#wow can you say exposition much

[icewindandboringhorror]

Lineup of all of the characters that appear long enough to need a visual representation of them in the game lol

[skitskatdacat63]

Btw The Talented Mr. Ripley is the best film ever made. If you even care.

[fandomnerd9602]

Taking the House

Rhaenyra x Witcher!Reader

For @deafeningsharkslimeempath

The mere sight of your old friend made your heart flutter and beat faster. Some would’ve thought it strange: a witcher left lovestruck. But Rhaenyra always had that effect. The love you get for her only grew in the years that you had been away.

She glided up to you, her eyes showing a mix of adoration and betrayal. “You’re back” she whispered under her breath.

“I am” you replied in a gruff voice.

“Your return is quite unexpected,” your father Otto Hightower exposits. “Most thought you dead.”

“And yet here I am. And there my younger sister stands: wife to an elderly man”

“You will treat your king with—“ Otto tries to say and yet Viserys surprisingly cuts him off.

“Let the man speak his mind.” The elderly king takes a deep breath. “It is true. I have taken Alicent for a bride. You are free to judge me within the walls of this room

“I carry no ill will, my king,” you stated, “simply disappointment”

Alicent walks up to you, carrying her newborn, “this is Aemond. Your nephew”

The young Targeryan infant looked up at you in amazement. The little baby cooed and smiled at you.

“He carries your soul” you put on a fake smile for your sister. So young and yet she had to bear the pain of childbirth.

“Witcher (Y/N)” King Viserys clears his throat, “the kingdom is in your debt, please stay here as long as you see fit”

“My king” you bow. And with that you turned and leave.

Rhaenyra intercepts you mere feet from the throne room. She grabs your arm and pulls you to her. She whispers in your ear, “my chambers. Nightfall.”

And with that she turns and leaves. A part of you couldn’t help but smile.

Otto ran out after you. You led him into the open courtyard, if there was anything your father hated it was causing a scene.

“I thought you dead” he said thru gritted teeth.

“And I thought you a decent man,” you retorted. “But we were both wrong”

“You could been seated on that throne now and instead I had to whore out your sister”

You drew out your dagger and pressed it to his throat. “You had to do nothing! My sister has known more pain in her short years than you will ever know.”

You took the dagger away from your father’s throat. “I made my choice,” you continued, “and you have to live with yours, father”

And with that you turn and walked away. You were not his tool. You were your own man.

Daemon found you among the dragon stables. “Wow. Quite the sight that was. You really shook the council to its core.”

“Why did you bring me here, Daemon?”

“Simple. I wish for my niece to be happy.” He gives you a wink. “You saved my life. The least I can do for you is ensure rha you have a happy one.”

“Explain”

“You didn’t want wine or women or wealth like most witchers. And I remember the way you would look at Rhaenyra. She still carries the torch for you.”

He puts a hand on your shoulder, “my advice is this - life has too many hardships, allow yourself a little joy”

And with that he turned and went on his way.

Later that evening you made your way to Rhaenyra’s chambers, dodging guards and night watchmen to ensure that no one knew.

Rhaenyra quickly pulled you into her chamber after three knocks at her door. She hugged you tight and then slugged you in your arm.

“Uhh…ouch” you smirked.

“Why did you leave?” Was her only question. “Tell me the truth”

“I have nothing but the truth left. My father wished to use me as a chess piece.” You explain. “He wanted me to marry you and take the throne from you. And I couldn’t do that to you.”

“Would it have been so wrong? To have you by my side?!” Rhaenyra stresses as she paces her chamber floor. “You were my best friend. Surely even if you did not love me, we could’ve made it work”

“I would not be some tool for my father” you retorted. “I love you too much to allow that. I had no idea he would use Alicent in such a-“

“You said you love me,” she interrupted you.

“What?”

“You said love me. In the present tense. You could have said you loved me too much to allow that.”

Rhaenyra slowly walks up to you. “Do you? Do you love me?”

Your cat like eyes could only look into her soft gentle eyes. “I never stopped loving you, Rhaenyra. I never slept with another. This sword and my heart were always pledged to you”

“Then take me” she gently ordered you. Her tone was commanding yet so loving,“Everything I am, I want it to be yours”

“I’ve only ever wanted to be yours” you replied. You take her face gently in your hands and kiss her tenderly.

A little moan escapes her lips. Her eyes become alight with lust and passion. She wraps her arms around your neck and jumps up, wrapping her legs around your waist.

You kiss her once, twice, peeling off layers of clothing as the two of you make your way to her royal bed. She pulls her hair down, letting the white trails of hair flow gracefully over her shoulders.

You lay her gently on the bed, kissing her neck, “if tonight is all we have, then so be it” she whines.

“I promise you,” you purr in her ear, “we’ll have more than just tonight, my Rhae”

You and Rhaenyra made love into the early morning hours. Time apart faded away. You held her bare form against your chest, soothing her very soul.

“I suppose what they say about witchers is quite true” she smirks. “You truly are amazing in all your splendor. That broadsword of yours…” she laughs

“I will only be yours. Til my last breath” you whispered against her hairline. You kiss her head and rub her back reassuringly.

“But you’re immortal”

“I never took that step.” You shrug. “I’ll hunt monsters, save kingdoms but I could never live an eternity without you”

“You’re not immortal…does that mean that someday you and I can have…”

“The price of immortality is becoming sterile” you answer her silent question. “Obviously that was a step too far.”

“I want two.” She answered back with a giggle. You couldn’t help but smile.

THE END

[dana-chan-the-control-brain]

Fnaf Movie thoughts!

I wanted to ramble some of thoughts and theories I had about the Fnaf Movie.

Cause the brainrot is real and won't leave my brain.

(wow just read back that sentence. Excuse any grammar errors or dumb shit, I'm still very sick)

Below the cut will feature heavy spoilers, so unless you want to be spoiled of the major twists this movie has, I would recommend wait to read this.

I unfortunately couldn't see the movie in my theatres, cause I got horribly sick and wasn't able to get the full theatre experience.

I was able to watch on Peacock, with all my fnaf plushies with a super sinus clogged headache, so that's the mindset I had. lol

Anyway.. Movie time

I absolutely LOVED Mike and Abby. First off.

I didn't even mind a lot of time of the movie was spent AWAY from Freddy's. Because so much is just about learning about Mike and his family and connection to Abby.

Sure, we could have spent the WHOLE movie at Freddy's. But that is not what this movie is about. And it's clearly trying to tell a bigger mystery and this felt a very introduction friendly entry point to anyone confused about the fnaf lore.

I love how completely obsessed Mike is with Dream theory. To the point he's taking heavy duty sleeping pills on his job that he clearly doesn't need and just is doing it so he can relive his dreams/fabricated memories.

The intro credits with the 8-bit style graphics of the minigames in fnaf2-4??? Like bro? I cried. That was so iconic and they fill in the backstory for the purple guy, who actually appears as his sprite??? Like... Man iconic.

Also... Dude... Mike Schmitt in the movie is like... what the Fans wanted Mike in the games to be for YEARS. Like... Mike in the games is nothing. He's a silent face. We know so little about him, and everything else is purely speculative. Even the whole "he was foxy bro and has regret over his brother" ...That's all theory and not confirmed. As far as we know, Crying child and his brother might not even be Afton kids.

But this Mike is EXACTLY the motivations we wanted Mike to have? If that makes sense? He laments his brother was taken at a young age and expresses regret and motivation to want to get him back. he has the motivations that the fandom built for him for years and ran with it, and I LOVE THAT.

FNAF Movie actually gives good reasons why Mike comes back every night, as said in Living Tombstone's iconic song "why do you want to stay?" Cause of his regrets with his brother and his obsession with dream theory and doesn't realize the animatronics are a threat until like... night four.

THE ANIMATRONICS?? THE PUPPETS??? THEY LOOK SO GOOD??? HECK YEAH!!!!

I SCREAMED when I recognized Matpat's voice, and then I saw his face. Reconized him for his voice WAY before I saw his face. I didn't think he'd have a speaking or face cameo and get to say his iconic "it's just a theory" line and about food too??? King shit.

Letting the animatronics have moments where they can just be cute and friendly as well as creepy and bloodthirsty is so great! I want to give them all pets.

THE CHILD ACTORS ARE ALL SO GOOD! To the point you don't even notice! It's often hard to get children to play a convincing performance, but these children acted really well! They must have a real talented director who knew how to get the best of their child actors. You don't even realize that the child actors are great, cause they're so good it's unnoticeable. AMAZING

VANESSA BEING WILLIAM AFTON'S DAUGHTER IS NOTHING SHORT OF BRILLIANT!!!!

I MEAN, I SCREAMED WHEN SHE SAID "William Afton My father"

I was screaming about this in my group chat.

I was screaming for a thousand years.

AND IT makes sense why the cops never found the bodies. Vanessa is a cop! She's covering for her father!

I absolutely LOVE what a girl failure Vanessa is too!

Like she shows up, HEAVILY flirts with Mike (like she was laying it on so thick my demisexual ass was picking up on her vibe) and just shows up to give him exposition on the FNAF lore. fheogheahf. Like. It's great.

(no doubt she was flirting heavily with Mike at the start due to manipulation from her father, I do believe it grows to genuine fondness later)

I've heard people complain about her flipflop nature... BUT THAT's the POINT!

(a literal arcade game in security breach.)

She let Abby play with the animatronics, knowing it was dangerous. Her original plan was to kill Mike, but she changes her plans when she sees he has a kid. (who she thought was his daughter at first) It was only after Abby got injured by Accident, she realized that what a danger she posed by brining them here at all. She only threatened to shoot Mike because she hoped that such an extreme threat would get him to quit. She even tells him about how many security guards quit. But it doesn't.

She even said she tried to warn in her own way. She's terrified of her father. And we get deep foreshadowing about that throughout the movie.

I really hope that in some sequels we will get to see Vanny at some point. Maybe even Springtrap and Vanny working together in the same movie??? CAN YOU IMAGINE THIS?!?!? I WOULD GO FERAL

Anyway, Vanessa is such a girl failure and my girl blorbo. I support her and her woman's wrongs

The minor look of regret after Will stabs his daughter... peak cinema.

The springlock scene... The quiet of the stabs, giving such a realistic collapse... the "I always come back" ...Embracing the monster he knows he is. He is the mask. He isn't hiding behind the mask, like he is being Steve. he is the mask now. Just... Chefs kiss.

The animatronics dragging springtrap away mirrors the ending of Silver Eyes so well, and I'm glad, because that was the best part of the Silver eyes. <3

THE LIVING TOMBSTONE GOT TOP BILLING FOR THE FIRST CREDITS SONG! PERFECT

Garret is 100% going to be the Puppet in the Movie Series. He was the one taken in the car, the spelling out in the minigame sounds at the very end says: "COME FIND HIM" And after Living Tombstone ends, the credits music fades into Grandfather's clock music box... Puppet's song..... Garret will be the Puppet in this universe and I so look forward to that.

I enjoyed the movie. I'm glad that they left the overarching mystery of Garret open to be explored in the sequel.

[grigori77]

Reasons to LOVE Dungeons & Dragons: Honour Among Thieves

It's brand new in cinemas, so there are still plenty who ain't seen it, so if you're among 'em best skip this and just GO SEE IT, it's SO well worth it, genuinely it's one of the best new movies I've seen so far this year. Hope you love it as much as I did!

So, yeah, there you go - SPOILER WARNING, FOLKS!!! If you don't wanna get spoiled, RUN!!!

Still here? Okay, here we go then ...

This really is, UNAPOLOGETICALLY, a comedy. I mean yeah, this is a classic fantasy action adventure in the Willow, Krull or Ladyhawke mold, but it is also very enthusiastically POKING FUN at the classic conventions of the genre ... albeit CLEARLY done with great affection and love for the material, as only the best lampoons can be. So this is more The Princess Bride or Galaxy Quest than Your Highness or Spaceballs ...

Chris Pine is ALWAYS at his best when he's being FUNNY, so he is PERFECT here. Edgin is most definitely a bit of a douchebag, but he's the sweetest, most lovable douchebag you'll ever encounter.

Holga. Literally just EVERYTHING about Holga. She's my favourite character in this, this REALLY IS the best role that Michelle Rodriguez has EVER HAD, if you ask me. She's a total badass, a truly AMAZING FIGHTER, but I love that despite her dour demeanour she's actually quite sweet, gentle and really a great innocent in many ways. She's an absolute cinammon roll and must be protected at all costs.

OH MY GODS!!! All the easter eggs, SO MANY easter eggs ... FAR too many to count throughout, all the references and nods and winks to the game itself, all the spells and races and creatures and stuff ... but I love how the movie NEVER beats you over the head pointing any of it out, it just lets you enjoy it. So the proper fans will get a huge kick out of spotting it all, but casual viewers will just enjoy it as rich worldbuilding colour and flavour.

Seriously though, it's a D&D fan's DREAM!!! Not just the mimic, or the owlbear, or the gelatinous cube! SO MUCH to spot ...

Justice Smith's Simon gets THE CLEVEREST and best introduction in the film, I love the theatre scene, he's SO BAD at this while also simulataneously being really great. Totally sums up this gloriously clunky hot mess of a sorcerer ...

the opening is GENIUS, totally sets the movie up as it means to go on - the parole hearing is a brilliant comedic take on the scene-setting infodump which is brilliantly carried through in the way the movie delivers exposition in a fun way or just lets you absorb it through what's happening in each scene. This is the perfect, TEXTBOOK way to do it.

"That is one pudgy dragon!" LOL

Doric. Just EVERYTHING about Doric. Sophia Lillis' tiefling druid is a wonderful diminutive little action hero, so fiesty and capable. I love her. It's just a shame she's not primary coloured, I'd have loved it even more if she'd been blue, or red ...

The Wildshape Escape! XD Yeah, I love that, that's THE BEST set-piece in the whole movie, definitely, when Doric gets cught out spying and has to shapeshift on the fly to get away, and it all plays out in one immersive single shot that just leaves your heart in your mouth ...

Oh, the Speak With The Dead montage, that is comedy GOLD. Funniest scene in the whole movie. And with added payoff at the end! XD

Rege-Jean Page's Xenk Yendar. Oh boy, that paladin is something else. I love how LITERAL he is, he's like Drax in GOTG but much more intelligent. Y'know when Holga says: "You're not a lot of fun, are you?" to him? She's so wrong. I just wish there was more of him in this ...

The heist! Oh, the heist! So good ... the portal trick, it's great, love the way they did that, and then that HILARIOUS bard illusion distraction - Pine skipping the song like a broken record was just chef's kiss!

That wonderful wibbly-wobbly illusory reality thing whenever Simon tries to atune to the Helm ... wow, that is some spectacularly trippy shit. Granted, twice is fine for terms of pacing, but I could've done with a few more scenes of that, it's fascinating.

Hugh Grant really has just become a MASTER at playing smarmy, slimy duplicitous gits now, hasn't he? Forge is a reprehensible prick and I love it.

I love how they made Bradley Cooper a halfling for his cameo. They're never gonna let him live down the fact that he's now probably best known for playing a two-foot-tall talking racoon so forever after he will be a Short King.

Wow, Daisy Head's Sofina is a CRACKING villain, she's just SO CREEPY!!! I love how coolly menacing she is, a brilliant dark necromantic wizard that just makes your skin crawl. Especially at the end ... IS SHE a lich? Is that what they were doing there?

That whole big action climax, the showdown in the city centre is FIRE!!! It's so amazing, so brilliantly dynamic, with EVEN MORE great easter eggs! Simon and Sofina having an insanely awesome "arm wrestling" bout with Mage Hand versus Earthen Grasp (I think that's the spell, couldn't be sure), oh my gods! So cool ... and then the way they neutralised the threat! Brilliant.

Chloe Coleman's Kira is an absolutely adorable delight, and I think she's ENTIRELY JUSTIFIED in how pissed she is at Edgin for abandoning her. It makes the payoff when they finally make up so much better.

And that resurrection scene at the end? Yeah, sure, I saw that coming a mile off, but it was so well done, and they played it so well, that it was still SUCH a powerful scene even so. Just perfect.

Seriously, they just did this whole thing SO PERFECTLY. It's visually STUNNING, really it just looks AMAZING, and the action sequences are BRILLIANT but always feel entirely necessary for the story, which is how you want to do it. Best of all, though, is THE PACING!!! This is such a quick, breezy film, it just barrels along at a spectacular clip, so it never drags. Mark Kermode is right, even though this is two and a quarter hours long it doesn't FEEL LIKE IT, it feels like a super-trim 90-minute movie.

And it ties everything off nice and neat, too. Sure, there are definitely possibilities for the future, going forward if they make more, but if the movie DOES tank then it's fine, because this really does do a great job about feeling self-contained and telling its own complete story, so if we DON'T get more it won't be too big a disappointment ...

[madaqueue]

Practice Makes Perfect | Chapter 2

synopsis: you and yuji have been best friends basically as long as you can remember, and you made a promise to each other to stay friends and help each other be the best versions of yourselves for your future partners. but will things change when yuji finally starts looking for a relationship?

pairing: yuji itadori (18+) x f!reader

themes/content: modern college au (characters aged up to 18+). fluff, with a whisper of angst. language, nudity. 18+, MDNI.

word count: 1.8k

a/n: i am tormented writing this, i wake up in the middle of the night with ideas but this is fr just exposition don't you worry, we're getting there i promise

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The next week goes by in a blur. You and Yuji don’t run into each other, which is pretty typical, and you try your best to act like you weren’t completely shocked at how he kissed you the last time you saw each other whenever you’re texting him.

During a break between classes on Thursday, you head back to your dorm to relax for a bit and get some lunch. As soon as you close your door, your phone lights up with an incoming video call from Yuji. You answer it and see his face suddenly take over your screen.

“Hey there! Sorry to call you suddenly, but I have another favor to ask you,” he says with a cheeky smile. “You remember that girl I told you about last week? Well, she and I are kind of supposed to hang out and I wanted to practice the whole date thing with you,” he pauses, expectantly.

“Sure,” you sigh with a small smile forming on your lips, “when are you supposed to see her?” “That’s sort of the thing…” Yuji hesitates, breaking eye contact with the screen for a moment before turning back, “we’re supposed to hang out tomorrow so I would kind of need you to come over tonight.” “Tonight?” your eyes widen. “Yuji, I have class, and assignments, and-”

He cuts you off. “I know, I know, but I promise I’ll make it up to you! Look, come over to my place tonight at 6:00, pretty please?” he pleads, batting his eyelashes at the camera.

You concede, “Fine, but you owe me one.” Yuji cheers and thanks you profusely.

You hang up the phone and walk towards your bed, laying down on your back with your feet dangling off the end. You still don’t know what to make of the sudden change in your dynamic - I mean, you guys haven’t hung out one-on-one for months and now suddenly you’re making out like it’s no big deal? And what’s with this girl he went from not being sure he even had feelings for to suddenly going out with her tomorrow? Is he going to kiss her like he kissed you? You feel a pang in your stomach.

Are you…jealous? No, no way, you’re just hungry because you still haven’t had lunch. You push the thoughts aside as you get up to grab some leftovers from the mini fridge in your room and try to keep it out of your mind until tonight.

–

By the time you get to Yuji’s, the sun has set and the streetlights are starting to turn on as you walk across campus. When you arrive you knock on his door and he opens it, his eyes immediately scanning your body as he takes you in. You’re wearing an off-white bodycon dress you found in the back of your closet with a black jacket to help keep you warm on your way over, an outfit that’s fairly atypical for you since you don’t often have a reason to dress up like this.

“Wow,” Yuji says with a smile, eyes still glancing over you, “you look…really nice.”

“Thanks,” you shrug. “I figured this should be as immersive as possible so you can actually use it as practice for your date tomorrow rather than us just hanging out like always.”

He nods in agreement and moves to let you step into his room. Inside, you notice candles lighting the space rather than the LED lights like last time, and it makes everything feel much cozier.

“It looks nice but isn’t this a huge fire hazard?” you tease, slipping your jacket off and hanging it on one of the hooks behind his door.

“Dunno, just wanted it to be nice for you,” he says nonchalantly as he moves toward the center of the room. There’s a fold-out table that was almost definitely used for beer pong at some point with two chairs you’re pretty sure were stolen from his dorm’s study room on either side of it. He pulls out one of the chairs for you and you sit down in front of an empty paper plate and red Solo cup.

“How classy,” you smirk at the setup.

“Hey, it’s the best I could do on short notice - besides, it’s not like she’s coming here tomorrow anyways,” he argues, crossing his arms. You notice him trying to hide a grin before he moves to sit across from you at the table. “Anyways, thank you for coming tonight.” He smiles genuinely at you. “Before we begin our meal, could I offer you some of our finest wine selection?” he asks while pulling out the cheapest-looking box of red wine from behind his chair.

You laugh at his question. “Seriously? How did you even get that in here? Isn’t alcohol banned in the dorms?”

“Don’t worry about it, sweets,” he says with a wink. In reality, Yuji had worried about it, a lot. He had to ask his friend Toge to help him smuggle it in, pretending it was a new gaming system they were going to play, making sure to give the security guard posted outside the dorm a good show of how excited they were about it. But, now that was all said and done, and Yuji was just glad his efforts paid off and he got to share it with you.

He leans forward across the table, propping his elbows on either side of your plate to steady himself, and begins pouring wine out of the box into your cup. He looks down to make sure he doesn’t spill any, when suddenly the table gives out under the weight of him resting his arms on it. The nearly-full cup tumbles toward you and covers your dress in dark red.

“Shit, Yuji!” you scream reflexively as you stand up. You try to brush the wine off your dress but that seems to only smear it more.

The boy looks up from where he is now laying on the floor on top of the collapsed table, taking in the situation before he immediately springs into action. “Okay, you take your dress off, I’m gonna go grab some laundry detergent, and we’re going to fix this - I-I mean, I’m going to fix this,” he states, trying to reassure himself as much as you.

He uses his hands to push himself up off the ground and steps over to his closet, quickly grabbing one of his oversized t-shirts and tossing it at you before running out of the room. You stare at the black shirt in your hands, still trying to process the scene that unfolded but realizing you do still need to change. You begin to unzip your dress and the second it hits the floor, Yuji runs back into the room.

“I found the detergent!” he proclaims, excitedly holding the bottle above his head before he realizes what he just walked in on. He freezes, eyes glancing quickly all over your body just like he did when you first arrived, but this time with the notable absence of your dress. His eyes pause over your matching black bra and panties before he looks back to your face, watching your cheeks suddenly turn red from embarrassment. You aren’t even sure why you’re blushing since Yuji has seen you change more times than you can count, but just like when you were sitting on his lap last week, this time feels different.

You both stare at each other before he lets out a nervous chuckle that breaks the silence. “You, uh, you want me to wash that dress or not?” You look down to the crumpled dress at your feet and instinctively toss it to him without a word. “Sweet, I’ll get this in the wash and be back in a second,” he says before promptly turning and leaving.

As you look down at your hands, you notice they’re shaking. What is wrong with me? You think. It’s just Yuji. Shaking the thought away, you slide the t-shirt over your head and it nearly reaches to your mid-thighs. You let out a sigh, thankful to finally feel a bit more covered.

Yuji pops his head back into the room. “Are you decent?” he teases before swinging the door open without waiting for an answer.

You feel a bit better now that you’re clothed again, finding some energy to joke back with him. “What a romantic dinner, Yu,” you say with a chuckle, your voice still a bit more shaky than you would have liked.

“Hey, it was still good practice! What if there’s a horrible wine emergency on our date tomorrow and I have to think fast,” he laughs. “Besides, we can still finish this date. You haven’t even seen the main course yet!”

He reaches under his bed and pulls out a familiar bag, holding it up with a toothy grin. “Taco Bell? Seriously?” you groan and flop back on his bed.

“Don’t blame me, you’re the one who said you didn’t want to eat my delicious cooking,” he jokes. “Besides, it’s the only place where I still have your order memorized, and I wanted to make sure I got you something you’d like,” he hums.

You shift your eyes down from the ceiling onto his, and it’s almost like you can see his gaze soften as you look at him. Yuji was truly nothing if not genuine; it was clear that he really did care about getting you something you’d like, and he wanted to show you that he still knows things about you, even if they’re as simple as your fast-food order. You felt the air in the room shift, and while you couldn’t read Yuji’s mind, after knowing each other for that long you could make a pretty good guess: he needed this. You could almost sense his subtle desperation for your approval as he walks towards you, and without thinking, you say, “It’s perfect Yuji, I love it,” with a smile forming on your lips.

He lights up at your words and leaps forward onto the bed, landing next to you on his stomach before turning to face you. “I know this isn’t exactly how you pictured this ‘date’ going, but I’d still like it to be special. Besides, it’s late, and you can’t exactly walk back to your dorm in my t-shirt, so why don’t we make tonight fun, just the two of us? Like we used to?” he pauses, waiting for your answer.

His eyes lock onto yours and again, without thinking, you turn towards him and throw an arm around his shoulder. Glancing at the clock behind him, it illuminates the time: 6:43. It was absolutely not late and you could easily borrow some of his sweatpants to walk back to your dorm, but instead of saying that, your mouth moves before your mind can catch up. “Like we used to,” you say through a soft grin.

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[mothofstars]

Epic: The Musical - Tier list to appease my autism

Epic is quite possibly my favourite musical of all time, and after the release of the Wisdom Saga, I really wanted to rank the songs and put my thoughts about them somewhere.

And I'm not about to spend 5 hours on this and not post it anywhere, so please enjoy my ramblings! From least favourite to most favourite, here is my Epic tier list!

30. Full Speed Ahead - Troy Saga

It's worth pointing out, I don't dislike any of these songs. I like all of the songs, and think they are all important and serve the overall musical. But this, for me, is a bit more of an 'establishing' song. It serves as exposition to get us from one place to another, both literally for the crew, and musically as we move from the emotional song of Just a Man to the more fun Open Arms.

29. Storm - Ocean Saga

This is also a little bit more of an exposition song, but for me I think this mix is stronger, I love the call and response, and for some reason still giggle when they all point towards the island in the sky!

28. Luck Runs Out - Ocean Saga

I like the way this shows the starts of the cracks forming between Ody and Eurylochus. Eurylochus, quite rightly, gets a little weirded out by the idea of climbing up to a floating island that has a potential god resting upon it. Ody on the other hand hasn't had the crap beaten out of him enough times yet, and still has the optimism that means he will do just that. You can hear a twinge of pain in Ody's voice as he realises that his second in command is starting to doubt his actions, all the while he is just doing his best to keep his crew together and alive.

27. Open Arms - Troy Saga

This song is great - What is there to say about this sweet boy that hasn't already been said? We all know and love him, and this song shows off that sweetness and love for life so well. However, this song is so much better when used in other songs to absolutely shatter your heart into a million tiny pieces as we all grieve our happy friend. This song is still strong, but I think its overall impact comes more from its use in other songs, rather than the original!

26. Polyphemus - Cyclops Saga

The brutality of this introduction to this saga is terrifying. I still get chills during the cyclops saga, and the turn at the end of the song is so well done. Each verse seems to add another layer of tension, and we feel like we are sneaking closer and closer to a conclusion that favours the crew, and then, we get stomped.

25. The Horse and the Infant - Troy Saga

This is one of the best openings to a musical - we know the main characters, we know what they want, and we know exactly where they all stand. This is achieved without too much wordy-ness and exposition, and just serves as a great and powerful introduction. Also, love how Ody is immediately humbled by being presented with a challenge he already struggles with, bringing him closer to the listener. I've been told by a few that if you have the prior context of the books that came before the Odyssy that the names being read out at the start is like a nice little round of references to previous stories - it's a shame this doesn't hit for me yet, as I am still learning quite a bit of the context surrounding this musical. For me, as well, there is just so much going on in this song, that my head spins a little lol.

24. Survive - Cyclops Saga

Very similarly to the Troy saga, the second song of the cyclops saga once again seems to have the aim of humbling Ody and making him closer to us, your average mortal, than a god. You can feel the genuine pain and fear in his voice as his friends fall, and the splashes and smashes of blood and club are poignant and painful to listen to. We get to see the tactician brain of his working to full speed, with a steady ticking in the background making it feel like Athena is right there with him, which is a lovely touch.

23. Remember Them - Cyclops Saga

Wow, this song is so strong and painful at the same time. The fade into the song, hearing Ody's mind snap straight into action and then him calling out to his friends with directions demonstrates his tactician brain and his ability to lead them really well, but also feels like he is also trying to guide the crew through the first big loss they will experience together. He steps right up, refocuses them, and gets shit done. Shame he didn't kill him, but this would be a very short story if he did!

22. Keep Your Friends Close - Ocean Saga

I am but a small, simple lesbian. The way Kira sings here just feels so nice and floaty, while also showing her more mischievous nature. The longing in Ody's voice as he sings for his family is so painful, and makes the next song hit so much harder. The promise of him being the same, knowing that not to be the case it heart-breaking. Also, give me more Winions. I need them as plushies please. Thank you.

21. Mutiny - Thunder Saga

The absolute gall of Eurylochus to be a massive fucking hypocrite and then pull out the line of "I'm starving my friend" with that much pain in his voice is breath-taking and incredible. He doesn't even feel like he really wants to betray Ody, but is just doing exactly what he thinks he needs to do to see another day. Little does he know. This song also suffers a little from the same problem I have with The Horse and The Infant - a lil too much going on

20. Ruthlessness - Ocean Saga

HELLO SIR! My goodness this mans vocals are so smooth but rough at the same time. The growl that he gives to his voice whilst still flowing the lyrics together so musically is just so impressive. And the background instrumentation imitating the crashing of waves against the ship is *chefs kiss*. And then..... ALL I GOTTA DO IS OPEN THIS BAG!!!!!! I think this song might rate higher for me if I didn't end it with the most tonal whiplash ever. It's hilarious, don't get me wrong. But my gods, does it pull me out of the song a little bit lol.

19. Different Beast - Thunder Saga

The way I jumped out of my seat when I first listened to this saga, admittedly at 6am, I think I could have punched a hole in the roof were I less vertically challenged. He means business, this song shows that, and gods is it good. The small plea for mercy from the sirens who feel like they already know the answer, and the ruthlessness of his response. Hey look, he is learning!...

18. Puppeteer - Circe Saga

A woman. What? She had me in just one song. I would thank her if she turned me into a pig. Her vocals are perfection, the chanting of her power, the way she can hypnotise a whole crew. I find it interesting too, how just the promise of a warm meal and a safe place, even if it might be a trick, is enough to pull the crew into her arms. They may be under her spell, but part of me thinks so may have chosen this if given the option.

17. Wouldn't You Like - Circe Saga

Look, all I'm saying is that it was very telling that the day after the Circe sage came out that my Spotify started filling up with TROY's music. He is amazing, plays the character in the best way I have seen bar none so far. And that fur coat and sunglasses?! What a look. Also its funny hearing a British phrase as a plant name.

16. The Underworld - Underworld Saga

Jorge please, my face is stained from tears shed in this song. Every single time I listen to this I shed at least 3 tears. It's like a subscription cost of pain in return for a song that is as moving as it is powerful and reflective. The call backs to the previous sings are haunting, no pun intended, and the choice to have his own mother play Ody's mother is genius, and I hate and love it. As someone who has lost a connection to their own mother, it always makes me tear up as he yearns to be with her again, and shows the regret in his voice that he never got to say goodbye.

15 and 14. Done For *and* There Are Other Ways - Circe Saga

I cannot separate these two songs in my mind. Not only do they flow from one to the other perfectly, but they just do such a good job of leading us from a battle of power to a battle of the mind, with the flowing, seductive vocals from Talya and the trance of the music behind it. Again, I would have absolutely stayed with her, I am weak. I like to think my wife would forgive me!

13. Little Wolf - Wisdom Saga

Little wolf is such a good song because, even without Athena, the vocals are just so damn crisp and punchy. When I saw that the animatic in the livestream showcase was a streetfighter style animation, it made perfect sense - the punch of the beat and the chanting of the team behind the enemy works so well. And then, my goddess arrives to swoop in and steal my heart. She has clearly grown in the last few sagas and years that have passed, and I think this introduction of her back into the musical does a great job doing that. She comes in, bestows wisdom, helps a kid kick some ass, and with it once again confirms my status as a lesbian.

12. Just a Man - Troy Saga

This. Is. Heart-breaking. I'm sure that many people have the same reaction to this, but as the beginning of Ody's journey, it just hits so hard. Him recalling his own young son, and then knowing how long they will be apart makes it even more impactful. The change of pacing from the lullaby of the first part, to the painful growl in his voice as his questions his actions and realises that he has done is just pain.

11. Monster - Underworld Saga

This was so hard to pick apart from I'm Just a Man. I love them both. The only reason this stands a little higher is the overall arc from the song that precedes this one into it is a little stronger, and I love the complete rage in his voice. He did all this, tried to do right by his crew and his wife, and is told by the man who he thinks will help him get home that "yeaaah nah you are absolutely fucked, have you seen yourself recently?!". Yeah, I would sing like this too. He can see where he went wrong, and this acts as a really nice turning point for him going forward. If he is going to be seen as a changed man, who's ruthless actions will hurt those him around him, he might as well go all in. he is the monster ra ra ra

10. Suffering - Thunder Saga

Jorge tucking his hair behind his ear. End of review. No but really, this is great. I know he did a TikTok on this, but the way the lyrics flow into each other to create this hypnotising melody is just breath-taking, and I will never forget the moment of 'wait hold up what is happening' the first time I listened to this song. First I thought that this was dream Penelope, back from her saga with the windy bag, and then was genuinely taken back by references to a daughter. oh no

9. Thunder Bringer - Thunder Saga

I get a bit annoyed, very stupidly, when I cannot sing along to a song I really like. It's one thing I love about listening to musicals, is learning the songs and then performing them to mu plushies in a vague attempt to satisfy the very anxious performer that lives inside me. Which means that a lot of my favourite songs are ones that fit within my vocal range, that i can sing along to. This one is so far outside of my vocal range, it might as well be on a whole other plane of existence. But my gods do I absolutely adore this song none the less. How can the asshole that is Zeus sound so fucking cool while being this much of a dick towards women while flipping off Ody in the background. This song is just an ego flex. Good job Luke Holt. Fuck Zeus.

8. My Goodbye - Cyclops Saga

I really like the way this song shows the 'youth', for want of a better word, of Athena and the impact on Ody's actions on her and its just so good. The vocals show so much of their pain and anger, and the mix is just perfect. The contrast is Ody screaming at her and then the genuine pain in her voice, the impact of her responsibility as a god is so good. No words can properly do this song justice. The best part is, neither of them are correct here. If they had just sat down and had a chat like grown ups they might have stayed alongside each other, but both think that their actions are the correct one, and i cannot entirely disagree with either response.

7. We'll Be Fine - Wisdom Saga

Kinda loving that most of the Athena songs are all sat together. It makes me so happy. The absolute sobbing that erupted from my eyes, nose and mouth during this song would have probably classed as a downpour. I love both of these characters so much, and Athena's vocals at the start are so heart-breaking and bittersweet, followed by the most heart-warming duet that has ever graced my ears. Also, the childlike joy and wonder behind the vocals from Telemachus are so beautiful and cute, and I would fight for him!!

6. Warrior of the Mind - Troy Saga

Ah, Athena, my beloved. I would perish for you in a heartbeat. I just love the heart that Teagan gives her through her performance - its so warm and playful in the introduction part, and they both almost feel like each others hype, its fantastic! It's also a great way to show off the influence that she has over Ody - she puts herself right in the centre, reminding him exactly why she respects him so much, while affirming her stance on his training.

5. Legendary - Wisdom Saga

Miguel's casting was one of the most perfect ones in this history of this musical. Not only because of his incredible vocals, but because they fit so perfectly with Jorge's. I can fully picture this kid and his dad together, their voices sound so much like each others, just like a younger version. This song is the perfect match of catchy and smooth, and it just soothes my brain perfectly. Special credit to the retort to Antinous about his mother. This is the perfect opening to one of the best sagas we have been gifted yet. Side note - I cannot wait to see Antinous get absolutely stomped into the ground (please gods tell me he does or I will never sleep at night) because my goodness, what a line delivery. I will throw this man. Protect Telemachus, throw Antinous off a roof like the baby, and someone get Argos a new toy.

4. God Games - Wisdom Saga

I'm not someone who listens to the demo's much (bar listening to Hermes laugh on repeat, and occasionally looking up lyrics). I like that they are out there, and my wife absolutely adores them, but I prefer to wait till the full release so I can listen to everything with a full cast and mix. Did that stop me from having over 20 videos of different people lip-syncing to the bits of Hera for this song, making me look like the thirstiest person in my area. No. I don't think that this song could be anywhere other than my top three. All the singers are incredible, all of the animatics are incredible (special shout out to Athena disco dancing into madness) and I wept like a baby when it was over.

3. No Longer You - Underworld Saga

This song is perfect. I have no notes. This is where my true top songs really begins. This song is so passionate while not straying into anger (outside of Jorge's owl impression that is), while at the same making the prophet sound entirely distant, almost uncaring. It's an added bonus that this song sits right near the bottom of my vocal range and so serves for great belting material when I need to let out feelings.

2. Scylla - Thunder Saga

This saga did an amazing job of making me absolutely loose my mind with every single one of its songs. Not all of them are what I would regard as my favourites, nor would I even say that this is necessarily my favourite saga (I think we can all guess which one is), but my gods can Scylla absolutely take my life. This song is perfect - The slow introduction into the absolutely mind bending vocals from KJ, with the growl of a monster and the voice of a monarch. Its incredible, and I will forever be trying to sing this just as half as well as they do.

1 . Love in Paradise - Wisdom Saga

I wish I could write all of the words that this song deserves, but I'm sobbing too much to focus, so you will have to deal with whatever I have that i can see behind this waterfall of tears. Athena travelling through the previous sagas and reliving all the pain that Ody went through sent me into a state to begin with. And then, Calypso arrives and reminds me how gay I am. I want to go to her island and give her hug. If it weren't for the animatic, and the little face that she makes when she finds out Ody is married, I wouldn't have stopped crying for a single second. Her intension aren't pure. She is desperate, she is alone, she is sad. She is very morally grey. All she wants is someone to soothe her, and in turn she tries to relieve his pain. It's important to note here that, outside of looking up her future songs, I have very little knowledge about Calypso. For me, based on the lyrics we have from "Not Sorry For Loving You", she seems to have been forced to remain on this island for hundreds of years with no contact. Is what she does to Ody horrible - yes. Do I think she wants to hurt him -no. And I also don't believe that she is trying to manipulate him to get off the ledge just so she can have her lover back - I read this as someone who is in love and trying their best to make them happy and keep them safe. Ody couldn't leave the island, and she couldn't let him be free, they have to ask Zeus for that. Not to get too deep, but her crying out to Ody makes me melt every time. The gut retching pain from Ody drying out for all those he has lost and who he thinks he will never see again is haunting. Give me a year and the ability to remove my fear of thousands of needle pokes, I will probably get the line "Life would be so much worse if you had died" nicely printed onto my body. This is the perfect song to top off all the other perfect songs here. I cannot express how much this song means to me.

Thank you, Jorge.

To give a summery, here are the Saga's ranked!

1 . Wisdom 2 . Underworld 3 . Thunder 4 . Circe 5 . Cyclops 6 . Troy 7 . Ocean

[frogsndogs]

So recently I watched this pilot short: Epilogue of endings. It’s about 12 minutes long, created by a group of animation students over a single summer. I had never heard of the project before it showed up in my youtube recommended.

It changed my brain chemistry. I watched it 9 days ago and I can’t stop thinking about it to save my life. The music? Spectacular. The voice acting? Perfect. The art? astounding. The characters? I’m already emotionally attached. Hotel? Trivago.

Listen, I don’t tend to watch of a lot of things anymore unless I’m with other people, and I have this weird thing about engaging in new media, I think because a lot of what I’ve been watching recently has been kinda disappointing, or very… I don’t know… it’s hard to describe. It just feels like a lot of studios are making characters shallower, relationships strained, and half-assing their world building. A lot of media that I’ve taken in recently is trying very hard to make itself seem edgy and serious and that’s not what I want right now and definitely not what I need.

But this 12 minute pilot? This is everything I never knew I needed. The characters feel like real people, with complex motivations and interpersonal relationships. They’re flawed, but they’re trying their best with the situation that they have. They have things, other people that they care about and would fight for, they have motivations and backstories that you can see the breadcrumbs of, but have not been revealed yet, and the breadcrumbs are so good you can’t wait for the whole loaf. The world-building is exquisite, built up enough that you can see the beginning, but still drawing you in with more questions. 

I have a more detailed review under the cut, with SPOILERS, but I highly recommend that you go watch the pilot. It’s 12 minutes of time well spent in my opinion.

So the first scene. We’re introduced to Lucy, Blu and CG. I think Blu is already my fav, lol. In this scene, we see the three characters playing eye-spy while walking through a forest. It’s a pretty innocuous scene if we didn’t pan up to the sky and see the sun having broken open and Lucy becoming emotional over having to leave town, and presumably the rest of her life behind. Blu doesn’t answer her.

So Lucy clearly doesn’t know what’s going on, and I’m wondering if Blu has limited information himself. Maybe even Blu doesn’t know why or how any of this is happening. Maybe Blu literally can’t answer her question because he doesn’t have the answers. Maybe it hurts, being so helpless and out of control, so he’s in denial to a certain extent, trying to pretend that everything is fine. He’s trying to keep this little girl, happy and safe and alive, while also presumably dealing with his own shit, and no he’s not doing it perfectly, he’s flawed, as people and characters should be, but he’s trying and so far she is alive and safe to a certain extent so way to go Blu! I think this will probably cause some tension between the two down the road, but for now they just keep walking.

I wonder where they’re going, if anywhere specific? Why did they leave town specifically, we see there’s lots of danger pretty much everywhere, did something happen?

Anyways, then we get to this scene of someone fixing what appears to be a subway train. He stops, pulls out a journal and we get some exposition stuff. We find out that the world ended, and how. And WOW. This whole thing was gut-punchingly realistic I feel. People blowing up the competition trying to race off into space when it’s announced that the sun is going to die out? That’s something that unfortunately I can see people doing. I wonder/hope that this will become a plot point again later on, and we’ll find out what happened to all those people. But anyways that’s not even the craziest part; the fact the sun broke open and released a whole bunch of eldritch horror monsters??? Yep here we go. And then the next thing hurts. Like a lot. Because the narrator says that ‘people who hoped to live out their last days in normalcy quickly found out that their life-style was no longer sustainable’. That shit made me want to cry. The want for a peaceful death, a calm death, a painless death, but having even that ripped away from you. This setting that these characters are in is awful and very terrifying, and we can see how it is hurting them, torturing them, but I got to give props to the world building. It’s good writing. They set up the plot, the problem, what’s been going on the past couple yrs, some mysteries, to both the viewers and the characters, and in doing so give us some idea of the characters that we do have. Because the characters that we do have are trapped. The characters that we do have are abandoned. The characters that we do have are survivors. 

And then we pan out to see the narrator having an interaction with one of the Monarchs. And this scene? Gave me chills, man. I was so creeped out by this. Acedia’s ‘I do not like that response,’ Mole’s utter helplessness to do anything, his clear, potent fear of the creature, the way that it just lightly touches him and he flinches. Then the frustration that we see on his face after it leaves, the anger that turns into tiredness and then hopelessness? Someone needs to wrap this man in a blanket stat.

And this is where I’m starting to think that Blu doesn’t really know the full extent of what’s going on. There’s a good chance that Mole knows about the Monarchs because he’s being held prisoner by one. It’s possible that Mole is seeing the world collapse before his very eyes, while Blu is just seeing the aftermath and not knowing why and I can’t say which is more terrifying.

The ‘I have influence?’ line is peak. I love it so much, I can’t even say why. That whole little interaction with Lucy saying that she takes after Blu, Blu being so genuinely touched and CG being low-key offended is perfect and I love it. It shows how close they are, how much they care about each other.

The the… zombie ppl??? I love the detail of how unlike a lot of teenage protagonists, Lucy listens to Blu, and gets out of danger. She trusts him to handle the situation on his own, and knows that the best thing that she can do right now is get to safety. There’s an implicit trust there, in spite of her clear issues with Blu not telling her things, and this is what I’m talking about when I say the character relationships are complex.

Oh fuck. The transitions? The way that it cuts from one character to another, each unintentionally completing one another’s scentences, and unknowingly engaging in conversation. It’s amazing storytelling, an amazing presentation and for some reason it just confirms to me that these characters are family. They fit together like puzzle pieces. I don’t know what else to say.

We get more info on our mysterious narrator, Mole, who is an amnesiac, and clearly going through it. During this scene we see a crumpled newspaper of what seems to be a younger version of him, winning an award for his dedication at being a subway motorman. His name is crossed out in black ink, so we can’t see it. Which makes me question, did he do this to himself? Is his amnesia a trauma response to everything he’s going through? Did something happen to the point that his brain decided shutting down and forgetting everything was better than remembering this one thing? And it hurts, because in the picture in the newspaper he looks so happy. So young. So alive. It’s a stark contrast to the man we see with bags under his eyes, talking to himself and becoming increasingly distressed. I read through the article, and again, props to the team, some other people might have just did random letters or whatever but they put in a whole ass-story, giving the viewers more info about Mole than even he has. We know he was a dedicated subway motorman. We know he was inspired by his father. We know he had a sister. But these answers only serve to bring up more questions? What happened to his sister? Was his father still alive at the time of he end of the world and what was their relationship like? Because there’s a chance that their relationship was really good, and that’s why he went on to become a subway motorman, but there is also the possibility that he was pressured into doing so, and the way that he complains about being on a train when the world ended makes me kinda lean towards that option.

Then we see CG and Lucy walking around the underground tunnels and we get more info on them. We find out that CG was created by Lucy’s mom, which begs the question of where is Lucy’s mom???? What happened to her? Is there a chance that she’s still alive? Does Lucy know what happened to her mother?? Or is this just another thing that Blu is keeping her in the dark about? Does Blu know what happened to Lucy’s mother???? Or— as you can see I am totally normal about this woman. Anyways.

CG is a fun character, optimistic and bringing a lighter atmosphere to the show, but there is just something… off about her in this scene. The disregard for the danger, the naiveté, the joyful voice in such a horrible situation, feels so wrong to me. I wonder though if CG chose to be like this, or a certain amount of it is her programming? Does CG know what happened to Lucy’s mom? I think CG was created to be take care of Lucy but it seems to be the other way around here, why is that? 

And then we get info on Blu. Blu was a solider during the war when ppl were trying to get all the resources to race off into space. I wonder if Blu had believed that he would be granted a place on one of these ships. (If he managed to survive of course.) Or had he been in the military prior to all this, and was just pulled along? This makes me want to know more about his belief system before and after the end of the world. Also it is implied by CG that Blu is carrying a lot of pressure, and I wonder how that will be dealt with later on… hmm… 

Also the music that plays when Blu uses his arms to pull down the wall? Amazing, I love it, I love the scene, I love the fact that he’s a cyborg, I am so invested in these characters already it’s killing me.

Then we see Mole almost (accidentally) kill Lucy and CG. He’s out of it, he’s the only person running the trains, he didn’t expect to have to watch out for anyone, I think that we can give him a pass on this. Blu doesn’t think so obviously.

(Sidenote: the way that Lucy curls into Blu, as he protectively shields her is so cute, my heart, help)

Blu is pissed. His tone doesn’t change too much, it’s light, but there’s this threatening undertone there that kinda creeps me out. Mole tells them he doesn’t have a name, before Blu forces him to tell them that its Mole. Wait… is he called that bc Moles live underground? Anyways, Blu wants to leave him to die there, which shows an interesting side of his character. Prior to this we’ve seen him take a protective, fun role as Lucy’s guardian but here we see this apathy towards someone who is obviously not doing so well. A lot of other people would be excited to find another living person in the apocalypse, but he’s fine just walking away. Is this just because he almost killed Lucy? Or is there something more going on here? In Blu’s bio on the rainbott instagram, it says that Blu was ‘left to die in a mysterious incident’ and it’s interesting that he feels fine leaving someone else to die in such horrible conditions. Again - complex character writing, props to the team.

But Lucy doesn’t want to leave him. This shows her compassion and maybe too her want for connection with other people. Blu resists; ‘Lucy that is the most unimpressive man I have ever seen,’ this line has no right to be so funny, esp with Mole just staring at him in the background. Did he hear that or is he too far away, too out of it? Then he relents, perhaps solely because of Lucy, or maybe also because of his own want to do the right thing. He doesn’t like Mole, he makes that obvious, but if Lucy want’s to adopt this strange hobo man, fine, if it makes her happy. He’ll do whatever it takes to make Lucy a little more happy.

Mole’s ‘it doesn’t want me to leave’ scares the shit out of me, and the way that he just freezes up when Acedia shows up… 

The scene when it talks about humans really creeps me out, and makes me worried even more about Mole. Calling him ‘entertaining’ and saying that he ‘belongs’ to them. It sounds like it sees him as a toy at best, and reminds me of the way that Mole said earlier that the Monarchs had the power to ‘turn Earth into their own personal sandbox’. Did Acedia get rid of Mole's memories for that purpose? So that he would 'belong' only to them. I wonder though, why Mole, and if there were others, if Mole had to watch those around him die, or worse when they gave an answer that it didn’t like. I wonder what Mole has had to do to scrape by and survive, what he’s been through. But Blu pulls him along anyways, kind of against Mole’s will. Like obviously being with Blu, Lucy and CG is better than being with a horrifying shadow monster, but aforesaid horrifying shadow monster is going to be pissed at him. I wonder how he’s going to react to that, if he’ll lash out at Blu or worse, Lucy for rescuing him because now it’s gonna be angry and he’s gonna have to be the one to deal with the fallout of that.

Then the scene where Blu pretends to buy tickets to appease CG? It’s for comedic relief, but again it makes me think about Blu. Is he doing it because he knows CG will be annoying if he doesn’t? Or does he genuinely not want her to be hurt? I’m not sure. 

Then the campfire scene. Lucy looks away when Blu removes his mask, Mole tries to lean in to see what’s behind it. Blu doesn’t like this, I assume it’s a sensitive subject, but Mole is again, kind of out of it. Mole is scared of Blu and Blu clearly knows this, even kinda uses it to freak him out. I’m looking forwards to see that relationship developing, maybe one that contrasts Mole’s relationship with Acedia, I dunno, someone who cares about him in this really twisted way that hurts him, and someone who at first doesn’t care at all(at first), but still takes care of him in spite of it. I dunno… just vibes.

And Lucy’s little ‘what if we tell ghost stories around the fire’ breaks my heart. It’s like she too, is in denial to a certain extent. This is just a fun camping trip not the end of the world. Everything is fine. Everything will be fine.

Then the post-credit scene. There’s presumably, something left of the government that is working to try and deal with the Monarchs, which gives me hope that there might be a way to stop them, a way to stop all this death and destruction. I am curious about what’s left of this order, what the gov was like during the war, and how they’re operating now. Also the way the commander calls the droid C21, and the way that CG is called CG, and the way that he says ‘find the girl’ and C21 frowns and does this have something to do with Lucy’s mom??????? What does any of this have to do with Lucy? Does she know more than she’s letting on, or does not even she know what she knows??? Help I need answers.

Also all the characters in the credits. I desperately hope that they find the main cast and all become friends pls.

CG’s little song is beautiful and I think that it embodies the heart of the show. Like I said earlier a lot of the stuff I’ve watched recently tries very hard to be dark and edgy and a dystopian show where all the characters have been trapped and abandoned and tortured is the perfect setup for some grim and gritty TV. But it’s… not. The characters are funny and lighthearted and smiling in spite of all the shit that’s going on around them. The characters are trying to be nice, to be good. They are connected, they are a family. It is a dystopian setting for sure, but I think that the story is about family, about love and caring for each other. The story is about Blu, Lucy and CG playing eye-spy. The story is about Lucy smiling when she tells Blu her mom said he was a bad influence. The story is about CG wanting Blu to get some rest and take a break. The story is about Mole’s desperate panic at trying to stop the train before it hits Lucy, and Lucy not wanting to leave him to die. The story is about four people sitting around a fire, listening to music.

I really love this story, and I hope to see more of it one day. It’s really beautiful.

[haru-dipthong]

The Japanese language is one of the most indirect languages in the world. There are the obvious examples of this, such as when some customers try to enter a busy restaurant without a reservation and the staff say 難しいですね (”this is tricky…”) instead of simply telling them that there are no seats. However, I've noticed that Japanese’s indirectness may go much deeper than simple euphemism.

Japanese seems to come built-in with ways of avoiding directly addressing your conversation partner.

The Japanese way of expressing things often involves voicing your internal monologue, which means people will say things ostensibly to themselves, even though what they really want is to communicate to the other person. When I first noticed it, I thought it was a bit similar to how some (western) cartoons occasionally handle exposition by having a character mutter something to themselves so that the audience can hear. This can be seen in the following extremely common forms of expression:

Using adjectives as an exclamation

うま！Literal translation: “Delicious!” Semantic translation: “Wow, this is really good”

怖い！Literal translation: “Scary!” Semantic translation: “I’m scared!” or “This place is giving me the creeps”

It could be argued that these single word exclamations may not always be “talking to yourself”. But imo more often than not, they are spoken with the vibe of “I felt this adjective so strongly that the word just slipped straight through my internal monologue and out of my mouth”.

Wondering aloud (かな)

���降るかな？ Literal translation: “Hmm, will it rain or not?” Semantic translation: “I wonder if it’s gonna rain.”

今夜来るかな？ Literal translation: “Hmm, will [they] come tonight or not?” Semantic translation: “I wonder if they’ll come tonight.”

Compared to the adjective examples, this is less ambiguous. There’s no direct translation for the verb “to wonder” in Japanese - you just wonder aloud! The literal translations sound funny because they only make sense if the speaker is talking to themself.

Explaining stuff to yourself (んだ)

あそこにあったんだ！(context: the listener has just shown the speaker something they were looking for) Literal translation: “There it is!” Semantic translation: “There it is!”

In this example, the literal and semantic translations are the same, because this is a case of talking to yourself in English! If you think about it, it doesn’t make sense to say “there it is” when the person you’re talking to clearly already knows that’s where “it” is. Instead, the phrase serves to convey satisfaction and surprise.

まだ20歳なんだ！(context: the speaker has just found out from the listener that a friend of theirs is younger than they expected) Literal translation: “[She’s] only 20!” Semantic translation: “She’s only 20? That explains so much!”

In this example, んだ is used to mark the sentence as an explanation of something. The listener already knew the friend was only 20, so the aim of the sentence is not to convey new information, it’s to show that some sort of internal reasoning is happening within the speaker’s mind.

In the immortal words of Carly Rae Jepsen:

🎶 Do you talk to me, when you're talking to yourself? 🎶

For every Japanese speaker, the answer is yes!

[inthedayswhenlandswerefew]

North To The Future [Chapter 8: Crash And Burn]

The year is 1999. You are just beginning your veterinary practice in Juneau, Alaska. Aegon is a mysterious, troubled newcomer to town. You kind of hate him. You are also kind of obsessed with him. Falling for him might legitimately ruin your life…but can you help it? Oh, and there’s a serial killer on the loose known only as the Ice Fisher.

Chapter warnings: Language, alcoholism, addiction, murder, discussions of sex, actual sex (18+ readers only), near-death experiences, health crises, hospitals, questionable tattoos, trout with Trent.

Word count: 6.7k.

Link to chapter list (and all my writing): HERE.

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“He broke up with me.” Kimmie hasn’t taken a single sip of her Miller Lite. She’s staring right past you and Heather, her eyes glassy puddles shimmering with reflections of multicolored Christmas lights. It’s Monday, December 13th, and Dale’s stereo is playing Queen’s Thank God It’s Christmas. You’re in the usual booth and waiting for the boys to get off work. Outside the frosted windows is an ocean of darkness punctuated by narrow aisles of murky streetlight luminescence. “He actually broke up with me.”

Heather snaps her fingers in front of Kimmie’s face. “Uh, Kimmie, Earth to Kimmie, yeah, can you give us a little more exposition, please? When exactly did this happen?”

“Yesterday,” Kimmie says, slightly more present now. “He’d been weird since the hike, super depressed, super boring…he wasn’t even interested in doggie style, and he loves doggie style!”

“Boundaries, Kimmie,” Heather pleads.

“So he called me to come over last night and I went to see him and he was…like…sitting on his couch with his hands folded in his lap like it was a freaking job interview. And he explained that he thought I was totally great and that we’d had a lot of fun together but now he had to break things off for personal reasons.”

“Wow, personal reasons, wow,” Heather muses. She doesn’t turn to look at you, but she does kick your boot under the table. You pretend not to notice.

“Wow,” Joyce echoes wryly, flipping a page in her current fantasy novel. There’s some stately prince on the front cover: crown, sword, shield, long flowing hair like a river of white gold.

“I don’t even care that much,” Kimmie realizes as she’s saying it. “I mean, it was nearing its expiration date anyway. I’m going to get back together with Brad, Aegon’s going to presumably resume sleeping his way through Juneau…or maybe try out taking a vow of celibacy, who knows, he’s been very monkish the past few days. He can be fun sometimes, and I like him, and I wish him all the best, but there’s no future for us. I just realized that he’s the first guy who ever broke up with me instead of the other way around. It feels…not great!”

“Congratulations, you’re a mortal,” Joyce says, not looking up from her book.

“So you wouldn’t care if Aegon got with someone else?” Heather asks Kimmie innocently. This time, you kick Heather. She winces but bites back a hiss of pain.

Kimmie considers this, finally taking a swig of her I’m-a-cool-girl-who-likes-hockey-and-trucks beer. “No, probably not.”

I won’t do it, you vow to yourself with false stoicism, imagined iron you wish you were really made of. I won’t date him, I won’t sleep with him, I won’t fall in love with him. And yet part of you already knows it’s too late. Part of you knows this as if it’s been inked to your skin like the scrawled, secret entries of a journal.

Ursa Minor’s front door bangs open, and what you see when you turn to look doesn’t make any sense. Rob and Trent—both dripping wet, their hair plastered flat to their heads, their boots squeaking on the hardwood floor—rush inside. There are shouts and gasps and people leaping up out of their seats to get a better look. Trent is carrying something over one of his lumberjack-broad shoulders. He kneels to throw it down onto the floor. It’s Aegon: limp, bluish, unconscious.

“Someone call somebody!” Trent bellows. He’s staring down at Aegon in panic, in terror, not knowing what to do. Beads of water run down his face. “An ambulance or 911 or a helicopter…or…or somebody!”

“Got it!” Dale says, darting for the phone behind the bar. Kimmie is shrieking. Joyce is trying to calm her down. And by then, you’re on the floor beside Aegon feeling for a pulse on his carotid. He doesn’t have one. He’s cold and he’s silent and he’s medically dead.

“He fell,” Trent says franticly, helplessly. “We were bringing the boat into the harbor and he got tangled in a net and fell overboard. I pulled him out, but he was underwater for a while and we couldn’t…we couldn’t wake him up…”

“Aegon?!” you scream, shaking him, slapping him across his icy, vacant face. “Aegon, wake up, wake up, please wake up!”

Heather is next to you. “What can I do?”

“Help me get his wet clothes off. Hypothermia.”

She yanks at his boots, his socks, his jeans. “You know how to do CPR, right?”

“Yeah, on a dog!” Still, you have to try. How long can he go without a pulse until he’s braindead? Four minutes? Five? The cold might buy him extra time, but not much. Minutes. You rip off his red flannel shirt; buttons go careening across the wet floor. As you place your palms over his heart, you notice—fleetingly, dazedly, like sloshing through a dream—that he has a scattering of scars on his chest, gashes and punctures and knicks…and two tattoos. There is a dragon spiraled around his right collarbone. Just below his left, there are three words written in light, graceful cursive: I’m a killer.

You start chest compressions. How many am I supposed to do on a human? Ten? Twenty? You can’t remember. You’re sobbing; you aren’t sure when that started, but it’s in full force now. Heather mops the tears from your face with her sleeve so you can see.

He’s going to die, you think. He’s going to die lying on the floor of this bar in his boxers, and he will never tell me anything again, and he will never see his family again, and he will never get better. The channel killed Jesse and now it’s killed Aegon too.

“Is he dead?!” Kimmie yelps from across the room. “Please tell me he’s not dead!”

Heather hurls back: “You’re going to be dead if you don’t shut up! Let her work on him!”

You tilt Aegon’s head back, lift his chin, pinch his nose shut. Then you exhale into him. You can taste the dark ancient salt of the sea on his cold lips…but beneath that there is rum as well. He shouldn’t have been drinking that much at work. He doesn’t usually. What’s different? What’s been bothering him? But you think you know the answer to that.

There’s nothing, nothing, nothing…and then Aegon’s chest rises and he rolls onto his side, choking out torrents of seawater and gasping for air. People are cheering and chattering, but you barely hear them.

“Oh my god!” you cry out, and if you were sobbing before now you’re properly bawling, breathless and hysterical. It’s uncontrollable, you can’t seem to stop. You cling to Aegon as he shivers violently and peers around with half-open, profoundly confused blue eyes, warming him with your own body heat, turning his flesh from blue to white to pink.

“Go get coats and stuff to warm him up,” Heather says to Trent, shoving him away. And you do actually need coats…but also, you think, Heather is trying to get rid of her brother. Because it should be obvious to anyone what’s going on here; it should be obvious to anyone that you’re in love with this white-blond man on the floor who not so very long ago was a stranger.

“Hey, hey,” Aegon rasps, pawing clumsily at your face as if to comfort you, almost poking your eyes out in the process. And then he asks, with genuine confusion: “What the hell are you crying about?”

You start laughing, tears still streaming down your cheeks. “You, idiot. I’m crying about you.”

“I’m fine, Appletini,” he croaks. “Shh. Shh. Stop. No crying.”

“I thought you were dead, I thought…I thought…”

“I’m not that easy to kill,” Aegon says, his eyes dipping shut. Outside in the blackness somewhere, there are sirens whirling. Trent returns with an armful of coats and together you pile them on top of Aegon, burying him in a tomb of L.L.Bean and Patagonia and The North Face. “Trust me. I know.”

~~~~~~~~~~

Obviously, the hospital won’t let Aegon have rum and Cokes. He pushes his morphine button almost constantly, even though the doctors and nurses tell him he’s already maxed out. They began by keeping Aegon overnight for observation, and then he developed pneumonia, and then the first type of antibiotics didn’t work and they had to play roulette until they found one that did. Now it’s a full week later—December 20th—and Aegon is finally feeling like himself again and is due to be released tomorrow. Sunfyre has been staying with you and your parents. He loves it, he gets constant attention and enjoys gazing out the window to see if his new best friend the cow moose will show up. Meanwhile, Trent has convinced his boss Rusty—another high school classmate of your parents, another hulking bearded specimen of the enmeshed Juneau ecosystem—to let Aegon keep his job despite the extended leave; Trent even managed to get Aegon paid time off for the first five days. This is all rather heroic of him. It makes you feel bad for thinking he might be a serial killer. If Trent knows that Aegon was drunk on the job, he hasn’t mentioned it to anybody.

“I got you something,” Aegon tells you when you get off work. It’s just after sunset, the last whisps of pink and lilac dusk vanishing from the sky. Things have been slow at the vet clinic as Christmas draws near, which is good in that you can leave early and visit Aegon more often. It’s bad because you’re less busy, less preoccupied; you have all the time in the world to think about him. Aegon is propped up in bed on pillows—his hair slicked back from his face, his eyes sleepy and racoonish—and wearing a hospital gown that’s too big for him. You can see his collarbones and his tattoos, though you’re trying very hard not to stare, to wonder. He points to the table beside his bed. There’s a bouquet of blue roses lying there.

“For me?!”

“For the person who literally brought me back from the dead? Yeah, I don’t think it’s too extravagant.”

You give him one of the hot chocolates you bought from the hospital cafeteria. It’s not as good as his, obviously, but it’s better than nothing. He clutches the Styrofoam cup with both hands, steam rolling up into his face. He inhales the scent, closes his eyes, sighs deeply with a smile. “I hope they aren’t stolen,” you say about the roses, only half-kidding.

“They’re from the gift shop. I dragged myself down there after lunch. They really weren’t that expensive, I think the cashier gave me a still-attached-to-an-IV discount.”

“Was she cute?”

“She was eighty years old.”

You laugh and sit down in the chair beside his bed, sipping your own hot chocolate: thin, watery, weak. You admire the roses, threading velvety cerulean petals through your fingers. “I love them, really, but I wish you wouldn’t buy things for me. I know you’re chronically short on money. And I am somehow skeptical that you have health insurance. Do you have health insurance?”

He grins toothily. “Nope.”

“Aegon,” you lament.

“It doesn’t matter. They’ll bill me, I’ll never pay, it’s all made up.”

“You might need a halfway decent credit score one day.”

He shakes his head. “I’m never going to try to get a mortgage. I’m never going to apply for a job at a bank or a law firm. I’ll be fine. I’ll live in a tree if that’s what it takes.”

You rest your palm against his cheek and then his forehead, checking for fever. His skin is warm but not hot, pale but not bloodless. You can feel his eyes on you, trying to catch your gaze like a hook through a fish. You avoid them.

“How do I look, vet lady?”

“I’m not really qualified to evaluate humans.”

“I don’t want to get better.”

Now you do stare at him, direct and mystified. “Why?”

“I’m worried you won’t be nice to me anymore.”

You chuckle, relieved. “I’ll still be nice to you, Aegon.”

“You promise?”

“I promise.”

A nurse pops into the room, young and springy and jovial like a kitten. She must be new; you don’t recognize her, and you’ve been here a lot. “Good afternoon, I’m just swinging by to take your vitals. I see you’re scheduled to go home tomorrow, how exciting!” The nurse squints down at the chart she has pinned to a clipboard. “Aegon…?”

He smirks long-sufferingly. “It’s Greek.”

“It’s lovely!” the nurse recovers. She measures his temperature and heartrate and blood pressure, his reflexes and his oxygenation. He passes all inquiries with flying colors. She congratulates Aegon on his recovery and flits off to tend to more needy patients. You think of the nights you’ve spent curled up in this chair, listening to Aegon’s labored, rattling breathing and watching blooms of flare-hot crimson fever creep across his face. You think of how much it’s going to kill you to lose him someday. You find yourself staring at his tattoos, ink that someone else put there in some other city, remnants of the life he had before.

“You can ask,” Aegon says. “I’m sure you’re wondering.”

You set your hot chocolate on the table and move closer to him, ghosting your fingertips over the words: I’m a killer. He jolts a little, although not in a bad way, not in an unwelcome way. He doesn’t lean away from you. In fact, he leans in. “What’s up with that?”

“Would this be an awkward moment for me to confess that I’m the Ice Fisher?”

You smile. “You have to admit that it’s a little weird. There’s a killer on the loose, you have a tattoo that says you’re a killer, I think any reasonable observer would have questions.”

“Kimmie didn’t.”

“Reasonable observer, I said. Reasonable.”

“It’s not a confession. It’s a Johnny Cash lyric.”

“Really? Which song?” You know a fair amount of Johnny Cash thanks to your dad’s extensive vinyl collection. You skim through his discography in your head: Walk The Line, Ring Of Fire, Get Rhythm, Folsom Prison Blues, I Got Stripes. You can’t remember any of them having that line. It circles around in your skull, only sounding like Aegon’s voice: I’m a killer, I’m a killer.

“I’ve Been Everywhere,” he says. “It’s a cover, actually. Some other guy did it first. But I didn’t know that when I got inked. And I loved Johnny Cash’s version when I heard it. It was like my theme song.”

“Ohhh, right, that’s the one where he lists all the cities he’s been to, like Reno, uh, and Chicago, and, uhhh…”

Aegon sings, deep but hoarse: “Fargo, Minnesota, Buffalo, Toronto, Winslow, Sarasota, Wichita, Tulsa, Ottawa, Oklahoma, Tampa, Panama, Mattawa, La Paloma—” He breaks off with a coughing fit.

“Stop,” you beg, laughing. “Stop, you’re going to hurt yourself.” You trace the cursive letters lightly. I’m a killer. I’m a killer. “Kimmie never had questions about that?”

“I don’t think Kimmie really sees me. She just sees adjectives in the shape of my silhouette. But you…” He puts his hand over yours, pinning it to his chest. You can feel his heart under there somewhere, beneath muscles and bones and a pitch-black sea crawling with monsters that have evolved to live in the extreme gravity, in the depths: ghosts of the past and sirens of the future. He smiles. “You see a lot.”

“20/20, baby.” You study his scars. They’re random like a scatterplot, none large enough to appear life-threatening. “How did you get these?”

“Car accident. A long time ago.”

“Before you left Miami?”

He gazes absently out the window, where snow is falling. You can see it drifting down to the earth in the gloomy beams of streetlights. “Yeah.”

Now there are new lyrics bubbling up in your mind, not anything by Johnny Cash but Cake’s The Distance. No trophy, no flowers, no flashbulbs, no wine, he’s haunted by something he cannot define. And perhaps you know something about what that feels like. “Do you really think I’m a coward?” you ask softly. “I know you’re trying not to lie to me. So I’m hoping you’ll tell me the truth. You might be the only person who will.”

Aegon pauses before he answers. “I think a lot of people are cowards in one way or another,” he says diplomatically. “And I think that if that’s your greatest flaw as a human—that you don’t want to disappoint your parents, that you don’t want to hurt them, that you want to repay them for being so wonderful when there are people out there who beat and murder their kids—you turned out alright.”

You think of how easy it would be to rest your head on his bare, scarred chest and let him hold you. You think of how much you want that, want it in a sudden and ravenous and unbearable sort of way. “Thank you,” you whisper.

“No problem, Appletini.”

There is a knock on the door, and you jerk away from Aegon. You pick up your hot chocolate and slurp it as you sink into the chair. Aegon laces his hands together and wrings them. Trent walks in. “Sup, bro?!” he pipes cheerfully.

“Bro,” Aegon offers in return. They bump fists.

“You look like you’re feeling better.”

“I definitely am.”

“Still getting let out tomorrow?”

“Yup. Like a prisoner who made parole. Kimmie already offered to drive me home.” Then he adds: “Platonically.” Kimmie’s the only one in the friend group without a real job. Her parents are both university professors—you aren’t sure how none of the genius chromosomes made their way down the genetic Plinko board to her, but they didn’t—and she gets paid to be their ‘research assistant’…which means she works rarely and with no accountability whatsoever.

Trent’s eyes dart to you, to the blue roses, to you again, finally back to Aegon. He’s beaming, but there’s something hollow about it, like if you struck him across the face it would crack like porcelain. “Flowers, huh? That’s dope.”

“Yeah, I figured it was the least I could do since she saved my life and all.”

“She’s fantastic,” Trent agrees proudly, like he owns you. “In fact, that’s kind of why I’m here.” He turns to you. “I called the house and your parents told me I should check the hospital. I wanted to…you know, now that Aegon’s basically better and we all know he’s not gonna die…I wanted to take you to dinner tomorrow.”

“Dinner?” you repeat, stupidly, like you’re unfamiliar with the concept. “Tomorrow?”

“Yeah, someplace nice. Candlelight and fancy dessert, the whole deal.”

A date. That’s definitely a date. You stare at Trent. He stares at you. Aegon frowns at you both, pressing his knuckles to his lips. “Dinner,” you say awkwardly, but with more conviction. “Totally. Dinner would be nice.”

“Awesome!” Trent thunders. “I’ll pick you up at 8?”

“Sounds good!” you say with overcompensating enthusiasm. Trent swoops in for an unexpected hug—nearly spilling your hot chocolate—and gives Aegon a parting fist bump. Then he’s gone.

“I owe him,” you explain to Aegon, speaking quickly, nervously. “He saved your life, he fished you out of the channel like a goddamn salmon. He’s responsible for you keeping your job. He’s getting you paid time off. He’s been around the hospital a lot this week, he’s been so helpful, selflessly helpful…I can’t just tell him to fuck off after all that.” And then you say: “But it’s only dinner! Only one dinner!”

“Need some condoms?” Aegon teases, trying to make you smile. It works. “I have a box I’m not currently using.”

“I’m on the pill.”

“Good to know.”

“I doubt your condoms are horse-sized anyway.”

“Hey hey hey, it’s not about the number of inches, it’s about how you use them.”

“I’ve heard some very interesting things. About your inches, I mean.”

“Oh no,” he groans, covering his blushing face with his hands.

“I didn’t say bad things. I said interesting things.”

“I wouldn’t mind you knowing from firsthand experience,” he says with a sly little grin you can’t quite read. It’s playful, it’s sharp, it’s baiting, it’s sad.

“About what?”

“About my inches.”

You both burst out laughing, so hard Aegon launches into another coughing fit. You reach for him instinctively, pressing your hand to his chest again as if you can cure him, not a palm reader but a faith healer. A miracle worker. A professional fixer.

“You think it’s safe?” he asks, seriously now. “Dinner, I mean. With Trent.”

“I think he’d have a hard time strangling me in the middle of a crowded restaurant. And everyone’s going to know we’re hanging out together tomorrow night, he’d have to be more than stupid to kill me. He’d have to be all brainstem, like an alligator or a shark. Besides, he doesn’t want me dead.”

“I know. He wants you to be his wife.” There’s nothing to fill the uneasy lull but the pounding of your own heartbeat. “Call me,” Aegon says abruptly. “When you get home tomorrow night. So I know you’re okay.” So I know you didn’t get murdered. So I know you’re not at the bottom of a lake somewhere.

“What if it’s not until really late? I don’t want to disturb you while you’re recovering.”

He looks out the window: into the frigid void, into nothing. “Still call me.”

~~~~~~~~~~

Trent takes you to the Red Dog Saloon, Juneau’s idea of fine dining. You intentionally dress to look not-sexy: dark blue flannel (you’ve warmed to the fabric since Aegon wears it so much) with a T-shirt underneath, jeans, boots, minimal makeup, hair in an I-really-don’t-care messy loose braid. Trent doesn’t seem to notice that this isn’t supposed to be a date. He’s wearing a button-up maroon shirt and khakis. He chats away blithely as you survey the menu. He’s had the servers bring out candles to put on the table. He’s ordered craft beers for you both. You wrinkle your nose and shudder after each thick bitter sip, chasing the beer with desperate gulps of water. Whoever owns the Red Dog Saloon does not share Dale’s devotion to Shania Twain and Christmas music; the stereo is playing Savage Garden’s Crash And Burn.

“Ready to order?” the waitress asks, casting former-football-star Trent a flirtatious smile just in case he’s single. He is! you mentally shout, hoping for telepathy. He just doesn’t know it!

“Yeah,” you begin. “I think I’d like to try your brisket—”

“Oh no, no no no,” Trent says with a chuckle. He flips his hair; in your head, you hear a neigh. “They have a great special. Trout with risotto. How fancy is that?! I don’t even know what risotto is! We gotta try that. We gotta make tonight special.”

“Okay. Yeah. Sure.” You give the waitress a tight smirk as you hand her the menu. “The trout special. Two of them, I guess.”

“You’ll love it,” the waitress promises, tossing Trent another smile like a penny into a fountain. She takes both menus and disappears into the kitchen.

“So,” Trent says, drinking his beer. “I didn’t know you liked Aegon so much. I thought you kind of hated him, actually.”

You shrug, peering into the foam of your unwanted beer. “I don’t like to see anyone suffering. It doesn’t matter who.”

“That makes sense, I guess.”

“And you encouraged me to get along with him because you want him to stay in Juneau so he can be in your band.”

“Oh yeah, right. Okay, never mind. I was just…curious.” Another hair flip.

“Look, Trent…” You gather your courage like raking up autumn leaves. “We’re friends, right?”

He chortles. “Well, I’d like to think we’re a lot more than that.”

I bet you would. “But we never…like…we never put a label on it, you know?”

“Do you need a label?” he says. You had worried he might be mad; instead, he’s amused. You aren’t sure why that makes you feel worse. “Is that what makes it official, us using the words boyfriend, girlfriend, relationship, whatever?”

“Maybe those words don’t really apply to us, and that’s why we haven’t used them yet,” you try hopefully. “Like, if we were supposed to date, it would feel more natural for us to date. But maybe it doesn’t feel so natural, so we’re better off staying friends.”

Now he puts his beer down and stares at you. The glass thumps against the glossy wood. He’s bending towards you, though you don’t think he’s even aware of it; he props his elbows on the table, his brow crinkling in bewilderment. And there’s something else in the lines of his face too. Anger. Indignation. Betrayal. “You want to be friends?”

“I didn’t say that,” you amend swiftly. “I just said maybe we’re better off as friends.”

He slaps his palm against the table—you flinch, hating that he has that power over you—and laughs in amazement. “I’m just…well, I’m shocked! You’re fine with kissing me, and watching movies in your bedroom, and hanging out all the time, and getting drinks together and playing pool and showing me off to your parents, but you’re horrified by the thought of calling it dating?! You’re too much, ladybug. You’re really too much.”

He's going to pretend he doesn’t see that I want out. And he’s going to keep pretending until he’s on his knees with a fucking ring from Zales. “I don’t think I’m looking for a relationship right now, Trent. With anyone.” Oh, and that’s such a goddamn lie.

“Seriously?”

“Seriously.”

He studies you; but that’s too kind a word for it. His eyes flay you down to the bone. “I’m a good guy, you know.”

“I know,” you lie, nodding agreeably.

“You’re not eighteen anymore,” he says. “It’s not like you have forever to find someone to settle down with. I go to work, I’m popular, I’m presentable, I care about you, I take you on dates, I move your furniture around whenever you fucking ask me to, I’m a good guy. I get that maybe this is progressing a little fast for you, and we can slow down if that’s what you want. But I think it would be pretty stupid to give something like this up. Don’t you?”

It doesn’t sound like a question. It sounds like a threat. Don’t you? Don’t you? “You’re right, Trent,” you hear yourself say, like it’s someone else’s voice. “I’m sorry. You’re right.”

The waitress arrives with your dinner and—not so subtly—slips Trent her number. He makes a great show of ripping it up in front of you. The trout and risotto thing is great, actually. It’s not what you walked in wanting, but it turned out just fine. And maybe that’s what the rest of your life will be like too: other people making choices, you hoping you’ll like the taste.

After dinner and dessert—a Baked Alaska, another of Trent’s suggestions that are more like nonnegotiables—he drives you home in his massive rumbling truck. You talk innocuously about your vet clinic clients, dogs and cats and hamsters and reindeer, until you roll to a stop in front of your parents’ house. You begin your goodbye, opening the truck door. Cold December air floods in.

“Okay Trent, thank you for a lovely night—” He cuts you off with a kiss he didn’t ask for, a hand on your face that feels hot and smothering. You’re so stunned it takes you a few seconds to try to push him away. He ignores you until you shove him so hard he can’t pretend not to notice.

“What are you so worried about?” he demands, he implores, like he’ll fix anything if you just name it, like he’ll strike the nails with his bare hands. But he can’t fix what’s wrong. What’s wrong is that I’m in love with Aegon Targaryen. “Are you scared I’ll be bored of you once you give it all up? Are you worried about getting pregnant? Aren’t you on the pill? I saw the pack in your bedroom.”

You’re nauseated that he noticed, that he’s imagined you like that: naked, compliant, vulnerable. “Yes, Trent, but that’s for me, not for you.”

“Then what’s wrong?”

You tell him the truth. Not the whole truth—not enough to enrage him—but the crux of it: the spine, the heart. “I always thought I knew exactly what my life was going to look like, but now I’m…I’m…”

“Well this is what comes next, right?” Trent says. “You check the boxes for school and work, and then it’s time to settle down. Get married, buy a house, have kids. I’m ready to give you that. I want to give you that. Don’t you want it too?”

Aegon is going to leave, you think with steel-cold dread. Sooner or later, he’ll disappear to start over again in some anonymous new city. And what will my life look like then? What will I have when he’s gone? “I guess I just need some more time to figure things out.”

Trent nods, his jaw clenched tight, looking out into the darkness through his windshield. “I’m not criticizing you for waiting. I’m just wondering what the hell you’re waiting for.”

Inside the house is hushed and empty; your parents are enjoying a night out with your dad’s bowling league. They even took Sunfyre with them. You drag yourself upstairs, each step a mile. You brush your teeth—twice—to get the taste of Trent and craft beer out of your mouth. And then you stand in your bedroom surrounded by posters and magazines, surrounded by fantasies that you will never wrap your hands around. You glance at the box full of Jesse’s journals; you can see the cardboard edge of it poking out from beneath your bed. He’s gone, and he wasn’t perfect, in fact in many ways he was a curse, was a plague, was a monster. But I think my mom would give anything for one more day with him. After all these years, I still think she would.

The blue roses Aegon gave you are in a vase on your nightstand, right next to the phone. They’re already dying. And now your throat is burning, and your eyes are wet with tears, and when defenseless sobs rip from your chest there is no one here to hear them. I don’t want to protect myself from what it would have been like with him. I want to know.

You snatch up the phone, find the Post-it note with Aegon’s number written on it, call him before you have time to change your mind. When he answers, it’s clear you woke him up. His voice is slow and groggy. “Hello?”

“Can I come over?”

“Huh…?”

“Can I please come over? I need to come over. I need to come over right now.”

Now he’s awake. “Yeah, yeah, of course. Are you okay? Where are you?”

“I’m at home, I’m fine, I’m safe, I just…I just…” You swipe the tears from your eyes and take a long, trembling breath. “I just need to come over.”

“No problem,” Aegon says. He is puzzled, he is concerned…but you think a part of him is glad too. “I’ll see you in ten minutes.”

You drive your Jeep to his apartment building and park it—badly, crookedly, like he would—under a streetlight. The night is fiercely, brutally cold when you dive out into it. The full moon is an island; the indigo, star-flecked sky is an ocean deep with secrets and bones and wreckage, splinters of swallowed lives dissolving into the blue. Upstairs, Aegon’s door is already unlocked. He’s wearing a black Nirvana T-shirt and green flannel pajama pants, his hair disheveled. He’s also making hot chocolate.

“Hi,” he says casually, filling the mugs. He adds splashes of French vanilla coffee creamer—plus some 99 Whipped for his green mug—and swirls of whipped cream, then shaves on a generous dusting of Hershey’s chocolate. He gives you the blue mug. You take it in quivering hands. “You alright?”

“Yeah. I’m fine. I’m amazing.”

“Okay.” He waits, patient and watchful, sipping his hot chocolate.

You feel better after a few minutes tick by. Aegon’s apartment is serene and still. The tv is dark; there’s no music, no voices, no distractions. You can barely hear the screech of the Arctic wind outside. The only light turned on is the one in the kitchen; the rest of the apartment is shadows. The hot chocolate is warm, rich, comforting, safe. “How are you feeling?”

“Pretty great,” Aegon replies. “Normal.”

“Good.”

“Yeah.” He gazes at you, still waiting.

You finish your hot chocolate and put the mug in the kitchen sink. You take your hair out of your braid and shake it loose, surveying his apartment with aimless steps: his couch, his guitar, his litany of refrigerator magnets, his unmade bed. Aegon sets his mug down on the counter and crosses his arms over his chest.

“Appletini,” he says. “Why are you here?”

You turn back to him, but you can’t find your words. It’s on your face, it has to be; it’s in a language Aegon can speak fluently. You see the understanding flicker in his eyes like firelight: sudden, bright, exhilarated.

“Say it,” he prompts. “You have to say it, or I’m not going to believe you.”

You try, you really do try. But you can’t get the words to leave your lips. You don’t know how to put what you want from him into words at all. Anything, everything.

He smiles, softly like a whisper. “Me first, huh?” Then he begins undressing. He yanks his Nirvana T-shirt over his head—further tangling his hair—and tosses it across the room. He slips off his pajama pants, and then his boxers too. He’s standing there in the florescent kitchen light, flesh and ink and track marks and scars. “Okay, your turn. If you’re still interested.”

“I want you to do that part.”

He crosses the scuffed hardwood floor, his footsteps quiet. His fingers find the top button of your flannel shirt. His eyes are fixed on yours as he unhooks the first button, another, another after that. He leans in to press his lips to your throat, just beneath your jaw. Slowly, exquisitely slowly, he kisses his way down to your collarbone as he unfastens the rest of the buttons and gently pulls off your shirt, letting it fall to the floor. He slips his hands below the hem of the T-shirt you’re wearing underneath and lifts it away, his knuckles grazing your belly, your waist, your ribs, the lace of your bra. And then he cradles your face in his hands and kisses you with exceptional, reverent slowness, like you’re something that could shatter. You can’t reconcile this man with the sort of wild acrobatics that Kimmie had described. And then you’re not thinking about Kimmie at all. The past is a black hole, the future is an empty sky. There’s no room in this lightning-brief sliver of eternity for anyone else.

You breathe him in: sweetness, warmth, the bite of alcohol, fire and shadows and light. He unbuttons your jeans, unzips them, kneels down to peel them off of you. He touches his lips to your thigh—first the outside, then the downy-soft inside—and hesitates for a moment before he stands to kiss your lips again. His hands skim across your bare back towards the clasp of your bra, raising goosebumps like twilight stars. And then again, he hesitates. His hands come back to your face, his fingertips calloused but lithe.

“You’re nervous,” you murmur, smiling. You tuck his escaped lock of hair behind his ear, pressing yourself against him: hips, chest, soul. The sapphire blue lace of your bra and panties rustles across his skin. You can’t get close enough to him; it’s not possible, it’s not fathomable. He’s holding himself back, you can tell. He’s panting with the effort. In the midnight silence, you can hear every sound he makes with crystalline clarity. The moonlight pours in, painting you both in ghostly silver light.

Aegon chuckles shakily. “I am,” he admits.

“I think you’ve done this once or twice before.”

“Yeah, but not with you.”

“I want this,” you say, your lips to the curl of his ear. His skin is hot with eager, rushing blood. “And I want you to be the one to set me free.”

Something snaps in him, something breaks like a wave. Your bra tumbles to the floor, your panties are whisked away, you and Aegon are on the bed together tangled up like arteries flush with life. There is a breathless sort of desperation in it: in the way your fingers intertwine, in his gasps and your moans, in the sustained pleasure—so intense it borders on pain—that causes euphoric tears to spring up in your eyes, in his deep, startlingly powerful thrusts that begin slowly and then build to a furious rhythm. And you know then that he agrees, it’s not possible to ever get close enough to each other; but still, you resolve to try.

“Look at me, baby,” Aegon whispers as you arch into him and you beg him not to stop, his palm turning your face towards his. “Look at me, look at me, look at me…”

You unravel like thread torn from a spool until its empty, like a mystery, like stitches clipped from a healed wound. There’s an insurmountable sort of peace that follows it. Nothing is okay, and yet everything is, and you can conjure up no words but only colors: the white of snow, the indigo of the night sky, the gold of the rare unclouded midday sun, the ethereal green-violet glow of the Northern Lights. Aegon empties himself inside you, crying out and kissing the side of your face over and over again, tasting heat and salt and your unnamed love for him. You can feel the serenity settling over him as if it’s your own pulse slowing, your own mind cleared like the horizon after a storm. You are irredeemably etched into each other. You are two sides of the same coin: too weightless, too rooted, unable to leave, unable to stay.

As you lay side by side in the moonlight, your fingers tangled in his hair, Aegon says: “You are the only thing that’s ever made me want to stop running.”

“You could stay. I want you to stay.”

“For a while.” He pulls you against him. You rest your head on his chest: ink, scars, slow thudding heartbeat. His fingertips draw invisible paths up the length of your spine. “Not forever. But for a while.”

She’s hoping in time that her memories will fade.

“I don’t want to have to forget you,” you whisper, your voice breaking.

“Not yet,” Aegon vows. It’s the only promise he can make. He kisses your forehead, sweeping the tears from your cheeks with his hands. “Not yet.”

[becausegoodheroesdeservekidneys]

Doctor Who, but Chronologically: 46

Well. Tonal whiplash.

We advance three years, to 1986, and therefore we go from an almost aggressively mid Gatiss story on a Russian submarine to World Enough and Time, the Capaldi season finale that opens with the Doctor stepping out of the TARDIS mid-regeneration (which we've seen! It was a WW1 story with Mark Gatiss as an actor! He's a much better actor than writer), then cuts back in time to show us lovely companion Bill being horrifically cyber-converted on a Mondasian colony ship. I wish we were still on that submarine.

LOADS of plot though WOW. We get so many answers! Can't wait to update the list. The story proper starts with Bill, the ever-confusing Nardole ("I should go back to being blue" he muses at one point, because what the fuck is he), and of all people, Missy. They step out onto a 400 mile long colony ship stuck by a black hole which therefore has fun timey-wimey stuff going on whereby the top of the ship is moving much more slowly in time than the bottom. This is, to be clear, an absolutely fantastic concept to base a sci-fi horror story around, but only if you have a writer capable of spotting plot holes big enough to drive a bus through, which alas we do not have, so the whole thing is permeated with a constant urge to scream "JUST GET BACK IN THE ELEVATOR YOU FUCKING IDIOTS" at the screen.

So. They arrive, and Missy is pretending to be the Doctor while he listens in from the TARDIS. She describes Bill and Nardole as "Exposition and Comic Relief."

"Those aren't our names," Bill says.

"They aren't names, they're genders," Missy replies.

We are then treated to a flashback in which the Doctor says Time Lords don't care about genders and their associated stereotypes. This juxtaposition seems to be entirely unintentional.

BUT! So many answers. The Doctor explains that Missy is his oldest friend and a fellow Time Lord (our first Other Time Lord! Interesting, since we've been told repeatedly that the Doctor is the only one left.) They were friends together in the Academy, they've both changed gender since, and she's very like him so he wants her to be good.

"She's a murderer" says Bill, and the Doctor straight up compares sapient people to animals in an analogy I suspect Moffat thought was Really Clever, but I suppose it's a very Colin Baker response. In any case, this is presumably why Missy was living in a vault in the TARDIS, and could fly a TARDIS, and it confirms now that she is not, in fact, another regeneration of River. Origins for both! Huzzah. Let's see what's happening back on the ship.

A blue man immediately shoots Bill for being human.

Ah.

He does this because as soon as they arrive, the lifts start moving and rising to their current floor, and whatever is inside is specifically attracted to humans. The Doctor could in fact have prevented him shooting, but rather than actually stressing to the blue man that he will just put Bill back in the TARDIS to hide her, he instead chooses to go on an extensive self-aggrandising monologue about how great he is and is still mid-sentence when the lifts arrive so blue guy just fucking blasts a dinner plate sized hole right through her chest. Some patients in bandages step out, and take Bill's cooling corpse for 'repair'. They go down in the lift.

So at this point two things happen, to whit:

Bill wakes up in a hospital with a sort of coffee maker strapped to her chest, and spends the episode variously befriending a weird fake Russian (why so many fake Russians atm?) with a nakedly rubber face. His name is Mr Razor, and he does provide excellent comic relief. It turns out that the bottom of the ship has been here for generations and so is decaying - the air is engine fumes, the walls are rust, so some medical personnel are trying to upgrade everyone so they can move up in the lift and escape to a higher floor.

The Doctor realises the time difference as the lift with Bill is still going down. Rather than immediately following, he spends ten minutes explaining how black holes warp time to the blue guy who is not even going to be coming with him, and whom they ultimately abandon. This means Bill is down there for years.

Still, good to know the limitations of the TARDIS, eh? I mean, everything would have been solved if they'd simply been able to, I don't know, materialise outside the ship at a safe distance and then tow it away from the black hole. Clearly black holes must defeat the TARDIS. Got it. I shall remember this for future stories.

Anyway, here are several issues:

Of the 50 odd staff who were running this empty colony ship, many went down to the bottom floor when they first got stuck by the black hole. At this point, they did not bother going back up in the lift. Instead, for reasons that are entirely unexplained, they decided to stay down there and form a society, so the ship is now filled with their descendants. We literally know the lifts work; the people came for Bill immediately. There is no reason for the original staff to have done this.

The only difference it should make is that the blue guy would appear to the crew to have not moved in the ten minutes they were down there. They absolutely could still get back, though.

Like I have had days when I have felt 1000% done with my job but I have never decided to just build a house where I'm standing and start a colony so I don't have to go back to the office.

Perhaps, Tumblrs, you are wondering, like me, why the people on the bottom floor now can't just. You know. Get in the lift. Once again, in order to get Bill, several patients immediately got in the lift and came up for her, and then returned with her. So they do literally know it's possible. Bill asks this of Mr Razor. "We sent up an expedition to the higher floors once," he says. "But we never heard back from them."

Yes, that is blatantly the time difference, isn't it.

If there are still humans on those middle floors, why haven't they been retrieved by the patients? They came immediately for Bill, and she was on the top floor.

...and on, and on...

ANYWAY then Mr Razor BETRAYS Bill and has her cyber-converted. There is, fair play, an excellent reveal that these are Mondasian cybermen, which admittedly I did guess but still, credit where it's due. The conversion is shown to be more horrific than you can imagine, too. Semi-converted patients at one point are on a ward, repeatedly pressing speech buttons that say "Pain" and "Kill me", and the nurse who comes in just turns off the volume so they can't be heard. It is, imho, way too fucking dark for this show, actually, but that largely sums up Capaldi's era.

And that's the cliffhanger! The Doctor and Nardole staring in horror at crying Cyber-Bill (apparently she's still flesh inside the suit, though, that sure does imply it's reversible). BUT!

Also Mr Razor finds Missy and he peels off his rubber face.

"I had to wear this mask because I used to be Prime Minister on a different planet," he declares, which is baffling to us as we have not seen this, and also that doesn't make sense. "I'm a past incarnation of you and also the Master."

SO THAT'S THE MASTER! A character we have only heard named in passing. SO MANY answers in this episode.

I also still don't understand Nardole.

“She” (an unknown person) is returning (NEW INFO: perhaps River returned as Missy. River and Missy are separate! Could be either of them I suppose. Maybe Me? Maybe Clara???!)

There is something on Donna’s back

An entire planet, Pyrovilia, just… disappeared, somehow. (Maybe because the TARDIS is exploding??? Saturnine was also lost, and that WAS because of the TARDIS exploding. The lion man’s planet was also lost but he was a bit of a knob about it if I’m honest. The Thijarian planet was destroyed by some sort of impact). Is this the Flux?

Amy is maybe dead (she’s not)

The Doctor has been cubed (he’s out, but how?)

River is possibly blown up  (NEW INFO: unless she’s Missy. She's not Missy. Nope: she is definitely not blown up)

The TARDIS has blown up  (It’s fine now. Except it’s sort of melting now because it’s corrupted, but it’s fine again. NOPE, back to not working.)

The universe appears to have ended  (the universe is back again)

The Doctor has employed(?) Nardole

(And Nardole was “reassembled???” Nardole had glass nipples and invisible hair?? NEW INFO: he used to be blue, and could apparently go back to it??? WHAT THE FUCK IS HE)

NEW INFO: There’s a vault in the TARDIS and it contains Missy but we don’t know why (sometimes she knocks for the bants) She's a murderer and a fellow Time Lord and he's trying to rehabilitate her.

There’s an immortal Viking girl now. Her name is Me and she’s now looking after the people the Doctor abandons

Why was Rory entirely unconcerned by the entire world suddenly going silent when that is Not Normal and should have been, at the very least, extremely disconcerting?

What did the Doctor do to Queen Lizzie One?

Why is Amy seeing a one-eyed woman in a vanishing window? (She’s with the Silents, but we don’t know why Amy saw her)

Why is Amy’s pregnancy inconclusive? (Maybe because the baby had Time Lord DNA?) She’s deffo pregnant and the baby becomes River, but why inconclusive?

Who is Sarah-Jane Smith?

How is the Doctor Bill’s teacher and why/where does he have an office?

What is going on with the Cyber War and the Cyberium???

What happened with the Other Cyber War?

What happened with the Third War that deleted the void?

Why does Rose seem particularly important?

What order do these Doctors go in? (Eccleston, Tennant, uncertain, Smith, Capaldi, Whittaker)

Which companion just… forgot the Doctor, and how?

Yaz and Vinder are about to die as Mori/Mwri/Muuri (Not anymore, somehow)

There is a Lupari shield around Earth.

What’s a Time War?

What’s the Rift?

What’s Bad Wolf?

In which war did the Doctor become a war criminal, and how?

Who is the Master? NEW INFO: This is now resolved! The Doctor's oldest friend, a fellow Time Lord, but also a murderer.

Why has Amy forgotten Rory? How did she forget a Dalek invasion?

Is Rory plastic or not? Yeah, must be, he couldn’t possibly remember being plastic otherwise

Why is the Doctor sulking on a cloud?

How exactly does the Doctor have a cloud?

What exactly happened with Strax to, uh, tame him?

Which friend killed Strax?

Which friend brought Strax back?

Where did this lesbian lizard and human couple come from?

What happened with Clara as Souffle Girl and the Daleks?

How does Clara actually join?

Why so many Claras? A psychic midwife says she’s just normal human

Why is Missy apparently in robo-heaven?

Why is probably!Missy pushing Clara and the Doctor together?

What is Trensilor and what happened there?

Who is Handles?

The Doctor is about to be dissolved by a beautiful geode man

The universe is being crushed by the Flux

Will the Doctor open the fobwatch?

Sontarans are invading Earth again

Who is Kate?

Who is Osgood? Another name of Clara’s again?

The fuck is the deal with the Grand Serpent

Does Martha get to go to an ice cream planet with 12-fingered massage aliens?

How did the Doctor forget Clara?

Who is Bill’s puddle girlfriend Heather?

How did Nardole die?

When does Bill get Cyberman-ed and die? NEW INFO: Resolved! On a colony ship stuck by a black hole

When does the Doctor shrink and enter a Dalek called Rusty?

Whittaker is falling to her death rn

Was that ring relevant?

Does anyone know the Doctor’s name?

When did Yaz talk to Dan about fancying the Doctor?

When did Dan talk to the Doctor about fancying Yaz?

What’s happening with the bees?

What happened with Donna’s ex and a giant spider?

What war wiped out the Daleks, and is it one of the ones already mentioned?

What did the Doctor mean when he said “The (Daleks) always live, while I lose everything?”

If Dalek Caan is the last Dalek left why are there more now?

How did the rest of the Time Lords die?

How and why did Amy melt?

What’s the question that will make silence fall?

Why do the Silents… want silence to fall?

How and why are Silents at war with the Doctor when he… hasn’t even heard of them?

How does Hitler get out of the cupboard?

What’s the significance of fish fingers and custard?

Why does the Doctor feel guilt about Rose, Martha and Donna?

What happened with the space whale?

When does Rory defend Amy for 2000 years? Since Roman times, it seems

How does the Doctor survive River? He doesn’t, apparently

How does he erase himself from history

Did Captain Jack lose his memories to the same people as the Doctor? What did he lose?

When did the Doctor send the Daleks into a void to save the universe?

What’s with the weird crack in the wall and is it affecting memories?

Why do Amy and Rory think the Doctor is dead? Is it because of River as an astronaut?

Is Matt Smith’s Doctor a tree racist?

Why is the beautiful geode woman stealing people into a Passenger form?

River says she’ll die one day when the Doctor doesn’t remember her, let’s hope she doesn’t mean it

Why doesn’t the TARDIS like Clara?

When was the Master Prime Minister?

[skaruresonic]

TBH I refuse to play SXS Gens out of pure principle until the option to restore the original Generations dialogues and animations are avaible, fuck the rewrites

I just finished the Shadow portion lol. Overall I feel like you're not missing much. Like, yeah, it's supposed to be an anniversary game and all that, but there's honestly not much in the way of story. You would unironically be better off playing the older games before this one.

I really feel like the "SxS Gens is necessary to catch new players up to Shadow's history" argument is looking a lot weaker now. If anything, you wouldn't understand the emotional resonances behind many of the allusions unless you've played previous games; they don't provide exposition or context within the narrative itself. You wouldn't know that the ARK raid happened because nobody implies as much. The narrative is written as though it expects you to know why Black Doom's threats to possess Shadow are such a big deal.

This game's narrative is about as patchwork as Gens; characters are in nonsensical spots (why do we find Metal Overlord in Kingdom Valley's boss area, but Mephiles in some random cave on the side of Chaos Island's? what purpose did Metal Overlord's presence serve? or Mephiles', for that matter?) and the plot is just "stop giant monster before it destroys the world" sans Eggman. Much peak, many wow.

There's literally no plot progression from point to point; there are six levels in total, and you will only see most of the "plot" unfold at the 3/4ths mark. Until then, you're just running around without much rhyme or reason.

Maria and Gerald are simply there for moral support. They don't really do anything besides that. Gerald justifies this by claiming he doesn't want to mess with the timeline by changing anything.

I went around talking to various characters. Conversations with Big and Maria were the most enjoyable, and I felt like they were the highlight of the game. Rouge gets a bit on-the-nose by comparing herself to Amy when saying she'd support Shadow. Some of Omega's lines strike me as a little acanonical. For some reason, Orbot and Cubot are also there, and you can help them build a rocket by collecting 80 machine pieces. From what I've heard, however, there's no reward for collecting them all, so I was like "lol bye" and left.

I was also disappointed by the lack of a Sonic boss fight. I would have loved a reprise of the original ARK race from Gens; it would have been a nice callback to how you get to see the race from both perspectives in SA2 as well, but we can't have nice things ig :v

Mephiles appears. Lol. Lmao, even. Rofl, if you will. It feels like ST included him solely to riff on the fact that he'll never be canon. He's such a nothingburger of a character and is so negligible as a plot point that he might as well not have been there. He's only there because fans wanted to see him again.

For one thing, you find him in an out-of-the-way cave under Chaos Island. For another, my guy literally says "I just want to exist" and Shadow goes "no. perish." Based, but also, way to waste my time lmao.

Black Doom wants to consume the world as well as possess Shadow. It's not explained how he returned; Gerald handwaves it as "he rebuilt his body through timey-wimey shenanigans."

The gameplay is serviceable for the most part but also incredibly tedious; I found I only enjoyed Radical Highway Act One, and that was because the design was unencumbered by the use of Doom Powers.

Chaos Control and Chaos Spear are your standard abilities, nothing to write home about.

Doom Missile has limited application since only enemies or targets can be shot down, and thus isn't used much.

Doom Surf controls like a friggin' surfing Blooper.

Doom Morph is okay, I guess. Shadow turns into a giant squid and is able to traverse pools of Black Arms juice.

I hate how the Doom Wings control so much omfg. And they say the Homing Attack is a crapshoot. >.>

tl;dr It's okay. Not terrible, but I honestly don't think I'd play it again.

[just7frogsinapeoplesuit]

I just watched the second Dune movie since it's been out of theaters for a bit and wow it was. Bad. The first one was unnecessarily long and showy but it at least stuck to the plot of the book. This one felt like someone read summaries of the main plot points and just made up a bunch of stuff to go in between, and the editing was really really bad. It's actually entirely possible it might have been a decent movie in script form, but whoever pieced it together did it like a total amateur. There was no sense of time or pacing, scenes happened almost at random with no explanation, and on many occasions someone says or does something that clearly is supposed to go somewhere important or add to the scene and then it just. Doesn't.

I need to vent so, things I can remember off the top of my head:

- There is almost no suspense in the (very large number of) fight scenes simply because it is not entirely clear what is happening, why it's happening, and what we are supposed to be rooting for.

- The acting is mostly bad. Nobody sounds genuine, except when they are suddenly so genuine it's jarring.

- The choice to have half the Fremen not really believe in their culture's religion immediately undermines the entire core of the tensions in the plot and adds a really weird inconsistency to the tone to the film.

- At one point the camera briefly shows a wholeass eclipse occurring in the middle of an otherwise normal scene of people talking. It does not affect the lighting or dialogue in any way.

- The scene where Jessica becomes a reverend mother is just sad. It was probably the most profound, gripping scene in the book and instead she's behind a random rock surrounded by people who think the ceremony is bullshit and then just foams at the mouth a little and goes "ok I know things now and also my baby is a little fucked up"

- There is not, at any point, a drug-induced orgy or even a reference to one, which is just cowardice on the part of the writers

- Actually, aside from the foaming at the mouth nobody really does drugs at all. In Dune.

- Despite the enormous CGI and costuming budgets, they decided to make people's eyes blue by just adding a (highly inconsistent and sometimes barely noticeable) tint to them in post. I'm sure this was done for Acting reasons (fully blue eyes can't convey emotion as well) but it looks really cheap.

- It is never mentioned that all of the protagonists (and some of the most necessary people in the empire) are physically dependent on spice to stay alive. This feels like a ridiculous oversight given how important it is.

- At one point we pan across the hold of a harkonnen ship before a battle (not during!) and one of the soldiers is projectile vomiting across the whole screen for absolutely no reason. I did audibly laugh at this one.

- They barely explain any of the politics behind what's happening, despite that being necessary to understand half the scenes they included. I am assuming this is because CGI explosions get better ratings than making sense.

- Stilgar's only function in the entire film is to act religious and yell "lisan al gaib" every time Paul does anything. He's also the only major character with an accent, which is supposedly due to him being from the overly-religious south. That's not even subtle racism, guys, because you purposely drew attention to it.

- We are never shown anything that explains why the Fremen believe in Paul so much, other than that he can fight ok. The concept of strategy is mentioned only for the final battle, and even then barely

- Merit points for removing the homophobia from baron harkonnen's character, but docked again because they kept him as the only fat person. Not surprised here, just disappointed.

- Paul mentioning that people close to him died is treated like a "gotcha!" that makes some Fremen feel bad for him. At this point I'm pretty sure the writers did not read Dune at all.

- Most of the exposition about the water of life is done as Desert Voices Paul is hearing, except they just plainly state what he has to do in English. If you're going to have him hear magic voices at least make them slightly mysterious, this just felt lazy especially considering how vague and non-literal all of his visions are.

- The camera regularly lingers on completely unimportant things for way longer than needed. Whoever did the editing probably thought it made the film more ~artistic~. It did not. It just made things even more bumpy.

- Alia stays a fetus for the whole film and communicates with Jessica telepathically from the womb? I'm assuming they didn't want to CGI a talking baby and they're going to use her in a future film so they couldn't leave her out. It's probably less weird for people who haven't read the book, but it also speeds up the entire timeline by multiple years which is its own host of issues.

- They have a perfect opportunity to explain what the water storage is for and the Fremen's end goal (sustainable ecology), but just leave it at "the water is needed for our salvation"?? So people who haven't read the books have no idea what the goal is?? I swear they did this because they didn't want Stilgar to say anything that sounded smart

- As far as I could tell there is not a single chrysknife in the whole film.

- During the final feyd rautha fight, we clearly see Paul get stabbed in the abdomen. When he removes the knife after we wins, it's in his shoulder. Unless he got stabbed with two knives and I didn't notice because the editing was so bad.

There is way more but I am tired. Not even going to touch on all the other unnecessary changes to basic plot points. A few of them made sense, but not most.

[lemon-natalia]

Gideon the Ninth Reaction - Chapter 32

ok i was joking about the whole picking the lock thing but they’re actually doing it wow. i can foresee absolutely no way breaking the one rule you were given could possibly go wrong 

oh now they’re doing the whole mind melding thing with Palamedes and Harrow. good thing he doesn’t have aphantasia i guess

‘that’s what she said’ Gideon is making shitty puns again, all is right with the world

each place they’ve uncovered, the facility then the study, now the tower seems to have been more and more in disarray and left in more of a hurry each time.

wait the skeletons are revenants?!? and of course, Harrow literally mentioned ages back about how impressed she was by them and that she couldn’t copy them. 

not ghosts, not skeletons, but a secret third thing (ghost skeletons)

‘five hundred into fifty’ …no idea what that's about, but i do notice that the note says ‘Ask E.J.G’ - could the G stand for the Gideon mentioned on the piece of paper in the study?

oh and creepy old photo contains a picture of a young Teacher! this just got very The Shining 

wait they’re all revenants?! including Teacher!! holy crap, i know i joked about him being an imposter but i did not see that coming

at least the fire alarm gave them enough time to exposit about revenants and find Teacher’s creepy photo before going off. i guess all the skeletons stopped working as soon as they opened the door then

rip salt and pepper priest not only were you never named you were dead all along. also Teacher said he had to go lock a door… that’s ominous as fuck

i feel very bad about leaving Dulcinea alone rn but it’s not like they have any other choice 

the Second thought Teacher was the killer, attacked him, so Teacher killed the Second House with inhuman strength?!?! holy crap. i really thought he was a sweet old guy this whole time 😭😭

wow Harrow your bedside manner to the dying is just oh-so-comforting 

and Teacher provides one last cryptic, unhelpful message that the Emperor is coming!! well he’s not going to be much of a non-entity now. this whole chapter was just insane from start to finish

‘nobody should ever have to watch their cavalier die’ what with this and the end of the last chapter where Harrow asked Gideon to outlast her … i am desperately hoping this is not more ominous foreshadowing 🙃

[thefruitypebblescastleoftorment]

It's amazing how little the 5e module cares about Ireena and I'm mad about it.

In the "Roleplaying Ireena" section, we get some scant information on her situation (Strahd is after her, she doesn't remember her early childhood) and some exposition she can give the players. Aside from that, the sum total of her internal life and motivations that we're given is this sentence:

Although she appears mild, she has a strong will, and she aids the party as best she can in saving herself.

Wow. Thanks. Giving us a lot of meat there for the second most important NPC in the game, second only to the one the module is named after.

You know what's even more maddening? The 1E module, despite being 1/7th the length of the new one, actually gives her more:

Ireena is a sweet but troubled woman. Although she may at first appear mild, she has a strong will and a good arm. By no means a hapless victim, she will aid the party as best she can in saving herself.

Okay, it's not much more, and I'm not saying these descriptions are meaningfully different, but geez, it's clear they just took the 1E description and cut it in half. How did the 32 page adventure written in 1983 spend more time on Ireena than the "Revamped" version?

I'd be less insane about this if 5E didn't give us way more detail on the motivations and internal lives of so many other NPCs??

Almost every minor character in Vallaki has at least two sentences explaining their motivations. We get way, way more on the Abbot and Piddlewick II than Ireena. Piddlewick Fucking II! How many adventuring parties go through the entire game without even running into Piddlewick II?!

Why doesn't Ireena get a section in the Creatures of Horror book? There are other good guys in there! Why doesn't she get a unique statblock, paragraphs of background and an ideal/flaw/bond? The only conclusion I can come to is that the writers couldn't think of anything to do with her, and didn't want to bother trying.

Fortunately there are plenty of great homebrew/community guides to fleshing out Ireena (I'm leaning heavily on this guide as well as her characterization and roleplay notes in Curse of Strahd Reloaded.)

But that doesn't change how frustrating it is that the RAW module gives us nothing for what should be a character as iconic and enduring as Strahd himself.

[marciaillust]

Hey! I just wanted to say I’ve been following you forEVER now, and that your art has been inspiring me since i was a teenager. I was wondering if you could share a little about your rendering process? How did you improve it over the years, what did you learn you wish u knew sooner, stuff like that?

(Thanks anyway, and definitely getting myself ur new comic)

Hi! oh wow thank you so much for the kind words!

My rendering process hmmmm.... I will try to sum up the thoughts that come to my mind as I'm writing this, though I might be missing some proper vocabulary

The first thing that surfaced in my brain is exposition within a picture. This is what the picture focuses on - things in the light, or things in the shadow, and how much details each of these two receive rendering wise.

It's basically like taking a photo with a phone - if you click on a bright thing (say, a window), the phone will automatically adjust the exposition and all the other bright things will be visible(lotta detail), but the shadows will become turbo dark (no details). Alternatively, if you click on a dark shadow, all the dark things will become visible (details) but the hypothetical window will become blown out and turbo white (no details). You can basically have one or the other but never both. (or I guess you can who am I to tell anyone how to make art yanno no rules up in this house)

anyway, so for example, this pic^ focuses on the things in the dark, meaning everything in direct light receives no details.

and this pic^ focuses on the light and so all the cast shadows are pitch black.

One other thing that I learned a longass time ago was that edges(and shapes) are arguably the most important part of an object within a picture. Clean edges immediately call for focus, while softer or vague edges allow things to fade in the background and communicate the idea of a thing rather than showing you the thing itself. On a related note note, clean edges also make work in progress appear about 25% more finished.

I guess this all has to do with contrast and contrast can be created in many ways - edges (soft/sharp), colours (eg. red fish in a blue sea), spacing (objects being grouped vs. a single object), the amount of detail per object etc etc etc. and all of these can be controlled to solve specific issues within a picture.

In short, if a thing is important aka the focal point, make it stand out - sharp edges, details, specific colours and a lighting situation that make it pop. And if a thing isn't too important leave it vague, communicate the idea of it rather than focusing on drawing it.

On the note of things being sharp, a thing that I always swore by is, if there are eyes in the picture those eyes better be d-o-n-e. Pristine. People will look at the eyes, eyes communicate 90% of emotion, the eyes are the it girl of the picture forever and always, nobody will look at the wonky foot, they will look at the eyes and judge the quality of the picture. If the eyes are shit the picture is shit. (I'm exaggerating but fr. eyes are a big deal.). They don't have to be turbo rendered or physically mad sharp but they need to be done. Whatever that means, take what you will from my word soup.

One thing that I've become a big fan of over the years is the concept of wear and tear. This has to do with texturing things in pictures and I looooooooooooooooove thinking about ways items are used in order to create bumps and scratches that can be featured.

It always makes things look like they belong to someone?? It makes them real? Like the tip of that bone. that bone has been places. That belt has seen use. That bag carried things. Like yanno?? I looove things that chip and have nicks. Give me wood and I'll put a dent in it I swear.

And I thing the latest thing that I'm trying to incorporate within my art, though I haven't had much time or opportunity to do it in personal art because of work, is colour variation within each element.

Like his face. His skin is obviously "beige" but you will see red, and blue and yellow and green in there too. Stuff like that yanno? I'm quite interested in taking this further in my future paintings. I'm still learning how to push what, where and how but ayyy issa journey I'll happily embark on.

And of course apart from all that it's the usual jazz, working on anatomy composition perspective doing it a lot over and over again babababababa and so on and so forth.

I haven't had much opportunity to paint since I started working on the comic last year but it had it own set of challenges for me. Linework is a completely different kind of rodeo and I've improved in different departments a lot and I'd be happy to bring those things into my paintings when I have the chance. I feel like I'm at a point where I know a lot more than what I've had the opportunity to put on paper, it feels exciting!

I hope at least some of my ramblings were of interest to you!! Again, that you for the nice message and have a nice day :)