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dxxtruction · 4 years

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eps2.2_init1.asec

Mr.Robot: Season 2 Episode 4

break-down / character analysis / head canons

(Spoilers obviously, but contains stuff up through end of season 4)

A: first scene

I love this scene a lot so I wrote a lot.

(The Memorial Day situation)

Elliot had been pen-testing, doing white-hat hacking for some wall-street gig. (Timeline= ?-May 2014)

He was on some type of project where he needed to hack until it was un-hackable. (Seemed dedicated to his job there)

Elliot is court ordered into anger management with a shrink (Krista) after being fired for destroying the servers. Hs he claims he was locked in there and fell asleep then woke up in a destroyed room. (I still suspect this retelling to be halfway unreliable even though it’s how it’s told at least twice in the show.)

This happened Memorial Day weekend. - night or around 5pm presumably - people wanted to go clubbing etc. and Elliot did not. They couldn’t leave because Elliot was working. (He didn’t care about them enough to let them go, or was just dedicated to his job you choose.)

2. (Job offering)

Elliot is offered to work at all-safe by Angela around this time (Halloween 2014) but it’s been months since he had been working so what was he doing?

A bunch of Grey-hat hacks to get shady people arrested? Seems he may have just finished one when Darlene arrived.

He sees some potential in accepting, because it a Trojan horse (both what you think it is and slang for a backdoor into a server network).

He’s been thinking about it, though we don’t know how long he’s been sitting on this offer. “the right access the right malware.” His plan is to take down Evil Corp (It’s the first time he’s voiced this, and Darlene doesn’t take him entirely serious at first.)

3. (Darlene and Elliot)

Darlene comes on halloween, she seems bothered by something that may have happened that night (if my timeline is right it could be she had a fight with Cisco because they should’ve still been together then) whatever it is Darlene feels she needs Elliots company that night.

This is the first mention of init-1 the code between her and Elliot. He tries to excuse himself when Darlene first answers, with an excuse he’s going out. Darlene picks up that this is half-assed, showing us that despite her being gone she knows her brother well. (It’s little things like these that give hints as to the hosts habits and how much they overlap with MM’s)

“Great Darlene, haven’t seen you in a long time either. I’d love to hang out.” Judging by the fact Elliot is just now telling Darlene he’s been fired we can assume the extent of there communication is pretty much zilch. Darlene has been away from the city for some time, but I’m not sure its ever mentioned how long.

Per tradition, they’re smoking weed while watching the careful massacre of the bourgeoise (1984). (Darlene is a talkative/hungry type of high and Elliot just chills... and maybe has deep philosophical conversations) This movie carries a lot of importance because it becomes symbolic of F-Society. It starts out with the masked man killing the bourgeoisie kids at a new years eve party, but I do wonder if thats the entire plot or not.

Darlene says several things about it:

(A) The movie was made to disprove meritocracy. (showing the separation of class through the absurd ways in which the characters act.)

(B) it was the source of their psychological dysfunction. (Probably because it’s x-rated, I think this line should only be taken as a joke)

In the dream sequence later in the episode Tyrell and Joanna are wearing similar outfits to the brother and sister in the movie (hinting how Elliot probably sees them)

We get clarification on Darlene having Panic attacks, this is something that has come up before. Elliot shows genuine concern for her mental well-being.

“Since when did pretending everything is okay become the all mighty norm?” *proceeds to act like that at the beginning of season 2*

Unlike Elliot, Darlene has a digital social life. Has instagram, and orders off postmates probably lives a normal life of a 23 year old who happens to be really smart and good at stuff. I definitely think all that go thrown in the trash the second f-society became more than just a what-if. By the beginning of season 1 she’s just as off the grid as Elliot is. (But like I just wanna see Darlene live her life again dammit.)

Sidenote: I wonder who this one is. Part of me wants to say this is Elliot the host, but I have my suspicions MM took over after Memorial Day, (or at the least started to front more often…). Though it does leave me asking why there are sudden amnesia barriers in the time leading up to 5/9. Fragment Krista says MM found it important to start messing with Elliots memories and his past and inadvertently this meant forgetting his sister? Was it a subconscious choice? I can’t confirm, but I still do wonder how much of Elliot we really see in flashbacks and how much of it is MM.

4. (“Do you talk to mom?”)

Dialogue: “No. You?” (“Fuck no, she still shits on dad every time I talk to her… I wish I remembered him better.”)

I don’t have a note really, but this moment is fairly awkward given what we know about Ed—d. Not sure how I read Elliot’s face here, but I think he’s probably on the same page as her because-

Elliot has kept the Mr.Robot jacket.

I believe this indicates the host and MM I think are (were) both protected from knowing about what their father did otherwise that shit would be trash. I wonder Does host Elliot also have the view of his father as his only friend? Anyway I definitely see this as a trigger for Robot, like, thats his clothes for one and ed—d is sort of the trauma he holds.

A switch definitely occurs once the mask is on. There’s an awkwardness where Darlene loses her laughter: does she know exactly what his disorder is? I think at the very least she suspects and picks up on these things. She knows that Elliot is forgetful and experiences moments of derealization because she’s dealt with those moments with him. They are siblings after all, and I think this scene is pretty much in here to hone that in.

Mr.Robot starts a whole speech about a plan to take down E-Corp. Elliot (in reference to everyone because I think this is a shared understanding) knows the hard part of this hack will be he fallout (“that’s the key, the follow through.”)

More indicators he’s been really thinking about this for a while (At the very least since Memorial Day so 6 months; at most since his dad got leukemia). He (Mr.Robot) works out that E-corp will try to come back from the hack and there needs to be a way to stop the from happening.

Destroy public confidence = destroy E-Corp (And this is what Darlene’s been shown doing this season so far)

He then takes off the mask and he’s gone quiet (dissociated?) Probably a switch back. (He looks at it in a way that makes me feel like he doesn’t remember putting it on.)

End scene.

B: Darlene’s visit

“The only way to patch a vulnerability is by exposing it first. The flip side is exposing the vulnerability leaves you open for an exploit.” (I believe this line tells us this episodes logic)

(Plan discussion.)

The plan involves losing confidence in e-corp and Elliot has lost confidence in the plan. (though we are aware phase 2 isn’t necessarily just about losing public confidence, Elliot is later shown to not want this either). He sees it as too dangerous to continue on with, and he feels guilty about it given how Gideon was killed, he doesn’t want more people to die.

However, I feel as if he probably already saw into all the vulnerabilities (because he’s like that). Already figuring they could be exposed (hence danger). He sees the best option would be to quit while they can, but Darlene is refusing.

“What did you guys think was going to happen exactly?” - Darlene referring to Elliot as plural. (We love to see it)

Elliot says it wasn’t him who said everything. (Clarification that a switch did happen in scene 1.)

2. (“This is what she does”)

What does darlene do?

Likely: When she wants something but doesn’t give full honesty about it and doesn’t tell Elliot everything. In other words Darlene keeps secrets, and hides the important bothersome details. She sort of beats around the bush. (She does something like this in scene 1 she needs Elliots company but won’t talk about or say why then avoids confrontation of her mental health)

She’s doing it here not so much for her own comfort but the safety of her brother, because she knows he has vulnerabilities, and can be triggered and emotionally unstable. She doesn’t want to upset him because she needs him to help her and he can’t do that in an unstable state.

C: Chess

1. (Meeting with Ray to play chess)

Chess isn’t really the focus here; Ray picks up on a lot of conflict happening internally, and as an exploit to get Elliot to trust him gives the chess board over.

We see how guilt is burdening Elliot, and he is considering owning up to everything he did. Even mentions how it could stop Darlene from doing “crazy shit”. He doesn’t want to lose her either; or lose any more people for that matter. Losing people was not a part of saving the world he signed up for. There’s also guilt in general because of 5/9 because things are turning out bad.

I’m fairly convinced Mr.Robot is incapable of feeling guilt, or is just hiding it behind the 10 layers of clothes. (Though I guess he’s never met Gideon so why should he care?). Anyway he is consistently focused on seeing everything through no matter the costs.

I just find Mr.Robot coming in and saying he’d swan dive off a building for saying anything pretty funny (don’t ask)

He exaggerates a lot of the time but honestly sometimes he is dead serious about putting the body in pain or in life and death scenarios and so he can be fairly destructive so it’s hard to tell if he is joking, but hey MM (and to my hc host) does hard drugs, so...

2. (A game to end all games between us)

“Winner takes all.” (“Of what?”) “Us.”

(Mr.Robot really do be like “I’mma kill you or myself” Bitch I do not think..)

Robot says Elliot “will be absent from knowing. Losing time forever. A deep black void.” Basically he’s gonna throw him in a pit. And honestly it sounds confident, like he probably feels he can take full control since he’s been around the longest along with the core. (But we know he wouldn’t do it even if he could, the guy has a soft spot. Anyway this is like the IDK what number of times Robot be doing a loop around to get a point across to Elliot. He do be playing the long game and I think secretly he loves a good scheme.) (This is what Mr.Robot does.)

Elliot gets visited by Krista in prison and has told her about the game. (Judging by the fact they meet in her ‘office’ and not in the “Kitchen table” setting we can assume they’re allowed to meet in a private location.) (Edit: disregard this bit I forgot about the reveal that he’d just imagining it on like two separate layers to feel safe enough to speak)

“Krista’s wrong annihilation is always the answer” (He’s just as bad honestly, Krista teach this boy constructive ways). He sees annihilation as self improvement, getting rid of parts of yourself that are ugly or unwanted. We create our identity around desire, and that means destroying parts that are undesirable so all thats left is practically a mask of who we are. (I think the tie into Whiterose through this spill about annihilation is a bit cheap but like I understand the choice) Anyhow Elliot’s pretty much agreeing to a western showdown and has no idea it’s all a rouse so Robot can have his point.

4. The chess match

Ed—d apparently taught Elliot his first ways to code through teaching him computer chess. He talks like he really understands all the logic of chess which makes me think he was letting Ray win before.

Mr.Robot definitely feels a bit uncomfortable with being associated with him just a hint in his voice.

Ultimately they find out neither of them can either win or lose but Mr.Robot knew all along that would happen.

“Fighting for the future we want, it isn’t about playing chess is about what we do out there with them.” (peaking out of his ten layers to show he cares about the outside world, while also expressing how they need to get out of prison.)

“I want to be here Elliot, with you.” (God my heart.)

D: Darlene and Cisco’s hook up

Darlene is very paranoid while walking around, she isn’t sure if F-society really are being offed. However in front of F-society she tries to comfort their suspicions.

Cisco comes to Darlene to warn her about getting killed by DA… but he’s the one who ultimately gets offed. (Poetic cinema)

We learn Darlene’s the type to get upset and defiantly end up having sex in the bathroom of a shady dive bar with her on and off again boyfriend (also Cisco why didn’t you pull out before talking about Dark Army again, like dude lol.)

This is definitely the point they start getting back together.

There a message in gold written on the wall that reads “There's an unequal amount of good and bad in most things. The trick is to figure out the ratio and act accordingly. Stay frosty all. Peace.” - its from this tweet: x

Operation Berenstain is first mentioned. I’m in agreement the name references the popular conspiracy about alternate timelines.

E: Leon lays it down

Leon asks Elliot if he wants to even be here, tells him he “has to dream in order to find out the future he’s fighting for.” (My initial though is I’m not sure if this means here as in prison or here as in alive, sorta feels like the latter)

“If you like it” (The future you envision) “then it’s beautiful, if it’s not then you might as well fade the fuck out right now.” (Hard) (definitely means the latter)

I appreciate Leon so much. “Existence could be beautiful or it could be ugly. But thats on you.” He’s really good for Elliot, really no bs, no loop arounds, he just tells it straight. And you know what? He listens to him because he actually goes to bed dreaming about it.

“What is the future? Leon says one needs to understand that before they’re ready to fight for their existence.”

This dream sequence is so impactful, Leon’s influence. I’m not gonna go in on the shots, however we do get to see a really honest view on how Elliot truly sees the people that have been a part of his life in a variety of subtle ways. We see a lot of what he desires or seeks is happiness for everyone around him.

“Will I reconnect for those I care for. Will I reunite with old friends long gone. See the ones I love find true happiness. Maybe this future includes people I never dreamed of getting close to. Even make amends with those I have unfairly wronged. A future that’s not so lonely. A future filled with friends and family. The world I’ve always wanted. And I’d like very much to fight for it.”

I bold texted that last bit because it really hits, and I think its what becomes the foundations for what Elliot ends up saying to Whiterose at the end. Not to pull a Darlene but this show is clearly trying to say how hard it is to find connection in a world of capitalist alienation.

When Leon sort of digs into Elliot and asks if he really does want to die. Elliot’s dream confirms, no, we find out Elliot actually wants to live in order to improve the future, and he wants connections to be there. It’s what he’s always wanted. (Yet he still does the end all match right after this sequence because he’s convinced he’ll win and get that future on his own. Both these boys are very stubborn.)

F: Do you remember the first command you ever taught me?

Init 1.

What Elliot taught Darlene when her computer kept crashing. She says this in scene one, and its what makes Elliot stop making excuses. The same thing happens here, Elliot has no choice but to help. Thats what the code between them means: Drop everything and help me.

What is it? Init 1 is a run level in linux which indicates a single-user/emergency mode. Streamlining the route to only the root, while disconnecting from the network or multitasker. Used for administrative tasks.

Elliot has to stop the FBI from owning f-society and the only way to do that is by using Ray’s computer. (fuck Ray btw). Just to make sure, he asks Darlene is he is really needed by her or if she wants Robot. I think he needed the reassurance that Darlene still cares (and of course she does).

The second part of the title is .Asec - android files preventing corruption from other programs. So the whole title translates to roughly; Help prevent corruption. And a nod to the way of doing it through hacking into the FBI android phone network. (These titles are genius and have so many layers)

G. Side stuff

1. The FBI have found Fun Society LLC through Dom. I love Dom but idk how I feel about her in these early episodes. She is a fairly good detective though. I think Romero’s character being linked to stealing power from the grid is a nod to the novel Invisible Man by Ralph Ellison. Ellison touches on social and intellectual issues faced by the African Americans in the early twentieth century. Also I noticed Dom’s supervisor is there and he’s already seen trying to sway the direction away from uncovering he truth.

2. On that note so is Angela. I think we’re intentionally supposed to be annoyed with her because she’s staying at E-Corp even though she knows she’s being manipulated.

“All of my dreams are coming true right now.” - as the bastard guys are being arrested. Not to say this slapped but it did.

We find out Whiterose and Price are in bed together on this thing and this has something to do with Angela and the plant negotiations in the lawsuit. On the phone Whiterose is fussy about moving her operation to the Congo quickly. (lets not try to reason how this plan of hers all works or what the hell it even is). Things are awkward knowing that Price is Angela’s dad, I can’t tell if he’s actually getting close because he wants to know his daughter or if its purely out of getting her around he and Whiterose’s fingers. (both? both.)

In any case I think Esmail sets up the Angela as a counter vulnerability within the main plot, as she’s being open to exploitation by remaining at E-Corp. (refer to the logic set-up)

3. I don’t care for Joanna’s appearance in this episode but she’s running out of money to pay of this guy who has information that could frame Tyrell for murder and is still seeing this guy she definitely hates or likes him but doesn’t love him. Complicated. She needs the severance package to pay this guy off. Tyrell is another vulnerability but he’s undercover.

H. Head canons I thought of while watching

If Elliot hadn’t opened the door when he did Darlene would’ve picked the locks.

Darlene’s go to is always some type of asian food.

The weed is Elliots but the Bowl is Darlenes.

We see coats on the wall hooks in Elliots room, but I think the likes the cold because its grounding so he usually leaves without one on.

When Robot is high (on weed) he just talks like nonstop.

Not a head canon really but I notice Elliot never uses the backrests in chairs. However Robot becomes the chair he is the chair.

Darlene stopped going to dance classes after the hack, I think Angela has also stopped going.

Leons favorite subjects are philosophy and history

#mr robot #eps2.2_init1.asec #as promised I made it look nice to post #I also added a bunch of stuff because I felt like it #This is not comprehensive by any means lol #if this doesn't appear in the tags ...

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scarlettlawyer · 5 years

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Part five of my Phantoms & Mirages commentary, @renegadewangs‘ fic series.

Part 1 | Part 2 | Part 3 | Part 4

Haunted Specters, Chapter 7

Despite the earlier warning not to touch anything, his attention was drawn to a nearby little statue built out of gears and bolts. It was shaped like a man with a top hat. He prodded it and its arm fell off. That effectively got him to stop touching things.

LOOOL

A few of the guards by the exit had smiled at her- one of them had winked at her.

I WAS LOWKEY DISAPPOINTED WHEN THE INITIAL BREAKOUT SCENE ENDED and there was nothing like this. At the time I was honestly like “Stuff it! I’m just gonna pretend people noticed how cute that nurse was!” But THEN, you actually went back to it (when I assumed the scene wouldn’t be returned to) and made it so that I didn’t even have to headcanon anything. Past me needed just a little patience ;D What else is new?

After all that time she- he- they had spent lying in bed, the exercise was unwanted.

Ohooh! I’d forgotten all about the uses of “they” here. I’m pretty sure I felt kind of annoyed on the first readthrough, like “WAIT SO YOU’RE DEMONSTRATING AWARENESS AND USE OF SINGULAR THEY, AND YET…”

But nah, nah, it’s actually pretty cool what’s going on with the pronouns in this segment and the switching going on. “He” is applied to statements that only apply to the phantom and not the makeshift nurse persona. “She” is employed for the makeshift nurse persona because the phantom is leaning on, relying on that persona, as they reject their sense of self and always feel the need to be someone else. As the nurse, the phantom thinks about “the phantom” in the third person, to help further keep that comfortable distance, I suppose. And “they” is used for statements that are true of both the nurse persona AND the phantom. Therefore, interestingly enough, the “they” is technically being applied in both a singular and plural manner - simultaneously.

And also, this pronoun-switching fun and the distinctions that are subsequently made would simply not exist if a consistent singular they was used instead. The he/she/they all serve an important and relevant purpose. On the first readthrough, at least during the first phantom POV breakout scene, I was irritated by the switch to she/her and the references between he & she. I found it unnecessary and tedious when “they” would make everything go so much more smoothly. But I fully realise now that it would have been a lost opportunity of sorts for the reasons mentioned above (and willingly embrace it for other reasons too). I had also very much underestimated the level of the phantom’s investment in roles and how much he was “getting into” the role too, I suppose.

After all, at the end of this chapter, the phantom has absolutely no one to perform for or put on an act for, and yet it specifically says they will very much remain as the nurse until a different disguise/persona can be donned (although I guess it’s also a case of “remain in character so you’re already in character when you encounter anyone”). But it’s also the case of, just like when they were disguised as Bobby, they were compelled to act as Bobby. They’re remaining in-character as the nurse so that they don’t have to be themself. And so that extends to pronouns too, to fully complete it.

Haunted Specters, Chapter 8

The situation felt surreal. As if Simon were caught in some sort of lucid dream. To be sitting around a table with Fulbright and the Phantom, plotting out what could technically be considered a crime…

I keep trying to put into words just how WILD the situation our three main characters are in is, but Simon keeps beating me to it.

If someone had told him of this situation earlier on in the year, he would’ve laughed and called them stark raving mad.

ME BUT IF SOMEONE TOLD ME THIS IS WHAT FIC 2 WAS GONNA BE LIKE

Bobby Fulbright, Simon Blackquill and the phantom sharing an apartment together? Having a meal together?

What do you mean this isn’t a Roommates Domestic AU? What do you MEAN this is “canon compliant”?! You try explaining this to someone who’s played Dual Destinies and Bobby Fulbright’s presence – his being alive – would be confusing enough and require so much explaining. Let alone EVERYTHING ELSE. And yet.

It wasn’t like Dissociative Identity Disorder, because no matter how invested he became in his role, he still retained a sense of self that could be brought back at will. He adopted roles willingly and studied his subject beforehand- perhaps neurotically so.

Yeah, I was glad for this being brought up but I was focused mainly on the level of control that was had – of course, one of the major defining differences is that the phantom can actively choose to adopt and shed a persona, as opposed to having less control over it or slipping more inadvertently into a different identity like someone with DID. But I was still wondering about the level of self-deception that it involved on the phantom’s part at the time (post-fall), as discussed in my previous post. So I knew it was not DID and it was very, very different from DID, but I was still inclined towards treating Sam like another personality at the time sort of in the same sense you might treat different identities that can front in someone with DID… The key difference being that the phantom has full control over when Sam is present and still knows everything that’s going on even when Sam is in place. It gets kinda confusing to think about XD. You and your ridiculously good acting skills, phantom!! I also knew of course that Sam was more “fake” than the different identities of someone with DID. But it seems that I really didn’t treat him as fake enough. But just like it is for Bobby and Simon, treating Sam as distinct in that manner just made things easier to understand, easier to process.

The characters have been thrust into an odd sort of temporary mundanity in a domestic sense. It is that very mundanity which makes the situation so fascinating. The three characters are sectioned off from direct contact with the rest of the Ace Attorney universe, from other Ace Attorney characters, in their own special kind of liminal space. “Sam” is the only buffer in place separating Bobby and Simon from the phantom. It’s in their best interest to make Sam seem more real… I think… To an extent they have their own limited amounts of self-deception going on there in that regard. Without Sam, things would all fall apart way too easily, it would be all too easy for all hell to break loose, when it’s a struggle to keep the peace as it is. A kind of welcome reprieve. So all THREE characters, the phantom included, hold up and treat Sam as a separate individual. It’s beneficial to all of them, really. But, it kinda also helps the reader out too as they’re sitting there struggling to process this amazing turn of events. Helps the reader make some sense of Bobby’s, and then Simon’s cooperation.

Also sometimes it just felt “too good to be true” for me as well so it was like… ah, Sam. The author must want us to be focusing on him, and not our darling phantom, right? :P

The Phantom was truly devoted to being anyone who wasn’t his ‘true self’, which he claimed he didn’t have. However, Simon had learned that such claims were unsubstantial.

And this is just the beginning… I didn’t know it was coming, I didn’t expect it was coming. But it’s coming. I failed to notice just what this tiny thread was – things were going to get unravelled all the way, following this thread from beginning to end, fully revealing the phantom. Hm! This undercurrent was already firing up but I’d failed to take notice.

The scene with phantom tossing the gun over to Bobby is just, whoa. The whole dynamic of “character A tosses character B a gun and begs character B to shoot them” is really something in and of itself. But “character B is committed to justice and couldn’t do that” meanwhile character A is the phantom, a supposed enemy who is super hard to capture + kill…! Damn. It’s a gripping dynamic. It’s powerful. So many different forces at play, going up against each other.

Haunted Specters, Chapter 9

“Sam Specter does not need to prepare for burglary. The Phantom does.”

“And here I’d assumed you loathed being the person known as the Phantom.”

YEAH this kinda made me a lil “?” on a first readthrough. Simon’s reply most likely means “I’d assumed you loathed [not being in character as someone else and being forced to be “yourself”]” as opposed to “I’d assumed you loathed [being referred to as “the phantom”]”. (Or maybe it’s both?). It surprised me that the phantom would openly refer to “himself” as the phantom when not in-character…! This moniker, after all, was not chosen by him. It was a label slapped on him by other people, and he had absolutely no say in the matter. Well, I was so entrenched in a common characterisation of the phantom basically rejecting this label, or at the very least not being a fan, as it puts a label on him. The he that he claims does not exist. He’s most likely just humouring Simon here using the label that Simon uses and is familiar with, however, as opposed to having internalised it. But I was still surprised because the characterisations of the phantom that I’m accustomed to usually have them explicitly rejecting this label, to the extent that they would not even use it in this sort of context. But then I came to realise – that characterisation is not necessarily the “canon” one. The phantom is lacking emotions, so they would not necessarily have strong feelings like this, about something as simple as a moniker. Just as they do here, they can easily dodge the label and pretend it in fact applies to no one. A non-person. A non-person that they don’t care about. I realise that this interpretation is also valid.

He remembered Fulbright saying that the man had been in pain for eight months already and wondered just how fierce it was. Wondered whether this was karma’s way of repaying the Phantom for all his crimes. He could run from his past life, his emotions and the consequences of his actions, but not physical pain.

This is kind of, well, delicious, really. Karma actually managing to find a way, for a man so indifferent to everything… :P In the only real way the message can be communicated across. I approve.

Simon punched him again. And again. Desperate for something more than blank stares- anything that was genuine sorrow. Genuine regret for all the Phantom’s wrongdoings. Even genuine anger would do. Anything real and substantial.

Well damn. Doesn’t this just have another layer to it on a second readthrough?!

He initiates violence out of anger. But then. But then, the key motivator is prompting a reaction. The… The same base motivation of the other instance once you strip everything else away, yet under such VASTLY different circumstances. I’d also misremembered this as Simon only punching him once. But no. No. The text initiates the parallel ever more closely with multiple blows. GOSH.

Haunted Specters, Chapter 10

“What did he say?” Simon tried again, more forceful this time. “… He said the walls in this apartment aren’t as well insulated as we’d like.”

AMAZING.

Oh goodness…

THEY’RE IN. THE PHANTOM’S APARTMENT I am yelling. THE PHANTOM feels the need to intervene.

AND HE DOES SO AS SAM.

PERHAPS because he does not wish to do so as himself.

I DON’T THINK HE WAS ALREADY SAM PRIOR TO THIS POINT??? It’s implied that when locked in the room = the phantom, ventures outside of the room = oftentimes Sam. SO LIKE??? HE CHOSE TO BE SAM TO- that is the story I’m sticking with rn because that is so funny to me. And he does come out and be Sam after that cause I guess it’s “well I already switched to Sam so I Might As Well come out and be Sam for a while.”

It was the Phantom hidden behind that harmless façade- he knew it was the Phantom- but even so, he felt as if he were looking at a completely different person. Perhaps, in a way, it was a completely different person.

THIS IS WHAT I MEAN… The narrative putting forth the proposition that perhaps “Sam Specter” does have some sort of claim to personhood.

And then Simon apologises to Sam. And it just, feels like such an important turning point. Sam is a slippery slope. FOR ALL OF US.

It’s also kinda like, Simon knowingly playing along. For the sake of keeping up appearances. Keeping the peace. For the greater good. But does it run any deeper than that? Even the thought of apologising to a mere façade that the phantom is clearly behind is… hmm! It’s a very elaborate act for everyone, kind of.

Either way, Sam seemed content with whatever words Bobby had uttered. He smiled and hung his head for a moment, then nodded at Simon. Apology accepted.

IT’S FAKE REACTION BUT LIKE… THE NARRATIVE POSITIONING… hm!

Sam would join them for dinner and clean up after them, only to disappear into the bedroom once more.

EVEN THOUGH SIMON HAD KINDA SETTLED DOWN AT THIS POINT I WAS STILL BUSY REELING AT THIS ENTIRE SITUATION/DYNAMIC CHANGE THOUGH.

The. The PHANTOM (in a persona) would join them for dinner and clean up after them. (THIS SENTENCE IS JUST SO CASUAL!!! AND I’M LIKE! NO HOLD UP I’M STILL REELING LOL).

“Right!” There was a moment of silence, then the Phantom turned his head to face Bobby, shooting him a blank stare. A few seconds passed before the man seemed to be hit by a sudden realization. “O-oh! Right! The security systems! I’m on it!”

LOL this is just… so great. Well-timed comedic moments. GOD. When these three characters get together you expect someone to die. And yet we get to reap some comedy from this. I LOVE it.

Haunted Specters, Chapter 11

Every so often, Bobby would start tinkering with the watch again, his eyebrows contracting and the corners of his mouth twitching as information flashed along the display of the sunglasses.

CAN I JUST SAY, that it’s kind of amazing how you like… take imagery explicitly associated with the phantom and ONLY the phantom, and casually apply it to Bobby, cheerfully mixing up the symbolism? Obviously, to those who have played Dual Destinies, the image of “Bobby” having data rapidly scroll past glasses that he is wearing is an association ONLY attached to the phantom. If included in fanart, people will immediately know that this is supposed to depict the phantom in disguise, and not the real Bobby Fulbright. And YET, in your fic, here is the real Bobby Fulbright doing that EXACT same thing! Likewise, thanks to Simon splitting the phantom’s glasses apart during the Turnabout for Tomorrow trial when causing the gash in the phantom’s mask, “Bobby” without glasses is also very phantom-symbolism. Of course, not AS associated with the phantom as the gash in the mask, but the gash+lack of glasses is often used to tip people off. However! Right at the very start of this series it’s implied that the glasses are the phantom’s and the phantom’s alone, and that Bobby was not actually in the habit of wearing sunglasses at all! You go “wait a minute. It’s the other way around. If he’s got glasses, it’s the phantom! The real Bobby Fulbright didn’t even wear those!” That’s pretty damn cool! You also have the amusing reversal during Chasing Phantoms when Bobby impersonates the phantom. Even if it wasn’t the phantom he was specifically impersonating, it goes without saying that impersonation is something attached to the phantom’s character, not Bobby’s, yet it is something Bobby does at that point in the fic. And then, you know, there’s that scene much later on in the next fic where Bobby uses the Jolt of Justice on the phantom. I think I’m comfortable in saying that most of the fandom agrees that the real Bobby Fulbright would not have electrocuted Simon in court like the phantom did and that this was a specifically phantom act. But your fic has the REAL Bobby Fulbright use it, and the narrative even comments on the shocking (pun not intended) nature of it, where Simon muses that he “never thought he’d see the day” when the real Bobby used it. It’s just, so cool, and it’s also a really interesting and meta way of “striking back”, so to speak. After all, we NEVER met the real Bobby in canon. Since we ONLY ever get to meet the phantom, on a meta level, the phantom has truly stolen so much from him. His appearance, for most fanart. I’ve seen many people incorrectly use the name “Bobby Fulbright” as shorthand for “phantom”. The two characters get ridiculously blurred together since the phantom does not have enough to distinguish themself and was Bobby for the entire game. The phantom does not have their own tumblr tag, because “the phantom” is way too vague and applies to too many fandoms, so people throw it into “#Bobby Fulbright” and usually call it a day. What else can they do, really? I’ve been guilty of that myself I’m sure. Some fanart is quite ambiguous whether it depicts Bobby or the phantom. In much of fandom and in the eyes of players, the phantom has stolen much of explicitly Bobby symbolism for themself. But in your series, Bobby Fulbright gets to strike back! He gets to steal the phantom’s symbolism! He takes phantom imagery and claims it as his own, at least temporarily! It’s one of those things that gives him “agency” at least on a meta level that I’m impressed with. It’s also a great way of striking back at people like me, specifically, who tended to ignore Bobby in favour of the phantom. But I am not “forced” to acknowledge Bobby, because in this series it is not a zero-sum game. Rather, I am more than happy to do so. He’s a great character!

The conversation turned more heated. The Phantom- or was it the guard after all?- was shouting. The other voice seemed more calm. Collected. It held a forceful tone. There was a loud slamming sound, followed by more yelling.

Oh my god.. This is. So much on second readthrough. This is the child losing their temper and arguing back against their father. And Lex Sr knows. He knows that is his son. “more calm. Collected. It held a forceful tone.” Oh my GOOOSH this description… Like a SCOLDING. “I am the parent. YOU are the child! Do NOT argue back against me!” THAT’S WHAT THIS BRINGS TO MIND… AND THAT’S??? Probably how Lex Sr may treat it in his mind to an extent

AND I ALSO LOVE THE AMBIGUITY WHERE SIMON CAN’T EVEN KNOW IF THAT’S THE PHANTOM OR NOT, gosh.

“You had no right to take it! You had no right!”

I could not… BELIEVE this. At this point it’s implied, and later on we do know that this statement is absolutely right. And I think my main disbelief over this line stemmed from later if the scene is revisited(?), but I’m just gonna comment on it here.

Even if the phantom is right to say this, is right to be angry (!!!), the fact that it’s the phantom saying it absolutely floors me. It’s shocking and SURPRISING that the phantom could even UNDERSTAND, internally, a concept such as “rights”. And the thing is, he probably DIDN’T prior to this. It’s only when something happens to him, personally, when he is wronged, personally, that he understands.

It is the absolute HEIGHT of hypocrisy, to an incredible extent. The phantom had no right to kill all the people he has killed. He had no right to steal their identities. But he DID. And now, now, he claims “you had no right”?! I have no words. The phantom gets to just go around and wrong as many people as he wants, but the moment someone wrongs him he’s suddenly all, “wait, you can’t do that! That’s wrong!”

LOVE how rich that is coming from him.

“Shut up! Just shut up!”

A N G E R

Honestly luv seeing him just lose it.

“No! I… I’m not upset! I…”

You know what’s even better than seeing the phantom get legit angry for a moment? Seeing the phantom immediately denying it/in denial & confusion over that very anger and falling over himself internally all like “wait was I just angry??? CAN’T be. I am the Logic Man”. This absolute MESS of a man, I tell you, defying his own logic and being DEEPLY confused about himself whenever that happens.

“You’re going back to your cell until your memories return.” “No, I won’t! I won’t go back there!”

“Go to your room until you calm down and learn to treat your own father with some RESPECT.”

Teenage rebel son: “NO, I WON’T! SCREW YOU, DAD!”

The relationship between Luster and the Phantom was much more convoluted than Simon had anticipated. Far more intricate.

Yeah Simon, could you hold onto that thought? It’s uh. It’s just a little bit more convoluted than you think, even. :D

Man, things sure do… progress, huh, as all this is going on. You have Simon going in to search for the phantom, then Bobby… and when Bobby goes, Simon ultimately doesn’t stop him. It’s, aaaah.

Okay, what’s ALSO really great is that, with the Sequel Hook that Chasing Phantoms throws us, and then the timeskip that Haunted Specters begins with, one of the pressing questions on my mind is like “whoaaaa! Wonder what the phantom’s been up to all this time! The possibilities are practically endless! He must have been up to so much behind the scenes!” and then we get the answer to that question and it’s basically like… Nothing. He did basically nothing in all that time. Dumb loser got himself caught in a cell for several months. And that’s basically it. GOOD WORK PHANTOM, A+ ELITE SPY RIGHT THERE.

So, towards the end of the chapter when the phantom rushes back inside and there’s blood, that it was the phantom’s blood was my first assumption. But, of course, it’s the last thing on Simon’s mind. Because Simon still has him so pinned as a treacherous murderer. Having him be confronted with the fact that it’s actually the phantom who is injured, when he was so forceful and convinced otherwise (and the fact of it being the phantom’s blood didn’t even cross his mind!) is a nice touch. It’s a moment that sort of… further renders the perception of the phantom as vulnerable as opposed to emotionless killer. This vulnerability is something that Simon is forced to see and accept, even when he wants to believe and continue to think otherwise.

Haunted Specters, Chapter 12

What was worse- so much worse than the fact that the Phantom had gotten himself injured- was that Simon caught himself worrying. Only for a few split seconds, only in the spur of the moment. He was actually worried about that crazy bastard and the realization was enough to force him right back into a state of anger.

Oh heckin’ YES. The seed’s planted. There’s no going back now, Simon. Muahahaha!

The Phantom, who seemed to be growing tired of the one-handed fiddling, ripped all the buttons clean off his shirt with one quick vertical swiping motion. They scattered along the tiled floor and disappeared into various nooks and crannies. Simon could do nothing but watch with raised eyebrows.

TH SDKJNSDKLNSD VISUALISING THIS IS SO FUNNY

“… Should you not save that for a more practical use?” Simon questioned. “I assure you, this is quite practical.”

I AM DYING WHAT. SO IS HE LIKE… TRYING TO BLUNT PAIN/”RELAX” HIMSELF TO REMOVE A GODDAMN BULLET??? BUT UHHH. WHAt

Well, all those scars are a great reminder that the phantom has led one hell of a crazy life!

Oh. Oh my goodness. And now… Now we have the flashback. To the phantom’s earliest memory.

^Me right after the earliest-memory flashback, with really no idea just what was in store.

Okay. This flashback.

It’s raw. It’s brutal. It’s child abuse, right there on the screen. You really don’t hold back.

And what struck me was… If the phantom was born with their little-to-no-emotions psychological makeup, this really is pretty much how I’d imagine things to have been when they were small. …Ableist parents. If they’d had a “normal” home life and/or supportive parents/family, it’s highly unlikely they would have grown up to become the phantom in the first place, after all.

“It’s okay to cry in front of mommy. Go on, just… Just cry. Just once. Please. For mommy.”

This line is very interesting, and adds further nuance. It shows things aren’t clear cut, that in spite of how much the mother clearly cares, how much she wants to protect her son, and how much she cannot abide by the abuse, as understanding as she tries to be… And as opposite her treatment of her son is compared to the father’s treatment of his son… It is a clear hint that she still sees her son as abnormal, that there’s something fundamentally wrong with him that she wants to stop. She desperately wants her son to be healthy and “normal”. This attitude is clearly motivated by concern… She wants her son to be okay. She still loves her son very much. But her attitude belies a possible fear that maybe there is a little bit more truth in her partner’s words than she wants to acknowledge. It’s why she’s desperate to get him to cry. She wants him to change. She wants him to be different than he is. She’s worried. She’s clearly not happy with the way her son is. She wants her son to show distress. She wants her son to be distressed. For HER sake. Her prompts here… are still somewhat selfishly motivated, however driven by concern that they MIGHT be. That is what this particular phrasing very much implies.

Fundamentally, she does not wholly accept her son for who he is.

Throughout the whole flashback she is defending him, she is trying to protect him, only for us to see, at the very end of the flashback, that even she, deep down, is not fully accepting. I love the nuance.

Obviously, the flashback is only a tiny window, and there’s only so much it can tell us. And it presents the reader only with an extreme, specific circumstance to extrapolate from, but if we are going off of this and this alone to base things on… That was my extrapolation. Based on the limited information we are provided with here.

Because of course… There are many different conditions that children are born with in real life. Some of them are blessed with loving, understanding parents. Others aren’t. There are plenty of conditions that make children appear to be “abnormal” INCLUDING conditions which may not make them seem very expressive or expressive in different ways that are not considered normal. And this situation… is like that, really.

The phantom has suffered plenty in this series prior to this point. You might feel kinda bad for him at times, maybe! But it’s always been with a grain of salt, hasn’t it? “HE is the villain, HE is awful, HE brought this on himself, HE has ruined lives and therefore I don’t have to feel TOO bad!”

For the first time in the entire series, we are presented with a version of the phantom that has genuinely done nothing wrong. The narrative DEMANDS us to feel bad for him in this instance. We, at the very least, feel unambiguously bad for this child getting abused. The extent to which we choose to extend this “feeling bad” to the current version of the phantom is up for some debate.

It’s kinda like. You do feel bad for the current version of the phantom – it really sucks that this happened to him. It’s also something that happened prior to everything the phantom has done - the lives he has taken and ruined. So there’s obviously still that sense of “that really sucks, but you still suck, too.” And of course, it’s abundantly clear that this instance of childhood abuse in no way lessens the phantom’s crimes or how much he happens to suck right now. That doesn’t mean we can’t feel bad for him that this happened to him in his youth. And we absolutely feel bad for that child, who did nothing wrong, yet suffered a beating.

In this fic, prior to this point… From the start we are consistently shown imagery that largely contradicts our conception of the phantom’s character and place in the narrative. The phantom gets shown working together with Bobby for the two to escape. Suddenly, he is living with and working together with both Bobby AND Simon. The narrative invites him to come in and join them to become part of the central “trio”. The phantom is shown to be suffering, in pain, weak. It is such a far cry from the phantom from before, who was positioned as a powerful terrifying figure, the inflicter of suffering. The phantom did not get any POV segments until the very, very end of Chasing Phantoms. Here, in this fic, those POV segments are abundant. He has well and truly changed over from being an antagonist to protagonist.

And now, after all of these steps taken towards this point, the narrative takes it even further. Now the text is repositioning the phantom as – implanting that image in our minds – of the small, innocent child with a mental condition. The image of the phantom from the prior fic has already been largely torn down, but now it gets overturned even more as we are confronted with such opposing imagery.

But wait, there’s MORE. The narrative isn’t even done yet. It’s not even finished. Not quite yet.

Haunted Specters, Chapter 13.

“Fulbright. It may be that my ears are playing tricks on me, yet for a moment there, it sounded as if you hold genuine worry for that man.” Bobby didn’t deny the accusation. He didn’t even attempt to deny it. He only lowered his forehead to rest it against his knees, the corners of his lips twitching into some sort of wry grin. “… Don’t you?”

HE’S OWNING IT. And additionally he’s just like. Come on Simon. Don’t you? And this feels earned, given everything that’s happened. GOSH, IT FEELS SO EARNED. Because the readers aren’t the only ones who have been constantly confronted with a very different perspective/imagery of the phantom. These two protagonists have too!!! They are succumbing to the same fate as the reader – a turnabout of perspectives!

AND THEN. AND THEN. HERE IT IS EVERYONE.

One person supporting him. One person doubting him. It was familiar.

When I read this, I just… It was like my jaw just dropped. As it all… fell into place. As the realisation just HIT me. As I read on, and the narrative, in a rather justified self-satisfied manner, casually pointed out the parallels, built up over so many chapters… All of the little things. There were so many tiny things, choices that just didn’t seem to make sense at the time, didn’t seem to add up, and now… All I could do was sit there, stunned, as direct attention was drawn to this. The long-term game that the narrative had been playing.

In awe, I scrambled back to re-read over bits of past chapters at the time only to find that YES, the narrative, from Simon’s POV, had even actually referred to Bobby’s behaviour towards the phantom as “mothering over him”…

All I could do was shake my head ruefully and go “…okay, you win.”

As I’ve implied/stated throughout these commentaries, I went into this series weirdly harsh and reserved towards it for various reasons. And continued to be for the most part even WITHOUT any real justifiable reason for it. Even when my scepticism was being constantly broken down and shown to be misplaced. But the thing is, I’m never usually so harsh on other fics?

If you imagine it as a play showing in a theatre, I usually just go in and sit down and watch it like a normal damn person. Why on earth was I so… sceptical of this series??? It’s like the equivalent of me strolling in, standing at the back of the theatre with my arms crossed and internally going, “Well, I’ll give this a chance, I GUESS. Show me what you’ve got. But be mindful that I’ve seen VERY good performances in my time, however.” (And then, you know, you confidently went right on ahead and practically put on what is among the very best performances I’ve ever seen.)

But the simple fact of the matter was… Like, I’ve already gone over my reasons for feeling a phantom “disconnect” during the first fic. Reasons that all turned out in retrospect to be entirely unfounded. With this in mind, there’s nothing whatsoever wrong with Chasing Phantoms. The phantom it gives us, the phantom content it gives us, is all superb and on-par with the consistently good characterisation provided by the rest of the series. I just had the misfortune of letting my own misconceptions get the better of me at the time. Were it not for that, I would have been able to enjoy the phantom aspects of the 1st fic thoroughly on the first readthrough. Only got myself to blame!

But this fic? As you know, going into it I was already invested – it already held my full attention. And yet I’d still held on to some amount of completely unfair reservation that I do not, and have not subjected other fics to. It was wild, as if I was setting this absurdly high bar when it came to expectations that no other fic had been subjected to by me. But you were still more than ready to rise to that challenge. You took my already high expectations and rose above them, constantly outdoing yourself as the series continued to progress after this point.

Perhaps because I was already standing at the back of the theatre, I had remained there out of habit even as all my doubts were waved off. This meant that even when the fic clearly established it was very much on-par with others I had thoroughly enjoyed with no issues, WAY prior to this chapter, to this point of the story, I was still acting more reserved towards your fic (like a total SNOB) compared to others even when the quality/enjoyment was equal! I was blinded at the time from recognising just how on-par it was. I really don’t think I’m usually like that. It’s like I just happened to pick your series to “discriminate” against, one that could thoroughly show me just how wrong I was. It’s an important lesson I need to keep in mind, because taking this approach to things runs the risk of being unable to actually enjoy them, when if I’d just relaxed, I would have enjoyed it just fine. This risk did not come to fruition, because it got shut down.

All I could do was marvel at the brilliance of the writing, the set-up leading to this… It was the kick I needed to fully relax & sit the hell down to enjoy the show to its fullest potential. That I’d done nothing but stand around like a fool and underestimate, so it was time for me to see just what this series was gonna do. It had my full support. It was the point I truly realised, whoa, this is superb, and all other pretences fell away.

And that’s why all I could do was say to myself, you win, Author. You win. Well-played. I will do my best not to ever doubt you again. I’m sorry I ever doubted you.

All I can say is, the fact that I DID have so much reservation and doubt is what made the reading journey all the more wild and fun for me. I expected so little, and received so much… And that’s why I’ve been so open & honest about how unfairly I treated this series going into it. So that I can show just how much it contrasted with the reality of how great it actually is, how much it contrasted with my feelings later on.

...Aaand I’m cutting this post off here ‘cause of how long it is. Anything else I’ve to say connected to this chapter and beyond will be for the next post!

#long post #posts n RUNS #so much..

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aconboyfiction2019 · 4 years

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Moving Image and Fiction - Initial thoughts on Monsters

17/01/2020

The Definitions of both fiction and Reality

The current module is on the differences between fiction and reality, and how we perceive both definitions and meanings. To get an idea on what I plan to do, I think it would be a good idea to look up the definitions of “fiction” and “reality”.

Fiction

noun

noun: fiction; plural noun: fictions

literature in the form of prose, especially novels, that describes imaginary events and people.

something that is invented or untrue.

"they were supposed to be keeping up the fiction that they were happily married"

https://www.google.com/search?client=firefox-b-d&q=fiction+meaning

1a : something invented by the imagination or feigned specifically : an invented story … I'd found out that the story of the ailing son was pure fiction. — Andrew A. Rooney

b : fictitious literature (such as novels or short stories) was renowned as a writer of fiction

c : a work of fiction especially : novel Her latest work is a fiction set during the Civil War.

2a : an assumption of a possibility as a fact irrespective of the question of its truth a legal fiction

b : a useful illusion or pretense it was only a fiction of independence his mother gave him; he was almost totally under her power— G. A. Wagner

3 : the action of feigning or of creating with the imagination She engaged in fiction to escape painful realities.

https://www.merriam-webster.com/dictionary/fiction

Reality

Reality: noun

Plural: realities

Definition of reality

1 : the quality or state of being real

2a(1) : a real event, entity, or state of affairs his dream became a reality

(2) : the totality of real things and events trying to escape from reality

b : something that is neither derivative nor dependent but exists necessarily

3 : television programming that features videos of actual occurrences (such as a police chase, stunt, or natural disaster) —often used attributivelyreality TV

in reality

: in actual fact

https://www.merriam-webster.com/dictionary/reality

What fiction and reality mean to me

My definition of fiction is the creation of stories and how people might embellish the truth with it. Reality means how life is objectively rather than subjectively.

There are many examples of films that showcase real life events through fictional elements for symbolism or emotional provocation. Even the truest documentary such as Amy (Asif Kapadia, 2015) have elements such as non-diegetic music and narration to heighten audience reactions more than showing a fully realistic portrayal.

On Thursday the 13th this month, a new teacher, while introducing us to the module, talked about archetypal stories that are passed down through the ages and retold in varies ways, such as fairy tales: one of these examples is Little Red Riding Hood. It was originally written to warn of men who take advantage of young, innocent women, written by the Brothers Grimm. The evil man is changed into a wolf and the happy ending of the woodcutter killing the wolf and saving the grandmother and Red Riding Hood has only been recently added (the original tale ended with them devoured). Stories that most people recognise (such as the aforementioned Little Red Riding Hood) are adapted in various ways so that the stories follow the same beats as the original with some twists thrown in, a good example being Into The Woods.

This is also the same with adaptations and pieces of media that switch around details and deconstruct fairy tale tropes and others. I can remember such an example being Mr Wolf’s Pancakes, where the Big “Bad” Wolf is casted as the hero of the story as is bullied by various characters that are typically casted as good in other stories such as the Three Pigs, Little Red Riding Hood and the Gingerbread Man. The adaptation switches around the perspectives in a way that might give the reader a new look on previous tales.

How Reality and Fiction are used in my Project

Fiction is often used to embellish reality, and some true stories inspire retellings that have not-entirely realistic settings. Our teacher told us that this is not a bad thing at all as fictional details can be symbolic from other people’s perspectives.

In Monsters (the name), the protagonist is tormented and eventually “murdered” by “monsters” that symbolically may or may not represent people she knows, including her parents. It is also ambiguous whether the events of the film are a repeated nightmare that is about to begin again at the end, or she is waking up from a nightmare to die for real. The main character is implied to see the “monsters” because it is too awful for her to see the people that the creatures really represent.

Inspirations taken from my previous two films are how perspectives from different people have their inner reality and fiction affected by their identities and perception of place.

19/02/20

Yesterday, I told my class and teacher about my ideas and it was positively encouraged.

The plot is Anna Keswick, a frightened teenage girl waking from one nightmare into another as she struggles to go back to sleep and goes down to the basement when she fails. There she gets attacked by monsters and a news report confirm that she was killed by them. Just as the reporter is about to reveal the identity of the “monsters” and what relation they have to Anna, the girl wakes up terrified again and the ending is another torturous cycle. The subtext I am implying is that the “monsters” are implied to be people Anna knows such as her family, and Anna is imagining her family as monsters because it is too unbearable to know that her family are abusive to her. It is related to fiction because Anna is trying to cope with reality with fictionalised versions of her murderers.

Below are ideas for the film - these may or may not change:

· I am considering making it a serious parody of film noir where there is an American detective-style narration making darkly comedic quips and, poetic and melancholy story telling (I am now less positive about this idea).

· Instead of a ticking clock, I could have an odd and unnerving soundtrack consisting of something unorthodox such as construction noises (as in the film Eraserhead). The effect was unnerving in the original film and I plan to have it do so in my film. The reason would be because the Eraserhead has nothing to do with building and the pitching on the soundscape is done in a manner that is spooky.

· Today, while our teacher was showing us some avant-garde films, he showed us a transparency technique called trick photography where transparent images are placed together to look like they are together such as the clip showing rain pouring over Paris and then a paper boat “sailing”: they were transparent and thus were optical illusions.

23/02/20 Thought out plans

In preparation for my film, I have decided to do the following:

· Heavily edit the script so that the dialogue comes off as haunting and tragic. I have eventually decided against the Noir-style narration, because while it would work for the story technically, it would not go with the mood of the story of the fear and hopelessness of a young person’s life being torturous due to circumstances outside of her control.

· To make the contrast of reality and fiction in my film, the effects are going to be combined with live action filming. As well as using Premiere, I also use Adobe After Effects for the first time.

· For inspiration, I will look at the following media sources: the opening from Good Omens for its fantastical elements, Don’t Look Now for its twist at the end I will not spoil and general haunting atmosphere and, The Picnic At Hanging Rock for its mystery and shared trope of their mysteries never getting closure (In TPAHR, we never find out what happened to the missing girls and in my film, we never find out the true identities of the monsters killing Anna).

· For a stronger impact in the voice acting, I will use Cubase to distort my voice and add it to the track on Premiere. The tracks on Premiere and Cubase are actually separate and nothing can be done to change the ones from Cubase once they are on Premiere.

24/02/20 Thoughts On:

Don’t Look Now

Recently I watched Don’t Look Now to take inspiration from it. The film was hauntingly terrifying in an eerie way with gore only placed at the end. Even the scene with Christine drowning was not explicit and relied on built-up tension when nothing happens but the audience knows bad event will happen. Most of the time the film only used diegetic sounds within scenes with Synths placed during dramatic moments: most of the time it felt more like a causal holiday film like Nuts In May!

The colour red was a common motif for death because of the drowned girl wearing a red Macintosh: red is featured in a scene when there is going to be trouble. The twist of John, the father being psychic and foreseeing his own death (particularly when he sees his wife and the two sisters on a boat, even though his wife went back home to check on their son, who was injured) to be an interesting twist. I also aim to use both sound and visual motifs.

Throughout the film, the two parents and the audience sees a small figure in a red Macintosh that seems to be Christine but turns out to be a serial killer who kills the father when he goes after her: their hopeful fiction was destroyed by a terrifying reality. The same goes for Venice: in real life, it is busy and sunny, while in this work of fiction set out the holiday period and with a serial killer on the loose, it is all dark alleyways and canals with possible danger around every corner.

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sleepymarmot · 6 years

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Twilight Mirage liveblog 3/5 (episodes 28-54)

28-35

I'm very excited for a series of solo episodes!

Don't know how I feel about the new Grand Magnificent tbh… This concept feels more conventional than the original one, and I'm worried the aspects of his character I found interesting won't be in focus anymore.

I had my problems with the previous system and how it flattened down emotions into inaccurate categories, but so far I'm not excited about the switch… Blades in the Dark's mechanics were kinda hard for me to follow by ear, and being unable to keep track of the gameplay by myself is unpleasant; and the new classes sound really dull compared to the ones in The Veil.

Iota's speech is strange… It sounds more like a simple copy-paste of real-life colonialism than the invasion described previously in the story. “They will ask you to give them a name like ours, they will ask to touch your bone” etc sounds nothing like Independence and its followers' modus operandi was, and, judging by the future tense, hasn't actually happened with the present time settlers yet – so where did that come from, in-universe? In fact, shouldn't her people have a relatively positive outlook on non-hostile outsiders, since they brought on the planet's golden age? Hopefully the following episodes will elaborate on this, because I've made peace with needing lore or plot points explained to me several times, but I need more clarity on big ideological question like this.

Gig is such a Chaotic Good!!

Buying sex is legal, normal & common in the utopia and Signet is a regular customer?! Fucking seriously?! I couldn't even focus on the episode for the next half hour and eventually turned it off because my thoughts kept returning to this and I kept seething with anger. Way to ruin the episode after I was so moved and intrigued by the intro…

They've been pretty careful with past spoilers this season, here's I think the first example: talking at length about the Hitchcocks, plural. Sure, it was only an episode three spoiler, but it was such a good reveal!

So, who actually printed out the ancient Quire people? Was it a political move from one of the sides?

No Austin you definitely have not mentioned Earth building a giant Dyson spehere around themselves!!! What the fuck :D

Everyone got a nice inconsequential vignette and Fourteen's scene had actual high stakes…

I really, really don't get what Seneschal looks like

After half a season of two separate parties and seven solo episodes it's so nice to hear everyone together!

Signet's look is absolutely not the kind of thing I imagined her wearing…

Please tell me someone has made an animatic about Even's hair tendril high-fiving Gig's eye

36-45

It's always cute when the first words after the intro are in that specific tone of voice that makes it obvious that at least 5-10 minutes before were spent in a lively conversation about some nonsense that finally was put to an end no more than two seconds ago (and then they talk about nonsense for ten more minutes lol)

I love this show's dedication to describing everyone's outfits in extreme detail at every opportunity

50k+ years later it's Art and Jack's turn to be the half of the party who walks right through the door and charm their way in lol. I hope they don't get shot or buy a bunch of torch units or something

I really like “finding a way to help a teenage community fit in the world” and “reconnecting a family and acquiring infrastructure for travel between planets” as the first projects; it really does convince you that these people have set out to make the world a better place (even if a lot of the time is actually spent pulling heists or fighting mechanical tigers).

Okay, the scavenger faction leader is literally a vulture, I get it.

What I don't get is why we are supposed to dislike that faction. There was some general “eh, they suck” said OOC during setup but we haven't actually seen them do anything bad! Show, don't tell! They need to, like, raid Big Garage and try to steal Gumption's arm if you want me to see them as an enemy.

Remember that nonsense I wrote about T. Rex in my C/w notes post? I can't believe they're doing basically the same joke on the actual show!

But how about… not capture or kill… but befriend the Axiom and/or release it into the wild… I know, I know, they can't travel far enough to move it to a safe distance from humans. But it just offends me on principle that after all that talk of diversity etc, when the characters actually meet a truly alien, unique species, they only consider the options of killing or capturing and exploiting them, and nobody even tries to ask “hey, shouldn't these creatures have rights, even if we are forced to disregard them in self-defence for the moment?” You know who I need to appear on screen ASAP? Bounty. Ask it everything! Does it remember being an Axiom? What did it feel like? What does it think about its transformation and new role?

I thought Grand's special gun was just Even's gun?

Did Janine just call Belgard Signet's “robot wife”? Hell yeah

Me for an hour straight, not having read the description: Blease Do Not Kill My Alien Child I guess that's at least postponed now though… The situation did immediately get mildly creepy again, which makes me concerned. Is this just a different reason to kill a different Axiom – to Free Innocents from a Lotus Eater Machine? I'm getting serious September flashbacks. Honestly, between this, the other team's arc which felt like a crossover about the Chime in Marielda, and everyone getting a personal mech, this half of the season is starting to feel like Counter/weight 2, which is sad because at the beginning the atmosphere was much more original. Also I miss Primary and Satellite's correspondence, it was such a good framing device and a touching relationship at the same time!

Polyphony's powers and way of thinking are more similar to Quire than anything else

I feel very relieved and vindicated by the direction this story took!

Hell yeah finally more about the Waking Cadent!! I've been waiting for that for how many episodes now? Now that we've seen her in person I hate her actually Amend that, I hate both Cadents. A plague on both their houses!

46-54

Good on you Even, what's even the point of a military background if you don't pull rank on some jerks

Am I glad to hear from the Rapid Evening again! Bold of Austin to assume we could forget who Primary and Satellite were Okay, I first had this question a ton of episodes ago, but now it is relevant again: does Grey know the contents of the previous Satellite's final message? She knows about its existence because the numbers match up (yeah I went back and checked), but does she know that Crystal Palace either made a colossal miscalculation about Independence's route or lied on purpose for some reason?

Wait, characters still have beliefs? I don't remember this coming up since the game change

I completely forgot about Tender's cyborg legs and also misheard “I have a fake leg” as “thick leg” and was like “Uh good for you but how's that gonna help?!”

Once again, Team Exploration goes ahead and leaves Team Heist without resources lol. What do you mean they're using our ship for an orbital drop? What do you mean they've taken all axiom scanners? :D Seriously though, it's a shame that the sessions were played in this order because in-universe I see no reason why they wouldn't say “Hey before you go after Acre Seven, let's fly over Terncage and do a scan real quick” (the range on the scanners is far enough for that, right?)

I don't get how Ache works. For Quire, it made what it wishes it could be, but for everyone else it just made evil clones vaguely themed after their regrets?

TENDER IS A GAY DISASTER I haven't heard such a spectacular meltdown since Calhoun probably, holy shit

TENDER IS A DISASTER SQUARED she starts talking to a woman and just doesn't stop! This is a great episode

I like how Gig immediately says no to the devil's bargain

Oh Signet disregarding the digital Blooming, you clearly haven't seen/read (the future version of) Solaris :D

Oh no, it's the Smiling God! Came to visit another podcast that used to have a personification of capitalism as a big boss evil god

A crit at the last possible moment, after a long string of 1s… Ali's dice see through the fourth wall!

I… didn't fully understand the reveal of how it was all connected

Okay, so the Dark Day could have been prevented by keeping the gun dealer priest alive and allowing him to arm the NEH so that it could take over Twilight Mirage and wouldn't need to activate plan B i.e. come here and block signal from the Crystal Palace? Correct? It makes sense now, but Our Profit seems to be from such a far future that I just can't imagine how this plan was created and put in place

O….k… I actually expected Grand to leave the team and go off on his own (or become an NPC) as a consequence of the holiday special if he was the sacrificed character instead of the Chthonic. But now that's kind of strange to hear after all that talk of redemption and second chances?

You get a status! And you get a status! Everyone gets a status!

Wow having a near death experience out of the blue is so relaxing for Fourteen! :D NEVER MIND HOLY CRAP I'm glad that at least Fourteen kept their signature move from The Veil. I was wondering what it would be like, and honestly expected it to be just thrown out

Excuse me, “Omega in Mass Effect 2” and “cool place run by trustworthy people” are literally opposite concepts, have we even played the same game

Grand: Who likes Fourteen Fifteen? Tender, not even letting him finish: ME!!!

Welp, my first guess about the Waking Cadent's identity was correct

Holy crap! I never realized Independence was in that one flashback episode of Counter/weight

#friends at the table #blah blah blah

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