Awakening

AU Where Noctis Survives at the End of the Game

Thank you so so so much for helping me reach the 2,000 follower milestone. I’m going to try not to get sentimental here, because I can tell you… I will 100% confirmed will start crying. I see each and everyone of you as a friend and family member and love the heck out of each of you individually. I can’t wait to keep delivering more content to you guys in the future. I’ve only been on tumblr for a number of months, but I seriously feel like you guys have already changed my life. And I really wanna thank you for that.

So please take this tear inducing, sad, fic as a thank you. LOL. 

I changed the outcome like 2348 times. LOL WHOOPS. I worked real hard on this one so I hope it’s to y’all’s liking. <333

Word Count: 2,266

Though your sacrifice was noble, True King… We cannot accept it, for a deal has been made on your behalf. Now, you must awaken, Noctis Lucis Caelum. Lead thy people through the eternal darkness. Become apart of the world you still have yet to know… forever and always.

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Dunkirk Spoiler-free Review

Christopher Nolan’s Dunkirk is a really intense action film with cinematic story telling (very little dialog.) It echoes films like Battle of Britain, that tell a sprawling story with an ensemble cast, but updates that sub-genre of war film to include post-modern techniques such as non-chronological story telling. Nolan takes a complex story and reveals the human element. Instead of relying on heavy sound track full of emotional cues, and slow motion photography to make us invested in the outcomes of the characters, Nolan simply spends the vast majority of the screen time with them. What a novel idea: we care about people we spend time with. Unlike most of the big ensemble war films, Dunkirk has no war room set to take us away from the action. The closest we come is Kenneth Branagh standing on a pier explaining things to James D’arcy who does a valiant job pretending to know nothing about the navy. Most of the the film focuses not on the overall sweep of the battle but ordinary folks making a lot of bad decisions.  In that respect, it reminds me of 60s anti war films such as The Long and the Short and the.., but without the stagey, dialog heavy feel of that work. It’s a war movie like few others falling somewhere between Das Boot and Saving Private Ryan on the War is Hell Scale, and yet Dunkirk is both devastating and uplifting.  No mean feat.

It’s no secret that I went to see this film, primarily for Mark Rylance. His part is quite small but critical in the overall scope of the film. Mostly he just looks like a quiet, decent chap in a sweater. There’s really only one scene that is something that ONLY Mark could have done. He has no dialog in it, but he merely looks at his son and nods. I won’t give it away, because it’s a spoiler, but that one look, that nod gives the whole relationship. It kind of gutted me and I’m not over it.

My favorite bit of the film was the spitfire pilot story line. Tom Hardy using only about four lines of dialog and his eyeballs, manages to completely own this movie. He has a lot of help from Nolan of course. This is absolutely the best dogfight footage that’s ever been done. And I’ve watched a lot of dog fight footage being somewhat obsessed with the doomed pilot genre.

All of the young actors were really excellent. Being used to classic war films, it’s almost a surprise when someone is young enough to look like they could be a private in the army. Another thing I really appreciate about Dunkirk is it’s relatively brief run time. It clocks in at exactly two hours. When I think of the sprawling war films of the late sixties, the maxim seemed to be the longer the better and even comic book films nowadays seem to loll about for at least two and half hours. There are no “set piece” action sequences that have an arc to them but rather the action seems to flow randomly, with fits and starts that can sometimes really jangle the nerves. The effect, I suppose is to create something that actually simulates the pace of combat: hurry up and wait cycled with abject terror. It is in this tense environment, that these very young men  muddle through as best they can. 

The story is broken into three strands, with the action retold each time from a different point of view. This Roshomon technique wraps up tidily in the climax of the film, as the three strands are woven together in a way that ratchets up the tension continuously. It’s a beautifully filmed, edited, and acted piece of work. If I have any criticism it’s in the writing. While Nolan’s clockwork is beautiful and elegant to watch, there were times when I felt the movie could have used more dialog and that the characterization was a bit thin. I’d like also to add that though the film is rated PG-13 and has little gore or swearing, it can be a loud, exhausting and not entirely pleasant way to spend the afternoon or evening. I know it’s an IMPORTANT movie, but if you just want to watch one particular actor, (like I dunno, say Mark Rylance) you have to weight the amount of time he’s onscreen versus what you’ll have to endure and decide whether it’s one that you can wait on. Having said that, if you are into cinema at all as a spectacle and love cinematography then this movie is a must-see in the theater.  It really is the next level of action movie.