#that is the purpose of her death & her character at large in the franchise

[compacflt]

I love your interpretation of Mav and Ice. I love how realistic they both feel because well, they're white men in the Navy starting in the 80s. What it does make me wonder about Carole? I know you don't write for her but your analysis of Top Gun itself just made me wonder about her. Like whether she was a traditional military wife or just kinda met Goose and fell into it. Did Goose's death and the period between his death and her's change anything? Did it make her more skeptical of the military because of the cause of Goose's death or was her asking Mav to not let Bradley fly purely out of her hurt for Goose's death and not a moral/political thing also. PS. I read your Slider fic and absolutely adored it

well… i think any attempt to flesh out Carole’s character is gonna be completely based on conjecture, because we’re not given more than “slightly naive Christian woman who doesn’t always say exactly the right thing.”

But I think it’s helpful to remember where she fits into the narrative at large, and why: Carole Bradshaw is the villain of the Top Gun franchise. Top Gun is her villain origin story.

The rhetorical purpose of the top gun franchise is: to make money, obv, AND to get people to join the navy. (to what extent it’s successful at achieving that latter goal is the topic of a different post… im certainly not the first to say it’s pretty easy to find an antimilitary reading of TG.) but if top gun is aiming to portray the navy as someplace you want to be, and someplace where you have to earn a spot to be (as I keep repeating over the last couple weeks, it’s all about honor), then Carole Bradshaw becomes the villain of the recruiting story of Top Gun: Maverick, because she (momentarily) prevented her son from joining the navy with the honor he thought he deserved, and she is to blame for the emotional through line of the entire movie. Thank God! we don’t have to blame maverick for fucking up and preventing Bradley from achieving his Dream Of Working As A US Military Contractor! we can blame his dead mom instead, so that maverick is still a good guy whom we, a moderately-conservative pro-navy target audience (🤑), can still root for & pay money to see.

so yeah narratively speaking she’s just a scapegoat. She has no agency in the story whatsoever, she’s only an object to receive blame. any backstory/reasoning/character we invent for her doesn’t really matter. It doesn’t really matter WHY she does it—whether she hates the military or not, narratively speaking we have to blame her just the same either way—it just matters that she does it. and then she has to immediately die so she can’t explain herself and maverick has to self-sacrificially take the blame. Because otherwise the plot of TGM wouldn’t happen, which would not achieve the rhetorical goals of making a bunch of money and getting kids to sign up for the navy.

[frankendykes-monster]

Of course, this is the fundamental issue with Deadpool and Wolverine. It’s not a story, it’s a collection of familiar intellectual property bundled into a two-hour package, and fans would complain if Wolverine either waited to put the costume on or eventually symbolically took it off. So the costume stays on for the movie’s runtime, because that is the priority here. That’s the primary purpose of the movie. Even the most basic storytelling logic is secondary to the desire to pander to empty nostalgia. It’s very interesting what Deadpool and Wolverine can and cannot joke about, what topics are deemed out of bounds for this most irreverent of franchises. There are no references to either T.J. Miller or Jonathan Majors, though that is to be expected. There are no references to Cable, Domino or Julian, despite the fact that they formed the emotional crux of the last film. They’ve seemingly been replaced by Shatterstar, who is alive for some reason. And who Deadpool no longer hates, for some reason. Under the Disney brand, Deadpool and Wolverine is thoroughly domesticated. Any implication that the making of this movie was troubled is sorely out of bounds. There is another small but appreciable shift between Deadpool and Wolverine and the previous two movies in the franchise. The opening credits in Deadpool and Deadpool 2 were irreverent and passive aggressive. Deadpool was directed by “an overpaid tool”, Deadpool 2 was directed by “one of the guys who killed the dog in John Wick.” In contrast, Deadpool and Wolverine is “a Kevin Feige production” and “a Shawn Levy film.” Apparently there are some things that you don’t joke about. That’s Deadpool and Wolverine in a nutshell. Or a fan-service-y yellow costume.

Still, there is something interesting here. Last year’s summer blockbusters were largely about how man had killed god, whether literally or metaphorically. The High Evolutionary stepped into the role of creator in Guardians of the Galaxy, Vol. 3. The entire journey of The Creator was to turn off the life support keeping “the Creator” alive. Barbie was about the exile from the Garden. Fast X found Dante (yes) trying to blow up the Vatican because he died and discovered there was no afterlife. Oppenheimer finds mankind taking atomic power into their own hands, “a terrible reckoning of divine power.” Loki imagines what it means to kill He Who Remains. As such, it’s interesting that this year’s blockbusters seek to fill that existential void with something: intellectual property. It’s no surprise so many of this year’s blockbusters are about intellectual property surviving the literal or metaphorical death of the author. Deadpool and Wolverine survive the merger and acquisition of Fox. Harold contemplates his creator’s mortality in Harold and the Purple Crayon. IF was about the idea that nobody outgrows their childhood imaginary friend. Argylle is the story of an author who discovers that she is ultimately a character in her own narrative. In these stories, fiction survives the loss of its creator. Intellectual property endures. Indeed, intellectual property moves to fill the gap. So many modern films are “spreadsheet movies”, films about watching companies celebrate how much stuff they own. Space Jam, The Flash, Deadpool and Wolverine. There is no story, no theme, no purpose, no character. There is only intellectual property, imagery and iconography to be memed and reproduced and reimagined and reworked, until any residual meaning is completely erased. But intellectual property doesn’t just survive. It redeems. It will save you. It is your messiah. What is Madame Web but A Very Spider-Man Nativity, the story of the birth of one Peter Benjamin Parker mythologised, with three wise Spider-Women in attendance? The joke in Deadpool and Wolverine is that Deadpool is “Marvel Jesus”, but the film is too smart to play that straight. Instead, it casts Wolverine as the messiah. Wolverine is “the anchor being.” Only through Wolverine’s death and rebirth can the world itself be redeemed, the universe born again, the centre allowed to hold. Hell, he’s even crucified at one point in Deadpool and Wolverine. [...] (It is telling that even the void has no room for anybody but superheroes. Second chances are reserved entirely for pieces of recognisable iconography, not for ordinary people. There is no humanity to be found in Deadpool and Wolverine, the narrative equivalent of watching an executive move items around a spreadsheet for two straight hours.)

[wickedpact]

heres a transcript of that gina & greg interview i mentioned yesterday. literally nothing new is in this, but theres a lot of info in this that was scattered in varying interviews/podcasts and i like having all of it in one place for future reference purposes

(link to vid)

Patrick: Hey everybody, this is Patrick Cavanaugh from comicbook.com here to bring you a very special conversation about Netflix's The Old Guard, which just debuted last week, and everybody has seen it-- I believe people have seen it by now, so that's very exciting. And to dive deep into this film, we're actually very lucky to have the film's director Gina Prince-Bythewood, who also directed Love And Basketball and Beyond The Lights here. Hello, Gina.

Gina: Hey.

P: And we're also joined by the film's writer, as well as the writer of the original comic book series, The Old Guard. Also, you might know him from his DC Comics work, Batwoman, and Lazarus, to name a few of his titles. We have Greg Rucka! Hello, Greg.

Greg: Hello!

P: So this film just first debuted last week, and I know you guys have been inundated with fans, just loving it. And let's just get to what fans want to know, right off the bat; I'm sure you're getting daily questions about this because there's so much for an expanded universe. So let's set the record straight: will there be a Tiger King crossover?

[everyone laughs]

Greg: Uh, we're planning an animated series with giant Mech suits, and, unbeknownst to a certain franchise, we're going to crossover with Transformers and-- no. Come on. [laughs]

P: Okay, alright, we’ll hold onto that big crossover stuff. And I know Netflix, of course, hasn’t fully announced what the future might be for Old Guard, but I'm just kind of curious if you guys have had any recent conversations about what you'd like to do in the future—theoretical, nothing concrete, of course. But since the film has come out and you've seen fan feedback…?

Gina: I will just say, obviously, it's an incredible compliment that people want to see more. It means we did our job in this. It was very important that this film has a beginning middle and end. We wanted to focus on this.

Greg: Yeah.

Gina: And get it right. Having people want more is an incredible gift and I would say those conversations were really… Greg and I, early on in talking through the story... knowing Greg knows where this thing goes --and it's pretty incredible-- helped me in terms of directing this one. So I will say we've had those conversations early on.

Greg: Yeah Gina’s absolutely right. One of the things that I'm really-- one of the many things I am proud of is that the movie is a whole, you certainly leave it going ‘okay, there could be more, I can see how there is more’. But it is a complete work. It is not contingent and does not need anything else. That said, there were plenty of times we were having conversations and would jokingly be like, ‘oh that'll be in the next one, we'll do that in the next one. We had to cut this so we’ll put it in the next one’.

P: I'm sure people would be very thrilled, as would I. So we’ll try to remain patient since it's only been out a week--

Greg: I think that's reasonable.

P: [sarcastic] I mean, fans are nothing but reasonable--

Greg: [very loud laughter] You know what 'fan' is short for right? Fanatic.

P: [laughs] So Greg, I'm curious. You know, since this is a pretty unique situation where you wrote the original books but then also came to write the script-- which doesn't always happen all that often. I was kind of curious what that process was like and if, when revisiting that core story, if you were tempted to kind of go off into a new directions, you know, uncharted territory? And how you managed to stay faithful to that story.

Greg: So when Skydance initially acquired The Old Guard, Matt Grimm and Don Granger were the guys that I was working with. And they were very clear that they had acquired it because they loved the source material. So when I was doing the adaptation, it was ‘adapt this story to be told in a screen format, there are changes that have to be made’. I didn't see it so much as like ‘I can go in a different direction!’ as ‘it's a really rare opportunity to have a second bite at the apple’. Most writers don't get to tell the same story twice. And even with the collaborative nature of comics, making a movie is far more collaborative. So… being able to benefit from a lot of very smart people-- and then when Gina came aboard, and working very closely with her on the screenplay, you know, taking her notes, and talking at length about it was… I mean, I love the comic we made, I'm very proud of it. But I think this is a superior story. Because it allowed me to fix mistakes I had made. And I think that it certainly works as the film that we wanted it to be, but it has a lot more nuance and a lot more ‘shading’ than the comics ever could have had. So yeah, I mean, I'm very proud of the work we've done.

P: Yeah, as you should be, definitely agree with that. And I know, Gina, you've spoken about how you treated the source material essentially as a Bible as the blueprint for adapting the movie. So a question kind of for both of you, I was curious what scene or sequence were you most excited to bring to life? And then what scene were you most apprehensive about whether or not you could pull it off as faithful to that original?

Gina: For me, I mean, there was there were certainly a couple... Joe and Nicky in the van.

Greg: [nodding] Yeah.

Gina: Such a beautiful moment in the comic. And I wanted to get it right. I knew the actors really wanted to get it right. As soon as we started shooting, I was like, 'oh yeah, they're killing it'. Also Booker in the mine, the speech that he gives to Nile, it's everything to his character. It explains both Booker and Andy; where they are, and why they are the way that they are in that moment of time. And I know that as a director, I saw a perfect take. But going into those, you hope that, ‘am I able to evoke what I need to evoke in the audience?’ I think that the hardest really was the Kill Floor, given how iconic it is in the comic. It's just so beautifully drawn by Leandro, it pops off the page. So ���how am I going to be able to do the same thing on film?’ But it really kind of boiled down to ‘what is the story [of the scene]’ and really focus on that first, but also wanting to really give a bit of a homage to what Leandro did too, which was my use of silhouette throughout it.

Greg: Yeah, I think that… Gina just listed all of the scenes. I mean, I wanted to see the armored car, that was enormously rewarding for me… I couldn't wait to see the killing room floor... You know, when we talk about moments of adaptation, I actually —and I thought this was really well handled in the movie in particular— Nile’s death wasn't wasn't easy in the comic, because it needed to have heart. You know, Kiki's performance and the way it's shot is just, it's phenomenal.

P: And obviously you can't really talk about this movie, which is this big action-fantasy movie, without talking about that scene between Joe and Nicky. I'm curious what both of your reactions have been to seeing that moment hit so hard with so many fans.

Greg: I'm overjoyed that we're able to give that to so many people. I am also frustrated that it's so overdue. While I don't think that either Gina or I felt that this was… It was important and special because it was important and special between these characters. But, you know, I mean I’m in that place where I recognize why we are getting the response that we are, and, I'm frustrated by the fact that it's 2020. And… apparently we're the first people to have done this? And you can say that about a lot of the reactions, you can say that about the reactions to Kiki's Nile. You can say that about reactions about Charlize portraying Andy. There’s a piece of me that's like ‘guys, we didn't invent the wheel here. All we did was show you, THERE’S A WHEEL HERE!’. So.

P: Yeah, it's interesting and it is frustrating that it is 2020 and we have to refer to this as an anomaly. That this is not the norm, that as you said, this is we're showing people that the wheel exists. And so Gina, you know, between having a film with two powered, seemingly super-powered characters, in a comic book adaptation, which is largely been devoid of such characters. [I think he meant to say female powered characters?] and being a black woman, directing a comic book adaptation— again, something in 2020 that we have to treat as a shocking revelation— I was curious, if you felt any sort of pressure about that on set, or if it was like just a confidence in the material, and support from your collaborators, that it wasn't even an issue?

Gina: Um, are you talking about the scene-?

P: Just the project as a whole.

Gina: There was a reason I took this film, because it moved me. It has to start there. There's all these things; I love putting a black female in the world, I love putting Nicky and Joe in the world, I love putting Joe’s character in the world. Those are all such incredible driving forces. But foremost, I have to feel and care about the characters in the story. And I did. And so, for me, it felt... I mean I was honored to be able to be the one to give these characters a life up on screen... or in that big screen in your living room. There's, of course, enormous pressure. Not only just doing a film, like the bigness of it. Certainly me being a woman, me being a black woman, and doing this when nobody has done it before… It's about proving myself and proving that women like me can do this, that we do like action, that we can shoot action… Just changing that narrative. So there's pressure to get it right and do a good job, but I feed off of that. It made me work harder because I felt like I absolutely had a responsibility to get it right.

P: And we've talked about Kiki a few times as Nile, of course. And Gina, I know you said it was within five seconds of meeting her that you knew she was the right one to play Nile. I was curious, how did the rest of the casting process go? Did everybody get hired that easily? Or was it a harder search to round out the ensemble?

Greg: Yes. I’m curious too!

Gina: You know, I knew going into this that I wanted great actors for every role and it's pretty amazing how many of my first choices are in this film. I mean Matthias Schoenaerts who plays Booker is an incredible actor and I knew I wanted him from the get-go. We were told he doesn't do films like this, but he wanted to meet, which was the first thing, like, ‘oh my gosh it’s on me, don't blow this meeting’ and he said again to my face, ‘I don't do these movies, but I love this movie’ and he loved the character Booker. And after that conversation and hearing my vision, he was in, which was amazing. Marwan Kenzari, I saw him in this independent film called Wolf—

Greg: Yeahhhhhh.

Gina: Phenomenal. And he was supposed to read for the part. We had a meeting over FaceTime. Then, Zoom was not what it is now. And it was such an incredible meeting. He was so passionate about the material. So passionate about the character Joe. So passionate about wanting to give that speech. His energy… I just said 'you don't need to read, like, you're Joe'. Luca Marinelli, who plays Nicky, I saw his audition. He has this depth to him, those eyes.. where you just, you felt everything, you felt his soul. But I needed to do a chemistry reading, as I would with any love story. And so, we flew him in to read with Marwan. They did this incredible improv, and it was so obvious that these two were Joe and Nicky. It was a really beautiful moment as a director to just… know, and I was so excited to show everybody what they had. It leapt off the screen, their connection; they’d never met before but, immediate connection. Chiwetel Ejiofor, I mean… [awed silence]

Greg: Chiwetel... yeah.

Gina: Yeah. To hear that he wanted to be in this and work with me on this, I didn't need anything else at that point. He's truly a genius. Charlize, you know, there are very few women who can work in the space and we believe them. And that's the thing about her work, and her action, we believe her. And we needed that for Andy. And of course she's a great actress, so it was, you know, that was kind of a no-brainer. So, lastly Harry Melling, you know our villain. It's funny, Don Granger, at Skydance, says you've done a good job with your villain if the audience wants to punch him in the face. Harry brought that reality of those templates of Mark Zuckerberg and Martin Shkreli and really rocked it.

Greg: I had, you know, I'm the screenwriter, right? And I am pretty much involved in the production at the director’s sufferance, and Gina was so gracious to want me present-- and more than that, want me present and say things, right? As opposed to ‘stand here and be quiet’, but I remember when Kiki… when they knew they wanted Kiki, like in that window before all the paperwork was done and so on. Throughout most of the casting I wasn't hearing a lot from Gina, just the occasional update. Like ‘I think we've got���’ and then the Kiki audition came in, and Gina, you called me, Granger texted me, Grimm texted me. And it was all the same thing. It was all ‘we have found Nile, oh my god, there were these two scenes and she had us howling in one and weeping in the other and she is perfect’. And the exuberant joy, you know, I remember you on that call being like ‘NO, THIS IS HER!!’. It's like, this is gonna be awesome.

P: So, and to open things up a little bit more to the actual mythology of the film and the comic book series, I think one of the coolest things is that this film doesn't entirely explore is why these characters come back to life? But we also don't entirely need to know that to just… witness this slice of time in their journey. So I'm kind of curious, maybe Greg you have more insight on this, but I'm curious if either of you have those ideas in your head of what the root of this, you know, blessing or curse, the curse of immortality? Or is that just stuff that's entirely irrelevant to this journey?

Greg: I think it's irrelevant… to the journey of the first film. That the story is a self-contained story and you don't need to know why they are immortal. And I think that the film actually does tell you, not specifically, but the film does provide you with enough information to allow you to draw certain conclusions. Because there are really a limited number of ways that they're going to get this way, right? We do not, for instance, see Nile fall into a vat of regeneration juice, right? That's not why Nile comes back. There is a mythology. We know the mythology. We know the why and that's for later. Yes, maybe it will become relevant to the story, but for this story that was told as it was told? No, you don't need to know why.

Gina: The striking thing, when I read the script for the first time was I didn't… I didn't care. Like, I didn't need it. And that surprised me because I know Greg had talked about another company who was interested in the project [Gina doesn’t say, but it was Sony lmao] kept asking ‘you have to tell us why though, in this story, an audience needs to know why’. He was absolutely right [for disagreeing with Sony]. Because I didn't need to know why.

Greg: It's the Rian Johnson School of, you know, it's Looper. ‘We can spend two hours talking about time travel or you can accept that we're in time travel. Which is it going to be?’ And I think that that is one of the most brilliant storytelling decisions made in the last 20 years in film! Literally 'here it is—DOESN’T MATTER, MOVING ON!’ you know.

P: Yeah. It's definitely a bold direction to take. And to have an issue with 'oh, well, we never learn [about the] immortality!' proves that you just miss the point of what the movie is, and that that stuff is kind of irrelevant for right now. Although I do kind of hope that because it's on Netflix someone's expecting like a post credit scene, but it's the autoplay feature, right? [Greg and Patrick talk over eachother, laughing]

Greg: We did talk about that button as a post-credit scene, the Booker [scene]—

Gina: That was originally supposed to be a tag.

Greg: And there was, for a while, the contemplation of ‘maybe we can still [put the Booker scene in as a post-credit scene] and really that'll be like a great big reward for those people who actually watch credits on Netflix. It’s like, you got a bonus scene!’

P: So another, you know, people are loving the characters, they're loving the performances, but also the action is so cool in it, and it feels reminiscent of some other films. But the urgency and efficiency of all of the action sequences always feel like they have a point, and they're not just ‘look what we can pull off this week!’ You know, it's not John Wick on a horse fighting motorcycles because we don't need to do that. It's, you know, always to a point. So I'm kind of curious Greg, what does an action scene look like in your script? And then Gina, what was your whole motivation for putting these action scenes together?

Greg: I had two approaches in this script and used both. Sometimes I would write the sequence as you know, as a series-- this is what is happening, ‘he swings and then his head goes flying’ or whatnot. But knowing very well that unless the script needed to see-- because the script has to specify what is a must. It's a must. It's a must document. ‘We must see this’. ‘We must know this information’. So for a lot of the time, I would sort of drop into a narrative voice and say, ‘okay, now we watch the five of them proceeded to kick every ass and take every name that they come across and please bear in mind you are watching over 10,000 years of combat experience, combined between them’. And then that's the description of an action sequence, right? The screenplay… it's a construction document. It's not the interior decorator’s document. It's not even the Foreman's document. It's an architectural document. And then you give it to the Foreman of the whole production, who then goes, ‘I agree, these are the important things’, and then you get out of their way and watch them do the thing that they have, you know, become an expert at doing to make it happen.

P: Gina, what's your reaction when you read Greg’s script saying, ‘oh, you know, just five immortal warriors demonstrating 10,000 years of combat experience’?

Gina: It's like ‘oh shit’. [everyone laughs] Like that's a very cool thing to read—

Greg: But how do you film it?

Gina: Yeah, exactly! Then you start at the beginning of the scene and 'what character can we reveal in the scene'? And when you start like that, it's less overwhelming. Because the best action sequences for me, when I go to the movies, are those that have a story to them and that are character driven, that have an emotion. So I really started there in the vision of what they should be and just working with my incredible, incredible stunt team, Jeff Habberstad and Danny Hernandez and Bryson Counts[? I dont know who that is]. Designing these fights to tell this story, to showcase this part of character, to further the story. And that was important as well, that we never wanted this film to feel like… rushing through the story to get to each action sequence. All of this works seamlessly. The quiet moments are just as important as the action moments. And so that was exciting to me. But being able to tell the story, reveal character, that was fun. And then it's ‘yeah, how do we choreograph so it feels as if these characters finish each other sentences, so to speak, in terms of action, knowing where the other is going to be, knowing when somebody's out of bullets and need another clip?' Like all those things, the way that they're always picking up used guns and used clips, just this dance. And it was very cool, you know, to really put that together and see what the team came up with. And then to see the actors embody that, bring character, bring performance to that. Which is why it was so great that I had the actual actors doing most of the work, so that we can see that performance.

Greg: I think you used a word that I think clearly came from what Gina’s describing and talking about with working with Danny and Jeff and Bryson. Which is 'efficient'. Like, if you watch the film, you will see that there is only one sequence where Andy is ever firing more than twice, and it is on the killing room floor. After that, whenever she fires a gun, it's one bullet. It goes exactly where she wants it to go. Everything she does becomes an issue of ‘her style is efficiency—‘

Gina: Yeah, that was a big—‘brutal efficiency’ is a term we talked about often, where they know a kill shot. They are not the type that are going to go in an environment and spray. It's lazy and not who they are. They are not going to ever hit someone by accident. They are too good. And their moral code is not like an ordinary For Hire who are just trying to get the target by any means necessary.

P: Yeah, and also speaking to what I feel set these action sequences apart from other action films is, we're used to, you know, like thumping techno or hard rock or something kick in. You know, I don't think anyone had like, you know, Frank Ocean being in an action film on Netflix on their 2020 Bingo cards. So I'm just kind of curious how you put that soundtrack together and what that process was like.

Gina: Yeah. I love music so much. It's so much a part of me as an artist. And for me, I love songs for scores, songs that can evoke an emotion, and elevate a scene or the emotion of a scene without taking it over. And music for this film was so important, to the tone. It was such a balance. This is a violent film, yet I never wanted it to feel like a celebration of violence. The fact that there was a cost to the killing and then motion to the killing. So always wanted to keep that in mind-- and music really helped with that. There's also a thing of, you know, I'm the first audience and I actually don't like heavy metal. So, it annoys me when I watch a movie and it's this non-stop thump. In the rectory —spoiler alert— when Andy kills 19 people, the music I chose was important because it took away the sting of that. I didn't want an audience to revel in ‘oh my God, she killed 19 people’. No, it was ‘she killed 19 people and you see on her face that this was not fun, this was not easy’. You see that on Nile’s face when she walks out, and the music helped that. I wanted the music to feel operatic, because what happened in that room did have that depth of emotion, so music again— so important for vibe and tone and it was fun to find these songs that could do exactly what I wanted them to do.

P: Greg, the narrative is definitely very faithful to the first two Old Guard series and, you know, blends together in this compelling and unique way… Just as a —you know, we are comicbook.com— so coming from the purest sense of interpreting the narrative... [Greg laughs] like there's definitely the flashback with Achilles from the comic book, and then also the flashback to Booker's hanging scene. Those are our absent from the film. And I was just curious if those were ever in the script or if you want to rework them for the future…?

Greg: No, I mean we also had, in the original series, the flashback that sort of accounts the Joe and Nicky, ‘we killed each other’, ‘many times’ sequence as well. There were drafts where all of that was there. And sometimes in greater detail than others. There was a version where that hospital scene— [in the movie] you get just the right amount of… when Booker's relaying it to Nile in the mine. But, you know, there was more to that, and you can see sort of Achilles' story’s presence in the mine, right? There's a glimpse of the painting. So those things weren't erased as much as… when you make a comic, every choice you are making is an efficiency choice. ‘You have X many pages, how are you going to spend them?’ And I'm not a filmmaker. I'm the guy who wrote the thing. But one of the things I can tell you when watching is that it's the same calculus but exponentially. It is— every single thing you are doing is asking if it's serving your narrative. And I think the trade —because it is a trade— of the Achilles backstory to build the Quynh story has a benefit that the Achilles story alone didn't have, in that the Quynh story —especially as it's relayed in the movie— not only does it illuminate Joe, Nicky, Booker, and of course Andy, but it's also Illuminating to Nile, in a way that… talking about Achilles would have been repeating a beat. Because as beautiful, and as important, Achilles is to Andy's character… Booker conveys that heartbreak with his story, right? So it becomes an efficiency question as much as anything else. I mean, that that's really what it comes down to.

P: Speaking to some of the changes again, I don't want to get to spoiler heavy but there's definitely a big change with one character and their possible fate. Don't want to ruin anything for anyone, so trying to play it safe.

Greg: [laughing] Yeah, how are we supposed to answer this, Patrick?

P: Why don't we just text each other? [everyone laughs] Well, I'm kind of curious. One character's trajectory has changed a little bit. What were the discussions like over, you know, altering their trajectory and what that could mean, you know, for their future adventures?

Greg: Well, how do we talk around this?

P: Also, if anyone's been watching this for 40 minutes and hasn't seen the movie, they've got to adjust their priorities.

Gina: I would say, it was about adding more jeopardy and stakes. It absolutely did that. What I love so much about the story and what Greg created is that these characters are mostly immortal. So there is always that threat. But it just added another level to that. But it also crystallized so well… the fact that the moment that Andy is truly saying ‘I'm done’ a new Immortal shows up in Nile. So it just seemed to work really well and, you know, obviously having Greg be so on board with that and take it and run with it was really important.

Greg: It externalizes the conflict beautifully. And I believe I think David Ellison at Skydance likes the term downward pressure, I believe. [Gina smiles, Greg sees] Did you hear that? Did you hear that during editing? [Gina nods] But it does. Look, here's a fundamental problem; it's actually one of the problems at the heart of Force Multiplied: what's jeopardy to an immortal? Cuz it's kind of, you know, as Joe says, ‘what are you gonna do, tough guy? Kill me?’ You know, ‘if I go, I go. I don't know when I'm going’. So you you need to be able to inject into the story some level of jeopardy. You want to heighten the stakes. And it also externalizes that particular character’s conflict.

P: Gina, hopefully I don't put you too much on the spot with this question. But, you know, any time there's a big comic book project announced its, you know, fans start saying, oh, I'd love this person who's done action movies to do it’ or ‘this person who’s already done 10 Sci-Fi movies…’, you know, like Taika Waititi can't direct every movie.

Gina: I would love him to!

P: I'm just actually kind of curious, Gina, if there are any directors that you're particularly a fan of who don't necessarily have the same, you know, Marvel DC, Star Wars experience that that you'd love to hear get announced as tackling, you know, a big budget comic book movie.

Greg: I would like to know too.

Gina: Certainly, I'm excited about what Victoria Mahoney's going to be doing-- she just did second unit [director] on Star Wars, first woman to ever do that. I dig her brain so much and her aesthetic. I'm really excited to see what she's going to do in the action space, certainly.

P: Yeah, very cool. Really looking forward to her career for sure. And I think we're just about out of time here. We were down—

Gina: [raising her hand] Can I ask a question real quick? Sorry, I just need a definitive answer on this because I got called out on Twitter and I asked Greg--

Greg: [laughing] Ohhhhhhh—

Gina: So is Old Guard, is it a graphic novel? Or is it a comic?

Greg: You got to answer that Patrick.

P: Oh boy.

Greg: [laughing] Literally he's watching all credibility start to evaporate if he doesn't get this right. [holding up a comic of Opening Fire] This is a what?

P: I mean… part of me, knowing that it is part one of a three-part overall series… You know, my brain goes to ‘trade paperback’, you know, like it's a volume collecting a certain amount of issues. But if you ask me before volume 2 came out, it would be collected as a graphic novel, but… they're all comic books. They're all just comic books, everybody. Let's just take it easy.

Gina: Okay, thank you.

P: That's my answer.

Greg: Thank you. Thank you. I think that is the appropriate answer.

P: They're all just comic books. Take it easy.

P: Yeah, but I am curious. Of course, one of the interesting things about the film is that over the course of hundreds… thousands of years, these characters, the old guard have kind of influenced humanity in some definitely interesting ways… And ultimately for good, is a little bit of what we're seeing in the film. And I can't help but wonder… is it possible that the old guard could have unintentionally influenced the world for bad? And have some negative ripples come from their actions, or do I have to wait for a sequel for that?

Greg: I think that is a very reasonable and logical question to ask, especially when you know, there are 19 dead bodies lying in a church. You know what I mean? There is a certain amount— and it's almost fatuous to talk about it but there is always the doctrine of unintended consequences. I will say this goes to something else— and I'll say it really quickly because I know we're running out of time. I think one of the things that I really, really loved about what's being said, in the movie, is that at the end of the film… The definitive statement is, if you take away everything about immortality, what it's saying is that… our choices matter and our actions matter and they matter in ways and to people that we will never see and never know of. We try to put right in the world by doing right. And we do that without ever seeing what the ramifications of it are. And sometimes we're going to succeed, gloriously, and sometimes we're going to fail and we may never know that either, right? It's the choice paralysis that that you get from cheating in The Good Place, right? I can't eat or drink or move because morally it's all wrong, right? But the takeaway from the film is that, ‘yeah, your life matters and what you do with it matters and it matters to people that you're never ever going to see.’

P: So yeah. Yeah. Well, I mean, I think that's a great positive, you know, message for us to leave on. And I definitely think that comes across in the film, especially, you know, from the characters like Joe and Nicky just professing… you know, it's about the time that you have. And you don't know when your number is going to be up. So you just try and do as many good things before that happens as you can, and hopefully the world responds to that. So I really connected with that message in the film. Thanks so much for taking the time to chat with me. The Old Guard has been out for… five days. So I look forward to reuniting--

Greg: Does it feel longer to you. Gina? It feels like it's longer for me. [Gina laughs]

P: I look forward to reuniting in maybe 10 more days to talk about the sequel and spin-off and the prequel and all that sort of thing. [Greg laughs] But for now, The Old Guard is still on Netflix. And of course don't be tricked into watching any post-credit scenes because you might end up watching, you know, The Great British Bake Off. Well, thanks so much guys, it was a pleasure.

[lokiondisneyplus]

Most Marvel post-credit scenes hint at the future. Loki opted for a blunter approach: the God of Mischief would return in season 2.

Based on the final turn of events, there was really no other choice: Loki (Tom Hiddleston), having journeyed to the furthest point in spacetime with his variant Sylvie (Sophia Di Martino) to meet the founder of the TVA, a scientist-turned-survivor-of-multiversal-war known as He Who Remains (Jonathan Majors), finds himself zapped into a new reality when his lady self slays the omnipresent being. The mind reels!

Creator Michael Waldron takes delight in the endless possibilities of Loki’s core premise. And as a veteran of Rick and Morty, he knows what anchors a mind-bending show, and what will keep Hiddleston’s character hurtling through his chaotic, rewritten future. Below, Polygon talks to Waldron about landing on the key choices of Loki season 1, what to expect from season 2, and a bit on his next project, the wrestling drama Heels, which is set to premiere on Aug. 15.

Did you know there’d be a second season of Loki from the beginning or was that choice made later in the process?

Michael Waldron: We always knew that it was a possibility. We always knew that we wanted to propel Loki and these characters out into the MCU after this, into further stories. But that didn’t really crystallize as a sure thing until we were in production and everything. And as we were really figuring out the finale.

So you were still cracking the ending as you shot the show?

There was a hiatus due to the pandemic. So things were constantly being retooled because of that. I think, by and large, everything with He Who Remains and the Sylvie-Loki conflict was always there. But that cliffhanger was the sort of thing that suddenly became a really appealing opportunity, a chance for that to lead into a second season.

What element of the series helped you crack the macro story of Loki, and made all the other pieces fall into place? Each episode almost feels like a standalone adventure, similar to Rick and Morty, but what helped it all click?

The first couple of weeks in the writers room was just laying out the individual episodes. It was very important to me that each episode stood on its own, and you could say “This is the Lamentis episode,” “This is the apocalypse moon episode,” “This is the Void episode.” I didn’t want it to just be cut up chapters and have one long continuous story. Obviously, we had to figure out the time travel for things to slot into place. I think a big idea for us was the way you get around the TVA by hiding in apocalypses. That felt like such a big, cool, exciting idea that it drove the action of episode 2, episode 3, and in a way it’s like Alioth is the ultimate apocalypse that He Who Remains is hiding behind. That sci-fi idea cracked a lot open for us. I know that after we had that I went home and I slept a little sounder.

Did adding the multiverse to the Marvel Cinematic Universe feel like blowing something up or expanding it, in terms of narrative possibilities?

In the same way that after the first couple Iron Man movies, and with the first Avengers, suddenly these movies were kind of going to space. Then we had Guardians. I think of the multiverse as another version of that. It’s new ground to cover, and particularly interesting because characters meeting other versions of themselves and other versions of people they know is... cool. That’s just a cool sci-fi concept! But I think with anything, as you expand outward, it only works if the humanity remains. It’s exciting to watch characters dealing with big crazy multiversal conflicts because we can see ourselves in them. I think you just have to hold on to the humanity that makes these stories work in the first place.

Did you go back to the Thor movies for Loki? Was there anything to find in the past of Marvel as you were paving the future?

Absolutely. I mean I watched them many times, contrary to what Twitter might think because I did some bits on there saying that I’ve never seen Avengers and I upset some people [laughs]. I have seen it many times. “Confirmed: Loki writer has seen Avengers and saw it before writing Loki show.”

In fact, I was watching all these movies on a loop in the writers’ room. I gleaned so much because you watch the evolution of the character. Avengers was particularly informative because our story picks up Loki right after that, but I also I found a lot of inspiration in Thor: The Dark World, a maybe sometimes maligned movie that I actually really enjoy. I just think there’s great stuff with Loki being tangentially responsible for the death of his mother, how he reacts to that. That is the start of his journey of that version of Loki’s redemption, so I was inspired by that.

What’s propelling the characters into season 2? Where are you headed in basic terms?

In season 1, you saw a lot of characters reckoning with and questioning their own glorious purpose, and that glorious purpose changing, [characters] realizing that that can change. Everybody except for Sylvie. I think she holds onto hers, which is vengeance, and to the detriment of us all, perhaps. And we’ve got a Loki who, at the top of our show, assessed himself as a villain and, I would argue, at the end of our show, has become a little bit of a hero. There’s nothing more heroic to me than fighting for the right thing and losing. You see that washing over him as he’s there back at the TVA, after Sylvie has knocked back there. And then he gets up because that is what heroes do — they keep going. So I think that you’re gonna see a Loki that looks at himself in a different way certainly that at the top of this.

Do you hope to explore more of Sylvie’s backstory in season 2?

I guess we’ll see. We certainly have our own rich backstory for her, stuff that didn’t get to make it into the show. Elissa Karasik, our episode 2 writer, wrote a lot of amazing backstory for Sylvia and everything. So those ideas exist out there.

And her version of Thor?

Tune in.

How did He Who Remains come about? Did you bring the character to Marvel or was that a character Marvel hoped to introduce?

I was pushing and our team was pushing early on in the writers’ room that it should be a version of Kang up in that Citadel, sort of fusing the mythology of He Who Remains with a little bit of the Immortus mythology. And that was a thing we were excited to do. And it became clear that it actually made sense for our story. The only way we were going to do it was if it made sense, but it was like, who had a better argument for creating the TVA to prevent other versions of themselves from existing then a guy as evil as Kang the Conqueror?

You wrote the upcoming Doctor Strange in the Multiverse of Madness — did Marvel hire you for that after Loki? Does the movie feel like a continuation of the show?

Yeah, that opportunity came as we were getting ready to start production on Loki. It was a pleasure. I got to work with Sam Raimi, a hero of mine. I was in London for five months making that movie at the top of this year. We had a blast. I think that it’s a continuation in as much as ever every Marvel movie is to some extent a chapter in an ongoing story, but these things are meant to stand alone and the most important thing about Doctor Strange too is making the most kick ass Doctor Strange movie we could.

Is Loki a two-part show now or are you invested in telling a longer story with future seasons beyond season 2?

Time will tell, but I do my hope is that season 1 stands on its own. We always wanted to tell a complete story there. And in whatever the next chapter may be will stand on its own as well.

Your next show, Heels, is already on the way. We got a big preview out of Comic-Con this year, but I’m curious about the scope of this story. You’re starting with two brothers running an independent wrestling franchise, but you’ve dropped the name “Vince McMahon” a few times — is this about the building of an empire? Would you liken it to The Godfather or Breaking Bad?

I always thought about it a little bit of a Scorsese-sort-of rise, and we’ll see if there’s a fall. Starting from humble beginnings and trying to build some crazy. Wrestling was certainly not always the empire that it is and that’s what’s interesting, to watch the evolution of a family-run wrestling business from something you do in your small towns and perhaps a national, even global empire. That would be a really compelling arc for a show over the course of several seasons. I’d be excited to explore that.

What’s the most dramatically fulfilling wrestling moment you’ve witnessed? What’s the bar for the wrestling drama of Heels?

It’s gotta be Hulk Hogan turning heel in the WCW. There was an invasion storyline, these guys from WWF, Kevin Nash and Scott Hall, came over and they were the bad guys. It was at a Pay-per-view and and they were beating up on the good guys that you love, and here comes Hulk Hogan in the yellow and red and he’s the hero. “The Hulk’s gonna get ‘em! The good guy’s here!” And then the Hulk just leg drops Randy Savage. That was the original Red Wedding. I just think about the boldness of turning him heel. To a little kid... I wasn’t even like a massive Hulk fan, but he was just such a mythological figure. What a chance that Hulk Hogan took as a performer, as a bankable kind of movie star at that point. That was bold, risky storytelling and it set off two years of amazing storytelling with Hogan just playing a craven, cowardly heel and just being so evil. I really respect the hell out of them for doing that. That was a great storyline.

[magnhild]

the misconceptions and mis-framing of penny’s death

i hesitated to make this post here for a good while; partially because i didn’t want to right when people’s emotions were heightened from the finale, partially because i’m sure some people are going to argue with me here and i’m not looking for a debate- if you don’t agree, please just scroll past.

i’ve made a large number of posts of penny’s death on twitter before, but some were based on my own heightened emotions, and they were all scattered over the course of a couple of weeks, so i’m making this psot to kind of gather all of those thoughts together, the most important ones, at least.

a quick disclaimer before we start- don’t mistake this as all being ‘oh you must just not really care that much about penny’. it couldn’t be more untrue. penny is a comfort character of mine, and a kin to boot. her second death was also the only in the show to really impact me, seeing as i watched v1-3 within a couple of days and didn’t give myself enough time to get attatched to any characters (and i just didn’t personally care for clover all that much). so, please don’t assuming this is coming from a place of not caring- it’s coming from the opposite.

i’ve tried my very hardest to look at what people are saying when they call her death inherintly bad writing, and honestly, i can easily see the validity to some of their points. there were a lot of flaws in the scene. 

it felt very rushed and blown-over, but then again, the entire episode did, and i have to wonder if it was done on purpose to emulate the chaos of war- you usually don’t get time to process anything. i mean, in rwby’s case, cinder was winning a fight, half of the characters that would’ve moured her were in the void, and the other half was in another kingdom. that left jaune, who had to focus on fighting cinder. it’s the same as when ruby wasn’t given time to mourn yang.

it also was weird to kill her off two episodes and probably only, like, 10-15 in-show minutes, after she’d been saved from death by gaining a human body. i think it would’ve happened anyway, given the many death flags she had, but i’d have expected- and liked- for them to wait a little longer. it would’ve been nice to see her adjust to having a human body, that’s for sure.

and i can fully agree that framing suicide as a good thing is not...a good thing. but, that brings me to the first point when i say ‘misconception’. because, penny’s dead wasn’t suicide at all. and i have no idea why people would frame it that way it the first place.

first of all, if we’re going to start labelling sacrifices as suicides, we’re going to have to say the same about pyrrha, vernal, and probably yang even though she didn’t actually die (but she thought she would). but being killed in a battle while protecting people...is sacrifice. penny asking jaune to kill her quicker, so that she could make sure the powers went to winter, was sacrifice. it also meant that she didn’t have to die slowly and painfully instead. penny was not suicidal. she has never been suicidal. to be suicidal is to want to die. penny never wanted to die- she only ever believed that it was her only choice to save the people she cared about and the city she was assigned to protect. in penny’s situation, i imagine you’d have a hard time finding another way out of all the siuations she’s been in too. it honestly feels like people are only calling it suicide instead of sacrifice to frame the scene as worse than it was, and that rubs me the wrong way.

and now you’re probably wondering, ‘but blaire, if she’d let jaune save her, she wouldn’t have died’. except that everyone who thinks that is missing one critical factor- she would have died anyway.

cinder’s blow was a killing one. from the moment she struck, she was already starting to steal the maiden’s power. a little longer, and she probably would have. but the one thing a lot of people seem to miss is that, even though jaune was there, he would not have been able to save her. firstly, his aura would have been extremely low at that point, considering we see it shatter in this episode; he probably would not have had enough to fill another person. he maybe could’ve sealed the wound a little before his aura would have broken, and then cinder would’ve just kept going with no problem.

but, even if he somehow had been able to- his aura recharges pretty quickly, after all- another critical factor is that there literally wasn’t time. penny said so herself. as i mentioned earlier, cinder was winning the fight agaisnt weiss. and we’ve seen how long it takes for jaune to heal someone. with weiss, he was lucky; there were several other people there to protect him and weiss while he did his work. with penny, there was only weiss. the moment cinder saw jaune healing her, that would’ve been it. with both of them defenselss, she probably would have killed jaune on the spot, given that weiss never would have been able to stop her on her own, and continued to take penny’s power. jaune or not, penny would have died. because penny didn’t kill herself, jaune didn’t kill her, cinder killed her. this was a murder.

bu then, what was all that about penny finally making her own choice? was it not to die?

no. of course it wasn’t. how i ever believed that myself at one point baffles me, because the more i look back, the more it’s very obvious that it wasn’t the case. it’s almost funny, actually, because my current self would’ve called myself from two weeks ago stupid for believeing such a thing. 

as i mentioned, penny has never wanted to die. and, in this case, it wasn’t even that she felt she had to for the greator good; she was dying anyway. her choice had nothing to do with death. her choice was who to pass the winter maiden’s power onto. because, if jaune hadn’t used his sword and severe’d cinder’s connection, the power very likely would have gone to cinder instead. she’d have the relics and both the fall and winter powers, and she’d have been near-unstoppable otherwise. 

even the wiki editors somehow saw this more clearly than i did, but like i said, it’s actually pretty obvious. once you get the weird idea that penny was suicidal out of your head, it’s clear to see that the choice she was talking about was to choose winter. and it’s a damn good thing she did, because winter probably would have died otherwise, and the evacuees would’ve been left defensless agaisnt the grimm- penny wouldn’t have been able to save them, as we’ve established.

the last thing that everyone should consider is that we literally have no idea what could happen next. it’s hard to write this off as anything when we don’t know what effect it will have on the story and characters, or- though it’s a stretch- if penny will even stay dead. she is, after all, based off a character who dies and is ressurected on a frequent basis. it was the same case with pyrrha and clover’s deaths; both were dismissed as bad writing based purely on assumptions, only for the auidence to find out later that both deaths actually served pretty reasonable purposes; pyrrhas’s to set the stakes and give all of the character’s a reason to keep fighting, and clover’s to demonstrate how loyal-to-a-fault the aceops were, and that ironwood had no problem sacrificing his own men.

in the end, to call this a good writing choice is probably a stretch. but, it wasn’t a bad one either. there were just too many factors that weren’t considered, or were misunderstood, and the aformentioned rushed feeling of the episode probably did not help with picking all this out. these are realizations it took me days and even weeks to come to. what’s instead important is to look at the situation from as many different angles as possible, and to keep in mind that we can’t really say anything for certain about the consequences of the event. nuance is important! espeiclaly in media critisism!

i genuinely hoped this has opened people’s eyes, even if they already didn’t consider it bad writing. seeing crwby, and this show, undermined so drastically, has been pretty hard for me to see, especially when some people are using it to call crwby morally wrong. i’ve even seen people say it was transphobic, because penny was trans-coded, while totally dismissing may, a canonically trans character. and i know that crwby are getting death threats again, which is bitterly disappointing and enraging. stop. and stop enabling this behaviour. 

also, if you’ve read over all of this and still don’t personally like the decision, that’s fine and understandable. i can easily see why people still wouldn’t. but i think it’s important to remember that not liking a writing deicsion doesn’t necceserily make it a bad one. kind of like how me not liking any of star wars doesn’t make it a bad franchise.

thanks for reading, and please remember to just...be nice. and if you’re still mourning penny’s death, which is understandable, remember to look after your mental health! she would want you to!

[your-brilliant-lady-m]

Part 5 - Basic Concepts of Miraculous Ladybug: Guardians

Helloooo! Did you think I was done? No!

My PhD thesis chapters were approved last week, so have some celebratory meta. I haven't seen the latest Season 4 episodes, so do forgive me for not being up to date.

Welcome to the next part of my analysis of the basic concepts of Miraculous Ladybug. Today we are talking about Master Fu, Order of the Guardians and how little everything here makes sense. I highly recommend reading previous parts to fully understand this one, but I'll try to quote most parts of earlier posts.

Order of the Guardians

Order is an international and ancient organisation (New York Special showed us the guardian from North America and he was dressed like Su Han). Presumably, Miraculous jewels were created by these people. Guardians are responsible for the preservation of jewels and knowledge about them. They also distribute Miraculouses to worthy people around the world to combat mostly magical threats, but sometimes jewels are used against normal threats too. It's implied that Master Fu used Miraculouses during WW2 when he was in Paris. Perhaps he performed some spywork with Marianne, but the magical nature of his interferences was discovered and he was forced to flee, before returning to France many decades later.

Why does the Order need so many people to take care of a 3 Miracle Boxes? If its only purpose is to preserve knowledge, keep magical secrets and distribute Miraculous jewels then wouldn't it be more logical to have Master-Apprentice system? It's much easier to keep magic knowledge a secret and train a few people in martial arts than doing the same in the self-sufficient temple full of people, keeping in mind that a good part of them are teenagers and children, who are bad at keeping secrets. Also a single person can travel around the world much easier to give out Miraculouses. Imagine that we have a few active guardians traveling the world with Boxes. What do other people at the temple do in the meantime? They teach the next generation about the powers of each Miraculous and Mirakung Fu, but besides that?

Master-Apprentice system gives us more personal conflict between Fu and his mentor and makes his relationship with Marinette and Adrien more nuanced. In this scenario Fu accidentally caused the death of his Master at 14 because he wasn't careful. It makes sense for him to take on only 1 or 2 students if this is how things were done with Miraculous Guardians. This Wang Fu is very cautious and protective, he spent the majority of his life afraid of hurting someone else and never took an apprentice as a result. But now he is ready to try again, since he is not getting any younger and he likes these 2 kids. He wants them to succeed. Maybe Master Fu, becomes the father figure for Adrien in this situation and a guide for Marinette. Just think about it. This way writers avoid the need to develop all these extra characters (Su Han) and traditions related to the Order. All inconsistencies I mentioned before and later in this post are gone now! Hell, even memory loss and the changing of the Miracle Box shape could make more sense. We also raise the stakes post-amnesia, if it happens of course (the whole Season 3 finale didn't make sense, so stay tuned for my next meta). Marinette and Adrien are on their own now, there's no one who can give them answers. It's very fun scenario, which has potential to be brilliant. Any thoughts on that?

The existence of Order of the Guardians is not quite a secret, at least it wasn't in XIX century China. Master Fu in "Feast" says that guardianship was considered "a great honor". It implies that people who lived close to the temple of the Order knew about Miraculouses and what exactly guardians did for the greater good.

The existence of other Miracle Boxes around the world makes sense from a real-life perspective. Writers have the ability to create many stories set in the same universe and use them for merchandise and an almost unlimited amount of content. Judging by the unholy amount of specials in production, this is exactly what the creators are going to do. It probably won't go down well, but who knows?

However, it doesn't work in our main story. The main conflict is Paris-centred. Gabriel's motivations revolve around Emilie's resurrection and Season 4 gives us more reasons to suspect that Adrien's mom wasn't as wonderful as everyone says. Hawkmoth still remains the main villain of the show and most likely it's going to stay that way. There's no point in moving the main story to different places for the sake of introducing more Miracle Boxes from around the world. Ladybug and Chat Noir aren't needed to fight something halfway across the world unless Hawkmoth also changes locations.

LB and CN are centrepieces of this franchise. They brought success and money to ZAG. Creators constantly need to remind the audience that this new piece of media with new characters who will never be mentioned again is connected to Miraculous Tales of Ladybug and Chat Noir. Writers have to come up with reasons to include our heroic duo into the story even if makes no sense.

New York Special had to introduce American Heroes whose names rarely come up in the fandom because people stopped caring about them or their stories shortly after the release of the Special. I barely saw any content dedicated to them. In order to bring LB and CN into the story, you have to include Hawkmoth too. Gabriel suddenly needs to get his hands on the Eagle Miraculous and goes to USA. Marinette and Adrien suddenly have a class trip to New York. Unfortunately, their presence in this story is required only to expand the world of Miraculous and attract fans of the show, so that they could keep an eye on new content related to newly introduced characters.

In the end, it's not their story. Events of the special don't affect main story of the show and the development of the love square is merely an illusion, because Adrien and Marinette are no closer than before. In season 4 LB and CN are growing apart and their test of trust in NY Special doesn't matter. Perhaps, some people don't see it that way and it's their right, but I find it hard to see NYS as a valid contribution to canon. I mean, even people in large portion of the fandom state in the tags on AO3 that "specials are not canon", "specials didn't happen" or "ignores both specials". It speaks volumes about continuity and preferences of your fandom.

Shanghai Special didn't give us more information about the Order, which is located in China, history of Miraculous jewels. We still don't know much about how Gabriel and Emilie found Peacock and Butterfly. Maybe, Marinette's family had connections to Miraculous jewels. Maybe, Adrien does some snooping and discovers research his parents made while Gabriel is away. All of these are relevant to the main story. However, we got something much different in the end.

Marinette chases Adrien across the globe and they make new friends. Fey becomes Ladydragon and now has a direct contact with Marinette through her uncle. Gabriel's desire to get his hands on the Prodigious comes out of nowhere. Apparently, he had been planning this trip for years, presumably even before Adrien was born. It probably happened at the same time as Agrestes found 2 Miraculouses. He bought bracelet-key (which is also a Miraculous apparently, but its Kwami is a Guardian of the Prodigious and they existed separately for a very long time - and let us not dwell on this mess) from some shady mafia boss, who can easily find out just who Gabriel really is (fashion designer billionaire) and use this information to blackmail him. This Special didn't answer important questions, but it gave us a new superhero character.

The real question is whether Miraculous as a project will survive long enough for writers to create content for every minor character they introduced in all specials. This is only a beginning after all.

Miraculous is not a global show and it can't be globalised in a way that makes sense, at least with Ladybug and Chat Noir in the centre of action. Case closed.

Mirakung Fu

I liked the idea of Mirakung Fu introduced in "Furious Fu". It makes sense and things rarely do in this show. Miraculous grants its holder superhuman strength, stamina, endurance and ability to fight. This means that essentially transformed heroes are guided by magic in combat. There's nothing personal in the way Miraculous holders fight. You can predict their moves and learn how to fight this magic guidance, which is what Su Han does.

However, if the holder has any special training, skills or knows any martial art in their civilian life then they become more dangerous opponents during transformation because now their fighting is a mix of magical moves and their personal knowledge, tricks and style. Therefore, Adrien and Kagami as skilful fencers have more chances of winning against someone who knows Mirakung Fu than Marinette, for example.

Memory loss

At the end of season 3, we find out several things:

apparently, now Miracle Box can change appearance to suit its guardian;

when Guardian passes down the Miracle Box to someone else, they lose memories not only about everything related to Miraculous, but also about pretty much everything in their life (Fu doesn't recognise Marianne, instead he experiences the love at first sight)

Master Fu trains Marinette to be the proper holder and next Guardian off-screen. He says that her training as the holder is complete in "Feast" and wants her to become the next Guardian. Fu told her lots of things, and yet, he never mentioned the fact that he would lose his memory after relinquishing the box, nor the fact that Marinette would lose her memory afterwards. She finds out about this from Wayzz after the battle with Miracle Queen and the letter that Master Fu gave her. That's not proper training! How on Earth do you forget to mention this memory loss? How?

Master Fu's amnesia is a convenient plot device that removes him from the narrative almost completely. That's mostly all there is to it. Why? Because it doesn't make sense.

Fu was around 7 or 8 when he started his training. The disaster at the temple happened when he was 14. He stated that his training was never complete, which means that he never passed any magical ritual, never swore an oath or was bound by some kind of spell that made him subjected to the rule of memory loss.

Miracle Boxes belonged to the order, not Fu. Their design reflected their country of origin because these Miraculous were made and kept in China. They were just standing there on the shelves not magically bound to anyone in particular. When Feast attacked, monks just tossed Wang Fu the miracle box and grimoire. No one at the temple lost their memory after Fu took the box with him (Su Han is the proof). Su Han not only remembers Fu and his mistake but everything that happened that fateful day as well. In "Furious Fu" Marinette explains Su Han that Master Fu lost his memory in the very first conversation they have. However, after Ladybug and Chat Noir fight Su Han on the roof and escape with the Miracle Box, the latter searches for Fu and attempts to take his staff from him. In this scene, Su Han acts like Fu knows very well what is going on and who he is.

Su Han should be aware of the memory loss rule as the Celestial Guardian. He remarks on the different shape of the Mother Miracle Box and calls her "incorrect", which means that Su Han should have been able to easily tell that previous Guardian lost his memory and the Miracle Box is now bound to someone else. But he doesn't say anything. Moreover, since Su Han is supposed to know about amnesia, he seemed awfully chill about forcing this 14-year-old girl in front of him to give up the box and her memories. Hell, Chat Noir wasn't on board with this. But we get zero reaction from Su Han.

During the first conversation between Marinette and Su Han, he doesn't ignore what she is trying to say, instead he actively comments on every word. Even if Su Han didn't listen when Marinette told him about Fu's memory loss, than he still should be able to understand that Fu doesn't recognise him, because of common sense and the "incorrect" shape of the box. But nothing of the sort happens. Because writers apparently forgot that "memory loss" is supposed to be known to everyone in the Order. On-screen it looks like Su Han is not aware of the "amnesia rule".

"Furious Fu" makes the concept of memory loss a plothole no matter how you look at it. Just like "Timetagger" and "Chat Blanc", as well as "Kwamibuster" this episode is not consistent within itself. It does not surprise me, however.

Grimoire and Guardian Staffs

Let's talk about the Miraculous Grimoire. Good things first.

There are no illustrations of Miraculouses in camouflage. Kwami can't read its contents, only guardians can. Certain elements are written in riddles as an additional precaution. The book contains only the information people have learned so far, which means that Miraculouses have more unexplored potential ("Mr. Pigeon 72"). It describes powers of each Miraculous, provides information about weapons, has instructions for potions that don't make sense (see previous parts).

Unfortunately, everything is about to go downhill from here.

Guardians are taught how to read the writing in this book. They can read it just like people learn to read texts in a different language. This means that one can read Grimoire like any other book (you don't need to consult some guide to decode each letter or word). Master Fu proclaimed Marinette an almost fully trained Guardian. He should have taught her how to read the Grimoire then (he doesn't know the code very well, but he knew enough to understand the general meaning and content of the book according to "Collector"). He didn't. We don't know why. He shows her powers of every Miraculous but doesn't teach her the code.

Master Fu knows that Grimoire now belongs to Gabriel Agreste. He knows that it's dangerous for someone else to have it. If they knew how to read the Grimoire, they could discover all secrets of Miraculouses and harm Ladybug, Chat Noir and other heroes. It's very important to keep the information about the code top secret because Fu is not the only one with the source material.

What does he do then? Master Fu proceeds to write a French translation of Grimoire for Marinette, a translation that he doesn't even need. He carries it with him at all times on a tablet (without any precautions) just like the Miracle box after "Feast". Naturally, it means that in "Miracle Queen", Gabriel and Nathalie easily managed to get their hands on the tablet and Miracle Box. It allows the plot to happen, sure. But it doesn't make any sense.

"Furious Fu" created another curious plot hole. It will probably be ignored, of course. Su Han has a staff with a magical compass that allows him to find any Miracle box, but not the Miraculous jewels for some reason. How does the staff work? Can it locate the box without the Miraculous? If yes, then it seems useless. What's the point in the ability to locate an empty box? If it can locate the box only with the Miraculous jewels inside, it implies that the staff can track the location of every Miraculous too. So, Su Han could just locate the Butterfly and Peacock without any problem. But he talks about reassigning Ladybug and Black Cat to adults and defeating Hawkmoth like locating the Butterfly is not possible. This situation makes the Guardian Staff a simple plot device that creates plot holes and its only purpose is to explain how Su Han found Marinette.

Also, I have a few more words to say about this. Master Fu had a Guardian Staff that was never mentioned before. I wonder why? That's because the staff didn't exist before "Furious Fu" was written. Writers just went: "Do you know what would be cool? If Fu's cane was really a secret Guardian Staff with a compass all along that he decided to keep even after he lost his memory? It would make people wonder whether Master Fu is faking amnesia, and everyone will definitely call him an awful mentor after this even though we kind of tried to make him a good and responsible person."

Fu didn't give it to Marinette and didn't mention it to her. Why? When he gave up his memory, he should have written about this in his letter at least. Why did he decide to keep it? He can't use it anyway now.

Please note how in the flashbacks Fu didn't take any staff with him when he escaped the temple. Su Han seemed to know how Fu's staff looked like. It means that Master Fu didn't make this staff himself, because it belonged to the Order.

Su Han wasn't even surprised that Marinette didn't have the staff as the current Guardian. Was she not supposed to have it? He never questioned the fact that the former Guardian without memories has the staff. Su Han actually returns this staff to Fu after he is deakumatized and Fu acts like they have never met before. Why did Su Han gave the staff back when he knows what it is and to whom it should belong (to him or to Marinette as the current Guardian)? The staff is useless in the hands of the civilian. Does Marianne know about its secret? We'll probably never find out, unfortunately.

Guardian Staff of Master Fu has a compass too and therefore this also makes it a plot device, just like Su Han's staff.

[bumblingbeasblackhole]

Why Momo Yaoyorozu would have been a more effective hero as a plus size woman.

Hello all, it’s time for a BNHA rant. A rant in my opinion that is long over due, and that my friends is on one of my favorite characters in the franchise. Momo Yaoyorozu AKA Creati.

Buckle up lads were in for a hefty analysis. (Note the read more) I promise it’s worth the read.

Now, we all know Class 1-A’s vice class rep and resident braniac Momo.

Just in case you’re new here or need a refresher, Momo’s Quirk is called Creation. The basic breakdown of her quirk is that her body uses the Lipids (fats) in her body to create any inorganic material of her choosing.

Now, there’s two key things to remember about her quirk.

First, her quirk requires her to use her physical body reserves in order to function

Second, she has to know how to make those matierals. From bottom to top. That means she has to not only have a design of what she wants in her head but the exact molecular compounds to create those objects as well.

Momo to her credit does this well. She’s been flushed out slightly enough to see various instances where she’s had to improve either on her knowledge of materials and compounds or her speed to achieve the full creation of an item. It’s something we see from her constantly in both the Manga and the Anime.

For example, the first time we are (formally) introduced to Momo’s quirk she creates a few items

A staff for herself, a sword for Jirou, a net to contain the thugs, a thick insulated blanket large enough to cover both her and Jirou, and finally the remembrance of her hero suit.

These items all together begin to wear Momo out as she’s left panting and even tells Jirou that she has a hard time creating such taxing objects on her body. This is stated to the audience the first time we see her in action. It takes her time, concentration, and most importantly her body’s lipid reserves.

This is the first time we see Momo wear herself rather thin. While this in itself is impressive and a great introduction into the character and her abilities and strategic wit in a battle, the rather more harmful implications are yet to be seen. This incident, while foreshadowing her later issues, does not compare to other instances later on the series.

There are three key issues with Momo as she is currently.

Her body/character design inherently limit her abilities as a hero.

The push for her to be a sexy hero/character is ultimately determinetal to her effectiveness as both a character and a hero.

Her intellect is not reflected by the way she operates as a hero. Instead, it is often negated for the sake of her design.

These points seem vague or over harped but I’ll go into detail about them. (Hang in there, this is well thought out and developed, I promise)

But before I get into the key issues and solutions, there’s a lot that’s absolutely fantastic about Momo.

Momo is a great character because she is more than the typical snobby rich girl trope. In fact, she’s not at all snobby. She is the most helpful, kind, and oblivious rich character I’ve ever seen. It’s part of her personality sure, but it’s not the only factor. It’s more or less just a gag for laughs between the other characters.

She is also relatable in the way she has self worth issues, different from Midoriya’s self worth issues. She was never (that were aware of) beaten down or belittled. Her issues sprouted from the way she was confident in her abilities, intellect, and quirk only to be thrown in the deepend UA.

Which idk about y’all, but honestly that shit hits home. If you were ever the smart-kid-who-learned-quickly-and-skated-through-school-only-to-be-out-of-your-depth-with-new-self-worth-issues-when-that-is-no-longer-the-case (or anything similar) than you catch my drift. So score for relatability.

Alas, onwards.

Let’s tackle the first problem.

The way she treats her body now is detrimental to her quirk usage long term.

I’ll explain,

Momo’s quirk functions relatively similar to another hero we are later introduced too, Fatgum.

Now I know what you’re already thinking,

“Bea! She’s supposed to be sexy! She’s supposed to be feminine! Her quirk burns it all so she can look like that! Fatgum has to only store it all!”

On some levels you’re right.

On most though, incredibly wrong.

Momo’s figure is one of the main (and slightly controversial) aspects of her character. I mean, look at her design versus Fatgum’s

See the key differences? I sure do.

Fatgum’s quirk is called Fat Absorbtion. Basically it grants Fatgum the ability to adhere any objects to his body and make them sink into his body fat upon contact with it. And/Or he can build and channel all of the fat in his body into one overpowered and energized punch or attack. (As seen in the overhaul arc) which leaves his body, you guessed it, deprecated and thin. Much like Momo’s, they both use their body’s fat as a tool whether through expelling it or storing it for later use.

I point this out because we see time and time again throughout the series where Momo pushed herself to the limit where she has to expel extraordinary amounts of her body to get the job done. But in reality she only makes a few larger objects. This compared to Fatgum who uses his fat reserves strategically and only in the toughest of battles does he push his body’s reserves to zero. Whereas Momo does this constantly. This is because of her inefficient way of treating her quirk and ultimately, her design.

Let’s discuss some prime examples:

In the training camp arc, Momo makes roughly 15-30 masks for all of Class B students, and half of Class A. Which in itself is a tall order. When we see her again, she’s bloodied, exhausted, barely conscious, worn, and welded to Awase half alive. She even struggles as she makes the tiny tracker she places on the back of the Nomu. After this, in the hospital (pre Kamino rescue) she was unconscious for a day and half due to quirk overuse and dehydration.

Third, in the first movie, My Hero Academia: Two Heroes, we once again see Momo’s fatal flaw as she and a group of Class 1-A students race through the security tower on I-island. She uses her quirk to make cannons of course, a Momo signature, to fend off the security bots fairly early on in the battle. As she continues to make ammo and other items needed to win the battle Momo teeters on the brink of passing out from, you guessed it, dehydration and starvation. Jirou ends up catching Momo as she’s nearly passes out from the lack of fat/substance in her body after making the cannon and ammo.

Then we see the same issue in the second movie My Hero Academia: Heroes Rising. Where Momo is used both to create extra supplies on the island. She passes out after that alone and only wakes up later as the class is regrouping after four villains attack simultaneously. Even after rest and food, we see her later again to make two massive cannons as the first line of defense against the incoming villains. From the start of the second battle Momo is worn out and clearly lacking in lipids to participate fully in a fight. Here, she even keels over and says that she’s at her limit and looks like she’s on the brink of death via dehydration and starvation. Which she very much is.

We also so see this in Provisonal Licensing Exam arc when Momo, Tsu, Jirou, and Shoji are trapped together by a group from another school. Here this is important because the leader of that group has super intelligence granted to her by her quirk (and tea lol) has come up with a “fool proof” plan to beat the group. The bottom line of that plan is simple. Wear. Momo. Out. Which half way works too, until Momo figures out what the other group is trying to do and thinks her way out of that situation. Although, she does use up a decent amount of her body’s reserves before she figures out their plan.

^^^ this scene brings up an extremely concerning point. If a villain knows what her quirk is, and has i don’t know, seen her, then they’re going to do the exact same thing Saiko (the girl in the photo above from the licensing exam arc) attempted to do. Exhaust Momo’s resources.

Now, this has been brought up once in the actual show. During the training camp arc, we see each students training method (designed by Aizawa) in order to overwork and strengthen their quirks. For Momo, that looked like binge eating and creating simultaneously.

This also shows us that Aizawa is at least somewhat paying attention to the drawbacks of her quirk. He may not have been there for some of the more concerning times she’s over worked herself, but it’s not a hard thing to work out just by how she looks and how her quirk functions. He also sees how her speed with her quirk hindered her like in her battle against Tokoyami. However, this is the only time we see this. Plus, this is not nearly enough of solution to the problem. Which in all honesty is simple.

For all intensive purposes, Momo should be a Plus Sized woman.

Not just for diversity or validity of readers. Although it would have been a score for the plus size community since it’s always lacking here for us bad bitches but because it would have been more natural to her character. If she had a bulkier physique or even just a chubbier build she would be way more effective in a battle or even just as a hero.

Her quirk burns the fat in her body instantly while in use. Which means she needs to have a healthy reserve of it at all times, especially since I’m willing to bet her metabolism is crazy fast. Relying on the normal/average caloric intake is irrational for her quirks functionality. Her diet should look more like Fatgum’s where we see him constantly eating in order to fuel his quirk. At the very least, Momo needs to always have foods dense in fats on hand in case she’s in a dire situation where she’s running low on reserves. She would be much more effective that way. I cannot tell you the amount of times I’ve watched a scene where she’s wearing herself out and been exasperated by the fact that she didn’t have even a simple granola bar on her for emergencies.

Hear me out,

Plus size people are extremely capable of doing extraordinary things. As well as also being fit while still having a larger/healthier frame. It’s not all that uncommon. In fact, it’s something that fictional storytelling (an ex machina if you will) isn’t needed in order to cover the realistic applications. There are plenty of people in the word who are of a larger build and are also active, fit, and in overall good health standing.

In real life, Ashley Graham is an excellent example. For those who aren’t privy to this goddess, she’s a plus size model, mother, and fitness enthusiast.

Here’s just a taste of this wonderful goddesses workouts can look like:

(Credit Instagram : @ashleygharam)

Which brings me to my next point

The need for Momo to be sexy is detrimental to her effectiveness as both a hero and as a character.

I know, I know, half of Momo’s whole thing is being sexy, rich, and oblivious. I’m well aware.

But here’s a fun tidbit. Plus size women can be sexy too! Shocker I know! Sarcasm aside, having Momo be a plus size woman wouldn’t hinder her sex appeal if done correctly. In fact, I think it would only make her more appealing, marketable, and effective narratively.

Not that she really needs to be sexy at all, but we will swing back to that.

Remember Ashley Graham? The model I mentioned like a paragraph ago? Well, she’s an example that plus size women can be just as sexy/attractive as anyone else. Which only proves that Momo could still have been an attractive character even as a plus size woman. In fact, it would have been uplifting to see a plus size character who’s whole gag isn’t revolved around them losing weight to fit a societal goal, but instead a character who is plus sized, healthy, and proud. Who utilizes her body in a positive manner. I mean imagine the marketablility to younger audiences! If you still don’t believe me that a plus size woman can still be attractive and show skin like Momo would ultimately have to do in order to use her quirk, check out Ashley motherfuckin Graham doing just that

No matter how they would have gone on to design her as a plus size character, she could have still been stunning. Even if they kept her in the same costume design! Which is garbage but that’s a tangent for another time

But beyond equality and all that good stuff:

Momo being a plus size woman would mean she would have more ability for long term endurance in a battle. As it stands now, Momo taps out of a battle fairly fast. She’s tends to make one larger item and then she’s tapped. Which is highly inefficient in a battle. If anything it seems to be on par with how Midoriya’s quirk affected him in the beginning of the series. He had to sacrifice a part of his body in order to land an effective attack. Sound familiar? Well yeah. Because Momo does the same thing with Creation and she’s had it for years.

Each time Momo over uses her quirk, she’s left on the brink of passing out, if she hadn’t already, leaving her vulnerable and useless in the field alone. Each time she’s pushed herself past her limit she’s had her classmates to catch her when she falls. That’s not practical. Aizawa said it himself in the quirk apprehension test way back in chapter 6 of the manga.

So why is Momo considered differently? Why doesn’t Aizawa say something? Simple. He’s typically not around for these occurrences.

Momo doesn’t have to over use her quirk in simulations. She only does that when there’s real stakes and people on the line. The issue with that is that once she leaves UA, the stakes will always be real, all the time. Isn’t now the best time to nip this issue in the bud? I think so. But also I understand how Aizawa either hasn’t fully caught on, or hasn’t dealt with it. I mean, between villain attacks and our main character constantly almost killing himself recklessly in battle, he’s got a lot on his plate.

The other issue with her “sexy” design is that it negates from her overall character. In all official art we see for BNHA we see Momo typically left out, or hypersexualized. This detracts from her substance of being intelligent and creative. She’s often the butt of the joke when it comes to Mineta’s perverted jokes/schemes as well. Between the cheerleader outfits incident and the locker room scene Momo is constantly written off. Whereas Midnight, a pro hero and teacher at UA, who is known for her sexiness and uses it as her brand, uses her sexuality effectively without diminishing her actual worth as a hero or teacher. But then again Midnight is an adult, who is branded as the 18+ hero. Momo is a student and minor. But y’all still aren’t ready for that conversation yet.

Which brings me to the final point of this long winded rant. (Thanks if you’ve stuck around this long! We’re almost done! Follow me if you don’t already. I write stuff, paint stuff, and theorize/analyze stuff for bnha)

The way Momo is now, Discounts/Negates her supposed intellect

As I’ve mentioned already in this rant, how Momo operates now isn’t working out so well on her favor.

But that doesn’t really make sense considering she’s so fucking intelligent. I mean she’s literally top of the class academically. There is no reason for her to be so brilliant and also so bullheaded in her own quirk use. She shows us time and time again that she has brain power. Her quirk requires she be extremely intelligent in order to comprehend and apply molecular compounds in order to even sort of correctly use her quirk.

So it makes no sense that such simple solutions evade her constantly. Like I find it extremely hard to believe that Momo has never thought, “hmm I’m on the brink of death, maybe I should have eaten more” or “the last few battles left me weak, maybe I should find a solution or ask a teacher,” or even “man, my endurance isn’t all that great. I should work on that,” like anything along those lines would lead her intelligent brain to the conclusion that since whatever caloric intake she’s doing now is far to easy to burn through and perhaps the simple solution is to gain more fatty mass.

It honestly discounts Momo as a character if she’s constantly breaking down when such a simple solution is available to her. Plus on a more lighthearted note, it would be kind of great for Momo to be old money rich and plus sized. I mean it would be kind of ironically hilarious in my opinion.

Okay Bea, so what’s the point?

The point my friends is that female characters can be so much more. Especially Momo. There is always an opportunity for characters like Momo and Ochako (who’ll I’ll be breaking down next/soon) to have more substanse and impact to them than just being the second line of defense sexy characters.

Even in the actual universe that is BNHA, Momo as a hero student has far more potential than she is currently operating at.

Now, don’t get me wrong I understand that Horikoshi has a plateful of characters to deal with and Momo is probably on the bottom of the list, but it doesn’t mean we can’t imagine more for her. Because honestly it doesn’t even really matter if she changes for the better or not in canon, it’s the idea that there’s a character out there who all people can relate to whether it be average watchers/readers, plus size hopefuls, people with insecurities, readers/viewers who just like her quirk/design, or someone like me who saw a character and gravitated to the mostly relatable way she was written.

I love Momo as a character truly, she’s one of my favorites and I heavily associate with her. (Shocker I know, I mean she’s literally my icon that I painted myself) I am in no way tearing the character, franchise, or Horikoshi down. I am just observing what could have been (or could be but probably not) and pointing it out. So that maybe, just maybe, in the future there will be more characters who others can relate too. Other characters who are used at their full inspirational potential. But also, to point out some things that not only round out perspective on a character, but maybe even highlight how worth it it can be to look deeper into a characters through analysis. Hopefully I’ve done at least one of those things through this long post.

_____

Finally, thank you if you read this far into my gigantic breakdown.

Follow me if you don’t already and want too. If you do already follow me, please reblog so that others can read it if they want too.

I plan on doing more character breakdowns for BNHA, I’ve got a few already in the drafts and a cc if you have suggestions or questions. I also write fics for BNHA, so check out my AO3 link on my blog page for that. Also, you can bet your ass I’ll be writing a plus size Momo fic sometime soon. I’m really inspired on the topic (if you couldn’t tell already).

[the-bjd-community-confess]

Dear 'Anime Bad' Anon: I Want To Help I pity your situation, so please have a list of weebshit that isn't moeified, or wherein the cutesy art-style serves a greater purpose. (Note: though they won't be soft marshmallow uguuuu, they may still have issues in other ways. Some may have aged badly with regards to how society views or portrays groups or beliefs, some may have upsetting content and dark themes, and some may simply not be to your taste. Note: Anime is a genre, not a monolith, and the disparaging stereotype that it's all cute girls uwuing over their brother s-s-senpai!!! is as much of a disservice as saying all western movies are just vapid cash grab superhero movie sequels with no inegrity or thought put into them. There are indeed a lot of superhero movies, but they're not all identical schlock (megamind vs venom vs kick-ass),  but even more than that, there is a wealth of creative endeavor just beyond the veil of Marvel's cape: just as there are plenty of good anime if you dig past the isekai high school harem wish fulfillment genre that no one wants to keep making but people keep making because it prints money to a very small demographic of the animation equivalent of a mobile game whale thereby allowing this frankly quite-small industry to work on engaging and worthwhile series where the budget permits, Regardless,)

Mushi-shi: -Pros: gorgeous animation, tranquil vibes, episodic stories so you can cram in an episode between classes or on your lunch break. highly recommended by the literal-who typing this out. -Cons: some themes or stories may cause emotional distress, learning to tell apart Urushibara Yuki's characters is a learning curve.

Baccano-Pros: meticulously-researched 20s-and-30s-era mafia violence with a hint of the supernatural, as a treat, told anachronistically with flair and jazz music. practically made to be binge-watched. the novels are finally getting translated into english as well. -Cons: lots of characters to keep track of, fair bit of blood and violence, some scenes or themes may be upsetting, lots of jumping around between different time periods. See Also: Durarara, another series by Ryōgo Narita with a ton of characters and a plot with more threads an overpriced sheet.

Cowboy Bebop-Pros: incredibly well-regarded, space bounty hunters are cool, episodic series that slowly takes on a plot towards the end, fantastic animation, scoring, and even dub work.  -Cons: some scenes or themes may be uncomfortable, some parts have not aged quite so well, the smart doll version of the main character is ugly, you're gonna carry that weight.

Trigun-Pros: starts lighthearted, develops an increasingly investing plot as the series goes along. fictional westerns are cool. this world is made of love and peace -Cons: some scenes or themes may be upsetting, and probably will be. gun violence is naturally present, but that ain't all of it.

Hellsing (standard or Ultimate. or Abridged)Pros: vampires killing nazis. the original adaptation isn't bad, the second adaptation (ultimate) is generally viewed as an improvement. abridged is a youtube parody version that was so popular the voice actors reference it in convention interviews.Cons: a Lot of violence, even trending to the gorey side of things. Uncomfortable Themes Everywhere, but it's a horror-tinged action series about killing nazis, so that's to be expected. 

Fullmetal Alchemist Brotherhood-Pros: while the original anime was quite good, the second iteration is a large improvement. does to alchemy what naruto does to ninjas: It's Basically Battle Magic. the plot starts on a strong note and doesn't let up from there. -Cons: there are distressing scenes and themes that may or may not be tolerable to the viewer. there are moments of cheesecake and even an occasional joke or a moeblob here and there, and it's not all doom and all gloom all the time, but this doesn't detract from the abject horror-despair that comes to permeate this series as it progresses. finally understand why people on the internet respond so negatively to the name 'nina'! 

[Mod: many more recs/reviews under the break, worth reading for those who like more obscure anime and animation]

Grave of the Fireflies-Pros: you will remember how to cry. it's a good reminder that one country's 'triumphs' often come at the expense of another country's people.  -Cons: this movie is incredibly dark, do not watch if you are in a bad headspace. see also: Barefoot Gen, a similar tale but this time from the perspective of an actual survivor from Hiroshima.

Michiko to Hatchin-Pros: an actually diverse cast of characters tangled up in a messy and very humanizing story, interspersed with Shinichiro Watanabe's particular flare for adventure. -Cons: some scenes or themes are very likely to be distressing. can be tricky to find, too.

Mo no no Ke (not the ghibli movie, though it is also quite good.) -Pros: incredibly unique art style and pacing that draws heavily from japanese theatre traditions, every screenshot is wallpaper-worthy. -Cons: may cause motion sickness. it is a psychological horror series, and one that does not need blood, nor gore, to cause visceral emotional response in the viewer. scenes and themes will be distressing- as really, that's the point.

Tokyo Godfathers-Pros: a transwoman, a (self-identified) homeless bum, and a runaway teen girl find a newborn in the baby on christmas. incredibly wholesome, somehow, and grounded in reality, with wonderful animation from the tragically late satoshi kon. -Cons: it is grounded in realism, and sometimes, people are dicks. mild transphobia warning, too, but in-universe- the transwoman herself is portrayed with kindness and allowed to be her own (wonderful!!!) person. still, viewer be mindful.

Kino no Tabi (the first series is my preferred, the second is shinier but lacks emotional impact- in my onion.) -Pros: mostly episodic, very unique series that can be gritty where it counts and kind where it matters. -Cons: some scenes or themes might be disturbing. finding it's not easy, either, and unfortunately, i don't think the novels are being translated right now, either.

Spice and Wolf-Pros: it's mostly about economics. there are shenanigans, a harvest god, and a slowly burgeoning romance, sure, but it's still mostly about economics. -Cons: there are moments of cheesecake and comedy, and moments that may cause distress to the viewer. it may or may not be to your taste.

Puella Magi Madoka Magica-Cons: yeah i know, it's moeblobs.  -Pros: you're gonna watch 'em die, though, in case that may interest you. it's quite a good subversion of the magical girl genre overall. somehow volks hasn't made an MDD of anyone from the series and i will never understand how that didn't happen.

Wolf Children: Ame to Yuki-Pros: watch a family grow together as a newly-single mother does her best to raise her twin children after the tragic loss of their father.  -Cons: keep tissues handy. certain scenes or themes may be uncomfortable.

Lupin III (Red Jacket, Ghibli, and the new 3D animation are all A+) pros: heist comedy elevated to an art form before half (or more!) of the people reading this were born. the english dubbed series that used to air on adult swim is a treat. cons: this franchise started in THE SIXTIES, so naturally, some shit has not aged well. certain series (fujiko mine) are darker than others in themes and material. the 3d movie that released recently is an excellent starting point.

Samurai Champloo-Pros: breakdancing samurai, a fascinating roster of characters, and a superb soundtrack by the tragically passed Nujabes. -Cons: it was made in the weird era of the transition from analog to digital animation and so the /series master/ was animated at a painfully low resolution, so even if there's a bluray out there (I haven't looked,) it will be an upscale, which doesn't always look the best. as well, there are scenes and themes that may make the viewer uncomfortable here and there.

The Works of Studio Ghibli Oh, I'm sorry, Ponyo too suffused with childhood wonder for you? My Neighbor Totoro not depressing enough?  In addition to the infamous Grave of the Fireflies, Studio Ghibli has made a wealth of movies that aren't aimed squarely at the kodomo (children's) sector. -Nausicaa of the Valley of the Wind: climate change existential dread, the movie -Castle in the Sky: government obsession with obtaining weapons of mass destruction destroys everything beautiful, the movie -Pom Poko: human-caused deforestation and urbanization is destroying the natural world and all that live in it, the movie -Princess Mononoke: industrialization will be the death of everything beautiful in the world, the movie, with a side of sometimes everyone (and no one) is the villain when everyone is simply trying to survive -Howl's Moving Castle: The Physical Manifestation of Depression is a Liquid Ooze, the Movie, also War Is Bad It's not all depressing, but let it never be said that Hayao Miyazaki was subtle. Whisper of the Heart is a good coming-of-age story, Kiki's Delivery Service is a classic, Tales from Earthsea is divisive among fans of Ursula K. Le Guin but I personally liked it. From one studio alone there is a wealth of opportunities.

And that's really the point. These are just some from the top of my head. There are so very many options outside of the cute-girls-doing-cute-things genre that I couldn't list them all if I was here for a week. Or as Madoka Magica so ruthlessly showcases, even series that appear a certain way on the surface might not be what you bargained for once you look into them! These are all (I think) mostly older, mainstream-appeal series that should be easy to track down, too -- there are all kinds of singular animations like The Diary of Tortov Roddle, crowdfunded experiments like KICK-HEART, Masterpiece World Theatre renditions of classic (western) novels that never get talked about, films like A Silent Voice that confront social issues- and of course, series like Rozen Maiden that helped popularize this very hobby!

There is literally an ocean of content to explore from Japanese creators alone, and it opens up even more if you look into works from other parts of Asia- just look at how popular manwha have become, or Chinese animations like Leafie, a Hen Into the Wild! It's a genre unto itself, with all the breadth of content and inter-industry problems that come with it, and without any of the respect that similar art forms have been granted over the years. The way an entire culture's art form is often disparaged, disregarded, and belittled- and by extension, the way most of Asia's animated endeavors are often rolled up into that reductive dismissal along with anime and manga- is honestly Not Great, and there is absolutely a thread of xenophobia that runs through it. The industry has so very many problems (low wages, poor training, overwork of everyone ever, archaic financial modules, the exclusivity and breadth of merchandising necessary to turn a profit and how it leads to consumer burnout and disconnection over time, and yes, the way minors are portrayed not just in anime, but in Japanese media in general- and how much of that is actually bad (some of it is indeed,) and how much if it is cultural difference (I've heard people call the scene where the family in Totoro bathe together problematic because of the nudity, but I've also only heard people say that from the West)

-- none of the actual problems affecting the people who produce this medium are gonna improve when the general response to "animators frequently have to live at home to survive" is "that's what happens when you're a weeb."  It's 5am and I'm gonna point out the problems in the narrative around how we discuss this genre of entertainment because it's important, damn you! Regardless, thank you for coming to my unasked for and overlong TED talk about animation on a doll collecting drama blog, feel free to call me a pathetic weeb etcetera on your way out- but while you do so, might I suggest you also go watch a choice animated series! My current go-to is Bofuri, which is a cute-girls-doing-cute-things moefied isekai series that I refuse to apologize for watching. Be free. (The battle scenes are great and it captures the feeling of learning to play a new MMO with your friends better than most video-game-based anime I've seen in a long, long time. does anyone even still remember .hack? how about serial experiments lain...?)

~Anonymous

[catboycafe]

I Will Now Express Every Thought I Have About Pacific Rim: The Black 

⚠️ spoilers for the whole thing baby

I actually forgot Pacific Rim: The Black was premiering today until I saw it in an article this morning! When I first heard about it months ago, I was decidedly not sold on a Pacific Rim anime. Uprising burnt me the fuck out and I don’t have a lot of trust left in me for new entries to the franchise. But I had heard rumblings of Raleigh and Herc being referenced after going into #pacificrim and I decided I may as well check out to see what was up! I binged it in 4 hours and it sure was a whirlwind, I’ll tell ya

The Plot

I really enjoy the setting and initial concept! We’re so use to seeing Kaiju/Jaegar shenanigans play out within these major cities with helpless civilians everywhere that spending so much time in a lonesome desert and these destroyed civilizations was really cool and indicative of the changes Pacific Rim has undergone in the last few years. I also looooved the Desert Settlement from the beginning!! It seemed really homey and picturesque; I wish we’d spent more time with the other survivors and got to see more of their day to day aside from farming and sitting. 

I also found the first episode set up to be really tight and well written! I was hooked during the initial flashback, Hayley and Taylor’s fight was really poignant and well acted, and the reveal of Atlas Destroyer felt really huge and epic!!

But once we left the Desert Settlement and the plot started actually moving along, the pacing becomes suuuper rough. We spent way too long in Bogan with Shane and Mei; there’s only 7 episodes and we spent, like, 3? 4? within the confines of that camp and I felt it weighed the plot down. Boy is introduced in the 2nd episode and, because the narrative spends so much time on Shane’s evil machinations and Mei’s back story, we still don’t know anything concrete about his origins or purpose 3 episodes later! That felt frustrating to me

The story beats overall were very predictable. I was able to pick up on Mei’s backstory via her dynamic with Shane in their introductions, so her memories felt too built up and too hollow once they were revealed. The same with the reveal of Boy’s Kaiju form; he was in a big green test tube in a PPDC base - I assumed immediately he was a part-kaiju experiment and again his reveal felt hollow, especially after the glacial pace of it’s development. 

Even when events weren’t predictable, they lacked weight. The appearance of several Kaiju Breaches in “Boneyard” felt very cheap for some reason; I wasn’t scared and I didn’t feel tense about these odds mounting against the protagonists. This was just happening and I was just watching. 

The Art Direction and Animation

I’m very obsessed with all the new Kaiju we got from this; I love how Copperhead is rendered, they’re a joy to see on screen!! The Rippers are also very cute and deserve little plushies...i love these neat little dogs. Boy’s Kaiju Form is very intimidating with an interesting color palette and I loved seeing him next to Copperhead’s highly saturated design!

That’s unfortunately all that I liked however; All the human character design is unmemorable to me. Every character looks exactly like another easily identifiable anime character from a different property (Hayley looks exactly like Zero Suit Samus to me, for example. And Mei kept reminding me of both Bernadetta Fire Emblem and Motoko Kusanagi from GitS. The list goes on). 

I can sort of understand why they’re so bland? A franchise going from Live Action to something as heavily stylized as anime is probably a really difficult transition and these designs are probably meant to be more lowkey than more unique anime designs in order to help that transition. But realistically stylized designs can still be recognizable and unique! These feel uninspired and bare bones.

 I have no problem with the switch to CGI animation that modern anime is doing because I know it’s a lot cheaper to produce and it can still be really unique and striking! But The Black’s model animation felt very stilted and inconsistent. I don’t have a lot of knowledge about animating so I don’t think I can accurately describe what I disliked? Wooden is probably the best term. Character movements felt wooden and things like hair and clothes felt plastic. 

Impacts also had very little weight. The fight between Tayler/Mei and Copperhead reminded me of when you’re in a dream and trying to punch something, but you can’t punch hard. It was simply too floaty and too soft. The final showdown in “Showdown” was better, but not by much. It was very immersion breaking seeing these Giant Robots and Giant Monsters unable to throw a real solid hit!

Characters

My favorite character was unequivocally Joel Wyrick. We love Joel Wyrick in this house! Joel’s character has real charisma and charm. I love his flirtations with Loa, how his cocky disposition is juxtaposed with his drinking problem and later insecurities over his lost memories, and his genuine kindness shown to Mei, Taylor, and Boy. No one ever plays with Boy, they just run after him and drag him around...but Joel has this moment in “Escape from Bogan” where he kneels down to Boy and helps him collect rocks. It was sweet!

So of course, when Joel dies for absolutely no reason 5 minutes later - pissed! I was pissed! I yelled “COME ON” aloud in my studio apartment! I was genuinely so excited to see him interact more with the rest of cast then, poof. No More Joel.

His death felt like it was for shock value to me rather than actual narrative development. Why kill him when we still don’t fully understand his and Mei’s relationship? Why were they so close? Were they childhood friends, or just coworkers that happen to become friends? Why did he specifically know all the details of Shane’s abuse towards Mei before she did? 

What did his death accomplish? It made Mei sad...ok? She was already...very sad. Her running away from Shane already had consequences - the consequences of Shane coming after them for revenge in the future. Why did Joel have to become a causality? 

His death is ultimately tied to Mei’s character arc which is, unfortunately, my least favorite :c I find Mei to be a really one dimensional character with a personality, backstory, outlook, and motivation that I’ve seen done a million times before with a million other characters. She feels very out of place in the franchise as a whole - Pacific Rim is, at it’s core, a story about connecting with others. Her self-centric arc and lack of desire to connect outside of drifting really alienates her from the story at large and it frustrates me how long The Black’s narrative spends on her. 

Hayley and Taylor were otherwise very interesting in the pilot episode, but become similarly one dimensional at the story chugs on. Taylor’s unflinching (bordering on unhealthy) faith in their parents was really interesting next to Hayley’s complete acceptance of their parents’ death. But once the two of them make up their differences, they lack an interesting dynamic and become very passive protagonists.

 Taylor especially has no personality - how would you describe Taylor? He’s...brave. He’s the older brother. He’s a leader? He’s nice? There is nothing noteworthy about him at all, which is sad considering I think he has the potential to be a really interesting way to explore the original movie’s influence on The Black’s story.

Hayley’s grief and self-blame are more interesting than Taylor’s...nothingness, but she still falls into this one-note trope of being the naive, excitable little sister. I guess I feel abnormally frustrated about this flat character writing because Pacific Rim’s incredibly unique cast has always been an inspiration to me! It feels sad that this new iteration into the series is full of what feel like stock characters. 

Then we get to Boy. How come Boy can’t have a person name? It’s specifically written in a dialogue between Taylor and Hayley: “I’m not going to call him Chad or Barnaby or one of those names for a baby brother you wanted as a kid,”

Why?

He’s by all accounts a human child when they find him. Yes, he was found in a big green test tube - but he walks and acts just like a human child. The only difference, seemingly, is that he is non-verbal and engages in strange/annoying behavior (running off, eating bugs, etc). So he isn’t deserving of a name?? I don’t know why that makes me so mad, it just does. it’s like they refuse to treat him as a human even before they find out he’s a Kaiju  - it’s super weird! How can the story sell me on the three of them becoming found family (like they’re seemingly trying to do) if the protagonists won’t even treat this kid like a kid??

Misc. Thoughts

The callbacks to Stacker, Herc, and Raleigh were cool! I also like that Herc is a major plot point! We love Herc Hanson and it’s what he deserves. I also find Loa’s connection to Horizon Bravo very interesting...and the fact we’re getting Kaiju cultist lore! Love that! Love that!

Fucked up that the only two dark skinned characters were: 1) removed from the story 10 minutes in with no call back yet, 2) Killed after having 1 line of dialogue and fridged for the character development of the blonde white girl. I really need to know what the deal with those 4 characters leaving in the beginning was about - I absolutely thought we’d see them again by now, but no dice

I don’t know how to feel about Ajax and have no clue what their purpose in the story is. They’re cool, but whats the point? 

If Mei and Taylor are paired up together romantically, I’m putting Craig Kyle and Greg Johnson in the time out box. Very tired of seeing random hetero romance B plots in stories that can’t even get their A plots together

Overall, it’s kind of subpar! It has the foundations of a really interesting story, but the pacing and characters really took me out of it. I’m interested in Season 2! I know season 2 is already ordered and I’d love to see how things continue to develop, see if the character writing gets any better - but I’m not too hopeful unfortunately. I really really love Pacific Rim after all these years and I’m happy to still be getting content and world building! There’s just sooo much I would change about this however. At least fanfiction’s free! 

Thanks for reading all this, I have ADHD and just go on and on if u let me. hmu if You Too have thoughts about Pacific Rim: The Black and have no one to talk abt them with

[newtedison]

my thoughts on the crank palace

i touched about this a bit on twitter (@newtedison_) but i figured i would Try and touch on my points more here (spoilers obv) again, its sort of lengthy

1. im gonna start with talking about the ending because i need to get it out of the way. either i havent read the books in a while and i forgot some canon (which could very well be true, i literally forgot that Bliss was a thing) or this ending makes no sense and is (somehow) setting up for a tdc sequel? so first off, newt was shot in the Head with a Bullet and somehow didnt immediately die? i know that that can happen in real life but it just seems so unlikely that not only would he not die, but he would survive long enough for someone from WCKD to transport him back to their labs and try to revive him. and who the fuck was he talking to? did thomas get newt’s journal at some point and i just dont remember? like i said, either im forgetting stuff or this ending doesnt make sense and is setting up a sequel which...i’ll get to later

2. why was this written? like, what was the point? i understand that this wasnt going to be all sunshine and rainbows but i feel like i was reading torture porn. like, literally all that happens is newt gets tortured (which is described in detail) by WCKD soldiers, has bouts of insane-fueled rage where he KILLS MULTIPLE PEOPLE, and then he dies. ??? what did this contribute to the canon? what was this trying to accomplish? truthfully, i never really wanted a newt-POV...well, anything except for maybe those little nuggets he wrote some time ago. but even if i HAD wanted a newt-POV novella, this is not what i would have wanted. he KNOWS that newt is almost universally the most loved character in this franchise. you can tell because he constantly uses him as a way to get fans in his good graces again. so why on earth would he take that character that so many people love and write a novella where its torture porn and a descent into madness before death? i am not interested in that At All. i’ve read fics (and even written a drabble) where newt is a Crank, and those were more respectful and easier to read than tcp. the parts where newt is having bouts of the Flare were literally exhausting to read; it was described in such vivid and torturous detail that it made me sick reading it. and it didnt help that newt is a character i care a lot about. i didn’t need to know what becoming a Crank felt like. the way it was described in the other books (and even the movies) told me everything i needed to know. the way thomas and everyone found newt at the crank palace in tdc and hes described as obviously not well, but not knowing what exactly happened to him...thats good enough on its own. the mystery of what exactly newt had to endure is part of what gives his journey more emotional depth. not everything needs to be written out and explained. not every gap needs to be filled in. 

3. me saying “the characterization felt off” is going to make some people roll their eyes because ‘duh, sami, the characterization will be off because he’s going insane’ to which i say...exactly. we weren’t really reading a newt-POV novella, were we? even if he isn’t past the Gone in the beginning, hes clearly not the same person we knew him as. the whole novella felt like an uncanny valley situation; i knew i was supposed to be reading about newt, but it felt like i was reading about someone else who looked like him. and that is part of what made this such a disconnect and made me lose interest at parts. not only that, but the world building and lore is inconsistent. newt makes a comment about how it used to rain in the glade, and apparently (as ive been told) that is simply not true. keisha having somehow working cell phone that magically connects her to her family also doesnt make sense. how would they have each others’ numbers? what are the odds that they BOTH found working cell phones in an apocalypse? i get that its a novella but you cant just throw something that crazy in there as a plot convenience. actually work on your plot and world building in a cohesive way, please. and another thing that doesnt make sense...

4. ...is newt finding out that sonya is his sister. if there was anything i would have wanted from a newt-pov novella, it would have been this. him finding out that not only is sonya his sister, but he already knows her post-WCKD. something that would have made this novella actually captivating, contributing something worthwhile to the canon that i would actually want to read, is if newt found out while in the crank palace that sonya was his sister; the Flare would remove that part of the Slice in his brain, and he would realize it was her. then, knowing that he couldnt go past the Gone before seeing her, he would try to find a way to get back to her. he could learn this after thomas and everyone originally see him, so it could match up with the canon. and then, by the time 250 comes along, hes lost all hope of that actually happening, and lashes out to thomas in a fit of rage. the journey of him trying to find his ACTUAL sister would have meant more to me than the story of keisha and dante. trust me, i love a found family trope as much as the next girl. but this series is FULL of the found family trope. it pretty much is the backbone of the franchise. so to see a blood family dynamic would have been a refreshing change of pace that i actually would have been interested in reading. also, the way that newt DOES find out about sonya is...underwhelming. he just randomly says “you remind me of my sister, sonya” to keisha in the WCKD truck. first of all, sonya is not the name you would actually know her by. you would know her by her birth name (which is lizzy? elizabeth?). second, why does he act like he didnt already meet her in the series? when the WCKD doctor tells him sonya is his sister and is alive, hes so surprised. wouldn’t he have known that already? why is there not more emphasis on the fact he already met her? that would have been a really interesting dynamic to explore, and im sad they didnt

5. the pacing and dialogue of tcp is so dragged out. i remember specifically there was a section where newt goes to talk to keisha after she starts abandoning dante, and i swear to god there was a page and a half of text before anything ACTUALLY happened or anyone ACTUALLY said anything. dashner described a launcher at one point as “the energy dependent electric firing projectile device.” that’s SIX words to describe a stun gun. a fucking stun gun! we know what it is! why did you have to use six words??? it just felt like everything was dragged and stretched to the longest it could possibly be and it added to the exhaustion i felt while reading it

6. okay i cant end it without talking about newtmas. its very obvious by now that newtmas is a VERY large part of this fanbase. its clearly the most popular ship and what keeps a lot of people interested in this series. even the marketing team for the MOVIES used newtmas as a advertising tactic (i.e.; using thomas and newt standing face to face as a thumbnail for the trailer, emphasizing newtmas based questions in interviews, even making a fucking facebook memories video for them. yes that last one is real). not only does dashner use newt as a way to lure fans in; he also uses newtmas. the parts that were sprinkled into this were so obvious that it didnt feel authentic. i cant speak for the original trilogy; i dont know the culture around ships back then, and i dont know how much it influenced his writing at the time. but the scenes in those books felt more genuine than tcp. by genuine i mean; he wrote scenes without a relationship in mind, but the chemistry had noticeable subtext that, while unintentional, was largely agreed upon by the larger audience. the parts of newtmas he added into tcp felt artificial and forced, likely as a way for people to take snippets of and use as a free marketing tool for him. one example you might have already seen; “he had already gotten used to his post-thomas, post-WCKD life.” the fact that dashner SPECIFICALLY used the phrase “post-thomas” rather than “post-his friends” or something similar shows that he is using newtmas as a hook on purpose. not only that, but to make newt’s last thoughts as he died “tommy. tommy will understand...” is...wow. first of all, i never wanted to know what newt’s dying thoughts were, but thanks, i guess? and second, when we all initially thought newt died underneath thomas with a gun to his head, i was pretty much inferred that newts last thoughts would probably be about thomas; they would sort of have to be, given the circumstances. so adding that in gives me the same feeling that “i’m coming for you, newt” at the end of the fever code gave me. not as offensive, but written very much on purpose. and the ending is implying that there will somehow be a sequel where thomas gets newt’s journal from...someone. at this point, i can only think that this sequel will retroactively make newtmas canon somehow. now that newt has been confirmed as gay, it could happen. which brings me to my last point...

7. hearing dashner confirm newt is gay was already mind-boggling before. now that i’ve read the crank palace...im angry. im very angry. i think its safe to say that newt is the character that suffers the most in this series. you can argue with me but hes definitely high on the list, if not #1. so; you take this character. you give him a horribly sad arc in the original trilogy, then decide to expand upon it and tell us, your largely QUEER fanbase, exactly how painful and torturous his last days were, in detail. and then you tell us he’s gay. something that is never mentioned in the canon, only in an offhanded reply to a tweet of someone calling you out. on a base level, i can understand why people would be happy. representation (i guess), seeing themselves in the character, having their headcanons be confirmed. great. but what i see is you telling your largely queer fanbase “hey, you see the only confirmed gay character? im going to literally write torture porn about him before killing him off and offer it to you like im providing a service to your community.” how fucked up is that? “hey, kids, if youre gay, you WILL be violently tortured and become violent and a danger to the ones you love. then you will die and your love will never be reciprocated.” what a message! and if he DOES end up retroactively making newtmas “canon” in some weird sequel...i will start foaming at the mouth. THIS is an example of how not all queer representation is good or genuine.

i’ve definitely forgotten some points but this is long enough already. let me know if you agree or if theres anything else you want to add! im interested in what you guys think

(8. I JUST REMEMBERED!!! if WCKD needed to study newt so bad bc sonya is his sister and is immune while he isnt, why did they let him run around the crank palace in the first place??? you cant test his vitals or anything you’re literally just watching him. what is the point????)

[scope-dogg]

Brain Powerd: Final Thoughts (No, that’s not a typo)

I went into this with only vague ideas of what to expect. This is one of Tomino’s less-known and discussed anime series despite it having a really unique concept and a dream team production staff - Mamoru Nagano teams back up to do mechanical design, and Yoko Kanno contributes another standout soundtrack having just done the same for Escaflowne and Macross Plus. In fact, the whole thing has a very similar feeling vibe to Turn A Gundam, which is something else Tomino and Yoko Kanno would team up on after this - additionally, the two shows share much of the same voice cast and the art and animation style is also noticeably similar. Yet this doesn’t enjoy the same fame and acclaim of Turn A - there isn’t that much discussion about this show out there and the review scores I’ve seen are middling.

I can see why that is - this is definitely a show with flaws that came out at the wrong time - the show has a lot of curious parallels and similarities with Evangelion, which came out shortly beforehand, and despite those similarities allegedly being an unfortunate coincidence and not intentional, Brain Powerd gets written off as a knock-off of Eva by many. However, despite the fact that I think Eva is a better show than Brain Powerd in most ways, Brain Powerd is definitely not a knock-off - the tone of the two shows is entirely different, and Brain Powerd has plenty of its own unique aspects that are worthy of more attention. It’s probably the most heavily Tomino-flavoured Tomino series that I’ve seen - whether it’s the things it does right or the things it does wrong, it all carries the distinct hallmarks of that same legendary but polarising director.

The plot setup is that in the future, much of the planet is wracked by natural disasters, and the future looks bleak for humanity. Amidst this, an enormous and ancient alien spacecraft called Orphan awakens from its slumber in the abyss of the oceans. There are those called Reclaimers who think that Orphan is the key to humanity’s survival, and seek to fully awaken it and use it to allow mankind to escape the stricken Earth and roam the galaxy, whereas others believe it must be stopped at any cost. Part of Orphan’s activity is to disperse strange discs spawned by Orphan called Plates, which can revive into giant humanoid biomechanical lifeforms called Antibodies that are sentient but achieve their full potential via symbiosis with a human pilot. There are two kinds of Antibodies - the Grand Chers, which the Reclaimers exploit to their own ends, and Brain Powereds, which they seek to destroy wherever they can be found. Yuu Isami is the son of the scientists who lead the Reclaimers, and a Grand Cher pilot, who is one day sent on a mission to retrieve Plates and has a chance encounter with an orphan girl called Hime, who forms a bond with a Brain Powered that has just revived from a Plate. Forced to retreat, Yuu reassesses the cause he is serving, and upon learning the horrible truth - that when Orphan leaves Earth, it will result in the death of all life on the planet - he frees a captive Brain Powered and makes his escape, and vows to put a stop to the Reclaimers’ plans. This eventually brings him into contact with the Novis Noa, an arc ship commissioned by the UN with the aim of protecting humanity from Orphan’s devastation, where Hime and her Brain Powerd now reside.

The similarities with Eva are easy to see - a ruined world thanks to the presence of extraterrestrials, mecha that are alive, and a son at odds with amoral scientist parents, but at no point does it ever feel like it’s ripping anything off - it’s presented in its own way, it’s a different kind of story and has its own distinct identity despite the obvious parallels. I think it’s one of the shows’ greatest strengths, but it’s also potentially a major weakness, because it can be incredibly convoluted and unfocused at times. In fact, I suspect that a lot of the lukewarm reviews this show has are because people bounce off the early part of it, not without good reason - everything I described in the paragraph above this one happens in the space of about two episodes with a huge one-year timeskip in between, and it dumps a lot of concepts, characters and plot points on you way quicker than it probably should. There’s a lot of buzzwords and concepts to latch on to - B-Plates, Antibodies, Grand Chers, Brain Powereds, the Vital Globe, Chakra, and so on and so forth. Honestly there’s some I’m not entirely sure about - if I ever got a satisfactory answer to what a B-Plate is exactly I don’t remember. The plot is also kind of meandering for a good few episodes after its opening and can’t seem to decide where to go - to me it kind of seemed like it had its runtime or episode count altered at the last minute and rearrangements had to be made, which weren’t made well.

However, things do eventually seem to click into place at around episode 10, and the story starts to array itself in a more focused and engaging manner. It’s still not perfect - there are still occasionally things that it can’t make up its mind on and some other aspects that get settled too abruptly, but it’s still enough to justify you to continue watching. Even though it dumps a lot on you, it also holds enough back to keep you watching - the true nature of the Antibodies and of Orphan being the main factor in that - you get left with questions right up until the very end of the final episode.

There’s also quite a lot going on with the show’s characters. The show’s main running them on that front is the troubled familial relationships that most if not all of the main cast have, to the point where it can get genuinely Freudian at times. The ways the characters talk and act tends to be very odd in that uniquely Tomino way, which is probably another factor in people bouncing off the show, but if you’ve seen pretty much any other Tomino show and enjoyed it you’ve probably already either inoculated yourself against it or even acquired the taste for it. The tone that’s set gets quite serious, as the fate of the world is at stake, and that gets amplified by all the character drama, but it also has just the right amount of humour and lighthearted moments to relieve the pressure but not enough to descend into farce.

I’d say the strongest unique selling point the show has are the antibodies themselves, both Brain Powereds and Grand Chers. Both are very distinctly designed by Mamoru Nagano - the thin waists, large heads and feet and pointy protrusions give them away on that front - they bear something of a resemblance to the Gothicmades from Nagano’s Five Star Stories manga. Otherwise there’s not a whole lot out there that’s quite like them - I think Evangelion comparisons fall down here especially hard, as while the Eva units were more purely biotic, only wearing metal armour as a facade, the Brains and Grand Chers are purely biomechanical, their bodies made up in a way that blurs the line between living tissue and mechanical construction. The purpose for making them living things is also entirely different - the Eva units being living things made them more offputting and frightening, whereas in Brain Powerd it’s done to make them more human and relatable - at times they’re even cute. Sentient mecha isn’t a first, obviously Braves and Transformers built their franchises upon that concept, but Brain Powerd is different - they’re capable of taking some limited action on their own, but are at their best when working with a human pilot. They have a limited grasp of language, being able to sometimes flash words on the display screens in their cockpits and seeming to understand most human speech, but otherwise they’re limited to communicated by their mannerisms and making noise - the best way to think about them is almost like they’re large, very intelligent and human-shaped horses. It’s as strange as it sounds, and they remain mysterious and alien throughout, but never in a way that’s threatening or frightening. Well, at least that’s true for the Brains, the Grand Chers are definitely a little scarier in both appearance and behaviour to go with their role as the antagonist mecha, but even they get to show a bit of a softer side as the series progresses. Overall, this is definitely the most interesting thing that the show does and probably it’s biggest selling point.

All of this wrapped up in a presentation that I’d say is pretty good on balance. The animation is just okay by the standards of the time, there’s a fair amount of reused animation and some choppy bits, but it never gets outright bad, though it’s never amazing either. That’s made up for by a pretty solid visual direction and by Yoko Kanno, who knocks the soundtrack out of the park once again - it gives the series a hell of a lot of soul. I don’t think the soundtrack is quite as good as Turn A Gundam or Escaflowne, but it’s still in the same ballpark for sure.

On the whole, this series made a really strong impression on me despite being far from perfect, and I think it deserves more attention. I wouldn’t recommend it as anyone’s first mecha anime, or even anyone’s first Tomino anime - it’s probably better to cut your teeth on something like Turn A or Dunbine first to acclimate yourself to his style of storytelling, but if you like what you see in his other works, definitely come and check this one out. I don’t think there’s a guarantee that you’ll like it, but you may just love it.

[itsclydebitches]

vader was a middleaged men on life support for years who had 2 kids while ben was still young part of the new generation and haad no kids his death makes han and leias deaths for nothing and palpatine wins by causing deaths of every gen of skywalkers star wars is meant to be about hope and is focused on skywalker family so a hopeful ending would be a full reversal of anidala where anidala ended with tragedy reylo ( where ben and rey met while ben is in dark) would have a HEA 5/?

Hey there! Forgive me, but I’m only going to respond to this final bit. As much as I enjoy Star Wars, I really don’t know the franchise well enough to do a deep dive into its problems. Especially not the most recent trilogy which, outside of the potential in The Force Awakens, I didn’t enjoy and only bothered to watch once. However, as a cursory response, I have to say that I in no way agree that “the only difference” between Zuko and Kylo is that one exists in kids media, nor that Kylo’s hypothetical redemption would have “rivaled” Zuko’s. 

Again, taking the time to work through both ATLA and the most recent trilogy is far too large a project for one ask response, but some crucial differences we should keep in mind include: 

ATLA may have been aimed at kids, but it in no way shied away from tough material. We begin this story post-genocide of the Air Nomads and Azula for all purposes killed Aang if Katara hadn’t been able to use the spirit water, to name just two examples. I in no way believe that Zuko would have been killing people left and right (as Kylo did) if ATLA’s rating went up. That’s not his character. 

Zuko was sent on a quest to capture the Avatar. Kidnapping isn’t great by any means, but it’s a far cry from conquering large portions of the galaxy like Kylo did. Manipulation aside, Kylo still had free will and far more support than Zuko ever got (loving parents, Jedi teachers, etc.) His agency, even taking Snoke into account, makes him far closer to Ozai imo.

Zuko was a kid when all this went down. Just sixteen years old. Aang’s “Well, you’re just a teenager” is supposed to hit hard. Meanwhile, Kylo was in his early twenties when he succumbed to the dark side. He was a full-fledged adult when he made those decisions. 

Any generalization of “villains with sad backstories deserve redemption” here overlooks precisely how horrific Kylo’s actions were. He slaughtered all his fellow students. Murdered his father in cold blood. Tortured Rey. Conquered huge swaths of the galaxy. I’m not saying a villain with his history can’t be redeemed, but I am saying that a redemption like that needs a TON more time than one or two films can give it. Zuko’s worked because a) Zuko was an abused child who hadn’t done such comparatively horrible things and b) he had 61 episodes to undergo that redemption starting from episode one. A hopeful story doesn’t equal an automatic redemption (especially when Star Wars already has the foundation of the villain, Vader, sacrificing himself to re-join the Light). We can’t take the last half hour of a film, already trying to cover a whole cast, and go, “The villain who did the most heinous shit possible is Good Again in the span on a few scenes.” 

Frankly, I think there’s incredibly little to link the two characters. Zuko wasn’t even a full-fledged villain, but rather an antagonist. He’s a well-rounded, complex character whose redemption is a masterpiece. Kylo? Who was he other than an angsty murderer fascinated with Rey? No idea. If I’m honest, I hated every moment he was on screen. For a whole trilogy I watched him doing nothing but heinous acts without any compelling motivation and then suddenly I’m supposed to root for a Kylo/Rey kiss after he, you know, spent all this time hunting her down, killing/wounding her friends, torturing her, insulting her, generally being creepy towards her... because they have a “unique bond”? Absolutely not. I think the trilogy as a whole is a hot mess, but I likewise don’t think shoe-horning in a “redemption” arc for the guy who had a loving family, access to the best training in the Light side of the Force, and still chose to cast all that aside to do as much damage to the galaxy as possible is going to fix things. 

I mean, if we want a hopeful character who redeems themselves by rejecting the evil influence around them to demonstrate that strength of character outweighs manipulation, brainwashing, or even outright fate... Finn is right there. 

[sophi-s]

After three days. Three freaking days.

It is finished.

A kiss to die for

By: sophi-s (me)

Words: 4,531

Franchise: Darksiders video games

Characters: Fallen!Astarte, Abaddon

Warnings: Graphic descriptions of violence, blood and gore, near death experience, angst, necromancy, I changed the storyline just a tiny bit for the purposes of this, Abaddon gets his ass handed to him by his ex :P.

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Eden. The first gift from the Creator himself to the Humanity. A home for the First Ones. Once, an indescribably beautiful place full of grand trees and fresh, soft grass, flowing with cool, crystal clear waters. Colorful fruits growing in the trees, a delight to eye and tongue. Within, no danger could reach Humanity's ancestors. Truly a paradise the first humans rightfully called it. But now, after a great war that took place here, seemingly not that long ago, the great garden was left scarred and burning. Made into a tomb for those who sought to claim it. Bodies of Nephilim were left to burn and decay, forgotten and abandoned.

However, something has changed. A dark shadow passed over the sacred graveyard, leaving only madness and corruption in its wake. Those who perished picked themselves up from the ground and lashed out at Eden's guardians. Surprised and unable to respond with a coordinated defensive, the Faneguard had to call for retreat after their leader, Malahidael fell to the blades and arrows of the living dead. Amongst the scattered angels was the general of Heaven's Legions. Trying his best to keep his brethren focused and plan a tactical escape.

At least that's what he was trying before. Before he saw the cause of this nightmare. Now, outstretched on the ground in the dust, he forced himself up onto his elbow as he crawled towards his discarded blade, clutching at his chest that felt as though it had been caved in after a charging monstrosity trampled him in full speed.

How could this happen?

Fighting with his chaotic thoughts, he finally got a hold of the hilt but when he turned around, it was already too late. A large paw armed with razor-sharp claws landed on him, pinning him down and successfully immobilizing his lower half. And then his own blue eyes stared up into a pair of white ones, the same eyes that doomed him from the moment he met their gaze for the first time. The eyes that occupied his thoughts when he was awake and his dreams while he slept. Eyes of Astarte.

But what stood above him… this thing, this monster was Astarte no longer. From the waist up, the woman was stunningly beautiful as she always was, with her pale white eyes and long flowing, platinum blonde hair. But her legs have been replaced by a body of a feline beast with wings coated in blackness of corruption, feathers shimmering with red glyphs. A wicked smile was twisting her petal like lips and wherever her clawed paws fell, the dead bodies shivered and rose, called back into the accursed unlife. Utter insanity shone in her eyes.. Keeping his stone façade was no longer possible as inwardly he was falling apart. Astarte. The same Astarte who would kill and die for him, the same who he trusted more than anyone. The same Astarte he dared to love. Her smirk grew wider as she chuckled.

"Who do we have here? The great general of Heaven's Legions Abaddon himself!"

The unfamiliar taunting tone of her voice sent a shiver down his spine, as did the way she bared her teeth in a disturbing grin. Giving the large paw a tug to try and wriggle free, quickly realising it's pointless as the damned thing didn't even budge, Abaddon took a struggling breath, pretty sure his sternum was damaged if not broken.

"Astarte…"

His voice came out as a broken, pleading whisper. He still couldn't… or maybe he didn't want to… cope with what he was seeing clearly like on the palm of his hand. Astarte, his most formidable soldier, the strongest of them all, and the only woman in the Universe he felt something special for… Fallen into the vice-like grip of Lucifer's corrupting influence. Gone was the gentle smile that crawled its way up onto her face whenever she spotted him. Abaddon swallowed thickly when he noticed the spear in her hand poised to strike and carve his broken heart out from his chest. Astarte would never harm him…

"I was wondering when you'd show up."

She scoffed and used her other paw to press his right arm to the ground should he try to take a swipe at her. But they both knew far too well that he couldn't have, even if he wanted to. Astarte leaning over him was still the one his heart yearned for, still beautiful just… in a different, more horrifying way. Through the ringing in his ears after his head cracked against a rock, he could hear someone call out to him but whoever it was, they were successfully pushed back by the horde of undead Nephilim.

"Astarte, don't do it.."

He quietly begged, even though he never begs. Seeing her like this, twisted and bestial, did something to him he couldn't quite comprehend. Touched that part of his soul he didn't even know about. Strangely enough, even in her madness, Astarte must've sensed something in him that gave her a pause as she curiously tilted her head to one side. All the moments, even the shortest ones, he'd spent with Astarte in the past were flashing before his eyes. Every time they had one another's back in battle, every time one saved the other's life, every time they spoke about the things they would never tell anyone else whenever they were alone. And that memorable moment when they stood together, away from the prying eyes that moonlit night. Abaddon was listening to her as she asked him if what she feels is right, if there's any possible way he feels that way as well. He almost laughed at her obliviousness and the fact that his love was there before she even realised her own. Of course.. He took her hands in his and gazed into her eyes, absolutely mesmerized, waiting for permission to finally grant her the proof of his love and devotion, one which she silently gave him with a nod and a smile.

"I would walk through the fire of Nine Hells for you."

He said before leaning down to place a chaste kiss on her lips. A kiss, stolen kiss he was dying to receive. It was very brief but still felt like his first flight over the White City. Liberating, wonderful and equally as intoxicating. Those were the most beautiful memories he'd ever made but now they were like a parasite buried deeply into his brain, one that refused to leave his head, reminding him of better times and cackling maniacally at him as the present was coming undone before his very eyes. He wanted those memories to go. But there was no escape. Neither from them nor from Astarte herself.

"Look at me.."

"I am."

"Please, come to your senses. It's not you.. You need to fight it, I know you have it in you. Don't leave me like this… Don't you remember everything I'd done for you? Everything you'd done for me ?"

For a second, Astarte's grin fell, making place for a thoughtful expression and for this short second Abaddon dared to hope that there's still light in her. That he somehow managed to get to her. But all these hopes were taken away when she shook her head and looked at him… not with anger. It was pity, plain and simple as she spoke in a condescending tone.

"Fool. So loyal and righteous. Look around! The war had ended long ago, yet we remain stranded in this forsaken tomb! We've been abandoned and no one will set us free if we don't do so ourselves! Don't tell me you cannot see it."

He couldn't believe his ears. It wasn't the honorable and just angel he used to know. The Astarte he knew was gone. This was a twisted monster bearing the visage of his dearest, taunting him with her beauty that was always keeping his hand paralyzed whenever he tried to strike her even though his life depended from it.

"I have chosen my path, Abaddon. And you can walk it with me.."

Abaddon eyed her hand warily as she stretched it out to him, offering him help in standing up. He was torn. On the one hand, he so, so wanted to accept and be with Astarte as he used to. No one would take her from him ever again. But taking her hand would also mean slipping into the hateful darkness. Welcoming the sullying blackness inside and succumbing to madness. Straying from the light and forsaking his duty in favor of the same accursed power that destroyed her.

It was a dangerous thing, this love.. Pushing even the most reasonable people to do unthinkable and dangerous things in the name of it. More often than not at costs that rarely make it worth it. Lucifer knew this. And he used it as a weapon against Abaddon by turning Astarte. He knew not what the Dark Prince offered her but it must've been worth losing oneself. Astarte was now Lucifer's servant, not the love of Abaddon's eternal life. He couldn't… he couldn't end up like her. His already bleeding heart screamed out with anguish when he finally gathered himself to speak.. and refused.

"I… can't do this, Astarte. Not even for you…"

"That's a pity…"

Abaddon grunted in pain when the pressure on his wrist increased to the point when he could feel his bones beginning to crack. And then as suddenly as it appeared, the crushing weight was gone, both from his arm and his chest. But he wasn't free. His breath was abruptly cut off when Astarte's slender fingers, which often fiddled with his hair when he had a moment to lie down and rest after a hard day, looking up at her sitting beside his head, before all this, mercilessly curled around his throat and lifted him up to her eye level until his toes could no longer reach the ground. She was strong. Stronger than he remembered. His left hand grasped Astarte's wrist as he tried to struggle free while he raised his sword to attack. But… looking deep into her eyes, at her face, mouth curved in a poisonous sweet smile, the silken skin of her cheeks… His hand trembled. Once again he proved her and himself he doesn't have it in him to do this. Damn it all. This one, seemingly harmless emotion was what ultimately led him to his own doom. If he'd never fallen for Astarte he wouldn't be here, flapping his wings madly in an attempt to wriggle out of her hold. But he couldn't command his heart. It would not listen to him.. Abaddon couldn't simply stop loving Astarte. Her eyebrows furrowed in a gentle frown and he felt the tip of her gilded spear press insistently against his abdomen, right under his ribs. Cold sweat began to bead around his brow. Oh Creator…

"Fret not, love.."

Astarte purred, making him finally stop beating his wings and look her in the eye again only to see an unsettling spark in there. Despite the obvious danger, hearing her call him her "love" in this deceivingly sweet voice still made his racing heart skip a beat.

"It won't be long.. And when you die, you'll be forever at my side. Just as you desired."

As a monster, not unlike her. A living corpse that defiled the natural order by its existence itself. He didn't want to go like this. What an end it is for a general of Heaven? Killed by his own lieutenant and brought back to life as a shambling husk of what he used to be? Preposterous. Cold lump of fear settled into the pit of his stomach. He could only count seconds. One.. two… it didn't even come to three when the blade sunk deeply into his flesh, piercing the armor as though it wasn't even there in the first place and running him through. After all, the spear was created specifically to fight armored opponents… Abaddon wanted to scream out in pain but the wail of agony was cut short by the firm grasp on his throat that stopped the air escaping his lungs. Pain clouded his vision but did not silence his racing thoughts. He was weak. He couldn't strike Astarte down as his enemy, denying her the well deserved rest and falling to her blade like a fool he felt like. He struggled to breathe and keep his eyes opened when he felt Astarte loosen her ironclad grip on his neck and move her hand to his face, oh so gently pulling the strands of his hair, matted with sweat, to the side and behind his ear before placing the same hand on the back of his neck to keep his head still. He gasped for air through his opened mouth as blood was beginning to well up in his throat and dribble down his chin. And then Astarte unexpectedly leaned in and decisively captured his lips with her own, granting him the final kiss for a farewell.

Abaddon's eyes widened in fear and shock but even though the pain of the spear through his side, he found himself going slack in Astarte's arms. His ornate blade clattered to the ground when his fingers unfurled and let it slip out. No strength remained within him to even try and respond to Astarte's lips, even if he wanted to. But what he hoped to be his last comfort turned out to be nothing more than a cruel torment with how cold and meaningless the kiss felt. It was nothing like the one back in the White City. Hollow seconds ticked by. It tasted only of the blood flooding his tongue and the bitter defeat. No love, no passion and no feelings remained in her black heart. Only the empty void and tasteless ashes… Monster. Astarte no longer… She would never hurt him…

Astarte knew him and all of his weak spots all too well. She knew how and where to strike to make it hurt. And this last kiss was only a tool to her. There wasn't any physical pain anymore when she finally pulled away with his blood painting her lips in deep crimson and let his body slip down the spear to collapse onto the shriveled grass. The last thing Abaddon saw before numbing darkness swallowed him was Astarte delightedly licking his scarlet life essence on her mouth and teeth before she hummed contentedly

"Farewell, my love. I'll see you again soon enough…"

She stood close, gazing at the distant stars shimmering in the black sky.

"The night sure is beautiful."

"It is. Even more so with you around."

"Tsk. Sweet-talker…"

In the impenetrable black, Abaddon heard nothing, saw nothing and felt nothing aside from the dull ache within his chest. Betrayal… Every beat of his heart was a torture. He couldn't even tell if it was really beating or not anymore. It bled ceaselessly. Craving for the lost love. Crying out to Astarte as something started to tug at the strings of his very soul. Trying to pull him free from his still body that refused to move no matter how much he wished to stand or at least sit up. Memories were passing all too quickly through his head. Eyes shining with uncertainty, a relieved smile as he staggered upright with a pained grimace that was supposed to be a comforting smile..

" Are you certain everything is alright? For a moment there I was afraid you were gone.."

"Never, my light. I would never leave you."

He wasn't going to the Kingdom of the Dead, he was certain. Astarte would make sure of it.. Curse Lucifer.. curse this wretched feeling still coiled in his chest, like a festering plague. Warriors of Heaven are people of unbreakable steel. Calm and collected beings of logic. But when it comes to honest feelings, there's nothing in between. They either don't care or love to the death. And when they love and it all falls apart, their hearts break like no one else's. No, they don't even break… they shatter to a million pieces like a frozen flower. And even if they are ever put back together, they're never the same. Those scars run too deep to ever disappear. Curse everything… Soft hair he tangled his fingers in, a heartbeat right beside his… warm presence next to him and a misleadingly delicate cheek pressed to the skin on top of his chest..

"What happens now then?"

"Doesn't matter. As long as we stay together."

"We will, Abaddon…"

He tasted the copper tinge of blood again as Astarte's voice echoed in his head when she swore to him. When he believed her..

I  P R O M I S E .

Those two words… They meant a world to him. Even after he saw what Astarte had become… Abaddon desperately clung to those words like a drowning man holds onto the final breath until the very last second. And that was his downfall. She promised me…

The last memory of Astarte before all this chaos wormed its way into his mind. A less pleasant one. He could see there was something wrong with her back then. This was the first time they had a true falling out. Well.. can this really be called a falling out if it was just him being yelled at? Astarte was changed already. Something happened to her after the Nephilim slaughter. Something he had foolishly overlooked. Maybe he was just too preoccupied with his own grief? Blood tumbled down from her wound, painting both her and his armor in vibrant red from where a crude spear met her body… 

It didn't take long for the last of the Nephilim to fall when this happened. She held onto life tightly as he led her deeper into the garden where healers would take care of her. Abaddon waited outside the tent, pacing back and forth until Azrael, who'd been tending to Astarte himself, walked out. A slender hand fell onto his shoulder, stopping him in his tracks and making him look at his old friend bearing a sullen expression. He'd never been so terrified in his life like in this short moment when he waited for Azrael to inevitably tell him that it was too late to help her but he merely asked Abaddon to come with him inside. Somehow, it was even worse. He saw her sitting on the edge of a cot, face pale, lips pressed into a thin line, staring at nothing. Eyes of other angels were on the three of them as the two archangels walked in. It was a relief to see her alive but there was no doubt that something was wrong. The patches of fresh crimson staining her trousers on her inner thighs only confirmed his suspicions. And Azrael didn't keep him waiting for an explanation.

"She was with child.."

The news hit him like a slug to the face. With a sack of bricks no less. Astarte, his beloved, bearing his blood in her womb. By all means he should feel ecstatic. He should rejoice. But this one word, this tiny word filled him with absolute dread. Was.

"The blade went deep.. There was nothing I could do. I'm sorry."

Who knows how long he stood there like a wooden stake? There was nothing I could do. Azrael was inarguably the best healer in the White City. He knew what he was saying. And yet… Abaddon found it difficult to believe his words. A child. His child. Died before they even had a chance to live.. It hurt more than any wound he'd ever received. When he finally could move, he approached Astarte and sat beside her, reaching for her hand to give her something to hold on to. But her violent reaction caught him off guard. She jerked away, her words dripped like acid.

"It's your fault. Get away from me!"

"Astarte, listen.."

"No! It never should've happened! Why would you do this to me?!"

This was the first time she called him per "you" in the presence of other angels. He knew not what she was truly going through but if his own sorrow was any indication, it must've been a nightmare. They'd lost something they didn't even know they had and it felt like the end of the world they'd built together. In a way, it was... Abaddon tried reaching out again but Astarte batted his hand away and leaped up to her feet despite the pain.

"Don't touch me! Do not speak to me, get off!"

"Astarte!"

He managed to call out before she stormed out of the tent, wrapping her wings around herself as a barrier that could protect her from the world around. Were it not for a firm grip on his arm, he would've gone after her. It was Nathaniel who stopped him. Abaddon looked at his friend, the right side of his face wrapped up in bandages just like his side he was keeping his hand over.

"It's not going to help. Let her go for now."

It's been a long time since he felt this lonely. He left the tent without another word, ignoring whatever it was Azrael was saying, and walked away from the camp like a wandering spectre who lost its way to the Well. And when he was far enough, he found himself collapsing on the ground, angrily hitting it with his fist as though it was the culprit here. They died without so much of a name.. Abaddon knew that what Astarte said wasn't true. He had no idea, it can't have been his fault… and yet this thought kept bothering him.

I should've protected you better. I have failed you.. both of you…

It took a couple of shaky breaths to collect his thoughts. Unable to do anything else, he pulled himself to his knees, clasped his hands together and started to whisper a prayer, seeking compassion in the Creator and his silent presence.

Astarte was already slipping after that and the prolonged stay in Eden only made it worse. She became distant and irritable, constantly itching for a fight, be it with words or blades. He thought she needed time to grieve. But this was something else. Something more sinister. Perhaps if he noticed it earlier.. done something… If only…

The odd tugging suddenly ceased and moments later a wave of comforting warmth washed all over him, gathering in his side where he was impaled. Deep within his chest, he felt his heart quiver, desperately fighting to keep beating. At first he thought he was merely waiting for Astarte to pull him back into the land of the living as a detestable abomination but no.. He yet lived. His thoughts were abruptly dispersed when he heard voices, very familiar and concerned voices, break through, the buzzing in his head.

"Did that do it?"

"Is he even alive ?"

"Hard to tell. It doesn't look good.."

"No, it doesn't.. Do you think we got to him on time?"

"I do not know. I'm not even sure if- Wait, I think he moved."

Abaddon indeed stirred, prying his eyes open with no small effort, immediately regretting his choice after a far too bright light intruded underneath his eyelids, and descending into a fit of uncontrollable coughs, spitting out all the blood that remained within as soon as he took a deeper breath. Pain. Horrible, excruciating pain filled his chest. He had been right. His sternum was definitely broken.

Damn all of it. Damn Lucifer, damn the Nephilim and damn the blasted air that hurt his lungs with every breath. Mist eventually fell from his sights, revealing to him familiar, tired faces of angelic soldiers leaning over him with distressed looks. His men. The Faneguard. They survived. Some of them at least… Malahidael wasn't so lucky.. One of them, Fariel if his memory doesn't deceive him, was holding up Abaddon's hand in his, and held between his curled fingers, Abaddon noticed an emptied crystal, a used up healing shard glimmering in the sunlight as the energy that was channelled into his body began to close the torn blood vessels.

"Lord Abaddon. Can you hear me?"

Gasping for another bit of air, horribly weakened but still very much alive and likely to stay that way, Abaddon gurgled out a disturbing sound that was supposed to be a miserable chuckle. In honesty, it sounded more like a dying demon than a laugh.. It only served to agitate them even further until he breathed out with relief and nodded as no coherent word could form in his mouth. What happened to Astarte when he was on death's door, he could only guess. But one thing he was sure of. She was still out there. Raving mad and dangerous to all who step into Eden. The law was clear. Astarte had fallen into darkness, defiled the dead and raised her weapon against her brethren. This was not an easy decision but after what he'd seen and lived through, Abaddon was certain now. He tried to bring her back, save her from the hate that grew within her like a malicious weed. But she was clearly too far gone. He couldn't help her.. Too late. As always, he was too late. Whether Abaddon likes it or not, Astarte needs to die. There was nothing more he could do for her. But he won't be the one to play the executioner and the hand of justice. He knew he couldn't. He'd failed twice already.. It will be done, just… not now.

Perhaps another time… They were safe for now. And he needed to think… Abaddon lifted his free hand to his mouth. It was still there, this horrid sensation.. and he knew it won't go away for a long, long time. Resting his head against the ground, he exhaled heavily as blessed unconsciousness started to take a hold on him once more. He needed to rest. They all did…

Even as he was falling into the dark again, he could still feel Astarte's venomous kiss upon his lips. Burning like fire and sinking cruel claws into his chest. Would he ever forgive her for tearing his heart apart? Probably. It wasn't her fault after all. It can't be, can it? Would he ever forget, though? Unlikely.. Abaddon couldn't help but wonder… if it was all his fault? He couldn't command his feelings and order them to leave him. But still, he felt guilty. Not even for Astarte's fall anymore but for ever letting this infatuation control him. That's where this love had gotten him so far. It left him weak and vulnerable. It was beautiful while it lasted but now? Only suffering remained.

No wonder Heaven has such a disdain for love. It causes naught but misery and ruin. A dire thought invaded his hazy mind. It matters not what Astarte had done. He still loved her. Soon, she will be put to rest. And him? Well.. Every, even the greatest warrior has to fall in battle. Eventually… And when that day comes, he will be ready to embrace his end. When that day comes.. they will meet again. Maybe... But until then… His heart hastened even still as he took another breath and silently told himself…

…Never again…

--------------------------------------------------

It.. it was supposed to be short? I did say short fic, didn't I? Uhh.. Whoops 😓

Also, Gimp 2 has nearly succeed in driving me nuts. In Poland we say "stand on eyelashes and clap one's ears" when something is nigh impossible. Yeah. That was that.

Btw, I take back everything I said about Abaddon's shoulder pads , they're mf'ing gorgeous 👌

[thdorkmagnet]

Little Starco Part 1

Happy Halloween Everyone!! Today I bring you all something new! This AU is based off of my favorite game in the world right now “Little Nightmares.” It is a super awesome horror game that I have been obsessed with for months and so I figured the best way to deal with my love of the franchise was to do what I always do: write Starco fanfiction! So yes this is all based off the video game but I did my best to make it understandable without having played the game. It was a challenge the game is full of mystery and a tense atmosphere, while also putting in some of my typical fluff so trying to match the style was not easy. Still I hope I succeeded and I hope you all enjoy!

Also as a fair warning, this is a horror game and while I don't have anything too bad in here I did push the T rating quite a bit for this one. So anyone who is easily frightened you've been warned. Please enjoy and have a great and spooky Halloween!

This will be a two-parter btw.

Disclaimer: Star vs and all its characters belong to Daron Nefcy and Disney. Little Nightmares belongs to Bandai Namco. All rights go to the respective owners.

Star awoke with a start, letting out a panicked gasp as she sat up quickly in fright. She took a few deep breaths as the initial fear slowly began to fade, leaving only the tense anxiety she normally carried with her. The only sound she could hear was the steady dripping of a nearby leak and the quiet creaking of the ship as it gently swayed back and forth. For as far back as Star could remember she had been having the same nightmare over and over again, every single night, being engulfed in a suppressing darkness that slowly faded to reveal a woman in a white mask. She would slowly turn around to face Star, but just before their eyes could meet, she would wake up. She didn't know what it meant (but then what else was new) but she had a feeling it had something to do with her past.

Not that she could remember it.

As bad as the nightmares were though, she wasn't sure if being awake was any better, she was still trapped in a nightmare whether she was asleep or awake. But at least when she was awake she could run from her threats.

Star pulled her yellow raincoat a little tighter around her, trying to fight off the sudden chill she felt creeping up her spine and got a quick look at her surroundings. She had fallen asleep in a vent, finding that one of the safest places to rest in, and she usually slept in one whenever she got a chance, even if they weren't the most comfortable sleeping spot. She took a moment to breathe in the musty air and let the motion of the ship soothe her, as she once again allowed her mind to wander as it often did in the quieter moments aboard the Maw.

The Maw, the mysterious ship full of monsters and danger and death. She didn't know what purpose it existed or how she had ended up here, all she knew was that she had been a stowaway on board the ship for a very long time. Maybe she had always been on the Maw, maybe there was no life outside of it. Star had no knowledge of the outside world or even if there even was one, but to be honest she didn't really care. All she cared about was staying alive.

Star decided she had rested long enough (knowing she needed to find some food before the hunger pains started in), slowly starting to crawl her way through the vent.

After a couple of seconds, the dim lighting faded, the small girl now encompassed in inky blackness and Star reached into the pocket of her coat, pulling out her sole possession (excluding her raincoat of course): a small, thin lighter. She flicked the lighter open and there was a quick spark before a tiny flame appeared, helping light the tight space around her and bring some warmth back into Star's shivering form. Star couldn't help but smile as she stared down into the flickering glow, relishing the feeling the small source of light brought her. Light was a rarity on board the Maw and she had learned to appreciate whatever she was given.

She nearly jumped as she heard a soft guttural clicking noise echoing farther down the tunnel, but she grinned as she recognized the weird noise as nonhostile. It was one of the many small creatures called Nomes that were known to be found wandering all over the ship. Just like everything else on the Maw, the Nomes origin and purpose was a mystery, but they were also the only thing on this horrible ship that was even remotely enjoyable, Star finding the small creatures adorable and she would often go out of her way to find them and give each one a tight hug... once she managed to chase them down, that is, all of them running away from her in the beginning the second she got close.

But, unfortunately, Star couldn't spot the Nome in the dark tunnel and so she instead reluctantly pressed forward, keeping her eyes focused straight ahead. Eventually, she found a ladder and she quickly flicked off her lighter before climbing up. When she reached the top she immediately noticed a series of hooks passing over her head, being pushed forward by a conveyor belt. A few of them even carried large objects wrapped in cloth and knotted closed with coarse rope and Star tried to ignore the oddly human size and shape they had, choosing to instead focus on finding a way up to the hooks. She looked around for a high enough spot where she could reach one and lucky for her she found a pile of the wrapped packages tall enough and after climbing up she was able to easily grab onto one of the empty hooks and sail away to another part of the ship.

She soon found herself dangling over a large gap in between areas, the long drop into the darkness below causing Star to cling on tight. Long, thick chains hung all around, each rung twice the size of her small body and she could hear them shaking and jangling from the constant motion of the ship. It felt like a lifetime before she finally bridged the gap, now hovering over a huge pile of wrapped packages, and she reluctantly let go, letting them break her fall. She held back a shudder as the bags shifted slightly under her weight.

She had heard rumors of what happened to the kids kept prison on the ship but she wasn't sure she was quite ready to confirm that theory. So instead she rose and began climbing down the massive pile, trying to ignore the squish underneath her bare feet and stench of blood that caused bile to rise up her throat.

Once she was on solid ground again Star took in a deep, shaky breath and ran as far away from the bags as possible. But she hadn't gotten very far when Star was seized with an unbearable hunger, the blonde doubling over in pain. She groaned, clutching her stomach tightly as the emptiness in her stomach increased with every passing second. These happened to her every so often, one minute she would be fine, the next it felt like her stomach was trying to eat itself and it was all Star could do to keep going until she found herself some food.

She stood and began shuffling forward on shaky legs but a couple steps later she was down again as her stomach let out a troubling growl. It took some more effort but Star was able to somehow keep going, trudging slowly ahead, her eyes on the constant search for food. She made it into the next room when her stomach growled again and this time lacked the strength to continue standing, falling hard to her knees as she took deep breaths. She looked up through fading vision and spotted the single greatest thing she thought she had ever seen: a loaf of bread.

Star's stomach released another terrible growl at the sight of food and the blonde gathered up every bit of strength she had left as she began crawling toward the bread, her hand outstretched as she reached for her saving grace. Another sharp pang in her stomach zapped the last of her strength, leaving Star to numbly reach forward in a last desperate attempt to get ahold of the loaf, her fingers just an inch too short. The girl felt hopelessness consume her as her vision slowly faded to black, her one chance of survival just barely out of reach and she nearly sobbed at the cruel irony.

Just when Star was about to give up and accept her fate, she saw a hand reach down out of nowhere and push the bread closer to her. Star snatched the food up without a second thought and began greedily tearing chunks of it off with her teeth, swallowing after only a few bites. She could feel a pair of eyes watching her, but she was too busy eating to care, not daring to stop. The emptiness and pain in her stomach subsided as Star finished devouring the loaf of bread.

Once she was done, Star took a few deep breaths letting her stomach settle, blinking as her vision cleared. After that she stared up at her savior, taking in the appearance of a young boy. He looked to be about her age (however old that was) with short, oily brown hair, brown eyes and a tiny little mole on his left cheek. She recognized him as one of the children kept prisoner on the Maw, if the tattered and faded blue pajamas were any indication. And if that wasn't enough proof then the rusted shackle hanging from his dirty leg confirmed her suspicions. Despite this though, unlike the dull, lifeless orbs the other children typically had this boy's eyes gleamed with joy and wonder and a curious smile hung on his lips, as if the horrors of the world and his situation had yet to reach his fragile young mind.

Star felt her cheeks blush as he continued to stare down at her, suddenly anxious for reasons she didn't quite understand. She looked down at her feet shyly, rubbing a hand up and down her coat sleeve as she muttered out quietly, "Uh, thanks... for that."

"No problem," the boy said pleasantly, before offering her a hand up. Star hesitated before accepting the help, allowing the boy to haul her to her feet. "I'm Marco by the way," the boy said pointing to himself.

"Star," the blonde replied.

"That's a really pretty name," Marco commented before the girl blushed vividly

"So what are you doing on board the Maw?" Marco asked. "I mean, you're definitely not a prisoner, " He added, gesturing down to the bright yellow raincoat.

"No idea," Star admitted. “I just woke up here one day and that's all I remember."

“You don't have any memories?" Marco asked and Star nodded.

"Yeah," Star mumbled. "So what about you? I'm guessing you're a runaway, considering the outfit," Star commented.

The boy cringed, rubbing the back of his neck with his hand as he said, "Yeah, uh, I got sent here to the kitchen a couple of days ago, but I managed to sneak away before... y'know."

Both kids shuddered, knowing full well what fate awaited those who fell victim to the Monsters' gluttony.

"That's terrible," Star said sympathetically, putting a hand on Marco's shoulder. "I'm so sorry that happened, Marco."

"I-Its okay," the boy stuttered, his eyes suddenly filled with pain and Star found herself longing to see his innocent smile again.

"How have you survived this long on your own?" Star asked, quite impressed with the boy.

Marco shrugged. "I've just been sneaking some food out here and there when the chefs aren't looking," the boy said modestly.

Star's eyes widened as realization dawned on her, giving his an apologetic look as she gasped out, "Oh my gosh, did I eat the last of your food? I'm so, so sorry!"

"No, no it's okay," Marco reassured her. "You looked like you needed it more." He smiled at her and suddenly Star's cold body flooded with a peculiar warmth. But she didn't have time to question it as Marco suddenly added, "Besides I know a place where we can get a lot more food than that."

"Where?" Star asked curiously.

"Come on, I'll show you," the boy replied before turning and running off somewhere. Star hesitated for only a second before chasing after the boy, hopeful that she could have a full belly for once.

...

As the two got closer to wherever the boy was leading them, Star began to pick up on the metallic swing of a knife from another room as no doubt a large butcher knife was getting some use. She held back the shiver that jumped up her spine, trying not to focus on the concerning sounds down the hallway. Instead, she concentrated on where she was being led and more importantly the boy who was leading her there. He had a calm smile on his face, despite the obvious danger they were in and Star was almost unsure what to think of that. Or Marco in general.

She hadn't been around kids her age in a long time but the ones she did usually weren't this upbeat. Most were quiet, reserved, and had more or less given up. They certainly didn't smile, she was lucky to see them even raise their head in her direction. So far, Star seemed to be the only one on this ship who cared at all about trying to escape their situation.

Until Marco. Star had never met anyone like him before, he was the closest thing she had come across to a companion in well… forever honestly. Marco's charming naivety was hard to resist and the blonde couldn't help but feel drawn to her companion, wanting to know more about him.

Marco suddenly stopped in his tracks and Star ran into his back by accident, causing him to slightly stumble. Once he had recovered, he turned to her and put a finger to his lips, before pointing in the direction of a towering doorway, the sound of something being violently sliced clearly coming from that direction. Star felt a shiver run up her raincoat but nodded in understanding. The two then began to tiptoe slowly closer to that area, Star feeling her heart rate beginning to spike as they did.

Finally, the two seemed to have reached their destination: a large door. The boy grinned over to her to show that they had reached the right place and pointed over to the door for extra emphasis, mouthing the words, "In here."

Star smiled from beneath her hood and the two quickly started to push on the door with all their little might. But for some reason the door didn't budge, staying sealed shut and the two grunted as they strained against the wooden frame. But the effort proved pointless and the two quickly gave up the struggle, letting out deep (but quiet) sighs of despair. Star leaned heavily against the door when Marco suddenly whispered into her ear, "Let me give you a boost up and you can try the handle."

The blonde didn't argue with that, standing up straight as she watched Marco cup his hands into a foothold for her. Star placed her foot in his palm, before hoisting herself up using his shoulders for leverage. Once she was suspended above ground she sprung up off her companion's hands and grabbed on tightly to the handle. She hung off it as it slid down but instead of a noisy click like usual, there was nothing. Meaning the door was locked.

Star frowned, before dropping back down to her feet, Marco staring at her with a mixture of confusion and anticipation. She bit her lip, thankful he couldn't see her face beneath the hood. The last thing she wanted was to make him feel worse about the whole situation. "Well," he whispered, leaning in close to her face and Star felt her cheeks heat up for some reason.

Star shook her head. "It's locked from the other side," she explained, hoping she didn't sound too disappointed. She really shouldn't have gotten her hopes up, especially since the whole thing had seemed too good to be true, but the idea of a decent meal had gotten her excited.

"What?" the boy groaned, his bright eyes filling with disappointment, a sad frown on his face. "But I just checked it yesterday."

"Guess they figured out you were getting in there," Star said, in the most sympathetic tone she could.

"Well guess we came all this way for nothing," Marco said, sitting down hard on the wood floor with pure despair in his voice.

Star couldn't stand seeing her new friend so downtrodden and tried to think of some way to cheer him up. She looked around for an idea of how to help him, before spotting the doorway across the hall, the sound of sharp metal slicing ringing through the air. Star swallowed hard, knowing what she was thinking of was probably a terrible idea. In fact, it was an incredibly stupid and dangerous idea but now that it was in her head, she knew it would be impossible to get out. Besides, she reasoned with herself. I want to make Marco smile again and if it works…

"Well, I know another way we can get some food," Star said, looking over to Marco knowingly.

The boy gave her a confused look, an eyebrow slowly rising. "How?" he asked, with fragile hope in his eyes.

"Well the pantry may be off-limits but…" Star gestured with her head in the direction of the doorway. "I bet there is some food in there."

Marco's eyes widened. "In… there," he whispered, pointing at the doorway fearfully. "B-B-But, the chef is in there."

Star put an arm around his shoulder saying confidently (more confident than she actually felt), "Come on, Marco. It'll be fiiinnneee. I know my way around this place, I'll keep you safe."

Marco frowned, the doubt clear in his eyes, as he muttered nervously, "I don't know."

"Hey, relax. As long as we stay quiet he will never even know we're there," Star said, flashing him a bright grin, not realizing he couldn't see it under her hood.

Star's enthusiasm seemed to sway Marco's mind some, a thoughtful look spreading across his face as he bit his lip, clearly contemplating his options. "Welllll…" he began, only for his rumbling stomach to interrupt him.

"See, Marco, you're hungry, let's get you some food, come on," Star said, not giving the boy a chance to argue as she grabbed his arm and dragged him in the direction of the kitchen. The boy whined under his breath but otherwise didn't resist, following reluctantly along behind his companion.

Everything about this was making his instincts scream at him but he held back the urge to run away, putting his faith and trust in Star. Like she had said, she had been doing this much longer than him, staying alive on this horrible boat all by herself. Marco had barely survived the week, having to fend off every meal he stole from the pantry from rats and other vermin including… leeches. The boy shuddered at the thought.

But Star. Star was amazing! Even though he had only briefly met her, he could tell just how cool she was and he knew if anyone could get them some decent food, it was her. So he figured it was best to follow Star's lead on this.

But he was quickly regretting this as the sound of chopping grew all the louder. The closer they got, the louder it grew, causing anxiety to course through Marco's bloodstream, turning it to ice. When they reached the door frame, Star peaked her head around the side, checking to see the position of the chef, trying to hold back the cringe as she took in the hideous form.

The creature towered over the two miniature children, it's skin an unhealthy looking shade of almost gray. Then again, nothing about the creature screamed healthy. The chef was overweight, barely fitting into its grungy work uniform. Its meaty arms and hands were hard at work, chopping away at a large slab of meat in front of it, short, stubby finger gripping the massive knife tightly as it slammed the blade viciously into the meat, again and again, its movements sporadic and almost vengeful, like it was getting some sick pleasure from it all. It wore the typical garb of a chef, complete with chef hat and apron, its uniform stained with blood and who knows what else.

Its face looked like melting dough, thick layers of skin and flesh hanging loosely from its expressionless face. It was almost too expressionless, something about it felt off to Star like it wasn't really a face at all. Maybe a mask? The chef made noisy grunts and moans as it worked, its attention so focused on its work it thankfully didn't notice the two kids.

Star waited a moment, making sure the nightmarish creature was properly distracted before putting a finger to her lips and gesturing Marco closer. The small boy swallowed hard but followed after the girl, nearly jumping in fright as he spotted the towering figure of the chef. Star saw he was about to scream and quickly covered his mouth with her hand, muffling the cry of terror. Marco continued to stare at the chef in pure fear and Star quickly pulled him to safety under a nearby table, out of the chef's line of sight.

She gave Marco a moment to calm himself down, his breathing shallow and sporadic and Star wasn't sure how he hadn't hyperventilated yet. Maybe this wasn't a good idea, Star thought to herself. But what other choice did they have? They needed to eat and this seemed to be the only way to guarantee them food. The blonde waited until the boy's breathing calmed enough before removing her hand from his mouth, keeping a hand on his back to steady him.

"Sorry," he mouthed to her, afraid of making any sound whatsoever.

Star pulled off her hood and gave him a sympathetic smile mouthing back to him, "It's fine."

She then pointed to herself and toward the next area of the kitchen before pointing at Marco and then at the ground, hoping the message was clear. You stay here, I'll get the food. But the young boy shook his head stubbornly, a determined look in his eyes as he grabbed onto the girl's hand, causing a blush to spread across her cheeks.

There was no way he was letting her go alone. Star had been alone enough, she deserved to have someone by her side. Even if he was afraid, he was going to do everything in his limited power to help her any way he could.

Star was surprised by Marco's response, figuring he would prefer to stay out of harm's way but he actually wanted to go with her. Star felt another stirring in her chest, the warmth beginning to grow and spread to the rest of her but she ignored it for now. Now was not the time to be consumed by emotions, now was the time to act.

So Star simply nodded her head, giving his hand a tight squeeze before slowly leading them out from the safety of the table, creeping past the chef who was still hard at work cutting slabs of meat, before ripping them apart with its bare hands. Star kept a watchful eye on the chef as they tip-toed past him, staying as low to the ground as possible. The chef was becoming violent with its work, slamming the large butcher knife into the meat again and again and Star felt her stomach roll in disgust. These monsters were insane.

The two finally made it past the creature, creeping silently down the stairs into the main area of the kitchen. Star held her breath at every creak she heard on the rotten wood but thankfully the noise was not enough to alert the chef of their presence.

The two tiny kids continued to creep around the kitchen area, ignoring the array of foul odors coming from the many, many boiling pots on the stove tops. How anyone could eat this stuff was beyond Star. The who was eating it was what had her intrigued but she didn't really want to over think that, in all honesty, she would rather not know. Hopefully, there was better food for them to munch on around here. Star looked around for any sign of good food to eat, before spotting a large metal door at the far end of the room. The freezer. That had to have some real food, right?

Star grinned, before tapping Marco on the shoulder to gain his attention. He gave her a confused look and she pointed over to the door. His eyes widened with greed before he licked his lips, the prospect of food too entrancing to them both. He nodded to her, a smile on his innocent face and suddenly everything felt worth it to Star just to see his eyes light up like that.

The two made their way towards the door tip-toeing as slowly and quietly as possible… when two Nomes appeared out of nowhere, chittering as they scurried around the room, one of them bumping into the door to an oven causing it to slam closed. The loud noise caused both Star and Marco to jump in fright and they both felt their hearts drop as a loud moan sounded from the next room, followed by shuffling feet.

The chef had heard the noise and it was coming to investigate.

Star gave up any hopes of stealth as she shouted to her companion, "Run!" The two ran as fast as they could through the kitchen, the chef making another loud groan as it spotted them but Star didn't dare turn around. Instead, she just focused on getting away. She could hear pounding feet as it chased after them and Star quickly ran under a table in the center of the room, hoping that would stall it enough from catching them.

Finally, Star reached the door to the freezer but felt her heart stop as she noticed the large rusted metal lock on its handle. The blonde swallowed hard, trying to think of some way for them to hide before spotting a large shelf. Star nearly sighed in relief as she shouted, "Come on, Marco! Over here!"

But as she turned to check behind her, she saw that Marco was not there. "Marco?" Star repeated softly, feeling a cold fear creeping up her spine.

"Star!" came the terrified and fragile voice of Marco and Star felt pure terror fill her system as she followed the voice to a horrible sight.

The chef had Marco.

Holding him tightly by the back of his hood, being none too gentle with him as it looked around for her. The boy's body swung haphazardly around as he hung there, kicking his bare feet uselessly and trying to somehow pry the meaty grip off of him. But it was no use. Marco was caught.

Star didn't think she had ever been more afraid than she was at that very moment as she watched the one person in the world who understood her and she cared for in the clutches of that vile creature and it was all Star could do to keep herself from running over and trying to pry him loose, but she knew that would only result in both of them being caught. She needed a different plan to save her friend, preferably one that kept either of them from being served up on a platter.

She quickly ducked behind cover as she watched the chef for a moment, trying to formulate some kind of plan to rescue Marco. Her heart was hammering so hard against her chest at this point she worried she was about to have a heart attack. And as she listened to Marco's desperate and frightened cries, calling out for help, screaming Star's name at the top of his lungs, it felt like a knife had just been wedged deep into her heart, twisting viciously within.

The blonde continued to scan the area around her, looking for something, anything, that could save Marco. Finally, the gears in her head began turning as an idea came to her out of nowhere. She didn't even hesitate as she jumped into action, unable to waste precious seconds thinking it through or second-guessing herself, she would just have to hope it worked. For Marco's sake.

Marco's tiny heart was racing so hard it was painful as he tried futilely to free himself, doing anything he could think of to escape. The chef finally gave up its search for the other vermin and instead carried its captive over to a nearby table… one with a conveniently placed cutting board and butcher knife. The chef practically threw Marco down on the table, the boy letting out a cry as his back painfully collided with the hardwood surface. He tried to crawl away but was stopped as the chef placed a grubby hand over him, keeping him pinned and effectively trapped. The boy tried to squirm away but he was trapped, the pressure on his chest causing him to cough and wheeze, struggling to suck in enough oxygen. He could feel something oozing against his back and he felt bile rising at the back of his throat as he shuddered. He did not want to think about what that could be.

The chef casually picked up the knife beside Marco, the gleam off of its smooth edge hitting Marco and causing him to be temporarily blinded. He blinked furiously, trying to regain his vision as he let out shuddering breaths. The moment his vision returned, however, he wished it hadn't as he saw the chef raise the knife high over its head, preparing to strike.

Marco squeezed his eyes shut, his short few years of life flashing before his eyes as he waited for the finishing blow. This was it, he thought to himself. I never even got to tell Star goodbye.

Just before the chef could begin its swing though, something smashed into the back of its head, causing the creature to stumble and release its grip on Marco. The boy looked up with confusion before spotting Star in the scaffolding above a pile of small pots and cups sat next to her. She stared down at him with her bright blue eyes full of relief and determination and for a second Marco wondered if he was staring at the face of an angel instead.

"Marco run!" Star screamed, lifting another pot over her head, preparing to fling it at the chef.

The boy quickly hopped down off the table, the chef reaching down to pick him back up only to be nailed in the arm by the surprisingly strong-armed Star. The boy ran as fast as he could away from the chef, heading the same direction he had seen Star take. The chef chased after him but was stopped after only a few steps as Star managed to land another hit on it with a pot, causing the chef to release a very annoyed growl, clearly growing frustrated with the pair of vermin that had invaded its kitchen.

Star did her best to hold the chef off as Marco ran over to the shelf Star had used, quickly climbing up. But he wasn't fast enough as the chef was finally catching up to him, beginning to ignore the array of glass objects crashing into its head and body, seconds away from reaching the shelf. Star saw her friend wasn't going to make it in time and quickly held out a hand and yelled over to him in desperation, "Marco jump!"

Marco threw himself off the shelf, stretching out an arm towards Star's waiting hand. Time seemed to slow as he flew through the air, reaching out for his friend with all his might, hoping he was able to reach her. Luckily, he barely managed to grab onto her, his fingers nearly slipping out of hers but the blonde squeezed his hand tight, refusing to let go. Star grunted and tried to brace herself as Marco's weight threatened to pull her down too and quickly added her other hand to the effort of holding Marco.

Below them, the chef was stretching up as high as its chubby arms would allow, letting out hideous grunting noise as it tried to somehow reach the two pests. Star and Marco ignored this, however, as Star focused only on pulling Marco up on the overhead beams with her. She finally managed to gain enough leverage to drag him up with her, the boy soon sitting beside her, both panting from exertion and the remnants of adrenaline and terror coursing through their bloodstream.

The two took a moment to calm down, laying next to each other on the high beams and just letting everything that had happened wash over them. That had been one of the most terrifying ordeals of their joint lives and they dreaded to imagine what might have happened had Star not stepped in when she did. Marco tried not to picture the knife being swung high, still seeing the glint of the cool metal and he felt tremors still coarse down his spine at the memory. It had been too real, too close and he was sure it would be haunting his nightmares for weeks after.

"Thanks," Marco finally managed to mumble, still trying to calm his breathing. "That was… too close."

"Yeah, it was," Star agreed, her own voice trembling some. "Sorry I let that happen. I should have protected you better." She slammed a clenched fist into the wooden board they lay on in anger, frustrated with herself for not doing more. She had promised she would keep him safe, instead he had almost gotten killed on her watch.

"Star, it's fine, it's not your fault I got caught," the boy said, trying not to let his fear show as the memory still haunted his mind. It was still too fresh to ignore, to forget. But he didn't want to make his friend feel any worse than she already did. So instead he gave her a warm smile and told her in the most pleasant tone he had at the moment, "Besides you're the one who saved me. I woulda been a goner back there if not for you.”

"Yeah, but you wouldn't have been in any danger if not for me," Star mumbled, crossing her arms in front of her chest.

"The important thing is we both survived, right?" Marco said, putting a hand on her shoulder.

Star stared at him in surprise for a moment. She had expected him to be angry or upset, maybe even part ways with her to avoid further disaster. Instead, he willingly and openly forgave her and Star was so stunned by this she had no idea how to respond for a moment. Instead, she found herself staring into his stunning brown orbs for a moment, full of so much hope and tenderness that her cheeks heated up against her will.

She coughed into her hand to hide whatever this strange emotion was Marco kept making her feel, deciding it best to change the subject before she started acting weird. She really didn't want to humiliate herself in front of her new friend. So she tried to distract herself by taking a closer look at the kitchen below. At this point the chef had given up any hope of catching the intruders, instead going back to making its disgusting meals, grumbling to itself the whole time in its high-pitched whine.

But the blonde wasn't interested in the chef anymore, her concern was on the freezer door and more importantly the lock that prevented them entry inside. She laid her head on her knee for a moment as she muttered in annoyance, "Well so much from getting any food in there."

Marco sat up and followed her gaze to the door, frowning in disappointment. "Yeah, I was really hoping to eat, too."

The two let out simultaneous sighs, staring in longing as the only chance at a decent meal was just out of reach. If only they could get inside there. Suddenly an idea came to Marco, his eyes widening at the thought and a bright smile beginning to spread across his face. He turned to his companion and quickly proclaimed, "Actually I think we can!"

"What? How?!" Star asked in intrigue, leaning closer to him until their faces were nearly touching.

Marco ignored the stirring his chest at the close contact, instead replying, "Well that's a lock right? So all we need to do is find the key."

Star gasped, her own eyes filling with excitement as she exclaimed, "Marco, you're a genius!"

The boy blushed at the compliment, rubbing sheepishly at the back of his neck. "I mean, I don't know if I'd say genius," he muttered in embarrassment. But his nervousness doubled as Star suddenly threw her arms around him in a hug, causing his heart to skip a beat. The warmth was surprising but not unwelcome and Marco found himself melting into the tight embrace, treasuring every second.

Star wasn't sure why she had decided to do this, she had just been so… was happy the right word? She didn't know what she was feeling but she just knew she needed to express it in some way and the next thing she knew she had her arms around him. But now that it was happening, she found she kinda enjoyed it. She liked having Marco this close to her and she found her heart stirring inside her chest for some reason. She still didn't know how to describe the feeling just yet but.... it was nice.

The girl released her hold, pulling back so they could stare into each other's flushing faces. Star felt suddenly awkward about the display of affection, playing with a loose strand of hair as she whispered, "Sorry, I don't know why I was…" Her voice trailed off and she was tempted to hide her flushed face inside her hood once more.

"Uhh, no it's fine," Marco replied, still clearly in shock but the joy on his face was clear as day. "I thought it was nice."

Star grinned back. "Me too."

The two stayed like that for a moment, smiling blissfully at each other, before a loud swing from the chef's knife caused the two to jump, reminding them where they were at. "Come on," Star said, standing up. "Let's go find that key!"

"Alright," Marco replied enthusiastically, following along behind the girl as they went in search of the key to their breakfast.

...

Star peeked her head out from the grate she was hiding in, watching as the two chefs noisily cleaned the dishes, piles and piles sprawled before them, some reaching almost as high as the ceiling. But that wasn't what had piqued Star's interest, her focus was on the small silver key set precariously close to the soapy water and in plain view of the two monsters. Marco must have noticed it too because he turned to her with a smile and a determined gleam in his eye, which she returned. They both nodded as one before crouching back under so they could safely discuss their plan of attack.

The two had been searching for the key for a while now but luckily they had found a loose floorboard and had been able to sneak around undetected right under the Monsters' noses. Except now their only way to get into the freezer was being guarded by the twin chefs and getting past them was going to be tricky. "So what now?" Marco asked Star, keeping his voice below a whisper.

Star thought for a second before replying, "We need to lure them away somehow."

She put a finger to her chin, pondering over an idea, when Marco suddenly said, "The hooks.”

"Huh?" Star said, looking over at the boy in confusion.

"There are a conveyor of hooks running all through this place, I bet if we find the switch that'd draw their attention," Marco explained simply.

"Oh yeah!" Star agreed, smiling brightly at her new friend. "Great idea, Marco!"

The boy grinned at the praise, before standing up and starting to crawl out of the grate, "Cool, then I'll go find the switch-”

But Star cut him off, grabbing onto his arm and pulling him back down with her, saying in a quiet hiss, "Are you crazy?! You can't go out there it's too dangerous!"

“Well one of us has to find the switch," Marco argued.

But Star wasn't having, shaking her head vigorously. "No way, it's too risky! What if you get caught again?!"

"I'll be careful," Marco told her, trying to sound more reassuring than he felt. "Besides, someone is gonna have to run to get the key and I think we both know who is faster." The two shuddered as the memory from earlier flashed through their minds, neither of them wanted a repeat of what happened.

"Okay," Star reluctantly agreed. "Just promise me you'll be safe."

Marco nodded once. "Of course. Safe is my middle name," he told her, giving her a small smile. Marco could see the tiniest of grins on Star's lips and he felt his heart flutter. Then, without warning, she pulled him into a hug, holding him tightly against her for a moment. Marco's cheeks blushed red but he wrapped his own arms around Stars slender frame, listening to her even breathing for a moment.

They parted much too quickly for Marco's liking, craving her warmth and comfort almost as much as she did. But that would have to wait for now, they needed to focus on the task ahead. They could decipher the tangle of emotions they felt later. Marco stood up and Star whispered softly to him, "Good luck."

Marco nodded, before replying, "You too." He then climbed out of the hole slowly. He kept a close eye on the two chefs, who were too deep in their task to notice him yet, as he carefully crept around, staying low to the ground, trying to make himself as small as possible.

He saw one of the chefs move away from the dishes and he quickly hid underneath one of the large sinks, trying to keep his breathing steady as his heart pounded painfully against his chest. He waited until his heartbeat had slowed to a reasonable speed, before risking peeking his head out from the safety of his hiding spot. The chefs had its back to him, sniffling noisily as it arranged dishes on a large shelf. Marco, seeing he was safe for the moment began looking around for the switch he needed. He spotted a large lever in the next room and smiled. That was it. It had to be.

Marco, seizing his chance, sucked in a deep breath and stepped out of his hiding spot. He tiptoed toward the next room, keeping a close eye on the chef as he did. He held his breath, his body starting to shake with fear as he repeated again and again in his terror-filled mind, Please don't turn around, please don't turn around, please don't turn around.

Snap!

The sudden jarring noise caused Marco to jump, looking slowly down at the floor where the sound had come from. The boy felt his heart come to a painful stop as he spotted the bits of glass under his feet. The boy had been so focused on the chef he hadn't been paying enough attention to the world around him and had somehow not noticed the array of broken, discarded plates scattered around him from where the chefs had presumably dropped them.

The boy froze as he heard a grunt from the chef, turning to the towering creature with pure dread coursing through his veins and nearly screamed in fright as he saw the chef turning around to see what had caused the loud noise. Marco panicked, time seeming to slow to a crawl as he waited for his presence to be revealed, to be caught and captured all over again. He knew he should move, run, escape but he couldn't. His legs felt like they were made of lead and his body was still and unmoving as a result.

This was it. In a matter of seconds, he would be back in the grubby grip of the nightmarish chef. He wasn't sure he could bear being flung around haphazardly by the heartless capture again. Couldn't stand the thought of being pinned in place as he watched the instrument of his demise slowly rise, ready to end his short, few years of existence.

But then suddenly, like a light at the end of a dark tunnel, Marco remembered Star. How devastated she would be if he died. How she was counting on him to pull through. He had promised her he would be careful. And he couldn't let her down. He refused to cause her anymore pain or grief. He had seen her desperation before, when she had struggled to reach that loaf of bread, the sight of her so helpless and struggling had torn at his heartstrings. He didn't want her to suffer, he wanted to help her, even if he didn't know how just yet.

So he pushed back his fears into the corner of his mind and forced his legs into motion. He ran quickly across the loose floorboards doing his best to dodge around the broken plates and make as little to no noise as possible. Still, just as he entered the next room he heard the chef release a surprised grunt and he knew he had been spotted. He had to be quick and make every second count.

He hopped up onto a table and jumped onto the lever. His weight caused the switch to be pulled down, a loud whining sound invaded Marco's eardrums and nearly causing them to burst. He landed back on the table and covered his ears with his hands, the sound of grating metal almost too much for his fragile ears. After a few seconds, it stopped as the conveyor of hooks began moving in the opposite direction. Marco smiled in victory.

But he didn't have long to celebrate this as the chef walked into the room Marco was in, letting out an annoyed groan as it spotted him. The boy ran across the tabletop, pushing his legs faster than they could physically go, hoping to somehow escape. The chef strutted its way over to the table, reaching out a grubby hand to grab him but Marco slid under it at the last second.

The boy then jumped through a window into the main room again, landing in a sink filled with soapy water. Marco, who had never learned to swim, struggled to get above water, flailing his arms in some desperate attempt at not drowning. But his clothes felt like they were weighing him down as he became distinctly aware of the chain on his ankle which seemed to be dragging him down instead of up. And to make it worse his eyes were stinging from the obsessive amounts of soap the monsters had used to clean the dirty plates. Finally, the boy managed to get his head above water, gasping and sputtering and he tightly gripped the edge of the sink.

He looked up with blurry and pain-filled vision to see the second chef rushing at him as fast as its stubby legs could carry it. "Oh come on!" Marco screamed in annoyance. Could the universe just give him a freaking break?

The boy quickly jumped out of the sink and made a break for his hiding spot from earlier, his drenched clothes making it difficult to run. Still, he managed to reach the table unharmed, ducking down underneath it and trying to make himself as small as possible. The twin chefs had soon gathered around the table, one of them struggling to reach underneath, straining with all its might to reach the boy, the other just watching the whole thing with nervous annoyance.

Star took advantage of the distraction Marco had provided, quickly racing over to the large sink, climbing up onto it and picking up the key. She smiled in victory, which was short-lived as one of the chefs spotted her and let out a loud moan. Star felt her heartbeat race in her chest, looking around for an exit. She would never make it to the grate in time, which meant she needed another way out of here.

Her gaze rested on the hooks above her head and an idea sprang into her mind. She threw the key with all her might, letting it hit the ground with a loud thud, the chef forgoing her in favor of its precious key. Star then shouted over to her companion, "Marco, over here!"

The second chef had stopped its attempts to snatch him up to watch the commotion going on with its brother and Marco used this distraction to crawl out from underneath the table and quickly running over to Star. The girl offered him a hand up, as he climbed up onto the side of the sink with her. "Where's the key?" he asked, panting from both fear and exertion.

Star shook her head. "Forget the key, we gotta get outta here.”

"How?" Marco asked, his voice cracking with fear.

"We go up," Star said, looking up at the line of hooks and then a large stack of plates reaching just high enough for the two of them to be in reach of the hooks. Marco followed her gaze before a small grin lit up his face. The two's eyes met again and they shared a brief smile before nodding in unison. They had a plan, now was the time to see it in action.

The two climbed up the large stack of plates, ignoring as they wobbled and jolted around with every step. When Star and Marco reached the top they found themselves struggling to keep their balance, holding out their arms in an attempt to stay on the unsteady stack. The chefs both reached for the two children, grunting in their feeble attempts, growing more and more frustrated with every second that passed. Star, however, had her eyes on the hooks, waiting for one to be in position for them to reach it.

She watched as one slowly slid closer, her body tensing as she shouted, "Marco, get ready to jump!"

"Right!" the boy yelled back, determination in his voice as the two crouched down waiting for the right moment.

"3," Star whispered under her breath.

"2," Marco added, his voice shaking with anticipation.

"1!" The two kids shouted together jumping up just as the hook passed over their heads. The sudden shift in weight, finally caused the huge stack of plates to collapse and tumble onto the unsuspecting chefs, causing them to groan in pain and surprise.

Star grabbed tightly onto the rusted metal, while Marco wrapped his arms around Star's waist, clinging to her tightly. The two cheered in victory as they sailed over the kitchen, Star shouting at the frazzled chefs, "Ha take that you monsters! That's the last time you'll think about messing with us!" She then stuck her tongue out at the creatures for added measure.

Marco just let out a sigh of relief, glad that the whole terrifying incident was over. He held Star in an almost death grip trying to ignore the long drop that waited just below them, burying his head into her bright raincoat. Now that they were safe and out of harm's way he couldn't help but enjoy holding onto Star like this, even if they were precariously dangling in the air.

However, something was still bothering Marco. Something he couldn't quite get his mind off of. "Star, where do these hooks lead?" he asked, looking up at his more knowledgeable friend.

Star didn't seem even slightly worried, saying in a smooth, confident tone, "Oh relax, Marco. I'm sure everything will be fine now that we got away from those chefs."

Marco looked up ahead to see where the conveyor belt was leading them only to gasp in shock. "Oh no we didn't!" he screamed and Star looked over her shoulder only to see one of the chefs waiting for them, piles of packages stacked all around it.

Star gasped in surprise and let go of the hook, dropping the two to the ground without warning. Thankfully, a pile of cloth broke their fall and the two slowly crawled their way out of it, cringing and rubbing their aching backsides from the rough landing.

The door behind them busted open, the sheer force causing the thin wood to snap off its hinges and Star and Marco jumped at the sudden noise. The second chef stood in the doorway, a towering, hideous figure fuming with hate and rage and the pair felt the hair on the back of their necks stand on end at the sight.

"Run!" Star screamed for what felt like the hundredth time that day, gripping Marco's arm tightly and pulling him along behind her. She wasn't going to make the same mistake as before. She was not letting him go this time. The two ran as fast as their little legs would let them, their bare feet slapping against the wooden floor and they could hear the enraged chef chasing after them, right on their heels.

What was worse the two were quickly approaching a dead end, a huge gap in the ship standing between them and freedom and Star felt her heart clench in despair. Until Marco shouted, "Look, more hooks!"

The blonde followed her companion's pointing finger to a new row of hooks, these stretching right across the massive gaping hole in front of them. Star tightened her grip on Marco's hand, hoping they made it to them in time.

They could hear the loud, gurgling breathe of the chef getting louder and louder and Star knew they couldn't wait any longer… not unless they wanted to be monster food. So, steadying her nerves (what was left of them) and sucking in a deep breath of air (possibly her last) she dove for the hooks, jumping off the thin railing that was meant to keep people from slipping over the side to their deaths. Marco somehow sensed her movement and jumped too, the two airborne for a second, before Star managed to snatch the hook out of mid-air, the two now dangling from the moving conveyor belt, only their intertwined hands keeping Marco from plummeting to his death..

The chefs were none too happy seeing their prey escaping, throwing all manners of things at them from plates to large bottles of intoxicants, letting out high-pitched groans and grunts as they watched their possible meal slowly drift away.

Unlike before the two kids didn't dare cheer their victory, Star was too busy trying not to lose her grip on Marco's hand. Their position had been much easier before, her arm straining to hold Marco's weight, feeling like her bone was being pulled from the socket. Not to mention her grip on the hook threatening to slip with every passing second. But she fought through the pain, focusing only on getting her and Marco to safety. She would not lose Marco now. Not after everything they had just gone through.

Finally, Star could let go as the hooks flew over a large metal pipe, the two landing gracefully on it. Star clutched her sore arm tightly, hissing some in pain and Marco was quick to check on her. "Are you alright? Did you get hurt?" he asked, concern in his voice as he put a hand gently on the limb.

"I'll be fine," Star reassured him, giving him a bright smile.

Marco nodded but wasn't entirely convinced, reminding himself to keep a close eye on her for a bit. He turned and looked back over the gap, letting out a longing sigh. "Well there went our meal ticket," he muttered under his breath.

Star frowned, sitting down on the pipe as she contemplated everything. "Yeah, I know. Sorry I blew our chance to eat," she mumbled dejectedly.

"Star it's fine, I'm just glad we got away," Marco said, subconsciously laying a hand on top of hers. Star shivered as his warm palm soaked into her cold skin, making her whole arm tingle from the touch. "Besides we'll find more food.... soon."

Star nodded, unable to keep the smile off her face. "Yeah, you're right," she replied in a much more upbeat tone. She didn't know what it was but something about Marco made her world… brighter somehow. She really liked having him around.

"So what now?" Marco asked, looking to her for answers, his bright eyes causing her heart to do all kinds of weird things.

Star shrugged, ignoring the sudden heat in her cheeks. "Guess we should see where this pipe leads."

"You think it'll lead into anything good?" Marco asked as the two stood, their hands still locked. They didn't know why but they liked it better this way.

"Probably not," Star said honestly. "But it can't hurt to try."

"Can't argue with that," the boy replied with a shrug. After everything that had happened today, he really didn't see how it could get any worse.

...

The two followed the pipe for a bit, not really sure what to expect on the other end. They began to notice a strange warmth coming from up ahead but couldn't quite figure out what it was. That was when Star heard a sound and felt her heart jump for joy. She stopped in her tracks, causing Marco to stumble into her on accident. "Marco, do you hear that?" she asked in excitement.

Marco paused to listen intently, finally hearing a chittering sound. "Is that a Nome?"

"Yep!" Star said, her eyes shimmering for the first time since Marco had met her.

"So what about it?" Marco asked in confusion.

"First rule of survival, when in doubt follow the Nomes," Star explained. She dragged Marco behind her as she ran across the pipe as quickly as possible before coming across a crack in the wall. The two paused at that, sharing looks with each other, before shrugging. Star slipped in through the tiny crack, sucking in her breath to help her squeeze through a little easier, Marco following right behind her.

What the two stepped into caught both of them off-guard. A group of Nomes, at least 20 or so were all laying around the area, a large boiler, full of hot coals and warm fire rested in the center of the room. The Nomes, upon spotting the two intruders quickly panicked and all started to scamper away.

"Wait, little guys!" Star called after them. "We won't hurt you!"

She let go of Marco's hand to chase after them, while Marco could only stand there dumbfounded. He had only ever heard the Nomes before through the cracks in his prison but seeing them in person it was quite a sight. They had cone-shaped heads, all completely featureless and small gray bodies. They were even shorter than Star and Marco and that was saying something but something about them also felt kinda cute, although that was probably helped along as he watched his friend's funny but endearing attempts to catch the remarkably quick Nomes shouting after them in an attempt to get them to stop. "Just let me hug you!”

Marco laughed out loud, feeling his cheeks heat up with a blush. But he soon spotted one of the Nomes stuck in a small crack in the wall that it had been too big to squeeze through. The boy rushed over to help the tiny creature, plucking it effortlessly out of the wall. "There you go, little guy," Marco said, setting it back on its feet.

Star, spotted the creature and quickly rushed over, lifting it off of its feet before hugging it tightly. Marco grinned at the cute sight before the blonde set the small creature back down who now let out a gentle coo and stared up at her almost longingly. "Now you hug him, Marco," Star told her friend, giving him an encouraging grin.

"Oh, okay I guess," Marco said, picking the creature up and hugging it just like Star had. It was surprisingly warm and the boy felt his spirits lift a little just by embracing the adorable creature.

The other Nomes, seeing that the intruders were friendly, slowly began to approach them, still slightly hesitant and fearful. Time aboard this ship had taught the Nomes to be cautious.

Soon, Star and Marco found themselves surrounded by Nomes and they happily took turns picking them up and hugging each one, the creatures soon almost begging to be picked up, each one getting more and more excited by the show of affection. Finally, the happy moment was broken up by a loud grumbling from Marco's stomach who blushed bright red.

"Aww poor Marco," Star cooed over to her friend. "I'm sure you must be hungry."

"Maybe a little," Marco replied, rubbing his empty stomach with a sad frown.

The Nomes heard this and all began to chitter loudly, rushing off to a corner of the room and Star and Marco shared a look of confusion. A second later, the gnomes were back now holding a large array of food which they set down in front of the pair. Star and Marco gasped in delight and surprise, feeling their mouths begin to water staring at the food. Real food!

Star and Marco didn't even question the creatures kindness as they began to gobble down the food as fast as their tiny mouths would allow. It was the best meal either had ever had, most of the time surviving on scraps but now they could fill their bellies up as much as they wanted. Anytime the two started to run low, the gnomes would bring them more and the two ate until their stomachs were stuffed to bursting.

The two let out happy moans as the food settled in their stomachs, before turning to the small creatures. "Thanks guys, we really appreciate it!" Star said brightly and the Nomes all let out what the blonde could only assume was joyful chitters.

With their bellies now full and their bodies warm and comfortable thanks to the furnace, the two felt the next pressing matter than needed to be attended to. That they, were in fact, beyond exhausted. It had been a tiring day both mentally and physically the two found themselves yawning and rubbing their eyes as they struggled to stay awake. "We should probably get some sleep," Star suggested.

Marco nodded but Star noticed his body visibly tense up. "Is everything okay, Marco?" she asked, concern etched into her voice.

Marco shook his head before admitting, "It's just… what if I have a bad dream?" He bit his lip, shuddering as he imagined the many nightmares he was often plagued by. And after today, he knew a few more had just been added to the list.

"Do you have nightmares a lot?" Star asked, already guessing the answer.

"Yeah," the boy muttered, his pupils wide with fear. "Sometimes I don't sleep cause I'm afraid… I'll dream about bad stuff again."

"Me too," Star replied and Marco caught her gaze, sympathy and understanding layered beneath. She could see his need was just as strong as hers and she tried to think of some way to help comfort him, to ease his mind.

"Here, how about this? You can lay on me and if you start to have a bad dream, I'll wake you," Star suggested, giving him a warm smile.

"But what about you?" Marco asked in concern. "Aren't you going to sleep?"

Star nodded. "Yeah but I'll sleep easier having you here."

Marco didn't argue with that, allowing Star to wrap her arms around him, his head resting against her chest. He found Star's presence comforting and as he gently breathed in her scent he found his eyes slowly closing. In a matter of minutes, Marco was fast asleep in Star's arms.

The blonde, however, just lay there soaking in Marco's warmth as she thought over her long, exhausting day. For so long life on board the Maw had been pointless and empty. She had carried on day by day just fighting to stay alive for no other reason than her own will to live. She had felt like her life lacked direction or purpose whatsoever but still she had carried on through the darkness and shadows, hoping to find something that would make her miserable existence worthwhile.

And then Marco had arrived and suddenly, she had a reason to live again. To believe, to hope that maybe someday there could be something better for her out there. Because now she had someone to share that with. She had a friend. A companion. Someone she could lean on and that could lean on her and it felt like for the first time in her life she was at peace.

And as Star lay there listening to Marco's breathing as her own eyes began to slowly shut, she promised herself that somehow she would help Marco escape this life, they would leave this dreadful ship together. Her nightmarish world felt a little brighter on that day and as sleep finally took hold Star found herself dreaming of light and hope and Marco.

[trulyinspiringmovies]

Furious 7

“Furious 7″ manages to keep the standard of the previous three films even with the tragic death of Paul Walker.

Brian O’Conner is now settling into domestic life. He loves his wife and kid, but he misses the action-packed life he had to leave behind. When a package from Tokyo blows up on his front porch, Brian is once again thrust into his action-packed lifestyle. It’s revealed that the package was sent by Owen Shaw’s older brother, Deckard Shaw. Deckard was a special forces assassin who defected after the government started viewing him as a liability. Now, Deckard wants revenge on the people who put his brother in a comatose state.

I went into this film completely blind, so I had no idea this was Walker’s last film. I know his death is a sensitive topic, so I’ll try to write this review in the most respectful way possible. With that being said, the fact that this movie holds up to the previous three films is a testament to the hard work of the people involved. The CG work involved in adding Paul Walker to this film is seamless. I only found out after I finished watching the movie that he wasn’t around for a majority of Principal Photography. His final scene at the end was handled with the utmost respect and care. It’s also very fitting for the trajectory of the character, Brian O’Conner. The action set pieces are the best in the franchise so far and had my jaw on the floor for most of them. Jason Statham’s Deckard Shaw was menacing and manages to top the danger levels of any villain to appear so far. Still, I felt like Statham was underutilized in this film. His character seems to pops back into the narrative whenever it’s convenient for him. We don’t follow Deckard’s perspective throughout the film, which made it hard for me to see him as more than just a plot device. Another character that is severely underutilized in this film was Luke Hobbs. He’s out of commission for a majority of this film and we don’t get back to him until the third act of the movie. The third act of this film has a drone being its main threat. It’s a cool way to raise the stakes from the last few movies, but it’s painfully apparent that the drone is just CGI. It’s disappointing too since this franchise prided itself in doing mostly practical stunts. Watching the CG drone fly around weightlessly took a lot of the suspense out of the final action set piece for me. Another thing that bothered me was how the Letty amnesia plotline was handled. They took a bold decision in the fourth installment and regressed back to how things were in the first installment. This itself isn’t a problem. The problem is how it’s done. Her memory comes back in a soap opera manner just for the sole purpose of artificially injecting sentimentality into a character death fake-out. This film also isn’t subtle about its product placement. I feel like Corona must’ve given a large sum of money to Universal Pictures because I felt like I was watching a commercial at times. The overall plot of this film felt disjointed because it’s divided into four or five different movies all in one. I can’t really fault them on this one because they did the best they could given the tragedy they had to endure. It can easily be overlooked especially since it made sense and was still enjoyable to watch. All in all, it’s going to be a lot different now that Paul Walker won’t be in these movies. We’ll always have the movies he was in to cherish. I don’t know where the franchise will go from here, but I’m optimistic.

★★★★

Watched on July 20th, 2021

[wonderfulworldofmichaelford]

Psycho Analysis: Count Dracula

(WARNING! This analysis contains SPOILERS!)

So, in all my time doing Psycho Analysis, there have been a few villainous characters that, while extremely obvious, have such large and daunting scopes that it seems a bit scary to think I could accurately analyze them. Characters like Disney’s Pete or Bowser come to mind. Both are obvious 11s, but where to even begin with them? And that is a similar problem I faced with the villain who is arguably the single most important foe to ever grace fiction: Count Dracula.

How on Earth is one supposed to talk about a character who has spanned so much media and has remained an enduring fixture of pop culture for over a century? The guy has been in movies, comics, books, video games, plays, cartoons, musicals, songs… and he hasn’t even been a villain in all of them! How does one talk about such a villain with such a broad, all-encompassing scope?

The obvious answer is, of course, to talk about him in a broad sense and how he has affected culture, of course! This one’s going to be a little different than usual since I’m focusing more on the concept of Dracula than one single version, so there’s a lot of Dracula’s to go over here:

Performance: Throughout the years, Dracula has had many actors take a shot at him, though I think the finest takes are courtesy of Bela Lugosi and Christopher Lee. The former is basically what cemented Dracula as a sexy, Gothic horror icon, changing the far less attractive man from the book into a seductive monster that would color numerous adaptations after. Lee’s take brings the sexy, but is also far more violent and monstrous, mostly because Hammer horror films were all about that bright red blood, so gotta have someone spill it all!

If you’re looking for more flamboyant, hammy Draculas, Richard Roxbourg of Van Helsing and Duncan Regehr of The Monster Squad have you covered, playing Dracula at his most deliciously, monstrously evil. However, the hammiest (and thus most amazing) Dracula was Michael Guinn’s take in Symphony of the Night, with the entire opening exchange between him and Richter Belmont being a testament to the joys of chewing the scenery.

More comedic takes on Dracula have popped up over the years, with the most notable ones being Adam Sandler’s lovable, fatherly take on the character in the Hotel Transylvania films and Phil LaMarr’s performance on Billy and Mandy, where he plays a ridiculous, possibly senile version of Dracula who is abrasive and hilarious in equal measure.

Basically, when it comes to Dracula, you can easily find any sort of performance to suit your needs and give you what you’re looking for.

Best Scene: Over the years, Dracula has had a great many fantastic moments under his belt, so many fantastic scenes and boss battles… but for my money, the single greatest moment Dracula has ever been in is the opening battle of Symphony of the Night. Just watch this cheesy melodrama unfold and try and disagree with me:

Though, of course, his death in the animated series sure is a contender:

Best Quote: From the above scene, we have “What is a man? A miserable little pile of secrets!” among moany other meme-worthy bits of dialogue from Dracula. 

On the subject of Castlevania, from the TV show we have Dracula at his most tragic and pitiable, especially when he delivers these fantastically tragic lines like “ It's your room... My boy... I'm- I'm killing my boy... Lisa... I'm killing our boy. We painted this room. We... made these toys. It's our boy, Lisa... your greatest gift to me... and I'm killing him. I must already be dead.” and “Your greatest gift to me... and I'm killing him." as he does battle with his son, Alucard.

Then of course, we have the legendary moment from The Monster Squad where Dracula drops any pretense and starts strangling a little girl, screaming in her face "Give me the amulet, you bitch!" It’s so deliciously, horrendously evil!

Final Thoughts & Score: It’s very strange to think of how much all of fiction owes Dracula. The original book invented a lot of traits (the lack of reflection being one) and popularized others (such as shapeshifting and weakness to garlic), but at the same time also predates a lot of things modern vampire fiction takes for granted. The Dracula of the book has no weakness to sunlight and gets younger as he drinks blood, starting as an old man; in fact, Dracula in the book is entirely lacking in the Gothic sex appeal that almost every adaptation of the character after would give him. He was also not very seductive, instead outright attacking women if he wasn’t hypnotizing them. Hell, he wasn’t even explicitly Vlad the Impaler in the books!

More than any other villain I’ve covered so far, Dracula is truly deserving of an 11/10. Even Count Orlok owes him a debt, seeing as Nosferatu was just a blatant ripoff. Hell, aside from villains from old mythology, I don’t think any villain can lay claim to the sort of scope Dracula has, having forever altered vampire fiction even as certain elements of him become lost in translation.

But what of some of his other incarnations over the years? How do they fare in terms of score? Well, I’m certainly not going to be incredibly thorough and list every Dracula ever, but here are a few I’ve encountered:

Obviously it’s unfair to give the Bela Lugosi incarnation anything less than an 11/10, mainly because this is the Dracula who pretty much inspired most other interpretations of Dracula after him. He’s suave, Gothic, attractive in that dark and mysterious way… it’s no wonder Lugosi’s Dracula became such an iconic fixture of cinema. Then we have the other classic Dracula, Christopher Lee’s take. I think he’s only a 10/10 because I feel like Lee’s tenure is a bit more overlooked and Lugosi tends to supplant him in terms of iconic status.

Castlevania as a franchise is specifically built qround defeating Dracula as the heroic Belmont clan or some adjacent vampire hunter. So you’d better hope that the big bad and master of the magical castle the game takes place in is impressive, right? Well he most certainly is; while he’s not completely fleshed out in every appearance he has some, like his iconic portrayal in Symphony of the Night, really help sell the idea this incarnation of Dracula is a rather tragic villain, though at other times in the series he seems to revel in being a monster far more than that interpretation would allow. Notably, the Castlevania show went with the more tragic approach to great effect, with Graham McTavish delivering a fantastic performance that swings from being genuinely terrifying to hauntingly emotional (just watch the scene where he breaks down upon fighting Alucard and realizing he’s killing his own son). Both game (in a broad sense) and show Dracula get a 10/10, for different reasons.

Duncan Regehr portrayed the Dracula in The Monster Squad, and it is quite obvious he’s having a hell of a time. He’s just wonderfully hammy, and he might be one of the most evil Draculas ever seeing how he called a little girl a bitch and tried to slaughter children with dynamite. This one’s a 9/10 for sure. I honestly think he’s the best take on the character, but his movie is sadly too obscure to really give him that push to being a truly iconic portrayal. He just captures the menace and charisma of Dracula so well, it’s a shame more people don’t know about him.

Van Helsing had a Dracula, played to hammy perfection by Richard Roxburgh. Say what you will about the rest of the film, but any Dracula movie that features evil bat monster Dracula fighting fallen angel werewolf Hugh Jackman in a battle to the death over Frankenstein’s atomic heart is worth at least an 8/10. For a more minor role, we have the Dracula who appeared in the blaxploitation classic Blacula. While he only appears for a bit at the start, long enough to curse an African prince with vampirism and dub him “Blacula,” this Dracula firmly cements himself as one of the most evil Draculas ever, gleefully participating in the slave trade. I believe that’s another 8/10 right there. On a related note, Blacula serves as a chief inspiration to the Billy and Mandy incarnation of Dracula, who is a cranky old black man with a big mustache and lots of sass (in fact, he’s accidentally closer to the original book’s depiction than most other Draculas). Sadly, as a more neutral chaotic comedic figure, I can’t give him a rating, but boy is he a riot.

Scooby-Doo and the Reluctant Werewolf features a more comedic and zany Dracula, one who participates in some good-old-fashioned Wacky Races cheating in an attempt to keep Shaggy as a werewolf forever. He’s mostly amusing for a oneshot villain, so I’d say 7/10 is fair. Speaking of oneshot villains, Dracula also showed up in an animated straight to video movie for The Batman, where he did things such as turn Joker into a vampire and get killed by Batman. He’s probably a 7/10 as well.

And then there are all the heroic takes on Dracula, such as the version from Dracula Untold or the “overbearing but endearing father” take on the character from the Hotel Transylvania movies (though that rap Adam Sandler does at the end of the first movie is pretty heinous).

And this is not an extensive list by any means. There are so many Draculas I haven’t watched yet, so many different takes I haven’t read the adventures of. And that, I think, is what makes Dracula such a great villain. He is a character who any writer can bend and shape to fit a plot, a villain who can serve almost any purpose and who can fit in almost any fantasy story imaginable. Dracula is incredibly versatile, and whenever he shows up in a work, things almost always get better for a bit. And keep in mind, this is a character who has been around since the year 1897, and yet he is still a household name that even people who have never read the books or seen the movies can accurately describe and recognize.

Is Count Dracula the greatest villain in all of human history? It’s debatable for sure, but I don’t think there’s any denying he’s up there considering his scope and influence and how he helped mold modern vampire fiction into what it is today. If nothing else, Dracula is still wildly influential.