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innuendostudios · 3 years ago

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Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

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the-siren-and-the-sailor · 3 years ago

Text

A story written by me and my little brother!

THIS TOOK MONTHS! INTERACTIONS, ESPECIALLY REBLOGS, ARE HIGHLY APPRECIATED!

“Now, hold it at an angle… there, that is perfect. You are a natural, Mal gein,” the woman helped her son adjust his hands, so that his dagger was properly positioned on the sharpening stone. She had a sword in her own hand, and used it to further demonstrate the way it was done.

He slowly turned the tiny blade from side to side, his eyes fully trained on it in childish wonder. Sparks flew off the wheel haphazardly and Spear giggled at the flashy sight. His mother, however, looked after him worriedly. She was not surprised when his finger slipped and nicked the blade, quickly snatching a bandage as he began to cry.

She gently shushed him, taking his hand and wrapping it in the cloth. He started apologizing through tears, but she once again quieted him.

“It’s alright, mal kendov, there is no shame in pain. That is why the gods gave us loved ones. To unify us and to lift one another up. Never forget this.”

~*~

Iýa looked the sleeping Daphne over from atop her starry perch with pity. “Struck by lightning at sea, I’m afraid. You were right to bring her here, Leonora. Let me see what I can do…” With this, she held Daphne and ran a glowing hand over her scales. The blistering burn slowly began to melt away, and Daphne’s eyes fluttered open.

Upon recognizing her surroundings, she squirmed in her mother’s arms and began to cry. She didn’t know why she was crying, exactly. Perhaps it was the way her sister had told on her mistake, or the way her mother looked at her regardless.

Either way, Iýa held her through every moment of it, crooning a lullaby in her ear and assuring her she was safe and loved. And whether Daphne believed it or not, it was the truth.

~*~

Trouble had begun to brew in the east, and the envy of the first man blew the growing storm westward. He stole a star from the Fair Folk’s skies, a great blasphemy against them and their Goddess of the sparkling Night.

While Asem was powerful to an egregious degree, the Fae still felt it necessary to push back against the man’s arrogance. This led them to go to their Goddess and make a wish.

But while the crown of Asem began to fracture his family and kingdom, the Fae’s wish had already been set in motion. Stories began to fly of monsters in the woods beyond the Faerie trading ports. Sailors would return, describing massive men as tall as trees, covered with midnight fur.

Those that knew waited with baited breath. Asem’s sin had brought him to justice all on its own, and yet the beasts made to destroy him already existed. The Fae only hoped to now hide these frightful children they had created…

~*~

Daphne sneakily slipped behind a pillar of sandstone, warily watching her back. Out of the corner of her eye, a pale pink fin darted out of view. Caught.

She would’ve laughed if it weren’t for the pressing need to not be detected. But did that poor pallid mergirl think she was being secretive in her attempts to win the match? The princess certainly hoped not, for the girl’s sake. In any case, she tapped her hand against the wall, and an icy open clip appeared around it.

With this, she allowed herself to let slip a quiet giggle and darted away behind another pillar. She coiled herself around it and promptly turned herself into pure water, so that she was effectively invisible.

Just as she had hoped, the pinky girl swam around the pillar, and was disappointed to find the princess wasn’t there. Daphne flicked her wrist, causing the clasp to snap around the girl’s tail, trapping her and making her yelp.

Revealing herself, Daphne resumed her tail, cackled like a witch, a shot ahead to claim the final prize. She snatched the flag, waving it excitedly to show off to her fellow competitors. They swam out from their hiding places, arms crossed and brows furrowed, and threw joking insults her way.

“How do you keep doing it, you wench, you?” One of them, Marina, snipped lightheartedly.

“I guess I’m just better than the lot of you,” Daphne quipped smugly.

With this, they giggled, laughed and talked, as they made their way back to their dwelling place in a cave nearby. When there, Marina and the pink tailed girl pulled Daphne into a private room to talk.

“What’s this about, ladies?” she said with slight apprehension.

“Well, we’ve been thinking. And, we figure you have the most experience with the outside world…”

“We didn’t want to send someone with anything less. And since these ‘Children of the Night’ are so out of control, even now, we thought you ought to-”

“Please, Daphne. You have friends, don’t you? The scholar you lived with in the human’s city, or what about that half-blood you got along with so well?’

Daphne held up a hand. “No, no. Cain and his family are more their targets than anyone else. And goodness knows where Ion is- frankly I don’t think they’d be able to help, anyway. And Leonora, well…”

A tense pause. They were isolated and their friends were scattered, and they knew it. What could they do? They needed the other civilizations to keep theirs afloat; they couldn’t just barricade themselves in.

“I have one last idea. Voyagers of all peoples have been the lead storytellers and information providers through this. People are bound to go to the Fae to find out what’s going on. If I wait there, I can intercept someone, get them on our side.”

And so the plan was set. Daphne gathered her things, set Marina in charge of the people, and set off for the forest shores.

~*~

After two decades of dedicating his life to a Spectrum Kendov (or Warrior), Spear had reached the point of the highest physical strength and endurance as well as elemental power of the Northern Dragon standards. A Spectrum Kendov was the highest honor a Dovah could accomplish, by defeating two God-like beings… Perun, lord of earth and all Hell fire, and Scorpio, whose stars reigned with war and bloodshed of all the other Zodiac beings.

Spear walked into the Champions Arena, the crowd roared with anticipation and excitement, for the supposed Spectrum Kendov, meant to protect them from all great evil had finally come to claim his title. His helm, shaped to match his demon horns, had already been placed upon his head, and his eyes, glistening with power and will, looked at his opponents, with no urge to kill, but to have mercy when they were beaten to the ground.

"Well, isn't this a sight to see!" Perun's deep booming voice shouted, "Another one ready to die just to claim a glorified and honorful title he just can't have!" Perun had always been the one to provoke those who had high egos, yet Spear remained unmoved with his words.

"Ain't that the truth, this little man is nothing but a few twigs tied with some leaves," A lighter, cockier voice came from Scorpio, whom was the one to provoke others who share his personality, "Sure he has a bit of a size… but he ain't average height, that's for sure!" Perun and Scorpio boomed with laughter.

"Gaah! What the fu-?" Scorpio never finished his exclamation before he was thrown into the arena wall after being punctured with a double axe bladed spear, Spear's personal weapon. The fight had begun, and Scorpio had already yielded to Spear, he was in so much shock he forgot how to fight, while Perun sprung into action with his flaming axe bladed chain, grinding the ground around Spear. As Perun made a final smash to where Spear was, a thunderbolt the size of five struck upon him, leaving Spear's weapon in his back.

Spear retrieved his weapon from Perun's back, and showed mercy on him and Scorpio, for they were only trying to find the true Spectrum Kendov. The tribe went wild and shouted, "Spear is our Guardian! All praise whoever's watching us that we have our Guardian!"

Perun spoke to Spear after he was helped up by him, "We stood no chance- your small appearance is really deceiving to your skill in battle and power. Scorpio and I made an agreement that we would be the Spectrum's protectors, because while you may be strong, you are not immortal."

Spear spoke in a gentle yet stern voice, "Indeed, and I would rather have someone by my side fighting with me, than having more power and relying on that to fight."

Perun and Scorpio took Spear to the North Tower, the one place where all you see is South. "The Wind of the Northern Winter lies here, if it finds you worthy of its own power, then you are the Spectrum Kendov, and you know what responsibility comes with that title…" Perun spoke grimly and sorrowfully as he finished his speech.

Spear responded, "I know all too well of the prophecy, but I'd rather know than not if… he… is to come in my lifetime…" The Wind of the Northern Winter flowed through his veins as he entered the tower, no cold came upon him, yet he felt he could never feel too hot. He had been chosen to be the Spectrum Kendov, the Decimator of Alduin as legend goes- but that time had not come, for another challenge for Spear and the Northern Dragons arose down South…

~*~

Nightmares plagued the residents of the trees, no doubt the Interlopers used these horrid dreams to communicate. Below the leaves, the devils hung Fae bodies in shackles, pulling and picking at them until they bled. Those above pleaded to their gods that they and their children would not be next.

The Interlopers held a ravenous, morbid curiosity. It drove them out of the forests, beyond the lands of the Fae. They tormented the remnants of the first city, the servants of the iron god and the blood necromancers of the east. Their cruel hands found their ways into the lives of the Imitites, the Ortothans, and the Dovahs who had ventured South from their home.

Even the sirens below the freezing southern waves and ice were not immune to this. They poked their heads up to find massive beasts afoot in the snow. The ice cracked under their weight, leaving them vulnerable under the sickly yellow eyes of their attackers. They sent ships to the flesh shepherds and wonder makers on land, and even some to their Fae ancestors still in the woods, but none returned.

They looked to their princess, the demigod of the moon, sea, storms, and dreams, to provide them with weapons and armour, food and shelter. She didn’t know what to do- how could she possibly slip past these monsters? They were everywhere! Not trusting the gods of the Fae she was created by, she turned to another. Going to the sea serpent of lost memories, she prayed.

The Northern Dragons reacted differently however. In their attempts to sail across lands and create new colonies, they had run into what seemed to be giant creatures of great physical strength. Those that were exploring had either been missing for a great time, or had come back with their boats and sails barely holding together, while one man handling the boat itself.

The Dovahs had decided that Spear, the Spectrum Kendov, should be the one to seek out what they heard were called Interlopers, and hunt every single one of them down. While they planned his exploration, they had caught wind of creatures called the Fae, who were being hunted by these Interlopers. With all of this information, they had compiled a plan to not only bring the Fae as an ally, but to begin not a war, but a hunt against the Interlopers. So Spear untied his sail, pushed against the boat onto the water, and sailed to what the Dovahs called the Midlands, the land between Northern and Southern lands.

~*~

Sailing across waters long, Spear found himself beached at the Midlands; scanning his surroundings he finds that a forest grows thick ahead. Grabbing his weapon off of his back, he is ready for any battle to come, as he senses danger within the dense woods. He jumps off the boat's prow and lands with grace, while only sand from where he stood moved. He sneakily and quickly veered into the woods, and found that it was vast and compacted with large, kapok trees. Spear took note as he is only used to his native Blackwood trees.

A sound appeared suddenly, Spear silently leapt to the back of the closest tree, and peered upon what looked to be what he was hunting. An interloper, magnificent in size and mass, making an absurd amount of noise through each footstep, looking like a bear on two legs, as it was covered in fur. Spear slowly and expertly aimed his weapons towards the Interlopers head, and threw. After a clash of weight caving down onto a tree, the body of the interloper crumbled into a pile of jade rocks, it was dead. Spear walked over to his weapon, sensing no other large beings around, and picked up his weapon.

Suddenly, a sharp pain dug itself into his shoulder, and he turned to be met with the end of an arrow, made of, was it ice? "Gaah! Shite! What the heck!?" Spear jumped behind a tree with an arrow in his right shoulder. "Alright, who has the bloody galls to face me in combat? I warn you, I am a Dovah!" Spear left the arrow in his arm so as to not cause more bleeding, and switched to his left hand to weild.

"Come on out Interloper! I may have mercy on you if you do!" A feminine voice shouted from beyond Spear’s field of vision.

"The hell do you mean Interloper? Is that pile of rocks not what a dead one looks like?!" Spear shouts, aggravated that he was accused of being something he wasn't.

"Wait...who are you, if not one of them?" The woman’s voice spoke once more, and Spear sensed confusion and fear in her voice. She must’ve shot him thinking she was being hunted by him.

"I'm coming out slowly, I would appreciate it if you would not shoot me again!" Spear tentatively stepped around the tree to see the figure's ice-sculpted weapon out, but not ready to fire. "I am Spear, Guardian of the Northern Dragons….who the Hell are you?"

"Princess Daphne le’Iýa, Faerie demigod of the ocean," Daphne realizes the wounds and puts away her bow while stepping towards Spear. Spear was obviously hesitant and held out his weapons towards her. "Look, I thought you were one of the monsters, and had I known you were not, I certainly wouldn't have shot you. I can fix that wound better than you can. Please, it's the least I could do."

Spear recognized her honesty, while still noticing fear in her voice. He let her come close enough to slit his throat, but she pulled the arrow out of his arm, and immediately started singing in a language the Spear only knows through ancient Faerie scrolls, and his arm healed, leaving only a scar to remember.

"You are skilled in your magic, I'm glad to have met you, even if I met your arrow first,” Spear spoke honestly and jokingly, as he knew that forgiving this supposed Daphne would be the best way to start a bond.

"I am truly sorry about that. Is there anything else I can do?" Daphne didn’t seem to want anyone else after her, and tried her best to apologize to Spear.

"Do not worry, you only shot in defense without fully knowing who you were shooting at, I can understand this," Spear patted her shoulder to assure her. "Maybe we can both benefit from this event of meeting each other… you could find safety and rest back in my homeland, and then you can share what you know about these Interlopers, this way we both are happy with what we get."

"Have you forgotten about my actions so soon? I shot you!" Daphne was dumbfounded by Spear's quick dismissal of what had happened to him. Although he shook his head at her.

"You need not worry of your actions, for they were acted upon through fear and reaction, you were only trying to keep yourself safe. I can help you with that." Daphne tried to oppose and tell him that he should not be so dismissive about the event, but Spear assured her through a side hug, which caught Daphne off guard enough for Spear to walk past her and towards his boat.

“Wait,” Daphne called. Spear turned back to look back. “The last time I crossed the ocean with someone, things ended up, well… not so good.”

“You’ll be quite safe with my people,” Spear said. Daphne shifted a bit, eying him with wary hope. He was exactly what she set out looking for, after all. “And besides. If you find yourself uncomfortable, you can always use your arrows again,” he said with a playful wink.

With this, Daphne giggled slightly and followed behind. Exiting the thick forest, the two climbed onto the boat. Spear set sail to Scandinavia, the land of the Northern Dragons. To which the two made the journey, to the next step in either great failure, or triumphant victory…

~*~

The pair tentatively made their way across the ocean, skirting past the Interlopers ships to find themselves on the icy northern shores. The princess scurried to and fro, fascinated by her new environment and its people. How different they were than the people of the places she had previously resided in…!

They were Children of the Sun, but unlike those in the First City, these people were pale, blonde, and above all, kind. They welcomed the man- Spear- back with open arms, and were more than curious to meet the woman he had brought along with him. They peppered her with questions and gifts and sights to see, until eventually she was taken to a large building made from an upside-down wooden ship, which they called the Companion’s Lodge, a place to plan a hunt of glory and honor.

Suffice to say, she should’ve known that the man she crossed the ocean with would be the leader. She also met his guards, the most different of men but an excellent team nonetheless. Here, the four pulled out books, maps, stories and paintings, pouring over them in hopes that a hint would be found. A sign that the plans they would go on to make were possible.

After much studying and deliberation, they had had enough. What better way to understand these monsters than through personal experience? Better to dive right into cold waters than to waste your time slowly wading. It was a siege they wanted, and it was a siege they would have.

~*~

The battle was ferocious, haunting... yet it yielded knowledge to Spear and Daphne. As Spear took two dozen Dovahs with him, all with different elemental abilities, Daphne trained in her skills with water. During this time she was informed of something from Spear she never expected.

"It is tradition when one makes an ally of another, they would train each other of the other's weapon, so that the bond goes beyond words of trust, it is also trust of possessions." Spear spoke to Daphne in hopes to have created at least a friend with her. "I believe we are trusting of each other, so… what do you say?"

"Uhm…" Daphne was caught a bit off guard. Her bow being one of few things she kept to remind her of the home she came from. "I'm not sure… I mean, I trust you completely… but I don't want to give my bow to anyone really…" She obviously didn't want to hurt him in any way, so she tried her best to tell him in the kindest way.

"Well, maybe we can teach each other of how to use one another's weapons, that way if we do switch weapons, it won't be devastating in battle," Spear was trusting towards Daphne, mainly because he felt a strong connection between them. Even so, Daphne felt guarded towards him, yet she agreed to training each other, as she remembered, ‘iron sharpens iron.’

While Spear was able to pick up her bow and use it with tremendous strength and agility, Daphne had immediate trouble with how to begin using Spear's complicated weapon. Until Spear suggested using it as a spear, not an axe, Daphne then swiftly grew more attuned to the weapon.

While this was happening, the Interlopers stronghold was being populated with readily growling beasts, yielding to tear apart anything that came. Just before the battle began, Daphne and Spear switched weapons, and having learned each other's weapons, they charged in the front line, and made mountains with the piling jade rocks from many fallen and crushed Interlopers.

With their great roar of excitement, the Dovahs roared with them, right into the line of Interlopers. As they crashed through their thick bodies with their hugs weapons, they became berserk and started wailing on them, showing no mercy. They had trained to fight like Hell itself, and they were as demons in this battle, blood soared not spilled, limbs flew not fell, and the morale of the Dovahs only increased. However, even with their great first triumphant starting charge, they started to wear down in numbers, just by virtue of the continuous streaming numbers of Interlopers.

As Daphne was using her water abilities in ways she never imagined using on the frontline, Spear used archery and close combat expertly to the point where he never missed his shots and never came close to getting hit. Even though the two sibling-like fighters were doing well, the Dovahs were still overwhelmed by the increasing numbers.

Many had used fire, metal, nature, and all of them were decimated, while those using lightning were barely holding on as well as wind… however, Daphne noticed something. She peers in close distance to two Dovahs using water abilities, making the Interlopers drown, what was curious however, was that when they were under the water, they couldn't move, therefore they couldn't breath and they died.

Daphne quickly refocused to the battle at hand, and Spear cries out, "Too many have fallen, fall back! Water Dovahs, drown those who follow us!" It seemed as though Spear was also paying attention to his surroundings. As the remaining group of soldiers returned to their outpost, the last two water Dovahs made a wall of water of which the Interlopers could not pass lest they drown and crumble into jade.

Daphne and Spear look at each other in agreement. The battle may have been lost for that day… but knowledge of weakness in their enemies may prove to be the element to winning the war, or as the Northern Dragons call it, the hunt…

~*~

The Companion's Lodge was bathed in a tense argument. They started the siege with the advantage of surprise, but it had quickly descended into mindless violence and death.

“How could this have happened? I thought we had them!” Scorpio shouted in frustration.

“We made sure to bring our best! All different kinds of elemental wielders were there with us, and nearly all of them were slaughtered! What more could we possibly have done?” Perun huffed. Although calmer than the others, his voice still wavered with stress.

“At least we learned their weakness,” Spear started to speak before being cut off.

“Oh, fantastic. Just in time for your people to be killed,” Daphne said icily.

“Our people,” Spear tried an uncertain smile.

Daphne paused and sighed, relieving a tad bit of the tension. “Yes, our people.” She looked around the room, which had largely quieted down. “I’m so sorry. If I had known it would turn out this way…”

“But you couldn’t have. This isn’t any of our faults,” Perun said in a soothing, almost fatherly tone. A somber silence fell over them, each lost in thought, or perhaps simply in grief.

“Daphne could tell us more about why this is happening,” Scorpio spoke quietly.

“I already told you all I know about the Interlo…” she trailed off. That didn’t seem to be the point. “Alright.”

“Well, the Fae goddess- my mother, Iýa. She created me and my… sister, Leonora. But she was made princess and I wasn’t, so I ran away. I didn’t realize why I needed to stay until the Fae had Iýa create the Interlopers we now face.”

A, “But why?” from Perun.

A, “Shush!” from Spear.

Daphne giggled before turning serious again. “The first man- Asem- stole from my people. He took a star and used it for a crown. I was already gone when all this happened, but I’m told the Faeries wished for justice. In return, Iýa gave them the Interlopers. Not that it mattered. Asem’s greed had already torn his family apart. His wives left him, his sons quarreled until they drove each other apart, and his people all left or died in the chaos.”

“And how is it you know so much about him?” Scorpio spoke with a hint of accusation.

She drew in a breath to argue, but Perun spoke as before her, more calmly. “He’s right. Even we didn’t know this, and we live much closer to the first city than you did at the time.”

Daphne huffed and turned away. Spear put a hand on her shoulder, making her tense and then ease up.

“I was there.” Silence. Spear’s hand pulled away. “I know how that must sound. Most people would have you believe I immediately joined the sirens under the ice, but…” She took a deep breath. “There was this boy. I went with him to his city- the first city- and his family. They were nice, but not kind. And I was there to witness this be their downfall. Not that it matters now- and it’s probably for the best, anyway.”

Spear put his arm around Daphne’s shoulder to comfort her, and it worked. She steeled herself again to go on. “Now, as for the Interlopers- in the city was a sorcerer- his name was Noah. I know it sounds like a long shot, but I know him, and I know he could help. I think our next step is to find him.”

~*~

Daphne had hidden herself away under her covers, with a small, glowing gem of ice. Curled up and warm, she sang a lullaby and fiddled with the ginger scarf in her hands. Her sister’s. If only they could’ve just gotten along, maybe this wouldn’t have happened. If she had just sought to understand her mother’s wishes for her, or if she had met Asem just a little sooner to convince him not to do what he did...

You’ll never be able to hate yourself enough to rewrite history, that boy’s gentle voice whispered to her. Silently, she nodded. Her heart ached with longing. How she wished she could hold him again. She’d fall to her knees and beg if it meant she could giggle with her sister again, or squirm and cry in her mother’s arms. If this could all go back to normal. But, drawing in a shaky breath, she reminded herself not to dwell on what could have been. She had a new family now, one that truly loved her, and she had to protect them.

Spear meanwhile, took a knife from his shield, which had many, but this one was different. This first knife he had crafted with his mother, the one of few things that actually cut him. He held it in his hands in admiration, as if he had never seen it before. Spear then held the knife to his chest as if trying to hug it, and thought about his mother.

He began singing an old song told by many of the Dovahs, called, My Mother Told Me. He sang it perfectly in three different keys. He then replaced his knife back into his shield, and stood up. He was ready for battle, for exhaustion, even for death… because he was once a boy who cut himself with his own knife… and now is the Spectrum Kendov… he feared not the death of himself, but the death of his newfound sister, therefore he swore that he would protect her, even at the cost of his life...

~*~

"Water is their weakness!" Perun shouted, "Why the Hell can't we just use your powers in every battle and destroy these cursed Interlopers?!" Perun was insistent on being a warlord, making sure everyone had a chance of fighting and getting stronger. Though he didn't realize the bigger picture.

"Every time I used my powers for an extended amount of time, I got tired, that is why we can't continuously use these powers every battle, because it would weaken us to the point where we can't even fight!" Spear spoke angrily at Perun, though he knew Perun's powers worked differently because he was a mythological God, he hated his lack of empathy when others got tired from using them. "Even if we didn't get tired, why should we fight and lose more of our men, when we can wipe them out completely in one big swipe?!"

"What are you talking about…?" Perun's curiosity perked up as he heard this. Daphne opened up a scroll of prophecy, and with her knowledge explained to both Perun and Scorpio more about Noah, a human from the seas, able to control great waves from below ground.

With this knowledge they created a plan, Spear would use his powers that combined into weather to create a huge rainstorm, Daphne would use her powers to raise the waves of the oceans, lakes, and rivers, and finally Noah would use his power to break the ground and gush water from the Earth. Their powers combined should be enough to cover all but the highest parts of the Earth. They trusted that the Interlopers would fall in and sink, while others would either get to the high ground, use boats, or swim in the sea if they were sea creatures. The missing component was Noah himself.

"Where is this Noah?" Scorpio asked urgently, he wanted to rid the Northern Dragons of any threats as soon as possible. Daphne then pulled out a map of the Midlands and pointed out where he could be.

"Right in the middle of an Interloper camp?" Spear grunted this, as he did not want anything to go wrong in getting Noah. Daphne nods, her expression was a mix of anger and disappointment, she had the same feelings as Spear. Perun started to notice the bond between Spear and Daphne, and while the two were talking more, Perun pulled Scorpio aside.

"I remember that Noah was taken captive with the Daevite Methuselah, though I don't know what their intentions were," Daphne spoke to Spear, she was annoyed by the fact they had to fight more Interlopers to get one person.

"I have Dovahs around the area, mainly for scouting. They came back long before all of this and told me that there is a camp, and it's only guarded by about 40 beasts, which I would think are Interlopers. It will only be tedious, that's all," Spear spoke to Daphne, trying to lift her spirits at least a little. It worked, and Daphne thanked him for being the one to look at a mug half full. Spear meanwhile thanked Daphne for looking at every possible bad ending, things to avoid.

As Scorpio and Perun come back unnoticed, they begin to pack for the adventure ahead. They thought it would be a walk in the small forest, so they only brought Spear, Daphne, Perun, and Scorpio. A mistake they made to bring so little to a battle they thought would be easy. For there may be small numbers, but the camp is one of the oldest camps the Interlopers made, and since they do not age with time… trouble is amongst those who venture into these parts of the Midlands…

~*~

The travelers numbering four ventured forth into the seemingly haunted woods. As they were traveling Perun started sensing many things in the woods, small animals mostly. He looked everywhere at all times, making sure they were safe. It seemed the right thing to do considering they were going into unknown territory for everyone.

The trees themselves were massive birch trees, usually thought of as peaceful, harmless. However twisted magic had affected these trees over the decades, and created monster-like limbs and branches. Even with these weird formations, no twigs or branches had fallen to be broken, as if nobody had ever ventured into this area.

They managed to find the camp of the Interlopers, and snuck in. All of them were on high alert, especially Perun, as they crouched and sneakily ran in multiple directions.

Daphne left the group and followed the sweet scent of water, a stark contrast against the putrid stank of things rotting in the dark. The brook led her to a horrid sound, red lights serving as a waypoint. It was awful; the closer she got, the more she clung to the bed of the stream for comfort. But alas, her head emerged at the rumbling thud of Interloper footsteps. She immediately gagged.

There, in the middle of a crowd of singing devils, was Iýa, but it was not really her. This was a massive, sickly tree, the size of a large town. It was twisted and warped, with a thousand wriggling bodies strung up in it’s branches. The aberration was screaming and crying an demonic bellow, all the while the Interlopers hummed as though in joy.

What was this thing? This couldn’t be Iýa, it wasn’t possible! Iýa was a glowing mother, a sleeper in the stars, a granter of wishes. She cared for the downtrodden and oppressed, and all those who could not defend themselves. She couldn’t become this, this...

Meanwhile, Spear, Scorpio, and Perun had convened in the main camp. It seemed that only the prisoner's area was inhabited, there they found the supposed Noah. As they started to unchain him, he started grunting. They quickly shushed him and told him they were there to help, he calmed down enough to be unchained, however, they did not quiet him in time.

Suddenly, a loud sound of seemingly screeching giggling and groaning of war had been shouted, despite Perun's attempts to look everywhere, he managed to miss the entire garrison of the Interloper camp. Spear and Daphne, now returned, immediately stood back to back as if they could take on the whole world, while Perun and Scorpio started smashing their weapons onto the Interlopers. Scorpios scythe had pierced many during the battle, while Perun's axe on a chain whirled around and clashed the heads of many. Spear and Daphne, using each other's weapons as always, were always either defending each other or helping the other attack an Interloper, they were synchronized.

The fight continued on like this until Daphne was thrown to a tree, leaving Spear vulnerable to the last remaining Interloper. Spear looked about him as the Interloper charged his weapon at him….although no injury befell him, rather on Scorpio. Spear threw his weapon and the last Interloper was thrown into a tree and broke into jade. Spear slides to Scorpio's side in time for him to speak to Spear for a short time…..

After his dialogue, his body turns bright and, as if he were being sucked into the sky, his body lifted up swiftly, leaving only his necklace for Spear to bear… Scorpio was dead. Spear shouted out in rage and a thunderstorm started to appear, then it stopped. Daphne hugged Spear tightly, and while Spear was caught off guard by this, he embraced her, being thankful that he was still with her at least. Perun had then brought who was seemingly Noah out of hiding, from behind thick berry bushes, and into sight.

After their journey back, and the heartache of Scorpio's death, they explain the whole plan of how to destroy the Interlopers. Noah was quite panicked at first, but after calming down and hearing Perun, Spear, and Daphne, as well as considering they saved him, he agreed to being a part of the plan. So together, they trained, and got ready for The Great Flood of Cleansing Sin. Factions around the world had been sent a message entitling everyone to either get to high ground, build ships to sail on, or dive deep underwater so as to not be destroyed by the coming flood. Who knew what more sacrifices have to be made to create peace, was it even worth it all? The story continued, and the next step was the extinction of a race…

~*~

Spear, Daphne, Noah, and Perun travelled back to the forest of their greatest travesty, and had one last moment of remorse, sorrow, heartache. The rest of the Dovahs were building their ships to sail on the waters to come, and they decided to go to the location after the prophesied flood.

Daphne didn't know Scorpio for long, but she still enjoyed his comedic comments and his radiation of happiness, and she knew everything would be at least a good amount more depressing. Spear knew Scorpio for not much longer than Daphne, but like Daphne, he enjoyed Scorpio's company, as well as their many interesting conversations… including the one where he told Spear he was getting married.

Spear and Perun had to hug his fiancé for over an hour just to comfort her. Perun was Scorpio's brother, they were not blood related, but brothers nonetheless, therefore Perun, for the first time in his entire life, cried a tear from his eye. All Dovahs remorsed of his death, but only those who truly knew and had a relationship with Scorpio needed time, time to be sad. Then anger rose from the sadness, and all of them started preparing for the creation of the flood.

As Spear and Perun walked away, Daphne tailed behind them and slipped into the nearby creek. She did not have the will to enjoy the feeling of her tail returning; the situation at hand was much too grim. Her mother was now an abomination, her heart torn out for those created to be betrayed. And a man who had so quickly become a brother to her was dead. Daphne never had any brothers, why now that she did would one be taken away so carelessly?

Daphne heaved a sigh and began to sob. At first it seemed that the Interlopers were tools, created to do the Fae's dirty work and then be ignored forever. But they weren’t; they were children. Made for violence and cast aside like waste. And festering in the dark for so long, was it any surprise they didn’t know any better? Was it their fault?

She now knew what needed to be done, but hadn’t they already lost enough? A good friend and a mother gone were too much, how could she bring herself to wipe out an entire race, even despite their actions?

She once again thought of Asem’s family, of Cain, and felt an overwhelming pang of guilt. Oh, all the things she could’ve, should’ve, didn’t do to stop this! Clutching at the clockwork bracelet he had given to her, she did the only thing she could think to do; pray. Not to what was left of Iýa, not to any leviathans or sea serpents, but to a simple god with a simple purpose. She only hoped her words could be heard, that things could still be fixed. But the quiet sound of a thousand voices whispered to her, that she already knew what to do.

Touching a hand to the grass, she began to sing. It was her sister’s song, a flowery poem of spring, rebirth and justice. But this was not justice for her, Daphne thought as the flowers around her began to bloom in unison. This isn’t for the Faeries, their queen, or even Leo (though Daphne did hope she was safe). This was not for Asem or the Children of the Sun, or even the countless cultures that had been picked, pulled, and torn at by the devils.

No, the flood may be necessary to wipe out the horror of their acts, but the flowers now blooming across the face of the planet would serve as the Interlopers grave. And she would ensure this day would be remembered.

~*~

The flowers had wilted as the sun set the evening after their blooming. In the night that followed, light rain began to drizzle. This quickly turned to torrents and lightning that could rival that of even the god’s creation. Flash floods cascaded down mountains, turning creeks into rivers and rivers into great lakes. Forests became cold swaps and Interloper camps were reduced to sticks and blankets.

Those devils that were not fastened in place by the waters took the prisoners by their chains to the summits of peaks. Yet still most of the monsters slipped and fell, leaving the humans, Faeries, and Daevas still in their chains to find higher grounds, both together and on their own.

All the while, Daphne and Spear were deep, deep, down, their magic sustaining and growing on itself on their life forces. Low in the halls of Daphne’s first home, in the strip of land connecting the massive continents, they dreamt.

Hers started out pleasant. She was in a field, picking flowers as fast as her sister’s magic grew them. They took turns braiding the blossoms into each other’s hair, until the ground began to shake and the earth was overturned. They were then older, ceaselessly arguing as their mother futilely tried to calm them. Both sisters stormed off, swearing to never speak again.

The doors slammed shut, and there she sat beside the scholar, quietly watching him write. She reached behind him for a pen to mimic his strange symbols with. But as soon as her eyes turned, she was face to face with the starry iron crown of Asem. Across her eyes played scenes of the brutality and deadly force of the Interlopers- their prisoners crying, her mother’s corpse screaming- and the storms and floods created to wash them away.

And then she saw things she didn’t recognize. Simple flashes, almost ideas. Some were light. Her friends, older and stronger. A wedding, two boys that looked half like her. Spear, in command of legions, and Leonora, princess of the Fae. But some were dark. A corrupt king and his four knights, sent to destroy, going back to their kingdom in cursed shambles. The cadaver of her sister, willingly having given her life to end the terrorous reign of the Fae’s ruiners, and the great profanities she created.

And then her mind went blank. Only the rains remained.

While this happened, Spear and Perun quickly started getting ready while Noah and Daphne had already started using their powers. Perun was there to guard them, but just in case anyone slipped by, Spear created spheres of protection to serve as a shield against any attack, and he surrounded Noah, Daphne and himself. While Spear started to control his power, he saw Perun burst into a flaming creature, with black wings that seemed to be infected with white colors. Then, Spear lost himself to his thoughts, his powers activated, and he could only see darkness.

Then, a flash of light, and he could see everything. He saw the bodies of the many fallen Dovahs that died during the hunt against the Interlopers. In the middle of the body littered ground, he saw Scorpio, his heart pierced, and his body lay soulless. Then, his eyes filled with life, and he got up. Spear stood back in shock and terror at this sight, he didn't realize this was only in his spiritual mind. Scorpio plucked the halberd from his chest, and tossed it to the ground, and then gave Spear a brotherly hug.

As Spear was in question, Scorpio calmed him, saying that it was not his soul that died, and that there is hope for him to live. Spear begged him to tell him how, he said he only knew that the coming Alduin must be defeated, before he could return. Spear was still in question, but Scorpio assured him that he would be a guide of what to do, and where to go throughout his life from now on. Scorpio then touched his necklace, which Spear bared on his chest, and Spear filled with increased power. The Blessing of the Zodiacs, only given to those worthy enough to fight by the side of a Star.

As Spear started calming down, his heart filled somewhat with anger, as he still remembered the deaths of the many Dovahs, and Scorpio. Then his heart filled somewhat with love, as his brotherly relationship with Daphne reigned in his heart, he knew he had to defend her. He didn't even think about his family, his friends, or even anyone else he was supposed to save, and he even forgot about the deaths. All he thought of was Daphne, and even the thought of her being injured haunted him… so he protected her.

In the physical realm, Noah was breaking water from the ground, and Daphne was moving water from all bodies of water, just as planned. Interlopers expectantly charged towards them, but then a fiery creature came crashing down, and looked at them. Horns grew a meter long each, body of a demon, with huge hawk-like wings colored charcoal and streaks of pure white, a tail meters long reached around the creature, and at the end, was an axe, all the while the creature was violently flaming, and was hold a huge Greatsword in one hand, and a Battleaxe on a thick chain in the other. It was Perun, in his true Rising Demonic form, filled with rage. Still in the stage of horror, the Interlopers were then crashed into by Perun, while he wailed his axe around and flurried his sword at them, they felt fear. Even in their terrified state, they fought hard against Perun, though they knew they couldn't take him down, they just needed to get past him. Due to Perun's arrogance in attacking them, many Interlopers ran past him and towards the flooding trio.

Though they got close to them they stopped in horror, as they looked at one of the three. Spear was glowing lightning bright, and a hurricane the size of the entire world started. Even Perun looked in confusion, he knew Spear could never use that much power in any given situation, but he did, because of the blessing given by Scorpio's spirit, and Spear's heart filled with the brotherly protection for Daphne. He created the hurricane that not only flailed the opposing Interlopers away, but immediately started filling the earth with the water.

Clans and Kingdoms around the world were taking refuge to hide from the flood. Samurai of the Isles took to the mountains with the Ninjas of Darkness. The Woodlands Weres took refuge in mountains as well, far from the Isles. The Southern Dragons used magic to protect them from the waters, and the Northern Dragons used ships, as they were voyaging Vikings, and loved the challenge of the storm. And the creature of the water took refuge in underwater caves.

The Interlopers were swiftly wiped out, as they couldn't swim or build boats fast enough, they crumbled into jade as they were suffocated by the rising waters. An entire race was wiped out, all except a few remaining Interlopers that managed to get high enough, but they were eventually taken prisoner or driven underground.

Then, when all the destruction was done, Spear and Daphne woke up exhausted in all ways, using that much power greatly diminished their strength. Perun ran to them in a hurry, and tried offering to help them up, but they both refused and just wanted to lay down for a bit. When they somewhat rested they slowly got up, and Spear and Daphne hugged tightly, and then they looked for Noah. When they found him, his body was resting peacefully, a burnt-out husk as he took his final breath using a great amount of power to help them stop the Interlopers.

~*~

And so the floods receded, and life seemed to simply go on. The sparse handful of Interlopers leftover were dragged into hiding, and their prisoners found their way free of their chains and back to their homes.

Daphne's blue eyes looked upon Spear's hazel, and smiled wearily. Then, they hugged tightly. Though they had made it in the end, many had sacrificed their life to help them get this far. Their mission was done, and Noah, Scorpio, and the Interlopers went with it.

They returned to the Dovah home land, where celebrations had burst forth like lightning. For the first time in a long time, they allowed themselves to simply rest and enjoy themselves. They ate, drank, and were merry for seven days and seven nights, but no time limit could contain their joy.

Until the bitter taste had set in. So much was lost, and yet they partied. But they reminded themselves that festivity was not meant to diminish the sacrifices made to allow it. They honored those that had fallen by reveling in the peace and freedom they had brought.

Perhaps the world would never be entirely fixed, but they had learned by now that it didn’t matter. Spear had never forgotten his mother’s words, and chose now to share them with his newfound sister. That is why the gods gave us loved ones. To unify us and to lift one another up.

“So what now?” Daphne asked him at one time. “The world will never be the same. It’s like, their entire existence has just been… swallowed whole.”

“Yes, I suppose that was the point. But we’ve done a great thing, you know.” She smiled at him and nodded. “And now we… carry on?”

She sighed.

“...And now we carry on.”

~*~

And so Spear returns to Scandinavia, and continues to be the Spectrum Kendov, Guardian of the Northern dragons. Not only that, but as he bears the necklace of his fallen brother, Scorpio, he feels his night sky presence, watching over him, as if he was right next to Spear. Perun becomes the general of the entire Northern Dragon Dovahs, and sets up a way of communication for Daphne and Spear, making it so that they can continue being siblings. After all of this Spear trains, what he trains for is only in prophecy. At first he didn't believe it, but as soon as he found a scroll prophesying Noah and the flood, Spear began his training to fight Alduin…

Daphne found herself aimlessly wandering when the Flood had finally left. She met the madman Ion again, and helped them raise their religion. And after a while, her path crossed that of the scholarboy from the first city again. They were married in a temple of the Iron God, and when that church no longer accepted them, they fled to build a family and a city of their own. Every now and again, the princess, now queen, would ride the waves north to see her Dovah brothers, just as they went south to meet her, as well.

The Interlopers fell into legend, the ghost stories that would frighten children at night. All had forgotten them but the Faeries and the Dovahs. They mourned for the losses caused across the world, and for all that they had allowed themselves to do and believe. So when the Apollyons came to conquer the Faeries, they accepted their fate in hopes that justice could be served properly this time.

And Iýa? She tore out her own heart to make the prison the Interlopers requested, where Asem rots to the present day. Her body, similarly, decays in a cavern just below it, as do the few remaining Interlopers and the Apollyon knight who failed to seize her. The Wormwood trees had long since pulled it into an underground cavern, wiping its memory from all those above. All that was left was a scar. Although Dovahs were disconnected from this magic, therefore they could remember all.

Perhaps there is a lesson to be learned here. About the envy of Adam, about the failures of the Fae, or maybe about the levity blindly doled out by Iýa herself. Or maybe it's about the teamwork of those who opposed the Interlopers, the love that bound them together, and the relentless courage they wielded. We may never know.

And so, the book closes and another story is shelved.

~*~

Well, dear reader, if you've read this far, I couldn't possibly thank you enough!

And many, many thanks to my little brother, Spear (@jack-spear-eye), for helping me on this!! Scorpio, Perun, and Kendov (Warrior) Spear (his self-insert), and the Dovahs are all his creations; Daphne is mine. We created the plot together, and the worldbuilding in general belongs to djkaktus (based on SCP-6666, 4840, and 4812).

Lil' man, I swear, he was the best partner on this! Every time I hit a roadblock, he had a new idea that got the gears turning again. It was a big commitment, too, I mean, just look at all that text! But we pulled it off, and I'm glad we did!

Fearless and creative optimist you are, I couldn't have done it without you, Spear.

So without further ado, here's the man to talk about it a little, too!

I did this not for my own gain, but to show others a message of unity, as well as to entertain. Normally I would say something in dovahzul (Dragon tongue/language) But pretty much I just want to say thank you all very much for giving me the chance to be a part of this community, and I want to personally thank Andy (@the-siren-and-the-sailor) for giving me the chance to do all of this, and giving me something to look forward to :•)

And last but not least, the TL;DR!

#please consider reblogging #reblogs appreciated!#writing #📝 written in the history books 📜

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