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I'm making over 1 million a month. I got a level 4 Gambling HQ atm. I going very slow with this city, as you see I have a lot of unhappy sims because they're all poor (spending all cash at casinos & no factory jobs). Soon I will be ready to introduce a Scifi casino. Currently, I'm trying to balance out my population with commercial that won't close due to lack of shoppers (hotels) because I catch all my tourists away from my high residential. This splits the traffic, and allows green traffic flow at 6AM/PM and 12PM. I have high commercial and 15k tourists before, and they were everywhere in my city, so come 6am, they were clogging up my residential roads and I had way too many high wealth residential hotels popping up everywhere. Any comments to improve would be appreciated. Currently, I make 46k/h when I have a expo show going. I also cannot add a shuttle buses. They're glitched in my game, they do not leave the station. I've checked all my roads, they're perfect: Anyone know how to fix this? I currently do not have any traffic problems, but I do have too many tourists driving instead of walking at the 6am rush. My biggest problem though is my Sims happiness level. They complain about not having money all the time. Even shops complain about not having workers, and I have unemployed sims now that I've cut so much commercial. I don't get it, I have no traffic and more than enough jobs. Yet, they're all poor, and many move out.
Why’d they have to add the Deluxo to the Casino Podeum?😂 Now because everyone besides Rockstar knows about the ———. everyone has it now and now every lobby absolutely covered in the car version of the oppressor mk2, its weird seeing just flying cars going around the city like its a scifi game
05/15/16by Dennis MombauerComments 2 📷 Hugh Cook's Chronicles of an Age of Darkness is a ten-volume fantasy cycle that uses literary ingenuity and experimental techniques to break through classic genre boundaries, break them and leave them far behind. In addition to a diverse, wacky world and the precise, black-humored rendition of human realities, the author's willingness to experiment is expressed above all in a multitude of voices and perspectives: in his writing style, which changes from volume to volume, and the interconnectivity of the volumes, which tell separate stories, but constantly encounter, influence and overlap. A guest contribution byDennis Mombauer . Fantasy - at least immersive, ie that takes place completely in a secondary world - is contrary to the perhaps obvious intuition, a conservative genre. A world built from scratch, foreign cultures and magic would allow every imaginable long-distance and high-altitude flight of the imagination, but the majority of fantasy authors fall back on the same conventions that were established by Tolkien and his imitators in the middle of the last century. At the beginning of classic fantasy stories there is always a carefully put together, often pseudo-medieval setting dollhouse that is threatened by evil and saved by protagonists, who are dug out of the shared archetype box by their authors. The plot runs on the same, often messianic, rails laid according to Campbell's mono myth, at the end of which the status quo is restored and the readership can lean back contentedly. All too often, fantasy is a »comfort genre« (Williams 2007) that, by tradition, unnecessarily limits its altitude itself and is dragged to the ground by reactionary resentments.
Golden gulags and dark ages
An exception to this rule is the British-New Zealand author Hugh Cook (1956-2008), who remained almost unknown outside of a small fan base and only moderately successful commercially, which could already indicate the experimental nature of his literature. His main works are the "Chronicles of an Age of Darkness", a megalomaniac fantasy cycle of 60 volumes, of which ten were written in the end and published between 1986 and 1992: And these ten volumes fire with such a firework of literary ingenuity and experimental techniques against the grids of the classic genre cage suggest that little more than ash and burned-in shadows remain of them. The world devised by Cook for his "Chronicles" towers as a mountain range over every dollhouse fantasy, is more of a sandbox and construction box than a carefully assembled toy. Individual novels span decades, various continents, islands and regions are visited, and almost everything is possible: pseudomagic »synergetic improbability«, wandering mountains, circularly lined up teleportation doors and arenas with monstrous giant minkes; a space academy whose AI director continues to train pilots even though the spaceships only exist in illusion tanks; mighty banking consortia, wish-fulfilling machine flowers, magic bottles inside magic bottles; ghostly Ilpse, who dissolve when asking questions, the skulls of the deep south, Asmen, the Odex, etc. etc. pp. Integrated into the intercosmic, probability-manipulating mega-civilization of the Nexus, the planet in the center of the setting is a former prison and therapy complex (the "Golden Gulag") that lost all connection to the Nexus thousands of years ago and fell back into a partially medieval post-apocalypse. Such a mixture of fantasy and science fiction elements is not new, and although Cook does it in a very original, often bizarre way (and does not emphasize the extraordinary, just mentions it in passing), it is not what makes it Novels escape the mainstream.
Human and non-human realities
In Cook's world, the potential of almost unlimited possibilities is fully exploited, and yet at the same time it remains down to earth, realistic in the psychology and physiology of its inhabitants. Humans (and human-like life forms) come in a variety of colors and shapes, of which black and white are just the beginning: for example, there are the islanders of Ebrell with their red skin, the purple-colored frangoni, the metallic-gold-skinned, milk-eyed inhabitants von Ling or the green-haired and bearded Slagger Mulps ("two thumbs and three fingers on each hand"; Cook 1988, 83); In addition, there is also a multitude of different ethnic groups, castes, cultures and subcultures:
"As had already been stated, Dog was a member of the Yara, the Unreal underclass of Dalar ken Halvar's dominant people, the Pang. Dog wanted to join the Free Corps, but membership of that august body was largely restricted to Ebrell Islanders and members of the Chem, the wealthy upper class of Dalar ken Halvar's Pang. "(Cook 1992, 46)
Racism, discrimination, pogroms, forced relocations and sometimes tolerance occur between the various groups; For example, the islanders of Ebrell on Untunchilamon are considered alcoholics, troublemakers and, if necessary, scapegoats, while in Dalar ken Halvar they belong to the most influential population groups. Diverse languages and dialects lead to misunderstandings or misunderstandings, local customs are diverse, and there are different currencies, laws, religions and traditions:
“› I demand ‹, he repeated,› to see the ambassador of the Narba Consortium. Don't you understand? Ambassador! ‹But his captors spoke no Gaelish. Nor did they understand High Churl, City Churl, Field Churl, Ashmarlan, Lorp Talk, Estral, Rovac, Ligin or Ling, which was almost the sum-total of the languages Jon Arabin spoke. "(Cook 1988, 375)
Classic fantasy creatures such as dragons, minotaurs, demons or orcs (hunted because of their oily trans and threatened with extinction) exist alongside high-tech machines and post-lovecraftian nightmare creatures, other protagonists are even more unusual: for example Shabble, a former toy , almost indestructible miniature sun or a gigantic hermit crab, which is in fact an inorganic, probability-manipulating entity from the heart of the local star. Cook builds a colorful world full of human (and non-human) abysses, showcasing all the light and dark sides of human nature, and ruthlessly opposing its protagonists. Oppression, torture, disease, hunger, thirst, alcoholism, betrayal, cannibalism and madness are ubiquitous; Armies on the march are constantly threatened by unrest, unrestrained pillage, excesses of violence and desertion; Ships of mutinies, intrigues, storms and sea monsters; Travelers end up in dungeons because they cannot pay a bribe, warriors lose their hands or more (Guest Gulkan loses both arms and legs in the middle of his more than seven hundred-year history). Cook's protagonists are mostly not heroes, not even antiheroes; they are villains and drifters, egoists in search of their own gain, often self-inflicted difficulties in the way, which perish by their own greed or celebrate great successes with their unscrupulous actions - and Cook puts the reader in these characters without taking sides for (or against) them.
A narrator with many tongues ...
A diverse, often wacky world and human realities are not yet experimental in themselves, even if they break with the classic conventions of the fantasy genre in many places - mixtures of SciFi and fantasy abound, merciless medieval realism at the latest with »Game of Thrones ”(albeit clearly after Cook) reached the mainstream. There are primarily two peculiarities that highlight the Chronicles series and perhaps cannot be found anywhere else in a comparable form: On the one hand, Cook's writing style, which changes in each volume, always maintains a certain distance and thus one (or more) additional ones to the story Level (s) conferred; and on the other hand the fact that the novels all tell closed stories, but constantly overlap, intersect and illuminate the same events from different angles. First to Cook's writing style, which makes him an omniscient, constantly commenting narrator, who delves into digressions (comparable to Moers' Mythenmetzschen digressions) and punishes "show, don't tell" rules with contempt:
"[Gouda Muck] was, quite possibly, the only atheist in the city of Cam. Most citizens enjoyed the practice of religion - indeed, for many devout souls, its consolations were all that made life worth living. But Gouda Muck was born to be a dissident. He refused to believe in the demon Hagon, far less to worship that formidable eater of souls. He also avoided those sacred religious duties usually accepted even by unbelievers, viz: patronizing the temple casinos; copulating with the temple prostitutes; playing the temple numbers game; going to the temple cockfights; participating in the human sacrifices. His main objection to all the above activities was that they cost an exorbitant amount of money. "(Cook 1988, 58-59)
Cook takes the typical genre elements - the young hero who sets out into the world, the battles, the prophecies, the ancient magicians - and confronts them with the psychological mechanisms and dark spots that are usually left out. The hero goes out into the world and comes back without having learned anything; the rightful heir moves out to take his throne and is broken and traumatized along the way; the revolutionary realizes that the story is not about him. Clichés and conventions are deconstructed without the story stalling, and Cook observes and comments on all of this from a withdrawn observer position that combines black humor and dry understatement:
"Another vessel was connected to the Gol-sa-danjerk by grappling hooks. Copious quantities of blood on the deck suggested that the connection had not been entirely welcome. Indeed, Drake observed that most of the crew had become corpses. "(Cook 1988, 82)
A remarkable element is the fact that the language changes with the narrator in each volume and appears almost as a separate character with idiosyncrasies and a multitude of idiosyncrasies. What in the first volume could almost pass as the voice of a traditional fantasy writer is in the fifth volume the cynical commentator on a picaresque story; in volume 3, a female point of view is adopted, which is rather rare in fantasy, which, according to the author, is one of the reasons for the series' commercial failure. (Cook 2005) The sixth volume consists of the recordings of an inmate of the Dromdanjerie, the psychiatric institution on the island of Untunchilamon, which are packed into different meta-levels à la House of Leaves: The records were first used by the »redactors of Odrum« with enormous amounts (» a full two million words «, Cook 1990, 5) provided with explanations and insertions, which in turn were cut out by another authority so that only the voices of a few prominent editors remained (as the preface to the preface explains). The seventh volume consists of the diary-like writing of the same inmate, who now seems cured of his madness and has dispensed with the commentary levels; Volume 8 is thematically based on Nordic sagas and takes place entirely at night, Volume 9 gets lost in technical debauchery on the nexus and (pseudo) scientific explanations. Most of these volumes alone would be reason enough to declare Cook's work to be experimental, but each of them represents only one of the ten facets of innovation and originality, which together form a colorful kaleidoscope.
... and a narrator with many eyes
The other big experiment of the »Chronicles« is the fact that each band tells its own story, has its own protagonists and locations, but is still linked to the other stories and constantly has interfaces. For example, the central protagonist of the tenth volume is introduced on the first page of the first book and appears in a large number of other volumes, sometimes only as a brief encounter, sometimes as an apparent deus ex machina or antagonist. A frequently cited example is a scene from The Walrus and the Warwolf in which Drake Douay is led into the torture chamber of the local ruler Watashi:
"Watashi's private torture chamber was a soundproof room containing a narrow wooden bench, which bore an ominous number of russet stains, and many ugly implements of iron. Drake did his thinking - and fast. Clearly posing as an innocent peddlar was not going to save him. "(Cook 1988, 352)
The same scene is exposed as a psychological trick in the next book from Watashi's perspective:
"[Drake] was gagged and taken to an abandoned store room. Over the last three days, this had been converted into a horror house. Many ugly implements of iron had been gathered together; a torture bench had been installed; and Jarl had slaughtered a chicken in the room to make sure it was suitably blood-bespattered. "(Cook 1989, 303)
The scene is one element of many, and even more than direct encounters, numerous descriptions and reports of events ensure that the ten volumes taken together are reminiscent of a more trashy version of Rashomon or a more extensive and complex anticipation of films like Babel or 21 Grams. Information spreads uncontrollably, and the events of one novel become the distorted rumors and legends of the next and the one after that; Due to geographical distances and inadequate means of transport, messages reach other places with enormous delay, and there is hardly anyone who does not constantly lie for his own benefit. Again and again the protagonists of other volumes play supporting roles, are mentioned in reports or set in motion events in the background that appear from the respective perspective like unchangeable fate, but in their own story are quite normal actions. Conflicts do not arise from the fact that some characters are good and others are bad; they arise from conflicting motivations, insufficient information and often pure coincidence.
Limitations and limits exceeded
There would be a lot more to say about Hugh Cook, about his biography which is closely related to the novels, his short stories, his crazy homepage (unfortunately only available via Wayback Machine or similar), his later novels such as To Find and Wake the Dreamer or even just to the titles of his "Chronicles" volumes, which range from the classic (The Wizards and the Warriors) to the comical (The Walrus and the Warwolf) to the exotic (The Wishstone and the Wonderworkers) - but time and space are limited, and therefore it must suffice to sum up that he explored the scope of the genre with his novels, far exceeded the limits and dared the experiments that classic fantasy so urgently needs. Bibliography: Cook, Hugh (1988): The Walrus and the Warwolf. London: Corgi Books Cook, Hugh (1989): The Wicked and the Witless. London: Corgi Books. Cook, Hugh (1990): The Wishstone and the Wonderworkers. London: Corgi Books. Cook, Hugh (1992): The Worshipers and the Way. London: Corgi Books. Cook, Hugh (2005): http://zenvirus.com/hugh-cook/bibliography-novels.html (accessed via Wayback Machine; as of July 22, 2012) Willams, Tad (2007): Interview. http://fantasyhotlist.blogspot.de/2007/02/interview-with-tad-williams_15.html (as of November 28, 2013)
Which action film would you consider to be on par with or even better(if that is even possible) than Heat(1995)?
My few favourite action movies are Commando(1985), Die Hard(1988), Speed(1994), Bourne Identity (2002), Casino Royale(2006), Skyfall (2012), John Wick(2014) and MI: Fallout (2018). Avoid sequels/prequels of said movies, scifi movies like Terminator(1984) or any genre other than just action like dystopian, superhero, supernatural etc.. Something like Cop, spy, military, war, fugitive, assassin, etc.. Even periodical(not historical) movies are welcome. The movies i have mentioned are my favorite and i would like to add few others to the list. Edit: Yes Heat is a crime drama but has enough amount of action to be in this list. Even movies like blood diamond. My fav From the comments-- Face/off, fugitive, patriot games, blood diamond, lethal weapon, true lies, collateral My fav From what I just remembered-- Road to perdition, equalizer
Chiliad Mystery Megathread 2020 Welcome to the Chiliad Mystery! It’s hard to really explain what the Chiliad Mystery is, so I will let you figure that out by reading my attempted abridged summary of it. Full Unorganized Original Megathread Version 2. Version 3 This is now the 4th edition. I swear reddit archives posts quicker than they used to. Please comment with your favorite theories, leads, videos, whatever Diamond Casino (July, 2019)
If you have completed the Gunrunning Alien Egg Mission*, getting wasted at your nightclub can possibly lead to waking up on Mt. Chiliad in your underwear, with a tattoo and a UFO flying off into the distance.
After Hours (July, 2018)
Getting wasted at your nightclub might lead to you waking up at the Epsilon HQ with a new shirt.
Your online character will receive the Epsilon robes and medallion after tipping the nightclub bathroom attendant $577.
A golden peyote was discovered in the game files, but nobody knew what it would do. Nobody could even find the damn thing. But sure enough, a week after it was noticed, it was found by rkRusty, and it turned him into Bigfoot. His replication instructions included how to find the golden peyote every Tuesday morning; what he didn’t know, was there are actually 7 golden peyotes plants, one for each day of the week (but they all turn you into the same version of Bigfoot). rkRusty noticed Rockstar updated the peyote scripts and left a note referring to him personally: “He was wrong to start his hunt on Tuesday.” Although, in hindsight it is a simple solution, at the time nobody bothered to experiment with taking the peyote plants every day of the week. 6 months later, the_stoned_ape decided he needed to restart the investigation, which led to NIC779 eating the golden peyote plants from Monday-Sunday, and finding the dead hunter. A few days later, Mozmachine noticed the Bigfoot had a growl, and when used, something growled back. This furry game of Marco Polo kept going around in circles until a few dedicated hunters dug through the files to figure out the outcome. The growls were actually coming from Teen Wolf, and if you beat him in a scrapyard showdown, you unlock him in Director Mode.
Long Time Star Trek Fan Finally Watches DS9: Season 7, Episodes 14-18
Chimera: this feels like a misguided attempt to discuss race. It feels misguided because Loz straight up murdered someone. He was in complete control of that situation. If it was truly a defense reflex, he wouldn’t have said “Mine’s bigger” when he pulled his own knife. He internally dodged the knife, and then stabbed him in a way that was fatal when he very well could have disarmed him. When Odo says that it’s going to get straightened out in trial... straightened out to him means getting away with murder. I also disagree with Loz’s points about Odo’s imitation of humanoids. Odo has the capacity to make choices. When he was human, briefly, Julian turned him into a Klingon, and then suggested that he could give Odo any facial features he wanted. Odo chose to have his face imperfectly sculpted because it does represent who he is. I kind of hate that Kira’s making Odo’s internal struggle about her. “But if that’s not who you are, do you really love me?” That’s not an exact quote but that’s the gist of it. What I did get out of this is that she really does love him. But still. Badda Bing Badda Bang: I absolutely loved this. I love that Vic has become something to ralley behind. The entire episode is enchanting. The senior staff is holding a casino heist. This show (with the exception of the Ezri episode where she investigates the serial killer) is fantastic at modernizing and spinning old tropes into scifi. I also love that lots of the plan went wrong and they were able to adjust and correct on the fly. It demonstrates fantastic teamwork. And you all know that I love to watch them cooperate. They’re a good enough team that they can each figure out a way to troubleshoot, buy more time. Everyone’s a winner! And then Sisko sings at the end after talking about how silly the whole thing was. I feel obligated to comment on Sisko’s perspective on this type of program, which honors a time period he believes should not be honored or respected. It raises the question about whether or not we should discount the cultural contributions of the time because they were racist and exclusionary. Just because Vic the program isn’t racist doesn’t mean that the culture from which he was created wasn’t. It was. We know that. If there were a real Vic Fontane that he was based off of, there is a significant likelihood that he would not have accepted Kassidy or Sisko. So his argument makes sense. On the other hand, hologram Vic Fontane is a beautiful, uniting thing. He doesn’t discriminate, human or not, different races, anything. And I don’t feel great about Sisko dismissing those benefits because of the historical context it was drawn from. I’d love to hear y’all’s thoughts on this but I also have a feeling most of you are more interested in talking about the next episode. I let it start playing while I was writing up the Vic episode and holy crap I’m going to have to stay up and watch this, aren’t I? Inter Arma Enim Silent Leges: here we go! Somebody has explained the title to me already in a previous post (I saw Enim, thought Elim and though it had to do with Garak which is does not) but I can’t find it so can you please explain it again? Ah, just kidding. In time of war the law falls silent. Unfortunately for our dear admiral, it wasn’t just the law that he abandoned in this episode. I loved this episode, because the characters were incredibly well done. Julian’s sense of trust then betrayal while still maintaining a sense of moral obligation is pretty intense. That said, uh... guys? I’m not entirely sure what this whole intelligence mission accomplished. If anything the two governments trust each other less which doesn’t help the war effort. I vaguely get that we are trying to solidify the Romulan involvement in the war so I’ll comment on that- THE FEDERATION HAS NO RIGHT TO DO THAT!! I think Julian pointed out that meddling in the Romulan Senate is directly against the Star Fleet charter Sloan claimed to be part of (although they sort of retconned that a bit and it doesn’t make a lot of sense). On the last Section 31 episode, somebody pointed out that Sloan is like Sisko except we don’t understand his motivations. Sisko makes just as unethical choices and gets away with it. Whoever left that comment, you are so, so right. I can’t unsee it now. Sisko did pretty much exactly this for exactly the same reason (assuming I understand what happened correctly). Even if you believe his cover story, that he was seeking revenge for the suspected murder of his mentor, Sisko did that, too. He essentially went on a rampage trying to kill Maquis dude. He used biogenic weapons. We just see the whole story, whereas Sloan just acts and we assume the motivation is to protect Federation values. Penumbra: I love Ezri and Worf together. Also, it’s alright Wormhole aliens, I never liked Kassidy either. But I was kind of excited for a wedding. And I loved Sisko’s wedding ring from the little house he wanted to build in the mountain. I’m starting to see why you guys like Damar so much. He’s pretty funny. I don’t have much else to say about this. It felt a little out of character for Ezri to run off. Th writers haven’t done a great job balancing out Ezri’s mousiness with the strength of the Dax symbiont. At times, she’s too much like new Jadzia and not enough like herself, and at other times it’s like the symbiont isn’t even there. Til Death Do Us Part: I loved every second of this. I think they could have done more with Winn leading up to this point but she’s good in this. I love the scenes with Worf and Ezri both struggling with nightmares/memories. It was very intense and quite beautiful, in a way. Very vulnerable. And certainly revealing about their characters. Why did they want this admiral to do the ceremony? He’s not a good person. I don’t know if Sisko realizes what he did to Kassidy when he called off the wedding and then back on. That must have been brutal but we sort of just moved right along. Is this the beginning of the end? I think this is the beginning of the end. OH shoot was it the wraiths that told Sisko not to marry Kassidy (not the wormhole aliens)? Because Kassidy is actually going to help defeat the wraiths? Why am I suddenly so invested in defeating the wraiths? Because I know we’re going to in some big dramatic battle? It still feels a little silly, guys. Especially in direct contrast to the very serious discussions of military strategy, kidnapping, espionage, etc.
Watch one movie per night during quarantine, here is my ranking:
Watched all the movies as a kid, decided to go back and rewatch them understand the plots, overall story, and then nostalgia of course. With that said, here is my ranking:
Die Another Day - terrible CGI, too many references to past films, almost feels more like an Austin Powers movie than a Bond movie. So much potential after the opening scene but it falls flat on its face afterwards.
Never Say Never Again - being the non-Eon film makes it just feel all wrong. Connery is way past his prime, and a lack of Llewelyn and the Bond theme music means it might as well have been part of another franchise.
The World is not Enough - sadly the last appearance by Llewelyn as Q, and that’s probably the highlight of this one.
A View to a Kill - Moore was way past his prime, and not even Christoper Walken could make this movie very memorable.
License to Kill - by far the darkest non-Craig movie, but feels more like a crime movie than a Bond movie.
Tomorrow Never Dies - pretty average in every sense of the word. Probably one of the weakest villains but at least he meets one of the gruesomest demises of the franchise.
On Her Majesty’s Secret Service - the hand to hand combat was overdone, and it had one of the least interesting plots of any Bond movie. The emotional side of Bond gives this movie some redemption though.
Quantum of Solace - the worst of the Craig movies, not bad but felt rushed.
Moonraker - too SciFi for Bond. Yes, I realize this is a product of its era, but it’s still cheesy. Jaws redeems this movie, sort of...
The Man with the Golden Gun - title song is one of those obnoxious songs that you hate but can’t get out of your head. Nick Nack is an interesting henchmen.
Octopussy - the one that bond saves the day dressed as a clown, redeemed by some Alfa Romeo GTV6 action shots.
You Only Live Twice - first time we see Blofeld. Awesome final battle scene.
The Living Daylights - Dalton seems to get unfairly criticized for playing a similar, grittier Bond that Craig is praises for.
Dr No - overall the movie is a bit tame compared to some of its immediate successors, but my god Connery’s blue outfit and Honey Rider’s swimsuit are iconic as hell.
Live and Let Die - New Orleans and Voodoo make this movie very enjoyable for me, best title song of the series.
Thunderball - underwater battle scene is legendary
Spectre - very interesting back story, Chistoph Watlz nails Blofeld, but Dave Bautista gives it somewhat of a cheesy action feel.
Goldeneye - Brosnan at his best
For Your Eyes Only - a slightly less cool Lotus, a slightly less cool ski chase, it’s like TSWLM Jr, which isn’t a bad thing.
From Russia with Love - the debut of Q. Nothing incredibly outstanding but still a really good film.
Diamonds Are Forever - this one probably wouldn’t be anywhere near the top of anyone else’s list, but Mr. Wint and Mr. Kidd are probably the most memorable henchmen.
Goldfinger - the movie that gave the rest of the series its identity, henchmen, gadgets, title sequences. Goldfinger just isn’t in the top tier of villains for me though.
Casino Royale - revived the franchise after its worst movie, awesome villain in Le Chiffre, and bonus points for a Chris Cornell title song.
The Spy Who Loved Me - submarine Lotus, the Ski chase, Jaws, and a great title song, maybe the best all-rounder
Skyfall - the best villain of the series in Silva in my opinion, and a perfect blend of modernity with homages to the past.
I’d like to hear your thoughts in the comments! My rankings are open for discussion and debate.
What's the history of your Hobby ? How did your biggest Hobby become your Hobby ?
As in : What was your moment when you noticed "Hey, this could really be awesome as a full-fledged hobby, this is something that I can have a lasting interest in ? My main Hobbys are primary Movies, Film & Cinema, as well as Manga & Anime. Fair Disclaimer : This is going to be way to long, I don't really expect anyone to read through all of it. More than anything I wrote that for myself, I just felt an itch that I needed to type that all out for once. For me it was when I first watched Raiders of the Lost Ark (1981) and Die Hard (1988). I had watched them both within the same week for the first time. But before I can talk about that, I have to go back a little further. Up to this point I had only watched Disney Cartoons (Mickey Mouse, Donald Duck, Goofy), Disney Movies (pretty much ALL the animated Disney classics + some Pixar, I guess). Parallel to watching a lot of Disney stuff, I also read many many Disney Comics starring Mickey Mouse, Donald Duck, Goofy, Pluto and Many More (Here in Germany Disney Comics are pretty famous and well known). And I watched A LOT of Anime (Shonen). And I mean a lot. My biggest Anime fandoms where no doubt Pokemon, Digimon, Dragon Ball, One Piece, Yu-Gi-Oh, Detective Conan and Inu Yasha. Of all these Animes, I had also read the Mangas. Later on, when I started to read more manga (including reading rough scanlations online) and watching anime subbed online, I got into Naruto, Shaman King, Hunter X Hunter, Bleach and Death Note. AND - what's important - even before I watched real movies I was pretty damn big on CLAMP X/1999, Cowboy Bebop, Hellsing, Gantz, Trigun and a couple more I don't recall (Speed Grapher, Trinity Blood ?) ... So more mature stuff was not unheard of to teenage me. I also was a huge Nintendo Fan : Super Mario, Yoshi, Donkey Kong, Mario Kart, The Legend of Zelda, Metroid, Star Fox, Pokemon, Kirby, F-Zero, Super Smash Bros. - you name it, but this is a whole different story altogether. I only ever owned Nintendo videogame hardware though and I exclusively played major Nintendo IP's. Never had a PlayStation, never wanted one. Yeah, I guess you can say I had picked my side. Anyway, back to films : The only live action films I had watched up to that point were superhero comicbook adaptations (DC Comics & Marvel Comics). I still watch those to this day, and I like them well enough, but I always knew and always felt that thes were just adaptations of a much bigger comic-universe and that there was verd little intrinsicly cinematic about then. Of course, with the advent of the Jaggernaut that is the MCU that has changed to a certain degree. It's kinda hard to say why I was so wild for the Donner / Reeves Superman films, the Burton / Keaton Batman films, and yes, also the Schoemaker films (I know, I know ...) or the Raimi / Maguire Spider-Man films ... I don't exactly know why. Funnily enough I never really got into the DC Comics and Marvel Comics, which are the source material to these films. And neither did I ever really get into their cartoon adaptations. I am not sure why, wrong place, wrong time I guess. Plus I was effectively preoccupied with Anime. Anyway, I suppose I was daunted by the sheer amount of material. I was always a kid who liked order and oversight in and over his collection and hobby. I didn't understand the publication history, multiple concurrently running series featuring the same hero, story arcs being spread out over up to 4 or 5 series, crossover events with other heroes, never knowing which crossovers are actually important. Add to that the fact that each issue in germany combined like 2 or 3 us-american issues, sometimes combining issues of different series into one german issue running under the brand of the main hero it featured, which made it all even more confusing. I tried to get into american superhero comics multiple times, bought quite a few issues and even read a couple of stories I really liked. But it just never clicked. Then there are of course collected editions if story arcs or certains character runs by singular authors and artists (called graphic novels), but then there are also One-Off Standalone / Spin-Off / Elseworld stories and graphic novels. And last but not least, there are these company wide major mega crossover events that tend to reset large chunks of the universes and characters continuity. Supposedly in order to create new entry points for new readers, but I don't know ... To me, that made it even more confusing. Besides, I like to get a full story of a character I like. I don't want to be told basically "yeah, you know kid, basically 80% of what we have published until now doesen't count anymore lol". With manga you have a clear beginning, one series, weekly or monthly chapters, collected volumes (tankobons) and once it's finished a clear ending. Sure it can be long as hell (in the case of One Piece over 90 volumes already), but at least when you read or watch it all you have a complete story. I guess I just always preferred that. Maybe that's why I liked the early Comicbook film adaptations of DC Comics and Marvel Comics : As a way of simplification. Now, there was a time when I only watched DC and Marvel adaptions out of principle, even though even back then I already knew that some of them where pretty fucking bad. I had a weird obsession with Batman Returns though, which I still have to this day. Probably has something to do with the fact that I was like 10 when I first watched it and really, really liked Michelle Pfeiffers Catwoman, if you know what I mean. But then my interest in - for lack of a better term - "real" Films started to rear it's head. Films that where originally cinematic. I had a phase where I was pretty obsessed with the Die Hard and Indiana Jones movies. They proved to be pretty damn good gateway blockbusters. Indiana Jones functioned as a gateway to Star Wars and that whole universe George Lucas had created. By the way : Yes, I watched Indiana Jones before Star Wars. The Indiana Jones films also served as a gateway to ALL the other Steven Spielberg films (the serious ones as well). I was shocked how many movies I had heard of but never cared for were actually Spielberg movies. The unbelievable range from "Jaws" to "Schindlers List" or from "E.T. theExtra-Terrestrial" to "Amistad" or "Minority Report" first made me realize how important the DIRECTOR is. After that I had a phase where I wanted to be cool and prove to myself I am hardcore enough to watch A LOT of Horror. My idea of Horror though, back then at least, was limited to 90% slasher. So I obsessed over Halloween, Friday the 13th, Nightmare on Elm Street, Scream, The Texas Chainsaw Massacre, The Hills Have Eyes and pretty much all of Romeros Living Dead (Zombie) films. It was arround that time that first torture porn wave swept over the Horror landscape and I was pretty proud of myself watching Saw and Hostel and talking about them at school, even though I remember HATING them. During the same time there was the Fantasy craze of the 00's and I got pretty involved with the Harry Potter and the The Lord of the Rings movies as well, but that always remained a secondary interest. I never read any of the books of either series, I have admit to ny great shame. It just wasen't the right time for me to read young fantasy or high fantasy novels. Even though I did like to read as a child and youngster. But when Harry Potter and The Lord of the Rings were all the rage I just was preoccupied with different interests, so it kinda fell through the cracks. I do however remember that I liked those films of Harry Potter that I had seen and most certainly all of the The Lord of the Rings films a great deal. Anyway, after the Spielberg well ran dry I took advice from my friend who was a couple of years older than me. He was like you like Die Hard, well good for you since there's a whole world of 80s balls to the walls action flicks out there. Thusly, the door to Schwarznegger and James Cameron opened. I probably don't have to tell you that The Terminator movies where my highlight (as well as Predator, which I was pleasantly surprised to learn had the same director as the first Die Hard). After I had seen Aliens, which I loved, I was shocked to find out it was a sequel. So I went back to the first. And so I discovered Ridley Scott. Funnily enough by means of arguably his worst film Alien 3 I learned about David Fincher, who remains one of my favourite director to this day. David Finchers two best works, by the way, are Zodiac and The Social Network, and not - albeit great - Seven and Fight Club, as many would have you believe. That is a fact and nobody will ever convince me otherwise. Ridley Scott led to me discovering Blade Runner (the Final Cut on my first watch, thankfully) which, for some time, I was convinced was the final word in cinematic quality. I also developed an almost unhealthy obsession with the hard-boiled Michael Douglas starrer Black Rain. I guess it spoke to me because it was set in Japan and I was such a big anime fan. Parallel to all this, roughly arround the time I started watching Cameron flicks, I also got balls deep into Quentin Tarantino. I remember I felt so smart and accomplished for having "discovered" Tarantino, I felt like a connoisseur of fine wine haha. What did I know he was mainstream. Well he wasn't for ME at the time. Needless to say, I loved all his films, even the slower paced Jackie Brown. Didn't like Death Proof so much, which was his newest release at the time. Naturally Tarantino led me to Robert Rodriguez, whose films I NEVER liked. Not even the ones generally considered good (From Dusk till Dawn, Sin City). For me he always felt like a pretentious poor mans Tarantino. Anyway, Quentin Tarantinos films taught me, for the very first time just how important a screenwriter and a good screenplay are. After discovering hard SciFi with Ridley Scott and Christopher Nolan's The Prestige (who of course was on my radar because of Batman Begins and nothing else lol), I finally felt smart enough to tackle Stanley Kubrick who, as I had heard and read on multiple occasions, was supposed to be the best director of all time, or at least one of the very best. So I bought a BluRay set containing all of his films from Lolita all the way to Eyes Wide Shut. And while I am sure HE IS one of the best directors of all time ... for me ... NOPE. His aesthetics, his way of telling a story , everything ... simply not for me. Stanley Kubrick's kino and I would not become friends. Not gonna lie, that made me a little sad back in 2008 / 2009 I think, because I really wanted to like his work. I felt like I was supposed to. But then I caught - totally by chance - Martin Scorseses Casino (1995) by aimlessly flipping through TV channels at night. It was the last 20 minutes of all things. I think I didn't skip to the next channel because I thought the verbal house fight between DeNiro and Sharon Stone was hilarious (Note : The only thing I knew Robert DeNiro from at this time was Jackie Brown). Anyway, then came the montage of the whacking with House of the Rising Sun which culminated in the now infamous cornfield murder. It was so raw and brutal. There was no music. There was no style or choreography to the beating. It wasn't "cool". There was no heroic escape nor was there a daring hero swooping in to save the day (note that at this point I didn't know that the Joe Persci character was a despicable gangster in his own right). All of it ... it just felt like I was watching a real mafia killing. And I ... WAS ... HOOKED. I rented Casino the next day and watched the whole thing. Talked about it with the guy from the video store. So he gave my GoodFellas. Mean Streets. The Departed. Raging Bull. The Aviator. Taxi Driver. The King of Comedy. After Hours. Scorsese Scorsese Scorsese. Now I gotta say I was never big on the crime genre, neither in movies nor television. So I probably would have never actively looked out for this movie. But I found it. And that's that. While Spielberg made me love movies as a medium, Scorsese and DeNiro made me love the craft of actually directing a movie and the art of acting. DeNiros filmography led me to the films of Francis Ford Coppola and Sergio Leone. And with these movies I realised why I didn't like Kubrick. While Kubrick was cold and sterile, albeit highly intelligent, Coppolas and Leones movies where more character driven, driven by plot, story and acting performances ... and in general simply "warmer", if that makes any sense. They just felt like their was more blood and life and passion to them, compared to all of Kubricks work. I first got into The Godfather movies and The Dollars trilogy of course, but over time I came to appreciate, in some cases even love, the smaller, quirkier, more unknown movies of these directiors like The Conversation (a film that taught me the value and importance of sound-mixing), Rumble Fish (my first glance into surrealism / expressionism) or Duck, You Sucker ! which was the first movie that I watched that got a message through to me about genuine class struggle and the futility of revolutions though history. Apocalypse Now made me realize and think about for the first time in my life what philosophy is all about. Once Upon a Time in the West made me understand why people like the opera. Something I never understood prior to watching this movie. When I was watching Once Upon a Time in the West for the third or fourth time it finally struck me, that, by all means, I was watching (and enjoying !) what was essentially an opera on film. And finally, Once Upon a Time in America, which I first saw at the age of 24 or 25, for the first time in my life made me think about topics such as true lasting friendships, the passing of time, missed opportunities, my own inevitable mortality, one-sided love and bitter regrets. And so films, my primary hobby as of today, HAVE definitely had a big influence on how I look at the world, who I am and how I think about certain things. And for that, I will be forever grateful.
Looking for some new recommendations. I like scifi, fantasy, urban fantasy dramas. No comedy, horror, or improvised. Not into anthologies, looking for a long plot. I prefer full cast. Below is what I've listened to: Loved: Tumanbay* Steal the Stars* Wolf 359* Wolverine* Byron Chronicles* Leviathan Chronicles* Girl in Space* Vast Horizons* Strange Case of the Starship Iris* Hyacinth Disaster* The Call of the Flame* The Two Princes* Mars Patel* Starcalled* Cybernautica* Splintered Caravan* Ars Paradoxica* Forest 404* Liked: EOS 10* Among the Stars and Bones* The City Within the Walls* Windfall* Counterbalance* Aethuran* Marsfall* The Message* Listened to a full season but wasnt a huge fan: Janus Descending* Liberty* Orphans* Limetown* Started but didn't get into, may come back to: The Bright Sessions* Kalila Stormfire* Mabel* The Veiled Monarch* We Fix Space Junk* Earth Break* Tides* Exeter* Jarnsaxa Rising* 2298* The Prickwillow Papers* Dark Ages* Penumbra Podcast* Alba Salix* Second Shift* Inn Between* Hello from the Magic Tavern* Once and Future Nerd* Saffron and Peri* Sage and Savant* Edict zero FIS* Not my thing: Marscorp* Oblivity* Project Nova* Kingery Casino* Exoplanatary* Alice Isnt Dead* I am in Eskew* Oz-9* Voyage to the Stars* Star Tripper!!* We're Alive* Civilized* I'm hoping someone has something new I haven't tried or maybe something older and less well known?
Discord Server | Spark of Divinity - Home Page | Patreon Check out the new story directory for other stuff on Reddit Serials - there are tons of great fiction here, and you might find something you really like :) If you don’t follow my main sub or just aren’t familiar - the end-of-life for all of my stories like this is publication as a novel on Amazon, and I’ve got six out to date :D This week, I did a relaunch on my space opera/scifi series! If that interests you, check out this thread for more information! When we left off, Terra and Alice had just left Heracles behind in the alley. Despite attacking Terra, he seems oddly conflicted about her war with Gaia. With him fading into the distance, they set their sights toward Fortune and Fate. I sighed. My hand stroked back and forth across the skin of my neck, trying to work some feeling back into it. Or to work some feeling into it besides pain, rather. I was feeling that just fine. Alice hurried along at my side, clutching her clipboard and pen. One of her braids had fallen loose of its pins during the commotion of my encounter with Heracles. It dangled along her face, bouncing with every step. “You’re sure you’re all right, mistress?” “I’m fine.” “We could stop, return to Avani for a spell. You could rest. Heal your-” “I’m fine, Alice,” I said, biting back something sharper. “We need to keep moving.” Besides, the looming white glory of Fortune’s home was right there in front of us. Right there. If I had to turn around and leave it behind me, I might scream from the frustration. I froze, my eyes widening. Something was close - something small, something marked by the tiny scritch-scratching of claws on stone. Something like- Alice yelped as the tiny white shape shot from around a corner. Her hands pulled up, shielding her face from the new threat. I laughed, steeling myself. Claws dug into my legs a second later. And then the fox sat perched on my shoulder, its face a thin inch in front of mine. You survived. “Surprised?” I said, forcing myself to relax one muscle at a time. We are. But Master is amused. He laughs. “I’m glad to know I’m entertaining, at least.” Alice shrank back, still looking decidedly unsure about our new companion. “Is that thing...coming with us?” “If it wants,” I said, turning back for the building. “I’m assuming Inari’s going to show up at some point?” Likely. “Wonderful,” I muttered, screwing up my face at the thought of the god poking his nose into my business again. More than just him, probably. Fortune seemed to be popular - or if not popular, at least needed. From what they’d told me back when I first signed Toby on, I needed the approval of Fortune and Fate to meddle in mortal lives. Or at least, their understanding. They were aspects, anyway. Avani and Ebb had sequestered me away to keep me from interacting with other gods. Fortune probably wouldn’t do the same. “Mistress?” Alice’s carefully measured voice slipped across the edge of my awareness. I’d stopped walking. Apparently, she’d finally noticed. I kept twisting, ignoring her while I inspected the outfit Toby had devised for me. “I’m too conspicuous. I look like- like I just escaped from a-” “Somehow, I suspect whatever you’re about to say will be wildly inappropriate for someone of your status,” Alice said, straightening her glasses. I snorted. “Never stopped me before.” “You never wanted favors from Fortune and Fate before.” “I guess. I’m not going to stop being me, though.” She sighed, wrinkling her nose and looking away. “You might try.” “What was that?” “Simply remember your manners, mistress,” Alice said. “I presume someone at least began teaching you those, before realizing it was an exercise in futility.” “Fuck off,” I mumbled, turning my eyes back to my clothing. If we were going to be around other gods...this was a bit of a problem. I stuck out like a sore thumb, thanks to Toby’s creative tailoring. I pursed my lips, holding my hands up ever so slightly. Everyone else seemed to have some level of control over themselves. Fortune was running around changing from man to woman, dammit. I wasn’t asking for much. It wasn’t like I wanted to eliminate all his hard work. Just...disguise it. I breathed in slowly, still burning at the motion. Heracles really fucked me up. I’d have to find a way to get back at him for that. But for the time being, I put that aside, holding the image of myself in my mind. A cloak would be nice. But, at the same time, with everyone here taking on some sort of semblance of modern clothing… A whisper of air danced against my skin. Fabric brushed my cheek, my hair. I opened my eyes. Alice stood a few paces away, her eyes on me - and an amused, smug smile on her face. Elation shot through me as I moved, feeling something move with me. There was a new addition to my wardrobe. If this had truly been some sort of fantasy realm, I’d have called it a ‘cowl’. Given that everyone was dressing closer to normal humans, ‘poncho’ was about as good as I could do. It draped across my shoulders, falling from neck to waist in drab brown waves that hid most of my cleavage and midsection. “Better,” I said, satisfied, and reached up to pull the hood over my head. The fox squeaked in my ear, sliding under the fabric and slinging itself around my neck as usual. Part of me wondered how it had stayed put while another layer was added. Part of me didn’t really give a shit. The no-fucks-given part won handily. “Feeling better?” Alice said, holding a hand out as I stumbled forward again. These fucking feet. They were going to be the death of me. “I’m fine,” I said, waving her off. “We’re right here.” The fact I’d already lengthened my feet helped, too. I didn’t have metal to work with, but ‘wood’ was a broad category. It had only been a few changes so far, but already, my steps were more sure, more confident. All I had to do was find the right mix, and maybe I’d be walking like a normal human being instead of an arthritic, amputee grandmother. Alice let her hand fall as I passed, falling in alongside me. The golden spire of Fortune’s home rose taller and taller, filling the sky until at last I turned a corner. Just like that, the alley opened up, stretching from side to side into a courtyard wrapping the building in cobblestone paths. There were other gods here, too. Fucking wonderful. None of them were paying me the slightest mind, which probably had something to do with the fact that my tits weren’t hanging out anymore. So that was a plus. I crept forward, wishing I had a decent pair of pants to go along with the new shirt. The rest of me was normal enough, but the legs were weird. “Slow and steady,” I whispered, trying to ignore the sweat rolling down the small of my back. “Relax, mistress,” Alice said, leaning forward to smile at me. “You’re like...a dryad, really. It’s not all that unusual. The children of the forest dwell around some of the Earthmother’s lands.” “A dryad? Well, that’s just great,” I muttered, hurrying my steps along. “How many dryads trip over their own feet?” Alice didn’t reply. And even if I was sassing her, it did make me feel a little better to know I wasn’t a total oddity. Taking another deep breath, I forced my limbs to relax, my legs to stretch out more naturally. Maybe it worked. Maybe I was just kidding myself. But no one stopped me as I slipped through the grand doors into Fortune’s temple and- Stopped. My eyes wide and round, I looked from side to side, drinking it all in. Her domain had been normal enough before. Gaudy, yes. Ostentatious, yes. But normal. This? This was like a gambling addict’s dream, the physical embodiment of foolishness and greed. Lights hung from the ceiling in multicolored, garish waves. A bar pressed against one wall, the backstop covered in multicolored glass bottles and neon signs. The rest of the room was filled with machines pressed side by side, close enough a person would struggle to walk through them. A blackjack table sat in the corner, a deck of cards still waiting on the corner. The only thing that seemed truly out of place was the chess board set up in the very center part of the room. Everything else looked like it’d been ripped straight out of a Hollywood casino set. That? No. That was different - even before you saw the rows of chairs set up reverently around it. But, well, these were the gods. And this was why I was here. Maybe Fortune had known. Maybe this was all intentional. It seemed like the aspect’s style to toy with me. “Back so soon?” With my scan of the room complete, I wasn’t surprised in the least to hear the voice cut across my senses - smooth, and female, and as rich as I’d ever heard. Fortune sauntered out from behind a slot machine, her hammered-brass eyes locked on mine and a grin plastered across her cherry-red lips. “I heard you died, darling.” She winked at me, her grin widening. “Oh, I knew better.” “Yeah,” I mumbled, feeling a blush spread across my cheeks as she stepped past. “Uh. Gaia really tried, but...it didn’t stick.” “No, it did not,” Fortune said, taking a seat at the bar and leaning on one elbow. Her chin came to rest on her outstretched palm, her fingers tapping against her face. With a start, I realized that Fate stood in the shadows behind the counter. He just...waited, as somber and rigid as ever. A pair of fingers snapped. I flinched, looking back to Fortune. She chuckled, low and soft. “Pay attention now, dear.” She tilted her head to one side, inspecting me. “I didn’t expect to see you so soon. I presumed you’d hide, rather than pay your debts.” My bemusement at her appearance and the state of her temple vanished in an instant. “My debts? I don’t owe you, Fortune.” “You toyed with the life of a mortal, minutes after awakening,” Fate said. His voice rolled across the gaudy room like the tolling of a bell. “There are consequences.” “I picked a prophet,” I snapped. “That’s allowed. It has to be. It’s bullshit otherwise. Besides, Toby is mine now. How big of a deal can it possibly be that I needed to get his attention?” Again, Alice quivered at my side, silent. I turned away, exasperated. She was perfectly happy to nitpick and meddle when it was me sitting around. Put her in front of any of the aspects, though, and she turned into a sniveling puddle of obedience. She was my arbiter, wasn’t she? Assigned to help me? Shouldn’t she actually make that a priority, instead of kowtowing to the arrogant asses? “Yes, I’m sure you meant no harm,” Fortune said, watching me from across the room. “All the same.” She shrugged. “If you weren’t here for that, well. What can Fate and I help you with, Mistress Terra?” I almost winced. Almost. I caught myself at the last moment, wrangling my face back to a neutral expression. There was a lot of weight in that name - and in the title she’d attached to it. A lot of obligation, and a lot of derision. It was all her way of letting me know she had the upper hand, I was sure. So be it. I folded my hands in front of me, tucking the edge of my cowl against my palm and pulling it straight. “I’m here for your help, ma’am.” God, the word burned on my tongue. But beside me, Alice gave a tiny, approving nod. I turned slightly, pushing her from my field of view. “I know...we didn’t start off on the best of terms. But I’d like to make it up, and, well.” I shrugged. “I can’t do that if I’m dead.” “I suppose you’re not incorrect,” Fortune said, raising one carefully sculpted eyebrow. In other words, I was right. She could just say it. My fingernails dug into my palms, carving white lines against my flesh. “Helping me helps you,” I said instead, locking eyes and doing my best to stare her down. It...wasn’t really working. She hadn’t even blinked. Inari’s fox whuffed gently in my ear, then scurried free of my hood. It leapt to the floor, dashing across the tile toward Fortune - and climbed straight up her dress. She...smiled. Her expression softened a hair, and she held a hand out for the fox to climb onto. Idly, she scratched at its ears with her free hand, pulling it closer against herself. The damn thing whickered. Traitor. Its golden eyes glanced back to me, though, and I knew better. It was Inari’s, and that meant it was probably just as manipulative as Inari was. I was still expecting him to come strolling through the door at any second, ears pricked and ready to meddle. Maybe this was his way of apologizing for letting me get tortured nearly to death. In his own twisted mind, maybe this was just how he repaid that debt. The thought of trying to untangle what he was after was simply too much for my tired mind to process. But Fortune was smiling. And I couldn’t waste the opportunity Inari had bought me. “I want to deal,” I said. I stepped forward, steadier than I’d been since waking up, and let my hands fall to my sides. I held Fortune’s gaze with my own, setting my jaw stubbornly. “I have a proposition for you.” Part 29
Iam the Author of BLUEFALL — the #1 New Release in Scifi Graphic Novels on Amazon. AMA! [Update]
I opened the Bluefall eBook up for pre-orders on Monday, and it quickly hit the #1 New Release in Scifi Graphic Novels, edging out new releases from the Power Rangers and Star Wars IPs. I had done a previous AMA about the project a few weeks ago, and wanted to come back and share the update as well as answer any new questions you might have! MY BIO: I wrote a graphic novel and commissioned an awesome Indonesian artist, Vincentius Matthew, to create concept art for the project, then I went and hired a talented recent graduate of the Kubert School, Dillon Snook, to illustrate the project. The graphic novel comes out in July! THE STORY: When the creator of the powerful virtual Universe, “Circus” is murdered, LAPD detective JULIAN AMBROSE delves into the virtual world to find the killer and uncover the global financial conspiracy behind his death. THE VIRTUAL WORLD OF CIRCUS: In 2041, the planet has a new global superpower – the virtual Universe known as Circus. Accessible in seconds from anywhere on Earth, Circus is everything that modern VR wishes it could be – a fully immersive fantasy experience where everything looks, feels, and tastes completely real. The virtual landscape is composed of hundreds of disconnected “zones,” which can be as large as a dozen miles across or as tiny as a studio apartment. Each zone has been developed by users into a unique environment, from cyberpunk metropolises, to lavish casinos, to jungle tree-house hamlets, to idyllic island resorts. But Circus is more than a game – it is an autonomous nation with its own economy, fashion, industry, politics, exchangeable currency, and law. The GDP of Circus has surpassed Finland’s, and its money – called “credits” – trades at better rates than the Japanese Yen. By 2041, the concept of a virtual world has evolved, so that it is no longer simply a place to live out fantasies; it is a gathering place, a home, a place to go to work, or fall in love, to become wealthy, or famous, to drink away the sorrows of the day, or build an empire. THE BAZAAR, LAKESIDE, AND MUSI'S COTTAGE: Two of the important zones in the virtual world of Circus include a virtual metropolis called The Bazaar – which looks like a cyberpunk version of Tokyo and is the most densely populated section of the virtual Universe – as well as the luxury resort getaway of Lakeside, a paradise playground open exclusively to members of the virtual uberwealthy and elite. There are also "private" zones, like Musi's Cottage, accessible only with the permission of the zone's moderator or owner. These zones are only available to users who are willing to pay large sums of money to rent them. Customization costs extra. CONCEPT ART: https://i.redd.it/0q2okn980d131.jpg PROOF: https://twitter.com/BluefallTV/status/1127471847547609093https://twitter.com/BluefallTV/status/1134694888140705792 AMA about BLUEFALL!
I'm a teenager who just watched the last Jedi after watching every other star wars movie. This are my reactions
I'm what some people would call a full blown nerd/geek because I have the tendency to become extremely passionate about what I like. And the two franchises that I love most are the Assassin's Creed franchise and star wars. And for both franchises there has been a great divide in the community which has led to some really toxic behavior. I'm not gonna talk about Assassin's Creed here I will only talk on what I thought about the star wars movies and what I think of the community. A NEW HOPE Now first was introduced to star wars by the clone wars series and honestly i.loved every bit of it. But when it got cancelled I lost all interest in star wars until they played a marathon of all the movies. Now I first watched a new home because that was the first thing that came out and I have to say when I watch that thing it filled me with enjoy I hadn't felt in a long time it's hard such promise that I stayed with my sister for an entire day and watched every other movie with it I loved everything about it Obi wan Kenobi, luke, Vader all of them. And it really sparked something in me. THE PHANTOM MENACE I saw it as episode 1 I assumed this to be the first movie they made and I'd like to watch my movies in order. So I want the phantom menace and I know the prequels aren't that popular but I have to say I loved a lot of stuff about it almost as much as I love the New Hope. I'll especially felt connected to Anakin Skywalker because he just seems so likeable even sometimes where his acting was diminished I still liked him as a character. Darth maul was a ruthless murderer and i respected that. And I honestly felt sad when Qui gon jinn died. ATTACK OF THE CLONES This movie to me was amazing it was beautiful I loved every single lightsaber duel that was shown. Samuel Jackson did a great job as Mace windu. And I could really tell Anakin's pull to the dark side though part of me was just hoping he would still be pulled back in the light by obiwan. And the reveal of a member of the senate being the sith Lord was amazing. THE REVENGE OF THE SITH This movie was a rollercoaster of emotions for me seeing Anakin turn to the dark side become the one thing he fought against.the amazing battle against obiwan. To me that movie was perfect and it all met nicely with a new hope. EMPIRE STRIKES BACK Yoda was the best part of that movie for me. RETURN OF THE JEDI Finally Luke will face his father. And after being tortured Anakin had finally been brought back to the light. It actually took me a couple of years to realize that anakin had fulfilled his destiny all along. And it just felt like a great conclusion to one of the best Franchises ever. THE FORCE AWAKENS I was happy to see a lot of my favorite characters come back although I was kinda hoping that Finn would take Rey's position as in my head a foce sensitive stormtrooper turned Jedi seemed amazing in my head. But I was stuck with Rey and generally liked her. I know a lot of the hardcore fanboys think that they is a Mary Sue but I defend her in the fight against kylo because kylo had been shot by the shotguns of blasters straight to the hip and was still able to fight. Kudos to kylo by the way. And my main issue with that scene was that Finn should be dead because anyone that I had seen even just get tapped by a lightsaber instantly died but my dude was slashed across the back and they just stitched it up(WTF). Snoke was real villain and I was really confused on who he was and I was hoping the last Jedi would explain that. THE LAST JEDI This movie is the Assassin's Creed Odyssey of star wars. It has singlehandedly divided the fan base. I won't say I hated it but to me it seemed kinda boring because (especially that casino planet) I get they were trying to pull some political,social shit into it but the problem with that is people don't want that shit in their movies. The thing about hardcore fans is they see what they love and cherish it with all their soul because it just like games act as a way to escape from the bullshit that is reality. The Star wars universe acted as a way for me to escape from the cruelty of reality and embrace myself in a fictional world. This is kinda the reason I was dissaponted with this movie it just seemed to real for my taste. Nevermind the lore inconsistencies and mechanical failures. This movie had potential to be great but to me it seemed weighed down by the wickedness of reality. We all know about slavery and profit from war but nobody really wants to be caught up in all that jazz that's why they go to games or movies to forget about their problems and enter a fantasy where there are futuristic scifi space battles while still having a magical force that binds the universe. THE COMMUNITY Now the problem I'm having with the star wars community is that it has literally become like the movies. Two sides at constant war with each other, neither gaining any ground. But the difference is neither sides are right. Most fans that hate TLJ in my opinion need to be more open-minded to the possibility of change and realise that star wars is not just for them but for everyone of all ages. While the people that love TLJ need to understand where the hate is coming from. This is something they have had since they were little it grew up with them and in a way helped become the people they are today and in their eyes it's being destroyed. There is no reason now to start cursing one another because you think your opinion is the right one. I personally do not value the last Jedi that much because of how people that like it have taken to defend it. On YouTube or Reddit there are posts that have actually accurate problems with the last Jedi that are relatable but rather than finding proof to negate the haters the lovers just either insult or make comments about how they need to get a life that it's just a movie. WHAT NEEDS TO BE DONE A long time ago in a galaxy called the milky way the inhabitants of the earth were at a divide. But a prophecy was stated that there would be a chosen one to rise out of the ashes and bring balance to the community. The chosen one would be called Drum roll please
STAR WARS THE RISE OF SKYWALKER
Post edit. Maybe I might have been a little bit inacurate with the whole political stuff. Forgive my ignorance 😅
Okay, horse beatings galore, I get it. But, there are a few things that really busts my balls about these movies. This shit has been analyzed forwards, backwards and sideways. This is for me, but also for anyone who who would like a review. Tonight, my fellow Salts, you shall serve as my sounding board, if you would be so kind as to lend an ear. In no particular order; The Force Awakens Nice things to say about it: It boosted me. I was excited for this. I enjoyed Finn. I really liked Poe. Han was the shit. TFA Kylo was an interesting character. All 5 seconds of pre-TLJ Luke was the shit. JJ kicked ass with the visuals and the practical effects. Okay now the shit.
Ah, desert planet again. Girl dressed in a similar style to Luke in ANH. Oh no... they're not doing what I think they're doing...
A map to Luke Skywalker.... okay cool.... you'll see why this is shit in a minute.
WTF. So, after you do the goddamn mind meld with Discount Darth, SUDDENLY you can pull off a jedi mind trick? No. Nononononono. Horse shit. You didnt even think the Force was real a day or two ago!
Okay, you're fucking kidding me. I think this is how some brainstorming session somehwere went at some point for the main plot in TFA;
"Okay we are bringing back the biggest scifi/fantasy franchise in cinematic history. What should we do? Go ahead, Rian (because this absolutely had to be his idea or some shit)" "What if we totally did like the first one and have a big gigantic moon space station... uh what was it called again JJ?" "... the Death Star." "Yeah, the Dead Star, and but we make it a super huge one like a SUPER DUPER DEAD STAR" "DEATH Star, Rian." "Yeah, the Debt Start, and it would have a SUPER DUPER BIGASS Laser! Like Michael Bay times a bazillion!!" "Uh... Rian..." "And it could eat up a whole STAR, and it would really REALLY be like a Dead Star, 'cause it makes stars DEAD!" ".... Theres no way in Hell you directed Looper." "Oh BTW JJ, this big baddie named Smoke, he sucks the big one and I dont want him in the script... Says here he's supposed to be... Dark Playgus? Who the heck is that?" SIDE NOTE: Okay... Finn using the lightsaber was cool as shit. This isn't shit, but it is the shit. Also second time in series we see non force user wield one. Cool. I want MORE of this! But I digress...
Of COURSE Mr. Low Level maintenance man can navigate his way around a base the SIZE OF A FUCKING PLANET and threaten miss Chrome Dome to shut down the shields. Makes sense.
In an admittedly interesting scene that had a lot more that could have been going for it, we take our first casualty. Bye bye Han. What a punk ass way to go out.
WHAT THE FUCK DO YOU MEAN THE EU ISN'T CANON ANYMORE?!!! ahem excuse me....
Magical overpowered desert girl closes her eyes and bests a force user who trained under LUKE SKY FUCKING WALKER. After learning about the Force about oh... fifteen minutes ago.
YES! HERES LUKE! What's he gonna -
DIRECTED BY JJ ABRAMS Oh FUCK YOU MOVIE. YOU GAVE ME BLUER BALLS THAN MY CHRISTIAN EX GIRLFRIEND.
How could I forget? Who the fuck are the Resistance? Hows the New Republic doing before they're fried by Super Duper Death Star? First... Order? Like the Imperial Remnant? What's going on?? WHO ARE THESE PEOPLE, BESIDES UNORIGINAL STAND INS FOR EMPIRE/REBELLION?
Oh man that was tough. Now on to.... ugh... The Last Jedi Nice things to say about it; Um... That was a really heart wrenching scene with R2 and Luke. It's almost like Rian wanted to remind us of what we could have had halfway through, and then snatch it away like candy from a baby. SUBVERSION!!!! I know... nobody likes Rose. But I thought she was cute and Tran is a cool chick. I want better character development and a metal bikini. Now for the shit;
Jesus. Fucking. Christ. Theres Yo Mama jokes in Star Wars now.
These fucking bomber ships are so slow they're actually going backwards. How are they not getting further away from the FO ship?
Suddenly, theres fuel for Hyperdrive. Okay.
High speed car chase on opposite day. Awesome. That's what I think about when I think of SW. Slow as fuck space race.
Space Casino. Space Slavery. ILLEGAL PARKING. Hit me over the head with some preschy bullshit. Prequel level amounts of campiness, just worse.
Oh sure, let's go ahead and trust Stuttering Collector here... oh wait...
Welp, there goes a priceless family heirloom, right off the cliff. He threw it away like bad luck salt. Bullshit. I wish those porgs screwing with it turned it on by accident and REKT themselves.
The fuck you mean you came here to die? THEN WHY THE FUCK DID YOU MAKE A MAP?!?!?! no sense at all.
Yeah, this has been beaten to death. That's not Luke. It's some guy saying hes Luke. Hobo Not-Luke.
Snoke. What the hell. Imagine if Vader killed the Emperor in ESB. What the fuck would you do for ROtJ? Rian fucked the series into a corner because SUBVERSIONNNNN!!!!!1
Omfg what a fucking missed opportunity. Rey could a joined Kylo and that would have been some crazy shit! Blur the lines a bit! Take a chance! Goddamnit, subvert properly!
OMG Finn's about to sacrif... oh... never mind.... save shit we love whatever fuck you Rose. You're still cute.
Remember when they panned to the X-Wing on Ach-to? Remember thinking oh shit, okay maybe hes gonna force raise it outta the water when it's time to go in some scene reminiscent of ESB with Yoda. Nope. First and last time you see it. (Rian obviously likes to hold out little morsels to his audience like a starving dog and be like "you want it? You want it? Here you go! NO YOU CAN'T HAVE IT!")
ALRIGHT YES ITS BADASS FIGHTING LUKE TIME! WHOOOOO!
OH COME ON HE "FORCE SKYPED" ACROSS THE FUCKING GALAXY? REALLY? HE LITERALLY PHONED IN THE CONFRONTATION? FUCK YOU.
OHHHHHH COME ON THE FORCE SKYPE KILLED NOT-LUKE? WHAT? WHAAAAT? REALLY!?
How could I forget? FUCKING MARY POPPINS LEIA SOARING THROUGH THE GODDAMN VACUUM OF SPACE. No. NO. Kill her off, she actually died! Dont pigeonhole the next movie because now you gotta find a way to work around scenes! What the fuck?
Really? Gonna kill off Ackbar? Salt in the wound. I'm literally saltier than Crait right now.
Super magical Force Princess lifts a fuckton of rocks. Cool. Guess she learned how to do that in that last movie... or about 3 days earlier. Remember when it took an assload of training to lift shit?
Everybody did a bunch of shit that amounted to nothing, failed miserably, and ultimately just sucked. They could have have just jerked off in a corner for 3 hours and have the same outcome.
I went into the theater excited, and left confused. I was like, "what the hell did I just watch?" Am I gonna watch IX? Yeah... just because I have a morbid curiosity. How is this dumpster fire gonna end? I guess we will find out. I'm ready to be disappointed. In relation to TLJ, if any of you have any doubts about Rian's intentions, I'll leave you with this; Rian's Modus Operandi: https://youtu.be/K6qaclJf2GM
(Feedback) Anyone want to take a look at one of three chapters I've written? Also, would like to discuss breaking tropes. Cyberpunk/Soft Scifi
I've been writing a cyberpunk story. Writing has become sort of a new hobby for me lately. Typically, I'd just write short stories, maybe some funny or raunchy stuff strictly for the "lolz" to entertain friends. However, I've had a lot of fun writing and decided to craft something with a bigger scale. Something larger and more serious. SciFi has always been one of my favorite genres and I've been writing this story for the past few weeks. I have about ten chapters thus far. Each being about 3,000 words. The more you write, the harder it is to find someone that wants to read, lol. I totally understand that, I wouldn't want to read 30,000 words someone on here posted....However, I do enjoy reading little snippets and chapters from people's work on the various writing subs on Reddit. I like seeing different styles, And I enjoy reading the notes given by more experienced writers. So, I was hoping maybe someone would want to take a stab at one of the three chapters I'm going to post. Since there are other chapters before them, I'll give a bit of background just to explain what's what. Just any advice on my style, mistakes, prose. How boring it is and whether or not I need to find myself a new hobby… They're all between 3k and 4k words. Definitely not asking anyone to read all of that. However, if it's no trouble, I'd appreciate if anyone picked one at random or picked one that sounds interesting and let's me know what they think...if they have notes, comments, complaints.... I also have some ideas for how I'd like to break some common cliches and tropes with cyberpunk stories. Something I'll explain a little more below, and see if we could get a discussion going on that. https://docs.google.com/document/d/1b_SOtVQl9MDisdhQYA3V20hv63XMiuCB56J6O4azQtM/edit?usp=drivesdk In my world, the Earth has been entirely flooded. There is the typical "giant corporation" that has replaced government, that is a big theme in cyberpunk. They are called Scofield-Bova. People have spread out into the solar system. A lot of people live in domed-cities on the moon,and there are other orbital stations throughout the system. Travel has gotten faster, but it still takes about a month to get from Earth to Pluto. There is, of course, a group of saboteurs that are using violence to destroy the company. Near the beginning of the story, a casino was bombed. The character in this first chapter I posted is named Mely. She is a saboteur, and she was sent on a mission to assassinate a big shot oligarch. It went tits up and she barely escaped with her life. She found a safehouse for her people and that's where this chapter starts. In a Moon city called Stuggart. I'm trying to, I suppose, break some common tropes in Cyberpunk. I have the tropey evil corporation and the saboteurs fighting it, but other than that, I'm going to try to spin some of these tropes. Trope I'm trying to break: this chapter above is the second chapter Mely appears. She initially has the look and feel of a "Mary Sue." However, I have her get her butt kicked, fail, cry, and barely escape. Also, a lot of Mary Sues or female characters are just used as a love interest for a male character… so, I established that she was gay. Her girlfriend was one of the saboteurs that blew up the casino, however she never made it to her safehouse and was captured. So, I'm trying to establish that Mely isn't going to just be there for a guy to fall in love with. Also....Diego Forgrave is the man in charge of the saboteurs. "Black Shields" are a highly trained security force. https://docs.google.com/document/d/1WenmuRbwDsEX96ja-8POJZ6t5HXtJnFVQMI_UAeEQgo/edit?usp=drivesdk In this world, there is a big class discrepancy. Also, there is a massive plague of narcotics addiction. A powerful opiate called hydromorphone or "moon dust" is what people are addicted to. A piece the size of a small pebble can kill someone. There is a piece of medical equipment called an H-DUD (handheld Doppler ultrasound device) it's basically an automatic vein and IV finder. Junkies strap the device to their arm, with the press of a button, the tiny piece of moon dust will be cut into doses (eyeballing it is dangerous because of the small size and lethality) the device will find a vein and automatically "shoot you up" or inject you, rather than doing it the old fashioned way with a syringe and a belt to tie off with. The group in this second chapter are all junkies. Taurus, his girlfriend Ai, Mat and Riji. They live in a shanty town/ slum on the ground level of a moon base….directly below where the casino was bombed and exploded. In the last chapter, the casino exploded above them. This is the aftermath. Trope I'm trying to break. These four definitely fit that rag-tag group of kids (they're ~early 20s) that get swept up in something bigger than themselves. Typically, the people like this end up fighting for the rebellion, becoming heros, learning hard lessons and all that. I want to make them sympathetic, but they still are junkies. I think I'm going to have them end up working for the "evil corporation" because they are just pretty selfish and only want to look out for themselves. I want to avoid the trope of them becoming big heros and saving the world. I think they'll just get pressured into working for Scofield-Bova in order to save their own skins. https://docs.google.com/document/d/133USK3ZiIbG31S6_eUt6eTmRnSVJ4XE9cafHuVhDHsY/edit?usp=drivesdk This chapter is the introduction of Diego Forgrave, the leader of the saboteurs. He heads a group that calls themselves Utopists. Earth is entirely flooded, so Diego and his comrades sail around the skies on his "raft," it's basically a massive blimp…. It looks like a halfway constructed building with giant balloons that keep it afloat and solar powered turbines to keep it moving. Diego has learned about the successful casino bombing. However, none of the saboteurs involved made it home, except one. This raises his suspicions. The one who made it home is sort of an adopted son for Diego. Trope I want to break: typically the rebels, resistance movements or whatever are seen in a positive light. However, there is the saying "one man's freedom fighter is another man's terrorist." I'd like to sort of do something with that. I don't think they're going to be an entirely noble group of freedom fighters, and as time goes on, maybe that "evil corporation" suddenly doesn't seem so evil….maybe they have their reasons for doing things the way they do them. But, I enjoy reading about flawed and grey characters most of all. I have a couple other characters in this story that aren't in these chapters---- space oligarchs, a steampunk pirate priest, Taurus' father….and I don't want any of them to be "super badasses" or insanely skilled warriors, jesus-type heros. The sort of tough, badass character that's good at everything: handsome, well-endowed, can fight, shoot, pilot….that's just sort of boring to me. So, all my characters are going to have some semblance of grey. They'll have flaws. They'll cry, they'll lose, they'll make selfish and dumb choices. I'm sort of trying to go against the trope of a galactic hero like Luke Skywalker or the show version of Jon Snow. So, even if you don't have the time or interest to read any of that….I'd like to see if we could also discuss some more "trope breaking" ideas. I totally understand if you don't want to or don't have time to read any of the chapters….it's a lot to ask of strangers, however if you'd like to discuss some of the stuff I mentioned in my summaries about how I want to avoid some typical cliches used SciFi and cyberpunk, while still remaining loyal to the genre. For those that are TLDR, and just want to discuss trope breaking, these were some of the ideas I had: Someone that appears to be a Mary Sue, yet fails miserably and shows her vulnerability. Her love interest was killed off early, so she isn't going to be a love interest for any of the male characters. She's badass, but not perfect. She will lose, and cry and make stupid choices. Rag-tag group of younger people end up helping a rebellion. I think I'm going to have them help the evil corporation, because they're pressured into it and are just selfish and too afraid to really become heros....or maybe not help anyone. They could be brought into the fold with the saboteurs, and whereas in most stories, the character will decide there's something greater than themselves and decide to join the cause, they'll instead just be like "yeah...no...sorry. I don't want any part of that" and promptly bounce. The rebellion movement really are callous terrorists, the corporation may not seem as bad after all. No Luke Skywalker or Batman characters. People have their skills and things they exceed at, yet no one is just a total hardcore badass that the men want to be and the women swoon for. All of my characters are going to have flaws, they'll be more grey. People that may seem like villains aren't so bad and people that are portrayed as heroes end up becoming monsters. "Either die a hero, or live long enough to become the villain" sort of deal. So, even if you skipped any of the chapters….I'd like to hear some feedback on those sorts of ideas.
Tell us a little about yourself. I'm just a guy in his early thirties living in the oven that is called Phoenix, Arizona with a wife (If you're reading this, hi honey!), cat, and two ferrets. After too many stops and starts I've finally started going to school consistently and am officially starting at ASU in the fall studying Biomedical Engineering. I'd eventually like to work on artificial limbs. Or turn people into cyborgs. On top of delivering pizzas and school I also do a little bit of Amplifier repair work and deal Craps and Blackjack for various casino party companies. When did you first become interested in horror? The first books I could ever remember reading were the Goosebumps books by R.L. Stein. That combined with the fact that my father was a big horror fan himself (He let me watch Alien for the first time when I was about eight years old) eventually led me to start reading Stephen King. I can't definitively say when I first became interested in horror as a genre as it's basically been around me all of my life in one form or another. Was there a specific moment you knew you wanted to write in that genre? I wrote stories of all types for a long time without any real direction on what type I wanted to focus on. While I did read a lot of Stephen King and grew up with him I also read a lot of Sci-Fi and Fantasy along the way as well. When I really decided to focus in on horror was after reading "House of Leaves" by Mark Z. Danielewski for the first time when I was eighteen. That was when I learned that horror wasn't just scary monsters or people in hockey masks chasing horny teenagers around a lake. It evoked that deeply unsettling feeling that you can't define and makes you more terrified because you can't. I knew I wanted to evoke that feeling in people. That feeling of 'something's not right but I can't pinpoint it'. A terror and looming dread hiding in the periphery of your vision that you think you saw for just a second but when you look is no longer there. I don't think I've gotten there yet. But I'm working on it. Where do you find inspiration? Have real life experiences ever made their way into your work? I try to find inspiration anywhere I can. A lot of my ideas come from thinking about something weird that I saw or can't explain and coming up with some sort of story around it. A good example of this is the sign in "I deliver Pizzas". I can't speak for the extradimensional abilities of the street, but the sign and street are real and it's really goddamn weird. Especially since the sign says 'no exit' and the street it's on actually does have an exit. Sometimes it's something mundane that I see if I can make weird or creepy (like Canada Geese, for example). One of the biggest fears I have is losing control of my own mind and will to some type of disease like Alzheimer's and that's led to a decent amount of ideas. That has served as one of the major inspirations for a couple of my stories, the main one being "I was a test subject for a medical experiment..." How did you discover NoSleep? What prompted you to begin writing for it? I actually got an amazon recommendation on my Kindle for the PenPal ebook quite a bit ago and bought it with no knowledge of its origins on reddit. When I looked up more information about it I found the creepypasta channels on Youtube (CreepsMcPasta and MrCreepypasta specifically) and listened to the other stuff they had. It was a number of years later that I finally found where the hell all of these stories had come from. I had stopped writing for quite a bit of time when I turned twenty three because of the amount of rejection letters I got from various Litmags and was fed up with trying to get published anywhere. A little over a year ago while browsing reddit I found the writingprompts subreddit and thought it looked fun so I tried that for a little while. It's good practice but the most notice I got over there was a response that was essentially an extended rickroll. When I looked for a subreddit dedicated to original writing not based on prompts I stumbled on this little corner of the internet. Was it difficult transitioning from the WritingPrompts format to writing for NoSleep? It's a fun activity and great practice but I had pretty much no problem switching to the NoSleep writing format. I had already been listening to the stories on the more well known youtube channels for a little while and caught the general idea of how the stories should be formatted pretty quickly, although there have definitely been a few stumbles along the way (Mostly the believability rule). But honestly I just enjoy writing horror stories so much more than the Scifi/Fantasy stuff that permeates that sub, and as anyone can tell you that if you enjoy it it's hardly work. Do you have a favorite writing prompt you wrote for the sub? [WP] When the king dies, a 100 floor tower falls from the sky and the crown returns to the top floor. Many climbers form adventuring parties to reach the top in hope of being the next ruler. Posted by u/lordhelmos I enjoyed it so much I ended up writing 12k words that made up the beginning of a novel. Unfortunately I have a terrible attention span and it didn't manage to hold my attention at the time enough to finish it. Although once I get my short story collection out it's my plan to try and flesh it out into an entire novel. I think it'll be nice to have a bit of a departure from my usual stuff. What NoSleep stories and/or authors have had the strongest impact on you? u/1000vultures definitely as it's the first piece of fiction I'd read from the subreddit. u/The_Dalek_Emperor is another favorite (I know I'm not the first to say it, but Borrasca is an absolute masterpiece). Since becoming involved and reading the subreddit more I've really enjoyed stuff by u/EZmisery, u/Colourblindness, u/Scott_Savino, u/Poloniumpoisoning, and many more that I'm going to feel bad later for forgetting to mention because this place has so many good writers on it. What is the most terrifying thing you have personally experienced? When I was fifteen my Grandmother was on her deathbed in a hospice. She was in her late eighties and had been sick with pneumonia for a couple of days. When it was obvious she wasn't going to get better my siblings and I were taken out of school. I can remember waiting outside of her room with my brother and sisters while, one at a time, each of us went in to say our goodbyes. This was a women I had seen nearly every single week for my entire life. She had all of these machines hooked up to her. An IV. A breathing mask. It was hard to actually see the fragile old woman buried underneath the tubes and blankets. I started crying and couldn't stop. I could hear the looming specter of death in every raspy breath. It was the first time I could ever remember seeing someone that close to death. We're incredibly sorry for your loss, that's heartbreaking. Thank you for sharing. <3 Do you think that experience played a role in your interest in writing stories that explore the concept of an afterlife? Time doesn't heal all wounds but it definitely dulls it. It was 17 years ago and it doesn't occupy my mind too much lately. But thank you :) I don't personally believe in an afterlife, but it definitely made me think about the concept more than I had at any point in my life up until then. My parents were never very religious so I hadn't been to synagogue or church enough to really think about it much. It was a nice thought at first to think that my Grandmother was around and watching over us. That she was still capable of feeling love. Over the years though the thoughts became a bit darker. As I got older the concept became less and less nice to think about. Eternity is a very, very long time and no matter how pleasant would eventually get to the point that it would be impossible to enjoy anything. There is no adversity to overcome in paradise, and hence nothing to strive for. Paradise sounds boring. And an eternity of boredom doesn't sound like paradise to me. What are some of your biggest influences from media? I love Brandon Sanderson's world building. Stephen King, as I said before, has been a huge influence as well. I could only dream to make as realistic characters as him. Pretty much everything Neil Gaiman has ever done. The Sandman comic book series especially. The Twilight Zone. H.P. Lovecraft minus the racism. The Hitchhikers guide to the galaxy. And of course the comedy stylings of the MST3K crew on the satellite of love. Other than writing, what are some of your hobbies? What other creative mediums do you enjoy? I'm a gigantic nerd and am always up for a good game of Magic the Gathering or a session of DnD. While I don't like puzzles very much I do enjoy solving problems around the house. It makes me feel useful when I can fix a garbage disposal or replace a broken stair railing. D&D, eh? exits out of a tab with an alignment chart spreadsheet of all the NSI mods We may have played a campaign or two before. What's your favorite character class to play? Warlocks! Whether I'm making a deal for a book of shadows from a celestial or enslaving an imp with the power from an unknown elder god from the great beyond I enjoy the variety of things a warlock can do. Plus getting back spells on a short rest is always nice. Do you ever explore writing other genres besides horror? If so, what other styles of writing? Which do you prefer? Before nosleep I was mostly interested in Fantasy and Science fiction. On my subreddit I have about the first 15k words of an unfinished fantasy novel and the first 10k of an unfinished Science fiction comedy novel. I still haven't decided if I'm going to finish either eventually. You've dabbled in humor before with your Possessed Dumbass series. Did you find writing something with more comedic tones to be more fun or challenging? It's definitely a lot of fun. A ridiculous amount of fun, if I'm being honest, but very hard to pull off in an effective way. If you lean too far into the horror of it than the comedic parts are jarring and out of place and if you lean into the comedy too much than the horror falls completely flat. I honestly don't know how Gas Station Jack manages to do it as well as he does with how many words he's written. How much time do you spend writing in an average day or week? Do you have any rituals that help you focus? When I was first starting to write on here I kept myself on a strict schedule that I've since lapsed on. As of now I average about three days a week and four hours a day. So, about twelve to sixteen hours a week? Now that I've actually thought about it I should probably put more time into it. As for rituals, a nice playlist of music in the background always helps settle the writing vibes in the right way. When crafting a piece of fiction, do you generally start with an outline or simply begin writing? The only outlines I've ever produced are for the novels that I've tried working on. When it comes to anything shorter than that I let the idea ruminate and stir in my head for a day or two before I decide to write it down or not. If it gets past the brainstorming stage I just write it down as fast as I can without worrying too much about it. Being pretty critical of my own ideas most of the time I find that outlines don't really work for me unless I have to keep track of a lot of characters over a long period of time. Have any of your stories ever involved research? If so, what was involved? For some of them, definitely. The most research I've ever done was the story about Canada Geese migration patterns. Despite that research I somehow still managed to call them Canadian Geese by mistake. I actually managed to find a couple of scientific papers about the average and top sizes for populations of them and figure out exactly where they end up and where they go. As for most of the other stories, a little bit of research always goes a long way to making it sound more realistic and believable. Which of course is the backbone of this subreddit :) In I Closed Twenty Two Doors Today the narrator suffers from Obsessive Compulsive Disorder. Was the true horror of the story an unknown entity making its way into the narrator's home or panic from a miscount? Whichever one scares you more. What inspired the concept of The Thing in Manzanita Hall? I wanted to make as truly unique of a monster as I could so like any good writer I smashed a bunch of ideas together until something I felt was good came out of it. I have a bit of a soft spot for stories told from the perspective of someone who finds something they probably shouldn'tve seen. Sinister is a really good example of this type of story and I wanted to make something like it. Demons make an appearance in many of your stories. Is that a topic that interests or terrifies you? Definitely more interesting than terrifying. I feel demons are a great concept to use in place of the more terrifying aspects of humanity. They can be the memories you want to forget. They can be the symptoms of mental illness. They can be the metaphysical concept of infinity given life. Your work often includes general theological themes, notably in your most popular series, I was dead for six minutes and saw Heaven. I'd rather go to Hell. Why do you think so many people feel religion marries well with horror? Religion tries to describe concepts so far beyond the realm of mere mortals like us. It tries to describe in words things that are, by definition, indescribable by words. Horror is similar is a lot of ways. Of course there's also the fact that so many people are terrified of religion in general. A gathering of people sitting in a room once or twice a week getting told about how if they do things that this one book says they'll be given everything they want, but if they deviate from that then they'll be sent to a place of indescribable torture. No room for error and no room for disagreements. Given that, it's not surprising that it makes such a good horror topic. You've been involved in several collaborations with different NoSleep authors. Are there any challenges or unexpected benefits in working together with others? I love doing collaborations. Despite how a lot of people see writers, sitting alone in front of a computer typing to themselves, I'm of the idea that the more cooks baking the pie the better it gets. The more eyes you have looking at it the more opportunities you have to catch mistakes and make your own work better. The biggest challenge, of course, is keeping a good schedule. Like in any creative endeavour it can be like herding cats, as u/deathbyproxy can attest to when everyone was working on our giant october collab last year with the Skinner Foundation. You use the name Tim for characters in several of your stories. Are these all the same Tim, or separate Tims? What's the significance behind the name? I'm not going to lie here. There's no intended significance behind the name and is most likely just a giant coincidence because I've never noticed it myself. Although there was a Tim I met a couple of years ago that is probably one of the worst human beings in existence. My Aunt is married to a Tim as well though and he's a nice enough guy. So, to answer that question, I have no clue. Will we ever see more installments of the series about your best friend? I was intending to write a fourth part for this story, I really was. I even had two separate ideas about how to end it that I got halfway through writing before realizing they just weren't good. I don't know what it was about this story specifically that I had so much trouble with. And from some of the feedback it seems like some people were just as frustrated by the unintended ending as I was, although the last part I posted still sorta works as an ending so I'm going to leave it as is. I may end up finishing it at some point but I wouldn't expect it anytime soon. Are there any topics you feel are too controversial for you to address or that you prefer not to explore in your writing? As for controversial topics, that's hard to say. Horror is meant to push the boundaries and buttons of the people that are reading it in the worst ways. There's a fine line between effective horror and just plain horrifying. As for myself, there are a couple of subjects that I won't mention by name that I'm personally not comfortable talking about. Moreso because I don't have the experiences or knowledge to portray them correctly than out of any fear of offending someone. What are your feelings toward NoSleep's immersion/believability rule? What impact, if any, do you think the suspension of disbelief format may have when transitioning your work toward a mass audience unfamiliar with NoSleep? It can be frustrating sometimes when a story gets removed but the believability rule is what makes the subreddit unique. I wouldn't have it removed or changed for any reason, otherwise the sub wouldn't be what it is today. As for transferring to a different audience, I think it'll help out with making a more believable story and characters. There are obvious stories that wouldn't make sense out of the context of nosleep but I think most of them work just fine as standalone pieces. Do you have any favorite reader reactions to your writing? I loved pretty much all of the comments for I was dead for six minutes and saw heaven. It was a nice combination of theological discussion and the most amount of discussion about the story of anything I've written. It was really cool to see all of the speculation and discussion about the story and possibilities. Also, I silvered a comment for a particularly funny joke and he sent me a picture of his pet hedgehog. And it was adorable. What story or project are you most proud of? My favorite story I've written is The Lost Ones. I think it's the story where I hit the best balance of 'What the hell is going on' without adventuring too far into the 'This isn't interesting' category. What's the most valuable lesson you've learned since you began posting to NoSleep? Not everyone is going to like what you put out. No matter how popular or how successful something is, there are going to be people who hate it and feel the need to let you know. A hard lesson to learn, to be sure, but a necessary one. You can't please everyone. As a successful author on NoSleep, do you have any advice for new contributors? I don't think of myself as that successful but the best advice I can give is to be persistent. Most of the time, in pretty much anything, people end up failing because they stop trying when they hit resistance. The first story I ever posted got about 350 upvotes and was narrated by one of my favorite narrators on Youtube. The second story got a grand total of five upvotes over a day before I deleted it. The next couple of stories after that didn't even break fifty. Persistence is key. What are your short-term and long-term writing goals? Short term - Finish editing my goddamn book. I've been taking too long with that. I promise it'll be out before October! There I go setting a hard deadline for myself. Long Term - Gain the ability to pay rent with my writing Community Questions: From PLF__0519TTV: What got you in to horror? The genre has been around me my entire life so it's kinda hard to pinpoint an exact movie or book that really solidified my interest in the genre. If I had to make a shortlist, it would probably be the Goosebumps books, the movie Alien, and The Stand. Submitted anonymously: Are there any stories you've wanted to tell that you couldn't due to NoSleep's rules? Plenty. Even though my main focus is on the stories I post here I still enjoy writing in other genres that definitely don't fit on Nosleep. I enjoy the worldbuilding aspect of Fantasy and Science Fiction a lot and want to explore that a bit more. Submitted anonymously: What's your favourite story that you didn't write? It's a toss up between PenPal, Borrasca, and The Strangest Security Tape I've Ever Seen. All three are great in their own ways and it's hard to pick one over the other two. From Colourblindness: Your demon possession stories were massively popular. Do you intend to ever return to the concept again? Definitely. Once I flesh out an overarching story with them a bit more you'll definitely see the Cranberry Ginger Ale swilling meat suit inhabiting immortal concepts again. Submitted anonymously: Have you ever been to Cawdor or Cawdor Castle? Unfortunately no, but I would absolutely love to visit it someday. Submitted anonymously: Is it Canada goose or Canada geese? Canada Goose if one, Canada Geese if multiple. Just whatever you do don't call them Canadian Geese or else you'll definitely get corrected by angry Canadians. Submitted anonymously: Other than the geeses, what do you think the creepiest thing about Canada is? What's with the bagged milk? WHAT AREN'T YOU TELLING US! Submitted anonymously: If you were able to spend the day with any figure in the horror community (author, director, actor, etc.), who would you choose and why? Ari Aster (Hereditary and Midsommar). To start off with, he's one of the few directors or writers living today that's displayed grief on screen so accurately and with such deep understanding. He makes it so goddamn terrifying that it becomes scarier than any possible jumpscare that he could put on screen. It's hard not to be terrified when the feelings are so visceral and real. From Colourblindness: You participated in a nosleep April fools gag where authors swapped stories to confuse readers. What was the experience like and do you feel like you thoroughly confused yourself and or others? Mine got removed! Well, the one I wrote got removed. I didn't realize at the time that alternate reality stories weren't really allowed on the subreddit and wrote something about the Mandela effect that I thought turned out ok. The author that wrote the story that I posted under my name turned out so much better than mine I honestly wish I would've thought of something as absolutely nuts as that. The entire event was fun and probably pretty confusing from the reader's side of things although I imagine the Mods confused the subreddit a bit more when they temporarily shut down the subreddit. From ByfelsDisciple: What do you think is your most underrated story? Your most overrated? I think my most underrated story is The Lost Ones. I spent a lot of time crafting that particular story and hoped it would get a bit more attention than it did. As for overrated, I would say 19 Reasons why I know there's a monster under my bed. It took me about thirty minutes to write and thought it wouldn't get much attention. I did have fun writing it, of course, and enjoyed it as much as any other story I've written but was quite surprised that it ended up at the top of the page for any amount of time. Submitted anonymously: If you had to live in the established universe of one of your characters, which would you choose and why? Let me preface this by saying I wouldn't like to live in any of them (as most of them are terrifying to think about the implications), but if I HAD to choose it would probably be the ones with the demons. Unless you seek them out or screw with them they don't care about you. Submitted anonymously: Which actor who's played James Bond do you think is most likely to secretly be a serial killer? Which one would you most want to eat cereal with? I wouldn't be surprised if they find women's skulls on Sean Connery's property after he kicks the bucket. As for cereal, definitely Timothy Dalton. Mostly for the fact that he seems to actually have a sense of humor about himself (if Hot Fuzz is any indication). Today paper roll; over or under? Over. What kind of monster puts it under? Asmodeus, is that you? If it is could I get a new hellhound? The one you gave me chased a car down when it got out of the backyard and I don't have any more room for bodies. Submitted anonymously: What is the greatest album of all time and why is it Metropolis Part II: Scenes from a Memory? Are you going to yell at me if I say I'm not much of a Dream Theater fan? The Shaming of the True by Kevin Gilbert. Seriously, go listen to the entire thing. It's wonderful. Submitted anonymously: I'm going to McDonald's, do you want anything? A couple of hashbrowns and a sausage egg mcmuffin please. From Poppy_moonray: Favorite Greek or Roman myth? Daedalus. That man had such a tragic life in so many ways. Par for the course when dealing with the Greek gods unfortunately. Kangaroos: Happy hopping friend, or faux-fanny pack wearing foe? Does this answer your question? What fruit do you empathize with most strongly? What fruit fills you with an unbridled fury? Starfruit is so underrated and delicious and I wish more stores carried it. Where do you get off just being everywhere, Honeydew? You managed to get yourself in everything and somehow be the worst of whatever you're a part of. You said we're allowed to ask you anything besides where the bodies are hidden, and we, like, totally respect that. So, uh, hypothetically speaking though, where would you hide bodies if you had to? Just wondering, no reason. I mean, hypothetically, there's a lot of desert where I live. Hypothetically there's this particular rock that's been spray painted half black just past the city limits sign. Hypothetically, you could turn left at that rock and drive down the dirt road until you reach a wooden sign with "Abandon all hope" written on it. Hypothetically, if you got out of your white pickup truck and walked for a mile due north you might find an abandoned water tank with unmarked crosses along the outside of it. Hypothetically, of course. If you were to write an installment in the Final Destination franchise, what's the first death scene you would write? The scene opens with a school trip to Ringling Brothers circus back in the day when they still abused the shit out of lions and elephants. When they bring out the elephant to do it's thing one of the carnies don't lock the cage for the lion all the way and sneaks out into the main performance area. The lion, scared and confused, frightens the elephant to the point that it tries to find the closest exit big enough for it to get out of the big tent, which unfortunately is right through the teachechaperone on the way back to the students and he gets trampled. On it's way out it knocks down some of the supports and the large tent starts collapsing, causing the crowd to go into even more of a panic. The main character's best friend gets trampled by the crowd but dies just after the escaped lion bites open the jugular of the main character's best friend, leaving to confusion of death order later in the movie. Two of the kids that no one care about die when one of the supports finally collapses and smashes both of them at the same time. Just as the main character and their love interest look like they are about to get out of the tent alive a stray support rope that was holding up the tent from the outside snaps and smashes the love interest in the face. Just as the main character sees this happen they hear the growl of the escaped lion directly behind them. From OnyxOctopus: How do you take your tea? What kind would you like? One lump or two? How many snickerdoodles can I get you? Are you warm enough? If not, I can get you a hand-crocheted afghan! Would you like one? ❤ Iced Passionfruit tea, unsweetened. Unfortunately I live in Phoenix and it was 106 today so I'm good on the blanket. Submitted anonymously: Favorite guilty pleasure song or movie? Please don't think less of me for this, but I unironically enjoy a couple of Papa Roach songs. Submitted anonymously: Favorite book? House of Leaves by Mark Z. Danielewski. Submitted anonymously: If your house was on fire and you could only rescue one physical thing (all living beings made it out safely), what would it be? My Magic the Gathering burn deck. I don't feel like spending a couple hundred bucks to replace those pieces of cardboard. If I couldn't get that, my wedding photos. From Colourblindness: As a frequenter of writingprompts myself it pleases me to see you turn up inspiration in unexpected ways! Therefore I want to challenge you with a writing prompt of my own! Make it something unique for me please? “You found out that all of your family are actually puppeteers and they’ve been holding back the secret art of puppetry. Explain why.” Give me a couple of days and watch for my next post :) Craving more Cawdor? Cruise on over to his
NSI would like to say a whole flock of Canadian geesegoosesgeeses angry pale duck bois worth of thank yous to the talented and terrifying Cawdor! You're a true gem—but, like, a spooky gem, that the ghost of a small Victorian boy carries in his ghost pockets. <3 We'll see you back here on Monday, August 12th when we speak to NoSleep's own murderous Mary Poppins, that night-crawling ne'er-do-well, NocturnalNanny! We'll be taking questions for her in /NoSleepOOC next Monday. Before then, make sure you follow her Facebook, Twitter, and Userpage so you never miss a new nightmare!
So over the summer I had been reading/watching a ton of different media and entertainment fan theories, "what if's," Lore, and so on. And thinking on this I recalled reading years ago about the theory of Finn being a double/secret Imperial agent. I spent several weeks combing over the two movies so far, and other forms of Cannon material and some non-cannon, other shows/event and even real life as inspiration for this argument. With less than 1 month to go until the final act of the trilogy comes to an end I thought I might as well post the unfinished work i started earlier this year. Hopefully you find it interesting and if not, well sorry for wasting your time. (This work is mostly my own, if anything seems like it comes from other articles or posts, its entirely possible, I don't know if i kept a list of all my sources or if i listed them in this document. Don't take offense if I failed to cite something, remember this is "unfinished" and most likely wont be as time has passed and unfortunately got away from me on this project.) ***Please note this doesn't read like a book or story. If you ever enjoyed spy thrillers, movies, tv shows then come into it with the mid set of "how hard would it be to live this kind of life?" or "If this were a real spy, how might their body language behave?" or "How would I act if I were forced into a spy role if i had some form of military training, based on what i "Know" or have "Seen" of spy's in entertainment form?" Coming in with this kind of mindset may help ease some of the "quite the jump to that conclusion" retorts.*** Enjoy: The Double Agent: A Conspiracy Theorist’s Comprehensive View of FN-2187 aka Finn I believe there is sufficient evidence to prove that the Resistance Hero: Finn is actually a double agent by means of some form of mind wipe. Think of Total Recall, Jason Bourne, Cylon sleeper agents or some alternate combination of different types of “mind control.” I will provide approximate timestamps of both movies shown between the events of SW: TFA and SW: TLJ that will explain these statements. As well as other examples, which will, call upon some external sources and sites that further prove my statement. Some of these examples may seem like a bit of a stretch, so adjust your tin foil hats and let us jump in. So for a bit of context I may have read an article or reddit post about this particular theory several years ago. I wanted to give it more thought so I re-watched the new movies with the idea of a Finn being a double agent. I got to thinking that a deeper darker character would make these movies much better by the end if the trilogy if they planted a deep cover agent into “Team good guys,” which by the way has not been done to this extent or over an entire trilogy (in the sense of Star Wars.) By having a character who starts off as “the bad guy” morph into a hero you love then make a drastic turn to be something more sinister by the end would blow the viewers mind. Similar to the theories of Jar-Jar being the “drunken fist” version of a Sith master makes Phantom Menace better. In addition, the Obi-wan and Anikin are in a love triangle with Padme makes AotC and RotS better. Keeping the idea of Finn as a Double agent in mind, I re-watched TFA and TLJ and there are many subtle hints from what he says to body language to convenient tidbits of information that make this stand out. The main issues I have with Finn, as a First Order deserter and Resistance Hero are these: his knowledge is too diverse, especially when it comes to the FO compared to the history of SW. Examples: ship schematics, R&D tech, Base locations & layouts, Shields & Security/exotic beasts/current events etc. His service history also changes about five times between the two movies. (One could argue he is omitting the information however each time he tells what his “position” was, it is to several different people when no one else is around with the exception of Poe introducing him to Leia.) Lastly, the combination of those makes him such a linchpin to the resistance aka; he is too perfect to their cause. More importantly, if you choose to believe the story of a stormtrooper leaving the First Order to join the resistance this makes any regular ole trooper a major liability whether they defect or are captured and interrogated. Let this sink in for a moment, we are to believe that a stormtrooper knows virtually everything about the First Order. He is not a high-ranking Grand Admiral or Moff, or General but a stormtrooper. This is such a fundamental flaw for any organization let alone a military group. Let us look at it this way. Would an infantry soldier in the US army knows about or have access to troop deployments, vehicle schematics, top-secret research projects and security clearance above his paygrade and so on? That would be a major problem. At its core if a Stormtrooper knows EVERYTHING, then the FO has no security through segmentation of ranking officials, and creates a huge plothole. His “story” constantly changes…slightly · The first time is when he “rescues” Poe; there is no need to tell him what his position is. He strolls up wearing Stormtrooper armor. This is self-explanatory and from Poe’s position does not warrant further question. · Second, when he meets Rey she assumes he is part of the resistance, which he haphazardly agrees to however, he later tells her the truth, (1:02:50) “I’m not who you think I am. I’m not resistance…I’m a stormtrooper.” *I believe this is the truth* · Third, (1:22:37) coming from Poe “He’s familiar with the weapon that destroyed the Hosnian system, he worked on the base.” Since he does not say this at any point during the movie, you are lead to believe this conversation takes place off-screen. · Fourth, Han asks him “What was your job was when you were based here?” Finn’s reply “Sanitation.” · Lastly in TLJ during the conversation with Rose and Finn (41:44) she asks “but who knows where the breaker room is on a Star Destroyer?” his reply “Except for the guy who used to mop it.” This leads you to believe he either belonged to a maintenance or sanitation crew stationed on a Star Destroyer. Similar to a “scanning crew” in ANH at (1:06:55) or Matt, the Radar technician not a standard stormtrooper. The rebuttals I have heard is that the FO has the ability to cross train their forces, or they double up the duties of the enlisted or due to disciplinary actions they would be temporarily demoted or that FN-2187 could have been a terrible trooper and simply transferred around from base to base or ship to ship. While all of these are plausible, let us first ask why or what need would the FO need to cross train its soldiers. Are they that short on members of their army? By the start of TLJ the FO reigns. To me this means they are larger than ever, even with losing Starkiller base, a planetary sized military installation, which I assume houses a very large number of Infantry, Pilots, Maintenance, Command, Special forces and possibly other types of soldiers. I assume that like any military group they probably accept recruits, coupled with the fact that they “abduct children” to join the cause I do not see a real need to force diversity in training. I also highly doubt that any disciplinary action would result in a stormtrooper mopping decks for long periods. Regardless if the FO consists of a massive number of people enlisted, what is the need to have specialized divisions but then have its members belong to multiple groups within? I do not see the tactical need. Next I will walk through both movies start to finish to spot light these interactions we see Finn from a third person perspective. Keep in mind all the scenes are actually not from his perspective but from someone else’s point of view is even though we are supposed to be focusing on his character. I believe this is vital. At (5:37) into TFA, we see Poe shoot several stormtroopers, the last being someone FN-2187 knows. I surmise that this person is a close friend or possible lover. (Yes there are female stormtroopers you even hear one talk on Starkiller base towards the end of the movie) and up until this point he was actively engaged in live fire. However, the moment this unknown trooper dies in front of him (regardless of affiliation) I believe it triggers the same confusion/PTSD as seen in say Saving Private Ryan during the “storming the beach” scene. I do not believe it is simply “Finn’s awakening.” He then is looking around for a bit of cover as there is live fire coming back at them now. Shortly after Poe is captured (8:40), Finn and the remaining troopers are ordered to execute the remaining villagers. He is still suffering at this point from the confusion/PTSD and only been a few minutes to process what just happened to following an order to execute the remaining civilians, which are not threating now, would explain his “hesitation.” At this point Kylo Ren being someone who embraces the dark side or emotions can sense his anger and confusion. Not his reluctance to follow orders. Fast forward a bit to (9:11) and make note for later, you see three lone stormtroopers destroy Poe’s X-wing. Two using the standard blasters and the third using a heavier carbine. In the next scene, you see Poe depart the shuttle on the Resurgent-class Battlecruiser aka; the Star Destroyer. At (10:00) FN-2187 walks past Poe and you can hear the anger in his heavy breathing as he enters one of the troop transports and removes his helmet. I say his emotions are similar to walking past someone you just seen murder a close friend, family member, or lover in a courthouse and not having the power to take revenge or seek “justice.” He is angry, frustrated, and emotionally hurt by being so close to the person who caused this, and yet powerless to do anything. As this scene ends, Phasma shows up and says the following: “FN-2187, submit your blaster for inspection.”, “And who gave you permission to remove that helmet?”, “Report to my division at once.” This is where I want to take a quick break and make the following observation; FN-2187 is not under the direct command of Phasma until shortly after this order. Let me break it down. There are a couple types of “divisions” to my understanding. The first example would be Engineering, Command, Stormtrooper Corps, FO Special Forces, Maintenance, Deck Crew, etc. The second example would be a subsection of those like the 501st or the 401st or different squadrons, Red/Gold/Blue/Rogue (original trilogy rebel squadrons) I will admit I am not familiar with Finn’s service record before the events of TFA but will acknowledge that Captain Phasma trained the FN corps. In addition, they were considered by Phasma “to be the greatest in the FO” according to https://starwars.fandom.com/wiki/FN\_Corps. According to https://starwars.fandom.com/wiki/First\_Order I surmise that Captain Phasma being a “commander” and part of the triumvirate alongside General Hux and Kylo Ren -one of three High Ranking officials- has special command access and resources that others simply do not. She probably commands several units and has access to top-secret projects. Which leads to the point above, she gives FN-2187 a “transfer” command, which she later says he “He reported to her division, was evaluated and sent to reconditioning.” This is where I believe he either volunteered or recruited to become the Deep Cover Agent for the FO. I have also spoken with a couple veterans and asked them to give me their interpretation and so far have agreed, it sounds like an order to transfer to her unit. Let us take another break to make an important declaration. The events of the movie do not give us a clear timeline of events in the essence of we are not shown how long Poe is being interrogated. This could range from hours to days. How it is acted out makes it “look” as its mere moments between scenes yet I disagree I believe in this context its days. At this point FN-2187 reports to Phasma’s division, undergoes a psych evaluation and debriefing and is sent to reconditioning which according to the starwars.fandom.com site they link Reconditioning to a “Memory wipe” for droids. (https://starwars.fandom.com/wiki/Phasma%27s\_division links to https://starwars.fandom.com/wiki/Memory\_wipe) I further surmise that they would have the ability to implant false memories and information*** vital to his mission (similar to Total Recall) for planting a double agent since your opponents have force abilities such as reading minds and emotions. After this process completes Finn receives new orders: Free the resistance pilot Poe, escape with him, and recover the map to Skywalker. Essentially placing Finn “in play.” This is where we see him enter Poe’s interrogation room (19:20) *with a brand new shiny suit of Stormtrooper armor.* Note: I will notate with *** next to information Finn should not have access to that could be explained from this information being implanted or transmitted to him throughout both movies. The Escape! Note: Any enthusiasm that Finn displays is just a subversion ploy to convince resistance allies he is a part of them. In addition, Finn’s transition to Double Agent “unlocks” the use excessive force or the ability to break imperial protocol when it comes to killing other FO forces to keep the illusion he is a resistance fighter and Imperial defector. FN-2187 leads Poe out and unconvincingly –to me- tells him “I’m rescuing you.” Because he needs a pilot. This is played off for comic relief but the body language says to me; “I’m trying to convince Poe to trust me and were in a hurry.” In other words, he is too eager to start his mission. FN-2187 and Poe get into a Special Forces Tie Fighter. Which according to https://scifi.stackexchange.com/questions/111988/do-first-order-tie-fighters-have-hyperdrives does have shields and hyperdrive capability just for context. Now remember how three storm troopers destroyed a parked X-wing without the use of demolitions? We witness the Tie take several hits during its tethered takeoff, but it deals no real damage unlike the total destruction a few minutes earlier. This is explained by the ability to control the “level settings” on blasters. This example is shown in an early season of Star Wars Rebels in an episode where Ezra joins the ranks of stormtroopers and is involved with their basic training. *Strap on or adjust the tinfoil hat* The troopers firing could have been ordered –by Phasma- to adjust their blasters to a low damage output so as to not damage or prematurely cripple the Tie, this would allow them to keep up the façade of their “escape” by expending pawns in their attempt to plant their agent. ***Another observation of Phasma, General Hux and Kylo Ren belonging to the “unofficial triumvirate” of the FO they could/would also act as Finn’s handlers. As such he was probably given (or implanted with) a list of code phrases, similar to actual double agents. This observation explains why Kylo Ren does not throw a tantrum when their most valuable asset escapes. Instead he’s calm and calculated and knows who helped him escape (at this point in time General Hux is not let in on the secret) which lets Kylo humiliate Hux in front of his officers on the bridge by saying “his troops are good at committing high treason.” In the cockpit at (23:22) Finn’s position is cemented with Poe and he starts spouting off real important information any resistance leader probably wouldn’t approve of given three minutes into the defectors escape. Had Finn and Poe escaped to the planet together I surmise that once BB-8 was located Finn would turn on Poe and recover the information for the FO. However since they are separated on reentry and Finn is forced down the path of playing “imperial defector.” Skipping ahead to (32:49) Finn is in the gunner seat of the Falcon and yells to Rey “Stay low, this confuses their tracking.”*** For someone who has flown in a Tie fighter exactly once probably would not know of this vulnerability. A Tie Pilot would probably know after hours of flying but not Finn. Moving along to (40:00) as they are being boarded by Han and Chewie, Finn throws out another tidbit about stormtrooper helmets being able to filter out smoke, but not toxins.*** To me this is an example of “textbook” information implanted to him. Think of it like this: in the IT world, many end-users do not know the inner workings of how computers work, they only care about the fact that it DOES work. I assume that average stormtroopers would be of the same mentality. Sure, they have field manuals that provide this information or it is in some training program early on but this obscure info would be something easily passed over or forgotten completely. When Finn first finds out how “Han” (41:20) is he refers to him as the Rebellion General and War Hero. *** One could argue that Finn simply heard of the “legend” from stories told during his imperial service. However, I believe that this is another example of vital information that was implanted. (Mission parameter) Assess potential allies especially if they have ties or allegiances with past rebellions. Han fits this bill. At (43:00) we find out what Han is smuggling: Rathtars. After Rey asks “what’s a rathtar?” Finn replies, “Ever heard of the Trillia Massacre?”*** For being an ex-stormtrooper Finn sure does know a lot about events that take place on other planets and their exotic beasts. https://starwars.fandom.com/wiki/Trillia\_Massacre Moving along to (55:00) the conversation between Han and Finn, he paints himself as a big deal and follows up by asking he there are any known conspirators or first order sympathizers. This doubles as “I’m resistance and concerned” and “I can possibly get information back to my handlers.” Meeting with Maz, this is where his “reconditioning” starts to pay off as she has some ability to “read” people but cannot get anything very useful on him. Taking another short break to make another observation. Han tells Finn we have a problem: women always figure out the truth. I believe he suspects Finn of either being a liar (either not with the resistance because he knows who is actually in the resistance OR that he is still with the FO. In addition, he simply does not care at this point in his life. He is no longer “IN” the rebellion/republic or “WITH” Leia, he is back to being a smuggler and potentially wanted by both the Republic and the FO. Therefore, he does not want to get involved, but he is hinting that if Finn really likes her he will have to tell her the truth and/or make a decision on what path he will take (resistance or FO) Finn’s actions in the cantina scene remind me of the relationship between James Bond and Vesper Lynd in Casino Royale. About 2 hours in, they are together on the beach he actually considers leaving MI6 to be with her, that he loves her and he probably would have given it all up had she not betrayed him. Finn does the same thing as he leaves the cantina –only not as elegantly- (1:02:45) Finn tells Rey the Truth about himself. “I’m not who you think I am. I’m not resistance. I’m not a Hero…I’m a stormtrooper.” I believe this is foreshadowing and the actual truth from his perspective. He is subtly telling Rey he is not a good guy, that if he stayed there he would end up betraying her, however, he would leave it all to be with her IF they left. Finn lands on the resistance planet (1:21:03) the only ally that trusts him so far is BB-8. Rey captured. Han still skeptical of him. After losing sight of BB-8 Finn spots the droid and Poe who is alive after all. This is Finn’s “in” to meet with the resistance leaders, aka other high value targets. At this point Finn is still under loyalty to the FO but still has feelings for Rey. Think of it as “two birds, one stone.” Finn enters the War Room and you can tell from his body language he is actively looking and taking mental note of valuable resistance information. A normal person would make a straight line and pay little attention to the surroundings if they were truly on a mission to rescue their friend. Poe introduces Finn to Leia (1:22:25) as a valuable asset, someone who used to work on the base. This leads him to compile a report of the base’s location*** but also doubles as a trap as you later find out that the FO tracks these recon ships after leaving the system where Starkiller base is. Breaking off slightly again. Leia sums up the resistance real good, they are desperate for any information he can provide. Finn’s plethora of knowledge makes him a linchpin for the resistance. Right here Finn becomes the most valuable asset the resistance owns. To backtrack and reiterate an earlier point if every grunt in the FO knows what Finn knows (assuming Finn is not a double agent) why not just preform simple gorilla style raids and take prisoners and break them into revealing information vital to the success of the resistance and republic? According to TFA audio book that goes into much more detail between Phasma and General Hux when reviewing his service record after he escapes, Finn was described as nothing more than an average stormtrooper. There was nothing special about him. Leia is the one who turns Finn into this “Big Deal.” During the War Room briefing (1:32:33), they start talking about the new super weapon. *** Finn conveniently knows what powers this weapon and its weak points (the thermal oscillator.) In addition to the base’s location. Finn leads them to believe that he can disable the shields but he has to be there on the planet to accomplish this. This is a three-way motive. 1) This is a ruse; he is helping the resistance disable the shields/base. 2) He actually does want to go rescue Rey. Finally 3) He is still loyal to the FO, this is just another parameter of his mission to destroy the resistance from within alongside retrieving the map to Skywalker. My issue with Finn knowing the base to this extent becomes a problem when compared to ANH; they had to have engineers analyze the technical specs of the Death Star plans to find the weakness. Now everyone is looking around at a hologram and this “engineer” just “KNOWS.” “Oh it probably needs something like uh I dunno a thermal oscillator?” And Finn is all like “uh yea it’s got exactly that, right here!” Imagine if TK-421 the bestest Stromtrooper knew about the exhaust port weakness of the Death Star just from moping the 4x8 foot platform with no rail where two random people adjust laser knobs. Just after landing on Starkiller base (1:36:44) Chewie, Finn and Han are sneaking around. This is where Finn admits he does not know how to lower the shields and tells Han the truth. He just wants to rescue Rey. He then tells Han “oh, we will just use the force.” I see this as classic diversion, a way to change the subject. The scene just after that Han reminds them they are on a tight time restraint and says “…The shields…” Here is where Finn has an “idea.” I believe one of two things happens here, first he gets very lucky and bumps into Phasma, which is not part of his “idea”, or, second he knows she will be on the base due to secret communications with one of his handlers. I believe it is the latter. Let me elaborate. There would be no way he would know that Phasma is currently stationed on the base in the building (precinct 47) they are breaking into this is too much coincidence. Finn got lucky that Phasma was not overseeing command on a Star Destroyer or in a different building on this “Planet.” However, no, she is conveniently just a few doors down on patrol and Finn knows where to find her or that is what we are lead to believe. Now between the two scenes where Phasma “betrays” the FO by lowering the shields, this is where Finn and Phasma can communicate through code phrases. This example is similar to other works of entertainment involving spies and undercover agents; they tend to include the confrontation scene. This is where your hero (the spy) is in a situation where facing his handler or former friend and they speak in code to each other to let them know “look I’m not really a traitor” or convey whatever message they want to in their unique situation. In addition, if this is true it explains how she was able to escape with ease her “trashy” fate on the base. One might say, well the comic book miniseries that follows Phasma shows she blamed some other fella then killed him to cover her tracks. How do you explain this? Simply, military politics of the FO. Remember only three people know of this plan (potentially only 2 until the start of TLJ) this would be Phasma and Kylo. I will explain later why Hux does not know at this point. Therefore, she does this to protect their asset in play, Finn. Yea but it leads to the destruction of the superweapon and massive base. How can that be justified? Again simply, by the opening events of TLJ, the crawl screen declares that the First Order Reigns. Remember according to SW lore the First Order is comprised up of many remaining imperial fleets (from the original trilogy) plus thirty years of rebuilding fleets and training new soldiers from these unknown regions of space. The loss of one base and super weapon could be a justified sacrifice for eradicating any resistance and potential allies, the complete destruction of the “remaining Jedi order” and finally displaying an impressive command of fear throughout the rest of the galaxy. Who says this is the FO’s only super weapon? Finn’s final scenes of TFA is the fight between Rey and Kylo Ren and himself. With ease, Kylo picks up Rey and throws her into a tree. He stated earlier that she seems to be growing exponentially in the force and I suggest that he knows even if she’s knocked out she may still be able to recall or remember these events when she wakes up or in the future. So he decides to keeps up the façade of Finns nature due to them losing a base and super weapon, but potentially gaining much more. Alternatively, altering their plans for a long-term cover agent incase this attack does not immediately favor the First Order. To put it simply they prepare to play the long con. As stated in other theories but I too believe that Kylo is just putting on a show in the battle with Finn. His ability to command the force compared to Finn, this battle should have been over instantly. All he would need to do is ignite the lightsaber Finn is holding and use the force to stab himself. Instead he lets him live with superficial flesh wounds with no lasting repercussions. Unless making Finn look like a hero in the eyes of the resistance, further cementing his position deeper and deeper making him a “Trusted” ally was the intention. The Remaining conjecture takes place during the events of TLJ. First, let us compare the Empire of the Original Trilogy to that of the First Order. We see Vader execute commanders and officers who fail both in the movies and written material (both cannon and no-cannon) this example is very similar to the way Sun Tzu enforced discipline and order in his army in the book “The Art of War.” The commanders of the Empire knew the consequences for failure. From what we have seen in both TFA and TLJ there is not the same discipline and structure. Kylo or Snoke do not go around executing officers when a mission fails or a prisoner escapes, or a stormtrooper defects to the resistance. This is more like a “modern” era approach to the military where they have other forms of punishment for failure. It is not simply Death. The Empire of old was very disciplined and structured we could see this with the way the commanders and officers spoke with each other, their body language. Again, to compare it with the First order we see a lack of discipline in both their body language and their general composure. Let’s call it “relaxed.” After the loss of the Dreadnaught Snoke publicly humiliates Hux but this is the extent of his particular punishment. Hux in turn tells them (12:36) that the resistance cannot escape, they have them at the end of a string. The scene then cuts to Finn just now waking up. I believe this is foreshadowing to the secret agent aboard the ship. Perhaps an implant used to wake him up violently. Jumping further ahead to (16:30) we see Kylo walking off an elevator to a conversation between Snoke and Hux already in progress. Snoke, laughing followed by “tied on a string indeed.” I like to think this is where Hux fills Snoke in about the plan to insert a deep cover agent into the resistance. You might say, “Well this is where Hux tells Snoke about the Hyperspace tracking or whatever.” Possibly, but as a “supreme leader” one would assume that he knows of all R&D projects or if this new tech he would be the one to know of its existence. So why would someone of a lower rank tell a higher official about current/new tech. Snoke would probably have signed off on the paperwork to start the work or knew of its existence. However, the existence of a deep cover agent on the other hand, this type of information would probably need to stay limited to only a few people to maintain its secrecy. At (26:55) lead to believe that what we see is Finn seemingly looking at charts trying to fill in the gaps between the events of Starkiller base and this point in time. I offer up the following: Hes trying to gather as much intelligence as possible since they are now on the run. Therefore, any useful information he can glean would give him an invaluable advantage in this situation. He innocently asks, “Where’s Rey?” and Leia shows Finn, their new most valuable asset, potentially one of their greatest secrets. A cloaked beacon. At which point he walks up to the command station console and “rests” his hands there. I would like to believe that any sort “spy” would be good at “misdirection” and “sleight of hand” and can use this to get a signal back to the First Order, who conveniently show up almost instantly. One could also explain it as a lucky break at this point by the First order making a calculation based off their last known trajectory. (Since previous version of hyperspace tracking requires a device attached to the ship or possibly after 30+ years of development turned into nanotech via implant) We have seen two examples of tracking based off trajectory. First would be assumed during the events between Rogue One and the opening scene of ANH, the other would be where Boba Fett follows the Falcon to Cloud City. There wasn’t any special tech involved in these cases. Leia assumes at this point that they must have come up with a way to track through hyperspace and Finn can use this as part of his story later. Finn also conveniently picks up the tracking beacon that the resistance is placing their entire faith in by giving Rey a way home should her mission succeed and she returns with Luke. This part is important for later. We hear a speech by one of the resistance officers at (35:30) I would assume that this speech is broadcasted to the remaining resistance ships and it tells them that almost all of their leadership is gone and how they are down to around Four Hundred souls left between the remaining ships. Shortly after this Admiral Holdo does something that Leia failed to do especially with Finn. She does not give Poe –who’s been demoted- access to information that he shouldn’t have. We have not seen this done at all what so ever with Finn this entire time. We just accept that he is the “good guy now” because he is the only one ever to defect from the Empire or FO, its bad logic. Around (38:20) we see Finn packing his bags, we could assume that he knows the command structure has shifted and he is essentially a “civilian” in this resistance faction with no rank. He decides to run (with the tracking beacon for Rey…) He later plays this off as him just trying to protect his friend. However, let us think this scenario through. Scenario A: Rey is successful in her mission to return with Luke to the resistance forces and fight against the FO. However when they meet up with whoever has the Beacon (spoiler: its Finn.) Following his intentions to run and protect Rey, they would no longer know where the fleet is, or IF there is even a fleet left! So what does Finn gain by “saving” her? A pissed woman with a lightsaber and disgruntled Luke, also presumably with a Lightsaber. They would eventually end up splitting ways. Scenario B: Finn is trying to escape back to a FO ship with the beacon, leading Rey and Luke into the hands of the First Order once they have wiped out the remaining resistance ships. (Remember they are down to three according to the speech) Once they execute Skywalker, Finn can then try to rebuild things with Rey, or use the same-ish tactics he used on Poe, and attempt an escape with her to get away from all this fighting and chaos of the FO and start a new life together. Either way Rose (an engineer) busts his plans. The resistance labels him as “A Hero” simply because he left “The First Order and what he had done at Starkiller base.” This is where he needs to use his knowledge from earlier and improvise, letting Rose know of the hyperspace tracking system. (40:37) HYPERSPACE TRACKING PRINCIPAL Rose says, “Hyperspace tracking is new tech but the principal must be the same as any active tracker.” So what is an active tracker, there is very little information so I surmise it’s simply a device that allows the scanners of a ship to track the movement, ship type, life signs etc. of another ship (within range) then relay that information and telemetry back to the officers. This then becomes useless once a ship is out of that specified range. The examples we have seen of Hyperspace trackers are: 1) A R&D tech project in Rogue One. 2) Seen in SW Rebels: as a prototype device that attaches to a ship that allows tracking through hyperspace. Now Finn whose background is that of a “stormtrooper of no special history” can work through this logic with an actual engineer is beyond me to where they can finish the sentence together, let alone he knows EXACTLY where it is. How you ask? He used to mop that exact floor or area of a star destroyer. How convenient.
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