is noticeably thinner there than for the rest of the movie--as soon as principal photography was completed he dropped all the weight he had gained for the role.

Elrond sounds especially deep and harsh while talking to Gandalf about the weakness of men because Hugo Weaving had a bad case of flu at the time.

the Council of Elrond took 6-7 days to shoot and was "a nightmare" because of the difficulty of keeping track of the eyelines of so many people sitting in a big circle.

Sean Bean occasionally glances down during the "one does not simply walk into Mordor..." speech because he has his lines written on a piece of paper in his lap; the speech was given to him so soon before filming that he didn't have time to fully memorize it.

when Gandalf reacts to Frodo volunteering to take the Ring to Mordor, Peter Jackson told Ian McKellen to imagine that he had just heard his son volunteer to join the Army in World War One.

#lotr #lotr films #lotr behind the scenes

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tracynotabi · 3 years ago

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Riptide Day 2 / Undertow

September 11, 2021

D-Day.

Kevin, Ivan, Joey, and I were getting a ride from Spencer, who was also taking Narq to the venue, while Robert and Parker got a ride from someone else. Well, at least we didn’t have to walk to the venue. I didn’t pack sunscreen.

At 9am, about half an hour we were supposed to leave, Kevin gets a stomachache.

Me: He just needs to poop. Spencer: The classic.

We end up going to the lobby to wait for Spencer in Narq, which was fine considering we actually didn’t want Spencer, our ride, waiting for us.

Spencer: Okay, Narq’s just using the bathroom rq lol Me: Is he also having tummy problems Spencer: Nah just bein stoner and forgetting to do stuff lol Me: The classic

We go get Chick-fil-A and I’m sitting underneath the dashboard again by Kevin’s feet. I think the employees were very bewildered, as the woman on the other side of the window did a double take. I would, too, if I saw a smaller-than-average person just hiding underneath the dashboard sipping on a cup of Coke.

Some time after I get to the venue during doubles, I end up talking to Jimmy (j u m), when Kevin comes rushing over to me, a panicked look on his face.

Forgot to mention, but Kevin actually couldn’t get all of his poop out before coming to the venue and now it is back with a vengeance.

He tells me that he’s unable to go to any restroom because there were three stalls in the men’s restroom: two were occupied and one was clogged with poop.

He had tried flushing the poop one but it only made it worse. It just clogged more and the water level rose. If he had sat down and insisted on finishing, his balls would be touching the water and that’s a no-no.

He tried asking the front desk for other restrooms, but he was informed it was the only one. He was desperate and you could just see it in his eyes that he was about to break.

Me, using the big, wrinkly brain that I had, told him to use the women’s restroom. He froze, not even realizing that that was an option.

Now before anyone complains, hear me out.

I would rather be in a restroom with a male in the stall next to me, than exit the restroom and see someone standing outside the men’s restroom trying to wait for a stall with a shit stain in his pants. Excuse the vulgarity, but it’s true.

If you’re ever at one of my tournaments and you need to go and no male restroom is unoccupied, for the love of god, please fucking use the women’s restroom. I do not need this mess on my hands and you best believe I’m shoving myself in the men’s restroom if I gotta fucking go expel unicorns and rainbows.

I go to the restroom with Kevin and stand awkardly on my phone to keep watch, because he didn’t want any of the staff members actually seeing him and risk himself getting kicked out of the venue.

That would’ve been extremely unfortunate.

Luckily, nobody else needed to go use the restroom while Kevin was in there and he was able to safely compete his duty (lol).

If anyone is upset at my suggestion, I’m sorry, but I wasn’t about to not provide such a simple solution for Kevin’s emergency.

Anyway, the tournament start shortly after that.

First match I pay attention to is Kevin vs. Wombat. In my head, I think it’s pools so I shouldn’t worry too much. I try to watch Kevin’s sets, but it makes me physically ill sometimes because my anxiety is wracked up like crazy and I just want to throw up. Many have witnessed me walking away and trying to distract myself multiple times at multiple different tournaments.

It’s like that gory horror movie that you can’t keep looking away from.

Besides knowing that I get sick, I figured it would be fine since I actually enjoy trying to support my boyfriend and watch him come out of pools winners’ side. Not meaning any disrespect by Wombat, by the way. He’s great. Just realistic. It’s like how I expect Kevin to lose to Bob.

Kevin loses Game 1.

Ooh my tummy’s doing barrel rolls like the way Twisty did with that pullout bed. I look away but I’m just so distracted by the crowd noises.

I totally get it, though. Obviously, it’s sick that Wombat’s holding his own against Kevin, who is seed 3 of the tournament. I’d be excited, too, if my friend was making an upset on someone else. But Kevin’s my boyfriend, so obviously, I want him to win.

Kevin barely wins Game 2 and I’m like ooooh boy. My tummy’s going to town and I think I gag a little by how sick I feel. Gotta focus on getting Joey his next match. *deep breaths*

When heartswaptv airs the whole tournament, definitely check out the set. It was really good (as far as I can hear, I couldn’t bring myself to watch the rest of it).

Kevin comes over to me after he’s out of pools and I scold him for making me worried.

AND YOU NOW WHAT HE SAYS?

Kevin: Babe, it’s fine - I almost lost to Zeddy at Redacted City and I got 2nd. I’ll be fine. Me: T____T *incoherent whining noises*

Does Kevin thinks he’s fucking cute for saying that or something? I was not amused.

Since I didn’t have to volunteer TO the entirety of the tournament, I bounced around mingling with other people.

At one point, I get a message from Suvir in our group chat about how he, Sosa, and Narq were planning on coming to visit NorCal. Of course, since Narq was already here, I decided to just go up to him and ask.

Me: So I heard you’re coming to NorCal? Narq: I am? Me: That’s what Suvir said. *shows phone* Narq: I guess I’m going to NorCal!

Suvir: Narq doesn’t actually know. Sosa just said he’d take him with him and said Narq would agree to go because he’s Narq. Me: Oh that makes sense why he had no idea what I was talking about.

It wasn’t until around top bracket did things start to pick up. Not too many spoilers, because (1) no spoilers before they upload the vod and (2) I have a terrible memory when it comes to the matches.

I remember holding up Kevin’s phone to stream to our Discord because we had some non-PM player friends who wanted to see and I think Kevin wanted Thomas (ThundeRzReiGN) to give him some advice throughout the tournament. Not actually coach, but to critique his play.

As more and more top players fell, Kevin made it a goal to do his best not to fall into the landmine that was Losers’. So many heavy hitters were large threats to him: Techboy, Malachi, Akimi, Cloudburst...

Not to say that Winners’ side didn’t have their fair share of monsters: Peter, Parker, Kumatora, Twisty, Nogh, Lunchables...

Kevin’s first match in Top 32 was against Bongo, who people sleep on quite a lot. For those of you that don’t know him, he’s a Captain Falcon from NY who actually beat Kevin at Flex Zone 3 in 2018. Kevin had beaten him at Encore, but it wasn’t easy.

Not to mention Falcon is a pain the butt for Mario. Unfortunately, the match was not recorded (as far as I know), and it was a very exciting match from what I heard. I avoided watching it because based on how long it took, I knew it had to have been a Game 5. During that time, two matches have been finished on “stream.”

Kevin had said his match against Bongo was the toughest one he had - not to discredit his other opponents, of course - but according to him, it was the scariest and closest. Also the threat of being put into Losers so early would’ve made the climb to Top 8 a lot harder.

His overall goal was actually to make Top 8. Despite being a third seed and rank 5, what I’ve noticed about Kevin is that he does have doubts about himself quite often. He’s never complacent in his opponents and worries all the time about being upset and I don’t think anyone puts more pressure on him more than himself.

As I watched my friends progress through bracket, all I can think is there’s not much I can do. I don’t understand the game very much, despite my heavy involvement in the scene. In fact, more often than not, I believe I understand the game the least compared to everyone else.

A tangent from the actual tournament itself is coming, but I think I should address why I’m even in this community:

While everyone loves the game, I love the community behind it. I find it worth it to sit/stand in one location for hours at a time because it allows my friends to enjoy the game they love comfortably without worrying how the tournament is progressing. They can focus on their own growth and passion.

I think what I see is completely different. Like I said, I don’t really understand this game - I can’t differentiate uairs, bairs, d-smashes, etc. I compute it in my head, but can’t visualize it. I don’t recognize most combos - in fact, more often than not, I’m sitting there just staring at the screen kind of blankly. Sometimes, it does make me wonder if I really am part of this community because I don’t really understand the game.

I can’t say I particularly care too much about the game, but I understand how much of an impact it’s made on me and for that, I’m very thankful for this game because it’s led me to some great people.

Back to the actual event and less sap. lol. Is anybody still even reading?

For something put together in a mere two weeks, Trin and their team did an amazing job. Three recording set ups, graphics, a pot, a venue... props to them for gathering the scraps and making a whole out of it. And to think we almost didn’t go.

Madeline (Swanner) ended up coming and it was honestly so good to see her. We aren’t particularly close, but she’s someone I’ve come to care for and just want happiness for her.

Major spoiler, but I don’t think anybody who cares about PM/P+ doesn’t know Kevin won the tournament.

Everyone expected a pop-off, but Kevin just sat there, crying.

I don’t think there’s ever been anything that Kevin has been more passionate about. He loves this game; he loves this community. Never did it ever occur to him that he would win.

I wish I could say more, but honestly, him winning stunned me speechless. And if you didn’t know, the first thing he said after was that he had to call his mother.

His mom is one of his biggest supporters and I love her to death. She has such a huge heart and has never, ever frowned upon Kevin’s love for the game, whole-heartedly supporting it.

I hugged Maddy, because I can’t even imagine how heart-breaking it must be for her to see what could have been on the mainstage. I imagined how much it must’ve hurt her because she just loves the game and the community, but to see it constantly be torn down by Nintendo and her unable to do anything... Give Maddy a hug and thank her if you see her. She deserves the world.

We ended up walking home with PNW, Bob, Mar, Bongo, Cameron (LoyaL), Ivan, and a few others, honestly too dark to completely see and name. It was a very nice night.

We did, however, pass by the rundown house that definitely looked like if we were to talk in there, we’d be killed by the axe murderer that lived there.

Kevin also lagged behind a lot because his phone notifications were going off like crazy and I was worried he was going to just get lost in the darkness or get hit by a car. Stop looking at your phone when you cross the street, dammit.

We got back to our hotel room and ordered pizza - it was bad. God-fucking-dammit, Ohio, why do you suck so much? Kind of a shitty dinner to end the day on, but nothing else was open at 2am. FeelsBadMan.

#Super Smash Bros.#Project M #Project Plus #Nintendo #Riptide #Undertow #Fuck Nintendo

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everybodylovesrand · 5 years ago

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Raje Judkins answered some questions about the show. Filming spoilers for the show below:

Q: What part of the books should you be caught up on for the first season?

A: Depends on if you like to read something before you watch it or not.

Q: What are you finding most challenging about going from book to screen? A: The hardest thing is the physicality of production. In the first book alone they go to more than 20 villages and cities. To try to do that is physically impossible for the show, so most of the work we don in the room is geographical, figuring how to condense the story and move it through places we can physically create.

Q: Do you have a favorite chapter from the whole saga? Mine is Veins of Gold. A: So many. But Honey in the Tea is the one off the top of my head.

Q: We can’t wait to see Elayne, Aviendha and Min

A: Me either. Three of my favorites.

Q: Has any post-production work begun or does that not start until filming is completed?

A: Nope! We do it simultaneously. Before the corona hit, I was prepping 2 episodes, shooting 2 episodes, in post on 4 episodes and writing Season 2 simultaneously :-0

Q: Will there be a soundtrack? Who’s the composer? A: Of course! David Buckley. Plus a few incredible musical guests we’ve already had.

Q: Are Min/Elayne in season 1? A: The Wheel weaves as the wheel wills

Q: Are you going to merge Min and Elayne? A: Hell no

Q: First moment you were speechless on set? A: First time walking into Emond’s Field with my mom

Q: Is mat fluent in the old tongue yet? A: We’ve had a couple cast members speak in it already and they NAILED IT

Q: Which character has your favorite costume so far? A: Ooo this is tough. Probably Geofram Bornhald.

Q: How is the cast and crew weathering the pandemic? A: Our team in Prague did an amazing job of getting everyone out and keeping them safe. And now everyone’s home and we all live on Instagram.

Q: Who is your favorite Forsaken? A: Ahhh. I love the ladies. Graendal, Lanfear, Moghedien. And Ishamael holds a special place in my heart the more time I spend with him

Q: What’s been your favourite shooting location so far? A: Slovenia! Spectacular stuff there

Q: Yes or no. Have you had to make any cuts be it a scene or character, that has been painful for you? A: Yes.

Q: How are you planning to handle the visualization of the weaves? Any little tidbits? A: We are trying to stay as true to the books as possible. I’ve been giving a bunch of VFX folks long diatribes about channeling, weaves, threads, earth vs. air, etc and they early stuff has started coming in. It looks FUCKING AWESOME. I screamed when Rosamund started channeling

Q: Similar to Them performing in an old Inn, what other iconic moment filmed stands out to u? A: Rand and Tam walking through the Westwood

Q: Blink twice if Min is in season 1. A: 😉😉

Q: Will Jeff Probst be one of the Aiel? Can you make some calls? A: If he dyes his hair red 😉

Q: Which WOT book title best describes your self isolation experience? A: A Memory of Light…

Q: Can we expect a trailer for the show anytime soon? A: Probably not for a long while sadly.

Q: Can you guys do a big WoT Wed announcement during the hiatus to keep all us fans hyped instead of al A: Yea! It would cheer us all up and we have some fun news

Q: Is Lan going to be as much or an absolute stud in the show as he is in the books? A: You’ve seen @danielhenney right?

Q: If you were an Aes Sedai, what Ajah would you choose? A: Such a good question. They all have merits but GREEN for the win. If only to hang with @priyankabose20

Q: Will we have to wait till season 2 to see any Aiel? (Other than Rand)

A: Nope. And the one you see will shock you. Hah. Amazon shouldn’t let me be on here when I’ve been cooped up for a week.

Q: RJ writes a lot of internal headspace stuff. What’s 1 hint on how the show will handle that? A: That’s the biggest difficulty of any novel adaptation. Figuring out how to make the internal monologue come out clearly to the audience. A lot of the changes we make and stories we tell differently are designed to serve exactly that purpose – showing you what those characters internal monologues from the book are without them just saying it out loud in exposition

Q: Are you using taller actors to portray the Aiel, or camera trickery? A: Trying to get tall folks. But I’m less concerned with height and more concerned with acting ability.

Q: Since JordanCon was cancelled, can we maybe get an extra treat next month? A: Sure! What do you want?

Q: Do you have a favorite Wise One? A: Avi

Q: How many trollocs do I have to take out to become a writing assistant? A: Violence is never the answer

Q: What would you say the CGI to practical ratio is going to be? A: Tring to do as much in camera as we possibly can!

Q: How are you handling sword forms and their names? A: We have a for real sword master on the show who walks into every room and tests out everything as a weapon. He could most definitely kill me with any item in my office.

Q: How are the horses on set? Is Mandarb spectacular? A: They are so great. Honestly I love our horses. Mandarb and Aldieb are downright sexy

Q: When will we get more casting announcements to hold us over? A: I’ll try to get them to put out something soon. A lot of folks in all departments are affected by the state of the world right now though, so I can’t promise a timeline

Q: will we see the prologue from the Eye of the World on screen in season 1 A: You will hear that phrase

Q: What has been your favorite set so far? A: Fal Dara!

Q: Please tell me you’ve cut Narg!! A: Never!!

Q To what extent has Harriet McDougal been involved with the project? A: She’s a consulting producer so she’s been out to Prague to the sets and reads all the scripts and sends me her notes on them. She and Maria are hugely helpful for maintaining the truth of the series and always keep me honest when it comes to things that change too much

Q: Is any aspect of the show still in development, or has it all stalled because of the virus? A: A lot can be done virtually! I’m still doing VFX, editing and the Season Two Virtual Writers Room! And I can do it all in pajamas

Q: Will min, elayne, and avienda have to be combined into a single character?

A: Girl you crazy. I’m not going to combine huge characters like that. Maybe sometimes a minor character folded into a more major one to make better use of our cast but nothing nutso

Q: RJ created 1000’s of character. Given that did you feel the need to create new characters? A: Anyone “new” is inspired by characters in the books or a number of characters combined. If we paid to cast all speaking roles in the book we could only afford to have a radio play

Q: So far, what is your favorite prop in the show? A: Great Serpent Ring. We all want one.

Q: Will Loial portray the Ogier species, or will he be humanised for screen? A: He’s an Ogier!

Q: How involved, if involved at all, is Sanderson in the writers room? A: Brandon is hugely helpful. I talked to him before we started Season Two while he was in Prague to get advice and he reads all the scripts and gives notes. He’s incredibly thoughtful and understands the process of adaptation and what’s required from it. I feel so lucky to have him involved. I would have him do more if I could make him!

Q: What words of hope would you offer a fan afraid that the show will cut out a lot of content? A: I genuinely think we are cutting less than most people think. When I see people ask questions like “are you cutting Min?” It blows my mind. I don’t know how you do an adaptation without some of these characters. I think it’ll be more of the smaller stories you’ll miss. We can’t have Rand and May (sic) travel to many many inns on their travels across the countryside for instance. It’s just not producible. So that will be more of what you miss I think, and the books always exist to read for that 🙂

Q: I think Bella is such an important character, will the same horse play bella through the series A: We’ve already had to have two Belas. It turns out a horse for riding on film is not the same as a horse for pulling a cart and SHE MUST DO BOTH

Q: Can you please make sure you do a great job? Book are so great A: This is are a really good idea

Q: Now you’ve met them, settle the score: who’s better with women? Rand, Mat or Perrin? A: I think they’d all say it’s the other

Q: Will the show be understandable for those who didn’t read the books? A: That’s the idea. If there are little things they don’t get though, luckily google exists

Q: Who is your favorite Aes Sedai in the books? And you can’t say Moiraine/Siuan or the Wonder Girls A: So many rules. I honestly love all of them though (except Galina that bitch) Alanna Liandrin and Verin are probably my Top 3. And Siuan! There’s too many I love. Sheriam! Pevara!

https://www.wotseries.com/2020/03/22/show-runner-rafe-judkins-does-an-ama-on-instagram/

#Wheel of Time #The wheel of Time #Rafe Judkins #answers questions #WOTonPrime

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dweemeister · 4 years ago

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Flower Drum Song (1961)

M*A*S*H and Star Trek: The Next Generation have long been television favorites of mine. My parents introduced me to both shows – fixtures in American entertainment as Vietnamese refugee families fled to and renewed their lives in the United States. The writers of M*A*S*H, a show set during the Korean War, did not make it a secret that the show mirrored American involvement in the Vietnam War. M*A*S*H understandably focused its attention on its mostly white doctors, nurses, and non-coms. But from time to time, the show railed against war’s horrible effects on the local populace, on whose land such bloodshed is waged. In these episodes, M*A*S*H always cast Asian-American actors of varying ethnicities to play the Koreans (the value of these depictions of Koreans varies, but it is evident the all-white writing staff gave their best effort to portray Koreans in their full humanity). For a show that aired from 1971-1983, this was a radical decision as yellowface was still a widely-accepted practice in Hollywood. Star Trek, in its various incarnations, has espoused “Infinite Diversity in Infinite Combinations” from its inception. Numerous Asian-American recurring actors and guest stars of these shows have appeared in these shows I cherish (and many others) for decades. My memory flows with many of their faces and voices, even if I do not recall their names.

Adapted from C.Y. Lee’s novel of the same name, Richard Rodgers and Oscar Hammerstein II’s musical Flower Drum Song debuted on Broadway in 1958. The musical resembled nothing currently on the Great White Way, with an almost entirely all-Asian cast. Yet this musical still caused consternation. Some Asian-Americans expressed their rightful disapproval towards Rodgers and Hammerstein’s patronizing dialogue and racially insensitive characterizations. For this film adaptation by Universal (this is the only Rodgers and Hammerstein film adaptation without 20th Century Fox’s involvement), screenwriter Joseph Fields – who collaborated with Hammerstein on Flower Drum Song’s book – made major adjustments in order to stem controversy. Fields rearranged the plot and soundtrack and, most importantly, rewrote more than half of Flower Drum Song’s dialogue in order to accomplish a more respectful (if still imperfect) portrayal of all the musical’s characters.

The reworked Flower Drum Song attracted a star-studded Asian-American cast. So many in this cast are actors and actresses I have known only through their guest or recurring television roles, maybe the odd extra in a movie. To see them act in non-denigrating roles, sing, and dance in a major Hollywood studio feature film was revelatory. I admit, while viewing Flower Drum Song, feeling pangs of frustration over how Hollywood’s structural racism precluded too many in this cast from stardom. But that frustration was overcome by joy – a joy in seeing these Asian-American actors display their talents in a fashion I, even in 2020, long to witness. Though still constrained by Rodgers and Hammerstein’s stereotypical views towards people of Asian descent, Flower Drum Song is a unique cinematic experience.

Mei Li (Miyoshi Umeki) and her father, Dr. Han Li (Kam Tong) have stowed away on a ship carrying them from their home in China to San Francisco. The Lis are here to complete Sammy Fong’s (Jack Soo) request for a mail-order bride. Sammy is the slick-talking owner of the Celestial Gardens nightclub, who just so happens to be in a relationship with his principal showgirl, Linda Low (Nancy Kwan). So when the Lis arrive at the nightclub, Sammy realizes the pickle he has put himself in. In his attempts to dissolve the marriage contract, he has the Lis take up residence with the Wang family – including patriarch Wang Chi-Yang (Benson Fong), Master Wang’s sister-in-law Madame Liang (Juanita Hall, a mixed-race actor of African-American and Irish descent, in yellowface), eldest son Wang Ta (James Shigeta), and younger son Wang San (Patrick Adiarte). Secretly, Sammy has convinced Madame Liang to allow Mei Li to fall naturally in love with Wang Ta. Meanwhile, Linda is flustered with Sammy after learning of his mail-order bride plans. They separate, and she soon begins to start dating Wang Ta. Wang Ta is also the object of affection of childhood friend and seamstress, Helen Chao (Reiko Sato). If you could not guess by now, the plot of Flower Drum Song revolves around complicated relationship polygons.

Actors also appearing in this film are Victor Sen Yung as the Celestial Gardens’ emcee, Soo Yong as Madame Yen Fong (Sammy’s mother; this role was to be played Anna May Wong, but she died before production began), and James Hong as the head waiter at the Celestial Gardens. Virginia Ann Lee and Cherylene Lee play Wang San’s girlfriend and the Wang family’s youngest daughter, respectively.

In this rewriting of Flower Drum Song, screenwriter Joseph Fields, there is a greater focus on generational conflict. This film adaptation is unclear when the story takes place. But by looking at some of the technology and mannerisms, I will guess sometime after World War II, probably the 1950s. In this rendition of San Francisco’s Chinatown, first-generation Chinese immigrants live alongside the second and third generations. This mix creates a tension that permeates across the film – from how characters dress, behave in public (if they even go out in public) and private settings, and most notably romantic expectations.

The depiction of this tension is simplistic: those are not American-born uphold as many traditions as they can; those who are American-born are “Chinese” to some extent, but mostly do not think much about Chinese traditions. You are either assimilated into American society or not, says Flower Drum Song – a troublesome generalization that persists in Asian-American subgroups whose history in the U.S. is not as long as Chinese-Americans. But, in a rare instance for a Golden Age Hollywood film, Fields assures that this adaptation does not mock the first generation for not being as “American” as they could possibly be. Assimilation is on the terms of the characters, not contrived societal norms. Another anomaly in Flower Drum Song: the younger generations are assertively American, rather than offshoots of their elders. The younger generations’ unaccented English, wide range of characterizations, and their incidental Asianness (in that they do not feel the need to announce their Asian or Chinese heritage to others or to the audience) is unusual for the time in which this film was released. At the very minimum, Flower Drum Song tries to normalize Asian-American personhood. When the film fails to uphold that, it is mostly because of preexisting issues. In those instances, Fields cannot write his way outside how Rodgers and Hammerstein had already presented Flower Drum Song on the Broadway stage without compromising the duo’s artistic intent.

Many of the actors involved are not Chinese-American, but the performances are sincere, whether comedic or dramatic*. Having seen only a few of his works, I now wonder whether James Shigeta was just so naturally charming. As the go-to Asian-American romantic lead in Hollywood (not that he was cast in such a role often), his performance is seamless, appearing almost effortless. The same could also be said for Nancy Kwan, fresh off her well-publicized cinematic debut in The World of Suzie Wong (1960). An alumnus of the Royal Ballet School in London, Kwan also shows off her fancy footwork multiple times. Kwan’s dancing mastery is without question and, paired with choreographer Hermes Pan (best remembered as Fred Astaire’s principal choreographic collaborator), showcases her talents. As Mei Li, Miyoshi Umeki is slightly hamstrung by her role’s characterization. Yet as one of two actors who reprised the role they originated on the Broadway stage (along with Juanita Hall as Madame Liang; Jack Soo also appeared on Broadway, but switched roles), I was convinced by Umeki’s emotional fragility and shyness – all this for a character who has just arrived in a foreign land, bewildered by what she sees.

For the M*A*S*H fan in me, there is a special delight seeing Jack Soo and Patrick Adiarte here. Soo, best known as Det. Nick Yemana in the sitcom Barney Miller and for his distinctive face, is the natural comedian in the cast. His delivery – physically, verbally – is fantastic in this film. Adiarte, who also starred as Prince Chulalongkorn in The King and I (1956; I had not made the M*A*S*H connection when I watched that film four years ago) has a solo dance number (“The Other Generation”) in Flower Drum Song that I was floored by due to his athleticism.

As lead choreographer on Flower Drum Song, Hermes Pan directs several dancing segments for the film, each one markedly different from the other. The three most notable dance numbers are “Grant Avenue”; “Fan Tan Fannie”, “Love, Look Away” (the first two include Nancy Kwan; the other includes Reiko Sato and James Shigeta). Alongside the production design by Alexander Golitzen (1940’s Foreign Correspondent, 1960’s Spartacus); Joseph C. Wright (1942’s My Gal Sal, 1953’s Gentlemen Prefer Blondes); and Howard Bristol (1940’s Rebecca, 1959’s Anatomy of a Murder) and the costume design by Irene Sharaff (1951’s An American in Paris, The King and I), the dances are built for Technicolor – even though the film’s Chinatown looks too obviously like a soundstage construction. The abstractions in “Love, Look Away” offer the best example of this choreographic-production design-costuming collaboration. The use of empty space, props suggesting physical divisions and other people, and the enormous dreamlike atmosphere position the scene to be a cinematic manifestation of Helen’s unrequited love for Wang Ta (notably, the dancing segment uses the melody of a song not sung for Helen, but for another). In its ethereal beauty, “Love, Look Away” is a marvelous several minutes of cinematic dance – appearing in a decade where such scenes would only become more rare.

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The order of the Rodgers and Hammerstein songs has been rearranged drastically from the original Broadway production; one song (“Like a God”) was dropped entirely because Universal’s executives, “feared that a number in which a Chinese American man compares himself to a god might offend audiences in the American South.” Whatever. The exclusion of “Like a God” does not affect the film much, as this adaptation of Flower Drum Song is a substantially different creature than the stage version. Owing to the performances, the two most notable songs of the musical carry over to the movie. The self-assured anthem “I Enjoy Being a Girl” (Nancy Kwan dubbed by B.J. Baker; Kwan did not protest the dubbing, despite the fact she could sing) may not contain Kwan’s singing voice, but it does boast her charismatic performance. In the film’s second half, “You Are Beautiful” has Shigeta’s and Umeki’s acting complement the former’s tender singing. But most of the songs – including two of the dance numbers when not considering the choreography (“Grant Avenue” and “Fan Tan Fannie”) – fail to leave an impression. Having Juanita Hall sing “Chop Suey” (an American Chinese dish) underlines the irony of having a non-white actor play someone of Asian descent.

In the Rodgers and Hammerstein repertoire, Flower Drum Song is among the least performed of their musicals. A 2002 revival with copious revisions remains the only production outside the musical’s Broadway and West End debuts – Flower Drum Song has not been on tour since the 1960s. It may not compare well musically, lyrically, and dramatically to Carousel, The King and I, or South Pacific, but it is miles better than the likes of State Fair. But the original production of Flower Drum Song, as written, is now considered offensive to contemporary sensibilities. As the preeminent musical theater compositional duo of their day (I would argue that they are the best in the medium’s history), Rodgers and Hammerstein – through The King and I and South Pacific and Flower Drum Song – intended through their stage musicals to break down the racial barriers that they abhorred. All three of these musicals incorporate ethnic and racial stereotypes that can never be stricken entirely from their film adaptations and subsequent musical revivals. Rodgers and Hammerstein’s intentions are well-meaning in their advocacy for cross-racial understanding, but their messages are muddled. Their work reflects a lack of racial sensitivity, at best.

The 1961 film adaptation of Flower Drum Song is the first major Hollywood studio movie to have a significant number of Asian-Americans as credited cast members since Go for Broke! (1951; a WWII film dramatizing the service of the 442nd Regimental Combat Team). Flower Drum Song ups the ante over Go for Broke! as it has an almost all-Asian cast – a feat not replicated again until The Joy Luck Club (1993) and then Crazy Rich Asians (2018). The environment in 1950s and ‘60s Hollywood excluded Asian-Americans in front of and behind the camera, so I can understand why there are only two films from that era with a majority-Asian cast. But I grade on a temporal curve. There is no excuse in modern Hollywood for the twenty-five-year separation between almost all-Asian casts. Are we to expect that the only Hollywood movies with nearly all-Asian casts/majority Asian casts in the future will be the sequels to Crazy Rich Asians?

For the longest time, Flower Drum Song was the one major Rodgers and Hammerstein musical I knew least about. I suspect, of the duo’s musicals that have been revived, it is the one in their repertoire that even self-professed theater buffs are least aware of. Being the only Rodgers and Hammerstein musical not distributed by 20th Century Fox does not help. Nor does the fact that its last home media release was on DVD in the 2000s. In 2008, Henry Koster’s Flower Drum Song was inducted into the Library of Congress’ National Film Registry. That honor marks the film as integral to the history of American cinema. As the constant writing of American cinematic history continues, as audiences become attuned to the history of non-white individuals in Hollywood, perhaps more people will see the importance of this movie. What would have happened if James Shigeta, Nancy Kwan, Miyoshi Umeki, Jack Soo, and their other co-stars were offered the same quality of opportunities of their white colleagues? We will never know. But Flower Drum Song can help the viewer envision the answer.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* My sister will tell you that she does not believe that anyone in this film’s love polygon has a genuine mutual love. I agree. Mei Li’s love for Wang Ta appears genuine, but that is the extent of it.

#Flower Drum Song #Henry Koster #Nancy Kwan #James Shigeta #Miyoshi Umeki #Jack Soo #Benson Fong #Juanita Hall #Reiko Sato #Patrick Adiarte #Richard Rodgers #Oscar Hammerstein II #Rodgers and Hammerstein #Joseph Fields #Russell Metty #Irene Sharaff #TCM #My Movie Odyssey

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a-man-for-hire-and-his-archives · 4 years ago

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A New Gamble: Rupert Penry-Jones on Getting to Know You

“I feel my whole life has been one big gamble from the moment I chose to become an actor. I feel the buzz of getting a job is the same as winning the jackpot.”

Getting to Know You, available on demand November 24, is a poignant, touching romantic drama that hinges on a “faking dating” plot. Two strangers, Luke (Rupert Penry-Jones) and Abby (Natasha Little), meet cute in a small town hotel lobby and find themselves spending much of a weekend together. He has just left a high school reunion where he tried, unsuccessfully, to reconnect with his ex, Kayla (Rachel Blanchard). She has just arrived to attend her estranged brother’s funeral. Luke and Abby are each lonely, restless, and anxious for some company. Things get complicated, however, when a drunk Kayla turns up in Luke’s hotel room, hoping to seduce him. He refuses to get involved with her because she is married with two kids. He asks Abby to pose as his wife to extricate him from this uncomfortable situation, which she does.

Of course, the situation spirals out of control, and Abby finds herself posing as Luke’s wife as the weekend unfolds. In thanks for her support – and because he wants to spend more time with her – Luke escorts Abby to her brother’s funeral and helps her pack up some things from her brother’s house. The two strangers are undeniably attracted to each other, only they can’t act on it. Abby, like Kayla, is married with two kids. Luke insists he is a gentleman.

Penry-Jones gives a fantastic performance as a man unable to succumb to his desires. He gracefully handles the awkward situations Luke faces, and displays some real comic timing during some of the film’s sillier moments. But it is the way Luke looks at Abby – wistfully, longingly – that makes his performance standout. When Penry-Jones, finally lets down his guard and is aching at letting Abby get away, he is especially moving. Likewise, when Luke coaxes Abby to tell him how she feels, his reaction is quietly powerful.

Getting to Know You is a change of pace for the actor, who frequently works on British TV series (MI-5, Black Sails, The Strain) and period costume drams (Vita & Virginia, A Little Chaos, The Four Feathers). Penry-Jones spoke with Film International about his new film.

Gary M. Kramer: Getting to Know You opens with Luke making the best of an awkward situation he finds himself in. Over the course of the film, he finds himself in a series of awkward situations. He displays patience and kindness. But Luke also has a moral code – he won’t be a homewrecker. What observations do you have about his character?

Rupert Penry-Jones: He has this high school sweetheart [Kayla] he’s come back to see, and she gets too drunk and he can’t follow through with it. And he’s met this lovely lady [Abby]. A lot of men would go for whatever is available with two beautiful women who are potentially available. But he realizes Abby is a very special woman, and he wants to go down whatever road she needs him to. I think that is quite honorable. I think he’s very lost and lonely. He’s been away from home, and when he was at home, it wasn’t much of a home for him. Abby is in a loveless marriage and going through a difficult time. He has woken up, middle aged, and realized he has nobody. They are desperately finding a way to belong and find someone to love.

GMK: I like that Getting to Know You is not about getting the one that got away, it’s about finding someone to love. It is also about taking risks and making a sometimes public declaration of love. What are your thoughts about putting yourself out there? You do this as an actor

RPJ: Personally, I’m not very good at taking that many risks. I play it quite safe. I like to have backups. Whenever friends talk about gambling or I get invited to go to the horse races, I have absolutely no desire to gamble. I feel my whole life has been one big gamble from the moment I chose to become an actor. I feel the buzz of getting a job is the same as winning the jackpot. It’s a similar adrenaline rush. I’m too English for big declarations for love I’m afraid [laughs]. In a movie, I love it. I love extreme emotions in a movie – throwing myself at the feet of the woman I love or killing someone who has crossed me. I love that opportunity to push emotions as far as you can. But in real life, I’m pretty English and pretty controlled.

GMK: Luke admits to making stupid decisions in his life. How do you cope with bad decisions?

RPJ: I try to let them go, but they do sit with me. Everyone actor has that one job they nearly got but didn’t that could transform their careers – turned us into movie stars, or earned us an extraordinary amount of money, but didn’t. Generally, with regret, you have to look at the life you have – it’s easier for some than others. You have to be grateful for what you have and see all the wonderful things you do have instead of focusing the things you don’t. And think of the wonderful things that have happened to you instead of the things that haven’t. Everything happens for a reason – I do believe that. When I don’t get a job I want, in that gap, when that job would be happened, something else happens that wouldn’t have happened. When something good gets offered to you, I think – what’s the catch? I always think there’s a catch.

GMK: I am curious about your penchant for physical humor. There is a scene in the film where Luke trips going up a flight of stairs that I love – it’s unexpected, but completely in character. The physicality Luke has with Kayla is also fantastic. Can you talk about that aspect of the film?

RPJ: I threw in falling up the stairs without telling them. They thought I hurt myself. I wish I had done it coming down. It would have been funny to do it coming down as well. I don’t get the opportunity to do much comedy, or physical comedy. I would love to do more. I really enjoy it. But it has to come in the moment. I was going up the stairs in rehearsals so many times I thought I should slip something in.

“In a long term relationship there is always someone who lays down the law.”

GMK: It is heartbreaking that Luke falls for Abby but cannot act on his desire. In what ways are you a “romantic,” or a “gentleman”? He wasn’t looking for love and that’s why he finds it.

RPJ: He was surprised by it. He’s so wrapped up in own world and the disastrous evening he had. They fall into each other’s lines of life. What’s romantic about him is that none of it is premeditated. He doesn’t set up a scenario where he woos her. He’s honest with her and genuine and they find themselves in these situations which come organically, rather than are forced. That’s the kind of romance I like. The idea of on Valentine’s Day booking a restaurant and having a bunch of flowers – that sort of romance is not something I’ve never been able to do. I’m not very good at it. Could be because I am an actor, and I’m always having my props prepared. My marriage [his wife is actress Dervla Kirwan] was a very small affair. The idea of dressing up and people taking pictures of us and applauding us as we walk into the room – for me, that would be like a day at work. I can’t think of anything worse than having someone dress me up. My wife’s the same; having someone doing her makeup and hair…Literally, that’s what we do every day at work. We did the opposite. I find I do the opposite of what a romantic thing would be. I’ve never been very good at the planned romantic gesture. It has to come in the moment.

GMK: I liked Abby’s speech about marriage. What observations do you have about relationships?

RPJ: My parents were both actors, so one would be away working when the other was at home, and vice versa. That constant shifting roles of being the main career helps level out the relationship if you have children. In my relationship, there’s not one of us who is at home all the time and not one of us who is at work all the time. We’re both bringing the money, so it’s all very even on that level. The more it can be even, the better, but it never is, I suppose. In terms of control of emotion, I don’t know, but in a long term relationship there is someone who lays down the law. It’s always changing with my wife because one of us is away and one is at home, but we are rarely at home together. With COVID, what was positive was being able to have break from the ambition and desire and competitiveness of being an actor waiting for the phone to ring. It was us together living in a house and being together.

GMK: I think the strength of your performance is in the way Luke hides his quiet despair. Can you talk about playing/portraying that?

RPJ: He knows what he wants is not really possible, so he is trying to do right thing and be the good man. There is wonderful woman in front of him, and he just wants to spend every minute he can with her without crossing the line. She has that lovely speech where she says she wants to sleep with him but is there anywhere they can where we’re not going to sleep together? It’s very funny that the woman lays her cards on table in very bare way. I think everyone finds themselves in situations where they have to check themselves and walk the right side of the line. That’s what he is trying to do no matter what his desires are.

GMK: It’s like Brief Encounter. What can you can about developing the relationship with your co-star? There is a palpable chemistry between you because we want them to be together.

RPJ: They are both into each other, and yet they are both denying themselves, and yet they are both loving each other’s company and prepared to do what the other needs so they can be together. We got on well as two actors, so it was easy to slip in and out of those roles. It was a strange experience because the film takes place in the downbeat hotel where the film was set. We were living in hotel where we were shooting. I’ve never done that before – shot in the place that I lived in.

GMK: Let’s talk a bit about your career. I first took notice of you in Virtual Sexuality, a zany teen film. I’ve since seen you in Cambridge Spies and other projects such as Vita and Virginia. You frequently play in TV series and costume drama. What are your thoughts about your career? Luke is not a role I’ve seen you play before.

RPJ: That was a reason why I wanted to do it; it’s not a role I’ve done. And to have a crack at American accent. That’s been a problem – I felt like I couldn’t act through it, that [the accent] would get in my way. So, it was great to play a role to do that. Even Brits struggle with period accents to make them sound real and not a put-on voice. I am very keen to do anything that stretches me and slightly scares me. A lot of the time as an actor, you get offered what you’ve already done before, and you can do it standing on your head. There is a certain range and most of the time you not offered parts outside of it. You fall into boxes. Getting to Know You was fun; it was comedy, an American accent, and I don’t get to do many of those. It ticked all the boxed.

These things come along at the right time and you just go for it. I’d like to do another heroic spy saving London every week kind of role. I loved doing MI-5. It was a high point in my career.

GMK: Have you ever met someone in your life who has had a transformative effect on you?

RPJ: My wife. We met doing a play. I nearly turned it down, and my agent talked me into the experience I nearly didn’t do it. And I ended up with a wife. Also, there was an English teacher who took me aside when I was 13, and said, “I hope you’re auditioning for the play.” It was The Tempest. I went because he forced me to. That was the beginning for me. He had a big impact on my life. After that, I was in everything.

Gary M. Kramer writes about film for Salon, Cineaste, Gay City News, Philadelphia Gay News, The San Francisco Bay Times, and Film International. He is the author of Independent Queer Cinema: Reviews and Interviews, and the co-editor of Directory of World Cinema: Argentina, Volumes 1 & 2.

Source: FilmInt.nu

#rupert penry jones #getting know to you #interview #special for fans can't access website

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heliotrope-r · 5 years ago

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"Missing women” and The Mandalorian

Ever since the first episode of The Mandalorian aired I’ve been hearing female (and some male) fans expressing disappointment that it doesn’t feature more speaking roles for women. In fact, we’re three episodes and nearly 90 minutes into the series now, and the only woman we’ve heard speak is The Armourer.

Is this evidence that Star Wars is walking back on its attempts to be more inclusive, and giving in to the loudmouthed trolls who called The Last Jedi “SJW propaganda” and can’t hear Rey’s name mentioned without sneeringly dismissing her as a Mary Sue? Is The Mandalorian trying to please a certain subset of male fans who feel threatened by female characters unless they’re damsels in distress, mother figures, sexy props, or otherwise incidental to a male hero’s story?

I get why people are worried about this, I really do. I care a lot about seeing interesting, well-rounded female characters on screen, and stories that not only include but show genuine respect for women’s points of view. I’m tired of seeing the importance -- and even the existence -- of women minimized in action-adventure franchises that take place in far-off fantasy realms or other made-up universes that could theoretically be anything the writers want, but depressingly often just end up catering to a male gaze and ignorant sexist attitudes. If I thought The Mandalorian was going to be one of those stories, I’d be upset too.

But frankly, I’ve seen no evidence that this show holds women in contempt, or has any lasting intention of preventing them from taking a central and indeed crucial role in the unfolding story. In fact, given the slant of the show so far, I’ll be highly surprised if well-drawn female characters don’t turn out to be extremely important to The Mandalorian’s plot and its hero’s character arc later on.

It’s been said that there’s no reason that all the speaking roles but one in the first three episodes had to go to men, and that so many of the background characters are male as well. But consider the nature of those roles. We start the show on a barren ice planet in a bar full of callous, profiteering, highly unpleasant-looking aliens, at least three of whom Mando ends up killing to retrieve his bounty. Would any of those be positive roles for women? How about the craven, chattering, rather annoying fish man he’s been sent to capture, or the grouchy but talkative speeder driver who takes them to Mando’s ship? Would we be happy to see our female speeder driver abruptly devoured by a hideous monster, or watching Mando ruthlessly shove our female bounty into a carbonite chamber and freeze her solid? How would that change our feelings about the show’s attitude to women, and our perception of The Mandalorian as a hero?

After that point, nearly every human or humanoid character Mando interacts with except Kuiil is involved in criminal activity or some other kind of bad behaviour, and many of those people end up getting threatened or violently killed. Would we want those roles to go to women? Admittedly, Kuiil could have been a woman (and interestingly enough he’s physically played by one, albeit with Nick Nolte’s voice) but he’s also an alien living alone on a desert planet, and a female Kuiil’s scenes wouldn’t even pass the Bechdel Test. It’s representation of a sort, but not one that says a lot about women.

The one speaking female character we do have is The Armourer played by Emily Swallow, an Athena-like figure in distinctive armour who is a skilled blacksmith and clearly a leader (if not the leader) of our hero’s Mandalorian clan. Her voice makes plain she’s female, but she’s not sexualized in any way, and her role is one of dignity, wisdom and power. So whatever the show is up to by keeping female characters to a minimum, treating them as incompetent or merely decorative is not part of that plan.

So what is the plan, you ask? What makes you think the writers and directors of The Mandalorian actually care about women and want to make the female perspective a significant part of the story, and that The Armourer isn’t just a token role to keep their misogyny from being too blatantly obvious?

First, as I’ve already said, the show so far has been full of brutality and death, but not one of the characters committing or suffering that violence so far has been a humanoid female. If the showrunners considered women disposable or casually interchangeable with men, there’d be no reason not to have visibly (or audibly) female bounty hunters, ex-Stormtroopers, or other characters getting killed by Mando in the course of the story. But that hasn’t happened. And I don’t think it’s because the showrunners were so stupid it never occurred to them that they could include female extras, either. It’s because they knew that seeing the Mandalorian committing multiple acts of casual violence against women, even women who are heavily armed and coded as evil, would make it hard for viewers to see him as a hero.

Second, we have women behind the scenes of this production in ways we normally don’t expect to see. The most recent, much-praised third episode “The Sin” was directed by Deborah Chow -- the first woman ever to direct a live-action Star Wars story. And as I mentioned above, Kuiil’s body movements were all performed by a woman, Misty Rosas. Was this accidental? Hardly. It’s evidence that the showrunners are looking to include women, and not just default to male crew and performers out of laziness.

Third, look at all the planets The Mandalorian has taken us to so far. What do they all have in common? They’re completely barren. No greenery, no beauty, and the few creatures we see are monstrous and even murderous. With that in mind, doesn’t it seem like the absence of significant female characters might be saying something about Mando’s life and experience at the start of his journey? Could it be that we’re meant to notice that something important is missing, that the present state of his universe is unhealthy, unfruitful, and out of balance? And because we’ve noticed that, we’re going to also notice the introduction of female characters to the story, and appreciate the difference they make, all the more when they finally show up?

And they are going to show up. We already know that Gina Carano, Ming Na-Wen, and Julia Jones -- all women, and none of them white -- will be playing significant, speaking, recurring roles in the upcoming episodes. We’ve also seen a promo pic that shows Mando with both Julia Jones and Gina Carano beside him and no other male characters in frame, gazing peaceably out together at a green, living, healthy landscape. That’s not an accident. Mando’s life without women is barren and brutal; his life accompanied by women is peaceful and pastoral. What does that say about the showrunners’ attitude to women?

Okay, you say, but they didn’t have to write the story that way. They could have written a different story that included women in positive, speaking roles from the beginning. You’re right, they could have -- but it would also have been a totally different story. And not necessarily, in the long run, one that does a better job of portraying and representing women than The Mandalorian is planning to do.

The tl;dr of all this is that after watching the first three episodes, even as someone who cares deeply about the portrayal of women in Star Wars and wants to see as many complex, interesting female characters on my screen as possible, I don’t feel any reason to despair or jump to negative conclusions about The Mandalorian's treatment of women.

In fact, I see plenty of reasons to believe that the show is sneakily working to undermine the prejudices of the same crusty-white-male demographic that many are accusing it of trying to indulge. It’s reeling fandudes in with a setup that looks like a macho power fantasy only to subvert that perception at every turn, as our Mandalorian hero sets out to put another few notches on his blaster and win a cool new set of armour only to end up having to negotiate peacefully for what he wants, learning to parent the cutest baby in the universe, working in community instead of trying to be a lone wolf, and forming the most meaningful working partnerships, relationships and rivalries of his life with women.

#The Mandalorian #Mandalorian S1 spoilers #my meta

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countdown-to-destruction · 5 years ago

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Inuyasha Sequel: a rant

Put this up this earlier on a post I re-blogged, tried to edit a part or two where I didn’t like the way I had phrased it, and ended up messing up the whole format I wrote this in. Luckily I wrote this as a draft earlier anyways! So I did a some fixing and now I’m just copy-pasting it again and making it a text post instead. This will be very long and a little nit-picky but I wanted to make a post ever since I heard about the upcoming sequel to Inuyasha, Hanyō no Yashahime. I did put a TLDR at the end for those who don’t want to read everything. Not sure how many people in the fandom still follow me and will see this, as it's been a long time since I was actually active in the fandom, but it's hands-down both my favorite manga and anime of all time and I’ve been feeling nostalgic lately so I had to post something. Before reading this be sure to read all of the translated character bios for Towa, Setsuna, and Moroha so that this makes sense.

When I first heard that Inuyasha would be getting a sequel I was excited! But after reading up on it, to be completely honest I'm not feeling this sequel anymore. I know it’s an unpopular opinion but hear me out. Firstly, it seems like Rumiko is mostly involved in the character design aspect and the writing is up to Katsuyuki Sumisawa. The music will be produced by Kaoru Wada which is great! And from what I’ve seen and read online a number of others who worked on the original series will reunite so hopefully the story will go well. However, knowing Rumiko isn't personally writing and not knowing how much input she has or will give makes me unsure about watching. The original Inuyasha anime followed and was based off of the events in the manga, and there was no manga prior to this for it to be based on. Depending on what happens this could be an alright sequel or a total miss. Unfortunately sequels in general are known to be disappointing in some way.

Secondly, if I hear anything about Rin being the mother of Sesshomaru's twin daughters I'm out. This part will be a SUPER long and in depth explanation on why I think this way, feel free to skip if you're not interested. Please don't come for me on this, I'm here to explain my thoughts and feelings on the sequel and the theories around it so far, not start an argument. I'm more than aware that there's plenty of controversy out there on this pairing and personally I do not support it. I never saw their relationship as more than a friendship, or something akin to child and guardian as Sesshomaru and Jaken are basically Rin's caretakers up until she goes to live in the village with Kaede. He definitely cares for her deeply but I can't see it in a romantic way, being that Sesshomaru isn't even a character focused on romance to begin with. He learns compassion through Rin's second death but that doesn't mean he loves her romantically. As a reminder his main goal is to seek power and be powerful, and it's stated that he needed to learn compassion and grief in order to mature. It's what helped him learn to wield the Tenseiga at its full potential. In addition, she was really young when they first met and still was when she went to live with Kaede. The idea of Sesshomaru (an adult) having romantic feelings for a kid under ten years old (around eleven at the end of the series, and still a literal child in all ways) and waiting for her to age with the intention of marrying her sits totally wrong with me. Age wise I realize that Inuyasha is decades older than Kagome and that his father was much older than his mother, Izayoi, as well. The difference here is that Kagome was a teen when she met Inuyasha (who not just physically, but more importantly mentally was also a teen) and clearly Izayoi was old enough to conceive Inuyasha and give birth. As far as the audio dramas (more specifically "Asatte") go they're generally considered as an outtake reel and are essentially parodies, or a form of satire. Some will debate on this but realistically there’s plenty of reasons this is true, and those who take the time to properly check them out understand that. For me I've always had a headcanon that at some point in her teen years Rin would inevitably develop a one-sided crush on Sesshomaru and that he would ultimately set boundaries and reject her, seeing her as more of a close companion than a love interest and wanting her to live with someone she can grow old with. He gave her the choice to follow him and it's most likely that she would, but I think that once she began aging he would want her to have somewhere to settle, given that he enjoys roaming and seeking out other powerful beings to battle. It's strange to me that they decided to give Sesshomaru hanyō/half-demon children in general but based on the artwork we've seen it's fair to guess that they might have made Sesshomaru and Rin a pairing in this sequel.

IMPORTANT NOTE: I want to clarify that if you ship them together I'm not writing this here because I want to hate on your ship for no reason, or in order to create an argument on if the pairing makes sense, these are my thoughts and opinions on the matter and I’m voicing them because it’s what I believe. I already know that somebody won’t like this and will take it personally. People usually say that once Rin is an adult the pairing is acceptable but I disagree. I find it quite creepy that someone would think it would be alright for an adult to wait around for a kid to grow up with the intention to marry and/or sleep with them. Watching from a distance is the same exact thing, after making an impression on the child... let’s not normalize this. In this situation it would be grooming. We all have our own opinions when it comes to our ships and fandoms and I try to respect that but I can’t get behind this one.

Next we have the apparent lack of parental figures for the heroines. Where are the original Inuyasha characters at? Moroha's character bio says she barely knows her parents (Inuyasha and Kagome, our former main protagonists) and has been alone since she was young! It makes me think either something has happened to them or some kind of bizarre event separated them. And sorry, not related, but why does she transform by PUTTING LIPSTICK ON?? That part threw me for a loop.

When it comes to Setsuna and Towa their parents are absent too. I find it difficult to believe that Sesshomaru wouldn't keep track of his children given how he treats Rin and reacts to her going missing in any capacity. Especially if he happened to be fond of whoever their mother is. One daughter works as a taijiya/demon slayer for Kohaku and the other mysteriously transports to Kagome's era and is raised by Sota (I thought we had finished with the time jumps when the well closed but apparently not. When the Bone Eater's Well closed after Kagome's return it gave a sense of finality and closure to the story, and showed that Kagome had chosen where she was most happy and felt she belonged. I think that bringing the theme of time travel back into the sequel makes it feel repetitive, like something right out of a predictable fanfic. Props to Sota for taking in and raising a child who showed up out of nowhere though).

Another thing that came to mind when I read these character bios was why Inuyasha and Kagome's daughter and Sesshomaru's daughters are the exact same age. Of course there's nothing wrong with that. It only struck me as odd because suddenly everyone is having kids at the same time. And so far there's no mention of other characters like Sango, Miroku, Shippo, Jaken, Kaede, or Miroku or Sango's three children or where they are. One might expect that a story focused on the children of some of the original Inuyasha's main characters would feature appearances from those who had important roles in the previous series and their children. Which brings me around to wondering what made twin daughters a trend? Two sets of twin girls is a unique choice (Sango and Miroku's twin daughters. For such a small group of parental characters, what are the odds of two sets of twin girls? Where is the creativity and again why the repetition?).

Lastly, Sesshomaru's daughters lack some of the common yōkai/demon characteristics we see on Inuyasha and other characters. Their ears are human, and they have no markings or otherwise (that I noticed) with the exception of Setsuna's mokomoko/fur which is similar to Sesshomaru's. So perhaps they take more after their human mother? Given that Inuyasha seemed to inherit strong genes from his father it's interesting that they did not. Their ages also interest me as they appear to age the same way as humans do. Yōkai/demons are known to have a longer lifespan than humans and appear to slow down or almost stop aging at some point. Perhaps this confirms that the slowdown in aging occurs once they reach the equivalent of a human teen?

Overall Inuyasha was a fantastic manga and great anime on its own, and I never got the feeling that it needed a sequel. As a stand-alone it was everything it needed to be. I thoroughly enjoyed both formats of the original, though I do have a tendency to disregard certain parts of the anime. I always preferred the manga more when the anime dragged out certain scenes (Shichinintai/Band of Seven arc for example) or straight-up excluded, changed, and added others. Taking that into consideration the sequel might end up being the same for me in that way, but rather than one scene that plays out for too long or an excluded, altered, or unnecessary added scene, if it’s not any good I’ll simply disregard it altogether. When the anime comes out I certainly plan to try watching it out of loyalty to the fandom, and due to the fact that it's "technically" canon (without Rumiko being the writer I don't necessarily consider it canon, much like how some folks do or do not consider the movies canon) but I get the feeling that I'll wind up giving up on it in disappointment.

TLDR; Overall I'm left questioning if the sequel is worth watching (for me) given what I've read and heard so far, but nonetheless I will give it an optimistic try! I'm currently wondering how much we'll see of the original Inuyasha characters, if we get to find out what happened to them, if the number one pairing I'm not fond of will make an appearance (and cause me to drop the whole thing), and questioning parts of the character backstories and designs (why is there a repetitive and recurring theme of time travel and does it end up hindering or ruining the story, why do the protagonists all lack parents, and why do the hanyō/half-demon characters lack common yōkai/demon traits and does it make them more human than demon?).

#inuyasha #hanyo no yashahime #sesshomaru #please don't be sessrin #kagome #a feudal fairytale #internal screeching #my thoughts #my opinions #unpopular opinion

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