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theres-an-impulstor-among-us · 3 years

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MY DEAR WIFE. I DESIRE A SEQUEL TO THE JIMMY EMPIRE FIC. I MADE THIS TUMBLR ACCOUNT TO MAKE MY DEMANDS. NOW GO BE FREE. WRITE YOU FANTASTIC FANFIC WRITER YOU. -BEST SPOUSE, PURP <3

this was a popular request LMAO :D

here’s the first part

…

The ringing of her communicator wakes Lizzie up late in the night. Blinking herself awake, she quickly answers it, speaking quietly so as to not awaken her sleeping fiance next to her. “Hello?”

“Lizzie, it’s Pixl,” comes the familiar British voice. “I’m so sorry to wake you.”

“It’s okay,” Lizzie says. “Is something wrong?”

“Something’s happened with Jimmy.”

Lizzie’s heart skips a beat. “Is he okay?”

“I’ll explain everything later but I could really use your help right now. Are you able to come to the Cod Empire?”

Momentarily forgetting that Pixl can’t see her, Lizzie nods. “Of course, I’ll come over right away.”

“Thanks so much, Lizzie,” says Pixl gratefully. “See you soon.”

“See you.”

Lizzie puts down her communicator and gets out of bed. Just as she’s finished changing, her fiance stirs in his bed and murmurs, “What’s going on? Who was that?”

“Pixl,” replies Lizzie softly, secretly glad he’s awake; she wouldn’t have woken him first. “Something’s happened to Jimmy, and Pixl needs me. You okay to come over to the Cod Empire with me?”

Joel sits up in his bed, immediately more awake. “Of course, of course. Let me get dressed.”

The two fly straight over to the Cod Empire and land outside Jimmy’s house. Pixl answers the door on the first knock. “Queen Lizzie, thank you for coming,” he says gratefully. “And King Joel.”

He leads them inside. Lizzie and Joel both gasp simultaneously as they spot Jimmy lying on the bed.

Joel freezes but Lizzie dashes to his side and grasps his hand, staring down in horror at the bruises covering Jimmy’s face. “Oh my goodness! What happened to him?! Is he okay?!”

Pixl joins her on Jimmy’s other side. “He’s recovering,” he responds grimly. “You know the demon Xornoth that’s shown their face around the server lately?”

“Heard of them.”

“fWhip and Sausage seem to be around the epicentre of the whole thing. They captured Jimmy, kept him in a cell for a whole day, beat him several times, then tried to sacrifice him to Xornoth. Scott and I managed to save him but he almost died from his injuries before Scott was able to heal him somewhat with magic.”

Lizzie gazes down at Jimmy with a worried expression, gently touching his face. He stirs slightly under her touch.

After a moment, she speaks again, her tone low and dangerous. “fWhip and Sausage, you said?”

Pixl nods. “Yeah. Scott and I chased them off but I’m a little worried about them returning to finish the job. That’s why I asked you over; I could do with some help protecting him. If that’s okay.”

“Of course it’s okay.” Lizzie retracts her hand and presses her fist into her palm. “Hell, if either of them show their faces around here, I’ll rip them apart with my bare hands.”

Now Joel moves closer to the bed, his expression uncharacteristically serious. “Poor Jimmy… I can’t imagine how terrified he must’ve been.”

As Pixl opens his mouth to respond, another knock at the door sounds. The three frown at each other, trying to work out who could possibly be at the door.

After a moment, Pixl heads back over to the door and answers it. His gaze darkens when he sees who’s standing there. “You’re not welcome here.”

Lizzie stiffens as she hears MythicalSausage’s voice: “I just wanted to ask how Jimmy is. And to… apologise.”

“Apologise?!” Lizzie bursts out.

Joel draws Pixl out of the way as Lizzie storms to the door and shoves Sausage backwards. “You TORTURED my friend and you think you can just walk over here and APOLOGISE?!”

Sausage scrambles back as a furious Lizzie bears down on him. “I had nothing to do with hurting him! That was all fWhip!”

“YOU THINK THAT MAKES IT BETTER?!” Lizzie bellows.

She flings out her arms and manipulates the ocean water into grabbing hold of Sausage and bringing him closer to her. “ACK!” Sausage chokes, struggling uselessly. “LIZZIE!”

“I’m going to kill you, Sausage,” growls Lizzie. “Would you rather be flung high into the air and fall to your death or drowned in salty ocean water?”

“N-Neither!”

A dark smile appears on Lizzie’s face. “Too bad. I’ve decided I’m gonna drown you.”

She lifts the water higher. His scream is abruptly cut off as the water envelopes his head, stopping him from breathing. She watches with satisfaction as his air slowly runs out.

But then Pixl’s voice comes from behind her: “Lizzie, he’s calling for you. He needs you.”

Lizzie pauses, weighing up her options. Eventually, she releases Sausage onto the dock, taking grim pleasure in the way he splutters and coughs up water. “You’re lucky this time, Sausage,” she says. She kneels down beside him and pushes her face close to Sausage’s with a menacing glare. “But if you ever, and I mean EVER, come near Jimmy again, you’re gonna wish you were never born. Do I make myself clear?”

“Y-Y-Yes!” gasps Sausage.

Lizzie steps back and lets Sausage flee, before rushing back inside and back to Jimmy’s side. Her ally is stirring, his eyelids fluttering. “L-Lizz...ie…”

“I’m here,” whispers Lizzie softly, holding his hand against her cheek to reassure him of her presence. “I’m here, Jimmy. Are you okay?”

Jimmy coughs weakly. “M-My wrists hurt.”

Frowning, Lizzie pushes down Jimmy’s sleeve, revealing the thick red marks. “Wh-What is this?!” she gasps. “Pixl?”

“It’s…” Pixl hesitates, knowing what his next words will likely cause. “They’re burn marks. He had his hands tied behind his back for most of the day in that cell.”

Joel glances sharply at his fiancee. “Uh oh.”

Thunder sounds overhead as dark clouds rapidly slide across the sky. Lizzie’s expression remains steady, but lightning flashes in her eyes. “I’ll be right back, Jimmy,” she says, her voice as steady as her expression. But it’s just an act for Jimmy’s benefit and both Pixl and Joel know it.

Neither Pixl nor Joel stop her as she storms out of the hut and takes off flying towards the Grimlands. She lands atop the outer wall, rain starting to fall from the sky.

“FWHIP!” she bellows, her voice rolling through the clouds and echoing across the land.

Seconds later, the count himself appears atop his tower, within audible distance despite the increasingly loud thunder overhead. “Queen Lizzie!” He spreads his arms wide. “How may I help you?”

A bolt of lightning strikes the very top of fWhip’s tower.

“Aha, what have I done to invoke the wrath of the Ocean Queen?” fWhip laughs.

Instead of replying verbally, Lizzie lifts her arms and summons a giant wave of water from the river, sending it crashing down like a tsunami over the Grimlands.

“NO!” fWhip yells. “My villagers! You’re gonna drown my villagers!”

“MAYBE YOU SHOULD HAVE THOUGHT OF THAT BEFORE YOU TORTURED JIMMY AND TRIED TO MURDER HIM!” roars Lizzie.

fWhip stares at her for a moment as he finally remembers that Lizzie is one of Jimmy’s closest allies. “...oh…”

Shaking himself into action, fWhip dives down into his flooded village. Lizzie watches him, taking grim satisfaction in watching him flounder around in desperation. She doesn’t even realise how close he is to death until-

fWhip drowned

Lizzie quickly dissipates the flood and jumps down to look for fWhip’s items. As she’s starting to pick them up, fWhip reappears, so she retreats back to a safe distance.

“I’ll get my revenge for this, Ocean Queen,” growls fWhip. “I will not take the attempted murder of my villagers lying down.”

“I don’t give a crap,” Lizzie snaps back. “Don’t you dare think about going near Jimmy ever again, because if you do, I can promise you I will wipe your goddamn empire off the face of the world and I will NOT regret doing it.”

fWhip narrows his eyes. “You’re messing with the wrong empire. I too have the power to wipe an empire out of existence.”

“I live in the ocean. The bulk of my empire is underwater now. Your TNT will make a scratch at most.”

fWhip’s mouth opens, then closes again. After a moment, he looks away. “Fine.”

Lizzie raises an eyebrow. “Really? You’re backing down that easily?”

“I’m being smart. You’ve no idea what’s coming, Lizzie. I do. I need to prepare. I can’t afford to be dragged into another war right now.”

As fWhip turns, he finds Lizzie extremely close to him. She grabs the collar of his shirt and pulls him close so that their faces are inches apart. “Then don’t start one,” she snarls. “Stay away from my allies.”

She shoves fWhip away and takes off again, flying back to the swamp. Part of her feels bad at the attack on fWhip’s innocent villagers but she pushes it aside. fWhip tortured Jimmy and was perfectly willing to slaughter him when he was tied up and defenceless.

Lizzie has no sympathy or mercy for a person like that.

When she gets back, Joel meets her at the door. “Lizzie, you’re back!” he gasps. “I saw the death message in chat.”

“Yes. fWhip needed to be told that I won’t tolerate him hurting my Jimmy.” Her gaze flickers from Joel to Pixl and back again. “Or any of you.”

Joel gazes at her with almost visible hearts in his eyes. “I love you so much, Lizzie.”

Lizzie can’t help a chuckle. “I love you too.”

“Guys, guys, come quick!” Pixl calls suddenly. “Guys!”

The two quickly rush to Jimmy’s beside but stop dead simultaneously when they see what Pixl is so panicked about.

A mark has appeared on Jimmy’s neck. It looks like some kind of rune, but what’s worrying about it is the fact that it’s glowing red.

“What is this?” Lizzie gasps. “What’s happening?”

“I don’t know! It just appeared!”

After a few seconds, the glowing dies down, leaving only the clear black mark.

“This has got to be something to do with the demon,” says Pixl shakily. “I don’t know what or how or why, but somehow, fWhip and Sausage’s attempted sacrifice of Jimmy must’ve caused this.”

“But what can we do about it?” Joel asks. “What can we do to help?”

Pixl has no answer to this.

Nobody does.

#empires smp #pixlriffs #ldshadowlady #solidaritygaming #smallishbeans #fwhip #mythicalsausage #vaunna’s requests

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chappedandfadedvds · 4 years

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Oct 28th, Wednesday 16:51

Robbe was off in a heartbeat, once he saw a familiar boy waiting for him by the entrance onto the school grounds. Without any regard he leaped forward and was immidiately welcomed into a big hug, picked up off the path and put down only when he had kissed his boyfriend.

„And that is Sander.“ Moyo said as a matter of fact. And in addition. „Wendsday is Sanderday.“

Lucas who was with them, as they all had just finished economics class together, looked over confused. „Sanderday?“

„Wendsday is the only day of the week that he has off earlier than us. So he can come pick him up. Sander is of course his boyfriend there, who had just dropped his precious art folder and everything else in order to catch Robbe in time.“

Jens could only nod in agreement to Moyo’s thorough explanation.

„Hence, Sanderday.“ Aaron concured. „Trust me, they will leave us behind somewhere between now and the next hour, and never been heard of again until tomorrow.“

„U-huh.“ Was all that Lucas provided as they catched up with the couple. „What’s up, boys?“ Sander greeted cheerfullfy, hugging each of the broerrs, before extanding his hand towards the newling to their group. „And you must be Lucas. Robbe, and basically everyone else, had already told me about you. Glad to be able to actually see you in person as well.“

„Great to meet you too.I hope there were only good things so far?“

„Absolutely.“ Sander proclaimed and picked up his things from the ground. „Ready to go? I actually had planned to sketch a bit by the park, if you want to come as well.“

A simultaneous shrug followed by affirmative mumbles, that made them all head towards the left, straight down the street. It was a ten minute walk tops, though they stopped for some drinks on the way. Long enough, that the sun even peaked through the clouds once they arrived.

„Lucas, can I post this on my insta? If you don’t mind, of course.“ That was Sander asking a little later, just as they had found a nice sunny spot in the park to occupy a bench. He pushed the display of his camera towards said boy’s face. Jens wasn’t sure when Sander had taken it out of his bag, but that wasn’t really what he wanted to know. Lucas seemed a bit taken a back, looking at it, as he did a double take and watched Sanders smiling face. He did sound a bit unsure of himself but replied: „Sure, I guess.“

Now everyone’s curiousity demanded a look as well. And after Moyo had sommented on it with a whistle on his lips, it finally was Jens’s turn. He wasn’t sure if he was breathing at the moment, but his jumping, beating heart, assured him he was alive. Though on second thought, maybe this was dying.

He tried not to give away, how beautiful he thought it was. Or to be more presice, the boy in it. Sander took amazing photos, that wasn’t a secret, but he captured Lucas just in such a way that Jens’s throat dired up.

Aaron took the camera off his hands, leaving him with words of protest on his lips. But luckily his brain was smarter and decided to stay quiet.

„Eh Lucas?“ Sander tapped the dutch boy on the shoulder: „If you’d be interested too. My photography course is doing editorials next month and I’d love for you to model for me. I already have the perfect idea! Trust me, it is gonna be great. Nothing too big. Maybe three, four photos? Black-White. Classy. Clean fashion editorial. We can get a designer on board and have Robbe do lights. What do you say?“

The broerrs looked at each other amused and than to Lucas who had absolutely no clue what to do. He also never had met Sander and his seemingly spontaneous grand plans before. He certainly was the type to go big or go home. Before Lucas had any chance to answer though, Robbe’s voice broke the silence.

„Here I thought I was your only muse. But now a new pretty boy comes along and where does that leave me?“ He pouted at his boyfriend, who’s grin immidiately vanished of his face, replaced by an expression of horror that Robbe would even entertain a thought like this.

„You are, and will always be my biggest muse in every universe! Always and for ever! Unconditionaly. I’d carry you on my hands each day, and would canonise the ground you are walking on. Gift you every moon, and star, and sun I’d be able to reach. The whole sky and beyond. You are the one thing I truly love more than aynthing in this world, myself included. You are...“

„Oh shut up and kiss me! Then you can go back fanboying over Lucas again.“ Robbe smirked, blushing in the brightest colours imaginable by Sander’s devout decleration of love.

„I most definitely will kiss you!“ Sander exclaimed and took a very broad and swift step towards him, his hands immidiately finding just the perfect hight on Robbe’s hips to pull him excrushingly close.

Jens felt like an intruder seeing something he shouldn’t. It felt very inapprobiate to watch, as Sander leaned in to an open-mouth kiss. Lips and teeth and tounge. Robbe reciprocated like it was air to breath, let himself fall into it, his wrists crossed behind the neck of Sander, as they devoured each other. Jens knew he never had kissed nor had ever been kissed by anyone like this. He really should look away, but just like the other boys he couldn’t quite draw his gaze from them.

He swore they had completely forgotten about Lucas, Moyo, Aaron and himself, as Robbe and Sander ended their kiss with a heavy gasp, staring into each other eyes as they pressed their forheads together.

These lucky bastards were together for almost a year and still it seemed they had just found each other anew.

Jens loudly cleared his throat, while Moyo couldn’t hold back his laughter any longer and Aaron slowly clapped, deeply impressed. Checking up on Lucas though, Jens found the dutch boy looking absolutely overwhelmed by this public display of affection. Or maybe because it was between two boys? Jens really hoped that that wasn’t the case. And it didn’t appear that Lucas had been disconcerted before when Robbe had pecked a kiss to Sander’s lips infront of the school. But that didn’t really had to mean anything, right? Jens just prayed he was wrong about the way Lucas seemed to be a bit uncomfortable at the moment.

„Seriously, I almost want to be kissed by Sander now.“ Moyo joked, patting Robbe’s back, who seemed to suddelny realise where they were.

„That could be arranged, I believe.“ Sander provided with a wink, greatly amused by Moyo’s wide eyes of total shock to the suggestion.

„Oh shit, sorry!“ Robbe said apologetic at the same time.

„All good.“ Jens let his best friend know, searching for Lucas’s eyes. „Right?“

The dutch boy suddenly looked up and over towards him, nodding strongly.

„Of course. I just...eh....it came...unexpected.“ Lucas settled on and tried a reassuring smile. „Are you always like that?“

„Like what?“ Robbe inquiered, perhaps a bit defensive. He hated when people assumed anything remotely negative when speaking about Sander, and or their relationship in general.

„So open about it? I’m sorry, I don’t think I’ve seen that before. My circle was very straight in Utrecht. But really, I didn’t mean to imply anything else by it. Honestly. Full support on my end here.“

„We are just us.“ Sander provided simply to ease the tension, while he turned back towards Lucas with a warm expression. He never let go of his boyfriend though, tucking him nicely to his side, with his arm slung around the other boy’s back for support, his hand resting on Robbe’s waist.

Lucas’s smile grew brighter, nodding reassured that this had turned out alright.

Jens released the breath he didn’t knew he had held. But it felt like some weight was lifted by Lucas not being against their relationship. Why he had been so effected though, Jens didn’t know. He assumed it just had to do with the happiniess of his best friend, that he wanted to protect.

„Trust me, they can get even worse than this. At least on two seperate occasions I had to slip out of Robbe’s room. They only have eyes for each other from one moment to the next. It’s incredible. And hands! God do they have too many hands.“ Jens told Lucas, exaggerating his annoyance over them, by rolling his eyes in a big motion. It earned him a smack by Robbe and Sander’s laughter.

„Bro! I swear to god, it happened to me too once. We were playing CoD and sat on the sofa together, until they started. I spend the next hour in the kitchen with my headphones on, not even wanting to try to get to the bathroom.“ Moyo declared and now everyone was laughing. Til Robbe decided it was enough and waved them all off.

„Okay, okay, I think everyone got the point. Can we go back now to appreciating Lucas’s beauty and how he should model for my stupid boyfriend here?“ Teased Robbe, patting Sander’s chest. Who was back on track of his mission the next second, leaving his boyfriend’s side to take his camera back from Aaron and settle into the dutch boy’s immidiate vicinity effortlessly. Jens sometimes really found himself jealous by how easy it seemed to be for Sander to do.

„So what’s your insta? I can message you everything about my idea later.“

#week 1 #wtfock #skam #vds #jens stoffels #lucas van der heijden #sobbe #finally #i miss sobbe so much is could cry #help #chapped and faded

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moonlightwinterdxxix · 4 years

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Here again with a story idea 😂 A day where all the brothers have plans for to go out but there's sudden expected construction work outside their house so they literally can't leave?!? (Let's assume the Matsu parents didn't think their NEETS really had anything to do outdoors that day so they didn't bother to informing them about it haha) Maybe either a hilarious series of escape events or forced family bonding time? 😂

Ah, @yisongye Here it is!! 😂😂 I hope you enjoy my interpretation of this very interesting 2020 experience 🤣🤣🤣

~~~

The bedroom door slid open and slammed against the wall, and he screamed out, “Hey, guys! Guess what!”

Karamatsu raised his chin from the hand mirror, smirking. “Yes, my dear older brother Osomatsu? What might you have upon you as to call for your excitement?”

“There’s this really big gamble that’s gonna happen in Pachinko today from a visitor!” Osomatsu informed, a pair of fists rocking in his exhilaration. “And here’s the big deal: she’s a chick! A very pretty one too! I have no idea what she would want as a penalty aside from money but I’m dead-set on challenging her!” Osomatsu flushed, sultry in a green fantasy. “Ooh man, oh boy, I’m not just gonna give her a run on her money! I’m gonna challenge her into having s** with me!” He laughed maniacally, a predator’s villainous cackle.

Todomatsu scoffed in amusement, rolling his eyes. “Well, try as hard as you want. You’ll never succeed—you’ll be a virgin NEET forever.” He angled his phone, checking himself in the selfie feature of his camera. “On the other hand, there’s a very nice girl that Atsushi informed me will come to the mixer. I’m planning on going out to buy myself a nice new jacket later so I can look nicer come Friday. There is a sale at the mall, after all, so I wouldn’t want to miss it.”

“Can that beat my luck though?” Choromatsu boasted, popping the collar of his green shirt. “I managed to get VIP passes to Nyaa-chan’s concert. So all of you might be hopeful, but I’m meeting my cat idol in a few hours. So weep in your misery, everyone. Your Choromatsu is going forth into another world.”

“Heh,” Karamatsu retorted, narrowing a perpetually theatrical gaze. “Might I remind you first, my brother. Fap none of the dazzling women that might catch your eye, no? Set a good example to all of your brothers, non?”

With his smile wilting, Choromatsu sputtered as his face went rosy. “Wh-Wh—You shut the hell up, Shittymatsu! I know stuff, you moron!”

“Heh! Good for you, brother! For my luck shines upon me like it came from heaven itself!” Karamatsu flashed them his teeth, touching an eyebrow with two fingers. “You see, my brother, my day too flows with the passionate love from Akatsuka-sensei himself! Today I have been welcomed passage into the core of Akatsuka Ward itself, and I am to meet with a lady of whom I blind date for us was set! Hm, I thank Chibita for his kind heart, how could I have known that he would know such a precious soul—BOEHH!”

Ichimatsu slammed the back of Karamatsu’s head with an unplugged iron, and Karamatsu tumbled down onto the floor. “I bet your sorry ass that you’ll be meeting up with a dishwasher, you piece of crap.”

Jyushimatsu hollered out, “As fun as meeting with girls sounds nice, me and Ichi-nii decided to go to Sealand instead! There’s this annual dolphin show that happens every so often, and after attending it once I decided to invite him to the next one! I spent my entire allowance on getting us front-row tickets, so he has a nice experience when watching the show! The dolphins are always trained so well, once I had a dream of wanting to be one too.”

Ichimatsu grinned slightly, amused. “Hm, and after that I’ll be taking Jyushimatsu to the cat shelter. I’ve made an appointment to adopt one of the cats there—Mom and Dad already let me. She’s a very young one, about two months old, found beside a river where she almost drowned. I felt bad for her and decided to keep her so she doesn’t drown herself again. Her name’s Kawa, and she’s a plain white one. I hope she likes it here at the household with me.”

“Awwww~” the collective chorus of his brothers cooed lovingly, and Ichimatsu flushed bright pink and turned away with his hands smashed to his ears.

“Shut up! Stop shedding attention to my shitty life!” Ichimatsu exclaimed miserably.

“Either way, it seems that all of us have plans for today,” Choromatsu laughed, over from his former humiliation as he shrugged his backpack on entirely. “Anyway I need to go now. The arena could get pretty crowded if I came in much later than twelve.”

Osomatsu darted his gaze to the clock to Choromatsu then back again. “But it’s eight-thirty.”

“The earlier the better.” Choromatsu lifted his shoulders, chuckling. “Perhaps I can eat lunch while waiting too. Can’t watch a concert with an empty stomach. We need energy for screaming at the top of our lungs.”

“As if you don’t do that everyday already,” Osomatsu murmured, but remained unheard.

To Choromatsu, “Yeah, I agree,” Todomatsu said, standing up from the couch and patting his pants. “I’d better get to the mall early before it gets too crowded. I mean, sales are still sales, aren’t they? I don’t wanna be stuck in a traffic of people before I see something pretty.” He directed himself towards the cabinet and rummaged through the pockets of one of his hoodies, grabbing his wallet and stashing it into his current pants. “Yep. Imma go for now. See you all later?”

“Yeah, sure!” Jyushimatsu exclaimed, waving. “Later! Have fun!”

“Kiss Reika for me, okay, Fappymatsu?” Osomatsu derided, the curves of his features smug.

Choromatsu scoffed in reply as Todomatsu tittered, and then the bedroom door shut as Choromatsu and Todomatsu exited.

A minute passed.

And then...

“EEEHHH???!!!”

The rest of the Matsuno household were already out the bedroom and down the stairs, sliding into sudden halts as they saw Choromatsu and Todomatsu frozen in front of their door. They were both with mouths so rounded that their jaws were on the floor, their eyes nearly bulging out of their sockets. Their fingers were spread out from their hands at their sides, legs parted.

“Totty? What’s wrong?” But then all the other four were soon to realize it, and with matching, elongated yells all six were better classified with the term ‘identical’ as they all sported the same gawking, disbelieved expressions.

In front of their front door, the ground was a literal swimming pool of wet cement. Across that, there were careless-of-them construction workers with complete top-volume cranes and drillers, the workers saluting each other and bearing wide blueprints as long as a man was tall. This occupied the front porch all the way to their gate, nearly tore down completely, now granting the brothers a perfect view of Matsuyo and Matsuzo as they stared at their own sons, a pair of shopping bags dangling from their mother’s arms.

“Wh...” The first with a voice managing to come out his lips, Choromatsu averted his gaze to their parents. “Mom?! What in bloody hell is this?!”

“Ah, that!” Matsuyo laughed, unbothered in the slightest by the unexpected construction. “It’s just a bit of construction, my NEETs! I didn’t think I needed to tell you since you can handle yourselves, but never mind that! Don’t worry! It’ll only be about three days until you can go outside the house again.”

“Three days?!” Osomatsu exclaimed, face contorting in horror. “But that sexy-chick gambler will leave the city in three days!”

After shooting his brother a pointed look, Karamatsu yelled out the more proper response to their mother’s statement, “How are we supposed to leave the house?! And how are you two getting back in?!”

“Ah, don’t worry about us,” Matsuzo said, chuckling lightheartedly. “We booked a stay at the hotel about a week ago because we knew about this. Plus we bought a ton of groceries last week, so the fridge was practically an entire factory of sushi and takoyaki. I’m still surprised that there was only about a shelf left of it before we left the house three hours ago.”

“Th-That was our storage?!” Todomatsu sputtered. “Our food?!”

“Gee, I wonder where all of it went,” Ichimatsu sarcastically drawled, maliciously digging a dagger-sharp gaze against Jyushimatsu, who had gone from pale to red in a matter of seconds through the transition of realization to shame.

“No, we can’t survive this!” Osomatsu protested, gesturing wildly at the commotion lining each space of their front. “Mom! Dad! This is worse than suicide! No, we need to get out of this house! You can’t expect us to stay locked in here the entire three days, do you?! We’re your sons! You know that!”

“And we’re your parents,” Matsuyo retorted, her glare making Osomatsu and his brothers all shrink. “And you know well enough that we hate it when you have no consciences. This is punishment for illegally performing on the streets a month ago just to get money for a fish sale for Totoko’s sake! Grow up! Cod, you’re all a bunch of oversized children. You’re lucky we still gave you a storage of takoyaki.” Turning her nose up, she said, “Let’s go, Matsuzo-dear. We have that specialized screening on that one movie, right?”

“Of course, darling,” Matsuzo said devilishly, internally guffawing at his son’s anxieties. “Shall we?” He extended his arm.

“My pleasure.”

All six began yelling in unison as their parents began walking away, striding off with the pride of victory and the blessing of their lack of child tomfoolery. The brothers all tumbled down defeatedly on the floor, groaning in exasperation. It was Jyushimatsu who remained standing, mind calculative as his pupils dilated and his mouth was covered by a hand. Then...

“I think I can make that jump.”

“Ah, I see you wanna die early,” Todomatsu chortled groggily, unimpressed. “Ichimatsu-niisan, take notes. Your medal’s been snatched.”

“No!” Jyushimatsu contradicted. “I think I can make that jump! Then when I do, I’ll get all of you a ladder or something so you can get across.”

“Sure, I believe you,” Osomatsu said casually, pouting. “You’re the same guy who can turn into a living Jyushimatsu virus. If you can jump that gorge of death then go for it.”

“Idiots, it won’t work,” Choromatsu finalized, crossing his arms. “He won’t make it. Trust me.”

~~~

“Or not. Of course. I rest my case.”

Preparing himself, Jyushimatsu bent his legs.

“On three, Jyushimatsu,” Ichimatsu announced. “One...two...three!”

Jyushimatsu bolted, and with the speed of a fictional being he raced across the entire room until his feet were no longer on the ground, and he was hovering in the air, his shadow overlapping gray as his form paralleled the top of their doorframe. He was only by the first half of the entire cement pool when gravity played its part and tugged him downwards.

With his arms up, Jyushimatsu yelled out a stainless “BOEHBAA!!”, only stopping when a cross-crossed surface dug into his butt and he was pulled back into the house.

And dropped on the floor with a thud, tilting his head towards Todomatsu and the butterfly net he had in his hands. “Thanks, Totty.”

“I told you it won’t work,” Choromatsu grouched.

“Work or not, where was this butterfly net from?” Todomatsu questioned, scratching his head in confusion.

Jyushimatsu said, “I also got it from Dayon’s stomach.”

Todomatsu immediately panicked, dropping the net and struggling for the closest sink.

“Aha! I have a new plan!” Karamatsu extolled, spreading his arms wide. “My brothers, this plan of mine is guaranteed to entrance our grand exit! Be amazed, my brothers! We shall be able to access our hopes and dreams on finding the romance, enjoyment, and entertainment that our lives have waited for! My brothers, join me!” He began spinning around dramatically, a hand sailing to his back pocket for a rain of rose petals that he sprayed over the floor. “Grab a pen, and wonderful stationary. We are writing letters.”

Everyone stared at him dumbfounded, except for Ichimatsu, who bluntly said, “Kill me now.”

Minutes later, all six of them were gathered around the living room table, color-coded papers assigned to each brother. At the center of the table was a pack of markers, as well as some glitters none of them (but Karamatsu, apparently) knew they even had. At the head of the table, Karamatsu smirked at them, a finger-gun connected to his jawline as his sunglasses hid his dancing eyes. “Now, pick up a pen,” he instructed.

They all did, grabbing the marker colored with the hue of the sibling closest to them. Karamatsu picked last, raising his pink marker. “Step two, revisit your talents in mastery. Perfect, swooping calligraphy, as a dazzling prince such as us possesses.”

“Bro, I failed art class because of calligraphy,” Osomatsu deadpanned.

“Now,” Karamatsu pronounced as if no one had spoken, “Take the tip of your pen to the page. Then with the watery softness of a fountain, draw the letter ‘I’.”

Though hesitant, everyone followed.

“Good, my brothers. Next, add a space. Then, the letter ‘L’.”

They obeyed.

“Brothers, the letter ‘O’.”

They complied.

“The letter ‘V—”

“Karamatsu-niisan, what’s the message you’re making us write?” Choromatsu asked bluntly.

“Um...” Karamatsu made a heart with his hands, smiling boldly, “It will say, ‘I love you, dear cement! Please let us pass through your jinxes, allow us passage because you reciprocate my feelings to you!’ Oh, brother, the ground will harden almost immediately because of passion! I can see her heart beating from our kindness! Oh, brother, my brother, it shall make her weep tears of rock that would melt into a river of the soul! I see it, brother! It shall work, brother!” He was dancing in his reverie, nearly crying. “Oh, brother, my brother, sweet brother—BOEH!”

He collapsed on the ground, and Ichimatsu dropped his fist. “How about, ‘Brother, shut the eff up’.”

“Ugh, this sucks!” Todomatsu whined, tossing his paper away. “You’re all stupid and useless! Now I’m never gonna be able to look attractive enough for the new girl.” He buried his head in his arms on the table. “It’s hopeless for me. I need to be stuck with a bunch of ‘overgrown children’ until Atsushi sweeps her off her feet.”

“No.” Osomatsu stood up, all serious. Everyone looked at him. “There’s still hope. I think there’s one more thing we can do before we can say that we failed.”

Choromatsu lackadaisically suggested, “Request the construction workers for a way across?”

“Even better.” Osomatsu straightened his body, chin up, spine vertical. “Everyone. Off to the roof.”

Silence (...)...

“...eh?”

It was even louder on the roof than outside, because the entire view was there to present itself. The machines were huge, matted with soil and cement, some of the yellow on the bodies faded or whitened. Five of the six of them watched the entire thing with fearful anticipation, the giants in front of their house like dragons hovering over a field of lava. Whatever plan this Osomatsu-niisan of theirs had, it had better be worth it. Because so far, it looked like death was going to be the option here if it weren’t success.

“Boys,” Osomatsu announced, hands on his waist. “It’s time. Jyushimatsu, come here.”

Gulping, Jyushimatsu didn’t protest as he allowed himself to be led by his oldest brother, scarily close to the edge of the roof. Sweat ran down the sides of his face, his legs trembling in his discomfort. But he stayed there with his hands at his sides, staring straight and down towards the valley of Tartarus below.

“Karamatsu, come here,” Osomatsu instructed, and with the same worrisome posture Karamatsu stepped next to his eldest and fifth-born brother. “Karamatsu, go over Jyushimatsu’s shoulders.”

Karamatsu sputtered, and Choromatsu let out a “NO!” louder than the entire construction company combined.

But Choromatsu was ignored as Karamatsu timidly climbed onto Jyushimatsu’s back, and rested his thighs over Jyushimatsu’s shoulders. Both of them were perspired and horrified, already awaiting doom before a signal can even be clarified. Jyushimatsu clasped Karamatsu’s legs like it was giving him reassurance, but the threat of failure was still too strong for that.

“Ichimatsu, you next!” Osomatsu called out, and Ichimatsu greenly approached the building tower with his chin dipped and his eyes sullen. Internally, he was mouthing his last will and testament.

But he climbed nonetheless onto Karamatsu’s shoulders.

“Okay, my turn.” Osomatsu climbed onto Ichimatsu’s shoulders, and the weight began tugging down on Jyushimatsu as a wobble began to wrack their brother building. Hands grabbed legs, butts nestled tightly against napes, and lips went pressed as three of them stifled the screams that were growing in their throats.

“Choromatsu! You’re up!”

“This is dangerous, you idiot eldest!” Choromatsu reprimanded, arms wide for emphasis. “No more kidding—you’re literally trying to kill us!”

“Wouldn’t you die for Nyaa-chan?” Osomatsu inquired calmly.

Choromatsu was up over Osomatsu’s shoulders ten seconds later.

“Finally! Totty!”

On top of the tower, Todomatsu shook harshly as he grabbed the sides of Choromatsu’s head for dear life, legs intertwined over Choromatsu’s chest. Actually, most of them were like that. The only exception was the oldest brother, as determined as an eagle, staring straight through the obstacles separating him from making out with a beautiful gambling girl.

“Jyushimatsu, on three, run back, and then jump.”

“We’re gonna die,” Ichimatsu rasped with a plastic smile.

“Yup,” Karamatsu agreed in a tiny voice.

“On three, Jyushimatsu,” Osomatsu repeated, fiercer, and Jyushimatsu stepped back, all his brothers doing the same with the connections binding them in that formation. Jyushimatsu’s legs were shuddering. The pores on his skin were leaking.

“One...two...THREE!!!”

Eyes shut, Jyushimatsu made his run and jumped.

A few seconds later, at the other side of the gate, there were six bodies lying on the streets they’ve cracked, car horns roaring angrily in the traffic they caused.

~~~

Matsuyo tapped her feet. “I don’t think I need to scold you anymore. You know very well what you’ve done, right?” She crossed her arms, tilted her chin. “And because of that, there won’t be any more takoyaki. Not just because you absolutely don’t deserve it anymore, but because we can’t afford it.”

“Eh? Why not?” Osomatsu asked, then whimpered when he tried to move his head a little. With a full body cast matching those of his brothers’, there was no twitching a pinkie nor a strand of hair on the hospital beds.

“Not only because I have six sons confined with full body casts following surgery,” Matsuyo said madly, “but because of the damage! Not only did you break almost every bone in your body but you broke the road itself! There’s gonna be so much construction in front of our house now and guess what! We are the ones who need to pay for it!”

“Are we that fat?” Karamatsu sobbed.

“Think about what you did, you NEETs,” Matsuzo moaned, massaging his temples. “This didn’t just ruin our day with all these expenses. But your day too. Didn’t you all have anything better to do?” With that, Matsuzo and Matsuyo left the room, shutting the door behind them.

When they were completely gone, Jyushimatsu whimpered, “So...No dolphin show?”

“No cat...?” Ichimatsu followed up miserably.

“No clothes...?” Todomatsu wept.

“No Nyaa-chan...?!” Choromatsu cried.

“No date?!” Karamatsu tearfully yelled.

“No sexy-as-hell gambling babe?” Osomatsu whispered.

They all went quiet.

Then together, they all cried as one.

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weekendwarriorblog · 4 years

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The Weekend Warrior 10/13/20: FREAKY, THE CLIMB, MANK, HILLBILLY ELEGY, AMMONITE, DREAMLAND, DOC-NYC and MUCH MORE!

It’s a pretty crazy week for new releases as I mentioned a few times over the past couple weeks, but it’s bound to happen as we get closer to the holiday movie season, which this year won’t include many movies in theaters, even though movie theaters are still open in many areas of the country… and closing in others. Sigh. Besides a few high-profile Netflix theatrical release, we also get movies starring Vince Vaughn, Margot Robbie, Kate Winslet, Saoirse Ronan, Mel Gibson and more offerings. In fact, I’ve somehow managed to write 12 (!!!!) reviews this week… yikes.

Before we get to the new movies, let’s look at a few series/festivals starting this week, including the always great documentary festival, DOC-NYC, which runs from November 11 through 19. A few of the docs I’ve already seen are (probably not surprisingly, if you know me) some of the music docs in the “Sonic Cinema” section, including Oliver Murray’s Ronnie’s, a film about legendary jazz musician and tenor sax player Ronnie Scott, whose London club Ronnie Scott’s Jazz Club has been one of the central cores for British jazz fans for many decades.

Alex Winter’s Zappa is a much more satisfying portrait of the avant-garde rocker than the doc Frank Zappa: In His Own Words from a few years back, but I was even more surprised by how much I enjoyed Julien Temple’s Crock of Gold: A Few Rounds with Shane MacGowan, because I’ve never really been a Pogues fan, but it’s highly entertaining as we learn about the chronically-soused frontman of the popular Irish band.

I haven’t seen Robert Yapkowitz and Richard Peete’s in My Own Time: A Portrait of Karen Dalton, a portrait of the blues and folk singer, yet, nor have I watched Marcia Jarmel and Ken Schneider’s Los Hermanos/The Brothers about two brother musicians separated from childhood after leaving their native Cuba, but I’ll try to get to both of them soon enough.

Outside of the realm of music docs is Ilinca Calugareanu’s A Cops and Robbers Story, which follows Corey Pegues from being a drug dealer and gang member to a celebrated deputy inspector within the NYPD. There’s also Nancy (The Loving Story) Buirski’s A Crime on the Bayou, the third part of the filmmaker’s trilogy about brave individuals in the Civil Rights era, this one about 19-year-old New Orleans fisherman Gary Duncan who tries to break up a fight between white and black teens at an integrated school and is arrested for assaulting a minor when merely touching a white boy’s arm.

Hao Wu’s 76 Days covers the length of Wuhan, China’s lockdown due to COVID-19, a very timely doc that will be released by MTV Documentary Films via virtual cinema on December 4. It’s one of DOC-NYC’s features on its annual Short List, which includes Boys State, Collective, The Fight, On the Record, and ten others that will vie for juried categories.

IFC Films’ Dear Santa, the new film from Dana Nachman, director of the wonderful Pick of the Litter, will follow its Heartland Film Festival debut with a run at COD-NYC before its own December 4 release. The latter is about the USPS’s “Operation Santa” program that receives hundreds of thousands of letters to Santa every year and employees thousands of volunteers to help make the wishes of these kids come true.

Basically, there’s a LOT of stuff to see at DOC-NYC, and while most of the movies haven’t been released publicly outside festivals yet, a lot of these movies will be part of the doc conversations of 2020. DOC-NYC gives the chance for people across the United States to see a lot of great docs months before anyone else, so take advantage of some of their ticket packs to save some money over the normal $12 per ticket price. The $199 price for an All Access Film Pass also isn’t a bad deal if you have enough time to watch the hundreds of DOC-NYC offerings. (Sadly, I never do, yet I’m still a little bummed to miss the 10Am press screenings at IFC Center that keeps me off the streets… or in this case, sitting on my ass at home.)

Not to be outdone by the presence of DOC-NYC, Film at Lincoln Center is kicking off its OWN seventh annual “Art of the Real” doc series, which has a bit of overlap by running from November 13 to 26. I really don’t know a lot about the documentaries being shown as part of this program, presented with Mubi and The New York Times, but check this out. For just 50 bucks, you can get an all-access pass to all 17 films, which you can casually watch at home over the two weeks of the fest.

Okay, let’s get to some theatrical releases, and the one I’ve been anticipating the most (also the one getting the widest release) is Christopher Landon’s FREAKY from Blumhouse and Universal Pictures. It stars Kathryn Newton as Millie Kessler, a high school outcast who is constantly picked on, but one night, she ends up encountering the serial killer known as the “Blissfield Butcher” (Vince Vaughn), but instead of dying when she’s stabbed with a ritual blade. The next morning Millie and the Butcher wake up to discover that they’ve been transported into the body of the other. Oh, it’s Friday the 13th… oh, now I get it… Freaky Friday!

Landon is best known for writing many of the Paranormal Activity sequels and directing Paranormal Activity: The Marked Ones. Msore importantly, he directed Happy Death Day and its sequel Happy Death Day 2 U, two of my favorite Blumhouse movies, because they so successfully mix horror with comedy, which is so hard to do. That’s what Freaky is all about, too, and it’s even harder this time even though Freaky has way more gruesome and gory kills than anything in Landon’s other films. Heck, many of the kills are gorier than the most recent Halloween from Blumhouse, and it’s a little shocking when you’re laughing so hard at times.

Landon does some clever things with what’s essentially a one-joke premise of a killer in a teen girl’s body and vice versa, but like the Lindsay Lohan-Jamie Lee Curtis remake from 2003, it’s all about the talent of the two main actors to pull off the rather intricate nature of playing humor without losing the seriousness of the horror element.

It may not be too surprising with Vaughn, who made a ton of dramas and thrillers before turning to comedy. (Does everyone remember that he played Norman Bates in Gus Van Sant’s remake of Psycho and also starred in thrillers The Cell and Domestic Disturbance?) Newton is a bit more of an unknown quantity, but as soon as Tillie dawns the red leather jacket, you know that she can use her newly found homicidal attitude to get some revenge on those who have been terrible to her.

In some ways, the comedy aspects of Freaky win out over the horror but no horror fan will be disappointed by the amount of gory kills and how well the laughs emerge from a decent horror flick. Freaky seems like the kind of movie that Wes Craven would have loved.

I’m delighted to say that this week’s “Featured Flick” is Michael Angelo Covino and Kyle Marvin’s indie comedy THE CLIMB (Sony Pictures Classics), a movie that I have seen no less than three times this year, first when it was playing Sundance, a few months later when it was supposed to open in March… and then again last week! And you know what? I enjoyed it just as much every single time. It’s an amazing two-hander that stars Covino and Marvin as best friends Mike and Kyle, who have a falling out over the former sleeping with the latter’s fiancé, and it just gets funnier and funnier as the friends fight and Kyle gets engaged to Marisa (Gayle Rankin from GLOW) who hates Mike. Can this friendship possibly survive?

I really had no idea what to expect the first time I saw The Climb at the Sony Screening Room, but it was obviously going to be a very different movie for Sony Pictures Classics, who had started out the year with so many great films before theaters shut down. (Unfortunately, they may have waited too long on this one as theaters seem to be shutting down again even while NYC and L.A. have yet to reopen them. Still, I think this would be just as much fun in a drive-in.)

The movie starts with a long, extended scene of the two leads riding bikes on a steep mountain in France, talking to each other as Kyle (once the athlete of the duo) has fallen out of shape. During the conversation, Mike admits to having slept with Kyle’s fiancé Ava (Judith Godréche) and things turn hostile between the two. We then get the first big jump in time as we’re now at the funeral for Ava, who actually had been married to Mike. Kyle eventually moves on and begins a relationship with his high school sweetheart Marisa, who we meet at the Thanksgiving gathering for Kyle’s extended family. In both these cases, we see how the relationship between Mike and Kyle has changed/evolved as Mike has now fallen on hard times.

It's a little hard to explain why what’s essentially a “slice of life” movie can be so funny. On one hand, The Climb might be the type of movie we might see from Mike Leigh, but Covino and Marvin find a way to make everything funny and also quite eccentric in terms of how some of the segments begin and end. Technically, it’s also an impressive feat with the number of amazing single shot sequences and how smooth some of the transitions work. It’s actually interesting to see when and how the filmmakers decide to return to the lives of their subjects – think of it a bit like Michael Apted’s “Up” series of docs but covering a lot shorter span in time.

Most importantly, The Climb has such a unique tone and feel to other indie dramedies we’ve seen, as the duo seem to be influenced more by European cinema than American indies. Personally, I think a better title for The Climb might have been “Frenemied,” but even with the movie’s fairly innocuous title, you will not forget the experience watching this entertaining film anytime soon.

Maybe this should be called “Netflix week,” because the streamer is releasing a number of high-profile movies into theaters and on the streaming service. Definitely one of the more anticipated movies of the year is David Fincher’s MANK, which will get a theatrical release this week and then stream on Netflix starting December 4.

It stars Gary Oldman as Herman Mankiewicz, the Hollywood screenwriter who has allowed himself to succumb to alcoholism but has been hired by Orson Welles (Tom Burke) to write his next movie, Citizen Kane, working with a personal secretary Rita Alexander (played by Lily Collins). His story is told through his interactions with media mogul William Hearst (Charles Dance) and relationship with actress and Hearst ingenue and mistress, Marion Davies (Amanda Seyfried).

It I were asked to pick one director who is my absolute favorite, Fincher would probably be in my top 5 because he’s had such an illustrious and varied career of movie styles, and Mank continues that tradition as Fincher pays tribute to old Hollywood and specifically the work of Orson Welles in every frame of this biopic that’s actually more about the troubled writer of Citizen Kane who was able to absorb everything happening in his own Hollywood circles and apply them to the script.

More than anything, Mank feels like a movie for people who love old Hollywood and inside Hollywood stories, and maybe even those who may already know about the making of Welles’ highly-regarded film might find a few new things to appreciate. I particularly enjoyed Mankiewicz’s relationships with the women around him, including his wife “Poor Sarah,” played by Tuppence Middleton, Collins’ Rita, and of course, Seyfried’s absolutely radiant performance as Davies. Maybe I would have appreciated the line-up of known names and characters like studio head Louis B Mayer and others, if more of them had any sort of effect on the story and weren’t just

The film perfectly captures the dynamic of the time and place as Mank is frequently the only honest voice in a sea of brown nosers and yes-men. Maybe I would have enjoyed Oldman’s performance more if everything that comes out of Mankiewicz’s mouth wasn’t an all-too-clever quip.

The film really hits a high point after a friend of Mank’s commits suicide and how that adds to the writer’s woes about not being able to save him. The film’s last act involves Mank dealing with the repercussions after the word gets out that Citizen Kane is indeed about Hearst.

Overall, Mank is a movie that’s hard to really dig into, and like some of Fincher’s previous work, it tends to be devoid of emotion. Even Fincher’s decision to be clever by including cigarette burns to represent Mank’s “reels” – something explained by Brad Pitt in Fight Club – just drives home the point that Mank is deliberately Fincher’s most meta movie to date.

You can also read my technical/crafts review of Mank over at Below the Line.

Ron Howard’s adaptation of JD Vance’s bestselling memoir HILLBILLY ELEGY will be released by Netflix into theaters ahead of its streaming debut on November 24. It stars Amy Adams and Glenn Close, but in honesty, it’s about JD Vance, you know, the guy who wrote the memoir. The film follows his younger years (as played by Owen Asztalos) while dealing with a dysfunctional white trash family in Middletown, Ohio, dealing with his headstrong Mamaw (Close) and abusive mother dealing with drug addiction (Adams). Later in life, while studying at Yale (and played by Gabriel Basso), he has to return to his Ohio roots to deal with his mother’s growing addiction that forces him to come to terms with his past.

I’m a bit of a Ron Howard stan – some might even say “an apologist” – and there’s no denying that Hillbilly Elegy puts him the closest to A Beautiful Mind territory than he’s been in quite some time. That doesn’t mean that this movie is perfect, nor that I would consider it one of his better movies, though. I went into the movie not knowing a thing about JD Vance or his memoir but after the first reviews came out, I was a little shocked how many of them immediately went political, because there’s absolutely nothing resembling politics in the film.

It is essentially an adaptation of a memoir, dealing with JD Vance’s childhood but then also the past that led his mother and grandmother down the paths that made his family so dysfunctional. I particularly enjoyed the relationship between the older Vance and his future wife Usha (as played by Freida Pinto) earlier in their relationship as they’re both going to Yale and Vance is trying to move past his family history to succeed in the realm of law.

It might be a no-brainer why Adams and Close are being given so much of the attention for their performances. They are two of the best. Close is particularly amusing as the cantankerous Mamaw, who veers between cussing and crying, but also has some great scenes both with Adams and the younger Vance. The amazing special make-up FX used to change her appearance often makes you forget you’re watching Close. I wish I could say the same for Adams, who gives such an overwrought and over-the-top performance that it’s very hard to feel much emotionally for her character as she goes down a seemingly endless vortex of drug addiction. It’s a performance that leads to some absolute craziness. (It’s also odd seeing Adams in basically the Christian Bale role in The Fighter, although Basso should get more credit about what he brings out in their scenes together.)

Hillbilly Elegy does have a number of duller moments, and I’m not quite sure anyone not already a fan of Vance’s book would really have much interest in these characters. I certainly have had issues with movies about people some may consider “Southern White Trash,” but it’s something I’ve worked on myself to overcome. It’s actually quite respectable for a movie to try to show characters outside the normal circles of those who tend to write reviews, and I wouldn’t be surprised if the movie might be able to connect with people in rural areas that rarely get to see themselves on screen.

Hillbilly Elegy has its issues, but it feels like a successful adaptation of a novel that may have been difficult to keep an audience invested in with all its flashbacks and jumps in time.

Netflix is also streaming the Italian drama THE LIFE AHEAD, directed by Edoardo Ponti, starring Oscar-winning actress Sophia Loren, who happens to also be the filmmaker’s mother. She plays Madame Rosa, a Holocaust survivor in Italy who takes a stubborn young street kid named Momo (Ibrahima Gueye), much to both their chagrin.

I’ll be shocked if Italy doesn’t submit Ponti’s film as their choice for the Oscar’s International Film category, because it has all of the elements that would appeal to Oscar voters. In that sense, I also found it to be quite traditional and formulaic. Loren is quite amazing, as to be expected, and I was just as impressed with young Ibrahima Gueye who seems to be able to hold his own in what’s apparently his first movie. There’s others in the cast that also add to the experience including a trans hooker named Lola, but it’s really the relationship between the two main characters that keeps you invested in the movie. I only wish I didn’t spend much of the movie feeling like I knew exactly where it’s going in terms of Rosa doing something to save the young boy and giving him a chance at a good life.

I hate to be cynical, but at times, this is so by the books, as if Ponti watched every Oscar movie and made one that had all the right elements to appeal to Oscar voters and wokesters alike. That aside, it does such a good job tugging at heartstrings that you might forgive how obviously formulaic it is.

Netflix is also premiering the fourth season of The Crown this week, starring Olivia Colman as Queen Elizabeth and bringing on board Gillian Anderson as Margaret Thatcher, Emma Corin, Helena Bonham Carter, Tobis Menzies, Marion Bailey and Charles Dancer. Quite a week for the streamer, indeed.

Another movie that may be in the conversation for Awards season is AMMONITE (NEON), the new film from Francis Lee (God’s Own Country), a drama set in 1840s England where Kate Winslet plays Mary Anning, a fossil hunter, tasked to look after melancholic young bride, Charlotte Murcheson (Saoirse Ronan), sent to the sea to get better only for them to get into a far more intimate relationship.

I had been looking forward to this film, having heard almost unanimous raves from out of Toronto a few months back. Maybe my expectations were too high, because while this is a well-made film with two strong actors, it’s also rather dreary and not something I necessarily would watch for pleasure. The comparisons to last year’s Portrait of a Lady on Fire (also released by NEON) are so spot-on that it’s almost impossible to watch this movie without knowing exactly where it’s going from the very minute that the two main characters meet.

Winslet isn’t bad in another glammed-down role where she can be particularly cantankerous, but knowing that the film would eventually take a sapphic turn made it somewhat predictable. Ronan seems to be playing her first outright adult role ever, and it’s a little strange to see her all grown-up after playing a teenager in so many movies.

The movie is just so contained to the one setting right up until the last 20 minutes when it actually lives the Lyme setting and lets us see the world outside Mary’s secluded lifestyle. As much as I wanted to love Ammonite, it just comes off as so obvious and predictable – and certainly not helped by coming out so soon after Portrait of a Lady. There’s also something about Ammonite that just feels so drab and dreary and not something I’d necessarily need to sit through a second time.

The animated film WOLFWALKERS (GKIds) is the latest from Tomm Moore and Ross Stewart, directors of the Oscar-nominated Secret of the Kells (Moore’s Song of the Sea also received an Oscar nomination a few years later.) It’s about a young Irish girl named Robyn (voiced Honor Kneafsey) who is learning to be hunter from her father (voiced by Sean Bean) to help him wipe out the last wolf pack. Roby then meets another girl (voiced by Eva Whittaker) who is part of a tribe rumored to transform into wolves by night.

I have to be honest that by the time I got around to start watching this, I was really burnt out and not in any mood to watch what I considered to look like a kiddie movie. It looks nice, but I’m sure I’d be able to enjoy it more in a different head (like watching first thing on a Saturday morning).

Regardless, Wolfwalkers will be in theaters nationwide this Friday and over the weekend via Fathom Events as well as get full theatrical runs at drive-ins sponsored by the Landmark, Angelika and L.A.’s Vineland before it debuts on Apple TV+ on December 11. Maybe I’ll write a proper review for that column. You can get tickets for the Fathom Events at WolfwalkersMovie.com.

Next up is Miles Joris-Peyrafitte’s DREAMLAND (Paramount), starring Margot Robbie as Allison Wells, a bank-robbing criminal on the loose who encounters young man named Eugene Evans (Finn Cole) in rural Dust Bowl era North Dakota and convinces him to hide her and help her escape the authorities by taking her to Mexico.

Another movie where I wasn’t expecting much, more due to the generic title and genre than anything else, but it’s a pretty basic story of a young man in a small town who dreams of leaving and also glamorizes the crime stories he read in pulps. Because of the Great Depression in the late ’20, the crime wave was spreading out across the land and affecting everyone, even in more remote locations like the one at the center of Dreamland.

The sad truth is that there have been so many better movies about this era, including Warren Beatty’s Bonnie and Clyde, Lawless and many others. Because of that, this might not be bad but it’s definitely trying to follow movies that leave quite a long shadow. The innocent relationship between Eugene and Allison does add another level to the typical gangster story, but maybe that isn’t enough for Dreamland to really get past the fact that the romantic part of their relationship isn’t particularly believable.

As much as this might have been fine as a two-hander, you two have Travis Fimmel as Eugene’s stepfather and another generic white guy in Garrett Hedlund playing Allison’s Clyde Barrow-like partner in crime in the flashbacks. Cole has enough trouble keeping on pace with Robbie but then you have Fimmel, who was just grossly miscast. The film’s score ended up being so overpowering and annoying I wasn’t even remotely surprised when I saw that Joris-Peyrafitte is credited with co-writing the film’s score.

Dreamland is fine, though it really needed to have a stronger and more original vision to stand out. It’s another classic case of an actor being far better than the material she’s been given. This is being given a very limited theatrical release before being on digital next Tuesday.

This might have been Netflix week, but maybe it could have been “Saban Films Week,” since the distributor also has three new movies. Actually, only two, because I screwed up, and I missed the fact that André Øvredal’s MORTAL was released by Saban Films LAST week. Not entirely my fault because for some reason, I had it opening this week, and I only realized that I was wrong last Wednesday. Oh, well. It stars Nate Wolff as Eric Bergeland, an American in Norway who seems to have some enigmatic powers, but after killing a young lad, he ends up on the lam with federal agent Christine (Iben Akerlie from Victoria).

This is another movie I really wanted to like since I’ve been such a fan of Øvredal from back to his movie Trollhunter. Certainly the idea of him taking a dark look at superpowers through the lends of Norse mythology should be right up my alley. Even so, this darker and more serious take on superpowers – while it might be something relatively unique and new in movies – it’s something anyone who has read comics has seen many times before and often quite better.

Wolff’s character is deliberately kept a mystery about where he comes from, and all we know is that he survived a fire at his farm, and we watched him kill a young man that’s part of a group of young bullies. From there, it kind of turns into a procedural as the authorities and Akerlie’s character tries to find out where Eric came from and got his powers. It’s not necessarily a slow or talkie movie, because there are some impressive set pieces for sure, but it definitely feels more like Autopsy of Jane Doe than Trollhunters. Maybe my biggest is that this is a relatively drab and lifeless performance by Wolff, who I’ve seen be better in other films.

Despite my issues, it doesn’t lessen my feelings about Øvredal as a filmmaker, because there’s good music and use of visual FX -- no surprise if you’ve seen Trollhunters -- but there’s still a really bad underlying feeling that you’re watching a lower budget version of an “X-Men” movie, and not necessarily one of the better ones. Despite a decent (and kinda crazy) ending, Mortal never really pays off, and it’s such a slog to get to that ending that people might feel slightly underwhelmed.

Seth Savoy’s ECHO BOOMERS (Saban Films) is a crime thriller based on a “true story if you believe in such things,” starring Patrick Schwarzenegger as Lance, a young art major, who falls in with a group of youths who break into rich people’s homes and trash them, also stealing some of the more valuable items for their leader Mel (Michael Shannon).

There’s a lot about Echo Boomers that’s going to feel familiar if you’ve seen Sofia Coppola’s The Bling Ring or the heist movie American Animals from a few years back, but even with those similarities, Seth Savoy has a strong cast and vision to make more out of the fairly weak writing than another director might manage. Schwarzenegger, who seems to be pulling in quite a wide range of roles for basically being another generic white actor is only part of a decent ensemble that includes Alex Pettyfer as the group’s ersatz alpha male Ellis and Hayley Law (also great in the recent Spontaneous) as his girlfriend Allie, the only girl taking part in the heists and destruction. Those three actors alone are great, but then you add Shannon just doing typically fantastic work as more of a catalyst than an antagonist.

You can probably expect there will be some dissension in the ranks, especially when the group’s “Fagan” Mel puts Lance in charge of keeping them in line and Allie forms a friendship with Lance. What holds the movie back is the decision to use a very traditional testimonial storytelling style where Lance and Allie narrate the story by relaying what happened to the authorities after their capture obviously. This doesn’t help take away from the general predictability of where the story goes either, because we’ve seen this type of thing going all the way back to The Usual Suspects.

While Echo Boomers might be fairly derivative of far better movies at times, it also has a strong directorial vision and a compelling story that makes up enough for that fact.

In theaters this Friday and then On Demand and Digital on November 24 is Eshom and Ian Nelms’ action-comedy FATMAN (Saban Films/Paramount), starring Mel Gibson as Santa Claus and Walton Goggins as the hired assassin sent to kill him by a spoiled rich boy named Billy (Chance Hurstfield) who unhappy with the presents he’s being brought for Christmas.

While we seem to be surrounded by high concept movies of all shapes and sizes, you can’t get much more high concept than having Mel Gibson playing a tough and cantankerous* Kris Kringle (*Is this the week’s actual theme?) who is struggling to survive with Mrs. Klaus (played by the wonderful Marianne Jean-Baptiste from In Fabric) when they’re given the opportunity to produce military grade items for the army using his speedy elf workshop. Unbeknownst to the Kringles, the disgruntled hitman who also feels he’s been let down by Santa is on his way to the North Pole to fulfill his assignment.

You’ll probably know whether you’ll like this movie or not since its snarkier comedic tone is introduced almost from the very beginning. This is actually a pretty decent role for Gibson that really plays up to his strengths, and it’s a shame that there wasn’t more to it than just a fairly obvious action movie that leads to a shoot-out. I probably should have enjoyed Goggins more in a full-on villainous role but having been watching a lot of him on CBS’ The Unicorn, it’s kind of hard to adjust to him playing this kind of role. I did absolutely love Marianne Jean-Baptiste and the warmth she brought to a relatively snarky movie.

I’m not sure if Fatman is the best showing of Eshom and Ian Nelms’ abilities as filmmakers, because they certainly have some, but any chance of being entertaining is tamped down by a feeling the filmmakers are constantly trying to play it safe. Because of this, Fatman has a few fun moments but a generally weak premise that never fully delivers. It would have thrived by being much crazier, but instead, it’s just far too mild.

Malin Åkerman stars in Paul Leyden’s CHICK FIGHT (Quiver Distribution) as Anna, a woman unhappy with her life and inability to survive on the little money she makes at her failing coffee shop. When Anna’s lesbian traffic cop friend Charleen (Dulcé Sloan) takes her to an underground fight club, Anna her trepidation about joining in, because she has never been in a fight in her life. Learning that her mother has a legacy at the club, Anna agrees to be trained by Alec Baldwin’s always-drunk Murphy in order to take on the challenges of the likes of Bella Thorne’s Olivia.

Another movie where I’m not sure where to begin other than the fact that I’m not sure I’ve seen a movie trying so hard to be fun and funny and failing miserably at both. Listen, I generally love Akerman, and I’m always hoping for her to get stronger material to match her talents, but this tries its best to be edgy without ever really delivering on the most important thing for any comedy: Laughs. Sure, the filmmakers try their best and even shoehorn a bit of romance for Anna in the form of the ring doctor played by Kevin Connolly from Entourage, but it does little to help distinguish the movie’s identity.

Listen, I’m not going to apologize for being a heterosexual male that finds Bella Thorne to be quite hot when she’s kicking ass in the ring. (I’m presuming that a lot of what we see in her scenes in the ring involves talented stuntwomen, but whoa! If that’s not the case.) Alec Baldwin seems to be in this movie merely as a favor to someone, possibly one of the producers, and when he disappears with no mention midway through the movie, you’re not particularly surprised. Another of trying too hard is having Anna’s father Ed (played by wrestler Kevin Nash) come out as gay and then use his every appearance to talk about his sex acts. Others in the cast like Fortune Feimster seem to be there mainly for their bulk and believability as fighters.

Ultimately, Chick Fight is a fairly lame and bland girl power movie written, directed and mostly produced by men. I’m not sure why anyone might be expecting more from it than being a poorly-executed comedy lacking laughs.

And yet, that wasn’t the worst movie of the weekend. That would be Andrzej Bartkowiak’s DEAD RECKONING (Shout! Studios). Yes, the Polish cinematographer and filmmaker who once made the amazing Romeo is Bleeding, starring Gary Oldman and Lena Olin, has returned with a movie with the onus of a premise that reads “a thriller inspired by the Boston Marathon bombing in 2013.” No, I did not make that up. It mostly takes place in Nantucket, Massachusetts, which I guess is sort of close to Boston, but instead it focuses on the relationship between teens Niko (K.J. Apa) and Tillie (India Eisley), the latter whose parents died in a plane crash that might have been caused by a terrorist. It just so happens that Niko’s brother Marco (Scott Adkins) is an Albanian terrorist. Coincidence? I think not!

Once you get past the most generic title ever, Dead Reckoning is just plain awful. I probably should have known what to expect when the movie opens with Eric “Never Turned Down a Job” Roberts, but also, I strong feel that Scott Adkins, better known for his martial arts skills, is easily one of the worst actors ever to be given lines to say in a movie. And yet, somehow, there are even worse actors in this movie. How is that even possible?

Although this presumed action movie opens with one of three or four fight sequences, we’re soon hanging out on the beach with a bunch of annoying teenagers, including Tillie, who is drowning the sorrow of recently losing her parents by literally drinking constantly in almost every single scene. When she meets the handsome Eastern European Niko, we think there’s some chance of Tillie being saved, but it isn’t meant to be.

Part of what’s so weird is that Dead Reckoning begins in territory familiar to fans of Barkowiak’s movies like Exit Wounds, Cradle 2 the Grave and Maximum Impact but then quickly shifts gears to a soppy teen romance. It’s weird enough to throw you off when at a certain point, it returns to the main plot, which involves Adkins’ terrorist plot and the search by FBI Agent Cantrell (played by James Remar) to find the culprit who killed Tillie’s parents. Oh, the FBI agent is also Tillie’s godfather. Of course, he is.

Beyond the fact that I spent much of the movie wondering what these teens in Nantucket have to do with the opening scene or the overall premise, this is a movie that anything that could be resembling talent or skill in Barkowiak’s filmmaking is long gone. Going past the horrendous writing – at one point, the exasperated and quite xenophobic Cantrell exclaims, “It’s been a nightmare since 9/11... who knows what's next?” -- or the inability of much of the cast to make it seem like anyone involved cares about making a good movie, the film is strangled by a score that wants to remind you it’s a thriller even as you watch people having fun on the beach on a sunny day.

Eventually, it does get back to the action with a fight between Cantrell and Marco… and then Marco gets into a fight with Tillie’s nice aunt nurse Jennifer where she has a surprisingly amount of fighting skills. There’s also Nico’s best friend who is either British or gay or both, but he spends every one of his scenes acting so pretentious and annoying, you kind of hope he’ll be blown up by terrorists. Sadly, you have to wait until the last act before the surfboards are pulled out. (Incidentally, filmmakers, please don’t call a character in your movie “Marco,” especially if that character’s name is going to be yelled out repeatedly, because it will just lead to someone in the audience to yell out “Polo!” This is Uwe Boll School of Bad Filmmaking 101!)

The point is that the movie is just all over the place yet in a place that’s even remotely watchable. There even was a point when Tillie was watching the video of her parents dying in a car crash for the third or fourth time, and I just started laughing, since it’s such a slipshod scene.

It’s very likely that Dead Reckoning will claim the honor of being the worst movie I’ve seen this year. Really, the only way to have any fun watching this disaster is to play a drinking game where you take a drink every time Eisley’s character takes a drink. Or better yet, just bail on the movie and hit the bottle, because I’m sure whoever funded this piece of crap is.

Opening at New York’s Film Forum on Wednesday is Manfred Kirchheimer’s FREE TIME (Grasshopper/Cinema Conservancy), another wonderful doc from one of the kings of old school cinema verité documentary filmmaking, consisting of footage of New York City from 1960 that’s pieced together with a wonderful jazz score. Let me tell you that Kirschheimer’s work is very relaxing to watch and Free Time is no exception. Plus the hour-long movie will premiere in Film Forum’s Virtual Cinema, accompanied by Rudy Burckhardt’s 1953 film Under the Brooklyn Bridge which captures Brooklyn in the ‘50s.

Also opening in Film Forum’s Virtual Cinema Friday is Hong Khaou’s MONSOON (Strand Releasing) starring Henry Golding (Crazy Rich Asians) as Kit, who returns to Ho Chi Minh City for the first time since his family fled after the Vietnam War when he was six. As he tries to make sense of it, he ends in a romance with Parker Sawyers’ American ex-pat and forms a friendship with a local student (Molly Harris). Unfortunately, I didn’t have the chance to watch this one before finishing up this column but hope to catch soon, because I do like Golding as an actor.

I shared my thoughts on Werner Herzog and Clive Oppenheimer’s FIREBALL: VISITORS FROM DARK WORLDS, when it played at TIFF in September, but this weekend, it will debut on Apple TV+. It’s another interesting and educational science doc from Herr Herzog, this time teaming with the younger Cambridge geoscientist and “volcanologist” to look at the evidence left behind by meteors that have arrived within the earth’s atmosphere, including the races that worship the falling space objects.

Opening at the Metrograph this week (or rather on its website) is Shalini Kantayya’s documentary CODED BIAS, about the widespread bias in facial recognition and the algorithms that affect us all, which debuted Weds night and will be available on a PPV basis and will be available through November 17. The French New Wave anthology Six In Paris will also be available as a ticketed movie ($8 for members/$12 for non-members) through April 13. Starting Thursday as part of the Metrograph’s “Live Screenings” is Steven Fischler and Joel Sucher’s Free Voice of Labor: The Jewish Anarchists from 1980. Fischler’s earlier doc Frame Up! The imprisonment of Martin Sostre from 1974 will also be available through Thursday night.

Sadly, there are just way too many movies out this week, and some of the ones I just wasn’t able to get to include:

Dating Amber (Samuel Goldwyn) The Giant (Vertical) I Am Greta (Hulu) Dirty God (Dark Star Pictures) Where She Lies (Gravitas Ventures) Maybe Next Year (Wavelength Productions) Come Away (Relativity) Habitual (National Amusements) The Ride (Roadside Attractions, Forest, ESX) Jingle Jangle: A Christmas Journey (Netflix) Transference: A Love Story (1091) Sasquatch Among the Wildmen (Uncork’d) All Joking Aside (Quiver Distribution) Secret Zoo (MPI Medi Group/Capelight Pictures)

By the way, if you read this week’s column and have bothered to read this far down, I think you’re very special and quite good-looking. Feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

#Movies #reviews #Mank #TheClimb #Freaky #Fatman #Heartland #Mortal #EchoBoomers #VOD #Streaming #TheLifeAhead #HillbillyElegy

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VeeR VR: Are VR Games Worth Buying Yet

If you were to ask a random person about Virtual Reality (VR), the first thought they’d have in mind is probably games. VR is particularly suited for gaming because of its power of immersion. In a way, no art can better utilize the potential of virtual reality than Gaming itself (yes, Gaming is an interactive art) – an experience that’s meant to be both immersive and interactive.

Looking at the greater picture, the whole VR gaming industry is, very much, at an early stage. We see loads of games on PSVR, OCULUS, and VIVE (hundreds, big or small). But as Ian Birnbaum from Motherboard put it over a year ago, “buying a new headset is a decision that should be justified by great content, which isn’t really here yet.” Frankly, most VR games are interesting developer experimentations… but errr (how do I put it elegantly)… disappointing consumer products. Sometimes, controls aren’t great, other times graphics are horrible, and worst case scenario, people just get bored from playing them after messing around for 20 minutes, thinking “well, that was enough of VR gaming.”

After investing hundreds of dollars on a VR headset, customers expect a completely new sort of experience made possible only by virtual reality. Plain and simple, but a hard measure to reach. It’s very promising, though – as of December 2017, we have many cases where the games have really stood out because of their VR capabilities.

Here, we break down (VR) games into six notable categories with selected examples. And I really mean to ask you guys this question –

Are VR headsets backed with enough interesting games to be worthy of purchase?

I think, from a pure game consumer point of view, these ‘categories’ are also important factors for game developers to consider in designing games. Often games combine elements from multiple categories. Since each factor brings a different experience to the table, what sort of mixed experience are you trying to create? and how should every detail (plot, character, visual, audio, control…) help to realize that?

I. High Sociability

If we assume VR gaming will become a common household activity, which likely will, games that are specifically targeted to fulfill a basic social need certainly has a market. Now, if you are thinking, “Oh! I’ve always liked getting on COD with my buddies,” then you are thinking wrong. There are games that are more fun to play with friends, like COD, but there are games considered fun only because it’s a social game (can you have fun playing King’s Cup, or Hide and Seek by yourself?… well if you still can, you should probably see a psychiatrist).

The main selling point of this kind of game, simply put, is to really just hang out with friends. The environment, character, and objective are there to support the “hanging out.”

Star Trek: Bridge Crew

[youtube https://www.youtube.com/watch?v=romB8e5nMp8?start=82]

Apart from being a “Star Trek thing,” this game is all about sitting back with a circle of friends. You can follow the objective, sure, OR, why not just mess around and make each other laugh?

Werewolves Within

[youtube https://www.youtube.com/watch?v=SxKy2lrGBBQ]

Werewolves Within is based on the old party game Mafia. Instead of meeting up physically, you can just “teleport” into a virtual world together and have a fun game night.

II. ‘Superhero’ Experience

By ‘superhero’ I really mean a badass main character in a reasonably engaging story. And in some cases, you are a known superhero, like the Batman. Superheroes sell as comic books, movies, TV series, and now, VR games. It not old because you can actually become a superhero in VR. It sounds like a simple concept but to make the experience realistic is a big challenge, especially with the locomotion options and control schemes currently available for VR.

Batman Arkham

[youtube https://www.youtube.com/watch?v=QRfxn_WjDKE]

Batman Arkman has done a really good job in the details to bring the Batman experience to life – the visuals, sound effects, and just cool things you get to do as the man himself. Wait till you try it to make up your mind about this game because the trailer doesn’t quite deliver the awesomeness.

Another noteworthy game in this category is Arizona Sunshine, not exactly a “superhero,” but you do get to be a cowboy in a zombie apocalypse story.

III. Skill-Based/Competitive Gaming

Some games are better in VR because of the immersion it brings, others are better because a regular PC or console setup cannot achieve or utilize certain skills. Competitive games usually have a rank/stats system installed to help players motivate themselves to get better. PC/console games can try to be as realistic as they can, but certain actions simply can’t be done on those – checking what’s going on to your left but point the gun at an enemy on the right, and peeking around the corner, for instance. These are either natural or calibrated human actions in competitive situations. Sports games, too, fall into this category. When crosshair and line of sight controls are separated (sight by head movement, crosshair with controller), players can multi-task like never before. I genuinely believe that VR will come to establish a competitive gaming culture in the near future, like how CS: GO and League of Legends are to the PC world.

Eve Valkyrie

[youtube https://www.youtube.com/watch?v=Bdp-KW83a78]

In this live stream recording, notice how the player can check a certain direction before making a commitment to move. This movement is very much natural and it makes a big difference in action-packed competitive gaming. It’s a true test of player’s skills.

IV. Appeal To Exploration

We have seen plenty of games alike – from the good old Minecraft to massive productions like No Man’s Sky. These games speak to the audience because players get to be excited about the exploration itself. It is not for everyone, I suppose, since these games provide no apparent objective to ‘win’. In the case of VR, players get to be completely immersed in a new world – think ‘Oasis’ from Ready Player One.

Elite Dangerous

[youtube https://www.youtube.com/watch?v=zaE16Ldpel4]

This game has been around for a few years, and the VR version has seen a lot of improvements. Comparatively, Elite Dangerous has quite a steep learning curving, inasmuch it throws some people off at a first try if easily discouraged by the ‘complexity’ of it all. But if you like space explorations, this game will not disappoint you after just putting in a little more patience. The graphics and sound effects are simply astonishing. And you have got a whole Universe to explore. Additionally, if you do not mind paying a little extra, HOTAS controller is most definitely worth the investment – it’s a controller that mimics the in-game spaceship controls. See a HOTAS demo here.

V. Horror

There are things you wish to never experience in real life, but the idea of having a try, in VR especially, can be appealing. Horror game has been more or less a genre of its own since the start: 1) they are usually built for a one time experience, not worrying about replayability. 2) like theater, each moment, scene needs to be well-choreographed. 3) almost exclusively single player. 4) a good horror game employs various psychological trickeries rather than excessively use jump scares. VR can only help to amplify that horrifying experience.

Paranormal Activity

[youtube https://www.youtube.com/watch?v=Qsna1ChGt0E] As a big fan of P.T.(Silent Hills Playable Teaser) myself, a highly acclaimed horror game that has been canceled, I see many resemblances to P.T. in Paranormal Activity. P.T. is just a brilliant game with hardly any jump scare. With masterful plays of visual and audio effects, it overwhelms players with fears they’ve created in their own head, but not so much to the point you’d want to just quit. In a way, paranormal Activity feels very much like a VR upgrade of P.T.

VI. Experimental

Let’s scratch everything, and create an experience that’s not-of-this-ordinary-world, original, interesting, never seen before, and totally unique. In VR, developers can focus on creating a world based on their own ‘laws of physics.’

Stifled

[youtube https://www.youtube.com/watch?v=c6FlnZGWk3M?start=225]

Stifled is a voice-controlled horror game. As the player, you are stranded in a bizarre world where everything’s seen through voice and echo. The intricacy lies in finding a balance between staying hidden from the enemy while having no idea of what’s around you, and taking the risk of attracting unwanted attention to have a better sense of your surroundings.

Are you tempted to buy a headset? I guess it’s your own decision in the end. I will say, however, if you haven’t gotten one, now wouldn’t be a bad time to start looking. Many new games are in development for 2018 release. [youtube https://www.youtube.com/watch?v=im_l8fIvwb4]

Interested in Promoting Your VR Game?

Games or movies, a VR/360° trailer is a powerful way to engage your audience:

The Conjuring 2

This was made to promote the home-entertainment release of Conjuring 2.

VeeR is a free global VR community where many companies have used for marketing/promotion, including Warner Bros. Pictures, Associated Press, CCP Games, LinkedIn, EuroNews, RussiaToday, CNBC, PintaStudios and etc.

originally from VeeR VR Blog: Are VR Games Worth Buying Yet

#vr games #virtualreality #vr video

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