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icembrace · 6 months

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⊠ ɪᴅ . . . ʟᴏᴀᴅɪɴɢ ›› [ pat chayanit / 32 / cis woman / she/her ] mercy headquarters is pleased to officially introduce 𝐂𝐈𝐏𝐑𝐈𝐀𝐍𝐀 𝐂𝐀𝐎. they have been apart of the organization for twelve years , serving as 𝐀 𝐅𝐈𝐄𝐋𝐃 agent and has been assigned the codename 𝐀𝐆𝐄𝐍𝐓 𝐈𝐒𝐄𝐔𝐋𝐓 it's worth noting that their file indicates they have undergone the solaris treatment and host 𝐈𝐂𝐄 𝐌𝐀𝐍𝐈𝐏𝐔𝐋𝐀𝐓𝐈𝐎𝐍 according to our dossier, the agent exhibits a combination of 𝐂𝐎𝐍𝐅𝐈𝐃𝐄𝐍𝐓 and 𝐄𝐋𝐔𝐒𝐈𝐕𝐄 traits, fitting for someone reminiscent of natasha romanoff & emma frost. prior to embarking on any mission, the find solace in listening to the song “i don’t wanna be me“ by 𝐓𝐘𝐏𝐄 0 𝐍𝐄𝐆𝐀𝐓𝐈𝐕𝐄.

𝐃𝐄𝐂𝐋𝐀𝐒𝐒𝐈𝐅𝐈𝐄𝐃 .

full name : cipriana lamai cao . nicknames : none, don't try . occupation : field agent . age : thirty - two . place of birth : new york city, new york . gender : cis woman . languages : mandarin chinese, thai, english, russian, polish, lithuanian, japanese, korean & spanish . ethnicity : chinese and thai. religion : tba . date of birth : 30.12.2016 . zodiac : capricorn . chinese zodiac : monkey

𝐏𝐇𝐘𝐒𝐈𝐎𝐋𝐎𝐆𝐈𝐂𝐀𝐋 .

height : 169 cm . build : slender . eye colour : brown . hair colour : naturally black , but prone to change depending on her mission. most notably, she used to be blonde . hair style : usually kept long and straight . scars : earned a scar on her neck on her most recent mission and was wearing lots of silk scarves and turtlenecks to cover it up . managed to remove it thanks to a cosmetical procedure. distinguishing features : her lips , more specifically, her cupid's bow . scent : amber, leather & rose clothing style : elegant on most occasions, more practical during missions, in shades of black and predominantly white , with occasional inclusion of other colours.

𝐏𝐒𝐘𝐂𝐇𝐎𝐋𝐎𝐆𝐈𝐂𝐀𝐋 .

character parallels : natasha romanoff ( marvel ) , emma frost ( marvel ) , the girl ( a girl walks home alone at night ) , nora ( past lives ) . moral alignment : chaotic neutral . personality type : istp. emotional stability: in need of improvement . element : fire . character tropes : color motif, dark action girl, i don't pay you to think , the paragon, with my hands tied, more than meets the eye .

𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋 .

father : james cao . mother : lauren saengarun . siblings : none. spouse(s) : duncan lawrence ( divorced ) , lev lebedev ( divorced ). children : none. pets : none .

𝐇𝐈𝐒𝐓𝐎𝐑𝐘 . tw: torture.

¹. the caos were wall street royalty of the 80s, 90s and 00s, an entire generation of bankers, loan processors and hedge fund managers — sovereigns, lacking only a gilded crown, who ruled the worldwide market with an iron fist. then, came cipriana, the only child of james cao and his much-beloved wife lauren with pin curls in her head and pearls around her neck, inheriting only half of her mother's beauty but none of her mellow nature. for all his brilliance and adroitness, james cao could never get along with his daughter — she was excessively this, and overly that, and yet never quite enough. so most of her childhood, cipriana had spent in her mother's embrace, lost between continents, raised in new york during winters, but beijing and bangkok during long, sweltering summers.

². boarding schools, well-paid and carefully chosen private tutors and instructors, suitcases in her hands — these are her recollections of her teenhood. she was always leaving. from the age of eight to nearly sixteen, she was enrolled in institut le rosey in switzerald, where she grew only more defiant over the years. her nonpareil academic achievements and artifice, however, did not aid her in reaching the impossibly high standards her father had set for her. james cao could no longer tolerate his daughter, deciding thus to cast her aside and take away her inheritance — and in turn, cipriana promised to give herself the world.

³. despite the sudden severance from her family, cipriana still found herself at princeton, using her eruditeness, excellent records as well as her family name to secure a spot at such a prestigious university. there, she was subsequently discovered and recruited by one of mercy's special agents. at the age of twenty, she officially began her training as a junior agent, graduating a mere two and a half years later. officially a field agent, fresh-faced, and irrevocably determined, she decided to undergo the solaris treatment — but the process did not go without a hitch. it took longer than expected for her power to surface, which only made cipriana overcompensate in other departments, more specifically combat.

⁴. cipriana spent her early and mid-twenties on the field, all across the country while partaking in numerous missions. the agency loved just how easily she could adapt to her new identities and extract information, singing her praises while simultaneously destroying what little identity she had left. at twenty-six, she married for the first time, on a whim, because it felt like the only thing she wanted, desperate for something or someone to return to — but it didn't last. he deserved someone better. someone who could give him more. she filed for divorce within the same year, and a month after her divorce, she was deployed for an overseas mission.

⁵. with a new narrative, her hair bleached and still smelling of ammonium hydroxide and a forged passport in her hands, she made her way to warsaw, poland. she lived under various names,most notably, anielka song, danute garsva, and sunisa shinawatra. she was stationed in poland for half a year and the other half she spent in lithuania. then came russia, an additional two years of covert and clandestine operations. after russia, she was led to thailand, a place that should've been familiar terrain. all was well up until the moment she was caught and captured, and thereupon tortured. they didn't manage to extract any information, but the psychological and physical damage they had done was severe. the lack of access to solaris drug was one of the reasons behind her failure. she was eventually found by her mission partners, and the transgressors were convicted, but to cipriana it felt like a pyrrhic victory. mercy, however, did not agree and labeled her as a 'hero' instead.

⁶. after five years deep undercover, cipriana's finally made her way back to apex city. she passed all her tests — and is still suited for a field agent, but some would beg to disagree for the sake of her health. she conceals her issues well, from struggles with her identity or rather the lack of it, to short-term memory lapses that started after thailand. it's a tale of a girl who's spent her entire life leaving. always leaves first so she isn't left behind. leaving for cipriana is an art.

𝐄𝐗𝐓𝐑𝐀 .

has only been around for the last couple of months — as she spent five years undercover in eastern europe, baltic countries, and asia. her whereabouts and coordinates were classified as confidential. feels like an utter stranger after living for so long away from apex city.

a former gymnast. unlike most children, she did not partake in regular sports but rather found solace in gymnastics. she won several gold medals when she was younger but ultimately hated competing.

trained and skilled in many forms of martial arts, including: judo, karate, savate, aikido, muay thai and brazilian jiu-jitsu. basically, her skills and combat style are heavily inspired by natasha romanoff.

married for the second time while she was undercover. she met lev in st. petersburg but married him in pattaya city. it was another reckless decision, a byproduct of her loneliness in a foreign country. she divorced him after a year.

'she wore white (shoes)' — a code phrase that was exclusively associated with cipriana. so while she didn't always wear white attires, her shoes were distinctly white.

she learned mandarin from her father and thai from her mother — english was simply the middle ground in their household. she picked up japanese and korean while in boarding school as it was required of her to study at least two foreign languages. she was tutored in spanish at home at the behest of her mother, and she learned russian, polish and lithuanian while at mercy.

has perpetually cold hands and does not shy away from cold weather. catch her out in the snow with just a shirt on.

𝐏𝐋𝐎𝐓𝐒 . i intend to make a proper page with more than just three plots, but for now, here's something.

i. due to the fact that she's been away for a while, cipriana assumes that most don't remember her. this person, however, never forgot about her, and are hoping to rekindle the closeness that they shared. linger in my life for just a little longer - type of deal. do you think if i dye my hair black again we could get our old friendship back? ii. a person who was constantly bested by cipriana while she was still around and considered her a rival. no matter how much they tried, she was always better. when she left, they finally seized their victory. now that she's back, will old fires find a way to burn again?iii. a newfound friendship that's mostly based on them practicing and testing their combat skills together. when she pins them down to the floor, only one question remains — 'are we still friends, yes?'

#mercyorg:intro

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kevrocksicehouse · 2 years

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Moonage Daydream.

D: Brett Morgan (2022).

You won’t learn much about David Bowie’s life in Moonage Daydream (Parents were stiff, adored older brother went mad, fame isolated him, found true love before the end) and you won’t get any talking head analysis about what his art meant. Brett Morgan’s documentary eschews godlike narration (though adroit editing of interview tracks form the illusion that Bowie is telling his own story) in favor of immersion, taking us into a kaleidoscopic, sometimes dizzying vision of a chameleonic artist whose mastery of artifice, image, persona (he describes himself as a “human canvas”) and ironic detachment (he became a rock star by playing one) turned him into perhaps the first post-modern rock star.

He was also an aesthetic dilettante whose restlessness kept him from true greatness, a fault the film shares. Morgan’s hyperactive style – he’s like the Baz Luhrmann of documentarians – means to posit Bowie as the ultimate late twentieth-century artist (with too many everything-but-the-kitchen-sink montages of Bowie’s influences) but unintentionally exposes the fecklessness of his vision. Ironically this approach makes Bowie a more interesting film subject, a tourist of ideas, making his way through one avant-garde movement after another bringing it into the pop zeitgeist, before moving on to the next thing. And when both artist and film do touch greatness -- as in a stirring version of “Heroes” before a Berlin audience that could move you to tears – the journey is more than worthwhile.

#moonage daydream #brett morgan #david bowie #review #kevrock #documentary

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pintsizeddeepthoughts · 3 years

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Grab the Popcorn – Film Reviews: Lady Bird

Directed by: Greta Gerwig

Starring: Saoirse Ronan, Laurie Metcalf, Timothee Chalamet

Year: 2017

Country: United States

Watching this movie, I was reminded of a glowing review given by the late critics Gene Siskel and Roger Ebert for Kevin Smith’s Clerks. In their televised review during At the Movies, they both praised the film’s dialogue for sounding like how people actually talk. Greta Gerwig’s adroit, moving coming-of-age film Lady Bird does the exact same thing and more. As a teacher, I could see many of my students in Lady Bird, from the way she dressed, to the shifting friendships, to the her choosing her own moniker. Moreover, the key relationship in the film – that of Lady Bird and her mother – is intensely real.

It is extremely rare for a parent/child relationship to feel authentic in a movie and it’s not hard to see why. It’s hard to write people who sound real, let alone put them in situations that feel relatable. Movies are an artifice and few of the situations in them are ones we’ll actually face. The plot of Lady Bird is one many of us have experienced. Christine, aka “Lady Bird”, is a high school senior who is struggling to get her grades up to get into an East Coast school. She desperately wants to get out of her hometown of Sacramento. Added to the stress is that her family is struggling financially and may not be able to pay for such a move. All this tension is apparent in the masterful opening scene.

Driving home from a college visit, Lady Bird and her mother, Marion, get into an argument about these very things. It’s clear right from the beginning that Lady Bird and her mother are both strong willed individuals. Marion, however, does not fight fair. She wields words like a knife, knowing exactly where to cut in order to inflict damage. The atmosphere gets so tense that Lady Bird decides the best course of action is to literally jump out of the moving car. That grinding familial tension runs throughout the movie as Lady Bird fighting for her independence and her mother fighting to maintain control. And yet, there’s real, warm love between the two. It’s evident in the wonderful moments of connection they share, such as when they crash real estate open houses, dreaming together of places they cannot afford.

Part of the reason I connected with film is because of the time period. Set in 2002/2003, I was in high school in this time period and feeling much of the same feelings that Lady Bird felt; I felt the need to escape my hometown, to create my own identity separate from my family, to strive to go “a city of culture”. I also felt the same secret affection for my hometown. Writer and direction Greta Gerwig captures this stew of paradoxical feelings with her camera. There’s an assured sense of place and attention to detail in the filmmaking that radiates warmth. To paraphrase the nun Sister Sarah Joan in the film, love and attention are similar. It’s in the voicemail Lady Bird leaves her mother at the very end of the film, a perfect ending that creates a perfect blend of grace, kindness and heart.

#grab the popcorn #movie review #lady bird #greta gerwig #saoirse ronan

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apenitentialprayer · 5 years

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A Parable for Religious Pluralism

From Giovanni Boccaccio’s The Decameron, The First Day, Third Story

Saladin, who by his great valour had from small beginnings made himself Soldan of Egypt, and gained many victories over kings both Christian and Sacacen, having in divers wars and by divers lavish displays of magnificence spent all his treasure, and in order to meet a certain emergency being in need of a large sum of money, and being at a loss to raise it with a celerity adequate to his necessity, bethought him of a wealthy Jew, Melchisedech by name, who lent at usance in Alexandria, and who, were he but willing, was, as he believed, able to accommodate him, but was so miserly that he would never do so of his own accord, nor was Saladin disposed to constrain him thereto. So great, however, was his necessity that, after pondering every method whereby the Jew might be induced to be compliant, at last he determined to devise a colourably reasonable pretext for extorting the money from him. So he sent for him, received him affably, seated him by his said, and presently said to him: "My good man, I have heard from many people that thou art very wise, and of great discernment in divine things; wherefore I would gladly know of thee, which of the three laws thou reputest the true law, the law of the Jews, the law of the Saracens, or the law of the Christians?" The Jew, who was indeed a wise man, saw plainly enough that Saladin meant to entangle him in his speech, that he might have occasion to harass him, and bethought him that he could not praise any of the three laws above another without furnishing Saladin with the pretext which he sought. So, concentrating all the force of his mind to shape such an answer as might avoid the snare, he presently lit on what he said, saying: “My lord, a pretty question indeed is this which you propound, and fain would I answer it; to which end is it apposite that I tel you a story, which, if you hearken, is as follows: If I mistake not, I remember to have often heard tell of a great and rich man of old time, who among other most precious jewels had in his treasury a ring of extraordinary beauty and value, which by reason of its value and beauty he was minded to leave to his heirs forever; for which cause he ordained that, whichever of his sons was found in possession of the ring as by his bequest, should thereby be designate his heir, and be entitled to receive from the rest the honour and homage due to a superior. The son, to whom he bequeathed the ring, left it in like manner to his descendants, making the like ordinance as his predecessor. In short the ring passed from hand to hand for many generations; and in the end came to the hands of one who had three sons, goodly and virtuous all, and very obedient to their father, so that he loved them all indifferently. “The rule touching the descent of the ring was known to the young men, and each aspiring to hold the place of honour among them did all he could to persuade his father, who was now old, to leave the ring to him at his death. The worthy man, who loved them all equally and knew not how to choose from among them a sole legatee, promised the ring to each in turn, and in order to satisfy all three caused a cunning artificer secretly to make two other rings, so like the first that the maker himself could hardly tell which was the true ring. So, before he died, he disposed of the rings, giving one privily to each of the his sons; whereby it came to pass, that after his death each of the sons claimed the inheritance and the place of honour, and, his claim being disputed by his brothers, produced his ring in witness of right. And the rings being found so like one to another that it was impossible to distinguish the true one, the suit to determine the true heir remained pendent, and still so remains. “And so, my lord, to your question, touching the three laws given to the three peoples by God the Father, I answer: Each of these peoples deems itself to have the true inheritance, the true law, the true commandments of God; but which of them is justified in so believing, is a question which, like that of the rings, remains pendent.” The excellent adroitness with which the Jew had contrived to evade the snare which he had laid for his feet was not lost upon Saladin. He therefore determined to let the Jew know his need, and did so, telling him at the same time what he had intended to do, in the event of his answering less circumspectly than he had done. Thereupon the Jew gave the Soldan all the accommodation that he required, which the Soldan afterwards repaid him in full. He also have him most munificent gifts with his lifelong amity and a great and honourable position near his person.

#Saladin #Decameron #religious pluralism #Parable of the Three Rings #religion #Parables

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elftwink · 5 years

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im mad i’m trying to roll a dnd character and i can’t make ANY choices at all i think i’m gonna play a half-elf and i’ve got a name and i’ve got a couple backstories but i’m trying to decide if i want to play a ranger or a rogue or an artificer. artificer is going to work the best aesthetics wise and i think match the other characters/setting thematically but most of their low-level stuff (like until lvl 6) is imo not that exciting and not fast enough (like y’all. i play sorcerers)

ranger seems more in my current mood but i cannot decide on ANY subclass (i’ve ruled out beast master bc i would just play an artificer if i wanted a companion, but i can’t decide between any of the UA stuff— primeval guardian seems dope as hell but is probably the most against the setting, deep stalker seems kinda fun but like. i’m not super excited. and hunter has the best abilities imo but is also the most boring flavour text wise which i KNOW i can probably change but it’s a lot of WORK)

& i really like playing rogues but part of me is like ‘if you’re going to play a rogue just pull out adroit, who is a tiefling rogue, and play him instead w/minor backstory modifications’ because if i rolled a new rogue, i would probably retire adroit for a while because i try to vary the classes/races i play so i wouldn’t want to play as a rogue. and also adroit already has all the stuff i found the most personally interesting abt rogues in his stats/subclass/etc so i would just be reusing it for this character which i don’t really feel like doing

and then part of me wants to play a bard but i’m gay so that just is how it is sometimes you know

#could i have dropped this in our discord. yes. but sometimes you like to shout into the void #also i think once i narrow it down slightly i will drop it in the chat but this is so many options that like. not Yet #good idea generator #luke plays dnd #anyway in conclusion. idk what to dooooo #also like adroit was specifically rolled for a different group so its weird to move him over #which is why i'm not playing my gnome monk or kobold bard. bc i got groups for both of those pcs

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marquis-teren-kiden · 6 years

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Shadow Weaving: Vol. I

[DISCLAIMER: The Book is Teren’s. The Head canons are mine. There is no expectation for anyone else to adopt these Canon’s with respect to their own RP. I am posting them as a follow up to the “Void Cosmology” Post previously posted by me, for the use of those who are participating in the Nishan Federation’s Campaign setting.

I have attempted to canon with respect to Void Magic in a way that respects the Artificers (Engineers) who specialize in Titan, Na’aru, Draenic, and Legion technologies, as well as the medical professionals of Azeroth. While I canon that Void holds much in common with the Physics of Dark Energy & Dark Matter, as undetectable by material means within the observable Universe (as principal to the Physics of Dark Energy & Dark Matter in the real world)

I do canon that the effects of Void/Shadow on the minds (brains) and ‘absences’ (Lack of energy signature to explain damages or suffering) may lead a wise and knowledgable party to conclude that the Void/Shadow, or someone capable of manipulating Void/Shadow may have had a hand in a victim’s circumstances. To this end, I have gone to some lengths to describe in detail my own canons, the means which a Shadow Weaver (*coughs* Teren *coughs* Nishanians *coughs* Other Shadow Weavers *coughs*) might eventually be tied to events they may have had a direct hand in - if they had a direct hand in them. (*coughs*)

That said, Void/Shadow Priests are not the only subjects capable of Wielding Shadow. To greater or lesser degrees, some Rogues, Warlocks, certain DK’s and less canon-classes (Arcane/Shadow Mages, for example) are also possible candidates for such effects, and I would encourage others to consider them as potential culprits with respect to Shadow Magics for the sake of open-mindedness. The decision, however, is yours..

You are all welcome to adopt these principles of Shadow/Void magic into your RP’s as you wish. I would prefer that the book, written by Teren not be used as the source material for it unless we have discussed how a Nishanian spellbook would have arrived in your hands and arrived at a mutually satisfactory answer.

Enjoy, everyone!

Signed,

Teren-Mun]

SHADOW WEAVING: Volume I

FOREWORD:

“Contained herein are the very most basic of Shadow manipulations. Until one has mastered these twenty-one fundamentals, experimentation of any kind is strongly dissuaded. Both for a nascent Shadow Weaver’s well-being, and the general welfare of those around them.”

TABLE OF CONTENTS

SECTION ONE: Dark Matter

Shadowfiend

Shadow Mend

Shadow Word: Death

Shadow Word: Pain

Shadowy Apparitions

Silence

SECTION TWO: Dark Energy

Dispersion

Mastery: Madness

Mind Blast

Mind Flay

Mind Sear

Mind Vision

Psychic Scream

Void Bolt

Void Eruption

SECTION THREE: Shadow Weaving

Vampiric Embrace

Vampiric Touch

Shadowform

Voidform

FOREWORD:

“The prayers contained here permit a budding Shadow Practitioner to receive access to the foundational principles of Shadow Weaving. Here, we call upon the power of the Shadow through our belief, through our will, and - for those so divinely inspired and intrinsically gifted - through our prayers; just as our Light-wielding Cousins do.

Let us begin.”

SECTION ONE: Dark Matter

Shadowfiend: Ranged: 40 yds

The first sentient denizen of the Void plane a Shadow Weaver will learn to call on is the Shadowfiend. These deranged carrion feeders of the Abyss are the murlocs of the Void and in sufficient number that few who ever learn to summon one will ever be found wanting.

To call such a weak entity into the material plane, is to create a physical disruption between the material plane of our world, and the demi-plane of Shadow by increasing the density of a pocket of dark matter to such a fine point that it breaches the incorporeal membrane separating the two planes and whispering for the creature to pass through.

Be swift in assigning a target, lest it be you, as these often emaciated entities are starved carrion feeders, and rarely last more than ten or fifteen seconds once separated from their native Plane.

Nonetheless, they make excellent fodder and distractions when circumstances warrant either or both and should therefore be within every Shadow Weaver’s kit of basic skills and abilities.

Shadow Mend: Ranged: 40 yds.

It is said that the Void giveth, and the Void taketh away. Never is this more true than with respect to the intricate processes associated with Shadow Mending.

Here, the Void Practitioner wields the dark matter which flows in its unaltered state with less than one percent of the density of a single atom. In this manner, flow of Void matter between the atoms of the body permit nearly any wound to be closed, any broken bone to be perfectly restored without so much as a hint of blemish in the wake of this meticulous healing.

At a heavy cost, however. The process agitates the protons within the recipient’s atoms, a direct result of the dark matter interacting with the positive charge. The effect is a persistent ‘echo’ of the mended wound’s neuron’s misfiring in an unfortunate condition highly reminiscent of the pain associated with ‘phantom limb syndrome. These pains persist until the injury would either naturally have healed on its own, or until a healer able to correct the damage to the protons is able to address the latent suffering.

Shadow Word: Death: Ranged: 40 yds.

A lethal finishing assault, the Shadow Weaver calls on the Void to disrupt the neurons within an already weakened enemy’s medulla – located in the lower half of the brain stem. The result is a powerful static discharge of dark matter which negates the base autonomic functioning of critical physiological systems like the cardio-pulmonary system, vasomotor centers. Highly effective and frequently lethal if an opponent is sufficiently weakened before it is implemented.

A secondary effect occurs with this spell wherein the Void Priest is able to seize the departing soul of their enemy and transform it into dark energy for follow-on assaults or later use.

Shadow Word: Pain: Ranged: 40 yds.

A persistent assault on the central nervous system of an opponent, a Shadow Weaver requires only a moment to introduce a scattered density of dark matter along their adversary’s brain stem and spinal column, disrupting motor neurons, sensory neurons and the interneurons passing messages between them resulting in sudden wracking pains which continue to assail the Practitioner’s victim for fifteen to twenty seconds after the Void wielder has continued on to the next step in their assault.

Shadowy Apparitions:

For particularly adroit Practitioners, the spell known as “Shadow Word: Pain” is frequently paired with a secondary effect. This one set on the Shadow Weaver as they call forth Void Matter to greater density around their own forms to form hauntingly accurate shadowy apparitions which not only distract and disorient their enemies, but scatter along the nerves across the length and breadth of the victim’s body, agitating every pain center all at once each time such a phantasm merges into an Adversary.

Silence: Ranged: 30 yds.

This is a principle prayer that should be studied diligently because it's power is effective across the length and breadth of every spell sphere, and on occasion, even strips those ungifted with access to the Planes mental hesitation sufficient to aid in the Practitioner's survival.

The Practitioner must capture for just a moment in their mind's eye, their opponent's brain. Along the left side of the frontal lobe is a narrow patch known as Broca's Area. One most take but a moment in mind to draw forth only the weakest strand of dark matter to disrupt the functioning of this section of an opponent's mind and impart a condition medically referred to as Broca's Aphasia.

While the effect lasts only a few seconds, during that interlude the Shadow Practitioner has successfully impeded an enemy's ability to move their tongues or facial muscles; effectively impeding both speech and casting and giving themselves opportunity to escape or attack, uncontested.

In combat, every moment counts. Remember this seemingly minor magic as it will likely save your life several times between the time it is learnt, and the time a Practitioner has become proficient enough to lash out in kind against a worthwhile Adversary.

SECTION TWO: Dark Energy

Dispersion: Self

The Shadow Weaver converts their physical mass into an fluctuating scalar field orb. In this state, they are imbued with the frictionless state all dark energy which eliminates inhibiting effects such as snares, stuns, or Charms; even if one is under them at the time this is implemented; a benefit retained while in this state. Due to dissipation rates for energy in an unrestrained environment, it is highly recommended not to remain in this manner for more than a few seconds at a time.

Due to the fluctuating energies comprising this state, it is of benefit that attacks received are significantly less effective overall.

Finally, a word of caution: While in such a state, a Shadow Weaver is incapable of retaliating against their adversaries. They are, therefore, encouraged to give ready thought to the prayers one wishes to execute the moment one’s native corporeal state is restored.

Mastery: Madness: Self

The more adroit a Shadow Weaver becomes, the more efficacious their spells. A properly disciplined and experienced Practitioner eventually – should they survive the haunting echoes of the whispering Void so long – is naturally able to enhance their manipulation of the Void’s energies nearly ten percent over more nascent and less studied Void wielders.

Mastering one’s self is fundamental to mastering not only one’s own potential to fall into a state of madness, but to fend off the inducements to madness born of the Void and the world around us.

Mind Blast: Ranged: 40 yds

A disruptive distortion of the brain's neurons through the variance of the dark energies contained within the scalar field occupying the same space. The rather dramatic impact is a cascade disruption throughout ten of the twelve cranial nerves, resulting in searing pain throughout an opponent’s eyes, inner ear, tongue, and across the totality of the nerves in their skull. The magnitude of suffering caused by this assault frequently disrupts heart rate, balance, causes excess salivation, numbing of the facial muscles, difficulty breathing and arrhythmias. One might elect a variety of words to encapsulate the totality of the suffering caused by this particularly powerful strategic assault. Most choose 'excruciating.'

Mind Flay: Ranged: 40 yds

A targeted incitement of the void energies located within an opponent’s thalamus, basal ganglia, dura mater, arachnoid mater and pia mater. Taken as a whole, these disruptions create scathing persistent pain throughout the protective layers of the meninges tissue surrounding the brain and within the cerebral cortex. The more prolonged the process, the more debilitating the experience becomes for the target subject. It is important to note that this is a potentially lethal action, and one would be wise to consider the implications thereof before implementing this practice…publicly.

Mind Sear: Ranged: 40 yds

This is a more complex iteration of the Mind Flay prayer whereby the Shadow Weaver targets an opponent, turning them into the nexus of suffering for their own unfortunate allies with an incitement of the scalar fields located within their comrade’s thalamus, basal ganglia, dura mater, arachnoid mater and pia mater.

Taken as a whole, these disruptions create scathing persistent pain throughout the protective layers of the meninges tissues and cerebral cortexes of the victims. The more prolonged the process, the more debilitating the experience becomes for them. Yes, this attack is potentially lethal.

Mind Vision: Ranged: 8 yds

Perhaps the single most subtle application a Shadow Weaver will employ during the course of their careers. One need not even be close enough for the victim to have taken note of the Practitioner in the crowd, or area in question. So long as there is an opportunity to target the designated subject’s eyes – near or far – it is possible to make use of this oft-neglected magic.

Once passing eye-contact has been made – absolutely do not stare. – the almost imperceptible floe of Dark Energies may begin the tether. It must manifest within the other party’s retina, where it intersects with their optical nerve. There, the electrical impulses delivering the victim’s visual perceptions to the visual cortex.

Due to the physiological structure of the eye, the electrical impulses deliver the image from the retina through the optical nerve inverted. It is not ‘translated’ to a functional perspective until it reaches the visual cortex. Thus, in order for this spell to function correctly, it must be initiated at the juncture of the retina and optical nerve.

The Shadow Weaver’s end of this connection must intersect at the same point within their own eyes. This allows the continuation of the shared electrical impulses to be translated to the correct perspective once they have completed the journey into the Void Wielder’s own visual cortex.

The Void’s energies, even at their weakest, create a change to the environment. The very nature of the Void is absence. It is the dissonance of nothingness.

NOTE: While this effect lasts only a single minute before most victims are able to focus their thoughts and wills sufficiently to break it, they may be used to select new targets of opportunity in the environment, and thus to facilitate investigation of fortified locations without the usual impediments of having to engage in combat to achieve the objective. As such, it makes an almost perfect means of spying on others, unaccosted by their military resources.

[ADVISORY]

Mind Vision leaves no evidence of its impact on its victims or environment. It does, however, leave an absence which – while indiscernible in a static physical environment - does create a sense of dissonance in those sensitive to the use of magic.

They will, in all likelihood, sense that they are either being manipulated or otherwise used. It is their misfortune that magics intended to detect this intrusion will fail, as the Void is an absence, and not a presence.

Psychic Scream: Near: 8 yards

This prayer allows the Shadow Weaver to expel ripples of void energy through the adrenal glands, situated just above the kidneys of their opponents; as well as to target the visual cortex of their adversaries.

In short, this assault causes cortisol levels to drop to dizzying levels, which creating a surge in adrenaline. Combined, they force a severe panic attack on the opponent which puts them into a freeze/flight/fight state, while disorienting and blinding them at the same time; a state which sends the vast majority of sentient beings into a blind dash to escape, or freezes them in place, allowing the Shadow Weaver free attack opportunities, or escape.

Void Bolt: Ranged: 40 yds

The Void Practitioner intensifies the void energies in their grasp until it forms an orb of raw Dark Energy, then casts it at the target’s sternum. The energies interact their cardio-pulmonary system, causing arrhythmias and excruciating agony with every breath taken in or released.

If the target struck is afflicted either by the Shadow Word: Pain and/or Vampiric Touch effects when they are hit, these effects are renewed, as if freshly applied. In the hands of a particularly adroit Shadow Weaver, this may in effect become three prayers in one; mores the pity for the unfortunate victim of such prowess.

Void Eruption: Self

The Shadow Weaver intensifies the Void energies within their own bodies, intensifying it into a state similar to plasma and casting it outward in an eruption which transforms them into a Voidform while assailing nearby opponents with cast-off Void energies which significantly intensify the effects of anyone already suffering the effects of a ‘Shadow Word: Pain’ or ‘Vampiric Touch’ spell.

WARNING: Due to the intensely draining, dangerous, nature of this magic, it is only possible to perform this prayer with several minutes respite and recovery time. No sane person – not even a Shadow Weaver – would do this to themselves if any alternative were possible.

SECTION THREE: Shadow Weaving

Shadowform: Self

This is one of the staples of all Shadow Weaving, whereby a Void wielder adjusts their own corporeal form to a quasi-corporeal state, homogenous with both practical and Dark matter. While in this state, the Practitioner is suffers slightly less damage from physical assaults, while receiving a modest increase to the efficacy of their Void manipulations and spells.

Vampiric Embrace: Special/40 yds

This is one of the two true Shadow Weaving methods for healing wounds in a manner which causes no residual suffering to the Practitioner or their chosen beneficiary. Their victim…well… unfortunate bit of business, that.

Here, the Void wielder may employ any direct assault by virtue of dark matter and/or dark energies against a chosen victim to tear free the raw materials necessary for mending the wounded. While so doing, the Void Practitioner must be certain to mimic the damages suffered by the one they wish to heal; creating a mirror of those wounds on their opponent and tearing free the practical matter of the material body with which to stitch wounds and mend tissue. The process remains subatomic, and the biological material stolen may still be altered to meet the needs of the injured ally without blemish or negative consequence.

Due to the exchange of damages in addition to the violent removal of often critical tissues, the Victim suffers damages at a much higher rate than healing is imparted, and as a consequence, is likely to die long before substantive healing takes place.

More than one victim may be required to impart the full benefit of good health to a chosen ally.

Voidform: Self

The Voidwielder uses their own body as a foci to draw raw void energy into their cells, suffusing them until a critical capacity is reached and they experience a metamorphosis, transforming into a being comprised entirely of Void Energy and Dark Matter.

While in this Voidform, their access to the Void is nascent and they are able to manipulate its forces to their ends with greater speed and potency; though at a significant cost. During this state, the Shadow Weaver’s mind is assailed by Whispers from the Void Plane, and their mental faculties are compromised by visual, auditory and tactile hallucinations and delusions until they return to a less subtantive Void-state. As a direct consequence, few if any such Practitioners are able to maintain this state for more than a few short intervals.

Vampiric Touch: Touch

This is one of two true Shadow Weaving methods for healing wounds in a manner which causes no residual suffering to the Practitioner.

Here, the Void wielder’s touch at any point intersecting their chosen victim’s body permits the Shadow Weaver to use tear free the practical material body of their Subject’s physiological form in order to replace the Shadow Weaver’s own damaged tissue. As victims of this magic are likely to resist, it is highly likely that additional damages pertaining to subjugation and restraints – both Dark energy and Dark matter – will lead to an opponent suffering more than twice the damages being mended by the Shadow Weaver and potentially resulting in a premature death.

As such, more than one victim may be required to impart the full benefit of good health to the Void Practitioner. This exchange damages the victim both in terms of the recreated wounds, but also due to the violent rate of removal of that tissue.

#Shadow Weaving; Volume I #Nineteen Shadow/Void Magic Spell Canons #Written by: Marquis Teren Kiden; Arch-Bishop of the Nishan Marche #Titular head of the Federation of Nishan #Shadow #Void #Head Canons #Roleplay #World of Warcraft #Wyrmrest Accord

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dustedmagazine · 5 years

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Harold Danko & Kirk Knuffke - Play Date (Steeplechase)

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Owner of a discography tallying well into double-digits, pianist Harold Danko remains something of a creature of habit when it comes to recording dates. Most of his admittedly prolific output exists under the mantle of the Danish Steeplechase imprint. Many of those discs find him in the company of familiar and recurring compatriots such as saxophonists Rich Perry and Dick Oatts or in working trios with bassists and drummers. Cornetist Kirk Knuffke’s gone a somewhat different path both within and beyond his relationship with the label, although one consistency is a regular partnership with pianist Jesse Stacken as a duo. That association conveniently points to several commonalities for Danko and Knuffke on their debut disc together, the cheekily-titled Play Date.

Mirroring the majority of Knuffke’s sessions with Stacken, this one is a tandem encounter. He and Danko also share an abiding admiration for the works of other jazz composers. Danko’s done tribute albums to Earl Hines, John Coltrane (with and without Duke Ellington) and covered tunes by dozens of the most influential jazz pianists of the last century. Knuffke’s projects have included investigations of the songbooks of Ellington, Thelonious Monk, Charles Mingus, Don Cherry, and Ornette Coleman. For this context, they settle on the work of Duke Jordan, who came to initial bebop fame in Charlie Parker’s crew before opening his repertoire to hardbop and emigrating to Europe. Danko included a Jordan tune on at a date with his Trilix Trio back in 2003, making his affinity long-standing.

The sum of consensus on the project both is kind of surprising in that the session marked Knuffke and Danko’s first meeting. Six Jordan compositions, including three separate renderings of the pianist’s tentpole tune “Flight to Denmark” alternate with seven interstitial free improvisations that err on the side of brevity. Danko’s purview is bop-rooted jazz and he’s audibly less comfortable and arguably less effective in the extemporaneous settings, a disparity he readily admits to in the accompanying notes. Regularly going under the hood of his instrument and strumming the strings like a zither is just one of several texture-oriented techniques he turns to during the spontaneous and atmospheric colloquies. Knuffke’s better geared to the settings and does an excellent job of shoring up any longueurs that creep in.

Consistency is better carried out in the context of the chosen tunes with both players using the structures for a lively and inviting conversation that also allows for involving solo asides. There’s an affirming rapport in the way neither man crowds the other and instead allows the shared narratives to develop naturally without even a modicum of artifice. “Misty Thursday,” the longest piece of the program at eight-plus minutes, offers extended ingress into their repartee with Danko framing a gilded melody that’s soon enhanced by Knuffke’s cottony phrasing. “Stonewall Blues” and “Layout Blues” offer adroit variations on the idiomatic staple while “Wut’Less” finds Danko bringing the zither strums to bear on more conventional fare and sounding uncannily like a ukulele in the bargain. Jordan is the starting point and contextual center for the set, but players stray well and welcomingly apart from their inspiration source.

Derek Taylor

#harold danko #kirk knuffke #play date #steeplechase #piano #cornet #duo #jazz #duke jordan #dusted magazine #albumreview #derek taylor

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hukkuva-blog · 6 years

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Netflix anime welcomes the dark facet

Go Nagai is Hidamari Sketch x Honeycomb that the original unhealthy boy of manga. His series “Shameless School” (“Harenchi Gakuen”) cemented his standing because the artificer of the hentai (erotic) genre. “Shameless School” debuted within the terribly 1st issue of Shueisha Iraqi National Congress.’s Weekly Shonen Jump, Japan’s popular manga magazine, in August 1968. The adult shenanigans and sexualized students Nagai pictured rendered him the target of national media, Parent Teacher Associations ANd women’s teams — and an disreputable inventive pioneer.

Over the past year, each Nagai and Shonen Jump are celebrated for his or her fiftieth day milestones. however one in all Nagai’s later achievements has gained immediate connexion. The animated adaptation of his 1972 “Devilman” series, “Devilman Crybaby,” directed by Masaaki Yuasa and discharged on Netflix back in January, has become one in all 2018’s most talked-about anime and largest international hits, despite its supply being forty six years recent.

Now 73, Nagai feels like a academic, which, in fact, he is, albeit one with a aptitude for sensible jackets. In 2005, he started teaching character style at the port University of Arts. The soft former mischief-maker admits that he could are sooner than his time, and is fast to cite Netflix because the reason his work is these days being embraced globally.

“‘Devilman’ came out over forty years agone, and perhaps the work itself was too early for the audience,” he tells ME over occasional in l. a. . “Up till terribly recently, just one volume was translated into English. i believe it’s Netflix that has driven my name here within the us.”

Director Yuasa, 53, was the featured anime creator at this year’s Yedo International fete. He brings his signature visual contortions to “Devilman Crybaby,” whereas with adroitness change its specs: characters communicate in rapid-fire text messages and post raw and intolerant opinions in real time on social media sites; a street gang’s disillusion is sung in hip hop verses; and therefore the story’s principal young ladies, Miki and Miko, are edgy, collected and impatient, showing no a trace of anime’s typical kawaii prettiness, typically preferring each other to men.

The result's a dizzying pastiche. after I 1st saw the Netflix “Devilman” adaptation, I succumbed to binge mode. I couldn’t stop observance its kinetic mix of ’70s-styled revel and 21st-century dread, even once the violence and Greek deity deckled on the gratuitous. The series has been praised for its brazenly gay characters, daring sex, nihilism and wit. “Devilman” shows USA a world of extremes, during which freedom of expression and therefore the license to commit acts of evil exist during a world of rampant philosopher chaos.

Yuasa believes that “Devilman” is additional related to the technologies and social rifts of our era than it had been once it 1st appeared.

In Japan, Nagai is understood for making 2 alternative seminal titles: the groundbreaking shōnen (young boys’) manga series, “Cutie Honey” (1973), that is taken into account the primary to feature a feminine protagonist and a model for the reworking supernatural women of the smasher, “Sailor Moon” (1991). round the same time he fabricated the “mecha” super mechanism genre together with his series, “Mazinger Z” (1972), the primary to indicate a large mechanical mechanism piloted by somebody's character, and impressed, he says, by picture ’60s mechanism manga “Astro Boy” (“Tetsuwan Atomu”) and “Gigantor” (“Tetsujin 28-go”).

But “Devilman” emanates from darker historical roots. Specifically, the war. “There were several photos within the newspapers — most notably, the known exposure of the burned napalmed woman — I bear in mind all right,” says Nagai. “If standard folks didn’t attend war, I thought, they may be terribly nice folks. thus what happens to humans once you subtract the framework of laws and place a weapon in their hands?”

Netflix’s Tokyo-based director of anime, Taito Okiura, says that the streaming platform’s liberties alter artists like Nagai and Yuasa to explore the darkest regions of the human character, giving them the liberty of feature filmmakers, however within the episodic format of anime.

Studying at the Yamabuki Arts highschool has been a dream-come-true for Yuno, and she's learned most already! And not simply from her instructors, however from her friends and neighbors who've become her second family and created the Hidamari flats such a secure and nurturing home. however because the day of her "big sisters" Sae and Hiro's graduation attracts slowly nearer, it is time for Yuno to begin seriously taking over identical role for Nazuna, Nori and therefore the alternative budding young artists who've entered Hidamari's protecting cocoon. And it is also time to tackle some very difficult inventive assignments. that does not mean there will not still be time for fun with Miyako and every one the others, however it's undoubtedly time to pencil in her plans for the longer term. And generally meaning you have got to place the art before the course!

Hidamari Sketch x Honeycomb EP.1

Hidamari Sketch x Honeycomb EP.2

Hidamari Sketch x Honeycomb EP.3

Hidamari Sketch x Honeycomb EP.4

Hidamari Sketch x Honeycomb EP.5

Hidamari Sketch x Honeycomb EP.6

Hidamari Sketch x Honeycomb EP.7

Hidamari Sketch x Honeycomb EP.8

Hidamari Sketch x Honeycomb EP.9

Hidamari Sketch x Honeycomb EP.10

Hidamari Sketch x Honeycomb EP.11

Hidamari Sketch x Honeycomb EP.12

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artdavido-blog · 6 years

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Netflix anime welcomes the dark aspect

Go Nagai is that the original unhealthy boy of manga. His series “Shameless School” (“Harenchi Gakuen”) cemented his standing because the artificer of the hentai (erotic) genre. “Shameless School” Highschool of The Dead debuted within the terribly initial issue of Shueisha opposition.’s Weekly Shonen Jump, Japan’s popular manga magazine, in August 1968. The adult shenanigans and sexualized students Nagai delineated rendered him the target of national media, Parent Teacher Associations associated women’s teams — and an disreputable inventive pioneer.

Over the past year, each Nagai and Shonen Jump are celebrated for his or her fiftieth day of remembrance milestones. however one amongst Nagai’s later achievements has gained immediate connexion. The animated adaptation of his 1972 “Devilman” series, “Devilman Crybaby,” directed by Masaaki Yuasa and free on Netflix back in Gregorian calendar month, has become one amongst 2018’s most talked-about anime and largest international hits, despite its supply being forty six years previous.

Now 73, Nagai sounds like a faculty member, which, in fact, he is, albeit one with a aptitude for sensible jackets. In 2005, he started teaching character style at the city University of Arts. The soft former unwelcome person admits that he might are previous his time, and is fast to cite Netflix because the reason his work is nowadays being embraced globally.

“‘Devilman’ came out over forty years past, and perhaps the work itself was too early for the audience,” he tells Pine Tree State over occasional in l. a. . “Up till terribly recently, just one volume was translated into English. i feel it’s Netflix that has driven my name here within the u. s..”

Director Yuasa, 53, was the featured anime creator at this year’s Japanese capital International festival. He brings his signature visual contortions to “Devilman Crybaby,” whereas with adroitness change its specs: characters communicate in rapid-fire text messages and post raw and intolerant opinions in real time on social media sites; a street gang’s sophistication is sung in hip hop verses; and also the story’s principal young girls, Miki and Miko, are edgy, self-contained and impatient, showing no a trace of anime’s standard kawaii prettiness, typically preferring each other to men.

The result's a dizzying pastiche. once I initial saw the Netflix “Devilman” adaptation, I succumbed to binge mode. I couldn’t stop observance its kinetic mix of ’70s-styled saturnalia and 21st-century dread, even once the violence and Eros featheredged on the gratuitous. The series has been praised for its overtly gay characters, daring sex, nihilism and wit. “Devilman” shows USA a world of extremes, within which freedom of expression and also the license to commit acts of evil be during a world of rampant philosopher chaos.

Yuasa believes that “Devilman” is additional related to the technologies and social rifts of our era than it had been once it initial appeared.

In Japan, Nagai is understood for making 2 different seminal titles: the groundbreaking shōnen (young boys’) manga series, “Cutie Honey” (1973), that is taken into account the primary to feature a feminine protagonist and a model for the remodeling charming women of the hit, “Sailor Moon” (1991). round the same time he fancied the “mecha” super golem genre together with his series, “Mazinger Z” (1972), the primary to point out an enormous mechanical golem piloted by a person's character, and impressed, he says, by picture ’60s golem manga “Astro Boy” (“Tetsuwan Atomu”) and “Gigantor” (“Tetsujin 28-go”).

But “Devilman” emanates from darker historical roots. Specifically, the warfare. “There were several photos within the newspapers — most notably, the far-famed image of the burned napalmed lady — I bear in mind okay,” says Nagai. “If normal folks didn’t move to war, I thought, they might be terribly nice folks. therefore what happens to humans once you exclude the framework of laws and place a weapon in their hands?”

It happened suddenly: The dead began to rise and Japan was thrown into total chaos. As these monsters begin terrorizing a highschool, Takashi Kimuro is forced to kill his relief once he gets bitten and joins the ranks of the walking dead. Vowing to safeguard Rei Miyamoto, the girlfriend of the person he simply dead, they narrowly escape their death entice of a college, solely to be greeted with a society that has already fallen.

Soon, Takashi and Rei unite with alternative students on a journey to seek out their members of the family and uncover what caused this overwhelming pandemic. connexion them is Saeko Busujima, the attractive president of the Kendo Club; Kouta Hirano, associate otaku with a fetish for firearms; Saya Takagi, the female offspring of associate important politician; and Shizuka Marikawa, their hot faculty nurse. however can the combined strength of those people be enough to beat this undead apocalypse?

Highschool of The Dead EP.1

Highschool of The Dead EP.2

Highschool of The Dead EP.3

Highschool of The Dead EP.4

Highschool of The Dead EP.5

Highschool of The Dead EP.6

Highschool of The Dead EP.7

Highschool of The Dead EP.8

Highschool of The Dead EP.9

Highschool of The Dead EP.10

Highschool of The Dead EP.11

Highschool of The Dead EP.12

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whileiamdying · 6 years

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Europa: Night Train

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Seduction by locomotive. Gliding on silvery reels of steel, tricked out with Lars von Trier’s stated panoply of “front and back projections, double exposure, and clearly choreographed camera movements to break down the realistic frame,” Europa ravishes with its elaborately storyboarded tunnel vision. Herr Director is the soul of discretion and modesty: “Of course I borrow, for a moment, Hitchcock’s camera and place it in a landscape by Tarkovsky, but something happens in that process.” What’s unique about this hyperderivative movie is how fluidly it melds the postmodern with the old-fashioned, so the anachronistic and satirical elements don’t cancel each other out but mysteriously enhance the suspension of disbelief. The alchemy of highly metabolized artifice and absurdist chic in this international 1991 production fabricates a playful architecture of doom from cinema and pop culture’s baggage compartment: a trans-Europa express that has the homespun warmth of Kraftwerk, the pious ethics of Dr. Mabuse, the meek introversion of Diva, the down-to-earth attitude of Vertigo, and the courtly manners of Iggy Pop’s “The Passenger.”

The words—make that deep cushiony-leather tones—of the film’s narrator-analyst-hypnotist suck us in, an enticing murmur beckoning us back, back, into a past that never was. In Europa (or Zentropa, as it was known in American release) but not of it, we’re again children in a bedtime-story world, listening to clarion notes ringing like a broken alarm clock. Asleep or awake? Can’t tell. Either way, something bad is going to happen. Something exciting, too, a consummation devoutly wished, or dreamt. Christmas morn, Germany, 1945: everything in the mind’s eye glistens, even the ruins—especially the ruins. Goose bumps are on the march as we tingle with an eight-year-old’s delicious anticipation of receiving his first model train set from a wicked stepmother in a gossamer negligee. Europa infantilizes as it seduces, dispensing the irrational in smartly streamlined doses, using sophistication as an overpowering tool for reducing the moviegoer to virginal putty in the director’s hands.

When von Trier made Europa, he was still very much an unknown quantity—a wunderkind without portfolio. The Element of Crime (1984) was a knockout first feature, a heavily calculated calling-card film: the Danish director made it in English, and utilized a stylized sepia look and mock-noir tone that in retrospect seem to anticipate much of the mental landscape of the graphic novel. He then made Epidemic (1987), a more “private” film no less adroit at juggling wholly incongruous elements (Dreyer, Wagner, horror show, self-referential in-jokes): your garden variety Scandinavian art film that mutates into Army of Darkness. What links the three “E” films is the puckish consciousness of their own cinematic apparatus, a sensual morbidity, and that stubborn, irrepressible hypnotism fetish.

From the start, attaching the tacky “von” to his name like a forged royal crest, the director set out to establish himself as a chameleon with no commitment to any particular style or aesthetic except that of self-reinvention. In this he resembled David Bowie more than any cinematic figure: performing the role of auteur to the droll, fiendish hilt, directing with the histrionic pantomime conviction of someone lip-synching “The Man Who Sold the World.” Europa wrapped up the very loosely constituted end-of-European-civilization trilogy (the coroner’s report indicating either suicide or “death by misadventure”), and it marked his last thorough engagement with cinema as entertainment (even if as a baroque agent provocateur). But with Breaking the Waves (1996), he found his true cruel vocation in a glamorized Bergman-Dreyer synthesis of female martyrdom and devoutly heretical melodrama. Notwithstanding the “vow of chastity” feint of his pseudoexperimental The Idiots, he has secured his everlasting niche in film history as the master of high-profile abasement. What can an unbeliever say in the supremely confident, upside-down smiley face of Dancer in the Dark or Dogville (the very title mocking his Dogme manifesto) or Mandingo (oops, I meant Manderlay) save to note that when poor Britney Spears shaved her head in public, she was either paying him fruitcake homage or auditioning for a starring role: Toto, I don’t think we’re in Europa anymore.

Indeed, Europa’s back-projected German wasteland is a more self-conscious—cryptically perverse—variant on the pluperfect trance state perfected by movies like The Wizard of Oz, not to mention Casablanca and Notorious. A completely self-contained universe of seamlessly gratifying myth, eternity at 24 frames per second, it dissolves rationality the way a smokestack melts snow. It calls out from the blackest endless night, where Strangers on a Train is fated to intersect with Wings of Desire. (Only, angels don’t have wings here, Nazis do.) Rainy, bombed-out black-and-white images suddenly hemorrhage color, filling the screen or maybe leaking just enough inky tint to draw our eyes to some small, strategic part of the frame—a bullet on the floor, a train’s emergency brake. The widescreen image has seldom seemed more claustrophobic and imprisoning, a cluttered death row of unsuspecting offenders where orderly rituals, bureaucratic niceties, and institutional rule books are thrown out the window, but to no avail: the stay of mass execution never arrives.

Pellucid, luscious, and overloaded, this celluloid siren song could be Bowie’s “Heroes” arranged by Bernard Herrmann: a male Dorothy smuggled into the sinister post–World War II Oz of The Third Man,which in turn has taken on a touch of the enchanted, decomposing air of Eraserhead. (Von Trier, ever the hustler iconoclast, professed to detest Eraserhead and dislike Citizen Kane but had no compunction about using them for his own ends, salvaging devices from those pictures like a misanthropic scrap dealer.) Leopold Kessler (Jean-Marc Barr’s naïf hero, the open-faced image of noxious innocence) is thrown to the Werewolves—dead-end Nazi partisans who refuse to concede defeat, and conduct a campaign of terror, sabotage, and graffiti against the American occupation—as well as industrialist Max Hartmann’s ravenous family.

Hartmann is the soon-to-be-late proprietor of the Zentropa railway line, which idealistic young American émigré Kessler has come to work for as an apprentice sleeping-car conductor. (The term “sleeping-car conductor” alone is charged with enough symbolic significance to sink a more earnest film.) Hartmann’s icy-hot femme fatale daughter Kat (Barbara Sukowa) has ties to the Werewolves herself. A noir perfume advertisement with velvet claws, capped teeth, and luxuriant lupine hairdo, Sukowa isn’t playing a character but a pose of war-weary glamour wrapped in a veil of desperation and mottled danger, channeling Hanna Schygulla channeling Marlene Dietrich—overmatched, inexperienced Kessler has no chance against her wiles. (The prim stiffness of her German-English accent is a disarming quirk, humanizing her scary beauty.) For von Trier, “the past and the image of an actor mean a great deal,” so associations are piled up in tottering wedding-cake layers: Udo Kier not only stands in for Peter Lorre, he brings with him a bread-crumb trail of Fassbinder and Warhol (well, Paul Morrissey) connections.

Approximating and even improving on the omniscient tone of latter-day Orson Welles, guiding us through the convoluted action and plucking the psyche’s strings, there is Bergman’s old knight-errant/magician/alter ego Max von Sydow. Alphaville’s Eddie Constantine, face cratered with age and hard living, plays an American colonel/fixer who is so soft-spoken, considerate, and vacuously fair-minded (“You meet so many sensible Germans these days”) he lulls everyone into underestimating him. Ernst-Hugo Järegård does what amounts to a monstrous revision of Casablanca’s S. Z. “Cuddles” Sakall as Kessler’s imperious uncle, who is his supervisor on the train, the classic fussbudget turned into a seedy, officious, domineering troll—a brusque, impossible figure out of Kafka, aptly enough since von Trier meant this movie as Amerika in reverse, the wide-eyed young man attempting to make a fresh start amid the bankrupt rubble and incomprehensible oaths (to him, anyway) of the Old World.

Also on board is cinematographer Henning Bendtsen, who had worked with the incomparable Carl Theodor Dreyer, von Trier’s favorite director (prized for his “honesty”; what that word could possibly mean in this house of games, as far from Gertrud as it is possible to imagine, is anybody’s guess). Von Trier hired people not only to execute what he called Europa’s “cartoonlike aesthetic” but to actively resist it as well: “Henning really works against my ideas. It’s the same with some of the actors: I like to have them work against my films because that’s when some interesting things start to happen.” Bendtsen lends the film a spirit of gravitas that counterbalances von Trier’s zippier pop conceptions (Barr racing against the backdrop of a clock, a billboard-sized projection of Sukowa’s face looming over him like a Lichtenstein painting, the tiny boy assassin who shoots a newly appointed Jewish mayor and faces off against the grainy, back-projected image of outsize soldiers). The cinematography refuses to make everything too shiny and hard, forging a tension that gives this dizzying, sometimes maddening film the peculiar equilibrium of a recurring nightmare.

Diagram this supremely excessive movie on a blackboard, and you’d have so many overlapping lines of attack, equations, and breathless opposing plot points it would look like a pack rat’s nest. The screenplay ran to 600 minutely detailed pages, with 200 pages of storyboards. Or maybe it was 1,000 pages altogether: like the “big one” in a fisherman’s yarn, it grew with each recounting. No wonder Europa’s catchall web of allusions, artistic cannibalism, and widespread déjà vu can induce a certain motion sickness, or possibly emotion-deficit syndrome. (Maybe it should come with a box of Dramamine, though come to think of it, that’s what von Sydow’s voice is for: relax, as ’tis written in the Liverpool Book of the Dead, and float downstream.)

Some people are seduced, others feel molested—as if the sanctity of the film medium itself had been violated, or one of its priests had violated them. The suspicion cannot be escaped that von Trier is up to no good with his wizardly trick shots and corkscrew dollies and willingness to play the good old Euro-anguish, last-train-from-Auschwitz blues for black laughter. J. Hoberman approvingly thought this brazen effort to revive “the primitive magic of popular cinema” aspired to Fassbinder’s “flashy hubris.” It’s not laughing at the victims of history but the marks, the suckers, the idealists, the lofty Wagnerians, the sectarian rationalists—the good volk who vant to believe in some Supreme Abstraction at any cost. Which makes Europa a gloss, inadvertent or not, on the gnarled, epochal, transcendentalist mausoleums (crematoriums?) such as Hans-Jürgen Syberberg’s Hitler: A Film from Germany and Godard’s Histoire(s) du cinéma: in the analyst-dictator attitude struck by von Sydow, Freud and Hitler, the twin poles of the twentieth-century mental landscape, at last meet. Below the subconscious mind, anticonsciousness: the death instinct rising up out of all that philosophy and poetry and romantic violin music in Europa’s mini Götterdämmerung—a slapstick Götterdämmerung at that.

David Thomson wrote in the 1994 edition of A Biographical Dictionary of Film (on the basis of this and the earlier Element of Crime) that von Trier was “brilliant in a way that gives the term a bad name. He knows no reality—only film. His movies only refer back to the accumulated culture of all those split seconds.” Couldn’t you say as much about Godard and Eisenstein and half the great movie-mad directors? (Ideology isn’t a higher form of the real, it’s the opiate of the intellectuals.) Thomson claimed von Trier’s hollow-point aesthetic “may have more to do with personal and private dysfunction” than anything else, but if this is a sickness, it’s just a slightly more advanced stage of the then emergent Movie Brat epidemic that included the Coen brothers (Barton Fink could be avant Hollywood’s answer film to Europa: insufferable nebbish lead, pinball formalization, Faulkner-Odets potshots, stereotype-mongering, and a classic hallway rampage), Quentin Tarantino, Wes Anderson, P. T. Anderson, and countless Asian auteurs past and present. Pop metaphysicians who push the malpractice envelope with every project, they’ve cultivated a raffish, raked-over milieu that indiscriminately scrounges off art films the way art films once borrowed from B movies and pulp.

Europa triumphs as the last beautiful, untrustworthy gasp of film noir and the first salvo of a postmod metathriller genre that never quite got around to materializing (a clueless Kessler of a film such as Soderbergh’s The Good German exists only to make von Trier’s opus look that much better). Europa deploys the trappings of grandiosity and genius in order to trap us—to make us surrender our better judgment and give in to the cheapest ploys in the book. Then it lets us know that, just like the deserving-exactly-what-he-gets sleeping-car conductor, we’ve been had seven ways from Sunday. What makes this Welles/Ed Wood mock-up such an ebullient ride right to the bottom of the river lies in how persuasive a simulation it is of a (if not the) greatest-movie-ever-made, and in the weirdly complementary sense that this whole enterprise is just one over-the-top slip away from unraveling into a finely wrought Plan 9 from Occupied Europe.

Howard Hampton is the author of Born In Flames: Termite Dreams, Dialectical Fairy Tales, and Pop Apocalypses.

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#the criterion collection #criterion #europa #lars von trier #howard hampton #germany

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cardsvistas · 4 years

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Ten Reasons Why People Like Statement Balance On Credit Card | statement balance on credit card

Credit cards are one of the best acceptable acquittal methods around. You can pay aback your antithesis over time, which can appear in attainable if you appetite to accounts a big acquirement or awning an abrupt emergency. Acclaim cards additionally appear with accomplished artifice protection. Best action zero-liability policies, acceptation you won’t be accountable for any counterfeit accuse you report. Acclaim cards can additionally be acceptable for accustomed purchases. Application them consistently and responsibly will advice you body acclaim and some cards action rewards that become added advantageous the added you spend. And as continued as you pay off your antithesis in abounding every month, you won’t anytime accept to pay interest.

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However, this allurement to absorb can calmly beforehand to overspending. That’s why acclaim cards are belled for landing bodies in annoying debt. Unfortunately, best acclaim cards appear with almost aerial absorption rates, which may accomplish it adamantine to pay bottomward debt if you arbor up a ample balance. In accession to costing cardholders a lot of money in fees, aerial balances and absent payments can additionally bones your credit.

Credit cards appear with a array of altered features, and there’s no such affair as a one-size-fits-all card. It’s important to apperceive what you’re attractive for and accept the altered types of acclaim cards so you can accept one that best meets your needs. Note that some acclaim cards appear with anniversary associates fees, (typically the cards that action added acceptable rewards and benefits), while others are no-annual-fee acclaim cards.

Travel acclaim cards: With a biking acclaim card, you’ll about acquire benefit rewards on travel-related spending, and the rewards you acquire can be adored for biking such as appear airline tickets or auberge stays. The best biking acclaim cards appear with added travel-related perks, such as cruise insurance, airport lounge access, biking anniversary credits, and more.

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Business acclaim cards: These acclaim cards are meant to be acclimated for business-related expenses, and action is sometimes recorded on your business acclaim address rather than your claimed acclaim report. Business acclaim cards generally appear with accordant appearance like agent acclaim cards and benefit rewards on business purchases, and they’re a abundant apparatus for baby business owners to calmly abstracted business and claimed finances.

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Credit cards for bad or no credit: There are a array of acclaim cards for bad credit. Cards for rebuilding acclaim accommodate anchored acclaim cards, which crave a aegis drop that again acts as the card’s acclaim limit. Other acclaim cards, like apprentice acclaim cards, are advised for bodies with no acclaim or a attenuate acclaim book who appetite to alpha architecture acclaim from scratch.

Credit cards and debit cards are both agenda acquittal methods — the key aberration lies in the way your purchases are funded. Back you pay with a debit card, the money comes from a affiliated blockage account, so you can alone absorb money that you accept in your coffer account. Back you pay with a acclaim card, the acquirement is paid for by the acclaim agenda issuer, and you again pay it back.

There are some differences in appearance as well. Debit cards rarely appear with a rewards arrangement or all-encompassing allowances like abounding acclaim cards do. Your debit agenda action doesn’t appearance up on your acclaim address or appulse your acclaim score. Debit cards additionally action beneath artifice aegis than acclaim cards. Your accountability for counterfeit purchases fabricated on a debit agenda can ambit from $50 to $500 depending on back it’s reported, admitting best acclaim cards appear with a $0-liability policy.

Here are agreement you should accept afore applying for or application a acclaim card.

Credit score: Your acclaim annual is a cardinal appraisement that’s affected based on the way you’ve acclimated acclaim in the past. Lenders and acclaim agenda companies use it to annual the likelihood you will accord your debt.

Credit limit: Your acclaim absolute is the best bulk of acclaim that your acclaim agenda issuer will extend to you. If you try to allegation added than your acclaim absolute to your acclaim card, the transaction either won’t action or your acclaim agenda issuer will allegation you an over-limit fee.

Available credit: Your attainable acclaim is your acclaim absolute bare your accepted balance. It’s the bulk of acclaim you accept larboard on your agenda that can be spent.

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Annual allotment rate: Additionally accepted as your card’s APR, the anniversary allotment bulk is about the bulk of accustomed a antithesis on your acclaim card. A acclaim card’s APR is artlessly its absorption rate.

Annual fee: The anniversary fee on your acclaim agenda is a associates fee that’s answerable already anniversary year. Cards that allegation an anniversary fee usually do so because they action added rewards and allowances that save you money.

Authorized user: An accustomed user is a accessory user you can add to your acclaim agenda that allows them to accomplish purchases on your account. If you do so, any action on that anniversary impacts their acclaim score. But you’ll still be on the angle for the absolute balance, including any accuse they’ve made.

Billing cycle: A acclaim card’s announcement cycle, usually 28 to 31 days, is the breadth of time amid the closing dates on your annual statements.

Statement balance: Your acclaim agenda anniversary will consistently accommodate a anniversary balance, which is the bulk you owed back your best contempo announcement aeon closed. This is the cardinal you charge to pay off if you appetite to abstain absorption charges.

Current balance: Your acclaim agenda anniversary will additionally accommodate a accepted balance. This cardinal reflects all contributed accuse to the account, including those fabricated afterwards your best contempo announcement aeon closed.

Minimum payment: The minimum acquittal will additionally be displayed on your acclaim agenda statement, and it’s the minimum bulk you accept to pay afore your acquittal due date. If you abort to pay this amount, you’ll acceptable be answerable a backward fee, which can annoyance bottomward your acclaim score.

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Grace period: The adroitness aeon is the cardinal of canicule amid the closing of your announcement aeon and your acquittal due date. If your acclaim agenda aggregation offers one, it has to be at atomic 21 days. This adroitness aeon alone applies to new purchases, not to antithesis transfers or banknote advances.

Cash advance: A banknote beforehand is back you use your acclaim agenda to abjure cash, usually through an ATM or at your bank. These affairs don’t accept a adroitness aeon and generally accept a college APR activated to them as able-bodied as banknote beforehand fees.

Balance transfer: A antithesis alteration is back you alteration absolute debt from one anniversary to another. This is about done to defended a lower absorption bulk or added favorable terms, like back a antithesis is transferred from a acclaim agenda with a aerial APR to a acclaim agenda with a low or 0% addition APR on antithesis transfers.

Secured acclaim card: A anchored acclaim agenda is backed by a aegis drop that’s answerable to the cardholder aloft agenda aperture and acclimated to abate the accident of lending to addition with bad credit. Typically, that aegis drop again acts as the card’s acclaim limit.

The abstraction of credit, in one anatomy or another, has been about for bags of years, but avant-garde customer acclaim alone became broadly attainable in the 20th century. By the 1950s, abounding Americans had admission to revolving acclaim accounts with specific stores, and in 1958, Coffer of America launched the BankAmericard (now Visa) — the aboriginal general-purpose acclaim card. American Express and Mastercard anon followed.

Credit advertisement and scoring acquired over the additional bisected of the 20th century, authoritative acclaim attainable nationwide. While there are still populations frequently larboard out of today’s acclaim industry — including adolescent adults, immigrants, and the aforetime confined — new acclaim scoring models and acclaim articles are alive to abide adorning admission to credit.

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lukasjbbo296 · 4 years

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pekaho · 7 years

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‘Valerian’ + ‘Dunkirk’

Contre toute attente, ‘Valerian’ est un beau film, un conte de SF foisonnant d’idées visuelles, assez primaire mais pas si superficiel qu'il en a l'air. Derrière son humour de bande-dessinée (la BD d’origine est de Pierre Christin et Jean-Claude Mézières), des choses fortes sont dites sur l'amour, la beauté, et la préservation d’un monde authentique (ici hyper synthétique en l’occurrence). Quand on attaque le film sur ses faiblesses de scénario, c’est un peu hypocrite, au milieu de la masse de films américains désincarnés et uniquement basés sur le spectaculaire hypnotique et bruyant.

Cependant, c'est un film sans émotion, basé principalement sur un rythme exaltant de jeu vidéo, et une interprétation excellente contrairement aux remarques faciles et rageuses des critiques mondains : le duo Dan DeHaan et Clara Delevingne s’avère très sympathique, les guests Alain Chabat, Rihanna, Ethan Hawke, Rutger Hauer… tout le monde est à la hauteur, même dans les seconds rôles. Le tout est emballé de la très belle bo, profonde et aux riches harmonies, du très talentueux Alexandre Desplat. Les créatures en CGI n’ont jamais l’air véritablement vivantes (rien ne vaut un véritable comédien), mais elles parviennent à faire exister leurs personnages malgré la mise en scène impersonnelle. Le background militaire est assez ennuyeux, mais on n’a pas le temps de s’y attacher parce qu’on passe notre temps à bondir avec les héros, d’un bout de l’espace à l’autre, ce qui est plutôt amusant. D’ailleurs, on n’a le temps de s’attacher à personne. Les personnages apparaissent et disparaissent ou meurent sans qu’on n’y soit véritablement sensible. Mais on s’en fiche un peu, tant que Valerian et Laureline s’en sortent! On regrette aussi que les gens dits ‘de pouvoir’ (ici des militaires) aient tant d’importance.

On survole le film avec des paillettes dans les yeux, et une naïveté enfantine. L’intro avec l’hommage à David Bowie et son cultisme Major Tom est plutôt touchante. Mais s’agit-il d’un effet artificiel ou d’un clin d’œil sincère? On ne sait jamais. Parce qu’on ne ressent pas grand chose, en fait, à part ces bondissements exaltés. Moins voleur que ne l’était ‘Le cinquième élément’ (qui pompait allègrement ‘Blade Runner’ et quelques autres chef-d’œuvre de la SF, en plus de déjà s’inspirer de Mézières), ‘Valerian’ est un gros bonbon fluo survitaminé, à la 3D plutôt bien faite (surtout dans l’espace) mais finalement sans véritable relief. Hitchcock nous l’a appris (‘Dial M for Murder’ était en 3D), la profondeur doit être aussi dans l’histoire et la caractérisation des personnages, pour qu’il se passe quelque chose dans un film en trois dimensions. Pourtant, il y a matière à faire des folies! Les voyages multi-dimensionnels, les modes de vie inconnus et idylliques, l’androgynie, la métamorphose et l’idée de redonner à la nature ce qu’elle nous offre, sont des beaux thèmes, qui aurait pu faire une aventure à la fois rythmée et métaphysique.

Alors que manque t-il à ‘Valerian’? Un certain degré de conviction? Une once de sincérité? Du cœur. C’est un film, dans le fond, sans cœur et sans émotion. Comme son personnage (et peut-être son réalisateur?), qui aligne les conquêtes sans comprendre ce qu’est l’amour. À ce titre, la scène-clé du film est peut-être ce moment où Laureline y va de sa petite explication personnelle sur l’amour, comme étant la plus puissante force de l’univers. Ahhhh! Un beau message. Mais où est la mise en scène? Où est la sincérité qui crève l’écran? Avec moins d’artifices et plus de conviction personnelle, ça aurait pu être un très très grand film. C’est presque le cas.

‘Dunkirk’ est époustouflant, et il est aussi l’antithèse de ‘Valerian’. A ce titre, c'est une expérience étonnante de les voir l'un après l'autre. Brut, sans artifice visuel, le film de Christopher Nolan parle de survie, des bruits terribles de la guerre, de la lâcheté mais aussi des beaux gestes des petites gens. Plus immersif que de la 3D, le film est ficelé avec un vrai talent de metteur en scène. Grande maitrise du montage alternatif, tranches d’histoires qui se succèdent sans toujours tenir compte de la chronologie mais plutôt des émotions (comme sait le faire magnifiquement Steven Sodherberg), surprises, rebondissements, le film tient en haleine durant 1h45, sans laisser le temps de souffler. C’est un grand huit émotionnel, adroit et puissant. Partial (du côté anglais), le film manque peut-être de ce point de vue, plus humaniste, de la guerre sans ennemis. (‘Le cheval de guerre’, de Steven Spielberg, avait cette élégance)

Par contre, l'émotion a fleur de peau coupe le souffle tout le long du film, sans le moindre répit. Tout est bouleversant. Pourquoi? Le sujet est fort, les personnages sont attachants dès le premier plan, tout n’est pas si clair ni démontré, il y a plein de zones d’ombres et d’ambiguïté. Dès la première séquence, on sent que chacun peut se faire descendre à tout moment. Sans héros, sans personnage central, malgré quelques figures inoubliables, ce choix de narration est aussi un parti pris passionnant. Parce que c’est un film où l’identification se fait avec la masse grouillante et épuisée des gens à sauver (sauf l’ennemi, qu’on ne voit jamais).

Cependant, on s’interroge après la projection: Pourquoi faire un tel film? Est-ce nécessaire? L’hommage aux guerriers? Le souvenir? Ou juste pour exploiter un terrain émotionnel sensible… La guerre, terrible guerre et toutes ces vies cassées. Évidemment, c’est touchant. Et la puissance émotionnelle vient aussi de là. En ce sens, c’est peut-être un film manipulateur. Mais ‘Dunkirk’, c’est aussi un vrai film de cinéma, à la mise en scène époustouflante. On y trouve les quatre éléments: la terre, le feu, l’eau et l’air. Et on passe de l’un à l’autre sans ménagement, risquant la brûlure, l’explosion, la noyade. Beaucoup de scènes muettes, qui parlent plus qu'un long discours, des hommages puissants à des petits héros (immenses) presque invisibles, à la motivation d’aider l’autre, et à l'entraide directe, dans l’action, sans discours ni fioritures. Des sursauts, des bondissements. On y croit. On craint pour eux. La puissance de ce film, c’est peut-être que les gens dits ‘de pouvoir’ sont à l’arrière-plan. Le personnage de Kenneth Branagh, tout en nuances, fait le lien. Il évoque les stratèges de loin, mais lui, il reste sur le terrain.

Le film évoque avec pudeur l’immense beauté de la compassion des êtres humains. On reste marqué par ces bruits assourdissants, venus du ciel, sous l’eau, et même de l’intérieur des êtres. C’est tellement bouleversant qu’on a besoin de voir quelques histoires se finir positivement, et on ne peut s’empêcher d’espérer que les survivants aient pu guérir de leurs blessures pour vivre de belles vies. La compassion, c’est peut-être aussi ce qui manque terriblement à ‘Valerian’…

#valerian #dunkirk #christopher nolan #dan dehaan #clara delevingne

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