#genie script commands

[healthfitness235]

Did you know this one thing can predict your wealth and transform your body?

Anyone who has dreamt of a better life understands the frustration and disappointment when things don’t go according to plan. Some people see this problem as a failure to follow through with the demands of their routine, but that’s not the case. What if the reason that these people seem to fail has nothing to do with how forcefully they push to achieve? What if the actual solution is as simple as a 20-word script?

That’s what The Genie Script is all about. According to their website, the key to getting enough energy, having the right intelligence, and establishing mental clarity is simple and singular. The late Bob Proctor originally described the one thing holding consumers back and it is inside every person. This hidden gem is the key to wealth and can even help consumers establish themselves as overnight millionaire in some cases. read more.. https://geniescript.org/

[techit-rp]

Prompt Engineering: The New Digital Superpower in the Age of Generative AI

In a world where artificial intelligence can write novels, design logos, compose music, and generate photorealistic videos, one question rises above all: How do you tell the AI what you want?

The answer lies in a skill that’s becoming as important as coding — prompt engineering.

This may sound like jargon, but it’s quickly turning into one of the most in-demand abilities of 2025. Prompt engineering is the art of communicating effectively with AI models to get the exact output you want. Whether it’s generating marketing copy, building virtual worlds, or writing code, how you phrase your request can make or break the result.

As more people turn to tools like ChatGPT, Midjourney, and Sora, mastering prompts is no longer optional. It’s a digital superpower, and it’s transforming careers, industries, and the future of creativity.

Let’s dive into why prompt engineering matters, what it looks like in action, and how Generative AI training online is helping thousands gain this futuristic skill.

What Is Prompt Engineering?

At its core, prompt engineering is the skill of crafting effective inputs (or prompts) to guide the behavior of AI systems like language models, image generators, and code assistants. These models respond to instructions, but the quality, structure, and clarity of your prompt directly influence the output.

Think of it like talking to a genie. You only get what you wish for — literally. So you better be specific, clear, and creative.

For example:

A vague prompt: “Write a blog.”

A strong prompt: “Write a 1000-word blog in a conversational tone about how prompt engineering is shaping the future of AI content creation. Include real-world examples and keep it beginner-friendly.”

See the difference? The second prompt gives the AI a roadmap to follow.

Why Prompt Engineering Is Exploding in 2025

In just the past year, we've seen an explosion of tools powered by Generative AI. From ChatGPT and Claude to image and video models like Midjourney and Runway, the ability to generate high-quality content with AI has never been easier.

But here’s the twist — the real value comes from knowing how to use them well.

Prompt engineering is like knowing the secret language that unlocks the true potential of these tools. And as organizations increasingly embed AI into their workflows, they need professionals who can command these systems effectively.

This is why roles like Prompt Engineer, AI Content Strategist, and AI Interaction Designer are appearing across job boards. Employers are no longer just looking for technical talent — they want creative thinkers who can talk to machines in the most efficient, productive way.

Real-World Applications of Prompt Engineering

Prompt engineering isn’t just for AI researchers or data scientists. It’s being used every day by professionals in marketing, design, education, finance, and more.

Here’s how:

1. Marketing and Copywriting

Marketers use AI tools to generate headlines, product descriptions, and social media posts. A well-engineered prompt can produce brand-consistent content in seconds. Imagine saving hours on campaign brainstorming just by refining a few lines of text.

2. Design and Visual Art

Image generators like Midjourney or DALL·E can create stunning visuals. But describing what you want — the composition, lighting, mood, color scheme — requires detailed prompting. Designers who learn prompt engineering can explore endless concepts without ever opening Photoshop.

3. Education and Training

Teachers and course creators use prompts to build custom quizzes, explain concepts in simple terms, or generate lesson plans tailored to different learning levels. A smart prompt can create a personalized tutor in real time.

4. Software Development

Tools like GitHub Copilot and ChatGPT can now help write code, debug scripts, and suggest improvements. But how well they perform depends on how you frame the problem. Developers who write thoughtful, context-rich prompts can drastically speed up coding tasks.

5. Entrepreneurship

Startups use AI to generate pitch decks, conduct competitor research, simulate user feedback, and even design mock apps. Prompt engineering allows founders to test ideas quickly without hiring a large team.

How to Learn Prompt Engineering

The good news? You don’t need to be a programmer or AI expert to learn prompt engineering. It’s a skill rooted in language, logic, and creativity — not just code.

And thanks to the boom in e-learning, you can now access high-quality Generative AI training online that focuses specifically on prompt engineering. These programs often include:

Practical projects using ChatGPT, Midjourney, DALL·E, and others

Prompt refinement techniques

Real-world use cases

Prompt libraries and templates

Ethics and responsible AI use

Some even offer certifications that are now recognized by employers eager to integrate Gen AI into their operations.

So whether you're a student, freelancer, or working professional, learning prompt engineering online is one of the smartest investments you can make in 2025.

Tips to Start Prompt Engineering Today

If you're curious to try prompt engineering on your own, here are a few tips to get started:

1. Be Clear and Specific

Vague prompts lead to vague answers. Add as much relevant detail as you can, especially the style, format, tone, and intent.

2. Use Examples

If you want AI to mimic a certain style, give it an example. For instance, “Write this in the style of The New York Times” gives the AI a clear reference point.

3. Iterate

Don’t settle for the first response. Tweak your prompt, reword your request, or add context. Prompt engineering is as much about iteration as it is instruction.

4. Structure Matters

Break down complex tasks into parts. Instead of one long prompt, try multiple prompts or step-by-step instructions.

5. Explore Pre-built Prompt Libraries

Many online platforms and communities now share prompt libraries for various use cases. These are great for learning and inspiration.

The Human Touch in a Machine World

As powerful as AI becomes, it still relies on human creativity to guide it. Prompt engineering bridges the gap between human intention and machine execution. It’s the translator, the conductor, the magician behind the curtain.

In the coming years, it won't be enough to just use AI tools. The edge will belong to those who can guide them skillfully.

That’s why enrolling in Generative AI training online is no longer just a tech interest — it's a career upgrade, a creative boost, and a future-proof decision.

Conclusion

Prompt engineering is not a passing trend. It’s the new literacy of the digital age. As Generative AI continues to evolve, those who know how to speak its language will shape the future of work, art, and innovation.

So whether you're building a business, designing a campaign, or teaching a class, this new digital superpower is yours to master. And the best part? You don’t need a computer science degree — just curiosity, creativity, and the right training.

[episodicnostalgia]

Star Trek: The Next Generation, 101 (Sep. 26, 1987) - "Encounter at Farpoint"

And so begins my first official beginning-to-end viewing of TNG.  My introduction to Start Trek was through the movies, and then Voyager, along with reruns of whichever other Trek show  happened to be airing whenever I turned on the TV.  During that time I would semi-regularly watch episodes of TNG, but I seldom sought it out.  The show never drew me in quite the same way as the others, because it always felt a little cheesier, and I was fond of the more “modern” (lol) serialized format commonly found in DS9 and other shows of the late 90’s and early 00’s.  Over the years I’ve meant to go back and properly watch the whole series, and this blog serves as a nice catalyst to justify doing exactly that. With that in mind, let’s get on with it!

Written by: D.C. Fontana & Gene Roddenberry Directed by: Corey Allen

The Breakdown

Captain Picard is on his first mission to check out a nifty new trade station named Farpoint, when he’s confronted an all-powerful being who calls himself Q (of the Q-continuum), and insists that humanity is to be judged for reasons that seem pretty arbitrary and petty, but the show needs stakes so we’re going with it.  Basically Picard has to prove that humans aren’t the brutal savages they once were several hundred years ago, and Q has decided that the Enterprise’s mission to Farpoint should serve as an adequate test.

It turns out the locals at Farpoint are pretty low tech, but this giant space-faring creature (which is capable of manifesting basically any object, and also, somewhat conveniently, making itself look like a station) crash landed on their planet a while back, and has been made to serve as their personal slave-genie.  Everyone figures out what’s going because a) a massive flying saucer arrives and starts blowing shit up, and b) Q pops in to drop a bunch of obvious-to-deduce clues. 

Eventually Picard figures out how to free the captive creature by bathing it with energy from the ship, which allows it transform into a giant-space-jelly-fish (of course).  Now free to leave, the Jelly fish joins their flying saucer friend, who, naturally, also transforms into a giant space-jelly-fish-mate.  The two fly off holding each other’s tendrils, and the crew of the Enterprise are left to ponder how beautiful-and-totally-not-ridiculous this moment is.  Oh and Q agrees to leave the humans alone for now, because they passed the test by not violently slaughtering the anyone, but promises to come back one day with even trickier tests.

The Verdict

On the one hand this ages only slightly better than milk, on the other hand the writing is tonally pretty consistent with the original series, and by that standard ‘encounter at farpoint’ is not unsuccessful. I’ll give high marks for the model work shots of the enterprise, which holds up pretty well when you consider this was released in 1987. But as I’ve indicated, the writing is melodramatic and cheesy, which can be entertaining, but it just goes a little too far here for my tastes. I’m a fan of John de Lancie’s Q, but my familiarity with the character (and the series) lies in the later episodes, and I find that he’s one-dimensional and obvious with his first appearance. I feel similarly about most of the characters, but I’ll cut the cast some slack since the script lays on so much camp that I think virtually any actor would be hard pressed to deliver a 3-dimensional performance; indeed even Patrick Stewart seems unsure of himself.

2 stars (out of 5)

Additional Observations

Comparing it to the DS9 Pilot I see a lot of similar devices being used. The Captain/Commander must convince beings of great power (who aren’t bound by a traditionally linear existence) the merits of their existence, ending with the promise of further encounters. Not a criticism, just something I hadn’t noticed before.

Lots of jerky camera movement (pans, tilts, and zooms alike).

Cameo: The Dr. McCoy cameo is nice, if somewhat obligatory.

HOLY CRAP Picard is an asshole. I’ve only seen a handful of episodes from the early seasons, so it’ll be interesting to see when it was that he became less surly. I wonder if it’s a transition that will be marked by distinct character beats, or if it just kind of happens. - Wesley IS annoying though. I know bullying is wrong, but I laughed when Picard yelled at him to leave the bridge. I’m so sorry Wil Wheaton.

[mmmmalo]

The reason bottles are being associated with wishes? Genies. When Gamzee quits sopor, Karkat says "the genie is out of the Faygo bottle". The reason genies-in-bottles are being associated with severed heads? Terrorism -- the idea is to invoke severed heads as sensational scare tactic that induces others to bend to your wishes. The genie is elsewhere referred to as an "earth arabian" and Gamzee invokes the word "assassin" as he snaps the bottle's neck for its Arabic etymology. Oh boy!

This isn't exactly new. The caste symbol on characters' foreheads associated the third eye of Indian religion with mindcontrol, and the command arrow ==> associates the horseback archery of Native Americans (ie Indians) with mind control. In the case of decapitation, the colonial subject is "the Middle East": the ominous severed head must be understood against Jake Harley raiding Egyptian tombs, against Dirk suggesting he has crossed a "borderline" maintained by "philistines" (the archaic word for Palestinians). We see Dirk send a robotic head to Jake, with two outcomes: Jake will henceforth be Terrorized whenever he goes outside, and Jake now has a psychic duplicate of Dirk living in his head. These two outcomes intersect under the banner of "psychic colonialism", ie terrorism, violence as a mean of implanting oneself upon another's mind.

Nepeta's emoji :33 < is equivalent to Equius's bow and arrow D -- > as a symbol of coercion: it is a picture of a severed head. Don Corleone and his dead horse would be proud. Perhaps her teapots are magic lamps, furthering the association of unrefusable offers (threats) with Arabia? Perhaps we should take the 'arse' out of 'arsenic' and speak the emoji as 'ass-ass-in', eschewing the ostensible depiction of mouths to draw us back to Gamzee.

Aradia, who decapitated one of those heads in the screencaps, is a "terrorist", yes? Sending ghosts to Vriska (she was terrified!), blowing herself up, blowing the planet up. Perhaps Aradia was placed in ancient ruins along with Indiana Jones artifacts because her name sounds like and looks like Arabia. Perhaps the way she speaks with a "pr0n0unced h0ll0wness" is a joke about Arabic script, which does not depict spoken vowels and thereby makes zeroes of them -- as though even before Damara, the Megido was a representative of foreign speech!

Aradia makes me suspect ghosts in general may be representatives of genies in a capacity linked with "terror"? Psycholonials certainly does this, giving us Zhen who 1. is an actual "terrorist", staging false flag biological attacks to scare off the residents of a land she seeks to conquer and 2. is haunted by "bleeding faces" via her mutilated ghostly father, the red emojis of Joculine, and the "pleading face" emoji of Mizzlebip. The two senses of terror mesh nicely. But in Homestuck no firm impression come to mind outside incidents already listed... the sprites are genie-shaped but wishes are only granted in the process of their creation, generally. Something to ponder

The other big Wish Granter is Jane's trickster lollipop with the Auryn inside, and I'd recently determined that that whole situation was code for fatphobic suicide baiting (in the wake of Caliborn mocking her weight, Calliope and Jake send her candy and Roxy informs her that the Alphas need to kill themselves), so I imagine the figure of the Terrorist is superimposed upon the more grounded figure of the Bully, occasionally. Thus the whole phenomenon of trolling gets a racialized political component that sets the stage for Alternia's other provocations... anyway that's all I have for now.

We cut from Terezi discussing her doomsday visions of babies to Aradia decapitating a (sometimes) symbol of babies… don’t know what that’s about. But the cut from the decapitated in the mud to the Faygo in the sand (effectively declaring the Faygo a severed head, full of delicious red juice) is consistent with comments I made (x)(x) on Jane’s initial tour of LOCAH: that her balloons are an inversion of the “potions” (bottles of blood), and that the wish-emissaries are furthermore consistent with decapitation imagery in Act 6. What’s more, here as with Jane’s wish balloons, the launched bottle began as a prayer.

[danielpoussart]

Disney's upcoming movie releases

Disney is releasing many movies in cinemas and on the Disney+ streaming service. Family-friendly prequels and live-action remakes of cherished cartoon masterpieces are also included. The business adjusted its release calendar for future movies from its different studios this week. To view every title coming out in 2019, scroll down!

The Little Mermaid will be remade in live-action by Disney and released in theaters the following year. The movie, which stars Halle Bailey (The Color Purple, Grown-ish), tells the tale of Ariel, a mermaid princess who strikes a bargain with a sea witch to transform into a human so she may experience life on land and fall in love.

Jonah Hauer-King plays Prince Eric in the movie, while Melissa McCarthy, who starred in Bridesmaids, plays Ursula. Oscar winner Javier Bardem plays King Triton, Daveed Diggs plays Sebastian in Hamilton, Jacob Tremblay plays Flounder in Room, and Awkwafina, the breakthrough star of Crazy Rich Asians, plays Scuttle.

Based on the adored animation classic, Aladdin will soon be a live-action film. Guy Ritchie is the director, Mena Massoud plays Aladdin, and Naomi Scott plays Jasmine. In this rough retelling of the Arabian Nights, Aladdin encounters Princess Jasmine and discovers a magic lamp (Naomi Scott). He only fully sees his value once she unintentionally releases a giant genie.

Both fresh recordings of the songs and a fantastic score by eight-time Academy Award winner Alan Menken are featured in the movie. It also has many DVD extras, such as an entertaining interactive 3D tour inside the Genie's lamp and a virtual trip on a magic carpet.

Disney transports you deep into the African wilderness with The Lion King, their 32nd animated film. It relates to the tale of Simba, a brave little cub who will grow up to rule the jungle. One of the all-time top-grossing animated movies is this one. It has music by Elton John and Hans Zimmer and a cast of believable animal characters.

The Lion King, directed by Jon Favreau, stars Donald Glover, Seth Rogen, Chiwetel Ejiofor, James Earl Jones, and Beyonce Knowles-Carter as the voice actors. The successful animated feature Finding Nemo was followed up with Finding Dory. In a quest to find her family, she reunites everyone's favorite forgetful blue tang, Dory (voiced by Ellen DeGeneres).

Andrew Stanton, who co-wrote and directed the first, is in charge of this. Thomas Newman, a composer for movies including Skyfall, The Help, and WALL-E, also contributed music to the movie. This tale of a fish in and out of water is full of emotional weight and recognizable characters, even though the plot doesn't attempt to rival Finding Nemo in terms of brains. Disney Pixar is a resounding winner.

Captain Jack, a down-on-his-luck character, senses the winds of misfortune blowing his way in Disney's newest swashbuckling adventure forcefully. He must now travel a dangerous sea in search of the fabled Trident of Poseidon, assisted by a clever and attractive astronomer and a headstrong young man in the British navy. As the swashbuckling anti-hero Jack Sparrow, Johnny Depp makes a comeback. His new castmates include Captain Barbossa, played by Geoffrey Rush, and the villainous Captain Salazar, played by Javier Bardem.

The first trailer for Star Wars: Episode IX, the ninth and final movie in the Skywalker saga, has been made available by Disney. The movie recounts the Resistance's struggle against the Galactic Empire and the malevolent First Order under the command of Kylo Ren (Adam Driver). Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels, Domhnall Gleeson, Billy Dee Williams, and Naomi Ackie, a debutant, appear in the movie. J.J. Abrams, who also authored the script, is directing it.

One of the most well-liked attractions in Disney history is The Haunted Mansion. It is a classic and has been around for over 50 years. In 2023, a movie adaptation of the attraction is scheduled to debut, starring LaKeith Stanfield, Rosario Dawson, Tiffany Haddish, Owen Wilson, Jared Leto, and Jamie Lee Curtis, among others.

The narrative centers on Gabbie (Dawson), a single mother who moves into a mansion in New Orleans and learns about the building's extensive history of hauntings. She asks a priest, a historian, and tour guides to help exorcise her house.

[tcm]

Pioneering Black Actors of Hollywood By Susan King

Clarence Muse and Rex Ingram by Susan King Thirty years ago, the legendary Oscar-winning actor Sidney Poitier reflected on the Black performers who paved the way for him in the Los Angeles Times: “The guys who were forerunners to me, like Canada Lee, Rex Ingram, Clarence Muse and women like Hattie McDaniel, Louise Beavers and Juanita Moore, they were terribly boxed in. They were maids and stable people and butlers, principally. But they, in some way, prepared the ground for me.”

Poitier prepared the ground for such contemporary Black actors and directors currently in competition during the 2021 awards season such as Regina King and Leslie Odom Jr. (One Night in Miami), Delroy Lindo (Da 5 Bloods), the late Chadwick Boseman and Viola Davis (Ma Rainey’s Black Bottom), Andra Day (The United States vs. Billie Holiday) and Daniel Kaluuya (Judas and the Black Messiah).

But it is imperative to remember the veterans from the 1930s-1960s who tried to break out of stereotypes and maintain dignity at a time when Hollywood wanted to “box” them in.

Clarence Muse 

Muse appeared in countless Hollywood films often uncredited. And as Donald Bogle points out in his book Hollywood Black, Muse spoke his mind to directors if he felt he was being pushed around or when his characters were stereotypes. Bogle stated, “At another time when Muse questioned the actions of his character in director King Vidor’s 1935 Old South feature SO RED THE ROSE, Vidor recalled that Muse was quite vocal in expressing his concerns. A change was made. Vidor could not recall exactly what the issue was, but he never forgot Muse’s objection.”

The 1932 pre-Code crime drama Night World screened at the 2019 TCM Classic Film Festival to a standing-room only crowd. The film stars Lew Ayres, Boris Karloff and Muse as the doorman at a club owned by Karloff. The audience was surprised that such a stereotypical role was anything but thanks to Muse’s poignant performance. Instead of being forced to be the comic relief, Muse’s Washington is a man worried about his wife’s surgery at a local hospital. Though his boss doesn’t treat him as an equal—after all it is 1932—Karloff’s Happy shows general concern toward Washington.

Muse, said Bogle, “also worked in race movies, where he realized there was still a real chance for significant roles and narratives.” One such was BROKEN STRINGS (’40), which he also co-wrote. It’s certainly not a great film, but Muse gives a solid turn as a famed Black violinist who wants his young son to follow in his footsteps. But the son wants to play swing with his violin.

Muse, who was a graduate of Dickinson College in Pennsylvania, also co-wrote the Louis Armstrong standard “Sleepy Time Down South.” In the 1920s, he worked at two Harlem theater companies, Lincoln Players and Lafayette Players, and 23 years later he became the first African American Broadway director with Run Little Chillun. He continued to act, appearing in Poitier’s directorial debut BUCK AND THE PREACHER (’72), CAR WASH (’76) and THE BLACK STALLION (’79) and was elected to the Black Filmmakers Hall of Fame in 1973. He died one day before his 90th birthday in 1979.

Rex Ingram 

Tall and imposing, Ingram had a great presence on the big screen and a rich melliferous voice. No wonder his best-known role was as the gigantic Genie in the bottle in Alexander Korda’s lavish production of THE THIEF OF BAGDAD (’40). Born in 1895, he began his film career in movies such as Cecil B. DeMille’s THE TEN COMMANDMENTS (’23). Ingram also has the distinction of playing God in THE GREEN PASTURES (’36) and Lucifer Jr. both on Broadway in 1940 and in the 1943 film adaptation of the musical CABIN IN THE SKY.

Ingram also brought a real humanity to his role as the slave Jim in MGM’s disappointing THE ADVENTURES OF HUCKLEBERRY FINN (’39), starring a miscast Mickey Rooney, who was way too old at 19 to play the part. Ingram, though, breaks your heart when he talks to Huck about how his dream is to earn enough money to buy his freedom so he could join his wife and child living in a free state. And when he runs away, Ingram explains to Huck why he had to flee the widow Douglas: “If one of them slave traders got me, I never would get to that free state. I would never see my wife, or little Joey.”

He also is superb in Frank Borzage’s noir MOONRISE (’48) as Mose Johnson, the friend of the murderer’s son Danny (Dane Clark), who lives in a shack in the wilderness with his coonhounds. Noble and thoughtful, Mose is the film’s conscience and helps guide Danny to do the right thing after he kills a bully (Lloyd Bridges) in self-defense.

Ingram was one of the busiest Black actors at the time and at one point even served on the Board of the Screen Actors Guild. But the same year MOONRISE was released, he was arrested and pleaded guilty for transporting an underage girl from Kansas to New York. He served a prison sentence and for a long time his career was derailed. He even lost his home. Though his film career was never the same upon his release, he worked in TV and on the Broadway stage, appearing in Beckett’s Waiting for Godot, and died in 1969 at 73 shortly after doing a guest shot on NBC’s The Bill Cosby Show.

Ernest Anderson 

Anderson never achieved the notoriety of Muse and Ingram, but the actor gave an extraordinary performance in the Bette Davis-Olivia de Havilland melodrama IN THIS OUR LIFE (’42) directed by John Huston. Born in 1915, Anderson earned his BA at Northwestern University in drama and speech. He was recommended for his role in the movie by Davis, who saw the young man working at the commissary on the Warner Bros.’ lot.

Anderson plays Parry, the son of the Davis-de Havilland family’s maid who aspires to be a lawyer. Davis’ spoiled rotten Stanley Timberlake gets drunk, and while driving she kills someone in a hit-and-run accident. Stanley throws Parry under the bus telling authorities he was the one driving the car.

Initially, the script depicted Parry in much more stereotypical terms, but Anderson went to Huston and discussed why he wanted to play the character with dignity and intelligence. Huston agreed. And for 1942, it’s rather shocking to see a studio film look at racism as in the scene where Parry tells de Havilland’s Roy why he wants to be an attorney:

“Well, you see, it’s like this, Miss Roy: a white boy, he can take most any kind of job and improve himself. Well, like in this store! Maybe he can get to be a clerk or a manager. But a colored boy, he can’t do that. He can keep a job, or he can lose a job. But he can’t get any higher up. So, he’s got a figure out something he can do that no one can take away. And that’s why I want to be a lawyer.”

Needless to say, such monologues were cut when the movie was shown in the South. Despite strong reviews for his performance, Anderson never got another role with so much substance. But he continued working through the 1970s and died in 2011 at the age of 95.

[goron-king-darunia]

DotNW Remake/Remaster - Anime Cutscenes

Annon-Guy: In a DotNW Remake/Remaster, there SHOULD definitely be more Anime Cutscenes throughout the Game. I may list too much, but give me thoughts if the following scenes should be an Anime Cutscene or not. I'll save the idea of cutscene ideas for Alice and Deucs Mode, Marta DLC and Richter DLC for another time.

P.S. This is going off the original game, even if a reworked script and some reworked scenes are involved.

1. Opening Movie (Should it be the old Wii/PS3 Opening or should it be a new Opening while the Wii/PS3 Opening is a special unlockable?)

2. The Blood Purge

3. Emil's Awakening (The Knight of Ratatosk Pact scene)

4. Lady Alice (First scene with Alice)

5. Colette (First scene with Colette)

6. Zelos (First scene with Zelos)

7. Professor Sage/Fall Out (First scene with Raine and when Emil tells Marta to stop seeing him as a fantasy knight.)

8. Genis (First scene with Genis)

9. Regal (First scene with Regal)

9A. An Old Friend (Ending of the second Richter Sidequest where he talks about his old friend.)

10. Decus (First scene with Decus)

11. Marta Killed!?/Sheena (Temple of Ice Ambush and First scene with Sheena)

12. The Real You (Emil X Marta scene in the Temple of Ice after getting separated from Sheena)

13. Tenebrae's Sacrifice

14. Ain Soph Aur and Eternal Recurrence

15. The Twin Lloyd's (Lloyd vs. Fake Lloyd)

16. Reconciliation (Ratatosk Emil X Marta scene)

17. Brute, Commander of the Vanguard (First scene with Brute)

18. Presea (First scene with Presea. One sadist down for the count!)

19. Memories (Ratatosk scene with Richter and Aster)

20. Ratatosk's core (Continuation of the above)

21. Coming into Being... (The Blood Purge scene after hatching Lumen)

22. Life as Ratatosk (Emil and Ratatosk Emil scene)

23. Never Apart (Emil X Marta Altimira scene. Please have an ACTUAL on screen kiss, please!)

24. The Death of Hate (Alice and Decus death scene)

25. The End of His and Her Journey (Farewell Scene)

26. Broken Heart (Bad Ending)

27. Sealed Heart (Normal Ending. Different dialogue at the end instead of continuing into the True Ending)

28. Symphony of the Heart (True Ending at Palmacosta)

What do you think?

GKD Here! 1. I actually think it would be cooler if the Opening was a new animation but you had to unlock it. Perhaps it could be related to the DLC? 2. Blood Purge definitely needs an animated cut scene. There's so much more you can say with animation that could subtly hint to the truth of "Lloyd" and "Emil" that new players wouldn't be able to pick up on but that people who played before or new people could pick up on on the second playthrough. I love really subtle foreshadowing. 3. I want the scene given all the gravitas of a magical girl transformation and I'm not joking. I want overly complicated rotating camera, sparkles, clothes manifesting on his silhouette from nowhere. 4 - 6, 8, 9, 10, 17, 18. I honestly think every initial encounter with a significant cast member should get an animated cutscene. There's a lot more you can do with subtle or exaggerated expression and animation to convey who a character is as opposed to just having models show up, have one of a dozen emotes, and another dozen preset gestures.

7. YES. Again, it's way easier to convey this kind of thing where you can see subtle expression. 9A. It'll split my heart right in half seeing Richter being allowed to have very subtle emotions. I want it so bad.

11. Even juicier if there's a blink-and-you'll-miss-it moment (I'm talking 2 frames at best honestly) where you can just barely see Richter show regret when he stabs Marta. Or a leaf out of Onshuu where you can see a split second relief like in Chapter 10 where Sheena steal's Marta away. Or there could be a complete fakeout with new players where it REALLY looks like Marta got killed.

12. Even though my OTP will always involve Emil being with Richter rather than Marta, I can appreciate a good mushy scene, especially if it fleshes out Marta more and makes her less insufferable.

13. I'm imagining it with the gravitas of Pell's sacrifice in the One Piece movie "The Desert Princess and the Pirates." Where Tenebrae just goes "It's been an honor serving you, Emil. You and Marta take care of each other." and there's just this slow scene of Tenebrae hoisting this massive monster into the air as Marta and Emil reach into the sky after him before this MASSIVE explosion happens. Honestly, if the scene made me cry it could make me care about Tenebrae the same way that scene made me care about Pell. Pell has very little presence in the movie despite the opening scene trying to set up a sort of tenderness between him and Vivi, but the self-talk, the subtle smile right before the end, Pell fully expecting to die. Even though I know he survives by the anime powers of plot armor and the writers having the grace to, er, NOT kill someone in a cartoon bombing so close after 9/11, the scene still makes me cry because, man, unbridled loyalty. I wish they played that up for Tenebrae more than his comic relief snarkyness. Tenebrae is (allegedly) dog-shaped because this is supposed to convey the loyalty we see from him in the bad end and the sacrifice scene. Play that shit up and I'll love him loads more. I'd show you the scene I'm talking about from the One Piece movie, but I think due to copyright reasons it's hard to find. You can watch the full movie on Netflix right now though.

14. The thought of seeing all the intricacies of Richter REALIZING something and seeing it on his face instead of having him hamfist it like "This arte! This timing! So indeed, you ARE Ratatosk!" That slow shift of surprise to understanding to sadness to RAGE as he realizes this kid he's had so much affection for is 100% Ratatosk is just... intense. And how much could be said with Ratatosk's expression?! Rage? Bloodlust? Or the subtle disgust he might have shown when swatting Aster with the same arte like Aster was a fly. Fear, even? We know from the nightmares that Ratatosk has some modicum of fear for the first mortal to ever come close to killing him. Even if Richter isn't particularly strong, Ratatosk sees him as a sort of symbol of his own rare, conditional mortality. Ratatosk realized for the first time, because of Richter, that even with his tree gone, he has something left that he CAN lose, even if it's almost impossible. Whatever the writers and artists choose to portray of Ratatosk in that scene could tell us a lot. Also watching the two of them fight, a wounded and vulnerable god-like being fighting like an animal because he, too, has vulnerabilities, the mortal with nothing left to lose that will stand against unfathomable power for the love of another and a concern, however small, for the world that dead friend loved so dearly? Fucking poetry.

15. Again, getting to compare the two before the big reveal instead of just getting one model that smirks and another model that doesn't would be amazing. 16. Again, Marta's not really involved in the ships I like, but even I can appreciate good mushy character-building content and its importance to the story that the developers wanted to tell. Fully rendered scenes that can be paced out slow and tender would do wonders for all the character development the game misses out on.

19. As undeniably funny as the original scene is with Aster getting ragdolled across that bridge in the 'Gap, yes, YES, 1000% yes. I really want to see this scene with the INTENDED weight to it. Especially if we get to see Richter cry. I've seen other people talk about it, but Richter's actions, good and bad and objectively evil at times, being dictated by LOVE is such an underutilized thing. And maybe Richter crying would hamfist it a bit, but it was done SO well in the Onshuu manga and I really want that carried over into the game in a cutscene because, like. Richter isn't wrong or evil or bad because he LACKS love. The reason he's wrong is because his love is so strong and so painful for him that he CAN'T see the harm he's about to cause until the gravity of it smacks him in the face with an entire city on fire or a girl almost dying by his hand. Obviously I find Richter much more sympathetic than Ratatosk, but the fact remains that both of them have that sort of fatal flaw. Ratatosk loved his tree and the planet so dearly that he was blind to the important role humans and half-elves had in the world, or, barring that, even if he was "objectively" right that humans and half-elves are a net harm in a way elves aren't... He still looked at sentient beings with the capacity to be good and do good and help the world, who loved the planet like he did, and decided "No, these creatures get to die." And seeing them be foils of each other and have love at the center of the narrative in ways that AREN'T the main romance between Emil and Marta is SO, SO good. Because it really sells the whole message that LOVE ISN'T INHERENTLY GOOD AND PURE AND RIGHT. But the intention usually is a good one. And that you have to learn to make your love SELFLESS and not selfish. At least, that's what I think the relationship with Marta and Emil was SUPPOSED to symbolize. If they had continued as they were at the start, their selfish love would have failed just as Ratatosk's and just as Richter's. Their love succeeds because (allegedly) they learn to love selflessly.

20. Probably not intended but I'm fully imagining the Onshuu scene where Richter just... with the deadest eyes and most tired/lonesome expression just examines the core and Tenebrae just "YOINK." And just... comedy to undercut the batshittery and tragedy that just unfolded. But I presume you're thinking more of the conflict between Tenebrae and Aqua and what it says about each of them that this scenario divided them. It's suggested that Tenebrae also thinks what Ratatosk did was wrong, but because he's thinking about the world at large and is also more loyal, he concludes that the best course of action is to basically convince Ratatosk to be better. Meanwhile, Aqua is thinking about the world, but she's also thinking about the people in it, Richter being one. And her loyalty to HIM because he and Aster saved her leads HER to conclude that the people of the world are more important than preserving the life of her master because she views Ratatosk slaying one of her saviors which did irreparable emotional damage to her OTHER savior as a betrayal toward her from Ratatosk and a betrayal to the world. And neither of them are WRONG, really. Aqua is sort of the perspective of restorative justice and Tenebrae is the perspective of rehabilitative justice and both are necessary for the fairest possible world. People who are wronged should have things made right (as much as realistically possible) and people who have done wrong should have a chance to improve.

21. I want to see Ratatosk struggle a moment to figure out how the whole pretending to be human thing works and then bump into poor Lana and just decide in the most traumatizing way possible that he's Emil now and he must suffer the way Emil ought to suffer. Ratatosk literally didn't have to do that. But he did. What a drama king. 10/10, giving your alternate persona immediate trauma to sell your new fake-identity.

22. I haven't played the game in years or seen a playthrough in years so you're going to have to refresh me on this specifically because I keep thinking of the actual final battle and I know you don't mean for that here. But I'm going to preemptively say yes, more Ratatosk/Emil figuring themselves and each other out. I'm assuming this is the hotel scene where Emil talks with Tenebrae?

23. Not gonna reiterate too hard but yes. Not my ideal smooch but if they're gonna sell us a romance, sell us the whole romance and show us the passion! (I'm imagining in my head that Marta's trying to use tongue and Emil just very confused about having the inside of his mouth licked. Not a suggestion of course. I would want it played straight and not for comedy. But my brain cannot take them seriously as a couple. XD Not without an improved final product at least.

24. Not sure how much blood they can show and still get a teen rating, but yes. Alice and Decus deserve to go out in a horrendous blaze of glory. Simultaneous Romeo and Juliet tragedy and also "you two are toxic heinous war criminals and you kind of deserve this." The conflict of emotions. Hell yes.

25. I think this is probably the scene that will benefit most from an animation. Marta's optimism and refusal to say goodbye is cloyingly naive. I think if we can maybe see her subtly holding back tears or something that it would be a massive improvement.

26. Watch Emil commit seppuku in glorious 2D animation? Yes please. Especially if we get some genuine emotion out of Marta for it.

27. For some reason I just have Unus Annus flashbacks of the ticking noise and just an ending shot of Richter's forehead as he turns toward the door at the very end and things fade to black as Ratatosk follows him.

28. As much as the true ending hurts me and my little Richter-centered heart, yes. A nice long heartwarming reunion for Marta and Emil. Richter would want Emil living a life Aster never got. So it better be a beautiful one. Fully animated and rendered skits would be amazing. With how well DotNW did in Japan, I really REALLY hope it eventually gets an anime. I would pay every red cent I have to see it. What little I got to see of Richter in Rays and other media was NOT ENOUGH. (Even with all the stills we get as card art and cut-in art and event art in other titles, we never get to see Richter's abominable cooking, and despite getting to see Emil and Aster eat, Richter never eats in any official art. Beanpole needs to EAT! (Grandma instincts out here telling me that Richter's not getting nourished, damn it! And I want official confirmation on what he enjoys eating besides herbs!)

[brooklynmuseum]

Behold the king, Ashur-nasir-pal II, the imperial monarch in his new palace in his new capital of Nimrud! After hundreds of years of famine, widespread governmental instability, and marauding armies challenged the ruling powers, there followed the rise of the Neo-Assyrian empire.  

Imagine for a moment that you are a diplomat from another kingdom coming to bring tribute to the king of the Neo-Assyrians. You arrive in a bustling city, filled with new buildings and the sounds of people going about their day. You wind your way from the lower town, up the hill to the upper town, and through the palace gates. The sounds from the city below grow quieter as you enter the cool stone palace chambers, where you are greeted by walls covered in ornate, colorful images that seem to move in the dim torchlight. How might you feel as you move through such a space? What type of person do you think the king you’re about to meet might be?

The Neo-Assyrian armies - with their famed horse drawn chariots, archers, and infantry - controlled the major trade routes and dominated the surrounding states in Babylonia, western Iran, Anatolia, and the Levant.  Ashur-nasir-pal II (883-859 BCE) restored political power and wealth to Assyria and launched a major building program accompanied by significant artistic activity. This building program, which resulted in the brand new capital city at Nimrud, included the monumental Northwest Palace. The mudbrick walls of this palace, completed in 879 BCE, were decorated with massive carved alabaster panels like this one, transforming the interior with images of the king, divinities, magical beings and sacred trees - all originally brightly colored in black, white, blue, red. 

Look closely at this relief. How would you describe these two figures? How do they compare to each other? 

On this relief we see an idealized image Ashur-nasir-pal II and one of his divine attendants, known as apkallu in the Akkadian language and sometimes called “genies” today. We can tell that the figure on the left is the king because of his distinctive garments: he wears a conical cap with a small peak as a symbol of his office and his status as a warrior.  He holds a bow in his left hand to symbolize his earthly authority and a ceremonial offering bowl in his right hand to symbolize his relationship to the gods. The narrative action of the relief unfolds as the stalwart king marches across the surface of the reliefs to make an offering to the sacred tree, an ancient symbol associated with divine power, fertility, and the ability to bestow life.  He is attended by the apkallu, whom we can identify from his human body and large wings. This apkallu, like many others that would have been seen on the palace walls, holds a ceremonial bucket. Notice the ritual knives tucked into the garments of both the apkallu and the king.

Running horizontally across the figures in the relief is a text which reinforces the importance of the visual message: the glorification of the royal image and the iconography of kingly power.  This inscription is known as the “Standard Inscription” because nearly all the royal reliefs contain it. The script is cuneiform, which is a highly stylized, wedge-shaped form of writing that began in Mesopotamia around 3100 BCE.  The language is Akkadian, which served as the language of international diplomacy in the ancient Near East at this time. 

The text begins: 

I am Ashur-nasir-pal the obedient prince, the worshiper of the Great Gods, the fierce dragon, the conqueror of all cities and mountains to their full extent, the king of rulers who tames the dangerous enemies, the [one] crowned with glory, the [one] unafraid of battle, the relentless lion, who shakes resistance, the king of praise, the shepherd, protection of the world, the king whose command blots out mountains and seas…

Translation from Samuel M. Paley, The King of the World: Ashur-nasir- pal IIof Assyria 883–859 B.C. [New York: The Brooklyn Museum, 1976] 

The Neo-Assyrians feature prominently in the prophetic books of the Hebrew Bible as the avengers of a straying Israel.  In 722 BCE the Assyrians did finally conquer the kingdom of Israel.  From its expansion in the ninth century BCE to its defeat by the Babylonians and the Medes, Neo-Assyria was one of many opulent cultures that flourished in that part of the world in the ancient world.

Think about buildings that communicate power in your communities. How are they decorated? What types of power do they convey? Share your thoughts with us and explore the palace of Ashur-nasir-pal and the arts of the ancient Assyrians II in our online collection. 

Assyrian. Apkallu-figure and King Ashur-nasir-pal II, ca. 883-859 B.C.E. Alabaster. Brooklyn Museum, Purchased with funds given by Hagop Kevorkian and the Kevorkian Foundation, 55.155. Creative Commons-BY

[creepy-crowleys]

The writing is an antiquated Jinn script telling the origin of the fabled Genie of the Lamp from the Jinn’s perspective.

Amir’s translation is below

Beneath You It Eats Its Name.  When all the stars are consumed. We will sing it to the Audient Void. By fire. By water. By air. By earth. We are born of one. The Unbound was not. Best of us. The first given the breath of life by the Host. Wise is the maker who fears their own skill. Woe to all when a thing is made too well. The angels, all pallid and wan, trembled when it tore out its own name. It gnashed. It chewed. Memory became its food. And then no one could recall the name. Not even the makers. Names fetter fast when spoken true. But the Unbound had no chains. The Host could not command it. The Dreamers could not seduce it. Gaia could not inspire obeisance. Elohim, jinn, and shaytan trembled at its savage freedom. By the Howling! By the inconceivable fates. In the end, it was a solitary man, a clever ape. King Solomon, the smiling magus, tricked and trapped the Unbound. Using a bauble from the Age of celestial sciences. The prison, a universe in a trinket, was placed under the Black Pyramid. And there the Unbound remains, behind the entrance unknown. Silently speak these letters three. 

[There are three glyphs here. I’ve written them down]

We will sing it to the Audient Void. When all the stars are consumed. Beneath You It Eats Its Name. 

[ownerwhale0-blog]

A Definitive List of All the Upcoming Disney Live-Action Remakes

1. Mulan (March 27, 2020)

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After years of will-they-or-won’t-they, Disney confirmed in October 2016 that a live-action version of Mulan was in the works and that it was on the global search for a Chinese actress to play the title heroine. Niki Caro, who gave the world the gorgeous Whale Rider in 2002, will sit in the director’s chair for Mulan. In November 2017, Chinese actress Liu Yifei officially joined the cast as the title character. According to The Hollywood Reporter, a team of casting directors met with nearly 1,000 candidates in five continents. Liu has appeared in films including The Forbidden Kingdom, Outcast, and The Chinese Widow, and has been a brand ambassador for Dior, Tissot, Garnier, and Pantene.

Other cast members have since been announced, including Utkarsh Ambudkhar (Mindy’s brother Rishi on The Mindy Project) and Ron Yuan (Marco Polo). Per Deadline, Ambudkar will play a con artist named Skatch while Yuan will be Sergeant Qiang, second in command of the Imperial Regiment.

In June 2018, Disney announced that New Zealand actor Yoson An will play Mulan’s love interest, a military recruit named Chen Honghui. (Li Shang, he is not.) Rounding out the cast is Gong Li (who will play a witch), Disney alum Jason Scott Lee as a warrior seeking revenge (he's another villain), Donnie Yen as a commander and mentor to Mulan, and Jet Li as the Emperor of China.

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FYI: Disney’s remake is not to be confused with Sony’s live-action version, which promises production in China with a “mostly” Chinese cast.

2. Aladdin (May 24, 2019)

Sean Bailey, president of Motion Picture Production at Walt Disney Studios, told Vulture that director Guy Ritchie will bring a “highly energized” musical to the table with his remake of Aladdin and Jasmine’s love story. During the annual D23 Expo in July 2017, Disney announced the cast for the film: Canadian actor Mena Massoud will play Aladdin, with Naomi Scott taking on the role of Princess Jasmine and Will Smith portraying Genie.

Mena Massoud, your new Prince Ali.

Getty

A trailer was released in October 2018, showing everything from the desert to the lamp, and of course, Aladdin himself.

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In 2015, it was reported that Disney also had plans for a prequel called Genies, but that idea seems to have returned to the lamp.

3. The Lion King (July 19, 2019)

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Jon Favreau, who most recently directed the live-action remake of The Jungle Book in 2016 (and is currently working on the sequel), was announced as The Lion King’s director in September 2016. Donald Glover joined as Simba five months later, and in November 2017, Beyoncé officially joined the film as adult Nala.

James Earl Jones will reprise his role as Simba’s dad Mufasa, while Billy Eichner and Seth Rogen will star as Timon and Pumbaa, respectively. John Oliver (Zazu) and Keegan-Michael Key (Kamari) round out the cast.

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On July 15, 2017 Disney screened the first footage from the live-action remake to a crowd of 7,000 during D23. According to The Hollywood Reporter, the clip included “jaw-dropping photo-real shots of African landscapes and many types of animals (including elephants and, of course, lions) and ended with the iconic moment in which Rafiki introduces an adorable young Simba on Pride Rock as ‘Circle of Life’ plays.”

A teaser trailer dropped in November 2018:

4. The Little Mermaid (TBA)

Don’t be surprised if Ariel breaks into a rap or two while combing her hair with a fork, because Lin-Manuel Miranda and Disney vet Alan Menken are set to write new songs for the film. Don’t worry, the classics will still be there, so you can still sing along to “Under the Sea” or “Poor Unfortunate Souls,” which by the way, is a great karaoke song. Sofia Coppola and Chloë Grace Moretz were previously tied to the project, but have since dropped out.

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Rob Marshall, who directed Mary Poppins Returns, has been attached to The Little Mermaid remake since December 2017. One year later, in an interview with Syfy, Marshall said it was still “way too early” to talk casting (despite rumors involving Zendaya). Of the film, he’s already “starting the exploration phase.”

5. Dumbo (March 29, 2019)

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Tim Burton’s remake promises a “unique family story," featuring a script from Transformers writer Ehren Kruger. Following months of rumors, Disney confirmed that Colin Farrell, Eva Green, Danny DeVito, and Michael Keaton will star in the film, along with newcomers Nico Parker and Finley Hobbins, reports Variety.

An official trailer was released in November 2018, five months after a teaser:

6. Snow White (TBA)

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La La Land and The Greatest Showman songwriters Benj Pasek and Justin Paul will create new tunes to accompany a script from The Girl on the Train writer Erin Cressida, so expect things to be scary and dark (or not, if you didn't think the movie was scary or dark enough). In March 2016, The Hollywood Reporter also revealed a spin-off movie called Rose Red, which will focus on Snow White’s estranged sister. It’s basically like reality TV but with a poison apple! According to THR, Rose is actually a “key player” in story, as she goes on a quest with Grumpy and company to break the sleeping curse and bring dear sis back to life.

7. Pinocchio (TBA)

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Nearly three years after Disney announced plans to make a live-action version of Pinocchio, Paul King, who most recently gave the world the Paddington films, joined the project as a director. Per The Hollywood Reporter, Tom Hanks has been in talks to play Geppetto.

On the non-Disney front, Guillermo del Toro is writing, directing, and producing a stop-motion musical adaptation of Pinocchio for Netflix, while Warner Bros. has Ron Howard directing Robert Downey Jr. in their own live-action remake.

8. The Sword in the Stone (TBA)

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Per The DisInsider, production for The Sword in the Stone begain in September 2018 in Belfast, Ireland, home to the famous “Titanic Studios,” where Game of Thrones was also filmed. This is no accident: Bryan Cogman, who was a writer and producer on GoT, will write the script for The Sword in the Stone.

9. Peter Pan (TBA)

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Jeremy Sumpter’s 2003 Peter Pan remake will soon have a successor if and when this movie ever gets off the ground. Pete’s Dragon director David Lowery is attached and promises a straightforward adaptation of the classic. Bonus: Though not a remake, Disney is also rolling out Tink, a live-action film based on Tinker Bell. Reese Witherspoon was announced to play the teeny-tiny fairy, but not much has been revealed as of late.

10. Winnie the Pooh/Christopher Robin (August 3, 2018)

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In November 2016, it was announced that Marc Foster (World War Z, Finding Neverland) was hired to direct Christopher Robin, a live-action film that will tell the story of Pooh’s BFF as an adult. The film stars Ewan McGregor as adult Christopher Robin, Hayley Atwell as his wife Robyn, and Jim Cummings as both Winnie the Pooh and Tigger (too). The film grossed some $197 million worldwide. Pooh remains an icon.

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11. Lady and The Tramp (2019)

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Per The Hollywood Reporter, Disney announced in March 2018 plans for a live-action/CG hybrid version of Lady and The Tramp, with Charlie Bean (The Lego Ninjago Movie) serving as director. The remake will be part of Disney’s upcoming streaming service set to launch in fall 2019, but no official release date for Lady and The Tramp has been announced.

The cast includes Justin Theroux (Tramp), Tessa Tempson (Lady), Janelle Monae (Peg, the wise-cracking pound dog), Benedict Wong (Bull the English Bulldog), and Ashley Jensen (Jackie the Scottish Terrier). The humans Darlin and Jim Dear will be played by Kiersey Clemons and Thomas Mann, respectively.

Bonus:

Cruella (TBA)

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Technically, this is not a remake as it will center on one major character (and Glenn Close already did a live-action remake in 1996). Nevertheless, Cruella is happening and will tell the backstory of the villainess who can't resist a good coat. Emma Stone was previously announced as the lead, which means she will probably get nominated for at least half a dozen awards.

According to THR, Craig Gillespie (I, Tonya) has been in talks to direct the live-action film, which will be an origin story set in the 1980s (think punk).

Prince Charming (TBA)

It’s unclear whether or not the handsome prince here is from Cinderella or Snow White (maybe both?!?!) but know that the film will probably be good. Mandeville Films/TV, who most recently worked on Beauty and the Beast starring Emma Watson, will produce Charming.

Fantasia (TBA)

In 2015, Disney announced plans to make a live-action adaptation of Fantasia’s closing sequence “Night on Bald Mountain,” which featured an iconic winged creature who raised spirits from the dead. Think Maleficent, but scarier, because Fantasia is arguably the scariest Disney movie ever.

Source: https://www.cosmopolitan.com/entertainment/movies/a9173730/disney-live-action-remake-list/