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ultravioletqueen · 3 years

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Tenía ganas de dibujar princesas disney y se me vino a la mente este dibujo, hay varias princesas que me gustan mucho y que son parte de mi infancia, y quise dibujar a mis personajes como princesas que a mi me gustan y que sus personalidades encajan perfectamente, quizás haya una parte dos ya que no son mis únicos personajes que identificó con alguna princesa disney.

Juliete jenkins=jane porter(tarzan)

Realmente me gusta este personaje, no sólo por su rol en la película sino también por su personalidad y talentos, jane al igual que juliete es muy creativa,intuitiva,directa, culta(y no alardea de eso), curiosa y bastante torpe,dándoles un encanto que ni tarzan ni arthur pudieron resistirse.

Rubi Álvarez=megara(hercules)

Considero a megara(junto a tiana) mi princesa favorita de disney y quise hacerle una mención,Rubi al igual que megara ha pasado por muchos problemas debido al amor, rubi al igual que megara es sarcástica,amargada, un espíritu libre(literalmente),valiente y muy capaz, algo que realmente me gusta en una princesa disney.

Frigg jenkins=pocahontas

Siempre tuve en mente a pocahontas como la princesa disney más madura y responsable de todas, algo que sin duda también tiene frigg, al igual que pocahontas frigg es una mujer sabia,astuta, muy recta y suave con los que le importan, ademas de siempre elegir a su familia por sobre todo,sin duda una mujer única(fingamos que la secuela nunca existió).

Gabe jenkins=esmeralda(el jorobado de notre dame)

"¡Pero que mujer!" eso es lo único que pienso al ver a esmeralda, que sin duda también comparte algunos rasgos con gabe,son astutos e inteligentes,empaticos, valientes, fieles, independientes y que no tienen miedo de defender lo que creen, sin duda una joyita de disney.

I wanted to draw disney princesses and this drawing came to mind, there are several princesses that I really like and that are part of my childhood, and I wanted to draw my characters as princesses that I like and that their personalities fit perfectly Perhaps there is a part two since they are not my only characters that he identified with some disney princess.

Juliete Jenkins = Jane Porter (Tarzan)

I really like this character, not only for her role in the film but also for her personality and talents, Jane like Juliete is very creative, intuitive, direct, cultured (and she doesn't brag about it), curious and quite clumsy, giving them a charm neither tarzan nor arthur could resist.

Rubi Álvarez = megara (hercules)

I consider megara (along with tiana) my favorite disney princess and I wanted to make a mention of her, Rubi like megara has gone through many problems due to love, rubi like megara is sarcastic, bitter, a free spirit (literally), Brave and very capable, something I really like in a Disney princess.

Frigg Jenkins = Pocahontas

I always had pocahontas in mind as the most mature and responsible disney princess of all, something that frigg undoubtedly also has, just like pocahontas frigg is a wise woman, cunning, very straight and soft with those who matter to her, in addition to always choose your family above all, without a doubt a unique woman(let's pretend the sequel never existed).

Gabe Jenkins = Esmeralda (The Hunchback of Notre Dame)

"What a woman!" that is the only thing I think when I see esmeralda, who undoubtedly also shares some traits with gabe, they are cunning and intelligent, empathetic, brave, faithful, independent and they are not afraid to defend what they believe in, without a doubt a little disney gem .

#oc #msa #mystery skulls oc #Juliete jenkins #Gabe jenkins #Frigg #Rubi #Disney

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holylulusworld · 5 years

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Mixed Colors

Summary: Steve saves you but the case ain’t over and you have to find a way to catch the bad guy while pining for the golden boy…

Pairing: Steve Rogers x Reader, Natasha Romanoff, Tony Stark, Nick Fury, Thor Odinson, Clint Barton, Bruce Banner, OFC’S

Warnings: angst, tension, mutual pining, fluff, violence, fighting, mentions of human trafficking/kidnapping, characters death (only the bad guys/mentioned), language

Sequel to: Blue-white-red and grey

“Detective Y/L/N, great to have you with us. These assholes try to get their bosses out of prison by attacking allies, by infiltrating the Avengers tower and they believe we will just roll over and do as they say. Fuck no!” Nick Fury takes his laptop to smash it against the wall.

“Nick!” Tony gasps. He saw Nick angry before, but this seems to be…personal…

“What are you not telling us, Nick?” Tony asks as Natasha shakes her head knowing her former boss better than anyone in this room, except for you.

“Sir? Shall I explain the situation?” You ask and Nick nods, turning around to look out of the window, watching the clouds.

“Okay. Around half a year ago we got to know about this organization called Red Storm. We got in contact with the FBI but oddly no one wanted to confirm anything or even hear me and Porter out. A few days later Nick contacted me.” You explain as Steve raises an eyebrow.

“Why you?” He asks as you sigh. “We knew each other. Before I started working for the New York Police Department I worked for Shield. We stayed in contact. Nick was my mentor back then. I told him about the organization, but he already knew as he was trying to bring them down for a long time…” Your voice cracks as you glance at your former boss, your friend, and ally.

“Again. Why?” Tony asks as you take a deep breath. “Nick?”

“Go ahead,” Nick whispers not sounding confident right now. “They need to know everything before they get involved with this…”

“Around eight years ago Nicks sixteen years old daughter disappeared. No one knew anything. Everyone was telling him she ran away, but Nick knew better. She was a good girl, never got involved with drugs, parties or alcohol.” Your voice is trembling as you can see Nick’s shoulders tense. You know he is clenching his jaw, ignoring the pain he causes as it could never compare the pain he feels about the loss.

“Nick, I’m sorry,” Tony whispers glancing at the leader of Shield. “We will help you find her…”

“Anyways.” You clear your throat, silently telling Tony to drop the subject right away. “Nick tried anything. Called everyone he knew. Still, even after a year of searching the whole world – she was nowhere to be found…”

“Did he…” Clint whispers. You swallow hard before you keep on talking. You hate to rip open old wounds, but everyone deserves to know what kind of organization you try to bring down.

Hands shaking you take the laptop Nick didn’t destroy. Opening a hidden drive, you enter your password to show the Avengers everything Nick found out about the people behind his daughter's disappearance.

“Four years ago, Nick found her or what was left of her.” You whisper opening a folder showing Steve and the other pictures of a girl. Dirty and chained to a cold floor she’s barely alive.

“Goddamn bastards,” Tony yells jumping up to smash a chair against the wall. “We will find these bastards and kill them. I’ll rip them apart.”

“Tony,” Steve warns knowing this isn’t the end of the story.

“Nick brought her home, or rather into a hospital, later to an asylum. She was not able to talk. She couldn’t react. All she was doing was sitting on the floor.” Your eyes meet Steve’s as your own fill with tears. “She killed herself after a few months of therapy. She was better but…”

“Something triggered her,” Nick whispers. “A nurse said good girl and my daughter ran out of the room. We still don’t know how she managed to reach the rooftop.” Your friend’s voice cracks, and you get up, standing next to him to grab his hand, squeezing it tightly.

“She jumped but she was hiding a diary under her mattress with names, places and everything she had to bear…” Voice thin you compose yourself before turning around.

“The trace got cold and the first evidence they still exist…” Now Nick turns around to squeeze your shoulder as you stop talking. “This brilliant mind put all the pieces of missing girls along with places and events together. She found a connection - Y/N found Red Storm after eight years.” Nick rumbles.

“What was her name?” Clint asks clenching his fists.

“Aurora. My daughter’s name was Aurora.” Nick says as everyone nods.

“Our operation will be named Aurora then. We will bring them down, all of them. First, we will find Porters family and then we will get every single bastard and break their bones.” Tony states.

“I didn’t know what we found was only the tip of the iceberg. Nick poured me in after we got hold of some of their most important members. We were able to save twenty-five girls that day. Still, so many are lost or get kidnapped right now. You all should know we won’t stop till we got hold of all of them…” Your eyes meet Steve’s stormy blue ones as he gets up, straightens his back before glancing at the pictures once again.

“Nick, I’m sorry I wasn’t there to save your daughter, but I will put all my strength, all my will into this mission. The mission to avenge Aurora and all the other victims.” Steve rumbles. “No one will get away this time…no one.”

----

“How did you get this information?” You whisper glancing at the building through a spyglass.

“This nice guy only needed motivation.” Natasha chuckles watching two men checking the surroundings. They are heavily armored, and you assume this is where they keep Porter's family hostage.

“Motivation?” Steve asks.

“He wanted to keep his balls. I had a knife…things happen.” The red-head shrugs, giving you a grin. “Great job, Natasha.”

“Fuck, you are deadly.” Clint curses. “I’ll take the rooftop; we should agree to radio silence till we storm the building.”

Natasha follows her friend providing back-up to make sure he reaches the rooftop without someone attacking him. “I’m your eyes and your guardian angel, take care of Y/N. She might have been with Shield, but Steve will lose it if anything happens to her.” Clint whispers.

“I’m on it, Hawkeye.” Natasha teases. “I’ll make sure everyone will come out of this unharmed,” Clint whispers as he uses the fire escape to reach the rooftop.

----

“Everyone in position?” Tony asks.

“Steve, Y/N and I are in position,” Natasha whispers. “Nick?”

“I’m in position with Thor and my team. We can strike at any time.” Nick mutters clenching his fists. It’s been four years since he was able to get hold of one of the men responsible for his daughter’s death.

“Nick, we follow the plan. Get the family out and then, they are all yours…” You whisper as you watch Nick’s team moving forward. One of Nick's men wants to use a battering ram, but Thor shakes his head, swinging Mjolnir.

“I think my friend and I will clear the path for you, Lord Fury. I’ll help you avenge your daughter, your Aurora.” Thor rumbles.

“Everyone ready?” Tony asks.

“I said radio silence, Tony,” Clint mutters watching three men running toward your and Steve’s position. “I think the element of surprise is gone. Three pigs are on their way toward your position Nat.”

“I’ve got this. Thor, Nick…strike.” Steve orders as he jumps out of his hideout, shield aimed he storms toward the three men while Thor bursts the door open with his hammer.

“Team Strike is in. Team Leader follow us after you took care of these three pigs.” Fury says as he follows Thor into the building. “Barton, stay on hold to provide back-up. We don’t know if these bastards try to escape with the hostages.

“I’ve got this.” Clint curses as two more guys run toward Natasha’s position. Two arrows make a fast end of the attackers as Clint rushes to the other side of the building to makes sure Rhodey’s team will not run into a trap.

“Rhodes. The path is clear. Take the back entrance and help Nick.” Clint orders as Rhodey’s team storms toward the building.

Steve is ramming his shield into one of the men’s faces. He’s angry. The pictures of Aurora still in his head he uses all his strength to slam the next man into the wall. The last guy tries to escape but you are faster. While Natasha follows Tony into the building you use the shadows to attack the last man.

One precise kick to his knee and he groans as you broke his patella. Steve is looking over his shoulder as your fist collides with the man’s chin, knocking him out. Another wave of enemies storms out of a nearby building, ready to attack but Steve shields you just in time before a bullet can hit you.

“Stay behind me. I’ll handle these guys.” Steve calls for you but you won't back down now. Aiming your gun, while hiding behind his shield you shoot the first guy in the forehead, another bullet hits the next man trying to take Clint out.

Two arrows hit the next man, but he won’t budge, heavily armored he storms toward Steve who speeds up to ram his shield into the man’s chest. “Stay down,” Steve warns but the man wants to get up only to feel your foot colliding with his face.

“No mercy, Steve. These guys would rather commit suicide than getting arrested.” You pant as Steve and you run toward the building. “Clint, take care. We are back in a blink.” Steve orders as Clint searches the area for more enemies.

“I’m on it, Cap. Good luck.”

----

“Over there.” You call for Steve as another guy tries to attack Steve. Without any effort, Steve smashes the man into the wall. “We are a good team.” Steve laughs as you run after him, checking your gun.

“Tony? Fury? Anything yet?” You ask but the connection is bad, and you can barely understand what Tony is saying.

“Crap, he might be in trouble. I understood nothing.” You curse as Steve bursts through a door, seeing three young girls hiding in a corner, scared to hell and back.

“Shh…no one is going to hurt you. This is Captain America and I’m Detective Y/L/N. We are here to get you out.” You soothe the girls as one of them points behind you. Steve turns around to ram his shield into the attacker’s face, breaking his jaw.

“Stay down or get up and fight like a man. Kidnapping children. Bastard!” Steve curses as you shrug your jacket off to cover one of the girls. “Clint. Tell Team Free we’ve got three girls, we need to go further in. I’ll mark the position.”

“I’m on it. Team Free on it’s way.” Clint confirms. “Go ahead, Steve. I’ll follow you.”

“We shouldn’t part ways, Y/N.” Steve insists, and you smile at him. “I know, Steve, but I can handle this. Help Tony, find the family. I’m right behind you.”

“Five minutes or I’m coming for you.” Steve states before he runs out of the room, storming toward the stairs.

----

“I need to go after Captain Rogers, bring the girls out and check on them. Clint. Team Free is on its way. Is the path clear?”

“I…shit…Bruce...way...commun…” The connection breaks once again and you curse not knowing if it’s safe to bring the victims out.

----

“I’ve got this,” Bruce says running toward the room. “Just don’t get scared, girls.” His eyes meet yours as you run toward the stairs. Bruce looks at the girls, mouthing a sorry before he starts changing. His skin becomes green and the girls gasp watching the Hulk appear.

“Behind me…” Hulk growls before he runs toward the door, shielding the girls with his body.

----

Running toward odd noises you aim your gun at a man trying to attack Steve with a knife. Firing your last bullets you hit the man’s back, killing him in an instant.

“Steve…!” Panicked you rush toward Steve who lies on the floor, bleeding. “Shit, Cap.” Checking the wound on his lower abdomen you add pressure to the cut as Steve smiles at your worried expression.

“Just a scratch Detective but I like seeing you are worried about me.” Steve pants as you get a band-aid out of your pocket. “Always prepared…huh?”

“Always. I was a girls scout, Steve. Now let me check this mess, and don’t die on me. I still owe you this steak for saving me.”

“He doesn’t die that easily, Y/N.” Tony chuckles, but it seems he likes a cute nurse fixing his wounds. We found the family, Rhodey and Natasha are taking care of them. You should have a look at something. After fixing our Cap, of course.”

“Just a minute, Tony,” Steve mutters watching you cleaning his wound as you see it starts healing. “Great. You are as good as new, Steve.”

“Nice side-effect…huh?” He teases as he gets up, steady his body with his shield as he kneels to peck your cheek. “I think I got a new favorite nurse.”

“Stop pining, Rogers,” Tony mutters as you help Steve getting up, rolling your eyes at Tony’s comment. “Let’s check this out.”

----

“Bastards!” Steve curses seeing a whole database of girls the organization planned to kidnap. “Steve, this is good. We can warn the girls and their families.” Adding a flash drive you copy all data while Tony paces around the room.

“Nick is in the basement, taking care of the leader. After finding Porter's family he sent me away. Only his men and Maria can enter the basement.” Tony explains.

“He’s like a wounded animal, Tony. We better not get involved in this.” Natasha warns. “We found more girls in the other buildings, around twenty.” Your eyes meet hers and you can see the struggle. “I can tell they will need more than a band-aid.” She curses as you look at the data.

“We got Rasputin, maybe we can take them down with him in our hands.” You pinch the bridge of your nose as you hear screams echo through the building.

“Fury.” Tony curses. “What if he kills him before getting any information?”

“He won’t. Fury may be a lot of things, but he has the same goal as we – finding the rest of these bastards.” Natasha says glancing at her hands. “I knew Aurora. She was a nice kid, full of life. After her disappearance…”

“I get it, Nat but we need him alive…not dead.” Tony is not convinced as another scream makes him jump. “Goddammit! What is Nick doing?”

“Nothing you want to witness, Tony,” Natasha whispers as you nod at the others. “Got all data, I send the FTP server a nice trojan. Anyone accessing this server will have a red flag above his head.”

“Why?” Steve asks.

“This more a catalog. Potential buyers go on this server, choose a girl and pay for her. Overnight delivery…” You explain disgusted. “Anyone tries to buy a girl, we get him.”

“You’re freaking smart.” Steve chuckles as you give him a wink. “Nah, I learned this from a friend, she’s the genius, not me. Now let’s get out of here…”

----

“Here.” Fury says not looking at Tony. His knuckles are bloody as he hands Stark all information he gathered during his ‘interrogation’. “All he was able to tell us. The remaining members, hide-outs, buyers, sellers…potential victims. His ‘little black book’ if you want to call it like that.”

“A lot of information and a lot of work to do…” Tony sighs.

“Maybe I should stick around a bit longer in that case.” You offer and Steve’s eyes lit up.

“Welcome to the Avengers initiative in that case. Steve will give you the tour with pleasure.” Tony chuckles rushing toward the quin-jet.

“Will you give me the tour?” You ask glancing at Steve.

“Anytime,” Steve says as he takes your hand, intervening his fingers with yours, leading you toward the quin-jet.

“Young love…” Natasha chuckles elbowing Bruce. “Wanna bet their children will be cute and annoyingly sweet.”

“She’s perfect for him.” Bruce retorts.

----

Steve’s eyes never leave your hands as you check on his completely healed wound. “Damn, great side-effect, Cap.” You say as you slide your fingers over his abs.

“No making out in the quin-jet,” Tony mutters. “Save this for the ‘tour’.”

Steve glares at Tony but there’s a grin all over his face. “Guess it would be for the best if you move into the tower for a while.” Steve offers and you chuckle.

“You are persistent, huh?”

“I want to make sure you are safe. We have to bring these men down. I don’t want you to get hurt, don’t want to lose you.”

“In that case, I’m all yours, Captain…”

To be continued...

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trespeak · 5 years

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What's your favorite house album?

Wow, that’s a toughie. Might just have to give you a list instead.

This ended up being pretty long so I’ve put all the big descriptions I wrote for each of ‘em under the cut, but here’s the gist:

Daft Punk, Discovery (2001)

Kaskade, Fire and Ice (2011)

deadmau5, For Lack of a Better Name (2009) and 4x4=12 (2010)

Phantoms, Phantoms (2017)

Justice, † (2007)

Lazy Rich’s singles

Porter Robinson/Virtual Self – Spitfire (2011) and Virtual Self (2017)

I like a lot of deep house and electro house, so most of my picks here are within either or both of those subgenres (as well as progressive house, in deadmau5′s case).

For more of my thoughts (and there are many!), see below.

Daft Punk, Discovery (2001)

Accept no substitutes. For Guy-Manuel de Homem Christo and Thomas Bangalter, making quality tunes seems to just be second nature. Their second album replaces the underground, city-street feel of Homework with a shiny, discotheque-ready sound that stands on the shoulders of giants but does so as a means of updating and widening the reach of their own influences (with “Harder Better Faster Stronger”’s use of “Cola Bottle Baby” as a perfect example thereof). My favorite track on the record, “Digital Love,” perhaps only barely qualifies as house, but between the earnestness of the vocoded lyrics and the heart-stopper of a guitar solo, I don’t even mind – who cares about genre conventions when you’re a smitten robot? It’s utterly brilliant and its era exists as the gold standard for many DP fans, myself included among them.

Kaskade, Fire and Ice (2011)

Ryan Raddon’s seventh album and the one I hold the most nostalgia for. An ambitious effort on Kaskade’s part, Fire and Ice is a double album, with original tracks on one side and remixed, chilled-out versions of the same songs on the other (geddit?). The ICE mixes are something of a mixed bag, with some having more reason to exist than others, but the Fire side of the album earns it a place here on its own, with Skrillex and Raddon giving us their own brilliant take on a classic track from Guy Manuel de Homem Christo on “Lick It,” as well as the smooth vibes of Ryan’s collaboration with his band Late Night Alumni and Inpetto on “How Long.” Another standout track: “ICE,” a big, bumping jam Ryan made with Dan Black and Dada Life.

deadmau5, For Lack of a Better Name (2009) and 4x4=12 (2010)

Oh, Joel. These days he’s earned a controversial status as full-time internet troll alongside his career as a musician, but he’s still had a palpable impact on the industry at large (pop juggernaut Marshmello more or less owes his entire career to the allure of the man in the cute mask, and while Daft Punk did it first, Mello’s own interpretation is particularly and explicitly influenced by the way deadmau5 did it). These two albums dropped when I was twelve/thirteen and still opening my eyes to the wide world of electronica, and I think they’re particularly significant as the point where I went from being a casual fan of it to a devotee, sparking an investment in the Scene® that I still have to this day. The degree of control Joel flexes over his work at its peak was unprecedented for the time and still holds up now – “Strobe,” the album closer on For Lack Of, is particularly notable in how it makes ten minutes feel like no time at all in how it builds and shifts with just a few simple, powerful elements in play at a time. “Ghosts ‘n Stuff” earned Joel and vocalist Rob Swire a crossover hit, and “Raise Your Weapon” stands as an early illustration of what the North American take on dubstep would sound like in the years to come.

Phantoms, Phantoms (2017)

Kyle Kaplan and Vinnie Pergola’s debut record is a clever mission statement for their work. Their deep house tunes are infused with pop sensibilities, placing them in company with contemporaries like Jamie xx and Disclosure as house DJs making an effort to bridge the gap between the radio airwaves and the dance floor. My favorites include “Just a Feeling” with Verite, a modody track called “Downtown,” and the utterly brilliant “Need You Closer,” a collab with Hayley Kiyoko that easily converted me into the Church of Lesbian Jesus. (Their recent work is also worth a nod as well – they’ve been building up singles to drum up interest in a new EP, including one of their best tracks to date, a driving progressive house tune called “Designs for You.”)

Justice, † (2007)

Gaspard Auge and Xavier de Rosnay’s debut record remains their best. There’s so many iconic tracks on this one: The slick vibes of “Genesis” and “Newjack,” the ever crowd-pleasing “D.A.N.C.E.,” the pumping “Phantom” and its sequel, the nu-disco sleaze of “DVNO”, and the ear-splitting delight of “Waters of Nazareth.” The record earned them a positive, if daunting, comparison to fellow French house pioneers Daft Punk, and while their work on it shares an obsession with taking diverse samples and reconfiguring them into their own image, Justice’s fascination with the macabre aesthetic of 70′s horror films and the rock ‘n roll ethos of T. Rex earned them a distinct spot in the pantheon of electronic acts with this record (as well as its followup, the different-but-still-great Audio, Video, Disco).

Feed Me - Feed Me’s Big Adventure (2011) and Calamari Tuesday (2013)

Jon Gooch was one of the earliest musicians to emerge under deadmau5′s mau5trap label, and still shines as one of its leading acts today (High Street Creeps, released earlier this year, has jams for days). While he started his career making drum ‘n bass tracks as Spor, the bulk of his work since 2009 has been under the Feed Me alias, where he’s dabbled in all manner of electronic but mostly hews close to the realm of electro house. Gooch’s experience in making complex tunes meant that Feed Me came out swinging, with tracks like “Grand Theft Ecstasy” and “Muscle Rollers” exhibiting a confidence and technical skill from the outset that most producers would kill for on their first record. By the time his first proper full length released two years later, he’d developed a consistent feel that made collaborations with indie bands (”Love Is All I Got,” with Crystal Fighters) and soulful singers (”Last Requests,” with Jenna G) feel as natural as hard-hitting bangers (”No Grip” and “Death by Robot”). Mix in a little bit of both and you get “Ophelia,” a anthemic ballad made with YADi – my favorite song from the record, and a earworm that still sticks with me six years on. Love, don’t let me drown…

and some honorable mentions!

Lazy Rich’s singles! Richard Billis is a Canadian DJ who retired from producing tunes in 2017, but for the decade or so he was releasing music, the electro house singles he released were nothing short of iconic. Songs like “Blast Off” (with Hirshee and Lizzie Curious) and “Flash” (with Hot Mouth) are energetic, breezy and danceable. There’s nothing quite like a good Lazy Rich drop; his beats hit the dance floor with the weight of a truck, and have a sonic diversity among them that would predict the electronic scene’s shift toward the dynamism of future bass. It makes me sad that we won’t get any more of them, but Billis left behind such an evergreen catalog of singles that it’s hard to be down for very long. (I used to use his remix of Zedd’s “Stars Come Out” as a theme song of sorts on an old website where you could be a DJ with your friends. The fond memories are strong with this one.)

Porter Robinson/Virtual Self – Spitfire (2011) and Virtual Self (2017) – Leave it to Porter Robinson to carve out a completely separate musical persona just to hearken back to his halcyon days as a young producer. My initial introduction to him was just after he’d emerged from the hands-up scene, while he had his eyes set on stardom through what he called “complextro,” and it was surprising to find that his work not only lived up to its genre classification but actively carved out a market for its sound, even before Porter had dropped an album. If the dubstep and house feel of Spitfire was a revelation, the DDR vibes of the Virtual Self EP are a revitalization; similar in ethos, but with an owned, Serial Experiments Lain-styled technological aesthetic. Porter does a lot of work to keep the two projects separate (even going as far as to delineate live shows between the aliases), but rather than fragmenting his work the distinction only ends up strengthening his catalog, in much the same way Jon Gooch’s work as Feed Me complements his earlier collection as Spor.

JOYRYDE’s singles and upcoming album - John Ford Jr. is an English DJ who knows what he likes: fast cars, bumping house beats, mean-muggin’ rap jams, and making tunes that blend all of the above in one way or another. His JOYRYDE project is only a few years old, emerging in 2016, but it’s very much the culmination of years of diggin’ in the crates and building a sound that blends the hip-hop influences of trap with the boogie-bounce sensibility of house. No sooner is this evident than the “parental discretion is advised” warning (and subsequent punchy opening bars) that welcomes you into “HOT DRUM,” though his other tracks (including “MAXIMUM KING” and the Rick Ross-assisted “WINDOWS”) share that kinetic energy. He’s one to watch!

Also worth your time:

Oliver’s Mechanical EP and their album Full Circle

Mord Fustang’s All Eyes On… compilations

Botnek’s singles from 2016 onward

Chris Lake’s releases with his label Black Book Records

Self Help by Walker and Royce

pretty much everything by Ellie Herring and Chrissy (Murderbot)

Fantasmas by Zavala

anything Wolfgang Gartner has made (particularly his early 2010s singles)

That’s all I got for now. If you made it this far, you’re an angel. Thanks for indulging me :)

#Anonymous #treman's world #this post took a long time and I lost it once (almost twice)#i love... house music #askhole answers

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aion-rsa · 4 years

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What is The 100 Cast Working on Next?

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It’s always difficult to bid farewell to a beloved television ensemble, but especially so for the cast of The CW’s The 100. Many viewers have literally grown up alongside these characters, who started as juvenile delinquents and ended as adults who had lived several lifetimes. Even for older viewers, the characters and the actors behind them have become much beloved.

In this case, we can happily say until we meet again, as many cast members have already lined up new projects. Some are jumping immediately into new TV series, while others are exploring film franchises. At least one actor who got the chance to try her hand at directing on The 100 is honing that craft in future projects.

Read on for the next steps for all of your favorites.

Eliza Taylor (Clarke Griffin)

Eliza Taylor has not yet announced her next project but is currently continuing her philanthropy work as an Ambassador and Honorary Board Member for Little Hearts Learning, a U.S. nonprofit dedicated to breaking the poverty cycle in communities.

Bob Morley (Bellamy Blake)

Bob Morley doesn’t have any new projects currently announced, but he’ll be a guest as part of New York Comic-Con’s online Metaverse convention, which runs Oct. 8 to 11. Like Taylor, Morley is an Ambassador and Honorary Board Member for LHL.

Marie Avgeropoulos (Octavia Blake)

Marie Avgeropoulos has begun pre-production on two film projects, one a standalone biopic and the other a potential new franchise. Butterfly in the Typewriter will dramatize author John Kennedy Toole’s (François Arnaud) struggle to get his novel A Confederacy of Dunces to print. Avgeropoulos has a supporting role as Jean Ann Jollett, assistant to editor Robert Gottlieb and a fan of Toole’s then-unpublished manuscript.

Jiu Jitsu is based on director Dimitri Logothetis and Jim McGrath’s comic book of the same name and is self-described as a “sci-fi martial arts franchise.” Nicolas Cage will star alongside Avgeropoulos and Frank Grillo (Captain America: The Winter Soldier, The Purge: Anarchy).

Lindsey Morgan (Raven Reyes)

If you’re already missing Lindsey Raven’s badassness, Morgan will be playing another tough-as-nails sci-fi heroine: Captain Rose Corley, mercenary and star of the action-adventure film Skylin3s. A sequel to 2010’s Skyline, it’s set in a future in which humans and alien hybrids co-exist… until a virus threatens to turn the Earth-dwelling aliens against their weaker counterparts. You know, not thematically relevant to Morgan’s time on The 100 at all.

But in terms of more long-running roles, Morgan will remain within the CW family for now: She’s taking on the co-lead role in the network’s Walker, Texas Ranger reboot. Simply titled Walker, it stars Supernatural’s Jared Padalecki in the Chuck Norris role, then gives the series a contemporary twist by having Morgan play Micki, one of the rare female Rangers.

Morgan told Collider that the role feels deeply personal because it represents to her the path not taken, which would have been staying in Texas (where she’s from) and joining the Armed Forces as a Latinx woman. “It scared me a bit because sometimes it’s tough to play things that are very close to home,” she said, “but I also think I’m ready for that challenge. I wanna bring the heart that I have to her, for this project.” Fingers crossed for roundhouse kicks in her future…

Richard Harmon (John Murphy)

Channeling John Murphy’s sense of self-preservation (in a much purer way), the actor has been working on a couple of standalone projects over the past few years while wrapping up The 100. Aside from a recurring role on Van Helsing last season, he also starred in two forthcoming movies. In The Return, he’s a brilliant college student who returns home following his father’s death, only to confront childhood horrors. And in Darkness Falls, he and Gary Cole are a father/son serial killer team.

Luisa d’Oliveira (Emori)

No upcoming projects for d’Oliveira, but if you miss Emori, you can check her out as meta-human assassin on Supergirl, as well as eerier turns on The Twilight Zone and Channel Zero.

Jessica Harmon (Niylah)

Lindsey Morgan and Jessica Harmon both directed episodes of The 100 season 7. Harmon will continue to develop her directorial skills with the upcoming Hallmark TV movie, My Best Friend’s Bouquet, about a single woman who accidentally catches the bouquet and then credits it with bringing an eligible bachelor into her life. No upcoming acting gigs, but you can catch up with her work on V-Wars and iZombie.

Lola Flanery (Madi Griffin)

No new projects for Flanery, though the last few years she’s been busy juggling The 100 with other roles in Shadowhunters and Mary Kills People.

Adina Porter (Indra)

An alum of Ryan Murphy’s American Horror Story anthology series since 2016, Adina Porter will join the eerie fun for a fourth season in 2021. Murphy has not yet revealed the theme of the tenth season, but with Porter having already appeared in the AHS installments of Roanoke, Cult, and Apocalypse, it’s anyone’s guess as to what horrific reality she’ll be inhabiting next.

Tati Gabrielle (Gaia)

Look for Tati Gabrielle to reprise her role as the witch Prudence Night on the fourth and final season of Netflix’s Chilling Adventures of Sabrina. She’s also got a recurring role on the animated fantasy series The Owl House. But her next big project is Uncharted, the film adaptation of the popular video game. Tom Holland will play adventurer Nathan Drake, with Gabrielle as the female lead (listed on IMDb as Braoddock).

Sachin Sahel (Dr. Eric Jackson)

No upcoming projects for Sachin Sahel, but his live-tweeting of The 100 finale, shouting out everyone from costar Richard Harmon to book author Kass Morgan, is adorable.

Jarod Joseph (Nathan Miller)

No upcoming projects for Jarod Joseph.

Shelby Flannery (Hope Diyoza)

The 100 was her first major acting job, and Shelby Flannery has not yet announced her next project. But the experience clearly had an impact on her, as she told TV Fanatic: “I really got to see how a crew and a cast can work well together. That might sound simple, but it’s pretty huge for someone’s first job. To see how trials and in hard times can really propel an environment to do better and to come together to make something really beautiful. That is such a valuable lesson that I can take to the rest of my life. Just to be a team player and to not put myself before everyone else, because that only gets in the way of the process and the end results.”

The 100 Season 7 Episode 16 Review: The Last War

By Delia Harrington

The 100 Series Finale: What is Transcendence?

By Delia Harrington

In the meantime, you can check out her videos singing and playing guitar on her Instagram.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

JR Bourne (Russell Lightbourne / Sheidheda)

Arguably one of the show’s most recent breakout stars, and the one having the most fun in season 7, Bourne doesn’t seem to have anything currently announced. If you miss Sheidheda, you can catch up with Bourne’s work on MTV’s Teen Wolf.

The post What is The 100 Cast Working on Next? appeared first on Den of Geek.

from Den of Geek https://ift.tt/2HPnsQb

#aion-rsa #Den of Geek

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afterhdfilmonline4k · 4 years

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After Truth | Film 2020 | ganzer film.de

After Truth filmstarts: 3. September 2020 / Romanze, Drama, Erotik Von Roger Kumble Mit Josephine Langford, Hero Fiennes-Tiffin, Dylan Sprouse Produktionsland USA

INHALTSANGABE & DETAILS Nachdem Hardin (Hero Fiennes-Tiffin) sie sehr verletzt hat, beschloss Tessa (Josephine Langford), die Beziehung mit ihm zu beenden. Lange Zeit wurde ihr die Wahrheit über ihn vorenthalten, nun, da sie davon weiß, fühlt sie sich hintergangen und gedemütigt. Nach den Ereignissen will sie einfach nur noch zurück in ihr altes Leben, dem Leben, was sie vor Hardin geführt hat – wenn da nicht andauernd die Erinnerungen an seine leidenschaftlichen Küsse, den zärtlichen Berührungen und seiner hingebungsvollen Liebe wäre. Nach all den herben Enttäuschungen ist ihr Verlangen nach dem Mann mit den wunderschönen grünen Augen ungebrochen. Ihr ist bewusst, dass er die Trennung nicht einfach so hinnehmen wird, doch wenn er sich nicht ändert, wird diese Trennung endgültig bleiben. Kann sich so jemand wie Hardin überhaupt ändern?

Fortsetzung zu „After Passion“ mit Josephine Langford und Hero Fiennes-Tiffin.

Originaltitel: After We Collided Verleiher: Constantin Film Verleih

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After Truth: After We Collided is an upcoming American romantic drama film directed by Roger Kumble and starring Josephine Langford and Hero Fiennes-Tiffin. It is based on the 2014 new adult fiction novel of the same name by Anna Todd and is the sequel to the 2019 film After.

It is scheduled to be released on October 2, 2020.

Handlung: Tessa finds herself struggling with her complicated relationship with Hardin; she faces a dilemma that could change their lives forever.

Werfen: Josephine Langford as Tessa Young Hero Fiennes-Tiffin as Hardin Scott John Jackson Hunter as young Hardin Louise Lombard as Trish Daniels Dylan Sprouse as Trevor Matthews Candice King as Kimberly Charlie Weber as Christian Vance Max Ragone as Smith Vance Selma Blair as Carol Young Shane Paul McGhie as Landon Gibson Rob Estes as Ken Scott Karimah Westbrook as Karen Scott Samuel Larsen as Zed Evans Khadijha Red Thunder as Steph Jones Pia Mia as Tristan Inanna Sarkis as Molly Samuels Dylan Arnold as Noah Porter

After We Collided: Directed by Roger Kumble Produced by Anna Todd Jennifer Gibgot Mark Canton Courtney Solomon Adam Shankman Screenplay by Anna Todd Mario Celaya Based on After We Collided by Anna Todd Starring Josephine Langford Hero Fiennes-Tiffin Dylan Sprouse Shane Paul McGhie Candice King Khadijha Red Thunder Inanna Sarkis Samuel Larsen Selma Blair Music by Justin Burnett Cinematography Larry Reibman Edited by Anita Brandt-Burgoyne Production companies CalMaple Media Offspring Entertainment Voltage Pictures Wattpad Distributed by Frayed Pages Release date October 2, 2020 (United States) Country United States Language English

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Definition and definition of film / film While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful. ❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season. ❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2020, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2020, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors.

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zukkacore · 2 months

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"Why do you like Starbreaker?"

me, internally: The themes introduced by Porter's godhood and Jace's servitude toward him are genuinely interesting. So much of Junior Year concerns itself w/ fairness n personal autonomy n devotion n worship n making your own meaning. The idea that Jace and Porter "have always been a duo" n the fact that Brennan has been holding onto this reveal since SY means that Jace was retooled to exist FOR porter. Porter's quest for godhood eclipses anything else that could have mattered about jace, his purpose becomes serving Porter on both a textual n meta level. On both levels he is contorted into someone alien to himself. Even though he is a character with few lines, Jace's voice in freshman year compared to Junior year feels distinct, he sounds younger, he sounds like he's looking for connection, he honestly sounds like a pretty recent hire, and in that context is it not pitiable what happened to him? Does that not make him similar to Sandra Lynn, a young person who was exploited by someone older than her and who uses religion as a tool for control? And yet the tone over and over again treats him with ambivalence in a world that is obsessed with fair. The text over and over again wants to reiterate this idea of characters getting to make their own meaning, but what does it mean to be a sequel to someone else? To be a footnote in their vision? Jace's life is a decision a GM made, he is Porter's sequel on a textual and meta level. He is continually denied interiority within the text (perfect example is sophmore year where teachers are not allowed to be hirelings when Jace is proposed than an immediate workaround is made for Gilear to come with the Bad kids). He never had a choice but to be a follower to the god of war because the other option was deathly silence, a prop or a martyr like Lucy or Yolanda. Is being remembered fondly and uncomplicatedly despite your flaws but being deathly silent better than being corrupted? The question of Jace's motivation is continually left unanswered n in that, part of the Starbreaker thought experiment is wondering how exactly Jace slots into this Plan, into Porter's life. He could simply be a lackey, sure, but is being forced to be a lackey for a god not in a way its own form of worship? To imagine Jace's subservience to Porter as a kind of love, a kind of toxic old man yaoi if you will, is maybe a way to play at a world where he gets a sense of purpose, or some kind of love in return, even if that life is fucked n compromised n broken, because he was asked "do you want this life" n he said yes. What does it mean to be a person who is contorted into villainy without a choice when the very undercurrent of your world is telling everyone else "there's always a choice!"? When the text condemns you for evil if you only ever can exist as a tool? Before Porter became Jace's world, he was practically egoless, no matter what tone his dialogue takes on. Every scene he's in, he's w/e the situation demanded of him, taking up no oxygen in the room w/out even a memorable gimmick to make him distinct n funny. Pure function. It wasn't a big life but it was his. Was wanting to live, being content to be a footnote to the Bad Kids the sin that condemned Jace stardiamond? Or was wanting to live even if he no longer was recognizable to himself the sin that condemned him? Or is it the fact that he enables cruelty, and is that fair when characters who are horrible in their own ways get a pass as long as they are fun and funny and memorable? Is his life better now that he is more of a presence in his cruel and twisted but albeit slightly more memorable state, if his life now condemns him to be hated forever? Does Jace get power from his deal with Porter? Is getting a time in the spotlight of the narrative its own form of power? Is Jace happy serving Porter? Would Jace be happy loving Porter? Did Porter give jace new life by destroying the old jace, by making sure all paths lead straight back to him? Is Starbreaker just our way of trying to say imagine Jace Stardiamond happy?

what I say: haha idk toxic co workers fucking is hot

#starbreaker #shut up janelle #jace stardiamond #porter cliffbreaker

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finishinglinepress · 5 years

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FINISHING LINE PRESS BOOK OF THE DAY:

The Salty River Bleeds by Stephen Page

$19.99, Full-length, paper

https://www.finishinglinepress.com/product/the-salty-river-bleeds-by-stephen-page/

Stephen Page is part Native American. He was born in Detroit. He is the author of three other books of poetry – A Ranch Bordering the Salty River, The Timbre of Sand, and Still Dandelions. He holds two AA’s from Palomar College, a BA from Columbia University, and an MFA from Bennington College.

ADVANCE PRAISE FOR The Salty River Bleeds by Stephen Page

The Salty River Bleeds is a juicy tale in verse that draws us into the teeming world of a large Argentinian ranch. This world is populated by herds of horses and cows, nefarious ranch hands, foxes, bees, bats, parrots, carnivorous ants, Andean flamingoes, cattle rustlers, horse thieves, to name but a few of its many denizens. The narrative reveals the complicated web of woes in the life of a land manager, the tyranny of weather patterns, and one man’s battle against the encroachment of pesticides. In this world, nature’s staggering beauty and naked brutality are constantly in evidence. A stallion “learns the phases of grass.” Trucks struggle through “the butter of mud.” Cows can explode with bloat, and rain that the narrator prays will be called down from the sky by the croaking of tree frogs can make or break you. As its title suggests, The Salty River Bleeds is packed with the drama of birth, death and eternal conflict.

–Amy Gerstler, author of Bitter Angel

The Salty River Bleeds is ambitious in its scope and its execution, with a relevance to contemporary environmental issues. Stephen Page deftly combines poetry, prose, and letters…and relies on highly refined, compressed imagistic language and strong character development to tell his tale.

–Jim Daniels, author of Places Everyone

The Salty River Bleeds is a continuation of the story of Jonathan and Teresa that Stephen Page began in A Ranch Bordering the Salty River. These poems speak of the visceral life of farming on a fictional ranch in Argentina. Page’s narrative is a journey of perseverance through a physical and psychological wilderness where loveliness and brutality abide together. Here, the likes of a raw and wet “afterbirth slopped into a steamy pile” leads to the mother straining to “stare at her calf until breath raised its ribs.” Page walks us through vulture-ravaged carcasses into pastures and wood and marsh; walks us into the solace of bees, mockingbirds and “a flock of black ibis” that “lift/and cloud away.” This is poetry told with an unflinching, yet reverent eye.

–Carolyn Welch, author of The Garden of Fragile Beings

The Salty River Bleeds is equal parts parable and fable, examining humankind’s destructive and self-defeating tendencies, particularly with regard to caring for the land human beings and animals rely on. Here where the Salty River bleeds, you will find that Myth swims, Old Man lingers on your peripheral vision only to disappear, and Black Dog follows you into the mythic Wood. On the ranch, you will encounter Tattler, Excuse Maker, and Bad Guy, archetypal figures standing in for all those whose motives are to be questioned. By turns imaginative and inventive, gritty and grisly, gorgeous and ephemeral, this is a book that will linger long after you have finished. There are inherent truths laid bare here that we would all do well to pay heed.

–Cati Porter, author of Seven Floors Up

In Stephen Page’s The Salty River Bleeds, the spiritual journey of Jonathan continues from A Ranch Bordering the Salty River. Looking for a story to explain his life, Jonathan meditates on nature, in particular Wood, a place of testing, a place of mysteries ripe to be discovered, and the people who work his land without reverence. With an observant eye for detail, Page brings together striking images of the elements of earth and human life that become both obstacles to and medium through which the speaker of these poems understands his world.

–Caroline Malone, author of Dark Roots

Stephen Page’s The Salty River Bleeds is a pastoral and violent account of ranch life. His poetic collection blends agricultural and rustic contention with eco-rural insight and directness. His delivery is candid and un-floral, thus bestowing the music of his perception an energy of seized quotidian acuity. These poems dare the readers to care about the animals, the daily activities of surviving rurally, and the grammar of the land exploited by genetic modified commerce and industrialization. The work invites the geography of natural breeding life to marry the perennial charm of ranch hardship. There, in his work, exists the sensual preservation of humanity, but also diurnal desires. Page’s bucolic poems “may take you to an unlit alley at night” or “sound like buckets of water being poured on the corrugated roof.” Regardless of the rustic tempo his work imbues you, through Page’s percipient, omniscient eyes, we see and hear everything he observes and feels and yearns. Like sheep hides “salted in the transit room” – Page’s work is designed to ambush us, not with the forcefulness or melancholy of existence, but, as seen here, with the authoritative authenticity of his persistent fervor.

–Vi Khi Nao, author of Fish in Exile

Stephen Page’s The Salty River Bleeds is a collection of connections. Page explores relationships, ethics, and economy through environmental images that ooze the intricacies of farm life. His thoughtful, sensory-rich prose and varied expressions of poetic form delve into the inner workings of losses and discoveries.

–Savannah Slone, Author of Hearing the Underwater

Stephen Page is a true poetic chronicler of the complex business of ranching, that mythic journey. The Salty River Bleeds is iconic storytelling; a hybrid of poems, letters, and prose. Filled with rich images, “wood walks” and myth finding. “Life takes you into some unplanned territory.” Follow Page and we are “wading into wheat” and “working all week to save the corn.” The tractor is broken, the fences need mending, but still we are watching and waiting for Old Man walking by the side of the road, the one who never stops. Follow Page into his dreamscape of visceral reality to satisfy a curiosity, an unspoken desire.

–Elaine Fletcher Chapman, author of Hunger for Salt

In The Salty River Bleeds, Stephen Page poetically and unapologetically reveals the real, harsh truths of running a ranch in Argentina. Johnathan’s daily stressors, created by unreliable employees, weather, and Teresa’s greedy son, Damien, find us anxiously watching him “run across pastures with my sword / Raised, looking for someone to decapitate.” Page softens Johnathan’s persona by peppering the pages with love, beauty, mate, and the whimsy of Wood and Myth as “A wooddove pops / its wings as it departs eucalypti mist auraed by / a vanilla sunrise.” The juxtaposition of the hard and the soft leaves us with a longing to know how Jonathan and Teresa’s story ends. The Fauna of this collection proves to be a mesmerizing sequel to the Flora of the initial introduction of Johnathan and Teresa in his earlier collection, A Ranch Bordering the Salty River.

–Laurie Higi, author of The Universe of Little Beaver Lake

PREORDER SHIPS SEPTEMBER 13, 2019, RESERVE YOUR COPY TODAY

https://www.finishinglinepress.com/product/the-salty-river-bleeds-by-stephen-page/ #FLP #poetry #book

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lostlegendaerie · 7 years

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Slept On Sunday: Defending Bioshock 2 and its Optimism

(Disclaimer: spoiler warnings follow, and I will take to my grave that B1 is a revolutionary and near-peerless video game. this isn’t an anti-Bioshock review, i swear.)

Bioshock is an amazing series of games is a pretty safe blanket statement to make. The first is an absolutely stellar game in nearly every aspect of the word, the second considerably improved the gameplay, and the third could be said to have redefined what it means to have a companion character in a first person shooter. However, a lot of people like to discount Bioshock 2 or completely ignore that Bioshock 2 exists, partially because it doesn’t break the mold like the first and third games do. I’ve heard some people say it isn’t part of the canon because Ken Levine didn’t write it, and it was made by 2k instead of by Irrational, and therefore don’t even want to give it a chance.

I can’t really say I’m surprised. Loyalty to a formula you love works like that. However, Bioshock 2 escapes one of the most insidious flaws of the first and third games, and that is with its compassion, optimism, and considerable improvements in respectful diversity. Not to say that there isn’t some objectively bad treatment of female characters and female sexuality in this one as well, but really there wasn’t much of a place to go other than up when it came to the first game.

Bioshock the first is set in a capitalist's paradise turned hellscape, a world where greed and the advancement of technology and science unchecked by ethics committees or any real overseeing factors has turned its citizens into monsters. The principal characters, and all but two of the named characters you see alive, are white or white passing men. The two Jewish coded characters are especially painted monstrous by the narrative; Sander Cohen is an openly gay psychopath with a penchant for plastering his often still-living victims, and Brigid Tenenbaum was a Holocaust survivor who aided the Nazis in their experiments. And while Cohen at least isn’t explicitly evil because of his homosexuality, Tenenbaum’s character is a mess down to her inconsistent accent. The only person of explicitly non-white descent is Suchong, who is not only a brutally cold scientist but whose dialogue is every audio diary is cringe-worthy stereotypical Engrish. Bioshock Infinite somehow manages to make this even worse, by setting the rebellious Irish and Black Vox Populli as being ‘just as bad’ at the white christian supremacist of Comstock’s faithful; the potential of Daisy Fitzroy as a compelling character is utterly wasted in the hands of these false equivalencies, and even the brilliance of Suchong and his plasmids is usurped by white scientist Fink and his drinkable Vigors. And let’s not even get started on Infinite’s DLC, Burial at Sea, and its treatment of Elizabeth.

Both of these stories, intentionally or not, feature a very colonial mindset; the intelligent white man arriving to the lost paradise filled with ignorant savages and slaughtering them for his own personal quest. Though the bodies you leave in your wake may be white, and though the former especially allows you to spare the ‘innocents’ and play a more peaceful and kind role, you are still the outsider who knows better than any native.

Bioshock 2, and it’s amazing DLC second story of Minerva’s Den, are different. You are constructs of Rapture, created there, returning home to a world that hates you as you try to reclaim what was taken from you. While the antagonist may be weaker than the first game, the supporting and side characters are considerably stronger; some are even as sane as you are, kindred spirits in a world gone mad, and none are reduced to cartoonish stereotypes of their race or gender. Where Grace Holloway is motherly and deeply loves the child she helped raise, Sophia Lamb is utterly clinical about her daughter despite her socialist compassion. Milton Porter is a soft spoken and extremely respected black scientist in contrast to the slightly more outgoing (and also black) Holloway’s career as a struggling artist.

But perhaps the best and simplest way to contrast the tones and moods of all of the Bioshock games is to compare the ways in which they twist our perceptions of our companion characters; Atlas, Sinclair, and Elizabeth. For the first, this twist comes at the start of the third act, where it is revealed that Atlas was simply a persona and that the protagonist (Jack) had been created and used by con man Frank Fontaine to take out his rival and the founder of Rapture once and for all. It’s a twist that, when followed by the iconic and utterly chilling death of Ryan, manages to make you somehow sympathetic for the cold hearted man who has spent the last seven or eight levels of the game actively trying to kill you, because at least he’s not as big of a cockbite as Fontaine. Bioshock Infinite reverses that tradition by making you the cockbite all along, and informing you that the teenage girl whose tits you’ve totally been staring at half the game is your daughter from the future-past, you sick disgusting bastard, and then drowns you for your sins. Both are extremely solid twists, but Infinite’s twist is a much bigger betrayal of the theme of Choice that defined the two previous games. There is no redemption for Booker other than death.

But Bioshock 2’s twist is a surprisingly tender one, and one that plays with the expectations that you carry into it from the previous game. Sinclair is consistently shown to be just as much of a self-serving, profit-maximizing capitalist dog as every other major economic force in Rapture, and spends even less time talking you up and reassuring you than Atlas does. The twist, however, is that Sinclair has been your friend this entire time, and when the protagonist (Subject Delta) is in danger risks and spends his own life trying to help him escape and reunite with his daughter. In a game series where every character you meet has their own agenda and use for you, Sinclair stands out as shockingly selfless in his dedication to his word.

All three games have their own version of hope in (one of) their endings. Bioshock the first gives Jack the potential to spare lives he could easily take; Infinite offers Elizabeth a chance at her own life not ruled by the agendas of Booker and Comstock (which the DLCs then completely, utterly ruin) but Bioshock 2’s ending(s) are about being compassionate by example, and of kindness breeding kindness. Eleanor is shaped by Delta’s positive influence on her life, contrasting to how Atlas and Booker influence their respective wards Jack and Elizabeth, and has a more bittersweet feeling to it than the others.

Bioshock 2 (and Minerva’s Den) doesn’t hit you over the head with a nihilistic plot twist baseball bat, but it doesn’t need to. It is it’s own particular brand of sequel that doesn’t need to completely change the formula or teach everything to the protagonist anew. It is a return to a familiar setting that plays with your expectations of it; and while Lamb cannot reach Ryan’s particular level of cunning nor can her Rapture hivemind strike the same idyllic horror of Columbia, it is a worthy game that deserves considerably more praise than it is given.

#bioshock #bioshock meta #long post #saro's writing #video game journalism #bioshock infinite #just my onion

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drinkthehalo · 7 years

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Shanghai. Again.

So I went to Shanghai again last week.

(I know. Ridiculous.)

A few thoughts... Consider this a sequel to last year's concluding thoughts and guide.

The Show

Some cuts that made me sad; some improvements that made me very happy. I'll do my best not to spoil.

The Porter/Boy Witch story has improved, because they have incorporated moments to replace some of the ones that are missing due to the changed lobby space.

I love one moment where Boy Witch looks at himself in a half-shrouded mirror. If you stand behind him, you see his reflection looking back at him in the mirror, and the Porter, like another reflection, peering at him from behind the curtain to the lobby desk.

And while I still miss the Porter's mirror in "Moonlight Becomes You," I love that if you stand in the right spot, you can watch both him and Lady Macduff, their movements mirroring each other.

Boy Witch has a great moment, coming up from the ballroom dance and after teasing the audience at the lost & found, where he walks through a long dark corridor into the lobby. Following behind him, you walk into the darkness, his shadowed outline slowly becoming apparent as you approach the light of the lobby. It's a powerful moment; Boy Witch in general feels more ominous in Shanghai.

"Witches 1" looks so beautiful. I've never found a reliable place to watch the New York version - some angles are always difficult to see. But in Shanghai, the lobby desk functions like a proscenium stage, and if you stand in the center you can see the whole thing clearly. They use the space so well, the witches spending more time behind and atop the counter, and the symmetry of the spacing and the movements is gorgeous to watch.

The lack of "Is That All There Is?" is still a huge loss. :(

I also adore the moment of the Bride dancing in the trees - not only is it beautiful, but it feels achingly like Wendy in Drowned Man.

I'm sad that they cut the hide and seek between Sexy Witch and the Bride on High Street. It was so much fun, although I'd guess that the logistics were too difficult.

I do love the new scene those two have together, but in general I don't feel like the Bride's story has as compelling of a narrative arc now as it had in December. Her relationship with Sexy Witch also isn't as clear to me now.

I really miss Hecate's fifth floor scene with the Bride, also cut. :( I felt that it incorporated the Bride more clearly into the existing narrative, better clarified her relationship with Hecate, and added emotional resonance to her story.

The Husband has a more developed story now, and I loved the emotional arc of his loop.

Duncan does something totally unexpected and brilliant. Which again, I won't spoil. But I loved it.

I greatly appreciate how much more dynamic and interesting the loops of Duncan, Cunning Man, and Speakeasy Barman have become. I know there are fans who enjoy watching a character sleep, or sew, or scrub cardboard, but to me these just seem like side effects of poorly defined character loops, and I don't mourn the loss. I think it's great that these characters have more to do.

There are new 1:1s. I had some but not others. All of the ones I had impressed me very much. I won't say anything else since it's spoilery, but kudos to Punchdrunk for doing a great job developing these.

The commercialism of the product tie-ins is a little bit distracting. But I don't think that the integrity of the show itself is compromised. The show is a work of art; I'd rather Budweiser and Kans spend their money on it than on another stupid TV commercial. I think people who criticize forget that art throughout history has been sponsored by those with money.

For the most part, the audience has gotten better since December. The stewarding is great, and one of the Woman in Bar characters actually demonstrates in her lift speech how to give performers space. It helps.

But I did make the mistake of going to the 100th show party, which was by far the worst audience experience I've ever had at a Punchdrunk show. I've honestly never experienced anything like it. People shoving ahead and pushing you behind them like a wild mob. There was no way to win - either you fall behind and can barely see, or you push ahead too, and either way you feel awful. I can't imagine how stressful this must have been for the performers as well. :(

On the plus side, 100th show Follies was delightful. (Only it's not called Follies there, I forget the actual name.) Fun to see such an interesting combination of people on stage - Lily and Sam, Conor and Garth, and several of the local cast.

The Performers

I don't even know where to begin. There are so many brilliant performers doing exceptional work; even in eight shows I didn't have time to follow everyone I wanted to see. A few specific thoughts:

Andrea Carrucciu

Andrea is brilliant. I can't complement his performances enough. He's exceptionally expressive with both his body and his eyes. From Porter to Macbeth he absolutely transforms, from sweet and awkward to intense and terrifying. His "Moonlight Becomes You" is beautiful, and his Macbeth is convincing both in his monstrousness as a killer and the aching vulnerability of Macbeth as a man who is in way over his head.

Fania Grigoriou

Fania is delightful to follow and brilliant at engaging the audience. She fully embodies her characters in every way. The contemptuous blasphemy of her Bald Witch must be seen to be believed.

The witch combination of Fania, Miranda, and Olly is the best I've ever seen, which is saying a LOT. They have the most amazing energy, pushing each other to the next level, shrieking and cackling and smacking each other, so absolutely delightful and wicked and thrilling. I'm in awe.

Lee Wen Hsin (Debby)

I somehow ended up watching her Dragon Boat scene like five times, and was consistently awed at her performance every time.

Lily Ockwell

In some ways Lily was the star during this visit. Every show she popped up in a surprising role - Lady Macbeth, Bride, Sexy Witch, Lady Macduff, and Nurse.

I never would have expected to see her as Lady Macbeth, but she totally killed it. Lily exudes sympathetic humanity, which made the cruelty of her actions toward Duncan even more painful to watch, and her remorse completely convincing. Her final bathtub scene was heartbreaking.

Also, her Sexy Witch scream in the rave deserves its own credit in the program. I knew it was coming and I still jumped out of my skin.

Liu Yu

His Calloway is charming, handsome, and by the end he remembered the names of everyone in my group. Seems like the entire show might stop running if he ever takes a sick day.

Miranda Mac Letten

Miranda's Sexy Witch is a work of art. Dark and haunting, more layered and mysterious and compelling than I ever thought Sexy Witch could be. Her bar solo seems to defy gravity and move at light speed; it's a stunning accomplishment.

Olly Hornsby-Sayer

Olly has totally come into his own as a performer - he’s very confident and comfortable with the audience, and seems like he enjoys his roles. I had a great time following him. At one point as Boy Witch, he startled me and other audience members so much that we screamed out loud. He's gotten so great at the Boy Witch eye contact and audience interaction. As Speakeasy he was an absolute delight - I found myself laughing multiple times throughout his loop.

Omar Gordon

Some of his dialog as Cunning Man cracked me the fuck up, which I will not quote here because it's spoilery, but omg. Brilliant.

Omar's Banquo is also fabulous, never more so than in the ballroom dance, where his chemistry with Fania's Bald Witch lights up the room.

Sam Booth

Sam is a genius, let's be honest. He took a character that spends half his NY loop sleeping, and made it into one of the most interesting performances in the show. I don't want to spoil anything, but I will say this Duncan feels deeply and uniquely human, and his story is absolutely haunting.

Shen Ni

Her Hecate is riveting and terrifying.

Tang Tingting

In both her roles, she is one of the most impressive Punchdrunk performers I've ever seen. She has such presence, and can go from otherworldly and intimidating to profoundly human and sympathetic.

Tim Bartlett

I was very impressed with what I saw of his Taxidermist - didn't get any 1:1s, but even just watching his loop, I loved the intensity of his nervous energy, and the humor in his friendship with Speakeasy.

The Spaces

The Drama Hotel is open - it's Shakespeare-themed, expensive, and not designed by Punchdrunk. It has an outdoor bar on the ground level, which is more lively than the Manderley after the show.

The eighth floor rooftop has the Cosmos Cafe, which looks like a bland version of Gallow Green, also isn't designed by Punchdrunk, and doesn't serve alcohol. The views are gorgeous.

The seventh floor has both a speakeasy and a restaurant, also not designed by Punchdrunk. I didn't go into the restaurant (it doesn't have vegan options) but I loved the speakeasy. We met a fabulous bartender there named Eddie, who'd traveled the world - his cocktails and conversation rivaled the best bartenders I've met anywhere.

The different bars feature two different cocktails named "Sleep No More" - one absinthe-based and one espresso-based. The espresso one was particularly fabulous (and appropriately named!).

Shanghai

A few updates to the recommendations I shared last time:

* James Turrell "Immersive Light" exhibition at the Long Museum. Fascinating series of artworks created with light; worth spending half a day to take it in.

* M50 Arts District, especially the Island6 gallery and its amazing artworks incorporating video, light, sound, and interactivity.

* Propaganda Poster Museum - incredibly interesting, and sheds so much light on China's historical perspective on the West.

* Huangpu River Cruise at dusk - amazing to watch the futuristic cityscape light up around you as the sun sets.

* Mount Sanqingshan - we took a two-night trip here via high speed train and climbed a beautiful mountain. Thank you @whenwillweawake for planning it!

The Drowned Man

I was traveling with a group who were mostly Drowned Man fans, and talking mostly to cast members who'd been in Drowned Man. Everything seemed to bring up memories of it, and we talked about it for hours. It continues to awe me how deeply that show left its impression on our souls.

#sleep no more #sleep no more shanghai #punchdrunk #the drowned man

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hellosaltysaladcollectionstuff · 5 years

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Historically, the month of November has been a hotbed for some of the year's biggest games, and the upcoming batch in 2019 proves that's still the case. Before things wind down in December, November will see the release of Pokemon Sword and Shield, Respawn Entertainment's Star Wars Jedi: Fallen Order, and Hideo Kojima's return to gaming with Death Stranding.

In addition to the big tent-pole games of November, Rockstar will also release the greatly anticipated PC version of Red Dead Redemption 2. Announced in October, Rockstar's open-world western will launch on the Rockstar Games Client first before shifting over to the Epic Games Store and then to Steam. Along with those games, the long-in-development Shenmue 3 will finally ship November 19 on PC, PS4, and Xbox One. There's also still a suite of indie games and AA games coming to Switch, including the next Mario & Sonic mash-up and a re-release of Layton's Mystery Journey on the Switch.

November is shaping up to be a notable month for games. So for your convenience, we've collected a few highlights for November and also included the full list of releases of games coming up.

Red Dead Redemption 2 | PC | Release Date: November 5

As GameSpot's Game of the Year for 2018, Red Dead Redemption 2 from Rockstar Games impressed us with its scope of interactions to be found in the wilderness and within the towns of Saint-Denis and Valentine. It was an immensely satisfying prequel that introduced a suite of new characters and locations, while also giving us a greater appreciation for the returning cast as they got into all sorts of drama in their younger years. The PC release of the game will no doubt be a great time to jump back into the game, just for the fact that the game now runs at an increased frame-rate and higher resolutions.

Red Dead Redemption 2 Comes To PC and Google Stadia Next Month

Red Dead Redemption 2 System Requirements Revealed

Red Dead Redemption 2 On PC Adds All This New Story Mode Content

Death Stranding | PS4 | Release Date: November 8

Following the public departure of Hideo Kojima from Konami, fans have been anxious to learn more about the Metal Gear creator's next big game. In Death Stranding, players will control Sam 'Porter' Bridges--portrayed by Norman Reedus--as he survives in the remains of North America following a catastrophic event that wiped out segments of the population and irreparably altered the landscape. From what we've heard about Death Stranding following TGS and Gamescom, it looks to be an unusual approach to open-world games that puts greater focus on making connections with the few characters that remain in the land, and with other players online. We're excited to see how it all comes together, and it'll no doubt be in a way that only Hideo Kojima can pull off.

Death Stranding Explained: Gameplay, Plot, Characters, Online, And More

Hideo Kojima Says It's His Destiny To Create New Games And Take Risks

Death Stranding Sequels Might Be Necessary, Kojima Says

Pokemon Sword and Shield | Switch | Release Date: November 15

The Pokemon series has been one of Nintendo's most steadfast franchises that's continued to grow in popularity every year. Set in the new Galar region--emulating the countryside of Britain--Sword and Shield, puts you in the role of a new Pokemon trainer who has to go out and catch all 'em all. However, what's new in Sword and Shield is that environments are more open, moving away from the very linear progression of the series' past. To take on this new approach to exploration, which can potentially lead to some unexpected fights with overpowered Pokemon, the trainers in the Galar region can trigger new evolutions for their set of Pokemon, turning tiny characters like Pikachu into giant versions of themselves.

Pokemon Sword And Pokemon Shield - New Gigantamax Pikachu, Eevee, Meowth, And More

Picking A Pokemon Sword & Shield Starter Is Surprisingly Emotional

Pokemon Sword & Shield Have "Drastically Overleveled" Pokemon In The Wild Area

Star Wars Jedi: Fallen Order | PC, PS4, Xbox One | Release Date: November 11

As EA's next big Star Wars game following 2017's Battlefront II, Star Wars Jedi: Fallen Order moves away from the online multiplayer battles and dives into a narrative-driven adventure akin to God of War and the Uncharted series. Coming from Respawn Entertainment, Fallen Order also marks the Star Wars' first metroidvania-style game, giving you greater control in where Jedi padawan Cal Kestis goes next. In addition to traveling to planets like Zepho and Kasyykk, facing off against foes in combat that controls similarly to Sekiro, you can also try to explore planets like Dathomir, which proved to be a significant challenge early on.

Star Wars Jedi: Fallen Order Isn't Groundbreaking, But Could Still Be Satisfying

Star Wars: Jedi Fallen Order Sees The Return Of A Major Clone Wars Planet

Star Wars Jedi: Fallen Order's Stormtroopers Have Their Own Personalities

Full November Release Schedule

Game Platform Release Just Dance 2020 PC, PS4, Xbox One, Switch November 5 Mario & Sonic at the Olympic Games: Tokyo 2020 Switch

November 5

Red Dead Redemption 2 PC

November 5 (Rockstar Game Launcher exclusive)

Planet Zoo PC

November 5

Layton's Mystery Journey: Katrielle and the Millionaire's Conspiracy – Deluxe Edition Switch

November 8

Need For Speed Heat PC, PS4, Xbox One

November 8

New Super Lucky's Tale Switch

November 8

Romancing SaGa 3 PC, PS4, Xbox One, Switch, iOS

November 11

Age of Empires III: Definitive Edition PC

November 14

Pokemon Sword / Shield Switch

November 15

Star Wars Jedi: Fallen Order PC, PS4, Xbox One

November 15

Tokyo Ghoul: re Call to Exist PC, PS4

November 15

Shenmue III PC, PS4, Xbox One

November 19

Sniper: Ghost Warrior Contracts PC, PS4, Xbox One

November 22

from GameSpot - All Content https://ift.tt/2MApcNi

#Blogger

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filmosophyus-blog · 6 years

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The Saw Franchise

The birth and death of potential through saturation

The problem with franchise & the pollution of $tory

The saw franchise began in October 2004, written and Directed by James Wan, on a mere budget an estimated $1.2m, this was Lionsgate second biggest box office hit, with an estimated world wide gross of $103m (overall)

Ignoring the mixed response from critics, this was huge news for lionsgate. For a film made so cheaply, it had more than tenfold made its money back. So what made Saw such a big hit? Firstly, it is a cross genre film, hitting the Horror, Psychological, Crime & Thriller targets.

It displays trademark tropes for all of these genres.

Second of all, it was a step away (not ahead of them by any means, it simply presented the viewer with a different experience from the abundance of Super-natural themed horror films out at that time) from the current maelstrom of horror films coming out in the box office at the time such as (in no particular order); The Grudge Aliens Vs Predator Exorcist: The Beginning Dawn of the Dead Seeds of Chucky

The Texas Chainsaw Massacre

Gothika

Whilst the other films released at the time had their own appeal, I believe Saw managed to make a far more personal appeal, and perhaps far more sinister and interesting experience than the others.

This is because Saw poses a very simple question to its viewer;

How far would you go to save your own life?

It poses us this question through the use of the main antagonist, John Kramer, AKA Jigsaw.

John Kramer is a man with a very troubled past, not taking into account the story from the other films, and using only what we can gather about his life from the first Saw, we learn John has an incurable cancer. We also learn John attempted to take his own life, however "against all odds" he survived his attempt at suicide. This interaction with near death gave John a new appreciation for his life. He decided from then on to give people a similar life changing experience. The point simply being, if the 'victim' partaking in Johns 'Games' survives, they will learn to love and cherish their life.

John begins his series of games with people immediately around him. A hospital porter named Zepp, his Doctor (Dr. Lawrence Gordon), A photographer, Adam Stanheight & a drug addict named Amanda Young.

[SPOILERS]

Only two survive, Dr. Gorgon and Amanda Young.

The traps, situations and motivations for putting people through the games are relatively straightforward (compared to the rest of the saw Franchise) and interweave beautifully. Zepp has a poison in his blood, that can only be cured by an antidote that John has. His role in the Game is to oversee Dr.Gordon's and Adam Stanheight's game & should Dr. Gordon fail to Kill Adam by 6 o'clock, kill the Doctors wife and child, and then The Doctor himself. Zepp meets his own demise when entering the room where the Doctor and Adam are held. Adam then proceeds to beat Zepp to death.

Dr. Lawrence Gordon was the main Doctor responsible for John Kramers treatment, who we later find out, whilst treating John, was having an affair with one of his colleagues. He was also considered very cold and uncaring towards others.

Adam Stanhieght; a photographer working for the Police officer, David Tapp, instructed with the task to follow around Doctor Gordon, as he was suspected as the Jigsaw Killer. He is then put in the game with the Doctor, captured and placed there by Amanda, now Jigsaws apprentice (we found out the full extent of her motivations in the subsequent films)

Amanda, a previous drug addict (the drug addiction and connection to John becomes clearer in the subsequent films) is one of Jigsaws first victims, escapes Jigsaws, arguably, most iconic trap & then becomes his apprentice.

When reading this sounds like a convoluted mess of story and plot, however on screen, it flows without leaping out at you and screaming 'Look how clever my twists and turns are'. The events that take place in Saw feel organic & thought out, whilst the motivation of each character appears natural and understandable. Saw, for me, in and of itself, was one of the best cinema experiences I've ever had, if not the best, within the genres it represents.

It wasn't trying to be anything other than itself. Sure, it's a homage to the wave of 1970 exploitation films, however, it wasn't just an homage to them. Lionsgate saw this as an opportunity. The film soon became iconic, and the catchphrase 'I want to play a game' made its way into everyday conversations.

Every Halloween for the next 6 years was greeted with a New Saw film, The last being 'Saw 3D (Saw VII). We have recently seen another addition to the franchise 'Jigsaw' however, this focuses, mostly, on Jigsaws past, and doesn't further the story which is carried from Saw to Saw 3D.

Ignoring Jigsaw, if we take Saw 3D into direct comparison with the original, we can see, clearly, huge differences not only in production value, but story, mise-on-scene and the sheer size of the film. First and foremost;

Budget

Saw 3D had an estimated budget of $20,000,000 whilst the original had a mere $1,200,000, all funded by 'Twisted pictures' So why does budget have an impact? Budget directly influences the production, with less money there's more to consider, and usually you've got to be smarter with your money, or very good at cutting corners. For example shooting night for day (as shooting at night can cost more money) using people in multiple roles not just one, keeping locations small, closer together and more compact. A higher budget would suggest the film has been predicted to see a return as there is demand for it, it isn't necessarily better or worse than the original (if the film being produced is a sequel/prequel).

A budget of $1m Is considered a small amount of money, Saw 3D was shot on $20m, so 20x more than the original. The producers clearly Saw a demand for these films and thought it wise to invest, but at what cost? This brings us to our second and most important point;

Story

The story within the Saw franchise, as the films progress, follow the same trend as the original Saw, however become infinitely more convoluted. Following more twists and turns to keep the audience guessing again and again. The idea being that the viewer will never guess what is to come, and to keep them hooked until the end, however, by Saw 3D it became a parody of itself. The twists and turns became tiring and people who were previously thought dead (and should be) miraculously survived whatever ill fate we believed they came too. By the end of the 6th year, it seemed to just simply be a regurgitation of the previous film with a little more gore and a little more added onto the story.

For example, Doctor Gorgon who escaped in the first film, was found out, in the end, to be aiding John in setting up some of his games. The motivation for Gordon to help Jigsaw (in my opinion) is non-existent. Gordon's reveal plays out to me like a 'Look how unexpected this was. It's put here because we can put it here!" It feels like the connection was found and put there for the simple shock of it. "I cannot believe Dr. Gordon was helping out Jigsaw all this time!"

Finally, the story seemed to be on a constant loop. By Saw II/III we got it. We understood John was dying/dead. We understood he had people to carry on his work. It was if the audience was being treated like infants being spoon fed the same story/plot just coloured and cooked a little differently each time.

So with an increasingly complicated and seemingly repetitive plot/story, what was left? Why carry on the films?

Third, and finally;

Audience

Critics weren't kind to the Saw franchise. With a quick Internet search it is easy to find the pages and pages of bad reviews. There are some who enjoyed the Saw series, however, there's more of a negative critical response than a positive.

However, a negative response from critics doesn't mean the audience felt the same way.

Every year people flocked to see the Saw films. Out of the 7 films, only one dropped below a worldwide revenue of $100million

As long as the audience kept paying, and the writers could squeeze more juice from this, they would keep rinsing until there was nothing left. In the end I believe it is the Audience's fault for not demanding better quality and to be treated like a proper audience, not spoon fed the same food just re-packaged.

The audience voted with their wallet and the film makers listened.

I don't believe the Saw franchise could've gone in another direction. Ideally, in my opinion, there should've only been one film. It should've been left after Saw, the story was complete and it was building a reputation. Now, because of the sequels, it's labelled as mere torture porn. Saw had a poignant question, and I think it was lost and over-saturated with the additions of Saw 2-7. What can we learn from this? As an audience, vote a little smarter with our wallets. As a film maker, don't chase profits. Chase story.

#film #filmmaker #filmtheory #theory #education #Analysis #filmdiscussion #Saw #Sawfranchise #Saw Franchise

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aion-rsa · 5 years

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The Flash: Inside the Return of Jay Garrick

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Jay Garrick, the original Flash, gets his first solo story in over a decade in The Flash #750.

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Jay Garrick was the first Flash of the DC Universe. Debuting (appropriately enough) in the pages of Flash Comics #1 in 1939, he was a founding member of the first superhero team in history with the Justice Society of America, proved so popular he earned a solo book (with the quaintly 1940s title of All-Flash), and ran laps around every other speedster in comics until 1951 when he and most other superheroes not named Superman, Batman, or Wonder Woman were quietly put out to pasture in favor of romance, horror, crime, and war titles. Jay was replaced by the sleeker, more jet-age friendly Barry Allen in 1956, and in an era where kids were still expected to outgrow the comics of their youth, it seemed that Jay was destined to become a forgotten relic of comics history.

But you can't keep a character with Jay's jaunty, Mercury-helmeted flair down, and by 1961 the character returned for regular team-ups with Barry. The explanation for his absence became the lynchpin of the entire concept behind DC's famed multiverse. You can make the argument that 1985's Crisis on Infinite Earths by Marv Wolfman and George Perez, still the greatest superhero crossover of all time, and its recent wildly successful TV adaptation, only exist because of Jay Garrick. Over the next 50 years, Jay became something of a superheroic elder statesman, offering fatherly advice to speedsters like Barry Allen, Wally West, and Bart Allen in the pages of The Flash, while mentoring other young heroes in the pages of JSA.

But the original version of Jay was removed from continuity at the start of DC's New 52 era in 2011, and it seemed that DC Comics was ready to sweep Jay and his Justice Society of America compatriots under the rug in favor of adventures focusing primarily on Barry Allen and the Justice League. But just as surely as Krypton's red sun will rise in the morning (wait, no...that's a terrible and inappropriate comparison), DC continuity will always evolve, and after 2016's Rebirth restored the legacy of the Flash family, long an essential part of the Flash mythos, it seemed inevitable that Jay Garrick would return.

But it took another full year before Jay finally showed up in The Flash by Joshua Williamson and Howard Porter. Jay's return took place in The Button, a tale which saw Batman and Barry Allen picking up the threads of Rebirth that would eventually lead to Geoff Johns and Gary Frank's Doomsday Clock. Jay only made the briefest of appearances, emerging from the Speed Force to the confusion of a Barry Allen who didn't yet remember a character who once meant so much to him (and readers). Since then, the Justice Society made their triumphant return thanks to the events of Doomsday Clock, and Barry spent some time with Jay and the JSA thanks to "The Justice-Doom War" story in the pages of Justice League.

And now we're about to get our first Jay Garrick solo adventure in over a decade, as part of The Flash #750, an 80-page giant anniversary celebration that will celebrate the history of the Scarlet Speedster and lay the groundwork for what's to come. We spoke with writer Joshua Williamson, who has been steering the adventures of the Flash and friends for nearly four years, about what it was like to finally spend some quality time with the Flash who started it all.

Den of Geek: How did you envision Jay's voice? You've written the entire Flash family, so how do you make Jay's voice distinct within that?

Joshua Williamson: It's interesting with Jay because I'm writing a different version of him. Because the version of Jay that I've always heard in my head was always Geoff Johns' version from his Flash run or from JSA. That's always the one that I've heard as this sort of elder statesman who was wise and kind of saw the world with a different perspective. He was, I don't want to say slowing down, but he just had kind of this older ... wiser point of view on things than Wally did. He wasn't quite like Barry, because Barry was always calm and measured. Barry's always sort of suffering and kind of tragic because of the things that happened in his past and always kind of lost in his head, whereas Jay's not like that. Jay is not lost in his head. I think Jay kind of tells it like it is. I think he's a little more of a straight arrow.

So one thing I thought about was how this version of Jay that I'm writing is not the "learned" version of Jay. It is not the one that went through all this crazy stuff and now is at the other end of it and is kind of a little more seasoned. This is the Jay that has only been the Flash for a little bit. But even if you go back and you read those old classic stories, he still even then was a little more measured. There was a little bit of a humor to him, a little bit of a smirk. It was a little different. So I really approached it from all of that. I kind of put all of that into a pot and just kind of started stirring them in my head. The hard thing was making sure he didn't sound like Barry. I don't want him to just be another Barry.

There is a line of dialogue in there that makes me feel like he does share a certain hopeful worldview with Barry.

Yeah, I think that's a Flash thing. It's important to the Flash family and I wanted to make sure that was still there. That is still a part of it. And Barry was influenced by Jay. We did that thing and in The Flash: Year One we showed Barry reading those old Jay comics. I wanted to maintain the idea that Barry's first encounter with Jay was reading those old comics. So a lot of what Barry got going into being the Flash he got from Jay and I wanted to keep that, and one of those things was that idea of maintaining hope during dark times.

That hopeful theme, and the fact it takes place in the early 1940s, makes this feel like a kind of sequel to the story that Scott Snyder and Bryan Hitch did in Wonder Woman #750. So is this supposed to kind of be the next chapter of that in a way?

I wouldn't say the next chapter, but I would definitely say it's in the same vein. It's supposed to honor that story and show these things are happening and this story is moving forward. I think it's another sign of a bigger story that we're telling in the DC Universe that you're going to start seeing more and more.

There's other stories inside The Flash #750 aside from this one that kind of move a couple of things forward that you'll see in the spring and then the summer leading into the fall. So I would say it's not like it's a sequel, but it is another piece of that puzzle that we're building.

There was a moment in a recent issue of Justice League where Barry is in the 1940s with the JSA, and he tells Jay he feels like they've already met, but Jay doesn't feel that way, since their first meeting hasn't happened for Jay yet. There's obviously coordination with you, Scott Snyder, and other DC writers. I feel like that's happening with these JSA stories. How were these kind of divided up between everybody?

I mean, I actually wrote this Jay story before the Wonder Woman story was written. And Scott and I talk fairly frequently throughout the week and throughout the day, we bounce back and forth and kind of get on the phone or get on chat so we can talk to each other. I mean we just talked to each other. It's that easy. We talk to each other and we discuss what we're going to do and he knew I was going to be doing this story and then I thought he was going to be doing that story and there was a little bit of an "Oh, okay, can we connect these?" We make sure it's all part of the thing.

Scott's always really liked Wonder Woman and he's always wanting to do a story with Wonder Woman in this specific area. So I think it was perfect for him. I always wanted to bring Jay in and do a hopeful story with Jay. This one Jay story you're getting is eight pages in an 80 page book. And it's funny...once you read all 80 pages, these eight pages are going to take on a whole new meaning for you. You're going to look at certain things and be like "Oh, that's what this was about." It'll actually start to build.

There's a lot in those eight pages though. I was actually amazed at how much info you get into this and I feel like some of that is just because David Marquez's art is just so clear and beautiful.

It's so beautiful. [David] and Alejandro [Sanchez], they had never worked with each other before they started working with each other on Batman/Superman and they just clicked immediately. And it's on fire. They worked so well together. I'm hoping they work together from now on like this. Because you look at those pages, it's awesome. I mean that's probably the coolest two page spread of Jay Garrick that exists is that first spread the two of them did.

Yeah! Did you suggest putting them on this story when you were conceiving it? How did that come about?

David was wrapping up Batman/Superman and he's going to be working on some other stuff at DC. But him and I are good friends and we were talking to each other a lot, and I had been talking to him about maybe doing something Flash related, even if it's just covers, just to keep working with him because I like him a lot. And then we knew we were doing this story and we were looking at the room we had and I was like "oh hey, there's eight pages here."

So yeah, before I wrote one word, I knew David was drawing the story and that definitely impacted sort of what I was thinking with it. And I think that Batman/Superman is a bit of a darker story. And so with this it was nice to kind of give David something that was a little more hopeful and bright and a little more positive. But that was all going into my head as I wrote it. Once I knew David was drawing it, then I started writing it just with him in mind.

Talk about the little tweaks that have been made to Jay's costume, which I think are even more apparent here since we're just seeing them so big and clear for the first time. Did you have any input on that and is there now a full blown Jay Garrick DC style guide about how this character looks across the books?

That design is almost three years old now. Jim Lee and Jason Fabok worked on that costume maybe about three years ago because we knew that Jay was going to be in The Button. So that was just the costume design they came up with during that time period, and I was in those conversations. But generally you let Jim Lee be Jim Lee, right? You let that guy go cut loose and he was working with Jason, who's also a great designer and a great artist. So a lot of times when you're working with those artists, you just kind of take a step back and watch and see what they come up with. I like this new design. I like all the little touches that come with it and I'm glad that we got to continue using it because we only got to see it once in The Button in one issue for a few pages. So it was cool we got to bring it back for this story.

We don't really associate Jay with having the kind of rich rogues gallery that Barry has or even that Wally has. And here we get that one panel with Ragdoll, the Fiddler, the Shade, the Thinker, and Rival all together. So how much of that did you talk about with David? Have you started sketching out in your head the weirdness of the Keystone villains or the culture that they might have compared to the Central City Rogues?

No, I didn't really get that deep into them. I mean I like those villains and I think they speak to that specific time period and they were great for Jay. My rule for that one panel, and I talked to David about this, was make sure they look deadly. Make sure they look cool. Make sure they look like they're a threat. I wanted to make sure we showed that in that moment. The most important thing to that was to show a little piece of his world.

I didn't want to get too deep into what his villains were like just yet. I really like Jay's villains and I think there's something really interesting to them. But right now I'm just not in a position to flesh it out as much as I would want to, but I wanted to make sure I showed them.

Why did you settle on the Thinker as the one to showcase?

Once I looked at all these villains, I looked at the visual of the Thinker. I actually really like Thinker and I've never used him in the book since I've been working on it. I went back and looked at some other stories and every time I kept coming back around to Thinker and it made sense. Because it really came down to being either him or the Fiddler. And I like Ragdoll a lot, but I just kept going back and forth with them. I just liked his visual and I liked his story and I like his character and I thought this is the best character for this moment in time to show what Jay's going through.

What kind of research did you do for Jay? How far back did you go?

I knew the Flash pretty well even before I got the job. I could have these conversations with people and we can get deep into stuff and I can cite issue numbers. But admittedly Jay, I was a little less knowledgeable about compared to everybody else. Wally, Barry, and Bart, I knew those characters really well. I would say the pre-Crisis Jay I was not as familiar with as post-Crisis Jay. I knew post-Crisis Jay pretty well. So when I got the job on The Flash more than four years ago, I started reading up on these things. The thing was that I wasn't able to write much of Jay, so I didn't always go back as deep. I would go to little things here and there. I was looking for stuff, especially little stuff with some of the villains.

I would say about maybe two years ago, I started reading more and more Jay books and being fascinated. When I was a kid I had this book, it's called The Great Comic Book Heroes by Jules Feiffer. It's this collection. It's a hardcover that came out in the 1950s that has the origin of a bunch of heroes. There's some Marvel, some DC, but Will Eisner's The Spirit is also in there. It's this really weird collection of things that are pre-Silver Age. It's like right on the cusp of the Silver Age. And in there was Jay Garrick's origin story [From Flash Comics #1 in 1940] and that was my first encounter with Jay even as a little kid. I knew who the Flash was. But my first real story I read with any Flash was probably the Jay one. I've always been fascinated by his origin in that first issue. So whenever I go back, I always go back to that first issue, because everything you need to know about a lot of these characters you can get from the first issues of the books.

I kept reading that first issue and figuring out more and more about Jay from that, and then gradually read a few things here and there. I've almost read all of them at this point. I just don't know as much about him as some of the other Flashes. I mean he was on the book for over a hundred issues. He was the Flash! In preparation for the story I made sure I read that first one again because we're kind of building out this new sort of mythology with him a little bit. As you can kind of see I'm trying to make sure I honor the character. I always come back around to that. I make sure I honor the character and what has happened and never negate or go against something, just add new levels to it. So that was really my priority was going back and just seeing those key things with his character and how I can make it so I can honor that and just continue to add the Flash mythology.

The Flash #750 arrives on March 4.

Mike Cecchini is the Editor in Chief of Den of Geek. You can read more of his work here. Follow him on Twitter @wayoutstuff.

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Interview Mike Cecchini

Feb 7, 2020

DC Entertainment

The Flash

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