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The Donkey Kong and Dindy by TheDrifterWithin

A long time ago here in DA, I talked about how OTPs can be a source of inspiration if the people who engage in such pairings bring up the ideas they had for their OTPs into their own creations. I compared it to something of a fountain: from the characters you love, ideas can come for creations of your own, and that is the genesis of many new characters. However, there is a difference between being inspired by something to outright ripping off those you like, and this is the case with the new mascots to the 2016 Rio de Janeiro Olympic Games, Vinicius and Tom: they are absurdly copied from “Adventure Time”, even to the point of having their cartoons shown in Brazilian Cartoon Network. What happened here is quite simple: their creators didn’t have any real nuance in fleshing out those characters, as they seem to have been made by this committee that was much more interested in the money they could generate in merchandising. Historically speaking, most Olympic mascots are truly forgettable, and if Vinicius and Tom are also going to be so, they might as well generate as much money as possible before being sent to the abattoir. They were created with the intuition of pandering to that Finn & Jake vibe, in such way it’s even annoying: these are supposed to be characters representing our culture, and not to pander to American cartoons. I mean, what's next? Making character representing Tokyo 2020 based on "Regular Show"?

Although it would be awesome to see an anime version of Benson.

You see, we are living in a time in which we are so full of material that it’s much easier to rip something off than to create something truly new. The concept of originality – or at very least of referencing something known with a sense of personality – is becoming more and more beaten up, and I have seen people in the internet bragging off that “originality is overrated”, and that producer-driven blockbusters killing author cinema is good. But of course! Just do what everybody has been doing if it gives you a paycheck! Why taking chances? We don’t have to look any further than “Avatar”, which will get a sequel next year: when it was released, many people accused it of being a glowing rip-off of many other films, the most obvious of which being “Dances with Wolves”. “Avatar” defenders will be ready to say the film used old concepts like the one used in “Dances”, but with a sense of personality. What personality? Like “Titanic”, it was a film that dived deep into formula, and compensated it with CGI extravaganza and amazing visuals. In matter fact, the point of both films was explicitly not to take any chances, by investing in simple stories that had the propose of pleasing audiences with their imagery. The fact both these films are the highest grossing of all time just proves formula pays off quite well. And they're not there to make quality; they're there to make money.

In cinema, we are living a time of reboots and remakes. With so many of them, it makes sense that some will be good (“The Dark Knight”, “Mad Max: Fury Road”), but many of them turn out to be forgettable or dull, as the success of few becomes the inspiration of many. I defend that rebooting or remaking is only okay when it feels like it makes sense: when the original material has genuine potential. But we are seeing filmmakers almost indiscriminately grabbing anything to bring back to movie theatres. The idea – and I have mentioned this before here in DA – is that Hollywood doesn’t want to venture into original territory because new ideas may not quite catch with audiences, as perennial characters or franchises would: when you have something that has already stabilized into the market, then that means it will be a safer bet than a new project from scratch. Some of these new ventures manage to kick start with a bang, and they eventually become franchises ("Transformers", "Pirates of the Caribbean", "The Fast and The Furious"), while others are not so lucky, and they perish in their first attempt, even if they were very good. So picking up what existed already - by remaking it, rebooting it, or continuing it - becomes the solution, but producers still want to modernize such icons to this generation, to make them "look fresh". And by doing it so, they may misunderstand what made them so great in the first place. Just look at "A Good Day to Die Hard" (in which John McClain is reduced to a troll dad) and "Indiana Jones and the Kingdom of the Crystal Skull" (in which, for some reason, had a virtually unnecessary Shia LeBeouf). The most garish example of this is "The Karate Kid", in which there was a little bit of everything, except karate; that is so 80's. The real deals now are kung fu, pandering to the Chinese market and Justin Bieber, while the title is merely just lip service.

This remake/reboot phenomenon that we are witnessing is not just Hollywood cannibalizing itself: it is also Hollywood trying to reinvest into what has proved to be profitable, for in the end of the day, a film is a product meant to generate a return, an investment. "22 Jump Street" joked about this idea of sticking into what is selling: the point is not to create something great, but to create something audiences want to see, and how these two are not necessarily the same thing. When Hollywood finds a fountain, it doesn't let go of it: this is why a J.K. Rowling booklet spin-off from "Harry Potter" meant for charity is going to become at least a trilogy in the hands of Warner Bros (in the case you were thinking it couldn't possibly get more absurd than "The Hobbit"), why Pixar is making sequels more than ever, and
why Disney is basically remaking everything it's ever done.

From the director of "Iron Man", a film that panders to "Iron Man".

And if adapting previous works of fiction is not enough, we are now seeing - maybe more than ever in the history of cinema - a batch of fact-based films that really stretch the meaning of the word "fact". Today, such films are being considered serious Oscar bait material, and
they clog the Oscar season like fats clogging arteries of the film industry. In the last season, we had half of the Best Picture nominees based on facts, and I'm not even counting the nominees from other categories. Hell, in less than five years, we had TWO BIOPICS ABOUT STEVE JOBS! Things got to the point audiences started to reflect when this stretching becomes abusive or even lying: it gets to the point we start doubting if what we see in such movies really happened. "American Hustle" even joked with that, by starting with a message that "some of this actually happened". But of course you could also say this is - after all - filmmakers approaching a known story in a different way. Got you there, Drifter! This is the personality and originality you prime for so much! Except that... it really isn't. There's a difference between what was done in films like "Amadeus", "Ed Wood" and (I dare to say) "Pain & Gain" to what we see in many of these adaptations. Some of them do these changes with genuine and balanced personality: you have filmmakers that know what they're doing, and they are more interested in the picturesque aspects of such real stories than anything else. But others make such changes to make an otherwise common story look heroic and even epic, and therefore more profitable (or should I say, more Oscar-like). And they do it by amping up the drama, the stakes, and of course, the celebrities, turning everything into a untold personal epic that audiences must know (and to expend their money in it).

"When The Leeve Breaks" is the "I Feel Good" of political thrillers now.

Of course fact-based films always existed, for real life can be an incredible source of material. But back in the day, filmmakers would adapt a real story when it was really film-like in the first place: from the epic vistas of "Lawrence of Arabia" to the personal drama of "I Want to Live!". From the triumphant life of Mahatma Gandhi to the inspiring tale of Christy Brown. Today, there's a desperation to find real stories to adapt, even if they aren't that film-like. So what do they do? Why, they make it film-like, even if that means bending reality. And a clear example of this is the next project by
Alejandro González Iñárritu, "The Revenant": the film sets itself to be a tale of revenge, even when the real story was anything but. But the greatest award in fact-rape goes to "Saving Mr. Banks", that besides all its flaws, it's still my favourite movie starring Tom Hanks that had the word "saving" on its title. The film tells the battle of interests between Walt Disney and "Mary Poppins" author P.L. Travers during the production of the film, but many of the film's facts were fabricated. How many of them? Let's just say Walt wasn't even present most of the times for taking a vacation. And that the rights were already bought regardless of what Travers wanted. And that she was never seduced by the music at all. And that she hated the film even after all its success. And that she... anyway, you get the point.

Another thing that they're doing now in Hollywood is to "retell" classic stories, in the example of films like "Snow White and the Huntsman", "Jack the Giant Slayer", "Maleficent", "Pan" and "Victor Frankenstein". And while they're noble in their intentions of breaking the norms of such overly familiar tales in an attempt for something new, I find a little insulting the way they promoted themselves: when they say "the story you heard is not quite right", what I hear is something like "Charles Perrault and J.M. Barrie were f*cking wrong. This is how sh*t really went down".

Hell, right from the start, the actors are bullsh*tting me. You know where's this movie is going...
This phenomenon of adaptations is also happening in television: we are now seeing a rush of serials based on films. With “Fargo”, “12 Monkeys”, “Minority Report”, "Westworld" and many others in the way, the idea is once again to tap into those fond memories we have of things we like. It makes sense: Hollywood adapted so many serials, so why not the inverse? Back in my day, this was common in animation, as “The Mask”, “Ace Ventura: Pet Detective” and “MIB: Men in Black” had cartoon versions. Some had the decency of having some degree of personality, to the point I seriously believe the “Beetlejuice” cartoon was better than the “Beetlejuice” film. But others had that idea that children don't pay so much attention to quality... an idea that is sadly expanding to adult entertainment, and this is the reason I’m consumed with this new batch of film-based serials. By seeing people outspokenly declaring originality to be overrated in the internet, they can ruin for the rest of us that do care for it. Of course I hope the best for these serials, and I can say they even have potential. But this idea of "let's adapt a film" can spiral out of control.

And spiralling out of control is precisely what happened with superhero movies
, which became Hollywood's current golden eggs goose. Not so long ago, such films would be considerably more rare due to how complicated they would be to make: superheroes mean superpowers, and the task of making a person realistically fly was ground-breaking in "Superman". So it would take a lot of effort to make one of such films: they would be more rare, and therefore more unique. With the advance of visual effects, superhero films started to be more frequent: the optimistic "Spider-Man" was the counterpoint to the gritty "X-Men", "The Incredibles" was truly incredible, and "Batman Begins" showed the true potential such films could archive. Directors wanted to transmit their ideas and messages through the characters on screen, to make comments about the responsibilities that come from power, and how society would behave towards such figures. Today, superhero movies became super bloated, to the point Hollywood produces one at nearly every year. In this pace, such films end up being devoid of originality: it's all about the flashlights, about those scenes and characters everyone wants to see. In less than ten years from "Spider-Man 3", we had two reboots of the saga already! Bill Maher took part in "Iron Man 3", but he decried superhero movies as being "childish stuff" that defines America, and that their success is a suggestion of stupidity. It would be easy to call him a hypocrite (and he totally is), but the truth is that superhero movies went into a process of over manufacturing, to the point originality started to become dimmer and dimmer. Marvel movies became the proof of that: wherever back in the day "Iron Man" felt like a jolt of fresh air, today, adaptations like "Guardians of the Galaxy" and "Ant Man" feel like yet more of attempts to milk audiences than anything else.

Comic book writer Mark Millar - someone that I have a love/hate relation with - has criticized the "cinematic universes" concept that is now raging on:

I've got fun little things that do sort of loosely tie together. But I think we’re almost getting to that point with Marvel now where you’re starting to think, "oh this is just part of a puzzle", as opposed to a film in it’s own right. And there’s something a little bit unsatisfying when you get up close and see the sequence, but then lengthen it for other things. It’s a bit like in the 90’s when you used to by one comic and then realize you have to buy four to understand what was happening. I don’t want to be as overt as that.

I won't resume the notion of “originality” merely to “something new”: once again, I believe originality also means to reach for common ideas or known characters with a different approach that would feel fresh. And this may be what the makers of "The Muppets" reboot thought when they decided to make an adult version of the show: that they were being original by doing it so. By seeing its proposal, I couldn’t help but to be a little apprehensive. I mean… why did it have to be The Muppets? Couldn’t they have adapted “Avenue Q”? Oh, but the Muppets are well known, so it makes sense that they would want to make a serial from them: they have - say it with me - the name! The Brand! And it makes sense they would want it to be for adults, adopting jokes that could finally reach for older groups, for that would be “the original approach”... even if aggressively unoriginal, in the on the moulds of "The Office", “Modern Family” and “Parks and Recreation”). And you know what? I makes perfect sense seeing the luckwarm praise of the show, and the panning by critics like Jonathan Bernstein, who called it "a travesty". The ghost of "Greg the Bunny" hovers over this new project. And it makes you think that old question:

Was it really necessary?

is a question I never used to do when I was younger: wherever I heard something I loved would get a sequel, I would be eluted, as the idea was to see more of the characters I love. But as I became older, and I begun to see how Hollywood works (just see the myriads of crappy sequels), I start asking myself if I really want my favourite characters being revisited. You become more sceptical, more prone to ask this question: was it really necessary? I have this thought exactly whenever I hear “Blade Runner” and "Mary Poppins" are getting sequels, and when I hear that more remakes, sequels and reboots are in the oven. But this is a question with an obvious answer: of course it is! For Hollywood, that is: they want to create the demand by declaring such works are only being revisited because they needed to, because they were to good to stay put. My answer to this question is: it depends. Again, if you have a team that knows what its doing, then the result is more than welcome. In fact, some sagas could use of a reboot, for I don't see the problem with that. What I see a problem with is abuse: rebooting all the time, adapting all the time, remaking all the time. And as a result of this, many of these "revitalisations" - some of them even gritty and moody - turn out to be so forgettable, or even embarrassing.

First things first, let's take a sincere look into our society: we are consumers, and we always like products we know that will deliver the goods. Many people don't like to take chances: they stick to what they know and love. Therefore, in a scenario where money rings fist and foremost, the idea of originality becomes overburden by the idea of demand. We don't really care for it because it can be something we don't like. Christopher Nolan deals with originality, and for that reason, he became one of the most polarizing filmmakers out there: either you love him, finding him a genius at work and joining his disturbing cult-like fan base... or you hate his guts, calling him a poser, a
liar or even a charlatan. The thing that bothers me about all of this is that he is received like that because he deals with originality in a time audiences got used to this lack. Either you are starving for originality and receive Nolan with open arms, or you are too deep into the formula and you hate him for trying to mess with it. My most sincere opinion on Nolan is that the truth is in between: he can be very original, but logic or make-believe can be put aside in his films. He can succeed, and he can also fail.

So, we are a capitalist society, and as such even arts get bend into this notion. Whoever made 
Vinicius and Tom obviously is targeting at making overpriced toys in temporary stores in Copacabana, and instead of trying something different, they go to what they know it's going to be a success. Originality is stupid talk, for we live in a world that is becoming devoid of it. You have to look no further than pop musicians of our days, which are basically a copy from the previous one. In the 90's, we had boy bands like the Backstreet Boys, N*Sync, Five and Westlife - bands put together by businessmen looking for profits. Acts like the Jonas Brothers, Justin Bieber and One Direction are basically a revival of those times, as they are much more products than artists in their own right. And I'm not hating on them: I don't hate Bieber at all, but it's more than obvious he is marketed much more as a teen idol than as a musician. And you know what happens to teen idols: sooner or latter they are disposed, as soon as a new name arrives. Music is basically secondary to their images, and this is why they flunk: they don't have much beyond their images. Rappers also became overburden with the mentality of consumerist entertainment: they have become businessmen, with an eye for music and another one for corporatism.

Wherever you have a new character, you can have new ideas for it. You can use some traditional troupes, but you can approach them in different ways, making for characters that will captivate new audiences by being unique, yet familiar. Originality doesn't mean to outright disregard conventional ideas: it may also mean to reach them by new means. And the greatest tragedy of pop culture is of not taking that into regard. Art and capitalism can go hand-to-hand finely: I don't see a problem with that, and I'm pretty sure people here in DA that makes art for a living know that.

I see a problem when capitalism overwhelms art.


I'm a graduate in Cinema and I enjoy writing screenplays, editing and taking pictures of unique moments. I also do some mediocre drawings. I like studding economical and political subjects, drifting across my city, and keeping up with my football team Flamengo.

Favourite visual artists
-Andy Warhol
-Arnaldo Angeli Filho
-Bob Ross
-Bill Watterson
-Charles Schulz
-Chuck Jones
-Drew Struzan
-Eddie Campbell
-Frank Miller
-H.R. Giger
-Jamie Hewlett
-John R. Dilworth
-Kagaya Yutaka
-Laerte Coutinho
-Lauren Child
-M.C. Escher
-Maitena Burundarena
-Marjane Satrapi
-Norman Rockwell
-Patrick Nagel
-Philippe Chappuis
-Robert Crumb
-Robert McCall
-Roy Lichtenstein
-S. Neil Fujita
-Salvador Dalí
-Scott Adams
-Shepard Fairey
-Stephen Wiltshire
-Steve Purcell
-Terry Gilliam
-Tim Kreider
-Tyler Stout
-Vladimir Kush
-Will Eisner

Favourite films
-2001: A Space Odyssey - Stanley Kubrick, 1968
-The Adventures of Priscilla, Queen of the Desert - Stephan Elliott, 1994
-Aguirre, the Wrath of God - Werner Herzog, 1972
-Airplane! - David Zucker, 1980
-Akira - Katsuhiro Otomo, 1988
-All About My Mother - Pedro Almodovar, 1998
-All The President's Men - Alan J. Pakula, 1976
-American Graffiti - George Lucas, 1973
-An American Werewolf in London - John Landis, 1981
-Apocalypse Now - Francis Ford Coppola, 1979
-Army of Shadows - Jean-Pierre Melville, 1969
-Around The World in 80 Days - Michael Anderson, 1956
-Babe - Chris Noonan, 1995
-The Battle of Algiers - Gillo Pontecorvo, 1966
-Beauty and the Beast - Gary Trousdale and Kirk Wise, 1991
-Beverly Hills Cop - Martin Brest, 1984
-Big - Penny Marshall, 1988
-The Big Lebowski - Joel Coen, 1998
-Blade Runner - Ridley Scott, 1982
-Blue Velvet - David Lynch, 1986
-Bonnie and Clyde - Arthur Penn, 1967
-Brazil - Terry Gilliam, 1985
-Chariots of Fire - Hugh Hudson, 1981
-Chinatown - Roman Polanski, 1974
-Cool Hand Luke - Stuart Rosenberg, 1967
-Das Boot - Wolfgang Petersen, 1981
-Delicatessen - Jean-Pierre Jaunet and Marc Caro, 1991
-Dog Day Afternoon - Sidney Lumet, 1975
-The Endless Summer - Bruce Brown, 1966
-The Exorcist - William Friedkin, 1973
-Fight Club - David Fincher, 1999
-Gandhi - Richard Attenborough, 1982
-The Good, the Bad and the Ugly - Sergio Leone, 1966
-Heat - Michael Mann, 1995
-Koyaanisqatsi - Godfrey Reggio, 1982
-The Last Emperor - Bernardo Bertolucci, 1987
-Lawrence of Arabia - David Lean, 1962
-Léon: The Professional - Luc Besson, 1994
-The Lord of The Rings: The Society of The Ring - Peter Jackson, 2001
-Mad Max 2 - George Miller, 1981
-Manhattan - Woody Allen, 1979
-The Matrix - Andy and Larry Wachowski, 1999
-Midnight Cowboy - John Schlesinger, 1969
-One Flew Over The Cuckoo's Nest - Miloš Forman, 1975
-Persepolis - Marjane Satrapi and Vincent Paronnaud, 2007
-The Piano - Jane Campion, 1993
-Planes, Trains and Automobiles - John Hughes, 1987
-The Princess Bride - Rob Reiner, 1987
-Raiders of the Lost Ark - Steven Spielberg, 1981
-Rebel Without a Cause - Nicholas Ray, 1955
-Reservoir Dogs - Quentin Tarantino, 1992
-The Right Stuff - Philip Kaufman, 1983
-RoboCop - Paul Verhoeven, 1987
-The Shawshank Redemption - Frank Darabont, 1994
-Spirited Away - Hayao Miyazaki, 2001
-The Sting - George Roy Hill, 1973
-Taxi Driver - Martin Scorsese, 1975
-Three Colours: Blue - Krzysztof Kieślowski, 1993
-Tootsie - Sydney Pollack, 1982
-Toy Story - John Lasseter, 1995
-Trainspotting - Danny Boyle, 1996
-The Umbrellas of Cherbourg - Jacques Demy, 1964
-West Side Story - Robert Wise and Jerome Robbins, 1961
-Who Framed Roger Rabbit - Robert Zemeckis, 1988
-The Wild Bunch - Sam Peckinpah, 1969
-Wings of Desire - Wim Wenders, 1987
-Y Tu Mamá También - Alfonso Cúaron, 2001

Favourite albums
-2Pacalypse Now - 2Pac, 1991
-The Amazing New Electronic Pop Sound of Jean Jacques Perrey - Jean Jacques Perrey, 1968
-Amélie - Yann Tiersen, 2001
-Angel Dust - Faith No More, 1992
-Autobahn - Kraftwerk, 1974
-Avalon - Roxy Music, 1982
-Bad Reputation - Thin Lizzy, 1977
-The Beyondness of Things - John Barry, 1999
-Black Widow - Lalo Schifrin, 1976
-Blade Runner Trilogy: 25th Anniversary - Vangelis, 2007
-Breakfast in America - Supertramp, 1979
-Business as Usual - Men at Work, 1982
-By The Light of the Moon - Los Lobos, 1987
-A Charlie Brown Christmas - Vince Guaraldi Trio, 1965
-Combat Rock - The Clash, 1982
-The Dark Side of the Moon - Pink Floyd, 1973
-Debut - Björk, 1993
-Dirty Deeds Done Dirt Cheap - AC/DC, 1976
-Dirty Mind - Prince, 1980
-Discipline - King Crimson, 1981
-Discovery - Daft Punk, 2001
-The Doors - The Doors, 1967
-Englishman - Barrington Levy, 1979
-Faith - The Cure, 1981
-From Chaos - 311, 2001
-From Here to Eternity - Giorgio Moroder, 1977
-Give Me The Night - George Benson, 1980
-The Grand Wazoo - Frank Zappa, 1972
-Heyday - The Church, 1985
-The Hurting - Tears For Fears, 1981
-I'm Your Man - Leonard Cohen, 1988
-Incesticide - Nirvana, 1992
-The Incredibles - Michael Giacchino, 2004
-Kaya - Bob Marley & The Wailers, 1978
-Kill 'Em All - Metallica, 1983
-A Kind of Magic - Queen, 1986
-Led Zeppelin IV - Led Zeppelin, 1971
-Let My Children Hear Music - Charles Mingus, 1972
-Look Sharp! - Joe Jackson, 1979
-Marquee Moon - Television, 1977
-Midnight Love - Marvin Gaye, 1982
-Moby - Moby, 1992
-Moon Safari - Air, 1998
-The Music From Peter Gunn - Henry Mancini, 1959
-Never Mind the Bollocks, Here's the Sex Pistols - The Sex Pistols, 1977
-Nouvelle Vague - Nouvelle Vague, 2004
-Off The Wall - Michael Jackson, 1979
-Offramp - Pat Metheny Group, 1982
-Oxygène - Jean Michel Jarre, 1976
-Paranoid - Black Sabbath, 1970
-Play Deep - The Outfield, 1985
-Please Please Me - The Beatles, 1963
-Porgy and Bess - Miles Davis, 1958
-Pretty Hate Machine - Nine Inch Nails, 1989
-Pyromania - Def Leppard, 1983
-Rage Against The Machine - Rage Against The Machine, 1991
-Ramones - Ramones, 1976
-Rant in E Minor - Bill Hicks, 1997
-Rocks - Aerosmith, 1976
-Selected Ambient Works 85-92 - Aphex Twin, 1992
-Shout At The Devil - Mötley Crüe, 1983
-Somewhere in Time - Iron Maiden, 1986
-Stink - The Replacements, 1982
-Street Songs - Rick James, 1981
-Suicide: Alan Vega and Martin Rev - Suicide, 1980
-Super Trouper - ABBA, 1980
-Tango in The Night - Fleetwood Mac, 1987
-Taxi Driver - Bernard Hermann, 1976
-Ten - Pearl Jam, 1991
-Tibet - Mark Isham, 1989
-Unknown Pleasures - Joy Division, 1979
-Violator - Depeche Mode, 1990
-The Voice - Bobby McFerrin, 1984
-WALL-E - Thomas Newman, 2008
-Who's Next - The Who, 1971
-You're Never Alone With a Schizophrenic - Ian Hunter, 1979
-Zenyatta Mondatta - The Police, 1980

Favourite television shows
-30 Rock
-Angels in America
-Another Period
-Boston Public
-Charlie Rose
-Cosmos: A Personal Voyage
-Courage The Cowardly Dog
-The Decalogue
-Flight of The Conchords
-Full House
-Generation Kill
-Gravity Falls
-Hey Arnold!
-Key & Peele
-The Kids in the Hall
-Last Week Tonight with John Oliver
-Married... with Children
-Monty Python's Flying Circus
-The Nanny
-Planet Earth
-Punky Brewster
-Regular Show
-Seven Ages of Rock
-South Park
-Spitting Image
-Step by Step
-Top Gear
-True Detective
-Will & Grace
-The Wire

Favourite books
-100 Years of Menswear - Cally Blackman
-1984 - George Orwell
-Animal Farm - George Orwell
-The Exorcist - William Peter Blatty
-Fidel: Hollywood's Favorite Tyrant - Humberto Fontova
-Fight Club - Chuck Palahniuk
-Flow My Tears, Said the Policeman - Phillip K. Dick
-From Hell - Alan Moore and Eddie Campbell
-Heretic: Why Islam Needs a Reformation Now - Ayaan Hirsi Ali
-The Hound of the Baskervilles - Arthur Conan Doyle
-In Cold Blood - Truman Capote
-The Jungle - Upton Sinclair
-The Jungle Book - Rudyard Kipling
-Jurassic Park - Michael Crichton
-Letter to a Christian Nation - Sam Harris
-The Little Prince - Antoine de Saint-Exupéry
-The Lord of The Rings - J.R.R. Tolkien
-Persepolis - Marjane Satrapi
-Peter Pan - J.M. Barrie
-Sex, Drugs & Magick - Robert Anton Wilson
-Watchmen - Alan Moore and Dave Gibbons

Favourite video games
-Batman: Arkham City
-BioShock Infinite
-Borderlands 2
-Dead Space
-Euro Truck Simulator 2
-Flight Simulator X
-Forza Horizon 2
-Grand Theft Auto: San Andreas
-Hotline Miami
-L.A. Noire
-The Legend of Zelda: Ocarina of Time
-Max Payne
-Mirror's Edge
-Need For Speed Underground 2
-SimCity 4
-Super Mario 64
-Team Fortress 2

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Add a Comment:
JonezToons Featured By Owner Nov 12, 2015  Professional Digital Artist
Thx for the fav. Hope you like my other ones too?
TheDrifterWithin Featured By Owner Nov 13, 2015
You're welcome. You don't have to thank me. And I like your gallery. :)
amanda4quah Featured By Owner Jun 5, 2015  Student General Artist
Thank you for joining the Top Gear Fan Club :) We look forward to seeing your works!
TheDrifterWithin Featured By Owner Jun 5, 2015
Don't mention it: you're welcome.
FitzOblong Featured By Owner Dec 26, 2014
Thanks for the :+fav: . :icondweebdanceplz:
TheDrifterWithin Featured By Owner Dec 26, 2014
You're welcome, Fitz.
AllentownDarkWater Featured By Owner Sep 20, 2014
There is a God in Heaven after all! Sorry, I wanted to leave a comment on your journal entry, but the comments were disabled. I HATE the Nostalgia Critic too. He's so annoying and more than half of what he bashes doesn't deserve it! And another thing I hate is when people who do like him read my posts about how I don't like him and attack me and say shit like I have no right to say negative things about him. I hate Spoony and Linkara too. You sir are okay in my book! :)
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