#of course plot and characters have a strong impact as well but its somehow different? | Explore Tumblr Posts and Blogs

phoenixtakaramono · 3 years

Note

So I'm here to say that I really love your Bingyuan fic! The research you do for it and share with us is just amazing! I also have a q regarding LBG. From SV we know that he felt admiration for his Shizun so do you think that if SJ wasn't cruel to him LBG's admiration would've grown into love and attraction like it did in LBH's case for SY? Which then also raises a question: would LBH/LBG fall in love with any Shizun who was kind to him? Or was he just drawn to SJ's type of personality. WDYT?

Hi there, Anon! I’m glad you’re liking the Untold Tale! Thanks for reading! I think it lowkey helps when the story I’m writing (in general) is from a culture I’m familiar with and that I know some of its language nuances (just general Mainland dialect; I’m unfamiliar with Shanghainese, the Beijing dialect, etc etc). So fortunately for me, as someone who is Chinese but was born in the Western side of the world speaking Mandarin to family and friends, emulating the Chinese aesthetic and atmosphere in TUT comes a little bit easier to me than someone who did not grow up with this culture. I bet if I had been raised in China, I would be able to write something even more multilayered and deep but, alas, the youthful rebellious me of the past hadn’t taken my pinyin and Chinese character writing lessons seriously so I can only communicate verbally and understand audibly 😫. It’s very special for us writers in fandoms to be able to write a story of a culture that we actually know and can identify with. But high key it’s been immensely fun injecting some references of things I’ve come to notice from watching period C-dramas and the C-novels I’ve read, and I’ve come to learn interesting things about Chinese history and mythology even I didn’t know! So the story really writes itself.

Shen Jiu (OG!Shen Qingqiu)

To answer your question 🤔, to be honest this is why the SVSSS fandom is great—because there’s so many interpretations of the original source material. That’s why we have our headcanons and fanfictions to explore these many different possibilities. So for me personally, I can see it happening both ways: *1) LBG does develop a crush/falls in love with SJ, or 2) no matter how SJ treats him LBG regards him respectfully or coldly. I think Possibility 1 is more likely, since SY transmigrated into SQQ and we saw what happened with “Bunhe.”

Now, mind, for Possibility 1 to be more likely to happen, the SJ in PIDW will have to undergo a massive personality change/ a change of heart/ develop a good conscience and will need to clean up his image aka clear up the massive misunderstandings from PIDW canon (like him being mistaken as a pervert for Ning Yingying, visiting whorehouses, killing LQG, etc). It’ll be difficult though considering who Airplane has changed SJ into for his stallion harem novel (reading through SVSSS, my impression of PIDW besides it being the harem stallion novel is that it sounds similar to a “dog blood plot,” where audiences tune in to see how the villains are brought to justice). I literally have a line from TUT in a future chapter where SY says this about SJ since I will resurrect SJ and bring him into the story for closure:

People like Shen Qingqiu naturally had a set of deeply-rooted values. If one wanted to change them, it’d be easier to just have them reincarnate. (—TUT, ch???)

At his core, he’s a flawed man (which makes sense with the underlying cycle of abuse theory, considering his upbringing and backstory). He’s jealous and petty and prickly. His image is that of a proud and cold immortal. In Chinese terms, he’s the type of character archtype who I can see being àojiāo (definitely not canon characterization; this is just a stray thought that amuses me) in a romantic relationship.

LBH will have to recognize that^, or be in a position where he finds SJ’s caustic side endearing instead. He will also have to be extremely patient with him (although, since the joke in SVSSS is that LBH is an incurable M, it shouldn’t be that hard).

A fun thing about OG!SQQ is that he’s the cannon fodder scumbag villain of PIDW. He’s the reason LBG blackened from a white lotus. And, as you know, villains aka antagonists aka bad boys resonate strongly with people for a reason. That’s why we see a lot of Enemies to Lovers tropes, etc. It squicks me to use this phrase but “the allure of dating a ‘bad boy’ is strong.” SJ is that type of bad boy we could identify as a “fixer-upper project” (ugh, that phrase)—even with the red flags and warning signs—especially for those said to have a troubled past with rejecting neglectful parental figures/ family members/ friends and have have not outgrown their wish to convert that sort of person into a loving, accepting person. When we want something we can’t or shouldn’t have, our desire for it grows exponentially. In fanfiction this is a concept writers and readers can explore safely in a world of the imaginary.

From a Meta Perspective

Although, if we look at it meta-ly, the cold and proud and/or knowledgeable Shizun (teacher/ master) character who comes to know love and “is redeemed” by whomever is the love interest (typically a cute and quirky girl who may or may not have started off as naive to the innerworkings of the Cultivation World and therefore needs an established and mature mentor to guide them) is a very well-known archetype for a reason in Chinese fan culture.

Seeing a terrible person change their ways and try to become a better person because of the influence of the one they love is also a popular depiction for a reason.

It’s almost like gap moe. The crueler and aloof one starts out as (arrogance is a staple), the more impactful the shift is when we see such characters soften their edges.

The draw of the sacred master/disciple relationship is that it’s taboo, so I think it’s fair to say that such a relationship in fiction is a popular trope precisely because of this aspect. From a writer’s perspective, the main appeal is to show that there is someone out there who can cause this respectful figure to lose control (undergo emotional change) and go to great lengths to protect his/her precious person. That precious person also has to fall into the “not like other girls” trope (so they can show the ML a different world he would not have seen the beauty of before). On the other side, we look forward to the point of the story where the love interest has their “Oh” moment and realizes their admiration has somehow shifted into love and attraction over the course of events.

Other Romantic Possibilities

It’s very likely. I personally like the fanon headcanon where anyone with Heavenly Demon blood running through their veins feels a compulsion to “obsessively fixate on one person” (TLJ —> SXY, LBH —> SQQ). Personally I don’t recall if this was canon or fanon, but someone had written something about LBH imprinting on one person in his lifetime on the account of his demon nature. And I like that theory (I think it’s likely more fanon than anything but it’s an intriguing idea full of possibilities!).

For him to fixate romantically on one person, I personally don’t think the prerequisite is just by being kind to LBH (but it probably adds to the person’s appeal). There’s probably other factors that go into this to capture the male protagonist’s eye, such as him finding someone attractive (or passes his own personal standards) and/or having good chemistry with that person. So I could see him being into other Shizuns and whomever else. Personally I also think there is appeal in the unobtainable. It’s one thing to have someone’s affection (see LBG and his harem of 600 wives who definitely aren’t shy about giving him affection), but it’s another to know you’ve earned the affections of someone you really like and respect (especially if it’s someone thought to be unobtainable).

As long as the writer can provide a plausible justification for me to suspend disbelief and they set up events to justify it, I can swallow just about any ship possibility. It doesn’t necessarily have to be SJ’s type of personality. (For example, I read a very good fanfiction before where the writer paired Luo Binghe with Ming Fan. Ming Fan, people!!! And they actually pulled it off! What a madlad! Mind, it’s Shen Yuan who had transmigrated into MF in that premise, but the writer set up events that showed how these two characters came to bond and develop a deep friendship which inevitably had LBH developing a crush on his shixiong. I use this as an example because this is the type of unexpected (crack)ship, but because the writer did their work trying to make it seem plausible, we can only admire their hard work and effort at pulling it off.)

As the saying goes, there are plenty of fishes in the sea! As the protagonist, LBH/LBG can have many OTP possibilities with just about anyone as long as the writer can make it plausible. It’s all about the character development and the story/ central themes they wish to tell with the ship!

(Note, these really aren’t hot takes, lol. I’m just having fun answering to this casually from the perspective of a writer. Thank you for your Ask, anon!)

97 notes · View notes

yumeka36 · 3 years

Text

Thoughts on Rebuild of Evangelion (all movies plus ending interpretation)

*Artwork credited to リオ on pixiv*

Now that Evangelion 3.0+1.0 Thrice Upon a Time, the last movie of the Rebuild of Evangelion saga, has been released, I'm finally ready to discuss all the movies as a whole, including my interpretation of the ending...

MAJOR SPOILERS AHEAD!

I've been a fan of Evangelion for nearly 20 years, starting back in 2002. After hearing the series praised by some classmates, I asked for the DVD set of the original TV anime for Christmas that year. I was 15 years old and a fairly new anime fan at the time, so naturally I was blown away by the show. The Internet was young then, and since there were no fandom wikis or YouTube explanation videos available in those days, I had to rely on a few scattered fan sites and my own resources (mostly bonus features on the old DVDs) to try and figure out the lore and symbolism. Even though many aspects of the series, as well as the eventual "true ending" movie, End of Evangelion, left me scratching my head, I still loved it and it left a long-lasting impression on me. And now, here I am almost two decades later, sharing my thoughts about the new movies...

-Before Thrice Upon a Time was released, I hadn't touched Evangelion since 3.33 came out in 2012. I had forgotten many details, and since Evangelion is a franchise that is fraught with nuances and subtleties that can be key to understanding what the heck is going on, I wanted to watch all the Rebuild movies again before watching Thrice Upon a Time. So I plowed through all four movies this week, and I gotta say, after being away from the franchise for so many years, I'm happy to report that I still thoroughly enjoyed it. But I can also recognize that it is definitely not a series for everyone. The drawn-out technobabble, constant introduction of lore jargon with little to no explanation, and the ambiguity between what's real and what's symbolic, can certainly turn off casual viewers (it gives Kingdom Hearts lore a run for its money!) Funnily enough, as I was watching the Rebuild movies, I was thinking, "I understood the lore better 20 years ago than I do now, lol" (maybe it's because I was younger and didn't have as strong of a theorizing mind as I do now!) But after reading through a bunch of pages on the EvaGeeks Wiki, I learned enough to get a gist of the story's vaguer elements. But unfortunately, the fact that information necessary for understanding the plot can only be found by Internet research, could certainly be a turn-off for viewers. But at the same time, for those willing to make the commitment, or at least appreciate the series' other qualities even if you can't follow many aspects of the lore, it's definitely an anime unlike any other. There's a reason it's been such a well-known franchise in Japan for so long.

-Asuka has been one of my favorite anime characters ever since I saw the original Eva TV series, and thankfully, I'm happy with what they did with her character in the Rebuild movies. My only complaint is that I preferred her original backstory that emphasized her relationship with her mother, rather than having a "clone-complex" similar to Rei. However, her character development in this new storyline made up for it. The Rebuild movies really nailed her abrasive, no-nonsense personality that hides depth within. There were also more scenes that showed her "softer" side, something I always felt was lacking in the original series, such as when she confides in Misato towards the end of 2.22 and when she confesses her feelings to Shinji in Thrice Upon a Time. I also felt her initial dislike for Shinji and Rei was a bit more warranted this time; despising the fact that they were able to become Eva pilots purely by connection to Gendo while she had to work hard for it. But again, we get more hints at her kinder side when she makes the sacrifice to help Rei get Shinji and Gendo together. This is pretty contrasting to the original series, where she was always oozing hate for Rei. Even their infamous elevator scene ended differently in 2.22 compared to the TV series, where instead of hitting and yelling at Rei, she agrees to help her (in her subtle, Asuka-way). Asuka and Rei also had a brief scene together when they were at Village 3 in Thrice Upon a Time, and the way Asuka talked to her made me feel like she actually cared about her, or at least didn't hate her. But even with the Rebuild movies giving Asuka more scenes to show her goodness, they still stayed true to her tough-love personality - it's not like she suddenly started smiling a lot, or gave Shinji a passionate hug, or broke out in tears...they developed her character without making her do a 180 change, which I appreciated. Even in her final scene with Shinji on the beach before he saves her (loved that scene, and the shoutout to End of Eva there) she still reacted in her "tsundere" way (though not as harshly of course). I'd also like to mention that they made the fourteen year time-skip in 3.33 very believable in terms of Asuka's growth. I really liked the hardened, lone-wolf, protector role she had in Thrice Upon a Time because it makes sense - fourteen years had passed and she not only matured during that time, but she had spent all those years being the sole Eva pilot along with Mari fighting to protect humanity, so settling into that kind of identity makes sense for her. But yeah, Asuka's always been a great character, and the Rebuild movies made her even more awesome in my opinion.

-When I first watched 2.22 years ago when it came out, I was puzzled that they decided to put Asuka in the Eva that Unit-01 ends up destroying rather than Toji. But looking back on it it now, it worked better since they had a plan for Toji's character that had nothing to do with the Evas. I did kind of miss Asuka's friendship with Hikari though (they could have tied that into her staying with Toji and Hikari at Village 3 instead of with Kensuke). I actually wrote a WYDS fanfic for End of Evangelion way back in 2003 that emphasizes Asuka and Hikari's friendship (that's somehow still on Fanfiction.net!) But she got a friendship with Mari instead, so it's fine, lol (I also liked that they removed her crush on Kaji, which I never thought fit well in the original series). But I do wish we got to see what was going through her mind while she was stuck in the Eva and getting attacked by Unit-01. We know she was aware of what was going on because she knew what Shinji did (that he didn't try to save her or attack) so it would have been nice to see a scene or two of her reactions.

-Misato was always my second favorite character after Asuka, but I wasn't thrilled with the coldness she exhibited towards Shinji after the time-skip in 3.33. I know she probably got hardened after all those years and maybe still felt resentment towards him for initiating Near Third Impact (which killed Kaji among others). But even so, I felt like her coldness was more to keep the suspense rather than stay true to her character (plus she was the one encouraging him to do what we wanted at the time of Near Third Impact). It makes sense for Asuka to be cold to Shinji, since she was always standoffish like that, but Misato was always shown to be a source of warmth and the most "human" of the characters. But at least she made up with Shinji in the end and got to finish her story arc with a bang (literally).

-I'm not sure if it's still a thing now, but back in the day, Shinji got a lot of hate from anime fans for being too whiny and indecisive when confronted with his task of piloting the Eva. But even all those years ago, I always thought those reactions made him believable. Maybe it's because he's compared to anime shonen heroes like Naruto and Luffy, who are always cheerful and brimming with motivation, while Shinji is pretty much the opposite of those kinds of characters. But it makes sense for him to be like that...if I were a fourteen-year old kid who never knew my mother, had a father who abandoned me, and had to live on my own in a crumbling world while witnessing death and destruction all around, I'd be pretty hesitant and scared too. He's definitely not a "wish-fulfilling" protagonist like many shonen and super heroes are, but a protagonist grounded more in reality, representing a disillusioned youth. So it was nice to see him finally get over his insecurities and be proactive with saving everyone at the end of Thrice Upon a Time (compared to everyone giving him the pep talk at the end of the original series). Though I did think his personality shift was a bit abrupt...he was at his lowest point at the beginning of Thrice Upon a Time, but the one kind gesture from Rei seemed to immediately snap him out of it. A little more gradual build-up to his change would have been better, but it's a nitpick.

-Mari was an enigma in 2.22 and 3.33, so I was hoping Thrice Upon a Time would give us her origin story. Unfortunately, it didn't offer much and maybe brought up more questions than not. My main question is, we see that she knew Gendo and Yui when they were younger, yet if she was their age then, that doesn't match up to the age she appears to be when Shinji first meets her. So she must have been afflicted with the "Eva curse" all those years back, which means she must have become an Eva pilot around that time, but it seems too soon. I thought the first Evangelion pilots didn't exist until after Yui died, so Mari should have been older...I don't know, I'm still having trouble figuring out her place in the timeline. But besides that, I did like her relationship with Asuka that we see in Thrice Upon a Time. Again, it makes sense in terms of the time-skip that they'd develop a good friendship after spending all those years being Eva pilots together.

-I don't have a lot to say about Rei, since I feel her story arc is one of the simpler ones (which isn't saying much for this series, lol). The scenes of her in Village 3 in Thrice Upon a Time were endearing, though I knew they would end in tragedy. Actually, that whole part of the movie with the characters spending time in the village was great. The world-building in those scenes was fantastic too - it really felt like what a post-apocolyptic survival camp in that situation would be like. It was nice to see the characters partaking in and reacting to situations that don't have to do with Angels and Evas (spin-off series for this when?)

-And lastly, how did I interpret the end of the Rebuild saga? Was I satisfied with how it ended? Right after I watched Thrice Upon a Time, I wasn't totally sure. But after reading some more wiki pages and watching some explanation videos, especially this one here (it's a great explanation if you can forgive the bad pronunciation of the names), I've realized just how brilliant of a conclusion it is. There's been speculation that the story involves a time loop, with the events of the original TV series, as well as the Death & Rebirth and End of Evangelion movies, being different versions of the time loop, while the Rebuild movies is where the loop ends because Shinji finally overcomes the pain of his past and can restore the world this time (while he had failed to in the previous loops). I don't think it's a time loop so much as a cycle that keeps resetting and repeating. Further support for this theory is that Kaoru acts like he's met Shinji before, since he's reborn in each cycle to meet Shinji only to be killed by him later (all the coffins seen on the moon are for his past/future selves). I think the final movie title is symbolic of this too, with "Thrice Upon a Time" meaning "three times upon a time," the three times being the three cycles of the Evangelion story: the original TV series, the movies Death & Rebirth and The End of Evangelion, and finally the Rebirth movies. But mostly, the scene towards the end where Shinji meets Rei in the anti-verse, and they're standing in what appears to be a filming room while projected images from the Eva TV series are shown behind them. This to me symbolizes that the original Eva series exists in the Rebuild movies as one version of the cycle, and Shinji has now finally broken out of the loop. Once Shinji has saved everyone, the filming room (which symbolizes the old versions of the story, as I believe it's supposed to be the room where live-action footage used in previous Eva works was filmed) fades away and the literal animation around Shinji begins to break down into its purest forms, as key animation, then layouts, etc., - a near 4th wall-breaking depiction of the world resetting. However, Gendo and Yui had sacrificed themselves so that Shinji wouldn't have to, so Mari is able to pull him back into the world, just like she had promised. In the end, Shinji is able to join his friends in the new world that's free of Evas. Without the Eva curse, all the pilots are now their proper ages as well. The movie closes with Mari and Shinji heading off somewhere in their new lives while the environment merges into live-action footage, representing the fact that the story has now transcended animation and is now "real" because the cycle has finally ended and a true Neon Genesis took place. Like many aspects of the franchise, there are many ways to interpret this ending, but this is the interpretation I've settled on.

-While I am satisfied with the ending overall, I do wish the epilogue showed us more of what the other characters were doing, especially the survivors from Wille and Village 3. I know we can assume they're living out their lives as well, but it would have been nice to get confirmation of that with a few quick cameos. But there are some main characters whose fates are uncertain, particularly Misato, Kaji, and Fuyutsuki. I'm assuming the only people Shinji was able to save were the ones whose souls were still bound to Evas, namely Asuka, Rei, and Kaoru. I don't know about Kaji since I'm still not clear on exactly how he died. Maybe Shinji couldn't save Misato because she died "for real" and wasn't just trapped inside an Eva/Angel. But it is implied that many souls, not just Eva pilots, were saved when the world was restored...so maybe she was too? And like Kaji, I'm not sure what happened with Fuyutsuki. Did he turn into LCL because he gave up his humanity in some way, like Gendo? I'm also a little salty that we didn't get a decent shot of adult Asuka at the train station, lol. I'm not sure if the ending was hinting at Mari and Shinji being an item...possibly Rei and Kaoru too, maybe even Asuka and Kensuke. Like many things in the franchise, the eventual pairings, or lack thereof, could be interpreted in many ways.

In conclusion, while there were some aspects of the old Eva TV series and movies that I liked better, the Rebuild movies overall did an excellent job of retelling the story with the same rich lore and thought-provoking symbolism that we're used to for the franchise, but with enough new twists to make it stand out. And as I mentioned in my interpretation of the ending, these movies weren't just a retelling but a redefinition of the franchise as whole, bringing together the previous versions of the story and giving them true closure. Though we could see some spin-off material at some point, Thrice Upon a Time does seem like it was intended to be the final installment of the Evangelion series. While I was satisfied enough with the endings for the TV series and End of Eva movie, having watched the Rebuild movies, I do believe they're the "retelling we didn't know we needed." It's a tad bittersweet to know that such an influential franchise, and one of my favorite anime for years, has come to its true end. So, to translate the text in the below fan art...

"Thank you , Evangelion."

*Artwork credited to リオ on pixiv*

#evangelion 3.0+1.0 #neon genesis evangelion #evangelion #rebuild of evangelion #evangelion spoilers #rei ayanami #asuka shikinami langley #shinji ikari #evangelion thrice upon a time

7 notes · View notes

sealer-of-wenkamui · 2 years

Text

I posted 999 times in 2021

159 posts created (16%)

840 posts reblogged (84%)

For every post I created, I reblogged 5.3 posts.

I added 699 tags in 2021

#dark souls - 339 posts

#bloodborne - 97 posts

#art - 94 posts

#drakengard - 34 posts

#elden ring - 27 posts

#fashion - 26 posts

#revolutionary girl utena - 23 posts

#fire emblem - 22 posts

#xenosaga - 19 posts

#drakengard 3 - 18 posts

Longest Tag: 134 characters

#oh man and yeah no matter what sort of ...distasteful things she might have done with arty's corpse i think he'd still forgive her....

My Top Posts in 2021

I love how Drakengard pretends to be a typical fantasy game to begin with, like okay you have to stop the evil empire from breaking the seals and releasing the seeds of resurrection, and you get a dragon companion, and there are faeries and elves and stuff, but right away there’s something seriously off about it, the music is probably the first hint, right from chapter 1 it has its distinct use of repetition to give a sense of madness, and only gets harsher as you go on...

And then you slowly realize that all the characters are fucked up? Caim sure likes to murder a lot, and he’s the main character! And huh, this lady eats babies? Specifically?! Leonard got flat out censored in the translation (though ironically enough he’s the only one that’s self aware how fucked up he is and doesn’t act on it)

Route A is still kinda standard fantasy plot, but then you get into B and C and everything gets more and more bizarre and dark, and wow the gameplay kinda sucks but you can’t stop, and the jank somehow adds to the feeling of chaos present throughout the game, and then you get to route D and babies start falling from the sky and you’re like yep this might as well be happening, and then when you’re wondering how this game could possibly end, you get ending E, which is quite possibly my favorite ending of all time, everything about it designed to have as much impact as possible, even down to a gameplay style completely different from everything so far... its perfect

13 notes • Posted 2021-07-24 19:16:54 GMT

Ciaran Character Analysis

I’ve been thinking a lot about Ciaran over the last few months, so I wanted to try and collect my thoughts and do a proper character analysis of sorts. Of course, things are highly open to interpretation in Dark Souls, so this is just how I read her character and the reasons why.

First of all, I actually don’t think she was together with Artorias for a number of reasons. She almost certainly had feelings for him, but I think she tried to hide them, and perhaps didn’t fully understand them. For one, she simply speaks of him as a “dear friend”, and while this could also be taken as her keeping their relationship secret, there is no description or unused dialogue from Artorias’ side hinting at it either. I also wonder if her unused dialogue where she calls him a “dear companion” was changed because it sounds too openly affectionate. In Gough’s unused dialogue he states that she had “strong feelings” for him, which is worded like they were one sided instead of in a relationship. And while he might have realized it, Gough is also the most perceptive of the Knights, even realizing that the fire will one day fade, while Artorias strikes me as being much more oblivious. Finally, her dying words come across like the confession of a dying woman, one who was never able to say her feelings in life, so she at least will say them now that she has nothing to lose. Interestingly enough, they’re also unsubtitled- words meant not for you, but for Artorias and for herself.

One of the biggest reasons why I think she would hide her feelings is her position. She is one of four Knights of Gwyn, entrusted with a special soul, and despite her appearance, she is considered something more than human, and seems to have disdain for humans (as seen by her dialogue when you attack her, or even just the way she says “human” in her unused dialogue).

I don’t think it’s the case that she’s human while the others are not just because she’s small, since size seems to be easily variable based on the state of the soul, for example Ornstein grows in size upon absorbing the soul of Smough, or Gael, much larger than your average person after consuming the dark souls of the pygmies. Perhaps even Artorias was a normal size to begin with.

Ultimately the gods and these demigod-like existences with their special souls aren’t all that different from humans, but the important thing is that they are considered as such, so she would be too. Humanity is constantly linked with the dark throughout the series. And even someone as kindhearted as Artorias, who believes in the goodness of humanity, thinks of the dark as something evil, something to be feared (In fact he words it as believing them to be more than just dark in his unused dialogue). One of the four Knights of the man who sacrificed himself to stave off the Age of Dark would want nothing to do with the dark. Yet feelings, and especially feelings of love, are a very human thing (just look at the pursuers/affinity description for example). That alone seems like the strongest reason to hide any feelings she might have for Artorias, to refuse to acknowledge that human side of her, to repress them and pretend they don’t exist.

Even more so than the other knights she comes across as having something to prove, as someone that has worked so hard to reach the distinguished status she has and doesn’t want anything to take that from her. The lightning arrow description mentions that female knights were rare to begin with, and she was able to work her way up to being one of Gwyn’s most trusted. The porcelain mask description mentions how determined she was to earn it as a decoration of honor (I imagine she first became an especially distinguished Lord’s Blade before becoming one of the four), and the English description actually leaves out another interesting fact- that it’s decorated with her own hair. The wording makes it sound like she cut her own hair to decorate that mask. This makes it seem like she wanted to stand out and make a name for herself- giving herself a distinct look that would come to be feared by all enemies of Lord Gwyn.

On the level of character design, her mask is what she’s most known for, the hornet ring description in DS3 even drawing attention to it. This comes across as a very deliberate choice reflecting her character- as she is a woman whose mask is more than just physical, someone who is perpetually hiding her “human” side. Her mask gives her an otherworldly look, like something beyond humans and reflects her “divine” self. Her purpose in life is to strike down any and all enemies of her Lord, and she has worked so hard towards that alone, almost as if she’s trying to become the mask she wears. Even though I think she might be able to relax a little around the other knights and especially Artorias, she comes across as a very serious woman that doesn’t truly know much about herself outside of her job. Interestingly, her face under the mask is just the default female face in-game, as if she truly isn’t meant to be seen without it!

No matter how much she tries to repress her feelings though, a mask is still just a mask, and they don’t disappear just because she wants them to. She has strong feelings for Artorias, a darkness she desperately wants to hide. Despite being a Knight of Gwyn, I tend to associate her with the darkness as a result, and even her name may be a reflection of that as well. Ciaran is common Irish boy’s name (Ciara is a girl’s name but she specifically has the masculine form of the name, a decision I also think was intentional and may tie into her being the only woman of the four and how rare female knights were) and looking around, she doesn’t seem to be named after any famous Ciaran as far as I know. So, what is the meaning of the name? Little dark one. A name associated with darkness seems especially significant in this series, and her struggle with her own humanity is central to her character, something that even her name itself betrays.

Since female knights are apparently rare, and she has an especially high-ranking position, I think she would also want to hide her feelings out of fear of being seen as just a girl in love. I also think its interesting how the hornet ring description also draws attention to the fact that she’s the only woman of the four, and how her name is almost exclusively used for boys, and I wonder if she went by the title of “sir” as well. At the same time, her appearance is the distinctly feminine look shared by all the Lord’s Blades, even using her own hair as well, so it’s not something she’s hiding either.

In addition to being the lone woman of the four, I also got the impression that she’s the youngest and last to join the Knights, which may further add to the feeling of needing to prove herself.

The main reason why actually comes from her speech pattern, when you compare it to the rest of the characters seen in that time period, it stands out. While Elizabeth, Dusk, Gough, and even Artorias all speak in an old-fashioned manner, she noticeably does not, except for “May the Lord guide thee” which sounds like a set phrase anyone serving Gwyn might say. If it was tied to status, then she would speak that way as well, she’s hardly trying to hide it (and besides we see other characters opposed to the gods that speak in the same way, like the hollow outside the Ringed City or Yuria). Maybe she did come from a more humble upbringing and that could be why, but with how varied the characters that do speak like that are I don’t think that’s it (and even some clearly noble characters don’t, like Lothric or Oceiros). So I wonder if its simply because she was born later once speech styles had changed.

Her position also makes sense if so as well, she’s an assassin, so even if she wasn’t around until after the Age of Fire had begun and Gwyn had gained status, that’s exactly when you would need a skilled assassin to eliminate your enemies. In other words, she’s not a dragonslayer, so it still makes sense if she is younger.

Going back to her feelings, the way I see it is that Artorias being consumed by the Abyss and killed is what finally forced her to face them- she’s not able to recognize just how strong they are until the man himself is gone. Perhaps she planned to kill him herself as she was in the area, but realized she couldn’t, or rather that she would almost surely hesitate and get herself killed. In a way, its almost a relief the chosen undead came along and killed him instead, she understood it was something that needed to be done, and though she doesn’t seem to like humans very much, she doesn’t hold anything against you. You find her immediately after killing Artorias, so she almost certainly would have been the one to find his corpse and make that small memorial, as if she wanted to make sure it would be her and no one else to find him. Despite being the kind of person who would always be watching her back, you find her kneeling in prayer, not so much as turning to look at you when you approach, and you can even easily attack her from behind in such a state. As if simply being there in prayer was the most important thing in that moment- and she surely has a lot of thoughts going through her head and a lot of feelings hitting her all at once. At this point, she can’t lie to herself, and even if she couldn’t confess while he was alive, if you take her life, she’ll at least do it before she dies.

When you speak to her, she seems to have no interest in you outside of obtaining Artorias’ soul, with only his will stopping her from taking it from you. She claims she wants to pay proper respect to him with it, but at the moment, his actual grave hasn’t been made yet, so I imagine she might take it into herself for a while until that point.

As to her eventual fate, I do think its likely she’s the corpse found behind his grave that has the hornet ring. At first I wondered why someone of her status wouldn’t have a proper burial, but in time, not many people are going to that grave, and those that do don’t return, so it may simply be she died after it was forgotten, and her corpse was never found.

The fact that she will give you her tracers if you give her his soul implies she gives up being a Knight of Gwyn (they’ve half fallen apart at that point anyway), but she doesn’t strike me as the type to kill herself right then and there, I think it would be a slow wasting away and curling up to die behind the grave of the man she loved. She (nor Gough) drop the special souls that they should have as part of the four… and while it may simply be to not further encourage people to kill them, if that soul is what gives them a long life (Ornstein is somehow still around after all) she may have purposely given it up so that she may eventually die… or maybe its after she receives his soul and she keeps both hers and his at his grave.

Finally, her ring ends up in the untended graves in DS3, and while there are a number of reasons you can come up with for how it ended up there, I feel like the most important part is the symbolic meaning behind it- for it is found by a grave with a Farron greatsword, one of the types modeled after that of Artorias’. It feels as if even in death, her feelings linked the two of them together.

While not nearly as direct, even DS2 has a parallel to Ciaran in the form of Alsanna. Much like Ciaran, you find her kneeling in prayer mourning her lost love, who also happens to be a left-handed swordsman who sacrificed himself and got corrupted and even has (several) animal companions. (DS2 also is where its mentioned that Artorias was left-handed, and its consistently used to mark characters paralleling him, even in Bloodborne with Ludwig.) Her soul even gives you a pair of curved swords. Parallels can also be drawn between the other three knights and people closely associated with the fragments of Manus, but only Ciaran parallels the child of dark herself, further deepening her association with the dark.

More directly, DS3 has the Dancer and Vordt, two knights who seem to honor Ciaran and Artorias’ legacy, and were always seen together- in fact you can see phantoms of what seems to be them before they were transformed into beasts walking the streets of Irithyll together (Vordt too, is left-handed). Despite how she tried to hide her feelings, I think it may have been her ring that betrayed them, so they ended up being remembered together. The Pontiff Knights in general also have a great deal of similarity to the Lord’s Blades, somewhat in armor design but mostly in their job, being described as Sulyvahn’s “punitive blades”. The Dancer herself most notably has two curved blades that look remarkably similar to Ciaran’s tracers in shape, as well as being gold and silver, even wielding the gold one in her left hand like she did.

There are probably more little details I could add, but this is already long, and I’ve covered the major points that I’ve thought a lot about. I tried to explain my reasoning as best as possible too, but there’s plenty of stuff that’s unknown and that’s half the fun. Feel free to comment, I love Ciaran and I love to think about her and discuss her!

17 notes • Posted 2021-06-29 06:11:55 GMT

See the full post

23 notes • Posted 2021-09-09 00:35:53 GMT

I feel like Ciaran has told the other knights at some point that she wouldn’t hesitate to kill them if they were ever to betray Lord Gwyn... Artorias included.

31 notes • Posted 2021-12-06 05:49:55 GMT

Final Song Tips

I just beat the final song today after about a week of daily practice, so I wanted to share a few of the visual and audio cues I used to help! It was literally the hardest thing I’ve ever done in any game (I’m also not musically talented) but it’s possible!! i noticed I had a few problem spots and came up with tricks to get me through them, after which its just a matter of practice and everything going right for the full 7 minutes, you’ll find the beginning parts easy by the end

General tips

Use L1 and R1, going back and forth for combos, but stick to just one for super fast parts in One/the final segment

Listen to the song with the chimes included when you’re not playing and try to tap along

Watch a sync video simply to learn how many rings are in some of the longer combos, and when you’re supposed to hit them

Just keep practicing, I’d get a little farther each day, and its all about learning the feel of the song so you can more frequently get to the later parts and eventually beat it

Don’t get discouraged, it’s stupid hard and takes time, and even once you’re getting pretty good at early parts you might still make dumb mistakes! Tonight I died a few times on Two even though I had mostly gotten my trick down, and even once on Three even though she was easy for me by now! But I still ended up doing it tonight!

Specific tips

Zero, Five, and Four are pretty straightforward, just hit the button when the ring reaches Mikhail, it still might take a bit to get consistent, but will be a cakewalk by the end

For Three’s blind double note, start hitting it after she tilts her head

For Three’s final note, hit it as her hand moves down to its final position

For Two’s 4 note combo with the zoomed camera, say “one mississippi” to yourself as soon as the barrier from the previous note disappears, then start the combo. Don’t be too slow with the last note. This is one of the trickiest parts imo

For One’s 4 note combo after the two blind notes, use the back of Two’s head as a guidepost, hit them as the rings reach past her head

For One’s final 5 notes, start hitting them as soon as the camera starts to pan up

For the 8 note combos in the final part, count to yourself as you hit each note, don’t be too fast

For the two groups of double notes where the camera zoom in on Zero, hit the first set right after she has sung the next two

The notes after the next 8 combo are double notes!

For the four steady notes after these, start hitting them as soon as the last one is sung, and as soon as the camera starts to move away from Mikhail

For the 7 note combo, start it as Three is on the edge of the screen, hit the first 6 like you would the 8 note combos, but the last note is delayed, I had a tendency to hit it too fast, so make sure you give it the delay! (this is another especially tricky part imo)

Start hitting the final 8 note combo as soon as the camera starts to pan up

You will probably be hyped up on adrenaline at this point, be very careful with the next two notes, don’t hit them too fast, its a relatively easy rhythm to match so mostly go by sound, but the rings will reach past Four/Five’s heads for these two and the next two

The second to last note is fully blind, you hit it along with that strumming noise before the words “aru mama” in the song, if you wait to actually hear it though you might be too late (that’s how I screwed up the first time), so just know how the song goes and hit it right then

The final note- DON’T wait until “I had a lot of fun” actually shows up on screen, that’s how I screwed up the first time, what worked for me was saying “one miss” after Zero says “Nanda” (I was using JP voices, should work with “yeah” as well?), then hitting the note... since its about when Mikhail starts to speak again but I think actually waiting to hear it made me too slow

In the end its mostly about practicing a whole bunch because its so damn hard and doesn’t play fair, but it’s fully possible! Good luck everyone!!

38 notes • Posted 2021-07-12 06:50:03 GMT

Get your Tumblr 2021 Year in Review →

#my 2021 tumblr year in review #your tumblr year in review #interesting...#putting the top posts behind a read more because one is a whole character analysis on Ciaran #...happy that made into my top posts #and final song tips was my top? nice #SO I PLAYED DARK SOULS THIS YEAR....

3 notes · View notes

watchinglikeafangirl · 3 years

Text

Unpopular opinion about IPYTM

IPYTM is the second season of ITSAY and once again deals with Teh not knowing exactly what he wants in life. Now, he is with Oh-aew but feels even more far away from him than before because they live different lives and struggle to accept the change of their relationship. It's now about their college years and not about high school any more, which gives their lives a way more serious touch Billkin and PP act out beautifully. But as we all know, acting isn't everything. Directors have a major impact on the endproduct and sadly, they changed the director here which is very visible in the entire season. It is not necessarily a bad thing to switch directors and it wasn't the worst choice in IPYTM but for me personally, Teh and Oh-aew's story lost its lovelyness. It's not as special any more.

Editing

Like I said, what caught my attention right from the start is the different editing of IPYTM and I don't just mean the editing. I mean the way it looks, sounds and feels like.

ITSAY focused a lot on its color scheme and expressed feelings through coloring. Oh-aew's color is red and Teh's color is blue. The background mostly looked very calm. A stonecolored house or the sea were always part of the scenery. But now, they are in crowded places or in front of something colorful. Q's home looks cozy and symmetrical but has nothing more to it. The furniture is as boring as possible to let the characters stand out. It feels like the characters don't fit into the scenery and yet, they somehow do. But I think, the detailed and planned-out concept got lost here and it was a very important aspect of ITSAY. Yes, the colors red and blue sometimes shine through but are not as dominant any more and I believe it was all very thought through, but I just don't feel it. The only thing expressed through color I can remember is Oh-aew's hair. The red stands for his inner conflict if Teh accepts him and what happened to their relationship. Him dying his hair back to brown showed he was coming down to earth again. He walked the long path of self love to be okay with himself again. His dressing style has changed but his hair color is all the same, showing he still is the same old Oh-aew.

As I metioned a few times before, I don't like the way background music is used so frequently to make the emotions easier to understand. When they are sad, the music is sad. When it's awkward, the music is funny. When they are out of line, the music is stressful. This is not a bad thing but I noticed music explaining the emotions of the scenes is used way more often. ITSAY had music moments as well, of course, but if you listen and watch closely, there's always music in IPYTM. In Ep 5, I started laughing every time it happened. It annoys me a lot because ITSAY used a lot of background noises and presented things in silence which made all those scenes feel extremely realistic because reality is silent. It made things more lovely, more memorable and more saddening because there was nothing to seek comfort it. Just blank silence and a lonely face made all emotions stand out way more and made me feel like I was watching a show building up realism. But IPYTM rarely had any silent scenes and when the music is absent, the show doesn't work that well any more. It is designed to be a lot more basic to please the now-very-much-bigger audience. Music makes it easier for the audience to get the vibe but is also a simple tool to use when the scene doesn't work elsewise.

Now, we get to the whole vibe. ITSAY felt very nostalgic and melodramatic whereas IPYTM feels modern and bitter. It's like ITSAY was a dream and IPYTM is the reality behind the sea. This opposite could be great, but instead it feels like a bitter reality. Their relationship meets problems, they struggle finding friends and dreams meet a dead end. It feels like watching the show through the eyes of an old person reminicing. The light-hearted scenes lack and drama takes over way too soon and for way too long. It feels rushed and average. Not as special any more. The special feeling is gone.

Characters

Let's get to my second problem I have with this sequel and it's the most important one because this show only surrounds around Teh and Oh-aew. They are the ones who changed the most. Change isn't bad, don't get me wrong. I sometimes seek change so badly I'm devastated when I go to bed with the feeling everything is the same again. That the world is the same. That others are the same. That I'm still the same. In IPYTM, change is seen as something bad because we still see the world through Teh's eyes and Teh always was and always will be the sort of character who detestes change and feels like he loses bonds if personalities change as they grow. The same happens here. The fear of changing so much, you can't recognize your most loved one, is extremely realistic at that age and I can't say anything against it because I have the same fear. Still, there are choices I can't agree with.

Like I said, Teh hates change and the moment Oh-aew says he wants to transfer, problems start. Him transfering means Teh feels like he doesn't understand Oh-aew any more. It means having a life very different from Teh's and since ITSAY was about them realizing how much they have in common, IPYTM is more about them discovering they are not the same person. They are individuals who have different personalities and seek happiness in their own way. They don't copy each other. IPYTM is more about self-realization. This also means, they spend some time apart and lose each other a little bit.

All of this is fine, all of this is realistic. But what I don't like about Teh and Oh-aew is them not talking. They accept their fate which causes them to break apart even more. Thing is, Teh was always someone not sharing much very easily, but Oh-aew always shared his thoughts. He made the first step, he was serious and he showed how hurt he was. And now, he feels Teh is drifting away and doesn't address it. He doesn't address how lonely he feels, he doesn't say how much he misses Teh, he doesn't mention he's not fine with himself. It is frustrating to watch them just coexisting without sharing stuff.

And then Teh cheats which was never the missing puzzle piece to their story. I know, Teh is sad. His friends change, his boyfriend changes. But why would he throw something away, he worships so much? He doesn't very much open up about himself but he did to Oh-aew, so why does he lose courage to fight for it, let it stay like it and just kisses someone else who is a playboy? He choses to believe in Jai's actions rather than seeing Oh-aew.

Plot

I'm drifting to the next point. The plot. Well, the plot is just ... stupid (I'm sorry). Yes, it is entertaining at some points but it is average, basic. The love triangle, trust issues and jealousy is something I've seen various times before. I'm extremely disappointed when it comes to the story because the thing I loved about ITSAY as well, was the originality. It wasn't clicheish. It wasn't boring. It wasn't like other shows. It was independant. But IPYTM tried very hard to please the now-big audience and fanbase. It's not what I wanted to see.

Even if you give them a love triangle, then please, not such a flat character as Jai. We had Tarn and Bas in ITSAY. They were breathing human beings with their own personalities, their own goals and their own interests. But Jai ... he's just there. He helps Teh to act properly and Teh spends a lot of time with him, apparently, but his personality is not very clear. When he tells Teh, he was just pretending, I can't tell if he really was or if he steps aside for Oh-aew. I still can't tell and I think it's really weak of such an important character with so much screentime, to lack of a personality. Everybody knew, why Bas stepped aside. But with Jai, I can't tell.

I lost it in Ep 5 when Bas showed up to give Oh-aew a tedtalk. Honestly, I laughed. It was stupid and again provse the writing of IPYTM is not nearly as strong and good as the writing of ITSAY. ITSAY contained an inner conflict as well but they managed to let us know about it without the characters actually telling us. When Teh gave Oh-aew the notebook with vocab, he hid outside. When the piano in the cafe was played, both cried far away from each other. When Teh spend time with Tarn, he realized his feelings and told her down. It's the little things. And IPYTM lacks of those. We actually need Bas to tell Oh-aew what to do and honestly, his message wasn't as deep. I can't count how often I heard those "follow you heart" speeches before. It works with everything. Right here, it seems passionless and rushed. Like they couldn't think of another way to solve the problem and come to an end.

So, the story was filled with cliches and the writing was not as good as ITSAY. Not only did we have a cameo of Bas to give Oh-aew a choice everybody knew he had, no, we also had an antagonist who is easy to blame for all the issues. Jai is the antagonist here, playing with Teh's thoughts or something but this show makes its life way too easy. Teh and Oh-aew had problems before. The result of this fading away, is Teh kissing Jai but Jai is not the reason for it. But then, Jai walks out of Teh's life and everything is fine again? They don't talk about the problems ever because Jai is gone now and so are the relationship problems? I'm sorry but this is just a sad plot for a second season of ITSAY.

Conclusion

I can just say, I'm very disappointed. ITSAY affected me personally very much and has a very special place in my heart, so I was afraid IPYTM would ruin this as soon as the OST premiered. It was so cheesy and average, I knew back then I won't enjoy this as much. I watched nevertheless, but my hopes were dropped at an instant and I lost my motivation to continue watching. I kept it on hold for 3 weeks and didn't even miss it. This is a bad sign.

What more can I say? I didn't feel it, I'm sorry. I still think Billkin and PP are amazing and well, this turned out to be longer than intended.

#i promised you the moon #ipytm #teh x oh aew #billkinpp

7 notes · View notes

stripyhorse23 · 3 years

Text

Films of the Year 2020

1) A Beautiful Day In The Neighbourhood

I re-watched this to make sure I wasn’t overrating it, but found myself every bit as moved, almost overwhelmed, as the first time I saw it. The confidence of Marielle Heller’s filmmaking is such that nothing ever feels forced, her themes never have to be underlined, nor does she ever have to draw attention to the quietly excellent below-the-line elements. Tom Hanks exudes warmth and compassion as Mr. Rogers, matched step for step by Matthew Rhys as the guarded, cynical journalist who resists the possibility of goodness and comfort with every fibre of his being. Some of the most masterfully filmed conversation scenes of the year - the diner sequence alone is extraordinary.

2) Parasite

Hugely good fun, wildly unexpected, handles its tonal shifts fantastically with an ensemble cast that’s totally in tune to one another, and slickly channels the capitalist satire of Bong Joon-ho’s earlier films. It’s not that Parasite is saying anything that different or original necessarily, but it feels utterly of its moment and despite its anarchic energy is never glib or peevish. I squealed several times, laughed even more, and the film left me with a weird, immovable sense of melancholy. Deeply impressive.

3) Portrait Of A Lady On Fire

The range that Céline Sciamma has shown over just four films! Deliberately paced without ever feeling slow, I loved how invested this was in portraiture as an art form and how that folded into Marianne’s burgeoning feelings for Héloïse. Unlike a lot of other love stories, and by nature of its subject matter, Portrait is interested not just in how its two protagonists make one another feel but how they perceive one another. The ghostly apparitions that Marianne witnesses feel at first like a false note only for that to pay off beautifully in the final act. Héloïse’s final words are up there with The Lives of Others in terms of last lines that make you break out in goosebumps.

4) And Then We Danced

For a film that’s so concerned with the hard lines of its dance movements, it’s appropriate how tuned-in the screenplay is to when it needs to puncture its atmosphere of repressive masculinity with compassion and tenderness. Each relationship in the story is replete with texture and feeling, not just Merab’s rambunctious, chaotic home life, but also his dance partner / best friend. What really made the movie for me was how focused it was on Merab’s own journey, outside of and alongside his relationship with another male dancer.

5) A Hidden Life

Malick is back, baby! Doesn't quite reach the giddy heights of his filmography up to and including The Tree of Life and the three-hour runtime is a little punishing, but Malick is clearly working with a renewed sense of focus and purpose. Tracking the life of Franz Jägerstätter, a conscientious objector who was executed by the Nazis in 1943, I was unexpectedly and profoundly moved by A Hidden Life’s spiritual curiosity. Franz's commitment to his faith might seem alien, but it becomes clear that it's the only thread he has to hold onto in order to see him through; even his relationship with his steadfast wife is defined by their shared religion. The roving camera and Jörg Widmer's stunning depictions of bucolic life turned sour, as the small village community become spiteful and cruel, also feel like some sort of spiritual rebuke (and it's notable that we're kept closely within Franz's POV rather than venturing out into the atrocities that lie on the margins of the film). I fully lost it when I realised that the title is taken from the monumental final paragraph of Middlemarch.

6) Never Rarely Sometimes Always

Eliza Hittman’s new film is definitely going where you think it’s going, but that hardly matters when the filmmaking and performances are this strong. Whilst it’s concerned with the difficulties of obtaining an abortion for vulnerable young women, that’s not all that’s on its mind, and I was struck by how well it draws the patriarchal society these two teenagers have to manoeuvre through every day. Hittman’s New York is a nightmare landscape, with Hélène Louvert’s cinematography expressively capturing the sense of oppressiveness and isolation that big cities can have on a person. Like with Beach Rats, Hittman draws fine performances from her leads, ones that say a lot with very little dialogue, and of course the scene that gives the film its name is just fantastic.

7) Corpus Christi

Somehow manages to overcome its reliance on coincidences in the early going to become an exhilarating, deeply-felt film about the failures of organised religion and the limits of faith. Bartosz Bielena could take me to church any day of the week, and he's truly electric as the ex-con who masquerades as the priest of a small town recently rocked by tragedy. The plot could easily be that of a Hollywood rom-com, and it's to the film's credit that, aforementioned coincidences aside, it's always interested in digging deeper. It's incredibly powerful as a testament to how difficult it is to confront the most difficult truths about ourselves and how grief is turned outwards. The visceral, upsetting fight scene that closes the film is memorable, sure, but it’s the troubled character study at its centre that ensures Corpus Christi lingers.

8) Boys State

I suppose you might argue that finding a microcosm of American politics at an annual event where a group of 17-year-old boys are asked to form their own government is a little like shooting fish in a barrel, but directors Jesse Moss and Amanda McBaine mine their subject matter for much more than simple prescience. Impeccably cast and edited, it manages to be simultaneously hugely entertaining (with true heroes and villains) and also an insightful, terrifying window into the glibness with which white American men treat both real world issues and anyone on the other side of the argument. There were other, perhaps more accomplished documentaries released in 2020, but Boys State was so irresistibly of its time and so gripping because of that it kept creeping up in my estimation as the year wore on.

9) The Forty-Year-Old Version

What a fun, smart screenplay this is. Which isn't to say there isn't plenty of other things that impress about this debut feature focused on an almost-forty-year-old Black woman who, frustrated with the dead end her career as a playwright seems to be facing, turns to rap as an alternative means of expression. It's incredibly astute on the ways in which Black artists are forced to compromise to appease white gatekeepers and perceived audiences, a topic that it handles with equal parts anger and wry humour. The film isn't blind, either, to the ways in which Radha's frustrations impact her relationships (particularly with her loyal agent/best friend). When the only complaint you have about a film is that it suffers from a surfeit of ideas, it’s indicative of what a special, unique voice it possesses.

10) Rocks

A huge step up from the stolid, dishwater-y Suffragette. The film’s deceptive simplicity in its depiction of a teenage girl and her younger brother who suddenly find themselves having to navigate an adult world they’re not ready for allows for the performances and screenplay to fill in the bustling, often joyful elements of Rocks’ life. Cast perfectly top to bottom, some of the film’s best scenes are where Rocks and her mates are just hanging out, shooting the shit with one another. And whilst there’s a heart-breaking centre to this particular story, it never feels reliant on pulling your heart strings, or leaning too heavily into the more troubling aspects of Rocks’ life.

Ten performances that I loved this year: Cosmo Jarvis in Calm With Horses, Joe Keery in Spree, Radha Blank in The Forty-Year-Old Version, Delroy Lindo in Da 5 Bloods, Bartosz Bielena in Corpus Christi, Cho Yeo-jeong in Parasite, Hugh Jackman in Bad Education, Alfre Woodard in Clemency, Johnny Flynn in Emma and Haley Bennett in Swallow.

6 notes · View notes

last-of-the-jaded · 4 years

Text

After having willingly given the last month of my life over to MDZS and it’s Live Action counterpart I wanted to compile a list of my favorite aspects of both (including spoilers). Both the original Chinese Novel and it’s stunning 2019 Summer Release counterpart are breathtaking in different manners, but if you are looking for a quick recommendation, I do recommend going for the drama first as it will simplify the further consumption of content if you decide you want to partake in more.

What I love about THE UNTAMED:

The symbolism of the cliff at Nightless City, and how that entire scene marks a clear shift in Wuxian’s mental state as well as the overarching story. Similarly, how in the end it is Wuxian who throws himself off that precipice to sure death. This detail provides a direct comparison between his mental state at this moments and Cheng’s after his core was squashed, while also touching on an unique level of disparity and regret that is unrealized in the novel at this point (considering how this isn’t how Wuxian dies in the written version)

Xiao Zhan and Wang Yibo. I’ve made posts about this already so I’ll spare you another essay (Here and Here)

Jiang Cheng’s entire character arc. Seeing him fully fleshed out, utilized, and properly human within the drama made it hard for me to swallow how shallow he often felt on paper, especially in the early chapters. I get that this is partially due to the youth sequences in the book being written completely from Wuxian’s POV, but for me there is something incredibly human and genuine just lacking from the version of Cheng on paper that stood out so gorgeously for me in terms of his drama counterpart. Wang Zhou Cheng did an amazing job bringing out his raw emotion and anger on screen, lines were delivered in a manner that truly solidified this characters growth and vulnerability to me. For such a new actor within his field he did a brilliant job, and is the reason I have so many damn emotions concerning Jiang Cheng’s character arc. (I have a million analysis pieces typed up on my blog if that interests you)

The sequential order for the flashbacks was incredibly easy to consume. It helped to keep events and motivations clear. I understand why the book was able to skip around in a more winding mysterious manner, but from a drama standpoint I massively appreciated being able to consume the events leading up to Wuxian’s demise in consecutive order. The first few episodes were initially extremely confusing to me as a new watcher, and it’s only when the flashbacks hit that the plot-line solidified as well.

The female leads! Yanli, Qing, and Mianmian having larger roles and development was absolutely a plus. Everyone had the same intentions and feel as they did in the original, just more fully fleshed out since they were given time to interact within the world. As a bonus note seeing Madam Yu and hearing her bullshit on screen, said out-loud in the bitchy tone her actress gave her, made her 10X worse and from an antagonist perspective I massively appreciate that they were able to make me despise her so damn much.

Everyone important to the past storyline being involved in the Gusulan Study Sessions under Lan Qiren. This was a simple and effective manner of introducing everyone and having characters feel involved and interactive from the get-go. I was honestly a little disappointed that not everyone was included when I went on to read the novel.

Ning and Wuxian’s interactions early on. Their dynamic in the show was given life, and felt genuine in how it shifted over the course of Wuxian’s trails and misfortune. I love how they included Ning in the early on portions of the series, especially the Caiyi Town waterborn abyss debacle where Wuxian saved his life. It just added more layers to an already intriguing dynamic that plays a massive role overall.

The wolf torture scene. This added a whole new layer to Wuxian’s fear of dogs, while still completing its job of giving Ning and Wuxian a reason to interact and grow. Not to mention the example of Wen Sect Torture Tactics really added to the inhumanity of the sect while sparking our main character’s growth and self-sacrificing nature.

The symbolism behind Yanli’s and Cheng’s dreams. These dream sequences give a glimpse into the heads of two complex character’s and honestly added so much background motivation to their storylines. I loved these details and how much analysis us all as viewers can put into them.

The rain scene. Wuxian telling Wangji he would prefer to die by his hands. The first tears watchers see from an incredibly strong and willful young man who has always appeared stoic. (I cannot express to you enough how sad I was that this scene didn’t take place in the novel)

Wuxian’s mask. I understand logistically why they had to do this from a filming perspective (I mean if you have someone as good looking and Xiao Zhan, damnit you are going to let him look like him as much as you can) but I honestly really enjoyed the smaller details they included to make it work plot-wise. I also appreciate how it was designed as a prop considering it actually altered Wuxian’s features in a manner that made him harder to recognize due to its bulky and carved nature.

The secret underground cave in Cloud Recess under the bathing pool. The whole meeting between Wangxian and the female sect leader. I enjoyed this detail and how they expanded upon it when it came to the burning of their sect home and the survival of their people.

Wangxian’s relationship. Their subtle, trusting, gentle way of showing love. On an additional note I appreciate how it never once felt like I needed to discuss consent with the characters (coughNOVELcough) because everything between them was healthy and playful.

The soundtrack, costuming, and bts. I understand that this was a low budget production (compared to the majority of traditional dramas) and honestly I appreciate what we were given taking that into account. They stayed true to the essence and message of the story. I love the manner in which the costumes became a part of the characters and everyone had a clear style. The soundtrack flowed amazingly well with the scene and tone shifts (this is disregarding how fake their instrument playing looked because I’m still not over how off the finger movements appeared at points). The behind the scenes content on its own could win an award - it made completing the show a million times more satisfying because I do believe that the people working on set had fun (somehow even while filming during the hottest time of the year)

The name of the drama. When you reach that moment when you understand why it is called such - it’s a tale of the rise and fall of Wuxian.

The ending scene. I know it’s not the ‘stereotypical happy ending’ fans wanted, but it perfectly fit the tone and message of the piece as a whole. I love the ending. It felt right.

What I love about MDZS (NOVEL):

The Yi City Arc. It’s worth reading for this part alone. Motivations, logic, and everything just hit so much harder. I do appreciate what the drama gave us, but like, once you’ve tasted this version it’s really hard to go back.

Empathy. In general seeing Wuxian use empathy within the novel just works so much smoother. His little anecdotes and analysis while in stasis reliving ghost’s lives gives it a realism that it’s lacking on camera.

Second Siege of the Burial Mounds. The way the novel sets up this part and actually makes it feel scary with hoard mentality makes it work so much better. It feels like there is a weight to this moment. The waves of corpses are terrifying, and the exhaustion of fighting for hours gives it a level of humanity that makes what Wuxian and Wangji selflessly do stand out even more. Not to mention, the leftovers of the Wen Sect fucked me up. I bawled. This is another detail that I would legitimately read the entire novel over for just to experience.

Wuxian being fucking terrifying at points. Playing with demonic energy and losing control is supposed to be scary. In the novel it honestly felt that way. Seeing him slowly get worse was heartbreaking. Watching how people’s opinions on him skewed, and how he dealt with looks, pressure, and weight on his shoulders, took this arc to a whole new level. The way demons and ghosts flocked to and around him in public added a level of horror that was unsettling and necessary.

Wuxian actually losing control. In the drama they added another flute player to sort of work around Wuxian having to accept the result of his failure. In the novel, there is no such thing - and I love it. It’s another dowsing to the pain and suffering Wuxian has to accept and learn to overcome. It makes him coming back a decade later - to live and achieve and get revenge - feel different.

Action scenes and gore. If something is called “The Grandmaster of Demonic Cultivation” you expect some blood, and damn do I appreciate that the author made stuff have impact. I wish the drama had a bigger budget so they could have done the wounds and cgi more justice.

Wangji rescuing Wuxian after the first raid on yiling, and choosing to suffer together, hated by the world, rather than lose the love of his life. I love the use of the cliff in the drama, especially the imagery of Wangji trying to hold Wei Ying up before ultimately falling, but the route the author took in the novel is so much fucking worse. Like I cannot even imagine the pain Wangji went through.

Lan Xichen opening Wuxian’s oblivious eyes. Best brother ever. This entire scene, leading up to the final battle, is like downing a shot and waiting for it to hit. It deserves a standing ovation.

The details in the Xuanyu of Slaughter cave sequence. Every little tell that Wangji gave - he really did fall in love young.

Mingjue’s corpse. The separated limbs, angry spirit, holding bags, and everything made sense because of description.

Wangji explaining how he got the brand mark over his heart. All of his scars. Fuck. There’s inferring, and then there is having it described to you from the person directly and feeling as your own heart dies.

Lan Zhan’s insane arm strength. This is a detail that deserves recognition.

Wuxian’s inner analysis of Nei Huaisang at the end. This was fully formed and actually had some payoff.

The clear comparisons between Mengyao’s fate and what happened to Wuxian himself. Once again you can infer in the drama, but having it clearly implied in the book hits different because when someone becomes a public pariah it’s easier to go with the public outcry than try and defend them. “Nobody knew with more clarity than Wei WuXian that nobody would care and nobody would believe”

Ning protecting Jin Ling and Jiang Cheng in a manner directly parallel to how he killed the people they cared for.

Jin Ling’s realization about being unable to hate anyone in the end. You feel for this kid. You want to see him grow up well.

The beginning set up chapter. Hearing what happened in the past vaguely through spreading rumors and small talk without seeing it for yourself adds a level of intrigue. It has greater mystery than just seeing the scene play-out and cutting away.

Everything making sense in general with no plot holes. It’s one of those things where in television no matter how well you do, you can’t possibly include all the needed details. With the drama you have to infer a lot, and sometimes you will get it wrong. In the novel it really is just much easier to make sense of. This also included the pacing as well. Timeskips make sense.

Kissing. Smut. Damn, it’s so nice to have actual payoff for the slow burn.

157 notes · View notes

2ofswords · 4 years

Note

for your analysis meme: clara

This is going to be so much fun and so very tough, because Clara is such an amazingly complicated character! God, I love her so much but part of that is because she is very ambivalent and hard to describe. She is one of these characters where you can find an opposite trait for every other one she has (which is kind of the point of her). Also: I still haven’t played the Changeling route in Patho1 and I have a stronger understanding of the Patho2 universe… so bear with me. I will try my best to analyse our favorite saint.

their biggest strength

I needed to think a while about this one and the term that stuck with me was attentive cleverness. Because I really couldn’t decide if I wanted to call her attentive or clever and luckily these two can be combined into something, I find pretty precise for what I want to describe. Clara is very clever and has a lot of knowledge that not really anyone else in the patho-universe can gain (or at least the amount of it, people share bits and pieces). She is the healer most aware of the meta-narrative and at least in routes that aren’t hers is telling you either that she knows more than you do or straight out telling you something, you needed to know (and probably didn’t want to). As is obvious by her focus on hands and talking her main skill is also interaction with other people… but I think a lot of it comes from the fact, that Clara is a good listener. Which seems to be counter-intuitive because listening is assigned as Artemy’s domain in the artbook, but I think the other word used – rhythms – is pretty important here. Artemy’s skill is finding connections, intuit solutions as well as similarities and differences (there is a reason he realizes his similarities to Aglaya’s description of the inquisition) and gaining cultural knowledge that he then transforms into practical and usable abilities. Clara’s “listening” is more about singular people’s well-being and personal struggle. (She is like a good therapist. If your therapist wanted to convert you into a sacrificial religion. ^^) She interacts with her surroundings directly and attentively. I mean, she is very well informed very early on without really having a live before that or at least not in town (again, I did not play the changeling route yet and do not know her origins or how ambiguous they are kept at the end. Either way, she arrives in town at the beginning of the game and navigates her way pretty well.) However only calling her attentive sounds like the trait is a passive one which is not something I mean. Both her personas as a saint and a thief use her knowledge that is gained by being attentive in unconventional ways and/or for unconventional means. As noted in the beginning, Clara is very clever and that in combination with her noticing even small discrepancies and listening to people makes her able to peek behind the curtain of the game in the first place. It also helps to get yourself into places people normally wouldn’t want a teenage girl to be and Clara knows and is fully willing to use this ability. It is both the reason why she knows so much more about the greater scope of the disaster and also why she always seems to be able to get into any place she wants to. By the way, just as an afterthought: Of course that ability doesn’t come and is in fact enhanced by empathy. I do not think, Clara is listening to people only to use them and to gain information. You can genuinely be willing to listen to someone and still use the information you get out of these conversations. Listening carefully and actively engaging with other people is a great part of that strength!

their greatest weakness

Does “not being able to hold a knife when the town wants you dead” count as a weakness? Okay seriously, I have a really hard time to put what I consider her weakness into one expressive term. So I will talk about it first at length and then we will see. What caught my mind first was ironically Clara’s problems with communication. That might be the case because, yes, I still haven’t played her route, so I am working mostly on her ways of communication with the other healers. But Clara really has a lot of strong points that she has trouble getting across or acknowledged. Sometimes that is definitely not her fault and one of her problems is, that she is not taken seriously by other people. But trying to persuade someone to their cause and emphasizing the reason with an elaborate monologue how the other healers are demons. Daniil was genuinely asking, why you wrote your letter about your destiny, it’s fine! Same happens in Pathologic 2. Saying someone to stay put when they are in a pretty bad spot already is not a bad idea and Artemy is pretty open to both warnings and clairvoyance in general but saying. “Nope, do literally nothing even if you know you want to, I am a better doctor anyways” is… yeah hurting him in his professional pride isn’t exactly a smart move. Often it feels like she really has a chance to explain and the other healers would probably listen but then there is just a terrible miscommunication. (Which is a thing for all of the healers but Clara I-am-going-to-call-your-father-a-horrible-person-while-we-are-at-his-funeral Saburova… Look, it might be true but it is also hilarious.) But putting communication skills here would still be weird, since… you know… she is pretty good at communicating in different ways! And also all three healers are pretty prone to miscommunication albeit in different ways and for different reasons… So I think we have to dig a bit deeper still… So why is this happening and hindering her? There are multiple reasons to come to this conclusion. One I would call childlike stubbornness. (Which btw. Is also one of her strengths, but… it is Clara, everything is also its opposite. God I love her so much, she is just so hard to describe, it’s amazing!) Even with all of her wisdom and cleverness… Clara is still a child. As she should be, it makes her so much more interesting! But she also has this childlike quality of just… assuming people will completely understand and accept what she is trying to see and getting frustrated the moment it doesn’t happen. This is one of her contradictions. She is so very attentive, and she can touch other people with her hands as well as her words, but she also is inexperienced and doesn’t really know a lot about the world or about how to socially approach people which can be a big problem, if she desperately needs someone to listen. The other argument would be about her role in the plot and the way she regards her own role as well as the other healers. She is the most aware one and she does indeed know a solution to the dilemma of the story (if we do not conclude that this is a three way battle, but I exclude my thoughts about the factions themselves for this. She definitely though knows how to get rid of the town vs. polyhedron conflict) but this also puts her in direct opposition to both healers. Which… you know is completely fair and not a weakness. But, she is very uncompromising about this and while all of them are – at least when they are not the main protagonists – Clara is the most unmoving and also uncompromising of the three, telling everyone always very directly how she things the others are shit. Which again, is very justified but becomes a big problem when she needs help and makes it harder for her to express her own thoughts, even if they are very justified and might even help all parties. Speaking in riddles and of concepts beyond something we would see as our reality surely doesn’t help there either.

a headcanon about their childhood

Oh dear, tbh I am not even sure how metaphorical she just crawled out of the earth at the beginning of the game and if she even has a proper childhood… I think it is pretty literal but there are allusions in Patho2 that she actually has a past? At least she speaks about it and I guess it can be as made up as real. (A classic Clara move ^^) And having no defined past is kind of a big thing for her so… sorry, no childhood headcanon here.

a headcanon about their future (if they have one)

Again, I am not really sure if she stays in town or leaves with Block and I have read fanfiction with both, so I am not sure if there is a consensus in fandom either… If she stays in town I imagine her still being with the Saburovs but I do not know, if I really like this headcanon, since abandoning your newly found orphan in the middle of a plague is really something that should revoke parent rights… But on the other thing the position among the mistresses seems to still be pretty defined at least in the endings in Patho 2. I like to see her travelling with Block at least for a while. Maybe not at the front, that would be just… bad. But she also seems like the person who would just poke their head around at random intervals and nobody really knows, when she will get back and somehow Clara still knows exactly what is going on in town… Still she also seems pretty bound to the place and she has business there… it’s a tough call. She will definitely fire up the rivalry of the mistresses by a lot though. Probably even if she is just there for a second, she would definitely sow some mischief between Capella and Maria! Another triad of petty politics for her! Yay?

a small detail/scene that leaves a great impact

Oh dear, every scene she is in is just so impactful! (Also never knowing which Clara is with you right now (if there even is a difference) doesn’t make this easier...) I really like her quest in Artemy’s run, where she is upset about not knowing what exactly she is in the first place… but that is not really a small details or scene. Same goes for the cathedral and her offer to meet the inquisitor together with Dankovsky to stand up for that whole disaster. Which is still a really heroic but also not really a small scene and there is nothing to talk about there aside from “man, is Clara brave and set on doing the right thing!” I also think the letter about her ending is really interesting because it is just so out there and giving all of her bound a demonic nickname is just so over the top, but tbh all of the ending letters are very… passionate. So this might be more the games writing even if they lampshade it and talk to each other like the other one is the only healer in town who wrote a completely insane letter… But I digress. While I love Clara’s Patho1 design, I will say that I love her shaved hair in Patho2 and the commentary the artbook has for it. Seeing it as a sign of sickness or a deliberate mark of sainthood is just so on point for her! It is a really nice visual piece for her characterization and I also think putting the beany on top of it makes it even better. It is contradicting but firstly she deliberately kind of tries to hide her own contradictions (I mean, it is not part of her! It is just the sister, she is wrong!), which is also a nice added detail. Also, she might combine contradicting elements, but god, she is doing it with style!

their philosophy/worldview (or part of it) described in one neat little sentence

I am throwing the towel! How should this even work with Clara??? She has different philosophies and worldviews! Also, I think they differ a bit between the first and second game. The first one aligns a lot with the humble faction from what we hear but in the second game her dialogue alludes more vaguely to touching and changing people and not necessarily to “The right people must die for our world to continue” which is most of what I heard from her. Hm… How about: A saint’s duty is to touch the immoral and diseased, thus one can never rid themselves of all dirt. I am not that happy with this one, but… at least it has the whole touching other people thing in it and it is about good people not being pure, which also is a theme with her. It still sounds a bit judgemental and I don’t really like this emphasis of the “dirtied” but… I mean this is what Clara talks about in her letter, so I still think it fits, even if I would dare to say that she shows a lot more compassion than this sentence shows.

#pathologic #pathologic clara #the changeling #Clara Saburova #Which tags are we using for Clara???

15 notes · View notes

diveronarpg · 4 years

Photo

Congratulations, NAY! You’ve been accepted for the role of LAVINIA. Admin Minnie: I’ve always thought Lillian was one of the trickier characters to fully grasp, because it’d be so easy to turn her into an outline of a person and not the whole vivid picture. But you, Nay, have won me over completely. You have such a knack for characterization and nailed Lillian’s voice, that balance she strikes between light and power. The interview portion was my absolute favorite part — I loved the way you brought her to life and the way you showed us the inner workings of her mind, heart and soul. I’m so, so glad to put Lillian into your talented hands! Please read over the checklist and send in your blog within 24 hours.

WELCOME TO THE MOB.

OUT OF CHARACTER

Alias | nay

Age | twenty-two

Preferred Pronouns | she / her

Activity Level | i find it cruelly ironic that i asked for time away from the roleplay community to try to make sense of my chaotic life, and a couple of weeks later, the world imploded and now we’re all quarantined. somehow, i’ve got my shit together-ish. and i really sorely need the light that is the DV fam in these trying times, however, so. 8/10, i’d say?

Timezone | gmt+5

How did you find the rp? | i sold my soul to it some time ago~

Current/Past RP Accounts | never RP’ed a day in my life, what’re you talking about?

IN CHARACTER

Character | LAVINIA / lillian wen

What drew you to this character? | titus adronicus isn’t exactly the darkest of shakespeare’s works, but the storyline of lavinia in particular happens to be one that has always been brutally impactful to me. there is this absolutely fascinating dichotomy lavinia depicts through her journey in the play, one between honor & freedom, that keeps me up at night sometimes. and when it comes to lillian, that struggle feels embedded in her story just the same. regardless, i don’t know that it’s possible to not be drawn to lillian wen.

there’s a multitude of aspects that keeps me inescapably besotted with her — the foundation upon which she blossomed from child, to girl, to the woman she is; an aura of a true, chatoyant aesthete; a plot arc of sexual assault survival, used as a steppingstone towards advocacy… but most of all, i think what won out was the soul she’s got, and all the light it bleeds. there is a line in her biography that reads: “belief was a powerful thing in the wen household.” i’ve thought about that line for daaaays, honestly. it was that line that really got me with her, because i could already see it in my head: she was raised by two women—artistic, emotional, intellectual, opinionated women—and they taught her belief as a religion. she was raised to know it was the most useful weapon she could ever have in an admittedly dastardly world; faith, in herself & in the power of light, and hope, and living in one’s truth. to be raised that way, and make what she has of herself, to wind up in a loveless, strategic marriage and part of a mob? she is such an intriguing character, with such insurmountable potential for growth.

there is something about lillian’s devout optimism, which doesn’t deserve to be mistaken for naiveté, & a faith in humanity that bolsters me, reminding me a fair amount of the sweetness i’ve always adored in juliana, and how there is more than one way to be a fighter, which is exactly what lillian is. but i also think that aspect in a discordant war-time setting would be so god damn cool to play with, because it prompts questions: how far does being good get you? is anything really in black & white? what does a limit feel like? what could you break open to let the light in? i’d love a chance to find answers through an unravelling of her story.

What is a future plot idea you have in mind for the character? |

NOTE: here’s the ever-present disclaimer that these are all merely ideas, subject to discussion & changes, able to be altered in collaboration with other characters.

{ 1 } GILDED CAGE — a corrupt, mob-allegiant District Attorney for a fiancé; there is no question that it is to a man of power her mothers have intertwined her future, seeing protection for the daughter who is their whole world in the bloodbath tainting the city that is their home. to cassian bhatt, lillian is a nothing more than an accessory. of course, she had never been raised to be a girl who emptily dreamt of an ideal love, not when there was the whole universe to fall in love with, and no end to the every day magic the people it brimmed with had to offer. but a loveless marriage? lillian has never been one to tell lies, only ever to hone an innate ability to make the truth as palatable as possible, and her prospective bond feels like one. would she still go through with it? would she ever be able to say no to two women who never let her want for anything a day in her life?

⋯ cassian is the most obvious plot for her story, so i wanted to tackle him, first & foremost. i’m almost sure that lillian won’t seal the deal; she’s come too far in life to only come so far, and wind up with a man she feels nothing at all for. however, i was reading through cassian’s biography, too, and i would be lying if i said i couldn’t see potential for lillian to both either love, or something to cause friction in their dynamic, even if it isn’t a necessarily pleasant sort. currently, i know that lillian refuses to do more than hollowly tolerate him, purely because he has been forced upon her, and her general distrust of men in the wake of her assault makes her anything but open to him. can we really deny that he’s a smart, capable, clever man, though? there could be spark. it could turn to a catalyst for growth in multiple ways, positive & negative, and i am dying to explore the many different ways their story could unfold.

{ 2 } WHAT IS LOVE? — what if she does marry cassian bhatt? it is a possibility, after all. with the capulets, she has found a voice. she has a platform, she has causes she believes in & actively fights for, and a marriage wouldn’t bar lillian from any of that, nor would it keep her from being the precocious, curious creature that she is. and what if, after that’s done, she falls in love with someone? with her mothers never having been married, lillian never considered romantic love & legally-binding commitment to go hand-in-hand, but that does not mean it couldn’t. it doesn’t mean she couldn’t fall in love with a person she might, one day, want to be with. would she cross that line, if it came down to it? would cassian let her? would the capulets object to it, considering it is her relationship with him that has drug lillian into their fold?

⋯ this is more a subplot to the last than it is a standalone arc, but roll with it. lillian is, in a way that is one of my absolute favourite things about her, a delicious enigma of a woman. i don’t believe there is anything she couldn’t turn and look at from another side. and at the same time? i feel that she is a person who takes notions of integrity, and promises, very seriously. she is a woman of her word, at the end of the day. what would it take to blur her lines? you don’t choose who you fall in love with. you don’t choose when it happens, or how it happens. what you control is your actions, and lillian has both always believed that, and demonstrated it. so, what would she choose, in such a circumstance?

{ 3 } BEST LAID PLANS — she met cosimo capulet whilst on cassian’s arm, and it was over a glass of rosé, the man talked to her about her charity-work. he told her of the origins of the capulets’ particular brand of business: the robin hood reminiscent legacy initiated by one lucius capulet, of the revolution they had begun with, giving back to the impoverished lillian fought for as well. her mothers never would have understood how the good girl they had raised could level with a mob-boss, but lillian has, and it is how she has ended up a consultant to the capulets. but how far is she willing to integrate herself with their cause? how much of the necessary violence of a war can she truly stomach?

⋯ i told you: a dichotomy between honor & freedom. it feels like the crux of lillian’s story to me. i’ve got very strong headcanons in mind for the relationship she’s got with the capulets, purely because i would like for her relationship with them to stand on its own, as opposed to being more so reliant on the relationship her fiancé has with them. the fact that the capulets have given her a voice means a great deal to lillian, definitely more than she ever could have expected it to, and i would like to see that graciousness she’s developed drive her to make choices she might question under the lens of her own honor-code afterwards. you know me, i’m a sucker for internal conflict to drive character development, and i need it with lillian, for sure.

Are you comfortable with killing off your character? | honestly? i don’t think i could stomach lillian dying.

IN-DEPTH

♦ IN-CHARACTER INTERVIEW:

NOTE: out of caution, i’d like to precede this portion with trigger warnings for sexual assault mention and ptsd

“benvenuti!”

she is already greeting you before she’s quite done opening the door. welcome, is what must remind you that you are, in fact, a stranger in her house. the warmth the curve of her mouth radiates is one that seeps in through your pores; it is not easy to remember that this is the first time you’ve met signora lillian wen. you’ve heard it before: like the sun, she is hard to look at, yet her warmth is undeniable.

“come in,” she invites, and the silken slip-dress she’s donned seems to ripple like peach-hued water when she sweeps her arm, waiting for you to step over the threshold and stand beside her, so she might match you, footstep-for-footstep.

— What is your favorite place in Verona?

“that’s such a deliciously difficult question,” lillian enthuses, beaming, despite her brows that furrow in thought over it. favourite, after all, is no small word; she must ponder it, then, for she does so like to mean the things she says. “ – you know, i don’t know that i’ve only the one,” is what she settles on, pouring out the lemonde she’s fixed up a pitcher of herself just now. the smell of the mint leaves she’s peppered it with infuses itself in the house, and she can’t help but breathe it in, deeply, satisfied.

“so much of this city is so very dear to me. i cannot give you a favourite between them all, not when they’ve their own charms, and my own memories attached to them,” she slides over a glass to you, ice cubes merrily tinkling within, “but i will tell you that the oldest shall always be the home i grew up in. it was more snug than this, perhaps, yes, but my mothers made sure it brimmed with all that feeds the human soul. there isn’t a memory under that roof that does not make my heart ache with nostalgia, which, really, is the heart’s way of telling you it was worth it. don’t you agree?”

lillian clicks her tongue against the roof of her mouth, a sound of regret that does not match the soft radiance of her mouth.

“humble beginnings, hmm?”

— What does your typical day look like?

the living-room is far from lacking pieces of furniture, all of them as comfortable to sit in as they are to look at. you know this, because she has suggested you try each out to settle on a preference, and you’ve done it. it is only once your stomach hurts from laughter incited from such childish wonderfulness that you realise: she has broken the ice.

lillian herself sprawls out on a chaise lounge by the window, tipped on her side with her legs curled underneath herself. she looks like a mermaid. her words sound lyrical when her laughter laces them: “ah, always the same, and also never as well.”

the sip of lemonade is delicate, brief, though she tips the glass for a second, fuller mouthful when you’re sure she can’t possibly have swallowed the first that quickly. never mind –

“i like to start my day rising with the sun,” she tells you. “my absolute favourite thing about living by myself is the luxury of not having to speak at all until i wish to do so – which, of course, doesn’t take too long at all, for i might be my own fondest companion. i like to prepare my own breakfast, after; eat outside, if i want, though i rather rebelliously might crawl back into bed with a tray when i feel particularly blue. i never stay under the covers for too long, however. i simply can’t. there’s too much to do. so, i dress myself up in whatever ensemble feels the most myself that day, and set off to find another way to save the world.”

her nose crinkles when she grins. you cannot help grinning back, can you?

— What has been your biggest mistake thus far?

unbidden, lillian’s mind whirls so quickly, her thoughts slip from her fingers like water. and she is back there, in that room, with that man. that man who smiled when she walked into the room. who smiled when he motioned her to costumery that felt divine to touch, silken & decadent. who smiled when he called her a vision. who smiled when he held her down, while she begged, when he left her on the ground.

believing that smile, she thinks.

“ ––– signora?” you ask, tone tender, for she looks so fragile when she is still.

as if a button has been pushed, lillian seems to snap out of it – appears to back to life. there is an apology in her smile, and it feels like a shadow. the shadow darkens her words: “to call one the biggest seems like tempting fate, doesn’t it?” she wonders aloud. “such as when one says things can’t possibly get any worse, and right then, the universe shows you how wrong you were about that?”

— What has been the most difficult task asked of you?

cassian bhatt. the syllables of his name sit at the tip of her tongue, burning, and lillian cannot say them. she cannot betray her mothers so. she knows, already, the looks on their faces would ache more—inevitably, unbearably more—than that of letting her jaw clench, and teeth grind, to keep that truth inside, until she swallows it down.

there can be more than one truth, lillian knows. she reminds herself: once, twice, three times. and then, over the rim of her glass, she smiles a smile she can mean. “that isn’t a mindset i agree with,” she states, “if you believe it is the most difficult, it might feel near impossible, might it not? that just won’t do. forget most difficult–” she sweeps it away with a wave of her hand, like a makeshift broom-limb, “–let’s only say we’ve all got our challenges, and we aren’t the most enthusiastic to rise to all of them.”

she breathes a laugh, then. “my maman likes to remind me; mind over matter, petit fleur. i can hear it in my head already!”

— What are your thoughts on the war between the Capulets and the Montagues?

lillian’s brows crawl up her forehead. she looks so perplexed, you can’t help but wonder if you accidentally said a word wrong. her home is easy to relax inside, involuntarily, and the possibility would not be unfounded. she explains it herself, all the same, when she asks: “is it a war?”

it is difficult to discern whether the question is rhetorical or not. her head cants, and she answers it herself, “h.g. wells once wrote: if we don’t end war, war will end us.” her sip is pensive, now. “i believe that, truly. there are no winners; only those who are left in the wake of one. and so, i can only hope that is not what this is.”

her eyes are kind. “don’t you?”

♦ EXTRAS:

✴ pinterest → here;

✴ tag → here.

#accepted #accepted: lavinia

7 notes · View notes

blackjack-15 · 4 years

Text

All Dogs Go To Pennsylvania — Thoughts on: Ghost Dogs of Moon Lake (DOG)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: mention of MHM, DOG, brief mention of VEN, brief discussion of two characters from ASH, brief mention of LIE, spoilers for 20th Century American History in case you’re not caught up yet.

The Intro:

Ghost Dogs of Moon Lake is, first and foremost, a game that is simultaneously over- and under-appreciated. It’s a rare phenomenon in gaming, and one that only occurs once in the Nancy Drew game series.

It has an intensely atmospheric location, but is coupled with the least fitting cast to ever grace a Nancy Drew game.

The maze (and its bird spotting/worm finding puzzles) is tedious at best, but the speakeasy is riddled with fun puzzles and pitch-perfect décor. It has the most boring, milquetoast, robotic suspects of all time, but some of the best phone characters.

And, to top it all off, it has one of the most straightforward mysteries paired with an insanely weird ending.

The thing that DOG really nails is the location. The visuals, the accents (Emily’s is a standout), the feeling of timelessness — all of that is central to this specific area of Pennsylvania and somehow Seattle-based HER really just gets it all right. Not only is this significant in this burgeoning era of Nancy Drew games, but it also goes a long way to making the game fun to play.

By this point, HER has cottoned onto the fact that their audience really likes historical background to the games, and includes it as a matter of course. For DOG, we’re learning about Prohibition-era Pennsylvania — and more specifically, bootlegger history.

To understand the game completely, a little history lesson might be in order. If you’re familiar with Prohibition and its cultural impact, you can skip the next few paragraphs.

For those not from the US, Prohibition was when a bunch of uptight, meddling people in the early 1900s decided that they needed a good Moral Panic and that the best way to get rid of the problems that can come with drinking was to give the government the power to make it illegal by adding it to the United States Constitution.

This lasted a total of 13 years (1920-33) where everyone immediately and promptly ignored the law, until the government sheepishly passed the repeal in the form of another amendment to the Constitution, having accomplished nothing other than moralistic finger-wagging and the solidification and exponential growth of organized crime and the black market in the US.

Thus, in United States culture, bootleggers and others who defied Prohibition are usually viewed as folk heroes fighting against stupid governmental overreach, rather than as criminals.

One of the most famous anecdotes from the Prohibition era is about an FBI agent who went undercover to see how long it would take to get alcohol in the major cities of the time. The longest took him a bit over 15 minutes, while the shortest was in New Orleans, Louisiana, where it took him 32 seconds due to his cab driver answering the question of where he could get alcohol by producing a bottle and saying “right here”.

This backstory is crucial not only to understanding characters like Jeff Akers, Eustacia Andropov, Vivian Whitmore, and, yes, Mickey Malone, but it’s also crucial to understanding why the game feels the way it does.

Unlike the other Nancy Drew games that touch on organized crime — Phantom of Venice, Labyrinth of Lies — this game holds a sort of fascinated reverence and “good ol’ American boy”-type feelings for Malone and his fellow gangsters.

Usually in Nancy Drew games — and almost always in the early to middle games – HER tries to send a very strong message against any type of illegal or immoral behavior (as evidenced by the games’ Fundamentalist fanbase), but DOG stands out in its sheer American pride in these law-breakers from a different age.

It’s to the benefit of the game that the character archetypes of certain suspects and/or phone characters feed into these 20s/30s Prohibition-era tropes, as it gives them some grounding in a game that really doesn’t have much to say (in contrast to how much it feels).

Other than the historical background and its modern-day underpinnings, DOG is a paint-by-numbers Nancy Drew game with one or two annoying puzzles, a strong atmosphere, fun phone friends, and a decent plot. In a first for the series, it’s also a primarily outdoor game, which would inspire future games such as Danger on Deception Island and Creature of Kapu Cave, among many others.

While I would never rate DOG in my top games (and probably not even in the top half of games, due to the overall quality of the series), there’s a lot it does right. Ultimately, the problem with the game — and the reason that it doesn’t rank too highly on a lot of lists — is not that DOG does anything wrong, per se. It’s just that, for all its good things, DOG doesn’t do enough right.

The Title:

Lots of Nancy Drew games (always excepting the first two, which were more trial-style games and thus are different on a whole host of levels) are titled with “The [adjective] [noun]”, “[noun] in a/the [adjective] [location]’ or “The [noun] of [Proper Noun/Location]”, and Ghost Dogs of Moon Lake thus stands out a bit, making the title seem more important than it would normally.

The title tells us pretty explicitly what the main conflict — and the main “haunting”, as this is a Haunted game in its trappings, if not in its actual plot — will be: the ghostly dogs that haunt the Moon Lake property. It also lets us know, in a roundabout way, the location of the game (though there are Moon Lakes in multiple places throughout the US).

However, that’s all the title does. Unlike most other titles in the series, DOG’s title doesn’t really let you play around with possible meanings or read into it at all. As good a title as it is for pointing you right to the heart of the premise of the game, it’s also a bad title because it refuses to tell you anything else about the game.

In other words, the title, much like the rest of the game, is a mixed bag that, for me at least, hangs a little more on the negative side than the positive.

Now, onto the only thing that the title points us to:

The Mystery:

Nancy’s been called to investigate by a friend of her family’s, Sally MacDonald — a photographer and land owner — due to the fact that Sally’s cabin has been experiencing nightly hauntings by ghostly dogs of the cabin’s previous owner, a Prohibition-era gangster named Mickey Malone.

Technically, Nancy is supposed to be there to visit, but Sally can’t take another night of hauntings, and books it out of there before Nancy can arrive. Upon her arrival, Nancy experiences one of these hauntings, and promptly sets out to solve the case behind the Ghost Dogs of Moon Lake.

As a mystery, DOG isn’t too standout — it’s in the vein of MHM, though not as good — and follows the basic structure of a Haunting Game: a few instances of the haunting, some logical explanations, some illogical explanations, and a few shifty people who could have caused the disturbances.

The reason behind the hauntings is established fairly quickly, as Nancy learns that Malone’s property is valuable for a number of reasons, and Sally’s purchase of it upset the plans of the other three residents of Moon Lake. What’s not clear is which of our three extremely guilty-seeming suspects (four if you consider Sally a suspect) is actually responsible.

While the culprit in this game isn’t immediately recognizable, as HER has tried to lay some red herrings and distribute blame a little more than they have in the past, it’s still easy to figure out once you’ve hit the halfway mark (and can be figured out well before that if you’re paying close attention), but that’s more due to the suspects being one of the most lackluster suspect groups in the entire series.

The Suspects:

Sally MacDonald is the owner of the so-called haunted cabin on Moon Lake, and is the “client” of the game. She bought the Moon Lake property for its picturesque views, but soon learned that the cabin came with a price beyond the monetary. Upset by the hauntings, Sally high-tails it out of Moon Lake, leaving Nancy an incredibly garbled message about the dogs and not much else. She also hasn’t apparently tested her water even though she’s been there for a month, which is a Bit Much, City Girl.

Sally’s not really a suspect, but there’s nowhere else to put her, and if the game didn’t begin with Nancy witnessing the dogs for herself, Sally would start out as a halfway-decent suspect herself, rather than a mostly-pointless phone friend.

Sally herself is one of the weakest points of the game (more on that below), which is a little sad when you consider how important her presence is to the game versus how much impact she actually has (less than anyone else)

Red Knott is the rather unfortunately named birdwatcher that perches on what I’m pretty sure is Sally’s property to begin with and yells about The Youth with the vigor that only an oldster in civvie-camo can do. He’s upset about Sally’s purchase because he wants to watch birds 24/7 and having more people — especially someone younger, as he hates those under 50 — in Moon Lake means more people disturbing the birds.

Red is rude, cantankerous, and firmly believes in having people do things for him, provided it’s an 18 year old in unisex camo gear. You’d think his and Sally’s shared hobby of photography would link them together and make Red your first-cleared buddy-buddy suspect, but Nancy’s pretty much on her own the entire game.

As a suspect, Red is pretty lackluster as well. Sure, he likes his birds, but no one believes for a moment that this dude is actually behind anything other than being a pain the butt. Red is entirely un-useful in everything, but not so unhelpful as to stymie Nancy. In a cast of nothings and no-ones, Red is especially forgettable apart from asking Nancy if she smokes.

Jeff Akers is the local park ranger and resident owner of the most firmly lodged stick in the universe. He’s also the strongest tie to the Prohibition-era backstory as the Lawmen opposing people like Mickey Malone and Valerie.

It’s a shame he doesn’t do his job better; Jeff should be the embodiment of Consequences when Nancy goes too far, but instead, he barely shows up to have his dog be a red herring and then disappears into Moon Lake like some Nessie-style monster of Little Consequence.

As a suspect? Well, Jeff isn’t going to tick many boxes. Sure, he’s got a dog — albeit not the right type of dog at all — and he’s not fond of Nancy, but pretty much no one in this game is a fan of Nancy, so that doesn’t do much for his suspect-ness at all.

In a game where dogs are bad news, Jeff is all bark and no bite. He’s a comic relief character that shouldn’t be a comic relief character, and a present-day presence when he should be a relic of a past time.

Emily Griffin is the owner of a local bait shop/general store/Prohibition-era antique corner who definitely only sells Legally Obtained items, thank you very much. She’s got that cheeriness that HER liked to conflate with friendliness, ignoring that they’re two very different things and produce two very different reactions in the player (think in ASH Toni’s cheeriness versus Alexei’s friendliness).

She’s the one most tied to the past through her side hustle of selling Prohibition antiques, and it’s obvious that she must be the culprit through that reveal alone. Unfortunately, that’s her only tie to the Prohibition era, as nothing else about her is a shadow of Malone, Vivian, or any other bit of the past we learn about in the game.

As a suspect, Emily is the best, but still isn’t fabulous. There’s little depth to her beyond simple greed, and her interactions with Nancy might as well be with a slightly cagey computer rather than a person. She’s not sinister enough to be scary (apart from one subtle moment covered below), but not silly enough to be funny. She perhaps best represents DOG as a game: she’s a mixed bag with a few shining bits, but is ultimately forgettable.

The Favorite:

There are a few things that DOG does righter than rain, so let’s take a run-down.

The first and most important thing that DOG nails is the atmosphere. I’ve mentioned it above, so I won’t dwell too much, but HER really just gets rural Pennsylvania right, and it’s an absolute treat to play in that atmosphere.

The next is also covered above, but I really adore the good ol’ American appreciation for our bootlegger heroes. It would have been so easy to demonize these people who did, admittedly, break the law, but instead HER for once doesn’t play the wet blanket and acknowledges that sometimes (most of the time, really), American folk heroes are a bit good and a bit bad.

My favorite puzzle is incredibly lame, but it’s the Roman Numeral puzzle. I have a slightly secret, mostly nerdy love for puzzles that use things that are useful in the real world, and having taken Latin in college, this puzzle really actually helped me be able to 1) pass accelerated Lain and 2) feel more confident when looking at dates. It’s also just kinda fun and relaxing. I like puzzles that make me sort stuff.

My favorite moment in the game is probably when you first step into the speakeasy and Malone’s presence is almost palpable. Every time I walk in, I’m always looking around for someone to speak to, even though I know the saloon is empty. It’s a great moment and an appropriate reveal given the heft of the historical background.

Once again, the Hardy Boys are a bright spot in this game, as are Vivian and Eustacia. Really, the phone conversations are the best part of DOG — not just because the actual game is a bit lackluster, but more because they’re really just that good.

I’ve also gotta give credit for the insanely terrifying tidbit of Emily trying to give Nancy calming tea that would poison her after setting the shed on fire. It’s a great moment of fridge horror, and shows that Emily does have some subtlety (attempted murder with a femur bone notwithstanding) when she wants to.

The Un-Favorite:

There are probably as many bad things as good, however, and it’s here that DOG starts to show its weaknesses.

As mentioned above, Sally really drags down the parts of the game she’s in, as she could have been a good character and ultimately winds up not even being a character at all.

If you restructure the beginning and have a little more subtle haunting of the dogs happening to a cabin and then cut to Sally leaving Nancy a voicemail/talking to her on the phone — but Nancy sees no evidence of dogs, just general mild destruction — then you start out a haunting game on the right foot.

Proving Sally right about the dogs and right to leave Moon Lake from the beginning weakens the game, and is one of my least favorite bits of it.

As far as least favorite puzzles go, there are two contenders. The maze in the woods is a high point for some, but as someone with a little trouble with distinguishing visual stimuli in the first place, it can be (and usually is) absolute hell. None of the puzzles are hard except for the bird-spotting puzzle, which isn’t hard as much as it is frustrating.

My least favorite moment is the beginning haunting simply because it builds the game up to a point that it never reaches again, not even with the hilarious screwball ending. When the best moment of the game is the first two minutes, you’re not looking at a satisfying game.

The cast is often what makes or breaks a game and, unfortunately, this is a game where the cast breaks it. There’s simply nothing in the suspects to propel the game forward, which gives the game a feel of more of a graphic novel-type game than a whodunnit. And, spoiler alert, it doesn’t make for a good graphic novel game either.

The lack of length in this section isn’t a testament to the value of the game itself; rather, it shows DOG for what it is: just unremarkable. Not good enough to be solid, not bad enough to be an outlier.

The Fix:

So how would I fix DOG?

There’s not much you can do with the current cast of characters, despite their tenuous ties to Prohibition tropes, so I’d pretty much start over.

Make Sally a mid-game presence (actual tangible suspect, thank you very much) and shift Emily from the ‘bumpkin’ archetype to someone a bit more world-wise (though keep the accent, it’s fantastic) and hide her involvement in dredging the bottom of the lake a little longer (or implicate someone else in it first, whichever works).

Give Red something to do to make him a bit more suspicious and use him as Nancy’s buddy once Sally comes in (to keep the number of suspects the same) and have his photography actually come in handy. As for Jeff…an obstructionist presence is fine, but root him a bit more in history as a figure of the law rather than a sissified bureaucrat whose only character trait is that he loves to give tickets.

The puzzles could also solve to be more memorable and not auto-solved (save for the bird-spotting puzzle, which is a Disgrace) by the game, but part of that is the age of the game.

DOG is structured as a haunting game, so beginning it with Nancy experiencing a haunting full-stop is a horrible beginning. It takes out any suspense and any sense that this might just be an old legend and minor sabotage getting the better of Sally (or better, Sally damaging her own property in order to hype up its status as Malone’s house and then flip it for a profit/get her photos of the “hauntings” featured in a nationwide story) and instead gives us the most cut and dry (emphasis on dry) haunting game in the series.

Beginning DOG in the way that HER does, while a great cinematic (especially for 2002), drains the suspense and Mystery out of the game like sap from a pine tree. We’re still left with a structure of sorts, but it’s just not what it could have been.

Ultimately, even with DOG fixed, I don’t think it would be a standout game for anything (except possibly atmosphere). At its best, DOG is simply a three-star entry in a series; no one’s least favorite, very few people’s favorite, and memorable only for its initial haunting rather than for its plot, characters, or mystery.

#nancy drew #nancy drew games #clue crew #ghost dogs of moon lake #nancy drew meta #DOG #my meta #video games

18 notes · View notes

emberinmyheart · 5 years

Text

[ writing tips ]

( I am not the person who thought of all of these writing tips and ideas. Writing tips come from books such as Write Your Novel in a Month by Jeff Gerke, The First 50 Pages by Jeff Gerke, Writing Your Novel from Start to Finish by Joseph Bates and a tumblr account called @writingmastery . I do not take credit for any of this, this is just meant to help you.)

c h a r a c t e r s :

- making the characters

- what makes a good character/protagonist

- making the antagonist

- questions to ask about your protagonist

- things your protagonist must have

- supporting characters

p l o t :

- planning the plot

- theme

- outlines

d i a l o g u e :

- basic dialogue formatting

w r i t i n g s u g g e s t i o n s :

- how to get out of writer’s block

- how to get inspiration

[ c h a r a c t e r s ]

- making the characters -

1. Consider your character’s:

• Intelligence

• Natural gifts or talents

• Love language (how they express affection)

• Self-esteem

2. Consider your character’s physical traits, such as:

• Gender

• Age (at the time the story begins)

• Ethnicity

• Height

• Weight

• Hair style and color

• Eye color

• Complexion

• Teeth

• Eyesight

• Physical attraction

• Any deformities, handicaps or distinctive marks

• Facial hair (for male characters only)

• Clothing style (including sense of style)

• Accessories

• Jewelry

• Tattoos and / or piercings

• Contacts or glasses

or things such as:

• Hygiene

• Posture

• Vehicle they use (optional?)

because this can be a massive help when discovering a character’s personality. “How would your character’s personality be affected by the physical attributes you choose?” (Jeff Gerke, Pages 52, 53 & 54)

3. Consider your character’s background, such as their:

• Siblings — ages, names and relationship with hero

• Level of wealth or poverty

• Whether they lived in the city or the country

• Marital status of parents

• Culture

• Education

• Relationship with parent of the same gender

• Era

• Societal backdrop (war, famine, revolution)

• Country and region

• Parents — who are they? What do they do? What were their experiences with the hero in the past and present, and how have experiences with them molded the hero’s life? Are they alive? Are they dead? Rich? Poor? Alcoholic? Was the father a famous athlete the hero had to learn to be like, or never thought he could be like? Does this impact the hero’s relationship with their siblings, if they have any?

(Jeff Gerke, page 55)

- what makes a good character/protagonist -

1. Consider this for your protagonist/hero...

• The selfless hero. For example: “a single mother who works two jobs who works two jobs but still somehow manages to do homework with the kids and go out for ice cream once in a while, or a soldier who volunteers to stay behind to cover his buddies’ retreat, or the silent partner who lets someone else get the glory for the work that was actually shared.” (Jeff Gerke, page 36)

• The compassionate hero. “When someone reaches out in love towards another, it is considered a virtue. It follows that your reader will most likely resonate with a compassionate hero. Show them having mercy on someone when it was within their rights to condemn, or show them going through all kinds of trouble to get a crust of bread to eat, but then show them handing it over to someone who has even less than he does.” (Jeff Gerke, page 37)

• The generous hero. “We love the bighearted giver. Most of us wish we were in a position to be able to give like that, to support some person or cause we believe in. Show your hero secretly dropping a hundo into the subway musician’s tip jar or leaving a fifty dollar tip for the diner waitress or anonymously buying someone’s wares at auction to be sure he has money to live on.” (Jeff Gerke, 37)

• The charming hero. “If your character can make the reader laugh, you’ve got them. We all love charming, winsome people. They’re fun to be around. They make life a little less burdensome. Humor can be hard to write, so don’t stress if this isn’t the direction you want to go. But if you can create a protagonist that makes us smile, you have us.” (Jeff Gerke, 38)

• The sympathetic hero. One of the main ways to engage your reader is to make them relate and bond with your character until they’re attached. Characters can bring back your memories and trigger the release of feelings you’ve got pent up in your head and can help you navigate your own issues. “If you can cause your reader to feel sympathetic towards your protagonist, you’ve won. When you show that gaping hole of pain or loss, the reader leans in, rushing forward with compassion into that person’s life like air filling a vacuum. When we feel your hero’s loss or grieve with them as they fail once again to achieve a noble goal, we build an instant connection. Make us feel like this is someone who we would like who has just been dealt a terrible hand— but who nevertheless keeps trying— and you’ll have us.” (Jeff Gerke, 41)

• The unlikable hero. Some characters in best-selling books are unlikable characters, but they have something redeeming in them trying to get out. It’s the good that makes us tolerate them and even come to like them. Your heroes can be unlikable or have a lot of flaws, but they have to be somewhat likable enough for the hero to be attached to them and their story.

• The winsome hero. “One reason why readers can engage with these characters is that they find them endearing. They’re good souls, they make you laugh, and they’re gentle with others. Characters can be flamboyant and outrageous, but they’re delightful to be around. To make your reader attached to them in the first few pages, you’ll need to reveal this winsomeness to the readers somewhere in the first fifty pages.” (Jeff Gerke, 73)

• The smart hero. “Another way to make readers engage with your character is to make them smart, resourceful, clever or mentally agile. We value characters who can see straight through the smoke to the thing the smoke was meant to conceal. We delight in seeing a resourceful hero trying to climb to that pile of puzzles to tell us what they see from there.” (Jeff Gerke, 73)

“The way you can tell if characters are weak is by reading about fifty pages of a novel. If by then you can’t tell the characters apart aside for cosmetic things like gender, age, role, office, species, attitude or goofy accent, there’s a problem. If you could switch the names around in a dialogue scene and nothing seems out of the ordinary, the characters are weak. If the only difference between your characters is that one’s always mad and the other is always talking dirty, your book is doomed.” (Jeff Gerke)

- making the antagonist -

What does a antagonist need to become a good villain?

A good antagonist, or villain, usually has to:

• Be strong. “A strong villain makes for a strong hero. When a hero overcomes a weak villain, they’re not going to seem very epic to the reader. But have them overcome a galaxy-destroying psychopath with an army of flesh-eating undead giants under their command, and you might just have yourself a hero of legend.”

• Make the hero go through several stakes. When you look back at all of the notes you’ve made for your story so far, you may have a clear idea of what the stakes are. What might be the “OR-ELSE” stakes you can set for your book? According to Jeff Gerke (a very useful source for writing tips), “the stakes can be related to a goal, a relationship, safety or anything else. They can be objectively large (if the hero fails, Earth will be destroyed) or small (if the hero fails, the team won’t win the first game of the season), so long they are important to the hero— and thus the reader”. (Jeff Gerke, page 79)

- questions to ask about your protagonist -

When creating and rounding out your protagonist, there are some questions you must ask yourself first:

1. Who is your protagonist? “The events in your novel are only meaningful for the reader in terms of how and why they’re meaningful for a protagonist. The protagonist is the lens through what we see, and interpret, everything in the book.” (Joseph Bates, page 22)

2. What does your protagonist want, and why is it important to them? “A protagonist must have a clear goal in the book, as well as a clear motivation for wanting to achieve it... not just what they’re after, but why they’re after it, so that the reader feels a sense of personal stakes.” (Joseph Bates, page 22)

3. What stands in the way of the protagonist? “Which is to say, what conflicts will the protagonist face? As with motivation, these conflicts will sometimes be external, plot-level conflicts and at other times, personal ones.” (Joseph Bates, page 22)

4. What familiar genres or tropes are suggested by premise, and how will your novel both play with or against those expectations? “Every story idea will automatically get you thinking of certain genres the story borrows from. Finding ways to make these tropes seem new and unexpected will be much more enjoyable for you to write and for your reader to read.” (Joseph Bates, 23)

5. How does the world of the novel that your protagonist is in— its setting, rules, everything related to the book’s tone— help reveal or illuminate the protagonist’s quest? “A story’s world helps build a reader’s understanding of the character’s quest, meant to find a understanding of motivation, conflict and stakes. World-building is often one of the first aspects that’ll pop into our heads when we think of a new novel idea, and it’s very easy to get stuck into the world-building stage. But the world can only come into sharp focus when we see it as an extension of the character and conflict. We don’t build a world and then drop a character into it. We build the world according to our understanding of story and character.” (Joseph Bates, 23)

6. What personal, everyday questions or problems arise within the premise that you connect with and will explore over the course of the novel? “This is something that you’ll likely have to discover in the process of writing, not necessarily something you’ll likely know from the start, but it’s the everyday that allows the reader to connect with the protagonist and see something of themselves in the protagonist’s plight. As the everyday questions or problems begin to show themselves and repeat in the book, you’ll see themes emerge, which will help support and structure in the book.” (Joseph Bates, 23)

7. What is your character’s internal motivation; What do they really want? “Again, this might particularly be a question to ask of a flat protagonist, the result of a main character who seems motivated by nothing but plot-level or external circumstances; remember that your hero is also a person, like you or me, and consider what we’d feel in a similar situation. But don’t forget that even minor characters have motivations, and lives, and even arcs, of their own.” (Joseph Bates, 42)

8. How might you locate a character’s internal motivation and conflict if these may seem absent? “If your character’s motivation seems purely external, perhaps as part of their obligation as a job— if you’re writing a detective novel, and the character has simply taken on a new case— try to consider what it is about the change personally, that informs their professional work, how it influences their ability to do the job, or speaks to the reason they entered the profession in the first place. Also consider how this particular job is different from yesterday’s job, or tomorrow’s, or last year’s. Presumably part of what makes this job or case different that is personally different, there’s something personally at stake. How might that be the case?” (Joseph Bates, 43)

9. Are you playing both with and against type? “No character is 100% good or evil, kindhearted or callous, capable or clueless, so consider not only how to set up our expectation of character, but also how to subvert that expectation, how to complicate our view of a character.” (Joseph Bates, 43)

10. How is the heart of the character, the motivation, evident in a work you admire? “Consider this with any novel or work that means something to you, no matter the genre. Try looking back at the main character you find compelling and play armchair psychologist a bit, looking at how the external and internal motivation and conflict play with, or pay off of, each other.” (Joseph Bates, 43)

- things your protagonist must have -

1. A protagonist must be active and questioning. “The protagonist can’t merely be acted upon in your novel. Your protagonist has to engage the world instead of observing it. Too many beginning novelists tend to trade character development for world building. Once you fully grasp your character’s want, and why they want it, you can set them down a path of actively pursuing it.” (Joseph Bates, 36)

2. Your protagonist must evoke a connection with the reader. A reader’s relationship to a protagonist is generally one of sympathy, empathy or it’s because the reader sees their own life in the protagonist’s life. “In other words, we see something of our own lives, experiences and struggles related to the protagonist.” (Joseph Bates, 37)

3. The character must be connected to everything in the story. All those other aspects in the story are connected to the reader, too. The character should be bound to those other elements of the story. Theme, mood, description should all be focused through the prism of character. For some reason, readers want to see our characters be punished, destroyed and wounded, but these things aren’t as satisfying until they’re rewarded and end up triumphant in the end.

4. Tell us what the character (protagonist) wants. It is critical to know what a character wants from the start of the book. The character may not know what they want, but the readers and audience must have that information in order to read more of the story. Maybe, for example, she wants revenge, or freedom from oppression, or their child returned to them, or true love, or anything else that can be seen as a motivation— the reader must know what the character’s motivations are as well, because the readers need to know how far your character has come, what stakes are on the table and what obstacles are between them and their final path.

5. You must prove that your protagonist is worth your audience’s time.

- supporting characters -

1. Supporting characters either help or hinder the protagonist in meeting their goals. Some supporting characters can even end up being villains. “For example, some of the most well-meaning people in our lives try to help, and claim to have our best interests at heart, yet their well-meaning help sometimes ends up hurting. Likewise, people who stand in our way, even those who actively oppose us, can end up pushing us to do or be better. They have motivations of their own, and most supporting characters try to be helpful, but ends up complicating what the other characters are trying to do.” (Joseph Bates, 41)

[ p l o t ]

- planning the plot -

Your hero’s inner journey should have several stages.

These are some things you need to remember when planning out the plot of your story:

1. The hero must start with a problem. A inner journey starts with the hero’s problem. What is wrong in the character’s life? For example, “self-centeredness is often the “sin” chosen for heroes in modern stories. The hero is stuck on themselves, and this selfishness causes no end of problems for them. It deprives them of the life they could have if they weren’t so impressed with themselves. Other popular character problems are bitterness, ambition, pride and a desire for vengeance and/or vindication. But the primary problem that all heroes have is fear. Any from the array of fears and anxieties can propel your hero through a wonderful character arc. Fear of being hurt, or abandonment, or failure, or disappointing others, or loss, or being alone, or losing control, and of meaninglessness, not to mention neurotic fears (arachnophobia, agoraphobia, etc.), anger (which is fear in disguise) and depression (fear and anger turned inwards).” (Jeff Gerke, page 61)

2. The plot is about how the hero must notice their issues, wrestle with their issues and finally deal with their issues. It’s the hero’s chance to change themselves into a better person, from start to finish. “The plot is the stage upon which your hero undergoes their inner journey. Whatever the two forces battling it out inside your hero’s heart are, they’re probably invisible. When you’re thinking of plot structure, your starting point is your hero’s inner journey. Whatever it is they’re dealing with on the inside, that’s what the whole plot will be about.” (Jeff Gerke, page 87)

3. There are several stages in a plot. Examples of this would be events such as: we meet our protagonist, we see the location where the place is going to take place, we understand the protagonist’s goals, and we meet the villain. Beginning, middle and end are good starts for understanding the concepts.

4. In order for the hero to be shown the error of their ways, the author must show them a better alternative, first. Usually, the positive alternative future is the opposite of the negative possible future. What would be a healthy outcome for your hero?

5. There is always going to be an inciting incident in your character’s life. Something unwelcome is going to crash into your hero’s dysfunctional life— this is the inciting incident. Without it, your hero would keep plodding along towards their unhappy ending and go towards the ending you don’t want them to go. The inciting incident doesn’t have to be negative, although it usually is— sometimes, it can be a good thing that changes the character’s life completely. Of course, the character could see it as a blessing, but not while it’s happening. The inciting incident could be something that the character does welcome, but it ends up taking them to places they didn’t want to go. For it to work in the novel, the inciting incident must be powerful and must take the hero on their inner journey throughout the entire book. Our hero won’t immediately embrace the change, or else there would be no inner journey. They have to reject it at first.

6. Your character must have their own, inner journey. “In fiction, a inner journey starts off with a character in need of a significant change in their current life. The journey will then lead the protagonist directly to their moment of truth, which is the moment where the protagonist realizes they’re out of balance and must decide whether they’re going to stay with the imbalance or make the change that will reveal to them what their true self should be.” (Jeff Gerke, page 126)

7. There must be a escalation in the story. “The escalation happens between the inciting event and the moment of truth. This is the internal struggle in which the hero tries to hold onto their old, unbalanced way of living, while the new alternative begins presenting itself as a way back into love. During the escalation, your hero will be pushed and pressed and knocked about because they refuse to embrace the change that will result in their inner healing.” (Jeff Gerke, page 127)

8. You have to combine all of these aspects of the hero’s inner journey together to make the reader truly attached to the story. The cycle that all of these stages go through is starting off with the hero’s unbalanced situation. After the unbalanced situation, which is the hero’s initial condition, there is the inciting event, which is the one event that crashes into the hero’s life that leads to their moment of truth. Between the inciting event and the moment of truth is the escalation.

9. After all of these stages, your hero must have their final state. At the end of every journey, your hero must rest and face the result of her consequential decisions. The final state isn’t whether your hero won or lost, it’s the condition of your hero now that their inner journey is over. However, if your hero chose the wrong way, then the final state is something that is not peaceful or the right way to go. The final state will be good or bad, depending on the hero’s choices.

- theme -

1. Brainstorm a dozen ways to show off primary, secondary and opposite facets of your theme, and see how many of them you can elegantly work into those opening spreads. “You don’t have to cram them all in— you’ve got over three hundred pages to explore your theme, after all— but be sure you’ve begun planting those seeds early on. Such things make rereading a novel especially fun, because the second time, knowing where the book is going, you see things the author was doing to set us up for it, though we couldn’t see them the first time. Imagine it being like a film— in the early section of the film, the filmmakers would plan so many things that would have come to importance later. It’s a testimony to their prowess as storytellers that they were giving us the theme from the outset.” (Jeff Gerke, 207)

- outlines -

1. Outline your story with a beginning, middle and an end. “Each should have an emotional arc for your characters. I’m not talking about a synopsis of what happens, but more of what do they (the key characters) feel when it’s happening. This doesn’t mean that you have to know everything that is going to happen, but you need an arc. Point A leads to point B, then to point C. One thing people forget to do when they outline is define emotional growth, and therefore they forget that the story must include the emotional arc.”

2. Character outlines. “Who is the hero? Who is the heroine? Why do they fit your hero and help them be a better hero? Or vice versa? It is often the hero that helps the heroine and helps her find her way to the other side of a battle. Thus, he becomes a hero for her. Knowing your characters helps shape their responses and the external conflict.”

[ d i a l o g u e ]

- basic dialogue formatting -

There are different types of formatting, such as:

1. Dialogue silos. “In dialogue scenes, keep a character’s words and actions in the same paragraph. The reader understands that, when you change to a new paragraph, a new person is talking. The paragraphs take turns in line with the characters taking turns as they exchange lines of dialogue. Let each paragraph in a dialogue be a little character silo into which only words and actions from that character may be placed.” (Jeff Gerke, pages 138 & 139)

2. Beats. Beats are tools to manage the pacing of your scenes and to tether the scene to the setting. Just as you have to include rests in music, so you have to write beats into your novel, and you have to use beats of varying lengths to create those pauses for the readers. When you want something to proceed without a pause, take out all the words that come first. Without beats, your dialogue scenes are rushed and clumsy, and they become detached to the setting. Beats show us what’s happening in the setting of the scene. They give us the viewpoint character’s thoughts and perceptions, too. A beat implies a pause— if you want to imply a long pause, write a long beat. Short beats equal short pauses. (Jeff Gerke, page 25 & 27)

[ w r i t i n g s u g g e s t i o n s ]

- how to get out of writer’s block -

1. Have a word count goal each day. If you want to write more often than usual, you can set up a goal to write 1,666 words a day or more, depending on how much you want to challenge yourself.

2. Write wherever you go. Having a notebook or a iPad will come in handy when your mind starts wandering to scenes that you might forget later. You can take notes in your notebook or iPad (or any other device you can write or type your ideas down on), email them to yourself and then copy and paste when you get home.

3. Make multiple backups. When your notebook, iPad (or the thing you write down on) crashes or anything that makes you unable to use it, you may need to make backups so you can write on other things. Save it everywhere, or at least on three backups so that you can write whenever, wherever without a problem.

4. Use a timer. Time yourself, and then write down as many ideas or words as you can. See if this helps your inspiration and ideas grow into more complex ideas, and if it does, continue to use it. Surprisingly, most people tend to write faster when they’re being rushed. See if this relates to you, and if not, there are always other solutions.

5. If a scene isn’t working, delete it. Sometimes, a scene is much less forced if you simply let it drag you in the direction that it’s most likely to go. Just keep moving forward, instead of procrastinating by deciding what to write next!

6. Take breaks. Even though you have no time to lose, take a break if you need to. Step away from the phone and do something mindless. Sometimes, the gears in your head overwork themselves, pushing you too far down the rabbit hole, which is why you need to take a break every now and then to get rid of these little moments so you’re not tugging at the strands of your hair in agony when you get to a dead end.

#character design #writing #writing tips #writers #character tips #plot #dialogue tips #dialogue #books #character #character development #theme #antagonist #protagonist #outlines #writing inspiration

280 notes · View notes

romchomp · 5 years

Text

Gilmore Girls: The Love Interests

This post might get a little lengthy.

In Gilmore Girls, there are four girls we get to see coarse through different relationships throughout the seasons of the show. As someone who recently finished marathoning Gilmore Girls and has a blog based on romance shows and anime, I figured why not talk about all these relationships the characters went through.

Rory, as our main character, will go first. Talking about the different boyfriends she’s had will be fun because her taste is uhhh pretty questionable.

Dean is Rory’s first boyfriend and hence, the first love interest. I think we can all agree he was the worst. He actually started off pretty good, if not a little boring. However, it doesn’t take that long for him come off as dramatic with some sort of anger issue. He almost always put his feelings before Rory’s. When his marriage fell apart he got upset with Rory and made it out to be as if everything was her fault despite him being the one who cheated. He generally became less and less pleasant as the show went on and even at his best he was just generic and boring and while nice, still not that good of a boyfriend.

The next boy Rory dates is Jess. Jess is a tricky one to talk to about because while I love his character and find him to be one of the more interesting ones in the series, I really don’t like him as a boyfriend. All throughout their relationship Jess treated Rory horribly. He was moody, never talked to her about anything, and never even seemed like he actually wanted to be in the relationship. They were constantly arguing and most of the sweet moments between them were Jess’s attempt to make up for some shitty thing he did earlier. I liked him a lot more when he wasn’t dating Rory. Season 6 Jess was great, and maybe if the show took the route of Rory dating him once again things would be different and I could say I liked him better the second go around but that’s not what happened. Bottom line is, he’s a better character than Dean, also probably had more respect for Rory and I’d say he understood Rory better than Logan did too, but god he was a really bad boyfriend.

Last but not least, there’s Logan. Who has the opposite problem Jess did. Despite him being a complete douchebag and a personality I found to be quite unlikable, he was a surprisingly pretty decent boyfriend. My opinion of Logan moved around quite a bit through the course of the show. At first, I hated him. The way he teased Marty and talked to Rory immediately put a sour taste in my mouth. However after Dean broke up with Rory (for the third time?) at her grandparents' party I realized that huh, I like the way he’s treating Rory. The way he tried to cheer her up felt very platonic. Was he already pining for her? Probably. But Logan never came across as more than friendly until he started very obviously teasing her when she was showing that one Chilton student around. Then there’s when Rory asked him why he never asked her out (because it was pretty evident they both liked each other at this point), and Logan’s reasoning was that he didn’t know how to be a boyfriend. By this point I like Logan. He respects Rory and wants her around even if only platonically because she’s special to him. However, cracks start to show. Rory changes a lot over the period of dating Logan. She changes a lot of things that were always a big part of her character like...not cooking and not exercising. Okay while those things were small, these changes in Rory made it a lot easier to realize that Rory and Logan don’t have a lot in common. They don’t even have common interests, not really. This made me start backtracking how much I actually like Logan and before I noticed Rory changing, I would’ve told you I think he made a better boyfriend than Jess. However, if there is one thing Jess has over Dean and Logan, it’s that he understands Rory better. Rory and Jess also just kind of clicked more. Rory and Logan followed the basic steps of being a good couple, but there wasn’t much that kept me wanting them to stay together or even like them together. They were just...there.

Lane

The only love interests you really need to remember for Lane would be Dave and her eventual endgame, Zach ( Zack? The internet can’t seem to make up its mind). From my knowledge, the actor who played Dave ended up taking a role in another show thus bailing on Gilmore Girls. Which would explain the very weak “he got a scholarship in California” reasoning for why his character was suddenly disappeared. A lot of people seemed to like Dave more than Zach and I was certainly on that boat for a while myself but I gotta say, I started finding Lane and Zach a really fun couple to watch once Lane got pregnant. I really liked the scene where they bonded over not wanting to have the baby (in a mostly comedic fashion) and it was around that point it became clearer how much the two actually have in common. Somehow the two became more compatible after having twins. Go figure.

Paris

On to Paris...can we just forget that Tristan and Fleming ever happened? Joking, joking (mostly). Paris and Tristan never dated (thank god) and therefore were never love interests, but Paris’s hard to believe crush on him was enough to be sigh-worthy. There was That College Guy She Dated During Chilton That I Can’t Remember the Name Of who didn’t really do anything noteworthy. Then there’s...eighty years old Asher Fleming. Look, I could go on about how Fleming was way too old for Paris and how problematic their age gap is, but it’s 2019 now and I’m sure every Gilmore Girls fan has both, ranted about and heard ranting of it so I’ll move on. If there is one good thing I can say about Fleming, he gives us more of an idea of what Paris cares about when considering a romantic partner: intelligence. That’s about it, which also means she doesn’t really care if her relationship would otherwise be seen as weird. She probably wouldn’t even care if the person themself was deemed weird either. Which leads me to Doyle, in my opinion, the best boyfriend out of any of the boyfriends in the series. I love Doyle. He’s strange but charming, squeamish but also capable of being a leader, and genuinely cares for Paris. While it took a few tries, in the end, Paris found someone she made a perfectly odd pairing with. I mean hey, that’s how life usually works out I guess.

Lorelai

Now we get to Lorelai, who I think had the more interesting love interests. Despite that, I won’t be getting into Max and Jason because frankly, I don’t think anyone really cares about them that much. By around halfway through the show, it becomes increasingly obvious that the only two true possible endgames for Lorelai would be Luke or Christopher.

There’s a bit of a parallel between Luke and Christopher in the sense of how big of opposites they are. Where Christopher comes and goes throughout the show, always leaving an impact after leaving; Luke is a constant throughout the show, with some major moments but often just peacefully going along with the plot. While Chris is impulsive and rushes into things, Luke over thinks himself out of things. Lorelai’s parents hate Luke but they’ve always loved Chris. Christopher is immature while Luke is arguably the most mature character in Gilmore Girls.

I was impressed when I noticed just how lined up their differences were. I wasn’t something I expected from Gilmore Girls in all honesty.

I think most of us can agree that Luke was better for Lorelai. They balance each other out a lot better than Lorelai and Chris ever could. Luke and Lorelai’s differences were also manageable so long as they had good communication. Which they didn’t while they were dating and is why they ultimately broke up in season 6. Which brings me to another parallel: the marriages. Luke and Lorelai broke up because of postponing their wedding. Chris and Lorelai on the other hand, broke up because they had rushed into getting married. I could go on and say how Chris proposed to Lorelai in Paris, the city of love, while Lorelai proposed to Luke in his diner as well. The comparisons are all over the place.

The reasoning the show gives for Lorelai and Chris not working out is because “the timing was never right” which I personally find to be bullshit. They were always too much alike to work out. I want to say I always expected and knew Luke would be who Lorelai ended up with but I’ll be honest, season 7 gave me a good scare. I still think their ending together was weak though.

If I had to rank who had the best love interests it would probably go:

Lorelai (she had the most common sense)

Lane (went from a nice, but slightly boring bf to an asshole who became surprisingly decent once they had kids)

Paris (two duds and a real winner)

Rory (her taste was very questionable)

You know, that is considering the canon love interests.

Rory had three boyfriends, but what if there was another possible love interest in between the lines? Someone who has been by her side the whole time.

Well.

Then there’s Paris.

Paris...Again

Paris who had big, definitive goals for herself just like Rory. Who was hardworking and had a strong work ethic that Rory (arguably) had as well. Paris also has the qualities I liked the best in Jess. Paris could understand Rory’s studiousness and later on her personality in general. This also works vice versa. Pretty much every character has a hard time understanding Paris or simply downright disliking her but Rory always had a decent understanding of her even if the reasoning was something like “Oh, she’s just being Paris.”. She also makes up for my biggest problem with Jess, being moody and never communicating with Rory. Paris, on the other hand, is always quick to tell Rory exactly what she’s feeling and why.

Granted, Rory and Paris were never written to be love interests and even their friendship had some blemishes. I think the potential for Gellmore becoming a likable couple was at its highest in season three and four and slowly diminished as the show went on. In the end, Rory and Paris is a good concept that sadly works best in fanon.

Their relationship in canon was for the most part one-sided. Rory never seemed to want or need or even consider Paris’s help. I also don’t think the show drew out how the two have many similarities as well many differences (you know, the whole “you two have more in common than you might expect” schtick). I know it’s already in the show, but I would’ve liked to see them build on it more.

However, even though they would still have issues in canon, I think Paris could’ve been an improvement or just an interesting addition to the canon love interests even if she didn’t end up as endgame or had a short-lived relationship with Rory. But hey, what are you gonna do when a show was made in the earlier 2000′s.

All in all the love interests in Gilmore Girls were...okay. For the most part. Even the ones I liked had some baffling moments that I could rant about. The romantic relationships were never the part of Gilmore Girls that I think people enjoyed though. We watched for the familial relationships and dynamics that gave the show its charm.

#anyways #gellmore #gilmore girls #rory gilmore #jess mariano #paris geller #lorelai gilmore #luke danes #logan huntzberger #lane kim #dean #luke van gerdic #doyle #christopher #dave #thank god i finally finished writing this #said i was going to like 2 days ago but uhhh

81 notes · View notes

thekaijudude · 4 years

Note

One Punch Man? great. I like it too. What is your opinion about Saitama's immortal strength. For now.

Hi!

Immortal? I suppose u meant ‘invincible’?

So I suppose as what Dr Genus has said that he just removed his limiter which is apparently what all beings have

We see the same with Garou in the webcomic before he ‘awakened’ his 1st monster form

And iirc, Saitama said that he trains daily still ever since he became ‘this strong’ so I suspect he’s still getting stronger day by day as we learn that in one of the audiobooks, the one about the Virtual Genocide Simulator, Genos based Saitama’s data off the his performance in their ‘training’ in Season 1 but when Saitama used it, he literally still one punched that said Saitama

Does that mean that Saitama’ punch in the VGS was stronger than that ounch he threw at Genos during the practice bout? Or does that mean that ever since that day as Saitama continues to get immeasurably stronger, the Saitama during the practice bout is now nothing compared to the Saitama using the VGS?

No one really knows as that audiobook purposely left that ambiguous

With that being said, by that logic, current Saitama has a limit to his strength which for now the best estimate is to go off of his best feat in the manga currently against Boros cause webcomic stuff are nerfed

(And I know Murata said that the Saitama vs Garou fight in the manga will be of a grander scale than against Boros but we’re not even in the S Class vs Executives fight in the manga yet so we can only go off of that for now)

So a serious punch from Saitama managed to overwhelm the (highball) Planet Busting Collapsing Star Roaring Cannon from Meteoric Burst Boros, which also managed to impact the whole planet by parting clouds and sending winds across the planet, but we should still keep in mind that there’s a difference between a ‘Serious Punch’ and a ‘100% Punch’, like how we see throughout the story that we see variations of even Normal Punch levels

Tbh its still pretty hard to estimate his upper limit of power as throughout the fight with even Boros, he didn't even show any indication of a sense of limit to his strength, only we know that at the absolute minimum, we can safely say he’s a planet-buster, and we also now know that for feats above Planet Busting abilities, Saitama would have to get Serious

But we can also look at another character that would also give us a higher estimate of his strength as we look at GOD, which is likely the final villain of the series, we know that he can grant power to an otherwise totally ordinary human that was Homeless Emperor and he just becomes a Dragon Level

This is definitely much better than the Monster Cells from Orochi as even when skilled martial artists consume them, the average martial artists becomes like Low Demon etc

And we saw from GOD that he literally killed Homeless Emperor within his own mindscape which means that he has some form of supernatural abilities or even exists in a totally separate plane of existence

But we also saw that he was he too, hated humanity as he said something of the sort of humanity being parasites to the Earth

Not to mention that Murata said that the light beams from Homeless Emperor are the same as Vaccine man and Choze’s, and what they have in common is the disdain for humanity, so its likely that GOD couldve somehow approached them as well, also it would be a pretty neat plot twist that the final villain of the series was actually already foreshadowed at the beginning with Vaccine man

This all means that GOD could at the very least, be some form of embodiment of the Earth?

But we can definitely ensure that he’s a planet buster and will be classified as God Level, but considering that not even ONE classified Boros as God Level even tho his final move does classify as a ‘threat to humanity’ (Of course the Above Dragon stuff), this means that GOD has to be able dish out planet busting moves more casually than Meteoric Burst Boros could

So let’s go up a notch from Planet Busting, and I think for the sake of argument, lets look at Planet Busting in this instance as a whole and not Low, Mid, High planet busting cause the series will be more inclined to have GOD be a total Planet Buster than go into the specifics

Saitama will definitely be Serious throughout his fight, but considering that ONE wants to always portray Saitama as above everyone else and be able to end everyone with a single punch, its likely that Saitama, at the end, will throw like a single punch beyond his Serious Series attacks to end GOD

That lowball pushes him to Star Busting levels at the minimum

And that’s the best I can do for estimation of his strength until we actually get to GOD in the manga or the webcomic before I can say anything more concrete than this lol

Thanks for the question!

#one punch man #asks

2 notes · View notes

calleo-bricriu · 5 years

Note

what's the de sade ripoff book like anyway?

It’s like listening to someone who thinks they’re a genius but who’s really sort of–slightly below average at everything ramble on and on and on for over 400 pages about how they’re a genius and everyone around them is making their life horrible because they don’t understand how much of a genius he is.

Also, alcohol isn’t a stimulant at all, let alone a strong one. I guess, to be entirely fair, if I found out my Mum had a sex dungeon in the house I’d probably need a drink as well.

A lot of drinks.

And an Obliviator.

Finding out your mum has a sex dungeon is a pretty reasonable excuse to drink a lot.

Anyway, this author is allegedly a doctor, he ought to know damn well alcohol isn’t a stimulant.

I really do just love how it’s the same exact story, only with worse writing and set in Dresden–then Hamburg–then…New York City.

Some guy named Newcomber completely flips out any time someone says a woman’s name around him in his own house. It’s never explained why. I feel like that should have been an important plot point? Maybe he’s assuming everyone’s already read the book he blatantly lifted from.

Men just need to not be allowed to describe women in their books if they’re going to do it like this: “Seated in a large leathern chair was a dainty piece of pink-cheeked, dark-haired, ebon-eyed femininity. Her sealskin jacket fitted snugly her lithe form, and a fascinating toque rounded off the saucy, childlike appearance of the young woman.”

That’s the sort of description that makes you feel like you need to run a Scourgify through your entire brain.

I’ve read, as I mentioned yesterday, de Sade; all of his uncensored garbage and the difference is, de Sade knew he was a shite writer.

He was just one of those obnoxious people that feels the need to be edgy for shock value; to get a reaction. He wasn’t ever trying to be good at it, he just wanted to get a reaction and have people pay attention to him, which he got–usually in the form of prison.But, the end result of that is that his writing aged in a way that makes it so completely off the wall ridiculous that it’s more funny and less shocking now.

Like–right, if you’ve never read 120 Days of Sodom you should, because all it is is this list of increasingly improbable to impossible scenarios, in actual list form, that are discussed by the characters like they’re going over a list of chores they need to do that afternoon.

One involved mice and cannons, actual cannons, that somehow didn’t result in death or injury to anyone (including the mice), another had to do with somehow arranging it so a woman would give birth to a goat, which would then become a sex slave–the goat, not the woman, I think he forgot there was a woman involved in that one by the time he got to the impossible goat baby–and when you read something like that, you know damn well the person writing it was writing what they were writing as bait to see how mad people would get about it.

This idiot, however, didn’t appear to get the joke and is taking his own…version of Justine very, very seriously which leaves you more with a really creeped out feeling than a, “HA! I can’t believe anyone fell for this, it’s so obviously written as over the top with intent to offend people too stupid to get the joke,” sort of thing.

So, moving on from the creepy description of childlike femininity–and who says woman like that anyway?

Ms. Femininity gets up and gives the, “Never Say A Woman’s Name In My House For Any Reason Ever” Newcomber a kiss and he just sort of shrugs it off, which makes her concerned but since he never bothered detailing whatever backstory these two have I guess I’m just supposed to make one up. Guessing that, because it was described as “armorous” they’re lovers but, it might have had more of an impact if he’d–mentioned that previously at some point?

This is only page sixteen, as an aside.

She was gossiping with his mom and mom let slip that he was leaving Dresden and she’s upset but again, no backstory given between these two so we don’t even know how or why she knows his mother. All we know about that relationship is that his mom grosses him out probably because of the sex dungeon thing, which is a fair reason to not want to visit your mother’s house.

So he’s pretty meh about the kiss hello, she loses her mind about it and says he’s being cruel then flings herself onto the sofa for a good cry about which he doesn’t even care.

His name is Leigh, apparently, which is a perfectly common German name, as is Newcomber..

And she’s–Tahitian (but upper class, he’s emphasised that, can’t have him screwing around with a commoner from Tahiti, obviously) and grew up in…Honolulu and got married to a US Navy officer two years before she met the guy in Dresden that she just kissed and is now crying over while the author scrambles for a backstory.

Great, got married at sixteen, is now referred to as a “child-wife” and somehow his deployment from Honolulu landed her in…Dresden.

He should have known not to leave her alone in Dresden because, since she’s Tahitian, that means she’s just going to start cheating on him the second his back is turned (which appears to be what’s happening here).

An entire page later, we find out her name is Obera, and the guy whose mom has a sex dungeon who straight up ignores her is apparently the love of her life despite the fact that all we’ve seen so far is that he’s straight up not the least bit interested in her.

That finally ended and we’re back to her crying on the sofa and he tells her to knock it off because it makes him feel mean–when he was just mean to her not even two full pages ago. Leigh’s got a terrible memory, I guess.

“Finely-molded limbs”. Stop it.

A few paragraphs of Obera going on about how Leigh’s sister, Mizpra, is a complete and utter bitch and Leigh agreeing with her that Mizpra is, in fact, a complete and utter bitch. I might be too if my name were Mizpra.

At this point, in the middle of Obera trying to explain some theological lecture she attended, the author butts in to tell us that the lectures are FACTS then references some article in Popular Science Monthly from May 1989 called, “Witchcraft in Bavaria” right after Leigh starts talking about how Dresden has lousy weather and they’re going to the Rhine because the climate is that much different–five hours barely South and mostly West of Dresden, though it might be closer depending on where along the Rhine they’re going; its a river, and it’s not exactly a short one.

It also apparently has a climate similar to Honolulu which tells me he’s never been to either place but, it’s fiction, so why the hell not?

I’m only on page 22 now, as an aside.

Suffer with me, this is awful.

So he’s already planned this whole thing, someone named Frau Leidmann will lie to everyone and tell them that Obera is traveling with some old woman, he’s sending a telegram from…New York asking her to meet some made up person in Hamburg which, incidentally, is five hours North of Dresden and if you’re trying to aim for a warmer, closer to Honolulu climate here, you don’t want to be going North but okay, fine, we’re going to Hamburg.

Author really ought to have consulted a map before writing this.

“Was it right that he should take her with him and wreck her life?” Um–if you have to ask…

Wonderful, well, at least by now she’s 18 because she got married two years previously at 16.

By page 23 he’s essentially admitted he doesn’t like her much at all but she’s hot and young so he’s going with that. Not creepy at all.

“He would throw her aside as he would any other obstacle. Was this love?” …no. We established that two paragraphs ago when his thought was straight up that he didn’t love her.

Can’t take her back to the US with him but–he’s–that part was never mentioned at any point, as far as we’ve known until page 24 is that the guy lives in Dresden, his sister is a bitch, and his mom has a sex dungeon.

Nothing dignified about his appearance, likes his laboratory, doesn’t have a real job, nobody understands him, I’m starting to think it’s less that his sister is a bitch and more that he’s just kind of a whiny creep.

So, that’s the end of chapter 1.

Chapter two starts with him explaining why he named one of his dogs Bridget and why he’s mad that Obera could not possibly care less. I couldn’t possibly care less either but he explains it anyway in the weirdest possible way, “They do not associate the name with the beautiful, refined, and historically interesting woman who gave it such prominence. How can you associate a noisy, china-breaking, red-headed, befuzzled, opinionated ruler of the kitchen with Bridget the Goddess of Poetry, the Gaelic Muse, the sentimental, impulsive Sappho of ancient Ireland?”

Man, don’t talk about your dog that way, just don’t. I don’t like where you’re going with it.

Dagda gets a much shorter, “he was the all-king, almost the Zeus of ancient Ireland.”

Ah, and Obera is, of course, a princess. A Tahitian princess.

From Honolulu.

Which is famously in Tahiti and not a six hour flight–a thing that didn’t exactly exist in 1901 so I’m assuming it would have taken a hell of a lot longer by boat–North on an entirely different set of islands.

Okay.

You know, at least de Sade knew where physical locations of places were.

Do you know how bad something as to be that, not even 35 full pages in, you can not only recognise it as a direct derivative work of the Marquis de Sade but also have it be abundantly clear that it’s, like, a version of it so poorly done that the only reason you’re still reading it is because you kind of now want to see just how much more idiotic the story can get?

That’s what this book is like.

“He arose and went to her, took her on his lap, and talked to her as though she were a child.” No. No, stop that right now.

Four pages of him explaining that the reason why he ordered, ordered, her to read a childrens book was to prove to her how all folk tales are all the same and nothing is original and something about random Greek philosophers, then Why Catholics Are Right.

I might have been as bored reading that as Obera probably was having to listen to it.

HA! SHE FELL ASLEEP WHILE HE WAS TALKING!

She has a nap, wakes up later, and has somehow…uh…received a letter from that guy she married in Honolulu basically saying, “We both made a mistake. Divorce time.” and is somehow upset by this despite it being established in the last chapter that she wasn’t super interested in him anyway as the first thing she did when he ended up deployed was start fucking this idiot of a pseudo-intellectual.

…and this is somehow Mizpra’s fault, so I’m assuming she tattled, then he straight up jumps from, “Yeah I don’t love her, she’s just hot I guess” to “I LOVE YOU LET’S GET MARRIED DEFINITELY NOT TO SPITE MY SISTER!”

That’s not sarcasm. That’s exactly what it was. Right after he does the, “I love you! I’ll marry you!” (twice in a row at that, nobody talks like that) he moves right onto “the bitch can’t laugh at you getting busted cheating if we get married” which is not entirely sound logic but that’s where we’re going.

Robert Mesney hopefully got out of this stupid plot by realising what was going on and filing for divorce.

Actually, he doesn’t even ask her to marry him he tells her that he’s going to marry her and doesn’t give her the option to object which I guess is just fine because at some point during his rant about his sister being a tattling bitch Obera fainted and he just…didn’t notice until he let her go and she fell over because of the being unconscious thing. Even then he didn’t really care, he just sort of went, “Oh.” and dropped her back on the bed.

Now she’s talking about his “aged countenance” which might be a little more fair if it hadn’t been mentioned that he’s 25. It’s not exactly old enough to count as “aged countenance”.

Apparently he’s also an alcoholic, which they keep referring to as dipsomania. Good idea, marry the 25 year old alcoholic who the plot has established doesn’t even love you (nor has he shown it at any point in their interactions apart from shouting it at her after finding out his sister told her soon-to-be-ex-husband that Obera was cheating on him), that’ll go well for everyone involved. I don’t see what could possibly go wrong here.

The servant at this place in Hamburg has been going on for five and a half pages about how Leigh is a drunk and how it’s his mother’s fault or something then just rambling on about his own family tree for no actual reason and how he’s somehow related to Leigh but also is looking forward to the time when the last Newcomber dies.

That’s chapter 2.

Chapter 3 starts with the fact that Leigh said he’d be back by lunch and it’s been three days and he’s still not back; I guess, to be fair, he didn’t say by lunch on which day.

He’s just out binge drinking in Hamburg.

Shows up four days later at four in the morning and immediately starts drinking again and none of this is a red flag for her.

Now they’re–he’s going to Paris, she’s going back to…the US from Havre, and he’s somehow decided it’s a better idea for him to not also go to the US via Havre but to instead go to Liverpool and leave from there. Okay.

This is only page 44 out of 408.

Mizpra wants to control their mother to snag most of her estate out from under Leigh, it appears as though she’s just his stepsister anyway, Mrs. Kassel is apparently a nice lady because the author hammers that point away for a good two solid pages and she’s going to New York with Obera because she apparently owns a house on Fifth Avenue.

All right.

She just randomly tells Obera that crooked noses and mental illness (sorry, “bad psychic quality”) runs in the family. Still no red flags for Obera.

Skips right to the wedding which has…no detail at all. Literally the only mention it gets after all of that build up is, “The wedding took place at Mrs. Kassel’s, who attended to every detail,” then moves right on to Leigh getting a flat in uptown and a job at a hospital and to mention that his mother’s letters were “curt, unresponsive, and insulting” for which he blames Mizpra.

Couldn’t be the fact that he ran off to the US with a still married 18 year old without telling anyone, why would that bother someone’s mother?

He either gets fired or quits at the hospital, it was never mentioned either way, and has irregular work so now they’re behind on bills and Obera’s “condition” requires quiet and rest and…Mrs. Kassel to take her on a vacation I guess. Time skip from spring to autumn and, to nobody’s surprise, Obera comes back with a baby and her idiot of a husband is still unemployed and also didn’t seem to notice or care that she was gone (because that’s never mentioned) for almost a year.

By this point, Leigh straight up hates his mom and Mizpra is a “moral criminal” but it’s not explained how, just that she is.

Mom, Mizpra, and a whole bunch of their maids suddenly turn up at an uptown hotel and he just–takes off to go and see them despite having spent the last few pages going on about how he can’t stand either of them.

Sister’s got masculine handwriting which is somehow important to know.

Oh, let’s see, what else are we learning about Mizpra: Large jaws, muscled neck, small hips, uncomely waist, large hands, bold frame, coarse features, a “masculine larynx” and she–author keeps refering to Mizpra as she so that’s what I’m going with here–tells him to fuck off and that she’ll call the police if he tries to see mother.

So, instead of trying to reason with her (also why did they come over from Desden if they didn’t want to see him?) he just tells her she looks like a man.

“Mother doesn’t want to see you.”

“YEAH, WELL YOU LOOK LIKE A MAN! CHECKMATE! I AM SUCH AN INTELLECTUAL!”

Great display of the long winded nonsense the author gave everyone about what an intelligent intellectual this idiot is; best he can come up with is to tell his sister she looks like a man.

He still doesn’t have a job.

It’s been almost an entire year, how have they not been evicted from that flat yet?

Oh, but he has money to go out and get trashed again, though.

And he’s rambling to the bartender about people staring at “crippled children” for some fucking reason while the bartender pretty much pretends to listen.

He drinks because he’s a genius. That’s it. That’s the reason. He’s a genius and nobody gets him so he drinks.

58 pages in and I can kind of see why this guy’s sister doesn’t particularly care for him. I don’t particularly care for him either and, so far, am kind of on Mizpra’s side on this one.

Random name dropping list of famous people who had epilepsy or who were alcoholics or drug addicts. For an entire five pages. Nothing else, just a list, until he gets to Edgar Allan Poe who apparently had a psychic incubus problem instead.

One long paragraph held together by semicolons that says nothing at all.

Five pages about how his drinking problem is literally just like lycanthropy only, instead of turning into a wolf, he just goes to a pub and does so more often than once every full moon.

Same thing though. Exactly like lycanthropy which we all know is caused by thinking you’re a genius then being mad that nobody else agrees with that self-assessment.

More internal dialogue about how everybody is an idiot except him, because he’s a genius that nobody understands.

Somehow.

A few more pages of comparing himself to Nero which is not strictly the best comparison someone could make unless he’s planning to burn New York City down.

Couple of pages of internal dialogue about how he shouldn’t have to get a job because he’s a genius and people should just pay him to grace them with his presence.

End of Chapter 4 and I can’t keep reading this anymore today. This might be the worst thing I’ve ever read and not at all for the reasons the author was intending; it’s not shocking unless you’re shocked by how badly it’s written.

It’s so bad it’s almost exhausting.

#painfully bad literature #books #I actually wish I could go back in time just to beat this guy to death with his own 400 page manifesto #about this genius that isn't even remotely close to being one #and also kind of for the whole Edgar Allan Poe was killed by a psychic incubus thing #The terrible medical advice I can kind of overlook because most of it was like that #hp rp #long post

5 notes · View notes

morphogenetic · 5 years

Text

why you should play the ds version of 999 first and not the nonary games version: a thread

excuse the formatting of this bc im copying it from my twitter as text, but: why you shouldn’t play the nona/ry games version of 999 on your first run, a thread. lots of this has been said by other people too but i figured i would condense my opinions + what other people have said. 999 spoilers ofc, also vague vlr spoilers later on but the 999 spoilers are a lot worse lmao.

this is ABSURDLY long and i am sorry but tl;dr spoiler free version: buy tng anyway so you can easily play vlr in hd and to support the games, but play 999 on either a ds or an emulator if you have to because boy howdy the story is really meant for this platform (if you’re replaying 999 in the tng version after originally playing the ds version none of this applies LMAO)

(also this isn't meant to at ALL be angry at people who played the t/ng port first! im sad y'all didn't get to experience the dual screen version, but at this point t/ng is much more accessible and a lot of people don't even KNOW about the ds-original thing, so it's not your fault!! like i WISH to god that they had ported it in some dual-screen/two-screen way, but the fact that they didn't isn't anyone's fault. ok end this part y'all are so valid i just feel sad that you didnt experience the game in its Best State)

spoilers below the cut

1) the big one: the implementation of the dual screen thing. they were always going to have a hard time implementing this on not-a-3ds, but i'll start with the non-spoilery part: action mode...is bad. the fact that they force you into it. is bad. novel mode is more passable but the fact that they default you into a mode with nearly 95% dialogue-only, in a visual novel, is..pretty gross, and the fact that they force-switch you into novel mode sometimes anyway is. maybe an indication that having a 95% dialogue route in a visual novel...wasnt good

they EASILY could have done a split-screen mode instead, and while that wouldn't have been ideal either, it would still have allowed for the incorporation of both screens simultaneously without having to make compromises

also, petty spoiler thing, but some of the dialogue rewrites to make action mode flow better took out one of my fave pieces of foreshadowing. the main example of this is in junpei's flashback thing to getting kidnapped near the beginning of the game. in t/ng, they had him voice the 'huh, did i leave that open?' line, with respect to his window being open because, you know, zero 'bout to kidnap him. in the original, this is /not/ on the top screen (i.e. voiced by junpei) - it's on the bottom screen. without quotes, i.e. it's not something he's thinking but it's there, in the same formatting as the rest of the descriptions. in other words.....zero is the one saying 'huh, did i leave that open?' in real time, foreshadowing the dual screen twist. this is SO minor in comparison to everything else for SURE but the fact that this got left out still makes me so sad bc i LOVED it. anyway.

(also the fact that the narrative mode twist of all the random gore descriptions being food-like makes WAY more sense in retrospect with the dual screens, because of course a fucking 12 year old wouldn't know how else to describe gore lmao. this is kind of lost in t/ng because it makes it out to be more of something that jun/pei is thinking but i digress. dual screen for dual protagonists good thanks)

2) (YES IT TOOK ME THIS LONG TO GET HERE. SH) the final puzzle.....in t/ng....fucking sucks. not only because the puzzle itself sucks, which uh...it does (PASSWORD IS THE PASSWORD?? FUCKING REALLY??). but a) it loses the theme-ing of the sudoku itself since, yknow. 9s everywhere but,

b) more importantly, it just...doesn't have the same punch to it. even ignoring the fact that the sudden upside-down-ness is one of the best ways i've ever seen a puzzle suddenly hit you with a plot twist/a revelation, in this case the 'oh shit, we were solving puzzles from akane's viewpoint the whole time and /only now/ are we truly doing it with junpei being the input source' is just. fucking masterful. explaining this is so hard but i promise it makes sense. like obviously the twist w the dual perspectives thing is revealed right before but the fact that they suddenly (literally) flip the entire game on its head is just. *chef kiss* so good.

also, adding to this, c) the fact that the tn/g version took out the fact that you were seeing baby!kane's face while you were doing the sudoku just adds to the emotional impact of the puzzle. like, in that moment, the puzzle itself isn't the relevant factor, it's the fact that you're doing the puzzle to save her. i no joke started fucking CRYING irl when that happened bc of how hard that hit me emotionally and the fact that they didn't even have something to mimic that in t/ng makes me so goddamn sad. it's not about the puzzle, its about Saving someone via the puzzle, and they just...removed that part. h

(also another dual screen thing here bc i forgot to add it earlier: the constant perspective-swapping thing during the true end feels much less awkward on the ds since you can just naturally shift your eyes between the screens. again, minor, and there probably was never going to be a great way to implement this with a single screen regardless, but it really does flow so much better with two screens. 3ds port of tn/g when)

3) finally, a more Controversial Opinion, but the timeline flow, while absolutely great for replays, kind of ends up spoiling you on the fact that there are multiple timelines that you have to search through for the truth. i wouldn't have minded this so much if the timeline feature in t/ng only unlocked after you hit your first ending, but they didn't do that - they let you look at it from the very start, which really..misses the point of the game.

(minor vl/r spoilers incoming) in vlr, the fact that you know you have multiple branches from the start makes sense, especially both because it's SUPER obvious that there are branching points (door choices, allying/betraying, etc). obviously 99/9 has choices like that too ala the door choices, but you're actively -not- jumping between timelines. that's the point! because junpei CAN'T jump!! he's an esper, sure, though maybe only one by accident/strong emotional connection [thats a whole different thread LMAO], but the whole point is that he can't make timeline choices in the same way that phi and sigma can literally timeline shift.

(end v/lr spoilers here i think) tl;dr the timeline feature is great for replays bc its super anti-frustration but boy howdy they did not implement it well. final point: the fact that you have to play 999 from the beginning every time you get an end makes sense narratively since akane has to do the same thing - she has to go through the whole route (in junpei's head ofc) over and over, she can't just skip around. again, anti-frustration feature that i'm glad they added, but you still lose something w t/ng this way

like ngl, having to fast forward through things instead of just skipping around is annoying as hell, but akane had to do the same goddamn thing! probably way more than we actually have to do it in the game, tbh. definitely this is me prioritizing certain limitations of the ds hardware as important to the narrative but you really do end up missing out if you can just skip at will

4) very minor thing that isnt actually a plot thing at all but some of the puzzle dialogue is infinitely funnier when you have the ability to see the characters on the top screen talking at the same time you have the puzzle stuff on the bottom screen. this mostly applies to all the stuff with the cards w all the player faces on them in the...cargo room? like it's still funny without it but somehow seeing santa talking about himself on the card when he says 'that's one handsome son-of-a-bitch!' is 500x funnier when you literally see him TALKING about himself

JESUS FUCK THIS IS LONG IM SO SORRY IF YOURE ON MOBILE

#zero escape #am i tagging this? yeah. it needs to be said lmao #999 #9 hours 9 persons 9 doors #nine hours nine persons nine doors #ok to rb #long post #(i mean i put it under a cut but. jic)

39 notes · View notes

filmstruck · 6 years

Photo

Discussing THE DEVILS (’71) with Kevin Flanagan by Kimberly Lindbergs

Kevin M. Flanagan received his Ph.D. from the University of Pittsburgh in 2015 in English/Film studies (his dissertation: The British War Film, 1939-1980: Culture, History, and, Genre). A book based on this project is under contract with Palgrave (part of the Britain and the World series). Flanagan is also the editor of 2009’s Ken Russell: Re-Viewing England's Last Mannerist and he contributed essays and an audio commentary to the critically acclaimed BFI Blu-ray/DVD boxed set Ken Russell: The Great Composers (2016). He is currently editing Edgar Wright: Interviews for the University Press of Mississippi's longstanding Conversations with Filmmakers series of books.

FIlmStruck: Can you tell readers a little about yourself and how you became interested in Ken Russell's work?

Kevin Flanagan: I'm very much of the video store generation, and my first job and academic interests somehow combined to lead me to Ken Russell's work. When I was 15 or so (this would be around 1998, give or take a year), I remember flipping channels and landing on Bravo's "Five Star Cinema" film, a designation they gave to movies whose rights they had purchased. Other films in this strand that I can remember from the time were THE MEANING OF LIFE (’83) and PATTON (‘70). Anyway, in this particular film, there was an extraordinary sequence that'd I'd stumbled into: a man sitting on a train, with a hand on his head, crouched over in repose, while shadows undulated across his face. I continued watching the film. I gathered it was some kind of artist biography, the story of a composer, but I didn't know his music and was overwhelmed by the images, to the point where I could not really retain the plot. Sadly, our regional TV listings guide did not mention the name of the film, so I was not able to go back and watch the whole thing until years later.

Soon after, I got a job at a video store (Hollywood Video) and began working my way through the back catalog. At the time, I was following recommendations from books like John Stanley's Creature Features or various Leonard Maltin guides. I remember reading about (funnily enough) THE DEVILS (not knowing who Ken Russell was) and renting it, only to be blown away. I had no formal film studies training, nor any critical experience beyond amateur reviews, but I recall thinking that the "look" of the film had a lot in common with the mystery film that I'd been searching for. Certain themes were the same—genius constrained by society, persecution over religious belief—and some actors even seemed familiar (particularly Georgina Hale). I decided to watch as much Russell as I could, and within weeks I'd purchased a VHS of MAHLER (’74) off eBay and realized that at last, I'd found the film that had been haunting me for close to two years! I was soon off to college, where I proceeded to take as many film courses as possible, as none had been available to me in high school. I found my way to cinephilia, film studies, criticism and peripheral things like an interest in serious music all through the lens of Ken Russell!

FS: Seeing a Ken Russell film for the first time can truly be a transformative experience and it sounds like his work really made an impact on you. You mentioned that your interest in Russell also led to your interest in music, and I know that classical music is often an essential element of the director’s work. How important is music in THE DEVILS and was Russell inspired by any particular composers while he was making the film?

KF: Peter Maxwell Davies (who composed the music for THE DEVILS) had a close relationship to Russell during this time. Russell produced two Davies records, featuring his Fires of London ensemble, that were released in the UK by the Unicorn label: Vesalii Icones and Eight Songs for a Mad King. He is a composer of avant-garde "serious music" that might now be called "classical". Russell was by now notorious—and beloved, in some circles—for his films about musicians. His most recent biopics of composers were on Richard Strauss (DANCE OF THE SEVEN VEILS [‘70], his last film for the BBC's Omnibus arts strand) and Tchaikovsky (THE MUSIC LOVERS [‘70], a major theatrical film for United Artists), so there is something of their bombast that can be traced to THE DEVILS. But Russell's commission of Davies to do music for THE DEVILS is comparable to his use of Derek Jarman's sets: an unmistakable modernity of detail and dressing, despite enough historically-appropriate elements that do not feel too anachronistic. The music that Davies delivered for the film is angular and angry in a way that is unmistakably contemporary. At times it feels like a Sun Ra improvisation! But the instrumentation is generally period appropriate. So much about Russell's film of THE DEVILS, just like Aldous Huxley's book, walks a fine line between a clear-eyed vision of the past and the inevitable signposting of the present.

FS: Russell wrote the screenplay for THE DEVILS but as you pointed out, it was based on Aldous Huxley’s non-fiction novel The Devil’s of Loudun. Russell must have found common ground with Huxley since they were both radical thinkers who bucked convention. Both men also grappled with censors who wanted to repress their work. What are some of the differences and similarities between Huxley’s original novel and Russell’s film?

KF: Huxley's book is a weird one. It is based on historical issues and people, but it isn't a conventional work of history. It might be thought of as a book of "ideas", in that it has long divergences away from its central narrative and into psychology, philosophy, ecclesiastical doctrine and allusions to the 1940s and 1950s (critics have noted that the book is Huxley's response to HUAC. The author had worked in Hollywood and witnessed what institutional paranoia did to many of his peers). Russell's film is full of ideas, too, but many of them are communicated visually or sub-textually, or through the gestures and camerawork. For example, scholar Christophe van Eeecke has described the film as primarily being a political allegory, and key sequences like the mummer's play that accompanies a character’s execution show the film's capacity to analyze, render grotesque and represent the world in miniature, as an echo to the viewer on its contemporary concerns.

FS: THE DEVILS was heavily edited when it was released and as far as I know, Warner Bros. has never made a complete and uncut edition of the film available to the public. Why do you think THE DEVILS is still being suppressed and do you think we’ll ever get to see a fully restored version of the film?

KF: Film critic Mark Kermode famously tracked down the extant footage of the film's most famous excised bit, the "Rape of Christ" sequence, and you can view it in his documentary HELL ON EARTH (2004). The BFI have released the film in its longest, officially available U.K. form, and this includes material not in the U.S. theatrical release. I honestly don't know why the film has not been restored to its fullest, since it is a notorious work and I'd imagine would certainly do well if marketed to collectors.

FS: Despite being difficult to see for many years, THE DEVILS has many admirers. It truly is a cult classic as well as an incredible artistic achievement. Why do you think Russell’s film generates such strong reactions and still resonates with so many viewers?

KF: As you say just now, part of the appeal in the pre-streaming era was that the film was hard to see, so tracking it down made it something of a prized object. For its detractors, the film's mix of sadism, religion and sexuality makes it dangerous. For its fans, the exposure of political hypocrisy, the examination of power and the memorable visualization of hysteria makes it essential. In terms of genre, it is an adaptation, a sort of biopic, a nunsploitation movie and a historical film with comedic elements, so it has that unique "cult" mix that characterizes a ROCKY HORROR PICTURE SHOW (’75) or CASABLANCA (’42). One of the best things you can say about it is that it is timely: it was very much of its moment in the early 1970s, but it also spoke to its historical setting and it is still relevant today.

#FilmStruck #The Devils #Ken Russell #Vanessa Redgrave #Oliver Reed #cult film #StreamLine Blog #Kevin Flanagan #Kimberly Lindbergs

159 notes · View notes