#proper humour mixed in with the dialogue too

[incinerated-vestiges]

Not super active in the fandom anymore BUT this fic is absolute gold btw

[worldwidemovies012]

Thangalaan review

: Pa Ranjith's film is intertwined with some fantasy and mystical realism. A must watch for Vikram fans.

Thangalaan is a period action drama starring Vikram, Parvathy Thiruvothu and Malavika Mohanan in the lead roles. The film is directed by Pa. Ranjith, produced by Studio Green K.E.Gnanavel Raja and the music is scored by G.V. Prakash Kumar.

Premise:

Britishers are in a wealth hunt, they take tribal people to work for them. Strange visions of Vikram to lead the troop to the Gold-rush area. What happens after forms the crux of the story.

Writing/ Direction:

Gold is the base of the film, the film showcases how it was handled in the 19th century by our rulers. Well-researched in terms of landscape, the way people look and the terms they use, which is sure to take the viewers back in time. The fantasy element is intriguing, the dynamic development of it is one of the few appreciable aspects of the film, the closure to it makes sense, sadly it is rushed by leaving no impact. The first half is like an adventure flick, with many different themes tried, but the result is extremely flat.

No clarity in the fight scenes as to who is winning and who is losing, the Black Panther sequence is a big dud with poor vision and the heavy smoke effects used lowers the visual standard.

Pasupathy’s humour portions are a big relief to the dry screenplay. The second half starts on a promising note with a few good scenes, displaying the happiness of the tribes for receiving new clothes, how the British treat the tribe with respect until they get to the Gold and shows their true nature after that, etc. Post which the film becomes dull with the slavery part not turning out to be emotional on-screen, the payoff is also very weak by bringing in a clumsy platter which is hard to consume. The biggest drawback of the film is the dialogue modulation of the artists which is probably authentic for the period, but had to go through hell to follow and understand.

Performances:

Chiyaan Vikram’s limitless efforts are evident on-screen, showing great variety in makeover, body language and expressions. Parvathy Thiruvothu is very casually natural on-screen, her scenes with the hero are lively, but the script required more to utilize the chemistry between them. Quite a challenging role for Malavika Mohanan, she has given her best, just wish she had more highlight action scenes to prove her full-potential. Pasupathy’s character started off fascinatingly, but then the arc was left abruptly without giving a proper ending it deserved. Stone-faced villains, the issue with foreign actors’ performances which the most Indian films have exists here too. The other supporting characters are written in a half-baked manner that we don’t get to feel for them.

Technicalities:

Meticulous work by G.V.Prakash, top quality songs overall, especially the Minikki Minikki track stands out and it is beautifully placed in the film. Solid score, his music made a lot of weak situations better, he has focused on what instruments to use as well. The visuals are first class, strong production value and location recce have led the team to explore new terrains, however the action is captured in an unimpressive manner. A lot of edit patterns and jump cuts are fascinating, but finesse is missing when things are simple, the packaging fails to engross. VFX is a mixed bag, the models look neat during the static shots, but the motions aren’t done right to make the sequences believable. Stunts lack punch, the approach is realistic but the output feels hurried.

Bottomline

Fantasy element is fine when it stands alone, falters when blent with reality. The film misses to hold the interest except for the initial chunk in the latter half. Had immense potential to be a hard-hitting flick, but it never took off from the ground level.

hindi:- थंगालान समीक्षा: पा रंजीत की फिल्म कुछ कल्पना और रहस्यमय यथार्थवाद से जुड़ी हुई है। विक्रम के प्रशंसकों के लिए यह फिल्म अवश्य देखें।

थंगालान एक पीरियड एक्शन ड्रामा है, जिसमें विक्रम, पार्वती थिरुवोथु और मालविका मोहनन मुख्य भूमिकाओं में हैं।

फिल्म का निर्देशन पा रंजीत ने किया है, जिसका निर्माण स्टूडियो ग्रीन के.ई. ज्ञानवेल राजा ने किया है और संगीत जी.वी. प्रकाश कुमार ने दिया है।

प्रस्तावना:

अंग्रेज धन की तलाश में हैं, वे आदिवासी लोगों को अपने लिए काम पर ले जाते हैं। विक्रम को सेना को गोल्ड-रश क्षेत्र में ले जाने के लिए अजीबोगरीब दृश्य दिखाई देते हैं। उसके बाद क्या होता है, यही कहानी का सार है।

लेखन/निर्देशन:

फिल्म का आधार गोल्ड है, फिल्म दिखाती है कि 19वीं सदी में हमारे शासकों ने इसे कैसे संभाला।

भूदृश्य, लोगों के देखने के तरीके और उनके द्वारा इस्तेमाल किए जाने वाले शब्दों के संदर्भ में अच्छी तरह से शोध किया गया है, जो दर्शकों को निश्चित रूप से समय में पीछे ले जाएगा।

फंतासी तत्व दिलचस्प है, इसका गतिशील विकास फिल्म के कुछ सराहनीय पहलुओं में से एक है, इसका समापन समझ में आता है, दुख की बात है कि इसे जल्दबाजी में बनाया गया है, जिससे कोई प्रभाव नहीं पड़ता।

पहला भाग एक साहसिक फिल्म की तरह है, जिसमें कई अलग-अलग थीम आजमाई गई हैं, लेकिन परिणाम बेहद सपाट है।

लड़ाई के दृश्यों में कोई स्पष्टता नहीं है कि कौन जीत रहा है और कौन हार रहा है, ब्लैक पैंथर का दृश्य खराब दृष्टि के साथ एक बड़ा डफ है और भारी धुएं के प्रभाव का उपयोग दृश्य मानक को कम करता है।

पसुपथी के हास्य भाग सूखी पटकथा के लिए एक बड़ी राहत हैं। दूसरा भाग कुछ अच्छे दृश्यों के साथ एक आशाजनक नोट पर शुरू होता है, जिसमें नए कपड़े प्राप्त करने के ल��ए जनजातियों की खुशी प्रदर्शित होती है, कैसे ब्रिटिश जनजाति के साथ सम्मान के साथ व्यवहार करते हैं जब तक कि वे गोल्ड तक नहीं पहुंच जाते और उसके बाद अपना असली स्वरूप दिखाते हैं, आदि।

इसके बाद फिल्म सुस्त हो जाती है क्योंकि गुलामी वाला हिस्सा स्क्रीन पर भावनात्मक नहीं बन पाता है, भुगतान भी बहुत कमजोर है क्योंकि एक भद्दा प्लेट पेश किया जाता है जिसे पचाना मुश्किल है।

फिल्म की सबसे बड़ी कमी कलाकारों के संवादों का उतार-चढ़ाव है जो शायद उस दौर के हिसाब से प्रामाणिक है, लेकिन इसे समझने और समझने के लिए नरक से गुजरना पड़ा।

प्रदर्शन:

चियान विक्रम के असीम प्रयास स्क्रीन पर स्पष्ट हैं, मेकओवर, बॉडी लैंग्वेज और भावों में बहुत विविधता दिखाते हैं।

पार्वती थिरुवोथु स्क्रीन पर बहुत सहज रूप से सहज हैं, नायक के साथ उनके दृश्य जीवंत हैं, लेकिन स्क्रिप्ट में उनके बीच की केमिस्ट्री का उपयोग करने के लिए और अधिक की आवश्यकता थी।

मालविका मोहनन के लिए काफी चुनौतीपूर्ण भूमिका, उन्हो��ने अपना सर्वश्रेष्ठ दिया है, बस काश उनके पास अपनी पूरी क्षमता साबित करने के लिए और अधिक हाइलाइट एक्शन दृश्य होते। पसुपति के किरदार की शुरुआत आकर्षक थी, लेकिन फिर आर्क को बिना उचित अंत दिए अचानक छोड़ दिया गया।

पत्थर के चेहरे वाले खलनायक, विदेशी अभिनेताओं के अभिनय की समस्या जो कि अधिकांश भारतीय फिल्मों में होती है, यहाँ भी मौजूद है।

अन्य सहायक पात्रों को आधे-अधूरे तरीके से लिखा गया है कि हम उनके लिए कुछ महसूस नहीं कर पाते।

तकनीकी बातें:

जी.वी.प्रकाश द्वारा किया गया बेहतरीन काम, कुल मिलाकर बेहतरीन गाने, खास तौर पर मिनिक्की मिनिक्की ट्रैक सबसे अलग है और इसे फिल्म में खूबसूरती से रखा गया है।

सॉलिड स्कोर, उनके संगीत ने कई कमज़ोर स्थितियों को बेहतर बनाया, उन्होंने इस बात पर भी ध्यान दिया कि कौन से इंस्ट्रूमेंट का इस्तेमाल करना है।

विज़ुअल बेहतरीन हैं, प्रोडक्शन वैल्यू और लोकेशन रेकी ने टीम को नए इलाकों की खोज करने के लिए प्रेरित किया है, हालांकि एक्शन को बहुत ही कमज़ोर तरीके से कैप्चर किया गया है।

एडिट पैटर्न और जंप कट बहुत आकर्षक हैं, लेकिन जब चीजें सरल होती हैं तो बारीकियाँ गायब हो जाती हैं, पैकेजिंग भी ध्यान खींचने में विफल हो जाती है।

वीएफएक्स एक मिश्रित बैग है, स्टैटिक शॉट्स के दौरान मॉडल साफ-सुथरे दिखते हैं, लेकिन दृश्यों को विश्वसनीय बनाने के लिए गति सही तरीके से नहीं की गई है। स्टंट में दम नहीं है, दृष्टिकोण यथार्थवादी है लेकिन आउटपुट जल्दबाजी में किया गया लगता है।

बॉटमलाइन

फ़ैंटेसी एलिमेंट अकेले होने पर ठीक है, लेकिन वास्तविकता के साथ घुलने-मिलने पर यह कमज़ोर पड़ जाता है।

फिल्म के दूसरे हिस्से में शुरुआती हिस्से को छोड़कर बाकी हिस्सा दिलचस्पी बनाए रखने में विफल रहा। इसमें एक दमदार फिल्म बनने की अपार संभावना थी, लेकिन यह कभी भी जमीनी स्तर पर आगे नहीं बढ़ पाई।

[moviewarfare]

A Review of “Spider-Man: Across the Spider-Verse (2023)”

Spider-Man: Into the Spider-Verse was not JUST the best-animated movie of 2018 or the best movie of 2018, it was the best Spider-Man film period! I was thrilled at it getting a sequel but was slightly worried it won't live up to the first one. Is Across the Spider-Verse a worthy sequel or one universe that should've been closed?

Firstly, let's get the obvious out of the way. The animation is SPECTACULAR! The animation and art style changing depending on what universe the characters are in or even what universe the characters are from was a great creative choice. The way the characters move, the vibrancy and the colours of the world are so gorgeous and beautifully crafted. The action scenes are thrilling and exciting while also being well-choreographed. The soundtrack is still phenomenal here as well, with a special mention of Spider-Gwen's theme.

In terms of story, Spider-Gwen has a bigger focus this time. We get more exploration of her backstory and her struggles, such as loneliness and guilt. Her character arc is one of the great highlights of this film. Miles Morales is still of course the main focus as well and has his struggles too. He is starting to experience the "Spider-Man" problem of balancing his own life with the responsibility of Spider-man. The sequel continues his arc of trying to become his own hero and it is still very compelling. The chemistry between both Miles and Gwen is strong with their relationship being one of the things I enjoyed. Spider-Man 2099 returns from the post-credit of the previous film to a major role in this entry. I like that he is the one Spider-Man who doesn't joke like the others as it furthers the contrast between him and Miles. The way he is animated feels more inhuman as well which makes him significantly frightening.

He isn't the main villain though, that comes to a character called The Spot. He is a very interesting villain as he comes off as very goofy and silly. His origin is also a bit ridiculous. Despite all that, the directors managed to make him come off as very threatening with how they used his abilities. It is impressive that made a lame-looking character be that menacing. The returning voice cast such as Shameik Moore as Miles, Hailee Steinfeld as Gwen, Brian Tyree Henry as Jeff, Luna Lauren Vélez as Rio Morales, and Jake Johnson as Peter B. Parker is still great here.  Oscar Isaac also returns as Spider-Man 2099 and he is awesome. In terms of the new voice cast, Jason Schwartzman is terrific as The Spot with how he portrays both the silly and serious side of the antagonist. Karan Soni is funny as Spider-Man India and Daniel Kaluuya is quite cool as Spider-Punk. Despite the multiverse theme, the information dumps never become too much. They are written in an understandable way that the audience can still digest. The humour is still genuinely funny and there wasn't a joke that didn't land.

In terms of issues, I do find the second act a little bit too long. The second act is mostly about the family drama of Miles Morales and it does go on for quite a while. It doesn't help that the importance of this drama doesn't come into play in this film but most likely the next one, so it doesn't even have a proper payoff. Additionally, the sound mixing can be a bit off. It is sometimes a little difficult to hear dialogue during scenes with loud music or action. This is especially noticeable in the beginning with the drums feeling way more loud than the dialogue. This is also very clearly a part 1 film. It ends at a point where it feels like it is about to enter the final act but it just ends before it does. If the aim was to make me desperate for the next movie then it succeeded!

Overall, Spider-Man: Across the Spider-Verse is a very worthy sequel that builds upon everything that made the first great. The multiverse is such an overdone thing but this film still somehow makes it feel fresh! If the final movie in this trilogy is as good in quality as both this and the first movie, we might have one of the best trilogies in cinema history! The 3rd film can't come soon enough because I am dying to watch it!

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[sitp-recs]

Do you know of any fics under 10k that aren’t too angsty? ❤️

Hi anon, I most certainly do! Thanks so much for sending this ask, I was super excited when I saw it because I’m always happy to celebrate short fics - they could use more appreciation! I’ve wanted to do a proper shorts reclist for a while so I indulged myself and went big, hope you don’t mind! Putting this together was quite hard - going through my bookmarks I realized that I usually go for angsty shorts 💀 so I tried my best not to include anything too extreme, I hope these are okay!

This became a lil monster with 40 recs (and I have lots more hehe) so I decided to sort them by genre - the last category includes light angst (more on the contemplative side) because I can’t help myself. Shout-out to @tackytigerfic for giving me a 2nd opinion and helping me polish this - and for being a darling in general. Happy readings!

ROMANCE/COMFORT

1. Sun Stroke by @peachpety (2020, E, 3k)

Warm, sexy and wholesome, this fic makes my heart soar with the magical beach setting, amazing friendship dynamics and the sweet get together with a delicious side of smut!

2. oxygen [Fic & Art] by @maesterchill (2020, T, 4k)

Tentative acquaintances become something more over a shared smoke at the balcony. Sexy, mature, deliciously atmospheric and full of promise - plus Healer Draco is always a treat!

3. Catch the Snitch (No, Catch My Heart) by @prolix- (2020, E, 4.5k)

Gorgeous bath fic where Harry and Draco just... take care of each other. The raw emotion packed here! Lush and vivid build up with stunning body worship, hot and intimate and breathtaking.

4. Thermodynamic Equilibrium by DorthyAnn (2017, T, 5k)

This quiet comfort fic gives our boys some well deserved healing through physical touching and late night companionship. Love the 8th year atmosphere, soothing and familiar.

5. Blue Sky Is Living Here Today by ignatiustrout (2018, G, 5k)

The loveliest kid fic you’ll see today - real characters, gentle longing, soft understanding. It’s a joy to watch dad Draco through Harry’s smitten eyes, as he realizes there’s no rush to live that love.

6. Gravity Centered by @carpemermaidtales (2019, E, 6.7k)

Possibly my favorite Quidditch fic, this has an original premise and amazing Drarry dynamics, casual and organic, sassy and familiar, with a perfect lil twist at the end!

7. Up The by @shiftylinguini (2018, E, 7.5k)

One of the funniest PWPs I’ve ever read, clever and charming with easy banter and delicious smut. A sweet and sexy glimpse into the Drarry married life! Cw Mpreg

8. And a Malfoy in a Pear Tree by lauren3210 (2015, E, 8k)

Sweet sweet coffee shop Christmas romance! Love the light and fun atmosphere, the easy banter and cute wooing while supportive Ron cheers in the background, what a treat!

9. Ice Snakes, Glow-worms and Wolverine Stew by khalulu (2015, M, 8.4k)

Khalulu writes the softest Drarry, it never fails to put a smile on my face. This has a gentle and sweet get together, with lovely slow burn, a gorgeous San Francisco setting and matchmaker Kreacher ��

10. Life goes not backward by @shealwaysreads (2020, T, 8.8k)

This delicate comfort fic has a special way to tug at my heartstrings - a gorgeous tale about found family and the unexpected wonders of life. Gentle, magical and breathtaking in its simplicity.

HUMOUR

11. in charge by @bonesliketambourines (2020, E, 2.4k)

The ultimate brat Draco, bossy and confident and absolutely gorgeous with his long hair and impossible snark. Charming and funny, this packs so much character and domestic bliss under 3k! Perfect spoiled Draco is perfect.

12. The Morning After by birdsofshore, capitu (2015, M, 5.3k)

This is hysterical and so delightfully creative - Draco exploring Harry’s kitchen and charming a prudish appliance is the kind of cute, silly endeavor I need with my morning coffee!

13. The Spoiling of Sex From Enthusiastic Ignorance by @cibeewastaken (2020, E, 6k)

I’m impossibly enamored with Cibee’s drama queen Draco and his passionate missions! This time he’s decided to get some good diq, and the dialogue and mutual pining will make you smile from beginning to end.

14. All Tied Up by MyNameIsThunder (2020, M, 6k)

This is a secret relationship delight! Sneaking around gets so much better when dramatic Blaise is losing his shit to protect the Council of Serpents’ integrity! A+ faux-drama, super fun and sweet.

15. Luckiest Fucking Size Queen Alive by @l0vegl0wsinthedark (2016, E, 6.2k)

My favorite brand of thirsty and chaotic Draco; being inside his mind is such a crazy ride and you won’t stop laughing for a second. Amazing dialogue and insanely scorching smut as per loveglows’ usual 🤤

16. Sex Ed for Aurors by curiouslyfic (2010, M, 8.7k)

This is a Harry triumph, so fun and charming! Here he’s the one chaotic and thirsty, for a change - I’m obsessed with his internal ranting under the lust potion. Brilliant narrative and top notch characterization, a classic!

17. Ferocious Determination, Insufficient Deliberation, and a Slightly Wrong Destination by Faith Wood (2012, E, 9.5k)

Drunk Draco has never been so absurd and I LOVE it! This goes from hilarious to vulnerable and sweet in a heartbeat; pining Draco is a precious thing and Harry’s gentle persistence made my heart swell.

18. Stand Back: I'm About to Perform Archaeology by Blowfish_Diaries (2018, E, 9.7k)

This fic could definitely use more appreciation - I had a blast with Draco’s hilarious voice and their cute married banter! The plot is quite original and I love the 8th year domestic vibes.

19. The Full Monty by @magpiefngrl (2017, E, 9.8k)

The calendar fic we deserve 👏🏻 this is ultimate thirsty Draco being completely obliterated by Harry’s casual attractiveness but mostly by his kind heart and big smile. One of my favorite comfort reads, hilarious, sweet and so damn sexy, the full monty combo is here!

20. Aural Gratification by birdsofshore (2014, E, 10k)

This fic is a classic, charming and hysterical with an adorable Harry thirsting over Draco’s smooth voice. Such an original concept and engaging read, not to mention the rewarding shade of smut!

SMUT

21. Tense by Faith Wood (2013, E, 3k)

Me, reading smut for the dialogue? It’s more likely than you think 😂 this fic is hilarious and hot all at once, with perfect banter and clever dialogue, really a smut triumph!

22. Under Your Skin by @p1013 (2020, Explicit, 4k)

Great premise and the sexiest build up, ugh so much teasing and anticipation as pierced Draco takes Auror Harry’s control away 🔥kudos at the A+ twist and promising ending!

23. The Slytherin Urn by @icmezzo (2015, E, 4.6k)

This fic’s geniality slaps me in the face, what a fascinating concept! Redemption kink and magical theory walk together as Harry loses his mind over competent Draco doing some badass curse-breaking ritual.

24. Once Bitten by Frayach (2012, E, 5.6k)

Still one of the hottest things I’ve ever read, lush and raw and absolutely breathtaking. Dark and tender at once, it explores biting kink with unapologetic precision and I love that!

25. Matched Set by astolat (2016, E, 5.7k)

One of my faves by the genius astolat, this is a perfect mix of hot size kink, A+ dirty talk and a brilliant and nuanced plot showing how Harry navigates his post-war reality. A must-read!

26. Teeth by @amelior8or (2020, E, 6k)

This fic is an emotional rollercoaster and goes from light-hearted and casual to vulnerable and tender in a second. Hot and intimate feat scorching wall sex, gut-punching lines and enthusiastic consent🔥

27. Born Slippy by @dracoladon (2020, E, 8.3k)

My favorite clubbing fic ever, clever and sensual, a master class in UST including the drunk haze confusion and panty kink as a treat! I can’t even talk about this fic without blushing 😳

28. The Page Eleven Wars by fireflavored (2010, E, 8.5k)

Competitive boys fighting for dominance both in bed and at the gossip column’s first page This is peak enemies to lovers: witty banter, hot smut screaming switching rights and feisty stubborn idiots finally getting over their asses.

29. The Things They Never Say by @bixgirl1 (2017, E, 9k)

Angry porn with (many) feels, this feels like a punch to the solar plexus. The explosive Drarry chemistry gives way to something quieter and gentler and full of longing, ugh but it aches so good. Absolutely exquisite!

30. Sweet Indulgence by @the-sinking-ship (2020, E, 10k)

The title says it all; this is a lush and charming read, with chaotic but nuanced Draco pining over authoritative, edgy Harry 😳 steaming pent up tension that culminates in glorious semi-public smut, is your body ready?

CONTEMPLATIVE/SOFT ANGST

31. Sharing a Pack by sugar_screw (2016, E, 2.7k)

A fully fleshed-out love story in less than 3k, with complex characters and powerful feels. Raw, poignant and unbelievably romantic.

32. Still Life by orphan_account (2019, M, 3k)

A superb and gut-punching story where Harry realizes all the little things that make Draco so very different from him - and falls in love anyway. Powerful in its simplicity and concise elegance.

33. Harmony (Left-Handed Melody Remix) by mindabbles (2010, M, 5.8k)

Draco finds his way post-war and Harry meets him in the middle. Aching and bittersweet but also hopeful, with a delicious side of coconut cake, Harry in black robes and Romeo & Juliet as soundtrack.

34. Let Me Have You and I'll Let You Save Me by Frayach (2012, M, 6k)

Enemies to lovers deluxe version! Come and feast on this original narrative, amazingly clever, rich and detailed, telling us an unlikely but inevitable love story.

35. A Pain of Our Choosing by @lqtraintracks (2020, E, 6k)

Broken boys fucking through their issues and healing together during the post-war is so my jam! A+ LQT goodness, this fic is evocative and quietly devastating, but full of feels and hope.

36. Our Little Life by @tackytigerfic (2020, M, 7k)

I’ve screamed about this brilliant fic recently; inventive, poignant and utterly romantic, this fic shows all the ways in which Harry and Draco find each other across space and time.

37. the keys to your kingdom by thistle_verse (2016, E, 7.5k)

A beautiful love story packing an impressive amount of character, conflict and emotion. We are invited to witness as work partners Harry and Draco finally take a leap of faith and grow out of their casual arrangement.

38. Clear As Mud by scoradh (2005, M, 9.8k)

Subtle and heart-wrenching, the sharp and clever narrative creates fascinating dynamics between this brilliantly written Draco and poor oblivious Harry trying to make sense out of it. An all-time fave. Cw: infidelity (not Drarry).

39. fine i'll hold my breath / til i forget it's complicated by teatrolley (2015, E, 10k)

Fucks buddies gone wrong but make it soft so we get to watch as pining Draco patiently waits for Harry to get the memo. Sweet and intimate, with lots of late night talks and comfortable silence.

40. Tidings of Comfort series by @blamebrampton (2012, G, 10k)

Quietly cathartic and atmospheric, this fic is a poignant balm to the soul; such a beautiful tone, such lovely interactions! A must-read for those who enjoy church settings, honest talks and redeemed Draco. All-time fave.

[deanisridingapolarbear-blog]

So King in Black: Wiccan and Hulkling huh?

I’m having very very mixed feelings about this issue.

Rushed and frustration are the main things that come to my mind now. Second would be wasted potential. So much wasted potential.

I totally agree with @bladorthin​ (his very good post here, sums up lot of my thinking too) Billy was so OOC during this issue. I don’t have anything to add to it because bladorthin just summed it all up so well. Though I’d point out Billy would never be that mean to Lauri-El, like sure he might make the date joke/suggestion but not in that manner. Rather I could see Billy going into it full-heartedly and in a loving way, and then in the middle of the action stressing how Lauri-Ell’s date is being ruined (as well as his honeymoon).

Teddy was Teddy, however I think the art lacked emotional touch in some way. Like I felt the dialogue and Teddy’s actions were spot on Teddy but something with the art did not manage to resonate all the feelings to me in a deeper way. Can’t really explain it but hope you get what I mean. 

I have to admit I wasn’t eagerly anticipating this art in any way but sadly it wasn’t the biggest issue. Still not my favourite style (honestly though after Valerio last year can you be truly happy with anything else?) but it had some good moments too. Liked the way the symbiots were drawn (then again I’ve always found Venom cool so not sure you could ruin that aesthetic for me) but yeah I felt that some scenes didn’t come off, especially jokes and such, as well as they could have. Generally the way the facial expressions were drawn were somehow, I don’t know, cold and aggressive, not the right words but just yeah can’t really put my finger on it.

Then the jokes god the jokes. I’m going to be honest I’d be the person to buy into those jokes. I’d have loved and laughed at those moments of “I just wanted champagne” or “This was not a pants wearing holiday” jokes. And I’ll admit I did laugh at Billy’s notion on the pants as well as these panels made me laugh. (loved the eyes Teddy was giving at Billy because that is so in character “sneaky” Teddy to me)

Then I noticed the phone on Billy’s hand and was like “no you ruined it”, which demonstrates the biggest problem with this issue. The potential for good witty humour was obviously there but it was so badly misplaced and used that you are just frustrated. Instead of Billy and Teddy both saying something like “No champagne then huh?” when seeing the symbiots or having those “Finally alone!” excited scenes before shit goes down/someone interrupts them, it was done in the manner that they were set against each other and making some odd differentiating them thingie. Because honestly the lads would do those jokes, the humour is the thing they share the most imho and usually they are presented placing it well and according to each other’s feelings! Also a bit more expressive art could have helped with these as well.

Then the rushing, I think everything moved really fast. Not sure if it’s just my tired ass brain after subbing second graders but the pace was so fast that it made it all somehow anti-climactic. I’d say having more than one issue for this story might have resolved a lot of the issues (or just created more who knows), to have slower pacing and make especially Billy’s motives deeper might have made Billy less OOC even? It would have also allowed time for just more emotional presentation of the whole symbiots taking over the Kree and Skrull soldiers. Could have created more appropriate placing for those champagne and alone jokes. Just all in all too fast pace that did not serve the story at all.

This issue could have had such a good opportunity to explore the friction of Billy and Teddy growing to their new roles and working around to accept each other’s new roles and figure out their relationship now with all the changes. And to be funny/witty at the same time. It kind of tried and there was that potential but it just…. I don’t even know how it could go this wrong this way like. I say it’s the lack of diving into your characters and actually knowing them.

Lastly, things I did like. Billy and Teddy’s outfits when Billy shared his light so pretty!

And this scene was so pretty and there was that potential behind that to be such a meaningful and beautiful scene, but because nothing else supported it in the story well enough it just fell flat. 

Also really liked Billy’s onesie here, you know I just take every opportunity to appreciate it when it’s done this nicely (and without the cape holy moly!)

But I can’t stress how mad I am about the fact that the only thing I thought I could have enjoyed, which was Billy’s child-like excitement over the champagne robot, was ruined this way. It could have been so fun and adorable! I deserved to see it and enjoy it fully but no!

P.S. Why do I get the feeling either Howard or the artist are not comfortable with actual intimate scenes. Teddy jumping up and looking like an innocent child the first time Lauri-Ell interrupts them and then the ending like that? Proper fading to black if you ask me. 

[britesparc]

Weekend Top Ten #497

Top Ten PC Games No One Talks About Anymore

Blimey, Quake is rather good, isn’t it? Have you heard about it? I really hope so, because it’s only twenty-five years old. I mean, Jesus. What’s up with that? Quake is meant to be the future. It’s full of true-3D polygonal texture-mapping and real-time dynamic light-sourcing. Fancy it being a quarter of a century old. That’s ridiculous. “Old” is for things like, I dunno, Space Invaders or The Godfather or I Wanna Hold Your Hand. Stuff that our parents heard about before we were born. It’s not – it’s absolutely not – used to describe something that people bought 3D accelerator cards for. It’s not used to describe a game that popularised online gaming.

But old it is, getting silver anniversary cards and everything. No longer the angry, hungry young tiger, devouring its ancestors and growling at upstart rivals like Duke Nukem 3D – sure, you’ve got non-linear levels, interactive scenery, and toilet humour, but we’ve got grenades that bounce with real physics – Quake is now an aged beast of the forest, resplendent, battle-scarred, weary with gravitas. Quake is the game that shaped the now, but it does not represent the future anymore. In fact, arguably its greatest rival – Unreal – is the game with the lasting, living legacy, its progeny building the next generation of gaming with one of the most popular and impressive engines around, the framework underpinning everything from Gears to Jedi to Fortnite. Quake blew us all away, but arguably it ceded the conflict, secure in its status as one of the most important and influential games of all time. Quake II got plaudits for actually having a proper story and an engrossing single-player campaign (and coloured lighting!), and its immediate descendants such as Half-Life changed the nature of what FPS games could do, but in a funny way it feels like Quake has long since retired. A sleeping titan. It got old.

So it’s great that they rereleased it on modern systems! The version of Quake released last month is basically the game I remember, but tarted up a little around the edges, with texture filtering and dynamic shadows and other stuff that I couldn’t manage on my Pentium 75 back in the day. It plays great – it’s slick as anything, and you go tearing round the levels like a Ferrari with a nail gun, blasting dudes and ducking back around a corner before you get hit with a pineapple in the face. It’s the first game I’ve played in a long, long time that evokes the feel of classic PC first-person shooters of that era – which, y’know, kinda makes sense as it is a first-person shooter of that era. But that style of fast-paced run-and-gun, circle-strafing gameplay has gone out of fashion now, with FPS games usually favouring slow, methodical, tactical combat, or larger-scale open-world warfare usually involving vehicles. Whether it’s a straight-up no-frills blaster like Quake, or a game that takes you on more of a linear, narrative journey, like Quake II, or even just a multiplayer-focused arena shooter, like Quake III Arena, it does feel like a dying artform, like a style of gameplay that could do with a resurgence (and, to be fair, there are games on the horizon that look like they’re harking back to the era, so that’s cool).

But it’s not just first-person shooters like Quake that I feel have slipped from gaming’s shared consciousness. Maybe it’s my age (it’s definitely my age) but there seems to be quite a lot of games that were a big deal twenty or so years ago that are utterly forgotten now, whereas some – Doom, Duke Nukem, Command & Conquer, Age of Empires – are often namechecked or rebooted (even before the full-on 2016 reboot, Doom must have been one of the most re-released games of the last thirty years). But there are lots of others where sometimes I feel like I’m the only one that remembers it. And that’s where this list comes in: inspired by the excellent re-release of the Quake franchise, here are some other great PC games of that general era that I feel still need shouting about, even if I’m the only one doing the shouting. Maybe they don’t all need a full-on remaster or whatever, but it’d still be nice if they got a bit of modern gaming love.

No One Lives Forever (2000): coming at a time when most FPS games were still Doom-style blasters with little in the way of real plot, NOLF was different: stylish and funny, genuinely well-written (as in the dialogue), with interesting objective-based missions and a cool female protagonist. It skirted similar ground to Bond and the then-white-hot Austin Powers franchise. Two games were made and then, as far as I’m aware, it evaporated into a mess of tangled rights, hence no sequels or remakes. A shame, because it was great.

MDK (1997): the next game from the people who made the multimedia phenomenon that was Earthworm Jim, MDK was a really cool slice of sci-fi style, all sleek level design and intriguing features. It had a supremely bonkers plot which bled through into a game with a sense of humour, but mostly it was the run-and-gun gameplay and innovative use of a scoped weapon – possibly (don’t quote me on this) the first sniper rifle in a videogame. An even wackier sequel followed, but despite its cult status, that was it.

Star Trek: The Next Generation – Klingon Honor Guard (1998): it’s probably fair to say that Star Trek has not had as many great videogames as Star Wars, perhaps because Trek’s historically straightlaced earnestness just didn’t translate as well as bashing someone up the chops with a laser sword. Honor Guard shook things up by casting you as a Klingon, showering levels with pink blood and going Full Worf. It was the first game to licence the Unreal engine, and had a cool level where you walked along the outside of a ship like in First Contact. Also: shout out to the Voyager game, Elite Force (2000), which was another really good FPS set in the world of Trek, with intriguing gameplay wrinkles as you fought the Borg. It also let you wander round the titular starship between levels. Trek deserves more quality action games like these.

Earth 2150 (2000): the nineties on PC really saw RTS games come down to those who liked Command & Conquer or those who liked Warcraft, but as the decade drew to a close other titles chased the wargame crown (including Total Annihilation, which would have made this list, except I feel like the Supreme Commander franchise is a sequel in all but name). 2150 was notable for its Starcraft-like mix of three factions with contrasting play styles, and its use of 3D graphics and the ability to design and build weapons of war that could lay waste to armies and bases with spectacular results. I think the genre has ossified into something more hardcore, and this was probably an inflex point where idiots like me could still get a handle on things.

Midtown Madness (1999): Microsoft has a history of building up great racing franchises and then abandoning them, but their “Madness” line of games in the late nineties/early noughties was terrific and much-missed. Back when tooling round actual 3D cities was still new and exciting, this was a no-holds-barred arcade racer, with some gorgeous shiny chrome effects on the cars, and very nippy handling. It was great fun smashing up VW Beetles and the like. It was surpassed, I guess, by Project Gotham on the Xbox, and sadly the whole franchise was then forgotten, despite the ascendent Forza franchise mostly shunning city driving.

Commandos: Behind Enemy Lines (1998): part tactical war game, part puzzler, Commandos was famous for its gorgeously intricate graphics and its difficulty – I mean, it was way too hard for me. But its beautiful top-down design and its slow, methodical gameplay was compelling, as you evaded Nazis and solved missions with a team of unique units with special skills. Sequels followed, and western spin-off Desperados, but there’s not been a true follow-up for quite some time, despite promises; and few games have echoed its style or look.

The Pandora Directive (1996): okay, so really this is just a placeholder for an entire subgenre of game that appears to have been forgotten: interactive movies. I know, there are flirtations with this from time to time; and many of these games featured obtuse puzzles and relatively little gameplay strung between FMV scenes. Pandora was great though; a first-person 3D game with loads of old-school adventure aspects, as well as FMV, it was a noir-tinged detective story but set in the future. The Tex Murphy series (of which this was the fourth instalment) has had sequels – the most recent one was sadly cancelled only this year – but many other games of a similar ilk, such as Phantasmagoria and even Wing Commander – have fallen by the wayside. With in-engine graphics now allowing the fluidity and expression of cinematic renders of old, shooting movie inserts doesn’t seem like it’s worthwhile; but I still always loved a point-and-click game that featured digitised actors milling about. Toonstruck, anyone?

Marathon (1994): before Halo there was… Marathon! Back when I used to lug my Pentium round my mate’s house so we could play different games on different machines side-by-side, he’d bang on about this Mac-first series of games, like Doom but better, with an intricate plot and complex levels. And y’know what? He was actually onto something. There’s a style and an earnestness to the Marathon franchise, along with many concepts that would be refined in Halo years later. With Bungie now seemingly committed to Destiny, and Halo in Microsoft’s hands, I’m not sure what could possibly become of this, their forgotten FPS forebear, especially as it shares so much DNA with its offspring.  

Outlaws (1997): LucasArts are famous for two things, really: their Star Wars games and their adventures. But they made loads of other stuff too – including this intriguing Western shoot-em-up. Back when Western games were rarer than Western movies (which were rare at the time), this quirky and difficult cowboy-em-up saw you rounding up outlaws in typical oater locations such as saloons, trains, and mines. It had great music and a really intriguing set of weapons, including (don’t quote me on this) the first sniper rifle in a game. Sadly Outlaws’ success could be described as “cult” and it never got a proper sequel. and, weirdly, despite the success of Red Dead Redemption, we’ve never had a bit Western-themed FPS again. Which is really odd.

Soldier of Fortune (2000): I pondered whether to include this one, as if I’m honest I’m not sure I want this licence brought back. But I can’t deny the game was a huge deal and has seemingly been forgotten. A relatively gritty and realistic combat game with a huge variety of excellent real-world weaponry, its big hook was its incredibly detailed damage modelling, that could see you blowing limbs off enemies, or splitting open heads, or disembowelling them. Whilst its OTT violence made headlines, the granularity of its systems meant you could be more tactical, shooting weapons out of hands. But really its biggest controversy should be its association with a big old gun magazine.

There are many, many other games that nearly made the list - I almost had a Top Ten of just FPS games, for instance. Little Big Adventure was here, till a sequel was announced the other day. Hexen and Heretic I think still have a place in FPS history. Toonstruck, although without a sequel, was only really a cult hit at the time, and I feel the people who’d love it already know about it. I do tend to overthink these things, y’know.

So maybe not all of these could make a comeback, but all the same I don’t think they should be forgotten, and it does make we wonder what games will fall by the wayside twenty or more years from now. That game about the big green space marine dude in a mask – what was that called again…?

[starringemiliaclarke]

Press: Emilia Clarke interview: the Game of Thrones star on leaving Westeros behind to tackle the West End

Emilia Clarke interview: the Game of Thrones star on leaving Westeros behind to tackle the West End

Clarke, who now stars in Chekhov’s The Seagull, tells Louis Wise that the HBO fantasy series made her feel like a ‘small cog in a big machine’

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PHOTOSHOOTS & OUTTAKES > 2020 > 2020 The Sunday Times

MAGAZINES > 2020 > 2020 The Sunday Times Culture Magazine – March 15

  The Times: Emilia Clarke says she views herself primarily as a stage actress, which is a little weird when you consider that she has only appeared in one play professionally before, and it was an absolute turkey. Or, as the 33-year-old star of Game of Thrones says, in her jolly British way, it was “terrible, awful, awful! Bad! That was a bad show!” The piece was Breakfast at Tiffany’s on Broadway in 2013, and it’s safe to say Clarke’s Holly Golightly did not enchant. “I’ll never forget, someone said to me after press night the only thing they liked was the cat.”

If Clarke relays this with surprising good humour, this is part temperament, part experience. For one thing, in person she is relentlessly chipper and pukka. Whereas on HBO’s mega-fantasy series Game of Thrones, she grew in stature as Daenerys Targaryen, a still, dignified stateswoman (until that end), in real life she is a goofy motormouth chatterbox, always eager to catch the joke at her expense. And she is no stranger to what we shall politely call “the mixed review”. She has known some drubbings, whether for that Broadway show, or films such as Last Christmas or Terminator Genisys, or indeed the final series of GoT, which — euphemism alert! — didn’t quite turn out the way everybody wanted.

Luckily she never reads reviews. “Because if it’s really, really good, someone will tell you. And if it’s really, really bad — some f***** will tell you.”

We are meeting today, though, at a rehearsal space in south London, because she is chucking herself back into the fray. For only her second stage appearance, Clarke is going straight into the West End, in Chekhov’s The Seagull, and taking on the prestigious role of Nina. If she is nervous, she’s handling it in the usual way, which is to say with huge blasts of good cheer.

Two clichés about meeting starsis that they are a) smaller than you thought, but b) their features are stronger than expected. Both are true of Clarke. She is tiny, proper Kylie-tiny, nicely decked out in a gauzy beige-cream knit, some fashionably frayed jeans and pointy, well-worn white cowboy boots. Yet her eyes and grin look extra big: if she stays still, she’s a dainty doll, but as soon as she moves it’s Looney Tunes. To be clear, she never stays still.

This energy feels helpful, as we have a lot to pack in. After all, Clarke’s past decade has been particularly wild. Not only did she rocket suddenly to fame in GoT (until then, her only screen credit was an episode of Doctors), she also lost her father to cancer in 2016 and, as she revealed in 2019, had suffered a sequence of brain haemorrhages in her early twenties, just as the madness of GoT was kicking off.

In private, she experienced various exhausting surgeries at the same time as becoming one of pop culture’s favourite mascots, scrutinised relentlessly on a moral, artistic and very physical level. She recalls being in hospital recovering from an operation and picking up a newspaper. “I was, like, ‘I’m going to see if I can read it,’” she says. “And I was, like, ‘Oh my God, there’s a review of the show. And, oh God, they are just talking about how fat my arse is.’”(Which is the last review she read.)

All of which brings us to the elephant, or dragon, in the room. Over seven seasons, Daenerys, aka Khaleesi, Mother of Dragons, had one hell of an arc, going from weak dynastic pawnto all-conquering queen, a kind of Catherine the Great with sub-Barbarella hair. And then, oops! Daenerys, thrilled at almost achieving her goal of ruling the Seven Kingdoms, lost the plot, turned into a psychotic dead-eyed tyrant, massacring a whole city and essentially going the full Pol Pot. She was then abruptly bumped off by her lover-cum-nephew, Jon Snow, and a worldwide fanbase stopped and went: what?

For Clarke, it had been a hard secret to keep — she had known the ending long in advance. She admits she is still processing it all.

“When the show did end, it was like coming out of a bunker. Everything felt really strange. Then obviously for it to have the backlash it did …” Did she expect it? She slows down, a rare occurrence. “I knew how I felt when I first read it, and I tried, at every turn, not to consider too much what other people might say, but I did always consider what the fans might think — because we did it for them, and they were the ones who made us successful, so … it’s just polite, isn’t it?”

It’s clear Clarke is caught between her close friendship with the series’ creators, David Benioff and DB Weiss, and her deep awareness of what most fans wanted. In fact, she first suggests that it’s the news wot done it.

“I do think that the global temperature, how much horrific news there is consistently, goes a way to explain the enormity of the fans’ outrage,” she argues. “Because people are going, finally, here’s something I can actually see and understand and get some control back over … and then when that turns, and you don’t like what they’ve done …”

Hmm. It’s a nice theory, but with Daenerys we were just denied a happy ending, right? She nods quietly. “Yeah.” So did not getting that also make her sad? She tries to explain that “as an actor” it was actually all “a gift”, but eventually the tornado of diplomacy peters out. “Yeah, I felt for her. I really felt for her. And yeah, was I annoyed that Jon Snow didn’t have to deal with something?” She lets us out an exasperated laugh. “He got away with murder — literally.”

She also eventually agrees with the critique that the final season condensed far too much in far too little time (“We could have spun it out for a little longer”) and that it could simply have had more dialogue. “It was all about the set pieces,” she agrees. “I think the sensational nature of the show was, possibly, given a huge amount of airtime because that’s what makes sense.”

Is she at least happy it ended when it did? “I mean, ‘happy’ is a funny word. It’s a strong word. Again, the show was so big. I was a small cog in a very, very, very big machine …”

What she means, though, is that she actually liked this. The show provided a routine, a family, something to fall back on every year; it also gave her experience. “I very much feel my career is something that’s happened to me, as opposed to the other way around,” she says. But she can see that being a cog has its limits, as doesforever having to cater to fans and, yes, to the press. “Doing a show so many people had opinions about doesn’t serve your creativity on any level.”

All of which explains why she is doing this Seagull with Jamie Lloyd, the director who just landed raves for his Cyrano with James McAvoy. And, yes, although she knows it’s “hilarious”, she somehow does “identify closer with theatre”. This is mostly to do with her dad, who was a theatre engineer; her mother is a vice-president in marketing for a management consultancy firm. Clarke and her brother had an idyllic-sounding childhood in Oxfordshire. Inspired by her father’s job, she always wanted to be an actress, apparently from the age of three. “I think of him whenever I’m walking through the West End,” she says. “My dad is everywhere in the theatre, 100%.”

She says this happily; I get the impression she hasn’t finished grieving, she’s just moved on to a better, celebratory phase. How would he feel about her playing Nina? “I think he would be nervous for me,” she says with a chuckle. It is, she knows, a big role: Nina, the aspiring actress whose dreams of fame are dashed, but who plugs away regardless. “I was never your Nina at drama school, that’s for sure,” says Clarke. “I wasn’t really a favourite [there], at all.”

Instead, she got parts like Jewish grannies, or “a down-and-out, pissed-off, washed-up prostitute”. But did she always want to be Nina or Juliet? “Well, of course I did. Oh my God, yeah. So I’m in no doubt there’s still some of that in me where I’m like: ‘Oh my God, guys, check it out! Finally she got there.’”

Clarke does like to cast herself as an underdog, although, thankfully, she does seem mostly to be aware that she is coming from a place of privilege. By the end of GoT she was reportedly paid $500,000 an episode. Is money a concern any more? “I am careful,” she says. “I’m a lot more careful now than I was.” She has a lovely house in north London with a bar in the garden. She can pick jobs for their artistic content first and foremost (“I want to work with an auteur!”). So yes, she knows she has it good, which is why she waited several years before revealing her brain trauma.

“I didn’t want to turn it into this celebrity sob story. I didn’t want people’s pity or ‘Oh, poor little rich girl, your successful life ain’t good enough?’” She is now happy she did it. “It’s done a huge amount of healing for me, being able to open up about it.” Her health status is “beautiful” now. “I was match-fit six weeks after the second surgery [in 2013],” she clarifies. “But mentally …”

On the other end of the spectrum, her fame has made something else hard: dating. “I am single right now …” She says with a smile. “Dating in this industry is interesting. I have a lot of funny anecdotes, a lot of stuff I can say at a fun dinner.” She was last seen in 2018 with a film director, and before that she was linked to Seth MacFarlane and James Franco. Does she mostly date fellow actors, because that’s how the industry works? “I was, and now I’m not,” she says — more smiles.

“I mean, I wouldn’t say I’ve completely sworn off them, but I do think actor relationships that are successful are few and far between, and you have to have a ton of trust.” Now and then her friends tell her to try Raya, the dating app that is supposedly for more exclusive celeb types. When she looks at it, though, “it’s just models. What am I going to do there?”

In short, everything about Clarke’s life is still monumentally weird, but she is doing a good job of pretending it’s not. After the play, she has “any one of nine projects that could go at the end of this year, and I have no idea which one will win”. A lot, she announces, are “dark”. Would she do fantasy again? “I think, if I did, it would be me having a giggle,” she says. I take this to mean her doing a send-up, a kind of Extras take on GoT, but no: “I want to do something absolutely stupid and silly, like, you know, The Avengers or whatever. Something where I got to have a giggle with mates.”

I’ve never thought of the Marvel mega-franchise as a downtime laff with pals, but that’s the level Clarke is operating on. I suppose it’s a pretty good happy ending.

The Seagull, Playhouse, London WC2, until May 30

Press: Emilia Clarke interview: the Game of Thrones star on leaving Westeros behind to tackle the West End was originally published on Enchanting Emilia Clarke | Est 2012

[we-are-what-they-grow-beyond]

some seriously self indulgent TROS thoughts that no one asked for: spoilers ahead!

(i’m gonna try tag every spoiler tag I can think of just in case anyone out there does care, but tbh this is really just for me lol)

the following is going to be a very ‘off the cuff’ series of ramblings so I apologise if it’s all over the place 

Overall.. I think I liked it? I left the cinema feeling euphoric, which is honestly all I wanted from ix. While there were very few immediate things that I took offence to as I was watching it [unlike TLJ] I have a bad feeling that some doubts about certain scenes and character choices are gonna creep into my brain in the next few days. Like the longer I think about it, the worse it’s gonna get.

The beginning was a mess. I think every single person who has seen it can agree on that much. There was so much exposition and heavy handed course correction from TLJ that it felt laboured and disjointed. The pacing was at this crazy breakneck speed.. we must have visited at least six different planets in the first fifteen minutes. I think that Poe’s ‘hyperdrive jumping’ [?] sequence really set the tone for the first act - just a constant barrage of different locations and characters.

And I understand that they had to do this. The events of TLJ left them no choice, they needed to establish every main character’s position [both physically and mentally], portray the current state of the war as well as rebuild a believable rapport between our core trio all within the first fifteen minutes if they wanted to give the last act any chance of sticking the landing. And to some extent I think they achieved this. In all that running around on different planets, bickering amongst the trio and the funny asides from Threepio - it really felt like something straight out of the OT. For the first time since TFA I cared about these characters. 

However. In doing this, they continually broke the cardinal rule of screenwriting; show don’t tell. While watching the first act I felt weighed down with information, like every five seconds another character would pop in with a monologue that sent them on another wild goose chase in which they had to find another hundred things that I would inevitably struggle to remember. ‘So now they need to go here, to see where Luke went, because he wanted to find this guy, who has this object, that will bring them to this other place, so that they can see Palpatine?’ It was so heavily reliant on dialogue alone that it ultimately lead to this sense of utter messiness. 

Where the film thrived was in it’s action set pieces. I adored the way the force was portrayed in this film. The scene in the desert in which Ben [yes Ben, but more on that later] and Rey pulled that First Order Transport out of the sky sent shivers down my spine. We have never seen the force used like this before and the amount of power Rey held was absolutely staggering. I loved it.

The saber battle on top of the Death Star was a visual highlight. Even though I felt like I’d seen most of it in TV Spots the urgency never went away. The moodiness of the water and mist cut through by the blue and red light was beautiful. 

The one shot of Poe, Finn and Chewie running through the Destroyer hallway felt like an echo back to everything that lies at the heart and soul of this saga.

We’ve been begging for more space battles and boy did we get a good one. When Lando and Chewie sauntered in on the Falcon with their thousands of rebel support ships set to the theme I was sobbing. There were so many little references in that one shot, from Rebels to Resistance to even Wedge Antilles - My heart swelled. 

But where I really broke was on Ahch-To. One of my biggest gripes with TLJ was its treatment of Luke. Every time I watch it again that shot of his submerged X wing infuriates me beyond measure as Johnson never chose to do anything with it [despite there being an obvious answer]. We finally got that scene in this film, the scene I was so desperate for; a callback to perhaps my favourite moment in the whole skywalker saga entangled with an apology for TLJ’s treatment of our favourite jedi master. Set to Yoda’s Theme, I felt like for a split second like I was watching Empire, and that meant the world to me. Thank you J.J.

The characterisation is perhaps the most divisive part of the film for me. It took so many risks, it’s going to take quite some time for me to properly digest them all. 

I want to start with our beloved Leia. The CGI, although perhaps not quite as seamless as some reviewers are making it out to be, worked well enough. With the knowledge of Carrie’s passing, it’s easy to poke holes in the performance - I found the beginning of her screen time particularly jarring, with her mostly addressing Rey with one word answers. I knew that there was supposed to be an emotional weight to all her scenes, as there she was, our princess, somehow miraculously on our screens for one final time. But I didn’t cry. I didn’t feel as if she was truly there in body or soul, and the emotional power of her scenes suffered as a result. Maybe in time, as we forget about the circumstances under which this film had to be made, this obvious detachment might fade away. And I sincerely hope it does, because the backstory they gave her is what truly deserves to be remembered about Leia in this film. The flashback scene of her training with Luke was glorious, the cgi really worked well here, and for the first time we saw Leia as a fully fledged jedi. This is something I could never ever have even imagined and I’m so pleased they did it, it would have meant so much to me as a young girl. As for her death, I believe they did the best they could with it. She ultimately died saving her son, protecting both the light and her family - two themes that have been so central to this entire forty two year saga. I don’t think they could have done much more. 

I was shocked to see Harrison in this, surprised isn't even the right word. But this bewilderment that I felt thankfully didn’t overshadow his integral role in the so called ‘Bendemption’ arc, in fact I think it really tied the whole thing together nicely. I have hated the idea of Kylo’s possible redemption since the moment we found out his true heritage during TFA, I thought it was too simple, too obvious. But the way in which it was dealt with here was wonderful. It showed Kylo to be entirely complex and ambiguous, and at the end of it we saw Ben for what he was, a young and vulnerable young man who ultimately made some terrible choices, the conflict in him was brilliantly acted. It was ultimately his parents that pulled him back to the light, not just Rey, and that fact alone saved this story arc for me. 

[I refuse to talk about the kiss. I hated it. It didn’t need to happen.]

Rey is a difficult one. Was the Palpatine bloodline convenient? Yes. Terribly so. Did it make sense story wise? Only kind of. But, I think it drew a definitive line under the nine film conflict which was ultimately at its core just Skywalker vs Palpatine, so in that sense I’m happy it happened in the way it did. 

[Sheev on an aesthetic level looked dreadful I thought. Proper rubbery. And the logistics of how he survived/who all those chanting followers were/where he got all those Imperial star destroyers from is extremely questionable. I try not to dwell on it.]

My mixed feelings about Finn and Poe cannot be overstated. The film did a good job at giving them more to do, we really got to see John and Oscar bounce off each other and at the end of the day, that is my kryptonite. However, Finn had little to no character development throughout the whole trilogy. All he did was figure out that he didn’t want to be aligned with the First Order anymore, deciding he wanted to fight for what is right. But the thing is, we saw him make that decision about ten minutes into TFA. It didn’t need to be rehashed again and again in every film. We wanted more - we wanted him to be force sensitive, we wanted him to form meaningful connections with others. On some level they delivered on that, we saw a little force sensitivity, he got his own back with Hux, he found his tribe in Jannah and the other deserters.. but it felt like an afterthought. Nothing was ever dwelled upon- even his confession to Rey [whatever it was] was completely forgotten about in the end. Finn as a whole felt like an afterthought. 

[Don’t even get me started on Rose, Kelly deserved so much more. I was embarrassed by the amount of screen time she had.]

As for Poe.. Oscar did a brilliant job in this, he successfully harkened back to our favourite scoundrel Han Solo stereotype and I felt that gave the trio’s dynamic a clear anchor. His interactions with both Finn, Threepio and Chewie as he kept crashing the falcon really made me laugh, it was nice to have some actual humour littered throughout, unlike the goofy slapstick stuff in TLJ. But.. the Zorii love interest and backstory made zero sense canonically. Zero. Aside from the ‘can i kiss you’ stuff being extremely contrived, there is physically no actual way Poe could have ever been a spice runner on this new planet that I can’t remember the name of. He lived on Yavin his whole life until he came of age to join the New Republic Navy, and from there Leia recruited him into the Resistance. This much has been documented in countless books and comics. J.J really decided to throw that all away so that they could what.. get that universal key thing? Did they even use it? Was there any other point of Zorii’s character other than that key? Not really. Don’t try to tell me that Kes and Shara’s son ran away from home to become a criminal for no reason. Just don’t. [He was still wearing Shara’s ring throughout and they didn’t do anything with it.. I wonder will we get more of an answer to this in the novelisation?]

[While I’m on the subject of the comics and novels, the decision to kill off Snap was brave. I really loved him in the comics and I’m sad he’s now gone and Karé is now alone. Not that any of that was mentioned but-]

Lando was used just the correct amount. I’m happy he got the ‘I have a bad feeling about this’ line, and I think any more screen time and we could have seen some holes in Billy’s performance. [sorry Billy]

Chewie had some great moments in this surprisingly. He was essentially just an extra in TLJ so it was quite refreshing to have him be a key player again. [I had forgotten about the clips from the trailer that showed him aboard the Destroyer, so when he ‘died’ I really thought he was dead for a moment and I was so angry that that was how he went lol.] But his reaction to Leia’s death was so touching and although it was a tad fan-servicey, I loved the fact that he finally got the medal he missed out on in ANH. It made me chuckle.

The same can be said of Anthony Daniels as C3PO and all of the other droids. I felt as though they really clawed them back into the mix this time - Threepio’s worrisome queries were wonderfully nostalgic and not to mention hilarious, and D-0 was a great new addition. The droids always brought a levity to star wars, it was their job, and they did this to great effect in this film. There was some questionable switching around of R2 and BB8 which I didn’t appreciate - there is absolutely no way that BB8 wouldn’t be Poe’s astromech for the battle against the Final Order but I’m willing to let it slide.. [also why was he on Tatooine with Rey at the end?]

It really sounds like I had more problems with this film than highlights, and I promise that’s not the case. In the end, it made me feel happy, like I was watching something akin to the OT again, and yes some parts of it were clumsy, but the heart of it was there. It all really comes down to whether or not you believe a film must be ‘good’ in order to be.. good. With something as big and sentimental as star wars I think it’s a lot more complicated than that. Return of the Jedi was an utter mess- but yet we all still worship it and the characters it gave us. Why can’t the same thing be said for TROS? It was clunky, but it was surprising, and powerful and fun. It gave us the characters we loved and some interesting new ones, some top-tier lightsaber battles and a conclusive ending to the saga that has defined so many lives. At the end of the day I think that’s all it needed to be. 

[jira-chii]

Fantasy World Hoshi

is hot!

This ranking quest introduces a new series of tamashii set in a parallel world with a fantasy theme. Interestingly, the figurative and literal “hero in the spotlight” this time is Hoshi.

Spoiler warning: for both this ranking story and the Shoumetsu Toshi 0 main story.

Fantasy world Hoshi grew up not being particularly good at anything. But one day he wakes up with a legendary sword next to him: the sword has ‘chosen’ him and he is destined to be the Hero of Hope who must slay the Demon King in this world.

Takuya and Yuki encounter Hoshi when they get thrown into the fantasy parallel world for seemingly no reason. They figure if they defeat the Demon King they'll be able to go home. By the way, the Demon King is Airi. And Beo is here too.

“I forgot if you were a child actor or a famous actress but either way, I’m looking forward to the show!”

In true fantasy world fashion, their journey also involves a two part sidequest, courtesy of Fantasy Yui and Mii.

“Please defeat the evil Demon King’s henchman, the Alchemist, Port Ellen!”

Port Ellen, is doing horrible things to the cute forest animals and we must save them. He is actually making all of them macho by giving them muscles (steroid injection?). This is a pun on renkin, which usually means transmuting gold, but there’s a kanji for kin that means muscle.

He’s not refining gold, he’s refining muscles!

The Hoshi in this world has also tragically fallen for Yuki. Her light fills his heart, she is his ‘star’. But just as stars shine in the sky out of reach, Hoshi knows they can’t be together. Once they defeat Airi, Yuki will leave. Hoshi sees his future as hopeless, how is someone like him supposed to be the “Hero of Hope”?

Seemingly to make him even more miserable, Yuina the travelling bard asks to sing him a song. The lyrics are full of the wishes and expectations of the people to the hero, a hero who is like a stranger to Hoshi.

In a reflective monologue, Hoshi reveals he wanted to quit being the hero. When the people around him  found out he had been selected by the sword, they cheered and said now Hoshi who’s not good at anything finally has a purpose. But that label only became a burden to him.

Suddenly Airi appears. She is incredibly powerful and Hoshi asks Yuki to give up and runaway with him. Of course she doesn’t, triggering another internal reflection.

Hoshi remembers when they helped Yui and Mii. Yui had said that now that the legendary hero was finally standing in front of her, he suddenly felt more like an ordinary person. When Mii was thanking Hoshi she explicitly said she wanted to thank him, and not some nameless “hero”. 

“The person we want to thank is not just some ‘hero’. We want to thank ‘you’, who helped us, and is standing in front of us now.”

Hoshi realises that he really does want to become a star to the people like Yuki was to him (the irony being that Hoshi literally translates to star).

I will become a star. I will become a hero. I will take down Demon King Airi as the “Hero” of this world.

We win the battle but Airi escapes. The townspeople come to thank their hero, but in a symbolically significant gesture, he asks them to call him “Hoshi”, not “hero”.

He must say goodbye to Yuki too.

“I really don't want you to leave. I want us to go on more adventures together. But I know that’s not possible so I’ve decided to farewell you with a smile.‘

Hoshi’s final set of dialogue shows remarkable maturity and character development. He has not only resolved to live on in a world without Yuki, but also try to actively enjoy it. Without the burden of being a hero anymore, he wants to try seeing the world through Yuki’s eyes, and find the joy and wonder she found in his world. Meaning he has changed his viewpoint that without the title of hero, he is nothing.

But the story we see doesn’t end there. In a plot twist, it is revealed the one who bestowed the sword onto Hoshi was Beo himself (are these really plot twists anymore? The culprit’s always him these days). It seems tarot cards aren’t the only tools this God possesses to screw up people’s lives…

“Wasn’t it you who gave him the ‘Sword of Hope’ in the first place?”

This ranking event was framed as a conventional hero’s adventure: it plays almost exactly how you would expect a generic fantasy RPG to, from the NPCs dressed like travellers/low level mages, to having a final boss fight after a couple of ‘main’ quests. Shoumetsu Toshi actually subverts the audience expectations of this popular formula, by giving us an unconventional hero whose pessimism contrasts with the sense of wonder and adventure a fantasy world would usually invoke.

However there is also another meta layer to this. When we observe a story, especially one in a fantasy setting, we are conscious that it is not real. There is a distance between us as an audience, and the characters and events happening in the story. Similarly, there is now also a prominent ‘observer’ in the parallel world. Beo is basically watching a ‘performance’. He makes this clear by explicitly making reference to Airi being an actor on a stage, and Airi also says herself: “playing the role of the Demon King was also pretty fun”. This is indeed a reference to the Airi in our world being a famous child actor, but it also emphasises that Beo sees the whole thing as something like a theatrical play. That is, messing with people’s lives even in parallel universes is a source of fun; the people in the world he created exist purely to entertain him.

Beo’s role in this ranking event, combined with the newfound knowledge we have about him (courtesy of Shoumetsu Toshi 0), add a new dimension to these parallel world stories.

Up to now, the pattern I’ve been seeing is that even in parallel worlds, a character’s fate is unchangeable. We now know there might be a reason for this (hint: his name starts with B).

Hoshi initially seems to follow this trend too. It is very easy to see the similarities between main story Hoshi and fantasy Hoshi. He’s got that defeatist attitude (”I’ll never find my happy ending”), he is drawn to Yuki, his symbol of hope, and he gets tossed around by fate against his will (Hoshi in world 1 became a human test subject purely because of who his parents were). But interestingly, this time with Yuki’s intervention, it seems Hoshi was able to have a proper happy ending.

I feel it is important to note here that having Takuya and Yuki interfere was never part of Beo’s intentions. Near the start of the quest he says to Airi: “Why are Takuya-kun and Yuki-chan in this world?” So, if Beo didn’t bring them here, who did? Does this mean there is a being stronger than Beo who has the ability to change fates?

Anyway this quest was super meta but it was also super enjoyable, with a good mix of humour, adventure, and despair. I’m not sure future fantasy world events will have as much depth as this one but I’m already invested in this new parallel world so ¯\_(ツ)_/¯

[fibula-rasa]

October 2018 in Review

October was way more hectic than I thought it would be and I didn’t watch as many movies as I usually do. I spent a week in Korea (a post about my visit to the Korean Film Archive will be up soon!) And I was motivated to watch a lot of new movies (a.k.a. was on a long-haul flight).

You may have already heard the news, but the irreplaceable Filmstruck is shuttering this month after two wonderful years. Fair warning: I’ll probably spend a good deal of this month (November) trying to watch as many new-to-me movies in my queue as I can. I think I’ll try and write them up quickly over on my letterboxd, we’ll see!

Also, though The Vamps was intended to be an October series, the month’s general hecticness meant I didn’t get the final essay finished before the end of the month. So, in November, you all have that post to look forward to. (See if you can guess who it is! Hint: she’s a Dane.)

The reviews below are essentially transcriptions of the notes I took right after watching the films. They’re presented in the order in which I watched them. 

Enough blathering, on to the movies. BELOW THE JUMP!

Dolls (1987)

29 May 1987 | 77 min. | Color

As a long-time devotee of the Band family’s productions, I’m always down for a Band film I haven’t seen. (When I was a kid, we probably spent a dozen times what it would have cost to buy Pet Shop (1994) renting it from Dollar Video.)

Yes, I did talk about haunted doll movies in my last roundup but this one was more fun, okay? The cast of characters are a great larger-than-life assortment of weirdos. I wish that 1980s English punks would just keep popping up in horror films after the 1980s. I particularly liked the performance of the little girl’s father. In most other movies, it would be a terrible performance, but in Dolls, it’s pitch perfect.

Dolls is a fairytale story that creates the atmosphere of a child’s viewpoint. The dolls are scary and do scary things, but, of course, they can be reasoned with.

As with many Full Moon movies, Dolls had a great balance of scares and campy humour. The doll designs are gross and fun–especially their wet, bloodshot eyes.

Dolls is a great choice for someone who watched a lot of Are You Afraid of the Dark? growing up and wants a “grown-up” version of that.

Funland (1987)

16 October 1987 | 98 min. | Color

After watching Dolls on Amazon Prime, this film was recommended. From the plot description and the featured image, we expected a fun slasher film. And, with William Windom (who I’m pretty sure took time off of Murder, She Wrote to make this movie!!!) in the cast, we couldn’t resist. What we got was… a… comedy? I guess?

There’s no doubting that there are some talented performers in this movie, but it’s just not funny. The only reason I’m writing about Funland at all is that it’s a good example of the kind of cheesy movie where you can see what could have been a good (or at least more interesting) movie underneath the movie that was actually made.

How exactly do you think: “I’m gonna make a movie about a killer clown fighting mobsters!” and then come up with this movie? I wrote a much longer complaint but, I won’t subject you to it. In short, Funland doesn’t execute its plot very well.

I definitely wouldn’t recommend this one. However, I am curious if any Atlanta natives have feelings about this movie? It seems like it features a lot of locals.

Flying Air Canada

The movie below are what I watched on my plane journeys to and from Seoul. I was flying Air Canada and I need to rant for a sec before moving on to my thoughts on the films.

There are a lot of reasons why captions (or subtitles, if you’re British) are necessary. They’re needed by lots of people, including people who aren’t d/Deaf or hard of hearing. If you want to learn more about why captions are good Jessica Kellgren-Fozard has you covered.

Personally, I have sensory processing disorder (SPD). This prompts me to have captions on when I watch most things. At home, I do this because not every movie or TV show I watch has decent sound mixing. It seems to be an art a lot of film/video makers are neglecting nowadays. Ho hum. I keep captions on so I don’t need to constantly change the volume. On a plane, my SPD is significantly worse because the noise of the plane is so loud that there’s little to no chance of me catching dialogue without raising the volume too high for my own comfort. Unlike the airlines I travel on within the US, Air Canada’s captioned offerings are practically nonexistent. That’s why so many of the movies I ended up watching were foreign-language (or ASL) films–they came with English subtitles.

Now, Air Canada, listen: Most of the movies you had on offer are definitely available with captions elsewhere. Even in theaters they likely had open-caption screenings. What is the deal? Seriously.

Anyway, sometimes I take for granted that we do some things right in America.

Okay, back to movies.

Mary Shelley (2017)

9 September 2018 | 120 min. | Color

This film didn’t have captions, which honestly might have weighed negatively on my experience of it. I was excited to see Mary Shelley. Mary and Percy Shelley are two of my absolute favorite literary historical figures and I love their work. This movie was a let down. It seemed like it was meant to be a character piece but the characters felt more like types than people. Also, don’t get me wrong here: I give no ground to fuckboys, but the depiction of Percy Shelley felt particularly oversimplified.

A Quiet Place (2017)

9 March 2018 | 90 min. | Color

Everybody raving about this movie was totally right. Definitely check it out if you haven’t already. Even if you’re not big on horror, it’s worth a shot.

How Long Will I Love U (2018)

18 May 2018 | 101 min. | Color

Scrolling through Air Canada’s film options, I got the feeling that time-travel romance is pretty popular right now in China and Korea? I think I picked the right one to watch in How Long Will I Love U. The premise put me in mind of The Lake House (2006), a movie I don’t like but can never resist watching when it’s on TV. This movie is a lot better than The Lake House. The premise is pretty cool and the plot is spurred on by a proper sci-fi concept. The leads are very cute together. I love that the main characters both kinda suck but become better people in getting to know one another. The special effects are good looking, conceptually fun, and not excessive.

I highly recommend this one. It’d probably be a great date movie or a Friday-night-with-some-Chunky-Monkey-and-a-cuddly-pet movie.

JoJo’s Bizarre Adventure: Diamond is Unbreakable — Chapter 1 (2017)

4 August 2017 | 119 min. | Color

Listen. I have friends who are big fans of the JoJo manga and anime. I have never read any of the manga and couldn’t get past the first episode of the anime. That said, when I saw Takashi Miike directed this live-action adaptation of a story arc in the multi-generational JoJo series, I hit that play button right fast. Then, to my surprise, I enjoyed it! I often struggle with the visuals in live-action adaptations of anime and manga, but I loved how Diamond is Unbreakable played with the characters’ unique styling and design. The superhero-like story drew me in a lot faster than the anime and might just get me to look into some of the manga.

This movie might be a hard sell for a lot of people but if you wanna see something that’s out there and imaginative with supernatural overtones, Diamond is Unbreakable might be fun for you. Don’t worry–it’s easy to follow even if you don’t know who Joseph Joestar is. (Yes, that really is a character’s name.)

Un Traductor / A Translator (2018)

19 January 2018 | Color

I had no idea that following the Chernobyl disaster, some of the victims were sent to Cuba for medical treatment. I also had no idea that the program continued until 2011?! So, Un Traductor was a modern history lesson for me! Un Traductor is a model film for propaganda filmmaking–and I mean that in a fully complimentary way. The film does an admirable job of communicating how life for Cubans changed with the fall of the Soviet Union and how they adjusted to persevere.

You can probably gather from what you just read that this isn’t a fun watch, but it’s worthwhile if you have any interest in modern Cuban history.

A Casa Tutti Bene / There is No Place Like Home (2018)

14 February 2018 | 105 min. | Color

I don’t have a lot to say about this one frankly. It’s a decent family dramedy. Massimo Ghini and Sabrina Impacciatore both turn in good performances. *shrugs in Italian*

That’s all for this month’s roundup! Are you all ready for Noirvember? How about Kicksgiving? If you’re a Filmstruck subscriber, what are you marathoning this month?

[howlingmoonrise]

Dear Yuletide Author

Hi! Thanks for signing up for Yuletide despite the hell year it’s been, I hope you have fun with your assignment!

I ramble a lot so everything is below the cut. Obviously you don’t have to follow any of this (though I hope you’ll respect my squicks) but hopefully this will help you out!

general things i like

so much pining. all the pining. pining everywhere plz.

continuing from above, PINING. i mean it. i prefer a thousand times over idiots in love who are having a hard time wrapping their minds around it than an already established relationship.

either gen or romantic is fine! what really does it for me is the development of the relationship, platonic or otherwise. it’s all about the growing intimacy and understanding and character dynamics and interactions and developing trust and finding kinship and growing respect for the other and subconsciously learning to lean on the other over anyone else and--

i love love love enemies-to-reluctant-allies-(to-maybe-friends?)-to-lovers and bickering pairs in general! it’s so much fun and it gives us so many opportunities for character and relationship developments okay i’m a slut for that shit

sticking to the original characterizations and the tone of canon is a definite plus!!!

“missing scenes” and “what if” canon-divergent situations are excellent, as are continuations from where canon left us depending on the fandom! more details on the sections for the respective fandoms i GUESS

casual intimacy is super fun, especially when adapted to the character dynamics. a bickering pair being casually comfortable adds a whole new depth to it, enemy dynamics makes is hilarious since the other half would have zero clue as to how to react, a pair that is already comfortable with each other that they do stuff without communicating is so intimate, mix and match however you like!

fun tropes i enjoy (a bit romance-leaning but if you’re not into that then some of these can probably be adapted): fake dating, accidentally got roped into x and shenanigans of all sorts keep happening, misunderstood confessions, groundhog day au, one or both the characters having stupid levels of denial while technically in a relationship and just not realizing it like What Do You Mean We’re Dating??, that sorta thing.

TROPE SUBVERSION ALL THE WAY!

--

general things i dislike

kidfics. babyfics. next gen fics. pregnancy fics, or even pregnancy discussed in the fic is a major squick of mine. the one exception i make for kidfics is for kids already existent in canon and even then it depends, but no babies or children otherwise please.

future fics/time skips in general, actually. what i enjoy is the relationship development, so huge time skips make me feel like we missed way too much

angst is... mrrmf. it really depends on how it’s done, but usually it feels like it’s angst for the sake of angst instead of giving the fic some actual meat.  as a result of this, i’d pass at least on most content with major character death, sexual abuse, self-harm, gender/sexuality angst, the like. beyond that, feel free to go ahead!

hard AUs are a bit ugh to me. by this i mean AUs that rely heavily on setting, such as high school AUs, harry potter AUs, that sort of thing. i DO however enjoy stuff like soulmate AUs and alternate canon AUs, depending on the concept and on the fandom. more details in their own sections if you enjoy writing those!

i heavily dislike things involving cheating/infidelity, sickfics, and genderbending of any kind is a bit ehhhh for me, as are concepts such as ABO. hard pass on stuff like dysphoria and deep diving into mental illnesses and disorders, too.

script-based or roleplay fic is not really my preferred format, i really enjoy prose instead of nearly all dialogue!

stuff with bigotry in general, racism, sexism, homophobia, transphobia, etc as well as discussions of it is a pass in general. it’s not a HUGE squick but i’d rather not see it if possible

discussions and thoughts on gender/sexuality. if you’re gonna make them gay/bi/etc, make them gay/bi/etc, no exploration of it added. delving into the psyche of it is a hard pass.

--

if you’re going for nsfw

kinks

moderate sadomasochism, uncommon forms of bondage (plants, stuck with strange substance or in awkward position, the shadows from p&tf as restraints, etc), choking/breathplay, xenophilia and tentacles/alien genitals (shadowplay in p&tf for example), moderate degradation, edging/desperation play, ladies topping and calling the shots, bloodplay/knifeplay, long hair dragging over skin, sharp nails/claws (charlotte la bouff, morticia), lowkey cannibalism imagery and hunger, biting, ladies stepping on body parts with their heels on

squicks

scat, vomit, praise kink, daddy/mommy or baby kink, vore, forced feminization, pet play, wound-fucking, abuse, abo, anything involving pregnancy at all

--

PRINCESS AND THE FROG

i am 100% aware this is a weird-ass pairing but gods, the possibilities. it has so much potential. there are few things i like quite as much as a villain and a good person developing a strange sort of kinship with each other >u> this doesn’t have to mean a romantic development, if it’s not your thing! as i said, for me it’s the building understanding and reluctant respect that i really love, far more than the actual romance.

ideas, ideas, ideas. i’m aware this is a rare relationship to either portray or ask for, so i’m gonna try to give some more concrete-ish ones for you to build up on if you have no clue as to how to approach this. 

we could have canonverse with charlotte dealing with the shadowman in some other, unrelated matter while the main plot is occurring, making him feel somewhat guilty about the whole marriage plot with laurence-turned-naveen. cue introspection, or even an entirely different outcome.

or a post-canon sort of hades&persephone plot (please no actual hades and persephone au though), with charlotte curious despite herself and tempted to listen to a shadow/dead/whatever!dr facilier when she’s the only one that can hear him.

in a continuation from above, OR her being dragged Beneath with him in a freak accident and then charming him into helping her back to the surface/living world (very, veeeeery reluctantly on his part, at least at the start, he might have even be thinking of tricking her but then change his mind when the time comes to do it).

i think dr facilier wouldn’t be sure how to deal with charlotte’s particular brand of personality and good humour, and it’d throw him off his rhythm a lot - that sort of thing is always super fun to write.

soulmate au in canon would work pretty well, but with this pairing? you could even do a FULL AU, keeping only basic stuff like the shadowman thing to her normal bougie self; it’s one of her charms. (and their personalities, of course). stuff like charlotte thinking that she wants one thing (her prince-slash-one-true-love, etc) while keeping getting drawn to him time and time again could work on pretty much any era or setting. vice-versa for him, thinking he wants to be rid of her but coming to realize he’d actually miss her if she were to be gone. OR, charlotte deciding she wants this sullen manipulative bastard and manipulating HIM into taking her out and hanging out with her would be hilarious.

if you wanna do nsfw, i have only one major request: charlotte calling the shots/topping. i think this arrangement would be in character for both of them (dr facilier would prob also enjoy having someone else do all the work lol) considering her go-getter attitude, but keeping in mind his manipulative personality i’d be more comfortable if she had some control over what was happening. ASIDE FROM THAT, d’you know what would be fun? a little darkness, and by that i mean consider dr facilier’s shadow joining in on the fun. shadows would also be an interesting sort of constraint. also i know i said charlotte calling the shots, but she can be constrained by the shadows while being amused by it or being used to it (implying it’s not the first time that they’ve used it in bed play and that it’s therefore negotiated), or charlotte could team up with the shadow to do it to facilier instead. charlotte using her nails and facilier being a bit of a sub/masochist would be excellent!

(actually in general it’d be really fun if there was some complicity between charlotte and facilier’s shadow in general, nsfw or otherwise. the shadow being wrapped around her little finger is an excellent concept, especially if facilier isn’t too fond of her just yet OwO)

--

THE ADDAMS FAMILY

oh boy. let me just begin by saying that this really isn’t my usual kind of pairing, by sheer virtue of them being perfectly happy and established in canon. HOWEVER, they’re goth and they’re odd and they’re kinky and they’re delightful to watch interact (i’m familiar with the movie canon featuring anjelica and raúl and a few (few!) of the comics, so idk about other dynamics) and so they’ve managed to creep their way into my blackened little heart.

THAT BEING SAID, my absolute biggest wish for this fandom would be pre-relationship. i don’t mind if canon is twisted a bit for this, considering that they presumably met and proposed on the very same day, so it’s definitely a bit hard to work with. perhaps some shenanigans with the funeral itself? or gomez has a date/fiancée already and so there’s some juggling of priorities here while he’s absolutely falling over himself in order to continue looking at that gothic vision of a woman? or an old family feud, or them just being downright useless at knowing how to deal with proper romance (on morticia’s side, i’d imagine she’d only grow more stoic and be at a loss of what to say. on gomez’s side, it’s probably his first time being speechless, or he’s not speechless but he’s flirted so much in his life that he doesn’t know what to do with these actual literal feelings, what the hell is this and how does he show he actually means it this time??), or morticia has a long string of dead fiancés black widow-style (i think she and debbie would have gotten along great if given the chance okay), or a soulmate au where they don’t realize it’s each other right away, or morticia amusedly pretends to be dating gomez before they know each other to get him out of a bind, or they’re somehow roped into someone else’s shenanigans and don’t know how to react to each other (my money is on either ophelia or cousin itt putting them in a bind), the sky is the limit!

if you’re more comfortable writing established, however, casual intimacy or smut are the best! give me a moment of respite where they are just comfortable basking in each other’s presence, or when they’re separated for a moment at an event or something and the longing is burning all the way across them until they come back together again (y’know, in the good old way of the script). for smut, morticia being a mostly stoic dom maybe? (though yes, i know she’s very much into being tied up and tortured, i can’t really see her as a normal sub unless it’s really something languid and drawn-out - she doesn’t really read as someone who spends a lot of energy doing things others will do for her). they’re both definitely into pain and bondage too; morticia conflating arousal with hunger would also be really interesting to see (think praying mantis or lady spider who is actually very invested on not taking off her partner’s head, but who dreams of it all the same. gomez is, of course, very much into it). something lowkey macabre would be amazing.

things i’d like to see for this fandom in general are:

morticia being her stoic vampiric goddess of a self

gomez being completely twitterpatted for her as usual

burning sultry glares/staring across the room

overly passionate hand-kissing

creepy/gothic atmosphere

you know, like canon. (with non-existent or minimal kid existence, though)

references to horror stuff/general creepiness like sudden lightning, casual poisonings and dealings with death, dracula references, etc, like the movies would be super fun, as campy as possible! half the greatness of the movies come from these imho

--

MONSTROUS REGIMENT

i have a confession to make: it’s been a while since i last read it, and so i fear i won’t be as helpful in giving ideas/dynamics for this fandom as i was in the others. 

i have one request - apart from what i’ve already rambled on about above - and that is for at least polly to be portrayed as female (or close enough, although not quite non-binary). to make it clearer: i usually see them both as female, even if not female-presenting (it’s funny because as i was writing this i actually kept writing about maladict as “he” so frankly it’s whatever, i definitely prefer “maladict” to “maladicta” at least in terms of names though) but chaffing to fit the roles that “female” comes along with, especially with maladict and the expectations for female vampires. i’d rather the fic not have gender or sexuality exploration, since like i said above i think it detracts from the meat of the stuff - if you want to see maladict as male, write him male with male pronouns (keeping the female vampire backstory if you’re keeping it canon, otherwise it wouldn’t really make sense). if you want to make her female, write her female with female pronouns. i’d pass on they/them pronouns though. i don’t particularly care either way outside of polly however, just don’t delve into the psyche/introspection of it please.

if you have different views on their genders and it would make you uncomfortable to write female polly or non-they/them maladict, then that’s fine with me as well! these are just my preferences, and i thought i’d elaborate on them since the fandom has many perspectives on this topic. 

with that out of the way, on to more interesting stuff!

what’s good: their interactions. oh dear loki, their interactions. they have my favourite dynamic in the whole book, and they’re weirdly comfortable with each other (especially since polly lowkey threatens maladict after kicking the other dude in the nads, in my view that moment probably got his undead little heart skipping a beat (do vampires have beating hearts on discworld? i haven’t read enough discworld to remember this)) and they understand each other the best out of the rest of the squad. maladict teasing polly and pretending to be cool before polly catches on to him is absolutely hilarious, and i absolutely love maladict trying (and failing!! horribly!!) at being smooth. also polly blackmailing people left and right is absolutely fantastic.

as you can probably guess, i’d love some canon-verse interactions. perhaps alternate scenes or what-ifs of canon events, or even extra scenes during the ongoing plot of the book. OR, post-book, once they have their own squad of little lads and have to figure out how the hell to handle that, or shenanigans where they have some sort of mission or official event elsewhere and resolutely stick together because “if i have to deal with this then so do you”. or some hilarity with maladict desperately going after every coffee grain available so he doesn’t just bury his face on polly’s neck because she smells so good but that would be an awkward conversation to have and he’d rather die (again) than admit to that. 

what else? AUs! feel free to completely tear apart the canon discworld, though i’d request polly remain her ass-kicking clever self and maladict an awkward vampire. maybe maladict has to deal with diaphanous underwired nightgowns. maybe polly has to deal with diaphanous underwired nightgowns. vampire politics? satirical awkward dracula au? maladict failing horribly at being a vampire (failing at being a female vampire or trying to pass at being a male vampire and failing at that, too)? they’re all great! 

what matters to me is their banter and the way they keep falling into pace with each other, regardless of the way they begin. a good dose of sardonical pratchett-style humour would also be welcome ;)

--

thank you so much for staying with me this far! i hope you have a grand time this yuletide, and that you enjoy your own requested fic as well!

[anotheruserwithnoname]

Thoughts on Star Trek Discovery after 5 episodes

(Spoilers for Discovery S01E05 and Orville S01E06)

Episode 5 of Star Trek Discovery aired last night in Canada (up here the network Space airs it, so we don’t need to rely on streaming to view it). “Choose Your Pain” was its title and it’s ironic that it aired a few days after The Orville’s surprisingly hard-hitting “Krill” because it actually allows for something very close to an apples-to-apples comparison.

I’m going to go into spoilers, plus this will be a very long post (apologies; this is Exhibit A to show why I’m not on Twitter), so I’ll put a break here. The tl;dr is that, although I’m still willing to give it a chance, I’m still not “feeling” Discovery, which after 5 episodes is a concern; whereas, I find The Orville not only captures the classic spirit of Trek better, it managed in one single episode to make its Klingon analogue more interesting than the real Klingons in their current incarnation.

Before I begin, I wanted to set the scene to explain where I’m coming from. There is a lot of Discovery-bashing going on, and I don’t support that and this essay isn’t intended to be a bash. Although I am very critical of the show and not 100% certain that I’m going to stick with it much longer (though I’ll probably stick with it till its midseason break, at least), it’s not my intent to become a basher because then I’d be a hypocrite. I was a defender of Star Trek Enterprise throughout its entire run, and was upset to see it bashed mercilessly, to the point where I divorced myself from Star Trek and Star Trek fandom after it ended in 2005. Fortunately, Doctor Who had just come back on TV so I switched my allegiances to Who (which I’d been a fan of since the early 80s, but it became more intense). Fast-forward to 2017, and due to a mix of disappointment over what the series has delivered since Christmas 2015, combined with decisions regarding the show moving forward, I'm now divorcing from Doctor Who (as anyone who follows my blog knows). So with Star Trek back on TV the opportunity to move my allegiances back to Trek exists ... but Discovery isn’t doing it for me. Not yet. Instead, The Orville, Seth MacFarlane’s underrated (in more ways than one) homage is the show that is earning my affection. I know I’m not alone in that.

But here’s the thing, and why I don’t really see the need to “bash” Discovery: because The Orville is so much like “proper” Star Trek - the optimism, the crew-as-family dynamic, the introspective and “ripped from the headlines”-inspired stories, and general sense of fun - this actually allows Discovery to seek its own path (even if that means delivering “improper” Trek), allowing both shows to co-exist (which they could regardless - it’s not as if they’re in direct competition).

But Discovery has problems. Before I get into that, though, some positive thoughts.

This week’s episode introduced Rainn Wilson as Harry Mudd, a character immortalized by Roger C. Carmel in the original series. And I thought he did a good job. I don’t have the same issues with recasting characters as some others do (I liked the guy they had playing Sarek earlier, too). My only complaint is they made him darker than Carmel’s version, which felt a bit inconsistent. But then again this is 10 years before Kirk encountered him and people change (it could be argued that Carmel’s version is more insane than Wilson’s, and maybe we’re seeing why in Discovery). I loved the reference to Stella, his wife, which was a great call-forward to the TOS episode “I, Mudd”. Trivia: Carmel was supposed to reprise Mudd for an episode of TNG, but the actor died before it was filmed; I believe some aspects of what was planned for Mudd - including a scene where he was supposed to actually pay tribute to his frenemy, Captain Kirk - were later reused when they brought Scotty forward into the TNG era in “Relics”. So having Mudd appear in a modern-day Trek is an idea that’s been kicking around for 30 years.

Obviously, Mudd will be back and I’m looking forward to it. I’d rather he be the recurring baddie than the new Klingons. More on that in a moment.

I also liked the on-screen reference to Jonathan Archer, Christopher Pike and Robert April early in the episode. Robert April was established in the animated series as the very first captain of the Enterprise, predating Pike. Since TAS is not considered canon (or at least it wasn’t considered canon during the pre-2005 era; it might have changed since), this is the first “canonical” acknowledgement of April in live action. I appreciated that.

I also liked Capt. Lorca in this episode. After two weeks of being just “there”, Lorca came into his own with this episode. And his backstory is interesting.

But I have criticisms of this episode, and of the show itself as we hit week 5. Starting with a minor point, after four weeks of keeping a lid on language, the swearing in this episode was awkward and clearly put in there “because we can” - there was nothing charming or cool about the first use of the F-word (twice in the same scene, yet) in the Trek franchise. I’m not one to go “oooh, swearing, bad” (The Thick of It is one of my favourite TV shows, for god’s sake), but there’s a time and place, and it just didn’t work - it came across as vulgar and awkward. If they’re going to have people swear in Discovery, fine, but don’t make it feel like “hey, we can swear now!” Torchwood ran into this same issue - and the swearing during Series 1 felt unnatural as a result. If they want Lorca and his crew to turn the air blue, they should get Armando Iannucci in to show them how it’s done.

What will be the deal-breaker for me is if this show continues to be populated with characters I don’t give a damn about. I like Michael (who was for the first time not the focus of an episode) and Lorca has potential - all the characters have potential - but 5 weeks in they should be further along than they are in terms of establishing them, even taking into account the two-episode prologue and the fact a core character only debuted this week.

Five weeks in, and without cheating online, I still don't remember the names of most of the main characters because they’ve made so little impression on me. Michael is fine, Lorca is fine, and I know the new guy is named Tyler (mainly because I’m curious as to whether he’s related to Jose Tyler of Christopher Pike’s Enterprise in “The Cage”), but the rest - by now they should have made enough of an impression for me to at least remember their names, not just call them “Michael’s roommate”, “the jerk who runs the spore drive and who might or might not be the chief engineer but we can’t tell”, “Odo 2.0”, “the doctor who lives with the spore drive guy and who I thought was the ship’s doctor until he mentioned that he answers to a chief medical officer who we’ve yet to see”, “the incompetent who got herself killed by the spore monster last week in a scene Seth MacFarlane would have rejected as too silly”, “the roboty woman on the bridge who kinda looks like Nebula from Guardians of the Galaxy,” and “the woman whose head is half shaved”. In fact I think this was the first episode in which those last two individuals were actually identified by names on screen.

By comparison, I had not just the Orville character names but their functions nailed down by Episode 2 of that show. And I had much more invested in them as characters, even early on (and by “Krill” I find I want to know more about what’s happening with Borus and Klyden and their child, Alara’s love life, and whether Ed and Kelly are going to get back together or not). With Discovery it’s almost as if they’re all being set up to be redshirts. (As it is, I really don’t expect to Michael’s roommate - I looked it up; her name is Tilly - to survive the season. Too much telegraphing about her being naive and having dreams for the future.) Maybe they are if the show is taking the Game of Thrones “anyone can die” approach and if there is a reason why we’ve never heard of Spock having an adopted human sister before now.

When I started writing this very long (sorry!) blog entry, I mentioned an apples-to-apples comparison between Discovery and Orville. This week, “Choose Your Pain” and “Krill” both involved captains boarding enemy vessels and learning more about the bad guys. And it really drove home the fact that the new Klingons are rather boring. Never mind the different make-up and all that - I’m sure they’ll come up with a workaround to explain that the same way Enterprise did back in 2005 with the Augments story arc (and I didn’t miss the fact they name-dropped eugenics this week) - they just don’t have the spark of the Klingons of old, or even the Abramsverse versions. Not saying there aren‘t promising signs - I kind of like the fact the show is shipping cult leader Voq with the female officer L’Rell. Every episode so far has included focus on the Klingons. But in only one episode, The Orville managed to develop a very well-rounded picture of the Krill, making them relevant, interesting, sympathetic, and “villains” we want to see more of. The Klingons on Discovery? I want more Harry Mudd, fewer Klingons. Of course, a big difference between Orville and Discovery is the use of humour. Discovery pretty much has none, while Orville is a dramedy. Which was driven home during the climax of the Discovery episode when we were actually treated to an unexpected piece of Orville-like comedy when the female Klingon captain, who has the hots for Tyler. Encountering him trying to escape, she let off with something like “After all we mean to each other, you’re leaving?” (not an exact quote). It was a funny moment, but poorly timed. Seriously, we’re supposed to see her as a threat (and an ongoing one seeing as Lorca doesn’t finish her off as opposed to every other Klingon he encounters), and she spouts dialogue more appropriate for a spoof? Compare to The Orville, which usually knows when to be funny and when not to be. Having Ed Mercer and Gordon Molloy facing the possibility of having to kill a bunch of Krill children in order to save a human colony, and Mercer saying “If we kill those kids ... we have no souls” was a far more hard-hitting and dramatic moment than anything “Choose Your Pain” offered. And once things got serious, they got serious. The ending of “Krill” was chilling as Mercer realized that instead of saving a bunch of kids, he created a bunch of future enemies instead, instantly giving the series a long-term aspect as the potential is there for it to revisit this fact years from now, if it survives that long. The Avis rent-a-car jokes were funny, and the opening sequence where Bortus does his best Matter-Eater Lad impersonation (Google it) was cute, and I loved the gag where Ed starts talking before Alara can open a channel, but it was the serious moments that made “Krill” stand out. The next episode looks serious as well as it casts a long-overdue spotlight on Lt. LaMarr.So to sum up: I’m not ready yet to say “Discovery sucks” as some have. I don’t think it does, despite all I’ve written here. It has issues, yes, but every Trek series has issues and teething pains. I am concerned that the characters aren’t gelling for me and that’s what’s going to make me decide to keep watching in the long term. On the other hand, The Orville is proving to be a great show that also has had its rough patches and its teething pains, but it managed to hit the ground running a lot faster in terms of establishing characters and stories and tone. I am in the market for a sci-fi show to replace Doctor Who, and so far The Orville is winning the battle against Star Trek Discovery. But I’m not willing to write Discovery off ... yet.

[fuse2dx]

January ‘20

I felt like trying this for a bit again. 

Untitled Goose Game

Where Journey and its ilk blew up the idea of a short, single-visit game, Untitled Goose Game feels closer to the next evolution of this ultra-focused style of design. It’s a perfect elevator pitch of a game - surmised exactingly in its abstract, and not even needing to commit to a ‘proper’ title… and yet more immediate and relatable than countless other games. Your aims are clear and simple, and a compact suite of commands elicits a range of responses from its environments and characters to help you achieve them. How one begets the other is just logical enough to work for its two hour duration, but does suggest it’s unlikely to have had scope to go much beyond this without repetitive tedium, or becoming bewilderingly obtuse. That’s not to say that it’s challenges are totally intuitive, or even that it’s free of moments where janky controls entangle you - but again, you’ll easily endure through it given how briefly you’re expected to stay. The primal appeal of being a horrible goose is easy to be ensnared by, and is neither overdone nor worn thin, once again thanks to the length of it. Its elegance and charm complements the simplicity of it all wonderfully, and though not revolutionary, or pushing any particular aspect of the medium to new highs, the quirk, laughs and originality of it is the type of bottled lightning that is unlikely to be replicated any time soon. Honk. 

Wattam

It’s a game by Keita Takahashi. You can assume plenty; warmth, charm, whimsy, colour, humour - and you’d be right. Divorced of a big studio and the legion of other talent that comes with it, his solo work continues to be mechanically light and missing a few layers of polish, yet is simultaneously far more experimental and groundbreakingly humane than most anything you could care to mention. Trying to explain in regular video game terms what you do is somewhat redundant, but to at least give it a shot; you play a large green square - The Mayor - who’s initially alone, but slowly coerces its population back, repopulating the world through various interactions within it. 

I’ll be straight with you: I’ve had to rewrite this passage, as some of the first sessions I spent with this drove me up the wall and lead to a less-than-favourable commentary. Fully aware that talking predominantly about how it plays was “doing it wrong”, I nevertheless took to highlight how I found the camera frustrating, the characters’ erratic and independent movement to be testing, and the rapid-fire sampling of children’s cries laid over the jazzy background music to be cacophonous and anxiety-provoking rather than joyous. That I persevered and made it through the rest of the game is not to say I don’t still harbour some negativity towards it, but the last portion of the game did do a far better job of bringing me around to its charms than those earlier moments where I felt a bit too much like I was wrestling with it. I knew I wanted to see it all and to love it; the idea of being on the outside of something so light being quite so glum, but it didn’t come quite as easily as I was expecting. Don’t be too put off, but perhaps don’t also expect it to be completely painless either.

Neo Cab

Neo Cab’s setting shines a miserably relatable light on a dystopian city and the people living within it. There’s an increasingly downtrodden population of gig economy workers, a police state whose corporate favouritism is not remotely subtle, and a growing number of people whose sentiment against this climate is rallying them together, and turning to action. There is not a lot of digging required to expose the game’s politics, or to join the dots to whom it really wishes were held to justice.

Normally when talking about visual novels, or even just narratively-focused ones, I tend to find myself on the back foot, expecting folks to turn off, and having to find ways to walk it back to more traditional game tropes. Here, I was actually quite pleased with how well Neo Cab defies any lack of interaction - to the point where I’d actually be pretty comfortable recommending this to near anyone. A big component of this is set up early on; a wearable device is forced upon your character that visibly broadcasts her current mood for all to see. As well as mood limiting what you’re willing to say (crucially though, not stopping you from contemplating these options), it’s also un-conveniently right there on her wrist for folks to see when they’ve hit a nerve. As a cab driver by trade, branching dialogue options you need to assess are incredibly frequent - and give your cues are often assuming, intrusive, or just plain rude - your management of them becomes all the more immediate and crucial. Ride quality influences your rating as a driver as well as your income, which in turn impacts which rides you can take, who you can meet, and who you can rely on in future. Sometimes your choices are simple, whereas other passengers may be more obtuse, or inadvertently land you in a quandary more moral in nature. It’s not a long game, and while I naturally don’t want to say too much, it does a good job of keeping the focus grounded on its key characters, who really make it all tick over nicely. I thought Neo Cab was pretty great - it’s got a simple but stylish look to it, and gives you just enough to think about.

  Demon’s Tilt

Pinball tables may not have changed much in the layman’s eyes over the years, but video game versions certainly have. In paying quite unsubtle homage to Naxat’s series of tables that blessed a number of 16-bit systems, the passage of near three decades has given Demon’s Tilt plenty of space to grow into. Larger, higher resolution screens gives us bigger play spaces and more detailed imagery, while increased technical grunt lends itself to a seemingly limitless crescendo of frenetic, often incomprehensible action. I mean, why not throw a little bullet hell into the mix? Goodness grief. 

Given my particular fondness for Devil’s Crash, which to Demon’s Tilt is the clearest, most singular inspiration, I was naturally drawn to this. I’d played a little before in early access, but a more complete Switch version was appealing enough to revisit it. I was already safe in the knowledge that it’d managed to build upon and flatter my favourite pinball game without reducing itself to an imitation, but the option of portable play (with a FlipGrip, even) was particularly exciting. As it happens, trying to condense so much to a small screen wasn’t quite such the modern convenience I’d hoped - it’s a neat showcase, but quite impractical to actually play with. Not thrusting yourself within an inch of the screen and having to squint may give a smidgen more a fighting chance, but a bigger display also allows you to appreciate the slick blend of neon effects spewing themselves over the striking gothic imagery. The music contributes yet more welcome intensity to things, and though I’ve begrudged a few near misses and unfortunate bounces, in calm retrospect it’s clear the this is far more a reflection of my skill rather than any lack in ball physics. For those who are practised in ways I am not, the table itself has plenty of opportunity to flex your muscle, but even though my games aren’t the feats of endurance I’d wish for, I’m still coming away each time clamouring to go straight back in. 

198X

I missed this game’s crowdfunding attempts, but after seeing its trailer - a moody and romanticised nod to all things 80s arcade culture - it was very clear this was making a direct appeal to my sensibilities. It’s a coming of age story about a bored suburban teen, whose discovery of the local arcade ‘changes everything’. Now, I love arcades far more than most, but even I found the story to be over-egged. The Kid’s monologuing through the game’s cut-scenes jumps at such breakneck speed that it genuinely made me feel uncomfortable about their state of mind. Pre-arcade, all is miserly and monotone, whereas the escapism they indulge in after this discovery is worryingly unhinged. The pixel art propping them up may be quite tasty, but I think most people will find the story being pushed to be a touch cringeworthy. 

The game that’s book-ended by these scenes are actually a series of mini-games, each clearly inspired by a particular 80s title. In short clips and stills, you could be fooled into thinking these are not just dutifully upgraded, but maybe even improved homages to the given classics. Visually, yes, there is some argument to be made here as there is some terrific pixel artistry being conducted here, but as there’s only about 15 minutes of each to play, it’s no surprise that some corners have had to be cut. Generally speaking, the balance  of each isn’t quite so nuanced, and unsurprisingly this leans towards them being easier than you’d expect, but there’s specific shortcomings in each too. For example: definitely-not-Final Fight has some shocking collision detection, and of particular disappointment for myself, definitely-not-Outrun has but one gear, and hardly any impression of speed. While not fatal flaws, my point is simply that you’d not choose to play these over the original games they intend to pay their respects to. A second part being teased at the shortly-reached end is likely a downer for those expecting value, but I think it’s two-hour runtime is probably just about right considering it’s best viewed as a novelty. 

[soy-em]

New J2 Fic: Massage Therapy

Title: Massage Therapy

Pairing: Jensen Ackles/Jared Padalecki

Rating: E/NC17

Warnings: none

Summary: Jared is grumpy. Jensen wants to help out. There's a happy ending.

For @justanothersaltandburn as part of my 200 follower celebration.

Prompt:  Jared is incredibly tense (tough scene, argument, etc) and Jensen gives him a massage -- with or without a happy ending ;) ?

 Hope you like it!!

On A03

 Jared slammed the plate down onto the table, making the fries bounce and ensuring that a few peas succeeded in their bid for freedom. The green beans just shivered in place, and Jensen shuddered looking at them; but it was too early to let his new co-star in on all his weird hang ups. They’d only been filming together for a couple of months; Jared didn’t need to know that the man he’d be spending at least the next seven months with had food-related trauma from his childhood.

Pulling himself together, he looked fully at his co-star. “What’s up, Jay?”

Jared scowled back at him.

“What’s up? What’s up?” Jared asked rhetorically. “What’s up is that they’re out of chilli. I’ve had to have 3 plates of pasta instead.” Jared looks intensely annoyed about this development, an unusual change from his usual sunny self and frankly, from his usual willingness to eat absolutely anything going.

“But you like pasta, Jay.”

“Well I wanted chilli today.” Jared pouts, and Jensen can’t help but find it adorable. He finds everything Jared does adorable, and that’s something else his co-star just doesn’t need to know.

“Stop being a baby,” he says, and throws a ketchup-covered fry from his own plate at Jared. It catches him right above the eye, leaving a red drip down his face that looks uncannily like their make- up from yesterday, and Jared snaps out of it a little, sticking his tongue out at Jensen and crossing his eyes.

“You’re gonna pay for that,” Jared threatens.

“Bring it, bitch,” Jensen replies, easy, and sits back to wait for retribution.

****

Filming that afternoon is a bitch. Their new director is strict, and doesn’t have much of a sense of humour. Jensen wishes for Kim to be back with all his might, because while no one in their right mind would mess with Kim, he agrees with Jensen and Jared when it comes to wanting a relaxed, happy set. A week and a half, Jensen sighs to himself.

The scene they’re filming is difficult, a long action sequence interspersed with dialogue, and it requires extras to be on set as well. Everyone is a little tense, and Jensen himself is having more than a little trouble hitting his mark and his lines at the same time. Jared is in a similar situation, and clearly getting more and more frustrated, muttering to himself and even at one point smacking himself on the forehead.

Jensen has been waiting for a good twenty minutes for the director to see the light and call a break, so that everyone can head off somewhere quiet for a few minutes and just chill out. Hellishly, it takes another 10 minutes of wasted film before the director realises that he’s not going to get anything productive out of absolutely anyone. He finally calls it, ordering everyone to go and relax. Jensen sighs with relief; hopefully a short break will help to get everyone back on track.

Jared drops his script onto his chair and storms off the set, long legs propelling him faster than Jensen can follow. Luckily, Jensen can take a pretty firm guess at where Jared is heading: not to his trailer, but out to the lot behind the main carpark where his dogs will be exercising with their sitter at this time.

A quick walk later, winding his way between the trailers and cars and crew bustling about to set up the next scene on the other stage; and he finds out he was right. Jared is indeed out with his dogs, but instead of running about and wrestling with them as usual, he’s on the floor, both dogs piled on top of him. Jared’s got his head buried in Sadie’s fur and Harley is enthusiastically licking all over Jared’s neck and the little of his face his doggy tongue can reach. Jared’s shoulders are set, tense; and even from a few feet away Jensen can tell that Jared has his hands buried tightly in Sadie’s fur.

He spends a few seconds wondering whether his presence will be welcomed, but eventually decides that Jared’s vow of undying friendship, delivered sloppily into Jensen’s neck last Saturday evening after far too many tequila shots, was meant to cover just this eventuality.

“Make up are gonna love the dog spit,” he says lightly to alert Jared to his presence.

Jared looks up, eyes a little glassy. “Don’t care.” The pout is back, and it’s just as cute as before; Jensen squashes the inappropriate thoughts that always come any time he thinks about Jared’s pretty pink mouth. A boner will not be helpful in this situation.

“Wanna play throw with them for a few minutes? We got another ten before we gotta head back.”

Jared shakes his head resolutely, and Jensen is now beginning to worry that something is actually wrong. Jared has never not wanted to play with his dogs before. Head on one side, he contemplates Jared while he wonders what to do for the best.

Jared is curled up almost completely over Sadie, who is putting up with being caged in with very good grace. His silky brown hair, getting longer every day, falls down over Sadie in a tumble of curls, hiding his face. Jensen takes a moment to admire the long legs, splayed out around Sadie, before he makes a decision.

Harley is still snuffling at the back of Jared’s neck, but he looks up sharply when he hears Jensen’s voice. “Harley, fetch,” Jensen says, and the giant dog barrels off in search of his ball. Over excited, he comes rocketing back towards Jensen, who doesn’t quite anticipate what’s going to happen next.

Before he’s realised, he’s on his ass on the ground, Harley’s weight trampling bruises into his ribs. Jensen can’t help but laugh through the pain, wrestling the ball from Harley’s mouth, and it makes Jared look up finally.

“Harley, no!” Jared shouts, scandalised, as he realises that Jensen, in full Dean costume, is on course to roll into a puddle. “No!”

Jared jumps up, Sadie skittering away from him in panic, and throws himself towards Harley and Jensen. They all roll in the opposite direction, away from the puddle, and Jensen is pleased to hear Jared’s laugh booming out around the parking lot as they play fight on the ground, Sadie throwing herself into the mix as well.

Mission accomplished, he thinks.

***

By the time they’re wrapping up filming, Jensen is beginning to doubt whether his plans for this evening are a good idea. Jared had invited him around for dinner and video games; a routine they’ve developed over the past couple of months to help them both relax. But Jared is clearly in an absolutely terrible mood; on top of being upset about his lunch and storming off earlier, he’s now snapped at two PAs and sassed their stick-up-his-arse new director, all behaviour that is so wildly out of character that Jensen is worried. But maybe, he thinks, Jared just needs a night alone to de-stress, and so maybe it would be best to cancel their plans. Even though Jensen would like nothing more than spending a night on Jared’s sofa with Jared’s leg pressed against his and Jared’s elbow periodically digging into his chest.

He’s about to suggest this to Jared as his friend comes towards him, missing the usual bounce in his step.

“Still on for tonight?” Jared asks, before Jensen has a chance to say anything. Puppy eyes peek at him, causing an uncomfortable fluttering in Jensen’s tummy.

“I am if you are,” Jensen replies, wondering where his spine has disappeared to.

“Course. Let’s get going.”

Their ride back is quiet, even the dogs worn out by their antics that afternoon. Jared appears lost in his own thoughts, and Jensen desperately wants to intrude, but doesn’t quite know how. They tumble out of the car when they reach the hotel, Jared barely even acknowledging his friend the concierge, let alone providing his usual cheerful update on filming and the dogs’ behaviour that day. Jensen has come to realise that Jared makes friends with everyone and already, after only a couple of months, knows nearly every staff member working at his hotel; oddly enough, small dog-related disasters that would normally result in angry letters from hotel managers seem to disappear from Jared’s suite with no further action.

They make their way upstairs to Jared’s suite. It’s nowhere near big enough for one clumsy six foot four man, let alone two rambunctious dogs; and Jared is already talking about getting a proper house for next year if they get picked up for season two. But in the meantime, they are stuck in the suite, with it’s small, cramped sofa and the enormous dog beds taking up half the floor space.

Jared crumples onto the sofa immediately, dropping his head against the backrest. The dogs start circling restlessly, looking for the small treat Jared always gives them when they get home; Supernatural’s varied shooting schedule means they get fed on set but there’s a bag of treats in one of the high cupboards. Seeing that Jared isn’t making any move towards it, Jensen fishes two healthy dog bones out of the bag. The dogs go mad as soon as they see them, jumping up on Jensen and trying to climb him, and Jensen laughs, fending them off.

“You wanna give them their treats, Jay?”

“No, go for it.” Jared sounds weary, and Jensen frowns as he drops the bones onto the floor for the dogs. Happy snuffling sounds follow him across to the sofa, where he perches next to Jared.

“What’s up, Jay?” he asks quietly.

Jared visibly pulls himself together, drawing his body back from its loose sprawl and sitting up slightly.

“Nothing,” he replies. “Shall we play?”

“Sooner we start playing, sooner I can win,” Jensen answers easily. He fishes two beers out of the small fridge and puts the game into the console, handing Jared the other controller.

“Bring it, motherfucker,” Jared says, with a hint of his usual defiance, and the game is on.

***

An hour later and things are almost normal. They’re as competitive as ever, or at least it feels that way until Jensen wins and Jared doesn’t have his normal tantrum, doesn’t start trash-talking Jensen and plotting his revenge. Instead, he just flops backwards on the couch, dropping the controller, and Jensen can’t bear it any longer.

“What’s up, Jay?” he asks.

“Nothing,” is the short response he gets.

“Not true.” Jensen is nothing if not persistent, and he knows he won’t be able to leave this alone. Jared has come to mean more to him over these past two months than a lot of people he’s known for years, and it’s hurting him to watch his friend be unhappy. And that’s just the simple affection and friendship he feels for Jared, before he even attempts to analyse the more complex feelings lurking under the surface. Not to mention that Jared’s pretty face is meant for smiling; nothing feels better to Jensen than seeing those dimples and knowing he put them there.

“Come on Jay,” he coaxes. “Something’s wrong. Why don’t you tell me, maybe I can help?”

Jared sighs. “Its nothing,” he repeats.

“It’s not nothing, Jared, I can tell. Come on, tell me.”

“It’s really nothing. I’m just tired, and I hurt my shoulder a little yesterday, and I didn’t sleep well.” Jared keeps his eyes averted, voice quiet.

“You hurt your shoulder?” Jensen repeats, thinking of all the stunts and action sequences they’d done today. “Did you tell anyone?”

“No, it’s just a little thing. Aches a little.” Jared is definitely refusing to meet Jensen’s eyes now; he knows he should’ve gone straight to the set medic this morning and told them exactly what was wrong.

“How?”

“Playing with the dogs,” Jared is a little flushed now, too, embarassed at Jensen’s obvious concern.

“And it kept you from sleeping?”

“Couldn’t get comfy.” Jared shrugs at that and then winces. “Sorry. I know I’ve been grouchy.”

“Idiot.” Jensen mutters fondly. “Let me have a look.”

“What, you think you’re a doctor now?” Jared mocks, a little shaky but trying to continue their usual back and forth.

“I was going to do a physical therapy degree.”

“Yeah, going to. Not did,” Jared says, bratty.

“Let me see, Jay.” Jensen’s voice is firm, a tone he’s learned will sometimes make Jared obey promptly. Jared likes strong direction, he’s noticed, but he tries not to take advantage of it too often.

Jared pulls his t-shirt up awkwardly, wincing in pain, and Jensen hastens to help him pull it over his shoulder. He’s faced suddenly with the smooth expanse of Jared’s back, golden skin begging to be touched, but he resists. Mostly. He runs his fingers softly over the muscle on Jared’s shoulder and his friend shivers, skin breaking out in goosebumps.

“This shoulder?” Jensen asks, unnecessarily. His voice has dropped low, and suddenly the room is quiet, the weird tension that sometimes exists between them ratcheted up a notch.

“Yeah,” Jared’s quiet too.

“Ok.” Jensen starts to press a little more firmly into the muscle, prodding along and keeping a close eye on Jared’s reactions. Jared’s skin is so, so smooth and he’s having a hard time keeping himself focused.

Jared hisses suddenly, jerking away from Jensen’s hand. “There,” Jensen says unnecessarily, and Jared shoots him one of Sam’s bitch-faces. Not allowing himself to think, he tugs Jared’s t-shirt all the way off.

“Lie down,” he instructs. “Let me try something.” He pushes firmly at Jared’s good shoulder, trying to get him to lie on his front on the sofa, but Jared resists.

“What’re you going to do?” he asks.

“Massage your muscle a little, see if I can help it relax.”

“You’re not a masseuse, you don’t know what you’re doing,” Jared argues.

“I’ve always had very positive feedback on my massages, thank you,” Jensen says, grinning.

“From who?” Suspicion shines in Jared’s multi-coloured eyes and Jensen can’t help himself; he winks at his friend.

“Who do you think?”

Jared flushes bright pink, but stops arguing and allows Jensen to guide him down onto the couch.

Now that Jared has done what he’s told, Jensen has time to contemplate the potentially monumental mistake he’s just made. It’s like a dream come true, Jared laid out in front of him, tan skin warm and soft, legs spread and one knee dangling towards the floor. He’s going to have to work really hard to keep hold of his self-control.

He settles into the space between Jared’s legs and rubs his hands together to warm them up. Normally, he’d place his cold hands onto Jared’s overheated skin just to see him jump, but it seems unfair when it might actually cause him more pain. Finally, taking a deep breath, he lowers his palms to Jared’s back and starts to move them slowly across the muscles, working his way towards the painful one.

It takes a while for Jared to relax, and Jensen can’t really blame him; despite drunken vows of eternal friendship, this isn’t really within the realm of normal. But after a while, Jensen can feel Jared becoming pliant under him; breath slow and even and his hands unclenched. Taking that as his cue, Jensen moves his hands slowly towards the sore muscle, and starts to really work, trying to ease the pressure he can feel.

He massages there for while, Jared soft and compliant, and eventually he feels the muscle start to loosen. Knowing that his work is done, Jensen allows his mind to stray, imagining a world where this was his; where he could touch Jared like this and more every single day, without the excuse of an injury. He’s forced to admit that it’s something he desperately wants; there can be no more hiding, he thinks, under the illusion that he just finds Jared passingly hot; not when the fact that Jared was hurting was so painful to him.

As his mind wanders, his hands do too, slipping higher on Jared’s back and up to his neck. He’s only brought back to himself when he feels Jared tense again under his hand, a wounded noise slipping from his friend’s throat.

“Did that hurt?” he asks quickly.

“No,” Jared responds, low. “Felt good. Sorry.”

Jensen can’t help himself. He sweeps his thumbs over the back of Jared’s neck again, and this time the noise is louder, Jared letting out a little moan. “Here?”

“Yeah,” Jared replies, breathy.

Jensen does it again, and Jared’s whole back shivers.

“Want me to stop, Jay?” Jensen can barely bring himself to ask, but he knows he won’t be able to forgive himself if he doesn’t.

“No.”

That’s full permission, as far as Jensen is concerned, and he digs his fingers firmly into Jared’s neck, dragging them up until his hands are tangled in Jared’s hair. He wanted to do this almost since the moment they met, and it’s no disappointment; Jared’s hair is as soft and silky as it looks, and the noise Jared makes when Jensen tugs gently is addictive. He can’t help but continue, pressing one thumb into Jared’s neck, and allowing the other hand to scrape across his scalp, enjoying the feeling so much that it takes him a moment to realise that Jared’s hips are rocking back, seeking pressure.

Lightning shoots through Jensen at the realisation that Jared is really enjoying this. Not just finding it mildly pleasing, but possibly just as turned on as Jensen. He leans down, pressing his front against Jared’s back and whispers into Jared’s ear.

“Do you really like this, Jay?”

“Yes!” Jared’s voice is higher than usual, and he reaches back to grab at Jensen’s arm. “Don’t stop, Jen.”

Jensen can see Jared’s face a little better now, and he’s flushed, eyes glassy. Daringly, Jensen nips lightly at Jared’s ear, and Jared convulses, hips arching further back than ever. Jared’s other hand has found its way to Jensen’s thigh, and he’s digging his fingers in, bright spots of pain against the joy lighting up Jensen’s skin. Jensen presses little kisses along Jared’s jawline, desperate suddenly to get to his mouth. The angle is all wrong and Jensen is only able to kiss the corner and frustrated, he pulls back.

Before Jared really has a chance to move, Jensen hooks his arm under Jared’s waist and pulls him backwards so that Jared is kneeling, back to Jensen’s chest. The angle is only slightly better but it’s enough for Jensen to lean around and turn Jared’s face towards him, and finally their lips meet.

It’s a soft, sweet kiss at first, despite the awkwardness. Jared’s lips are just as soft as Jensen had imagined, on lonely nights in his own hotel room. They move together easily, and Jared winds his good arm behind Jensen’s neck, arching his back.

It doesn’t stay soft and sweet for long. Jared opens up under Jensen’s mouth and they’re soon nipping and biting at each other, tongues twisting deep as Jensen’s hands rove across Jared’s chest. Jared might be slim but he’s all muscle, and Jensen delights in running his fingers through the dips and troughs. Soon he realises that Jared is pulling frantically at Jensen’s t-shirt, and he pauses for just a second to pull it roughly over his head, until they are finally skin to skin. It feels so, so good. Jared is warm and smooth against him, all the strength in his body moving against Jensen.

Jensen suddenly doesn’t want to wait any longer. He’s been waiting for this for two months, the tension there between them since day one when Jared had blushed and stuttered through their first meeting. He pushes impatiently at Jared’s pants, fumbling the button open and pushing his briefs down, before pulling his cock out. Jared groans into his mouth, and Jensen pulls away for a moment to pant out, “This ok, Jay?”

“Fucking yes,” is Jared’s emphatic response. “Come on Jen.” Jared shifts against him, trying to get some friction, and Jensen starts to move his hand, slow and steady. He shifts back slightly for a moment so that he can get his other hand on his own flies and pull them down, and then his cock is pressing against the warm skin of Jared’s back, sliding easily in the sweat there.

He picks up the pace of his hand, paying close attention to what Jared likes, and the noises he makes; repeating the moves that get the best noises. Jared has his head tipped back on Jensen’s shoulder and he takes the opportunity to put some marks on Jared’s long, glistening throat.

It doesn’t take long for them to find a rhythm, Jared thrusting up into Jensen’s hand and then back against Jensen’s cock. Jensen’s heart is pounding and he wants this moment to spin out for ever, but he’s getting closer and closer.

“Not gonna last this time,”Jared pants against his shoulder, eyes still closed. “But next time will you fuck me?”

The visual is too much for Jensen, imagining Jared spread out before him, ass raised and waiting. He comes with a shout, shooting against Jared’s back as Jared speeds up his movements. “Jen, so fucking hot, Jen,” Jared gasps, before his cock twitches and come coats Jensen’s hand. Jared goes boneless against him, dead weight suddenly almost forcing Jensen back on the bed, and Jensen has to catch them both and lower them gently so that they’re lying on their sides. He pulls down his own pants and wriggles out of them, before doing the same to Jared, so that they’re both a little more comfortable.

It takes a while for his breathing to even out and his body to calm down, tiredness seeping through him. He’s still wrapped around Jared, arm across his chest and pressed to Jared’s heart, feeling the steady thump thump thump under his hand. He assumes Jared has fallen asleep, but then realises that his friend is still awake, holding himself still.

“Ok, Jay?” he asks softly.

“Mmmm,” Jared hums pleasantly. “Can we do that again?”

Jensen thinks that Jared wouldn’t be asking that, if he weren’t so out of it; but he’s glad to get the awkwardness out of the way.

“I definitely want to do that again,” he confirms.

“Brilliant.” Jared’s mouth curves in a little smile, eyelashes drifting against his cheek. “Imma expect a massage like that every time I have a bad day now,” he says.

Jensen snorts. “That’s absolutely fine by me. As long as it always ends like this.”

“Every time.” Jared confirms.

[thenthdimension]

My Top Ten Comics of the Year List because the one from Vice Sucked

So vice has released a list of its top ten comics of the year that was only eight entries long because apparently comics were so bad this year that eight was as many as they could manage. This really frustrated me, mainly because their problem was with the quality of comics (which I thought was great) and not the behaviour of individuals and organisations within the industry (a lot of which was very bad). I am not going to link to the article because if you want to find it you can but I am not going to help you. I am however going to give my top ten list which I realise a lot of other people have done in reaction to the article but I’m just too annoyed to do nothing.

Some caveats before I start, firstly I am just someone who likes comics and I have not read 90% of the stuff that has come out because I am not a) rich or b) someone who receives comics to review. Secondly I am a white/cis/het man and my comics reading is not as diverse as I would like but I do want to work on that this year. Thirdly some of these will be graphic novels, some individual issues and some on-goings. Finally this is in no particular order, feel free to skip past entries you have not interest in and please check to the end of the list to see if something catches your interest. If one person reads one comic because I did this that is a huge win.

Aliens Dead Orbit by James Stokoe

James Stokoe is one of the best cartoonists working in comics today. Most of the books he works on are top to bottom his work, writing, pencils, inks, colouring, lettering the whole bag and that is the case here. The details in his panels is incredible as you can see here but only when it needs to be. When he needs the readers eye to move quickly across a page to show speed or to make show a lot happening in a short space of time the detail drops without losing any of the skill. Also I just love his colouring the warm lighting contrasting with the cold metal of the ship and dark blacks of space and the aliens themselves. This is not a complicated or deep story that going to tell anything new about this universe its just excellently told and looks fab.

Kaijumax: Season 3 by Zander Cannon with colour assists by Jason Fischer

This is a prison comic where the prisoners are giant monsters, I really don’t know what else you want me to say about this. At its best it can be disturbing, funny, exciting and you will never know how much you could care about a giant satanic Goat. That goat is the Creature from Devils Creek and his is the best story line this season, I was honestly upset and some of the things he had to go through. I obviously recommend going back and reading the previous two seasons but this is the best Kaijumax has been and I cannot wait for season 4.

Doom Patrol Written by Gerard Way, Pencils by Nick Derington, Inks by Tom Fowler, Colours by Tamara Bonvillian and Letters by Todd Klien

The lead singer of My Chemical Romance writes one of my favourite comics. That’s a weird thing to say but then comics are weird and this comic if full bore weird. Coming from DC’s Young Animal line which is basically Way’s baby this is technically a book about a team of superheros but really its well developed characters dealing with whatever mad thing happens that month. But as much as I enjoy the madness and Ways writing Nick Derington is the best thing about this book. There was an issue that had guest art by Mike Allred, who I love, and all I wanted was for Derington to come back. Plus that madcap writing means he gets to draw some incredible looking stuff. Also one of the main characters has sex with their anthropomorphised cat.

The Wicked + The Divine Written by Kieron Gillen, Art by Jamie McKelvie, Colours by Matthew Wilson and Letters by Clayton Cowles

It was never going to be ok. That’s basically the motto of this book and this year has shown you how true that is. Every 90 years the cycle repeats normal people become gods and will not live past 2 years, this time they also became pop stars. Wic Div has been going for a couple of years now and it just keeps getting better, the characters are so real and who they are is brilliantly reflected in the art. It will break your heart but it will also have dying to read the next issue. Plus they have started doing specials which show glimpses of the past pantheons. Its currently on issue 34 so its something of a commitment but it rewards that commitments and the collections come out with a decent regularity. Oh if you are a tumblr person do not look at the Wic Div tag unless you want SPOILERS.

Copra #31 by Michel Fiffe

Fiffe is another top to bottom cartoonist and he also self publishes Copra, so this is proper indie comics. Copra is a Suicide Squad fan comic that’s almost consistently better than the actual Suicide Squad comic. A team of mercenaries and criminals do the jobs no one can admit to and treated as expendable by those who put them in harms way. Its art and action comics all at once. This issue focuses on Castillo who as you may be able to tell is somewhat like the Punisher and its just a great example of what makes Copra great. I could see Fiffes art not being for everybody but its 100% for me.

Southern Cross written by Becky Cloonan, Art by Andy Belanger, Colours by Lee Loughride and Letters by Serge LaPointe

Southern Cross is like an Aliens movie directed by John Carpenter filtered through H.P. Lovecreaft. Put on some synth-wave, prog rock or cosmic metal and enjoy a horror comic that’s also a huge amount of fun. The first arc was Alex Braith booking passage aboard the Southern Cross to find out what happened to her sister. This years second arc takes us to the rigs on Titan where the mystery of whats going on deepens and we find out more about the life in this universe. Can’t recommend it highly enough, plus some of the space suits have Jason masks, which makes me very happy.

The Unbeatable Squirrel Girl # 26 The Zine Issue by Ryan North, Erica Henderson, Rico Renzi and many, many more

I cannot list all the creators please go look them up. Squirrel Girl (she has the powers of both Squirrel and Girl) is a comic that is always a huge amount of fun and this issue is the zine that Squirrel Girl has put together with her friends to raise money for all the public buildings superheroes destroy. It features a feel good inspiration comic written by a nihilistic brain in a jar, Cat Loki, a quite touching story about Wolverine and a sentinel and a Galactus comic written and drawn by Jim Davis the creator of Garfield. You can read this all by itself and still enjoy it so its a great place to find out if Squirrel Girl is for you which it probably is because Squirrel Girl rules. Eat nuts, kick butts. 

Mister Miracle #4 Written by Tom King, Art by Mitch Gerads and letters by Clayton Cowles

Mister Miracle is one of the New Gods. Mister Miracle can escape any trap. Mister Miracle is depressed and recently tried to kill himself. This twelve issue mini series is going to show up on a lot of best of lists this year and that’s totally justified. But of the five issues released so far I believe this, The Trial of Mister Miracle, is the best. Every great about this series is crystallised here, the 9 panel grids, the quite unflinching look at depression, the art that expertly mixes the fantastic and the mundane and the incredibly sharp writing. I haven’t seen a better example of a character who is entirely correct but also completely wrong.

Savage Town written by Declan Shalvey, Art by Philip Barrett, Colours by Jordie Bellaire and Letters by Clayton Cowles

Cartoonists get a lot of props for being able to handle every aspect of creating a comic book and there are some great examples on this list. This comic I believe is the best example of how a great team on a book can be just as effective as a great cartoonist. Its Limerick near the turn of 2000, Jimmy Savage is the leader of a small gang and trouble is heading his way. I love that one of the best crime comics this year is about an Irish city and comes from a majority Irish team. Its also great to see a comics writer writing Irish accented dialogue that doesn’t read like its out of Darby O’Gil and the Little people. And its a great story too, I really hope there is some kind of follow up as I’d really love to come back to this town and these characters again.

My Lesbian Experience with Loneliness by Nagata Kabi

This year I decided to start reading more manga (Japanese comics) and I decided to start with this which was a bit of an odd choice but one I do not regret. This true story can be difficult to read because it is true. Nagata was this lonely, this isolated, this depressed and the really had this struggle with their sexuality. The depression they felt was crippling and while a lot of things I could relate to, especially berating yourself which I used to do a lot, I really had no idea. I have always considered myself as decent person who understood that depression was something that could paralyse a person but until I read this I don’t think I truly considered what that meant. The sense of isolation and loneliness is so strong I honestly don’t know how they got through it. And then they recounted it with such a great sense of humour and didn’t shy away at all. I feel like I am not explaining this well, I don’t read lot of things like this and maybe I don’t have quite the right vocabulary. Just know that this is the most affecting piece of media I came across this year. If I know you IRL please ask to borrow it because I would love to hear what other people think of it.

And that’s it, those are the ten best comics I read this year. You can find all of these on comixology, amazon and good comic book stores. If there is something you’d be interesting in reading and you don’t know how to get a hold of it ask me and I’ll see if I can help you find it. Comics a great and anyone who kind find ten great ones in a year is not looking hard enough or is a pretentious prick. I know for a fact there is stacks of great stuff I didn’t get to read this year. Its all out there, you just have to look.