#Captain Vola
Note
8, 23, 52, and 69! for dai bran and niko!
ty!!! // sixty-nine questions for your ttrpg characters
8. what songs remind you of them? if there are specific lyrics or movements, list ‘em!
DAI — dai has a playlist, and off it royal empress by greg laswell is 100% His Song (fun fact—it's the first song I ever put on his playlist. now that's irony.)
I thought everyone was gonna make it out alive
And everyone was gonna make it out alive
BRAN — answered!
ENIKO — eniko's playlist slaps. he has so many good songs, but special honor goes to heirloom by sleeping at last (you try your hardest to leave the past alone / this crooked posture is all you've ever known) and bullet by the ballroom thieves
Well, I'll leave this so-called
So cold home
The burden of its memories
Weighs heavy on my bones
I dare you all to keep me
With the things I never said
I need this like a bullet to the head
Yeah, I need this like a bullet to the head
23. in what moment did they consider themselves to be “grown up”?
DAI — really really early on. probably around the end of the war/rebellion, so he would have been like. 10-13ish? I'm not sure about my timelines. but he was a kid in a war zone and then he was taking care of his dad afterwards and he just. he's always felt grown up, and everyone's always treated him like he's a grown up ("mature for his age")
BRAN — answered!
ENIKO — oh fuck. yeah also horribly young. probably around 14/15ish. what's funny is, it wasn't the first time he killed someone—it was the first time he saw someone he cared about dying, and was told it was his fault, and understood consequence was always going to be synonymous with punishment.
25. who is their best friend?
DAI — a year ago, he'd have said he'd never had a best friend. three months ago, he would have said izzy. when he died, he would have said he didn't have one, but at least he'd gotten to experience it for a while.
BRAN — canon, it's gotta be haskon and the crew. I think she'd get along with iö especially well as a mischief maker. any au, it's enikö, with sabine as an incredibly close second. bran's the sort of person whose partner is her best friend
ENIKO — canon, nobody, but he was starting to get super close to vola when the campaign stopped and I honestly think they'd have been bffs if we'd played any longer. au, bran. no contest.
69. what’s one secret they don’t want getting out?
DAI — right when he and zaref were figuring things out (i.e. when they had kissed once, not DTR'd at all, and then spent a week in a 20ft hut with 8 other people) he didn't want anything about their relationship getting out, since he didn't even know what it was. even after they talked about it, he wanted to keep it private for a while—he found it nice to have something that was his and private in the mess of Asdor and everything. obviously that ended horribly, but he still doesn't regret the glimmering joy of having that specific kind of secret.
BRAN — she keeps her own fears and anxieties so close to the chest. great daring legendary pirate captains don't have anxiety or doubt or fear. she's got to be better than that.
ENIKO — all of them. anything. if you know anything about him no you don't. bastard is absolutely paralyzed by the fear that someone might learn some truth and use it against him. unhealthy coping mechanisms mcgee over here.
#hoping and praying tumblr doesn't eat my song lyric formatting so I can keep the page break#ok well fuck me I guess#long post //#anyway#sorry for the delay work happened? terrible#but these were really fun ty!!!#branwen#eniko#daichi#memery
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Our adventurers arrive at the abandoned mining site and observe the snow-covered scene. Tools, carts, and rubble lie about, dusted with white, and the cliff face ahead is scarred by few days' work. The deepest scar is a cleft into the rock; evidently, where the miners uncovered the hidden dungeon of the dragon. One by one, our adventurers and their lackeys squeeze through.
Inside, it is hot, and the passage (wide enough for two abreast) is lit by a sourceless flame. With Quagoon listening at every corner and followed close by Vola, ready to leap in the way of danger, the gang advances slowly.
Soon, the sound of a roaring furnace reaches Quagoon's tuned ears, and the flickering light grows stronger. The wood elf peers around a corner and spots the tail of a moderately sized dragon whip around a far bend - followed by a bat-like fiend made entirely of hot white fire and dripping magma. This latter monster seems to be producing the roar of hot fire heard by the whole party.
Our adventurers give it a moment and then follow, but when Quagoon approaches the far bend and pokes his head around it, he gets a face full of dragon breath. They had been heard in the corridor, and the mephit and wyrmling had readied an ambush.
With no immediate alternate recourse, the eight interlopers respond with blade, arrow, and spell. The mephit quickly retreats, leaving the dragon alone to bite at its attackers, its thick scales repelling half of the arrows and blades that come at it. But soon enough, it begins to feel threatened under the onslaught and retreats also.
Our adventures elect not to press their advantage, fearing another ambush of firebreath, and turn to investigate a fork they had passed in this corridor while creeping after the monsters.
The sound of a furnace pursues them.
They creep slowly down passage after passage until they arrive at a stone door. This is unlocked by Quagoon and his tools, and Krieg advances first into the round, empty chamber beyond.
The floor tile under his feet compresses, and a burst of electricity erupts around him and those near him.
The round room features a collection of doors and arches leading elsewhere in the dungeon. Through one arch is heard a patrol of some sort of soldiers speaking draconic; this arch is avoided.
Another arch leads to an empty corridor.
Two doors are found to be stuck; even after Quagoon picks the locks, they are fixed in their jambs. The iron one is left alone; Vola begins throwing herself against the one made of stone, and it begins to crack.
But the noise of this alerts the patrol! Half a dozen fire newts come running into the room, spitting fire and swinging scimitars. And as they do, the wyrmling and mephit see an opportunity to get some revenge, and rush in!
Battle is met, and our heroes are holding their own - but then the half-broken door behind them bursts open and a hail of stones shoots through from slings held in the hands of a dozen kobolds populating the room beyond!
But slowly and surely, the eight stalwart dungeon delvers thin the ranks of the three enemy parties. Damaia and Quagoon wreak havoc on the kobolds with a one-two punch of a fear spell and a sweeping area-of-effect clerical spell. Soon, only the hardy kobold captain remains in that room.
In the round room, Krieg lands the final blow on the dragon, chopping its head off with his axe, while the others take out the newts and the mephit - which bursts into magma on the point of death, scattering burning chunks of itself at Vola and those near.
When Krieg shows the kobold captain the head of the wyrmling and Quagoon kills the last of its underlings, it elects to surrender, and is promptly bound up.
Tired and wounded, the gang holes up in the room to rest.
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Warfare is about constantly adapting. Your enemy’s using a new shield type? Build a better weapon to get around it. They start using a new weapon? Design a new armor to protect from it. They start using light cavalry to harass your archers? Put your archers on horseback so they can stay away better. They start deploying a new warship type? Do whatever the fuck people do to improve their boats. Adapting to changing warfare may not always save ya, but failing to adapt leaves you fucking screwed.
Captain Vola
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One World, One People
ultima puntata ...
Finalmente riusciamo a vedere cosa c’è nella scatola/regalo dal Wakanda, una super tuta per il nuovo Captain America. Sam vola a New York indossando un nuovo costume da Captain America e affronta i Flag-Smashers con l'aiuto di Bucky e Sharon Carter, che arriva all’improvviso.
Sam combatte contro Georges Batroc (molto ricorda lo scontro con Steve sulla nave cargo del film “Capt and the winter soldier”) all’interno della sala per la votazione della GRC, che è stata evacuata. i Flag-Smashers fuggono prendendo come ostaggi i membri del GRC, che sono stati portati in “sicurezza” all’interno di camionette della polizia.
Bucky, Sam e John Walker, che arriva per vendicarsi su Karli combatte, ma allo stesso tempo si redime e mette da parte la vendetta, lottando contro i Flag-Smashers e salvando gli ostaggi.
Karli fugge ma viene fermata da Sharon, che rivela di essere Power Broker (aaa sapevo mi sembrava troppo strano) e la accusa di averla tradita. Batroc minaccia di rivelare l'identità di Sharon e questi gli spara, mostrando il suo ruolo malvagio in tutta la faccenda. Sam cerca di parlare con Karli, ma Sharon la uccide per salvarlo, invece così facendo ha nascondo la sua reale identità.
Bucky e Walker aiutano la polizia ad arrestare i Flag-Smashers. Sam si presenta in pubblico come nuovo Captain America e convince i funzionari del GRC a rimandare la votazione del Patch Act e ad aiutare le persone per le quali Karli ha combattuto. il discorso è molto interessante e rivoluzionario, finalmente si mette in evidenza che la vita della gente è nelle mani dei potenti che se volessero potrebbero aiutare chi è in difficoltà e limare il divario che continua ad esistere.
in un attacco combinato, il maggiordomo di Zemo uccide i Flag-Smashers arrestati, fuggiti dalla battaglia, ma non è così ... una finta uccisione per essere utilizzati dal Barone che gode della notizia dalla sua cella nel Raft. La contessa de Fontaine consegna a Walker un nuovo costume e gli assegna il ruolo di U.S. Agent, ma non sa in che mani si sta mettendo l’ignaro Walker.
Bucky confessa a Nakajima di avere ucciso suo figlio, riuscendo a terminare la sua missione di pentimento e saluta la sua psicologa. Sam va a trovare Isaiah Bradley, che ammette il suo coraggio nell’iniziare il suo ruolo di Capt America, e lo accompagna allo Smithsonian, dove è stata eretta una statua in suo onore.
In una scena dopo i titoli di coda, Sharon riceve la grazia dal governo e viene reintegrata nella CIA, riottenendo il suo ruolo con l'accesso a armi sperimentali e segreti governativi, che subito dopo annuncia di voler utilizzare per i suoi nuovi amici criminali.
Agente Carter will come back - JD
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Fun Things About The Altador Cup That My Old RPers and I Established
(In other words, I’m feeling especially nostalgic about Altador Cup season as someone who did an absurdly long AC RP. So long, in fact, that I accept most of these things as 100% canon even now. Special shout-out to my old RP buddy @vola-volarevia for coming up with some of these ideas with me!)
Sabotage occasionally happens and is handled by an elite team of players. At first they were vigilantes, now they’re Committee-approved. Antola and Derlyn have both been leaders of this group.
Every player that’s had their gender messed up by TNT are canonically trans.
Antola is allergic to Chokatos.
Zax’s favorite ice cream flavor is cookie dough. He practically runs on the stuff.
Teams have reserve players who sub when the main ones are ill. Some attain quite a following, and eventually become full-time players.
Committing crimes as a full-time player opens you up to a range of punishments. Committing crimes as a reserve is cause for perma-banning.
The current holder of the “fastest to get a reserve perma-banned” record is Darigan Citadel, which they are not proud of. Basically, everyone in the DC team and fandom hates this guy’s guts.
Derlyn was a genetically enhanced child soldier for a shadowy organization on Kreludor. She eventually meets a genetically enhanced child soldier from Altador, who now works as a reserve. They butt heads more than you would think.
Tandrak is a playboy, but also the kind of playboy who has intense platonic connections with his female friends. Being friendzoned by Tandrak puts you in ride-or-die territory.
He’s also loaded. Layton, meanwhile, comes from a lower-class war family and lost his brother in the second battle against Meridell.
Elbin Towse has no inside voice.
The Ixi commentator probably likes his coworker, but he’s a widower who isn’t quite ready to open up about that yet.
Nobody is 100% straight, but Mirsha and Zax are reputed to be the gayest.
All the Team Darigan members like pastel-cute cartoons. It started as a joke and snowballed from there. Also, they’re the most likely team to be monsterfuckers.
The Squeaky who plays on Roo Island is the other guy’s son; he just retired and passed on his nickname.
Prytariel is a Tsundere.
Lyvon was bald for the Sixth Cup. He attempted to poison a team captain, and the guy’s girlfriend shot him with a blaster. It was an embarrassing time for him.
The Coliseum gets destroyed at least once a season; the real one’s been gone for years.
There’s basically no concept of team rivalries and a lot of players do Truth or Dare together before a big game.
Lor from Mystery Island is the real edgelord.
Layton almost never gets people’s names right. He also has an Iroh-level love of tea.
The Seventh Cup was an utter disaster, to the point where it was almost cancelled. In order to shake things up, a fourth Committee member was added, who made several immensely unpopular changes, from the Xana/Timu switch to advocating for a 16 team Cup. Were the 16 team Cup idea to go through, Roo Island, Darigan Citadel, and Faerieland would have been out of the game that year, with the sixteenth team being composed of players he’d hand-selected. He was fired soon after the mob of FL, DC, and RI fans came for him. (And this is to say nothing of his wild brainwashing schemes.)
For this very reason, fans are practically begging for a 20 team Cup, due to the “well actually” sorts always insisting that the Committee member’s team technically counted as one even though they never played. Saying “Starmoon was the nineteenth team” will get you kicked out of fan clubs and viewing venues.
Starmoon, just like the land it was meant to represent, never existed.
Many people thought the Seventh Cup would be the last after all the damage it did. Meanwhile, the Cup is still going to this day.
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GRE Word Root Study
A – agnostic
An – Anonymous
Ab - abdicate
Able – insatiable
Ible – Tangible
Ac – acidic
Acr – acrid
Act – actuate
Ag – antagonize
Acou – acoustics
Ad – advance
Al/Ali/Alter – alternate
Am – amorous
Ambi – ambiguous
Amphi – amphibious
Ambl/Ambul – ambulatory
Anim – animated
Annui – Annual
Enni – perennial
Ant/Ante – anterior
Anthro – anthropology
Andr – androgynous
Anti – antimatter
Apo – apogee
Aqua – aquatic
Arch/Archi/Archy – archetype
Ard – arduous
Auto – autonomous
Be – belittle
Bel/Bell – Belladonna
Bell – antebellum
Ben/Bene – benefit
Bi/Bin – bifocal
Bon/Boun – bountiful
Brev – abbreviate
Brid – abridge
Burs – reimburse
Cad – cadence
Cid – coincidence
Cant/Cent/Chant – cantor
Cap – capture
Cip – participate
Cept – intercept
Cap/Captit/Cipit – captain
Card/Cord/Cour – cardiac
Carn – carnivore
Cast – outcast
Chaste – chastise
Caus/Caut – cauterize
Ced/Ceed – intercede
Cess – abscess
Celer – accelerate
Cent – centennial
Centr – central
Cern/Cert - discern
Cret/Crit - discriminate
Crim – criminal
Chrom – monochrome
Chron – chronological
Circu/Circum – circumvent
Cis – desist
Cla/Clo/Clu – close
Claim/Clam – clamor
Cli – incline
Co/Col/Com/Con – collective, comradery
Cogn/Conn – cognitive
Contra/Contro – contraceptive
Counter – Counterproductive
Corp/Cors – corporation
Cosm – cosmic
Cour – courier
Cur – recurrent
Cre/Cret/Cresc - crescendo
Cred – credible
Crypt – cryptic
Cub/cumb – succumb
Culp – culpable
Dac – didactic
Doc – doctrine
De – detach
Dele – delete
Dem – democracy
Dext – ambidextrous
Di – diary
Di/Dia – dialogue
Di/Dif/Dis -discontinue
Dic/Dict/Dit – diction
Dign – dignity
Dog/Dox – dogma
Dol – condolences
Don/Dot/Dow – endow
Dorm – dormant
Dors – dorsal
Dub – dubious
Duc/Duct – aqueduct
Dulc – dulce
Dur – durable
Dys -dysfunctional
E/Ex – extramarital
Ego – egotistic
Em/En – engage
Epi – epidural
Equ – equilateral
Err – erroneous
Esce – adolescence
Eu – eulogy
Extra – extraterrestrial
Fab/fam – fabricate
Fac/Fic/Fig/Fait/Feit/Fy – fiction, figure, counterfeit
Fal – fallacy
Fatu – infatuate
Fer – transfer
Ferv – fervent
Fi/Fid – fidelity
Fin – infinite
Flagr/Flam – flammable
Flect/Flex – deflect, reflex
Flu/Flux – Fluctuate, reflux
Fore – forbearance
Fort – unfortunate
Fort – fortitude
Fra/Frac – fracture
Frag/Fring – fragment
Fug – refugee
Fulg – interfulgent
Fum – fumes
Fus – refuse
Gen – genesis
Gni/Gno – agnostic
Grad/Gress – transgress
Gram/Graph – telegram, telegraph
Grat – gratitude
Greg – segregation
Hap – happenstance
Hemi – hemisphere
Her/Hes – Adhere, adhesive
Hetero – heteronormative
Hol – holistic
Hom – Homogenous
Hum – humanity
Hyper – hyperactive
Hypo – hypochondriac
Icon – iconic
Idio – idiosyncrasy
In/Im – impartial
In/Im – Impervious
Inter – interstellar
Intra – intrastate
It/Iter – itinerary
Ject – object
Joc – jockey
Join/Jug/Junct – conjugate, conjunction, conjoin
Jour – journal
Jur – jurisdiction
Juv -juvenile
Lang/Ling – lingual
Laud – applaud
Lav/Lau/Lu – launder
Lax/Lease/Les – loose
Lec – lecture
Leg/Lex – Lexicon
Lect/Leg – selection
Lev – levitate
Li/Lig – ligament
Liber – liberty
Lith – blithe
Loc/Log/Loqu – loquacious
Luc/Lum/Lus – illuminate
Lud/Lus – delude, illusion
Macro – macro-economics
Mag – magnificent
Maj – majestic
Max – maximum
Mal/Male – malevolent
Man/Manu – manipulate
Mand/Mend – commend, demand
Medi – medial
Mega – Megadome
Micro – microorganism
Min – miniscule
Mis – mishap
Mise – compromise
Mob/Mom/Mot/Mov – motor, movement
Moll – emollient
Mon/mono – monorail
Mon/Monit – monitor
Mor/Mort – mortician
Morph – amorphic
Mult – multitude
Mut – mutation
Nat/Nas/Nai/Gna – cognate
Nau/Nav – nautical
Nihil – annihilate
Noc/Nox – noxious
Noct/Nox – nocturnal
Nom – economy
Nom/Nym/Noun/Nown – renown, nominate
Non – nondescript
Nounc/Nunc – annunciate, pronounce
Nov/Neo/Nou – novitiate
Null – annul
Ob – obstain
Omni – omnipotent
Oner – exonerate
Oss/Oste – ossicles
Pac/Peac – peaceful
Palp – palpable
Pan/Pant – expandable
Par – partake
Para – paradigm
Pas/Pat/Path – pathology
Pau/Po/Pov/Pu – impoverish, pauper
Pec – pecuniary
Ped – pediatrics
Ped/Pod – podiatrist
Pel – propel
Pen/Pun – compensate
Pen/Pene – penultimate
Pend/pens – compensate
Per – per chance
Peri – pericardium
Pet/Pit – competition
Phil – philanthropy
Phob – phobia
Phon – phonetics
Photo – photosynthesis
Plac – placate, complacent
Ple/Plen – plentiful
Plex/Plic/Ply – complex
Poly – polyhedron
Pon/Pos/Pound – position
Port – portage
Post – posterior
Pot – potion
Pre – prefrontal
Prehend/Prise – apprehend
Pri/Prim – primordial
Pro – proficient
Prob – probe
Prod/Prox – approximate
Pro/Proto – prototype
Psud/Pseudo – pseudonym
Pug – repugnant
Punc/Pung/Poign – punctuate, poignant
Pyr – pyrotechnics
Quad/Quar/Quat – quarter
Que/Quis – quest
Quie/Quit – quiet
Quin/Quint – quintuplets
Raci/Radi – radiate
Rami – ramification
Re – repeat
Rect – erect
Reg – regal
Retro -retrograde
Rid/Ris – ridicule
Rog – interrogate
Rub/Rud – ruddy
Rud – rude
Sacri/Sanct – sanctify
Sag/Sap/Sav – sage
Sal/Sil/Sault/sult – somersault
Sal – salt
Salu – salutations
Salv – salvage
San – sanitary
Sang – sanguine
Sat – insatiable
Sci – omniscience
Scribe/Script – scripture
Se – separate
Sec/Seq/Sue/Sui – sequential
Sed/Sess/Sid – possess
Sem – seminary
Semi – semicircle
Sen – senior
Sens/Sent – sentient
Sin/Sinu -sinusoidal
Sol – solitude
Sol – solace
Sol – solstice
Somn – insomnia
Soph – sophisticated
Sourc/Surg/Surrect – resurrect
Spec/Spic – speculate
Spir – respiration
Sta/Sti – stationary
Strict/String/Strang – stringent, strangle
Sua – suave
Sub/Sup – subliminal
Summ – summit
Super/Sur – surpass
Sym/syn – sync
Tac/Tic – tactical
Tact/Tag/Tam/Tang – tactile, tangible
Tain/Ten/Tent/Tin – maintain, tenant
Tend/Tens/Tent/Tenu – distend, tense
Test – tesify
Theo – theologian
Therm – thermometer
Tim – intimidate
Tor/Torq/Tort – contort
Torp – torpedo
Tox – toxin
Tract – tractor
Trans – transatlantic
Ult – ultimate
Umbr – umbrion
Un – unavailable
Und – undertow
Uni/Un – universal
Urb – urban
Us/Ut – utilize
Vail/Val – valiant
Ven/Vent – venture
Ver – verity
Verb – verbiage
Verd – verdigris
Vers/Vert – convert
Vi – viable
Vid/Vis – visualize
Vil – anvil
Vira – viral
Voc/Vok – vocation
Vol – volunteer
Vola/Volv – revolve
Vor - carnivorous
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Our current d&d party is so much fun.
We have
Bharash Vangdondalor: A Dagonborn Eldritch Knight with a Pirate background who's looking for his missing girlfriend who may or may not have joined an evil cult. He can't remember what happened the day she went missing and doesn't know why. He's an old man and all he wants is to find her and get his own pirate ship to captain.
Vola of the Barefoot Tribe: A Half Orc Zealot Barbarian who never wears shoes, was born in a different plane, and has an Urban Bounty Hunter background with a boss who is a tiny gnome named Bilf Boondiggle. She has no idea who her actual parents are but was raised by a nomadic orc tribe before moving to Neverwinter.
Bash: A Dwarf Forge Cleric with a guild merchant background who sells survivalist shovels, uses a transforming shovel as a weapon, and who's family run store/forge was destroy by basically evil snow white who tricked him and his six brothers. We found him in a cage being held prisoner by goblins because he was trying out his new shovel model in a dungeon alone and got his ass kicked.
Jasper McCarriger: A halfling Inquisitive Rogue with a charltan background, a gambling problem, and low int AND wisdom. He has never successful used his archetype skills but he has successfully cheated at every dice game we've played. He also spends half his time sneak attacking from under Bharash's legs.
Aramil of House Othronus: A wood elf ranger with the Noble background, two retainers named pinkus and brainiacus, and a squire who isn't allowed to have a name till he does something useful. This player also wrote five pages of information solely on his families background and secret smuggling opperations.
Aife: And me a human Shepard Druid with the outlander background who was raised by talking wolves after being abandoned in the woods. An evil ranger killed all my animal and druid friends on the island I'm from so my characters main goal is to find him, turn into a big wolf, and eat his face off. Ive been pestering Vola about how to track people down. I hate to sleep indoors, hoard bread rolls to feed to birds and mice, and I frequently scare the shit out of our Rogue by turning into a giant spider and lurking on the ceiling.
#d&d#d&d 5e#d&d character#dungeons and dragons#our campaign#i should make a list of all my characters#im playing three campaigns witha tentative fourth#i have aife the druid#Lia the warlock#Ravena the rogue#and my tentive bladesingee tahlsi
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@whats-ursine and @beingatoaster wanted to see more of Vaska's last captain, Vola the Mako Hunter. So here they are together. Vaska is missing some tats because she doesn't have them at this point.
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DnD shenanigans. Depending on how much I get done, these are the scenes, characters I want to draw. Mama Rook, a badass orc bandit queen, Freedom, our tiefling ranger as her alias, half-orc Volva, Captain Scarlet (adoptive daughter of Mama Rook, our captain) gushing over «Vola», the Real Iron Maiden (a character in history in the universe), and Asili (my dwarf disaster cleric) in disguise as The Iron Maiden.
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hang time
The mission is a blue-eyed man dressed in gold, and the Asset cannot understand why he knows him. [enikö & sorrel, ensemble. 3k. avengers au.]
a winter soldier au based on the prompt a relieved hug from @darlingicarus who also drew this inspirational art and also to whom sabine incidentally belongs. sorrel belongs to @clericofchaos; vola belongs to @noswearwolves and nenny belongs to @heeyrebecca.
hang time (n). –– the period of time a self-launched object stays in the air before it begins to fall
.
For a moment he is weightless, and then his body remembers to roll and the world spins for a moment and he lands upright, hand braced against the asphalt, staring up at the Target who look down at him and says,
“Nikö?”
It echoes in the space between him, just enough to catch him off guard, just enough that he stops to take stock of the target. He rises slowly, staring at the mark, who stares back at him with mouth slightly open and hair in disarray, red welt across one cheek, and his eyes open wide and––
Blue eyes staring, horrified, and the sensation of plummeting, and––
“Who the fuck is that?” he asks, words too loud in contrast to the ringing silence inside his head. The target stares back at him, wordless.
It takes him a moment too long to process the snapshot of–– of what he does not know (memory) and so it takes him a moment too long to raise his firearm again, and in that moment of confusion one of the Target’s associates skids into the fray. She ducks his wild shot and slips beneath his guard, laying into him with a series of lightning-quick blows that jolt him out of any shredding uncertainty and back to the mission at hand.
Later, though, later, while they work on the dented plating of his arm, he stares up at The Man In The Suit and tastes the edge of understanding like blood in his mouth.
“The man on the bridge,” he says slowly. “I knew him.”
The Man In The Suit sits in front of him, mouth a firm line, and holds him by the chin to stare him in the eye. Whatever he is looking for he must find it, because he sighs and releases his face.
“Wipe him,” he orders, rubbing his hand against his jacket as though he has dirtied it. “Start again.”
The last thing the Asset sees as the helmet lowers and the blinding blue static of the wipe slices through his mind is The Man In The Suit closing the heavy metal door behind him as he leaves. Then there is electricity, and burning blue, and nothing.
.
According to the mission briefing the Target is a captain, decorated war hero and spec ops team leader gone rogue from a classified government agency. The mission is find-and-neutralize, with extreme prejudice. Known associates include a defector KGB agent known for a mutative anger management problem, a fence working in the private sector and an assassin with multiple kills to her name and no confirmed prior allegiances but multiple rumors. A standard DNC mission.
Except he keeps returning to the Target. The image in the brief is a postage square of a photograph, the Target staring at something to the side, and though the image is black and white he cannot shake the certainty that, were it in color, the Target’s eyes would be blue.
“You ready for this?” asks Strike One, who is also designated Field Handler. The Asset nods once, silent. He is always ready. It is what he is designed for.
Strike One shakes his head and laughs. The Asset watches impassively, and restrains himself from flinching when Strike One claps a hand on his flesh and blood shoulder. The blades of the chopper whir above them as they approach the dropsite.
“Anworth’s not gonna know what hit him.”
Anworth, who is––
The man on the bridge, I––
Who is––
Blue eyes and the sensation of falling––
Who is––
“Targets at three o’clock,” calls the pilot over the headset, and the Asset pulls up the mask.
Acquired.
“Ready for drop,” he orders the team, and checks the knife in his belt and the other one in his boot and accepts the chute Strike One passes him without another word.
Far below them three figures race for the relative shelter of a half-finished building at the construction site where they have gone to ground. The Target is a spot of gold bracketed by green and red. He shrugs on the chute.
“Go,” he orders, and falls like a stone from the sky, and the Strike team follows him down.
.
It is not the clean fight he would like. Strike gets tangled with the associates, and the Asset is left to pursue the Target to the penultimate floor alone. That is not the trouble; the trouble is that the Target keeps speaking to him as though attempting to reason with an entity, and the Asset does not understand why.
So he retreats to what he knows best, and decides that permanently silencing the Target will also end the inane questioning.
This proves easier said than done.
He feels the pop in his knuckles as he catches the lip of the shield instead of the target’s face. Dislocated: second and third proximal phalanx, lunate. Nonoptimal for attack. He switches to the other arm instead. Servos whir in the elbow joint––misaligned; he feels the grating like an itch at the back of his skull––but not enough to impair movement. The target’s head snaps around at the force of the blow.
The Asset pulls the arm back to strike again, but something stills him, something he cannot put a name to. Even as the hand clenches and unclenches in the air––the metal one; the other falls limply at his side, fingers half curled, a throbbing pain welling around his hand––he is unable to strike again until the target’s head turns back in his direction.
“Nikö,” the target says. It is the same word he used previously. The Asset does not understand why the target uses it. It denotes no one. “It’s me.”
“I do not know you,” he replies. This is forbidden––he is not to speak with the target; the order was made exceedingly clear during the initial briefing––but something deeper than the orders insist he speak.
He does not understand that either. It leaves a sour taste in his mouth, and he wishes it would not. The fight would go more easily without it, and the without needless hesitation, and without the way the target stares at him as though the Asset is responding incorrectly to his actions.
The Asset has a singular action to take, and that is to neutralize the Target. The rest means nothing.
The Target stares again now, shield angled poorly to deflect, and he clenches his (broken; the pain centers him again) hand and drives him back, a one-two-one punch as he slips through the fallen defense. The target skids back beneath the force of the augmented blow; the servos in his elbow grind again, set his teeth on edge.
He raises the shield before the asset delivers the final blow, and the impact jars through to his shoulder, and he crouches, panting, and resists the urge to shake out his arm. He misses the familiarity of a knife in his palm, but he lost his over the side of the scaffolding in the opening salvo of this fight. That was many long minutes ago now; it has dragged on longer than intended.
They will be displeased when they learn it has taken him so long to dispatch the target.
As the thought comes to him, and with it a wave of fear that almost washes away the confusion, the structure shakes around them. Each of them loses their footing; the target stumbles backwards as he ducks to the left, narrowly avoiding a metal beam that topples from above. The floor beneath cracks, a deafening boom as the concrete fractures. He launches himself forward as the ground underfoot vanishes, taking a portion of the building down with it in a cloud of dirt and dust.
The Target struggles upright among the dust and dirt. Below there is the sound of crashing, and the whole of the building shakes.
“Nikö,” he says, panting. There is blood across his uniform, and blood at the corner of his mouth, and blood on the ground beneath them. “You know me.”
“I do not.” He pushes himself forward and strikes out at the Target, who is slow to block; the Asset’s fist connects soundly with the Target’s jaw and his head snaps back. His blue eyes land on him again.
“You do,” he insists, and the Asset strikes him again. He takes the blow, and the Asset falls back, panting. The Target––Anworth––stares at him. Blue eyes. Falling.
“I’m not going to fight you,” Anworth says, and his shield falls from his grip, disappears between the cracks in the concrete into the dust and rubble below. “You’re my friend.”
The Asset stares at him a moment longer, something unfamiliar welling in his chest, tight and hot and angry, and he pushes himself forward with a wordless shout. Anworth folds beneath him, falls prone half hanging over the endless drop between them and the river that runs alongside the construction site. He strikes again, and again, and––
Anworth stares up at him, one eye swollen shut. The Asset hesitates.
“Go on,” Anworth says. “Finish it. I’m not going to fight you, Enikö.”
He pulls his hand back further, broken fingers of his hand curled into the uniform Anworth wears, sun splashed across his chest, and he cannot–– he cannot––
The building rumbles again, and another steel beam crashes down next to them, and the floor cracks, and he just manages to grab hold of a strut as the whole thing tips riverwards, and Anworth slides from beneath him and falls.
He holds a heartbeat–– two––
Blue eyes, horrified, and the sensation of––
And plummets after him.
.
The red one tracks him down him.
Amaretti, Sabine; previous work for the Russians, Americans, Chinese, and at least half a dozen other organizations. Current affiliations: unknown. Known associate of Anworth, Sorrel. The Target.
And there she is, sitting in his kitchen, legs kicked up on the table. His wrist is still splinted, though mostly healed. The arm grates with every motion; it is getting worse and he does not know what to do about it. He thinks of the half dozen firearms hidden around the barebones apartment and the sack stuffed behind the fridge for moments such as these when he needs to leave without warning.
“It’s alright,” she tells him as he freezes in the door. “I’m not here to fight.”
He does not move. “What are you here for?”
“We talked,” she says. “The doc figures she can help you out. And Anworth won’t say it but he’s obviously worried about you. Been stressing for weeks. Nenny hasn’t said anything about it yet, but she’s pretty social. She’ll come around. I’m the welcoming committee.”
He hesitates. “I don’t understand.”
She stands, and he shifts back into a defensive crouch. She waves him away and taps twice on a piece of paper folded up on the table.
“Whenever you’re ready, we can help you out.”
“I do not need help.”
“Yeah,” she snorts. “That’s what I said too.”
She brushes past him on the way out, and he gives her as wide a berth as he can but she makes no move towards him. Still, it takes him a long minute to enter the apartment after that, and he spends three hours meticulously going over each and every failsafe he has implemented to find out how she got in. He spends the night staring up at the ceiling, waiting for the sound of his alarms to activate.
Three days pass like this, he holed up waiting for the slightest hint that someone has come for him, before he believes her. Whenever you’re ready.
He is unsure what to do with that. He resolves to do nothing at all.
.
His hand heals, and his mind gets… clearer is not the word for it. Holding onto anything is like trying to capture smoke, but the images that drift past become more solid. He remembers places and people he cannot name, only knows they are memories from previous jobs worked. He remembers The Man In The Suit, and the conditioning. He remembers Anworth.
The curiosity wins out, eventually. And he is tired of stealing everything from the shadows, of living like a rat in a hole. He unfolds Amaretti’s scrap of paper. He finds the address.
Darkmaw answers the door. One lens of her glasses is matte black; she peers out at him from the other. She is not nearly as green now as he recalls. He does not trust that one bit.
“Great,” she says, voice utterly devoid of inflection. “He’ll be pleased.”
He takes a breath. It takes him two tries to get the words out. “She said you could… help.”
Her expression flickers for a fraction of a second. She opens the door wider. “You coming in or what?”
He hesitates, but his decision was made up when he knocked. He crosses the threshold.
She closes the door behind him but does not bolt it, and that is more of a comfort than he cares to admit.
.
She pokes and prods him over, muttering all the while, and in the end informs him she can’t make any promises but she’ll do what she can. He accepts it with a nod. It is... well, it is more than he thought to find, and certainly more than he thought to find here. It is not all that long ago that he was meant to kill them.
Darkmaw leaves him alone in the lab shortly after without another word, and he lingers as long as he can stand among the needles and equipment before the walls become too high and the ceiling too heavy and he must leave.
He walks nearly directly into the Target. Anworth.
Sorrel.
That much he has remembered these past weeks. The name echoes through his memories. It means something important, he knows, but that understanding slips away each time he grabs for it until he is so desperate for any sort of clarity he could shout. It still evades him.
Anworth freezes in the middle of the hallway like a struck animal, eyes wide. Even shocked still like this, he looms, too big for his own frame. For a moment, neither speaks.
“Enikö,” he says finally, voice a little strangled. The name still does not mean… Well, whatever it is supposed to mean. But he recalls it, which is more than he could say two months ago. It will have to be enough for now. “What are–– Why are you––”
“I was invited,” he says.
“Invited?” he echoes. And then, a moment later, he sighs, fingers pressed against his forehead. “Sabine.”
“If it is a problem––” He has only the barest understanding of what he has done, a glimmer of remembrance following years of blankness, but from what he can piece together... Well, he would not be surprised if Anworth–– Sorrel did not wish to see him around. He is surprised any of them would willingly have him here, after all he has done.
“No! No, it’s no problem.” Anworth shifts back a little, as though he realizes he is standing over him. He takes a breath. “Do you, um. Do you know who I am?”
“Yes.” Anworth is still staring down at him, though, his eyes a little too wide, a little too hopeful, so he swallows again and adds, “You are Sorrel.”
“Do you know who I am... to you?”
“You knew me before. You were my... friend.” Friend is inadequate, he thinks, but the memories he manages to catch leave him with only the imprints of things that may-have-been, and he still as trouble separating the fact from the conditioning, the truth from the falsehood. There is the sense of soft eyes, and warm hands, and a protection that is so alien it nearly turns his stomach. He wets his lips. “You helped me.”
“We helped each other,” Sorrel corrects too quickly, voice a little too thick. Emotional, a part of him denotes, close to tears. Open to manipulation. It would only take a little pressure to––
He silences that voice as best he can. Darkmaw tells him it will get better, that the memories will sort themselves out with time.
He would like to believe she is correct.
“Yes,” he agrees, because he cannot think to say anything else, and because he wishes it to be true.
“I–– I’d like to help you now. If that’s alright.”
It takes him a moment to find his voice. “It is.”
“Good,” Anworth says. “Good, that’s. Good.”
Anworth steps forward suddenly, and he tenses, hand falling to the knife at his belt, but the larger man only wraps his arms around his shoulders, and it takes him a moment to realize that this is a hug.
Still. His heart beats adrenaline-quick in his chest and it takes him some time to relax into it.
“Sorry,” Anworth says, voice thick and damp again, and something unpleasant twists in his gut. “I never should have left you there.”
He cannot recall where there is, but in the moment that does not seem to matter. He brings one hesitant hand up to pat Anworth’s back.
“It’s alright,” he replies, uncertain. “I am here now.”
That seems to be the right thing to say; Anworth takes in a shuddering breath and steps back. There are tears down his cheeks. The twisting in his gut redoubles.
“If there’s anything you need–– Er, money, or… or weapons, or––”
“A glass of water would be nice,” he says, and Anworth nods so quickly he must get dizzy. Something else settles in his gut at that, not the twisting. Something softer. He does not know the name for this feeling either.
“Water, yeah. Okay. Um, kitchen is this way. And obviously you’ve seen the lab already…”
Anworth leads him on a haphazard tour of the building, and slowly but surely he begins to believe it when they say they want to help.
.
“Well of course he’s staying,” Nenny says when the others have returned. Amaretti toasts him briefly with her glass of water. Darkmaw folds her arm. “Was that even a question? We’re not just going to leave him out in the cold.”
“It’s summer,” Amaretti injects unhelpfully.
“Shouldn’t we ask him?” Darkmaw asks, jerking her chin in his direction. Anworth turns to him, with his––
wide blue eyes––
expression hopeful and asks: “Are you–– Do you want to stay?”
And the Asset–– Enikö says, “Yes.”
#WELP#I did it#mine; writing#mine; dnd#mine; eniko#friend ocs#eniko#r: tbd#.avengers au#.au#prompt fill#tfw your prompt fill ends up being a 3K au#anyways
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Once again a gang of four, our adventurers head down the west-east road towards the ambush spot set up by the other members of the heist team. They arrive at a winding portion of road cut through sheer but shallow bluffs and are introduced to the site's features: the armoured caravan will be stopped by fallen logs upon the road, behind which have been dug pit traps to draw knights into. Upon the bluffs to the right and left of where the caravan will stop at the logs, a tree has been cut to the point of toppling - to be used as deterrent if a knight attempts to climb the bluff, or to drop upon the stopped caravan at the top of the ambush.
The thieves and our adventurers get set up. There is:
A goblin-tiefling wizard upon the bluff facing the oncoming caravan.
An orc warrior stands ready to deliver the toppling blow to one of the trees, after which she will head to the wizard to protect him.
Damaia is on the other side of the road, hidden in the trees. Vola is with her, ready to leap down into the melee.
A human barbarian will charge from the rear of the caravan, supported by the hidden Quagoon, who disappears behind a tree and nocks an arrow.
Two dwarf fighters crouch behind the fallen logs, ready to leap out and surprise the knights leading the way.
Krieg stands near the fallen logs and activates the fog stone, filling much of the shallow ravine with a dense grey fog.
The clatter of wheels and rattle of tack is heard - then Quagoon sees the caravan approach and gives a signal. The caravan enters partly into the fog and stops ...
The orc delivers a solid blow to the tree and it crashes down into the fog. Horses scream, and the rush of branches and leaves temporarily clears the fog - though the chaos caused by the trap makes it hard to perceive anything in the predawn anyway. It is clear that all four horses and a handful of knights have been caught under the tree.
The dwarves leap from their cover and charge forward with Krieg, the barbarian rushes from the rear, Vola leaps down the bluff, and Quagoon races behind the melee to plant a couple of magic beans in the road to cut off a retreat - and to cause a disruption if the ambush draws on for too long.
The knights are well organized, directed by a giant captain - an orc with minotaur blood, it appears - sitting upon the driver's seat of the carriage after she frees herself from the edge of the fallen branches. They are armoured and wield shields, and our party and co. find it difficult to make early headway despite their surprise.
As the fog rolls back in, Krieg is kicked by a dying horse when accidentally too near the crushed team.
Damaia and the goblin have a difficult time finding targets for ranged spells from their vantages outside of the fog. Inside it, everyone is at a disadvantage - barely able to make out opponents directly before them, but this does not deter Vola especially. Her Orphanmaker carves swathes through the soup.
At one point, the fog is burned away in a fifteen foot cone by Krieg's fiery breath, which cooks a knight in her mail armour.
Quagoon picks off targets when he can.
Soon, after a furious half a minute of blind combat, Krieg dismisses the fog and everyone takes stock of the situation for a split second before once again falling into battle.
The dwarves are fighting two fully armoured sergeants at the head of the melee; ultimately, they retreat past the pits and draw one opponent to fall into one. The other sergeant there begins duelling the orc, who descends from the bluff to support her comrades when none of the knights threaten to ascend the bluffs.
Krieg, Vola, and the human barbarian battle the captain, a sergeant, and a half dozen mail-clad guards at the rear of the caravan as Damaia, the goblin, and Quagoon provide ranged support. The fog gone, two archers begin picking targets from a vantage atop the low carriage.
The barbarian falls to the sergeant, but is quickly on his feet again - only to flee from the scene, his brush with death being too much to ask already.
Slowly, the ambushers whittle down the knights. The two sergeants fall at the eastern side of the battle, guards are left bisected and headless near Vola and Krieg, Damaia approaches to blast the archers with a vicious fire spell.
Quagoon leaves his role as support and approaches the armoured caravan with the key stolen from the tournament village safehouse, but is confronted by a stalwart guard, who gives him a mortal wound with her spear.
Vola is charged by the captain, whose horns and heavy gauntlets deal heavy damage to her.
Krieg has his hands full of sergeant and knights, but he still finds time to buoy Vola's health with magic and bring Quagoon back from the brink of death. At this point, he activates the fog again.
From outside the fog, only glimpses of veiled shapes can be seen within it. Two titans, battling in a grey world: Vola and the captain, locking horns.
Inside this dark world, Vola knows her sword cut through her opponent's head: a chip of horn struck her in the face. But the captain's form remains upright, a shower of blood making her head - already misshapen in the fog - that of a horrible medusa. And the captain keeps coming. Surely, she is dead, and yet ...
Quagoon, undeterred by his brush with death, unlocks the trapdoor on the top of the carriage and slips into the cramped interior. He immediately finds the coronation stone; it occupies the majority of the room inside. He leaves it for the time being, it weighing at least half a tonne, and stuffs his pockets with all the other treasures.
With half a face, the minotaur-orc fights on for a few more threatening seconds, until at last her extraordinary adrenaline leaves her and she falls dead.
The road falls silent. A glimmer of dawn appears on the horizon.
The dwarves are the first to notice Quagoon already inside the treasure carriage. Our party attempts to convince the others that they are just grabbing their one item - "It was all arranged with Ethan" - but no one buys it, especially when it is revealed that the specific item Ethan was hired to steal is the same our adventurers are often: Auryn's Stone.
Vola offers a hefty bribe of gold, which eventually the dwarves accept. The orc, with the goblin-tiefling behind her, asks instead for one of the items from Quagoon's pockets.
The wood elf acquieces and tosses a random item to the ground by her feet: the glass figurine of a horse.
Then our adventurers are alone with a dozen corpses, an empty carriage -
"Grab the circlet!" asks Damaia of Quagoon, referring to the magical prize to be awarded to the tournament champion. At first, Quagoon cannot find it, but then discovers a locked chest behind the stone, which Vola hauls away. He puts his lockpicks to deft work and unlocks it, finding the circlet.
- an empty carriage, pockets full of treasure, and a giant rock.
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Battle is a rush, don’t get me wrong. But foremost protecting people should always be the most important reason to go to war. I don’t trust anyone who cites any other reason above it. I don’t trust kings and soldiers who prioritize wealth or their gods or honor or the glory of battle as their main reason for fighting. I fight battles and lead soldiers because I am *really* fucking good at it, and I serve a great queen who I know prioritizes the safety and prosperity of her people above all else.
Captain Vola
Author’s note: Vola is a brute and a savage who’s not afraid to fight nasty, cold-stab a bastard, or torture an enemy spy. But at the same time, I want her to be smart and even philosophical in her own way. While at first she might come across as some barbarian horsewoman who screams a lot and kills people, I want readers to view her as a deeper character as the story progresses. Hopefully these kinds of discussions help with that.
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- Quando farai sesso con una donna, sii gentile e ascoltala. Trattala con rispetto e dignità anche se tu non la ami.
- Lo so.
- Dì sempre la verità, da' sempre l'esempio.
- Lo so.
- Vivi ogni giorno come se fosse l'ultimo: goditela. Sii avventuroso e coraggioso ma gusta tutto: il tempo vola.
- Lo so.
- Non morire.
- Non voglio.
Captain Fantastic
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Box Office Italia - Oltre 3,5 milioni in quattro giorni per Captain Marvel
Box Office Italia – Oltre 3,5 milioni in quattro giorni per Captain Marvel
La corsa di Captain Marvel verso la vittoria del Box Office Italia continua a dare nuovi frutti, e con sabato l’incasso vola sopra i 3,5 milioni.
Nella giornata di ieri, sabato 9 marzo, Captain Marvel ha incassato altri 1,46 milioni di euro, con una media per sala da oltre 2 mila euro. Complessivamente il film con Brie Larsonha raccolto 3,54 milioni di euro in 4 giorni, ed entro domenica sera…
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TRADUZIONE ARTICOLO TIME: PERCHE’E’PROBLEMATICO CHE STAR WARS: L’ASCESA DI SKYWALKER RIFA’LA TRAMA DI GLI ULTIMI JEDI
Questo articolo NON E’ MIO. Io l’ho solo trovato in internet e l’ho tradotto in italiano. Potete leggere l’articolo in ligua originale qua :
https://time.com/5751752/star-wars-the-rise-of-skywalker-the-last-jedi/?utm_source=twitter&utm_medium=social&utm_campaign=editorial&utm_term=entertainment_movies&linkId=79986258
Articolo scritto da Eliana Dockterman. Aggiornato: 20 dicembre 2019 10:00 AM ET
È impossibile valutare Star Wars: The Rise of Skywalker nel vuoto. Ogni film dell'ultima trilogia di Star Wars è stato una risposta a quello precedente. Se Il Risveglio della Forza, il primo film di J.J. Abrams, ha cercato di evitare il destino dei film prequel mal rivisti facendo un passo troppo vicino alla trama del film originale di Star Wars, Una nuova speranza, quindi l'inventivo Last Jedi di Rian Johnson ha chiesto perché i fan e i registi adorano all'altare del vecchio IP invece di andare avanti con qualcosa di nuovo.
Se i genitori di Rey erano nessuno, come Johnson ha cercato di stabilire in quel film, ciò significava che non solo Skywalkers e Palpatines potevano essere gli eroi e i cattivi di queste storie: chiunque potrebbe essere un Jedi (incluso il bambino schiavo con la scopa descritta nell'ultima scena del film di Johnson.) Scuotersi di dosso la polvere dei film del passato ha permesso nuovi tipi di archi e storie di personaggi e un percorso per Rey che non è andato esattamente al passo con Luke prima di lei. L'eroe Luke Skywalker e il cattivo Kylo Ren non sono molto d'accordo, ma in quel film hanno continuato a ripetere lo stesso sentimento ancora e ancora. Per citare Kylo: “Lascia morire il passato. Uccidilo, se necessario." Solo allora il nuovo cast poteva uscire dalle ombre del trio originale e creare qualcosa di nuovo. La tesi di Johnson ha offerto una via d'uscita per i film troppo spesso impantanati dai loro predecessori. Eppure si è rivelato piuttosto impopolare con un piccolo ma urlante contingente di fan che hanno investito un bel po' di tempo ed energia nel loro culto per ciò che è accaduto prima, vale a dire Luke Skywalker. Le che hanno colpito Johnson e alcuni membri del cast - in particolare Kelly Marie Tran, che è stata cacciata dai social media da troll razzisti e sessisti insoddisfatti del film - si sono manifestate in una campagna per "rifare" Gli Ultimi Jedi. (Ci sono, naturalmente, legittime critiche al film non radicate nel sessismo o nel razzismo, ma come per tutte le cose su Internet i bigotti tendono a trovare un modo per essere i più rumorosi.) Abbiamo visto questo genere di cose prima. Leslie Jones ha vissuto un'esperienza decisamente simile quando ha preso parte a un rifacimento di Ghostbusters tutto al femminile. Un altro gruppo di fan ha provato a riempire le classifiche di Rotten Tomatoes per il primo film di supereroi femminili della Marvel, Captain Marvel, prima che fosse pubblicato, costringendo il sito a cambiare il modo in cui i fan recensiscono i film. Quindi non è poi così sorprendente che un film in cui un iconico eroe maschio si rivela un brontolone piuttosto cinico e un nuovo eroe femminile si alza per diventare ancora più potente degli uomini che sono venuti prima, classifica un forte sottogruppo di fan. Ciò che sorprende, tuttavia, è che Abrams sembra aver capitolato a quel contingente di fan con L’Ascesa di Skywalker. Se Johnson implorava il franchise di lasciar andare il passato, Abrams si scontra con un film così ossessionato dalla storia che letteralmente resuscita ogni personaggio importante della trilogia di George Lucas, come Fantasmi della Forza, ricordi o, nel caso di Palpatine, una sorta di zombi della Forza. L’Ascesa di Skywalker non è solo una confutazione tematica di ciò che è accaduto prima. Sembra che Abrams abbia letto ogni tweet critico nelle citazioni di Johnson degli ultimi due anni e abbia risposto a ciascuna, scena per scena. La tensione tra i due registi pervade ogni idea registica. Prendi le spade laser: nell'ultima scena di Il Risveglio della Forza di Abrams, Rey presenta a Luke la sua vecchia spada laser. La cinepresa gira attorno alle due figure mentre si alzano in piedi per un lungo periodo di tempo fissandosi a vicenda, musica epica che si gonfia in sottofondo. Johnson ritorna sulla stessa scena in Gli Ultimi Jedi, ma sovverte immediatamente le aspettative: Luke prende la spada laser, un'elica ambita dai fan per decenni, e se la getta sulla spalla, da una scogliera. È una dichiarazione di tesi per il resto del film: fuori con il vecchio e atteso, dentro con il nuovo e imprevedibile. Furiosi per sfrontatezza di Johnson? Non preoccupatevi, c'è una scena in L’Ascesa di Skywalker in cui Luke spiega goffamente che aveva torto quando disse che l'Ordine Jedi doveva finire e che Rey doveva affrontare il grande e cattivo imperatore Palpatine per salvare la religione Jedi. Quando Rey cerca di gettare via la sua spada laser, Luke la rimprovera, "L'arma di un Jedi dovrebbe essere trattata con più rispetto", ammonendo le sue azioni negli ultimi film tanto quanto le sue. L’Ascesa di Skywalker riporta persino la spada laser di Luke e getta la spada laser mai vista prima di Leia per buona misura. I personaggi di L’Ascesa di Skywalker si aggrappano letteralmente a questi token del passato. Kylo ha distrutto il suo elmetto simile a Vader (un simbolo della sua ossessione infantile per suo nonno) in Gli Ultimi Jedi, ma lo ricompone e fa risorgere un santuario a suo nonno in L’Ascesa di Skywalker. Abrams riporta Lando Calrissian in modo che possa pilotare il Millennium Falcon nella battaglia che definisce la galassia alla fine del film, proprio come ha fatto ne Il Ritorno dello Jedi. Rey vola sul vecchio X-Wing di Luke. Quando cerca di comunicare con suo figlio Kylo, Leia tiene una medaglia che ha dato a Han e Luke alla fine di Una nuova speranza. Questo per aver lasciato morire il passato. Per coloro che si sono lamentati del fatto che Rey, Finn e Poe - il nuovo trio di eroi - fossero tutti divisi nell'ultimo film, L’Ascesa di Skywalker presenta almeno tre MacGuffin diversi da perseguire insieme. Nella resa apparentemente più vergognosa al fandom tossico, lanciare Rey con Finn e Poe nello spazio significa che Rose di Kelly Marie Tran è messa da parte. Resta a casa, lavora sulle navi, pronunciando solo poche righe. Il bacio che ha condiviso con Finn alla fine dell'ultimo film non è mai riconosciuto o discusso. È difficile non vederlo come una vittoria per i troll. E poi c'è il cambiamento più grande di tutti: la storia delle origini di Rey. Circolava una discussione piuttosto sessista secondo cui Rey non poteva diventare un Jedi così potente in così poco tempo, nonostante Luke avesse fatto proprio questo. In quella che sembra una risposta diretta a quella sciocca discussione, L’Ascesa di Skywalker include una lunghissima scena dell'addestramento di Rey per diventare un Jedi su una corsa ad ostacoli. E per coloro che credevano che Rey dovesse essere imparentata con qualcuno che avevamo visto prima nell'universo di Star Wars per poter esercitare quel tipo di potere, indovinate un po'? Abrams rimprovera la decisione di Johnson di rendere Rey un nessuno in una conversazione incredibilmente goffa tra Kylo e Rey. Kylo chiarisce goffamente che non le ha mai mentito tecnicamente prima quando ha detto che i suoi genitori erano sporchi spazzini perché i suoi genitori si nascondevano come sporchi spazzini. Non era una gran dialogo. E così viene rivelata la verità che Abrams ha tramato da sempre: il padre di Rey era il figlio del malvagio imperatore Palpatine. No, Rian Johnson, nessuno può essere un potente Jedi o Sith. Solo queste due persone veramente specifiche legate alle due famiglie più famose della galassia possono essere gli eroi di questa storia. Palpatine è solo uno dei tanti personaggi resuscitati per rendere omaggio ai film di Lucas. Sembra che Chewbacca sia morto in un incidente, fino a quando non viene rivelato che era su un'altra nave nascosta e sopravvive. La memoria di C-3PO viene cancellata e dice addio ai suoi amici - fino a quando R2-D2 ripristina semplicemente il backup di memoria di 3PO. Luke, Han e Leia fanno tutti un cameo dopo la loro morte per aiutare Rey e Kylo nelle loro missioni. E anche Rey e Kylo hanno improvvisamente il potere di guarire e, apparentemente, invertire la morte. Ciascuno, a sua volta, usa la Forza per salvare l'altro dalla morte. Ma essere in grado di riportare indietro qualsiasi personaggio significa che la morte non ha più molto peso in questo universo. Cosa c'è da dire all'Imperatore che è riuscito a resuscitare di nuovo? Quando Kylo rianima Rey alla fine del film, non sarebbe stato scioccante se avesse fatto lo stesso per lui, trasferendo ciascuno la loro Forza vitale l'una nell'altra per il resto dell'eternità. (Idea libera, SNL.) Rifiutando di lasciar andare il passato, questa serie è diventata priva di significato o conseguenza. Abrams ha sempre elogiato The Last Jedi per le sue "sovversioni" e le "scelte audaci", ma ha anche recentemente dichiarato al New York Times: "Non credo che la gente vada da Star Wars per dirgli: "Non importa.'" (Allo stesso modo, il cast sembrava gettare Johnson sotto l'autobus, con John Boyega che intimidiva che The Last Jedi fosse una" sparatoria", Daisy Ridley ammettendo di aver pianto di gioia quando Abrams si unì ai film e Mark Hamill ammise che lo era "demoralizzato" dalle scelte di Johnson.) Ma i fan non fanno grandi cineasti. La loro riverenza per ciò che è accaduto prima lascia poco spazio all'arte o all'invenzione. E il loro bullismo rovina il divertimento, sia dentro che fuori dalla telecamera.
#anti reddit#anti the rise of skywalker#anti tros#italian reylo#italian reylos#reylo italiani#reylo italia#star wars anti tros#star wars italia
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Lucca Comics & Games 2019: Becoming Human vola con 270mila biglietti
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Lucca Comics & Games 2019: Becoming Human vola con 270mila biglietti
Lucca Comics & Games 2019: Becoming Human vola con 270mila biglietti
Lucca Comics & Games 2019: Becoming Human vola con 270mila biglietti
Si conclude con 270.003 biglietti venduti il 53° anno del festival, culla della cultura pop, manifestazione in costante crescita che nei cinque giorni di kermesse ha portato a Lucca appassionati di fumetti, giochi da tavolo, videogiochi, narrativa e arte fantasy, animazione, cinema e serie tv. Un’edizione che, superando il trionfo del 2018, conferma il grande successo di Lucca Comics & Games a livello nazionale e internazionale: oltre 1.600 attività fra incontri, tornei, workshop, e live performance; più di 4.000 sessioni di autografi; 1.500 postazioni di gioco con decine di migliaia di sessioni giocate; 16 concerti e spettacoli musicali; 2 opere teatrali prodotte dal festival; oltre 1.000 relatori tra cui 180 stranieri.
Cuore pulsante della manifestazione sono gli ospiti provenienti da ogni parte del mondo, che anno dopo anno arricchiscono il programma del festival. Per la prima volta il Maestro Hirohiko Araki ha raccontato al pubblico italiano la genesi della sua opera più famosa, Le bizzarre avventure di JoJo. Dal Giappone anche il padre di Gigi la trottola, manga ed in seguito anime cult degli anni ’ 80, il Maestro Rokuda Noboru, e per la prima volta in Italia l’autrice Emil Ferris, che proprio l’anno scorso a Lucca con La mia cosa preferita sono i mostri aveva vinto il premio Gran Guinigi come Miglior Graphic Novel. E poi ancora Don Rosa, famoso in tutto il mondo per le sue storie su Paperon de’ Paperoni e tutta la famiglia dei Paperi, e Chris Claremont, autore che nel corso dei suoi 50 anni di carriera ha rivoluzionato il fumetto supereroistico, insignito a Lucca con il prestigioso premio alla carriera Yellow Kid. Tra i fumettisti di casa nostra: la disegnatrice Sara Pichelli, Zerocalcare, Leo Ortolani, Gipi, Fumettibrutti, Sio e molti altri.
Nella sua continua ricerca di commistioni di linguaggi, dopo il successo di Kobane Calling On Stage, pronto a partire con una tournée, Lucca Comics & Games torna a teatro con una nuova produzione: Io sono Cinzia (ovvero l’amore non si misura in centimentri), tratto dall’acclamato graphic novel di Leo Ortolani sul tema della transessualità. Sempre ottima l’accoglienza anche per l’ormai tradizionale format lucchese Voci di mezzo.
Il gioco da tavolo attore principale del Festival, di casa al padiglione Carducci, grazie alla presenza della migliore offerta editoriale. Ma non è finita qui, fino all’8 novembre gli studenti della GameS WiS, il primo workshop residenziale dedicato alla scienza e alla pratica del gioco, continueranno il percorso iniziato durante Lucca Comics & Games con grandi insegnanti e ospiti d’eccezione come Erik Lang e Andrea Chiarvesio. Imponente presenza del gioco di ruolo che quest’anno ha visto appassionati d’ogni età destreggiarsi in un vero sotterraneo per sfidarsi a Dungeons & Dragons. Tra le iniziative: D&D Epic, il maggior evento a tema mai realizzato in Europa con 180 giocatori e 30 Dungeon Master che hanno giocato la più grande sessione simultanea di D&D nel nostro continente. Tra i più appassionati giocatori di Dungeons & Dragons che hanno dato spettacolo a Lucca, anche l’attore hollywoodiano Joe Manganiello. Per Magic: The Gathering, il gioco di carte collezionabili più famoso al mondo, erano presenti a Lucca i due celebri illustratori John Avon e Melissa Benson. Anche in ambito games la crossmedialità è stata un elemento cardine come dimostra il progetto dei giochi da tavolo Cthulhu: Death May Die, Zombicide e Zombicide: Invader che coinvolge sceneggiatori di grosso calibro come Luca Enoch e Stefano Vietti.
Tra le eccellenze di quest’anno il programma dell’Area Movie, a cura di QMI – Stardust. Amazon Prime Video ha salutato la sua prima volta a Lucca Comics & Games con un ospite d’eccezione, Sir Patrick Stewart, salito sul palco del Teatro del Giglio per annunciare il ritorno di Picard ai fan di Star Trek. Accanto al celebre attore britannico, anche gli altri interpreti della serie Amazon Original Star Trek: Picard. Netflix è tornata a Lucca per presentare la nuova serie originale The Witcher tratta dai romanzi di Andrzej Sapkowski. Il pubblico del festival ha potuto assistere all’anteprima mondiale del trailer e incontrare, oltre all’autore della celebre saga, anche la showrunner della serie Lauren Schmidt Hissrich e le attrici protagoniste Anya Chalotra e Freya Allan. Piazza Anfiteatro è stata invece “occupata” da La Casa di Carta. Tra gli altri ospiti: Joonas Suotamo, l’attore finlandese che interpreta Chewbacca in Star Wars: L’Ascesa di Skywalker; Rebecca Sugar, creatrice della serie cult targata Cartoon Network Steven Universe; Francesco Montanari protagonista de Il cacciatore; Alessandro Rak e Lorenzo Mattotti. Come sempre non sono mancate le grandi anteprime, da Terminator: Destino Oscuro a Zombieland: Doppio colpo, fino alla première dell’attesissima serie tv Sky His Dark Materials – Queste oscure materie.
Edizione all’insegna del videogioco quella che si è appena chiusa, in tutte le sue poliedriche sfaccettature. Presso il Baluardo San Regolo si è celebrata l’uscita di Call of Duty: Modern Warfare di Activision. Alla Casermetta San Donato, invece, è stato tempo di imprese eroiche grazie a Square Enix e Marvel’s Avengers, dove era presente l’iconica statua di Captain America. I fan hanno potuto incontrare anche Scott Amos, Executive Producer di Crystal Dynamics, e Valerio Schiti, noto artista Marvel Comics. Anche Borderlands 3 è stato protagonista di attività indimenticabili come la parata cosplayer guidata da Leon Chiro, cosplayer di fama mondiale. Per la prima volta nella storia della kermesse toscana anche Ferrari, presso la “Casa del Boia”, ha portato in scena un roboante programma di intense sessioni Hotlaps per correre su leggendari circuiti, quali Imola, Spa e Silverstone, grazie alla presenza di simulatori di guida d’avanguardia. Nella suggestiva cornice dell’eSports Cathedral tanti i tornei disputati, tra cui Brawl Stars e League of Legends, oltre alla Pro League di Quake, che ha messo uno contro l’altro alcuni dei giocatori migliori del mondo, tra cui l’italiano Marco “Vengeur” Ragusa. All’Esport Palace (ex Cavallerizza) si sono celebrate le adrenaliniche finali della Logitech G Challenge, competizione che ha messo in palio un ambito posto per le finali europee del prossimo 9 novembre a Colonia, e l’entusiasmante Gillette Bomber Cup, torneo con licenza ufficiale di Fortnite che ha visto trionfare il bravissimo Filoakai. Piazza Bernardini si conferma il fortino di Nintendo, con un doppio padiglione dedicato ai titoli di prossima uscita, e Bandai Namco Entertainment che ha dato la possibilità di provare uno dei titoli più attesi del momento: Dragon Ball Z: Kakarot.
Anche la grande letteratura fantasy è stata protagonista. Autori ormai di casa come Licia Troisi e Paolo Barbieri hanno affiancato uno dei maestri del genere, Bruce Sterling, creatore con William Gibson della corrente cyberpunk. Presente anche il duo di autori Daniel Abraham e Ty Franck, noti come James S.A. Corey, famosi per la saga The Expanse; Dario Tonani, autore storico della collana Urania e creatore di Naila di Mondo9; Federico Carmosino, considerato la nuova promessa della fantascienza italiana con il suo Neon Blu.
I cosplayer si confermano un vivace spettacolo. Tra parate, concorsi e raduni, nei 5 giorni il loro entusiasmo ha colorato le strade della città, per arrivare fino al RedBull Cosplay Garage sul Baluardo Santa Croce. Tra i momenti più seguiti la Zombie Walk parade, il raduno ufficiale Marvel Cosplay Italia, e la parata a tema Rat-Man, dedicata al personaggio di Leo Ortolani.
Per i più piccoli il divertimento si è concentrato nell’area Junior, dove migliaia di giovanissimi tra sessioni di giochi, fantasiose costruzioni LEGO® (con uno spazio dedicato al lancio di Hidden Side) e momenti danzanti, hanno potuto incontrare dal vivo gli autori delle loro opere preferite, primo fra tutti Thomas Astruc, creatore e regista della serie TV animata Miraculous. Molto apprezzato il palinsesto di Teatro Junior, una proposta di contenuti teatrali legati ai titoli della narrativa per ragazzi a cui si è aggiunta l’attività di laboratori e incontri con gli autori Panini. Anche quest’anno, poi, il mondo della scuola, è stato protagonista con tre giorni di visite guidate alle mostre, iniziative e messe in scena.
Non poteva mancare l’ormai iconica Japan Town, il quartiere del meraviglioso centro storico lucchese dedicato interamente all’arte e alla cultura nipponica, come sempre preso d’assalto e protagonista di numerosi incontri dedicati al Sol Levante tra mostre, eventi, degustazioni, e momenti dedicati alla scoperta della cultura e delle tradizioni nipponiche. Grande presenza nel Giardino degli Osservanti quella di Bandai con le sue nuovissime figures.
Infine sul main stage del Baluardo San Donato ci si è scatenati tra le note delle indimenticabili sigle tv. Protagonisti di tre concerti da “tutto esaurito” gli Oliver Onions che a suon di musica hanno ripercorso la loro carriera; Cristina D’Avena, tornata a Lucca per riproporre i successi che l’hanno resa l’icona delle sigle tv; e Giorgio Vanni, che ha infiammato il palco di Lucca Comics & Games con uno show memorabile.
Cinefilos.it – Da chi il cinema lo ama.
Lucca Comics & Games 2019: Becoming Human vola con 270mila biglietti
Si conclude con 270.003 biglietti venduti il 53° anno del festival, culla della cultura pop, manifestazione in costante crescita che nei cinque giorni di kermesse ha portato a Lucca appassionati di fumetti, giochi da tavolo, videogiochi, narrativa e arte fantasy, animazione, cinema e serie tv. Un’edizione che, superando il trionfo del 2018, conferma il grande […]
Cinefilos.it – Da chi il cinema lo ama.
Chiara Guida
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