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hecallsmehischild · 3 years

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Recent Media Consumed

Books

The Silmarillion by J.R.R. Tolkien. About ten or fifteen years ago, I tried to read this and was totally overwhelmed by it. I kept it around, hoping maybe someday I might be able to read it. I finally have, and here are my impressions: WHY SO MANY NAMES. WHY YOU HAVE TO NAME EVERYBODY, AND EVERY TRIBE OF PEOPLES, AND EVERY INANIMATE OBJECT, AND EVERY LANDSCAPE FEATURE. WHY. *ahem* So. I have a general comprehension of the events of The Silmarillion, but I dealt with it by doing what you do for an impressionist painting. I (mentally) stepped way back and let all the names flow by me, and if there were names that were repeated a lot, then I mentally attached appropriate plot points and character details to those names so I could track with who they were and what they were doing. And, actually, I found myself able to hang on and enjoy the book for the most part. This is going to lead into a re-reading of the Lord of the Rings books, since I haven’t read those in about as long…

The Hobbit by J.R.R. Tolkien. I haven’t read some of these books since pre-teen years, with one required re-read of The Two Towers in high school (i.e. it’s been many an age since I’ve read these and my memory of the stories has been far more heavily influenced by the movies). In re-reading the first book, I was struck by the extreme tone shift for the Elves and Dwarves. Elves seem much closer to happy, mischievous fairies than these ethereal, solemn pillars of elegance and grace the movies show them to be. And Dwarves are far more bumbling and craftsmanlike than the movies show. Aside from that, The Hobbit was a pretty solid adaptation from the book, and the book also reminded me that this story was the first time I experienced “NO, MAIN CHARACTERS DON’T DIE, HOW DARE YOU,” and probably was the first book to make me cry. I must have been 8 or 10 years old. I FORGOT HOW MUCH THIS STORY INFLUENCED ME.

A Conflict of Visions by Thomas Sowell. I have a longer-than-usual list of things to say about this book. First is that it was just that level of difficult that I was struggling to understand while reading it (on Audible), but I think I got it. Sowell has several base concepts that I see repeated throughout his books, though he does like to dedicate whole books to specific aspects of the same topic. He is pretty damn thorough that way. So, for example, I would put this book in the middle of a three-book spectrum of similar concepts: Intellectuals and Society (most concrete and easiest to read), A Conflict of Visions (next-level abstraction, a little difficult to read), Knowledge and Decisions (root abstract concept, very difficult, I have not been able to get past chapter 2). The second thing I have to say is about a couple interesting concepts it proposes. Its whole point is to help readers understand the roots of two ways of seeing the world that come into severe conflict politically, and he calls them by their root titles: the constrained and the unconstrained visions. He traces the path of each back through the intellectuals that most spoke of them (tending to contrast Adam Smith with William Godwin and Condorcet). Though he leans heavily toward the constrained vision (based on reading his other works) he does his best to make this book an academic study of both, with both of the visions' strengths and flaws and reasoning and internal consistencies fairly laid out. In doing so, he helped me understand a few things that make this situation really difficult for people on opposing sides to communicate. One of them is that root words and concepts literally mean different things to different people. I had some vague notion of this before, but he laid out three examples in detail: Equality, Power, and Justice. It was kind of astounding to see just how differently these three words can be defined. It makes me think that arguing about any specific issues rooted in these concepts is fruitless until first an understanding has been reached on terms, because otherwise two parties are endlessly talking past each other. Another really interesting idea he brought up is the existence of “hybrid visions” and he named both Marxism and Fascism as hybrid visions. This was especially fascinating to me because I have seen the accusation of “Nazi” flung around ad nauseam and I wondered how it was that both sides were able to fling it at each other so readily. Well, it’s because Fascism is actually a hybrid vision, so both sides have a grain of truth but miss the whole on that particular point. In any case, this was a little difficult to read but had some fascinating information. For people who are wondering what on earth this gap is between political visions, how on earth to bridge the gap, or why the gap even exists in the first place, this is a really informative piece.

Movies

The Hobbit & Fellowship trilogies (movies). I mean, it’s definitely not my first watch, not even my second. But I went through it with Sergey this time and that means the run-time is double because we pause to talk and discuss details. This watch came about partly due to Sergey’s contention that Gandalf’s reputation far outstrips his actual powers, so we ended up noting down every instance of Gandalf’s power to see if that was true. Conclusion: Gandalf is actually a decently powerful wizard, but tends to use the truly kickass powers in less-than-dire circumstances. That aside, this movie series was always a favorite for me. I rated The Hobbit trilogy lower the first time I saw it but, frankly, all together the six movies are fantastic and a great way to sink deep into lore-heavy fantasy for a while. And I’m catching way more easter-egg type details after having read the Silmarillion so it’s even more enjoyable. (finally, after about a week of binge-watching) I forgot how much this story impacted me. I forgot how wrenchingly bittersweet the ending is. I forgot how much of a mark that reading and watching this story left on my writing.

Upside-Down Magic. Effects were good. Actors were clearly having fun and enjoying everything. Story didn’t make enough sense for my taste, but it was a decent way to kill flight time.

Wish Dragon. So, yes, it’s basically an Aladdin rewrite, but it’s genuinely a cheesy good fluff fest that made me grin a whole lot.

Plays

Esther (Sight and Sound Theatres). < background info > This is my third time to this theatre. There are only two of these in existence and they only run productions of stories out of the Bible. The first time I went I saw a production of Noah, the second time I saw a production of Jesus. My middle sister has moved all the way out to Lancaster, PA in hopes of working at this theatre. My husband and I came out to visit her. < /background info > So. Esther. They really pulled out all the stops on the costumes and set. I mean, REALLY pulled out all the stops. And the three-quarters wrap-around stage is used to great effect. I tend to have a general problem of not understanding all the words in the songs, but I understood enough. I highly recommend sitting close to the front for immersive experiences. This theatre puts on incredible productions and if you ever, ever, EVER have the opportunity to go, take it. Even if you think it's nothing but a bunch of fairy tales, STILL GO. I doubt you'll ever see a fairy tale produced on another stage with equal dedication to immersion.

Shows

The Mandalorian (first two seasons). Well. This was pretty thoroughly enjoyable. It felt very Star-Wars, and I’d kind of given up after recent movies. Felt like it slipped into some preaching toward the end? Not sure, I could be overly sensitive about it, but I enjoyed this a lot (though I did need to turn to my housemate and ask where the flip in the timeline we were because I did NOT realize that the little green kid IS NOT ACTUALLY Yoda).

Games

Portal & Portal 2. Portal is probably the first video game I ever tried to play, back when I had no idea what I was doing. Back then, I attempted to play it on my not-for-gaming Mac laptop. Using my trackpad. Once the jumping-for-extra-velocity mechanic came into play, I just about lost my mind trying to do this with a trackpad and gave up. Later I returned to the game and played it with my then-boyfriend on a proper gaming computer. Now, after having played several games and gotten better at "reading the language" of video games, I decided I wanted to see if I could beat the Portal games by myself. Guess what. I BEAT 'EM. Yes, I remembered most of the puzzles in Portal so that's a little bit of a cheat, but I'd say a good 2/3 of Portal 2 was new puzzles to me. It is crazy how proud I feel of myself that I could beat Portal 2, especially. Learning how to play video games at this age has really knocked down the lie, "You can't learn anything." Though I still suck at platformers and games that require precision. Since I find those types frustrating, I probably won't be playing many. Games are about enjoyment, so I'll push myself a little, but not to the point where I can't stand what I'm playing.

The Observer. I like the concept and the art but I don't think I could keep trying to play this game. It's really depressing. My in-game family members all died of illness or accident or committed suicide. I also kept getting executed by the state. In order to keep us all alive I'd have to do pretty terrible things that I have a hard enough time contemplating even in a fictional setting.

Baba Is You. Fun and interesting concept, but I got stuck pretty early on. Don't think I want to push as hard on this one.

#recent media consumed #n00b gamer child #child loves books #child loves movies #child loves shows

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katsidhe · 3 years

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Ranking Every SPN Season Finale

15) 11.23 Alpha and Omega. Dead last because not only is Chuck and Amara’s conflict defanged with a frankly silly anticlimax, but a lot of runtime is eaten up with establishing Lady Toni getting on a plane. The great weakness of an otherwise very strong season is that none of the awful compromises Sam and Dean and Cas made (especially Sam wrt Lucifer) ended up having relevance at all.

14) 9.23 Do You Believe In Miracles. Cheesy dying dialogue, Metatron hamming it up for way too long, that facepalming “the radio was on the whole! time!” twist, uncertainty as to the motivation of the whole confrontation that ends in Dean’s death. Also, this is the beginning of the end of walking back the beautiful work the rest of s9 established, with Sam saying things like “I lied.” I don’t like Dean’s death here at all, in staging, or conceptually, or thematically.

13) 12.23 All Along The Watchtower. I am basically obliged to put this in C tier because it is quite silly, but frankly, I like it more than its ranking deserves. It has the late season finale sin of cramming in an introduction to next season’s conflict in the middle of wrapping up this season’s—but it’s absolutely hilarious that they brought in multiverse portals. And for Sam and Dean, thank god the portal appeared, because otherwise they had absolutely no plan whatsoever to deal with Lucifer, and they probably would have died gruesomely. High points: Sam discovering Rowena’s death on the phone with Lucifer; the spooky introduction of Jack, the raised stakes with Mary trapped with Lucifer. Lowest point: the utter silly pointlessness of Cas’s death.

12) 10.23 Brother’s Keeper. This is the finale that I have the strongest mixed feelings about. There is a queasy lack of self-awareness in the treacly sentiment when Sam presents family photos as evidence of Dean’s goodness. The excuse of MOC!Dean as not the “real” Dean allows for the reasons behind this confrontation to be elided, even as its themes are echoed again and again. The chilling horror of Sam on his knees in front of Dean the executioner is potent and darkly enjoyable, but the instant redirection into attacking Death prevents any kind of real culmination. I can’t decide if I like this episode or loathe it, but I do think I appreciate it more now, after 14.20 and 15.17, than I did when it aired.

11) 7.23 Survival of the Fittest. We’re on to B-tier! There’s nothing significantly wrong with 7.23. Meg crashes the Impala through a glass sign, so that’s fun. Kevin’s there. There’s action, there’s some cool stakes for next season established, Sam is left alone, which I love. The main sin here is just that most of it is fairly forgettable, because the strongest part of s7 was always the psychological drama of the Winchesters’ disintegration and isolation, not the physical conflict with Leviathans.

10) 14.20 Moriah. Lots of my points about 10.23 apply here, but Moriah is a much better episode, both because there is actual conflict of opinion, and because there is a lot more built-in uncertainty about Jack’s fate than Sam’s. Jack and Dean are onboard with Jack’s murder, just as Sam and Dean were agreed on Sam’s death in 10.23, but this time Cas is staunchly against it, and Sam is on the fence, torn as to how to intervene. So it’s much better drama. But then the crux of the issue gets defanged by Chuck’s reveal. Great s15 setup, but kicks the 14.17-14.19 build down the road. Extra points for Sam shooting God.

9) 13.23 Let the Good Times Roll. I fucking love the 13.21-13.23 arc. The only thing preventing 13.23 from being A-tier are some wholly avoidable mistakes. The staging is silly; a face-palming amount of time was wasted on Maggie; the wires were a deeply regrettable choice. But even with all that, what we got was great, actually! The Sam-Jack-Lucifer church custody battle is still my favorite goddamn thing. Dean saying yes to Michael was both his only smart move and a devastating sacrifice. The character dynamics here are so JUICY. 13.21-14.01 is, IMO, one of the most fertile grounds for fic and speculation in the entire show.

8) 2.22 All Hell Breaks Loose, Part Two. Now we’re into finales that are fantastic without reservation. Off the devastation of Sam’s death comes Dean’s iconic deal. The actual confrontation in the graveyard is good too, though it’s second to the way we’re all reeling from part one. Azazel dies, Sam and Dean are bloodied and facing down new stakes. The only thing I dislike about this episode is John’s cameo.

7) 1.22 Devil’s Trap. This is the episode that ups the ante! Azazel in John, and Dean, and Sam, and the delicious family dynamic here; the stakes are so personal, and it’s a great examination what each of them is willing to pay for their quest: an electrifying taste of what’s to come. And the music, and the sheer fucking balls of just, crashing a goddamn truck into your main characters at the end of the first season. Nice.

6) 3.16 No Rest for the Wicked. Lilith is delightfully evil. We’re on tenterhooks for Sam to save Dean, we’re narratively primed to expect him to pull off something amazing, a last-minute miracle. But—nope! Sorry! Dean gets graphically ripped apart onscreen and now he’s being tortured in Hell! Shocking and bold, and a crucial turning point in the series.

5) 4.22 Lucifer Rising. Fresh off 4.21 comes an excellent culmination of season 4′s devastation. The reveals from both Ruby and the angels, Sam draining the possessed nurse, Cas at last choosing to betray Heaven, and the final arrival of Lucifer: it all just works, really well.

4) 15.20 Carry On. Part of the reason I’m ranking this so highly might be spite. But goddammit, bad wig and worse Carry On cover aside, this is a good episode, and a really, really good series finale! The deliberate anticlimax of Dean’s death, the quiet strength in Sam’s grief, the untroubled, unrushed pacing of Sam’s recovery and aging, and Dean’s drive. Supernatural said Sam Rights, and I wept like a tiny little baby.

3) 6.22 The Man Who Knew Too Much. Adventures in Sam’s mind! Cas and Crowley and Raphael and the double cross! The taste of cosmic horror! The end of season 6 and beginning of season 7, as Sam and Dean cope simultaneously with Sam’s psychological fallout and the consequences of their most powerful ally going off the rails, is fantastic. I love the literalism and the symbolism of Sam’s reintegration: this is an unapologetically Sam episode (as are the other top four, come to think of it).

2) 8.23 Sacrifice. Sam’s heartbreaking deterioration in the church and Crowley’s disintegration are an electrifying climax to the trials. Dean and Sam’s final exchange is a breathtaking combination of raw emotion and delirium and a fascinating guilt trip. It’s a visually and conceptually stunning episode: the angels fall burning against a night sky; Sam surrenders the trials and collapses, dying.

1) 5.22 Swan Song. You knew this would be number one, I knew this would be number one, we all knew this would be number one. It’s iconic for a reason. Sam and Lucifer talking through a mirror; the loss of all hope and the sky-high stakes. Stull Cemetery is the defining moment of so, so much of the rest of the series. Dean’s loyalty gives Sam the strength he needs to bury himself alive forever with his worst nightmare, and it saves the world, and it’s the highest cost either of them has ever paid.

#1.22 #2.22 #3.16 #4.22 #5.22 #6.22 #7.23 #8.23 #9.23 #10.23 #11.23 #12.23 #13.23 #14.20 #15.20 #ranking

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calamity-bean · 4 years

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16 new horror films i’ve watched at random lately just cause i’ve been in the mood for horror

Been thinking about horror today, and fun fact, I’ve actually been fairly DEVOURING horror films of late! Sixteen new ones in the past couple weeks, in fact, according to the little list I’ve been keeping! New to me, that is, though they do all happen to be very recent releases (2016 at earliest). Horror is a genre with which I often like to pull up Netflix or Hulu and just pick at random some film I’ve never heard of and don’t know the first thing about; I feel like it’s a genre that depends so much on personal taste and that encompasses such a wide variety of tropes and approaches that I never entirely know whether I’ll like a particular film until I try it. It’s a gamble, sure, and sometimes it’s a dull or infuriating couple hours... But I love horror in general, and I feel like it’s a genre in which even terrible films often stir my imagination with the potential of their premise if not the brilliance of their execution. And you do find those hidden gems.

Anyway, since I love to hear myself talk, I thought I’d share my quick impressions of the ones I’ve watched lately, in case any of you are also in the mood to stream something new! These are (almost) all currently on Netflix or Hulu, so have at it. No specific spoilers; mostly just whether I liked it or not and why. I added a few content warnings where I remembered any elements that, to me, went beyond genre-standard levels of content or involved specific common triggers, but, I mean, they’re all horror films, so do your due diligence if necessary and do expect some level of violent or disturbing content in all of them.

The sixteen films in question are: Sweetheart (2019); The Lodge (2019); Mercy Black (2019); What Keeps You Alive (2018); Cold Skin (2017); The Golem (2018); Rattlesnake (2019); We Summon the Darkness (2019); The Wretched (2019); They Come Knocking (2019); Pyewacket (2017); The Other Lamb (2019); The Silence (2019); Body at Brighton Rock (2019); Under the Shadow (2016); and Seven in Heaven (2018).

Brief descriptions and impressions and such under the cut!

Sweetheart: Survival/monster horror about a young woman who, after the boat she and her friends were on goes down in a storm, washes up alone on an uninhabited island… and then realizes she’s not entirely alone. Quite liked this one! Like almost any horror movie, it suffers from the fact that monsters are almost ALWAYS far scarier (and far less cheesy) before you actually see their CGI rendering chasing the protag, but that’s typical, we’re used to that. The protagonist is smart and capable, and the actress (Kiersey Clemons) has to carry so much of the film solo and often with very sparse dialogue. Warning for mutilated and decomposing corpses.

The Lodge: A woman who as a child was the only survivor of a cult winds up stranded with her new fiance’s two children in a remote, snowbound lodge. This one was pretty dark! I love themes of cold, isolation, and losing connection with reality, and I think the whole cast does a great job; the acting and production are overall high quality. Not sure it captured my imagination enough for a rewatch, but I did enjoy watching it. My fellow Barkskins fans will notice a few glimpses of our own Renardette. Warnings for onscreen suicide, pet death, and psychiatric/medical manipulation.

Mercy Black: A young woman returns home fifteen years after, in her childhood, being involved in a disturbing act of violence inspired by an urban legend called Mercy Black. I like the concept behind this one, in terms of the urban legend, the protagonist’s relationship with it; I liked the overall film okay, but I found certain aspects a bit cliche or thinly sketched. Standard supernatural horror levels of violence and spookiness, imo.

What Keeps You Alive: For their one-year anniversary, a young couple vacation to a remote house in the woods, where the protagonist begins to learn some strange things about her wife. I really enjoyed this one. It might be my favorite on this list, and certainly one of the ones I’m more likely to watch again. It’s well structured, well made, with a strong, compact cast, and it’s gotten the song “Bloodlet” stuck in my head for weeks. However, you will probably not enjoy this one if, as I know is the case for some people, you would rather not consume content that depicts LGBT relationships that are unhealthy or LGBT characters who are villainous. I get where you’re coming from, but it means this one probably isn’t for you. It also isn’t for you if you would rather not see some quite brutal injuries.

Cold Skin: Okay, this is the only one that wasn’t actually on streaming, I checked this out from my local library. Set in 1914, a young man takes a post as a meteorologist on a remote island in the South Atlantic, inhabited only by the unfriendly lighthouse keeper… and the creatures that crawl onto shore at night. Gosh… How do I feel about this one? There are aspects that are cheesy, effects that don’t entirely hold up. But I liked it. I like the idea of it, and I like the themes of isolation and connection, and I like the protagonist and overall I think it’s a solid and interesting narrative. Sort of… The Terror meets Lovecraft. Warning for offscreen (but audible, and almost visible) sexual assault.

The Golem: Set in the late 17th century in a rural Lithuanian shtetl, a woman creates a golem to protect her community from the threats of Christians who blame her people for the plague. Thematically, this one centers largely around motherhood, which I think makes sense with how it’s done here, and I always like the supernatural elements of a horror film to have a very strong, personal thematic link with the protagonist’s emotional character arc. Stars Maman Brigitte from American Gods! Warning for mentions of miscarriage and themes of child death.

Rattlesnake: After a mishap on a remote highway, a woman unknowingly makes a deal with the devil in order to save her young daughter’s life. I liked this one as well; I found the protagonist enjoyable, the overall concept straightforward but engaging, and the hot, arid, rural setting — I think it’s supposed to be around Palo Duro? — an effective backdrop. Not spooky-scary, but nice tension throughout.

We Summon the Darkness: Set in the 80s, three girls travel to a heavy metal concert despite the string of recent killings apparently committed by a Satanic cult. This one is basically a slasher flick — with a twist, yeah, but essentially the slasher model of teens plus extensive violence — and I think it’s a pretty decent one. And I liked the hair and costumes, ahaha.

The Wretched: A teenage boy becomes convinced that his new neighbor has been possessed by something evil. I like the narrative and the characters in this one okay, but where I really have to give it props is in the overall visual presentation of the supernatural threats; it’s able to lean into uncanniness and human body horror that work well on film rather than presenting a creature created wholecloth (which, as I mentioned earlier, often doesn’t work super well).

They Come Knocking: On a drive into the middle of nowhere, a father and his two daughters hear something knocking on their caravan at night, asking to be let in. Okay, so… this one is a black-eyed children story (with a setup reminiscent of ye olde Anansi’s Goatman, too, in a way), and I have to admit that black-eyed children are one of those tropes that doesn’t work for me even as a creepypasta, it just strikes me as lame and dumb. And I did find the actual children in this film to be, well, cheesy and dumb-looking. But the human side of the narrative — the characters and their relationships and emotional aspects — is actually pretty well done! So I found it engaging enough in that regard.

Pyewacket: A teenage girl who has a difficult relationship with her mother lashes out by trying to summon a demon to kill her, only to regret the ritual right away. I think this one was well done, too, pretty dark, with a spooky forest setting and some genuinely creepy glimpses of the supernatural threat. I am also delighted to discover that Pyewacket is actually the name of a familiar spirit according to the confession of an accused witch in the 17th century. (Not delighted by the fact that this poor 17th century woman was tortured for being an alleged witch, but delighted that there’s a little historical inspo here.) Warning for a fairly graphic death by burning.

The Other Lamb: This one is not horror as in “scary” but horror as in thematically disturbing and a little eerie. A young girl who’s been raised in a cult — all female except for their leader, to whom all the members are either wives or daughters — begins to question her faith. Slow, quiet, and a bit surreal, with some slightly feral-woman themes that are up my alley; I think I enjoyed it? The cast is quite good, especially the protagonist (Raffey Cassidy) and cult leader (Michiel Huisman with, I gotta say, some truly lovely hair). Warning for onscreen but nongraphic (as in, clothed and not showing anything below the neck) sexual assault of a minor.

The Silence: A deaf teenager and her family struggle to survive amidst an apocalypse of deadly monsters that attack based on sound. No, I’m not talking about A Quiet Place. I do feel a bit sorry for this film, because I know that it was conceived of and began production well before A Quiet Place came out, only to essentially be doomed by its striking similarity to such a successful film… And honestly, it’s not as good as A Quiet Place; it’s cheesier, there are more plot and character holes, the ultimate main threat feels disconnected from the premise, and the core theme/character arcs aren’t as cohesive. But it’s not TERRIBLE. It’s more of a B-movie-esque monster/disaster flick, is all. And I like Stanley Tucci, so at least he’s always fun to watch.

Body at Brighton Rock: An inexperienced parks employee gets lost in the backcountry and has to spend the night watching over a (possibly murdered) body she stumbles across while awaiting rescue. This one… hm. It’s like, I didn’t hate it? But it was frustrating. It reused the same scares / fake-outs multiple times, and even by horror movie standards the protagonist was maddeningly careless. I think it was all the more disappointing because I do like the setting and premise but felt it could’ve been better.

Under the Shadow: In 1980s Tehran, during the air raids and missile strikes of the War of the Cities, a woman begins to fear something evil is stalking her young daughter through their emptying apartment building. This is another top fave, and I think overall the most well constructed film on this list in an objective sense. Strong narrative, strong characters and acting, a really great atmosphere of claustrophobia and tension and dread, and an interesting and effective setting. Would absolutely watch again.

Seven in Heaven: At a house party, two teenagers enter a closet as part of a kissing game, and they exit into a parallel universe that is similar but different in striking ways. This one was, hm… okay? I felt like it could’ve gone so much farther with the potential of alternate universes, in terms of really making them weird and interesting, and although I don’t expect a film to spell out everything for me, I just thought that the whole underlying mechanism of what was happening was left too unexplained. Also, the background characters looked like they were played by actual high school-age teens while the main characters looked like your standard Hollywood 20-something “teens,” which created kind of a weird dissonance lmao. But it was okay.

Overall, I didn’t HAAATE any of these; most were fine, some I found less engaging or more frustrating than others, and some I really enjoyed. I did start and then not finish a few more as well... I watched about 20 minutes of Black Rock (2012) before deciding I wasn’t in the mood for where it was going, and I just barely started We Are What We Are (2010) but realized I was too tired and distracted by other things to pay enough attention to subtitles at the moment. On a not strictly horror note, but it’s still thriller so we’ll toss it in, I got a ways into The Killing of a Sacred Deer (2017) because that’s a helluva title and I wanted to see Barry Keoghan’s work outside Dunkirk (the only film I’d seen him in), but man, that’s a weird one huh, very slow, very odd style of dialogue. I’ll still likely finish some or all of those at some point, but I just wasn’t in the right headspace when I first tried.

Anyway, this has been me telling you what movies I’ve been watching! I’m sure you’re enthralled. And please always feel free to talk horror movies to me or send me recs!

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gojoyogurt · 3 years

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Jujutsu Kaisen Christmas!!

jjk headcanon!

characters: every character introduced in the anime so far! and you of course hehe

plot: everyone is invited to jujutsu tech for a christmas party, including the unidentified special grade curses that have the ability to talk but... ITS CHRISTMAS.

as you guys were preparing for the party in the function room, panda kept trying to eat all the snacks so nobara had kept trying to hold him back (to no avail because she eventually got crushed underneath him)

gojo... was nowhere to be found OBVIOUSLY and the curses gang were just chilling outside. you were lowkey praying that jogo wouldnt set anything on fire before the party even started.

megumi was just hanging around with itadori and junpei, playing with his gyokuken (divine dogs) [honestly wouldnt that just be so cute]

you, maki-san and mai-san were busy setting up everything and also having small chit chats here and there.

since gojo wasnt there yet, ijichi-san was everywhere, both panicking and pissed since gojo was NEVER on time no matter what the event was.

nanami couldnt be bothered anymore to settle the situation so he was quietly reading at one corner.

inumaki was just vibing to the christmas music playing in the background with panda after wrestling with nobara.

before the party started, a very popular christmas song that was trending on vikvok started playing, being the great senpai he is, todo dragged itadori to the middle of the room to start dancing with him alongside inumaki and panda.

it was already around 7.30pm and gojo wasnt there yet so yall just decided to start without him to not waste anytime

everyone gathered around the table that had food on it, “LETS EAT IM STARVING” jogo suddenly screamed in the room with his fire coming out of almost every hole in his head.

“now now, jogo, be patient.” mahito calmly cooled down jogo to prevent the fire hazard from creating havoc during the party.

“who thought it was a good idea to invite the curses here...” megumi sighed as he shot eye darts at junpei, which junpei completely avoided.

“c’mon!, the more the merrier!” you said as you thought that they really shouldn’t have come, but it was all the make junpei happy so...

as the party started, everyone was just going around getting food. everything was smooth sailing until... itadori suddenly spreads cake icing over megumi... yeah megumi was both pissed and confused at the same time so he chased itadori around the table. itadori was laughing his ass off while he had a raging megumi chasing after him. thankfully the food was fine so all is good so far.

after about AN HOUR, gojo finally shows up. “hey guys! what did i miss?” gojo said cheerfully. however, a dark ominous shadow appeared behind him and whacked his head so hard it made the whole room go silent.

“not even an apology?” nanami reprimanded gojo while staring down at him.

since an hour has passed, it was already time for the next thing on the agenda so gojo didnt even have time to eat the moment he arrived, he was okay nonetheless.

Game time!

the first game was something like blinfold elimination? im not too sure about the name. the way to play is:

two members of the team are blindfolded and is waiting outside a ring that has balls scattered everywhere

in order to win, the two blindfolded team members have to eliminate the other teams blindfolded members by finding a ball and throwing it at them

however, since they cannot take of their blindfold, the remaining team members will have to guide them to find the balls and help them to tell them roughly where and when they should throw the ball.

the non-blindfolded team members are not allowed to throw the balls and use their cursed energy.

the rules were fairly simple so yall split yourselves into 4 teams.

the 8 blindfolded people were itadori and inumaki, panda and aoi, mahito and mai, nanami (he was dragged into it) and nobara.

you were on mahito and mai’s team so you decided to just guide mai along since you were a lottle uncomfortable with mahito. jogo was there for him anyways and they make a better team.

gojo started the game by screaming and suddenly the room was filled with desperate screams to get the ball.

balls were flying everywhere and people were already crying of laughter because of the scene.

itadori kept scurrying along the floor like an insect which made everyone laugh but he couldn’t be hit no matter what.

as time passed by, more and more people got eliminated, including mai-san and the only people left were nanami and mahito. (oooo the matchup)

the rest were frantically screaming everywhere that they should go and throw in a certain direction.

it felt so tense yet so fun at the same time so it was pretty enjoyable to watch.

finally nanami hit mahito with the ball and the game was over. “good game, jujutsu sorcerer” mahito said in defeat while shaking his hand. “i only do what im supposed to” nanami nonchalantly replied as both enemies walked away from each other

the game took WAY longer than expected so it was time for the exchange gifts!

Exchange Gift time!!

yayy its exchange gift timee.

everyone gathered together and sat in a circle in the large empty space of the room with their gifts in hand.

“okay! lets all pass around the gifts until the music stops!” you announced as you started the music.

all the gifts were just travelling everywhere in very different directions including across the room.

you stopped the music and everyone made sure that they each had a gift in hand.

all of you took turns opening up the gifts and there were actually some pretty funny ones. by a huge coincidence itadori got a sukuna finger cake that was made by mai-san. it didnt look the best but.... hey the effort counts.

you opened up your gift and you found a keychain of megumis divine dogs. you guessed that it was from him and to no surprise it was. you found it so cute you immediately attached it onto your bag.

after opening your gift you proceeded to just watch the others open theirs. some of them were quite ridiculous as mahito got a hanger and jogo got a can opener.

it soon came down to the last person nanami so he opened up his gift slowly, he tore one side open, peeked inside, and immediately closed it. “whoever bought this gift must be very childish...” he said in disappointment

itadori ran towards him and ripped open the present and realised, it was a maids outfit.

everyone burst into laughter just imagining nanami in a maids outfit. “h-hey! who gave him that HAHAHAHA” itadori asked as he was rolling on the floor with his hands over his stomach.

gojo slowly raised his hand up and was already at the door, ready to escape.

nanami slowly rised, “please excuse me” he said calmly and he bolted out the door to chase gojo

that sight made everyone laigh even more until they had no more energy to laugh.

by the time they returned with gojo semi beat up, everyone was so out of energy and just lying down on the floor while listening to christmas music play in the background.

“should we pack up now? its also quite late” panda asked and everyone nodded in agreement.

everyone helped to pack up the remaining food and clean up the place before leaving.

once the whole place was clean, everyone siad their goodbyes and left in different directions.

andd there it is! MERRY CHRISTMAS EVERYONE!!! hope you guys enjoyed this and i also hope you have a fun time with your families today! hopefully you get the gifts you want too HAHA. i may or may not post on new year’s but ill try if i can. ill be quite busy starting 2021 since thats when school starts, ew, but ill still try my best to post every now and then so please forgive me if im inactive! anywho, besides all that, please stay safe and have a merry christmas and a happy new year yalls! see you guys soon!!

#jjk #jujutsu kaisen #anime #jjk christmas #merry chrysler #merry christmas

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marvella15 · 4 years

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Astaire & Rogers Rewatch Part 7: Shall We Dance

• Something I didn’t consciously realize about this film until reading Hannah Hyam’s book is that Astaire and Rogers don’t dance together until nearly an hour in. That hasn’t happened since Gay Divorcee. What was anyone thinking??

• Shall We Dance suffers from a lot of extra crap that it didn’t need, such as extraneous characters, far too many interruptions in the Astaire and Rogers relationship, and a bunch of weirdness like life-sized dolls, life-like masks, and backbending ballerinas. The film also has a lot of wasted potential, including a great score and songs by George and Ira Gershwin.

The Gershwins were already well acquainted with Astaire and Rogers. The duo had first met when she was starring in the brothers’ show, Girl Crazy, and Astaire was brought in to help with choreography. Rogers was close friends with George and even dated him. Astaire had known the brothers prior, having starred in a few of their shows with his sister, Adele.

• Our characters/actors: Peter “Petrov” Peters (Fred Astaire), Linda Keene (Ginger Rogers), Jeffrey Baird (Edward Everett Horton), Arthur Miller (Jerome Cowan)

• Around the time I was first really into classic Hollywood films, including these ones, my family and I adopted a new dog. I annoyed my parents to no end by suggesting we name him Peter P. Peters. Don’t know why I latched onto that name but I did.

• Even in the massive portrait of Petrov, you can see Astaire has his fingers curled in rather than fully extended.

• Astaire’s ballet attire lets us once again see just how skinny he is.

• Always loved how Peter does a little tap at the rhythmic sound of his name and birthplace: Pete Peters, Philadelphia PA.

• Rogers’ cardigan with all of its baubles is truly awful looking. It will only be out done by a terrible floral dress she wears later.

• I do however like that she shoves her handsy stage partner into a fountain. Why are men constantly the worst?

• “And why must there always be a kiss at the second-act curtain?” is YET ANOTHER example of these films trolling us. Not once up until this point has any act of an Astaire/Rogers outing included a kiss between them.

• Linda’s disinterest in even meeting Petrov is based on the assumption that he’s a “simpering toe dancer.” While that’s incorrect, she’s not wrong that he is indeed another man who has seen a picture of her and wants to tell her he can’t live without her. So she gets partial credit.

• If Peter wasn’t totally smitten before, Linda’s jab, “It’s just a game little American boys play” gets him.

• As a mixed race number, “Slap That Bass” is incredibly unusual for the era. Astaire was a great admirer of African-American dancers and was strongly influenced by Bill Robinson and John W. Bubbles. I love the blend of all of the voices in this song.

• The dance portion of “Slap That Bass” gives Astaire a chance to show off more of his innovative mind and choreography. He dances in time with the sounds of the ship’s engine and compels the camera to follow him across and up the vast set. The dance is also special in that we have behind the scenes footage of Astaire rehearsing, thanks to a home video shot by George Gershwin.

• Peter making Jeffrey believe the boat is rocking may seem a bit unbelievable but having been on a large ship myself, sometimes you don’t realize it’s rocking until you see other passengers weaving or a giant chandelier swaying.

• I usually skip most if not all of Jeffrey and Arthur’s scenes together. They slow down this film soooo much.

• Like in all of their films, songs are sometimes heard in the background before the actual musical number they appear in. But because this film is scored by the Gershwins, there’s an array of shorter pieces of music that are all their own, such as the whimsical score heard while Rogers and then Rogers with Astaire are walking her dog.

• The dog Peter borrows to give himself an excuse to talk to Linda hits his bark cue perfectly and looks extremely happy about it.

• I would love to know what exactly Astaire and Rogers are talking about while walking her dog. Maybe they were given lines that were then not recorded or maybe it’s improv. But it seems very natural.

Rogers did say that Astaire was a wonderful conversationalist and was adept at talking while dancing, something she noted most men couldn’t manage.

• Wow do I love it when Rogers gets to be extra sassy

Peter: “Isn’t it wonderful being here tonight like this? Still on the same boat together.”

Linda: “Oh, I seldom change boats in mid-ocean.”

• “Beginner’s Luck” is such a charming, fast song that Astaire delivers wonderfully. He hardly seems to take a breath.

A jazzed up version of “Beginner’s Luck” is the song Peter tried to dance to in Paris but the record kept getting stuck.

• Something this movie fails at is letting Linda and Peter’s relationship continue to progress before throwing more obstacles in their way. We know from the gossip of the ship’s staff that they have been spending a lot of time together. When we see them, they are having a relaxing evening that’s incredibly domestic: sitting side by side on the deck while she knits and he smokes. Wouldn’t it have been nice to see more of this part of their relationship?

• Why on earth did Peter think sending Jeffrey to fix the false baby rumors was the right decision? Jeffrey can’t handle a single thing.

• Infuriated at the rumors that she’s married to Peter and pregnant with their baby, Linda tries to call him. “Operator! Get me Mr. Petrov. What? Don’t you dare congratulate me!”

• The theme of this movie is supposed to be the blend of dancing and music styles. Peter’s ballet and Linda’s jazz styles are one example, George Gershwin’s varied score, which switches from jazz to waltz to foxtrot to classical, etc, is another. But it’s a fairly weak concept that doesn’t quite land and reportedly, neither Astaire or Ira Gershwin was wild about it.

• I love the new version of “Slap That Bass” that plays as Peter and Jeffrey enter the rooftop club.

• When Rogers sings “They All Laughed,” she is singing to an off-screen Cary Grant, her friend and sometimes date who was visiting the set at the time.

She is also wearing a dress with a horrible pattern. It’s supposed to be floral but it always makes me think of amoebas. Maybe it looked better in color?

• Astaire clearly has fun during the part where Peter hams it up a bit with his ballet next to Linda’s tapping.

• In some ways, “They All Laughed” is reminiscent of “Isn’t it a Lovely Day.” They’re testing each other, trading glancing as they see whether the other can keep up with the increasingly complex steps. Until now, Linda didn’t know Peter could dance this way so her surprise and amusement unfolds slowly as the routine progresses. But he has been grinning since the start because he’s hoping to win her back through this dance.

• This is another duet where it takes a long time before they touch. The first physical contact is just her executing a series of spins with the help of his fingers. And it’s during this part that Rogers finally breaks into a wide smile.

• When he spins her up onto the piano the first time, she happily waits for him to retrieve her. And when he spins her into a seated position and upright again a few times don’t miss how he looks at her with a wry, slightly mischievous smile.

• The Linda doll is so creepy and not lifelike. Who was fooled by this?

Also, Arthur is terrible. Jeffrey is terrible too but he’s an idiot so I’m more willing to let it slide.

• Peter walking out of Linda’s bedroom in the morning in his robe right in front of her fiancé while she is in her negligee is pretty funny.

• Peter and Linda’s nice day out is just further proof that this movie should’ve spent more time on the two of them together rather than breaking them up every few minutes.

• “Let’s Call the Whole Thing Off” is a fun song, though Astaire gets most of the good words imo. However, Rogers does do an extra affectation to some of her lyrics and that makes them funnier.

At one point when she’s singing, he turns to her and for just a moment his face goes soft in that way it does sometimes when he looks at her.

• Some film historians have labeled this dance as not that great when compared to other Astaire and Rogers numbers. But I’ve always found it very enjoyable and innovative. While Gene Kelly probably takes the gold medal for dancing on skates in It’s Always Fair Weather, Astaire and Rogers did it first, did it well, and deserve some extra credit for a duet on skates rather than a solo.

Rogers also deserves some extra credit since the idea to dance on skates was supposedly hers. And probably deserves even more credit for doing this dance on skates while also in heels.

• For some reason I really enjoy that they perform this number in their hats and street clothes. It’s so informal and feels like something you do on a fun date.

• Throughout this dance, Peter continues to be the playful one, as he’s been in their interactions in the film, and Linda is the more serious one who needs to be coaxed into having fun. Maybe this is why Astaire frequently glances at her and even spends long seconds watching her at different parts as they move into the next series of steps. Rogers is more reserved in her expressions but whenever they are face to face, she appears happiest.

A few times she looks triumphant, leading me to wonder if they or she had finally nailed a section that was giving them or her trouble.

• Can’t say for certain but I swear she almost falls when they do the backwards steps. She just baaaarely snags his hand in time.

They had to film this dance something like 150 times so I imagine there was more than one time where at least one of them did indeed fall.

• The circular dance they do leading up to the end is based on a dance Astaire and his sister made famous in their time on the stage.

• Apparently the grassy bank they tumble onto wasn’t padded so those fake grimaces of pain aren’t that fake. Their exchange after the tumble feels very much like married banter to me:

Peter: “Yes, it was my idea.”

Linda: “Have you any more of them?”

Peter, exaggerating: “No.”

• They’re such a good match:

Linda: “Peter, you’ve got to marry me.”

Peter: “Why, Linda, this is so sudden.”

• Oh 1930s Hays Code humor. The cop who overhears their conversation thinks she’s pregnant and pressuring the father of the baby into marrying her. Hurr hurr hurr.

• Heh:

Linda: “I beg your pardon but what are grounds for divorce in this state?”

Clerk: “Marriage.”

• It will never make sense to me that a dance was not planned in this film for “They Can’t Take That Away From Me.” It’s a truly lovely song. I know Astaire and Rogers will dance to it more than ten years later in The Barkleys of Broadway but it’s just not the same.

It’s also a good reminder in the film that Peter has legitimate feelings for Linda and she does for him but they’re far more conflicted. Though he must sense he’s hooked her in a bit since he becomes very aloof once they return to the hotel in the stupid hope of making her want him more? Idk, men are dumb.

• “They Can’t Take That Away From Me” carries special poignancy because it became a form of consolation to Ira Gershwin after his brother suddenly died two months after this film was released.

• Oh Linda’s face when she walks in to see Peter with the loathsome Lady Tarrington is so sad and crestfallen. Ever thought you and your crush were finally on the same page only to find them canoodling with someone else?

Although, she could’ve knocked first instead of just walking straight into his room…

• The ballet portion of the finale is weird and unappealing in every way. Harriet Hoctor was known for the backbend dance she does in this film. Maybe it was something spectacular in 1937?? but it doesn’t hold up.

One thing I’ll say about Astaire’s duet with Hoctor, it’s a great chance to see him in a romantic duet with someone other than Rogers and notice how different he acts. No secret smile, no lingering looks, no whispered words, no soft expressions.

• “Shall We Dance” is another upbeat song that deserves more than being featured in the remaining few minutes of the film. Their dance is far too short but wonderful all the same. Her delight when he finds her always makes me smile. She also executes some impressive full length lunges that I couldn’t do at this moment much less in a dress and heels in the middle of a dance number.

For a few seconds, his fingers press into the exposed dip of her spine in yet another example of Victorian hotness.

• And so we finish film number 7. Shall We Dance underperformed at the box office and wasn’t a critical darling. Everyone, the actors included, started to feel the magic was coming to an end. Coming up next is a film I pretty much never rewatch: Carefree.

#fred astaire #ginger rogers #shall we dance #classic hollywood #old hollywood #fred and ginger #astaire and rogers rewatch #all astaire/rogers gifs without credit are mine

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fnlrndcllctv · 3 years

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Tekken

In our Soundtrack Sunday series, we take a look at the music of fighting games, track by track!

For the fifth instalment, Shaun Eddleston takes a look at the music of 1994’s Tekken…

(For the purpose of this article, only the Arcade version of the game’s soundtrack is being covered).

In 1994, 3D fighting games were still in their infancy. SEGA’s first fighting game experiment in the form of Dark Edge and the boundary-pushing Virtua Fighter had barely been out for a year, and games such as Battle Arena Toshinden were still just around the corner for the next generation of home consoles such as the Sony PlayStation and SEGA Saturn.

Namco wanted in on the action, so enlisted the talents of Virtua Racing & Virtua Fighter game designer Seiichi Ishii to help develop 3D fighting game of their own, based on a hardware demo that was initially developed to show off some fancy new graphics off to investors. What started off as a game called “RAVE WAR” would eventually go on to become not only one of the most successful and longest-running fighting game franchises, but one of the biggest selling video game series of all time; Tekken.

As the technology was still somewhat limited at the time, Tekken’s stages were a simple affair. A seemingly infinite scrolling plane placed in front of some parallax backgrounds to give the impression of depth, each of these fighting arenas required a little bit more oomph to push forward and create a suitable, varied atmosphere in which players could beat each other up.

That’s where the music comes in. As Tekken was such an early entry in the realm of 3D fighters, the soundtrack played a considerably larger role in establishing how the game felt than in later entries.

So, how does the original soundtrack holdup today?

Let’s find out…

The game’s introduction is fairly non-eventful in its 20-second runtime, but it does make good use of the game’s stereo mix by panning left and right to create a more immersive effect, and reminds me a little bit of elements found in the PlayStation startup jingle.

Tekken’s character select music is a loop of what initially appears to be a fuzzy, overdriven funk bassline over a simple drumbeat, but to me personally, there was always something about this version that didn’t sit right with me. Upon listening closer, I think I’ve figured out what it is.

Behind the upbeat bass that is designed to get players pumped up before a fight, there’s two droning chords being played in the background that elicit a very serious, uneasy tone. Its a strange sensation that’s also present in the PlayStation version of the soundtrack (although it’s not as strong, thanks to better quality remixing!)

“Marine Stadium, Japan” is where the soundtrack has the most fun with the stereo mix, creating a dizzying effect by throwing samples at the listener from all directions in the left and right speaker. Once the track gets moving, there’s a call & response going on between many of the tracks separate elements, running a fine line between being a disjointed mess and a brilliantly cohesive piece.

Luckily the rhythm section and background pads do a great job of keeping things in check.

Definitely one of my favourites in the game.

“Chicago, USA” is probably the grittiest track of the OST, and is probably closer to what a lot of the game’s music sounds like in the modern era than the rest of the tracklist.

The fuzzy bass tone of the character select screen makes yet another appearance here, and immediately starts to make each of the “verse” sections feel incredibly busy and muddies the entire mix straight away.

The chorus, although very brief, saves the song in a big way. The soaring keys, accompanied by some fun percussive claps, make this one of the most enjoyable songs that still holds up really well today.

On a related note, the arrange version found in the PlayStation port is flawless.

The most immediate thing I noticed about this track is just how loud and distracting the bass is. It rumbles throughout the majority of the runtime, and almost ruins the whole experience for me, that is until the bass drops out and allows listeners to focus in a bit more on the tracks other elements.

Once you get past the overpowering synth bass, this is actually a really fun track. Utilising samples of traditional Chinese stringed instruments and gong hits, it’s a high energy track that perks up the players fighting in the mountainous stage.

Imagine a hard-hitting techno remix of Chun-Li from Street Fighter II’s music and you’ve got the right idea.

“Angkor Watt, Cambodia” is probably the closest that the game comes to an industrial sound, and I mean that in a literal sense. The drums and bass is accentuated with what sounds like stylised machinery interspersed with synth leads for the whole track. This robotic selection is an odd choice to use for a stage that’s based on the real life Angkor Watt (i.e. a complex of ancient temples in Cambodia, NOT a factory filled with heavy machinery).

The track also ends before it has the chance to build up into anything really interesting, and remains as a bit of a teaser for me.

“Fiji” is unlike anything else in the Tekken soundtrack, and is arguably one of the series’ most iconic pieces of music (it gets revisited a handful of times throughout the franchise’s long history). The track dials things up into party mode, with steel drums and a catchy salsa beat that really makes you feel like you are on holiday on a tropical island, with a bassline that you’d expect to hear in a bustling nightclub.

A true highlight of the soundtrack, and most definitely the biggest earworm of the whole tracklist.

With “Acropolis, Greece”, we steer into something with a much more dramatic mood.

While the drums and bass for most of the song leave a lot to be desired in terms of differentiating themselves from damn near every other song in the soundtrack, its the the chorus that saves the whole composition. Backed up by some choir keys that remind me of Angel Dust-era Faith No More (the best era, by the way!) and some military-style drumming that’s sprinkled throughout, it builds up to something pleasant, even though it doesn’t quite reach the majesty of the location’s namesake.

“Kyoto, Japan” follows in the footsteps of “Sichuan, China”, in that it utilises samples of traditional instruments from the location’s culture.

This is another track that makes great use of the stereo mix, with the instruments constantly in flux from the left to right speaker (and vice versa). The song does feel a little choppier than the rest of the soundtrack in places though, and the constant “un-tiss-un-tiss-un-tiss” drumbeat mixed together with the percussion samples of blocks being hit makes the song sound like something from the Samurai Shodown games if they were all on ecstasy.

“King George Island, Antarctica” is one of the more interesting items on this fighting game menu, as the song is driven forward by something outside of the simple drumbeat and funk bassline. Instead, it’s powered by an ongoing drone sound hidden in the background. While not quite in Sunn O))) territory, it’s something that makes the track feel unique to its peers, even though it largely contains a lot of the same elements as them.

This one took me by surprise.

Most of the runtime of “Venezia, Italy” sees the music simmering away comfortably, then once the chorus hits, it erupts into a slightly operatic, adventurous display of strings and choirs. Not only that, but for the latter half of the brief chorus, the drum beat instantly shifts into a jazzy offbeat section that definitely threw me off in terms of where I was expecting the music to go.

It’s a gamble that ultimately pays off, and it’s one that results in one of the more underrated tracks in the collection.

“Windermere, U.K.” is where the quality of the game’s music takes a hard hit.

Everything in the song sounds like you’re listening to it through a wall, with the individual instruments being drowned out by the overblown bass and frankly dull drum loops, and even then, the synthetic saxophone sections of the song don’t sound very interesting either. It’s a couple of minutes that holds the entire OST back.

At least the Arrange version in the following year’s PlayStation port was an improvement.

From the game’s weakest track, we head straight into one of the best moments in the entire OST.

“Monument Valley, USA” is one of the most ominous, evil-sounding stage themes that you’re likely to encounter in any fighting game. Just over a minute of harsh windy soundscapes, thunderous gongs, grandiose strings and monk chants that feel more like a summoning of an ancient demon than an actual song. It’s such a deviation from the rest of the music in Tekken, almost to the point where it could be from a totally different game altogether.

The PlayStation version of this song is rightfully in my top 10 favourite fighting game tracks of all time.

Tekken’s final credits music is an absolute pleasure to listen to. In just a couple of minutes, it effectively melds together all of the different vibes of each stage in the game without resorting to just clipping them together as a cheap montage.

Besides, it’s just a relief to have something relatively soothing after dealing with the horrid AI of Heihachi as a final boss.

Overall, the soundtrack to the very first Tekken game is pretty far away from people may be used to from the high intensity of the modern entries in the franchise.

Instead of punishing dubstep and songs you’d expect to hear from a harder-edged Dance Dance Revolution game soundtracks (is that even a thing?), the music selection here is much simpler and way more subdued.

Tasked with trying to represent the various locations from around the world, Namco Sounds did an admirable job getting the vibe right for each stage. From the absolute party of “Fiji” and the sports broadcast jingle of “Marine Stadium, Japan” to the gritty club beats of “Chicago, USA” and the windy soundscapes of “Monument Valley, USA”, the Tekken soundtrack is a varied, interesting mix that not only gives each landmark and setting more personality, but also attempts to set the bar for a series that has since become known for its great music.

Now, time to try and get “Fiji” out of my head until Tekken 2’s edition of Soundtrack Sunday…

The soundtrack is available on vinyl here.

Are you a fan of the original Tekken’s music? Let us know your thoughts in the comments below!

#Tekken #Namco #Soundtrack #1994

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jaybug-jabbers · 3 years

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Pokemon Prism Review

Well I’m currently finishing up the post-game content of Pokemon Prism.

Dang.

What a fun game.

(what follows is an informal review of the game. it got a little long, lol. it has some spoilers for the game, of course.)

My background

To give you a quick idea on my perspective on Pokemon, I grew up with Pokemon Red on the big grey brick Gameboy. After Red, I pretty much stopped playing for many years. My little brother had a Gameboy Color and had Silver, but I never got one myself. Wasn’t ‘til years and years later I found some emulators and played through several generations of Pokemon at once. So, Gen 2 really isn’t nostalgic for me. It’s close enough to Gen 1 to hit some nostalgia buttons, though. I am admittedly somebody who feels Gen 1 is the best gen of pokemon. I don’t care of people laugh or say I’m a genwunner for believing that. Gen 1, I feel, had the raw creativity and charm of the original idea, and it simply sets my imagination alight far more than any other gen does. Those simple pixel designs for those little virtual creatures just opened up a world in my mind. THAT SAID, I did play and very much enjoyed all the other gens of pokemon. I do not shun things just because they are new, and I am not one of those people who says the new designs of pokemon are stupid. I adore plenty of modern pokes.

Blend of Old and New

Anyway! Pokemon Prism, for those unaware, is a ROM hack of Pokemon Crystal. It essentially delivers a brand-new Pokemon adventure for the Generation 2 games. It’s a really neat blend of classic gameplay and modern features. You’ll find species from modern games all the way from Gen 3 (such as Breloom) to Gen 6 (such as Sylveon) but their sprites perfectly integrate them organically into the Gen 2 environment. You’ll get many modern pokemon moves and conviences but also plenty of throwbacks to older experiences. Miss crafting pokeballs from Apricorns? It’s there. Enjoy a simplier time when there weren’t any Natures? Well, there ya go. Really want to call Joey and talk to him about his Rattata? Well, err, no, you can’t do that, but let’s face it, the telephone feature was probably one of the most hated features in Gen 2. :P

But Prism isn’t simply about updating Gen 2 with some modern pokemon, moves and game features. Not in the slightest. It’s full of original mechanics and gameplay concepts, and has tons of original areas and an original storyline. Pokemon is known for experimenting with new gameplay ideas, so it’s really fitting and enjoyable to see these take shape as you play the game. Mining and crafting is introduced in the game, for example, and there are a couple new pokemon types. There’s even a few sections where you can play as your pokemon, Mystery-Dungeon style. Do all of these experiments with new concepts work? Probably not ALL of them– when you try something new, not all of them will work out as amazing as you’d hope. But a lot of them are welcome and fun additions. And the game is bristling with these new ideas! It’s a joy to see so much creativity and novelty.

Sprites

It should be noted the spritework for these games is A+ and utterly fantastic. There is perhaps 3 or 4 out of dozens and dozens of new sprites that I thought were a tad off? Seriously, they look AMAZING and their animations are perfect and they fit in with the style so well I found myself briefly getting confused as to which were originally from Gen 2 and which weren’t. Saying these sprites are good is no small thing, because they are such a vital part of the game. The backsprites were not shafted, either– something even Gamefreak often shortchanged on back then.

Music

It should also be noted the music in this game is really damn good and has a huge variety. There are tons of classic songs, classic remakes of modern pokemon songs, remixes, and original tunes. There were like one or two tunes I was a bit iffy on, but considering that’s only a few out of so many, that’s impressive. The new bike music and Surfing music are probably my favorites, and they are SO GOOD, and those are especially important ones to sound good, because you typically hear those a lot.

Writing

The writing in this game is fairly solid. Not A+, but still not bad. It suffers occasionally from slightly rough and confusing grammar, and the climax of the story is definitely anti-climactic and very weak. In addition, the post-game story basically does not exist, but that can be excused since most likely more story was planned but they ran out of time. (C&D)

I also felt that at times, the story felt out-of-place within the world of Pokemon and went “too far” in the darker direction. The entire prison sequence, especially, and the frequent mention of inmates being mistreated, pokemon being abused, etc., just felt a bit much. Because this game was largely concerned with replicating the feeling of a true Pokemon game (some hacks intentionally focus on making a story that would never take place in the Pokemon world, like zombie survival horror stories or whatnot), I find it relevant to mention that. All of that said, though, its darker departures were at least not *too* extreme. We don’t get the very jarring and frequent problem of some ROM hacks where it’s full of cussing all the time or intense violence. Compared to those it’s still relatively subtle. And while the NPCs in this game I felt were rude a little too often, (holy crap, it felt like 95% of Naljo and Rijon were crankyass people) I do appreciate the attempts at making people a little more “real” and not quite so freaking happy and idealized all the time like Nintendo tends to do. The dialogue often made me chuckle. It did go a tad overboard with that “realness” (because, hey, a variety of people exist in the world, you know, both rude and polite, optimistic and bitter) but oh well.

So yes, the writing had its drawbacks. But overall, it felt like it was progressing a pokemon-style narrative with some interesting ideas, and wasn’t simply a dreary rehash of the same basic tropes Pokemon has been regurgitating for ages now. I just think if the writing were cleaned up a bit– the grammar cleaned up in a few sections, the plot threads clarified a bit more, and the climax reworked– it could take a “decent story” and make it a great one. There’s definitely some neat ideas there, it just needs polish.

Maps

As to the different towns and locations in this game to explore, there are many. This game is ambitious AF. As I said, it’s FULL of new ideas, features, things to do, and places to explore. Naljo is the region you explore in the main game, but post-game you can wander a whole new region of Rijon (the featured location of an older ROM hack, Pokemon Brown) and beat all the gyms there. In addition, there’s a few towns in Kanto and Johto you can visit (I believe they originally planned to open up all of those regions eventually), AND one town in ANOTHER new region, Tunod. The game’s ambitiousness occasionally outpaces what it delivers, but that’s quite acceptable in my mind, since updates with additions to the game were originally planned. So, yes, there isn’t much to do post-game, but that’s largely because a lot of stuff was going to be added.

Back to the locations, though! It’s an important aspect of ROM hacks. Not everyone is good at designing a good town, with logical building placement, intuitive layouts, aesthetically pleasing locations, and interesting things to explore so it doesn’t feel totally plain and lacks character. I’m pleased to say this game does a great job of it, though. I should point out I have a terrible sense of direction and bad spatial memory. Despite that fact, I found myself remembering important features and where they were located– oh, the Move Deleter house is in Phacelia on the left, the bullet train is in Torenia– and that’s a good sign. Physical travel was not a sloggy chore, and it wasn’t bogged down in a confusing layout. Towns were memorable and fun to explore.

Pacing/Level Curve

Another thing ROM hacks can screw up, because it’s a tricky thing to do, is the challenge pacing. How many trainers? What teams do they have? What levels? Are the Gyms challenging without being insane? I actually Nuzlocked the main part of the game. In my opinion it was well-paced. There’s probably fewer trainers overall in this game than a standard Pokemon game. But it did not take me much extra grinding in the grass– and I was only doing that to play it safe for the Nuzlocke. And that’s GOOD. You shouldn’t have to do tons of grinding in the grass all the time just to have a reasonable shot at the gyms. Pokemon Uranium, sadly, seems to suffer from that issue. So, yeah, the pacing was very reasonable to me, good balance of fair and challenging.

… with one important note. Once you reach the League? Well, we could have used higher-levelled wild pokemon in the cave that served as the victory road. The highest in that cave was level 34 or so, and you were facing trainers with teams ~level 55. That’s a huge gap. Not everyone has the same play style. Some people like to do extra grinding before the Elites. Some people are Nuzlocking and may do extra grinding as a safety buffer. Some people might want to adjust their team & add a new pokemon to their team and need to grind them up from a lower level. For those cases, you NEED decently-levelled wild pokemon to grind on. So, yeah, I really do think the Seneca Caves wild pokemon need a level buff. It would also help with the level gap for the post-game. Trainers in Rijon are suddenly at levels 70ish and higher, and for some folks playing, that’s a bit much and they’d like to do a little grinding first.

Puzzles

This game has puzzles. You have been warned, lol. Apparently a lot of people found the number of puzzles a bit frustrating, or felt that some of them were excessively tricky or annoying. I find it very funny, because usually puzzles are my least favorite part of a pokemon game. But I really enjoyed the puzzles in Prism and didn’t find it annoying or offputting at all. I was sick with a cold through most of my play of Prism, and yet even in my dumb brainaddled state, I didn’t find the puzzles too difficult. I solved them all at a pretty average length of time, even the ones some people traditionally found a little unclear or confusing. (the Ruins puzzle often confuses folks, apparently, but I really didn’t have a problem with it at all.) I was briefly confused on one of the switch puzzles (and it contained an element of bad puzzle design imo– there’s a gap that you can leap down into when normally a gap of that size just gives the ‘run into wall’ sound and is not passable) but not for too long. Even the ice slide puzzles, which I traditionally hate with a passion, were not bad!

All except for one thing. The Magikarp Puzzle. Anyone who has played Prism knows what I mean. Haha, fuck that puzzle man. Even the creator of the ROM hack himself has acknowledged the puzzle was not great, heh. To be honest, I find it kind of hilarious, in a way, though. I mean, obviously it’s a nightmarishly difficult and frustrating puzzle and is intensely exhausting to look at, let alone try to solve. But it’s also kinda glorious in its demonicness. I didn’t spend too much time on it before just looking up a solution to it. It’s tedious and not fun at all, and hey, that’s OK, because even the creator realized that.

pls nerf magikarp

But seriously, outside of the magikarp puzzle, I didn’t just enjoy the puzzles in this game– I felt like they were an important part of what gave this game its character.

Fakemon

There are even a few fakemon in this game! Which I was excited to learn because I thought there weren’t! All of the fakemon are Legenderies. Unfortunately, I don’t care for most of their designs. Like, at all. I think Varaneous and Libabeel’s sprites look really, really shitty. They’re ugly and don’t match the style of Pokemon at all. This feels weird to say, since I love so much about this game, but man, there’s just no way around it, I hate ‘em. Everyone has their own tastes, of course. There’s a couple fakemon I have yet to capture– I’m finishing that up now and the very very last of the post-game. But one fakemon I did capture and ADORE LIKE NO OTHER is Phancero.

I happen to know about Phancero’s designer, because I saw their design years ago. They apparently were approached by the team and were asked permission for the use of the design, which is awesome. I won’t rant again about Phancero here because I already ranted about it before, and literally could keep ranting for pages. :P But yeah, it’s a totally creative and awesome pokemon both in idea and execution, and by FAR my favorite fakemon ever created.

Conclusion

This is the best ROM hack I have played in years and probably ever. I haven’t played hundreds of ROM hacks, but I have probably played dozens over the years. I think they are a creative and wonderful expression of the pokemon community, but let’s be honest. There’s a lot of really bad ROM hacks out there. There’s even more ROM hacks that have a lot of potential but are never finished or anywhere near completion. (And that’s perfectly understandable. People run out of time, they have real life get in the way, etc.) The fact that not only did a ROM hack of this caliber get made, but was 95-99% completed? Is fantastic. It was an intensely massive project and I cannot begin to imagine how much work it must have been. Pokemon games are normally developed by an entire team at a company, and folks are paid to do it. The comparatively small team of devs who made this game in their spare time and implemented these amazing things had to do it all on their own. It’s no wonder it took as long as it did for them to finish it; and the amount of effort SHOWS. There is so much loving attention to detail and polish to Prism. (I mean, yes, there’s still some bugs and the occasional unfinished bits, but of course there are, those were going to be finished, but then the C&D hit)

Most ROM hacks are just strong in a few areas, because it’s one or two people who have strengths or interests in a few things. So, you’ll play a hack with a really good story but terrible fakemon and mapping, or you’ll play a hack with fantastic designs of new areas, but no new story, etc. Prism kinda has everything, though. It really did feel like playing a new Gen 2 game.

(It’s now almost 11pm and oh god where did the time go. I have a problem with being concise. :P This was far longer than I intended but thank you if you’ve read this far!)

This is a repost on a new blog. The original post was on Jan 17, 2017.

#pokemon #pokemon prism #pokemon fan games #pokemon rom hacks #mycontent #spoilers #pokemon reviews

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zsweber-studios · 4 years

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Ranking all of the Marianas Trench Songs, Part 1: The Masterpiece Theatre

Since the start of the quarantine, I have listened to the entire discography of the Canadian punk-rock band Marianas Trench more times than I can count, and in doing so, I’ve made myself fairly well acquainted with them. However, of the people I know in real life, I am one of three people who know about Marianas Trench, the other two being my younger twin sisters, who initially introduced me to them via a Homestuck Lyricstuck video.

No, I am not a Homestuck, I just know they exist.

However, being as I am greatly acquainted with Marianas Trench music and supremely bored, I’ve decided to go ahead and make my own ranking of all of the Marianas Trench discography, to show the maybe half-dozen people who will actually see this post why Marianas Trench is such a good band, and why they too should be listening to them during this hellish quarantine when the whole of the world is dying and at war with each other.

With that said, let’s get started with the rankings, starting with the first album by Marianas Trench I ever listened to: Masterpiece Theatre

1. Masterpiece Theatre I: The first movement of Masterpiece Theatre, it gives a good introduction to this orchestral-punk style that pervades much of the album. The verses skirt the line between a beautiful choral breakdown and a rock ballad, while the chorus hits hard and strong. About halfway through, it switches styles suddenly, with a more jazzy punk style, before finally landing on a strong choral breakdown that fades into a soft harmonic union. A great start to the whole performance, but also a good stand-alone. 9/10

2. All to Myself: The first song after Masterpiece Theatre I, it displays a much more classic punk-rock feel that feels distinctly of early 2000′s era music. It hits very strongly in nostalgia for me myself, and the lyrics and style are both very strong. However, it doesn’t really stand out too much compared to much of the discography by punk bands of the early 2000′s, as such it’s probably one of the weaker songs on this album. 7.5/10

3. Cross My Heart: Another song that feels distinctly early-2000′s era punk. It took me a dozen listens of the album for me to realize that the opening few chords of the song was making me think of Counting Crows’ Accidentally In Love, which was why I was hit by such a deja vu sensation. Also, the first song to display the running theme of this album, which is the use of lyrics and lines from the other songs on the album in the Masterpiece Theatre itself. Very energetic and enthusiastic, the lyrics are fun and creative, and is always fun to sing and listen to. 9/10

4. Beside You: A bit jarring to go from such a pump-up punk-rock song to a soft and soothing solo, but once you reach the chorus, it picks you right back up again. Trading out the guitars and drums for maracas and vocal breakdowns in the background offer a very different, but very pleasant sensation, one that fills with emotion and lifts you up. By far, the most emotional part is the bridge, with the singer’s desperate pleas in his evocative vocal breakdown. Overall, 8.5/10

5. Acadia: Upon first blush, not that intense of a song, though it does feel nice to listen to. It’s your classic coming-of-age song, looking back on childhood and the path you’ve forged since then. The real strong point of the song comes from the supposed ‘Acadia’ mentioned in the song, which is apparently a real place in Vancouver, British Colombia. At that point, the song takes on a far more heavy and emotional weight to it, as it is a song about a home that was torn down, and now literally all that remains of this person’s past is the memories he treasures so dearly. Of the songs on this album, it’s one of the weakest, but the meaning behind it brings it up a bit. 8/10

6. Masterpiece Theatre II: The second movement of Masterpiece Theatre. Frankly, the weakest of the three movements, in my opinion. It doesn’t really add anything new to the piece, and leans heavily on the first movement, and the parts from the other songs on the album. Despite that, it is still immensely enjoyable to listen to, especially with the choral breakdowns and background music the album is known for. With the rest of the album, it fits very nicely as the midsection of the piece, however on its own it has less legs to stand on. 7/10

7. Sing Sing: Back to the high octane rush of punk-rock and pop that the first two non-Masterpiece songs had, it’s a fun and fast song that pumps you up and makes you feel good. It is very indicative of much of early 2000′s punk, as with the others, however stands out again with the fun choral and vocal parts thrown in around the midway part of the song. It’s fun, fairly unique, and pumps you up--what’s not to love? 8.5/10

8. Good to You: Once more, right after the rush of punk, we’re brought down by a beautiful rock ballad. It’s slower and softer than the other songs on this album, but the chorus picks up as it embraces the rock part of the ballad. The duet is beautiful and loving, and feels strongly of the devotion meant to be portrayed in it. It breaks up the intensity of the rest of the album beautifully, while also keeping itself distinct and withing the overall theme and style of the album. 9/10

9. Celebrity Status: Right beside Cross My Heart, possibly one of my favorite songs on the album. The lyrics are smart and quick, hit hard and fast, and make it a fun listen, both in the actual listening, as well as the meaning--of gaining celebrity status, but in order to do so, cutting off everything that really matters. It stands out with the choral-harmonic style during the bridge that is emblematic of Marianas Trench, while still feeling distinctly of that nostalgia factor I’ve mentioned previously. Overall, a great song. 9/10

10. Perfect: Can I speak frankly for a moment? This song gets it. This song gets what it feels like to strive for perfection, or to have someone expecting perfection from you, and you having to strive for it over and over again, only to fall short. It’s presented in this fun and energizing song style that buffers the heavy message of the song--that is, that having such high expectations, and forcing others to try to rise to those, can be a form of abuse that tears them down and is killing them, makes them desperate. 10/10

11. Lover Dearest: I’ve come to notice that just before the last song of the album, Marianas Trench has one last sad and somber song. This one is seeped with bitter sadness. The absolute absence of all other instruments but the piano really drives home the loneliness and solemnity of the situation the song is portraying. Though it does eventually include the other members of the band, closer to the end, it comes across as feeling more of that desperation. Again, a beautiful song. 10/10

12. Masterpiece Theatre III: Here we are. The moment we’ve been building up to all along. Literally every line, every moment, every breath of this song is a line and moment pulled from another song in the album, rewoven into a new setting, a new style that drives up, and up, through different styles and feels that this song is offering up. This was the piece that made me realize Marianas Trench was what would happen if Bohemian Rhapsody was an actual genre of music--the interweaving of genre, style, and emotion all builds up beautifully, in what has to be the strongest and most beautiful song on the album. On it’s own, it’s fun to listen to. As the final song of the album? It is perfection. 10/10

#marianas trench #masterpiece theatre #ranking

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charmingturkeysandwich · 4 years

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I Could Use a Love Song Ch. 3: don’t need no reason or happy hour

Chapter 3 of my Country Singer!Emma AU is here. I added a tag on AO3 for alcohol abuse, because while I don’t think we have true alcoholism here... Emma’s coping mechanisms are shit and the heavy drinking isn’t the healthiest. I wanted to make sure that I added that warning here as well. Please don’t use alcohol like Emma does here. I know from experience it’s hella bad news. Find a therapist! This is actual advice, not a joke. For reals. Emma should have just gone to a counselor instead of making appointments with Jose Cuervo and Jack Daniels. If anyone has treated you the way this iteration of Neal treated Emma, talk to someone. If you can’t afford a therapist, talk to me. Seriously, no lie, no joke, I’m only alive today because I eventually adopted a dog and sought counseling to cope with life’s many traumas.

Mmmmkkay enough babbling.

Also on AO3

Previous Chapters 1 | 2

Their next few gigs were some of the best in Emma’s (admittedly tequila-hazed) memory, and for once that glimmer of hope for that future of fame and fortune… well, it felt like a hell of a lot more than a glimmer.

The crowds had been rowdy, raucous, and ready to sing along to every song on their whole set. A few people even more some of the merch Killian had started selling at the door, nothing fancy of course, but it made her heart burst with pride nonetheless.

It had all gotten so real, so achievable, so close to everything she’s been dreaming about before she ever really knew that dreams were a thing that could come true.

So of course something was about to bring back the quasi-comfort of her life always reverting to being a waking nightmare.

That was a deeply melodramatic way of putting it – it’s not like she was being beaten or shamed or any of the daily torments her tiny town had ensured were burned into her brain. But that was the problem with the past, wasn’t it? It wasn’t over, even when it was. Those days were past but they would always somehow be present, replaying in her brain and aching in her heart no matter how far from Pennsylvania their little van puttered.

(Whoever said you can’t go home again neglected to mention how hard it was to leave it, even after you’d physically gone.)

It had been a Tuesday. In some chain grocery store outside Virginia Beach, the sun glowing through the big front windows and the icy chill of the air conditioning raising goosebumps on her bare arms. Emma had only echoes of a hangover, so Ruby’s constantly chatting wasn’t nearly as grating as it could be. They moved slowly through the aisles, tossing various food and supplies in their cart, more than fulfilling the list Graham and Mary Margaret had given them.

They were still struggling artists but some weeks the struggle was… less. This was one of them and if they decided to celebrate with Patron instead of Jose Cuervo and fresh, organic honeycrisp apples instead of Great Value brand dried apple chips, well, it’s because they damn well deserved it.

They couldn’t have been more than a few feet away from the checkout when the radio (a constant calming presence, most days, being the object of their ambition and all) caused her heart to drop to the deepest pits of her gut, twisting her insides until she was nearly dry-heaving to get the gross sensation of feelings out of her body and in the sewer system where it belonged.

They say scent is tied to memory, and it surely is, but there’s something, too, in sound. Music had a distinct way of tying itself to a moment, to a feeling. For some people that feeling was joy, was love, could be better than the best drug to intoxicate them with no risk of hangover. But for Emma, for this song in particular, it was all hangover, no high.

I’m set on cruise control

I’m slowly losing hold of everything I got

You’re looking so damn hot

The lyrics were innocuous enough. Sweet. Loving. There was certainly some couple out there – many, probably – who smiled fondly at each other when it came on. But for her, it was just a reminder of how pathetic she’d been, once upon a time, how deeply manipulated she’d been. And oh, the consequences she’d suffered for falling for a sweet voice and a pretty face and a moment that had felt like a country song.

And I don’t know what road we’re on

Or where we’ve been, from starin at you, girl

All I know is I don’t want this night to end

It had been a song she’d listened to in Neal’s truck, on a back road, the moon high and the stars bright and her heart hammering in her chest before he leaned over the center counsel parked in his daddy’s field and kissed her like she was precious, like she was, like he could love her through this life and the next.

And even today, half-hungover in a Piggly Wiggly or whatever the fuck this place was, she still felt the whisper of butterflies in her. She still remembered how much she’d believed the lies and even hoped the bad stuff wasn’t actually real, holding on to nights like that first one, her and Neal seemingly the only two people on Earth and all she’d ever need to feel whole again.

Emma Swan was a fighter, a survivor, a strong, badass woman that no man would ever hurt again.

But one Luke Bryan song on a clear Tuesday afternoon had her so torn up in shame, she almost forgot her best friend was standing beside her, her little “family” of a band and crew waiting for her back at the block of hotel rooms down the road.

She wasn’t in Pennsylvania. Neal wasn’t anywhere near her. But she could practically smell his cologne and the exhaust of his truck and the fact that there was a tiny part of her that truly still wished it had all worked out, that he’d been the happily ever after she’d wanted, and she wanted to slap herself silly for how stupid one smart girl could be.

“I think we can afford some Reese’s mix, right?” Ruby asked, already tossing two bags in the cart as they entered the self-checkout line.

“Yeah,” was all Emma could respond, her traitor brain still wavering between wishing for an alternate ending to her stupid, sad tale and coming totally clean to Ruby about what horrors she’d suffered and hitting the road with her on a revenge-fueled quest to keep that fucker from ever hurting another sweet, could-be-innocent girl ever again.

“Emma, you with me?” Ruby’s voice was hesitant, her eyes wide as she took in Emma’s likely ghost-pale complexion and battle-ready stance.

(She was always fighting those internal ghosts and damn could those things travel.)

But she didn’t want to think about Neal or the bruises long-healed or how she wishes she could time travel back and prevent the most painful part of what that monster had done to her, the part where for a pretty little minute she truly thought she’d loved him.

No. The past might be doing its damnedest to creep into today but she was not going to let it.

Fuck you, Luke Bryan, and all your pelvic sorcery.

“God, I hate this song,” Emma finally croaked out. “I think we should celebrate today.”

“Celebrate how much you hate a song that I’m fairly sure David would kill you for hating?”

“No, Rubes. Celebrate this,” Emma motioned all around them, somewhat erratically, only serving to further confuse Ruby. At least for a moment. “We’re really getting somewhere, aren’t we? I mean, three hotel rooms. That’s, like, a record. We’re getting somewhere. You and I, we came from some shit, right? And now we’re headed toward something good and I think we should celebrate.”

“And how exactly do you propose we celebrate this? Because if it’s by having a four-way with Graham and Killian I’m absolutely in, with just a couple ground rules – “

Emma cut off her teasing before her brain had enough time to make any visuals of that: “Ew. God, no. Why does your brain even go there? No. I just meant, you know, hitting some bars or the beach or something. Day drinking. It’s the ultimate in enjoyment and not giving a fuck.”

“So you’re suggesting we celebrate the good the same way we drown our sorrows in the bad?” Ruby mocked, tossing the groceries on the conveyor belt and a packet of mints at Emma’s head.

“No, you drink your sorrows in the dark. You drink your celebrations when the sun’s out,” Emma said like it was the most normal, accepted thing in the world, like she was reciting it from a code of conduct instead of having made it up on the spot to cover for the fact that she very much, one hundred percent was drowning her sorrows but just didn’t have the patience to wait for the sun to set.

“Sure, Ems. Let’s go with that.” Ruby clearly wasn’t buying her bullshit – she always did have an excellent bullshit detector – but she went along with it all the same.

Emma paid for the groceries and hefted as many bags to the car as she could possibly carry, the burn in her arms like the warmth of the sun as she flip-flopped her way to the awaiting van, a great day of drinking and forgettingahead of her.

The usual six of them turned into seven that day, Killian’s old buddy from the service having been stationed at the naval base in Norfolk and here for a visit. Will, that was his name, and he was a pain in the ass in the very best way. He had been matching her shot-for-shot in the hotel room before they hopped the Uber to The Cove, a beachside bar favored by locals and tourists alike. He would tease her and taunt her and buy her drinks, but with absolutely the energy of a brother and not a I’m looking to get into your pants kind of way.

David saw her as a sister, sure, but he tended toward the serious, the protective. He cared so much and knew too much, and it kept him from being totally lighthearted or even downright rude. And Graham, well he never paid Emma quite that much attention, always on his own quests and whatnot. She couldn’t blame the guy, and truly she didn’t usually want attention, but there was something about today, something about the casual nature of her exchanges with Will that allowed her to just be free.

Killian wasn’t quite on board, though. Ever since she and Ruby had floated the idea of some casual no-show-tonight fun, he’d been weirdly quiet. Mary Margaret and David were notably excited, seeming to view it as an opportunity for date night, even with the five other tagalongs. And Ruby was pretty much always up for a party.

But Killian seemed to be cranky at her and she couldn’t figure out why.

“Let loose, why don’t you, Jones!” Emma shouted across the bar, Killian nursing a rum and coke while Ruby, Will, and Emma had joined another group of probable-tourists in a limbo competition.

“Eh, let him sulk,” Will had suggested, stumbling a little after returning to the upright position. He was suspiciously good at the limbo. Maybe he’d been a gymnast in another life?

“I’ll get him, Em,” Ruby promised, having fallen flat on her ass after the last round (the responding ooooohhhhhhshaving more to do with her skirt riding up to her waist as she fell than it was about the fall itself).

Ruby had spent the next hour or so in the corner with Killian, both steadily drinking but never really coming to re-join the party. So Emma and Will kept socializing with strangers while Graham flirted hard with a pretty girl and Mary Margaret and David found another grossly into each other couple to apparently double date with, because of course they did.

After a few drinking games, a few messy dances, and definitely too much liquor for before 5pm, Emma finally took a break, she and Will sidling up to the bar and ordering some nachos.

“Y’know, you’re not nearly as pretty as Killian described you,” Will said after a few minutes of nacho-focused silence.

“Hey! I think you’re insulting me and I don’t appreciate it,” Emma responded, cheese dripping down the corner of her mouth.

“Way he talks, you’d think you were a bleeding fallen angel or something. I definitely didn’t expect a hot mess who talked with her mouth full.”

“Hah! You said hot. I still got it,” she joked, chomping down on another cheese and chili covered chip.

Emma had become pretty good at reading people – people tended to adapt after you suffering the consequences of falling for it – and Will definitely wasn’t flirting with her. At least not with actual intent. So why on earth had he brought up her looks?

She was happy to play along with whatever game he had going, was even feeling a little bolder and more confident than usual with his carefree attitude and his backward compliments.

But his next comment was the proverbial bucket of ice on any of those feelings.

“He’s a good man, Emma. I hope you don’t toy with him.”

“Excuse me?” What exactly was this fucker accusing her of? She hadn’t even talked to Killian since they’d been at the hotel and she certainly hadn’t been mean. No, even at her most prickly, she was never all-out mean to him. He was a good guy, the type to hold your hair when you puked and nearly the opposite of her initial assumptions about him. Of course she’d never ‘toy with him.’ The fucking nerve of this dude.

“I don’t think you know me enough to continue those thoughts, Scarlet,” she warned, shoving the nachos away and downing her fruity drink.

“Don’t get me wrong. I like you, Emma. You’d make a good mate. But I’m more like you than you realize, and I know how many people I hurt before I got myself straight. Just … keep that in mind, won’t ya?”

And then the bastard just… left.

He didn’t say goodbye to anyone – not even to Killian – and left Emma pissed as all hell and sitting alone at a tourist trap in the worst city in all of Virginia.

So much for that attempt at celebration.

But before her thoughts (and actions) could turn to the dark side, Graham and David were approaching her for a friendly tournament of darts and after a couple bulls eyes and a little light taunting, her carefree spirit had returned, just in time to kick Mary Margaret’s ass and move onto the championship game between her and Killian.

“So, that friend of yours is something,” Emma observed, tossing her first set of darts and landing them with soft thunks into the felt.

“Will? Aye. He’s… he’s been a friend for quite a long time. There for me for some pain. So I choose to keep his pain-in-the-ass existence around.” His tone was light and his words sincere, but there was a weight to his expression that Emma didn’t quite understand.

He took his turn, little glints in his eye and mini-fist pumps when he hit his intended target. It was adorable, to be honest. But there was definitely something wrong and despite Will’s seeming accusations about her and her abilities to be a good friend, she wanted nothing more than to take away whatever pain he was reliving at the moment.

So she lost – yes, intentionally – and dragged him to the bar, ordering him some straight whiskey to loosen him up and hopefully to help him forget like she already was.

“Why, Swan, if I didn’t know any better, I’d say you were trying to get me drunk,” he practically purred, breaking the flirty tone with a gentle boop to her nose. “Which is usually my tactic.”

“Easy, Captain,” she joked with him, fiddling with the prosthetic ‘hook’ contraption he wore when they went out (it’s a perfect beer holder, he’d said, to which she’d responded yeah, right, you just want to play pirate).

Despite the fog of the liquor, a few facts clicked into place. He’d suffered some bad shit in his past, shit Will apparently witnessed. Killian had also lost his hand, probably in the Navy. And this town, it wasn’t far from a navy base. Could that have been his navy base? Had they inadvertently brought Killian to the scene of the crime, so to speak?

The way she never wanted to go back to her ‘hometown,’ the place she’d lived the longest and suffered the most… what if that’s how he felt here? What if she’d suggested they celebrate over the grave of whatever and whoever he lost?

God, she was a hot mess and she was dangerous, the way she sank into her pain without looking into anyone else’s.

Before she could talk herself out of it, she wanted to apologize. Or something. “I’m sorry about this. Or, I guess, about whatever led to this. Or accompanied it. I’m just… I’m just sorry?”

“For the ungodly amount of liquor you’re pressuring me into drinking? Don’t worry, love, I’m a big boy.”

Ugh, the deflection. She knew that tactic well. “No, I mean this,” she said, gripping the elbow of his damaged arm. “I don’t know what happened and I’m not asking, but I just want you to know that I’m sorry. Not in the fault kind of way. Just the way where I wish it hadn’t happened and I know there’s pain and you didn’t deserve it. Or don’t. Currently. You know what I mean.”

“I think you’re drunk off your ass, darling.”

“Call me darling one more time and you’ll be the one on your ass.”

“So defensive, jeez,” he quipped, finishing another drink and slamming the glass back down on the table, his face melting into something a little more serious, if only for a moment. “Thank you, Swan,” he said finally, cupping her cheek with his right hand.

Her heart about stopped as his eyes bored into hers. It was much too much, the closeness, the feel of his hand, the heat of his body, the truth in his eyes, and all she wanted was to go back to teasing and laughing and strangers who didn’t have feelings or at least didn’t share them with her and why did she even bring it up, anyway? Just because Will had made her feel bad? Why shouldn’t they drink away their pain if it quieted the demons for one blessed day? Why should we have to suffer the same memories over and over when instead we could just fucking let go.

She should have just stuck to letting go.

But his intense sincerity washed away in a blink, his flirty near-pirate persona back with a vengeance. “Now, Swan, what game shall I best you at next?” His gentle caress on her cheek turned into a full grip, his fingers scrunching her face almost comically.

“Name it, Jones. You’re on.”

Turns out their little crew had signed them all up for a cornhole tournament out on the sand and Graham had called dibs on Emma as a partner, for which she was thankful. He was pretty boss at all bar games, and she had a competitive streak even without her BAC being higher than her high school GPA.

But get her drunk and she’d pretty much lie, cheat, and steal her way to bragging rights on whatever silly game they were playing.

So of course she and Graham had made it to the finals, their opponents two bikini-clad college girls who could trash talk like no other.

Which is why Emma was totally fine with the little plot she had brewing in her head.

“Graham, we need distractions here.”

“What do you mean, like have Mary Margaret set something on fire again?”

“Oh, come on. Pretty girls. Fun, happy, drunk, pretty girls. I saw them ogling you earlier so they’re probably straight. Take your shirt off. Now!”

“I always said I’d reject your advances when you inevitably tried to get me naked, Swan, but you drive a hard bargain.”

Emma rolled her eyes, but Graham did as instructed, stretching lazily and pantomiming sweat before pulling at the neck of his t-shirt and whisking it over his head.

The girls missed their next shots, and Graham had the chance to win it with this last toss and Emma was ready to bust out her victory dance just a tad prematurely.

Until the brunette untied her bikini top and let the fabric fall to her waist just as Graham was taking his shot.

He missed, of course.

Damn, these girls were good.

“Can I be of assistance?” a husky voice offered, his breath ticking her ear lobe.

Killian, of course.

“What exactly can you offer, Jones?” Graham swooped in to ask, clearly annoyed that his bare chest hadn’t yet won them the game.

“Well, Graham, Emma here assures me that you’re one ‘fine specimen of man’ but sadly to those girls you’re all talk and no action, across the beach from them, separated by this very game. I think they need something a little more… tactile.”

Killian was over-confident when he was drinking, but it’s not as if he were wrong. If she were one of those girls and Killian came up to her, with his sultry accent and his maddening smirk and the way he’d run his fingers through her long hair…

Yeah, it would work. Definitely. Yup.

“Go for it, Jones, but don’t come crying to us if they don’t take to your charms the way you want them to,” Emma warned, rolling her eyes and banishing all inappropriate thoughts of Killian Jones to the dark recesses of her mind with her knowledge of calculus and the memory of that time she walked in on Mary Margaret sucking David off in their shared kitchen back in Pittsburgh.

Killians voice alone proved distracting enough for the blonde girl to miss her shot and Graham, his ego now challenged, sank his with ease.

Emma cheered far too loud and leaped into Graham’s arms, her legs around his waist, Ruby rushing up to high five them and pass along a few more shots to keep the day rolling.

By the time the sun sank behind the bar, the ocean in front of them streaked with the deep blues and purples of twilight, Emma was well past drunk and definitely no longer thinking of any painful backstories or traumas or anything, really, but the cinnamon burn of the Fireball and the feel of Killian’s arm around her as they walked down a set of stairs to a fire pit so much like those that she’d built on the banks of the Allegheny and yet so different, the smell of the salt of the ocean and the leather of Killian’s jacket keeping her brain from connecting the present to the past.

“Jones, haven’t you ever heard you’re supposed to keep your hands to yourself in the presence of a lady?” she teased, wiggling her shoulders where he was grasping her.

“Aye, but I see no ladies here!” He chuckled and she elbowed him and he bowed his head to her ear as they stepped down the last stair. “Besides, love, what if you’d fallen and no one was there to save you?”

She rolled her eyes again, shrugging off his support now that there was no excuse for it, solid ground beneath their feet. “Oh, I’m a loud screamer. Someone would have come for me.”

“Oh, how I’d like to experience both of those things for myself…” Killian groaned, his mind of course solidly in the gutter.

Emma just laughed it off and stumbled toward the fire, joining Mary Margaret and David on a log clearly only meant for two.

Tomorrow was going to be hell, definitely more than just the echo of a hangover. But they had hotel rooms and each other and now and really those things alone made every minute of tomorrow’s inevitable headache more worth it than she could ever have fathomed in any stage of her life before this one.

#cs ff #cs au ff #cs fanfiction #keisha writes #i could use a love song #no luke bryans were harmed in the making of this chapter #yes they play cornhole wrong #i had a brain fart #so suspend your disbelief please #and seriously #i'm here for you if you need it #i drank my feelings for many years #it was not healthy #fun at times #but def not healthy #your trauma is not your fault #I LOVE YOU

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johannesviii · 4 years

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Top 10 Personal Favorite Hit Songs from 1990

Well, that is a pretty terrible, not good, bad year for hit songs uh? I mean, for the kind of hit songs I like, at least.

Obviously my first-hand experience of “hearing songs on the radio and actually liking some of them” starts when I was around 3 or 4, so nostalgia will have very little to do with the first top 10 lists I’m making.

Disclaimers:

Keep in mind I’m using both the year-end top 100 lists from the US and from France while making these top 10 things. There’s songs in English that charted in my country way higher than they did in their home countries, or even earlier or later, so that might get surprising at times.

Of course there will be stuff in French. We suck. I know. It’s my list. Deal with it.

My musical tastes have always been terrible and I’m not a critic, just a listener and an idiot.

I have sound to color synesthesia which justifies nothing but might explain why I have trouble describing some songs in other terms than visual ones.

I struggled to find more than five songs to put on this list.

Think about it. A pool of roughly 160 hit songs to pick from, and there’s only 3 and a half songs I actually enjoy on this list.

This is terrible.

10 - On écrit sur les murs (Demis Roussos)

US: Not on the list / FR: #20

This song is only there because the lyrics themselves are lovely and because I genuinely like the recent cover made by Kids United even though it’s Uncool(tm) to admit that in my country.

I kinda dislike that version and its singer though, and the fact I had nothing better to put in the 10th spot is sad. But. Like. It was either this or MC Hammer. Give me a break.

9 - Vogue (Madonna)

US: #5 / FR: #28

As I said before, I had a very brief Madonna phase back when she released Die Another Day.

This song was NOT one of my favorite Madonna songs even during that brief Madonna phase.

But I literally had nothing else I could possibly put in that spot.

End me.

8 - The Power (Snap)

US: #26 / FR: #83

Not my favorite Snap song (stay tuned for another list to know which one that is). Still pretty decent, and since, again, I have nothing better to put here, it will do in a pinch.

7 - Dangerous (Roxette)

US: #34 / FR: Not on the list

Basically the same thing. These two top 100 lists are pretty wretched as far as my musical taste goes, so I’ll take what I can get.

6 - Hélène (Roch Voisine)

US: Not on the list / FR: #34

Insert here rant about White Guy With Acoustic Guitar Song (c) ToddInTheShadows.

My parents listened to this a loooooot. I really, really like the melody ; shame about the lyrics though.

We’re at #6 and we still haven’t reached the songs I actually used to listen to occasionally.

5 - Les Valses de Vienne (François Feldman)

US: Not on the list / FR: #10

Back when I got my first cd player, around 2001 (it was small, round and grey, and it had a radio and a tape recorder), the number of cds I could play on it was fairly limited, and one of them was some sort of old hits compilation. This was on it. It sounded nice and passed the time nicely.

That’s apparently enough to warrant a 5th place on this list.

4 - Pump Up The Jam (Technotronic)

US: #13 / FR: #88

This is my go-to music video to link when someone asks me what the general aesthetic of the 90s was. I enjoy it a lot and I’m not even sure whether that enjoyment is completely ironic or not. And the song is pretty great too. Not as good without the visuals, though.

3 - Free Fallin’ (Tom Petty)

US: #64 / FR: Not on the list

We’ve entered the top 3 and finally we’ve reached a song that I can 100% say I enjoy for no other reason than the song itself. My father was (and still is) a big fan of Tom Petty and I really liked it when he played this song but it took me years to actually know what the title of the songs were and who was singing them. This one is one of my faves.

My favorite Tom Petty song is actually Learning to Fly, and sadly it won’t appear on these top 10 posts because it’s not on any official year-end list. Also I only found what this particular song was this year. “Only” 28 years after it came out and roughly 20 after I started to like it.

It happens, I guess.

2 - Sadeness (Enigma)

US: Not on the list (...yet. It charted the next year) / FR: #31

I love Enigma, I have nearly all their albums even if it took me years to find them, and I have this one (MCMXD a.D.) on CD, on vinyl and (brace yourselves) on a video tape containing an album-long music video. It exists. The worst part? I also have it on DVD.

It’s pretentious to the point of being funny, it’s weird, its chart success makes no sense whatsoever, and Enigma would went on to make much better tracks, but still, it’s already damn good, and it was one of the only two songs that were on my 1990 list right off the bat.

To top this one, we need something even more pretentious, grandiose and iconic.

Wait.

1 - Enjoy the Silence (Depeche Mode)

US: #66 / FR: #72

Was there ever any doubt this song would top this list? No. Nada. Niet. None whatsoever. Even in a better year, it would probably have topped the list anyway. The first notes are so dramatic and exciting. The whole song has this weird blue luminescence that every Depeche Mode song from this period has (probably due to the slight reverb effect but again I’m terrible at understanding music in non-visual terms) but still shines incredibly bright in the dark. The album version is great, the single version is even better. Even the music video is good. Also I’ve always been a sucker for very ‘controlled’ electronic music with repetitions because it’s visually very satisfying and this is a great example of that.

Maybe it doesn’t sound incredible to you after hearing it being overplayed for more than twenty years but it is still genuinely that good to me.

I should also mention that I first discovered it through the 2004 Mike Shinoda version, which kickstarted my appreciation for Depeche Mode through my appreciation for Linkin Park.

How much appreciation exactly, you ask?

Oh, it was only my second favorite song of all time two full years after I first discovered it.

See. No big deal.

Next up: A way better top ten.

#Johannes’ bad not good pretty terrible music lists #music #long post

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asterinjapan · 4 years

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the end of a journey

And that wraps up my collection posts for this trip. How time has flown by…

As always, I like to do a final post in which I look back on my travelling, before I close this blog until my next trip. I am going to do that this time as well, but my reflections on Okinawa will be slightly different than expected, as in the early morning of October 31, the main buildings of Shuri Castle were destroyed in a fire. Thankfully there were no human casualties, but the loss of the castle cuts deep for Okinawa, and it would feel odd to just cheerily babble about visiting the castle without touching upon what happened a mere 4 weeks later (to the day, I now realize).

I uh, might have postponed this entry so that I could pretend I didn’t have to close the chapter of this trip, haha. But with my photo album done, all that’s left is my final words.

Now without further ado, the final post for Japan 2019!

One would think that after eight previous trips, another flight to Japan would feel like routine, but the start was already different since I needed a domestic flight transfer. However, being able to see the islands of Okinawa from the plane awed me, and definitely set the tone for my enjoyment of the main island. I arrived with fairly high expectations, and I got to say that Okinawa more than delivered. Although I confess it was slightly odd to stay along the Kokusaidori main street, as it’s so touristic and feels like a shopping street in Tokyo, but it still has its own Okinawan flavor. And I was so close to the ocean! I couldn’t believe how quickly I reached the shores, and even with a highway road above my head, it was great to trail through the water on my day of arrival.

Visiting Shuri Castle was on the top of my wish list, so I did that right on my first full day. Reading about the beautiful reconstructions and seeing the pictures definitely didn’t hold up to the real thing, and I could only admire the love and dedication that had gone into reconstructing this centuries old castle. It felt so completely different from the other Japanese castles, which it of course is, but I hadn’t expected to feel that so acutely. You could definitely tell how proud the people here were of the castle, and I can only hope that those whose livelihoods depended on the castle can get by now. It still feels surreal to think that the buildings are no longer there. There are logistical problems for rebuilding, although I don’t doubt they will get there in the end. It burnt down before, and rose from the most terrible of ashes. It will likely take decades, but considering how big a symbol this place is, there will definitely be something new. I do confess I kind of skipped war memorials during this trip to Okinawa, but the scars of the Battle of Okinawa was visible everywhere; and yet it was also noticeable how the people have come back from it. I can only hope their spirit will continue from hereon too and that this symbol will rise again.

Of course, I had no idea while I was there what would happen four weeks later, but I’m glad in retrospect that I took my time and uh, took as many pictures as I did. Nearby Tamaudun Mausoleum impressed me deeply as well, although I must confess that was due to the full package: the castle and the history and the mausoleum together, plus the pathway leading up to the building was short but absolutely lovely.

After that, I saw so many sights. I climbed the mountain to find Nakagukusu castle, where I had a blast feeling like I was in some weird limbo between a gothic European castle in ruins with crows flying by and, well, a subtropical island, with beautiful blue seas on both sides. Weirdly, it really looked like only the castle was clouded that day, as the sun was shining on both sea sides, but it just added to the atmosphere.

I went from super touristic but cheerful Okinawa World with its gorgeous caves to the genuine and wonderful museum, teaching me so much more about the islands, explored gorgeous gardens, and to top it all off, I got to spend a day on Tokashiki island, which really was the icing on an already delicious cake. The weather was lovelier than I could have even hoped for, the views were amazing, and I was honestly jealous of myself while I was there. This really was the picture perfect ‘tropical holidays’ right from the travel brochure, and although I think I’d get bored of it if I were to spend a whole week just chilling on the beach, it was an amazing way to end my week down south. Not to mention the submarine ride! I’m really glad I was tenacious and eventually lucked out and got on, because I wouldn’t have missed it for the world. It’s one thing to see coral reefs on tv or in an aquarium, but seeing them in the wild is awe inspiring. Luckily the Kerama Islands (which Tokashiki is the biggest of) are a national park and under protection, and I can only hope that we can all protect amazing sights like these all around the globe.

After a week of exploring something completely new, it was time to return to an old friend: Fukuoka, which I had stayed in for a week back in 2015. I had fond memories of staying there, and this week didn’t disappoint. The flight was so relaxed I would almost say I got rid of my fear of flying (not entirely, but it definitely diminished from here on), and then it was time to explore the places I had missed out on before! It was my first time seeing a typical conical and active volcano, and Sakurajima definitely didn’t disappoint. Karatsu had caught my eye in recent years, and I’m so happy I went there, because I had a delightful day and I was thoroughly charmed by this city. Beppu was highly touristic, but I had a good time exploring the hells anyway, and I’m easily amused, so getting to say ‘I went to hells and back’ won’t get old soon. The typhoon made me stay in Fukuoka for a day since I didn’t want to risk getting stranded, but I don’t regret it one bit as I finally got to see Kushida shrine in the sun and had a blast in Canal City. It was safe enough to go to Yoshinogari Historical Park next, and wow, there was so much to see and do that I definitely have to go back here sometime. And hey, I got to be crafty and made a mirror! I’m still unreasonably proud.

With the weather continuing to smile down on me, I hit Okayama next, where I finally got to dress up as a princess in the castle (I’m easily pleased) and saw the sights we sadly had to miss out on last year due to floods. Gorgeous sights and castles greeted me as I finally got to see more of Shikoku, and although I am definitely a bit weary of temples now (sorry, Onomichi), the views over the Inland Sea continue to impress. The weather was exceedingly kind to me and gave me blue skies over all castles, and so I happily checked off number 7 on the list of 12 original castle towers still remaining. Past the halfway point! I do love castles, haha.

My luck hadn’t run out yet as on my final day in Okayama, KOKIA was performing in Osaka. It was just an hour away from Okayama, the closest I was to Osaka the entire trip, so that left enough time to visit Universal Studios beforehand. And of course, seeing KOKIA live is always a magical experience (which is a nice bridge from the Wizarding World of Harry Potter I guess, haha). I’ve said it before, but even live recordings and DVDs can’t compare to the live experience, and I feel so privileged and blessed that this is my seventh time (!) getting to see her live. And this was my third time in a row getting to meet her for an autograph! I might get spoiled at this rate, haha. It was wonderful to hear songs from all those years ago as well as some newer favorites.

And although I hadn’t been looking forward to the long trip to Tokyo, this was in fact a very relaxed experience. I had so much leg space that my suitcase in front of me was no big bother, and the seats next to me stayed empty anyway. Getting back to Tokyo, and more specifically Ikebukuro, felt like coming home again, and I enjoyed soaking into the familiar sights (and uh, shopping, I have to admit).

This was the only part of my trip where I actually noticed the typhoons that had blown over or were on their way. Japan has taken quite the battering this year, with typhoons forming very late into the season, being more powerful than ever, with Hagibis being the tragic record. It had given me quite the scares, but all it really meant for me was a few windy days, two days of rain on 4 weeks total, and making it risky to leave Tokyo for the mountainous areas. The people here have suffered far more. I can only hope they recover well from this natural violence and that they can catch a break for a while.

Anyway, you can easily dump me in Tokyo for months on end and I will still have a great time. This city is so massive and there are plenty of places worth a second (or third, or ninth) visit, so it’s hard to imagine I’d ever get bored here. And since many of the series and games I like hail from Japan, I definitely took the chance to stock up on merchandise and go to cafés to let out my inner fangirl. Look, I grew up on Pokémon, I’m not gonna ignore the chance to have dinner with Pikachu. Rainy days aren’t so bad if you get to spend them in a museum so big that even a full day is barely enough to see everything, and I got to spend some extra days with my friend on top of it.

I have to admit I felt a bit bad about not using my JR pass much in that last week except for the Yamanote line, but that in no way diminished how much fun I had, and I confess to having cried a couple of times in my final days in Tokyo due to my impending return home. Of course, going on holidays is different from living somewhere, but I still feel like a piece of me was left behind in Japan way back in 2010, and so it hurts to part every time. That might sound dramatic, but that metaphor does explain why I feel so strongly about it.

The flight back gave me one last treat with the Fuji showing up through the clouds, marking the first time in all those flights when I actually got to see it from the plane. Sadly the picture I took on my phone isn’t super crisp, but it’s the best I could do at the moment, and really, there’s something about that mountain you can’t quite catch on camera anyway. The flight was calm and hardly affected my nerves, and though I didn’t sleep much, I managed to get home safe and sound without even falling asleep on the train or bus.

Of course, the jetlag was waiting for me with a big ol’ hammer, and it took a while for me to recover. A bit longer than expected, actually, although I suspect part of that was caused by just how much I’ve seen and done over those past 4 weeks. Look at how long this entry is getting, and I barely even touched on some days and impressions! I can’t believe I got to check off my entire list of places to visit until I got to Tokyo. I hadn’t thought my body could handle it, but I was pleasantly surprised, and I definitely feel in a better condition than ever. Seeing all these wonderful sights for sure invigorated me, so I don’t doubt it helped, but the relative ease with which I climbed those mountains also surprised me. Not that I’m complaining!

And that brings me back home. I’ve had two weeks to recover now, and I think my body has adjusted to being back in the Netherlands again. I’ve collected all my reports from this blog (and have apparently done NaNoWRiMo writing challenge a month early, as I surpassed 50,000 words written in a month, oops), my photos have been sorted out, I’ve put together a photo book for the collection, and… well, all that’s left is closing off this blog until the next trip. That won’t be this year anymore, haha, no more last-minute Christmas trips to Tokyo! Although I won’t deny it’s tempting, but I’d rather take the time to plan out my trip for next time.

I don’t know when that will be. Part of me really wants to see the cherry blossoms, but it’s a busy season, so I should be looking into flights and hotels already if I am set on doing so next year. Summer 2020 is out, though. I’d rather avoid the height of summer in Japan if at all possible, and well, with the Olympics and Paralympics next year, I think Japan really doesn’t need any more tourists in the mix, haha. So, who knows! I’ll have to wait and see where next year takes me, although I’d love to return to Japan as soon as possible. I still haven’t visited Hokkaido, after all, and I did plan out a lot of day trips from Tokyo that I didn’t get to do now.

I keep saying it, but I don’t think I’ll ever be done with Japan. Despite hardships, I am so happy I decided to study its language and culture, over a decade ago now. It really broadened my horizons, allowed me to meet new people, and introduced me to an immensely interesting country. Although I’m far from fluent (I really need to pick up my study books and at least increase my vocabulary, yikes), it still really helped finding my way here and getting in touch with people. Of course, I saw everything through a tourist’s eye, but I do my best to read up on the places I visit and get a better sense of the culture and history through first hand experience. Speaking the language to a degree definitely helps with that.

And so, I will now close this blog again until my next trip, which hopefully won’t take too long. Whether it’ll be a short hop over to Tokyo or a longer cross-country travel remains to be seen, but I can’t wait to find out!

Thank you for sticking with this blog and for reading all that in case you made it here, and see you soon!

#report #report: japan 2019 #japan 2019

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falneou17 · 4 years

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BanG Dream! Favorite List

So... people have been requesting I made this for quite some time now, and I decided that I might as well. It might be a nice thing to look back on the past three years and see how I have formed and changed my opinion on the various characters.

The main reason why I held back with it for so long, aside from wanting to avoid giving off the wrong idea with who my least fave is, is because I was playing on the JP server while conversing with people who were only playing on EN. I stopped playing JP about a year ago now (the last event I remember playing on the JP server was Babyglow, actually), so the EN server has more or less caught up to what I remembered from the JP side of the franchise; which means that there is still a decent chance that my preferences might change from this point onwards. Not to mention that the third season will air next month, too.

I want to do these regularly-ish, but with how “fixed” the rankings have been ever since RAS’ introduction I wonder how often that can be done.

Icons are taken from the bandorisorter tumblr.

Favorites

1. Yamabuki Saaya Same old song and dance, she has been my favorite BanG Dream! girl since day one. She radiates an aura similar to Saten Ruiko from the Raildex franchise (who also happens to be my all-time favorite character), and this, coupled with her supportive, sacrificial, helpful nature really helped Saaya in solidifying a spot in the #1 spot. The only way I can feasibly see her drop from this spot is if she doesn’t receive any character growth and development because she has been, admittedly, rather static in this department.

2. Aoba Moca A name people still think is my fave of the franchise, she might really become it soon depending on how much Saaya grows in the future. A “simple” character at face value, I really started finding out just how deep her character is when I started getting more into her design and learned more about her. She is overall a really fun character to work with and nothing says that more than the fact that she has been the centerpiece of all my multi-chapter fanfics for this fandom at the time of writing this.

3. Mitake Ran Ran goes almost hand-in-hand with Moca, but where Moca had the element of surprise and curiosity to keep her high on the list, Ran felt like this mixture of two characters of a different franchise I really enjoyed, combining both their strong points into who we now know is Mitake Ran. And I am sure you all already know how much I like Ran considering the BlueFlora works I have done since April of 2017.

4. Hazawa Tsugumi Tsugumi is probably the easiest character, at least among the Afterglow girls, for people outside the BanG Dream! fandom to relate to, and for good reason. She’s a hard worker, remains positive, and you know things will go south when Tsugumi isn’t being optimistic and charging forward like no tomorrow.

5. Imai Lisa Lisa shares a lot of similarities with Saaya, or at least how I described Saaya. Nevertheless, there are still a handful of factors that would explain the gap between them. The first is that I saw Saaya on the screen first, so Lisa was doomed to become “similar to Saaya” as a result (the way the first season animated both girls didn’t really help). The second is the way Lisa is shipped by the general fandom that makes me feel a lot more restricted in using her freely. The final point is not Lisa’s fault, but while Nakashima Yuki has done an amazing job at taking over the role... she is not Endō Yurika.

Loves

6. Uehara Himari I make fun of Himari a lot, but she is still an amazing character and a great gear in the Afterglow machine. And while I personally feel like the English translation of Himari’s catchphrase is not doing it justice, I am very much aware of how important Himari is to the chemistry of Afterglow. She is the leader of Afterglow, after all.

7. Shirokane Rinko What started out as just a playful headcanon has really gotten traction and popularity amongst my readers and helped Rinko rise up to this spot, managing to even beat out the fifth member of Afterglow in the process. Although very different from the characters I usually wrote for, Rinko manages to be this breath of fresh air to allow for a different pace than what I usually work with. The only reason that is holding Rinko back is not even her own fault: Akesaka Satomi made Rinko into the character that I’ve come to know and love; she was Rinko, so losing her was and always will be a big blow to me. Shizaki Kanon is doing her best, and I respect her as a seiyuu in her own right, but... she’s never going to replace Akesaka Satomi as Rinko in my eyes.

8. Udagawa Tomoe Tomoe is a weird one. On the one hand, she’s very fun, energetic, and is tunnel-visioned enough to be fairly predictable in a fun way. On the other hand, she is the most static character in her band and one of the most static of the entire franchise, so... she’s still really high up thanks to the Afterglow bias in me, but who knows for how long that can last?

9. Maruyama Aya I really am unable to talk about Aya without bringing up her seiyuu, Maeshima Ami, because the phrase “the seiyuu is the character” rings very true when it comes to this one. And she is a very fun character, too! I am not really good with stumbly fumbly characters, but watching Aya on the screen has never been a bad thing. It also helps that her singing voice matches Misawa Sachika’s so much, reminding me of Misawa Sachika’s Polaris mini-album and even convincing me for a short period that Misawa Sachika was Aya’s seiyuu.

10. Okusawa Misaki/Michelle I am not really breaking the mold here, having Misaki be my favorite Hello, Happy World! character, so I don’t think I need to add much to it. In a nutshell, Misaki is to Moca as Lisa is to Saaya. But instead of being put in a band I like overall, Misaki was put in what is arguably my least fave band of the franchise (mostly because the style of music does not fit me, personally, and I like the other five bands more)... which really limits how much Misaki can rise in my list.

11. Wakamiya Eve I only have one thing to say about her: BUSHIDO. In all seriousness, Eve is adorable and her fascination with Japan can really act as a parallel to how some fans adore the culture. In short, much like the vocalist of her band, there is never a dull moment when Eve is around.

12. Asahi Rokka Rokka is a really fun addition to the cast through the second season that aired earlier this year. And what is really interesting about her is that, while the other four RAS girls have been a hit or a miss in the fandom, Rokka seems to be almost universally liked. She is just an adorable bundle of cute, what’s more to say about her?

Likes

13. Tamade “CHU2″ Chiyu So remember how I said in Rokka’s entry that RAS’ characters tend to be a hit or a miss? Well, CHU2 is, in my experience, the most polarizing of the RAS girls; people either love her or hate her. I personally really like her, because while she may appear as a brat at first there is obviously a lot more going on beneath the surface. And I enjoy watching those characters develop, so here’s to hoping that season 3 is nice to CHU2.

14. Nyubara “PAREO” Reona Now unlike CHU2, I can’t really pinpoint what it is exactly about PAREO that makes me like her. But I do, she is enjoyable, her dedication to RAS and CHU2, while bordering something else entirely, is still... quite admirable to see, in its unique way.

15. Ichigaya Arisa Arisa is a weird one. I enjoy watching the subtle actions she does in the background to show that she cares for and supports her friends, but at the same time... she’s competing with Himari for the title of “who can be the butt of all jokes”... which is a bit of a shame, but oh well. Another thing that is kind of holding her back is the fact that one of her defining qualities, being a tsun, is... not the most unique personality trait in the anime world, to put it lightly.

16. Tsurumaki Kokoro Kokoro is... an interesting case. I think I mentioned earlier that I am not really good with eccentric characters, and Kokoro is exactly that with a capital E, but on the other hand... the few times when we do get to see through that bubble of energy we get treated to a surprisingly deep character. It also helps to share birthdays with me, I suppose.

17. Hikawa Sayo Another really weird one to place, and one that will probably define the rest of the list. Sayo, by far, has received the absolute most character growth of any of the other girls. That is normally a good thing, but in Sayo’s case it kind of acts like a double-edged sword; while she grew to be a better person and a better sister, above all else, she... lost things that really defined who she was in my eyes. And because of that, I don’t quite know where to place her... I do enjoy her and still like her, but... I dunno...

18. Hanazono Tae Tae has always been a fan favorite ever since she first appeared in the anime, but... she faces a problem I have mentioned before: she’s pretty static. She’s still fun and the fact that I am kind of looking forward to the way her seiyuu continues to grow will probably keep Tae up, but not too high.

19. Udagawa Ako All right, so Ako being here should already tell its own story, but... generally speaking, when a character is “created” with its whole purpose being to surpass another specific character, they will never come close to that character on my list simply because I end up thinking of Ako relative to Tomoe (in Ako’s case). Ako is fun to see and her chuunibyou side makes for some cute interactions, but aside from that... with the fall of Rosela came the fall of its members...

20. Satou “MASKING” Masuki At this point in time, we don’t really know that much about her. She had like... what? Five lines in the entirety of season two? From what I have seen of her so far, however... she catches my interest, but depending on how well her character and backstory are handled she can rise or fall accordingly.

21. Minato Yukina So remember the whole “fall of Roselia” I mentioned? It is not really their fault, losing Endou Yurika and Akesaka Satomi was a big blow, but the effects it had on both the characters and their respective seiyuus are still... there. Yukina in particular also suffers from the whole notion that she is introduced as this super professional singer with more talent than she knows what to do with, but... in part due to the seiyuu shift of Lisa and Rinko, Roselia’s songs have taken a hit in how much I enjoy them (to emphasize this point: I haven’t really enjoyed a new Roselia original song ever since Akesaka Satomi left Roselia). The only two things keeping Yukina in this “tier” is that she is still somewhat interesting to work with and her rivalry with Ran can provide... quite the amusement.

Above Neutral

22. Shirasagi Chisato Once we’re in this tier, it... really is a bit of a blur as to who is placed where relative to each other. I can say that Chisato is probably at the upper end of it by the process of tiebreakers: BanG Dream! Livestream and events involving their seiyuus. Uesaka Sumire is always fun to watch on the screen and has made me warm up to Chisato in the process.

23. Matsubara Kanon Pretty much exact same reasoning as above, with Kanon being slightly lower simply because I tend to like serious characters more than those that fumble around. I will say, though, that the few times when we get to see a confident and determined Kanon on the screen, it was a lot of fun to see.

24. Hikawa Hina So remember my point with Ako about characters who are focused on their relationship and interactions with one specific character? Hina serves as this unreachable goal for Sayo to reach, and with a lot of the scenes that are being shown use Sayo’s perspective to do so... Hina’s innate genius is also somewhat of a double-edged sword for her ranking here, because while scenes involving Hina are anything but dull, I... prefer characters who work hard to get where they are above someone who is “born” with the ability to stand out.

25. Wakana “LAYER” Rei I feel kind of bad putting LAYER all the way down here, but as a character, she is rather... static and uninspiring, at least at this point in time. As a vocalist, however, LAYER is probably my second favorite in terms of the singing voice, so I am hoping that the third season can catapult LAYER up a couple places.

Neutral

26. Toyama Kasumi The “face” of BanG Dream!, so to say. I will say that, for a typical happy-go-lucky energetic female lead, Kasumi has a lot more depth to her than others. Unfortunately, being the character we see the world through, I’ve never managed to really relate to her. So while she is almost in the next tier, she barely misses it.

27. Yamato Maya Maya is, actually, a really interesting character with a lot of room to grow and become her own person. Unfortunately for Maya, she did not catch my eye early enough so by the time I got used to characters like Moca and Ran running around, Maya... kind of faded into the background.

28. Ushigome Rimi I don’t know how to say this without being too mean to Rimi, but... Rimi has been really static. Rimi interactions and scenes, more often than not, either consist of her love for Choco Cornets and/or her relationship with her older sister. A lot of potential, a lot of possibilities, but none that have really been taken advantage of...

29. Kitazawa Hagumi Hagumi suffers a really horrible fate, and I think that she would have been a lot higher on the list if she wasn’t in Hello, Happy World. Hagumi’s character and personality traits overlap with Kokoro’s a lot, and with Kokoro being the vocalist of the band Hagumi has really been living in her shadow... which isn’t doing her a lot of favors.

So, that’s my list. Oh, I missed somebody? Right right, let’s fix that~

Unsalvageable/Very Bottom

30. Seta Kaoru Where do I begin to properly explain how I feel about this character? For starters, Bang Dream is a gacha game where we grind up resources, save for weeks, sometimes even months, for that one card we want (unless we’re spending money on the game i.e. whaling). So what do you think will happen to the character who keeps dropping in a banner she is not even a rate-up in while you really wanted a limited card you have saved eight months for? Or if she keeps arriving as the guaranteed 3* in like 80% of all your pulls for over a year? For reference, I managed to get the skill level of her Phantom Thief 3* to level 5 by using duplicate copies of her Initial 3*. And vice versa.

The gacha side of my reasonings aside, the actual reason why she is and always will be at the bottom is for a reason that cannot be removed without changing who she is. Her over-the-top, flirtatious attitude really, there is no going around this, annoys me, and even if it is just a front... I’ve already associated at least three people I know irl to her, and since I despise those three for how they behave irl... I can never see myself saying that Kaoru is not my least favorite of the franchise.

The only way for Kaoru to no longer be at the bottom is for BanG Dream! to introduce a character I despise more. Which, to be fair, is a possibility with Argonavis, but not only am I just not interested enough to properly invest time in checking them out, they are also in an alternate universe or something if I remember correctly... so comparing the girls to the boys in Argonavis is like comparing... Railgun characters to Index characters, in a way, which isn’t really “fair”. I probably will if I decide to check out Argonavis, but don’t be surprised to see this one at the bottom still.

#BanG Dream! Fave List #Falneou17

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zukadiary · 5 years

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Beside the Foggy Elbe / Estrellas ~ Star Troupe 2019

First show of 2019! My home base in Japan is usually Kansai, but for the first time I’m in Tokyo for a lengthy stay. I saw Elbe/Estrellas twice in the theater plus the senshuuraku live view. Spoilers, because the ending of Elbe was one of my favorite things about it.

Beside the Foggy Elbe [Summary]

I caught Elbe quite late in the run, and most of the feedback I heard from talking to other non-Japanese fans beforehand was fairly negative, but I found it VERY enjoyable. Elbe is one of the most historically famous original Takarazuka works. While I haven’t seen more than clips and photos of the older productions, I was already familiar with much of the soundtrack, and I always love seeing and hearing classic Takarazuka elements live, especially as a relatively young fan coming in late in Takarazuka’s 105 year history. It’s a special kind of fun to be able to sit in the theater and sing along (even if only in my head) to a show I’ve never even seen. The story is most definitely dated, but I love the vintage-ness of it (if anything, I wish they’d pushed the aesthetics even more vintage). And because it’s an old classic, I was able to suspend my disbelief of the unlikely love story in the same way I can with old Hollywood musicals (is it believable that Dale Tremont falls in love with Jerry Travers three seconds after finding out he wasn’t actually Horace? No but I’m here for it). I also love that they don’t get together!! The first time I saw it, I looked at the clock when Margit and Florian began yelling for Karl on the docks, and went sort of wide eyed when I realized there wasn’t TIME for it to end any way other than heartbreak. I think it’s much more interesting that way.

Quick complaints out of the way first: while the show isn’t really hard to follow, I did find both Beni and Airi quite difficult to understand. Beni uses a very loud, slurred voice to play the foul-mouthed Karl, and while it’s in keeping with her character, I couldn’t untangle a lot of her words, even though they weren’t lines I’d find complicated if I read them. Airi put on a shrill voice that I also found difficult to understand. I get that her character is an ingenue to the extreme so it makes sense, but I still feel like she could have landed somewhere between that and her natural voice and been ok. Additionally, there is a parade in the beginning that I think was an UeKumi addition. I didn’t DISLIKE it, and I understand its usefulness because it’s a very top heavy show and the parade gives the secondary players a bit of fun extra spotlight, but it didn’t really fit the look or vibe of the rest of Elbe.

I do think you need to like Beni and Airi to enjoy this show, because it is so top heavy (if you love them, I think this will be a really great show for you). I especially liked the role of Karl for Beni. Beni’s Karl was an extremely insecure person who disguised his self-doubt in brash mannerisms and generally poor behavior, which made his moments of sincerity very poignant. Since Beni is known more for her comedic roles than her serious ones, and sometimes seems to be questioned by fans re: her ability to be serious, I thought this really suited her in kind of a meta way. She leaned hard into the brashness because that’s more her strength, but for me she also nailed Karl’s vulnerable moments, and that made them sting extra because it felt like it was coming from a real place. I’m also kind of a sucker for the cross-social-class love story trope. Karl’s behavior for the most part is truly unattractive to the point where it can be hard to sympathize with him, but there are several scenes where you can feel his deep discomfort toward being amongst the wealthy, and how traumatized he is about his ex leaving him because he wasn’t rich enough, and Beni makes them hurt sooooo good (shout out to Otoha Minori who had the very small part of Karl’s ex but really helped succinctly convey that backstory in a way that impacted the whole show).

Margit is a hard sell for me because I don’t find her likable as a character, but I think Airi did a great job hitting the necessary notes. For the story to work, Margit has to be unhappy, but also sheltered, spoiled, frivolous, and naive enough to fall in love with someone she met in a bar at first sight just because he was a little nice to her and the polar opposite of the life she’s trying to escape. Airi made it plausible. She also plays the piano for real a couple of times (angrily!) and I was VERY impressed (Coto also does, but she can’t surprise me with unexpected talents anymore). I think Airi’s strength is sexier more mature characters and I hope she gets to flex that muscle in their taidan show, because in that sense Elbe left a lot to be desired.

As much as I think Karl suited Beni, Coto is the one who made me think it wouldn’t have been quite the same if they’d given Elbe to any current lineup other than Hoshigumi. The least believable part of the entire story is that Florian is too good. There are no men who are that good. Even for the not-men of our 夢の世界 it’s a stretch. But I completely believed that Coto was that good. I don’t even know what to say about her... she can do anything and it’s stupid. Muster up heartbreaking sincerity for a truly unrealistic character? Sure. Play the piano flawlessly while speaking? Why not. (And the way she brushed her coattails out of the way before seating herself at the piano bench made me feel A Way).

The newly inserted Tobias was a nice sendoff for Kai. Not quite as delightful and meaty a role as Kiroku, and not as strong of a goodbye present as Sho Fu Kan, but lovely nonetheless. Tobias was not inherently a remarkable character, but he was an excellent blank canvas on which Kai painted herself, making him cool, hot, and everyone’s big brother—all around lovable. Her costumes made NO sense (cowboy hat??) but she wore them so well I loved them all against my better judgment. Stage time dropped off pretty hard after Beni/Airi/Coto, but the scenes with the other sailors were my favorite, and Kai’s involvement in each was prominent enough (and CUTE enough) to make Tobias feel like a juicy role. She gets a lovely bridge solo toward the end, and fittingly leaves the ship crew to get married (to Mizuno Yuri/Karl’s sister), exiting separately in dramatic fashion to everyone else’s tears and well wishes.

I found myself charmed by the supporting cast—including (especially??) the nameless lurkers of the background—more than usual. Was it the giant food props? Were they just exceptionally silly back there? I don’t know, but unfortunately the recording won’t illuminate them regardless. As for the named support, Mao Yuuki, Seo Yuria, Shidou Ryuu, and Amahana Ema made up the rest of the sailors with lines and stuff, and while there was barely anything for them to do, I (for reasons not entirely known) found Mao and Seo in particular extremely charming. Amato Kanon played a bratty screaming kid, the exact type of role I’d normally find annoying as hell, but she even managed to make HIM charming; she had a lot of very entertaining wordless interactions with some of the bigger players on the outskirts of various scenes while something else was happening in the middle. Mikkii used 5 of her 7 seconds of stage time prowling through the audience, and seeing her angry face advancing head on toward the gaijin seats was indescribably intimidating. The biggest surprise was I fell a little in love with Mizuno Yuri, who, to be fair, did not have to sing OR dance, but who did play a weird lanky adorably awkward country bumpkin with a stupid accent from Karl’s middle-of-nowhere hometown in a way that I for some reason could not stop watching. She, as Tobias’s bride, also bawled her eyes out on raku when the two of them ran off together.

So far I still think Another World is the crown jewel of Benigumi, but I’d place Elbe second.

Estrellas

Seeing Estrellas was an odd experience because it got the New Year’s NHK broadcast, and I watched THAT before I saw it live—how often do you see a Takarazuka video BEFORE seeing the show live?? It’s my personal favorite Benigumi revue thus far. I fell in love with it pretty instantly, and interestingly I think a big part of that was the NHK cinematography, which combined with the song selection made it feel more like a concert or a FNS-style big televised music program. I found that fresh. It didn’t have QUITE that same vibe live, but still a good impact. I can see it being polarizing though; it’s very pop and not very Takarazuka at times, and I probably like it so much because I happen to personally like the song choices.

Allowing for the fact that she was still performing very much within her own quirky style, Beni (up until Tokyo raku) seemed very on point to me, which I was glad to see; my last live Hoshigumi experience was Another World/Killer Rouge in Takarazuka toward the beginning of the run last year, and in Killer Rouge especially it seemed like she was being extremely cautious with her movements in a way that made me wonder if she was nursing or avoiding an injury. Every time I saw Estrellas though she danced full force. Airi had more than one sexy number to make up for Margit, most notably an all musumeyaku dance in the finale portion that I feel like I see pretty rarely from Hoshigumi. Beni and Airi’s duet dance was also VERY cute and very them.

Kai again got a lovely sendoff, a big long 3-song progression with perfectly chosen lyrics. The way she drank in the theater on the last day, like she was really trying to burn the image of the audience into her eyes, was SO much.

Coto is stupid. She paints with her voice and that gets me real bad. There’s a solid handful of siennes in the top tier of vocals in Takarazuka, and while many of them are gorgeous singers, the only two I’ve heard play and emote with their voices the particular way I’m thinking of are Coto and Daimon. Her vocal control while she’s violently dancing is also astounding. She’s stupid.

Senshuuraku was an ordeal! Estrellas opened with Beni doing what I initially thought was some weird attempt at a sexy breathy thing, and then maybe thought she was trying not to cry, till it became abundantly clear that something bigger was wrong. She got hoarser and hoarser till some notes in “Tonight is What it Means to be Young” failed to come out entirely. She used her chuuzume ad lib time to apologize for her voice... sad, because that was the prime slot for cute and touching moments with the retiring actresses, but she was clearly too panicked and struggling to think of that. Then she explained during the curtain call that she broke her voice at the end of Elbe—and it must have been on the VERY last note, because the entirety of Elbe was COMPLETELY fine (I didn’t even notice a weird crack or anything at the end). I didn’t know you could break your voice that badly on one note, but I guess you can. She was very flustered and apologetic—also full on crying—though every curtain call, and while I can’t blame her for feeling remorseful I wish she’d dialed it back after the first couple of apologies and let the retiring actresses have their moment. But considering her state it was pretty remarkable that she powered through, and I hope she has a chance to recover before the next show.

I’ve lived through my share of Takarazuka retirements, including ones that turned a whole troupe’s vibe completely upside down, but somehow Kai’s feels unusually odd (I imagine Miya’s will as well). I think it’s gonna be a downer of a year.

#takarazuka #reviews #beside the foggy elbe #estrellas #am I 東宝組 now 19

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paulisweeabootrash · 4 years

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Pokémon 2.B.A. Master

I stumbled across a piece of weeb trash media I had heard of, but neither attempted nor expected to find. And it’s a bit different. Today, my friends, we are not doing an anime or manga, or even another novel. We’re doing a tie-in music album, a American blatant cash-grab based on a Japanese franchise. Oh no. Oh yes.

Pokémon 2.B.A. Master (1999)

As a young weeblet, I was a regular watcher of the first two arcs of Pokémon (Kanto and Johto). It was in both weekday and weekend timeslots, and never seemed to be broadcast in any sensible order, but I nonetheless watched it frequently and enjoyed it no matter how many times WB decided to rerun episodes I’d already seen. At some point, this CD came out, and I remember seeing ads for it when it was new. There were even televised music videos for a few of the songs, broadcast as a segment called “Pikachu’s Jukebox”. I never saw a copy of the album in person, and never expected to. Maybe it was one of those that you had to order by calling some number? I don't remember (or, frankly, care enough to look it up). Anyway, I recently encountered this in the small music section of a used book store, and I figured "why not?" And the obvious answer is "most of the contents".

The cover, in addition to using proud and unironic Comic Sans for the subtitle "2.B.A. Master", boasts that the album contains both "Music From The Hit TV Series" and "10 Brand New Songs!" The former refers obviously to the main theme of the show and every child's favorite mnemonic device, the PokéRap (or “PokéRAP” as it’s spelled for some reason?), but I'm not sure what the third song from the show is. And again, I don’t care enough to look it up. The important thing is, John Loeffler wrote all of them, and apparently an absurd number of other Pokémon-related songs. The "Brand New Songs!" here are mostly new to me, and they’re... a doozy. Except for the songs from the show, plus “Double Trouble” and maybe “Misty’s Song” if I want to be very generous, I am tempted to suggest you could get a similar musical experience in a shorter time by putting on an episode of Pokémon, playing a mix of Milli Vanilli and Boyz II Men songs over it, and banging your head against a wall.

1. Pokémon Theme

We begin with the extended version of the classic theme, this is a sure dose of nostalgia for anyone who watched the show. It sounds, considering the release date, a little outdated — I get kind of a "Beat It" vibe, not from the melody, but from the instrumentation, combining 80s-gated drums and searing electric guitar. But the theme, already one of the few TV themes out there I find enjoyable and not instantly forgettable, extends to a full length surprisingly well, avoiding getting boring or devolving into complete idiocy with lyrics. I actually like this song as a song, and you can’t convince me otherwise.

2. 2B A Master

The instrumentation in this track is absurdly 90s, and again kind of Michael Jackson-y, but is interesting and varied, especially in the sudden attention-grabbing rhythmic change accompanying the line "the greatest master of Pokémon". It shows better restraint in its use of things like record scratch noises and basslines running parallel to vocal lines that I find get really old really quickly. I actually, on the whole, enjoy this song and think the music could have been the basis for something great. “Could have” being the keyword. Lest you think I'm going to give a rosy, loving review of this album, no, it quickly gets bad. Some of the lyrics feel like such forced attempts to get Pokémon references in that I am embarrassed on behalf of the people stuck singing and rapping them, 20 years later. It’s a waste of what could’ve been a fun funky song. (Incidentally, why is the title of the song punctuated differently from the title of the album?)

3. Viridian City

The slide downhill continues. What the hell is this song? The lyrics are only marginally less stupid than the previous track, the music sounds like a keyboard "dance" preset, and it has a weird rapped/spoken "echoing" of sung lines it’s incredibly hard to imagine anyone ever liked. Ugh.

4. What Kind of Pokémon Are You?

Third time's the charm, I guess? After the previous two tracks tried and failed to force Pokémon-related lyrics that just don't work, this one at least manages to fire off a series of type-related puns. The music, however, turns back towards gratingly boring (and for some reason, the bridge comes thisclose to ripping off "Eye of the Tiger"?). Actually, no, hahaha, the lyrics remain very stupid, I think I'm just getting "ground down by a Marowak" by how bad the preceding tracks were.

5. My Best Friends

The parts move in unison too closely for my tastes, the lyrics are bland, the vocal arrangement makes it sound downright inappropriately dramatic, and what’s up with the bridge that veers off into doo-wop? The main thing this song has going for it is the vaguely pleasant piano part in the verses, which really appeals to me (it sounds familiar, although I can’t place what specifically it reminds me of). The melody of the chorus sounds even more familiar — so familiar in fact I'm starting to wonder if it's a copyright-violation-skirting ripoff of something famous. But otherwise, this is a solid “meh”, sounding like a boy band song that would only briefly have made the charts.

6. Everything Changes

And now we're back to impressions of Michael Jackson. This one's instrumentation and mood and even bits of the melody are so him that I could almost believe you if you told me this was an outtake that didn't make it onto Bad. (Although the singer sounds less like Jackson the longer the song goes on.) The lyrics, although vaguely applicable to everything, are a welcome change from the previous few tracks by not feeling like Pokémon has been painfully shoehorned in... up until the part where a clip from the show plays during a break between choruses. Ugh. Could you really not come up with a better way to make this into a distinctly Pokémon song?

7. The Time Has Come (Pikachu's Goodbye)

Yuck. The sentimental ballad (I want to call it a “power ballad”, but I’m unsure what exactly counts as one), as a general rule, is a fire hose full of melodrama best used for comedy. I don't understand how songs like this have ever been taken seriously. I would expect to hear this as the ending theme to a movie that tries to be a tragedy but can’t quite pull it off.

8. Pokémon (Dance Mix)

I assumed from the title that this was a remix of the theme song, but instead, it's just sort of a filler track... It makes almost no impression on me at all, although I do enjoy the intro’s use of "backward-sounding" and morphing synths. Otherwise, this is another track that sounds like it uses keyboard preset backgrounds.

9. Double Trouble (Team Rocket)

Okay, look, I can’t rate this one fairly. The longest-running fandom-related internal conflict of my life has been whether I'd rather be James or have James as mai hasubando, and I love Team Rocket in general as comedy relief villains. I used to enthusiastically perform their ridiculous introductory speech with a friend from band camp (I am even more of a geek than you thought). This song actually bothers to be more specific in terms of its Pokémon subject matter, meaning this is finally a song about Pokémon rather than just a generic pop song with Pokémon flavor, and it uniquely is performed by voice actors from the show, namely those who played Jesse, James, Meowth, and Giovanni. It really grates on me when the VAs talk over the singers, but unlike some of the other songs, it feels like it builds up and goes somewhere. We have at least broken free from the boringness of the last few tracks, with almost industrial percussion and chromatic and sometimes dissonant bass and synth lines that really make it a solid villain song, even though it has a hokey “rap written by people who haven’t actually listened to any rap” feel. And James’s absolutely ludicrous laugh will absolutely alienate who isn’t already a fan of the character, and most people who are, too.

10. Together Forever

The “disappointing imitation of Michael Jackson” theme returns, this time mostly in the voice. It especially pops out at me with the pronunciation of "friend" as "fraynnnndah!". Unfortunately, rather than trying to imitate Jackson’s songwriting again, this song seems to want to rip off Stock Aitken Waterman. And it succeeds at that, too well, as it somehow manages to outcompete a song those writers wrote for Rick Astley to be the worst song with this title. Also returning here: the use of clips from the show to clumsily force an otherwise generic song to be Pokémon-related. Hooray.

11. Misty's Song

Huh. Now this one is interesting. Buried deep in the album, we get something from a character POV that doesn’t just set trivia or quotes from the show to music. Yvette Laboy does a believable job filling in as the singing counterpart for Rachel Lillis's speaking voice for Misty, and I just don't find it nearly as ridiculous as the other ballads on the album, for some reason. It even portrays a tsundere as insecure rather than just an obnoxious walking trope! Sure, it's not great, but it's not bad either, especially after the other attempted ballads on here. Until you remember that it's a 14-year-old singing a love song to a 10-year-old, which... ick. It could've been sweet if put in the mouth of another character with a more age-appropriate relationship. Anyone want to rerecord this as “Kaname's Song” or something?

12. PokéRAP

Oh, educational rap. Why? It’s just unbearably cheesy and doesn’t seem to have had much thought put into it, as a general rule. And this song is no exception. Sure, I guess it has value as a mnemonic exercise (and it does a decent job of that, as anyone who still has large chunks of it memorized can tell you), but no value as music. It often doesn’t even come close to rhyming where you’d expect it to, and it's obvious that Loeffler et al weren't sure what to do with a few of the names at all — Grimer and Chansey have egregious pauses after them, for example, and Omastar is stretched across space enough for two or three names for no good reason. It is broken into convenient-sized stanzas that are only somewhat awkwardly forced into the established meter, but that meter has a too-regular feel, bouncing like a musical Superball, that even I, someone with no particular knowledge of nor interest in rap, recognize as being cheesier than Vanilla Ice. It also hasn’t aged well. The sung parts have absolutely no dynamic range and stay at MAXIMUM DRAMA LEVEL at all times. Over the past 20 years, the lyrics have also become obsolete due to the many additional generations of Pokémon media and consequently much longer list of Pokémon to memorize. Those topics have been covered in excruciating detail by Brian David Gilbert, who is much cleverer than I am, and yes, I do highly recommend sitting through that entire half-hour video. All I can really add to that is, it's considerably less annoying than certain other mnemonic songs I was exposed to growing up. A bad song, unless you’re viewing it through sheer unfiltered silliness? Yes. A surprisingly catchy song that was a good marketing move? Also yes. And 20+ years later, I still can't avoid laughing at the way he says "Wartortle".

13. You Can Do It (If You Really Try)

The album could've gone out on that upbeat note, but no, they had to go for another overblown ballad, this time trying far too hard to be inspirational. The plus side is, it's not yet another generic 80s/90s pop song. The minus side is, it sounds like something that would be playing on the PA in a church thrift store. Or a fake ad on an episode of SNL. I do not feel empowered by this level of unironic encouragement. I just feel like my eyes are rolling so hard they'll fall out. Its only saving grace is that it’s somehow not the most irritating inspirational ballad from the late 90s that was used in connection with a geek-magnet TV show.

Overall... Although I want to describe the music as being "generic" — and it is full of the tiredest parts of 80s and 90s music, wandering from orchestra hits to record scratch noises to cutesy synthesizer "dings" to what seem to be several different singers' bad Michael Jackson impressions — some of it is actually interesting! See, no matter what impression you got from what I said above, I don’t categorically hate this style of music. I made multiple comparisons to songs from Thriller and Bad because I think most of the songs on those albums are examples of how to do this genre very well. But 2.B.A. Master doesn’t just lag because I’m comparing it to widely-beloved albums. Writing this review actually sent me introspecting for quite a while about what music I enjoy and why. And I realized, many of the cheesiest and most flawed aspects of this album are also present on less-acclaimed albums I enjoy very much, like the niche The Golden Age of Wireless by Thomas Dolby and the virtually-unknown Playgrounds ‘n’ Glass by Urban Blight. But, while Dolby’s music often has the same cheesy synthesizer voices and lack of dynamics or has weirdly melodramatic moments, it’s also often clearly experimenting with particular effects and techniques, and his lyrics have evocative images or stories that make the songs really engaging. And, while Urban Blight’s lyrics are often cliche-ridden or downright idiotic, the 80s/90s pop music instrumentation and style elements are varied and used with... for lack of a better term, more discretion, I guess?, which makes me feel like their songs are building to something musically. Well, except the song “Favorite Flavor”, which is just garbage.

The point is, while neither of those examples is a great album (at least not to my taste, which I freely admit colors this), they are both still good. Unfortunately, while some songs on 2.B.A. Master approach goodness, they are the exception, not the rule. Most of the music is simple and predictable and seem to use the more grating tropes of the time like orchestra hits and record-scratch noises just because they can, and most of the lyrics are less "song about Pokémon" and more "attempts at being vaguely inspirational with Pokémon references forced in uncomfortably". Some of the songs are enjoyable in a "this was an earnest attempt” and/or guilty pleasure sort of way (and I unironically like the B-52s, so believe me, I know "this was an earnest attempt” and/or guilty pleasure music), but there’s very little on here I’d actually call good. The best track here musically, “2B A Master”, is wasted on blah lyrics, and the one that most accomplishes the goal of being a song about Pokémon, “Double Trouble”, suffers greatly from its speaking-over-the-singers vocal performance. All I can say is, I’m glad I got this album used.

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W/A/S Scores: 3/0/7

Weeb: The lyrics require some prior specific knowledge of the Pokémon anime to not be completely baffling, but Pokémon is probably the most well-known and well-entrenched Japanese franchise on this side of the Pacific, and other than that, it’s decidedly American, or at least decidedly within the musical cultures of Western Europe and the Anglosphere.

Ass: No.

Shit: AAAAAAAAH. Okay, okay, no, seriously, there are a few good points, but it’s at best average-quality 90s pop with a veneer of Pokémon over the top.

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Oh Weird: While writing this and hunting down appropriate links, I was surprised to see how many uploads of, and even covers of, songs from this album there are on Youtube. I assumed this album was a more or less forgotten piece of bad 90s media, but apparently it’s one with a significant fanbase.

Oh Cool: Maddie Blaustein, the original English-language voice actress for Meowth was also a comic editor and writer for both Marvel and DC and the Creative Director for the Weekly World News. Oh, and she was intersex and, according to one of the sources cited by the Wikipedia article, bi.

Oh No: Educational rap is still a thing, and there are resources to make your own.

#weeaboo trash #album review #pokémon #Pokémon 2.B.A. Master

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