#or one of my little project ideas or literally anything puppet related

[groovylittleclown]

I struggle with drawing, I can't seem to visualize what I want to make, and I can never seem to flow with it like other people can.

I still like it!! It's very fun whenever I do draw! I mainly draw my persona, because that's easy for me. My little frog is something that I have quite a lot of fun drawing! I do feel a bit bad I can't seem to get anything else super well, but I also haven't been practicing.

Anyway, this was a very long winded way to say I did a draw!!

I was in the mood to just doodle, but I didn't know what to draw! So I turned to my frog and my interests as of late! I've been wickedly addicted to space for the past few weeks! I downloaded 16 astronaut skins on Minecraft and just gave them all different names and personalities. And I've been staring at my little alien project.

Blah blah space infodump, blah blah deep meaningful drawing meaning, blah blah bedtime. Hehehe!!

Edit with the version I like more:

[hyperbali]

Agatha Harkness Was Right, And Here’s Why

Alright. Finally had to sit down and write my way out of this quiet, internal temper tantrum, and a few people were interested in seeing what I had to say, so I present to you:

Agatha Harkness Was Right, And Here’s Why

Disclaimer: MASSIVE spoilers for the entirety of WandaVision, and I am not nice about it.

I’ll start off by saying that, for all its foibles, WandaVision was genuinely a good example of a property within the MCU/Disney umbrella that stepped out of the usual ‘good guys fight bad guys action extravaganza’ in a way that pushed the envelope. The pseudo-horror aspect of the first few episodes is something I would really love to see engaged with on a more thoughtful basis in future projects.

I would say that it proved to be more than a vehicle to promote toys, but… well…

Yeah. Anyway.

I’ll assume that you watched WandaVision if you’re reading this, but quick recap: In the aftermath of ‘the Blip,’ Wanda is left broken and alone with no one in her corner. Her biggest mentor willingly abandoned his team to get his own ‘happy’ ending (do not get me started on Steve, that’s a document in and of itself), her other biggest mentor is probably off enjoying his family while ignoring the incredibly racist killing spree he’s been on for the past five years, and her lover is dead. When she goes to claim the body, she’s told nuh-uh, that’s government property, please leave.

So she goes to a plot of land in the middle of some nowhere town in New Jersey, which Vision apparently bought despite the fact they were living a pretty decently comfortable life in Scotland, where she looks at the deed that Vision drew a heart on and wrote ‘To Grow Old In’. Very sweet. Kind of weird, considering nothing of this caliber had ever been suggested for either of their characters and they’d been actively running from specifically the U.S. authorities? But sweet.

She has a breakdown and, in her grief, contains the entire town of Westview and all 3,892 of the people in it in her own personal paradise, where nothing bad ever happens beyond sitcom hijinks, no one dies, and every problem is tied up and neatly dealt with by the end of an ‘episode’. Except we learn that this is only paradise to Wanda, who apparently shares the aspect of having to relate everything to her favourite pop culture with Tony, because everyone else in Westview is more or less being psychologically tortured by the incredible amount of pain she’s in, forced to be puppeted actors to make her happy.

Bear in mind, Westview might have been bigger at some point - we have no idea how many people survived the Blip, or how many have been brought back to life within the past few weeks of the current setting. Either way, this is a town that has already dealt with a lot of trauma being dragged into yet another awful, much more specific kind of emotional damage, thanks to ‘the heroes’. Nice.

Agatha Harkness, a witch who’s been up to who-knows-what in the 340 years since she drained the coven that tried to kill her for getting a little too ambitious into jerky, feels the massive expenditure of magical power and decides to investigate. All the while, she carefully uses her own magic to try and peek into Wanda’s psyche, her motivations, all while keeping up appearances and not letting slip that anything is amiss.

I’ll point out that she’s no saint here, either - she specifically keeps one Westview resident at her mercy, and knows what’s happening to the rest of them, but doesn’t attempt to stop it. I’ll chalk that up to her pragmatism; their ‘sacrifice’ was fine to her as long as she could figure out how Wanda could have done something so unheard of in terms of power.

What we come to learn over the course of the show is that, given everything that happened, Wanda didn’t mean to take over an entire town and tool it into her own personal slice of heaven. She very quickly became aware of it; we know that she knows it’s her own personal bubble as soon as episode three, when she’s confronting Monica about how the latter could possibly know about Ultron. Wanda is made further aware of how much damage this is inflicting on others in episode five, when Vision himself tells her that these people are scared. But still, she has everything handled! It’s okay! The outside world is worse, trust her!

Her handling of the question, ‘where are all the children of Westview,’ is one that bears some thinking - and, y’know, kind of more than a little concern. They’re allowed to walk around as part of the ‘Halloween special,’ but as Vision walks further and further out towards the edges of town where Wanda doesn’t have as much full control, people are just frozen in place, or conducting the same few seconds of action over and over. And fully aware of being trapped.

How are they being sustained? Eating, sleeping? If someone isn’t part of her storyline, is she just locking them down into a coma? What made Wanda decide that keeping the children ‘out of the way’ was somehow kinder than involving them, especially given her later argument that she’s been trying to keep the entire town safe and happy?

The fact of the matter is, she only actually starts to feel remorse for any of this after she’s confronted with the fact that, after weeks of being at her mercy, the townspeople of Westview would rather be dead than endure another moment of having to play nice for her enjoyment. She finally opens the ‘bubble’ to let them out - which leads to the ‘epic’ finale of three different entities trying to take down Wanda and her happy family: the S.W.O.R.D. military led by Hayward, the White Vision, and Agatha.

Winding back to how we got here: after Agatha uses her own trapped resident, Ralph Bohner (who, given his casting and the props in place during the last episode, I’m willing to bet is actually the missing witness protection person Jimmy was looking for) in an attempt to lure out Wanda’s reasoning - and fails - she’s pretty much done pretending. She tricks Wanda into her basement, nullifies her powers, and makes her face her own past to get to the truth of the matter.

Not going to lie, favourite moment of the show. Kathryn Hahn killed Agatha’s slightly-amused-slightly-irritated observations about Wanda’s coping mechanisms, and the whole arrangement was extremely meta. I would have paid real money dollars to see her do the same thing to the likes of Tony, Strange, and Loki. Hell, even just having her meet the rest of the Avengers? Augh. If wishes were fishes.

When Agatha comes to the conclusion that Wanda is the vaunted, nigh-indestructible force of nature that she’s literally spent her entire life reading about is the ultimate source of chaos magic and will likely bring about the end of the world, she’s pretty understandably taken aback. To that matter, the fact that Wanda… has very little control over any of it, and is using what she does understand to play housemaker? After how long Agatha has spent learning control, hiding in plain sight, just to be child’s play compared to what Wanda has at her fingertips? I’d be pretty pissed off, too!

The way that WandaVision handled both of the major ‘fights’ - Vision versus White Vision ending in philosophy, and Wanda ending up beating Agatha at her own game of deception - is excellent. A little grating that they had to go with the beat down angle before they got there, but this is MCU; punches and thrown cars had to get shoved in somewhere. And, given that this series very much played with the idea of grey morality, I was sort of hopeful that Agatha would end up in a not-quite stalemate arrangement with Wanda. She’s not as powerful as the Scarlet Witch, but she has the know-how that Wanda sorely lacks; in recompense for her own deeds, she would be able to teach what she knows while also kind of scheming on her own time.

Y’know, like what they did with rehabilitating Loki?

Except that Wanda, who has just gone through the entire rigamarole of coming to terms with the fact that she trapped thousands of people into a nightmare scenario against their will, rendering them helpless to her mercy… traps Agatha into a nightmare scenario against her will, rendering her helpless to Wanda’s mercy.

That moment actually shook me. Oh, my god. We’re supposed to still look at Wanda as a good guy after this?

This isn’t even covering the incredibly awful confrontation with her and Vision where she tries to gaslight him into believing that everything is A-OK, or the fact that the person she gets most violent with (apart from Agatha) is Monica Rambeau, a black woman who spends most of the show bending over backwards trying to say that what Wanda is doing is understandable, justified, and just needs a gentle touch to be dealt with.

That could be its own document, too - how Monica, much as she’s incredible and definitely looks to be a really exciting addition to the MCU roster, more or less gets used as the Good One to absolve and enable Wanda’s actions. One of her last lines to Wanda, after seeing how the people of Westview (rightfully) look at Wanda like she’s monstrous, is “they’ll never know what you sacrificed.”

Sacrificed what? The fake husband and fake kids she made out of her own compulsion to pretend that everything is okay? None of that would have existed if she’d been given the proper resources to actually cope with how much loss she’s had to deal with. None of that would have existed if she hadn’t caused this problem in the first place.

In the end, Wanda flies off in her fancy new gear before the FBI shows up, avoiding any real consequences to her actions - which has pretty much been the running theme of her character ever since she was introduced to the MCU in Age of Ultron. The worst kind of direct consequence she’s ever gotten was being grounded to her room for a while, then kept in the Raft for, like, maybe a day - and both times, she was broken out post-haste.

Meanwhile, she worsened the issues in Sokovia (which, I will say upfront, was Tony’s fault to begin with), unleashed the Hulk on Johannesburg, got a pretty significant amount of civilians killed as bystanders in Lagos (hey, how come Wanda keeps turning a lot of black people into casualties?), and stood back in Wakanda to let their people try to fight off Thanos from getting to Vision until it was clear that there was no other option than for her to get involved.

Great Power Comes With No Responsibility At All, Actually.

Wanda, in the several years she has maintained her identity as an Avenger, has proven time and time again that she takes on innumerable risks without any full understanding of what they mean, allows others to take on the brunt of the fallout for her, and looks sad until she’s forgiven and moves on to the next problem. She has no business casually throwing around the kind of power that being the Scarlet Witch entails, not until she’s actually made any kind of headway into making reparations for what she’s done and tried, really tried, to get a handle on what she’s capable of.

Which she’s apparently doing in the last post-credits scene, astral reading the literal Book of the Damned on her lonesome in the mountains, but… without anyone to guide her, or give her any kind of boundary?

[I ran out of images I could post, but you know exactly what image I am referring to here]

Agatha Harkness was right. And that should terrify everybody that has to deal with Wanda in the future.

(P.S. Do we know if she actually even killed that dog? We never see her holding anything but a blanket, and characters go in and out of that show all the time. Granted, she wasn’t great with the cicada-turned-bird... hmm.)

Additional Notes:

“Well, you’re a Tony Stan, of course you think Wanda’s a villain”

I like Tony because he’s such an awful mess, and the narrative isn’t exactly kind about telling him what a piece of shit he can be! He reaped a lot of problems, created practically half the villains in the MCU, and ended up dying a martyred hero. Thanks to being the tent pole by which this franchise hoisted itself into a cultural powerhouse, he will always be their golden savior. If you want to read about how he’s the true villain of this entire affair, feel free to look up any number of takedown pieces about him that are out there. He’s a dick. I will never “uwu sad baby who did nothing wrong ever 🥺” him the way people do about Wanda.

“Why are you so pressed about this”

Because something as good in concept as WandaVision could and should have been about anyone other than the whitewashed, antisemitic take on Wanda Maximoff that MCU brought upon us. They put crucifixes on her wall in Civil War, for fuck’s sake!

“Weren’t you mad about them not including Aaron Taylor-Johnson”

At this point, I am almost kind of relieved the real Pietro wasn’t resurrected for this, because god knows they probably would have killed him all over again just to inflict that much more pain on his sister.

“Anything else you’d like to tell us, turbo nerd”

This was literally itching at me all weekend to write, so it’s more or less just to get it off my chest. If you powered your way through it, uh… thanks? Sorry if I yucked your yums, but I tried to be as clear with the disclaimer as I could. 🤷‍♂️

[aspiestvmusings]

WandaVision: details matter

The little details & clues that have been scattered throughout the series that mean... a lot: 

SPOILERS...til ep 8

"Previously on WandaVision" - with each episode Wanda's voice gets more tired & weaker as she says this line at the strat of each new episode of her TV sitcom. (is it cause Agatha is feeling on her magic/powers...draining her of energy? Is it cause she's becoming more aware of the reality?)

"Home is where you make it" - town slogan on the WV sign. THis is essentially what Wanda did...literally. She made a home & life

HEART: The heart on the calendar [Wednesday, August 23rd] in ep 1 & The heart on the calendar [Friday, the 10th] in the sitcom opening credits of 1x07 & The heart drawn aboive the building..in the ep 1x02 sitcom openign credits animation = the heart is a reference to the heart drawn on the propery deed. And the abbreviation is for Vision's name being abbreviated next to the message.

Wanda = red, Monica = blue, Agatha = purple, Vision = yellow. So what's missing is green & orange. What are the kids colours: Billy's & Tommy's? And what is Fietro's colour? And... what is White Vision's colour...white or blue or...? And will Dr. Strange (green timestone, but orange power colour) get there for the battle? But, also, Dottie's roses are yellow... #allthecoloursoftherainbow #thewholespectrumofcoours

Their magician (stage) names in epsiode 1x02 reveals Hex Visions state - he, like his stage name suggests, is kind of an Illusion.

I suspect that Vision will once again sacrifice himself...for others. Cause both Vision & Wanda seem to know/suspect he cannot exist outside hex/he's (still) dead. I mean...Vision's look says "I know why", when Darcy says she doesnt know why he can't exist/go outside the hex. To their knowledge he cannot survive/exist outside this hex....in this form.

During her pregnancy Wanda is seen eating different fruits: orange (getting the nursery reaady scene), pineapple (braxton hicks contractions scene)... & Dr. Nielsen was comparing the growth of the fetus to the size of different fruits....

Wanda = magic & Vision = science. To sides of the same thing/coin. As Thor put it: "Your ancestors called it magic, but you call it science. I come from a land where they are one and the same." And in Dr. Strange it's also mentioned how science & magic both exist in the universe. He was born a "robot", she was born a witch. They are connected by the MindStone..which is part of both of them.

Auntie A's kitty litter - an add on the supermarket wall in the ep 1x02 opening scredits = seem to refer to nosey neighbout Agnes & her "kitty litter".

I was pretty certain it was Agnes who was trying to keep Vision away in ep 7, creating all those roadblocks and distractions. Divide & concour. Cause since he's a robot she doesn't seem to be able to really control him. Neither does Wanda. So...perhaps it was neither Wanda, nor Agatha...

The cereal box design tells Vision & Darcy's journey in  episode 7. It's a maze, with a "goal" at the center, and circus elephant in the outside. They start at the barrier or the hex, and need to reach the center (where Wanda & Agnes and that basement are).

The book in Agatha’s basement could be one of several important books from the comics or MCU. But when hexagons are involved, and with the kowledge that "Wanda" will appear in the new Dr. Strange film, then while I do not know what book it is, it's most likely the one missing from the wall of books inside hexagons in Dr. Strange.

The secret project Hayward was working on, named "Cataract" is so obviously related to Vision (go look up what the "disease" cataract means regardin eyes & vision: it can cause doible vision & it "clouds" your vision)

The banging noises that wake up/scare Wanda & Vision at the start of episode 1x02 and that they mistake for wind/tree branches are, most likely, the drones that SWORD is sending into the hex & that keep disappearing. But.. it's also a callback to the time when she was watching the sitcom episode the scene is based on...on TV as a kid, when the missile hit...

What is going on with Agathas rabbit, Senor Scratchy? This is not your ordinary bunny. It purrs, it eats meat... It could be a someone trapped in an animals body, but perhaps it's not the secret villain. I'm gonna put my bet on that rabbit actually being a "cat", but not really a cat at all. My guess is that thats a Flerken! (Either Goose, or some other one from their species). Based on the name it could be Goose, because it scratched Furys face! No idea how that would fit the general storyline (how & why would Agatha have that creature, etc), but this is my final bet.

It was obvious that Agnes was not under Wanda's spell in ep 6 when Vision found her sitting in the car close to the hex barrier. Everyone else was almost frozen, but she could interact with him, move, drive away. Just another trick to make Vision want to explore what's outside of hex (leave the hex)...so Wanda would use her magic more (and Agatha could feed on it). I wondered why he didn't pick up on the trick...

Monica's contact might not be as random as it seems. The lady who she meets up with is probably the skrull girl/daughter she bonded with as a child, during "Captain Marvel"

According to Monica the person who controlled her mind was a woman, and she claims (she thinks) she heard Wanda's voice telling her what to do/controlling her. She says the person contolling her mind seemed to be sad, morning... We know this all fits Wanda. But what if it also fits someone else, Agnes? And Monica's description of the feelings matches Wanda's description...exactly: its grief, drowning her...

Agnes lets Wanda know that she/you can't control children. Wanda doesn't seem to know this in the beginning (as she's trying to make them stop crying). But it seems she also cannot control Vision, because he is evolving & he is his own character, not her puppet. In ep 6 she is surprised that he goes off script (that's not what you're supposed to...) & in ep 7 she tells the kids that if he doesn't want to be there (at home, in the hex) she can't do anything about it. That's after she has told him in ep 5 "Can't I?" when Vision tells her that "You can't control me like the others."

Every time Wanda's made aware of another aspect she follows the "new script". She is writing the script based on what she has learned, what's in her subconsious. She is writing the scripts based on her memories - references to her past & to what the people of WV say...she builds the story around these details, but changes the settings...

Could SWORD losing the signal in ep 7 have to do with the world going from analog to digital at about the time period he WandaVision show had reached by then? (around 2009) Maybe they just didnt figure that out? Or maybe Wanda or Agnes cut the signal to outside world...for some reason.

The commercial, to me, seem most about Wanda's trauma. Sure, they seem to also kind of represent the infinity stones, and their colous (toaster = yellow/mind, watch = green/time, soap = blue/space, towels = red/aether=reality...), but it's mostly just her life story. The toaster is the blinking Stark missile that she & her brother waited to explode for 2 days when they were 10. The watch is the experiments done to her & her twin. The paper towels are about the unintentional mess she created in Lagos with her powers... But the commercials seem to shift  from the past towards the current situation in hex & the future later on: the shark & the yoghurt (Agnes 6 Wanda), the nexus pills (her being a nexus being)... And, interestinly the turn comes with the Hydra soak, which refers to the Mind Stone experiments, which revealed the goddess within her...the vision she saw..of her future self.

Vision is often seen reading/holding a newspaper in the sitcom episodes. In episode 1 the front page news title says "Little baby June's first word tickles mother Sue." IN episode 5 the top of the front page reads "More dramatic details about the lights in the sky" (is this referring to the SWORD headquarters lights?)

The first thing in the room that glitches after Wanda sits down to eat & watch TV in ep 7, is the plant that gnes gave them as a house-warming gift in ep 1. You can still see the ribbon on it. It goes from the small plant into a "tall tree"...

...just a few...of the many... 

[monkey-network]

Eizouken v. Ratatouille: Dawn of the Creative Drive

WARNING: This critique will contain spoilers for Eizouken episodes 1-4 and the film Ratatouille. Also this is long. And yes, I had to make this or else I would’ve exploded. Enjoy.

Youtube’s TheRealJims made a video review of pixar’s Ratatouille not long ago, check it out by the way, and one thing about it caught me deep. He described Ratatouille as “a progressive kind of film, not in the political sense, but a very forward looking movie.” This line stuck with me as I begun to watch Keep Your Hands Off the Eizouken, an anime about a high schooler, inspired as a child, working her way to create anime with her friends. It wasn’t until episode 4 where mind threads started to knot, where that line about the pixar flic started to click with this anime in a way I’ve never thought of before. As such, I found that these two have a great thematic link, a connected warp between the creative minds of adults and children. Eizouken and Ratatouille do the remarkable in giving us the bouts and beauties to having a creative, “progressive” drive, and I wanted to explore how they stack up differently and similarly. And with that,,,,

The Ignition

The beginning scene of Eizouken where Midori see her inspiring anime for the first time is personally my favorite moment of the anime so far, borderline perfect. Like Remy, we already see her have this extrinsic passion for drawing once she arrives at her jungle gym of a newfound home; crude as they look, we see her seedling talent in jotting the details of her world onto paper. It’s then when she watches Future Boy Conan where her passion becomes etched in stone intrinsically. Miyazaki was her Gusteau, the bonafide inspiration that, taking it all in, made a simple hobby into a driven pursuit. Ratatouille more or less streamlines this whole moment with narration (makes sense cuz it’s a film) but they nonetheless bring home how a talent can be solidified if given the right push. Even if you didn’t have a desire to have a fulfilling career from it, you can’t deny that there was a moment in your life where something (be it a show, game, book, etc.) was the foundation to your biggest hobby, which then allowed you to explore it more as you grew up.

One thing to note is how Ratatouille handles Remy’s character with his interest. In spite of his palette gift, he doesn’t become a snob or too good towards his rat family; there’s not a moment where he claims he knows better than his skeptic father, they just idealistically disagree and their connection remains intact throughout the film. He has taste and knowledge, but isn’t smug about it. Midori is rounded the same way, she doesn’t push Kanamori or anyone to accept that anime is the best thing ever, and there’s that layer of anxiety to her love of anime that humanizes her aspirations a little more than Remy. It was a lot easier for Remy to be a cook than it was for Midori to make anything beyond concept art, or be sociable about it for that matter. At the same time, both remain humble in their ignited desires and understandably had to deal with an initial drawback to pursuing their dreams which is where...

The Helping Hands

Now, I’m not saying Midori is puppeting Tsubame or that Tsubame is a subversion of the whole rags to riches trope. I say like Linguini, Tsubame is one of the bridges for Midori to live out her desire, with the added bonus of being just as on board in scaffolding Asakusa’s passion to its most palpable form with her own dream of being an animator. Midori and Remy, be it their figurative or literal limitations, needed the likes of Linguini and Mizusaki to make things come to fruition. Even when Linguini doesn’t desirably wanna be a top chef himself, he witnesses Remy’s skill and is willing to put himself out there to work together and make the best cooking at the restaurant. Likewise, Tsubame is more than willing to work with Midori if it means not being forced into doing what her parents want and sharing that pathos of anime with a similar mind. And unlike Ratatouille, it helps that Tsubame is already adept in animating; I’ll talk to more on this later, but I’m glad Ōwara didn’t force us a character that wants to be somebody but has done nothing for herself. That’s what I noticed with both of these features, there’s a great semblance of support when passion is there but can’t progress singularly. There can/will be people out here to help you and they will come when you least expect it. Linguini and Tsubame both work well as the muscle of the cast, the character that does the heavy lifting in bringing the meal or anime to life. As such, we essentially have our director and the more hands on conductor of the project, but this all can’t be done without the producer.

Colette and Kanamori serve well as the anchor for our respective characters; we can’t just have the four characters go nuts with whatever, there needs to be some stability, a reality to the ambitious madness that can come with creating. Kanamori isn’t teaching the two any ground rules of anime, but she understands the analytics and guidelines to keeping things on track. Colette helps Linguini, by extension Remy, on the known etiquette to being productive in the kitchen, the same can be said for Kanamori in helping Tsubame and Midori in getting the film done clean and timely. While making a meal isn’t the same as making a whole cartoon, the ins and outs of getting things done have a parallel organized track. There’s especially more to making animation, especially on a deadline, and I’m glad Eizouken doesn’t shy away from giving you the thought process in what might go on behind the scenes; it practically gives you the ropes on what could happen if you were in each of the trio’s shoes. 

Additionally, these two are the most resolute of the three characters; they stick to the mission understanding where Remy and Midori are philosophically, and Tsubame and Linguini are fundamentally, coming from. She and Kanamori exhibit the practical outsider, the one to truly stick their neck out, don’t put up with bullshitting, to push the creative drive further. Both see the weight that comes to production and while Colette has her fallback in the 3rd act, they make sure everything goes as planned. They truly practice what they preach and are the glue that holds things together. The only disadvantage Colette has is that she lacks a relationship with Remy, it’s mostly indirect at the end while Asakusa and Kanamori are initially on better terms since they were already close friends. But with our characters on the move, there’s hardly such thing as a perfect run,,,,

The Fallback

This part is where Eizouken and Ratatouille truly divide because the problems that arises for our characters come in differently. Ratatouille has more outside factors coming in with the fact that Remy is a rat and is pulled between his connection with humans vs his own kind. Eizouken is more in-fighting between the three where Tsubame and Midori’s ambitions have to face off against Kanamori’s more realistic shut downs and options. Eizouken also presents the compromises that can come with being a creator where Ratatouille reasonably montages through the hardships that can come with human puppetry and becoming an instant hit in the kitchen. Success is portrayed more consistently in Ratatouille than in Eizouken, which focuses more on the progress. It’s obvious given that, again, making food is not as time and energy consuming as making a feature; we see that animation is a lot more than just drawing all your ideas onto the equivalent to a flip book.

To sidetrack a bit, I came to agree with Jim that Monsters University is the antithesis to Ratatouille where the hard work that one puts into their dreams doesn’t mean imminent or easily delivered success. It’s a bizarro film in that, while not breaking new ground plotwise, MU is grimly realistic in that your passionate drive won’t always lead to getting the spoils you exactly want. Eizouken cleverly sits the middle of the two, where success is achievable if you put the effort in, but that effort realistically won’t go exactly how you want. Mizusaki wants everything hand-drawn and Asakusa wants a story, but come to understand that shortcuts need to happen if they want to get it done by the  council meet. Kanamori isn’t crushing their aspirations for the hell of it, she makes it clear that time and the student body are not on their side. As opposed to Ratatouille, the final boss that are the critic(s) are notably secondary to getting the project done somehow. As mentioned before, I’m glad Ōwara made Tsubame already apt in animating because we can focus less on her being able to do it, more on the limitations that come with doing it. She has the skill, but has to bargain on her capabilities with what’s necessary as we see the tolls that come with the job.

Where I say these two collide somehow is the facet of the outsider putting the effort in for their goals. Remy and Midori are gifted and near encyclopedic in their trades, but are reasonably setback by both internal conflicting question of how far are they willing to go in exercising their drives. Remy more external than Midori since he could literally be killed if the truth was out too soon, but there is that self doubt in both of them where it can be hard to imagine that anyone can cook or that creating the great world is possible. It’s near the end of the arcs where they truly stand up for their beliefs and I appreciate that both handle the determined directing of our MCs in a respectable, pretty relatable way. They finally get to call the shots. They never sacrifice what could’ve been for what could be dauntingly realistic either; both offer an organic sense of optimism. But, with this optimism, comes the endgame that truly puts it all to the test in...

The Moment of Truth

Mr. Anton Ego, Skinner, and the Student Council are undoubtedly the final piece to these puzzles. It’s smart that they’re only present by the end of the arcs, only mentioned initially as the antagonistic force Remy and the Eizouken need to convince; they didn’t need to shoehorn their looming gavels any further. Naturally Skinner parallels the council president, a disingenuous hothead that antagonizes our MCs in a more unfair light while secretary Sakaki represents Ego, an intellectually honest person with actual standards and can see the forest for the trees. Eizouken’s episode 4 perfectly conceives why Kanamori is the boss, as she effortlessly confronts the allegations against them; not so much bluffing as she is spotlighting the council’s rash judgement. Unfortunately Kanamori can only debunk them so far, which leads to Midori overcoming her anxiety to demand that they’re given a chance. It’s great that Asakusa can suffer in silence for only so long before pushing herself to say something. This falls in line with Remy’s dad showing his son the grim realistic front of humans and rats before coming back to help him when he realizes Remy’s determinism. It’s like the rat says, the only way to go, “With luck, forward.”

Like the scene where Ego eats the titular dish, the moment we finally see the anime in full is almost disgustingly perfect. It’s fitting that a riot was going on before the presentation only for the action packed film to essentially come to life and throw chaos right back at everybody with powerful air waves, tank shells, and the tank itself jumping off the screen, literally blowing the audience away. Eizouken has literally more louder of a scene than Ratatouille’s, but both offer that climatic impart equally hard in their respective moments. They don’t shy away from grasping that immersive feeling of what you loved the most about food and/or animation, those invested in the film/series are basically with Ego and the student audience as those moments happen. It kinda hurts the brain how perfect these two moments are. Eizouken and Ratatouille, in a meta sense, weren’t successful only because they poke at our nostalgia or love, but of how they go the mile to convey it significantly. Ratatouille by the end, thanks to Ego, provides the apt idea of open-mindedness; that greatness can come from anywhere. Eizouken does this but adds the step that being open-minded can come with seeing what the efforts of that determined greatness can lead to. And with this, we see how it ends, or how it begins...

The Step Forward

I mentioned this before, but I loved that immediately after their demo reel finished, they weren’t worrying about any approval from the council or audience but discussing about what to improve on next. We see the soon boundless enthusiasm of the trio when, regardless of , they want to improve and do more as a team, all while the secretary approves the club in the hopes to see the fruitful potential. Compare this to Ratatouille for while Remy succeeds in convincing his family and Ego of his talent, they don’t sacrifice realism too much. Gusteau’s is naturally shut down, rats and humans aren’t suddenly living together by the end. At the same time, the movie wasn’t really about that, but about achieving small victories, optimistically grasping that palpable progress. Like Eizouken, Ratatouille leaves us with the progressive prospect that there’s the potential for more, for better.

To quote Jim once more, I say what makes both Eizouken and Ratatouille work fundamentally is that they keep the finger on the pulse of their respective message(s) while still creating enjoyable moments; they don’t sacrifice the fun of getting things right for pushing why it matters. They don’t sellout the bonds between our characters for irreverent romps in the kitchen or studio. Both offer a meaningfulness to their respective crafts, blending its many flavors into a well made dish that explores what it means to create and the steps that come with it. What it means to have passion and utilize that to its capable extent. What it means to enjoy a meal while watching an impressively finished production. They’re also very well animated; thanks Yuasa and Bird. 

[wahbegan]

Oh Wait Now I Can Do a Proper Candyman Trailer Breakdown

I can analyze everything in the first trailer much better now, I think with the supplementary material provided by the puppet show and the other TV spot oh right i guess i should put this under a cut like I do cause i just know it’s gonna get long as balls all right

Opens with yeah recap of Candyman legend nothing really to see here

Not much in the bathroom scene either apart from it first introduces this Candyman’s shtick of only being visible in mirrors and shadows which is really neat...oh yeah also no the one Asian girl def chickens out after the 4th Candyman repetition so he literally only kills the white girls which i find personally hilarious. Speaking of hilarious....the girl with the buzz cut? Her character’s name is Boof. Ah, to be young again...anyway

There’s a lot of like...ochre and seafoam in this trailer, have you noticed? Like the bathroom, Candyman’s pants and coat idk i doubt it’s thematic it’s probably just an aesthetic choice but it’s interesting colors for a horror movie

“I feel really connected to this neighborhood” yeah as i mean everyone knows by now but Anthony was kidnapped by Candyman as a baby so it’s hard to tell how much of his fascination with the dark history of prettied-up Cabrini Green is just pretentious artsiness and how much is Candyman’s influence

Okay so the local ominous old kook here says something I find very fascinating when he tells him where he lives. Anthony said I just moved in around the corner, and OOK says “The old candy factory...” not next to the old candy factory or anything, just “the old candy factory”

Now we know from the puppet trailer that there’s a new character they’re introducing who is a black worker at a candy factory with a hook, but y’know like a real person hook that actual amputees get, maybe cause of a factory accident, i do not know, who was good natured and gave free candy to kids on his way home because y’know he works at a candy factory and some white cops saw, assumed he was a paedophile, chased him down to the bottom of the stairwell of presumably the building he lived in, and beat him to death

This character actually seems p important, in the new TV spot there’s a shot of a guy in a trenchcoat and seafoam pants in front of a building i THINK MIGHT be him, and a shot of some cops descending a stairwell, so I think we’re actually gonna see what happened to him, and I think he is going to be introduced as y’know a competing story to Daniel Robitaille’s, he’s MY BEST GUESS going to serve the function in the plot of revealing to the audience the idea presented in the puppet show trailer, that Candyman is more of an abstract entity or a floating moniker, it’s not necessarily bound by the identity of Daniel Robitaille

Anyway, i’m pretty sure by OOK’s comment here that the condos Anthony and Brianna live in are literally built on top of where the candy factory where that guy worked used to stand

Oh yeah just neat little shot of the graffiti of Candyman more as Clive Barker designed him fun reference

Bee stinging Anthony, more on that later, also notice he’s not just a painter, he’s a photographer as well because that becomes important

Oh yeah “he’s the monster that’s part of this neighborhood” is in all probability part of the same speech from the TV spot “Candyman ain’t a HE, he’s the whole damn hive. He’s the way we deal with the fact that these things happened. That they’re still happening.” Candyman I’m prob gonna make a whole post about this but his transformation from urban legend used to cope with random violence and urban decay in Clive Barker’s story to urban legend used to cope with racial violence seems complete in this movie, and I believe thematically the idea is the gentrified Cabrini and Anthony are under the delusion that this is a monster, a story of the past, and Candyman appears to...disabuse them of that notion. With a big fuck-off hook

We know from the TV spot the all-black portrait he’s working on in his apartment is Daniel Robitaille, and a damn good likeness of Tony Todd can I just say who the hell did these paintings they’re amazing anyway the one we see at the gallery of the man with the swollen face is I think the candy factory worker who was beaten to death. That guy i think is also the one who introduces the concept of the seafoam pants and ochre coat btw to Candyman’s wardrobe. Cause of that, he might be how Candyman appears when he kills the High School girls i do not know but that’s interesting, ain’t it? Candyman appearing in different ways to different people depending on the story they’ve heard

Oh the mirror opening to the space behind it must be a reference to the hole through Candyman’s mouth graffiti in the og i just got that that’s pretty sweet cool exhibition

When bearded guy in that god-awful Overlook Hotel carpet-looking button up shirt is saying Candyman, that movie that’s being projected in the background...I’m not sure which, but based on what little more we saw of it in the TV spot, pretty sure that’s footage of the lead-up to/possibly the actual act of the arrest or murder of one of Anthony’s Candyman subjects which is ahh....dark. I mean hell, he’s black, if anyone can do it he can but that feels a little tasteless Tony buddy

Anne-Marie is still obvs shaken up about Candyman, based on their two brief interactions in this trailer I’m assuming...well, cause he was a baby when it happened, he wouldn’t remember, i’m assuming she never told him about what happened to him and this is the first he’s hearing of it.

Candyman agrees with me that the movie was tasteless

Related to that Candyman becoming a monster of racial violence rather than urban blight thing, unlike the original movie, almost ALL of his victims in this are white, which is i mean yeah more on brand considering his origin story(ies)

Candyman appearing in the mirror and Anthony’s hand rotting from the bee sting yeah may as well talk about it here, it becomes obvious at several points through the trailer that the Candyman entity if you want to call it that is taking hold of Anthony

For a split second when he throws the glass, I think you can see his James Byrd, Jr. portrait in the background (with the exposed skull)

Yeah, I’m not exactly sure what’s happening to him as he paints but it SEEMS like he’s somehow experiencing the pain of his subjects

When he’s in his painting clothes covered in black paint seems to be mid-late in the movie when he’s kinda losing his shit yeah we see later the hook come out of a sleeve in the coat he’s wearing when he gets his hand sawed off (more on that in a sec) and the paint-splattered jeans so i’m pretty sure the painting clothes with the old fur-lined coat over it is gonna be HIS Candyman Transformation Chic

“He had a purpose for you, to be another one of his terrible stories.” This is completely shooting in the dark and it came to me late at night as I was falling asleep so I have no idea how stupid or crazy it may or may not sound, BUT if we accept Candyman as a recurring entity and his “terrible stories” as victims of racially motivated hate crimes, okay, hear me out. Remember how in the OG Candyman just kept framing Helen for everything? I wonder if Anthony’s story via Candyman was supposed to be “white woman harrassing Cabrini Green residents chops up woman’s dog, steals her baby, and puts him in a bonfire to be burned alive.” Like Anthony was supposed to be a what’s the word they use in the puppet trailer’s blurb “unwilling martyr”, a black baby boy burned alive by a white woman to keep the faith of his congregation going

I feel like that might be the old candy factory worker sawing Anthony’s hand off, anyway yeah he’s in a very Candyman coat, his hand infected presumably via bee sting is being sawed off, what I really love is that you can see that not only is his right hand getting amputated, he’s been blinded in his right eye. Now remember in Candyman’s original story, Daniel Robitaille had his hand sawed off not just so he could replace it with a sick-ass hook, but because that was his painting hand, that was the source of his talent and pride and wealth. Anthony, like I said, is a painter and a photographer. So Candyman takes his hand and his eye i just love that lil detail

I think that woman in the burned church with SWEETS TO THE SWEET on the wall might be Helen, who we know is in the movie and probably has a conversation with Brianna for plot purposes cause there’s a reaction shot of Brianna in the same church saying “this isn’t real”

Yeah that is absolutely definitely 100% Anthony killing that guy in the alley so yeah i guess there’s no question Candyman gets his ass but i feel like there’s more to it because well y’know they’re very open about it in the trailer number one in a way they’re usually not about the struggle the movie revolves around and as evidenced by him killing people the movie still clearly keeps going after he becomes Candyman so ???? i wonder what’s going on

There’s a brief shot of a little girl watching what looks like her dad jump out the window, I assume that’s Brianna seeing as how y’know a kid is credited as young Brianna and i think there was a character blurb mentioning her having a troubled past, so i feel like her dad’s suicide is obliquely related to Candyman in some way. It is worth noting he seems to jump out of some kind of painting studio

This little kid finding a corpse covered in blood and bees in the bathroom is, first of all, that’s only black person we see killed by Candyman, but also it just seems so disconnected from the rest of the plot and i can’t figure it out at all that I feel like this scene must be either a cold open or a stinger at the very end

[theorynexus]

59:  The Continuing Adventures of Dave and Roxy, as well as the concerns assailing them.

Yay, the Charleston!   (Boo the fact that if Jake’s targeted by a sniper, Dave can’t so easily react by slowing down time and tackling him out of the way, or whatever!)

***sagenods, despite never having had anything like his own experience, myself***

It’s good to see that in quantifiable terms, there. Also good to see Dave’s awkward insecurity on the matter never faded away during those recognition stages. It makes it at least 1000% funnier. Ask Colonel Sassacre.

HA!   Also:  I love to see that paranoia in action, ramping up the comedy value even more and legitimizing my previous statement that this was funny, which some people would consider incredibly rude, probably! It is also interesting to think of the fact that the 30-70% enumeration suggests he goes back and forth as far as which of the two sexes he is apparently considering legitimate “targets” of his interest (troll biology/sexuality didn’t cease to be probably quite different from human reproductive systems, or anything, and Calliope/cherubs in general may very well be hermaphroditic either in a simultaneous or sequential manner, so I obviously have to recognize them here).  Obviously, there’s also the possibility he’s just not thinking of such other sexes due to is human upbringing on earth, were intersex members of society are relatively rare, and thus the idea that there are only two sexes tends to widely be embraced by (most, but increasingly not all) members of the Western society/civilization he dwelt in. I don’t blame him for his upbringing: everyone brings their own baggage into their later life.

Yeah... the Stralondes bring some interesting genetic factors to the table. I am not sure how much that actually directly influences things. Part of the issue is probably Bro’s impact on his life, which exposed Dave to a great deal of sexual material and almost undeniably stunted his growth in weird ways.   (Note: I do not suggest that his apparent self-labeled bisexuality is a result of his growth being stunted, regardless of the fact that one’s early life does indeed have an impact on one’s later identity; rather, I am merely suggesting that Bro’s influences, while dramatically increasing his capacity for survival in SBURB, and thus technically being instrumental to everything that followed, gave him psychological issues which everyone must admit made him struggle quite a bit over the years.   It may be likely that he would have developed the same sexual dispositions regardless of the scars Bro inflicted on him [both emotional and physical], but we can never truly know, for Time is weird: issues are entangled.)

Dirk, you named yourself after a Platonic work!   How can you not understand how great and important relationships which reach to the point of bonds between souls and transcend the physicality of sexual relations can be?!?!?!

GAH, I just... sometimes, you really can’t expect reasonable thoughts from this guy, can you?

On the other hand, let’s just all take a moment to celebrate the irony of “... even my harshest critics would never accuse me of such cruelty” from Dirk Strider. Best. Fricking. bundle of words that ever emerged from his mouth, probably.

I would argue that even without the opposition, displays of gender are by no means culturally vestigial in the same way that fashion generally is not. It’s a direct reflection of the soul, projected outward.  (Like a person’s hat, or shirt. [Dirk having a hat on his shirt was not just a reflection of the fact that he was “kid bro,” or whatever, but was actually an early suggestion of his Heart aspect.]) Obviously, this is limited by the resources, imagination, and environment/occupation of the individual involved, and there are in fact numerous things which are more important for a person in reality, but that doesn’t mean that it’s something to be dismissed like that altogether.

***cough projected future dramatic irony, cough***   Also ironic insofar as I am not 100% sure he actually cares about Roxy’s identity/gender issues so much as he might find them annoying and boring to be dragged through. Somewhat ironic+hilarious for a fellow Heart player to find this kind of thing unbearable, if so.   Maybe it’s just the Prince in him.

It is good of you to be concerned for her well-being, I suppose. Considering it is your own identity that is at issue, here, I would suggest you hold a little more weight, but regardless, this is good.  As for the matter of your transformation and dissatisfaction with your hair as it is now:  I suppose Dave’s step by step relation of his own journey as made quite an impression on you.   Hopefully, you do not feel jealous, but rather, patiently continue to contemplate your own path and, as Alt!Calliope suggests you might think, head toward a more potent and firm+real understanding of your own identity+self.  It is okay to be uncertain and questioning, for now.  I’m sure the shakiness of first steps will give way to confidence naturally in due time. These things are not easy, obviously, but reaching out to someone who’s had similar struggles is a good choice: it will likely make things easier, especially since he’s someone you can dependably put your trust in, despite his flippant, awkward attitude in general. (Also: on a more abstract note, it is interesting to see Roxy ascribing meaninglessness to her hair choice, and expressing lack of understanding on her identity issues. Very tight writing, on Hussie’s part, making the kids reflect their aspects and struggle so keenly with things relating to them.)

Given the fact that Cherubs naturally have very violent sex and spend eons before their first (and only?) sexual encounter, that’s not really much of an insult, if “virgin” should ever be considered one to begin with.  Pompous is definitely more accurate and applicable, though. Also:  Hooray, actually saying things, and getting the size of his text back again! (I am not actually really cheering for Dirk so much as I am finding it interesting for the sake of the ongoing conflict acting as an undercurrent to the storytelling, right now. It’s truly fascinating to see two narrators fighting amongst themselves like this! )

Everything about this (especially Alt!Calliope’s confidence and her “’human tanties’” line) is incredibly amusing. I love it.

Lil Cal might beg to differ. But that is a complicated tangent which does not deal with this version of Dirk directly.     (Preemptive Edit:  Also funny because of the fact that Doc Scratch is literally a walking, talking puppet with a Dirk inside.)

Yes, justifying toying with your friends because you know them and have investment in their lives therefore is indeed very logical, reasonable, and highly rational of you to do. Thank you for this brilliant insight into the human condition.

Oh, so this is now a reference to the Charles Whitman shootings at the University of Texas?   That is a very interesting and curious choice to portray Dirk’s derangement with, especially considering the earlier statement about Dirk knowing solitude in a similar manner to Alt!Calliope’s own knowledge of it.    (Almost appropriate, considering she basically destroyed the fabric of Paradox Space to kill her brother in cold blood [the way revenge and Eternity are best served], but I guess this is a digression~)

I wonder if he really intends this, or if it is in fact a ruse in order to time things perfectly such that he can in fact shoot Alt!Calliope in Jade’s body without her initially expecting it. Particularly since, if I am thinking of the correct gun, it actually shoots portals that allow for ridiculously long range shots that would normally be impossible.

Wow, that is cold, Alt!Calliope, throwing Rose under the bus like that.   Also:  I suddenly have “ Do the impossible, see the invisible. Row! Row! Fight the power! Touch the untouchable, break the unbreakable. Row! Row! Fight the power!” playing in my head, as if this were a flash animation. That thought process really puts things in perspective, if this is supposed to be  (at least to him) a tale of Dirk fighting against causality and the will of Paradox Space to make things become irrelevant and to fade out of perception.

Guaranteed to blow [somebody’s] mind.

She warned you about---

History repeating itself.

Such anime. Such wonders.  Man, this is really fricking interesting, seeing Dirk and Calliope actually going at it on a twinned physical and metaphysical battlefield!   It’s like we’re finally being shown a cherub predomination contest in action!    (I wonder if Alt!Calliope will eventually fall into caliginous attraction for him. This would be quite amusing.)

Wow, that was probably a bad move taken at an inopportune time. The question is: Is she forced to make that by laws of narrative relevance, or is it a purposeful decision on her part to spitefully turn away from him, despite the likely imminent consequences. On the other hand: This could be a very powerful and shrewd tactic on her part to recruit Dave to serve her purposes. Given his presence at the event, he could either intercept Dirk (I almost called him Bro-- gah!) or save Jake, if led properly. If she is particularly spiteful, she could use him as a sacrificial piece and have him take the bullet instead of Jake, which could be very, very painful to Dirk.

Huh. Despite Terezi’s comment about onions not making people cry, Trolls are inherently averse to them in the same way that dogs are to chocolate, huh? Also, people are Ogres, and Homestuck is Shrek. This is definitely the unadulterated truth. Additionally:   Pffft.  It seems that the idea that the Green Sun Black Hole’s presence making Roxy’s own void less effective for everyone might be true!   Or, alternatively, Dave just knows enough to make the guess. Or both, possibly.

Pffft. She’s oblivious to her own inscrutability!   Perfect. XD That said: YES!   HECK YES!  HECK FRICKING YES, ROXY SHADES!!!   :’D (Oh, and shades are a symbol of the Void [not just because they keep out light, but because they block the eyes, which are symbolic of Light and Heart, but more importantly for this, Light], the same way that alcohol and oceans are. Somewhat surprising that she didn’t have a pair of them already, at this point, if we’re being totally honest.)

Yeah, if it was not obvious that the method of Alt!Calliope informing Dave of this threat would be subtle like that rather than a direct statement/command, then I don’t know what is obvious to you guys.

This, psychologically+sociologically, makes a great deal of sense, considering humans seem to have a natural propensity for feeling distasteful towards some sort of “other,” regardless of what it is. Thus, there’s a double-edged sword involved, quite logically, and somewhat saddeningly, to the otherwise open and accepting mentality that humans seem to have socially adopted in their new environment.       At the same time, the way that this is delivered is horribly hilarious (tragi-comically so), and I’m barely sorry that I find that to be the case.

Yes. Yes, it was cute, indeed. Sad to see it go, somewhat.  But his question is incredibly silly and very awkward, just as is natural for Dave. Thus, I find it acceptable and in-character, not insulting or narrow-minded, as some might.

***laughs alongside them, for indeed, this has all become quite funny, despite the fact that it is a “distaction [sic.]” from the seriousness at hand***

FRICKING...  DANGIT, ALT!CALLIOPE, IF THIS TURNS OUT THE WAY YOUR WORDING IMPLIES IT WILL, I SWEAR...!!!

Okay, so you seem to have just used it as a convenient threat, and worded things such that he had time that he didn’t necessarily clearly have in order to basically take two actions instead of one.   (His jump to save Karkat could have cost Jake his life, or Dave his.)

As I was going to say, but was prevented from doing due to a belief that it would be better to include these lines too:   His statement about her being right about many things clearly, while initially making it seem that he was indeed going to take the shot, heroic death chance or no, almost certainly ensures that this is actually a subterfuge on his part (similar to but a reversal of Caliborn replacing the hats on the king and queen: in this case, he is switching his OPPONENT’s chess pieces’ appearances, making her think he’s targeting one, but is actually going for the other, more crucial target [as should be obvious, given the thematic similarities between Dirk and Caliborn, and the tendency of events in Paradox Space to rhyme with one another]).

Check.

Indeed, indeed. Alt!Calliope senses a similar pattern, quite sensibly, which is fitting with her role as Muse, and her understanding of it. Unfortunately, while she picked up correctly one one such similarity/resonance, it seems she’s missed some others.   I do appreciate this comment on immortality, though. I had not actually thought about that, and this makes his potential actions somewhat more benign. (Not that it would render his later actions as such.)

I really fricking appreciate the “no guts no glory” comment coming right before this extremely gutsy reveal on his part. By saying as such, he could easily be ruining his plan, but he just goes ahead and says it anyway. XD BEAUTIFUL writing, right there.

It was less intelligent of him to narrate his own action so long-windedly, but completely in-character.  It gave her the time required to interject like that. That said: I bet he’s going to fire via voice command or something like that.

And THAT, my friends, is why you don’t underestimate your opponents, and you should not announce your belief in the futility of their actions to their faces like a stereotypical villain would!   Also:  WILLPOWER!!!

...   Yet this does not end the page, and despite the fact that it would be a magnificent point to end the post, I will not do so.  I will first say that I was almost certain Dirk was actually in fact successfully hiding something from her when he was messing with his equipment/tech there [and great foresight on his part, to think this far ahead, by the way], and secondly, shall end the post with the actual page’s ending:

I appreciate his continued devotion to realism in sound effects and whatnot.

To be fair, he could be using that term technically and literally, here, but I also very much do believe that he was not, which is unfortunate. v.v Thus, Alt!Calliope’s question is quite valid.   Though my guess is that Dirk’s response will be something along the lines of, “She chose death and you over life with me.”  This might make her a “bitch” in the same way that men in prison who are raped are reported to be one, rather than the typical insulting-particularly-to-women version of the phrase. Regardless, this is uncalled for. ~~~ It is nice to see the fact that Alt!Calliope’s text is getting smaller, now, by the way.

I don’t appreciate this mockery/show boating. It’s quite abrasive and distasteful. I do see it as being rather in-line with what I’d imagine his character would do, given the frustrating situation he was previously put in, though. Also:  This very much resembles what happened when he was first suppressed. There is much hilarity to be found in that, all things considered. Alt!Calliope was definitely a bit more benign in some ways and objective (most of the time), but that doesn’t mean that there weren’t some major similarities between narrators. Additionally:   I do quite love this example of narrative vs. physical action.  I only remember Caliborn/LE and Hussie ever engaging in that sort of contest before.  Well... you could say that there were a few examples of it with the Exiles and Kids/Trolls (like what Bec did to PM’s station, or Sollux’s defense against CD), but they don’t really feel like they were quiiitee substantive enough to count. Regardless!: Very refreshing and interesting, this style of conflict is! Thanks, AH! ... Buuuut there is just a liiitttle tiny bit left over on the page to comment on, so I’ll get to that.  (Oh, also, I totally imagine Jade falling asleep in the classic manner she used to before entering the session, just slumping over with her hands splayed out under her~)

Okaaayyy... if you say so. The fact that tranquilizers can be lethal in doses that are too high does not jive well with your uncertainty, though.   Oh, and also:  WHAAAAT?!  You’re going to leave?!  This is a completely unexpected---   Okay, I can’t and won’t keep up that charade when admittedly the couple of pages I read of Homestuck^2 before freaking out and stopping showed a weird-shaped ship that looked vaguely like a flying fish.    I had tried to forget about that, but the memory suddenly rushed back to me as I read that bit of narration.

Ehh?   Is this suggesting that the Candy epilogue is chiefly narrated by Alt!Calliope?   I mean... it would sortof work out logically, given her very pro-Free Will stance, and the association of Calliope with preferring Candy as food... .

Hmm. This further supports that notion. Iiiif that is the case, Dirk stands as the proxy for LE/Caliborn even moreso than otherwise was clearly the case.  In retrospect, this makes it pretty gosh darned funny that his head got chopped off along with Jack English and Jack Noir (who, holding English’s “lordly sceptre,” and holding reign over the Felt, was OBVIOUSLY an English stand-in, as well  [I still giggle at his sudden use of it like a horse {hitcher} in the middle of the fight]).       Very, veeeeerrry interesting. ~~~ I wonder if Dirk was testing the idea of interjecting himself back into the narrative when he said, “Jake’s ass is mine,” twice, earlier. Oh, and credit to Forgotten Homestuck Facts for the pic compilation, earlier. 

[cammcharg]

A film composer interviewed me...

I was recently honored to be approached by a film composer who wanted to interview me over a couple of drinks, and this is what they came away with...

Interview with a Film Director Cameron McHarg

Cameron McHarg grew up in the rainy, blue-collar suburbs of the Pacific Northwest. He has won the Gold Addy and Silver Telly Awards, and was a shortlisted winner for the Cannes Young Director Award for the commercials that he'd written and directed. His first short film, Kicking Sand in Your Face went on to success on the international festival circuit, and was later sold to cable networks in the US, Canada, Russia, and Ukraine. His second short film, the end has also had a long and successful run on the film festival circuit and has screened internationally. Cam has written two feature films currently in development set for him to direct: the 1970's motorcycle road film/crime/thriller - Sitiado and a gritty coming up age (Stand by Me meet Deliverance) drama set in the 1990 Pacific Northwest - Monroe Log. He is also in the early research phase of writing a crime/drama based around Apache gangs in the American southwest. Cam was recently featured in Volume 2 of The Top 100 Independent Filmmakers in the World, now available on Amazon.

1.How  did you come to be a director/producer?

Cameron: I actually started as an actor. Then, I co-produced a documentary that ended up doing well and I earned a scholarship to attend the prestigious film program at Art Center College of Design In Pasadena. Besides, I was at a point where I just hated the idea of sort of waiting for someone to choose me. I hated that powerlessness. And I have always loved the whole process of movie-making. Whenever I did work as an actor I was very fascinated and interested by the entire process and I thought that would help me work my own way in without having that hopeless feeling anymore. I hoped I could mix the best of both worlds. And that’s how I got into it initially.

2. What qualities do you look for when hiring a composer for your  project?  Is there one quality or thing that will get you to consider someone more than others?

Cameron: It might sound like a strange answer, but since I am not a musician myself, all I can do is to abstractly describe feelings, moods, atmospheres; my musical vocabulary is limited.  That’s how I would describe things anyway, even to actors. When I talk to a composer I would try to explain what I am looking for that way and if they could get what I am going after from just my description- that’s huge. I think it’s a difficult thing to understand. It’s like going to a hairdresser and you sit down and say: “I don’t know..I just want to look good.” If I can talk to a composer and stumble around just like I am doing now trying to describe the concept of the story and what I am trying to make it feel, and they can come back with something (and it does not have to be perfect, we can make adjustments) and really get it..  It’s not necessarily listening to the composer’s music and going: “Great!” It’s more about their ability to understand what I am trying to go for in a story: the mood, the feeling rather than a rational idea. A composer who is technically great and talented might not be enough. Someone with a sensitive soul would be a better fit.

3. In your opinion, is it more important for a composer to have a unique musical voice consistent in all of their work? Or is it important for the composer to have a broad range of compositional ability to draw from so they will likely be able to adapt to what the project needs stylistically in any given scene / scenario?

Cameron: I would lean towards the former than the latter. I think a lot of people can be very technically proficient doing a lot of different things, but people who have their own specific life experience and their unique background bring something very special to the table, that no one else can do, maybe. And I am more attracted to that. It’s true for me personally. I would be the same way about an actor. Again, it goes back to communication. If a composer can really get me..I would rather choose that over someone who can sort of do a little bit of everything. I think there is something beautiful about it. It is such a collaboration, there are not a lot of differences between an actor and a composer or anybody else. If you throw these ingredients into the mix, various artists that have that specific background instead of a bunch of technicians that are generally good at a lot of things, I think it’s going to be more colorful, there’s going to be more to it.

4. What do you want to see / hear in a demo cue from a composer?  Something custom made for your project?  Something from other projects in a composer's past that might be similar?  Live recordings?  Are MIDI sampled recordings ok?  What format do you want any demo material in?  (Audio CD, flash drive with audio files, video files so you can see how well the composer scores to picture, etc...)

Cameron: Ideally, it would be great to hear something custom, again, it goes back to this topic: I would like to see if the composer can understand what I am trying to do. Of course, I would be curious about what has been done before to get a feel for things. I will get back to that example again. We are all just collaborators trying to make a movie, we are just pieces of one big puzzle, and we are equal pieces. I hate auditioning actors, I would rather meet people and get a feel for them, I would want to see what they have done before, but it is  more about mutual understanding and connection, trying to scope this movies together. To answer your question, ultimately, it would be nice to hear a shot of something that’s for the particular movie. It does not matter that much to me whether it’s live recordings or samples, it’s irrelevant. Video is not necessary, I would even listen to it with my eyes closed, I don’t need to see anything. It is not as important to me as getting that feel. But it’s me, I might be particular.

5. How do you budget for the music in a film?  Do you determine score costs ahead of time based on the kind of score you want or is it based on a flat percentage of the film's budget?  How do you determine what a composer's involvement is worth on your project?

Cameron: I hate the business aspect of it so much. I see a composer as important as anybody else. The composer is probably the most unrecognized artist in the film business. I think that if the music is good you don't even notice it, oddly enough. It’s similar to editing in this respect, if you do notice it- the editor might be doing something wrong. I just recognize them as being unsung heroes. I don’t know how to budget for it, I’d say it is usually a flat percentage of the film’s budget.

6. What is your opinion on a composer working for little to no monetary compensation (i.e. for free)?  Many entertainment industry departments have union representation that sets a minimum pay "standard" for what those jobs cost from week-to-week or day-to-day.  But composers do not have and can not unionize by a National Labor Relations Board decision from the early 1980s.  Does this affect at all your hiring or budgeting process for music?  What is the lowest budget amount you have ever had for music score?  What is the highest amount?

Cameron: It’s so messed up. So many of us are asked to work for free and I’ve done it many times, as an actor particularly. The only exception to it if everybody is doing the film for free. I have done short films where everybody was paid next to nothing and the ultimate goal for us was to make something we are proud of to use it as a showcase. But nobody makes money off of short films anyway. If you are making a feature where somebody is going to profit off of it, it is an outrage if you are asked to work for free, everybody should be compensated. What you are doing is worth something and there should be no shame in asking to be compensated, because you are bringing something valuable to the table that no one else can do. And if there is a producer who is going to make a dime off of it, or anybody else,  they should share. The lowest budget: I’ll start with zero, which I had to deal with more than once.  The highest -is the film I am doing right now that is in the early stages of pre-production. The budget is small- around $1M dollars and I don’t know the exact numbers but it would the same as we would pay to the DP.

7. How do you communicate with your composer regarding the creative process? What can the composer do to make that easier for you as a producer / director?

Cameron: We’ve touched on this a little bit earlier: I can do odd things to try to communicate what it is I want. I would do clips from other movies, paintings, photos, sometimes other music but not usually, because I don’t want that to taint it. Sometimes in my description I’ll make weird sound effects. I can be so abstract and weird about it, I’ll do whatever it takes to describe it - I would even show odd symbols. In some ways I don’t like it to be super literal so that the composer, the artist, could interpret it in his own way. Going back to the actors, as a director, I would never tell an actor how to read the line ( “Do it like this”..) for him to copy that. I would say something more abstract: “Do it more red!” I would want them to interpret the feelings in their own way rather than me being a puppet master. Same with a composer: I would give you a certain feeling, atmosphere and see how that is colored through you. That’s where special stuff comes from. Anybody can imitate but what's the point? I want you to do it because there is something special about you. There is something I want to communicate through the prism of your perception. I am fishing for a surprise. I am not a dictatorial director, I am a collaborative director.

8. Is it a more important perception for a young composer to have credits assisting other "big name" composers on "big name" films even if their jobs and responsibilities on those films were more technical and nondescript like "scoring assistant" or "midi programmer"?  Or is it a more important perception for a composer to have a list of feature films where they were the department head "composer" in charge and 100% responsible for music, even if those films were smaller, indie, "festival bound" projects that may not have had mass public appeal?

Cameron: I would definitely lean towards the latter. I would be intrigued if they were mentored by some big-name composers on a big movie that I have respect for, I would definitely be curious to see what they can do. But being involved in a big Hollywood movie does not mean much to me. I think that the pendulum swings back and forth and things change, but right now I am not impressed with Hollywood movies, and there are always exceptions, but right now I think they are in a bad place. There are a lot of movies with guys in capes and tights and that’s fun, I can have fun with it too, I love all kinds of movies, but it’s not what I came in to movies myself to do. I was influenced a lot by the stuff from the 70’s that was a whole different ball game. The films were much smaller and centered on people. I would be drawn to something that is more personal on a smaller level then something more peripheral on a bigger scale.

9. Have you ever had a bad experience with a composer?  Did you learn anything from that?  Has it affected how you work with a composer since?

Cameron: I haven’t. I’ve had experiences where on the first try or two, after I have done my best, probably clumsily, to communicate what I was going for, I ended up really having misses. And I felt  a little bit frustrated, feeling that it was going to be tough, but we got there eventually. I think, if I had a really bad experience with someone, it would be more my fault then theirs. I think it would be my failure to communicate what I was trying to do, it would be my responsibility. I remember it was over the phone, the composer was in New York. I did not show any examples. The music that I wanted did not have anything to do with real instruments, it was more atmospheric. I tried to give him mood and imitate the sound with my mouth. As a result, I was frustrated with myself since I failed to communicate what I wanted.

10. From your perspective as a producer / director, what is the one piece of advice you would give a young composer working to build their career in this industry?

Cameron: I think it’s difficult and even unfair, with some rare exceptions, for a young artist to have a lot of expectations thrust upon them, whether it’s from themselves or the outside world, because it is hard to really give everything that you are capable to offer until you really know yourself. It often comes with time, unfortunately, with a little bit of age and life experience, and exposure to life. So, give yourself a chance, be patient and kind to yourself and allow yourself to experience everything life has to offer, including the stuff that’s painful; take it as a gift, use it. Don’t put a timeline on yourself, live your life, don’t put a bubble around yourself: “I am a composer, a musician, all I’m going to do is write music”. Allow yourself to be exposed to life, try to really live it, don’t isolate yourself, let everything in life color you and color your work. Never quit, have faith that when you are ready the time will come.

I have had nothing but composers contact me over the years. I don’t mind it, I actually look at their stuff and listen to it. I understand it’s a hustle, I have done it as an actor. I think it’s smart, because you know what, I will go back; I am doing a feature early next year and these guys that are emailing me are on my mind. I’ll listen to their stuff first before I do any search. I think there’s value in that. You have to be smart about it, of course, don’t email me every week.

And lastly, own  what’s special about you and  don’t try to be everything. Figure out who you are and really own and market that rather than trying to be like everyone else.

[olivecianciolo]

Project 4 Ideas

1). A crude wooden box stuffed with a puppet. For this idea I would build a very crude, crate-like box with strips of wood far enough apart you could easily see through them (basically a cage). I wouldn't finish the wood or even measure it well so that it was as clearly handmade as possible. It would probably be around a foot in every dimension. Then I would build a posable humanoid figure (like a puppet or a doll) that was just a little too big to fit in the box, and cram it in there so that limbs and appendages would stick out. I'd probably make the figure out of wood, wire, plastic, and fabric (anything I could get my hands on, really), but I'd make sure that it was sturdy enough to keep its humanoid shape when stuffed in the box (and possibly also naturally alter the box on its own). Finally I'd finish the box up so that the figure couldn't be taken out, but also modify it just enough that it looked like it was starting to break. I think this piece is a little lacking thematically (it's literally 'being forced into a box'), but I do think it would be the most interesting for me to make.

2). A series of modified photographs of important locations in my hometown. For this idea I'd start by collecting short stories/memories about important places in my hometown (like one of the churches, or the high school). I'd then take photographs of those locations, print them out, write the stories over them, and modify them just until they become unreadable. For example: one time my roommate accidentally walked in on a meeting of church officials voting on the church's official stance on being gay. I could write that story in ink over a printed photo of that church, and collage over it with paint and found paper (ideally found paper that relates back to the church) until the viewer could only barely make out the text. I'm not sure how many of these I would make (it would depend on how many stories I could get), but they would all be of different locations. I think at most I could make five. The size would also depend on how many I made; if I only made 1-2 they would be bigger (14"x17" maybe) than if I made closer to 5 (closer to 8"x10).

3). A modified movie theater seat. My parents own a small movie theater which I essentially grew up in, so a lot of the imagery associated with movie theaters is very personal (and accessible) to me. For this idea I would find an old, broken theater seat (I'm assuming my dad will let me have one), and cover the entire surface with materials I find in the theater. There's a lot of expired product left in there since we had to close at the start of the pandemic, so I have access to candy boxes/wrappers, soda bottles/cups, popcorn bags, tickets, and maybe (I doubt my dad would let me have one) an old poster. There's probably still some old machinery (like a broken popcorn machine) I could use to modify the shape of the chair itself, and I was also considering shellacking and stringing some popcorn to add to the surface. I'm not entirely sure what all I could find but my goal would be to condense a big chunk of my growing up in and working at a theater into one digestible object.

[songbirdo]

So since it’s Spiriter Week I thought I’d try putting my meta pants back on.

Baten Kaitos Origins’ writing is great on multiple playthroughs. There’s plenty of events and statements that mean different things once the player knows the twists the plot will take. One part in particular where this is true is in the introduction of Verus. There’s so much here that makes me squirm. So much, in fact, that this is going to be a very long post. Disorganized rambling below.

(Major spoilers for the whole game under the cut. Seriously.)

Okay, no one here is new to the game, right? I can talk about how Verus is a diabolical mofugger? Okay. Won’t be going shot-by-shot so that this post stays a (relatively) manageable length, but you can fill in the blanks.

As a character I feel like there isn’t a lot to Verus. In a game full of interesting and surprising character-driven twists, “the guy you worked for was the puppet master all along” isn’t all that interesting. The writing is good enough, however, for us to go back and pick out how he manipulates people, plus some interesting things about how the game’s writing works. So, here we are.

Isn’t it fitting that the player can tell him to go to hell? First time around it’s funny. Second time, it’s a legitimate statement.

Nobody else in this game calls the Afterlings “Umbras.” The word “Afterling” has even been thrown around a few times by this point. Eventually Verus does tell the crew about the afterlings in greater detail, but that just begs the question, why call them umbras at all when he knows they are called Afterlings?

If I had to guess, it’s to keep Sagi and company more in the dark about the true nature of the afterlings. I bring it up because it’s Verus himself that initiates that conversation through talking about Guillo and indirectly switching the focus. Which of course leads to the crew’s biggest skeptic to question how he knows about the ones they’ve encountered:

Geldoblame: Watch your tone of voice, to whom do you think you’re speaking?

One thing I really love about this game is how often characters, especially Guillo, call out when a person knows something they shouldn’t. It speaks to the writers having confidence in what they are doing, and inviting the player to be skeptic with the characters not only gets them thinking on the same emotional level, it also makes sure that any skepticism the player might have is addressed and doesn’t distract from the narrative at hand. Afraid of skeptical players? Take that skepticism head on and make it part of the story! After all, who knows what in this game is probably a conversation in itself.

And a lot of the information flow can probably be traced back to Verus, especially with Shanath acting as a proxy to Verus.

Especially interesting since Verus is mincing words himself. Pretty well evidenced in the following:

Wow, no hesitation? Straight to the villification? It’s almost as if the information the characters and players know regarding Baelheit from the events of the game up to now is being used to rush them along on a persuasive propaganda smear without giving them time to think about it!

HE HATES THINGS LIKE FREEDOM AND DEMOCRACY, AND HE’D WIPE ALL TRADITIONAL VALUES FROM EXISTANCE IF HE COULD.

Hey, they are political opponents after all. Having a clear cut villain makes things so much easier, right? All we little guys coming together to use what little we have to take down the big bad guy! He’s going to destroy our way of life and all that we hold dear, so he must be stopped before it’s too late!

Of course Baelheit’s slate isn’t clean, naturally. but Baelheit is far more straightforward, since he honestly believes that he is making the world a better place despite having to step on everyone in order to do it. His desire to wipe everything natural away for the greater good makes him a villain, sure, but he honestly believes in his cause. Verus just wants power, and probably has an ancient little low-voiced shoulder devil whispering things to him.

Verus: He had Olgan killed in hopes of taking his place-- and then accused you, a spiriter, to hush the matter up. Two birds with one stone, see?

Guillo: But the emperor didn’t die by our hands.

Sagi: That’s right. Some other guy had already killed him.

Verus: But the problem remains that you are the one who stands accused.

Sagi: .........

Verus relates back to being a spiriter very often, even though on a second playthrough you know he’s lying about being one. He’s relating to Sagi to get his favor, but also diverting away from things that he doesn’t want to talk about (such as how Shanath is actually working for him, especially since we’ve already seen Baelheit privately admit he has no idea that Shanath killed Olgan) by using immediate issues that relate to Sagi directly. Issues that he can fix with a few strokes of a pen if Sagi does what he wants, as he details in the next few lines.

Though after that comes the real kicker:

I’M SCREAMING

That’s.... literally the opposite of sincerity. Verus knows about the orphanage because Verus knows about Sagi. He knows about Gena. He knows where Sagi lives. He knows what Sagi is. He’s Sagi’s goddamn dad.

But of course Sagi doesn’t know any of that, and Verus wants to keep it that way. He’s got a ton of secrets to keep, and he used the heck out of them. I’m convinced that Verus had a hand in setting up the removal of Gena’s wings later on down the line in order to trigger Sagi’s transformation. Plus, now you get to think about how all these years, Verus probably kept tabs on them even though Gena probably thought she had escaped from him when she fled with Sagi.

But Gena and by extension the orphanage are what Sagi holds most dear, so this little bit of revealed knowledge makes for an excellent bargaining tool. Hey game, where’s the skeptical call out after this line? Sneaky.

Sagi: That reminds me. The Umbras, sir... Do you know anything about them?

Verus: Not a whole lot. We’ve been doing all we can to investigate, but the answers continue to elude us. The only thing that’s certain is what you already know: that they possess immeasurable power. Baelheit wants that power. Therein lies our problem. Were someone able to harness such strength... well, certainly you can imagine?

Putting aside that Verus knows darn well what the afterlings are, having been close enough to the malideiter project to offer his own baby son for experimentation, their power is a big focus for him. During the speeches right before this scene, Verus focused on the threat of these “unknown creatures,” and how he can protect the people from their menace. To me it seems like Verus likes using fear tactics, even though his speeches ended up not going as well. People are scared of the unknown, and they’re scare of power. Verus even basically says “leave it up to the imagination” probably to fill their heads with all sorts of scary scenarios. People who are scared are easier to control after all. That’s another thing that can keep Sagi in line: the fear of power and the unknown.

Then he outlines his ideas about sending Sagi and company to speak with each islands leaders.

Sagi: But... why not just go yourself, Quaestor? 

Verus: As you can see, the war took my leg. So I’m afraid I quite literally cannot rise to the occasion. Hence my need for a reliable right-hand man. I believe I can trust a fellow spiriter like you.

Verus walks with a limp. Even in this time of gamecube graphics, the artists were sure to create a walk cycle that shows off bad leg. Every time we see him, we’re reminded of his leg. Which is why such a big deal is made out of the fact that during the final battle Verus throws away his walking stick, revealing that it too was all  for show, and that the crutch is the last thing we ever see of him. It feels like a visual representation of what a liar he is, and the game knows to call attention to it, visually and through dialogue, for that reason.

I’ll stop here. I know there’s plenty more, but that covers most of the big points. There’s some milly forshadowing in there too, plus some more dictating what they think and so on, but there are other characters to turn to. Plus, this post is essentially a bunch of words where “verus is a dick” would have sufficed just fine.

[westphotolukedas]

Production Journal - Being John Malkovich

210220

Being John Malkovich (1999) is a haunting film that asks viewers to surrender to a fantastically absurd premise. It was Spike Jonze’s directorial debut and he received an Academy Award nomination for such a bold undertaking. The plot follows Craig Schwarz, a struggling street puppeteer, his affectionate wife Lotte and his office infatuation Maxine. Relations between them cycle between attraction and repulsion when they discover a portal into the brain of John Malkovich. Its intrepid moments of comedy were met with praise and fascination from critics. ‘Put simply, Being John Malkovich just has to be one of funniest, cleverest films of the year, a Fabergé egg of comic delight,’ were Peter Bradshaw’s closing remarks in his review. (Bradshaw, 2000)

Director of Photography Lance Acord (Born 1964) is Jonze’s long term collaborator. Between them they have the hipster credentials to deliver trendy music videos, independent films and Hollywood blockbusters. With Being John Malkovich (1999) they developed a visual language which was darker derived from traditional set ups and framing. ‘We shot most of the scenes very simply. We didn’t have that much time to do them, and instead of breaking down each scene into ten setups, I wanted to spend my time getting performances from the actors,’ Jonze explained in interview. He continued, ‘That was a conscious decision, but I thought it worked for the movie - not to make it big, flashy and overly into technique. Lance can confidently and quickly work with little equipment. And, also, he doesn’t care so much what his peers are going to think.’ Given that the film explores such abstract concepts, it is largely due to Accord’s efforts that the viewer is able to suspend disbelief and lose themselves in the cinematography. (Macaulay, 2019)

Being John Malkovich (1999) has philosophical appeal for its portrayal of same-soul theory - a model of Cartesian dualism that suggests individuals identify with a consciousness unique to them. In essence, a person may be themselves within the vessel of someone else. The functionality of the portal may be likened to a cerebroscope - a fictitious device capable of relaying the contents of someone’s brain to another individual. The film addresses this phenomenon by switching to an occluded camera view analogous to peering through a periscope. The feeling of voyeurism is elevated by drawing attention to Malkovich’s bodily processes akin to the auditory effect of an isolation chamber. In a comically pedestrian scene, he orders a bath mat and scours his kitchen for Chinese food; however, the cinematography makes the act seem supernatural. Several levels of this interaction are explored when Maxine has a date with Lotte as Malkovich and Malkovich enters the portal to witness his own conscious mind in a perverse paradox loop. The filmmakers breech the fourth wall and meander either side of it to the point that it is accepted these characters are familiar with the real actor John Malkovich and his friend Charlie Sheen. (Koch, 2011) (Shaw, 2006) (Weinstein, 2008)

Summary

Jonze’s classic film takes time to develop layers of reality that act as a platform for facets of philosophy and science. In comparison, my film will be minutes long and undertaking anything of the same magnitude would be ambitious. I would like there to be a change in the rhythm of the footage that I will create with my own production technique. During an email conversation with lecturer Teemu Hupli, we discussed this issue and the potential avenues that I may partake.

‘Something has been ringing in my head since we spoke last Friday, and I want to voice it. You said a sentence in our chat to the effect that ‘the toil’ behind finished pieces of dramatic art (by which I understand films, plays, TV performances of various kinds) is ‘often not seen’ and your proposed project would expose that side of things. I am not saying it is often seen, but I would suggest you research the basis of this assertion. We do have films / representations of the work that goes into making pieces of dramatic art - cinema by now has a lot of them e.g. Synecdoche, New York, Being John Malkovich, Mulholland Drive, Inland Empire, and theatre has messed around with the fourth wall at least since the modernist times. In general, the idea of exposing the structures ‘behind’ finished products of art falls under the broader rubric of self-reflexivity, which has become a relatively widely used strategy for slightly more experimental dramatic art. I did mention structuralist film in our chat, which was based exactly on that idea, although it was not always about exposing the toil of actors alone, but often focused on the materials and editing structures of film e.g. Michael Snow’s Wavelength, which is essentially one very long inward zoom with marginal - literally in the margins of the frame - events occurring in the room.

I believe it would be important for you to acknowledge that your project might be operating in the context of such experiments in film / theatre. This is not to say that you should not follow your idea, but that you need to ensure that you are as fully cognisant as possible about the art / film historical context in which you work, in order to develop a clear sense of where you might be doing things similarly and / or differently from the context.’

Production Notes

An original musical score by György Englert provides some clue that Natalie might be an actor playing an actor. Lady Gaga’s Shallow (2018) and Joseph Arthur’s In the Sun (2003) were the inspiratory prompts that I gave him. I like the way both songs become more upbeat as they progress; however, melancholic accents are apparent throughout. Englert’s gypsy jazz roots contribute a playful quality that is also implicit of these shifting intentions.

After the title fades the film begins with a conventional shot seen in television interviews - framing tight to the subject and emphasising facial gestures. There is a second shot positioned further away to add some variation and then photographs from Natalie’s career roll across the screen. Momentum is broken for the first time when she slips and I encourage her to recuperate her thoughts. In the last scene of the interview there is an inaudible background comment from me, although this might be too elusive for the viewer to notice. These remarks were left in the final edit to break the fourth wall - the actor and the director are aware that they are part of a fictional narrative. In the scenes that follow, I added extracts from the scratch audio that are revealing of the filmmaking process. A focusing error while Natalie drinks tea was also left in. An early commercial cut of the film had these parts removed. It had a more mainstream tone and the intentions of the piece were lost. My peers encouraged me to be bolder with my post-production choices and this was the right direction for the project.

Being John Malkovich’s (1999) cerebroscope is recreated in the line reading sequence. The audience has a first-person view of Natalie’s performance as if they are me. There is a familiar fluidity to the play that she exudes. She waits in anticipation of her opening gambit and then launches into the role. Glances down to the paper script and then back to camera were the exact nuances that I wanted to capture. Scratch audio of me monotonously rattling off lines is heard at the start and then there is a fade away to a voice over. I selected the passages about her acknowledging nerves prior to a performance and method acting to superimpose over the visuals. Both give insight into the feelings that she may be experiencing in real time. Various edits exist where the scratch audio was omitted or faded out at a later frame. Feedback from these versions led me to believe that my speech was needed to frame the situation. Finally, I am pleased with the way that Natalie’s staring eye dominates the closing shot before the next scene.

Bibliography

Bradshaw, P. (2000). Bonkers but Brilliant. The Guardian. Available from www.theguardian.com/film/2000/mar/17/1 [Accessed 10/04/2020]

Koch, C. (2020). Consciousness Redux - Being John Malkovich. Scientific American, 22 (1), 18-19

Macaulay, S. (2019). I’m In You - Director Spike Jonze and Screenwriter Charlie Kaufman Talk Being John Malkovich. Filmmaker. Available from www.filmmakermagazine.com/107755-im-in-you-director-spike-jonze-and-screenwriter-charlie-kaufman-talk-being-john-malkovich [Accessed 10/04/2020]

Shaw, D. (2006). On Being Philosophical and Being John Malkovich. Journal of Aesthetics and Art Criticism, 64 (1), 111-118

Weinstein, L. (2008). The Perverse Cosmos of Being John Malkovich - Forms and Transformations of Narcissism in a Celebrity Culture. Projections, 2 (1), 27-44

Final Cut, Manual Mode, 25 fps, WB Natural Light

[rpgmgames]

June’s Featured Game: Living Playground: The Witch’s Puppets

DEVELOPER(S): Meaka ENGINE: RPGMaker XP  GENRE: Supernatural, Puzzle WARNINGS:   Both implied and shown violence to the children, Emotional abuse, Blood SUMMARY: With what starts as a simple day at the park, siblings Tony, Pablo, and Octavio are once again caught up in a series of strange circumstances such as strange pocket dimensions, coordinated monsters, and more geese than anyone could ever want to see in their lives. Stranded with them are Haze and Seal, two witches who seem to be connected with whatever nonsense is going down. As witches tend to be.In the simplest of terms, this game is about friendship and relating to others, both the good and the bad. With an unfortunate focus on the bad. It will be mostly straightforward with only one ending. 

Download the demo here!

Our Interview With The Dev Team Below The Cut!

Introduce yourself!  *Hi hello I'm Meaka. I've been kicking around the RPG Maker scene since like 2012 with my first game release in 2014. Whether that makes me but a wee RPGM baby or a seasoned veteran is probably dependent on how "long" you'd consider that h-haha. I'm an animator and illustrator, so visual development is my strong suit.

What is your project about? What inspired you to create your game initially? *Meaka: The Witch's Puppets is best summed up as "a game about friendship." Part of my motivation for creating it was simply personal catharsis: it deals heavily with circumstances that impacted my own life greatly and affects how I interact with people to this very day. Beyond real-life experiences, a big inspiration is Hatoful Boyfriend: Holiday Star in terms of how emotionally raw and powerful it is while also carrying on its sense of humor.

How long have you been working on your project? *Meaka: Far too long oh man. As a reference, my first game took me maybe six to eight months on and off to complete. I'm. almost 3 years into The Witch's Puppets and while I can probably hope for the best in terms of my completion rate, it's been a wild ride. (Did you know I thought it'd only take a year? 2014 me, how innocent you were...)

Did any other games or media influence aspects of your project? *Meaka: I say this like everywhere and I'm sorry if I'm repeating myself, but a huge inspiration for my art in general is the Kirby series. It has such a flawless blend of cute-to-macabre that I absolutely love and hope to capture that same feeling in my own work! Living Playground was inspired by the usual "RPG Maker/ Wolf RPG Editor" games (mostly Ib and Alice_mare) which led to it's "kind of horror but not really" flavor.

Have you come across any challenges during development? How have you overcome or worked around them?   *Meaka: In all honesty, just staying motivated three years into a project is difficult. I'm absolutely ecstatic to be making this game and bring it to people for them to play, but it's so easy to be excited about the cool parts and hit a wall production-wise when it comes to the mundane and tedious parts, particularly programming events that tend to be made up of a ton of conditional branches, variables, and occasionally will crash RMXP. So I give myself breaks on occasion and try to switch it up between whether I work on visual assets or RPG Maker programming, and sometimes I flip over to side projects (be it jam games or just other art).

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Meaka: From my initial concept, beyond certain themes and characters, they're two entirely different storylines. I actually gutted the entire script and started over at least twice during the course of production because of things not flowing well, weird writing choices by me, or just ideas that I slowly realized weren't that good. In particular, a very big part of some rewriting came from having some friends look over my script + game doc and pointing out some flaws that were from too much personal investment. If you're ever in a tight spot and not sure if stuff reads right, get some friends to beta read for you!

What was your team like at the beginning? How did people join the team? If you don't have a team, do you wish you had one or do you prefer working alone? *Meaka: In my first game it was just me until I threw it at some people to beta test. That was an interesting experience. For the Witch's Puppets, I commissioned music from the absolutely amazing ProjectTrinity and needing to consolidate my ideas and express them in a way for someone to create music for it helped me commit to my ideas and also helped me put into words what I couldn't really describe well beforehand. I haven't really had the chance to work fully on a team. I'd sure love to, but I fear my hectic life schedule would hold back whatever team I would want to join.

What was the best part of developing the game? *Meaka: I may be an animator and used to this by now, but there's something really magical about making your characters and putting them into a thing and then they move around. It just feels really nice. Also for me, I love telling stories and entertaining people, so I hope that my games allow me to do that! Whenever someone offhand mentions they enjoy something I make, it fills me with the warm fuzzies. (And don't even get me started on fanart. I literally cry.)

Looking back now, is there anything that regret/wish you had done differently? *Meaka: I absolutely want to 100% go back and remake Living Playground one day. It was the best I could do at the time, but now that I know so much more about what RPG Maker can and can't do, I want to go back and fix all those little things and make it more of what I wanted it to be. ... Also cut back on the ham-fisted attempts to be scary, maybe.

Once you finish your project, do you plan to explore game's universe and characters further in subsequent projects, or leave it as-is? *Meaka: I've already kind of done that! The Witch's Puppets is a sequel-but-not-really. And also Retail Hell, my Horror Funhouse jam project, is set in the same universe. As for the future, I can't say for sure that I'll make another game with the same characters, but I love the playground kids so I would never rule out the possibility of making something containing them again. Whether it's a game or not, that's a problem for Future Meaka to figure out.

What do you look most forward to upon/after release? *Meaka: It might be conceited of me, but I hope to see it give some sort of positive impact on people, even if just a little! I'd like to hope my little Friendship Game helps someone out if they're in a rough patch and at least makes them smile for a bit. Also I cannot wait to shitpost with wild abandon. Bad memes, here I come.

Is there something you're afraid of concerning the development or the release of your game?  *Meaka: I always low-key fear my files corrupting and losing everything, but since I am paranoid and keep a ton of back-up copies, I don't think that's going to be an issue. There's also a small part of me that is worried about people completely missing the point, but at that point I guess it would fall on my writing...!

Question from last month's featured dev: Which of your characters do you feel like you'd get along with the most? *Meaka: Strong Pickle. There is no other answer.

Do you have any advice for upcoming devs? *Meaka: Google Drive, Dropbox, and Mediafire are good friends and back up your stuff! Also, there will be days when making your game will not be fun. You will open your version of RPG Maker and look at it with dread. Keep going. Even if it's just one event a day, one spriteset at a time, keep on poking at that game. It just seems daunting because you know what you want it to be and you're looking at the beginning of the beginning. You can do it!!!

We mods would like to thank Meaka for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved! 

Remember to check out Living Playground: The Witch’s Puppets if you haven’t already! See you next month! 

- Mods Gold & Platinum 

[militant-holy-knight]

Alleged Lucasfilm Insider Spills the Beans

On May 26, 2018, on the /tv/ board on 4chan an user titled Lfl did an AMA session with the users. Given that the source was anonymous and his refusal to prove his credentials, we should take his information it with a grain of salt. Though I felt like resposting most of what he revealed. I know I am posting this with the good chance that OP was just roleplaying, but time will tell whether any of this is real or not.

>any talk of firing kathleen? She’s certainly not in good standing after the Last Jedi debacle. Absolutely hated in my department and by a lot of others I know of.

>Let me guess this is a thread where you pretend Lucasfilm is in shambles because a single movie is underperforming. Far from it, actually, but we’ve seen better days. TFA killed a lot of the creative/“anything goes” vibe we had, as evidenced by the “Art Of” book. Seriously, take a look at how cool some of the concept art we had that was thrown out for a safer approach. However, R1 was a blast to work on and felt like the old days. TLJ and Solo were very awkward to work around. A lot of wasted potential with Solo and a lot of in-fighting with both productions.

>tell me about Indiana Jones, news on the 5th film, are more films in the future? It’s in development hell. 2019 is a lucky shot in the dark. Overall, I don’t know much beyond the fact that it’s barely been moving along.

>Do you wish Kevin Feige was in charge? Are toy companies pissed off because of the lame characters and designs? Possibly. There are a number of people I’d rather have in charge of the writing, mostly some of the creative veterans like Filoni or Leeland. The general idea around here is that a “hands off” producer who could also keep things under control would work best. Hasbro is actually pissed off at the way information is handled and the focus on “earth tones” and less interesting visuals in both background aliens and main characters. Going forward there will be a push for more “toyetic” and PT-esque designs. I’ve seen some interesting IX designs, especially Kylo/Rey, who both have “battle armor” on. Kylo has some sort of red crystals on his. Not sure if Kyber or whatever.

>Is the next anthology really Obi-Wan? Any plans for Maul in other anthologies? Yeah, Obi-Wan is the next anthology. Bit of a poorly kept secret at this point, but the announcement should happen within the next 3-4 months. I’ve seen some concept art and it’s honestly breathtaking. I have a great feeling about the film as long as it isn’t stiffled creatively. Don’t believe any bullshit about Thrawn being in it. As far as I know, he’s not. Next movie is up in the air, but talks are revolving mostly around a Boba Fett/Bounty Hunters movie. After that a Solo sequel is planned depending on how well this movie does. That’s where Maul should be making his next appearance. If Solo bombs then he’ll appear in the Fett movie. Considering the Mandolorian connection between them, it’s not a bad idea in my opinion.

>When’s Kuntleen getting the boot? How exactly are you going to right the ship for Episode IX? How much internal division is there at Disney/LFL about the direction the franchise is taking? Kathleen isn’t going anywhere until post IX. If that and Solo underperform then she’ll probably be chained to a smaller project that no one cares about, (ala FOD) and given creative control to herself. 9 is going to be very different. Timeskip, more “toyetic” designs. Personally, I think the damage is done at this point. A lot of higher-ups were gunning for JJ to do all 3 movies and are losing their minds at the idea of SW becoming unprofitable. By the way, Johnson’s trilogy will most likely not happen. Overall there is a very tense atmosphere in the upper-class of the company. Very competitive overall. Lower on the ranks, everyone seems a little bit more disgruntled than usual and a lot of the “magic” is gone. A lot of people are just happy to be paid.

>Is there any truth to the rumor that they are abandoning the trilogy structure for a continuous MCU style? That’s bullshit. Trilogies will always remain. Now, the anthology movies are a different case. Those will be handled more MCU-like.

>Anon you’re exposing yourself as a fake too easily here. Nobody shills on 4chan. It wasn’t JUST on 4chan obviously, but on the internet as a whole. Journalism sites, fan sites, ect. I think the lesson Disney learned is that shilling for a SW movie is pointless when the fans are so opinionated.

>How did they try to defend it? Rian Johnson was being toted around as a “true fan of both the OT/PT” here and that was the narrative/marketing strategy for awhile. Backfired when the movie actually came out and marketing had no idea how to handle it, so damage-control mode was engaged.

>Tell me the truth, how much posting on the Star Wars reddit is paid for? I go there for a good laugh every now and then, it’s the only community I’ve seen where people are so determined to be positive about TLJ that they will include stuff like “TLJ was my fav SW movie btw” at the end of completely unrelated posts. Reddit is a huge center of the marketing campaigns, especially since the site is such a hivemind and opinions get parroted once they’re popular enough to stand on their own. /tv/ is very similar, but contrarian, and harder to control. The Force.net is another, albeit smaller, center for damage control.

>what’s Rian like? Weirdo. Easily one of the weirdest fucking dudes I’ve met, and I only met him twice. Words cannot describe how awkward he is.

>What’s Pablo Hidalgo really like? Awesome irl, but a bit of a dick online. He’s constantly bombarded though. Personally, I think Matt Martin handles fan relations much better and more enthusiastically.

>Why is Disney afraid of using classic aliens? Why are all their alien designs fucking shit and the exact same earthy-brown muppets? Honestly, the art design in the Disney films are fucking boring, uninspired and more Dr. Who rather than Star Wars. Don’t even get me started. The reasoning behind it is despicable too. That brown/earthy skin tone is cheaper to cast for the prop department than recreating the colorful classic puppets/mask. It’s all about cutting corners. The amount of humans in the recent movies is so fucking boring and everyone agrees. Hopefully that’s something fixed with the “toyetic” initiative in future films.

>what is the general opinion of the movies and characters (rey, finn, poe) in the office? Not hated, but the general opinion is that nothing will come close to George’s movies/characters. Gotta admit, it was funny to watch some of the OT purists at LFL start to appriciate the PT when TFA came out. I think those movies will age a lot better now that George is gone. I know a fair amount people who really enjoy the ST characters. Rey is obviously the most popular, but everyone seems disappointed that Finn was sidestepped and turned into a joke in TLJ/TFA.

>Are they really talking about recasting Leia? That seems like such a shitty thing to do. Unfortunately, I can confirm it’s been talked about. No idea who the picks are, but it’s a better option than CGI Leia IMO

>Do you know why Trevorrow was Fired? What happened behind the scenes in rogue one between Edwards and Gilroy? He literally had no idea what to do with IX after Rian’s Rape and flipped out. I don’t blame him, who the fuck even cares about IX in the fanbase now?

[somniiari]

Days is my favorite Kingdom Hearts game but I haven’t played it in a while and I don’t think I ever watched the movie version all the way through! So I watched it and liveblogged it.

I basically have the Saix’s monologue in the beginning memorized

Axel has said “got it memorized” at least 6 times within the first 10 minutes of this movie

Hayner, Pence and Olette run past these literal cult members without even looking

7! 7 times Axel please!!

Quinton Flynn’s delivery seems pretty weird and flat now, which is weird cause I know he can do really well. maybe it was intentional, cause Axel hasn’t started developing a heart yet?

I forgot that my pronunciation of Xion is technically wrong

Footsteps in The Castle That Never Was sound so strange. like they’re walking on metal suction cups.

Axel: Wait did you want me dead? Saix: ... *walks away*

Ah yes Xion’s creepy hood thing that I thought was a glitch until later in the game

What was Organization XIII doing in the 10 years before a Keyblade weilder was available to them?? I’m sure they had plenty of scheming and experiments and mischief but 10 years worth?

THEY LEFT OUT THE BEST PART

THEY DIDNT ANIMATE IT

“ROXAS THAT’S A STICK” I NEEDED IT

“As long as we keep each other in our thoughts, we’ll never be apart!” yall forget each other

8 times

Axel is so bitter about/to Saix oh my god tone down your salt man

The Chamber of Repose and the Chamber of Waking. I don’t remember which is which but one houses Aqua’s armor and the other is Ven’s body, right? So one’s in TCTNW and the other is in Castle Oblivion.

It just clarified, Chamber of Waking is Ven, and in Oblivion

Can Saix and Axel’s objectives  really be a secret from Xemnas? Saix is norted after all, and even though he has most of a free will at the moment, he’s still possessed.

IT STARTED PLAYING THE OLYMPIUS COLISEUM MUSIC AND I HAD BAD FLASHBACKS

“[the memories of my past] have never done me any good” because they instilled loyalty to a norted jerk?

“i can deal with 7 days maybe” well just break my heart roxas why dontcha

Axel spends his rare days off sleeping #relatable 

9 times

“try not to bungle everything-” WHAT KIND OF WORD IS BUNGLE

ARE YOU GONNA ASK THEM NOT TO RUSTLE ANYONE’S JIMMIES TOO AXEL?

“you’ve changed” i can vividly remember Axel saying “i’m not the one who changed, you did” in response to that, but its not in the movie. maybe it was actually a journal entry?

“why are you dressed like one of us?” Xion, honey, your uniform is the most well known form of protection against dark corruption of the heart

Of course Organization XIII has no way of knowing that, bc they were deliberately lied to

This is the scene that made me hate Riku. Watching it again after i’ve fallen in love with him is quite the trip

“You’re the real sham!” “Fair enough” Riku bby no your self-hatred is showing

*Xion screams* BBY NO

“’Special?’ Isn’t that another way of saying I’m a mistake?” XION BBY NO but also #same

“According to Axel, girls are complicated and there are buttons to avoid pressing” ah yes, i forgot this part. don’t worry Roxas, she’s just upset because she’s a girl and girls are weird, she’s not having an existential crisis or anything! 

“Roxas ate alone after missions.” where’s Axel though??

the love conversation may have been a great thing to animate but that’s fine square, just tell us about it

And so Axel’s lies begin. He was just trying to give Roxas hope, I can’t wait to remember how this all got twisted and horrible.

Did we fight the Zipslasher in this time skip? I think we did. I hated the Zipslasher gdi

Axel bridal carrying Xion is what got me started shipping AkuXi. Don’t ship it anymore though, really. Maybe in AUs when they’re closer to the same age

Saix: “Did it break again?” Me: XION’S NOT AN IT

Roxas: “Xion’s not an it!” oh yeah thanks Rox

“does the past mean nothing to you” Saix you’re the one being an ass

10 times

omg please tell me he does it 13 or 14 times

Almost all the books in the Organization library look the same; plain white binding. y’know, cause aesthetic.

Flying in Neverland would have been a nice animation too but whatever

This is why you dont hang out in high places kids!

the scene with Axel and Xion in Castle Oblivion is one of my favorites

Story time: Axel’s explanation of the sunset helped me pass an earth science quiz, cause i was out sick when we learned about light but i was playing days while in bed

THE MINDSCREW DREAM

i still have no idea what it means!! or even who was having it!

Neither Xion nor Roxas knew Zexion that well, and that seemed like Riku’s memories, not Sora’s! so WHY

aw i was too angry as a child to realize that Riku was looking for a way to save them

what has Saix done that make you think he has any mercy Roxas

Xion, Axel probably wasn’t gonna fight you if you hadnt attacked him, the first chakram was a warning not to stab Roxas

“i’ll bring her somewhere safe” thats all you had to say Axel

So Xemnas did call him Sora. Way back when I thought he may have said Ventus.

now you screwed up Axel

DiZ is the worst

"i know you’re not just a puppet.” ;~;

11 times

“I saw a boy today who looked just like Roxas” i thought she meant Sora but Xigbar was spying so was it Ven? I mean it should be Sora but....

Also, Xigbar spying!

“nor become the person we see” not everyone sees Xion as anything though, not even at this point. What do you see, Xemnas?

just kidding i’m pretty sure its Ven

why wouldnt you want two Sora capable people?

like tbh if you spent your time balancing Xion and Roxas’s powers instead of pitting them against each other they would have both stayed in the Organization at least a little while longer

the older i get the more i relate to Xion, bc i too am afraid that i will wreck everything

“do you hate me for taking your friend away from you?” “nah. i guess i’m just sad.” ;~;

now i see why people ship RikuXi

i can dig it now that i love them both, still a little weird to me though, i gotta warm up to it

Riku is projecting, i never realized

“you have to do what’s best for everybody” cause so does he, even at the expense of his own life

and he doesn’t want to have to tell Xion that, but he does, and maybe he can do it to someday

that illusion would have been a nice thing to animate, especially since i forgot it happened holy crap

leave it to Axel to do his best to save the day

Give me Lea sadly turning in the WINNER stick in KH3

or even better, give me Lea cheerfully turning in the WINNER stick with Roxas, Xion and Isa at the end of KH3

Xion said it this time but i’m gonna count it, 12

im super mad about the fixation on memories making everything okay in the end because EVERYONE FORGETS AND I HURT

I KNOW ITS ON PURPOSE BUT PLEASE

what is Diz’s purpose, just to order these kids around? he’s a huge jerk, why do you listen to him

he’s telling you to murder people

i mean they need to die i guess but wouldn’t both of you feel better if you came to that conclusion yourselves instead of this asshole telling you you gotta

though they are both kids and i guess there’s a comfort in an adult getting a final say

still DiZ is bad news and i don’t like him mistreating all the young’ins

Axel’s dancing between the truth, trying to be gentle and trying not to care too much resulted in literally the worst explanation ever no wonder Roxas got pissed

Why was Riku just chilling outside Beast’s Castle and how did Xion end up in just the right place to portal in front of him

i don’t REMEMBER XALDIN’S VOICE BEING THAT ODD

also #rude Xemnas, Xion is a she!

good to know most of the Organization thought of her has a person though. or a Nobody at least. an equal.

Were there more than 2 Replicas? oooooh that could be a good plot twist

Xemnas was insistent on calling her an “it” but uses “she” again when giving Axel the task of getting her back, a dialogue inconsistency or a deliberate manipulation?

There’s an implication that Demyx and Xion talked a lot thats adorable

At least now we know why they were insistent on having 13 people even before they had 13 Nobodies

Axel walks away from conversations almost as much as Vax’ildan

Roxas: “Could it be that you knew for a long time, and never told me anything?” Axel: I walk away

I still don’t get why Riku transforms without the blindfold, and how “his eyes couldn’t lie” is a valid explanation

Riku was projecting, he thinks he has to die

13 maybe? Roxas said it, but also accusing Axel of not memorizing it

Axel told Xion the truth and she left. Axel kept the truth from Roxas and he left.

That sucks.

~cause i’m leaaaaaavin, never to come back again~

“you’re Kairi as Sora remembers her” come on you can’t tell her she became her own person before she dies?

Namine is being kind in general though

I ship it

“i know. i’m ready” ;~;

they’re solving the problem themselves and DiZ walks in pissed that they’re doing what he asked. Almost like a real parent!

MY FAV SCENE IN THE WHOLE GAME

THE VOICE ACTING

THE BODY LANGUAGE

YOU CAN HEAR MY HEART BEING RIPPED OUT

you can also almost hear Axel’s abandonment issues developing even further!

this day is just titled “Tears”. Accurate

I just realized Xion was trying to get Axel to kill her first

but he couldn’t do it

she got Roxas to do it instead

Memories of Xion going static and fading are the WORST

Roxas did break Riku’s arm or something

yes hello i look eerily like your boss now

I wonder if Axel/Lea ever looks back on his conversations with Roxas and notices a hole. An awkward silence where he and Roxas are just listening to nothing. Laughter after a beat of quiet. Looking at something that isn’t there.

literally why is everyone just okay with DiZ he’s a total jerk

in II DiZ acts like he figures out that Ansem is actually Riku. Here he doesn’t question that Riku is 2 heads taller and his voice is 2 octaves deeper.

The rooms in KH are so nice

Well there it is. the end.

WAIT

“Got it memorized” and close variations were said a total of 13 times in this movie

11 by Axel, once by Xion, and once by Roxas, as a denial.

I’m so mad

[sinceileftyoublog]

Sir Richard Bishop Interview: Scattered

Photo by Alan Bishop

BY JORDAN MAINZER

Experimental singer-songwriter, composer, Sun City Girl, world traveler. Sir Richard Bishop listens and channels influences from all over on his first new album in five years, Oneiric Formulary, out April 17th on Drag City. Taking the same approach he did for Polytheistic Fragments, his drag city debut, Bishop employs a different sound for almost every track, inspired by music from a wide array of nations. There’s the atonal, shrieking opener “Call to Order”, flamenco meets surf rock of “Mit’s Linctus Codeine Co.”, baroque stylings of the appropriately titled “Renaissance Nod”, creepy “Graveyard Wanderers”, and country strummed “Enville”, among others. It’s all quintessential Bishop, using his guitar to conjure exactly what the title suggests, a certain dream-like state.

Bishop answered some questions over email about his approach to making Oneiric Formulary. Read his responses below, edited for length and clarity.

Since I Left You: Why was it time to replicate the approach to Polytheistic Fragments on Oneiric Formulary? Richard Bishop: I had been working with a lot of different material that was a bit scattered as far as any identifiable themes or genres were concerned. A fair amount of that material was much more experimental and didn’t involve using a guitar. And though I had several solo guitar pieces ready for a record, I didn’t want the entire record to be that way. The previous album I did (Tangier Sessions) was all solo guitar, and it was done with one very particular instrument which had one particular sound or tone. The album before that (The Freak of Araby) featured mainly electric guitar, and while it wasn’t solo guitar (except for one song), it focused on one specific genre of music. So, the combination of solo guitar material with a few things a little more abstract and other odds and ends seemed to be the way to go for this one.

SILY: How did you decide what genres, aesthetics, or instruments to explore? RB: With the exception of the guitar pieces, it was somewhat random. Many of my recent sound experiments were originally designed to be used with some short films I have been working on, so the instrumentation varied quite a bit. There was a lot of piano and other keyboard instruments, as well as a midi controller which could produce a nearly unlimited array of sounds. Field recordings of mine were also thrown into the mix. What ended up on the new album was a small fraction of what I had gathered or assembled, but they somehow seemed to fit. SILY: How did you come up with the titles to the songs? Some seem to be more literal or representative of what's in the song, whereas others evoke something more abstract.

RB: Nowadays, I care less about song titles matching what the music sounds like. So yes, some seem to fit well, and others maybe not so much. It often gets to the point where because of deadlines you just scramble at the last minute to come up with titles without giving it much thought or worrying about it at all. In the end, the song title doesn’t really matter; its the music that’s important. SILY: What's the inspiration behind the video to "Celerity"? RB: I’m not sure there was any real inspiration involved. Due to the ever-increasing rise of short attention spans these days, it’s a good idea to give people something to look at in order to hold their attention, hopefully until the end of the song. It isn’t always easy for me to come up with the right visual to represent what people are hearing in the song. I have a lot of film footage from my many travels over the years, and I always try to source my own material before having somebody else make a video for me. So with the song “Celerity”, since the word relates to the idea of speed or velocity, I wanted to have something that moved at the same pace as the music. I stumbled upon this footage of a puppet show that I filmed many years ago, and with some creative editing and speed adjustments, it ended up complimenting the music in a pretty decent way. SILY: Thinking about the album title: Is there anything particularly dream-like to you about the record?

RB: Yes, but probably not in a way that would make sense to anybody else. Three of the pieces were certainly inspired by dreams I had, but that’s a very personal thing. Each song could easily represent a dream-like state if I let my imagination run with it. But it really doesn’t matter. It’s just an unusual album title.

SILY: What's the inspiration behind the album art? RB: I was searching through some of my old photographs, and I just happened to be a bit enamored with this particular photo. It was ambiguous, mysterious, and somewhat creepy at the same time. I spent a lot of time just staring at it, and it seemed to communicate with me as if it was alive. It was obvious to me that this was the one to use. Then I had Kate Widdows, a designer I have worked with on many occasions, take it from there. She gave the album a full antiquarian treatment, which was perfect, since I also work in the rare book trade. I am very happy with how it turned out. SILY: Are you playing these songs live? If so, how are you approaching them?

RB: The solo guitar pieces I will perform for sure, even though each one is in a different guitar tuning. Some of the others may require a bit of trickery in order to make them work. I’m trying to figure out the correct approaches on these. There are a couple of pieces that I don’t think I could do at all without help from others. But we’ll see how it all plays out. SILY: What's next for you? RB: Tour plans are in the works for the U.S. and for Europe in order to promote the new album. I will also being doing a handful of shows with Alan Bishop and Chris Corsano later this year (under the name The Clandestine Trio). I am hoping to hook up again soon with Chris and Ben Chasny in order to record a new Rangda record. And, I will continue to work on new solo recording projects. It will be a busy year. SILY: Is there anything you've been listening to, reading, or watching lately that's caught your attention? RB: No, not a damn thing!