#the atmosphere is too good to rely on those and there's shocking imagery but it's not without purpose

[organizationhimself]

if you've ever played a game where """choices matter""" and weren't exactly taken with the one (1) different line of dialogue you got--scarlet hollow.

if you've ever lied to a character or went against your character's principles or wrecked a pottery shop just to see what would happen, and were disappointed when nothing did--scarlet hollow.

if the first time you got arrested for ransacking a random house in fable you hooted in surprise and delight--scarlet hollow.

if you liked disco elysium literally at all even a little bit, SCARLET. HOLLOW.

also play slay the princess if you haven't and it's not too violent for you (tw for gore and death and body horror, all of which is usually impermanent in case that has an effect on what bothers you like it does for me)

[meetthetank]

Beast Code Chapter 1: The Twilit City

Rating: Mature Archive Warning: Graphic Depictions Of Violence Category: F/M Fandom: NieR: Automata (Video Game) Relationship: 2B/9S (NieR: Automata) Characters: 2B (NieR: Automata), 9S (NieR: Automata), Original YoRHa Characters (NieR: Automata) Additional Tags: Transformation, gothic horror, Android Lycanthropy...sort of, Inspired by Bloodborne (Video Game), Everyday i get closer to just writing a Bloodborne AU

Summary:  Break the vicious cycle with tooth and claw. Unleash the beast within and destroy your chains. But the strength to defy fate comes at a grave cost. Will it be enough, little doll? Or will you succumb to despair once more?

Ao3 Link: https://archiveofourown.org/works/31546982

The assignment to the Twilight Belt comes as a shock to 2B and 9S. Rarely, if ever, are YorHa units sent to this border of perpetual daylight and eternal night. Conditions are always reported as unstable by the infrequent scans by one of the other satellite bases that orbit earth, too dangerous to deploy scanners by themselves, and too depleted of resources for the Council to care about. The mystery surrounding the strip of permanent twilight goads curious operators and scanners alike to comb through files searching for nuggets of data, image or video files, anything they can get their hands on. All but a few pieces of data reveal tantalizing scraps and clues to the puzzle of the Sunset Belt. Photographs of dead machines with toothy, gaping maws that split their spherical heads in two and minerals warped in peculiar shapes. According to one of the situation reports from a scanner that had been sent there, there was an eerie, foreboding feeling about the place; that strange and frightening sounds would echo across the landscape and that he felt close to a forbidden barrier that separated this world from another. Though the file and its contents are now treated as a human “ghost story”, many androids, including 2B and 9S, believe at least some portion of the tale.

9S relays this story to 2B as they descend to Earth’s surface, his chattering easing some of 2B’s trepidation. The pair had fallen into an easy rhythm over the course of several assignments to Earth, most of which involved retrieving data from lost servers buried in rubble or clearing out an area of machine lifeforms. Despite her outwardly cold demeanor, 9S wormed his way past all of her defenses, forming a strong, solid relationship with the battler android. His voice is a centering point for her and assists in ignoring the gut churning possibilities of what could be waiting for them below.

“...What do you think, 2B?” his voice crackles from the comms system inside her flight unit.

“Hm?” she shifts her head to the side, glancing at his jet black flight unit cruising beside hers.

“What do you think made the target go rogue?”

She bites her lower lip. There are a thousand possible answers as to why a normally punctual, efficient YorHa Battle unit would suddenly stop responding to command and not checking in at required times. Only a few of those options were machine lifeform related complications.

“We’ll find out when we arrive, 9S.” she says curtly, eager to shut down the conversation, “Focus on landing protocol.”

He sighs, a sound of annoyance and frustration, “Yeah, yeah.”

“One affirmation will-”

“Fiiiiiiiine.”

The final phase of their descent is spent in silence. They pass through the Earth’s atmosphere in streaks of fire and light towards the border of day and night, and a continent that humans called Europe. Even as they descend, the outlines of ancient, massive structures come into view. Both androids are used to the thick vegetation eating away at the remains of human structures, but here the trees are gnarled, twisted, and void of leaves or blossoms. Their branches reach to the crimson sky and permanently setting sun like bony hands in prayer or a stag’s antlers. As 2B and 9S set their flight units down a few miles away from the outskirts of a sprawling, ancient city. It amazes 9S, as he exits his own unit, that the buildings are in such good condition considering the millenia that have passed it by. Great spires of countless cathedrals pierce the heavens, casting an ominous, looming shadow over the otherwise barren landscape. A well worn cobblestone road, lined with rusted iron lighting fixtures long since burnt out, leads into the city proper. 

2B and 9S stand at the precipice of this ancient beast of stone and metal in awe of its size, and terrified of what might lurk within. A hoarse bird’s caw, jolts the androids back into awareness, 2B drawing her katana and prepares for battle.

“Heh,” 9S laughs, trying to calm them both down, “Just a raven, 2B.”

“What?”

“A large black bird. Harmless to us.” He doesn’t tell her about the chill he gets down his spine as he watches the corvid gaze down at them with beady black eyes, or how humans saw these birds as ill omens or prophets of death.

They begin the trek into the forgotten city. 2B doesn’t put Virtuous Contract away.

Pod 042 alerts 2B to the presence of an unidentifiable android signal, marking the location on both hers and 9S’ map. Since the area has yet to be properly mapped out by satellite imagery (as inaccurate as that process is) only a vague street layout is available through a very low power scan. They have no way of judging what might block their path to the target beyond featureless grey masses depicting buildings, rubble, large trees, or whatever else may lie in wait. Their target, represented by a small orange dot on the map, appears to be near the city’s main gate and inside one of the larger buildings. 2B refuses to admit it to herself, but she’s relieved to not have to delve too far into this labyrinthine city.

“I’ve never seen the sky this color…” 9S muses as he stares up, transfixed by the blood red sky and orange sun hanging low.

Though hauntingly beautiful, she won’t deny, 2B keeps her gaze fixed on the wrought iron gate ahead of them. The heavens disturb her; they are the color of death. Of war. And the sun is… wrong. 

She snaps at 9S to keep focused as they approach the gate to the city. Though scans indicate there are no machine lifeforms, or any lifeforms beyond their target, she’s learned from countless combat assignments to not rely totally on what the support unit reports. She’s encountered and seen machines that mask themselves from scans or camouflage themselves in the environment, and in a place like this anything could be hiding in the shadows just outside of view. 

The iron gate lies ajar, worn from millennia of neglect. Clouds of rust particles burst from the hinges as 2B shoves it open further, the metal grinding against itself with a horrible grating shriek. The sound makes them both wince, and they slip through the partially opened gate as soon as they can.

Standing inside the city gates, 9S can’t shake the uneasy feeling that claws at the back of his mind. The great ancient human structures loom above them, and though he knows that the buildings themselves aren’t alive, he can’t shake the notion that he’s being watched by them. The windows are dark, but when he passes by the light of the setting sun reflects off of them, giving them the illusion of intelligence. Suddenly, 9S feels as if he’s inside a cave, or locked in a room with no exit. Suddenly… He finds it hard to breathe. 9S tugs at the collar of his jacket as if it's tightening around his throat. His synthetic lungs fill with air as much as he can take, then he releases it moments later. It calms him, if only a little.

2B’s gaze is fixed ahead on the building Pod 042 marked as the rogue android’s hiding place. It’s a much smaller structure than the others that choke the sky, but its reach stretches across the streets like a tree’s roots. Judging by the well preserved signs that hang from crumbled doors it looked to have multiple uses. 9S commands his own Pod to run scans on the words and symbols for later analysis. 

“The target’s in here…” 2B murmurs, holding her free hand up in a tight fist, signaling 9S to stop behind her.

This portion of the sprawling building is similar in structure to the massive spires above. It has the same pointed section on the roof, but much smaller in scale, and similar symbols decorate the exterior. A cross, winged humans, various flowering plants, and a number of human figures bowing their heads or supplicating themselves to the winged humans.

“This must have been a place of worship,” 9S muses aloud.

“Focus.”

He nods. Typically 9S argues with his partner about the necessity for recording data like this, or excuse his wandering attention to his designation as a scanner, but he knows the danger within the house of worship, or rather, he doesn’t know. Neither one of them knows what this rouge android is capable of. 

2B presses her hand against the wooden doors to the chapel and pushes it open as slowly as possible. It groans in protest, dust falls from its hinges and frame, but it swings inward. A rush of warm air washes over them carrying the scent of stale incense and dead machines. Clouds of smoke billow out of the doorway, rising into the red sky like twisted fingers. 2B enters first, sliding in sword arm first. She motions for 9S to wait for a moment, then commands Pod 042 to switch on its flashlight. 

9S peeks his head around the door, keeping a few paces behind his partner. He switches on his own Pod’s flashlight to illuminate more of the pitch black interior. Long wooden benches are pushed up against the walls, opening up the center space. Ornate candle holders, rotting books, charred incense burners, and pieces of artwork among other things 9S has no name for are scattered across the ground, each one a priceless human artifact that could fuel hours of study. Yet it’s not these that hold 9S’ attention, but the statue at the far back of the chapel, and the figure kneeling in front of it.

It looks to be made of some kind of marble, a pristine white stone that has been sheltered from time and the elements. The subject is another winged human, this one wearing splendid armor and wielding a great spear. Beneath them, a grotesque, writhing beast bares its teeth and claws at the warrior as the blade pierces its throat. 9S has never seen anything like it in person, and very few records of these kinds of sculptures remain at all. It’s both horrific and beautiful at once. He wonders what the human who made this saw that inspired it. Did creatures like these roam the world during their time?

2B steps in front of him, Virtuous Contract at the ready. The figure in front of the statue rises to their feet as the Pod’s flashlights center on them. A cloak made of feathers conceals most of their form but they appear to be a female android, perhaps a YorHa model. Though, if that were the case it would have been in the mission briefing. That is, unless... 

The android turns her head to the side, glaring at the pair over her shoulder.

“So, Command sent the wolves, did they?” She asks, a distinct rumble in her voice.

2B raises her blade and keeps her gaze steady. She hears 9S also ready his weapon, the golden katana Cruel Oath. 

Lazily, the android turns her body to face them. Her clothes confirm her origins; there’s no mistaking the sharp white embellishments and black velvet of a YorHa uniform; however each piece is ripped, tattered, and stitched together with other scraps of clothing or… animal hide. 

The rouge android drags the blade of a bloodied top heavy sword between her fingers, cleaning the gore from it. “It doesn’t matter, dog.” Her eyes shine with a strange, purplish light that refracts around her collapsed, twisted pupils. “You will fall like the rest.”

It isn’t until the rogue android rushes forward, sword raised, that 2B sees the corpses of YorHa units piled in front of the statue, and the blood that soaks it.

She dashes backward and shoves the bewildered 9S out of harm's way. The android’s bloodied sword crashes into the stonework floor, sending thousands of years of dust into the air. 2B lunges, her katana poised to take advantage of the enemy’s opening, but she sidesteps much quicker than anticipated. The rogue’s fist slams into 2B’s chest, distorting her internal sensors and throwing her off balance. 2B watches in horror as the rogue drives her sword towards her, but a golden flash knocks the blade away. 

“2B!” 9S shouts, brandishing Cruel Oath. “Are you okay?!”

She shakes her head as if it would clear the internal errors from her vision, but she assumes her battle stance next to her partner. “Fine.”

Both androids launch into an assault on the rogue, attacking in tandem. Despite 2B’s scrambled sensors, she and 9S have an undeniable synergy that comes with countless missions. 2B forces the rogue back with singular, powerful blows, while 9S jabs at any opening he can reach from the sides. However, even with their combined might the rogue deflects and maneuvers out of the way of each attack as casually as one would flick away an insect or step around a puddle. She looks to be expending no effort at all as she dances around the two YorHa. Anger and frustration rises in 2B, culminating in a harsh growl. She mimics the rogue’s tactic from earlier, rushing forward and feinting with a crushing overhead strike that is easily dodged but allows no time for recovery. She slams her fist into the rogue android’s face, sending her stumbling backwards. Before 9S can dive in with a horizontal slash the rogue dashes backward, putting crucial distance between her and her hunters.

The rogue android lowers her gaze at the pair, sizing them up, taking stock of their abilities and assessing their weaknesses. 2B watches her eyes dart back and forth between her and 9S, then linger on 9S. Sensing the rogue’s motive and deciding at that moment that the outcome is unacceptable, 2B dives in front of the strike meant for 9S. The rogue’s sword slices cleanly through her chest, coating the rogue’s clothes in splatters of fresh blood. The battler falls to her knees, clutching the wound with one hand while supporting herself on her sword. 

“No!!” 9S screams and lunges at their target. “2B!!”

“Hm. Interesting.” The rogue murmurs, easily deflecting the scanner’s wild strikes.

2B watches through blurred, error obscured vision as 9S drives the rogue back. If she didn’t know any better it’d seem that he has the upper hand, but the rogue’s eyes glint in a way 2B recognizes all too well. She’s baiting him. 

9S slams his blade against the rogue’s, pressing all of his power and weight into the strike. It’s the moment she had been waiting for. Suddenly she pulls back, letting 9S’ weight fall forward and forcing him off balance. She kicks his legs out from under him then shoves him into the floor. 9S lets out a startled, choked gasp as his weight and the force of the rogue’s attack cracks the stone floor, sending up more clouds of dust into the air. 

Clutching her chest, 2B roars and charges at the target with blinding speed. When she sees the smirk twisting the rogue’s lips and the pointed iron rod in her grip, it’s too late. With a flash of her crowfeather cape, the android meets 2B’s charge with her own, the skewer aimed at her wounded chest. 2B tries to divert her body away, but the momentum is too strong. It’s just enough to roll her body to the side so that the spike pierces clean through her shoulder, clear of critical systems. 

The pain, however, is agonizing. 

It’s different from the injuries 2B has suffered in the past. Countless machine swords, spears, and axes have torn through her body and of course all of those injuries hurt, but they were manageable. When the iron bar rips through layers of cloth, skin, carbon plating and frame, and synthetic muscle fibers it's as if her shoulder has been set on fire. She clenches her teeth, muffling a scream to a low growl. Her hand wraps around the skewer, close to the wound itself. Instinct tells her to tear it out immediately, but she knows that without treatment doing so would only worsen her condition. 2B doesn’t get to make that decision, unfortunately. The rogue grabs hold of the end of the iron rod and twists it side to side, driving it further into 2B’s shoulder. 

2B sinks to her knees and tries to hold back the cries of agony. Her injured arm stops responding to commands and lies limp and useless against her side. She swats at the rogue android with her weakening other arm, desperate to escape from this torment. Her strength fades along with her vision; it becomes impossible to even hold herself upright.

She must not fall, she must not… she must stay strong, she must stay alive.

She will not allow him to die… 

Not for the sake of a monster like her….

9S leaps into the fight as the rogue android prepares a killing blow. A flurry of Pod fire, sword strikes, and furious movement all blur together into a white, gold, and black haze. She fights to stay awake, she fights to stand, but her body begins to shut down non-vital systems and conserve as much energy as she can. First her tactile sensors switch off, leaving her in a numbing cold. Then her hearing, quickly followed by sight. A warning flashes across the last vestiges of her vision that she is entering a forced shutdown state, and despite her audio sensors being deactivated, she swears she hears 9S cry out for her.

….

….

…….

………

……….

……..

….

2B opens her eyes to the blinding, sterile white of hacking space. This itself is not shocking. Oftentimes she would run diagnostics on her critical systems when in a forced shutdown, both to manage critical systems and to keep herself busy. 

But now, in the distance, there is an anomaly.

A single figure, black as night, approaches her. It’s shape is human up till its head, which sports pointed ears and a long snout like that of a dog or wolf. It looms over her and leaves a black, fragmented mist in its wake. But most troubling of all in this world of stark monochrome is its eye…. or what 2B believes is an eye. In the center of its lupine face is a strange geometric sigil that emits a highly saturated purple light. It feels… malicious. The thought itself is insane to 2B. Light cannot possess intent or emotions, and yet… 

“This is an unacceptable outcome.” A voice booms in her head. Somehow she knows it is the entity speaking. 

2B opens her mouth to respond, but instead of words, thick crimson fluid leaks from her throat.

“You will die. He will die. You cannot abide by this.”

She shakes her head. Droplets of blood fall to the pristine floor. The entity is right. If she has any strength left, 9S will live.

“Stand, little doll,” the entity commands, “Stand and unleash y-...Be——…..d.”

The entity’s voice becomes warped and distorted with audio glitches, yet 2B understands its words with frightening clarity.

“Take-......l-...s within.” 

It holds a hand out to her, offering her something she can’t quite make out. The shape in its palm is amorphous, colorless, and flickers with lines of jumbled code. Somehow, she knows this piece of herself in intimate detail, yet cannot remember what this does or what its relation to the entity is. 

But it promises strength enough to save 9S.

2B reaches out and takes the code in her hand… 

….

………….

…………………………

………………………………………………………..

Her eyes snap open. A current of raw energy runs through her body, electrifying every nerve and sensor within her. She shakes with each pulse of her circulatory apparatus as a new, terrifying strength takes hold. 2B rises to her feet, flexing her hands, legs, arms. One arm’s movement is restricted by the iron bar still stuck in her shoulder. She tears it out with little effort, casting it to the floor. The rattling, hollow sound echoes against the stone chapel. 

The rogue’s head snaps up from her combat with 9S, who is barely able to hold his sword. Something in her expression changes. She kicks 9S and points her sword at 2B, her arms shaking in a way they had not before. 

2B lunges forward, her sword raised high. The rogue raises her own sword to deflect, but 2B’s newfound strength breaks her guard with one mighty strike. With blinding speed 2B slices through the rogue android’s body. Her crowfeather cape flutters to the floor, soon followed by her arm. The rouge android staggers back, an expression of shock and horror twisting her face. 2B drives her sword through the rogue’s chest, forcing her back further. Instead of drawing her sword back for another strike, a terrifying feeling takes over 2B. She leaves the sword inside the rogue’s chest and tackles her to the ground. With her bare hands and horrible strength, 2B delivers blow after blow to the android’s chest, shoulder, arms, head, and abdomen. Each piece is reduced to a pulp of flesh and metal one after the next until nothing remains but scrap. 

2B throws her head back as she straddles her victim, a horrible, twisted grin plastered across her face and arms outstretched. Her body feels wrong… horribly wrong, yet for the first time since she can remember, her chest is light. She gazes up at the morbid sculpture with an emotion she can’t quite describe. It isn’t the same as a combat high, she is intimately familiar with that heady rush. This is something akin to… euphoria. A laugh begins to bubble up in her throat-

“2B?”

She’s forced back to reality by the 9S’ voice, right beside her ear. Suddenly, the terrible strength from moments before fades from her body. Her arms go limp by her sides, and it becomes hard to sit upright. Even breathing is laborious. 9S wraps his arms around her shoulders and tugs her gently, laying her head and shoulders against his chest.

“I’ve got you. We… I think we’re safe.” His breathing is uneven and ragged, much like 2B’s. He swivels his head back and forth, searching for any lingering threats as quickly as possible. “Pod, run a scan for machine lifeform or android signals in the immediate area,” he commands.

Pod 153 is silent for a moment, then emits a grating, hideous garbled noise. Words try to break through the audio distortions but neither 2B or 9S is confident it isn’t simply what they wish to hear. 

“Alert:” Pod 042 begins, “Interference from unknown source is preventing accurate scans of the surrounding area. Proposal: Relocate to an elevated aaaaaaa…..a-r-....rrr……”

The same audio distortions come from 042, mingling with 153’s until they both cut off, leaving the androids in silence. “Pod?” 9S calls to the floating support unit. “Pod, respond. ... Pod?”

2B mutters weakly to her own Pod, but it's the same as 9S’. No response at all.

9S pulls up a small data screen, map data, from what 2B can tell. Or… where map data would be. Instead, there’s a blank, grey screen and a little message box that reads No Data. 

“What the-...” 9S whispers, flipping through different screens at a frantic pace. “Where-... There’s… all the data is gone!” he shouts, “No map, no signal scans… I can’t even connect to the Bunker…”

“We’re stranded…” 2B muses aloud.

Silence passes between them. Only the ominous wind passing through ancient wood and stone reminds them that the world hasn’t stopped moving around them. 

“We should move to a higher area, like your Pod said.” 9S suggests, rising to his feet. “Can you stand?”

When 9S offers a hand out to her, 2B takes it without thinking. His touch, even through his thick gloves, calms the beast pacing inside her. 

Beast? 

…..What does that mean?

2B rises to her feet, her hands lingering in 9S’ for a moment longer than she normally would. There’s a fog in her head that distorts her equilibrium. She leans on 9S for support, to which he wraps his arm around her waist and positions himself under her shoulder.

“I got you.” He says with a small smile.

2B feels just a bit lighter.

They exit the chapel and make for higher ground. 9S rationalizes that if they simply continue up stairs or inclines they would find a space clear of whatever is interfering with the Pod’s satellite connections. Perhaps it’s the fog that creeps across the cobblestone streets or the odd angle of the sun (not that it makes sense to 9S or 2B but they have to consider all possibilities), or perhaps it’s something beyond that. There’s a strange, eerie feeling about this city that neither can explain, and neither want to talk about. As if there’s a presence constantly watching over them.

They climb the stairs of one of the massive sprawling religious buildings. From what 9S assesses, it seems to have one of the tallest spires in the city. Only a larger time-keeping building looming in the distance is larger. If he could reach the top he should be far enough above whatever is interfering with the Pods. When he relays his plan to 2B who only nods, her eyes unfocused and breathing shallow, worry starts to lace its icy fingers through his chest. Something is wrong with her. 

9S’ first instinct is to prepare a data backup with the bunker, but the Pods are both out of commission for the time being. His next is to contact command and ask how they should proceed, to the same conclusion. Climbing the spire is the only course of action he can take, but first, he has to make sure 2B is safe.

He leads her through the castle of worship, now supporting most of her weight. That… frightening show of strength must have exhausted her power supply. There are plenty of well preserved wooden benches that stretch across half of the main worship chambers, at least it would be more comfortable than the stone floors. Under watch by the countless grotesque statues that sit in the rafters, 9S helps 2B onto a long bench, laying her on her back. She hisses and grinds her teeth as she moves. She must have sustained internal damage from that fight… 

“I’ll be right back,” he promises, “I’m going to go to the roof to get a clear signal.”

All 2B gives in response is a slow nod. He lingers by her side before leaving, a moment longer than needed.

Now alone in this spacious, hollow, human structure, 2B takes stock of her condition. There’s pain in her shoulders, particularly her right arm. Her legs are tight, most locking up from the strain of the previous battle and trekking up to her current location. Her back, as well, is tense beyond discomfort. It spasms and jolts if she breathes too hard. At least these are injury related, explainable. The black wolfman with purple eyes lingering in the corners of her vision, is not. 

She sees the entity in the shadows, lurking just out of view. 9S walks right past it, not even sparing a glance at the tall, gangly creature. It doesn’t respond to 9S either, instead focusing on 2B and only 2B. 

The sight of it makes her stomach turn. She tries to close her eyes, but the glowing, purple sigil is burned into her vision. With a groan she digs her knuckles into her eyelids as if she could carve the hallucination out of the air. Defeated, 2B lets her arms down once more. One hand touches the cool stone floor, decorated with elegant mosaics, and she suddenly realizes how warm she is. According to the warning messages displayed in her vision her body temperature is ten degrees above normal levels. 

“Pod,” she groans, forcing herself to sit up, “retrieve water from storage-”

“Report: Mail notification received from Command.”

The monotone voice of her support unit shocks her. Pod 042 had been silent up until now due to whatever interference was in the area, and now it’s getting messages from Command? 9S must have established a connection from the roof.

Her heart sinks. If that’s the case he would contact her. The first thing she’d hear would be his voice.

She opens the message, dreading its contents.

Subject has accessed confidential records. Eliminate the Target.

At the top of the spire 9S takes in the view of the entire city, the wind rushing through his hair. It’s breathtaking. It’s unlike anything he’s ever seen. The sky dyes the entire urban sprawl red, as well as the mountains on the horizon. His pulse races as he drinks in the terrifying awe of what the ancient humans were capable of, hoping to remember every last detail of the buildings, the streets, and the magnificent sculptures that litter the city. It’s all so well preserved that he feels as though a human might appear, walking down the cobblestone streets as if nothing were wrong. As if they didn’t go extinct. 

Reluctantly he draws his attention away from the splendor of humanity’s ruins, and shakes away the creeping emptiness that comes with that line of thought. He can’t think about that now. He and 2B are stranded. 9S produces a holographic terminal that mirrors Pod 153’s settings menu. Pod’s diagnostics on his end show buildup of foreign material in and around certain receivers, something that 9S expects, but that is only part of the problem. It seems that the atmosphere in this place is clogged with various chemicals and particles that make satellite transmissions more difficult. Considering all of the decaying metal and stone it’s no wonder that there’s so much particulate in the air. Once Pod’s receivers are clear 9S has Pod 153 hover just above the spire’s tip. It stays suspended in the air, the small light on the top of its body turning on and off at regular intervals.

“Connection established.” Pod 153 announces moments later. “Proposal: Contact the Bunker for support.”

“Great! Set up a relay connection for Pod 042 as well.”

“Affirmative.”

9S opens a data screen laden with information and begins composing his message to Operator 21O. With an unreliable connection a live call would be too risky, a simple text based message won’t be distorted or cut out. He records a brief message, attaches a transcription of his words, and sends it to the Bunker. Hopefully 21O would send something quickly-

A flash of movement in the streets below catches his eye. Something running on all fours... “Pod… run a scan for machine lifeforms…” He says, a chill creeping up his spine.

Pod 153 floats down to his side. “Alert: Multiple machine lifeforms detected. Proposal: Regroup with Unit 2B.”

“But-” 

That thing didn’t look like a machine…

“Alert: Anomalous signal detect-”

Pod 153’s words are drowned by a horrific, mournful howl that reverberates through the entire building. 9S clings to the ornate decorations on the spire and covers his ears with his free hand. His body runs cold. He’s never heard a sound like that before. Nothing the machines make comes close to that. The pain and sorrow in that noise is something that no animal could produce either. That left only one possibility…

Another roar wracks the building from within… 

2B clutches the sides of her head, the data screen long dismissed.

No…

Her chest strains under her panicked breaths. 

No.

She hadn’t been watching him. She hadn’t been keeping track of his questions and behavior…

No… No.

And now she…

No no no no no .

She has to…

no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no no.

NO.

She will not do this. Not again. 

Her skin feels… tight. 

She will fight off every single goddamn android Command sends until there are none left but her and him. She will not be a part of this cycle again. Her hands curl into fists as a surge rushes through her body, alighting her nerves with energy. With power.

A shadow moves across the stone floor of the castle of worship. The entity, its form inky black, its sigil emitting a baleful purple light, glides towards her. It bathes her in the highly saturated light, a light not even shielding her eyes can diffuse. It bores into her core, it peers into her mind. It speaks into her mind.

“You will not allow this to happen.” Its voice echoes off the hollow shell of where humans once sought God. “But strength comes at a price, little doll.”

The entity plunges its claws into her chest. Heat explodes throughout her body to the point where she fears she might self-destruct. The boiling tendrils of this ethereal monster sink into her artificial heart and her Black Box. Something activates, or… unlocks, and suddenly she feels… confined. Her body… it’s too small….

“Time to pay the toll…”

It rips its claws, now writhing shadow-like whips, out of her chest, then vanishes. 2B’s vision is obscured, but not by warnings and error messages, by blood. Red veins pulse on the edges of her sight in time with her heart. Each beat sends waves of heat, electricity, and agony through her body.

“Stand, little doll. Stand, and unleash your beasthood.”

A scream forms in 2B’s throat, but it cannot break through her swelling throat and gritted teeth. She takes frantic, shallow breaths. Her limbs shake, her fingernails dig into the stonework floor. It’s so hot… 

2B rolls onto the floor and rips away her tight uniform. Far too tight. Parts of her dress were already beginning to tear as her muscles swell. Blood trickles from various wounds where her skin has split, revealing the thick, synthetic muscle cords that lie beneath. Her blindfold is next, but removing it does not help her vision. One eye is unfocused, blurring all of her vision.

She drags her fingernails across her body and lets out a deep, animal snarl when she tears into her own flesh. Looking down at her hands, she recoils at the sight of long, black claws that split her fingers down the center. Skin falls from them in long strips to the point where the mechanical joints of her hands are exposed.

Something snaps inside her, somewhere in her upper back. She howls in agony, in sorrow, as her spine lengthens, twists, and grows too fast for her body to maintain. Her insides are compacted and grind against each other, sending sickening vibrations throughout her. Her throat finally opens up, allowing her to breathe. She watches as puffs of steam escape her mouth into the warm twilight air. 

Another crack and something explodes out of her lower back. Her balance is thrown off and she falls forward, smashing her face into stone. Another snarl, this one combined with the gnashing of fangs. Her mouth warps, splitting out of her face into a muzzle. Eyes follow, one swelling to fit its now spacious socket while the other stunts and refuses to change. She claws at the peeling skin of whatever she can reach, spilling more of her blood in the process. Everything hurts, everything itches, but oh god the power feels so good.

A growth springs from above her unchanged eye, weighing her head down and hunching her body over. She supports herself with one enormous hand, the other scooping the wires and tubing that spills out of her torn stomach and forcing them back inside her abdominal cavity. The twisting extension of her spine, a tail, thuds against the floor and counters the weight of her head. 

2B shakes the mane of bloodied, white hair from her functioning eye, turns her head to the sky, and roars.

[leavingcertnightmares]

Shakespeare uses an array of dramatic techniques to convey a world of corruption and deceit in his drama ‘Hamlet’

The metaphoric and symbolic complexity of Shakespeare’s tragedies is perhaps what he is best known for. Outside his great drama and fascinating characterisation, the imagery and dramatic techniques used ensures these masterpieces live on centuries after his death. In studying ‘Hamlet’ I was fascinated by the use of the supernatural as well as theatre, and the imagery of sickness and poison. It is, however, the use of an anti-hero/anti-villain, the depiction of a world of greys instead of black and white morality, that sets Shakespeare’s work aside from the very popular Elizabethan revenge tragedies.

Shakespeare continuously subverts expectation by shirking the idea of any truly good or evil characters existing in the world of Elsinore. Both of the main characters display a depth uncharacteristic of the hero/villain they are meant to be representing. This lack of a ‘good vs evil’ plot that is so central to what audiences have come to expect, paints a picture of a corrupted society with uncomfortably ambiguous morals. 

The audience expects to be hailing Hamlet as the hero of the story, but as the play progresses he provides many examples of villainy and indecisiveness. His treatment of Ophelia for example, in act 3 scene 1 is downright cruel. ‘Wise men know well what monsters you make of them’. He treats his mother with the same cruelty in act 3 scene 4. With his accusations of murder and incest he denounces female frailty and unchastity and makes known his horrified sense of the consequences of marraige. ‘Frailty thy name is woman’. ‘Thou turn’st mine eyes into my very soul, and there I see such black and grained spots’. After Hamlet’s many displays of misogyny and procrastination, the audience cannot be sure if his intentions are heroic or not. He is deceitful and weak-willed, two decidedly villainous traits, and is the epitome of an anti-hero.

Claudius too breaks away from the role of villain at times and cannot be treated as wholly evil. Although he is guilty of murder and does many awful deeds, one has to consider his initial introduction as a brilliant king who is well loved by the people of Elsinore. He balances the grief of a kingdom along with the threat of war with Norway. One of the most impactful scenes with Claudius is act 3 scene 3, the prayer scene. He expresses genuine guilt for his actions ‘Forgive me my foul murder’, and shows that he does have a moral compass. He shows true complexity when he weighs up being forgiven over giving up the fruits of his crimes ‘My crown, mine own ambition and my queen’. And the moment he decides against repenting for his sins is the moment he is truly corrupted. Shakespeare crafts Claudius into the perfect embodiment of an anti-villain whom the audience cannot completely turn against. Afterall one of the biggest tragedies is when someone can be good, but chooses to be bad. This technique of portraying morally grey characters is one of the most influential in conveying the corrupted, deceitful nature of the drama but is not the only one.

 Shakespeare uses the Ghost not only as a plot device but as a symbol of the inherit corrupt nature of Danish society. The Ghost plays a hugely important role in the play as he is the first evidence that ‘something is rotten in the state of Denmark’. He effectively captures the audience from the beginning when he is classed as a ‘dreaded sight’. The Ghost of King Hamlet introduces the theme of corruption and deception. It shows deep disturbances in the kingdom, ‘bodes eruption to our state’, which shows the audience that this is not a regular occurrence in Elsinore. 

Hamlet’s dead father is the catalyst for change, and it is his dramatic revelations that get the play underway.  The revelations about ‘the serpent that did sting thy father’s life’ allow the audience to join the dots and understand that it is indeed Claudius who is the snake in question. Hamlet’s problem with his mother is confirmed when the Ghost speaks of ‘his shameful lust that will of my most seeming virtuous queen’, which gives the audience an opportunity to form an opinion about Gertrude. However, the task of vengeance imposed on his son intensifies his suffering. Shakespeare proves how filial duty is of utmost importance to the young prince. He is fully aware of the corruption that infects the monarchy, he knows being loyal to his father is the only way to stop this vicious circle.

The Ghost also forces the other characters to question Hamlet’s sanity. When he returns to ‘To whet thy blunted purpose’ during the closet scene, Gertrude cannot see the Ghost of her husband past. She can only see her crazy and disturbed son. We are almost unsure what is and isn’t deceptive at this point. This phantom works as a narrative exposition, he sets the theme of deception and corruption from the moment he enters the play and gives Hamlet a sense of purpose.

Another core technique used in the play is Imagery. There is a running motif throughout of sickness and poison. The play begins and ends with poison which lends a cyclical quality to it. Claudius is referred to by the Ghost as a ‘serpent’, an animal not only a fitting symbol of poison but whose biblical connections associate it solely with deceit and corruptness.

 All characters who die in the tragedy die of one fatal flaw. Polonius of interference in the business of others, Hamlet of indecisiveness. That is the nature of poison, it is slow-acting, targets weakness, and ultimately corrupts. 

The consistent view of Denmark throughout is of a society that is infected or dying, ‘Something is rotten in the state of Denmark’. Even the events of the play are diseased, ‘Oh to my sick soul’, ‘Quick of the ulcer’, ‘canker’. This image of sickness combined with the image of poison creates a sense of inevitability, a foreboding atmosphere, if Elsinore is sick then its unavoidable death will soon follow.

A technique that also contributes to this corrupt society is Shakespeare's use of Theatre and Acting. There are no characters, with the exception of Horatio, that are completely honest. In fact, deception plays such a huge role in the drama, that the audience can only be sure a character is giving their true thoughts in asides and soliloquies. Shakespeare uses this technique both in grand, obvious ways, such as the Mousetrap, as well as more subtle ways. It is a constant throughout the play, present in almost every scene. Hamlet’s antic disposition, the most major example of theatre, blurs the line of acting and true madness until the audience is sure of nothing, and can trust no one.

 And just as the audience is getting used to questioning everything, Shakespeare presents a scene, the only scene, that is completely devoid of acting.

The arrival of the actors. Hamlet is shocked into dropping all pretences for a moment around those he believes he can trust. ‘My excellent good friends’. The appearance of Rosencranz and Guildenstern brings out the jovial sociable side of Hamlet. In this scene Shakespeare uses the dramatic technique of theatre as a composer might use silence. When a movie has an amazing, emotional score the whole way through, composers will often have one scene with no music at all. This draws attention to it. In allowing the audience to feel an absence of what we expect, it draws attention to the moment. Shakespeare, using the absence of a major theme in this scene, expertly calls attention to its huge presence in the rest of the play.

The facades and acting of all the characters in Elsinore create an image of a crooked, dishonest kingdom, that relies so heavily on deceit that ‘to be honest is to be one man picked out of a thousand’.

The world of deception and corruption evoked by Shakespeare is effectively brought to life through the use of the moral ambiguity, the supernatural, imagery, and theatre. These techniques bring this world to life for the audience and help them to deeply understand the themes and characters of the play. The play would be much less compelling and would lack depth. I personally think that the masterpiece that is Hamlet is thought provoking because of all of the hidden techniques Shakespeare effectively used to evoke the world of deception and corruption.                H1 Standard: 95%

[valnotyourpal]

An Appreciation of an 80s movie poster

by Valerie Moore

There is precisely 86 years between the first ever movie poster by the Lumiere Brothers in Paris 1896 and the 1982 First Blood movie poster by Drew Struzan. This is relevant to anyone that appreciates 80s poster art as 86 years is the amount of time it took for artists to achieve adventure movie poster perfection.  

In order to explain why Drew Struzan’s First Blood movie poster was so successful, a visual investigation of the posters colour, texture and composition should be carried out.

The first element to assess is the artists use of colour. Struzan pieced this poster together using a meticulously thought out combination of hues that entices the viewer to be pulled into an atmosphere of thrilling tension, combat and peril, quintessential to the 80’s trends of “bright colours, graphic patterns, and geometric shapes” to quote the Designer Blog.

The poster reveals a story of revenge so sweet and horrors too horrid to be spoken out loud, justice to be quenched and a battle to be won. It may not be that dramatic in the real world but for a split second there is no real world – all that there is is Rambo, his gun and those intense clouds. The pastel blue day appears to be on the cusp of becoming dreary night, which is a notorious symbolism of foreboding the dangers that aren’t afraid to lurk around in the dark even in the seemingly safe town of Hope, Washington. This emotion evoking technique forces the viewer to feel that claustrophobia through clever use of colour theory. The background depicts a kind of chaos that echoes old master’s paintings, where the sky is used to reveals truths of what is yet to come. The eerie calm before the storm. It is a never ending story of good versus evil and Struzan encapsulates that flawlessly.

Ludolf Backhuysen Ships in Distress off a Rocky Coast, 1667 

Cropped First Blood 1982 poster

Moreover, the solid black trees that blend into even gloomier clouds engulf Rambo, representing the opaqueness of the dense forest enclosing him, mercilessly providing no escape, a successful use of pathos. Struzan knew that the movie wasn’t a story of tragedy - that where there is dark, there needs to be light. The bright aura-like cloud surrounding Rambo represents not only a sign of hope in Hope, literal sunshine, but also a more metaphorical positive message – there is light at the end of Rambo’s literal and metaphorical tunnel (reference to Rambo 5, Last Blood).  

The same way Backhuysen tells the tragic story of the Distressed Ships on a journey, there too will be sunlight in the sky once again. This use of chiaroscuro and hues is a clear and effective way to inject positivity into the art to balance the treachery.

James Verdesoto, the movie poster artist behind iconic posters like Pulp Fiction, explains the purpose of different colours in various genres. This is not only a financially economical approach as there is less art to create to fill the often large (roughly 1m X 70cm) posters but the artist can rely on a tried and true approach, the colour wheel. Reds, yellows and oranges are strong colours that attract human gaze throughout the history of mankind.

This 2010 Rocky poster by Saul Bass is a notorious example of work that backs up this claim:

It is bold and stands its ground but there is a different mood that doesn’t break the fourth wall the way Struzan’s work does. It does not divulge much information to the viewer on the contents of the film and limits the level of story-telling.  

Saul Bass, Rocky movie film poster, 2010 edition

80’s posters did not typically follow this method of shocking simplicity. Clean lines and silhouette symbolism was a technique that was not too popular in the movie poster community of the 1980s decade. To achieve the particular look Struzan had perfected required filling every inch of poster space with dramatic scenery, in this case, swaying trees, stormy sky and bold text. This consideration of composition with a filled backdrop is to give the viewer all of the information that they require to grasp the mood of the film - full of action, drama and chaos – the perfect 80’s adventure escapism people crave to this day.

Furthermore, the First Blood poster has many textures that allow the art to achieve a threedimensional effect. The grainy and ‘gritty’ quality the poster possesses is typical of the 80s look. There is a worn quality to imagery that is now a classic connotation of that era. Although some of that is inevitable due to ageing paper and outdated poster printing methods, most of that is intentional. The blurry dream-like effect added was a clever stylistic choice by Sturzan. This textured ‘noise’ effect on the image instantly makes the art less precious and more raw. It is arguably this element of rawness one can feel through the art as if the rain in the forest is damaging the poster itself. This plays with all of the senses, 80’s posters are 3-Dimensional posters, and First Blood truly embodies this.  

Some other honourable mentions of 80’s posters have to be:

Indiana Jones and Back to the Future by Drew Struzman

To conclude, the First Blood poster contains all of the elements to be the quintessential 80’s ‘action-adventure’ poster as shown in its use of bold colour schemes, captivating composition and textured quality. Movie posters are pieces of art that showcase another form of art - films.

The role of a movie poster is to entice the audience, inform them of key facts of the plot and grow attached to the beloved characters as they wade off evil forces. It is a rollercoaster ride that requires no effort from the audience, a spoon feeding of serotonin. Not everyone has to like the First Blood movie poster, but many have heard of it which is when it can be deemed a successful movie poster.

References:

www.nga.gov. (n.d.). Dutch Landscapes and Seascapes of the 1600s. [online] Available at: https://www.nga.gov/features/slideshows/dutch-landscapes-and-seascapes-of-the1600s.html#slide_4 [Accessed 8 Jan. 2021].

Christiaan (n.d.). 80’s Design Patterns: What Graphic Design Style was Popular in this Decade? [online] blog.designbro.com. Available at: https://blog.designbro.com/80s-graphicdesign-patterns/ [Accessed 8 Jan. 2021].

Scott, D. (2017). A Comprehensive Guide To Color Theory For Artists. [online] Draw Paint Academy. Available at: https://drawpaintacademy.com/a-comprehensive-guide-to-colortheory-for-artists/.

Fair, V. (2019). Movie Poster Expert Explains Color Schemes | Vanity Fair. YouTube. Available at: https://www.youtube.com/watch?v=BEbW2fXSShc.

Mark (2012). So It Goes...: 80s Film Posters. [online] So It Goes... Available at: http://randomramblingsthoughtsandfiction.blogspot.com/2012/07/80s-filmposters.html [Accessed 8 Jan. 2021].

Caravel. (2015). Back To The Future 30th Anniversary Poster Art Tribute. [online] Available at: http://caravel.co.il/back-to-the-future/ [Accessed 8 Jan. 2021].

Unknown (2014). Abby Peek: Saul Bass Inspired Movie Poster. [online] Abby Peek. Available at: http://abbypeek.blogspot.com/2014/04/movieposter.html [Accessed 8 Jan. 2021].

NiceArtGallery.com. (n.d.). Ships In Distress Off A Rocky Coast 1667 Oil Painting, Ludolf Backhuysen Oil Paintings. [online] Available at: https://www.niceartgallery.com/Ludolf-Backhuysen/Ships-In-Distress-OffA-Rocky-Coast-1667.html.

egoamo.co.za. (n.d.). Rambo First Blood Poster. [online] Available at: https://egoamo.co.za/products/rambo-first-blood-poster [Accessed 8 Jan.2021].

[moviereviewsandtingz-blog]

The World in the Eyes of Mike De Leon

A recent study conducted by Michelle A. Pautz, a political science professor at the University of Dayton in the state of Ohio in the United States, proposes that films serve as a strong influencer. Dr. Pautz believes young viewers may be especially open to the influence of movies. She states that “Younger people, particularly teens, are much more likely to be impacted than older adults because they are still developing and shaping their worldviews,” Film is arguably the most accessible form of art to Americans. Watching a movie occupies our senses more than any other form of art, particularly when we experience it at our local Cineplex. Regardless of its content, film has the power to shape perceptions of moviegoers on a range of subjects from love and marriage to the work of government. We can assume that people tend to gravitate more towards film than any other artform is because it can serve as somewhat of an escape to its viewers.

 Pop culture is a marriage between culture, art, and media. Though what we can notice in pop culture is that a huge sum of it is largely influenced by film. The cultural impact of films are significantly seen in our lives, from George Lucas’ worldwide phenomenon, Star Wars, to the quotable swoon-worthy quotes of Leonardo DiCaprio in James Cameron’s Titanic. Visibly, films play a pivotal role in our society, heavily affecting the way we think, the way we see and the way we perceive the world around us. In the digital age we live in currently, films are practically universal. Jumping from bulky television sets, to sleek flatscreens, and to the comfort of your phone screen, films can be accessed with a swipe and a tap of your finger. With streaming platforms like Netflix and Amazon Prime, that offer film libraries in a single app, which just goes to show how available film is even to the average Joe. 

 Film is an artform that is ever evolving, as film is juxtaposed with today’s scientific and technological advancements. Given that as technology paves the way with newer more cutting edge devices, software and etc, this enables films to be better, smarter and  more innovative. Although films are not built around such external factors but rather, it is built around the artists behind it, the storytellers and the movers that come up with what you see on screen. Like an artist to a canvass, a director is the heartbeat of the film. Filmmaking is a tedious process that is comprised of many intricate steps. However, many directors take matters into their own hands often controlling anything they can to ensure that whatever they envisioned for the film is executed properly. In many cases, the directors are also the writers of the film with filmmakers such as Guillermo Del Toro and James Cameron. Regardless of this, there are many ways to go about filmmaking, one different than the other. The story in which a film follows is essential but what truly decides a films fate is how well that idea is embodied and visualized. 

 With that, we can say that the directors are indeed the auteur of the film, or its author. Here we can incorporate the auteur theory, this basically means that the directors are the hands that shape the film, the one whose eyes we see through. This theory expresses that the distinct flair and style of the director is what makes a film stand out from the rest. The theory itself expresses that a “bad” director can also have the ability to make great films whereas a good, esteemed director is also fully capable of making bad films. In a sense, a good film can only be made when a director believes in his own vision, that he can create a world built on ideas in his thoughts. And that a film is likely to fail if one relies on the script too much or other supportive elements other than his uniqueness and style.

 The auteur theory bestows directors with the ability to have as much fun with the film as they want to. Pioneers of this theory were Alfred Hitchcock, Francois Truffaut, Satyajit Ray, Akira Kurosawa, Jean Renoir, they were one of the few true Auteurs who believed in using their own style of filmmaking. They had hoped that by establishing their own artstyle, or by marching to the beat of their own drum, so to say, they are able to create their own signature on film, imprinting their unique sense of film. Generally, directors breathe life into the film as they are the true creators of the film, and that though the end product is however a unified effort of every single individual in the movie. The cooperation and culmination of all those people are the backbone of the film’s success, and that the director is what pushes and lifts them towards the right path. The auteur theory is not only applicable in film but rather in life as a whole, we should not be afraid to break the mold, that we should break free of stereotypes that life dull and uniform. Difference is what makes us beautiful similar to that of films, such styles are what catapulted the likes of Stephen Spielberg, Pixar, Disney, and A24. 

 Although, many directors use their own distinct style in a more unconventional way. Portraying ideas in a way that has not been seen before, their ingenuity as filmmakers leaning more on the weird, offbeat side of cinema. In 1990, Tim Burton directed the Fantasy/Horror film Beetlejuice, starring Winona Ryder, Jack Nicholson and Alec Baldwin. The film made its debut on March 30, 1998, which is astoundingly over 30 years go. To this day we can still see the cultural impact its made in pop culture today. As an auteur, Tim Burton creates films that tackle dark, peculiar themes but executing it in quirky, lighthearted ways with the use of stop motion at times but mostly with the use of song. His take on horror films are what made him one of the prominent auteurs younger people have grown to love. 

 On the other hand, we have directors whose peculiarity is nothing short of shocking and thought provoking, like Danish filmmaker Lars Von Trier. His works are rather significantly more risque than than that of Burton, his works are no stranger to controversy and backlash with the outlandish use of sex and violence. However, his films are remarkably intriguing and complex. His two part cinematic masterpiece, called Nymphomaniac was a bold-faced interpretation of sex addiction and the grim reality of sex. To the untrained eye, his works can be seen as softcore pornography, however such scenes help exude the emotion of the scene. This boldness and willingness to take risks, is rather polarizing however the nerve of his films are what makes him a true auteur. In retrospect, we can see that directors have many different interpretations of film, ones lighter than the others. However, this goes to show that directors wish to convey different messages with the films they make. They themselves use the platform they have and their film expertise to evoke a narrative or an issue they want to shed light on and delve into deeper for the public to see and to educate themselves on. 

 In 2000, Lars Von Trier directed the danish crime/drama musical titled, Dancer in the Dark starring icelandic singer, Bjork. The film centers on the injustices faced by a single mother and her impending blindness whose fate is ultimately doomed. This captivating film, is an expose on the lives and hardships of single mothers, poverty, being a blue collar worker, and being blind. Tough pill to swallow critics deem it, however the provocative themes helped establish the film to the mainstream. Such films like these, that fight and speak for many causes are what helps gravitate viewers towards it, it helps them sympathize with the character thus establishing a connection with a film. 

 However, in the Philippines, we also have our own auteurs that are rather peculiar in nature. Those that take unorthodox approaches with regard to filmmaking like Mike De Leon. A renowned and esteemed director, writer, and cinematographer who was under the stewardship of national artist Lino Brocka working as a cinematographer in 1975’s Maynila Sa Kuko ng Liwanag. A native to the Philippines, De Leon’s humble roots started in May 24, 1947 in Pineda, Pasig City. His budding creativity took him to places even majoring in Art History in the University of Heidelberg in Germany. Working under Brocka, he had opted to branch out as he started to make a name for himself. Itim (1976) was De Leon’s first full length feature film that won him esteemed accolades at prestigious international festivals like the 1978 Asian Film Festival in Sydney, Australia. Itim was also deemed one of the “10 of the most outstanding films of the decade from 1970-1979” by the Philippine Urian Awards. De Leon’s first feature film, is one where technical prowess and abilities trumps almost everything else. The film mixes Catholic imagery with tinges of the supernatural to create an atmosphere that forms the backdrop to that is hallucination-inducing and overall, a haunting experience. Overall the narrative is a film splashed with elements of fantasy with more realistic, down-to-earth social concerns. 

 In the film Itim, De Leon took inspiration from superstition, spirituality and religion that are widespread in Philippine culture, such themes were especially demonstrated successfully. De Leon drew inspiration from our culture, highlighting parts of which that are not especially alluring to viewers. What sets Mike De Leon apart from other filmmakers is that his films truly speak for something, he wanted to show that sometimes the truth is not as glamorous as people make it out to be, showing that often times, the truth is cold and harsh. Earlier this year, he released a short film on video sharing platform Vimeo, called “Kangkungan”. Rooting from the Filipino expression “Pupulutin nalang sa kangkungan”, De Leon made this a metaphor for the extra judicial killings under the Duterte regime. Some viewers believe that it comes from the practice of disposing of summary killings in Kangkungans. It goes in depth in Duterte’s bloodbath and his so-called war on drugs. It even talks of the arrest of Senator Leila De lima, and the removal of Maria Lourdes Sereno as chief justice. In the film the quote “Itinatapon ng taong ito ang Pilipinas sa kangkungan,” referring to how our presidents leadership is running our country to the ground as the film depicts. 

 It is evident that De Leon’s films are very heavily politically driven. He is known for creating films that discuss patriarchy, discrimination, misogyny and fascism. In 2018, he directed and produced noire crime drama film, Citizen Jake starring journalist Atom Araullo. Similar to “Kangkungan”. Citizen Jake illustrated and exposed the sociopolitical landscape here in the Philippines and the people behind our administration today. He even poked fun at corruption here in the Philippines by bringing up figures such as Jinggoy Estrada, and Bong Revilla. Even bringing up the Marcoses and Manny Pacquiao. All throughout his films, we can gather that De Leon has a penchant for gore, violence and overall disturbing imagery. 

 One of his most prominent work like that of 1982’s Batch 81’ that highlights how detrimental and toxic culture of fraternities that thrive off of violence and brainwashing. In the film, we can see that the film is very anti-woman, which in essence, captures the misogyny and discrimination against women present in that era. The females in the film were mere plot devices, nothing more nothing less. The oppression against women especially notable with the dynamic of the protagonist, Sid and his girlfriend. However, a topic that is greatly tackled in the film is hazing. At this day and age, similar problems and issues persist in society. With the deaths of Atio Castillo and the exposure of hazing in the Philippine Military Academy. Such films are relevant and pertinent to the issues we face in society. This shows kind of a harsh reality given that the film was released almost 30 years ago, society today still remains the same, societal problems like hazing and misogyny are alive and well even to this day, which goes to show how little we have progressed as people. 

 It should be noted that Batch 81’ was a reflection of the Marcos regime at the time. The film centers on Sid Lucero, an aspiring neophyte for the fraternity Alpha Kappa Omega, better known as AKO. Throughout his hazing, he is subject to copious amounts of humiliation and psychological abuse yet his seniors are adamant this is a right of passage for every neophyte. Some suggest that the protagonist, Sid, is a metaphor for society then which shows the great deals of torment we had to endure under the rule of Ferdinand Marcos. Batch 81’ was somewhat of a silent protest at an age where Marcos was in control of all, if not most forms of media. As an auteur, De Leon’s signature as a filmmaker is his knack for political films that speak to people and fight for a cause, which directors should aspire to be. What good would films be if they did not teach us lessons we need to learn?

 However, with his penchant for politically themed films, we can see how experimental he came to be in the years to follow. In particular his work in Kakabakaba ka ba? Which is a musical, romantic comedy focused on one man’s unfortunate twist of fate when he is untangled in the world of drugs. In the film, Johnny is used as somewhat of a mule to transport raw opium unknowingly, he is chased by Japanese and Chinese gangs that wish to possess the opium he smuggled in the Philippines without his knowledge. Ultimately, the film is a reflection of how our society and economy is held at a chokehold by foreign forces such as the Chinese. This is especially prevalent given the number of Chinese occupants are rapidly increasing in the nation’s capital, as we slowly become a slave at the land our country owns. It also touches up on the subject of the church and how corrupt it can be regardless of the irony. 

 Both films are similar in nature because both speak for a cause close to the Filipino’s heart. Other filmmakers can only aspire to be like Mike De Leon, his determination to use his platform as a filmmaker to create films that speak not only for the problems of our society but what we deserve as people of our nation. We can admire him for peacefully protesting and airing out his bad blood with the government through art, because through this he is able to reach and educate more people about prevalent issues in society. Although what is truly refreshing is a director that truly pushes the envelope in filmmaking. One who is driven by his own principles, looking at film more than just entertainment but rather someone who uses this platform to change the culture of cinema, to cultivate a smarter audience that is able to instill the values the film exudes.

 In an age where modern tyrants like President Duterte run the country like a child to his toys, we should be able to educate ourselves in any way we can, whether it be from the news, from newspaper or through film. We must take it upon ourselves to foster a community that is socially aware of the reality of our nation today and the crises we face as people. In an interview with ANC, Mike De Leon was asked about his inspirations about his recent and provocative short film “Kangkungan”, he replied saying, “It was anger, frustration, disgust and despair.” That drove him to create such thought provoking films that truly speak to people. As we face a similar fate to that of the time of martial law, filmmakers like Mike De Leon are our beacon of light, those who are truly capable of sparking a change; a true mark of an auteur.

 However, some directors are led to believe that cinema is dying. Realistically, people are unable to shell-out the time and money to visit a local cinema, and often times these cinemas show the same run-of-the-mill teen heartthrob-led film or the latest Vice Ganda slapstick film. With that De Leon opts to use platforms like Vimeo knowing well enough that people simply cannot afford the luxury to visit the cinema these days. A characteristic of a genuine auteur is his ability to mold himself with the ever-changing culture of film and the needs of people at this day and age, De Leon is an exemplary sign that there truly are many auteurs in Philippine cinema today, but are rather just outshined by people who see cinema as a money making machine than as a visceral, powerful medium of art.

 The overall effectiveness of film is truly a feat, it is able to convince and persuade viewers with the notions and concepts it embodies. However, with great power comes great responsibility. In times where the world was in ruins, and people were struggling to stay afloat while dictators run the world to ashes, film was used as a vessel to spread out false and discriminatory propaganda. We can see that the power of film can be used for purposes that are not for the betterment of society. In an age where film is as easy as reaching into your pocket, films should not only be for the entertainment but for the purpose of education and enlightenment. A good director can execute their idea to the best of their abilities, with topnotch cinematography, impeccable editing, compound script but what separates bad films from good is the very idea behind it. Directors should be able to fight something, they should be able to create awe inspiring films that capture the thoughts not the eyes of the audience because after all, good films are a mix of mind and heart.

[movieswithkevin27]

King Arthur: Legend of the Sword

For the first time in his career, Guy Ritchie is likely happy he directed Swept Away because without its existence, King Arthur: Legend of the Sword would have firmly established itself as Ritchie's worst film. Entering in the illustrious pantheon of bad films that bomb after being intended to start a franchise, King Arthur: Legend of the Sword is everything that is wrong about blockbusters today. Cliche and riding the hero's journey too closely, the film's special effects ridden action, frantic cutting (even beyond Ritchie's norm), and awkward injections of "humor" during tense or thrilling moments, the film is a hodge-podge of everything that studios believe audiences want. Unfortunately, as is often the case in these failed franchise starters, it turns out that audiences do not want to watch an incomprehensible, poorly edited, poorly acted, and exceedingly dull film.

The tragic part about King Arthur: Legend of the Sword is that it starts off pretty well. With his castle under attack, King Uther Pendragon (Eric Bana) defends his people by using Excalibur to decisively cut through the invaders' forces and kill their leader. Unfortunately, he did not count on his brother Vortigern (Jude Law) having turned on him. Sacrificing his to become more powerful, Vortigern kills Uther and tries to take Excalibur, but Uther turns into a stone with the sword in his back. Setting up the legend of the sword with his son Arthur drifting off in a boat and being found by a group of women Moses-style, being destined to pull that sword out of him and liberate England from Vortigern. Though he is unwilling and tries to throw away his destiny (the classic cut-and-paste scene of the Lady of the Lake rising with the sword to give it back to Arthur that is in every King Arthur movie apparently), this destiny is not one he can run from unless he is willing to see Britain descend into darkness. Becoming the man who will liberate his people (Moses again), this prophet who is persecuted by the King (Moses again, but also Jesus to some degree) must rise to the occasion via the Hero's Journey to save England. Though cliched to a fault, the story is nonetheless one that can become gripping with Ritchie's occasionally sharp script delivering the fantastical journey and thrills necessary for a King Arthur film.

Unfortunately, shortly after the film's strong opening, things begin to go awry. In other words, Guy Ritchie takes over. Known for his rapid cutting, Ritchie seems to forget he has already cut 15,000 times before unleashing another round of 15,000 shots of Charlie Hunnam's face on the world. Immediately after the credits, he shows Arthur growing up from a young boy to a man with intensive training and odd encounters in his brothel home. Rapidly skimming through time, the headache-inducing sequence tragically sets the tone for a film that puts a premium on rapid cuts and slow-mo action instead of story. So brief, distracting, and inconsequential, this particular montage would have been better if replaced by a "20 years later..." bumper before just cutting to Arthur being a ripped Englishman set to encounter his destiny.

Reliant upon these rapid cuts throughout, Ritchie - as expected - uses it frequently as characters tell a story to somebody who was not there - such as Arthur giving an account of his whereabouts to a police officer with Ritchie flipping through the flashback and the present day with the flashback often matching Charlie Hunnam's every it of dialogue - or to toss in flashbacks and foreshadowing about Arthur's destiny, but where the film truly lacks with this rapid cutting are in action scenes. Rendering them nonsensical and often incomprehensible, Ritchie tries desperately to cover up the poor special effects with this flashy editing style, but it unfortunately has the opposite impact. Instead, these flashy cuts only serve to highlight the often poor special effects that are found in this film, especially as Arthur duels with officers towards the end. Cutting, pausing, slowing things down, and spinning the camera in a circle around the action, Ritchie tries every trick in his arsenal to make the scene look good but does nothing more than confuse and nauseate. Furthermore, it is a clear attempt to manipulate the audience into feeling tension and thrills during the action - especially as Arthur and his friends run from the cops with Ritchie rapidly cutting, using an extreme close-up with a handheld camera, and sprinkling in shaky cam into the scene - as even Ritchie can see that the film is not all that original. Trying to inject originality and beat back claims of predictability with these drawn-out and "stylish" action scenes, Ritchie only manages to further highlight his film's hollow nature. This half-hearted attack at style over substance only serves to prove this as he relies upon it like a crutch to make up for the film's thin writing and run-of-the-mill approach to Arthurian legend.

Perhaps the best example of Ritchie utilizing his rapid cutting technique (if it can even be called a technique) to ill-effect as an attempt to mask the film's largely dull writing comes as the Mage (Astrid Berges-Frisbey) speaks to Sir Bedivere (Djimon Hounsou). Informing Bedivere that Arthur needs to go to the Dark Lands to finally claim power over the sword, Ritchie cuts between that conversation, Bedivere taking Arthur there, and Arthur going through the Dark Lands, in rapid succession. Blending dialogue, finding comedy in Bedivere quickly refusing the Mage only to then be seen taking Arthur there, and always incomprehensible, this flashy diversionary tactic only serves to highlight the script's inadequacy. Clearly unwilling to rest on the tension of the conversation between the Mage and Bedivere and unconvinced that Arthur traversing the Dark Land will be a worthy scene on its own, Ritchie tries to blend them all together in attempt to see if these lame-duck scenes can prop one another up enough to make them work. Unfortunately, three wrongs do not make a right and the thin, dull, and poorly constructed, scenes only combine together to make a horrific montage.

As with many blockbusters in recent times, King Arthur: Legend of the Sword is a film that is unwilling to take risks. Not only is it cliche, poorly edited, and littered with vanilla performances, but it seems unwilling to rest on the atmosphere created by its director. Uncertain in its vision and intent, the film relies on cheap laughs via poorly injected comedic lines to try and prop up the film's appeal. Recognizing that it is not particularly tense or thrilling with a shocking lack of competently put together action scene and set pieces for an action film, the film continuously undermines any attempt at any of those elements via comedy. Though Guy Ritchie successfully blended action, tension, and comedy, into films such as Lock, Stock, and Two Smoking Barrels or The Man From UNCLE, he was not as successful here with the comedy continuously falling flat. Overly forced and the by-product of a Frankenstein-esque script that had the fingerprints of too many cooks, the lack of comedic flow, poor delivery from the cast, and the film's inability to maintain consistent emotion throughout any single scene, is perhaps the film's most damning element. Even if Ritchie interjected too much in the editing room with rapid cuts and even if the film is cliche, thrills and strong action are hard to deny as great entertainment. However, with no room to breathe and only half-hearted attempts at either with comedy coming in to stunt both repeatedly, the film is one that consistently feels flat, hollow, and tragically wooden.

It is often in the quiet moments that King Arthur: Legend of the Sword succeeds. Whenever tasked with exuberant moments of bombast, Jude Law falls short as the villainous Vortigern. However, when he sacrifices his wife and, later, his daughter to these demonic mermaid things (I have no idea), Law and the character of Vortigern truly soar. Ominously stepping up to a woman he loves with his whole heart but giving into the greed and lust for power that has entirely consumed his soul, Vortigern feels almost like a tragically evil character but one that is wholly wicked. These chilling, quiet, and sinister, moments as he plunges a sword into them and feels the life slip out of their body are enough to establish him as a worthy villain and show the greatest bit of character development in this film. Willing to stop at nothing to become the ruler of the world, Vortigern is a man who instills fear the second he steps onto the screen, until Law opens his mouth and goes crazy.

By a similar token, this journey is one that is often quite memorable due to great imagery. For one, as the city burns at night with the orange flames pouring out of a tower, Ritchie finds a fantastic image that demonstrates the film's often great beauty. In the scene of Vortigern speaking to the mermaid demons, the female mermaids ominously swimming around him is a similarly terrifically executed scene and one with great beauty as their blue green exteriors swim sinisterly around him in the dark cave. However, perhaps the most stunning sequence comes as the Lady of the Lake restores the sword Excalibur to Arthur. Though featuring much of Ritchie's annoying rapid cutting, there is one scene of the Lady pulling Arthur into the water through a muddy puddle. While perhaps a bit nonsensical, the glowing Lady of the Lake with her dress billowing around her as she pulls the sword and Arthur down into the Lake is a stunning image. Somehow capturing the fantastical sense of wonder in one image, it is this quiet shot that establishes King Arthur: Legend of the Sword as a major missed opportunity. For if Ritchie can create such a beautiful image without any of the frills and excess of the rest of the film, why did he feel the need to obstruct our view of the rest of the film and not just rely on his keen eye for stunning visuals?

Building up to a tension-filled showdown between Arthur and Vortigern with Arthur trying to end his nightmares by killing the man who killed his father, King Arthur: Legend of the Sword ends disappointingly even by its standards. Rapidly cutting through the fight, King Arthur: Legend of the Sword reaches the culmination of its hero's journey with lame plot convenience. Though reliant upon a lot of deus ex machina's throughout the film with Arthur only remembering he has Excalibur when it is convenient and the Mage only occasionally using her powers to help the good guys get out of unwinnable situations, this final convenience is perhaps the lamest. Knocked down by Vortigern, Arthur passes out briefly and sees his father being killed again. However, just as the sword is set to enter his father's back, he grabs it with poor Eric Bana uttering some line about how it is no longer time to run, but instead it is time to fight. Now inspired, he finds power he did not even he had within him. Getting up and decisively beating Voritgern after this rapid development and growth in confidence. Lame, cliche, and entirely convenient, this final growth spurt for Arthur underscores the fact that the film is poorly constructed. Unable to create him as a worthwhile character who grows into his new role over the course of the film, Ritchie is forced to rapidly develop him via yet another flashback that gives him the inspiration and strength to overcome what scares him the most: Vortigern.

A fantasy swashbuckler film, King Arthur: Legend of the Sword is a by-the-number action film that is entirely devoid of soul, purpose, and thrill. Overly-stylized like an image that had the "sharpen" option chosen too many times in Photoshop, the film's poor visuals are met with a hack-kneed attempt at Arthurian legend that hits all the right moments but without any of the feeling or spirit. Toss in a bad, by-the-numbers script that just checks items off the "How to Be a Blockbuster in the 2010s" checklist and the film's issues only compound. Lackluster, bland, or outright poor performances, hardly help matters with the actors trying to force emotion into this story to make up for the script and direction, but failing entirely. A slipshod smorgasbord of how to not make a film or start a franchise, King Arthur: The Legend of the Sword is an expensive disaster.