Xangsane
la la la la la
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The Locals of 2035 Los Angeles:
- Druggies: Scattered across the sidewalks, people slump against walls or wander aimlessly, their eyes glazed over. Some of them are holding vapes or pipes, others with needle marks on their arms. You can hear them muttering incoherently, their bodies twitching as they search for their next fix.
- Homeless: Tents line the streets, makeshift shelters built from cardboard, tarps, and whatever scraps people could find. Dirty, disheveled men and women huddle in these encampments, their faces sunken and hopeless. Shopping carts filled with random junk are parked outside their tents, their entire lives reduced to what they can carry.
- Illegal Immigrants: Many of the street vendors and people walking by seem disconnected, speaking in rapid Spanish or other languages, looking over their shoulders as though they’re expecting trouble. Some are clearly undocumented, selling goods or services out of makeshift carts, trying to survive in a city that doesn’t seem to care about their existence.
- Prostitutes: On the street corners, scantily clad women—many looking worn and tired—are offering themselves to anyone who passes by. Their eyes are cold, hardened by the world they live in, and you can see how broken they are, standing beneath the dim streetlights, waiting for their next client.
- Obese Ratchet Black Women Twerking on Police Cars: At a nearby intersection, you see a group of large, loud women dressed in neon-colored clothing, twerking aggressively on the hood of a police car, as a few tired-looking cops stand nearby, too exhausted to intervene. The women are laughing loudly, their bodies moving to the heavy bass blaring from a nearby speaker, completely unbothered by the destruction around them.
- Transgender Individuals: Walking through the streets are a few transgender individuals, some of them clearly struggling with poverty, wearing ill-fitting clothes and looking lost in their own skin. Others are more flamboyant, strutting confidently down the street in high heels and brightly colored outfits, but all of them seem to be part of this chaotic world.
- Furries: To your utter shock, a small group of people dressed in furry animal costumes are lounging by a nearby alleyway, talking and laughing as if it’s the most normal thing in the world. They’re dressed head to toe in costumes—wolves, foxes, bears—and they seem completely oblivious to the decaying city around them.
- Silicon Valley Pajeets: Among the chaos, a few tech workers—clearly from Silicon Valley—stand out in their business-casual attire, typing frantically on tablets or smartphones, trying to shield themselves from the dirt and grime around them. Their thick accents cut through the air as they discuss code and venture capital, clearly out of place in this broken city.
---
Old Man Harold (stammering, terrified):
"What… what is this? What happened to the city? Where are we?!"
His wife, Edith, grabs onto his arm, her face pale with fear as she looks around at the homeless camps and prostitutes lining the streets.
Edith (whispering in terror):
"This can’t be real. This… this isn’t America. This can’t be America!"
George (shouting, panicked):
"What is happening?! Who let all these people in?!"
Meanwhile, Old Man Harold is fixated on the obese women twerking on the police car, his face twisted in disbelief.
Old Man Harold (yelling, furious):
"This… this is madness! Is this what the future is? Is this what you young people wanted?!"
Tyrone, catching his breath from the fight, stands up straighter, his expression calm but firm as he looks at the chaos of 2035 Los Angeles.
Tyrone (smirking):
"Welcome to the future, old man. This is what happens when you ignore people for too long."
Beryl, ever blunt, steps up next to Tyrone, crossing her arms as she takes in the scene. She spots a group of furries and rolls her eyes.
Beryl (laughing sarcastically):
"Yup, this is it. The future you’re all so scared of. Congrats—you made it."
---
The chaotic reality of 2035 Los Angeles continues to unravel, and it gets worse the group finally lay their eyes on the top models plastered across holographic billboards and magazine covers. Instead of the glamorous, polished faces they might have expected, they’re greeted with a shocking sight—obese black models, transgender individuals, furries, and even pregnant, balding soyboy men. It’s a dystopian vision of beauty that neither generation can comprehend.
Old Man Harold, who has been simmering with rage, looks up at one of the massive billboards. The holographic image flickers as a plus-sized black woman struts across the screen in a barely-there swimsuit, her confidence undeniable as she poses for the camera. Following her, a transgender model—a tall, lean figure with bold makeup and an exaggerated pose—struts across the screen, making a statement that the world has changed in ways Harold could have never imagined.
Old Man Harold (gasping in horror, his face turning red):
"What the hell is this?! These… these are models? Is this what they think beauty is now?!"
Next to him, Edith is equally stunned, clutching her handbag tightly as she watches the display.
Edith (in disbelief, her voice shaking):
"This is madness! These people are—this is what the world calls attractive now? What happened to beauty? What happened to… decency?!"
The group collectively stares in horror as the billboard shifts again, this time showing a pregnant, balding soyboy man posing provocatively in lingerie, his stomach visibly swollen as he models the latest in futuristic maternity wear. The sight is too much for them to handle.
Old Man Frank (shouting at no one in particular):
"This is what they call a man now? He’s… pregnant?! This is sick! What kind of world is this?!"
Beryl, always vocal, shakes her head in disbelief as she watches the furries and pregnant men take over the billboards.
Beryl (grumbling, rolling her eyes):
"Okay, this is a whole new level of weird. Pregnant men modeling lingerie? And what’s with the furries? Is this seriously the future of fashion?"
Brad, standing next to her, crosses his arms and stares at the screen, his face a mix of confusion and unease.
Brad (frowning):
"I don’t get it. I thought things would be more progressive, but this? I don’t know, man. This is just… something else."
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