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duhragonball · 7 months

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Nanwum VII Update: 72,197

I'm starting to run out of gas, which is probably not a big deal since I already cleared 50k, but this bears out my whole strategy of building an early lead. My intention was to pull down 2k per day from the 13th to the end of the month, and I'm still on track, but on the 14th I fell a little behind and only got to 1709. It's not a problem, since I got caught up, but I need to be careful from here if I want to make it to 100k. Not that I need 100k, but I like bragging rights.

To reward myself for the insane wordcounts I put in earlier this month, I decided to watch all of the recent DBZ review videos that TotallyNotMark put up. You know, the ones with the new Team Four Star DBZA clips in them. I'd already watched the "Buu Bits" in a separate compilation video, but now I'm finally checking out the review and...

I don't know, there's a lot of good material in these things. The editing is top notch, and you could play these videos with the sound off and still enjoy it just as an hours-long DBZ highlight reel. And Mark has a lot of salient insights on the series. I particularly liked his analysis of Gohan and Videl's dynamic, and it's also refreshing to see a DBZ fan who, you know, actually likes the show. Like, he's gushing over Vegeta's character arc, or talking about how great the androids and Cell are without a bunch of qualifiers, and it's just refreshing to see that.

That having been said, the writing for these videos often ends up sounding like this:

Like, arguably, you can't do a six-hour review of a cartoon show without being a little pretentious, but there's sentences in these videos where it feels like YouTube is paying Mark by the word.

Also, he tends to make these off-the-cuff style remarks, like he's discussing creative decisions about making the video in the video. I get that too. I write my blog with that same stream-of-consciousness energy, because I really am making this up as I go. It's a blog, there's not gonna be a second draft. But he's doing a YouTube video, and there's a lot of production values involved and the work is pretty polished. I don't think it makes a lot of sense for him to talk about how the sausage is made. Just give me the sausage, which is footage of the cartoon with a guy telling me what he liked about it.

I've sort of had this fascination with the writing style throughout the series, and I think if I had to spoof it, I'd go with something like this:

"Again, as I said before earlier in this video, when I started this review, I wanted to avoid sounding pretentious, an attribute the likes of which can be disastrous for the making of a successful review. But, having established that fact firmly and decisviely, perhaps even conclusively--not withstanding earlier comments made about the length of Piccolo's cape, which is a subject for another day-- I can say with great certainty that Goku and Vegeta do indeed comprise a dramaturgical dyad, not only upon which the series depends upon, but through which we can see the true genius of one of the most influential manga authors of all time."

And while you hear this word salad, there's a cool shot of Vegeta beating up Pui Pui or something.

The weird thing is that I didn't really pick up on this in his GT, Super, or OG Dragon Ball review videos. It's almost like he's purposely writing more stuff so he has room for all the cool footage.

Right now I'm in the tail end of the Buu Saga, and while I give him credit for being diplomatic about it, Mark still falls into the same trap I see with a lot of critiques of the Buu Saga: They keep comparing the existing text with some hypothetical better story that they assumed Toriyama was planning to write instead, before he changed his mind.

I think everyone has run across this before. People saw Gohan take the main-character role after the Cell Games and assumed this was a guarantee. When Gohan gets demoted and Goku takes the lead again, they cry foul and complain about how Toriyama failed to make it work, or he just plain gave up. There's an old fan rumor about how he was "forced" to put Goku back in charge because of backlash from angry fans, but this is absurd on its face.

This leads to critiques of the Buu Saga that operate on the premise that there's some idealized "correct" version of the story, where Gohan trains really hard, beats Buu all by himself, and so on. Whenever the published version of the story deviates from this "correct" version, critics suggest that Toriyama got his wires crossed, and blame everything on the awkward pivot back to Goku.

To me, that doesn't make sense. "Gohan and the Next Generation defeat Buu" is a what-if fan theory. Maybe it's better than what we ended up getting, but it's not fair to review the published work by comparing it to a hypothetical draft that may never have existed. That's like if a food critic gave a steakhouse a bad rating because he thought it was a pizzeria and he's still mad that his sirloin didn't have anchovies on it.

When you look at the Buu Saga as it was actually presented, the throughline is clearly not about passing the torch to the kids, because they all get jobbed out and killed. So it's dumb to review the thing and complain that the Gotenks stuff is pointless, and Gohan's power up is unearned, and his loss to Super Buu really sucks the life out of the story, and gosh, this is a really terrible passing-the-torch story. Well that's because it's not a passing-the-torch story. It's a story about Goku trying to pass the torch, failing, and discovering that he still has a place in the world after all. The "torch" he was trying to pass was his identity and personal responsibility, things he can't just confer on someone else.

You can't just tell someone else they're the new protagonist of your story and now they have to go do your job and feed your pets while you play video games. Everyone talks about Vegeta going Majin as a manifestation of his mid-life crisis, but Goku's mid-life crisis was him dying at age 30 and nope-ing his way out of life to train in Valhalla for the rest of eternity. The Buu Saga forced him to accept that this was a mistake, which is why he doesn't just drink a vial full of heart-virus juice after the story ends. He's back in the world of the living and this time he knows he needs to stay there.

And when you look at it from that perspective, suddenly all the Gotenks/Elder Kai Ritual stuff makes a lot more sense as awkward farce. It's anticlimactic and unsatisfying because none of those plans were ever going to work. Nothing worked until Goku and Vegeta both got their heads out of their asses and worked together. The world didn't need martyrs or torch-passings or a 'next generation', it needed adults to put their personal feelings aside for the greater good.

#nanwum vii #i should probably expand these buu saga thoughts into a standalone post #oh well

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astaroth1357 · 3 years

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Demigod MC Series: Hermes

Hey guys, still doing what I can to stay healthy (and entertained) in quarantine. Staying still, keeping calm, and trying not to exert myself too much because of the shortness of breath thing going on. My lungs just can't get enough air it seems… 😅 Anyway, I've gotten a lot of suggestions on this series and I'm excited to keep it going. Just going to be a tad slow until I'm feeling better. Thank you for the support, y'all!

Demigod MC Series: Intro, Aphrodite, Hermes

Lucifer

Oh no… it’s everyone’s worst nightmare… Another Mammon, but competent. Devil help us all…

Had he known who their father was, he'd have never assigned Mammon to watch over them. Hell, he would have made sure those two never even met. They became a new handful for him to manage from the day they first arrived…

When even more things started going missing around the House than normal, he knew he had made a grave mistake… They were clever, quick, and skilled. About the best WORST combination for a burglar to be…

Worse still, they were fast on their feet. He would pretty much have no way to nab them on foot and always had to resort to his wings or magic to have any hope of catching up to them… At least Mammon usually gets himself cornered!

But, paradoxically, he also came to notice that the mortal had an odd honesty streak to them... Like, they’d steal but they’d always admit to it, unlike Mammon who would try to deflect till he was blue in the face.

Were they proud of their work, maybe? Or just didn’t see the point in trying to get away with it...?

There would be several occasions where they’d take something, sell it with Mammon, and then steal the thing back later just to put it back where it belonged, seemingly never with Mammon’s permission to do so either…

Is it better that they returned the stolen item or worse because their actions went from just robbery to a full-on scam? Either way, it gives him headaches trying to deal with it…

He pretty much gives up getting the mortal to stop after 6 months, they are legitimately that good, but makes them swear to always put back whatever they take at some point. It seems to work out and he lets more things slide, but please someone get them out of here soon…

Mammon

Soulmatesoulmatesoulmatesoulmate, or maybe more accurately “Partner-in-Crime” but that means pretty much the same thing to him anyway. 🤷‍♀️

He’s never met a person better at thievery than they were. The day they met, they managed to pick his pockets without breaking a sweat (or a finger) and that was it. He was in love.

They could teleport! Actually teleport!! Suddenly, NOTHING was off limits to him any more! Lucifer’s rare records? Easy. Levi’s secret safe? Cakewalk. The Castle vault?? Child’s play!! It was like they could steal anything they put their mind to!!

He didn't even have to worry about them when they made getaways because they were fast too, the two actually have parkour races through the streets for the hell of it!

On top of all that, they were wicked creative. He’d come up with a money-making scheme then they’d offer him all sorts of little tricks to help get away with it...

HE’D have never realized that they could turn themselves into rats in order to frighten and sneak past Barbatos, but they thought of it the instant they heard of his fear of things. They're a mad genius!!

The only real downside was they seemed to like stealing for the sport of it instead of for the money… so they always steal back whatever they took.

That kind of defeats the purpose of all that work in the first place, right? Ah well, at least that's more money for him.

These two pretty much became a walking menace to Devildom society- Sorry, not sorry.

Leviathan

Not another Mammon!!! WHY?! What did he do to deserve this?!?

When he started noticing that EVEN MORE of his stuff was going missing than usual, he straight-up flipped! Like, had the mortal not been pretty tough in their own right they would have been Lotan-chow. End of discussion.

… And then they started using their powers for good? Kind of?

Like, first off they would always give back what they stole, which was a nice change from Mammon. Annoying, but at least he didn't have to go buy replacement games or anything…

And then they started stealing him limited edition merch or tickets and stuff because they… liked him?? He guessed???

Why else would they go to all the trouble of swiping one of the five ultra-rare Kitsune Ruri-chan figurines from its original collector? He would have had to pay Mammon half his tail for something like that but the MC just brought it to him one morning because they could!

Is… is this love? Has he grown to love that which he hates?! What is even happening anymore!?! Who is he?!? 😫

Eventually he has to reconcile his conflicted feelings by dubbing them the real life Peony Phantom Thief, Jane and even making them a cosplay. Yes, they have to wear it when they bring him things. No, it's not weird, shut up.

Satan

He wants to be irritated, no - furious, that they keep taking his stuff… But he’ll be damned if they aren’t making Lucifer’s life a living hell right now. 😏

He's honestly not even sure how they managed to swipe half of the priceless portraits in the Castle (a considerable feat since there's one for Every. Room.) but they pulled it off in under a week. Barbs didn't even notice the replicas…

If that's not mildly terrifying, he doesn't know what is. Who knows what things he could be missing at any given moment...?

At least the mortal had the good sense to return his things, unlike Mammon, which gets them off his shit list for the most part. 🤷‍♀️

It helps that they’re also impressively well-traveled. They claim to have been across every human continent and sailed every ocean. Though he was skeptical at first, just hearing their stories eventually convinced him.

What sort of person has sailed the Amazon River, hiked through Arctic tundra, seen every major capital city, and still had time to explore the sights of the French Riviera?

One that has magical teleportation powers apparently.

Frankly, he could listen to their stories of the human world all day and still ask for another. He's told them that they may as well just write a book of their own for him at some point, it'd be beneficial to their poor vocal chords.

Asmodeus

Ugh! Really? Another thief in the House?? Wasn’t one hard enough to deal with?!

Honestly, stolen beauty products aren't exactly something you can just sell or give back, so unfortunately a lot of Asmo's clothes/accessories get targeted and he is NOT happy about it...

Around the time his favorite scarf was stolen for the third time, he was about to gut the mortal himself, but they struck a deal with him. They could nab his clothes SO LONG as they returned them with an extra little "gift."

Jewelry, perfume, creams, nail polish, etc. Asmo kept a running list and pretty much treated his thieving friend like a less moral version of Akuzon. Whatever he asked for, no matter how rare or expensive, they always got their hands on so who was he to complain?

He once decided to test them by asking for the Hope Diamond - which they got for him - but he made them return it after a week after the curse on it made him ruin a particularly intricate manicure so…

Like Satan, he's also pretty impressed with all the places they've seen. He's pretty traveled in the human world himself so they exchange travel stories all the time!

He may bother them to him out traveling from time to time. There are so many gorgeous and romantic places to visit in the human world after all, it's not like anybody could stop them from just… popping in to have a look. Right? 😏

Beelzebub

They learned very quickly that his food is absolutely off limits and after that, they were good.

Seriously. Beel caught them once trying to swipe a piece of pizza from his dinner and he nearly ripped their arm off for it…

But on the flipside, he also knows that he can go to them if he REALLY needs a snack and is short on cash.

It's pretty comical watching the fleet-foot mortal running from angry demon vendors with a basket of stolen apples for their buddy… But he appreciates their enthusiasm! 🙂

Beel actually likes to hear about their travels too, but mostly what they've eaten. They can keep him enraptured for hours by describing all the food they've come across in the human world…

Watch out for the drool, though.

Since they can teleport, they'll sometimes pop up with a human world treat for him and the man internally swears his undying love for them every time...

Outwardly, though, he just smiles. 'Cause he's a sweetie.

Belphegor

They… they opened the attic door on, like, the first day they met… They didn’t even make it look that hard, they had some kind of knack for breaking and entering…

Seriously, imagine the look on his face when they just walk into the attic to say hello… He had this whole, “Lure and Trick the Human” plan all thought out then they pulled out a magic lockpick or something and BOOM! Freedom!

He laughed, perhaps a little closer to the edge of sanity than he was intending, and he tried to attack them but they were so damn fast he couldn't land a single hit!

Damn was it embarrassing when the others came in…

MC: "LUCIFER! LUCIFER!! There's a monster in your attic!!!"

Lucifer: "That's not a monster that's my brother!!"

MC: *stops midway through kneeing Belphie in the stomach* …. Ooooooooh!

MC: Whoops.

It was a… rocky start.

After they settled their differences quelled Belphie's bloodlust he found that they kind of grew on him rather quickly… Something about that mischievous energy and how much they gave his brothers (minus Beel) grief with it.

He absolutely helps them with their plans if it will annoy Lucifer in any way. Occasionally, they'll even take Belphie out on raids instead of Mammon.

Turns out he's surprisingly good at distractions because all he has to do is pretend to fall then take a nap. People around him will legitimately believe that he needs medical attention so the MC can sneak through crowds undetected...

Of course, Mammon gets PISSED when they do this, though. How dare his baby brother try to steal away his perfect partner!! Get your own damn mortal, Belphie!!! 🤬

#obey me #obey me shall we date #shall-we-date-obey-me #obey me lucifer #obey me mammon #obey me leviathan #obey me satan #obey me asmodeus #obey me beelzebub #obey me belphegor #obey me headcanons #obey me scenarios #obey me demigods

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monsterkissed · 2 years

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2021 In Writing

I saw this event by @ecwrenn and it seemed like a pretty good excuse to sit down and process what has felt like a very weak creative year and actually crunch some numbers to test that theory.

As of today (December 28th) during 2021 I have written 410,965 words including drafts, editing and discarded material. This is significantly above my goal of 300,000! I’m very happy about that. On average I was able to write approximately three weeks in every month, but my longest streak of writing was 41 consecutive days. February was my most productive month at 56656 words and September was my weakest at 15987.

@holybikinisbatman also kindly put together a really neat little program for recording how much I write over the month which has been really useful for seeing where my ups and downs are.

(under the cut for more info on specific works and some beautiful gay graphs)

It’s very gay : )

Work-related burnout did put a huge dint in my progress following the summer. All my projects stalled very severely and my average words per month. I was able to switch to a less terrible, lower-hours job in order to make writing my priority, but it turns out that the psychological exhaustion of working in health and social care during a pandemic doesn’t disappear overnight. I’m still trying to get into the rhythm of doing anything at all that’s just for me and not for work.

I was inspired a lot by anthologies like “The Dangers of Smoking in Bed”, “Bloodchild”, and “Friday Black” as well as Clive Barkers “Books of Blood.” I also continued to keep up my reading on theory with some academic texts. Games like Disco Elysium and Inscryption also added a lot to the mill this year. I really think I have a better grasp on the kind of work I want to write: weird uncomfortable queer shit.

My wips suffered the most visibly for the burnout. I don’t think the quality has dropped because I still edit very stringently, but I haven’t had time to put enough care into them to meet that standard so updates have been slow over autumn and winter. The problem with an intensive style of long drafts and repeated editing is that it takes time and care and it’s frustrating when I have to sacrifice speed for satisfaction over quality. That said: People really seem to like all three? So maybe it’s fine?

Being No One, Going Nowhere had the most complex work done on it. A lot of tricky chapters I was really worried about executing that only got worse as I started to really second-guess everything I was writing in the tail end of ‘21. It’s still consistently well-received and getting new readers which is frankly inexplicable to me. People are consuming hundreds of thousands of words at a speed that I find humbling and alarming. Overall I think the transition from for want of a nail fic with some silly jokes to drama metacommentary with some silly jokes is going Okay. Even if I wish I could have written more of it I have finished the second act and I don’t see any situation bar death or disaster where it doesn’t either finish or mostly finish next year. But... there are also a few works in the series I would like to get done as well, including one that’s going to be just, just a huge bastard.

The Comrade’s Song is still my weird ugly peculiar child that appeals only to very specific people of very particular tastes (affectionate). It’s always been the one I work on at a more lazy pace so it by far has suffered the most for my burnout. That said, the reason I have never worried too much about updating it religiously is because it is something people are either going to like a lot or bounce off of. I am hoping to get one more chapter of it out before the new year because it deserves some love. There should be no reason this one doesn’t get done in 2022.

I Think We’re Alone Now exists entirely as a labour of love in more ways than one. If I had accurately estimated how deep in the weeds of it I would get while writing it would be done by now, but, unfortunately, Ideas Happen. I am simply not capable of making simple little stories any more, I think. If you can’t take a funny little fluffy joke and season it liberally with dread and anxiety then what is even the point? I would probably feel guilty about stretching out a gift fic this long if I were not quite sure the recipient does not mind, and at the end of the day this particular fic only needs to be good enough for exactly two people. But other people seem to like it, too, and that’s a nice bonus. 2022 should be the completion date for this one, too, and sooner rather than later.

All three wips also got fanart this year, which is still something I have difficulty grasping. I do not know how to process that kind of investment in the things I make but it’s all so pretty. I can’t cope in the slightest. I still have them open in tabs for moral support, and this has been a year when I really needed the moral support.

I got out a lot more oneshots this year than I thought I had before writing this post. Access: Authorised gets bonus points for being my first fic in a different fandom and I am really proud of how the voices came out. I watched a Lot of Star Trek this year and I feel pretty confident with how I translated it, and writing trans stuff is always a fun time.

I won’t go through all the oneshots I did this year, but Prelude was my shortest complete work at 506 words. As an experiment in dialogue-only fic I’m pretty pleased with it and I think it’s pretty effective with the length that it is. The Compromise was my longest at 10,415 words and it might legitimately be the best short story I have ever written. It does everything I set out to do with it and it’s a type of horror writing I hadn’t really dabbled in before. I think it stands alone really well and with some work I’d really like to try expanding the core concept to something original and novel-length.

In general I would like to spend the next year years writing more original stuff and looking into pro publishing. I don’t know if I’ll ever stop writing fanfic altogether because it’s just really fun and I like entertaining people and exploring existing worlds, but at this point I have had enough positive feedback on my writing as a whole that I think I could make some original things people really like, too. Original characters have always been a weakness, but over the past few years I have overcome a Lot of weaknesses I had assumed were just inherent to my writing. I have a couple of ideas for original short fiction as well, but that’s more a question of deciding where the best place to post them would be.

All in all I felt pretty bad about my output this year and that’s very silly when I lay everything out like this? For a Bad Year this looks like a lot more work than some people do on their best years, and I need to stop being so ridiculously prone to moving the goalposts on myself. In general I am really proud of the stuff I have managed to put out and I think the quality is consistently a strong reflection of the effort I put into it. My method of sprinting the first draft and then repeatedly editing might be intensive and slow but I am happy with the results; I think for me it’s worth the work. Going forward I would really be happy to keep up what I have, for the most part, been doing. Writing consistently, getting the work out, trying new stuff. I would love to break 400k again next year, but I think I am going to keep the target at a “low” 300k and just concentrate on getting that hit reliably. I think giving myself loose and reasonable targets to meet month-to-month in terms of updates would be a good idea. Not strict enough for me to panic over, just enough to keep me focussing on putting stuff out at a comfortable pace.

I need to do a lot of work on getting into a good headspace in general because at the moment stress is really putting a wrench in my doing anything for fun at all, so I am also going to try to do some more work on my mental health. I can’t be a good writer if I can sit down and enjoy a good book or game or in general relax and feed new ideas into the brain-mill.

#ayearofwriting #a year of writing #writeblr

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gerbithats · 4 years

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A long sims 4 rant

Starting this I can already predict it’s gonna be a big one so if you stick with me, thank you and I’ll try and add pictures to make things feel easier 😆

I was thinking about it and I mean really thinking about these community surveys we’ve been getting and how they speak volumes on the way the game is handled but also also how we position ourselves as a community. I noticed alot more game changers are starting to get pretty vocal about their thoughts since the first community survey came out and that’s refreshing to say the least, but it shows a pattern that we all present: give us what is missing no matter how. We want beaches. We want cars. We want more stairs. We want bunkbeds. Etc.

So these things are probably somehow rushed into production to please the community and then, when we finally get it, it’s like we finally realize that what this game truly lacks is gameplay and not more items.

I invite you to come and think about the packs and the stuff we got throughout these 6 years with me.

🏢 Chapter 1: The apartment issue

Yes we got apartment buildings with city living, but sometimes it doesn’t even feel like it’s a game feature because it’s L I T E R A L L Y related to living in a city, so it’s not a real feature. We have no possible way to play with apartments and condos outside of san myshuno because for the first time ever we can’t build or own apartments. This was such a missed opportunity of giving us new lot treatments like condos and even rentable properties. I mean, just think about how those 2 features could allow so much new gameplay and stories with it (I can literally imagine being a landlord, having to go fix renters stuff in my their places and doing social events as condo meetings).

The neighbors in that type of lot could also help solve somehow what so many people mention as “boring lot gameplay”. Let’s be real. hardly something ever happens with so little npcs and only the walk by sims (You have to literally run after them to make things happen sometimes and it shouldn’t be like that). But if sims were to live in the same condo or building as yours, sharing common living spaces that’s a whole other thing. Which brings me to the fact that even in the city, where apartments exist, there’s no common area other than the halls. Imagine if we could build laundries, rooftops, basements, patios with pools and all that sort of stuff.

That sort of detaling and really getting deep into the pack’s features is even show in elevators: we can’t use them ourselves (for building) and they’re not even animated, your sim is just teleported (even the modded ones have animations and that’s just awkward).

🌊 Chapter 2: Swimming in shallow waters

“We want a beach”, we said. So they gave us a beach, and a beach only. I’ve never seen so many people call a pack “shallow” as I’ve seen it happen to Island Living and tbh I do agree with them ‘cause... there’s really not much to do in this pack. For the first time ever swimming was restricted to this pack which is already a big let down by itself, but then features like deep diving were added for no reason and of course, as a rabbit whole, not actually contributing with much to do. So how could it be better?

My answer is pretty obvious: resorts. It is a livable world, but that don’t mean your sims can’t take a vacation from work and just stay there if that’s the gameplay you want to go with and resorts match perfectly with that, not to mention it would have great integration with packs like spa day. It also means a new lot type and lot system, that wouldn’t be much new if the city living building condos and sublocating them as I mentioned would’ve already been implemented, but now with the feature of renting it yourself too. Resorts could also have their own event schedules, integrated with the seasons calendar: cava parties every wednesday, yoga lessons on thursdays, etc. And the best thing would be: if you own one, you can make your own events and traditions. imagine just how fun that would be. A feature like this would also mean it’s already done for other packs coming later on, maybe a colder destination where you can ski and build iglus or even another cultural based pack like jungle adventure.

Other obvious resolution would be better mermaids. Make it harder to become one, being only able to get the kelp from a mermaid themselves. Make it less anticlimactic, having an animation of them turning before they just walk in water with a tail all of the sudden, maybe just some scales in their legs. Give them more unique features and powers like vampires and spellcasters have, such as easily persuading people (sort of like the mind control feature aliens have) and maybe even a secret lot, like a grotto where all the mermaids are. Give them curses with the points system to go with it, some mermaids are actually sirens amirite

🥶 Chapter 3: Seasons change, gameplay stays the same

Activities truly based on the season that are specific to that moment create urgency and different moments. Something I can think of is integrating a pack we already have: spooky stuff. It does feel lackluster ‘cause it’s missing opportunities, but imagine going trick or treating but actually going, loading different houses and gathering it while a meter like the active jobs one guided you. Forming groups with friends to do it or maybe for tpeing trees and bushes if you’re on the rebel teen side and destroying their porch jack’o lanterns. It could even be randomly generated, like the game would send you to 3 different houses to do it (that would bring lots of replayability value ‘cause you could end up in houses with neighbors that love you and will give you candy no problem, but maybe also neighbors with family feuds that won’t answer their door or make it harder for you to accomplish the event objectives), maybe one of those could even be a abandoned one that’s haunted or something like that.

The implementing of a better wants and fears system is very essential for this pack. Yes your sims get overheated and a popup message tells you they need some water or lighter clothes, but it’d be so good if they’d actually want to go to the beach, swim in the ocean, take a vacation from work and go to a resort. Heatwaves that would make your sim act weird, not strangerville level of weird, but maybe not obeying your commands.

Blizzards so strong that work and school would get canceled and you actually don’t have the option to leave your home lot anymore until it passes would not only add a different element to the gameplay, but also add value to the weather controler machine.

🥺 Final chapter: The general “more stuff to do” and “more things happening” factor

The game offers all these beautiful secret worlds and yet when you finally get to them there’s not much to do other than searching for rocks and frogs and doing some fishing. I miss going to a community lot hidden somewhere and finding an eremite, goddamn bigfoot, some crazy npc or even just an actual community lot with something to do and people doing stuff in it. Unique community lots would also be a way to make towns more lively and captivating like they did so well with realm of magic and the casters alley section of the world. Maybe forgotten hollow has this abandoned haunted house where people claim they’ve seen the grim reaper walking around. Maybe sixam has a alien station where they clone human sims. Maybe sulani has this beautiful sunken ship beach where a club of people that dress up as pirated meet. Maybe Del Sol Valley has a movie theater where you can watch premieres. Maybe Oasis Springs mine hides actual gold that you can collect and get rich outta nowhere. That kind of stuff.

I can’t stress this enough, but NPCs are so important to shake things up. It was so good to have a pack like realm of magic where the we would have to go to the three sages in order to progress. Having unique sims like this or npcs that change the way your story is going like burglars, firefighters, cops, social bunny, bonehilda and even a fortune teller is so important to keep things impredictable and interesting.

Age groups really need more specific restricted gameplay for better feel of progression. Many people say sims 4 is a young adult simulator and well... there’s not much to show that differs from that. Toddlers are as interesting as hamsters, locked in an object waiting for you to feed, clean and give them attention. Teens really should feel more like a transiction period, and the wants and fears system would really help out with that. I miss being able to participate in more elements that would mark a sims life even if they’re cheesy as heck, like having a prom, graduating, having a midlife crises.

In conclusion

First of all: if you got to this point thank you and I’d really wanna know what you think about all of this.

Some people may find even ridiculous for someone to go about a rant this big on a game and to that I have to say I agree lol I can’t help it tho, honestly, the sims has always been the game I’m most passionate about and it helped me express myself and my creativity so much since I was a kid. I really do care about this game and this franchise.

The point I want to make with this is: perhaps we shouldn’t ask for more and more different stuff, but actually put some effort into showing things we already like in the game and how they can be improved to make it more interesting. At the end of the day I still want spiral staircases, ladders, paintable ceiling, werewolves and all that but does it really matter if they get added to the game following the same patterns as the things pointed in here? Also we really are getting to a point where only a few things are missing as far as cas/build/buy go and I believe it’s time for us, as a community, to give gameplay as much importance as all these things we wanted so bad that got implemented. I probaby forgot to say something here and I didn’t even mention the infamous hamster pack, but anyway, I hope the point got across.

I try really hard to believe that the gurus are here for us and that most of all we, as a community, have a very strong voice, all we need to do is make it clearer and stronger about the things we really wish for this game.

#i'm never doing rants again #honestly this is my last one #from now one i'll only express my thoughts through memes and reblogs #ressurrection spell was a missed opportunity for zombies to be back in realm of magic btw #i don't even know how to tag this #the sims #the sims 4 #ts4 #sims 4

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onetrainscifi · 3 years

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Whoo. That pilot was--a lot to unpack. Parts of it were definitely 😬 *cringe* but I also find myself grateful that the network recognized its potential and liked the heart of it enough to bring on a new creative team.

Like, reading all the slides with Cleo I realized what I'd been missing in Zarah-this pilot really stressed the loving relationships of the murdered man's family and actually let Cleo react to his death while our Zarah told Layton a grand total of ONCE that Sean Wise was 'someone she loved' but then never mentioned/mourned him (or her other partners who just? disappeared?? They were led away in handcuffs, were they ever released? Were they drawered? Did they blame Zarah and therefore just never return to the home they'd shared? What side did they take in the rebellion? Like, what happened to these people?!) again. And from that moment on her character seemed so untethered--so unattached to the rest of what was taking place because she had no emotional center. This great, traumatic event that should have been both her character motivation and kept her tethered to the action/investigation was just kinda--swept to the side. Like, if we had gotten a Zarah who was more like Cleo, who pestered Layton, regardless of their thorny past, for updates on the investigation and had to be the rock for her mourning family and who stood solidly with Miss Audrey in righteous anger for the blue-eyed firstie who did this horrible thing--I would've enjoyed her so much more! And Ugh! Jinju and Till being supportive and cute From The Start(!) was 😍. Just--the fact that the focus on healthy love and affection happened to be centered on a polyamorous family and a lesbian couple was great.

But there were other things in the Pilot that seemed so-tonally different and just questionable. Like maayyybe making Layton a chronole 'stoner' was an indicator that parts of his character were drawn not just from the hero Curtis in the movie but also Namgoog, the security specialist. And mayyybe they weren't trying to be completely blind to the fact that their black protagonist deserves as much heart and conviction as his white counterpart in the movie, but. Yikes. Making him addicted to chronole and so...morose/spaced out all the time robs him of that drive and conviction that would make me believe any of the Tailies would rally behind him. Our Layton is a go-getter, a man of action and this guy in the pilot was...not. So...props to Graeme for making our Layton so much better!

But also--WHY would they choose to stress to us that Osweiller is a footballer JUST to freeze his foot off? In both the show and film the limb removal scenes really hammered home how cruel the HUMANS on the train chose to be to each other. And the freezing of the cattle car itself should've been enough to remind us the world outside is treacherous and inhospitable--they didn't have to try so hard to show us that any act of kindness or altruism on the train is futile. Like after seeing THAT, what the hell could possibly help move Till in the direction of choosing compassion and justice for the Tail?!

But I digress-I think the areas I'm most grateful for change were in regards to our season 1 powerhouses, Layton and Melanie. And some of it was so subtle but made SUCH a difference, like pilot Melanie's quirk was tapping her acrylic nails against her teeth--a sign that 1) she's perfectly happy reaping the benefits of 1st class life and 2) she's always thinking/conniving/SCHEMING. But OUR Melanie has a habit of rubbing her neck when she's stressed--as if THE WEIGHT OF THE WORLD/HUMANITY IS ON HER SHOULDERS. Pilot Melanie is also uppity and shows up early to catch people off-guard. Our Melanie is quiet and studious when we first meet her-gauging the situation, letting Layton and others reveal their hand first-and she shows up late/after the main players are already gathered BECAUSE SHE HAS TO BE EVERYWHERE. But honestly I think the change I am absolutely most grateful for (aside from pretty much everything, lol. Like, I canNOT IMAGINE Alison Wright as Lilah instead of Ruth. And letting Miles actively seek the engineer apprenticeship to help the rebellion instead of having Layton(?) who is neither this child's father nor his active mentor (literally all they do is wrangle rats together in the pilot) make that choice for him WITHOUT his actual mother's consent was clearly a stroke of genius. As was just...not focusing so much on cow 18. Like. We get it. They're like animals crammed together in a cattle car. There is no reason to make so many Holocaust references in the first five pages of the script. There are other, far less jarring ways to convey human suffering and misery on this fictional show about a manmade Armageddon. -_-) is the ommission of the shady magistrate as part of the leadership/inner circle/cult.

Having him and that other guy making the decisions/embodying the ACTION of those decisions moving forward if this pilot had been their opener would've really detracted from the heft of Melanie's secret--like in the finished product, we have Melanie behind the curtain, an engineer by trade who clung to this cruel/unfair system all for the sake of keeping the train, the thing she built and the hope it represents, ALIVE and moving. It was a choice that didn't feel like a choice. A necessity. And yet she was changed by it. The mask of Wilford is harsh and she has to become harsh. She wears all these hats and leans on others when she has to (like Ben, Jinju, etc) or when a situation is truly dire, but there is no room for doubt that it is HER decision at the end of the day. She's the one who saves the train over and over when mechanics fail. And she's the one who decides to commute LJ's sentence. The Wilford mask/veil has allowed her the freedom to make these absolute decisions without oversight-so SHE alone bears the brunt of the consequences. There's no one else to blame, which made for some of the most delicious drama on the show when that secret was brought to light. How Melanie related to individuals (like Ruth, Layton, etc.) and how she related to the passengers as a whole was suddenly, VIOLENTLY, upended and allowed for really tense character moments.

And we wouldn't have gotten that if they had kept the shady magistrate stepping in to try to strong arm Jinju and others into doing the cult's will.

Like, maybe it could've panned out in a satisfying way but I will never forget how excited I was when we got the "I have the train" exchange in the first episode that revealed it was a WOMAN at the helm. A smart, cunning, hard to read but delightful to watch woman who'd been hiding in plain sight, in a uniform that screams 'subservient' and 'service' but had been popping up continually in places and spaces that seemed better suited to the men running the investigation and security/murder squad-this woman is shown to be in charge of it. ALL of it. The good (the beautiful aquarium, life in perfect balance, etc.) AND the bad (the Tail and it's horrors). THAT moment was really the one where I thought "I'm hooked. I wanna see where this goes." And so I'm so glad they cut the magistrate - and cult, honestly - out.

Anyway, sorry for the ramble! Thanks for sharing that pilot stuff! It has given me much to think about! :)

Breaking this down into parts again here we go!

1. Yes!! Exactly!! Cleo was given so much depth and room to grieve and have that actually be part of her storyline unlike Zarah. So I did really like that.

2. They made Layton SO much better good god. Like. Thankfully they improved his character.

3. I don't honestly know?? Like maybe to show what it does to humans?? No idea.

4. Y e a h exactly. We all love an unhinged woman but pilot Melanie was...yikes. Like...she genuinely seemed so happy to be in 1st class and have this power to be Wilford's chosen hospitality worker and scare people. And Alison Wright as Lilah would be so cute though, I wanna see it akdjsksi

5. YEAH THE MAGISTRATE GUY IS JUST REALLY NOT IT. He is not who we want he's just?? Seemingly one of the second in commands in Melanie's cult, which is odd but oh well.

#snowpiercer #snowpiercer tnt #asks #snowpiercer pilot

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365days365movies · 3 years

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January 15, 2021: Casino Royale (2006) (Part 1)

So...we meet again, Bond. What’ve you been doing for the past few years?

...What. Not who, James, WHAT. Jeez.

Whatever. BrosBond had 3 movies after GoldenEye, and they were...not great, from what I’ve heard. Remember, I wasn’t as big of a fan of GoldenEye as many critics and fans were; so, I can’t imagine what I’d think of the latter three. Maybe one day, but not today!

Today, I’m focusing my sights on the revitalization of the brand. See, in 2002, Die Another Day came out, and that movie was apparently crazy. TOO crazy. So crazy, in fact, that audiences and critics accused it of losing the plot, and the production studio in charge (Eon Productions) had a yearning to change direction. And their inspiration came from...a surprising place.

See, Joel Schumacher’s campy, over-the-top Batman films were basically wiped out by Christopher Nolan’s 2005 reinvention of the character in Batman Begins. Which is, in my opinion, a highly underrated classic, Seriously. And in 2005, this film was absolutely a smash-hit. Batman was cool again, which a lot of people never thought would happen in film. Eon saw this, and thought...how can we apply that to Bond?

Out with Brosnan...in with Craig.

The first of the new, darker, reinvented Bond films is planned for release in 2006, starring Daniel Craig as the suave, sophisticated spy. And the director of the film was selected to be...Martin Campbell? From GoldenEye? The guy who kinda sorta started the modern over-the-top Bond? Really? I mean, OK. The writers this time are different...except for one. I didn’t talk about the writers last time because I don’t like putting people on blast if I don’t gotta. This time...maybe. We’ll see.

If this Casino Royale is basically Bond Begins, I’m definitely interested. Maybe this’ll revitalize that Bond-love from the Connery days. Let’s find out! We’re also gonna look at the Bond checklist again!

Gadgets: better have more cool gadgets than GoldenEye, I swear...

Bond Girl: GoldenEye’s Natalya wasn’t bad, to be honest; let’s see who his Inevitable Love Interest is this time.

Villain: Alec Trevelyan had so much potential. I need my dastardly villain, let’s do this. Oh, and let’s throw the henchman in here, too. Xenia Onatopp was...a lot...but she was a memorable henchman, at least.

Music: Of course. GoldenEye’s theme was good, and we’ll see how 2006 does.

OK, movie time. SPOILERS AHEAD!!!

Recap

We start at an office building in Prague, where a man makes his way up to his office. Waiting there for him is, of course, James Bond (Daniel Craig). The man is Dryden, section chief at the British Embassy in Prague, whom M has accused of selling secrets, a big no-no. But Bond...isn’t a double-0 agent. Huh. You got me interested.

Apparently, agents get the two zeroes once they’ve killed two people on file. James hadn’t killed anyone...until recently. Which is when we get this.

OH SHIT

This is an absolutely BRUTAL fight. It’s not choreographed flashily, it’s not pretty...it’s rough. It’s intense. And it’s...oh my God, wow. Made me feel it. And what’s astonishing is that it’s SO short.

On learning this, Dryden tells him not to worry, the second one is...

...YOU GOT ME. I’M IN FOR THE FUCKIN’ RIDE

HOW??? How is it that in 3 minutes of screentime, I’m already more satisfied by Craig’s Bond than I was for the ENTIRETY of GoldenEye? That is masterfully done, right off the bat. WOW. We even get a smooth-as-silk segue into the classic bullet turret sequence, and that takes us right into the song and opening credits. And...wow.

youtube

Here’s the thing about Bond openings, as I mentioned last time: they were all directed by one guy up until GoldenEye, and were basically all silhouetted women with themes and scenes from the movie projected around them. The Brosnan movies followed suit, always having silhouetted women in one way or another. Die Another Day used CGI women and...a really bad Madonna song. It was...it is NOT GOOD, guys. Look it up, it’s the most 2002 thing I’ve ever heard.

But here’s the fin bit about Casino Royale. This is the first Bond movie opening with no women in it. Yeah. It’s the first one. And the song is Chris Cornell’s You Know My Name, and it’s good! Not sure it’s going in my soundtrack, though.

Finally, the opening credits sequence itself: it’s once again Daniel Kleinman doing it, and it’s actually inspired by the first James Bond book Casino Royale, which had already had a TV special and unofficial Bond movie made from it! The cover had a playing card motif, and the opening carries over that motif creatively. I really dig it, if I’m honest! Definitely a welcome break from the 44 years of Bond films preceding it.

Uganda! And we meet the villain of this film: Le Chiffre (Mads Mikkelsen). And GODDAMN if that isn’t a Bond villain! He’s a banker, making a deal with a rebel leader, Steven Obanno (Isaach de Bankole), via their liason Mr. White (Jesper Christiensen). Setting up an attack by supplying Obanno with money, he sells his stocks of a company called Skyfleet, knowing that they’re about to fail.

Meanwhile, a ferret’s fighting an Asian species of cobra. In Madagascar. My zoology senses are EXPLODING, OH my God. So much wrong there. Anyway, there’s a bombmaker in the crowd watching the fight. He’s being tailed by Bond and another agent, Carter, who tips off the guy by being a bad spy. Bond chases him to a construction yard. What now, James?

Awesome. Why is this awesome when I said that the tank was dumb? Because at least it makes sense for a bulldozer to go haywire in a construction yard, just sayin’. Plus, this dude clearly isn’t the best, as he fires on construction workers and cops.

Eventually, this chase sequence brings us to the top of a crane, where this exchange happens.

I, uh...I love this movie already. That’s goddamn great.

The chase scene as a whole is also fantastic, as it continues off the bridge and into an abandoned building, then escalates into the streets, brings in law enforcement, and eventually ends with Bond at an embassy, facing down both the military and the bomb maker. He kills the guy, shoots some gas tanks, grabs the bomb, and then gets the hell out of there.

...Y’know what, that was fucking amazing, but he also almost certainly caused an international incident there. And I should be annoyed about that, but guess what! It makes sense! This is an inexperienced Bond, one who’s JUST been promoted to 00 status as 007, as the prologue explained. So, y’know what? I’m into it!

Cut to a yacht, like you do in a Martin Campbell Bond film. There, we have our villain, Le Chiffre, playing a card game. Also, he weeps blood. Yeah. HE WEEPS BLOOD.

OK, if that isn’t some Bond villain shit, I don’t know WHAT is. He’s also asthmatic, because I love it. I love it so much. He’s a mathematically-brilliant asthmatic that weeps blood. More, please.

He’s also a person aware of what Bond did at the embassy, as it’s already become an international incident! Thank you for showing consequences, movie! Damn! I love it! This has two additional consequences. One, Le Chiffre notes that the code “Ellipsis” used by the bomber may be soon to expire, indicating a connection between the two. And the second consequence? M’s pissed.

M! DAME JUDI DENCH! One of my favorite things about GoldenEye was bringing in Judi Dench as M, and she made it through the reboot! And she’s still as entertaining as she was before, calling Bond out for his stupidity, and explaining that she misses the Cold War.

In her apartment, M does her normal exposition schtick, and her interactions with Bond are fantastic here. She’s understandably angry at him, and gives him what for, but she’s also clearly impressed that he FIGURED OUT WHERE SHE LIVES, as well as her REAL NAME. Shows her opinion of Bond and aspects of Bond’s character in a single, masterful stroke.

Well. Goddamn. Done.

The Bahamas! Bond’s here to find Alex Dimitrios (Simon Abkarian), a Greek businessman who’s believed to have a connection with Le Chiffre himself. And, as James Bond is wont to do, he finds him at a party, playing cards. And here’s where the reinvention of Bond comes full circle.

See, Bond’s doing all the typical Bond things, yeah. But there are some differences present here, as well as some neat nuances. Bond isn’t wearing the suit, first of all. He actually hasn’t worn a suit the whole movie, which makes perfect sense for a spy. Suits aren’t exactly the least conspicuous thing in the world; bound to get you noticed if you don’t want to be.

And then, there’s the girl. This is Solange Dimitrios (Catherina Murino), the wife of Alex who was treated BADLY by him at the party. That gives her a reason to take Bond’s offer for a ride to his place, outside of just his raw animalistic charm that he seems to have in some of these movies. Look at that, already more chemistry than he had with Natalya in GoldenEye.

And yes, this results in her cheating on Alex. Is her cheating justified from a moral standpoint? No, of course it isn’t. And of course, this leads to the typical Bond-handsome-sex-GOOD sequence, but again, some nuance here! First of all, he doesn’t win her over with corny clever lines, like what we saw in GoldenEye multiple ties. Second, this is actually all an attempt to get some infomation from her about her husband. Bond might be enjoying it, but his womanizing here actually has a purpose. And that’s rare!

That’s further punctuated by the fact that he STRAIGHT UP LEAVES BEFORE ANYTHING HAPPENS. Yeah, she tells him that Alex just made his way to Miami, and he leaves! Dick move, yeah, but it makes sense! James isn’t here for pleasure, he’s here for work!

He follows Alex to a Bodies at Work exhibit (you know, the preserved and skinned cadavers put into poses that used to tour around the USA? I saw it in Times Square at the end of its popularity. A little ghoulish, maybe, but I think it’s pretty cool), where the two of them get in a very tense close-up knife fight in public.

Alex is dead, but not before passing off a package to someone else at the exhibition. Bond tails the guy to Miami International Airport, where the largest airplane in the world is set to be unveiled. Using the code sent to the bombers, Bond gets into the back, and goes to intercept the disguised bomber who’s set to blow up the SkyChonk (I mean it, that giant airplane is THICCC).

Time for another cool chase sequence! Some luggage is destroyed, along with a bus, the cops join in on the chase, an airplane is prevented from landing (making someone on that plane probably very upset), and Bond somehow manages to prevent the plane from blowing up. And it’s by the SKIN of his teeth, lemme tell you. Also, he blows up a dude with his own flashlight bomb.

Nice. Somehow, Bond isn’t arrested, and makes his way back to the Bahamas. And it looks like Solange isn’t the Bond girl after all. Because she was thought to be the information leak (which she was, to an extent), she was tortured to death. Whoof.

M’s in the Bahamas now, and the exposition continues. She’s done with Bond’s bullshit, and she plants a tracker under his skin. She explains that with the big boi plane destroyed, somebody stood a lot to gain financially from the stock crash to come. Except that the plane wasn’t destroyed, and that person lost $100 million by “betting the wrong way.”

That person, of course, was Le Chiffre, a manthematical genius and chess prodigy, who plays poker for fun, and plays the stock market with his clients’ money. Bond’s the best poker player in MI6 (a good addition that we already saw foreshadowed earlier! See what I mean?), and she’s sending him to a high stakes poker game that Le Chiffre’s looking to regain his money from.

Bond FINALLY dons his suit, and gets on a train in Montenegro, where he meets...

Vesper Lynd (Eva Green). THERE’S our Bond girl! Although, there’s a reference to Miss Moneypenny in their introduction, which is interesting. But Vesper is an agent for the British Treasury, supplying the money for the buy-in for the tournament. And their conversation on the train...wow. Now THIS is chemistry, seriously.

Vesper’s a great character, and she gives Bond NO quarter. She reads his character, and calls him out very accurately. They also explain why both Bond and Vesper are good at poker: it’s all about reading people. I’m genuinely impressed by how this movie is put together, and how well-thought out Bond is as a character. And this is the dimension I love to see in a Bond girl as well!

GODDAMN, I am in love with this movie. More coming in Part 2!

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marvella15 · 4 years

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Astaire & Rogers Rewatch Part 10: The Barkleys of Broadway

• So here’s the story. Fred Astaire tried to retire. He’d been performing his entire life and he was ready to finally retire. In 1946, he did Blue Skies, which was meant to be his farewell picture. Then two years went by. Meanwhile, Gene Kelly was on the rise. He was booked to do a film with Judy Garland. Then he broke his ankle.

Kelly was extremely competitive and he and his wife often hosted volleyball games at their house. He either broke his ankle while playing or, as one story goes, he was so mad at having lost, he stamped his foot on the doorstep and injured himself.

• Kelly couldn’t do Easter Parade with Garland. So he called up Astaire and basically was like, please help me. Astaire agreed and had such a fabulous time with Garland and the film was such a success that the studio immediately wanted to pair them up again. But then, Garland’s health precluded her from doing The Barkleys of Broadway.

• So Astaire called up Ginger Rogers and said, hey how about we reunite for the first time on screen in ten years? And although she’d essentially stopped doing musicals at all, she agreed. And so we have The Barkleys of Broadway as the final Astaire/Rogers film and their only one in color.

• Our characters/actor: Josh Barkley (Fred Astaire), Dinah Barkley (Ginger Rogers), Ezra Miller (Oscar Levant), Jacques Barredout (Jacques François)

• Right off the bat, this movie makes a dumb decision. They put the credits over Astaire and Rogers dancing. (You can see this routine minus the credits as part of That’s Entertainment 3.)

• One of the critiques of this film is that Rogers was no longer the lithe young dancer from her and Astaire’s heyday. And to that I say: shut up. Heaven forbid she have, quite frankly, a healthier and stronger look to her than she did ten years prior when she was working herself to the bone and routinely losing 10-15 pounds from all of the dancing. I support her healthier look, lifestyle, and the ice cream she was surely enjoying from her custom home bar.

• The main tension of the story is that Josh is essentially credited with all of Dinah’s success because he “made her what she was.” This was a real-life argument reporters of the day made about the Astaire/Rogers partnership, casting her as the brainless actress whom Astaire molded into the perfect dance partner. Which is incorrect in every sense, as we’ve seen in these past nine films.

The bickering between the Barkleys is also likely poking fun at another frequent and false report about Astaire and Rogers, which is that they hated each other and regularly fought while making their films. They had their squabbles, of course, such as the feather dress affair, but from all first-hand accounts, they got along extremely well and spent most of their time during rehearsal and filming having an incredible amount of fun.

• I adore how they cuddle up in the car. There’s so little physical affection in Astaire/Rogers films outside of the dancing that every moment of it feels like a treat. It’s slightly ruined by a rough cut, which includes the magical appearance of a lit cigarette in Josh’s hand.

• Josh doesn’t fight fair at all. While Dinah insists on knowing what “detail” wasn’t perfect in the show, Josh doesn’t allow her to respond to his criticism. So she’s left simply to stew in anger and hurt feelings.

He does apologize to her soon after and they seem to make up. But as we know, the same issues will resurface again and again for them because if you don’t ever have a fair, honest conversation about your problems, they don’t ever go away.

• I have to point out how Astaire looks at her adoringly after Josh’s apology. I also love the way she hooks her fingers into the lapels of his suit. It’s a small gesture of affection only borne out of being comfortable with someone. I’d be surprised to learn that action was in the script.

• See, when you don’t have an actual conversation with your partner you end up freezing and starving out on the balcony at a party while a snobby, elitist playwright gives them the attention and thoughtful feedback they crave.

• Oscar Levant always plays a version of himself in every film and he does a great job of it. When you can play piano that well, there’s no need to do a lot of heavy lifting in your acting.

• Astaire and Rogers do a really fabulous job of portraying a married couple famous for their dancing but who are also major drama queens. For example, this line from Josh, “What with walking pneumonia and concussion a fine performance I’ll give tomorrow night.”

• Some light domestic violence humor here in 1949. 😒

• Dinah hums in pleasure after Josh surprises her with a kiss and I just can’t say for sure whether that’s acting or not…

• "You'd Be Hard to Replace" is another lovely song that I really enjoy hearing Astaire sing. I also really like how Rogers caresses his elbow when they hold each other’s arms. When he wraps her in his arms from behind, their hands knead one another’s.

They kiss again at the end of this song. There are so, so many kisses in this movie.

• "Bouncin' the Blues" is a great tap number and they both look excellent in it. The only thing that I find a tad grating is Astaire’s exclamations, which seem too manufactured (maybe because some of them are dubbed in?). Far better is the moment when they reach out to link hands and both look like they’re having a blast. For that instant, there’s a hint of that special Astaire/Rogers magic.

• The artwork in tribute to Josh and Dinah is atrocious, misogynistic, and rude. The artist calls her a ball of shapeless dough only formed into being by her husband, the frying pan.

• "My One and Only Highland Fling" is… an interesting choice. Was anyone looking for Astaire and Rogers to sing in Scottish accents or dance in kilts?? The kisses on the cheek are cute though and so is their interaction after the number in their dressing room.

• They look pretty fab while playing tennis during their weekend in the country. When they make plans to meet up for dinner, they say goodbye with kisses on the cheek. To me, those natural moments between them are the best parts of the movie.

• Omg I totally forgot about the part where Dinah pretends to be faint so Josh sends Ezra to bring her some brandy and Ezra returns with the ENTIRE drink tray with four massive bottles and glasses hahahaha

• Not to be outdone, Dinah hurriedly correcting Josh when he thinks she’s faint because she’s pregnant is also hilarious.

• Dinah does the worst possible job hiding her script from Josh. He’s angry for a lot of reasons but the note from Jacques, which implies an ongoing secret relationship between him and Dinah, is what really ticks Josh off.

• "Shoes with Wings On" is another example of Astaire’s continued interest in special effects. Green screen technology was used to make the shoes appear to dance on their own. The finished product was one of Astaire’s enduring creations and probably what The Barkleys of Broadway is best known for outside of being a reunion picture for Astaire and Rogers. He does a convincing job of making it seem as though his shoes are dancing despite his own ability or effort.

• Unsurprisingly, Jacques is revealed to be an even bigger pompous dick as a director than he’s been on social occasions. It’s also even more glaringly obvious that his intention the whole time has not been solely to nurture Dinah’s dramatic career but to steal her away from her husband.

• It was Rogers’ idea to have them dance to "They Can't Take That Away From Me" rather than a new original piece. Astaire didn’t like repeating himself, and that included songs from previous films, but he made an exception. It’s a nice dance and is certainly the closest thing this film has to offer of the OG Astaire and Rogers duets. But as I said in my Shall We Dance rewatch, it’s just not the same as if they’d danced to this song the first time around.

The use of the song made sense since Ira Gershwin was the lyricist for The Barkleys of Broadway.

• Considering it’s 1949, Dinah does a remarkable job of standing up for herself and getting to the root of the couple’s issues. He’s been taking her for granted and stifling her own creative interests and she’s been smothering her frustrations as best she can but they hit the breaking point. Something needs to change or their relationship can’t continue. But that doesn’t mean she’s happy about it.

• Dinah’s terrible acting in the play had to HAD TO be intentional on someone’s part but I can’t for the life of me think who or why.

• Love and support are what we all want from our partners. Dinah is still in love with Josh but it’s only once she knows that Josh has been helping her despite the fact that she ended their relationship and it didn’t benefit him at all that she goes back to him. Though, she does also take a bit of pleasure in making him agonize a little while.

I like the little whistle she does upon entering their apartment. It must be something they did to alert the other they’d come home. Wish we’d gotten to see it some other time in the movie.

• The truth is, Dinah and Josh enjoy being dramatic together and I get that. When you’re with the right person, it’s fun to play around.

• "Manhattan Down Beat" is wasted as an ending song. It could’ve been a good lively number, perhaps instead of "My One and Only Highland Fling.” I’d say that Astaire was just trying to avoid being in a top hat and tails more than necessary but he also reportedly hated being in silly costumes like the Scottish getup so 🤷‍♀️

• And that’s how the greatest on-screen dancing partnership ends. The Barkleys of Broadway is a more interesting and somewhat better film than The Story of Vernon and Irene Castle so it functions as a better finale for Astaire and Rogers. While their dancing isn’t quite the same, the chemistry between them is still very evident, which speaks to their enduring personal relationship. But that probably deserves its own post, which is what I’ll do next and how I’ll end this rewatch.

#fred astaire #ginger rogers #the barkleys of broadway #classic hollywood #old hollywood #astaire and rogers rewatch

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faedawayyy · 3 years

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SIBLINGS I DESPERATELY WANT - FEMALES

the back stories are very specific but fc’s are up for debate, i guess.

HADLEE QUINN TW: SEXUAL ABUSE

21 or 22 OCCUPATION/STUDYING: up to you. SEXUALITY: up to you.

hadlee and brielle always had a rocky relationship. yes, brielle was the child of teen parents but they had hadlee four years younger at just 13/14. she’s gotten used to growing up with the bare minimum and still idolises her parents. when brielle opened up about her dad, she refused to believe her. she idolises their parents and thought brielle was just attention seeking as usual. this fractured their relationship and bond even more. now that brielle has moved out, she is starting to experience some of the stuff that her younger sister did. she’s just too proud/afraid to admit it because she feels like if she pushes away her parents, she’ll lose everything. personality: creative, individual, a little quirky at times, friendly but also quite emotionally detached and distant. she always wanted that picture perfect life in high school but was also sympathetic to the fact that her parents were poor and doing their best.

NATES SISTERS: THIS FAMILY IS SO PRECIOUS OMG.

LILIANNA ‘LILLIE’ HARWOOD

27 - 6TH MARCH, PISCES OCCUPATION/STUDYING: it’s your choice SEXUALITY: asexual lilianna is the oldest of the harwood siblings and she’s that cool older sibling that the other sisters so desperately wanted to be. she’s the trend-setter of the family and it’s pretty clear to see that taylor, posie, nate and evie have adopted personality traits of hers. she spent her teen years having to fight them off and lock her door to stop them from pestering her. other than being witty and sarcastic, lilianna was born an over-achiever. she was the only one out of her siblings to attend a private school outside of the springs because she got the grade for a good scholarship. she then set her sights on cambridge for university to study medicine. nobody knows why, but she would put insane amounts of pressure on herself to be a good role-model for the others and was almost like a third parent. in her second year at cambridge, she eventually burnt out and her mental health broke down. she couldn’t help but feel like she’d spent her early and mid-twenties working, stressing and over-achieving and she missed out on all of the messiness that comes with it. a secret of hers is that despite being open about her sexuality since she was around 18, she’s never had a boyfriend or girlfriend. it’s just never happened for her and now she’s seeing her younger siblings date, she’s starting to feel pressured to find somebody. however, she feels like in such a sex-positive generation, it’ll be hard for her to find somebody who accepts her for who she is. she still lives at home by choice and nate’s parents are eager to normalise that young adults/twenty-somethings CAN still live at home. with lilianna’s anxiety still pretty rocky, they’d prefer it that way anyway.

TAYLOR HARWOOD

26 - 21ST APRIL, TAURUS OCCUPATION/STUDYING: acting and modelling SEXUALITY: heterosexual

if lilianna is the cool, trend-setting older sister then taylor is the *spice* in the family that her other siblings could sometimes do without. it shouldn’t be mistaken; ALL of the harwood siblings love each other and they’re probably as close as families come, but from the moment she was born, taylor had it clear that she was the star. think kim kardashian vs. her sisters; she’s the stand-out and loves to have all eyes on her. she’d be the one signing up for her school’s productions, forcing the others to put on shows for their parents and constantly stealing lilianna’s clothes to sneak out of the house in. taylor was in stage school from a very young age and during her first year in high school, her mother agreed to fly out to los angeles with her and her agent to audition for different productions; this is where she landed vicotrious. everybody was excited for her and taylor was sure she’d got her big break. as everybody knows, victorious was a huge success and she became a household name at a very young age. taylor dropped out of school and was schooled on set while she worked. their mother spent most of her time in los angeles while the other siblings stayed home with their dad. in what would have been taylor’s last year of high school, victrious was cancelled and ended. since then, it’s been a struggle to get any work and she eventually moved back home. this was a hard transition for taylor. she felt as if she was washed up at 18 and had no idea what she wanted to do with her life. she went back to school for her final year but was severely bullied by jealous girls and people who were eager to see her downfall from the start. one girl even rewarded her the “biggest has-been” award which completely humiliated her at her graduation after party. unlike lilianna though, rather than retreating and taking some time for herself, she threw herself into more smaller projects. she has a determination to make it and when she got into st judes, it felt like a new chapter for her. she’s already moved out and has her own apartment downtown but happily comes home to see her siblings as much as she can. her life’s goal is to make sure that nobody ever forgets taylor harwood.

POSIE HARWOOD

25 - 5th AUGUST, LEO OCCUPTATION: model SEXUALITY: heterosexual

posie was named after her grandmother; josephine ‘posie’ harwood. compared to her other siblings - nate included - she’s always been more laidback. her parents (and lilianna) more or less dragged her through school kicking and screaming. she rarely had motivation to do anything and just wanted an easy life. more or less the complete opposite of lilianna and taylor. since posie grew up under two huge personalities with big ambitions, she definitely got to fly under the radar a lot and neglected typical responsibilities you have to remember when you grow up. for example, she got away with dropping ice-skating when all of her siblings were made to stay in extra curricular activities, her grades were never as good as her sisters and all in all, she wore the ‘family disappointment’ badge with pride. she’s quite content with riding their coat-tails for as long as she can. although lazy, posie is also extremely social and loves meeting people and having fun. she had the most typical teenage years with fake i.d.’s, a string of good for nothing boyfriend’s and riding on temporary highs. her siblings know her as soft and loving, but to people outside the family, she definitely has the label of being the more argumentative one. when taylor was being picked on in school, it was posie who put things to rest by punching the girl in the face. when a boy broke evie’s heart, it’d be posie to serve him revenge. on top of that, she’s aware that she’s beautiful and her favourite thing to do is string people along, get what she needs from them and then move on to the next best thing.

EVELYN ‘EVIE’ HARWOOD TW: GROOMING

18 - JANUARY 4TH, CAPRICORN OCCUPATION: you pick. SEXUALITY: you pick.

evie is the youngest of the family and adores every single one of her siblings, although by default she’s probably closest to posie and nate. like most little sisters, she’s got a bit of each sibling in her. but alongside this, she’s also struggled to find her own identity and would often cling to the others in order to feel included and like she had direction in life. evie struggles with dyslexia - a common learning disability - and never found school easy. she’d always had tutoring and that was ramped up when it came to her exams. all of her siblings also pitched in to help her; lillianna with science, posie with english and nate with maths...taylor was a little too busy, but offered the moral support. she passed her exams and she still has it down as one of the best days of her life because she definitely thought she’d be the first one in the family to fail. after seeing how much fun posie and nate were having at st judes, she decided to try her luck and was even more surprised when she was accepted there too. for the first time in her life, it felt like she was getting somewhere on her own and she was. her first year at the school has been quiet and she’s struggled a little to form friendships without the guidance of her older siblings. the bigger personalities have definitely overwhelmed her but she’s slowly finding her feet. one person who has particularly been a good support system for her has been her tutor, who helps her manage her dyslexia when lectures and assignments come around. he’s always boosting her up and has at times let her get a better grade than she would’ve got by editing her assignments for her. there have been a few times where she’s been invited to his home; usually with a study group but the last few times have been just her. she’s starting to feel slightly uncomfortable around him. especially since he’s been making the work harder so that she needs to rely on him more; he also sent her a christmas present this year in the form of a revealing dress and jewellery for her ‘christmas party’..which she isnt sure is fully appropriate. while she doesn’t feel like she can open up and (quite frankly) is afraid to, it’s made her cling to her other siblings more than before.

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thegeekerynj · 3 years

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Beasts of Burden: Occupied Territory #1-4 (Dark Horse Comics) Writer: Evan Dorkin (@evandorkin) and Sarah Dyer (@colorkitten) Artist: Benjamin Dewey (@benjamindewey) Letters: Nate Piekos (@Blambot)

An Occasional Attempt to Read, Discuss and Review the Wonders of Comics

By: John Rafferty, cranky old man, and Fan of All Things Comics

Riding the IND

Designed with the intent to acknowledge the Immense Contribution of the Independent Comic Press, and highlight a more unique stable of products

==========================================

Greetings, Salutations, and Hi-De-Ho Neighbors!

Welcome, one and all, to the Show that Never Ends, the Sideshow that is my desire to report to YOU, Gentle Readers, what is amazing, wonderful and so extremely FAN-Tastical in the world of Independent Comics!

I’ll be your host for what I hope will be an enlightening, joy and thrill-filled ride through the last couple of months of the Indy World where, hopefully, at the end, I may have inspired you to dip your toe into some of the beauty I am describing here…

With that said, let’s begin our descent into ADVENTURE!

_______________________________________________________________

Beasts of Burden: Occupied Territory #1-4 (Dark Horse Comics)

Writer: Evan Dorkin (@evandorkin) and Sarah Dyer (@colorkitten) Artist: Benjamin Dewey (@benjamindewey) Letters: Nate Piekos (@Blambot)

‘A great spiritual disturbance has arisen in the Zou Valley. There is HATRED there, and DEATH.

‘Only a complete fool would go anywhere near that place.

‘Complete Fools. That’s US, I’m guessin’. RIGHT?

————————————————————————————————

W.C. Fields has been attributed the quote ‘Never work with animals or children.’

I am certainly glad the creative team has never taken this to heart.

‘Beasts of Burden’, in all its iterations, is the love child of Evan Dorkin. A long running set of stories for Dark Horse Publishing, these tales extoll the virtues of Wise Dogs, Apprentices, and Swifties, Dogs and Cats who have, through the Grace of Nature, been granted power which they use to protect the less fortunate, and humans.

In many cases, these majestic beasts choose to work with Humans who understand the powers the Dogs and Cats possess, and as a result, all work toward protecting the World, together.

Beasts of Burden: Occupied Territory tells the tale of Emrys, a Wise Dog, and his Human, Jonathan Hope, who venture to Japan post V-J Day, in 1947. They are investigating the disappearance and gruesome murder of some US Soldiers in Northern Japan.

The story is rife with Japanese folklore and mysticism, bringing in mythological creatures from throughout Japan’s storied history. Each being gets spotlighted, and contributes to the story, which is a pleasant surprise, considering many would just drop some of these characterizations in as window dressing.

As I read these issues, i kept hoping for a Kaiju… but I digress.

Well, let’s begin with the artwork. Benjamin Dewey is a master of this art form. His art style screams ‘Comfortable, friendly, expressive’, while his storytelling says ‘Come, sit and read for a while.’. The pages, panels and layouts are PRETTY. There are no steroided out super-dogs, no sharp angles / explosions of characters from the page. This is a TALE to be spun, and his will be one half of the medium to do the spinning.

I am dutifully impressed every time I see this gentleman’s work. It is a talent that continues to grow, and I really can’t wait to see where he goes next.

An aside, All 4 of the A Covers for the books are done by Ben Dewey. His style is so distinctive, the owner of the geekery pointed out to me which covers he did, saying ‘These covers are beautiful. He does such pretty, distinctive work.’

For me, it was the B Covers that got me, with Jill Thompson doing Issue 2, Stephanie (granddaughter of John) Buscema on Issue 3, and Evan Dorkin doing Issue 4. Every one as pretty as the A Covers, and complementary to the story.

Now, for the tale of the TALE and Tails… Evan Dorkin and Sarah Dyer really knocked this one out of the park.

A well told story of two Dogs (a Wise One, and one not so wise) who are out of place, but unafraid to go forth and try to do what is RIGHT, for the sake of all. A tale as old as time, with Tengu, and Kitsune, Tanuki , Oni, Kappa and Jorogumo.

Not to forget the Shibi Inu guardian Temple Dogs.

In a story concerning Japan, it was important to look at ALL the context. The Time, the Placement of the ‘Big Bad’, and whether their reaction to what occurred was potentially warranted, based upon the understanding of the History.

The storytelling is not heavy handed or hamfisted. In many cases, when mythologies from different cultures are mixed, the Writer / s will resort to the typical superhero trope of ‘Let them fight it out, realize they have a common enemy, and gang tackle the Big Bad.

Happily, this was not the case. the team of Dorkin and Dyer gave each set of characters a sense of rationality and purpose. Emrys and Mullins were investigating the disappearances, they weren’t looking to smash anything flat before talking. The Guardians were protectors first, thinking characters. The Oni and Jorogumo, well, they were serving their baser natures, which is what they were known for; while the Council, and Lord Yamanaya served their people, and not the Outside World.

All in all, Mythology treated with a loving respect which has been seen before from this team, whether on a Marvel Snapshot story, tales of rancid Dairy Products, a group of over the top fanboys… well, you get my drift, I am sure.

The dialogue was natural feeling, one could ALMOST hear a lilt of British accent in Emrys’ lines, where there was a feel of Bensonhurst in Mullins voice. Now, how much of that was attributable to the writing, or in combination with the artwork, I couldn’t say.

I can say in reading these books 3 times, I heard the accents in my head every time. I’ll attribute it to well seasoned writing.

The most important aspect of this writing, it left me wanting more. Evan and Sarah have whetted my appetite for more stories about these characters.

I am looking forward to the slate of stories which has been proposed, and I hope that when the time / scripts come, Ben Dewey is there to do the pencils and inks.

Thank you, guys. You have made an Old Fat Guy very happy.

Out of 5🌶 🌶🌶🌶🌶🌶

========================================================

#dark horse comics #beasts of burden #beasts of burden occupied territory #Evan dorkin

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404fmdhaon · 3 years

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creative claims verification — superstar

summary: lyrical, composition & production claims for superstar warnings: none wc: 1880

when he steps into the studio inside bc — it feels like he’s in a state of limbo. nobody tells him frequency doesn’t relay to assimilation, and bc no longer feels like a home (despite how many hours he’s invested into the damn building). fuck it, he thinks. home is a piece where his body lays, imprints itself against the sofa and the chair. how his fingers rub the print raw of the keyboard, and how the grease of late-night eats come to smear against the mouse.

and if he’s had to guess the time he’s spent — it’s countless. an unlimited amount of hours ranging from the -ings of working on songs never released. yet, the cacophony brings resolve when nothing else speaks and jarred notes become a safe haven of comfort when he’s left alone in late hour spouts.

when his body shoves past the doors, head down and shoulders curved, he’s met with nothing more than the hellos of an empty room. the lights flicker on, and the computer monitor untouched. his personal space, pristine from the night before by the way the piles of clothes topple upon the corner of the room (laundry, he’ll do eventually), and the barren toothbrush sitting in the pocket of his desk (he’ll use it later tonight).

it comes piece by piece by the time he sits himself on the desk, fingers pressing the button on for the monitor to come to light. he’ll use ableton today in lieu of what logic gives when the groan of his voice becomes reminiscent of nothing more than a heavy sigh of another recording.

make this album a good one, it’s your only time.

another heavy sigh, and he wonders what it’s like to press rewind. not fast-forward nor the resume of the tides of life. it’s the full-on riptide, and he’s left lost at sea where the tempest storms drown him whole. perhaps then, life would be kinder — but that sort of wishful thinking’s left for when his hands already click away to a barren file and the other’s pounding away on a keyboard with no thought in mind.

call it an effect that comes off the tails of weeks on end finishing up a song. the drawl in his voice, the deep baritone husk enough to give proof he’s irrational at best. built up motivation plucked by inspiration from the track done prior — he tries it again. gives it another go, something similar but blandly different.

it all starts with the staccatos of a piano, the way they toss and jump illuminating the grin he has all goofy and lop-sided across his face (an effect of no sleep? or an effect of music itself? he couldn’t tell you.) the cacophony of the chords bring him back to the elementary days of picking up music the first time, his eyes crinkling the way they curve higher — still, to the third person view, it livens up to something somber.

the way the chords play a childhood book, and it’s a mere cry for help out in the open of an empty studio. he wonders how he can transpose it as the salve for the wounds gaping open — the harrowing feeling of loneliness now ripping stitch by stitch. and his only remedy? making the track flair with each and every embellishment of high-tone happiness, mimicking a circus imagery he crafts in his head. with the horns brought back, and the low-end percussion that adds with the ad-libs of snapping fingers. {it’s here he decides, the grand piano won’t do. he wants an electric key, borderline organ playing).

he saves it as a file — help.wav.

but there’s no one to reach out, when he puts his hand forth. nobody to shuttle his woes in the gentle pats, swaying back — fuck. when was he ever in the seat of consolation paired with desperation? there’s a heavy sigh that escapes his mouth, when he runs back to the pen and paper. the eye of the beholder, and he positions himself in the role of the talker. weaponry in a stagnant pen and paper becoming the sole therapist to house his woes.

no talk back, no judgements. the pen and paper listen when he forces the unease ripping away from his chest, and for a second — he thinks he can breathe. feels his lungs cuff up with air. surprise, he doesn’t pant. doesn’t get startled. doesn’t slip out of his skin when he thinks of the first word that comes to his mind — superstar.

the public paints knight as superstars, shining bright as the nation’s pick sitting pretty for the variable amount of years. (nobody ever tells you how lonely the top is. not when you’re surrounded by the bodies that become the walls to echo the voice you barely manage to sneak out when time calls). he writes down the things the public perception follows — a big house, a super car, money. honor. the limelight blinding his eyes to where it leaves him untouchable, ha. funny and incredulous, he doesn’t buy into it.

self-made, he taunts it further by the time he closes his eyes and pictures his own house they gawk at. the art curated in expensive taste, the aid of his managers and the bodies that never frequent it. seoul forest becoming his own little garden and now, the song shifts in subject when it becomes a boast of his own hard earning works.

it’s all money made from the years in knight. all the money funneled into the art that transforms his house into a galleria, and the richard mille watch that sits on his wrist. he laughs at how the ten year old learning the same chords would’ve billowed with stomach-hugging laughter at the sight of twenty-seven year old him living large, sitting on top. becoming the people on tv rather than the side shuffle of his father’s shadow.

(he writes all of this down. again and again. each one engraving its mark deep into the persona he’s been filled to become).

rap, hip hop. it all falls short when the stereotypes formulate the standard opinion: bad boys boasting about money. it’s a hopeless stereotype when he’s always five steps short of becoming whatever he’d imagine himself to be.

it’s pointless to keep up a lie. so, he tells the truth. writes down the sadness that plagues him, and the melancholy that clings when he’s sitting alone in the studio — a part of his heart empty, far stretched away to where material goods do harm than good.

he asks for help.

“i need somebody.”

the words feel uplifting, freeing by the time they meet the empty air. all tongue-tied and flustered, it’s the heat that rises again to flush out his cheeks. he writes it over and over, calls out for the help he won’t be met with tonight.

loneliness always a full-time burden.

and when another day brings freedom with recordings out of the way, no worry for knight behind the end of his i don’t give a fuck attitude, he ceases his comfort. comes to his own apartment, sitting down in the studio where the hard drive opens back to the state of disorder.

for that, he gives himself the benefit of the doubt — the feelings of home and comfort when he’s lounged out in a pair of sweats and the hoodie that wafts home. five pm, the leftovers in the fridge from the night before (he’ll eat that later, two am he bets.)

shit always go south, and by the time his phone rings and it’s another manager with another call — it’s the expectations coming to fill their predecessor: an early morning schedule the next day. gyujeong tosses the phone over his back — an aim straight to the sofa sitting pretty behind him, and he groans heavily back into the pillow that’s heard the brunt of his woes.

he wants to forget about it all. forget about it even if it’s just for a brief moment, and this all becomes some fucked up reverie he’s lost in. five minutes of solace, and he’ll take it for the hours of wary shoulders tossing and turning at night. (he remembers how to forget, plugs in his hard drive and pulls up help.wav).

the track plays with the recording he managed to finish the night — the effects of an all-nighter, and therapy in momentary bliss. he laughs, a pointed look tapered towards the empty screen as the demo takes over the silence. repeat, listen again. do it five more times, and he yanks away the beanie as his spine curves over the desk with fingers brushing past his lips. he knows what he sees. what he wants to salvage inside moments of sheer desperation where it’s the music that speaks louder than the voice that’s dwindled down in the past few years.

no punches tonight, just the clicks that compose the song into frame. his voice sounds breathy when it plays, he picks that up on the second verse, easily.

it’s bound to be a long night when he’s busy tuning his voice into something polished, less breathy. less gritty and rough when he wants the lyrics to speak to the masses that won’t read between the lines. it’s a reckoning all while a shame that he lays passive, using the music to speak on his behalf where his voice won’t raise higher.

and by the time his head bobs, and it sounds more coherent. smoother, and flexible with the flow of his original intentions, there’s something that still lacks: desperation. there’s no urge to pull the spotlight back onto him, just the five seconds of a voice in hopes someone reaches their hands out — all warm and soft against the cracked dryness of his own.

empathy, everyone says when you lack it, you’ll figure out the gaping void (they were right).

right inside each and every notion, and he bends over silently with his eyes on his screen and fingers edging to his temple, scratching then tapping. impatience flows back in when he files through the corner of his desk for a dusty mic that adds the hint to what he’s wanting: ad-libs.

it’s in the chorus where he wants to shout — call out for help. from anyone, for anyone. i need somebody becomes repeated, followed through when ‘anyone’ falls in his own voice in a multitude of different ways. soft, then harsh. loud and boisterous, passive and meek. what leaves the screen is nothing more than fifteen different ways for “anybody.” and “hello?”

he picks his favorite ones, the ones that breed desperation in the subtle movement of his voice. index finger and thumb against his chin, he taps patiently against the sides when satisfaction comes from a full picture. whole and somber with how the playback comes: belts of the music inside cheery chords, the addition of the horns then trumpets. fine-tuned by the base — then, it’s the lyrics that become the second hit, the punch that any sixth sense can pick up. hollowed out loneliness, and it’s a cry for help no longer seizing greatness nor the confines of things he’s collected over the years.

#fmdverification

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recentanimenews · 4 years

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IN-DEPTH: Neon Godzilla Evangelion, The Horrors of Hideaki Anno

"Something broken or deficient comes more naturally to me. Sometimes that thing is the mind. Sometimes it is the body."

-Hideaki Anno, creator of Neon Genesis Evangelion

"Monsters are tragic beings; they are born too tall, too strong, too heavy, they are not evil by choice. That is their tragedy."

- Ishiro Honda, director of Godzilla

Image via Amazon Prime Video

Horror is born of trauma. The pop-culture monsters we fear and are fascinated by tend to reflect our very real anxieties. Frankenstein tells the story of scientific progress so explosive that it risks leaving humanity behind. It Follows creates a nightmare vision of looming intimacy and the potential for unknowable disease. Leatherface, hooting at the dinner table with his brothers in rural Texas, was the child of economic angst, the crimes of Ed Gein, and of President Nixon's threat of a "silent majority" forcing Americans to reconsider whether or not they really knew their neighbors.

And Godzilla? Well, Godzilla is a metaphor for a bomb. A bunch of bombs, actually. But more important than that, he represents loss — the loss of structure, of prosperity, of control. Godzilla is our own hubris returning to haunt us, the idea that in the end, we are helpless in the face of nature, disaster, and even our own mistakes. We, as a species, woke him up and now we have to deal with him, no matter how unprepared we are.

Hideaki Anno understands this.

In 1993, he began work on Neon Genesis Evangelion, a mecha series profound in not just its depiction of a science fiction world but in its treatment of depression and mental illness. It is a seminal work in the medium of anime, a "must-watch," and it would turn Anno into a legend, though his relationship to his magnum opus remains continuous and, at best, complicated. It is endlessly fascinating, often because Anno seems endlessly fascinated by it.

In 2017, he would win the Japanese Academy Film Prize for Director of the Year for Shin Godzilla, a film that also won Picture of the Year, scored five other awards, and landed 11 nominations in total. Shin Godzilla was the highest-grossing live-action Japanese film of 2016, scoring 8.25 billion yen and beating out big-name imports like Disney's Zootopia. In comparison, the previous Godzilla film, Final Wars, earned 1.26 billion. Shin Godzilla captured the public's attention in a way that most modern films in the franchise had not, returning the King of the Monsters to his terrifying (and culturally relevant roots).

So how did he do it? How did Anno, a titan of the anime industry famous for his extremely singular creations, take a monster that had practically become a ubiquitous mascot of Japanese pop culture and successfully reboot him for the masses? How did Godzilla and Neon Genesis Evangelion align in a way that now there are video games, attractions, and promotions that feature the two franchises cohabitating? The answer is a little more complex than, "Well, they're both pretty big, I guess."

To figure that out, we have to go back to two dates: 1954 and 1993. Though nearly 40 years apart, both find Japan on the tail end of disaster.

Part 1: 1954 and 1993

On August 6th and August 9th 1945, two atomic bombs were dropped on the cities of Hiroshima and Nagasaki, respectively. These would kill hundreds of thousands of people, serving as tragic codas to the massive air raids already inflicted on the island nation. Six days after the bombing of Nagasaki, Japan would surrender to the Allied forces and World War II would officially end. But the fear would not.

Within a year, the South Pacific would become home to many United States-conducted nuclear tests, just a few thousand miles from Japan. And though centered around the Marshall Islands, the chance of an accident was fairly high. And on March 1, 1954, one such accident happened, with the Lucky Dragon #5 fishing boat getting caught in the fallout from a hydrogen bomb test. The crew would suffer from radiation-related illnesses, and radioman Kuboyama Aikichi would die due to an infection during treatment. For many around the world, it was a small vessel in the wrong place at the wrong time. For Japan, it was a reminder that even a decade after their decimation from countless bombs, atomic terror still loomed far too close to home.

Godzilla emerged from this climate. Films about giant monsters had become popular, with The Beast from 20,000 Fathoms and a 1952 re-release of King Kong smashing their way through the box office, and producer Tomoyuki Tanaka wanted to combine aspects of these with something that would comment on anti-nuclear themes. Handed to former soldier and Toho Studios company man Ishiro Honda for direction and tokusatsu wizard Eiji Tsubaraya for special effects, Godzilla took form and would be released a mere eight months after the Lucky Dragon incident.

Image via Amazon Prime Video

It was a success, coming in eighth in the box office for the year and it would lead to dozens of sequels that would see Godzilla go from atomic nightmare to lizard superhero (and then back and forth a few times). America, sensing profits, bought the rights, edited it heavily, inserted Rear Window star Raymond Burr as an American audience surrogate, and released it as Godzilla: King of the Monsters! It was also very profitable, and for the next 20 years, every Japanese Godzilla film got a dubbed American version following soon in its wake.

Years went by. Japan would recover from World War II and the following Allied Occupation and become an economic powerhouse. But in the late '80s, troubling signs began to emerge. An asset price bubble, based on the current economy's success and optimism about the future, was growing. And despite the Bank of Japan's desperate attempts to buy themselves some time, the bubble burst and the stock market plummeted. In 1991, a lengthy, devastating recession now known as the "Lost Decade" started. And the resulting ennui was not just economic but cultural.

The suicide rate rose sharply. Young people, formerly on the cusp of what seemed to be promising careers as "salarymen," found themselves listless and without direction. Disillusionment set in, both with the government and society itself, something still found in Japan today. And though people refusing to engage with the norms of modern culture and instead retreating from it is nothing new in any nation, the demographic that we now know as "Hikikomori" appeared. And among these youths desperate to find something better amid the rubble of a once-booming economy was animator Hideaki Anno.

A co-founder of the anime production company Gainax, Anno was no stranger to depression, having grappled with it his entire life. Dealing with his own mental illness and haunted by the failure of important past projects, Anno made a deal that would allow for increased creative control, and in 1993, began work on Neon Genesis Evangelion. Combining aspects of the popular mech genre with a plot and themes that explored the psyche of a world and characters on the brink of ruin, NGE would become extremely popular, despite a less than smooth production.

The series would concern Shinji Ikari, a fourteen-year-old boy who suffers from depression and anxiety in a broken and terrifying world. Forced to pilot an EVA unit by his mysterious and domineering father, Shinji's story and his relationships with others are equal parts tragic and desperate, and the series provides little solace for its players. Anno would become more interested in psychology as the production of the series went on, and the last handful of episodes reflect this heavily.

Image via Netflix

After the original ending inspired derision and rage from fans, Anno and Gainax would follow it up with two sequel projects (Death & Rebirth and The End of Evangelion), and NGE's place in the pantheon of "classic" anime was set. Paste Magazine recently named it the third-best anime series of all time. IGN has it placed at #8 and the British Film Insititute included End of Evangelion on their list of 50 key anime films. The exciting, thoughtful, and heart-breaking story of Shinji Ikari, Asuka, Minato, and the rest has gone down in history as one of the best stories ever told.

So what would combine the two and bring Godzilla's massive presence under the influence of Anno's masterful hand? As is a miserable trend here, that particular film would also be spawned from catastrophe.

Part 2: 2011

"There was no storm to sail out of: The earth was spasming beneath our feet, and we were pretty much vulnerable as long as we were touching it," said Carin Nakanishi in an interview with The Guardian. The spasm she was referring to? The 2011 Tohoku earthquake, the most powerful earthquake in the history of Japan. Its after-effects would include a tsunami and the meltdown of three reactors at the Fukushima Daiichi Nuclear Power Plant. The death toll was in the tens of thousands. The property destruction seemed limitless. The environmental impact was shocking. Naoto Kan, the Japanese Prime Minister at the time, called it the worst crisis for Japan since World War II.

It took years to figure out the full extent of the damage. Four years after, in 2015, 229,000 people still remained displaced from their ruined homes. The radiation in the water was so severe that fisheries were forced to avoid it. The cultivation of local agriculture was driven to a halt, with farmland being abandoned for most of the decade. And though the direct effects of it varied depending on how far away you lived, one symptom remained consistent: The inability to trust those who'd been sworn in to help.

"No useful information was being offered by the government or the media," Nakanishi said. Many voiced a fear that the government had not done its decontamination job properly or would not continue to help them if they returned to their former homes near Fukushima. Some felt the people making decisions were far too distant to truly understand what was going on. Many thought that the government had underestimated the danger. In a survey taken after the Fukushima meltdown, "only 16 percent of respondents ... expressed trust in government institutions." In most of these stories, citizens stepped in to help, feeling as if they had no other choice. Eventually, his approval ratings dropped to only 10 percent and Naoto Kan stepped down from his role as Prime Minister.

And what of Godzilla and Anno at the time? Well, the former lay dormant, having been given a 10-year hiatus from the big screen by Toho after the release of 2004's Godzilla: Final Wars. And though he'd show up in a short sequence in Toho's 2007 film Always Zoku Sanchome no Yuhi, they kept good on their promise. But Godzilla fans did not have to worry about a drought of Godzilla news. American film production company Legendary Pictures was busy formulating their own take on him, having acquired the rights a year before.

Meanwhile, Anno's post Evangelion life consisted of ... a lot more Evangelion. Though he'd direct some live-action films, his most newsworthy project was a series of Rebuild of Evangelion titles, anime films built with different aims (and created with a different mindset) than the original series. Departing Gainax in 2007, these would be created under his newly founded studio, Studio Khara.

Image via Netflix

And while it's obvious from the contents of Evangelion that Anno is interested in giant monsters and giant beings in general (Evangelion is pretty chockful of them), this fascination would only become more open. In 2013, he'd curate a tokusatsu exhibit at the Museum of Contemporary Art in Tokyo, one that showcased miniatures from Mothra to Ultraman to Godzilla himself. About the exhibit, Anno would write:

"As children we grew up watching tokusatsu and anime programs. We were immediately riveted to the sci-fi images and worlds they portrayed. They put us in awe, and made us feel such suspense and excitement. (...) I think our hearts were deeply moved by the grown-ups' earnest efforts working at the sets that dwelled deep behind the images. (...) The emotions and sensations from those cherished moments have lead us to become who we are today."

For the presentation, he'd also produce a short film called A Giant Warrior Descends on Tokyo, with the monster based on a creature from Hayao Miyazaki's — his old boss and an inspiration to Anno, along with the man that Anno would accompany on a trip to the Iwata prefecture to show support for communities wrecked by the Tohoku earthquake — Nausicaa of the Valley of the Wind manga. It was directed by Shinji Higuchi, an old collaborator of Anno's at Gainax who had served as Special Effects Director for Shusuke Kaneko's stellar Gamera trilogy in the '90s.

And though Higuchi would shortly go on to direct two Attack on Titan live-action films, their partnership would continue. Because in 2015, Toho announced they would team up to co-direct Godzilla 2016.

Part 3: 2016

Hideaki Anno has often thought of the apocalypse.

In an interview with Yahoo! News in 2014, he'd tell the interviewer he "sincerely thought that the world would end in the 20th Century," and that his fear of a nuclear arms race and the Cold War had heavily influenced Evangelion. However, his creative process isn't just permeated by man-made threats. "Japan is a country where a lot of typhoons and earthquakes strike ... It's a country where merciless destruction happens naturally. It gives you a strong sense that God exists out there."

This focus on earthly intervention by a divine presence is definitely a theme in Evangelion, but it also applies to Godzilla, a borderline invincible behemoth that was created to remind man of its mistakes. It's this kind of provoking thoughtfulness (among other things) that might have alerted Toho Studios of Higuchi and Anno's potential proficiency in re-igniting the slumbering Godzilla franchise. "[W]e looked into Japanese creators who were the most knowledgeable and had the most passion for Godzilla ...Their drive to take on such new challenges was exactly what we all had been inspired by," Toho would say of the pair.

Image via Amazon Prime Video

It was a few years in the making, though. After the creation of Evangelion: 3.0 You Can (Not) Redo, Anno fell into depression, causing him to turn down Toho's 2013 offer of the Godzilla project. But thanks to the support of Toho and Higuchi, Anno decided to eventually take them up on it. However, he did not want to repeat how he felt past filmmakers had been "careless" with Godzilla, stating that Godzilla "exists in a world of science fiction, not only of dreams and hopes, but he's a caricature of reality, a satire, a mirror image." Higuchi was also passionate about the project, saying, "I give unending thanks to Fate for this opportunity; so next year, I'll give you the greatest, worst nightmare."

Rounding out the NGE reunion with Shin Godzilla would be Mahiro Maeda, a character designer who would provide the look of Godzilla, and Evangelion composer Shiro Sagisu. Sagisu's music often includes motifs from Evangelion and the work of Akira Ifukube — who scored many classic Godzilla films — and is a great match for the monster. It's powerful stuff.

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Anno's main concern was rivaling the first Godzilla, a film that remains effective to this day. So, in order to "come close even a little," he "would have to do the same thing." Thus, after over 60 years of monster adventures, Shin Godzilla became Godzilla's first real Japanese reboot, following a long line of films that were either direct sequels or had ignored the sequels to become direct sequels to the original. It would carry many of the same beats — monster arrives, people struggle to figure out how to stop it, they eventually do. The end. But unlike many Godzilla films, in which bureaucratic operations took a backseat to the scientists that would eventually figure out how to stop (or help) the Big G, they were front and center here.

And the depiction was often less than kind.

Instead of confident and sacrificial, the politicians found in Shin Godzilla are ludicrous in their archaic behavior, seemingly more concerned with what boardroom they're in than the unstoppable progress of the beast destroying their city. Most of their actions are played for comic relief, a tonal clash with the stark backdrop of the 400-foot-tall disaster walking just outside their offices. Multiple references are made to the Tohoku earthquake, the tsunami, and the Fukushima meltdown — including the waves that follow Godzilla as he comes ashore and the worry over the radiation Godzilla leaks into the land he travels across. One plot point even includes Japan grappling with the potential use of an atomic bomb on Godzilla from the United States, showing that over seventy years after the end of WWII, nuclear annihilation remains a terrifying prospect.

In the end, only a team organized by a young upstart that's mostly free from the processes of his slower, befuddled elders can save the day. That said, "save" isn't really the right word. Echoing Anno's statement that Japan is "a country where merciless destruction happens naturally," Godzilla is only frozen in place, standing still in the middle of the city, a monstrous question left to be solved. Whether it's Godzilla or a disaster like Godzilla, it is a problem that you must deal with, prepare for, and rebuild after. It will always be there.

That said, the film isn't just a parody of quivering government employees out of their depth in the face of a cataclysm (distrust in the goodwill of authority figures is a theme also omnipresent in Evangelion). It's also a really, really rad monster movie. Godzilla is a scarred, seemingly wounded creature, his skin ruptured and his limbs distorted. He is not action-figure ready, even as he evolves into forms more befitting of total annihilation. As the Japanese military increasingly throws weaponry at him, he transforms to defend himself, emitting purple atomic beams from his mouth, his back, and finally his tail. Higuchi and Anno's direction is often awe-inspiring, whether the camera is tilted up to capture Godzilla from a street-level view, or panning around a building to face him head-on. Godzilla feels huge.

Image via Amazon Prime Video

Its this combination of ideas and execution that would cause Shin Godzilla to sweep the Japanese Academy Awards in 2017, and, excuse my pun, absolutely crush it at the box office. But an incredible movie wouldn't be the end of it. In fact, while Shin Godzilla was a successful Anno creation, it hadn't yet gone to battle with Anno's other most successful creation.

Not yet anyway.

Part 4: 2018

A few months before Shin Godzilla's release, Toho announced a "maximum collaboration" between Godzilla and Neon Genesis Evangelion, a team-up that first manifested itself in art and crossover merchandise. Art with the logo for NERV (the anti-Angel organization from Evangelion), with the fig leaf replaced by Godzilla's trademark spines showed up on a subsite for the Shin Godzilla film.

Meanwhile, video game developers Granzella and publisher Bandai Namco worked on City Shrouded In Shadow, a game where you played as a human trying to survive attacks from various giant beings, including some from the Godzilla universe and some from Evangelion. And though this wasn't specifically tied to Shin Godzilla — Godzilla looks much more like his design in the '90s series of movies, a monster style that was the go-to branding look for years after — it did make the idea of the two franchises co-existing in similar spaces a little less alien.

The big one came in 2018 when Universal Studios Japan declared that the following summer, it would be home to a meeting of the two titans in "Godzilla vs Evangelion: The Real 4-D." This ride/theater experience would give audiences a firsthand look at a clash between the EVA units and Godzilla. However, just as the horror of the original Godzilla had been diluted through various sequels that saw him becoming Japan's protective older brother, and just as the crushing melancholy of Evangelion feels a little less sad when you see Rei posing on the side of a pachinko machine, this ride would also be a reframing experience.

Godzilla is a threat, at first, as the Evangelion units zip around, blast him, and try to drop-kick him. But then, out of space, Godzilla's old three-headed foe King Ghidorah emerges. The golden space dragon provides a common enemy for the group and they work together to eliminate it. Godzilla, seemingly forgetting why he showed up to the ride in the first place, trudges back into the sea. He is now a hero, his spot as Earth's Public Enemy #1 seemingly neutered.

To this day, news of theme park attractions that bear the Shin Godzilla design consistently pop up, including one ride where you can zip line into Godzilla's steaming open mouth! But Toho doesn't seem open to a live-action sequel that many see as the obvious next step (though they would produce a trilogy of anime films that take place in a different monster timeline). Instead, they opted for beginning a kind of Godzilla shared universe, like the extremely popular Marvel Cinematic Universe. And Anno and Higuchi have moved on to their next revitalizing effort: a reboot of Ultraman.

Wes Craven, the director of A Nightmare on Elm Street once said, "You don't enter the theater and pay your money to be afraid. You enter the theater and pay your money to have the fears that are already in you when you go into a theater dealt with and put into a narrative ... Stories and narratives are one of the most powerful things in humanity. They're devices for dealing with the chaotic danger of existence." The creators at Toho certainly gave people that with Godzilla, just as Anno did with Neon Genesis Evangelion.

Image via Amazon Prime Video

But horror films are also entertainment, and soon these monsters are sequel-ized and commodified, losing their edge to the point that new minds are brought in to reboot them and help them move forward. It's a process we've repeated since people began telling stories to one another thousands and thousands of years ago. They help us confront the worst aspects of ourselves and of our worlds. It's what makes them vital. We need them. Like the next evolution of monsters sprouting from Godzilla's tail in the final frame of Shin Godzilla, the horror genre reaches out, grasping for fears that we have and fears that will one day come.

For more Crunchyroll Deep Dives, check out Licensing of the Monsters: How Pokemon Ignited An Anime Arms Race and The Life And Death Of Dragonball Evolution.

Daniel Dockery is a Senior Staff Writer for Crunchyroll. Follow him on Twitter!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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zephyrthejester · 4 years

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Three Years Blog Anniversary!

Well, would you look at that. In the blink of an eye, an entire year has gone by! It has now been a grand total of three years since I started up this liveblog, and ever since, it's been a whirlwind of an adventure that has introduced me to amazing shows, amazing games, and above all, amazing people! As has become tradition, it's time for us to gather 'round by the fire, bundle up in blankets, sip some hot cocoa, and reminisce about the shenanigans we got up to in the year 2019.

You know the drill! Click "Keep Reading" to see the rest! Let's go!

January kicked off with the closing episodes to Steven Universe's fifth season, and what a finale it was! In true SU nature, it managed to be wholesome, funny, terrifying, and sad all at once! Not to mention the finale episode specifically, which was rife with both fan service and a breath-taking final confrontation. It even prompted me to type up three whole Addendum posts just so I could get all my thoughts out there. Intermingling with these episodes were some rather poignant and touching episodes of RWBY's 6th Volume, which saw some great plot advancements for some of my favorite characters. And of course, there was one liveblog session early on dedicated to Fate/Stay Night, a series I began back in 2018. And that would end up being the last I'd liveblog about it. Following the technical difficulties of the Visual Novel crashing at an important moment, I lost much of my motivation to keep going at it, putting Fate/Stay Night on the bench... For now. But more on Fate/Stay Night later.

Then came February! Where I proceeded to do absolutely nothing at all. For 42 days, I fell into a pretty bad funk that I called depression, at the time. Well! I must be in a better mental space right now, because until it came time to make this post, I forgot all about it! Moving past the shame I felt for wordlessly abandoning my blog and discord community for over a month, come March I pressed right into a brand new liveblog: Kill la Kill! A frenetic, frantic, freaky series that serves as the spiritual sequel to what was, once upon a time, my favorite anime ever: Gurren Lagann. I was immediately charmed by it's absurdist humor and over-the-top everything. However, it wasn't long before I succumbed to my greatest flaw. I'm exceptionally picky about what I liveblog, and sadly, Kill la Kill didn't tick the boxes that needed to be ticked for me to stick with it. I eventually dropped the series after only three episodes.

Needless to say, I was getting desperate to reinvigorate my lost momentum. It was then and there, at the tail end of March, that I introduced the most significant change to my brand ever: Liveblogging itself was being benched in favor of a fanciful second attempt at running my video game focused Youtube Channel! While I would certainly continue to liveblog new episodes of shows I had previously caught up with, my efforts would be redoubled and focused upon something I hoped would shake things up for me. I put in the effort of buying a new, fancy, high-tech microphone, and set about to new projects!

First up was a tense and troublesome self-imposed-challenge: A playthrough of Resident Evil 2 Remake on its hardest difficulty, with the added stipulation that I can never access the item storage box! My knowledge and skills of that game were put to the test as I skirted by the dangerous zombies and mutants while carrying only the bare essentials on my person. That series lasted 7 videos, plus a Highlight Reel, over about a week. My new microphone really brought out my screams of terror. Yes.

Immediately following the conclusion of the REmake 2 challenge run in early April, a new series debuted: A blind let's play of Subnautica! A simply incredible sci-fi survival game set on a planet that's nearly entirely an ocean... But much to my surprise, it was secretly a horror game all along. Spanning 18 episodes + a highlight reel between April 5th and May 23rd, we descended ever deeper into the abyss, deciphered alien riddles, fled from toothy leviathan-class predators, established a lovely home base, and had a great ol' time overall. A truly remarkable game with a surprisingly good story, for its genre, and it left me eagerly looking forward to making a Let's Play of its sequel: Below Zero.

Simultaneously, beginning on April 10th, I embarked upon yet another adventure that was of such a large scope, I made my channel's primary time slot dedicated to it. The Phoenix Wright Trilogy! A collection of the first three Visual Novels in a wonderful, wonderful series about the titular attorney at law. It wasn't long before I fell in love with this series, big time. It had everything! Immensely satisfying mysteries for me to solve, memorable and lovable characters, great pacing, and it knew how to keep things fresh and interesting. Although I started out the Let's Play by saying I wouldn't read everything aloud, that proved to be a lie. As of now, the series is a whopping 78 videos long (I do expect it to reach 100 before all is said and done), and I have given voice to roughly 50 unique characters so far. The series really helped awaken my Let's Play chops by improving my speech, vocal clarity, and focus. Swapping between my first video ever (for Legend of Grimrock II) and the most recent Phoenix Wright video is a real night-and-day difference! Overall, it's very safe to say that the series has stolen my heart. Unmatched hype, dizzying plot twists, and delightful shenanigans burst from the seams, truly. The Let's Play is currently ongoing, though the end is within sight...

As the Let's Plays of Subnautica and Phoenix Wright Trilogy progressed, so too did the production quality of my videos. I got a better grip on editing, improving the design of my video thumbnails and taking more care to edit out needless and dull moments of gameplay. I even introduced a brief and stylish video intro, which was my avatar appearing over a dark background before it faded off into gameplay. That would be the image up above! However, as we move into 2020, I’ve begun to feel that it could do with a slight improvement... Wink wink!

Following the end of Subnautica came a new Let's Play involving yet another sci-fi horror game: Prey! Spanning 25 videos + a highlight reel between June 3rd and November 19th, it immediately gripped me with its stunning attention to detail, marvelously crafted environments, and boundlessly creative gameplay. It was a pleasure to explore the varied regions of the Talos One space station, blasting aliens, uncovering secrets, untangling the connections between the employees there, and making some seriously difficult moral choices. A truly impressive video game that's just begging for a second playthrough on my own time at some point.

July 20th saw the beginning of new activity on my blog. In a spur-of-the-moment decision that I didn't think out too well, I brazenly announced out of nowhere that I would be doing a re-watch of Steven Universe! I proceeded to liveblog the first 11 episodes of Steven Universe over a week, lovingly looking back at the series' origins, calling out moments of foreshadowing, and analyzing everything with the lens of all my knowledge about the show. And then... Nothing! Just as soon as it began, the project was dropped. I had hoped it would rekindle my interest in Liveblogging (outside of new episodes of SU and RWBY), but I had no such luck. You know I'm burnt out when even Steven Universe, my favorite thing ever, can't help...

By September 3rd, the Steven Universe Movie had finally released! Over a hype-as-hell two days, I liveblogged the entire film. It truly was Steven Universe at its absolute best! Touching, sincere, unexpected, and rife with some stellar songs that are STILL stuck in my head. It proved that the Crewniverse hadn't lost its spark since the conclusion of the original series.

November 5th was my 25th birthday! My family celebrated by all going out for an amazing sushi dinner. Good times! Sometimes, it's really hard for me to grasp that I'm actually 25... I'm a kid at heart, really! Or maybe it's that I'm a social recluse who enjoys watching anime a little too much. Regardless, I feel no shame!

November 10th saw the debut of RWBY Volume 7, and so far it has been an exceptionally strong season. I've long maintained the opinion that the show gets better and better every season, and Volume 7 has given me no reason to doubt that. One episode in particular became my second favorite in the series, right behind a certain one from Volume 6! I'm really enjoying how the characters, new and old, are playing off each other this go around, and the fights and art direction have been no slouch either. This season's a looker! I'm really looking forward to seeing how it ends.

Hot on the heels of the ending Let's Play of Prey, I immediately started up a new series on November 20th... Chrono Trigger! A legendary and widely loved JRPG from the SNES era of gaming that I had somehow gone all my life without playing. Better late than never to fix a mistake like that! I eagerly dived in and nearly immediately understood why it's heralded as an all-time great. The series is currently 13 episodes long, and each one is an endless stream of me being hyped and giddy. I’m already excited to record more!

December 8th saw the debut of Steven Universe Future, a very special epilogue series that's sure to tie a nice bow on the franchise as a whole. As of this post, I have liveblogged the first 8 episodes, and it's fair to say that while it's not holding back in giving the audience exactly what it wants, it's also doing something very unexpected and very, very interesting with Steven himself. Only time will tell how it all ends and whether every remaining mystery will be answered, but so far I have been more than satisfied with it.

And that brings us to the present! Wow, it felt like a lot less happened this year than you would think, huh? No, it's been jam packed with new adventures! I think I am very content with how the year has gone, and I hope you are as well. We'll be striding into the year 2020 with more Steven Universe, more RWBY, more Phoenix Wright, and more Chrono Trigger! Plus, it may very well be that we'll see the return of Made in Abyss and Madoka Magica, both of which (I believe) are getting continuation movies in 2020. I may or may not be entirely wrong about this. Forgive me if I am...

In the near future, the Phoenix Wright Trilogy will be followed up by a Let's Play of Fate/Stay Night! Indeed, the canceled Liveblog will be reborn in youtube video form! And following Chrono Trigger, well... It's mostly up in the air, though I do have a few good ideas. In particular, I recently got a Virtual Reality system set up... Wink wink!

So that's really all there is to it! Cheers, lads! Cheers to a good year, and cheers to the next year being even better! To our good health, our unbreakable friendships, and all the stupid bullshit we’ll get into together! 2020 has arrived!

#Zephyr the Jester #Blog Anniversary

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blue-scr33n · 4 years

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Ok! Here’s the final product for my Other Origins au, it took me a while and it paid off!

I love both their designs, especially Adrien’s since I think it totally is something he would wear if he started as Ladybug from scratch (and I have his name as Lordbug because he’s a dork) Marinette’s design for the cat has been in my head for a while, but only grew when I saw her canon design. I don’t like it, nor do I like the name (solely cause it’s a ship name, so it was just meeeeh) And it’s what I think a cat design for her would be starting from scratch as well (Her name is a toss-up between Kitty Noire, or Catnip)

I decided to make her hair into the ears for a cooler looking silhouette and gave her twin tails just because. On Adrien I gave him the collar to give the bodysuit more of a silhouette, which was why I also gave him a belt.

In the au, Fu accidentally mixed up the miraculous he was going to give the two and it ended up nicely regardless because Adrien, while apparently blind in canon, isn’t stupid. And in the au, depending on the holder, it can “unlock” different powers of the miraculous (hc that in canon it doesn’t because each simply didn’t start out with the miraculous and already knew about the powers the other had, and thusly it just transitioned over into their transformation.)

So Adrien’s main power aside from miraculous healing, is “Wishful Thinking” which gives him an object like Lucky Charm, however, it gives him what he wants since he’s not a creative thinker (but can come up with a plan, as seen in Reflecktadoll where he came up with a plan, and just needed the right object)

Marinette’s power, however, is much more abstract to match her creativity. It’s called "Catatonic” and allows her to make use of all the bad luck she carries, and those around her possess allowing for greater chances of an enemy slipping up or something not working for the enemy. Her secondary power (to better match Adrien and be equal with him, like it should be in canon) is called “Catastrophe” and runs in line with her main power, however, it instead focusses on once specific thing unlike “Catatonic” does. So she can basically choose what goes wrong (very helpful when Lordbug has a plan and needs a specific thing to go wrong)

Everything else pretty much remains the same, however both are suspended from meeting him until after “The Collector” because Tikki in this Au didn’t get sick. Also, the fact that the peacock is no longer in Gabriel's possession by the time Hero’s day rolls around bc Tikki insisted Adrien take the book and the brooch (the book gets returned, the brooch does not) There are other things under the cut, like these last few ideas, however, the powers are for sure as are the designs (I just like Adrien with slicked-back hair, they coulda done it when he was Aspik, I’m just saying.)

#Ml au #miraculous #miraculous au #kwami swap #other origins au #reverse origins #cat!marinette #ladybug!adrien #au #digital art #ml art

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spiftynifty · 4 years

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VLD Rewatch: Season 3

For a half-of-a-half season, season 3 packs quite a bit in and sets up a lot of plot. This shouldn't be surprising; Voltron was laid out as three 26-ep seasons, with each season bringing a new big bad and new theme. Season 3 is our beginning of the Lotor arc and there's a lot of setup and... a lot to unpack here.

For those who are still in "can't do it" mode about rewatching the series (which is fair), here's a quick summary to catch you up:

Shiro has been missing for (it's kind of implied) months. Without Shiro, Voltron and the group are fractured, especially with Keith's deep grief over losing Shiro preventing the recruitment a new Paladin.

Ultimately, Keith takes up the mantle of the Black Lion, Lance moves to Red, and Allura gets Blue. The group is clumsy and outmatched by Lotor and his generals who are definitely Up to Something. Keith tries to play leader and it's a bad look when he's making decisions via grief escapism. The team gets briefly trapped on a foggy wifi-less planet, discovers a bizarro alt-reality where Alteans rule the universe and Shiro is Swedish and doesn't mind Slav, and trails after Lotor and Co who have made off with the reality-breaking comet from Svavland.

Meanwhile Shiro escapes the Galra again, catches up with Voltron, shares a couple lowlit intimate moments with Keith while also awkwardly undermining his authority and jeopardizing the safety of the team, but no one suspects a thing.

Oh and there's a flashback episode about the OG paladins that I'll be honest I skipped since it turns out literally nothing that happened in the past is relevant to the present day and our only major revelations are that we (and Haggar) learn that she was once Honerva, Zarkon her husband was once kinda adorable, and turning evil swaps out your voice actor. Oh and Honerva had a cat who may or may not be as old as Haggar and potentially still kicking around.

Let's talk about season 3.

There's good and bad to be had with this season. Originally when I began my rewatch of the show I wanted to do it as though I were watching the season for the first time. Season 1 and 2 made that astonishingly easy; of all the seasons they seem the most confident about what the show is and what it's going for. Season 1 is for the mild setup and world building, season 2 is for the character building, relationship building, lion building, and problem resolving. Season 2 is arguably the show's strongest season overall so it's a tough act to follow. Season 3... makes an effort.

The good of this season is really good. Keith's grief over losing Shiro surprised and moved me the first time I saw the season and I was impressed with how long they held onto it given the show's habit of moving on pretty quick. Keith's grief holds the team back and endangers it; his early insistence on going after Lotor felt like a way to channel his anguish and maybe get a little revenge for his loss. Keith got one of his most significant character boosts in season 2, and following it through in this season sets up a complicated Keith that we will see for seasons to come.

The other good is Lotor. Lotor is handsome and charismatic and devastatingly cunning and is a polar opposite to his Saturday-morning-cartoon-villain dad. Zarkon was threatening, but Lotor is INTERESTING and his "wait and see" approach makes us the audience want to wait and see what he's up to. His band of generals are intriguing and colorful and I love the variation of their designs and personalities.

And of course, we can't talk about the good stuff in season 3 without discussing Shiro and Keith's relationship. Season 2 gave us some really fantastic growth and moments and entire episodes between them, but Season 3 brought a new level of intimacy that definitely bumped it up a notch. From the slow-moving reunion and closeups of only Shiro and Keith's faces, to their quiet moments alone in dimly lit rooms. This season gave us "as many times as it takes", which remains one of the most beautiful little exchanges between the pair in the whole series. The jury is still out on whether or not Sheith was a hopeful intention by the creatives on this show or just an incredibly happy accident, but looking at some of the decisions made in 3x05 and 3x06 especially lean more to the former. These scenes are more bittersweet now knowing how it all ends up.

There is a lot of setup for future things in general, and this is where it becomes difficult to separate what is in s3 with what will be by the end of s6 (and beyond) because some things we just can't unknow. It was really interesting to see how things that made me very hyped after this season now take on a bit of a disappointing and even bitter flavor because some roads really don't go anywhere. Lotor's mysterious plans for instance, only seem to get more mysterious, as do his allegiances. He spends most of this season clearly toying with the Paladins, clearly prepared to destroy them or let them destroy themselves, but later he sides with them and the Paladins seem pretty quick to forgive this and assume he's a good guy now. Lotor's "side" is never clearly established since his goals never are. The Lotor in s3 is interesting by virtue of the assumption that we will eventually learn all his secrets. But we never do, and that definitely for me taints him as a character.

Speaking of some mixed character motivations, s4 reveals that Narti was either a spy for Haggar the whole time or that Kova was, or both, and yet in season 3 Haggar sends a goon off to spy on Lotor. Even in Haggar's private moments she seems unsure of what Lotor is up to so this later reveal that she was aware the whole time is an odd one and still left very vague.

Similarly, major problems arise with Shiro in s3 but only via the hindsight of s4-6. Everything about the way Shiro is brought back into the fold in season 3 is highly suspicious. From a narrative standpoint I want to say it begins with Sven as foreshadowing, an alternate-reality Shiro who looks JUST LIKE SHIRO but is NOT SHIRO. Unfortunately I think this was less of an audience wink and more of an excuse to nod to the original Sven. But Shiro's Journey opens with scientists doing tests on him, Shiro's pupils dilating to the sound of camera lens adjustments, and Shiro literally seeing a dead-eyed copy of himself on a slab. The words "Operation Kuron" are repeated at least three times as the Galra let him escape. When Shiro meets the two aliens on the ice planet and they accuse him of being a traitor, Shiro protests, "I'm not a--" and never finishes. He does pilot logs into a Galra Cruiser as he tails Voltron. And that's just in one episode.

The next episode has him repeatedly undermining Keith's newfound leadership position (a position Shiro repeatedly encouraged Keith into in s1/2 to Keith's great reluctance), to the point of talking over him and shouting at him. He dismisses the safety of the team for the sake of the mission; something that goes expressly against the team Voltron way of doing things (Kolivan details this in s4) and is completely against Shiro's nature. It felt manipulative to me the first time and it still feels off when at the end of this he privately tells Keith "I'm sorry I had to step in back there", referring to Keith's failure (which was not a failure) and then in the next breath "you're good at this." This was the topic of many a heated debate when the episode came out but from my end there is just no way to see that the man presented here is Shiro and not an insidious clone.

There's a term for this that I forget where the storyteller essentially gaslights the audience for no real reason. Ultimately we will come to know that this is Shiro. A little more short-tempered but ultimately a good boy and not the potentially fully aware evil clone that season 3 hints at. It's bad writing; and the reason that it's bad writing is that the audience is privy to very little more than the characters are when it comes to Kuron and yet the characters are not in the slightest bit suspicious about the behaviour that we the audience sees as suspect. We end up gaslighting ourselves because of bad writing, only to learn that we were right the whole time. And genuinely, speaking as someone who loves all Shiros dearly, Kuron is a whole walking writing disaster. But more on that as we get further into the season.

I don't love the episode, but the Comet episode is a surprisingly adult-oriented one and presents an interesting flip to things and an intriguing hypothesis that I wish had been explored better, or longer, or something. As I've said 100x before, Galra aren't an inherently evil race; they're the result of a 10,000 yr universe takeover. This episode suggests that Alteans are no better, and the broader implications of this are massive and should have offered a much bigger fundamental shift in the characters and the way they viewed this war. In particular Allura, who previously immediately turned against Keith the moment his heritage was revealed, despite having become good friends with him. Her learning that her own people aren't immune to "absolute power corrupts absolutely" is a moment that is not given any real weight or consequence . This is a letdown especially since this potentially weightier-themed episode was self-aware enough of that weight to be the only episode outside of the Voldemort season to show imagery maybe a little too old for its younger audience (the repeated shot of the mummified Altean scientist).

From a production standpoint I noticed a lot of little things. There were a number of hookup issues; some hilariously drawn bg characters, some compositing that worked and some that decidedly didn't. Some of the editing was a little rough in places and some of the timing of things felt very off. There were some jokes that ran long and didn't land and threw the pacing off or stole time from other things. The editing on the Comet episode was particularly off and the characters were visually difficult to track at times. Also, there is definitely a different/longer version of the "As many times as it takes" scene even if it only exists in script or maybe board form. All of the Shiros in that scene were drawn by Ryu, who was often tapped for revisions (particularly for Shiro and Lotor). But the Keith in that scene is not a Ryu Keith; and Keith's "Well--" in "If you're feeling up to it" sounds like two lines spliced together. Ryu's fingerprints are all over 3x06 in interesting places; I definitely spotted his artwork in at least one shot of the Galra post leader and I think a Zethrid. He drew a few of the short haired Shiros as well. I think this episode underwent a number of changes; I remember too that Lance exclaiming "you're looking better" was originally Keith's line. At the same time we get little nice superfluous animations like the foreground gecko. Just a lot of inconsistencies.

Overall it's still an alright season but knowing what's coming means I just don't love this season the way I used to. The little moments that rock still rock but a lot of plot pawns were pushed forward that were ultimately just discarded. I can't wait to see if finishing the next 3 seasons will retroactively bump this season back up to where it once was in my heart.

#voltron #vld #vld rewatch

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moved99999999999 · 5 years

Text

U guys wanna know what I think about that hell hotel show

I feel like twitter’s very tired of seeing ppl talk about Hazbin Hotel, so I putting my opinions on tumblr where they belong. I’m not a “professional critic” by any means, but I’ll try my best given what I know. And don’t worry, I’ll be incredibly nit-picky to suit the internet’s needs.

I’m gonna mainly focus on HH itself instead of Vivzie’s accusations because that's a WHOLE other can of worms to open.

During the time of me writing this, I haven’t watched any YT reviews, but I’ve read a few threads criticising the show, so take that as my social influence bias.

My ted talk is allllll below the cut. Enjoy~

Context:

My first exposure of Vivzie’s work was her “Die Young” animation that I came across around 2016. Instantly I fell in love with how “smooth” and lively her animation was, and especially the fact that it was hand drawn. Animation like that was extremely rare to come by (and still is) and seeing her execute it so well with such complexed characters was amazing to my fetus self.

A few years later and I see the first trailer for HH. I instantly went OH I RECOGNISE THAT STYLE AND THOSE CHARACTER TYPE DESIGNS and was looking forward to what it had to offer.

On “opening day” I watched the pilot ASAP to avoid my opinions from getting warped by all of the key-mash memes and post call-out bitching (literally the extremes of the HH opinion spectrum), and overall.....

I thought it was good.

Not ground breakingly amazing, not horrifically terrible, but charmingly good.

(Ok now it’s actual review time)

Animation Quality:

As a hand drawn animation that has the freedom to get creative with its shots, a lot of effort was clearly put into how everything moves (it definitely didn’t take any lazy flash puppet shortcuts for the main sections of the show) and I can appreciate that. However it tends to be... rather inconsistent, most likely due to the varying skill level of the animators on the project. It’ll be nice and smooth one minute, and then awkward and choppy the next which can make the viewing pretty confusing at times. I’ll be honest I found myself overlooking these inconsistencies due to the characters and backgrounds themselves being very visually engaging, especially considering how over designed some of them can be (which I applaud the team for handling cuz wow that must have been painful). However, the needle thin and exaggerated art style makes some things incredibly hard to look at. While it helps with adding fancy details, it hurts in catching peoples eyes in the right place.

It’s also chalk full of little details, visual gags, and references that are hilarious to look at if you have the luxury of pausing every two seconds (the news segment and Sir Pentious turf war w/ Angel and Cherri are good places to look). But I feel like these lil details were put in at the cost of some some continuity errors (Charlie not wearing her coat in one shot, and having it back on in the next, papers being blank, etc.) and lip-syncing issues which really shouldn’t be happening considering all of the detail they were able to put in. There are also some shots that have just SO MUCH detail put into them, only to be shown for less than a second. I get that’s the cost of animation sometimes, but save the detail for the shots that need it, because at that point you’re just causing the animators to waste their efforts.

However, I was surprised at how professional the soundtrack and editing was. Not one but THREE songs in this single episode was really surprising, and the variation and quality of each was great (as cringy as Charlie’s song is)

But overall, the production quality is surprisingly good for a project like this, the editing, sound effects, and sound track act like a cherry on top. Of course there are some noticeable drops in quality, but given time and a budget, it has enough chops to look like an actual show.

Writing:

As far as overarching plot goes, it seems like it’s going to be one of those procedural shows that tries to be serialised, but it’s a creative twist on hell and has an interesting premise to begin with. You can get really creative with seeing how you’d dive into getting redemption out of all of these seemingly lost causes, and I’m sure there are many people willing to know the backstories our main cast. As a pilot, it did it’s job of launching the plot very well, setting up the premise of the hotel and introducing characters in a very engaging way. I was legit really interested in each segment with who in introduced, and it didn’t feel like I was being overloaded with names to remember (which can be a problem for many medias and introductions). The cohesion between each scene is VERY smooth, and I genuinely enjoyed some of the cliché cuts/gags.

Unfortunately I can’t extend this interest to our main character. Charlie is one of the most generic tropes we’ve ever seen. She’s a boring Disney princess who has a “cute happy positive goal to change her world” and the only thing that would make her more generic is if she wore a dress and cried “I’m tired of being so privileged”.

(Although it’s impossible to tell, I honestly think Viv is just projecting through her, especially considering how horrifically accurate the hotel’s opening mirrors the internet’s reaction to the pilot itself)

I would be more forgiving if she was a supporting character or someone less important, but she’s the freaking protagonist, arguably the character that has to be the most interesting. Angel’s personality seems to be “flirty porn star”, and while that’s just as bad as being a boring Disney princess, at least he gets a few jokes and has a profession more interesting than Charlie’s. Around the end of the pilot he just seems like he’s getting involved because Viv likes giving him attention. If he’s supposed to be leeching off of the hotel, wouldn’t not care if it survives or not?

(There’s that whole stereotype issue that everyone keeps bringing up, but I genuinely think that’s BS because people are blatantly ignoring the fact that Angel is a porn star, Vaggie is portrayed as helpful, and that the show takes place in H E double hokey sticks.)

The transitions may be smooth, but the dialogue pacing can get really awkward at times. This paired with the animation sometimes having awkward quality drops makes some movements incredibly jagged, and has some detailed shots show for incredibly unbalanced screen time as mentioned before.

I don’t have enough to give voice acting it’s own section so I’m just popping it down here:

The voice acting is legitimately better than several big name projects I know. It’s consistent, great at expressing the character’s mood properly, and each voice fits each character perfectly. My only gripes are that Alastor and Sir Pentious tend to grain on you after awhile due to them keeping a single tone for too long.

Character Design: AKA the only thing I have legitimate experience with.

First thing’s first. The characters are WAY too over designed. There are so many markings and accessories that are incredibly unnecessary. I think the mindset for these characters was “the more complicated and attractive the better”, which makes them look like they’re designed by an edgy tumblr artist (heck I fall for this too some times).

Especially if a character is going to be animated, you have to keep in mind the value of simplicity. You absolutely don’t have to fill in your character with markings and trinkets to make them look unique, I mean just look at the gen 1 pokemon starters. Thanks to the limitations of the game, the sprites were forced to be simple, and it was that simplicity that made them such unique and varied creatures. You can tell Blastoise is a bulky water blasting turtle just with a quick glance.

Many of the characters suffer from over complication, but I’ll look at Husk for example. He has these stripes all over him that do not contribute to who he’s supposed to be at all, and only look like they’re added to make him more unique. The markings that DO help are the little card suite marks on his wings, because those at least infer he’s linked to a casino/gambling type of theme. I would say his outfit helps as well, but formal wear and bowties are worn way to often by the main characters, which brings me to another problem.

They may look different, but they feel way too similar. From the same skinny body type, to generic head shapes, to outfits, the focus characters just don’t stand out amongst each other. Even the ones with interesting features still suffer from feeling generic. I’d say Sir Pentious is a good example of this. He has a serpentine/naga body and clever hair style that make his concept really creative, but his skinny body type, complicated eyes all over his tail, and generic “young but supposed to be at least middle aged” face just push him back into obscurity. He’s even wearing the SAME outfit as Alastor (who's an even worse offender of that generic face problem), and unless Viv has some plan to link the two, I’d say the characters need to stop using a dress code.

A successful character design can to tell you who the character is just by looking at them. You should be able to tell if a character’s personality, function, age, the universe they belong in, and if they’re important or not, and that’s a big problem when it comes to the background characters. If you pause on one of the extras for a minute you can see all of the effort put into designing them, and that takes away so much attention from the main cast. Not only that, but they have actual variations in their body types and outfits, which makes them more intriguing than who we’re supposed to be interested in.

Regardless, this pilot has potential, and if they can get someone to comb out the flaws, you can end up with something good. No one can deny a legitimate animation was made here, and the team successfully executed the start of a story, and that’s something anyone can look up to.

TLDR: The pilot is good. It has some major flaws, but it has potential to be a good show.

If you actually read this far epstein didn’t kill himself.

#I'm only doing this cuz i wanna draw angel dust and i feel like I have to justify myself before ppl start calling me mean things #Fan art is coming ;)#hazbin hotel #HH is good yall just have a mob mentality #critique

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