#literally both could have been great if they just tweaked the scripts a bit

[amazingdudesblog]

When I’m in a “animated movie that could have been so much greater if the writers room cooked just a bit more” competition and my opponents are ruby gillman and KFP4

[phoenixyfriend]

OKAY so on the topic of Star Wars takes wrt “character ends up in an A/B/O universe where they’re an omega, but they were previously a cis male in their canon”

@atagotiak and I had some Thoughts on discord

So, obviously, Anakin would make a good omega and he’s also incredibly murdery. Foregone conclusion that we're using him for this.

There is no preexisting Anakin in the Omegaverse. He shows up JUST as the war is starting. Canon timeline is in the third year of the war (he’s 22), but whatever dumped him into omegaverse also tossed him back a few years. No de-aging, just a bit of mismatched timeline stuff.

He's... really good at war, and clearly a Jedi, so the Temple just kind of goes "WELL OKAY THEN, SURE, YOU'RE IN, EVERYONE PRETEND HE'S BEEN HERE THE WHOLE TIME." The Jedi, by and large, don't care about omegaverse dynamics beyond 'what do you need, medically, to be happy and healthy' and 'what do you need to be aware of so you can be prepared for biases you encounter in the field?’

None of the civilian natborns (mainly politicians) want to put him on the field because of those biases. Anakin, being Anakin, is VERY blatantly an omega in scent, has never been on suppressants (because it wasn't a thing he fucking NEEDED), is incredibly emotional as a person, loves kids, etc.

Like, nobody wants an omega fighting a war anyway, but THIS one is like PINNACLE omega, and those awful Jedi are making him FIGHT just because he's good at stab!

The Jedi: Actually, it's because he's got several years of war experience that we don't, and he's a good tactician that works well with the clones-- Coruscant: You MONSTERS The Jedi: Look, we gave him the option to not stab and he looked absolutely devastated. Anakin, several days earlier: You don’t want me? I’m not good enough??? Jedi: Also he can beat up at least half the temple.

He doesn't know a damn thing about dynamics, but he DOES know that sometimes he's so horny he wants to stab HARDER. The clones are largely disinterested in their generals' dynamics because between mostly-Mando* trainers and no-dynamic Kaminoans, they only really care if a person can shoot.

* Mandalore approves of Fighty Omegas. As far as (traditional) Mandalore is concerned, you want an omega that will kill the threats to your children as well as you do.

Anakin: You know more about being an omega than I do. Rex: ...I'm an alpha. Anakin: Yeah. Let that one sink in a bit.

We have two options for Obi-Wan!

Omegaverse local Obi-Wan (beta) has never met this man before, and is very unnerved that the immediate default reaction Anakin has to his presence is releasing Family pheromones as if Obi-Wan is his DAD and like. This strange, too-tall man from another dimension has got absolutely NO control over what he projects in the Force OR in his dynamic.

Obi-Wan was ALSO transplanted from canon to omegaverse, and is also an omega, for contrast reasons. He is nice and friendly and and likes poetry and that sort of thing... but also he has the highest dismemberment count in the movies. Also he doesn’t prioritize romance.

We went with the second one because it's hilarious.

Someone watching them spar: Wow, omegas from that universe are terrifying.

As previously mentioned, now with some tweaking to account for both: Obi-Wan and Anakin just straight up don't exist until they drop headfirst into the council room, already covered in blood. (It's mostly not theirs.)

Nobody realizes either one is an omega until they "naturalize" to this dimension and Anakin goes into heat... and doesn't realize it, actually, because his primary symptom is heightened protectiveness and aggression. Everyone else with the right nose realizes, because the man has no control over his pheromone production, but Anakin? No. He just stabs. He’s angry and horny and he will cut someone.

Ahsoka has no reaction to human pheromones but basically everyone smells Anakin's "my child!" reaction to her, so... Cool. Have a padawan, we guess.

Anakin ends up sparring a lot with Aayla and Ahsoka, because only humans and near humans have dynamics, so these two don't REACT to the pheromones situation.

(Palpatine is a Kindly Old Beta who tries to treat Anakin the way he EXPECTS Anakin wants to be treated, which is. Not. Accurate.)

(Anakin hates it.)

I'm just so in love with "An omega can't fight." "You wanna fuckin' bet?"

There are plenty of omega Jedi, by the way, it's just... most of them can keep it relatively low-key instead of Anakin's jet-engine broadcast. Some, if they're known to be omega, probably take advantage of being underestimated, like Obi-Wan probably (and especially a version of Obi-Wan that was always an omega, unlike this version). They have a very different way of presenting themselves than Anakin, who's not subtle about being an omega and also not subtle about being all aggressive and stabby.

At one point, Anakin has to protect some Very Traditional Individuals who get all "Stay back, Omega, it's not safe!" and he's just... so tired of this shit. “You are squishy civilians and I'm a trained Jedi Knight and accomplished GAR General who's killed more people in one sitting than there are in this entire palace. Sit the fuck down and let me do my job.”

It starts making the rounds that Anakin insisted on fighting in person, and the rumors shift from "how dare the Jedi force an omega to fight" and over into things that are deeply hurtful in-universe in the vein of "broken omega" and some people try to say it to his face but like...

He didn't grow up here.

He doesn't care.

Say that to one of his friends and he's going to rip out your spleen, probably, but say it to him and he's just staring at you flatly and asking if that's a negative on getting away from the encroaching battle droids, sir?

"You're rather unpleasant for an omega, aren't you?" [deeply offensive] "I literally could not give less of a fuck about your opinion. Move."

It's not that there aren't omegas that act like Anakin, either, it's just that most of them aren't, you know, Jedi who regularly interact with the upper crust, or capable of his level of destruction. Unbeknownst to Anakin, everyone clocks him as Outer Rim based on his behavior, well before his accent gives him away, and certainly before he mentions he's from Tatooine, because Core Omegas Don't Act Like That.

Someone they meet in a more diplomatic setting says something decently passive-aggressive about how at least Obi-Wan acts more like how an Omega should. Then a battle breaks out for some reason, and... well. Anakin and Obi-Wan cause such a scandal by keeping score of kills in a battle, don’t you know?

Turns out sending Anakin to fight Ventress is great because she keeps expecting him to react a certain way but NO he's here to STAB.

I like the idea that Obi-Wan's favorite opponent these days is Grievous because the cyborg doesn't have a nose, and thus gives zero fucks about dynamics or heats. Dooku is a rich old man who has opinions heavily influenced by Sith Juice Making Him More of a Dick, and the Dathomiri can smell dynamics even if they don't have them, and so they have biases about those things. Meanwhile, Grievous is just there to Kill, and Obi-Wan genuinely appreciates the lack of commentary on his dynamic.

Dooku’s probably an alpha, or a beta who's used the whole "we are more level-headed" thing as one of several angles to keep himself the public face and supreme commander of the CIS.

On to more fluffy things that have less to do with political biases.

There's a lot of "I'm upset that my loved ones don't know me," but also please understand the appeal of Obi-Wan marching up to Quinlan like "Yes, hello, I understand you've been read in on the full situation behind myself and my former padawan. I was close friends with your alternate universe self, which I feel is necessary disclosure before I propose the following: Would you like to join me for my upcoming heat, as I have minimal experience with the dynamics situation and even fewer people I actually trust, and I believe I can put my faith in you to treat it as casually as necessary while still having control and respect for my person."

(The Team is in a fairly safe place to process stuff, but having sudden unexpected changes to your biology has gotta be a little traumatizing, on top of ending up in a universe where none of your friends know you and people have a whole host of unfamiliar forms of sexism to point at you.)

Obi-Wan, who wasn't quite touch-averse but was much more easily overwhelmed by physical contact than Anakin (who craved it), suddenly finds his body switching gears and insisting on cuddles with Trusted Loved Ones, which is.... mostly Anakin, on account of nobody else really knowing him yet. Also Ahsoka, who is aware that she's something of a replacement for her alt-universe self, but Anakin explained it as "I love you so much no matter which dimension I'm in or what you're like, and I'd like to get to know you the way I got know her."

(It's rather eloquent for Anakin. He got Obi-Wan to help him draft up the script for when he pitched taking on omegaverse Ahsoka as a padawan.)

Anakin gets a more intensely sexual heat than 'usual' at one point for Reasons (IDK it could be as innocuous as 'we got better food than the usual rations and my body is reacting to the higher fat content with the belief that it's safer to have a baby now'), which nobody takes a whole lot of notice of because they're in a WAR, and also this is only his fourth one so it's not like he's got a lot to compare it to... except then the predominantly alpha clones can't stop themselves from reacting to the pheromones, mostly by wandering past his door and asking if he needs anything, offering up alpha-scented blankets and stuff for the nest to soothe the hormones, bringing snacks and electrolyte drinks, and like, Anakin is flattered, really, but fuck off please.

(He got a warning from medical a few hours before it hit that it would be different, so he actually does have alpha-scented fabrics to help him out. Apparently that's a thing you can just ask friends for, so he asked Rex if he had anything on hand that he could spare. He now has one of Rex’s recently-used sheets and a bodyglove in the nest.)

(Anakin has no idea how to feel about the nesting instinct, but at least it’s warm.)

Tia asked "Oh hey, who has the scared and horny reaction to his carnage?" and like.

Listen. I'm not saying I've been low-key imagining this as Rex being a very subby alpha who's really into Anakin's whole Thing but...

At one point Anakin gets injured in a way that requires painkillers and he ends up whining to the point of almost crying about the fact that nobody is cuddling him right now in medbay and Kix just gives up and comms Ahsoka to come hug her weird older brother.

And Then There Is Purring.

That’s a Thing Now.

Rex ends up in the pile somehow. He came over to check on Things and ended up yanked in by half-asleep, half-high Anakin, who has a grip like an octopus and no impulse control and is purring like a pod motor while NUZZLING HIM.

There’s a lot of blackmail photos featuring Rex’s very intense blush as he’s cuddled by his commander (giggling at him) and general (clinging like a tooka and rubbing himself all over).

Anakin is deeply offended that ANYONE thinks he'd want to get pregnant by just any old person, NO he needs to fall in LOVE there needs to be EMOTIONAL DRAMA and if Padme won't have him (apparently she's in a relationship and no he's not BITTER) then he'll find someone else to have a whirlwind romance with!

People think Anakin's a slut because he can't control his pheromone production (he has NO practice and for health reasons he can't go on suppressants) so he always smells open and ready for flirtations, which Obi-Wan also has to a somewhat lesser degree (he's older so his body just naturally produces less), and then someone tries to cross a boundary and grabs his ass and ANYWAY Anakin has to now fill out an incident report for breaking a civilian's arm.

Again.

[thebookreader12345]

750 Followers Celebration - Q&A

Thank you so much for supporting me through this journey! You guys don't know how much this means to me. Every single one of you is amazing.

Below the cut are my answers to the questions that you all submitted.

Q: Do you think Jay is going to become Sergeant this season? A: There has been a lot of debate over this question because of the past few seasons and all of the "Easter eggs", like the sergeant exam poster hanging in the background of the show. In my opinion, I do not believe Jay will become Sergeant. Yet. I think it won't be until the beginning of next season because, if this is a possible storyline, I would expect that the producers and writers would make the finale of season 9 about Voight stepping down/getting promoted, etc.

Q: Did Chicago Justice deserve more episodes? A: I'm sort of split with this question. I loved the fact that there was a big episode involving Kevin, and they always included people from Med, Fire, and PD in some of the episodes. However, the whole plot of the episodes was kind of slow because it wasn't like they were police officers and could go out and chase suspects and arrest people and what not. Their job was just to gather the evidence and then present it in court. I think for many, the show fell flat because there wasn't much action, and part of me does agree with that, but the whole idea of the show itself was kind of cool.

Q: What would make you stop watching each Chicago show? A: This is a tough question because I've only ever dropped one show that I can think of, and it was only because the plotline got really dumb. Maybe if some major characters died in each show I'd stop watching it? But then again, I love the One Chicago universe so much that I don't think even that would stop me from watching. So yeah. I really don't know.

Q: Do you believe in magic? A: As much as I would love for magic to be real, I don't believe it is. But I feel like everyone thinks that way. Cause lets be honest, Harry Potter and Disney make magic look so cool. However, we all know deep down somewhere that it's almost impossible for certain things to be real, and magic just so happens to be one of them.

Q: Are you superstitious? A: I'm not the most superstitious person out there, but I do somewhat follow a few superstitions. Whenever I find a penny on the ground with heads facing up, I pick it up because I believe I'll get good luck. Doing the whole "fingers crossed" thing is something I do a lot. I believe you shouldn't open an umbrella in the house or else you'll receive bad luck. Broken mirrors are bad omens. Those are the top 4 I believe in, but other than that, I'm not really too superstitious.

Q: Is your perception of yourself similar or the same to how others perceive you? A: I mean, I would hope so. I appreciate my level of smarts, and whenever my friends acknowledge them or compliment me on them it makes my day. However, with that, people think that I'm always only doing things to boost my intelligence. For example, I love to read. So whenever I say that I didn't do much over the weekend, people always assume that I read a bunch, when I really didn't. Or that I always study for tests or do homework like a week before it's do. That is not the case. But for the most part, I believe my perception of myself is the same as how other people perceive me.

Q: Who is your favorite couple on each One Chicago show? A: Okay, so for Med, there aren't really any couples at the moment besides Maggie and Ben, whom I love but they aren't my favorite, so I'm gonna pick a past couple. When I first started Med, Manstead was my prime ship, so I'll choose them. Will had been pining after Natalie for so long so I was glad when they finally got together. For Fire, it's gotta be Kelly and Stella. They were literally made for each other, and they support each other with everything. Also, they are so cute together and all of Firehouse 51 ships them as well! And for PD, while I do love Burzek, Upstead is my favorite ship at the moment. I've seen the connection between Hailey and Jay since season 5. You don't understand how angry I was in season 7 when Hailey was so close to confessing her feelings. So season 8 made me very happy when Jay and Hailey finally got together.

Q: Jay and Lindsey or Jay and Hailey? A: I respect everyone's opinions on this matter, so hopefully you all respect mine. I thought that Erin was almost toxic in a way for Jay. She continuously broke his heart when all he wanted to do was help him. But what really does it for me is that she left Chicago without telling him goodbye. Hailey, on the other hand, has pushed Jay to seek out help when he needed it, like when she recommended he take seeing a therapist seriously to help with his PTSD, and she is always there for him, no matter what. That's why I believe Hailey and Jay are the better pairing.

Q: Which character death got to you the most? A: There have been too many sad deaths in the One Chicago world. But if I had to pick one, I've gotta go with Otis on Chicago Fire. Otis was always one of my favorite characters, even way back when I watched Fire with my dad when it was first coming out. He was witty and funny, and his friendship with Cruz was everything. So, when I watched the episode where he died, I was full on balling. I had to pause the episode for 10 minutes because I couldn't stop.

Q: Who is your favorite character on each show and why? A: I'm gonna do favorite male and female character because I've got too many favorites from each show. On Med, my favorites are Will and Natalie. Will has been my favorite since day one, and I like that he will go out of his way to help patients, even if it means he could get in serious trouble. Natalie, even though she's not in the show, always pushes for the best of care for her patients, and whenever she dealt with kids it was always the sweetest thing. On Fire, I like Kelly and Sylvie. Kelly is so headstrong and driven, and he will do anything to protect the other members of Squad 3. Sylvie is such a hard worker and you can tell she is passionate about her job. I feel so bad that she's had to go through so many partners. On PD I love Jay and Hailey. Jay has not always been my favorite male character. Back when I watched the show for the first time, I adored Adam. However, I love that Jay has such good morals and is always pushing to do the right thing even when Voight disagreed. Now, it took a few episodes for me to warm up to Hailey, but after seeing her be so badass, it was hard not to like her.

Q: Where do you get inspiration for your stories?/How do you get inspiration when there's not a request? A: This question is always hard to answer because I really don't know. Most of the time I'm fulfilling requests sent in by you guys and I just write what comes to the top of my mind. If there are requests that are not requested and I come up with them on my own, chances are I saw the plot somewhere else, like in a book or show or movie, and I just tweaked it a bit to fit the One Chicago universe. Either that happens, or while I'm trying to fall asleep, I make up random scenarios in my head, and if I find one that I really like, I'll make a note of it on my phone so I don't forget it, and then I'll write about it.

Q: Do you think Brett and Casey are endgame? Why or why not? A: I'm gonna go with yes on this one. Now, Brettsey is not one of my top ships in the universe. However, they are cute together, and I've been expecting them to get together for a while. The two of them, even when Gabby was around, had a great relationship and always cared for each other. Plus, Matt jumped out of a firetruck to go help Sylvie when the ambulance flipped. He was willing to risk an injury just to make sure she was okay. And now that they are officially together in Chicago Fire, you can see that they really love and care for each other.

Q: What inspired you to start writing? A: I always seem to get this question whenever I do a q&a, but that's okay because I don't mind talking about it. I first got into stuff like this as a reader. Basically, I went on to Wattpad and Tumblr to read other people's stories. I had no intention of creating my own. And then, one day, I started imagining myself in some of the fandoms I was apart of, and I thought, "If I'm imagining myself in these fandoms, chances are others are too," and I began creating stories that followed the plots of movies and shows exactly, just adding Y/n in it. However, that got tiring after a while because I wasn't able to have much freedom because I was following a set script, and that's when I remembered I had a Tumblr account I never used. So, I revamped my account just a little bit and started posting story ideas I had that I couldn't post on Wattpad because either they didn't fit with the stories or they were for someone I didn't write for on Wattpad. And now, here we are. For anyone interested, I've posted this before but I'll post it again, my Wattpad handle is @Writer_Reader05.

Q: Jay or Will Halstead? A: I'm sorry, but I really can't choose between the two of them. I love them both so much. Will and Jay are two of my favorite characters in the whole One Chicago universe. While they do have some qualities that I'm not the fondest of, at the end of the day, I adore the both of them, and I could never choose between them.

Q: Who would you rather date: Jay or Will Halstead? A: Why do you guys do this to me? I love them both so much! But, if I have to choose, I'm gonna pick Jay. The only reason is because I like the characters in PD more than Med, so if I'm dating Jay, chances are I'm friends with Hailey and Adam and all of Intelligence. Will is just as awesome as Jay though and I feel like sometimes people sleep on that.

Q: Which of the requested fics you’ve written is your favorite? A: I think I'm gonna have to go with a Jay Halstead x reader I wrote titled Two Becomes Three. Something about the plot just makes me smile. And to think of Jay being a father......So yeah, while I have so many amazing requested fics thanks to you all, that one has to be one of my favorites.

Q: What’s your favorite series you’ve written so far? A: I love all of the series I have written. Something about creating a whole story that's more than just one part is always fun. If I have to pick one series, I'm gonna pick On the Loose. It was the first series I wrote on Tumblr and the plot of it is something I'm really proud of. However, From the Big Apple to the Windy City, Identity Loss, and Difference of Opinion are all amazing! The first two are finished series and the last one still has a few chapters left to go. Go check them out if you haven't already.

Q: What's your favorite imagine you've come up with and why? A: I don't have a lot of fics that are solely my ideas. Most of my stories have plots that were sent in by you all. However, if I had to pick a favorite out of my stories, it'd be Back Home for Christmas, a Halstead Sister fic I released when I was somewhat new to the platform. Something about writing sibling fics always makes me happy because I get to express the familial side to the characters.

Q: If you had to be roommates with 5 of your mutuals/fellow writers, who would you pick and why? A: I love all of my fellow writers/mutuals so much! I know how much work we put into whatever we post, and most of us are very active on this site. As for who I would pick to be my roommates, I'd choose @hereforhalstead @fighterkimburgess @halsteadlover @resanoona @sylviebrettsey because I feel like we'd all have great conversations, mainly over One Chicago. And every Wednesday night we'd all watch the episodes live together and experience them as a group and then freak out over what happened..........Now watch me fantasize about this all day.

Q: Do you listen to music when you write? A: It depends. On some days when I plan that I'm gonna write, then yes, I do put on some music. When there are days that I have a few minutes to spare, I don't put on music just because I'm only writing for a few minutes and I don't want to waste time. But mostly when I'm writing I do play music in the background.

Q: Do you know how your fics/stories end before you finish writing it? A: This is a really interesting question. The answer is no, I do not know how I'm gonna end a fic before I finish writing it. The only story I had a set ending for was my series On the Loose, but that one wasn't even fully planned out until I got a chapter or two in. Obviously, if I get a request that includes a set ending, like two characters get together or something like that, then I know what the ending will be. Otherwise, I have no clue.

Q: Have you ever met someone who had a very similar personality to your own? Did you get along? A: You know, I can't say that I have. Everyone is different in their own way, and that's what makes us all unique. I would imagine if I did meet someone with a similar personality we'd get along because we'd basically be a carbon copy of each other, but who knows. Maybe our similar personalities would cause us to clash.

Q: Do you hold yourself to higher standards than you hold others? A: Not really. I know myself more than anyone else so I know what my limits are and when I've reached them. With people, on the other hand, I always feel like they can be doing more with themselves and their lives. So I do not hold myself to higher standards than others.

Thank you to all of you who sent in questions! I never thought I'd reach 750 followers on this platform. The only reason I have is all thanks to you wonderful people out there!

@winterberryfox @maximeevansblog @scarletsoldierrr @i-like-sparkly-things @dreamingmanip @soph0864 @ryliegh8 @lorenakaspersen @wanniiieeee @nevertoofarfromivar @securityfriendly-jay @pinkbay-love @stephie123

[fangirlinglikeabus]

every target novelisation....2!

planet of giants by terrance dicks ok so i think that the reason that this is...good, and an unearthly child was...not good, is because this was written 9 years later when like. other, non-terrance dicks people were also novelising stories and he wasn’t just grinding them out on an industrial level. planet of giants isn’t one of the greats of doctor who but this is a competent adaptation - it doesn’t add much but it does flesh out what’s already there, giving us some backstory elements and making the appearance of giant insects and bodies seem a bit more dramatic than they could manage in 1964. unfortunately it also alters my favourite line from the story (‘i don't know how you know, you're supposed to know!’) and the doctor is weirdly hostile at the beginning (he’s looking forward to ditching ian and barbara, he responds to barbara’s observation ‘drily’ like he’s being a bit sarcastic over her, um, *checks notes* noticing important details). also, dicks describes this in the opening as ‘the doctor’s most grotesque and terrifying adventure’ and i’m like...planet of giants? really??

doctor who and the dalek invasion of earth by terrance dicks ok this one legitimately doesn’t change much at all. it cuts down on some things (including the doctor’s end speech being shorter - i’m assuming that’s a space thing), fleshes out on pov bits as you can in prose, gets rid of the smacked bottom line. bizarrely there are a few times that susan calls her grandfather the doctor which...i’m pretty sure wasn’t there originally. aside from all those small details, yeah it’s basically the same, but it’s well adapted for prose (i genuinely think it stands as a novel in its own right), and depending on your reading speed it might actually be a nice, shorter alternative to the television version - it was around 45 minutes less time for me. some general things i wanted to comment on: the resistance is explicitly shown as kinda gender segregated (exclusively women are preparing food when we first see it) which irritated me; the description of parliament as a symbol of ‘human progress and tradition’ reminded me of blood harvest having the lords/commons system as the Ideal Form Of Government, in terms of how terrance dicks thinks (this may only interest me? idk i very probably spend too much time thinking about the political views of this particular dead dr who script editor); there’s a use of holocaust here that’s technically accurate to what the word literally means but it felt weird to me to use it.

the rescue by ian marter oh man i’ve been busy and this took me aages to read. it kinda...diverges increasingly from the original story as it goes on. we’ve got some scenes with the seeker crew (incidentally one of them says ‘ass’ and i was like???hello???you’re allowed to do that in a dr who book from 1987???), and then most of the expanded stuff is in the climax. dr who and bennett have a full on brawl! ian, barbara and vicki visit a destroyed didoi city on their way back to the tardis! mysterious silver figures! a giant worm encounter! incidentally, this does have way more of a downer ending than the original because it’s strongly implied that the last two of the didoi were killed by seeker crewmembers who fired in a panic, after which the report that forms the epilogue ends with “goodwill to all persons” to give us a taste of bitter irony. so that’s kinda grim. um...there’s actually a lot of little changes and minor expansions to this one as well so off the top of my head: we learn more about why vicki left earth (global warming :/), sandy is a lot more threatening-looking than on screen, the crashed ship gets its name changed to astra-nine, ian and barbara hold hands briefly, barbara’s fall really leaves her beaten up. i like the seeker crew comparing the tardis briefly passing them to various non-police box objects from the future (although the link to china is a bit eastern world=alien association for my tastes), dr who telling vicki ‘give that pretty face a wipe’ is clearly him attempting to cheer her up and it’s not meant to be weird but i found it weird. finally, i’ve gotta say i appreciate ian marter’s commitment to ‘mildly unsettling’ in his descriptions of tardis materialisations. this was the last novelisation he wrote before his death (the book’s dedicated to him) and mild criticisms aside, i do think he’s a good writer and he brings an interestingly different angle to the series. 

the romans by donald cotton oh my god. how do i even start this. i’m not even going to try cataloguing all the changes because this isn’t even close to a straight adaptation. it’s told in the form of various documents collected by tacitus - the doctor’s diary, ian’s journal that he keeps to prove to the headmaster at coal hill that he and barbara haven’t just eloped (i’m not joking, this is the textual reason for it), an assassin’s letters home to his mum, nero’s scribblings, and various other little details. vicki and barbara get less attention than on screen because we don’t see much from their perspective (vicki unfortunately doesn’t even get to chase the assassin out, she just screams in this), and the nero assassination plot is exclusively confined to being mentioned in the epilogue. it’s also a lot broader, or at least consistently broader, which means that ian’s side of things is treated a lot more lightly (which i was personally fine with) but also that we still get nero’s predatory behaviour being played for laughs. there’s also a few comments about women early on that i was unhappy with, and use of fat as an insult. generally, though, i thought this was great! there were a lot of things that i don’t have space or time to include here but i really liked. i guess i’d consider this as a companion piece to the tv version rather than a replacement, which some of these do basically serve as. they tell the same basic story, but they’re so different in a lot of ways that i think it’s worth looking at both. i just checked my notes and remembered this so content warning: poppea sabina’s first section references suicide.

doctor who and the zarbi by bill strutton ok so i think the web planet is boring. i don’t know completely why, i don’t think it’s any one thing, it has some interesting ideas, but it is! it’s fucking boring! anyway, we have a bit more casual sexism in the novel, we’re missing that fun convo about aspirin between vicki and barbara, but really i don’t think it adds or changes much - like even the chapters correspond pretty much exactly to the tv cliffhangers. i guess it’s competently written prose-wise, but i genuinely can’t get over my conviction that this story is boring. am i being unfair? maybe! i like some of the early atmosphere, though, and i appreciate a book which refers to ‘the ship tardis’ (lowercase) and ‘doctor who’ throughout the entire thing. oh yeah, and i encourage you all to look up the illustrations for this. i don’t know who that woman is but she’s definitely not vicki.

doctor who and the crusaders by david whitaker ah yes, the infamous ‘susan married david cameron’ novelisation. tbh i don’t like the crusades and this has the same problems - i don’t care about the english, el akir is every orientalist stereotype whitaker could possibly cram into one man, and That’s Not How A Harem Works. do i think it’s the most egregiously racist doctor who story of all time? probably not! it certainly has sympathetic arabic characters too. but i prefer most other historicals, at least. however, if that isn’t you, i’m sure you’ll get something out of this. there aren’t any particularly extreme changes to the plot structure, although it’s missing some later scenes at the english court, but it’s well written and probably if you like the original you’ll enjoy it more than i did. there’s some dated language surrounding black characters, though, i’m not a fan of the whole ‘we aren’t so different’ speech ian has (because it rests on ‘we all believe in a higher power’ which uh. i don’t. guess that means i’m not ‘civilised’. also generally i don’t like the argument that we should respect each other because of what we have in common - you should respect other people whatever!), and the prologue at the beginning where they muse on history and destiny assumes that the english invaders and the arabs are both equally right in their own ways (the doctor outright says this!)

the space museum by glyn jones so, i really like the space museum. mainly for vicki’s revolutionary fervour, but there are other reasons too. however, i don’t think that this really adds enough to be of interest - although we do get some information about the two alien species’ biology, and a bonus explanation of why everyone speaks english (the moroks briefly considered invading earth so programmed some earth languages into their translation system). there’s a bit more wandering around the museum, some minor tweaks and expansions in other areas, an underground tunnel scene where we learn a bit of the planet’s backstory...ian and the doctor are very snippy to each other in this, which i find funny. oh yeah, and there’s a bizarrely meta bit where ian comments on poor dialogue? basically, this is a book i enjoyed, but really it just makes me want to watch the space museum instead of reading it. just a heads up, there’s a character who briefly considers suicide to get out of his bosses being angry with him. 

the chase by john peel ok before i get started i need to establish that the cover for this one slaps. anyway, i don’t respect john peel at all but this was...alright? doesn’t expand much plotwise (although i suspect both the sand monsters at the beginning and the plants at the end have slightly more to do) but we get a fair bit of pov stuff. unfortunately lacking ian’s dad dancing and hi-fi the panda, the marie celeste bit is no longer played for comedy (barbara angsts over it) and even though the two paragraphs dragging morton dill are kinda funny i’m not sure how i feel about him being committed for claiming he saw daleks. ian and barbara’s departure plays out a little differently. steven is blond for some reason. we learn as well that daleks are charged by solar panels (at least they’re pro-green energy??)

the time meddler by nigel robinson pretty competent, straight down the middle novelisation, although that is tempered by inserting some weird sexist bits for steven and also lowkey being nostalgic for 11th century england at a few points? it’s also a bit more violent than we see on tv, and if anything the rape is more loudly implied, so heads up. other than that, there are a few minor embellishments (we’re explicitly told the dr and monk recognise each other, vicki tells steven that the tardis is important to her because it’s her home, a few differences between the monk’s tardis and the doctor’s are described, vicki views steven following her as a triumphant victory in their power struggle which i personally find funny), and there’s a prologue (recapping steven’s arrival in the tardis) and an epilogue (which delays the monk’s discovery of the broken tardis because he walks to hastings first to try and get involved there). i had fun, but it’s not a must read. 

[whereyoursoulresides]

DiC Dub. vs Sub, Episode 21/25 - “Jupiter Comes Thundering In”/”Jupiter, the Brawny Girl in Love” Pt 2

After so long, here is part two!!

Because of the massive break in between the two, I’ve had to switch gears a little with my explanations, but hopefully they’ll still appear coherent! Without further ado, the remainder of this episode of Dub vs. Sub!

Previously, I covered the manners in which the episode begins to establish the foundation for both diverging character arcs. Propped with knowledge from both Beryl and Kunzite, Zoisite takes his charge with perfect grace and professionalism. Meanwhile, DiC's Zoycite is introduced as being far keener, promisingly relentless, and a more dangerous adversary. If Zoisite was concealing his fangs, as it were...then we were introduced to Zoycite flashing hers.

If it sounds like I'm bashing a dead horse with this difference a lot,  perhaps it's also because the DiC dub seems to do so with as much vigor. Certainly, I can't assume writers' intentions when they re-wrote the character for DiC. However, DiC seemed to find as many opportunities as they can to showcase Zoycite's contrary presentation of Zoisite's original character as often as they can, even when they didn't necessarily have to...

This bit of exposition was given right at the very beginning of the DiC version when no such introduction was made in the original. Possibly, DiC made this change to ramp up the story's dramaticism. However, DiC's reputation for obvious exposition leads me to believe otherwise, especially when it starts cropping up in later episodes more frequently, and for no other reason. 

(For example, yes, I understand that the following screenshots are referring to Lita / Makoto. However, if you look at Zoycite’s arc as a whole, it is also an excellent setup to the infamous “Disguise” episode...and I feel it is also a great representation of why DiC so desperately wanted to sow these character changes into Zoycite. For if they hadn’t, and Zoycite remained exactly as Zoisite in all manners except gender... how different would “she” be, a beautiful female soldier fighting for love, than another titular character we know?)

Anyways, I digress, and will return to the above bracketed point once we reach that particular episode. In the meantime, please enjoy the following comparisons remaining from the episode below...

1. Zoycite’s keenness, and further proof that DiC can’t stand empty sound space, even if it’s to imply a character’s softly - and ominous - coming).

2. I wish there was a way I could put audio clips in these tumblr posts, because I do love how both these characters are still portrayed with a sense of play...Zoycite’s acrid, saccharine poison, and Zoisite’s breathy, cotton-candy kiss of death.

3. If I could put in audio clips, this is where we would hear Zoycite’s syrup literally curdle - her voice rips into an edge of monstrous roughness, similar to other other monster-of-the-day characters that were also portrayed by the same actress. Meanwhile, Zoisite’s actor speaks with a softness of a snake beginning to gently suffocate you..

4. Goddamnit Zoi, you are so fucking cute, I will never get over how you call out your own name like you’re a fucking pokemon <3.

(Side Note: Zoisite’s use of his own name may seem vain, but I tend to read it less as a form of vanity, and more of a form of cute-speak. It’s yet another way he downplays the perception of his potential: to evoke the sense of adorableness, of femininity, a way to startle the opponent into a sense of lowered security. Honestly, I’m sure this isn’t so much of an actual farce he puts on and is genuinely how he expresses himself, both on the job and at home, but it works! Note that in the future, whenever Zoycite uses the same tactic, she never says it in the same, diminutive cute way. Her spell-cast is always aggressive, shouted in determination and confidence).

(Extra Side-Note: Another +1 for how many times Zoycite will say she is excited to please Queen Beryl. I’m keeping count for an explicit reason. Infer that what you will, and please imagine it with the same kind of “ding” that’s heard in CinemaSins.)

5. I mean, apart from the usual (Zoycite’s kneejerk reaction is to be antagonistic, while Zoisite is actually only politely informing Makoto that she does not have to engage, etc, ...he literally does not coax, mock or challenge. We will see later that Zoisite treats physical bloodshed and confrontation as unnecessary and only as a last resort, while Zoycite is spurred by challenges) - I also love how Zoycite’s dialogue also reflects this difference. I’ve talked at length at how Zoisite is always unfailingly and elegantly polite before, and now look at Zoycite’s speaking mannerisms: uncouth, aggressive, and filled to the brim with attitude when the opportunity arises. ‘SCUSE ME, indeed!

6.Further point regarding Zoycite and Zoisite’s divergent opinions of physical or violent confrontation: one disparages it, considering it barbaric, and that he is above it (often literally). The other laughs in the face of it, and has no qualms dishing it out as a threat...or is more than ready to follow it through.

(Also: buzz off omfg)

In fact, we see their opinions play out beautifully below:

7. After being punched, compare these reactions: one promising brutal threat, and the other fucking gobsmacked it even happened. Also, their differences in priorities.

While that may sound like I’m making a dig at Zoisite, I am legitimately not. I know this scene tends to be one of the ones that famously evoke the idea of Zoisite’s vanity, but I tend to read it another way. Yes, Zoisite’s face is precious to him, and yes, it could also be read as a stereotypical portrayal of a feminine gay character. 

However, this scene is not meant to illicit laughter. Nor it is not meant for us to startle with incredulity of how silly it is that he is upset his face his hurt. In this scene, Zoisite is truly shocked - his words are less an angry tantrum and more a statement of startled fact. He hadn’t anticipated Makoto could get that close to him, could actually touch him, much could actually strike him. And, in a place that is fiercely protective of, not because of his vanity...but because it is a precious commodity in the main force that drives his arc. (Yes, it’s Kunzite.) It’s no surprise that Zoisite’s beauty and “beautiful face” gets mentioned so often at key moments in his character development. His arc starts with a punch in the face, rises with gentle caresses, and - after a similar injury - crashes.

All of these subtleties, however, are swapped entirely in Zoycite’s case. Her face is not a fragile commodity by which she holds dear...in fact, it is of little importance to her. Her immediate concern is vengeance - more so than the injury on her face, it is her ego is bruised, and damn anyone who dares to make that mark.

Anyways, before I digress further, let’s round back up to the remainder of the episode. These last few scenes only continue to consistently show the differences in Zoycite’s and Zoisite’s professional approach. There isn’t as deep to note, with one exception at the very end...

8. If you haven’t already caught on, Zoycite really wants this fucking crystal.

9. Up above, DiC makes as much of an effort to showcase how much joy Zoycite derives from her job. Being a Negaverse warrior is an excellent honour - your true self - and boy, is she enjoying exerting her power over those below her. Zoycite’s ambition is demonstrated not as an ideal professional characteristic, but the potential in her to throw a coup if she wanted to. She is power hungry, and that grows recklessly to dangerous heights as her arc progresses. Notice that Zoisite says none of these things...because it isn’t power he seeks. He approaches his subject with almost professional indifference: he seeks no more than the objective of his task. And don’t worry, “it will only take a moment”.

10. This has always been one of my favourite scenes. I just love how Zoisite politely “nopes” out, while Zoycite - and I fully believe it - has a fucking victory celebration. (Don’t think for a moment Zoycite is just jesting, she probably told Malachite to set out the champagne before she left on the mission!)

And again, note the increased victorious laughter, where there was none before...

And FINALLY, the one ODD thing that happens a LOT throughout DiC’s version of this character arc. Remember how I mentioned in a previous instalment that DiC seemed to like to inject extra dialogue and laughs that could exposit Zoycite as a fundamentally meaner character than Zoisite?

Hey look, it happened again:

Like, this may not seem like much of a deal, but think about it. We had a scene earlier where Zoisite’s words basically remained the same in conversion (the “order” scene). We’ve had many instances where the original dialogue/script did not need to be changed, and yet was tweaked in just certain places. This seems like a wholly unnecessary change, so why do it?

The answer is: in changing Zoisite’s gender, DiC encountered a whole other problem. And that problem was: a female solider character, who’s primary motivation was love, a love that could be read as more complex, established, and equally both inspirational and problematic ...could end up becoming an unintentional role model for DiC’s demographic. Figuratively speaking, the tragedy by which we all love Kunzite and Zoisite’s humanity for carried a message that DiC feared might be misconstrued as another example of a miracle romance - because at that point, superficially, the character would no longer be any different than Sailor Moon. iIf Zoycite also fought for love, then her motivations would blow a hole right in the Power of Love message that DiC’s Sailor Moon stood for. And, if she was as dedicated to Malachite as Zoisite was to Kunzite - questionably so - it would also rip a massive hole in DiC’s message of Girl Power. 

I’ll talk more about this in greater detail as those essential scenes crop up throughout the arc. For the time being, let’s simply observe that for all the animosity Zoycite gets in the DiC version (even by other characters in the same universe), that Zoisite was never perceived in the same way, even by his enemies. And there’s a reason for that.

[darkzeruda1214]

I’m not going deny, I was heavily inspired by just a Pancake’s video: https://www.youtube.com/watch?v=MoIpdFLz-Ls&t=4s

The Fandom does a much better job at writing and developing these gals than game has ever done or shown. I do love these three but stuff like this still bugs the shit out of me.

I love these gals. But I’m not going to deny that Just a Pancake really makes a valid point. And to be fair after some thinking I see the argument he was trying to make.

Now I know we all have own opinions and that’s fine. I stay firm with mine as you do yourselves. And that’s what makes a fandom, we all have a right to dislike and disagree if we want to. In fact I do encourage because it allows debates and second thinking if needed.

Anyways… back on topic, I’m going to be blunt. But Kingdom Hearts just dosen’t make good female characters. (This is not including Disney girls of FF, just KH original characters)

And it’s kinda sad considering how few main original KH female characters there are. You think they’d be able to bulk up personalities, but that seems to go to all the male characters.

As amazing and fun this game is, it needs some tweaking on making their female characters, feel alive.

Now I’m not talking about the fandom perspectives of these gals, because I’m going to be real. The fans do an INSANELY better job at portraying these girls. (TAKE NOTES NOMURA DAMN IT!)  

Now there are a few exceptions a couple being Larxene and Olette. To me (and feel to disagree with me) they were the only ones that felt like had something to offer.

Larxene has more character than all the other gals. Being sarcastic, sadistic and snide (at times insufferable bitch) and to me that breaths a lot of personality and I love her for it. Even her voice actor has put a great amount of effort in bringing Larxene to life. Out of all the KH girls she is the one who brings in most of the attention. And even in the few scenes she gets the spotlight without even trying.

The second being Olette. Now I know some of you are already typing as to how she has anything to offer. She’s not even a main character! Yes, and that the thing, I think because she has no major role in it allows the writers to give her a character that comes off as simple and sweet. She’s the only one to demonstrated that she’s as normal and ordinary as a person can be in this series. Something we don’t exactly see happening in the KH franchise since every named character has a role to fulfill, and for her to be a small breath of fresh air is a nice change of pace. It shows: yes there are normal people, with normal lives. They have no scripted important task ahead of them, and it’s nothing to be ashamed of it.

And not only that, we did get to know bits and parts of her personality. And her interests thanks to small details sprinkled in KH2 and 3. Such as showing she has her priorities straight and 'actually' doing her homework/jobs before the due date. She loves going to the beach and loves spending time with her friends. Also she like to go shopping. A simple character, with a simple purpose. And to me she feels alive and just in general, a simple but easy character to relate to. She’s a perfect example of a beauty in simplicity.  

Now… as for the main girls.

Aqua is literally my favorite KH girl. However, the thing about her, is that she shared too many similar features with Sora. Now I don’t mean personality wise because Aqua is much more mature and level headed than Sora could ever be 

However, as much as I really hate to admit it. Aqua doesn’t have anything to offer other than a serious role model and as a plot device...

I think what made Aqua popular is the fact that she’s a strong independent female character who doesn’t need no man to save her. (Also, she has a really well thought out design). And for that I praise and respect her for it. Yet… throughout the game, she relatively keeps the same straight face. Her expression has shown to be sad, angry or just stoic. Nothing too bad, but as far as that, we don’t see Aqua have any interests beyond wanting to save her friends. And to me that’s all she did in the series, I’m not going to lie the first time I played Birth by Sleep, I saw absolutely no reason for her to be in the game. I mean Xehanort (he can go suck a dick) focused all of his attention on Terra to take over his body. And on Ventus to play a role in forging the X-blade.

But as for Aqua, to me it seemed like she was just walked in there to simply fill a space and create another trio. Now I’m not saying under circumstance that she is useless. After all, her role in the game is a huge catalyst for the events of KH1. It gives her a purpose and is one of the most important characters. But to me that felt more like a large plot device and changer other than being a person. Aqua suffered a lot in the series, no doubt. But being a catalyst isn’t enough to be a good character. She’s not bad by any means, as I still hold her a place in my heart. But I feel like she was put on plot pedestal in the series instead of being given a full fledged personality that makes her relatable. There are only two instances that allowed Aqua to not be a emotionless character:

One being with Zack asking her on a date and the second is when she tried to help Cinderella and Jaq in Castle of Dreams world. To see an awkward/embarrassed expression instead of the dull zombie-like one was a nice sense of relief to give her something.      

Another character that suffers from this treatment is Xion. She is one of my favorite characters from 358/2 days, but beyond the fact that she got the short end of the stick of being forgotten by her own friends (and everyone else for that matter). Her story is a tragic one, one that always gives me the feels and her theme is both beautiful and sad. But I wouldn’t say she had a character that made me connect with her as much as it could have.

She definitely has more expression and personality compared to Aqua that’s for sure. But not by much, however hers is within good reason. After all she was a puppet created by Vexen and Organization XIII don’t get me wrong. I understand that, and I would say it’s unfair for me to be saying this to her. And you’re right, it is unfair, but Xion eventually learned how to have emotions. How to cry and what happiness and laughter is and feels like.

The one thing I did get from her is that she loves sea salt ice cream and is one of the cutest and sweetest character in the game. But as far as her interests goes, there’s not much to go by. Now I know you can argue that both Roxas and Axel don’t exactly express their interest beyond their time in the clock tower. And it’s true, but Xion doesn’t add much more either… again I feel like she was only added in the game last minute. And that’s why in the story she’s forgotten so they have an explanation as to what happened to her and why she’s not recalled in KH2. Xion also gets the “plot device” treatment rather than as a character. And to me it feels like a disrespect to her character! (Her manga incarnation is MILES better).

However, I also don’t say much on her either only because she is still learning how to be her own individual. But my point still stands, though it’s prone to change, mostly because she now has the opportunity to be a character after KH3 since everyone remembers her and has her own body. And she might finally get an personality expansion in the next set of installments in the future.

Now as for Kairi…

Well this topic has been talked and reviewed over to death. In fact I even spoke about her character in this post here: https://princesszelda-heroine.tumblr.com/post/187815960646/kairi-deserved-better

But to sum it up, Kairi hasn’t been given a chance to shine as an individual compared to her friends and the others. And after what happened in KH3 I’m just more frustrated with the writers and developers that they won’t allow her to grow with sustenance! Whatever she had in KH1 and 2 was totally stripped in KH3.

My point being. Being a plot device in game or a catalyst for another one. Or having amazing/original design, does. Not. Make. A. Good. Fleshed. Out. Character.

I’m sorry to say this. But it’s true.

This is why I hate the treatment these gals go through in game. I stick solely to fan works because they give these girls the justice they deserve and makes me love them more as a whole.

I know there is a lot of things I didn’t cover, and maybe I missed a couple of points. But this is how I see this, and how I think the franchise is really missing a lot of good opportunities developing them.  

They really don't have much to offer as far as personality growth. Thank You KH Manga series.

[idabbleincrazy]

AotM readers, need your opinion...

Could really use some help narrowing down which 3 snippets to submit to WIP Big Bang for artists claims, can’t decide which ones will best draw interest from the artists.

Will post my potentials below the cut.

Snippet One

Christa woke up to the feeling of warmth against her back. As she pulled herself out of the fog of sleep, she recalled the events of the night before. After she and Gabriel had finally confessed their feelings, they had spent the entire night showing each other exactly how loved they were. Gabriel had taken his time, worshiping every inch of skin, committing to memory every reaction, every sound she made. She had lost count of the number of orgasms Gabriel had worked her through, his angelic stamina making recovery time almost unnecessary. Every nerve of her body sung in response to the slightest touch, warmth spreading through her from every point of contact. When they were both thoroughly sated, Christa promptly curled up in Gabriel’s arms, wanting as little space between them as possible, and fell asleep.

Christa blushed as the images flashed through her mind. She was torn between the stirrings of desire and her debilitating self-esteem issues that were once again pushing their way to the front of her mind. She still couldn’t wrap her head around the fact that Gabriel loved her. Her heartbeat sped up as she worried her lip.

A hand running along her arm startled her from her thoughts, as the arm Gabriel had wrapped around her waist pulled her flush against him, his nose brushing against her neck. “Morning, sweetheart. You okay? Your heartbeat is running a mile a minute.” He nuzzled into her further and placed a gentle kiss on her shoulder.

Christa sighed and relaxed into his touch. “Oh, yeah, I’m fine. Just…over-thinking things, again.”

Gabriel’s free hand ran back up her arm and stroked her cheek. He stretched out a finger and placed it under her chin, tilting her face up towards him. He stared into her eyes, a calm smile on his face, silently nudging her to continue.

“I’m just still trying to process the fact that you, you want me. That you love me. I-I’m not entirely convinced that this whole thing hasn’t been some crazy fever-dream. I’m afraid that any moment now, I’ll wake up, in my own bed, alone.”

Gabriel’s smile slid slightly at her words, feeling the emotions rolling off of her in waves. He could feel how deep her worry ran, disbelief and fear tinging the corners of her mind. His Grace thrummed at this realization, reaching out for her in response. He held it back, barely. He couldn’t let his Grace just do the work for him. He needed to show Christa her true worth on his own, the way a human would. He took one of her hands and placed a kiss on her palm.

“How can I convince you that you really are awake? That last night really happened? Should I…pinch you?” The arm he had around her waist snaked up and gently tweaked her sheet-covered nipple, causing Christa to let out a surprised squeal.

“Should I tickle you?” He smiled down at her as he sought out sensitive skin, not stopping till a peal of laughter rang out from his human. He could feel her nerves starting to relax, but the taint of fear still lingered. He untangled himself from her and laid her back against the pillows, pulling himself up on an elbow. Staring down at her, he traced a finger along her jaw, up to her earlobe, and down her neck and along her side.

Snippet Two

Soulmates! They. Were. Soulmates. How was that possible? How was that a real thing? And wasn’t it just Christa’s luck that her soulmate was a freaking Angel; and not just any old angel, oh no, an Archangel! A top-tier, celestial being, just a step below Chuck himself. Sure, she knew she was falling hard for the golden-eyed feather-brain; but it was another thing altogether to find out it was literally Fated, planned out by especially God. Did she even have a choice? What happened to free will?

Her head began pounding as her thoughts swirled. She took a deep breath and tried to fight back the wave of anxiety she felt starting to rise within her. Christa had been so happy last night. Why did this have to happen? If she hadn’t been so stubbornly set against believing he could feel the same way she did, would he even have shown her the truth? Would he have just kept stringing her along, forever, letting her believe it was his choice to be with her, not destiny? Maybe it would have been better that way, staying blind to the truth, basking in the glow of his forced love.

The way she had felt with him last night, she had never felt with anyone she had ever met. She had never felt so secure, so safe. No one she had ever been with had made her feel like she could trust them with her life. Heck, none of her relationships had even lasted more than a few months, even before she had become a hunter. Even if the sex had been great, she would soon realize there was little to nothing that she had in common with the person. Some of them had become good friends, some like family.

Take Sam, for instance; when Christa had first met the Winchesters, she had found herself inexplicably drawn to the tall, dark-haired hunter. They had ended up going on a couple of dates, even shared a kiss or two, but something about it had seemed, well, off. Luckily, they had both realized that before ending up in one or the others bed. Made it less awkward to just go back to being hunting partners. Eventually, she began to just see him as as much of a brother to her as Dean, though there was still some odd tug she would feel every now and then. Christa had felt one of those tugs the other day, when Sam had hugged her good-bye.

She sighed, her head in her hands as she sat against the door. All this time, she had thought her failed relationships had been due to the deep-rooted fear of rejection she’d had ever since she had gotten attacked by the werewolf that had left her neck badly scarred. Though, if Christa looked back, really looked, she knew it went back way before the day she stumbled upon the supernatural. Even back in high school, the other kids had never been more than a passing fancy. She’d felt love, sure. But never the type of love that made her heart flutter every time she thought of the person. The type of love that made her breath catch in her throat when she looked at them. None of that had ever happened until Gabriel.

Snippet Three

Christa set the mug on the counter and picked up the jar, running her fingers over the ribbon around it; she hadn’t noticed it there before. There was a tag attached to the ribbon. She opened it and read the two simple words written there in a beautiful flowing script.

I’m sorry

Christa sighed heavily and twisted the cap open to give it a sniff. The jelly smelled like a mixture of raspberry and currant, along with something she couldn’t quite place. She placed the cap back on and put the jar in the fridge, grabbing the creamer and went over to the coffee machine. After she made herself a cup, she hesitated. She pinched the bridge of her nose, fighting back the headache that had been pushing at the back of her skull for the past hour. She went and grabbed another mug and fixed a cup for Gabriel.

Walking out of the kitchen, she sent out a timid prayer to the Archangel. Gabriel, you can come out now. I’m in the library. She went and sat at one of the desks, her gaze fixed wistfully at the leather chairs as she waited for Gabriel to make his way down the hall. Staring at the chairs, the scene of last night’s mutual confession of love replayed in her mind. So much had happened in such a short time; last night seemed like a year ago. Christa shook her head to clear it as Gabriel hesitated in the doorway.

“You can come sit down, I made you a cup of coffee. Consider it a peace offering for the way I ran out on you.” She nodded him over to the table, sliding his mug over to the chair across from her. She was wary of making physical contact again just yet. “I’m sorry I freaked out like that.”

Gabriel sat down and took a sip of the coffee. He wanted so badly to reach out and take her hand in his but he could feel her anxiety rolling over in waves. He didn’t want to scare her off again. “Thanks, Sugar. Just the way I like it. Christa, look, there’s no reason for you to be sorry about all…this. I should have gone about this whole soulmate thing differently. I shouldn’t have just shown you all of that without any warning.”

Christa looked down into her coffee, her hands wrapping tighter around the ceramic to stifle the urge to grab his hand. Here he was, apologizing for something that wasn’t even his fault; not really. “Gabriel, it’s okay. Ha, looks like neither of us handled this right. I should have given you the chance to explain what you showed me. I was just, so…shocked. I mean, finding out that soulmates are a real thing? I still can’t wrap my head around it. Not fully, anyway.”

She sighed and set the mug down on the table before looking Gabriel in the eye. She chewed her bottom lip and released a nervous chuckle before continuing. “Maybe, Gabriel, do you think maybe you could answer some questions about all this? If I understood this whole thing a bit better, then I could start to process it all. I don’t want to give up on us, I just need…” sigh “I don’t know what I need actually. I just know that I can’t walk away from you, I don’t even want to try.”

“Sweetheart, whatever questions you have, if I can answer them, I will.” Gabriel gave her a hopeful smile, hoping she could feel at least some of his love through their connection. “Christa, even if we weren’t soulmates, I would still love you. I’ve loved you for months now, way before our touch started the bonding process. I just had forgotten, after so many eons, that my soulmate was somewhere out there. I just got lucky that mine just so happened to be someone I was already crazy about.”

Christa’s eyes widened at his admission. “So, wait. How I felt about you, that wasn’t just because I’m your soulmate? It wasn’t just…Fate pulling me to you?”

Snippet Four

“Pie!” Dean rubbed his hands together, grinning like a child as Christa cut an extra large slice for him. He scooped up a forkful as soon as she set down his plate, grunting in approval as he chewed. “‘S excellent, Chritha.”

“Dean, gross. Could you not talk with your mouth full?” Sam shook his head at his brother as he accepted his plate from Christa with a grin. “Well, looks like it’s got the Dean Winchester stamp of approval. Thanks, Christa, Gabriel. You guys out did yourselves tonight.”

“Well, there’s kind of a reason for that. After you guys finish eating, there’s something we need to talk about.”

Christa sat down and took a bite of her pie, avoiding the three sets of eyes watching her in various states of confusion. Castiel was the first to look away, turning his glance to Gabriel instead. Dean soon gave up and went back to eating his pie. Sam, on the other hand, kept casting looks over at her as he ate. The room was quiet except for the clinking of silverware on ceramic. All too soon, plates were cleared and snapped away. The Winchesters looked over at you expectantly; Castiel still stared at Gabriel, eyes narrowed as if channeling x-ray vision.

“Okay, Christa, what’s so big that you felt the need to butter us up with all this before telling us about it?” Dean leaned back in his chair and his patented Concerned Big Brother frown marred his features.

Christa sighed, her hand snaking under the table, seeking out Gabriel’s. He ran his thumb over the back of her hand, the motion grounding her as she cleared her throat to speak. “Well, uh, there’s no easy way to say this…it turns out soulmates? They’re real. Turns out, everyone’s got one. And it just so happens that Gabriel’s mine.”

Christa grimaced as she waited for them to respond. Dean was unexpectedly calm, his eyebrow raised in surprise. A look of clarity and understanding dawned on Castiel’s face as the information sunk in. Sam was by far the most shocked by the news. His expression was somewhere between utterly dumbfounded and mortified. His face paled and his jaw went slack.

“Well, somebody say something. The girl just dropped a bombshell, and you’re all silent as the grave.” Gabriel furrowed his eyebrows in confusion at their reactions. “Maybe we broke them.”

“You didn’t break us, Halo. Look, I’m not exactly happy that you’re the one who ended up being Christa’s soulmate, but I know there’s nothing I can do about it.” Dean heaved a resigned sigh and looked over at Cas. “Guess we might as well let them know now.”

Let us know what? Dean, why are you not more shocked by the fact that soulmates exist? Brother, did you tell him already?”

“Gabriel, brother, Dean is my soulmate. We bonded years ago.”

”What the hell, Dean? You knew about soulmates, and you never thought to share with the class?” Sam finally spoke, his shock slowly turning to anger. “You’d think you would at least share the fact that you have a freaking angel for a soulmate, with your own brother of all people! Were you ever going to say something?”

Snippet Five (Smut)

Christa’s hands gripped at his neck and shoulder, tugging at the end of his honeyed locks. She could feel the euphoria building up in the bond again, and fought to keep her head clear. She didn’t want it to be over too soon. She let her head fall back against the pillows, her hands sliding down to roam over his torso, the feeling of his skin beneath her fingers grounding her.

Gabriel felt her intentions through the bond, and, eager to draw it out as long as possible himself, slowed his thrusts while keeping them just as deep. He could sense a question forming in her mind and quirked an eyebrow at her.

“What’s going in there, sweets? Talk to me.”

Christa hesitated before answering, worrying her lip between her teeth. “Could you…can I see your wings?”

“You want to see my wings?” Gabriel’s eyes widened. He wasn’t sure what he’d been expecting, but this was a surprise.

“I mean, as your Soulmate, I should be able to see them without my eyes burning out, right? And, well, I’m curious. You don’t have to if it’s too soon…”

Gabriel cut off her sentence with a kiss, rolling his hips as he did. She squealed into the kiss, her back arching off the bed. He trailed a path of kisses to her ear, nipping at her earlobe, his breath ghosting over her.

“Close your eyes, Sugar.”

Gabriel sat up, making sure her eyes were completely shut before focusing his Grace. He let his primary set of wings pull through to the earthly plane. A bright flash of blue light lit up the room for a couple of seconds as his wings unfurled around him, tips brushing against the walls. When the light dimmed down, he reached out a hand to caress Christa’s cheek.

“You can open them now.”

Christa opened her eyes slowly, gasping loudly as she took in the sight above her. They were beautiful. A tear stung at her eye as she tried to remember how to breathe. She started to reach a hand towards them but hesitated, unsure.

“Can…can I touch them?”

Gabriel nodded, a smile beaming across his face as he angled his wings closer to her. She ran her fingers through the golden feathers of his right wing, momentarily speechless. Christa let her mind speak for her in the bond. They’re beautiful, Gabriel. Just like you.

“I’m glad you think so, you’re the first human who’s ever seen them.” Gabriel’s wings fluttered happily at her compliment.

Christa swallowed and found her voice. “I thought Archangel’s had six wings?”

“We do. I didn’t want to test the bond too much just yet.” Gabriel’s eyes closed as her fingers continued their journey over the wing, a purr-like rumble vibrating through his chest.

“Hmm, you like that, Angel?” Christa smiled up him coyly; when he nodded she let out a soft chuckle and delved deeper through the honey-colored feathers. “How about…this?”

Her fingers ran down his wing, noting how the shades of yellow varied from a bright gold to a rich butterscotch color nearing caramel the closer she got to where wing met flesh. She was mesmerized by the combination of the sounds she drew from him and the soft down beneath her fingertips. Gabriel had resumed thrusting into to her slowly, a soft sheen of sweat beading on his skin from the effort of his restraint. Christa wrapped her arms around his torso, clutching at the feathers near his shoulder blades, caught up in the emotions flowing through the bond.

“Oh, fuck! Ahh!” Gabriel thrust deeply into her, his head thrown back and his eyes screwed shut.

“What?! Did I hurt you?” Christa let go of his wings immediately, eyes wide with worry.

Gabriel looked down at her, eyes glowing, and shook his head. “No, Sugar. Felt so fucking good. Don’t stop, cupcake, please don’t fucking stop!”

Christa let her fingers smooth back through his feathers, giving a testing tug. He moaned and resumed thrusting into her, letting out little tendrils of Grace along her skin. He knew he wouldn’t last much longer with her touching him like that and needed to make sure she’d be right there with him when he came.

------------

Any opinions on which three i should use, or even if there’s a better scene (of at least 500 words) i should include, would be greatly appreciated. I really want this story to appeal to at least one artist out there. I’m really nervous that either there won’t be any artists in the fandom taking part in this bang, or that none of them will choose my fic in the first round of claims and that it’ll just end up being that kid who gets picked last for sports...

[misscrawfords]

I can’t stop thinking about that terrible movie, The Christmas Wedding Planner. It doesn’t deserve 1/10th of the mental energy I’m giving it and yet here we are.

The main problem is that just a few tweaks could have made it a decent film and that the things that were wrong with it were just so wrong. So I’m making two lists. The first is its greatest atrocities. The second is what I’d tweak to turn it into something watchable, even good.

The premise: Kelsey is a rookie wedding planner, about to get her big break with her rich cousin Emily’s wedding to the oh so charming, Todd. Then she bumps into Connor, Emily’s ex, a private investigator mysteriously charged with investigating Todd. He wants to recruit Kelsey to help him with his investigation. She wants him to piss off. Sparks fly while my suspension of disbelief remains firmly rooted to the ground.

This post will contain spoilers. I really wouldn’t bother caring. Buckle yourself in - we’re going for a very inane ride!

Problems

The leads have no chemistry at all. This is obviously a problem. Buying a romance and attraction between them was just impossible. Their first kiss was meant to be awkward but, my god, surely not THAT awkward! 

This lack of chemistry was added to a flat script that clearly was trying to present Kelsey and Connor as a sparring love-hate dynamic who grow to appreciate each other and eventually come to realise that their connection is really deep as they share the same values. But, uh, that may have been the intention but not the story that came across on the screen. Which was just two people who irritated each other suddenly and for no reason getting upset about how the other was behaving after knowing each other for about three days and then...

THEY GOT FLIPPING MARRIED. I mean. WHAT. They’ve kissed twice. They know basically nothing about each other. Half an hour previously she thought he was a villain. This isn’t romantic, this is INSANE. I give them till the end of the honeymoon.

She’s called Kelsey. Like, that’s not a name. It’s just a random word. (This is petty as hell, but still.)

Kelsey has a “tragic backstory” where her mum died and she’s narrating her life in text messages to her mum which are text message overlays of exposition in case the viewer is finding the plot too complex to follow. I have no idea why this exists. It goes nowhere.

A romantic comedy ends with Emily, described as the most perfectly lovely and sweet person, discovering at the altar that her almost-husband was cheating on her and got a maid pregnant and then dumping him. And then she watches her wedding planner get married to her ex-boyfriend who she barely knows. I don’t particularly care about Kelsey and Connor but I’m very, very concerned about Emily! Make your beta couple happy, you cowards!

Todd was cheating with the maid. Wow, what a radical secret. And then Emily just doesn’t even talk about it. She just accepts the wedding is off and wants to plan a girls trip away instead. She was going to MARRY this guy. Doesn’t she want to IDK hear his side of the story? Why so quick to believe the worst? I mean, wow, clearly she shouldn’t be marrying this guy if she doesn’t care, but she’s meant to be intelligent as well as beautiful!

So basically none of the characterisation makes sense. In that there basically isn’t any. Just plot points that apparently have to be hit. Like, Aunt Olivia is a bitchy Rich White Woman (tm) half the time and a caring, mother-figure the other half. I was getting whiplash keeping up with her 180 degree character changes.

Connor isn’t even vaguely attractive. Physically or emotionally. That’s kind of a problem in a romance film. (I mean, YMMV with the physical aspect but, eurgh really.) He’s as charismatic as a block of wood. She’s... eh. She’s a generic Hallmark movie protagonist.

The way these characters dress and look. It’s so... 90s? I don’t mean that exactly. I mean, everyone looks the same and it’s a kind of glossy Clueless vibe. The women are all in tailored mini dresses and with long waves of hair. The men wear slacks and a shirt and have a bit of stubble. They all live in massive mansions or cute apartments that are all spotlessly clean and neat. They literally look like Barbie dolls except even my dollhouse was more realistically lived in than any of these sets. It’s such a weird aesthetic. And it makes no sense for the demographic these people supposedly belong to.

Perfect, sweet Jane Bennet Emily has three caricatured bridesmaids who are horrible. Why? Why are bridesmaids always jealous, miserable bitches? WHERE ARE HER ACTUAL FRIENDS? Speaking of, who even has weddings like this? What is the deal? Who WANTS this kind of wedding? Who behaves like this about their wedding or their child’s wedding? I’m so confused. If this is some kind of fantasy, I wonder whose it is, because everything about it is horrible. Which brings me back to this all feeling very dated in its aesthetic and early 2000s obsession with skinny women getting carried away with designer weddings in romcoms written by men. IDEK. This is 2018 and we have Set It Up and To All The Boys I’ve Loved Before. This kind of film just doesn’t belong any more.

So that’s quite enough issues. Let’s try to solve a few and make this a better film.

Most of the problems could be solved by making the lead couple appealing. Cast different actors and write the script that they think they already have. If you can actually buy the narrative of two people who have more in common than they think growing closer from antagonists to partners, then the ridiculous ending where they decide to just get married could potentially work. POTENTIALLY. If they had more lingering looks that were genuinely hot, their awkward kiss melted into something real, their interactions sizzled with wit and suppressed passion then... yeah. Maybe then the spontaneous decision at the end would make you think, “Actually, yes, it’s mad but LOOK AT THOSE TWO CRAZY KIDS!”

Work on characterisation. So Kelsey’s deal is she’s concentrating on managing other people’s happiness instead of concentrating on her own because she can’t let go after her mother’s death. This is kind of heavy for a romcom. Let’s scrap the dead mother altogether. Make Emily her actual sister instead of the cousin who is like a sister and make Aunt Olivia her mum. Streamlines everything. This is better. So Emily is the perfect daughter who is beautiful and sweet and having the perfect wedding and Kelsey is the younger daughter who is determined to make her way in the world without the family money. This causes friction because she thinks her mum favours Emily and her determination leads her to believe that if she gets involved in a serious relationship which would please her mother then she is compromising her desire to be independent. Cue touching moment near the end when her mother admits she’s got it all wrong and she admires Kelsey’s entrepreneurial spirit and reveals that it’s possible to have a career AND a relationship. None of this is rocket science or even that interesting but I’m trying to make this a better Hallmark movie, not Citizen Kane.

Connor’s turn. Good grief, get a better actor for a start. And the entire plot here needs to change now. Because the PI bit is good but being hired by Aunt Olivia because Todd is cheating is just... so BORING. So before we can improve Connor we need to work on what he’s there to do.

Time to look at the actual plot. Wedding planner forced to work against her will with PI to investigate the wedding she’s planning is a genuinely cool concept. We have a bunch of tropes here: spies! we had to kiss for cover! love to hate! fake dating! All of these need to be fully exploited and above all the spying has to be funny. This needs to be the centre of the film. Not a single montage. It needs to circle through every conceivable trope to romantic and comic effect. We need to see these two bickering and flirting and denying their attraction in ridiculous undercover situations. This should be basically 90% of the film. Because that I would watch. But “Todd is cheating” is beyond boring. So what will the scenario be?

A couple of options and I’m not sure what I’d go with at present. Firstly would be sticking with the “Todd is cheating” plotline but... he isn’t. He’s a great guy! The spying is all pointless and both Kelsey and Connor realise that but... just... can’t quite bring themselves... to stop... because that’s their excuse to see each other. Todd and Emily find out in the most embarrassing way possible, and find it hilarious. Because they’re a well-adjusted couple ready to take the next step into married life. Either Aunt-now-Mum Olivia did start it and then has to eat humble pie and realise she was wrong about everything or someone else instigated it. Maybe a jealous ex? IDK. It doesn’t really matter. They’re proved totally wrong and true love triumphs!

The alternative is that Todd is really a bad egg but in that case we need to play his relationship with Emily differently so she doesn’t come out looking like a robot or an idiot. We can do a Much Ado situation where their superficial relationship - Emily desperately trying to please her mother as much as Kelsey is trying to distance herself (two sides of the same coin) - is contrasted with the real and flawed relationship that develops between Kelsey and Connor. Meanwhile, because this is a romcom, while Todd and Emily’s relationship is obviously wrong from the start, Emily builds up a cute friendship with the adorable baker making her wedding cake - who is the only appealing character in the film as it stands. Once Emily’s relationship with Todd is exploded, then give her a shoulder to cry on and the hope of something real with the lovely baker in the future.

But even if Todd is a genuinely rotter, the spying needs to be a smokescreen. If Kelsey and Connor do discover whatever is dodgy about Todd, it needs to happen accidentally and so all their spy antics need to be a complete waste of time except to lead to them falling in love. Because actually spying on people and so on is... not very nice and turns this into a spy film rather than a romcom. Even better, let Emily come to the realisation herself. When Kelsey breaks the news to her (she has to do it, not Connor for maximum emotion, and not ridiculously while she’s at the altar) then Emily has to admit she already worked it out so she can make a really informed decision.

If you’re going to have Connor propose at the end (which is stupid) then the correct response is for Kelsey to laugh hysterically and say something like, “Are you crazy? But you can take me out for a real date!” Cue kiss, applause and credits.

So Connor. Firstly, his background needs to be simplified. He shouldn’t be Emily’s ex. That’s just weird. And the whole money business is dubious and overly-complicated and doesn’t make him look great and is just shoe-horned in for ~drama. He’s just a stranger who is a PI. The end. This ought to be an easy job for him, a boring one. He didn’t count on the genuinely smart, witty wedding planner he got entangled with. Bless his snarky, so over-it cotton socks.

So, I can see you wondering, haven’t I removed all sources of tension? No issue with the ex, no money problems, Kelsey and Connor don’t even affect Emily’s relationship. What is the massive problem that will occur 4/5ths the way through and make our hero and heroine desperately miserable for five minutes before the final denouement? But, my friend, if you think this is a problem, then you’ve completely missed the central premise of this story. They think they’re just forced to work together! As spies! Undercover! But actually! They have real feelings! For each other! Isn’t that enough of a plot? When Emily and Todd’s wedding either goes ahead without problem or is broken up no thanks to the inept spy duo, they have no longer any reason to see each other! And thinking that the other one doesn’t care, they just sadly say goodbye and prepare to part for ever... BUT WHAT HAPPENS NEXT WILL SHOCK YOU. Look, this is all the level of conflict this film needs. Nobody is watching this because they want this part of the film to last more than a couple of minutes maximum. Just let them roll their eyes at each other like the Beatrice and Benedick dynamic they so desperately wish they had and kiss!

THE END.

[epiceckert]

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[xseedgames]

Zwei: The Arges Adventure - Localization Blog #1

AAAAAAHHHHH IT’S FINALLY HAPPENING.

I’ve been working on this game for the better part of a year now, but have been unable to say anything about it for PR reasons – namely, that it wasn’t in a showable state, and we didn’t want to confuse prospective players by having two Zwei games announced but unreleased at the same time. Which is totally reasonable, but AAAAAAAHHHH I’VE BEEN WANTING TO TALK ABOUT THIS GAME SO BADLY YOU HAVE NO IDEA.

…Ahem. First off, I guess I should bring you all up to speed, in case you missed the announcement. Falcom’s 2001 PC classic Zwei!! is coming to the Western world via Steam, GOG, and The Humble Store in early 2018, under the name Zwei: The Arges Adventure. Why the name change? Well, because we already released its 2008 sequel, Zwei: The Ilvard Insurrection (which was originally called Zwei II: Sky-High Great Adventure in Japan).

That’s right. Localization work wrapped on the sequel first, and now we’re finishing things up with the original.

What are we thinking?!, you must be asking yourselves. Why would we release the sequel first, then go back and release the original? Why wouldn’t we release the original game first? And since we’ve already released the more modern second entry in the series from seven years later, can this earlier effort really hold its own by comparison? 

Well, that’s why I’m so excited. Because Zwei: The Arges Adventure is good. REALLY good. In fact, I dare say it’s my favorite translation I’ve ever worked on to date – yes, even topping Return to PopoloCrois and Corpse Party. And if you’re at all familiar with me (this is Tom, BTW), that statement alone should tell you that Zwei: AA is something special, since PopoloCrois and Corpse Party are… shall we say, perennial favorites of mine. To put it very lightly.

So, yeah. Let’s address those hypothetical questions, shall we?

Why would we release the sequel before the original? Well, two reasons. One, because we can – these games each tell standalone stories, set on different floating continents with different casts of characters. Zwei: AA’s two protagonists, Pipiro and Pokkle, do make a few cameo appearances in Zwei: II, but this is done almost purely for the sake of fanservice (the literal kind, not the naughty kind). When all is said and done, these two games are completely standalone, taking place in the same world but telling very different stories with very different characters and a very different feel. Think of it kind of like the Ys series, but even more episodic (since, Ys Origin aside, Ys has the Adol-as-protagonist connection from one game to the next, whereas Zwei doesn’t even have that!).

The other reason is because of the nature of Zwei: AA’s code. The Japanese version of this game utilized DirectX 5, was formatted strictly for 4:3 resolution with no widescreen options whatsoever, offered a lovely FPS selection of 30 or 15 (seriously!), counted on players to play it with mouse and keyboard over gamepad (it supported gamepads, but… barely), and contained no fewer than six unlockable Windows desktop apps that were loosely tied to yet completely separate from the main game.

This is one of them. And that first screenshot at the beginning of this blog entry is another.

In other words… this is the kind of adaptive coding project that’s been known to give lesser programmers heart attacks. Getting a game like this to even run on a modern Windows machine at all – much less run WELL – was decidedly not a task for the meek. In fact, it’s because of the way this game is coded that we ultimately decided to translate the game in-house rather than working with any fan-translators as we did for Zwei: II, as no two programmers would handle this text the same way – and trying to convert a fan-translated script to a format that would work for us would’ve taken almost as long as translating the game from scratch.

So, yeah. Getting Zwei: II out first was pretty much just done because… erm… it was ready first. And it was always GOING to be ready first. Even with a lengthy QA process and a couple minor delays, it still inevitably got finished long before its predecessor was ready to make its debut.

Fortunately, we hired a veteran programmer to work with us on Zwei: AA… but you’ll never guess who! It wasn’t Sara, since she was busy getting Zwei: II ready at the time (and a fine job she did of it, with one of our smoothest PC launches ever!). But this wasn’t our first time working with the guy we worked with on this project, either. It was, however, our first time working with him to modernize someone else’s game – and he really did perform some miracles for us (and put up with my many, many demands for quality-of-life improvements and feature additions, to boot!).

The man in question? Matt Fielding, of Magnetic Realms. A.k.a. the guy who brought you the game Exile’s End. 

Pictured: Exile’s End. Which is also an awesome game you should play!

And thanks to his technical wizardry, you guys are going to have an astoundingly up-to-date version of Zwei!! on your hands at launch. We’re talking more than just widescreen support here – there’s full in-game integration of the Pet Monitor and other desktop apps, new control functionality for more natural gamepad support across the board, inclusion of the arranged soundtrack from the Japan-only PSP version of the game, additional art and text content not present in any previous version of the game, and much, much more (to be detailed in future blog entries!).

Moving on to the second question I asked, with Zwei: II already out, can Zwei: AA hold its own by comparison?

I think you know what my answer’s going to be, on that one. Zwei: The Arges Adventure is a freaking awesome game with a lot to offer, and differs from its own successor in enough key areas that it can very easily hold its own any day of the week. Hell, you might even like it better than Zwei: II – it’s certainly a very close call for me, but I’d say Zwei: AA gets the slight edge! 

Sure, they’re both dungeon-crawling action RPGs at their core, and they both use food to level-up, even sharing the same food exchange system to discourage grinding. And the two-character party (plus one pet), with one character taking the role of physical attacker while the other slings spells, takes center stage in both titles as well. Plus, both games are set on floating continents in the same world.

That’s a lot of similarities, but they’re all relatively superficial. You could say Zwei: AA is like the 2D answer to Zwei: II’s 3D world, but that would be discounting its snarkier and more tongue-in-cheek storyline (yes, even more than Zwei: II’s!), or the gorgeous and ludicrously colorful hand-drawn backgrounds, or the two games’ very different approaches to pets (you only get one pet in Zwei: AA as opposed to the veritable army of pets featured in Zwei: II, but that one dog or cat [or other?] has significantly more personality and gameplay involvement than its many Zwei: II counterparts), or the huge variety of minigames on offer (all of which have been adapted to play from within the game itself, despite formerly existing only as desktop apps)… and that’s just scratching the surface. In short, although the two games use the same basic template, they represent two very different approaches to game design within the confines of that template.

For me as Zwei: AA’s translator, though, I can’t help but laser-focus right on the game’s dialogue. Protagonist duo Pipiro and Pokkle are without a doubt the best pair to write that somebody like me could ever ask for. Pokkle constantly cracks bad puns (and I do mean constantly!), wears a tail for funsies, and is always hitting on women twice his age.

And Pipiro just has absolutely no filter whatsoever, and is full of so much snark that she’s fit to burst.

Practically every line out of these two is an absolute gem – and that’s to say nothing of the many quirky NPCs surrounding them over the course of their rather lengthy quest (such as the endlessly self-delusional “libertine fatass” that’s funding your adventure, and his extremely no-nonsense maid who gave him that nickname).

I… really can’t stress enough how much fun it was to write for these characters, and how inspired I was to come up with the perfect phrasing for every line. I’m extremely appreciative that we chose to translate the game in-house, as it gave me an opportunity to work much more deeply with this script than I ever could’ve if we’d only been tasked with editing it. As time went on, I found myself revising my work on a daily basis, making small tweaks here and there as new bits of wordplay or better puns popped into my head (much to Matt’s chagrin, I’m sure!). The end result is something that I can stand behind as a faithful interpretation of the game’s mood and intent – an attempt to convey the same degree of lighthearted fun and irreverence present in every line of the Japanese script, but formatted to sound more natural in English, accounting for context, tone, atmosphere, and individual character quirks rather than just hammering out a word-for-word translation.

I’ve never laughed so hard while playing a JRPG before, and I truly hope that when you guys play this one in English, you’ll find its English interpretation just as hilarious as I found its original Japanese to be. That would mean I succeeded at what I set out to do, and would bring me great joy and pride as a localizer!

And please do keep an eye on this Tumblr, as I fully intend to give lots more info about Zwei: The Arges Adventure (and more screenshots showing off lines I’m particularly proud of) in the weeks to come!

Until then, I hope you’re all continuing to enjoy Zwei: The Ilvard Insurrection, and… well, I’mma go back to testin’ Zwei: The Arges Adventure now, ‘cause I want this game to be downright perfect when it’s released! And with translation and editing 100% complete, and coding probably somewhere in the 70-80% done range, that release date will be here before you know it…

[zaggitz]

VIDEO GAMES 2017: ONE MILLION GAMES ENTER, TEN GAMES LEAVE.

Well that sure was the best year in video games since probably 1998, wasn’t it? Nintendo put out a new console and 3 major franchise entries, basically every anticipated game of the early 10′s finally frickin’ came out, we got 4 new English Falcom games, 3 of which with good locs, and they made a new Nier? What??? 

What a time to be alive.

Let’s not waste any time getting to the list, lord knows VIDEO GAMES 2017 has already sucked out enough time from me for a lifetime.

Before we begin, here’s my lists for 2015 and 2016.

Honorable Mentions:

Persona 5:

https://www.youtube.com/watch?v=jaIo82uT0qs

It’s insane that this game isn’t in my top ten, hell, it’s insane that it isn’t in my top five. It’s less a commentary on Persona 5′s quality and more that the games that did make the list resonated with me a whole lot more. VG2017 truly was too powerful.

P5 is mired with stiff localization problems, but even without the loc in consideration, the thematic through-line of the game gets muddled and becomes a toothless version of the promising rebellious first ten hours the game provides by the time you reach the finish line, which also just happens to come 20 hours too late, in my opinion.

What a great looking and feeling game though.

Tales of Berseria:

https://www.youtube.com/watch?v=oYXwD2CfxOs

On the flipside we have this game, the first Tales game I’ve enjoyed since Tales of Vesperia back in 2008. This game has an amazing story and great characters with a thematic backbone that sticks to your ribs after you finish it.

Now if I didn’t hate the act of actually playing it and having to scour its way too big boring empty dungeons and crappily designed world, it’d be a list maker for sure.

OKAY NOW IT’S TIME FOR THE CERTIFIED BANGERS:

10. Metroid: Samus Returns

https://www.youtube.com/watch?v=yhQWJG-_Oco

Somehow my least favorite Metroid game got two remakes that both made my list two years in a row?? This game is pretty great in it’s own right though it has a few control scheme imperfections and I could see a switch port easily being the definitive version to get.

The reason this game really makes the list though is because of how it lives up to its title. Finally an official Nintendo Metroid game that comes out and undoes Sakamoto’s vile character assassination of Samus back in Other M. . 

The queen is back, and she has been missed.

9. Horizon: Zero Dawn

https://www.youtube.com/watch?v=FD0DByDxJBA

An engrossing open world, great stealth/hunting/gathering systems AND robot dinosaurs are just a part of what makes this first outing for what seems like an extremely promising series great.

No, what really sets this game apart from its contemporaries is how it fleshes out its backstory, culminating in the creation of what might actually be the most despicable piece of shit villain ever put to writing for a video game. And he’s been dead for a thousand years so you can’t do shit to him.

Fuck you, Ted Faro.

8. Night in the Woods

https://www.youtube.com/watch?v=o2UUFFMGcgY

This game hit extremely close to home for me. Forced to come back home to a small, dying town full of people clinging to the good old days instead of doing anything for the generation after them, having this game to play and have it be said out loud that yeah, other people are living this nightmare too, was insanely refreshing.

For as much as we all need a bit of direction sometimes, sometimes what we also need to know being a directionless 20-something asshole trying their best is okay too.

Also Gregg rulz ok.

7. Ys VIII: Lacrimosa of Dana

https://www.youtube.com/watch?v=dNgph1g422Q

Great gameplay, great music, fun characters, one of the most fun to explore worlds in an action adventure game. This game truly nails the sense of pure adventure Ys is known for.

It’s a shame then that it’s plagued with one of the most laughable translation efforts in the industry, much of the games personality comes from the fact that even a bad localization job can’t overwrite some character quirks, but this still leaves the rest of the script feeling extremely stiff at best and incomprehensible at worst.

I hope the re-translation patch is good. Until then, Fuck NISA and have a good day.

6. The Legend of Zelda: Breath of the Wild

https://www.youtube.com/watch?v=fiU65nQdZE8

I would describe this game as a great first step in evolving the Zelda formula. That’s not even really that accurate, the real first step was in Link Between World’s item rental/no dungeon order systems. 

Nevertheless, BOTW amazes with a sense of scope and exploration no game has ever really come close to, and achieves it almost effortlessly by simply giving you the ability to climb anything.

More music, more proper dungeons, a deeper story and a few durability tweaks are basically all you need to make the next Zelda game the easy best in series.

5. Yakuza 0

https://www.youtube.com/watch?v=MYB-D9qEwzI

This isn’t the best game this year, but it is easily, no question, the MOST video game this year. 110 hours in and only 60% complete, Yakuza 0 is the game that keeps on giving, with an enthralling true crime story that reshapes what we know about its protagonists. It’s pretty much a non stop emotional thrill ride to the finish line.

It effortlessly incorporates the best side story aspects from the many games in the series to come out before it, and utilizes them with a fantastical glee that keeps you with a smile on your face for the whole run. This is easily the funniest game I’ve played this year. Thank you SEGA.

4. Hollow Knight

https://www.youtube.com/watch?v=1unm0LS10ao

God I can’t wait for this game to get ported to consoles. I bought a new laptop basically just to play this game and the absolutely enthralling metroidvania world design, hand drawn and animated aesthetic, and fantastic npc characters blew me away.

The encounter designs are tough but fair(except maybe the Colisseum) and the DLC so far has been great. I can’t wait for all the post release content to come out so I can play through it all again on Switch and probably PS4. 

It’s insane only 3 people made this game.

3. Super Mario Odyssey

https://www.youtube.com/watch?v=PhciLj5VzOk

Nothing to say here that hasn’t been said by hundreds of others. SMO is pure joy distilled into video game form.

I can’t wait for Odyssey 2 to come out and somehow blow this one out of the water like Galaxy 2 did for Galaxy.

2. Nier: Automata

https://www.youtube.com/watch?v=CKOM3lNFajE

An amazing contemplation on what it means to be alive, and a thoroughly satisfying conclusion to a story that, for me at least, has been told since Drakengard in 2003. Game after game of sad tragic stories with bad endings and characters fighting an imperfect world imperfectly and only making things worse while temporarily making things better for themselves.

And really even in those cases there’s caveats.

Caviats???? Anyway.

Ending E of this game finally brings some semblance of peace for this fucked up world where a deranged killer and his dragon fell through the sky and made things the worst for everyone for literally tens of thousands of years. Finally Devola and Popola can sleep. All is well.

1. The Legend of Heroes: Trails in the Sky the 3rd

https://www.youtube.com/watch?v=wld2q4mLhYM

Another year, another Trails game at number 1. I’ll be real with you, I’m about to drop a bunch of personal rambly stuff about what this entire trilogy means to me so if you don’t wanna read that, that’s fine. 

This game is basically a perfect epilogue to a game that means a whole lot to me and serves as an amazing capper to an amazing jrpg trilogy.

When I first played Trails in the Sky First Chapter, it was the PC version in 2014. Now in 2014 I was coming off being in college for about 6 years, switching majors a few times and not really being into what I was doing but, yknow, you gotta major in something and then you gotta get a job, that’s kind of what getting started as an adult is. 

So I played this weird little jrpg that was, fundamentally, about a country and the people in it trying to move on from a tragic war years prior, hiding their still fresh wounds in plain sight and just trying to go on with their lives. 

It was an extremely interesting game, for how plot-light it was in the early goings, you got to really feel the struggle of these people and the unseemly past they were trying to run away from or avoid repeating. This underlying conflict builds and builds until we can’t ignore it anymore.

When I played Second Chapter a year later, I had been laid off from a job I got right out of College and had no employment prospects. I hated the fact that I’d spent basically my entire adult life up to that point doing something I wasn’t passionate about and then got let down by the system. 

At the same time, the shame of my situation lead me to close up and not tell anyone about the problems I had, I was broke, I owed two months rent, on the verge of getting evicted, I felt extremely alone.

All this to get to the point that Second Chapter was ultimately a game about pulling out the dark shit we don’t like talking about and saying “it’s okay to talk about this stuff, there’s always someone who will listen.” It got me to get over myself somewhat and actually reach out for help, and I’m really thankful for it not letting me hit rock bottom.

Two years later still, I’m in a much better place, I finally feel happy about where my life is and what I’m doing and oh boy here comes Trails in the Sky the 3rd.

Completing the journey I started back in 2014, I found myself playing a game all about how it’s okay to acknowledge the bad things that happened to us, so long as we learn and move on from them accordingly.

This trilogy has so much heart, and so many memorable characters, and so much to say. It’s so, so special to me, and I was openly weeping when all the characters I’ve come to know and love over 4 years finally parted ways.

Thank you Falcom for making these games, and thank you Xseed for bringing these games to us.

TL;DR

[thelondonfilmschool]

“Students are the purest fuel for the film industry and it’s great to be around them” - Heads of Screenwriting, Sophia Wellington & Jonathan Hourigan

Sophia Wellington and Jonathan Hourigan have been popular tutors for many years at London Film School (LFS), so it was no surprise when they were chosen to fill Brian Dunnigan’s considerable shoes when he left this year after 12 years as Head of Screenwriting. We chatted to them about their new shared role, what they love about LFS and how they’re continuing its legacy.

S.M: Could you tell us a little bit about your background before working at London Film School?

Sophia Wellington: I got into film, I think like a lot of people, by accident. I had a temporary job at the BBC, at Television Film Studios, Ealing (TFS) and then whilst I was there I started to follow the camera crew around and went every weekend for about four weeks, going on set and just talking to them. And then, from doing that, I got onto a course at the BBC where I trained in technical production and on studio cameras. I then became a camera assistant on film cameras and then in the cutting room. My training was mainly technical and, as I say, by accident, but that’s how I started. Then, when Avid became very popular, I made that switch to development and worked in development and production as a freelancer, working with writers. And the rest is history!

S.M: You’d taught before, in Singapore?

S.W: I did, but actually the first place that I taught was at the LFS. Like a lot of people in the industry, I thought that once you get to a certain level in your work it’s really important to try and give back. So, I was a mentor here in 2004 and then started as a feature development tutor, around 2005-6. I did that for a year or so and then went to Singapore and taught full time. New York University has a film school in Singapore, Tisch Asia, and I taught there for eight years. It’s a long time to be away from the UK industry, but it was really useful to be in Asia. The training that I got in Singapore made me aware of the different film industries, but also how universal stories can be and should be, and how to approach them and ways of storytelling. When I left Singapore, I came back to work at LFS.

Jonathan Hourigan: I was interested in photography when I was a teenager, my uncle was a photographer and taught photography at West Sussex College of Art and Design. I remember going to a screening there one afternoon and I saw The Spirit of the Beehive, projected on a scratchy 16mm print, literally onto a white sheet stretched onto a wall. And that was the moment I vividly remember thinking, “Oh, that looks like an interesting thing to do, I don’t want to take photographs, I want to do something about making movies.” Then I went to university and did an academic degree, and was interested in the cinema but didn’t really know how to get going. I got very interested in a French director called Bresson and I got in contact with him and showed all his films in London, as you couldn’t see them otherwise, and it just happened that as I was finishing university he was making a film. So, I went and worked with him in Paris for a year, and I came back and thought, “Well, I’m not very enterprising and I know that about myself, so I’ve got to go to film school.” I’ve got very clear views on why you should come to film school, and having come back to the UK after working with Bresson in France it took me a few years to get around to making a film to get me into the National Film School. I went there for several years, then left the National where I studied direction, tried to set things up and I just found I started to get work script reading and got more and more interested in writing. So, I started to write, and do some teaching around that and in fact, Sophia introduced me here at LFS. I was a mentor at some point around 2003-4, just before she went away (to Singapore) and I think I probably inherited her feature development group. I took an opportunity that was too good to say no to, which was to replace Sophia! And the rest is history. I teach here, a little bit elsewhere, and carry on writing as well.

S.M: This is the first year that you’ve both taken over from Brian Dunnigan, who’d headed the MA Screenwriting program for 12 years. Why did you decide to share the role? 

J.H: We’ve both worked here for a number of years and feel very loyal to the place. We’re very interested in the way the school works – there aren’t many conservatoire film schools left. We worked with Brian but also with a very good group of other visiting lecturers, and we felt there was something really powerful about that group. When the opportunity came up because Brian was leaving, and the school was looking for a new head of screenwriting, we thought it would be a great opportunity to step up and do something different, slightly change our focus. Job sharing allows us both to share the challenges of doing this job which is great, but also to carry on doing other things so that we’re out in the industry as well.

S.W: I completely agree. I think that from our time here, at the school, we’ve got a commitment to it. We think it works really well, and we’ve got a great core of tutors. And so, when Brian left, there was the risk of somebody new coming in and changing it, or whether we could step up and protect what we have and continue it. And so, I think that for both of us that was a big part of it – trying to continue this great legacy and this great team, and make it as good as it could be. The job share, I think, is really important because this is such an industry facing course, and it allows us to keep links with the industry and with outsiders. There’s a lot of work to do here, and being full time it’s possible just to focus very much on the teaching and the students, which is important, but at the end of the year they do have to go out into the industry. Our connection with the industry allows us to be mindful of that at all times – that not only are we teaching students to be as good writers as they can be, but in a year’s time they’ve got to go out into the industry. We have to make them aware of and prepare them for it, and this job share offers, I think, the best opportunity to do that.

S.M: Has it been a case of taking the baton from Brian and carrying on more or less the same, or are changes afoot?

J.H: As we said, we’ve always felt there’s something very special about the structure of the course and about this school, and so you want to preserve a lot of what’s going on. But we’ve changed a number of things. We’ve got some new tutors involved, because we’re not now doing so much of the frontline teaching ourselves. We do the Work and Research Journal in a slightly different way than has been the case in the past, although funnily enough in a way that’s an evolution that’s in keeping with the rest of what we’re doing. We’re now doing the journal in group sessions, which of course replicates the very powerful feature development group model, and it seems to be working well. It’s a change but it’s in keeping with what’s been going on. But there haven’t been any major ruptures with the past.

S.W: I don’t think there needed to be. The way that the course was run was excellent and incredibly strong. With the two of us, it now means that there’s a little bit of fresh energy, because I would say that we are aware of different challenges facing the course and the industry. So, we have to be mindful about how we’re going to deal with those. One of the challenges that we’re dealing with is, of course, the popularity of writing for mediums outside of the big screen – for television and other areas. And whereas our focus is very specifically on writing a feature script, we’ve also got to see how we can address a changing industry and make sure that our writers have the skills that can transfer into these other areas, while still ensuring that we have given them the best teaching possible. So, while there are no major changes, we are very aware of new challenges and spending a lot of time thinking, “How can we tweak areas here and there to make sure we can face these challenges?”

S.M: Having both worked and studied in a variety of different film school environments around the world, what do you think is special about London Film School?

J.H: In terms of the school, the non-specialisation is really powerful, having graduated from the National myself where you specialise right from the beginning, I think it’s a really interesting comparison. You see people who embrace it and make a strong decision to come here because they really want to experience that whole range of roles involved in making a film. On this course in particular, I think the thing that’s impressive is how collaborative people are. Students are developing their own ideas, about which they are passionate, but there’s a very powerful sense of collective purpose and that they can all flourish equally and so therefore there’s real benefit in supporting one another. Not in a complacent way, because support is often by giving robust challenges, but I think that’s really powerful, that sense of collective identity. They make very different work, but there’s a real sense that they’re a group. They stick together and help one another. It’s impressive.

S.W: Just to go off that, of course, it’s a one-year course. All the other courses I’ve been on have been over two years, so this is incredibly intense and much tighter, by virtue of being one year. We do encourage a lot of that learning and development to come from fellow students, not just from the tutors. Compared to the other film schools I’ve been at, which worked incredibly well for what they did, I think that the way that this course is organised and how we work within small groups and the really great student to teacher ratio allows everybody to be incredibly supportive of each other. It forces a strong community during the year that they are studying here, and it also creates a very creative environment where they are getting feedback, not just from tutors, but from each other. They understand that that’s what they’re supposed to do. So, I think that’s one of the real strengths for writing here. Writing is such a solitary profession, I think it’s fantastic that they start their learning in understanding that, actually, it can be more collaborative. You can get support from others. This is a different way of doing it, it’s not just about locking yourself in a dark room and writing, it’s actually about being supported by other people. That’s a very strong ethos of the school and one of the things that makes it unique.

S.M: How does the school prepare people for life after film school?

J.H: You’ve got to prepare people for moving out and working independently, and it’s a real challenge. We send them out, hopefully, with the capacity to generate good ideas, a lot of powerful transferrable skills as writers, a set of relationships with other writers, the people who teach them and the filmmakers up the road. And, of course, the film industry in London, so a world of agents, producers, other writers who hopefully come through the school and who they meet on their journey through here. The thing that’s impressive in comparison with when I was at film school is that students also come with a lot more enterprise. We don’t have to work that hard to talk to them about preparing for life after film school. I was talking to some of the current cohort, who are only four weeks in, and they’re already thinking about that. They’re more and more proactive and thinking about how they’re going to make themselves employable, without compromising the educational and creative work that they’re doing here. I think that’s impressive.

S.W: It’s always a challenge, preparing students for the industry, and we can talk about the schedule that we have here, the industry guests that we bring in and the fact that all of the tutors are visiting lecturers who work in the industry. So, every bit of their teaching is informed with their industry experience. The students are surrounded by, and their teaching is done by, industry people. For all film schools, leaving is challenging. It’s like being kicked out of the nest, but we provide them with the tools and the skills to get out there and to fly! The other challenge is always to provide them with the confidence to believe that they have those skills.

J.H: We’ve just done a big piece of work on tracking graduates over the last four or five years, and you see a number of trends. A lot of graduates leave, and they probably do other work and build up a portfolio of films, working with filmmakers up the road. Ben Cleary’s is an example of somebody who went out, made a short film and won an Oscar. Alejandro Stepenberg from a couple of years ago I think has about seven or eight graduation film credits, people he’s kept in contact with and is travelling the world, making short films with people. Other people have found themselves doing script editing, we’ve got students from three or four years ago who have got show running jobs in children’s animation series … A whole different range of ways that people find their ways into employment, which reflect their creative preferences, their personalities, their desire to be in a job or working freelance. I think we send them out with the creative and technical capacities, and then they generate and we nurture that sense of enterprise that means most of them find work within the industry. They then have to negotiate where that goes longer term. 

S.W: I think that point about having the film students over the road and the ability to work on graduation films is really important, because it’s a step into the industry. That allows them to stay connected for some time. It’s like a lovely transition period where they can work on student films at a high level while still being slightly supported. As I say, because we’ve only got one year, we think our relationship with our grads and our alumni is really important, and how they can support each other. That’s something that we are looking to improve, because so much of supporting people into the industry is the alumni who have gone before. They’re the ones that can help give them a softer landing and a leg up!

S.M: A big part of your job is student enrolment. What kind of things are you looking for in potential students?

S.W: In the interview, I’m looking for somebody who wants to engage with telling stories. Somebody who has some sort of visual sense, somebody who’s interested in people and also has something to say. Someone who has a passion for film and connects to it in an emotional way, rather than just an intellectual way. There’s not one type of student we’re looking for - one of the great things about this course is that it’s incredibly diverse and we have very different people. I think definitely a passion for film and stories, and a desire to play with them. That is something that I always stress in interviews, that they’re open to feedback and ideas and coming up with ideas and sparking conversation. Because, that’s so much about how we teach here – we’re teaching in small groups, so it’s about what they’re giving to that group and what they get back. Anyone with those types of qualities is definitely what we’re looking for here.

J.H: I’d say the same. For me, at interview and once they’re here, it’s about this balance between core point of view, where you feel there’s something about them and that they’re interested in the world, and then around that, in orbit, is that flexibility that Sophia’s talking about. That willingness to balance that sense of real purpose with a willingness to explore the different ways in which you might develop it.

S.M: Once someone’s been accepted onto the course, what advice would you give them to best prepare for their year here?

J.H: What I wouldn’t do is sit and read a load of screenwriting manuals, but I would try and watch a lot of films. Hopefully anyone applying would already be watching a lot of films, but it’d be great if they went and read a bunch of screenplays, that’s also very useful. And of course, keep writing. Keep writing as part of a process. Don’t think you’re getting ahead of the game and nailing your first term’s work – just immerse yourself in a world in which writing becomes a daily practice, which is one of the key parts of the course, to be doing it all the time. 

S.W: I would encourage anybody who’s gone through the interview and been given a place to continue that sense of wonder and interest and appetite. I would also stress that coming onto the course is not a time for them to then have to give up any creative thinking, thinking that we will provide lots of answers. Not at all. You really have to come here with an appetite to explore for yourself, and to question and wonder about things. So, you should never think of the interview as, “Phew, I’ve passed that, everything’s fine!” Rather, that work of questioning ideas, what you’re interested in and questioning yourself should continue after the interview and throughout the course. It’s about creating that writing practice. You learn how to write through the practice of writing, and we don’t create perfect writers at the end of the course but rather those who know how to develop and to grow.

S.M: What inspiration do you take from being around students?

S.W: What is great about students is that they think anything is possible. They think that the industry can be changed and that it’s an important place where you can change the world and present incredibly powerful messages and themes and make important stories. When you work in the industry for a long time it can often feel like it’s about money and the economics and everything else, so students give you a moment to breathe fresh air and think, actually, this is what the industry is. It��s a place for art, for exploring ideas and universal questions. Students are the purest fuel for the industry and it’s great to be around them because they have those fresh ideas and that passion that we need.

J.H: Being around students makes me realise how important and worthwhile it is to teach. And you’re right, they do come with enormous energy and enthusiasm, determined to break down the walls. It’s exciting to be part of that and to help focus it.

S.M: It does seem to be part of the industry, that people get to a point where they want to give something back in terms of sharing knowledge.

S.W: Yes, whether it’s a little bit of mentoring or full-time teaching, I think that is definitely built into it. Even within the formal structure of film schools there’s always somebody who is more of a mentor who really is inspiring. I think we all have mentors, within film schools and also within the industry, who have done an awful lot to help us and shape our own passion for film. It’s a responsibility to pass it on to others, so you’re right, teaching is an opportunity to do that.

S.M: Jonathan, you mentioned before that you went to film school after returning from working with Bresson in Paris because you felt you weren’t very enterprising. There’s an ongoing debate about whether writers and film makers need to go to film school or not – what’s your opinion on that?

J.H: For me it was an incredible experience and I loved going there, and I don’t think I would have found my way into being a filmmaker had I not done it. But you have to make a strong choice and have strong reasons to do it. Screenwriting is a little different. Writing is solitary, and if you’re going to do the equivalent of going and doing your first feature, which is to sit at home and write it, it’s very hard to do that first time. I think that at film school, you’re putting yourself in a community of writers for a year with all the benefits that come from that. There aren’t many people, starting out, who would be more productive in a year sitting at home or sitting in a garret in Paris, even, than they would be coming here. I think you learn a lot and you’re encouraged to be very productive.

S.W: I think it’s something that you should think about seriously. Going to a film school is only the start of getting yourself into the film industry. You have to think long and hard about what you want to get out of it and what you expect to do with it afterwards. It immediately puts you into a creative environment that will sustain and inspire you and allow you to continue being creative during the following years. If you don’t have that it’s very easy to slip out of the industry. It also gives you, very quickly, the tools and the skills you need to problem solve when you’re dealing with either filmmaking issues or story issues. You’re given this information upfront in very clear ways. Also, within a film school environment you’re encouraged to work on areas where you are weak, in a way that you might not when you’re working on your own. The other thing I will say about film school, as much as I loved my training at the BBC, film schools are one of the last places where you are allowed to dream and break rules and think as an artist. And you do not get that within industry training. Film schools are the only place, I think, where you are given the time, and the freedom, and the support to do that. That’s where artists come from, and what film schools support.

[brin-guivera]

It Chapter 1: Review

Well guys, I’m just back from seeing IT (for the second time) at the cinema and I think I have organized my thoughts enough to type out a coherent review.

I have been looking forward to this movies for years. It’s absolutely true – the movie has been in development hell for at least seven years and has gone through many iterations (and a couple of directorial and cast changes) but was finally, FINALLY, released in theatres on Friday. Was it worth waiting for? HELL YES. Was it a faithful adaptation? Mostly. Was it perfect? Nope, but I doubt anything would live up to my sky-high expectations.

Let’s start at the beginning, shall we…

it: the beginning

I first read IT by Stephen King when I was little more than a nipper. ‘Tis true, I was (barely) twelve years old when I first read King’s masterpiece and it absolutely scared the ever-living-shit out of me. Sorry for the colourful language but in this case I believe it to be completely justified.

IT is without a shadow of a doubt, one of the most if not THE most terrifying books I have ever read. Seriously, I had to sleep with the light on for about two months afterwards. I was in no way easily frightened as a kid either. I loved horror (both in books and movies) and had an impressive constitution when it came to scares… or so I thought at least.

IT changed everything for me. I really related to the characters (who were roughly around the same age as I was during the flashback portions of the book) as I was bullied as a pre-teen and they felt real to me in ways a lot of other book characters didn’t.

I read IT over the span of a few days and although it definitely had a few WTF moments (the *ahem* orgy sequence where the kids move from childhood to adulthood by indulging in a bit of underage sex – yep, you read that right) but overall it was a fairly realistic depiction of childhood.

These kids were losers like I was. They were bullied and ignored like I was. I related heavily to them and the trials they go through and although I was never pursued by a child-eating malevolent creature (that I am aware of anyway) their transition to young adulthood felt about as turbulent as my own.

IT was a revelation to me. Although the adult portion of the novel was slightly less relatable to me, I still enjoyed seeing the characters mature and face their demons.

it: the miniseries

Not too long after reading the book, I discovered the television adaptation which I also really enjoyed even though it never quite reached the heights of the book for me.

Tim Curry was a tour de force as Pennywise and I very much enjoyed the kids section of the miniseries although the less said about the adult portion, the better. I am in no way dissing the adult actors (they really did their best to add some gravitas to the proceedings) but the storyline for their half of the tale was disappointingly scripted and veered on the camp rather than scary.

Although it was clearly limited by budgetary constraints, it was a satisfactory adaptation if not completely faithful to the original novel. Even then though, I often wondered what could be accomplished with a movie version rather than a somewhat sanitized TV adaptation. I would wait a long time for this vision to be realized.

it: development hell

As I mentioned above, the movie lingered in development hell for years. Originally, True Detective creator Cary Fukunaga was signed on to direct (he still has a scriptwriter credit) and I was intrigued by what he would bring to the table especially as he had casted Will Poulter (an actor whose career that I have followed since he was a young ‘un) as Pennywise.

After some disagreements with New Line, the studio funding the project, Fukunaga stepped aside and it looked as though the movie would never come to fruition. Luckily, Mama director Andrés Muschietti felt up to the challenge of taking on the immense role of adapting this monster of a book into a workable film.

it: the movie

Now, finally we come to the movie itself. Muschietti has brought a brand new vision to IT. From what I can gather, it is fairly different to Fukunaga’s original concept. It added in a lot more of the book and is overall a more faithful adaptation.

But, the age-old question remains, is IT any good?

Well, I am happy to report that IT is a pretty damn good movie in its own right. A lot of the elements from the book are retained and the changes such as moving the setting from the 1950s to the 1980s (and cashing in on the trend that the 80s is cool again that Stranger Things had going for it) works for the most part.

The movie opens with the iconic sequence of young Georgie Denbrough pestering his older brother Bill for a boat to sail in the storm that has kept him stuck indoors. This instantly sets the tone and the interplay between the two brothers is both dynamic and realistic. This then makes the following scene where young Georgie becomes IT’s first victim all the more heart-breaking.

The movie then shifts on to approximately eight months later, where the kids are finishing up school for the long-awaited summer holidays and making plans. For Bill Denbrough and his three young chums Eddie Kaspbrak, Stan Uris, and Richie Tozier – this means starting the search for Georgie whom Bill is convinced is still alive and alone and hurt somewhere within the town sewer system.

Their search will lead them to fellow outsiders Ben Hanscom, Beverley Marsh and Mike Hanlon and the seven of them form the ‘Losers Club’ who band together to not only try to ascertain what has happened to Georgie but to also find the other missing children of Derry. One by one, each of them will come to realize that there is a menace far beyond the uncaring adults and psychopathic bullies that dog them, that there is something far more evil in the town of Derry and IT is hungry…

The kid actors in the movie are beyond fantastic. They are such a great group and they really do feel like friends. There is a slight Stand by Me vibe at times which really works to the movie’s benefit. I was very impressed by Sophia Lillis who plays the young Beverley Marsh and Finn Wolfhard who plays Richie ‘Trashmouth’ Tozier (my favourite character from the book incidentally) but they were all excellent.

I was actually most concerned about Bill Skarsgård being able to convincingly pull off Pennywise (especially after the always-amazing Tim Curry) but I needn’t have worried because he brought a whole new meaning to word ‘terrifying’. He wasn’t Tim Curry but didn’t try to be which definitely was the right choice. He made the role his own.

The story was tweaked in places and there were some changes, but overall it retained the feel of the book which I think is much more important than being a direct word-for-word, scene-for-scene adaptation.

I thoroughly enjoyed IT and after viewing it a second time round, think it is definitely a contender for my favourite movie of the year. I am keeping my fingers crossed that it is successful enough that to warrant Chapter 2 (which is wholly contingent on the success of Chapter 1 unfortunately).

it: some other thoughts

Now, I have a theory *that it’s a demon, a dancing demon… gotta throw in a Buffy reference now and again dontcha know!* that there is a good reason why Sophia Lillis was cast as Beverley, she really looks like a young Amy Adams. Could it be that Muschietti is maybe courting Amy to play the elder Beverley Marsh?

A particular scene in IT where the creepy pharmacist likens the young lass to Lois Lane (played by Amy Adams in the latest adaptation of Superman) could perhaps lend credence to this theory. Or it could just be me spit-balling wildly here but I think I may be on to something…

This movie didn’t have as many allusions to other Stephen King works like The Dark Tower movie did, but it certainly made up for that with a lot of 80s nostalgia such as the Gremlins and Beetlejuice posters on one of the characters bedroom walls and Nightmare on Elm Street 5 playing at the local theatre in the film.

They also managed to squeeze in a reference to the Turtle that plays a role in the book (though wisely, not in this movie as it would probably be a bit too fantastical and that it is taking into account that IT literally is about a killer clown from outer space!) and where would an 80s-themed movie be without a New Kids on the Block appearance??

it: some fun facts

Fun fact 1: the Duffer brothers wanted to direct IT once upon a time but were deemed too inexperienced. They later would go on to create the genre savvy Stranger Things which was an unexpected hit.

Fun fact 2: IT shares a cast member with Stranger Things in young Finn Wolfhard who plays wise-cracking Richie in the film.

Fun fact 3: The entity IT makes an appearance every 27 years where it gorges itself on children (literally feeding itself on their fear) and goes into a sort-of hibernation until the next cycle is up. The miniseries was released in 1990. The movie has been released in 2017 – exactly 27 years later. Spooky coincidence? I think not…

Fun fact 4: The only cast member to have been cast in both the unfilmed Fukunaga version and Muschietti finished movie was Finn Wolfhard.

Fun fact 5: The scenes where Pennywise’s eyes move in different directions was not aided by CGI –  actor Bill Skarsgård is actually able to do this. Also, the scene where Pennywise unfolds himself from a refrigerator was also Skarsgård; on set he was given training by a professional contortionist in order to perform the scene himself. Dude really does go ‘method’ to get the right result!

Fun fact 6: Stephen King fully endorsed the film – he saw an early screening and gave the project his approval.

[dani-camp]

overall review of season 1 of panic on amazon prime. i haven't read the book (though i soon plan to), so i'm not sure how much of what i love about panic is from the book or show but seeing as how lauren oliver wrote both the book and the screenplay, we can assume a good majority of it came from her and i'd like to give credit to her for that.

that being said, i think the whole concept of panic could've been so much more thematic and deeper with just a different villain. word vomit below.

THE THEMES, VILLAINS, AND ENDING

all small towns are the same. filled with secrets and scandals that everyone finds out eventually, crowded, seemingly inescapable. removed from the reality and sanity of the wider more diverse world. that's what we know from all shows set in small towns.

carp, texas is a character. any good show about small towns should recognize that that town must be a character, and when the small town comes with a deadly game, it makes sense for the town to be an ominous villain.

i wish this had been a more consistent thing throughout the show. after more than a year of lockdown, financial complications, continuous conflict between younger and older generations, upper and working classes, and politicians and constituents, it would've made sense to me for the story to align all of those villainous stories together. panic (the game), is apparently something that has gone on at least as long as all of the locals can recall. it doesn't make sense that the parents of the kids, or the cops on the force would be clueless about how the game works if they were once players and judges themselves. especially since the oldest character on the show, anne, seemed to know enough about it that she didn't even have any questions. how could this game survive in a town full of players and spectators? how is it still a mystery? there's not much keeping others' mouths closed if they're not concerned with playing and spectating privileges anymore.

personally, i would've loved if the judges-slash-villains were like the "elders" of the town a la the secret circle. i would've loved for anne to be the benevolent mastermind of the whole thing, believing in keeping the tradition alive and testing the wills of these kids before they go off into the rest of the world. she's already shown to be a risk-taker, a believer in respecting the danger and courage of things. the sheriff could still be in on it and running the numbers, which he keeps from the other judges, and keeps the cops from catching on or stopping it while playing the grieving dad for all of them. one is spurlock, who pretends to be a territorial nutcase every year while knowing the contestants are crawling all around his property and grabbing whatever innocuous trinket he's planted around. one's a teacher at the high school, who can identify which theatrical charismatic students would make good emcees, which sneaky secret-genius students could be spies for them, etc.

maybe anne and melanie cortez are friends. maybe when melanie reveals that jimmy intentionally threw the game and killed himself due to cortez' influence, anne could sick the tiger on him personally (not that i endorse the mistreatment of wild animals ofc). heather getting the money would make more sense when ray and dodge also really needed it. where the money even comes from would make sense. how the game survives would make sense. maybe that's even more cliche than the hiram lodge expy. but at least it would've been a more cohesive story.

and imo, panic (the game) and the character studies were the best parts of the show. it didn't need the drug subplots, or the gambling red herrings, or constant mystery about who was crazy, who was a liar, and who was just desperate. it could've just been a show about teenagers trying to get ahead in a world that has told them they are powerless by literally risking everything they have (their futures, their bodies, their lives, their cars, their phones). teenagers don't have a lot. and $50,000 could be life-changing and life-saving for all of them in a world the renders you financially dependent on your parents, who hit you (bishop), lock you up (ray), steal from you (heather), control you (natalie), or manipulate you (dodge) for years and years and years after you're told you're an adult only in name. and this is only highlighted by the fact that most of the kids only have one parent or guardian to begin with.

like i said in a post before, the actual villain and the actual show ending kind of just felt like they were throwing conflict after conflict on the screen, pinned it on a character that the audience already didn't like, killed him, and then gave all the characters what they wanted anyways. it felt like hiram and riverdale and how he has a hand in politics, business, drugs, local gangs, and the mafia. and also a bad father and husband. and is also willing to kill teenagers and children for the lulz. cause he had a giant boner to pay off some debts? if you say so.

if what i read in the book is correct, this ending is not remotely in the book and was probably added to the show to give a surprise to people that already read the book. or just to beef it up. i think they could've come up with something better and more original, personally.

KUDOS

i love that it's set in texas. though the southern accents come and go with much struggle, i love that they mention the rodeo and take it seriously. i love that the cops wear cowboy hats. i love that they acknowledge the nature around the setting through all the farms and animals and insects. i love that there's a lot of anxiety around pay, employment, drugs, and reputation without completely losing the charm and beauty of the surroundings. being from a small town in south carolina, it really felt so familiar.

i loved the casting for heather, she was a very natural actress even though she always had me wondering what other wavy-haired blonde actress she was reminding me of (the answers were jessica rothe, kathryn newton, or angourie rice, by the way). jessica sula always kills it, and did a good job of not playing a character that gets killed off this time. the acting and characterization for dodge was good, though we lost his mysterious-spartan-ambitious bits at times and then he was just another white boy plotting and swinging at people. moira kelly is always great, but given very little to do. shame.

i loved the writing of the relationship between heather and her mom. i thought it was on point with french and his mom on the oa. reminded me quite a bit of jlaw's character and her mom in poker house. i see from a brief summary of the book that this was not heather's first motivation for joining the game in the book and kudos to them for fixing that. it looks like they tweaked dodge's goal from killing ray to hurt luke to instead be to arrest luke, which works so much better with dodge's character imo.

i loved some of the smaller characters and details. i loved loved loved both diggins and summer and the idea that these two were handpicked just to be emcees--maybe because i was such an insufferable talkative teacher's pet/go-getter/theatre kid that i know i probably would've been tapped for it had i grown up in carp. super small detail but i love how they just casually mention that sarah is ray and luke's half-sister. maybe because i was the kid with the huge complicated family in a small town and i know everyone would often look at me and my siblings and cousins and ask others how we were related. i loved that natalie was allowed to be really nasty and still a sympathetic character. i loved troy. you really do have to be a badass to be androgynous in a small town. i loved that they showed brief glances of their home life. i loved drew and how he was still involved even though he wasn't competing.

GRIEVANCES

on the other hand, some characters were just really unnecessary. why did adam and troy ever get storylines? why were natalie's dad and christine given so much to do when a lot of it was telling us things we already knew? i'm not sure why dayna had (very much well-deserved) angst about her family's ableism when there was no follow-up to it. why were there scenes between heather's mom's abusive sort-of boyfriend and ray's older brother? why did the photographer have multiple scenes? we barely know them!! all these scraggly white men look alike!! why were leela and hunt multi-scene characters? it was so quick and irrelevant that i didn't even get the actual explanation, but bishop and natalie were judges for some reason? and sarah found the money? heather made up stories and was teased to be a writer? there was an underground drug den and a bunker under spurlock's house? abby aborted a baby? some kid pulled a gambit and died on the spurlock farm? because of the game or because of drugs? and there were several mentions that one character used to date another character in the past, that one character had this occupation or this habit, and i honestly couldn't tell you why they wasted script paper on it, much less actual production and air time. feel free to let me know if there was more plot relevance to these things that i'm just missing, cause that's entirely possible.

also... why was little bill? he was only around to freak heather out, tell us that anne's nice, and remind everybody that hey, people in small towns do drugs!!! and they die from it!! and when he and/or his body are burned alive in a house all the main characters got out of, it's mentioned a couple times and then never again. and there's already plenty of other characters whose storylines and development completely revolve around drugs and anne being nice to them. so why. honestly, i found it kind of offensive and potentially racist, but i don't think it's my place to talk on it so i'm gonna take cues from others on that matter.

next, ray. i'm just gonna say it. the casting was not good there. ray nicholson acted the role well, don't get me wrong. but he looks at least a decade older than a high school senior. it was off-putting. it made the heather x ray scenes super uncomfortable, so much so that i can't ship them even though i truly love a good girl/bad boy, enemies to lovers, belligerent sexual tension ladykiller in love type of thing. but i just couldn't like ray. he could not appear to be some kind of impulsive manchild to me when he instead came off as an overgrown bully taking advantage of barely-legal girls and bullying high-schoolers and taking their money when he should be working a full-time job as a mechanic or something. yuck yuck yuck. and even if i can see the appeal of their relationship to the narrative, not sure why heather chose him over bishop other than he wasn't going off to college (even though I figured heather was going to college since she got the money?)

the pacing was really weird. i think they were trying too hard to end every episode on a cliffhanger or something, because it absolutely butchered the tension of every scene it happened in. they constantly revealed really big things off-screen while keeping the filler fluff i mentioned above on-screen.

can we, as a society, stop making cop characters anything but vague villains who get in the way? we really didn't need to know anything about their personal lives. like, at all.

also, why did cortez call his wife "caramel" in the first scene with her? had me confused af. thinking caramel was a cat i missed or if he was shaming her for eating candy or if she was drinking caramel-flavored wine or something. what kind of pet name is caramel? what the fuck.

CONCLUSION

honestly, between panic and the wilds, i think amazon prime could really benefit from bringing on some writing consultants or test audiences to prevent this kind of incohesive and inconsistent writing from happening in the future. it seems to be continuously holding back a great story from being an epic one.

that is all to say that only something i love a lot can inspire this many thoughts about it, and now that i've finished all ten episodes and am about to start the book, i will be diving straight into the fandom, thank you.

[componentplanet]

What No Man Has Seen Before: Remastering Deep Space Nine to Maximum Quality

I’m done.

Most stories don’t begin at the ending, but that’s the only place to start this one. I’ve been working to remaster Deep Space Nine for the past nine months, ever since AI-based video upscaling software began to hit the market. After I saw how much improvement could be wrung out of some old MKVs, I decided I’d start over, using the original, superior, Deep Space Nine DVD source. Nine months later, I’ve accomplished what I set out to do: Create a method of remastering and upscaling Deep Space Nine that didn’t rely on hand-combing episodes to fine-tune deinterlacing algorithms while compromising on image quality to the smallest extent reasonably possible. I’ll be demonstrating the results all throughout this article.

I have created a 23.976 progressive version of Deep Space Nine, codenamed Rio Grande. While I have not yet checked the method against the entire show, it worked well on test episodes from S2, S4, S5, and S6. Special thanks to Cyril Niderprim, who found the hilariously simple solution below, and a pox on the small mountain of more complicated scripts I’d written. While Rio Grande is capable of throwing errors — I have included an example of such — there’s an alternative if it tangles up an episode in a way you don’t like.

I have also achieved an identical-quality 59.94 fps conversion, codenamed Orinoco. Orinoco preserves motion correctly in all scenes and is included here as an insurance policy. While it matches Rio Grande on quality, it packs 2.5x the frames and takes 2.5x as long to process and upscale. Rio Grande should work — but if it doesn’t, Orinoco will. If either of these methods proves insufficient to deal with an episode, we’ll come up with a custom way of handling it and I’ll wind up writing something about it and/or updating this article to keep track of special cases.

I’ve done a couple renders of the credits to showcase two different AI upscaling models Topaz offers: Theia Detail (at default settings) and Gaia-CG. Gaia-CG is below:

This article is not a step-by-step tutorial on how to perform this process suitable for literally anyone to follow. That will be its own project. I will, however, provide enough information that anyone with a passing knowledge of AviSynth should be able to recreate both approaches.

Theia-Detail credits below:

There’s a missing bit of frame for several seconds when the Bajoran freighter is panning around the station. This is a unique error — I’ve never seen it anywhere else on the show — and it pops up a lot, nearly regardless of what filters you use to adjust an episode. It’s always unique to the credits; you don’t need to worry about random blocks of content missing from the sides of your video.

Maximum Warp

Rio Grande and Orinoco make as few compromises on image quality as is reasonably possible. Every aspect of this process is designed to preserve detail at the deliberate cost of hard drive space until the final encode, at which point you can be as lossy as you like.

All of the clips you’ll see below were encoded in 0.0 H.264 until losslessly upscaled frame-by-frame. I encoded these clips in H.265 at a CRF of 6, which turned out to be ludicrous overkill. Live and learn. There’s a freeze-frame, just-noticeable quality difference between CRF 14 and CRF 20, while 25 is pretty ugly.

Upscaler Models: Avoid Artemis, 200 Percent Upscales

I’ve encoded at least one example of every upscaler mode Topaz offers except for Artemis-LQ and Artemis-HQ. These algorithms are completely unsuited to Deep Space Nine, and while they no longer produce literal garbage output when run against the show, they do not react well to its content. Consider them fundamentally unsuited to the task. I don’t care for Gaia-HQ’s output against DS9 very much, though I included one example below. That leaves the two Theia models and Gaia-CG.

I’ve always preferred Gaia-CG, so that’s what the majority of the encodes are in, though I’ve also showcased the Theia algorithm family. The Theia models offer tunable parameters for noise, sharpness, and detail recovery, and these can be very useful if you’re attempting to denoise an ugly patch of wall or carpet.

The 200 percent upscale option should be avoided. It creates errors that were not originally present in the source in some cases and it offers meaningfully reduced image quality compared to the 400 percent version. Be advised that the repair process has a habit of creating a seam down the left or right side of the image frame — you can crop it out with no trouble, but it’s something to be considered.

Topaz offers the option to upscale losslessly by image or via lossy MP4. All of the upscale videos you’ll see here are lossless PNG conversions.

How Much Additional Detail Did I Recover?

The idea that sent me haring off on this mad quest was that I could extract additional visual data if I returned to the source DVD rather than relying on old backup files. Here’s an example of my best upscale in January:

That was then.

While some of these improvements come from low-level improvements to the AI upscalers themselves, the upscaler has to be able to lock on to enough information to upscale an image without making hash of it. Imagine a screenshot where everything was rendered at DVD resolution except for Odo’s hair, which was done in 4K. It would look odd, to say the least. The more detailer the upscaler can get its hands on, the better the chance it creates something gorgeous on the back end. Going back to the DVDs gave the upscaler more to work with in the final process.

This is now.

As a reminder of how far we’ve come: The following three screenshots are the Defiant as it appears on the native DVD, the best upscale result I could achieve in early February, and my current best result today:

The Defiant in all her DVD glory. At least it beats Netflix. Let’s see what we can do.

February, 2020: It’s a big improvement, but I believed better was possible.

That’s more like it. Image from Orinoco encode.

Here’s my favorite Defiant shot from the entire show. I was really proud of how this turned out in April. It’s still quite nice.

I still like the way this came out, but it’s not the best we can do.

This is one place where I’m obviously getting help from a tweaked AI upscaler model. Better processing might clean up the model a bit differently, but some of the features on the hull are slightly different shapes. This image benefits from a side-by-side comparison to the other at maximum resolution.

The gains are real. Every time I compare an upscale based on the old MKV files I’d created years ago against the benefit of going back to the DVD, the DVD wins. If you want the best version of Deep Space Nine, invest in the DVD set.

So How Good is It?

With careful processing and good upscaling, it’s possible to give Deep Space Nine a clarity that I think approaches that of what’s typically referred to as “HD” content, though it’s still limited to the NTSC color gamut as opposed to later standards like Rec. 709. At its worst — allowing for some deviations from perfection — it’ll still look like the best damn DVD you’ve ever seen. At its best — and I consider the shot of Sisko up there to be one of the best — I’d argue that he, at least, comes across in HD levels of detail.

The processing steps I’ve used repair some baked-in damage to the source, but not all of it. There’s a frame sequence in “The Way of the Warrior” that literally looks as though something was spilled on the film, and that’s not something I know how to fix. All of the encodes below are from Rio Grande.

Way of the Warrior: It’s No Illusion

“The Way of the Warrior” contains two of the best battle scenes of Season 4. In the first, Sisko takes the Defiant to rescue a Cardassian ship under heavy fire from the Klingons. You can see the VFX team experimenting with what amounts to an over-shoulder kill cam — not exactly the kind of thing Next Generation was known for. It’s obvious the VFX teams had a lot of fun with the Defiant.

The second major battle scene of the episode is below. There’s an excellent callback to an event from the show’s pilot, when Kira attempts to bluff a squadron of Cardassian warships into believing the station is far better armed than it actually is.

This time around, things go differently. Upscaled in Theia Fidelity first, at default settings, followed by Gaia-CG. Gaia-CG is what I’ve used for screenshots in the past:

I’ve included clips of normal human interaction in this article specifically to illustrate that these processing techniques don’t just work on starships and battle scenes. Deep Space Nine is about far more than just CGI combat — it just happens to have some really great examples of the latter, particularly by late-90s standards. Gaia-CG below:

Paradise Lost

The Defiant takes on the Lakota in this battle scene. Elements of Starfleet were in the process of slow-walking a coup attempt. This clip deliberately shows what happens when Rio Grande doesn’t get a scene entirely right. While this shot mostly works, it’s noticeably jerky at the end. I’ve confirmed that this only affects Rio Grande — Orinoco plays back perfectly smoothly in this situation. If the small amount of jerk doesn’t bother you, Rio Grande is your oyster. If it does, try Orinoco.

Far Beyond the Stars

One of the benefits of science fiction is that it allows creators to play fast and loose with the question of time travel. Here, Benjamin Sisko is flung back into the 1950s — at least, in his own mind — and finds himself face to face with the ugly racial politics of the era. Upscaled in Gaia-CG:

In the Pale Moonlight

The greatest episode of Deep Space Nine concludes with a chilling soliloquy. Upscaled in Gaia-CG:

The same scene, rendered in Theia Detail at 10 percent sharpening, 20 percent noise reduction, and 20 percent detail recovery.

Sacrifice of Angels

Y’all knew we’d be back to this episode, right? In First Fleet (below, rendered in Gaia-CG), the Federation closes to battle with the advance forces of the Cardassian / Dominion military. I quite like the Galaxy-class maneuvers that bookend the clip. The Galaxy-class often looked fat and ungainly from certain angles, while others showed it to great effect. It gets more of the latter and less of the former on DS9 than it did on TNG.

This initial engagement doesn’t provide the opening the Defiant needs in and of itself. Starfleet decides to try and force a breach through enemy lines, even though they’re outnumbered, 2:1. This is the scene I chose to render in a number of different ways. First, Gaia-CG:

Next, here’s Gaia-CG at CRF=20. The quality loss is modest here, but I don’t recommend going much higher. The problem with starting from DVD source is that there’s not a lot of detail to lose before quality starts suffering, and the interpolated/upscaled information is only just so good to start with. When you start pushing the quality downwards past a certain point, it drops like a rock. CRF=25 is way too high. I wouldn’t go lower than 20.

Gaia-HQ:

Theia Detail, default settings:

And finally, Theia Fidelity, at 20 percent sharpness, 30 percent detail recovery, and 20 percent noise reduction settings:

Although I’ve chosen to focus on the later seasons of the show, this encoding and upscaling method works on the early seasons, too. Just keep in mind that the actual source material for the early seasons isn’t as good as what we got in later years.

That concludes the demonstration portion of today’s program. Now, let’s talk about implementation.

How to Encode Rio Grande

To encode using Rio Grande, rip the DVD using DVD Decrypter and generate a D2V index file using DGIndex or an equivalent tool of your choice. Next, fire up whatever AviSynth front-end you use, if you use one at all. I use StaxRip, personally.

The AviSynth script is as follows:

TFM() TDecimate() QTGMC2 = QTGMC(Preset=”Very Slow”, SourceMatch=3, InputType=2, Lossless=2, MatchEnhance=0.75, Sharpness=0.5, MatchPreset=”Very Slow”, MatchPreset2=”Very Slow”) QTGMC3 = QTGMC(preset=”Very Slow”, inputType=3, prevGlobals=”Reuse”) Repair(QTGMC2, QTGMC3, 9)

That’s it. You also have the option to inject some noise back into the video in the process of running these scripts — season to taste, basically. Noise added to one of the QTGMC runs will still come through after repair. While Rio Grande isn’t 100 percent frame-perfect, it works perfectly on all but one of the 29.97 fps scenes I’ve tested against. If it proves to have more issues than anticipated, we’ll modify it — and that’s where Orinoco comes in. Technically, it’s possible to render this specific scene at 59.94 fps and then include it in the 23.976 fps version by assembling a VFR file when you compile your image sequence back into video. I might explore this in a future update.

The QTGMC runs above are required to achieve the improved visuals, and while I’m completely open to alternatives, nothing I’ve ever tried comes anywhere close to what this script can do. You can tune the above script for strength and processing time, but you’ll notice the quality hit from stepping down to “Slow” from “Very Slow” and “Medium” is unsuited to the task. If you like your content noisy and you don’t mind more combing artifacts (or have a different solution for dealing with them), “Slow” may be a better option.

The one downside to running QTGMC this way is that it can occasionally produce a small ripple in one part of a scene. I find it trivial to ignore and the only solutions I’ve found for it so far cause far more damage than the ripple itself. While I’d like to get rid of it, it’s currently a tolerated “feature.”

Defiant, rounding the station.

The “InputType=2” and “InputType=3” sequences are essential. Running a single QTGMC instance will not produce the same effect. Running two instances of “InputType=2” will not achieve the same effect. There are nine potential ways to combine input types in a repair run like this and I’ve tested every single one of them. The “2,3” combination is what works the best, from “Emissary” to “What You Leave Behind.”

Similarly, I’ve tested all 25 functional “Repair” modes AviSynth supports. You want ,9. If you don’t like that output for whatever reason, try ,1. Most of the others didn’t have much of an impact one way or the other, though a few of them broke content in interesting ways. I’ve revisited them more than once when testing new filters, just to see how final output varied by mode.

If you have suggestions on how to improve output quality further, by all means, drop me a line.

How to Encode Orinoco

Orinoco is not simple, but it works far better than I feel like I had any right to expect.

For starters, we’re creating two files, not just one. Encode your first version of your target episode using the following script:

TDeint(mode=1, type=2, tryweave=true, mtnmode=3, full=false, ap=10, aptype=2, slow=2)

This script orders TDeint to produce doubled frame output, to perform kernel interpolation, to attempt to repair a frame by weaving if the result is fewer combing artifacts than deinterlacing would create, and to only deinterlace interlaced frames. This preserves the progressive frames baked into the NTSC source. Type=5 was the only option that came close to Type=2 in overall image quality, and the bi-directional blending Type=5 introduces causes more frame blending issues at scene boundaries. Type 5 occasionally fixes a problem in Type 2, but it causes them far more often than it repairs them.

Now we set this clip aside and turn our attention to the other. Run the following script against your second clip:

QTGMC2 = QTGMC(Preset=”Very Slow”, SourceMatch=3, Lossless=2, MatchEnhance=0.75, Sharpness=0.5, MatchPreset=”Very Slow”, MatchPreset2=”Very Slow”) QTGMC3 = QTGMC(preset=”Very Slow”, prevGlobals=”Reuse”) Repair(QTGMC2, QTGMC3, 9)

While similar, this script is not identical to the script we used for Rio Grande. Rio Grande’s QTGMC implementation is run in progressive mode. For Orinoco, we want to double the frame rate, bringing our base 29.97fps up to 59.94fps. Now that QTGMC and TDeint are at the same frame rate, we run a repair against them, too. If you run two clips in “Repair” mode at two different frame rates, it’ll work… ish. You’ll know if you’ve done this if you’ve got a weird seam migrating across your video.

This is a bass-ackwards approach to video editing, at least as far as I’m aware, but there’s a method to my madness. The reason people don’t typically just inject a bunch of frames to bring VFR 23.976 / 29.97 content up to 59.94fps is that the process the interpolated and blended frames that boost the frame rate can also create visual errors and other problems. This creates a catch-22: Leave those frames out, and the single-rate output is choppy. Keep them in, and some of your scene boundary changes are going to look decidedly odd as a fireball mushrooms from someone’s head, or two completely different locations are blended together. It’s not a great situation.

But there’s a way to fix the problem.

clip1=FFVideoSource(“C:\DS9S6D2\Sacrifice-TDeint.mkv”) clip2=FFVideoSource(“C:\DS9S6D2\Sacrifice-QTGMC-ToPairWithTDeint.mkv”) Repair(clip1, clip2, 9)

The reason we create the interpolated QTGMC file is to serve as a sharp, clean source against the Sacrifice-TDeint file. The reason I used QTGMC for this is that — as I’ve said before — I’ve never found an equivalent method for creating clean footage. If you want less noise in your video, use “Very Slow” or “Slow” as an alternative. I do not recommend “Medium” for this purpose.

You can run QTGMC against this output again if you want, but the footage will start to look a bit overprocessed. The Theia models can compensate for this to some extent, thanks to a fairly effective (and tuneable) denoise algorithm. There are multiple examples of Theia models in the videos below.

Quality-wise, Orinoco and Rio Grande get you to the same place and I often cannot tell the difference between them when I compare them frame-by-frame (not counting interpolated frames, obviously). Rio Grande is to be preferred — it’s faster and simpler — but I cannot guarantee that it’ll work on all 176 episodes of the show. If you run into an episode with erratic or stuttering motion when its created via Rio Grande, try Orinoco as an alternative and let me know you’ve hit a snag.

Flaws and Shortcomings

Orinoco and Rio Grande are not perfect. I’m still hunting for a method of eliminating the ripple. Small as it is, it’s basically the one problem left (so far!) that I haven’t solved. The best method I’ve come up with so far involves using MCTemporalDenoise, and MCTD appears to be both entirely single-threaded and causes me other headaches in terms of source quality.

If you want to experiment with MCTemporalDenoise, I’d recommend using up to seven pixels but applying a relatively weak effect (strength 2-3). This will not completely eliminate it, but it helps in certain places. If you don’t like the impact this has on your visual quality, investigate the Theia upscaling models and try applying 10-20 percent noise reduction. While you don’t want to go nuts, you can lightly smooth away some defects. I don’t like using one filter just to squash problems another creates, and with any luck Orinoco won’t be needed in the first place.

While my goal has always been to create a one-size-fits-all template for this project, I’ll record any adjustments or changes that need to be made to Rio Grande or Orinoco to deal with problematic episodes, unless that episode is Move Along Home.

Next Time on… the Deep Space Nine Upscale Project

Now that I’ve finished this project, I get to actually start ripping episodes and encoding them. I’m going to write a set of tutorials that give an actual guide to how this works, build a benchmark for workstations, and solve any per-episode problems that need fixing. I’ve come up with a completely free method of upscaling that, while not as good as Topaz, presents a genuine improvement. I also want to look into PAL.

ViacomCBS doesn’t think Deep Space Nine is worth remastering. I say it’s wrong. There’s a limited amount of improvement we can squeeze from a DVD, which is why you don’t see me referring to the show as “4K” or “UHD”, even though it’s common to see those terms tossed around in projects like this. You can upscale Deep Space Nine to 4K resolution, but there’s no way (yet) to squeeze 4K quality out of a DVD source file. This is an imperfect solutions — but it’s light-years beyond any previous version of the show that’s ever existed. If it turns out that Rio Grande does throw more than very occasional 23.976 fps errors, we’ll find a solution for those episodes. There’s every indication that Nvidia’s upcoming GeForce RTX 3080 is going to make this kind of upscaling much faster, which will reduce the pain of a 59.94 conversion.

After today, no Star Trek fan has to wait for ViacomCBS to decide it makes financial sense to invest in its own back catalog. It’ll cost some money for the DVDs and the software, and a lot of compute time to get the work done (8-10 hours per episode on an RTX 2080 at 23.976, 2.5x longer at 59.94fps). Will most people do this? No. Most people will watch the show on Netflix, where the quality is much lower than what they’d get on DVD.

But as of today, nobody has to do that again. As of today, you can see the work of the VFX artists and actors who created in this show the way it was meant to be seen. Orinoco and Rio Grande aren’t perfect, but they illustrate just how much additional quality can be wrung from late-90s DVD source. GPUs are getting faster. AI upscalers are getting smarter. Even if the computer or GPU you own today isn’t capable of tackling a project like this, your next one very well might be.

May the Prophets guide you,

Hruska out.

I owe thank-yous to Stan Pennington, Gary Huff — man, Gary, I probably owe you a hearing aid — Cyril Niderprim, Robert Hallock, Andrew Swan, David Berry, Dan Greeney, Mark Renoden, the folks at Black Magic, my long-suffering fiancée who has listened to me talk about this topic for most of a year and contributed insights at numerous points, Ben Carter, Joe Robinson, multiple helpful individuals at Doom9, and a lot of other people. If I forgot names, I’m sorry. If you helped me, thank you. Most of all, thank you to the talented actors and artists who created Deep Space Nine in the first place. 

Now Read:

DS9 Upscale Project Update: What I’ve Been Working On

Deep Space Nine Upscale Project Season Finale: What We’ve Brought Ahead

Deep Space Nine Upscale Project (DS9UP): Technical Goals and FAQ

from ExtremeTechExtremeTech https://www.extremetech.com/extreme/314653-remastering-deep-space-nine from Blogger http://componentplanet.blogspot.com/2020/09/what-no-man-has-seen-before-remastering.html

[holytheoristtastemaker]

A (mild) defense of Zoom Inc.'s troubles Let me start by quoting Citizenlab's report: For those using Zoom to keep in touch with friends, hold social events, or organize courses or lectures that they might otherwise hold in a public or semi-public venue, our findings should not necessarily be concerning. For those who have no choice but to use Zoom, including in contexts where secrets may be shared, we speculate that the browser plugin may have some marginally better security properties, as data transmission occurs over TLS. Unfortunately a few hours later, on the same day, the web client was put under maintenance and thus disabled for the time being, hopefully not for long. update: the web client has been restored, multiple sources confirmed. Please enable join from your browser as a default setting. Zoom probably didn't anticipate going from 0 to 100 (actually + 1126% of increased usage according to some estimates) in the span of a few weeks and the fact that their network hasn't melted down and rendered all calls impossible to make is a testament to the quality of the underlying technology. As we all can imagine there are challenges in scaling that big that fast, but most of the problems that have been identified up until now don't really have much to do with scalability or reliability per se, but with questionable software design choices and bad privacy or marketing decisions made by the company. To be fair, sometimes shortcuts seem a great idea when you're in the heat of the moment and have a booming product, but the more people use it, the higher the likelihood that these shortcuts will come back to haunt it. Also, Zoom devs are humans and like all humans, sometimes they just make bad decisions without malice. What worries me is how the company management, also entirely human AFAIK 😃, decided to handle the response, more on that later. Last but not least: the media piled up on them quite extensively and some security flaws (except maybe "zoombombing") aren't an inherent problem for those meetings that would otherwise be held in public if we weren't quarantined even though the extent of the problem with user generated content is that its severity differs case by case and here there would be millions of cases (each Zoom call) to analyze. Zoom is used by everyone: individuals, institutions, therapists, teachers, doctors, religious and secular organizations, goverment officials and even heads of state. Zoom, as of April 1st 2020, halted all feature development and vowed to fix privacy and security issues over the following 90 days. What went wrong is also a cautionary tale about the importance of implementing secure practices and caring about users privacy from day one because at the scale they are now it's quite understandable they are trying to put out fires left and right. What is or was wrong it with TLDR; Zoom has numerous known security holes. Some of those have since been fixed, some haven't. The company also made (and in some cases, still makes) questionable decisions related to privacy. (I'm going to use the past tense where I reasonably verified the issue has been fixed) Zoom has a security issue in its "waiting room" feature. The issue is currently unknown as the security researchers correctly disclosed it only to Zoom Inc. granting them time to get it fixed lest it gets in the hands of malicious actors. Security researchers are advising people to use passwords and not the waiting room feature. Recordings are easily findable on the web: Zoom saves recordings with a guessable name pattern, thus it's quite trivial to find them if they are uploaded to the open web. Search engines are literally built to find public data on the web. Again, "security through obscurity" is not a good practice if the content is sensible, and it was: the Washington Post was able to watch other people's therapy sessions and elementary school online classes by scanning the web (!!!!!). The ID of a meeting room is numeric, which means that people can guess it (manually or with scripts) and thus, being openness the default, people can hijack meetings, thus "zoombombing". The meeting ID has 9 to 11 digits, not even "obscured". Security researchers did actually find meetings and with scripts had up to 14% of a success rate guessing correct meetings URLs. Recurring Zoom meetings links can be found: they also contain info of the meeting organizer and whatever info the organizers disclosed as topic or description. Security researchers found meetings of large banks, government contractors and other companies. Screensharing by any participant is on by default, which means that people can stream whatever they want without oversight. Very handy for private and regulated meetings, not great if meetings rooms are open by default. File transfer is on by default: don't think this needs explaining in an app where a meeting is public. You can literally send to dozens or hundreds of people malware hoping at least one of them will click on it. The app has too many settings: I went through the configuration panel on both the app and the web version (before it was disabled) and I didn't understand half of the options and got bored after a few minutes (minutes!!!). As we all know as creators of sofware the default matters (most users don't even look at apps settings), and by default you should respect the user's privacy and be secure, otherwise hell can break loose when enough people come knocking with the receipts. The company lied about being end to end encrypted, that's it. They said they use end to end encryption (e2e) but they don't. They also own decryption keys for what is encrypted on the wire, which is definitely not *end to end encryption. *FYI: true end to end encryption means that only the participants in a communication exchange can actually see the data in the clear. Not the company providing the service, not any goverment, not anyone except who's invited. Zoom uses weakish encryption: even though the service is not e2e encrypted, calls don't travel in the clear on the transport network. They are encrypted using a central encrypting server which holds the keys. The issue is that they use a single AES 128 bit key in ECB mode which is definitely deprecated and has security holes. Security researchers were able to decrypt video and audio frames from "encrypted" calls. Zoom encryption and security protocols are not independently audited, which means that they most certainly contain flaws. We all know how hard is to pull off encryption done correctly, I can't imagine how hard it is to do it with video, audio, text and generic media. "Roll your own encryption" is 99.99% of the time a bad idea, it's monumentally bad in this instance. As Bruce Scheiner wrote: I'm okay with AES-128, but using ECB (electronic codebook) mode indicates that there is no one at the company who knows anything about cryptography. Zoom encryption keys are occasionally on servers under the jurisdiction of the Chinese goverment: under Chinese law the goverment of China can require companies to disclose their encryption keys and tools for oversight. This has happened also if all participants were outside the country. Likely a data routing problem (Zoom tries to keep calls local to the participants) but not reassuring nonetheless. Also makes me thing of sci fi scenario in which governments or attackers decrypt all of these calls and use facial recognition to create mass surveillance tools. 👀 The company sent data to Facebook unbeknownst to users: this is probably quite common in apps that embed the Facebook SDK without tweaking it (and it only applied to the iOS app which might mean it was truly unintentional), but it's not great anyway. Facebook already knows a lot about users (both those using it and those who don't). It has been fixed since discovery. Zoom's privacy policy was all encompassing. Basically it stated that all personal data (including recordings, chats and uploaded files) could be shared with third parties. It has been since amended. Zoom allowed hosts to monitor participant's attention. This is 1984-the-book kind of stuff 😱. It was removed since discovery, on April 1st. The app bypassed the usual installation process. This was probably done to be friendler to the user in the very common scenario in which a user gets a link, doesn't have the app on their computer and wants to be in the videocall as fast as possible. It's exactly what malware does. It has been fixed since the discovery. Zoom shares your contact info to everyone within certain email domains. What happened was that thousands of users whose emails belonged to a Dutch email provider where pooled together and their personal info shared with each other. The app let Windows users click on anything resembling a link. Basically you could automatically open a file on a shared drive sending your network credentials to an attacker. It has been fixed. Zoom sent your contact data to Linkedin. In some situations, if they could match you to a Linkedin Profile somehow, they did, without telling you and sharing your Linkedin data to other people. This feature has since been removed on April 1st. 0 day vulnerabilities leading to hardware take over were discovered. The likelihood of those happening was very low (the vulnerability window span the length of the installation process and just that). Fixed as well on April 1st. Records of private messages with the host are available in the export. This is not a huge problem in theory as the export doesn't contain private messages between other participants than those with the host. Zoom tracks lots of data about its users and has many third party trackers on its website. This to me feels like a very intentional choice. Part of those were amended when the new privacy policy was published the other day. What has happened in the "aftermath" So far: Privacy and advocacy groups started to notice Class actions are starting to mount The US government and the FBI have started to notice 👀 NASA, SpaceX and other companies moved away from Zoom New York City has banned Zoom from its schools Conclusions I'm sure you've noticed how this article doesn't talk at all about alternatives. The question of alternatives really depends on what the users requirements are and if the entire globe is your users, then it's hard to evaluate on the spot. It also takes a lot of time to evaluate all options and I think it'll take a few days before deeply researched articles about pros and cons of the alternatives start to appear. You also need a group of people distributed all over the world for thorough testing of each app. Let's also not forget that we mostly felt okay with Zoom until tens of millions of people started using it overnight and it got on experts's radars. Alternatives might be just as flawed, simply less popular right now. Trust in the company is important so I do understand why regular people are rushing to find alternatives. I'm also not a tech columnist nor a security expert, so I can't claim "X is better than Zoom for everything and for everyone". I'll see if I can find a reasonably well done comparison of alternatives in the next few days with what I think should be generic requirements: great video and audio call performance, secure by default with indipendently reviewed encryption and protocols, and absolutely no adtech on all of this sensible data (which wouldn't be possible anyway if they had e2e, though technically you can still sell metadata about users...). Echoing other people's sentiments I read online: Apple is sitting on a gold mine if they open Facetime, get it audited and make sure their e2e encryption has no "backdoors". I'm leaving last a long list of links, with some excerpts, which is what I've read to write this summary. Media (and other sources) coverage (in chronological order) Although there are past issues (like the "open web server" debacle from 2019), I've focused only on recent media coverage from March-April 2020. 20200317 - (Techcrunch) - Beware of ‘ZoomBombing’: screensharing filth to video calls 20200326 - (Motherboard, Vice) - Zoom iOS App Sends Data to Facebook Even if You Don’t Have a Facebook Account 20200330 - (Doc Searls, digital privacy expert) - Zoom’s new privacy policy: There will be no need for Zoom to disambiguate services and websites if neither is involved with adtech at all. And Zoom will be in a much better position to trumpet their commitment to privacy. That said, this privacy policy rewrite is a big help. So thank you, Zoom, for listening. 20200331 - (Motherboard, Vice) - Zoom Faces Class Action Lawsuit for Sharing Data with Facebook 20200401 - (Motherboard, Vice) - Zoom is Leaking Peoples' Email Addresses and Photos to Strangers: "I was shocked by this! I subscribed (with an alias, fortunately) and I saw 995 people unknown to me with their names, images and mail addresses." "I just had a look at the free for private use version of Zoom and registered with my private email. I now got 1000 names, email addresses and even pictures of people in the company Directory. Is this intentional?" 20200401 - (webrtcH4cKS, WebRTC technologists) - Does your video call have End-to-End Encryption? Probably not...: So yes, Zoom does not have end-to-end encryption. Quite often, WebRTC doesn’t either – not yet at least. If you are using a WebRTC service check their terms of service and privacy policy and make sure that you understand what they are saying about this. Hopefully we will see this change soon as WebRTC Insertable Streams matures. 20200402 - (Fight for the future, digital rights group) - New campaign calls for Zoom to (actually) implement end to end encryption to keep people safe: Digital rights group Fight for the Future, known for organizing massive online protests for net neutrality and Internet privacy, has launched a new campaign calling for video conferencing service Zoom to implement default end-to-end encryption on all video, audio, and chat content. 20200402 - (Steven Bellovin, security researcher and professor) - Zoom Security: The Good, the Bad, and the Business Model: There is, though, a class of problems that worries me: security shortcuts in the name of convenience or usability. Consider the first widely known flaw in Zoom: a design decision that allowed “any website to forcibly join a user to a Zoom call, with their video camera activated, without the user's permission.” Why did it work that way? It was intended as a feature I'm optimistic that things are heading in the right direction. Still, it's the shortcuts that worry me the most. Those aren't just problems that they can fix, they make me fear for the attitudes of the development team towards security. I'm not convinced that they get it—and that's bad. Fixing that is going to require a CISO office with real power, as well as enough education to make sure that the CISO doesn't have to exercise that power very often. They also need a privacy officer, again with real power; many of their older design decisions seriously impact privacy. 20200402 - (Krebs on Security, security expert) - ‘War Dialing’ Tool Exposes Zoom’s Password Problems: according to data gathered by a new automated Zoom meeting discovery tool dubbed “zWarDial,” a crazy number of meetings at major corporations are not being protected by a password. Lo said zWarDial evades Zoom’s attempts to block automated meeting scans by routing the searches through multiple proxies in Tor, a free and open-source software that lets users browse the Web anonymously. “Having a password enabled on the meeting is the only thing that defeats it,” he said. Lo shared the output of one day’s worth of zWarDial scanning, which revealed information about nearly 2,400 upcoming or recurring Zoom meetings. That information included the link needed to join each meeting; the date and time of the meeting; the name of the meeting organizer; and any information supplied by the meeting organizer about the topic of the meeting. 20200402 - (Reuters) - Elon Musk's SpaceX bans Zoom over privacy concerns -memo: In an email dated March 28, SpaceX told employees that all access to Zoom had been disabled with immediate effect. 20200403 - (NYTimes) - ‘Zoombombing’ Becomes a Dangerous Organized Effort: Zoom raiders often employ shocking imagery, racial epithets and profanity to derail video conferences. Harassers have begun to leverage every feature of Zoom’s platform for abuse. They have used the app’s custom background feature to project a GIF of a person drinking to participants in an Alcoholics Anonymous meeting, and its annotation feature to write racist messages in a meeting of the American Jewish Committee in Paris. The frequency and reach of the incidents on Zoom prompted the F.B.I. to issue a warning on Tuesday, singling out the app 20200403 - (TidBITS) - Every Zoom Security and Privacy Flaw So Far, and What You Can Do to Protect Yourself: As detailed as this article is, I fear that this list of problems and choices will be far from the last we hear about Zoom’s security and privacy troubles. In fact, while writing and editing this article over the last 48 hours, we had to add six additional exploits, design-choice errors, and privacy concerns. Zoom has gone into what’s known as “technical debt.” The company’s developers made a lot of poor decisions in the past, which are likely difficult and costly to fix. The longer it takes Zoom to address the core problems, the harder and more costly future fixes will be, as additional code is built upon that weak foundation. 20200403 - (Washington Post) - Thousands of Zoom video calls left exposed on open Web: Videos viewed by The Washington Post included one-on-one therapy sessions; a training orientation for workers doing telehealth calls that included people’s names and phone numbers; small-business meetings that included private company financial statements; and elementary school classes, in which children’s faces, voices and personal details were exposed. 20200403 - (Citizenlab) - Move Fast & Roll Your Own Crypto: A Quick Look at the Confidentiality of Zoom Meetings: Until a few weeks ago, it would have been uncommon for high stakes business negotiations, high level diplomacy, political strategy conferences, and cabinet meetings to be conducted over platforms whose security properties are unknown. Zoom has not publicly disclosed information such as statistics of requests for data by governments, and what Zoom has done in response to these requests. Zoom’s policies concerning notifications to users over breaches or the handing-over of data to governments are also unknown During our analysis, we also identified a security issue with Zoom’s Waiting Room feature. Assessing that the issue presented a risk to users, we have initiated a responsible vulnerability disclosure process with Zoom. We are not currently providing public information about the issue to prevent it from being abused. As a result of these troubling security issues, we discourage the use of Zoom at this time for use cases that require strong privacy and confidentiality For those who have no choice but to use Zoom, including in contexts where secrets may be shared, we speculate that the browser plugin may have some marginally better security properties, as data transmission occurs over TLS. In the meantime, we advise Zoom users who desire confidentiality to not use Zoom Waiting Rooms. Instead, we encourage users to use Zoom’s password feature, which appears to offer a higher level of confidentiality than waiting rooms 20200403 - (Politico) - Multiple state AGs looking into Zoom’s privacy practices 20200403 - (Bruce Scheiner, legendary security researcher) - Security and Privacy Implications of Zoom: Privacy first: Zoom spies on its users for personal profit. It seems to have cleaned this up somewhat since everyone started paying attention, but it still does it. I'm sure lots more of these bad security decisions, sloppy coding mistakes, and random software vulnerabilities are coming. But it gets worse. Zoom's encryption is awful. First, the company claims that it offers end-to-end encryption, but it doesn't. It only provides link encryption, which means everything is unencrypted on the company's servers. 20200404 - (Steven Bellovin, security researcher and professor) - Zoom Cryptography and Authentication Problems: When companies roll their own crypto, I expect it to have flaws. I don't expect those flaws to be errors I'd find unacceptable in an introductory undergraduate class, but that's what happened here. 20200404 - (Chalkbeat, organization related to American schools) - NYC forbids schools from using Zoom for remote learning due to privacy and security concerns: Instead, the guidance says, schools should switch to Microsoft Teams “as soon as possible,” which the education department suggests has similar functionality and is more secure. 20200404 - (Techcrunch) - Zoom admits some calls were routed through China by mistake: Zoom said in February that “rapidly added capacity” to its Chinese regions to handle demand was also put on an international whitelist of backup data centers, which meant non-Chinese users were in some cases connected to Chinese servers when data centers in other regions were unavailable

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