My “Dragonball Z: Buu Saga” Cast

July 5, 2009 by

As many of my closer friends may know, I was deeply disappointed by the new live-action “film” that only promised itself some-what of an audience of very, very loyal fans by slapping the name “Dragonball” on it. The film I’m talking about, of course, is James Wong’s Dragonball Evolution which devasted the souls of Dragonball fans everywhere. The movie was a colossal failure and possibly the greatest troll Hollywood has thrown out to movie-goers everywhere. Many audience members were disturbed at the lack of quality given to film. Reviewers even went far enough to call Dragonball Evolution one of the worst movies of the year. Unfortunately, I was one of the loyal fans who hoped, prayed, and wished that this movie would not crash and burn. Sadly, that’s just what it did.

So what exactly caused Dragonball Evolution to crash and burn as it did? A lot of things: a poor script, terrible FXs, etc. However, many believe that one of the keypoints for the massive failure was due to the inadiquate casting. I mean Justin Chatwin as Goku? Come on! Honestly, the entire movie was a simple low-key and poorly executed attempt to exploit a loyal audience to the Dragonball franchise and take their money.

Anyways, one of my goals that I have set for myself before I die is to punch this excuse for a movie in the nuts. (How hard should that be?). I will write and cast thee perfect movie ever to give the name “Dragonball”.

Here’s the plan:

  • 1: Familiarize the new viewers to the Dragonball franchise with the characters, environments and so on. How do you do that? You start with the saga from the cartoon/manga that’ll be the easiest to transfer into film. I personally believe Dragonball Z’s Buu Saga is the easiest. Who made it a rule to start exactly from the beginning? Isn’t the Buu Saga right one of the LAST sagas for Dragonball? Personally, I believe that saga offers a lot more substance than others, yet it remains a simple storyline. It begins with Gohan in high school (boom already people relate to the characters) and integrates themes of family and teamwork. The storyline doesn’t carry the whole “Saiyan” backstory that Saiyan and Frieza sagas would have, and it doesn’t have complex plot structures like in the Cell Saga (e.g. time travel, Red Ribbon, etc.). The story–for the most part–is simple.
  • 2: Focus each movie on one character. Let’s face it, the original Dragonball Z anime had incredibly poor dialogue (mostly because characters needed to pour out the entire complex plot that was easy enough for 7 year old boys would understand). In a movie, however, dialogue between characters is key to keeping the movie filled with substance. A technique I would use if I ever got around to writing a fantasy script for Buu Saga would be to have on character narrate throughout the story. For Buu Saga, I would choose Gohan to give a first person narration throughout the entire show. Imagine Gohan riding on the Nimbus and then turning Super Saiyan 2 with the simple narration “Yeah… this is one of our family traits.” Boom, simple! You just established that this WHOLE family (Gohan, Goku, Goten) all have the ability to turn Super Saiyan. The fans familiar with the story will get it, and it’ll be easy for the new audience to understand.
  • 3: You don’t have to follow the series scene by scene! When going into a new film that remakes a series, a comic, or some other old movie you don’t want to see the same exact thing on screen. You want something new, yet familiar. For example, Watchmen was one of the coolest movies I’ve seen this year, and I enjoyed it, however, a lot of my interest in the movie was lost when viewing it because it was so exact to the source material I began to think “hey, I didn’t pay to reread a comic I have at home!” I believe that the film should contain something new and fresh, yet still remain loyal to the source material. This can help evade episodes that are “boring” on film.
  • 4: Probably one of the best rules. Have a good cast. We’re trying to appeal to fans of the source material.

Here’s my cast list (it is still kind of in the works so feel free to comment if you disagree or agree on this!):

Goku | Chris Pine

Vegeta | Ryan Reynolds

Gohan | Emile Hirsch

Hercule | Jeffrey Dean Morgan

Master Roshi | Alan Arkin

Krillin | Noah Ringer

Android #18 | Uma Thurman

Bulma | Jennifer L. Hewitt

Tournament Announcer | Matthew Broderick

Videl | Undetermined

Trucks | Undetermined

Goten | Undetermined

Chi-Chi | Undetermined

That’s pretty much what I’ve got so far, leave comments about the characters I’ve assigned actors too, and help my quest on finding those undetermined guys!

@lawlnick


Multiply

July 4, 2009 by


The clouded skies reflected upon the aviators swerved like a gelatin in the tinted glass, and the leather glove tightened around Demitri’s hand as his fingers curled around the handlebar. Gravel and dust from the New Mexico desert blemished the empty freeway and traveled along with the force of the storm’s wind. Demitri studied the long straightforward road from behind his aviators. His short black hair tousled with the rushing breezes; his brown jacket waved as well, and as the Harley ’94 peaked 120 mph the storm began to pick up momentum.
A gust of cool wind from South of the desert had begun to travel towards Demitri, picking up grains of dirt and pollen, and neared closer and closer until it struck a significant blow. Demitri struggled with the motorcycle. He clenched the handlebars amid his gloved hands, and maneuvered the vehicle back on path. With careful thought, he anticipated more impact from the storm’s wind, and was more cautious to the handling of his drive.
He turned his head to the right where most of the dark clouds had formated. The motorcycle’s engine continued to purr as it journeyed passed more and more road, but suddenly the noise began to rupture. Brief moments of failure began to interrupt the consistent engine.
“Perfect.” Demitri shifted his head back towards the road, and glanced over at the gauges in the dash. Nothing of alert was being noticed by the car.
Then, the stalling began to take its course. The pauses took longer; the engine made effort to continue the steady path, but to no prevail. Gently the vehicle began to decelerate, and the orange indicator on the speedometer declined. 120…110…105…
“Thanks, Grandpa,” Demitri said to himself, “you sure have a way with bikes.”
Demitri pulled to the right shoulder of the long deserted road, and coiled his fingers upon the brakes. The rugged black motorcycle came to an easy halt, and Demitri mounted off.
“Least it’s rainin’,” he looked up at the gray sky. Raindrops landed on his tinted lenses. As he wiped his aviators clean, Demitri ambled to the item compartment on the back of the motorcycle. He unlocked the tiny stainless steel box–sprinkled with rain–and opened the compartment. Inside, spare pistol bullets, an August issue of Maxim, a folded miniature atlas, and a picture displaying a young girl with black hair was placed.
He took the tiny picture and gazed at it. A nostalgic wind gusted through the desert highway now, yet it remains a mystery what emotion was felt behind Demitri’s aviators. Soon enough, the storm’s rain began to land on the photo, and, as a cue, Demitri pocketed the picture, picked up the tiny atlas, and unfolded it.
“Come on, little map,” whispered Demitri; a violent bolt of lightening crackled in the background, “find me a Texaco.”
As he searched down the highway lines in the map, the rain began to fall harder. A sudden urgency filled the atmosphere, and the raindrops grew violent. They parachuted down from the skies on Demitri, falling and picking up speed. They began to freeze and crystalize in the sky. Hail. Suddenly, Demitri was bombarded by a fleet of descending ice. He used the atlas to shield his head from the plaguing hail, but another violent gust swooped it away. The atlas now traveled through the air, manipulated by the behemoth winds, and was sent zig-zagging across the emptiness and dull dirt of the desert land.
Demitri, realizing that the atlas was his only aid of direction, chased after the escaping map. His leather shoes imprinted the ground with the pattern on the soles. Shocks of pain from the hail hindered his balance, and Demitri fell to the hard, damp ground, but stumbled back quickly to his feet. In pursuit–and in pain–he was cautious of what occupied the floor to prevent tripping again. Then, a violent, intimating boom that ravaged all noise with such amplitude bewildered Demitri, and he fell once more. This time, leaving the atlas to lose itself amongst the wind.
Demitri’s energy was almost completely gone. It took effort to raise his face from the rough desert dirt. Veins in his neck pulsated as he raised his head, and he began to scan the clouded sky–with great difficulty due to the hail–for the map. Through his aviators, he frantically searched for his atlas, but aborted when his eyes constricted to the sight of the marvelous blue glow. A thick, jurassic, glowing obelisk of blue light fell from parted gray clouds seeming to land a few miles in front of Demitri.
That must have been what caused the boom, Demitri thought. The hail seemed to have calmed now, and the storm seemed less violent since the glowing rod surged from the sky. Nothing was left but the silence of awe and wonder.
As he laid there, galvanized by the unearthly marvel, aggression was evoked in the winds once more. This time with a more vicious strength. The winds began to pillage the once-tousled hair, and ransack the brown jacket. Then, the unscrupulous force physically began to violently drag Demitri towards the beam. He skidded across the rough ground trampling dead cacti and empty carcasses. The bare skin behind his clothes were scraping against the irregular surface of the desert; pieces of skin dislodged and left open, painful, bleeding wounds.
He was being pushed closer and closer to the obscuring beam. Every now and then, he would skid on the heels of his shoes in an attempt to brace himself from the forcing motion with no use. Demitri was closing in on the root of the beam. The aviators helped him see through the bright mystic azure glow, and as he was so close to the mysterious gargantuan light that he could almost touch it the wind halted, and he plummeted to a stop.
Once again, he stumbled back on to his feet, and was just arms-length away to the radiance. Curious to how the light must feel, Demitri raised his finger and neared it towards the light.
“I would not touch that,” a booming voice commanded from behind Demitri.
He turned in fright, focusing his eyes through the lenses, and searched for the voice.
“Where are you?” Demitri yelled towards the emptiness.
“Behind you,” the voice sounded closer to Demitri’s ear now.
Demitri turned again quickly, and came face-to-face with a blue-eyed man.
“Who are you!” Demitri shouted.
“There is no need for exclamations,” the man said, calmly, “I promise you. We–”
“We?” Demitri interrupted as he gathered his breathe. “There’s more of you?”
“Yes,” he smiled, and his blue eyes lit up, “And we come in peace.”
Demitri gathered his speeding thoughts, “Talk about cliche.”
A wrinkled smile formed on the mysterious man face. He held up a feeble hand towards Demitri, “I can explain more, human. Please, take my hand.”
Demitri’s irregular breathing grew hotter with frustration. He glared at the man’s hand, “What?”
“My boy, take my hand so I may show you.”
“Get the heck away from me,” his voice melted with spite, “I don’t know who you are.”
“I can explain all in due time–”
“I don’t know where you’re from, I don’t know what this whole blue-light thing is.”
“My boy–”
“And I’m sure as hell not holding your hand, old man!”
“Son,” the man with the blue eyes put his hand on his shoulder, “you’re delusional.”
“I said get the he–”
Suddenly, a bright blue, blinding flash of light filled the entire setting. A rush of motion passed through Demitri’s finger tips. His stomach rose to his throat and churned with the feeling. The ground from underneath his feet was gone, and Demitri felt as though he was falling and standing simultaneously. Then, abruptly, a wave of black darkness flooded Demitri’s eyes. He felt gone.
* * *
“Man, Stanley, this storm is crazy. Sure would hate to be the guy caught in this rain,” a regular said within his stool. He grasped his cold mug of foaming beer in his hand, and sipped the cold alcohol. “Anything on the news ‘bout it?”
“Let’s check.” The bartender turned the dial on a dusty television set on a shelf. The screen lit up, and the local news casting program was on.
“That’s right, Robert. A class-five state of emergency has been called here at New Mexico,” the woman on the television reported.
“Hah, state of emergency! I laugh at the silly folk who are afraid of a lil’ rain,” the bartender smiled.
“Now hold on there, Stan, I have kids at home,” the regular’s eyes widened with fright, “Has New Mexico ever gotten hit by a hurricane?”
“No, stupid, we live in a desert! There’s now water here!”
“What about tornadoes? What about earthquakes!”
“Sush it, Kevin!” the two looked back up at the television. Footage of a massive crafts hovering above the sky had been playing since. The grainy amateur capture made the colors of the clouded sky and the crafts to blend in, making it hard to differentiate. Towards the end of the footage, the cameraman points the camera straight up to see a craft incredibly close to the ground. He scans the craft with the camera, and focuses in on a hole aligned to where he’s standing. Suddenly, the hole lights up with the ominous blue glow, and the camera is dropped.
“Once again, that was disturbing footage from earlier today in Cancun, Mexico,” the television announced.
Suddenly the television interrupted the news broadcast. A strange blue logo that looked like skull was displayed for a brief two seconds. Then, an elderly looking man with glowing blue eyes was facing the screen.
“Wow, he sure does look strange, Stan,” said Kevin.
“Must be the Japanese again…” said the bartender.
“We mean no harm, Earth,” the voice boomed from the television, “and on behalf on the Velascian race, we apologize for interrupting your inferior human activities. My name is Threon, I am chief linguistic of my people. We have studied your planet’s language, culture, and weaknesses in order to save it.”
“I don’t think these are the Japanese, Stanley…”
“Reoccurring trends in the galaxies ionic patterns suggest that your planet is conflicting its very existence with another paralleling planet. To put it bluntly, your all going to die.”
“This guy’s serious…”
“Worry is unnecessary. We have already taken precautions to preserve the human race.”
“Drink up, we’re gonna need it.”
“We have chosen two members of your race that inhibit all the traits of high-quality reproduction systems to multiply. One male by the name of Dimitri Escon, and a female by the name of Veronica Esquet. The two are with us. You have three minutes to live. Goodbye.”
The television fell silent. The entire bar fell silent. Only the two men inhabited the restaurant, and they each silently took the news in. After a few seconds, the bartender took the mugs, refilled them, and handed one to Kevin.
“To us,” Stanley raised his mug for a toast.
“To us.”

@lawlnick

ink-link.blogspot.com

June 23, 2009 by

Hey guys! Chris Avila, Adam Gonzales, and I were up until three thirty late last night compiling a new website. It is a site that features our works in writing both as individuals, and also group projects as well. We will post to the demand of our viewers, and we’re really striving to go out and beyond. If you want it, we’ll write it. Please gives us your support and follow our blog at ink-linked.blogspot.com! Thanks! And, just to let readers of this one know, the majority of my posts will now go into that site. So consider this a not-so-permanent move to that blog. Although I will try my best to keep content up in this one as well!

Sleep Deprived

June 21, 2009 by

Photo 94

Adam “The Great” Gonzales

June 21, 2009 by

Alrighty folks. It’s time you meet Adam…er…me. Nick and I have decided to compile our genius into a single unit so as to create a massive following for our critically claimed “Awesometastic” works. I will be posting here as often as possible while still keeping updates on my blogs that are listed below:

The Tarterrior Series (My main book series I am writing)

The Merry Crew of Captain Kidd (A Musical I am writing using songs from Great Big Sea)

The Boundless (A book I am writing with my cousin)

I’m Never Write (A compilation of my works and short-stories)

Finding 88 Keys on How to Write Piano Music (A blog about the piano songs I have written)

And Hopeless Bleak Despair (A Musical I am writing using songs form They Might Be Giants)

I will be working with Nick as much as possible and we hope to soon dominate the world of writing with a little bit of luck and skill and a whole lot of awesome! Thanks!

Grow

June 21, 2009 by

We are the golden wheats
That you’ve thrown your back to plant
Grazing upon the columns of soil
And dirt
Growing upon the sunrise
And set
And rain
And fog
The deception and the wonder,
The child and their laughter
The giggles,
And the notebook you write in day by day
As your seed grows upon the columns

Final Vinyl: Thee Best Way To Wrap Up Junior Year

June 21, 2009 by

Alright, I haven’t done this for a while–even though MOST of it is not just because of procrastination–I actually have a lot to do nowadays (funny, I thought it was summer break) and it has been fun! The majority of my time consumption was in “Final Vinyl“, a brand new musical written by Kevin Frei for the purpose of being performed for high school audiences, and IT WAS. As fate would have it, the aspiring writer/director/producer/etc. decided to embark his new musical upon the multitude of students at Hamilton High School. So of course, I auditioned.

In the past, I worked with the usual HHS theatrical people in productions such as: Wyrd Sisters, Music Man, and Arsenic and Old Lace (not to mention a LOT of Urban Lemmings Shows). And each one had something I felt strangely uncomfortable with. In Wyrd Sisters, I just felt out of place; I was a freshmen, it was my first play, and I knew NO ONE. During Music Man, I was going through some weird depressive teenage self-rejecting phase and I didn’t give the project everything I believed I could have. During Arsenic, everything seemed better. I knew all of the cast members, I was getting along with them great, the play was fun to do, but something was missing. There was always some sort of cold feeling in the air.

Then–due to a course of events (yes, a course not just a single incident)–I decided to opt out of the high school theatre department altogether (with the exception of Urban Lemmings because I need some sort of outlet next year). With my new value of straying from auditions at Hamilton, I felt way too free, and my creativity was starting to overflow in my head. And that’s pretty much where the birth of this blog even originated from. Damn, it’s where my old love for writing re-sparked! I started reading more, I started writing more, and I slowly and gradually became obsessed! I was obsessed with stories, and meaning, symbolism, inner-battles, character conflicts; I became obsessed with girls who wanted to commit suicides, and a guy who lives home alone, and music, and… and… It all came flowing out of me. Through a pen.

So, what brought me to Final Vinyl? Was it to spite everyone who thought I was quitting the art of theatre? Was it to show everyone I had what it took to handle a major role? Was it because I needed an outlet other than writing to express my creativity? Was it because deep down somewhere I never wanted to quit in the first place? Was it that I wanted to have one more show with some of best friends? Did I want to make amends? Did I want to instigate more arguments and more conflicts, because the drama–despite it being torture to my mind–was somewhat…fun? Yes, a little of everything.

After auditions I landed the part of Meredith Pax (yep, a woman). When I saw the cast list I couldn’t help but feel a tinge of familiar disappointment. I went home that day and did some thinking. I honestly thought about dropping, I was on jumping off-board streak anyway so what should stop me from dropping this? Better, yet what MADE me want to stay? Well, when I got home I get the familiar “pop” of a Facebook IM. My friend Michael Falcon congradulated me on getting the role, and I asked, “Why? It’s a woman.”

Michael’s advice was probably the best advice anyone has given me all year.

He laughed. He laughed a lot. Michael LOL’ed and ROFL’ed and HAHA’ed, and I just sat there on the other end of the screen. At first I blankly stared, and then I started to chuckle.”It would be so funny seeing you as a woman, dude.” Thanks Mike, I tarzan.

I guess I needed someone to laugh at my problems. Everyone else confirmed to me that the end of the world was near, and I guess what I needed to hear was someone laugh at my problems. It made me realize there’s worse out there, and that no matter what character you play it’s still not as funny as a guy dressed in drag.

Alright, so I’m on board now what? Rehearsals! The rehearsals were…strenuous. I never did so much dancing, and singing, and running, and high-pitched vocal delivery of lines. I had marvelous directors though. Leah Koestner, the singing director, was awesome to work with. She was patient, cool, and even BRUTAL when she needed to be. Honestly, I don’t think I’ve ever learned as much on the topic of singing as I did with her. Kelvin Harper, the choreographer, was seriously way cool. Too cool for school possibly. I always felt like I was a super badass when I was doing one of his dances (minus “Gay Old Music”).

Yet the memories are great too. I didn’t feel the cold and cruel vibe a regular Hamilton production would usually have on the set. I felt warmth. Everyone was there for everyone. There was rarely any conflct and rarely any worry. Yes, there was still the ridiculous–no–the LUDICROUS freakouts that are totally uncalled for and unnecessary (come on guys, it’s a play), and yes, people still took themselves way too seriously, but it didn’t matter. There was a glow within the heart of this production, and despite all doubt and previous judgement it didn’t burn out.

It was truly spectacular to have Final Vinyl be my final high school play.

Influences: Jeffrey Eugenides

April 25, 2009 by

Back in the earlier junior year days, I began research on the study of intersexualism for a research paper assigned in my Advance Placement English class. What drove me to the topic of intersexualism? Television programming: The Oprah Winfrey Show. It was an interesting topic; I knew these people are out there, but I never realized how people view them as: objects, misfits of nature, etc. Then, right as I wielded my remote control to switch to something else, a man walks on stage–to plug his book into the show, standard effective propaganda. Jeffrey Eugenides wrote the biography on my most influential first-person narrator ever, who just happens to be a fictional hermaphrodite.

I picked up Middlesex, and was introduced to Calliope Stephanides. I was acquainted to her family: Milton (the father), Desdemona (grandmother), Lefty (grandfather), Tessie (mother), Aunt Zoe, Uncle Zizmo. I was evoked into the Stephanides family, and filled into their genetic secret.

As an amateur writer, I use to detest first-person narrative. My permeating ignorance disallowed me to think of first-person narrative as a piece of art as oppose to what I use to think of it: whining. Jeffrey Eugenides taught me, through Middlesex, that the first-person voice can be even more poetic, inspirational, insightful, and impactful than the average third.

It was through the reading of this book that I realized–like the epiphany in “Orange County–that I want to be a writer; I want to create worlds; I want to show grace in diction; I want to tell the truth; I want to tell lies. The technique Eugenides uses to build emotion, paint images, and possesses sympathy and empathy. Middlesex has inspired me to write; I grow jealous every time I read a quote from the contemporary novel, jealous that I could only wish to claim to have the talent this man has. I met an interesting friend via Eugenides words, and Calliope/Cal isn’t even real.

So then there was a lull in reading. I had things to do, people to fret about, actions to regret–I’m a teen, whatever. Then one night, during a ritualistic reminiscing-in-bed session, I recalled the admiration I had for Jeffrey’s writing. I ChaCha’d a question: What other pieces of writing does Jeffrey Eugenides have?” The answer: “Jeffrey Eugenides currently has two books published: Pulizter-winning ‘Middlesex’ and ‘The Virgin Sucides.’ Thank you for using ChaCha!”

It was months later, after a high school calamity and drug influenced depression, that I would pick up The Virgin Suicides, and read through the text.

At the beginning, I compared it to Middlesex (it’s human nature), and, of course, I held my biases in favor of Middlesex. Still though, it held my interest. It continued to capture and pervade interest into my imagination, but I kept wanting to find Calliope show up in the suburban neighborhood (there have been a few cameos of “greek” accent. Including, the breif cameo of the phrase “yia yia”).

Anyways, I find myself basing a lot of my writing off Jeffrey Eugenides: a true master of poetic writing. His work has taught me that even the most mundane of stories (suburb can be told with the greatest passion.

Crazy On You by Heart – From the Virgin Sucides Soundtrack

Grab Bag

April 23, 2009 by

“The only pressure I’m under is the pressure I put on myself” – Mark Messier

Leap

Permeated through and through:

Foggy days, no received calls, and melted birthday cakes;

Staple the writing on the steel bricks unto my chest,

let the blood seep and the humilation pour,

Cardboard boxes pinned in rain, meaning less

Let the sequenced revolution break

And the night die young

Raise the bulb from ceiling to cloudy nights

Unobtainable–watch me fall

Unpredictable–watch me fall

Unreachable–watch me fall

And take the bed I rest, forgranted.

“By “guts” I mean, grace under pressure” – Ernest Hemmingway

Concussion

A weight of lead

Imprisoning limbs to the floor

Corrupting the white noise

Make pure of the fall–

Demonstrate the mathematics of us all to all

A mouse: trapped.

Withering from us all.

Victor Vacinni

April 19, 2009 by

No one ever grew fond of Victor Vacinni. Amid our preadolescent years and elementary era, middle school society conformed to the norm of growing use to someone; Victor Vacinni was an exception. In classes, we usually found him–glassy eyed and nosed stuffed–staring straight at someone: no blinking, no nonchalant glances at the ceilings. At lunch, his isolation often disturbed our ability to eat with tranquility. He sat there, in his own empty table, staring straight at one of us: no blinking.
We all had our reasons to feel uncomfortable near him. Daniel Clemens once told us that they both attended the same private preschool and he would perform acts of passive-aggressive sexual exploitation. “He would take off all the clothes of the girl’s Barbies and draw all the privates where they should be,” he reported to us, during one of our many lunch-table gatherings, “When our teacher caught him Sharpie-ing a penis onto a Ken, he told her that he liked things to be realistic.” Sunny Days Preschool admits students from age four to six; Victor was five in Daniel’s testimony. Jared Stewart cited another example of Victor’s odd behavior at a viewing of The Godfather. “We went to the same church when I was eight,” he said, taking a swig of his soda, “every time the pastor would want us to repeat a passage, he would always talk in tongues. To this day, I don’t know if he was faking it or if he was actually possessed by something.”
Chris Peters once recalled an event where he was rehearsing through another laborious period of biology–which he and Victor both attended–and, unfortunately, had the pleasure of sitting by him. Here, Chris, the opportunist that he was, paid careful attention to the physical aspects of Victor. “He looks even crazier up close, man,” he said, lighting a cigarette as we all huddled behind our high school bleachers one Sunday afternoon, “that crazy bastard had two lazy bright brown eyes. I remember Mrs. Smith, dumb braud, told the whole class to ‘converse’ with each other about decomposition or something. Hell, I needed to pass, so I talked to him, but as soon as I uttered a word he got really close, like this,” he got as close as he could to Johnny Carlson’s face; the tip of his cigarette brightened as it inched closer and closer to Johnny’s nose, “About this fucking close that creep-o got. Tell you all, I never seen so much disgusting hygiene on a kid before. Fuck, I’ve seen roadkill cleaner than that boy.” We all urged him to go on. “His snot: wet and dry. You could notice the dried up layer because it was magnified, like a jello, by the running wet snot falling and gathering up on his upper lip. His skin was greasy and reminded me of an old leather wallet. God damn it, man, I’ve never been so disgusted by a person in my life.”
We all formed separate opinions on one or two differing physical traits he held. Jared Stewart recognizes Victor the most for his sporadic hair lining, “It’s the type of hair lining where your only hope to pull it off is to completely shave it.” Daniel Clemens remembers him for the huge bug eyes he had, “They always look as though they capture the light in the room. It has a strange gloss to it.” Robert Miller recalls his mangy posture and the way he raised his wrist to chest level. Rudy Romeo juxtaposes Victor’s unspeakably high voice and his greasy curly hair. Kevin McDonald, his scrawny legs. Tyler Beard, his skinniness. Taylor Jackson: big cheeks. Johnny Carlson: mongoloid teeth. Chris Peters: snot.
Every lunch, we all sat parallel to his empty kingdom. Victor never ate; he stared. It was a silent mutual rule that none of us ever bring up his prolonged gaze towards us at the table. We would either burst out into false laughter from Chris’s naughty joke or made fun of eachother; We all looked for ways to conceal the discomfort of his stare.
Once, during an after school detention, Chris Peters and Taylor Jackson decided to amuse the two-hours of confinement away by passing notes. It started with a game of hangman inscribed into the college-ruled by granite pencils. The frustration of guessing, the silent laughter with the eyes, and the lingering hint of boredom at the innocent entertainment evolved the topic, evoked into the wadded up paper ball, to the taboo that was Victor Vacinni. First, a drawing of Victor with the more cartoonist angle. Chris exaggerated his odd shaped head, his bug eyes, and payed the most attention to the running snot. Taylor added labels and arrows such as: tiny dick, shit-stained pants, unzipped zipper–each arrow pointed to the appropriate anatomy location. The mocking within the note escalated with such a speed that the velocity sped up the detention time itself, but before the last two minutes of their sentence Taylor wrote one last thing into the flagrant note: Victor Vacinni is gay.
“I threw it out,” said Taylor, when we all asked while walking at a mall one evening, “someone might have picked it up.” Whatever the cause, the rumor permeated through every hall of middle school. The topic penetrated every gossip requiem the day prior. ‘Victor Vacinni is gay’ invaded the notes passed, in secret, throughout classes. The questioning of Victor’s sexuality spread faster than the medieval Black Plague, carried out by rats and maggots, infecting virgins to the news. It was a God damn epidemic.
Maybe it was bias on knowing that we spread the rumor, but Victor’s gaze at the cafeteria seemed more concentrated since. We all knew laughing loudly or telling an irrelevant story wouldn’t cover up the tension amid our sandwich eating and the glare, so we feasted in silence those days–the days the news was still saran wrapped. “You remember that one day, when everyone, like, made fun of him during fifth period and all he did during lunch was stare at us and write in some weird notebook?” said Tyler Beard, in a reminiscing moment we all shared during a lull in a road trip.
All of us produced theories of what he might have written in the notebook. Daniel thought he was compiling a hit list. “Come on, guys, he had all the motives to want to kill us. He was a major creep and he probably knew about the note that started it all,” said Daniel once, ill in bed. Kevin McDonald speculated that perhaps Victor was an artistic individual, and was simply jotting down his emotions. “Nothing great, in art, is ever produced through happiness,” Kevin stated, as we all drank coffee at a Starbucks, “the haunting experience may have been perfect inspiration for a piece.”
Over time, we all abandoned justifying the mysterious writing. Over time, we resumed our obnoxious laughter and mechanisms to refute the discomfort. We all continued digging into our lunches, our Pringles, Cheetos, carrot sticks. None of us could resist the thought that we were silently mocking the kid as we ate. Here we were: eating. There he was: alone.
However, our middle-school mystery of Victor Vacinni was answered by Mrs. Devila–our study period advisor. We all notice that he was gone that day at school. “I knew that day was gonna be really fucking weird. He was never absent at school, never,” Chris stated to us, beneath the bleachers, dropping the cigarette stub and extinguishing it with his foot, “it was ironic ya know. The thing more creepier than him being at school was him being absent from it.” The classroom air had a mundane chill the day we all received the news about Victor Vacinni. “You know ever since preschool, that kid always sent an eery warmth into the atmosphere. Like a dying animal breathing his last warm breath,” said Daniel Clemens as we all packed our left-overs of lunch and placed a tip for the waitress. The distinct facial expression Mrs. Devila wore, as she stepped up from her desk onto the center of the room–we all remembered that look, the look of sympathy and mourn. “Tell you one thing, our middle-school teacher was a heartless bitch, the way she gave us the news felt so forced. It’s a shame. No one ever liked that kid. The teachers had to act,” said Jared Stewart, as the movie credits fell and we begun to exit the theatre. We all remembered how we simultaneously stopped talking and turned in our chairs to face her. “She always use to complain about how we never stopped talking. I wonder why that day we all did,” yawned Tyler Beard, as he approached sleepiness and began to rest in the backseat of our car.
“Ladies and gentlemen,” said Mrs. Devila, “I am sorry to inform you that Victor Vacinni will not be joining us any further,” that long pause, “Due to some graphic news that was sent out into the school today, it was brought to our attention that Victor is no longer with us. He died. I have been taken aback by the news that his life was taken,” another lull, “by his father.”
“His father apparently was some psycho murderer.”
“Fucking tells you a lot about why Victor was the way he was, huh?”
“The father,” Mrs. Devila now crossed her arms: body language for sincerity, “was arrested this morning, and, rest assured, he has been imprisoned and will not harm anyone ever again. A notice to each of your parents has been sent out to bring this to there attention.”
“Makes you think.”
“Why do you think we never stopped messing with him? Wasn’t it obvious this kid had problems?”
“We were kids, man, we were kids.”
We all waited through Mrs. Devila’s longer pause, and then she stated, “Let’s all take a minute in silence, to mourn Victor Vacinni.”