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denimbex1986 · 3 months

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'Claire Foy has shared a message for parents of LGBTQ+ children while speaking to PinkNews about what it was like to play a prejudiced mother in Andrew Haigh’s new LGBTQ+ drama All of Us Strangers.

Loosely based on Taichi Yamada’s 1987 novel Strangers, All of Us Strangers stars Fleabag’s Andrew Scott as Adam, a queer, depressed writer in his mid-forties who ventures back to his childhood home after trying to write about his parents. While there, he reunites with the ghostly apparitions of his mother (Claire Foy) and father (Jamie Bell), who died when he was 12.

In the weeks that follow, Adam gets to have heart-wrenching conversations with the two ghosts about his life now, including coming out to them as gay.

While Foy’s portrayal of the mum is brimming with warmth and tenderness, the character is at first shocked to hear of her son’s sexuality, worrying intently about whether he might contract Aids, as the crisis was at its height at the time she died.

In one comic line, she questions whether her son should be open about his sexuality “on the high street, at WH Smith,” afraid he will be attacked.

At a time where LGBTQ+ youth are still being rejected and disowned by their parents, Foy’s character sends a powerful message.

“A lot of the time, as a parent myself, I do understand how difficult it is to not see that your child is basically a criticism [of] you as a human being, and understanding you don’t own your kids and your kids will be whoever they’re going to be,” Foy told PinkNews.

The Crown star believes that her character’s opinion of homosexuality comes from a place of fear.

“The hardest thing for a parent is giving [your children] away to the world because the world can be an incredibly cruel and dangerous place for [the] beloved little thing that you’ve created.

“I think it does all come from love and it also does come from fear – fear of what you don’t understand and fear of somehow that you are not right.”

Foy urged those who do not accept their children for whatever reason to look inward, and shared her hope that All of Us Strangers highlights how our time on Earth is finite, and shouldn’t be spent judging others.

“One of the greatest things I’ve learned as a person is that often the criticisms and judgments you have of other people, you need to repeat back to yourself because they’re the things you’re most afraid of in yourself.

“Hopefully, the film will just teach people that life’s too short to be confused by one another. Just ask and be told, and listen and understand. Then [we’d] get there a lot quicker.”

Although she handles the quietly poignant role delicately, Foy admitted she was concerned about being able to step into the role of a mother with discriminatory views, however ‘well-intentioned’ they are.

“There was a small, at the back of my brain, concern about how honestly we were portraying it, I suppose,” she said, “but at the same time, we had to be brave about not trying to soften the reality of what that conversation would be like.

“I think [her character] is very much stuck in a period of time and you have to have compassion for the understanding that at that time, what she was being fed was a particular view of what it was to be a gay man in the world and the risks that came with [it].”

Foy’s character would have been alive during Thatcher’s time as prime minister; an era full of intense homophobia and disinformation regarding the LGBTQ+ community.

“I definitely felt we had to honour that, because it seemed so important that history is understood, and not try to make it modern in any way,” Foy added.

She had crucial conversations with director Haigh and co-star Scott about making sure the relationship was being depicted in a way that reflected the reality for gay men.

“I felt I was there to support Adam’s character come to some sort of conclusion with his parents, and you have to go through those difficult moments to get to the end of the story.

“I loved her as a character… I feel as if she’d been given that education [and] given the opportunity to grow up with her son, if she was a parent of a 46-year-old gay son, she would be an amazing mother and would love it – and probably love it a bit too much.”'

#Claire Foy #Andrew Haigh #All of Us Strangers #LGBTQ+#Andrew Scott #The Crown #Fleabag #Jamie Bell

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picturebookshelf · 3 years

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The Complete Adventures of Curious George (1969)

Story and Art by Margert & H. A. Rey

#curious george #the complete adventures of curious george #margert rey #h a rey #1960s #nostalgic #picture books #60s #children's books #children's literature #i loved these old stories as a kid and now #also how often do you get to see a beloved children's character get incredibly high

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svltairs · 3 years

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* 🌎 𝒂𝒖𝒈𝒖𝒔𝒕 𝒃𝒂𝒓𝒍𝒐𝒘

* sydney park, cis woman + she/her | you know august barlow, right? they’re twenty four, and they’ve lived in irving for, like, twenty four ? well, their spotify wrapped says they listened to good days by sza like, a million times this year, which makes sense ‘cause they’ve got that whole tote bags made out of recycled material with buttons supporting your favorite causes littering the straps, shoving down your feelings into a smile, sitting on the beach til sunrise drinking in the serenity of it all. i just checked and their birthday is march 17, so they’re a pisces, which is unsurprising, all things considered.

trigger warnings: car accident, death

* 🌎 ABOUT AUGUST .

august was born and raised in irving, the first daughter of beloved local olivia barlow. olivia was a science teacher at the local high school and was very involved in advocating for the community that she was a part of. she cared deeply for irving, it’s residents, and particularly it’s environment. it’s a love that she passed on to her daughter as well. august and her mother would often be spotted on the weekends down on the beach, looking at the creatures that swam around in the tide pools, and even cleaning up trash that washed up or that tourists littered on the shore. for a long time, it was just the two of them. olivia didn’t make much as a teacher, but it seemed that she was always able to give august everything she needed and then some.

when august was seven, olivia brought a man into their home for the first time. his name was jerry and he was a new social studies teacher at the high school. he was kind to august and the only sort of father figure she ever had in her life. and he had kids of his own, jerry being a widower, and soon they became something of a blended family. jerry and olivia got married finally when august was ten. she’s very close with both her stepfather and her stepsiblings. they continued to live in the home she shared with her mother in her younger years. it was crowded, but full of love.

august. spurred by her mother’s own passion, has always cared deeply about protecting the planet and the creatures that inhabit it. her mother showed her the beauty of nature and from a young age, she has always vowed to protect that beauty. as a teen, she started up various projects around town, including weekly beach cleanups, a local awareness campaign and watch during the time when baby sea turtles hatch, making sure to keep people away from the scene so that they would not disturb, and even got the high school to start composting!

it was hard for august to leave irving behind for college, but she had impressed the admissions committee at stanford and earned herself a full ride to the school, to receive her bachelors in earth systems, with a focus on oceans, atmospheres, and climate. while at stanford, she threw herself into her studies and into activism work. it made it difficult to come home on breaks and as the years went on, she came home less and less. at stanford, she also fell in love with a boy who she thought was as passionate about the cause as she was. she was a bit moony-eyed over him and tended to only see the good, when there was a lot beneath the surface that wasn’t exactly good.

during august’s senior year at stanford, she received a call from her stepfather, saying that her mother had been in a terrible accident and that things weren’t looking good. she was on the next plane back to north carolina, but by the time she got home, it was too late. her mother had passed away.

before the reading of her mother’s will, her stepfather pulled her aside to warn her of some information that was contained within regarding inheritance. it was something her mother had always planned on telling her eventually, but they were so happy as a family and she had never inquired much about her father, so the timing never felt right. she was told that her father was ewan cho, an international business magnate, and that she was the product of a summer fling between him and her mother. the reason her mother was able to support them through all these years was because of the child support and hush money ewan sent her way to care for august and to keep olivia quiet about the affair.

this news truly turned august’s world upside-down and she wasn’t quite sure how to process this all. originally, she had planned on taking some time off from school and being with her remaining family back in irving while she grieved, but after all she learned, she went straight back to stanford after the weekend of the funeral, and worked herself to the bone ‘til graduation, all while periodically avoiding calls from her stepfather and stepsiblings, who were just worried about her.

upon graduation, august had some incredible job offers, but her and her boyfriend decided to join up with greenpeace, traveling the world and fighting to save their planet, one project at a time. she loved the work, was passionate about it, but was missing home more and more with each day.

after about a year with greenpeace, august told her boyfriend that she wanted to continue their work back in her hometown of irving. she felt it was time to reconnect with her family and she knew that the small costal town could benefit from their activism. she asked him to come with her and he called her selfish for it. needless to say, they broke things off and she’s still mending her broken heart.

august has been back in irving now for about a year. she lives with her family in the same home in delphinius heights that she grew up in. it feels strange, being there without her mother, but she’s reconnecting with her family and she’s grateful for their support and that they’ve stuck by her, even when she felt a bit lost. she’s also come to the decision that she does not want to know more about ewan cho. he isn’t her family. jerry is. his children are. they are who matter to her.

august’s latest project is opposing the renovation of the old poseidon hotel. all environmental reports on the project show that the renovation could cause a huge ecological disruption in irving, displacing many animals that have made their homes around the structure. she’s determined to get the construction to halt. what she doesn’t know, yet, however, is that it is a cho who is determined to get this project off the ground.

tl;dr: do gooder girl wants to save the world. finds out her birth father is rich & says no thank u. continues to want to save the world, but will soon find out her big bad half brother is standing in her way

character inspiration: kiara carrera ( outer banks ), other chars i can’t think of right now but they’re on the tip of my tongue and when i remember ill add them to this list

#irvingintro #<3

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luckyjak · 4 years

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Why I Don’t Ship Widojest: A Master Post

An anon sent me an ask about this topic, and I debated for quite a bit about how to answer it. Then I decided the best way was to do a long post like this. I put a lot of thought into why I don’t like it, and I thought to share it.

A few things: 1) I am not telling you not to ship it. The goal of this is not to say “Don’t ship Widojest! It is a bad ship and you are a bad person for shipping it!” That is not my goal, okay? The internet and fandom in particular is meant for fun, and if you enjoy Widojest then more power to you! Don’t let me or anyone else stop your fun! Lord knows I have shipped significantly more problematic things. All I ask is that you tag shit more but that’s beside the point.

2) I am not particularly interested in argument. You are not likely to change my mind. I am not trying to be hostile, but if you know reading this is going to piss you off, then don’t read it. A question was asked of me, and so I thought to share my opinion. Unfortunately for everyone involved I am a high school English teacher, and so I cannot think about anything without completely overthinking it.

About my shipping preferences: generally, I like all the ships! I was particularly fond of Widomauk before Molly died, and I now I really enjoy Shadowgast, but I also like Fjorclay, Fjester, Beaujester, Beauyasha, Widofjord, Clayleb, Lavorclay, and, as the only person on earth, Yasha/Caleb. Hell, if Astrid gets a good redemption arc? Caleb/Astrid or even Caleb/Astrid/Edowulf. Any of those ships could become canon and I’d be tickled pink! You can even throw Nott into the mix, even though I mostly ship her with her husband. Nott/Fjord? Delightful. Nott/Caleb? Weird flex but why not? Nott/Jester? Absolutely! They are the best detectives!

I just don’t like Widojest and I don’t want it to be canon, and here’s why:

Doyalist Reasons First:

1) Laura and Liam played twins for years, still act like siblings even though they aren’t related by blood, and it squicks me to think of them together romantically.

Laura and Liam are fantastic actors. If they were hired to play a romantic couple, I have no doubt in my mind they could knock it out of the park.

But why on earth would they want to pretend to be a romantic couple, in a game they both play for fun?

It would be weird. I play D&D with several guys I consider my brothers, and I can’t imagine pretending to romance either of them in d&d for that same reason. It would be weird.

Maybe it wouldn’t be weird for Liam and Laura. Maybe they are more dedicated to their RP, and they’d be able to push that aside for the sake of fictional romance. But for me, that would be the last thing I’d want to play, and I suppose I project that onto Laura/Liam.

2) A lot of “evidence” for the ship is the way Liam looks at Laura.

To which I say...did you watch Vox Machina?

That’s how Liam looks at Laura all the time. He’s the president of her fanclub. He’s her twinsie. He always looks at her with hearteyes. I have a hard time seeing that as “evidence” for him having feelings for her when...that’s just what his face looks like.

Now, for Watsion reasons:

3) It has all the benefits for Caleb, and none for Jester

Seriously. What does Jester get out of a relationship with Caleb?

Don’t say someone who understands her, because Caleb certainly doesn’t. In fact, the only person who routinely “gets” Jester is Beau. (see: their conversation on the ship.)

Lots of people accuse Widojest as being a Manic Pixie Dream Girl ship because...let’s be realistic, it has all the makings of one. Tortured, broody man meets young, innocent girl who teaches him to enjoy life once again? Wikipedia’s definition is “[girl with] eccentric personality quirks and are unabashedly girlish. They invariably serve as the romantic interest for a (most often brooding or depressed) male protagonist.” Guys, that is textbook Manic Pixie Dream Girl! It gets even worse because Jester’s character is a healer! You want her to heal him? That is squicky!

And yeah, I trust Liam and Laura to be more nuanced than that, but do you know who I absolutely do not trust to be more nuanced?

The fandom. The fandom that is already producing mass amounts of Manic Pixie Dream Girl fanfic. And as that’s where I spend a lot of my free time...egads. I do not want that.

The few Widojest fics I have read (which, admittedly, are not a lot, because again, I don’t like the ship. The few I have read have been tagged as gen and then come to find out, weren’t.) have the distinct problem of woobie-fying Caleb so that Jester can take care of him, and gosh, I do not want that to become a trend.

4) Age Gap

Yes, thirteen years is not that major of an age gap. Yes, Fjord/Jester also have a large age gap.

However, there is a world of difference between “20 year old girl displays romantic interest in a 30 year old man, who decides he likes her back after getting to know her for months” vs “33 year old man decides to pursue a 20 year old woman after they danced one time when he was drunk and held hands and she showed general concern for his well-being.” One is decidedly more creepy.

(And would Jester be the one to pursue a relationship with Caleb? I almost think she’d have to, but again, why would Jester ever pursue Caleb when Fjord/Beau are right there.)

(Also, side note that I thought about making it’s own point but then decided it was petty: if Jester’s type is Fjord--tall, broad-shouldered, dark haired, muscled, then Caleb--skinny, red-head, shorter than Fjord--decidedly isn’t her type.

You know who is tall, dark, and handsome though? Beau.)

And do not say Jester is mature for her age, because she absolutely isn’t! In fact, the whole point of her character is that she’s not mature, she’s very immature and childish on account of her being locked away and being incredibly sheltered most of her life!

Also not a good excuse: Caleb spent 11 years in the asylum and therefore he’s only mentally in his 20s. Uh, no he’s not. He was in an asylum: he was not brain dead. He lived those years. He might’ve been crazy, but he was alive then. Nothing Liam’s done suggests that Caleb is mentally in his 20′s.

5) What would they even talk about?

This is probably actually the one that bothers me the most out of all these reasons, but uh....what would Caleb and Jester talk about, if they were in a relationship together?

Seriously.

They could talk about books? But Jester only ever reads terrible romance and smut. We saw when she tried to pay attention to the dunamancy lessons that she struggles to be interested in that academic stuff that is Caleb’s bread and butter. They could talk about their childhoods? That will go over well. Jester was locked away from society and Caleb straight up murdered his beloved parents. If they manage to avoid that, I’m sure they could fight again over income, what with Jester being a rich kid and Caleb being a poor farm boy. Pranking? Caleb enjoys a good prank now and again, but I can only imagine he’d tolerate getting banned from so many libraries.

They are a cat and a dog, literally. Caleb is an introvert and his idea of a good time is a quiet night at home with a good book. Jester’s idea of a good time is a party with lots of people! Yet I’m supposed to believe they’d have a happy and fulfilling relationship? Don’t get me wrong, many introverts and extroverts do get married in real life, but like...I have a hard time seeing this one working out. How many dicks do you think Jester draws in his spellbooks--which are expensive and time-consuming and require precise work--before that becomes a point of contention?

6) He doesn’t trust her enough to tell her his secrets

Hey quick poll! Who in the Mighty Nein doesn’t know that Caleb murdered his parents?

Fjord. Caduceus. And look, Jester.

I have a hard time buying that he sees her romantically when he can’t even tell her one of the biggest things about him. And he’s known her for months at this point.

If I liked a guy, and I found out he had this big secret, and he had told Beau but not me this secret? I would think he didn’t trust me.

I suppose you could argue that he’s trying to protect her. But then that just goes back into the whole “he doesn’t trust her” argument. He even had the opportunity to and he didn’t during their whole hand-holding thing a few episodes ago!

7) What does their ending look like?

Listen, my ideal ending for Caleb at the moment is “maybe after ten years of friendship he lets Essek tenderly hold his hand for just a moment but no longer” but that’s just me. I see a lot of people who seem to think Caleb’s going to settle down and marry Jester and they are going to have kids, and I just--

Caleb? Having children? Caleb, who murdered his parents and has severe PTSD surrounding that? Caleb, who was abused by his mentor daily for many years? You want to give that Caleb children??? Children who he would constantly worry may grow up to kill him, like he did his own parents, or worse, that he’d do something to accidentally hurt them in a fit of madness?

I could see Caleb maybe adopting a kid if one was forced onto him, but I cannot see him going “ah yes we should procreate!”

Jester, meanwhile, needs like approximately fifteen kids ten years from now, I think. She’d love them. She’d just adopt an orphanage and let the kids run wild and be the best at playing games with them.

Also, character arcs are important. Because Caleb’s ideal ending is stability and Jester’s is exploration.

Caleb, traumatized child soldier who has spent the past 15 years in an asylum and also fighting for his life, and before that spent time traveling between the Zemni Fields, Ikithon’s home in the country, and the Empire’s Capitol, who then escaped the asylum and spent all of his time running, trying to avoid being caught by Ikithon. The best ending for Caleb is to find peace; peace that involves not having to move around anymore, and having a home again, something he hasn’t had in almost twenty years. Maybe that home is a tower in Nicodranas. Maybe it’s a house in Xhoras with six other people. Maybe it’s a quiet bookstore in Zadash, or a little cabin in the Zemni Fields. A garden/graveyard in the woods. Either way, it doesn’t involve a lot of travel from place to place.

Meanwhile, Jester, who was trapped in exactly one place for her entire life, deserves a chance to explore the world. Even when the Mighty Nein disband, I can’t see Jester being happy to just go back to Nicodranas and stay there for the rest of her life. She may settle down eventually, but uhhh, not for several decades, I don’t think. Part of why my two big ships for her are Fjord and Beau: Fjord wants to be a sailor again, I think, which involves travelling the world, so I could see Jester going out with him. Beau, likewise, is an Expositor whose job is to seek out corruption, which again, means travelling, which Jester would be happy to do with her. Hell, the three of them could go together, sailing and punching evil for all of time! It would be great!

(Also: her god is called the TRAVELER why would you want her to settle down and be a mom??? What part of her story makes you think she needs to stay in one place?)

Lastly

I apologize if this post offends anyone. I’ve just been thinking about it for a while, and while Widojest as a ship has surged in popularity, I suppose I wanted to make a counterpoint about my feelings towards the ship. This isn’t meant as an attack on anyone, again, and please, if you like the ship then don’t look at this as a reason to stop liking it! Fandom is for fun! Keep liking what you like!

And I can’t promise I’m always going to feel this way about the ship--hell, the VOD of Thursday’s episode may come out on Monday, and I may watch it and be converted myself. Who knows! I didn’t like Vax/Keyleth at first either, but it grew on me and now it’s one of my favorites from Vox Machina.

(ALTHOUGH Mr. O’brien I swear to God if you romance Jester while flirting with Essek in a direct parallel to Keyleth/Vax/Gilmore I’m going to fly to LA just to punch you.)

Part of me wonders too if it just comes down to character interpretation, if there is something about their characters that is clicking for some people but isn’t for me. Admittedly, I love Caleb and Jester’s friendship, and I see them more as growing like siblings that romantically, but I’ve been wrong before and who knows, I may be wrong again. But if it is a character interpretation, I just wonder what they are seeing about the characters that squicks me but appeals to them.

#critical role #cr discourse #anti-ship #anti-w*dojest

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laureviewer · 4 years

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God of War (2018): A Review

Warning: HEAVY story spoilers

I’m not trying to sell you a game. I want to give you an in-depth review and analysis of the story, characters, gameplay and all other aspects of this brilliant game, spoilers and all. I want a discussion. So, dive in and see what I really thought, no holds barred.

King of the Norse

‘I don’t want it’, says the Jon Snow of the God of War franchise, Kratos. He doesn’t want to be a god, he doesn’t want to interfere or help in others’ lives, he doesn’t want his son to know his past—or to remember it himself, for that matter. But this fish-out-of-water story of a Greek god living in a Norse world forces him to accept his past, present and future.

The story is blissfully and tragically simple. A man sets out to spread the ashes of his recently deceased wife and mother of his son, Atreus, and to honour her by doing so on the tallest peak in all the realms, as was her request. This aim seems completely achievable: you can even see the peak of the mountain in the distance as you set off. But if I know anything about journeys, it’s that they are never that simple. A mysterious man who can’t be hurt attacks Kratos, for reasons unknown. The mountain may not be their final destination after all. And a man and his son set out on a journey that is as much about their relationship as much as it is about fulfilling their loved one’s final wishes.

A (Reluctant) Man of the People

If you’ve read enough of my reviews by now, you’ll know that open world is one of my favourite video game tropes. GOW isn’t quite open world but still enough to sink your teeth into. In fact, the open world elements adopted by the game makes finishing it a lot more doable than traditional giant open world games, like Skyrim or The Witcher 3 with their hundreds of side quests all over the map. There are side quests in GOW, sure, but they are called ‘Favors’ (which melds well with the overarching theme of gods and sacrifice in the narrative) and fall into five sub-categories for a total of only sixteen favors: dwarfs, wayward spirits, dragons, realms, and Valkyries.

However, even though they aren’t technically counted as favors, there’s a multitude of other tasks to complete, such as closing Realm Tears by fighting elite monsters, collecting artifacts and lore about the world, and killing Odin’s spiritual raven spies. I’m not going to 100% the game or anything, but I love searching every corner of the map to complete that satisfying checklist of things to find.

However, I did find my anxiety spiking a few times with the fact that you don’t have all your powers at once. Sure, it’s useful when the lack of powers blocks you out of places the story doesn’t want you to get to yet, and it’s quite nice to go to old familiar places and uncover new areas and collectibles, but I was always wondering whether I was missing something, and whether I should just wait to go back to exploration areas when I actually have all the powers I need. Obviously there needs to be room for progression, but some puzzles couldn’t be solved without specific powers. Sometimes I wondered whether I was simply not doing the puzzle properly. It all became clear as the game progressed, but even so, I’m sure I spent more time than I should have done in some areas attempting to complete an area that couldn’t be completed. It often made me less willing to comb the area as I could never be sure if I had more to find than first apparent. This also made finding high level enemies another trigger to my must-complete-everything-while-I’m-here mentality. Thankfully, the map always logged where Realm Tears were if I couldn’t quite beat them yet. I only wish the map would do the same for Winds of Hel or other power puzzles that I would pass mournfully on my way to defeat a dark elf or two.

The actual favors encapsulate the very best of what GOW 4 has to offer: fetch-quests for your friends in the form of wisecracking dwarfs; helping the innocent such as allowing lost souls to find peace and freeing giant dragons (though you’d have thought they’d stop trying to attack you long enough to realise you are trying to HELP them); and incredibly challenging battles that help the realms and prove your worthiness simultaneously.

Sure, half the time Atreus instigates helping the innocent: Kratos, true to form, insists that helping others is experience for his son, or useful in gathering resources for their journey. Though, perhaps sometimes he doth protests too much, particularly when pushing back against helping the mysterious Witch of the Woods and the dwarfs. He claims that they are useful, and thus performing tasks for and not making enemies of them is helpful in achieving their goal, but we see his heart thawing the more time he spends with Atreus. We see you, Kratos, learning to love again even as it scares you. And it’s endearing, if not often very frustrating. Which leads us on to…

Atreus and the Struggles of Parenthood

Atreus’ empathy is also often his fatal flaw. He wants to help everyone, while Kratos wants to stay out of many conflicts, stating that one rarely knows the full story and thus cannot take sides—a definitive sum of the lessons he learned in his regretful past. As an ancient being—hey, James, how old is Kratos? You don’t know? Two thousand or something? Fine I’ll Google it. It’s uncertain but probably around 1050. Damn—he obviously has much more wisdom than a young boy. He is right when he advises Atreus to keep out of the war between the light and dark elves in Alfheim, though he’s not opposed strongly enough to not kill them as they get in his way. It’s less of a moral dilemma for Kratos, and more of a ‘we don’t know enough to make a judgement’. Atreus, we can tell at the beginning of the game, is going to eventually make Kratos more sympathetic, more caring towards other beings. Perhaps even more benevolent than any of the Aesir Norse gods, save Tyr. Though, that isn’t exactly hard.

And, then, you get further in the game. At first, you understand: Kratos is a dick to Atreus. He didn’t care to spend time with him while his mother was alive, and it shows. He refuses to tell Atreus he is a god, and that he is a god in turn, and the conflict of his body and mind being conflicted in what he truly is ends up being the reason for Atreus’ ongoing illness. It’s Kratos’ fault, and sure, he doesn’t know this until it’s nearly too late and he fixes it, but even so. All Atreus wants is to be loved and to make his father proud.

Until later, when he finds out he is a god and goes full diva. The game made me feel about Atreus the same way as I’m sure many parents feel about their children—though, full disclaimer, I’m not a parent, so don’t @ me. My friend says you always love them, and you want what’s best for them and make allowances for them, but oh my god sometimes you really don’t like them. This definitely happened with Atreus. From telling Sindri, one of our dwarf friends, that he is sick of dealing with ‘little people problems’ and making him sad, to saying to Kratos that they are gods and so can do whatever they like, dash the consequences to anyone, to killing a son of Thor against Kratos’ wishes for pure vengeance, made me question my role as a father. Even the little mutterings of ‘whatever’ whenever Kratos wants him to shoot an arrow at a target and one point in the game had me breathing out some mutterings of my own: ‘little shit’ and ‘goddamn I hate you’ were frequent curses.

And yet, by the end of the game I liked him again. Why? It wasn’t his fault. It was his conflicting body and mind; perhaps even the ‘trickery’ side of Loki was finally coming out. Maybe he was going a little mad with all the voices in his head. Plus, he saved my arse so many times in battle with his crazy shock arrows that I needed him. What? I didn’t say I was a perfect parent.

You know what’s really impressive? How this game makes Kratos a likeable character. In previous games (which, full disclosure, I never played) he seemed to be a vengeful man with no thought to anything but his own rage. Now, he has something more to live for—his son, and to honour the memory of his beloved wife. You really understand why he does the things he does. You believe he is trying to be a better person. You know the one thing he really wants to do is scatter his wife’s ashes, and will stop at nothing to fulfil her wishes. You may say he’s stupid for not wanting to tell Atreus the truth, but not only is he ashamed, but he also knows that Atreus may mirror his actions. This brings a duality to the secret that is so interesting that at times I wondered whether Kratos should tell Atreus, considering they don’t have the best relationship in the first place. The dichotomy between Kratos and Atreus is brilliant, and serves not just to humanise Kratos, but also fully makes me believe in their rocky bond as father and son. They are real, and honest, and the perfect grounding to such a profound adventure.

The rollercoaster of a narrative journey GOW took me through was nothing short of outstanding. And that’s even before we get into the Norse lore.

A Norse’s Life for Me

The conflict between Atreus and Kratos mirrors a theme that runs throughout the entire game throughout the franchise: that of a son killing his father, god against god. And this extends to the version of the Norse lore GOW has created. Favors and story quests alike see the struggle between children and their parents, and it is incredibly satisfying to see Kratos and Atreus overcome that and start to become ‘better’.

As lore that I wasn’t very familiar with, save the depictions of Thor, Odin and Loki from the Marvel universe, it was fascinating to hear the stories from Mimir, the hilarious disembodied head, and to glean them from the lore markers dotted around the realms. It was a great idea to do this from the point of view of Kratos, who does not know the lore and cannot read the language, and Atreus, who has an affinity of language and has been told many stories by his native mother. It’s a natural means of storytelling without it turning into a boring exposition dump. And who doesn’t love story time while rowing around the Lakes of Nine? Apart from Atreus at the beginning, I guess, when his only storyteller was straight-talking Kratos. Spoiler alert: his stories aren’t great.

Monster Visuals

Rowing across the Lake of Nine is when the story really opens up, bad stories or no. It’s here where you see the true beauty of the story through the stunning appearance of the World Serpent, who is as colossal as the name suggests, though not as scary. From there, using Tyr’s Temple (probably the best Aesir god out there), Kratos and Atreus slowly unlock the various realms, from the fiery homeland of the fire giants, Muspelheim, to the green-tinged Norse underworld, Helheim. Each realm has their own aesthetic, their own monsters, and their own story. While Midgard is bound to be most players’ favourite, due to how much bigger it is and its role as the central point of all the realms, my second favourite is Alfheim, land of the light and dark elves. As the first one to visit after Midgard, its purple hues, sparkling waters and chirping critters make it seem like a mystical world of potential. The fact that the elves are in constant war, doomed to continue for as long as both races live, is both desolate and a fact of life. Even an apparent paradise is rife with issues, and yet beauty can still be found in the worst of situations.

The realms are very cool, though if I were still in massive open world/RPG mindset, as I so often were, I’d wish that Niflheim and Muspelheim were more than just extra challenges. It would be cool if there were story-led reasons to go there, rather than leaving it to chance if the player gets there in the first place by finding their language cyphers.

The way the camera works doesn’t just give the incredible graphics the time they deserve, but also artfully serves the emotional highs and lows the story wants to hit. It gently guides you to some of the most awe-inspiring events, such as when a giant shows up or when you are fighting a being twice your size, to reflect the intensity as well as making sure you don’t miss them. But the best use of it is at some of the most tense and poignant moments of the game, such as when Kratos is reflecting on his mistakes and travelling to save his son. The camera doesn’t leave his face for lengthy periods, and this, along with the haunting crescendo of siren-like voices singing in accompaniment, really makes you understand what he is feeling, even though no words are said. You are forced to sit with him in silence and in relief. In pain and in quiet. It’s profound. I love it.

The visuals also shine in true GOW fashion: in battle. The place in which this really stands out is in the battle with Baldur at the end, when Freya is trying her utmost to intervene by animating the colossal corpse of a dead giant. While I thought this battle wasn’t as hard as I thought it would be, it didn’t actually matter to me in the end as much as it did in other games such as Final Fantasy XV. The battleground kept changing, Baldur’s powers shifting between ice and fire was really interesting as it meant Kratos having to change his own weapons as needed, Baldur’s increasing insanity and glee at the fight, and—best of all—the giant was always in the background, being impressive and foreboding. Awesome.

The Art of War

The combat in GOW is some of the best I’ve ever experienced. I’m quite used to the hack and slash of RPGs, where the name of the game is simply to hold down R1 and wait for the cool combo moves to bloom out of the angsty protagonist. Okay, fine, it’s never that simple. But in God of War, almost every move counts, especially in the boss battles. Learning to trip monsters, discovering which ones will fall and which ones will not, where their weak points are, and navigating flying or digging enemies means that a lot of the battles mix it up every time. The skill trees that branch off as you upgrade your Leviathan Axe and Atreus’ Talon Bow makes that combat even more visually impressive with chained combos and other ways to fight. This system doesn’t give you as much freedom as many other games, though. Eventually, you’ll get enough experience to unlock every skill, and you’ll want to. Each one will help you in a fight. This is great in a way as I truly felt powerful by the end, and wasn’t worried about neglecting a skill for another, but means the combat is more linear than it could be. Maybe this is necessary as you have to think about combat in other, potentially smarter ways anyway.

Later in the game, you don’t just have to think of the attacks, but you also have to think of the elements of the monsters you are fighting. Do I want to use the ice-imbued axe that spins perfectly in the air and comes back like Mjolnir comes back to Thor? Not in Helheim I don’t, where the monsters are hardcore Ice Queen Elsa stans. Damn, I’m used to using that thing. Alright, time to break out the fiery Blades of Chaos, which you only get halfway through the game but old players will definitely get excited over like a member-berry in heat. Unless you are fighting volcanic draugrs, that is.

The fighting is made even more exciting with the brutality of pressing R3 once an enemy is stunned enough to be grabbed. The animations have Mortal Kombat-esque levels of gore, and as Kratos is an absolute beast, it’s believable as well as disgustingly fun. Want some extra stunnage? Then remember to use Atreus’ arrows, which can interrupt and stun even the biggest of beasts. He saved me more times than I can count. It’s one of the best uses of a sidekick character I’ve ever seen. Why? It’s not just the very useful skills he has, but crucially, HE CAN’T DIE. With memories of a well-intentioned but suicidal Lydia running in front of my sword and taking a fatal wound in the middle of an overpopulated dungeon, this is brilliant. Thanks, Skyrim. Plus, can you imagine having to be Kratos mourning over his dead son every time they lose in battle? Bit morbid, even for a game with this much gore and emotional impact.

Brok and Sindri aren’t just there to crack jokes and bring life into the world. They are also master blacksmiths who work on your Axe, Blades, and armour. The levelling up system is quite different from other traditional games—EXP doesn’t level you up as soon as you get it, but you can use the EXP to buy or upgrade armour, enchantments and talisman that, when worn altogether, give you an overall level. The simple act of replacing a level 7 chest plate with one that’s level 3 can lower your overall level from a 6 to a 5, making you less able to deal with those pesky high-level enemies. As such, it’s a massive variable, and one that players need to consider seriously not just as the game progresses, but also from battle to battle. Runes that you can slot in your armour can increase your frost or burn damage, increase your resistance to ailments, improve your runic attacks, give you extra burst of skills on hits or kills, or even more specific advantages. Some that I found most helpful were 5% less damage from Valkyries which, if you’ve fought one, you know how much of a game changer it can be!

This necessitation for learning the combat and doing it well means that the satisfaction level of defeating a big old boss who you’ve been dying to for the last hour is at well over 9000 (I’m looking at you, Valkyries screaming Valhalla! at me every three seconds). And, now I’m confident enough with it, that means I’ll be continuing with the post-game combat challenges for just a little while longer. This, combined with the beautiful graphics, gripping story, anti-hero and loveable side characters, the revolution of Kratos to multi-dimensional character, and a world brimming with lore and knowledge, makes this game one to remember.

What can I say, I’m obsessed.

#game review #gaming #god of war #godofwar #kratos #atreus #norse #norse mythology #odin #thor #games #review #video games

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thebutterflyranger · 5 years

Text

100 Diamonds in the Rough: Innocence

Summary: Will does his three-year-old daughter’s hair…That’s basically it.

I would absolutely love some feedback, especially because I plan on starting a new fic collection exclusively on this Treaty Children AU and would like to see who was interested in reading it. Reviews on ao3 and ff.net help me so much too!

Read it: ff.net | ao3

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008: Innocence

Will sat down on the bed and patted the space between his legs.

“Come sit here, mama,” He called to his three-year-old daughter, who was preoccupied with playing with her many toys on the bedroom floor. “Let’s do your hair.”

She obeyed and walked to him, bringing her favorite doll along with her. Will lifted her up and sat her down on the bed, assessing her hair to see how much work had to be done.

It was tangled. Very tangled.

“Dada? Can you do me braids?” She requested sweetly. “Two braids.”

“Alright then,” He agreed. Braiding hair was something he was fairly good at, and it kept her hair looking decent for longer than a simple tie-up. “But I have to detangle this bird’s nest first.”

“Birds nest?” She giggled. Will smiled, grabbing the brush and the hair oil.

“Well, what else would you call this thing on your head?”

“My hair, Dada!”

“Ahh. That’s what this is.”

For the next few minutes, his daughter fell silent as Will worked on detangling her hair. He gently ran the brush over her hair, his fingers running through and parting the rolling curls. She was not tender-headed and didn’t complain when he accidentally pulled too hard.

“Dada?”

“Yes, mama?”

“Can I tell you a story?”

Will looked over at her face in mild surprise. “You want to tell me a story?” Usually, it was he who would tell the stories. She glanced at him and nodded and he shrugged, smiling softly. “Let’s hear it then.”

“Okay. Once upon a time, Ebony was going for a walk…” she started in the way she heard her parents always begin their stories and then continued on to tell a story of a dog named Ebony and her friend Tug. Will grinned, his heart melting as he listened.

Over the years, through bedtime stories told by Alyss and himself, his two loyal animals had transformed into beloved characters for both of their children. Ebony, the lovable dog who was always getting herself into misadventures and Tug, her faithful horse friend that managed to get her out of trouble every time. Most of the stories they told were fictional, as they incorporated other personified animals into their tales - like Tabby the Cat and Bella the Cow - intended to stretch their children’s vocabulary and their knowledge of the animal kingdom. But others were true stories of Will’s own missions with Tug and Ebs, and the many real instances of them protecting him and assisting him when he had no one else. These were Neveah’s favorite types of stories.

In dorky young parent fashion, Will and Alyss had come up with voices for all of the animals. Ebony was dubbed by Alyss as having a high-pitched lively voice, one that she did perfectly and never failed to make the kids smile. Tug’s voice, often spoken by Will but not exclusively, was distinctive but in a subtle way. It sounded much like his normal way of speaking, except that his tongue moved so the words came out more whistle-like and airy, and his register was lower; It was exactly how Tug spoke to him in his mind. Someone listening passively would not be able to notice the difference from his real voice, but his children did, and they loved it. Nights in their bedroom was often filled with squeals of laughter and “Tell another one, Mama! Tell another story, Dada!”

Now, listening to Neveah tell him her story as he brushed the last knot out of her hair, Will marveled at how much his daughter had learned from the innocent silly stories he and Alyss created.

She was saying, “…and she said to Tug, ‘I think I smell something! Follow me!’ And so they go-ed into the forest and looked around for the missing treasure.” It wasn’t a very coherent story and was filled with grammatical errors, but Will recognized that his toddler was taking small aspects of the tales he often told her - hidden treasure and forests - to create her own. She was also attempting to speak in the same voice that his mother did when imitating Ebony; raising her already high-pitched voice to almost a squeak.

Bless her, he thought fondly.

“Then what happened?” he asked in response to her story, while simultaneously bringing one half of her hair together to start braiding. His fingers weaved through her brown locks skillfully as he intertwined them into a neat pleat starting against her head.

“And they walked and walked and walked…and then they found the magic tree! And they said, “Mr. Tree, did you see’d the treasure? And he said tha– OUCH, Dada!”

Neveah’s hands suddenly came up to hold her head, feeling the sharp sting of an individual strand of hair being pulled by accident. She tried to pull herself away but was held back by her father’s arm coming around her waist. So instead, she turned her neck to look at him accusingly, “You’re hurting my hair!”

“Sorry, sorry, sorry! I’m sorry, darling” he leaned forward to kiss her cheek in apology, smoothing her hair back where he knew he hurt her. “I didn’t mean to hurt you. I’ll be gentler.”

“Paw-miss?”

“I promise.”

She continued to look at him through narrow eyes for a moment longer and he was suddenly reminded of the steely stare of Alyss; powerful and one to be reckoned with. Although Neveah’s eyes were brown like his, the intelligent glint within them was from her mother.

“That’s okay,” she smiled, her expression returning to its normal sweetness as she turned back around, allowing him to finish what he started. “I’m gonna finish my story. Where was I? Oh, yes!”

Will burst out laughing at this. Sometimes he forgot that his daughter listened and absorbed every action he committed until he saw her mirroring him in her own speech and movements.

“Don’t laugh, Dada! I’m serious!”

“Oh sorry,” He had to restrain himself from laughing harder at the idea of his three-year-old being serious. “Please. Continue.”

And he listened respectfully as she went on with her story about Ebony and Tug and Mr. Tree and the hidden treasure, speaking only to say the occasional “oh?” or “is that so?” and “then what happened”. His fingers didn’t cease working until he reached the bottom of her last braid and tied it up. Just as he let go of her hair, Neveah finished telling her tale.

“The end!” She cried out, turning her head around to face him with a wide smile. “Did you like my story, Dada?”

“I sure did,” He smiled, reaching forward to push back a stray piece of hair he hadn’t seen. “You are a very good storyteller, Neva.”

“Fanks!”

“I’ve finished with your hair. Do you want to see what it looks like?

"Yea!”

Will reached across his place on the bed for his side table and picked up the hand mirror that lay face down on it. He brought it in front of his daughter’s face and through it saw her face light up when she caught sight of her reflection.

“Wow…” She breathed, turning her head to the side to view her hair more clearly. She grinned at seeing the neat, tight braids. “Wow!”

Will laughed. “I take it you like it?” She nodded her head vigorously and he had no doubt. “Good. Turn around for me so I can get a better look.”

She turned obediently, facing him completely. She sat still as Will leaned back to assess his work critically and then forward again to smooth back all the remaining loose hairs at the front of her forehead. When it was finally perfect, he smiled widely. “There! Now it’s perfect.”

“It’s perfect now?” She always echoed his words and it never ceased to make his heart melt.

“It is. Neveah looks beautiful.” He brought his hands up to hold her small face, looking into her big innocent eyes. Then he spoke in Gallic, a language that both himself and Alyss knew and were slowly teaching their children. “Neveah est très jolie. Say, tres jolie.”

“Tre low-lee.” Her little voice chirped.

“Jolie,” He corrected her gently, showing her how to position her mouth.

”Tres jolie.“

“Yes, darling. Neveah est tres jolie means: Neveah is very pretty.”

Will saw her eyes light up and knew that she had stored the new information in her ever-growing brain.

“Dada is tres jolie.” She caught on incredibly fast, he thought proudly.

“Not as much as Neveah is with her pretty new hair.” She grinned at him and he smirked, lifting her off the bed and turning her towards the door. “Go show your mother my handiwork. Let’s see if she approves.”

“Okay!” He felt a warmth in his heart as he watched her skipped out of the room merrily, and then grinned when he heard her small voice say: “Mama! Mama look at what Dada did for my hair! It’s tres jolie!”

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I just…want everyone to love them as much I do.

Lol Grammarly described my writing as “clear but bland” and I felt that.

#rangers apprentice #ranger's apprentice #100ditr #i truly hope this shows up in the tags #will treaty

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tiergan-vashir · 5 years

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Character Info | Tiergan Vashir

BASICS.

full name: Tiergan Vashir || V’siha’a Ashir

pronunciation: Tear-gahn Vah-shear

nicknames: Tier

height: 5′10

age: Time Bubble - 29 || Not Time Bubble - Late 20s/Early 30′s.

zodiac: Sagittarius

languages: Fluent in Common. Intermediate in Eorzean Sign Language.

PHYSICAL CHARACTERISTICS.

hair colour: White

eye colour: Silver-white.

skin tone: Burnt Sienna with red undertones.

body type: Large/Muscular

Accent: A mix of Ul’dahn and Ala Mhigan.

Dominant hand: Right-handed.

Posture: Upright, tensed. Relaxed and languid only when comfortable, which is not terribly often.

Scars: Various battle scars all along his arms, torso, and legs. His back is utterly blanketed in gnarled lash-marks.

tattoos: None thus far.

most noticeable features: Size and build. Due to his mixed heritage, he has Seeker-eyes and Keeper fangs. Though he has numerous scars across his body, he normally is fully armored and thus it’s difficult to see them unless he’s in a state of undress.

CHILDHOOD.

place of birth: Gyr Albania, Ala Mhigo.

hometown: The Lochs

birth weight/height: Unknown, but he was a healthy infant.

manner of birth: Delivered by a skilled midwife in a comfortable home with an anxious father and numerous excited/anxiously waiting lovers/friends waiting outside the room where the birth was going to take place.

first words: “Hi”

siblings: Lurial, who is his elder sister by a year.

parents: Mother - Siha Ashir, Keeper from the Black Shroud.

Father - V’rahn Nunh, Seeker from a V-Tribe living in the mountains of Gyr Albania close to the Lochs.

V’rahn was originally a Tia, but cheekily changed his last name to Nunh upon having children, claiming he was ‘starting his own tribe’. The V-Tribe he originally came from never officially recognized this and when warriors came to confront the fact that he wasn’t a true Nunh, Siha challenged them all to physical combat and soundly defeated each one. They stopped bothering V’rahn afterwards.

parental involvement: Mother and Father were highly active in Tiergan/Lurial’s lives and were extremely attentive parents. They also had numerous lovers that, once reaching a certain position of trust, were allowed to act as secondary mother/father/aunt/uncle figures to the children if they showed an interest.

This all brutally ended with the Fall of Ala Mhigo.

ADULT LIFE

occupation: Gladiator-slave and then later a mercenary/sell-sword once Tiergan gained his freedom.

current residence: Ul’dah in a home purchased for him by a beloved friend who acts as an older-brother figure to him.

close friends: Tiergan has very few close friends, though he does have a handful of very different individuals cares about tremendously and met under mysterious circumstances - as well as the members of the Astral Advent.

relationship status: Polyamorous and open. Though actually drawing him into a relationship to start with is a whole other story.

financial status: Moderate. Since joining the Astral Advent and having steady work, Tiergan relatively comfortable and can afford what he needs.

vices: Alcohol, occasional drug use, and sweets.

SEX & ROMANCE.

sexual orientation: pansexual

romantic orientation: Previously panromantic, now usually demiromantic.

preferred emotional role: submissive | dominant | switch | unsure

preferred sexual role: submissive | dominant | switch | sex repulsed

[[ For both emotional and sexual roles - Tiergan will initially claim dominant out of a need for control/safety and the belief it’s what everyone expects from him. If he feels safe and comfortable however, he’s more likely to switch or allow himself to take on a more submissive role. ]]

libido: Yes.

turn on’s: Cleverness, intelligence, power, compassion, soft sensual touch or rough confident aggressiveness, adventurous, unafraid of a challenge. All of these qualities don’t have to be in one person. Tiergan will find himself drawn to a soft, compassionate, intelligent person as much as he would a rough, powerful, adventurous person.

turn off’s: Entitlement, laziness, weakness, too submissive,

love language: Mostly physical and some softly murmured words. Tiergan has a hard time voicing emotion as after Ala Mhigo fell, he grew up in an environment that discouraged it. His affection comes through in the way he touches you, in long, lingering glances, the way he smiles softly or with hunger.

relationship tendencies: Due to extreme trauma in his romantic history (most of his lovers have either died, harmed him, or were tied to memories of great harm), it can be extremely difficult to draw Tiergan in anything close to a romance. The wrong approach can trigger a reaction that ranges from discomfort to full on panic. When he realises he’s falling for someone, he tends to wrestle with it quietly or outright avoids that individual entirely.

MISCELLANEOUS.

hobbies to pass the time: Exercise, reading, exploration and travel, eating new food.

mental illnesses: Has struggled with depression, anxiety, and paranoia as a result of his history, but gradually recovering over time through the POWER OF FRIENDSHIP. Previously struggled with a deep addiction to certain drugs, but has since kicked the habit.

physical illnesses: His back is incredibly sensitive due to the heavy scarring and damage done to it long ago. It sometimes aches and bothers him, particularly during certain weather conditions. He habitually sleeps on his stomach because of this.

left or right brained: Unsure!

fears: Fear of losing people and fear of making new relationships both romantic and platonic. Tiergan struggles with Survivor’s Guilt and a Fear of Loss/Abandonment after years of numerous deaths, losses, and the departure of many beloved figures in his life due to circumstances no one could control. He deeply fears losing people for this reason and as such, deeply fears making new bonds and connections as each new bond he makes leaves him more vulnerable and increases the risk that he will inevitably lose someone again.

Tiergan also fears a loss of control as he spent half his childhood and most of his adult life being honed for a singular purpose with much of his agency ripped away from him. Now that he has the ability to choose, he always desires to be in control of himself and everything that happens to him. (Though life doesn’t always work that way.)

self confidence level: Very high when it comes to very specific things such as combat. Very low in nearly every other regard.

vulnerabilities: Reckless, impulsive, highly emotional, extremely ill-equipped for how to deal with situations that can’t be solved by stabbing something repeatedly and vigorously, tends to get anxious easily in said situations where stabbing is not the answer

Tagged By: @xevtan

Tagging: ANYONEEEEE WHO WANTS TO DO THIS. Please remember to tag me so I can eyeball ur sweet character info. Also please don’t worry about having to tag it as “open tag”. You can just tag me as though I literally tagged you! I am just a little melty-brained and can’t tag specific folks today.

#memery

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stratamuzak · 4 years

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Interview with Voltagehawk

STRATA: What artists in particular you are drawn to (alive or deceased) that you listen to for particular moods? Such as happy/sad/contemplative/etc… Explain why you might listen to one artist for a particular mood.

CHASE AROCHA When I want to feel inspired I listen to a lot of the different projects of Mike Patton. Be it Faith No More, Mr. Bungle, Peeping Tom, or Tomahawk, the range of styles of music is so diverse that I’ve been listening for like 15 years and I haven’t gotten bored yet, haha. When I want to relax or chill, I love BadBadNotGood, an amazing jazz artist doing incredible arrangements all in a hip-hop context. It’s great! Or Ray Lynch, I really love his writing and use of counterpoint melody. Then if I’m getting hyped I put on something like Dying Fetus or Vitriol, or Maximum the Hormone. And any other time I’m blaring Kamasi Washington, Robert Glasper and Sturgill Simpson.

DAN FENTON I think a lot of the time music finds my mood. Sort of more a spiritual or cosmic connection. When I was a kid my mom would make us watch musicals if we stayed home sick from school. Jokes was on her because I hated school but I loved learning musical scores and how to write dynamic parts and movements. The fact that people like Bing Crosby and Fred Astaire, Frank Sinatra or Marlon Brand were also amazing actors only added to that unlikely education. I learned how to really feel music between that and the intense very bloody hymns we had to sing in church. I understand the sentiment but that shit is harder than a lot of black metal. “Are you washed in the blood of the lamb”. Hard core shit. Sorry, I digress. During the making of our most recent record which is called Electric Thunder and set for release later this year or early next (hard to navigate releases with all this pandemic shit) I listened exclusively to film scores, classical music and radio evangelists. I am not religious but I grew up in a preacher’s home and when I needed to get my creative push and anger at its peak, I listened to preachers who were clearly greed driven and motivated by the lust for power. It made my adrenaline rush in anger and it came out in the recording for sure. I am a huge fan of Hans Zimmer and Vangelis. Each of these artists move me in powerful ways. The juxtaposition of darkness and light both in traditional instrumentation and experimental synth based work. Just musical giants. When I am feeling frustrated about the social issues I see everyday in my East Nashville neighborhood I listen to KRS-One, Kamasi Washington, Outkast. A lot of protest music. I am in love with band IDLES from the UK. Such powerful lyrics tackling issues like the need for male vulnerability, equality for all and the seemingly ironic brutal beat down of toxic masculinity. That band is great if you’re happy, mad, sad, whatever.

STRATA: Do you have a process you go through prior to writing, playing, and even performing?

CHASE AROCHA I do a lot of breathing exercises like the Wim Hof techniques. I have generalized anxiety disorder and I used to get horrible debilitating panic attacks, it helped me get into breathing and meditation. Anxiety will never go away but you learn ways to live with it and push through your panic. I think about how much this means to me and how long I’ve spent doing it, I try to see that I value myself as a person and then from that thinking I can just let go and play music. Only approaching it with love and not worrying about mistakes because that’s how we learn.

DAN FENTON The entire thing is one process. Like a heros journey of sorts. I listen and meditate everyday, I believe in a cosmic river of inspiration that flows from an energy that is and has always been. I believe if you listen hard enough and give yourself to the music the muse will send your mind transmissions that may only be a section of a song, or perhaps they are an entire album, but everyday I show up. A few years ago I read this book called The War Of Art, by Steven Pressfield. In this book he describes the invisible force he calls the Resistance. The Resistance may be things both “good or bad”, but they are anything that keeps you from showing up for your art. So I show up everyday, you can ask the dudes in the band, they receive a work tape maybe twice a week with new shit to try out. If I don’t feel that muse working I don’t force it, but I instead wait on further transmissions from the cosmic womb. All sounds crazy, but my story is crazy, so crazy makes the most sense. In the studio I have many processes. I found while recording vocals I perform better in complete darkness, I have realized how much I live inside my head and how active my imagination is and equally ADD my eyes are. So when I can’t see it brings to life the imagery and the passion of the song. I can see all those people I write about, all the landscapes, the love, lust, joy and pain. I also do some method stuff, keep things in my pockets pertaining to a character I may be portraying in a song. Wanna be Daniel Day Lewis shit.

STRATA: Your own current project, discuss the process your music went through as you built each layer. From beginning to the end of it.

CHASE AROCHA This all started with our drummer Jarrad having a vision and going through trials and errors of finding the right people to execute that. Along the way Dan, Tyler, and I all came into the picture and that vision morphed into something we all felt was not even from us. Like we were an antenna receiving a signal and these riffs and lyrics quickly meshed into something I haven’t heard before. Part hard rock, part jazz, part punk and hardcore. All with this message of love and truth being the reason for living. To end the ones controlling our thoughts and dividing us or tribalism and greed. I feel like we made something worth listening to and that’s all I feel like you can really hope for.

DAN FENTON The self titled record that we have available now on all streaming platforms was two different profound stages in my life all in the making of one record. When we began, Jarrad and I partied a fuck ton, and I was descending into some serious personal shit with alcohol. It was bad, I couldn’t get through a day without way too high of a blood alcohol level. Before we finished vocals on the record, I stayed up one night working and drinking, perhaps I had never stopped from how many nights before, who fucking knows. Anyhow, I died for 9 minutes on the side porch of my house. Fully shut down, fucking dead. Mind you, I didn’t want to die, I just didn’t know how to lay off the bottle. Woke up in the ICU surrounded by my band, my wife and what few friends I had left. At that moment Voltagehawk became a complete family to me. I spent a stint in rehab (Jarrad drove me) and that was several years ago now. When I got out I went back to finish the record, make some amends and chase this thing out for real. So that was some info on the first record. The new Album which is a 13 song space odyssey named Electric Thunder, after our beloved Electric Thunder Studio owned and operated by our resident space wizard producer Geoff Piller, was not so dramatic. After I got my shit together and my mind cleared up I began to write everyday like a mad man. Song after song after song came like never before. I think we cut 15 songs out before we settled on the final 13. Our process as a band is often for myself or one of the other dudes to present a bare bones or often finished idea to the band and we run it through the Hawk Filter. The Hawk Filter is just the decomposition and reconstruction of every rough idea till it fits us. Which is silly to say because if we like, it we do it, not a matter of genre worship. Shit’s good, do it. Always do what’s best for the song.

STRATA: Can your music personally be an open door to breath and bend in the world of artistic exploration? In Other Words… how comfortable are you as an artist exploring other types of music and creating projects that might be totally different than what you are creating now?

CHASE AROCHA There is so much great music in the world in so many styles, why shouldn’t we try to explore them all! I’m always trying something I haven’t done before, not always as a challenge, but I would hope it’s natural for people to do in art. We shouldn’t be the same people we were 2 years ago, let alone 10. I love jazz, Death Metal, and country music. If you can find a really fun and genuine way to blend those then that’s absolutely what you should do! Don’t be tied down to what kind of music you’re making and just make music.

DAN FENTON That’s all we do all day. Everything on this planet, and above it, and in it’s majestic seas and mountains, all these people of all the cultures of all the world and their energy and their culture all influence and musical inspiration is welcome. Our philosophy is never say no, and jump off the cliff, and pull yourself back up. Meaning: try all the musical options then settle on the one we believe is the most amazing. So much of our influence is from cinema and books, video games, you name it. I’ll pluck a support cable on every bridge I see ‘til I am dead just to see if it speaks to me. Sonically there are no fucking rules, and if you impose rules, fuck your rules. We love to create, to talk about creating and then to birth something new is beyond amazing.

STRATA: Are you open to change your style, genre even, and approach to how and what you create every time you enter a studio? Or do you find once you have a formula in place do you find it best to stay with what you know? Many times artists will change how they approach their songwriting and even their recording staff/producers.

CHASE AROCHA

Like I said before, I believe that you should just make music and with that should come constant experimentation. When we record we find sounds from all over the place. From children’s toy instruments, to skateboard wheels spinning to imitate rain. Our writing is kind of always evolving and changing. Dan is an amazing writer who literally has lyrics and melodies pouring out of his hands and face. Everyday he has new ideas and records and sends them to everyone. Jarrad is great at taking those riffs and making suggestions on how the structure could be of a song along with feel. I am obsessed with adding layers of guitars however I can, but I also write a lot and send tracks as well. Tyler is a tone junkie on the bass, filling in the bottom end and has such a great approach to being independent from the guitars with his lines. We send tracks back and forth to each other then we get in a room and flesh them out. The whole time in the process the songs are constantly changing and evolving into the sound we have. We are always open to change and never believe in the word No when discussing music and art. You try every idea and see what works and what doesn’t. Sometimes when one member has a vision of how a song should go and is trying to communicate that, you should respect his idea and see it through. If it doesn’t work that’s okay, we tried!

DAN FENTON Voltagehawk is ever evolving. As it stands, we spend way too much time trying to pigeon hole what people will refer to our sound as. I don’t care what you call it as long as it moves you. I listen to everything from John Coltrane and Tom Waits to Napalm Death and Motorhead, Antonio Lucio Vivaldi to Kamasi Washington. IDLES and Bad Brains. If you refuse to evolve as an artist, experimenting, growing, trying new methods, all these elements then you cannot grow as a human being. Too many people are happy where they are, just okay, making the same music that their dads made and trying to cosplay some kind of yesteryear. We don’t do that shit, we’re us, that’s it. We grow, when you hear the Electric Thunder for the first time you will understand everything. If you burn some sage next to a photo of Carl Sagan while you listen to Electric Thunder, you will see the cosmic river in your minds eye. The world is full of people with a blockage in their brain. They cannot see that this bullshit we call a life is just a series of labor for hire gigs that leave us rapidly in the middle. We’re trying to break away from it all and follow our feathers, our truth, our search for enlightenment on our hero’s journey. I’ll leave you with this. Know Thyself.

#voltagehawk

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progressivejudaism · 6 years

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I have included the entire text of this article. It is worth reading the entire text here from Rabbi Aaron Brusso of Bet Torah of Mt.Kisco, New York’s beloved Armondo:

A week before the Immigration and Customs Enforcement officer told him he was going to a detention facility, Armando, our synagogue’s custodian for two decades, had come in to work on President’s Day to be there for my family as we held a small service to celebrate my son’s upcoming bar mitzvah.

Afterwards, as we ate lunch, Armando stood at a distance smiling. A week later, when I spoke to him in custody, he said through tears, “I have seen your son grow. I wanted to be there for the big celebration. ”My son, by happenstance of birth, is a United States citizen, and simply by reaching the age of 13 he becomes a full citizen of our religious community. Armando has worked and lived in this country more than twice as long as my son has been alive, has two boys of his own, no criminal record, steady employment and a community of hundreds of families who love him.

Yet in an instant, he was taken away.

Like my son, I did absolutely nothing to earn or deserve my citizenship, it was gifted to me at birth because of a decision my great-grandparents made. I didn’t have to work for it, sacrifice for it, travel for it. It was given to me before I knew to dream of it, before I knew what dreams were.

We enjoy tremendous privilege and access simply because we were born in the right place at the right time. Not so for Armando.

We got a call that Armando had been arrested over the weekend and was in the county jail. He was in a restaurant with family when a fight broke out. The police were called and they arrested a number of people, including Armando. Aside from being in the wrong place at the wrong time, he was completely exonerated in court.

But during his time in the county jail, ICE was sent a list of inmates. An ICE officer came to the jail to let him know he was going to be brought into detention.

Armando came to this country nearly 30 years ago. In the 20 years he worked in our synagogue, he paid social security, Medicare, state and local taxes. As far as we were concerned he belonged in every way. But others apparently saw that differently.

As soon as Armando was in ICE custody, our community sprang into action. As a rabbi, it has been particularly moving to see my synagogue live out the value of chesed, or loving-kindness. Community members collected money, secured legal representation and wrote dozens of letters attesting to his character. We reached out to his family and assured them we would be there for them and would not let him be deported.

One family’s letter mentioned that Armando was a guest reader in their child’s preschool classes. Another parent talked about how Armando convinced her hesitant son to get out of the car and go inside for religious school. Then there was the parent who had a medical emergency and had to rush a child to the hospital with only time to ask the closest adult — Armando — if he would get her other son after class and stay with him. I was so used to seeing Armando taking care of our families that I was a bit ashamed of how little thought I had given to him being a father to his own sons.

I accompanied Armando’s son to visit his dad while he was being held at the county jail. Armando looked at his son and said “I don’t want you to stop your education. I want you to have what I didn’t.” I imagined the same conversation between my great-grandfather and my grandfather, just with a Yiddish accent.

The attorney we found worked quickly to put together a plea for a stay of deportation and get in touch with immigration authorities. He put together a character profile, but how do you characterize the look of embarrassment on Armando’s face when the synagogue staff brought out a cake and sang happy birthday to him? Or the way he made our kids feel at home when they high fived him in the hallways? Or the smile on his face when he would explain to people how often he brought his own son to synagogue? “He grew up here,” Armando would say.

The ICE officer, who the lawyer informed us had complete say over Armando’s fate, didn’t return the attorney’s call for days. A week after Armando entered ICE detention, I called the attorney to check in. “An hour ago, he was taken from the detention facility and is being moved,” the lawyer reported. “We don’t know where to. All they know is that he is in transit.” The only way Armando’s family knew any of this was because the attorney had reached out to ICE.

Later that day, Armando called his family from Tijuana, Mexico, his country of birth. He had been brought over the border and left without bank cards, cash, cell phone or ID. He was given no time to gather any belongings or to call his family to say goodbye. As Armando told his son, an ICE officer who escorted him with others to the border told the group, “You’ll all probably get kidnapped.”

When I heard that, I thought about how carefully Armando cared for the families in our community and how unthinkable it would be for him to purposefully cause anyone discomfort or fear. Earlier, when rhetoric around immigration was heating up and people born in Mexico were being referred to as drug dealers and rapists, I had stopped Armando in the hallway; I felt the need to apologize for the cruelty we in the United States had enabled. He shook his head and said, “I just don’t understand why people need to talk like that.”If crossing a border to seek a better life is in and of itself such a crime, why would anyone need to characterize people like Armando as cruel and brutal? If anything, the exaggeration reveals how insufficiently transgressive it is to dream of a better life. If anything is brutal, it’s the enforcement system itself. It is now built for speed and efficiency, for maximum action and minimum thought. When we don’t feel the need to understand a person’s story,

it becomes much easier to taunt them with fears of being kidnapped. In fact, it becomes necessary, because if we all realized immigrants were human beings, who could sleep at night?

But didn’t he break the law by coming here? If we are a nation of laws then don’t we have to respect the law? Good people, people who love Armando have asked these questions. I think it’s important to make a distinction between procedural justice, the idea that the law should be applied equally, and substantive justice, the notion that law should produce good in the world. Right now we are applying the law strongly and across the board. But we also have to own the consequences of doing so. We are breaking up families that include U.S. citizens, depriving them of income and taking parents away from children. We are creating greater dependencies in our society and millions are vulnerable to this fate. Circumstances change. What begins with good intentions can end in cruelty. It is possible for a law to be both legal and cruel at the same time. Like good parenting (don’t drink, but if you do I’ll come pick you up no questions asked) it is possible to send clear, mixed messages.

A pathway to citizenship can be created for those who are here at the same time as laws for orderly entry are reaffirmed. We can apply the law equally and assure that it produces good in the world. We can reestablish the integrity of our communal body without losing our soul. Apparently these kinds of distinctions were appreciated by a judge in New York. Shortly after Armando was deported we found out that the motion for stay of deportation had been granted. Department of Homeland Security acknowledged receiving it, the day after Armando was deported.

Now Armando’s absence weighs on me. Before February, every day rushing to a class, a meeting or a counseling session, I would catch Armando out of the corner of my eye and we would quickly smile and wave. Since he was taken, there have been moments where I thought I saw him and turned, but there was nobody there. A phenomenon even more painful for his sons.

After Armando was dropped off with nothing across the border he made his way to relatives. We didn’t hear anything from him for 24 hours. I finally got a text from his son saying his dad was ok. We have been in almost daily contact with the family since. His oldest son is incredibly positive, but I have talked to him enough to have built up trust.

Through tears he will say that he just wants to get his dad back. Recently, a delegation from my synagogue joined Armando’s son and flew down to San Diego to meet Armando in Tijuana. We wanted to be with him as he walked to the border to seek asylum.

They told us that they did not have the “capacity,” and turned him away.

We will try again soon.

One thing is for sure: our community will not give up. As I crossed back into the U.S. from Mexico, having left Armando behind, I handed over my passport to be scanned. For the first time I did so without pride. I was a citizen, but of what kind of country? The irony is that in enforcing so callously the line between citizen and non-citizen, we don’t affirm, but actually cheapen, the meaning of citizenship.

As citizens, we are all implicated in our country’s behavior. If human beings without our status can be treated, in our names, in such cruel and thoughtless ways, then of what value is our status? The truth is that when Armando was taken, we didn’t just remove a father from his family and a member from a community, we deported a piece of our humanity as well.

The picture I can’t get out of my mind is of Armando and his son holding each other and saying goodbye through tears last week in Tijuauna. This past week I stood next to my son as he read from the Torah for the first time. Fathers have so many hopes for their sons.I hope my son uses his unearned citizenship to make this country worthy again of people like Armando.

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britesparc · 5 years

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Weekend Top Ten #369

Top Ten Favourite Things About Teen Titans Go!

One of the funny things about life is observing elements of circularity. For instance, nearly twenty years ago, my younger brother really got into the original Teen Titans cartoon, and I sort of got into it with him (having a brother ten years younger than yourself is very good for keeping your oar in with kids’ content when you’re supposed to be too old for that sort of thing; as a result, I got to thoroughly enjoy Justice League, Samurai Jack, Harry Potter and lots more stuff that may have otherwise passed me by). I knew who the Titans were but hadn’t read a lot of their comics; the cartoon was my introduction to most of those characters. It was really good, benefited from a tremendous theme tune, and – for its time – quietly revolutionary in how it incorporated anime aesthetics into a western cartoon. Plus it had a cracking voice cast, which – not that I knew it at the time – would become as synonymous with those characters as Peter Cullen, Frank Welker, and Kevin Conroy had done with cartoons I’d watched as a child.

(that’s Optimus, Megatron, and Batman, in case you’re wondering)

Anyway, here we are, eighteen-or-so years later, and Teen Titans is just a beloved long-gone cult classic but bizarre comedic spin-off Teen Titans Go! is a minor phenomenon. The same characters, the same actors, but wilder, weirder, funnier, crazier, way more violent, and – bizarrely – far more integrated into the wider DC Universe. And my kids – especially my eldest daughter – bloody love the show. It is huge in our house. We’ve seen the film, we listen to the songs, they draw their own comics, they roleplay the characters; we have a home-made Raven costume, for god’s sake. I have a six-year-old who knows who Tara Strong is. This is incredible.

As a result, I’ve seen an awful lot (not quite every episode) of Teen Titans Go!. It’s fortunate, then, that it’s fantastic, easily one of the best comic-book cartoon adaptations ever made. It’s not just how funny it is; it’s madcap and self-referential and full of many (many) MANY DC comics references. And great, great songs. And – like I said before – tremendous performances. Teen Titans Go! To the Movies is a great, great movie with great, great songs and many great, great gags, and it’s a mixed blessing that it ended up being released in what may well be Annus Mirabilis for superhero movies: it’s great that it’s mixing it up with Infinity War, Black Panther, and Spider-Verse, but I feel it got overshadowed a bit. Say what you will for the slightly more “serious” original Teen Titans series, but it was the barmy chibi-inspired stepchild that got a movie.

So this week, I’m celebrating what has become my second-favourite superhero cartoon of all time (after Batman: The Animated Series, natch). My ten favourite things about Teen Titans Go!. Enjoy!

The Songs: I tried to pick a song, or some reference or line or scene, but really it’s impossible. The songs are sublime. So great, in fact, that I’ll probably do another Top Ten at some point listing my favourite TTG songs. Really catchy, great lyrics, supremely diverse, and full of references not just to DC but to, well, everything. There’s a song about America that includes the line “Samuel L. Jackson on the stamp”, which makes no sense as far as I can figure, but is just wonderful.

Deep, Deep (DEEP) Cut DC References: it started with the Darkseid doll. A little plush Darkseid doll that’s always leaning against the couch. How cute, how funny; Darkseid, the literal embodiment of evil, but as an adorable snuggly. And then it got deeper, and weirder, and more wild. B’wana Beast. Alternate universe Robins. “That movie where their moms are both called Martha”. The Haunted Tank. The Haunted Tank! What kind of kids’ show references The Haunted Tank?! And then there’s the fact that The Comedian’s blood-stained smiley face badge is on display in the Batcave. Let’s go back over that one: there are Watchmen references in this cartoon for six-year-olds.

Batman and Gordon: the original Teen Titans cartoon pretty much never mentioned any aspect of the universe outside of the five characters, barring one fleeting visual reference to the Batcave and the episode where you meet the Doom Patrol. TTG has no qualms about explaining that, yes, Robin is Batman’s sidekick. So we see the Batcave, and Wayne Manor, and Alfred. But it’s Batman’s relationship with Gordon that’s golden. Not just stoic men’s men who diligently work alongside one another, never questioning, never needing to; no, they’re best mates, giggling schoolkids who want to shirk off all work and just sit in their PJs watching crap on the telly. Like a superheroic version of Beavis and Butt-Head, they’re often there, in the background, goofing off, playing games, undercutting the narrative. It’s such a perfect inversion of Batman’s usual persona and a great way of referencing – in supremely silly terms – the deep bond of affection between the two men in most Batman fiction. I especially like when Superman gives Gordon to Batman as a birthday present.

The Night Begins to Shine: I know I said I wouldn’t single out one song, but we do need to talk about The Night Begins to Shine. More than just a cool song in one episode, it blossomed into a whole weird parallel universe filled with bizarre references to ‘80s heavy metal and, well, Heavy Metal. Almost coming off like a primary school version of Mandy, the multi-part epic about Cyborg fighting a giant dragon in the “Night” universe, complete with cameos from people like CeeLo Green and Fall Out Boy (as Transformers!), is just a thing of absolute beauty. Truly, the level of reference and artistry on display in terms of writing, composition, and animation won’t be understood by the kids watching now until they’re quite a bit older. They’ll come back to this in ten, fifteen, twenty years and think “wow, now I see what they were doing; that’s so, so weird”.

The Holiday Mascots: belligerent Santa is the king (“you garbage kids!”), a fat psychopath trying to take over every other holiday, but let’s spare a thought for the other representations of holidays, too. The creepy Tooth Fairy, who eats teeth. The turkey from Thanksgiving who is horribly mutilated. Uncle Sam. And the Easter Bunny. Oh my god, the Easter Bunny. Genuinely unsettling. Words can’t describe. Seriously, check it out, it’s some Babadook-level freaky shit.

Raven’s Legs: a little bit worrying when you’ve got two kids under seven watching it, but the fact that Raven is not just hiding very, very sexy legs underneath her cloak, but is also capable of becoming an entirely other superhero who uses her legs as weapons, is very, very funny. Watching Beast Boy go full Tex Avery when he sees Raven’s legs is one of those gags that, I guess, works on different levels if you’re a child or an adult. Regardless, turning snarky sourpuss Raven into golden-costumed Lady Legasus is a nice move.

Breaking the Fourth Wall: they only really do this explicitly once or twice, I think, but overall the show is incredibly self-referential. From Control Freak trying to get them rebooted or cancelled, to jokes about the animation or the writing, it’s beautifully self-deprecating. This reaches its apex in the 200th episode specials, when the Titans journey into “our” world. It’s hilarious to see them interact with their own voice actors, but for me it’s the note-perfect representation of directing voice actors that’s really funny, almost as good as Toast of London in its depiction. Plus the gag about everyone who works on the show being ultimately replaceable. A scathing indictment of the animation industry, wrapped up in an animation; like The Simpsons in its heyday.

Genuinely Quite Upsetting Violence: I don’t think I’d ever seen a cartoon for small children before that quite regularly featured its main characters having their bones visibly broken. And by “visibly” I mean “cutting to an X-ray of their limb to show the bone shearing in half or crumpling to dust”. It’s almost rare for an episode to go by without one or more of the Titans experiencing life-altering injuries. I’m honestly not sure how they get away with it. but it is funny. Apex moment? Oh, undoubtedly them beating the shit out of Shia LaBeouf in the movie.

Real-World References: clearly the people who make Teen Titans Go! are in their late thirties or early forties; people who grew up in the ‘80s and absorbed ‘80s culture. People who liked Transformers and Star Wars and Back to the Future, who listened to rock music, who liked toys and videogames. They probably grew into teenagers who were fans of obscure animations, cult movies, sci-fi, fantasy, horror. They are, basically, me. I think I would get on quite well with the creators of TTG, based on the things they reference. But beyond cultural appropriation, it’s the references to daylight saving’s time, “shareconomics”, American politics and history, “The Man”, and more, that is so wild and weird to see in a cartoon for young kids. They handle these topics beautifully (I’m honestly not sure if my kids think the things the Titans are talking about are real or not), but as a grown-up it’s really funny to see these gags in a kids’ cartoon. I mean, the Titans fight the Illuminati in one episode. They reference “lizard men in Congress”. It’s bonkers.

Nicolas Cage: in Teen Titans Go! To the Movies, Nicolas Cage plays Superman. That’s it. I mean, what more do you want? The guy whose whole career almost seems to have hinged on playing Superman finally gets to be Superman. The guy who was nearly – oh so nearly – Superman for Tim Burton is now, at last, Superman. The guy who named his kid Kal-El is now Superman. The guy who was namechecked in The Ultimates about eighteen years ago (“this guy wants to be a superhero almost as much as Nicolas Cage”) is now Superman. It’s such a meta-gag, such a high-level gag. Stunt casting taken to its nth degree. It’s even funnier than Billy Dee Williams playing Two-Face in LEGO Batman. And it got better – this part, I concede, beyond the purview of the TTG creators – because the same year he played Superman, Nicolas Cage also played (an alternate universe version of) Spider-Man in Into the Spider-Verse. And, as I alluded to above, starred in his own version of The Night Begins to Shine when he made Mandy. It all links!

There we go. my favourite things. This was tough, I had to leave a lot out. I’m particularly saddened by not finding room for Cyborg’s tiny body made up of wires whenever he removes his head. And The Jeff; gutted I missed The Jeff. Or the episode that references all the movie incarnations of Batman, including a dumpster full of Batman Forever and Batman & Robin stuff (I’ll save my argument that TTG serves as an even better comic analysis and deconstruction of the meta-character of Batman, and of Robin, than the much-ballyhooed LEGO incarnations for another day). It’s really a great show. I love it to bits. Go watch it.

#top ten #teen titans #teen titans go #teen titans go to the movies #cartoons #dc #comics #robin #starfire #raven #beast boy #cyborg

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streaks-of-lavender · 6 years

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Ouran High School Host Club AU

So, since I apparently matched the sides to host club members in an unusual way, I decided to give a more in-depth explanation. Which of course means I went way overboard and it got so long I’m debating whether or not I should put it under the cut. Anyways, have some rambling character analysis. Also, SPOILERS. SPOILERS EVERYWHERE. FOR THE OURAN MANGA AND ANIME, AND FOR THE SANDERS SIDES. You have been warned.

I’m gonna tag @not-so-innocent-bi-sander because I can’t stop bugging her, apparently.

Patton: While Roman would normally be the obvious choice for Tamaki, I went with Patton, because pairing Roman and Tamaki feels like taking them at face value and personally I don't think it does their characters justice. Patton seems much more fitting for Tamaki. One of the things made apparent about Tamaki throughout the anime and the manga is his inherent goodness. Yes, he can be dramatic and annoying at times and often doesn't think things through, but he has a heart of gold and it shows. Everybody loves Tamaki. He brought the host club together. All those people who were hurting and broken that normally would never have given each other the time of day, they were all brought together by one thing: Tamaki and their love for him. Tamaki is giving and kind despite his stubbornness and drama. I think he has a lot of similarities to Patton. Patton is the dad who loves all his children (the other sides and Thomas) unconditionally. At the same time, he isn't afraid to call them out when they need it. He's silly and fun and everyone loves him, even if they underestimate his intelligence at times. An obvious parallel is that Patton is the dad character, while Tamaki insisted throughout the series that the host club was a family. Slightly more serious, Tamaki and Patton will both push people away and lie about how they're doing because they don't want anyone to worry or be a burden. This is more apparent in the host club manga than the anime, but it's still there. There's also Kyoya. Tamaki wasn't afraid of Kyoya, he didn't back off when Kyoya tried to push him away. He forced his way in and was quick to call him out on his bullshit. The two became best friends and had such a beautiful, unique relationship. Patton and Virgil were pretty much the same way. Patton wouldn't take no for an answer, he was the only one willing to see Virgil as he truly was. He refused to let Virgil talk bad about himself. And when Virge left, Patton was the first one to notice. Basically, Patton and Tamaki have the most similarities in my opinion. They have a lot of love to give, they bring people together, they're silly and fun and dramatic (Patton can be dramatic, too. It's not just Roman). To me, they seem like an obvious match.

Virgil: If Patton is Tamaki, then who could Virgil be except for Kyoya? They're best friends no matter how irritated Kyoya (aka Virgil) pretends to be. And there are notably comparable things about Virge and Kyo. Kyoya spent his whole life trying to meet impossible goals, friendless, pushing people away, constantly being told he wasn't good enough by the people who were supposed to care about him. Sound familiar? Virgil went through the same thing for a long time (see: everything leading up to Accepting Anxiety parts 1 and 2). And then Patton came into his life the way Tamaki came to Kyoya. Tamaki was like Kyoya's savior. He showed him that his family was wrong, that he was enough, that he could be his own person and it was okay. And Kyoya loves him so much. For proof, go back to the episode "And so Kyoya Met Him," in which Haruhi asks how on earth Kyoya and Tamaki are friends and Kyoya then proceeds to monologue for a good 20 minutes about how the two met after staring at Tamaki and smiling for a solid 15 seconds (Moxiety shippers, have some fuel). Patton was the only one who was never scared of Virgil, who accepted him from the start, who wasn't about to let anyone hurt his dark strange son, even Virgil himself. Patton loved him all along even when the others didn't. And now the two are best friends, and you can bet that Virgil will do anything to protect his dad. Somehow, despite all their differences, the two just work. They fit perfectly. Tamaki and Kyoya. Patton and Virgil. It works.

Roman: Oh, Roman. What to do with you? He's a total drama queen who needs constant attention, sometimes isn't very nice, butts heads with the others, but still tries his best. Hikaru. Hikaru, Tamaki's rival, Kaoru's beloved twin, hot headed, impulsive, a bit rude at times, but genuinely cares about his friends. Neither of them exactly have the best track record. They've (unintentionally) hurt the people they care about, but they feel bad and want to fix the situation. They're the characters with the most room for growth in my opinion, and they're trying, gosh darn it. Sure, they make mistakes. Sure, they can be ridiculously impulsive. Sure, they speak without thinking a lot of the time. But they try so hard. Hikaru and Arai or Tamaki or even Haruhi. Roman and Virgil or Logan. They messed up. They hurt people. And they're trying to make it right. Haruhi actually slaps Hikaru at one point when he goes too far. The sides and Thomas can't touch each other, but Thomas has given Roman the verbal equivalent (Accepting Anxiety part 2). Overall assessment of characters: sometimes problematic but doing their best. Very good boys. Hikaru is loved by his family, especially his brother. And by Tamaki. Patton as a side loves Roman, and Patton as Tamaki loves Roman as Hikaru. At one point in the manga Hikaru got sick and fainted while on a class trip, and when Tamaki found out, he freaked out and instantly went to see him and make sure he was okay despite being all the way in Tokyo. That is definitely something Patton would do. But Hikaru and Kaoru have a special bond, which leads into our next person, Thomas.

Thomas: Thomas would definitely be Kaoru. He can be somewhat naive at times, but often he's level-headed when the others, especially his brother, aren't. He has a special relationship with Hikaru. Kaoru loves him so much, but also isn't afraid to call him out when necessary, much like Thomas with Roman. A lot of the time the sides (besides Patton) can be a bit rude to Roman, but Thomas is generally really accepting and quick to show Ro how much he cares. Much like Hikaru and Kaoru, their relationship is cute and sweet and it just works really well. Similar to how Thomas is at the center of the sides, Kaoru doesn't really have an extreme to match anyone else. He's just happy to be there with the people he cares about. That sounds like Thomas to me.

Haruhi: This one took some debating, but I finally decided that Logan would be Haruhi. They're both very smart, but they're not really good at the whole "social interactions" thing. Haruhi cares for her friends, but is also quick to get frustrated with them and doesn't really understand how people work. Like, she's compassionate, but she's also blunt and often oblivious. She seems to have a hard time reading the mood. Before the host club, she spent a lot of her time alone just studying because she didn't see the point in other things. The club helps her with that the same way the sides help Logan. Both of them struggle with seeing things from a different perspective. They'll write things off that they don't see the value in. But they try, they want to learn and improve, and their friends are happy to help them with that.

Hunny: Deceit would be Hunny. I'll be honest, I don't really have as much solid reasoning for this one. Hunny seems cute and sweet and innocent on the surface, but he's actually incredibly smart and powerful. That boy knows exactly how to manipulate people into giving him what he wants. So yeah. Deceit.

Mori: Jamal. There's really no reasoning behind this one. I ran out of sides and I greatly appreciate Jamal. He's cool. That's it. (Side note, I’m really, really sorry if I spelled his name wrong. I couldn’t remember. If it’s wrong and someone knows how to spell it right, please tell me.)

Renge: Joan. Because it would be really funny. That’s all.

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auroraphilealis · 6 years

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any book recs?

Heck yes I do!

Simon VS. The Homo Sapiens Agenda by Becky Albertalli: Even if you saw the movie already, the book is like a different storyline. They’re super close but very different and I literally can’t decide which I prefer

It by Stephen King: I’m not actually the biggest horror fan of all time but after seeing the movie, I fell in love with this idea. I’m only about half way through the novel version, but there is something insane about the way Stephen King writes. He truly understands human’s on a level not many people do, or at least understands them enough to REALLY draw out the true horror of the world. I don’t know man, it’s a good fucking book.

Frankenstein by Mary Shelley: Actually though, i re-read this after having read it 6 years ago, and holy shit this is actually amazing. I love this novel. Frankenstein is… a fascinating story.

The Book Thief by Markus Zusak: Seriously fucking amazing. It’s about a little girl growing up in Nazi Germany only it’s told from Death’s point of view, and I know what you’re thinking - how the fuck? But holy shit it is a fucking crazy good story, and the character of Death had me hooked on the first page

The Story of Edgar Sawtelle by David Wroblewski: One of my all time favorite books. It’s kind-of sort-of the story of Hamlet, but with a totally different modern revamp. The main character is mute, was born mute, and his closet relationship is with his dog. His mom marries his uncle after his father dies in a fire, and.. well. It’s just incredibly beautiful and amzing.

The Sword of Truth series by Terry Goodkind: Look. This is the longest book series I have ever read. I used to spend every second of every day reading these books. But if you’re a fantasy fan, and huge word counts don’t scare you, then good LORD is this the series for you. I think back on this series so fucking often, and I’ve read certain books in it like, six times each. Currently, my mom has my copies or I would be READING IT AGAIN since this series hass been on my mind alot again. Again, it’s super long. I think currently we’re on book like… 27. I googled it. holy shit it’s grown since I last picked it up. The best part about this series is 1. You can technically stop at any point because each book has a relatively good ending that will keep you satisfied (except book 1 and 2, you really have to finish 3 while youre at it). 2. They reflect the modern world so well sometimes you’re just godamn wow. Seriously. If you love fantasy, please give it a try. It’s worth it.

The Host by Stephanie Meyer: Look, I know what you’re all going to say. Twilight was terrible, why would we read this? Listen, LISTEN I actually love The Host. It was really well done, and it definitely Stephanie Meyer’s better novel. The movie adaptation sucked ass but I actually DO still read this book over and over again. It’s a sci-fi novel about alien’s coming to Earth and taking over host bodies. They do this on lots of planets, and Earth is their newest requistion. It’s also the only planet to fight back well enough that the aliens actually think they might win. It’s not as weird as it sounds. It’s a love story, and it goes far more in depth with the meaning of life and stuff like that then Twilight could dream of, so give it a try.

The Handmaid’s Tale by Margaret Atwood: Actually amazing. I read it for class like… idek, 5 years ago maybe? When I heard it was getting it’s own show I was like !!!! but I haven’t actually watched the show version yet, so I have no idea how it compares to the novel. The novel is fucking amazing though. Legit made me cry. However, if you have a sexual trauma or trigger, this might be a difficult read in some select parts :/ Still fucking worth it times ten. I literally bought the book when my class was over, it was so good (the teacher actually, actually handed out copies, how insane is that? She was amzing)

Beloved by Toni Morrison: FUCK SO GOOD. I’ve read it twice, both times around school, and got to write papers on it twice as well. This is… this is one hell of a book. Both times I read it, I got so much more of it than the first time. THERE IS SO MUCH TO UNPACK. It’s about a former slave whose haunted by the baby daughter she killed to prevent her children from ending up slaves as well. This was just before slavery was abolished, as well, and while her baby daughter died, her other three kids lived. However, now her home is haunted, and the baby ACTUALLY comes back. It’s crazy and amazing and one of my favorite novels of all time. I can’t pick favorites guys, okay, but I love this one so fucking much.

Pellinor Series by Alison Croggon: Listen. Listen. I read this book when I was in high school immediately after I hurt my back so bad I was stuck in bed for a week, and literally continue to have issues with too this day. I CANNOT TELL YOU what the fucking plot was, and apparently there are 2 more books in the series that I didn’t know about, BUT I LOVED AND ADORED THIS BOOK OKAY IT WAS A WONDERFUL FANTASY NOVEL AND IT HAS A FEMALE LEAD ALRIGHT ITS GREAT JUST TAKE MY WORD FOR IT AND READ IT

Uglies Series by Scott Westserfeld: I remember finally getting my hands on this series and reading it in like, two days. Idk. It was great. If you can’t tell, I love fantasy and sci-fi and horror, which all mesh together horribly and you can never tell them apart. This isn’t horror though, just the other two. It’s about a world where when people turn a certain age, they get to become a “pretty’ which means to have surgery done to make them look perfect - only the reason for this is to dumb down society. Read it. I love it.

Vampire Academy by Richelle Mead: I love vampire novels. If you couldn’t tell, this is a vampire novel. It’s one of my preferred series though, I think Mead did an amazing job crafting the world she crafts. Vampires aren’t under wraps, nor are they inherently evil, but they do work in a really weird system where you have the Special vampires who the other vampires protect, and then like the bodyguard vampires. I can’t fully remember, it’s been a long time. But regardless, I remember this being one of the few novel series that made me cry, and I still love it to this day.

Harry Potter by JK Rowling: I thought this was such a give in that I didn’t put it on the list until now but actually like. Super good. I grew up in this series and sometimes I talk about it and remember I’m 24 cause some people I know have never read it and IT WAS LITERALLY MY CHILDHOOD. Still think it’s worth it, even as I poke more and more holes in the story, because the older you get, the more you start to recognize problematic things. Clearly, Harry Potter was meant for children, not an adult who wants to critize everything. GOOD READ THOUGH

Fangirl by Rainbow Rowell: I grew up the girl writing fanfiction hid away in the back of the class because I didn’t want anyone to know. I look up to the people older than me at the time who developed and crafted the world we live in now, where Fanfiction is almost acceptable. Reading this novel... brought me right back to the Harry Potter days when the fandom was sitll new, underground, and ao3 didn’t exist. Honestly... it’s a really good book, and really hits home for people like me who write fanfiction and want nothing more than to write novels one day.

Game of Thrones by George R.R. Martin: But actually the books are really good. I fucking adore the show and that’s what got me into the books, but the books are HELLA good. Weirdly, Daenery’s Targaryen is not the most well written character ever, and I blame it on Martin being a guy, becasue sometimes I actually hate her in the novels (seriously, he makes her sound... like a child, which I guess she kind of is) BUT one of my favorite things in the novel is that her husband Khal Drogo does not sexually assault her in the novels. He’s super sweet and good to her, and honestly just. Yep. Yeah. Good series.

What Happened to Lani Garver by Carol Plum Ucci: The most heartwrenching book of all time. I can’t tell you how long I cried over this book. I’m literally getting tearful as I think about it. It is... fucking BEAUTIFUL. I want to read it right this fucking second. It’s about a girl who was in remission from cancer, but who joins the cheerleading team. Only, shes technically too tall to be a cheerleader, so she gets an ED which actually puts her at risk for remission. She meets Lani Garver - the literal emodiment of a nonbinary person before that term every existed. Lani Garver is... a fucking angel. An actual angel okay. They help the main character through so much, specifically bullying, and Lani taught ME so much when I read it. The author refers to Lani as he, but remember that it was written before nonbinary was an accepted (possible even before it was a fully labeled) thing, but the book is SO worth reading. I. I’m going to go read it again.

Streams of Babel and it’s sequel The Fire Will Fall by Carol Plum Ucci: I originally read the second novel first on accident, which just goes to show you how good an author Ucci is becasue I didn’t even NOTICE until I got to the end and saw there was a first novel, oops. But, its a take on the lives of 4 kids in a situation of chemical warfare, and what happens to them when they get poisoned by the water. I think one of the kids is a fucking comptuer genius. Idk, I can’t fully remember, but it is one of my favorite novels, so check them out.

I’m like 100% that there’s more I could list but those are the ones I could currently recall BECAUSE THIS IS A MONUMENTAL TASK AND I LOVE BOOKS

#Anonymous #asks #book recs #book rec #books

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douxreviews · 5 years

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Glass Review

...or, 'The People v. M. Night Shyamalan.'

I finally managed to get out to see Glass. I'm going to do something a little different with this one, so bear with me. SPOILER ALERT: I will discuss the movie's contents openly in this review. You have been warned.

The Charges:

After The Sixth Sense and Unbreakable, the defendant was revered throughout Hollywood. His career seemed to be getting off to a promising start, and one magazine even heralded him as 'the next Spielberg.' Then audiences were underwhelmed by Signs and The Village, and distressed by The Lady in the Water, The Happening, and The Last Airbender. The defendant's career took a sharp downturn, and many came to hate him as a filmmaker and avoid his films. The defendant's name became an audience turnoff, rather than a draw. As the defendant's career went on, films like The Visit and Split engaged audiences and began to alter their perceptions of him. Then the defendant announced his development of Glass. A sequel to both Unbreakable and Split, two of his more popular films, and coming at an upturn in his career, it is clear that Glass will be the final trial of the defendant, M. Night Shyamalan. This film is the culmination of the argument of whether or not the defendant is a good filmmaker.

Past Evidence:

The prosecution brings to the court's attention the films The Lady in the Water, The Happening, The Last Airbender, and After Earth. These films are all poorly received by critics and audiences, and have disappointed many people over the years. The prosecution also draws attention to the underwhelming twists in The Village and Signs, which also disappointed audiences by not being as brilliant or monumental as they were hoping for.

The defense offers the films The Sixth Sense, Unbreakable, The Visit, and Split. The first two are brilliant films, beloved by critics and audiences for many years. The latter two have represented an improvement in the defendant's career, as he steered away from the 'gotcha' twist approach to filmmaking and made good, straightforward films in the horror and thriller genres. The defense also points to the great crafting of atmosphere in Signs, also seen in the defendant's other thrillers and horror films.

The Defense's Opening Argument - Simple things I liked about Glass:

In Glass, M. Night Shyamalan has made a film that he wants to make. He financed it personally, and it is a wholly director-driven film from beginning to end. It is very clear as one watches that Shyamalan has made a film that conforms to the vision he had for it. Glass unfolds just as Shyamalan wants it to, and every decision that was made was the decision that Shyamalan intended to make. The argument cannot reasonably be made that he does not recognize what he is doing with his film. He knows exactly what he is doing with it, and he has done with it exactly what he believed was best for the film.

The cinematography is gorgeous, and it works perfectly with Shyamalan's intentions. The fancy camerawork and occasional dutch angles are wonderfully artistic, and they actually serve a purpose unlike many other films nowadays. Sweeping pans and tilted cameras are often used just for the sake of using them in modern films; in contrast, Shyamalan knows what these things will accomplish, and he uses them to great effect. As in many of his other films, Shyamalan also uses color in a very striking manner. From the monochrome, faded tones of Dr. Staple and the mental hospital to the bold, varied colors of the main characters, the film's use of color is at least beautiful, even if it isn't as brilliant as it was in The Sixth Sense and Unbreakable.

The last simple thing that really worked for me, although it may have ultimately been contrary to the film's goals, was the strong connection with Unbreakable, one of my favorite movies. West Dylan Thordson's score employs several themes from Unbreakable's music, composed by James Newton Howard. The use of many of the same actors who played characters in Unbreakable, too, helped ground the film in that world, especially Spencer Treat Clark as Joseph. It was also remarkable how well Shyamalan incorporated several deleted scenes from Unbreakable, never before seen by the general public. These felt like a seamless part of the film, as did the perfectly cut transition from Kevin's father on the train to the original opening sequence of Unbreakable. All of these choices help the film to feel like an authentic extension of what came before, and this really improved my enjoyment of Glass considerably as I watched it.

The Prosecution's Opening Argument - Simple things I disliked about Glass:

Glass is not a perfect film. There are a few things that I felt didn't work quite like Shyamalan wanted them to. The first is the pacing. There are some major pacing issues with the film in the second act, and there are some elements that Shyamalan spends too much time on. I got tired, for example, of cycling through Kevin Crumb's different personalities in scene after scene. Don't get me wrong: watching James McAvoy do his thing is remarkably entertaining, but it gets old when the same scene occurs over and over and the same information is delivered by Kevin's different personalities.

Another flaw was in the use, or lack thereof, of the film's secondary characters - Casey, Joseph, and Mrs. Price. While the actors do a great job, and it's especially fun to watch Spencer Treat Clark do an equally great job now as he did 19 years ago, they felt for most of the film like they weren't doing enough to justify the screen time they were taking up. I get that the audience needed to be reminded that these characters were important throughout the movie, but perhaps there were better ways to incorporate them so that they had more meaningful roles to play before the climax. Maybe Joseph could have planned a breakout, only to have his hopes dashed when his plan fails. Casey could have helped him, or interacted with a friend who helped her to make sense of the things that were going on in her mind. Mrs. Price is the only one who I feel was not underused, because her scenes with Elijah made sense and went places, without repeating themselves over and over.

Lastly, I would have liked some better set-up for the secret society of clover tattoos, or whatever we're calling them. I thought when I initially saw the first clover tattoo that I was supposed to recognize it from earlier in the film and I didn't remember having seen it. It seemed to come a bit out of left field, as well - I knew that Dr. Staple couldn't just have been a psychiatrist, but that's about all the justification we have for it from the rest of the movie.

Defense Witnesses - McAvoy, Willis, Jackson, Clark, and Taylor-Joy:

One thing M. Night Shyamalan is usually very good at is getting amazing performances from his actors, particularly young ones. In both Unbreakable and The Sixth Sense, the movies relied heavily on child performers, and Shyamalan was able to get incredible and moving portrayals from the children in each. Both Haley Joel Osment from The Sixth Sense and Spencer Treat Clark from Unbreakable went on to have reasonably successful careers, and remain good actors to this day. Even in today's Hollywood, with the practice of using young-looking actors in their twenties to play teenagers, Shyamalan has thrived on great performances from performers such as Anya Taylor-Joy as Casey Cooke.

But Shyamalan does not just get great work from children. The adults in his movies are often very skilled, and if they are, they bring all of their skill to the table for his films. Whether it's James McAvoy's stellar if overused performance as Kevin Crumb's 23 personalities, Samuel L. Jackson's appropriately unsettling turn as Mr. Glass, or Bruce Willis showing up and giving it his all for the first time in years, Shyamalan consistently utilizes all of the talent his actors have to offer.

The Prosecution Calls the Defendant to the Stand - M. Night's case against himself:

Even as filmmakers go, M. Night Shyamalan has had an enlarged sense of his own importance in the past - see also casting himself as a brilliant writer in The Lady in the Water. He is also not a subtle filmmaker - see also casting himself as a brilliant writer in The Lady in the Water. Both of these tendencies come into play in Glass. Shyamalan's intention for this film is to make it feel like a naturally progressing story, and yet also to make you think it's one film when it's really a completely different film the whole time. All this, and the audience is supposed to leave the film both feeling satisfied and feeling like they fell for something clever and well-constructed. In short, the audience needs to walk out of the theater believing that the filmmaker was intelligent and clever for tricking them in the way that he did. It's hard not to believe that this played into Shyamalan's ego a little bit. It's also understandable that he would want to feel this way again; after all, 'the next Spielberg' is high praise, and when people love the movies you've made as much as audiences loved The Sixth Sense and Unbreakable, it becomes hard not to get a big head about your own talent. But if audiences are underwhelmed by the twist or reversal, and they feel like it wasn't worth the fake out, it backfires by making people feel cheated instead of cleverly tricked.

The Jury Deliberates:

I'm conflicted about this film. It's very well planned out, and equally well executed. Each element is used towards Shyamalan's purpose for the film as a whole. My big question is whether or not I like that purpose. The ending is successful in that I was duly convinced I was watching one film and I was surprised when I discovered I was watching another. But did it please me or did it disappoint utterly? Lest you think I'm creating false suspense, I'm trying to figure out these questions for myself as I type these words. But I think now the jury has reached a verdict.

The Verdict:

As a film, I love Glass. It's a true Shyamalan-style movie, with a reversal (I don't think I'll call this one a twist) at the end that does successfully alter your perception of the film entirely. It's well-constructed, though not without its pacing issues, but the buildup felt right and worked for me. The movie is well-shot, well-scored, and well-acted, and all the craftsmanship present is incredible. And I think that if Unbreakable had not existed, that would have been enough to make me love the movie. Simply marketing it as a superhero epic from M. Night Shyamalan would've been enough to get me into the theater, and would also have put the expectation in my mind that the film was building to a classic superhero conclusion. In such a case, the twist would have satisfied me by giving me a different movie than I expected, and I would have loved it.

But as a sequel and a continuation of Unbreakable, I'm not quite so convinced. As I said before, Unbreakable is one of my favorite movies of all time. I think the best description of that film is 'the first act of a superhero movie,' and in that context I expected Glass to be the second and third acts. Instead I got a classic M. Night Shyamalan film, that's not what you expect it to be and tells an odd but clever story. As a film, that's what I want to see, but as a sequel to Unbreakable, it was a let-down. Because I love Unbreakable so much, I was hoping to see an epic continuation/conclusion to that story. That drew me in just like I was supposed to be drawn in, and it made the twist work to subvert my expectations just as Shyamalan intended. I didn't get the film I was expecting. That would be fine if the film I was expecting wasn't also the film I wanted. It would be fine if the film I was expecting wasn't the film I've wished could exist since the closing credits of Unbreakable first crossed my screen. It would be fine if the epic conclusion to an epic story that I was really excited to see wasn't broken and crushed, shot in the gut, and drowned in a puddle. As a film, Glass is amazing. But as a sequel, 19 years in the making, to a movie I love, it was disappointing and sad.

However, Glass has successfully proved to this court that the defendant has still got it, that he can still deliver a film that's as well made as the ones he used to make two decades ago. The jury finds the defendant not guilty.

I'm not going to rate this movie. I couldn't rate it in a way that I could completely get behind.

CoramDeo believes in the power of storytelling.

#Glass #Unbreakable #Split #M. Night Shyamalan #Doux Reviews #Movie Reviews

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recentanimenews · 5 years

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CR Features Argues About the Best Opening Sequence of 2018

Anime Awards voting starts TONIGHT and WE'RE SUPER EXCITED! However we have gotten so loud with our individual opinions on who we think should win that we’ve been told to duke it out via written words instead of continually disrupting our coworkers (sorry fam).

We’ll hit each category by the time we hit the evening of Anime Awards! Today’s piece gets down to the nitty gritty of Best Opening Sequence, Best Ending Sequence, Best Animation, and Best Character Design. Let’s down to business!

Best Opening

Pop Team Epic from Pop Team Epic

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The opening so nice you saw it twice every episode, and it was a banger every time. It wasn’t just the song, either--the OP was full of little things to keep looking for, so you never skipped it unless you were a total monster.

-Nate Ming

Black Rover by Vickblanka from Black Clover

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The music for Black Clover OPs and EDs has always been top notch, but Black Rover is on another level. The sequence put together by the animators is also the perfect combination of cool, goof, and heart. It’s probably the opening I’ll associate with the series forever.

-Peter Fobian

UNION from SSSS.Gridman

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This song, like SSSS.Gridman itself, made me so happy. It was light and deft, but somehow perfect for the opening of a show about kicking the crap out of kaiju. For a genre that can sometimes feel as tired as “robot man saves the world (and his friends),” this OP, along with the rest of the show, proved that SSSS.Gridman was going to pay a lot of tokusatsu homage, while still being a breath of fresh air.

-Daniel Dockery

Rightfully by Mili from Goblin Slayer

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I’ve been following Mili’s works since I played Deemo, and their songs always have a way of worming right in and refusing to leave. So when I heard that they were doing Goblin Slayer’s opening, it was a very welcome surprise! Mili delivers a powerful performance that has a calm, yet a very vicious tone to it. Combined with the opening visuals, it really ties it all neatly together to set the mood for the show.

-Nicole Mejias

Adabana Necromancy from ZOMBIE LAND SAGA

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Dapper dancing zombies. Super sentai action scenes. Idol dancing. ZOMBIE LAND SAGA’s opening sequence somehow manages to straddle several disparate genres without losing its own unified personality. Set to the theatrical “Adabana Necromancy” performed by the main Japanese cast, main character Sakura’s defiant proclamations of chasing her dreams and the truly unprecedented amount of explosions meld into something strange and charming--a perfect fit for this series.

-Cayla Coats

Best Ending Sequence

Hibana from Golden Kamuy

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You always heard this one warming in the background as an episode would come to a close, and the striking imagery of “Hibana” just made me more excited for what the next episode of Golden Kamuy had in store.

-Nate Ming

Pulse from Asobi Asobase - workshop of fun -

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Although I’ve still got Hizuru Basho bumping in my head from Fall, no ED in 2018 was as much of a thematic masterstroke as Asobi Asobase. After a misleading opening giving the series the appearance of a serene high school slice of life and a very confusing episode featuring mean-spirited pranks and Hanako shrieking, the ending dumps you straight into hell.

-Peter Fobian

Book-end, Happy-end from Skull-face Bookseller Honda-san

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I feel ya, nervous skeleton man. You had a hard day, and then you just go sit on the floor and read manga. And then you lay in the bed and read manga. What a beautiful life.

-Daniel Dockery

Hibana from Golden Kamuy

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Banger alert! This song is incredibly GOOD! Not only is this song catchy, but the lyrics are a pretty good representation to what Golden Kamuy is all about, with lines about an “erased destination” and “accepting everything, pain and all.” If you skipped this ending, I don’t even know what to say; it’s too good of a song to skip!

-Nicole Mejias

Pulse from Asobi Asobase - workshop of fun -

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Peter pretty much nailed it. After the fake-out cutesy pop opening, Asobi Asobase presents us with three middle school girls who make heinously ugly expressions and are just really, hilariously terrible people. The death metal anthem “Pulse” is a perfect fit for the horrible little nightmare children that comprise the show’s main cast.

-Cayla Coats

Best Animation

Violet Evergarden

You don’t really expect TV anime to look this good--and then it does, and you’re treated to gorgeous, theatrical-quality animation every single episode. I wasn’t invested in Violet Evergarden, but just witnessing it made it worth the watch.

-Nate Ming

Violet Evergarden

This one is really difficult to argue with. It’s Kyoto Animation on their absolute A game. The studio doesn’t often delve into fantasy but their backgrounds and character designs were breathtaking. Kyoto is always top shelf but they maintained damn near movie quality animation for the entire series run. Even their 3D integration was something to behold.

-Peter Fobian

Violet Evergarden

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LOOK AT HOW PRETTY EVERYTHING IS. Look at the backgrounds! And the shadows! And the way that the hair is animated! I know that that seems like a really small thing, but it irks me sometimes when everyone seem to have immovable Super Saiyan hair (though there’s nothing wrong with your hair, my beautiful shonen bro’s). Violet Evergarden was a bounty to look at.

-Daniel Dockery

Violet Evergarden

I’d be crazy to not pick Violet Evergarden for this category. I mean, just LOOK AT IT! Absolutely GORGEOUS and BEAUTIFUL animation! I initially thought this was a movie, but nope. Kyoto Animation weren’t playing any games when it came to showing off their amazing animation skills, and my goodness, was it ever a sight to behold! Just look at how they animated the characters’ HAIR! Amazing stuff!

-Nicole Mejias

Pop Team Epic

If you asked me two weeks ago, my answer here would have been Violet Evergarden for sure. But then my mind was changed when I saw our own Noelle Ogawa argue for Pop Team Epic’s stellar animation in this article. Pop Team Epic employs a wide range of animation styles--from 16-bit video game sprites to the horrifying, MS Paint-esque Bob Team Epic sequences to the use of unfinished storyboards seen above. The series is practically a showcase for experimental animation, and that suits the surreal humor quite well.

-Cayla Coats

Best Character Design

Devilman Crybaby

Akira Fudo and Ryo Asuka are some of the most iconic, memorable, and legendary characters in anime and manga, so seeing them (along with Miki, Siren, and the rest of the cast) get clean, modern redesigns for Devilman Crybaby was a real treat.

-Nate Ming

DARLING in the FRANXX

Just based no sheer amount of fan art, it’s hard to argue with this prediction. Masayoshi Tanaka has developed a well-earned reputation for his designs, in fact one of Atsushi Nishigori’s motivations for working with TRIGGER was the opportunity to work specifically with Tanaka. The character designs are great and so much work from accompanying DARLING in the FRANXX designs to multiple uniforms went into it. It’s probably my favorite part of the series.

-Peter Fobian

Hinomaru Sumo

There’s not a lot of amazingly intricate variety among the characters of Hinomaru Sumo. But I appreciate any anime where all the main characters look like they’d be equally at home being lackeys in a separate anime that get the crap kicked out of them in an alley by the Kenshiro-esque main character. Also, I love this show and so should you.

-Daniel Dockery

Cells at Work

Cells at Work is so beloved for the way it illustrates our hard-working cells as they work night and day to protect our bodies. Keep on kicking ass and taking names, cells! But on the other end of the spectrum are the threats and bacteria that invade our bodies, and some of them are depicted in very frightening ways. Remember to take care of yourself to avoid illnesses! Your cells are counting on you!

-Nicole Mejias

Laid-Back Camp

There wasn’t a show I watched in 2018 that had more effective character designs than Laid-Back Camp. Everything visual choice made about these characters conveys something about their personality. Nadeshiko’s downward-sloping eyelids and messy pink hair are the perfect compliment to Rin’s alert eyes and neatly tied up hair. These choices echo how the characters themselves play off of one another, and gosh, it’s just delightful.

-Cayla Coats

Anddd that's all folks! Check back in to see us argue about who else we think should win the rest of the Anime Awards categories. Don’t forget to vote for your favorites starting TONIGHT!

Do you have a super intense devotion to a 2018 show or character or want your opinions shared to the world about Anime Awards? Send us an op-ed in written or video form. The nitty gritty details are in here and you may get published in a future article!

Who do you think should win: Best Opening Sequence, Best Ending Sequence, Best Animation, and Best Character Design? Tell us in the comments below!

Ricky Soberano is a Features Editor, Script Writer, and Editorial Programming Coordinator for Crunchyroll. She’s the former Managing Editor of Brooklyn Magazine. You can follow her on Twitter @ramenslayricky.

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