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Lust for Misery by TheDrifterWithin

Sometime ago, I noticed the similarities between "Sex and The City" with "My Little Pony: Friendship is Magic". Of course that one could accuse me of seeing patterns where there aren't any, but as I deconstructed both serials, I saw they had a lot in common: they were both about a group of best girl friends, and their stories that could be mutual or individual, while accompanied with a first-person narration. As it happens, cartoons - like any form of art - can employ some of those same plots, troupes or structures that many other arts would use. And that wasn't the first time I saw that happening, for there was another case in which two serials - again, a cartoon and a live-action - focused on a theme that hit a same string. But in that particular case, it resonated with me very deeply

As I said here in DA before, I enjoy cartoons like any other sort of art, for some of them can carry messages much more powerful than many live-action serials would dare to make. DeviantArt may be a fine place to be outspoken about this, as cartoons have a serious following here. But venture too much into the internet and you will find people whose entire view of animation is that "it is for children". You know what I'm talking about: those internet teenagers and young adults who believe to be so "mature" for not liking cartoons and being outspoken about it. Of course this is not necessarily an issue for adult animations, but cartoons that propose to have a bigger audience range - as in, accessible to children and also to more adult audiences - will be relegated as "forbidden zone" by such matured people.
Some of them could even see a cartoon, but with overly biased eyes that would automatically convert its qualities as its weaknesses: if it's funny, it's "goofy"; if it's simple, it's "pedestrian"; if it has something in common with other serials, it's "stealing". By doing so, they are the ones actually being childlike: I remember quite well when Quentin Tarantino declared "Toy Story 3" to be the best movie of the year, and despite all the love that film got, there were people who looked puzzled, not understanding why he did that. And they simply declared "it's an animated film", like if an animation was not supposed to be referenced as the film of the year. Such films can get all the praise in the world, but coming down to it, the movie of the year has to be some live-action: "The Social Network" was the real deal, the movie critics loved and audiences... pretended to have loved. That was the movie serious people were supposed to say it was the best of the year, and take it from me, I wasn't the world's biggest fan of both films. Brad Bird talked about when the Academy Awards created the category of Best Animated Feature, and how it was similar to a "Best Black Actor" category. A controversial but accurate declaration: as an animated film has, y'know, zero chances of winning Best Picture or Best Screenplay (even if they nominate such films just for sh*ts and giggles), they might as well create a category just for them to actually win something other than Best Original Song. Maybe this whole condescending (and stupid) idea that "what is for everyone is not really for everyone" is what makes animation so discriminated: the idea that if something wants to reach everyone, it's actually ceasing of boarding things that would be great, but for the sake of remaining "for all", it doesn't board them, and in that sense, it excludes people who want to see those things.

But make no mistakes: do not confuse this essay as if I was saying I unconditionally love all cartoons. I can enjoy any form of art, but I don't enjoy all arts. There were cartoons for which I had deep problems with, in the same way as movies, video games and even musical albums. Lots of people like to profess their hatred with "Johnny Test", which has became something of a punching bag in the internet. It's a cartoon that I indeed don't like, but that I never hated (and if anything, it had a good plot going for it). But there are cartoons that displease me, such as the overblown "Superjail!", the last seasons of "The Simpsons" and "Family Guy" (both more decadent at each season), and the flop "The Looney Tunes Show". My issues with this cartoon are deeply personal, for I grew up watching these characters, and I've always pictured them to be an active part of my childhood. In an attempt to "modernize" them, the creators decided to go for something more adult in its vibe. I have nothing against pinning for adult audiences, but there's a difference between intelligent writing development to the miscalculations of the show. Instead of looking organic and enjoyable, what "The Looney" turned out to be was artificial and unfunny. It tries to go for that "Seinfeld" sense of contemporaneous comedy, but the development was all problematic, with gags that weren't funny, and plots that weren't gripping. And I'm not saying that the cartoon shouldn't go for that humour... it's just that it goes for it all wrong. Another thing about the show is how it ridiculed its own characters by "adapting them to the setting", by reducing Taz to the Bugs's pet,
Yosemite Sam to the white trash neighbour, and Speedy Gonzales to the rat in the wall. But the worst felt to Lola Bunny: when she was introduced in the underrated - yet much flawed - "Space Jam", she had the potential to be one of the greatest additions to the gang, due to her bold, takes-no-sh*t attitudes that contrasted with Bugs Bunny's goofy persona. In "The Looney Tunes Show", she is reduced to a possessive, brainless girl. It was heartbreaking to see what they did to her, and it's just more proof of how clueless those writers were. The only thing that truly saved itself from that crapfest was the CGI shorts with Wilie E. Coyote and the Road Runner: perennial in their goals, traditional to their charms, but with new ideas to spare. They were much more deserving of having a show for their own.

This brings me to another theme... the idea that some cartoons have a difficulty in reaching audiences for having the wrong idea of what they want. Some artists make their cartoons very edgy, usually having in mind how kids are grasping with more adult themes at a younger age, while also trying to reach older crowds. Therefore, they put in cartoons brassy and often controversial material that defines what we constitute as "children-friendly". Of course this is not an issue for adult cartoons, but the point I want to make is that cartoons for adults... in fact, anything for adults will never reach the same level of boldness than something for kids being edgy. Think with me: we adults are more rounded about the world, so when we see a rape joke in "Family Guy", that feels old-hat. "Superjail!" gets to the point it's actually desperate to be shocking, to the point it clearly isn't. In any way, we are used to this... but is a child? Some would say that yes, thanks in large to the media and M-rated video games, more accessible to the youth forever a day. But there is this crowd that is yet to be exposed to this imagery, and cartoons can represent this bridge. I don't mean cartoons for adults, but cartoons that are in Cartoon Network. On Nickelodeon. On Disney Channel. Cartoons that never cross the legal line, but that are edgy enough to prepare a child to the next level, such as "Regular Show" with its body count of human characters. In that sense, a cartoon for children can be much more transgressive than a cartoon (or anything) for adults, given that its audience is not the rugged, experienced crowd who's ready - or even expecting - for something gut-punching. As Steve Martin said in "Planes, Trains and Automobiles", we can than anything.

Stewie Griffin meets Marjane Satrapi by TheDrifterWithin

I saw many cartoons attempting at this - many of them with success for knowing what they were doing. Then there were the ones that pleased me, but for which I also had my share of issues. And that was the case of "The Grim Adventures of Billy
& Mandy". Created by Maxwell Atoms, it was originated from "Grim & Evil", which was about two cartoons at once, and "Grim" was judged to be too good to be merely a half of something. Receiving a solo debut in 2003 and successful for six seasons and three television movies, the cartoon was one of the last from the iconic Cartoons Cartoons era, and has a considerable big fandom right here in DA. Its main characteristic was how... grim it was. Powerfully adult and even nihilistic, it pushed the envelope of what was children-appropriated like few cartoons would dare to do, and would make childhood-hurting cameos from other classic cartoons, such as a crackhead Yogi Bear begging for a fix (that is, a picnic basket). For that reason, I had a hard time accepting it: it was indeed too grim for me, to overblown and to much in-your-face. But what attracted me to it, and that secured it a place in my life, was its thematic, hidden into its layers of amoral comedy and edgy humour. "Billy & Mandy" told the stories of two kids that become "best friends" with Death itself: the Grim Reaper. This leads them to have insane adventures that would put many episodes of "Supernatural" to shame. The Grim Reaper is shown as a rather sensitive man, and for some reason, he had a Jamaican accent. But the bulk of the episodes was in the titular kids: the naïve Billy and the manipulative Mandy, and how one would be linked to the other for reasons that would seen non-existent for some, but quite visible to me.

The two title characters were massively different from each other. Billy would be the doofus we see in many comedies, but he took his stupidity to a new level of insanity: by seeing how stupid he was, it's admirable how he would be alive for so long. He was an agglomeration of all the stupid characters I had seen in television (animated or otherwise) and then some more. In short words, he seemed to be literally mentally handicapped. In the other hand, Mandy was one of the most powerful personifications of manipulative, sarcastic and sociopathic evil I have ever witnessed in my life. Feared by her parents and with few friends to call her own, she was the kind of girl that literally would look at Death in his empty eyes and ask him to get her sh*t done. Mandy was shown as a natural born psychopath, with apparently no need for friends, with often elaborated schemes for her plots, and with little regard for the people around her. And yet, she would hang around with Billy for some reason apparently unknown, for she would never let it show. It seemed like the old sitcom motif of "intelligent girl, stupid guy" we saw many times, but there was something about it that made it special: a bond between the two that was left only for the sharp minds to detect. In one episode, the writers tossed in a little proof of how much Billy means to Mandy: in it, Grim and the kids must eliminate a truck filled with books that promise a longer and healthier life to readers, so obviously that means a problem to Death. The trio takes the truck to outer space (!), intending to crash it into the Sun (!!!). As they approach the target, Grim declares it's time to jump, and Mandy - by her own will - grabs Billy by his hands before she does, apparently believing he was too stupid to do it himself. It was a little gesture that spoke loads about what
Billy meant to Mandy, even with all her disdain for any life that wasn't hers. Of course that moments like these in the cartoon were the cue for the fandom to automatically presume she loved him, and it's very easy to find here in DA fanarts of the two kissing, or in romantic situations. In fact, by looking at such fanarts, it seems that fans wanted the two to end the serial as a love couple, in the example of many other cartoons like "Kim Possible" and "Danny Phantom". But things are more complex than just that, for there is indeed a reason for which Mandy hanged around with Billy, and it felt obvious to me after a few episodes. But before making my point, I would like to talk about this other serial, that I found to be also similar to it. "House".

"House" was the phenomenon of its time, the "series of the moment", very much like "Breaking Bad" and "The Sopranos" that came after and before it respectively. It is often praised for taking the medical drama genre to a whole new level of wit.
Because of it, Hugh Laurie became that famous "temporary celebrity" whose fame fades after his serial ends, as the best he got afterwards was a role in Brad Bird's underachieving "Tomorrowland". The idea is that he became too much associated with Gregory House to reach a next level of fame (as it similarly happened with many other television stars). In fairness, it's safe to say Gregory House became much bigger than Laurie himself (at least in America), but that is because Laurie did an amazing job bringing his deadpan humour, his mannerisms and even his Atheism to his character - that being a very interesting characteristic of the character, who as a doctor, has to grasp with death much more often than anyone else, and who do not believe in the comforts of an Afterlife. House soon became America's favourite cripple (but not mine, however: I'm with Ratzo Rizzo all the way). Hugh Laurie also displayed an amazing American accent that felt equally appropriated for his New Orleans blues albums.

Instead of following what all other medical dramas such as "E.R." did before, creator
David Shore instead wanted his character to be a "detective", trying to diagnose his "human puzzles" he called his patients. Like Mandy, he too was something of a sociopath, with a sarcastic sense of humour, manipulative persona, notorious wit, and without a real need for humane interaction. A character that literally believe most people he saved didn't deserve second chances, and that saving lives was a by-product of him solving their diseases. Shore based his character in Sherlock Holmes, and as destiny had it, its ideas were stole back by BBC for "Sherlock", which also used the idea of a lonely genius without a social life. Save for one person, the Dr. Watson of Gregory House: the properly named Dr. Wilson. House would be a very lonely guy, and he is so because his persona would make him a skunk. Nobody would like to stand next to a guy like him; they all want distance from him and his ironies, and the reason they work with him is solely due to his brilliance. Some of his co-workers liked to deconstruct him, trying to "figure him out", without seeing the obvious: House was an intelligent, ironic, annoying man, and his natural self was too much for people around him to take. That would include women, as House - while not being the asexual Sherlock that Benedict Cumberbatch brought to life - would have a difficulty to maintain long time relationships with. Wilson - played by Robert Sean Leonard - was then the only true friend of House, and the reason for that was because he was the only one that could take House's persona, and capable of standing next to him. And for that reason, House would naturally be friends with this one man: he is the only one who "gets" him, and their relation exposed that after all, House was a human, in need of friendship and interaction. After the series ended - leaving behind many fanarts that varied from regular to often graphic, being the great precursor to Johnlock -, few seemed to have understood that the bond of House and Wilson wasn't so much homoerotic as it represented a need of House to belong, to be with someone, to have a company.

And this is the similarity I found between
"House" and "The Grim Adventures of Billy & Mandy": both touch in this idea of loneliness. Of course they do it in different ways, but they are very specific of the fact we all need someone to lean on, no matter how unpleasant they might seem to be. It's very easy to formulate an idea that "people who behave anti-socially must not like company", but maybe one aspect of their personalities do not reflect them as a whole. Maybe their aspects that push people away have nothing on their other aspects, such as the need for interaction. Mandy and House were very sociopathic in their nature, but they needed someone on their lives that would accept them for all their unpleasantness. They wouldn't open hand of their personas, and for that reason they would be lonely. Mandy - like House - was like a skunk, repelling people from around her, and insulting them almost like a natural gag reflex. But despite that, she would care for Billy due to him being her only option of a friend with a pulse. Billy would be too stupid to realize how bad Mandy treated him, so naturally he represented an unique option for her. But that's not all, as Billy would be so stupid that he too would push people away, making him mostly lonesome, and stuck in a miserable life where his only break was with Mandy and Grim. While he didn't have the rotten, abusive childhood that many people claim to have had, Billy's family life was shown as sad, with unsupportive parents that would be the first to put him down. In one episode, Billy is playing with his toys, and he spots his parents laughing at him. His mother defends herself saying "we weren't laughing at you, we were laughing with you", only for his father to make it clear that "I was laughing at you". In that scenario, Mandy seems to be the only option of Billy as well. The cartoon in much reminded me of the masterpiece "Mary & Max", but it felt even more pessimistic, in the sense "The Grim Adventures of Billy & Mandy" seemed to mock the situations of their characters, instead of pinpointing the tragedy of their lives. Of course Mandy would continue to be nasty with Billy, for it was part of her cruel, sadistic nature, and of her feelings for authority and superiority. But ultimately, she cared for him, as her philosophy seemed to be that only her could be mean towards him. For if Billy was gone, she would be left alone with Death.

I deeply connected with this message, for I experienced a depression crisis in my life some time after I finished university. With too much free time, and with a feeling I was wasting my life and youth, I soon felt into a depression. I didn't have the energy to do anything alone, and I didn't want to be on my own at any moment. I wanted to get out of the house, to do something with someone, and more than ever, I felt the importance of human bonds, of company and love. I started to see more cartoons - after a period ignoring them - in an attempt to cheer my spirit. I put away that condescending look over films that were too silly or stupid for my "sophisticated" tastes; of course that my judgment on their quality wouldn't change, but my approach to them did, as I adopted the idea that just because something is bad or mediocre, it doesn't mean it can't be amusing ("The Room", anyone?). I made it through my depression, and I came out of it with two notions.

1) People who seem to lust for sadness - like many downer, emo and gothic stereotypes - may do it so because they may never have actually experienced it, at least not in a clinical level. It's not an interesting feeling at all. It's not cool by any means.

2) My judgment on cartoons changed, and now I can claim to enjoy them like many adults do. For maturity is not based on what we like, but in our own resolve.

Some of us may think things like company and love are overrated... and indeed, before this depression, I too looked condescendingly to this notion of love being this massive wonderful power that many poems I read in school made it to be, but I soon realized how much a friend can mean in someone's life. How much we need to hear a comforting voice than those in our heads. Back to the subject, "House" (and consequently "Sherlock") used of this idea that "
Billy & Mandy" employed first: the genius sociopath that cannot change his ways due to maybe a sense of pride, and would rather be lonely than to change. A loner that nevertheless would welcome a friendship if people would be willing to accept them for who they were. Billy accepted Mandy, maybe of naivety, but one represented something the other deeply needed.

He loved her, but he didn't realized about it.
She loved him, but she was keeping it to herself.
And all of this without folk or indie rock songs before the credits.


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.

My favourite visual artists
-Andy Warhol
-Arnaldo Angeli Filho
-Bob Ross
-Bill Watterson
-Charles Schulz
-Drew Struzan
-Eddie Campbell
-Frank Miller
-Jamie Hewlett
-Laerte Coutinho
-Lauren Child
-M.C. Escher
-Maitena Burundarena
-Marjane Satrapi
-Norman Rockwell
-Patrick Nagel
-Philippe Chappuis
-Robert McCall
-Robert Crumb
-Roy Lichtenstein
-S. Neil Fujita
-Scott Adams
-Shepard Fairey
-Stephen Wiltshire
-Steve Purcell
-Tim Kreider
-Will Eisner

My 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
-American Graffiti - George Lucas, 1973
-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
-Big - Penny Marshall, 1988
-The Big Lebowski - Joel Coen, 1998
-Blade Runner - Ridley Scott, 1982
-Brazil - Terry Gilliam, 1985
-Chariots of Fire - Hugh Hudson, 1981
-Cool Hand Luke - Stuart Rosenberg, 1967
-Das Boot - Wolfgang Petersen, 1981
-Dog Day Afternoon - Sidney Lumet, 1975
-The Endless Summer - Bruce Brown, 1966
-The Exorcist - William Friedkin, 1973
-Gandhi - Richard Attenborough, 1982
-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
-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
-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

My favourite albums
-2Pacalypse Now - 2Pac, 1991
-A.I. Artificial Intelligence - John Williams, 2001
-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
-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
-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
-Who's Next - The Who, 1971
-You're Never Alone With a Schizophrenic - Ian Hunter, 1979
-Zenyatta Mondatta - The Police, 1980

My favourite TV shows
-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
-Gravity Falls
-Hey Arnold!
-Key & Peele
-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

My 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
-The Hound of the Baskervilles - Arthur Conan Doyle
-In Cold Blood - Truman Capote
-Letter to a Christian Nation - Sam Harris
-The Jungle - Upton Sinclair
-The Jungle Book - Rudyard Kipling
-The Little Prince - Antoine de Saint-Exupéry
-The Lord of The Rings - J.R.R. Tolkien
-Sex, Drugs & Magick - Robert Anton Wilson
-Watchmen - Alan Moore and Dave Gibbons

My favourite 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
-Pilotwings 64
-SimCity 4
-Star Wars Episode I: Racer
-Super Mario 64
-Team Fortress 2
-Wave Race 64

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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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