#Face Me and Paradigm and Enemy literally got me through some of the worst times of my life. they are just so fucking good and memorable and

[whatareyoudoingwithamaserati]

Need to talk about Freed by The Plot In You before I explode everyone bear with me for a second.

First of all I will always die on the hill that is Landon Tewers because I am obsessed with his voice and his music and the fact that he’s the lead singer of TPIY absolutely fucking blew my mind. What a guy. Chefs kiss. The way he manages to blend a slightly shaky vocal quality with the ping-pulse intro of the song is so beautiful and he manages to get the intent of the song across with just the power of his voice, lyrics non necessary. The tremor and power of his vocals (especially when paired with the slow build of music) is so well done, especially when he manages to make it sound quiet at the same time. And the way he transitions to the mid fry scream for emphasis. Good GOD, it’s only emphasis on the end of two words, but it completely sells the tone. It blends sorrow and anger and is just SO well done.

The transition from fry to clean vocal is also just. Damn bro! He pulls off this powerful emphasis and then shifts back into soft and wavery and watery, which is only one of the first ways the song plays with depth and tone in beautiful ways.

After the first verse the chorus kicks in with a hint of fry in comparison to the pure clean vocals of before and again, it conveys this sense of desperation. He’s gone from mournful to upset, to angry, to a man who is (pardon the lyric reference) about to break. The sound amps up, gets a lot more solid, and crescendos into a drop that solidifies the rest of the song, especially when paired with the steady rumble of guitar.

The second repeat of the chorus is the same but also different; the sound is fuller, the guitar is more present, and the fry is kept solid through Tewers’s voice as he sings this mournful song about a man who has failed and who has been put on display for it and is so very clearly hurting. The blend between clean and scream is toed so beautifully, and then he makes it to the edge of the chorus, and refuses to throw the listener off of it. As compared to the first chorus, the building one, the second is louder and more blatant, but it is hollow, still empty, missing that last, final, crucial lyric. And it never gets added. It’s like musical edging in the most tonally consistent way, because you never get that final line, and the music fades off, back into the sound from the beginning. There’s no guitar, just the pulsing, techy sound.

Anyways, the first chorus is my favourite, because of how it takes the tone set in the verse, and takes it harder, takes it deeper, adds a whole lot of intensity that you wouldn’t have expected from the beginning of the song. The build up of it is incredible, especially with the fry, and the last three lyrics hit no different the second or third or twentieth listen through. The way Tewers screams break to end off the chorus resonates REALLY hard in my soul, especially with the pause between lyrics, the moment where you can hear him inhale-exhale before throwing his whole being into those four words. Anyways stream Swan Song by The Plot In You. Literally the Album of all time <3

[esonetwork]

Timestamp #212: Victory of the Daleks

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Timestamp #212: Victory of the Daleks

Doctor Who: Victory of the Daleks (1 episode, s05e03, 2010)

Subversively, this story is literally what it says on the tin.

The time is World War II. Winston Churchill enters the Cabinet War Rooms and asks about the status of incoming enemy planes. When advised that they are out of conventional range, he decides to roll out his secret weapon. He pushes a miniature Dalek forward on the map board.

The TARDIS materializes soon afterward and is immediately surrounded by soldiers. The Doctor and Amy are greeted by Churchill, responding to his summons. The TARDIS is a month late, but that’s okay even though the time capsule is a bit inaccurate.

Churchill is amazed that the Doctor has changed faces again (even though we’ve never met him before). Amy is amazed at being in the nerve center of London’s war effort. They go to the roof and gaze upon the city, stunned by the sight of history and appalled at the revelation that Churchill is using Daleks to fight the Germans. The Doctor is brought face-to-face with an Army-green, Union Jack-sporting, obedient Dalek, known her as an Ironside.

The Doctor tries to convince Churchill to back down from employing the weapons, but Churchill is convinced that the machines will win the war. Churchill believes that they were invented by Professor Edwin Bracewell, and when the Doctor asks Amy to recall the events of the 2009 Dalek invasion, she tells the Doctor that she has no idea what he’s talking about.

Churchill is not swayed – “If Hitler invaded Hell, I would give a favorable reference to the Devil. These machines are our salvation.” – so, when the all-clear alarm sounds, the Doctor decides to visit Bracewell. He asks Bracewell how he developed them, and the professor explains that the ideas just come to him. A Dalek serves tea, spurring the Doctor into anger. He tries to provoke the Dalek into attacking him, channeling his anger and fury into the effort but is unsuccessful at first. When he reveals himself as the Doctor, the Daleks finally drop the charade.

They transmit the Doctor’s identity to a saucer on the far side of the Moon. Two soldiers attempt to stop the Daleks but are promptly exterminated. Bracewell tries to reason with them but has his hand shot off, revealing that the professor is an android that they created. The Daleks declare victory and transmat to their ship. The Doctor’s testimony is now powering some kind of progenitor.

The Doctor leaves Amy with Churchill and takes the TARDIS to the Dalek ship, claiming to have a self-destruct sequence on a dead man’s switch. It’s really a Jammy Dodger, but it fools the Daleks for the time being. The Daleks reveal that one ship survived their last encounter with the Doctor and that ship located a progenitor device containing pure Dalek DNA. The three Daleks on the ship were created from Davros’ cells, so the progenitor would not recognize them since they are not pure Daleks. As a backup, however, if it detected the Doctor nearby, it would activate.

Forcing a stalemate, the Daleks remotely switch on the lights in London, turning it into a giant target for the German air forces. They all watch as a new Dalek paradigm is born with multi-color Daleks born from pure DNA. Soon after birth, the new Daleks use maximum extermination against the inferior Daleks. When they turn on the Doctor, he brandishes his Jammy Dodger again.

Amy and Churchill realize that they have a way to help. They visit Bracewell, who is threatening suicide since he believes that his entire life is a lie. Amy talks him out of it and convinces him to help save London. Bracewell theorizes that he could send a weapon into space with his gravity bubble technology. Churchill scrambles three Spitfires – Jubilee, Flintlock, and Danny Boy – to assist just as the Daleks figure out the Jammy Dodger ruse.

The Daleks take out Jubilee and Flintlock. The Doctor is forced back into the TARDIS, which proves advantageous as he is able to disrupt the Dalek ship’s shields long enough for the Spitfire to destroy the transmission dish. With London safe, the Doctor dispatches Danny Boy to destroy the ship, but the Daleks reveal that Bracewell is a bomb ready to destroy the planet if the Doctor does not let them survive.

The Doctor reluctantly lets them leave, but they activate the bomb’s timer on their way out. The Doctor returns to Earth and reveals the bomb. The Doctor realizes that the professor’s human memories, particularly the emotions behind them, have the power to stop the countdown. Unfortunately, it fails.

Amy tries another tactic: She asks if he’s ever fancied someone that he shouldn’t. She asks him to remember the pain of a woman named Dorabella and how beautiful she was. The emotion disables the oblivion continuum bomb, but the Doctor is too late to stop the Daleks from leaving.

The Doctor is distraught even in victory. Meanwhile, Bracewell has lost his access to new futuristic ideas and the Doctor has stripped it out of the headquarters. The Doctor hugs Churchill and Amy bids him farewell, but demands the TARDIS key back before they go. Churchill, it seems, has sticky fingers.

Before they leave, the Doctor and Amy visit Bracewell. The professor is certain that they’ve come to deactivate him, but they have no intention of doing so. They recommend that he go find Dorabella or some of the places in his memories, and as they leave, Bracewell starts packing.

Off to the TARDIS go the Doctor and Pond, but the Doctor is still perplexed at how Amy cannot recall the Battle of Canary Wharf or the War in the Medusa Cascade. Regardless, they board the TARDIS and depart, leaving behind the menacing crack in the wall.

I really appreciate the double meaning of this story’s title. On the one hand, it plays well off the allied propaganda from World War II, but on the other hand, the title is quite literal: In a rare move for the franchise, the Daleks actually win by achieving a major goal.

These new Daleks, which will become known as the Paradigm Daleks, are vastly different than the Skaro Daleks (1963-1975), the Renegade-Imperial Civil War Daleks (1975-2005), and the Time War Daleks (2005-2010). They also (at this point) also retcon (establish a retroactive continuity) about the Daleks, effectively erasing the Daleks from the Time War forward except for the Doctor’s memories. What’s not entirely clear is where the Ironsides Daleks come from. Are they part of the army from the human-Dalek hybrids (which tie back to the Imperial Daleks, and therefore, Davros), or are they survivors of the New Dalek Empire? It is implied that they were part of the War in the Medusa Cascade, but it’s not definitive.

The effect is quite literal as Steven Moffat destroys the Dalek legacy created by Russell T Davies. I know that many fans despise the redesign, but I don’t mind them that much. They are definitely more chunky than every other previous Dalek design, but the most garish design factor is the rainbow coloring. In the classic era, Daleks stuck to the standards of grays, blacks, whites, golds, and light blues. In the first five years of the modern era, they went to grays, blacks, and bronzes.

The Skittles variety is a major culture shock.

It’s also worth noting here that this is not the first time that the Doctor has considered exchanging the Earth for the complete destruction of his worst enemy (The Parting of the Ways), which also links to the Doctor’s fury at the first time the Ninth Doctor encountered one of them (Dalek).

Lastly, the Daleks didn’t seem to recognize the Doctor with his eleventh face. In The Power of the Daleks, the Doctor mentioned that they always manage to recognize him. The recognition files seem to not work in certain cases, like the Renegade Daleks being dumbfounded over the Sixth Doctor (Revelation of the Daleks) and the Cult of Skaro not recognizing the Tenth Doctor (Doomsday). So, this matches with previous events, but the connection is not entirely clear.

Moving to the more humorous, the absurdity of Royal Air Force Spitfires engaged in space combat made me laugh. I also loved how dedicated the Ironside Daleks were to the ruse, from serving tea to waiting so very long for the Doctor to arrive. Quite frankly, they deserve their victory despite the ramifications for the universe going forward.

One thing is certainly clear: The Daleks just got less scrappy and a whole lot more menacing again.

(Thanks to The Doctor Who Site for their visual reference guide to the different Dalek types.)

Rating: 4/5 – “Would you care for a jelly baby?”

UP NEXT – Doctor Who: The Time of Angels and Doctor Who: Flesh and Stone

The Timestamps Project is an adventure through the televised universe of Doctor Who, story by story, from the beginning of the franchise. For more reviews like this one, please visit the project’s page at Creative Criticality.

[drink-n-watch]

  Genre: Existential horror, supernatural, artsy

Length:

Studio: ufotable

  Sometimes it’s hard to wrap your head around just being you. What does that even mean, anyway? What exactly are you supposed to do with existing? Nothing really, that’s the rub. It’s the same old questions philosophers and emo teens have been asking since the dawn of time and we’re no closer to an answer. Or rather, the answer is different for each person and seeking it out can be a painful and violent venture. Yet this is exactly what each player in this tragedy must do, in their own way, their paths crossing and diverging again as they each must find their own truth within themselves. The only thing we can be sure about is that there will be blood.  

I’ve already watched 4 of these movies. I’ve shared my thoughts along the way. There were highs and lows but one thing I can definitely say is that for better or worse, the Garden of Sinners franchise has a very distinctive voice. And in this 5th chapter, it was screaming!

it’s a figure of speech, no one screams in this movie

I watched this movie last night and it’s still dancing around my head. Vividly! Throughout the movies, I’ve been praising production and tracking the use of non-textual (verbal) storytelling. It’s what first attracted me to the franchise, and I was sad to see this aspect pared down as the movies progressed. I can tell you, it’s back in full force and then some!

The overall quality of the art, acting and animation is fairly similar to what we saw in the last two movies, but the directing has taken quite the ambitious turn! There are tons of flair in framing and angles. Action is shot with wavering focus, almost simulating motion sickness. Of course, all of it is carefully intertwined with the story and really an integral part of the narrative. I can’t praise that framing enough, which becomes almost a central feature of the second arc (Mikiya’s) but I’ll talk about it more when I get to the story. Like I said, the way the plot is presented is as important as what’s happening in it.

And that’s just one aspect. The use of symbolic colour is liberally applied both in direct touches and in overall ambient tint throughout the movie. Perspective is constantly tweaked (forced, fisheye, panoramic) which gives eerie qualities to scenes or creates uneasy claustrophobia, which then affects how you take in the dialogue and events to ensure both a literal and emotional read of the story.

there’s no way you can really appreciate it without watching the movie

  Finally editing tricks are incorporated throughout. Frequent jump cuts, repeated scenes sometimes identical sometimes shown from different angles or points of view and odd cold cuts before what would be considered the natural endpoint of a scene both focus your attention on specific elements without the need of exposition and creates interesting reveals. We even get tiny slivers of flashbacks that clearly fit into the narrative of previous movies to give you new reveals and flesh out the general lore and world-building of the franchise.

In case I’ve not made it abundantly clear, the technical presentation of the move was a spellbinding act of artistry. So far, the best example in the series and really one of the best I’ve seen in anime in general.

I was saying something nice…and it’s “Irina”

But with a two-hour movie, you need more than just craftsmanship to hold your attention. The Garden of Sinners established its core thesis right from the start. These movies deal with existential angst in a brutal and deliberate way. They attack it from every angle. The meaning and responsibility of life. The vague notion of personal identity. The dissonance of existing in a reality entirely defined by our personal understanding and experiences while colliding with everyone else’s realities.

These are heady themes and to be honest, the franchise can be hit or miss in its attempts at expression, but it is always deliberate and single-minded which I appreciate. Whether you agree or not with the messaging or even the purpose of exploring such grandstanding philosophical questions at all, you can’t deny that the Garden of Sinners has something to say. That’s worth something in my book.

This specific movie is presented in three general arcs. In the first, we follow a young man named Enjo who meets Shiki by accident, and the mysteries he brings with him. Enjo is trying to escape a tragic past with nowhere to go but as the story progresses and dead people seem to be coming back to life, it gets difficult to pinpoint what’s real and what isn’t.

does Enjo remind you of someone?

  Together, Shiki and Enjo are trying to figure out exactly what happened in this condominium complex when Enjo thought he had lost his family. It’s a very sad story with some downright unpleasant events but it’s framed as a mystery and occasional almost like a procedural. I’ve come to realize that I can enjoy very sad events in a different way when they come with a puzzle. My mind fixates on collecting clues and solving the mystery instead of being sad for the people within it. I think this is why we can watch crime shows without crying or calling them horror.

 The second arc gives us intertwining blocks of events from Mikiya’s point of view (I learned that this was Kokuto’s name and I love it). We realize that characters we thought were absent were actually also actively taking part in the story and the two arcs eventually collide.

This is where that framing I was talking about earlier becomes so important. Shiki is part of this arc, but we never see her. She’s always just off camera. We hear her or see the effect she has on objects but that’s all. A disembodied presence, like a ghost moving through a story that’s not really hers.

who threw that book?

  The final arc brings everything together for the conclusion. I have to admit, simply seeing Shiki again had a powerful visceral impact on me that I did not expect. I like her as a character but I’m more emotionally attached to Mikiya and my beloved Touko (let’s face it, we all know she’s my type). Moreover, Shiki was front and center in the first arc. As such, I hadn’t realized how much I had missed her until she was there. This is smart direction and editing on the next level.

We find out more about Touko’s past here which I enjoyed if only for seeing Touko as a super-hot teenager and Mikiya is a very good leading man for this type of story. The only flaw I can find is with the antagonist(s). Unfortunately, it’s a big one.

The Garden of Sinners Chapter 5, Paradox Paradigm (maybe I’ll talk about this title someday), introduces Souren Araya as a powerful main antagonist and Cornelius Alba as a secondary villain. They take up quite a bit of room in the story and Araya is pivotal to the plot. You could say he is pretty much the entire driving force behind this movie. And they are both painfully dull.

arrrgh, stop monologuing…it hurts…

Honestly, they feel like they belong to a different narrative. Basic, uninteresting and not even that scary. They are unworthy of the rest of the cast. Where Enjo brought a vulnerability which created interesting conflict and interplay with both Shiki and Mikiya, Araya and Alba are just there. They advance the plot in the least engaging way possible. And their little magical diatribes are muddled and bog everything down rather than add to the story.

I thought Fujino in Chapter 3 was fairly unrealized, but she is brilliant compared to these two. It has led me to believe that the Garden of Sinners is really much better when Shiki is her own worst enemy as they have not been able to create a villain that can stand on equal footing with her.

The second arc also basically explains the events of the first (with a rather unsatisfying the wizard did it sort of solution) which effectively puts an end to the mystery. This means those unpleasant events suddenly hit you with the full brunt of just how sad the story is. That’s not a flaw in any way. It just makes it a more emotionally taxing experience and I had to turn the TV off and take a little break after.

I’m Getting Some Ice Cream!!!

The ending is fine, it’s constrained by the failing of the second arc so I wouldn’t call it amazing, but it definitely has its moments and brings some nice emotional closure. The last scene before the credits (there’s a cute after credits scenes), has soft snow starting to fall, which ties it in with the meteorological theming of the franchise.

This was a long review. You should see my notes; they are all over the place. So, what’s the takeaway. Up until the confrontation with Araya and Alba, I thought the movie was brilliant. I was gearing up to rate it close to perfect and add it to my favourites. These two guys knocked the rating down a full point. The plot is only truly captivating in the first arc but the technical artistry shines throughout and the other characters make the second and third arc worth it, even if it does start to drag a bit at the hour and a half mark.

Despite its failings, this is still a very good movie and I do recommend you watch it. I’m just a little bitter at how close it got to be an amazing movie!

almost there…

Favourite character:  Touko – is this not clear yet?

What this anime taught me: mechanical pencils are called “rocket pencils” in Japan. That information makes me inexplicably happy.

Technically, alcohol is a solution

Suggested drink: A Time Warp

Every time someone refuses to stay dead – take a sip

Every time we see Tomoe’s mom – take a sip

Every time we see a key – take a sip

Every time we see a clock – take a sip

every time we see a key AND a clock – gasp

Every time anyone stabs anything – take a sip

Every time we see a doorknob/handle  – get some water

Every time you spot a repeated scene – take a deep breath

Every time there’s a picture or painting – take a sip

Every time we see a puppet – take a sip

everything’s better with more Touko

Being such a visually stunning movie, I couldn’t resist taking an unreasonable amount of screencaps which you can see here. Be warned, although I have chosen fairly innocent ones for the post, some on my Pinterest board are both graphic and potentially spoilery.

The Garden of Sinners Chapter 5 – Paradox Paradigm or The Saddest Groundhog Day Genre: Existential horror, supernatural, artsy Length: Studio: ufotable Sometimes it’s hard to wrap your head around just being you.