#like maybe have a little trust in the storyteller? maybe take off the 'Your Movie Sucks' glasses? | Explore Tumblr posts and blogs

msclaritea · 2 years ago

Text

"One bit of oft-repeated advice, often attributed to Coco Chanel, could be applied to more than just the fashion realm: “Before you leave the house, look in the mirror and take one thing off.” In other words, you should streamline before walking out the door looking goofy.

Or, if you’re widely popular horror filmmakers Ari Aster and Jordan Peele, before you subject audiences to your latest overindulgent movie, consider getting it together first. Otherwise, you’ll end up with something like the former’s latest, “Beau Is Afraid,” or the latter’s “Us,” gargantuan films with promising concepts that hurtle off the rails on their way to a conclusion.

This has now become a pattern for both otherwise skilled directors, whose impressive first features — 2018’s “Hereditary” and 2017’s “Get Out” — helped revive faith in mainstream horror. For a few solid years leading up to their openings, smaller films and those coming out of international markets had proved to be more consistently effective and resonant contributions to the genre. (Think “Raw,” “A Girl Walks Home Alone at Night” and “Only Lovers Left Alive,” for instance.) Aster’s and Peele’s debuts helped to change that narrative.

But when you put a filmmaker whose work you’ve come to trust, particularly early in their career, on this type of pedestal, it gives them very little space to experiment or fail. Or, when they do mess up, the narrative built for them has become so secured that audiences sometimes don’t even react when it’s just not true anymore.

Like "Beau Is Afraid," Aster's "Midsommar" starts out interesting before it loses the thread.

Are Aster and Peele one-trick ponies? Well, they’ve each directed only three features, so that remains to be seen. But it’s telling that the films made after their stunning debuts have ultimately been disastrous.

Aster’s grandiose sophomore effort, the folklore nightmare “Midsommar,” is confounding, especially coming from a director whose first feature was so humanly devastating and unsettling. Peele’s similarly ambitious second film, “Us,” never stuck the landing, opting for an increasingly frayed trajectory instead. His third film, “Nope,” also abandons sensical storytelling.

These later works feel like directors’ attempts to feed audiences they don’t quite understand, or the output of artists who realize they’ve reached a point where anything they create will be showered with praise. Or — and this is a big one — maybe these filmmakers really are just not as good as we initially thought.

Such theories are, admittedly, quite cynical. With “Hereditary” and “Get Out,” Aster and Peele have shown that they can deliver precise, impressive films. But their more recent efforts bear no semblance of that potential.

So, we should probably talk about “Beau Is Afraid” now. It’s familiar in that it starts out intriguing, great even, before spiraling into something bizarre and pointlessly bloated.

Peele's "Nope" is a film that has a lot of great ideas but is poorly executed.

Joaquin Phoenix plays the title character, a mysteriously aged, nebulously ailed man living in an urban horror show: Corpses of seniors are left rotting in the middle of the street; a knife-wielding, naked man attacks people at random; and vagrants break into and vandalize Beau’s home. (The home, mind you, is a run-down, graffiti-laden establishment that could not have possibly passed any inspection in … ever.)

Aster builds this tension in such a satisfying way that you wish the film just stayed in this place. Who are these people? Where on earth does Beau live? Why does he live here? Who is he? Why is there no law and order? This must be why he’s so afraid — you know, like the title says.

The film is consistent with one (and only one) thing: Beau’s motivation to visit his mother, played by a malicious Patti LuPone. He’s on his way to catch a flight to her, but then the whole burglary thing happens. Oh, and he proceeds to get stabbed in the street, narrowly escaping with a breath in his body when a couple of good Samaritans (the brilliantly disarming Amy Ryan and Nathan Lane) scoop Beau up and bring him back to their sunny suburban home. That’s when some other, less easily identified, tension seethes beneath the surface.

With its $35 million budget, the overindulgent "Beau Is Afraid" is a reminder that female directors rarely get the funding to experiment with mainstream horror early in their careers.A24

This all makes for a deeply fulfilling watch. You vibe with it. You have questions about it, obviously, but you’re still into it because you want to know the answers.

It’s when you eventually stop caring about the answers that you realize the film has lost the plot entirely, yet is still rolling at full speed. This is right around the halfway mark in “Beau Is Afraid.” Beau reaches a point where he absolutely must leave the suburban hellscape, flees into the woods and — wait for it — straight into a forest-dwelling theater group.

From there, the movie spins off its axis. Aster begins to explore the protagonist’s inner turmoil around his strained relationship with his mother and his terminal solitude through the first of many extended cutaways. This one is animated, telling a ridiculously long what-if about Beau finding, then losing, his soul mate and their children.

We jump back to the makeshift “Masterpiece Theatre” in the woods for more sloppy exposition about Beau’s yearning for family, followed by a psychosexual reunion with his mom and the appearance of a giant penis and balls (*insert shrugging emoji here*).

Then, he steps onto a sinking boat — and that, reader, pretty much sums up what “Beau Is Afraid” becomes in its latter half. It’s an extravagant exercise in patience with no payoff. It feels in every way like a director just flailing around onscreen because he knows he can at this point in his career. The film dissolves into something that is neither thrilling nor thoughtful, but just tedious.

Peele's sophomore effort, "Us," retains some of the spark from his debut feature, "Get Out," but becomes a tiresome exercise toward its end.

That’s not because inexplicable fears, mommy issues and loneliness are things audiences can’t appreciate; it’s just that, here, none of those are interesting or coherent enough for us to excitedly talk about the movie later with our friends. That would be a laborious, frustrating endeavor.

It’s a problem reminiscent of Peele’s efforts, particularly “Us.” Like Aster, Peele may have felt some pressure for his second film to match the success of his first, the masterful and exquisitely layered relationship horror “Get Out.”

“Us” starts out phenomenally in its first half. (Overall, the film runs just under two hours). Then, the home invasion-meets-doppelganger horror spirals so far off the deep end — with an arbitrary “Hands Across America” sequence, the bunny rabbits, and an abstruse confrontation between two Lupita Nyong’o characters — that it becomes an exasperating head-scratcher. Like “Beau Is Afraid,” it is another example of excessive storytelling with no foreseeable conclusion.

This is similar to — dare I say — the M. Night Shyamalan effect. Shyamalan, too, is unable to finish a thought in many of his films. It often seems like he can’t figure out a way to end the story, so he comes up with an entirely different idea that has little to do with the bulk of the plot and just says, “The end.”

Aster's "Beau Is Afraid" (pictured) and Peele's "Nope" raise the question: Are these directors one-trick ponies?

With three features apiece, Aster and Peele boast far fewer offerings than their prolific predecessor Shyamalan, but the outlook for them is … not good. And that’s a shame, because for many horror newbies right now, these filmmakers are helping to define the genre.

Since their first movies, nothing they’ve done has reached the same heights. And yet, these three men been given opportunity after opportunity and one generous budget after another — “Beau Is Afraid” cost $35 million to make, while “Us” and Shyamalan’s “Knock at the Cabin” rang up to about $20 million each — to experiment ad nauseam.

Of course, artists should be allowed to try and fail, especially early in their careers, so this would be fine if more female horror filmmakers like Karyn Kusama or Ana Lily Amirpour could have the same lenience or budget. But they don’t.

So, those particularly interested in mainstream horror (or not curious about the higher-caliber international and independent fare) will just have to accept the work of these men dominating the genre right now, as tiresome and hedonistic as it has become."

0 notes

franki-lew-yo · 3 years ago

Text

The Romantic (2009, R, Gothic Fantasy/Horror), aka the most forgotten animated film in the world

What if I told you there was a movie under serious threat of becoming lost media with no clear reason as to WHY it's been lost other than no one has apparently watched it besides me and a few people on Reddit? What if I told you that movie wasn't half bad and would no doubt have some interest peeked if anyone DID know about it?

The name of that movie is The Romantic.

It was released in 2009 and it's Rated R for nudity and sex scenes [insert Robbie Rotten meme here], though none of it too graphic. It was a pet project created by animator Michael P. Heneghan, originally starting as a flash project for his animation class before he expanded it into a feature film. The film was inspired by movies such as The Dark Crystal and Labyrinth, but what I see every time I look at it is a touch of Jhonen Vasquez, Tim Burton, and Roman Dirge- the guy behind Lenore the Cute Little Dead Girl. It's flash animation especially remind me of the puppet-rigged toons of the 2000s (again like Salad Fingers or Lenore). It's not bad, it's just not inherently 'feature film' quality flash, nor is it exceptionally artistic like Sita Sings the Blues in it's simplicity. Like, really, if you happen to find this thing it's not the worst animated project at all it's just amateur for a professional production. I've seen worse flash movies. Heck, if The Romantic were released in separate parts on youtube or Newgrounds as a series (ala Homestuck) I'm sure it would have been really successful and totally in it's element. But it wasn't.

Because next to no one has seen it and I'm lucky to have not only ever seen it when it was available for free but have also found it recently (hush hush, I ain't telling you how) I'm going to actually give you all a plot synopsis under the cut. There will be some details I leave out and I think I've spelled some characters names wrong. It's a bit of a surrealist film as well, so you might need some things explained.

Spoilers ahead:

The Romantic is set in an autumnal, surrealist world inhabited by humans and monsters and ruled by three gods; Po the goddess of love; Pik the god of Hate; and Pjorrc the god of time though Pjorrc was made to live inside a pumpkin moon as everything he touched rabidly aged and died.

((Tapestry art featuring the main three gods of the film.))

A young man (called “Romance” or “The Romantic” by the other characters) performs a bull sacrifice in order to summon Abbledepopa, the unseen creator of the other gods and ‘storyteller’ of the world. The sacrifice does not conjure Abbledepopa but, when Romance spares a monster that was ready to eat him, the monster tells him of a profit named Patience. Patience is a foul-mouthed dwarf living alone with an army of babies who points Romance in the direction of Po.

((Romance outside of Patience's house.))

Romance wants the god’s help because he has fallen out of love with his girlfriend. Po grants him his desire and restores his love only for Romance to return home and find his girlfriend with another man. Blinded by heartache and rage, Romance kills her. He then swears vengeance on the gods for ‘making’ him do it. In the midst of this vow, a corrupt prophet called Fat Daddy kills the queen of Vauxhaul (Romance's home) and her guards, and forges a new body for his newborn son with their bodies. Fat Daddy rallies the townsfolk behind him in supposedly finding the Queen’s murder into follow a new religion called "The Poetic End".

((Romance (right) besides the monster he spared at the beginning of the movie.))

Patience accompanies Romance on his quest and tells him to take Po’s mask, which hides her true face, once he kills her. Romance buys Po’s trust by weaving her a tapestry that tells her story: in the dawn of time Po and Pjorrc were in love. However, Pjorrc gradually became distant and Po became resentful when their daughter, Love, earned Po's original title as the god of romance and love.

In the present day, Romance sleeps with Po for over a year before finally killing her and taking her mask. He and Patience return to his home of Vauxhul only to be chased out by Fat Daddy’s personal army. They flee to Marshallton, the town nearest to the god Pik.

((Romance's hometown of Vauxhul. ))

The king of Marshallton, King Crookie, tells Romance of a prophecy he, Patience, Fat Daddy and all the gods are a part of and that the world is soon to change. Romance then fights and successfully kills Pik when he shows the god of hate his reflection in a mirror King Crookie gave him, but not before losing his hand to Pik.

When Romance comes down the mountain he learns from Patience that nine years have passed since his fight with Pik began. Patience reveals to Romance what Pik saw in the mirror that allowed Romance to take the killing blow; after Love had grown up and married, Po asked Pik to tell her where her husband was always running off to. Pik reluctantly revealed Pjorrc was disguising himself as a human and married a mortal woman. Po found Pjorrc and his pregnant second wife, forcing Pjorrc to leave his human family behind, but not before asking his wife to name their son “Patience”. In retaliation for his treachery, Po proceeded to sleep with fifty men and produce the fifty bastard children in Patience’s house.

((Fat Daddy, the main villain.))

Marshallton and the entire rest of the world has fallen to the rule of Fat Daddy, who captures Romance and Patience. Fat Daddy tortures Patience into telling him how to get to Pjorrc but is unable to convince Romance to take part in his ‘new world’ or give him Po’s mask. Romance and Patience escape and leave the village to be torn apart by the fifty babies Po had, now transformed into veracious monsters after Patience didn’t feed them for the past ten years. Romance confronts Patience when he realizes the latter is Pjorrc’s son. Patience calls Romance out on his mantra of vengeance and points out that all his decisions are his own, not the gods, and instructs him to seek Love herself in Po’s basement. Patience then attempts to confront Pjorrc but is cornered and killed by Fat Daddy before he can do so.

In Po’s basement, Romance finds Love nailed to a wall, her face torn off and half eaten by her deformed husband. Love tells Romance that Po ripped off her daughter’s face in rage over Pjorrc’s infidelity and Pjorrc did not intervene fast enough. Po then threw Love into her basement, turned Love’s husband into a monster, and wore her daughter’s face as a mask - which Romance had broken into pieces moments ago after Patience had shown him his face in King Crookie’s mirror. Romance then finds Pjorrc hanging himself. As he dies, Pjorrc tells Romance to take the hand Fat Daddy had cut off and sew it onto himself, which will in turn help Romance defeat Abbledepopa.

Romance traverses the wasteland and does not find Abbledepopa, but instead a golden loom. Having seen all the destruction he and others had caused, Romance sits upon the loom and accepts his fate as the new ‘storyteller’ of the world, as he begins weaving a new one...

---

I mentioned before the animation quality of the film and why maybe that caused people to overlook it. The only other thing I could complain about on a technical level with The Romantic is it's sound design. Some of the voices and music is a little too quiet and so all these key details I had to go through the film a few times to really piece together. But that leads me to the thing I like about this movie and I'm sure others would to: the lore.

It's very hard to create a new fantasy world w it's own customs, religions, history and rules out of the blue as any YA Harry Potter/Hunger Games ripoff book could tell you. The Romantic is so unique in how it handles the pantheon and culture of these three gods and their kin; really only four or five characters throughout the entire story aren't connected to the gods or prophecy in some way, as there's the main three gods, Abbeldepappa, and the prophets Patience, Love and Fat Daddy, who make up your main cast besides Romance. There's a lot that's intentionally left unexplained and other info that must be explained, like Pjorrc and Po's marriage and Romance's feelings towards the gods, if we want to understand the former. The movie is paced pretty well and knows when to follow up on what, it's just that again some of those animation and editting shortcomings might make it hard to understand...but I don't think THAT hard. Look, if someone can enjoy Starchaser: The Legend of Orin or even better surrealist world-building films ((Fantastic Planet comes to mind)), then I say there's no reason The Romantic wouldn't have a following. There's no other way I can articulate why and what doesn't work about the story except just to recommend you watch it yourselves, but before I get into that I want to talk themes...because I love the themes and tone of The Romantic.

I revisited The Romantic a week before I made myself watch Centaurworld and The Owl House for the first time...and what a week that was~! The Romantic has the vibe of those kinds of shows along with Adventure Time and Infinity Train ((so I hear, I haven't watched the latter)). It's surreal and you'll only marvel at 'woooah wut an acid trip' for so long before you get into the vibe of the universe. It also reminded me substantially of the Broadway musical Hadestown and not just because this movie is also a self-contained, somewhat self aware fable about the relationships between humans and gods - it's very raw in how the characters talk. It's very emotional and blunt in how kind and how cruel they can be, and it doesn't make excuses or really worships any one of them. Romance himself is the world's most likable Incel: he murders a woman he thought he needed to love and blames his emotions on the gods of those passions...except the gods AREN'T the manifestations of love, time, and hate - they simply dictate and oversee it in the lives of men. It's a dynamic I really like in religious works where Gods are powerful but not all knowing or puppet masters to everyone's design- they have morality too and there is only so much you can blame and get from them.

"You made your gods into excuses and your excuses into gods!"

-Patience. This here is a cool quote. I like this quote.

No matter what, The Romantic is not gonna be a film for everyone. We all have our tastes - I think I'm drawn to it and accepting because I've come to love these kind of worlds that used to keep me up at night - these trippy 70s inspired fantasy landscapes given a whole Avatar: The Last Airbender degree of worldbuilding and character worth. It also doesn't feel exploitive in it's violence, it's sexuality, it's grimmness - it doesn't feel like it's trying to hard or going over the top because it happens to be an adult animated film, something that I love in movies like 9 or Hair High but really turns me off in stuff like Sausage Party or Wizards. Whatever go watch The Romantic...

if you can.

-----

When I first saw this film in 2016 it was actually very accessible and was even uploaded to youtube by the creator himself. I don't know WHAT happened to Michael P. Heneghan, but simply put, the man's disappeared...like...REALLY disappeared.

Lookit his IMDB. He has The Romantic and a wapping two other projects to his name. His Twitter isn't very helpful either. He last updated in early 2020 and he says next to nothing about The Romantic. It's so odd that he would one day be happy with the film enough to host it on Vimeo and Youtube but then just cop out.

According to a Reddit user: "On Valentines Day 2011, Heneghan released the film for free online through all kinds of platforms including direct download, bittorrent, Vimeo, and even directly through Archive.org. He even joked about releasing a 300 gig uncompressed version.

I know I watched it on Vimeo probably as recently as 2016. Now I can't find it anywhere. The website is dead, the Vimeo video went private, even the archive.org version has been taken down. It really looks like he wanted to wipe it off the face of the internet. His newer website mentions it, but again, the Vimeo link is dead and even that website is closed for business."

It's weeeird. What happened Michael?

And yes, obviously, other people worked on the movie.

No - I can't find out anything about them either.

I'm betting on three theories at the moment: 1) this film is an SCP or some Candle Cove weirdness with only me and a handful of people ANYWHERE remembering it, 2) something weird is going on w Michael Heneghan and it involves too something about this film. It was a scam or a scheme or a hidden agenda weirdness, 3) Heneghan's doing okay he just doesn't like this film anymore and wants it hidden while he takes a break.

Look, I get it Michael! What was once our life's worth can become cringe as you improve as an artist - you're not the person making the stuff you were ten years ago...but you should still have the film kept alive somehow. Someway.

I'm seriously the only person to have ever made fan art of this movie on the internet. That just doesn't happen, and I don't think I like being in a fandom of one. The Romantic is a testament to the power of design and storytelling > animation quality itself. Too often I see people equate good animation with smooth animation, with a budget with squash and stretch. These animations are good but art is diverse and there's so many kinds of films out there, the value of the medium can't just be in one style/form. There's a lot of honestly wonderful pieces of art out there if you know where to look and you're willing to see where it leads you.

Don't let The Romantic be the most forgotten movie of all time. Reblog this post. Show it to your friends. PM the animation community reviewer people like Saberspark and someone who isn't Saberspark and smuggle them a copy.

Keep telling the story...

#Franki's Features #The Romantic #The Romantic Michael Heneghan #The Romantic 2009 #animation #animation community #underrated animation #lost media #horror animation

114 notes · View notes

the-insomniac-emporium · 4 years ago

Note

Going off the the last headcannons you did for anon I love the idea of Donna have a ghost gf or poltergeist partner, would you ever write more about that😳

I would absolutely write more! In fact, I did. Please enjoy some HCs about how things would start out, under a read-more for length. In the future I will probably do a one shot to add to this.

Donna with Ghost GF/Poltergeist Partner

First, let me throw together a quick concept for the reader’s background: Some years ago you worked for Umbrella, developing a bioweapon because that’s literally all Umbrella does (other than unleashing said bioweapons). As things tend to do… the project catastrophically failed. Or, well, it didn’t end the way Umbrella had intended. There was an explosion during one of the tests, which you were caught in the middle of. Your cells were made “unstable” (don’t look at me for real science, I dropped out of highschool cuz of health issues), and intertwined with the bioweapon.

Ever since then, you have been stuck in a semi-tangible state. Making yourself fully present, and able to interact with others, takes energy and cannot be maintained for more than a few hours at a time. Fully letting go allows you to “recharge”, as well as move through solid objects, distort your appearance (becoming almost invisible), and causing intense discomfort to any normal humans nearby. Umbrella wanted to harness your power for their own gain, since the experiments couldn’t be duplicated, but you said “f*ck you” and left the company, instead going on a search for either a cure or some way to live a good life again.

Eventually, after more than a decade of wandering, you end up in Mother Miranda’s Village. At first you enjoy the quaint little town, and even attempt to pretend to be a normal, albeit reclusive, resident. No one questions you, much to your pleasure. At some point you grow close to a couple of the villagers, finally learning more about the area. You also notice what seem to be Umbrella logos throughout the region.

Intrigued, you start investigating, using your powers to “spy” on the four lords. Castle Dimitrescu is interesting, for sure, but the family can tell that something’s off, even when you’re intangible. They search for you relentlessly, until you decide that this isn’t fun anymore, and move on. The reservoir is pretty, kind of, but Moreau doesn’t interest you very much (you do, however, approve of his taste in movies). Then there’s the factory… full of walking corpses and so much noise. Yeah, you didn’t stay there for very long.

Last but certainly not least, you investigate the waterfall house, where “few dare to tread” and “lost spirits” haunt the grounds. Or so you’ve been told. Oddly enough you find something about the place rather comforting. Deciding that maybe this time is different, you enter your fully tangible form before entering.

What happened next is, er, interesting. As soon as you’re inside the main house things start to go a bit hazy, as Donna activates her hallucinogenic powers. Then the world around you shifts, warping, and you feel like you’re inside what appears to be a school. Admittedly it freaks you out a fair bit. But you try to remain calm, content to “explore”.

Soon enough you run into a group of children (who you’ll later find out are actually just dolls). Despite the horror movie intro vibes, you interact with them just fine, as they’re eager to have an adult to join their games. You’re still confused, but you go along with it out of sheer curiosity.

After several hours of drawing, storytelling, and a brief game of tag, the “children” notice how tired you’re getting. They think you’re just sleepy, though in reality you’re losing your ability to stay tangible. You don’t complain when they lead you to a bedroom and tell you to rest. Before you know it they’ve left the room, locking the door behind them. So you do the sensible thing. AKA take a nap. Your energy replenishes while you “sleep”, which in your case means “going ghost”.

Sometime later you awaken to the sound of someone knocking on your door, and manage to turn tangible just a couple seconds before the door opens. The children are back, this time with food for you to eat, although they’re already talking about what they want to do for the day.

A couple weeks will pass like this, with the dolls secretly evaluating you while Donna watches. Once you seem trustworthy enough for Angie to stop threatening to shank you, the real test starts. You awaken not to the sound of a knock, or someone entering your room, but the sound of distant arguing. Concerned, you’ll leave your room to investigate.

Then you’ll walk in on an interesting scene: Unfamiliar children, ones you’ve never seen before, will be bullying a young girl. They’ll call her all sorts of names, and tug on her hair, repeatedly insulting her, focusing on a scar (one you cannot see from where you stand). In order to earn Donna’s trust, you must interfere with the situation. Not just that, but you’ll need to see the young girl’s scar (the same that Donna bears) without reacting negatively.

Considering you, a living ghost, have no room to judge someone else… you pass with flying colors. Then, and only then, do the illusions fade. You’ll find yourself in a sitting room, with both Donna and Angie across from you. Still, only Angie speaks (at least at first). In time you’ll grow quite close to them both.

#donna beneviento #donna beneviento x reader #resident evil: village #re8

175 notes · View notes

aphrodite-would-be-proud · 4 years ago

Text

Armin having a crush on you while you're dating Eren pt.3

{ Armin x reader, Eren x reader | suggestive | tw:possessive behaviour, tw:unhealthy-friendships, tw:toxic, tw:jealousy | angst, drama, pinning | modern }

{ "the stranded ship" 1843 by Asher Brown Durand 1796 - 1886 }

The anniversary of your first meeting was coming soon, an entire year since you stumbled into his life by mere accident.

Armin would've never guessed bumping into you outside the library would've had such an impact, and what a beautiful accident it was.

And now, an entire year later he can see clearly why you stole his heart.

He found in you what he lacked, things he desired and admired for so long, things that made him feel at ease.

Things he oh so desperately wanted.

Just your mention would make his mood better, the thought of you making the sky seem a bit brighter and the world not so dim anymore.

He was smitten and he knew it, after all how could he deny it.

especially since he's read about it in a hundred different books, the stories of those similarly struck by cupid's bow as they got high on love alone.

Watched it in tens of tv shows, people falling for each other, struggling to get together despite the world pulling them apart.

And as much as others would scoff and turn their noses at these things, calling it a mere fantasy, he couldn't deny how much deep down he hoped for it.

Maybe he was just too romantic with his head swimming in the clouds, maybe he was too eager and hopeful for a connection.

But he swore he could see it clear as day, see the both of you falling in love.

At that time, he could recite how it would go as if it was a movie playing in his mind just as he fell asleep, dreaming about a soon-to-be-real fantasy each night.

He's willing to put in the effort, you're worth the work after all.

And so he began making subtle moves, showing interest in small ways, bit by bit till he got bolder day by day.

As far as anyone could tell, you seemed to be on board.

But Armin was never sure, he didn't want to mess this up and make a move that might make you pull away.

He wasn't looking for a nonchalant sure from you, he was looking for an enthusiastic yes.

Which is why he took his sweet time getting closer, strategically considering every move and step, making plans for dates and backup plans if plan A failed.

He was giving his all, squeezing his brain for all it's worth as he analysed every move.

It's just that he didn't want to mess this up.

As if.

Fate had it's way as always, maybe he just cared so much about the tiny details that he was blind to the big signs, for how could he notice the sun if he was too busy studying the grains of sand.

Or maybe, pushing all that philosophical bullshit aside, he just waited too long.

You also made your moves but he didn't seem to respond in a clear way, not fully showing interest since he was too lost in his own mind.

Did you feel like he was subtly rejecting you? Did you feel like he was attempting to push you in the friendzone?

He can't know how you felt, and whatever it was it must have been why you didn't hesitate to say yes to the next person who asked you out.

Which just happened to be Eren.

Thinking back to how it all fell apart, Armin would curse his past naive self for simply standing aside, without making an attempt to stop it as he watched Eren integrate himself into your life.

At the time he thought he was being the bigger person, a good friend to someone he brought he could trust.

He thought life couldn't be that cruel, in the end his hard word should pay off as you realise you belong with him right?

Ha!

Ha…No.

How could he have been so blind and stupid?

It's been a year since you've known Armin but it's been 9 months since you've been dating Eren.

He went through it all, becoming well acquainted with the stages of grief.

But he's fed up honestly.

He swears he could almost lose his mind if he saw another video of you on Eren’s Instagram story.

The other proudly showing you off in his arms, knowing exactly what he's doing.

And so Armin decided enough is enough, he's taking back what he lost, what rightfully should've been his and screw being a good friend.

He knew he can't just barge into your apartment, confess his undying love and ride into the sunset with you smitten in his arms.

Unless he wanted a restraining order.

What does he want most?

You of course.

What is he best at?

...being subtle.

It's what got him into this mess in the first place, and so it will be his saving grace.

A good morning text a day, nothing more or less, simple yet effective.

And that, turning into him checking on you throughout the day, you know casual stuff.

Did you eat? How did that project go? It's raining, did you take an umbrella ?

Slowly, day by day your conversations will grow as you get used to him being a part of your daily routine.

And that's when he turns it up a notch, maybe you'd like to meet at the nearby park? Or grab some coffee in the morning?

You need a friend to shop with? Yeah he's free and he would even carry your bags

...or well attempt to, cut him some slack you know he isn't that strong yet is trying his best.

Maybe, after some weeks of you falling back into the routine of meeting up with him, he could invite you over again.

Just like the good old times.

Of course he'd never tell you the reason he stopped visiting your place was because he couldn't stand seeing Eren’s clothes scattered around.

All you'll hear is that he feels the most comfortable at his own place, he even prepared some lunch and made freshly squeezed juice! You wouldn't say no to him after all the effort he did would you?

Yeah...you couldn't, that's exactly why he made sure only to ask you to come over after he finished preparing everything.

You're a good person, you wouldn't want his work to go to waste would you? You wouldn't do that to him.

The small lunch you agreed on, soon enough turned into watching tv together.

Oh wow the show he picked is so good, and each episode ends in a cliffhanger, lucky he has all episodes on Netflix so you wouldn't mind watching them all now would you?

Let's just turn autoplay on and not pay attention to how each episode is an hour long.

The next thing you know, it's dark outside and you're yawning while hugging a blanket close on the couch.

Your phone was in the other room, it's 11pm and you have 5 missed calls from Eren at different hours.

Armin would assure you that it's just Eren being Eren, you should just send a text back later.

And aren't you hungry? How about you and him go make midnight dinner and think about these stuff later.

After you have your food, you realise it's too late to go home.

Not to mention Armin's words about how dangerous it is to walk alone this late aren't exactly helping.

Of course he's quick to apologise, claiming he's just...worried about you, why don't you stay over instead?

He even has some fresh towels and blankets.

Why?...uh no reason, laundry day just happened to be yesterday so that's why.

And for a single day, he gets to wake up to you first thing in the morning, to see the way the sun would fall on your face as he opened the curtains.

The way he gets to tuck you in and adjust the blanket before he goes to make breakfast, no way he's not spoiling you rotten while he has you in his bed.

You'd be sleeping soundly one minute and the next gently stirred awake to the delicious smell of pancakes.

Armin's smiling face, as he murmurs a good morning in his sleepy voice.

God he wishes he can stay in this moment forever.

But, Armin knows exactly what he's doing, he's 100% self aware.

Maybe that's why he doesn't feel bad when reassuring you that it's still too early to leave, and how about you help him move some boxes to the closet instead?

Oh! What's that? You found an old book in one of them, how bizarre, not to mention it's the one that inspired your favourite movie.

You wouldn't mind him reading you some lines would you?

But he doesn't wanna spoil the details for you, there's a lot of extra content the movie left out.

So how about this instead, forget the boxes, you and him should go back in bed and let him read you the book.

Why would he be the one reading? Because his storytelling is good and you know it, soon enough you'll find yourself entranced by the story as the outer world blurs out into a haze.

Time flies by quickly, because he's such a natural at it and so it's the afternoon when the doorbell rings, bringing you back to reality.

It's Eren, coming to pick you up because you weren't answering your phone.

After you leave, and his little play pretend date ends, he's taken back to the cold truth that no matter what, you will go back home to Eren by then end of the day.

Never him.

Well, not for long.

...

The car ride back home with Eren was...uncomfortable in a way.

His grip too tight on the steering wheel, shoulders too stiff and narrowed eyes glancing at you every once.

And yet he didn't say much, only answering your attempt at starting a conversation with a single word or a hum.

Maybe he was too lost in his own mind, making connections to how Armin seemed to he inviting you places more and more

How each time you come back much later than promised

But the thing that bothered him to the core, was the fact you'd just spend the night at Armin's place with no warning beforehand.

Eren has been trying to convince you to move into his apartment for what seemed like forever, and each time you'd refuse saying you needed your privacy and yet you'd just go and stay over at another guy's house like it's nothing

He wanted to scream, he was fuming inside.

This isn't the only thing that got on his nerves, it's how your phone never seemed to shut up, one text notification after the other and even at the earliest hours of the day.

And for some reason you'd open the phone with a smile, never ignoring any of them because it's too rude to ignore a text.

Then why the fuck didn't you pick up his calls.

He had an idea on who has been texting you, he's not stupid.

He can't even count the amount of times he almost clocked out of work or canceled his plans last minute just because you called saying you're going out with Armin for the day.

Just the idea of you alone with someone else in some secluded area made him want to drop everything and go after you.

He's been attempting to get you closer to his mother, just to show how serious he was about you.

And maybe to show you off to her, but he would never admit it that he takes pride in flaunting you around in front of his family.

Carla even seemed to like you too, making you some food every once in a while, inviting you over for family dinner and including you in game nights.

It was an unspoken rule that you and Eren were an item, even if nothing was official, he made it clear to his family that it will be.

Maybe he'd even introduce you to Zeke one day, someone most of his friends don't even know he's related to.

Well the other already knows about you to be fair, it was by mere chance that you happened to call when both of them were smoking at the front porch while his mom made dinner.

Eren couldn't help the stupid grin spreading over his face when you called, almost forgetting his big brother was next to him the more he talked to you, playfully teasing.

The other observed quietly, the only acknowledgement he gave Eren was patting his back with a chuckle before going to help Carla inside.

Eren was late to dinner, having lost track of time while talking to you.

Sometimes he wonders how did it all get like this, how did he manage to get this infatuated with you.

He won't lie, he wanted to get closer to you since the day Armin brought you to hang out with their group.

His eyes wouldn't leave you, even if they did they'd soon glance back to you.

Even Jean was out of his mind that they didn't argue at all, instead Eren’s entire focus and attention was on the way you laughed each time Connie would tell a joke.

Or the way you licked your lips after Sasha offered you a bite of her food.

It wasn't until Marco asked him what's wrong that he realised he hasn't said a thing the entire time.

So he didn't waste his chance, shooting his shot right away and moving to sit beside you.

It wasn't even a full week before he asked you out, because what's the worst that could happen? If you reject him then he'd just laugh it off and attempt to get closer to you before asking you again after some months.

To his surprise, you welcomed his advances with open arms from the first time and that is what made him latch onto you even more.

He didn't expect to succeed from the first time, although it was a pleasant surprise it still made him wonder if you would've done the same to someone else.

...if you would've still said yes to someone else asking you, that it was more of being at the right place and time that made him win you over.

He knows it's irrational thinking to get irritated by imaginary scenarios that have no proof but it didn't quell his mind.

Thank fuck he snatched you first.

And what a catch you were, perfectly fitting for him as if you were specifically designed.

Your kisses could make him melt into a puddle, your touch could make him lose his breath.

He genuinely enjoyed spending time with you, just the two of you alone.

Not to mention how you are such an adorable thing too whenever you show him your hobbies or interests.

You've always given him validation without him having to ask for it, so much that he's almost addicted.

Mainly coming to you for compliments whenever he does a thing, just hugging you from behind and giving you those eyes till you've boosted his ego enough.

Maybe that's why he started clinging to you more, taking you to cheer for him whenever he went to play basketball with Jean and Reiner, even teaching you some moves just for an excuse to hold you closer from behind as you bounce the ball.

Or pulling you into his lap while playing videogames, giving you a kiss each time he wins and shamelessly asking for a prize afterwards.

Or maybe tracing his fingers up and down your thighs under the table at family dinner nights, more focused on the lining of your inner thigh than whatever story his father is telling about work

you just...made his life better, more fun and so full of colour.

He could see something coming out of this relationship, a burred future but a future nonetheless.

Now with his face softened, he glanced at you again, meeting your gaze.

One of his hands left the wheel, taking your hand instead and giving it a small squeeze.

A silent apology maybe? Or was it to reassure himself that you're still with him.

That's exactly why things like these get a strong reaction from him, it's not that he doesn't trust you, it's that he doesn't trust the world around you.

Mostly because he knows Armin, more than anyone else, hell even more than Mikasa.

He has known him since kindergarten, and while Armin never picks up a fight, he never runs away from one.

Eren isn't delusioned with the awkward and innocent front everyone else thinks of Armin, he fucking knows what he's capable of.

And he knows the second he lets his guard down, Armin wouldn't bat an eye before using it to get closer to you.

The worst mistake someone could ever do is underestimate his friend

281 notes · View notes

lokitvsource · 3 years ago

Photo

You came into the show with the idea of Loki clashing with the TVA already in place. How exactly does this kind of arrangement work at Marvel? Michael Waldron: There was a creative brief that was 20 pages or so that basically said: “We want to do something about Loki running up against the TVA. Here’s some different avenues that might be cool to explore.” It was really serving it up for writers as a jumping off point for us to put together our pitches. Then I went off and really worked on the idea of Loki being brought in to hunt another Loki, and that becoming the heart of the show, and the Loki/Sylvie relationship. The big thing that I did in my pitch — even as early as pitching it to Kevin [Feige] — I really walked through the six episodes, kind of similar to what they were. I knew I wanted Episode 3, for instance, to be a little bit of a Before Sunrise, with Loki and this character walking across this apocalyptic moon. But Marvel had the initial, probably the most important spark of genius, which was just Loki and the TVA.

Where did the idea of the variant being a female Loki come from? That was one of my ideas, that we then confirmed in the writers room. Yeah, we knew from the get-go that it was going to be Loki falling for another version of himself.

Why was that appealing to you? I love writing any romance; it’s fun. Especially, it hasn’t been done a ton in the MCU. There’s an obviously self-reflective quality to it. And a show that’s quite literally about self-love; it is Loki getting to see parts of himself. At the start of the show, he kind of hates himself. He assesses himself to Mobius as a villain. And then he meets Sylvie, and he sees her as someone on a heroic crusade. He sees the good in her, and is able to see the good in himself.

Mobius suggests that, of course, Loki fell in love with his own variant, because he’s a narcissist. Do you think he’d be capable of falling in love with someone who is not a version of himself? [Laughs] I don’t know if he didn’t fall in love with himself first. Maybe after that, but the first time he falls, maybe this is what it had to be.

What’s the key to telling a time travel story that takes advantage of the concept without confusing the audience? I think it’s doing a lot of work that the audience never sees. It’s really understanding the logic of this thing, building out the TVA as a real organization that actually exists in our minds. Our writers room, we had a TVA handbook, encyclopedia, what they do and why they do it, a glossary of terms. And then you want to only give the audience the absolute bare minimum to understand the story, and to just get swept up in the emotional stakes of everything. If the sci-fi of it all, if the time travel logic of this show did not hold up week to week, then that would have distracted from the emotional journeys of the characters. So I’m glad that even though everyone had to take their medicine a little bit, along with Loki, in episode one, I’m glad it didn’t distract from the story we were telling. And we had the benefit of Loki being the audience’s eyes in. The audience is learning as he is.

There’s a funny scene in Avengers: Endgame where the Avengers start arguing about exactly how time travel works in the MCU. How much did you have to study what other Marvel movies had done with the idea to make sure your rules were consistent? Fortunately, Endgame was the main one, and that’s how they understand it. The TVA is an organization that understands time travel on a deeper level, probably more comprehensively than the Avengers do in Endgame. We wanted to make sure we were staying true to any rules that they laid out, but sort of establishing our own rules. It’s a time travel show. What was I thinking? A movie’s one thing, but a show is hard.

How many Loki variants did you have on the writers room whiteboard at various points? Hundreds. So many different Lokis. There was one Loki, actually maybe it was a version of Mobius that took off his glasses, and he just had really tiny eagle eyes, like he could see everything. There was stuff like that all over the white board. Tom Kauffman, who wrote that fifth episode, he’s an amazing comedy writer, and was on the first three seasons of Rick and Morty. His first draft of that episode was just bananas.

Was there a variant, or a crazy idea in general, that you really loved but couldn’t ultimately do? There was so much different stuff that we wanted to do in the Void. But the truth is, I don’t want to say any of it, because you never know. The ideas that I want to do the most may pop up elsewhere.

Okay, so let’s stick with a variant we did see. Was Alligator Loki actually a Loki, or just an alligator that happened to be wearing a Loki’s crown? A magician can’t reveal his tricks, man. That’s the great debate. Let it rage.

What was Alligator Loki‘s origin story on your side of things? Who pitched him and how was that initially received? That was maybe my very first meeting with the producers at Marvel, Kevin Wright and Stephen Broussard, talking about the show, and me saying, “When we’re doing this, you can encounter lots of different Lokis. You could have an alligator Loki. Why? Cause he’s green.” And us all laughing about how stupid that was. I think I made the point that it’s that energy of what we can do with the show. We can have something like that, but let’s play it straight. Alligator Loki, you get a laugh out of it, but by and large you try and play it straight. That was the fun tonal balance that we tried to strike in the show.

There’s been some conflicting information out there about whether the big bad was originally just going to be He Who Remains, who’s a different comics character altogether from Kang, and whether the casting of Jonathan Majors changed the plan. From your point of view, what happened? The character was always written as a version of Kang, as early as the first draft of the script, we knew in the writers room, relatively early on. He Who Remains, that’s the guy behind the curtain with the TVA, and we saw an opportunity to fuse that mythology with the Immortus mythology. And that was just really compelling. It was a way to elevate, it just felt right for Loki, because Loki was there in the first Avengers, he’s the one who brought the Avengers together, and here is directly related to the exploding of the multiverse, this event that will drive the events of Phase Four. Certainly, when Jonathan came in, it allowed us to step on the gas of just how eccentric and charismatic this character could be. I was inspired in the writing of He Who Remains by Tom Cruise’s character in Magnolia, trying to give it that Frank TJ Mackey energy a little bit. He captures that and then elevates it to something else that’s different and weird.

You just said how important the multiverse is going to be to Phase Four of the MCU. How challenging is it to have to set up this big thing for the larger Marvel endeavor while also serving the needs of the particular story you’re telling on this show? It’s a challenge in the sense that it’s all a relay race, and you’ve got the baton on this thing, and you want to do a great job. The name of the game over at Marvel is with each movie or TV show, make it the best it can possibly be. And they’re really supportive of that, and trust that it will organically fit into the larger blueprint of everything. We were excited about introducing a version of Kang, because yeah, to introduce this new big bad was cool for our show. I was aware, and cautious, of the thing I read in your review, that it might not be the most sound storytelling to introduce a new character at the very end that we’ve never seen before as the big bad of this thing. Obviously, we had the benefit that people know who Kang is, and there’s a meta thing where a portion of the audience knows Jonathan Majors is going to be playing Kang in Phase Four. But the finale was only ever going to work if He Who Remains, in a compelling way, serviced the Loki and Sylvie emotional story. That was the most important job that that character did in the finale: he laid out a very compelling conflict that ultimately drove the two of them apart.

There has also been some confusion as to exactly when you knew that there would be a second season, as opposed to you just making a limited series. Initially, in the writers room, we were not operating as though there would be a second season. And the whole way through was, this should be a story that should stand on its own. I referenced The Leftovers and Mad Men all the time. I think about those seasons, they pushed the overall stories forward, but you can pull any one of those seasons and look at it on its own as an individual story. I wanted that to be the case here, whether we did a second season or not. I think we always felt that we would want to propel Loki forward into the MCU after the conclusion of our season. The only question was, would that be in an appearance in a movie, or would that be in a second season. And it was only over the course of development that the stars aligned to make a second season.

But that end scene, where Mobius no longer recognizes Loki and the TVA is filled with Kang statues, wouldn’t have been a satisfying conclusion to a limited series. That is an ending that only works if there’s going to be a second season. So there is another conclusion to the story that I wrote that exists out there, that I guess is just for me. My own little play, that I perform with my action figures.

What was Sylvie’s original plan, before Loki hijacked her to that dying moon? It was to empty out the TVA. The entire bombing of the Sacred Timeline was to create a diversion. She’s not going to be able to create a multiverse from doing that. Ultimately, the TVA has the manpower to get out and take care of these events, but they’re going to have to scramble a lot of their minutemen teams, and it leaves the Time-Keepers significantly less guarded than they would have been otherwise. That was her plan.

You didn’t come into this as a big comic book nerd. So was there someone on staff who could tell you, “Well, there’s this giant cloud called Alioth that eats time,” or, “Well, one time Thanos had a helicopter,” or maybe someone assigned to you by Marvel? I’m constantly reading the comics but trying to not be so beholden to the and do our own thing. I charged our writers assistant, Ryan Kohler, with, “You’ve got to become the authority on all things TVA, all things Kang, and all that.” So he and my assistant, Sophie Miller, became a support staff who read a ton of these comics and became a wealth of knowledge for the writers to turn to. And then the Marvel producers, obviously are very well versed in the comics. It was Kevin Wright who came in one day and was like somebody throwing down a blueprint in an asteroid movie, going, “Alioth! Look at this!” And we were like, “Ohmigod, this is perfect!” The best thing about working on these comic book shows is that if it’s from the comics, it doesn’t matter how much of a deus ex machina it is, it’s just cool, like, “I can’t believe you pulled that from the comics.” Alioth, that was a big breakthrough that unlocked the last two episodes for us.

That is not a famous comic book that introduces Alioth. It’s an obscure Nineties miniseries, with really ugly art. But you look at it and see what it could be. You say, “If we do this, and it feels like Twister, it’s going to be really cool.”

Was Mobius’ love of jet skis there simply to illustrate his character, or did you have a grander idea in mind? I will come clean: I’m a jet ski guy. I’ve spent a good amount of time on jet skis in my day. I used to tow a jet ski to a lake and ride it in college. So it probably was me. Loki, I was just becoming a steward of that character. Mobius was a character I really felt I got to create from nothing. There’s not really anything to that character in the comics. So bits and pieces of me found their way in. I just think there’s something so poignant — here Mobius is, a guy who is literally fighting to preserve all of time in the multiverse, and yet his interests are maybe the most humble, human, terrestrial, unremarkable thing you can think of. Just a jet ski. And when you’ve got Owen Wilson playing him and it’s just that much better.

Will you be back in some capacity for Season Two? [long pause] Time will tell.

‘Loki’ Head Writer Michael Waldron — and ‘Rick and Morty’ Alum — on MCU, ‘Heels’ and More

#loki tv #loki series #michael waldron #interview

70 notes · View notes

veronicamarsconfessions · 4 years ago

Text

Editor’s Note: TV moves on, but we haven’t. In our feature series It Still Stings, we relive emotional TV moments that we just can’t get over. You know the ones, where months, years, or even decades later, it still provokes a reaction? We’re here for you. We rant because we love. Or, once loved. And obviously, when discussing finales in particular, there will be spoilers:

There was a time when Veronica Mars’ legacy was that of a beloved cult show that was canceled too soon by network executives who didn’t understand it. With the arrival of a crowd-funded feature film in 2014, its legacy evolved as one of the first shows to see the benefits of a revival. Now, it simply brings thoughts of sadness, rage, and betrayal.

When Hulu first announced it was reviving the series for an eight-episode fourth season, the news was met with resounding joy from a vocal and passionate fanbase that had never given up hope it would return after the crowd-funded feature film reunited Kristen Bell’s Veronica, a pint-sized private eye with a sharp mind and even sharper wit, with her one true love, the reformed bad boy Logan Echolls (Jason Dohring). But the fire that had burned for more than a decade and twice-revived the show was suddenly extinguished in a single, heartbreaking, and wholly unnecessary moment when Logan was killed by a bomb left in Veronica’s car shortly after the couple exchanged wedding vows.

I can still remember the shock I felt when I reached the end of the screeners Hulu sent. The whole thing felt kind of surreal, like if I didn’t acknowledge what had happened out loud maybe it didn’t actually happen. But it did happen. And I’m still filled with a fiery rage and a deep sadness when I think about it now, nearly two years removed from the episode in question, because needlessly killing Logan was a betrayal of the worst kind. The character’s untimely demise felt engineered for nothing more than shock value, like it existed only to leave Veronica even more isolated and cynical. But the interviews that series creator Rob Thomas gave in the aftermath, in which he tried to defend the decision, revealed something much worse while only driving the knife he’d stuck in fans’ backs deeper.

“In order for us to keep doing these, I think it needs to become a detective show—a noir, mystery, detective show—and those elements of teenage soap need to be behind us,” Thomas told TV Guide of the decision to kill Logan, noting that he also hoped to take Veronica out of Neptune and on the road in potential future seasons. “I sort of viewed these eight episodes as a bridge to what Veronica Mars might be moving forward.”

Instead of being a bridge to the future, it was a bridge to a grave of Thomas’ own making. Not since How I Met Your Mother ignored literal years of character development to deliver a half-cooked series finale the creators had come up with several years prior has a show felt so out of touch with its characters, the story it was telling, and its fans. Thomas’ decision to kill Logan is the perfect example of a creator being unable to recognize their own biases to the detriment of their creation.

He wrongly believed that Veronica needed to be hardened by years of nonstop torment and trauma in order to prove she was a great detective whose story was worth continuing. In putting her through the emotional wringer (again) after spending the entire season attempting to dig into her flaws and determine the root of her problems, Thomas swiftly undermined his heroine and her trauma with one misguided act of devastating violence. The fact that Thomas then chose to also skip over Veronica’s grieving process entirely reveals how little he ultimately thought of Logan or Veronica’s relationship with him, which had pushed her to be better and work through her longtime trust issues.

It is common knowledge by now that Logan was not intended to be Veronica’s love interest when the show debuted, but the fans took to the character more than they took to Teddy Dunn’s Duncan “He Used to Be My Boyfriend” Kane, so the latter was jettisoned from the show after Season 2. And in the end, Logan turned out to be a much better partner and match for Veronica’s personality. So what’s truly unfortunate about Thomas killing Logan, and killing him so violently, is that his thought process during Season 4 has the potential to color everything that happened in the show up until the moment the bomb went off. There is also the issue that Thomas apparently believed that Veronica achieving some level of romantic happiness was a one-way ticket to the grave, as if shows like Friday Night Lights hadn’t already soundly debunked the myth that happy couples did not make great TV.

Obviously an emotional family drama does not play by the same rules as noir, but Veronica Mars had already proven that you don’t need to play firmly within the sandbox of the genre to excel creatively. So why should the more adult version of the show attempt to put itself back in the box to be confined to something more traditional or stereotypical? Furthermore, love and contentment are not character flaws or weaknesses. They are not an element of “teenage soap,” as Thomas put it. In fact, one could argue that by allowing herself to believe that she and Logan could have a happy future together regardless of everything she’d witnessed in her line of work, Veronica had shown more personal and emotional growth in the show’s fourth season than she had in the entire run of the series.

At the heart of the matter, though, is one simple, glaring truth: Logan’s death was a fundamental misreading of the entire Veronica Mars fandom and what they liked about the show. Storytelling should never be dictated by the fans and their desires—one of the loudest and most common complaints critics had about the movie was that it felt too much like Thomas was just giving the fans what they wanted rather than attempting to tell a good story—but when your fandom has dug their hands into the cold soil of the TV graveyard to raise your show from the dead, you should probably have a grasp on what exactly the fans like about it in the first place. After all, they’re the reason you still exist and will be one of the final arbiters of whether or not you get to continue to exist in the future. And the idea that fans would somehow be interested in watching a version of Veronica Mars in which Veronica was on the road, completely alone, and Logan was blown to bits is just a wild miscalculation.

This isn’t to suggest Veronica Mars could not ever survive without Logan. That would be to undercut the rest of the show and the woman Veronica has become since we first saw her cutting Wallace (Percy Daggs III) off the flagpole in the series’ pilot. But there is a difference in writing Logan out of the show’s ongoing story arc—his secretive Naval career offered the perfect out—and violently killing him in an attempt to shock viewers and show just how resilient your heroine is in the face of trauma. A survivor of rape who had to solve the murder of her best friend (Amanda Seyfried) while still in high school because the sheriff’s department was too inept to do it (or simply did not care to do it), Veronica had already been through more in her young life than anyone should ever have to live through.

Although Logan’s death led to her finally seeing a therapist, it seemed to be a one-time thing, so nothing has really changed. Veronica is still the same person she was before the show returned, except now she’s also a widow and Thomas has alienated an entire fanbase to the point that many fans, though likely not all, have no interest in revisiting her story. And they’re not likely to either, since Hulu chose not to move forward with another season.

So much for that bridge to the future.

#Veronica Mars #Rob Thomas #Jason Dohring #Logan Echolls #VMars #season four #news #roast that bitch motherfuckers

76 notes · View notes

botwstoriesandsuch · 4 years ago

Text

Sidequests are part of the story so it’s still my ballpark shut up it’s time for

Read Part 1 here!

Part 2 || Part 3

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

- - - - - - - - - -

Side quests, side quests, side quests. What are they? And what are they doing here, on an Age of Calamity rewrite? I must admit, game design is not an inherent forte of mine, and I like to think that my only “expertise” would be on writing and storytelling. So what the fuck is a fool like me doing here

Well my dear ladies, lads, and gentlefolk, if your memory does serve, I did say that the format of Age of Calamity was one that served the major plot and story beats for it’s cutscenes, and its worldbuilding and good parts of it’s character development for its gameplay and side quests. It’s actually a concept that can be seen in shows and movies too, although obviously it’s origins are in TTRPGs and videogames. Definition wise, a side quest is any deviation from the main story and plot that serves to flesh out an optional/overseen aspect of the game. So there’s out perfect outlet for worldbuilding, characters, and even a bit of humour. Side quests, by definition, can’t simply be just XP grinders, because otherwise you could…..just make an XP grinder. It’s like saying you’re getting your kids a bike, but then you get them a stationary exercise one. Sure it’s functionally the same and gives the same benefits, but it could be so much more.

Does Age of Calamity have good side quests? I’d actually argue, yes. I mean sure, it’s not exactly gonna hold a candle to Fallout or Witcher 3, but there are great memorable side quests that do serve their purposes in this game.

A fan favourite is “The So-Called Knight,” in which Link spars Mipha, Teba, Sidon, and Revali, a conflict of the Sidon’s confidence and belief in Link, with Revali’s skepticism and grudge against him. Not only is it great fandom content, but it explores the carrying POVs of several characters in a fun way. We also have Hestu’s Dance Competition, and the Miss Vai Battle Pageant. What they lack in serious character tone, they make up for in humour and world building. Even the quests that have nothing to do with the main cast of characters, like the Questionable Escort Mission, still provide funny and interesting details about the world, like how the Yiga Clan is still ever persistent in trying to take down Link with monsters and Windcleavers alike.

It’s not like those side quests were functionally useless either, all of them still provided great amounts of exp and materials. What specifically made them great and memorable was their small little stories and character/world details. Of course, that’s not to say you can’t have the occasional plotless boss rush every now and again, those are fun in their own right and it’s good to have variety. But just thinking about it...what were everyone’s least favourite sidequests? The timed Yiga Escape? The ones where you sit around defending strongholds? The one hit death Hair-Width Trials? Ah...so all the least enjoyable side quests were the ones that were difficult, with no enjoyable character or worldbuilding to back it up….interesting interesting….interesting pattern indeed.

So, let’s improve the game a bit further. I do need to pace out my future character arcs somehow. I tried to make use of the existing quests where I could, but it’s just eaaaasier to just not think about it and do it from scratch. Just shove these in place of all those quests whose only description is “monsters have been spotted here! Take Mipha and go to work!” and stuff like that. Alrighty then! Here’s my take on cool side quests for every single character thus far, along with their paired gambit attacks. Prepare for heists! Drama! Simping! And Bananas!

Link: Mastering Stasis

Ok I have no idea when this quest unlocks so just for my purposes assume this only becomes available after Link pulls the Master Sword.

Engage the hordes of monsters that have been spotted in Hyrule Field. Now is a great time to master the use of the Stasis Rune. Impa and Zelda accompany you, but it seems stasised monsters aren’t the only thing coming to a tense standstill…

This isn’t anything that special, I just want to further highlight this tension that Zelda and Link have, as it’s something touched upon in Botw, but never really mentioned or used ever in Hwaoc. Now more than ever, Zelda has an excuse to have a rocky relationship with him because she could actively see just how far he’s coming in such a short amount of time. Classic “he probably hates me so I guess I’ll hate him” thing.

You play as Link, the game gives you your little prompts on how to use Stasis, you take out a few hordes of Bokoblins and blah blah blah. I wanted to use an earlier level to establish Zelda’s relationship sooner as obviously it’s gonna be important to the story. But of course like all side quests it won’t kill you to skip out. Text dialogue can be Zelda saying science shit like “This will be a good opportunity to test out the full limits of the Stasis rune” and then Impa’s all “Yep! We got your back, Princess! We’ll clear out these monsters in no time.”Then Link the little angsty shit that he is says nothing, and as you play you clear out more and more bokoblins Zelda just says “...” and then we can toss in a Moblin or two in there for gambit voice stuff.

Gambit dialogue with Impa would be supportive, her usual spunky dialogue. I had two ideas for Gambit attacks with Link: One where Impa does that thing where she cuts a giant laser through the air, but it’s aimed towards Link and he parries it right in a monster’s FACE because I think it’s badass and also a good way to show trust and stuff. The second thing was Impa’s giant bomb barrels, but Link is the one to somehow ignite them, because he is an arsonist after all. He can even have a chaotic Sheikah blue glint in his eyes like blue flame, I can already picture it so clearly given how anime/dramatic Impa’s movements are. Impa sets bombs, Link *teleports behind Moblin* nothin personal, kid.

Also right at the end of their gambit attacks, Impa and Link should try to fist bump or something (cause the whole “cool guys don’t look at explosions” thing that Impa usually does on her own) but are interrupted by eggbot jumping up to try and join in. And then Impa can be annoyed and try to punt it or something. That’s not just self-indulgent that’s in her character she totally would and I want to make use of the fact that eggbot travels around with Link. The success of her attempts to punt him can vary.

If Link does a gambit with Zelda, her dialogue can just be her usual monotone Princess stuff, “Thanks for lending your strength,” or “There is still much more to do!” just purely professional, we’re not at a stage yet where she’s buddy buddy with Link. Their gambit attacks can still be cool though. One idea I had was Zelda using stasis, and you know how when you use it in botw everything lights up with that sonar effect? So Link stands besides Zelda, and she activates stasis, the first “sonar” light wave reveals the stasised monster, and you see it from the view of the Sheikah Slate. Then with each additional flash of sonar you just see this silhouette of Link going absolute ham on a monster. And then when the stasis “ding ding ding ding ding” is done, everything’s just dead. Can you see my inspiration from Persona 5 yet? Second idea was Zelda using cryonis and makes an ice ramp for Link to shield surf on and ram into a monster. For entertainment purposes Zelda should also be putting frogs on said slide. (Also also the reason I’m putting Link as the main focus for those gambit attacks is because I want to juxtapose it with future gambits where Zelda may or may not be more powerful…)

Anyhow anyhow, so this side quest, you beat some bokoblins, theres a moblin or two. However as you progress Zelda’s dialogue because a bit more passive aggressive, maybe Zelda can be a bit irritated at how quickly Link is defeating everything before she can even contribute. Impa can comment on this like “She hasn’t exactly been warming up to you, has she…” and then the last point of the side quest, Zelda runs off, there’s a...let’s say a big horde of blue or black Moblins. Or a horde of Wizzrobes, I’m not too picky on it. Link can save her and do a gambit or whatever, but the point of importance is that Zelda leaves with the clear mindset off, “You don’t need to keep coddling me, I can handle my own” to Link, but is “Thank you, I’m glad you’re here,” to Impa.

Now I stole was inspired to use this based on this comic by @novellanova, and you should check it out here. But basically, at the end when all the monsters are dead and the last few text boxes are rolling, Impa says something like “Gee, at this rate I might have to protect you from the princess! Hmm…. you know, maybe if you two had the opportunity to hang out more and get to know each other, she’d warm up to you! Ha! That’s it! I’ve made up my mind. Listen up Link, from now on I’m gonna let you man the wheel when it comes to protecting Zelda. So with me out of the picture you better take the opportunity to be the nicest, most helpful, and most effective body guard there is. I know you already are, but still, if I hear that one little Chuchu so much as splat in her direction I will take you down...got it?” And, that’s that.

Side quest done. Fun Link gambits with Impa and Zelda, some little character POVs on the situation, plus an explanation as to why Impa doesn’t accompany Zelda everywhere/nods to the cutscenes of Botw as to what happened to Impa. Alright, that was probably the most boring one so let’s move on to

Daruk: A Rumbling Stomach

Alright I’ll be honest...I have no idea what to do with Daruk. Especially when Yunobo’s not here, I got zip-zero to work with considering his character is non-existent. Further down the line I’ll certainly try to give him more nuances and the like, but I’m afraid the majority of my character efforts have been towards Astor, Revali, Zelda, and [REDACTED] so this is my apology ahead of time, rock fuckers.

This is my take on how to make those timed quests more fun. So basically, the premise of this stage is that Daruk was just happily hanging around trying to enjoy his rock roast, when a monster surprised him and he dropped it, and now it’s rolling down the hill. This is based on my real Breath of the Wild experience where I had to trek up that Volcano path to bring a rock roast for that shrine quest, but at the very top I dropped it and had to chase it down before it fell into the lava below.

Daruk is eager to chow down on the finest rock roasts this year has to offer! It’s too bad things go downhill when monsters start to ambush. Defeat key enemies and rescue Daruk’s tumbling meal before this year’s wait goes to waste!

So, that’s what this is. The stage opens and Daruk says “NOOooOO! My rock roast! Damn monsters!” and you have to defeat baddies and catch up to the rock roast before the timer runs out and it falls into lava. And then when you finish and get back the rock roast that’s pretty much it….except SIKE no it’s not. Because a lot of these timed quests usually have a “surprise! There’s more!” thing at the end so I’ll do that here too. So Daruk has saved his rock roast and he’s talking about how he’s going to enjoy it in all its deliciousness, when he’s cut off by a random Goron’s scream. Turns out, Daruk’s yelling at the monsters about desperation to retrieve his lost lunch has attracted monsters to some traveling civilians, and now you gotta go beat a Talus, or a couple of Moblins, or something...Again I don’t really have level set or idea when these side quests unlock so just use your imagination. Once Daruk defeats the monster(s) the Gorons can thank him, and then one of the Goron kids can be like “Ooo! Is that a super special rock roast?!?” And Daruk is all: “Ah! Well all the best Goron heroes eat plenty of rocks! This here is the gourmet stuff. You can only get it once a—” And the kid’s like “Woah! I’ve always wanted to have one, that’s why I’ve been training hard so I can explore more of the mountain. Where’d you get it??” And Daruk can sputter a bit, before finally sighing and giving into his instincts. “Ah….well, why don’t you have it? You’re probably really hungry after running around with those monsters…”

“Woah really?? Are you sure—”

“YEAH JUST TAKE IT ALREADY GO”

“Woah, thank you!” and then the Goron kid and co run off. Cue Daruk crying to himself in the background. Daruk may have an appetite, but I like to characterize him as the Goron Hero first and foremost.

I’m sure that doesn’t stop him from mourning his rock though.

Mipha: Stronger Sentiments

Mipha and Daruk talked a whole bunch about training together so that Mipha can grow stronger, and Daruk was catching on to her crush on Link and it was a nice interaction in between them except for the fact that we never see them do the damn training so that’s what this is.

I think this is as good an opportunity as any to make this a Hair-Width quest, the ones where you can’t take one hit. The difficulty of a level is one of the most effective ways to put the players in the boots of a character to experience the same struggles they do. If the player works hard, then they automatically associate that with the character working hard. So, yeah, let’s have Mipha kicking ass and working to be strong enough to protect Link.

Mipha is determined to grow stronger. Daruk and the other Gorons are helping out with an intense training session by Gut Check Rock. Prove yourself by defeating all the enemies you encounter!

So Mipha is sparring with the Gorons, you fight through them and the captains and blah blah, the final boss is fighting Daruk without getting hit.

“I promise not to hurt you more than I’m capable of reversing.”

“Ha! Give me all you’ve got, princess!”

You fight, cue the special music or whatever. I mentioned that gambit dialogue/attacks could also work to be custom for the character that you’re fighting, so I’m thinking something like this. Daruk slams the ground and rocks and magma sprout up around him like jagged pieces of glass, but Mipha is no where to be seen. Daruk’s kinda huffing and puffing, “Where’d you go Mipha…” and then FWOOSH, giant geyser right behind him. [yes I KNOW I overuse the *teleports behind you* “nothing personal, kid” thing but I think it’s COOL and you can’t stop me] So anyhow, you know that thing in Avatar where Pakku is just riding at the top of a whirlpool and destroying everything? That’s Mipha.

Daruk turns around and scratches the back of his head. “...huh….that’s not good.” Cue Mipha swooping down to deal the defeating blow.

So Mipha wins, she can mention how wonderful it was and how much stronger she feels. And she can thank Daruk, and he’s all “No problem!” but he mutters something like “And I thought Gorons hit hard...now I know how Link feels.” End side quest….SIKE it’s another surprise boss at the end. A Goron captain suddenly reports that an Igneo Talus has appeared nearby.

Mipha goes up to fight it, but wow! Link is already there. They both fight it, but it’s clear that Link didn’t need her help that much. You can defeat the Talus with a Mipha/Link gambit. It’s similar to Link’s usual “swing sword in a giant circle and become a death windmill” but Mipha kinda enhances it with water or something and it puts out the Talus. I wanted this ending with a focus on how strong Link is just to show that while Mipha is improving, she’s still not yet where she needs to be.

Daruk: “Sorry I wasn’t much help at the end there, I was busy, uh, stretching.”

Mipha: “Oh it’s quite alright, Daruk. We were both quite tired from today’s training.”

Daruk: “Well I dunno about that...seems to me you were quite lively and active as you fought beside Link. *wink*”

Mipha: “Huh!?!? W-What is that supposed to mean??”

Cue laughter from Daruk. Mipha is flustered. And Link is just...confused, as always.

Urbosa: Mighty Thunder of the Gerudo

So in the game this is just some normal outpost capturing, stronghold defending side quest, but we’re gonna spice it up just a bit.

An important excavation site is being overrun by monsters, and Urbosa has set out to engage them. Defend and capture the outposts, in order to prevent this valuable place from falling into enemy hands…

So you fight as Urbosa, defeat some enemies and blah blah. When you first arrive there, I want one of the Gerudo Captains to be like “Lady Urbosa? Where did you come—What are you doing here? Aren’t there areas of greater importance for you to be at right now?” Urbosa says something like “Nevermind that now, let us focus on achieving victory over these rotten beasts.”

As the battle goes through, it is revealed that this excavation site is where Zelda’s mother would often work and hang out with Urbosa. Urbosa says some stuff like “Her Majesty would not be happy to see all these monsters heading here!” *decapitates Moblin* and then she can say other dramatic stuff at the end like “We have fought well...for her memory” and other classic lesbian pining. Some guard at the end can say “Perhaps you should move on and help out somewhere else, Lady Urbosa. We can handle the clean up from here.”

“Sure,” Urbosa replies, “Just another moment.” And then cue reminiscing. “She always did love these machines…”

And just other sentimental stuff like that. If you’re gonna be a coward and hold out on the Champion death angst, then you best be pumping that angst and emotion from somewhere, you know?

Also yay for worldbuilding! At least in my rewrite, the Guardian excavations and stuff were overseen by the Queen. Could be a reason Zelda hangs out with Sheikah tech so much...who knows who knows... who knows what other implications this has, it’s just a side quest after all.

Revali: Anti-Ice Training [get it??? Cause in this one, Revali’s gonna break the ice with some other characters?? I’m funny I swear]

Ok so for this one, I want to pull Revali’s character away from just “the birb that doesn’t like Link” and give him some other stuff to stand on. Obviously, there would be other side quests in a fully fleshed out game that did even more to characterize him, but for my rewrite I’m only dedicated this post and one other future post to sidequests, so I gotta really bring out what I can for the few side quest stories I have time to tell

Revali sets out alone to deal with some monsters by the Hebra trail. Although intended as an isolated moment to hone his skills, he finds himself with unexpected company. Defeat key enemies.

So you play as Revali and at first you’re alone, taking out Ice Lizalfos and the like. Revali’s text dialogue can say stuff like “Hmm...not fast enough” “My current needs to be stronger” “*mutters* Can’t compete with lightning and magma with aim like that.” Just stuff that establishes that he’s working hard to really prove himself as the best, but is still a bit insecure about his position. He thinks he’s better than Link, sure, and he certainly thinks that being a princess or a chief doesn’t automatically make you the best. However by this point, Revali has battled alongside the other Champions and seen their skill in battle, and has developed some respect for them. Afterall, Champions were chosen in some part for their skills, unlike Link or Zelda who destiny just thrust greatness upon.

So Revali has this slight insecurity that compared to lightning, and magic healing, and magma, with chiefs and princesses and titles of heroes, he and his efforts will be overshadowed and forgotten, unfairly deemed the useless one. Thus, here he is, training in solitude, not wanting anyone to see the imperfections and mistakes until he is absolutely perfect.

Except for the fact that after you beat a Wizzrobe, the other three Champions show up.

Revali: Wh—Huh?? What are you all doing here?

Urbosa: Well, we all have to travel with the princess to that Tower in a few hours, so I recommended we find you and hang out until then

Mipha: And a good thing too! Look how many monsters there are

Revali: I’m actually doing very well on my own right now. Wouldn’t want you to catch a cold or something, so why don’t you head on back and let me handle this.

Daruk: Aw, it’s not that we think you can’t do this. It’s that you’re hogging all the fun! Urbosa: And that it would be more efficient if all of us went to work

Daruk: That too

Revali: Look it’s not—you all can’t just—this is not just about—AUGH, look, I’m just trying to train myself at the moment, and I don’t need you all to mess with my drills

Urbosa: Training, hm? Well how about this...you let us continue helping you with these monsters, and after, I’ll let you in on a good Gerudo training technique

Revali: Hmph. Fine, whatever gets you out of my tail feathers faster

So Revali and the Champions clear out the monsters. Revali can have gambit attacks/dialogue with each of the other Champions. This is already incredibly long so perhaps I’ll save specifics for another time, feel free to use your imagination. Urbosa teasing Revali and they make a thunderstorm, Mipha and Revali swimming in the sky and kissing—wait that’s—

When all the monsters are cleared, which honestly isn’t tooooo many, Revali speaks again.

Revali: So what’s this oh-so-holy technique you had in mind, then?

Urbosa: Ah yes, well really it’s quite simple. It’s called…

Urbosa: One-on-one combat

Now Revali fights Urbosa. It think it’d be really fun if your allies on a stage could swap to a boss, and I wish hwaoc had a bit more freedom with the interactions as a whole, but ah well, that’s what I’m here for I guess.

So when you/Revali defeat her, it’s a good accomplishment! Not only for you the player, as Urbosa would not be the easiest to beat, but also because match-up wise, Revali prevailing over Urbosa is a big feat as their styles are quite opposite, arguably with the strength in favour for Urbosa.

Revali might at first have the mindset that Urbosa is overconfident and thinks she’s got an easy win on Revali, but that mindset is quickly proven wrong when 1) the difficulty of the gameplay itself shows how they’re both doing their best and 2) Urbosa with her Gerudo qualities is probably shouting stuff like “give it your all!” and things.

And so, as you beat her...

Revali, kinda huffing and puffing, but just a bit:: ...you….held back

Urbosa: Come now, do you really think of me as someone who’d do that? I’m almost insulted.

Revali: Hmm...perhaps not then....

Mipha: Wow! What a wonderful fight from both of you.

And then insert some other dialogue from Daruk or something that shows the Champions acknowledging the training and hard work Revali must have put in to be so skilled. Perhaps it’s not so bad, when you train with others and your skill is fully appreciated by your frie—GAH. Perish the thought, they’re all just a bunch of royal fools who can’t hold a candle to the skill of a Rito Master….probably…

Revali: Well unlike you lax fools, I tend to take my job seriously. I don’t have time to longue and banter when the princess is still expecting me in an hour or two

Urbosa: Oh alright, let’s get to it then. What’s the expression? “The early bird gets the w—”

Revali: Gross. No. Don’t finish that sentence, I beg you.

Urbosa: Oh? Well why don’t you fly off to escape my dreadful tones then?

Revali: ...Heh, don’t be absurd…

Revali: Without me, you’ll all probably get lost. So, I suppose I should stick around for that sake Great Fairies: Dress to Oppress

The Great Fairies are holding a fashion competition and rating people’s outfits. Poorly judged outfits gives them the right to compensation combat. Defeat all your less than fashionable allies.

...

...yeah.

It seemed funny in my head, alright? cOme on, just imagine…

Revali, fully expecting to win: Well?

Great Fairies: Hm...I don’t know dear, all the colors are very clustered. Perhaps if you were taller—?

Revali: bWHAKT!? *other angry bird noises*

- - -

Daruk: I brought my BEST out today! :D

Great Fairies: Is that a….chain?

Daruk: TWO chains, actually. :D

Great Fairies: Oh honey…

- - -

Great Fairies: Ooo! Our little hero is about to come out! Wonder what he chose...a knight in shining armour? A handsome desert voe? Ooo!! And those Snowquill braids always made him look so cute…

Link: *comes out in the Tingle Outfit*

Great Fairies: …

Great Fairies: …………..hm…..

At the end of the side quest, after you beat everyone, the Great Fairy wins because of course they do.

Great Fairies: Oh my! What an unexpected outcome...but it really couldn’t have gone any other way. I declare the judges the winner! I mean just look at me, I’m as dazzling as a jeweled desert flower, because I am! Ohohohoho…

This side quests unlocks the Tingle Outfit

Hestu: Forest Dance Festival

Alright this quest was already pretty perfect, BUT, I just want to use this opportunity to say that all of Hestu’s gambit attacks makes his allies and enemies do special dances. Absolutely abSURD that Hestu can only make the lesser smaller enemies dance on occasion, nonononono, my guy Hestu is making everyone dance. You can’t stop this. Nothing I say will ever top the imagination, so just take my word that this is a good thing. [Reluctant Revali doing the macarena against his will in sync with Hestu and they bash someone’s head in...ah the possibilities.]

Maz Koshia: Links to the Past

Ok so before I get into this, a few things. This quest takes place well after the tower activations in Akkala. Age of Calamity leaves a whole lot of plots holes as to why a Monk is just...here, and what the point of the shrines are, and personally my first reaction to all this was just a five minute extended “huuhhhhhh???”

So here is my headcanon, explanation, thing, canon to the world of the Kip Cut story. Ones all the Sheikah Towers were activated, that officially woke up all the Shrines, because we know that the Towers and Shrines are all connected to the same system. [See Great Plateau Tower activating all the Shrines and Towers, and Creating a Champion explanation on the system] But when all the monks were in their little altars and noticed how Link hadn’t dont a single one, they were like “what the fuck.” Monk Maz Koshia, who is kinda the head honcho of the monks and probably the only one powerful enough to go out in the world anyhow, sets out to see what the deal is, and after many a teleportation and telepathic communication, he figures out that Link is just running around with the Master Sword already. This kinda confuses him, because the whole point of the Shrines was to test Link and give him the spirit orbs so that he could grow strong enough to get the Master Sword, but he somehow already has it...so hmmmm something fishy is going on in this timeline. So Link technically hasn’t proven himself at all, Maz Koshia ambushes him, they do their little combat trial, Link passes, and Maz Koshia’s like “ok cool so you’re not useless.”

So now Monk Maz Koshia has cast aside his old monk duties of waiting around for a couple hundred years, in favour of just hanging out with Link and continuing to train him combat wise. Shrines are still explored by Zelda and co because they are important areas to establish teleportation pads, and whenever they’re there, Maz Koshia forces Link to get in a shrine to get a spirit orb, which is not only useful in general for health, but since Link already has the Master Sword, the other characters can get the spirit orb too. (So all those little heart upgrades that you see on the map, those are all just in the real Botw Shrine locations, rather than just scattered around randomly. Also I’m ignoring the stuff about talking to Hylia in order to exchange for stamina or heart containers because the game never talks about her, or stamina, and I’m not about to create an entirely new custom gameplay feature for this game, fuck you.)

I like to think that Maz Koshia is very selective about the Shrines he encourages people to try out. “Oh nonono, don’t bother with Qukah’s….lazy ass, only set up one little mountain that you have to blast through with lightning and that’s the entire puzzle! Disgraceful...Here, Kaam Ya’tak has set up a wonderful Trial of Power for you. I’m sure you’ll find the level design quite thrilling. They spent a lot of time on the critical thinking aspects so have fun!”

“I should warn you that this one was made by one of the millennials...yes, those youngins who were only initiated 1000 years of age. Honestly, they lack so much experience. Ms. Agana over here was experimenting with something called ‘motion controls?’ Pretty lazy if you ask me. Traditionally I would just stick to combat and block and switch stuff...but ah well, variety I suppose.”

Right, what was I talking about? Oh right! This is a sidequest. So Monk Maz Koshia doesn’t really have...a character??? Or a personality??? So I don’t really know what to do with him other than use him as an outlet for world building. Apologies to the Monk….fuckers? Stans? Feel free to leave me a comment about how I missed all the nuances of his character or something I’m all ears.

On an expedition to mark more Shrines and establish more teleports for the Kingdom, a large horde of monsters is spotted, seemingly with the intention to destroy these Ancient relics. Link and Maz Koshia use this opportunity to sharpen their combat skills. Protect the stronghold and defeat key enemies.

And then that quest would just kinda echo the stuff I said earlier about the world. (As Maz Koshia defends a Shrine, somewhere Qukah Nata is smugly shouting “Bet you wish ALL of them were protected with a giant mountain now, do ya?)

Also Link and Maz Koshia’s gambit attack involves the Master Cycle. I don’t have the specifics, but damn if I want some call backs to Botw while also having fun.

Impa: Steal Yourself [Yiga Clan Escape]

In an act of pure hatred and malice, the Yiga Clan has snuck into Kakariko Village in the dead of night…and stolen all the Swift Carrots! Impa sets out to get them back, as well as taking something else as a form of swift revenge...Escape before the time runs out.

Ok I can explain.

So you know how the Yiga and the Sheikah have kiiiiinda been murdering each other a bunch in Botw, going as far as to kill a deserter’s wife and threatening to murder his kids, and also people on both sides were sorta massacred for no reason? And alsoooo one of those people who literally lived during that time of the massacre is just kinda floating around now? And you knooooooooww how the Yiga Clan just kinda joins Zelda’s side later on and we’re not supposed to think about the implications of that too hard because they’re the funny banana ninjas, haha? Yeah well neither Age of Calamity or I really have time to explore the moral grey areas of an alliance between two warring factions, one of which has a leader who doesn’t really seem to remember the reason why they hate Hyrule which brings into question whether the lackeys even know their clan’s history, and brings about the moral dilemma of criminalizing the ignorant, and also there’s the whole other dilemma of depicting the side that submitted to their oppression as being “in the right” and the topic of a race of people being pitted against their own by a higher power is really brushed over sO WE’RE JUST GONNA TOSS ALL THAT OUT THE WINDOW AND MAKE THEM ACT LIKE RIVALLING HIGH SCHOOLS, OKAY? OKAY! This is fine this is fine—

So I have dubbed the High School mascot of the Sheikah, the Swift Carrot. And although there does seem to be some internal debate about whether the carrot should be replaced by the Fortified Pumpkin, the hero of Hyrule Link favours carrots so that’s that. Then of course, the mascot for the Yiga Clan is the Mighty Banana. The two sides hate each other and steal their food symbols to be petty. I’ll be covering the side quests of Kohga and the other later characters in another later post, but just know that Kohga will have his banana heist sidequest too.

So anyhow, you play as Impa. Maybe she can say a piece of dialogue or two about how she has to uphold the image of her people as she has to lead them one day. And then, this side quest is just her retrieving the carrots and running off with the Yiga’s big banana supply before she’s caught. This is based on that “Escape the Yiga Clan” quest if you couldn’t tell.

Custom gambit defeat of Impa vs Kohga: On one hand I think it would be badass to see Impa’s Sheikah skills go up against the Yiga Clan tactics. Kohga summons a giant metal ball to throw, Impa teleports behind him “nothing personal, kid” nO fuck I’m doing it again away goes to swing a blade at his face. He blocks it with his little energy shield thing, but not before an entire conga line of Impa clones start slashing at him until he’s defeated by a giant explosion. So yeah, that’d be badass and cool. But on the other hand…

Kohga, stomping his feet and having a fit: I cARROT believe you would do something this terrible! Give us back those bananas right now! D: ….please? You can keep the gross orange sticks.

Sooga: He asked nicely. You wouldn’t deny the wishes of the most polite and charming Yiga Chief there is, would you?

Impa: No can do, Yiga scum! I’m afraid this cruel action wasn’t veggie nice of you so I must exact justice! Now it’s my time to split. *Impa clones gather and throw Kohga into a giant frog’s mouth. Impa runs off with a sack of fruit [fruit (derogatory) if you will] cackling into the horizon*

Zelda: The Path She Laid For You

The King has order Zelda to head to the Temple of Time, in order to see if anything there could help awaken her powers. Zelda sets off quietly, with minimal company, as not to attract too much attention lest the Town’s folk be hit with another attack. It seems, however, that these precautions won’t be enough...Defeat key enemies

So this is a pure Zelda sidequest, with no other characters except for eggbot because I said so. Starts out normal when SURPRISE! Bunch of monsters appear and Zelda has to whip out her iphone and fight them.

Also!! Good time for the Hollows to show up, and you know, tell her what a failure she is and all that. Convince her that she's useless and gonna doom everyone. All that good stuff!! It’s just nice to catch up with the villains and see how they’re doing, you know? ‘Sup Hollow Urbosa, last I saw you were barely spitting words in the Lost Woods, and now you’re giving full hard-hitting insults to Zelda’s character and ability? Good for you, Queen, good for you.

So Zelda and a handful of guards are fighting off monsters, and Zelda has to beat the Hollows too. Her gambit dialogue when she defeats Hollows can be stuff like “You’re not the real ___” or something idk, I don’t have a lot of experience with the evil clone trope, I’ve never played Ocarina of Time. But one specific I DO want to highlight is that Zelda uses the nearby Sheikah Tech to defeat the enemies. I find it a bit weird how Zelda just knows how to use those random water canons in the Faron region in later chapters, so we’re just gonna at least set up a pattern so that it makes a bit more sense later. Plus! This is in front of the Great Plateau, AKA Gate Post Town/Garrisons AKA oh lOOK it’s that area where Link and Impa and eggbot first meet in that Impa introduction scene of my rewrite so we have already established that Sheikah Technology is being stored here and ready to use! Continuity in world building! Nice.

So Zelda uses her knowledge of Sheikah Tech to defeat the Hollows, when...dun dun dun! Astor appears. But you don’t fight him...

Astor: Have you listened to one word spoken to you today? Why are you still resisting? Let me help you.

Zelda: And what exactly is your plan? You wish to kill me, then?

Astor: Not quite. I mean, if you do die, there are ways I can manage, so if some stray Yiga blade happens to strike you I’m not completely doomed.

Astor: But no, the most optimal outcome for everyone is the one where you live yet. You must see the truth as I do, and let me fix this. I can undo this terrible knot destiny has thread for you. [and insert other fate sisters and sewing metaphors here]

Zelda: But how? What’s your game here, if you’re truly claiming to be in everyone’s best interest then why all this secrecy?

Astor: Ah...ever the one to look for the facts and logic, hmm? Can’t blame you, you get it straight from your mother.

Zelda: …!

Astor: But...I’m afraid even if I did tell you now, you’re in no state to truly grasp it. No...the only way this works is for you to truly understand the position you're in, and the stakes that hang in the path before you.

Astor: And if I have to kill every King, Champion, or knight to get you to understand…

Astor: Then so be it.

[dun dun dun]

Zelda: No! I won’t let you hurt anyone, I swear it!

Eggbot [just pretend eggbot can have dialogue boxes too]: *chirps*

Astor, suddenly noticing eggbot: ...You…you’re one thing I still don’t—

Eggbot chirps again beside Zelda, both seeming to be angry at Astor’s words. Eggbot releases a glowing flash of light. Kinda like a...flash bang? [is that the right word idk]

Astor: Ah—! *and he teleports away to escape* Astor: Until next time then...Princess

And that’s pretty much the sidequest. Zelda can question what exactly eggbot did, but he’s not exactly the most verbal in responses. Finally it ends with Zelda going home, “He was still right though...I’m still sitting in failure, with not a hint of my powers awakening. All I have is some Sheikah tech, some exhausted shoulders….and well, you, I suppose, little one.”

“Come, it’d be a waste to continue forth in this condition. Let’s go back to the castle.”

Eggbot: *happy whistles and chirps*

= = = = =

Tune in next time folks, as we dive back into the main event! Needless to say, Chapter 4 is where the shit starts to go down...

#Hwaoc: The Kip Cut #hwaoc spoilers #hwaoc #hw aoc #hw age of calamity #age of calamity #hyrule warriors age of calamity

59 notes · View notes

fae-fucker · 3 years ago

Text

Zenith: Chapter 76-79

Chapter 76

Andi has a nice little poetic nightmare. It’s irrelevant. The next morning has the girls preparing for the ball, complete with dresses and makeup.

Some things to note include Lira saying that in Adhiran religion (which is global, I guess), one has to mourn for three days before “letting” the souls of the dead pass on into ... everything.

Andi tries to say that it’ll take time to heal from it all, but Lira is having none of it.

“It will take time to move past what happened on Adhira,” Andi started, but Lira held up a hand.

“My three days of mourning have passed. Lon’s and my aunt’s, too. Now we, and the others who lost loved ones during the attack, must give the lost spirits to the stars, to the trees, to the wind.”

Which basically means that she’s done feeling bad about the unexpected and brutal attack on her home planet, so that’s convenient. Well, if one of our main characters doesn’t care about her people getting senselessly murdered, then why should we?

She also lets us know that her aunt has fixed up the Marauder and brought it here, because of course. Lira wants to arrange for Lon to be transferred to the Marauder, and though she has a logical reason for it (taking him home personally), it’s only a setup so we know why he’s on there at the end of the book when Andi’s bleeding out and needs a universal donor.

Spoilers, I guess.

Andi’s mother, Glorya, intercepts Andi as she tries to leave her crew to their makeover montages, just so we can move into a scene where her mom is brushing her hair and babbling on about gossip and vapid high society stuff.

But Andi, of course, gets lost in a flashback that’s so amateurishly written it’s honestly embarrassing and only highlights Shinsay’s helpless reliance on flashbacks as a storytelling device.

Observe:

Her words faded away as memories took their place. Andi lost herself to them.

The whole flashback is written in italics for some inexplicable reason, even though it would’ve been fine as just regular text since we’re clearly told what’s happening now and what’s a memory.

Also, there’s one bit where the memory “fast-forwards” to a different one. Shinsay, this isn’t a fucking movie. This isn’t a screenplay. What the fuck are you DOING.

The flashback and the mother’s inane babbling are all there to illustrate how vapid and brainless Glorya is and how she only ever cared about her status and not about her kid. Glorya pretends that everything is back to the way it was but Andi curses her out for abandoning her when she needed them most and how “the way it was” was actually always shit.

I mean it’s fine. It’s all right. I see what they’re going for, it’s melodramatic as all fuck but it works for what they’re trying to do? I can see this as being a realistic way for an emotionally neglectful family to look like. I wish it was more nuanced and wasn’t just shoe-horned in here (Glorya doesn’t show up before or after this bit, this is the only time she’s ever present or even mentioned in this book in any meaningful capacity) for the sake of making Andi’s friends look better and for her to not have anything that anchors her to Arcardius, but like, I won’t say this isn’t realistic.

And then Shinsay can’t stop themselves and it’s back to silly time:

“Really, Androma...”

[...]

“That is not my name,” Andi whispered. She allowed the darkness to come up into her voice, the mask of shadow and steel to sweep across her face. “My name is the Bloody Baroness. And if you or Commander Racella ever so much as utter a single word toward me or my crew again, I will personally strip the skin from your body and wave it like a flag from my starship.”

Glorya let out a soft squeak. Andi snarled with all of her teeth.

Guys I can’t breathe this is too fucking funny. And not in a good “woo vindication!” sort of way, but in a “they really put this right after an emotional confrontation about parental emotional neglect/abuse huh?” way. They really thought this was ... badass? Revenge? Andi, sweetie, you’re, like, traumatized? Presumably? I can’t really tell. But maybe get some therapy?

Do Shinsay think this is somehow a win and that Andi’s threat means she’s fully released from the hurt and pain her parents have caused her through their neglect? It’s honestly written as if Andi just confronted her mother and her own hopes of coming back to her family in this one short scene, and then upon realizing her parents never loved her, she scares her mom a little and then is all smug and satisfied at the end.

That ain’t how it works, darlings.

Then the annoying Marketable Space Pet runs in and starts biting Glorya’s toes and she runs away shrieking like a defeated Disney villain.

Way to undercut your own drama, Shinsay.

The chapter ends with Andi thinking about how her crew is her True Family for the bajillionth time. Because we’re all idiots and Shinsay wants us to remember that.

Chapter 77

It’s the evening of the ball and Andi thinks about how she missed Bavista, which is apparently your generic coming-of-age ball held at Arcardius for every 16-year-old. I’m guessing it’s a yearly thing? The book never clarifies. Not sure why the fuck it’s here tbh.

Actually, it’s a pretty good demonstration of how the worldbuilding in this book is presented so here, have at thee:

She could still remember seeing the otherworldly dresses and suits float by her on the feeds as she watched the girls and boys glide into the A’Vianna House in the Glass Sector. They seemed light as air, full of pride, bursting at the seams with excitement. Once inside, they would be greeted by members of the Priest Guild, who would award each young person three items.

The first was a vial of water from the Northern Ocean, symbolizing strength. For growth, they accepted a single leaf from the oldest tree on Arcardius, known as The Mother, which was said to have been planted when the Ancients first arrived. Lastly, they were given a single floating pebble, no larger than a child’s fingernail, chiseled from the very gravarock where the Cortas estate was. It represented the wisdom of rising above.

Is this relevant to anything? Does this help you understand this world or its inhabitants? Does it tell you anything of the culture of Arcardius or its youth and what’s expected of them? No? It’s just a really generic list of things thrown together using Mystical Proper Nouns as glue? Weeell heeell.

Also what does “it represented the wisdom of rising above” mean? This is utterly generic and means fuck-all, that’s what.

Anyway, Andi’s admiring herself in the mirror. Her dress is very sexy, trust me, I can’t be bothered to include it so just imagine your favorite My Immortal outfit description. It does include sword holsters at the back, which are Andi’s favorite part, because she’s a strong independent woman who don’t need no man. She never actually uses them or brings the swords to the ball so ... Idk what the point of this was.

We also get some shit about how Andi actually LOVES dresses and being pretty but she never admitted it to anyone. But don’t you worry, this badass space criminal LOVES all things girly, because that’s feminism! Can someone check in on Shinsay? I’m not sure they’re getting enough air with their heads so far up Sarah J Maas’ asshole.

Admitting to herself that she looked pretty was something Andi kept private. She didn’t want to give her crew the satisfaction of knowing her true thoughts about fashion. How even though she was a fierce, hardened criminal, she could still appreciate the joy of a beautiful, impractical ball gown.

Huh. And here I thought they were your family. That’s weird that you’d keep this information from them, especially considering all of them seemed pretty excited to be prettied up in the last chapter. I guess they’d really just haaate the idea of sharing this joy with their captain, huh? Why aren’t you admitting this to them, Andi?

You’re saying shit about how “even though” you’re a hardened criminal, you can “still” appreciate beautiful gowns, like those two are somehow contradictory. Are you, mayhaps, ashamed of having this traditionally girly interest? Hmm! Interesting. Why could that be, I wonder? Why would having traditionally feminine interests or even caring about one’s appearance be seen as something inherently shameful or embarrassing, as inherently contradictory to being fierce and “hardened?”

This is all just so *clenches fist* feminist.

Forreal though, somehow Shinsay managed to take their entire made up GALAXY and make it subtly and not-so-subtly sexist. Good job, morons. Really girlbossed that one, huh?

The only bit I like about this whole mess is this:

The dressmaker had also accented her gown with a sparkling necklace full of jewels that Andi didn’t plan on giving back.

This is the one and only space pirate-y thing Andi does -- sorry, considers doing -- in the whole book and honestly could’ve been used to build her character more, but it’s just a one-off joke here. Wasted.

Valen comes to fetch her and we get some subtle foreshadowing.

“Valen the Resurrected.”

He stopped to look at her, brows raised. “What?”

She shrugged. “It’s what the press is calling you in all the feeds.” Valen let out a deep chuckle.

[...]

“Something tells me things are about to change for the better,” he said. “I’m ready to see it all happen.”

Andi wondered what he would do now that he was home with a whole planet at his disposal.

He deserved to have some fun.

Is it bad that I’m rooting for Valen to destroy everything? And this isn’t my villain-fucker coming out, I just want this poor bastard to absolutely annihilate Andi and her gang of acolytes.

Chapter 78

Andi and Valen arrive at the ball. It’s all very pretty and space-y and aesthetic. There’s a bunch of aliens everywhere. Andi sees a woman with funky eyes and assumes it’s a body mod, because I guess she knows the genetic characteristics of every species by heart and can tell when something is real or not.

An old classmate of theirs comes up to talk to Valen and congratulate him on being alive, then Andi reminds him of who she is just to be a smug asshole and the guy fucks off in a panic. She’s just so cool and badass, you guys.

Then it’s time for Valen and Andi to dance, and of course General Cortas looks like he’s about to lose his marbles because these darn kids! >:(

The chapter ends on Andi noticing Dex pouting in the distance.

“Relax,” Andi whispered. “Let’s give them something to talk about.”

She flashed him a wicked grin as the music began.

And as Valen spun her into the first move of the dance, Andi saw Dex standing on the fringes of the crowd, an expression of longing clear on his face.

Chapter 79

This chapter is exactly 298 words of Dex moping around about how he’s actually not over Andi at all when he thought he’d done such a good job of repressing his feelings, and how he should be the one dancing with Andi instead of Valen. If you’re surprised, you’re clinically dead.

#eff reads: zenith

7 notes · View notes

nellie-elizabeth · 4 years ago

Text

The Falcon and the Winter Soldier: The Whole World Is Watching (1x04)

Well, uh... shit. Whole review under the cut for spoilers.

Cons:

Okay, honestly, I don't know how to feel about Lamar's death. If you watch this episode, it's very much this thing where the black sidekick gets killed so the white "hero" can go crazy and get his revenge, to fuel his need for vengeance and display his man pain. Now, I think the fact that John Walker is not really meant to be sympathetic here does help a little bit, but I was still pretty miffed at that unceremonious slaughter of a man of color in order to further a white man's narrative. Maybe I'm just primed to be on the lookout for this stuff. Maybe it's different/less egregious because this isn't an all-white show with one token black character? In any case, I was made uncomfortable by the trope I saw playing out in front of me. If I'm wrong, please let me know.

I continue to wrestle with the same overall issues that I have from minute one. The bad guys make good points, and Sam is sympathizing, but things are escalating. How does this end? Sam takes the shield, tries to save Karli but ultimately can't find a way to do it, so she dies? I don't know how I feel about that. But what other options have we been presented with?

We have the continued echo of Bucky chastising Sam for not taking the shield. Now, as I've mentioned in earlier reviews, I don't mind the fact that Bucky is upset, or angry, or lashing out. He's wrong, but he's not wrong to feel how he's feeling. The thing is, I feel like Bucky has had multiple chances to state his position, and Sam hasn't had the chance to really take a stand and state his. Bucky isn't letting it go, and it's getting to the point where it's not okay. Feel your feelings, James Buchanan Barnes. But it's not Sam's job to take care of your emotional state and behave the way that would be the most comforting for you.

Pros:

But now that I've chastised Bucky for his behavior, I do want to talk about him and the Wakandans in this episode. Especially Ayo. That opening scene... I tell you, my soul traveled back in time to 2014 and I was weeping in a movie theatre over Bucky and Steve and brainwashing and love breaking through brainwashing... it was really moving, to see Bucky fall apart over being free at last from his trigger words. And yes, I will be overanalyzing the fact that there was a flash of the "with you 'til the end of the line" moment when the word "homecoming" was said... that's the good shit. Thank you.

And then it's so brilliantly coupled with later on, while they're fighting, and Ayo disarms Bucky. Literally. That... gave me chills. Just from like a... Bucky is an amputee, and the people who saved him, who deprogrammed his brainwashing, who gave him his amazing superpowered arm... they have control over his body. They can weaken him with hardly any effort at all. I was shocked to see it, and I feel like there's a lot that could be explored there with regards to Bucky's trauma, and trust, and healing journey. Ayo was a friend. Ayo and Shuri saved his life in a very real way, and then there's this moment where he realizes that once again he can't be totally free and safe with someone. I thought it was really effective storytelling with just a few brief moments of the script.

But moving on to Sam, and speaking of trust!! His conversation with Karli, Karli calling Sam's sister... oh man oh man. All of this was so juicy, so intense. I like that Sam sympathizes, that he agreed with her cause just not with her methods. He's speaking that truth out for all to hear. John Walker is focused on eliminating a threat, whereas Sam sees the full complexities of the situation. It's why Walker with the serum is bad news, and why Sam... well, Sam would become more of himself, and I can only imagine that as a good thing for the world at large.

It was so intense, and so frustrating, to see Sam actually getting somewhere with Karli and then having Walker ruin it by coming in and interrupting. And then to see the switch flip, when Karli dared to threaten his family. Sam shows up dressed as the Falcon, and he is not playing games. That was such a great showcase of Sam's compassion, the person he is at his core. But he's also a bad-ass and he won't let anything bad happen to those he loves.

I also like the complexity of Sam (and Bucky to a lesser extent) decidedly not happy with John Walker, not willing to work for him or even with him towards a common goal... but there's sort of a bigger loyalty question which is that neither Sam nor Bucky are "anti Captain America," and they know how bad it would be if the Flag Smashers actually succeeded in killing him. Realizing that Karli had called Sam in as a distraction to get him away so that the new Captain America could be killed, Bucky and Sam of course race to the rescue. That whole sequence was really intense. I don't like John Walker. In fact I rather hate him. But I also really felt the urgency that Bucky and Sam were feeling to do right by everybody in the situation.

So that brings us to Zemo managing to escape in the chaos of the Dora Milaje, the Flag Smashers, John Walker and Lamar, and Sam and Bucky, all going head to head. Bucky and Sam are just trying to stop anybody from dying in this whole mess, but they each have their competing and complex thoughts about the situation as well. Zemo sneaking out, after being such a weirdo and kind of helping but also just being obtuse on purpose, was such a great tension-builder. He's a sinister character who also adds some dark comedy to proceedings.

Let's talk about Sam and Bucky and how they should get married.

No but really, I've expressed some frustration with Bucky's behavior, but ultimately this show is about the loyalty between these two men who have been through so much together, who have so many shared experiences and traumas, but who also can't possibly understand each other's perspectives fully. There's the moment when Walker calls Sam "your partner" when talking to Bucky, and Bucky immediately affirms that Sam is capable of talking to Karli, backing up his play, and then says "he's not my partner." There's a defensiveness there, but then an undeniable loyalty. When Sam tells Bucky that Karli told him to "come alone," Bucky doesn't miss a beat before saying "I'm coming with you." When they're in the middle of a fight, they back each other up. Sam checks on Bucky after the arm thing I mentioned earlier. They've fallen into being partners with each other without really dissecting if it's what they want. This stuff is catnip to me, truly. I can't wait to see where they land in the final episodes.

John Walker fucking cutting a dude to pieces with Captain America's shield in broad daylight and with multiple phones on him, recording it all... well, damn, Disney. That's quite the image to linger on. Obviously this is going to be A Situation. I knew something was going to break bad with John Walker, I just didn't know exactly what it was going to be. Lamar's death doesn't sit right with me. I feel like Walker might have gone off the deep end even without that particular catalyst. But the fact of his breakdown was really chilling, and effectively shot, and is sure to lead to intense consequences in the final two episodes!

Man, I'm sad it's coming to an end so soon... I want so much more of Sam Wilson, please and thank you!

8.5/10

#review #fatws #fatws review #the falcon and the winter soldier #the falcon and the winter soldier review #falcon and the winter solider #falcon and the winter soldier review

12 notes · View notes

limitless-imagination · 4 years ago

Text

General and Off-Season hcs with the Legends part 1

[I decided to split this into two parts, since it’s so big - cheesy]

Bangalore

Anita would love it if you joined her to train. Being a weapons expert also means you get a lot of handy tips from her. And maybe an excuse for her to be close to you while fixing your arm position, or grasp on the grip.

Anita also like to check out different bars and spend time there. She’s not always there to drink- she likes the ambience too (as long as it’s not at the Paradise Lounge). Anita can spend a good chunk of time sitting in a corner and reading news, doing research, and writing detailed notes on how to improve during fights in the arena. She wouldn’t admit it right away, but having you join her while she winds down at bars would be nice.

Good company is everything, and reminds Anita of her late nights while working for the IMC. So having you around keeps her grounded, and feeling good.

Bloodhound

Bloodhound always uses the off-season as time to spend in nature. They’d take you with them into a heavily forested area to hike, camp, and track native fauna for fun.

If you also happen to be into nature, they’ll feel comfortable going off the beaten path and traversing more dangerous territory. They like a challenge, and might make a game to get to a waypoint quickly. It spices things up. But don’t worry, they’re patient with you.

If you’re the city type however, Bloodhound will be more careful and guide you every step of the way. They’ll take your hand when climbing up a big rock, or catch you when you slide down a hill. They may joke around with you a bit, pointing out little bugs or harmless prey to tease you.

At night, watching the stars are a must. Pulling you close, they’ll feel satisfied with the trek, and impressed with you.

Caustic

Caustic’s got several laboratories scattered wherever the Games go- currently Solace and Talos. So resting? He’s never heard it. It’s always Experiments Time on his watch. Join him as he creates and works on new and improved destructive vapours.

If your background is in science, he will value your opinion, as long as it aligns with his. He’s a tough man to impress, but if you show him you’re on his side, he’ll feel that much more trusting.

If you don’t have a science background, you can still be useful. Reminding him to eat, or sleep will definitely go right over his head, but he will remember it. Knowing you care about him makes him curious.

If you manage to get him away from his work for a few moments to see him, he’ll be annoyed, but you’re less bothersome than the other Legends...

Crypto

Despite being in the Games as a public figure, Crypto still prefers to spend his down time away from the public. It’s an old habit. It’ll probably be at your place. He’s still not comfortable sharing more than he needs to.

The perfect night in consists of takeout, movies, video games, and hacking.

Crypto is often working on improving his drone, Hack. If you’re feeling cooped up in your home, he’ll ask you to run off in some kind of hide and seek game. He can test any progress while you play. You haven’t won- yet. But one of these days...

He gets real stubborn if you remind him of who he used to be. He buried Tae Joon so he could get a new start. It just wasn’t the kind he wanted. Just be sweet with him about it. He might get a bit bashful.

Gibraltar

Makoa is the kind of person who makes the most of his time off from the Games. His schedule looks like: strolls around the city, sightseeing, trying new restaurants, and meeting people. Makoa is a people person, so he loves having conversations with random people or fans he sees outside of the Games. Please join him. He’d love to boast about you.

Makoa also does volunteering with S.A.R.A.S. during off-season. He would absolutely love you if you joined him. Nothing like you and him, saving the world together! He’d be so happy to have you stick around. You can see the heart eyes on this man.

He’s an honest guy, but sometimes he can also have doubts that he keeps to himself. If Gibraltar isn’t happy, then how can others be? Off-season is also his reflection period. And knowing he can lean on you for support means the world to him.

Lifeline

Ajay is a homebody. She may be the heart of the squad she is in, but she also likes to have time where she can relax and stay in.

That said, if you show up at her door with food, drinks, and a good time, she’ll always be welcoming. She’ll set up a speaker and you can play your shared playlist. It also drowns out Octane’s voice, which is a plus.

Ajay enjoys playing board games. She has at least ten in her home. She can get incredibly worked up over Scrabble, Settlers of Catan, The Awkward Storyteller, and Jenga. There will be yelling, laughing, and lots of competition- it’s all part of the fun for her.

Ajay also likes watching documentaries on her down time. She isn’t picky, she enjoys learning. Snuggle up on the couch with a blanket and snacks, and you’ve got a sweet hour of education ahead.

Loba

Stealing? During the off-season? It’s more likely than you think! And Loba would be pleased to have you join in on her heists. It’s fun to have an accomplice she can trust, and all the more pleasant if it’s you.

Loba also knows the importance of beauty rest. You don’t look this good without it. When not taking shiny trinkets, or planning an outing, you can bet Loba will be sleeping in, taking her time getting ready, and lounging around her place.

Her definition of rest includes trying out makeup, painting her nails, and redoing her closet together. It’d be good to have a second opinion of a lover, so she’d try on all her clothes and show off to you. Loba likes all the compliments.

She’ll understand makeovers aren’t your cup of tea. At the very least, she’ll ask you what colour or design her nails should be for the evening.

#Apex Legends #Apex Legends hcs #Apex Legends headcanons #Bangalore #Bloodhound #Caustic #Crypto #Gibraltar #Lifeline #Loba #limitless-imagination

78 notes · View notes

hecallsmehischild · 4 years ago

Text

Recent Media Consumed

Books

A Knot in the Grain and Other Stories by Robin McKinley. Not bad for a fantasy short story compilation, but as I read the stories I felt like too many questions went unanswered, or the answer wasn’t clear enough. I know there’s an art to not answering questions and making that intentional, but I didn’t pick up the feeling of the author being intentionally vague. It was still fun to read. I’m really just in a fantasy binge mode.

Fire and Water by Robin McKinley and Peter Dickinson. Both books are collections of short stories based on elemental spirits. Eh…. they were okay. Didn’t like them as much as the others.

Crime and Punishment by Fyodor Dostoevsky. Hard book to get through. There’s so much monologuing and it doesn’t all make sense to me. People seem to be talking trite nonsense half the time and then being unbearably deep the other half. It is an interesting look at morbid aspects of the human heart. Might be that it’s a bit over my head to appreciate fully, but I’d like to read at least one more by this author. Maybe The Brothers Karamazov.

Movies

Hello Dolly. (mini liveblogging of reactions) There are way too many musicals I have not gotten around to seeing, simply because I have old favorites and sometimes it’s hard to get out of a rut. I am two minutes and four seconds in and CLEARLY not watching this before now was a failure on my part. I am in awe of the opening sequence that is just a series of legs and feet, but they are all moving to the music and they tell a dozen different stories that are very easy to understand even without seeing anybody’s top half, this is EXCELLENT framing and shooting and I feel like I’m in for a real treat. (In the middle of “It takes a woman”) I cannot tell you how much I missed over the top satire. This very much has the feel of My Fair Lady’s “With A Little Bit of Luck”. But then it’s taken up by the protagonist with an entirely different tone and WHAM the feels hit. I’m not enjoying all of the musical numbers, but there’s this one bit in the middle of the song about dancing where Dolly accepts a dance invitation from the grizzled old groundskeeper, and seeing this high-class looking widow take his invitation without a shred of irony, and to see him take her dancing in such a way that shows he’s clearly done this for many years and may be a widower himself, it’s just this strange sweet kind of moment that’s meant to be savored. And then again WHAM this high class widow, whenever she has a musical number in private, just NAILS you with her song and performance and all her emotions. Barbara Streisand was incredible, absolutely incredible. A lot of the other characters don’t really feel real, they feel like Musical People. She slips on the clothes of a Musical Person but then she drops the facade and shows you how hard all this is for her and it’s incredible. The movie is worth it just to watch HER. Even if it is very stressful watching her manipulate conversations and move people around like pawns. I have to say I do not, for the life of me, understand why she wants a relationship with Mr. Horace Vandergelder, or why he agrees. They look like they’ll make each other miserable for life.

Honest Thief. I went in with low “dumb robbery movie” expectations and was pleasantly surprised. I think I was most surprised by the fantastic chemistry of the couple and pretty much everyone’s acting. Aside from the acting it wasn’t anything remarkable, but everyone took it up to the next level. Nice flick. Also it tickles me to hear the voice of Aslan talking about how he carried out perfect robberies.

Nezha. Holy. Cow. Okay it doesn’t make total sense to me, not all the way through, but I chalk that up to missing cultural/lit knowledge and translation issues. Setting that aside, animation was gorgeous. Story was fun, but also compelling. There was some gross-out humor, but I’ve seen worse. And the climactic fight scene? Man. It went SO LONG but I didn’t even care. Some fight scenes drag on, but this one could have been twice as long and I would have been fine with that. The creators of this film really went all out with creativity and variety all throughout the film. I don’t totally understand the ending but I would love to see more (as the credits scenes hinted that there might be more). Oh wait, there is more and it’s called Jiang Ziya…

The Mitchells vs The Machines. This movie was so full of heart and also so full of complete over the top dumb goofiness. It kind of reminded me of Despicable Me in that way. Definitely brought a smile to my face.

Shows

Star vs the Forces of Evil. I had to re-watch through Eclipsa’s and Meteora’s arc because I’d seen that much before, but too long ago to remember. I re-watched it, then settled in for the last season which I hadn’t seen before. Watching through the new content and… I’m… disappointed. Story seems to be all over the place. The conflict is so forced it hurts. People are flatter than flat. And they’re all idiots. I feel like the show is trying to reach for a moral and don’t even know what that is from episode to episode. Wow. And as I go into the final arc, it just gets worse. Ham-fisted with zero focus and twists out of the bloody blue that make zero sense. You know… this series was hard to get into because characters were annoying and gross at the start. But then it added depth to each character and made me care about them as it went along. But everything after Eclipsa became queen has flushed all of that down the toilet as fast as possible and it is maddening to see that story-trust wasted. Nothing means anything in this story, that’s the conclusion I end up coming to. Nothing means anything and there is nobody worth caring about. I am radically disappointed. And kind of angry at the sheer number of levels at which the storytelling became terrible.

Games

Legend of Zelda: Link’s Awakening. I wasn’t sure how I’d handle another controller-based game after getting so accustomed to Breath of the Wild (I’m on a second re-play of that, I play it whenever my brain is on the fritz so badly that I can’t do anything else). But it turned out to be pretty easy to get into. The hardest part is getting stuck about how to solve certain puzzles and trying to figure it out over and over. Sometimes I figure it out, but sometimes I need to look up a hint online. I’m almost at the end of the game and I’ve enjoyed it quite a bit. I want to play more Zelda games...

Katamari Re-Roll. This is so stupid. I mean, SO VERY STUPID. And so much fun. You start off as this tiny little person just rolling a ball around and you can pick up anything smaller than you (thumbtacks, coins, caramel candies) and as your ball gets bigger, your options open up (mice, carrots, eggs, crabs) and open up (shoes, toys, cats, dogs) and open up (humans, food carts, cows). I hear you get to roll up houses at some point. I’m looking forward to that. For now I’m at the level where I’m rolling up a lot of people. They’re all wiggly and shrieky. It’s funny. There’s a time limit on each level, and you have to reach a certain size by the time limit, which is the only really annoying thing about it. But I’m still having a lot of fun.

World of Warcraft: Classic. Of all the games I never thought I’d play, this is probably toward the top of the list. I don’t like the concept of grinding. I like story. But after playing Breath of the Wild, I also found out that I love exploration/open world type games. My husband helped me build a character and we ran around doing quests and levelling up. Now I’m a level 17 Dwarf hunter who does skinning and leatherworking. I have a pet wolf named Chompers. I’m having a lot of fun. Probably not obsessive levels of fun, but enough fun that I’m happy to sink a couple several-hour sessions a week into playing.

#Child loves books #child loves movies #child loves shows #n00b gamer child #recent media consumed

5 notes · View notes

mageglory · 3 years ago

Text

And here we go with the last two episodes of

Dragon Age Redemption (Of a Plot).

My baby Josmael finally gets to flip off Tallis -I don't hate Tallis, but this movie has her at her worst attitude- and Cairn and gets a reaver friend. We start with episode 5. Are you ready? Let's go.

-The episode starts with our protagonists fighting in the inn, where we left them and oh Maker did I said how I love the guy with the hammer? Not only he has a gigantic rubber hammer, he's also bald, grinning and with a dark beard. He's the perfect evil enchnman clichè and I want 20 of them thank you very much. He even says "GRAAAWL!" before starting the fight. I love you, random evil hammer guy.

-The fights goes more or less the same, the only thing I'm gonna change is that the innkeeper does not randomly knocks out Josmael because I find not very realistic that a civilian would throw herself in a fight. She still gets angry at the gang for fucking up the inn and takes their money, but she spends the fight hiding to safety behind the table and immediately after the fight and them buying informations from the innkeeper. If we have to add something, I would not mind Josmael or someone else asking what Nyree did, so we can throw some informations about Reaver abitilities to the viewer instead of just assuming I know.

-Ok it's a specific DA movie, so if you are watching you probably know about reavers and lore already, but a good rule of storytelling is to never assume the player/viewer already knows, and I study games.

-Anyway the gang is now in the dark (it was daylight in the previous scene why is now dark? what did they waste time on?? That's a mystery between them and the script) or still daylight if we want to be more realistic. They are talking about how those guys were waiting for them and how did Sarebaas knew they were gonna enter that inn, since Sarebaas is obviously behind this?

-Tallis is like "Josmael told us about the shortcut I don't trust him" and knocks him against the stone. But since we are less than 20 minutes from the end, Josmael is tired of being harrassed by his "allies" and having to take it for the sake of the mission so he hits Tallis with a mind blast and tells her to get her hands off him. Cairn takes out his sword, but he feels cold against his neck and realizes Nyree is keeping her weapon on him, estabilishing sides officially.

-Josmael explains how he followed the instructions on a message for the person he loved, NOT to betray them and Craig snaps towards him yelling "deceitful little apostate!" but is once again stopped by Nyree who growls at him "Don't Try It, Anakin torturer!" since it's a stalemate, Craig does his "I know nothing good could come of you" but Josmael is defiant, not scared (well ok maybe he is scared too but he's not gonna take this from Meredith little boy). At the "You're tainted!" Josmael snaps that the dalish have heard the stories about the Knight Commander of Kirkwall and if he's tainted at the eyes of someone who was hurting elders in chains then he's proud. Cairn tries to surpass Nyree to kill him and is knocked down instead.

-Nyree does her reveal, telling that the boy is right and even if he wasn't Cairn is way worse than a lie out of love, for he caused Sarebaas escape by trying to kill him. Tallis interrogates Cairn about it and Cairn admits how he tried to kill the mage but was overpowered. (Nice to see Templars are usless as always).

-Blablabla Sarebaas killed Cairn family after his village near Kirkwall took pity of him? Ehh no. We are not doing Sten 2.0 on the simple basis that Sten had a (wrong but still logical) motivation.

-Instead when asked "why" Cairn will tell that his family did took pity on Sarebaas but he did not trusted him. Then one night he entered the barn where Sarebaas was being let sleep (since the family did not had enough room for him) and caught him doing bloodmagic and summoning demons. Cairn, as a Templar who was visiting his family, realized the qunari wasn't "simple" a qunari, but a mage and a maleficar and when he tried to arrest him as is his duty Sarebaas killed his family trying to escape.

-Some of you could say "but this still makes Sarebaas the cartoon villain evil mage?" and I say, in Mickey Mouse voice, "This is a plot point that will serve us later". For now, like the Hinterlands, bear with me. (Yes I know my jokes are great).

-Anyway in the fight and after seeing his little sister die in his arms, Cairn was stopped from killing Sarebaas by the Chantry (specifing they stopped him only because they wanted to "experiment" on him not because murdering mages is wrong), tried to kill him later and messed up.

-Instead of framing Josmael and making Cairn looks #angsthero we have Josmael in the right and Cairn in a "yeah he caused this and I dont like him but I can understand the trauma" (for now) situation.

-Then Nyree realizes Josmael legged out to reach Sundermount alone and Tallis says some curse in qunlat instead of "Andraste's Ass" because if she can curse in qunlat during Mark of the Assassin she can do it now too.

-We start with episode 6, the last episode, with Josmael getting close to the altar (thankfully my Hawke never looted the elven graves lmao. The last thing this boy needs is an horde of angry ravenants).

-Behind him Nyree shows up and says she prefers to help him than help Tallis and Cairn. Josmael points out he has no money and Nyree answers something along the lines of "I already have the money kid. But you know we mercenaries, we have no honor and it's better than a fake one".

-Tallis and Cairn reach them and Cairn wants to fight but Tallis intervenes doing her "we all want to defeat Sarebaas let's keep working more or less together and we can solve this later" so each party goes hiding behind some rocks, waiting for the enemy.

-While Tallis and Cairn talk (with NO romantic music thank you very much) Cairn admits Meredith didn't allowed the mission and says that he thinks he will not be able to go back. "The Knight-Commander is not the kind of woman who forgives lack of control"

-They are very pompous about it but it's made clear to the viewer that one side wants to murder a mage and the other wants to enslave him. Since we think Cairn wants revenge for his family and we have previously seen Sarebaas look of horror towards his collar, we are like "well I hope the bastard Templar kills Sarebaas seems the more justified of the two options and probably Sarebaas would rather die than return to the Qun"

-They still try to recruit each other, but there is no kiss or romance, only two zealots trying to recruit the other in their creed.

-We entirely skip that scene with Nyree and Josmael. You know the one. ENTIRELY I SAID.

-They instead talk about how Nyree has seen Templars harrass mages in Nevarra when they could and throw dirty look at Mortalitasi and Josmael thanks her for siding with him in the past.

-Sarebaas and the bad guys arrive with Fina (Josmael beloved in case I didn't specified already) and a battle plan is made, with the four protagonists reunited on the same rock.

-I take a moment to appreciate how Sarebaas long nails are pained black and way better than Voldemort dirty ones. Remember kids, being an evil mage hell bent on conquering the land with a demon army is no reason to look dirty.

-Sarebaas start the ritual and when Josmael tries to put Fina to safety she tells Sarebaas the enemy is here. Josmael is shocked but then he realizes that Fina is controlled by blood magic. Because that makes at least more sense than "being kidnapped by the villain of the story makes me feel special I so love being a sacrifice"

-I clap at Sarebaas calling the dead to him because necromancy is always cool, even on low budget.

-Fina still gets Stabbed because Sarebaas magic pushed Josmael against her while he was struggling to take the knife away from her without hurting her and the blood activates the ritual. Instead of being immediately defeated, Sarebaas and Josmael are locked into a magic duel until the mask doesn't power up Sarebaas, then Josmael is throwed away.

-As in canon, Sarebaas magically blocks Cairn and thanks him and Cairn yells at him he's a monster but Sarebaas reveals the truth. He never did bloodmagic to kill Cairn family. Cairn killed his family.

-The true story is that yes Sarebaas, being Sarebaas/a mage was using his powers in the barn, but he was doing enthropic magic. Cairn, already blinded by hate and rage because of the difficulties with th Qun in Kirkwall and his own racism (fueled by Petrice, altought she's not directly mentioned because he couldn't know this, but we know), assumed entropy was blood magic without taking a second to check/ask and tried to kill Sarebaas.

-In the fight, the family and others ran in to see what was going on, Cairn tried to kill Sarebaas and instead stabbed his sister who was trying to stop it and a flying spell set the barn on fire. After being arrested and taken to Kirkwall, Sarebaas -enslaved by the Qun all his life and now an attempt to a new life destroyed by racism- decided that it's better to be feared than a weapon in other people hands and so when Cairn tried to kill him again, making him escape, Sarebaas seized the occasion to chase the mask and exact revenge on everyone.

-Still a villain, but a villain caused by Cairn himself and by the Qun treatment of people. It's a very "Luke I'm your father" "That's not true! That's impossible!" moment, except Luke is the bad guy who caused everything and Vader is still the bad guy but he's spilling the beans.

-So Sarebaas thanks Cairn for "showing him the truth of the world" and the fight goes on.

-Josmael asks Tallis to pass him a knife and cuts himself on the hand, using blood magic to stop the bloodmagic. While the rest of the group keeps Sarebaas busy, Josmael calls the blood out of the mask. No blood, no mask power, no mask power, no ritual. The Fade rift that was forming closes. Cairn gets ellectrocuted by magic but Tallis manages to put the qun control collar on Sarebaas, making him powerless.

-Cairn dies *world smallest violin plays* and when Tallis asks why he didn't tried to live his life Sarebaas tells her "You heard me talking to your Templar. I try and failed. Then I had the means to do harm... So I took them." and his "Qunari made me this way" bit, making the audience realize that while this doesn't justify Sarebaas actions, Thedas denied his attempts to be something that wasn't a weapon at every turn.

-Since there is no romance nobody particularly cares for Cairn, so Tallis is still intentioned to bring Sarebass back in chains.

-Sarebaas and Tallis are stopped by Josmael, who tells him he can't forgive him, but he knows part of his struggles, since the same people who denied a new life to him are the people who try to kidnap dalish kids with magic.

-Josmael looks at Sarebaas who nods and two spells make two things happen: his collar is broken and the second spell turns him into ice, breaking him in pieces and killing him. Sarebaas dies, but he dies free.

-Instead of having Josmael randomly hug Tallis in the end after she stabbed him, stole from his clan and treathened him, she argues with Josmael because she wanted to bring the prisoner to the Qun, but then she realizes that she is alone against two and angrily leaves.

-But first, Nyree throws the money of her payment (who were the clan stolen money) to Josmael, then takes Tallis money for herself.

-Nyree tells Josmael he is a great First and will one day be a great Keeper too and Josmael gives her an elven token of friendship so that other clans she could meet will recognize her as a friend of the People. He tells her it's not guaranteed that all clans will accept her, but still.

-They bury Fina together.

-Camera shows the sunset on Soundermount.

-The End.

Also yes, it is possible to interact with Josmael the First in Dragon Age 2 at the Sabrae camp in my mind. Because Merrill needs her people tp support her.

#dragon age redemption #dragon age #tallis #rewrite #i hope it's decent #this was fun to write #and i managed to put an horrible bear pun in it

5 notes · View notes

illegiblewords · 4 years ago

Text

Fic Writer Meme

Swiped this because it looked like fun!

Name

Fandoms