#saying something is the best anime is so 2015 but

[hermitparadise]

Rainbow brite and the star stealer being anime as fuck

[nikibogwater]

Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.

[the-monkey-ruler]

if someone wants to get into journey to the west and the story of son wukong, what's a good place to start?

I would say watching a show is what personally got me into it!! I made a list a while ago depending on what you are looking for but really just depends on if you want something like a really good movie (but can't fit all of xiyouji content due to time) or do you want something that focuses on accuracy to the novel (even if the show doesn't get to focus too much on individual characters) or something that is more of a drama series (that isn't too accurate but has fantastic character exploration)!

Personally, I would say if you are new then to watch something ACCURATE then you should choose from 1987 tv show, the 1999 cartoon show, and the 2011 tv show (links in the top link)

Or if you want a really good movie to just have a quick way to fall in love with the characters then Monkey King Hero is Back 2015, Havoc in Heaven 1961, or Monkey King 2 2016 (yes the second one is my preference I think it is better than the first tbh)

But also a good place is just reading the books which I recommend the Yu translation as they are the most reliable as it doesn’t cut out any scenes like other translations.

Or if you are not much of a reader than the audio book for the Yu translation is always available! It is free and you can do work while listening!

There of course hundreds of ways to watch or consume xiyouji media but this is my personal suggestion for someone unfamiliar or new to the content. That way once you know more of the original stuff you know what they change in media. Not even show/movie is accurate and you are going to have a hard time finding something that is one-to-one so reading the book itself is always the safest option. But just be ready to go in with the idea that each director wants to show the world THEIR version of the story and how much it meant to them and how much it could mean to you! You have so many options to get into Xiyouji and nearly 100 years worth of media surrounding such a wonderful story!! I hope you have a great read/watch!

[003soy]

Kat’s Character Overanalysis of Murasaki

⚠️ WARNING ⚠️

The content below may exhibit multiple instances of confirmation bias due to over a year of brain rotting.

Do not proceed if you dislike excessive analysis of characters that only appear in official tweets and random merchandise.

I treat this guy like an oc so don’t be mean to me ok 💔 just my headcanons and personal observations!!!

Viewer discretion is advised…

Ok so I'm going to start with the basic stuff (i.e. inkipedia)

From 2015-2018(?) Murasaki was the drummer for the band Squid Squad. He was the youngest member of the group.

While this excerpt from Inkipedia may seem small, there are a lot of traits described here that can be further analyzed (if you have nothing better to do)

The Squid Research Lab describes him as rough around the edges.

The term "rough around the edges" is used to describe something that has small imperfections, but is generally good. When describing a person it can mean someone who is unsophisticated or impolite. In this instance, "rough around the edges" could be describing Murasaki's drumming skills as he's said to have potential, but he also needs some practice.

this characterization was probably made to resemble his appearance as well! (sea urchins don't have very smooth edges...)

2. Murasaki is referred to as a wild child.

A "wild child" is usually someone (likely a young person) who is headstrong, rebellious, and/or uncontrollable. To me, this info matches nicely with the impolite interpretation of the phrase "rough around the edges."

3. From here, it sort of goes on about his playing which I sort of addressed in the first point. Basically, he has a natural gift in drumming because he has a good sense of rhythm, and despite lacking in technique, he always tries his best.

4. He is prone to crying

The Squid Research Lab states that he could be caught crying during a drum solo which goes to show how much effort he puts into his playing :). I feel like this part tends to override his other traits in fan stuff (if he gets included at all). I personally view this as a subversive aspect of his personality. Normally he has an abrasive personality because of the rebelliousness and lack of manners, but he is also a sentimental person and his emotions are expressed through tears even if he isn’t sad (samee). Think of how urchins have a spiky hard external shell that hides soft uni inside of it ok...

5. Energetic

I know the energy think is probably referring to his playing style, but I picture him to be a fidgety person who doesn't like to stand still. I guess it matches with the wild child thing.

6. He's the youngest

Expains the previous behavior. rude + rebellious + more talent than practice. teenager.

Moving onto other sources! Bye Inkipedia...

Here is the original japanese text of the Squid Research Lab info on twitter. Yes, I know google translate isn't that accurate, but I think it's interesting and deepl says something similar as well.

7. Ignoring the strange grammar, Murasaki is additionally described as mischievous (やんちゃ?). Definition: playful in a naughty or teasing way or troublesome/irritating.

I guess this was translated into the wild child in the english version because I'm assuming the term in japanese refers to more childish behavior. I think the word mischievous is easier to understand though since I've never heard the term wild child before. Anyway, he's silly.

8. I sort of glossed over this in the english version but apparently he can take the lead when it matters most. In english, the phrasing kinda made this confusing. I thought they were just saying words lol. Anyway, this ties in with him trying his best while in the band + being compassionate/sentimental.

topic-adjacent kinda. I've seen people interpret this in a sort of sad way, but I interpret this as him being mischievous! I think he's walking towards them to scare them. The little star next to his head reminds me of the animal crossing mischief emote.

another bonus thing because it shows that hes silly. a silly goose. I think he likes to doodle.

God I haven't even gotten to the splatune articles yet...

yeah this kinda repeats what I already said but here it says his playing fits well with Ichiya. I think that both of them are kinda similar. Both are sort of lacking in technique but make up for it in other areas. Both have ADHD (lying). To me, Murasaki is if an asshole turned out to be kind, and Ichiya is if a kind person turned out to be an asshole. #crazy

Splatune 1! No more numbered list I forgot what number I was on :)

Cool and edgy urchin

I have no idea what that means. Ok.

Cool means cool.

I don’t know if they mean edgy in the internet way because ???... Anyway, edgy can mean: 1. tense, nervous, or irritable, 2. trend setting, daring, or provocative. I think the word choice was for the sake of an urchin pun.

I think they meant to convey the second definition by saying hes cool and unconventional (I don't think it makes sense to say someone is cool and nervous in the same sentence). Kind of matches with being rough around the edges. I like to apply the first definition sometimes though. I like to stress him out.

he boldly pushes up to the front like a blaster

information about his drum playing is information about his personality! this relates to his previously described energetic playing. I like how this sort of frames him as unusual compared to other drummers. It shows how his playing style relates to his character... energetic, headstrong, he can lead the way if necessary. all things previously stated.

mean to him :(

I think this is trying to say how the others keep him around even though he doesn't match the theme. They keep him around because he looks cool? (this information is probably useless because machine translator. grain of salt)

very brief splatune 3 cameo

can drink in bars now? (old...)

likes to talk in circles (old...)

looks depressed now. aware of the horrors... evil leg bouncer...

thats it for official stuff i think. I like to add on bonus traits to him during the front roe era, but yeag ✌️

[rappaccini]

a queer reading of spider-gwen

okay. this is fifty pages long so i'll skip the sentimental intro: spider-gwen's existed for ten years, and over the course of that decade she's steadily been written as a more and more overtly queer character.

gonna get gwen's appearances in animation/movies out of the way first.

IN OTHER MEDIA:

in ultimate spider-man (2015), gwen collaborates with peter and miles but no romantic tension is present, and she clearly prefers working alone or with aunt may. takeaway: inconclusive.

in marvel spider-man (2017), gwen's teased as a romantic interest of peter's, but they ultimately stay friends. at the big end-of-series dance, her date is a boy who's a side character at best. she has a ton of tension with anya corazon, her female best friend and has a moment of gay panic when she sees black widow-- though both could still read as her just being affectionate towards other women. takeaway: inconclusive, but with plenty of fuel that she might be bi with a preference for girls or a closeted lesbian.

in marvel rising (2018), gwen has no romantic partners and expresses interest in no one. the murder of her male best friend, kevin (peter placeholder) motivates her, but she shows no signs of romantic feelings for him. she's still a drummer for the mary janes and exclusively interacts with other women. takeaway: inconclusive, queer if you squint.

in spidey & his amazing friends (2021), a cartoon aimed at preschoolers, gwen is an elementary schooler. takeaway: irrelevant.

IN THE SPIDERVERSE MOVIES

in ITSV (2018),

gwen's a supporting character whose arc is about warming up to miles and embracing new friends after the death of her peter (here referred to as only her friend, which was probably all he was at this point in development).

even if the planned romance plotline was cut down to 'miles has a crush, gwen's so reserved you can read her either way, and they end the movie agreeing to be friends,' she's still in the movie. so the writers probably intended for her to be straight.

and her personality is so off that it wouldn't surprise me if they never read her comics past her initial origin story, the spiderverse event and sitting in a tree... which means the writers probably didn't realize gwen was queer until after they expanded her role for atsv.

in terms of gender presentation... gwen has an edgier haircut and an eyebrow piercing, but the piercing's lifted from katie bishop, miles's first love interest in the comics. and she's also a ballet dancer, so she's automatically coded with conventionally feminine interests.

and let's be real, there's no way the writers intended gwen to be trans-coded until atsv at the earliest.

takeaway: inconclusive, but probably straight.

ATSV (2023)

gwen canonically has romantic feelings for peter-65 and tension with both miles and hobie (though she insists hobie's 'just a friend,' given that gwen's lying for most of the movie, hobie does for gwen what she does for miles in his parent's apartment at the end of the film and pav is 'good at reading people' and says something's going on there... something probably went on there). it is crammed down our throats that gwen is definitely into guys.

gwen interacts with many female characters, and is in the mary janes band, but has no chemistry with any of them, does not regard any of the female characters her age (the mary janes, margo) as friends, and is hostile towards them all. she clashes with rio. she seeks a female mentor in jess, subtextually a mother figure to gwen, but has a poor relationship with her that frays over the course of the movie.

her plotline entails compulsively lying to everyone in her life to protect herself from rejection, being hunted by the authorities for an identity they disapprove of, running away from home after being revealed to an unsupportive parent, and sheltering with hobie, who's confirmed to have a genderqueer influence in concept art. and we've all seen the scene where gwen comes out to her father (lifted word-for-word from the comics). however, these could be read a variety of ways. if you don't want to see the subtext, technically, you don't have to.

she's also the most romance-driven version of spider-gwen that has ever existed:

the first words out of gwen's mouth, the words that open the movie, are "let me tell you how special the boy i like is, and how i wasn't loyal enough to him"

instead of being repulsed by peter's advances, gwen clearly intended to go to the dance with him as a couple and is upset that she didn't get to

her origin story is sanitized to make sure she doesn't have any hangups about getting a boyfriend, and that miles doesn't have any about being attracted to her.

she's so fixated on peter that she's projecting him and the relationship she wanted with him onto miles

the storyline about gwen isolating herself from her friends, adapted from the comics, is recontextualized so she's pining for miles the entire time because she thinks only he can understand her

she risks her life (since at this point she assumes being sent home could get her killed, and knows about the gwen death canon event)... to see a boy she hung out with for one afternoon a year and a half ago

she reunites with miles by diving onto his bed and creeping through his window. you know what that implies.

she takes him on an elaborate swinging date through the city, where their compatibility as a team is emphasized and she introduces herself to his dimension as THEIR friendly neighborhood spider-woman

(said date includes a storyboarded shot that was cut where gwen and miles photobomb a wedding in the places of the bride and groom)

the date ends with them visiting a special secret place to watch the sunset and talk about their feelings

she seems more upset by the idea that she can't be in a romantic relationship with spider-man (not even "a spider." a spider-man.) that ends well than that she will die young

the entire party scene is essentially miles introducing his girlfriend to his parents, and gwen failing to win their approval

gwen interacts with hobie with romantic intent as well-- wearing his clothes, flirting with him, constantly spending time with him, talking about him when he isn't around the same way she would miles, sleeping over at his place, getting flustered when he's brought up. even pav has noticed that something's going on between them.

gwen observes miles being protective of children in mumbattan and has a moment of Lingering Eye Contact with him when they look at mayday's baby pictures. the directors want you to think of them as parents together, and spiderverse gwen doesn't share her comics-counterpart's repulsion towards babies

she and miles are given a "wendy and peter pan" parallel in dialogue

she's catty to another girl over a boy's attention

she becomes disillusioned with the spider-society not because of her own mistreatment, but because of miles's

she stands up to the spider-society not for her own sake, but her future boyfriend's

she has a ~mysterious connection~ to miles that allows her to sense he's in danger across dimensions. they gave her a brand new superpower that revolves around being constantly aware of her boyfriend's needs even when he isn't in the same universe as her. it isn't even clear if the connection runs both ways.

gwen reunites with her father because she returns to their apartment for a photo of her and miles, and her reward for making up with her dad is a portal watch she can use to see miles.

she spends the movie in a subtle love triangle with hobie and miles, and despite knowing hobie far better and being far more comfortable with him, we know she's choosing miles for some reason. a relationship with the straight boy she barely knows, can't be honest with, and has barely done anything for her somehow matters more than the queer-coded boy she has a deeper connection to. she's choosing the heteronormative option.

the climax of gwen's arc isn't actually her confrontation with her father. it's when she goes to miles's to apologize, puts miles' hoodie on (you know what it means when a girl wears her boyfriend's clothes), and wins his parents' respect by defending him to them. it's literally all about introducing herself to her boyfriend's family and reassuring them that she's good for him.

the ending of the movie is gwen handpicking a team for miles made of all his friends and allies and ends the movie on her way to deliver them to him. it's only her team until he shows up. then she'll immediately fall into line as his support.

gwen decides to defy her narrative by... pursuing miles to apologize for not being honest, confess her love for him, bring him home to his family and prove how devoted she is to him by helping him protect what he loves.

gwen's atsv arc is about deciding to be brave enough to be a straight boy's supportive girlfriend.

(we know btsv is going to involve gwen's death canon event, it being subverted somehow and the gwiles romance getting, according to the straight white nerdy guys who wrote this story, a 'satisfying' conclusion.)

this is the first time in her character's ten-year history that a spider-gwen plot has been dominated by gwen wanting a boyfriend.

so if nothing else, gwen seems to be written, directed and performed as straight. her design has a queer vibe, but her behavior does not. and i doubt they'll want to introduce any more rivals to their precious gwiles, so she'll probably stay that way.

but in terms of gender identity, she's definitely coded as transgender.

we've all seen the 'protect trans kids' flag in her room, and the abundance of pink, blue and white in her world's color palette. if i had to bet, some animators picked up on the queer vibe of gwen's storyline in the film and/or knew her comics counterpart was much more overt, snuck the flag in as a way to acknowledge her queerness without contradicting the narrative's need for her to be only attracted to men. (they would never have made gwen a lesbian, and even bi-coding wouldn't have worked because the plot obligates her to be a male character's love interest, she has no sapphic vibe or even positive relationship with any other female character, and having gwen 'come out' to her dad as bi-- right before she gets a boyfriend-- isn't the most coherent; no queer girl would come out to her conservative cop dad if she were going to be introducing him to her straight boyfriend. she'd just not tell him.) and when it got a good reception after the trailer came out they got the go-ahead to crank up the vibe in the animation effects, which elevates gwen's story from 'open to interpretation' to 'so intentionally coded if you don't acknowledge it you either didn't pay attention or you're deliberately refusing to see it'.

so now, those visual elements plus gwen's coming-out speech, her runaway plot, camaraderie with hobie, her ability to fit into hobie's clothes, her haircut, her conventionally masculine childhood hobbies (like playing with action figures; mentioned because if a young gwen was socialized as a boy, that's what she would have been steered towards) and even her religious father saying he hates gwen's alter ego because 'she took a boy i think of as my son away from me' have a much clearer subtext. gwen's story is a queer narrative about running away from and eventually reconciling with transphobic family, sheltering with another queer kid, having her vulnerability exploited by opportunistic adults, and finding acceptance with other kids like her.

the takeaway: spiderverse gwen is probably intended to be heterosexual, but is definitely trans-coded. i could see the writers using this as a way to acknowledge spider-gwen's queerness (... and dodge potential backlash for straightwashing a queer girl to make her the main male character's gf and refusing to switch gears once they realized what they did) while making sure she stays Miles's Girlfriend above all else.

we'll get back to this. put a pin in it.

IN THE COMICS:

the source of all these alternate versions of spider-gwen. i'm gonna try to go in chrono order, but where overlapping events hit, i'll just place the event where it doesn't disrupt the flow as much as i can.

IN SPIDERVERSE (2014-2015)

gwen's first appearance. at this point she had no established lore or personality, so her default state as Peter's Love Interest seems to be the guiding principle. also, tasm2 came out recently and the gwen/peter romance would have been front of everybody's minds.

for ref this also tends to be the personality gwen has in all other team-up events: she's nice, social, competent, enthusiastic and always in peter's corner. (out of universe, this is who writers who don't read her comics think she is. in-universe, this is how gwen wants to be perceived by the other spider-people.)

gwen's first moment of shippy behavior happens when she meets peter 616. he immediately orders her to stay at the camp where it's safe while the Real Spiders go to war. she begrudgingly agrees. ew.

later, when she gets him to let her leave the kitchen, we get this. cradling his face, staring deep into his eyes and promising to protect him is not platonic.

this is never followed up on. whenever they interact past this point, it's as friends. this is a good thing.

peter continues to have to remind himself to let gwen fight her own battles and not intervene on her behalf. this is a bad thing.

gwen keeps getting more shippy moments with peter variants sprinkled throughout the event. the peters keep trying to have a moment where they touch or hold each other, stare into each other's eyes and apologize about failing each other's variants. and she allows it.

takeaway: our first impression of her is that she's presumably a heterosexual cis woman who was in a romantic relationship with peter-65.

IN WEB WARRIORS (2015-2016)

tricky continuity: after the inheritors are defeated, the web-warriors stick around to clean up a few loose ends. gwen is on this team. so technically, though the latour run starts before ww, ww takes place during the couple months gwen leaves home to fight with the spider-army and gets stuck on battleworld before her solo kicks off.

in general gwen hangs out with several spider-people, including an aged-up mayday and anya, but there isn't much of a vibe there. unlike in sv, gwen seems to be accepted as a comrade instead of a potential love interest. and she's cool with it.

gwen is referred to as peter-65's "girlfriend" by his bullies in a flashback. the writers don't have the details right, but this is their assumption of that relationship. they clearly think gwen's into guys and that gwen was peter's girlfriend.

one interesting thing does happen: gwen meets hobie here, and he, like many of the peters in spiderverse, immediately gets flustered. it could be hero worship of a girl who has his favorite musician's name and face, it could be a crush. probably a bit of both.

regardless, gwen is initially weirded out and surprised by hobie's interest in her. she's more concerned with how her alt self dies than hobie's starstruck reaction to her, but she doesn't mind him clutching her hand like he's in a regency novel and that touch lingers a bit longer than normal. and by the end of the event, they've become friends and proceed to go on many missions together.

takeaway: inconclusive. if i had to guess, gwen isn't being written as queer; she's being written as 'straight, but off limits to guys who aren't peter parker.'

IN THE LATOUR RUN (2014-2018)

GWEN'S GENDER IDENTITY

first of all, to the spiderverse fans who think trans gwen is canon to the comics: thanks for the enthusiasm, but gwen is not explicitly trans; at no point in the canon is she referred to as such.

and gwen being trans-coded isn't necessarily that prominent. there are seeds you could read into... or not:

she goes through a physical change after an injection, and has a secret identity that people despise and her father initially hates. the spider-man metaphor works for so many things that you can take or leave it.

gwen worries being a spider-person makes her a ''monster'' and if "a real friend would give [her friends] a chance to run"... which could be about a trans girl being anxious that her queer cis friend group won't want her, or about any number of gwen's other issues, most notably the fact that she killed their mutual friend and is keeping it from them.

she has traditionally-masculine interests-- like d&d, drumming, fantasy novels, cop shows and kung fu movies-- but is also written as a tomboyish nerd who grew up with a single dad who shared his interests with her.

she's insecure about her breast size and her body, but that's probably just male writers being male writers.

she has a lanky build, dresses in an androgynous style and even wears a hood sewn into her costume, but given that the writer's intent was to keep gwen from being sexualized by intentionally not giving her curves and form-fitting skin-baring outfits (and the hood was a very 2014-era commentary on how "wearing a hoodie doesn't make someone a criminal")... something else is going on there.

murdock cracks a joke about pronoun usage when gwen's venomed out... but everyone who uses venom uses "we" pronouns

mattea murdock later uses gender-neutral pronouns when discussing her, however that's probably just an earth-138 thing.

it's there if you want it to be, but there's a counter to every point, and most of those points are so ambiguous that they can speak to a number of different situations or queer experiences.

the strongest argument you have is the power-up pills.

gwen loses her powers, and becomes dependent on using pills that temporarily restore them so she can keep being spider-woman. she only has a limited supply, and wonders if running out or throwing them away will mean she's 'normal' again.

however, the problems persist. enough villains know her identity that they'd continue to seek her, and she wouldn't be fulfilled.

murdock gets his hands on them, and uses them to force gwen to do his bidding. the subtext is that murdock is gwen's abusive partner who's keeping her dependent on him by making her take drugs when she's with him. or dealer. your choice.

the metaphor works with any drug. given that gwen's constantly on benders after peter's death, keeps being found by her friends passed out in bars and alleyways, and her relationship with her symbiote is initially written as an "addiction" -- her taking something to numb the pain is the most obvious reading.

and in general the power pills play into the run's theme about gender and power: gwen claimed a power that typically isn't given to a female character, and cindy moon 65 took that power from her because she was angry that she wasn't the special one. gwen loses her powers as she's dominated by men and gains her symbiote when she gets her independence back.

but if you want to take the power-ups as a story about a trans girl being violently denied her identity by a transphobic cis woman, contemplating going off her meds and detransitioning, before realizing it won't change who she is, and then becoming trapped in an abusive relationship with someone who controls her access to her medication... it's a very good allegory.

however, given that sitting in a tree insists that gwen-65 is the past version of gwen-8, who gives birth to two children... gwen must have the hardware for that to be possible. that, or bendis really had no clue what the fuck he was doing when he created earth-8 and made gwen have kids without realizing she doesn't have a fucking uterus... or the terrible implications of writing a story about a trans girl being told that in the best possible world where she's accepted and beloved, she'd have to be capable of getting pregnant.

also, if you're looking for a trans-coded character in the cast, there actually is one: earth-65's captain america is a genderbent sam wilson. she has a clone, sam 13... who is somehow male.

takeaway: enough is there that you can read gwen as trans if you want, and the coming-out narrative can work for gender identity as much as it does for sexuality, but it's not an overwhelming and intentional subtext. it's a "maybe, if you want."

not like the subtext surrounding her sexual orientation is.

gwen could be trans... but she definitely is not straight. and it's been that way since the start of her solo run.

(so to the people insisting that the spiderverse writers couldn't possibly have known that gwen was queer back in 2018... yes the fuck they could have. it was always this obvious. they didn't know because they did no research or had already decided they wanted her to be straight so they could ship her with miles.)

GWEN'S SEXUALITY

gwen's plot across the latour run is basically a coming out arc.

she has a secret side to herself that her family and community despise, that led to her turning down a relationship with a boy the audience expects her to be with, and being hunted by the police and hated by her father.

she spends much of her time lying, sneaking away for days or weeks at a time, and contemplates running away for good to a place where someone 'like her' would be more tolerated.

she's constantly informed by powerful people that she's supposed to have been in a heterosexual relationship, and keeps ducking out of them.

she's sussed out by various people-- friends who guard her secret and support her, and enemies who use it to exploit her.

she begins coming out to the people in her life one by one: her father, harry, the mary janes, her neighbors. it takes time for some to accept her, and others embrace her right away.

she breaks out of the last of her repression and embraces her emotions in their entirety... which scares people.

she reveals herself to the world because she's no longer afraid of the consequences of being exposed, and to take away the power from someone using her secret as leverage against her.

and then the systems of power in her world lock her up and leave her to face abuse to punish her for events that kicked off with her refusing comphet.

it's very, very clear. especially when you factor in her relationships.

THE MARY JANES

the first thing we learn about gwen is that she's a drummer in an all-female rock band. as soon as gwen has her own backstory, it decenters and deromanticizes her relationship with a guy we all expect her to be the girlfriend of, and places gwen in a peer group and subculture that skews extremely queer.

and over the run we gradually learn the mary janes are almost entirely made up of openly queer and queer-coded girls (em jay is bisexual, glory is a lesbian; betty is unclear, but is repulsed by/indifferent to male attention even if she jokes about finding guys hot).

betty brant:

not much here. betty hugs gwen and gives her a 'vampire kiss' once, but she has an odd sense of humor so it's not clear if she's serious. and regardless, gwen seems uncomfortable.

glory grant:

the girl gwen singles out as the one she prefers to talk to the most and her closest friend in the band.

glory is the first person in the band gwen nearly 'comes out' to about being spider-woman. (not em jay.)

gwen admits to finding it enjoyable when they land on top of each other after stage diving during a concert. in this same issue, it's confirmed that glory's an out lesbian.

tbh, if gwen's into any of the mary janes romantically in the latour run, it's glory.

em jay watson:

em jay mentions finding gwen attractive early in the run, is the first in the band to guess gwen's spider-woman, is especially upset when gwen puts herself in danger as spider-woman, and has a habit of getting into belligerent fights with other members of the band (felicia, glory, gwen). given that she and glory later get together, being rude and demanding seems to be a signal that em jay's attracted to someone.

for future reference: em jay is openly bisexual. she has an infamously colorful dating history containing at least one guy, glory jokes about em having too many exes, and she's even lost a friend, liz allan, because liz's boyfriend made a pass at em, and when em came to liz to tell her about it, liz believed em was cheating with him. being promiscuous, noncommittal and unsafe to leave around someone else's partner are all stereotypes leveled at bisexuals. and em jay has lost a friend because of them. put a pin in that.

on a night out, while glory, randy and betty are scrolling on dating apps, gwen and em pair off together, em tells gwen she'd never use one, and talks about the inevitability of being rejected. it's implied she's talking about having tried and failed to attract gwen.

given that em later begins flirting with glory, who asks em if she's just a placeholder for gwen (which em denies), it's clear that em had romantic feelings for gwen, gave up and got together with glory instead.

gwen seems totally unaware of or indifferent to em jay's feelings for her. she does not reciprocate during the latour run.

felicia hardy:

former member of the mary janes

mentioned because if em jay gets bitchy with all her crushes, given that she and em hated each other, that means felicia was one of them. possibly even an ex.

she is paralleled to gwen: both are young women with single fathers who they are extremely close to, who have belligerent tension with em jay (mutual for felicia, one-sided for gwen) and quit the mary janes to 'go solo', who have vengeful streaks and despise matt murdock, who are obsessed with their pasts.

and felicia hardy 616 is canonically bisexual

throughout the run, gwen constantly seeks the mary janes' company, even when her secret identity keeps her from being honest with the girls [who piece it together themselves long before she tells them], and she always keeps herself apart when they flirt with her or each other. the implication being gwen is closeted but just aware enough of her sexuality to crave kinship with other queer women.

MISC: KITTY PRYDE

assassin gwen has a bit of tension with.

like felicia, kitty is also paralleled to gwen as another rageful young woman with a complex relationship to her father (though kitty's is alive and she kinda hates him), who has trouble retaining her agency and is being manipulated by murdock

and like felicia, kitty is also bisexual in 616.

MISC: CINDY MOON AND JESSICA DREW, 616

when gwen teams up with both women, there's no tension. gwen and cindy dislike each other, and gwen views jess as a mentor.

jess asks gwen if she’s interested in a boy or girl romantically, which gwen never answers. its possible that jess has figured out that gwen is queer… but she might also just be covering her bases. regardless the possibility of her being bi is first teased out loud here.

gwen's dislike of cindy stems from "being afraid she'll end up like her." cindy (... who has the most romantic tension with other women) spent a decade sealed in a vault by a man she trusted, she was hunted the moment she got out, and hurled at peter as his hypersexual 'soulmate' by the writers. that's what gwen is afraid will happen to her.

as for her relationships with men...

it's rough. the latour run is bookended by gwen encountering male villains who want to exploit her sexually and punish her for not being attracted to them: gwen's backstory kicks off with lizard attacking her because she accepted a date with a different guy, and gwen's first villain encounter in the present is rhino, who gropes gwen while they're fighting. the story ends with gwen defeating murdock, who has a sleazy obsession with her.

i mention this because the context is important: gwen's got a lot of trauma related to being forced into intimate situations she doesn't want. not just with her villains. with her friends too. and often those friends become villains because they want an intimate relationship with her at any cost.

PETER PARKER 65

peter and gwen are childhood best friends and neighbors. even though she's referred to as his "girlfriend" by peter's bullies, that's all they are. friends.

peter parker was attracted to gwen. he resents that they aren't in a relationship, and that she's the one protecting him from bullies. he's jealous when harry asks her to the prom, and his lizard rampage is triggered by seeing harry that night.

he's also infatuated with spider-woman's power, and wants it for himself. he doesn't seem to know she and gwen are the same person, but he's still possessive of both sides of her.

gwen's origin story kicks off when she literally has to kill peter parker to start her character development as spider-woman.

and how does she kill him? by "breaking his heart" -- physically, by bashing his ribcage in. and emotionally, by not wanting to be his girlfriend.

gwen was not attracted to peter at all. she only ever refers to him as her 'friend' and mentions she never had feelings for him multiple times, to harry, to miles, to gwen-617. given that she just learned that in most universes they're a couple, and had to deal with dozens of peters pushing that vibe onto her, it makes sense that she'd be so insistent about this.

it's also interesting that she keeps this information secret from all the spider-people during this run. now that we know she and her peter were never involved romantically, that means all those moments where she seemed into the alternate peters weren't genuine. she was faking it.

the thing that gwen's world turns on her over and sends her to prison for is "breaking peter's heart." it's not following through with comphet. gwen literally gets demonized and locked up for not being straight.

SIDEBAR: CLONE CONSPIRACY (2016)

it's not clear when this event occurs in gwen's chronology. she has spider-powers and doesn't mention her power-ups, so though this was published during the power-up pill arc, it seems to take place before gwen loses her powers. so best i can figure, clone conspiracy takes place after gwen reunites with harry and they forgive each other and before she encounters cindy and jess from 616 (additional proof: during the spider-women crossover, the mary janes are shocked when gwen turns up; it makes more sense if she's been in 616 for a few weeks than if they just saw her at the bonfire).

anyway: gwen travels to 616 to help kaine infiltrate the jackal's latest clone nonsense, and impersonate the resurrected gwen stacy. during this time gwen and kaine spend possibly weeks alone together. and gwen spends a lot of time literally replacing the girl she's constantly compared to.

gwen and kaine have chemistry and a mutual protective streak towards each other. they were an effective team during their time alone, and bonded over their common status as the inferior doppelgangers of 616 icons. at one point gwen likely undressed in front of him. i'd say it's all incidental, but then they're paralleled to peter and gwen-616.

so yeah that shit's on purpose.

basically the vibe is that gwen and kaine probably hooked up or had some kind of tryst off-page while they were investigating the jackal, but then got back to business.

if it did indeed happen, gwen's first and to-date only sexual encounter was with a much older man who has the face of the dead best friend she had no feelings for and killed because he kept coming on to her, and this hookup occurred at a time gwen was extremely fucked-up about said friend's death, aware that all the spider-men expect her to have feelings for him... and peter-616 in particular (who kaine is cloned from, and who has a mixed-to-negative relationship with him). so there are other factors at play that aren't attraction.

if gwen got with kaine, it was most likely a mix between a sense of obligation (fine, she'll screw a version of peter) and maybe an act of rebellion (but not the peter anyone wants) or sabotage (she's choosing the guy that'll make the peter she's expected to be with too uncomfortable to even think of going further with her... and it worked).

it's worth mentioning though that the encounter, if it happened, seemed to work out fine for them both at first. they're not awkward, angry, regretful or uncomfortable, they work together well, they part on good terms... but when gwen's back in her own world, she later mumbles about how she dislikes clones and she makes no effort to be close with kaine ever again. if they hit it, they quit it and though gwen was cool with it at the time, she later sours to the experience.

takeaway: this gwen's being depicted as straight again. but in context, she seems to be trying to negotiate with or subvert comphet.

BACK TO LATOUR

soon after clone conspiracy's published, sitting in a tree happens. the writers seem to have realized a few years into spider-gwen's existence (and a few years removed from the amazing spider-man movies) that a gwen-peter romance would be a terrible idea... so they're tossing her at alternative spider-men to see what sticks.

[all the more relevant when gwen-617 essentially looks into the camera and says "stop trying to force her to be a love interest. she's her own person."]

MILES MORALES

siat is a mess. for these issues only, gwen is smitten with miles-- who she barely knows-- and then barely mentions him for the rest of the run (and is never wistful or pining when she does).

the whole team-up feels like two writers with very different takes on the relationship fighting each other. bendis wants gwiles, latour doesn't. the characterization's all over the place.

(so are the ages. gwen's 19-going-on-20, but based on gwen8's canon age of 38 and the 20-year-anniversary announcement of her wedding to miles... i guess bendis thinks she's 18? also, miles is 15-16 here but insists he's almost 17.)

the event, split between miles and gwen's solos, is also split between their povs. relevant because it turns out that they have slightly different perceptions of the events.

in siat, gwen constantly initiates touch with miles. she grabs his hands and wrists, leans on him, clings to him, whispers reassurances in his ear, stares deep into his eyes. on the surface, it looks like she's into him.

his entire side of the story, told in retrospect to his buddies, reads her behavior as swoony and romantic. the whole time miles thinks he's The Man for attracting this hot older spider-woman. he never picks up on any of her signals, or if he did, he ignored them.

(and kept ignoring them, because later in champions, miles calls gwen his "girlfriend from another dimension" when he's trying to impress the team. they don't buy it and drag his ass for it, but he still did it. miles views her as a status symbol.)

when they discuss her peter, she says he "followed her around like a puppy"... just like miles does in siat. and since gwen wasn't into peter... hm. wonder what that implies.

miles and murdock, who are both canonically attracted to gwen and want relationships with her, have a dick measuring contest. you could read it as 'miles, the good suitor, is standing up against matt, the bad one'…. or, as them being juxtaposed to show how similar they are: both impose on gwen a relationship she doesn't want and neither cares about her agency. you know, like peter did.

miles keeps pushing gwen's boundaries and not listening to her. he takes too long to let go when they hug. he puts her in danger when she tells him not to take her webslinging (she doesn't have powers) and he does anyway; yes, he ~saved her from falling~ but he pulled her off the edge of a building in the first place. he follows her into a club when she tells him to wait outside. he doesn't tell her about his invisibility power when she'd need to know about it. he trusts her, but not that much.

throughout the event they keep having ~romantic moments~ that are interrupted by discomfort: are they awkward teens... or do they just not have chemistry?

when gwen and miles encounter kamala khan, who at the time was his potential love interest, and the vibe is ~uh oh, miles's two girlfriends are in the same place~... miles gets flustered. kamala gets twitchy and concerned. gwen isn't either. she even invites kamala along on the mission, and sticks with kamala instead of miles.

when she and kamala are alone together, and kamala tries to say she's cool with gwen and miles being a couple... gwen gets embarrassed, says "why can't we just be friends" and when kamala misreads again, she facepalms. when gwen's alone, she drops all interest in miles. which means when gwen's with miles, she's faking it.

when they discuss having variants with preexisting relationships gwen says she feels "twisted up lately" and is used to doing "whatever it takes" to get through hard situations. she's not saying she wants to be with him; she's saying she feels pressured to.

and then she's lured to earth-8, where she sees the Perfect Future created by gwen and miles marrying and having a perfect nuclear family... gwen's reaction isn't excited or awestruck. she asks if she's hallucinating, she looks underwhelmed, and only smiles when she's leaving. she brings the kids, but only as reinforcements for a fight she's reentering.

gwen suspects she was taken there on purpose, and implies she thinks earth-8 is the answer to her problems. and then kisses miles.

there are two depictions of the kiss in siat. one is from miles's pov, at the start of the story when he's recounting it to his friends. you've seen it. it's pink-toned, sexy and dramatic... but only in his memory.

the other is from gwen's pov, as it happens. it's depicted as distant, cold and dark, with their faces in shadow. from her pov, it was not a good experience.

gwen immediately pulls back, apologizes, and can't give a clear a answer as to why she regrets it, but insists she doesn't want to replicate earth-8, that if they get together she "can't feel like we didn't have a say. like we got forced by the hand of fate"... third time she's said she feels forced.

she makes him promise to stay friends. though she promises it's just "for now" she never follows up and immediately goes on the run with another future love interest.

also, while on the run with said love interest, she contemplates fleeing to another dimension, and after considering earth-8, she dismisses it altogether, says earth-8 is no safe haven, and commits to standing her ground in a battle they think they have little chance at winning. gwen would rather risk death than return to earth-8.

even though earth-8 is sold to her as an ideal future, she clearly disagrees. it's not gwen's ideal future, it's miles's.

remember gwen's issue with cindy? oh look, gwen's worst fear is coming true: she's trapped, pressured by forces outside her control into a relationship with a spider-man she has a dubious amount of consent in, and that relationship is turning her into an object. the only difference is instead of being a sex object, gwen is a status symbol and vessel for children. gwen's worst nightmare is miles's dream come true.

the story feels like gwen going through comphet, trying to make herself like miles and failing. and/or pretending to reciprocate to avoid hurting his feelings-- probably because the last time gwen was bluntly uninterested in a boy who puppy-dogs after her, he tried to kill her friend. the trauma's not keeping her from being with him. it's keeping her from rejecting him bluntly.

for future ref: gwen and miles never go on a solo adventure together again. every time they're together, it's in a group setting where she's friendly but unattracted. she makes no effort to see him on her own, and avoids him when he reaches out with romantic interest. one has to assume she's uncomfortable with being alone with him for that reason.

much later, we learn that the omniscient watchers [implied to be stand-ins for the writers/fans] overseeing gwen's world have already written her off as destined to become gwen-8. in other words, god has already decided that gwen's purpose is as a wife and mother, and in order to be accepted, gwen has to be straight, whether she likes it or not.

gwen-617 refers to gwen-65's future being determined [as earth-8] as "wrong," "dark" and "toxic." and that it perpetuates a "cycle" she, another spider-gwen, intends to break.

it's implied she sent gwen to earth-8 and earth-617, the two possible known futures for a spider-gwen-- the one she'll be forced into, and the one she'd actually want-- so she'll be able to tell the difference and save herself before it's too late.

HARRY OSBORN

both he and peter are gwen's high school friends who have one-sided crushes on her.

harry asks gwen to the prom, she agrees but seems indifferent about his proposal and oblivious to it having been romantic in nature. she also doesn't meet him there or at all once peter attacks. so she didn't exactly turn him down or accept him.

unlike peter, gwen doesn't repeatedly insist she was never attracted to harry.

when harry returns two years later, he's still carrying a torch for her but maintains that they are friends and never tries to push anything else on her.

talking to harry is enough for gwen to break through to him, and they embrace.

harry's treated as the foil of peter parker in the latour run-- both are nerdy, bullied boys gwen befriends in high school, whose attraction to her she's (while in high school) indifferent to, who become villainous as a result of abuse and ostracization and take lizard serum to punish her. however, peter does it to punish her for accepting another guy's attention. harry does it to punish her for killing peter, but forgives her, and reforms into a close ally of gwen's.

in short, harry did what peter couldn't: he was able to understand that gwen's her own person who makes her own choices, and to let go of his anger and break the cycle of violence that caused it.

this could mean that unlike peter, harry accepts gwen as a friend.

or unlike peter, gwen reciprocates his feelings.

either works.

right after siat, harry osborn returns. the end note that gwen and miles are essentially in an arranged marriage immediately being followed up by gwen running away with another boy she has tension with? that shit's on purpose.

the predators arc is all about how deeply connected gwen and harry are: he can call her from across the world and she'll drop everything to come to his side. they'll run away together and live on the lam. she'll care for him while he's sick. they'll fight for each other, they'll keep each other alive, their history runs deep and the symbiote is made of, among other things, a piece of each of them.

during their time in madripoor gwen and harry become much more touchy. they're constantly clinging to each other by the end of the event.

gwen's feelings for harry seem to evolve over the run from platonic during high school to something deeper by the time they part ways in madripoor. they never kiss or acknowledge any feelings, they never go on a date, but something has shifted.

it's still ultimately ambiguous as to whether this dynamic is romantic or platonic.

THE SYMBIOTE

in madripoor, gwen creates and then absorbs the venom symbiote, which restores her powers without a need for power-up pills, grants her a new set of abilities unique to her, and frees her from murdock's control...

though it takes a few very difficult weeks for her to get used to it, and she has to change her behavior and open up to others if she wants to maintain control of it. like with 616, a symbiote and its host are a relationship unto themselves.

when the symbiote is created by gwen, it's to save harry. and when gwen gains control of it, it's thanks to the sound of her band. the people gwen has the strongest emotional connections to are the reason why she's able to regain her power and be her most authentic self. (in other words, gwen's at her most free when she embraces her feelings for both men and women)

her symbiote "makes you who you always wanted to be" and removes your inhibitions-- it doesn't corrupt you, it reveals who you were all along. gwen isn't in a relationship with a sentient being, she's in a relationship with herself.

so what does gwen want all along? gwen's symbiote helps her escape a situation threatening to take her agency away. it helps her maintain her freedom by taking her on the lam, and eliminates and menaces people she views as threats to her and her father's safety.

she also finally reveals her identity to her friends, the parkers, and the entire city.

gwen's symbiote gives her a repulsive, frightening appearance and makes it difficult to be sexualized or touched without her consent. probably pretty appealing for a girl who keeps being pressured into intimate situations she doesn't want.

it's mentioned by the watchers that gwen keeping her symbiote would jeopardize the earth-8 future, and her earth-8 children refer to it as gwen's 'greatest villain' who she presumably defeated before marrying miles. why? what about the symbiote makes it such a threat, other than that an uninhibited gwen would never want to live in heteronormative bliss with miles?

this means that gwen-8 either rejected the opportunity to live as her truest self... or had it taken from her, and everyone around her, including her own children, believe it was the right thing to do. we don't actually know what gwen-8 thinks about it-- or anything about her life on earth-8-- because she never actually appears in-canon. we're only told by other people that she Sure Is Happy. hm.

gwen-617 is revealed to have become her world's venom equivalent. of the two futures we see for gwen, one is a heterosexual marriage with a nuclear family where she's kept offscreen so she can't tell us what she honestly thinks about her life, and the other's a single, childless, uninhibited gwen who bounces through the multiverse protecting other gwens' agency. one gwen loses and demonizes her symbiote, the other uses it as a source of empowerment.

so literally, having the symbiote sets gwen free from her worst fear: having to be spider-man's love interest.

gwen-617 bursts into earth-8, the heteronormative world, and tells the watchers [and the readers/writers they represent] upset that it might not happen: "what about this is so scary to you?" it's a challenge to let gwen be single, queer and independent in her own world instead of becoming some guy's girlfriend again.

even though gwen-65 has no idea this conversation occurs, she still makes the choice to voluntarily re-host her symbiote and stay in her world after her release from prison despite being able to move to 616. she's choosing to take after 617.

in other words, gwen's embracing her queerness in her own world for the first time, when she could recloset herself or leave for another world where she still has a 'secret identity' as a normal, read: straight girl.

the takeaway: gwen is definitely queer. we just don't know what kind of queer. she might be a lesbian. she might be bisexual. she might be asexual.

regardless, she starts the run concealing her true self from her loved ones as she grapples with guilt over peter [over not being straight], resists giving in to comphet, and ends the run by becoming her most authentic self and coming out in her own world.

IN SPIDERGEDDON (2018)

key words: own world. when gwen's in spiderverse events, she's depicted as more girlbossy and chipper than she is at home, and also doesn't use her symbiote much or at all, even when she logically would.

again this is probably due to writers being unfamiliar with her personality or powers. which means in-universe, gwen has kept it to herself.

so in a sense, gwen's still closeted to the other spider-people because she's afraid they'll reject her if they find out she's 'not one of them.' (remember: her first exposure to the spiderverse consisted of being constantly come onto by peter after peter. she knows what they want from her and that if she isn't in the club, she'll be vulnerable to interdimensional threats). for instance, the one time gwen does use her symbiote in spidergeddon, she waits until all the spider-men she's with leave first, even though she's in serious danger. very telling.

anyway: gwen's at the center of a subtle love triangle with hobie and miles that was definitely inspiration for atsv.

unlike in atsv, while miles still carries a torch for gwen, she's friendly to him but indifferent to his crush. (note that this event came out the same year as itsv, where miles's one-sided crush on gwen is a plot point. synergy.)

but when hobie shows affection, this time she's receptive to him.

contrast gwen's reactions to hobie and miles. when miles gushes over gwen, she throws him a peace sign and keeps her distance. when hobie throws himself at her for a hug, she lets him have it and keeps coming back for more.

there's a clear difference: gwen was serious about not wanting a romantic relationship with miles and is keeping that door shut. she feels the opposite about hobie-- initially she was only interested in friendship, but as of spidergeddon her feelings have evolved. this hug is probably the moment something shifted.

gwen stays close to hobie throughout the event. they're always together during the fighting and are drawn to each other after the funeral. they're constantly protecting and checking in on each other. (... and gwen is more concerned about him than peter and miles)

gwen returns his embrace, see above.

both assume responsibility for the funerals: he leads the eulogy, she informs the dead's loved ones.

she also reciprocates his touches (not dissimilar to what she does with harry when he returns from abroad).

she confides in him about her visit to earth-3109, the world where gwen and em jay are a couple. his immediate response is to insist on staying with her for support and tell her she doesn't have to fight her battles alone. he knows.

hobie suggests they find time to hang out together again. gwen shuts it down because she doesn't want to stress the collapsing multiverse. even though gwen isn't as enthusiastic about meeting again as hobie is, she's sad when they part ways, so it seems like she wanted to say yes.

they haven't interacted again, so i guess the vibe still stands.

very interesting that we're revisiting gwen's connection with hobie and making the interest mutual. remember, the last time they met, gwen was pretty firmly regarded as peter's love interest and wasn't allowed to like anyone but him. now that we're officially out of the Peter's Designated Girlfriend era, she can reciprocate. when gwen takes steps towards emancipation, she gets closer to hobie.

also, another confirmation that she knew peter-65 was attracted to her, and that she was uncomfortable with it. she wasn't unresponsive because she was oblivious-- she was trying to discourage peter. you know, exactly like what she's doing with miles during this event.

the takeaway: gwen's not comfortable enough around other spider-people to be herself, but she's getting firmer about rejecting comphet. she's still interested in some men though.

IN THE MCGUIRE RUN (2018-2021)

GWEN'S GENDER IDENTITY

... yeah there's not much for the trans coding. nothing disproves the reading but not much supports it either.

people glaring at the sight of gwen on a date with harry, gaping at her, politicizing her when it's convenient, jumping at the chance to demonize her at the slightest indication that she did something wrong... sure, it could be her city reacting to her as an out trans woman, but it's also that she's a famous controversial superhuman who got out of prison a month ago.

the trans coding still works, but in general, the vibe the power-up pill arc in the latour run gave gwen largely fades away past this run. so she's presumably cis from here on out.

GWEN'S SEXUALITY

gwen, 52 days out of prison at the start, is ready to restart her life and trying to adjust to a world where everyone knows her secret identity. she wants to "have it all"-- a normal college experience, friends, superhero adventures... and yes, she tries dating too. it doesn't end well.

("have it all" is a phrase famously associated with the modern career woman. think every 90s romcom protagonist: if you can juggle a heterosexual relationship, a family, a social life and a career, you 'have it all.' like earth-8 gwen. so gwen, fresh out of prison, is trying to emulate this ideal.)

gwen's coming off of having been locked up and abused for a series of events that started with her not being romantically interested in a boy... and is emerging into a community that has mixed feelings about her.

she can't perform with her queer friends without the venue being bombed.

she can't go on a date without being kicked out of the building because the sight of her is upsetting the customers.

she has to go to school in another city where no one knows her because at home she's gaped at.

and even at school, someone figures out What She Is, stalks her, kidnaps her, and tries to sexually exploit her.

she's constantly scrutinized by the media.

her identity is used as a political prop.

she's ultimately driven out in favor of sue and johnny storm-- two gorgeous, palatable straight celebrities who literally play up an incest vibe for ratings; so any straight activity is preferable to a single queer woman-- and has to flee to 616 to avoid being imprisoned again.

put into context, the latour run was about gwen coming to peace with her queerness, coming out and winning the support of her loved ones. the mcguire run is about gwen being rejected by her community after doing so and the consequences of that trauma.

said consequences being: gwen starts to regress to protect herself.

she cozys up to the cops instead of questioning their practices

she tries dating a boy

she starts spending a lot of time in another community where she isn't out to anyone but a single friend

she starts dressing like that community's preferred version of her (from here on out she has gwen-616's haircut, and her style is no longer androgynous and grungy.

she flees to that community when she's kicked out of her own, and stays in the closet while she's there.

(note that this run came out the year of itsv, and the status quo for this run is 'gwen becomes a multiverse-jumping spider who loves hanging out with peter and miles.' this was the first big attempt at forcing gwen into 616, and it's all for spiderverse synergy.)

HARRY OSBORN

the run opens with gwen running into harry and agreeing to eat with him at a diner. they bond, she shares her spider-gwen experiences with him, and they hold hands at one point.

but the interactions are ambiguous: are these dates, or just friends getting food? harry's still into gwen, but does she like him back?

after two more occurrences of this, he formally asks her out. and she agrees... while telling herself it's "normal".

she also needs no clarification that it's a date, so their diner meetups were dates too.

this is the end of the ambiguity about gwen's feelings for harry. nope, it's not just that he's her friend. it's romantic.

[so clearly, gwen's feelings shifted from platonic to something more before she went to prison and after harry returned from abroad. i'm guessing it happened when they reconciled after the green goblin fight. remember that very shippy embrace? and how the next time they meet right after siat, gwen drops everything to run across the world to his side? yeah.]

[also, gwen and harry discuss the prom, and refer to each other as having been each other's dates. so in hindsight, gwen does see herself as having accepted his proposal.]

but when they go on a formal date-- dressing up, gwen being given flowers, going out to a nice restaurant as a formal couple-- her internal monologue is nervous, she's taken aback by how expensive everything is, and panics and leaves in a rush.

to be clear, she flees because they're asked to leave the restaurant because the patrons recognize and are bothered by gwen. gwen tells harry she can't go through with the relationship because she thinks being a public figure makes dating too difficult... but something else might be going on here.

it isn't that she isn't attracted to him. even though she calls him a "really good friend" gwen continues to get touchy with harry, seek out his company, puts him on the same level of importance as the band, says he keeps her "sane" and that she "needs" him. they go back to casual diner dates and he turns up at her gig to support her. so gwen clearly does have feelings for him. and he's still into her, but willing to take things at her pace.

harry's even supportive of gwen being a superhero (... unlike em jay). he reassures her when she's doubtful. he's someone she confides in about her activities. he helps her access oscorp so they can investigate her symbiote together. he's worried she doesn't have any use for him since he doesn't have powers. he wants to be a part of her superhero life, but doesn't pressure her into making room for him.

like with miles, harry's written out quickly and never returns, but unlike miles, it's because harry gets put in a coma. he and gwen have a shippy bridal carry and she sits by his bedside, but after the mcguire run he's awakened offpanel and they haven't interacted again on-page.

there is no closure to their relationship.

PETER PARKER 616

the shippy vibe of spiderverse is dead. gwen and peter have a brother-sister dynamic.

she even takes shots at the idea that people think they might date, and keeps stressing that he's too old for her and she's not into him.

this all unfolds as gwen tells peter about her symbiote. he's the only spider-person who knows about it other than her.

revealing the symbiote and slamming the door on ever being interested in him romantically feel linked.

THE JACKAL

a 616 villain. empire state professor who's obsessed with cloning and "in love" with 616's gwen stacy. tracks spider-gwen to her home dimension and kidnaps her, straps her to a gurney, and declares he wants to keep her forever. another creepy man who wants to possess her.

MISC

gwen mentions miles is her friend a few times but makes no effort to see him when she's in 616, and cites him being in school as why (note that gwen brings up that peter's too old, and miles is too young). that 'friendship' is all spiderverse movie synergy.

gwen's 616 classmate, kosei, seems to have a crush on her. after a few interactions, she has a charged moment with him. it goes nowhere and we never see him again.

it gets real spicy when we get to the girls.

specifically, EM JAY

gwen begins the run circling a romance with harry, but then is dropped into an alternate dimension where gwen and mj are a couple (and peter and harry might have been one too). then, after gwen returns, she can't quite commit to a relationship with harry and he's conveniently written away as em jay comes into focus.

gwen starts noticing em jay's feelings for her, becoming more attentive to her and showing her special attention. if i had to guess, seeing gwen goblin/mj made gwen realize she could have that too (... or she feels as obligated to the gwen/mj relationship as she is to the gwen/spider-man one).

gwen notices em jay's written a song about wanting to be picked by a noncommital love interest, but dismisses it being about her.

em's belligerent crush attitude is back.

gwen's first instinct when the jackal threatens the girls is to protect em, even though glory and betty are also there.

gwen uses her portal necklace to take the janes to another dimension's version of em's favorite band, and plans to do it even more. all four girls are there, but gwen's attention is all on em jay. she and em jay throw their arms around each other and em jay's wearing a "latveria is for lovers" shirt.

and get this: glory's right there and doesn't mind. (also of note: glory commenting about em and betty hooking up. could be a joke, could be a sign the girls really are in a polycule. regardless, glory isn't the jealous type... at least for now)

when gwen's exiled by the storms, her final voicemail is to em jay.

the end of the run is devoted entirely to the tension in gwen and em jay's relationship bubbling over and imploding. the entire gwenom vs carnage event is incredibly gay.

first of all, gwen's roommates in 616 look exactly like the janes. so while stranded in 616, gwen made little effort to hang out with any of the spider-people there, including the men she's been shipped with, and sought out the closest thing to the band she could get.

jackal kidnaps em jay for an experiment intended to locate gwen because em has a "bond" with gwen (remember: he noticed gwen protecting her over the other girls), and infuses her with some of gwen's symbiote...

which causes her to teleport across dimensions to gwen by bursting through her heart. and to turn into carnage.

so, just like gwen, em jay's symbiote was activated by intense feelings towards men and women (fear of the jackal, love of gwen).

the symbiote, arguably a metaphor for her queerness, is what alienated gwen and em yet now connects them. it helps them work out their issues, but is also causing their conflict. hm.

throughout this run, gwen is interested in learning about her symbiote's potential with harry as it begins acting up... at the exact same time she's drawn towards em jay. in other words, she's exploring her sexuality with a guy, only to find it leading her towards a girl.

during the run, gwen is extremely in touch with her symbiote. she starts using its unique features, like her gummy spiders, and it even appears often-- and always in reaction to gwen being hurt, cornered or feeling threatened. at this point, gwen's symbiote has a clear motivation: defense, survival and protection-- of her, of people she views as vulnerable. she lets go of her reservations when she feels her physical safety-- and her freedom are threatened.

since 65 symbiotes remove their hosts' inhibitions, we learn em has been hiding a deep jealousy that gwen got the power and public attention instead of her, the frontwoman. she's angry that gwen's presence in her life has made it so difficult and that gwen left.

the conflict is that these girls who love each other a lot but not quite in the same way miss each other and want to be in each other's lives again. gwen comes to understand how hurt em is, but not why. em can't understand that gwen genuinely can't help her lack of commitment. so the conflict ends unresolved.

we get a flashback of gwen and em in middle school, and learn em first thought of the band then, as an activity she wanted to do with gwen together. the vibe's that em has had feelings for gwen for years, envisioned a future where they're together, and is upset that it hasn't come to pass. another layer to the conflict.

em jay, like harry, mimics peter parker: both em and peter are childhood friends of gwen's who have crushed on her for years, and are angry that their love is unrequited. both go on monstrous rampages to punish her for not returning their feelings and becoming someone they cannot control with a life that does not center them.

a shippy 'it's not you, i know you're in there' fight ensues, with gwen pulling her punches, trying to talk em down, and the girls landing on top of each other.

when discussing peter's death and her spider-heroics, gwen says she did it to protect harry... and em jay. (even though em was never threatened by the lizard fight at all)... this isn't about peter. this is about how gwen now thinks of harry and em in the same light. both are love interests to her now. (or, she understands both are attracted to her, but cannot reciprocate)

the fight starts when em jay literally bursts out of gwen's heart and ends with em in gwen's arms.

the mcguire run is bookended by gwenjay. it starts with gwen learning that in another world she and em jay are a couple, and ends in em jay's feelings for gwen erupting, and gwen's just starting to evolve.

SIDEBARS

the glory-gwen vibe from the latour run is gone. gwen no longer confides in her or has any vibey moments with her. i guess she had a bit of a crush and is over it now.

betty's interest in gwen has cooled off too. just friends.

sue storm has no chemistry with gwen, but she is foiled with her: both are blonde famous superhumans. gwen uses her powers responsibly but keeps being perceived as a villain; sue maintains a hero's reputation but is secretly evil. sue is beautiful and cares about her appearance, gwen's canonically mid-looking and isn't interested in being attractive to others. sue gains her powers by seducing dr doom; gwen gains hers by 'taking a boy's place' and denying him intimacy. sue plays along with the system and it rewards her, gwen tries to resist it and it spits her out. mentioned because sue is the female hero who forcibly takes gwen's place as new york's protector-- the one-two punch of earth-8/sue storm has given gwen a very clear picture of what she has to be like in order to be tolerated: she needs to cater to the male gaze, play along with the boys, partner up with a man, and get her power sneakily.

the takeaway: gwen's feelings for harry are confirmed as romantic. she also begins to reciprocate em jay's feelings for her... but doesn't seem totally aware that she does. the subtext is that gwen's bi or pansexual.

but as gwen's feelings start to evolve, her comfort with them devolves. now that she's out, gwen's trying to 'have it all' to regain her lost sense of normalcy and make herself palatable enough to be tolerated, but it fails. she loses the people she's trying to protect, wrecks two relationships before they can even begin, and the straight people she's trying to placate drive her out anyway, to a different city that's less accepting of her, where she goes back in the closet and stays.

coming out isn't a one-and-done thing. you do it over and over to everyone you meet, in every place you go-- and though sometimes, it's safer to keep it to yourself, it takes a serious toll on your relationships and your sense of self. that's the new status quo for spider-gwen going forward.

... it's not a happy story, but it's a very queer one.

LAST REMAINS (2020-2021)

(takes place before gwenom vs carnage, but probably after gwen's exiled.)

gwen and the order of the web protect peter as he deals with the return of the green goblin. they get briefly possessed by kindred, tear up 616, get better, get kidnapped and end up in a creepy dinner party setup the villain uses to punish peter.

not much to report. gwen interacts with cindy, julia, jessica, anya, peter and miles, and there's not a hint of romantic tension.

she and miles don't mention siat or his gushiness over her in spidergeddon, and behave like coworkers. given that tiana's in the picture by now, he's hopefully over gwen. or at the bare minimum, he can behave himself around her now.

with peter, she puts her foot down on not being a stand-in for his gwen or needing to be defended by him when norman skeeves out on her. which, great for her. but peter's backsliding into treating her like a gwen616 placeholder. years into their friendship, he still can't stop himself. and don't give the ~unhand her~ moment any credit: it's not about protecting gwen, it's about peter showing off how badass he is. gwen is back to being a vessel for his Dead Girlfriend Feelings.

... and none of their friends say or do anything about it.

symbiote sidebar: in general, during gwen's exile to 616 and during all the multiverse minis, gwen doesn't reference her symbiote once or use its unique abilities, even when she logically would. she uses it for spider-powers, and for quick changes, but nothing else. gwen hasn't rejected it, and has remained in control of it, but that's all.

apply the allegory and you get: gwen doesn't hate herself for her queerness, but doesn't feel comfortable enough to reveal it to anyone and only embraces the parts of it that help her fit in... and that behavior is starting to bleed over even when she's at home.

takeaway: inconclusive. gwen has no tension with anyone, and she's still holding her ground about not being a love interest, but peter's no longer listening to her.

SIDEBAR: SPIDER-PUNK (2022)

aside from hobie continuing to have an interest in gwen-- though he refers to her as a friend-- he drops her name to mattea murdock, who has the gayest possible design and a strong queer vibe (... and red hair and a name starting with the letter m) with kamala-138, and suggests they'd get along great.

you could interpret it a few different ways, including hobie wanting the girl he likes to meet his friends, and---because gwen told him about her time in gwen goblin's universe, including who that gwen was in a relationship with, hobie noticed that gwen's into women--- he's trying to set her up with his friend.

since he's spider-punk, i think both interpretations are correct; his entire friend group's got a polycule feel, most of them are canonically queer and even the ones that aren't have a strong queer vibe-- hobie included. if anything he probably wants her to join the polycule.

included here because even without gwen appearing in the miniseries, it keeps building the context: the only spider-man we know gwen hasn't rejected the advances of is the one who realized that gwen is queer, and he's supportive of it. he is also the first person outside of earth-65, and the first spider-person, who gwen has come out to.

GWENVERSE (2022)

not much to report here. gwen's still single. no sign of harry. no symbiote. gwen meets many alternate versions of herself. her characterization is very off the whole time, it's not clear how she made it back to her dimension after her exile and some of the lore is wrong (em didn't start the band with gwen; she started it with glory). it's very somehow-palpatine-returned.

but there are a lot of shippy moments with women here.

there's this moment where spider-zero saves her. and since zero is younger than miles and gwen is over 20 that's the most i want to say about it. gwen's age is another thing that seems to have been forgotten.

gwen visits a universe where the mj variant is ecstatic that gwen's a hero and fangirls out on her. and spider-zero seems a little annoyed that the woman she's into is getting attention from someone else.

this moment feels very shippy, especially since gwen just came from a world where her em is angry that being ghost-spider is pulling her away from the band.

... but gwen is uncomfortable with mj wanting to hug her. could be that this isn't the em jay she wants approval from. could be that gwen's interest in em jay has faded and she doesn't see her like that anymore. could be that even if em embraces gwen's powers, it still won't be enough for them to work as a couple. needs more data.

takeaway: she's still in her Have It All era, though: dipping out of her unaccepting home with another girl to meet women? hm.

SIDEBAR: END OF SPIDER-VERSE (2022)

gwen is a minor character in this crossover. nobody flirts with her, nobody comes onto her, and she's too busy trying to stab peter to take interest in anyone.

but since she's possessed by shathra the whole time, she and all the other waspified spiders she's with during this event (including miles and hobie) are out of character for the whole crossover. we can't really take anything here as evidence for an argument.

(no symbiote, btw. so as far as we know, she's still keeping it a secret.)

takeaway: inconclusive

SIDEBAR: GWENPOOL (2023)

gwenpool / gwendolyn poole isn't actually a variant of gwen stacy. gwen poole is a totally different woman.

however, everyone assumes they're variants, to the point where gwen's marvel rising adaptation ended up with her pink hair because her concept artist accidentally referenced gwen poole. this hair has been adapted for the spiderverse movies too so at this point it's gonna be here to stay and most people assume they're variants.

i'm mentioning her here because of the potential impact of this character's sexuality on the overall perception of spider-gwen:

gwenpool is canonically aroace. she has an entire comic about that experience, mentions it multiple times elsewhere, and has worn the flag.

and if almost everyone who sees gwenpool assumes she's gwen stacy... you do the math.

MISC ALTERNATE GWENS

first and foremost, gwen-616. dater of men, lover of guys with football player builds, infamous love interest of peter parker. clearly intended to be straight at the time she was written, though she's had a few 👀 moments with mj. this is the gwen spider-gwen was created in response to and is constantly compared to and in conversation with. notably, everyone (friends and enemies; by characters within the stories, and the writers and audience who make and receive them) treats spider-gwen as a copy or lesser version of gwen-616.

an alternate spider-gwen is a valkyrie who has a charged moment with an mj. gay.

spider-gwen and mj get vibey during a zombie apocalypse in a-force (... as early as 2015). gay.

gwen-8, supposedly a 'possible future' of gwen-65 who leaves her world, marries miles and has his kids. definitely intended to be straight. but if it really IS gwen-65, given all the coding, she's closeted and miserable and i hope she goes out for cigarettes and never comes back

gwen-617, a split-timeline version of 616 gwen stacy who doesn't die on the bridge, eventually leaves her peter parker and is content as a seemingly-single woman living as a superhero. inconclusive, but given that she's contrasted to gwen-8, the Straight Option, i think gwen-617 should probably be assumed to be queer.

marvel action gwen: a continuity where she, miles and peter are high schoolers who attend a daily bugle internship program together and spider-people who work as a team. gwen's just friends with both boys (and is better friends with them here than in the main continuity) with no hint of a romantic subplot with either of them-- though she does get a ship tease with harry osborn. glory has em jay's usual role of being gwen's belligerent band leader bff (make of that what you will). gwen's got an extremely gay fashion sense, discusses clashing with her father over it, and how she's not sure how to move forward with her life because she's "proud of who [she is] but going public could ruin [her] dad's life." she's into guys, but there's a hint of bisexual coding.

earth-3109: the mcguire run opens with gwen spending multiple issues interacting with an alternate version of herself, gwen goblin, who she helps get back together with her mj. this is a lesbian couple marvel won't let kiss or say 'i love you'

what if? dark's spider-gwen is a variant of gwen-616 whose boyfriend peter dies, and has a charged interaction with mj. probably intended as straight, given that it's written by gerry conway

earth-21798: this one's a bit of a reach, but the continuity where gwen stacy becomes the vigilante nightbird involves a backstory where she's preyed on by professor warren and flash thompson-- more abusive comphet-- and studies psychiatry at an asylum, before going insane and being committed there. maybe it's just me, but even though this character's 'based on batgirl'... she screams poison ivy (creepy professor) and harley quinn (abuse+committed to the asylum she once worked at). and harley and ivy are now famously bisexual. harley even shares gwen's status as a female character who spent decades defined as a more prominent male character's love interest, before stepping out of his shadow as her own person as the toxic sexual tension with her redheaded friend comes into focus... who gets put back into that guy's shadow because of a major movie release and will supposedly get a solo movie co-starring with other women a la birds of prey. (fun fact, the writer of the upcoming 2024 ghost-spider ongoing? used to write for harley quinn. hmm.)

RAPID FIRE SHADOW CLONES GWENS:

an alternate gwen is seen marrying a man who looks a lot like peter parker. so, into men at the minimum.

an alternate spider-gwen is male, with the trans flag and symbol (⚧) pinned to his costume.

an alternate gwen is having a fruity mj interaction at college. inconclusive, but probably queer.

an alternate gwen is standing in front of a pride flag.

bringing these up because the number of gwen variants created after spider-gwen debuted that are queer or queer-coded is unusually high. it is more likely for a spider-gwen to be queer than for her to be straight, and the creation of spider-gwen in the first place is what probably tugged all the gwens after her in this direction. there's a growing consensus among the people writing and drawing marvel comics that gwen is queer, even from people who've never written for her at all.

(the animated spider-gwen section isn't here because of organizational issues. i'd recommend rereading it and noting the progression as it relates to the comics canon:

in the earliest days of gwen's character, they tease a relationship with peter or keep her totally uninvolved with any romance.

but as time goes on, she starts gravitating more towards women. (not-so-coincidentally during the mcguire run era, where gwen starts leaning towards em jay romantically.)

and then everything changed when the spiderverse attacked.

-> (... given that these movies take many years to make, they're discussing a canon that's 3-5 years behind the release date.

-> do the math: itsv came out in 2018, and centers gwiles, which was attempted in 2016/17, and depicts gwen the way she was written in sv crossovers: a hypercompetent straight girl here to have a romantic tease with the important spider-man.

-> atsv released in 2023, centers gwiles, which has been a nonentity since 2018, features margo kess and a miles-gwen-hobie love triangle-- both of which only appear in a 2018 event, and calls gwen "spider-woman," when she's been ghost-spider since 2018.

-> Not Great that the atsv script would've been written when gwen's queercoding-- in particular her sapphicness-- was very clearly present in her comics.... and the spiderverse writers completely ignore this, include no positive female relationships with gwen, and emphasize how totally into boys gwen is, and how she prefers the straight boy she has little connection to over the queer boy she's spent months with. so either they didn't bother to read past the first handful of issues in her solo run... or they did, and intentionally left her sexuality out because it would be an obstacle to gwen being miles's future girlfriend.

-> the trans coding is important! but it's still only implication, and switching out one queer identity for another isn't good. they aren't interchangeable. and gender identity and sexual orientation are two different things. she could've been both trans and bi.

-> atsv is clearly taking inspiration from sitting in a tree, but they're inverting the story: now instead of a closeted-queer girl trying to worm her way out of a heteronormative relationship being forced on her by canon... a presumably-straight (but trans-coded) girl wishes she could be in a heteronormative relationship being denied to her by canon. you get that's worse, right?

-> so atsv is simultaneously depicting a queer(-coded) girl coming out... as it's erasing her queerness and insisting that getting a straight boyfriend is the answer to her problems.

-> btsv is probably going to borrow from comics releasing right about now. so given that gwen's sexuality has been all but confirmed this year to be "bi and in the closet" and she’s being dragged out of her homeworld for spiderverse-synergy (… and therefore, gwiles)…. we'll see what beyond the spiderverse does about that. if they ignore it, it's definitely on purpose.

RELIGION SIDEBAR

here because there isn't a better place to put it.

plenty of alternate gwen stacys have had crosses on their graves, gwen-616's mother had a christian memorial service according to the gwen stacy miniseries, and sv gwen says grace with her dad and is irish-american, so is most likely catholic.

the status quo for the stacy family seems to be that they are or were christians.

gwen-65 and her father aren't religious, and haven't been since high school at the latest since it isn't mentioned in the latour run, but given all the other gwens likely had this background, it's more likely that she did than that she didn't.

if we're taking after 616, they likely were at the time of her mother's death. which means the falling-out happened sometime after gwen was a toddler and before age seventeen.

this is a sidebar because if gwen-65 had a religious background it adds a new wrinkle to gwen's tendency towards repressing herself: she likely shares the common queer experience of growing up in a religious household and later distancing herself from said religion (right around the time a lot of kids figure out they're queer), but still holding onto some of the behaviors it instilled in her.

which retroactively means latour-gwen's guilt, repression, initial black-and-white view of right and wrong, need to punish wrongdoers and protect the innocent, and later belief in redemption for herself and others may stem from that upbringing too-- much in the same way that a lot of peter's behavior can be interpreted as coming from his jewish background.

and her perception of fate, canon, and the omniscient watchers will be interpreted through an ex-christian point of view. she's probably going to interpret these concepts in line with god's plan, canon law, and, well, an all-seeing god.

so when gwen discovered the multiverse, and that the higher power she rejected or distanced herself from (probably in part due to queer angst) does seem to exist, and given her usual fate, hates her more than she could have ever possibly imagined... except for in the utopian future where she marries miles, she would absolutely have associated that with "you can only go to heaven if you're straight."

[... during siat, when gwen discovers earth-8, the antagonist gwen's facing a future of being trapped with is the devil of hell's kitchen]

there's no way that wouldn't absolutely fuck her up. the existential horror is off the charts.

(on a less depressing note, since christianity's the default for a gwen, especially a gwen who takes after 616, when gwen-617 tells off the watchers gathered on earth-8... it's a middle-aged queer woman breaking into heaven to tell a hostile god "there was never anything wrong with my younger self, leave her alone.")

in SHADOW CLONES (2023)

gwen interacts with em, but doesn't have any chemistry with her. em's still belligerent, so i guess there's that.

gwen has zero chemistry with a new character, her boss mateo, yet has a crush on him that apparently has existed for three months. he asks her out on a date she bails on to fight crime, and then she asks him out at the end of the miniseries. we never see the date. we don't even know if she went through with it. regardless after this mini he never returns or is referenced. so clearly it didn't work out.

gwen also mentions being interested in dating, and having "some" feelings for mateo-- but believes she's unable to pursue anything thanks to her superhero responsibilities and lack of confidence.

we glimpse dozens of alternate gwens, including yes, one gwen marrying a man--identity unclear, most likely peter. which is extra questionable given that the wedding is juxtaposed with text describing the villain's loss of "a chance for love"-- therefore implying that gwen's 'chance for love' was peter.... does the writer realize that spider-gwen was never attracted to her peter parker?

anyway. there are many more single and queercoded gwens. featuring a panel of our spider-gwen surrounded by them with a pride flag dangling over her head.

like. come on.

shadow clones is... confused. it uses that surface-level girlboss gwen characterization writers unfamiliar with her default to, resurrects her blushy need for a relationship with a guy she's had no romantic interactions with not seen since siat-- and it's all dropped right after.

it also forgets that gwen has a symbiote. and given that her symbiote is tied up in her queercoding... yeah. sounds about right. hey maybe it ate mateo.

the takeaway: shadow clones gwen feels very written-as-straight, but put into context with the rest of her continuity, it feels like gwen's comphetting again in response to spending so much time in limbo between worlds. she's still trying to Have It All. and as she's assimilating back into her own world, part of her process is getting a boyfriend.

but the flag's still there. so at the least, there's an acknowledgment that many of gwen's alternate selves are queer.

... it doesn't feel like a coincidence that this characterization happens the year atsv is released featuring the most boy-crazy spider-gwen yet. or that her out-of-nowhere love interest is a latino guy whose name starts with the letter m. synergy.

(... or that shadow clones introduces a trans-coded genderbent spider-gwen in the same year that spiderverse gwen is coded as a trans girl.)

bonus pride flag easter egg on the backpack:

SMASH & GIANT SIZE (2024)

where we're at now.

[minus the annual where apart from some minor tension with white fox/ami, who gwen has never met before and will never see again, the only thing to note is that gwen's being drawn with a very queer fashion sense: when given an opportunity to put gwen in a bikini, a princess gown and a flapper dress, she's instead given a wetsuit and leather vest, armor, and a suit.]

combining these two because they were written back-to-back by the same writer. same creative vision.

gwen is back with her band, touring for dazzler and co, who are being stalked by earth-65's bruce banner.

this is the first time gwen takes part in a textually queer story, because in issue 3, it's confirmed that em jay is in love with gwen, in issue 4, that gwen doesn't feel the same right now, but believes she could someday. and in giant-size, that one of gwen's greatest fears relates to losing a queer girl to the closet.

CONTINUITY SIDEBAR

glory having a problem with em jay's interest in gwen is a new development, and em using glory as a placeholder for gwen is too (remember how she and glory got together only after reassuring glory that she isn't one?) i guess we can streamline this into:

em tried to move on from gwen, but ultimately couldn't. she just shoved those feelings down without ever letting go of them. gwen's return from prison woke them up, they've been eating at her ever since, and they became toxic during gvc.

glory's fine with em sleeping with other people, but not when serious feelings are involved. or, she tried to be a good sport about it but now that it's fucking up the group dynamic she's on the verge of a breaking point.

gwen started to realize em had feelings for her-- and that she might return them-- but her exile forced her to set that aside and she's compartmentalized it away. now that she's spending more time on 65 and with the girls, they're reemerging because she's starting to poke her head out of the closet again. and if em jay's parting words to gwen are any indication, they're one conversation away from gwen coming out.

anyway. s+gs is FULL of gay shit.

em's jealousy of gwen and dazzler's connection is explicitly romantic, as called out by glory. it's possessive too: emjarnage says dazzler's taking "what doesn't belong to [her]"

so's em's anger that ghost-spider is 'taking gwen away from her'

glory hates being a "third wheel" to gwen and em jay

for the first time since the mcguire run, glory and em jay's relationship is acknowledged. they never kiss, but they're constantly touching and they sleep in the same bed on the tour bus

the tension in the band stems from the glory -> em -> gwen love triangle, now back from the latour days but textually confirmed for the first time

em jay passes up an embrace with glory to hug gwen, and several panels show gwen separating (... coming between) the two of them

smash opens with em jay singing about how her love interest will regret leaving her in the past, as she's looking at gwen.

em jay is kidnapped and gwen comes to save her in a classic damsel-in-distress storyline

em jay's love for gwen is compared to bruce banner-65's stalkerish obsession with dazzler

a dazzler song plays over gwen and emjarnage's fight, about the pain of being in love with a fantasy, and realizing your crush doesn't want you back

even the focus on mutants in the miniseries connects, since mutants are an allegory for minority groups-- increasingly, queer people specifically

dazzler's a mutant pop star. her character in 616 always had connotations of "female pop star with an enormous gay fanbase that she's an outspoken ally of." no surprise that she turns out to be an ally of the mary janes.

natasha romanoff, whose 616 counterpart is bisexual, makes an appearance. doesn't feel like a coincidence.

gwen remembers that em jay likes dazzler's sparkly microphone and gifts it to her at the end of the series.

as of smash, everyone has noticed the tension between gwen and em jay and calls it out. betty jokes about gwen being distracted by em's "big long tongue". (glory gets mad about the joke.) they're called "an unconventional pair" by orlando octavius and a "striking pair" by mortis.

even gwen calls em "thirsty" and offers to... help with that by giving her bottled water. the double entendre is obvious.

when em jay turns into carnage, we get a replay of the i-know-you're-in-there fight from gvc. twice. and both times, em jay's go-to move is pinning gwen to a wall and licking her face as mortis comments about how their dynamic is "complicated".

just like in the jackal confrontation, gwen favors protecting em over glory and betty.

when em jay leaves gwen, it's because their 'partnership' is toxic. the scene is on a rooftop at sunset with another woman pulling away to 'give them a moment', and it ends with them staring into each other's eyes, embracing, and gwen shaking and crying as em jay tells her she loves her. that's our last image of them in this story.

it's queer.

but what kind of queer story is it?

the central conflict, that gwen's queer friend group are angry at her for not being what they want her to be, reads as an allegory for two specific queer experiences:

1: an openly queer friend group being frustrated that a friend they can tell is queer hasn't come out yet. they tried to be patient and supportive and to let her do it on her own terms, but she just isn't getting there on her own, and if anything is regressing and pulling away from them. they're upset, they're concerned... and they're tired. and gwen, still in the closet, can't articulate why she's having such difficulty staying with them.

then gwen ends smash by acknowledging em jay's feelings for her and admitting she's open to a romantic relationship with her (which implies other women are on the table too).

when giant-size picks up right after, all the old signs that she's crushing on em jay are coming back: double entendres aplenty. gwen being more protective of em than the others. gwen getting emotional when em jay leaves her because they're finally getting somewhere with their dynamic and she wants to keep going.

em revealing herself as carnage on live tv is referred to as a "coming-out party"

when gwen sends betty and glory to safety, she throws them in a closet, and one of her worst fears is leaving them in it until they die. or, in other words: losing her relationships with them forever because she never comes out.

gwen has started fearing gwenom, her most uninhibited self, again.

2: variations on the same theme: queerphobia within queer friend groups. the mary janes might not be comprised only of lesbians, but they are completely uninterested in men. that kind of dynamic can be unwelcoming if you don't quite fit the bill. two options here.

-> a: gwen is asexual and her sapphic friend group is mad that she genuinely isn't attracted to them.

they consider booting her out because she's 'not really one of them'

gwen worries that her lack of attachment makes her a bad or broken person

all of em jay's advances on gwen are treated with reluctance and repulsion. gwen does not like being touched by carnage.

or the more likely answer:

-> b: gwen is bisexual and her sapphic friend group is angry that she won't "commit" to 'their side.' and no one's angrier than em jay, the only other confirmed bi girl in the group.

gwen's struggling to reconcile the two sides of herself after spending so much time only favoring one, in a community where the default perception of gwen stacy is Straight Girl.

look again at gwen's dilemma of being torn between two worlds: a world of straight men who want her in a heteronormative relationship that is fundamentally bad for her, that she has no choice but to continue visiting and is under immense pressure to stay in forever; and a world full of queer women who want her to commit to them only, even though it's fundamentally not in her nature to do so. the multiverse-hopper gwen arc is about the bisexual experience.

the girls' problems with gwen are dead ringers for biphobia: she can't commit to us, is she even one of us at all, can we really trust her, that other side of her is causing problems for us, she can hang out with us but she better not bring up What She Is.

em jay hasn't dated or been interested in a male character after committing to the band. she 'chose a side' -- dating women-- and expects the others to as well. gwen included.

she and gwen are the only symbiote hosts. and it takes an emotional response to both male and female characters to activate their symbiotes.

unlike gwen, em jay has no control of her symbiote. when gwen's was like this it was all the way back when she hadn't come to peace with herself yet.

so what's em jay repressing? can't just be her romantic feelings for gwen, because they're out in the open, yet she still has no control.

aside from her lack of anger management and issues with possessiveness, there's something else too: remember em jay's history with internalized biphobia? how she got a reputation as a promiscuous, noncommital, untrustworthy girl and a bad friend?

now, as her relationship with glory's breaking down because em "can't commit" to either her or gwen and she thinks she's about to lose a friend... her reputation's coming true.

em jay's hate of her and gwen's symbiotes goes hand-in-hand with her anger at herself for not being able to get over gwen and at gwen for not loving her back and not "choosing a side" like she did (maybe gwen's fame isn't the only thing em's jealous of).

she outright says she feels like ghost-spider, half of who gwen is, is an obstacle to them being together.

she's taking out her internalized biphobia on gwen.

not a coincidence that this also happens to be a story where symbiotes are used extensively-- the most since the mcguire run.

THE SYMBIOTES

as gwen's reconnecting with her community and her queer friends, and acknowledging the possibility of her own queerness, she's starting to drop the mask she wears in 616: she's whipping her symbiote out in front of a crowd instead of waiting to be alone before she uses it.

the symbiotes take center stage in the climax of smash when em jay turns into carnage again. this is gwenom vs carnage round two except now the quiet part's being said out loud: em jay is in love with gwen and angry that her feelings are not reciprocated.

gwenom emerges when gwen is cornered and helps her flee and eliminate the people she views as threats to her safety and freedom. gwen's most authentic self is ruthlessly committed to protecting her own freedom and safety-- and that of others.

emjarnage emerges when em jay is angry at gwen, and wants to dominate her. em jay's most authentic self is a lot like the lizard or miles: someone who loves gwen not as an equal, but as a possession.

right as she and gwen discuss her feelings, we learn carnage is still active: it's out there, and now they have to deal with it.

emjarnage keeps emerging and she still has no control of it, because her core instincts haven't changed.

and gwen keeps beating it down while never using her gwenom morph... because after spending so long dodging her problems in the multiverse, she has repression problems now too.

-> given that giant-size has closet joke after closet joke, it's pretty clear what she's repressing. the subtext is obvious.

in giant-size, gwen works with emjarnage for the first time -- you know, as partners-- as the tension between them is acknowledged by their supporting cast.

and when mysterio exposes their deepest fears, it's not clear whose are whose. the simplest explanation is these are fears they both have in common.

two of them are gwenom and emjarnage. they're afraid of their own-- and one another's-- most uninhibited selves. why.

gwen's afraid of emjarnage because she can't ignore em's feelings for her... or that there's a toxic element to them: em doesn't just want to be with gwen, she wants to be the center of gwen's world, and to punish her for stepping out of line.

-> for some reason, they haven't followed up on their promise to talk about em's feelings, and gwen isn't ready to reciprocate. this is probably why. gwen doesn't want to be with someone who hates half of who she is, or who wants to control her.

em's afraid of emjarnage because she doesn't like what her feelings for gwen turn her into: a jealous, possessive, abusive monster.

-> they refer to em and carnage as separate beings, and carnage behaves like a separate consciousness from em... but they're not, because that's not how earth-65 symbiotes work. neither can acknowledge that the toxicity is coming from em jay, so they displace it.

-> you know that tendency for queer women to insist that there's no way they could be toxic or abusive to each other because We're Queer Women? gwen and em jay are doing that here.

gwen's afraid of her own symbiote because the time gwen's spent refusing to use or acknowledge it has damaged her relationship with it. she's spent so long trying to get people to like her that she's lost touch with that core need to protect her own freedom at any cost and she has internalized the idea that it's a bad thing.

-> gwen hid her symbiote on earth-616, where she passed for straight. she still refuses to use it on em jay... because she knows em jay doesn't like that gwen isn't just sapphic. she's not out of the closet yet, remember?

and em's afraid of gwenom because if gwen's her most authentic self, she won't go along with what em wants from her. em jay wants total commitment and devotion from gwen, and sees ghost-spider as an obstacle to that, because ghost-spider is the literally empowed side of her that's capable of fighting back or leaving. and gwenom is gwen at her most uninhibited: ruthlessly dedicated to protecting her own agency, and in touch with her attraction to both men and women.

the third fear, of betty and glory dying because they were left behind in the closet during the fight pretty clearly symbolizes the fear of losing a girl you love to the closet.

in combination with the symbiotes, you get: gwen and em are so afraid of losing each other that they won't acknowledge the relationship they're on the verge of starting would be a toxic or outright abusive one.

and here's the thing-- it is. look at the way gwen and emjarnage behave:

the dynamic rollercoasters back and forth between intimacy (the women clinging to each other) and violence that's largely one-sided: it's emjarnage tying gwen up, yelling at her, threatening to kill her and anyone she shows attention to, and trying to hit, bite, scratch and throw things at her as gwen laughs it off, tries to talk her down or has to fight emjarnage to get her to stop while pulling her punches the entire time.

whenever emjarnage pins gwen to a wall and licks her face, gwen squirms away. there's clearly a sexual undertone, and gwen clearly doesn't want it. (it feels like a callback to gwen's fight with rhino)

in smash, as em's paralleled to abusive creep bruce banner, gwen insists that 'deep down em jay's still good' ... and they never actually solve the problem, they just brush it away and push on.

and then em jay does that shit again. it's a cycle.

in giant-size, em jay's set off by gwen making mistakes in her drumming. judging by the way glory and betty react, this has become routine: gwen does something minor wrong, em jay flies into a violent rage, and gwen has to scramble to stop her from hurting someone and put herself in harm's way to calm her down. it repeats again and again. nothing changes for the better.

(and they have yet to start on gwen unpacking her own feelings because their dynamic is all about placating em jay... and because if they do, they'll have to acknowledge that gwen isn't just sapphic: she's bi. and em jay doesn't like that.)

you know what this is an allegory for. if em jay were a guy, you'd say it right away. queer people can be in toxic relationships too. (... and compared to lesbians and straight women, bisexual women are even more vulnerable to abuse, intimate partner violence and victimization, even from other queer people.)

but here's the twist: em jay owns it.

she acknowledges that her behavior is harmful, she absolves gwen of the responsibility for containing it, she takes the initiative to get a grip on her impulses and to stay away until it's handled. and she doesn't want gwen to go any further with her until that happens.

like harry, em jay has become a foil of peter parker and done what he never could: acknowledge that she doesn't have a right to control gwen, that her behavior isn't acceptable, and that it's on her to fix it.

in other words: the central conflict of gvc has been resolved. gwen now knows why em is so upset with her: em jay is in love with her. and em now understands how difficult it is for gwen to have her powerset, and why her sudden departures are often necessary (even her jealousy has been resolved: now em has her own power source, and the whole world knows about it so her fame is skyrocketing to a level comparable with gwen's.). she's also taken responsibility for her toxic behavior... at least for now. we have no idea if it'll stick or not.

the takeaway: off this miniseries alone, gwen is textually bicurious and wants to explore her feelings for a girl. put into context with the rest of her canon, gwen is definitely queer, and definitely in the closet.

she's letting go of her need to "have it all" by wanting to stay in earth-65, with her queer friend group. and she wants to talk out her feelings with the girl she likes... but can't do that until said girl addresses her own issues first.

PUTTING IT ALL TOGETHER

yes, comics spider-gwen could be read as trans. but it's iffy. the coding fades away after the latour run. if you want to read her as such, you can, but the hill to climb is steep and getting steeper with every year that passes. (and they'll probably never bring that coding back, let alone make her canonically trans, because straight guys really want gwen to be cis, and one of the biggest draws to gwiles is gwen being the vessel for miles's children; they're gonna want to leave the door open to that being possible.)

but over the past decade, it's become all but clear that gwen is definitely not straight. the subtext was there from the moment gwen got her own backstory, but it's gotten clearer as time has passed and more and more of her writers her have tripled down on this aspect of her character. gwen is queer. the only way you can't see it is if you have no familiarity with her character or if you're intentionally denying it.

the specifics of her queerness have fluctuated. under latour, gwen seems more asexual, under mcguire she leans towards bi. her writers have mostly oscillated between those two. not all the people writing her seem to realize it, but most of them do, and even some of her artists have given her a queerer fashion sense.

we're now reaching the point where we're in an emperor's-new-clothes situation with gwen's queerness: the readers know, the writers know, the artists know, but it can't be canonized since

1) gwen is a character marketed to children. she's the biggest female spider-hero marvel has, and they won't want to jeopardize losing merch sales if homophobic parents lash out and decide their kids' hero being queer makes her a bad role model. 2) gwen is a variant of gwen-616, one of the most famous Girlfriends Of Comics. men have spent fifty years jerking it to gwen, who tends to be stereotyped as an uptight Good Girl, and marvel's not going to want to disrupt that fantasy. 3) gwen's biggest push to date has come from the spiderverse movies, which are why she's been rebranded as a ~multiverse character~, deaged to a teenager and keeps getting pushed as a trio with peter and miles. and since she's miles's love interest in the movies and people fucking love this whitebread romance, they're not gonna want to dilute that while spiderverse synergy's making them money.

odds are gwen hasn't said she's queer yet because of outside factors. out-of-universe, it's that marvel is homophobic and wants to make as much money off gwen as possible, and thinks her queerness is an obstacle to that. so they aren't letting the writers go there.

so in-universe, the way to explain this disconnect is that gwen is in the closet about her sexuality. all but confirmed as of giant-size given all the closet jokes.

[and because gwen is 1) a Gwen Stacy, famed girlfriend of peter's and fantasy fuel for the mostly-male comics audience, and 2) the general public now sees her as Miles's Girlfriend thanks to the spiderverse movies, they will never make gwen a lesbian, or fully aromantic-asexual. marvel can make more money if they leave the door open for her to be shipped, especially with men. so they will. we're probably in the era of gwen being Miles's Designated Girlfriend and it'll probably last, at minimum, until after btsv comes out. it might even last forever.]

so. she won't be aroace, a lesbian or trans in canon. what can she be?

she's attracted to women, but doesn't consciously acknowledge it; gwen favors relationships with women, shows signs of attraction to them, and has admitted she might be interested in women and wants to explore those feelings, but has yet to confirm that she is.

she is attracted to men, just not as much as she thinks she is. when it comes to men, gwen distances herself from most male attention (peter parker, miles morales), but she is receptive to it from specific men under the right circumstances (harry osborn, hobie brown, possibly kaine).

but here's the interesting thing: gwen's a lot less interested in romance in general than she thinks she is-- every time gwen goes on a date, or is pushed towards a conventional romantic pairing, something goes wrong, she flees or she withdraws.

the first thing we ever see gwen do is make a romantically-charged vow of devotion to peter parker... after which point she treats him like a big brother, finds the idea of them dating repulsive and makes fun of it.

gwen is indifferent to dating in high school and to our knowledge never went out with anyone there.

gwen is aware that peter-65 is attracted to her and uncomfortable with his advances. it is important to her to bring this up to people often.

gwen doesn't realize harry is romantically interested in her when he asks her out. she accepts, but they never end up going to the prom together; they show up separately and then peter rampages.

gwen is uncomfortable with the world where she and miles marry and have children, tries and fails to make herself like it, and the more time passes, the angrier she gets about it.

gwen is receptive to some physical and emotional intimacy with hobie, but when he suggests they spend more time together, she becomes hesitant.

gwen flirts and is physically affectionate with harry, and goes out with him several times, but when they try to go on a fancy dinner date as a formal couple, she panics and flees as soon as it starts.

whenever em jay tries to get gwen to 'commit' to her and the mary janes, gwen responds with obliviousness, indifference or discomfort.

gwen accepts when her coworker mateo asks her out, but immediately bails to stop a robbery. later she hypes herself up to ask him out and succeeds, but we never hear of or from him again so clearly it didn't work out.

when gwen expresses interest in figuring things out with em jay (who she knows is in love with her), em has to put a stop to it and insist she needs to work on herself first because the situation is too toxic.

this could be due to many factors-- and aside from plain old not-feeling-a-spark, being too busy with superhero adventures, finding interdimensional dating too complicated, or just preferring to be single-- gwen has suffered a lot of trauma related to intimacy and relationships that needs to be acknowledged.

the initial trauma from peter taking gwen's lack of interest as an invitation to murder her date, gwen having to kill him to get him to stop, and the way everyone turned on her as a result of this domino effect.

the compounding trauma from the many, many other people who've tried to force her into relationships and intimate situations: the jackal and murdock wanting to possess her sexually, being groped by rhino, fate forcing her and miles together, peter treating her like a dead girlfriend traumadump, the many spider-men who've projected their gwens onto her, emjarnage.

the way gwen keeps getting shoved into intimate situations with both predatory older men and people she considers her friends, and comes out emotionally distressed saying "i didn't want it, i didn't want it, i didn't want it" to everyone in her life. and said male friends (and at this point, the fandom and certain makers of canon) don't believe her and keep doing it. (... and at this point, so does emjarnage) add to this her decision to keep a power that makes it difficult to be touched without her consent but also alienates her from all her actual friends... there's a sexual assault trauma allegory to be made

both her canon earth-65 love interests have been attacked because of their proximity to gwen: harry was put in a coma, and em jay was forced to host a symbiote

her awareness of her status as a Gwen Stacy, how the most prominent and beloved gwens tend to be straight or straight-passing, and how romantic relationships tend to cause variants of her harm... yet are still expected of her

hell, even her awareness of the many, many alternate spider-gwens who are in relationships with their mj watsons counts: is gwen reciprocating em's feelings because she actually wants to, or because she's seen so many versions of herself doing it and feels obligated to follow their lead? (remember, she also did this with peter and miles: she was exposed to an alternate world where she was their girlfriend, considered following that world's lead, and later snapped out of it and realized she wasn't being genuine.)

if she's religious: the existential horror of learning the higher power she rejected might actually be real, it dislikes her and she cannot escape it, and the only way it'll be nice to her is if she represses her true feelings and starts a nuclear family

she was put on trial and locked up for "breaking peter's heart", was abused behind bars and is so afraid of returning that she compromises who she is to win people back and constantly has one foot out the door of her own world

so she's clearly built up some walls to protect herself. if all you've ever experienced-- and all you've ever been told is possible-- is unwanted affection from people you aren't attracted to, or relationships with power dynamics that always hurt or disempower you, of course you're going to be resistant to romance.

however, gwen wasn't romance-driven in the first place. all the way back in high school, gwen was still indifferent to it. this lack of interest predates all her trauma. so if anything, the trauma's not preventing gwen from following through with romantic commitment-- it's forcing her to seek it out even when she doesn't want it. (... she wants to Have It All, right?)

look back at those relationships. there's a pattern: comic-gwen only tries to force herself into relationships whenever she feels pressured to fit in...

when she goes to the prom, she's expected to have a date, so she accepts harry's offer on autopilot

when she joins the spider-army and meets other spider-people for the very first time, and learns their leader/the Most Special Spider-Man had a gwen he was in a relationship with, she falls into that role of 'sensitive girl he needs to protect' with him and a few other peters because she wants to belong and make them and especially peter-616 like her

when she's depowered, her dad's in prison, murdock is exploiting her, and a higher power dangles the only happy future gwen has ever seen for herself since entering the multiverse in front of her and tells her "you have to end up with miles to get it", gwen kisses miles and contemplates a future with him

when she wants to feel normal after being released from prison, she goes out with harry, and cites that as her reason for doing so

when she wants to feel more confident and as she's integrating back into her world after her exile, she asks mateo (her boss) out.

when she's on the verge of reintegrating into earth-65 after bouncing through the multiverse and encountering mj after mj who's romantically interested in their gwen, and when putting off em jay's feelings is fucking up the band/friend group, she rushes to partner up with em jay (who controls the band and therefore whether gwen is allowed in it) and tolerate her toxic behavior even though the partnership is unsustainable and they've done nothing to unpack gwen's own feelings.

... only to pull away from those dates as soon as they start, because she realizes she doesn't want the relationships, just the stability and belonging that participating in them can give her. she's said it herself: she'll do "whatever it takes" to get by. and at this point, hypergamy is one of the tools she uses.

this isn't to say she isn't interested in romance at all. but gwen's romantic priorities are unusual.

gwen doesn't get jealous or possessive

gwen doesn't want to settle down or have kids

gwen doesn't want a longterm relationship that requires commitment, exclusivity or following typical romantic conventions, regardless of the gender of her admirer

gwen doesn't even seem to develop crushes on strangers

gwen wants love and affection, and is open to relationships, but she isn't motivated by dating or hookups and she isn't impressed by big romantic gestures. she's capable of being interested in specific people, but she does not seek out romance or sex and doesn't feel like anything's missing if she's single

gwen's attraction is very conditional, and only to people who satisfy the following:

1) a preexisting familiarity. every single person gwen has shown attraction to is someone she had to spend time with as a friend or acquaintence before she developed feelings for them.

glory, the first girl gwen shows attraction to, has been her friend for years. so are harry and em jay, her only canon love interests from her world.

gwen spent a lot of time with kaine we didn't see and according to them they got to know each other very well.

(i'd rather forget mateo exists, but gwen did spend three whole months as his employee before she started crushing on him, so technically he fits the pattern)

gwen had to get to know hobie platonically on their web-warriors adventures before she developed an interest in him.

2) respect. they need to care about gwen as a person, understand her boundaries, not treat her like a prize or object or turn on her if she decides to stop the relationship.

glory and em jay love gwen and constantly worry for her well-being. they call her out often, but their anger is always rooted in concern.

em jay's relationship with gwen falls apart when em resents that gwen's more powerful and famous than her, and that she isn't the most important priority in gwen's life-- because em doesn't want gwen to be her equal. and then when em jay finally understands where gwen's coming from, acknowledges it, and takes a step back to fix her shit... gwen's feelings for her are revived.

kaine doesn't coddle gwen, trusts her abilities, and works well with her as a teammate. and as a clone, he understands how it feels to be constantly compared to a 616 doppelganger and has had her back when she's been compared to gwen-616.

harry is contrasted with peter as the male friend who was able to respect that gwen didn't want a relationship. he listens to her, offers advice, takes things at her pace and doesn't hold her apprehensions against her.

hobie quickly shapes up and treats gwen like a friend and teammate. he's the middle ground between kaine (keeping it professional when they're on the job) and harry (wanting something more, but letting her set the terms).

harry, hobie and em jay begin with one-sided crushes on gwen that she only reciprocates after she sees proof that they can handle rejection without holding it against her, and that they respect her.

3) a similar lack of interest in conventional commitment. they aren't babies-ever-after people. they want something casual, nonmonogamous or unlabeled too.

glory and em jay are queer women in a relationship that doesn't seem exclusive (it's possible the mary janes are a polycule). the dynamic goes to shit when em starts favoring gwen over glory and demanding that gwen put her first.

if gwen and kaine hooked up, they got right back to business and he had no problem treating her like a partner afterwards.

harry and gwen are great when they're on the run together, investigating oscorp or having casual dates. the thing that fucks them up is trying to be a serious couple playacting traditional gender roles.

hobie is likely queer, possibly in a polycule with his own band and definitely not interested in conventional relationships given that he's spider-punk.

so. to try and pin it down, it seems like comic-gwen is bi/pan in terms of her preferences... while possibly being somewhere on the ace spectrum in terms of how she expresses her orientation (most likely demiromantic/sexual).

... and she's in the closet about some or all of this. but she's very, very close to figuring it out.

and the overall arc for gwen so far is:

gwen started to come to terms with her identity. she got over her internalized guilt over not complying with comphet, came out to her friends and family, and even her entire society… but she didn’t come out as any particular identity— she came out as “not straight.”

after encountering an alternate version of her that's queer, she even started to consider that she might be queer too, and took steps towards starting relationships with both a boy and a girl.

but after being imprisoned, rejected by her world and bombarded with messages from her friends, community and literally the entire multiverse that she will only be wanted and accepted if she 'straightens' up... she's starting to do that.

she's changed her look to be more feminine. she's losing her radical politics and regressing to something girlbossier. she's concerned with public perception. she keeps throwing herself into relationships that she keeps dipping out of. she spends more and more time in places where no one knows she's queer, and even when she comes home, she can't be herself anymore.

ironically, trying to be palatable only led to gwen alienating all the people who love her, losing her connection to the place she belongs, and hiding the most uninhibited parts of herself even when there's no one around to take issue with them... to the point where she's starting to fear those impulses again.

she started to let go of her need to "have it all" by recommitting to her home and her queer friends there. in doing so, her queerness is starting to reemerge, and she has made a commitment to face it and figure it out this time with someone she lost because of her recloseting.

but she also needs to realize queer relationships can be just as harmful as straight ones.

and if she's ever canonized as on the asexuality spectrum, she's got even longer to go before she figures that out.

.....and here comes the stuck-in-616 run! dammit!

so, where are we going from here?

instead of figuring her sexuality out with other queer people she trusts in a familiar environment... gwen's moving to the city she went to when she wanted to hide. "for good."

this city is even less accepting of gwen's identity than the one she's leaving. it has an ironclad idea of the type of person she's allowed to be-- a straight girl who's subservient to her boyfriend's narrative. she will never be able to step out of that straight girl's shadow.

this city's also filled with 'friends' she doesn't trust enough to be herself around, who keep comparing her to the idealized straight version of herself, pressuring her to be more like that girl, and coming onto her… or who don't do anything to stop their friends when they engage in that behavior.

gwen is definitely not moving here because she wants a clean slate somewhere she'll be more accepted. 616 is not that place.

and now that spiderverse spider-gwen is the definitive spider-gwen and atsv synergy is underway, she's going to be expected to behave like that gwen too-- a teenage girl who might not be cis, but is still definitely all about her boyfriend miles-- as she's thrust into proximity with miles, the boy she knows fate wants to force her to end up with and as she's referred to as a "teenager" in her character descriptions even though she should be in her early 20s.

and since gwen has an established pattern of getting into relationships she'd otherwise refuse with people who tend to be more powerful than her when she wants to fit in... well. there's no guarantee that anything will happen, but gwiles is on the table again.

(... and since gwen may have responded to the multiverse throwing her at a very specific man and insisting that they kiss by getting with his clone who he has a complicated and often negative relationship with, which killed the vibe between her and that man... she might act out similarly to try and rebel against gwiles.)

if gwen and miles get together, it's not because she loves him. it's because she's giving up on being independent and comphetting again. miles morales is not ~the guy who's going to set gwen free from her harmful canon.~ he's the guy who's going to drag her back into it and keep her there forever. since gwen's story is about discovering herself as a queer woman and affirming her right to exist and thrive in her own space away from heteropatriarchy, and miles is currently the biggest obstacle to that, that by definition makes him the villain of her story. the only way that'll ever stop is if this ship sinks for good.

until that day, back in the closet she goes.

two steps forward, one giant leap back.

sorry to end this on a gut punch!

[disgruntledexplainer]

Invincible and saving people

something to really appreciate about Invincible is that it really brought back something that is missing from a lot of the superhero media out there right now. being a superhero isn’t just about “beating the bad guy”. it’s about saving people.

pretty much every time Mark is on screen as Invincible, he’s trying to save people. the show is an endless cascade of collateral damage, but rather than pretend the damage doesn’t exist it focuses in on it and shows the heroes doing their best to save the people they can. so much attention is spent showing how each hero approaches saving people, it can only be intentional. they even lampshade it with black samson lecturing rex-splode about how badly he and the rest of the team fumbled the saving people part of a mission that occurred OFF SCREEN. the last battle pretty much consists entirely of Invincible desperately trying and failing to save people.

this isn’t unique to Invincible, but it certainly feels unique due to the effort put into it. it feels like a call-back to shows from 1990 to 2015, like batman the animated series and generator rex, were the heroes actually seemed to care about the people they were protecting, and would take time out of the episode to show them actively saving people. but somehow even MORESO than those.

what I’m trying to say here is I think the writers of Invincible had a point they were trying to make, a commentary about modern superhero media, and I think they did a good job presenting it.

[reyggtv]

There's only so much I can say on Twitter to truly express my feelings about the show Hilda, and how much of an impact it has left on me to make me the kind of person I am today, so I'm taking to Tumblr to write all about it.

If you don't know who I am already, hi, I am ReyGGTV, though you can just call me Rey. I like to make YouTube videos, memes, talk with other Hilda fans, and make occasionally make art. You may already know me from the Hilda Crack videos I made since several years ago, as well as some more recent big videos of mine like my comparison video between Aster and Hilda. I am 20 years old, and have been a diehard fan of the franchise ever since I was just 14.

Firstly, let's discuss how I actually managed to discover Hilda in the first place. It was 2018, freshman year of high school had just started, during this time, I was still big fan of another animated TV show at the time called Star vs. The Forces of Evil. I was a fan of that show ever since its premiere in January of 2015 when I was only 11 years old. Honestly even if I don't look at it nearly as fondly as I do now, to its credit, the show did most certainly help me get interested into animation as a whole more than any other show I saw at the time.

Not even like 2 months after I got in though, I was kicked out. Not because I did anything wrong, but because for a while, my parents had me enrolled in a school district that I didn't even live anywhere near in at the time, so once they found out that I actually lived much farther from them, that's when they decided to let me go. This was devastating to me, all the friends I made in middle school, were suddenly going to go away, and it was only at the very last minute, at the principal's office that I received this news. I was upset, literally everything was going great and they just wanted to throw everything away for me, in favor for me going to a school that was so bad, it caused my family to move to an entirely new city with a better school by the time Sophomore year came around.

But anyways, about 2 weeks before all this happened, I was in a cartoon Discord server, where someone recommended me to watch this show called... you guessed it, Hilda. I took a lot at the promotional material for a while, and put it at the back of my head, not knowing that I would soon revisit it not long later. Fast forward to when I was out of school, I had like 2 weeks in the beginning of October to just cope with everything. It wasn't long that I just became bored, and wanted to do something better, so I pulled up Netflix wanting to find something new to watch. The suggestion from someone about Hilda just so happened to come up on my mind, so I was like "Eh, sure, why not?". I put it on, and the rest was history. I knew from the very moment I finished watching the intro for the very first time, that this was about to be the show of a lifetime for me.

Despite that however, I did not anticipate just how much impact Hilda would leave on the work that I am now doing nearly 6 years after that very faithful day.

I guess the biggest reason why the show left such a massive impact on me right from the beginning is because of its main title character, Hilda. Look, I may be no blue-haired adventurer from the wilderness that likes to munch on cucumber sandwiches all the time, but Hilda at the time for me, was the most relatable character and the character I found the most comfort in when watching it for the first time. Just like me, Hilda too, was also forced to move away from the place and friends she was always happy to be with, despite all her efforts, all it took was one giant, to come and crush it all, leaving her forced to live a new life in a new environment she was not familiar with at all. But, she moved on. She knew that while this was not the ideal way for things go out, life always comes with surprises. But maybe, just maybe, this could be something that could work out in her favor. This whole becoming friends with other humans and living in the big dirty ol' city, could be the best decision she has ever made. And I think it goes without saying that as the series continued, it was.

This was a message that I desperately needed to hear as I was going through overwhelming times at such a young age, and one that I was so happy to hear and watch once I finally finished the first two episodes of this amazing damn show. It showed me that if an 11-year-old girl from the wilderness can be brave enough to move into the big city, be okay and make the best out of it, maybe I too, will be okay with belonging to a new school, finding new friends, and creating new passions for me to follow for years to come. Hilda inspired me to look towards a bigger and brighter future, rather than doubt the bad that comes with the present. For that, I am forever grateful for the creative and writing team of this show, for helping me go through such a difficult time in my life, and convincing me that even despite all that has happened, there will always be something better to look forward to.

I would be lying if I said that this was the only reason as to why I ended up becoming such a huge fan of the show for the next 5 years. Asides from the writing being so good it literally cured my depression. The animation, worldbuilding, and characters were just unlike anything I have ever seen with my own two eyes. It was simple, yet jaw dropping at the same time. Just a silly kid either helping a Raven jog back his memory, try and fight nightmare spirits or ghosts, or help Jellybean out of a scary situation in which everyone wrongfully accuses him of being a big scary black hound. Even if certain episodes of season 1 didn't always turn out perfect, I would always rewatch every single one of them all day for several hours and for several weeks. I had even skipped multiple days of school especially when it was raining, just so I can head to the living room, cuddle up in some warm blankets, with the heater on during the winter season, and just binge the crap out of it for multiple hours a day. This was just the show that I can always count on to bring back the happiness inside of me. Even when I wasn't necessarily having a bad day, I would still continue to watch it for hours because it just kept on getting better and better with every watch I could get possible, it was almost like an addiction almost, haha.

Hilda was the show for me, and I had no intention of trying to watch anything else.

It was also around this time that I started to also get myself more involved with the show's fandom as well, back when it was a lot more populated and not as niche as it is now. While I'm not gonna say that my reputation in it has always been 100% perfect, at the end of the day, I'm just forever grateful I was able to meet some of the most wonderful people and hundreds of fans like myself because of it like @hkthatgffan, @helgafolk618, and many more I can't list here 'cause most of them are not on Tumblr. So much so that I now have the pleasure of creating hundreds, if not thousands of people who are fans/supporters of ME all across all my social media pages. All because I like to talk about Hilda, literally all the time. And to those reading this who has ever left a nice comment on one of my posts, said hi to me on my Discord server, worked with me on a commission, even went as far as to make fan-art of me or just tuned into any of my content whatsoever, thank you. Your support has left a massive impact on me and what I'm continuing to do now. Because at the end of the day, it's not about any popularity points you get from just talking about a TV show consistently for 6 years, for me at least, it has always been about making thousands, sometimes, even millions, happy with my love for it that is the reason that I'm doing any of this in the first place. I love Hilda, always have, and I want to make people happy the same way Hilda did for me, all those years ago.

Surprisingly enough, even though I was already as big of a fan as I could possibly be by the time November of 2018 rolled around, I still wasn't really a guy interested in getting my hands on Hilda merchandise. I knew that the graphic novels by Luke existed, but the only thing I even managed to get for myself at the time was this old T-shirt I bought from the now defunct official Zazzle store they had up for like a few months lol

I guess that all changed when I got my first ever Hilda plush though when I was 15. While it has now certainly showed its age after nearly 5 years, I loved this thing so much lol. It wasn't official because official Hilda plushies didn't exist at the time. I bought it off an Etsy store from AngelinaLily, and I would literally take this thing out with me everyday to everywhere I went to and take photos of it, especially in the wilderness. It was my favorite pastime. My little Hilda, in the palm of my hand 😆. Hey, when you have to wait more than 2 whole years for a brand-new season, what else are you gonna do to entertain yourself during the hiatus?

I had gotten this in the mail right when I had just exited out the mental hospital because I was actively wanting to h*rt myself and potentially putting myself in danger of committing s*icide. Because while Hilda did definitely help me cope with a lot that I was going through at the time, there was still a lot of overwhelming issues I was experiencing, and my mental health was the lowest that it had ever been. This plush effectively, was a way to help me cope with those thoughts I had, which turned out to be a great thing because I literally couldn't be happier with it.

After that, I just decided that "You know what? What if I just got... ALL of the Hilda merchandise?" Thus... that now leading to my massive hoard of Hilda stuff, that I now have everywhere in my room lol

These photos aren't even all the ones I have!

At 16, I decided to write Luke Pearson an e-mail, thanking him for his work and how much it has inspired me to become the person I am now, explaining everything that I just mentioned in this Tumblr post, and at the end of the day, just wanting him to know, that his creations mean a grave big deal to me, and that I will always appreciate just how much of a positive impact it has left me. I didn't really expect anything to come out of it, but about several weeks later, he said this to me lol

"I just wanted to say thank you for writing and relaying your experience to me. I'm sorry to hear that you've been through such difficult times, but I'm glad that you're able to look back on those times and find yourself in a better place. And if Hilda has played any small part in that, which it seems like it has, then I'm extremely pleased about that and it warms me to hear it. It can be hard to know exactly what good a cartoon can actually do for the world (beyond being a few hours of amusement) which is strange when so many people devote so much of their time and creative energy into making it happen. But hearing something like this goes a long way to making it feel like something genuinely worthwhile. I hope things continue to look up for you and hope you're taking care in these trying times." - All the best, Luke

When I tell you I cried like a baby when I first received this e-mail from him, I really did, lol. Hearing this, from the man who made it all possible, was truly the most inspirational thing I could have ever heard. And I was happy, that he was happy, that I was truly able to tell him for the first time, just how much his creation has meant to not just me, but to soooo many fans just like myself. It was truly something to never forget.

Now I'm 20 years old, still talking about the same ol' dang kids show I fell in love with all those years ago. What's happening now? Well now, I am an aspiring film director and video editor who has been taking film classes in community college for the past like 2 years now, I should've graduated already by now but turns out, college is pretty fricking expensive, and I don't even know if I have the funds to try and even graduate by next year. Asides from that though, I am actually in the works of creating my first ever feature-length Hilda fan-film called The Ultimate Hilda Iceberg. It will basically be one of those iceberg explanation videos you see on YouTube, but with the original source of the iceberg being about Hilda, specifically a version someone made on the r/HildaTheSeries subreddit. I've had the idea for this Iceberg video/fan-film as far back as January 2021, with the current script having started work as far back as nearly 9 months ago. And it's still not even finished! Me, as well as tens of dozens of other Hilda fans like myself, are actively working on it to have it be ready by the time fall of this year comes around, right now as we speak! If you want to support and/or follow this massive project as more updates come around you can either follow the official accounts on Twitter/X (@/HildaIceberg) or on Instagram (@/theultimatehildaiceberg).

Asides from that, the biggest passion project I have for my career moving forward, is directing my own big-budget Hilda movie. Specifically, a live-action Hilda movie. Now now, BEFORE you try and cancel me and tell me that this is the stupidest idea of all time and could taint Hilda's image forever. Let me cook. I am a huge movie bluff, I know which live action remakes are genuinely amazing, and which ones just really suck. My vision for a live-action Hilda movie is to make it sorta like how Who Framed Roger Rabbit was. All of the human characters and outside settings are done with real people and practical assets, whilst creatures like Trolls, Elves, or stuff that would normally be done with CGI, be actually turned into 2D-animation, ideally in the same style as that of the Netflix show. Ideally, I also want it to remain as faithful to at least how the show was as possible in terms of story. Look, if there's gonna be anyone else who knows their Hilda best asides from people like Luke or Andy Coyle, it's gonna be me, just sayin.

In conclusion, I just want to wrap this up by giving a huge shout out to people like @littledigits and literally ANYONE who has ever done any time making this fantastic and wonderful show (I couldn't think of anyone else to tag so I only tagged you Meg so sorry if that bothers you 😅). As this post has indicated several times, this show, has really made the best kind of impact in my life and I'm forever grateful to the creator Luke, the directors Andy Coyle, Megan, etc, the voice actors, artists, editors, composers, everyone who has ever had a part in making this amazing show just, please let me hug you. While I may not have been as enthusiastic with the show's third season overall as I wanted to in my opinion, Hilda will always have a soft spot in my heart, for years and years to come, for just how much it truly inspired me, to not just not only being able to have the luxury to do the things I love to do now, but do so in a way that has made, and hopefully will continue to make thousands, hundreds of thousands if not millions of people happy, because of the love that I will continue to have for this very show. Just because a show is small, doesn't mean it can't leave big enough impacts on people for the better ❤️

[veneerpossibly]

TROLLSONA INFO!!

This is my Trollsona named Sneeby!! (The digital art was made by my friend!) This is his entire lore, his timeline, information from his younger self, his aesthetics, his relationships, and a lil stimboard!

SNEEBY INFO

Sneeby is a purple-skinned, green-haired, sleepy-ass little troll. He is literally a sleepy little guy, very jolly, and overall very loveable.

Full name: Sneeby Eeby Deeby

Age: 24

Gender: Male

Pronouns: He/Him

Traits: Sleepy, loyal, kind, and jolly

SNEEBYS KINDA INSANE AND A LITTLE WEIRD BACKSTORY

Back when Sneeby was 15 (2015, he was born in 2000) he once slept for so long that his family thought he had passed away during his slumber. so up until he was 23, he was buried alive in a grave. Around 2016 when his parents were eaten by Bergen's and all his siblings fled from his old home, his grave was basically forgotten and completely abandoned for years to come.

HOW SNEEBY WAS FOUND ALIVE

Poppy and Branch were traveling through the forest as they wanted to expand Troll village. They stumbled upon the grave and Poppy wanted to make the grave nice and clean again, aswell as bringing the grave closer to troll village to honor him. As they were digging up the grave to transport the casket, they heard Sneeby trashing around, discovering that he was still alive. How is he still alive after not eating food or drinking water for years straight? idk man!

SNEEBYS TRAUMA

Obviously, Sneeby has trauma stemming from being buried alive and the thoughts of death. The biggest fears for Sneeby is gross icky bugs, and the worst of all is being cramped into small spaces. My guy was LITTERALLY buried alive! Cramped spaces make him uncomfortable and make him feel shortness of breath, on the brink of passing out sometimes. Bugs also really gross him out, worms even grosser to him. He remembers coming out of the grave with bugs and worms infesting his hair and ears. He's utterly grossed out by the creatures and rightfully so. Graveyards and death mentions bother him quite a lot. Graveyards cus he was buried alive, and cus his parents are dead. 👍

LITTLE INFO OF HIM IN MIDDLE SCHOOL AND HIGH SCHOOL

My guy was an MMO, Tumblr, deviant art, discord, brony boy. Thats all I'm going to say until the official Sneeby middle school and high school art drops.

THE FULL TIMELINE

2000 - Sneeby Eeby Deeby is born on Dec 4th

2006 - Sneeby enters Kindergarten, hes a chubby lil troll with little chompers that stick out

2011 - Sneeby goes into middle school, he's a complete computer internet nerd.

2014 - Sneeby goes into highschool, still a COMPLETE puter nerd and dresses the same

2014 Nov - Sneeby meets his current friend group

2015 Feb - Sneeby meets Strawbella and asks her out

2015 June - Sneeby is buried alive, declared dead

2016-2017 -Sneebys parents go missing, presumebly eaten by bergens

2023 - Sneeby is found by Poppy and Branch, and brought to troll village where be reunites with his friends and girlfriend

2024 - Sneeby find where he used to live, only to find it was abandoned and he was told about his parents' death

AESTHETICS AND INSPOS

Sneeby didn't have any direct inspiration while being created if I'm being entirely honest. I'd say the characters that correlate with Sneeby is My Melody, Guedatama, Pusheen, Kirby, and Bob from Animal Crossing. I can't name his exact aesthetic. Sweets, nature, sleepy, babyish, cozy, soft, pastel, characters, and overall a cute aesthetic that I can't exactly name. Maybe some type of kawaii or something. If you have any suggestions to what this aesthetic would be called lmk!

HIS RELATIONSHIPS

Sneeby is dating one of my other trollsonas, her name being Strawbella. I plan on making a post like this entirely about her since she also has an entire backstory and timeline. He is best friends with 2 of my friends trollsonas, having a little trio!

THANK YOU FOR READING! :3

Sorry for this super long post, I just feel super passionate about my trollsonas, especially this one. I really appreciate if you read this entire thing! I hope to make posts like this for all my trollsonas as I have a ton, and they all connect. Anyways, here's the Sneeby stimboard! (Also, I am completely accepting of fanart and questions! I can provide a ref sheet.)

[batsplat]

the anon who sent the biopic ask here. afsfdfhhjkk I did in fact sent it to get you to talk about the movie version of sete/vale rivalry! I am also the sete anon after all.

anyways.

the vale selling his would to curse sete stuff had me screaming bc you see…….a while ago there was this gif set going around where 2020 or 2021 valentino’s leathers are unzipped and you could see how concave his chest is. and my first thought upon seeing it was “haha it’s actually concave bc valentino made a deal w the demon and gave him his heart in order to become the god of motogp, and also to curse sete:)))”

love the casey stuff, I think if we get the minds that worked on revolutionary girl utena in on this they could make it work. mainly bc rgu had really great visuals, lots of surrealist stuff and all that while having a pretty low budget. (yes rgu is also very complex and deals with stuff like csa, escaping the cycles of abuse etc but we’re not getting into that.) so, in some far far away alternative universe that studio makes a casey stoner inspired animated film (with huge budged) and it a cult classic. alternatively, satoshi kon could have also worked some magic w that set up I know. lots of great imagery there.

dovi biopic could actually work, if we use his story to make into a movie about the man vs corporate machine, how futile that struggle is, disillusionment and ultimately choosing to walk away. so, actually it won’t be a dovi biopic in the sense most ppl think of what biopics are? it would end up more grim than general audiences realize bc the movie will show that in the end ducati succeeded and have won world titles etc and dovi was a cog in that machine, and had his imput being downplayed etc. but also like dovi has his family, his inner circle, his self of self to fall back onto and the audience is obviously ends up on his side so it’s not downright depressing. (I wrote this w a specific director in mind even afdgghjk)

w dani&jorge………ok I’m gonna sound insane for this but. we need to maybe fully fictionalize this. have original characters, who are totally not heavily inspired by jorge&dani *wink wink*. get pedro almodovar to direct or something. this movie is now about jorge-inspired-character dealing with his closeted homosexuality, his fraught relationship w his father….like I am in no way trying to suggest that real life jorge lorenzo might be gay here! but his story does land itself to these themes if you think about it. the rivalry is underlined by homoerotic tension the two characters cannot acknowledge (even to themselves) within the setting of competitive motorcycle racing. buttt after their retirement? they discover that there’s a life outside of it all and maybe mayyybe the movie implies they could get together or something.

also love the sepang 2015 movie framing but yeah it would be considered the worst racing movie of all time, like 5.4 out of 10 on imdb, tge director wouldn’t be able to make another feature film for another 10 years after that. but good news it gets some reappraisal and a small but dedicated cult following like 15 to 20 years later.

wow, did not mean to type all of this out actually! but I do want to say that your answers never disappoint and it’s always a good read. have a nice day!

(follow up to this post) omg pls I love long asks, I'm gonna not take this in order because I NEED to skip to the casey/valentino rgu vision because?? yes? casey is like... such a magical girl... (magical girl transformation into leathers, is this anything) the rose imagery!! I want to rose imagery casey!! obviously again yes the thematic overlap between these two things is only,, loose at best, we are very much ignoring many of the things utena is actually About,, but. disparity between idealised roles and how those roles actually function, having those images interrogated/torn down... growing up!! casey realising his parents' dream was imposed on him rather than chosen... even just kind of. the aesthetic make up of utena, the core components of how it actually tells its story. the focus on duels and being challenged... formalised process of DEMANDING to fight the current 'champion'... the shadow plays...

this to me is casey and valentino

anyway if u squint it is like. kind of the same energy as paddock gossip. the skits are also.... yeah hm. hm

moving away a bit from utena and its very specific themes, I think what you really can also do with this vision is like... play up the culture clash vibes for casey? I've been meaning to make the post on this forever, but there's a specific theme that comes through in a lot of the stuff casey's said and written over the years that's really concerned with... well, the trip from australia to europe, the hardship associated at various stages with that, never quite feeling at home in this new environment, zero paddock friends, never learning italian and being sick with the concept of italy by the end of his ducati tenure, saying that europeans weren't as straight talking and honest as the anglos (valentino did also help turn him off the concept of the british, mind you), saying the europeans were more partisan, bad sports fans, really kinda... wrestling with a lot of his loneliness and feelings of isolation by attributing a lot of this stuff to this different european mindset. where some of his competitors were nasty in part because that's what they're all like in big bad europe. and idk, that's something that you can really dig into with these abstractions, when you're isolating casey and then making him accept this Challenge of facing the god - through motorcycle racing but also through ritualistic sacrifice - and eventually he takes on this task that he's supposed to, that's supposed to be his duty, but for some reason everyone still hates him for it... and you play up how it's not necessarily his individual agency that even brought him there. he's there to win, and yet they hate him for winning. everyone wants competition, nobody likes the competition when it's actually there

also like. sleeping beauty him. pricked by the thorn of a rose and he's taken out of competition and has to recover and everyone criticises him for 'just' having his finger pricked with the tiniest drop of blood. idk a lot of his quite specific baggage and struggles are really made for abstraction. he's also got this... look. just a very specific vibe that I think you can magical girl-ify. vibrant red, a little bit delicate, as the shadows creep in on him

where it's kinda... he's unique, he's special, he's got All That Talent that allows him to take on a task nobody else has managed... but that's also part of what isolates him, that x factor of his raw natural ability that allows him to make it at the top of the sport In Spite Of All The Odds but also means he CAN'T get a quiet peaceful existence

and the rivalry with valentino, which, first of all they both make for great animated characters because they're incredibly distinctive (I would make utena!valentino so very very tall), but also that slight... element of menace. valentino constantly in the spotlight, and the brighter casey shines the more he's in danger - even if he rather wouldn't be the centre of attention. he still is.... even if he shies away from it, the world is still watching. valentino is still watching. and the gaze itself has consequences

literal glare of the camera lens, exposing casey in a way that makes him uncomfortable. unnerving and too bright and trapping him

casey looking at valentino and the changes in what he sees over time. the gradual adjustment of perception when he comes to learn of a different version of valentino (who is in turn still separate from Valentino The Person)

and that kind of animation style for the motorcycles and everything... thinking about specifically casey's phillip island 2009 which is his very first race win after his illness-induced absence and I've never personally been THAT big on white liveries (he still loves it though) but like. symbolism-inspired colour change for key step back into the fray, to a new moment of hope

his leathers also have like. a very specific vibe here. as do his interactions with valentino. the specific way they grasp hands idk I've got a vision

(they do also hug pretty warmly in parc fermé and there's a bit more to this race given it was a massive W for valentino as far as his title bid was concerned but he'd also been informed of a personal tragedy the day before - but we're gonna ignore all that here)

also OBVIOUSLY

the assen 2007 fight was SUPPOSED to be animated

it also lets you dig into kinda likeeee the weird elements of that rivalry where it switches from being a primarily on-track one to being a completely off-track one. like idk it feels you can play with that switch of them being real duels to just being. casey stabbing him while valentino taunts him. this disconnect where casey is now on top of the world in all the Actual Motorcycle Racing but the whole picture isn't quite as simple as that.... the ways in which casey can't entirely win....

other random fun bits of imagery/vibes:

again, you can have random animals running around in animation... tortoise turtle and the hare laguna '08 I will keep saying it

speaking of laguna '08, the most memorable move happens at the corkscrew... I think you can do something with concept of a corkscrew

laguna '08 overall is just a top ten anime battle isn't it, the fact that the whole thing depends on this. reversal. where rather than valentino always stalking his victims (inherently evocative) but is committing to obstructing casey from ahead (btw today's their anniversary!!! <3)

you have GOT to do something funky with pressers, like casey's relationship to the media is so fundamental to his entire story... essentially treat it as another form of combat imo. like give it the exact same visual lead in as the actual on-track battles, so that you have this collapse between the on-track and off-track

collapse between the identity of the rider and the bike. common thing anyway in the weird way these blokes talk about their bikes, obviously valentino is like. a number one offender for this. and obviously you can easily exploit this in animation!! and also if we're sticking with the yellow = infection stuff, then casey is constantly being at risk of overwhelmed by the yellow.... and once he's stepped away from that bike to go to honda instead, he has to see this thing that's separate from him but still somehow a part of him be infected

playing with how casey was inspired by valentino... you know the utena kinda. prologue of utena being inspired to become a prince... basically that vibe. stepping up to become a deity and being presented the blade to challenge a god. But Was That Really Such A Good Idea

you can do something with chequered flags I reckon. idk what but you do something with them

casey's obsessed with fishing. a symbol of childhood innocence and one of the things he would have loved to do when he was essentially being forced into making motorcycle racing his dream, something that caused controversy back in 2009 because he got backlash for going fishing during his injury absence (yeah I don't know what they were on back then too) and something he references when he retires on his pitboard 'going fishing'. it's innocence, it's his individual dream, it's peace away from the track... you can work with that

obviously valentino himself makes all this symbolism shit very easy given he did canonically give himself an eyeball helmet during one of his ducati races. like we get it buddy. that would SLAP in animation

okay I just need to say it. you know how in catalunya 2009 casey is just like. two seconds away from fainting on the podium and valentino/jorge are having their whole intense thing going on and are just. ignoring it. gets me every time, it's just such a bizarre discrepancy of vibes. like two different narratives are going on during that podium and they're just pretending like the other one isn't happening, except in casey's case that's extremely understandable and in the others' case?? idk I'd check on him?? power of animation I'm having casey literally faint and everyone ignoring it. maybe several times. sorry casey this is social critique on your behalf

if you have an equivalent utena walking up the stairs pre-race build up, it is so important to me to remember that casey crashed during the valencia 2009 warm up lap

something something valentino catalunya 2008 special italian football team leathers something casey's issues towards italy something them actually having a duel in that race while casey is just about trying to wrestle his italian manufacturer into making themselves useful for once... this is the first... second? turning point of the season. okay look there's several turning points. but crucially that's one of the big ones, when casey is starting to get the ducati situation sorted and they have a post-race test at catalunya and then casey goes on his little win streak that leads you to laguna. I think you can do something with the concept of italy here

something something taking on the number one plate symbolism

thinking of the utena stopwatch thing and how casey's mum was always making the notes for casey's races as a kid and they're included in his autobiography... like you've got this little kid with essentially performance reviews... idk something about constantly recording what he's doing. I can SEE that scene of animated kid!casey going around the dirt track while his mother is recording his progress with a stopwatch and notebook in my mind...

two-faced valentino... make it literal. Valentino The Racer and Valentino The Character and Valentino The Person as entities that casey meets separately

something about valentino's fucked up little fingers as his one vulnerability

valentino reeling in casey like a fish, is this anything

anyways. I love the dovi description... I still get like. nebulously sad about his 2020 where it's both kinda I get how this fell apart but it's so unsatisfying? which is the fun of it! narratively speaking. and the fact that he was such a big influence on the development of that bike, how possessive he got over that project and really saw it as his, how he ended up being unceremoniously dumped and he's seen them win again and again... again he does have the whole 'being well adjusted' thing working against him BUT idk there's a satisfying suitably cinematic story in there somewhere

and yeah I do see the jorge/dani vision!! I think that one's the one where I'm like. the least attached to the literal details and am quite happy to fictionalise it!! especially because lbr his path to his first title just Does Not Work narratively. like 2010 only works as a good conclusion of that arc if valentino is actually THERE to be defeated, or if jorge and dani actually have more of a title fight. and he does have an extremely queer-coded narrative!! you kinda have the actual family right, then the way he kinda... cycles through a few versions of what are essentially all found families, like he's got the whole manager situation which obviously in itself ends up a nightmare, then the coach turned manager he also split from then ?? it's kinda... that dimension of athletes where they're CHOOSING the people close to them (not that he's fully in a position to make a lot of these choices!!) and then has to cut ties when he becomes more aware of how those people are attempting to exploit him.... the whole number switching thing is explicitly framed as a form of liberation. his tendency to get Obsessed and a little Weird about all his major rivals (dani, valentino and dovi get the worst of this) like it's just a fun vibe to play with... the way the rivalry with dani is also a little Imposed from Above and also jorge doesn't get why dani keeps him at such a distance and is constantly trying to like. bug him into paying attention to jorge. he just makes for such a good coming of age story protagonist, like he's so vibrant and awkward and cocky and kind of ridiculous,,, prone to way too intense introspection and just overthinking EVERYTHING and he's trying to play a character while also wanting to find his authentic self or whatever... he's just such a Young Guy and his story with dani is full of that energy... yes

anyway. on to sete. you and me anon

valentino!!!! cuts!!!! his heart out!!!!!!!!!!!!!! I LOVE THAT omg.... I love the idea that he'd just. be motivated to destroy sete enough that he's willing to take the final step.... the one that ensures his rule over the sport will never be challenged in any meaningful way but he also cannot return from, a line that he can't un-cross.... AND y'know I've banged on enough about this idea that valentino really DID change his approach to his rivals after that, acquired a bit of distance which would be!! fantastic, it's also that element of not just him Losing something but also him not wanting to go through those kinds of complicated emotions at the hands of someone who had been a friend again... removes his heart!! exorcises his softness!!

I kinda love the idea of making it... the natural conclusion of where that particular journey was taking him. like the idea that that's kinda always where he was headed... it's why I think the sachsenring/brno 2003 thing is so neat, like the fact brno is the site of both the big comeback win against sete but ALSO where he agreed to ride for yamaha in the middle of the night. that you're drawing the line between 'he wanted to be his own man' (seemingly a harmless motive, even admirable) with what 'being his own man' involves, aka psychologically torturing his rivals (possibly a little questionable). another thing I adore here is his phillip island 2004 celebrations when he seals the title..... what a spectacle!!!! in retrospect it's just kinda,, oh look what a fun celebration! he's having fun!! it's all a show!! because sete has been erased from that celebration. and that race is the culmination of BOTH those arcs set in motion at brno 2003, it's his great yamaha victory while also being deeply cruel... and before that the sepang celebrations... I just like the idea that what people tend to see as Good valentino traits (joyous, fun celebrations) and Bad valentino traits (working to destroy his rivals) are fundamentally impossible to detach from each other, and the only way you get rid of them both is by suppressing who he is as a person... now I'm not saying that the devil tempted him to join yamaha but I'm not not saying that? works with the ibiza trip between sachsenring and brno too, like you can parallel that to sete contemplating honda the previous year (this did Not canonically happen but narrative efficiency). it's all their choice!! but they were also Twisted By Circumstances.... valentino's corruption arc why does nobody see this is valentino's corruption arc....

[writingmochi]

Welcome to Freddy Fazbear's Pizza, home to pizza and entertainment from our animatronics, Freddy Fazbear & Friends. Oh… What's that? The animatronics walks by itself and you can smell a rotten odor? Don't worry about that. Fazbear Entertainment, as the owner of the pizza franchise, is not responsible for any death or disappearance

cast: sunoo ✗ fem.reader (ft. itzy's yuna, cravity's taeyoung and serim, with a few ocs)

synopsis: pizzeria, animatronics, missing children, and mystery. those are words that encompass what people may believe of freddy fazbear's pizza, whose doors were closed years ago. so, what do you do if you and your friends have to stay in one of their abandoned establishments from midnight 'til sunrise? are you able to survive the night? and be careful what you answer, they're listening

genre: horror, mystery, adventure, survival, dark comedy, high school au, a bit of fluff, angst

based on: video game series five nights at freddy’s (2014-present); set before five nights at freddy's 3 (2015)

word count: 17929 (17.9k)

warning(s): blood, arson, a small kiss and romantic part, description of unpleasant odor, mention of missing and dead children, mention of murder, mention of animatronic and animal mascot (for those who have masklophobia), a bit lore dumping but i have to make you guys know it (especially in the context of the plot) (if i forgot something, let me know!)

message to the moon: remember that this story is fiction and do be careful and read the warnings at the top. all the idols mentioned here are not what they are in real life.

it's here!! and it is still june *weights drop off my shoulder* this is meant for sunoo's birthday so as long as it is his birthday month. i am extremely fine with that :D + the fnaf movie trailer came out yesterday. so i guess it is the right timing to upload it today

mini playlist: van halen's "jump"; toby fox's "amalgam"; lena raine's "scattered and lost" ; allen simpson's "d.j. music man"

now open

“what do you guys know about freddy fazbear’s pizza?”

“that pizzeria franchise? what about it?”

those two sentences were the start of a pretty unusual conversation you have with your friend group during recess. lifting your head from opening the snack you bought before as you and your friends sit in the cafeteria hall, other students walk around trying to find a table or return to one. the conversation continues with the boy and girl sitting across from you while another boy sits silently eating the snack that you open.

“serim got access to the abandoned building that used to be a franchise near this city.” you watch taeyoung lets out a smirk as yuna contorted while shaking her head, already knowing what he might say next. your eyes widen as you are now intrigued by following the conversation.

“how did he get it? did your dad buy the land there?” yuna replied, her eyes squinting at the boy your group of friends knows is the richest of the four of you. his father owns multiple properties in the city for whatever construction he has planned or selling them to the highest bidder.

“that’s what my brother implies.” taeyoung’s eyes wander between the three of you. you turn your head slightly towards sunoo, your next-door neighbor and best friend since you two were kids. both of you were quiet as you observed your two friends converse about taeyoung’s ‘special access’ to the mysterious building you had never heard of before, but have learned the stories surrounding what it has.

“and like that stupid brain of his, he dared me to stay there from midnight to 6 in the morning.” taeyoung ruffles his hair as you see him roll his eyes and scoff, covering himself because of the ridiculousness.

“what you’re getting from that?” sunoo asked beside you as you nod while raising your eyebrow. taeyoung is not stupid enough to be gaslighted by his older brother like that, isn’t he?

“his allowance for three months, you know how big their allowances are especially college students like him,” taeyoung replied snarkily, a smirk forming on his face. “and also my dignity cause you all recognize how much he teases me.” you see yuna rolled her eyes as sunoo giggled, you pursed your lips, looking at the boy in front of you in disbelief, leaning your body back as you don’t want to get involved in their sibling rivalry while grabbing the snack that is now in front of sunoo.

“and he said i can bring my friends so i want to bring you all.”

what?

hearing the ridiculousness of taeyoung’s invitation with the whole context made sunoo covers his face in embarrassment. yuna looks at the boy beside you and nods, understanding his feelings before looking away. you, on the other hand, viewed your surroundings as the voice of the cafeteria environment making your focus turn away.

“guys, please? (y/n)? you like true crime, right?” taeyoung asked, bringing your focus back to the table as your name is mentioned.

you and your friends know how much you love true crime. how your favorite board game is clue while your favorite activity while going out with them is to go to escape rooms. half of your entertainment is watching criminal psychology videos—including their interrogation or just story time of the true crimes that happened in history, both solved and unsolved. you have always liked mysteries, help solve alternate reality games on the internet with the skills you train to use. they always seem to intrigue you, the absence of certain information. it’s no different with freddy fazbear’s pizza and the scandals surrounding it.

the legend that is freddy fazbear’s pizza, their franchises and stories about how it becomes the business failure that has always intrigued you. how back in the late 70s, two people by the name of henry emily and william afton tried to open a diner by selling pizza for kids’ birthday parties. you learned from what you read, back at that time, mascots are popular in those establishments, so they create two spring-lock animatronics made for the kids’ entertainment the two can wear, while also prototyping four others which will possess their own sense of control. henry‘s called fredbear, a yellow bear, while william‘s called spring bonnie, a yellow rabbit. the other four are freedy fazbear, a brown bear; bonnie, a purple rabbit; chica, a yellow chicken; and foxy, a pirate-costumed fox.

that is until five children went missing and the animatronics started to act weird, as people back then described. it all goes downhill from the incident.

the original diner closed after lawsuits and missing children were reported with the diner as its connection. henry emily and william afton fought with each other where henry cuts their partnership and created his own company, hiring employees to get the business together in the 80s, it’s called fazbear entertainment. the company opens so many franchises of freddy fazbear’s pizza until one by one it closes down. rumors of odor coming from inside the pizzeria and the animatronics going ‘haywire to walk around the vicinity’ at night are the main reasons for its downfall until the early 2000s when the company disappeared, never opening another franchise again.

you always believed there is a connection between the missing children, the odor, and the animatronics acting weirdly. you really wanted to find out about it. never have you assumed that near where you lived, there was once a freedy fazbear’s pizza. and the news was the reason for your shock when taeyoung said that he, by proxy from his dad who is a property developer, gained access to one.

“i mean… i do.” you replied to taeyoung with a tilted head. “but never have i thought that you’re going to ask me to go to one of their places. heck, i didn’t even know our city had one.” you continued, unconsciously biting the inside of your lips.

“well, that’s good, right? you can explore the building while getting to know it and its history? maybe be able to contribute to the story that is out there.” you can only nod after what taeyoung said as it is, in your mind, the truth. you maybe aren’t the best equipped to solve this kind of mystery, but being a high school student sometimes has its boring times and this is an opportunity of a lifetime, a story that you can tell someday. you don’t even know if this abandoned building also owns its secret. were there also missing children cases back in their prime days like the other franchises? does it also have any link to the odor and weird animatronics people have associated the franchise with other than their pizza and arcade?

“i’ll go.” sunoo and yuna stare at you bewildered after what you said, making taeyoung lightly bounce on his side of the table. you can’t help to want to know. all the curiosity that’s running through your mind envelops you—you don’t even have enough moments to think about how to survive a night there, at an abandoned building engulf in trees where it is hard to reach. where danger can just be right around the corner, yet you just want to know what happened and why it has become like this.

“if (y/n)’s going, i’ll go too.” you see sunoo replied. you let out a small smirk as you glimpse at the boy, lifting your fist up for him to fist bump where sunoo grins at you while giving a light one.

yuna lets out a sigh and said, “fine, but, i know the other two agree with me. we want those allowances to be given to us evenly.” you let out a chuckle as the three of you glare at taeyoung with a baffled look on his face, before letting out his breath.

“25% for each of us?” taeyoung sees all three of you nodding, a sneaky grin on all of your faces.

“fine by me.”

-

“you’re nervous?” you heard sunoo speak as you tie your combat boots tightly and slip the remaining laces under the tied ones. sighing quietly as you look up to admire his room that you’ve visited hundreds maybe nearing thousand of times while looking at the backpack you packed full of stuff you needed as you told your mom and his mom that you’re having a sleepover in his room tonight.

“it’s… mixed. like nervous but excited and also scared.” you bounce your feet on the floor sitting as he furrows his eyebrows while also checking the backpack you can see is beside you. “anything can happen there.” you mumbled.

sunoo smiled as he replied, “we can get through it, all of us.”

in your group, sunoo has always been the optimistic one: like when all four of you play dodgeball for p.e. class with your other classmates, he is usually the one that commands the most but also throws the most, most of his shots are a hit which—you can’t deny—also amazed you. yuna is the pessimistic one: worrying at first but being solid at it after, like when she complained to the rest of you before a physics exam and then found out that she also gets the highest score. taeyoung is the mischievous one that pranks and dares all three of you, sometimes not even caring if karma gets him like a ball to his nuts. while you are the curious one: sometimes your curiosity gets you in trouble like getting detention but it also helps your friends in acing the hardest math exam you have ever taken with the answer key you remembered reading and all four of you got at least a 90 on the scores.

“speaking of getting through it, what do you bring?” you nudge your shoulder toward his backpack beside yours.

“snacks, water bottles, blankets, medkit,” he replied as he closes his bag, his gaze now on you.

you hummed as a smile formed, “like a scout. nice!”

“you knew about me going camping before. so i packed the things i pack when camping, “ sunoo answered as he gently put his hand on his waist. “how about you?”

“a notebook, pencil, spare clothes, water, spare batteries, and a pocket knife,” you reply while you think about how funny your differing priorities are for today’s adventure, exactly like what you group yourself and your friends’ stereotypes. both your phone vibrates at the same time as you glance at yours, the message being shared in your group chat showing on the screen telling you they have arrived at the meeting point. the open window of sunoo’s ground-floor bedroom opens to the front side of his house, ready for you both to go through.

as you two picked up your backpacks and climb out the window, sunoo slowly closed it, leaving a small gap so he can push it open when you both arrived in the morning. you two walk into the night to the corner of your block where a car waits. both of you can see taeyoung from the front seat window as you both are approaching, gesturing you to go into the back seat. climbing into the car with serim driving and yuna that sits with you two at the back, the car zooms away as saturday slowly ends.

seeing the streetlights illuminate the road and trees forming around it, you trail your eyes off to yuna who is sitting next to you. she has a small backpack of her own on her lap.

“how are you, bestie?” you nudge her shoulder with your own.

“to be honest, i’m sleepy. after we arrive, we should find a good place so that we can stay and i can sleep,” she replied, making taeyoung who sits at shotgun tilt his head back to take a glimpse at her and you.

“she doesn’t believe the roaming animatronics stuff.”

“as if they’re real.” she crosses her arm and leans against the car door beside her while the dark woods slowly envelop the car. the headlights are the only source of light other than the ones coming from the moon above you.

you heard serim chuckle from the driver’s seat. “i agree like what’s with the rumored stuff with the kids and animatronics being tethered. just tell the truth that they are malfunctioning. what an exaggeration to say that they walk around the restaurant.” you glance at yuna, who is nodding after serim finish his opinion. yet, you are still convinced they are tethered in some way. maybe the animatronics are haunted…

the car goes deep on a wide enough dirt track for a single vehicle and stops in a small clearing, a building’s silhouette upon it with an enormous billboard on the top of what you presume is the entrance. it stops and you all step out from the cramped interior, feeling the chills forming from the night wind blowing through the thin spaces of trees’ trunks and branches.

“the keys, taeyoung.” serim lightly flings it to taeyoung who catches it perfectly. “best of luck to you all, i guess, especially you. big stakes right here.” he points to his brother and gives a wink, the said boy getting disgusted by it and silently gagged. yuna, who is beside you, picked up everything as she chuckle next to your shoulder.

“shut the heck up.” taeyoung mumbles making serim lightly laugh as he grabs the steering wheel in front of him.

“see you at 6, losers,” serim said and then the car drove off. you can’t help but look at the time from your phone that you picked out from your pocket.

00:00

the beam from the flashlights all of you have brought shines on the path to the abandoned pizzeria building. the lights roaming on the building's exterior, seeing the scraps of a billboard on top of the building with a freddy fazbear head as the logo and the name is written across the bottom of the logo, signalling its glory and how it has withered with time with it being slanted; almost fallen off the roof. looking around the entrance’s exterior, you see images of the animatronics in a cartoon style in front of a mini playground with slides, monkey bars, and swings. in the distance, you can also see a silhouette of what looks like a door on the other side of in it. the door is most likely an emergency door shown by the weird positioning that is placed. if it uses another color, it will stick out too much. so that's why it uses the same paint as the exterior walls.

there are questions instantly running through your mind as you step closer to it. why isn’t the main entrance bordered with planks of wood like other abandoned buildings you know from documentaries or the internet? is it because every franchise is closed around the same time, and the staff and management didn’t mind the leftovers that they can use if they want to try again? maybe, they wanted to continue, but the lawsuits and pressure are just too much for them to be open. maybe, fear might have a factor in it.

you hear the jingling of the keys and the lock on the iron fence that stands in front of a set of glass doors. the metal creaks as taeyoung continues to move forward and open the glass door. one by one, you all go in as yuna slowly pushes the glass door open.

stepping inside the room, your flashlight lets you observe the strips of wallpaper that are deteriorating and watermarks staining the wall from leaking spots. you walk at the back with sunoo while letting your eyes adjust to the darkness as the flashlight beams roam the spacious room of what used to be a reception room, with its lectern for one of the staff to stand by and the many amounts of benches for people in the waiting list.

hearing the scrunch under your feet, you let your flashlight shines on the scattered pizza boxes on the floor and party decorations that have filled the room. your nose itching from the cumulated dust in the air but not enough to make rub your finger against it or make you sneeze. taeyoung walks to the front as the lights coming from his beam show promotional posters on one side, bathroom doors on the other, and a large doorway on the same side at the end of the hallway. old telephone booths sticking out onto the wall beside the entrance to the main area.

“we can spread out, but don’t go out of this room.” sunoo whispered behind the crowd as you all enter a giant room which you guess is the main area of the pizzeria, and its condition is worse than the reception area.

the room is full of dining tables and benches with paper plates and open pizza boxes, a stage on one of the sides, and arcade cabinets on one corner of the room; some stood while others were laying broken as a pool of glass shards reflected the shine of your flashlight. rubbers that were supposed to resemble balloons are flat on the ground—a few are looking like the air leaked from them while others look like they popped as their edges look like it was ripped apart. a few of the tiles on the floor are cracked and you can hear them crunch under your footsteps. holding your breath as you look like the restaurant resembling a shipwreck, your light shines on two hallways on two sides of the arcade area. both of them leading to dead ends that have a poster attached to the wall, but the one on the right has light coming in from a plank-covered window. and as you look closer, you can see doorways on both of the hallway; a room is there behind the arcade.

you and your friends scattered around the dining tables to search the nooks and crannies of the room. walking to where the stage stood, you could see chipped wood from the front of the stage and an emergency exit door on the corner beside it—the same position you see the silhouette on the outside. scattering your lights to view the surroundings, you see yuna shines hers to one of the dining tables. approaching it, you find rotten pizzas in an open pizza box that isn't complete or on top of a paper plate that has confetti on its design.

“ew, there are rotten foods here,” she commented lightly, waving her hand from the disgusting smell of spoiled food that have kicked your senses. you let your feet walk to one of the entrances to the hallways across the room, seeing a few doors in a hallway with a double door to the right.

“we should find a place for our base camp for the next hours,” you mumbled, the quiet atmosphere attracting their attention towards you as they approach where you stand. your flashlight shines in the hallway in front of you.

“yeah, we don’t know what is lurking in this building, so it's best if we can find a safe place.” sunoo echoes your idea, earning a nod and smile from you. peeking from the corner of your eyes, you can see he lets out one too from the slight shine that reflects on a bit of his face.

“we can search one by one.” yuna remarked behind you as she looks in the hallway and taeyoung hummed, agreeing to what you all said. all of you approach the two doors to see them made out of glass and windows spread along the wall beside them, miraculously not broken into smithereens like the glass screen from the arcade cabinets. an anomaly from the other two glass doors you presume will be an identical type of room is the double doors right on your right side.

“this must have been a private party room,” taeyoung commented with you turning around, letting his lights shine inside the room as you all take a peek from the glass door. bookshelves stood across the entrance with a few windows on top of them, a short table with cushion chairs surrounding it, confetti paper on the floor with party hats, matching paper and cup set of chica and a chalky and crumbly birthday cake at the other hand of the table with a blackboard that said “happy birthday“ written with chalk.

“is it just me or even though this place has been shut down decades ago, many of the decorations and small trivial things are still there? like why would they leave food?” yuna added as you take another glance at the long table where you can see other rancid food on it—resembling the ones in the main dining area. it seems as if the management doesn’t want to care about the restaurant when it closes. none of the furniture was moved out or cleaned up before being. it looks as if the staff working had disappeared so suddenly one day into thin air, and no one has the responsibility to clean the mess before letting it spread all over the restaurant.

“looks like the building has stayed in the past cause all i can think about is people abandoning the building and all of its activities without no actions to clean them up.” sunoo made a hypothesis the same as what you thought.

“hmm, 80s fresh air, felt so different.” taeyoung joked as your hand reaches the handle of the door and slowly open it. yuna’s flashlight right behind your body shines the room from on top of your shoulder. the chairs are so small you assumed it's for children around and under five years old.

“do you want to stay here or stay outside?” you turned to your friends as you gently held it open.

“inside the room is safer and we can barricade it. good for escape if we can reach up the bookshelves of the window above it. while outside, there is much more room to run if there is danger and the path to the exit, but we’re much more exposed.” you let out your thoughts as all four of you look at each other, gently letting go of the door before putting one cushion to the doorframe, not letting it shut as you don’t want to cause a loud noise if—if it is true—something is lurking in these hallways and rooms.

“inside could work.” taeyoung voiced out as he settles his bag on the ground. “great access to see the outside if we see any animatronics roaming down the hall.”

“no, they’re not.” yuna exclaimed as her face creased from the comment, then immediately yawns after before continuing. “since we searched the place when we get here, we should be able to make a small map of the place, right?”

“yes, we can,” sunoo said as he places his backpack and then looks at you. at first, you were confused by what he implied, but his eyes move to the bag on your back. you silently acknowledge before pulling your backpack down and opening the zipper, pulling your notebook and pencil out. all of you sit down, taeyoung sits on the cushion and yuna sits on the floor while you kneel on your knees down as you put the notebook on the dusty table, tracing the rough layout of the building from what you could remember.

“i’ve drawn the main entrance and reception, the hallway with the bathrooms, and the doorway to the dining room.” the others see your drawing as you let your fingers fidget with the pencil.

taeyoung gently grabs the pencil from you as he continues your drawing. “across from the entrance there is a small stage and a door. and the place where we are is through here, near the doorway from the reception. a hall with two party rooms and a double door to a room on the right side.”

“the kitchen.” sunoo cuts in as he is standing and looking at the double doors outside from the window. “i can see glints of silver in there from the circle window. on some angle, i can see the metal thingy where you suck up smoke from the stove and some circular stuff dangling which i guess are pans.” he tells his assumption.

“that makes sense. i was scouring near the arcade in the dining room and see the little window where servers usually grab food from the kitchen. the big cartoon-ish animal drawings on the wall can’t be ignored.” yuna said as she leans near you.

“i found another hallway beside the small stage and arcade. lights coming in seems to be a large window with a door at the end of the hallway on the left and one near the front of the hallway on the right.” sunoo added as you continued drawing the new areas on the map, few of the ones you made have already been assigned with their descriptions from all of your friends help. you added the stage you saw, the emergency door beside it, and the other hallway between the arcade and the kitchen; the one where sunoo didn’t catch as you heard him hum.

“i think that is all…” sunoo turns back from where he stands, now crouching on the other end of the table while looking at the sketch. you put down your pencil, unconsciously biting the nail on your thumb.

“what are the other two rooms then?” yuna asked from beside you. seeing the three empty rectangles with no scribbles on top of it. the room across from where the hallway to reception, the hallway sunoo mentioned with the door on the front right side, and the room behind the arcade.

taeyoung inspects the paper and the words inside them to indicate their purpose. “this is a restaurant, so supply closets for cleaning stuff and extra party decorations. and they have animatronics so maybe one of them is to clean their parts and repair them. what’s the last one then?”

“security,” you murmured, letting your thumb fall from your face.

“the animatronics are dangerous apparitions after all. security has to have their own office to help track animatronics and not let them do dangerous things.” you see the others nodding as you added the last three names for the last three doors beside the layout. the current matter is that you don't know the certain locations of them.

01:00

you felt your body being gently shaken inside the blanket that you are sleeping in.

by the time you finished talking about the layout of the rooms inside the abandoned building, all of you let your tiredness get to you and fall asleep. sunoo, who brought blankets, gave one to you as you are the only that doesn’t bring any form of sleeping props; taeyoung with his pillow-neck while yuna with her towel-turn-blanket. the thing is, you didn’t get any sleep when you can hear muffled clanks from outside of the room, your mind letting you awake, letting you observe the area with your hearing. and now, you can feel your head throbbing as you are placed in a between rem and non-rem sleep.

“(y/n), please…” you hear yuna’s recognizable voice. feeling a tad bit safer, your eyes open and you sit your body up on the party room floor.

“what’s wrong? did you also h-“

“i need to pee,” yuna hissed as she kneel beside you, trying to hold it in. the concern in your eyes fall as you let out a chuckle at the girl. dragging off the blanket from your body, you lean in closer to her.

“you can pee in the corne-“

“i rather get grabbed by the animatronic than see the boys seeing me pee.” yuna’s tense face made you chuckle again as you nod your head, seeing a small smile forming on her face before you paused when you heard the muffled clanks again. turning your head against where the sound came from—the double doors across from the room you are in. sighing, you quickly turn around to crawl closer to your friend, shaking his upper arm with enough force to wake him up.

“sunoo…” you whispered, seeing him stirring with his eyes open. his eyebrows are raised as he looks between you and yuna, who puts her hands on your shoulder.

“what are you doing?” he mumbled as he leans up.

“we’re going to the bathroom. i just need you to know so you can stand by if anything went wrong. don’t fall asleep on us,” you warned him as sunoo sits up while stretching his arms and neck. as yuna waits by with sunoo, you scrambled to your bag and grab a few needed items to be on your body: your phone and a pocket knife, before going to the glass door as yuna gently opens it. you turn around to close it and see sunoo now sitting on the cushion as taeyoung still sleeping on the other side of the room. you gave him a small nod as you point at your phone in your hand before gently walking away.

you were glad that the hallways are close enough with each other that no other occurrence really disturbed you in someway—the clanking that lingers in your mind for the past hour suddenly disappeared. you both walk to the hallway and stand facing the bathrooms, the female one is wide open with a poster of chica on display, while the male one had its door slightly open. yuna walks towards the female bathroom where you suddenly grab her wrist, stopping her movement before turning around towards you.

“what’s wrong?” she scream-whispered towards you. you jutted your chin to the door as you see how the hinges of the bathroom door she wanted to enter are broken, how the door is slanted and battered like many pressures of opening said door too hard has caused it to be like this.

“we should use the male bathroom. if something happens, the door from the male one can be our line of protection,” you replied as yuna looks back between you and the female bathroom before looking at the door beside it. she tilts her head and shows a slight nod before walking—also pulling you—to the male bathroom.

hearing the door screech as she pushes it wider, a flickering horizontal light from above the sink illuminates the dirty bathroom, the only evidence that electricity still reaches this building which has been abandoned for years. yuna pulled you to the stall in front of the last one at the back where the door is slightly open to see the dirty toilet. seeing her holding a tissue that can help to clean the pee, you turn around and close the door behind you as gently as possible as yuna does her business, locking the door that is still working.

staring at the paint of the stall, you can trace the various intangible writings on the stall’s walls from kids dating back to the latest in 2005; someone wrote the year in black marker along with other doodles. there are also a few drawings of the animatronic characters made with the same pen that wrote the year instead of the illustrations that you see in the halls. it is childish in nature and as you pin it into your mind, you felt a sudden somber by the missing children incident that is related to the franchise.

that’s when you heard a music box playing, and it seems getting closer and closer.

catching the sound of tissue from yuna’s hand as she throws it away, you turn and grab her wrist as you put your pointer finger in front of your mouth. she follows your gesture as silence consumes you both before you hear the music box playing again. you see yuna’s eyes widen before the sound of a door opens, and it opens hard, slamming onto the wall. you jumped as you heard yuna’s gasp before you walk closer and cover her mouth, looking back toward your stall’s door to see the lock that you put in is still intact.

putting your lips in a straight line to help muffled yourself, your legs wobble when the music box sound is getting louder, followed by the sound of something metallic hitting the ceramic tiles of the bathroom. you gently push yourself to sit on your knees, the song of the music box playing sounded familiar to you, like a part of a classical piece. the sound of metal and footsteps is heavy and your pupils tremble when you peek outside under the door to see a pair of legs full of fur underneath the light of the bulb from the sink. seeing its shadow walking closer, you felt yuna’s breath beside your cheek as she replaces your hand with her own, seemingly paralyzed along with you as you see the legs coming closer towards your stall.

you can finally recognize the color of the fur of its feet, brown.

the sound of mechanical joints whirling can be picked up from above where you sit, obscured by the door as the feet are walking to the front of the stall you are in. you can’t help yourself to cover yuna’s hand with your own to help increase the muffling, hoping that it can mute your breathing as you try to hold it as best as you can. seeing the feet slowing down right where you are, you can identify the side of the three-fingered paws of the animatronic. yuna seems to hide her face on your shoulder as you listened to her muffled gagged before you smell the cause of the gag yourself. as it walks away, the waft of rotten odor coming from it also leaves your vicinity and you peek to sit it turning around from the wall on the last stall—the stall you are in—and now walk in a pace that you observed before. the music box panning from both of your ears as the music rewinds again, knowing that it can attract something or someone to get closer.

as you hear the music box now muffled from the layers of walls—the thing not closing the door at all—you quickly stood up from your position and gently open the lock of the stall, seeing the sink area intact as you walk further from yuna, who is still covering her mouth, to the entrance of the male bathroom. the sound of the music box playing from your left, where the entrance is. you were glad that sunoo had the right mind to not let it open wide and not close it shut but leave a small gap for both the glass door and the iron fence. you could make a run if you need to. but that means leaving the others behind.

pulling out your phone from your pocket, you open your camera and use the front camera as a mirror as you lean back—but not with pressure—against the door with yuna now standing beside you, peeking to examine the torso and head of the being that is creating music. it stands facing its back towards you where you can see from the silhouette courtesy of the moon: the rounded ears and the hat right in the middle. your lips tremble as you see it walking around the benches, making most of its body obscure by the wall, if you stepped out.

you can’t believe it as you see the back of its head move behind the wall as you stood in the hallway, the music box still playing the same song. your heart is beating like crazy and you know it can jump out if it wants to. the cogs in your mind moving in a frenzy as you now know what you encountered.

“that’s a freddy fazbear animatronic,” you whispered under your breath.

“what th-“

the music box stopped when yuna replied beside you, making you grab onto her arm and your phone on the other side tightly as you turn your body around and speedwalk to the dining room doorway. but then a shadow on the ground of a bunny figure appears, making you hide behind the wall beside the doorway, the phone booth can be felt on your back as you turn your head to watch the silhouette of the bunny animatronic walking away from where you at before turning a corner, making its back now facing you. you remembered the lines of dining tables you saw, four rows from the stage, that takes most of the hall.

you let go of yuna’s hand when you heard her whisper, “wait” as you crawl on your knees and open the cloth of the dining tables. looking back at yuna, who has frightened eyes. you nodded at her as she follows you and crawl to the opening you made. crawling past you before you instantly drop the cloth around the right time as you listened to the animatronic footsteps coming from where you were now at the doorway. freddy’s music box stops playing like it’s in alarm mode.

you drag your knees to bring you closer to the middle of the long dining table, opening your phone that illuminates the space under the cloth slightly, making you able to see the dusty tiles with a few toy cars, paper plates, and character masks on the floor. you quickly open the group chat for your friends and quickly type into the group chat.

y/n: SUNOO!

y/n: IT’S TRUEEE

y/n: IT’S REAL

someone types right after you.

sunoo: IK

sunoo: WE SAW A CHICKEN ONE COMING OUT OF THE DOOR ACROSS FROM THE BASE

sunoo: THE KITCHEN

the chicken one…

y/n: THAT’S CHICA

y/n: WE SAW FREDDYY

y/n: AND BONNIE

breathing rapidly, you notice yuna looking between you and the phone in your hand.

“you didn’t bring yours?” you whispered as she shook her head, eyes still wide. that’s when you picked up the whirring metal moving around you. a slight gap underneath the cloth makes you able to catch another pair of legs full of fur. but this one is not brown. it’s purple.

raising your hands to your mouth, you try to not make a sound as best as you can. seeing the furry feet stomping onto the tiled floor—crunching underneath its weight. you hope they don’t have joints where they could lean down and see you under the table. but then you remember that is supposed to be a singing animatronic, how else can they show their rhythm and groove without a joint to their hip area. the machinery walks slowly. but you also suspect that they could run with their current physiology.

something touches you and you got startled as you turn towards your friend in a position that looks painful, facing her stomach down as she looks out from the other side of the table. you grab her hand to reassure her when yuna pulls you to do the same thing. slowly approaching her, you try your best not to let the rubber sound on the dirty tiled floor.

“what is it?” you whisper directly into her ear. the glint in her eyes letting you know she might found something helpful.

“see that open doorway?” she whispered back, pointing to the rectangle void compared to the greyish hue of the wall.

“we could go there. especially if the boys are also in trouble,” she replied, almost letting out a chuckle before you reply by ruffling her hair, non-verbally expressing how proud you are of her. you scan the doorway from that small glimmer of open space between the tablecloth and your own, seeing that it is on the other side of the room. you slowly raise your body as yuna raises her, seeing you in a near crouch position as you tell her with gestures as best as you can, pointing between the two of you, your forefinger and middle finger bent as it moves across the dorsum of your other hand, pointing on the table that concealed the two of you and showing three with your fingers.

‘we have to crouch under the table three times.’

she nods, understanding what you meant. with the moonlight shining into the room, and a few exterior lights as well. you can see the silhouette of the figures roaming around the dining room. a burst of laughter caught your attention, something you didn’t hear before as another animatronic steps into the hallway from where the side where your base camp is. chica.

as you watch the silhouette from the table you are underneath, you can inspect where the animatronics are: bonnie is walking in front of the stage, going the direction where you are going, chica is walking towards the middle of the room, whilst freddy is still near the hallway to the reception area. the coast is clear as you give a look to yuna, her stance resembling yours as you give nods in a rhythm.

one…

two…

three.

you carefully lift the tablecloth as yuna moves forward first, her hand reaching for the end of the cloth as she opens it. your eyes only strained forward as you follow her before she closes the cloth. your legs nearly slipped on the floor as yuna braces you. with your adapting eyes, you notice the rotten cream on your sneakers as yuna lets out a grim expression on her face, almost gagging before you shush her up. you glance at the remnants of a pie here, complete with the degrading aluminium foil that is in its place—deep down you are glad you didn’t step onto the aluminium.

yuna nudges you to the other side of the table when you realize the gap between this row and the one across is larger than the one you just passed. bracing yourself, you glance at her as she nods knowingly when she does her own countdown and lifts the tablecloth for you as you rush out.

eyes only looking forwards as your knees nearly gave out when you reach the other table, too late to open the tablecloth as it slips from your force. you gritted your teeth as you hear the plastic utensils above the table scratching each other from the force, the hum of the machinery turns towards you as you stare at bonnie’s three-toed feet that are walking in the path that separates you and yuna.

you quickly cover yourself as your mind scrambles to find something to help her. your eyes follow the shadowy items near you as you find a plastic fork not too broken like the ones you came across. it can help to be a distraction to get yuna to you.

your aching feet take you towards the fallen plastic utensils—thoughts in your mind still wonder how this is still here even with it being closed down—as you pick up the fork and adjust its prong to its maximum potential. approaching away from where bonnie is almost nearing the end of the long table, you lift the cloth up and throw the plastic fork towards where the kitchen is. your hypothesis on the animatronic becomes fact as you see bonnie rush towards where the plastic fork landed, even freddy joining the frenzy. you immediately close the opening as yuna’s swift body move to where you are, slipping behind the animatronic.

approaching her, she lets out a silent exhale as her eyes are wide open, shaking her head as you both approach the final table and do the final dash towards the doorway. the gap returns to the shorter one as yuna opens the tablecloth for you to pass, the animatronics is still focusing on the fork and where it landed. you open the last one for yuna and quickly close it as you step onto something not flat. looking down, you again meet the character masks you also saw earlier: one for bonnie and one for freddy. you didn’t notice that you linger on them when yuna approaches the last obstacle before you finally leave.

“hurry (y/n).” her whisper rings as you picked the masks up in your hand and slip them through your arm. the almost broken rubber bands stretch against your skin as yuna stares at you weirdly before you open the tablecloth for her. she steps out and approaches the void before slipping to the side—the door dark enough that it looks wide open but it actually has a small crack open. your eyes scan at the silhouette of the animatronics as you can see chica almost approaching the path you are now. you sprint towards the door and slip inside. you felt large wires behind you as you grab one and slip it onto the doorway before pushing the door close so that it doesn’t make the usual click sound.

“bad idea.” yuna mumbled beside you as you finally stare at the room and the things decorating the wall.

both of you were met by the heads of the animatronic, jaw open with no eyeballs. most of them sticking onto the walls. in one corner, there is a pile of metal amalgamation with a few of them sticking out. you can catch yuna’s chattering teeth as she looks at the menacing heads on the wall. the vibration in your pant pocket tickles your thigh as you pull your phone out and open it. the screen filled up with sunoo’s worries as you glance at the clock.

02.00

sunoo: you okay?

taeyoung: we’re so freaking worried

typing the answer, the light of the phone illuminates you, yuna, and some of the room. pipes and wires draping from the ceiling as you can pick up the whirring machines outside of the small gap in the door.

y/n: we’re alright

y/n: though we are stuck now

y/n: gonna tell you the next plan later

you let the phone’s screen light up the room which still irks you in a bad way, but it’s definitely not the worst as the one from the outside. seeing the familiar faces of the animatronic heads, you piece up what this room might be. the scent of oil sticks to your smelling scent and yuna moves to approach the tall shelf where tools and equipment are oxidizing there. remembering the layout, yuna pointed to one of the rooms that you remember is unknown on your do-it-yourself map.

“this is the parts and service room,” you mumbled, glancing at yuna who turns her body to yours. she hums, lifting the tools as the small sound creates a scratch to your sense. slowly stepping onto the floor, you approach yuna as the light of the phone creates a spotlight to let you see clearer. it reflects on the metallic materials in the room. the soggy smell of fur from the backup heads of the animatronics, wet and might have moulds in it.

the metal amalgamation caught your eyes as you approach it. you crouch down and inspect the long pipe—like metal bones and joints that resemble the human skeletal system. you could identify the toes, fingers, hips, and torsos. as you approach, you glance at one head and look at a skull with uncanny eyeballs sticking to both the left and right sides. the eyes stare open, lifeless, yet it has eyelids that could blink in a moment; your heart thumps more imagining that. none of the skeletons stand tall, unlike the animatronics striding outside the room you are in, as if someone has pulled them apart to not let them be working.

“hey…” yuna calls with a small voice, the rubbing sound present also coming from her.

“i found something.”

“shoot,” you responded, straightening your stature as yuna stepped towards the metal table where half of chica’s head is present. the rubbing noise you heard is the large pieces of paper that she brought, shaped in rolls. tucking a few under her arms, she opens one roll and places tools from a wrench to a hammer on each corner.

“blueprints…”

pointing your lit screen towards it, you can see the white illustrations on the blue-colored grids and a few words around them. the unnatural shape of the top hat indicates that this is the blueprint of freddy. on the left side is the illustration of the body while on the right side is the illustration of the head, shaped meticulously so that it looks mascot-like and almost resembles the head of a real bear.

squinting your eyes, you scan the words surrounding it. it’s full of unfamiliar terms that you can’t instantly deduct. but you might figure out something when you glance and examine the body of the animatronic even further.

“their body is hollow. look at the gap between the skeleton and the outer casing.” you trace the skeleton’s spine down the drawing before trailing to the side where the stomach is. yuna stares at the mangled skeletons as you glance for a response from her.

“so they have an endoskeleton with fur casing? that doesn’t explain the odor coming from them and how they’re ‘alive’.” her hands lift to make air quotes.

an epiphany comes into your mind even though you don’t want to presume it happened. but you can’t hold it in.

“i think it has something to do with the missing children.” you pivot to her, seeing her shake her head.

“that can’t be possible, right? are they… possessed?” the pitch of her speaking voice tells you everything about her working mind.

“i mean… how can they still move even with decades past? the animatronic must be plugged into electricity to work. unless there is a supernatural thing going out, they’re not gonna move at all.”

yuna stares at you, her eyes trembling as she seems to consider the possibility of that happening. distracting herself, she returns to the blueprint as you turn your body around to lean against the metal table. the tap of the items on your arms presses against the edge of the table. your eyes stare at the mascot heads on the walls; how the fur is shedding from the casing and the watermarks trailing down, damping the paints on the wall so that it looks bubbly.

you don’t expect there was any missing children incident related to this specific building—especially in your town relating to a pizzeria. but the past is much harder to archive specifically with the little franchises separate from the main restaurant franchise. you don’t want to assume anything vile about what happened, but the smell of odor coming from animatronics makes you much more suspicious of what could happen. why the missing children from the main franchise building might not be found and how it could make the animatronics work and move like it’s alive. the uncanniness is making shivers run down your spine, but the animatronics act animatedly, unlike what a robot is.

“no way…” you heard muttering coming from the other person in the room. a small hum as a reply to her, yuna pulled your phone from your hand and pointed it to the words on the blueprint.

“facial recognition…”

you shift your head as you see her open more blueprints—bonnie’s, foxy’s, and chica’s—and check the same area as the first blueprint.

“they all have facial recognition. there are books from the same shelf. maybe a repair manual?” her words trail off as she turns to the shelf where she fetches the prints. the small beacon from your phone still allows you to trace the words of facial recognition right above the music box player on freddy’s blueprint. the heavy sound of books landing on something rings in the room as dust flies.

“aha!” she exclaimed with a little voice before bringing a book towards you. the word ‘manual’ sticking out to you when she flipped the cover open, tracing the directory before opening the right page. she held the book right by her eyes, seeing her eyes move behind the barrier from your view

“‘the animatronics has a facial recognition system that can detect the human faces from its fellow animatronic. this system was made to prevent entry for known child criminals and it has access to the criminal database…’” she read out the information. that’s when you stare at the items on your arm. the masks.

you push the masks slipped onto your arm to her as she stares between the book and the items on you. her eyes enlarged as she leans closer, slipping your phone back onto your open palm.

“we could wear this. get the boys out of the party room, and exit from the emergency exit, which is the door beside this room and get out,” you spoke, nodding your head along with it as you affirm yourself.

“that might work. we can recognize ourselves between them. let’s do it.” yuna said with a thin smile. you let her pull off the freddy mask from your arm. the mask looks like a child’s mask and you reckoned it might not fit your face, but when you slip the bonnie mask on, the bands stretching behind your earlobes, you can feel the plastic edge press against your cheek.

now, your view is much more obscured with only the holes for the eyes and nostrils helping to get the air in clearer. trying your best to inform the others, you send out a message in the group chat.

y/n: if you can, search for character masks to wear in the party room. we can meet up at the arcade area.

taeyoung: what’s this? ^

y/n: they have facial recognition. we can disguise ourselves - yuna

she slips your phone back into your pocket and gives you a pat. the scratching sound enters your ear as yuna now holds a wrench in her hand—better be safe than sorry. you take a deep breath, sensing her presence protecting you from the back.

“you ready?” she asked behind you.

“uh huh…” you said, with a tinge of worrisome you hope she didn’t figure it out. hand on the handle, the hinges creak as you pull the door open.

peeking your head out, you could examine the main dining area; thinking that enormous figures are roaming the hall, but finding it empty instead. the lingering sound of freddy’s music box is playing in the hallway on the other side of where you are. but no animatronics seems to be present. the curtain of the stage is closed like the last time you notice it and you caught clanging sounds from the kitchen area, probably from chica—the boys saw her from there.

yuna’s hands grip each of your shoulders when you step forward. each foot moves slowly on the tiled floor as the windows on the other side of the hallway let the outside light in. step by step, you amble beside the dining table you hide under a few minutes ago. you gaze at the abandoned food and utensils on the table. plastic plates, glass, knife; all you can study without worry.

looking towards the right, you find a half circle that is covered by the curtain—the small stage taeyoung mentioned. walking in front of the elevated floor, you notice the dark void in between the purple-patterned curtains. yuna’s empty hand grips your shoulder as you both stare at it.

“‘sorry out of order’?” you heard her faint whisper in your ear, but you didn’t expect a buzzing sound to come from behind the curtain. your body instantly shoves yuna behind you as you reach your other pocket, pushing your hand inside as you grip the handle. the source of light behind you reflects on something white as it gets bigger. a claw pushes out and moves the curtain out.

yuna’s trembling finger holds onto your waist as you see the silhouette of something poking out from the curtain, a head with a sharp nose. you held your breath when you look at the animatronic peeking out of the stage. the last animatronic of the roster: foxy, complete with its pirate garment of the eyepatch and the hook. its behavior is animalistic, jutting its nose as it sniffs the air with its artificial nose.

before it stiffs and turns its head towards both of you.

its body moves out of the curtain slowly as you both stood still, making yourself as robotic as possible. even with the mask as your front, you still feel as exposed as ever. the beating of your heart might explode out of your chest as your grasp on the pocket knife is ready to pull it out. biting your bottom lip, you let it stand before you as it scans your face. and it seems to recognize the familiar visual of the character’s face. its tall figure looms over both of you before it runs towards the bigger stage.

its heavy footsteps echo in the room as you stare at it moving away. your mind was too distracted by the animatronic that even a small, bitter touch on your exposed skin startled you. turning around, you find two people in chica and foxy masks.

your breath heave as you perceived the familiar touch of sunoo and the tousled hair that only belongs to taeyoung. the boy points towards the arcade area as all of you approach it. the clanking in the kitchen is still prominent enough as you stood beside the door.

“how’d you know the masks work?” sunoo asked as they gave out both of your backpacks back to their rightful owners.

“they have a facial recognition system. (y/n) suggests that masks might work so they see us as one of them.” yuna’s hand still grips your shoulder as you felt the wrench on her hand, swaying from the weight.

“we’re gonna get ou-“

the sound of an open draping cloth distracts you. your eyes follow the sound of it, the animatronic comes out from the stage as you see bonnie on stage. your breathing is calm and your mind is collected from the non-reactive way foxy did. but this is different as the sound of a ripping cloth filled the air. the bunny animatronic jumps down towards you and rushes towards you, letting out a gargled electrical scream that covers the music box from freddy.

“GUYS!” you exclaimed, but the animatronic only focuses towards you. the sound of the barging door opening from the side. chica’s laugh filled the room as you and yuna let go of each other and you pushed the others away as you let bonnie be distracted by you.

flicking open your pocket knife, you scattered towards the stage as bonnie jumps over the table to get to you. the rotting table legs collapsing as your hand still grips your backpack strap that is not on your shoulder properly. but the animatronic is too fast for your liking, from their taller stature to their mechanical limbs.

your backpack was caught as you pull it out of the animatronic, seeing it pulling as best as it can. its jaw opens and your tired body can’t hold itself up as your strength is lost against the robot. the eyes that are sticking to the endoskeleton are lifeless but reflect something that you have seen in other humans.

rage.

the robot growls as you’re being pulled against your might. the edge of the bonnie mask you’re wearing is pulled along your head with the strength of the conflicting forces, creating a flame to your skin senses. your head is almost near its wide-open jaw as you try hitting it with your knife; not applicable and only cut through the fur. not handling it well, you pushed the jaw apart with both of your hands.

your hearing is only focusing on the animatronic in front of you, making you didn’t expect the blow to the animatronic head as the eyeholes of your mask move nowhere near your eyes. pulsing bloodstream flowed to your palm as warmth wrapped around your wrist and drag you. trickling fluid coming out and dripping from your fingers as you still hold on to your pocket knife, not letting it go. you let your legs drag you along with the being that pulls you as it pushes you inside the room.

the heavy footsteps that followed you come to a halt as a loud bang comes before followed by the muffled one. you heard haggard breath as the sound of a large object scraping on the floor. something holds your shoulders up and you let your legs bring you somewhere else. but your vision is flickering as the black spots appear, tinnitus in your ear, your body getting heavy, and you can’t open your eyes anymore.

the void embraces you as your body shuts down.

03.00

something drips out from your lips.

hushes and the rustle of paper is all around you.

your hand fidgets as the pain spreads all around once again. opening your eyes, you were met with a blurry vision and light pointing towards the ceiling, painting it white instead of the musky grey. wooden marks from the ceiling tell you that this room in risk of leaking and might make the beam fall if not careful enough.

your lips are chapped as you sense a tear come down from the corner of your eyes, becoming clearer after each and every drop has fallen.

“oh gosh!” someone gasps as you felt your body being enveloped tightly. their hair tickles your nostrils but you needed the hug. your goosebumps grow as the coldness your body is showing is reduced by the warmth.

“you’re okay!” they whispered to you, pressing their palm against your cheek—a barrier that doesn’t allow the skin to skin contact makes a vertical down from under your eye to your jaw.

“sun?” you speak, a hoarse voice coming out as you see sunoo’s face. his smile is still as wide as ever, even with a smudge of thick dust on his cheeks.

“i’m here...” he whispered, holding onto your hand that is covered by something thin. noticing your expression, he lifts your hand so you could examine it. a bandage wrapped around your skin as you find a bloomed red coming from the palm.

“your tired body, adrenaline, and loss of blood make you instantly pass out as i brought you here. i tried to patch you up as best as i could.” sunoo answered your unspoken question, giving you the water bottle that he was trying to get you to sip even with your unconscious body.

“time?” you questioned, holding the water bottle as it still trembles in your hold. the soothing sensation wets your dry cavern as the water rushes down inside your digestive system.

“past 3. half past 4 actually,” he replied whilst looking at the lit phone in his hand. your eyes wander to the dim room, seeing the shelves rising above you like skyscrapers. a gallon of something looking like bleach is resting on one shelf—probably only left with its evaporated dust.

“we’re still in the pizzeria. locked in a cleaning cupboard of some sort.” his words reminded you of the locations of the map that are burnt into your mind. two out of three are identified. then the last room is security.

but when you touch the thin mattress beneath you, you became more alert as you can see a hole in one of the walls. through it, more shelves are standing and you can identify the familiar silhouette of brooms and mops.

“we’re deeper in it though. bonnie was still clawing at the door before i move one of the shelves over to hold the door close. then i found the hole, and it looks like someone lived here.” sunoo continued. one side of his face is shone by the flashlight, sitting with his knees now tuck to his chest.

“it’s a safe room of sorts, but by the messy mattress i found and newspapers. someone must have lived here.” your eyes wander to the pile of paper that sits beside him, scattered around the floor and a few near the edge of the mattress. you followed his hand as he picks one up and gives it to you. sitting up your body, you find the most comfortable position for you to read. eyebrows raised as you examine the headline.

Kids vanish at local pizzeria—bodies not found. Two local children were reportedly lured into a back room during the late hours of operation at Freddy Fazbear’s Pizza on the night of June 26th. While video surveillance identified the man responsible and led to his capture the following morning, the children themselves were never found and are presumed dead.

Police think that the suspect dressed as a company mascot to earn the children’s trust.

“i tried to trace where these came from and a few of them led back to the missing person incident in the main branch of freddy fazbear’s pizza. but look at this.” he then shuffles some pages around as he pulls one out and gives it to you.

Four children reported missing in our town’s very own Freddy Fazbear’s Pizza. Investigators link the incident to other similar incidents occurring in the other franchises.

the news was concise. telling you that there might be ten or more missing children that are scattered across the different franchises that are open. it is suspected that the same motive is done between all these franchises: children allegedly lured into a backroom during late hours.

sunoo then gave you another clipping that read “Local pizzeria threatened with shutdown over sanitation.” one about the main building while a few related ones about the other local franchises also, including your town.

“the others and i tried our freaking best to piece these up. they’re now stuck in the kitchen,” he said as he know you might wonder about yuna and taeyoung. “but i think this is when your knowledge comes to help. you knew more about these stories than anybody in our friend group. wikipedia doesn’t even give any straightforward answers.”

the boy moves so he could sit beside you, shoulder to shoulder. your fingertips still run against the pile you allowed him to stack on your lap as sunoo continues to open his phone, glancing your eyes to see the group chat.

you pat his arm to help you fetch your backpack, finding it as battered as ever with one strap hanging for dear life with a piece of string to not break. sipping the water bottle to help you better, your brain is much more awake that a few moments ago. the gears in them are turning as you open the notebook and scribble everything you know. the founders. the original five missing children. animatronic going haywire. unpleasant odor. and you trace each newspaper clipping to create the most effective timeline you could create. some of the newspaper has its ink bleed from the moist on it, but you decipher it as best as you could.

“yuna said that you speculate the animatronics are possessed?” sunoo questioned as you skim the words on the clipping before putting it aside. you hummed as a reply, mind to focus on connecting all the dots as best as you can.

whilst opening a few pages, something slipped out of the pile and landed on the tiled floor beside you. dashing to get a grip on the corner of the rectangular paper. you picked it up and sunoo shines the light from your flashlight onto it.

“a cheque...” the boy spoke as you scan the words.

mike schmidt. $120. valued employee.

the reflection of the flashlight shines more than the ink from the front side you are reading. flipping it around, you see a written note almost in cursive as you tried your best to read.

Father. It’s me, Michael. I’ve followed along your trails of blood even to the towns outside of ours. I’ve seen each and every one of your creations, from how they react to how they’ve smelled because of you. They all seem to recognize me because they thought I was you. No trace of your golden bunny suit means you’re not here. Something has gone terribly for me. But I will try my best to find you... I’m going to come find you.

“michael?” sunoo muttered, your eyes peeking at him as he realizes something and typed in something in a browser’s search engine. the result comes out immediately as he presses on the link on one of the founders. william afton.

“no way...” he mumbled, skimming the web page as you lean in against him. his sturdy shoulder holding you one before stopping at one section.

“‘nothing is much known about what happened to afton, but he had mentioned that he wanted his son, michael, to continue his legacy’... michael is william’s son.” sunoo turns his head towards you, so close to yours as you can felt his breath on your cupid’s bow.

“wait, wait, w-“ you push your hand out as your mind goes into overdrive. all the information you have in your mind pinning up against the surface of your brain, ready to be pieced onto your inner corkboard.

michael is william afton’s son.

golden bunny suit.

missing children lured by an employee.

odor from the animatronics.

their unusual frantic acts with metal bodies.

bonnie being aggressive towards you, who was wearing a bonnie mask.

looking up, you gaze at sunoo who is tilting his head, watching you putting the puzzle pieces together.

“they’re dead. the missing children are dead...”

“uh- okay..? that is so grim.” sunoo lets out a reply before you hold his hand.

“i mean, listen. they’re dead and they possessed the animatronic endoskeletons. okay, let me just-“ you picked up your notebook so sunoo can see, pencil on hand as you create underlines under the missing children incident.

“so ‘kids vanish at local pizzeria-bodied not found’ leading to the suspicions of an employee luring them back into the backroom of the restaurant. that means an employee-only area which we know by schematics on the place is the kitchen, parts and service, stage area, supply closet, and security office.” the graphite creates a line between the phrases and keywords you wrote on the paper.

“because of the vanishing bodies, either they were kidnapped or murdered on the spot. but i suggest the latter because...” you make a line between the sentence to the one above it. “the animatronics has an unpleasant odor, relating it to the pizzerias that are succumbing to lawsuits and eventually shutting down.”

sunoo continues following the line you made as you connect the employee to william afton, “i suspect william is the killer because of what michael said, ‘no trace of your golden bunny suit’. i have a guess that he has been searching for the father. and- believe it or not...”

you wrote something you remember by memory about the pizzeria that you didn’t write yet, “both the founders had to use this spring-lock animatronic costume in the early years of their business. william uses a golden bonnie suit...”

“so you’re saying the founder just commit a killing spree?” he questioned as you reply with a hum of agreement.

“i’ve seen discussion on forums on why both of them dissolve. many suggest that they have this business rivalry—unmatched vision, one has more power than the other—because afton also has his own company called afton robotics...” you write the name of the company right beside the two aftons.

sunoo grips one end of the piece of paper, eyes trailing down the content before speaking, “william is on the run for revenge and michael is trying to find him...”

“that and he’s trying to hurt the efforts of his former business partner. he must have done this killing spree on many freddy fazbear’s pizza locations. and if he want to leave no trace, he had to stuff the bodies into the animatronics, fusing their soul to the metals.” you replied, leaning back against the wall.

“that’s why i got attacked by bonnie for wearing the bonnie mask, how it’s more aggressive towards me. the child that possesses that must remember the bunny suit-wearing man that killed them, also all of us who are still human and alive. they’re sad and angry about what somebody has done to them. they’re stuck in limbo now, unable to rest in peace...”

you felt sunoo’s hand on yours, interlacing his fingers with yours and putting them on his thigh. his eyes strain on your face, glancing at your trembling lips as you empathize with what the children faced that is so unfair. ripping their lives because of a crazed man hungry for revenge.

“what do you want to do?” sunoo asked. even with your glum eyes, he can still detect how your mind is thinking about something. pupils frantically move around as you gulp down your saliva.

“we have to help them let go of this world. help them tether the connection here to let them rest.” you lean your head against his shoulder, his thumb rubbing softly on your dorsal as you let your legs stretch. seeing his feet beside yours reminds you of when you are children, sitting on the grass in the playground by your school, gazing at your friends who are dangling off the monkey bars or sliding down the slide. realizing the approximate time age of the kids that possessed the animatronics, you got reminded that they are also around your age. but because of what happened, they’re unable to grow up and live their life. instead, they’re stuck to a robot suit.

sunoo’s phone screen lights up both of your faces as he typed in all that you spoke to him about. your phone vibrates beside you—letting them talk about things as you collect your thoughts. you glance to see yuna using taeyoung’s phone saying their worries and how tragic all of this is.

“as much as i want to escape...” your eyes move to look at sunoo’s face as best as you can before he continues, “having second thoughts about what you’re saying and... yeah... they’re kids. those animatronics are kids who are frustrated and stuck.”

more vibration can be heard between both of your phones together as you let sunoo be your messenger, “i agree. we should help them rest- we should meet up and talk about it and also help convince them.”

you nodded your head, lifting and turning your head to him. a thin smile on your face as you stretch your wounded hand. “the security room is our best bet. right near all of us, correct?”

“yup...” he replied as he pushes himself, his hand outstretched to you to help you stand up as you gather your items—sunoo helping you put on your nearly breaking backpack. he handed you your pocket knife and you swiftly open it, seeing blood on the ridge as you look at your reflection; your blood. the makeshift mirror shows your wounded face as sunoo’s phone screen is shining the side, typing away to tell the other two to meet up at the security office.

ducking out of the hole of the safe room hidden in the depths of the cleaning closet, sunoo pushed the shelf from the door as you glance at your phone one last time before tucking it in your pocket.

04.00

the clicking of the door catches your attention as sunoo leads both of you. his head turning right, then left as before he jutted his head towards the right side as you move in front of him. he is still wearing his mask as his eyes turned towards the larger space as you move deeper into the hallway. ripped posters decorated the wall on one side, as the other is a window bordered up by planks from the outside. even with minimal lighting, you could see the open doorway at the end of the hall.

flicking turning left from a poster, you were met with an open office area. on one side is a cracking wall with a small bed for sleeping and cabinets you can assume are used for storing pieces of information—unless they’re eaten by termites. your flashlight turns to the other side, seeing a similar open doorway across from where you are before going to the left. the wall is covered with papers sticking onto the concrete: a large poster of the fabulous four animatronics dominates most of the wall before you move your spotlight to the side, coming across the structured map of the pizzeria. that is until you notice pictures of people right underneath it.

footsteps approaching you as you step closer to the desk, eyes gazing at the fan and old boxy computer desktop that is full of dust. sunoo entered the doorway you came in from before both of you were distracted for a few seconds by the sound of an open door on the other side. seeing the shadow of two people running as carefully as they entered the room. heaves of breath flowing between all of you as you give them a smile when they pull off their masks. yet, your sense still stay at the pictures as you stepped aside.

there are four different pictures in four different forms stuck onto a wall with staplers. shining closely at it, your hand pauses as you let the sound of sunoo explain the theory you two made. you let the flashlight shines on the pictures, colors fading along with the degrading paper. but features are smooth enough that you can examine them clearly. staring at the top of the papers, you identify a recognizable logo and its description.

these are missing person reports from the police. all of them are children.

scanning through the report, all of them has the same information on the last seen part.

‘Last seen at the local Freddy Fazbear’s Pizza.’

your hand reaches to pull them out, eyes looking closely as you can look at the sparks coming from the faulty and near-broken wiring, all connecting to one main switchboard with numerous other switches; divided into left and right for both lights and doors. recalling other than the exterior light, you could remember that the lights flicker back in the bathroom—electricity is still running through the building’s vicinity.

“guys...” you spoke and turn around. their flashlight shines their face ominously until you caught the two faces you hadn’t seen in the past hour. taeyoung has a bandage on his forehead while yuna has watering eyes, guessing it’s from the story that sunoo told them.

“aw (y/n)...” yuna sighed as you see her hand reaching for your bandage one. grimacing at her touch, you find taeyoung letting out a small smile while shaking your arm as carefully as to not hurt you more.

“i’ve told them the summary of our deduction and our idea to set them free.” sunoo said as you stood in front of them who are sitting on the bed.

“and we agree. they’re kids that are treated freaking unfairly by the world and they should deserve a rest. even thinking about it makes me so angry.” taeyoung spoke as you let out a snicker.

“thanks, guys. how did you two even survive in the kitchen, especially if it’s chica’s ‘place’?” you give an air quote.

“chica bangs on the kitchen door so much that we have to push the metal tables to both doors and sat in the middle of the kitchen so it couldn’t step inside. we also have the server hole that we used to peek outside at the animatronics.” yuna answered before noticing the paper you are holding in your other hand.

you give one of them for each of you as you let them read it through. you glance back at sunoo, his eyebrow folded from the information.

“they’re the children that possess this location’s animatronic,” you answered their unspoken question as you read the paper in your hand.

“in my hand is a report about junhao zhong. age 6 when he died. his parents described him as a child who is very active, especially running. the last time they see him, they remember him running around the tables in the dining area.” you read the information as briefly as possible, eyes lingering on the boy’s photo before you face the others.

yuna spoke after you, “her name is hanako yamamoto. she was 9 when she disappeared. in her description, it said that she likes freddy fazbear’s pizza a lot and that she could visit up to 4 or 5 times per week. she has a pretty chubby build to her because she loves eating.”

taeyoung leans his body forward and clears his throat, “this kid’s name is sei lee. she was 8. her parents describe her as a creative kid. likes to sing, likes to dance, likes to draw. one of her favorite past times here is drawing freddy and friends while they are on stage and meeting new friends.”

“and last but not least. we have kit murray. he is 11 when he died, the oldest of the bunch based on what each of you has told me. he is an avid freddy fazbear’s pizza fan. he had nearly all of his birthdays here after he became a big fan. he even spends the day after school here by himself or with his other friends. his favorite was bonnie based on this.” sunoo said as you look between them all, trying to figure out something that is stuck in your mind.

“what did you say about the girl?” you pointed towards yuna.

“hanako likes to eat-“

you snap your fingers as you contain your excitement at figuring something up, pointing towards the paper as you said with gritted teeth, “chica also likes to eat, right? it’s always in the kitchen most of the time.”

“right- wait. oh, shoot!” taeyoung’s face reflects yours as he also does the same gestures right at you.

“the girl is chica!” he exclaimed as quietly as possible as you nod your head. taeyoung seems to shake yuna’s body as he stares at him, speaking with his eyes to her as your mind is running everywhere on this.

“we could figure out which one of them is which...” sunoo cuts in as he stares at yuna’s shaken body by taeyoung before she then replied.

“taeyoung and i have been observing them so we can help with identifying their characteristics.”

“nice!” you emphasize the last syllable as you continue, “okay, about junhao being active-“

“foxy rounds around the room so much. he’s definitely the fox.” yuna jumps in as you see all of them nodding their head.

“now we only have kit and sei...” taeyoung mumbles as you tried to understand as best as you can. you want to assume kit is bonnie but you don’t expect afton will be that caring to have him reserved for his favorite character. your eyes glance at sunoo who is reading kit’s report.

“he’s 11...” he muttered. “and he loves freddy’s fazbear pizza. i’m just shooting it, but based on his age and his love for the franchise, he must’ve had great memories with it.”

“what are you saying, sun?” taeyoung asked, head tilted with curiosity.

“bonnie became aggressive after it looked at (y/n) wearing a bonnie mask. at first, i thought it was because the soul recognized the character masks match the same as who they are now but i was wearing a foxy mask and foxy stared right at me and he didn't become aggressive. it’s definitely more on the soul that is connected to the animatronic, not its system.” sunoo stood up as he turned towards you. you felt something warm on your covered hand as you find his hand in yours.

“11-year-olds are more developed, especially in relating to logic and action. him being the oldest helps because he could’ve figured out that the killer, william, wears a golden bonnie suit, especially since it’s his favorite character.”

“and that’s why he became aggressive when he looked at me. he thought i was him,” you mumbled, your memories return to the encounter you had with the animatronic. the eyes bonnie has: lifeless yet full of rage at the same time. he remembers the character that killed him.

“consensus says yes for kit is bonnie and sei is freddy.” taeyoung said as you all nodded.

“and we’ve seen freddy playing with its music box the whole time so it relates to her creativity too. but the thing is they’re more aggressive now knowing we're here.” yuna’s voice laced with resistance before continuing. “if we don’t act fast, they might actually notice that we’re here. so how can we do that?”

you glance at sunoo, his hand gripping yours carefully yet tight as he seems to understand what you’re guessing about.

“since the animatronics are made of metal and we can’t bury them or let them roam around other people.” you give sunoo’s hand a squeeze with yours.

“our only way to help them is to burn the building...”

05.00

it takes time for such a meticulous plan to be done in such an incomplete situation. and it took more than one hour to make the arrangements. yet, you persist and create the best plan all of you can conduct. you have your phone open as you are ready to click on the group call you are planning. your back against the desk, you gaze at your friends who are packing up their things. your eyes linger on your best friend for a beat too long. he had almost a pout that makes you want to giggle from the cuteness.

“remember, once i turn on the switchboard, the electricity will run to my area. there’s a chance that the animatronics will focus on me especially since i can control everything in the room. you all know your tasks, right?”

a chorus of agreement replies towards you as you gave them a nod before hugging them one by one. you smooth down taeyoung’s bandage on his forehead before giving him a pat on his shoulder as he lets go and leaves first. yuna is next as she hugs you tightly before she left for her task. your eyes landed on sunoo who has a stern facade on his face before it softens.

“you’re okay with leading the ship?” he asked as he reaches for your bandaged hand. the blood that seeps into the fabric has dry with leftover haemoglobins creating a maroon color.

“yeah...” you replied, falling out of your confidence as you stare at him. stepping closer, he interlocks both of your hands in his.

“listen, i-“ sunoo inhales before he continues. “if this doesn’t work or any of us are hurt by what we’re doing. i want to say that i care for you so much you don’t know how much. i was in tears while i was patching you up. you were bleeding so mu-“

you cut him off with a kiss on the corner of his lips, ending his monologue early as you glance back at him. letting go of his hand, you let yours trail up his arms before you held both of his shoulders, firming him up.

“i also care for you more than you think, sun. we’re gonna pin this, okay? it will work. you also plan this with every knowledge you know.” you pat his shoulders as he follows your nodding.

“okay, i’ll hear you on the call?”

“of course...” you replied as he retreated, stepping away to the door you came from as you turn towards the switchboard. the light of your phone screen is turned on and you can see the depleting battery. opening your group chat’s interface, you enter the group call—the only one inside as you waited for the rest to join in.

bracing yourself, you switch the main button on the switchboard and hear the buzzes fading in. the electricity now runs into the security office. the box screen turns on and the camera feeds show up, lights flickering on at the table and in the room, and even the fan turns on as it hums to create a solemn atmosphere if it isn’t for the sound of your friends entering the group call.

your eyes flicker to the screen as you watch the cathode-ray tube materials creating moving images of your locations throughout the night. with the joystick beside the switchboard, half of your screen focuses on one camera feed from the grid—no cameras in the kitchen or the supply closet. the feeds are black and white as you can only distinguish lights, items, and beings between each of the monochromatic spectrum.

“chica’s approaching you, taeyoung.” yuna speaks calmly in your talkie system when you pick up the sound of rummaging layers of walls from you. the sound becomes closer and closer as you turn the switch for the door to your right. it falls on the door frame, creating a thud as you glimpse at the switchboard bar right at the top, showing the amount of electricity left to be used.

pressing carefully on the lights button so you don't run the electricity out, you see chica’s silhouette from the small window by the side of the door. you hold your breath as the dark figure comes closer before it approaches the kitchen door, barging in with a loud noise. you could listen further from the call at the crackling sound of the animatronic trashing the kitchen for more pizza or food. that’s when you glance at one of the stages, seeing foxy’s head peeking out of the curtain.

“sun don’t step out no-“ you exclaimed as the animatronic ran to the side. with your swift reaction, you immediately close the door to your left and open the one on the right. you picked up scratches from the other side of the closed door as foxy shoves his face to the window.

“hi junhao...” you spoke as he pauses, seemingly realizing what you called him. the animatronic face moved back to its menacing phase as he continues staring at you. flickering the lights on the left. you catch him being distracted by the light and you behind the window. the correct moment for you to mumble, “you can move out now, sun. and watch out for bonnie. he’s by the stage.”

“got it...” the boy speaks as you distract foxy more. your sight goes back-to-back from the window and to the screen. in it, you see sunoo’s silhouette walking to the arcade area, ducking by the fallen and standing cabinets.

“i heard freddy’s music box. be careful, yuna!” said the boy as foxy’s moving away from the door, letting you open it to conserve energy. sunoo continues to duck as he looks behind him to meet foxy emerging from the hallway. the animatronic walks in a stance before he pronounces towards the stage, kicking anything that is on its way as it caught bonnie's attention. but not as long as you hope.

staring at the boxy monitor, you focus on the one by the hallway to the reception as freddy walks by the entrance before moving away. movements are there in the shadows. looking closely as you lean your body near the screen, yuna is hiding by the bench and fallen decorations, obscure by the darkness that is so grain-like to your eyes of the camera.

“(y/n), bonnie’s coming!”

you switched on both lights as you couldn’t guess where he comes from. the footsteps are too fade out as you decide to let the door close on both sides. feeling the rising panic internally as you flicker both lights, you jumped as half of bonnie’s body is visible by the window.

“you guys are in position?” you mumbled, focusing on the animatronic before you note the electricity that is depleting quick. a chorus of yes came in when you turn to bonnie once again. yet he stays there, standing idle. you tried to not do anything more on the switchboard other than letting the right door switch on.

“we gonna have to do this fast ‘cause the security office is depleting its energy fast. distract them towards me.”

your statement is then met by the sound of clicks and clanks from your call. on the screen, you look at freddy approaching the main hallway as chica’s laugh is followed—yuna steps out of the shadow as she creates something on the floor. the bear animatronic is approaching you fast as you yelled to get more of their attention; letting your plan go faster. sunoo gives a small glance at the camera he knows you are seeing as your shout makes each of the robot’s dangerous sides show once again.

you let them knock on the steel doors and you can see all your friends doing the plan. yuna is trailing along the papers and boxes she could as sunoo helps her as he pours out something out of one of the gallons that he brought. taeyoung is still not found as you can still hear the rummages in the kitchen.

your finger pads clench against your wounded palm, the pain is the constant reminder for you to stay awake and realistic. the knocking of the metal-on-metal is becoming more and more prominent even louder. you glance at both doors where you find dents forming on the barrier and screeching scratches all made into a cacophony to distract you.

“taeyoung, how are you doing?”

“almost there, don’t worry,” he replied.

yuna went out of the group call along with sunoo as they approach the tables, so your voice doesn’t distract them from doing their part and caught the giant machineries' attention.

“if you’re done, step out of the kitchen by the party rooms.”

taeyoung hums when you watch the energy bar decreases. two bars now becoming one as you are approaching your last 10%. you try not to panic, trusting your friends too much as you close and breathe as best as you can. the punching on the metal and impenetrable glass windows becomes background sound as you see that taeyoung is now outside of the group call from your small peek to your own screen.

your phone is hot in your hands as you turn the call off and pocket it. your backpack sways behind you as you peer at your friends outside from the boxy screen. taeyoung coming out from the kitchen doors farthest from you, a radiant light by him as the grey becomes lighter in the black and white feed. glancing at the electricity, you only have 2%. a few more seconds and your protection will be gone as the door will rise back to its inactive status; wide open.

the animatronic seems to notice it too as the lights inside the security office are flickering and the fan now turning off. each second passes and more electric appliances turn off. the monitor shuts down as you relay every last bit of the electric current so the doors can survive. you can survive.

in the deepest part of your heart, you might actually be ready for this; to succumb with the restaurant.

“HEY!”

a muffled shout pierced through the clanks as you watch them all turn towards the hallway and scurry away. their focus stayed on it as the doors slams up, exposing you. and in a beat, you run to the left side, seeing the emergency exit beside the stage.

heat spreads through the room as the animatronics gather at the center of the room. flame spreading fast as it all lits up any flammable material and substance it has on its way. you listened to harrowing screams coming from the center as the voice box machinery they have burned along with their metal bodies. they scream out of pain as they seem more alive than ever. you fast walk as you look at the abomination. bonnie’s eyes stare at you when you didn’t see any rage inside, but content.

“come on, (y/n)!” someone pulls you by your arm as you turn to face sunoo who is dragging you to the exit that is slowly going into flames. pushing the door open, you were met with the outside air after nearly six hours of staying inside. the sun peeks behind the trees at the east as the flame is ever so close to the door. sunoo pushes a big dumpster outside before you realize it and come to help, putting it to rest by the door as it's going to be harder for something inside to go out.

“the others are by the entrance.” sunoo with energy still going on surging in him, helps drag you as you run past the playground to meet yuna and taeyoung, who finished locking the lock to the main entrance. in the distance, you hear a honk. you all instantly run to it.

you couldn’t be happier to see a car.

“hey, losers! how is it-“ serim voice pitches up as his smug face turns to worry as you all approach the car.

“why is the building on fire-“

“GO NOW!” his little brother said as he sits shotgun. you’re back in your center seat between sunoo and yuna. serim presses down on the gas, the car lurching away as all four of you are panting. your eyes stared at the screen at the front as a radio fm plays an old 80s arena rock song. specifically on the clock at the top corner.

06.00

you felt your weight falling off your shoulders, letting you rest your head against sunoo’s beside yours. your hand in his as he brushes your skin.

“the hell was that? taeyoung?” serim questioned as you drive out of the forest to be met by the asphalt street, approaching society. the sun is now more visible as the car came out of the woods. it shines the new day and a new page for all of you.

yet all of you are too stunned to speak. you specifically can’t. your mind brought you back to the last eye contact you had with bonnie and the one pause you had with foxy when you mention his name. their aggressive machinery seems to cover their pain and sadness, especially with their young ages. but your eye contact with bonnie lingers as you view the content in his eyes. how he now knows what all of you are trying to do. to help them out. to set them free.

“it’s the electricity. the current is still on even with the old and broken cable and it created a fire in one of the rooms.” taeyoung mumbles, saying the explanation that you all suggest if serim or his dad asked what happened to the property. “i know we failed. it’s just getting to danger-“

“nah. i was about to call you to get you out,” serim asked, he glances behind from the rearview mirror. “all of you running to me makes my job easier. i thought all of you guys are asleep somewhere in the corner. and what the heck happened to your forehead?”

“he got hit by one of the doors.” sunoo lays out another lie to help cover it up. “the kitchen door is swingy and heavy even with the dust and trash inside.”

you all let the radio play the music as the car approaches your neighborhood, parking by the block corner that you also went to last midnight. stepping out of the car, you and sunoo let out small “thank you”s to serim and your farewell to your friends as you walk by the sidewalk, hand in hand.

yet your thoughts return to the moments before all of you begin the plan. sunoo’s sudden confession even in front of danger’s door, and you say the same to help him calm down. but you do. you care about him more than friends and you’re willing to try with him.

“we did it, right?” your voice rings between you two as sunoo giggles. you notice more soot and dust on both of his cheeks and how puffy his eyes become because of the lack of sleep.

“yeah... you have a lot of things on your mind...” you can’t help to let out a smile as he sees through you.

“it's... before you drag me away... i saw bonnie looking at me. i thought kit’s gonna attack me before i see his eyes. how at peace he is. how he’s telling me he is okay with his sight...” you watch both of your houses in your sight approaching closer.

“you did right. we all did. we help them rest peacefully.” sunoo reassured you as you approached the window you left. the gap is still there to let him open the window and for you to climb in. the bed is left a mess so that if anyone comes, both of you are still inside. seeing no difference, you let out a sigh as neither of sunoo’s parents seems to check on him before you let out a yawn.

sunoo plops down on his bed after pulling out his shoes as he opens his arm for you. your legs brought you to him as you lay down on the other side, grateful for the soft mattress he has.

“you knew i reciprocate your feelings, right?” eyes glancing at the boy.

he hums before speaking, “do we wanna do something about it?”

“i do but....” yawn came from you. “i need some sleep... and you too. you look so tired.”

he wraps his hand around your wrist before you move to let him hold you more.

“we should discuss after we get our deserving sleep,” he agreed, pulling the duvet so that it covers both of you.

-

you see the stack of cash on the table after taeyoung pulls it out. divided into four different stacks before he pushes to each three of you.

“thanks for making my brother broke, guys. he couldn’t even go clubbing anymore.” taeyoung said with a smirk on his face.

“anything to help your brother go a step away from alcohol poisoning.” yuna replied as you all giggled. the commotion in the cafeteria hall masked your conversation as all of you swiftly pluck one stack to be put into your bag.

“how’s the cut on your palm, bestie?” yuna nudges your shoulder with her own.

“it’s healing. i didn’t know it was that deep until i realize that it's because of me holding onto the blade while trying not to get my head chomped by bonnie.” you replied, turning it as trivial as ever as you don’t want the weight to get heavier. all of you spend your sunday healing up from the trip at the start of the day. no communication with each other as you tried to cope with each other, but you spend your time with sunoo instead.

it became more like an impromptu date as he asked you if you want lunch outside. knowing the change between you two’s relationship, you agree and you now see sunoo in a different light like he is towards you. locking your fingers seems to be the perfect pda for both of you who are very new to this.

“we shouldn’t ask (y/n) that.” taeyoung retorts. “we should ask about their date yesterday.”

the two giggle as you glance at sunoo who has his signature sassy look.

“it went well for us. we’re taking it real slow now,” sunoo said as you nod your head.

“that’s right. plus y’all have to change your mindset to always be our third and fourth wheels.” it’s now your and sunoo’s turn to snicker as the two jokingly roll their eyes.

the recess progressed as usual with a new light to it. the fact that all of you survive a dangerous situation. older you must think it’s stupid, to get paid for staying in a haunted place for six hours. but those six hours will stick in your mind for a long time now.

you let your eyes focus on your phone as you scroll down something on your timeline. the three’s conversation is becoming background sound that you could understand tiny bits. but your mind immediately mutes it as your eyes read the words that make you stop scrolling.

“guys...” your words cut through to their conversation as they all turn towards you.

“'the cult-favorite local pizzeria, freddy fazbear’s pizza, is planning to make a horror attraction called fazbear frights.’” you read and spoke the headline as you scroll down on the article, letting out a gasp as you continue.

“‘the owners of the attraction have salvaged and searched every remaining franchise to find animatronics for their attraction but only to find them torn apart or destroyed.'”

“that’s why dad is furious yesterday.” taeyoung exclaimed as he looks at all of you. “the fire makes the property cost plummet, especially with the pizzeria intact now burnt. he must’ve known that he could sell it again without cleaning it up.”

all of you hummed as you continue to scroll down and speak, “'fortunately, the owners already have one animatronic in their arsenal. an original animatronic dating back to years of history for the infamous restaurant chain.’”

“what animatronic?” sunoo exclaimed, meeting your stern eyes as you lift it up to look at your friends. your grip on the phone becomes so tight that you sag your shoulders to help you relax. gulping down your saliva, you finally say it.

“a golden bunny animatronic.”

taglist: @endzii23 @camipendragon @hiqhkey @wccycc @cha0thicpisces @y4wnjunz @yeehawnana @beansworldsstuff @kimipxl @reallysmolrenjun @beomgyumineiro

© writingmochi on tumblr, 2021-2024. all rights reserved

[wanderersrest]

An Abbreviated History of Mecha Part 6: CASTIGATE THE ENEMIES OF THE GODHEAD

Welcome back to An Abbreviated History of Mecha! Last time we left off, we witnessed the mecha canon entering the new millennium. While they would hold out for a good portion of the decade, it is here in the 2010's we see the canon reach something of a dark age. A lot of duds will crop up in this decade, though there are also a lot of hits that arise in this era. What we will also begin to see starting in the 2010's is the advent of using CGI to animate giant robots. This stems from two major factors when it comes to animating giant robots:

Animating giant robots in 2D is hard, and thus using CGI helps to ease the load by reducing the amount of work required to animate the giant robot.

The anime industry is starting to churn through new talent due to the increase of anime being released per season now.

As I said at the end of the last post, a lot of mecha shows listed here are generally seen as duds, though a few others also stand out as some of the greats of this new era. And if you think I'm being mean to those series, I've left out two shows that are a part of this decade due to how bad they are (Gen:Lock and Ex-Arm). The shows that I say are duds in this post at least have fans who will go to bat for them when backed into a corner.

So let us partake in some of these works, shall we?

Drink deep, and descend.

Xenoblade/Xenoblade Chronicles (2011)

In 2011, Monolith Soft, now working as a Nintendo studio, would release the third part of the Xeno franchise: Xenoblade Chronicles. Easing up a little bit on the Gnosticism (but only just a little bit), Xenoblade would prove to be a slow-growing success. Finally, Takahashi and company have a series that is relatively free of the executive meddling the last two Xeno games had.

Xenoblade would receive multiple sequels over the years, including:

Xenoblade X (2015), a spiritual successor that focused more on moment-to-moment gameplay and featured giant robots as a major gameplay aspect.

Xenoblade 2 (2017) & Xenoblade 2: Torna, the Golden Country (2018), a sequel that acts as a standalone foil to the original.

Xenoblade 3 (2022) & Xenoblade 3: Future Redeemed (2023), a third sequel that ties together Xenoblade 1 and Xenoblade 2 while telling its own story.

Valvrave the Liberator (2012)

Valvrave the Liberator is a 2012 mecha series from Sunrise, and the first of our major duds in the 2010's. Valvrave is best known for being an insane ride from the word go, and I think this series really captures a lot of what mecha is going through in the 2010's.

Mobile Suit Gundam AGE (2012)

Even Gundam can have its bad days.

2012 would see the release of Mobile Suit Gundam AGE. Started as a multimedia project in partnership with Level-5, Gundam AGE was supposed to be a 100-episode series that spans multiple generations of characters. Instead, the series was cut down to a 50-episode run.

AGE's legacy is not a good one, as it is often touted as being so bad that it almost killed Gundam. I think, especially as someone who used to think this, this line of thinking is kind of silly. Gundam at this point is damn near ubiquitous, so to say that a dud like AGE would kill it seems a bit extreme. Besides, the Unicorn OVA begins airing around this time as well, and another series would really bring Gundam back into prominence in about a year.

Pacific Rim (2013)

Directed by Guillermo Del Toro, Pacific Rim is a live action sci-fi film about piloting giant robots in order to fight and kill kaiju. Made as an homage to the giant mecha anime of old, namely Neon Genesis Evangelion, Pacific Rim would prove to be a great summer action flick that was made with a lot of love and care for both mecha and kaiju films.

The same, however, cannot be said for the sequel, Pacific Rim Uprising.

Gundam Build Fighters (2013)

Gundam Build Fighters, released in 2013, is equal parts loving homage to the Gundam franchise, sports anime parody, and shameless toy commercial. Gundam Build Fighters, despite being loosely a mecha series, is worth mentioning due to the fact that it would bring attention back to the Gundam franchise once more. This is worth noting after the general failure of Gundam AGE especially since a lot of series were trying to dethrone Gundam in order to become the next big thing.

Aldnoah.Zero (2014)

And boy, did that fail spectacularly.

Aldnoah.Zero also released in 2013. Billed as a series that would rival Gundam in terms of popularity, Aldnoah.Zero would start off strong. The problems with the series would arise in season 2, where, if I understand things correctly, things just kind of happen with little to no justification.

I do apologize to the fans of this series if what I have to say is harsh. I think a lot of that stems from the fact that I loathe series that are propped up as being an "X Killer," and I remember Aldnoah was originally advertised as specifically being a Gundam Killer. To me, that line of thinking is, at best, disingenuous and really prevents the series from standing on its own merits due to the comparison.

Gargantia on the Verduous Planet (2014)

Released in 2014, Gargantia on the Verduous Planet is a series where your standard military robot gets placed in a setting where, in comparison to everybody else, it essentially becomes a classic mecha. Gargantia gives us a pretty unique setting where the galactic-scale war has not really affected the cast outside of the main character.

Also this series has Gintoki Sakata Tomokazu Sugita as a giant robot. It's great.

Mobile Suit Gundam: Reconguista in G (2014)

Yoshiyuki Tomino would, once again, return to the directing chair for 2014's Mobile Suit Gundam: Reconguista in G. Created as a part of Gundam's 35th anniversary, Reconguista continues in the trend of post-Victory Tomino works generally having a kind of realistic optimism behind them. Reconguista is also known for being incredibly confusing in its initial TV run, though I am happy to report that the recent film version of Reconguista is, to my understanding, pretty easy to follow.

RWBY (2014, honorary mecha show 4...?)

(I mean... if we're using a broad definition like I do, then it counts. Penny is a major character in the series, but she's not in every volume. The series also has a lot of giant robots as well, though they're not as important to the plot as Penny is. Also, I'd rather talk about RWBY than gen:Lock, so....)

Created by Monty Oum and the now-defunct Roosterteeth, RWBY (pronounced Ruby like Ruby Rose... the character, not the actress) is a web animation series that wears its anime influence on its sleeve. Focusing primarily on flashy action with a fair bit of character dramas in its first seasons, RWBY proved to be a scrappy underdog that eventually would become one of Roosterteeth's primary draws until the company's closure earlier this year.

Mobile Suit Gundam: Iron-Blooded Orphans (2015)

2015 would see the release of Mobile Suit Gundam: Iron-Blooded Orphans. Set in the much grittier Post Disaster timeline, Iron-Blooded Orphans would, more importantly, be the first non-Build Gundam series to air in the US since 2008's Gundam 00.

Iron-Blooded Orphans is known for, outside of being a rather dark entry in the franchise, controversy. And I'm not just talking about the 2nd season. I mean, "Japanese parents were upset Mika shot a man point blank" upset (to be fair, it was on prime time, and Gundam is considered to be, weirdly enough, a show for younger audiences).

If you want to listen to someone else talk about Iron-Blooded Orphans, I'd highly recommend checking out Taez's video on Iron-Blooded Orphans.

86: Eighty-Six (2017)

Eighty Six, the most recent iteration of the "Not Like the Other Girl" series, begins publication in 2017. Written by Asato Asato, Eighty Six struck a chord with a lot of people due to its stark portrayal of racism, which became extra poignant when the anime adaptation aired in 2020 (in other words, Eighty Six would air the same year George Floyd was murdered).

Darling in the Franxx (2018)

2018 would see the biggest dud of the decade air with Studio Trigger's Darling in the Franxx. The show started off strong, but quickly soured on viewers once the second half rolled in. To really understand why it's arguably the biggest dud of the decade, I'd like to theorize a little bit:

I think, when it comes to the duds of this decade (Valvrave, Gundam AGE, Aldnoah, Franxx), the three non-Gundam series were riding off of a lot of hype. And when I say a lot of hype, I mean like post-Witcher 3 Cyberpunk 2077 levels hype (so when CD Projekt Red went all in on Cyberpunk, but before they went gold). Franxx in particular was hit hard by this, as Trigger at this point had been nothing but hits (pre-Gainax includes Diebuster, Gurren Lagann, Panty & Stocking; Trigger proper had Kill la Kill, Space Patrol Luluco, and Axe Cop, among other hits). So for Franxx in particular, the expectations were basically "This is going to be the second coming of Evangelion." And given that even Evangelion's Rebuild films can't live up to the expectations of Evangelion, I'd say that fans inadvertently set Franxx up for failure.

That's not to absolve Franxx or the other shows of criticism. Like I said, I haven't watched a lot of these shows, so I can only really speculate. It also helps that Trigger would recover pretty quickly in like a year with their next show.

Mazinger Z Infinity (2018)

The end of the 2010's wouldn't all be duds though. As a celebration of Go Nagai's 50th anniversary in the manga business, his biggest works all got adaptations to celebrate this special achievement. Cutie Honey got Cutie Honey Universe. Devilman got Devilman Crybaby. and Mazinger Z got Mazinger Z Infinity. Set up as a conclusion to the Mazinger saga, Mazinger Z Infinity would prove to be a great conclusion to this series.

SSSS.Gridman (2018)

Coming off of the failure of Darling in the Franxx, Studio Trigger would follow up with their animated adaptation of Gridman the Hyper Agent: SSSS.Gridman. Made as an homage to Gridman and all of its variations, including Superhuman Samurai Syber Squad (hence the SSSS in SSSS.Gridman), SSSS.Gridman proved to be a return to form Studio Trigger. SSSS.Gridman's success would eventually lead to a sequel based off of the Dyna Dragon called SSSS.Dynazenon.

Lancer (2019)

(From Massif Press)

“̸̻̖̍̑I̷͔̦̒̽ ̷̩̇̅h̴̻͊͘á̴̙̹v̸͌̈ͅe̷̲͋ ̵͇̅̈n̸͙̹͆̀ë̸͉̎v̵̡̄͆ͅe̴͎̯͝ṟ̶́̄ ̶̙̒͑ͅb̸̻̋̋e̷̝̯͝é̸͕͔n̴̗̑̄ ̶̬̦͑͐h̵̲̒é̶͚́ŗ̴͎̅e̸̖̾ͅ:̶̯̩́̓ ̶̫̖̒͝I̴̯̪͑̍ ̴͚͂̽d̸͈͖̉͌ǫ̷͖͆ ̴͔̑͋n̵̂̆͜o̸̟͉̍t̸̗͇̓̎ ̴̜̠̄̑k̴̻̚͜n̸̰͙̓̊o̶̝̫͛̇ŵ̵̮̬ ̴͍̄w̴̧̢͋͊h̶̼̃̐ͅe̵̼̯͠r̵̹̿è̸͙̀ ̵͇̪̉͘h̷̺͋̇e̷͙͆̓r̴̛̟̒e̷͍͊ ̴͖͒i̷̛͓̾ͅs̵̒͜͝:̵̗̪̎ ̸̥̉Ȉ̵̬̠̓t̸͎͠ ̷͙͝ḧ̸́̚͜a̸̞̗͒s̷̜͈̒ ̵̻̋̐ǹ̵͓̲͘o̸͖̥͗̿ṯ̸̉̌ ̶̻̀̉h̸̙̆a̶̡͙̍p̵̮̭͆p̸͚̘͂̀ẹ̷̮̔̊n̴̳̂͠e̴̦͖͐͠d̶̥̻̿̆ ̶̖̮͋ŷ̸̻͚ȇ̵̩̈́t̵̼̎͘:̸̖̈ ̷̤̒O̵̻̱͑n̶̙͐͐c̶̮͉̉ě̶̫̬,̸̛̬ ̷̻͋̑I̵̙̓͌ ̵̧̮́͝w̴̧͚̽̕a̵̖͆s̷̒̿ͅ:̸̫̰̈ ̴̯̦̅̈́Ḯ̷̤ ̸̛̹̀h̴̤̳͗͑ȧ̸͍̦v̷͔̘͘̚ẽ̶̡ ̶̗̍n̵͇̞̉ę̶͙̏v̵͉̥̍ė̷̝͍͂ṙ̸̗͎ ̶̩͠b̴͈̿̏e̴̤̊̋ḛ̶̙̔n̸̡̔ ̶͚͠h̴͙̀͝é̶̳r̶̙̯͊e̵̢̫̕:̸̩̬͝ ̴̭̩̈́͗Ŷ̵͇͆ò̷͔͚u̶͈̒ ̷̻̌̚͜a̵̢͐̔r̴̰̝̕e̵̼͌̂ ̵̢̓ǎ̵̠͕l̷̮̉̀l̵̝̫̀͘ ̶̣̟̈I̶͍̍ ̶̣̊s̴̡̟͘e̷̼̦̿͝e̴͚̎:̴̦̟̃̇ ̶̬̱̕H̷̰̟̆̉ơ̸̰̐w̸̨͉͛ ̷͍̽̕c̴̡̋͂ͅa̶̡͂̐ṋ̵̫̈́ ̵͎̥͑͐y̷̭͉͛o̵̖͍̕ȗ̶̙͐ ̶̝̯͗b̷͎͍́̀ḙ̷̩̇ ̴͖̝̑ǎ̸̩̼l̸͙̞͌l̴̨̎ ̵̨̍I̵͓̊ ̴͇͒̀ͅs̵̗̽͒e̴̯̊é̶̥:̴̛̥͠ ̵̡̩̓̽W̸̝̦̏̈h̸͎̓̇ê̴̳r̶̻̊͜ȅ̶͓̹ ̸̖͊̕a̵̯͕͒͋m̵̆͜ ̸̙͒I̵̗̘̽:̵̼̳̉͑ ̷͖͒̈́W̵̬͒͒h̵͎͆ë̸̩́͜r̸̦̟͊͗ẻ̸�� ̴͈͊d̵̩̕i̵̱̰͘d̵̳̗̕͝ ̴̛͖̳͒Ĩ̵̮ ̶̲̩̈́̋g̷̩̏͠o̸̱̓ͅ:̶̬̥͑ ̸̨̥̔͒Í̶̧̻͊ ̶̠̽h̵̩̘̋̓a̶͈͙̓v̸̝̊e̷̟͗̌ ̶͉̽͆͜n̵̮̭̉ḛ̷̜́v̴͓̥͛e̵͈̱̓̏r̵̪̅̌ ̶͉͌b̶̗̤̍e̶͔͘e̷͇̪̕ņ̷͝͠ ̵̥̄h̶̦̬̉̕ë̶̞́r̸̨͚̉̇ĕ̶ͅ…̵̤̘͛͝”̵̞̺͊

And to wrap up the 2010's, Massif Press would release Lancer. Set in a post-scarcity galaxy, Lancer gives enjoyers of pen and paper the chance of a lifetime: to become pilots of giant robots. None of this should be surprising though, as the game was designed by Abbadon, the guy who writes Kill 6 Billion Demons (you can tell because the IPS-N Tortuga and the IPS-N Raleigh look a lot like 10 Vigilant Gaze Purges the Horizon).

Conclusion

And that's a wrap for the 2010's. As we can see, this decade is a bit of a downer. At this point in time, it feels like mecha is dying. That's what an idiot like Gigguk will tell you. In hindsight, it's less dying and more in decline, and it's not surprising as to why.

Mecha, specifically the giant robots of old, are hard to animate, especially if you want a machine that's as intricate as say GaoGaiGar. But next time, we will finally be reaching the end of this journey. We will be diving into now, what's come out in the last four years, and what is set to potentially release in the future. Of particular note is the return of the Holy Trinity, with the 2020's in particular being a big year for Gundam.

[dnangelic]

Get to know the mun ! repost, don’t reblog .

——— BASICS.

[ NAME ] : tsun (short for tsundere)

PRONOUNS : he / him

ZODIAC SIGN : pisces-aries

TAKEN OR SINGLE : single

ANYTHING ELSE ? : my dog is way cuter and more interesting than me

——— THREE SERIOUS FACTS.

you don't have to soften up your muse with me. really. i've written mainly antagonistic/villainous/horror-centric muses in the past so i'd like to at the very last believe i understand at least some of the struggle when it comes to having a muse like that. which isn't to say that daisuke won't still try to appeal to some form of compassion for even the most reprehensible muses because that's just the way that he's built, but nobody has to apologize and worry about hurting me, the mun's feelings for being mean to daisuke. if he wasn't built for helping then he was built for a lil bullying. it's okay. i love to see it <- mean older bro/failboy aficionado syndrome

i don't really do starter calls or memes anymore. the best way to start something with me is to either get at me directly for a thread/plot discussion or if that's too scary just make an ic remark on any random ass post and i'll probably make a new ic post for it. or send me an ask and we can go from there since my askbox is always open. i try to do the occasional inbox call but since i don't like my asks to be overly bland and it takes a whole lotta creativity, i don't do those super often either.

if you don't know something about my muse it's best if you ask. really. seriously. DN 'canon' is scattered in multiple directions and multiple pieces across multiple formats, and most eng speakers have only seen the anime or read the manga, which imo are the two bottom-most "best" formats for grasping what the hell is even going on overall in the series. atp pointing people to either my public vs private knowledge post or my canon divergence post is probably the best i can do to provide a comprehensive list of different 'facts' about how i work my characterization.

——— THREE RANDOM FACTS.

i have in fact been with DN since the early 2000/2010s-ish, around middleschool. i wasn't there when its re-serialization was announced in 2020 or so but the first and second volumes will always be a formative memory for me, and the tokyopop ENG translation set i have (up to book 12) has somehow survived over the course of like at least five different moves. this is also probably why i find sugisaki's original, absolute oldest style the most nostalgic/'best' in a way, if only to me. i've also been a vkei fan since vanan'ice started releasing music, immoral memory lost memory has and always will be my #1 comfort song. no wonder i ended up writing dn charas

i like to cook and bake. baking more than cooking, which is sometimes a problem since i can end up baking more than my family ever eats. i'd love to make DN style parfaits/cake cups sometime, i just don't know who's going to be able to eat all of it laksdjlakgjl. but anything to see icing wiz in a cup for realsies!

my life has been dominated by roguelike/dungeon crawler looter type video games. i've probably got literally like ten billion hours on mabinogi since that was my social system in 2000-2010 range (look i know but it was hot stuff back then ok) and now that elin's been released i've jumped from messing around in elona to there, but put me in front of something in the vein of the whole fate/torchlight series etc and i'm probably clocked out forever

——— EXPERIENCE.

i started a tumblr rp blog as a joke for a friend (now no longer my friend) i'd chat with during ~2015 give or take a year. i didn't even care about the chara at first but i've always loved writing, and i ended up actually getting into said chara and the series they were from to write some more/beyond just sheer crack for my friend. i've never written fic for the same reason that i've never written anything standalone tho, that being i completely lose confidence all the way down to the last drop in my bones

i like deep and firm muse connections. this doesn't necessarily even mean positive ic ones, but i like it best when muses absolutely have something. it doesn't even have to be definite either, like the way satoshi and daisuke's relationship within canon is somehow balancing both a killer rivalry and deep caring friendship and just about everything else they always got goin on in between. it's usually after any sort of dynamic is established that i feel much more comfortable sending unprompted asks too.

i have like 50 tabs open at all times and 600 things in my drafts. i did this to myself. but if i never catch DMs on tumblr it's probably because i never got a notif thanks to the 50 tabs, and if i never catch DMs on discord it's probably because i saw it, got busy, then forgot about it til i checked again and bam it's been like a month and now responding feels too awkward. i'm so bad at personal communication i'm so sorry. use my askbox if it's urgent i swear i've never failed to respond to any of those asap. losing drafts is thanks to the 600 things, but if you want me to dig up something because you miss it and so i can respond to it asap i can always do that too. im literally just too tired to scroll to find shit that isn't my most recent sometimes iawjewahjaiijkrf it's a bad hobby habit i knooooow

——— MUSE PREFERENCE.

i've tried to find the common denominator between all of my muses in the past multiple times and i've never been able to find it. i've written anything and everyone from, like, folklore ocs to meta knight from kirby. in general i like to have a muse that i don't always have to take too seriously though. or that comes off as comedic on the surface but i can still handle in a serious and legitimate/realistic way, ie just like dark and daisuke being clowns and a singular failboy but still just. kids, teenagers grappling with very real uncertainty about themselves and their futures and identities. muses have to have a voice, and i'm very particular about being able to clearly hear my muses in my head and my writing, so if anything that's probably my largest deciding factor.

——— FLUFF / ANGST / SMUT.

FLUFF : yep

ANGST : yep

SMUT : hell no. idk how many times i have to tell people i don't give a shit how hot you think dark is, he's physically 16-17 and is directly linked to daisuke, who's 14-15. these are minors. there's 2892859864 anime charas who are of age for you to smut with, get away from the middleschoolers!!!

——— PLOT / MEMES : see all the way above. i basically live in my activity notes so it's better to grab my attention somehow through that. i get shy about sending memes and also am just..... not around constantly so checking dash can be annoying. if there's a meme you have a really good idea for and you want me to send it specifically i've got no problem doing that though. love u guys

TAGGED BY : @cherriedrage thanks zaggy!!

[dustedmagazine]

Listening Post: Kim Gordon

Kim Gordon has long been one of rock’s female icons, one of a tiny handful of women to get much play in Michael Azzerad’s underground-defining Our Band Could Be Your Life and a mainstay in the noise-rock monolith Sonic Youth. It’s hard to imagine that quintessential dude rock band without Gordon in front, dwarfed by her bass or spitting tranced out, pissed off verses over the storm of feedback.

Yet Gordon’s trajectory has been, if anything, even more fascinating since Sonic Youth’s demise in 2011. A visual artist first — she studied art at the Otis College of Art and Design before joining the band — she continues to paint and sculpt and create. She’s had solo art shows at established galleries in London and New York, most recently at the 303 Gallery in New York City. A veteran of indie films including Gus van Zant’s Last Days and Todd Haynes I’m Not There, she has also continued to act sporadically, appearing in the HBO series Girls and on an episode of Portlandia. Her memoir, Girl in a Band, came out in 2015.

But Gordon has remained surprisingly entrenched in indie music over the last decade. Many critics, including a few at Dusted, consider her Body Head, collaboration with Bill Nace the best of the post-Sonic Youth musical projects. The ensemble has now produced two EPs and three full-lengths. Gordon has also released two solo albums, which push her iconic voice into noisier, more hip hop influenced directions. We’re centering this listening post around The Collective, Gordon’s second and more recent solo effort, which comes out on Matador on March 8th, but we’ll likely also be talking about her other projects as well.

Intro by Jennifer Kelly

Jennifer Kelly: I missed No Home in 2019, so I was somewhat surprised by The Collective’s abrasive, beat-driven sound though I guess you could make connections to Sonic Youth’s Cypress Hill collaboration?

The more I listen to it, though, the more it makes sense to me. I’ve always liked the way Gordon plays with gender stereotypes, and “I’m a Man” certainly follows that trajectory. What are you guys hearing in The Collective?

Jonathan Shaw: I have only listened through the entire record once, but I am also struck by its intensities. Sort of silly to be surprised by that, given so many of the places she has taken us in the past: noisy, dangerous, dark. But there's an undercurrent of violence to these sounds that couples onto the more confrontational invocations and dramatizations of sex. It's a strong set of gestures. I like the record quite a bit.

Bill Meyer: I'm one of those who hold Body/Head to be the best effort of the post-Sonic Youth projects, but I'll also say that it's very much a band that creates a context for Gordon to do something great, not a solo effort. I was not so taken with No Home, which I played halfway through once upon its release and did not return to until we agreed to have this discussion. I've played both albums through once now, and my first impression is that No Home feels scattered in a classic post-band-breakup project fashion — “let's do a bit of this and that and see what sticks.” The Collective feels much more cohesive sonically, in a purposeful, “I'm going to do THIS” kind of way.

Jonathan Shaw: RE Jennifer's comment about “I'm a Man”: Agreed. The sonics are very noise-adjacent, reminding me of what the Body has been up to lately, or deeper underground acts like 8 Hour Animal or Kontravoid's less dancy stuff. Those acts skew masculine (though the Body has taken pains recently to problematize the semiotics of those photos of them with lots of guns and big dogs...). Gordon's voice and lyrics make things so much more explicit without ever tipping over into the didactic. And somehow her energy is in tune with the abrasive textures of the music, but still activates an ironic distance from it. In the next song, “Trophies,” I love it when she asks, “Will you go bowling with me?” The sexed-up antics that follow are simultaneously compelling and sort of funny. Rarely has bowling felt so eroticized.

Jennifer Kelly: I got interested in the beats and did a YouTube dive on some of the other music that Justin Raisen has been involved with. He's in an interesting place, working for hip hop artists (Lil Yachty, Drake), pop stars (Charli XCX) and punk or at least punk adjacent artists (Yeah Yeah Yeahs, Viagra Boys), but nothing I've found is as raw and walloping as these cuts.

“The Candy House” is apparently inspired by Jennifer Egan's The Candy House, which is about a technology that enables people to share memories... Gordon is pretty interested in phones and communications tech and how that's changing art and human interaction.

Andrew Forell: My immediate reaction to the beats was oh, The Bug and JK Flesh, in particular the MachineEPs by the former and Sewer Bait by the latter. Unsurprisingly, as Jonathan says, she sounds right at home within that kind of dirty noise but is never subsumed by it

Jennifer Kelly: I don't have a deep reference pool in electronics, but it reminded me of Shackleton and some of the first wave dub steppers. Also, a certain kind of late 1990s/early aughts underground hip hop like Cannibal Ox and Dalek.

Bryon Hayes: Yeah, I hear some Dalek in there, too. Also, the first Death Grips mixtape, Ex-Military.

It's funny, I saw the track title “I'm a Man,” and my mind immediately went to Bo Diddley for some reason, I should have known that Kim would flip the script, and do it in such a humorous way. I love how she sends up both the macho country-lovin’ bros and the sensitive metrosexual guys. It's brilliant!

This has me thinking about “Kool Thing”, and how Chuck D acts as the ‘hype man’ to Kim Gordon in that song. I'm pretty sure that was unusual for hip hop at the time. Kim's got a long history of messing with gender stereotypes.

Bill Meyer: Gordon did a couple videos for this record, and she starred her daughter Coco in both of them. The one for “I'm A Man” teases out elements of gender fluidity, how that might be expressed through clothing, and different kinds of watching. I found the video for “Bye Bye” more interesting. All the merchandise that's listed in the video turns out to be a survival kit, one that I imagine that Gordon would know that she has to have to get by. The protagonist of the video doesn't know that, and their unspoken moment in a car before Coco runs again was poignant in a way that I don't associate with her work. And of messing with hip hop!

Tim Clarke: “Bye Bye” feels like a companion to The Fall’s “Dr Buck’s Letter.”

Bill Meyer: From The Unutterable? I'll have to a-b them.

Tim Clarke: That’s the one.

Jonathan Shaw: All of these comments make me think of the record’s title, and the repeated line in “The Candy House”: “I want to join the collective.” Which one? The phone on the record’s cover nods toward our various digital collectives — spaces for communication and expression, and spaces for commerce, all of which seem to be harder and harder to tell apart. A candy house, indeed. Why is it pink? Does she have a feminine collective in mind? A feminine collective unconscious? The various voices and lyric modes on the record suggest that's a possibility. For certain women, and for certain men working hard to understand women, Gordon has been a key member of that collective for decades.

Jennifer Kelly: The title is also the title of a painting from her last show in New York.

The holes are cell phone sized.

You can read about the show here, but here's a representative quote: “The iPhone promises freedom, and control over communication,” she says. “It’s an outlet of self-expression, and an escape and a distraction from the bigger picture of what’s going on in the world. It’s also useful for making paintings.”

Gordon is a woman, and a woman over 70 at that — by any measure an underrepresented perspective in popular culture. However, I’d caution against reading The Collective solely as a feminist statement. “I'm a Man,” for instance, is told from the perspective of an incel male, an act of storytelling and empathy not propaganda. My sense is that Gordon is pretty sick of being asked, “What's it like to be a girl in a band?” (per “Sacred Trickster”) and would like, maybe, to be considered as an artist.

It's partly a generational thing. I'm a little younger than she is, but we both grew up in the patriarchy and mostly encountered gender as an external restriction.

As an aside, one of my proudest moments was when Lucas Jensen interviewed me about what it was like to be a freelance music writer, anonymously, and Robert Christgau wrote an elaborate critique of the piece that absolutely assumed I was a guy. If you're not on a date or getting married or booking reproductive care, whose business is it what gender you are?

There, that's a can of worms, isn't it?

Jonathan Shaw: Feminine isn't feminist. I haven't listened nearly closely enough to the record to hazard an opinion about that. More important, it seems to me the masculine must be in the feminine unconsciousness, and the other way around, too. Precisely because femininity has been used as a political weapon, it needs imagining in artistic spaces. Guess I also think those terms more discursively than otherwise: there are male authors who have demonstrated enormous facility with representing femininity. James, Joyce, Kleist, and so on. Gordon has always spoken and sung in ways that transcend a second-wave sort of feminine essence. “Shaking Hell,” “PCH,” the way she sings “I Wanna Be Your Dog.”

Jennifer Kelly: Sure, she has always been shape-shifter artistically.

The lyrics are super interesting, but almost obliterated by noise. I’m seeing a connection to our hyperconnected digital society where everything is said but it’s hard to listen and focus.

Bill Meyer: Concrete guy that I am, I’ve found myself wishing I had a lyric sheet even though her voice is typically the loudest instrument in the mix.

Andrew Forell: Yes, that sense of being subsumed in the white noise of (dis)information and opinion feels like the utopian ideal of democratizing access has become a cause and conduit of alienation in which the notion of authentic voices has been rendered moot. It feels integral to the album as a metaphor

Christian Carey: How much of the blurring of vocals (good lyrics — mind you) might involve Kim’s personal biography, I wonder? From her memoirs, we know how much she wished for a deflection of a number of things, most having to do with Thurston and the disbandment of SY.

Thurston was interviewed recently and said that he felt SY would regroup and be able to be professional about things. He remarked that it better be soon: SY at eighty wouldn’t be a good look!

Andrew Forell: And therein lies something essential about why that could never happen

Ian Mathers: I know I’m far in the minority here (and elsewhere) because I’ve just never found Sonic Youth that compelling, despite several attempts over the years to give them another chance. And for specifically finding Thurston Moore to be an annoying vocal presence (long before I knew anything about his personal life, for what it's worth). So, I’m in no hurry to see them reunite, although I do think it would be both funny and good if everyone except Moore got back together.

Having not kept up with Gordon much post-SY beyond reading and enjoying her book, I wasn’t sure what to expect from this record. After a couple of listens, I’m almost surprised how much I like it. Even though I’m lukewarm on SY’s music, she’s always been a commanding vocal presence and lyricist and that hasn’t changed here (I can echo all the praise for “I’m a Man,” and also “I was supposed to save you/but you got a job” is so bathetically funny) and I like the noisier, thornier backing she has here. I also think the parts where the record gets a bit more sparse (“Shelf Warmer”) or diffuse (“Psychic Orgasm”) still work. I've enjoyed seeing all the comparisons here, none of which I thought of myself and all of which makes sense to me. But the record that popped into my head as I listened was Dead Rider’s Chills on Glass. Similar beat focus, “thick”/distorted/noisy/smeared production, declamatory vocals. I like that record a lot, so it's not too surprising I'm digging this one.

Jennifer Kelly: I loved Sonic Youth but have zero appetite for the kind of nostalgia trip, just the hits reunion tour that getting back together would entail.

Jonathan Shaw: Yeah, no thanks to that.

RE Christian's comment: Not sure I see deflection so much as the impossibility of integration. We are all many, many selves, always have been. Digital communications interfaces and social media have just lifted it to another level of experience. Gordon sez, “I don't miss my mind.” Not so much a question of missing it in the emotional/longing sense, more so acknowledging that phrases like “my mind” have always been meaningless. Now we partition experience and identity into all of these different places, and we sign those pieces of ourselves over, to Zuck and the algorithms. We know it. We do it anyways, because it's the candy house, full of sweets and pleasures that aren't so good for us, but are really hard to resist. “Come on, sweets, take my hand...”

Bill Meyer: I would not mind hearing all of those SY songs I like again, can’t lie, although I don’t think that I’d spend Love Earth Tour prices to hear them. But given the water that has passed under the bridge personally, and the length of time since anyone in the band has collaborated creatively (as opposed to managing the ongoing business of Sonic Youth, which seems to be going pretty well), a SY reunion could only be a professionally presented piece of entertainment made by people who have agreed to put aside their personal differences and pause their artistic advancement in order to make some coin. There may be good reasons to prioritize finances. Maybe Thurston and/or Kim wants to make sure that they don’t show up on Coco’s front door, demanding to move their record or art collection into her basement, in their dotage. And Lee’s a man in his late 60s with progeny who are of an age to likely have substantial student loan debt. But The Community is just the kind of thing they’d have to pause. It feels like the work of someone who is still curious, questioning, commenting. It's not just trying to do the right commercial thing.

Justin Cober-Lake: I’m finding this one to be a sort of statement album. I’d stop short of calling it a concept album, but there seems to be a thematic center. I think a key element of the album is the way that it looks for... if not signal and noise, at least a sense of order and comprehensibility in a chaotic world. Gordon isn’t even passing judgment on the world — phones are bad, phones are good, phones make art, etc. But there’s a sense that our world is increasingly brutal, and we hear that not just in the guitars, but in the beats, and the production. “BYE BYE” really introduces the concept. Gordon’s leaving (and we can imagine this is autobiographical), but she’s organizing everything she needs for a new life. “Cigarettes for Keller” is a heartbreaking line, but she moves on, everything that makes up a life neatly ordered next to each other, iBook and medications in the same line. It reminds me of a Hemingway character locking into the moment to find some semblance of control in the chaos.

Getting back to gender, there’s a funny line at the end: one of the last things she packs is a vibrator. I'm not sure if we're to read this as a joke, a comment on the necessity of sexuality in a life full of transitory moments, as a foreshadowing of the concepts we’ve discussed, or something else. The next item (if it’s something different) is a teaser, which could be a hair care product or something sexual (playing off — or with — the vibrator). Everything's called into question: the seriousness of the track, the gender/sexuality ideas, what really matters in life. Modern gadgets, life-sustaining medicines, and sex toys all get equal rank. That tension really adds force to the song.

Coming out of “BYE BYE,” it's easy to see a disordered world that sounds extremely noisy, but still has elements we can comprehend within the noise. I don’t want to read the album reductively and I don't think it's all about this idea, but it's something that, early on in my listening, I find to be a compelling aspect of it.

[newspropaganda]

My Thoughts On MangaKamen and his YGO videos

When Literacy and Mainstream Media are not low enough

Here’s my opinion on MangaKamen and why he’s wrong about Yu-Gi-Oh!. He’s just another American fan blinded by idiocy.

MangaKamen is either lazy, doesn’t understand Yu-Gi-Oh!, or just pretends to. He comes off with this fake comedy gimmick that doesn’t appeal to me. His videos on Yu-Gi-Oh! girls are mostly biased and off-topic, giving us zero meaningful details. Instead, he just ruins the representation of the female characters. News flash: Yu-Gi-Oh! girls are great, but they’re rarely handled well by good creators like myself.

He mostly praises DM and GX, but when it comes to 5D’s, he goes off-topic, tearing down Crow and Jack. His so-called "essays" on why 5D’s failed are ridiculous—he’s just too stubborn to admit that 5D’s is far superior to DM and GX. He simply can’t accept that fact. Yet when he makes videos on Persona or Metal Gear, people get critical, but his Yu-Gi-Oh! content is a mess.

He sticks to mainstream garbage like your typical American, obsessed with his country's degeneracy. This is just another reason why he can’t be trusted with Yu-Gi-Oh! videos. He’s all about quantity over quality, more focused on literacy than being an actual critic.For example, in his 5D’s videos about the girls and the two main male characters, MangaKamen keeps doing the same thing—showing how incompetent he is at his job. He doesn’t understand Yu-Gi-Oh! at all. 5D's only had production issues during Season 1 when Tomioka was in charge, but he refuses to acknowledge that because he can’t be logical. The issues with Yu-Gi-Oh! girls stem from Japanese societal rules about women in anime and real life.

What really misses the mark with this guy is that he’s clueless. He should have said something like, “Even if 5D's is often the butt of production jokes, it’s not that bad compared to what people say. GX and DM had worse production issues than 5D’s or any of the later shows.” But no, he completely ignores that and acts like a jackass. He’s not insightful or literate—he’s just trying to be a smartass, mixing a Nostalgia Critic style with woke, feminist opinions.

He is clearly stupid and doesn’t understand logic or anything at all.

But here’s the deal! No one respects 5D's because of the fandom and its bullshit. If you offend the fandom or call out their garbage, you get blocked for being "nasty" and not politically correct. The hypocrisy is real—they get upset at anyone who doesn’t support DM or GX, but it’s perfectly fine for them to trash 5D's. The fandom just doesn’t give 5D’s a chance anymore. News flash: 5D’s was always the best of Yu-Gi-Oh!, not those first two shows!

But wait, why is 5D’s so underrated now compared to 13 years ago when it was a masterpiece of perfection and mainstream success? It’s because Konami went off the rails, promoting Duel Monsters Gen 1 support since 2015. And you all just obey Konami like typical Americans blinded by nostalgia!

And if he talks about OCG Stories, he’s just going to crap on it like he did with 5D’s during its tough times. We’re all sick of people like him—bastards who just repeat and copy other people’s thoughts, openly telling their fans something "failed." Failed? What?! OCG Stories is going strong, with its 4th volume just being released!

If he makes a video on it, he’ll just be feeding the beast. I’m not going to care since I’m not invested in this asshole’s opinions.

This is the same problem with YGO Everything, Noajenks, and other mainstream Yu-Gi-Oh! fans who only support GX and DM because their minds are stuck on the same old, tired topics. That’s exactly why I don’t support anyone in the Yu-Gi-Oh! fandom, including the people I just mentioned. It’s all about reused topics and a lack of originality.

Do you know why the Pokémon fandom is more popular than Yu-Gi-Oh!? It’s not because the card game is less complicated or because of the anime. It’s because Pokémon fans are passionate and more humanized than the Yu-Gi-Oh! fandom. The Yu-Gi-Oh! fandom is constantly divided by problems they refuse to accept, and it’s just stupid.

The Yu-Gi-Oh! fandom is split on multiple topics:

The anime being bad during DM because of the adaptation.

The manga being bad at times.

The card game and the Rush Era.

They go off-topic, get sensitive about everything they hate, and can’t handle even mentioning anything about Yu-Gi-Oh!.

MangaKamen should have existed 10 years ago—he would have been better back then because now his content is more off-topic than on-topic.

You really want to know what’s wrong with the Yu-Gi-Oh! community? It’s the internet—Twitter and YouTube—which makes it too complicated to deal with.

Does MangaKamen even have solid points anymore? No, he doesn’t. He’s clearly just doing it for clout and virtue-signaling. At least I respect his editor and his buddies—they’re more critical than he is.

But do you really want to know why the Yu-Gi-Oh! fandom in America is so bad? It’s because they’re all the same when it comes to nostalgia. 5D’s got no respect after 2011 and slowly became a problem for them to consume. You can blame the political chaos in America for that crap. The real-life card game is super complicated, and MangaKamen uses that to trash the show. He’s even admitted that he prefers the game over the anime.

He also keeps using the dub version to annoy people, even though most fans don’t care which version they watch.

Also I noticed that, despite his popularity, it seems that every person that I've asked so far either never heard of him or doesn't watch his videos. And for someone who sticked in your brain as much as MangaKamen, it would be pretty interesting to talk about him.

American Yu-Gi-Oh fans are both vocal and hypocritical on anything. They only respect DM because of nostalgia and not out of sheer love. And to be fair, Yu-Gi-Oh! fans are mostly upset for no real reason—just like people getting upset at Donald Trump for "reasons." It’s like they have Trump Derangement Syndrome or something. And to be fair, Yu-Gi-Oh! fans seem to suffer from something like Yu-Gi-Oh! Derangement Syndrome, or maybe Konami Derangement Syndrome or even 4Kids Derangement Syndrome—where they just get irrationally upset about anything related to the series, like people do with Trump like how Mark Ruffalo is aways woke on Trump since 2016.

To conclude this statement. MangaKamen is a woke american femminsit.

[madman479r]

Best or Worst power?

The power is this:

Any video you watch, you suddenly find yourself when and where the video was being recorded.

So say a the video you're watching was done in a Walmart parking lot on the 20th February 2009, or in a amazon rainforest on the 10th April 2015 you appear in that same place at the same time.

You'll also only have with you what you had on your person when you watched the video, meaning it'll be a bad thing if you're buck ass naked watching YouTube.

Now you aren't there forever, just for the length of the video. So say the video length is 5 minutes 49 seconds, you'd be there for 5 minutes 49 seconds.

The power does allow you to alter the events of the video. For example: you ever see a video of an annoying prankster and wanted to punch them? Well you can, you're able to interact with the people there and possibly change events.

However that means that the duration of your stay will also change. As long as the events are being recorded, you'll be in that moment of space and time. So that also means that if (by your actions) the person recording stops 20 seconds in, you'll have turned a 5 minute video into a 20 second video.

You're also allowed to choose where exactly you appear from but only within a 20 foot radius of the recording device. Meaning you can choose to be a part of the video or just watch from the sidelines.

The only videos this power applies to is real life video recordings, so animated videos and movies don't count. (You can also watch TV as long as it doesn't show something being recorded on a phone or regular camera)

However with every power there's a catch/weakness. You can't control it. Meaning any IRL video you watch, ANY IRL VIDEO, you'll be taken there, even if it's just a glance.

And remember when I said you'll be taken to the location and moment of the video? Yeah so if its a video underwater with sharks? You'll be in those same waters, and unless you happen to have a diving air tank you're pretty much fucked if you don't make it back to above water.

A video of skydiving? Better hope the video ends before you do.

A video of a tiger enclosure? Better hope it's not larger than 20ft

And remember, you could possibly appear in hundreds of different videos, each from different times and places yet you look roughly the same, meaning there's a possibility of you becoming world famous

So? Would you take this power?

@gorillageek27

@bleached-d-soul

@howlingday

@onyxgabriel

@juanarc-thethird

@noneatnonedotcom

@rachetmath

@idrownfishes0

@the-shin-reborn

@takashi0

@weatherman667

@razorblade180

@dragonotaku-justineverything

@nerdlydelicious

@pilot-boi

[ask-a-w]

Long recap about Death Island

Death Island aired on 22 June 2023 in my country and I watched it on the opening day.

Go in with low expectations and it's a fun action movie, don't expect a strong plot. The formula is similar to the previous RE CGI movies so the plot is pretty predictable!

As always, Leon destroys a vehicle and dangles from something with one arm. Leon is no longer cynical and depressed like he was in Vendetta.

Shipping is non-existent. Maybe some Valenfield if you take some scenes out of context. Cleon wise, also nothing since Leon only talks to Claire once or twice in the movie and it's about the mission. No Ada, sadly. For Jilleon, if you consider them being in the same room as shipping, sure. They conduct themselves professionally and Leon is his usual sarcastic quippy self.

Rebecca is just there 'cos she's the medical/science expert. Honestly both Claire and Rebecca don't do a whole lot in this movie.

There are no post-credit scenes.

I will be posting super lengthy spoilery recap below the Read More as I write down what happens scene by scene. So grab a drink and buckle in. If you can do a summary, feel free to do so.

Movie starts with a 1998 flashback featuring Dylan Blake, his best friend JJ, and other Umbrella soldiers in a truck that is headed towards Raccoon City in the very early days of the outbreak. They are given orders to evacuate Umbrella personnel & government officials only. If any civilian attempts to get through, they are to be shot on sight.

The truck reaches a blockade on the outskirts of the city where some uninfected Raccoon City citizens are scuffling with Umbrella soldiers. A government official’s car barely scrapes through the blockade.

The scene then cuts to Dylan, JJ, and team hiding in a butchery. Everyone except Dylan and JJ have been bitten. Orders are given on the radio to quarantine anyone who has been bit. JJ & Dylan separate themselves from the infected and hole up in a storage room that has a glass window that overlooks the adjacent room where the infected soldiers are. New orders are given that HQ won’t evacuate any uninfected Umbrella soldiers unless they kill their infected comrades. JJ readies a submachine gun (SMG), Dylan disagrees and briefly scuffles with JJ as their teammates turn into zombies and bang on the glass window which shows signs of fracturing. JJ gains the upper hand and starts shooting the zombies as Dylan lays on the floor and screams at JJ to “Stop it!”

Opening sequence time featuring each character’s mish mash of scenes from the games and this movie. You see everyone’s profiles and Leon’s profile is all redacted in black bars. Even his nationality is redacted which amuses me.

We are then shown a street in San Francisco in 2015 where Leon has parked his lime green motorbike on the side of the road as he listens to instructions from Hunnigan. They got back the OG voice actress for Hunnigan but we don’t get to see Hunnigan's face for this movie.

Hunnigan mentions a government employee who specialises in robotic engineering by the name of Antonio Taylor and he is wanted by the government for leaking military secrets to overseas groups. He has been kidnapped by terrorists in a white & orange truck and Leon is tasked to intercept said truck and “rescue” (aka arrest) Dr Taylor.

Leon spots the truck and there is a very exciting motorbike chase scene with the super powered Maria (from Vendetta) who interferes with her own motorbike. Leon destroys her motorbike but she manages to jump onto his motorbike to fight him off. Needless to say, Leon gets thrown off the bike, rolls on the road with no damage but his bike explodes in the process as he laments, “I loved that bike.”

Next scene is Claire investigating an orca carcass that has washed up on a beach. The local fishery official noticed a TerraSave tracker on the carcass and that’s why Claire is brought in because TerraSave has places trackers on marine animals for some reason... She measures the bite wound and the official asks if a shark caused this. Claire says the wound is bigger than a shark's mouth and is puzzled.

After that we are shown Jill in the dark in a garage of a house. She darts around carefully, repeatedly clicking her flashlight on and off as she searches the house. Chris orders her on the comms to secure the street but Jill responds that it's too late as she is already inside the house and then she shuts off her comms.

You might be annoyed by Jill turning the flashlight on and off because I found it very distracting.

Anyway she reaches the second floor of the house, notices blood stains on the wall and finds a female corpse on the floor of a bedroom. She gets ambushed by a male zombie, tussles with it, smashes through the second floor balustrade onto the glass table on the first floor and kills the zombie. This is the scene that is shown in the trailer.

The SWAT team and Chris in his BSAA uniform enter the house. SWAT surrounds Jill and point their weapons at her as she raises her hands. Chris says "She's with me" (feel free to count this as an out-of-context Valenfield moment) and the SWAT team disengage and search the house. Chris admonishes Jill for going into the house without backup while Jill says she's not gonna stand by and wait if there are innocent people to be saved.

We are introduced to the final main character and Rebecca is in a lab doing some research on a laptop. Chris walks in and asks for updates regarding the infected that have recently popped up in San Francisco. Rebecca says the twelve corpses in the morgue have an advanced strain of T-virus, no bite wounds, and only have needle marks. Those that are bitten by the advanced strain zombies do not turn but die from their wounds. They talk about Jill and if you watched the trailer, the conversation is about Jill and her lingering guilt of being brainwashed by Wesker.

We get to see another trailer shot of Jill shooting at targets in the gun range. Chris walks in and I don't know how Jill senses Chris is behind her but she knows he's there and takes off her ear mufflers. (Another Valenfield moment?) Chris discusses about Jill's recklessness. He talks about Piers Nivans from RE6 and how he was going to pass the baton to Piers but he tragically died to save Chris' life. Chris says people in their line of work have to be willing to die.

I can't remember much of the dialogue/argument between both of them but there's something along the lines of being soul-less and empty inside and how Jill continues to fight so she won't dwell on being empty. She ends the argument by putting on her ear mufflers and continues to angrily shoot at her targets.

Finally, we are in the big bad's secret liar where Maria and Dylan are holding a hooded Dr Taylor hostage (you won’t see the doc’s face until the later part of the movie), forcing the doctor to do some stuff on the computer. Dylan is shown with a limp and a cane. Dylan empties his revolver and leaves one bullet in the chamber. He plays russian roulette with Dr Taylor and since the gun does not fire, Dylan merely remarks Dr Taylor "will die by some other fate". Dylan also has a weird tic where he taps his cane on the floor at least five times in succession. We will learn why later...

Dylan then puts the gun to his own head and there's another flashback to the butchery in the opening scene. JJ is momentarily overwhelmed by a zombie and gets bit before he finishes off the horde with the SMG. Dylan tries one last time to plead with HQ to evacuate him and the injured JJ but HQ says all those who are bit must be killed.

Dylan and JJ fight over the SMG, and JJ fires the gun in the tussle, shooting bullets into Dylan's leg (which is why he has a limp in the present day). Dylan manages to get the SMG in the end. Flashback ends there with Dylan in the present day pulling the trigger of the revolver but nothing happens.

[From this point onwards, I might not get the scenes correctly in order but the content of the scenes are fairly accurate.]

Claire goes to the same lab where Jill, Chris, and Rebecca are in. Rebecca has analysed the bite wound on the orca carcass which has some remnant T-virus in it. The orca has been part of the herd swimming around Alcatraz. Rebecca also says this new T-virus cannot be transmitted airborne or by saliva which is concerning.

Anyway, all the victims are linked to Alcatraz so Jill, Chris & Claire (gonna dub them the trio) go to investigate while Rebecca stays behind to create a vaccine, and also be the mission liaison in case things go wrong.

The trio join a group of tourists to visit Alcatraz while Dr Taylor has escaped. Dylan tasks Maria to recover their hostage as he notices on CCTV that the trio have set foot on Alcatraz. Just when the trio plan to split off from the tour group to do some private sleuthing of their own, the tourists take turns to become zombies without being bitten.

Lots of impressive fight scenes as the trio try and fail to save the civilians. A security guard with a SMG is surrounded by zombies and their combined weight makes them crash through the floor into a sewer(?) tunnel below. Even though Jill loses her gun, she jumps in after the guard to save him by kniving a zombie but the guard sadly turns as well. Jill is now separated from the Redfield siblings.

Dylan also releases a cage full of lickers underwater with marine-like ear features that remind me of the monster from The Shape of Water. I am calling them marine-lickers to make it easier.

The siblings are now alone, surrounded by bodies. Their comms are jammed and they are worried about Jill. Both hear a thumping coming from a cart and they open it to find a cowering man hidden within. He gives his name as "Tony Davis" and I could spot from a mile away that the man was Antonio Taylor. They all try to get out of the island.

Jill, armed with only a knife and flashlight, carefully explores the tunnels. She spots a shadow in the tunnel and to us viewers, it is very obviously Leon's shadow. Jill and Leon briefly brawl with one another and come to a stalemate as Jill finally gets a good look at Leon's face and just exclaims in surprise, "Leon?"

Leon recognises Jill as well and they disengage while Leon gives Jill a spare gun from his vest before they get interrupted by a zombie. Before they can kill the zombie though, it gets pulled away by a long tongue and Leon briefly mentions "Not good" before he motions to Jill to stay silent.

Jill also has her back partially on the floor and against Leon's knee/foot(?) and Leon has one knee on the ground while his other knee/foot/hand(?) is propping Jill's back. I gotta admire Jill's serious control over her abdominal muscles as the marine-licker comes out of the shadows and uses its tongue to "taste" the air around Jill's knee and face. Jill is very disgusted and is grimacing.

One of the containers beside Jill's face begins to fall and she manages to catch it in time but she does not notice a small cartridge on top of the container which clatters to the ground. Leon shoots the marine-licker ASAP as two more marine-lickers join in the fray and they try to run away.

Jill's ankle gets snagged by a marine-licker and Leon dives in to grab Jill's hand to prevent her from being pulled away. Both of them try to kill the marine-lickers behind each other.

They run again as a bunch of marine-lickers come out from the shadows and there is a funny dialogue of Jill asking "How many are there?" as Leon replies "I am not stopping to count" before he kicks up a jerry can and shoots it, incinerating the tunnel of marine-lickers. He then replies "Zero" as Jill goes "What?" and Leon clarifies there are now zero lickers. Pffft.

The Redfields and "Tony" are holed up in a cafeteria and when "Tony" learns Claire is from TerraSave, he accuses her of being a bioterrorist for what happened in Harvardville (Degeneration). Claire angrily retorts that TerraSave was framed.

"Tony" wanders off and gets ambushed by a zombie. Claire steps in to save him and "Tony" apologises for his behaviour. We are then shown something's POV as it flies around the three of them. It aims for Claire's neck and she collapses, seemingly paralysed. Chris rushes to his sister before he gets paralysed too. "Tony" just runs away before he sees Maria on the stairs.

And we are back to Rebecca in the lab as she receives a call from Hunnigan about someone hacking into the DOD (department of defence) to obtain confidential information about bioterror attacks that have happened since Raccoon City along with files on Leon, Chris, Jill & Claire. Rebecca says she has not heard from the trio for 2 hours and decides to go rescue them. (This scene is in the trailer)

Leon and Jill are squatting down and making their way through a tunnel. (Leon is taking the lead btw) Jill questions why there is such a tunnel down here and Leon says it's probably used for transporting weapons from when Alcatraz was a military base. Jill quips Leon should be a tour guide.

Leon feels a draft of wind coming from a nearby wall and he pulls apart the wall brick by brick to find a crawl space. We do not see them crawling as they next appear in a spacious liar that has baby BOWs that are being incubated in the water, an armoury loaded with a ton of weapons that is next to a submarine dock that was "probably leftover from the military base".

They find a console that showcases bio-drones which are essentially mosquito drones. Dylan cackles over the comms and taunts Leon and Jill to go back to the prison compound where Claire & Chris are waiting.

Back to the prison compound they go while Rebecca is shown gearing up and carrying a case of vaccines as she is escorted by a SWAT team.

In the prison compound, Chris is in one jail cell while Claire & "Tony" are in another cell next to Chris. The Redfield siblings are pale and clearly unwell. Leon finally notices that Antonio is in the same cell as Claire and reveals the doctor's identity to everyone. Leon is also bit by the bio-drone and he slumps down to the floor.

Dylan & Maria finally make their appearance to the heroes and there's some egotistical villain dialogue. Dylan briefly name drops Glenn Arias from Vendetta as it is revealed both of them were acquainted. He hired Maria as she has some unfinished business with Leon for killing her dad.

Dylan says they should all be fighting the big organisations like the government who hide the truth instead of going after companies like Umbrella and individuals on the black market. He especially mocks Leon for working for the government that is clearly corrupt and Leon just says "It makes a living".

Dylan jeers at Claire for working with a NGO that does nothing but "only provides bandages" instead of doing real work to prevent bioterrorism.

He also ridicules Chris for having people die on every mission he's on and he keeps bringing in new people every time only for them to lose their lives.

Jill is spared from infection as Dylan wants her to feel his pain of seeing close friends turn and having to put them down. Claire is on the verge of turning and Dylan encourages Jill to shoot Claire before she can attack Antonio. Dylan taps his cane again and we flashback to the butchery.

Dylan has the SMG pointed at JJ and he pulls the trigger but it's empty. JJ tries to rummage through the mess on the floor and finds another SMG but Dylan grabs a metal box and smashes JJ's head with it at least five times (same rhythm as the cane), killing JJ.

Jill has her gun pointed at Dylan instead of Claire and Dylan shoots Antonio in the chest anyway. Maria and Jill fight a tiny bit before Leon manages to throw a flashbang as a distraction for Jill to escape. Dylan and Maria leave after that for "their final plan" and Dylan tells Maria not to go after Jill because there is nowhere else for Jill to go.

A dying Antonio asks the heroes why they keep fighting when things are so bleak and Leon and Chris say "There's Jill". Claire tries desperately to staunch Antonio's bleeding before Antonio reveals a secret code for a failsafe hidden in his pen. He hands the code to Claire and passes away.

Back to Rebecca on a boat as they approach Alcatraz and pull up to a choppy dock. The SWAT team notice a bogey approaching on the boat's radar which turns out to be an infected shark. Everyone dies via shark except Rebecca (plot armour is strong!)

Jill meets Rebecca in the tunnels as Jill heads towards the secret liar and she tells Rebecca to go to the cell block as the others are infected.

Back to Leon, Chris, and Claire as they shudder in pain and try their hardest not to turn. Rebecca arrives and Leon recognises her and calls her by name. Rebecca administers the vaccine to Leon by injecting him in the neck.

Jill arrives at the secret lair and the baby BOWs have released tons of bio-drones into the air which has now spread all over the globe.

Back to Rebecca, Claire, and Chris as both siblings are now cured, albeit still weakened, and out of their cells. Leon is absent as he ran off to the secret lair as soon as he could stand.

Leon is back at the console in the secret lair and tries to stop the bio-drones but he is interrupted by Maria who wants revenge on him for killing her father in Vendetta. It's a very fierce battle since Maria is super powered and Leon is still recovering so he is barely dodging her attacks. Leon gets his head & body smacked a lot in this fight too. Ouch. Maria is the one that throws a chair at Leon in the trailer.

There are also meme worthy scenes of Maria trying to put Leon in a headlock with her legs... I'm sure dirty-minded fans will have a field day with this.

Leon gets a sudden rush of energy and manages to kick Maria so hard she gets impaled on a rebar and dies. Leon shows no remorse btw and he never flirts with her in this movie.

Jill finds Dylan at the submarine dock and he injects himself in the head with the advanced T-virus and falls into the water below to merge with the BOW shark.

We have all five heroes grouping up and pointing their weapons at the mutated Dylan which looks like a cross between an elephant, RE6 HAOS, and RE4 mutated Saddler. Trailer shot of all five of them jumping to avoid the tentacle and then all of them separate after that with Jill and Chris finding caches of weapons to attack Dylan, Rebecca and Claire fire RPGs before Leon asks Claire to use Antonio's passcode on the console. Rebecca decides to accompany Claire.

All the massive weapons deal no damage to Dylan. Leon even drives a truck full of explosives into Dylan too. (Second vehicle Leon destroys in this movie)

Jill finds a short-ranged plasma rifle and asks Chris and Leon to lure Dylan over to her. So we get the trailer shot of Leon driving a humvee while Chris mans the machine gun turret on the back, shooting at Dylan and trying to get Dylan within Jill's range. Jill fires the weapon and while Dylan is seemingly dead, he still comes back to life.

Jill tries again to fire the plasma rifle but it needs time to charge and she gets smacked away by Dylan and Chris runs up to her to make sure she's alright. (Another Valenfield moment!)

Jill, Chris, and Leon run around the dock as Dylan rampages.

Before Claire can enter the killcode, Rebecca stops her and says they can control the bio-drones and the drones attack Dylan's body, "messing with its DNA".

Dylan tries desperately to escape into the ocean and they all try to close the gate leading out to sea. The gate lowers very slowly...

Jill has found a bag of weapons(?) and pulls out a flare, taunting Dylan to follow her as Leon and Chris try to assemble this huge-ass RPG that requires two people to carry.

Jill then dives into the water, Dylan follows after her, and she tries to shove a grenade into Dylan's mouth but is briefly strangled by the strap of her bag of weapons. She knives Dylan's eyeball and cuts the bag strap to free herself. It almost looks like Jill loses consciousness & sinks but then the camera cuts away to Leon and Chris firing the huge-ass RPG on the chains of the gate to make it drop down even faster.

Gate drops down on Dylan's head but doesn't quite decapitate him, Jill's bag of grenades (I think) goes off and Dylan's body explodes in a shower of goo.

Jill climbs out of the dock, miraculously dries off within a minute, and looks at the water with Dylan's gooey body. Leon and Chris are further away behind her, look at the body for a few seconds before they turn and walk away.

Scene transitions to the outside of Alcatraz where it is now sunrise. Leon jokes he can add "tour guide" into his resume as three helicopters are seen flying towards Alcatraz.

The camera shows an overhead view of Alcatraz and slowly pulls out... before the end credits roll with reels from the movie shown on the left and names of the people who worked on the movie on the right. (Kinda like Damnation's end credits)

So yeah, that's the movie. Pretty linear and not as messy as Vendetta but still predictable as the villain turns into a BOW.

Thanks for reading! I know I got a little tired at the end. I would say to watch this movie when the blu-ray/DVD comes out, probably not worth the money to watch in the theatre.