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doomonfilm · 3 years

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Ranking : Gus Van Sant (1952-present)

I was somewhat familiar with Gus Van Sant prior into taking the deep dive through his catalog, but he was certainly a man that I thought I had a handle on. I knew he had more than a few amazing films under his belt, but the recent years had not been kind to him (see the shot taken at him in Jay and Silent Bob Strike Back). I knew that he was from the Pacific Northwest (Oregon specifically), and his coming of age in an area that embraces weirdos and outsiders had an impact on him as a human and as a creator. I knew that films like Milk and Good Will Hunting had taken Van Sant to the highest heights, while the collective panning of films like Psycho and Last Days served as valleys in a career full of glorious peaks.

What I came to discover, however, was a man with genuine creative integrity, and lots of it. I found a director who understood his characters and actors on a human level, and shared them with viewers in ways that helped rich connections develop. I saw a director who was not afraid to make those that society often considers outcasts the emotionally rich and important centers of his narratives. I watched Gus Van Sant present, explore, develop and refine his style over deeply independent and infamously studio-driven projects, giving all experiences as much care and attention as he was able. I saw films I was familiar with find placement behind films I was new to, I discovered that his recent creative years have not been as kind to him as the first two-thirds of his career, and I can see that there still may be a bit of a smolder left in his creative fire.

Ranking directors is a labor of love, but by no means do I consider myself the definitive professional on film canon. I enjoyed all of the Gus Van Sant films I watched on some level, and as always, for those brave enough to interact, I’d be curious to see where you would make adjustments to the list. But enough introduction talk, let’s get into what you folks came for!

17. Restless (2011) There are things about Restless that I want to love without judgement. First and foremost, Mia Wasikowska is an absolute treasure who shines in this performance from the earlier portion of her career. The portrayal of Hiroshi is one of the more subtle, substanced and interesting ways of using a ghost within the film framework. As minor a thing as it may be to the casual moviegoer, some of this film’s technical aspects are astounding, specifically the costuming and the lighting choices. Where the film distracts me, and therefore drops in these rankings, is where it takes the YA approach to the romantic drama, with a healthy dose of manic pixie dream girl energy thrown in for good measure. When it comes to displaying romance on-screen, be it teenage or otherwise, there are no expectations, even for a director with a distinct style. Where my issues arise are in the way that death is handled in this film… while I do understand that not every film has to be a distinct statement for a director (especially a film written by another individual), Gus Van Sant had already established a very mature approach to the subject of death, and the way that death and the manic pixie dream girl aspects are intertwined feels more on the amateur side than I am comfortable with for a Gus Van Sant film. Maybe giving the impossibly troubled young man a muse with an expiration date as his way to find the best version of himself is a stroke of genius that provides a gateway for deep commentary on the concept of the manic pixie dream girl, but the film is so approachable and not the type to bare teeth (be it satirically or otherwise) that I doubt there is any subtext to its intention. For that reason, this film finds itself on the bottom half of the Van Sant canon.

16. Don't Worry, He Won't Get Far on Foot (2018) After the critical and box office disappointment that was The Sea of Trees, director Gus Van Sant had quite the hill to climb with his next film, and with his adaptation of Don’t Worry, He Won’t Get Far on Foot, it seemed he was able to right those respective ships. Strangely, the film failed to connect with me, and as far as I can tell, it seems to be the victim of an “all sizzle, no steak” scenario. The film is certainly a showcase of a very diverse cast, and based on both the flashback-based and group therapy approach to the story, there are a wealth of opportunities to create memorable moments. Unfortunately, and perhaps due to an oversight on my end, I failed to find enough substance during my viewing of the film to prop up the parade of moments. What it felt like I was left with, sadly, was a Simple Jack-level approach to conveying a paraplegic-centered story, which undercut the fact that the film is actually telling the true story of cartoonist, artist and musician John Callahan. That’s not to say that the film doesn’t have it’s positive aspects, such as the John Callahan illustrations and the animated versions of his work, but those positive aspects feel sparse in comparison to how much the film relishes in what feels like Oscar bait. If nothing else, see this film for Jonah Hill, because it took me much longer than it should have to recognize him, partly due to his impressive weight loss and partly due to how dedicated he is to achieving the film’s period look.

15. The Sea of Trees (2015) Death is no stranger in the films of Gus Van Sant, but I don’t feel that it would be bold to state The Sea of Trees deals with death in the most direct manner. For those that subscribe to grief having stages, this film accounts for all of them in some way, shape or form during the course of the narrative as we watch Arthur Brennan fall apart and rediscover himself in the wake of losing Joan Brennan, his wife. Placing the film in Aokigahara (aka the "Japanese suicide forest") not only gives the film a sense of natural beauty, but a foreboding sense of dread and despair as well. The core cast is as strong as any found in a Van Sant film, with Matthew McConaughey, Ken Watanabe and Naomi Watts all turning in solid performances. Sadly, the film falters in one very core aspect : sympathy for the protagonist. I found myself feeling very bad for Joan Brennan as I watched her arc, and despite knowing nothing about Watanabe’s character portrayal of Takumi Nakamura, I found myself sympathetic to him based solely on what he was emoting. Arthur Brennan, however, is interesting in all the wrong ways… he is extremely cold and purposefully flat when introduced, the moments we share with the Brennans only seem to show Arthur finding joy at the expense of Joan’s pride, his view of the loss of his wife (and his world view in general) seem to be extremely self-centered, and when he does show heroic attributes they are rooted solely in self-preservation. Perhaps if Van Sant had not already made such eloquent reflections on death via The Death Trilogy and Paranoid Park, The Sea of Trees could have been seen in a different light, but when you set such a high bar for your work, returning to stereotypical storytelling can feel flat and uninspired.

14. Last Days (2005) Last Days is a film with a weird energy and aura surrounding it… in some ways, it feels like the most performative film not only of the Death Trilogy, but out of the entire Gus Van Sant catalog. At the risk of using too negative an adjective, it also feels the most exploitive, though neither of these observations are necessarily meant to be a knock against the film. The Death Trilogy could not help but be exploitive at its root, as each film was inspired by an infamous death event, and with Michael Pitt’s Blake meant to be an avatar for Kurt Cobain, it would be simple to take the film at face value for some sort of glamourized and idealized fictional retelling of his tragic final moments, not to mention a few stylistic nods to iconic Cobain-related imagery. What that viewer would be missing, in my opinion, is a film looking to make some familiar points on outsider culture (specifically alternative rock and roll counterculture and addict culture) minus all the glamour and shine. While Blake’s house is grand, it’s decrepit and in a state of disrepair… despite it being isolated, expected and unexpected guests arrive constantly, not to mention an intrusive ringing phone that connects Blake to outworld obligations… Blake has a number of people living with him, but he almost never interacts with them. Michael Pitt is done up to look so similar to Kurt Cobain that much of the narrative background is implied, and what we are left with is the Death Trilogy style implemented and fused onto a loose leaf narrative with just enough structure to let the supporting actors have isolated memorable moments while we watch Pitt’s Blake decay in the ways that many of us Cobain fans ruminated on in the wake of his sudden and tragic death at the height of his tortured popularity.

13. Gerry (2002) At the risk of sounding cliché, Gerry may be the most fascinating film in Gus Van Sant’s canon. It marks a clear and definitive break in convention from a director that seemingly never cared too much for convention anyway. Multiple aspects of this film make it extremely unique : both characters referring to one another by the same name (though Gerry eventually evolves into an all-purpose non-specific descriptor), a seemingly absent narrative, a shared goal between the characters literally referred to as “the thing” in order to purposely keep viewers in the dark and, perhaps most importantly, a deliberately methodical pacing that pushes even seasoned film lovers to the limits of their patience. The film is beautiful, and that is a fact that cannot be denied… the painterly shot compositions of our characters in the isolated desert, the unfathomably long tracking shots that pull us deeper off the beaten path and the sonic stillness (due to a largely absent score that is replaced with the sounds of nature) either commit you fully to the experiment or come off as massively pretentious. To view the film through that secondary lens, however, is to miss the point of it all. Once it is understood that Gerry marked the entry point for Gus Van Sant’s Death Trilogy, you began to realize that Van Sant, in tandem with Matt Damon and Casey Affleck, are giving us an understanding of how we should view the trilogy, and how open-minded we should be in processing what is given to us, like some early high-concept version of what Quentin Dupieux would later go on to master in a more abstract manner.

12. Mala Noche (1985) It’s fitting that this was a feature-length debut from a driven and working director, as it has a very distinct look and feel to it that immediately lets you know you’re dealing with an innate storyteller and someone who has spent time observing the human condition. In terms of visual and narrative balance, Gus Van Sant utilizes what feels like a mix of John Cassavetes and Jack Kerouac, respectively. Van Sant’s use of titles in the film is striking, specifically in terms of the handwritten opening credits and the Dr. Pepper ad copy used to subtitle the Spanish language dialogue. Focusing so heavily on immigration and homosexuality in 1985 is a bold choice, especially as neither group had yet to benefit (even if only minimally) from the onset of politically correct culture policing. While the film was more than likely shot in black and white due to budgetary constraints, the infusion of somewhat modern elements (for the time) gives it a youthful and forward-thinking energy. Having a film of this nature lean so heavily on multilingual and multicultural elements is refreshing, and even more impactful when examined under the boorish and (at times) tone deaf application that humanizes these elements. For all of these aspects of the film, however, when examined at the pure narrative foundation, what we find is a story about how love can blind us from the reality we inhabit, and how we often choose to ignore the obvious when romance and romanticism enters the picture.

11. Psycho (1998) Of all the films in the Van Sant catalog, perhaps the bravest, boldest and most baffling entry is his nearly shot for shot remake of the iconic Alfred Hitchcock thriller and cinematic game changer Psycho. Remakes were certainly not a new or unheard of practice at the time of the Van Sant Psycho release, but most directors opt to put significant twists or updates into their retelling of most remakes, and most films chosen do not hold the lofty stature and position that Psycho does when it comes to remakes. Van Sant’s approach not only made viewers keenly aware of just how direct the homage was, but in some places, modern touches were added in very subtle ways to make the movie more palatable for modern audiences, including more salacious references to sexuality, sound design choices in both the diegetic and symbolic realm, and even an update or two to iconic scenes meant to make us much more uneasy with the Vince Vaughn portrayal of Norman Bates. The actors cast were all famous and respected enough to keep the film’s timeless feeling in-tact, even if the remake could be taken as its own weird and warped project. Personally, I’ve always loved this remake, and taken it as an experiment on the highest commercial level, and a signal to all that Van Sant (at the time) was done with the traditional approach to filmmaking and concepting.

10. Paranoid Park (2007) While many movies centered around skateboarding spend their time and design budget trying to make the outsider nature of the practice look “cool”, Paranoid Park spends its time making sure that the isolation, deep focus and rebellious attitude that come with skateboarding were more authentic than they were appealing. High school is already a very taxing and polarizing section of juvenile development, and based on your perception at the time, the weight that the world unloads on you can feel wholly unbearable. Perhaps this is what makes Paranoid Park such a tense film… that natural teenage angst is already imprinted into the film (and amplified due to the casting of relative unknowns), but Gus Van Sant’s signature use of alternative film stocks, obscure soundtrack and expressive, layered sound design but you square in Alex’s head from the opening moments. As the narrative unfolds, we realize that Alex is not only dealing with standard-issue teen stress, but has unwillingly found himself involved in the type of events that change an individual’s world. This film plays well as the first film post-Death Trilogy, as it deals with the gravity of mortality head-on much like the aforementioned three films, but does so from an adaptive stance rather than one based on true events. If you’re a fan of skater flicks, movies with strong teen acting, or little-known Gus Van Sant gems, then Paranoid Park is a gem waiting for discovery.

9. Finding Forrester (2000) Gus Van Sant has always had a way with stories that dive below the surface of the human experience and condition, so it makes sense that his attempt at a New York-based movie about people living in “the hood” would cover an array of topics with masterful subtlety, specifically the topics of race relations, generational gaps and the blurry line between education and exploitation. The casting on this film is extremely strong… then newcomer Rob Brown gives a riveting and dynamic lead performance, it’d be harder to cast a more perfect curmudgeon than Sean Connery, and appearances by F. Murray Abraham, Anna Paquin, Busta Rhymes and a Matt Damon cameo all stand out. Speaking of Damon, Finding Forrester shares a similar energy to Good Will Hunting, but the proximity of release ultimately held Finding Forrester from finding its proper audience (no pun intended). I wish I had more to say about this film outside of my personal feelings and connections to the story (which I will save for a dedicated deep dive in the future), but Finding Forrester is one of those films that has no trouble speaking for itself.

8. Promised Land (2012) As of the point that this blog post was created, this film stands as the last of the great Van Sant creations. There is something about the Gus Van Sant approach to filmmaking that works best with “salt of the Earth” types, and with Promised Land being centered around the practice of fracking, much of that down-home nature is immediately baked into the story. Speaking of the story, the film was co-written by the characters who ended up being the protagonist and antagonist of the picture, respectfully, which created an electric main dynamic that served as the spine for many other strong dynamics present in the film. In terms of the cinematography, much of Van Sant’s bold approaches and stylistic shifts are absent, save for a few beautiful bird’s eye view perspective shots that give you a real idea of what rural America looks like. Van Sant is no stranger to stacked casts, but he gets some truly top notch names to take part in this affair, and true to the clout behind these names, the performances are as stellar as they are believable and natural. The film also touched a nerve with the actual oil industry due to some of its comments on fracking, despite it not having the reach or success of other Van Sant films. While possibly an indicator that Van Sant would be making a stylistic shift, Promised Land still manages to capture what makes Van Sant his best self in terms of not only presenting real people, but topical and important situations.

7. Milk (2008) Gus Van Sant is clearly no stranger to having representation for the gay community in his films, so it makes sense that one of the hallmark films in his canon would center around gay rights activist and politician Harvey Milk. Much like JFK crystalized Oliver Stone, or Spike Lee was raised to another echelon by Malcolm X, Van Sant found a second round of Academy Award-level validation via this biopic while solidifying himself as a creative who could go back and forth effortlessly between big budget studio films and independent projects. With Sean Penn giving one of his signature chameleon-like performances and leading the pack, this Van Sant production is filled with tons of burgeoning talent who have since gone on to make names for themselves in the industry, including the likes of Emile Hirsch, Diego Luna, James Franco, Alison Pill and others, plus a standout performance from Josh Brolin (who also depicted George W. Bush in the same year for the aforementioned Stone). While it may not be the most technically marveling film of Van Sant’s career, it is clearly one of his most important, and the way that it handles the messages it intends to share is as confident as it is even-keeled, which is important for a film that could have easily become a soapbox for espousing personal beliefs and political agendas.

6. Even Cowgirls Get the Blues (1993) This Gus Van Sant adaptation of the famed author Tom Robbins novel shares the same creative energy of films like Fear and Loathing in Las Vegas, Natural Born Killers, Harold and Maude and so on in the sense that it is a very expressive film with a very specific idea it is looking to present. Where the aforementioned films explored ideas of free love taken to the extreme, the toxicity of media, love without judgement and so on (respectively), Even Cowgirls Get the Blues puts femininity and identity outside of the male gaze squarely in its crosshairs. Uma Thurman takes on the role of Sissy with wide-eyed zeal, floating through a series of hitchhiker-based adventures until her reluctant visit to the Rubber Road Ranch helps her find the missing piece of her puzzle. Seeing a bizarre, star-studded tale of a woman finding her agency sounds like it would work on the surface, but from what I could find, the film failed to make a connection with audiences and is considered a commercial and critical failure (which is probably why it was the toughest film to track down on this list). That being said, I’m a sucker for films that catch a bad rap, especially when the combination of such a unique director and visionary author are the foundation of it, because it makes me curious about why I find connection where others did not… who knows, maybe it was those extremely distracting rubber thumbs (the only real knock I can make on the film), or maybe the Tom Robbins style is tough to transfer from page to screen, but for my money’s worth, I can see the vision.

5. My Own Private Idaho (1991) Somewhere within the intersection of films like Midnight Cowboy and Fight Club lies My Own Private Idaho, an extremely personal and nuanced film that covers many topics with depth and an ease that comes with wisdom and experience. For example, when it comes to views on identity, we get two rich narratives that could easily both be their own film : Mike (portrayed by River Phoenix) is going through a crisis of identity based on a sordid history with his mother and absentee father that makes his search for love transform into a life of hustling as a way to find momentary intimacy; meanwhile, Keanu Reeves (who plays Scott) is an entitled young man awaiting an inheritance that decides to spend the time until it happens “slumming” with those many would consider the outcasts of society, much like the “tourists” spoken of by Edward Norton’s narrator in Fight Club. The struggle with masculinity in the face of homosexuality is all over this film, from its multiple male on male connections to the very toxic manner that the core group interacts with one another, when they are not grieving or putting their livelihood in danger via petty crimes. In terms of Van Sant style, the film is one of his most innovative (outside of the film holding the top spot) in terms of looks, with its unique range of colorful title cards, the pinhole vision that Mike uses on his road, or even the standout magazine rack sequence. The film is also a perfect follow-up to Drugstore Cowboy, and could easily double feature with it to this day. As someone not wholly familiar with Shakespeare’s Henry plays, I did not catch that My Own Private Idaho was an adaptation, so I will not only have to revisit it with that familiarity in tow, but I will have to take a look into James Franco’s re-cut, My Own Private River, as well.

4. Elephant (2003) Based solely on the nature and definition of a trilogy, a second film can make or break things. Gerry and Last Days share similarities in how quiet and isolated they are, so it makes sense that Elephant, part two of Van Sant’s Death Trilogy, would in many ways be the meat of the trilogy sandwich in terms of style and thematic substance. Elephant operates on several distinct levels based on Van Sant’s observations of the world going into the new millennium, as the film allowed him a foundation for both experimentation and examination by proxy. While the long takes and vast amount of distance traveled during said takes was present in all three films of the trilogy, Van Sant made a concentrated effort to make the shots look and feel similar to that of video games like the later Grand Theft Auto entries, hence a number of the shots being positionally locked during travel (often times a few feet behind the character at the center of that moment’s focus). There are ramp-downs of the frame rate to punctuate certain moments, and quite often the camera is thrown on a tripod and allowed to take in the array of high schoolers living their standard life. It is this mundane world-building aspect that not only gives the viewer a rapid but deep look into a handful of character’s lives, but it gives you a sense of the school’s social hierarchy while forcing you to reflect on where you once stood within it. Per the film’s clever title, the elephant in the room eventually appears in the form of Eric and Alex, the pair of school shooters meant to reflect the Columbine Massacre perpetrators. While school shootings weren’t an unknown phenomenon going into the 2000’s, Elephant became prophetic in its vision by releasing right before the numbers started rising at an alarming rate on these incidents. In that sense, Elephant holds the dual distinction of not only being one of Van Sant’s best films, but one of his most important. I will soon be looking into the 1989 Elephant film as well.

3. Drugstore Cowboy (1989) The power of Drugstore Cowboy as a modern-day narrative tragedy about the epidemic of prescription drugs, the dark allure of crime and the oddball way that broken people find solace in one another is immediately evident to anyone who has had the pleasure to see Gus Van Sant’s studio directorial debut. Where the film really stands out however, in my opinion, is the way that Van Sant is able to achieve his major studio look while deeply applying a very artistic and personal aesthetic to the cinematography and editing. The traditional looks are interspersed with the use of different film stocks, subtle blends of animation and flashes of stylistic edits that were almost certainly an inspiration for Darren Aronofsky’s “hip-hop editing” style. Add to this an incredibly intuitive and expressive core cast driven by the chemistry between Matt Dillon and Kelly Lynch (and a very early Heather Graham supporting appearance), plus a strong appearance by the always memorable Max Perlich, a fiery James Remar performance and an iconic cameo from William S. Burroughs. The jazz-influenced score not only makes key scenes livelier, but it is a symbolic statement on the drug use depicted in the film, while simultaneously playing counter to the soundtrack choices. Period, point-blank, Drugstore Cowboy is the kind of film that surely put the world on notice, and was a clear signal of the magnificent work that would follow.

2. Good Will Hunting (1997) If held up to the standards of what people consider to be good (or even classic) film, Good Will Hunting more than holds up to scrutiny. Visually there are a small handful of flourishes, and having Elliot Smith’s music accompany Will’s painful but enlightening journey has only become more of a bittersweet sting as the years go by. In terms of performances, everyone brought their A+ game to the table, be it the leading performances of Matt Damon, Robin Williams or Stellan Skarsgård, the supporting performances of Ben Affleck or Minnie Driver, or even the engaging nature of Cole Hauser and repeat scene stealer Casey Affleck. After a flurry of dedicated fandom viewings in the years following this film’s release, a very long period away from the film where I had leagues of personal growth, and a revisitation for this set of rankings, what I have discovered is that Good Will Hunting presents a wish fulfillment fantasy that was nearly incapable of being a reality in the pre-internet age for anyone other than a character like Will : an undiscovered genius with a degree from the school of hard knocks. In a world where people often wish they had the correct answer to every question, the looks and personality to be a social magnet, and the ability to back up any tough talk with stone hands, Will Hunting stood as an idealized example you wished you could peel off the screen and have some beers with. As the internet has invaded our lives, however, most everyone has turned into a keyboard version of Will Hunting, looking for fights online when not having briefly intimate Google sessions to flex our supposed knowledge. Much like Will, many people find that the knowledge minus the wisdom of worldly experience and vulnerability leaves you a shell of a person filled to the eyeballs with regret, and perhaps that is why this film only gets better as the years go by, and remains among the best of the Van Sant creations.

1. To Die For (1995) For the longest time, I avoided To Die For simply because I was not a fan of Nicole Kidman… the vast majority of her roles held no interest to me prior to To Die For (it took Eyes Wide Shut for me to really start paying attention to her), and because she was so key to the film, there was never a sense of urgency about seeing it. As time went by, however, I started to hear rumblings that To Die For may have been a bit ahead of its time, to the point that technology and social practices have caught up to some of the ideas presented in the film. I finally watched it for this ranking set, and man, I really missed the boat on this one. Plain and simple, this film is pure genius on every level. The presentation starts off documentary-esque, which not only allows for expedited distribution of backstory information, but immediately gives you an idea for the personalities of our key characters. Kidman’s portrayal of Suzanne stood as the textbook example for what has become commonly known as sociopathy, with her blind desire for fame and respect leading to a wake of human destruction. In terms of narrative pacing, the film proceeds like a match dropped at the endpoint of a long gasoline trail, slowly drifting towards the eventually point that everything blows up and damage must be assessed while blame and accountability must be handled, resulting in a truly powerful ending more than deserving of the heavy lifting that precedes it. The 24-hour news cycle was on the horizon in 1995, daytime talk shows and MTv’s The Real World had not shifted into the reality TV landscape that we know today, and while a few high profile cases such as the Menendez Brothers and Pamela Smart trial (the loose inspiration for this film) had happened, the bombshell and watershed trail that was the O.J. Simpson murder case was hot on the heels of To Die For’s release (the same month, actually). Stylistically, the film also bears striking resemblance to an updated version of Sunset Boulevard, be it knowingly or not. Long story short, the best films not only comment on the times in which they are created, but gain relevance as time passes, and To Die For handled both of these things phenomenally.

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saakyo · 5 years

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Never-Ending Survey : Sakyo Yumishi

Rules: Repost, do not reblog Tagged by: @enlightened-palace (thanks for tagging me! Sorry it’s taken me so long to finish it...) Tagging: @lightdevoid, Anyone who would like to do it

BASICS.

FULL NAME: Yumishi no Sakyo NICKNAME: A select few get to call him ‘Kyo AGE: 28 BIRTHDAY: 29th Sun of the 6th Umbral Moon ETHNIC GROUP: Raen Au Ra NATIONALITY: Doman LANGUAGE/S: Doman, Common SEXUAL ORIENTATION: Pansexual ROMANTIC ORIENTATION: Panromantic RELATIONSHIP STATUS: Single HOME TOWN / AREA: Yanxia CURRENT HOME: Technically Yanxia, but he travels PROFESSION: Laborer

PHYSICAL.

HAIR: Blond EYES: Blue with darker limbal rings FACE: Square chin, angular jaw, straight nose, well-shaped mouth LIPS: Typical COMPLEXION: Tanned, a few early wrinkles here and there BLEMISHES: Some pigmentation from being in the sun SCARS: A few small, faded marks on his hands, forearms, chest and shoulders. Nothing large or serious TATTOOS: None HEIGHT: 7 fulms, 3 ilms WEIGHT: 290 ponz BUILD: Stocky and muscular FEATURES: Worn hands, weathered scales, generally looks kind of tired but well fed ALLERGIES: Rabbits USUAL HAIR STYLE: Finger-brushed, tousled, loose USUAL FACE LOOK: Reserved, impassive USUAL CLOTHING: Work smocks, wooden sandals, anything free to get dirty

PSYCHOLOGY.

FEAR/S: Failure, humiliating himself, earning punishments for others, change ASPIRATION/S: Independence, resuming his family craft, adjusting to life without Garlean control POSITIVE TRAITS: Patient, disciplined, realistic (pessimistic?), loyal NEGATIVE TRAITS: Guarded, uptight, pessimistic (realistic?), temperamental TEMPERAMENT: Overly formal and polite, prone to fussing or nagging but obedient ANIMALS: Mule VICE HABIT/S: Any kind of food, the occasional "professional sensual arrangement” with a stranger FAITH: Kami GHOSTS?: Yes AFTERLIFE?: Yes REINCARNATION?: Yes and no (depends) POLITICAL ALIGNMENT: None EDUCATION LEVEL: Nothing extensive. Can read/write at a child's level and do some basic math

FAMILY.

FATHER : Deceased MOTHER : Alive, sickly SIBLINGS : Two brothers (deceased), two sisters (living with mother) EXTENDED FAMILY: Aunts, uncles, cousins, grandparents, etc NAME MEANING/S: Much like how the surnames Smith or Fletcher began as trade or craft titles, Sakyo's family name simply means bowyer or bowmaker. His full name, Yumishi no Sakyo, literally means Sakyo of the Bowmakers. HISTORICAL CONNECTION?: None

FAVORITES.

BOOK: None, he can't read very well DEITY: Forest spirits HOLIDAY: Anything with food MONTH: Any with a change of season SEASON: Fall/Autumn PLACE: Rainy, misty forests WEATHER: Cool and crisp SOUND / S: Wind chimes, rain, wooden sandals on stones SCENT / S: Wood, damp earth, incense TASTE / S: Salty, savory, tart FEEL / S: Smooth stones, breezes, lying flat on his back on the hard floor ANIMAL / S: Anything that stays out of the way NUMBER: Anything considered auspicious COLORS: Blue, brown, gold

EXTRA.

TALENTS: Using his hands, carving wood BAD AT: Cooking, keeping his handwriting neat TURN ONS: Bared throats and shoulders, smooth voices, noticeable curves (hefty bosoms, narrow waists, prominent pecs or ab muscles, large biceps, etc) TURN OFFS: Excessive cursing, rowdiness, brats, acting extremely spoiled HOBBIES: Origami, whittling knickknacks, doing chores TROPES: Gentle giant, the uneducated farmer QUOTES: "Hard work will always surpass raw talent."

MUN QUESTIONS.

Q1 : If you could write your character your way in their own movie, what would it be called, what style would it be filmed in, and what would it be about?

A1 : I'd rather do a TV series, maybe something similar to the Little House on the Prairie. Just a simple show about everyday life the commoners face before, during and after the Garlean occupation. Good values and wholesome moments scattered with depressing hardships and loss, etc.

Q2 : What would their soundtrack/score sound like?

A2 : Traditional instruments, quiet, subtle strings or periods of silence to emphasize certain moods or atmosphere.

Q3 : Why did you start writing this character?

A3 : I don't know. He began as a non-RP character and over time I added details to his backstory for my own amusement. Eventually I decided to RP him.

Q4 : What first attracted you to this character?

A4 : His name. It was randomly generated by the character creator, and after learning what it meant I liked how well it fit with Doman and Raen lore.

Q5 : Describe the biggest thing you dislike about your muse.

A5 : He's more of a supporting character, so he works better with more active characters who need someone to further their own plots. I'm trying to find ways to make him more dynamic.

Q6 : What do you have in common with your muse?

A6 : We both worry a lot.

Q7 : How does your muse feel about you?

A7 : He probably thinks I'm too idle.

Q8 : What characters does your muse have interesting interactions with?

A8 : Generally everyone he meets is interesting in some way, from other Doman commoners to Western adventurers. So long as he's achieving or learning something, it's time well spent.

Q9 : What gives you inspiration to write your muse?

A9 : Any time I teleport to Kugane, hearing the ninja theme, certain glams.

Q10 : How long did this take you to complete?

A10 : A while...

#Reference #Memes

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crusherthedoctor · 6 years

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Sonic Villains: Sweet or Shite? - Part 7: METAL SONIC

It's been a while, but it's time for another Crusher review and analysis.

There are some villains I like. And there are some villains I don't like. But why do I feel about them the way I do? That's where this comes in.

This is a series of mine in which I go into slightly more detail about my thoughts on the villains in the Sonic the Hedgehog franchise, and why I think they either work well, or fall flat (or somewhere in-between). I'll be giving my stance on their designs, their personalities, and what they had to show for themselves in the game(s) they featured in. Keep in mind that these are just my own personal thoughts. Whether you agree or disagree, feel free to share your own thoughts and opinions! I don't bite. :>

Anyhow, for today's installment, we'll be putting the Stardust Speedway saxophones aside for a moment to discuss Dr. Eggman's notorious robotic copycat, who desperately wants to show us what he's made of: Metal Sonic.

NOTE: While I will be taking several of Metal Sonic's non-game portrayals into account, this will NOT include his Sonic the Comic incarnation, as I feel that Fleetway's Metal - or Metallix, as he's called - is so vastly different in so many ways that I feel there's no point, whereas his other portrayals in non-game media are considerably more consistent for the most part.

The Gist: Being a criminal mastermind slash world conquerer in the making has its shortcomings, and for Dr. Eggman/Dr. Robotnik/The Bad Guy, that shortcoming came in the form of a plush-sized hedgehog who frequently wrecked his machines, foiled his plans, and - worst of all - talked back at him. This literal thorn on his side made the good doctor a very unhappy camper, but one day, his brilliant brain brought a brilliant breakthrough: Why not pit Sonic against himself?

During his then-new scheme to use the Time Stones of the Little Planet to conquer the world through time, Eggman worked tirelessly on his new idea to ensure it was just right. It couldn't be too slow. It couldn't be too bulky. It couldn't be too un-Sonic-like, for he vowed to assert his technological dominance by making a better Sonic than the real one. He wanted this to be his greatest creation yet, and he wasn't going to half-ass that objective.

The result was Metal Sonic, a marvel of industrial automation who established himself as fast as Sonic, as deadly as Sonic, and... not talkative, unlike Sonic. No wonder Eggman declared him the superior of the two.

Eggman loves his creation so much that he’s willing to let him die if this goes wrong. That’s how you know he’s his favourite.

Sure enough, Eggman's efforts were not entirely in vain, as the blue droid was more than a match for Sonic in the speed department, as well as the "What's the best way to make it clear to Amy Rose that I'm not interested?" department via snatching up Sonic's pink hedgehog acquaintance, leaving her as the doctor's captive. Unfortunately however, despite giving Sonic the race of his life, Metal was not yet as quick in his reflexes as the genuine article was, meaning his initial reign of terror came to an abrupt end when he flew head-first into a wall, George of the Jungle-style. Eggman was devastated, except he wasn't, because he knew he could just rebuild and upgrade him. Which he did. Constantly.

He also rebuilt these guys for some reason.

Since his debut in Sonic CD, Metal has went on to appear in a sizable number of games throughout the years, and he's made some personal appearances in a few other continuities as well. Most of these appearances simply have him show up, attack Sonic and other heroes for a bit, then get his ass handed to him. Some of those ass-kickings even came with a tasty amount of hue hues. But every now and then, they'll have him do something more, the most famous example being Sonic Heroes, in which he took over Eggman's army by force and went on his own little crusade to gain everyone's data and become Metal GodJesus, all the while proving himself the real Sonic the Hedgehog... by doing a lot of things the real Sonic the Hedgehog would never do. (This general concept would reappear in the IDW comics, though he did not betray Eggman that time around.)

Overall though, Metal is generally considered to be a welcome face whenever he makes an appearance... when he’s not dreaded for being the biggest roadblock in Fighters.

“Well that’s the end of the playthrough, make sure to like, comment, subscribe.”

The Design: What is there to say about Metal Sonic’s design? It’s cool, it’s ominous, it’s sleek, it’s stylish, and it holds a palpable aura of dangerous badassitude while still fitting perfectly with the design philosophy of this franchise. Truly, Metal’s design alone makes him one of the all-time greats of the Eggman repertoire, and it's easy to see why the scientist is particularly proud of this one.

He’s the robot your robot could crash into a wall like.

He’s had a few transformations over the years though. In Knuckles Chaotix, he turned into a ginormous monstrosity commonly referred to by fans as Metal Sonic Kai, who terrified many juniors back in the day due to making the inexcusable error of not being blue. The bad ending might have also affected them.

E for Everyone.

Luckily, Classic Metal got the right idea two decades later, and kept his blue colour scheme when the Phantom Ruby brought the form back in Sonic Mania Plus. As for Modern Metal, he had a brief life (or lives, if you count IDW) as Neo Metal Sonic, who - despite being made with the intention to be a darker, cooler, more serious iteration of the character - went the complete opposite direction by looking less like a frightening metal monarch, and more like a shonen anime’s midnight seizure.

Look at this fucking thing.

Elf shoes. Ripped skirt. Starfish haircut. Vaguely phallic strap in the appropriate area. Regular Metal may have a semi-cutesy look even in his more dangerous iterations, but at least he doesn't come off as a compensating son who doesn't quite know how to come out to his judgemental father, which is more than I can say for whatever the hell this is supposed to be. Is this really meant to be a more intimidating design? A more badass design...?

Then, as if this wasn’t ridiculous enough for Metal already, they had him transform even further into MechaGodzilla Metal Overlord, a goliath made from the remains of the Egg Fleet, with a side order of spikes and artist’s regret.

"Sonic, I was created for the sole purpose of destroying you... but I can never seem to defeat you... That is why I purchased Freddie Mercury's wardrobe with my own hands!"

Said form also returned in the IDW comic, rechristened Master Overlord, who traded the clawed wings and the flamethrower in exchange for symmetrical hands and a more simplistic body structure, at the expense of looking even more like a children’s toy.

Needless to say, Metal's had some... interesting transformations over the years. But his original look will always remain iconic, and rightly so.

The Personality: Metal Sonic's personality is harder to specify compared to other characters in the series, because his kill-first ask-later demeanour in tandem with his usual muteness means we see him most of the time as little more than a Sonic-shaped extension of Eggman's will. That said however, there have been deeper glimpses here and there into what makes his mechanical mind tick.

The most obvious thing to note is that Metal holds the very un-Sonic trait of not having time for nonsense. Sure, he might not be above taunting his organic counterpart in a likeminded way occasionally, but that aside, he's generally a pretty serious and humorless individual, a stark contrast to his creator and master that nonetheless works in the latter's favor, as the realisation that the goofy manchild Eggman of all people made this thing helps shoot down the myth that the rotund madman is all talk.

"He's behind you!" "Shut it wee man, this is a serious play."

Then there's his insanity, by means of identity crisis. It's not known if this was something that was there from the beginning, or if it's somethng that developed and worsened with each defeat, but at some point in his life, Metal convinced himself that despite literally being made with the intention of exterminating the actual Sonic, he himself was in fact the actual Sonic, and that the actual actual Sonic that already existed prior to his inception was in fact the actual Not-Sonic (or a faker, as would be used to describe a certain other lookalike). This belief has caused him to do a bunch of crazy stuff of dubious logic, and don't try to question him on his reasoning, lest you want him to cut you open like a Terry's Chocolate Orange.

His relationship with Eggman is something of an enigma. While his teenage phase betrayal in Heroes is probably the most mainstream evidence of how he feels about his master, it's easy to forget that this was the exception, not the rule. In nearly every other appearance before and since then, Metal has shown nothing but stone cold loyalty towards the doctor and his cause. Even in IDW, when he regained his Neo form and basically did everything he could to remind everyone that Heroes was a thing that existed, he did it that time around for the purpose of finding his master, and helping to restore his empire. A far cry from Neo's first attempt, when he was ranting and raving about how he should have the empire.

Thus, I can only conclude that while his Sonic-esque AI may cause him to get a little reckless, he remains genuinely devoted to his creator outside of his brief cocaine rush in Heroes... and Free Riders, but I don't think anyone knew what was going on in that one. I don't think he knew what was going on in that one.

But perhaps most surprisingly of all - according to the OVA at least - despite all his black-hearted ways, he is still capable of good, as evidenced when he saved the President and the legendary Old Man Owl from dying a fiery death. Whether it's an inherent part of his own nature, or whether it's a side-effect of his Sonic programming, isn't fully clear... but either way, he might want to make sure Eggman doesn't find out about it.

The Execution: Metal Sonic's execution is a complicated case, because there's a dissonance between when he's merely an obstacle for the good guys, and when they've tried to make him more than that.

When he's merely Eggman's instrument of evildoing, he does the job nicely. Sometimes his appearances can be underwhelming depending on the game (read: Sonic 4), but he usually provides a memorable scuffle when it's time for him to put up his dukes. Even if half of those are actually races.

When he aims for bigger, on the other hand? Well...

I've already joked about Neo Metal Sonic's design, but don't be fooled, for his ridiculous fashion sense is merely one part of my beef with the overall concept of Neo. Simply put, everything about Neo Metal Sonic goes against everything that makes this particular character work.

Ranting, monologuing, and running his mouth off does not work for Metal Sonic.

Gathering everyone's data with the intention of becoming Metal Everyone does not work for Metal Sonic.

Transforming into a goddamn dragon does not work for Metal Sonic. (I can let Metal Sonic Kai slide since despite being bigger and more monstrous, you can still recognise it as Metal Sonic specifically. Colour scheme aside, Metal Overlord/Master Overlord might as well be a random monster entirely.)

These ideas aren't necessarily bad on their own. They could work for another villain, or another Eggman minion. But for Metal Sonic specifically? It just doesn't work at all, and while some may be willing to handwave it as the result of Metal's insanity, I firmly believe it's more than possible to establish and delve into his inner madness in ways that DON'T contradict almost everything about him. A character being insane is not an excuse for turning them into a completely different character altogether, nor is it an excuse for just plain handling them in a shitty manner. By all means, I'm all for giving Metal a bigger role, and I'm all for expanding his character and his dynamic... just not like this.

Metal doesn't need to do all that in order to be effective and leave an impression. His portrayal in the OVA confirms that. OVA Metal was everything that Metal was known for at the time: straightforward, loyal, and silent, bar one line towards the end. And he still managed to be a very intriguing antagonist who served as a believably major threat, and who gave Sonic the fight of his life, and thus earned the hedgehog's disgruntled ire and his begrudging respect. That is the Metal that writers should aspire to. That is the essence of what makes that character.

So, despite everything, I still highly enjoy Metal Sonic when he's Metal Sonic, and not Something Vaguely Shaped Like Metal Sonic. He's stumbled a bit over the years, but when he's done right, he's always an eventful burst of fun, and ultimately, my fondness for those portrayals overrides my disgust towards elf shoes. And I'd love to see them expand on his dynamic with Eggman, which a certain well-liked series of shorts has thankfully given us a small taste of. Here's hoping the future will follow up on it...

“Now, if you may be so generous, hand over the Emerald slowly, or else I'm afraid your little friend will face the consequen-ooooowwwww my FUCKING wrist.”

Crusher Gives Metal Sonic a: Thumbs Up! (and Neo Metal Sonic a: Thumbs Down!)

#Sonic Villains: Sweet or Shite?#Opinion #Sonic the Hedgehog #Metal Sonic #Neo Metal Sonic

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some-fool-fp · 5 years

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HexSaga 1B - Lore time!

Mary: Hey there! I’m Marie, from the Institute of DARE Identification, Organization and Testimony. Although, due to a certain other character who is more plot-relevant and has the same name by accident, please call me Mary instead.

In case you have not seen, a new story is unfolding, which is being called “HexSaga”. There’ll be multiple chapters, but they’ll be a bit slow for now and the true lore-heavy stuff is reserved for the end. There’s no specific posting schedule, but hopefully we’ll last longer than the Flat Earth story.

Maybe you noticed that the first chapter has “1A” instead of just “1”. And that’s for a good reason! Since there are so many characters, the main plot will only cover a fraction of them. And that’s no good. That’s why, along with plot progression, you’ll get an unrelated side story with every chapter posted. These’ll mostly focus on characters who do not participate heavily in the main events, although some backstories for certain plot-relevant people could be explored. And hey, if you want, you can even suggest characters you want some fool to focus on for B-side chapters. Just like leave your suggestion somewhere they can see it, if you want.

That aside, there are a TON of lore bits and details that you may have missed over the course of 231 numbered OC posts, not to mention those that are attached to non-numbered pieces. Luckily, I’ve compiled everything you need to know in this convenient side chapter. Hope you have fun!

DAREs (2018 Challenge)

“DARE” is the broad term used to define a being who can break the fourth wall. In other words, they’re aware of you, the reader, and everyone else who may be reading their stories or viewing their images. While FPs, a race of small and generally blue penguins, happen to be the most common form of DARE, this also applies to animals like the Raihanian Whale Shark or possibly the Red Herring. Although you probably mostly associate the term with gimmicky girls. For humans, the gene that causes DARE is nullified by the Y Chromosome, thus no males can break the fourth wall. It is completely unknown why only people from here have the gene, but to tell you the truth, it doesn’t really matter. In reality, it’s just an excuse to design gimmicky characters who can break the fourth wall. We DAREs tend to follow a mindset which is a mixture of nihilism, apathy and blind optimism. It’s kind of that we know that we’re fictional and our lives are sort of meaningless, but we don’t really care and just look forward to whatever wacky pun-oriented situation we’ll get into next.

Humans also have strange reactions to said gene, which results in the variety of gimmicks you see on girls with DARE. For example, some girls are made of paper, while others are made of rubber, while others are made of food and some even appear in completely different art styles. Most of them live in Raihan, since it is generally well-accommodating to gimmicks. However, a few have found success in other parts of the world. Take, for example, Gale, a magician who is secretly a girl in a gaseous state of matter. Or Sophie, a half-japanese pop-star sensation whose body is formed from bubble solution. Around the rest of the world, those two are like novelties and one-of-a-kind, but in here they’re just as normal as the next person. Unfortunately, not many people know of DARE and Raihan in general, since most of us gimmicky girls believe that advertising people like us as a reason to visit is degrading and insulting. I mean, we’re people, not freak show performers. Most of us aren’t really offended if you ask about our gimmicks though, since we do know that, in terms of how our bodies work, we’re some of the weirdest things alive. It’s just not cool to advertise that as a reason to come to our country. Doesn’t help that, for those of us whose bodies are unintentionally hazardous or don’t really exist in the conventional sense of the word, getting passports is pretty much out of the question.

Gimmicky people are being studied by the Institute of DARE Identification, Organization and Testimony, whose head is Prof. Stacie Brown. I, Dr. Mary J. Holly, also work at said institute, as lead researcher, aided by the fact that I have DARE myself. I am the successor of Dr. Emma Smith, who left after a falling out with Dr. Brown during an experiment gone wrong. So far, she’s the only known case of a person who got a DARE unnaturally, since everyone else has it at birth.

Cursed Objects (2019 Challenge)

On early September of 2018, an incident in a spiral-shaped mountain off the shores of Raihan, which left the head of excavation Petricia Clayson literally petrified, lead to the discovery of an ancient book written two thousand years ago, which was found covering a small sapling girl who was also alive at that time. This compendium of sorts listed details on a hundred objects that had been given souls, or were “cursed”. These cursed objects integrated themselves with their society fairly easily, according to the notes found in the journals of the authors of said compendium.

It appears that their purpose was to charm the people of this ancient land, known as the kingdom of Leffand, only to have their souls ripped from them, causing their loved ones to fall into depression, which the dark mage Hexakosioihexekontahexafeui somehow harvested for power. However, since a few of the souls were spent on defenses for his hideout and some landed in the deep forests, with no human contact, it appears that it wasn’t enough. We believe that they come from another reality, and the dark mage has somehow been able to transport the entire land to our world. His reason for doing so is unknown, since tests on Spring show that, at a fundamental level, Cursed Objects and DAREs are not the same thing, as our gimmicky-ness stems from biological factors, not supernatural means. Additionally, we’ve come to find out Cursed Objects cannot break the fourth wall. Said land is adjacent to our capital city, Megami. Nowadays you can see ruins of the formerly inhabited towns described in the books, and the forests have grown too thick for modern development in the entire former kingdom.

The sapling, named Spring, apparently cannot age, explaining how she survived for twenty centuries. She’s currently under our supervision and is struggling to keep up with contemporary knowledge and technology. Mysteriously, Spring and the books with the information about her ancient race of cursed objects were in perfectly legible modern english.

Due to his name and hymn’s lyrics, it has been speculated that Hexakosioihexekontahexafeui has some relation to the perfect being, Hefeuhefeuhefeui. However, the dark mage is imperfect, and honestly looks nothing alike, not to mention they’re from different universes.

It is also noteworthy that in Leffand, they praised a goddess named Matured Insect, who bears an uncanny resemblance to a being we call “Unmatured Insect” that lives among us. This is not public knowledge yet, but it is highly likely that these two could be the same individual.

Closing statement

Well, thank you all for catching up, and on behalf of all of us behind the fourth wall, we hope you'll enjoy our hijinks!

#HexSaga

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sol1056 · 6 years

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a bunch of keith asks

I’m going to round these up into one, because in a way, they overlap in focusing on Keith’s oversized role in the story. Let’s see, ten asks that cover:

how would the story have changed if Keith was leader from S3-S6

why does Keith get all the backstory and others get none

if Keith’s attempted suicide in S4 is addressed, will the story screw it up

is Keith just misunderstood by non-stans (or not), and why

is Keith a complex character (or not) and why

Alright, then. Let’s do this. Behind the cut.

how would the story have changed if Keith was leader from S3-S6

In the general arc? I’m not sure it would’ve changed by too much. If you look at where everyone ended up vs where they began (at the clone’s return, or shortly after), not much really changed. In some cases, it was just a full circle. Zarkon’s return, plot-wise, divided Lotor from his power base, and split the generals off, and Lotor ends up alone again (but with Sincline) when it’s all done. The rebels show up, help fight, and disappear again. No long-term change, there. The Marmora do a bunch of usual spying, bring nothing to the table that really shifts the plot, and continue. No change there, either.

Who knows, maybe character-wise we would’ve gotten more development. At the very least, for Keith as leader and Lance as right-hand-man. The circular nature of S3-S6 (it’s literally a middle that treads water, for the most part) means it’s hard to gauge. The biggest changes would be the empire breaking into factions and Lotor achieving Sincline, both of which complicate Allura’s goals.

We might’ve gotten to see Keith maturing into his own style of leadership, but it’s also likely we’d be expecting Shiro to return and say, holy crap, wtf were you people doing while I was gone, you’ve barely held it together.

why does Keith get all the backstory and others get none

Bluntly, because the EPs/writers are mistaking backstory for story, and candy for characterization. Keith gets the markers of a main character -- a lot of stuff -- but little impacts the plot, and even less changes him. His complicated backstory may answer fan questions, but it doesn’t actually change the story’s trajectory. Ninja-like skills that he learned entirely off-screen. An alien pet that’s just flavor; Krolia could’ve been any tertiary character slotted in to help fix, defend, and evacuate the castle. Best pilot but hasn’t flown in two years, hasn’t flown a lion in possibly three, doesn’t fly the fastest lion anymore, anyway. And a leadership position he inherited but hasn’t earned.

For 15 episodes, he could’ve been sitting at a bus stop in Topeka for all he changes anything; he has no plot-impact until his return with Romelle. All that stuff is great but it’s a sop, because we didn’t see him earning those prizes.

It’s a parallel to how irked Lance fans must’ve felt after S5-S6, too: Lance gets an upgrade to a new weapon, gets complimented by Allura, but he doesn’t actually do much. He mostly moons over Allura and ignores the clone’s worries. Sure, he got a cool broadsword; is that supposed to make up for his lack of development or agency? Apparently so.

if Keith’s attempted suicide in S4 is addressed, will the story screw it up

I kinda don’t expect the story to even mention it again. I can see the creators figuring that with two years of seeing each others’ histories, Krolia would’ve already discussed it with Keith and, uh, idk, addressed it. Or not. We might get someone (probably Shiro) telling Keith not to take unnecessary risks, and we’d be expected to intuit the reference, but I’d expect that to be about it.

And no, I don’t expect the story to ever address anyone’s sacrifice -- attempted or achieved -- on the part of the team. In a story with ethical characters, yes, but this is not that story.

is Keith just misunderstood by non-stans (or not), and why

Yes, and no. Half of a story is provided by the audience: our likes, dislikes, histories, hopes, fears, experiences, squicks, kinks, you name it. No one character will catch fire for every single reader, and no reader is going to see the same character in exactly the same way as anyone else.

Hell, thanks to what we each bring to the table, it’s not an exaggeration to say that none of us are watching the same series. So it’s not that Keith (or anyone) is necessarily misunderstood, or not. Each character will be understood to the degree necessary for the story to work, for each viewer, to suit that viewer.

If that means someone else ends up with a different view than you, well, this is why we have the joy of flamewars and blocking. It’s a fine human tradition.

is Keith a complex character (or not) and why

This is is where we hit different notes than I usually deal with, as the single voice of (text-based) stories. Visual media has four major moving parts: plot, dialogue, voice, and animation. Our impression of characterization is rooted in dialogue, voice, and animation; the plot/story should follow organically from this. (When it does not, that’s when things feel OOC even for a newly-met character.)

An lesser-skilled voice actor would’ve rendered Keith considerably less interesting, really. Steven Yeun deserves all the goddamn accolades for taking what -- on the page -- can be flat or clunky dialogue, and infusing it with life. His delivery creates an implied weight, even when the plot (or even the dialogue) never bears fruit from the seeds he’s planted. Since animation follows after voice, my guess is the animators are following Steven’s lead in giving Keith additional, subtle, expressions.

An example, to compare: back when I first got into anime, I caught some of the Gundam Wing dub on CN. Oh, I mocked the dubbing horribly, especially -- in the immortal words of the professor -- the Broadcast Announcer Style. This is where you take a line -- “we’re going into space” -- and you pick the word that needs emphasizing for the audience to follow along. So it becomes a flat line but with some words said louder: “we’re GOing into SPACE”. And then you do that for every. bloody. line. Uuuuugh.

And then there was Kirby Morrow, whose delivery stood out so much there were some dubs I watched just to hear him. See, dubbing is like ADR, you in a room with a screen. But somehow, Kirby could make it sound like he was actually interacting, not just reciting on cue, and listening, not just autopilot reacting. His delivery added weight like Steven Yuen does (as does Josh Keaton). Those two facets -- interacting and processing -- are crucial to implying the character’s inner thoughts and feelings.

That brings us to the question inside this question: what, exactly, is complexity?

First, I need to make clear something that also has bearing on VLD’s handling of backstories: complexity is not the same as complicated. Complex refers to the number of moving parts; complicated refers to the level of difficulty. Keith’s backstory, for instance, isn’t complex at all: Mom, Dad, Shiro. Those few moving parts, though, are in a complicated tangle: the lion’s found, Krolia crashes, parents meet, lion is defended, kid is born, more attacks, departure, death, orphanage, garrison, etc. Allura’s backstory is more complex -- a much larger cast -- but simpler in comparison. Pidge’s backstory is neither complex nor complicated.

In terms of characterization, a complicated character gets their implied depth from scale -- ie, all the extra steps to act or react. Once you untangle what you see on the surface (their actions), their thoughts or feelings are comprehensible, if not downright predictable. (This is also a sign of a plot device character.)

Haggar (and Lotor, to a lesser extent) is a complicated character. Constantly shifting from plan to plan, her feelings are murky only so long as the story hides her reasons. Once you know the goal, you can reverse-engineer and draw lines between external reactions and internal/implied thoughts or feelings.

In contrast, Keith (like Shiro) is a complex character. On the surface, his actions and goals are straightforward. What Keith does have -- thanks to Steven Yuen and the animators -- is a variety of emotions and reactions, and the reasons behind each are frequently unknown. More importantly, few have direct bearing -- at least not in immediately identifiable ways -- to what he does or says.

Best small example comes from Shiro, early in the series. He calls out to each paladin, their names as questions; for Keith alone, it’s a statement. Even once the story clarifies their friendship, the difference in Shiro’s delivery could be due to a variety of reasons. The action is simple, but the causes are myriad and contain a lot of unknown variables.

In other words, the greater a sense of interiority, the greater the complexity.

Absent narration, a character’s interiority -- thoughts, feelings, and reactions -- is conveyed via hints, nuances, and things left unsaid. The more room allowed for these momentary flashes to contradict our expectations per external events, the greater our impression of complexity and depth.

#analysis #characterization #vld #voltron #meta

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the-space-case · 7 years

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Hi! First of all I love your art and I love you

Hello and Thank You!!!! I’m not sure if you’re talking about a fan comic or an original, or long or short but I’ll give you some tips. GRANTED I am not a professional and you may find a different way that is easier for you.

1.) Think of a basic storyline or prompt. Like, “Man is dying and is going to a mountain to see it before he dies and meets his DESTINY???” it can be stupid. It can be silly or vague so long as you have something to start with.

2.) Think of the protagonist, as well as a bit of the timeframe or universe. Are they human? Alien? Medieval? Elf? For our example here lets say its a medieval man from a heavily forested area. He is a lumberjack who hates potatoes and his old man told him stories of the mountain in the west that holds a magic temple; only the pure of heart may enter. He is dying, and wants to see this mythical place before he passes. Draw a few examples. You’ll want some basic refs to look back on.

3.)Think of the antagonist. It can be nature, machine, man, elderich horrors, etc....(typical story tropes are something like man vs. machine or man vs. nature). For our case lets say its mainly man and nature. Bandits, bad weather, illness, etc...DRAW SOME OF THOSE REFS. These beginning ones don’t have to be in depth. just basic stuff.

4.)Hash out what you want to happen in the BEGINNING, MIDDLE and END. These are kind of the most important parts. Its definitely important to think of the end ahead of time instead of thinking about it when you’re halfway through; thats a quick way to never end it at all. Our lumberjack begins his journey selling all he owns and getting a horse to set out to the mountains with nothing but a bit of gold, an old axe and a sick ride. In the middle he encounters various trials that test his “pure of heart”-ness. Probably three, they can be as long as you want so long as they are generally even alongside each other. (3 or 7 are magic numbers WINK). In the end he reaches the temple and is welcomed inside due to his good deeds and it was allllll along a metaphor for the journey to the afterlife.

5.)get some good references. You have a time period set, a scene in mind, and some tools. Gathering from our example, we’re going to want; various forest scenes of pines, plains, dirt roads, medieval towns, mountains, temples, animals, people, cultures, etc. We need refs for our horse, axe, and gold. Remember those quick refs of characters you made in steps one and two? Now is the time to finalize those. They’ll have developed with the level of detail in your story. Add background nonsense no one else will notice but will enliven the story like how our axeman always ties his beard when mad or how he prefers apple cider over beer anyday. Give those fuckers some names. Bandit Bill challenges Axeman Abel for his horse and loses his head (literallly???)

--if you can go to like, museums or lectures or fairs about these things and take notes. USE YOUR RESOURCES!! ASK QUESTIONS!!! (For ilulatte I visited a couple of coffeeshops and roughed out some cafe drawings haha)

7.) Separate events into chapters. Generally theres a prologue, chapters 1-whatever, the end, and an epilogue. Our axeman has a prologue of starting out on the road, chapters 1-3 depicting pure-heart-trials, climax/end of reaching the temple, and an epilogue of someone else starting their journey to the temple based on his influence on the world because this shit is cyclical, baby.

6.) make a fuckton of thumbnail drafts. You know these characters now; you built em out of your own head. You know how they move and talk, so slap down their journey in tiny pages. add minor details to the sides. (Here’s a shitty example of mine from ilulatte!!!!!)

7.) finish allllll of them. or at least the first few chapters. Its good for you I promise. You’ll notice the pacing much better this way! You can add a bunch of extra details in the margins like extra panels and bg notes. Don’t be afraid to experiment with the direction of your story, but try to keep the overall plot the same! (sticky notes are great for this!)

8.) start roughing out the actual pages. You’ll change things from the thumbnails (like I always do haha); thats okay!!! They’re more of a helpful guide than solid stone rules. It’s like making the scaffolding to make the base for the rest of the building.

9.) do the lineart, bgs, text, etc. There’s tons of helpful art programs for this like CLIP studio paint or medibang if you’re doing it digitally. Remember those refs you collected for our horse, axe, and bgs? Now is the time to use em. BE VIGILANT. Keep copies of the originals. Go back frequently to look for mistakes or missing details. Keep a check list. Freckles? check. Scar on nose? check. shading???? UHHHHHH----SHIT.

10.)you should probably number the pages. keep em in a nice sized resolution if you want to print but lower it if you’re posting to the internet to dissuade reposters. keep em all in one organized folder if possible. Slap your signature on em for extra safety.

11.) ????? Sell it on gumroad idk.

GENERAL TIPS:

-start with short stories. Build your own stamina.

-have relatable characters with flaws. Tumblr seems to hate “problematic” characters but thats literally the point of character building and narratives. THEY’RE RELATABLE IF THEY’RE FLAWED. If a story doesn’t have characters that conflict with each other its a boring one. Axeman Abel wants to help everyone; Bandit Bill wants to help himself only. LET THEM HATE EACH OTHER.

-its also good to have characters that are friends but still conflict with each other. The Dragon Age series is phenomenal with this (their characters are good in general, take notes!!)

-theres a lot of shitty people out there. USE THEM. (seriously though examine other peoples interactions and you’ll make better characters. )

-bad things happen to good people. Bad things also happen to bad people. Bad things just sort of happen. Don’t shy away from unfortunate events; your story will fall flat without conflict both planned and random.

-Obviously you don’t have to share the same world views as your characters. (dont let the antis fool you.) Axeman Abel can hate broccoli but you can still enjoy it. Bandit Bill can be a racist piece of shit but that doesn’t mean you are.

-have characters of various personality, body type, race, height, etc….it really livens up the story.

-generally you don’t want the bg to overwhelm the characters, so most people do a sort of painterly bg against the solid outlines of the characters but thats all really up to you and how in-depth you want it to be.

-you should also make a regular schedule, if you can. Say, something like “twenty finished pages a month” or “four pages a week” depending on the level of detail. Simplistic style and palettes of course take less time to make than full color/heavily detailed pages, so plan accordingly to prevent burnout. If you post weekly, having a few pages done ahead of time will be good in case you need an emergency break.

-be open to critique but don’t be a doormat, either. ESPECIALLY if you’re doing it for free. People will try to take advantage of you; don’t let them. Block them and move on.

-above all; BE DEDICATED. Comics take a great deal of time by yourself, but doing them helps you develop important skills in the end like time management and general technical know-how like digital programs and writing. It’s not just art, though that’s a major part of it.

-probably should’ve said this earlier but make what you enjoy??? People can generally tell if you dont enjoy your own work. There’s less effort there.

THIS WAS REALLY LONG SO I HOPE IT WAS HELPFUL IN SOME WAY ILU HAVE FUN BE SAFE OUT THERE

#personal jazz #comic making #comics #tips and tricks #comic tutorial #comic ref #art ref #art help #IDK MAN I ENJOY THE PROCESS #enjoy the journey yo #Anonymous

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reversemoon255 · 7 years

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Precure Dream Stars! The Movie!

It has been quite some time since I've felt like talking about a movie, and after half-an-hour of Googling I finally managed to find (a 480p version of) the Dream Stars Movie with English subs. And I really liked this movie. In fact, it may be one of the best Precure Stars Movies they've done to date. But sadly that's not hard to do. While there are one or two good ones here or there (and they have pretty good meta-humor throughout) they mostly fall flat in the same way Rider movies do. There are so many characters and not enough run time to take care of all of them.

Now, how does Dream Stars avoid this? By cutting down the number of teams from literally all of them (which at this point is 51 girls) to just the current team and the two prior ones. It also helped that it had a similar theme to Cure Echo's movie, the other movie that I feel ranks for top crossover. It focuses on new characters instead of trying to make everyone in existence have a staring role.

The Good: This is Sakura and Shizuku's movie, and they are absolutely adorable. They're pretty strong for one-off characters, and Sakura gets serious bonus points for blowing snot while crying. Their designs are also very good, including both of Shizuku's forms. Like Cure Echo, Gureru, and Enen before them, I really hope they reappear at some point. I could also totally see them appearing in the next season, with Sakura taking over a role similar to Cure Sword's in Doki Doki, and Shizuku taking on the purified villain role like Cure Scarlet or Cure Beat. Hey, a guy can dream.

All twelve Precure got at least a small moment. Even Yui had a bit. She may have actually had more spoken lines than Minami, now that I think about it. Crow Tengu was an entertaining villain. A very simple one, but entertaining to watch.

The animation quality was beautiful. I'd have to go back and watch the Cure Mofurun fight, but this may have been the highest quality the Maho team has ever been shown fighting in. The choreography was great throughout the traditional animation bits, and while I feel like the fights weren't as good in the CG bits they still looked amazing. I felt actively aware of the resolution I was watching this in and hope a better sub group does it in a higher quality in time. I don't know which studio handled this, but all the characters were animated slightly differently than usual, but I liked the stylezation. It was almost like they were trying to blend the three styles, so everyone looks at home next to each other.

The overall writing wasn't bad. The humor mostly hit, especially the meta-humor. I got a laugh when Sakura first appeared on the movie screen in super-realistic CG. That was also a really cool mechanic. I feel like I haven't seen anything like that since...Gremlins 2? It was really neat and makes me sad I couldn't see it in theaters.

The Bad: While I enjoyed Sakura and Shizuku, they really stole the spotlight from the other girls, other than Ichika and to a much smaller extent Mirai. While everyone got a bit, most characters only got one, meaning singular. I mentioned Minami earlier, and hers was literally unstapling Haruka and Kirara. I don't think she even talks after that scene. This movie felt like an original anime movie that they thought couldn't stand on their own. The girls were only there to build hype that wasn't delivered upon.

While Crow Tengu and his Shiisas were funny, they are extremely one-dimensional villains. Crow has no backstory, no reason for what he's doing, he just likes pretty things and wants to keep them for himself. The only reason he wants Sakura is because of her ability to re-appropriate doors to other worlds so he can steal more things. And he thinks she's pretty.

Lastly, I've got a couple issues with the writing. Where did Shizuku get those cards that told Sakura how to find the Precure? Why did they need these three specific Precure teams? I mean, I can kinda understand the Kira Kira team since Ichika helps Sakura go through some emotional growth, but the Maho team does nothing but help in the fight, and the only other contribution other than that the Princess team does is Haruka using her Sakura Key to open the final door to Sakurahama. And if the "Precure of Keys" actually had to do something involving keys, then why didn't the "Precure of Jewels" or "Precure of Sweets" have to do anything specific involving the cards they were given? It makes the Precure, the characters we probably came to this movie to see, feel like set pieces and plot devices and not actual characters.

The Ugly: This is my personal ugly. I'm gonna bet more people have better suspension of disbelief than I do, so it won't matter as much to anyone else, but there is a huge continuity hiccup in this movie:

The Precure movies involving multiple teams have terrible continuity. Since every movie has the starting lineup of each show fighting alongside the previous teams, you could assume each season happens one after another, however since nobody actually ages, yet we see multiple cases of certain holidays, we have to assume there's some level of concurrency going on.

Then Princess and Maho come along which throws two huge monkey wrenches into this mess. Spoliers, but Princess ends with the main team splitting up a few months after the final resolution with Dyspear and Close, and it is heavily implied that the girls don't see each other again for at least 10 years and since the connection to Hope Kingdom is severed it is likely impossible for them to meet up specifically for the movies. This is sort of explained away in the crossover Movie with Maho by implying it takes place during those few months after the final battle, but before Towa leaves. However, Maho also has an epilogue that happens 10 years later that tells us that directly after their final battle the three Precure don't see each other again for that time frame with absolute certainty. On top of that, when they do meet up again, again with Mirai and Liko in their 20s, they meet Ichika. The college age Maho Girls Precure meet a Middle Schooler Cure Whip, meaning that Kira Kira Precure A La Mode canonically takes place 10 years after every other season in the show's history. End of spoilers.

If you skipped that, Kira Kira is supposed to take place 10 years after the events of Princess and Maho. And they're all still middle schoolers. You could technically explain this away by saying that the doors Sakura's creating are able to transcend time, but they really needed to actually say that. And if that's not enough, the Maho Girls also appear in the Kira Kira solo movie, and they look to be still in middle school in that too, so unless we have Hanami pulling some more magical hijinx, time makes absolutely no sense in this show! Gosh darn it this infuriates me!

*Sigh*, overall, it's a pretty good film if you like Kira Kira specifically or if you're open to seeing the story of Sakura and Shizuku. I wish everyone else got more of a role, and I really wish Precure paid attention to their own continuity a bit more, but if I try really hard and suspend my disbelief I can certainly enjoy the story of these new characters.

#precure #Go! Princess Precure #maho girls precure #maho tsukai Precure #Kira Kira Precure a la Mode #precure dream stars #review

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tragicbeauty1991 · 7 years

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The Trouble With Disney Sequels: Garbage or Grown-Up Fairytales?

The Walt Disney Company is widely recognized as the originator of the animated film and remains one of the best storytellers in the industry. The company's retellings of traditional folk stories and fairytales are perhaps the first version of the story many of us are ever exposed to and are unquestionably the most popular. From classics such as Snow White to the more recent original films like Moana, Disney has given generations of moviegoers beloved characters and Broadway-style musical numbers which the vast majority of us recall with nostalgic fondness and joy. The sequels created by Disney, however, are quite a different story. While original Disney films are typically showered with critical praise and awards, the sequels often fall flat in comparison. Frequently made for direct to video/DVD release sometimes decades after the original, they receive much less attention than their predecessors and (necessarily) feature different voice actors and animation styles that seem to many adults who grew up on the originals to indicate that they are cheaply made and unworthy of the label "Disney" at all. Children, of course, don't notice such things, yet while they are the primary audience, in many cases, the sequels don't seem to appeal as much to them, either.Â One could argue that the sequels receive less attention simply because they are not as heavily advertised and because the parents are the ones purchasing (or NOT purchasing) the DVDs; however, while that is certainly a major factor in their popularity, I believe there is more to it than that. Let's be honest...some Disney sequels are just flat-out bad. When compared to their original films the sequels for movies such as The Hunchback of Notre Dame, Brother Bear, Fox and the Hound, and Mulan (seriously, guys, WHAT ON EARTH were you thinking with the Mulan sequel?!) would probably have Walt Disney shaking his head at the very least and rolling in his grave at the worst. They lack the depth of character and emotion that the first films possessed and really do feel like nothing more than just a money-making scheme to squeeze as much revenue from the well-recognized Disney icons as possible. On the other hand, though, there are several sequels which I think Walt would still be proud of yet consumers have largely ignored. Yet the question remains: If they are of good quality, why aren't they more popular? The answer, I believe, is that the storytelling and the characters themselves have grown up along with the fans of the original films, and while we ourselves have grown up, we don't always appreciate seeing the realistic side of things in what is supposed to be an escapist world of happily ever afters. For the remainder of this post, I am going to focus on some of the sequels which I think deserve a second chance. (NOTE: The following are merely a few examples of the Disney sequels which I personally think are underrated. It is not intended to be an exhaustive list.)

1. Bambi II This is one of those rare situations where the sequel is actually better than the original. While the original Bambi has beautiful animation, it's one of those Disney classics that was made in a time when animation itself was such an innovative concept that a complex plot and well-rounded characters weren't necessary to capture the audience's attention. As a result, the characters are rather flat and we don't get to know the characters well enough to form any deep emotional attachments. When Bambi loses his mother, it is a sad moment, to be sure, but we don't feel it as deeply as, say, Mufasa's death in The Lion King because we don't really know anything about Bambi's mother, her "husband" The Great Prince, or Bambi himself, for that matter. The sequel remedies this nicely by fleshing out the father/son relationship that begins to form after Bambi's mother's death and realistically shows how such a tragic event affects both of them emotionally. Bambi, who has never really known his father, is suddenly forced into a world where he is totally dependent on the stoic old buck for survival, and it's quite obvious from the start that while The Great Prince may be good at doing his job as protector of the forest, he has absolutely no idea how to be a father. There are moments when things get ugly--The Great Prince puts his duty as protector over his duty as a father and Bambi calls him out on his betrayal, wishing his father had been the one to die instead of his mother. OUCH! And it takes Bambi almost dying for The Great Prince to finally admit how much his son means to him. By the end of it, of course, their shared grief allows for a bonding moment and we can see that they have both learned from each other--The Great Prince has begun to loosen up and let his emotions show and Bambi has begun to become a responsible young buck ready to take on the role of herd leadership someday. But the real, raw, emotion in this film has a genuineness to it that you don't usually see in such extremes in a children's movie. It shows a darker, sadder side to things than what we would expect from most Disney films--especially a sequel--but there is no denying its incredibly powerful and touching message of hope for a broken family.

2. The Lion King II: Simba's Pride

As one of Disney's biggest hits, the original film The Lion King raised the bar for animated storytelling and, consequently, makes any sort of retelling, sequel, or spinoff automatically seem inferior at first glance. With rather dark themes like the death of Mufasa interspersed with moments of lighthearted humor and sweet romance, The Lion King manages to keep all of these elements perfectly balanced for a story that appeals as much to adults as it does to children. The sequel, while not nearly as well-known, does a pretty good job of maintaining that balance and even takes it a step further by increasing the complexity of its characters. In the original film, the line between heroes and villains is pretty straightforward. On the side of good, we have Mufasa, the benevolent and wise ruler of the Pridelands, and his family (minus a certain brother) and friends, including innocent young Simba who is cast out into the world to survive on his own after his father's death. On the side of evil, we have Scar, the jealous and power-hungry brother who kills Mufasa and sends his rather idiotic but loyal hyena henchmen after Simba so that he can take over as king. In the sequel, however, things are much less black and white. Simba, now grown up and with a daughter of his own, is portrayed as a well-meaning but ultimately overprotective parent who has allowed his hatred of Scar to blind him to his own prejudice against the lions of the Outlands with connections to his late uncle, including innocent cubs born into a situation which they could not possibly control. On the other hand, we have Zira, Scar's grieving widow who hates Simba and his pride so much that she literally ends up choosing death over accepting help from them--and dies with an eerie smile on her face, no less! We also have Nuka and Vitani, Scar's two biological cubs who are raised in the shadow of Kovu--the adopted son and obvious family favorite whom Scar chose as a successor. Like his parents before him, Scar's choice to show obvious favoritism really messes up his kids. Nuka is probably one of the most sympathetic villains in Disney history, apologizing to his mother with his dying breath on-screen for not living up to her standards and failing to kill Simba. Meanwhile, Vitani is forced to make the very difficult choice of doing what is right and going against her own mother in battle, and Kovu--who has been raised his whole life to believe that Simba and his family are evil--comes to realize m that the lion who he saw as a father was actually the evil one and questions whether that means the darkness that was in Scar is also within his own soul. (Though honestly, the whole concept of Kovu being adopted also begs the question...was there some goodness in Scar after all if he was capable of taking pity on an orphaned cub?) Seriously, Scar's selfishness really did a number on his kids...and Simba, for that matter. In short, while the original film is already quite complex and occasionally dark for children's movie, the sequel takes it up a notch and also keeps some great musical numbers which, while maybe not quite on par with the first film, are definitely catchy and as good as many other Disney tunes and I think deserves more praise than it receives.

3. Pocahontas II: Journey to a New World

Okay, I know I'm gonna get a lot of pushback on this one, but hear me out.... I love John Smith and Pocahontas together as much as anyone else. Heck, as a kid I had a poster of the two of them with the quote, "No matter what happens, I will always be with you, forever," on it. But realistically, even at the end of the first film there is little chance of them ending up together permanently. When Pocahontas chooses to stay behind with her people as an injured John Smith returns to England, it's just about as bittersweet of an ending as we've ever gotten in a Disney film. This very grown-up ending in which the leading lady chooses duty and responsibility over love (even though it breaks her heart to do so) is so atypical for a children's story that it should come as little surprise that the sequel is also very grown-up. Yet for some reason, the sequel is despised while the first film is considered one of the great Disney classics. Why the difference? The ending of Pocahontas, while somewhat sad, still leaves us with the tiniest spark of hope that they will one day be together again. It's an open-ended farewell that shows the couple still very clearly has feelings for each other even if they cannot be together in the immediate future. However, while chances are slim, we are still left with the possibility that John COULD come back from England someday after healing and they MIGHT still end up in each others' arms, whether it's historically accurate or not. (Historical accuracy? Pfft. What's that? This is a Disney film, not a documentary. But I digress...) The problem many people have with the sequel is that it totally cuts off any possibility of this ever happening. But it does so in a way which I think is not only realistic but also respectful of the characters. After years of being physically separated from John Smith by an entire ocean and believing him to be dead, it's only natural that Pocahontas would be ready to move on, so when John Rolfe enters the picture and develops first a friendship and then romantic feelings for her (over what we can assume is likely several months at sea and in England), it's understandable that she falls for him. He is a good man who respects her, defends her, and ultimately ends up leaving his own homeland to be with her, and he really doesn't deserve all the hate he gets in the fandom. By the time Pocahontas realizes that John Smith is still alive, she is already in love with Rolfe. Her heart has moved on, and so, apparently, has Smith's. While they both recall their time together fondly, they have very different goals and priorities in life which would not make for a happy marriage. They realize that realistically they make better friends than a couple, and they part on good terms, wishing each other all the best in their own pursuits. Too often people complain that Disney's portrayal of romantic relationships is unrealistic with the too perfect Prince Charming opposite an often villainous and vain competitor for the leading lady's love. Yet when a very healthy, realistic love triangle is shown in which both men are portrayed as flawed but good people who are grown-up enough to set aside their own desires and feelings of jealousy for her best interest, people still complain. John Smith is undoubtedly a good man and a good friend to Pocahontas...but he isn't a good match for her romantically. And his character isn't vilified for it. Maybe it's just because I have been through a similar situation myself in real life so I can see where Pocahontas is coming from, but I really respect Disney for how they handled this love triangle, and I think the sequel deserves more love than it gets. The music is good, the message is good, and it wraps everything up nicely, giving us the closure the end of the first film lacks.

4. Peter Pan: Return to Neverland

Last but not least, as huge Peter Pan fan, my list would be incomplete if I didn't mention Return to Neverland. The original Disney film is such an iconic work that even now, over sixty years after its debut, the characters are still wildly popular, showing up in spin-offs like the Tinkerbell movie franchise, TV series like Jake and the Neverland Pirates, and on pretty much every Disney product that features the classic villains (Hook) or the Disney castle logo (Tink). Its popularity, due largely to the appeal of magic and adventure that Neverland presents to children and the feelings of nostalgia the film evokes in adults, has not quite extended to the sequel, however. Everyone knows the story of Wendy, Michael, and John, but Jane's tale remains relatively unpopular by comparison. Part of the reason for this is quite simply that the original Peter Pan was a big hit long before Disney and has been retold so many times in so many different mediums that it is impossible NOT to recognize the characters while Jane's story is strictly limited to Disney...and a direct-to-video sequel, at that...but it is also a good bit more complex and darker/sadder than the first Disney film. However, it is one of the elite few that, in my opinion, maintains the appeal of a Disney original.

As with The Lion King, the first film presents most of its heroes and villains as pretty straightforward in their intentions and fairly black-and-white (which is not true of the characters in the novel, but I'm getting off topic). Peter is mischievous and somewhat irresponsible but generally good and kind while Hook is somewhat sympathetic and justified in his vendetta compared to other Disney baddies but still very much a villain whose first on-screen moments show him shooting a member of his own crew without hesitation or remorse. The only really morally ambiguous character here is Tinkerbell, who, though she comes around in the end, tries to kill Wendy at one point and later willingly helps Hook in his plans to kidnap the girl so that she may have Peter to herself. Wendy herself, though she is less well-developed than some later Disney ladies, shows that beneath the sweet, soft exterior she is surprisingly brave and outspoken for her time, standing up to both Peter and Hook (a reaction which neither one of them is used to) when they push her buttons, even when she faces the frightening possibility of death by drowning/crocodile. After facing such real danger in Neverland from Hook and his crew, growing up hardly seems scary to her anymore. After all, the world she is used to, despite all of its grown-up troubles and worries, is relatively safe. Thus, her trip to Neverland--a realm where she might never grow up--actually ends up helping her transition into adulthood without the fear she had prior to her visit. Peter Pan is not the story of a boy who would NOT grow up but rather of a girl who DID grow up--a coming of age story just like many other Disney films.

Return to Neverland, on the other hand, flips this traditional narrative on its head and instead shows us the story of a very grown-up girl who has forgotten how to be a child. While Pan and Hook retain their characteristics from the first film as hero and villain, the sequel is more complex in the sense that their relationships to the heroine are somewhat reversed and unusual. In the original, Peter comes to take Wendy away to Neverland with the intention of rescuing her from the grown-up world only to thrust her into the much more dangerous position of dealing with threats like vindictive pirates and hungry wild animals, leading her to eventually realize that growing up isn't so terrible a fate as she might have once imagined. In the sequel, Hook comes to kidnap Jane (believing her to be Wendy) with the intention of using her as bait to kill Pan and unintentionally ends up giving her a much needed escape from the dangers of the "real world" which have forced her to grow up too quickly. In fact, you could almost argue that the war is the main villain while Hook is only secondary. Hook was the first real danger Wendy ever faced, and she did so with incredible courage, but to Jane, who has had to live with the daily fear of her father coming home in a coffin and being blown to bits by bombs falling out of the sky, Hook is nothing in comparison. Wendy bravely faces Hook IN SPITE OF her fear of death due to her protective maternal instinct; Jane faces Hook WITHOUT much fear because the possibility of death is so familiar to her that she has become numb to it...which is incredibly sad when you think about it.

Wendy and Jane are also fundamentally different in which side of Neverland they identify with. Wendy identifies primarily with the carefree Peter and has no trouble believing in magic and fairies and flying while Jane--a natural skeptic after all she has witnessed with the war--originally identifies more with Hook, finding Peter and the boys far too silly for her taste. I always wondered why Jane was willing to make a deal with Hook even after hearing all of her mother's tales and being kidnapped by him, but I now realize that it is because, despite all this, Hook is the most comfortable and familiar face in Neverland because he is a reflection of the person she will become if she remains as bitter about life as she is at the start of the film. Additionally, Jane is used to a world where things are not always black and white and grown-ups sometimes do terrible things for the sake of the greater good. In her world, men with guns--men who have killed other men in combat out of necessity--are seen as protectors and heroes and may bring to mind thoughts of her own father, so it's understandable why she might trust Hook more easily than her mother did. Jane doesn't realize all this, but Hook does, and he takes full advantage of it by playing up their similar situations and earning her sympathy. And it takes Peter's capture and Tink's "death" for her to see that her attempt to avoid all childish things has caused her to become much too much like Hook for her own liking. Thus, in the end, whereas Wendy learned to embrace adulthood, Jane learns to hang on to a bit of the innocence of childhood--a lesson which perhaps resonates more with an adult audience than with children but a valuable lesson nonetheless.

But perhaps the biggest grown-up moment of this film happens right near the very end when we get to see a heartfelt reunion between Peter and an adult Wendy who is still young enough at heart to lift up off the floor with a pinch of Tinkerbell's pixie dust. It is an incredibly bittersweet moment to watch them say goodbye one last time, and though the children watching may not think much of it, I can guarantee you every grown-up who loved the original as a kid probably tears up at this part. As with the Pocahontas sequel, it's not quite the happy ending we have come to expect of Disney, but it's a very powerful and moving way to give us closure for the original.

XXXX

Well, that pretty much wraps up my list for underrated Disney sequels. What do you guys think? Which Disney sequels are your favorites? Least favorites?

#Disney #disney sequels #bambi #bambi 2 #pocahontas #pocahontas 2 #the lion king #the lion king 2 #peter pan #peter pan 2 #return to neverland

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hanwooz · 7 years

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14 18 32 100 HI GUYS

14. if you were to live with your best friend in an old flat in a big city, what would it look like?

kellie: i picture something with light wooden floors, white furniture (bc i’m into that Aesthetic u feel) and random succulents around the house LOLchristine: if it’s an old flat, im assuming it has lots of wood textures! so i would want the walls to be white/a light color to contrast w the darker wood hehe. plants!! on the windowsills!! and a few paintings/photo frames for decoration

18. tell us about something dumb/funny you did that has since gone down in history between you and your friends and is always brought up.

kellie: okay so this happened just a few months ago;; i was with a friend and ran into a famous Vietnamese celebrity at a dessert place (my parents were going to see his show literally the following night) and i was too shy to ask for a picture EVEN WHEN HE TALKED TO ME, ASKED ME TO TAKE A PICTURE FOR HIM AND HIS FRIENDS, AND ASKED ME IF HE OVERHEARD HIS CONVERSATION ABOUT BADMOUTHING SOMEONE OTL it was Wild… but yeah my friend who was with me brings it up now and then bc of how painfully shy i acted HAHAHA christine: one time i was really frustrated bc the car in front of me was driving slow so i changed into a different lane and then we kind of just had a race?? and now every time instead of saying bye my friend tells me “dont race ppl!”

32. tell us about the stuffed animal you kept as a kid. what is it called? what does it look like? do you still keep it?

kellie: i have this sailor moon plushie i keep on my bedside… i’ve had her since i was probably six years old??? idk if it’s like a rare collectible or not but the doll looks extremely similar to the original character’s art style from the 90′s anime series christine: ive had so many stuffed animals since i was a kid lol and i still have a lot of them. lol the one ive had the longest is this frog plushie that i called Froggie (creative, i know) that was intended to be a phone holder but i used to just play with it a lot

100. if you were presented with two buttons, one that allows you to go 5 years into the past, the other 5 years into the future, which one would you press? why?

kellie: five years ago means that it was 2012 and i was in high school and miserable so it’s meaningless to go five years back :///, i’d go forward to see how i’m doing–what job i have, if i’m financially stable…. L O L… see how seventeen’s doingchristine: i would ideally go to neither LOL i dont like to dwell on the past too much and thinking about the future scares me…but if i had to choose, i would go to the past. i feel like i would be influenced by whatever i saw in the future and idk if that would be a good thing

♡ send us a number ♡

#wonnhao #replies #k:answered #c:answered #HI GEN #jfc this is like a mini essay

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frozenartscapes · 7 years

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Well...I caved...

I saw the Emoji Movie.

Now I want to make things perfectly clear here: I did not give Sony any money for this. I found it on Kimcartoon, because I refuse to contribute to something so fucking awful. I knew this movie would be crap. I knew I wouldn’t like it. I have several free movies on my Scene card (a points-based rewards card for Cineplex theatres) but I knew this movie wasn’t even worth that because a) it would still register as someone who went to go see the movie and b) this movie isn’t worth the bus money I would have spent to get to the movie theatre. I want to make it clear that normally I would not torrent movies, and recommend actually going to see them in theatres or renting them or viewing them on a site where their creators actually get something in return. People work hard on movies and credit must be given where it’s due.

Speaking of that, to the animators of the Emoji Movie: you have my condolences. The one thing, and I mean one thing about this movie that I will say is good is the animation. You guys tried, and hey! It’s not half bad. It’s not...great, per se. But you tried. You get a gold star! (And at least you can say you’ve worked on a multi million dollar animated movie for your resumes when you want to apply to a much better movie company.) The animation in the Emoji Movie is... Like I said, it’s good. It’s certainly better than some other more notoriously bad animated movies, and this would be where it being a product of Sony helps it out. But keep in mind that when I talk about the “animation” I’m talking solely about how this thing looks on a visual level. Things like rendering, colour choices, character design... yeah, they’re ok. But other aspects that delve more into the actual storytelling aspect of animation, not so much. World-building wise it is painfully obvious they’re going for a Wreck It Ralph meets Inside Out kind of look. Dialogue and music scores? Yeah, pretty bad. And the moral? Oh boy, here we go.

The actual story of the Emoji Movie is one that you’ve all seen a thousand times. I’d say spoiler alert but it is literally the most cliched story in the book. Does this sound familiar to you? Meet our main character. He’s excited because it’s his first day at his new job. Except, he’s a bit of a weirdo. He doesn’t quite fit in to the status quo so everybody hates him. Sure enough, when he does start his new job after ten minutes of painful filler, the thing that makes him different gets in the way and he screws everything up. His boss makes it clear he’s fired, but then turns into a super villain out of no where because that’s what bosses are like. So now our main character is on the run with this other random loser he said, like, three lines to before everything went to shit. The two losers then enlist the help of a badass female character who purposely rebels against the status quo. They convince the female character to help them out by giving her something in return that will allow her to even further rebel against the status quo and our trio of protagonists set out on their quest. Along the way they get into some wacky hijinks that bring them all closer together. The main protagonist slowly falls in love with the female character. The idiot sidekick has exactly one moment of brilliance that somehow saves the day, but it’s not enough to excuse the number of other times he nearly fucked everything up. And the female character, with the “help” of the main protagonist, slowly breaks out of her cold exterior to reveal she’s only like that because she’s afraid of people getting to know the real her, who really is a soft and caring person but is afraid of conforming to the strict gender stereotypes thrust upon her because she’s a girl. They finally get to the end of their quest, but then a tragic misunderstanding due to the complicated love-related feelings our male and female protagonists have causes them to split up. Meanwhile, through some vaguely explained and half-assed reasoning, the whole world is about to be destroyed. And it turns out that it’s our two potential love interests who are the only ones who can stop it. And so our main character learns his lesson that it’s better to be yourself, no matter what other people think of you, because being yourself can save the world. Our female lead leans that it’s not about what you want, but more what your boyfriend wants to make him happy. And our loveable idiot sidekick learns nothing and continues to be a loud, self-absorbed moron. And then a dance number happens, because fuck any questions you might have about the plot: look at how much fun our characters are having!

If you think this sounds familiar, you’re right. This plot has been done to death by many a children’s show/movie before the Emoji Movie. But at least those shows/movies knew what they were doing. The Emoji Movie is just a bland, poorly written movie that was likely strung together by a series of board room members and focus groups, not actual writers. In some scenes you can practically hear the discussion amongst the middle-aged executives about what the kids think is cool and also which app developers have given them money and how they can shoehorn in a reference to them.

It’s made even more frustrating because, and I can’t believe I’m saying this, some of these ideas could have actually worked. It’s kinda like Wreck It Ralph, and how each video game opened up a whole new world with different colour schemes, styles, characters, you name it. It made the universe of that movie seem really big, despite everything actually only taking place in one arcade. But in the Emoji Movie...it all seems really compressed. Each app is represented as a giant box on the “Wallpaper”, which is essentially the main area of the phone. It’s where our characters can go to access other apps. But when they do go into another app, it still feels like everything’s trapped inside a box. It’s like there are these invisible walls that keep the world from getting any bigger (and in some cases that is literally what happens) and as a result it just seems really limiting. They could have done some really interesting things with certain apps, or you know, things that are actually funny. They could have had a car chase in a racing game, or maybe entered a platformer game like Doodle Jump where the art style is entirely different. Instead, we got a series of ads for a number of different apps in premises that were neither funny nor exciting, and all it did was that it left me wondering why a teenage boy had an app for Just Dance on his phone in the first place. I’m not saying that a movie devoted solely to telling a story about emojis would be Pixar worthy or anything but it could have been at least a little more creative.

I’m not too mad about all of this though because I knew the second this movie was announced that it would be a pandering mess. I knew it’d be a huge pile of steaming bullshit, and speaking of that here’s one thing I didn’t expect: the voice actors. Patrick Stewart, Sir Patrick Stewart, plays a literal piece of shit. You’ve also got T.J. Miller as our main character, Gene (the “Meh” emoji), James Corden as the loveable idiot- I mean, sidekick, Anna Faris as the female love interest, and many others including Maya Rudolph, Steven Wright, Jennifer Coolidge, Christina Aguilera, Sofía Vergara, Rachael Ray, Sean Hayes, and Jake T. Austin. And the sad thing is: you can pretty much hear in most of these characters’ lines that these actors did this for the paycheque and not much else. The line delivery is really flat most of the time, but I don’t blame the actors too much for that because I bet they read the lines and realized that they weren’t worth their best delivery. Yeah, the lines were terrible. There wasn’t a single time I so much as smiled. I was literally the fucking “meh” emoji. Which, gotta say, that’s pretty awesome if that’s what Sony was going for. But it’s not what they were going for. Normally, even a bad animated movie will have at least one moment that will make me go “Hey, that’s kinda clever” but this one had nothing. It was just painful joke after painful joke, the setups for which could be seen from a mile away and anything that did come out of nowhere came from so far out of left field that they were basically out of breath when they got there.

The thing that angers me most about the Emoji Movie is the story. If you couldn’t tell from my plot summary, I’m pretty bitter about it. I could write a whole separate piece about the “be yourself�� moral and my issues with it, but I’ll keep it short here. It is the kind of moral that can either be done right, like how it was handled in Wreck It Ralph, or it can be done wrong, like it was here. The thing about this type of moral is that it rarely works 100% in real life, and as a result it works best when it’s not presented as such. Instead of being yourself becoming some kind of deus ex machina that magically saves the whole world and as a result suddenly changes everything for the better, it’s a much better kind of moral when you come to accept who you are, that you are different, and that’s ok. Things might not exactly change the way you want, but you yourself are a better person, and that then often affects other things like how other people react to you. Think about how Wreck It Ralph ended: it didn’t end with the apartment dwellers in Fix It Felix Jr. deciding that he no longer was the bad guy and he no longer needed to play that role - Ralph still had to play that role, despite him coming home a hero. What changed was how they treated him, that they accepted him as he accepted himself. And in turn, they started treating him with the same respect they give to Felix and each other.

In the Emoji Movie, being yourself does everything. It saves the world. It gets you the girl. It brings parents on the verge of divorce back together. The only thing it doesn’t do is give the villain any closure (seriously, she just kinda...disappears). I take issue with this because of how the climax of this movie is set up. Gene, the Meh emoji, rather quickly falls head over heals with the female main character, Jailbreak. Jailbreak states several times throughout the movie that her intention is to get to the Cloud where she is free to be who she is. Gene initially starts out helping her get to the Cloud so she can get the source code to the phone and reprogram him so he is a true “meh” emoji, since he deems himself “a malfunction” because he can make multiple expressions. (I’m aware of the long-windedness of that statement. The explanation is like that in the movie, too). However, before this can happen, Gene confesses his feelings to Jailbreak while he still can and she doesn’t quite feel the same way. It’s obvious that there’s some connection there, but I think it was one of those things where the girl just wants a friendship while the guy wants a relationship. After that rejection, without much of an argument or anything, Gene becomes a Meh emoji without the use of the source code. Just like that. We have a character who was shit on by everybody, even his parents, was told he was a malfunction and needed to die to do any good in the world, and had to flee the only home he ever knew and live on the run with killer robots sent by his own people chasing him and it was the rejection of a girl he knew for maybe thirty minutes that changed his entire personality. He then leaves for home. Jailbreak, just as she’s about to achieve her own goals, is told what happened to Gene by comic relief character Hi-Five and promptly abandons everything she had been working on for years to go back and fix Gene. That’s right. Gene wins in the end because Jailbreak returns to tell him that she also cares for him. She doesn’t get anything back in return. Her goals have been cast into the wind. She’s now been thrown back into a life she left because she met a guy and fell in love. The male lead gets the moral that everything in life will work out if you be yourself. The female lead gets the moral that life will be wonderful and happy if you have a parter (preferably a romantic male partner) to share it with.

And that’s my problem with this movie. It’s like the Lego Movie without the irony. We’re following yet another male lead protagonist who gets everything he ever wanted by the end of the movie, becomes the damn hero of his world, and never has to change a single thing about himself. It’s everyone else who has to change, who has to move out of the way for his “development”. The female character obviously has to change the most, going from her own individualistic style to back into a somewhat conforming token girlfriend who is always happy because she found Love™. His “best friend” sidekick can continue to be lovable and stupid and slightly self absorbed, just not quite as self absorbed now because he has a best friend! Yay! And for everyone else...not much really changes. Which makes this movie worse than some of the other cliched movies out there.

Normally what happens at the end of a Be Yourself movie is you have all the characters at the end doing just that: being themselves and not who they were when they were conforming to society’s rules at the beginning of the film. SPOILERS for anybody who still cares at this point, the way Gene saves the day is by creating an emoji gif of himself making various faces to express his teenage phone owner’s feelings about a girl the kid has a crush on. This somehow works just before the entire world is deleted and somehow the kid unplugs the phone and brings everything back without a single hint of major data loss, which is honestly the most unrealistic thing about this movie. (Added to the fact that the kid wanted to do a hard reset of the phone but had to go into a phone store to have that happen, telling me that the writers clearly don’t understand how smartphones work if that’s the case.) But, moving on: the final scene shows Gene and all the other emojis happily working at their job, dancing to a pop song and generally having a good time. The movie ends with Gene producing another gif emoji reaction and the credits start to role. What would have been interesting would be seeing some of the other emojis are now able to make different expressions as well. Like maybe Hi-Five can perform a number of different hand gestures (which would actually be pretty hilarious considering one hand gesture in particular). Or the frowny emoji can smile, or stick their tongue out. Anything, really. But nope! It’s just Gene who can change his expression. Everyone else is still a boring old, one expression emoji. I guess you can argue that they are still being themselves, but then what’s the fucking point of the movie? The Be Yourself moral generally is meant to say that you don’t have to be what society tells you to be, but then in terms of this movie, it gets a little messed up. Is it society telling these emojis what to be, or the code of the phone itself? What if the happy emoji really isn’t happy, but is unable to express it because of a god-like limitation enforced on all of them? There were even jokes about this at the beginning, like the sad emoji can never be happy even if he wins the lottery. And if the source code can be used to “fix” Gene, can it not be used in reverse to allow these other emoji’s to have different expressions? And, also, at one point toward the end of the film the villain states that emojis are meant to only have one emotion, so does that mean the film is agreeing with a villain’s statement by confirming that yes, all emojis except for that one weird one can only have one expression. Typically you use the conclusion to contradict a big statement by the movie’s villain, but I guess that’d be too much work to write/animate.

I’m probably looking too much into a movie I hate, but they even bring this up in the movie. Gene’s father, the original Meh emoji, is able to cry. The only slightly decent scene in the movie, might I add, has him and his wife meeting up in an instagram pic of Paris after having a fight. In it they have a touching heart to heart about their son whom they’re worried for, and the father reveals that Gene’s the way he is because the father can also produce multiple expressions. Now, that’s a great explanation of how Gene works and all, but why? Would it not have made more sense to say that every emoji is able to do this, and most of them are just much better at keeping things in one emotion/expression? To have it so that they literally can only make one expression seems almost cruel, and it takes away from the moral of being yourself when 99% of the population can’t physically be themselves fully. It only makes the decision to eradicate Gene more sensible, as he really is the only thing wrong in the phone, and because of him and his actions, he almost wiped out literally everything on the phone. He got insanely lucky at the end of the movie, and it’s still not great because how long is he going to be able to speak for his phone user before he misjudges the situation and things take a turn again? I gotta say, if I got the final text of the movie sent to me I’d be annoyed (which was just Gene making a series of faces set to music, but you have to remember that neither Alex the phone user nor the person he sent it to would be hearing said music, so it’d just be an emoji bouncing and changing faces for far too long and for no reason).

Ok, I’m going to wrap this up. This was a bad movie. It was nothing but ads for various apps with a half-assed story about accepting who you are or some shit thrown in. If you’re curious, like I said: Kimcartoon. Don’t give Sony any money for this shit. The more money they get, the more they’ll think it’s ok to keep making movies like this. Thank you for reading, and if we’re lucky we’ll all die in a fiery explosion before the Meme Movie gets released.

#it's such a stupid movie oh my god #and the thing is if the writing was half decent it might not be that bad #i guess why i care more than normal is that this was an original movie #in a sea of sequels prequels or remakes this movie stands apart because it's an original idea #and THIS is why hollywood never does original ideas #they still want something that's safe and predictable even if it's new #so the story is always the same #the characters are always the same #EVERYTHING IS THE DAMN SAME AS EVERYTHING THAT CAME BEFORE #and when you only think about what focus groups want to watch you're only going to make bland and forgettable movies #this movie could have been something cool #it could have defied what everyone has said about it from the beginning #it could have actually had some kind of meaning to it #but instead we got the same stupid crap that we always see from second-rate animation companies #there's no heart to it #it was only made to make money #and we've past a point now where animation is above that as a film medium #the emoji movie #fuck this movie

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tokupedia · 7 years

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Kamen Rider 45th Anniversary File: Ghost

2016:

The WORST YEAR IN RECENT RECORDED HUMAN HISTORY- The End

....

Okay, that’s a little unfair to you guys, let’s start over..

2016:

Ultraman Orb aired, concluded and is available on Crunchyroll.

Ultraman turns 50, having begun back in 1966.

Kamen Rider Amazons, a modern reimagining of the 1975 show Kamen Rider Amazon, premieres on Amazon Prime Japan two days before the date of Kamen Rider’s 45th Anniversary on April 1st. It is considered one of the darkest entries of the Kamen Rider franchise and is the first online exclusive Kamen Rider show.

The Magical Girl Genre, of which Sailor Moon, Cutie Honey, Pretty Cure and so many other super heroines are a part of, is now 50 years old thanks to Sally the Witch who was created way back in 1966 by Mitsuteru Yokoyama.

Go! Princess Pretty Cure ends and Mahou Girls PreCure! debuts.

Super Sentai reaches its 40th Season and 2,000th Episode with Doubutsu Sentai Zyuohger! Anthropomorphic Animal Rangers fight to defend the Earth, with the help of a human zoologist. Also, we get a new version of Super Sentai Hero Getter and the Gokaigers make a guest appearance!

Anno, get in the chair! Hideaki Anno of Neon Genesis Evangelion fame takes control of the Godzilla franchise as Toho decides to start making Godzilla movies and media again locally with Shin Godzilla. This creates an interesting cinematic paradox where both Japan and America are making Godzilla simultaneously and both are successful and will have follow ups in the future.

Garo gets animated in 2015 and comes to America for the first time in 2016 on DVD courtesy of Funimation. (Thanks guys!)

Garo also gets an omnibus series in Garo: Makai Retsuden, collecting tales of supporting characters in the Garo franchise rather than focus solely on the Golden Knight (though a few bearers of the armor do appear in a few bits including Kouga!).

Toei declares the anniversaries of Kamen Rider and Super Sentai to be a “Super Hero Year” and dedicates the year doing projects to celebrate the occasion, including bringing back Hiroshi Fujioka as Takeshi Hongo/Kamen Rider 1 in a crossover movie with a brand new look!

On April 3, 2016, a staple of Japanese pop culture turned 45 years old. Then again, 2016 was a red letter date for anniversaries as so many things we loved hit a milestone number.

Given that, Toei decided to set a theme of “History” and the “Wonders of being alive” for the next series. So they chose a dead guy for their next hero...wait what? The overall theme was famous figures from history (and one fictional one) giving their powers to the heroes. So think Kid Eternity meets Danny Phantom.

Ghost did have interesting designs, courtesy of Kamen Rider and Ishinomori super-fan and manga artist Kazuhiko Shimamoto and his studio Big Bang Productions as well as Blend Master (though from what I could gather they got shafted when it came time for Mugen form). The Rider Ghosts all wear hoodie jackets and their method of transformation is a variation on Gaim where the “ghost parka” floats around the user before descending onto the armor.

Yes, but see, Ghost is the first series I kind of...stopped watching. It had promise and a likable hero, but fell flat in the last third as it meandered its plot around. As it turns out, we have our old “pal” Shinichiro Shirakura to thank for that, as he let go of the writers halfway into the show and had them replaced (Ep. 24 is where things started to change). You would think he would learn to leave well enough alone, but because Toei was running two Rider Shows at once, cuts apparently needed to be made.

A noticeable cut was the dropping of motorcycle helmet manufacturer Shoei as a sponsor, as Toei went with its competitor Arai. This was a bit shocking given that Shoei has supported the series since the late Showa Era by providing safety equipment.

Also not helping was that Bandai kinda went nuts on the shilling of merchandise and didn’t give this series much room to breathe, making some of the forms or devices the Riders used feel tacked on or just filler after being seen just once.

Still the show had its good moments, the messages about life, how an individual’s life impacts others and living it are inspiring. I have even heard whispers of some who thought of committing suicide saying that this series inspired them to keep on living and not give up.

One especially touching story of the power of Takeru Tenkuji was written in the Asahi Shimbun about a sick toddler who was afraid to take his medicine. However, seeing Kamen Rider Ghost face danger head on and a special message from Shun Nishime inspired the adorable tyke to take his medicine. It showcases the kind of impact this “silly superhero show” as some deride it as has had on generations of Japanese citizens as a franchise. Being a super hero in acting sometimes rubs off and makes the person playing them aspire to live up to that symbol or be better people.

It should be noted that this series also has a few winks and nods to the Kamen Rider Series. The mailman who delivers packages is named Mr. Onodera (the birth name of Shotaro Ishinomori), a computer in the wall of the basement of Tenkuji Temple is a prop used for Shocker bases, a continuity nod to the preceding series is shown in a flashback and one company in the world of the series is the Sengoku Corporation.

But let’s move on...

LIFE! BURN BRIGHT!

DAI KAIGAN! FILE OMEGA DRIVE!

(The late Mr. Tenkuji, circa 2016)

Real Name: Takeru Tenkuji (I love Marvel Style alliterative names, so amusing.)

As the opening narration every episode informs viewers:

“My Name is Takeru Tenkuji, on my 18th birthday I was killed by a Gamma and I became Kamen Rider Ghost.”

Takeru Tenkuji is the son of a famous Ghost Hunter, Ryu Tenkuji, and during one of his hunts, Ryu is killed by a ghost. This leaves Takeru an orphan and is taken in by a disciple of Ryu’s temple, the monk Onari (who has taken a vow of Ham instead of silence or singing). Takeru also grows up with Akari, his childhood friend, whom grows into more of a scientist with a skeptical view on ghosts.

Takeru is trained by Onari to be a Ghost Hunter and on his 18th birthday receives a strange package from Mr. Onodera, a gift from his late father that contained an eyeball-like orb. He has no time to investigate, as something invisible begins attacking them: The Gamma, evil spirits from another dimension.

Takeru manages to fend off these monsters for a bit to protect Akari and Onari, but the Katana Gamma slices Takeru up and he dies.

But death is not the end of our hero as a mysterious figure and a talkative snarky spook appear and the old man offers the boy a chance to live again. Sennin, as he calls himself, bestows Takeru with a belt like device and says he can return to life for 99 days as a ghost and regain his life permanently by finding the 15 Heroic Eyecons of famous people and can become a Kamen Rider to stop the Ganma from getting their hands on them. If Takeru fails, he dies for good.

He is sent back and defeats the Gammas,using his own soul as a source of power in an Eyecon for the Ghost Driver to become Kamen Rider Ghost. Yurusen tells him the rules of being a ghost and eventually lets Onari and Akari in on what is going on. They help him find the heroic Eyecons, with Onai setting up a paranormal investigation and elimination agency (No, not that one, though we do get Akari acting kinda Egon-ish at times.). Akari creates ghost-busting equipment to defeat the weaker grunts of the Gamma or hold them off until Takeru arrives, though she is still skeptical on the supernatural and believes that Ghosts can be explained scientifically . Together they fight the Gamma, collect the Eyecons, meet new allies and enemies!

During one event, Kamen Rider Drive was in his final battle and had a near death experience. Somehow entering the realm of the dead, Ghost told Shinnosuke not to go into the afterlife (resembling a black void). Drive’s old foes come out of the void and Ghost fends their “ghosts” off (why do androids have ghosts? Meh, Comics.) while Shinnouske goes toward the light, which wakes him up. He later encounters Ghost again during a case and this directly ties into the series as it involves the Newton Eyecon (though canonicity is a bit wobbly).

Despite my “meh” attitude on the series now in its later end, looking back Takeru is the most likable Rider as he goes above and beyond what it means to be a hero, selflessly giving to save others even at the risk of his own soul when he himself has so much he could lose. He perfectly encapsulates what a Kamen Rider is at times.

Powers:

Like any classic ghost of standard media, Takeru can walk through walls, disappear and fly (well, more like floating and super agility until Mugen form). Takeru can also read a person’s soul/mind and see their memories by touching them or their soul if it is removed from the body. He also has a sorta “Rider Sense”, as he can sense some powerful evil spirits. Since he is already dead (*insert Fist of the North Star Joke here*), Takeru cannot be severely harmed in any way and is near invulnerable, but not invincible. Spirit mediumship allows him to talk to ghosts.

Takeru can become solid like a human being if his emotional state is positive and he can create powerful barriers when he is in an emotional state where he does not want to be bothered by anyone.

Eyecon Powers:

Musashi: Skilled Swordsmanship

Edison: Electricity Generation/Absorption and elemental weapon augmentation. Enhanced thinking ability via electrical stimuli

Robin Hood: Expert Marksmanship, barrier shield, Energy Arrows, Cloning ability.

Issac Newton: Gravity manipulation pulses on a very powerful scale, as it can levitate heavy landmasses. Able to attract or repel objects and deliver powerful blows or immobilize targets.

Beethoven: Sound and music manipulation, literally as it creates constructs of music notes made of pure sound. Sonic blasts.

Billy the Kid: Expert Gun marksmanship, More Dakka, sniping abliity.

Benkei: Super strength, weapon mastery, energy constructs, concussive hit, localized seismic generation, Stop, Hammer Time!.

Toucon Boost: Kill it with Fire (generation powers)

Goemon: Super speed.

Ryoma: ???

Himiko: Magic abilities

Ikkyu: Levitating, able to summon stuffed Tigers from paintings to bite Gamma.

Mugen: High defense, flight via rainbow wings and maximum attack power

He can utilize his emotions as weapons in Mugen form, feeling a specific emotion will allow him to execute a certain attack.

Weaknesses:

Ghost still can die if time on his life extension runs out or his Ore Eyecon is destroyed as that contains his soul.

Despite being immune to most damage, Takeru can still feel pain as spirit and the overwhelming sensation of intense pain could cause him to pass out. He also suffered from a bit of self-confidence issues at first but later improves. If the Heroic Spirits refuse to work with him, this could weaken him or render his powers in Grateful form unbalanced at best or to shut down at worst. The Eyecons can be swiped and used by other Ghost Drivers, even making the spirit inside the Eyecon act against their will in some cases.

Ghost is also not immune to electricity in certain forms such as Musashi, as he becomes a walking lightning rod. Though Edison negates this due to its powers. If a mystical barrier is up, Takeru cannot phase though an object.

His ability to talk to the dead is a bit problematic, as nobody but him can see them and as a result he looks beaucoup cuckoo to muggles as it looks like he’s talking to himself. (Though Akari comes up with a way for normal humans to see ghosts and whomever is mortal that holds a Ghost Eyecon can see them as well)

Now that he can use his powers as a living person, he can die again using any of the conventional means.

Gear:

http://kamenrider.wikia.com/wiki/Ghost_Driver

http://kamenrider.wikia.com/wiki/Ghost_Eyecons

http://kamenrider.wikia.com/wiki/Ghost_Gadgets

http://kamenrider.wikia.com/wiki/Gan_Gun_Saber

http://kamenrider.wikia.com/wiki/Newton_Damashii_Gloves

http://kamenrider.wikia.com/wiki/Machine_Ghostriker

http://kamenrider.wikia.com/wiki/Captain_Ghost

http://kamenrider.wikia.com/wiki/Iguana_Ghostriker - Don’t ask me what Ghosts have to do with Iguanas, it is what it is.

http://kamenrider.wikia.com/wiki/Eyecon_Driver_G

http://kamenrider.wikia.com/wiki/Sunglasseslasher

http://kamenrider.wikia.com/wiki/Deep_Slasher

Enemy:

The Gamma

http://kamenrider.wikia.com/wiki/Category:Gamma

The Gamma are a race extra-dimensional beings that are like ghosts. They have several objectives, one is to find Eyecons to grant themselves greater power. If they cannot find one, they try to create one by corrupting a human until they go mad and extract their soul to create an Eyecon.

The last one is to turn the human world into another Gamma World so that a “Deathless utopia” can come...by killing the original world’s inhabitants or converting them into Gamma. Gamma are actually humans who wanted to escape death, but their plans didn’t work out.

#kamen rider #45th anniversary #kamen rider ghost #ghosts #eyeballs #historical figures #meh season #bandai #toei

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sunderwearr · 7 years

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I was tagged by @gloster! thank you! (this took so long onz)

The rules are you have to answer the twenty questions, then tag twenty people you’d like to know better.

name: Paige

nicknames: ugh. so many. Paigey-poo, Pudge, Pudgy, Pooge, Flat Stanley (def my least favorite), Turn the Page, etc

zodiac sign: Sagittarius

height: 5′4″

orientation: I usually say bi, so bi I guess (I just don’t care tbh)

nationality: (idk if this means where you’re from or your race so I’ll just put both) American and white ¯\_(ツ)_/¯

favorite fruit: Red raspberries mmm

favorite season: probs summer since no school, but if we’re talking strictly weather and shit then spring

favorite book: maaaannnn I have a list ok here we go

I’ll Give You the Sun by Jandy Nelson - ASDYHFFJDKFD THIS BOOK IS EVERYTHINGGGGG it switches POVs between the two main characters who are twins but the writing styles differ between them based on their personalities and the writing overall is very beautiful and it’s amazing in general so PLEASE read it (one of the main characters is also gay and I know that’s something a lot of people look for so DO IT)

The Storyteller by Jodi Picoult - alright so this is my favorite of Jodi Picoult’s books but I’ve read at least ten of the many books she’s written and I would recommend them all. It’s about the granddaughter of a Holocaust survivor and a former SS officer who asks her to forgive him for his sins and then help him kill himself. I love the way it explores the moral implications of her decision, which she doesn’t make until the end, but it’s v good. 10/10 would recommend.

The Legend Series by Marie Lu - Probably my favorite fantasy series. If you like dystopias I would 500/10 recommend this one, it’s reallll good.

Unbroken by Laura Hillenbrand - this is a biography of Olympic track runner turned WWII bombardier turned POW turned Christian evangelist Louis Zamperini. It’s really interesting, and I think it’s really amazing that he was able to overcome what he did. I’ve also read his autobiographies and I would recommend those, too.

The Great Gatsby by F. Scott Fitzgerald - this is definitely my favorite classic. I think most of the reason I like is just how it’s written - the language is really flowery and dramatic, and I find it pretty.

other fantasy series I read a long time ago:

Artemis Fowl by Eoin Colfer

The Seven Realms series by Cinda Williams Chima

Warriors by Erin Hunter

The Mysterious Benedict Society series by Trenton Lee Stewart

favorite flower: idk, I guess an iris? Haven’t given it much thought

favorite scent: lavender vanilla (◡‿◡✿)

favorite color: blue 5ever

favorite animal: MANTA RAY i love manta rays soooo much

coffee | tea | hot cocoa: teaaaa

average sleep hours: 6-7 on weekdays, 8-10 on weekends

cat or dog person: CATS for certain, dogs just don’t get along with me

favorite fictional character: oh boi another list here we go:

Victor Nikiforov and Yuuri Katsuki - yuri on ice (ofc i love them both)

Akashi Seijuro - kuroko no basket (my son and a literal angel omg)

Gregory House and James Wilson - house md

Kaneki Ken - tokyo ghoul

Germany - hetalia (what a weeeeeb am I)

Daenerys Targaryen - game of thrones (my queeeeen pls step on me)

Tony Stark - mcu

Tamaki Suoh - ouran high school host club

Jim Moriarty - bbc sherlock

(man i hope i’m not forgetting anyone lmao)

number of blankets you sleep with: I don’t really understand this question because I don’t think a sheet counts as a blanket but like??? I never see people say they sleep with a sheet? Do people not have sheets, or do ppl just assume that blankets include sheets? But I sleep with a sheet, blanket, and comforter, so three I guess

dream trip: OMG so I’m actually pretty much taking my dream trip this summer! I’m going on a tour of Europe, we go to London, Paris, Crans-Montana (Switzerland), Innesbruck (Austria), Venice for a day, and finally, a town in Germany, I forget what it’s called though.

blog created: 2012 lmao

number of followers: 292 (and I love you all!!!)

random fact: I can list every European country and its capital, and I still know a good number of other various country capitals. At one point, I knew every country’s capital and could match every European country with its flag (although I got lazy and forgot a bunch of those lol)

I tag @astoryaboutwar @sizequeenvictor @goldmetalvictor @yuurispasteldildo @viktuuryy @princevitya @russian-katsudon @yuurieatsass and anyone else who wants to do it!

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lavila27 · 8 years

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Beauty & the Beast- a movie review by Lauren Avila

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I’ve just returned from seeing the live action remake of Beauty & the Beast for the 2nd time within a week. I have so many thoughts about this movie but in a nutshell: I LOVED IT!!

Let me begin by saying that I’m extremely biased because I’ve been a lifelong fan of this movie. I was born in ‘89 and this movie came out in ‘91. We haven’t long existed without each other. As a child, this was the first obsession I ever had. Obviously, I’ve since become obsessed w/ many movies, tv shows, books, places, people, and yes, ships. It all started with B&TB though. I could go into greater detail about all the merchandise, the endless hours of rewatching, the pic of little Lauren w/ the characters, etc. but I think you get it. I love this movie. So I’ll move on. Regardless of my favoritism, I tried to watch this movie with a clear head. I would be lying if I said that I didn’t have high expectations. I’m really not kidding when I say that I’ve had the countdown on my phone for the release of this movie for 900 days or so. In all that time, I’ve had my fair share of ideas and fantasies of how this could turn out. I had high hopes right from the beginning.

While driving to the theater on the night of March 16th, my sister asked me: Are you nervous? And I said “No, I’m excited. Unless they stray 100% from the animation, I know I won’t be disappointed.” I was right. It was basically impossible for me to be disappointed. In fact, even though it turned out quite different than I imagined, I was very pleased with it. Having said that, I would like to discuss the movie in my honest opinion. I could fangirl all over it and say that it was the best thing I’ve ever seen. However, I do have some slightly critical things to say. So let’s start.

***SPOILERS AHEAD***

The moment the movie started with that iconic opening music, I swear I stopped breathing for about a minute and a half. I appreciated that it began with the castle, the rose, and the first few lines that we know from the animated classic. The changes started right away. I didn’t mind this Prologue at all though. It thoroughly explained the Beast’s curse and even gave us the first step into greater detail than the cartoon did by mentioning the memory curse. I love that this version gave so many direct nods to the animation. Just to name a few: scratching out the Prince’s face, the opening of Belle, Belle about to leave after the Wolf scene, the Transformation, etc.

For some reason, there’s something about the village scene that bothers me. I’m not sure if it’s the ensemble that just seems like an under-rehearsed community theater group. Or if it’s that the library has like twelve books inside. Or if it’s because Emma Watson’s voice is dripping w/ autotune. It’s really too bad because I can tell that Emma’s voice is just fine the way it is. But I’ll discuss this more later. Anyway, I really adore all the costumes in the film. Belle’s blue dress looked great to me. It really suited the provincial look and Belle’s simple style.

Now would be a good time to talk about Luke Evans. When I heard the casting as each member came onboard, Luke was one of the few I had never heard of. Oh my goodness though, he really makes Gaston his own in an impressive performance. Plus, his singing is fantastic! He is arguably the best singer in the whole cast. But that is seriously up for debate. Of course I should also mention the perfect casting of Josh Gad as Lefou. I mean, perfect casting. That’s all I can really say. While on the subject of casting though, should we discuss the equal opportunity employing going on with the horse. 90’s kids know that Philippe is famously played by a brown horse and is now played by a white horse. I’m just going to leave it at that.

Back on subject, I want to note some more changes in the movie. They planted the seeds of a deeper back story for Maurice and Belle by bringing up her mother right away. Maurice sings a tender, new song while creating a music box as a tribute to his late wife. I got emotional quickly as this scene began because I didn’t realize how much I wanted to hear about Belle’s mother until this scene was unfolding in front of me. When Belle asks, “Please, just tell me one more thing about her.” It cuts like a knife. You’re reminded that Belle knows as little about her as we, the audience, does. “She was fearless” seems to have a great weight to it in a foreshadowing kind of way.

This version had all the beloved songs from the animation, but sadly no songs from the stage musical. That’s alright though because they added a few really lovely, new songs. I did notice that they hinted at songs from the musical here and there. The first scene between Belle and her father had the exact setup of “No Matter What” but no song. Later, in “Days in the Sun,” Belle sings a line “a change in me.” She also refers to the castle as home when they leave Paris. This, I think, is a shout out to “Home.” I believe there was one other reference in the movie but I can’t recall it right now. I also noticed that a few songs had been altered and musically rearranged as well. “Gaston,” “Be Our Guest,” and “The Mob Song” had lyric changes and additions. I really love the new songs but my favorite is probably “Evermore.” I’ll talk more about it soon.

Kevin Kline as Maurice was excellent. He was funny and endearing. The bond that Kevin and Emma had was very believable. I like the way they changed Belle’s sacrifice. It seemed that the Beast was kind of impressed with her decision to take her father’s place. Quite the opposite however, I did not like that they had Lumiere and Cogsworth give Belle a bedroom. That’s the first bit of kindness the Beast shows Belle in the ‘91 movie. It plants a seed in their relationship. Not only this but they took away another opportunity too. When the Beast gifts Belle his library in the animation, he knows how much it will mean to her. In this version though, it’s so blase. He’s so passive about giving it to her. I don’t know. It takes a little getting use to.

Sidenote: I’m sorry but I couldn’t help but get a few Harry Potter feelings during the movie. Yes, I know Emma is not eternally Hermione but Belle is very similar: smart, strong, and compassionate. The villager who couldn’t remember what he forgot. Gaston’s dark magic reference. And something about that crazy wardrobe makeover in Belle’s room reminded me of a Potter movie. Belle’s parents’ apartment reminded me of the Shrieking Shack. And also of apparating. Emma Thompson working with Emma Watson. I don’t know. An HP fan’s mind can never roam too far away from the movies.

Be Our Guest was quite the number. At first I wasn’t a fan of it. I suppose I was expecting something really big and stunning. I still feel like something is lacking a little but I did enjoy it much more the second time. I expect it will appear better and better every subsequent time. My first impression was that the singing was flat, the set was underwhelming and the mix between real and computer animated objects was distracting. I know it’s hard to live up to a cartoon that has spoons swimming, candlesticks bending in line, and forks doing a kick line but what can I say? I’m a huge fan of this scene. Upon seeing this scene again though, I warmed to it pretty quickly actually. With a new perspective, I decided I really like the new arrangement of the song and some elements of the “show.” I’ll definitely say it’s exciting and doesn’t disappoint in the end. In fact, I’m the one who led the applause on opening night right after the number. The whole theater joined in too! I just wish I could put my finger on what’s missing though. Oh well. C’est la vie.

Let’s talk about another dance number. “Gaston” turned out great. Yes, they changed a bunch of lyrics but overall I was happy with it. You ain’t seen nothing like the stage version but I digress. I thought that the added elements were funny such as the “I just realized I’m illiterate and never had to spell it before” line from Lefou at the end of the song. Luke Evans’ Gaston had a certain charm to him. Even though he was doing horrible things, he was so set in his own convictions, it didn’t seem to bother him. The whole audience I was with at the opening gasped when he punched Maurice and left him for wolf bait in the woods.

The wolves were great by the way. The whole battle with the wolves seemed so real. I also really liked that when Belle went to help the Beast she said, “I need your help. You have to stand.” (Or something like that.) It indicated that they can help each other through teamwork and must literally lean on each other. It was the first time they connected. He saved her life. She tended to him and showed him compassion. It broke down their barriers. I’m so happy they kept their little spat intact. You know the whole, “You should learn to control your temper” talk. This scene also lended itself more toward backstory. We learn that the Beast lost his mother as a child and his father twisted him into a selfish prince. I thoroughly enjoy little details. At the very beginning of “Days in the Sun” we see that the Beast has a tear or two in his eyes after dreaming of his mother. I really like the whole song. Furthermore, I love the side of the Beast we begin to see when he heals. The Shakespeare conversation they have and then the “Some of them are in Greek” joke in the library… so adorable. It’s also really sweet that he wants to sit by her during “Something There.”

The addition of the magic book from the Sorceress was an unexpected but pleasant surprise. It was a heartbreaking scene but I think it was a great investment in Belle’s emotional journey. However, I feel it opened an unnecessary window into a whole chapter we will never know more about. Granted it answered a question that the character of Belle had, it created an added element that felt like a bit of a tease. We only got a few minutes with this magical book and know so little about it. I almost feel like there could be a whole other movie about it. I love the symbolism behind it but I can’t help but feel so curious about it. Can they still use this book now that the curse has been broken? Where would the Beast like to go to? So can it transport in time? If so, did the Beast use it to see his mother? Did Belle ever use it without the Beast? Could she have potentially used it to visit her father? Can the Enchanted Objects use it too?

Moving on. Let’s talk about Belle’s iconic yellow dress. I’ve heard many people say that they’re not a fan of it and I can understand why. Surprisingly, I really love it. Even when I saw the trailers for the movie, I didn’t hate it. I was cautiously optimistic. Then I saw the movie and fell in love with the soft and romantic look of it. It floats gracefully when Belle moves and dances. I love the layers, the glimmers of gold, the simple but beautiful style especially keeping in mind that this is probably the prettiest thing that this poor village girl has ever seen. I adored her hair, her jewelry, and I’m sure her shoes were great too but we didn’t see them. I loved the whole look and would definitely wear it myself. I could practically feel the fabric through the screen. I may be the only person to defend her dress, but I give it my stamp of approval.

The dancing scene was perfect! Both times I’ve seen it, I’ve cried. I’m so thankful for all the moments they kept from the movie especially the camera pan up to the ceiling (loved the instruments playing!) and down to the Beast spinning Belle to the side. I also really enjoyed the bit where he picks her up and spins her amidst twinkling lights. Have I mentioned yet that adding the organ sound of Cadenza to lots of pieces of the score was an awesome decision?! I really loved this ballroom scene and felt the love for the project, the love between the characters, and the love toward the original creation all oozing out of this scene.

Coming out of the movie, I think the part that I can’t stop thinking about is “Evermore.” I am obsessed with the new song and I’m so in love with this scene. It completely gutted me both times. The lyrics and melancholy yet so beautiful. Dan Stevens, ladies and gentlemen. First of all, I am fascinated with his Beast talking voice but his singing voice has captivated my B&TB-loving heart. He sings with such passion, I was surprised to find out that he “learned” to sing for this movie. I would’ve guessed he had a prior career in the West End. But I’ll stop gushing now. Bravo to all involved in the making of that scene including the brilliance of Alan Menken and Tim Rice!

I dare say I loved “The Mob Song” more in this film than I did in the animation. I’ve already mentioned how impressed I was by Luke Evans but it’s worth noting again. There was something about this scene that really felt right. The singing was on point and they added a fantastic new line for Lefou too! He says that there is definitely a beast but the wrong monster has been released. Awesome addition! It’s probably just the Menken Maniac in me but it had an epic parallel to “Savages” from Pocahontas. By the way, did you all catch the Darth Vader theme in the battle scene in the castle? Am I mistaken?

Boy was the finale dramatic! Gaston shot the Beast three times. Three! Belle’s wrestling w/ Gaston’s gun. Everyone’s making risky jumps on the rooftops of the castle. You’re on the edge of your seat the whole time. My favorite part of all this was the line, “I am NOT a beast.” Too bad Gaston couldn’t leave well enough alone. It’s doom and gloom for him. Speaking of gloom, the transformation of all the Enchanted Objects into ordinary objects was the saddest scene in the whole movie. I cried both times. It had such hopeless finality to it. You would have to have a heart of stone to not feel something.

No matter what form I see the end in: animation, stage, live action, I just love Belle and the Beast’s tearful goodbye and new beginning. Emma did a phenomenal performance as she said “No! Please don’t leave me. I love you.” Tears falling out of her eyes and her pleading voice… oh my goodness. I couldn’t handle it. Then the beautiful and goosebump-inducing transformation. It was exactly like the animation and I loved that!! Although I was hoping to hear Belle say “It is you,” this wordless scene still left me completely satisfied. Dan and Emma have wonderful chemistry. Not many couples could pull off a vital scene without dialogue. Fortunately, Dan and Emma conveyed so much with their eyes and expressions… and lips.

I was very happy with the end including the choreography of the dancing, the lovely Audra McDonald singing, the beastly beard joke, and especially with Belle’s white dress. Gorgeous!! The Prince looked quite handsome as well. I even liked the credits. Both times I’ve seen the movie, I’ve stayed for the entire thing. It’s wonderful to hear Celine Dion sing in B&TB credits again. I’m really happy with the way John Legend and Ariana Grande sang the title song too. I’m a longtime fan of Josh Groban so to hear his version of “Evermore” just adds a cherry on the sundae. Though I must say, I think I prefer Dan Stevens’ emotional rendition of the song. Visually the cast credits are well done too.

If you’ve read this far, thank you for your patience. Obviously, I have a lot of thoughts on the movie. I hope to go see it again before it leaves theaters. So I think that goes to show that overall I really loved it. There were a few things I’d tweak a bit but again, I’m generally happy with the whole film. I was pleased to see it at my Cinemark theater that has comfortable reclining loungers. They also had souvenir popcorn tubs and cups. I just had to get those too. And so readers, I would most definitely recommend Disney’s 2017 live action Beauty and the Beast! Now playing in theaters nationwide. And once you get your B&TB movie fix, maybe venture to some chain stores that are currently selling fun movie merchandise. Plus, Disney Parks are promoting the movie pretty heavily these days as well. I might just check it out. Stay tuned for more!

#beauty and the beast #Disney #belle #emma watson #dan stevens #luke evans #josh gad #kevin kline #emma thompson #ewan mcgregor #ian mckellen #Audra McDonald #alan menken #tim rice #howard ashman #Josh Groban #celine dion #be our guest #batb2017

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mageinabarrel · 8 years

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In which the practice of taking copious numbers of screenshots justifies itself.

I don’t want this to be thought of as an analysis piece, but as the continuation of an evolution of perspective I’ve been going through since I watched Gundam Unicorn and the Macross Frontier films. In a way, Garo: Divine Flame (the sequel film to the 2014-2015 TV anime series, Garo: Hono no Kokuin, directed by Yuichiro Hayashi) is a worthy successor to its two predecessors in this chain, seeing as the Makai Knights are basically giant robots—with eyebeams and all—once they transform. But that has nothing to do with what this post is really about; rather, it’s the visual world that said mecha wannabes inhabit that demands our attention.

Part 1 – How Garo: Divine Flame Speaks

Hayashi’s work on the Garo TV series was good (he storyboarded 8 episodes himself), and looking back it’s easy to see the seeds of the distinct visual vocabulary Garo: Divine Flame adopts in his work there. As an intellectual conclusion, this is interesting, but it pales compared to the stunningly immersive experience of actually watching the film. Seeing Divine Flame—and I mean literally “seeing” it with your eyes—is like hearing the movie speak. Language is a common metaphor for cinematography (I’ve already used it once myself in this paragraph), but as I watched the film I felt I finally understood this in a more profound way than ever before.

If the creation of image on screen is a language, then Garo: Divine Flame is a poet—for it’s command of said language is vast, thorough, inventive, and beautiful. An non-exhaustive selection of the film’s favourite turns of visual phrase follow.

I. Lines, Shapes, Geometry

This film and its obsession with bridges, stairs, and arches is something else. It’s one thing to like a particular style of architecture; it’s another entirely to make sure that you’re using that same image throughout the entire film (the selections below are scattered from the beginning of the film all the way through the end). On its own this is something, but it also fits into a larger dialect Divine Flame taps into, which is the use of strong lines and shapes. The bridges just happen to combine both of these things because they always get used in long shots where the walking surface cuts through the middle of the shot.

#gallery-0-19 { margin: auto; } #gallery-0-19 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-19 img { border: 2px solid #cfcfcf; } #gallery-0-19 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

But you can take away the shape parts and just leave the lines and still get some truly dynamic images thanks to the way lines can lead the eye through the frame and imply motion. In particular I’d note that the first, third, and fourth screenshots are all moments of stillness following a motion, and that the preceding movement is exactly what you’re probably thinking it is. The second and sixth screenshots express motion-to-come, and likewise, you know what to expect thanks to the composition.

Also relevant is the fact that with shots like the fourth you also get shapes anyways, so it’s not as clean cut a distinction as the categorization of this post implies.

#gallery-0-20 { margin: auto; } #gallery-0-20 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-20 img { border: 2px solid #cfcfcf; } #gallery-0-20 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

And then, you’ve go just shapes on their own, for which I’ve only got two screenshots because that all I bothered to grab. But there are circles, implied circles, squares, arches, triangles, and whatever else all throughout the film.

II. All the Colors, and All of the Lights

I made fun of Pacific Rim a while back because of its heavy (over)reliance on the memetic blue/orange color combination. I loved Pacific Rim, but someone needs to tell del Toro that there are other colors in the world (and while you’re at it, send that memo to Takuya Igarashi, too, as Bungo Stray Dogs did the same thing). I don’t have an ingrained dislike of blue and orange, but heavens is it nice to see a film that actually uses the full spectrum of the rainbow—and to beautiful effect.

I have taken the liberty of selecting seven shot from Garo: Divine Flame, each of which correspond to a color of the rainbow.

While it’s true that the blue/orange contrast does show up at times, I’m grateful that the film never resorts to ping ponging back and forth between the two colors ad naseum (and even leans into other pairs of colors at times). Instead, it reserves the recognizable contrast for relevant moments like the shift from the heat of the burning castle to the chill of what remains after it (and the passion that accompanied it) have been reduced to ashes.

Divine Flame is also bathed in beautiful and varied lights, making gorgeous use of sources both natural and supernatural. In some moments subjects are lit by the glow from inhuman creatures, magic, the sun or moon, isolated lamps, and even non-lights like the dank murk of an ugly green mist. The sheer, consistent inventiveness of the lighting is astounding, as is the film’s grasp of variation within larger categories (not all magic light looks the same, different times of day are clearly different).

#gallery-0-22 { margin: auto; } #gallery-0-22 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-22 img { border: 2px solid #cfcfcf; } #gallery-0-22 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

III. The Beauty of Nothing: Negative Space

There’s a general kind of way you can split a composition in half, which basically just gives two different subjects equal positioning in the screen, and then there’s the way Garo: Divine Flame splits the screen, which uses vast swathes of negative space (often, the sky) separated by hard lines to make the subjects pop from the screen.

This isn’t to say that this is the only way Divine Flame uses negative space to create attractive compositions, but it’s certainly the one that’s most visually arresting.

#gallery-0-23 { margin: auto; } #gallery-0-23 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-23 img { border: 2px solid #cfcfcf; } #gallery-0-23 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

IV. On Distant Stagecraft and Immediate Motion

This is two categories rolled into one because they present a nice duality within the film and because this post is getting long. The dramatic stylings of Divine Flame lend themselves well to flat layouts and careful blocking techniques that ape the feeling of the stage, an effect achieved as often through sparse locations and foreground elements as shots that use the ground or other parts of the shot to create a frame within a frame.

In parallel, Divine Flame also incorporates numerous close-up shots, offering in contrast to stage-like techniques that create dramatic distance viscerally immediate closeness that breaks through the artifice of theater to draw the audience into a single action. And while the selections below stand out more as isolated moments, it’s worth noting that close-ups pervade the film’s action sequences to marvelous effect as well (as seen in the opening seconds of this sequence).

Near and far… there is a sort of harmony there…

#gallery-0-24 { margin: auto; } #gallery-0-24 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-24 img { border: 2px solid #cfcfcf; } #gallery-0-24 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Part 2 – Two Languages Need Not Mean the Same Thing: How Should We Understand Visual Storytelling?

I knew I wanted to talk about the visuals in Garo: Divine Flame as soon as I finished the movie, but I wasn’t quite sure how I wanted to talk about them at first. Scale of doing the project aside, I knew I wasn’t interested in doing the same kind of cinematography close readings I did for shows like Hyouka and Blood Blockade Battlefront. That kind of analysis just didn’t seem to be appropriate for something like this movie. I don’t mean this as a pejorative towards the Garo film, but there was a kind of intricacy to the cinematography of those two shows that was replaced with a far more sweeping and wide-reaching cinematography in Divine Flame. To put it another way, Hyouka and Blood Blockade Battlefront are exercises (very complete ones at that) in very precise cinematography. Divine Flame paints with broader stokes.

Part of why this is so perhaps derives from the fact that the stories being told in these three works are different. Both Hyouka and Blood Blockade Battlefront (particularly the former) deal with complexities of characters and situations that Garo: Divine Flame either has no time or no inclination for. So in assessing the quality of the the two TV series’ use of visual language, it can be said to be good because the visual and written elements work in unison to convey information to the audience. There is an acute harmony there.

The subtext here, though, is that good visuals mean are made “good” when they back up the story well—and the cinematography of both these TV anime can be said to do this. But this further implies that the story is the main feature. Remove the story and leave all the visual elements and you have something that looks evocative and pretty, but doesn’t “mean” anything. Right?

Before watching the Garo movie, I might have been inclined to answer yes (in fact, I think I said as much in the piece I linked earlier on Gundam Unicorn and the Macross Frontier films). But having seen Yuichiro Hayashi’s masterpiece, I conclude that even had I watched it with no sound and no subtitles, I would have found it compelling. The visual language is just that good.

Subtitle of this section be damned, I’m deliberately avoiding the phrase “visual storytelling” when talking Garo: Divine Flame for a reason—because I don’t necessarily think the idea of a story is the best paradigm for understanding why the film’s visuals work the way they do. Earlier in this piece I used the analogy of poetry for Divine Flame‘s visual language, and I find that a fitting distinction to draw between what it is that this film is doing and what something like Hyouka‘s cinematography is doing. In essence, it’s a matter of priority.

Where Hyouka seeks to use its visuals in equal complementarity with its story, Garo: Divine Flame‘s style seems to me to be more like a visual aria being sung over the story (with Blood Blockade Battlefront existing somewhere in the middle). Rather than each shot adding a bit of texture here or a tiny increase in understanding of the characters there in painstaking detail, the cinematography of Divine Flame dumps buckets of gorgeous paint over the canvas of the film. The numerous specific techniques (some of which I’ve highlighted above) certainly contain “information” of a sort, but to only encounter each individual shot through the constant question “what does this mean?” ultimately fails to understand the film’s goals or offer a suitable methodology for appreciating its successes. The many shots that make up this film don’t have mean anything, and they certainly don’t demand to be shackled to the film’s (merely) serviceable and enjoyable story.

The visuals justify themselves, on their own terms and for their own sake. What say you, Leon?

In which the practice of taking copious numbers of screenshots justifies itself. In which the practice of taking copious numbers of screenshots justifies itself.

#Cinematography #Garo #Garo Movie #Garo: Divine Flame #Review

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