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kamenstranger · 3 months ago

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Batman: Caped Crusader Review.

Well, I didn't expect to be reviewing another cartoon so soon but I forgot this was still happening and here we are. So much like X-men '97 I will be getting into spoilers, even some finale stuff. But it's nothing you probably wouldn't already know. Like is saying something along the lines of "Harvey becomes Two-Face" or "Selina becomes Catwoman" really a spoiler? Still, if you want to go in completely clean then I'll give short spoiler-free summary: It's fine. It's good, even very good. It has enough going on without being overly reliant on nostalgia, though a lot concepts and ideas that never made it into TAS are used; which is obvious in some episodes like 2 and 8 which honest to god feel like lost episodes (sans the obnoxious references in 8.) But even a number of other episodes feel like they could've fit right in.

Likewise, the animation is simply lovely and feels like an appropriate continuation of the DCAU while also working as a throw back to TAS with its use of shadows and art deco design. They even have a film grain effect that looks shockingly good; uplifting the show's late 30s early 40s aesthetic by adding some literal grit. I've seen numerous productions go overboard with adding grain in post, but Caped Crusader keeps it very subtle and is probably the best you're going to do with a modern production. Frederik Wiedmann's score also complements the atmosphere, adding that quintessential gothic noir vibe. The entire soundtrack is on youtube and is well worth listening in isolation.

If I had one compliant... it's that Batman is the weakest and most underwritten part of the show. Regardless, the show has enough quality elements to make it worth a watch.

However, if you're interested in leaning more about my thoughts, hit the jump.

Let's start with some background information. Contrary to how it seems, this isn't nor was it ever intended to be a prequel to TAS-- at least that's what they say. It was originally a sequel to The New Batman Adventures before transmogrifying into another 30s-ish setting and using abandoned episode concepts from TAS along with completely original works. A number of episodes at the very least feel like they were written with a prequel mindset, and the final shot of the series was absolutely conceptualized as lead-in to TAS and is begging for the Walker Theme to kick in. But despite how much this could work as a prequel with just a few tweaks, I think making it disconnected was the right call. For one thing, with Conroy gone I don't think you could ever make something that leads into that very specific version of Batman, it wouldn't feel right. Secondly, it allows the series to stand on it's own and not rely on TAS as a crutch; even if comparisons are inevitable with the period setting and Bruce Timm's designs. Additionally the tone of the series is right in line with The Animated Series, only slightly darker and never going overboard just to be considered "adult." Characters say damn, people die, sometimes there's blood, the occasional gruesome character design, some stories are super pulpy and even have a slower pace than what they would've done on network TV for Y7+. But otherwise this would've fit fine on Toonami back in the day and the option to go darker is there should the story demand it. I will admit I'm a bit of an easy mark for this, particularly the heavy pulp elements that remind of The Shadow and The Spider.

On that note, Cape Crusader is a bit more basic in terms of setting and scope. I'm using "basic" loosely because there are still some eccentricities like Gentleman Ghost showing up, but outside the one supernatural aspect-- and an umbrella cannon-- there's nothing too crazy. No Freeze guns, mutant plant ladies, robots, Lazarus pits, mind controlling cards, airships etc. Clayface might be the one other outlier, but even that's just a guy who can change his appearance, not a big clay monster who can form a mace hand. I'm perfectly fine with all of this. We've already had a vintage Batman series that did all that anyway, so why not do something a little different and keep it simple? In maintaining that simplicity, most of CC is episodic with a larger narrative sprinkled throughout: Ruport Thorne is slowly taking over Gotham and begins trying to leverage Harvey Dent who is running for Mayor. That's it, that's the main plot. The more nitty-gritty parts largely center on relatively self contained adventures around the trio of Lawyer Barbara Gordon, GCPD detective Renee Montoya, and Therapist Harleen Quinzel.

It's a decent compromise between how involved modern shows have become sprawling season long stories while still maintaining the appeal of a self contained case in any given episode.

Of the three, Barbara (Krystal Joy Brown) has the most active role throughout the entire run and is arguably the main character of the show. She's compassionate about people, her clients, criminals and their circumstances. She has a strong balance between someone who is optimistic yet not naive, although still young enough to not have the harsher experiences as her father. This allows a contrast between her and Gordon's world weary, almost Black and White POV. In fact, her willingness to hear people out and consider alternatives leads to her establishing a form of contact with Batman before her father.

Renee Montoya (Michelle C. Bonilla) is about on par with Barbara in playing an active role in the series, albeit almost always work related for obvious reasons. She's a consummate professional, brilliant detective and the only trustworthy cop outside Gordon. That last part is particularly note worthy since it actually gives Gordon a reliable subordinate and not just Bullock. She has solid chemistry with Barbara and there's a lot of untapped potential with her and Harley. And hey, nice to get little bit of the two dating and smooching. Speaking of, Harley (Jamie Chung) is surprisingly prominent in the first half and I love how they handle her. She's legit intelligent and even knows there's something up with the public perception of Bruce. She's quirky without rehashing the whole bubbly blonde routine, she's delightfully flirty with Renee and she's also fucking demented. Oh yes, Harley is already cracked, but in a curious way where she's not exactly insane but clearly has a dark side she indulges. Honestly? Really neat to see a version of a character not influenced by Joker. She's still a Harlequin, of course, but much more traditional and I love that we don't waste time going through an origin. She just uses her therapist profession as a means to hash out her idea of justice against clients she can't reach, often mind breaking rich jackasses who refuse to better themselves. Harley assigns them personalities and forces repetitive tasks or absurd tortures. In a cute little meta nod she's responsible for creating the persona of King Tut, a character originally created for the '66 show, just as she was a creation for TAS.

I also have to mention Chung's voice acting, which the VA in the show is great all around, of course. But villain roles always get to stick out, and this is a prime example. The shift between that very intelligent caring quirky woman to… what I can only call an analytical seductive manipulator and abuser, well it's just wonderful. We've had so much of bubbly Quinn and silly crass Quinn that this version is so refreshing and one of the most pleasant surprises out of the show.

There are other characters outside the trio, but I simply don't have much to say about Gordan, Flass, or Bullock. The VA is impeccable, as previously mentioned; I love Eric Morgan's Gordon, Gary Anthony Williams' Flass and John DiMaggio's Bullock. Perfect casting. But character wise they simply serve a role and I don't have much to say about them. Gordon is, well, Gordon trying his best among a corrupt department full of people like Flass and Bullock. Flass himself is brilliantly sly and Bullock is a slob who does all the dirty work. I will say that even if I don't have much to go into with them, I do appreciate how much Flass and Bullock are featured and how effectively they're utilized.

The only major reoccurring character left to go in-depth on, outside Batman, is Harvey Dent; ironically voiced by Brave and the Bold Batman, Diedrich Bader. Harvey is… odd in this series. He's a dick headed "tough on crime" sleazy DA who is self interested in becoming Mayor, no matter who he has to steamroll to get there. On one hand it is an interesting angle; a man of once upstanding morals slowing eroding them to gain political favor with the ultimate goal of proper reform-- assuming he even has any left by the end of it. There is an inkling of a great idea in the political process of Gotham grinding you down, bringing out your worst, makes you compromise too much. The system changes you, not the other way around.

The issue is the tragedy of a good if flawed man giving into his worse impulses doesn't entirely work due to the simple fact we hardly see a good side to Harvey. No signs of a different better person underneath or who he used to be before DA. The show only gives Harvey one very minor scene of empathy and moral upstanding before his disfigurement, so he kinda goes from jaded cynical asshat to homicidal asshat. To give the show credit, that is in part the intent. We don't like Harvey all that much but still feel bad when we see how sad and broken he is, all because he finally did something good and he's punished for it. The episode dealing with the aftermath of the acid attack is really solid at showcasing his slip into insanity and drawing forth pathos. In a bubble it works beautifully; A man who was already breaking, even if they didn't know, now thinks everyone is out to get him. Almost every invasive thought is acted upon. They also don't make Two-Face the default or more common of the personas, it's a lot of back and forth. Harvey is relatively calm one moment but suddenly becomes violent the next. Hell, he even has moments of clarity and great remorse not only for his actions as Two-Face but as DA. The episode is handled very well and Bader is selling the hell out of it. I just wish there was more before that change, a little more to like about Harvey Dent. Bruce was friends with this guy and from an audience perspective it's kinda hard to see why, Harvey is a shit head, an absolute knob. I dunno, Batman is kind of dick in this so maybe there's something to be said there? But even so, his dynamic with Barbara is FAR more engaging and nuanced than with Bruce because Barbara has more impactful scenes and is the direct opposite of the same coin. I kinda wonder if the stuff with Bruce was something shoved in at the last minute because they felt they had to. Which I guess that finally bring me to Batman, who you may have noticed I've talked very little about in this Batman show up until now.

Batman is a boring wet white rice motherfucker with barely a character arc and almost no connections to the main cast.

Oh sure, every episode has Batman doing things that move the plot along, provides some very minor characterization or some plain 'ol detective work which is fun to see. But even when he does investigating, finds a clue, confronts a villain etc. it feels lacking because his interactions with the rest of the cast are severely limited and sporadic.

Batman himself is integral to the show, but he's more like an anchor for the rest of the cast who have far more captivating screen time and better defined relationships. Babs is friends with Harley and Renee, Harley and Renee are dating, Renee works for Gordon, Barbara is of course Gordon's daughter, Harley has a brief stint as a consultant for the GCPD, and Harvey works opposite Barbara. These people flow into each others stories, converse, have opposing or similar ideologies to make stories around. Batman lock picks and punches things. I mean, Christ, he doesn't have a friendship with Gordon because this is long before that, he treats Alfred like a valuable tool rather than family and he has more empathy for Nocturna in a one off episode than Harvey over the entire season. I'm serious when I say I think the friendship was tacked on, because there's a line in ep 6 about Dent's biggest donors pulling out of his campaign, implying Bruce never gave any money. Maybe they could've made an entire subplot about the Batman aspect taking so much priority that he ignored Dent's troubles until it was too late. Have Batman learn a lesson about balancing the personas and how Bruce Wayne can be equally useful in aiding Gotham-- and the consequences of forgetting that. Maybe even intersperse flashbacks to a younger Bruce and more optimistic and likeable Dent to show why and how they became friends. This could've been done in a two-parter just like how Robin was handled in TAS.

For the instances the show does put a spotlight on just Batman it's simply going through the motions. The best we get is Bruce Wayne attending therapy sessions with Quinn, which is a great concept ultimately wasted on flashbacks of Bruce's childhood I've seen a dozen times over and maybe should've been used to explore his relationship with Dent.

Another reason why this Batman is so bland is because there are almost no sympathetic villains, which you've probably gathered by now. Harvey in the last episode and Nocturna in ep. 8 are the only two that fit the criteria (And frankly Barbara does more to help Harvey.) But everyone else? No tragic backstory, no victim of circumstance, no injustice, and no chance to showcase Batman's greatest attribute. On paper I understand what they were going for; this is an early Batman attempting (and sometimes failing) to be emotionally walled off. He's in the background, he needs to learn to open up and temper his anger. Midway into the season have something drastic happen to shake his resolve (endangering Alfred, of course)

By the end of the series he begins casually referring to him as Alfred rather than "Pennyworth" and he's established connections with Barbara, Jim and Renee. I don't dislike this slow burn, I enjoy seeing Batman's humanity slowly seep through. The series has a lot of great little moments where we see that happening, like Batman chastising Barbara for being reckless right after she saved his ass and a friend of hers is assumed dead. She's going through a lot and Batman clearly doesn't know how to processes the situation, he doesn't know how to be comforting.

There's also a great scene in the finale that I'm pretty sure was a giant middle finger to a certain director. The problem is the entire season is doing things like that. Sure we get growth for the character, but that's grueling for a 10 episode season. Maybe it's just me, but I'd kinda like to be more invested in the title character before the season finale. But as is so often the case with streaming we're limited to just 10 episodes per season. It's... so tiresome spending an entire run getting Batman to a state where we can actually tie him in with the rest of the ensemble cast and show some goddamn empathy. I realize rushing through this could result in the opposite problem, but this once again leads to me pointing out, as always, the stories writers want to tell are too big for these gimped 6-10 episode season the modern streaming has pushed on all of us. You know the first season of The Animated Series was a whopping 65 episodes? I probably wouldn't be talking about this problem if we even had a quarter of that.

I do want to stress this is no fault of the performance, which I know is going to be on everyone's mind. This is a problem with writing, the limited episode count, and possibly Zaslav not seeing enough blood in his stool before dumping this production onto Amazon. Conroy alone wouldn't have been enough to elevate the more shallow aspects of Batman's character, it just wouldn't. The writing for Batman specifically is very by the numbers at best. If this was material that fell flat because of Conroy's absence that would be one thing, but it's just bland characterization from the get go and no amount of nostalgia, art style, or iconic voice work will cover that up. It's kind of funny because the show is enjoyable by in large, but the title character is the weakest part. I wouldn't be surprised if a great deal of the mixed reception was because of that. "Batman is the worst part of a Batman show" is a perfectly valid and damning criticism.

That said, I do want to praise Hamish Linklater, the poor guy's got his work cut out for him, being in the Shadow of the Bat, as it were, and he does a fine job. I can tell it's not Conroy, obviously, and sometimes it sounds like a mix of Brave and the Bold with New Frontier Batman where I'm not sure if he's trying to do an impression or not. But midway through the series it starts to get really close, there are even moments that remind me of Conroy's performance in TAS' Two-Face two parter, glimpses where Linklater almost has the softer tones down pat. And his Bruce is damn near spot on. I hope he stays on as a voice for Batman and gets more opportunities as the character, he could potentially become to Conroy's Batman what Matthew Lillard is to Casey Kasem's Shaggy; It's not the same, but goddamn do they do a fine job capturing the tone and vibe while being a fine performer in their own right.

But they have GOT to give him better material because this Batman is sorely lacking in the things I love most about the character.

Speaking of, I don't want to spend too long discussing the second season (Which it is getting) but I have concerns there. The big one for me is foreshadowing that Alfred is keeping a secret about the night the Waynes were shot. I HATE when they over complicate the murder and try to make it something more like a targeted hit, or the court of owls or some other stupid shit. That's the one major thing I hate in The Batman movie is them muddying the waters with a perfectly good victim of circumstance story-- although it's kinda worse there because they wouldn't even fully commit. But I digress. I do not want the shit with the Waynes more complicated than it needs to be. If Alfred suggested a shortcut and he feels responsible for their deaths, sure, whatever. That's simple enough to add some character drama without going overboard. But it's probably gonna be the big overarching story next season with secret twists and- blegh. Honestly, I think I'd rather just have stand alone episodes without a running narrative thread; just have the characters and their dynamics developing and that be it. The show is clearly better when it's just that. But alas, modern streaming.

But with all that said, I still liked the season well enough. As I said at the beginning, the series is good to very good. I love the atmosphere, I enjoy most of the character and the cast, the self contained stories are solid and there's plenty of potential. But next season I need Batman and the villains to be more interesting, let Linklater give a sympathetic performance for fucks sake. If Season 2 is just more of the same, I'll clock out.

Still, I guess anything is better than say Harley assaulting Nightwing... Or the Killing Joke. You know what, there's a blurb of recommendation for Caped Crusader: "No weirdo awkwardly shoved their fetishes into the story." So check it out.

#Batman #the caped crusader #review #dc comics

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qqueenofhades · 3 years ago

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did you watch lucifer season six and what are your thoughts pls and ty

Ahaha. Yes. Yes I did watch it. Then I cried for a literal hour and attempted to compose myself, only to start crying again when I lay down and kept on thinking about it. Then I had more feelings. Then I slept like the dead due to emotional trauma. Then I reblogged gifsets and had More feelings. Then @buffaluff and @flynnanimal watched it and also required emotional support due to drowning in their own tears. So, uh... we're all fine here now. How are you?

My main takeaway from the final season was the sheer amount of love for the characters, story, and fans that you could feel shining through all the episodes, and which made SUCH a refreshing change. I had feelings in my tags the other day about how a show about the devil was constantly goofy, hopeful, loving, and uplifting, rather than all the grimdark nonsense they could have easily done with it. (As I said, just imagine it as written by the GOT idiots?? NO THANK YOU.) The writing really loved everyone and wanted to give them a proper ending and emotional journey, and it wanted to show the fans that they weren't stupid for having invested six seasons of effort and emotion into this, and just... that is so much rarer than it should be? Compare all the movies and TV shows that treat their fans like the enemy, that want to outsmart them at all costs even if it means changing major plot elements, that ferociously guard spoilers and think that "shock value" means good writing, by throwing hackneyed cliche upon cliche and making everything Depressing, and just... Lucifer had its hiccups and slow points and missteps, of course, but I am SO glad they didn't do that. The entire show consisted of Lucifer slowly but steadily progressing toward being a better man, despite mistakes and setbacks and sometimes a little too much will-they-won't-they. (Season 3 was the only one where I got bored and skipped over the filler episodes with Pierce/Lucifer/Chloe in order to get to the end).

That is an essentially simple premise, but they stuck to it, and they didn't try to create more drama by randomly wrecking what they had already established. I wrote a fic all the way back in mid-season 2 (In Nomine Patris) that ended up predicting quite a few of the future characters who had not yet appeared on the show at that time, including Eve, Michael, and Azrael, and several plot points, including the very major one of Lucifer returning to hell for the sake of his daughter with Chloe. And while this might mean that I am just that good at guessing TV shows (I would like to think this....) it also means that the writers set expectations, followed through on those expectations, and didn't suddenly derail everything or turn it totally on its head just for the sake of cheap shocks. As we can all attest, they certainly caused PLENTY of drama, anguish, pain, and suffering, but they did it in a way that remained faithful to the overall premises of the story and the characters, and wanted to see them become the best versions of themselves. I cried my eyes out at the end and then thought, "hey, I might want to watch the whole series again," which, if you ask me, is the mark of doing your job right. There have been so few TV endings recently where I didn't immediately swear off the whole thing or have to pretend that canon didn't exist, so yeah.

As I said, it was just refreshing to watch something that had that essential deep generosity at its core, where the message is that everyone is worthy of love if they make the hard and painful effort to change and become better, and that even if earthly things feel small next to all this messy celestial drama, they still matter, and that you are loved no matter what. I loved that Amenadiel became God and Lucifer returned to hell as a choice in order to help all the trapped souls be able to work through their guilt and go to heaven. There were obviously certain echoes of The Good Place in that ending; I don't know if it was something they had planned all along or if the success of TGP, another series asking deep questions about life, death, morality, and human nature within the framework of a goofy heaven-and-hell sitcom, influenced it, but either way, it worked so well. Even if it tore my heart out and stomped on it on the ground, it was fitting and oh so lovely to see Lucifer, once the most selfish being in the entire universe, following in Linda's footsteps and becoming selflessly dedicated to helping other people. Just. Chef's kiss.

And of course, Deckerstar. The Hades and Persephone vibes were IMMACULATE this season, and while it did take Lucifer and Chloe the best part of four seasons to get together, they never significantly backslid, never had third-party issues or cheap cheating storylines once they were officially a couple, and Tom Ellis and Lauren German REALLY killed it this season in particular. It was never easy for them and sometimes the drama went on a little too long over the course of said six seasons, but the love story was beautiful and incredibly meaningful and always true to the fact that the actors and characters and writers (not to mention the fans) all loved it so much. They were so much the emotional heart of this, and when they went to hell together in episode 6x03 (where they turned into cartoons because wHAT even IS this show), Joe Henderson said in an interview that this was to give the fans a view into Lucifer and Chloe's future (after) lives post-6x10, and to offer them a basis to write fanfiction. I mean... the showrunner saying to the fans "here, we love you, have something to write fic about!" is likewise pretty shockingly rare. It's again an example of how this show always audaciously poked fun at itself, never took itself TOO seriously, and was always welcoming its fans and the people who loved it to do so, rather than making them feel stupid or taking joy in wrecking beloved characters or plots.

Obviously, I loved Rory, the badass lesbian half-angel goth Deckerstar child straight out of My Immortal (seriously, she was SO edgy, it was amazing), because of the fact that Lucifer's entire arc was always about feeling abandoned by his father and that he was going to have to face it for himself. Dorky Devil Dad Lucifer trying his absolute HARDEST to bond with his daughter was simultaneously hilarious, adorable, and heart-wrenching, and yet again, the Growth. We all remember when he could barely tolerate Trixie touching him, and now we're here. Also, any variation whatsoever of "this is just a brief moment of time that we must be apart, love is eternal and stronger than death and we will never really leave each other" as a line is guaranteed to make me bawl my eyes out. So that was fun.

I got a big kick out of Ghost Dan running around and trying to get everyone to see him, and had feelings about seeing him in heaven with Charlotte and his beloved Pudding Pops at the end. I had feelings about how they handled Ella finding out the truth (or rather demanding to know why nobody had told her) and of course, I obviously loved Maze and Eve and their goth/femme wedding and the fact that they got a good three-season romantic arc (indeed, I wanted more of them). My god, Trixie is SO BIG, she used to be a tiny little nugget. I love that Linda was the moral and emotional rock all along, from the first episode to the very last, and that Amenadiel was Deeply Vindicated when Charlie's wings appeared at his first birthday party. I love how Lucifer in s6 is absolute thousands of light years from Lucifer in s1. And as ever, Chloe was Perfect. I am happy that I spent six seasons with these characters and saw them become better, and that I was never made to feel like an idiot for trusting the writers to end everything in a beautiful and emotional way. Because, well. They did. Sure, maybe I could go back and pick at a plotline here or a detail there, but I don't terribly feel the need to do so? It might not have been perfect, but it was perfect, and I am so grateful that it existed.

#lucifer #lucifer spoilers #deckerstar #anonymous #ask

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finalfantasyix · 3 years ago

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What’s So Good About FINAL FANTASY IX?

It's Final Fantasy IX's release anniversary today! It's one of the most beloved games in the Final Fantasy series, but why? We look at why the Tantalus Theatre Troupe continues to draw in the crowds...

1. Every character is memorable and unique

FINAL FANTASY IX features one of the quirkiest casts in the entire FINAL FANTASY series - maybe even in all of gaming. Every character in the game is utterly distinct - both visually and in terms of their personality.

Take the nominal lead, Zidane, for example. He’s one of the most outwardly cheerful heroes to lead a FINAL FANTASY game, and his mischievous nature is mirrored in his prehensile monkey-like tail.

Then there’s Quina, the lick-y gourmand who joins the gang - essentially to eat as much of the world’s flora and fauna as possible. As motivations go, it’s… um… one of a kind and the long-tongued character design is also unlike anything else is the series.

That’s just a tiny sample of this amazing cast - whether it’s the solemn stoicism of Amarant, or the grotesque cruelty of Queen Brahne, every character wedges themselves in the mind long after you’ve shut down the game.

2. The story is uplifting and heartbreaking at the same time

The opening of FINAL FANTASY IX is so fast, funny and entertaining, you’d be forgiven for thinking you know what to expect from the rest of the adventure.

But FINAL FANTASY IX wants to take you on an emotional journey that ranges as far as the physical one the characters undertake. There’s serious darkness in this world.

This is particularly evident in the case of Vivi. The young Black Mage’s journey of self-discovery is shocking and heart-breaking in equal measure.

And yet despite all the pain and the tragedy the heroes endure, the game never wallows in misery. It still looks for joy and humor in the world and goes out of its way to leave you with a smile on your face. It’s actually amazing that a story with so many potentially disturbing twists can be so inspirational.

3. The ability system is fun and flexible

The genius of FINAL FANTASY IX’s ability system is that it’s incredibly easy to understand yet has incredible depth.

Here’s a very basic rundown of how it works: almost all gear and weapons contain inherent skills and support abilities.

Skills are active commands that you can use in combat, such as magic spells, or deadly physical attacks. So long as you have that item equipped, you can use it, and eventually you’ll learn the skill permanently.

Support abilities are passive bonuses that boost a character’s abilities, such as more health or extra damage against specific enemy types. You’ll need magic gems to equip them - different abilities require a different number of gems, so you’ll never have enough to use everything.

Then there are extra complications, like the fact that some characters can’t use certain skills and abilities. It all means that you have to make constant decisions about the makeup of your party.

Do you stick with an underpowered piece of kit to bank the skill for later use? Should you switch up your support abilities to help overcome a particularly bothersome boss? Smart choices can mean the difference between success and a messy end.

4. The side activities are particularly good

If you’re someone who enjoys poking away at every nook and cranny of a game, FINAL FANTASY IX must feel like a gift from the Eidolons - it’s absolutely packed full of entertaining side quests, secrets and minigames.

The most well-known is undoubtedly Tetra Master. This deceptively deep card game can be played with many of the characters across FINAL FANTASY IX’s massive world, and depending on the type of player you are, it’s either a fun diversion, or an all-consuming mega-game that will become an obsession for hours.

But there’s far more than that to do in FINAL FANTASY IX. Chocobo Hot and Cold sees you using the iconic birds to find unique treasures across the world. You can also search for Stellazzio coins, meet friendly land spirits, chase frogs, jump rope and more.

The main story is already pretty chunky, but factor in all the entertaining side activities, and FINAL FANTASY IX will keep you busy for a very long time indeed.

5. It’s one for the fans - in the best possible way

There’s a right way and a wrong way to do fan service - FINAL FANTASY IX does it the right way.

The game is a celebration of FINAL FANTASY up to that point, and it’s full of fun nods to earlier titles. For example, the Black Mage design is a direct reference to the original FINAL FANTASY, as are some of the airship designs.

Character and place names are reused from earlier titles too. You’ll notice off-hand comments about ‘spiky haired sword wielders’ and you may recognize certain ability names from prior games too. If you’re a long-term fan of the series, you’ll be amazed at the sheer volume of callbacks and Easter eggs.

And yet you don’t need to be a veteran of the series to enjoy the game. Not getting any of the many, many references won’t impact your understanding of the plot, characters or world. The game still stands up as a fun standalone adventure in its own right.

(source)

#final fantasy ix #ff9 #final fantasy 9 #news

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lunaralight09 · 3 years ago

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Could you do books that the scps might read?

Books that the SCPs might read

SCP 035 Anna and the French Kiss by Stephanie Perkins Anna is shipped off to boarding school in Paris where she meets the super-charming Etienne, and that's when things get interesting. I was a squealing, giggly, mush-fest all the while through reading this book. Stephanie Perkins knows just how to turn a seemingly ordinary love story into an unputdownable read. SCP 040 Your Brain Needs a Hug: Life, Love, Mental Health, and Sandwiches Just the title of this book by Rae Earl makes us feel a little lighter. And we don’t know about you, but our brains could definitely use a hug right now. While the book is geared towards teens, we found Earl’s advice to be relevant for all ages — particularly for anyone who struggles with depression, anxiety, social media addiction, and self-esteem issues. TBH, pretty much anyone can benefit from this book! SCP 049 And the Mountains Echoed by Khaled Hosseini And the Mountains Echoed is such an amazing and heartwarming read. It's about a pair of siblings that fate cruelly separates and then finally reunites. A must-read for its simple yet gripping narration and amiable characters. SCP 049-j The Red Notebook by Antoine Laurain This is a French romance novella, and basically a love letter to book lovers. There's mystery, romance, and some of the most beautifully crafted sentences and paragraphs I have ever read. The ending is so sweet, even though you wonder how you ever got there so soon. SCP 053 Lulu and the Rabbit Next Door by Hilary McKay Lulu and her cousin help their neighbor Arthur learn to love and care for his (neglected) rabbit. She doesn’t want her neighbor to feel bad so she writes the rabbit little notes with helpful gifts signed from her own pet rabbit named Thumper. It’s a kind way to show Arthur how to take care of his new pet SCP 073 HumanKind: Changing the World One Small Act At a Time Looking for heart-warming stories of kindness and compassion? HumanKind by Brad Aronson was made for you. But the book isn’t only full of uplifting stories that will move you to happy tears, it’s also packed with practical and actionable tips for how to be kinder in your everyday. One thing is for sure: after you put this book down, you’ll feel inspired to do something nice for someone else. And because of that, we think this is one of the best books on the planet! SCP 076 Do Unto Animals We absolutely DEVOURED this book by Tracey Stewart. Whether you’re looking for tips on how to better understand skunks and squirrels or read your pet’s body language, every page is full of compassionate wisdom about to treat animals in a way that they deserve. Also, the illustrations are absolutely beautiful — we nearly wanted to pet the pages because the animal drawings were so lovable. SCP 079 Walden (Henry David Thoreau) With the outdoorsman renaissance happening as we speak, it is nice to look back at one of the books that probably started it. Walden isn’t the bore you read back in middle school, it takes time to appreciate like a nice bottle of red. Thoreau’s masterpiece tackles so much while quietly nudging your brain into activity. It also makes you want to build a cabin SCP 096 Black Beauty by Anna Sewell Told from the perspective of the horse, this story is so beautifully written that it's easy to get lost in it's pages. I laughed and cried, as did my daughter when she read it. SCP 105 Dandelion Wine by Ray Bradbury Warm and fuzzy the whole way through, Dandelion Wine is by far the best story to make you feel good. Though I'm not the correct age to directly relate to the young adult story, I still felt the warm summer days and the wonder of it all. SCP 106 Catch-22 – Joseph Heller “War is hell,” is the old adage we all know, but Catch-22 looks to modify that a bit. Instead, war becomes super goddamn weird. The book follows a bomber squadron in the Second World War whose collective sanity is slowly being eroded by whatever passes for power. Throughout it all, the main character keeps trying to prove himself insane enough to be kicked out of the Navy, which is precisely why he can’t

be kicked out. Which is a catch 22 and yes, this is where the phrase comes from. It’s a great extrapolation of quirks and idiosyncrasies we see in day to day life, only this time, they’re affecting war SCP 134 (I know she don't have eyes . But there is a books for blind people) A Mango-Shaped Space by Wendy Mass A Mango-Shaped Space is about a 13-year-old girl with synesthesia (she can see, taste, and hear colors) and her journey in getting a diagnosis and accepting herself and all her differences. It's sort of a coming-of-age story, too. As someone with multiple chronic illnesses who has gone through the same process at the same age, this really was an incredible reading experience. One of my favorite quotes is "We all do the best we can, trying to keep all the balls in the air at once." I recommend it to everyone. SCP 173 Rabbit, Run (John Updike) The greatest mid-life crisis novel of all time doesn’t actually deal with a mid-life crisis at all. Harry “Rabbit” Angstrom is 26 when he decides to leave his wife and son for a new life. Of course, what that new life is, and what exactly he wants out of it isn’t clear to the reader or to Rabbit himself. It will strike a cord with all men who struggle with the idea of settling down. SCP 239 The Harry Potter series by J.K. Rowling SCP 682 THE WOLF AND THE WATCHMAN BY NIKLAS NATT OCH DAG If you're the kind of person that can't get enough of Scandi noir films, TV shows and literature, then Niklas Natt och Dag's The Wolf And The Watchman should be next on your reading list. Set in 18th-century Stockholm, this tale is as dark as it gets, following the titular watchman and a detective as they hunt down the killer behind a dismembered corpse that appears in a local pond. As gruesome as it is gripping, it's the perfect literary companion as the nights get longer and increasingly eerie. SCP 847 The Case Against Satan by Ray Russell Two priests are called in to examine a girl who might be possessed by the devil. The Exorcist, right? Nope, it’s Ray Russell‘s The Case Against Satan, a novel of theological horror that beat William Peter Blatty’s book to print by eight years. The Case Against Satan is as much the story of a crisis of faith as it is a supernatural tale, and readers looking for a nuanced take on both should give it a try SCP 953 THE PILLOW BOOK BY SEI SHŌNAGON If you want to learn a bit more about the Japan of the past – and also, weirdly, all of us in the present – The Pillow Book is a cult classic you should absolutely try. Sei Shōnagon was a lady-in-waiting in the court of Empress Teishi in the year 1000 and here she collects her thoughts and musings about court life. To read a woman more than 1,000 years ago being as philosophical, neurotic and scandalous as anyone is today on social media is a thrill that lasts from the start to the end. SCP 1678 Memoirs of a Geisha by Arthur Golden Absolutely moving, the struggles Sayuri faces are painted so beautifully by Arthur Golden's masterful craft that you totally empathize with her as she grows and triumphs in a world designed to see her fail. The ultimate conclusion of the novel fills me with such warmth — it's both entirely unexpected and wholeheartedly appreciated.

#scp foundation #scp #scp 035 #scp 040 #scp 049 #scp 049-j #scp 073 #scp 076 #scp 079 #scp 096 #scp 105 #scp 106 #scp 134 #scp 173 #scp 239 #scp 682 #scp 847 #scp 953 #scp 1678 #scps #books

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81scorp · 3 years ago

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21 tips for writing humor

This was not written by me. It was written and uploaded to deviantart Jan 13, 2017 by DesdemonaDeBlake.

All credit goes to her. I just copied and pasted it here.

There are many theories as to the nature, science, and reason for humor. It's an element of human behavior that seems objective in the skill that is required to execute it successfully, and yet just as subjective for how unpredictably it can hit every individual audience member. Today, I'm going to talk about the various forms that humor takes, and give you some tips for making your humorous story a success. To start with, lets look at what I will call the “five scales of comedy”. (Please note that the following is not intended as definitive list of the only sources and scales of humor in the world, only the ones that I have been able to identify within my own life, time, limited understanding, and culture. Also note that I will use the word “Humor” instead of the word “Comedy,” simply because I do not want this discussion on genres to be confused for the type of story that is opposite of Tragedy.)

The Five Scales of Comedy

A story or other source of humor can usually be found along the lines of five different scales. These are: High Humor vs Low Humor, Sweet Humor vs Acidic Humor, Distanced Humor vs Close Humor, Predatory Humor vs Reflective Humor, and Clever vs Ridiculous Humor. These scales stand apart from the sub-genres of humor (dark, slapstick, dry, etc...), and have to do with how the humor affects the audience. Note that there is no “best” type of humor; there is only humor that works in different ways and which impacts different sorts of people. So wherever you find your story in the scales, know that there is no need to change it unless you want to. Also, the names of the scales are just that—names. Just because your story falls into the category of “low” humor, doesn't mean that it is any less valuable than “high” humor.

Range 1: High Humor

Within the range of High vs Low humor, what we are discussing is the how large an audience we are trying to reach. High humor involves jokes and comical situations that are only understood by a very select group of people. An example might be a comedy series that focuses its humor on the experience of working in a corporate office (like … The Office), or perhaps political commentary. These are only funny to those people who have shared the experience or the political knowledge of the person generating the humor. Basically, the higher the humor, the more the entire set-up begins to resemble an inside joke. This type of humor is excellent for gaining the interest of select demographics who you may want to address. For example, if you only want to talk to nerds (I say non-insultingly because I am one and am proud of it), you might have lots of references to science fiction and fantasy.

Range 1: Low Humor

On the opposite side of the range, you have Low Humor. Low Humor deals with topics, jokes, and situations that are more universal to the human experience. An easy example of this is a fart joke. Everyone in the world farts, and most people are in touch enough with their inner child to think that it is funny if the joke is skillfully set up. Again, there is nothing wrong with low humor; and in certain situations it is even preferable. The lower your humor, the larger your potential audience can be. Other examples of low humor might be family life, slapstick, and situational comedy based on everyday experience. Shows like Spongebob Squarepants, for example, involve such a low degree of comedy that people of all ages, demographics, and locations across the world are able to find delight in it.

Range 2: Sweet Humor

The next range of humor, Sweet vs Acidic, deals with the intensity of the humor itself. Sweet Humor involves jokes, situations, and characters that require less pain and cynicism to appreciate. For example, a story that involves simple characters bumbling around, making mistakes, overcoming, and becoming better people for it would generally fall into the range of Sweet. We don't laugh at their misfortune (or if we do, its lighthearted and with limited consequences, like slipping on a banana peel), we laugh because their situations are joyfully amusing.

An example of this are the sort of jokes and humor found in Youtube “Lets Plays,” like those of Markiplier and Jacksepticeye. We don't laugh because of anything bad happening to these people (or the characters that they play); we laugh because they are eccentric, silly, and joyful in a way that also makes us feel joyful. This form of humor can be tremendously encouraging and uplifting to the types of readers who enjoy it.

Range 2: Acidic Humor

On the other hand, we have Acidic humor. Much like with food, most people have strong preferences and limits to how acidic (spicy, sour, or bitter) they like their humor. Acidic humor deals with laughing at topics that are increasingly serious or even tragic, such as death, illness, social injustice, etc... A popular example of acidic humor is South Park. Those of us who enjoy acidic humor will find ourselves laughing at topics that would otherwise likely bring us to tears. The power of acidic humor is that it helps its appreciators to cope with the difficult truths of life, and also to acknowledge problems that we are otherwise tempted to ignore because they are too hard to think about.

An example of an issue addressed in South Park is the elderly, their treatment, and our fear that we will face the same. Sure, when we watch an episode we laugh when the younger characters mistreat and abuse the elderly in the community. However, a conscientious viewer will then begin the chew on the issue, once the episode is over. We'll look at our own actions, and begin to wonder if our treatment of the elderly is just as bad. Because of the acidic humor, these difficult truths come to the forefront of our minds, we gain the courage to actually think about them, and we can even bring them up in discussion with others. This discussion can then lead to people changing the world for the better.

Range 3: Distanced Humor

This range has to deal with the necessary emotional distance we need in order to be able to appreciate a certain level of humor. Even with lighthearted humor like slapstick, which has very low acidity, the audience needs to be distanced in order to laugh. For example, if I watch Bugs Bunny wallop Elmer Fudd on the head with a mallet, it's generally pretty damn funny. I know that these characters are both flat cartoons with limited depth to their character, and that as non-beings they don't really feel pain. Therefore, I don't have empathy to Elmer's pain (because it is really non-existent), and I can laugh. However, if the show were to show me Elmer's life, how he's been a vegan but famine has caused him to need to find meat to feed his family, and how he struggles to even shoot at a rabbit because it makes him feel like he's betraying himself; then I'm not going to laugh if Bugs hit him with a hammer. I'm too close, and need emotional distance in order for my empathy to not get in the way of my humor.

Range 3: Close Humor

We do not need distance in order to find something funny. With close humor, the jokes and situations actually rely on how well we know the characters and how much we empathize with them. An example of Close Humor is Scrubs. In the show actually find ourselves within the mind of the protagonist, JD, and seeing the entire world through his eyes. He tells us about his insecurities, his genuine pain, his fears, and we actually really care about him as a character. Yet, we find humor in his minor misfortunes and even in his silly victories. The closeness of our perspective amplifies the events that happen in his life in a way that distanced humor cannot achieve. For example, when he stutters and says something embarrassing in front of someone he idolizes, we find ourselves giggling. If Elmer Fudd were to stutter in front of someone he idolized, we wouldn't laugh nearly so hard because we can't possibly understand the stakes of the moment or why meeting this person is so important to him. We need to be close to a character for Close Humor to work.

Range 4: Predatory Humor

With the range of Predatory Humor vs Reflective humor, we are discussing who will be the “butt” or target of the joke. (Note that a joke does not necessarily need a butt, as we will discuss later.) While often used in a negative way, in order to bully and shame others, predatory humor is not a bad thing in and of itself. Predatory humor can be used to tackle and harm negative constructs and ideas in our society. For example, Fairly Odd Parents used to frequently attack neglectful and abusive parenting. Note that the while Timmy's (the protagonist of the show) Parents were frequently the butt of jokes, they were also not the real target (just like parents in general were not the target). The targets were their selfish and non-reflective actions that had damaging effects on their son. We can use predatory humor to attack ideas, and point out the evils that are so often overlooked in society. The trick is to always keep vigilance of your own mind, actions, and motives to makes sure that you do not become a bully who targets the people themselves. Because even if someone acts in an evil way, bullying them will never cause that to change.

Range 4: Reflective Humor

On the other side of this range we have Reflective Humor, which serves to make fun of itself. Again using South Park as an example, the creators would often make their own beliefs and ideals the target of their ridicule. For example, it's fairly clear that the show speaks in favor of LGBT rights and for their being accepted as equals in society. However, they also go as far as to mock people who are so over-enthusiastic and pro-LGBT (to the point of hypocrisy). Another example is when the show begins to teach a moral lesson, the writers will often make fun of themselves through the character of Kyle for being so preachy. The effect of the show making fun of itself is two-fold. First, those of us whose beliefs South Park mocks feel like the show is being fair. Thus, we continue to listen to and respect the views of the creators, even if we don't always agree. Second, we trust the messages of a story more when it has the integrity to point out its own failings. Note that unlike with other scales, Reflective and Predatory Humor can actually be interwoven so that a joke or story makes fun of itself just as much as its target.

Range 5: Clever Humor

The last range of humor that we'll discuss is that of Clever vs Ridiculous. This range is fairly self-explanatory, but the core of its nature is what sort of punchline is delivered at the end of a humorous situation. Clever humor takes the audience expectation and amplifies or twists it to an unexpected place. You can see this in the work of comedians such as Louis CK and Demetri Martin. Martin, for example, has a humorous bit about doorways that say “Exit Only.” The joke then involves his compulsive desire to tell store workers that they underestimate the potential of those doors by about 50%. The delivery of the punchline is true and logical, but it such a way that it humorously exceeds audience expectation.

Range 5: Ridiculous Humor

Opposite of Clever Humor, we have ridiculous humor. This is when the punchline of a humorous situation is so absurd that we can't help but laugh. And example of this is the Spongebob Squarepants episode where he and Squidward get lost while delivering a pizza. They become lost in the wilderness and spend the episode becoming more and more so. Then, right at the end, Spongebob exclaims that they are saved because he's found a big beautiful boulder, the likes of which the pioneers used to ride for miles. And, to make matters even more ridiculous, the boulder works—driving just like a car. We find humor because the punchline is simply so grandiosely absurd that we can't help but enjoy it. Note that both Clever and Ridiculous humor require a great amount of skill and thought to pull off successfully, it's just a matter of your preference and your target audience.

The Five Sources of Humor

Once we identify what type of humor we are employing by using the scales, the next thing to consider is what makes our stories funny. This is something of a challenge, because we don't generally put much thought into why humor makes us feel the way it does. The humor either hits or misses, and we laugh or we don't. Making matters even more complicated is that there are so many theories as to why and how humor works—with everyone from Aristotle to Freud interjecting an opinion. But if we look at the particular sorts of things that make people laugh, we can improve how we use humor in our stories.

Source 1: Misfortune

Whether a cartoon character is slipping on a banana peel, or a character in a romantic comedy finds themselves in an embarrassing situation, the misfortune of others seems to be the most popular form of humor. This is why slapstick and funny home videos have been so prevalent in modern humor. Plato and Aristotle seemed to believe that this was because such humor made the audience feel superior to the characters being ridiculed (Superiority Theory). This seems especially true when we see unlikable characters (like the villain in a children's cartoon) experience misfortune in a comical way.

Though Superiority Theory has its place, I would assert that there is an alternative way that people enjoy misfortune. Perhaps the experience of slipping on a banana peel or being in an embarrassing situation is funny because of our own memories of experiencing the same thing or something similar. Freud and others theorized that humor was a release of energy (Relief Theory). Maybe our camaraderie with the character, mixed with emotional distance from the scene we are watching, creates a safe space to release our own stored feelings of pain or embarrassment. Thus laughter really does become a healing force.

Source 2: Absurdity

In his essay “The Myth of Sisyphus”, Albert Camus defines and explains the absurd.

“It's absurd” means “It's impossible” but also “It's contradictory.” If I see a man armed with only a sword attack a group of machine guns, I shall consider his act to be absurd. But it is so solely by virtue of the disproportion between his interaction and the reality he will encounter. […] Likewise we shall deem a verdict absurd when we contrast it with the verdict the facts apparently dictated. (29)

Though Camus is not talking about humor (rather the existentialist question), I think that the absurd is a source of humor. Audiences are often entertained by the absurdity of a situation. And by looking at Camus' explanation, we can hypothesize that this form of humor comes from the disproportionate contrast of action and situation. An example of this might be one of the last battle-scenes in Braveheart. In this scene, victory looks unlikely, the dramatic tension is high, and it seems to be the most serious moment imaginable. Then, upon being signaled, the protagonist's soldiers pull up their kilts and reveal their bare asses to the enemy. It's so unexpected and so absurd, that many people cannot help but to keel over laughing.

This scene is completely disproportionate to what we would expect to see in this dramatic a moment. The action does not suit the situation, but in a strange way it also kind of does—with the action juxtaposing itself against the situation. Perhaps, just like with misfortune, absurd humor creates a needed release of energy, connected to our own sense of existentialist absurdism. The absurd could then serve to release our feelings of despair in a positive light. The show, Rick and Morty, seems to be built on this connection between absurd humor blended with existentialism and nihilism. Of course, this is just a theory. What you'll want to focus on when writing absurd humor is the relationship of your characters' actions to the situations that they find themselves in. Are they lost in the desert? Have them climb a boulder and ride it home. The stronger the contrast between action and situation, the higher you'll make the potential for absurdity.

Source 3: Wit

Wit is the essence of Clever Humor; its the pithy intelligence that makes us laugh because of all the thought put into a situation. When we hear a witty joke or are part of a witty situation, we find ourselves moving in a forward humorous momentum, instead of the backwards and diagonal momentum of the absurd. But we don't stop at the expected location. For example my mother called me a few months ago, asking me if I was going to wish my brother a happy birthday. The expected response for this sort of set-up/situation is to answer “Yes” or “No”. But I went forward and beyond “No” by asking why she wanted me to congratulate my brother for being one year closer to death (I have an acidic sense of humor sometimes). This reply was much more thoughtful than what my mother expected, and pointlessly taken beyond the realm of reason. Therefore, she found it funny.

Perhaps there is an element of the absurd in any given amount of witty humor. It's as if we are taking extra steps to be as intelligent and rational as possible—ending with us standing somewhere close to the absurd. Using Camus' illustration of absurdity, the soldier with a sword wouldn't necessarily attack the machine guns, but instead go home, refusing to sacrifice his life to be a metaphor. You can see this sort of humor in Youtube series such as How it Should Have Ended. In this series, animators take a closer look at popular movies and then make efforts to enforce logic in worlds and characters that didn't have them. This includes having Severus Snape use his time-travel gizmo to go back in time and kill Voldemort before he became a problem—an action that is so logical that it erases the need for any of the Harry Potter stories to even happen. So when you create witty humor, look to take things beyond the realm of expectation—aiming for the absurdly reasonable.

Source 4: Anti-humor

Anti-humor is when something is so unfunny that it becomes funny, sort of like puns. As we find delight in the absurd and the unexpected, humor and jokes can begin to feel predictable. We begin to look for the solution in jokes, and we're usually smart enough to begin to be able to predict it. In this case, the expected becomes surprising. An example is the classic: “Why did the chicken cross the road? To get to the other side.” If you haven't heard it before, this anti-humor joke is actually kind of funny. A great example of this are the great collection anti-jokes found online.

You can take anti-jokes to the next level using extremely acidic humor. This is where you take serious, grievous, or tragic topics and use them as the punchline for your joke. For example, a joke about a fatal illness is not funny because the person making the joke finds that topic amusing (otherwise that person needs some counseling). A joke about fatal illness can be funny to some people for the exact opposite reason—because of how dark and unfunny it is. Again, I believe this ties into a release of negative energy while in a safe space, and the processing of difficult emotions. If you plan to use the extreme form of anti-humor, please note that many people have very legitimate reasons for not enjoying it. So be careful, and give your audience some sort of forewarning so that you do not spring something so emotionally charged on them without their consent.

Source 5: Familiarity and Value

When I was taking university writing classes, I had an extremely eccentric professor who had all sorts of mannerisms that were unique to him. In the moments when he was particularly eccentric and acting out of his true nature (which he was quite comfortable with), I would find myself laughing, even if the situation wasn't funny. I think others can relate to this, as we all love to talk about fun people that we used to know, and find ourselves laughing even when what we are remembering isn't particularly funny. We laugh because those people acting happily out of their own nature gave us joy, and so anything they do creates a laughter that feels akin to humor.

This mirth through familiarity can be accomplished in stories as well. In Bob's Burgers, for example, we really don't even begin to understand the humor until we develop an attachment and feelings for each individual character. Sure the situations are mildly amusing, but true laughter and humor doesn't begin until we know the characters, their likes, their dislikes, and who they are deep down inside. Once we know that, we laugh as each character acts out of their nature. When we see Louise (one of the protagonists) act with mischievous intent, we laugh even before we know what she's doing because we are happy that she is about to act out of who she really is. Note that this is a rather difficult sort of humor to pull off because you have to create a relationship between the characters and the audience before the humor will be possible.

General Tips for Humor

Tip 1: Create a patterned and uniform blend of humor for your story.

When you choose what sort of humor you plan to use in your story, the best way of maintaining audience enjoyment is to keep it constant. Just like when we watch a stand-up comedian, we begin to develop a taste and sense of expectation for whatever we are watching or reading. Over time, your audience will begin to really appreciate the flavor of your humor, and that appreciation will make your jokes increasingly funny (so long as they are creative and continue to be intelligently crafted). The pattern will also make all of your jokes seem, feel, and become purposeful. Your audience will enjoy this much more than if you seem like you are desperately trying to milk the humor from anything you can get your hands on (you perv).

I recommend you begin by analyzing the origins of humor in your story's world. Is the world simply absurd, with unseen gods of chaos just dropping coconuts on people's heads for pure amusement? Does the humor come from a specific character? A group of funny people living in a serious world that they must learn to cope with through humor? A funny narrator with a unique perspective on life? Once you figure out the origins, determine where your humor will fit on the scales (it doesn't have to be on any extreme, you can stay in the middle of the scales and still be hilarious); and then figure out the source.

Tip 2: Create a genuine story with genuine characters, in order for humor to gain the most power.

If we value stories in terms of how much people enjoy and remember them, the best humor stories are those with good plots and characters. This may seem counter-intuitive when your intent is to make your audience laugh, but think of it this way. If an audience wants just concentrated jokes, they will read a joke-book. Your audience is choosing to dredge through the murky waters of story in order to find the humor with more difficulty because they want a blend of story and humor.

An example of this is the movie,“Austin Powers.” Many people, myself included, watched these movies before we ever watched the James Bond movies that they were making fun of. And we enjoyed them greatly, and laughed the entire way through. Why? Because the characters and story, ridiculous as they were, were good enough that we actually invested our interest and emotions into them. As an added bonus, the story has become timeless and respected in its own right. Even if we face a future where nobody knows who James Bond is, the Austin Powers movies will be able to stand on their own merit because they are more than just jokes.

Tip 3: Be careful about dating yourself.

Speaking of parody and humor losing its ability to be funny, let's talk about references that date our stories. Humor at the expense of popular culture (movies, politicians, celebrities) is a fun ploy of high-humor. It's especially useful for nighttime comedy shows that will be lost to time anyways, within a couple years. When you are writing a novel, however, you are trying to create something that will last a bit longer than that. Additionally, novels take a lot longer to write than an episode of a late night comedy show. This means that by the time you publish and people begin to discover your book, they may not know who the vapid pop star you're making fun of is. Your humor will be lost to time, and your book quite possibly forgotten. Of course, I'm not telling you that you can't use this sort of humor, just that you should be aware of the risks it holds.

Tip 4: Mark every line that is supposed to be funny, and make sure that it is.

Nothing detracts from a story or from a spirit of jovial humor so much as an obvious joke that falls flat. It's like watching an acrobatics show. If the acrobat falls on their face too many times you'll either be embarrassed for them or you'll empathize and start worrying for their safety. Either way, you won't find the situation amusing. In your own personal copy of the manuscript, mark every joke for analysis of whether it actually succeeds and whether it serves to empower the story. Then, ask your editors, test-readers, and writing partner to circle every point that they genuinely found funny. Be sure to pick test-readers who fall into the niche you are writing for, as well as those who do not. If nobody but you marked a specific joke, then you need to either get feedback for how to make it funnier, or else cut it.

Tip 5: Write within your own expertise and authority.

This does not mean that you can't laugh at things, and poke fun at things that are outside your realm of expertise, so long as you have done your research. But consider the power of an insider making a joke about something that you are a part of vs an outsider doing the same. It would be like the difference between me calling most writers narcissists (as I am one, and know that it is pretty true in most instances) and a politician making a joke and calling writers narcissists. I mean, what right does that asshole have to judge us, even if it is true? The point is that your jokes gain power when you can tell them with the confidence of an insider. Not only that, but your audience who is a part of the group at the butt of the joke, will be much more gracious and feel far less attacked when the joke comes from one of their own.

Tip 6: Humor is personal

Humor is something that is highly individual to specific groups and people. For example, I do not understand, nor am I really able to appreciate most British or Spanish comedies. This is not because they aren't funny; they are just as valid and hilarious as every form of comedy that I do enjoy. The reason is simply that because of either how I was raised, my life experiences or because of who I am by nature, I can't enjoy them any more than I can enjoy olives on my pizza (seriously, I hate them). It doesn't matter how artfully these types of humor are composed, there is simply no effect akin to joy, amusement, or laughter when I come across them. In other words, the problem is me and not them.

All this is to make three points. First, it may be more difficult to find test-readers and worthwhile criticism for humorous work. Even if I'm really good at critiquing stories, I will not be able to give you any helpful feedback if your humor doesn't match with mine. And that isn't your fault any more than it's my fault. It's just a difference in taste. Second, humor is as personal and close to the heart as any other story or craft. When you create a joke, you are channeling whatever emotions and mixes of experiences have led you to the type of humor you have. So recognize the emotional bond between yourself and your humor.

The third piece of advice is for those on the other end of the spectrum, those experiencing the humor of others and perhaps trying to give advice. Please recognize that others' sense of humor is just as valid as yours. Whether their sense of humor is simple, complex, dry, witty, dark, acidic, sweet, or anything in between, it is their sense of humor and not yours. Be careful in how you voice any attempts at criticism, as there are few ways to break your friends' trust and confidence as completely as when you tell them, “That's not funny.” You might as well be telling them that their heart sucks, and they are a sucky person.

Instead, acknowledge the differences in people's humor, value it even if that humor makes you uncomfortable, and voice your criticisms accordingly. Try: “This joke wasn't successful with me, and might be perceived as racist/bullying/insensitive to some readers; so seek other feedback to see if it's just me.” You will voicing just as honest an opinion, without formulating a direct attack against the person who has trusted you with something so delicate to them.

Weekly Recommended Watching: Doraleous and Associates by Hank and Jed. (A free animated fantasy Youtube series that manages to successfully mesh several humor types with an over-arching plot. Examine how even there are plot elements that are serious and even sad, the series maintains its humor through well-balanced distance and wit. And if this form of humor does not amuse you, that is perfectly valid and your own unique sense of humor is still a valuable thing.)

#81scorp #21 tips for writing humor #comedy

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craftypeaceturtle · 4 years ago

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A is for Arrival...?

Summary: Remus and Janus are shopping ready for the new arrival for their family.

Note: The start of an AU and series because I’m just a sucker for any type of familiar sides. Romantic Demus and Royality.

Next Part: B is for Baby Time

“Hey Jay?” Remus suddenly stopped; his eyes enormous.

“Yes, dear?” Janus put on a dramatic Victorian tone, his spine straightening with his hand frozen poised with the packet of washing up sponges.

“Do we need to get birthday stuff?” Janus immediately scrunched his face, “No wait! Listen. You celebrate your kid’s birthday every year so surely you celebrate his first ever one ever. Right?”

Janus stared into the distance as he dropped the sponges on the floor, “Call your brother.”

“No,” Remus whined but still pulled up his phone and promptly shoved it into Janus’ chest, “He’ll only make fun of me if I ask it. If you ask it, then maybe he’ll presume he’s the stupid!”

“Did he celebrate Logan’s first ever ever birthday? What would you even call it? First day of existence?” Janus frowned as he speed dialled the number.

“If he did, he didn’t invite me!” Remus shrugged before picking up the sponges. He immediately crowded into Janus and smooshed himself into his shoulder.

They picked up on the second ring, Patton’s sigh answering. Something that they probably weren’t supposed to hear. “Hello Roman. We just have a quick question,” Janus chirped.

“Hey Janus. It’s Patton by the way. Wow, another question, huh?” Patton, meanwhile, gave Roman a stern look and thrusted the phone at him again. Roman pulled a face as he shrugged and ducked back down behind the sofa. Frowning, he put it on speaker so they could both suffer, “What did you want to ask?”

“Should we celebrate our baby’s first ever day? Like a birthday but for their very very first birthday?”

“What!” Roman shrieked before leaping back on to the sofa; ever so suddenly finding the strength to talk.

“What do you mean ‘what’! God, he’s such a douche,” Remus muttered.

“I’m a douche, oh am I? Why would you celebrate a baby’s first ever day. It’s their first ever day in this world! They get overwhelmed and scared so easily. It’s a big scary world out there and you’re going to shove a party in their face! The baby is barely old enough to move it’s own hands! It’s a baby!” Roman complained while Patton giggled.

“To treat this seriously for a second, when you finally get your baby, the very last thing you want to do is mess around too much. After all this time, all that waiting, you finally get this tiny fragile baby. A tiny itty bitty baby. All you’ll want to do is just sit there and watch them quietly. A party is the last thing you’ll think to do. Heh, me and Roman even forgot to eat that day and only remembered hours later,” Patton spoke softly with his own memories uplifting his annoyance. Roman smiled and knocked their shoulders together.

“...So is it worth buying like finger food in case we forget to eat?” Remus interrupted.

“Uh... yeah? I mean, yeah that would work,” Roman fumbled.

“Okay. Cheers. Bye!” Remus called out while Janus rolled his eyes, “Wow. We really need to get them something for putting up with all this.”

“Well I’m going to keep talking to them, you weirdo.” Janus ran his hand through Remus’ crazed curls but he was quickly shrugged off as Remus went to evaluate which bleach was best for their toilet, “How are you two?”

“Yeah, all’s good here! Just your typical day, what are you doing?” Patton chirped.

“Baby shopping mixed with some normal shopping. Extremely exciting, I’m sure you’re jealous,” Janus felt his voice go soft at just the mere mention of his coming baby.

“Aww! That’s so sweet,” Patton sighed, “I miss that so much about Logie. Baby clothes shopping is the only reason worth becoming a dad.”

“Oh Pat! Such slander, I’m impressed,” Janus laughed.

“Oh hush! Everyone knows that baby clothes are the best cutest things in existence. Aw, are you going to buy Halloween clothes! Me and Roman saw some adorable skeleton onesies today and I came this close to buying it for the baby.”

“Yeah, I think at this point we’ve bought him more Halloween clothes than normal baby stuff. That’s the whole reason we still have to do some shopping. There were these pumpkin shoes and socks. Oh Pat! I swear if I wasn’t so macho and cool, I would’ve cried. Baby shoes are just so tiny!” Remus raised a brow at his squealing voice. But then he also knew exactly what Janus was talking about just from his tone alone. Those shoes were actually pretty cute.

“They are right! Aw, do you know any more about the baby?”

“Well...” Janus drawled while Remus took a breath. They agreed that Janus was going to deal with this breaking news.

“We met up with the mother yesterday.”

“Oh! My! Oh! Oh, Jayjay! That’s amazing! How was she?” Remus quickly snatched the phone and flicked it to speaker. Janus raised a brow at him but he was only met with the most mischievous smirk back. He frowned but turned back to continue talking only now with Patton’s voice squeaking out across the aisle.

“She looked exhausted. I felt so bad for her. Meeting up for a coffee looked like the very last thing she wanted to do,” Remus said.

“Bless her,” Janus sighed, “She was lovely.”

“Aw, that’s good. We never really got to meet our surrogate, how come yours wanted to meet?”

“Well, she apparently had a bit of a health scare. All is good! Everything is all good! But she just wanted to sit down with us and actually go through everything that happened. So we sat and talked about the health of the baby. Again, all is good obviously. But... so... we may or may not have found out our baby’s gender,” Janus winced once the squeal erupted over the phone. Remus cackled at the amount of people who turned to look at them with dirty looks before he turned the speaker off again. Ah, yes wouldn’t be a trip to the shops if Remus couldn’t spread some mild chaos.

“What’s their gender!” Patton screamed before launching up from the sofa. Roman was giggling as Patton jumped up and down and spun him around.

“We’re having a boy!” Janus smiled. He would deny the glow in his chest for this rest of his life but he couldn’t help but grab Remus’ hand. Remus smiled, thankfully, and squeezed his hand with his own lovesick smile. Their baby boy.

“Oh a boy!” Patton squealed high enough for dogs.

“Typical, not one girl in this entire family,” Roman chuckled.

“Oh congrats guys! When’s the due date again?” Patton sighed.

“10th of December. I almost feel bad for the boy. He’s going to have to put up with the whole Christmas birthday combination.”

“I’m still upset that he wasn’t a Halloween baby,” Remus frowned.

They chatted for a few more minutes before Janus finally hung up. They were still holding hands- they would look exactly like a couple from a lovey film if they actually dressed like normal people rather than Disney villains. All they needed to do now grab was some more normal baby outfits. A very simple easy task. Just look at some clothes and chose some cute functional clothes.

But every single time... every single time, they would find the most abnormal baby outfits possible. That and they always spent a good ten solid minutes of staring at the tiny shoes. They looked like build-a-bear shoes. They didn’t even look real.

“I can’t wait until he arrives,” Remus mumbled as he picked up a hideous orange dinosaur patterned jumper set. Janus tried to hide the smile but he quickly placed his head on his shoulder as they stood there.

“Neither can I. He can’t come soon enough. Just like how you can’t put back that gross set soon enough.”

“You don’t like it! I think it’s cute.” Remus tilted his head as if that made it cuter.

“He’s so not going to be an orange baby.”

“You don’t know that! Does he even need a colour?”

“You’ve got green, I like yellow. He also needs a colour. While we can still have control over what he wears at least,” Janus stated like Remus was a toddler trying to argue that the sky was green.

“So we both have our ugly colours. Then he also needs an ugly colour too! Orange is a disgusting colour!” Remus thrusted the jumper in his face.

“Oh totally exactly, dear,” Janus rolled his eyes before he then felt the passion erupt from him, “Okay. Firstly, for your information, yellow is a beautiful colour thank you very much. You’re the one that chose the grossest colour of green to embrace. He can have purple,” Janus winced as he guided Remus’ hand back down to the shelf.

“Purple?”

“Yes. A beautiful colour. Not only does it screw over superfluous ridiculous gender roles, it also is close enough to match our dress senses,” Janus stated with a proud look. Remus opened his mouth but then snapping it shut with a respectful nod. Yep, that sounded like a plan.

They eventually found some normal tiny eeny weeny pair of jeans and they used all of their collective strength to stay clear of all the Halloween clothes and bought some presentable jumpers. Janus was finally starting to get fed up with standing around in a shop before he realised that Remus’ eyes kept flicking to a shelf behind them.

He never made any move to actually go look at whatever it was and he never mentioned it. Janus found every reason to keep looking at the same pairs of stripey socks to give him time but he still said nothing. It was so uncommon that Remus felt shy about suggesting something. What could be the harm? “What you looking at?” Janus asked while exaggeratedly turning around.

“Um... I just noticed...” Remus drawled off. It was just a discount shelf. It was stacked with just random broken items that clearly no one ever take any interest in. Remus shyly sulked up to it and pushed aside the chipped mugs and torn notebooks without any hesitation. He pulled up a baby blanket.

It was the exact same incredibly soft material all baby stuff was made from. The stuff where your hand magnetised to its softness. It was a quilted baby blanket in a pastel lilac. It was cute but it wouldn’t be on a discounted shelf without reason. There was a large smudge of black marker on its corner. But as Remus held it up, Janus laughed. It wasn’t quilted. It was sewn to be a spider web pattern around the blanket. Clearly an old Halloween gimmick.

He turned to ask if Remus was all ready to go then and was immediately punched in the stomach. Remus was all teary eyed and awkwardly looking anywhere but him. His fingers brushed through the blanket over and over again.

“Oh Reem,” Janus cooed and tugged the blanket from his grasp but he didn’t let go.

“I don’t even know why I’m tearing up!” Remus pressed his arms against his face. Janus felt himself tearing up as well. Something about how Remus’ voice would go all wobbly and pitchy when he was on the edge of tears just always got to him, “Just... oh this is so fucking stupid.”

“Well you’ve got us both crying in a shop at 9 in the morning. I’d say it sounds pretty dumb,” Janus smiled.

“Just... he could be our little spider. Just like how I’m your octopus and you’re my snake,” Remus’ voice was practically crumbling away. Janus felt a disgusting childish tear slip down his face.

“Oh Reem.” Janus hugged him, only so he didn’t have to experience the embarrassment of people seeing his husband’s gross taste in blankets of course.

“How much spider stuff have we bought him! Like that would be perfect. And this is purple and spider!” Remus felt a tear escape his control too but he just buried his nose in Janus’ hair.

“Oh you are such a nightmare of a husband. I’m taking you back to the husband shop and refunding you,” Janus groaned, he broke away and snatched the blanket from his grasp and shoved it into their trolley. At least it was cheap. Plus they would probably end up staining it with gross new born baby vomit anyway.

#My writing #sanders sides #deceit sanders #Janus Sanders #remus sanders #fluffy #fanfic #roman sanders #patton sanders #demus #royality

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dreaminginthedeepsouth · 4 years ago

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Emotional healing does not depend on the process of figuring something out. It does not depend on conceptual understanding, but rather on a return of the feeling life to a natural biological rhythm. Emotional healing involves allowing the feelings to enter into the basic pulsations of the body. This is accomplished, in part, by separating those feelings from the arrhythmic clutch of thought. The feeling life is not a conceptual experience. Feelings are not ideas, but subtle physical experiences. They take place in the body. They are not inherently meaningful in the way they seem to be when we apply our thoughts and beliefs to them. Feelings are part of the rhythm, the giving and receiving, the nourishment, and the interdependent ecology of our experience here. We often misunderstand our feelings. We think that some of them are weak and some strong, some are good and some bad, some right and some wrong. Such a relationship to our feelings represents an overlay of arrhythmic thought onto the intimate rhythms of our bodily experience. When we allow ourselves to turn toward our feelings at the bodily level, we can discover a core of warm nourishment there. Even in our anger, our guilt, our confusion, our loneliness, even in the depths of despair, we can find something that we truly want — a sustaining force which we can receive and then give in return. Feelings can be recognized as a movement of energy on a subtle level. Like breathing, the beating of the heart, and the movement of blood in the veins, feelings are not owned by us. They are part of the stream which sustains and uplifts this mysterious human form. The process of self-care reveals experientially that feelings are energy, rhythmic movements of energy in the body. They are like tones that resonate from subtle regions of the human form. These feeling tones have become disrupted by the ways we have been taught to fight against them, deny them, dishonor them, and obstruct them. We are in this body, this exotic life form, on this puzzling planet, assuming that we understand what the consciously felt energetic fluctuations called feelings actually mean. Mystery is the predominant quality of our human experience. We don’t know very much. We can’t know very much and yet there is so much here, so much to receive and so much to give. We turn our attention to the body so that we may take care of it and honor it. The human body offers us immense evolutionary possibilities. All the scriptures and spiritual teachings which have been passed from generation to generation have revealed, in one way or another, that it is an honor to be a human being — to have this body — even though there are times when the suffering and difficulties are great. In order to discover the sacred possibility of our human embodiment, we must learn how to turn to ourselves and be with our experience in a way that truly honors our life here. This requires learning how to honor and bring dignity to each aspect of our life. We must learn what it means to attend to ourselves with absolute respect, even though we don’t really understand what we are, who we are, or where we are going. The conditioned mind is making constant demands for closure and conceptual understanding. It lobs labels and names at our delicate experience, many of which suggest that there is something wrong, that we are undignified, ugly, or weak in various areas of our life. The path of compassionate self-care offers an antidote to the mind’s demands. Its fundamental principle reveals that there is nothing wrong, shameful, dark, or ugly about human life. A string of conflicted and limiting constructs, beliefs, and ideas has so dominated our awareness that it seems as if those ideas are real and nothing else exists. If we can dislodge and dismantle those disguised thought patterns, we can return our attention to the beauty and innocence of our life here. We honor the body because it is more than what it looks like. This body is not simply the physical appearance that we can see and touch. Within the body and surrounding it, there is an energetic field which cannot usually be seen by the naked eye. The visible body is like the hub of a wheel. From its core there are spokes which extend in every direction. These spokes are a shimmering illumination, an invisible radiance. The radiance surrounding the body is the subtle aspect of our visible form. As the body moves with each inhalation and exhalation, something more than air is taken into us, something deep and subtle, which we might call energy or life current. We not only breathe air and ingest food; we also take energies into ourselves, and by these energies we are fed. We do not live by bread alone. Something deep, subtle, and invisible nurtures and nourishes us, making it possible to serve and to give. The body is like a thread or a strand which has a series of unseen openings at different points along its surface. These openings pulsate the way a diaphragm does when we breathe. During those pulsations a sacred offering is made to us, and a previous offering is returned. Energies are received and energies are given back again. The whole body breathes — not just the lungs or the diaphragm. The entire body breathes at many different levels, in different places, and in different ways through openings along the spiraling thread of the human form. The knowledge of these openings and their purpose has been revealed in various occult traditions. The great and central opening of the human body is located in the domain of the heart. The front of the body — the heart and the area around the heart — is a portal, a subtle passageway which is responsible for our feeling life. It is through this opening that we experience courage, inspiration, love, and the creative act itself. Human beings consciously encounter life in the vertical position. We stand upright and the front of our body directly greets the world. Our relationship to form and phenomena does not arise only from the sensory organs. We are not just eyes and nose and mouth. We are an exotic life form, mobile on this earth, facing each other and the world through the front of the body and the delicate opening which dwells there. Our feelings are frontal experiences. This becomes clearer and clearer as we turn our attention gently toward the body and allow ourselves to breathe and to feel in an easy way. Turning the attention to the body is the beginning of the process of compassionate self-care. We allow whatever feeling experience we are having there to become part of the rhythms of the body. We don’t make demands on our feelings. We simply give them the space they need. We attend, allow, and respect. This is self-care. Feelings are energies which are given to the body and then consciously experienced. They are not ours any more than the air we breathe is ours. We cannot control them. We can only say yes and let the mind’s grip on them disappear. Feelings are part of the rhythmic flow, the stream of life. Compassionate self-care is a way of participating in that flow respectfully and openly. Thoughts about feelings are a conditioned response to something we do not understand. The actuality of the feeling cannot be defined. It can only be received and allowed. We breathe, we feel, and we allow. How much time is spent each day arguing with this organic process? How much time is spent trying to force back and push away something that we think is not right about ourselves? How much time is lost disrespecting the sacred presence which inhabits and radiates from the physical form because we misunderstand the beautiful mystery of our existence here? If, for instance, we have become caught in fear, we might, instead of battling the thoughts and trying to be brave in some manipulative way, turn our attention toward the physical side of that fear and stay steady with it — breathing and allowing. If we feel clear and open, we do exactly the same — giving permission to whatever way the energetic current seems to be expressing itself in the body. We gently disengage from the mind’s demands, labels, and illusory assertions about what it all means. The feeling life is not a conceptual experience. Feelings are not ideas, but subtle physical experiences. They take place in the body.

[The Prayer Of The Body II Compassionate Self-Care BY STEPHEN R. SCHWARTZ OCTOBER 1992]

#quotes #healing #Stephen R. Schwartz #The Prayer of the Body II #October 1992 #The Sun Magazine #Body Alive #compassionate self care

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dappercritter · 4 years ago

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Once More Unto the Bre-er, Black, I Guess:

Quick Thoughts on that Pacific Rim Anime

Having given into my curiosity, I have decided to start watching Pacific Rim: The Black.

While, I am still skeptical of the significantly darker tone and how much farther they’ll take it before it becomes unwatchable, I am pleasantly surprised that that’s not all there is to it. The series is going to some bleak places, make no mistake, and this will no doubt turn off those who want lighter and more uplifting fare from their Pacific Rim content. But I was pleasantly surprised to see that the series has a good dose of heart and wit—with colour to boot! So far the series feels like an enjoyable blend of the pathos and heart of the first movie, with the escalated stakes and saturated colour and sense of humour of the sequel.

In a way it feels like a welcome change of pace and a course correction of sorts: It learns from the mistakes of Uprising while building on the foundation the original set in place.

The characters and story already have me engaged. Right from the get-go, you get a sense of how dire this fight is, being plunged right into the action at its most intense. You feel the stakes even before anything that serious has happened yet. The Travis family already shows a healthy balance of resolve, charm, and angst that even at it’s earliest, you can’t help but care for these folks. Hayley already strikes me as my favourite for her spunk and her soft-heartedness. Taylor is a bit rougher around the edges and can feel bit like a jerk at times, but he’s got just as much of a heart, and you quickly learn why it’s hardened. Loa is already stealing the show, as you can imagine a snarky mecha AI would. The first training scene gets special mention just for how hilariously inspired it feels.

When the tragedy does strike—and believe me, friends, it strikes fast here—you will be caught off-guard. I won’t ruin the surprise because I don’t want to overhype it or spoil it for anyone who wants to watch it too, but in short, you are lulled in a sense of secure tranquility. You get the feeling that things aren’t so bad where the story starts off. You get to know the other characters just a little bit, but you get a real sense of connection between everyone. Then just as when things seem to be getting fun, things take a drastically dark turn. There is a shocking loss, that while sterile in some ways, makes it clear right off the bat, that no one is safe in this world and it sticks.

Ordinarily, I’m not one for tragedies, but after Polygon’s last giant monster-based sci-fi tragedy, the infamous Godzilla Earth anime trilogy, it feels like a drastic even welcome improvement. In Gen Urobochi’s controversial high sci-fi take on the King of the Monsters, you got a barebones story where everything was either inferred, vague, or explained in an almost unbearable level of technical detail. You never got to see things at their best, or got an idea of what there was to care about or fight for. There was virtually no sense of connection between anyone, or a feeling that this universe was lived in. The characters had no real personality, defined almost entirely by their archetypes and positions, and some looked almost indistinguishable from one another. Here, the writing, art direction, and character design, all come together to create an undeniable sense of life. That’s right: not only is this an improvement over a Pacific Rim movie, but it’s an improvement over three whole Godzilla movies from the same studio. (Although having a Western writing team who is more accustomed to character tics and interactions probably helped in that regard.)

That said, the art and animation do leave some things to be desired. Again, while Polygon is clearly improving in some areas, this is pretty standard fare for them. While the character designs are nicely made and the cinematography easy on the eyes, with some shots looking beautifully rendered that I mistook a CG character for a 2D one at least twice, there are still some framerate and composition problems that stick out like sore monster thumbs. While only momentary, I did notice that sometimes the framerates for character movement would jump from smooth for a shot or two and then return back to Polygon’s normal stiff one immediately after, and while the backgrounds are beautiful sometimes it easier to tell there are CG characters walking on 2D pictures than others. Especially when it looks like the they are literally walking on a flat service at an angle.

Moreover, while the kaiju and jaeger design continue to impress in Pacific Rim fashion, they do feel like they suffer from similar problems as Uprising had. The jaegers you see in the opening and the main jaeger, Atlas Destroyer included, continue the trend of smoother and more vibrantly coloured mechas in the vein of Striker Eureka and G Danger/Avenger than the more characterized, robotic designs of the original, and if not for Atlas’s striking colour scheme and unique status as an unarmed training jaeger, probably would not stand out from any of the others. The kaiju are all looking good—and come from rifts that open on the mainland rather than the ocean this time—with distinctive new outlines and even new species for some added peril, but they do lack the monstrous alien aesthetic of the original movie’s monsters in some places, but not enough so to bother you. Although you will be wondering when the Precursors (or whoever made them, because Boy, does this show raise some questions fast) thought straight-up giant shrink-wrapped Dobermans were they way to go when it came to picking off humans, or when they decided to experiment with their colour palette. Most jarringly though, while the show does it’s best to regain that sense of weight and scale Jaegers had in the original film, they still feel lighter and faster like in Uprising, but with Polygon’s suddenly fluid framerate and stiffer range of motion, it might just stick out more here.

The music is alright. I’m not a fan of the subdued opening title music. I get it supposed to set the mood for the dire and dramatic tone and while it does, it also feels strangely too serious for a show from a franchise with as much punch as Pacific Rim. The main titles themselves are alright too, but they’re nothing too special. There’s some cool imagery and the stills of kaiju fighting jaegers remind me of the opening and end credits of the first movie, but some of looks less rendered than other parts and a lot of it feels just bland. (In short, my thoughts have improved since I first saw it, but not by much.) The series soundtrack itself is fine—it has a somewhat similar feel to the films’ scores but it’s also has some stock cues sprinkled throughout. So not much to talk about at the moment. The end theme is pretty good, since it reminds me the most of the original movie’s main theme. Hopefully we’ll get more of that.

I think my biggest gripe is one that simply cannot be overcome. The name: Why is it just “The Black”? Race-related jokes and unfortunate implications aside, it is just dumb. Bland. Uninspired. It reeks of trying too hard to seem nuanced and dark, but it just makes sound like it will be generic grimdark pretentiousness. Which is especially damaging when that is clearly not the case here. Even in the story, it makes no sense. From what I can tell about the plot and world so far, there was literally nothing stopping them from calling it “The Blackout”, which would have just been so much more appropriate. And don’t tell me “Pacific Rim: The Blackout,” wouldn’t sound even cooler.

(Or perhaps “The Mucky-Muck,” but maybe that’s just my Tenacious D fan-brain speaking.)

TLDR; the show definitely has it’s flaws and I’m concerned how far they’ll take the darkness with the series, but it’s pleasantly surprised me in a lot of ways. I look forward to seeing where it goes.

#pacific rim #pacific rim anime #pacific rim the black #pacific rim loa #hayley travis #taylor travis #atlas destroyer #kaiju #jaeger #mecha #monsters #anime #netflix #ramblings of the critter

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aion-rsa · 3 years ago

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Evil Season 2 Episode 3 Review: F Is for Fire

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This Evil review contains spoilers.

Evil Season 2 Episode 3

Evil season 2, episode 3, “F Is for Fire,” begins at its hottest point. Dr Kristen Bouchard (Katja Herbers) is having trouble sleeping, but she’s not being kept awake by some demonic force. Her husband has been off on some mountain climbing expedition, and the last time she tapped an axe, it was into the skull of a serial killer. Even forensic psychologists have needs, and when they do, sometimes the only cure is a nocturnal mission.

Technically, the monster-of-the-week would register higher on the Fahrenheit gauge. It’s an Islamic spirit tied to the element of fire, with flames where his hair should be. But Kristen’s devil-in-Miss Jones routine is a slower burn which the series, and Herbers pulls off extremely well. They set mood music, tilt cameras, drench scenes in torrid gelled lighting, and raid the closet for a change of wardrobe. Dr. Brouchard is completely transformed, but it is too strictly engineered of a transformation. It feels textbook, and Evil is about breaking procedure.

Last week’s episode, “A Is for Angel,” ended after David Acosta (Mike Colter) heard an all-too enthusiastic confession from Leland Townshend (Michael Emerson), who had shooed Sister Andrea (Andrea Martin) out of the room only moments before. The nun knew something was up, and David knew she was in the know. The last words of the episode, “alright, I’ll help you,” were positively uplifting. Sister Andrea’s help, apparently, only goes so far, and Martin perfectly captures her expanding her limitations.

First, Sister Andrea wants nothing to do with David’s sigil map, because he’s not supposed to be in possession of it. He was told to look into it, but not have a physical, visual aid for reference. The nun will not break the rules of the church, even if they are not official commandments. However, when David begins to explain the background, and how it all leads to something more sinister at RSM Fertility, we can see her interest grow. By the time she’s separating alphabets from language to language, letter by letter, Sister Andrea projects her entire process. Even better than this, she leaves the audience with a thousand questions about her past. Why is she such an expert on so many things? She is like Deep Throat, the Well-Manicured Man and X on The X-Files combined, but with far better grounding in reality.

Once Sister Andrea gets to the clue of the coded message, she quickly deciphers the letters of a name, and surprisingly, the family has been wondering why it took so long for the church to get there. David’s backlog of cases is a subtle running joke, but it’s become contagious. But so does the demon at the center of the episode’s mystery. The thing haunting the little girl is called an Ifrit, in Islamic mythology, it is neither good nor evil, just very moody, and often burns very hot.

The subject of the investigation is a girl named Mathilda Maubrey, played by Matilda Lawler, who also played Brenda, the little girl in the mask who took Kristen’s children grave-digging in season 1. Mathilda is the foster child Brian and Jane Castle are thinking of adopting, but mysterious fires keep starting whenever the kid is left alone. The biological mother was arrested for arson. Kristen thinks the daughter might be replicating her mom’s behavior. Ben Shakir (Aasif Mandvi) is open to the idea the mother might have been put away for crimes Mathilda committed. Or the answer might be found behind door number 3.

Mathilda is very bright, and Lawler plays her intelligently but with a desperate edge. She sweetly tells Kristen she doesn’t need to give examples of the things she’s being questioned about. But she’s really saying she’s at the end of her patience and doesn’t like to be patronized. She is not an angry child. She says she only gets mad after talking to her mom because she misses her. Her parents probably should have led with the nanny-cam tape, though. It is the reason they called in the church, they say. Why make the team linger over this without that information? Kristen throws out a perfectly good tea set. It comes back, but still.

Even though we believe Mathilda, what is she doing with chlorine tablets and brake fluid? Her father has a point. Besides the invading entity, the family also has to endure religious intolerance from the clergy itself. The spiritual workers from the two faiths don’t wrestle the spirit as a tag-team, the priest and the sheikh face off against each other in a pious preliminary.

Poor Ben is forced into defending a mythology he doesn’t buy into because of some form of nationalistic pride. Watching how the priest treats the sheikh before the exorcism rites begin, the audience tends to side with Muslim-raised skeptic. Not only does Ben have to contend with the holier rollers doing wheelies on his family’s faith, Kristen pushes his agnostic buttons with all the guilt of a lapsed Catholic. It’s a good thing he’s got a dream demoness waiting up for him at home.

“Why do you have a retainer,” Ben asks his nighttime friend, and the entire atmosphere gets uneasily creepy. What exactly is he being tempted by and, could the demoness have stolen Lexis’ dental-wear? Kristen’s daughter has been sporting a devilish smile since chomping off the finger of an orthodontic nurse. As it is a night terror scene, it could be foreshadowing of something exceptionally dark and frightening in a very skewered way. The detail could also be some Freudian holdover because Ben had just been chastised by his own sister on his faith. But it could all be leading up to his interpretation of god’s latest punchline, straddling the team “in the middle of Queens watching a sheik and a priest exorcize a 9-year-old girl.”

Kristen’s mother Sheryl (Christine Lahti) turns out to be even more manipulative than any of us, audience or characters, may have given her credit for. I can understand what Leland sees in her. She makes up a fake name, and books herself some sessions with Kristen’s therapist Dr. Boggs (Kurt Fuller). This may sound like it’s underhanded enough, but when she’s caught, she goes all in, dropping to her knees and begging forgiveness from the doctor. It’s scary, but mainly because it works.

“F is For Fire” continues to fan the embers of ambiguity. Everything about Mathilde’s fire-starting abilities seem to have as much of a rational explanation as a spiritual one. Kristen does go burning her candles at both ends as a direct result, but with mitigating factors. But the episode also benefits from the grey areas between the Islamic and Christian beliefs, and the inherent pecking order of spirituality. Evil doesn’t offer easy outs, they prefer intellectual subversions, like ending an episode on a little girl starting fires with a glance.

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Evil airs Sundays on Paramount+.

The post Evil Season 2 Episode 3 Review: F Is for Fire appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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imma-lil-teapot · 5 years ago

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TMNT 2003/2k3 Headcanon: Crying - (Leonardo)

Feel free to scroll past this first part if you’re not interested in my silly rambling and nonsense. I won’t mind. Promise. ;)

Okey-dokey then, with the global epidemic that is the Coronavirus well in action and most of the world stuck in lockdown (starting this Friday for us too), felt like getting the ‘ol creative juices flowing with a little headcanon-y thingy in preparation for -possibly- more fandom writings to keep myself busy during the house arrest (well... it kinda is!) and hopefully my mind off all the bad news. :(

Also, this is totally my first one on the blog! WOOT! Please bear in mind that I’m SUPER rusty! Haven’t written in ages so there are bound to be typos and all matter of general errors scattered throughout the post. Don’t pet them! They bite!

Anyhoo~ Despite attempting to create and share with the goal in mind to uplift spirits, I decided to start on a rather upsetting subject (PLEASE DON’T LEAVE! They end on happy notes ;) ) because, Imma just come and say it, I enjoy seeing my favourite characters shed tears (not for just any old reason -their personality plays a huge role in this- and CERTAINLY not for sadistic reasons, land sakes no! But... well, you’ll see~ ;) ) It makes me all gooey and fuzzy inside to see them display such raw emotion and I just wanna leap into the TV screen to hug and console them. I dunno why. Maybe I’m nuts like that. (Remembers Raph crying at the farm when Leo was badly injured and wishes she could just hug them all and take away the pain) Oh well, if you enjoy visualizing the same, then *High Fives*. :)

So yeah, if you read the title, you’ll know this is based on the 2003/2k3 series (my favs). Hope you all enjoy~ :D Grab tissues cause sad turts ahead! :’(

Jibber jabber stops here~

TURTLES~

LEONARDO - You are here

RAPHAEL

DONATELLO - Coming soon

MICHELANGELO - Coming soon

WARNING(S): Because of the subject, Angst and Hurt/Comfort will be present.

RATING: G (General)

WORD COUNT: Don’t have the foggiest.

ANYTHING ELSE TO ADD:

And apparently gifs too, so without further ado: (Completely unintentional but in actuality, totally intentional rhyming)...

TO THE HEADCANONS~~~~

~LEONARDO~

-- It’s no easy feat to make the leader in blue turn on the waterworks. Leo won’t cry for any old reason. It’s not because he has no emotions, far from it, but being the leader of a small ninja clan -who happen to be family as well- is no easy task in itself: he has a lot on his young shoulders and deals with many issues on a daily basis few his age ever have to.

-- It’s because of these reasons that Leo doesn’t cry often. One of the lesser likely to out of the four brothers. But when he does, it’s an emotionally distressing sight to behold.

-- Leo tends to cry whenever those closest to him -namely his brothers, his father/master and truest friends- are severely injured or are in a dire situation. Remember his angry/moody arc? The thought of losing any of them causes him great pain and distress, especially if he were the cause of any of it, and when that happens, he can’t stop the dampness that forms around his eyes and soaks into his mask.

-- He’s not fond of crying, especially in front of others, even though he fully comprehends its normalcy. He feels he needs to be everyone’s rock, their fortress of physical and emotional stability to turn to for strength when things get rough... So when the tears start to fall, he feels he can’t show them, can’t allow them to watch him crumble under the gripling weight of helplessness and anguish.

-- He frantically wipes at his eyes and desperately attempts not to sniffle, but it’s a hopeless battle, for his tears are already a steady stream.

-- He’ll try to hide when possible, usually retreating to his room to allow the worst of the emotions to spill over before returning to the others... Though he may be in there a while: when Leo lets his emotions go, it can be just as powerful as his red-banded brother’s rage.

-- He spares no time in making sure the coast is clear for the tears are already streaming by the time he reaches his futon, and there’s no stopping them now as he lets himself drop to his knees, only halfway onto the mattress. He purposefully leaves the room unlit, cloaking his form in the darkness.

-- He sniffs a few times as he shuffles up against the wall, sitting upright against it, bringing his legs up and hugging them loosely and droops his head against a single knee pad.

-- His voice desperately wishes to escape. To express its misery. But he won’t allow it to, often placing one hand over his face in a bid to quell the sadness and remain silent in the battle against his own inner turmoil. He refuses to let anyone see him in that state of utter sorrow and vulnerability.

-- He whimpers ever so slightly and coughs a few times as breathing becomes difficult. He knows this episode won’t be over any time soon. Fortunately, he keeps some tissues next to his bed for such rare occasions and tries not to blow too loudly. He thinks back to the last time he cried so hard... It’s been a while. It felt like a build up.

-- Time has been forgotten as he’s lost in deep thought. By the time he slips a hand across his eyes, only the material of his mask is still slightly damp. He clears his nostrils a couple of times before considering whether he was ready to return to his family. He’d of course straighten up his bedding beforehand, and would also require a trip to the bathroom to wash his face. A true ninja leaves no evidence.

-- Leo tries to put the horrifying images out of head before leaving his quarters. He doesn’t wish to be weighed down again and thus maybe cause his emotions to come out a second time. He knew someone would catch on that time. Instead, he holds his head up high, focusing on the there and now to carry him forward.

BONUS EXTRA~

-- Failure is also one of his greatest foes. Leo despises it, but not in the irrational sense; he fully comprehends that in order to grow, one has to lose in order to learn and thus, succeed in turn, and while it can frustrate him when he’s unsuccessful at mastering a martial arts technique for example, he understanders it’s part of the process and that no one’s perfect.

-- It’s when his slipups could spell casualties or death to his family and/or friends is when it weighs down on him like a boulder strapped to his shell.

-- A really big one.

-- And it hurts. So much so that it causes him to become despondent and often teary-eyed when no one’s looking.

-- Boi Bloo might also cry from especially sad movie scenes. He gets seriously into the story, and when the scene is just right -perfect music, perfect timing etc.- you may just catch Fearless with watery eyes.

-- He can’t help it. After all, he’s a leader, and very caring and kind-hearted individual, so movies showing children or anyone/anything defenceless getting hurt has him not only visibly upset, but also angry at the cause. He’s a softie like that.

-- He won’t have a meltdown, of course, but the tears are definitely there. Just don’t tease him too much; he’s easily embarrassed by it. ;)

BONUS EXTRA EXTRA FEMALE READER OR S/O EDITION~ (Can also use an OC/FC insert if you wish, up to you)

You had figured something was up by the time you’d finished greeting everyone in the Splinterson household except for the Turtle you’d long to see most and he hadn’t made his presence yet known.

The idea that he must’ve been practicing or meditating swiftly vanished when Mikey told you he’d been in his room in the dark for the past few hours. “The guy hardly ever naps, and even so, never this long.” He’d told you. “I dunno, (Y/N), we were about to check on ‘im when you arrived, but maybe you should be the one to. Think he’d really appreciate it.” And there was absolutely no argument from your side as you were already making your way up to the room.

You didn’t know what to expect as you neared the doorway. Could he possibly still just be sleeping? Meditating in the dark instead of his usual spot by the training area? Or... was he sick? The latter now had you concerned and you picked up your pace... Only to pause mid step when an unmistakable sound reached your ears: a sniffle.

Had it come from within his room? It was the only logical explanation as everyone else was downstairs. You were truly perturbed now as you stood outside the doorway and called out the ‘eldest’ Turtle’s name.

There was some shuffling to be heard but you were unable to tell for sure what he was doing -probably trying to neaten up his bed- “(Y/N)? Just a second, okay?” he responded in a rather awkward verging on frantic tone, and you were certain you heard another sniffle escape him.

That, along with the way he’d replied really didn’t help to put your mind at ease. “Leo, are you alright?” Nor was the pitch blackness in which he remained concealed in.

“Yeah, just... l-looking for something.” There was some more shuffling as if to prove his point, but you were having none of it.

“Then maybe this,” you began, turning around to flick the light switch, “will help?”

“No! Wait!” But it was a split second too late for as soon the brightness illuminated the entire room, you had caught the telltale signs of an emotional meltdown in progress plastered on his face before he quickly turned away and briskly wiped an arm across his face, attempting to hide the shame... or perhaps embarrassment?

“Leo...?” your heart and voice softened, “Hey, what’s wrong?” You automatically walked to him, closing the gap he was now trying to form.

“Nothing,” he lied, and acknowledged it was a fruitless attempt but still couldn’t stop himself. Autopilot panic mode was enabled now. “It’s nothing.”

Unfortunately for him, autopilot mother hen mode was activated for you as you reached with both hands to his carapace and shoulder, gently turning him to face you. “I can see that it’s something.” Your words were gentle, and you wanted nothing more than to take away his pain. “Look at me, Honey.” His body was turned but his head remained to the side. It was clear he didn’t want his obvious distress on display, even to you. “Please, Leo?” You tried again, and slowly but surely, his eyes met yours, and you felt your heart sink further.

The fabric of his mask was wet and eyes were still red with fresh tears that threatened to fall. He appeared so broken and helpless as he stared at you, and even though he uttered no words, you could practically hear him despairingly ask “Is this what you wanted? To see me at my lowest?” from his expression alone.

Never had you witnessed the leader of this band of mutant brothers cry. At times you had wondered if he ever did, and yet here he was; the incredible pillar of strength and dignity you had come to know and adore, in tears and so dejected that you couldn’t stop your own eyes from becoming damp the more you gazed at him. “Oh, Sweety...” You whispered as you felt your soul shatter. It was too much to bear. You slowly wrapped your arms around him, one around the midsection and the other over his shoulder, and buried your face into his leathery neck, offering every ounce of comfort you could muster.

It didn’t take him long at all to sink into the embrace and return the action. Beyond the point of concerning himself with showing the pain he felt -or the wetness now soaking into your shoulder when he placed his forehead against it- he sniffed and finally allowed the tears to fall once again as fresh waves of emotion surged throughout his body.

And this time, he couldn’t keep the whimpering to himself.

“Shh~ It’s okay, it’s okay,” you soothed, lightly patting and rubbing along the scutes of his shell as he weakly sobbed, finally letting go of all the sadness that gripped him.

You weren’t even aware of what was wrong, and you most likely wouldn’t find out til later once he calmed down, but right now, he just needed you to hold him. Hold him until the hurt was gone... And so you would.

AND THAT’S ALL SHE WROTE!

ALL THE FEELS!! I EMBARRASS!!

OMGosh, this turned into a monster! The mother of all HCs!! :O No seriously, this wasn’t meant to be this long! I was suppose to squish all four into one itty bitty little post, but then it just grew... and grew... and GREW! Personally, I blame the Reader Bonus but I’d be damned if I didn’t enjoy writing it! ;P You guys here on Tumblr got me slightly addicted to them and have wanted to attempt some myself so... Anyhoo~ I can’t really say if I’m entirely content with the whole thing, I dunno. I feel some parts are better than others (writing style-wise) but yeah, I really need to get back into the swing of things...

Speaking of which, I DO plan on adding my two cents on the other bois as well, but judging by how this one turned out, they’ll most likely all be this length, more or less, so each Turt will get his own post so I can really jot down those details with all the freedom in the world! That being said, I can’t say when they’ll be added but hopefully soon-ish. :) Raph's next on the list!

Thank you all so much for the read and hope you enjoyed~ :D

~Drag0n Mistr3ss’ Random Fandoms*

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ladyfawkes · 4 years ago

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Happy Plus Est En Vous Day!!! One year ago today, I was feeling kind of awkward being the only 40-something person I knew of in the entire RTA fandom. One year ago, I listened to Tangled Talk for the first time and elbowed my way past my social anxiety enough to contact @tangledbea. I sincerely asked her if it was still okay to be a fan of this Disney Channel show and not be considered somehow bizarre or dysfunctional. Imagine my relief and delight when I learned that this talented and humorous woman was herself nearly 40-something!! Suddenly, I didn't feel quite so out of place anymore. Had Bex not reached out almost immediately, I'm pretty certain I would've left fandom. It would've been easy for her to blow off my concerns, but she didn't. Not even I knew it back then, in time that little chat with Bex came to mean almost everything. If I had left fandom before I got a chance to chat with Bex, that also means I would've wound up leaving fandom before I met all of my most awesome fandom friends, too. And I'm sooooo glad I didn't leave!!! This just sounds so.....heavy and dirgy....and I want this post to be uplifting. Yet I can't convey its true depth of meaning without just coming out and saying it. Approximately 3 years ago, I began experiencing so much chronic neck/back pain and weakness that it became almost crippling. I'd developed something called pseudotumor cerebri or intracranial hypertension. When I had hit my lowest point, around 18 months ago, RTA came along right when I needed it. One year ago, little did I know just how heavily I would come to rely on Tangled to pull me through the worst of the pandemic quarantine blues. I've been experiencing even more life-altering scary health things I've never experienced before (including 2 bouts of COVID + pneumonia) which I am positive would've completely overwhelmed me far more than they already did, had Tangled not come along 6 months earlier and buoyed my spirits just in the nick of time. These health issues have left me massively anxious and quite (I feel) insufferable in some ways when it comes to my perceptions and presence. Yet I'm currently doing all I can to mitigate and maintain....so anything else cannot be helped, no matter how much I wish it could. Quarantine prevents me from getting the physical therapy I so desperately need. I'm trying to maintain but still backsliding and I can barely stand myself most of the time, so it's extraordinarily difficult to not obsess over how much of a burden I've been upon others. Fellow Spoonies know how this can be..... As such, this fandom and writing its fanfic it has inspired me to keep writing and as such have kept me from feeling suicidal like 95% of the time. Considering how low I've been physically and mentally for the past 2-3 years, that is truly SAYING something. Before I found Tangled, it's not hyperbole to state that things had gotten so bad for me, the 95%/5% ratio had been flipped upside down. My love for writing fanfiction in this fandom has not waned. My enthusiasm for this series has not wavered even one iota during the past year. I had hoped it wouldn't.....and here I am now, still going strong. I hope to have a new chapter or two out by tonight or tomorrow. Possibly one each for Eugene's Amnesty and one new one for Tangled Just Before Ever After. As long as this story keeps inspiring me, I'll do my best to give back. That is how I honor this story.....by attempting to do it justice by continuing it. =] Happy 1st, Plus Est En Vous!! <3 <3 <3 ~LadyFawkes/EuGenie

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gascon-en-exil · 5 years ago

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Maybe I'm overthinking things but... What the fuck did "humanity" even mean in 3H (Like saying CF is apparently about reclaiming your humanity, Hubert says he'll kill Byleth if he thinks they're losing their humanity)? I thought it'd mean being a good, kind person but "humanity" just means you never touched part of a dragon and have... a beating heart? Man, I got some bad news for all those stories of robots trying to learn what it means to be human.

They’re referring to humanity in the very literal sense, and trying to remove the power that dragons supposedly exert over the humans of Fòdlan. All things dragon must die, although using their blood and body parts to make yourself stronger is totally fine - just look at Edelgard and her two Crests and special-ordered Relic.

As a thought experiment let’s try calling the Nabateans something other than dragons for a moment. Going with another stock fantasy race, they correlate pretty easily to elves, what with their pointed ears, extremely long lives, magical advancements, deep spiritual (and physical) connection to the local deity, and ability and sometimes eagerness to have sex with humans. That they also have giant reptilian forms has no direct bearing on any of that or on the kind of soft power that Rhea is actually shown to possess, and rephrasing Edelgard’s war as a crusade to wipe out all the elves suddenly makes it sound a lot dicier and more like the genocide that it actually is. It’s very telling that Rhea turning into the Immaculate One is the act the prompts Edelgard to declare that she’s a monster who needs to die. That works fine enough on the meta level that RPG players are used to killing dragons for, ahem, phat lootz*, but the minute you start thinking of the Nabateans as a group of sapient beings going to great lengths to share Fòdlan peacefully with humans the message of CF stops being uplifting and starts being one of violent, self-centered indulgence. That’s fantastic for a villain route, but you do have to be willing to acknowledge it as such.

*It should be mentioned that one of the MMOs that turned this way of thinking into a meme, World of Warcraft, also happens to have sapient dragons who can take humanoid forms and basically do everything that FE dragons can do. Yet so many of them die as raid bosses, farmed eternally for those sweet loot drops, mostly by players who by their own admission ignore the lore entirely (which does in almost all cases do its best to justify why these dragons have to die: because they were already omnicidal, working with organizations that are, were corrupted by Lovecraftian-esque horrors, etc.) and just see a series of monsters to kill. It’s an easy mentality to fall into.

#Fire Emblem #FE16 #Fire Emblem Three Houses #Crimson Flower

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quillyfied · 5 years ago

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Mega Good Omens Fic Rec Post 1

OH BOY Y’ALL IT’S HERE

This is the first string of fics I would wholeheartedly recommend from my bookmarks (probably first of three, we’ll see). There are 65 fics sorted into 9 categories: Jaunts Through History/Canon; South Downs; Post-Apocalypse; Bus Ride/Night Before/Heaven and Hell; AU/UA (UA is Universe Alternate, where everything is the same, just...a bit to the left. I feel like that term has more nuance, idk); Soft; Touch-Starved/Body Worship/Wings; Bonus; H/C /Whump/BAMF. These will be the same categories for every fic rec post in this vein. I try to include warnings for sex and gore, if applicable, but please check the tags of each fic before you read, just in case.

Mega GOmens Fic Rec Post MASTER

PLEASE LET ME KNOW IF I BROKE A LINK OR MISATTRIBUTED SOMETHING.

I don’t read explicit works and I’m not a big fan of Human!AUs so there’s not any of those, but there’s a bit of just about everything else. Please enjoy! Hope the ReadMore works, sorry for folks on mobile if it doesn’t!

JAUNTS THROUGH HISTORY/CANON

1. Bright With His Splendour – Daegaer (T, specifically book-verse. This is an exquisite look at the developments in Crowley himself, especially as it relates to his war-related traumas in the War in Heaven and later WWI. The Arrangement is Aziraphale’s idea here, which is awesome. Highly emotional and visceral.)

2. Whatever Road We Choose – @ri-writing (T, the one where Aziraphale gets jumped by some demons and Crowley nurses him back to health, and Aziraphale has to confront his worldview when he realizes Heaven never responded to his call for help. Quiet and powerful as Aziraphale starts to realize Crowley isn’t everything he thought he was and maybe Heaven isn’t, either.)

3. Linked – @chekhov (T, the one where Crowley shows up in Bukhara and Aziraphale has to pretend to capture him so his angel intern doesn’t destroy Crowley entirely. Has a lot of fun moments and emotional growth in play. And yearning. Lots and lots of yearning.)

4. The Demon Favourite – @kanna-ophelia (T, the one where Crowley is posing as a nobleman and manages to build himself a little ramshackle family, and Aziraphale takes care of them when Crowley gets himself discorporated. Extremely tender, lots of Crowley cooing over babies.)

5. Akashic Records – @penig (Generally G, one T, the series where Crowley is head-over-heels from the start and broadcasts it loudly, and Aziraphale is in Panic Protective Mode. The series is gorgeous and vibrant, the characterizations are so spot-on and yet fresh, the dialogue is perfect, the character growth is delicious. I can’t gush enough about this one.)

6. But The Old Love Was Not So – BuggreAlleThis (G, the one written in the style of Le Morte d’Arthur about Aziraphale’s final few days in the court of King Arthur. Hilarious with the promise of emotional pain to come in the second half.)

7. flightless bird (dumb, wild, and free) – JennaCupcakes (@veganthranduil) (T, the one where Crowley and Aziraphale make out for half of history while Aziraphale has an ongoing existential crisis about being a broken angel. Poignant, sensual, culminates in a deliciously fraught confrontation where Aziraphale has to finally sort himself out and Crowley says some hard but true things. I once spent three hours trying to find this fic again without remembering the title so now it’s kinda ingrained.)

8. Nanny Knows Best – @patricianandclerk (M, rest of series is T, the one where Crowley endures some truly horrible experiences while serving as Warlock’s nanny. Adorable relationship between Warlock and Crowley, and it’s only getting better. The dynamic with Aziraphale is nuanced and beautiful. Rating for sexual harassment and groping, and it’s a bit of a difficult read at times during those moments, so be careful.)

9. The Holy Essence of Experience – Dragonsquill (T, the one where Aziraphale and Crowley have loved each other almost since the beginning, but have been very careful to not put a name to it. The yearning is real and so gorgeous. The scene just before they come up with their plan to avert Armageddon haunts me.)

10. The Arrangement – @writeonclara (T, the one where Aziraphale and Crowley try to get a handle on this sex thing. Non-explicit, hilarious, and unique! I can only assume the rating will probably be going up, which makes me sad because it’s hard to find nonexplicit fics that still deal with what sex brings to a relationship, but what’s written for now is well worth it.)

11. And After – @randomacts13 (T, the series where Crowley and Aziraphale work through their self-worth and have lots of flashbacks. The first one involves Crowley taking care of a seed that keeps dying and leaving another seed behind, which is not at all feeding into his self-hatred; the second has Crowley and Warlock gluing coins to the sidewalk; the third is about Aziraphale on a one-way flight to Complete Mental Breakdown if he doesn’t get some help for his anxiety and repressed emotions soon.)

12. The road to rapture has a lot of pit stops – emmagrant01 (E but only for the sixth chapter, the one where Aziraphale and Crowley have shared five kisses throughout history and one where they meant it. People like me who don’t like explicit material can skip Chapter 6 (or just read until they smooch) and go straight to the epilogue. The rest of it is amazing; every kiss is believable in context and has such good lead-up. Very romantic, very good.)

13. Round and Round the Garden – SanSanFanFan (G, the one where Brother Francis and Nanny Ashtoreth get up to some hanky-panky beneath a willow tree while Warlock sleeps in his pram. Just sweet and silly fluff.)

14. Flecks of Light and Dark – volunteerfd (T, the one where Aziraphale learns to deal with his emotions. Has a really beautiful recurring thing of Crowley and Aziraphale making up stories of who they’d be if they were human, and Aziraphale doing his best to do good and help even when Heaven ties his hands.)

15. Before the Water Rises – VitreousHumor (T, the one where Crowley and Aziraphale become friends while helping a village make rafts to escape the Flood. Has a lot of really cute moments and some pretty exquisite romantic tension.)

16. Beneath the Stars – @brooklynbabybucky (G, the one where Crowley asks Aziraphale to cut his hair. Just has some really lovely imagery and a sweet bonding moment.)

17. lit in the darkness – @toedenandbackagain (M, the one where Crowley and Aziraphale share a bed sometimes throughout history. Warnings for some sexual content in chapters 7 and 14, but each chapter has its own warnings in the description. Presents some beautiful bonding moments and the absolute finest pining known to man.)

SOUTH DOWNS

18. The Play’s the Thing – volunteerfd (G, the one where Aziraphale is cast in the local production of Hamlet and Crowley is trying his best to be supportive of his truly awful actor husband. Hilarious and light and absolutely a classic.)

19. Parsley, Thyme, Sage, Daffodils – @mostweakhamlets (NR, the one where Aziraphale has a cooking YouTube channel and Crowley is camera-shy. Tackles PTSD in a really thoughtful way and is Peak Soft Cottage Husbands aesthetic, it really packs in the most warm fuzzies in a small package.)

20. to carthage then i came – @lvslie (T, the one where Crowley and Aziraphale move to the South Downs and learn to work through their issues around being together and being their own people after cutting ties with Heaven and Hell. Poetic, poignant, the last chapter is a thing of absolute beauty. Very heavily symbolic, that one.)

21. A Better Place for Us to Be – @befuddledmackem (T, the one where Crowley and Aziraphale tour a particular cottage. Deeply emotional, the Absolute Best Real Estate Pr0n if you also secretly watch HGTV and weep, has completely ruined any future house-buying opportunity I might have because nothing will be this sweet and perfect.)

22. Something We Were Withholding Made Us Weak – trieduntrue (M, the one where Crowley and Aziraphale move to the South Downs and very carefully orbit into something more like a relationship. Exquisite tension, beautifully-done pining and slow-burn, really fun bits of world building. M is for a sex scene at the very end but it’s easy to skip over, it’s small.)

23. reasons wretched and divine – @stammiviktor (T, the one where Crowley storms out after a fight and finds himself in an actual conversation with God. Highly emotional and a great look into Crowley’s head, both in how he feels about God and how he feels about Aziraphale.)

24. The Sprawl of Life – @dietraumerei (T and G, the series where Crowley and Aziraphale settle into village life quite well. Has sex-positive asexual characters, which is fun (brief note about that: it’s not explicit, but the places it happens, there is clear leadup and it can get a bit intense, so take care of yourselves). Has touches of angst that balance beautifully with the fluff, lots of BAMF Aziraphale for the soul.)

25. Seashells and Fingerpainting – Vagabond (@waffleironbiddingwar) (T, and I recommend this one specifically from the series, can be read independently: the one where Gabriel is sent to the South Downs for a time out. This is quite possibly the best Gabriel character study I have ever seen; it’s tender and heartbreaking and somehow you find yourself rooting for Gabriel to figure out why he’s being punished despite yourself. All the warm fuzzies. All of them. Read the whole series, it’s great!)

POST-APOCALYPSE

26. Laugh When It Sinks In – @tenoko1 (G, the one where Crowley helps Aziraphale build a home in the bookshop flat. Another one that feeds right into my interior decorating itch. So sweet and uplifting, will absolutely make you feel proud of Aziraphale.)

27. Chosen and Unchosen – Bookwormgal (T, the one where the kids have to go save Aziraphale and Crowley from Heaven and Hell. Has some EXCELLENT Warlock characterization and some really good tension between him and Adam, and the angst is properly upsetting. A right good adventure romp that’s really starting to ramp up.)

28. Resonance – Macx (T, the one where Crowley and Aziraphale become something Else. Good world building, beautiful romance, and Gabriel getting told off. Love how Crowley and Aziraphale growing into their new roles is handled, and how Adam unexpectedly ties in at the end.)

29. Falling Heavenward – @kanna-ophelia (T, the one where Crowley unexpectedly has to win his angel back because of a really twisty deal with Heaven. This one is a pretty wild ride, but I would say the centerpiece is Fallen Gabriel, who becomes Asmodeus. It becomes a battle for Aziraphale’s heart, though Asmodeus isn’t in it for the feels so much as the revenge, obviously. Really interesting premise and something to read if rooting for Crowley is a way you like to spend your time.)

30. A Leisurely Stroll Down – Saturniidae (@Saturniiddae) (M, the one where Crowley and Aziraphale have to fight for their relationship. Has some sexual content that isn’t explicit, and gore that really sort of is. I have thrown things and cried a little at this one, but that was the price for reading while it was still updating. Absolutely gorgeous in every way. Also has God speaking through a household object and it’s hilarious.)

31. From God’s Perspective – Unfortunately (T, the one where God comes down personally to interfere in Her children’s business. The absolute best portrayal of God in any fic ever, really humanizes her in the best ways. I love how she interacts with her angel and demon children. It’s almost more of a character study of God than anything. And yes, the Sound of Music is sung.)

BUS RIDE/NIGHT BEFORE/HEAVEN AND HELL

32. Worth Knowing – summersage (T, the one where Aziraphale and Crowley discuss the Fall and manage Miltonian angel sex despite it. Has a take on how the Fall works that I was thinking about but couldn’t find words for until this fic, and it’s absolutely fantastic. The Miltonian angel sex is esoteric and weird and not at all erotic, but it is beautiful. The mortifying ordeal of being KNOWN indeed.)

33. Legendary Lovers; Your Hand in Mine – @tenoko1 (G, the one where Crowley and Aziraphale regroup in a hotel instead of his flat and have a bit of a knock-down-drag-out. Crowley is angry and scared and so in love he can’t stand it, and Aziraphale is practically going at light speed in confronting and knocking down his own barriers, and it’s highly emotionally charged and wonderful.)

AU/UA

34. Love of My Life – @ellewrites4 (T, the one where Crowley and Aziraphale get together very early and make it work all throughout history. Gorgeous romance, and the fallout from the Holy Water caper and the bandstand breakup are EXQUISITE. Peak emotional turmoil, sweet boundary negotiation, forgiveness and love and anxiety and fear—just delicious.)

35. True Love and High Adventure – @grifalinas (T, the one that’s a Princess Bride au. Absolutely on-point casting, wonderful writing style, the perfect escape fic for a little while. Incomplete but still worth the read.)

36. Inverse Omens – @amuseoffyre (T, the one where Aziraphale is a demon with a p0_rn shop and Crowley is an angel running a community center from a bombed-out church. Y’all recommended this to me on my demon!Aziraphale rating post, and it’s AMAZING. Perfect characterization and a wonderful retelling. Warning for Chapters 11 and 12, Aziraphale’s Nanny Ashtoreth messes with the Dowling parents in far more direct ways and there’s scenes of Mr. Dowling jerking it, so take care, friendos. Also Aziraphale makes the filthiest double entendres and it’s delightful. Also also Crowley needs all the hugs.)

37. A Blaze of Light – @wingedspirit (T, the one where Crowley is Raphael and he and Aziraphale make a Pact instead of an Arrangement. This one is a wild adventure, friends, and a riveting one. The Pact puts an interesting spin on their developing relationship, and by the time it gets to TV canon, it’s already off the rails in the best ways. Also Crowley has some pretty heavy depression that manifests in his former Archangel-level powers blowing up a bit, which is cool. Should be wrapping up soon and I’m pumped for it!)

38. it’s high time that you love me, cause you do it so well – mygalfriday (T, the one where Crowley can’t physically say the word “love” but can diddly dang well show it if he wants. Already super sweet but the confession scene at the end is just incredible.)

39. Hold the Line – sum_nemo (T, the one that’s a Pacific Rim AU. I adore PacRim, you guys, and this one is just *chef’s kiss*. Puts Crowley as Raleigh (lost his twin sister copilot) and Aziraphale as Mako and includes a pretty painful shared past between them, which is already simmering and delicious. Can’t wait to see where this one goes.)

40. The Truth Remains – @wanderingalicewrites (NR, the one where Crowley was Raphael, had a good relationship with his siblings, was in love with Aziraphale, and knew he was destined to Fall. Aziraphale is still in mourning for Raphael and Crowley is still working out the point of his existence, so there’s some very good pining and existential dread up in the mix. A highly interesting take on the situation and very, very good at punching you in the feels with the flashbacks to Heaven and how different things are now, especially with the other Archangels. LOL it just updated while I was writing this and I am UNDONE, I am in PAIN, the bandstand scene always hurts but NOT LIKE THIS. ALSO MORE ARCHANGEL FEELS, HOW DID THIS HAPPEN)

41. Everything Dark and Unseen – @enjambament (M, the one that’s a Psyche and Eros retelling. After the Fall but before Eden, Heaven and Hell need a truce, so they marry Crowley and Aziraphale to keep the peace in a symbolic sort of binding. A beautiful romance, an excellent action sequence, the cutest OC creatures, the best OC angels, and I wish there was a continuation of how canon progressed with this monumental change in their history bc I am THIRSTY for more. Rated M for a kinda-sorta sexy scene but there’s not really Efforts sooo…it’s more sensual than sexual? I guess? Either way, highly recommended.)

42. The Name of the Star is Wormwood – LusBeatha (T, the one where Crowley was Raphael and the Fruit of Knowledge of Good and Evil was a fly agaric mushroom. It is exactly as eccentric as it sounds, but presented in such a way that it actually makes sense. It jumps around in time, but the storyline taking place in the present is looking like Armageddon 2.0. Beautifully written, great take on canon.)

43. Sticks and Stones – @justkeeptrekkin (T, the one where Crowley takes on the guise of Casanova while trying to get over Aziraphale and Aziraphale shows up, whoops. GORGEOUS imagery, the most scrumptious pining, and if y’all appreciated the 2005 Pride and Prejudice dance scene, the one in here will about blow that one out of the water, if you can believe it. Knocked the breath right out of me.)

44. Yearning to Hold You Close – @guanin (T, the one where Aziraphale has a relationship with King Richard and asks Crowley to help save him, and there is a big sticky mess of feelings when they realize Richard and Crowley look almost exactly alike. In part inspired by David Tennant playing Richard II. A delicious, delicious emotional quandary where Crowley and Richard both wonder if Aziraphale only loves them because they look like each other, and Aziraphale doesn’t know how to say what he feels. Very sweet, very emotionally fraught.)

SOFT

45. Just This Once – @julia-writes-fanfic (T, the one where Crowley and Aziraphale kiss in the 90s and it’s amazing. The drunk 90s kiss is already good, but them revisiting it sober in 2010 makes both even better.)

46. A Sky Full of Stars – @kedreeva (G, the one where Aziraphale takes Crowley someplace where they can see the cosmos. The first GOmens fic I ever bookmarked, so I felt like including it, because it’s unbelievably sweet and has amazing visuals.)

47. The Serpent and the Seagull – @ineffably-good (G and T, the series where Aziraphale misses Crowley so he gets a little pet snake. Frederick the snake is among the best of the GOmens OCs, hilarious and foul-mouthed and once Crowley starts being able to understand him, it only gets better. Frederick likes helping his pets work their problems out so they’ll leave him alone to sleep. It’s extremely cute.)

48. The Discerning Black Swan – @lwtis (T, the one where Crowley is definitely not projecting on a black swan desperately trying to court a white mute swan in St James’ Park. I love how Crowley interfaces with his emotional problems through the swan, and the visual of the two swans is gorgeous.)

49. What A Demon Dreams – @whatawriterwields (G, the one where Crowley has some weird dreams, dude. I love the symbolism and the imagery in this one, it’s really vivid. It’s hard to pull off a concept like this so I respect how the author is able to do it and make it work.)

TOUCH STARVED/WINGS/BODY WORSHIP

50. Sunlight – crorvid (M, the one where Aziraphale is a touch-starved angel. Doesn’t deserve the M rating, in my opinion, but Aziraphale does feel the touching during their makeouts very intensely and it’s incredibly satisfying.)

51. The Curious Attractiveness of Others – @giddygeek (T, the one where Crowley finally gets to groom Aziraphale’s wings and Aziraphale gets to show Crowley how tender that can be. Another one with some great world building tucked into the corners, and emotionally satisfying grooming.)

52. Broken Wings – werebear (@werebeary) (T and M, the series where wing grooming is incredibly intimate and I got the vapors from the tenderness. Also the first time I saw anything about preen glands. The second one is rated M because the preening gets a bit…intense. Not sexual, exactly, but it’s close. Very passionate.)

53. Birthmark – Linebreaker (G, the one where Crowley has a scar on his lower back and a sad story to go with it. This one needs a bit of a harder rating, imo, and there’s one line that’s a bit Much, but otherwise it’s a sad and beautiful look at a potential reason why Crowley hates the fourteenth century so much. Lots of Crowley body worship packed into few words, very satisfying.)

54. They Are A Pale Picture of You – @ineffablefool (T, the one where they go for a walk during winter and things are just Soft. Ineffablefool has a wealth of body-positive asexual GOmens fics, but I think I like this one best, it’s sweet and adorable and some jerk who insults Aziraphale’s weight rightly gets the worst day of his life. Also Crowley compares Aziraphale in his winter wear to a plump little bird and it’s cute imagery.)

BONUS

55. Ineffable Bureaucracy Drabbles – Shift7 (T, the series of short fics where Gabriel and Beelzebub are kinda-sorta falling into friendship and being very judicious about it. Lots of paperwork, very orderly.)

56. Ineffable Bureaucracy – @eshnoazot (T and G, a series of longer fics where Gabriel and Beelzebub are navigating a careful arrangement of their own. Still lots of paperwork, of course, but there’s also emotional friction and conflict resolution. Excellent characterizations. Wednesday night Thai and Friendship night is a+++++. Gabriel deffo called a board meeting to talk about his feelings.)

57. A Bentley Sang in Berkeley Square – CastielHamilton (G, the one where the Bentley is sentient and a good, good girl. She is doing her best and I love her. Basically the series from her point of view.)

58. Fairest and Fallen – VitreousHumor (T, the series where Beelzebub and Gabriel encounter each other a few times and Gabriel tries his best to remember their shared pre-Fall history. Poignant, sad, and beautiful.)

59. Observer Effect – SquarePudding (T, the series where the Grigori in charge of recording Aziraphale’s Earthly movements starts to ship him and Crowley and records their romance. The Grigori, Rezathaniel, is a precious baby who needs to develop a better palate outside of “greasy literal garbage” and has 0 chill when it comes to their ship. They’re kind of like a celebrity blogger at this point but watching their character growth in the first story is very sweet.)

60. Soul of Vellum, Heart of Chrome – @29-pieces (G, the one where the Bentley and the Bookshop are sentient and very protective of their owners. This one is going to KILL ME with the plot I wasn’t expecting—Heaven and Hell are hunting Aziraphale and Crowley down again, so the Bentley and the Bookshop do their best to help. They’re doing so good and I’m so proud of them, it’s not their fault things went a bit south. Precious beans. Good, good things.)

61. Real Fire and Brimstone Stuff – @jessikast (G, the one where college-age Warlock helps accidentally summon his Nanny and a lot of things start to make sense. A very sweet story about Warlock getting closure and getting back in touch with Crowley and Aziraphale through the weirdest means possible.)

H/C /WHUMP/BAMF

62. Broken Hallelujah – @atlantis-is-burning (T, the one where Hastur comes to kill Aziraphale and Crowley and it’s ugly, folks. It is kinda gory and it is injury-ridden and painful, very touch-and-go for a bit. It ends well, though, and Hastur gets his, which is the Best. Tore me up one side and down the other in all the best ways.)

63. Fall Here – @marbledwings (T, the one where Aziraphale and Crowley are easing into a relationship in fits and starts, and then Crowley gets snatched. This one was AGONIZING to wait for it to update, so be glad it’s complete, because it gets pretty dark for a while. Be warned of torture, though it’s mostly implied and it’s the aftermath that’s dealt with most. It absolutely sticks the landing at the end, and has a great characterization of Michael.)

64. how deep the sand – Handful_of_Silence (G, the series where Aziraphale is trapped in a glass bubble in a wizard’s basement for fifty years and the ensuing aftermath. Feels mostly book-verse, but there are some cues from the show. Intense and realistic and emotional and heavy, drags you through the darkness and you appreciate the light all the more for it. A beautiful story.)

65. you taught me how to love, (it’s me who taught you how to stop) – @clankclunk (G, or the one where Aziraphale comes to find out that you can’t just rush into a relationship after six thousand years of repression. This one is absolutely murdering me. The angst is real. The hurt is real. I’m hoping the fluff and comfort promised in the tags is coming soon because WOW. Has a fantastically haunting view of what happens to angels, who are highly emotive beings, when they fall into depression. And Crowley’s adverse reactions to praise and love are so realistic and painful. Ouch.)

#good omens #good omens fic recs #mega gomens fic rec list #guys i'm so tired but it's so worth it #i love all of these #can't wait to rec more later

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