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oneirophasia · 3 months ago

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I like thinking about how The Murderbot Diaries could be adapted. I enjoy the conceit that much or all of the footage/animation is technically in first-person - but, true to character, Murderbot frequently prefers to hijack drones and other environmental cameras as an emotional distancing mechanism, allowing changes in POV to communicate its emotions without forcing Murderbot to explicitly comment on them. :D Visual media obviously want less narration than literature (sometimes to its detriment), but fortunately Murderbot has the excuse of lacking a Watson or anyone else it's willing to talk to, especially for half the first book, so there's plenty of justification for a minimal level of snarky cyber-noir commentary. The tonal contrast between its internal monologue and everything it actually says is important!

Treating the "camera" as an explicit extension of Murderbot's perspective also slightly simplifies the problem that a lot of the action and dialogue happens in a way that's tricky to convey passively in only two senses. For one, people talk to each other regularly not just vocally, but over the feed. How can that distinction be made clear to the audience without constantly having to say so? Audio is the most obvious choice; maybe the dialogue has processing effects that give it a subtle electronic tint. Earlier scenes could establish the convention by showing augmented humans continuing to talk by closing their mouths and using subvocal jaw movements, accompanied by the processing change, setting up that association to use without the visual cue later. It'd be important that the effect be distinctive without making the dialogue incomprehensible, since music and sound effects would also still be part of the mix. But "the feed" isn't just one feed, either - not everyone uses the same public channel, and sometimes that's plot-relevant. I remember in Rogue Protocol there was a moment where Murderbot has a brief conversation with someone - I think it was Abene? - which starts vocally, then moves to the feed, then to a private channel. The same people are speaking, or else you could use that to imply the change, but it's important to the audience that other people in the group who aren't currently speaking can only hear some of it. How do you communicate that efficiently? "Sounds digital" is one thing, "sounds digital but in two or more distinct and consistent ways" is another level and outside my limited AV knowledge. (If Murderbot is narrating when other people are around we might also need tone for "asides no one heard but the audience", but that isn't anything new at least.)

That's relatively trivial compared to the broader problem that Murderbot, specifically, is constantly talking to and hacking computer systems. That's at least half of its job and plot participation, but it's also a core part of its characterisation as an insubordinate non-human that makes it a compelling protagonist, so "just write it out of the script" would clearly betray the spirit of an adaptation. I don't know if you've thought about how much effort directors went to until someone (possibly on Sherlock) figured out how to just present text messages on-screen in a dynamic and legible way? This is worse. Viewers don't necessarily need as much information as readers get, but I just finished Exit Strategy and was paying attention to what I was actually imagining visually while Murderbot:

Remotely contacts a gunship using false authentication so it won't notify its human crew

Casually disables security devices and erases itself from recordings

Distinguishes systems by which organisation they belong to, how much access it has to them, and whether they have an active human operator

Sorts personal memories to edit into a highlights reel

Briefly redirects a secure call at a critical moment

Fakes a glitch in decorative holography

Exploits the perimeters of security systems that don't directly communicate with each other to evade pursuit

Monitors transit traffic to deduce enemy movement and change plans accordingly

Hijacks all the drones in a large room and blocks attempts to regain control

Reclassifies enemy combatants mid-engagement

Secures a pilot bot in the middle of being destroyed by killware

Creates bait to lure said killware into a subsystem that can be physically disconnected

Good thing I was imagining a broadly POV camera framing anyway, because none of this is happening physically, and Murderbot isn't experiencing it through human-analogous senses. The challenge is to communicate all of that without impeding the story it's meant to support, without the advantage of being able to control pacing through text. The usual trope for creating visual interest in the visually-unexciting activity of "using a computer" is to portray it as happening physically anyway in a metaphorical cyberspace, but I don't think that actually works in this case, because remember: a lot of this happens during climactic action scenes, and blocking fight choreography can be disorienting enough as it is without also constantly flickering into virtual reality just long enough to flip an imaginary switch. It makes more sense to me to represent it as more of an augmented reality overlay, which... the problem there isn't really that that sounds like creating an entire imaginary UI, which isn't different in principle from set design making sure all the buttons are labelled consistently on the spaceship console, the problem is that usually the audience isn't watching through the console. You'd need to treat the HUD elements as normal and use them at least often enough that when they become important the audience will be ready to follow along without exposition, but cluttering the screen can be distracting enough when you're playing an game and is probably even worse in a non-interactive medium.

#the murderbot diaries #thinking out loud

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sevs-corner · 6 months ago

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Gary “Roach” Sanderson if he was in the CoD: MW Series (2019-2023)

LOOK-- I really like Roach (i watched the remastered mw2 2020 recently) and I wish he comes back later on in the current MW series. So for now (and my coping-ness) let’s imagine his dynamic with the gang! (These are all HCs with some in between dialogue and plot, and I'll be using some major plot points from the campaign. A lil' heads up, its been awhile since i've watched the gameplay so the timeline might be a bit confusing lol) Masterlist here ! And a previous HC of Roach here !

Roach gets recruited around the same time Gaz does, after the mission in London when Gaz’s team was trying to stop a cargo right in the middle of the city.

Roach is one of the many officers that gets called in for back-up

And then finds himself working in tandem with Gaz, covering each other’s backs as they try and secure the hostages

Price shows up as per usual and saves the two from under the rubble

Afterwards, with the two surprisingly not broken, they handle the aftermath and comes in the scene where Price recruits Gaz after he admits they had a great deal of info on the bust but was unable to act on it

Roach agrees, seeing the movements and reports that Gaz makes to their boss in the SAS, and feels mutual of how restricted they are right now

Seeing their conviction, Price gives a call to Kate and adds an additional person to the team-- Roach.

Then they all go on all sorts of missions together, Roach actually being the more grounded but chaotic of the three

So, lets say he adapts the shenanigans we do as players when we play as his POV in game

Randomly, he is picking up all sorts of guns from the ground, constantly swapping and taking too long to loot enemy bodies (that sometimes Gaz does it for him so they could move on quicker)

Price on the other hand just lets him does his thing-- until he rushes forward like a maniac and go guns blazing in the Embassy

But, he also gets scolded by plugging up comms from humming-singing, and--

what the fuck- PUT THE BANJO DOWN--

He's the type of person to be like that one guy who plays jazz music on his comms in a gun fight (yeah i made a gundam thunderbolt reference mhmm)

You'd think he'd go deaf but no, he takes peace in the chaos

Reveling and thriving in it actually, like he’s too used to the scene (he is but he would rather work in the moment then act in worry and in constant stress)

Roach was almost tempted to go with Alex and Farah for their cause but thinks about how he’s a much better fit with the 141 guys, and how he could see himself working in the squad long term

He eventually meets Johnny and Simon on the mission to get Hassan

Yet that goes to high and hell when he was a part of the A squad, barely clear of any wounds- luckily, nothing fatal

But the situation he found himself made him more energized with serotonin, easily making quick work of the combatants in his vicinity— doing his best to cover for his comrades who were still recovering

He knows Soap and Ghost would be here immediately but he tries to convince to focus on the mission, to let him handle it as he hunkers down for a moment to reload

They both deny, checking out first the crash site before checking out Hassan, and coming up empty

Until Roach finds the metal shipping carrier, calling over Soap, then Ghost and showing the find of that disdained American rocket

Soap, is obviously confused, and doesn't quite piece it together until Kate discusses it with him

As the others got busy with their personal mission

Of course, we're having Roach join the Ghost-Soap duo in Las Almas

Because of needing more man power in capturing Hassan of course

He hops into the mission somewhere in the middle, in the mission in getting Hassan with the assist of Graves and his shadows

Roach definitely hissed at this man on instinct and had to be held back by the armpit by Ghost

Even though he had a bad feeling swirling in his stomach, he kept it in and somehow ended up on the same squad as Graves going into the Oil Rig mission

Anddddddddddddddd you can guess how it went with him-- horribly

Personally, I can see how Graves to be this straight-laced guy when it comes to missions in a way that, if someone diverts from the mission or does something that may jeopardize it even a little-- he is going to flip

So that's what Roach exploited, the comms in his ears blowing up every time he goes for a risky kill or -instead of going for a stealth kill- he's going in guns blazing with a very, very exhausted Graves behind him

But the thing about Roach, no matter how reckless he is, he gets the job done

Graves wanted to oh so leave him in the Oil Rig before he and Soap exploded it, but sadly Ghost had told him and Alejandro to get the hell outta there before he could (such a damn shame)

But at least he gets to capture him in the streets of Las Almas

He got quite unlucky actually, about to meet Soap and Ghost but one wrong move got him captured

Ghost and Soap obviously becomes worried, and they're (with Rudy) are more determined than ever

And yep, this is the moment where Roach just sees red

Wreacking absolute havoc in his way with rage filling his veins

If there was anything that was going to tick Roach off, it would be his own allies hurting

Loyalty, whether in the military or not, is special

And if you use him and his allies for your own bitter ends and means?

Oh, you are in a world full of hurt

So much so, that you wished he spoke the merciful words, "pick and God and pray" by your death bed

He doesn't, not for Graves and definitely not for the man he called the General- Shepherd

He swears that Shepherd counted his lucky stars that night when they couldn't locate him after "getting rid of Graves and his lackeys for good"

But it doesn't end there- their job never does

This time, he accompanies Price and Soap into infiltrating the building for Hassan, leaving Overwatch to Ghost and the other team climbing the tower led by Gaz

He is back to, not even exploding the glass and breaking it, but pushing himself off the side of the building and cannon-balling straight through (with, suprise surprise, little to no injuries sustained)

He's a miracle ball of sunshine really

Soap then follows through and Price just... he could care less at the moment with Hassan (who is once again near their grasps)

Roach wanted to stay and help Price (who didn't get shot fatally but was still hurt from the blow) but his captain said to go

Thus, he went--

Doing his best to cover Soap as they finally steal the detonator from him but eventually run out of guns, and eventually--

Get

Shot.

Soap has to decide now- whether to save his comrade and friend or to stop the fucking missile from destroying the white house

Roach knew the cogs that was turning behind Soap's eyes, so he grabs his cheek and head butts him

Telling Soap to get his priority straight as he forces himself back up to distract Hassan

Soap tries to decode and hack the missile as soon as possible when the coast was clear

Luckily, he had just a couple of seconds to spare

Unluckily so, he saw Roach's pliant body in Hassan's hands- being dragged right in front of him

Soap is enraged, wrestling and trying to get the upperhand on armed Hassan

Luckily, Ghost always has his back-- shot on point, direct, and done in one click

With a heavy breath, he gives his thanks to Ghost before calling an evac- checking Roach's condition

Hands are cold to the touch but his artery pulse--

Faint!

By the time MW3 rolls around, Roach is up and at 'em!

Refreshed and recovered with the proper treatment and therapy

Some grazes to the nerves on his shoulder but its still all good and working--

"Ow!"

Yeah, he can't overexert it like before

Which makes the Tf 141 relieved...for now

A/N: Cont for the MW3 part soon! I just wanna freshen up with the plot on Makarov 'cause it was a bit confusing to follow so yeah lol

#unedited #crackfic #cod mw2 #cod x reader #roach x reader #cod roach #gary roach sanderson #ghost x roach #soap x roach #price x roach #gaz x roach #graves x roach #cod gary sanderson #gary roach sanderson x reader

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mediumgayitalian · 2 months ago

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Whenever you post your writing on here it genuinely makes my day because ITS SO GOOD. like genuinely your fics or one shots are so spectacular. You're definitely my fave solangelo fanfic author ever!! I just love how you describe things, and how you write the dynamics between others (and so much more, I can't think of it all off my top of my head but I have tons of positive things to say about your works!!!) It's all so well written and ties everything together in a very nice ribbon!

also p.s IF you don't mind, do you have any tips for writing? I've been trying to improve at it for awhile, and I have made some progress but I tend to struggle writing stuff revolving settings and how people interact with each others.

Otherwise that's all, love your works :)

thank you!! im not as confident in my descriptions but i do love writing dynamics. i am lucky to have so many in my life to draw upon. so thank u!!

as for advice!! i will tell u a secret. there are RARELY words in my mind. i am thinking about stories all the time -- genuinely all the time -- but they are almost always movies in my head. sometimes comics or animations, but really every idea i have is transliterated from movie to fic.

and like.......it kind of sucks actually. nothing i come up with ever translates as nicely as i would like it to to literature. there are some things words cannot convey, and it never stops frustrating me that what i write is not the same or as good as the movie in my head. (if i had a bajillion dollars, i would spend it all on movie sets and copyright fines. lol.)

however i've noticed that in the act of transliterating my brain movies to written fic, i'm pretty good at moving the 'camera' and writing dialogue. straight dialogue is easy -- i can just write down whatever convo i hear in my head -- the challenge there is the body language; i will never be able to use words to say what body language says but i have learned over time that certain deliberate movements can very clearly communicate emotions or even sentences. lemme see if i can come up with an example:

"I just -- well." Will scratches the back of his neck, staring out to the common. "It's gonna be pretty empty? At camp, I mean. So if you wanted to hang out." He looks back abruptly, eyes shining something hopeful and biting back a lopsided smile. "I would be amenable!"

like i have a very clear picture of what will is doing here. he is standing on the porch of the hades cabin, literally minutes before curfew, rocking back and forth in his scrubs he forgot to take off, avoiding nico's eyes as he asks him on a totally not-date. totally. but i have to pick and choose what motions to write, because 1) when you space out dialogue, even by a sentence, it reads as a pause between sentences and words. which is the point, a lot of the time, but if you describe too much between dialogue you'll have pauses where you don't want them, and 2) everything must be INTENTIONAL. if you describe a scene in intense detail, that means it will be important to the story. whether or not readers consciously know this, it is one of the rules of stories -- lots of details, lots of importance. you have to pick and choose. you don't want to overstate the importance of a gesture anymore than you want to understate an important one. and if you break this rule but overdetailing constantly, nothing seems important.

ANYWAYS.

the other part of that -- 'moving the camera', which i wrote for the setting piece of your question. when i am imagining stories in my head, when i'm watching them, i get a camera focusing on what's important. does that make sense? in film, the camera knows that you, audience, are watching. in a pov film -- like ferris bueller, or deadpool -- that characters know the audience is there and speak to the audience (percy does this in his books, too). but in most movies, the characters do not know that they are in a movie. they are unaware that they are characters. you, audience, are a voyeur, intruding on their lives, with the help of the invisible cameraman, who takes videos from their lives and brings them to you. the cameraman is your window. and you, audience, know, as a person yourself, that the story you see on the screen leaves out details of life (like using the toilet, sleeping eight whole hours, etc etc). so you understand, even subconsciously, that the cameraman only shows you scenes that matter, that the cameraman moves from angle to angle and shot to shot. i, writer, know this also. so when i am imagining these movies in my head, the camera in my mind shows me the important angles, the important scenes. characters say things in my head and the cameraman shows me the reaction of the characters around them, and then i know who to focus on, when the camera changes, when to move the camera around.

this is a very long winded and kind of metaphorical way to say a couple things that i will now spell out:

practice. ALL THE TIME. ive been writing an a nearly daily basis for the past four years. i don't post everything. the really early stuff was awful. but i improve because i PRACTICE.

learn intentionally. i have taken writer's craft courses, i have read essays and listened to writers talk. i don't just learn by doing, i learn by LEARNING. i learn from professionals. i know it doesn't seem like that but you didn't just magically learn how to write well when learning english. it is a skill and an art and there are specific actions that you need to do to write well. you have to look into them. you have to practice using them.

read/watch and NOTICE. i do not just read or watch for fun, although i do love to read and watch films. i look for symbolism, for details, for mannerisms. if something is really good, look at it again. what emotion is the character feeling? how do you know? what did they do to show it to you? how would you describe that character's tone of voice? why has the film chosen to show you this angle? what details are present in the paragraph? how does this character form dialogue? what does this character care about? how do you know? you need to do literature circle on the regular i mean it.

ENJOY what you're doing. i write for fun. i write for me, for my own audience -- although the attention i get on here doesn't hurt lol. it is so much easier to care about something you love. practice doing something you want to do, write because you want to see your own stories in words, not because you want to impress others. impressing others will come.

i hope that was helpful!! mwah!! good luck!!

#i also love to edit it is one of my favourite things #so if u want to send anything my way #feel free!!#i am also happy to answer specific writing craft questions #if yall have them #this was fun to type ut #out**#writing #writing advice #ask

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familyvideostevie · 1 month ago

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tlou hbo season 2: episode 1 thoughts

well, some of you (like, three people) asked for my thoughts on each episode of the last of us on HBO so, here we go! as a disclaimer i am a game fan first and foremost and am perhaps predisposed to be critical of the show, but I'm also here for a good time. and if you're enjoying it fully i love that for you. my thoughts are divided into good, iffy, and bad.

spoilers for tlou part ii and tlou HBO below!

EPISODE 1: FUTURE DAYS

GOOD -the opening scene of our time jump was great. i love seeing the physicality of ellie -- this will, hopefully, come into play later. she is scrappy and she is brutal and perhaps she doesn't see just quite what she is capable of. also, love how bella pitched their voice down a bit in this scene! i wish it carried throughout the episode but what can you do. -dina and joel: while i think this relationship is being used very incorrectly, i always wanted more of the two of them. i think it tells us how joel is viewed in the community, which adds to the sense of loss once he's killed. in the game we get really slight mentions of joel from jesse and dina but i have to imagine he's quite a community figure, and this shows that. -when dina said "are you in fucking therapy" i felt that because i also said that out loud -Ellie and Tommy with the rifle: i have a hunch that this is going to be a replacement for the hunting flashback because it largely serves the same purpose (tommy conveying to ellie joel's worry, ellie being petulant) and while the content of the scene will be in my iffy/bad section, i like them together. -Joel paying gail in weed is hilarious -Ellie's garage: love the details here and how it's got its own life outside of her garage in the game. i think the space looked lived in and very her. also, the shot of her cleaning the gun at the workbench was a nice easter egg for gamers. also, her tattoo! love. ALSO her shoes! love. -Jesse. I actually loved every single thing about him. I think they're giving him a bit more of a big brother slant -- he's established as older than i thought he was according to Dina, and you get the sense that he's running patrol because he's responsible. i wonder if that will be why he goes after ellie and dina more than as a friend. -the grocery store. everything about this sequence was great to me. the set, the outside, the bottle, ellie killing the clicker in a very part i way. the stalker. my god, did i love the stalker. i have mixed feelings on the reveal of it being a new-to-jackson infected but read on for those thoughts. i loved the movement of the actor, the SOUNDS, and the makeup. really captured the dread of the scene. -Ellie and her notebook! don't fuck it up don't fuck it up don't fuck it up. so lovely. -The dance. So, the cut scene from the game occurs in a very different place, and I have a lot of (negative) feelings about it coming so early here. But the way it was basically a 1:1 (minus the context) to the game...gorgeous. I cried. The outfits, the shot of Ellie's head and the lights, the dialogue, and the music. God, I'm so glad they used Crooked Still (even if the album came out in 2006. who cares! no rules).

IFFY -Salt Lake Crew reveal: I am not sold on this introduction so early. Having the flashback of Abby and co before the time jump is...interesting. I think it ups the conflict level, sure, since you know something is coming. They become a looming threat. Since we aren't told who any of them are aside from Abby and we're not told why they are hell-bent on revenge yet, it might shake out. That, at least, parallels the game in many ways. I think it will depend on how much of them we get next episode in the lead-up to Joel's murder. I can't figure out if I think it would be better to have them just...show up in Jackson, or if knowing they are Fireflies who are after Joel specifically matters. -Tommy & Ellie: Tommy lies to Joel about being with Ellie, but he is honest to Ellie about Joel's feelings. Again, I think this relationship and the way they're talking about what's happening between Joel and Ellie is diluted by the fact that Ellie and Joel are not estranged (I'll talk more about this in the next section). This scene and this relationship feels more powerful to me when she's younger -- and the way Tommy handles her desire to go on patrol was off but I can't figure out why (might be a consequence of the timeline mixing). I also don't know why he lies to Joel, especially when there is already clear tension between Joel and Maria and Joel and Ellie. Joel and everyone else important in Tommy's life, clearly, except Benji. -Dina & Ellie being silly: One of my issues with s1 is I don't think it struck the right balance for Ellie of being someone who lives in A Very Hard Time and has Seen Shit and being 14. I think that shows here, too -- she and Dina are 19. They function as adults in a community where they have responsibility and respect. But I just felt like they were flippant. It's obviously not a bad thing for young people to feel joy and be silly even when the stakes are so high, but to me it feels just a little off-center. Dina's purpose, in my opinion, is to remind Ellie of reality. The world outside of her own head, of her own sadness, her own trauma. To set her on a path that leads her somewhere good, rather than what she ends up doing. Maybe this will become clearer when they are in Seattle! -The council. LIke, yeah, obviously there are 10000 details about Jackson that are interesting because how does it even function? The council, the house building plans, the patrol structure, the refugee crisis (mentioned in the next section). I think it's worldbuilding that will matter because clearly Jackosn will become destabilized, but my god, I just don't care.

BAD -joel the angry man. i won't rehash this but here's the ask i answered about it (very long and very all over the place). -joel in therapy: listen. I know that this is a nice idea. I really, really do. Therapy is great. However, you cannot convince me that Joel Miller would go to therapy. Has he been through some shit? Some serious, serious, shit? yes. Has he functioned for 20+ years with and through that shit? yes. It obviously goes hand-in-hand with his relationship with Ellie -- because this version of Joel is trying to fix it, he needs help. So he goes here, and thus takes action to better the broken bond between them. I just fundamentally disagree with this character choice for him on so many levels. It's a really nice idea that he would seek help and work on repairing the rift but i simply don't buy it because, as I say in my really long post about joel the angry man, he does not regret his choice even if it means he loses ellie. cause she's alive. so, no need for therapy. whatever. i think it's so stupid. -Ellie yelling about her immunity with Tommy. This was ...weird to me. Immature and unnecessary. If there is one thing Ellie understands, it's the stakes of hiding her immunity. Yeah, it annoys her, we know that. It's annoying but she works hard to be a valuable member of the community. And she clearly understands the weight of it --she cuts herself to make the bite she gets from the stalker look like a clean slice. Like, she knows, so why have her stress Tommy out like that? -the refugee plot. Okay. I think it's clearly meant to be tension between Joel and Maria, as well as making us consider how good of a person we think Joel is (for whatever reason). I think the theme here is really interesting in like, any other show. How do you draw lines between our people and other people, how do you protect a community while maintaining its integrity, how do you choose who lives and who dies (central pillar of tlou!). But. I think this would be much better interrogated with the Seraphites and the WLF but we all know that sure as shit ain't happening for reasons I cannot begin to explain here. Choke, Neil. -Sorry pedro but I hate your Texas accent -Curtis and Viper: So, while I like the idea of Joel and Dina being familiar because it indicates Joel's larger role in the community, I HATE that she is involved in the movie night. I do not understand why -- is Ellie supposed to be jealous? Is she supposed to feel bad about the boundaries she's trying to set that he is not responding to? I do not understand this change and my confusion is compounded by the mixing of the timelines of the day or so leading up to Joel's death. (It occurred to me this morning that he might not die right away -- maybe in a few days, maybe a week or so. Which changes the potency of so much of this anyway. we'll see!) -Discovering stalkers: It's just petty of me but the fact that stalkers are new to the universe of the show is Mazin covering his ass for not writing enough infected into season one. but so help me god if we don't get shambles too...come on. I think it's just lazy and obviously, they can't fix it now but the idea of a "smart" infected feels so so so lazy to me. -the dance/ellie and the porch/abby and co arriving to jackson. I do NOT understand the timeline we are working with. Obviously I am having a hard time because i am comparing it to the game -- so maybe they'll convince me. But again, using the dance so early feels like being punk'd (anyone remember watching the original tlou part ii gameplay trailer? similar feeling of dread here) cause like, what else are they doing? and then the way ellie goes to the porch but not up it -- it makes sense in the context of their relationship in the show but fuck me it broke my heart to think that we aren't going to get that emotional journey because it's so so so beautiful in the game. i just. don't get it. also abby and co arriving that night -- i wonder if this means they will camp out for a few weeks and we actually have more time for joel/ellie to fester before it's all over.

so! there we have it. i did not reread this so sorry for all the typos/misspellings. would love to discuss, feel free to comment/dm me/send an ask. i love tv i love tlou i love talking out of my ass and analyzing. so excited for what's to come. let's seeeeee how it goes!

#the last of us #the last of us spoilers #the last of us hbo #the last of us season 2 #the last of us season 2 spoilers #joel miller #ellie williams #i need a tag for this #tlou hbo thoughts #how about that?#should have written this on my tlou blog but who cares

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writingquestionsanswered · 1 year ago

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Hi! so according to my close friend who’s also my beta reader, i apparently have amazing descriptions when it comes to character movement and dialogue but what i lack is describing my surroundings, and according to her it makes her only able to imagine the characters ‘in a void’. how do i make my writing more immersive without constantly breaking character action to describe the surroundings (which seems to be all that i can do to avoid that effect)?

i know i’m probably struggling with this because i myself am the author so i can imagine my character surroundings perfectly fine, so how can i still spot and avoid this in the future?

Incorporating Surroundings Into Description

There are three tricks you can use to help you incorporate your character's surroundings into the scene:

1 - Incorporate description of the setting into the beginning of the scene to set the stage for where everything is about to unfold. For example:

The Hunger Games by Suzanne Collins, 2nd paragraph of chapter three, after Katniss describes being led into the Justice Building:

Once inside, I'm conducted to a room and left alone. It's the richest place I've ever been in, with thick, deep carpets and a velvet couch and chairs...

Outlander, by Diana Gabaldon, beginning of scene two, chapter five:

The laird received me in a room at the top of a flight of stone steps. It was a tower room, round, and rich with paintings and tapestries hung against the sloping walls...

2 - Have the characters interact with the environment throughout the scene. For example, your character could:

-- sit on furniture, peek inside a door, or look out a window -- notice decor items like photographs or paintings -- touch or fidget with an object, like skipping a rock on a lake

3 - Have the environment interact with your character throughout the scene:

-- change in weather or lighting and its effect on environment -- sounds or smells related to the environment -- movement or action related to the environment

So, using all three of these techniques... let's say this is a couple paragraphs in, after some exposition:

Andrea stepped onto the patio and marveled at the yard setup. Twenty-four chairs--twelve on each side of a white-carpeted aisle--were positioned in an arch facing the three-part trellis. Bright pink and deep purple flowers stood out against the white trellis, their green leafy tendrils and delicate petals draped daintily over the top of the arch. White fairy lights twinkled from the trellis and surrounding trees, and even in the golden sunlight of late afternoon, the effect was magical. At sunset, it would be breathtaking.

While the bridal party finished their own preparations, Andrea went to the bedroom where her child was putting on their wedding outfit. Outside, the low din of voices was beginning to build as the string quartet played soft music.

While Zen's best friend fussed with their hair, Andrea peeked outside to catch a glimpse of the spouse-to-be. They had chosen to wear a tuxedo with a short black skirt, and although they looked nervous, their eyes kept flickering to the house, and Andrea smiled, knowing their eyes would light up when they saw Zen in their amazing outfit.

So... this scene is going to be a wedding, and we set the stage early by describing the setup of the backyard wedding. In the next paragraph, we have the environment interact with our character by creating sound (string quartet, din of voices) which reminds the reader about the yard setup just beyond the bedroom. Finally, in the last paragraph, we have the POV character interact with the immediate environment (the bedroom) to peek outside and make observations that again root the reader in the outside environment (the wedding setup) but also reminds the reader that the character is currently inside the house, and the wedding will be outside the house.

By using all three of these tricks, you can avoid having your character exist in a void, because the setting is setup initially and actively exists for the reader throughout the scene.

Happy writing!

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giveafike · 6 months ago

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Snow Much Fun! -B.T.S

TLDR: snow... in ... Florida...! This is part 5/12 of Azzie's Advent Calendar 2024!

Word count + info: 4k. ON THE DOT! im so proud + including dialogue.

Warnings + Content Ahead: SFW! No warnings : )

Azzie Notes ✚: listen... before you correct me and get all factual w me...be open minded... I KNOW IT DOESN'T SNOW IN FLORIDA...but it has before, so who says it can't happen in your imagination? THIS IS AN AU. LET ME DREAM, BELIEVE IN CHRISTMAS MAGIC. God forbid a girl likes to imagine and have fun. do u hate fun? whimsy? And if you can't get behind this teensy bit of snow then I fear for the next part.... erm anyways enjoy...

————————————————————————

The days blended together in that warm, comforting way only the holidays could bring. You and Ben found yourselves curled up on the couch with his family, the quiet hum of togetherness filling the living room. The TV flickered with a lighthearted comedy, paused mid-opening scene as everyone got settled. The selection wasn’t a Christmas movie, though Lisa had made her thoughts on that very clear earlier.

“Y’all know it’s December, right?” she teased as she settled into her favourite armchair, her hands curled around a mug of something steaming and fragrant. “We’ve got, what, two weeks left to make the most of Christmas movies? And this is what we’re watchin’?”

Bryan chuckled, patting her knee affectionately. “Let ‘em enjoy themselves, Lis. They’ll get to the holiday classics soon enough.”

Lisa let out a mock huff, shifting in her chair to settle in more comfortably. “If I don’t see at least one Santa before the weekend, I’m gonna start taking hostages,” she muttered, though the smile tugging at her lips softened the threat.

Ben chuckled before he nudged you gently before standing. “Hang tight. Gonna grab somethin’, ” he said, pressing a quick kiss to your temple as he walked out of the room.

“Where’s he off to?” Emma asked as she petted Halo while Alex lifted his head up from the phone in his hand, arching a brow as his eyes fell on the paused TV screen.

“Kitchen, I bet,” Bryan said, settling further into his seat. “He’s like a kid. Can’t sit through a movie without snacks.”

Moments later, Ben reappeared in the doorway, a triumphant grin tugging at his lips, and a gingerbread cookie sticking out from between them like a makeshift cigar. His hands were full, one balancing a plate piled high with the rest of the leftover cookies and the other holding a heavy metal water bottle.

“Look what I got,” he mumbled around the cookie, his words muffled but still carrying that signature playful tone as he nodded toward the plate.

Bryan folded his arms, shaking his head with a smile. “You couldn’t wait two seconds to eat one?”

Ben shrugged dramatically, biting the cookie to free his hands before setting the plate down on the coffee table. “Couldn’t let the guy go to waste,” he said, flashing the half-eaten now decapitated gingerbread man with a lopsided smile.

Lisa rolled her eyes, but there was a fondness in her expression. “At least share before you eat them all yourself.”

“They’re for everyone!” Ben promised in a whine, nudging the plate a little closer to the middle of the table. “But y’all gotta admit, they’re best when I bring ‘em.”

“Sure, Ben,” Emma mumbled sarcastically as she pressed play on the movie from the other end of the couch.

Ignoring her, Ben turned to you with a flourish, pulling a throw blanket from the back of the couch. He gave it a playful snap before draping it over both of you, his movements exaggerated for effect.

“There,” he declared, tucking the edges around your legs. “Cozy enough for ya?”

“Very,” you replied, laughing softly as he flopped down beside you, his arm immediately finding its place around your shoulders.

He leaned into your face, close enough that you could smell the faint scent of ginger and sugar on his breath. With a quiet smile, he pressed a soft, lingering kiss to your lips, holding the two of you there for a few seconds, just enough to make your chest tighten pleasantly before pulling back.

“That’s for makin’ these with me,” he murmured, the words low and warm.

Your cheeks heated as you pressed beside him, letting his solid warmth settle against your side. The movie continued on as you all watched, Lisa's earlier mock protests forgotten, but your attention stayed fixed on Ben for a few moments longer. He rested his head in the crook of your neck, his curls tickling your jawline. Without thinking, your fingers slipped into his hair, toying with the soft strands and scratching gently at his scalp, your attention never leaving the screen. The soft, brown spirals swirled around your fingers looping and intertwining, almost as though they were holding onto your fingers each time you went in to massage them. The quiet hum he let out made your stomach flip, his whole body relaxing even more against yours.

“Keep that up and I’m gonna fall asleep,” he murmured, his words barely audible over the dialogue on the screen.

“That a bad thing?” you teased, continuing the slow, soothing motion.

He didn’t reply just hummed again, his breathing slowing as he melted further into your touch. The warmth of the blanket, the faint scent of gingerbread, and the flickering glow of the Christmas tree lights made everything feel impossibly soft and still.

After a while, Ben stirred, sitting up slightly. You thought he might reach for another cookie, but instead, he turned to you. His gaze was gentle as he leaned down, pressing a string of soft kisses to your hairline, trailing down to your temple and cheek.

“Love you,” he murmured, featherlight against your skin.

You turned to meet his eyes, your voice just as soft. “Love you too, Benny.”

His smile was slow and easy as he settled back into the couch, pulling you even closer beneath the blanket. The movie continued, laughter bubbling up occasionally from his family, but the way you held each other made the rest of the world blur into the background. Across from you, Emma was sprawled out with Alex, both of them clearly more interested in whispering to each other than paying attention to the screen.

The living room was warm, lit softly by the glow of the Christmas tree. The angel ornament you and Ben had picked out at the market was hung proudly near the centre, its golden and silver flecks catching the light. It cast delicate patterns on the walls and floor, moving gently as the branches swayed ever so slightly.

Lisa noticed it too, her eyes lingering on the ornament. “That angel looks just beautiful up there,” she said softly, nudging Bryan. “Did you notice it earlier?”

He nodded, smiling. “I did. Real nice pick, y’all.”

“It’s from the market,” Ben said, his voice low and lazy. He didn’t bother lifting his head from where it rested against yours, but there was a quiet pride in his tone. “We thought it fit.”

“It’s perfect,” Lisa agreed, her gaze warm as it swept between you and Ben.

You smiled at her, then tilted your head back to look up at Ben. “Guess we’ve officially contributed to the family tree.”

Ben smirked, his eyes half-lidded with that relaxed ease he only seemed to show when he was home. “Next time, we’ll bring somethin’ even better. Like a big ol' handpainted bauble. That counts, right?”

“Sure,” you replied with a soft laugh, earning a grin from him.

From the other end of the couch, Emma let out a dramatic sigh. “Okay, but why are y’all so cute? It’s nauseating.”

“Jealousy doesn’t suit you, Em,” Ben shot back, earning a pillow being thrown at Ben by his sister.

“Watch it,” she warned, though her tone was playful.

“Alright, enough,” Bryan interrupted, his voice holding the kind of fond exasperation only a father could pull off. “Y’all are worse than the kids in this movie.”

Emma rolled her eyes but leaned into Alex, clearly content.

For a moment, the room was quiet again, the hum of the movie filling the space. Bryan and Lisa exchanged a look, one of those quiet, knowing glances that seemed to say look at this, this is what we built. You caught it out of the corner of your eye and couldn’t help but smile, feeling a little grateful and honoured to be part of this small, happy scene.

Ben must’ve noticed too, because he gave your shoulder a gentle squeeze. “You good?” he murmured, his voice barely audible over the TV.

“Perfect,” you whispered back, snuggling into him a little more.

And there you stayed, wrapped in warmth and familiarity, the angel casting its soft glow over the room. The movie might not have been a Christmas classic, but the moment was simple, cozy, and filled with quiet love. It felt more festive than anything scripted.

Midway through the movie, Bryan leaned forward in his seat, his brow furrowing as he squinted toward the window. The movement drew everyone’s attention, and Lisa raised an eyebrow.

“Bryan, what’s the matter?” she asked, her voice soft but curious.

“Is it snowin’ outside?” Bryan asked, squinting as if he could see through the blinds.

Emma snorted, her disbelief immediate. “Dad, c’mon. No way. It’s Florida. Snow?”

Alex chimed in, shaking his head. “Yeah, no shot. You’d sooner see gators tugging Santa's sleigh along the street than snow falling here.”

But Ben, with that trademark half-smirk, leaned forward slightly, his arm still slung lazily around you. “It might be,” he drawled, his Gainesville accent thick with teasing scepticism. “Y’know, hasn’t snowed here in years, but it’s cold enough tonight. Could be somethin’ out there.”

His words sparked a ripple of curiosity. Emma groaned dramatically but leaned forward on the couch anyway, craning her neck to peer toward the window. “There better not be snow,” she grumbled, “I’m not built for that.”

You couldn’t help but bite your lip in excitement, feeling that childhood giddiness bubble up inside of you. You try to hide it but glance over too, the soft glow of the tree lights spilling across your face as you shift. From where you sat, you caught the faintest movement outside. A soft, almost magical swirl danced in the light of the streetlamps, the flakes subtle but unmistakable.

“Oh my gosh,” you whispered, your eyes widening. “It really is snowing.”

Emma gasped beside you, her earlier scepticism melting into childlike awe as she broke into a smile. “Wait, what? No way.”

The two of you scrambled to the window, pulling the curtain fully aside to get a better look. Outside, the streetlights illuminated a delicate flurry of snowflakes drifting down onto the quiet street. Across the way, the Christmas lights strung on the neighbouring houses seemed to sparkle even brighter, their colours reflecting off the thin layer of frost dusting the lawns and rooftops.

“Wow, would you look at that,” Lisa murmured, her voice filled with wonder as she stood up and joined you.

“It’s not a blizzard or anything,” Bryan remarked, standing now, hands on his hips. “But I’ll be darned, it’s snow all right.”

Ben chuckled behind you, staying where he was on the couch but watching you from his perch. “Told y’all it might be somethin’. Y’all never listen to me.”

You turned to him, your cheeks still flushed with the excitement of the unexpected sight. “When do we ever listen to you?” you teased, making him laugh.

“Fair point,” he admitted, patting the spot beside him. “But it’s too cold to stand there by the window gawkin’. Get back over here.”

With one last glance outside, you and Emma let the curtain fall back into place and returned to the couch, settling easily against Ben’s side. His arm found its familiar spot around your shoulders, pulling you close as you curled into his warmth as his strong hand rubbed your arm up and down.

“Snow in Florida,” you murmured, more to yourself than anyone. “It feels… kind of magical, right?”

Ben looked down at you, his smirk softening into something sweeter. “Maybe it’s a sign. Christmas miracles and all that,” he said with a wink.

You rolled your eyes but smiled anyway, pressing your cheek against his chest and letting the steady thrum of his heartbeat lull you back into the comfort of the evening. Outside, the snow continued to fall, a rare and fleeting wonder that made the cozy warmth of the house feel all the more special.

The movie carried on, but the mood had shifted just slightly. Lisa leaned closer to Bryan, who had draped an arm around her shoulder. Emma and Alex sat side by side, whispering and laughing, their earlier disbelief gone as they marvelled at the snowfall. For you and Ben, the magic wasn’t just outside in the snow or inside the house. It was in the quiet, unspoken connection between you, a warmth that had nothing to do with the blankets or the tree lights. And for now, that was enough.

As the movie carried on to the last scenes, Ben got up to grab a drink from the kitchen. You were mid-sentence, pointing out a plot hole, when his voice rang out, loud and filled with shock.

“Goddamn, the snow stuck!” he exclaimed, his voice high-pitched and bursting with excitement as he came running back to the living room, almost falling over several times.

“What?” Emma shot up from her spot, nearly knocking over the popcorn bowl. “You’re lying!”

“Nah, I’m dead serious! Y’all gotta see this!” Ben called, his voice laced with genuine wonder.

Emma bolted for the front door, you and Alex following close behind, too frantic to even think of how the potential "in-laws" might view you. Pulling the door wide open, you gasped.

There it was, a light layer of snow blanketing the yard, the driveway, and even the street. It wasn’t much, but in Florida, even a thin coating like this was monumental.

“Dad!” Emma spun around, practically vibrating with excitement. “Can we go outside? Please?”

Ben poked his head around the corner from the kitchen, already grinning. “Yeah, c’mon, let us have a little fun! It’s not like this happens every year.”

Bryan looked up from his reclined position, still sat as he arched a brow. He looked at Lisa who stifled a laugh but nodded to the group of you, smiling.

“Y’all act like you’re kids again. But sure, go ahead. Just, wrap up. I don’t want anyone catchin’ a cold or somethin' worse.”

“Yesss!” Ben and Emma cheered simultaneously, already scrambling for jackets and hats, throwing spare ones at you and Ale.

Lisa sighed, though the smile on her face gave her away. “Alright, alright. But bundle up, all of you! Scarves, gloves, the whole thing!”

The house turned into a flurry of motion as everyone raced to grab layers. You hurried to slip on one of Ben's jackets while Ben tugged a knit cap over his curls, half-singing, “We’re goin’ on an adventure!”

Alex grumbled good-naturedly about the chaos but joined in, pulling on mismatched gloves. Emma was the first out the door, her shoes only half on, as she let out a delighted squeal.

The cold air hit your face the moment you stepped outside, but it was worth it. The snow wasn’t deep, just a soft, powdery layer barely clinging to the ground, but it was enough to transform the neighbourhood into a winter wonderland. The Christmas lights strung across the houses glowed even brighter against the dark sky and white snow, while neighbours had begun to step outside, just as awestruck as you were.

“Y’all look at this!” Ben exclaimed, crouching down to scoop up a handful of snow. He grinned, forming a loose snowball. “This is, like, real snow. Not just that slush stuff.”

You barely had time to admire it before Alex sneaked up behind Emma and sent a snowball flying, hitting her square in the back.

“Alex!” Emma spun around, eyes wide with mock outrage. “Oh, you are so dead!” She retaliated with a snowball of her own, smacking him right on the chest.

Ben laughed, clearly loving the commotion, and quickly joined in. His first target? Emma. The snowball hit her shoulder, sending a puff of white into her hair.

“Seriously?” she cried, but she was already giggling as she crouched down to scoop more snow.

“Nothing personal, Em!” Ben called, grinning like a kid. “Been waitin' to do that.”

“Oh, you think this is funny?” Emma lobbed her snowball in his direction, missing him by inches.

Meanwhile, you tried to keep a low profile, standing off to the side, admiring your footprints in the snow, hoping to avoid the crossfire. But Ben wasn’t about to let that slide.

“No hiding!” he declared, turning his playful grin on you. In one smooth motion, he launched a snowball at your leg.

“Ben!” you yelped, laughing as the cold snow splattered against you.

“That’s what you get for standing still!” he teased, already preparing another.

The battle escalated quickly. Alex doubled down on attacking Emma, who alternated between shrieking and laughing as she hurled snowballs back at him. Ben, meanwhile, seemed intent on taking both you and Emma out at the same time, his snowballs flying fast and wildly.

“You’re the worst!” Emma shrieked after a snowball hit her square on the nose, making her freeze. She stood there for a moment, eyes closed, her mouth slightly open in shock as snow dripped down her face.

Ben doubled over laughing. “Oh man, that was perfect!”

“Not funny.” she shot back, though the corners of her mouth twitched.

Before you could react, one of Ben’s snowballs struck you on the cheek, cold and wet as it splattered across your skin.

You stood there for a second, stunned, your hand flying to your face. “Alright, that’s it.”

Emma’s head whipped toward you, her eyes blazing with determination. “You in?”

“Oh, I’m in,” you replied, already scooping up snow.

The two of you turned your full attention on Ben, who immediately held his hands up in mock surrender. “Wait, wait, wait-!”

“Get him!” Emma yelled, launching a snowball that caught him on the arm.

You followed suit, hitting him square in the chest. Ben tried to dodge, laughing as he scrambled to pack more snowballs.

“No fair!” he called out, ducking behind a tree for cover.

“You started it!” you shouted, hitting the tree trunk just inches from his head.

The battle raged on, snow flying in every direction as you and Emma teamed up against Ben. Alex tried to join forces with him, but Emma caught him with a perfectly aimed throw that made him rethink his allegiance.

Kids from the neighbouring houses stood on their porches, laughing and cheering as the four of you chased each other through the snow. By the time the energy started to wane, your cheeks ached from laughing, your gloves were soaked, and snow clung to your hair and coat.

Panting and grinning, you all collapsed onto the snowy ground, the fight finally giving way to exhaustion. Your breath puffed out in small clouds, and for a moment, all you could hear was the sound of your own laughter mingling with the others.

“Alright, y’all,” Bryan’s voice called from the doorway, carrying that fatherly mix of amusement and authority. “That’s enough before somebody ends up with frostbite or a trip to the ER. And I'm not the one drivin' in this weather.”

None of you made a move to get up. Instead, Emma let out a deep sigh and spread her arms and legs out wide.

“Snow angels it is,” she declared, sweeping them back and forth to carve her shape into the untouched white blanket beneath her.

Ben, not to be outdone, flopped onto his back beside her, his long arms stretching as he exaggerated the motion. “Mine’s gonna look like a Wimbledon champion,” he said with a cocky grin.

“More like a giant goofball,” you teased, lying down on his other side to start your own angel.

Alex joined in without a word, still heaving as his movements were slower but no less deliberate. Soon, the four of you had carved a small lineup of snow angels, their winged silhouettes stretching across the yard.

Emma propped herself up on her elbows, inspecting the work. “We gotta sign ‘em,” she said, using her gloved finger to carve an “E” near the feet of her angel.

“Good idea,” Ben said, carving his “B” with a flourish at the bottom of his. “Now everyone knows who made the best one.”

“Debatable,” you muttered, finishing your own initial with a satisfied nod.

Alex added his “A” silently, glancing up with a small smirk as Emma leaned over to nudge him.

As you all sat up, the sound of laughter caught your attention. The last group of neighbourhood kids was a few yards away, rolling snow into giant mounds to form the base of a snowman while the rest of the street stayed dormant, the night slowly creeping up.

Ben squinted at them, then turned to you, his grin mischievous. “Think we could do better?”

“Oh, absolutely,” you replied, already on your feet.

The four of you got to work, scooping and packing snow as quickly as your soaked, frozen fingers would allow. The snowman started small, a modest figure compared to the heavy one the kids were making. Ben insisted on adding his own flair, giving it a crooked smile made of pine needles and twigs for arms that looked like they were mid-dance.

Emma stepped back to admire the work. “He looks like he’s auditioning for a Christmas musical.”

“Better than a boring ol’ snowman,” Ben said, adding a tiny snowball hat to the top of its head.

You knelt down to smooth out its base, adding a scarf you’d borrowed from Emma’s collection to give it a finishing touch.

The kids nearby noticed your creation and waved, their giggles carrying through the crisp air. One of them called out, “Yours looks funny!”

“You look funny,” Ben shouted back, laughing as he threw his arm over your shoulders.

"No need to be fighting kids, Ben" Emma warned as she stopped herself mid-giggle.

"They started it!" Alex chirped in, whining.

When the snowman was finished, the four of you stood back to admire it, your cheeks rosy from the cold and exertion. The little snowman was lopsided but charming, a perfect reflection of the fun that had gone into making it.

“Alright,” Bryan called again from the porch, shaking his head as he watched you all. “Seriously, now. Get in here before Lisa makes me come out there to drag y’all back myself.”

Ben turned to you with a grin. “Guess we better listen before we end up grounded.”

You laughed, brushing snow off your coat as the group headed back inside. The kids were still laughing, the little snowman standing proudly in the yard as a reminder of your impromptu snow day antics.

You all trudged back into the house, your shoes squeaking against the hardwood floors. Your hair was wet, your noses red from the cold, and your hands wrinkled and stiff. Ben rubbed his hands together, blowing on them dramatically.

“Y’all are somethin’ else,” she said, though her smile betrayed her amusement.

“My fingers are gonna fall off,” Emma complained.

Lisa and Bryan were quick to hand out towels, ushering everyone toward the warmth of the fireplace. Lisa had already turned up the heat, and the fire crackled invitingly as you all crowded around it, towels draped over your shoulders.

“Alright,” Lisa announced, hands on her hips. “Y’all had your fun. Now warm up and get yourselves to bed. It’s late.”

Ben leaned down, brushing a quick kiss against your snow-damp, tinted cheek.

“You fight dirty,” he murmured, the warmth of his voice contrasting with the lingering chill of the snow.

You smirked, nudging him lightly. “Learned it from the best.”

You exchanged a glance with Ben, the two of you grinning despite your exhaustion. It had been a fleeting moment of winter wonder, but it was one you’d never forget. As you curled up in bed later, trying to warm up, you were still laughing about your lopsided snowman, you couldn’t help but think that even the smallest miracles could bring the greatest joy. This was the kind of moment that made the holidays magic not just the cookies or the lights, but the love threaded through it all.

#Azzie's Advent Calendar #azzie asks #ben shelton #benshelton #ben shelton x reader #atp tennis

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litsnobconfessions · 5 months ago

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A Year of Animation Day 3: Nimona

Date: January 3, 2025

Day: 3

Content Watched: Nimona

Year: 2023

Rating: PG

Run Time: 1 hr. 41 mins.

Okay, so if anything, I think the animators of this one had even more attention to detail than the animators of Avatar. I know I've said there's a couple of places in Avatar where background characters are static, but here we have people moving in the background in the marketplace, and we have people moving in the stands in the stadium. And when the shot is too wide to see everyone, we see flashes of light and shifts in color that show people moving around and probably snapping photos.

I love the the mideival-sci-fi setting, and whenever a car or a motorbike is flying through the city, it looks like something out of a cyberpunk movie. There are other cars moving around, there are neon signs everywhere, and quite frankly, the lighting in this film is exquisite. Every frame is beautifully lit, and in a way that feels perfectly natural for the setting— from the stadium with its spotlights, to Ballister's broody lair with its fairy lights, to the dim dungeon, to the pavillions. It's clear the animators spent a lot of time sketching out what the sources of light would be and how that would affect the lighting in the scene.

Like ATLA, Nimona is also filled with flickering lights that influence the movement of shadows. The opening sequence includes flames which do this, and throughtout the film, there are screens and buttons in the background that give off different amounts of light as they flicker, blink, and change color, just as they would in real life. I also like how Nimona re-imagined the classic story-book-opening (which originated, by the way, with Snow White and the Seven Dwarves in 1937) by using an illuminated manuscript, a manuscript which genuinely looks illuminated, especially in that aforementioned firelight.

My favorite bit of animation, though, is the story Nimona tells that's animated in the subway tiles. This is a cool thing thing that you can do with animation that you can't relly do with liveaction. If this was a live-action story, you could put a filter over the flashback scene, but you can't exactly "do it in a different style." But there are so many ways that you can draw things, that you can have flashbacks or stories or multiple timelines or universes, each in a different style to differentiate them from one another, and it's just so interesting to watch. And I feel like the second flashback, when Nimona is small, feels like a slightly different style as well, though it could just be the lighting.

Also, I think that both Ballister and Ambrosious have costume changes—Ballister, at least, has multiple arm changes (prosthetic/no prosthetic). But Nimona is absolutely wins the best-dressed comeptition. She changes, I don't know how many times in the couple of minutes it takes her to break Ballister out of prison. I forgot to count. (This, by the way, is probably my favorite over all scene.)

I love this movie so much, I kind of already want to watch it again. I love Nimona's look and her energy, which actually reminds me a little of some of my friends. I think my favorite bit of dialogue is:

Like, I have friends who would absolutely say that if they were Nimona. Heck, they would probably say it even as themselves. But I also love that when Ballister tells her to be herself, she responds with "I don't follow" Because how many of us have found ourselves in that that kind of a situation? Where we're told to be normal, but we are being normal, or at least normal for us, and we're demonized because that's not considered socially acceptable. And on a re-watch, it's absolutely heartbreaking when Nimona tells Ballister that people have seen you as a villain, that's all they'll ever think of you. Because you know she has lived 1000 years of this. Fortuntately, Ballister proves her wrong.

This movie is incredibly poignant, but it's also filled with hilarity. Just to name a few of my favorite moments: Nimona's application as Ballister's villain sidekick, "unchildproofing" is lair, the announcement on the subway that "if you see something, slay something," the repetition of "arm-chopping is not a love language!" and the argument over river otters versus sea otters, which is reminiscent of African versus European swallows in Monty Python and the Holy Grail. It's is an absolutely stellar movie, and if you haven't seen yet, you should.

#Year of Animation #animation #movie review #Nimona

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alwayshappyhoursomewhere · 2 years ago

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Compilation of translation snippets I did about interviews published on kiss&cry magazine vol.49, all about Shoma and One Piece on Ice (also posted on twt and here as backup)

Keiji and Koshiro on Shoma:

Keiji: Shoma isn't really Luffy's type, but you can tell that he's trying his best to become Luffy, and that he's enjoying it. He is absorbing more and more and trying to overcome the "wall" of doing moves that he has never done before, moves that are unlike him. When I see that, it makes me want to work even harder.

Koshiro: at the beginning I couldn't imagine Shoma doing Luffy's "full of energy!” movements, so I was like "Do your best (laugh)”, but during rehearsals there were many scenes where I thought, "Oh, it's Luffy! (laugh). I am sure that everyone will be satisfied with Luffy. There are music, dialogue, and people other than himself, so timing is important, but he writes down the flow in his notebook and reviews it. He is taking Luffy really seriously.”

Do you feel any change in Uno since the rehearsals for "One Piece on Ice" started?

Keiji: "Yes, I feel it, he seems to be enjoying it. I think things are going to get harder from now on, but one of the things I'm looking forward to is seeing how Shoma changes as a result of that. I want to be by his side to support him, because he is under the heaviest pressure as the leader.

Shoma’s interview:

How did you feel when you were offered the role?

I have performed to music before, but I’ve never played a story or a character, so at first I thought, "Am I really the right person for this? I was puzzled, but I was happy that they chose me out of so many people. Now that I've been given the job, I will continue to search for what I can do to make it as great as possible, and I will give it my all.

How long did it take you from the time you were offered to the time you decided to appear in the show?

I didn't need think about it for very long. I'm relatively good at figure skating as a sport, as an athlete, and I think I'm doing a good job at it, but I think I'm far from the ideal figure skater that everyone has in their mind. Of course, figure skating is fascinating as a sport in itself, but I think one of its charms is that you focus on one skater and watch their performance and growth, which in a sense is like treating them like idols. I am not good at that part, so I don't know what kind of figure skater I will be when I leave competition someday. I hope that the experience I will gain from One Piece on Ice will give me a clue about that.

Did you get that idea from winning the World Championships for the second time?

There are many reasons, but I think that is one of them. I used to compete with my eyes fixed on the ‘top’, but now that I've achieved results, I asked myself, "What do I want to do next?”, and I thought that I wanted to embody more strongly the charm of figure skating. I have been able to do things my own way in both competitions and ice shows, and that will never change, but I've also started to think that I want to show the audience what they want to see. One Piece on Ice is a show in which I play a character that I’ve never played before, and that’s a new challenge for me. I would like to develop my ability of expression, where I feel I am lacking the most.

Do you feel more "excited" or "pressured" in anticipation of this new challenge?

I would say it's 6:4 in favor of anxiety (bitter smile). Of course I am very much looking forward to it, but I am not sure how much of my accumulated experience I will be able to put to use. I think that because fans love "ONE PIECE" so much, they will look at it more harshly than non-fans when it is adapted into something other than a manga or anime. I am a fan myself, so I understand how they feel. I know I can't satisfy all of them, but I still hope that I can show them something as good as possible.

In "ONE PIECE ON ICE", the " Alabasta Arc" will be depicted. Do you have a favorite scene?

I have read the Alabasta Arc many times. I think my favorite scene is the story of Crocodile and Bibi, and my favorite part of the story is when Bibi faces various conflicts and stands up to protect what he wants to protect with a strong heart. It makes me think about a lot of things."

Your rinkmate from Champéry, Switzerland, Koshiro Shimada, plays the role of Sanji. Have you talked to him about being cast in the show?

I was really happy he was cast. I think Koshiro likes "One Piece" the most out of all the skaters, and back when the rest of the cast had not yet been decided, I had hoped that he would be cast, so I was happy when he was chosen to play the role. He has very long legs just like Sanji. Koshiro also said, "For the first time, I appreciated the length of my legs" (Laughs). I believe that Koshiro-kun is good at playing characters, so I am not worried about anything.

What do you think you and Luffy have in common?

I am not the kind of person who can make people smile like Luffy, so our personalities are far apart. The only thing we have in common is that we both like meat (laughs).

I thought that Luffy's proactive attitude toward difficulties seems to overlap with yours.

I think that a life without difficulties would be boring. In order to get something that you think is unattainable you have to practice a lot, and then you finally get it, and that's when you feel happy and satisfied, I think. So, I am forcing myself to say this, but I would be happy if I could compare myself with Luffy in that way.

You mentioned that in your figure skating programs, you express the melody or sound itself, not the story behind the music. This time, you will be playing a character in a story with a plot, how do you approach it?

I've never really done this before... Fortunately, it's a work that I know well and love, but I'm not sure how I'll be able to express myself in it... I don't know. I think my job will be to take the intentions of the director, Ms. Kahori Kanaya, and the choreographer, Mr. Kenji Miyamoto, and see how faithfully I can reproduce them. I can't see the whole picture yet, but I will just give it my all and do my best.

Knowing there will be many people who don't usually watch figure skating, what do you want to convey to them?

"I think it is important to reproduce the ideal of Mr. Kahori and Mr. Kenji, in terms of the distinctive appeal of figure skating. I hope to be able to show no less than what they envisioned, but it's really unknown.... First of all, I would like to concentrate on the daily training in front of me.

Thank you very much. Finally, do you have a message for the fans who are going to see "One Piece on Ice"?

I don't know how I will be feeling right before the show, but I may be more nervous than at the Olympics or the World Championships (laugh). Because this is something I don't usually do, I am sure I will feel things like anxiety and impatience, but I hope that I will be able to feel a sense of accomplishment as I take on this challenge with all my might. And on top of that, I would like to polish my expressiveness. think this will be a new challenge for all the performers. I hope we can all work together to create a good show, so please come and see it."

from Kenji Miyamoto’s interview:

How do you work on the choreography?

I listen to the scene Kanaya-san [t/n: the director] wants to create, think about how to incorporate it into the skating on the spot, and improvise the choreography. If there is a difference from Kanaya's image, she will politely explain to me that she wants me to reduce the speed more, or that her image of the emotion is different, so she is very helpful.

Shoma Uno plays the main character, Luffy. What do you see as the similarities between the two of them?

"Maybe that he walks in a straight line towards the goal. He doesn't give up, doesn't compromise, keeps his eyes on one point and pushes forward. This is my impression of Shoma's usual practice, and I think the same can be said for Luffy.

How is Shoma Uno doing?

He is trying his best. From the choreography on the ground (off-ice?), he is moving his body as hard as he can, almost to the point of falling down, as if he were trying to reach his limit. I also feel that his facial expressions are becoming more expressive, so I am looking forward to seeing his growth in the future.

I watched the rehearsal of the "rebel dance scene". What did you pay attention to?

“It's a choreography full of speed that conveys the sense of dynamism that is unique to skating. Also, the rebels led by Koza share the same anger, so I was particular about expressing that they seem to be moving separately, but on the other hand, they are somehow in sync with each other. We also expressed the battle scene and the emotions of the characters in the center of gravity shift and edge work of the skating.

#shoma uno #figure skating #one piece on ice #one piece on ice 2023 #koshiro shimada #keiji tanaka #kenji miyamoto #shoma seems to be thriving with opoi #love that for him #my translation

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brilliantfantasticgeronimo · 2 months ago

Text

joy to the world

i tried to watch this one when it came out but couldnt get through it. let's try to get it over with…

opening with ww in england gives me such automatic zzzzzes . (explenation: the problem when u like doctor who so much is that by this point ive seen / read / heard So Much doctor who that every story is competing with every other story. and there's been so much "ww england doctor who" that it's like… yeah yeah ok i've seen this. let's move on)

the other thing with this episode is i'm already prejudiced against it because from the premise, i just think of el ministerio del tiempo, and how i could be watching that instead of this, bc although eMdT many times was a homage to DW, it ended up surpassing it many times sdkfj

(like in how DW is dead afraid of doing Pure Historicals bc they are "harder to do" since like, 4th's era and eMdT was 90% Pure Historicals)( with longer episodes even)

the Other thing is i think RTD made a tactical error by not asking for this special to be with ruby and 14, instead of a companion of the week. we rlly needed more time with ruby. even if it was her having a parallel storyline to this or smth. idk, i just feel like im gonna watch an hour of filler / something not connected to the main arc…. (happy to be proven wrong)

"two women in fact" "well that doesnt surprise" i have warmed up to moffat a lot of the year but this kind of frat boy humor of his…still grating lol

"democracy itself will fall" Topical Moment (tm) #1

THEME SONG!!!!!

imagine getting on the orient express after reading the orient express. that's like planes showing disaster movies on flight

(this montage is so euro-centric with its locations lol)

"there's always a door like that in a hotel, a funny locked one" the rl observation that inspired the story?

"i mena, i could just get a fridge" hehe

"AH YES, HABIT" I CRY / "never get used to them leaving" mood doctor. i miss ruby.

Ncuti has a way of delivering these moffatism where they are a lot more charming than grating dsklfj if eleven said "mysterious mr. you" or "special agent clint rock" i would be rolling my eyes sm

(no offense to matt smith since part of the ~mystique of eleven is that he was intentionally grating lol) (so like i Get It but i Enjoy this characterization more)

the thing with this montage is i felt it was kinda disorientating? the dialogue is trying to do A Lot as are the movements, but it's also like… the editing in these first 5 minutes it's too frantic for me. it's like cut-cut-cut-cut. pls dw i'm too old 4 this. i'm a novelera. i like sitting down.

fringe's Observer energy from the briefcase guy

"time hotel, what does that mean?" this. this is the line that made me stop the episode and put me on hiatus from being a whovian for 4 months. he would not fucking say that.

STOP TELLING ME WHAT EACH DOOR IS WHEN THE VISUALS MAKE IT OBVIOUS AHHHHH ( EL MINISTERIO NEVER COMITTED THIS SHOW-DONT-TELL-WHAT-YOU'VE-ALREADY-SHOWN SIN WITH ITS TIME DOORS!!!)

"why is there always an extra door and why is it always locked?? that's the way to the time hotel!!!" I GET IT!!!! YOU ALREADY STATED THIS, EPISODE!!!!! AHHH

yeah this was the thing sdklfjsd these 5 minutes of build up for such a literally obvious and KINDA PLAYED OUT trope made me so angry sldkfjsd i just couldnt get through it.

ok let me take a pause to calm down sdlkfjsd and get a snack

… ok arepas served. good faith restored. lets gooo

-"this is gonna be the least ive ever let somebody down" aw trev sdkfljds he's a mood

why did it loop back to the trailer scenes t.t ugh hh

" i went and let him down" The Long Running Companion Arc Moment (tm) #1

"i do like an explanation" ok um. hot.

"this is just like men all over" "ugh, i know!" GROANnns

"don't call him a lizard man" lines that Hit Different with a black doctor

rip she took the case. rip joy. i knew she had a charlie pollard energy lol

(the thing that kills me abt this ep is that so far the time hotel is just set dressing sdklfj saudades of the god complex utilizing its premise so well...)

GOD finally a Good Fucking Scene. "i love those guys, stay alive for those guys" MIRROR MOMENT #1 also!!! connects to how visually this was feeling like regeneration dust

"that was an implanted idea. you were being mansplained by that briefcase" groan. hated that lol

"with extreme prejudice" oi? eyes emoji? lines that hit different with a black doctor #2

"i'm not the future, he is the past" love the doctor being rude about himself lol

two-doctors-from-time-travel is such a moffatism too...

"THIS IS WHY NOBODY LIKES YOU! THAT'S WHY EVERYONE LEAVES YOU! THAT IS WHY YOU ARE ALWAYS ALONE!" someone pls. pls take 14 to therapy.

also i kinda have to stretch it a bit but i guesss i can see why this can be connected to The Moment he decides to leave ruby .bc instead of thinking about ruby at that moment with her mom, he was thinking of What Was The Doctor Thing To Say (tm) .(underlined: HE DECIDED to leave her. he's the one who decides to leave a lot of the time) (thats a points to work on ur therapy, fourteen)

"it's a long story, but basically…" lol love the doctor being an ass to himself (but again, therapy, son…)

"AND THERE AREN'T EVEN ANY CHAIRS" and there used to be chairs Sometimes T.T my poor blorbo…

"ha ha women and their diets" moment……….

RUBY SUNDAY NAMEDROP!!!!!!

"gotta let people get on with their lives" aghghghgkjhkjhkj

"it doesn't take me where i want to go" "but it takes you where you need to go" "why is my car blue now?" dkljsdklfj scream @ the doctor being a doctor who fan trying to get his roommate into doctor who.

"love it when the clocks go forward, don't you?" "i always have" mmmm. curious line

"online, mostly. for some reason there's loads of them" scream. my favorite line so far.

also lol nobody notice the conspiciously large box of tissue at the top of this clearly-emotionally-stable-man's table

lol i thought he was gonna steal the chair

"can't move if you're looking at them" this episode is curious bc obvs we know from interviews they always write specials with the intention of being seen by new people, but it also has like… a Ton of references per second. and their abundance feels kind of intentional.

(maybe it's an attempt to connect this more to the previous seasons after a lot of people complained about "s1"/s14 feeling disconnected? orrr maybe it says something about 14 still constructing his Sense of Identity after The Flux, and that mirroring the meta of how the show is needing to Construct a new identity beyond its past.

(show-within-a-show energy. we're back baby)

"chair night" sdkfdf. nerds

this montage is fun but the front desk lady feels kinda blank to me tbh so this whole "friendship" also feels kinda blank.

"what are you waiting for?" "nothing… nothing" lies lies lies yeah

"i dont have a boyfriend" EYES NARROW. UM EXCUSE ME CHEATER, WHAT ABOUT JONATHAN GROFF.

somewhere the master is boiling in rage that i didnt think of him first but instead thought of Bird Man lol

this is the thing tho… general take incoming… like: i really enjoy the long-running story, i enjoy this. but… i dont know, i also dont like when doctor who is only about the doctor. i think it gets too self-involved, and forgets to develop / make engaging as well the "of the week" aspect of doctor who, the fact you can tell new stories about new people all the time (like anita here who feels so much like a placeholder, and not a specific person… like she's a stand-in for the tropes she's supposed to evoke in the doctor) i think this show is best when it manages to do both, but i think 14's era has kinda struggled with that (tbh, i think we've struggled with that since like… series 4 with ten, that self-referential, self-involved tendency got worse with each season) (bar exceptions like s10 or s11,which intentionally tried to be less self-referential)

"you're married, aren't you?" laughs but also EYES EMOJI

"and dont be alone at christmas, because you dont need to be, cos ill be right here ". see this is what i mean sdklfj anita is so (unrealistically?)complacent it just mirrors my annoyance with how complacent and Convenient this "character" is to The Doctor's Story / The Long Running Arc, and it takes me out from what's being played by this actress in such an Earnest way. it's just, idk… like other things in this episode, it's not an Elegant writing structure. it feels too much like i'm seeing all the wires.

-(also wow this is such a frat boy fantasy isnt it. woman who dont demmand anything from their parnetsrs...)

and the other thing with this whole secuence like… again, i get what it is Doing, i like it in Theory, but it's like.. it's so idyllic and conflict-free, that again...it doesn't feel like a Real friendship.

"be kind. you'll miss her" i wont actually

"one year of you"long running companion arc moment #3

also half the episode wasn't spent with joy…

"when you explain things, do people tend to feel any better?" "not usually, no" we need new blood in the writer's pool…i feel like i've heard this same exchange 50 times…

"you would need one thing, time"

"you see a house, you can hide yourself" good line

the doctor is giving big arm-chair-internet-psycologist energy in this "u can tell a lot about a person from their hotel room choice" monologue.

which i know is not the intention. the intention is that we think he's being Super Clever and someone who has spent a year Knowing The Human Condition(tm) , but just like og sherlock holmes doing ""body lenguage analysis"" , this is not true deduction. and it's not scientific. and it's not true Understanding of people.

tho i guess altho the intention is the opposite… it works for a characterization of the doctor. he's someone who Knows A Lot about people, but doesn't always Understand them.

i think this is the most fascinating moment of the ep so far for me. we're getting a glimpse at 14's darkness. his smile when he tries to trigger joy to get into a shame spiral.. it's such a "14 scaring the babies for fun" in space babies moment..

(sdklfj the other thing about this show is it always Triggers something in my brain that makes it go BRRR so it's taking me 3 hours to watch a 1 hour episode. rip)

"because i let her down" trev parallel?

"i could never change that" yesss finally some good fucking specific characterization

"mums, ey?" STOP MAKING EVERYTHING ABOUT YOU 14 UGH

"there's not such thing as a bad way to save someone" there kinda is...this is going to become a Problem for 14 at some point….

VILLENGARD!!!!!

yeah yeah i get it . another "capitalism is bad story". how about doing some "socialism is good" stories for once, beebs/disney? oh right. you cant do that. bc to you , capitalism is good.

it's cool how this "consciousness uploading is terrifying" trope is been there since the library episodes, all the way to boom and here, isnt it? i think this is one of moffat's more successful recurring themes. i like it when it comes back

"you would need 65 million years" oh this is what i was trying to work out too when he worked out the briefcase sdlfkjs like dude, what a convoluted and inconvenient way to grow a star??? would any company actually do that??? then again, fossil fuels are actually irrational as well so maybe that's The Point lol

"i screwed up, joy" the other thing with this kind of doctor who episode is… the doctor is Figuring Stuff Out faster than i can even keep up.like all these Maneuvers (the two doctors paradox, the time lodger trope, this right now with him figuring out the briefcase, etc etc) that we've seen before in other time travel stories are being deployed here at lighting speed, so i'm not really getting a pause to enjoy the puzzle or The Mystery. there's not really enough time for me to enjoy the confusion or to try to work things out. because the doctor Has to be established as Smart in every scene.

i think it's also why i knew from the montage that i would struggle with this ep, bc part of what makes a lot of doctor who episode Work, since the classic days, is the sense of mystery, of arriving at one place and figuring out oh, "it's actually a filming stage!" or "the robots were actually people!" or, "oh! space titanic was actually an insurance scheme!!" but it's like in this ep (and a lot of eps in New Who)… those mysteries aren't actually "unveiled", just literally there in the title of the ep.

(struggled to articulate that point but i hope it made some kind of sense)

"and renewed hope for the future, however, im dead"

im also taking a lot of time bc i need to go back every few lines to understand what was being said… this show needs to learn again how to Slow Down…

rotational mavity!

hell yeah sentient stars / planet trope my beloved

"to her" i knew they were going to do this since the montage dsklfj only the gays like to read after all.

"why did you take it?" "because it was there" stop trying to make everything into A Line(tm)… not everything needs to be A Line (tm)…

it would have been funny if they had put the dinosaur during the goodbye "mission complete sir" moment lol

"im not dying, im changing (…) and you need to change too" "EXCUSE ME????" LMAO BURN -"you stayed in that room for a year" yuppp

aww this is very nice with everyone looking at the same star (if a bit sad bc we've killed all star-gazing with our light-polluting lol) but this is also a thing i think DW excels at, which is having these kind of carl sagan "making peace with our place in the universe", it's why altho this show is not Hard Scifi, i really always insist that it should be thought of as scifi and not fantasy or fairy tale fiction… bc it still rlly, rlly shines when it does the Themes of scifi that place us in the univ - OH MY GODrubyRUBYRUBSYDFKSDHKJ!!!!!!! AHHHHHH (Throws a chair)

"hi, mom" i sCREAM

"would you be interested in working at the time hotel?" ok but here's another thing that like. sdlkfj rubs me off about this premise. would the doctor really let something like a time hotel stay up? the time hotel is iffy. it's also a Business. more than the whole briefcase thingy, there was a whole storyline about disaster-tourism (and about Messing With History) here waiting to be told that just… wasnt the focus of the episode, for some reason???

ok this is the other side of the coin of the "uploading a consciousness" device with moffat that i Dont Like slkdfjsd but im tired of writing sdklfjfdffdf so just copy+paste the classic critique about "moffat cant kill off characters/follow the theme of "everything has its time" and lets move on.

cant believe baby jesus died bc he held a briefcase.

well,altho this was an episode i Struggled with, tbf from the lenght of this post u can tell it clearly had a lot of food in it lol

i appreciate the things it was trying to do with the themes of loneliness and self-esteem (even if in execution i also found them lacking). i also liked all the beats about the long running arc, jonathan groff moment, etc…

but… i wish it wasn't all that there is, you know? joy was underutilized. anita and trev had charm, but they were also underdeveloped and Way too Obviously meant to say something about the long running companion arc, rather than being good characters first….

and i feel the concept of a "time hotel" evokes a specific magical-realism atmosphere aspect that wasnt utilized well… hell in the end the whole "hotel" aspect was more set-dressing and an excuse for the complicated "time bags" mechanics. (which sucks bc i love hotel-fiction…)

(another thing is i really disagree with rtd and company is that that christmas specials are "necessary". and thus all this insistence that "you shouldnt be alone at christmas" and etc. there's something very conservative, rigid and hegemony-building about the whole notion.

(you can actually be alone at christmas. i promise it's fine. you dont even need to celebrate christmas. in fact most of the world doesnt.)

i apreferred chidbnall's choice to have the festive episodes at new years, which not only is a more open and fun celebration, but also has a theme of "renewal" which is more fitting for the current stage that the long running arc is at rn (more so than the theme of "loneliness", imho). but oh well, i guess this is one of those things that's pointless to complain about bc it looks like something management is very set on keeping)

anyway… 7.5/10? maybe? it would be an 9/10 if it did things just a little different sdkfl

#2k words jesus #no wonder i procrastinated sdklfjsd #tldr pls watch el ministerio del tiempo #dw #series 14 #meta #joy to the world

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