oh my god YES
he’s been stalking her and finds out she goes to church every sunday so what else is there to do? become a priest obviously how hard can it be?
GOD AND THE SINS READER CONFESSES
she confesses to be feeling lustful and vulgar things about a certain blonde priest and he just EATS IT UP
i'm dizzy thinking about his lips at your ear, his hands pressed to either side of the wood behind you, his body radiating such heat that you're warmed by him without him ever touching you.
you swallow dryly and choke out, "Forgive me." he caught you staring at him, thinking of him, lusting for him. you think he must have been able to read your mind, all those wicked thoughts.
"How can I forgive you," he laughs softly, his breath ghosting on your skin. goosebumps erupt down your neck. "Before you confess to me?"
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So @doyou000me sent me an ask about the film making of Love for Love's Sake (which I have learned is based on a novel and now I'm very interested in reading it lol) so having watched the currently available episodes the big thing I noticed was the shows use of Aspect Ratio.
"In simple terms, the aspect ratio of a movie is how wide the frame of the movie is versus how tall it is, usually expressed as a ratio. For example, most TVs and computer monitors are 1.77:1 (more often expressed on consumer packaging as 16:9), which means the screen itself is 1.77 times as wide as it is tall. The higher the first number in this ratio is, the wider the screen will be." (source)
I know, nerd math.
Basically you know those black bars you sometimes see on the top and bottom of the screen when watching a film or tv show? That's a director filming in a specific aspect ratio:
(source)
Film makers use aspect ratios in a ton of ways, there's a lot of examples out there from Hateful Eight (Quentin Tarantino), and Dark Knight (Christopher Nolan) where the former used aspect ratio to invoke the film making style of old westerns, while Nolan used a taller aspect ratio for fight/action scenes to give the scene more physical impact.
A recent example that I've seen that I think applies really well to Love for Love's Sake is Marry My Husband:
See how the first scene has black bars above and below? The director is using a different aspect ratio than in the second shot (these are both taken from ep01). What does this signify in the story?
Flashbacks. Flashbacks in Marry My Husband are always filmed in a different aspect ratio than scenes in the "present" storyline of the show. Perfect Marriage Revenge also uses aspect ratios this way.
Love for Love's Sake does something similar but instead of flashbacks it uses aspect ratio to denote between "worlds".
The game world is filmed in a longer aspect ratio than the "real" world which is filed in a different ratio (not a standard full screen but it does have a taller ratio than the game world):
This, so far, has been consistent in the four episodes that are out. We have another return to the "real" world in I believe ep03 and we see this same aspect ratio dynamic.
Another thing I noticed is the "real" world's color saturation is much higher and warmer than the "game" world, but it's also (ironically) much more enclosed - this could honestly be a story choice or a budget issue - and boxed in. Something I don't see discussed a lot in terms of cinematography in BL is the use of Lines and Shapes in film and how they add to the composition of a shot.
I really like this video on the subject though it focuses mostly on animation it's still relevant:
Now if you look at the "real" world scene in Love for Love's Sake we see that the protagonist, before we even know who he is, or anything about him, is in a highly saturated room, warmly lit, but also boxed in:
The warmer saturation denotes a sense of intimacy, which makes sense in a bar setting, but the boxed in frame around him gives us a sense of tightness, tension even, maybe a sense that he feels trapped. We later learn through dialogue he's unhappy with his life and unhappy with the way the novel story he read has played out.
Then, when the scene transitions into the "game" world, the protagonist is in a different aspect ratio, the color grading is now more desaturated and has a higher blue hue to it, the character is also in an open space and filmed front forward facing instead of from behind:
This all works well because the audience knows, even before the character does, they are in another "world" and its very different from their own. It creates to specific aesthetics which help set the worlds apart from one another.
For more on color theory, this is one of my favorite videos on the topic which has more to do with like, hue and saturation rather than "the blue curtains mean xyz" which is a singular and narrative heavy way to focus on color theory instead of how color adds to the tone, emotion, and world building of a piece of media.
I think the first episode of Love for Love's Sake is the best filmed of the episodes so far, the budget starts to chip away in other episodes but I do want to give them their roses b/c they do work within their budget well. There's a lot of interesting visuals used especially with the game pop ups that I really like, and some nice camera work. The editing is a bit weak at times but there's been some good choices too.
I also really liked the scene with Yeo Woon running and how his feet lit up and how that aligned with his affection points going up. The editing for that was well done.
So yeah, those are my film making thoughts on the show for now lol
Check out other posts in the series:
Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI
[like these posts? drop me a couple pennies on ko-fi]
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[cws: drugging, SA and SA apologia, fantasy racism/ableism, forced institutionalization.]
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i know i never shut up about it but god i am still just. So Salty about how the show handles the dynamic between mayor jones and pericles for many reasons, and one of the biggest is that there are really strong overtones here of sexual assault.
a character who already brings to mind the Slimy, Shady Cis White Guy with Buried Allegations archetype:
takes advantage of the trust of someone who's doing something with him in secret--
(which will get that person in a disproportionate amount of trouble compared to him, if they're discovered)
--to catch him off guard so he can grab him, drug him, and do violent things to his body while he's unconscious; scars him for life in a way that is disabling and should cause a lot of ongoing suffering, which, like many other things that should have a strong negative impact on him physically or psychologically, the writers ignore; and dumps him there alone to discover what's been done to him when he wakes up.
specifically, he does this to someone from a marginalized group that's highly unlikely to be believed if they tell anyone what he did--and going by the fact that mayor jones never got in any trouble until present day, he wasn't.
goes out of the way to ruin the life of the victim and discredit him as thoroughly as possible, because he's a loose end and he needs to shut him up.
flees the scene and gets away scot free with this for twenty years, has a successful privileged career and is considered a pillar of the community in the meantime.
when his dirty secret, which he's been paranoid about finally facing consequences for after the victim has recently become a risk again, is discovered, it's a huge career-ending scandal.
is redeemed by the end, while his victim goes on to be the Monstrous Irredeemable Pure Evil Main Villain and also sexually abuse someone himself, which is played as horrific and traumatizing (as it should be).
more specifically, is portrayed as showing redeeming, heroic anti-villain qualities by backhanding the victim into a wall as hard as he can in present day.
me: hm. yeah fuck this
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