Basically a guardian of the galaxy AU
Team
Rouge the bat- leader and big sister to the team
Amy Rose- the muscle and heart of the team (and the chef)
Cosmo the seedrian- the medic and sometimes the plus two muscle of the team (she is also the plants and herbs expert).
Cream the rabbit (and cheese)- just a kid but she and cheese are the critter experts, and they also excel at gathering information (no one suspects the cute ones and they can get into small places).
Context:
Rouge forms an elite team of bounty hunters(*cough* found family *cough*) to take care of each other in the unforgiving galaxy. They usually take on A jobs such as escorting, delivery, etc.. though rouge tends to take on more dirty jobs solo (stealing, non-killing bounties,etc.) for more cash and sometimes thrills much to Amy’s disappointment.
Rouge is perfectly content with they’re bounty hunting lifestyle while her sisters have other ideas. Although Amy loves the jobs when they get to help those in need, she wishes it was less transactional and she wants a more stable and safe home. Cosmo longs to find her people and a way to help them. And cream, unlike her sisters, is not an orphan and longs to reunite with her lost mother. This conflict comes to the surface when they encounter three intruders who have “followed” Cream to one of their traps.
Bonus:
Growing up together has caused some habits/traits to rub off on each other. For example, Amy picked up the habit of (sometimes flirtatious) teasing their victims/intruders from Rouge.
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i think i’ve learned a lot when it comes to not applying my own values to the media i consume
for my script analysis class yesterday, we discussed two gentleman from verona, and nearly every classmate of mine was up in arms about how sexist the story is.
and i'm not saying it's not, or that it's not infuriating to read. but i'm also not putting my energy into getting upset about something written 500 or so years ago. and i'm not about to put my own beliefs onto these characters that are not me. i'm going to let their choices speak for themselves, and interpret it in the context of the story.
all that said, this now brings me to the point of alastor in episode 5, and how viscerally people are responding to it. those of you up in arms about the choices he’s making, and the violent threat he gave husk, you’re missing the entire point of his character, of this place they’re in, of the story being told. he’s an overlord, and he became an overlord by killing much bigger overlords and broadcasting their deaths over the radio.
HE IS NOT A GOOD PERSON.
if you started this show with the belief that every character working the hotel is a good person, you’re in the wrong place. watch the good place if you’re looking for a good wholesome story about getting dead sinners into heaven, because that’s not what this show is about.
you’re more than welcome to hate him after seeing the way he exerted power over a being whose soul he owns, but you’re doing the media you’re watching a disservice by writing it off so quickly. if you don’t like to be uncomfortable watching media, watch something else. this is an uncomfortable show, it handles uncomfortable topics, and it’s going to be an uncomfortable ride, and if you’re not up for something like that, then you should take a break from it and pick up something else. you don’t have to get online and defend your own ideals while you watch a show that goes against your ideals.
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If I had a nickel for every time the children of season 1 dads had to be distributed amongst the players— and because one of the 5 aforementioned characters took a sudden one-way trip to the infernal plane, Lark specifically had to be paired off with the missing character’s correlating player— I would have two nickels.
It isn’t a lot, but I like to read into both instances for absolutely no reason. They mean something to me.
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Sometimes I think about how throughout Clone Wars “sir” was used as a non-gendered term — the clones always referred to Ahsoka and the other female Jedi as “sir” to the point that as a child I didn’t realize that “sir” was considered masculine (and sometimes still forget even today) — until the final season, the only season that Disney produced, where Rex suddenly starts calling Ahsoka “ma’am” for the first time.
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I’m going to go out on a limb here in defense of editors.
Too often I see people dump on poorly written books like “Where was the editor?” Uh they were probably banging their head on the desk in frustration as the author had a tantrum and dug their heels in about every suggested change. Then the dogshit market and algorithm and nepotism rewarded this by launching the mediocre book to the NYT bestseller list or whatever.
After that or even simultaneously it lands movie deal and gets made into an even more mediocre franchise. Look no further than Fifty Shades of Grey author E. L. James who pioneered this shit over a decade ago. Just ctrl+f your fanfic names for new ones. Edit absolutely nothing, certainly not developmentally. Sell a million-billion copies on a false premise of BDSM. Make a movie and scream and yell at the director doing her damn best the whole time. Then fire her. With a new director, install your husband as the script writer so no improvement can be implemented in the adaptation of your idiotic and harmful story. Profit.
The downfall of storytelling is not on editors.
This shit isn’t art and it’s grown in a lab by people with influence who don’t have to work hard or improve themselves or think constructively because they’ll make money anyway. They don’t care about quality because they’re not artists, they’re merchants dealing in marketable tropes and taglines without any substance behind it. They’re snake oil salesmen. The editor is the health inspector they knifed out back.
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