#i love atmosphere i love vibes i love scenes that go nowhere but tell us everything about the people in them

[greenerteacups]

I know it's not entirely your decision and you built on what the canon did but I'm curious how you see it so here's my silly question: why IS Moody so useful as a teacher to our protagonists? I mean he's actually competent and useful. WHY?

I was always more or less satisfied with the explanation that he's trying to impersonate a teacher, so he really needs to go full method on the teaching part, or a whole lot of people are going to start asking questions. Also, I don't really see a reason for him to be bad at it, if that makes sense? He needs Harry to do well in the Tournament so he can reach the cup, which gives him an extra incentive to be helpful to Harry's class, even if no one else's. But I don't think Barty is remotely concerned about Harry becoming so competent that he would represent a threat to Voldemort or his servants, since he's still a child. Fourteen year-old Harry Potter does not walk out of that graveyard if it's a fair fight, and Barty doesn't know about the twin cores, so he fully expects Voldemort to just ice the kid and be done with it. Unforgivables are unblockable; there's nothing he can teach Harry in a year that will really matter.

What trips me up about Barty Crouch Jr., in canon, is that he seems so intimately familiar with Moody's mannerisms despite never actually having, like... met the dude? As far as we know? We assume that Moody's a big figure in the war, so he'd know him from afar, but considering the histories here, this is an objectively insane plan: Moody and Dumbledore fought a war together. So did Snape. So like... Barty's plan (afaik) is basically to pray, with every bone in his body, that he can go for a whole year without anyone bringing up any sensitive memories or important shared moments with Moody that might give him away if he can't remember them. In addition to, y'know, completely nailing his posture, mannerisms and speech affect, which maybe the Polyjuice helps with, but IDK. (My point is that the behind-the-scenes staff meetings in Goblet of Fire are some of the funniest exchanges in the whole fucking series, and I would pay to read them.)

Then, of course, you have Snape — and this is the other thing that kinda frustrates me about Book 5, in retrospect — who's a Legilimens. Literally reads minds. Which jeopardizes basically any plot that relies on people having secrets or keeping information from Snape/Dumbledore. It's not by any means an unsolvable plot hole — you can invent a lot of theoretical constraints on Legilimency that explain why Snape couldn't use it on Quirrell, or you could just establish that Barty/Quirrell are really strong Occlumens, which makes plenty of sense to me — or you could just say that Snape is a far better Occlumens than he is a Legilimens, and his attempts at training Harry weren't all that sophisticated. Not hard. That's why it doesn't bother me, either, because I do't think it represents a major inconsistency or fault in plotting; I try to lean into good-faith reading and assume that plot holes are more often indications of insufficient exposition than they are lack of thought. But that's a big YMMV.

[redlazuly]

so i've just joined the pjo series discourse on sm (i've read all the books) so maybe people might have already said this but i feel like the monster fights are kinda underwhelming ?? the fights themselves but the atmosphere around them too. i'm just going to say it point by point to be clearer :

Mrs. Dodds: she's the first monster and threat of the show. i was waiting for something scary and surprising, that would have terrified percy or something. but instead the "reveal" was slow, and there wasn't even a fight, he just kind of opened the sword (even tho we don't even see him doing it) and she just. dies like that ?? it was really easy and i get that they can't just kill percy in the first ep but there wasn't even a bit of struggle or anything. tbh this first fight really dissapointed me. there was mystery that creates an intrigue but she just wasn't scary or a menace imo (EDIT : I HAVE NOW REREAD THE SCENE AND IT HAS COME TO MY ATTENTION THAT THIS IS EXACTLY HOW THE FIGHT PLAYS OUT IN THE BOOK (extract down below) so forget everything i said in this part, i'm sorry. )

2. The minotaur : i liked this one much more than the first one, the car chase was thrilling and the atmosphere of the scene was really cool. i've only got one little thing to say about it, but i think it's just a me thing and i'm nitpicking (idk how to make gifs so i hope you can picture it in your head) :

when sally takes percy's jacket to lure the minotaur away from the boys and uses it as a red cape like in a corrida, i think it kinds of take the attention away from the fear of the monster in itself by being comedic. AGAIN i know i'm nitpicking here but why not say it.

(also i regret that the last scene was so far away from the camera and from the camp border. i know it's bc it's percy's pov but i loved percy's desperation in the movie (I KNOW IT'S BAD) when he's failing to save his mother and finally sees her (and her emotions) when she is gets taken away from him.)

3. Medusa : i LOVED what they tried to do with medusa and how they tried to make us sympathise with her. however, the fight was REALLY dissapointing to me. it kind of happened from nowhere. it's implied that it's annabeth plan but it really happened way too fast and did not give enought time for the viewer to appreciate the threat that medusa can be. it felt way to easy for them to beat MEDUSA. the fight lasted 5 seconds max and it felt shy in a way, like as if they didn't not want to fuck it up.

+ special mention : 4. Clarisse: I'M NOT SAYING SHE'S A MONSTER, I'M JUST PUTTING HER HERE BC TECHNICALLY SHE WAS A THREAT TO PERCY. i like dior's acting, idk anything about her outside of the show but i'm going to be honest : not knowing the cast at all, at first i immediately thought she was drew 😭. she IS a really pretty girl but for me she doesn't emanate clarisse's ares' daughter vibe. when her spear broke she was so GOOD, but appart from that she's just really chill i think ? like she's not menacing, she just kind of a mean girl bully (which clarisse is ig but she's not a menace enough imo) and tbh i think she's just not as "rough" as i think she could have been.

tldr : i think the fights were not scary enough and did not set a good tone for the series. they were also too easy and fast for them to be enjoyable.

of course i still enjoy this show a lot so i will be watching the next episodes and the rest of it so maybe there will be improvements. please yell what you guys think !!

it's the first time i ever talk so much on tumblr, so i hope it was readable. if there was any mistakes please tell me, english is not my first language.

[write-ur-wrongs]

Of Monsters and Men (pt. 1)

Summary: Geralt and Jaskier travel to a small seaside village after being hired to take care of a monster that has been terrorizing the villagers for months. However when they arrive, Geralt finds that the monster in question isn’t so easy to kill. 

A/N: This was getting to be quite lengthy, so I decided to split it into parts. This is the story I wanted to write when I first started watching the Witcher on Netflix and I am nervous and excited to finally be sharing it here!! Like with all my fics, I try to keep my Y/N has physically non-descript as possible, she/her and vibe are the only descriptors. I’ve also not proof-read but will edit errors as I see them post post lol. I hope y’all enjoy this!! Your feedback is always welcome :’)

this is approx. 2200 words and is largely setting the scene. I expect this to story to be told in no more than 3 parts. 

                              _________________________

When Geralt and Jaskier rode up to the quiet coastal village, they were struck by how calm and peaceful it was. The sound of waves lapping against the rocky shoreline, the rhythmic bumping of boats against the docks, and the soft clatter of driftwood windchimes melted together to create an atmosphere that soothed Jaskier to his core. He found himself gaping at the sights that surrounded him in wonder; truly taken by the way setting sun cast a golden glow on everything and painted the cloud-laced sky in rich hues of pink and orange.

“This place…” he sighed theatrically, waving his arms around, “is wonderful! Geralt are you not moved by the sight of it all? Does your soul not sing out! Oh, Geralt! Wow!”  

The witcher only rolled his eyes at his friend’s dramatics. Jaskier was always so blown away by the simplest things and it both amused and annoyed Geralt. Yes, the sky and the sea were beautiful sights, but more importantly, they were merciless vehicles of danger, death, and destruction; and Geralt knew better than to romanticize things that were, at their core, dangerous.

Sensing the bard’s eyes on him, Geralt gave him a hum of acknowledgement hoping it would be enough to satisfy Jaskier’s need for collective appreciation. It was, as he dreaded, insufficient.

“Come now, Geralt!” he enthused, “take that stick out your arse for a moment and appreciate the sights and sounds of this charming inlet! Listen to the sea! The chimes, Geralt! Listen to how the wind tickles the –”

“For fucks sake, Jaskier! It’s a fucking port city just like any other. This place is one bad storm away from being wiped out by that scenic sea of yours!”

“Yeesh,” Jaskier said letting out a low whistle. “Was it the stick in the arse bit? Too far?”

“Jask-”

“- because look, you are very stoic but – and I mean this as a compliment Geralt, so don’t get your leather in a –”

“Jaskier!” Geralt interrupted gruffly as he dismounted Roach with a huff. “Will you please shut up! Let’s just find the stables and the inn and get this over with.” Without waiting for Jaskier to catch up to him, he led his mare deeper into town.

Jaskier, refusing to let Geralt’s gruff exterior get him down, dismounted gracefully and lightly jogged to meet up with him, his lute clacking loudly against his back as he ran.

“Remind me again what dreadful little creature brings us out to this enchanting harbor?” he asked, still jogging a little to keep up with the witcher’s long strides.

“Don’t know yet.”

“Oh, ho-ho! A mystery? Always makes for a good song. What do we know so far?”

Geralt stopped and turned slightly towards the bard before speaking.

“Apparently a creature has been killing and dismembering men in town. They are being killed at all hours, bodies found in town, at sea, or out in the surrounding forests. Seems nowhere is safe.” Geralt let his cat-like eyes linger on the bard’s horrified expression for a moment before turning back and keeping on the path into town, shaking his head at Jaskier’s queasiness.

“Yeesh – Geralt! You’re not serious! Why would you bring me with you!?” Jaskier picked up the pace, suddenly wanting to be closer to his friend.

“You invited yourself,” Geralt said, trying to contain his smile, “as always.”

“Of course, I invited myself! You’re far to proud to admit you’d miss me.” Jaskier retorted. “Let’s get these horses to the stables, get rooms, and find food so that you can sort this out as quickly as inhumanly possible,” he said, speaking quickly and with a light waver, trying to pretend the quaint seaside village around him didn’t now leave him chilled to the bone.

“Hmm,” Geralt chuckled, happy to have managed to scare the bard into silence, at least for the time being.

The local pub was busier than Jaskier had expected when they rode into town. Seems the reason the village was so peaceful upon arrival was because everyone had already made their way to the bar. Fortunately, he’d managed to nab them a table by the stone fireplace; after a day of riding alongside the sea, Jaskier was desperate for a cold ale and a warm fire.

“Alrighty then, Geralt,” Jaskier said, holding his hands up to the hearth, “what have we got so far?”

“Not much,” he replied, tearing apart the loaf of bread a barmaid had brought over moments prior, “a couple people stopped me at the inn to ask me if I was here to kill the beast, but they didn’t have any information to offer besides the fact that it was a constant threat.”

“Well, maybe you’ll have more luck here – I mean look around, you’d think the whole town’s come to drink!”

“Port cities, Jask,” Geralt said, letting his gaze scan the room slowly, “the people here either spend their days at the mercy of the sea or waiting for their loved ones to come home. You drink for sorrow and for hope of a bright tomorrow.”

“That was poetic as fuck, Geralt! My influence?” he teased, shooting the witcher a cheeky grin, who merely grunted distractedly in reply.

Now ignoring his still-talking friend, Geralt’s eyes had landed on the two women working behind the bar. One was talking excitedly and kept casting quick glances toward the bard, blushing brightly when she caught his eye, while the other was watching Geralt with inquisitive eyes.

“… I tell you Geralt the more you allow yourself to – oh! Speaking of which, here come a few now!” Jaskier flourished, winking enthusiastically at the blushing barmaid who was making her way towards them sheepishly.

Geralt sat back in his chair and rolled his eyes, already tired of the flirting he was about to witness. To his surprise and great pleasure, Jaskier got up and met her halfway, leaving him in peace with his thoughts.

Having brought his attention back down to the bread before him, Geralt didn’t notice that he had company until she was right in front of him. Sensing her presence, he shot his gaze up quickly, and found her staring at his wolf medallion with a quirked brow.

“Forgive me,” she started, her deep, velvet-like voice washing over Geralt like morning sun after a cold night, “but you’re… a witcher?”

“I am,” he replied, giving her a crooked smile, his own voice, low and gravely and smooth, not going unnoticed by the woman before him. “Geralt, of Rivia.”

“Oh fuck,” she said, with a breathy sort of laugh, “so you’re not a witcher, you’re the Witcher then, aren’t you?”

Geralt let out a low and modest grunt, shaking his head at the comment. He thought himself immune to the scrutiny and awe that came with being the White Wolf, having carried the title for so long, but there was something about the way she was looking at him that left him shy.

“I’m,” he faltered needing to stop to clear his throat, having made the mistake to look her in the eyes, “just a witcher. Really.”

“Well, they don’t send you out for just anything, do they? For you to be out here in our little hamlet…” she squinted at him with a small tilt of her head, “we must be under some kind of threat. Should I be worried?”

“I was hoping you’d tell me, –” he stopped, waiting for her to introduce herself.

“Y/N,” she replied quickly, offering Geralt a warm smile despite the fact that she’d just crossed her arms, “and I mean we do get the odd ruffian coming through town. They always make a mess of things, don’t they? Beyond that, well, I suppose alcohol does breed violence in some,” she gave a light, one shouldered shrug, “but that’s not the kind of crime that would reach your ears.”

Geralt hummed thoughtfully, taking his time to consider Y/N’s words. She seemed almost too friendly, and there was something about her that both drew him in and had him putting up his guard.

“A monster has been picking the men of the village off one by one.” Leaning back into his chair to put some distance between them. “I’m surprised you wouldn’t be aware, considering,” he nodded towards the bar, “your job here.”

“Meaning what?” she retorted, wearing a playful smile that didn’t reach her eyes.

“Only that you must hear a lot,” he gestured vaguely to the crowd surrounding them, “and see a lot, doing what you do. I would have expected that the disappearance and dismemberment of men in town would be something of note.”

“Well,” Y’N tsked, “I’m sorry to say that you’ve been brought out here on something of a fool’s errand. There’s no monster here; the tale of disappearing men has been told here for months. It started with a woman, too embarrassed to admit that the man who impregnated her left her overnight, telling everyone that a creature from the forest killed him. From there the story grew wilder with every retelling.”

“Hm,” Geralt hummed, watching Y/N carefully with narrow eyes, “I was told dismembered body parts were turning up, consistently, after each disappearance, and that they were being identified as belonging to the latest victim. Besides, I was hired to come here. Why would someone pay me coin to rid a town of ghost?”

“People struck by tragedy will claim to see many things, Sir Geralt,” she replied softly, “not all of them will be true. A dead fish floating at sea, a creature mauled by wolves by the roads, rotten meats abandoned by vendors…” she shrugged, “the mind will twist the truth in order to bring comfort. Who hired you?” 

She added that last question quickly, and Geralt could tell it was calculated. Sensing this, he only replied with a quirked brow and a tilt of his head. 

Y/N betrayed no sense of frustration when she realized the Witcher wasn’t going to elaborate. Instead, her eyes softened, and she smiled at Geralt with what he perceived as pity. 

“Look, the truth is that there is no monster here. Isn’t that right Thalia?”

“Sorry, what?” Thalia, who had just walked back over the Geralt’s table with a tray of ales in her hands, was breathlessly giggling at something Jaskier had whispered in her ear. As she and Jaskier placed four ales on the table, Y/N took a seat across from the Witcher and quickly explained got the two up to speed.

“Oh goodness, that! I can not believe our town’s little lore made it to your ears, Sir Geralt!” She said with wide eyes as she snuggled up next to Jaskier, clinking her tankard with his before taking a generous sip.

“Wait, wait, wait,” Jaskier coughed on his ale, “you’re telling me there’s no monster here? That we might actually be able to enjoy a little rest and relaxation here without any horrible monster-killing business? Geralt this is good news!” he exclaimed, smacking his free hand on the table for emphasis.

Geralt only growled out a hum in response, never taking his eyes off Y/N.

“I’ll admit,” Thalia continued, seemingly unaware of the tension between the Witcher and her friend, “it’s scary to think about – you know, murder – but when you actually think about who disappears, it’s not difficult to see the truth.”

At this, Geralt turned his fierce gaze away from Y/N. “What do you mean, ‘who disappears’?”

“O-only that the men who leave aren’t really the type that anyone would miss.” She replied, stuttering a little against her best efforts to not recoil at Geralt’s inhuman eye-contact. “They were mean, violent types. The kind of man that would get crueler the more he drank. Just, awful, evil men, right Y/N?”

Y/N nodded quickly in agreement, taking a slow sip of her ale. “Good riddance.”

“Exactly!” Thalia agreed, clinking her glass to Y/N’s.

“Hell, I’ll drink to that,” Jaskier laughed, before picking his lute up off the floor. “What do you say ladies, a song?”

Thalia cheered loudly and encouraged the rest of the patrons to listen to the bard, letting them all know that he was in fact, the one who traveled with the great White Wolf. Jaskier was positively floating from the adoration as he danced around the pub, pulling cheers and applause after every song.

All the while, Geralt never took his eyes off of Y/N, who had retreated back to the bar after finishing her drink.

Geralt wasn’t sure what to believe. He had a strange feeling about this place from the moment he and the bard arrived, and it frustrated him to no end that even after hours in town, he was no closer to understanding the source of his discomfort. One thing was for certain, something about the story he heard here tonight did not add up, and he definitely didn’t trust its source.

Y/N was standing behind the bar washing glasses, but she wasn’t focused on the task at hand. Instead, her eyes were trained on the crowd before her. Geralt watched her as she scanned the pub with calm, slow-moving eyes that jumped from patron to patron.

The witcher was distracted for a moment when Jaskier sauntered into his sightline, singing a loud chorus of Toss a Coin to Your Witcher. Despite himself, Geralt couldn’t help but smile at the bard, whose face was flushed from the ales and the exertion.

However, as Geralt watched Jaskier twirl across the crowded pub, something in his peripheral vision made the hairs on the back of his neck stand up.

Y/N had turned he head and was staring right at him with a pair of pitch-black eyes.  

Like a shot, Geralt turned his gaze to the woman behind the bar – his heart beating loudly in his ears – only to find her smiling warmly at him, her eyes their normal shade.

Instinctively, Geralt brought his hand up to his wolf-head medallion, hoping it would signal the presence of some supernatural evil. But he felt nothing.

He didn’t know what she was, but she was not human.

[grigori77]

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

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

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

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

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

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

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

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

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

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

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

[diegoalvesisgod]

I was tagged by @ibarbourou​ to do this... writing self-analysis, I guess.

Can you think of three images that are recurring elements in your writing? Are they symbolic of something? What do these images mean to you? Do you have any memories/connotations tied to them?

Long post ahead.

fire and warmth

This was the only one I didn’t have to think about, the one I consciously know is a recurring theme.

The image or fire, or anything that represents warmth or creates warmth, or the warmth in itself.

Paulo takes a deep breath and walks inside. The interior looks very different from the outside. It’s not scary at all. It reminds Paulo of a museum a little bit, but it’s warmer and cozier. There is a thick carpet on the floor in the large hallway, and patterned wallpaper on the walls. Fire is crackling somewhere.

(My Love Will Never Die)

He crosses the hall carefully, trying not to trip over anything. The storm outside intensifies, rain beating at the windows and lightnings illuminating the empty hall at least thrice before he reaches the door. The room he finds behind it is much smaller, and somehow also feels warmer. Whoever covered the furniture and took down the paintings before leaving this place most likely forgot about this room. The armchair in front of the large fireplace isn’t covered, there’s even a pelt in front of it, like whoever used to sit there liked to keep their feet warm. A small table to the side to put a glass of wine or a book on, a candleholder near the window, chairs in the corners. There’s still a pile of wood neatly lined up next to the fireplace, and he finds a tinderbox on the mantelpiece.

(let the darkness lead us into the light)

My grandfather was a concentration camp survivor. I was little when he died, but there are some things I remember him talking about to me, and this is one of them. Warmth means life. There is nothing if there’s not warmth, because if you’re cold, the only thing you can think of is warmth, the need to get warm, the lack of warmth. I deeply believe in the third generation trauma theory, and this may be one of the ways it manifests. I am able to cope with cold much better than most of my friends and family - what is cold for them isn’t cold for me, but I also subconsciously focus on things that represent warmth. I love blankets and candles and hot tea and fireplaces, I hoard sweaters, and when I was a little girl, I never wanted jackets, I wanted fur coats. 

For me, warmth, or the lack thereof, sets the vibe and the atmosphere of the story. It determines if the story has potential to have a happy ending, if the characters are even able to experience something positive.

There’s fire burning in the giant fireplace, started by someone from their small entourage, but the stone has been cold for too long, and it only slowly lets the flames warm up the salty air. The shadows in the hall are long and tall, making everything seem monstrous.

“It doesn’t feel like home,” Viktor says, just because the words are burning on his tongue and he needs to spit them out, even if it means another bruise.

(Stars)

The vibe of the entire story is cold and crude, and for me, at the mention of fire, it changes for the better, it starts to get hopeful. It’s what starts the change, and it’s slow and perhaps an impossible task to completely warm it up, but it’s already less dark and desperate.

flowers/plants

I don’t use flowers or plants that often, but when I do, it’s always with intention.

Denis lingers for a while. He takes off the rye wreath and runs a hand through his hair.

“I just… wanted to say that I’m sorry,” he says quietly.

“Sorry for what?” Vasek asks.

“Just… you know… being… generally disappointing.”

(all hail the underdogs)

I picked rye as the symbol of love and fidelity, because that’s what their relationship is about. But for the scene between Denis and Taylor later on in the fic, I picked cattail:

Denis nods, and then realizes that he doesn’t have to look for anything. He’s already got it. He pulls out the cattail he had picked earlier, and puts some of the pollen on the wound.

“Here,” Taylor says, handing him a piece of cloth in which Denis recognizes the silvery fabric of the small parachutes that transport sponsors’ gifts to the arena. “Do you need help?”

Denis nods and holds his hand up to him. Taylor wraps the fabric around his palm a bit clumsily, and ties it firmly.

(all hail the underdogs)

Cattail symbolizes peace, mainly between two people who are fighting. It’s literally a symbol of this temporary treaty between them, and of a friendship that could be if it weren’t for the circumstances.

I used the comparison of two different flowers again in Where my dreams are made of gold. 

Alessandro sits at the table and looks at the pile of leaves and blossoms. “What do you need all these flowers for?”

“The leaves. Green pigment,” Riccardo explains and tears another leaf off.

“Lily of the valley,” Alessandro smiles. “My favorite.”

Riccardo just stares at him. Are men even supposed to have favorite flowers? Does he have his favorite flower?

“Simple, innocent, fragile… but also deadly,” Alessandro says, picking up a flower and smelling it. “It’s said it sprang from Eve’s tears when she was leaving the Garden of Eden.”

Riccardo wants to say something about this flower not suiting Alessandro, since he knows from Giampaolo that it symbolizes humility in religious paintings, but holds his tongue. After all, who is he to tell anyone what flower they should like?

(Where my dreams are made of gold) 

Alessandro’s favorite flower is lily of the valley - actually a very feminine flower, associated with purity, humility, chastity and sweetness. It’s not representing him as he is, but the values that he is looking for, the way he wishes he were.

Alessandro nods and looks at the paper in Riccardo’s lap, the sketches of blooms and branches.

“Magnolias,” Riccardo says. “My favorite flowers. They look beautiful up in the tree, but you can’t really take them down. They wither and rot if you do. Beautiful and delicate as long as you just look. If you touch them, they turn to death.”

(Where my dreams are made of gold)

On the same note, Riccardo likes magnolias - exactly for the reason he gives. They are beautiful up in the tree, but if you touch them, they turn ugly and die. They symbolize dignity and nobility - which are qualities that he is seeking. Just before he states this, he says about himself: “A kiss for money or a favor? Not like I haven’t done it myself, although I didn’t call it trade. But see, I’m no one to judge you.” 

In this one, roses are kind of obvious, because it’s a Beauty and the Beast retelling, but here they also play into the whole crucifixion allegory, thorn crown and all that I created - which to this day I can’t believe I did in a piece I didn’t even intend as entirely serious.

The guards apparently didn’t keep the story to themselves, because among the jeers and laughter of the crowd slowly gathering on the square, he hears mentions of roses and the Beast almost as often as he hears himself being called a fool.

Someone pushes a flower crown made of roses on his head. He feels the thorns sink in his forehead, but the pain never reaches where it should. He can’t quite feel his body, nor see where he’s going, and he doesn’t think that he would be able to walk on his own, if it weren’t for the guards’ grip on his arms.  

He stops when they tell him to, looks up to the wooden post and sniffles. This is the thing he feared the most all his life, and now he feels nothing. He raises his hands obediently and lets the guards close the iron rings around them, and he looks down at the crowd like they mean nothing. He doesn’t even feel like explaining anything to them, even if it could stop the jeering and curses and an occasional rose being thrown at him like it’s worth nothing. They would never understand.

(let the darkness lead us into the light)

In let's be winners by mistake, I used roses, but paper roses. On purpose - while they should symbolize love, they are not real. Andrey repeatedly gives Sascha paper roses, but he’s aware of his feelings not being reciprocated, and in this scene, where he already knows that Sascha is in love with someone else, he burns the rose to show him that love like that, with an “outsider”, cannot last and be real.

Sascha lifts his eyes to him for a moment, and when he lowers them again, Andrey is holding a red paper rose.

“We all have dreams,” he says and hands it to him. “But like everything that happens under the Big Top, they are not real.”

He runs his palm over the paper flower, and out of nowhere, it catches fire. Sascha drops it quickly, and watches the flames swallow the crepe paper.

“What… how do you do the things?” he breathes out.

“If I told you, it would no longer be magic,” Andrey smiles.

(let's be winners by mistake)

For me, flowers are a great way to establish a character, or a relationship. When I look at a person, I can usually associate a flower with them. I love flowers, and I’m very picky about them. There are flowers I can’t stand and would never bring them home, and then flowers I am attracted to. So I generally think of flowers just like I think of people. 

liminal spaces

“The spatial dimension of liminality can include specific places, larger zones or areas, or entire countries and larger regions.Liminal places can range from borders and frontiers to no man's lands and disputed territories, to crossroads to perhaps airports, hotels, and bathrooms which are spaces people pass through but do not live in.”

I feel like I oscillate between establishing homes for the characters, and using liminal spaces a lot. I think I used these mainly in my old fics, but sometimes I still like to reach for them. 

The motel he stops at is far from the city, and looks like it could be accidentally demolished any day, as it seems to be completely abandoned. But Paulo knows it’s still open, and barely anyone there cares who rents the rooms.

The room is far from nice, but as long as it has a bed and running water, it’s all they need.    

Álvaro hasn’t said anything since Paulo picked him off the ground and cut the zip tie on his wrists. Paulo suspects that he concentrates on staying conscious. At least whenever he peeked at him from the driver’s seat, Álvaro’s lips and hands were shaking, and by the time they get into the tiny bathroom, he is barely able to stand. Paulo peels off his shirt and the torn jeans, and almost gasps. Álvaro’s body is colored in bruises, none of them dangerous, but all with the purpose of hurting. But Álvaro doesn’t complain, save for an occasional hiss, almost like he takes it as his penance.

Paulo helps him into the bathtub and lets him sit down. Then he reaches for the shower, an old thing that sprays water everywhere, and starts to wash him, not really touching him, just letting the hot streams run over his body. He then scrubs the dirt and blood out of Álvaro’s hair with the hotel soap and tries to dry him as gently as possible with the scratchy towels.

(No Rest For The Wicked)

I am big about the vibe of buildings. As much as I don’t think of myself as of a spiritual person, sensitive to whatever supernatural may exist in this world, and I have trouble perceiving human emotions, I can feel buildings. That’s my quirk. I have a whole theory of buildings, and my own terminology - for example, I know that old houses built of stone are grounded - they have a stable energy, and if I spend some time inside, I just feel very calm, relaxed and at peace. 

I often go to liminal spaces when there’s a transition in the story.

The sky is pale pink interwoven with blue veins, and they both shake from cold and fatigue. They can see the border from here. Ander leans over the car, soaking in the warmth from the engine.

A car’s headlights blink from somewhere behind the border. Andoni grabs his bag. Ander watches him silently.

You could go with me, Andoni says then.

Ander shakes his head slightly. He can’t go anywhere. Your war is over. I still have a lot of battles to fight.

(Hold My Hand When This Ends)

Same here:

He looks like a ghost.

Not that Simon believes in ghosts, but at night the road becomes a strange place, almost like he can cross the line between this world and some alternate space anytime. Sometimes, when he stops for a cup of coffee at a gas station this late, and he’s the only one sitting there, he feels like he’s all alone in the world, like the whole population was wiped out during some catastrophe or epidemics and he’s the only miraculous survivor.

But although he knows that the person he’s seeing is real, has to be real, what is he supposed to think of a boy walking down the side of the road dressed only in jeans and a white sweatshirt when Simon is sure - and the red digits on his car stereo temperature display confirm it - it’s freezing cold outside?

(like all good kids from broken homes)

The whole fic is basically about liminal spaces - it’s about that moment of transition, and there’s basically no plot needed, the liminal spaces do all the magic.

The room is small and simple, with the obligatory double bed, because paradoxically one’s not expected to sleep alone in a place like this, but it’s at least warm and relatively clean. Viktor looks around like a trapped animal, and it takes him some time to relax at least enough to let go of his backpack and kick off the wet trainers.

“I think a hot shower will do you good,” Simon says, nodding towards the tiny bathroom.

For the first time, Viktor’s lips curl in a smile. “Will you feed me, too, and tuck me in bed?”

(like all good kids from broken homes)

Liminal spaces are something I personally love, because they have a special energy, time is very altered there, and they feel like a half-step, like a portal to something new. (The best liminal spaces are the F1 and Ibis budget hotels in France. Their lobby at about 1 AM can take your mind to very interesting places. Gas stations in the middle of the night come closely second.)

[moonboohoo]

BOOK: DREAM; IN THE STARS

CHARACTER: IWAIZUMI HAJIME X READER

SUMMARY: IN WHICH A GIRL NEEDS TO REPAY HER SINS BY BEFRIENDING WITH A VOLLEYBALL PLAYER.

WORD COUNT : 2285

*LOWERCASE INTENDED.

2.3 ㅡ STARRY NIGHT. 

warnings: slight angst, crying hajime. 

you woke up in the middle of the night, and you felt like you were freezing to death. you rubbed your eyes tiredly and glanced at the illuminated green numbers on the digital clock. it was only 2:24 am. you groaned in dismay as you put your blanket on top of you, attempting to sleep since you have classes tomorrow. you heard a strong gust of wind blowing against your window, and this irritated you even more. you're too lazy to close the curtains, but you didn't like the sound of the wind either - you let out a frustrated sigh as you wore your white fluffy house shoes, and walked towards your window. your eyes landed on a certain figure, who was standing on the roadside as he looked at the night sky with an emotionless expression.

you squinted your eyes and tried to see it clearly, and you're shocked that iwaizumi hajime was standing outside his house at 2:30 am, wearing only his sweater and sweatpants, he warmed his shivering hands by rubbing them; fatigue engraved on his worn face.

...

"...what the heck, something is not right."

                                                                2009, October 11.

"(y/n)-chan, hanami-chan! let's go to the volleyball gym to see them practice!" akane whined as she hugged us from behind, and stomped her foot like a child that wasn't getting what they wanted. you sighed as you turned around to hanami, the girl crossed her arms over her chest, still contemplating whether she should accompany her friend or just go back home and sleep. without a second thought, she then took her school backpack and faced akane, giving her a cheeky grin before she left the classroom.

"b-but please..." she grabbed her wrist, begging her to stay.

"if (y/n) is staying then i will be staying, too."

even though you have better things to do at home, you just couldn't say no to your friends. and plus, you wanted to check up on iwaizumi. your brow furrowed as you rubbed your temples, recalling the moment last night; it wasn't a dream. you thought it was you who was hallucinating, it was midnight after all - but when you looked at him from afar, it was him, iwaizumi hajime was standing there, it's like he was counting stars or something. it was awfully cold yesterday and nobody will just go out without a scarf like that, the more you think about it; the more you think that iwaizumi hajime was hiding something, and it makes you suspicious. akane and hanami were throwing insults at each other again, you couldn't care less about it; as you're trying to analyse about the situation last night.

the familiar low thudding sound echoed through the volleyball court, twelve people were playing volleyball at the center of the gym, six in green uniforms versus six in blue. there were a lot of girls sitting on the floor, cheering and screaming their names. akane squealed and grabbed both of your hands - as she grinned widely, and sat on the floor. hanami and you exchanged glances and let out a sigh. akane gets excited easily especially when she sees someone attractive. she couldn't stop talking about them and this girl won't hesitate to take pictures of them and make it as her collection. frankly, you're not like the other girls, or like akane. you've passed that phase long ago, and it was not a big deal when you're talking to one of the hot guys in school, you just...don't care, and you're focusing more on yourself and many other things that you think it's important.

the girls were screaming again when it was time for oikawa to serve.

"oikawa san! you are the best!"

"he's so handsome! look at him-"

hanami rolled her eyes and turned away, you could clearly see that she was frustrated and annoyed at the same time, she was fuming; and you thought that her ears were in danger of turning into smokestacks. you didn't understand why she was acting in this way, and you tried many ways to comfort her, but to no avail; she was still pissed. akane was smiling dreamingly when matsukawa blocked one of his opponents, she quickly waved at him when he was looking towards her direction.

he just nodded.

"i think he likes me." akane squeezed your wrist and let out a giggle. you laughed at her optimistic behaviour, she was always that cheerful and energetic, she's that kind of friend that you can actually rely on, she was always positive; which you liked her a lot. hanami, on the other hand, was really rational. she hates it when akane asks her about love relationships, basically everything about love, she said that it was a waste of time. hanami was neutral, and her personality was really straightforward, brutally honest about her own opinions and her feelings; and very stubborn. you loved them, you loved all of them, you loved it when they always attacked you with hugs, it was something that you never experienced before, and yet you're given another chance to feel alive again.

"nice one, iwaizumi!" one of the seniors ruffled his hair, and he just smiled in response. this was strange, iwaizumi would normally exchange high fives with all of them. he took a deep breath, then using a blue towel to wipe off his sweats. you're starting to worry about him, he had never been absent-minded before, and the dark circles under his eyes were so obvious.

suddenly, a ball flew towards your direction and hanami stood up and dodged it just in time. iwaizumi yelled at oikawa, and oikawa screamed, their seniors tried to calm everyone down, the fan girls - once again, were shouting and yelling at each other, and the scene was really, chaotic.

what's worse? the coach was nowhere to be seen.

"trashykawa!"

"stop calling me that!" he pouted angrily.

"you almost hit them! you gotta be focus-" iwaizumi retorted.

"i-it's not my fault when hana-chan is looking at me! it's dis-distracting!" the brunette blurted out, and he immediately covered his mouth. everyone was dumbfounded, and oikawa was blushing heavily as he looked at hanami, the girl clicked her tongue and rolled her eyes, a blush spreading across her face. her eyes - her eyes were filled in embarrassment, her hands rubbing on her skirt, hanami had never gotten into this situation before; and oikawa was basically getting into her nerves. a tiny furrow appeared on your head, this exact moment was definitely too cliche for you; typical high school love and puppy love romance, which you've experienced many years ago, witnessing this entire scene again made you shivered slightly.

no, you didn't feel excited at all.

"uhm...i'm too old for this..." you mumbled slightly, rubbing both of your arms, trying to rid yourself from goosebumps.

just then, hanami cracked her knuckles and yelled at oikawa; "fuck you, oikawa! go get your eyes checked!"

───

iwaizumi walked back home without telling you.

after the practice match was over, oikawa dragged you outside the court and ranted at you about hanami, his love relationships and begging for advice, and frankly, you really wanted to excuse yourself and find iwaizumi, but the brunette was whining and complaining about his problems; which you have no choice but to listen to him. you found oikawa somewhat amusing, even though he was always up to no good, very cunning and an absolute prick, but oikawa was actually not a bad person; it's just sometimes - he didn't know how to express his emotions.

"i hate autumn, it makes me all gloomy and sad." - oikawa.

you sighed, putting your hands in your blazer pocket while walking back home. you agreed to his statement, autumn made you feel lonely and depressed, the falling leaves and bare trees - and the atmosphere was totally different compared to summer and spring. the colours were less vibrant, and it was not as refreshing as these two seasons - when you saw flowers blooming and beautiful grasslands, smelling the pine trees as the warm sun drew out their fragrance, you felt happier; it makes you feel at ease. summer and spring give off lighthearted vibes, and you also believed that warm seasons made your mind rest and become refreshed.

in contrast, autumn is a bittersweet season.

it reminds you of both teenagers falling in love when they first met each other, walking among the flower fields, watching the sunset on the beach, and laughter and chatter fill the air - when the weather starts to get colder, it all felt like a daydream, flowers stopped blooming, leaves falling, the once vibrant colours turned dull and monochromatic, only reddish, orange and brown, they said spring and summer is a season of cliches; you could hear birds singing and bee buzzing, it's love in the air - when it comes to autumn, then it's not the case. it's a repetitive cycle, autumn means ever-approaching endings, a threat of frost creeping in anytime, heartbreaking events, romantic love fades away and forms a bittersweet memory that can only be kept inside your heart.

you dislike autumn.

a crunching sound could be heard when you're stepping on these dry leaves, you frowned as you kicked away some of the branches along the pathway, you're worried about him, and you knew that something was up when he just ditched you and didn't inform you that he'll be leaving the court first, which made you feel anxious. "autumn is definitely a stupid season." you mumbled.

you passed by a big field, and you saw iwaizumi hajime sitting on a bench.

you let out a long sigh, slowly approaching him and put your bag beside him, you crossed your arms over your chest and eyed him curiously. "oi, what is wrong...with you..." your voice trailed off when you saw his puffy red cheeks and swollen eyes, he quickly stood up and avoided eye contact with you, iwaizumi hajime didn't expect that - absolutely not expecting that you're here, he felt ashamed, and you wouldn't expect that he had fallen to such a state. "what are you doing here?" he spoke in a harsh tone, grabbing his backpack and trying to leave, you quickly pulled his arm and dragged him to sit beside you.

"you're so stubborn, tell me about it."

"i have nothing to say."

"bullshit. i saw you standing outside your house yesterday at 2 am," you spat.

"you what?!" iwaizumi was surprised, looking at you in disbelief. "how did you know -" you interrupted him while he was speaking, "iwaizumi hajime, i'm serious here, i'm worried about you, what happened? you know you can always talk to me." you said, hugging your backpack and waiting for him to speak. he sighed, and took a deep breath, "my parents want a divorce, some sort of thing...then...uh...it makes me overwhelmed?...ah, forget it, i don't speak to anyone about this..."

iwaizumi hajime hates himself for being weak.

"oh, so you think that pushing your feelings away will sort out your problems? do you think acting strong is the best way to overcome your issues? we all are humans, crying is just an expression, there's nothing wrong with it, you know?" you grabbed his wrist gently and continued, "you said it makes you overwhelmed, and that's fine. it's understandable, you shouldn't keep everything to yourself, showing your weakness doesn't define you, iwaizumi." he bit his lip harshly, in a weak attempt to stop his tears flowing out from his eyes, though he tried, the stored tears continued to flow and the sobs wracked his body, robbing it of the ability to speak. iwaizumi was strong, he was tough, your heart aches when he was breaking down right in front of you, to think that he's been going through a lot of problems by himself makes you want to stay by his side.

when you looked up to the night sky, the stars were glowing brightly, each one was more of a golden yellow orb, and it was different from the stars that you've usually seen for the past few weeks, which their colours were slightly misty and white; a typical autumn night. but today was different, the moon was shining in the middle of blazing stars, definitely a picturesque view. you turned around and looked at him, he closed his eyes, a rattled sigh passing through his parted lips as he did so.

it was a cold autumn night.

"i'm sorry," he spoke softly.

"for what?"

"uh...i didn't wait for you today because i saw you're talking to oikawa, i didn't want to bother you." you let out a laugh, and then you put your hand over your mouth as you found it hilarious and adorable. iwaizumi frowned and pouted angrily, his ears were completely red due to embarrassment.

"i'm serious, i'm sorry."

"it's fine, iwa-chan, please don't ditch me again, i feel lonely," you replied, mimicking oikawa's tone. he smiled, shaking his head, "you are so annoying."

maybe you're older than iwaizumi, maybe you have experienced many shitty things throughout your teenage years, and maybe you have an abusive family that makes you sympathize with those people who're experiencing the same thing as you - more specifically, family issues. when you looked at iwaizumi again, he looked exhausted. you knew exactly how he felt, you knew that it was hard to deal with these things alone, the more you thought about it, you began to feel depressed.

and that's what you feel about autumn; a series of heartbreaking events.

"let's walk back home together," he said.

when he stood up, you pulled iwaizumi into a tight embrace.

"...i'm always here for you."

[strvwberryblcnde]

👫 teddy/lana

send a 👫 and I’ll write four headcanons i have about our muses’ relationship.

ok so. lana has a habit of sharing food as one of her many love languages i think. she jst likes.... giving ppl things even if it means she’ll have less. she’d let a wolf make a meal out of her n eat every last piece if she loved him n she knew he’d feel full. bt of everyone i feel like teddy hs always been the one she does this w most.... like even when they first met in the cafeteria she gave him spoonfuls of her greek yogurt n honey. whenever she’s eating fruit (which is a lot she’s obsessed w strawberries n peaches n grapes n tangerines n oranges) she’ll ALWAYS give him half whether tht’s segmenting up pieces or dividing bites evenly between them n Without Fail it’ll always b half tht she gives him whereas she might give other ppl like.... a bite or a piece or two bt......... it’s rly specific each time tht she gives teddy half. it isn’t even intentional it’s jst like a subconscious thing bt if we were to slide on spectacles n analyse this in an english class fr it’s Meaning then. looks at u then looks away. i think this represents the way tht teddy hs always felt like another half of her. they’re one in the same. in a lot of ways they’re very similar mayb even................ TOO similar n that’s why it’s been sch a fking.... bastard of trying to work things out ever bc they very much hv the same rampant commitment issues n bad timing n fears of never being gd enough. i feel like in the past a guy she ws dating (noncommittally as lana tended to do these things) wld have even noticed this n it would have bugged him a lot just like... how close she was w teddy in general............. n he would’ve one day brought it up in the middle of a fight he’d picked jst cutting away from what they were talking abt to be like. u only ever give me one bite but u would give teddy all of it if he asked u to. tell me i’m wrong. n she’d scoff out a laugh in disbelief looking around like omg...... all this over a fruit...... what are u even sa-- n he’d cut her off n be like. literally tell me i’m wrong lana. n she wouldn’t even b able to after going quiet n rly realising what it was he was actually Saying. he’d storm out. relationship over. icons of always being a little bit in love w each other n not even noticing it until someone else points it out <3

god. sighs dramatically at the idea i jst had. i cn imagine in la verse lana being rly drunk getting bk from a date one time n inevitably it was just some random loser since she’s back to dating Trash in this era bc she just truly cbas trying after her breakup w dom n............. it would be like a parallel to tht one time they’d fallen out over him sleeping w imogen when she ws upset w him bt crawled into his bed drunk at a party just to lie w him for a little while despite everything...... she wld have gone to his instead of hers on some drunken automatic pilot n somehow got into his room n..... she’d clamber in n flop nxt to him n maybe it wld be funny at first if he woke up n was like lana what the fk...... are u doing here.... so disorientated n confused.......... n she’d just be joking initially bt very clearly drunk like making fun of her date talking abt how he kept complimenting his own hair n calling himself a tesla in a sea of prius’ n checking himself out in every window they passed n then the laughter wld slowly trickle off n she’d go kind of quiet fr a moment n maybe teddy wld assume she ws passing out bc she’d drank sm bt after a short silence she’d perk up with a mumble out of nowhere n, barely conscious of what she’s saying, b like “why didn’t u wait for me like u said u would”. n if he was like.............. huh? she’d have her eyes shut n just b murmuring half awake then open them sleepily to look at him n rly quietly be like........ “u promised”. mayb she’d even reach out to gingerly trace his face bt then her wrist wld go slack bc she was rly tired n she’d just wriggle closer n tuck her head to get comfy n be like “warm” then promptly fall asleep. JSGSFKGHFHGKHGSFKH. literally jst jolting him awake w this rarely serious n genuine conversation then passing out. jst the worst fk teddy’s life bet he lay there staring at the ceiling fr so long after tht one <3 lana wouldn’t remember this in the morning either she’d wake up like why am i here........ did we meet up last night............ teddy jst like >_> u crashed here it was nbd.

i picture the first week they moved to LA lana wldn’t have admitted it bt she wld be feeling rly homesick............ radcliffe was very much like the first place she truly felt was her home n she’d miss all of the ppl there n just the general area A Lot............. one night i can see her jst wanting to spend with teddy to have like a sense of familiarity in an unfamiliar city (even if she’s spent a decent amt of time there over the yrs bc of jameson records hving studios etc bt still) n i’m imagining them like. breaking into an indoor swimming complex that her n her friends in high skl used to break into in the summers when they vacationed yrs ago.... maybe lana still has a key cut tht works from a connection she made bk then idk <3 it doesn’t matter <3 n they’d inevitably be drunk n just messing around n splashing each other n doing handstand competitions n all the typical..... fun frivolous childish antics lana n teddy tend to get into whenever they’re around each other.... truly jst transformed into big kids whenever they’re in the other’s company..... inspired a little by this gifset jst in terms of the playing around underwater vibe. anyway. mayb they mostly dry off bt they end up climbing up onto the rooftop after n it’s a baking summer night anyway so it isn’t like they’ll catch a cold being damp bt they share a big fluffy towel n bottle of rum between them huddled overlooking the lights of the city. n maybe somehow it gets onto lana admitting how much she misses home n how it’s kind of weird being here especially bc she’s further from caleb. she’s never been this far from him since he was away in the army n we all kno hw tht turned out. mayb she’d go a bit quiet after saying this bt then i think she’d take his hand w their fingers laced together n she’d rest her head on his shoulder n be like. at least i’ll always have u. it’s like i took a piece of home w me. we’ve always had each other like that. then she’d perk up n lift her head n be like let’s make a deal. i’ll be ur home if u’ll be mine. ok? n make him pinky promise. i dnt think she’d quite consider the sentimentality in tht bt 😔 she nvr rly does she jst says what feels natural without attention paid to the deeper meaning tht motivated it n.... sighs. looks at u then looks away....

this is inspired by tht scene in don’t trust the b in apartment 23 where she’s like “look. that video of me getting rawed by my best friend means the world to me.” KJGFGJKSFHKGHKSFGHKFSHKGSHGK god. inevitably in lana n teddy’s prime when they were literally hooking up 24/7 in earlier college yrs they made.............. a few videos. i mean it’s jst realistic. it’s jst common sense. probably even a feature length film at one point. n i had this idea where bc teddy’s trying to get into acting etc mayb if he gets an agent his agent is like.... do u have any dirt u need to take care of? loose ends to tie up? incriminating files to delete? sex tapes? n if he was like... ya..... mayb his agent wld have asked him to delete them if he still had them on his computer or w.e i mean i kno lana wld n wouldn’t have deleted them she wld have been proud of their work of art...... bt maybe he told lana abt this just laughing abt it n the atmosphere ws lighthearted at first bc she’d find it rly funny too like ommmmggggggg i’m a skeleton in ur closet tht is so fun if u get famous i cld be blasted all over perez hilton that’s kind of sexy..... bt............... mayb she’d as a joke be like. mayb we shld watch it one last time before u delete it. kind of like a funeral service. a goodbye party. sailing out the flaming viking raft n paying our respects u know??? n they were joking bk n forth bt then she’d be like. seriously tho mayb we should? growing more accustomed to the idea actually being a genuine one even tho tht is fking. the WORST idea i have EVER heard in the world like i do NOT know how lana wld think she has the self control to do that bt in her head she’s like. teddy n i are jst best friends now... it’s fine........... we’re open w each other it’s just a bit of fun.......... n then i can imagine if he went along w this it’s like a game of chicken they’re playing w each other where they’re both like fking hell shd we do this.... dnt wna seem like I’M the one tht thinks i can’t handle it........ n it’s some back n forth like nick n jess in new girl where they’re daring each other to have the threeway w the landlord. bt then like not even.... a minute into watching it as they’re both silently holding their breath n crunching popcorn they mde for the occasion (insisting on acting like it ws just a normal movie night) lana wld literally have to be like. slams laptop shut. UMMMM i forgot.... i....... have a very important meeting......... n teddy’s just like. meeting? u don’t have a job... what are u ta-- n she’s like A MEETING A VERY IMPORTANT MEETING...... very blatantly squirming around as she slowly gets up n tries to head fr the door... n teddy’s like.... taking the excuse without much question too like... ya i have to run lines actually i jst remembered gt an audition coming up..... n they’re both like ya haha... maybe some other time.... or maybe just delete it it’s whatever.... anyway we gtg haha... bye.... ttyl...... lana wld literally hv to SPRINT out of there to go home n. deal w how flustered this made her i won’t lie. she bumps into parker n is all flushed in the face n is just like CAN’T TALK BYE n takes off sprinting again like some kind of freak. it’d b a train wreck. i jst think that’d b rly funny tho n dare i say it? it’s canon. 

[intheclique]

CLIQUE talks ‘Ellen Chetcuti’

In another ‘CLIQUE EXCLUSIVE,’ we sit down with one of the most well-known female influencers on the scene ‘Ellen Chetcuti.’

Not only does she have a passion for the Toon scene, un be-known to many; Ellen has a serious love for music production and often shares her special love and time mixing in private on the decks.

With a history of strong songs releases such as, ‘Collapse, Desolate, The Upset Clown,’ and new tunes like ‘Evil Intentions & The Ferryman’ on her SoundCloud. (Click for link) She shows no sign of slowly down, nor falling out of love with music.

With a hectic work life balance, she proves with the right time management, and utilizing the correct priorities, anything is possible. So long as you don’t ‘push the feeling & you’re enjoy what you’re doing,’. That’s all that matter as long as you pull it off with a smile. It is all that counts.

So…

Let’s cut the talking.

Let’s get to it.

Without further ado, Ellen Chetcuti.

(C) Original image (clink link.) 

Q. Hey, Ellen, first off thanks for taking the time to talk to CLIQUE this morning, how’s things?

A. Things are looking up really; it is looking like things are finally going in the right direction for me at the moment, so got all the time in the world. I always seemed to complain about time I just didn’t seem to have; but now I have the time. It’s weird… *chuckles* I’m just really lucky.

Q. How you been handling lock-down?

A. To be honest it’s been pretty easy, I’ve stuck by the rules, done what’s been asked. I’ve just kept being productive, woke up, and made sure I make the most of my time.

Q. It has been a bit of a mad year hasn’t it?

A. It’s been a crazy year, already doing a teaching course, but I’ve gotten through and I’m at the end, and ready to relax a little bit more now.  Time to prioritize things a bit more.

Q. This year has seen you take up more music, with your new Instagram page, (Click for link.) more regular music, how you finding your music making?

A. I definitely think every track I post is getting better. I’ve got loads to learn and I’m nowhere near I want to be but would love to get to know more of the equipment that’s out there. See, I feel like having the separate music page definitely helps. It’s keeping friends, friends; separate to those who are interested in my platform for music. It makes it so much more better for the journey.

Q. We have followed your sound for a couple of years now and must say every track you make brings its own unique sound. How do you go about it?

A. To be honest, I feel when I sit down and have a plan it won’t make out how I want it to anyways. So, I start with a kick then synths, unlike bass or kick second. Synths to me bring out the vibes and heart of the song. So, the synth takes the track on it’s way. However, I’ve done a very kick & bass track recently literally driven my track currently.

(Image - Duplicated feeling : The Upset Clown : The Devul : Desolate.) 

Q. What makes a good track?

A. For me it’s all about the emotion, it’s all about when you can feel something rather than throwing everything together which can sound pretty basic, I’d like to say I try to tell a story.

Q. You’ve been involved in music for years, you’ve sang, you were a part of the band BERNACCIA, you’re producing music, what’s been your favorite? Or is this all a part of the process?

A. Well I was at Uni and it was such an exciting part of my life; but it wasn’t the best part of my life, the band I joined, however, were the some of the best memories I’ve ever made, but I think in my third year of Uni I felt I was relying on other people and felt I was on the same step without moving forward so I thought it's now or never to self-teach myself watching tutorial after tutorial and just getting on with it. Fast forward to now it’s such a great feeling.

Q. Favorite genre and why?

A. It’s really hard I listen to really atmospheric techno like ‘Afterlife’ and then the other spectrum heavy techno. I’ve found if I’m playing on the decks at home I like to really play the heavy stuff to move and dance.

Q. Where do you see yourself in 5 years’ time?

A. It’s hard to say, I don’t really think about the future but this year, the first goal is to post some sets online, would love more feedback, a public appearance DJ set would be amazing and even a singular track signed. See, I’m so content with what I’m doing, the speed is great, so let's just see what happens. ‘As long as I’m smiling.

Q. Who’s your top 3 influencers?

A. Fideles, literally just headphones on and it tucks me away. VTSS’s vibe is so unique and slightly heavier. AirRod always listened on Amelie lens label, his tunes are always one to make you bop you can’t not dance to them. They are all the most recent at the moment that I’m totally into.

Q. You certainly like to two-step, tell me one of your all-time favorite festival and memory.

A. English festival was JUCTION2, the group we went with was perfect, sun shining, vibes brilliant, the whole weekend just on cloud 9. Outside UK 100% ADE Amsterdam they have the festivals in the world. Sound systems are unreal, the people are lovely they’re there for the music they’re cool as fuck! It’s always a good vibe and you are always a party guaranteed somewhere. When we went to ADE me and my mate got backstage long story short, my friend was nearly going to get kicked out but when we came back in, this lad who saw us nearly get kicked out got us back in, simply amazing didn’t sleep for three days aha…

Q. Your perfect night out?

A. Perfect night out to me is, hyping yourself up with your friends at pre’s or even just meeting in a bar for me it’s always Tokyo. Going into the club getting a drink then always find your position on the dance floor and stay there all night in the middle never too close to the front, always center of the dance floor.

Q. Perfect night in?

A. Pretty similar, I love to make cocktails, I don’t drink all the time but it is nice to drink in the house to relax, put a set on the tv have a conversation with friends about life and just have happy vibes and let the positive aura float around.

Q. Peroni or Vodka?

A. Peroni! 100% every time every day.

Q. Do you find there is a time limit on making music?

A. That’s a funny one I can’t make tracks dead quick I could make one, like a decent one in a week it just depends on how you’re feeling. I don’t have a plan; it just happens and some days it doesn’t happen at all. If I’m not feeling it I just start afresh and then just start again. But then again sometimes if I’m not feeling it, I just leave it to come back to. I think with me as when you’re hearing the same thing and I may actually love the sound but at the same time I may get sick of it; so I have to remember at one point I y’know I liked it, so it's great to have fresh ears to come back to, so it’s all unpredictable.

Q. If you could survive on a desert island with only three things what would they be and why?

A. I’d want a bloody hat, like a funky hat. Some acid *ha lol* and an iPod with some headphones because probably going to die so may as well go out with a bang…

Q. Which festival are you still wanting to go to?

A. TimeWarp unquestionable wanted to go and still haven’t been able to make it. Coursework and Uni got in the way. It’s been a fine balance. It’s literally is learning to keep a fine balance. Work-life balance. One day…

Q. Tell me about your latest track, ‘Evil Intentions’ & ‘A Portion of Matter...’

A. Well, like I said earlier it’s one end of the spectrum to the other, in the definition of ‘ A Portion of Matter’ made it a long time ago I got a little sick of it, I make that many synths it got a little messy. Erm… so left it a couple of months. Came back and you know what then fixed it and it just happened once I rearranged better. Evil Intentions just happened in two days and boom it happened.

Q. If you could collaborate with anyone who would it be?

A. Oh, this is a good question hmm…. There's a DJ who he’s called Jan Vercauteren, (click for link.) he’s big but he has his own sound and his tracks are class. I remember thinking I wish I could make something that; would love for him to be able to show me how to make some acid leads. His tracks seem to have all these elements that just seem to work.

Q. Any final things you would like to add?

A. No just thank you. Haven’t really talked about my music so nice to talk about my music and where I am.

- - - - - - - - 

Well, we can’t thank you enough Ellen.

Thanks so much for your time.

For all things Ellen Chetcuti find links to her socials below.

Instagram https://www.instagram.com/el_chetcuti_music/

SoundCloud https://soundcloud.com/ellenchetcutimusic

[nyrator]

some random spoiler-y thoughts on Japan Sinks 2020 since I just finished it

still digesting it so opinion will probably change but yeah, overall not Yuasa’s best work but still decent (about Devilman Crybaby levels)

so don’t know anything about the source material but I’ve heard it’s basically original-ish with the book going on in the background or something?

but yeah, first episode was brilliant, I enjoyed it a lot, props to whoever did that episode honestly

second episode, man, I was caught completely off guard by the ending. The fact that the family got together by some miracle, that Go wasn’t blind and no one was seriously hurt, it lured me into a false sense of security- Get to that scene at the end of episode two, see the sign, thinking, “oh man, probably poison ivy or something, an inconven-oh-OHN- . . .”, that scene was disgustingly powerful. I love how visceral yet sudden/brief the deaths are in this show, it’s gruesome, it’s unexpected, but only for a brief moment, and then it’s over.

I’m always a fan of how Yuasa handles the whole appreciation of life theme he has in his works, dude knows how to appreciate life while still depicting deaths

Things started getting a bit strange for me- the convenient store guy made me think, “man, this really is the Walking Dead without the zombies”, the convenience store was the turning point I think- no wait, the youtuber Kite was. Random rapist dude was pushing it but Kite was just, mannnn.

I imagine a lot of people like him, but god, I just couldn’t enjoy Kite’s character for some reason. He definitely gave the Youtuber vibes well (plus a lot of Ryo vibes from Devilman Crybaby), but man, dude just flies in out of nowhere and is able to solve basically any problem to such strange and extreme lengths- he felt too convenient to the story without much build-up at all.

Go’s constant Engrish (though I’ve read in passing that’s a common Filipino thing allegedly?) was also very surreal to listen to honestly, even his design felt out of place for some reason. His “death” cliffhanger had no weight, was amazed he kept his eyesight honestly. The foreign dude was also overly strange, mann.

The cult episodes were like, mannnn. Felt very surreal, wasn’t personally a fan of the direction it took. Lots of weed use though, kind of impressive for an anime. I liked the sumo dude/Go relationship, but that’s about it honestly, but all the new characters at that point- Kite, foreigner, and old man were all pretty ehhh to me- especially a cult like this only a short time after the earthquakes (maybe it started before?), mannn

honestly thought the old man hallucinated that one action scene of his, but nope, sure enough he just killed two guys, man. I did like how the leaders were likable people though, and then that betrayal for gold, told its own story but a little strange all the same.

Onodera was... interesting, at least. A bit too helpful as well, and kind of impressive, though he was a plot element so I can let that slide. Impressive he survived, honestly, like, of all people to survive, a guy who can’t even move or speak.

The boat scenes were a bit odd as well- at least, the whole nationalist ones, felt a bit too on the nose. Ayumu leaving the original boat was also a bit of a weird decision since her mother’s dying anyway, but also understandable in a sense because she’s a teenage girl who wants to be with her family, I’m okay with it, but mannn.

But yeah, boats, it was very sudden and hard to tell what was going on at first- guy pulls out a gun, then three people stranded, then old guy suddenly dies and gets eaten by a shark, man. It was nice seeing the kids interact though, trying to survive, and impressive but not crazy that the mom eventually found them, though her death felt a bit too convenient compared to the previous deaths in the series, it was still alright.

Kite though, man, just left a weird taste in my mouth. The fact that he probably survived too was really... strange, he felt like he had no real stakes, the fact they let him live and do all these crazy things was just... weird, man. Still not entirely sure what Onodera was doing with him at the end on the monitor, but yeah, just too perfect a character, too convenient.

Senpai felt like he had a bit of an odd development- almost offscreen sometimes it felt like, but it was gradual and neat. No real interaction with the main characters though, which I thought was odd, he just seemed like a love interest in a love triangle that quickly died, and then just an interest that was never really explored, but this also isn’t the place to explore it, so hm. Still, more interaction would have been nice.

Now the main character, man, she had a lot of dumb stubborn moments, but they felt real enough to me, especially a girl her age going through this- man, the guilt going through her mind, though. Abandoning her team, seeing the sign and not being able to stop her father dying from it, feeling jealous of that neighbor girl before accidentally leading her to her death (poison gas as a death felt very strange to me, but I’m not knowledgeable enough on how it works so okay), though man, the fact she told no one about her injury, not even Kite who had like a bunch of random supplies that could be useful, or the cult they stayed at, it’s like, girlll come on treat this darn leg already. It was interesting how she had her leg cut off after getting to safety, like if not for this experience, maybe she’d have quit moving forwards, who knows. Overall I was okay with her though.

Go though, man, was not a fan of that kid. The Engrish in general was very liberally used, and probably just bothers me because I’m a natural speaker, ah well.

Also, mannn. Watching that opening, and all I could think of every episode was just, “man, that poor cat...”

Overall, good work, lots of hardhitting moments, but I think I liked the first two episodes more than the rest of the series. Lots of Devilman Crybaby vibes in terms of atmosphere and art direction (and Ryo/Kite), though not a lot of the early Yuasa vibes I love him for, which is sad. He deserves a break though, hopefully the retirement isn’t permanent, but he still has some great works out there that I still love. Kaiba, Tatami Galaxy, Ping Pong, mannn. Honestly just give me another wonderful thing like Kaiba, something unique and visually pleasing and completely its own thing.

maybe one day my dreams of him directing a Yume Nikki anime will come true...

but yeah, good show overall, did enjoy it

[writing-with-chaos]

[Your OCs Backstory] First Love

HELLO! =D

I didn’t get to post this last weekend, but I wrote it anyway and it’s MY FAVORITE. If nobody reads it, I don’t care. I gotta have it on here. 

This got so much longer than I intended, but I was having a lot of fun with it ;p Honestly, I just love any excuse to write scenes with Sabin, since I get to a lot of that in within the actual WIP. I love my soft boy so much T_T

I hope y’all like him (and the story) just as much!

Ariana Salem

-------------------------------

//watch things on VCRs

with me and talk about big love

i think we're superstars

you say you think we are the best thing...//

"What the hell do you mean you've never baked chocolate chip cookies?"

"You can't bake very easily without an oven, Ria. Or a house to put it in."

"Okay, but you're telling me nobody's ever made them for you? None of the people you've stayed with?"

"No?"

Sabin tilted his head at her curiously. He always looked so cute when he was confused, like one of the bright-eyed stray dogs he always had with him. The latest one, a German Shephard he named Dimitri, slept in the corner by the fireplace. They both kept huddled in the living room themselves, wrapped in a nest of blankets. The fire was the only source of heat in the cabin. Despite its lack of basic utilities, it was Sabin's favorite place. The one luxury he allowed himself. When it was off-season and the owners were gone, he could pretend he finally had a place of his own, tucked away in the middle of nowhere where no one could find him. When he was here, he was just like everyone else. A boy and his dog, watching movies with the girl he adored. Sabin was always paranoid, but this was the only time Ariana ever saw him somewhat at ease. Because of that, the cabin was her favorite too.

The cookie bomb dropped while they were in the middle of said movie.

"I've had chocolate chip cookies before. Does that not count?" he asked.

"No! Baking them is like a whole new experience. It's like a childhood right of passage," said Ariana.

Sabin scratched at his neck and smiled bashfully. "I guess that would be why I didn't then."

She paused at his declaration, determination slowly filling her eyes. "When you pick me up tomorrow, I'm bringing ingredients."

It was sort of an unspoken rule of their relationship. Ariana used to wonder why he bothered to hang out with someone like her, especially before she awakened her powers, until she realized. They each gave each other what the other was lacking. She gave him a glimpse into the teenage normality he could never have through her talks of going to high school, shopping for the right clothes, hating her mom, and in exchange he offered her adventure, freedom, an escape.  In the end, that's all either of them wanted. Since then, she leaned into her role hard. Anytime Sabin so much as mumbled about an experience he missed out on, she'd do her best to give it to him. And she'd go all out. It'd be easier if he ever let her ask 'Drea for help, but she stopped trying to push the issue. He was being swayed by a stubborn ego, but it must've been rough to consider asking for help from the very creatures he was created to destroy. God knew she struggled with it enough.

The next night, she carefully snuck what she needed throughout the day. One at a time. A couple eggs in a tupperware, milk in a thermos, everything else in sandwich baggies, and her mom's recipe. Plus the stuff she usually nabbed, like snacks and whatever they'd need for dinner that night. She had to rearrange her overnight bag quite a bit, but eventually everything fit. Even a goofy, frilly apron and burned a CD, perfect to set that Baking-on-a-Sunday-Morning vibe. Sabin came to her window at midnight when the house was asleep, like he had since they were little kids, and warped her away. It was still daylight at the cabin. Her sleep schedule was always a mess when he was around. She didn't mind--it was a good excuse to take naps together.

"Okay. You read this to me--" Ariana plopped the recipe card in his hands while tying the apron. After she struggled with it a couple times, Sabin slipped behind her and tied it himself. His fingers at her lower back made her breath catch in her throat, and she forgot what she was saying for a minute. "Um. And then I'll do...that stuff."

"The baking?" He said with a laugh, completely oblivious of his effect.

"Yeah. That."

For the rest of the time, Sabin kept to his own corner near the table, so she could clearly focus. The atmosphere was exactly what she wanted. A bubble enveloped the room in a kind of bliss you only found in memories. A kitchen filled with laughter and life's latest tales. The dog at her hip, eagerly waiting for a morsel of cookie dough to fall to his level. A muffled radio filling the rare empty moments. It was like getting a glimpse of what could be in another world. Or maybe some kind of future. Her and Sabin coming home and cooking dinner together, or washing the dishes after. Him slipping behind her like before and wrapping his arms around her middle. His lips at her temple, then her jaw, and stopping delicately at her neck. And they would just stand there, silently drinking in their simple paradise. Safe enough to breathe. Stable enough to be careless, knowing there was nothing outside waiting for them to stumble. Free enough to be.

"I see why this is nice," Sabin said softly, while they rolled the dough into balls.

His face softened into a velvet smile that brightened the deep blue of his one eye, and made the firey red of the other glow like the embers in the wood-burning oven. Crystal clear of any fear or uncertainty. A rare moment, where he was completely present with her instead of two steps removed, the aura carrying him away to the same far away dream where nothing else existed outside of this moment. She'd kill to keep him happy like this.

Once the dough was in the oven, the only thing left was the clean up. Ariana lifted herself onto the counter and grabbed the wooden mixing spoon out of the bowl. She scooped some of the batter off with her fingers and ate it.

"This is the best part," she said slyly. "My mom never lets me do this at home."

"You can hang out with genocidal monsters and freak hybrids all day, but you can't eat cookie batter?" Sabin teased.

"Well, she's a lawyer. Monsters and freaks are expected, but she can't argue with salmonella."

He laughed. The full one that sounded like filtered sunbeams, lighting up the room. It was impossible not to mimic. She moved the spoon toward him.

"Want some?" He stared at the spoon for a moment. "Come on, it's not like we haven't swapped spit already."

Now the short, flustered laugh, always followed by a deep blush in the face. Pink, like normal, mixed with the silver shimmer of his Chaos Power energy. It was a satisfying bonus to teasing him. He was always so embarrassed whenever she brought up their kiss. It only happened the one time so far. She didn't press it, since admittedly she was a little shy about it herself, but she did her best to drop small hints and acknowledgments that yes, it did happen, and yes, she absolutely wouldn't mind if it happened again.

"You're never gonna let me forget that are you?" He said. He tried to start scrubbing at a bowl to distract himself.

"You didn't like it?"

It was enough for him to break his avoidance and look at her, if only for a second.  She could see the tinge of color on his cheeks through the shade of his dark, thick curls. His voice quieted to a near whisper.

"I-I didn't say that..."

"Then why would we wanna forget it?"

"You're killing me, Ria," he said with a shy smile. His hand moved to the back of his neck to scratch it, but he forgot it was soaked in soapy water. Ariana laughed loudly. "See? Look what you do to me, I'm a mess. This--This was your idea! I'm trying to focus."

"I didn't know you were so passionate about dishwashing," she teased.

Sabin took a large chunk off the spoon and hastily stuffed it in his mouth, like he didn't trust what he'd say or do with it otherwise. Ariana smiled to herself. She took it as a win. Thinking she tortured him enough, she hopped off the counter and pulled her sleeve down over her hand.

"C'mere." She used it to wipe the soap from his face.

Chaos Powers ran much hotter than humans. Being a hybrid, Sabin was only a little warmer than normal. It was unnoticeable without being this close. Sometimes she thought his mahogany skin had the tiniest glow to it, drawing her closer like the moon's pull on the waves. It finally settled in how close this was making them. Ariana's thumb gently stroked along his cheek. He stopped, and finally turned to look at her. A twitch of his mouth formed into a small, soft smile. One that was at ease. Enamored. His fingers carefully reached up to graze along her hand. Whatever bubble they were put under had them oblivious to why they snuck around at all. For a moment, this was a good idea. For a moment, it was impossible that it could be anything else.

And then the oven's timer went off. Its harsh sound broke something in the air. The bubble popped. They both remembered where they were, what reality waited for them. Most importantly, Sabin remembered. His eyes fluttered, like waking from a spell, and just as quickly as it left the far away panic she was so used to seeing in his eyes pooled back into its rightful place.

"That--That means it's done right?" He said quickly. He didn't wait for her to answer and was already at the oven.

There was a pang of disappointment in her chest, but Ariana didn't bother trying to bring it up again. It was only a few minutes, and already she grew so attached to a fearless Sabin. But this was their reality. The only reason she had Sabin in her life at all was because his fear helped him survive. Kept him one step ahead of the ever-watching Panacea, and their Seraphim soldiers waiting to bring him back into their clutches. Always their prized weapon, never her heart's true home.

They wouldn't have made it this far if she wasn't willing to wait. To fight. One day, that peaceful world would be theirs to keep. One day, they would never have to pick between safety and love again.

She would make sure of it.

[bigskydreaming]

Blech. I’ve pretty much officially finished writing, editing and revising this standalone epic fantasy novel I started years and years ago and only just recently got around to finishing. Which is good, for sure, but also....blech. LOL. Because now I have no more excuses for putting off making a decision about the cover.

Like I always intended to self-pub this particular novel for personal reasons, and I can make my own covers just fine. I’ve done epic fantasy covers before for other clients that turned out well, even working with stock art and photomanipulation, its totally possible to make something that hits all the genre expectations and sells the right tone and feel to readers who come across it. BUT I’ve always loved the illustrated covers of a lot of fantasy novels I grew up with, and always kinda wanted something similar for this particular work, even though I have other fantasy projects I wouldn’t care as much about that one way or the other.

And so years ago when I first started the book and was only about a third of the way in, but still had a solid sense of the world and story and where it was all going, I happened to stumble across a fantasy artist whose work was like...exactly the right tone and aesthetic I’d always been picturing for that novel’s setting and vibe. And he was a freelancer, and open to commissions at the time, and you never know with freelancers if they’ll still be taking commissions a year or two down the line or if they’ve gone to work for like, a video game company or studio or something like that by that point, so even though the book was nowhere near done I hopped on that and commissioned an illustration from him to be used for the cover at some future point when I was ready for it. I just needed the illustration, I was fine doing typography and all that myself when the time came.

And I mean, I’ve literally been on the other side of the author/artist interaction tons of times, lol, so like, I know from my own experiences where its helpful to give an artist or a designer room to breathe and exercise their own creativity, make use of their own particular skillset and interpret the story elements you tell them are most important to see conveyed in the final cover, in like...their own way, like what feels best to them, what they’re most inspired to do with the foundational info you give them to build off of. 

Like I mean, visual design is its own skillset, and often completely separate from the kind of visualization most authors do of their own work while writing it....and with self-pubbed authors especially, as artists or designers you often run into authors who get really hung up on relatively minor details that they feel really need to be on the cover in some capacity and in really specific ways. Which is often to the detriment of the cover in the long run because like....what looks right in your head as a writer, totally familiar with your own world and story and its every minutiae and the implications and context of every single element....is not always going to come across the same way to readers who happen across your cover while browsing. Because they literally have ZERO context for what they’re looking at, and thus it really needs to stand on its own two feet and sell itself, not....loop back around to some hidden significance that will really only resonate with readers who end up buying the book and only once they reach this one scene in chapter 27 or whatever, you know?

So I really didn’t want to do that with this artist. I was only commissioning him because I loved what I’d seen of his work and the style he seemed to default to naturally was the perfect fit for what I wanted, IMO, so I was more than willing to let him take the broader strokes of the setting/themes/storyline in whatever direction inspired him most, as long as he hit within the general framework I provided him.

BUT, that said, for all that I tried to give him as much creative freedom to work with as possible, there are of course always a FEW things that as the commissioning party, are really important to see in the final product, and so yeah, I did have a couple of areas/elements that I did stress were really important to strike the right tone with, or it could make or break the whole illustration.

Specifically, I was concerned that he hit the right feel with the main character. My protag for this novel is a woman, and the one area his portfolio samples didn’t have a ton of variety with and thus had me slightly worried about what visual tropes he might default to...was female characters. He had tons of gorgeous settings, fantasy creatures, architecture, knights and sorcerers and monsters, but not a ton of women in the samples I saw. He did have some, for sure, and like there was nothing super concerning about the way he’d drawn/painted them....there were some priestesses, sorceresses, that kinda thing, and their anatomy and wardrobes weren’t like....glaringly cheesecake-y or anything like a lot of fantasy artists’ portfolios....so I knew he COULD get the character right, the way I hoped he would, I just wasn’t SURE. Like, I wasn’t concerned about specific details, beyond like....not outrageously contradicting the character description and scenes I gave him to work off of, I wasn’t worried about nitpicking minutiae. But my protag is a warrior-magic user archetype, and warrior women is like, the one female archetype he didn’t have any samples of, and I was more concerned about him defaulting to like....the old fantasy standby’s of ridiculously impossible and unnatural poses for warrior women, not to mention totally impractical armor, that sort of thing. 

Not to put too fine a point on it, but this was the ONE thing I stressed, lol. I didn’t really care about the finer details of her armor like in terms of decoration or filigree or even color schemes, I honestly could just adjust my own descriptions in the book to match what he came up with if need be. Stuff like that, so not a big deal to me. ALL I was concerned about was like....she not fall into those trope traps that ensnare so many women on fantasy covers, like....just make her look like she’s a fucking warrior who knows what the hell she’s doing, and I’ll be fine with everything else, you know? I even sent him some covers of published fantasy novels to use as comparison comps, like ‘this is the kind of feel or vibe I’d ideally like to see her capture, something like these women in these covers here’ as well as ‘this is what I really really DON”T want to see, like, I shouldn’t have a better sense of how good a contortionist she is than whether or not I believe she can swing a sword.’

Soooooo.....what happened?

Did he prioritize as I’d really really hoped he would and strongly expressed my desire for him to, and take care to at least avoid the more obvious problems, even if the end result was’t 100% what I was hoping for? Nooooooope. She might as well be mid-yoga pose. Sigh. Like, the guy has a damn near perfect grasp of anatomy and proportions on every other human figure I saw in the many samples I looked through before commissioning him, but somehow, despite this being of utmost importance to me and the ONLY thing about the entire project I stressed about and made sure to emphasize, lol, he ended up painting her in this weird bent at the waist position that throws her lower body proportions off entirely and like, her hip is angled or arched in this weird way that’s incredibly distracting and off, and like also, of course her armor is....pointless, in all the specific ways that happened to be the ONLY details about her armor I was concerned with. Y’know. Like. Its effectiveness. As armor.

And the absolutely obnoxious thing about it all, is that everything else about the illustration? Absolutely gorgeous. Everything I’d hoped for, even as I deliberately tried not to build up too specific an image in my mind ahead of time. Hell, BETTER than anything I’d have come up with on my own, and totally validating my impulse to have someone with different skillsets than my own do this instead of just making a cover out of stock art the way I usually do with my other projects. He absolutely captured the specific MOOD I was aiming for with the setting and general atmosphere, like, the very reason I’d been drawn to his style in the first place, he totally nailed that. Couldn’t have asked for a better fit to the general ambiance of the piece. The colors were just the right shade of otherworldly, a great mix of light and darkness that sold the gloom of the surrounding environs without drowning in dark palettes that make it hard to pick out individual details and differentiate between figures. So on and so on.

EVERY SINGLE OTHER THING ABOUT THE DAMN ILLUSTRATION IS PERFECT LOL.

Except for the only fucking part I was worried about in the first place, lmaaaaaaaaaao whyyyyyyy.

And I mean, because his style was a combo of illustration and painting, there was never gonna be a ton of room for revisions or tweaks to the final piece, I knew and understood that going in. He showed me what he had when he was done with the initial pencilwork, before he painted over it, but with the understanding that it could still change from that point, if he needed to shift things around because of the way the colors and lighting and shadows were all coming out once painted. And the pencil work lacked the finer details that he added into his painting in the final stages, so like, I did see a rough draft before he started painting, and could ask for tweaks or adjustments at that point...except at that point, I didn’t NEED to! LOL. In the rougher sketch, her general position was just shifted enough from what it ended up being that like, it wasn’t my ideal pose for her but nothing I’d say I actually had a problem with, like her upper body was elevated just enough and at just the right angle compared to what he ended up with that at that point, there was no unnatural hip thrust or any of that stuff, and there was only a rough sense of what would come to be the final armor. So I mean, TECHNICALLY I had an opportunity to pump the brakes and be like whoa wait dude, this isn’t what we discussed, can I get you to go back to the drawing board just in this one specific area right here and maybe even just take another look at those comps I sent you, see what I mean about what I’m trying to avoid and how that’s kinda sneaking in here anyway....except, I didn’t think I had to say anything at that point lol, because it all looked on track??

I mean, its not like I think he deliberately misled me with that initial draft or anything, nothing as dramatic as that. I’m fairly certain that like most artists and designers will tell you, in the process of like, the actual drawing/painting/designing, you have to make adjustments as you go to account for the little unforseen speedbumps where you were juuuuuust off enough in your prediction of how this would look when working in your ultimate medium, that you have to like...keep nudging your initial outline little by little as you go to account for the slight shift in direction...with gradually that adding up to a fairly significant departure in the end. Ultimately, I think we ended up with what we ended up with because he was good with focusing on my specific concerns when drafting in pencil and just mapping out a general intent, but the closer he got to finishing up his piece, the less and less focused he was on the stuff I prioritized rather than his own innate prioritizations and so he just kinda figured ‘is it really gonna be THAT big a deal?’ instead of sacrificing a direction or angle that played into what he thought was a more important design element. Stuff like that. Like, you know me, I’m def not saying that makes it A-Ok in my book, lol, I just mean to say I honestly don’t think it was...a willful, conscious effort on his part to leave me with something as far removed from what I was hoping for as what I got.

So again I say blech. Its just super frustrating and obnoxious and I’ve been trying to decide what to do with it for like, months now. Because again, EVERYTHING ELSE is perfect and gorgeous and like, yes, good, this is what I wanted, what I was hoping for. Like, I literally could not come up with a design using my own go-to mediums that would come anywhere close to capturing the general feel and tone and mood of the story and its setting better than the overall vibe of his piece.

Its just the protag, front and center, is absolutely driving me fucking nuts. And I keep going back and forth endlessly because I’m like is it really THAT bad and noticeable or am I hyper-fixating because I specifically tried to avoid this end result and ended up with at least a version of it anyway? And then I’m like psst, remember how much fucking money you spent on this, like yeah thats long gone and doesn’t change your current situation one way or another so it doesn’t really matter except oh yeah its totally gonna fucking haunt you if you don’t use this lol and all that money was spent for nothing lmfao you dumbass. And then I’m like, just to weigh my options, what would I design for this cover myself, if I ended up scrapping this and making my own from scratch, do I at least have anything in mind that’s for sure not any worse than my dissatisfaction with this? Except lol I literally can not seem to come up with ANYTHING, like, total blank, because again there’s just enough that I LIKE about the piece that its like, now that I’ve seen THOSE aspects of it, I’m not gonna be content with any cover that doesn’t contain them and I just literally have no way of replicating those effects via my own design medium.

Ugh. So its really annoying, and I keep going around and around and around in circles and making no progress on what to do about it and like...ugh. I hate being so anal about shit like this, especially when I am usually pretty good about dodging the hyper-fixation tendencies on this front specifically.....but I just got whammied but good by the way all of this unfolded and came together and now I feel stuck and lmao I’m really not fond of the fact that I’m really fucking proud of this book and how it came out in terms of the writing and story but like, covers ARE actually a pretty big deal as they’re literally a reader’s first impression, and I feel like no matter which route I go, a big part of me is gonna be doomed to be like NO YOU FUCKING IDIOT THAT WAS THE WRONG CHOICE, UGH WTF DUDE, TURN AROUND, UNDO, UNDO, U’LL REGRET THIIIIIIIS.

ANYWAY! That’s my much ado about nothing. I was kinda hoping that hashing it all out in a post and working my way through it as I wrote it all down would like....magically reveal the Right Decision to me and everything would click and be so obvious by the time I got to this point in the post, but alas.

Fix-It Machine broke. This accomplished nothing. UGH. RUDE.

[that-shamrock-vibe]

TV Review: Gotham (Spoilers)

Season 5, Episode 1: Year Zero

Spoiler Warning: I am posting this character analysis the day after the episode airs in the U.S, so if you haven’t seen it here in the U.K. don’t read on until you have.

General Reaction:

Well well, I can honestly say this episode has well and truly gripped the dark tone of the Batman mythos. Yes Season 4B definitely was getting there but with the Jerome/Jeremiah twist it did kind of take away from the overall feel and vibe of the series in replace of what exactly was happening with our resident Clown Prince of Crime, however here we had the atmosphere, the dark characters and that borderline horror vibe that has only ever been shown in the 90s Batman animated series and The Dark Knight.

The episode starts with a flashforward and, for anyone actively following Gotham’s social media campaign throughout December, you will see that when we see what has become of No Man’s Land on Day 391 and throughout December there have been teases for Days 1, 22, 87 and 151 it’s been a very real world dystopian situation. The only downside to a flashforward is, no matter the peril of the characters we see throughout this season now, we know that from Day 87 which is present day for the season and Day 391 that the characters we see in the flashforward remain alive.

The fact we know what is to come from the trailers yet only a handful of these events have barely been teased in this episode is very exciting as a fan of the show and the material. There were some shocks but inevitable shocks and teases that you can tell may not pay off.

Characters:

As always, this is a list of characters in order of my favourites for the episode, I will also do an end-series roundup compiling the entire five seasons with a list in order of my favourites throughout the entire series when this season ends.

Bruce Wayne:

In a shocking turn of events, teenage Bruce Wayne was actually my favourite character in this episode...more shockingly so is Jim was very close behind him. Yes this series for me has always been about the villains for me but, as you can see from my rankings, the villains are actually at the middle section of my list sandwiched in between three heroes either side.

I have really enjoyed David Mazouz becoming Batman in both Season 4 and here, what I love most about it is while he is fully embracing the vigilante nature, he is still learning and making mistakes.

Honestly, one of my favourite moments in the episode is when he was using those night-vision goggles to detain Scarecrow’s men in the clinic’s basement and then the lights came back on and he was blinded because of having the goggles on. It shows he was forward thinking in using the goggles as fans know when he becomes Batman he was have night-vision tech built into his cowl, but will obviously learn from these mistakes.

I am also liking the Bruce-Jim friendship, not only are they consciously building towards the Batman-Gordon alliance we all know from the comics but also it is being done so organically. The searchlight Jim uses, the fact Bruce mysteriously disappears when the action starts, I bet Jim knows Bruce is up to something but doesn’t want to say anything as they need all the allies they can get.

Bruce’s style as well is giving me such Michael Keaton vibes that I can almost see Mazouz’s Bruce Wayne growing up to become Michael Keaton’s Batman.

Also, now that David Mazouz has finally got through puberty and his voice has properly changed, he isn’t as annoying as he was because his voice isn’t cracking. I am very excited to see the final steps Bruce takes 

Jim Gordon:

Ben McKenzie is finally becoming a reputable James Gordon. However, as much as I can see David Mazouz becoming Michael Keaton’s Batman, I still cannot quite see Ben McKenzie becoming Gary Oldman’s Commissioner Gordon. That’s not to say I can’t see Ben McKenzie as a Commissioner Gordon but for me, Gary Oldman was always the best incarnation of the character from The Dark Knight Trilogy.

I really liked seeing Captain Gordon struggle here, he is currently trying to make himself the beacon of hope in No Man’s Land and yet is getting no help from the outside, the only help he received was when Bruce choppered in resources from Wayne Enterprises and even that got shot down. Unclear as to who by at this point but I have my suspicions.

One thing I have always loved about the Batman-Gordon relationship is while Batman is the Dark Knight operating in the shadows, Gordon has always been the face of a hero and an everyday hero at that. Ben McKenzie does portray that rather well, you can tell there is a co-morbidity between Bruce and Jim’s motives in this new world order. They both want to bring a sense of order and justice to Gotham but are going about it in different ways. One tries obeying the law, one takes the law into his own hands. The beauty is as both grow in their personal lives they both learn to rely and adapt on each other’s strengths.

I really liked his confrontation with Scarecrow because, not only did it stir up old feelings which I will talk about when talking about Scarecrow, but it was two-way battle between order and chaos and I loved it.

Also the fact he definitively made an enemy out of Penguin and saved Barbara, both of whom have been intriguing relationships for the character since the show’s first season, proves an interesting development considering on that Day 397 flashforward we see Gordon siding with Penguin and Riddler with Barbara nowhere to be seen.

Selina Kyle:

I have loved this interpretation of Selina Kyle, Camren Bicondova has embodied a teenage Catwoman to such a quality degree that she for me is the teenage version of Michelle Pfeiffer’s Catwoman from Batman Returns. She has the same attitude and the same personality.

We didn’t see a lot of her here but we learned a lot for her character going forward this season. Firstly, she and Alfred never got out of Gotham before the bridges blew so are stuck in the clinic which is part of GCPD territory and a resource hub for medical supplies.

Selina has become paralyzed and while her spine has been saved from shattering it is still the case that she can’t walk and has become understandably depressed by that.

She also blames Bruce for her current situation because Jeremiah would not have gone after her if not for the fact that she was important to Bruce. So while Bruce is constantly at her bedside and Alfred doesn’t seem to leave the clinic, Selina has grown very resentful in those 87 days and I am sure the resentment will grow as the season goes on but in that beautifully twisted way that we know the Batman-Catwoman relationship to be.

I am curious to know who “The Witch” is, if I had to guess I would say Lee because she of course has a doctor background and Hugo Strange did “fix” both her and Riddler. Hopefully we find out in Episode 2.

The Riddler:

Speaking of The Riddler, yes he is one of my favourite DC villains and Corey Michael-Smith has been very hit and miss over the five seasons, but Season 4B and going into Season 5 I am very happy with his performance.

Not only have you got Ed now firmly embracing his Riddler persona as he is questioning why “Idiot Ed” is taking control while he sleeps leading him to wake up in random destitute places, but considering he did not interact with any main characters this episode but rather that one homeless man yet we know on Day 391 he sides with Gordon, Bullock and Penguin to defend Gotham, it poses a lot of questions that I am sure The Riddler himself would be very happy about.

Also I want to know what his relationship with Lee is now like considering the two died Romeo and Juliet style but still did both kill each other. We know Lee is alive from the trailers so I eagerly await this reunion.

Final point is on Ed’s hair, I know Corey Michael Smith has shoulder-length hair and for him to get that rather sophisticated Riddler style he just needs to comb and style it back, we saw this with Jim Carrey’s Ed in Batman Forever, it’s just a great callback and I love it.

Penguin:

Oswald is back in his comfort zone which is a position of power in a fortress. Robin Lord Taylor is best as Penguin when he is playing the Penguin as a power player rather than a whinging little brat.

It was confirmed here that he has taken over City Hall as his zone and is in possession of rather dodgy ammunition. Regardless it gives him the position of power in trades as he has resources the city needs. The problem is the only trading he seems to do is with The Sirens and they don’t exactly like him, particularly Tabitha.

Also the fact that he sends Penn out to do his dirty work, how is Penn still alive? We know Zsasz is in this season so where is he and why isn’t he at Penguin’s right hand?

I always admire the fact Robin Lord Taylor keeps that limp from Season 1, Episode 1 going and yes he apparently does it by putting a stone in his shoe but it never looks goofy or overacted. The fact they temporarily fixed it in this episode I thought was going to be a cop out at first and a behind the scenes choice of Robin’s maybe wanting to walk normally for the season, however when Jim brilliantly shot him in the knee and Penguin had that hilarious tantrum afterwards I thought “Ah yes, order restored”.

I love the fact that Penguin now has a hatred for Jim that isn’t muddled with some weird one-sided friendship, he wants Jim dead. It does create intrigue as to why he seemingly sides with Jim on Day 391 to defend Gotham. I await answers eagerly. 

Scarecrow:

Scarecrow has gone from being a tease in Season 1 to the opening threat at the start of Season 4 to Jerome’s henchman in the back half of Season 4 and now he seems to be his own boss with his own rules.

I love the fact he has an army and seemingly strings his victims up like Scarecrows, his look is eerily similar to the comics and even the 90s animated series. It’s also a more realistic depiction of the Arkham games costume. It just looks so dead on for the character.

While the GCPD, Penguin and Sirens are seemingly more about a defensive strategy, Scarecrow is very much on the offensive, he’s not shy to go out with his minions and reap and pillage. He has his fear toxin, he knows how to swing that scythe and he knows how to strike fear.

As I said with Jim, during their confrontation old wounds were opened not only with Scarecrow’s first main encounter with Jim at the start of Season 4 but also the fact Jim and Harvey were responsible for his dad’s death way back in Season 1.

This episode definitely brought Scarecrow to the forefront of villainy for the series and proved why he will become such a formidable threat for Batman in the future.

Barbara Kean:

I have loved Barbara for the past three seasons, Season 1 I found her very dull and Season 2 she was all over the place but since then and since she embraced her villainy, she has become such a bad-ass and brilliant character.

I really love her style in the promotions, the white trench coat and the pixie cut hairstyle are very striking and suit a female crime boss of her standing. However, her look in this episode was more lesbian club owner and yes that’s essentially what she is but she’s also the leader of a group that runs a turf and owns valuable resources for the city.

The fact she is still willing to trade with Penguin despite that fact that he killed the man who her best friend loved is very telling of the type of businesswoman she is. She knows that the city has gone to hell and also knows her club is not only responsible for the safety of all women that seek sanctuary but also has a monopoly on the food supply for the city. This doesn’t mean she is just going to roll over and show her belly to Penguin’s demands but she knows what she wants and how to get it which I love.

My two negatives with the character are firstly the fact their “turf” is female only as it just seems too feminist of an agenda for me. Also when Penguin kills Tabitha she is understandable distraught by it, however when she proclaims “If it’s the last thing I do, I will kill him!” referring to Penguin...not only do we know that Penguin survives beyond this show but also we do not know what happens to Barbara on Day 391 so surely proclaiming this in the first episode as a vendetta is signing her own death certificate?

I hope not because I really like this character, but at the same time she’s survived this long so there is nowhere really to go from here.

Tabitha Galavan:

My favourite Tabitha moment was during Gordon’s opening monologue sequence when one of the men that The Sirens gracially permitted to be on their turf for a while got a little bit touchy with the women and Tabby put a blade to his throat, you hear the sound of a wildcat over it.

We of course know that Tabitha was brought in to be this canon’s version of Tigress but there hasn’t really been any bite to that aside from her becoming Catwoman’s mentor and she is dubbed “Tabby the Tigress” by Ed when she fights Grundy in the Narrows but there is nothing to say she becomes this supervillain.

Obviously now she won’t be because while she is a main character still, Penguin killed her as he promised he would at the end of last season. Again Penguin is a staple character in the Batman mythos and characters like Tabitha and Barbara, even Fish Mooney, while brilliant, aren’t staples. So when they decide to challenge Penguin with a vendetta you know how it will go.

It is very sad that Tabitha died in episode 1, I maybe wanted her to last longer and see Barbara and Tabitha truly become lovers that way Oswald could kill Tabitha not only to avenge his mother but also hurt Barbara and while yes he has done that, for the first episode it didn’t seem warranted.

Ecco:

Ecco makes a brief cameo in this episode towards the end, surprisingly not in her Mummer outfit which resembles Harley Quinn but in a leather-clad look with just the Mummer mask.

Ecco is Jeremiah’s assistant from before he became insane and after he did, that is when she took up the Mummer mantle. From what we see in the trailers she is destined to become Harley Quinn to Jeremiah’s Joker so the fact she is seemingly spying on the GCPD from the shadows possibly for Jeremiah makes sense.

Also the Joker face calling card is a bit of a giveaway.

Others:

By others I mainly mean Bullock, Lucius and Alfred. While all three gents were brilliant as always, they didn’t have any standout moments themselves outside of their established roles. Bullock is there to prop up Jim, Alfred is there to prop up Bruce and Lucius is propping up both of them assisting the GCPD while also kitting out Bruce’s vigilante attire.

Alfred Pennyworth is getting his own series, unfortunately not portrayed by Sean Pertwee but Jack Bannon who does actually look like a younger version but anyway. Maybe because the butler is getting his own series, we’re having less emphasis on the character here? I hope not because I bloody love Sean Pertwee in this role.

Overall I’d say this episode is a strong 8/10, it set the final season up rather well and promises many exciting things to come.

So that’s my review of Gotham “Year Zero”, what did you guys think? Post your comments and check out more DC TV Reviews as well as other TV Reviews and posts.

[sparda3g]

Tokyo Ghoul:re Chapter 166 Review

There is an old phrase that goes, “Careful what you wish for.” This chapter reassures that this series would never go with your way, no matter how nice and wishful thinking it is. On the positive light, this was a very thrilling action packed chapter that should leave fans celebrated, but the end justifies the mean. Well, not really, but it certainly caused the fans to lose their mind in sadness and anger.

Let me start off by saying that the chapter’s title is a huge giveaway to the reveal of that creature from the last chapter. Hell, I was like, “Okay, I already know who that monster is. Thanks, Ishida.” I was a bit anxious to see the reveal despite already knowing, because when it comes to this series, you can’t be so certain about everything. After this chapter, no doubt I won’t think of a happy place for a long, long time.

There is a brief scene with Kaneki and Ayato to let the audience know their next destination. They’re heading to A20, which is the vast underground beneath the 19th ward. Basically, it does scream for Kaneki to fight against Furuta and maybe Rize. Wouldn’t that be overpowering Kaneki, especially if Rize is to believe to be the same level as him? Either way, that’s their destination and it won’t be for another chapter or so to focus with them entirely. Right now, we got some intense Kaiju battle approaching.

I did tell myself to wait for the next chapter to get a better view of that monster and my wish was granted. The monster is the Owl, Kakuja form and all. You don’t even need Ui to say it to know what that is. The design is every shape and form that resembles Owl; only difference is the face and the size is larger than before. Therefore, we can safely say that it’s Eto behind that monstrosity and the theory can now close…

Right?

The action kicks off with the Owl strikes first in great devastation. It’s been a while watching the investigators getting dismembered like some finale of a series that decide to kill Earth completely. It’s rather bone-chilling and I love it. Watching a Kaiju-esque scene in motion against normal people with no tanks or any heavy artillery is brutal stuff. It is how the scene starts off with “you got to be shitting me…” vibe to a massacre that got me thrilled; all well presented with those use of distorted effect and onslaught display in each panel.

It does seem clear that Ishida is ready to kill off many characters before entering the next part of the series alas part 3. Granted I can’t confirm it with one scene but Misato appears to be killed off with the rest of others behind her. All the fire power didn’t work on it; only for it to fire back. If she did die, look at this way, she didn’t get dismembered to the point of unidentifiable. It is an indication that this is the part where Ishida roll call the characters and kill them off. Prepare yourself.

The preparations before engaging combat with Owl is very engaging; got me really hyped for this intense battle. It reflects the fact that Shinohara and Kuroiwa are no longer with them. Hirako can’t even assist Ui as he is handling this one strong V guy, so the pressure on Ui has gone up tremendously. From here on out, it’s time for Ui to take in charge of this beast. It was a nice added touch with him reciting the similar line about coward from his last encounter with Owl.

I really like the whole formation scene with Ui in charge and gather men as many as he can. It does highlight the number of characters in the field; tracking them for possible death or survivor when the smoke clears out. It’s riveting to see nearly everyone helping Ui out with the sensation that can be best described as calm before storm. It has that finale feeling towards it, especially since CCG’s number one target has been centering on Owl for a long time. It’s like finishing the fight scenario; it will finally end with this.

It’s great to see Shuu and other Ghouls to help Ui out with this as well. Not only Ui has evolved to a bona fide leader, but he has grown to appreciate the Ghoul’s aids for the Human. The days of when he was a hater are nearly if not entirely over. A touching yet possible eerie omen scene is before he roar cry, he remembers Hairu and Arima; lending him courage one more time. I am aware of this calling mean death flag and yes, it has been raised. Will he die? It depends if Ishida has more subplots in mind.

The chapter then shifts to Hirako versus a V guy. It’s possible that it’s the leader, Kaiko, though it’s not really confirmed at this time. For now I’ll call him “Kaiko” until further notice. The fight isn’t just with Hirako; Takeomi, Itou, and Yusa are joining in to assist him.  From there on, we get a round of great battle with solid teamwork and fearsome intensity.

Kaiko is proven to be a serious foe with his impressive evasive maneuvers while taking on four men at once. As swift the investigators are here, he is quick on his feet with those two swords; blocking and dodging moves swiftly. Itou tries to sneak attack, but Kaiko got some impressive sensor to detect ambush and cut him with ease. Takeomi comes in to attack when he was in recovery process, only to block it with his little sword or dagger; close call. I thought it was cool when he tosses that small sword in the air and try to strike him with his other sword and then the small one lands right on the shoulder. That was clever.

The main highlight of the battle is when Yusa and Hirako step in. It’s worth mentioning that Kaiko is pretty taunting with his words; rubbing in people’s faces with his smart ass remarks. Maybe because of recent anime, but I can’t help but image him with Frieza’s voice. It was getting close for someone to be killed off and Yusa is the last victim to struggle to survive. Interestingly enough, Kaiko was responsible for training Arima; so that led him to mock Yusa for being nowhere near his level. Thank God Yusa wasn’t having it and then stabs right on his foot.

The way how it sets up for the finishing blow is dramatic, though rightfully so. Kaiko was close to kill them off and Yusa is the future generation that lives with the name of Arima. Hirako passing him the weapon to finish the job was sweet. Yusa swings and off Kaiko’s face; like really split his head apart. It was brutal yet satisfying. The kid deserves the honor and a medal of greatness. Hm, I guess if I do call that V guy Kaiko, it would mean the V main leader has died.

Right?

The chapter returns back to the team that is fighting the Owl and it’s getting to the breaking point with Kagune dissolving and they have to attack before they all get wiped out. That is until Banjou comes with an assist to recover them. You got to love Shuu’s appreciation. This whole battleground is well coordinated with everyone helping out like one crazy main boss in a MMORPG; it’s riveting as hell. Once they are told to aim for the neck, that’s where Suzuya becomes the star. Thank you, Attack on Titan!

But seriously, how great it is to see everyone cooperating to take out the Owl. It was damn great for Ui to use his quinque and make an opening path for Suzuya to take it out for good. When you combine this scene and the one with the V, it makes a really inspiring and gratifying moment of triumphant. It’s a good feel moment that I would love it to be completely true. If anything, this chapter was outstanding with great character’s evolution, exciting scenarios with slick action, and plenty of satisfaction. Then, we got to the final scene.

The atmosphere of the fan base reminds me of my days in wrestling; actually, it can be said for anything. Have you ever encounter a moment that you was like, “Oh my God, this is nearly perfect! I love everything about it,” and when you reach to the end, the last moment is what overrides your thought and can’t compute anything else? Well, this chapter has done that. Not me personally; I thought it was mind crushing and frightening cliffhanger. Basically, we may have known who the monster is with the chapter’s title, but never thought this would be the case at all.

It’s Eto alright. Just headless, that’s all.

People wished for her, they shall be granted. But not like this. I have read people saying that it’s not her and it could be someone else, notably Hairu. Now let me play two sides of the coin. To begin with, let’s say it is Hairu’s body instead. This does make sense on the account of Ui getting the main focus. It would be a cruel fate for him to face his old friend like this. It would align with his development, so I can see where people think of this. It also makes sense since it’s only a body and the head’s placement is placed with a cross; clearly this is Donato’s work. The timing is on this fan’s side. That said I do think otherwise as well.

Eto has disappeared for a long time, so this revelation, while brutal, is shocking. It does make sense with her being placed here as well but under different circumstances. It was highlighted to be CCG’s sendoff to finally defeat Owl after so many tries; now Ui will grant that victory. Part 3 is inevitable at this point, so if Ui lives and win, there’s room for more developments and taking out Owl would be a start. Hairu could somehow come in play, but in part 3 maybe; unless Ishida just throw it out completely, but we’ll see. The point is CCG is yet again facing the recurring threat.

You probably wondering, “What about her head then?” Donato is using his cross to control it somehow, so say if Eto was alive and conscious, she won’t obey these Clowns, so why not decapitate her and replace with a remote control. The most possible giveaway is the title “E T.” While it is brilliant from Ishida, it freaking hurts like hell because not only it’s an indication of headless hence missing “o,” but it is a reference to Noro, who once called Noroi. Damn… The only question for both scenarios would be the missing head.

The other possibility is Donato created a clone of Eto. His capability is left in vague in a way, like how much can he copy a person in terms of ability and such. It must be intentional from Ishida to leave us hanging. Honestly, I would just wait longer and see how this unfolds. It will ease your mind. Eventually, we will learn the actual story behind this Owl.

The chapter as a whole was a lot of fun and excitement that clearly got overshadowed by the end; at least to the fans. The sensation of terror is well portrayed. The preparation of Ui and his men before the battle was exciting to read through their contribution and dedication. The action was engaging and thrilling with really cool moments. The artwork was very solid with its effect and action set pieces. The ending was something that threw me off entirely and it only got worse with Kaiko reattaching his face like nothing. All I know is we are about to see a lot of bodies hit the floor next.

[wozman23]

My 2020 in Gaming

I finished my 100th video game of the year yesterday. In a normal year that would be an embarrassing feat. By in 2020, pretty much stuck within these four walls for nearly nine months now, I'm really proud of it. The last few years, my gaming habits took a severe hit due to working too much. I was fortunate to have the finances to pick up the PlayStation VR and the Switch, but I couldn't dedicate a lot of time to them, and when I did, the joy wasn't there as much since I was often exhausted. In 2018, I still managed to get through almost 40 games, but last year that number fell to 25. There was so much I wanted to play, but I just didn't have the free time. And then 2020 dealt me a lifeline... When LA came to a halt, three and a half months into the year, I was only working on finishing Game #6. Since then, I've been on a tear. A large part of my efficiency came from two choices. In late April, I signed up for Xbox Game Pass for $1 for the first month. Then in June, the “Racial Injustice” Bundle with hundreds of PC games – about a dozen of which I really wanted to play - released on itch.io. Overall, it was a solid mix of AAA games and indie games, although I've skewed more toward indies for years now. There were big anticipated releases like The Last of Us, Part II and Doom Eternal. Splatoon 2 finally got the shrink wrap pulled off that it's been suffocating in for years. (It was fantastic, so I'm not sure why I waited so long.) There were massive games that I put dozens of hours into, like my 77 hours descending into the madness of Hades, or my 69 soaking in the world of Ghost of Tsushima, with a sizeable chunk of those hours being me just toying around with Photo Mode. (Props to the PS5 for finally telling you your playtimes via the OS.) There were dozens of small indie games that only took a few hours to complete – which is kind of my sweet spot these days. A few weighed in at just 30 minutes, like Swarm, a Steam game I found through Get Indie Gaming's Youtube channel, or Syphonia, a student project from ISART Digital that I was anticipating. There were games I replayed, like some of my favorites of all time, Psi-Ops: The Mindgate Conspiracy and Alan Wake, as well as the remastered versions of Ghostbusters: The Video Game and the Crash Bandicoot and Spyro trilogies. There was great stuff I paid for, and a few awesome games that I got for free through the Epic Games Store, or via subscriptions with PlayStation Plus, Game Pass Ultimate, or the times I took advantage of free trials of Amazon Prime. And I even got hooked on an online multiplayer only game, which has only happened on a handful of occasions in the history of online play.A lot of people are going to look back on 2020 as a terrible year, but for me it's been a godsend. It's allowed me to enjoy multiple passions, with gaming being one of the biggest. Like any hobby, my gaming habits over the years have ebbed and flowed. Overall, the last generation I've been fortunate to own every major console for the first time in a generation. Yet – outside of a few phenomenal games like Horizon Zero Dawn, ASTRO BOT Rescue Mission on VR, and the other aforementioned PlayStation first party titles – overall I wasn't really impressed as much with the AAA offerings. The indie scene is only gaining ground. But with the PS5, the proper return of my all-time favorite franchise, Ratchet & Clank, and my Game Pass renewed until 2022, I'm optimistic about where gaming is headed. As for my favorite games that released this year, here's my list: 1. The Last of Us, Part II 2. Battletoads 3. CARRION 4. Hades 5. ASTRO's Playroom 6. Filament 7. Fall Guys: Ultimate Knockout 8. Bugsnax 9. Ghost of Tsushima 10. Ori and the Will of the Wisps The Last of Us, Part II The original The Last of Us was my favorite game of the previous generation, as well as the most impressive game of all time. It was mind-numbingly good, so much so that I really did not want a sequel. I didn't even want to replay it. It was one of those things that just felt complete. Nothing more needed to be said, and in doing so, there would be a large risk at ruining what made it great. Slowly, Naughty Dog eroded away at me, and I began to anticipate the sequel. Right before it I even replayed the remaster of the original. Part II is one of those rare project that manages to one-up what you thought was already perfection. It's like a 30 hour blockbuster movie that just keeps ramping up in intensity. So much of what makes it special is within the design of its details: the way it presents itself, the pacing, its message. Like many, key details were spoiled by online trolls prior to launch, but it really didn't matter. This post could be just as long and be only about The Last of Us, Part II. (I still may write something up at some point.) There's just so much of it to dissect. But it's impossible to talk about without spoiling all of its magical moments. It simply offers a masterclass in game design and narrative flow. I really don't need a Part III, but should one exist, I know damn well I'll be there. Battletoads I loved the original Battletoads. I even replayed it, and beat it with the help of the Rare Replay rewind feature right after playing the new entry. It's practically impossible otherwise. When there was talk of a new game I was hyped. But when it was finally revealed, with a completely different art style, I was taken aback. Because of that, I went in to the new entry not expecting much. However, that stylistic choice is exactly what put it in the Number 2 spot in my list. The original Battletoads concept was created to ape the Teenage Mutant Ninja Turtles, and the original game felt much like the early TMNT brawlers. The new Battletoads doubles down though, expanding their empire to combat TMNT's cartoons. The game itself is a fairly straight forward 2D brawler, that looks and plays great, but the real stars are the cutscenes and the humor. It has this great Saturday morning cartoon vibe that I've never seen a game nail near as well. I don't watch a lot of the modern cartoons, but many have compared it to Rick & Morty. It's really quick, and silly, and feels exactly what a company should be aiming for if they wanted to create the next TMNT craze in the world today. Sure, the game itself is nowhere near perfect in all dimensions, but the way it tackles humor is really impressive and admirable. That's the main reason it occupies my Number 2 spot. CARRION CARRION reminds me a lot of INSIDE, typeset aside. INSIDE for me was this solid atmospheric game that at it's end became this awesome fever dream, but was over just when it was getting interesting. CARRION feels like INSIDE's spiritual successor. You play as this creepy creature, with all these grotesque tentacles, and you just run amok. It's just plain fun. Plus it's an insanely unique lifeform to play as, and there's nothing more I love than playing a game where you take on the role of some strange creature. Like many of the indie games I love, CARRION doesn't overstay its welcome. Over the few hours of its journey, it iterates, provides you with some unique challenges, they grabs its hat and coat and bids you adieu. There's nothing more I love than a game with that approach. Show me something cool. Make me play something that feels like something I've yet to experience in my over 30 years of gaming. Then get out of the way so that I can find another game that makes me feel that way. Kudos to Game Pass as well for partnering with the CARRION developers and offering the game on release day. I was looking forward to the game, but with so many games on my radar, I often simply can't get around to all of them. Had I needed to purchase CARRION, it might have had to wait in the wings for a while. I've played so many games on Game Pass this year that I may have otherwise never actually purchased, and many of them have found the ranks among my favorites from the last few years. Hades Up until now, I'd like Supergiant Games as a creative studio. I've played all of their games, and loved the artistry present in them. However, I've always felt like the gameplay was a bit lackluster. Not previously being a fan of roguelike games – although Game Pass has provided some great experiences there as well – I initially had no plans to buy Hades. But praise was unanimous, the Epic Store gave people a $10 coupon just for downloading Rocket League for free, and it was on sale for $5 off, so I scooped it up for $10. At first, I thought I had made a mistake. I wasn't really into it. But then it slowly started to sink its hooks into me. After about 30 runs, I'd finally vanquished Hades himself. And what was your reward: a brief encounter with your mother, followed by your death and cyclical return to The Underworld. And that's really where the brilliance of Hades comes in. In beating the game, you realize you have only scratched the surface. I played around 70 more runs. I got the full story from my mother. I tried out the different weapons. I played around with the perks and heat gauge. I maxed out the relationships with almost everyone. (I never got Demeter's final few dialog options to pop.) All along the way, I kept thinking, I'll quit after I do X, but then Y and Z would egg me on even further. I spent 77 hours in that world. Sometimes, with nothing to do during the day, I'd practically play all day long. No other game this year took up that much of my time. Few ever do. Not bad for a game I initially had buyers remorse for. ASTRO's Playroom I wasn't sure I was going to be able to get a PS5 at launch. I got lucky on release day thanks to the PlayStation Direct website. (Every other retailer is a giant hunk of shit, who doesn't care if they sell to an actually gaming fan or some asshole reseller.) Had I not secured an early PS5, it wasn't a big deal. Most of the games I wanted to play were coming to PS4 as well. The baked-in ASTRO's Playroom was the only exception. And there's always that extra special feeling of playing something right when it comes out. It's funny to think that the best PS5 game is given away for free with every console, but that is just the case. Much like ASTRO BOT Rescue Mission, which did wonders for showing off what PlayStation VR could do – it was my 2018 GOTY - ASTRO's Playroom shows off what the PS5 can do, primarily via the advancements of the DualSense controller and the solid state hard drive. I've never been one to care for graphics, and the PS5 will surely evolve over time, but those two details are what makes the device feel truly “next gen” so far. The way the triggers adjust tension is so wild. I really don't know how much they'll be used, but it's a cool option to have. And loading times are practically non-existent. (I've since went back to the Xbox One for a few more Game Pass releases, and loading times feel jarring.) As far as ASTRO goes, he's a terrific mascot in an age where mascot platformers aren't really a thing anymore. The experience relies heavily on nostalgia, as you collect relics of PlayStation's past. Also scattered throughout are other bots dressed up to reference other franchises. Dozens of franchises are represented, from characters like Crash, to Ratchet, to Kutaro from Puppeteer. It's really a lovely homage to PlayStation that any longtime fan will enjoy. Plus, it's a really fun game to play, with beautiful tech themed worlds, some infectious earworms, and some cool mechanics. Japan Studio has been a bit of an enigma for a while now. But the ASOBI Team is knocking it out of the park with ASTRO. ASTRO reminds me a lot of Iota from Tearaway: they're both cute mascot characters, crafted with a lot of love, from terrifically artistic games that did an excellent job of showing off new tech. I can't wait to see what ASTRO is up to next. Filament This one sat  near the top my Steam wishlist for nearly the entire year before I finally grabbed it about a week ago when it went on sale. I love a good puzzle game. Basically, you control a bot that tethers out a string-like filament that you use to interact with pillars. Sometimes you just make sure you graze the line by one; other times you loop around one. Sometimes you're simply turning a pillar on. Other times they must be linked in pairs, by color, or a specific number of times, just to name a few of the options. That's really where Filament glows. What starts of simple grows insanely complex by the end. You'll be combining mechanics in some rather brain-busting puzzle. And the game does very little to explain things to you, or help you along the way, yet it feels very inuitive. Still, many times I simply hit walls, where I was almost convinced the puzzles were impossible. In a few instances, it took a while to understand new rule sets. Eventually I solved every single puzzle without resorting to help. And it took me about 48 hours. (Granted I think my stat tracking was probably counting some idle time where I had the game running but walked away to do stuff like make a meal.) It's a surprising amount of content for a puzzle game that can easily be reduced to: solve puzzles by drawing lines. One other thing I appreciated was that I found myself taking notes and drawing things out on paper. That's a tactic I don't pull out often, but love when a game pushes me in that direction. One instance in particular even had me cut up squares of paper to piece together one of the secret text logs. By the way, I missed a ton of those logs. After completing the few I found, I did look how to unlock the rest, and some of the stuff there was absurdly complex. There's really not a lot to compare Filament to outside of The Witness. But if you like a really challenging puzzle game with a ton of content, give this one a look. Fall Guys: Ultimate Knockout I don't like online multiplayer games. They rarely hold my interest. I put quite a bit of time into Rocket League, Uncharted 2, Resistance 2 Co-op, and Fat Princess, but that's been about it. And in some of those cases, the main reason I spent a good amount of time with them is because I was unemployed during their reign. Overall, I'm not one to interact with people online. And I don't like the idea of a game dictating when I play it. But when Fall Guys was included with PlayStation Plus, I liked the look of it enough to give it a try. Getting a win took a while, but after the first one, I started to become pretty consistent with my runs. Much like Hades, I thought, “I'll just play until I get the trophy for 7 wins.” Then I set my sights on 20. Then I got hooked on collecting the costumes. By the time I'd finished my first stint in Season 1, I'd reached the max Level 30 and had every trophy except for the one requiring five wins in a row. I've given up hope there. Sony says I logged 40 hours with it, which equates to a lot of rounds. One day I went back for Season 2, and enjoyed the new levels, even though I was getting eliminated since I was sight-reading them. I don't know how much time I'll be putting in with it in the future should I find gaps in my list of games. Usually with multiplayer games, the focus fades once I unlock all the trophies I can. And I'm not sure how much time I want to dedicate to becoming proficient at future season. But the fact that Fall Guys even got that much attention from me to begin with is a testament to how much fun it is. Bugsnax Bugsnax could have been a joke. The previous game from Young Horses, Octodad: Dadliest Catch was just that: a silly romp that equated to little more than just a goofy control scheme. Bugsnax was the butt of many jokes upon reveal, reaching meme status in which it became the Schrödinger's cat of games. When someone talked about it looking good, you weren't sure if they were being honest or a hipster. I wasn't sure what to expect, but I was intrigued. It's another fine example of a list of stellar games that have been given away for free with PlayStation Plus. Would I have played it otherwise? Who knows? But I'm glad I got to. It is silly, but the silliness works in unison with what turned out to be a very fun game to play. The world and its characters are weird. Everybody has a laughable name, Filbo Fiddlepie, Chandlo Funkbun, and C. Clumby Clumbernut, just to name a few. ( I wonder what the C stands for?) The Bugsnax, which are part bug, part snacks, follow suit, with the burger inspired Bunger, the french fry spider, Fryder, or the popsickle, Bobsickle. The most delightful part is when you catch one of the bugsnax and you hear them say their name from the speaker in the controller. Hearing “Weenieworm” never got old. Any sound coming from Bunger put a smile on my face. Feeding the bugnsax to the other characters was a blast as well. Certain bugsnax resulted in sheer silliness, while combinations could provide interesting fashion statements. But past all that silliness was a fun game too. You're given a few different tools to capture bugsnax, and are sent to figure out how. By the time I was reaching the end, having done all there was to do, I was sad to see it end. It was simply a joy to platinum the game, and I'd definitely be down for more Bugsnax adventures. Ghost of Tsushima I love Sucker Punch to death. Sly Cooper is one of my favorite series. On the other hand, I've never been into the world of the samurai, or watched any samurai movies. But Sucker Punch is a studio I'm happy to support, and I figured I'd be getting a good quality game, so I was in. (Plus, I had the free time. At the time, I thought it might be my gaming binge swan song as I thought we'd be coming out of this pandemic in July. Boy was I wrong!) The world of Tsushima is breathtaking. The partnership of style and graphical fidelity creates beauty in every square inch of the world. As far as the game is concerned, it what I would expect from a AAA open world game. There are main missions, and side missions, and things to upgrade, and all kinds of places to explore. It's fairly predictable in that regard, although I did enjoy some of the ways it tackled many of those side missions. The haiku system was a relaxing alternative to combat missions. Foxes and birds always encouraged me to meander from the main missions. And shrines provides some nice platforming challenges. Combat was unique, and being about to cater it to your preferred combat style was appreciated. It did wear out its welcome a bit after dozen of hours, but I appreciate its simplicity. Still, most impressive was just that living, breathing world. I spent a lot of time in photo mode. A LOT! I could easily spend an hour or two just traveling around finding beautiful vistas to tinker around with lighting and effects. In the end, most of my complaints really just boil down to the fact that it's a large AAA game, and comes with the tropes and restrictions of the territory. Otherwise, it would be higher up the list. Ori and the Will of the Wisps Ori and the Will of the Wisps is a great game, but ultimately it's just more Ori. That's not necessarily a bad thing. It just doesn't really subvert expectations. Everything that made the first game great is here too. It looks gorgeous. It's fun to traverse and explore. But looking back, it doesn't stick out as fondly in my memory as many of the other games in this list. Some of that could be the fact that it released early in the year. It was the game I was playing when the world crapped the bed. But it could also just be that I prefer the intrigue of new IP over sequels. Even so, it's hard to discredit just how well it plays and how beautiful and rich that fantasy world is. Honorable Mentions (that released this year): Carto, Lightmatter, Swarm, Symphonia, Bartlow's Dread Machine, Doom Eternal, Control's AWE Expansion Honorable Mentions (I played that released years prior): Bomb Chicken, SUPERHYPERCUBE, Dead Cells, Moonlighter, Songbird Symphony, The Messenger, JUMPGRID, ETHEREAL, Spring Falls, Unruly Heroes, Celeste, Lonely Mountains: Downhill, Splatoon 2, My Friend Pedro, A Short Hike, Future Grind, SOMOS, A Plague Tale: Innocence, The King's Bird

[thebandcampdiaries]

Lance Dubroc introducing brand new album release: Sunny Days

July 2020 - Artist and songwriter Lance Dubroc is back on the scene with a beautiful new record: Sunny Days. What I love about this release is that it seamlessly covers so many styles and ideas: the songs have hints of blues, pop, fusion, country-rock, easy listening, and R&B. In addition to that, you can savor Lance’s fondness for old-school sounds, including the legendary vibes of 70s music and earlier Motown. The album, which was recorded at the legendary Muscle Shoals (AL), was actually released on Muscle Shoals Recordings as well. The release features seven studio track, each setting the bar higher and exploring Lance’s wide array of influences. Keep reading for a song-by-song spotlight.

I Can’t Wait

This track is so balanced and so perfectly produced that it actually makes me think of some of those classic 80s ballads and easy-listening songs. The song has a stunning production, and a really cool tone, which actually reminds me of artist like Otis Redding, Smokey Robinson, or Al Green, among others.

I Do

This song has a really amazing rhythm section, with a shaker accompanying the drumbeat. The guitars have a classic Motown vibe, and the organ/keyboard parts add so much atmosphere to this beautiful song. There is something quite special about this release, and I am a big fan of how this track brings a retro twist to the music. The track was actually written Dan Penn, who is behind some amazing tracks, including "Do Right Woman, Do Right Man' by Aretha Franklin as well as the soul evergreen "Dark End of the Street."

I Don’t Want To Lose You Anna

This song clocks in at slightly over the 3-minute mark and it feels like one of the most personal songs on the album. The lyrics are romantic and sweet, exploring the topics of love and loss in way that listeners can easily relate to. The musicianship on this track is amazing, making me think of some of the latest Salomon Burke albums. The tone is personal, tinged with feelings and emotion, yet energetic and very easy to relate to. They say that great music is all about being able to tell a story with the audience - it doesn’t matter if you choose to do it through words, music alone or a combination of both: there has to be a connection, which makes listeners empathize with the artist and his material. This song is definitely a great example of that!

Mary Jo Brown

This song has a 3/4 tempo, which gives the music a dreamy atmosphere and a relaxed vibe. I really enjoy the diverse and forward-thinking balance of this release, as well as the fact that the lyrics are so masterfully laid out, showcasing Lance’s penchant for musical storytelling. One of the album’s high points for sure!

She Sure Felt Good

This is a beautifully melodic track, with a set of personal lyrics and one of the best vocal performances on the album. I just love how Lance uses his full range here, going from lower register parts, to beautifully intense vocal hooks, reminiscent of powerful singers such as Marvin Gaye or Stevie Wonder, but with a more personal feel. The guitars are totally spot on, with the acoustics handling the rhythm, and the electrics adding some additional color and texture. The electric organ in the background is amazing as well, giving the song a bit of a 70s feel.

Small Town Talk

“Small Town Talk” is a cover of a Bobby Charles song. It was written by Bobby Charles and Rick Danko, bass player for The Band. This is one of my favorite tracks on this release, and I didn’t even know it was a cover at first, because the artist really made it his own with a stunning performance. I love the positive and playful melody, as well as the whistled part at the beginning, which gives the tune a lot of personality. The acoustic guitars have a bright, distinctive sound, which match the vocals to perfection.

Sunny Days

The title track is definitely one of the highlights on this beautiful album, giving the audience a deeper insight into Lance’s beautiful approach to songwriting. The track is an uplifting mid-tempo song, with influences ranging from country to rock. If you are a fan of artists such as R.E.M. as well as Tom Petty and Neil Young, this one’s for you.

In conclusion, this is a beautifully layered album, which sets the bar higher in terms of songwriting, performance, and production aesthetics alike. Find out more about Lance Dubroc and do not miss out on Sunny Days, which is soon going to be available on the web!

We also had the chance to chat with the artist.  Keep reading to learn more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: I focus on the intended emotion. A song is a form of communication and, to me, every phrase needs to have intention.  So, once I figure out what I’m trying to say who I am communicating it to, it unfolds from there. Things like tempo, meter, chord structure and melody will write themselves once the message is clear.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: I’ve performed on stage since I was 12. I gigged nearly every weekend throughout my teens and 20’s and most of my 30’s. There is nowhere on the planet where I am more comfortable than a stage.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: I Can’t Wait, which is track 7 from the album. It’s the first song I wrote where I felt we really captured exactly what we were trying to say.

What does it take to be “innovative” in music?

Answer: To touch or engage a listener in a way they’ve never been touched or engaged before. Without that, there is no innovation.

Any upcoming release or tour your way?

Answer: The first single, ‘I Don’t Wanna Lose You, Anna’ is available across all digital platforms. Currently, you can only purchase the album on CD.

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: Catch me @lancedubroc across most major socials. Check out www.lancedubroc.com

[icecreambat]

Story time: Dating everyone in P5 turned Joker into a sociopath

The first time I ended up dating more than one girl in a Persona game, it was an honest accident. I’d already imprinted on Chie in Persona 4, and had no idea comforting Yukiko during her social link would turn me into a two-timing douche. A quick save-state reload rectified this mistake, but it taught me an important lesson: in Persona games, monogamy is not the limit of your teenage life.

As Persona 5 rolled around, I grew fond of Makoto on my first playthrough. With her on my side I experienced the Phantom Thief thrill ride, maxing my social links while gently turning other girls down. It wasn’t until the NewGame+ that I wondered: wouldn’t it be interesting to try the multi-dating thing? That way I could fast-forward all romance scenarios and not watch them on Youtube later like a loser, duh. If this game was intentionally giving me the opportunity to be Tokyo’s biggest Don Juan, then by Mona, I’d do it!

Little did I know, though, that as I embarked on a quest to bag all the single ladies* the whole atmosphere of the game changed. What had been a more or less generic adventure about truth and justice took on some… rather disturbing undertones, ones that went beyond the actual dating scenarios. In fact, the game turned out to be such an interesting social experiment that I wanted to write about it, so here I am. So, this is a recap of how dating multiple people in Persona 5 turned my Joker into a sociopath.

* except for Makoto, because a) I already romanced her before and b)…. it didn’t feel right, her being my first and all. SO SUE ME I’M A LOSER AFTER ALL

So. Here we are again, moving to Tokyo, whoop de doo. NewGame+ means not having to waste days on working out the ropes, so you can focus on the stuff that matters: getting as overpowered as you can in the least amount of time possible. For me, this meant maxing out Kawakami’s social link as fast as I could, because her bonuses are pretty swank – I really could have used the post-Mementos or post-palace massages during my first playthrough too, but kinda forgot about her right after Operation Maidwatch. Well, no more! I was bringing that teacher home left and right at every possible instance, so obviously I ended up maxing her link first. Ergo, we entered a relationship. 

I’m not gonna lie: the Kawakami romance is some weird (and arguably illegal) shit. Maybe that kinda set the tone of this adventure from the start, giving me an mc who was 100% ok with romancing his homeroom teacher slash part time maid. Uh… huh. Given that my suspension of disbelief went out of the window right about there, it was easy to pick the “omg i totally like, care about you and stuff” dialogue options that went with it; I mean, I was doing this for science and stuff, no big deal.

That’s why it surprised me that when it was time to romance the next (un)lucky girl, I felt like shit about it. Not because of Kawakami, but because Ann wasn’t some ludicrous dating option pulled out of the “lol what if we let the players date everyone!!” shitpost book. Instead, Ann and the mc had already been through Some Shit together, best friend suicide attempts and sexually abusive PE teachers included, and she was a teenage girl looking for her place in the world. So when Ann confided in me about her feelings and told the mc she loved him, “returning” her feelings –while knowing I was already dating my…. uhh, homeroom teacher slash part time maid– genuinely made me feel like the absolute scum of the earth.

“I can’t do this,” I thought at this point, “Even if these are fictional characters in a fictional game, I feel like shit lying to these girls that I care about them, because obviously that’s not true if I’m so callously dating someone else behind their back. How can people do that in real life if I can’t even do it in a video game? Oh, naïve me! Because my lesson in the callousness of man had only just begun.

Anyway, so. Here I am, dating Kawakami and Ann. I think I figured that lying to my teammates didn’t Feel Very Good so headlining for randos seemed like the better choice to make next: Ohya the reporter ended up being the third girl I romanced, and it was relieving she seemed to understand the unlikely nature of our relationship. “I get that we probably won’t stay together forever,” she was telling me, almost like she knew she was only the third wheel in my extended trailer truck, headed to nowhere fast; the same kinda goes for Tae, the punk rock doctor, whose reservedness somehow made it easier to ignore the serial cheater vibes in the dynamic.

Chihaya, on the other hand, was different. Seemingly a little younger than the other grown-ups, she was already a lot more straightforward about her interest in the mc, and harbored all sorts of weird fantasies about them staying together forever. Which is exactly what I told her would happen. Not! Funny that for a fortune teller she couldn’t see I was also spouting this same shit to four other girls, huh? Chihaya reminded me of Ann, in a way, which is why the Bad Feels actually started to resurface here – it’s one thing to lie boldly in the face of girls (women) who aren’t really that invested in you to begin with, but when it’s people who actually believe said lies… well.

Now, I know, I know. There’s no actual reason to feel guilty, because these choices don’t affect the gameplay in any way. Whether or not the mc is an asshole in some ways will still result in everyone loving the shit out of him, and being sad when he leaves. Sure, there’s the scene after Valentine’s Day where you get beat up for being a cheater and the girls kind of call him out on it, but that’s about it; this isn’t Mass Effect, you can’t go full renegade, etc. etc. But even if the game barely acknowledges the clear disparity in the mc’s words and actions, it’s really hard to overlook as the player, and as I said, it kinda changes the tone of the whole game.

You see, during the course of the story the mc ends up establishing a whole bunch of social links: Ryuji, Yusuke, Mishima and even Sojiro are but few of the guys you end up making heartfelt bonds with too. Only problem is, once you go the Lie Route with the girls, the mc hardly comes across as any more honest with the guys – and this is what really puts a spin on his reliability. Everyone’s always going on about what a great guy he is, but none of them know what a quadruple-timing, lying asshole he is at the same time. And why would they? All he does is tell people what they want to hear!

Apparently the devs of Dream Daddy wanted to challenge the notion that this kind of behaviour automatically leads to “good endings” in visual novels, because it only makes the mc seem a little sociopathic. Sure enough, that’s exactly the word I would use to describe how my mc started to come across in all his social interactions in P5. Well, not all, actually; there was one character whose exchanges with the mc came across as genuine even when virtually nothing else did. Yeah, you guessed it: Akechi.

I’m taking a brief interlude here to talk about Akechi, because my social experiment with the mc’s romances actually ended up underlining how similar he and Akechi are as people. It’s what the game hints at continuously with the whole ~two sides of the same coin stuff anyway, but the point really gets hammered home when you repeatedly watch the mc fake his way through life just like Akechi puts on his own double persona (pun not intended). In that sense, it’s only natural that the two would recognize each other as equals, and that their interactions ring more sincere than any other discussion they have in the game.

But back to serial dating, if you will. After Chihaya, I started dating Hifumi the shogi girl, but to be completely honest I sort of mentally fazed her out; with every new girl I tricked into dating me, the initial unease seemed to diminish until I couldn’t remember what had made me feel so disgusted in the first place. I mean, I was already lying to so many people, what did it matter if I lied to one more, right? It’s not like I actually hung out with anyone ever again after I “entered a relationship” with them, and it’s not like my actions carried over to pre-scripted cutscenes, so who cares, right? Nobody (well, apart from a physical game engine) was forcing these girls to believe my bullshit, so really, the fault was theirs for being so gullible, right!!11

…Well, I might have been able to go along with that type of douchebag logic if I’d only kept dating randos. Since I skipped Makoto, the next girl I got cozy with was Futaba… and this is where the skeezy-ville started to nag on my consciousness again, because like with Ann, you know that Futaba’s been through A Lot: she basically spent the past couple of years as a hikikomori, convinced that her mother committed suicide because of her. Trust is a really big thing for her, so throwing a cheating mc into that equation gets really ugly when you think about how he gains that trust just to betray it. When you add in Sojiro, you’re essentially screwing both of them over while pretending to be a happy little family. If you take these events at face value, it kinda makes you wonder: seriously dude, what on earth is your damage?!

If that wasn’t disturbing enough, we finish with Haru. She is also running from one abuser but, if dating a cheating mc, kind of ends up in the arms of another. Although she enters the story fairly late in the game, it’s no less shitty to listen to her be so grateful for your “support”, knowing you’ve sat through variations of this scene with half a dozen other girls already. I just kind of kept staring at the mc’s poker face (pun not intended, again) while wondering how much worse it seems that none of these choices affect anything tangible in the game, even when the whole theme is helping other people (and shitty authority figures, sure, but mainly helping people).

And you know, it’s really that endless poker face that gives the whole thing such a weird ass vibe: this is a 17-year-old kid who’s moved to Tokyo for a year, and ends up constructing a meticulously crafted fake personality that has everyone treating him like the greatest guy on earth. If you perceive this as the intended story (as opposed to the mismatch of a fixed script and optional gameplay choices that it actually is), Persona 5 suddenly becomes a story much darker than its original premise. Who is the real mc, and why is he doing any of this? What is his actual sense of truth and justice, if he spins it so grotesquely to suit his given situation? How troubled does he have to be for this kind of behaviour to emerge, and what caused it?

I know getting busted on Valentine’s Day is played mainly for laughs, but when you put all this together it’s obvious just getting dumped doesn’t even begin to cover the actual consequences of the mc’s actions should have. For the 100% fake personality he’s clearly constructed up until this point, how anyone can still follow him into the depths of Mementos is beyond me. But hey, I know we’re not operating on earth logic here.

Still, as I mentioned, this levels the mc with Akechi a lot – suddenly it’s very hard to condemn Akechi, even in theory, for the route he ended up taking in life, because isn’t the mc basically doing the same thing? Taking advantage of as many people he can to advance his own ends, with the only difference that he ended up on the winning side? Not only that, but it makes it harder to root for the “good guys”, knowing that you’re not a good guy – you’re just some guy with a big enough charm stat to make people follow your fake ideals, whatever those might in reality be.

Personally, I was also surprised at how easy it was to go from “this is horrible I hate this I can’t lie to these girls” to the “eh whatever, I’ve done this long enough that I’ve distanced myself from giving a shit”, then back to “oh shit oh shit this is so wrong” over the course of a single game. I know this sounds like a hyperbole, but in that sense I’m… actually not that surprised at how people find themselves ignoring those same patterns in real life. Which is why it’s so disheartening there’s only one scene dedicated to the consequences; it would be so interesting if there was something more tangible to remind the player that yeah, you’re entitled to picking these options, but it does turn the mc into someone pretty damn messed up.

I mean, damn – by December I’d maxed out all my social links, and suddenly had shit all to do, and because I couldn’t sit through a single fake date with one of my fake ass girlfriends again, I ended up making my mc train every day and night just so I had something to occupy my time between going out and murdering things in Mementos and/or a palace. Watching him do shirtless pull-ups in his room I sorta realized: Oh my god, I turned my mc into a high school version of Patrick Bateman. This game sure took a turn.

So I suppose the point of this story time is that while dating anyone in P5 (and most Persona games, I’d assume) is ultimately only a gameplay element meant for the player’s extra entertainment, sometimes those seemingly superfluous gameplay elements can turn into unintentional story elements – in this case, an experiment of how easily lying to one person turns into lying to everyone, and how sometimes it’s not that easy to tell at what point you stop being genuine at all. Wow, them video games, huh? Always a source of profound inspiration.... or something.