Metal Slug Quotes

People think that alien spaceships would be solid and made of metal and have lights all over them and move slowly through the sky because that is how we would build a spaceship if we were able to build one that big. But aliens, if they exist, would probably be very different from us. They might look like big slugs, or be flat like reflections. Or they might be bigger than planets. Or they might not have bodies at all. They might just be information, like in a computer. And their spaceships might look like clouds, or be made up of unconnected objects like dust or leaves.

There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo’s rapier or Lucrezia’s poison vial. There is the soft and willing and alcoholic blonde who doesn’t care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can’t lay a finger on her because in the first place you don’t want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler.

Thomas stared in horror at the monstrous thing making its way down the long corridor of the Maze. It looked like an experiment gone terribly wrong—something from a nightmare. Part animal, part machine, the Griever rolled and clicked along the stone pathway. Its body resembled a gigantic slug, sparsely covered in hair and glistening with slime, grotesquely pulsating in and out as it breathed. It had no distinguishable head or tail, but front to end it was at least six feet long, four feet thick. Every ten to fifteen seconds, sharp metal spikes popped through its bulbous flesh and the whole creature abruptly curled into a ball and spun forward. Then it would settle, seeming to gather its bearings, the spikes receding back through the moist skin with a sick slurping sound. It did this over and over, traveling just a few feet at a time. But hair and spikes were not the only things protruding from the Griever’s body. Several randomly placed mechanical arms stuck out here and there, each one with a different purpose. A few had bright lights attached to them. Others had long, menacing needles. One had a three-fingered claw that clasped and unclasped for no apparent reason. When the creature rolled, these arms folded and maneuvered to avoid being crushed. Thomas wondered what—or who—could create such frightening, disgusting creatures.

Let’s say you have an ax. Just a cheap one, from Home Depot. On one bitter winter day, you use said ax to behead a man. Don’t worry, the man was already dead. Or maybe you should worry, because you’re the one who shot him. He had been a big, twitchy guy with veiny skin stretched over swollen biceps, a tattoo of a swastika on his tongue. Teeth filed into razor-sharp fangs-you know the type. And you’re chopping off his head because, even with eight bullet holes in him, you’re pretty sure he’s about to spring back to his feet and eat the look of terror right off your face. On the follow-through of the last swing, though, the handle of the ax snaps in a spray of splinters. You now have a broken ax. So, after a long night of looking for a place to dump the man and his head, you take a trip into town with your ax. You go to the hardware store, explaining away the dark reddish stains on the broken handle as barbecue sauce. You walk out with a brand-new handle for your ax. The repaired ax sits undisturbed in your garage until the spring when, on one rainy morning, you find in your kitchen a creature that appears to be a foot-long slug with a bulging egg sac on its tail. Its jaws bite one of your forks in half with what seems like very little effort. You grab your trusty ax and chop the thing into several pieces. On the last blow, however, the ax strikes a metal leg of the overturned kitchen table and chips out a notch right in the middle of the blade. Of course, a chipped head means yet another trip to the hardware store. They sell you a brand-new head for your ax. As soon as you get home, you meet the reanimated body of the guy you beheaded earlier. He’s also got a new head, stitched on with what looks like plastic weed-trimmer line, and it’s wearing that unique expression of “you’re the man who killed me last winter” resentment that one so rarely encounters in everyday life. You brandish your ax. The guy takes a long look at the weapon with his squishy, rotting eyes and in a gargly voice he screams, “That’s the same ax that beheaded me!” IS HE RIGHT?

Contra prepared me for Metal Slug. Thanks Konami.

Book, when I close you life itself opens. I hear broken screams in the harbor. The copper slugs cross the sandy areas, descending to Tocopilla. It is night. Between the islands our ocean palpitates with fish. It touches the feet, the thighs, the chalky ribs of my homeland. Night touches the shoreline and rises while singing at daybreak like a guitar awakening. I feel the irresistible force of the ocean's call. I am called by the wind, and called by Rodriguez, José Antonio, I received a telegram from the "Mina" worker's union and the one I love (I won't tell you her name) waits for me in Bucalemu. Book, you haven't been able to enwrap me, you haven't covered me with typography, with celestial impressions, you haven't been able to trap my eyes between covers, I leave you so I can populate groves with the hoarse family of my song, to work burning metals or to eat grilled meat at the fireside in the mountains. I love books that are explorers, books with forest and snow, depth and sky, but I despise the book of spiders that employs thought to weave its venomous wires to trap the young and unsuspecting fly. Book, free me. I don't want to be entombed like a volume, I don't come from a tome, my poems don't eat poems, they devour passionate events, they're nurtured by the open air and fed by the earth and by men. Book, let me wander the road with dust in my low shoes and without mythology: go back to the library while I go into the streets. I've learned to take life from life, to love after a single kiss, and I didn't teach anything to anyone except what I myself lived, what I shared with other men, what I fought along with them: what I expressed from all of us in my song.

Anyway, I suppose in part I'm telling this story now because I want all of you—and I do mean all—to know that I wasn't always a somewhat-overweight woman without an upper lip to her name who can occasionally be found sleeping behind her face and always thinking in her mouth. I was once a relevant piece of ass who barely knew she existed while much of the rest of the moviegoing world saw me romping through the air in a metal bikini, awake as I needed to be in order to slay space slugs, being whoever I needed to be in the face of affective disorders and otherwise.

So you see, George Lucas is a sadist. But like any abused child, wearing a metal bikini, chained to a giant slug about to die, I keep coming back for more. Now why, you might ask? Well, (I would answer), let’s face it, George Lucas is a visionary, right? The man has transported audiences the world over and has provided Mark and Harrison and myself with enough fan mail and even a small merry band of stalkers, keeping us entertained for the rest of our unnatural lives—not to mention identities that will follow us to our respective graves like a vague, exotic smell.

Caslon or Garamond or Baskerville is shouted as the compositors search for as many cases of these types as can be found. But never is there enough of those metal letters. The apprentice is charged to clean the ones just used so he can distribute a constant supply, lest a compositor be forced into some fancy spelling for the want of Es. With his uppercase upper and his lowercase lower, the compositor, standing at his frame with his stick held in his hand, like an artist with his palette, looks first to the handwritten copy, before click, click, clicking metal letters into a line. Then, line by line, each page is built up upon a form and the metal words are banged home with a mallet, tightened and spaced with slugs of wood, then locked within this frame by the teeth of quoins. And when the page is set, 'Proof" is yelled at the door.

Raising the Benelli M3 shotgun he’d brought specifically for breaching doors, he took aim at the lock and fired a single shot. The boom of the weapon discharge was followed an instant later by the crunch of splintering wood as the lock was blasted apart by the solid metal slug. A single hard kick from Crawford was enough to send the smoking remains of the door flying inwards. Drake went in first, his weapon up and sweeping the gloomy interior of the dwelling. Keegan was right behind him, with Crawford bringing up the rear. Drake heard the distinctive click as he worked the shotgun’s pump action, feeding another round into the breech, though he paid it little attention as his eyes swept the darkness before him

Ahem. His name is Lakan...” No sooner were the words out of his mouth than Maomao’s expression shifted. Her eyes widened and she took a step away from Jinshi, almost, it seemed, involuntarily. To date she had looked at him like a beetle, like a dried-out earthworm, like mud, like dust, like a slug, and even like a flattened frog—that is to say, in many demeaning and belittling ways—but he realized that all of these were kind and gentle compared to the look she leveled at him now. It was, frankly, hard to describe, but even Jinshi felt he could barely survive it. Maomao looked as if she might smash open his heart and pour in molten metal so that not even ashes remained.

I think of my black slug, slithering around, slurping up my potential energy for joy. I press my hand to my stomach and desperately wish that it didn't exist. That there was a way to fix me, fix him. I dig my nails into the flesh of my stomach and wince. Roman reaches out and puts his hand on top of mine. 'But the most confusing thing is that me being confused about seeing you happy doesn't change anything.' He lowers his voice so only I can hear him. 'I still want to die on April 7th. 'And I still need you to do it with me.' All of a sudden the carnival seems too loud. I hear the clunking of the metal faris wheel and the swirling of the teacups and the screams of delighted kids. I move to touch my hand to my head but he grabs it interlocking his fingers with mine and pulling it down to his side. 'I get it' I say in a strained whisper. 'I won't flake on you.' He squeezes my hand so tight I can't feel it anymore. I wish someone would do that to my heart.

There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo’s rapier or Lucrezia’s poison vial. There is the soft and willing and alcoholic blonde who doesn’t care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia