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love-fireflysong · 4 years

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Day 8: Seasons

Fandom: Until Dawn Character(s): Hannah Washington, Makkapitew Words: 2972 Rating: E (Cannibalism, graphic descriptions of blood and dead bodies, graphic descriptions of eating said bodies, possible descent of author’s sanity) Author’s Notes: So yeah. I think you can get what this is going to be about from the warnings and the character list. Because clearly when thinking of seasons, the next possible conclusion to draw on is obviously cannibalism. So, enjoy! :]

Just, be gentle. This is the first time I’ve ever tried writing horror, or in any person other than third. And as someone who isn’t particularly familiar with horror as a genre, this was an experience and a half let me tell you.

WINTER

Winter is cold. It bites at your skin and leaves your eyelashes frozen with tears. You want to keep crying, but your eyelashes are already so full of ice and snow that none come out anymore. It just makes you want to cry more.

How long have you been crying down here, trapped in the mines?

The days would have started to merge together. If not for the scraps of paper and burnt charcoal you had managed to find on what may have been the second or third day, you would have no idea. But the tally marks say four days, then eight, then two weeks, a month.

You must be so lonely, down here on your own.

Except you’re not, Beth is here with you. Just like she always is. Always was. You had to steal her sweater first, just to keep the cold off, another layer couldn’t hurt after all. But then it turned into her pants, then her socks, her shirt. Anything to keep the cold off. The pants hurt the most, sliding them over your broken and mangled leg had let out shrieks and and cries you weren’t aware you were capable of making. Sometimes you can hear voices from above, from the cliff where you fell. Shouts and yells and cries and screams and howls. You’re not sure it helps the loneliness, or makes it worse. When the calls stop coming, you’re not sure if you’re relieved or not.

When did you bury her?

Beth? You want to say not long after the first week. You’d like to think that you would have buried her sooner, but your muscles are so weak, and you’re so tired, always so, so tired now, and it took a couple of days to dig the shallow grave you needed. Your fingers are black with the cold when you grip the piece of wood you used to methodically scrape away every inch of clay that you could. Finally, you were able to bury her, almost as naked as the day she was born, into the shallow pit and you used your makeshift shovel as a grave marker. She rests there by the underground pool. She had always loved swimming.

When was the last time you ate?

You remember eating a bag of chips sometime before dinner, back when you were still at the lodge. Safe and warm and Beth still alive. You had skipped dinner that night, still full from chips, and Sam had chastised you for it. You had laughed then, promising to eat a small snack before you went to bed that night. That she was worrying too much.

Except you never got to go to bed that night, or have that snack. Instead, Mike had played with your affections and humiliated you in front of everyone else. They had all been laughing—laughing at you—and you ran to escape the jeers. Ran outside, and ran off a cliff. You wish you had had supper that night after all.

You’re so very hungry.

Drank?

You’ve been drinking some of the water in the pool nearby, dragging yourself to it a little as you can manage. The water is brackish, stagnate, and so cold it burns your blackened fingers and throat. It helps, until it doesn’t. Not long after drinking you always puke it back up it. You can feel your stomach turning itself inside out with every heave, ejecting nothing but the brackish water and bile. There is nothing inside your stomach otherwise.

You’re so very thirsty.

You really should eat something.

But there is nothing to eat.

But there is.

No there isn’t. You’ve tried. You can sometimes hear the skittering of mice on the floor of the mines, but you cannot catch them. They are too fast, too small, and you are too weak.

But there is.

You don’t understand.

Yes, you do.

No, you don’t. You don’t want to.

But you will die if you don’t.

No. Nononononono!

She protected you by giving you her clothes.

But you’re not wearing her clothes, not anymore. The layers were once fine, but it was too much a couple of days ago. It brought relief for a little while, but you’re not even wearing yours now. All you’re dressed in now is your underwear. You would have take those off, but the shame of Josh, or worse Mike, finding you dead and naked is enough to make you endure the heat. You would rather die than have Mike see you naked.

She can still keep protecting you anyways.

You don’t want to. But you find yourself dragging your emancipated body over to where you buried Beth. With shaking fingers—from fear? from exhaustion? from anticipation?— you grab the makeshift cross, and begin to once again scrape away at the clay. Inch by inch you get deeper until you see the first traces of the pallid grey frozen skin of your twin. Even without your glasses, you can make out the dead, milky white eyes staring into nothingness.

Hurry. You need to feed. There isn’t much time left.

You remember the old knife where you had found the paper and charcoal and wood. You used it to carve BETH into the cross for the grave. But where had you put it? You can’t remember.

No time.

Murmuring apologies under your breath, you grab her arm—stiff, lifeless, cold—and sink your teeth into the skin. The skin is tough, but your teeth are sharper then you remember them being, so they pierce easily enough.With a lurch you rip a piece away, but meat is dead and dry in your mouth. There is no blood. She has been dead and frozen for so long that it has frozen with her. You don’t know it that makes it better or not. You struggle to swallow. The tears burn as they fall down your face, the first bit of heat you’ve felt in ages.

Yes. Feed. You need to gather your strength.

(You’re not sure how long you’ve been thinking in second person now. But it helps keep some of the loneliness at bay, so you don’t mind it too much.)

SPRING

Spring is life. For most of the winter you were stuck beneath the mines. You were still too weak to leave and there was nothing to hunt. Only the body of your sister, and you had to ration that so you wouldn’t starve. But it has been months since then, and now you can hunt.

How do you feel?

Your limbs have started to elongate, and when you ran your hand through your dark hair, strands had fallen out in chunks. It doesn’t bother you has much as you would have thought. Your broken leg has healed as well, though it doesn’t quite look the same as the other. It’s just as long, the limb just as ashy-grey, but it bends a little too sharply.

Climb. You need to hunt. The sun has set. The night is yours.

It’s awkward to walk on, so you don’t. It doesn’t hurt necessarily, it’s just uncomfortable. You prefer to leap or hop as you scramble up the loose and broken rocks at the base of the cliff side where you had fallen. Soon enough, you reach the top.

Now, hunt. You need to hunt.

You take off into the wooded area of the mountain, enjoying the freedom you haven’t felt in so very long (not since you were forced off the cliff). You leap among the branches of the trees, searching for food. Anything would work. As long as it’s alive. You are so tired of dry meat, tough and tasteless from the cold.

There, over there. Do you see it?

You do. A flash of blue amongst the sea of reds and oranges and yellows that is your world now. The first cool color you’ve seen in so long. It’s a large elk, scavenging along the forest floor. It’s hot breath causing dried pine needles to scatter. It’s body thrumming with the blue signature of a creature alive and moving. A distant part of you realizes that your eyes have never been this sharp, that you’ve never been able to sense movement like this. You ignore it for the saliva pooling in your mouth, dripping out between your jagged, razor sharp teeth and down your chin.

Go. But be careful. It’s horns will still do some damage to you. You aren’t strong enough just yet.

Keeping the advice in mind, you carefully move through the trees, keeping quiet to not spook your first, fresh meal in ages. You freeze when the creature raises it’s head to sniff at the air, it’s muscles tensing, but with a snort it goes back to eating the dried twigs on the ground.

Now! Attack now!

You leap at the elk with a screech that echoes through the trees. It shoots its head up in fear and starts to bolt, but it is too late. Your claws dig into the the neck of the beast and you drag it to the ground with your weight. It tries to fight back, smashing its antlers back into your face, but your teeth are already in the process of ripping out its throat. it’s fear is unnerving—intoxicating—and a part of you cries for more.

No! You are moving too fast! Don’t you want to savour it?

But the blood is so warm. You didn’t realize how thirsty you still were, that your thirst had never been quenched when you were trapped down inside the mine, until now. Slowly, the creature’s breath lessens, its dark, beady eyes darkening until all life is gone. You are momentarily distraught that now it is dead, the fear you fed on it over. But you ignore it for the blood that draws you in.

It’s fine. We still have time.

Now you can feed. You rip into the carcass with your claws, pulling out organs and meat and blood that is still so very warm. The blood slides down your throat thick and hot and you have never drank anything so good in your life. The bones crunch beneath your teeth, working to suck every drop of marrow from them. The meat is thick so very fresh, every bite sending more warm blood into your mouth, the fat delicious. You slurp down the entrails, enjoying the way they slide down your throat.

(You have never felt so alive. The other you agrees.)

SUMMER

Summer is growth. Everything grows. Your knowledge of the mountain grows. The ability to hunt grows. Your skin, while still the ashy grey of the dead and frozen, has grown tough and impenetrable. Soon, even the variety of food on the mountain grows as well.

It has been ages since our last meal.

They’re right. It has been. You took down and ate a bear, large and fat from its meal of deer that it had been eating when you killed it. You like bear. It is the largest and most fierce predator of the mountain, everything fears the bear and it fears nothing. But that just makes the fear it does feel when you send your claws into it all the more satisfying and delicious.

You still kill too quick. You don’t give us enough time to savour it.

You know that. You’ve tried. But something in you just gets too excited (too horrified) at the sensation of fear and you end it before it has really begun. It’s fine though. Soon, you will both be able to truly enjoy a meal as it’s meant to be. But now, the sun is down, and the hunt begins anew.

And this prey, you like most of all.

Do you remember where we saw them?

Of course you do. You had been stalking them for ages now, waiting for a chance to strike. But they like to sit at the large fire every night and you don’t like the fire. The fire is too hot and burns, it is not nice and warm like blood. Fire reminds you of the burning you had been feeling just before you had first fed all those months ago.

Yes. Good. Remember that feeling. Fire will kill us both.

You spend the first couple of hours, roaming the mountain, hopping from tree to tree, keeping an eye out for your next meal. You do not go towards the northern end of the mountain. The north feels of death, not the death that you bring, but the death that comes to you.

It has brought death to both of us before.

You find your prey quickly enough in the end, and it is your lucky night. They still have that cursed fire going, two of the one’s that look like you. But their skin is not ashy enough, their limbs too short, their hair too long. But the third is missing.

Quickly. We must find the third before they return.

You leave the site behind, leaping through the trees. You sense one of them turn towards the sound, but you ignore it, no matter how tempting the flash of blue is. Too close to the fire. Too dangerous. Not worth it. You do find the third one though. Further on from the others, facing the large red shape of a bush. Still too close to the others though. You need to lure them away. Further away.

It’s easy. We know what to do already.

(You do?) Of course you do. You move yourself so you’re even further from the other two prey, and you call down.

“Hey.”

Making the sound is odd. You haven’t used your voice other then to scream in so long. So the word sounds odd to your ears. Too gravely, too masculine, too fake.

“Huh? Dad?”

“Hey.”

“Why aren’t you back with Mom? Did something happen?”

“Hey.”

Not yet. Just a little longer. Then we will feed.

FInally, the figure moves, more then just the strange thin stream of blue, towards you. The aura is perfect and bright, and getting so, so close. And becoming more and more terrified.

“D-dad?”

“Hey.”

Finally—finally—you strike. And the figure screams. The scream fills you with ecstasy (horror) and power. The last thing they will ever see is claws and your bloody, sharp teeth as you reach towards them. You go to wrap your claws around them and drag them away, down to the mines, where I can peel away their skin and crack their bones and hold their slimy, grey entrails in my claws as I feast upon their meat and blood and fear as they scream and scream and scream and scream and scream and (MAKE IT STOP!)

Your claw strikes out and with a single swipe, their head falls from their neck. Eyes still wide in fright, mouth open in a wordless, voiceless scream. You make your own scream in frustration (satisfaction) and loss (victory).

“Rylee?!”

We need to go. Hurry!

“Rylee?! Are you okay?! Answer me!”

You grab the body by the ankle and drag it away towards your home in the lower reaches of the mine. The blood still pouring from the now empty neck leaving a trail behind you. You don’t care. You leave the head behind. You don’t care about that either. You have a meal again, that’s what’s important.

“Rylee?! Rylee?! Oh god, please. Please, please, please be okay. Not my baby, not my baby.”

You continue through the trees until you find the cliff and descend into its depths once again. You can hear two heartbreaking screams behind you.

But we don’t have a heart, do we?

(You do have a heart, don’t you?)

AUTUMN

Fall is change. The hunter, the one who wields fire, who has captured the others like me, knows I am here again. Has been hunting for me ever since.last season. But it’s okay. I was reborn in the mines, he doesn’t know the mines like I do. Like we do. Does he?

No he doesn’t. The mines are our home. (You don’t want them to be)

The better prey have been coming around less and less now. Some from the weather, some from the botched hunts. I haven’t been able to kill or take or maim as I should. Do you know why that is?

No, we don’t. (You do.)

I am meant to savour the fear, it is the most exquisite of flavours. It sweetens the meat so well, makes the marrow of the bones more fatty, the blood thicker and darker, and the entrails. Oh, the entrails. You would understand. If only you would let me!

We want to. We want to so bad. (Never. Never never never)

It’s fine, I suppose. We have all the time to make things better. Soon you will know the true taste of fear. Still though, you are more stubborn then most. Most fade off after a short time, and though you grow weaker, we will win in the end. I will win in the end.

We’re so tired. We want to sleep. (But you can’t.)

Someone is visiting my mountain though. Entering my hunting ground. I can feel them, see them occasionally. But the hunter is always too close, so I can’t get to them. It’s fine. It’s always fine. The one who lives in the center always brings more food with them. I mean, you were one of them. Did you know that?

More food? We’re so hungry. Always so hungry.

I know. I know. Just a little longer, and soon we will feast. I will grow fat off their fear and you will know what it truly means to be full. Or well, as close as we can get.

Just a little longer.

WINTER

Winter is death. I am death.

(You wish you died back in the mines.)

#pride month prompt challenge #my writing #until dawn #hannah washington #makkapitew #tw: death #tw: cannibalism #tw: violence #tw: hypothermia #just all the triggers #if you thought day 1 was sad #oh boy do i have a treat for you!#and look #its 2am #fucking knew it

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televinita · 4 years

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Books Read in 2019: The Why

In a tradition I accidentally started for myself and now quite enjoy, at the end of the year I look back at my reading list and answer the question, why did you read this particular book?

Below, the books are split into groups by target readership age, plus nonfiction at the end. This year I have added the category “how I heard of it” as well, because I just think that info is neat.

FICTION

The Visitor - K.L. Slater. 2018. Read because: Ten episodes of The Good Cop weren't enough, so I tried to find something w/ similar characters, and this looked kinda like "TJ as a slightly more withdrawn weirdo." By the time I realized it wouldn't work due to being British, I was too excited by the prospect of a thriller to stop.

How I heard of it: Googling keywords

Like the Red Panda - Andrea Seigel. 2004. The back cover and first few pages reminded me of a friend I had once.

How I heard of it: Library

The Lost Vintage - Ann Mah. 2018. What's that? You've got some secret family history/a mystery from the past to be solved using old personal papers, including a diary? My jams.

How I heard of it: Goodreads

The Asylum for Wayward Victorian Girls (4th ed.) - Emilie Autumn. 2017. I googled for books that promised unique formatting/art design, and Emilie Autumn has always been an intriguing enigma to me.

I Heard the Owl Call My Name - Margaret Craven. 1967. I know this title, but not why -- when I tripped over it in the teen* section and saw how tiny it was, I decided to find out what it was about. (*it's there because it's often taught in schools. It's here because its intended audience is adult.)

Escape - Barbara Delinsky. 2011. Went looking for an audiobook -- the cover with a woman standing on a small bridge amidst the woods drew me in (I can't find that cover on the internet though), and the idea of abandoning responsibility and driving off to a small town sounded like my dream.

How I heard of it: Library

Saul and Patsy - Charles Baxter. 2003. Another search result from my attempt to cast Josh Groban in a novel -- Midwestern-set and a man very much in love with his wife, no worries about the relationship being wrecked? Sweet! (though ultimately, I had to mentally recast)

How I heard of it: Googling

California - Edan Lepucki. 2014. Needed an audiobook. The title and green forest cover caught my eye, and the off-the-grid life + promise of a mysterious and possibly suspicious settler community described in the plot appealed to me.

How I heard of it: Library

The Lost Queen of Crocker County - Elizabeth Leiknes. 2018. Woman moves back home to rural Iowa in a book described as a "love letter to the Midwest"? Look at all these good choices.

How I heard of it: Library

All The Things You Are - Declan Hughs. 2014. Was looking for a different book w/ this title, but saw Spooky Dark House cover + wild summary and wanted to know how that could possibly happen / what the explanation was.

How I heard of it: Library catalog

Tumbledown Manor - Helen Brown. 2016. Cover love. A book about restoring a historic family manor?? BRING ME THERE.

How I heard of it: Library

The War Bride's Scrapbook - Caroline Preston. 2017. IT'S LITERALLY A SCRAPBOOK. I loved her other one like this.

How I heard of it: Goodreads

Miss Pettigrew Lives For A Day - Winifred Watson. 1938. Rewatched the movie and needed to relive an alternate take immediately (especially for more Michael).

How I heard of it: special features on the DVD

April & Oliver - Tess Callahan. 2009. This just screamed "(slightly less storybook) Ned/Chuck AU!!" [Pushing Daisies] at me. There was semi-platonic comfort-spooning in the second chapter, COME ON.

How I heard of it: Half Price Books

A Short Walk to the Bookshop - Aleksandra Drake. 2019. This looked like an even more solid Ned/Chuck AU, missing only the childhood connection/age similarity, with bonus fave keywords anxiety, widower, bookshop and dog.

How I heard of it: Googling

Girl Last Seen - Nina Laurin. 2017. Recently watched "Captive" and wanted a story of the aftermath from the captive's perspective.

How I heard of it: Goodreads (specifically, I looked up an older book by this title intending to check out related recs, but this came up first)

The Road to Enchantment - Kaya McLaren. 2017. Gorgeous cover/title + "single [pregnant] woman inherits late mother's ranch" = an alternate life I want to try on.

How I heard of it: Library

From Sand and Ash - Amy Harmon. 2016. Love between childhood best friends who can’t (well, aren’t supposed to) touch? Sounds like a Ned/Chuck AU to me!

How I heard of it: a book blog post

My Oxford Year - Julia Whelan. 2018. Always here for age-appropriate student/teacher romances -- I had this one saved for a while -- but read now specifically to cast David Tennant.

How I heard of it: Goodreads

The Reckoning at Gossamer Pond - Jaime Jo Wright. 2018. There's a mystery from the past being solved in the present. Also, "inherited hoarder's trailer" made me v. curious about what was inside.

How I heard of it: a book blog post

My Husband the Stranger - Rebecca Done. 2017. It's Find Books That Remind Me Of David Tennant's Roles Month, and this was my crack at "Recovery."

How I heard of it: Googling

The House on Foster Hill - Jaime Jo Wright. 2017. Fixing up a spooky abandoned historic house + solving a mystery from the past in the present!

How I heard of it: a book blog post

Broadchurch - Erin Kelly. 2014. Fell in love with the show, had to immediately relive it in text form.

How I heard of it: Goodreads

The Vanishing - Wendy Webb. 2014. Spooky historic mansion from a reliable author for the spookening season.

How I heard of it: looking up the author’s back catalog

The Scholar - Dervla McTiernan. 2019. The Ruin - Dervla McTiernan. 2018. "Hmmm looks kind of like (Irish) Broadchurch but where the detective character has a girlfriend to fuss over and worry about. Nice." Read out of order because the second one had more girlfriend content, and enjoyed it enough to go back for book 1.

How I heard of it: Googling

The Day She Died - Catriona McPherson. 2014. The cover looked perfect for the Spook Season/gloomy weather. Sign me up for insta-families and murder mysteries w/ MCs in possible danger any day.

How I heard of it: library (literally because it was right next to McTiernan)

Still Missing - Chevy Stevens. 2010. Collecting base material for when I play this scenario (abduction/prolonged captivity and its aftermath) out w/ TV characters I like.

How I heard of it: Goodreads

This Is How You Lose The Time War - Amal El-Mohtar & Max Gladstone. 2019. It sounded EXACTLY like a (genderbent) Doctor/Master or Crowley/Aziraphale relationship.

How I heard of it: a book blog post

The Tale of Halcyon Crane - Wendy Webb. 2010. Wanted an audiobook and I like this author (esp. for spook season).

How I heard of it: author’s back catalog

The Child Garden - Catriona McPherson. 2015. I liked her previous book and this setting looked even spookier and more atmospheric.

How I heard of it: author’s back catalog

Quiet Neighbors - Catriona McPherson. 2016. One last dip into this author...because what part of "woman gets a job organizing the books in 'the oldest bookshop in a town full of bookshops' + an old cottage to stay in" does not sound like my dream life?

How I heard of it: author’s back catalog

Doctor Who: The Nightmare of Black Island - Mike Tucker. 2006. After 2.5 months in a Ten/Rose spiral, the time was nigh to pluck one of their novels I didn’t get around to reading back in my original fandom heyday.

How I heard of it: can't remember

Misery - Stephen King. 1987. I just woke up one day and decided I was in the mood to try this infamous mother of all literary whumps.

How I heard of it: can’t remember

The Whisper Man - Alex North. 2019. Went looking for books that would remind me of the father/son dynamic in "The Escape Artist."

How I heard of it: Googling

Open Your Eyes - Paula Daly. 2018. Second crack at a "Recovery"-shaped novel (it failed instantly because I didn’t take the possibility of diversity into account, but suspense is still a good genre regardless).

How I heard of it: Googling

The Last - Hanna Jameson. 2019. "Dystopian psychological thriller" + the gorgeous hotel on the cover.

How I heard of it: Goodreads

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YOUNG ADULT

Blood Wounds - Susan Beth Pfeffer. 2011. Established quality author + (what I thought was a) thriller premise.

How I heard of it: author’s back catalog

Beware That Girl - Teresa Totten. 2016. I wanted an audiobook, and contemporary YA options are limited at the library. The mystery/thriller aspect sounded good enough to spend 8+ hours with.

How I heard of it: library

Trafficked - Kim Purcell. 2012. I am mystified/intrigued by domestic/non-sexual slavery, and have not seen the topic covered in YA.

How I heard of it: Goodreads

Wild Bird - Wendelin Van Draanen. 2017. I have long been fascinated by teen reform camps for girls in the wilderness.

How I heard of it: library

The Year of Luminous Love - Lurlene McDaniel. 2013. The Year of Chasing Dreams - Lurlene McDaniel. 2014.

The library didn't have Girl With the Broken Heart, but it did have a fat duology featuring similar elements of horses + tragic illness, and a trio of friends that called to mind Sisterhood of the Traveling Pants.

The Pull of Gravity - Gae Polisner. 2011. I was looking for quality male friendships, but the male/female friendship + road trip in this search result sounded like I could cast them as teen versions of Survivor contestants. I forget which ones.

How I heard of it: Googling

The Summer of Jordi Perez (and the Best Burger in Los Angeles) - Amy Spalding. 2018. Established quality author + bright cover, cool title, burger quest, MC's love of fashion and job in a clothing store, and summer in L.A. setting

How I heard of it: Goodreads

Tiger Eyes - Judy Blume. 1981. Found out Amy Jo Johnson was the mom in the movie version, decided to read the book as prep since once again, I knew the title, but not why I knew it.

Darius the Great Is Not Okay - Adib Khorram. 2018. I turned the internet upside down in search of books with quality male friendships, and was pointed here.

How I heard of it: Googling

Big Doc's Girl - Mary Medearis. 1941. Went looking for vintage stories of simple country girls who reminded me of Katharine McPhee's character in The House Bunny. (spoiler alert: this was not it even a little bit, why did I think it was)

How I heard of it: Googling

With Malice - Eileen Cook. 2016. Always here for random teen thrillers, including a fictionalized version of Amanda Knox.

How I heard of it: library

The Girls of No Return - Erin Saldin. 2012. Like I said, I'm big on girls reform camps in the wilderness.

How I heard of it: Goodreads

Hope Was Here - Joan Bauer. 2000. Needed an audiobook. This one was short and by a proven quality author.

How I heard of it: library

Rules of the Road - Joan Bauer. 1998. Best Foot Forward - Joan Bauer. 2006. Bought the first super-cheap a while ago because of the cover/road trip aspect/fascinating first few pages; read NOW to keep the Bauer train rolling, followed immediately by its sequel.

How I heard of it: Goodwill/Goodreads

Now Is Everything - Amy Giles. 2017. Interesting format, sympathetic-sounding main character (edit: What Makes You Beautiful - Ha Ha Ha version.mp3), potential for a sweet and protective romance.

How I heard of it: library

Radical - E.M. Kokie. 2016. Survivalist/prepper teen? Intriguing and underrepresented concept in YA.

How I heard of it: library

Hit the Road - Caroline B. Cooney. 2006. “It's spring, which means it's time to think about road trips.” Plus I just read a fun teen + old lady on the road book (Rules of the Road). It's thematic.

How I heard of it: library

I Am Still Alive - Kate Alice Marshall. 2018. I dig survival stories, especially in the wilderness, and this one was well recced.

How I heard of it: Goodreads

The Caged Graves - Dianne K. Salerni. 2013. Spook cover!! I MUST KNOW WHY THERE ARE CAGES OVER THESE GRAVES.

How I heard of it: library

Fancy Free - Betty Cavanna. 1961. Found cheap and will read this author always.

How I heard of it: antique store

Once And For All - Sarah Dessen. 2017. Stubborn determination to complete this author's canon and literally no other reasons.

How I heard of it: Goodreads

Wired Man and Other Freaks of Nature - Sashi Kaufman. 2016. People in the Goodreads reviews were mad that the guys were so close yet not gay for each other. That's the very specific male friendship wheelhouse I've been looking for! Plus I know this author can write teen boys in a way I can tolerate.

How I heard of it: Goodreads

Field Notes on Love - Jennifer E. Smith. 2019. Needed an audiobook and this was on display at the library; it looked cute and fluffy and I was ready for an antidote to the Dessen book.

How I heard of it: library

Midnight Sun - Trish Cook. 2017. Needed an audiobook and sick!lit seemed the most reliable of my options, given that previews for the movie had looked okay and it was real short.

How I heard of it: library

9 Days and 9 Nights - Katie Cotugno. 2018. Sequel to a book that drove me insane, but where I loved the writing style and was frustratingly fond of the characters so I Had 2 Know what happened next.

How I heard of it: Goodreads

Your Destination Is On The Left - Lauren Spieller. 2018. Attractive cover + keywords like "nomadic RV lifestyle," Santa Fe, post-high-school YA, and internship

How I heard of it: library

Weird Girl and What's His Name - Meagan Brothers. 2015. X-Philes?? In MY modern-day YA fiction?? (with a side of inappropriate age-mismatched relationship?) My interest is more likely than you'd think!

How I heard of it: library

All Out of Pretty - Ingrid Palmer. 2018. Attractive design + arresting first page piqued my curiosity

How I heard of it: library

Hitchhike - Isabelle Holland. 1977. Vintage book w/ a puppy on the cover, by an author I like.

How I heard of it: Goodreads

Send No Blessings - Phyllis Reynolds Naylor. 1990. Reread from high school after it came up on the What's The Name of That Book? discussion group; felt a strong pull of positive feelings but couldn't remember much.

How I heard of it: Goodreads

The Year of the Gopher - Phyllis Reynolds Naylor. 1987 Wanted better understanding of the source material before reading an essay about this book and the above in Lost Masterworks of Young Adult Literature.

How I heard of it: another book

Up In Seth's Room - Norma Fox Mazer. 1979 There was an essay about this in Lost Masterworks too. I had read it a long time ago and remembered NOT liking it, but figured I might as well revisit it to review on Goodreads.

How I heard of it: library

Blizzard's Wake - Phyllis Reynolds Naylor. 2002. Happened to be on the shelf when I checked to see what non-Alice books of hers the library had in stock, and figured as long I'm on a Naylor kick, this might as well happen. Mainly ‘cause I saw "deadly blizzard" on the back and was like "WOW this seems useful for my hurt/comfort scenario stockpile."

How I heard of it: library

A Whole New World - Liz Braswell. 2015. Seeing the new Aladdin trailer blew up my heart with FEELINGS for the original, so I went looking for a YA retelling. Can't believe I found an actual Disney-based retelling.

How I heard of it: Library catalog

After the Dancing Days - Margaret I. Rostkowski. 1986. The connection between Roy and the little girl in The Fall reminded me of this book, so I reread it specifically to visualize Andrew as Lee Pace.

How I heard of it: Library

There's Someone Inside Your House - Stephanie Perkins. 2017. I'll read most any teen thriller you throw at me. The more murders the better.

How I heard of it: Library

All the Forever Things - Jolene Perry. 2017. Loved the author's writing style on a previous book, but couldn't stomach the love triangle. Wanted to give her another chance.

How I heard of it: Library

Aristotle and Dante Discover The Secrets of the Universe - Benjamin Alire Saenz. 2012. Been on my TBR for a while because quality male friendship; read it now to see if I should keep or get rid of the dollar store copy I bought. (answer: get rid of. it's good but not amazing to me personally)

How I heard of it: Goodreads

The Hollow Girl - Hillary Monahan. 2017. Violent revenge fantasy against rapists? Especially to save the life of a guy you like who was brutally beaten during your assault? Heck yeah.

How I heard of it: Library

The Opposite of Love - Sarah Lynn Scheerger. 2014. The hurt/comfort potential was off the charts and it vaguely reminded me of Ryan/Marissa (the O.C.).

How I heard of it: Library

Sophomore Year is Greek to Me - Meredith Zeitlin. 2015. It just looked light and cute, like summer.

How I heard of it: Library

Girl Online On Tour - Zoe Sugg. 2015. Girl Online Going Solo - Zoe Sugg. 2016. Two sequels to a book I enjoyed.

How I heard of it: Goodreads

Plague Land - Alex Scarrow. 2017. Plague Land Reborn - Alex Scarrow. 2018. Always here for illness-based apocalypse/dystopia. Would have finished the trilogy but library doesn’t have book 3 yet.

How I heard of it: Library

Pretty Fierce - Kieran Scott. 2017. Spy daughter of spies running for her life along w/ doting boyfriend (named Oliver, a name that has never let me down in fiction)? The ship radar is sounding OFF.

How I heard of it: Library

The Leaving - Lynn Hall. 1980. Will read any LH book, but this one was small and easy to take on an overnight trip plus everything about the summary and first couple of pages drew me in.

How I heard of it: author’s back catalog

Speed of Life - J.M. Kelly. 2016. Beautiful cover, blue collar family, unusual premise (twin sisters co-parenting the baby one of them had, no dad in sight), and I love stories where teens are (essentially) head of household.

How I heard of it: Thrift Books

Freshman Year and Other Unnatural Disasters - Meredith Zeitlin. 2012. Looked light and cute, because it's back-to-school time and lately I've been enjoying study blogs from people just starting high school.

How I heard of it: Library

The Land of 10,000 Madonnas - Kate Hattemer. 2016. Unsupervised teens a-wanderin' through Europe? Sign me up for that vicarious wanderlust.

How I heard of it: Goodreads

A Thousand Boy Kisses - Tillie Cole. 2016. A romance w/ astronomical hurt/comfort potential. (spoiler alert it’s too sickly saccharine even for me)

How I heard of it: Goodreads

Hooked - Catherine Greenman. 2011. Random reread of a book I had come to believe should have been 4 stars rather than 3, but couldn’t remember well enough to feel confident in changing the rating without checking first.

How I heard of it: Library

Appaloosa Summer - Tudor Robins. 2014. Horsey YA + after years of it being on my TBR, the author saw me post about this fact and offered to send me a free paperback copy for review.

How I heard of it: Goodreads

I Stop Somewhere - T.E. Carter. 2018. I too identified as a girl my classmates would never notice was missing (moreso in college, but still). Plus it's getting close to Halloween, so time for spooky/true-crime-esque reads.

How I heard of it: library

What Waits in the Woods - Kieran Scott. 2015. An ideal spook setting for the spook season!

How I heard of it: Library

Illuminae - Amie Kaufman & Jay Kristoff. 2015. The formatting/art design just sounded cool and unique.

How I heard of it: a book blog post

Boot Camp - Todd Strasser. 2006. I went to the library to check out a different book of his, but this caught my eye because WHUMPITY WHUMP (with a side of pining for the teacher he had previously been in a relationship with).

The Last Trip of the Magi - Michael Lorinser. 2012. Picked up cheap at a book sale for the struggling-to-survive-a-winter-night-outside aspect.

A List of Cages - Robin Roe. 2017. Male friendship loaded with hurt/comfort.

How I heard of it: Goodreads

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MIDDLE GRADE

Sparrow Road - Sheila O'Connor. 2011. The setting -- an artist's retreat at an old mansion on sprawling estate grounds formerly used as an orphanage -- captivated me.

How I heard of it: a Little Free Library (outside of a mansion repurposed as an art council's center, actually)

Annie's Life in Lists - Kristin Mahoney. 2018. I LOVE LISTS.

How I heard of it: library

Hope is a Ferris Wheel - Robin Herrera. 2014. Still grinding my teeth over Dessen's Once and For All, I was desperate for a sweet middle grade story to refresh my palate. Gimme that bright cover. Ooh, and a trailer park kid?

How I heard of it: Library

The Education of Ivy Blake - Ellen Airgood. 2015. Prairie Evers - Ellen Airgood. 2012. Also intended as a Dessen antidote, I picked up the sequel first due to the incredibly charming excerpt on the back, and then fell so in love with the character and writing style I needed more of her world.

How I heard of it: Library

When You Reach Me - Rebecca Stead. 2009. Rave reviews from friends; mystery aspect sounded intriguing.

How I heard of it: Goodreads

Counting By 7s - Holly Goldberg Sloan. 2013. Picked up cheap at a fundraiser garage sale I wanted to support; seemed easily readable.

Summerlost - Ally Condie. 2016. Young!Ned/Chuck AU?? (spoiler alert: maybe if it wasn't so boring)

How I heard of it: Googling

Where The Heart Is - Jo Knowles. 2019. "Country girl taking care of the animals at a hobby farm across the road" = the childhood dream and also I wanted to ignore the summary and hope I could still get a Young!Ned/Chuck AU. How I heard of it: Library

The Wizards of Once - Cressida Cowell. 2017. Twice Magic - Cressida Cowell. 2018. First one: David Tennant reads the audiobook, and literally no other reasons.

Second one: Ah heck turns out I kind of loved how David Tennant read that audiobook and want more.

How I heard of it: Library catalog

My Sister Lives on the Mantelpiece - Annabel Pitcher. 2011. David Tennant reads the audiobook, and literally no other reasons.

How I heard of it: Library catalog

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NONFICTION

Seinology: The Sociology of Seinfeld - Tim Delaney. 2006. It's sociology, it's Seinfeld, what's not to love?

How I heard of it: Goodreads

Survivor: The Ultimate Game - Mark Burnett. 2000. At the beginning of the year I was obsessed w/ this show like never before, so a detailed recap of one of its seasons seemed like the ticket to complement that.

How I heard of it: Googling

Jungle: A Harrowing True Story of Survival - Yossi Ghinsberg. 1985. Loved the movie, wanted to relive it in text form.

How I heard of it: special features on the DVD

Lost Masterworks of Young Adult Literature - ed. Connie Zitlow. 2002. There was an essay about Send No Blessings in here. If that's the kind of book this book is about, I wanna hear all about it.

How I heard of it: Library catalog

Animals in Young Adult Fiction - Walter Hogan. 2009. From the same publishing line as the above, which I loved, I figured this was even MORE my specialized reading niche.

How I heard of it: Goodreads

Phantoms of the Hudson Valley - Monica Randall. 1996. When I have I ever NOT wanted to read about grand mansions of yesteryear -- especially if some are abandoned ruins?

How I heard of it: Goodreads

Seven Cats and the Art of Living - Jo Coudert. 1996. Picked up cheap at a library sale because cats (and the cute author-illustrated cover painting).

Psychic Pets and Spirit Animals: True Stories From The Files of Fate Magazine. 1996. Random reread of a childhood favorite.

How I heard of it: B. Dalton's (THAT’S how long I’ve had this book, y’all).

Extreme Couponing - Joni Meyer-Crothers with Beth Adelman. 2013. Who doesn't love saving money? But I am not very coupon-savvy and wanted to learn.

How I heard of it: Library

Cabin Lessons: A Tale of 2x4s, Blisters and Love - Spike Carlsen. 2015. Having the money/skill to build my own cabin on MN's north shore is a fun daydream.

How I heard of it: Library

The Little Bookstore of Big Stone Gap: A Memoir of Friendship, Community, and the Uncommon Pleasure of a Good Book - Wendy Welch. 2012. Opening a used bookstore is my impractical dream too.

How I heard of it: Library

Belonging: A German Reckons With History and Home - Nora Krug. 2018. Illustrated memoirs are always awesome.

How I heard of it: Library

The Astor Orphan: A Memoir - Alexandra Aldrich. 2013.

Rokeby was one of the estates that fascinated me in Phantoms of the Hudson Valley, and the content of this one took place around the same era that book was written.

How I heard of it: Goodreads

I'll Be There For You: The One About Friends - Kelsey Miller. 2018. Am I going to turn down "a retrospective" about one of my favorite shows?? I am not.

How I heard of it: Goodreads

Season Finale: The Unexpected Rise and Fall of the WB & UPN. 2007. Recommended after the above because I love hearing how network TV stations are built in terms of programming decisions.

How I heard of it: Goodreads

Paperback Crush: The Totally Radical History of 80s and 90s Teen Fiction - Gabrielle Moss. 2018. Take how I reacted to Lost Masterworks of Young Adult Literature, and multiply it by "fully illustrated with brightly colored pages." These are the kind of books I’m familiar with and always down to talk/hear about, but hardly anyone else is.

How I heard of it: Goodreads

#why i read #queued

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devilsknotrp · 5 years

Photo

Congratulations, Honey! You are accepted for the role of Mandy Silverman. This is another sample application for potential applicants to have a look at. You’ll notice that this is quite a long application, but that’s just how I write. You can do whatever you like with yours! If you have any questions about this application or any characters with a connection to Mandy, don’t hesitate to let me know.

OUT OF CHARACTER

Name: Honey Age: Twenty five Pronouns: She/her Timezone: GMT+11 Activity estimation: I essentially work full time and have several obligations, but this group is so tightly organised and planned that I’m confident in participating regularly on the dashboard and as an admin! My admin duties will always take precedence but I will be able to reply to threads several times a week. Triggers: (REDACTED)

IN CHARACTER: BASICS

Full name: Amanda “Mandy” Silverman Age (DD/MM/YYY): Thirty (02/03/1966) - Pisces (Sun), Virgo (Rising), Cancer (Moon) Gender: Cisgender female Pronouns: She/her Sexuality: Homosexual homoromantic Occupation: Adult Education Coordinator Connection to Victim: Mandy did not know the Goode family. She knew of them in the way all newcomers to Devil’s Knot are known: through rumor and glimpses in the Piggly Wiggly parking lot. Mandy had little to do with Linda; she’d seen David and Beth at school, when she’d gone in to meet Mary after work; but she’d never met Brian at all. Alibi: Mandy was at home that Saturday working on a craft project. She ran out of glue at around three, then walked into town to go to the craft store, where she spent a few dollars too many on a crocheting kit. She decided to pick up some coffee and doughnuts then walked back home, where she stayed for the rest of the day. Faceclaim: Elizabeth Olsen

WRITING SAMPLE

This is a self para written for the Mandy in 1984.

The Datsun.

It was such a shit little car. Really, it was. Sandy’s miscellaneous paraphernalia littered the dashboard. Her dad’s manuals and work shit stuffed beneath the front seats. Pete had stamped grubby hands all over the back windows - people asked them all the time if they had a dog. “No,” Mandy replied grimly, hoisting Pete up on one hip. “Just a kid.” The motor turned over more often than she could count, which would put her father, ever the optimist, into an agitated but vaguely amused mood. Him, hunched over the wheel, grinding the key, revving the engine, If I… could just... Then, Sandy, cranky and likely hungover, snapping from the passenger side: I told you we needed it serviced! They had about a thousand tapes in the center console, most of them in the wrong cases, with a mix that spanned from Bob Dylan to Pete’s ABC children’s songs. Them, zooming along a damp highway, rain splattering the glass, her dad cheerfully singing, The wheels on the bus go ‘round and ‘round! as Pete laughed in delight. Mandy tries to forget that she’d eventually lose her temper and shout, Can we turn this stupid shit off? as her mother mumbled, Amen, behind enormous sunglasses and a gas station Slurpee.

The Datsun, which was rotting away at the police station right this second. Mandy hasn’t asked when they’ll get it back. It’s evidence, that’s it. She has her bike or her skates and Sandy doesn’t leave the house unless she has a ride (Aisha pulling up front and blasting the horn; Sandy, clattering around gathering her things, muttering, Where’s my goddamn…). Their family car is nothing more than a shell, a marker in the Pete and Phillip Silverman’s trail to murder. Kind of like a pit stop. Wrappers marked with imaginary blood stains littering the cab floor. That clean-sour smell of nervous sweat. Her Dad was always a sweater, mopping his brow and fanning himself, Jeez, it’s hot today. Mandy kind of loved that about him. How when she was looking for him in a crowd, she just had to search for the slightly damp white button-down, the back of his nearly-balding head. His hair was soft, like down, and Pete’s was too. Two twin sandy blonde heads sitting in front of the television, Pete curled into his father’s side, Phillip slowly stroking back those baby-shampoo-soft curls.

So, yeah. The Datsun. Scene of family road trips and midnight grocery store emergencies. A wreck that managed to limp from point A to B, with her dad faithfully in the front, eager to drive her to friends’ houses or cheer practice or a competition two towns over. She still thinks about winding the windows down as far as they could go when they were on the highway. Her dad would look over, catch her eye, and grin in a way that made her think of him as a teenager, a young man, that cheerful abandon of youth that was infectious as a whisper, goose-bumps prickling her arms.

“Shall we see how fast this baby can go?” He’d yell, and Mandy would laugh and laugh: “Go, Dad, go!”

ANYTHING ELSE?

Here is my Pinterest board for Mandy (featuring ‘84 and ‘96 boards, because I’m that kind of person), and her account can be found here.

HEADCANONS

Mandy works at the Community Centre as an Adult Education Coordinator. Which is just a fancy way of saying she organises craft classes for senior citizens. Seriously. Mandy picked up the job mainly to get Sandy off her back. After commuting to Lansing to attend community college, her decision to drop out and live and work in Devil’s Knot was met, unsurprisingly, with a pointedly raised eyebrow and a loud slurp from a glass of wine. And Mandy knew, she just damn knew, that if she stuck around her childhood home any longer, she and Sandy would end up killing each other. The job isn’t taxing: she works a few days a week, has a desk up on the mayor’s floor in the Community Centre, and spends way too much time putting flyers together for their new pasta making courses or adult literacy classes. The administration is what really bothers her, because the students are lovely. Little old ladies she’s known for years; grandfathers who remember her father back in the day. Best of all, they like her. Mandy wouldn’t consider herself a charismatic person, but she is a patient one. She’ll listen to a grandmother’s story a thousand times, nodding in the right places, exclaiming, asking questions. She’s gentle. Around other people it can be a slightly different story. She’s not clipped, exactly, nor is she rude. But she is shy, and Mandy is naturally suspicious. When people stop her to talk, she hesitates. It would be too much to link that back to ‘84, although there’s little doubt that that October and the months that followed succeeded in severing her trust in adult figures for life. No, Mandy prefers to keep to herself, to the people she knows. It’s safer that way; controllable.

Mandy loves movies -- always has. Bobby, Mandy, and Perry always went on about music, talking rapturously about guitar solos and funky beats, all while Mandy pretended to grimace and trade teasing looks with Jenny and Mike. But movies. Mandy’s favourite genre is horror. Surprising, maybe, but she can’t get enough. Sci-fi is her second favourite. Her ritual is to go down to the Videoport on a Friday afternoon and stock up for the weekend. She trails down the aisles, fingers skating over the titles, looking for some weird German expressionist thing or a summer blockbuster she can zone out to. Mandy would hardly consider herself a connoisseur, but she has an encyclopedic knowledge for actors and actresses, and can name their filmography from memory just by looking at them. It’s like, one of her only talents.

Mandy enjoys cooking. She mainly enjoys cooking for Mary, who will always, without fail, praise her skills until Mandy’s rolling her eyes and begging her to stop. Even if it’s crap (which it is a lot of the time; God knows Sandy never taught her to cook; this was all the result of afternoon cable and Reader’s Digest), Mary will come up and hug her from behind, kissing the side of her neck, suffusing Mandy in warmth and her spicy perfume. That was so good. You’re so good to me. Doing things for people is Mandy’s way of showing she loves them. It doesn’t matter what it is -- laundry, vacuuming, cooking -- she’ll find herself doing things automatically. It’s a little funny that she’s turned into a housewife ever since moving out with Mary, but it’s also really damn nice. Mandy looks after their small apartment so tenderly. Watering the plants on the windowsill, buying kitsch ornaments from the thrift store, airing out their cramped bedroom in the spring sunlight. Much of Mandy’s life revolves around domestic duties. She picks up the mail, pays bills, goes grocery shopping. Mary comes too, of course, but doing things together in public can get difficult when all Mandy wants to do is kiss her deeply in the fruit and vegetable section. Mary’s full-time job is also demanding, and Mandy only works a few days a week (despite what you may believe, there are not that many adult education classes to organise; the biggest scandal was when they introduced a salsa class and everyone collectively lost their minds). Maybe, in some way, it’s Mandy’s way of holding up her end of their relationship. And maybe, in a deeper, smaller way, it’s also an excuse. If she’s busy, how can she possibly go back to college? Who’ll make apple crumble and fold the socks? Huh? The pixies? If this makes Mandy sound territorial, it’s because she is. She clings to these chores because it’s far easier than thinking about the alternative, which is to get off her ass and actually make something of her life. She’s thirty years old. Nearly thirty one. And she’s got absolutely nothing to show for it. That hurts more than anything. Maybe that hurts most of all.

Mandy is a lesbian. She knew. Even when she was a teenager, she sort of knew. She and Mike started dating when they were thirteen and just... kept going. Certain things seemed inevitable: prom, college, maybe even marriage. It was so simple to imagine her life with Mike, whose family, the Hawkers, were best friends with her parents; they’d all been born months apart; they were raised together. Most of Mandy’s childhood memories involve Mike and Mary, Jenny. They tumbled around together like puppies, climbing trees and having sleepovers. Then they started to grow up, and Mandy and Mike got together, and the atmosphere shifted a little. Mandy liked Mike. She did. Maybe she loved him, in a way. But it was so, so platonic, and the way she felt when she looked at Mary was anything but. Mary used to scare her; still does, sometimes. She was a force of nature and Mandy was the eye of the storm. Looking back, the signs were obvious, but then again, they always are.

Mandy used to dress the way people expected her to dress. T-shirts and jeans, bleached white sneakers and cheer uniforms. Not feminine enough to please Jenny, who’d wrinkle her nose and fondly say, “Mandy, are you kidding? You cannot wear that,” and not masculine enough for her dad, who’d hand her wrenches as he worked on the Cadillac on weekends, shooting sidelong glances at her squad jumper, mumbling, “You’ll get grease all over you, honey.” Scrunchies and high ponytails. Pale pink jackets and a signet ring Mike gave her when they were fourteen. Just enough to be acceptable; to be palatable. To blend in, fade away, be nothing at all. These days it’s the opposite: Mandy dresses like an amorphous blob. In fact, she’d rather people hazard a guess at what she really looks like underneath her oversized flannel shirts and huge boots. The more clothing she has on, the more protected she feels. Layers upon layers. Band shirts worn soft with too many washes; jeans more grey than black. She still has her pink jacket from high school (Mary hung it up in their wardrobe and shrugged when Mandy found it, saying, “You always looked cute, and I’m a sucker. So sue me.”) Mandy pulls her hair up and away from her face; she doesn’t wear make-up. Still has the signet ring, though. She’s a sentimental doofus, she knows.

Mandy loves arts and crafts. Pottery, weaving, knitting; painting, sketching, cooking. These are things that bring her peace, that quieten her inner world. Growing up, she wasn’t creative in the slightest. Mandy was decidedly pedestrian: the most creative thing she ever did was design banners for the cheer squad or doodle in the margins of her school notebooks. But after Pete was returned, she needed something, anything, to stifle the panic static in her brain. Countless nights were spent sitting on the couch in front of the television, Pete curled into her side, her doing finger knitting or making a collage, eyes darting between her project and the cartoon onscreen. Over the years she’s gotten better -- last winter she managed to knit Mary a hideous scarf -- but her hobbies were never pursued in the same vein as her other achievements. Mandy still remembers practicing for cheer for hours in the cold, or studying in her room until midnight, eyes dry and head aching, quietly panicking about a test the next day. Everything she did, she did obsessively. These days, Mandy just wants to be still. Their apartment is stuffed with half finished craft projects: stacks of coloured paper, jars of beads, wool in miscellaneous piles, flowers drying on the windowsill. Sometimes Mary will come home to find her sitting cross-legged at the kitchen table, a pot of sauce bubbling on the stove, Stevie Nicks in the background, Mandy carefully cutting out prints for her art journal. She started journaling when she was a teenager, mainly to help with her father’s murder and the stress of the subsequent trial, but it’s a habit that has followed her happily into adulthood. Mandy would be lost without her projects, her art. It’s a channel for everything she feels; it clarifies her. And it’s never undertaken with any attempt at perfection. Mandy’s learning, slowly, to let go of unattainable ideas. Life is messy. She’s trying to accept that about the world, herself.

Mandy failed community college. Well, it felt like she failed. In reality, she dropped out. There were only so many classes about psych and childhood trauma that she could take (and ironic, right? That she studied psych? Mandy remembers the day she flicked through the brochure to pick her classes, ticking boxes on the vague notion she’d specialise in children, maybe, in kids who’d been taken or abandoned, and help them find their childhood again). The people were too much. Tons of people like her -- great in high school, but not good enough for a decent college out of state -- and older people too, people who reminded her of her dad (not that he’d gone to college; he used to joke that that was all above his pay grade, No, no, I’m happy where I am! Although Mandy knew how avidly he poured over science magazines, and how impressed he was with Apple and that computer stuff. Maybe in another world he would have done something else, been someone great. Maybe it runs in the family). Mandy felt boring in turning down invitations to parties or even drinks down the campus bar. She’d cite anything -- Pete’s homework, the long drive home, dinner waiting -- and soon that got old. She felt old. Like she’d skipped the fun part of her twenties and jumped right into middle age. It didn’t help that everything after ‘84 melted her brain into goop. The minute Mandy received her final marks from school, she shoved the paperwork back into the envelope and hid it with her dad’s old things. The word failure pounded in her head. How did it happen? How could she have gone from mathletes and cheer to barely scraping by? To holding on by a thread? And why? Why did it all affect her so much; why was she such a damn baby about everything? Pete was back safe. That should have been enough, right? But his return didn’t come with everything. Somewhere between Pete disappearing and that Christmas, Mandy cut herself loose. Swapped SAT prep for making spaghetti for her returned little brother. Watching reruns on TV until it was way too late, tucking him into bed. Some nights she didn’t want to leave him, so she put out a sleeping bag on the floor by his bed between him and the door. Just in case. Mandy always wanted to go to Oberlin for one reason: it was far away from Devil’s Knot (and, okay, she liked the name). Ambition was a thing she wore because it fit, not because she liked it. Watching her dad’s face light up when she showed him her grades was reason enough to try hard; and studying with Bobby made her feel light, if only for a little while, them laughing and whispering about D&D campaigns, teasing each other like siblings. Being smart felt good, even if it didn’t come wholly naturally, and Mandy worked damn hard to keep it up. Giving it away should have been freeing. Instead, Mandy knows she disappointed everyone. She’s just another person who raced to the state line only to stop dead, toes at the edge, and feel fear prick the back of her neck.

#literate rp #original rp #dark rp #town rp #new rp #sample #accepted #mandy silverman

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booksandtea · 5 years

Text

Other Words for Smoke by Sarah Maria Griffin Genre: Fantasy | Horror | New Adult Length: 336 pages Published on 2nd April 2019 by Titan Books Purchase*: Amazon | Wordery | Blackwells *these are affiliate links Sarah Maria Griffin: Instagram | Twitter | Goodreads Received for free from publisher in exchange for an honest review + bought 2 copies myself

Synopsis: The house at the end of the lane burned down, and Rita Frost and her teenage ward, Bevan, were never seen again. The townspeople never learned what happened. Only Mae and her brother Rossa know the truth; they spent two summers with Rita and Bevan, two of the strangest summers of their lives… Because nothing in that house was as it seemed: a cat who was more than a cat, and a dark power called Sweet James that lurked behind the wallpaper, enthralling Bevan with whispers of neon magic and escape. And in the summer heat, Mae became equally as enthralled with Bevan. Desperately in the grips of first love, she’d give the other girl anything. A dangerous offer when all that Sweet James desired was a taste of new flesh…

Screams into the endless void about how this brilliant book with a theme of obsession is my current obsession. I first finished reading it on a Saturday night in March, I started re-reading it again the next morning.

I am not okay.

I love this book. [hi look at me being a mess on twitter 32 times]

I first heard about Other Words for Smoke when I attended an Waterstones Q+A Event of Sarah Maria Griffin and Christina Henry. Hearing these two talk was so much fun and I knew I’d have to read some of Sarah’s work because she had me awe-struck ok.

I reached out that night to Lydia about a review copy of OWFS and the rest is history. I’m history. I’m dead.

It’s like returning home, there’s a comfort I find in this book. I don’t think I’ll ever tire of it.

OWFS follows twins, Rossa and Mae, as they spend two summers with their Great-Aunt Rita, her teen ward Bevan, and a larger than life cat Bobby. In a house that is strange than meets the eye with a Sweet James, an owl living in the walls demanding his hunger be quenched.

There are two main sections to the book; the first Summer where the twins are 14 and get sent to avoid family disrupt. And the second Summer when the twins are 17 and return to Rita’s to escape their family divorce, older and more prepared to face the different type of horror that Rita’s house holds.

“How strange was this mutual, silent agreement that maybe something was badly wrong in Rita’s house, that they’d seen something awful there that they couldn’t quite name, but somehow they felt more able to manage that wrong than their parents.”

There are also some inbetween chapters which give us background development and the history of Rita, Audrey, Bobby, and James. As well as some key scenes from the twins in their years between the two summers.

(Its in this part that there is forced outing which I wasn’t a fan of, but its addressed and I’m happy with how Mae stood up for herself)

Rita is the best authority figure I’ve read about. She’s both motherly and caring but also a power to be fearer. She nurtures Mae’s exploration with magic and tarot reading, she helps shape Rossa into a more confident being.

“…if this thing was evil, then he was good, and he must be able to overcome it. He just had to find the courage – he knew it was in their somewhere, but he couldn’t grasp it.”

Rossa is the character I struggle most to talk about as realistically, I think I’m most like him. Or I would be in that house, faced with that danger and horror. I can’t see me ever being brave, I can see me struggle to keep a float, wanting to keep my sister safe, but not having the courage to face it. And feeling a bit of an outsider to the others in the house who’ve all formed a strong bond.

I think he is at his strongest when he’s not at ends with Mae. The two together have a great dynamic together in the book and I lived for the two supporting each other through the toughest times, and their sibling banter.

“A troupe of sunflowers, standing tall and there – there suddenly like a jewel on the lawn, Bevan sprawled out under the sun on a tartan blanket, her flat stomach to the sky. Her legs a hundred miles of tan.

Oh no.”

Bevan’s blonde hair and “her unfair, impossible legs” help Mae develop the strongest and ever-consuming of crush’s. Mae’s chapters were honestly my favourite to read because SMG has nailed down that First Crush obsession, how it engulfs your every fibre, and you want to do everything to leave a good impression – even allow them to pierce your ears, which terrifies you.

Bobby is a good soul whilst Mae battles with all these feelings engulfing her. He is larger than life, and more than what he seems. But his secret is something earned when the twins are ready and it takes Rossa a little longer to be welcomed into the coven.

“Love is the realest thing, Mae. The world around you will become realer the more you feel it. Doesn’t music sound better already? Isn’t there more meaning? There’s a reasons you had that song on loop. It’s deepened.”

Bevan is also a storm. Mae knows this, accepts it, and both loves and fears her. Bevan is ready to set the world on fire with her anger, confidence, and naivety. Her misplaced trust in Sweet James for a share of his power and “affection” is the moving force of the plot for OWFS.

You can’t read this book and not pick up on how Sweet James is a representation of toxic relationships. He manipulates and controls Bevan to cause harm to others, and later hopes she can set him free from his chains. He is nothing to be desired.

I found it very therapeutic to be able to reflect on how abusive he is as an outsider, whilst reading about how enticed and dependant Bevan is on him and his power. How broken she is when he’s stolen away. It really is terrifying.

“…and you thought you understood all the way that he could scare you, bargain with you.”

But I wouldn’t have wanted their relationship to have been portrayed any differently as they really hooked you in. To be honest, all the characters do in this book.

The only character I haven’t spoken about yet is the queer and forever young Audrey. Her path is one we are introduced too in the second half of the book mostly. Her role is so very important, not only because it contextualises the story with the Magdalene laundries, but also she’s very interwoven with Rita and the separate paths they are both on to be hopefully be together.

I really could talk about my love for this book all day, in fact in real time I have. But honestly this is the perfect blend of fantasy and horror which I’ve been highly recommending to everyone who will listen.

I’m almost done with my second reread (I had to limit myself) and I will be annotating Beth’s copy later on. I also have my another copy going around my USA friends who’re annotating it for me.

Like I said this is pretty much my life right now.

This review probably isn’t good enough. I don’t do my intense feelings enough justice. I don’t do Sarah’s amazing writing justice.

Please read this book. Also, message me when you do.

“You lonesome?” she asked absently. “Are you? replied the cat.”

5 stars / 5 stars

Review: Other Words For Smoke by @griffski | #Gifted @lydiagittins @TitanBooks Other Words for Smoke by Sarah Maria Griffin Genre: Fantasy | Horror | New Adult Length: 336 pages…

#Audience: New Adult #Author: Sarah Maria Griffin #Book Review #Books #Books for Review #Genre: Fantasy #Genre: Horror #Publisher: Titan Books #Rating: 5 stars #Recommendations

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ourdallasvideofestthings · 4 years

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Greetings all, I hope you are safe and that you’re finding ways to be inspired in these strange times. Venues are starting to open up and there is the temptation to go out and have a “normal” existence, but please stay safe—wear masks, social distance, wipe, hand sanitizer, and stay healthy.

Speaking of opening up, Frame of Mind, our TV show on KERA TV is coming back. This year’s official season starts September 24th with a very special episode that I will discuss later. We have 10 official episodes this year, but we have two special pre-Frame of Mind season shows, and the first one is THIS WEEK. Last year, we created The Norm Show—the official title is Norm Hitzges: An Opinionated History of Dallas Sports. It’s one of the most requested episodes we’ve ever produced, and it airs this week on Thursday at 10:30, our new time slot this season. It will also be shown on Monday, September 14th at 1:00 AM, if you’re awake at that time. If you haven’t seen it yet, go to your DVR and set it up to record now and while you’re at it, just set it up to record the whole season. I’m so lucky to have the opportunity to produce this show, and I really want to give a shout out to Mary Beth Boehm, Anne Bothwell, and Bill Young, who put up with my insanity and make this possible. I can’t think of a filmmaker who gets to do something like this. As the show is getting going, we’re also moving forward with DOCUFEST, which will be the first weekend in October. We were hoping to have an in-person festival, but I just don’t think it’s safe yet, so we are doing a hybrid of on-line and drive-in at the new Tin Star Drive-in. Because we have an election coming up, we have some programs that will put perspectives on how we ended up in our current political situation. We have some fun and culturally significant programs and the usual things one would expect for VideoFest programming. We are working on a special program and perhaps you can help us out. I want to do a program of Dallas area arts organizations that have used zoom, video, or audio to reinvent or adapt their artistic practice to their audience. So, if you know an artist or group, please let me know. ([email protected]) If you are still reading, thanks, and I would like to take a moment to ask you to consider making a donation to the Video Association of Dallas on North Texas Giving Day at the link below. Think about it. Where else do you get your information on films all in one spot? Where else can you connect with film lovers from The Cinematic Conversations? We do so much with so little. We could do so much more with a little more, and you could help make that happen. Okay, that’s the end of pledge break, and now back to the music. Last week, we had a really great Cinematic Conversations with Sam Feder about his film Disclosure, . The section in the documentary show the people that were interviewed in the film is particularly interesting and brings up a discussion that should be in the documentary film world. This week, we are very lucky to have Peter Simek with us to discuss Peter Weir‘s 1975 classic Picnic at Hanging Rock. I haven’t seen it since 1975 and we can find it on HBO Max, Direct TV, TCM, The Criterion Channel for free, and on Amazon for 2.99. We’re so happy to have Peter with us for this. When Peter writes about film, he brings such insight that it makes us wish he had time to write more about cinema. For those unfamiliar, Peter writes for D Magazine, and whatever he writes about, it is great. Join us on Wednesday at 7:30. Speaking of D Magazine, we are sorry to hear of the passing D Magazine’s creator Wick Allison. Think about all the ways that this magazine has impacted our lives in this city, for a moment. I once heard Wick talk about the history of Dallas, and I learned so much. While he has passed, the institution he created lives on. Some theaters are returning to live screenings. The Angelika is showing Tenet, as is The Alamo. The Alamo is also showing a film I was planning on showing at DocuFest called, Feels Good Man about Matt Furie, the guy who created Pepe the Frog. I would still like to show it, so if this is interesting to you and you WILL NOT be seeing at the Alamo, let me know. ([email protected]) As for our two landmark theaters, The Magnolia is still not open, but the Inwood is showing Tenet (who isn’t?) and also All In The Fight for Democracy, a film about voter suppression. This is such a critical issue at this moment and the film screens upstairs on Wednesday and Thursday. The Texas Theater is still closed, but they are showing A Fistful of Dollars on Friday the 12th in their drive-in. Speaking of the drive-in, Bar Brizo in Richardson will be showing Ford vs Ferrari and I hear there will be cars representing! There is also a film festival coming up this weekend. Women in Film Dallas has their festival, which has had a few different names over the years but is now the Topaz Festival. Most of the films in the festival are shorts divided by genre, and most I haven’t seen, but I can very highly recommend the only feature in the festival: Julia Knots’ Inez, Doug, and Kira. I have loved and shown Julia’s work for years and I’m happy this film will get a screening, even if it’s virtually. The festival is September 8-13th. When I was a kid, Labor Day was a big deal. It marked the end of summer with swimming races at the pool. When I got older, I would also hear people talk about the importance of labor. There would be editorials in the paper, and people on TV, but that is now missing from the national dialogue. Automation, robots, and AI are challenging our concept of labor, and politicians are not interested in ensuring people get paid a good wage. But this year, labor has bigger challenges. The people who work at meatpacking plants, at our stores, in hospitals, people who are on the front line in our battle against the virus, some of these folks, while risking their lives for your comfort and sustenance, are not being paid a living wage. When you’re at the grocery store, thank the folks who are working there. When you have an opportunity and if you can afford it, tip people well. I challenge you all to look around you and think about all the hands that helped get you the things you have needed during quarantine. Be thankful for what these laborers are doing for you. Congrats, you made it through another week!

#peter weir #Women In Film Dallas #labor day

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joyofcrime-elinorhigh · 5 years

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Rick and Morty REVIEW: (With MiketheHuman113)

... ... Ahem... To be fair, you have to have a very high IQ to understand Rick and Morty. The humour is extremely subtle, and without a solid grasp of theo-

Hello everybody, my name is JoyofCrimeArt and welcome to my first review of Deviant-cember year two! In case you aren't aware what Deviant-cember is, it's we're I post one regular upload every Monday and one cartoon review every Friday for the entire month of December. Why am I doing this? Well, consider it a Christmas present from me to you, as a way to thank all of you for helping me get this far. I've done a lot in my three and a half years on this site, and want to keep doing better and better things as the years go on. But I never would of gotten this far without all of your support. You have no idea how much I appreciate all you guys do for me, but hopefully this can give you all somekinda idea. Anyway what can be said about Rick and Morty that hasn't been said already? Ever since the series premieres on adult swim back in 2013 it has blown up in popularity and has become a GIGANTIC hit in not just the animation community, but also in main stream nerd culture as well. T-shirts, figurines, stupid twenty four hour Youtube livestreams that Youtube just won't stop recommending me no matter how many times I click the "uninterested" button, the show is everywhere. Even the big M themselves have taken notice. Clearly there's something about this show that really resonates with people. But what is it? What is it that makes people love Rick and Morty so much? I don't know. Cause I don't like this show. At all. Okay, maybe "at all" might be a bit strong, as there are a lot of elements of the show that I very much like. But as a whole, I really don't get why so many people love this show so much! I tried to like it, I really tried, but no matter what I could never give the series more than just an "okay" at best. And this isn't just hype backlash either, I've been watching the series since episode one, before the show had the recognition that it has now. I just don't like this show! But why don't I like this, you may ask? Is there something there that everyone else see's that I just don't see? Man, if only I had someone semi-notable to help me answer these questions, perhaps in some kind of "collaboration" style situation- WUBBA LUBBA DUB DUB!

*Gasp!* MiketheHuman, from MiketheHuman Deviantart reviews? (PLUG!) mikethehuman113.deviantart.com… Here?! In my review? What a simply preposterous concept, if I do say so myself! I’M MR. MIKESEEKS! LOOK AT MEEEEE! *pause* Yeah, I’m not gonna do that voice for the whole review. But it’s still great to be here, man! Right. So let's dive right in, and talk about the adult swim smash hit, Rick and Morty. Also light spoiler warning for the series ahead. Though we'll try to leave a spoiler warning before we talk about any important plot points...let's say beyond the season two finale. Just in case you havn't seen the show yet and want to check it out for yourself. Let’s do it! So grab your plumbus and a bowl of Eyeholes because it’s time to get schwifty in here! I apologize for nothing. Rick and Morty, created by Dan Harmon and Justin Roiland, follows the adventures of Rick Sanchez, an amoral, narcissist, alcoholic mad scientist who, after twenty years of being mysteriously absent from his families life, shows back up into there lives out of nowhere. The series follows Rick, along with his neurotic yet somewhat snarky grandson Morty, as they go on a wide array of sci-fi adventures. Along for the ride is Rick's vapid yet spunky granddaughter Summer, his emotionally repressed daughter Beth, and his idiotic loser of a son in law Jerry. Galaxy and Multiverse spanning shenanigans ensue. Now normally this would be the part where I would go into more details about the characters, but I want to save that for a bit later. As for now I want to talk about the elements of Rick and Morty that I personally think work the best. One thing about Rick and Morty that I have to praise is the way that the show handles it's voice acting. If there's one thing that people think of when they think of Rick and Morty, it's the shows trademarked use of adlibs and retroscripting. Characters stutter and fumble there words when they talk, (A staple of co creator Justin Roiland's work.) and while it may sound like it would get annoying very quickly, it actually gives the show and by extension the comedy a very naturalistic feel, as well as gives a uniqueness to the shows dialogue. The characters talk like how real people, and it's refreshing to hear when compared to the way characters talk in tv shows. Also because of this process the show lends it's self to some really good improved lines. I have to praise co creator Justin Roiland, who does an excellent job voicing both Rick and Morty. He manages to make the two characters sound completely different from each other and the fact that he voices both characters also makes it all the easier for chemistry to build between them, in the same way some cartoons have all the actors record in the same booth to give there characters a dynamic between the characters. It really is impressive how a single man can create two insanely iconic characters with two distinct voices that are still both very much his own. He’s certainly not the first to do it, or even the first to do it in the realm of adult cartoons (Trey Parker and Matt Stone from South Park and Seth MacFarlane from Family Guy), but still, if you were to close your eyes and listen to either Rick or Morty speak, you’d immediately recognize them. And the improvisational style of comedy and dialogue shines through in a vast majority of the show’s episodes, especially both episodes revolving around Interdimensional Cable, in which the writers and voice actors just have a blast throwing whatever they can at the wall and seeing what sticks. Trust me, it’s a lot funnier than it sounds. The rest of the case also deliver good performances as well. Particularly Chris Parnell as Jerry, who plays the character in a very similar way to the way he plays Cyril from Archer. (However, not so similar the point where it feels like the exact same character.) My only criticism with the shows voice acting is that, while Justin Roiland is able to give two characters completely different voices, he's can't really do a third. This results in a lot of the shows side characters sounding very similar, as Justin Roiland plays a lot of them. Sometimes it works in cases where he goes really out there with the voice and comes off very funny, but it's hard to deny that characters like Mr. Meeseeks, Noob Noob, and Mr. Poopybutthole pretty much all have the exact same voice, and it can be a bit jarring. And to be fair, this is an issue Justin Roiland’s had in several other shows he’s done voice work for. Lemongrab from Adventure Time and Blendin Blandin from Gravity Falls both pretty much share the same voice as Mr. Meeseeks and the other previously mentioned characters, for example. It’s a type of voice that I can totally understand if you would get easily annoyed by, and if you see the first episode and you’re already sick of the voices, then this show likely isn’t for you. But if, like us, you find an earnestness and charm to both Rick and Morty’s voices and verbal tics, then it’s just one extra detail to appreciate about the uniqueness of this show overall. The comedy of the show is also pretty strong. While many lines do feel like there improvised (and improved well) a lot of the jokes in Rick and Morty feel very layered in terms of the way that they are written. And considering the sometimes over year long break between seasons it would be hard for me to believe that multiple drafts and rewrites and weren't used when writing these jokes. The shows humor feels very well thought out. This combination of both deeply written layered jokes and off the cuff drunken improve works well in tandem to make the humor really work the majority of the time. I admit that I'm not the biggest fan of dark humor, and that does hold me back from loving the shows comedy, but I completely acknowledge that that's a personal preference, and doesn't take away from the shows writing on an technical level. I feel the show does best when it delves into absurd surreal humor, which it often does. The comedy of Rick and Morty is extremely quoteable in the same way that say The Simpsons and Futurama are. Not to mention the way the shows surrealist style of humor melds so well with modern meme culture. Weather or not that's a good thing or a bad thing I'll leave up to you...

https://www.youtube.com/watch?v=mUpsKsBqqwE

Well, especially given the universally negative reaction to the fanbase lately, I’ll just assume most of you find it a bad thing, so moving on. However, if I had to pick the element of Rick and Morty that I think works the best, it would be the series creative way that the series satirized and subverts the tropes of science fiction genre. Without going into to many specifics, it's clear that the writers behind this series know there sci fi lore and the series is constantly doing new and creative things with it's sci fi premise. This is where the show really shines, with episodes like "Total Rickall." "Auto-Erotic Assimilation" and "A Rickle in Time" while not necessary being the best episodes of the series per say, are the episodes where we see the series at it's most creative, at least in my opinion. Not to bring up the Futurama comparison again, but the series does sort of remind me of Futurama in the way that it satirizes the science fiction genre. Though Rick and Morty's take on the genre is a lot darker, and this does help a lot in differentiating the series and stop it from feeling like a rip off. Even in the show’s weaker episodes, which tend to vary from person to person, you’re almost always guaranteed to encounter something you’ve never seen before. This all comes down to, as previously mentioned, the creativity of the ingenious writers. Even if an episode’s concept has been seen before, the writers will throw enough twists at it to make it feel fresh and new. “Anatomy Park” isn’t a great episode because it’s a parody of Jurassic Park, it’s great because of all the areas explored and the creatures encountered, and the overall unique conflict. “Look Who’s Purging Now” isn’t just great because it parodies The Purge, it’s great because it takes that concept and kicks it up to eleven in the best and most creative way possible. This extends into the episodes that aren’t just straight-up satires, but if I were to list them all, we’d be here all day. This series has this massive scale to it, in terms of the scope of it's story. The world and adventures of Rick and Morty exist on an entirely cosmic scale. The series goes well out of it's way to make you feel the unimaginable scope of the multiverse. It's not something that you see much in many other series. It's one of the shows greatest strengths, but it also may be one of the series biggest weakness too too. But I'll go more into that later. Unfortunately one of the series flaws is that while the writers are able to give the science fiction elements this massive scale, they aren't really able to do this with the more mundane elements. Weather it be Morty's crush on Jessica, Summer's boy troubles, or Beth and Jerry's struggling marriage (which to be fair I don't think I hate as most Rick and Morty fans seem to, and I personally think did improve a lot in season three...) these elements just never seem to be as interesting as the sci fi adventures, which is probably why the series tends to focus less and less on these elements as the series progresses. And to be fair, while it can be a bit frustrating that these plot points are rarely touched upon, there is always a chance that they will be touched upon in future seasons. Even if they aren’t, the focus of the show is still primarily the bizarre, downright insane adventures that Rick and Morty themselves go on. The more mundane elements can kind of be considered a cherry on top of the ice cream sundae that the writers sometimes forget to add. I also want to briefly talk about the show's animation. I've heard a lot of people call it bad. And yes, while it isn't the greatest looking series (I mean it's adult swim after all) I think the the animation does what it's suppose to do. While the art style may not be as crisp and clean as say Steven Universe, I don't think the show would of worked if it was. The world of Rick and Morty is alien, dark, bizarre, and ugly. And the animation reflects this. Sort of like the story the mundane Earth elements is where the animation feels the weakest. But when the series goes into the weird alien worlds and the artist get to just fun with it, that's where the art really shines. It uses creativity to make up for any of it's other shortcomings, and most of the time it works out pretty dang well.

And unlike other “edgy” adult shows like, say, Mr. Pickles, Ren and Stimpy: Adult Party Cartoon, King Star King, and the like, Rick and Morty’s style of somewhat ugly animation isn’t ugly for the sake of ugliness. As Anthony said, it helps that the worlds visited are usually quite varied, unique, and at times even beautiful. No two areas look the same, and it's just another thing to look forward to with each new episode you choose to watch. This applies to both the worlds visited and the creatures encountered, even if most of them end up looking like penises and testicles, whether by accident or on purpose. You make the call! I also want to give the series credit for being, to my knowledge, the first adult comedy cartoon to have a fairly thick continuity. Where actions in one episode has a direct effect on other episodes. (And yes, I'm sure there was some adult comedy series before Rick and Morty to have a continuity, but I'm talking specifically about series with a fair bit of continuity, not just occasional status quo changes or references.) However this show does suffer a bit from what I call Adventure Time syndrome in terms of it's plot points. What I mean with this is that the series will introduce interesting concepts for new plot lines, and just reset to the status quo. Like (Spoiler Warning) the family being intergalactic outlaws after "The Wedding Squanchers." Aliens colonizing the Earth, also in "The Wedding Squanchers." Or the entire Season three divorce plot line. All things that would have been interesting to expand upon, but are just undone to return the series back to the status quo. (Spoiler's Over Now) However, luckily not all the changes are like that, and there are some series changing elements still present in the show, which works to keep the series fresh. It can be quite risky for a show like this to have a non-floating timeline, as it poses the risk of alienating the audience, but Rick and Morty pulls this off quite well. True, there are some episodes that you pretty much can’t skip if you choose to watch this show, like the aforementioned “Wedding Squanchers”, “Total Rickall”, “The Rickshank Rickdemption” and most notably “Rick Potion #9”, but for the most part, the show doesn’t punish you if you’ve missed any of these episodes. The plots themselves are mostly self-contained and if there’s a plot point from a previous episode that makes a return, it’s generally not the main focus of the episode, but more something for the dedicated watcher to pay attention to. But with all of that said, I think it's time that we go back and talk about all the stuff that I said we'd get back to. Let's start with the characters, particularly Rick. Because, while this show may be called "Rick and Morty" the show is really about Rick. Not only is Rick the most popular character in the series BY FAR, but he is also in the A plot of every single episode of the series as of the first three seasons, while there are several episodes where Morty is given the B plot. Your opinion on Rick will make or break this show for you. I will say that Rick is by far the most interesting character in the series. I also think that he is the funniest character, with most of the series's best lines coming from him... ...But honestly, I frickin' hate Rick. And frankly I think about ninety percent of the reasons why I don't like this show come down to how the show treats Rick. WHAAAAAAAAAT?! How could this be?! Rick is an amazing character! This revelation comes off as totally shocking to me and not as though we had planned it weeks in advance! Please go on, I need to hear what you have to say!

Rick's just a really unlikeable character to me, and he becomes more and more unlikeable each and every season. Really, I don't quite get why so many people like him. He's honestly not anything I haven't seen before. He's the same token jerk who you see in every other adult cartoon. You see, ninety percent of all adult American animation tends to fall into two main camps. They'll either have a cast full of jerks, (Like most Seth MacFarlane series for example) or they will have what I refer to as the "token jerk." Y'know, the jerky character who usually becomes the fan favorite because they say what's on there mind and usually have the best lines. Often times the character is an alcoholic, a womanizer, a cynic. And don't get me wrong there's nothing wrong with this type of character at all! I don't want you to get that impression. It's a character trope, and there is nothing wrong with character tropes if you use them right or do something different with them, and in all fairness Rick does have a bit more depth than most other characters that fall into this camp. The problem though comes from to way that the show treats Rick. And to explain my problem with Rick, allow me to present this graph I made to help illustrate my point! God, you're a loser. Hey, who the heck said that?! Oh, sorry, that's my TRADE. The fu*ks a TRADE?! Oh, just my Totally Real Assistant that Definitely Exist. Don't worry about her. (She doesn't do much.) I have a name you know. It's- Oooh, side characters interrupting the review. Okay. Nice lore, Linkara. You wanna be the victim of my next satire? I'll...I'll be good s-sir. Yeah, this'll make no sense to any of your watchers you know. Anyway don't you have a graph to show off or something? Ah, right. You're both idiots.

So as you can see by this graph, there tends to be a scale that most "Token Jerk" adult cartoon characters fall under. There's an axis of how likeable vs how evil the token jerk will be. The farther left you go, the more likeable or sympathetic the character is. There the characters who are jerks, but aren't too jerky to the point that we stop rooting for them to succeed. And the farther right you go, the more unlikeable the character is. These are the character who we want to watch fail. We want to watch them be jerks, but then get there just desserts at the end of the episodes. It gives us a sense of schadenfreude. And characters don't just have to be on one side or the other, they can kinda dance around the line depending on the situation, but overall they tend to have some general point that they fall under. And both types of characters can work. One side is not better than the other. It all depends on how well the character is written and how the series presents the character. Okay. So if that's the case where does Rick fall on this axis? Well see, that's my biggest problem with Rick. The show wants to play it both ways! If we're going by moral standards Rick would be WAY on the right side of the graph. He murdered countless people, destroyed several civilization, supplies assassin's with weapons, literally owns slaves, and he also steals cable. Overall, he's a very bad bloke. And again, there's nothing inherently wrong with that. The problem comes from the fact that the show also wants us to sympathize him. And I don't. His actions are horrible, and the fact that this show has continuity makes it even worse, because it makes it a lot harder to look past his actions. Cause basically what were watching over the course of the three seasons that are out so far, is the story of an abuser slowly conditioning his family to take his abuse, and it get's really bad in season three. Again (Spoiler Warning) But if you pay attention it's fairly easy to see how twisted Rick is. He abandons his daughter for twenty years, causing her to grow an almost stockholm syndrome-esq dependency complex, doing anything Rick wants in order to prevent him from leaving. He then purposely let's himself get captured in the season two finale as part of his plan to get rid of Jerry, and not only reawakens his daughters fear of abandonment issues, but passing this fear onto Summer as well. Resulting in her gaining a hero complex regarding Rick. Rick pressures Beth into divorcing Jerry, and due to her newly revived fear of parental abandonment she excepts even after admitting she love's Jerry seconds before. Then Rick either replaces Beth with a clone that he could destroy at any time, or a version of Beth that thinks she's a clone and THINKS that he destroy at any time. All as a ploy to take over the family by manipulating his families abandonment issues that he himself caused. Cause if they don't do what he says doesn't he can just leave again. Who knows, maybe that's why he left twenty years ago in the first place. I mean the creators have said we're never getting any kind of backstory on Rick. All so he can forever force his family to be his assistance, weather they want to or not. (Spoiler's Over Now)

So yeah, between all of that I just don't find myself liking this character. Just because he has one or two sympathetic moments doesn't make up for everything else. What doesn't help is the fact that, despite all of his horrible actions, he always comes up on top. In all thirty one episodes out so far there are only two episodes where Rick really loses. "Auto Erotic Assimilation" and "The Rickchurian Mortydate." You could also make an argument for "Meeseeks and Destroy" but he chose to lose in that one. Other than that, he always wins. He's always right. He always get's his way. It get's to the point where he really comes off as a real Mary Sue character, where he always has something that can fix the situation at hand. Even if it's not set up or even explained, we're just suppose to buy it because it's Rick's and he's the smartest person in the multiverse. Well, the Mary Sue argument is one that I’ll gladly defend against. While yes, Rick does end up winning in a majority of the show’s episodes, it’s not always something he does effortlessly. He has to use his wit and scientific skills to figure his way out of the terrible situations he finds himself in. There’s even some instances in which he has to rely on others to bail him out of an episode’s conflict. He was the only male on Gazorpazorp in the episode “Raising Gazorpazorp” and had to be bailed out by Summer, he lost a ton of IQ points in “The Whirly Dirly Conspiracy” and only didn’t die because of pure luck, “Get Schwifty” shows that he doesn’t work well under pressure, hell, even in “A Rickle in Time” not only is he one of the main contributors of the episode’s conflict due to his own uncertainties, but the episode ends with Beth and Jerry laughing at how ridiculous he looks. I’d hardly call that a win. Plus, I think he has more sympathetic moments than you give him credit for. We find out at the end of “Ricksy Business” just how sad and lonely he is with the revealed meaning of his catchphrase, there’s a really subtle scene in “Something Ricked This Way Comes” that displays just how lonely he is without the rest of the family, he actually apologizes to Jerry for interfering with him and Beth’s Marriage in “The Whirly Dirly Conspiracy”, and both “Big Trouble in Little Sanchez” and “Pickle Rick” explore how self-loathsome and flawed of a person Rick is, especially with the speech delivered to him by Dr. Wong in the latter episode. The latter two examples may not be sympathetic moments, per say, but they do at the very least prove that he’s not a Mary Sue, or Marty Stu, if you will. And (Spoiler Warning) while I will admit that it’s a pretty despicable action to try and force two people into a divorce, I think the audience can make an exception for Beth and Jerry. Prior to season three, everyone wanted them to divorce. Just ask any fan of this show and they’ll say they wanted them to divorce, I guarantee it. True, but it's how it was handled that bothers me. If Beth and Jerry decided to separate on there own, I wouldn't of minded it. It's the fact that it was Rick, the man with all of the emotional power over Beth, that pulled the strings to make it happen. (Spoiler's Over Now) The show makes many parallels between Rick and God, and I admit that the idea of a person who has all the power of a god, but all the flaws and vices of a human is interesting. But it doesn't really work in the way that the series presents it. We know Rick's going to win in the end, and there's no tension as a result. Also because of this there are a lot of easy ways that problems can be fixed, but aren't because of the plot. Like in "The Rickchurian Mortydate." (Spoiler Warning, Again) Why doesn't Rick just leave and find a universe with a more submissive family? It's not because he loves them, because he's reality hoped before. Also, why doesn't he just use the mind blower from "Morty's Mind Blowers" to just erase Beth's memory of possibly being a clone once it started becoming a problem for him? That's just one of many examples of plots that could be solved WAY easier then they are. (Spoiler's Over Now) The shows nihilistic philosophy also helps make it hard to care about anything that happens. When there are an infinite number of realities, and the show goes with the idea that anyone can easily be replaced by one of the infinite possible versions of themselves because nothing matters, then why should I be invested? Who cares if someone dies, they can just go find another version of them, or clone them, or whatever. It doesn't matter. Nothing matters, which I guess is the point of the show. But to me what it really comes down to is that Rick and Morty is the story of an immoral, emotionally abusive all powerful God, who always wins and exist in a universe where nothing matters. And we're suppose to be emotionally invested? How am I suppose to relate to a God? I'm sorry, but it just doesn't work for me. At all. Again, I would disagree that Rick always wins, but I think you just hit the nail on the head on why people relate to Rick and, by extension, this show. It is purely nihilistic, but, I’m not sure if you’ve noticed, so is this latest generation of millennials! I know, I know, there’s a lot of stereotypes surrounding this group, but I’m not kidding when I say that nihilism in this day and age is more prevalent than ever. All you need to do is go to any news channel to figure that out for yourself. But that’s why people can relate to Rick. He’s the ultimate in nihilism. He has all the power in the universe and yet he’s absolutely miserable. He can create anything he wants at any time he can, but he’s lonely; he can’t relate to people, he’s harsh to the people that love him the most. A lot of people around our age have found themselves in very similar states of depression that Rick is going through. Obviously a majority of the people I’m referring to aren’t super geniuses like Rick, but that nihilistic aspect of his character just makes it that much more relatable that even a character as godlike as Rick can be as bitter, unhappy, and lonely as a lot of people find themselves these days. Maybe that’s why a lot of people can identify with him and look past the terrible things he’s done that have either been seen or alluded to. That is an interesting perspective. I guess I can see how some people could relate to this. And if Rick and Morty has helped people like with these problems realize that there not alone, than I can't fault it for that. I guess part of it comes from the fact that, I'm not a nihilist. I try to be an optimistic person and see the best in things, so maybe that's why I have trouble relating to Rick. As for why he doesn’t just switch universes, he did say in “Rick Potion #9” and “Morty’s Mind Blowers” that it’s something he can only do a limited amount of times, so there’s at least a bit of an explanation for that. Yeah but they never explain why he can only do it a couple of times. If there are an infinite number of universes then there should be a infinite number of universes at any given moment that he could switch to. It's not like traveling between universes is at all difficult for him. It honestly just feels like a line thrown in to try to give the show more stakes, even when there aren't any. Honestly this may be something that we might have to just agree to disagree on... The rest of the cast range from meh to okay personally. Though they all commit the same kind of terrible acts that Rick do, though to a much lesser extent. This, again, makes them hard to like. Also several characters like Summer and Beth seem like there written pretty inconsistently between episodes. If I had to pick a favorite out of the main cast I'd probably say Jerry. He's flawed, he's by far the most likeable, and I'm actually rooting for him to win. Sure he's not perfect, and has his fair share of jerky moments too, but when it comes to character motivations all he wants is a normal life. It's hard not to root for that. I also do kinda like Morty's character act of learning how to manipulate Rick and becoming more and more disillusioned with with him. Someone that doesn’t loathe Jerry with a fiery passion of a thousand suns? I thought people like that didn’t exist! It’s nice to know SOMEONE doesn’t despise this harmless character. Yeah, he’s not perfect and he can be manipulative at times, but WAY too many people treat him like he’s the most unlikable character ever conceived. To that I say, really guys? Is he really that bad? I will give you Summer and Beth, though. Summer can be cool but wildly inconsistent, and Beth is just….the worst. Never funny, always bitchy, and always unlikable in every episode she’s in, with the exception of the final two episodes of season 3. Hell, when she was threatened into making a choice of saving one of her two kids, she INSTANTLY chose Summer. Right in front of Morty! Why does a majority of the fanbase hate Jerry when Beth exists in this show, exactly? I know. I personally don't get it. Personally I think a lot of my points I pointed out above are why so many (Not all, keep in mind.) of the people in the Rick and Morty fan base are so toxic. Because while yes, the show does try to show that you shouldn't be like Rick, they never really show any negative repercussions for acting as such. The show gives off this vibe that, as long as your smart, nothing else matters. Which is a real philosophy that I think is becoming more prominent by the day, as I think that there are people who hold intelligent at a higher value then just being a good person. And I think this attitude is what attracts these types of people. Because it's easy for someone to decide that there smart. (SOME PEOPLE KEEP IN MIND. I'M NOT SAYING ALL RICK AND MORTY FANS ARE LIKE THIS. IN ACTUALITY IT'S PROBABLY ONLY LIKE ONE OR TWO PERCENT. I'M JUST SAYING.)

https://www.youtube.com/watch?v=-GC5rAX0xHg

You're really using that clip? Yes. There. Now that we've referenced every Rick and Mortmeme I think it's time we start to wrap up this review. I believe you forgot about "Show me what you got." Mr. CrimeArt. Damn. Well anyway, Mike, since you are my guest I'll let you go first. Any final thoughts? And do you recommend the series to anyone reading this who's yet to watch Rick and Morty? (Who somehow got this far into the review.) I can totally see where someone like you would be coming from in your dislike of Rick. I may love him, but I will fully admit that there are a lot of things to hate about him, and his writing isn’t always the most consistent. But that’s certainly not enough for me to dislike him. To me, he’s the prime example of doing a “jerk with a heart of gold” trope perfectly. Sure, he’s done hideously heinous things in nearly every episode of the show, but something about his not-give-a-fu*k attitude, his charm, and his sheer badassery are enough for me to look past his, at times, pure dickishness. He’s funny, he’s sympathetic, and despite displaying all these godlike abilities and powers, the show does a fantastic job at showing that he’s very much a flawed individual, unlike say, Roger from American Dad! Rick may be the most flawed person on the show, in fact, but that’s all up for debate and this review is long enough as is. In short, Rick is amazing and I love nearly every second of the show when he’s onscreen. Though I can understand where others would disagree. As for the show itself, I absolutely recommend it to anyone that hasn’t seen it yet. Though I would advise starting with the first four episodes and seeing if you like what you’re presented with. This is not a show for everyone and if the first four episodes don’t convince you, the rest of the show likely won’t. But if you find yourself enjoying those first four, I can almost guarantee that you’ll fall for this show head over heels. It’s unlike any show that’s come before it, with its unique plots, fantastic characters (even if we happen to disagree in that regard), beyond clever writing, and bizarre yet somehow beautiful visuals that just get more and more impressive with each season. Easily one of my favorite adult shows, if not my favorite, as well as one of my favorite cartoons of this decade, which is certainly saying a lot. Yeah. As for me, as odd as this may sound after my long tangent, I also do recommend that you check out the series for yourself. Wait, Really? Yes. Because, while I do personally have a lot of problems with the show, I've been around the internet long enough to know that I am in the minority. Almost everyone else I've run in to love this show, and I do kinda get why. The comedy is really clever and funny. The worlds they create is interesting. And I admire that the show has the guts to deal with things like philosophy and existentialism. Also the season three finale seems like it'll be making some changes to the status quo that I think would help improve the show for the better, though honestly I have my doubts that it'll stick, but only time will tell. I get why people like the show. There are elements of the show, and even whole episodes that I do enjoy. I also can see how people can like Rick, and just find him more charming and how endearing than I do. I can also see how he can be seen as a power fantasy character. I mean who wouldn't want to be a all powerful godlike jerk who can do whatever they want while still having a heart of gold? There's nothing wrong with power fantasy characters, if there was then Superman wouldn't be a national icon after all. Honestly, I think it's just a personal thing. Something about this show just doesn't click with me, and while I'll probably never one hundred percent understand how so many people can love the show, that doesn't mean that my opinion is anymore valid than there's. So check out the show and watch it for yourself. You'll probably like it. Or maybe you'll be like me, and just not get what all the hype was about... Thanks for coming to help me on this colab, Mike. Any Parting Words? It was great to collab with you, Anthony. I wish the best for your page and to those of you that want to see more of my stupid shit, I do reviews of TV shows and movies and I also do satires of some of the biggest assholes ever to taint the website of DeviantArt! Links to some of my favorites of each down below. SHAMELESS PLUG!!1!!111!11! So that's our thoughts on Rick and Morty. What do you all think of the series. Leave your thoughts in the comments down bellow. I would love to start a conversation, even if your opinion is completely different from my own. Also tell me what you think of the collaboration format. It's something I want to try experimenting with, so I would love your input. And if I were to collab with another deviantart review, which one do you think I should do? Leave all of that in the comments down bellow. Please fav, follow, and comment if you liked the review and don't forget to check out MiketheHuman's page for more reviews from him. And come back next week as Deviant-cember....get a lot more Super. ... Is it Dragon Ball Super? Frickin' TRADE...(Sigh!) Have a great day. (I do not own any of the images or videos in this review. All credit goes to there original owners.)

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#Review #collab #Rick and Morty #Pickle Rick #schezwan sau

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spotlightsaga · 7 years

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Kevin Cage of @spotlightsaga reviews... Rick and Morty (S03E02) Rickmancing The Stone Airdate: July 30, 2017 @adultswim Ratings: 2.859 Million :: 1.48 18-49 Demo Share Score: 8.5/10 @cartoonnetwork @danharmon TVTime/FB/Twitter/Tumblr/Path/Pinterest: @SpotlightSaga *********MINIMAL TO NO SPOILERS********* Change is fucking hard. When something as monumental as divorce goes down during your childhood, whether it be at a very young age to all the way through to your later teen years and even beyond, it's never an easy adjustment. While it's true that i don't have a father, biologically speaking (I do but he literally has NEVER contacted me - lines open, pussy, redemption is just a call away), I was lucky enough to see my mother stand by her husband, a man whose rightfully earned the title of 'Dad' in my life. Don't trip, I'm not getting mushy here, I know my cartoon audience! Parents fuck us up, then they nag, then they don't speak to you, then they smother you (sometimes with a pillow). It's a vicious cycle, really. Seeing my mother stand by a man who literally almost completely destroyed himself and nearly took everyone down the dark and treacherous rabbit hole of addiction with him was extremely confusing. I harbored feelings of anger and resentment at first, but after awhile he made spectacular & unexpected life changes for the better. Suddenly I realized he wasn't some shit sucking asshole, he was just human, something we're all guilty of in one way or another. People make mistakes, and they sometimes self-destruct for no reason at all, and most everyone's first 'Fight or Flight' reaction is to pack up your shit and fucking RUN. I'm so glad that my mother didn't do that, we have our differences, but my Dad is one of the few male role models I have, that actually taught me something real in this world and given things I can really use and apply to real life situations. Sometimes you have to step away from people for awhile, but if you really love them, you never give up. I'm not sure if 'Rick & Morty' is the best place to pull out my existential bucket of ooey-gooey fun, maybe sometimes it is and sometimes it isn't... That's the incredible thing about this series in general! Where a great toon like 'Mike Tyson Mysteries' is frankly all fun & games, 'Rick & Morty' is layered (like a fucking onion, y'all) and far more than just a slapstick cartoon for stoners. People are finding that not only is this series funny beyond all reason, it's also incredibly endearing and real. The series main character, chemical friendly & artist of intellect, Rick Sanchez (Justin Rowland), would never admit it, but underneath all the multi-dimensional murders and lowbrow side effects from his chemical hobbies is a regular, mad scientist type Grandpa with a big ol' heart. Don't get me wrong, Rick has every right to tell Jerry (Chris Parnell) to fuck off... The whole 'tiny planet' fiasco and selling Rick out just wasn't a good look, it was a pathetic disaster, a true low point, and it landed Jerry in a job where he's paid in pill supplements and is basically a cuckold to the invading alien race... Oh, and then there's that god-awful windbreaker. Most straight men have problems dressing themselves after a separation or divorce, but damn... Can't nobody tell Jerry 1992 has long since came and gone, even though I wish it hadn't!?! Beth (Sarah Chalke) and Jerry had already been on the outs for two seasons, so this whole divorce thing was a long time coming. As much as I hate Gary's new post-relationship windbreaker, I am so in love with this new, improved, 'no fucks given' Summer Smith (Spencer Grammer). I feel like the place that Summer is at in her life in this very moment is the exact same place I would be and the exact same something I would do if I had an evil/heartwarming genius Grandfather, like Rick, who could travel back in time & space and alternate dimensions... And spend extended time in another realm ala Turbo Kid (2015), Doomsday (2008), or Escape From New York (1981 - Prepare for more Post-Apocalyptic film references). Not all R&M fans are happy tho, but that's because the show is expanding and going deeper... We're seeing an important evolution of the show and like it or not, it's a road that's necessary for the series to take so that it may spread its wings, giving us something new every time. R&M isn't a show that just pops us often... It's sacred, there's nothing on tv like it. It's literally a revolutionary metamorphosis for the #animatedseries genre. It cannot keep giving you the same ol', same ol' and hitting that one note that caught our attention in the first place and still survive with integrity... There's so many goddamn different and unexpected notes that this show can and will hit, both in the near and distant future, that it's completely unfair to ask it to remain stagnant so that we can have our normal R&M laughs. Shit just doesn't work like that, bruh'. Morty is terrified of this new Summer... But I don't think it's purely 'genuine concern'. Sure, that's a part of it, but already in S3 we are seeing Summer kind of inch him out of his co-anchor or sidekick spot with his Grandad. It's never easy to share the attention and affection of the ones we love, especially when the 'one that's loved' in question can literally make the impossible completely and totally possible. Morty has his own shit he's dealing with though, hell even Rick is feeling the toxic effects of the biggest divorce ever broadcast on animated tv. Weird, but true. In 'Rickmancing The Stone', Morty, Summer, and Rick all head to a 'Mad Max', post apocalyptic, style universe where men wear buckets on their heads, killing is for sport, and ultimately a place where you have to fight for all the things you want, to the death... Basically the literal opposite of what Jerry is doing with Beth. It's all a fantastic juxtaposition of the very life back at their original 'Earth 1' that they are trying to escape from and it's incredible to see this 'Nihilistic Wasteland' through three different sets of eyes, each character gaining something different from the experience. Spotlight Saga's Cartoon Fans are incredibly strict when it comes to spoilers, so I'm not here to spoil the episode (Spoiler Free! Yayy). I know that there are many of you, outside of TVTime, that read these articles for the content and don't necessarily watch the show. I'd love to take you deeper on this one, but I simply can't. We can give you the rundown on the basic plot, but trust me, anything beyond that and Cartoon Purists will legit crucify all of us over here on a broken telephone pole. Besides, when we tell you that 'Rick & Morty' could possibly be the greatest American Animated Television Series of All Time... We fucking mean it. This isn't a show that you want to miss out on, so those that are avid readers (and yeah, we fucking love you for it), know that this is one of the special ones that you need to set your DVR, buy the season on #Vudu or wherever you can access it and give it a thorough once, twice, three or even more times over. I, myself, have personally watched this particular episode 4 times already, and it won't be the last. The series, as a whole, is still holding strong at #7 on #IMDB's user rated list of Top Rated TV Shows (of all time), holding a 9.3/10 with nearly 138,000 votes and counting. That's some seriously heavy shit for an Adult Swim cartoon to find itself smack dab in the middle of a comprehensive list of all the greats w/series like GOT, Breaking Bad, The Wire, and The Sopranos. It's seriously everything that everyone says it is and more. Really. Those that ARE watching and are a little taken aback by the show suddenly taking a new direction and tackling serious issues through brand new avenues, give it a chance. This show has done right by you so far, it's definitely not going to let you down. I rarely put my stamp on a series outside of praising a season, or certain episodes because you never know what kind of hard turn a show is going to take... But let me tell you... I believe in 'Rick & Morty', and wherever this fresh faced S3 is taking us, I want in on the fucked up, Science Fiction laced, blood soaked, LSD inspired shot storm of a road trip fully stocked with McDonald's Mulan Szchuan Sauce... ESPECIALLY since the show is clearly embracing a bit of #existentialism and stirring it up in its big bowl of psychedelic, 'what the fucks', never-ending, unpredictable journeys... All while continuing to turn old tropes into something that feels incredibly new and progressive. Wabba Lubba Dub Dub!

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popgoesthewiener · 7 years

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Even The Stars Are Ill At Ease 0001 - Doofus Rick Sanchez/Evil Morty Smith - SFW

Title: Even The Stars Are Ill At Ease Author: Daisy Fandom: Rick And Morty Setting: Pairing: Doofus Rick/Evil Morty, J19ζ7 Rick/Evil Morty, Gazorpazorpian Rick/Evil Morty, C137 Rick/Evil Morty, Evil Rick/Evil Morty, Riq IV/Evil Morty, Storage Rick/Evil Morty, Miami Rick/Miami Morty, Miami Rick/Investment Rick/Miami Morty, Super Morty Fan Morty/Miami Morty, Punk Morty/Miami Morty, Greaser Morty/Miami Morty, Punk Morty/Greaser Morty/Miami Morty, Dreamy Rick/Novelist Rick, Dreamy Rick/Punk Morty, Novelist Rick/Greaser Morty, C137 Rick/C137 Morty, Birdperson/Tammy Gueterman, Abradolf Lincoler/Nancy, Mr. Lucius Needful/Summer Smith Characters: Doofus Rick, Evil Morty, Gazorpazorpian Rick, C137 Rick, Evil Rick, Riq IV, Storage Rick, Miami Rick, Investment Rick, Dreamy Rick, Novelist Rick, Miami Morty, Punk Morty, Greaser Morty, Super Morty Fan Morty, C137 Morty, Birdperson, Tammy Gueterman, Abradolf Lincoler, Nancy, Mr. Lucius Needful, C137 Summer Smith, Doofus Jerry, Doofus Beth, Doofus Summer, Doofus Snuffles Genre: Romance/Angst/Drama/Hurt/Comfort Rating: E Chapters: 1/? Word Count: 3522 Type of Work: Chapter Story Status: Incomplete Warnings: Gay, Slash, Yaoi, Het, Straight, AU - Canon Divergent, Character Death, Graphic Depictions of Gore, Child Abuse, Incest, Grandfather/Grandson Incest, Selfcest, ABO Dynamics, Alpha!Doofus Rick, Omega!Evil Morty, Some Universes are ABO and others are not, Most pairings are just mentioned, More Tags To Be Added Disclaimer: I don’t own anything. Summary: Evil Morty isn’t totally sure what to do about his desire to have a ‘Proper Rick’, while Doofus Rick is finding that he might have been forced to forget something important. AN: Alright guys, so like… I have this whole headcanon surrounding Doofus Rick being Evil Morty’s original Rick. I’ll let the story tell itself, instead of spoiling things, but some things to note: Evil Morty’s Snuffles never left entirely, he stayed with Morty and kept his mecha suit. Doofus Rick is a trauma therapist that sometimes works with the Rick police/military forces, especially with victims of Ricks’ plots. He deals with a lot of Rickless Mortys, too.

Rick And Morty Fic Masterlist (Chapters Will Be Posted There) Chapter One: I Woke Up To Something In My Head ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~ Sunlight filtered into the house through the big picture window downstairs, and everything seemed cheery and bright save for the young teen’s bedroom. The lights were off, blackout curtains drawn, and he lay snuggled down underneath his six blankets, not ready to leave his cocoon of warmth and safety. It brought a sweet smile to the lips of the elder male as he entered the room with a wooden tray full of food in hand.

“Morty?” A smile brighter than a thousand suns met his eyes, the second one slowly refocusing with a few mechanical whirs. Those buck teeth, he’d know them anywhere. “Rick…?” He whispered, slowly pushing up onto his knees, one hand holding up his weight as the other dug the heel into his false eye. “What are you-- I thought you were-- Do you remember…?” “I made you breakfast, silly.” Rick absently flicked some hair out of his face, setting the ornate little tray down in front of his Morty and ruffling his wild, sleep-destroyed curls. “I was thinking maybe later, we could go out. You know, we need some more cesium for something we’re working on, and I thought maybe I could take you out for lunch. Anywhere you like, little buddy! Today’s your special day.” Leaning forward, he pressed his lips softly to Morty’s forehead, before getting up and dusting off his pants. “Wh-where are you going?” For a second, he couldn’t hide the desperation on his face, the terror in his tone, and his eyes must have looked pained because Rick sat back down beside him, tugging him into his lap. “Oh, baby, don’t look so sad… I need to go grab my breakfast so I can eat with you.” His voice was soft, sincere, and something about it calmed the racing heart of the boy in his arms. “I just… Don’t want to lose you.” Morty imparted shyly, the brighter aura of his mechanical eye shining in the dimly lit room. It made the red on his cheeks even more obvious, and he looked away as another kiss was pressed to his cheekbone. “I’m not going anywhere without you, Morty, you know that.” He smiled softly, slowly picking the other up and setting him beside his tray of food, getting up again. “I’ll be right back.” Casting a glance at the pancakes with strawberry glaze, the bacon and egg baked thingy that Rick insisted was the better version of both worlds, the orange juice and milk sitting side by side, he found himself sighing. How could anyone want this to stop? With a little sigh, he tucked into his orange juice, eyelids slipping closed. Seconds later, he was jarred out of his joy by the entire room shaking. Debri fell from the ceiling and his shocked eyes flitted around the room. Hot, wet tears ran rampant down his cheeks as he heard a sob of anguish from downstairs; he could feel his hands quaking, the burn of bile in his-- “Morty.” An almost robotic voice managed to sound concerned. A hot, red tongue swiped over his cheek several more times before the brunet shot up in bed, smacking his head on the mechanical contraption his dog resided in. Tears slipped down his cheeks but it had nothing to do with the pain in his head. “Sn-Snowball?” He questioned, slowly, eyes narrowing, the right one whirring as it shot about the room. He wasn’t in that sun drenched house anymore, his bed was lumpy and cold despite him sleeping in the same spot all night, and the only other living being worth his time in this place was his dog. The cold metal of the room he was in only helped to amplify the loneliness he felt as he absently reached forward to pet the fluffy dog’s chest, the only spot his neural suit didn’t totally cover. “It appears you were dreaming of him again, Morty.” The dog informed, carefully preparing the suit for exit so that he could hop up onto the bed. The little white Maltese crossed the gray blanket to curl up in his friend’s lap, licking at his chin again before watching him carefully. “If you need it, I am here for emotional support.” Chuckling a little bit, albeit mirthlessly, Morty’s hands lovingly pet down the fluffy dog’s fur, scratching the base of his tail and rubbing along his spine. The human was so good at getting all the spots his companion couldn’t quite reach, and it always made him pant a smile. “I might just need to go see hi--” A pause, and he gulped, “My therickpist again.” “You cannot hide forever.” Snowball responded, those beady eyes looking up into Morty’s, “He will find out somehow. His entire livelihood--” “I know. Until then, I have to--” “Make do with other Ricks? Let them treat you poorly so you feel more like one of yourselves?” “...You’d make a great therick-- Therapist, Snuffles.” But it wasn’t the most praising tone he’d ever heard. Snowball bared his teeth for a moment, before huffing and closing his eyes, sighing gently. “Go, then. I’ve made breakfast, but I know you’d rather not eat before you go to the Citadel. I suppose that means more bacon for me.” “You eat all the bacon you want, Snuffles. You’re the best friend a Morty could ask for.” Kissing his head, he let the dog make his way back to his suit before getting out of bed and stretching. It would be a long day, most likely, and he wanted to at least look a little less like he’d gotten three hours of sleep this week and hadn’t remembered what a shower was for at least half of that time. It was hard to be involved in a project as large as the one he was busy with, and maybe this particular trip was long, long overdo. Eyepatch in place, he settled into the scalding water, letting it soak away his fatigue even as he found himself wishing he could crawl back into bed. The desire to go see the man that plagued his dreams was enough to spur his leaden limbs to moving, and he took the bare minimum of showers before he was hopping into his usual shirt and pants. White vans on his feet and black socks climbing up his calves, he closed his eyes as he tried to think about what to do about the circles under his eyes. A glance at the clock told him he needed to go quickly, so he changed his mind about doing anything and simply grabbed his portal gun out of the box labeled ‘PORN’ in his closet. It took less time to portal to the Citadel of Ricks than it probably should have, and he was thankful that he wasn’t the only solo Morty running around. All he had to do was go to Sanchez And Associates, which would take him six streets north, four to the right and down the last one, across from the McRick’s that he’d probably eat lunch at. It was a simple enough walk, melded in with the other Mortys with his eyepatch in his pocket, and when he finally arrived at the old hotel, he took the stairs to avoid any awkward elevator moments. Upon arriving on the third floor, even he had to admit he was a little out of breath, panting as he rest against the wall. A couple other Mortys passed him, chatting about this, that and the other thing, giggling like a gaggle of girls. It set his jaw so tight his eyes hurt, and he had to rub them, the whirring of his right eye kicking up another notch as he rolled it up and back. When it came back to a normal setting, he could see through the wall like an X-Ray, trying to find his purpose for coming here in the first place. “...Hey, what the fuck are you doing here again, kid? Weren’t you just--” “Shut it, Rick.” Morty snapped, eyelids narrowing dangerously as he snarled his next words, “I thought it was that Morty’s day to work? Didn’t realize there was going to be a secricktary today.” “I’m the fucking secretary today, you little shit. Don’t bite my balls off, Jesus. Who are you here for?” Leveling a glare on the scowling man behind the desk, Morty finally sighed and rolled his eyes before closing them. Breathe. That was what he’d been instructed whenever his temper was too high. Most Ricks weren’t smart enough to listen, but he still had that Morty disposition, despite the fact. “J19ζ7 Rick.” There was a look settled on him before the Rick laughed around the mouth of the bottle he was drinking from. “Doofus? You Mortys sure love him as a therapist.” He almost sounded incredulous for a long moment before he shrugged, “And which Morty are you?” “J499.” It was a lie, one he knew well enough, but it was easy to tell, at this point. At least he was believed. It had been awfully hard getting a new dimension, but finding one that had a dead Rick and Morty was a lot easier than he’d thought. Assuming someone else’s identity was always easier said than done. “...You don’t have an--” “I know. I just had a shitty… Experience, and he said that whenever I need him, I could go see him.” “He says that to--” “Shut up, asshole.” Morty sat on the little couch in the waiting room, facing the door, and pulled out his phone. Flipping through a few things, here, there, then another, he finally found himself relaxing a little. It was one, two, three Mortys and a Rick that walked out of that back office before he finally saw the blue-haired angel that would lead to a bit more of a restful night for him. With any luck. “Hey, there, Morty. Are you ready?” His kind smile and soft blue eyes were enough to coax Morty’s heavy limbs into movement, and he offered a small smile as he nodded. Feeling the other’s hand in between his shoulderblades leached ten million years of stress and anxiety from his soul, and he sighed gently. “Y-yeah, uh… I--” “You don’t have to say anything until you’re comfy on the couch.” The way he said it was more something a father or a friend would, and Morty felt his heart flutter in his chest. Maybe this was a mistake. Or, maybe, he would be able to get this nipped in the bud totally. Once they were behind the closed door, Rick seated himself calmly in his usual chair across from the loveseat Morty spread out on like he owned the place. What he wouldn’t have given to lay his head in the other’s lap… But he had to knock that thought out of his head before he said something stupid. “So, I heard you had an emergency.” Rick’s voice was soft, his tone sympathetic, and his eyes gentle. Every time Morty exposed himself to this, it just made everything worse. Here he was, sitting with the man of his literal dreams, and all he could do was shrug and try not to stutter. “I… I-- I keep having these… These dreams. About someone that I used to know, and I… I shouldn’t… The dreams are…” If only he could finish a sentence like he could a Morty torture device. “The um… Themes behind the dreams can be… Troubling. Not necessarily bad, but… I shouldn’t feel this way about h-- This person. Sometimes they are… Sexual in nature, and others they are… Almost mundane.” The whole time, Rick took quiet notes on his legal pad, keeping his eyes on the other as he listened intently. Nodding a little here and there, he sat forward just slightly, pressing his elbows on his knees and tenting his hands against his mouth. The gesture was oddly attractive, and brown eyes flitted to the ceiling, the boy closing in on himself where he laid on the couch. Bringing his knees up to his chest, he scooted so that he was sitting in the corner of it, he almost looked guilty. When he didn’t continue, Rick nearly chirped his first question. “Regardless of what happens in these dreams, do you remember how they make you feel?” His head tipped to the side, knocking a bit of his dorky bowl cut into his eyes. Morty wrung his hands as he thought about it. He was almost afraid to say what he actually came up with. “They… Make me feel safe. Like I’m only at home in my dreams.” He began, closing his eyes and trying to think of how to word the rest of it, “It’s like… I… I don’t know, you know? I feel… Happy. And then… I wake up and I’m sad. Snuffles has been great about helping me but he… Doesn’t quite understand, I don’t think.” “Well, the important thing to note, I think, is that these dreams shouldn’t give you excess anxiety. Just like Snowball, you take comfort in them. It’s rather likely that you do not feel anything for this person, but you need to feel safe and happy in your waking hours. Being as you know this person, or did at some point, you probably have a heavy connection to them that you might not consciously be aware of.” Everything that Rick was saying seemed to cement things in place for him. Morty did crave happiness and that feeling of safety and love that the dreams provided him, and he mourned their absence like he were addicted. Maybe it was wrong of him to want to get up, to snuggle into the other’s lap and have his hair pet, but there it was. The urge was sitting in the black pit of his heart, tugging his heartstrings like it might pull the right one to get him to move. Instead, he stayed firmly planted, rolling his fidget cube in his palm. “So… I should maybe… S-seek out a… A Rick or something?” His cheeks were hot as the question left his lips, and he felt itchy in a way that only wanting out of one’s own skin could bring about. “You said that yours died a while back,” Rick responded quietly, writing something down before looking up again, “Perhaps you need one in your life. Many Mortys are fine without their Ricks, but it isn’t uncommon to find one side of the other craving the attention of their opposite.” Some part of Morty wished that this Rick understood what he was saying. Craving the attention of a Rick? That, he figured, was probably true. Which was why there was a Gazorpazorpian Rick in an underground part of his lab back on the planet he’d taken up as his. He’d picked up and dropped so many Ricks in his work, used them as shields and reasons to go this place or that one. He let them think they were in control, he turned them into cyborg freaks like himself, all in an attempt to gain some kind of acceptance. The ones he controlled didn’t give him what he wanted of their own free will. The ones mostly governed by instinct didn’t give him a challenge. And, at the end of the day, none of them were his Rick. But it seemed the devil was always in the details. “Plus, you said you were from dimension J499, right?” Now, Rick was considering something out the window of his office, closing his eyes and sighing slowly out of his mouth. “That is a dimension that deals heavily in Alpha/Omega dynamics, doesn’t it? It would explain your desire to have a connection with a Rick,” For a moment, he paused, sniffing the air before pausing, “Particularly an.. An Alpha.” Well, J19ζ7 most certainly wasn’t wrong. J499, much like J19ζ7, was a universe with heavy Alpha/Omega dynamics, and Morty was, despite himself, an Omega. With Omega needs. And his body had figured out long before he had that there was a particular Alpha that he wanted. There were studies, some of which he and Snuffles had discovered on their own, that there were some pairs that were True Mates. It made sense, in his head, that his body desired his mate. But the eighteen year old was far from a virgin, and nothing had ever taken. Maybe he needed to stop running. “Yes… I suppose I could use a Rick with a… With a knot, huh?” He murmured softly, finally tossing his eyes over at the other. How could Rick be so… So calm? Could he not feel how they were drawn to one another? Was he so brainwashed that even his heart couldn’t possibly remember him? The mind-wipe gun that he used shouldn’t have erased everything like this… Maybe he was repressing things, too. “Are you uh, implying that you frequently sleep with… With other Ricks?” There was something in the elder’s tone that awakened something in him that had his heart pounding, and he shrugged a little. “I…” A lie. He had to tell a lie. Even if the only one he could think of wasn’t entirely untrue. “I make money working at one of the um… M-Morty brothels here in the Citadel.” At least he had the decency to sound properly shamed. Rick’s eyes jumped to the other’s face and for a long moment, he looked a little disturbed. “Do you enjoy it?” He finally asked, his smile soft again, less upset looking, and he reached forward for his water bottle. The way he gulped it down was telling of something, but Morty wasn’t entirely sure what. “I enjoy being close to Ricks that want to… Be with a Morty. I enjoy sex, as well, like most healthy adults do. It shouldn’t matter that…” That he always felt strangely empty afterwards. It didn’t matter how full his belly was, how much he’d been given, how he’d been used and claimed and left with his entire body full… His heart felt empty. “It shouldn’t matter that what, Morty?” Reaching over the sparse space between them, he rested a gentle hand on the other’s shoulder and the younger man wanted to scream. Skin on skin contact was worse than anything through his shirt, and he had to force himself not to whimper. “It shouldn’t matter that I want more than physical attention.” “Everything that you desire and need emotionally is just as important as physical needs.” Rick was pulling his hand back again, nodding slightly as he continued, “Never neglect these things. Your body knows what it needs.” “Sometimes I wonder if it does.” Morty responded, feeling lightning surge through every nerve ending as the other’s hand slid up his arm to his elbow. This was embarrassing. Shivers ran down his spine and he slowly sat up, curling in on himself, though there was a scent of sad satisfaction in his scent. A familiar memory of that particular mixture of lavender, gunpowder and green tea flickered over Rick’s brain, and for a long moment, he just stared. There was a brightness to the flavor of it, and it soaked into the air around them in a way that had him breathing in deep through his mouth to avoid doing something stupid. Morty seemed to notice just what was going on, and suddenly rose to his feet. “Th-thanks, um. I… That’s probably good, I know you have other patients.” They had barely talked for half an hour, but the room was stuffy and he needed to get out onto the street. Maybe he would treat himself to something from the bakery down the street, instead of his usual chicken nuggets at McRick’s. Before the other could stop him, he was out of the room and practically running down the hallway that lead to the lobby. Pushing out the door and into the hallway, he charged down the stairs like there was a fire on his heels. Outside was both a blessing and a curse; he could breathe again, safely and without compromise, but it was too bright. Scrunching up his eyes as he greedily sucked in air like a man drowning, Morty found himself leaning on one of the pillars that held up the building he’d just run out of. His spine screamed at him to rest for a moment, and he knew better than to push himself when it hurt this bad. A glance up at the window of the room he’d just been in showed a concerned J19ζ7 watching him, a hand pressed to the window. For a second, he was sure that there was a glimmer of recognition in his eyes, but the younger couldn’t be bothered with that. The bakery furthest from his therapist’s office was in the main lobby of the Council Chamber, and it was close to a place where he could lose himself for a while. After all, that was probably what he needed the most. ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~ AN: Oh man. xD I honestly don’t know how this got so long. O.o; But hopefully it’s worthwhile.

#Rick And Morty Fanfiction #Rick And Morty Fanfic #RickMorty #Doofus Rick X Evil Morty #Even The Stars Are Ill At Ease #Even The Stars Are Ill At Ease (Fic)

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1801664 · 4 years

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Looking at Screenplays

To begin my research I’ve started looking into some screenplays, both animated and live-action.

https://www.simplyscripts.com/genre/sci-fi-scripts.html

http://www.screenplaylists.com/top-sci-fi-screenplays

https://www.reddit.com/r/c132/comments/7uztbw/rick_and_morty_scripts_baby_every_episode_every/

The main ones I’m looking at are Star Wars and Rick and Morty. The reason I chose these were because they relate to the idea of my screenplay quite well.

I want my characters and the story to have a comedic style and they’re set in space, aspects of what these screenplays have.

In this screen play for rick and morty, it starts off in media res. I think this is a really interesting way to begin a screen play as it draws the reader in straight away, this is something i’m considering doing for the same effect.

http://www.zen134237.zen.co.uk/Rick_and_Morty/Rick_and_Morty_1x05_-_Meeseeks_and_Destroy.pdf

“Morty closes his eyes and hits a button on the wall of the space station. A hatch opens up in the floor, and sucks the demonic versions of Beth and Summer into it (like the Ghost Busters trap), ripping their flesh off first in a disgusting display. It’s horrifying. Rick gets up, dusts himself off, and pulls a cartridge out of the floor. Rick shoots a portal against the wall, and walks into: “

I wanted to see how the writers took advantage of the animated medium and how they kept their descriptions and actions simple but to the point.

I noticed it they write actions as if they’re seeing them and narrating them as they’re watching. When reading through the scripts there isn’t a lot of description of the places and as told during the lectures they only write about what can be seen and is important to the viewer.

This was good to read through to help me think of how I was going to plan out my screenplay and how they stick to the story fully, it also gave me insight on how to format my screenplay.

https://www.imsdb.com/scripts/Star-Wars-A-New-Hope.html

On the other hand, the Star Wars screenplay was notably different. There was a lot of description compared to dialogue during the first few pages.

These descriptions are much more detailed than compared to Rick and Morty which uses a lot more simplistic language and descriptions, this is probably due to the genre of the two screenplays, although they are both sci-fi based, Rick and Morty is much more comedic in style than star wars which has a bit more of a serious feel to it; sentences like “it was disgusting”/“it was gross” wouldn’t fit into the style of writing made for Star Wars, the simplistic adjectives give off a comedic effect which is perfect for the comedic screenplays.

Much more stretched out descriptions including a wide range of adjectives show the reader what’s really happening in greater detail, which gives it a greater significance. This could also be due to the fact it’s live action and if something bad happened during an attack for example and someone got hurt, the result of this is a lot more permanent than in an animated medium in which one episode a character could die, but be perfectly fine in the next.

https://www.imsdb.com/scripts/Wall-E.html

http://www.scifiscripts.com/scripts/2001.txt

comparing another two screenplays, I have Wall-E and A Space Oddesy.

Wall-E was an interesting read as I had forgotten there is little to no dialogue during the beginning of the film as the main character doesn’t talk.

This screenplay was really interesting to read as it contains a lot of what the character is doing and shows his personality through that.

Wall-E opens his cooler.

Newfound knickknacks.

Pulls out the hubcap from his chest.

Looks back at the TV.

Mimics the dancers on the screen.

Pretends the hubcap is a hat.

Continues to unpack:

A spork.

A Rubik's Cube (unsolved).

A Zippo Lighter.

He presses a BUTTON by the rack of shelves.

They rotate until an empty space appears.

His new items are lovingly added to the shelf.

The Zippo joins a pre-existing LIGHTER COLLECTION.

A new song, It Only Takes A Moment, plays on the video.

Wall-E is drawn to it.

Presses his "Record" button.

As shown here we begin to learn a bit about the main character. The way they describe his findings and how he unpacks them “lovingly” shows this character who is meant to be a robot to collect rubbish is doing something in a humane way. It shows to the reader that this character has developed feelings without the use of words.

The writers carry on doing this throughout the beginning of the movie which makes us relate to the character and it slowly shows us who he is.

His CHARGE METER chimes full.

Solar panels fold away into hiding.

Wall-E, now awake, collects his lunch cooler.

Heads off to work.

...and accidentally runs over the cockroach.

Horrified, Wall-E reverses.

Reveals the FLATTENED INSECT under his tread.

The cockroach simply pops back to life.

No biggie. Ready to go.

Relieved, Wall-E resumes their commute.

This part of the screenplay shows that Wall-E isn’t like other robots, he has feelings and reacts like a human. It also shows how the character is empathetic and can feel emotions. The way they describe him being ‘horrified’ and ‘relieved’ makes the reader relate to the character on another level as he seems more human as they continue to read/watch.

This was really insightful to see the different ranges of methods when it comes to writing a screenplay and how each film showcases different techniques when it comes to dialogue, genre and what platform it will show on.

A Space Oddessy is quite similar in how there isn’t much dialogue during the beginning of the film, it’s mainly descriptions although this is specifically describing a flash back and is still limited to what the viewer can see.

This screenplay features a narrator, which isn’t something I’m thinking of including in mine but was interesting to see how to successfully include this aspect into a screenplay. It seems this is being used to explain what can’t be shown but is necessary information for the reader and viewer. I’ll keep this in mind when writing my screenplay incase I ever need it.

Reading a range of screenplays has broadened my knowledge and given me a lot of ideas of how to start planning for my own writing. I think I’m most inspired by Wall-E due to the way it shows personality through action really well and lets the audience know a lot about the characters in such a short time. Rick and Morty I like for the comedic value and style which i’m planning on having in my own screenplay, so it was good to see how a successful show coveys the comedy through their screenplay and how i would be able to incorporate that into my own.

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mysteryshelf · 7 years

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BLOG TOUR - Death by Chocolate Lab

DISCLAIMER: This content has been provided to THE PULP AND MYSTERY SHELF by Great Escapes Virtual Book Tours. No compensation was received. This information required by the Federal Trade Commission.

Death By Chocolate Lab by Bethany Blake

Death by Chocolate Lab (Lucky Paws Petsitting Mystery) Cozy Mystery New Series Kensington (February 28, 2017) Mass Market Paperback: 304 pages ISBN-13: 978-1496707383 E-Book ASIN: B01GBAG2T0

Pet sitter Daphne Templeton has a soft spot for every stray and misfit who wanders into the quaint, lakeside village of Sylvan Creek. But even Daphne doesn’t like arrogant, womanizing Steve Beamus, the controversial owner of Blue Ribbon K-9 Academy. When Steve turns up dead during a dog agility trial, Daphne can think of a long list of people with motives for homicide, and so can the police. Unfortunately, at the top of the list is Daphne’s sister, Piper—Steve’s latest wronged girlfriend.

Certain that Piper is innocent, in spite of mounting evidence to the contrary, Daphne sets out to clear her sister’s name—and find Axis, Steve’s prize-winning chocolate Labrador, who went missing the night of Steve’s death. Aided by Socrates, her taciturn basset hound, and a hyperactive one-eared Chihuahua named Artie, Daphne quickly runs afoul of Detective Jonathan Black, a handsome and enigmatic newcomer to town, who has no appreciation for Daphne’s unorthodox sleuthing.

Can a free-spirited pet sitter, armed only with a Ph.D. in Philosophy and her two incompatible dogs, find the real killer before she becomes the next victim?

Includes recipes for homemade dog treats!

Interview with the Author

What initially got you interested in writing?

Some of my first childhood memories take place at the tiny public library in my hometown of Montoursville, Pennsylvania. I used to ride my bike there at least once a week during the summer. And I was so excited the day I graduated from the picture books to the wire, spinning rack that held the “big kid” paperbacks. I couldn’t imagine being an author at that time. I thought people who told stories must be almost magical. But I’m sure that’s where the seed was planted.

What genres do you write in?

My focus right now is on cozy mysteries. I love creating quaint worlds with quirky characters. And for as long as I can remember, I’ve gravitated toward books that challenge readers to solve a puzzle. I was a huge Nancy Drew fan as a child. I also write YA and middle grade mysteries under the name Beth Fantaskey. But my first priority is cozies.

What drew you to writing these specific genres?

Martha Grimes fueled my initial obsession with cozy mysteries. Whenever I’d finish one of her books, I’d be so disappointed to have to leave the world and the characters she created. So I started finding other books with similar worlds. Then, when I became a novelist, I realized that I could create my own town – pet-friendly Sylvan Creek. And I could populate it with my own cast of characters, including smart-but-reckless pet sitter Daphne Templeton; her stoic basset hound, Socrates; her vintage-obsessed friend, Moxie Bloom; and her sensible sister, Piper. And, of course, I couldn’t resist conjuring up a very handsome detective with a secret past!

How did you break into the field?

I’m one of those twenty-year overnight success stories. I started working as a professional writer right out of college. Speeches for politicians, magazine articles, stories for newspapers… I was basically a writer for hire for two decades before I wrote a novel. And it was bad. So I wrote a few more until I had one that I thought was worth sending to an agent. And it sold!

What do you want readers to take away from reading your works?

With the Lucky Paws Mysteries, I want readers to feel like they’ve got a second home in a cute town with good friends who make them laugh over a cup of coffee or a delicious meal. And there’s a touch of romance, too.

What do you find most rewarding about writing?

Interacting with readers, without a doubt. I do a lot of fun giveaways, contests and Skypes, and I have readers who’ve become genuine friends. It’s also wonderful and humbling when someone writes and says, “Your book helped me through a really hard time.”

What do you find most challenging about writing?

Writing the first few pages of a new book or series. It always takes me a little time to get the feel of a new book. But there’s always a moment when the characters come to life, and the setting is as vivid as the scene out my window. That’s when I can breathe a sigh of relief.

What advice would you give to people wanting to enter the field?

Even if you dream of writing fiction exclusively, don’t overlook any opportunity to write. I learned a lot about choosing quotes and creating a story arc by working as a journalist. I think you learn something every time you write.

What type of books do you enjoy reading?

Not surprisingly, I love cozy mysteries. Cleo Coyle, Krista Davis, and Joanne Fluke are just a few of my many favorite authors. But I’m also a fan of classic literature, especially anything by Dickens or Austen. That’s probably the English major in me!

Is there anything else besides writing you think people would find interesting about you?

I used to be a global wanderer who always got into scrapes, like my Lucky Paws heroine, Daphne. For example, I once got stuck spending the night in an abandoned hospital in India. I couldn’t open the door to my room because feral dogs were wandering the halls. Luckily, someone came to get me at dawn.

What are the best ways to connect with you, or find out more about your work?

I’m easy to reach, and I always like to communicate with readers! Here’s how to get in touch.

Website: www.bethanyblakeauthor.com

Facebook: www.facebook.com/bethanyblakeauthor

Twitter: @bethanyblakeau1

Goodreads: www.goodreads.com/bethanyblake

E-mail: [email protected]

Thanks for hosting me on your blog!

About The Author

Bethany Blake lives in a small, quaint town in Pennsylvania with her husband and three daughters. When she’s not writing or riding horses, she’s wrangling a menagerie of furry family members that includes a nervous pit bull, a fearsome feline, a blind goldfish, and an attack cardinal named Robert. Like Daphne Templeton, the heroine of her Lucky Paws Mysteries, Bethany holds a Ph.D. and operates a pet sitting business called Barkley’s Premium Pet Care.

Author Links

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BLOG TOUR – Death by Chocolate Lab was originally published on the Wordpress version of The Pulp and Mystery Shelf

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devilsknotrp · 5 years

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Congratulations, Harper! You have been accepted for the role of Elias Deere (FC: RJ Mitte). Elias is a tricky character to understand. Is he truly vengeful, or just hurting deeply? How far does his hatred towards his father go? You have written him so thoughtfully and sensitively - reading your application made us both go oh, yes, they’ve got it. We also loved the inclusion of his disability and your faceclaim change is thoroughly magnificent. The plots to come are going to mesh so well with how you’ve written him that we can hardly wait to see what happens! Altogether, your version of Elias is beautiful, poignant, and subtly melancholy. Thank you for bringing him to life. As per your notes we are only accepting you for Elias. Let us know if you’d like to be reconsidered for your other application! Please have a look at this page prior to sending in your account.

OUT OF CHARACTER

Name: Harper Age: 19 Pronouns: They/them Timezone: MST Activity estimation: I’m a pretty busy college student who has managed to get so involved I don’t know when I’ll breathe during this next semester. I’ll be on the dash as often as I can, but that will likely be limited to weekends and evenings. Triggers: [Redacted]

IN CHARACTER

Full name: Elias Deere Age (23/04/1978): 18 Gender: Cismale Pronouns: He/him/his Sexuality: Homosexual Occupation: Clerk at the Arcade Connection to Victim: He’s in the same grade as Beth and David Goode. He doesn’t know them particularly well but in a town this small, everyone now knows about the Goode family, even someone like Elias. Alibi: He was working at the arcade. He’s the only one employed there right now, and so the task of keeping an eye on everyone that comes in falls to Elias. He needs every penny he can get so guess who never turns down a shift. Faceclaim: RJ Mitte

WRITING SAMPLE

Elias knew what his classmates said about him. He was quiet and people never seemed to remember he’s there when they start talking, as long as he doesn’t say anything. It hurt, of course. To be considered odd and perverse when one presses flowers in journals and writes poems about this knotted town. It’s been his own curse to bear, one that’s been carried silently over many years.

But now, Brian was missing. And Elias was afraid.

He remembered Max Acosta. He remembered the trial, the questions Elias had that went unanswered and how easily the problems were swept under the rug, because here was an answer, handed over on a silver platter. He had followed the case almost religiously a few years after, horrified by the concepts and yet intrigued by the mind behind it. He had nightmares for months afterwards. And now it was happening again, and this time, he was the odd one out.

It was a paralyzing kind of worry, the fear that one day one of the other kids at school would say something, point the finger, share one of those lies again and then the police would be at his door and there would be nothing Elias could do, nothing but nod and sign where they tell him. It haunted his steps and hid in the shadowy corners of sleep. Never did Elias think his heart, his love of words, and his inability to abide by the standards of high school might send him to jail for the rest of his life.

Who would lift a finger to stop them? Not the majority of the school. Not Elias’ father. It was a trap, one impossible to escape from any side. The only thing left to do was hope it all went alright. But when has anything here gone right?

Elias pushed his plate away with a sigh. It was one of the few tables in the diner that was tucked far enough away from everyone else that he seemed to blend into the background, wheelchair sitting beside him ready to carry him away as soon as it all became too much. But it was quiet in that little corner, the buzz of everyone else fading into a dull noise that was hard to hear over the music.

It was as close to peaceful as Devil’s Knot ever really got for Elias.

Elias let out another sigh before opening his bag and bringing out a small worn notebook that practically fell open along its well-worn spine. Devil’s Knot was all he had to write about, for now, and even if he kept the details sparse, there was still a veritable flood of material to make use of. Now was not the time for darkness and tragedy though. There was enough of that around the town for now.

Instead, with a furrowed brow and his tongue between his teeth, Elias wrote about the bird outside the window, how the sun turned his feathers from blue into a small piece of the sky and how it sang to a little kidnapped boy.

The song would echo through the woods, picked up by more and more mouths until it was a virtual symphony calling a lost boy home. The more birds sang, the more concrete the song became, until it grew into a woman with feathers in her hair and laughter in her eyes. She walked into the woods and walked out hand in hand with a little boy. That little boy would walk into town with a smile, not a scratch on him. He’d laugh and play ball, ride bikes and make jokes. The entire horrible story ended because of a bird.

Elias couldn’t stop the smile that formed when he set the pencil down. It was complete fantasy, of course. A complete impossibility, more in line with a fairytale than the world Elias inhabited. But sometimes, people needed a little hope and a little light in the dark times they all lived in. No one would read anything Elias wrote, not for a long time, but it helped him to know he had done something.

He stood, leaving behind the money for his burger, before sitting in his wheelchair and replacing the notebook in the bag. He left the diner and began to make his way home. There was still a story to tell, of course. One Elias just didn’t want to write. Brian wasn’t back yet and whatever happened would be something for the ages. Elias just prayed he wasn’t going to find himself the monster of the tale.

ANYTHING ELSE?

Alibi Elaboration: You’d expect a lot of problems in a place like the arcade for someone like Elias. But that is, for all its flaws and constant thrum of people who would prefer to forget the clerk exists, one of the few true spaces Elias has complete control over. Yes, it pays like hot garbage on a summer’s day, but it’s his and Elias likes to look after his things. He was absolutely there when Brian went missing. He loves that place for all it’s flaws. He can just be himself in those walls and there is almost no way his father would ever step foot in a place like that. It’s a perfect haven.

Headcanons:

Elias’ favorite poets are Yeats and Frost. He personally cannot stand the gothic and romantic genres and refuses to touch either, as he doesn’t like how poetry was written in that time. He tries to avoid a lot of structure in his own poems, but he is always an absolute sucker for a good rhyme.

In any given day, Elias goes out of his way to avoid any prolonged contact with his father, preferring to do whatever it takes to get away from him in as short a time as possible. This means he will smile, nod, and agree with whatever Jeff is saying just so he can leave as soon as possible. Confrontation is not in Elias’ nature. Avoidance is, especially around someone like Jeff. How on Earth could Elias ever stand up to that man? It would take a miracle for that to happen, to lend him the strength and the will to say “no, I am not the problem here.”

Elias has a bit of a strained relationship with religion. He knows how important it is to his family and he’s seen the art and the strength that it can bring about. But he also can’t forget about the horrors it’s caused over the centuries and how much of it is a lie crafted by men like his father to keep control of the sheep. Of course he wants to believe in something greater and stronger than himself, but sometimes the only things strong in the world are his chair and the words of people just like him. He’d never share his doubts, afraid of how that would reflect on him, but they are growing each and every day.

Kids are great. You know exactly where you stand with them and there are never any surprises. They tell it like it is and don’t bother spreading rumors. They just tell their suspicions to your face. They’re simpler than Elias’ peers and he enjoys hearing the blunt, ridiculous things that come out of their mouth. Of course, most kids don’t give him the time of day and the ones that do don’t linger for long. Those with older siblings avoid Elias like the plague, but none of that has stopped Elias from promising himself to never turn away from a kid that needs help or a friend. He knows what both of those feel like and he can’t imagine leaving someone small and vulnerable face the cruelties of the world alone.

He hates spicy food. Please don’t make him eat anything hotter than a bell pepper. His taste buds can’t handle it and then the town will have a crying Deere on their hands. It’s just not worth it.

He says he loves people and he means it. People just have to convince Elias they are worth the attention and effort he will inevitably put into their relationships. He doesn’t have it in him to have a lot of friends, but the ones he does have will be rapidly prioritized on his mental list of important things. If a friend of his is sick, he’ll show up with a store-bought cake ready to watch cartoons. He knows what it’s like to have a body that hates you sometimes so he’s there to lend a hand however he can.

No, you cannot push his wheelchair. Please don’t ask.

He doesn’t advertise it, but he has several plans all lined up in his head for revenge on people that have made his life extremely difficult. They’re never going to be brought to fruition, but it helps when the bullying gets bad to have an idea of vengeance. And who knows, maybe one day the camel’s back will break and all those ideas will come flooding out.

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