We don’t talk enough about how Fairy was Jin Ling’s best friend growing up because getting bullied all the time traumatized him into isolating himself and avoiding making friends with other kids. We don’t talk enough about how she’s his best friend, not only because they grew up together but because Fairy isn’t a human who can shun him, hurt him, insult him or betray him. We don’t talk enough about how she was probably his main comfort above all else, the only thing he could run to when he was overwhelmed by emotions without being judged or called names for crying and feeling. We don’t talk enough about how his smile is only ever instant for Fairy. She’s the only one who doesn’t have to earn it because she’s his safety. His confidant. His best friend. His only friend.
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If I were making a mini series of 20000 Leagues Under the Sea I know how I would end it.
Aronnax is working on his book. He is feeling out of place and lonley in Paris, even though he's surrounded by people at the university, at the museum, and Conseil (and occasionally Ned) remains at his side. Even though he loves them dearly.
Pierre is walking around the museum looking dead and models of marine animals. They are nothing compared to the vibrant marine life he witnessed aboard the Nautilus.
Conseil suggests 'Monsieur should spend some time by the coast for his health?'. He knows.
Then we see Pierre working in a house with a beautiful ocean view. He is trying to finish his book but is constantly distracted and look out of the window, out at the sea - just in case..perhapse?
The final shot is him just standing knee deep, fully clothed, in the sea, staring out at the horizon. The camera just keeps zooming out and backwards across the sea. Pierre's form is getting smaller and smaller until he disappears. Now it is just the sea and the waves. The screen darkens into black, ready for the credits, but at first we are left with nothing but a dark screen and the sound of the waves.
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in mulder and krycek’s final confrontation when krycek is like “we were on the SAME SIDE BROTHER and it’s not FAIR that it’s come down to this…..but i just HAVE to kill you” and nick lea is shaking batting eyelashes tearing up playing it like a woman by the seaside whose just discovered the betrayal of her beloved husband
and mulder just fully walks in front of the gun and is like “if you want to kill me, alex, kill me.”
……girl what kind of rivalry is this????
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Ok but here's also some shit I remember about Yakuza 4 that absolutely tickles me
Akiyama is a stupid slut who thinks a single row of books is enough to hide his big money vault; that he has more chemistry with Arai and Tanimura than Yasuko (the girl he's pining over because he looks like his old crush that he somehow hasn't gotten over yet); and that Mack called him a "washed up p0rnstar". He is hilarious when he's not being creepy to Yasuko.
One of Akiyama's revelations involves a panty thief falling off a building in slow motion to overly dramatical classical music as underwear flies everywhere (or something like that)
Nair was the best character in the game and deserved her own spinoff
Hana deserved better than [gestures to the entire game] this
Some random, non-Majima related Saejima things: his mentor makes him punch rocks in some underground tunnels to get stronger; he pulls out a big chunk of wood and starts carving whenever he has a revelation; the developers thought Kido - a Wocky Kitoky ass looking kid - would make a good final boss for him; the scene where he finally reunites with his old oyabun is absolutely devastating
considerin you remember more akiyama stuff the most i think if we wrangled that other anon who remembered stuff about saejima and we get two more people who remembered more abuot kiryu and tanimura we can make a vague composite of Y4's plot
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Scott Pilgrim is, I think, the best example I can think of for establishing a setting's Nonsense Limit.
The setting's Nonsense Limit isn't quite "How high-fantasy is this". It's mostly a question of presentation, to what degree does the audience feel that they know the rules the world operates by, such that they are primed to accept a random new element being introduced.
A setting with a Nonsense Limit of 0 is, like, an everyday story.
Something larger than life, but theoretically taking place in our world, like your standard spy thriller action movie has a limit of 1.
Some sort of hidden world urban fantasy with wizards and stuff operating in secret has a nonsense limit around 3 or 4. A Superhero setting, presenting an alternate version of our world, is a 5 or 6.
High fantasy comes in around a 7 or so, "Oh yeah, Wizards exist and they can do crazy stuff" is pretty commonly accepted.
Scott Pilgrim comes in at a 10.
If you read the Scott Pilgrim book, it starts off looking like a purely mundane slice of life. The first hint at the fantastical is Ramona appearing repeatedly in Scott's Dreams, and then later showing up in real life.
When we finally get an explanation, it's this:
Apparently Subspace Highways are a thing? And they go through people's heads? And Ramona treats this like it's obscure, but not secret knowledge. Ramona doesn't think she's doing anything weird here.
At this point, it's not clear if Scott is accepting Ramona's explanation or not, things kind of move on as mundane as ever until their Date, when Ramona takes Scott through subspace, and he doesn't act like his world was just blown open or anything, although I guess that could have been a metaphor.
there's a couple other moments, but everything with Ramona could be a metaphor, or Scott not recognizing what's going on. Maybe Ramona is uniquely fantastical in this otherwise normal world.
And then, this happens
Suddenly, a fantastical element (A shitty local indie band finishing their set with a song that knocks out most of the audience) is introduced unrelated to Ramona, and undeniably literal. We see the crowd knocked out by Crash and The Boys.
but the story doesn't linger on the implications of that, the whole point of that sequence is to raise the Nonsense Level, such that you accept it when This happens
Matthew Patel comes flying down onto the stage, Scott, who until this point is presented as a terrible person and a loser, but otherwise is extremely ordinary, proceeds to flawlessly block and counter him before doing a 64-hit air juggle combo.
Scott's friends treat this like Scott is showing off a mildly interesting party trick, like being really good at darts.
The establish that Scott is the "Best Fighter in the Province", not only are street-fighter battles a thing, Scott is Very Good at it, but they're so unimportant that being the best fighter in the province doesn't make Scott NOT a loser.
So when Matthew Patel shows off his magic powers and then explodes into a pile of coins, we've established "Oh, this is how silly the setting gets".
It's not about establishing the RULES of the setting so much as it is about establishing a lack of rules. Scott's skill at street-fighter battles doesn't translate to any sort of social prestige. Ramona can access Subspace Highways and she uses it to do a basic delivery job. It doesn't make sense and it's clear that it's not supposed to.
So later on, when Todd Ingram starts throwing around telekinesis, and the explanation we're given is "He's a Vegan" , you're already so primed by the mixture of weirdness and mundanity that rather than trying to incorporate this new knowledge into any sort of coherent setting ruleset, you just go "Ah, yeah, Vegans".
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