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yeowninefive · 9 months

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My 2023 Art Retrospective (Part 1)

Before we continue--yes, this is just part one. I will warn you upfront--this is going to be a wall of text, and so will the next part. With my 2022 retrospective I did try to condense things down, but I wasn't anywhere near as successful for this year.

I originally didn't want to write a retrospective because in terms of general performance/productivity, I felt there wasn't much to discuss. Looking back on my 2022 retrospective, my big story there was how I made a *big* leap over 2021 in productivity, and raised my profile/art skills quite a bit, with 2022 seeing some of my most popular art, period. 2023, all things considered, seemed like it was 2022 again, like one of those videogame sequels that's mainly just more of the same. But the more I really consider the following, 2023 honestly was like if I took whatever strides I made in 2022 and strapped a rocket (assume 2022 is a car for this analogy to work). I think going into the nuances as to why I feel this way is important, and with 2023 marking my online art identity having existing for over a decade by this point, I think that milestone itself is also worth more than a cursory acknowledgement.

Like last year, I'll first start this retrospective by looking back on my my art goals outlined for 2023, when I made my retrospective by 2022's end.

Fanart: Much like 2022, I think I came close on having at least one fanart posted each month, but my OC projects (The Clock Robin Caper; and an upcoming OC project I started development on, but eventually decided to withhold for 2024) took priority, the fanart became more secondary. Regardless, the fanart output was still at least twice as much from 2022, and they included some of my most-popular pieces to date. The popularity of Not Paying for That/The House Special (the Pizza Tower/SpongeBob crossover) in particular was arguably a case of being at the right place at the right time with an appealing/funny concept--it's to date the only art I've had on tumblr pass 100 notes in less than two days. The (relative) popularity of that work (as well as the popularity of Petals to the Metal [Princess Daisy fanart] on Twitter) are probably the most encouraging works of this year, where the interest they receive does give me hope I can still make more of a name for myself as a artist(/animator) in the current landscape (or hellscape, take your pick) of online creators.

So now I'm in something of an odd pickle in terms of where my angle with fanart goes in 2024. Of course, I would like to make even more fanart of things I like or at least have a vested interest in, but I recognize that the fanart I've generally made has typically been some sort of unique concept (either being something I used to theme my OCs around, or some sort of crossover/mashup of ideas that I like). The fanart also tends to be among my more "technical" works I put added emphasis on details/development, instead of quicker/simpler items like doodles or sketches. I feel like I'd have to change my approach/production process for fanart if I wanted to get more of it out there in the upcoming new year.

Animation: This is where I'd say this was a step back, though I hope with the new circumstances/what I've learned, it does lead to bigger, more, and better things into the future. While I made three animations, it was only two original animations (with a third being a WIP of the existing two), and one of the animations didn't even feature any character animation. Nonetheless, I am admittedly pretty proud that two of them were honestly put together pretty quick (produced out of the interest of a then-viral Barbie Special Month commercial from the 1970s) and I feel they fit the aesthetic/direction of the source material moderately well.

If nothing else, I can at least say that one of the animations (Complimentary Doll) marked my return to trying to animate in CSP, which I had abandoned due to limited features (I had PRO, so I was limited in framerates); while the other (Waiting for Free Stuff) was animated in OpenToonz, which I do think I grew more comfortable to using as time went on (learning keyboard shortcuts and taking a more "modular" approach with using multiple levels for animating different parts of the animation). I fully believe I could had gotten Waiting for Free Stuff finished even earlier if I didn't use OpenToonz' raster layers for the entire animation (which was very limited to use, even with using multiple levels), instead of vectors layers.

Between being able to get an upgrade to CSP EX (Ver. 1--copies of which are still being sold in certain areas), becoming more accustomed to OpenToonz, and getting a new drawing tablet; I'm hoping to really expand my animation ventures. In particular, I'm hoping that I'm able to get back into producing animations with colors and producing more animated stuff in general--which in general, I foresee being easier with CSP instead of OpenToonz. (I still want to keep learning OpenToonz nonetheless, since it's UI/setup is still arguably more tailored for an animation workflow compared to CSP.)

Backgrounds/environments: Overall, I say this was a step up over 2022. There's still a fair amount of basic environments here and there; but I think there were much less non-environments overall. Fittingly enough, I highly credit my Clock Robin Caper project for the improvement in this area--since I was producing "film stills" representing different "scenes," I made an effort to present most of the characters in multiple different environments; using photos references for most of the settings in question and even going the "extra mile" in adding small details that most people wouldn't even notice. I'd in this regard, Frames 04-09 were my highlights in environment design this year.

The mixed media artwork I did in the spring, where I incorporated my Commodities OCs in photos I took during my trip to Canada, also helped in this regard. That was a fun project that, as I alluded to earlier, I'm honestly not quite finished with. There are other photos I took that I'm hoping to use; but they were shelved to make way for the Clock Robin Caper and the other untitled upcoming OC project. Going into 2024, I hope to try and create at least a few "pure" landscape works, akin to my earlier artwork; though of course I want to properly measure where my current art skills lay with environment design. By the same coin, I'm still open to doing remakes of my previous art (which was sadly a no-show for this year).

Comics/stories: I had nothing to offer on this front for 2022, and I said I wanted this to be my art priority for 2023. I'd argue I delivered and then some--although I think the development process certainly could had been managed better. A core element of my The Clock Robin Caper project was to develop the mystery/story across each of the frame, without much--if any--explicit dialogue said by the characters. (Though I did also regularly include descriptions to at least give some basic explanations as to what was happening and what was the importance of each character in the scene.)

I'd say without a doubt, the Clock Robin Caper is inarguably the most elaborate art project I've done, since I went through a bunch of story ideas/concepts in finalizing it (which is partially why it took so long to finish), in addition to the addition multiple OCs from others' creators that were included (deciding who to use for each frame and figuring out how to draw them--a little over half of the OCs I was drawing for the first time) and the aforementioned environments I developed for each frame. I was also able to get two other comics, with the newspaper-styled short comic "The Thought That Counts" and the longer-form, multi-page comic "The Story of Ronda" (both concerning Ronda and Aero, go figure).

I still have a bunch of story ideas that I'd like to adapt, but much like the fanart, I think I'd have to change my strategy if I wanted to get more comics/stories produced in an adequate matter. I think I still have issues with how I manage my time, which also played a role in The Clock Robin Caper being drawn out longer than it arguably needed to be. It's why I ended up shelving my aforementioned in-development art project --which I actually teased within one my 2023 artworks-- for 2024. Some of the artwork I've made for it was actually completed and has been finished for months, and in other circumstances, I probably would had published it by this point. But with this one, I'm aiming to have most of the artwork completed first, so I can publish it on a consistent/regular schedule.

Art trades/collaborations: Truth be told, this is largely a beat-for-beat replay of last year--wanted to do trades/collabs, but I was busy with my art projects. I did at least respond to at least one OC draw request, and joined in on some viral art redraw memes--which while not quite within this topic realm, was at least some self-imposed challenges I was willing to take on, and were pretty fun to do. By the same coin, there's not much if any movement towards me being open to art commissions (either for fun or for commerce).

By this point, I think this has gotten long enough that I'm splitting this up into two parts. Here is a link to the second part. A sincere thanks to anyone who has stuck around to read the whole thing (so far), and have a Happy New Year's Eve/New Year's Day and a wonderful 2024.

#2023 #2023 year in review #art retrospective #long post #art retrospective part 1

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shihalyfie · 3 years

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Hi :) If it's not too much trouble, could you please share your take on why they'd continue the Adventure brand after tri. was such a flop? (and a tangent: what does "dark history" even mean?). We got Kizuna, the reboot, and a 02 movie. Logically, it doesn't really make sense they'd keep investing in it.

This is a thorny topic, and I'd like to reiterate that although I've ended up making more posts related to this series and the discourse surrounding it recently (probably because it's even more on the mind now that another movie is on the horizon and a lot of people are apprehensive for various reasons), I do not want this blog to be making a brand out of being critical of this series. I’m writing this here and in public because I figured that there is a certain degree I need to clarify what I mean about audience reception/climate and how it might impact current or future works, and I’m admittedly also more than a little upset that I occasionally see Western fanbase criticisms of the series getting dismissed by people claiming that the only people mad about it are dramamongering or ignorant Westerners (which could not be further from the truth). However, this is mainly to address this and to answer your question, and is not intended to try and change anyone's existing opinion or impression of the series as much as it's me trying to explain (from my own personal reading of the situation) what practically went down with critical reception in real life; no more, no less.

The short summary of the matter is:

The series was a moderate financial success (albeit with some caveats; see the long version for details) and definitely outstripped a lot of prior attempts to revive the franchise;

However, the overall Japanese fanbase-side critical backlash from tri. was extremely and viciously negative to the point where even acknowledging the series too much could easily result in controversy;

Kizuna’s production and the PR surrounding it very obviously have this in mind with a lot of apparent “damage control” elements.

The long version is below.

Note that while I try to be diligent about citing my sources so people understand that I’m not just making things up wholesale, I’m deliberately refraining from linking certain things here this time, both because some of the things mentioned have some pretty crude things written there -- it’s not something I feel comfortable directing people to regardless of what language it’s in -- and because I don’t want to recklessly link things on social media and cause anyone to go after or harass the people involved. For the links that have been provided, please still be warned that some of them don’t really link to particularly pleasant things.

I am not writing the following information to suggest that anyone should agree or disagree with the sentiments being described. I know people tend to take "a lot of people like/hate this" as a signal of implication "it is correct to like/hate this" when it's not (and I especially dislike the idea of implying that Japanese fanbase opinions are the only correct ones). There's a reason I focus on "critical reception being this way" (because it influences marketing decisions and future direction) rather than how much this should impact one's personal feelings; this is coming from myself as someone who is shamelessly proud of liking many things that had bad critical reception, were financial failures, or are disliked by many. As I point out near the end, the situation also does seem to be changing for the better in more recent years as well.

Also, to be clear, I'm a single person who's observing everything best I can from my end, I have no affiliations with staff nor do I claim to, and as much as I'm capable of reading Japanese and thus reading a lot of people's impressions, I'm ultimately still another “outsider” looking in. These are my impressions from my observation of fan communal spaces, following artists and reading comments on social media and art posting websites, and results from social media searches. In the end, I know as much as anyone else about what happened, so this is just my two cents based on all of my personal observations.

A fanbase is a fanbase regardless of what part of the world you're from. There are people who love it and are shameless about saying so. There are people who have mixed feelings or at least aren't on extreme ends of the spectrum (as always, the loudest ones are always the most visible, but it's not always easy to claim they're the predominant percentage of the fanbase). That happens everywhere, and I still find that on every end I've seen. However, if I'm talking about my impressions and everything I’ve encountered, I will say that the overall Japanese reaction to tri. comes off as significantly more violently negative on average than the Western one, which is unusual because often it's the other way around. (I personally feel less so because the opinions are that fundamentally different and more so because we're honestly kind of loud and in-your-face people; otherwise, humans are mostly the same everywhere, and more often than not people feel roughly the same about everything if they’re given the same information to work with.)

This is not something I can say lightly, and thus would not say if I didn’t really get this impression, but...we're talking "casually looking up movie reviews for Kizuna have an overwhelming amount of people casually citing any acknowledgment of tri. elements as a negative element", or the fact that even communal wikis for "general" fandoms like Pixiv and Aniwota don't tend to hold back in being vicious about it (as of this writing, Pixiv's wiki refuses to consider it in the same timeline as Adventure, accusing it of being "a series that claims to be a sequel set three years after 02 but is in fact something different"). Again, there are people who openly enjoy it and actively advocate for it (and Pixiv even warns people to not lord over others about it condescendingly because of the fact that such people do exist), and this is also more of a reflection of “the hardcore fanbase on the Internet” and not necessarily the mainstream (after all, there are quite a few other Digimon works where the critical reception varies very heavily between the two). Nevertheless, the take-home is that the reputation is overall negative among the Internet fanbase to the point that this is the kind of sentiment you run into without trying all that hard.

I think, generally speaking, if we're just talking about why a lot of people resent the series, the reasons aren't that different from those on the Western side. However, that issue of "dark history" (黒歴史): there's a certain degree of demand from the more violently negative side of the fanbase that's, in a sense, asking official to treat it as a disgrace and never acknowledge it ever again, hence why Kizuna doing so much as borrowing things from it rather than rejecting it outright is still sometimes treated like it’s committing a sin. So it's somewhat close in spirit to a retcon movement, which is unusual because no other Digimon series gets this (not even 02; that was definitely a thing on the Western end, but while I'm sure there are people who hate it that much on their end too, I've never really seen it gain enough momentum for anyone to take it seriously). If anyone ever tells you that Japanese fanbases are nice to everything, either they don't know Japanese, are being willfully ignorant, or are lying to you, because there is such thing as drama in those areas, and in my experience, I've seen things get really nasty when things are sufficiently pushed over the edge, and if a fanbase wants to have drama, it will have drama. This happens to be one of those times.

(If you think this is extreme, please know that I also think so too, so I hope you really understand that me describing this sentiment does not mean I am personally endorsing it. Also, let me reiterate that the loudest section of the fanbase is not necessarily the predominant one; after all, as someone who’s been watching reactions to 02 over the years, I myself can attest that its hatedom has historically made it sound more despised than it actually is in practice.)

My impression is that the primary core sentiment behind why the series so much as existing and being validated is considered such an offense (rather than, say, just saying "wow, that writing was bad" and moving on) is heavily tied to the release circumstances the series came out in during 2015-2018, and the idea that "this series disrespected Adventure, and also disrespected the fanbase.” (I mean, really, regardless of what part of the world you’re from, sequels and adaptations tend to be held to a higher bar of expectation than standalone works, because they’re expected to do them justice.) A list of complaints I’ve come across a lot while reading through the above:

The Japanese fanbase is pretty good at recordkeeping when it comes to Adventure universe lore, partially because they got a lot of extra materials that weren’t localized, but also partially because adherence to it seems to generally be more Serious Business to them than it is elsewhere. For instance, “according to Adventure episode 45, ‘the one who wishes for stability’ (Homeostasis) only started choosing children in 1995, and therefore there can be no Chosen Children before 1995” is taken with such gravity that this, not anything to do with evolutions or timeline issues, is the main reason Hurricane Touchdown’s canonicity was disputed in that arena (because Wallace implies that he met his partners before 1995). It’s a huge reason the question of Kizuna also potentially not complying to lore came to the forefront, because tri. so flagrantly contradicts it so much that this issue became very high on the evaluation checklist. In practice, Kizuna actually goes against Adventure/02 very little, so the reason tri. in particular comes under fire for this is that it does it so blatantly there were theories as early as Part 1 that this series must take place in a parallel universe or something, and as soon as it became clear it didn’t, the resulting sentiment was “wow, you seriously thought nobody would notice?” (thus “disrespecting the audience”).

A lot of the characterization incongruity is extremely obvious when you’re following only the Japanese version, partially because it didn’t have certain localization-induced characterization changes (you are significantly less likely to notice a disparity with Mimi if you’re working off the American English dub where they actually did make her likely to step on others’ toes and be condescending, whereas in Japanese the disparity is jarring and hard to miss) and partially due to some things lost in translation (Mimi improperly using rough language on elders is much easier to spot as incongruity if you’re familiar with the language). Because it’s so difficult to miss, and honestly feels like a lot of strange writing decisions you’d make only if you really had no concept of what on earth happened in the original series, it only contributes to the idea that they were handling Adventure carelessly and disrespectfully without paying attention to what the series was even about (that, or worse, they didn’t care).

02 is generally well-liked there! It’s controversial no matter where you go, but as I said earlier, there was no way a retcon movement would have ever been taken seriously, and the predominant sentiment is that, even if you’re not a huge fan of it, its place in canon (even the epilogue) should be respected. So not only flagrantly going against 02-introduced lore but also doing that to a certain quartet is seen as malicious, and you don’t have as much of the converse discourse celebrating murdering the 02 quartet (yeah, that’s a thing that happened here) or accusing people with complaints of “just being salty because they like 02″ as nearly as much of a factor; I did see it happen, or at least dismissals akin to “well it’s Adventure targeted anyway,” but they were much less frequent. The issue with the 02 quartet is usually the first major one brought up, and there’s a lot of complaints even among those who don’t care for 02 as much that the way they went about it was inhumane and hypocritical, especially when killing Imperialdramon is fine but killing Meicoomon is a sin. Also, again, “you seriously think nobody will see a problem with how this doesn’t make sense?”

I think even those who are fans of the series generally agree with this, but part of the reason the actual real-life time this series went on is an important factor is that the PR campaign for this series was godawful. Nine months of clicking on an egg on a website pretending like audience participation meant something when in actuality it was blatantly obvious it was just a smokescreen to reveal info whenever they were ready? This resulted in a chain effect where even more innocuous/defensible things were viewed in a suspicious or negative light (for instance, "the scam of selling the fake Kaiser's goggles knowing Ken fans would buy it only to reveal that it's not him anyway"), and a bunch of progressively out-of-touch-with-the-fanbase statements and poor choices led to more sentiment “yeah, you’re just insulting the fanbase at this point,” and a general erosion of trust in official overall.

On top of that, the choice of release format to have it spread out as six movies over three years seems to have exacerbated the backlash to get much worse than it would have been otherwise, especially since one of the major grievances with the series is that how it basically strung people along, building up more and more unanswered questions before it became apparent it was never going to answer them anyway. So when you’re getting that frustrated feeling over three whole years, it feels like three years of prolonged torture, and it becomes much harder to forgive for the fallout than if you’d just marathoned the entire thing at once.

For those who are really into the Digimon (i.e. species) lore and null canon, while I’m not particularly well-versed in that side of the fanbase, it seems tri. fell afoul of them too for having inaccurately portrayed (at one point, mislabeled) special attacks and poorly done battle choreography, along with the treatment of Digimon in general (infantilized Digimon characterization, general lack of Digimon characters in general, very flippant treatment of the Digital World in Parts 3-5). If you say you’re going to “reboot” the Digital World and not address the entire can of worms that comes with basically damaging an entire civilization of Digimon, as you can imagine, a lot of people who actually really care about that are going to be pissed, and the emerging sentiment is “you’re billing this as a Digimon work, but you don’t even care about the monsters that make up this franchise.”

The director does not have a very positive reputation among those who know his work (beyond just Digimon), and in general there was a lot of suspicion around the fact they decided to get a guy whose career has primarily been built on harem and fanservice anime to direct a sequel to a children’s series. Add to that a ton of increasingly unnerving statements about how he intended to make the series “mature” in comparison to its predecessor (basically, an implication that Adventure and 02 were happy happy joy series where nothing bad ever happened) and descriptions of Adventure that implied a very, very poor grasp of anything that happened in it: inaccurate descriptions of their characters, poor awareness of 02′s place in the narrative, outright saying in Febri that he saw the Digimon as like perpetual kindergartners even after evolving, and generally such a flippant attitude that it drove home the idea that the director of an Adventure sequel had no respect for Adventure, made this series just to maliciously dunk on it for supposedly being immature, and has such a poor grasp of what it even was that it’s possible he may not have seen it in the first place (or if he did, clearly skimmed it to the extent he understood it poorly to pretty disturbing levels). As of this writing, Aniwota Wiki directly cites him as a major reason for the backlash.

In general, consensus seems to be that the most positively received aspect of the series (story-wise) was Part 3 (mostly its ending, but some are more amenable to the Takeru and Patamon drama), and the worst vitriol goes towards Parts 2 (for the blatantly contradictory portrayal of Mimi and Jou and the hypocritical killing of Imperialdramon) and 4 (basically the “point of no return” where even more optimistic people started getting really turned off). This is also what I suspect is behind the numbers on the infamous DigiPoll (although the percentage difference is admittedly low enough to fall within margin of error). However, there was suspicion about the series even from Part 1, with one prominent fanartist openly stating that it felt more like meeting a ton of new people than it did reuniting with anyone they knew.

So with all of that on the table: how did this affect official? The thing is that when I say “violently negative”, I mean that also entailed spamming official with said violently negative social media comments. While this is speculation, I am fairly certain that official must have realized how bad this was getting as early as between Parts 4 and 5, because that’s where a lot of really suspicious things started happening behind the scenes; while I imagine the anime series itself was now too far in to really do anything about it, one of the most visible producers suddenly vanished from the producer lineup and was replaced by Kinoshita Yousuke, who ended up being the only member of tri. staff shared with Kizuna (and, in general, the fact that not a single member of staff otherwise was retained kind of says a lot). Once the series ended in 2018 and the franchise slowly moved into Kizuna-related things, you might notice that tri.-branded merch production almost entirely screeched to a halt and official has been very touchy about acknowledging it too deeply; it’s not that they don’t, but it’s kind of an awfully low amount for what you’d think would be warranted for a series that’s supposed to be a full entry in the big-name Adventure brand.

The reason is, simply, that if they do acknowledge it too much, people will get pissed at them. That’s presumably why the tri. stage play (made during that interim period between Parts 4 and 5 and even branded with the title itself) and Kizuna are really hesitant to be too aggressive about tri. references; it’s not necessarily that official wants to blot it out of history like the most extreme opinions would like them to, but even being too enthusiastic about affirming it will also get them backlash, especially if the things they affirm are contradictory to Adventure or 02. And considering even the small references they did put in still got them criticism for “affirming” tri. too much, you can easily see that the backlash would have been much harder if they’d attempted more than that; staying as close as possible to Adventure and 02 and trying to deal with tri. elements only when they’re comparatively inoffensive was pretty much the “safe” thing to do in this scenario (especially since fully denying tri. would most certainly upset the people who did like the series, and if you have to ask me, I personally think this would have been a pretty crude thing to have done right after the series had just finished). Even interviews taken after the fact often involve quickly disclaiming involvement with the series, or, if they have to bring up something about it, discussing the less controversial aspects like the art (while the character designs were still controversial, it’s at least at the point where some fanartists will still be willing to make use of them even if they dislike the series, albeit often with prominent disclaimers) or the more well-received parts of Part 3; Kizuna was very conspicuously marketed as a standalone movie, even if it shared the point of “the Adventure kids, but older” that tri. had.

(Incidentally, the tri. stage play has generally been met with a good reputation and was received well even among people who were upset with the anime, so it was well-understood that they had no relation. In fact, said stage play is probably even better received than Kizuna, although that’s not too surprising given the controversial territory Kizuna goes into, making the stage play feel very play-it-safe in comparison.)

So, if we’re going to talk about Kizuna in particular: tri. was, to some degree, a moderate financial success, in the sense that it made quite a bit of money and did a lot to raise awareness of the Digimon brand still continuing...however, if you actually look at the sales figures for tri., they go down every movie; part of it was probably because of the progressively higher “hurdle” to get into a series midway, but consider that Gundam Unicorn (a movie series which tri.’s format was often compared to) had its sales go up per movie thanks to word of mouth and hype. So while tri. does seem to have gotten enough money to help sustain the franchise at first, the trade-off was an extremely livid fanbase that had shattered faith in the brand and in official, and so while continuing the Adventure brand might still be profitable, there was no way they were going to get away with continuing to do this lest everything eventually crash and burn.

Hence, if you look at the way Kizuna was produced and advertised, you can see a lot of it is blatantly geared at addressing a lot of the woes aimed at tri.: instead of the staff that had virtually no affiliation with Toei, the main members of staff announced were either from the original series (Seki and Yamatoya) or openly childhood fans, the 02 quartet was made into a huge advertising point as a dramatic DigiFes reveal (and character profies that tie into the 02 epilogue careers prominently part of the advertising from day one), and they even seemed to acknowledge the burnout on the original Adventure group by advertising it so heavily as “the last adventure of Taichi and his friends”, so you can see that there’s a huge sentiment of “damage control” with it. How successful that was...is debatable, since opinions have been all over the board; quite a few people were naturally so livid at what happened with tri. that Kizuna was just opening more of the wound, but there were also people who liked it much better and were willing to acknowledge it (with varying levels of enthusiasm, some simply saying “it was thankfully okay,” and some outright loving it), and there was a general sentiment even among those who disliked both that they at least understood what Kizuna was going for and that it didn’t feel as inherently disrespectful. (Of course, there are people who loved tri. and hated Kizuna, and there are people who loved both, too.)

Moreover, Kizuna actually has a slightly different target audience from tri.; there’s a pretty big difference between an OVA and a theatrical movie, and, quite simply, Kizuna was made under the assumption that a lot of people watching it may not have even seen tri. in the first place. An average of 11% of the country watched Adventure and 02, but the number of people who watched tri. is much smaller, in part due to the fact that its “theater” screenings were only very limited screenings compared to Kizuna being shown in theaters in Japan and worldwide, and in part due to the fact that watching six parts over three years is a pretty huge commitment for someone who may barely remember Digimon as anything beyond a show they watched as a kid, and may be liable to just fall off partway through because they simply just forgot. (Which also probably wasn’t helped by the infamously negative reputation, something that definitely wouldn’t encourage someone already on the fence.) And that’s yet another reason Kizuna couldn’t make too many concrete tri. references; being a theatrical movie, it needs to have as wide appeal as possible, and couldn’t risk locking out an audience that had a very high likelihood of not having seen it, much less to the end -- it may have somewhat been informed by tri.’s moderate financial success and precedent, but it ultimately was made for the original Adventure and 02 audience more than anything else.

I would say that, generally, while Kizuna is “controversial” for sure, reception towards the movie seems to be more positive than negative, it won over a large chunk of people who were burned out by tri., and it clearly seems to have been received well enough that it’s still being cashed in on a year after its release. The sheer existence of the upcoming 02-based movie is also probably a sign of Kizuna’s financial and critical success; Kinoshita confirmed at DigiFes 2020 that nothing was in production at the time, and stated shortly after the movie’s announcement that work on it had just started. So the decision to make it seems to have been made after eyeing Kizuna’s reception, and, moreover, the movie was initially advertised from the get-go with Kizuna’s director and writer (Taguchi and Yamatoya), meaning those two have curried enough goodwill from the fanbase that this can be used to promote the movie. (If not, you would think that having and advertising Seki would be the bigger priority.) While this is my own sentiment, I am personally doubtful official would have even considered 02 something remotely profitable enough on its own to cash in on if it weren’t for this entire sequence of events of 02′s snubbing in tri. revealing how much of a fanbase it had (especially with the sheer degree of “suspicious overcompensation” Kizuna had with its copious use of the 02 quartet and it tagging a remix of the first 02 ED on the Hanareteitemo single, followed by the drama CD and character songs), followed by Kizuna having success in advertising with them so heavily. Given all of the events between 2015 and now, it’s a bit ironic to see that 02 has now become basically the last resort to be able to continue anything in the original Adventure universe without getting too many people upset at them about it.

The bright side coming out of all of this is that, while it’s still a bit early to tell, now that we’re three years out from tri. finishing up and with Kizuna in the game, it seems there’s a possibility for things improving around tri.’s reception as well. Since a lot of the worst heated points of backlash against it have a very “you had to have been there” element (related to the PR, release schedule, and staff comments), those coming in “late” don’t have as much reason to be as pissed at it; I’ve seen at least one case of a fanartist getting back into the franchise because of Kizuna hype, watching tri. to catch up, casually criticizing it on Twitter, and moving on with their life, presumably because marathoning the whole thing being generally aware of what’ll happen in it and knowing Kizuna is coming after anyway gives you a lot less reason to be angry to the point of holding an outright grudge. Basically, even if you don’t like it, it’s much easier to actually go “yeah, didn’t like that,” not worry too much about it, and move on. Likewise, I personally get the impression that official has been starting to get a little more confident about digging up elements related to it. Unfortunately, a fairly recent tweet promoting the series getting put on streaming services still got quite a few angry comments implying that they should be deleting the scourge from the Internet instead, so there’s still a long way to go, but hopefully the following years will see things improve further...

In regards to the reboot, I -- and I think a lot of people will agree with me -- have a bit of a hard time reading what exact audience it’s trying to appeal to; we have a few hints from official that they want parents to watch it with their children, and that it may have been a necessary ploy in order to secure their original timeslot. So basically, the Adventure branding gets parents who grew up with the original series to be interested in it and to show it to their kids, and convinces Fuji TV that it might be profitable. But as most people have figured by now, the series has a completely different philosophy and writing style -- I mean, the interview itself functionally admits it’s here to be more action-oriented and to have its own identity -- and the target audience is more the kids than anything else. As for the Internet fanbase of veterans, most people have been critical of its character writing and pacing, but other than a few stragglers who are still really pissed, it hasn’t attracted all that much vitriol, probably because in the end it’s an alternate universe, it doesn’t have any obligation to adhere to anything from the original even if it uses the branding, and it’s clearly still doing its job of being a kids’ show for kids who never saw the original series nor 02, so an attempt to call it “disrespectful” to the original doesn’t have much to stand on. A good number of people who are bored of it decided it wasn’t interesting to them and dropped it without incident, while other people are generally just enjoying it for being fun, and the huge amount of Digimon franchise fanservice with underrepresented Digimon and high fidelity to null canon lore is really pleasing the side of the fanbase that’s into that (I mean, Digimon World Golemon is really deep in), so at the very least, there’s not a lot to be super-upset about.

#tri negativity #shiha's ask box #springcrafter

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bigskydreaming · 3 years

Text

Doing some writing today off and on between errands and work, and jumping around various Kings of the Sky installments, specifically Dick, Jason and Cass stuff, so probably gonna post snippets from a bunch of them as I go.

(Kings of the Sky is an AU that goes canon divergent from the point of Jason calling Dick for advice for dealing with Bruce after the Garzonas case and where things end up going dramatically different from that point on. Including Jason not dying, being part of his own lineup of Titans between Dick and Tim’s, Dick being adopted not long after the Church of Blood incident, Cass being the third Wayne kid to be taken in and adopted and with Tim and Duke being next and then Damian coming along later once they find out about him. This is basically my ‘the family’s alright’ AU with largely ‘Good Dad Bruce’ except for Dick and then Jason yelling some sense into him about the other, respectively, in the first two installments, just FYI).

Anyway, this bit is from a story called “In Their Shadows Grow Trees Of Good and Evil,” set about a year after Cass has been adopted, when she and Jason are both sixteen and Dick’s twenty-one. Also just FYI, because canon has never been specific about what ways Cass is neurodivergent due to the comic-book style ‘rewiring’ of her brain so that she could learn to speak later in life, I tend to go with her being dyslexic and having aphasia. She sticks exclusively to sign language and being a silent presence in her costumed personas, so that there’s no chance of people connecting the dots between Black Bat and Cassandra Wayne, as she mostly speaks verbally in her civilian persona and doesn’t hide her aphasia. The reason there’s not likely to be any obvious signs of aphasia in the snippets of her I post is because I wait until I complete something to choose words at random to replace with aphasia-born mixups, so its more realistic and I’m not gearing her dialogue towards deliberately placed moments. Just in case you were wondering.

In Their Shadows Grow Trees of Good and Evil

“Hey Todd,” sneered an exquisitely obnoxious voice. “Why’s your sister so fucking weird?”

Jason sighed the sigh of a soul a mere century into its eternity of damnation as he rose from the lunch table he’d been studying at and crammed the rest of his books into his backpack. Then he pasted a cheerfully bland smile on his face and turned around, geared for academia warfare (teenage prep school edition).

“Hey Craig,” he said brightly. “Why’d you come out of the womb so ugly your parents had to tie a piece of steak around your neck just to get the family dog to go near you? Mysteries abound.”

The advancing junior slowed a step, momentarily rocked by his truly impressive return volley. The grimace Craig’s already gargoyle-esque features twisted into made his face even more unpleasant to look at than usual, which was quite the feat. Jason would have applauded if just looking at it hadn’t already turned him to stone.

But the bargain basement basilisk kept on towards him rather than turn tail and skulk off to pop his emotional blisters, so Jason sighed a sequel to his first one. Looked like it was one of those days where Craig felt up to powering through. Guess someone had eaten their self-esteem Wheaties that morning. Joy.

“You think you’re pretty hot shit, don’t you, Todd?”

Jason shrugged. “I mean, to be honest I kinda have a one track mind, so right now I’m mostly just thinking about punching you in your mistake.”

“My what?”

“Your face,” Jason elaborated with exaggerated patience.

“Huh?”

“Oh my god, I’m saying your face is a mistake. See, its not as fun when I have to stop and explain it to you. Ugh, you ruin everything.”

He neatly sidestepped the older boy as R2-Dumbass stayed frozen, smoke coming off of his internal CPU while trying to catch up. For a second Jason thought he was home free, but then he remembered the universe fucking hated him so haha, sucks to suck. Also, a small crowd had gathered to witness the verbal jousting match, and nothing invigorated an asshole like Craig more than an audience of like-minded peers. So there was that too.

“Whatever. Laugh it up all you want, you little shit,” the junior rallied. “But just remember, mocking your betters will never change the fact that you were born street trash and you’ll be street trash until the day you die.”

Honestly? Not his best effort. Jason almost felt bad using any of his good material. Seemed like overkill at this point. But he did have a strict Scorched Earth policy to maintain, so.....

“Yeah but my dad could buy out and ruin your dad so that means I still win, right?”

He smirked as the barb landed and Craig’s face set into a sunset vista of strangled purple and furious red. Bam. Direct hit.

“Listen, you - “

“Oh for fuck’s sake, it was rhetorical,” Jason interrupted. “I don’t actually care what you think even a little bit. Nobody does. You don’t matter. Please go be irrelevant elsewhere, you’re fucking dismissed, you loser.”

“Speak for yourself, charity case.” Oh goodie, Craig’s backup singers had finally arrived. Now if only he could remember to care enough to learn their names in the first place. Seriously, who told the extras they could have lines? “All the jokes in the world can’t change who and what you are.”

Jason shrugged and continued nonchalantly up the hill to where his sister was standing with arms crossed, staring down at something on the other side.

“True genius is never appreciated in its own time,” he tossed back over his shoulder. “I’m sure I’ll be immortalized in song eventually.”

The mob of morons deigned to let him go without further incident. Though he suspected that had less to do with his scathing wit and more to do with him being headed towards Cass. She was immaculately presented as always, wearing the Gotham Academy uniform like she was born to it despite hating its uncomfortable stiffness every bit as much as he did. But that was just Cass for you.

For all that she still struggled at times to engage verbally or speak up in social settings, her mastery of body language remained without peer. She could chameleon-camouflage her way into matching poise and posture with anyone - a skill that had allowed her to walk into school on her very first day with her head held high as though she owned everything in her sight. Exuding so much Queen Bee Intimidation Factor even the other hive queens were afraid to approach her themselves. Sending forth their drones to try and woo her into an alliance, only to see her remain oh-so-casually above it all, a slightly contemptuous smile adorning her lips.

Basically, she scared the shit out of their classmates without them having anywhere close to a true understanding of why, and Jason was outrageously jealous. Rude. Unfair. Why did his siblings always get all the cool toys when all he had was his rakish charm, scintillating intellect and debonair.....nah, who was he kidding. He was fucking awesome.

“Sup, sis,” he said, cresting the hill to stand beside Cass. “Just FYI, I just took a popularity bullet for you, which means you owe me your dessert tonight. Its a family rule that’s totally a real thing and definitely not something I just made up right now because Alf is making chocolate soufflé.”

She made no acknowledgment and remained stock still, a Colossus at Rhodes peering down into the shifting shadows of the parking lot below.

He peered down as well, though with absolutely no idea what they were looking at. Solidarity, yo.

“So are we staring fixedly at anything in particular, or should I just pick my own spot and commit?”

His humor was totally wasted on her as always. Instead of laughing and telling him what a lovable goof he was, she just inclined her head in the direction of a blonde girl where she was standing next to the driver’s side door of a Mercedes-Benz, dictating final commandments to her peons before departing. Well, probably. Jason was just guessing, based on his own body language reads, and like, general disdain for literally everyone at this school that wasn’t related to him.

He made a face. An extra special one reserved just for this classmate in particular. “Ugh, Madison Dunleavy? She’s the worst.”

Cass raised a cool eyebrow. “I thought Craig Hendricks was the worst.”

“He is. They’re both the worst. Its a hotly contested position here at Gotham Academy.”

She rolled her eyes and nodded back down at the Queen of Air and Darkness. “So. You know her?”

“Nope,” Jason said. “Come to think of it, I’ve actually never seen her in my life. No idea who that is. Can’t help you, sorry. Shall we go home?”

The Eyebrow of Inquisition speared him with clear intent. Who the fuck needed words when you could pack the Encyclopedia Britannica into a single facial expression?

Jason sighed gustily.

“I had a slight altercation with her freshman year that led to her declaring her undying enmity for me until the end of time. The word nemesis may or may not have been thrown around once or twice. I can’t recall.”

The Eyebrow of Inquisition lowered nary an inch. Ugh, she wanted more? Why did everyone in his family hate privacy, with the obvious exclusion of himself when snooping through Cass and Dick’s rooms for blackmail material, which was actually intel-gathering and thus another matter entirely.

“Okay so basically what happened was my first week here I overheard her talking shit about me and not even twenty minutes later she was pretending to kiss my ass in homeroom, like probably because of Bruce, y’know? So I just busted out laughing and told her to fuck off and die and she has inexplicably loathed me ever since.”

Avoiding further Eyebrow Inquisition-ing, he made a show of peering around aimlessly. When the silence extended and it was clear Cass was absolutely not going to break first, Jason waved a hand in dismissal and took to peering oh so casually at his fingernails. "I suppose I was less tactful back in those days.”

He chanced a look up, finally, and saw his sister’s eyebrow had somehow managed to mighty morphin power ranger its way into a configuration evoking both judgment and disbelief, with the latter perhaps aimed at the idea he was significantly differing in the tact department these days either.

“I don’t love the implications your face is making right now,” he told her.

She ignored him, because of course she did.

“Does she know Dick?” She asked instead. Jason shrugged.

“I mean, maybe? She’s probably seen him around at one of those stupid galas we have to go to, and actually I think maybe she has an older brother who was either in Dick’s grade or like, one above or below it? I don’t know.”

Now both eyebrows were doing the dance of disbelief. Okay, so maybe that was poor situational awareness on his part, since it wasn’t like Gotham Academy was a big school with a ton of other kids and also he’d only been in the same class as Madison for like over two whole years, but whatever. There were extingent circumstances.

“Look, she’s a total snob who’s always looked down on me and in return I willfully ignore both her existence and that of everyone and everything even tangentially related to her. Its called equality, Cass.”

She pursed her lips and went back to the peering, because of course in the mind of Cass it made total sense that the Grand Inquisition didn’t need to be followed up by any explanation on her part, what the hell. Like was he supposed to have inferred it?

“What’s this all about anyway?”

“I heard her talking about Dick earlier,” she said without peeling her eyes away from her personal recon mission. “I don’t know what she said though, I just heard her say Grayson, and then I was busy looking at what her body was saying. I know it was about Dick because she shut down when she saw me. And I didn’t like the way she....looked....before that happened. The way she was talking. It was.....”

Jason frowned but held back any follow-up questions while he waited - with total patience because he wasn’t an absolute cad, thank you very much - for his sister to find the word she was hunting for. It was a major source of frustration for her, that whatever neural map her brain followed put body language and spoken language in totally different regions of her brain, separated by a fairly great divide. Meaning she usually had to make a conscious choice to focus on body language or conventional languages - whether verbal or sign. But it tended to be one or the other; she’d yet to master taking in and comprehending both forms of ‘language’ at the same time. And none of them had quite figured out how to convince her that she wasn’t actually missing anything when she chose to focus on one specific form of communication - that she was still observing far more than most people ever would.

“Proprietary,” Cass settled on at last. She nodded her satisfaction with her choice of word, and Jason waited a whole two point five seconds before sticking his whole foot in his mouth.

“Proprietary?” He asked with a scrunched nose as he weighed that for possible context and implications. “You sure?”

She glared. He winced. It was a whole thing.

“Yeah, I know, sorry, sorry, I heard it the second it was out of my mouth. We don’t actually have to experiment with the legitimacy of if looks could kill.”

Cass rolled her eyes, but eh. That could’ve gone worse.

Jason swiftly redirected attention anyway. Discretion is the better part of valor, after all.

“So. The Queen of Air and Darkness was talking about our big bro, and her mood was.....proprietary, huh?” He recapped while digesting the info like a boss. “Well. Definitely not loving that, I gotta say. Hold please.”

Pulling out his phone and pulling up his most recent texts, he began typing furiously.

“What are you doing?” Cass asked.

“Texting Tom,” he replied, because duh. Hah, now it was his chance to have the answers that should be patently obvious and thus make with the ‘are you kidding me’ when she asked obvious questions she should know the answer to! How do you like them apples, sis?

“Why are you texting your boyfriend right now?”

Jason rolled his eyes, because fair is fair, but never ceased texting for a moment. Time was of the essence here, probably. Well, maybe. Okay probably not. But it’d still been like half an hour since he and Tom had last texted and that’s a very fucking long time in teenage years.

“To be our getaway driver tonight, obviously.”

She stared at him. He didn’t look up, but he could feel it anyway. He was very intuitive like that.

“What?”

Jason heaved another sigh, one keyed to tones of ‘oh my god, do I really have to spell this out,” exasperation. He was just racking up the bonus points here. It was really too bad this wasn’t an actual competition he could actually win and this was all just pettiness taking place wholly in his own head. Lame.

“Well, clearly we now have to go snoop in Madison’s house aka lair to see if its actually a house or a full on lair. Because she’s either a creeper or like, legit evil, and its important to know which one before we proceed, because obviously we can only bust her for being a weird creeper about our brother as Jason and Cass, whereas if she’s legit evil, that’s gotta go down as Robin and Black Bat. I’ll handle the snooping, you’ll take look-out, but we still need a wheelman and that’s why I’m texting Tom. This is all very mission-oriented, okay. I’m a professional.”

“Right,” she affirmed, while sounding anything but convinced. “Why don’t we just tell Bruce?”

Without looking up or breaking stride, he said: “I’m going to give you til I finish typing this sentence to figure out what was wrong with what you just said. Remember that we are talking about hypothetical danger to our brother, and also Bruce’s idea of a proportionate response to any of his children being in even hypothetical danger. And also our brother’s idea of a proportionate response to Bruce’s idea of a proportionate response. Look, you’re still new so I’m gonna need you to just trust me on this one. Its gonna be a no on telling Bruce without further intel.”

Cass said nothing in response to that, which meant that she was conceding the point and recognized the wisdom of his words. Or maybe that she was just gonna go ahead and do what she wanted anyway and just wasn’t bothering to fight about it, but it was probably that first thing.

“Well you better not just make out with your boyfriend all night,” is what she said at last, and that got his attention reeeeeal quick like.

“Umm. Wow. Okay. So, first off, you’re not the boss of me and who I make out with and when, so jot that down. And second, now I’m definitely going to make out with my boyfriend extra hard, with the exception of when we are actually on our recon mission because as previously established, I am a professional. And also, again, you’re not the boss of me.”

Jason ignored her Eye Roll With Extra Emphasis, and instead just held up his phone to Text With Extra Emphasis, as he read along with what he was typing.

“By the way babe, we have to make out extra hard tonight,” he said, tongue sticking out of the corner of his mouth while he dragged out his dictation with the kind of focus that usually led to Bruce asking why he couldn’t apply as much intensity to training as he did to pettiness. “Cass has suddenly decided she can dictate terms to me and I need to shut that shit down ASAP, so thank you in advance for your assistance in this matter. Smoochies and other gay stuff to the best boyfriend ever.”

Jason frowned as a response pinged back seconds later.

TheCatsMeow: ....the things I put up with for the sake of your weird family dynamics.

TheOnlyRobinThatRocks: Yeah, yeah. You’re a saint among were-panthers. Must you mock? Why can’t you just tell me I’m pretty instead?

TheCatsMeow: Sorry. Let me try again. OMG you’re so pretty Jase how did I get so lucky xoxo.

TheOnlyRobinThatRocks: No. Its too late. It feels forced and unbelievable now. You’ve ruined it forever.

TheCatsMeow: Got it. From now on I will only tell you that you’re repulsive and hideous.

TheOnlyRobinThatRocks: I’m breaking up with you.

TheCatsMeow: But after I help you with your mission tonight.

TheOnlyRobinThatRocks: Obvsly. I’m a professional. Why do people keep forgetting this?

TheCatsMeow: And also the making out to spite your sister.

TheOnlyRobinThatRocks: Yeah we should do that first too. I mean we already penciled it in.

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taaroko · 3 years

Text

On the subject of Thanos torturing Loki...

Quick precursor: my automatic approach to a living canon (like the MCU or an ongoing book or TV series) is to treat new content like additional puzzle pieces to round out the image of the characters and worldbuilding. If I find the new material to be sufficiently bad that I can’t use this strategy, it tends to break my interest in the IP, either entirely (Game of Thrones after S8) or for the dumb material specifically (Star Wars, where RoS killed the already-on-thin-ice sequel trilogy for me but didn’t make me like the OT any less and Rogue One and Mando have earned enough goodwill that I’ll keep checking out new stuff, if without much urgency). Also, it’s nice when the writers’ intent lines up with the actual content, but anyone who’s been in a writing workshop knows sometimes good stuff happens by accident, so I don’t feel the need to take everything said in interviews as gospel.

My bad/incompatible content threshold in the MCU is located somewhere between Iron Fist and Inhumans, but all of the movies and Disney+ shows are handily on the right side of it. I love every bit of Loki content we’ve had since the first Thor (even though I gripe that many excellent character-establishing scenes for him were left on the cutting room floor in Thor), with the exception of using a dagger on Thanos, and I can still live with that if Loki’s goal was to aggro Thanos enough that he wouldn’t kill Thor. (Also apparently the TVA pruned Lokis who did anything more sensible than that. They seem to want Loki dead, downtrodden, and/or villainous, and I’m very curious to know why.) Now that I’ve written hundreds of thousands of words of Brodinsons fanfiction I’m probably going to be crankier about stuff that contradicts my headcanons, but so far nothing in the Loki series has bent any of them past the breaking point.

One thing that has changed thanks to new information in Loki is my theory about what Loki went through in the missing year between Thor and Avengers. I am very much in the camp that believes he spent that year getting tortured and brainwashed by Thanos and the Black Order, but I used to assume that Loki himself would classify what he went through as torture and brainwashing. Now I think it was subtler than that, and he wouldn’t be able to view that period in such a light until he’s had some time for reflection. (His whole setup at the beginning of Ragnarok and the melodramatic plays about his “death” fit in very nicely with this, because being Odin and publishing his death widely is a pretty good way to stay hidden from a vengeful Titan—quite a brave and defiant plan considering that he had access to three different Infinity Stones between the end of Dark World and the beginning of Ragnarok, and he sent one to a Celestial in a different galaxy, kept another in the Vault, and left the third with the Avengers when he could’ve just handed them all over to Thanos to get back in his good graces.)

Thanks to Loki’s line in the show “I’ve lost track of the number of times I’ve been killed” (particularly when paired up with “No more resurrections.”), the way his face drops when Thanos shows up in the time theater and his horrified shock when Thanos kills him, and the way he’s generally not acting very much like someone who believes he’s just spent a year being tortured and brainwashed, I now think that what Loki experienced with Thanos was presented as a brutal gauntlet, not explicitly as torture. Whether via simulations or some kind of creepy magic, he was tested to death over and over again before Thanos would let him take the Mind Stone to go retrieve the Tesseract. Maybe each test took him further away from “I never wanted the throne!” and closer to “I remember you tossing me into an abyss!” Loki is terrified of Thanos but I think he still believes he can maybe get the better of him until he sees the time theater.

(Also, not super relevant, but it just occurred to me that the invasion happening in NYC, whether Loki was aware of it or not, might’ve been intended to eventually overwhelm the Sanctum so Thanos could get the Time Stone too. Ebony Maw clearly has no doubt about where the Time Stone is in IW, so that tracks.)

To an outside observer, this training, just like Thanos pitting Nebula and Gamora against each other and punishing the loser with bionic upgrades, definitely qualifies as torture, but thanks to subtle application of the Mind Stone (which Loki might’ve though himself immune to, if his dismissiveness of Sylvie’s enchantment attempt is anything to go off) and his own rock-bottom self-worth (what with being fresh off an existential crisis, psychotic break, and suicide attempt), Loki might have bought into it being necessary to make him worthy. It seems to me that getting the God of Mischief to believe something as absurd as “freedom is life’s great lie,” which he enters the show still wholeheartedly believing, must’ve taken some pretty thorough brainwashing.

I think Loki’s behavior in the show tracks with being confronted with a seemingly omnipotent bureaucracy that insists his purpose was to be a villain who inspired others to become great, nothing more, as well as the knowledge he now has of how he and his parents die and the destruction of Asgard. The anger that drives him in Avengers breaks against the indifferent beige wall of the TVA, and he doesn’t have much to replace it with. That’s how you get Loki being miserably introspective, gleefully yelling “Nothing matters!” in Pompeii, and doing an extremely bad job of getting off Lamentis-1. It’s “you lack conviction” all over again, but now he’s got a purpose and might be getting past his existential crisis and self-loathing. I’m eager to see where that goes in the finale.

#loki series #avengers #loki #thanos #marvel #loki spoilers #meta

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deltaengineering · 4 years

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What remains of Fall Anime 2020

You might have noticed that I haven’t been keeping up with my season impressions, mostly (but not exclusively) because it’s really boring to come up with new ways to say “it’s isekai, which means it’s garbage for stupids”. So here’s what I ended up finishing, in ascending order of goodinosity.

Hypnosis Mic -Division Rap Battle- Rhyme Anima

Ostentatious rap battles in an insanely stupid universe are very fun. The thing is that this doesn’t want to be a good anime, it wants to sell us on these characters, and the characters are pretty terrible on account of all of them being one-word gimmicks. So, let’s give them three rounds of introductions and have them solve lame, generic crimes for 8 episodes instead of setting up the rivalries that everyone suddenly has later, when the show gets good - because it does start delivering towards the end, and becomes really all I wanted. So I can’t even say I’m disappointed, but the first half of the show is almost entirely worthless. 4/10

Assault Lily Bouquet

I don’t want to be the guy that’s all “I’m mad at this show not catering to what I want”, but I do have to say that Salt Bucket is much better at being a goofy, lighthearted yuri comedy than it is at action (though there are a few choice cuts) and at having an engaging storyline. This is again just an ad for some game or other, so it’s no surprise it has about two dozen characters too many, but it also has quite a lot of superfluous plot - so much so that I suspect it was initially planned to be twice as long. Apart from that, it’s cool and all that some Gainax old hand got to make his own Gunbuster-like, but it’s just not very good at that and all I wanted was Kaede antics and bath scenes, of which 1 per episode is clearly too few. 5/10

The King's Avatar 2

King’s Avatar got a sequel and overall I have to say, I kinda like it more than the first season even though it looks much less ambitious and even the character designs were changed towards the bland. But I honestly don’t care much about the esports aspect of this and much of S2, especially in the back half, is more about schemes and social engineering - as close to an Eve Online anime as we’re ever going to get, I guess. It’s still very chinajank (why the hell does every episode come with a redundant chibi summary of itself, etc), and while I can’t call that “good” it does remind me of a time when I wasn’t filled with useless knowledge of anime tropes and was just enjoying the weirdness. Also, Ye God’s antics is as close to “looking for anime with OP MC” as I’m comfortable with getting. 6/10

Heaven Official's Blessing

Now how about some Chinimation that isn’t very janky? I only became aware of Heaven Official’s Blessing when it suddenly rocketed to the top of the MAL charts, so I gave it a looksie and oh boy. The first few episodes of this show are flat out gorgeous, quite funny and very very gay. So I was ready to agree with MAL for once, except it then launches into an arc that mostly consists of our dudes sitting in a dark pit telling each other stories that aren’t very interesting and seem barely related to the setup. Yeah, the back half of this just isn’t very good at all. And the subs are hot garbage. Still, the beginning is so impressive that I would recommend this show despite the middling rating it’s about to get. 6/10

Ochikobore Fruit Tart

You know the problem that these 5girls4koma stories have, where one of the characters is an annoying pervert, yeah? Well, in Fruit Tart every character is that character, and they’re rather cultured as well. Yes, it’s often of questionable taste and it has a terminal case of 4koma storytelling but dammit if I didn’t enjoy it. It certainly helps that this show’s greatest asset by far is Broko and it seems to be aware of this, because there’s a lot of Broko material. It would have probably have gotten a 6 but the last episode is just so... maximum Fruit Tart. I’m down for some trash if it’s as well made as this, and I do like my kiraralikes spicy, so thumbs up over here. YMM definitely V on this one. 7/10

Majo no Tabitabi

Speaking of things that are hard to recommend despite me liking them a lot, Elaina here challenges the very notion of what a TV show even is supposed to be. I assume most people tune in every week expecting to get something roughly similar. Not so with this one, you could get everything from slice of life antics to Higurashi-style gore, or reasonably deep character study to pervert comedy. I would say that the only unifying thread is the presence of Elaina, who is a very fun character, but there’s an episode she’s not in, so there you go. But I’m a connoisseur of the weird and I also have to say that I enjoyed every episode in its own way. Also, each episode stays remarkably consistent by itself, and in the end it wraps it all up with a sort of neat “life is like a box of chocolates” thematic bow, which isn’t earthshatteringly profound but hey, it’s there. Just don’t go in with expectations, especially not expectations based on the first episode. 7/10

Love Live! Nijigasaki

It’s Love Live. Good old reliable Love Live. Really not much to say about this one, any discussion of what makes this different from previous iterations is going to end up in minutiae only people who already watched this could possibly care about. I do have to say that while the musical numbers are as good as Sunshine’s were towards the end and there’s also a lot more of them, “looking budget deficient outside the CG” is the one thing I didn’t expect from something that’s ostensibly a Sunrise premium product. So boo on that one, apart from that it’s idols (an anagram of solid). 7/10

Garupa Pico Oomori

The chibi SD shorts based off Bang Dream are still better than the main show. Even if S3 was actually quite good, this is just the best thing you can do with 30+ characters that aren’t that deep. Garupa Pico specializes in absurd humor setpieces that at points is better at being Pop Team Epic than Pop Team Epic itself was. Take that, memelords. 7/10

Fire Force S2

Fire Force is just weird, man, and it’s sort of great. I don’t think I’ve ever seen a property of this magnitude show this much of the ol idgaf spirit. How about an episode where the A plot is the most evenhanded exploration of religion i’ve seen in anime, and the B plot is about blowing up a tryhard edgelord by exposing him to panties? How about a subplot where Batman and Thor infiltrate the vatican to kill the pope, only for that to lead into a gay rape backstory, only for that to be resolved by dank weed and dismemberment? It really is quite a thing, as they say. Now, Fire Force certainly delivers hard at points, but it’s also very scattershot, even if S2 is somewhat more consistent than S1. The weakest parts are unsurprisingly still the ones where it’s remembering its fighting shounen template, and that’s not only because I don’t like that, it’s also because it’s particularly and consistently bad at scheduling these huge, simultaneous multifight setpieces it often crescendoes with. But hey, at least these tend to look super cool. In short, Fire Force is a land of contrasts and still the only fighting shounen I give a damn about. 7/10

IDOLiSH7 Second Beat

Did you know that I think Idolshi7 is the best one of all of these huge-ass commercial idol franchises? Yeah, I think it’s better than Love Live, and as of Fall 2020 also the better looking one because Troyca still delivers where Sunrise apparently can’t. I guess still don’t like the music much, thankfully there isn’t a lot of that. It also still specializes in gigantic drama, and to its credit S2 is now much better at either getting to the point or at least making it silly and fun. You show that door who’s boss, Sou. Still fantastic Tsumugis all over the place as well, in fact I think I like all the characters now. Even Banri gets his big moment in this season! Yeah, this stuff is pretty cool. 8/10

Adachi and Shimamura

So here’s the AOTS, and it’s the lovechild of Bloom Into You and Tsuki ga Kirei. While it definitely isn’t as good as either of these two, because it lacks the “about more than just teenagers being hyperbolic about a crush” part from Bloom and the part where it has an actual ending from TgK, it carves out its own niche with its loopy, almost stoned tone that’s full of side weirdos and yuri hyperspace. It’s also uniquely focused, with a tiny core cast and even Shimamura doesn’t really matter all that much. This is all about Adachi, and thankfully Adachi is amazing. Amazingly awkward, that is. It’s very cute. So yeah, this is a bit too lacking in substance to aspire to classic status, but it’s a great time nonetheless. 8/10

#anime #review #fall2020 #Hypnosis Mic -Division Rap Battle- Rhyme Anima #Assault Lily Bouquet #The King's Avatar #Heaven Official's Blessing #Ochikobore Fruit Tart #Majo no Tabitabi #Love Live! Nijigasaki #Garupa Pico Oomori #Fire Force S2 #IDOLiSH7 #Adachi to Shimamura

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linskywords · 4 years

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criminal-minds-fanfiction wrote a bunch of questions for authors that you’re supposed to let people ask you, buuuut I felt like answering all of them instead of doing my actual job this afternoon. 😄 Here we go:

1) How old were you when you first starting writing fanfiction?

Like 25 maybe? I started writing about a year after I started reading it. I had a fanfiction-deprived adolescence, y’all.

2) What fandoms do you write for and do you have a particular favourite if you write for more than one?

The hockey boys pulled me in years ago and they haven’t let me go. I do sometimes write other things: I almost always participate in Yuletide, and I’ve actually written a bunch of Animorphs fic under a different name (ask me if you want to see it!). Mostly hockey RPF, though.

3) Do you prefer writing OC’s or reader inserts? Explain your answer.

Haha neither. Well, I guess OC’s, if I had to choose -- I don’t read or write reader inserts. But I tend to keep OC’s for original fiction.

4) What is your favourite genre to write for?

I was very confused about fic having genres before I realized this was probably referring to the genre of the canon works. Um...sports. :D

5) If you had to choose a favourite out of all of your multi chaptered stories, which would it be and why?

Don’t make me choose my favorite child. Um, probably the first wolfverse story -- I don’t know if it’s the best one, but I’m very grateful to it for starting the ‘verse!

6) If you had to delete one of your stories and never speak of it again, which would it be and why?

None of them, if that’s an option. If I really had to choose...probably the Kirk/Spock fic I never finished even after uploading it to AO3 and promising to finish it this time. I still want to finish it!! But it would be the first to go.

7) When is your preferred time to write?

I don’t have a strong preference. Afternoon/evening. I like having multi-hour blocks, and I use the Forest app to keep me off my phone while I do it.

8) Where do you take your inspiration from?

Plot bunnies come from all over the place: random thoughts, memes, real-life conversations, suggestions from other fandom people. I tend to have a pretty strong “THIS IS A STORY I WANT TO WRITE” response when something grabs me the right way.

9) In your xxx fic, what’s your favourite scene that you wrote?

Haha this is probably why I’m not supposed to just answer all of these in order. XD I’ll answer for my current WIP: the scene where Geno kisses Sid for the first time. So soft. So angsty. 😈 (My own story has cursed me to love Geno. I am doomed.)

10) In your xxx fic, why did you decide to end it like that? Did you have an alternative ending in mind?

In general: I know how my stories are going to end when they start. Sometimes it does evolve a bit as I write. One thing I’d like to play with is including more of the main characters being together at the end of the story, instead of ending it at the moment when they get together; the latter makes sense from a tension perspective, but I’ve been finding when I read lately that I want more of the happy times at the end, so I’m going to try to move in that direction.

11) Have you ever amended a story due to criticisms you’ve received after posting it?

Only for typos, I think.

12) Who is your favourite character to write for? Why?

Ooooh. Either Patrick Kane or Jonathan Toews. There’s something so compelling to me about Patrick’s fanon voice. And every love interest in every original story I try to write is Jonny.

13) Who is your least favourite character to write for? Why?

I...don’t really write about characters I don’t like? I wish Auston Matthews would shave his mustache.

14) How did you come up with the title for the xxx? - You can ask about multiple stories.

About fifty percent of the titles I come up with are desperate scrambles because I’ve got nothing. The other fifty percent I have a perfect song lyric for from the start.

15) If you write OC’s, how do you decide on their names?

I only write OC’s in original fiction, but: I’ve been phonebanking lately, and I’ve been writing down all the good names I come across. The best so far is someone with the last name Quackenboss.

16) How did you come up with the idea for xxx?

MAGIC.

17) Post a line from a WIP that you’re working on.

Oh...oh no. Um.

“It doesn’t matter what he was thinking about. His knot popped; that’s the important thing.”

Some of you can probably guess what that’s about. :)

18) Do you have any abandoned WIP’s? What made you abandon them?

Mostly on my computer. I have a lot of beginnings of stories I haven’t finished yet; many of them I’ll probably go back to. I tend not to post things until I’m done or close to done with them. (That one Star Trek fic being an exception. Mea culpa.)

19) Are there any stories that you’ve written that you’d really love to do a sequel to?

YES. The 1988 timer one and the 1988 story where Patrick’s a girl who sneaks onto the Blackhawks in disguise. I’d love to do a Bennguin version of both of those.

20) Are there any stories that you wished you’d ended differently?

Hm. Some of them I think I rushed a little. More Than I Could Ever Promise, I think it needs a good old-fashioned battle scene in the mountains at the end to really round out the plot.

21) Tell me about another writer(s) who you admire? What is it about them that you admire?

Have I mentioned astolat? What, only two or three hundred times? I should mention her again, then. Give me that woman’s ability to plot. Inject it into my veins.

22) Do you have a story that you look back on and cringe when you reread it?

Haha. I often have slightly cringy moments in my old stories. You Made My Life an Adventure, I definitely didn’t really know what I was doing yet...

23) Do you prefer listening to music when you’re writing or do you need silence?

I usually listen to music.

24) How do you feel about writing smutty scenes?

Turned on.

25) Have you ever cried whilst writing a story?

Yes. The sequel to My Heart Forgets to Beat.

26) Which part of your xxx fic was the hardest to write?

The Sid/Geno wolfverse story I’m working on now is maybe the hardest thing I’ve ever written. The language barrier is such a new challenge for me.

27) Do you make a general outline for your stories or do you just go with the flow?

I don’t formally outline, but I tend to have a sense of the major plot beats. One reason I love writing fic is that the plot and world tend to be straightforward enough for that. I have a lot more trouble doing that with original fiction.

28) What is something you wished you’d known before you started posting fanfiction?

This will radically reduce the amount of time I spend writing original fiction.

29) Do you have a story that you feel doesn’t get as much love as you’d like?

Like You Have a Secret I think is less read than some of the others because it’s het, but I really love it. Similarly, some of my stories that are inspired by other works (Tangled, Doctor Who, The Giver) tend to be read less because people think they need to know the source material, when really I deviate from the source material so much it’s not important.

30) In contrast to 29 is there a story which gets lots of love which you kinda eye roll at?

Huh. Probably not. I’m definitely surprised when some stories take off -- Kinda Narrows It Down I wrote pretty quickly, on a whim, and I was surprised by the extent to which it resonated with people. Turns out lots of people think Tyler was coming out in that tweet. XD

31) Send me a fic recommendation and I’ll post it for my followers to see! (The asker is to send the rec not the answerer)

Ooh. Ignoring the terms of this question, but: I just read this TK/Patty story and loooved it. It’s a different take on werewolves than the one I use in wolfverse, and it’s super compelling:

https://archiveofourown.org/works/24029188

32) Are any of your characters based on real people?

Hahahahahaha. (I mean...less so than you might think.)

33) What’s the biggest compliment you’ve gotten?

I absolutely love it when people write screaming flaily responses to my fic. Also anytime anyone says that they’ve been having a tough time and my story was exactly what they needed. Maybe my favorite was the responses to More Than I Could Ever Promise that told me it read like a novel; that meant a lot to me right then.

34) What’s the harshest criticism you’ve gotten?

Fandom is amazing; people almost never give me concrit. I did have someone ask once if I randomly chose when to stop writing and just ended my stories there. I was pretty offended, since of course that’s not true at all, but I can see where they were coming from: my stories tend to wrap up after the characters get together, and sometimes there’s a lot of potential story left to tell at that point. But stories have to end sometime.

35) Do you share your story ideas with anyone else or do you keep them close to your chest?

I tend to share them! I find other people’s enthusiasm to be strongly motivating, and sometimes people have awesome suggestions I wouldn’t have thought of.

36) Can you give us a spoiler for one of your WIP’s?

Well, I only have the one. XD Sid...is about to have an important conversation with Mario.

37) What’s the funniest story you’ve written?

Ooh, I’m not sure I’m the write person to answer! No idea, really. My recent TK/Patty is probably pretty funny. Or maybe Quality Time, where Patrick doesn’t understand why he keeps losing track of time when he’s cuddling with Jonny. Anything with a super dumb protagonist, probably.

38) If you could collab with any other writer on here, who would it be? (Perhaps this question will inspire some collabs!) If you’re shy, don’t tag the blog, just name it.

Wow, I have no idea. I’ve never really written a story with someone, so I’m not sure how that would work. I want to say astolat again but honestly I’d be too intimidated.

...no, I’m gonna say astolat. Even if I made a fool of myself I think I would learn a ton.

39) Do you prefer first, second or third person?

Third. For some original stuff I like first person, but third feels right for the hockey boys.

40) Do people know you write fanfiction?

My close friends do. Most of my friends have the vague idea I write fic, but they don’t know my username or anything.

41) What’s you favourite minor character you’ve written?

Patrick Sharp. No question.

42) Song fic - What made you decide to use the song xxx for xxx.

I will legit listen to a new album with a doc open to write down promising lyrics. Titles are HARD, y’all.

43) Has anyone ever guessed the plot twist of one of your fics before you posted it?

I think people guessed where the Tangled fic was going. Though I also liked the guesses that it would be about Patrick’s mullet. XD I don’t really mind when people guess twists -- in the kind of story I write, it’s more about the experience of reading it than about surprise!

44) What is the last line you wrote?

“His parents have always been very respectful of any choices Sid’s wanted to make. They haven’t pried into his private life when he’s tried to set boundaries. But they’re wolves, and they know him a lot better than Jordy does. Sid isn’t going to be able to keep it a secret from them what he’s going through.”

...no guarantee it survives in that form. :D

45) What spurs you on during the writing process?

Getting the story out of my head and into reality! Spoon out that lake, baby.

I also do love the prospect of posting it for people to enjoy and respond to. It’s one of the reasons I find fic so much more rewarding than original fiction, where the timeline to a readership is so much longer.

46) I really loved your xxx fic. If you were ever to do a sequel, what do you think might happen in it?

Things, probably.

47) Here’s a fic title - insert a made up title. What would this story be about?

This exercise might be going off the rails a bit. (If anyone does want to pose this to me, feel free!)

48) What’s your favourite trope to write?

Ooh. Mutual pining. Friends to lovers. Werewolves. :D

49) Can you remember the first fic you read? What was it about?

The first fic I ever, ever read was a random Kirk/Spock one I found through google, and I was like “OMG IS THIS WHAT AROUSAL FEELS LIKE”

50) If you could write only angst, fluff or smut for the rest of your writing life, which would it be and why?

Oh man. Angst, as long as it can have a happy ending. But it just wouldn’t be the same without the smut.

#this was fun #i guess i should go back to work now #fic #fandom #ao3 #tropes #hockey rpf #writing #patrick kane #jonathan toews #sidney crosby #geno malkin #tyler seguin #probably some other people

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hvperion · 3 years

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5, 10, 11, 26, and 27 🙂

5. Has fandom ever ruined a pairing for you?

Hmmm, I don't think so. There are obviously gonna be pairings I don't enjoy, but I don't think I've ever had a pairing actually ruined by fandom. Lots of fandom or pairing related materials I don't like, or think are a bit much, but that's not so much the pairing itself, more so the fans I guess.

10. Most disliked arc? Why?

I'm not a huge fan of redemption arcs because a lot of the time they tend to be super corny and overdone? Some villain arcs can be a bit tropey too, and I guess "hero" arcs as well. Like, the plot of Borderlands 3, the arc that the Twins followed was so shitty, and I feel like it could have been done so much better had they followed a less typical or tropey arc in the first place!

11. Is there an unpopular character you like that the fandom doesn't? Why?

DAVIS PICKLE from The Pre Sequel. I will scream about how much I love that little guy until I'm blue in the face. He's the sweetest, funniest and most endearing character, and his accent only makes him better. The hate he gets from the fandom is outrageous, and totally unfair. His echos in the Claptrap DLC make me cry every damn time, I'm tearing up thinking about it now :') But I don't think there are any in CP2077, most characters I like tend to be loved by pretty much everyone else!

26. Most shippable character?

In CP2077 I'd say Johnny, which is super obvious. He works with a lot of other characters, Rogue, Kerry, V, etc. He's also one of those characters that's good to draw, to write, to be creative with and I think that helps his shippability (which I know isn't a word lmfao).

27. Least shippable character?

Uhmmmmm Delamain? LOL idk, it's hard to think of someone! Borderlands, I'd have to say Jack lmfao and that's only because everyone else hates his guts ahahaha

Thanks for asking lovely! This was fun ☺️💕

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radramblog · 3 years

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Star Wars Battlefront II (the good one)

My nonfunctional internet is preventing me not only from finishing off my essay, not only from watching the lecture that I would have shown up for were it not for mediary COVID restrictions, but it’s also stopping me from writing anything here that would require any sort of research or confirming details. That leaves me with less options that I would have thought.

Browsing through my Steam collection for ideas on what to talk about, and something jumped out at me pretty quickly.

Star Wars Battlefront II (the 2005 game, not Star Wars Battlefront 2, the sequel to the EA remake much maligned for malicious microtransactions) is a first/third person shooter that, while showing its age, remains one of the best games the franchise has ever put out. This is, of course, an opinion coming from someone who has yet to play Knights of the Old Republic, but it feels like Star Wars as a franchise has more misses than hits. So what makes this one land?

While I’m woefully unfamiliar with the early 00s shooters that Battlefront II was competing with (aside from Counter-Strike Source, but I’d argue that’s a different target market), I am extremely familiar with this one. I think part of why Battlefront II is so fondly remembered is on account of it being almost a gateway game for people getting into shooters in general- I for one played it extensively on my mate’s PS2 in primary school, and later on someone else’s PSP, and I doubt I would later have clicked so strongly with Halo if I hadn’t.

But what Battlefront II has more than anything else I feel is ambition. After the conclusion of the prequel trilogy, Star Wars’s universe was big, and the developers seemed interested in representing about as much of what we see of it’s style of warfare as they possibly could. As a result, the maps are a glorious smattering of worlds and terrains, loving and detailed recreations of places from the various films as well as a few that are probably new (I might just not remember them), each drizzled with vehicles and turrets and resources. Each of the game’s four factions share the basic units with very few differences (except for the Super Battle Droid), making them easy to understand and grasp for newer/younger players, with the complexity of each’s unique units paying off those willing to grapple with their weakness and play to their strengths. Some are definitely better than others, but that isn’t especially obvious at first. The basic classes reflect tropes seen in other games and while again some falter it’s not by enough that picking them in the wrong situation is a guaranteed blunder.

There are, of course, the heroes, major characters from the series granted to a player who’s doing pretty well, and I feel like this is another pretty well handled mechanic, even if a little awkward. There are enough of them, and they’re distributed enough between maps and factions, that they don’t tend to feel stale, and it’s pretty obvious that while they can absolutely ruin a team it’s also pretty easy to mishandle them. Unfortunately, heroes are related to one of my biggest complaints about the game, but we’ll get to that later.

One of the biggest selling points in my eyes are the dogfight levels. Now, I’ve never played X-Wing or the like, in fact my experiences with dogfighting games is extremely limited. But this part of the game fucks so hard. The design ideas begun with the class selection continue with the (admittedly small) range of starfighters you can pilot, with specialised interceptors, bombers, and landing craft to go alongside the effective all-rounders. The mode offers a variety of playstyles, between hunting down opponent’s fighters to bombing their flagships to boarding said flagships and destroying their systems from the inside. There is also the option of manually controlling the turrets, as well as acting as a gunner for someone else’s bomber/lander, but these positions are unfortunately underpowered and underexplored- they’re also, ultimately, less fun. But the dogfighting just feels right. I can’t really explain it, but moving in that 3-dimensional space feels not only satisfying but accurate to the source material in a way I don’t think any future Star Wars game has yet replicated.

I suppose the various game modes are worth discussing. Skirmishing on whatever map you want is the standard, at least in multiplayer, but there are a few unique offerings you won’t see in other modes- Hunt, where it’s a faction versus some of the series’s wildlife in a mode that always feels imbalanced towards one side or the other. There’s obviously Assault- the standard name for the space dogfights but on one ground map (Mos Eisley) it is of course the ever-popular heroes free-for-all, a chaotic mess but one where you can test out each one and figure out what their abilities actually do. But in the broader strokes, you’ve got the story, and the Galactic Conquest, as the two main other modes.

(oof, they really didnt build this with this resolution in mind huh)

That’s right, this game has a story, and it’s…okay? Ultimately it’s just a series of missions with the 501st, as they fight in the clone wars, turn on the Jedi, and ultimately become the Empire’s tool of oppression, separated by exposition. You get to run through some scenes from the movies, including the boarding at the start of the first movie and the Battle of Hoth, though some of the missions feel harder than intended- no matter how good the player is, the AI is not going to fare well in the tougher missions and you have a solid chance of ending up on your own.

Galactic Conquest is the game’s more unique selling point, being something like a basic version of Risk but with the dice-rolling battles replaced with Star Wars Battlefront II. You earn credits over time and through victory that you can spend unlocking types of units, getting new fleets to improve how many fronts you can wage war on, and unlock powerups for use in the actual battles. It’s largely fine, feeling like a bit more controlled and strategic version of just playing randoms in Instant Action, but it suffers the most from the biggest problem this game has.

The game’s truest flaw is its AI. They are dumb as a sack of potatoes, and the main thing holding the game back from perfection. And it was the early 00s so imperfect AI was to be expected, but it’s a bit more than imperfect here, I guess. Robits standing still while shooting you (or just at all, while you’re sniping them), extremely questionable vehicle and turret usage, and literally crashing starships into you, your flagship, or their own flagship. Bumping their difficulty up doesn’t really help, either. Even more egregious is the AI’s usage of heroes- or rather, that they don’t. If you’re playing single player, the game will always give earned heroes to you rather than your robot teammates, will not let one of them take if it if you decline to use the character, and you will never see one on the opposite side. This would imply that there wasn’t code for the Ais to use them, except there clearly is because Assault Mos Eisley exists- and they’re arguably much better there than in any other mode! It’s a real shame, because the low quality of the AI combined with the nature of the games means that victory is extremely polarised based on the player’s skill- if you bad all the way up to pretty decent at the game, your input basically doesn’t affect the outcome, whether you win or lose. If you’re good at the game, you will never lose at singleplayer, possible exception again being Assault Mos Eisley. It’s a little absurd, honestly. Also, I’m not even sure they go for the flag in CTF in space.

I am, however, willing to look past these flaws. The game is far from perfect, but it’s just incredibly fun. It’s a type of gameplay that they’ve tried to replicate, but never quite recaptured- and I think part of the reason for that is because the awkwardness is part of the charm. It’s nostalgic- both for those who played it when they were younger and just those in my generation who grew up on the Prequels. It’s also way more expensive on steam (bruh 14.5 AUD for real?) than I expected, but it goes on hard sales pretty often (I think I paid like a buck fifty for it), so it’ll be within budget at some point. I don’t know if I can recommend it for those who aren’t nostalgic, though, solely on account of those awkward features you likely wouldn’t be able to ignore like I do. And that’s a shame, because it’s not like they’ve made a better version of this game.

Fuck EA, basically.

#ramble #video games #star wars battlefront 2 #(the good one)

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singing-not-sleeping-beauty · 4 years

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Spoiler free review: Bit 2019 (dir. Brad Michael Elmore)

First off I want to say that Nicole Maines is a fantastic actress. She is the primary reason I still check in on Supergirl, and this film acts to further express her range as an actress. From Nia Nal’s anxiety ridden and optimistic introduction, to Laurel’s sour attitude, she proves herself without fail.

As for the film itself, I think I have a new favorite vampire movie. Most vampire flicks tend to be predictable and redundant these days, but I was blindsided multiple times. Better yet, the plot twists made sense by the end. Duke’s motivations were understandable, while still outlining her every flaw. The villain dynamic is unlike anything I have seen within the genre, and the ending sets up great potential for a sequel, while also working as a solo film.

I would have liked to see a little more exploration into the vampire mythos, but I’m glad it didn’t consume the runtime and force a rushed plot. What we are given is not provided as info dumping, but rather shown through scenes that furthered the story. Which is exactly why I cannot go into too much detail as to what the vampires are capable of.

As for the political standpoint, because this is meant to be a feminist critique, it felt natural. As I said, Duke’s motivations were clear, even if her methods were extreme. The vampire’s hatred of men is well earned, even if it comes from an immature part of them. It manages to make the argument of “not all men” work, because that point is never made by a man. Laurel is the one to say that not every man is evil, and that perspective comes from her own experience. Her relationship with her brother and her high school bestie Andrew has shown her what real acceptance and liberal values are. Despite the issues she has within both relationships.

They never flat out say Laurel is trans, largely because the writers clearly did not want that to be an all encompassing character trait. That being said, I had to explain to my mother why the character is trans, because she did not get the subtle hints, or even the less subtle dialogue.

The special effects exceeded my expectations, considering the fact that this was not a big budget Hollywood movie. The gore is not excessive, though I do not recommend this if you have a weak stomach. It is a horror movie, and that does come with certain triggers. If you are triggered by blood, body horror, rape, abuse, or anything cult like, I would stay away from this movie. If you don’t mind any of these things, go ahead. I promise you won’t regret it.

If we do get a sequel, I would like to know more about the vampires and their presence in the world. The movie frames it as if these girls are the only vampires out there, but I doubt Duke’s creator didn’t turn more people. we know they have an array of abilities, and that there is only one real way to kill them, but there is no mention of any other weaknesses. The vampires don’t mind that Laurel is trans, because in their eyes she is 100% a woman, but would that mean a trans man would still be viewed as an enemy? What about gay men, or non-binary people? They label themselves intersectional feminists, but how do non female minorities fit into that view point? There is an excess of great material and world building within this movie, and I would love to see more of it.

#Bit 2019 #vampires #horror movies #nicole maines #lgbtq film #horror #movie review #vampire #queer movies #queer cinema #text post #long post #I'm not a professional critic I just had a lot of opinions #seriously go watch it

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aion-rsa · 3 years

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Do Shadow and Bone & Six of Crows Work as One Story?

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This SHADOW AND BONE feature contains spoilers for Season 1.

Though Netflix’s new fantasy series Shadow and Bone is based on the bestselling Grishaverse novels of author Leigh Bardugo, it’s not a straightforward adaptation of the book series that shares its name. In addition to the Shadow and Bone trilogy, the series also incorporates elements from Six of Crows, a duology that is set in the same world, but focused on a very different set of characters.

Set two years after the events of Shadow and Bone, Six of Crows is a dramatic heist story set in a different country (Kerch) and starring a set of characters who really don’t take part in the events of the first trilogy. Until now. Shadow and Bone attempts to create what are essentially prequel storylines for the major characters of Six of Crows: criminal mastermind Kaz Brekker, assassin Inej Ghafa, gunslinger Jesper Fahey, and spy Nina Zenik.

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How these figures would fit into the series’ existing storyline of the discovery of a legendary Sun Summoner with the power to destroy the Shadow Fold was a question that every book fan was wondering prior to the series debut. And now that Shadow and Bone is here, it’s time to dig into whether this fusion of these two separate-but-related series worked or not.

Den of Geek editor Kayti Burt and Den of Geek contributor Lacy Baugher dig into the specifics of the good, the bad, and the somewhere in between when it comes to incorporating the Six of Crows characters into Shadow and Bone. Welcome to our discussion, and feel free to share your own thoughts in the comments below…

Question: Going into this series, what did you think about Netflix’s choice to integrate Six of Crows into Shadow and Bone? Did you think it would work?

Kayti: As someone who has only read the first book in the Shadow and Bone series and neither of the Six of Crows duology, I was intrigued.

As a viewer of adaptation, I tend to hold my opinions until I’ve at least seen the trailer and… well, the first teaser (which is the only trailer I watched before binging the screeners) didn’t give much away. That being said, there’s nothing that frustrates me more than an adaptation that is overly faithful to the plot without being faithful to the tone, characters, and themes of the source material, so I think I am much more tolerant of major plot changes when it comes to adaptation than the average viewer?

Lacy: I will admit that I was extremely apprehensive about it. I mean, I get the impetus to combine both sets of characters into a single story if only to allow Six of Crows fans the chance to see favorites like Kaz and Jesper onscreen. (There are no guarantees that Shadow and Bone would be successful enough to even get a second season, let alone a sequel/spin-off about a completely different cast, after all.)

But the thing is, Six of Crows is a very different story from Shadow and Bone – from setting and characters, to the time it takes place. (It’s actually set two full years after the events in the final Shadow and Bone novel, Ruin and Rising.) Furthermore, it’s also a very different kind of story. Six of Crows is very much a heist drama and one that’s not concerned so much with things like love triangles or larger Ravkan politics. And the characters are, of necessity, much darker and more morally gray than Alina and her friends. I worried that the two worlds of these stories wouldn’t mesh well, or that there simply wouldn’t be anything for the Six of Crows crew to do.

Kayti: Yeah, these are such valid concerns! Even as someone who had never read Six of Crows, I knew that these series, while set in the same world, were doing very different things.

Reading your response, Lacy, I also think I saw it as a way to incorporate the more popular Six of Crows material into the slightly less popular Shadow and Bone, which did make me a bit nervous, as it seemed to be a marketing decision more than a story one. That being said, with good storytellers, those two motivations do not have to be mutually exclusive!

Question: Now that you’ve seen the show, what do you think works with the strategy?

Lacy: Shadow and Bone does, I think, pull off the inclusion of the Six of Crows crew fairly well. Much better than I expected it to if I’m honest.

There are certainly problems – for the first four episodes, it generally feels like the Crows cast exists in an entirely different show that has very little to do with the stuff happening in Os Alta. Shadow and Bone is also generally terrible as a series at drawing any sort of distinctions about what makes life in Kerch different from that in Ravka and how that might have shaped these people.

But the character work is honestly great, and the addition of this Six of Crows prequel plot adds some really interesting layers to Inej and Jesper especially. The show is really clear that the latter obviously has Grisha power in a way that the books are not, and Kit Young steals almost every scene he’s in. (Milo the goat! I cannot! Protect him!)

I also love the way that the show fleshes out Inej, both in terms of her past and how the overhanging threat of returning to the Menagerie impacts her choices, as well as the way her religious beliefs shape who she is. (There’s something honestly wonderful about the fact that she gets to meet and know Alina, who is – and will become even more fully – revered as a saint by her faith, and I just love that for her.)

Kayti: I agree! For the first half of the season, I wasn’t sure if it worked, and I do think that has something to do with the weakness of setting in this adaptation. For parallel storylines to work well, they need to have a strong sense of world-building. In that way, even if there aren’t explicit plot or character connections between the two (or more!) storylines, then each storyline still adds something to the other(s) by virtue of telling us something about the larger world they share. Game of Thrones did this famously well, as does The Expanse. In Shadow and Bone, the articulation of setting is one of the adaptation’s weakest elements—the world and its cultures don’t truly feel real or lived in to me—and I think that hurts the integration of these two book series.

That being said, once the characters and plot collide in the second half of the season, this integration works incredibly well for me. I loved the final episode for so many reasons, but one of the big ones was for how integral the Six of Crows characters (or at least Jesper, Inej, and Kaz) felt to this climax—I mean, Inej throws a dagger into The Darkling! By the end of this season, it didn’t matter to me that the world-building didn’t quite work because I was so invested in these characters. (And I loved the Inej/Alina stuff, as well.)

And then, of course, we have Nina and Matthias off on their own, little subplot, giving me the Jon Snow/Ygritte vibes. Again, this subplot picked up steam for me. At the beginning, I didn’t know why we should care, but these actors really brought their “A” game when it came to their Enemies to Friends to (Almost) Lovers journey, complete with There Is Only One Bed and Huddling For Warmth. I never stood a chance.

Lacy: There is Only One Bed!!! Truly, the best romantic trope there is. Heart eyes emoji.

You’re really right about Shadow and Bone and how it articulates setting. On some level, the fact that the Shadow Fold is the most fully realized location in the show makes a lot of sense – it’s huge, monstrous, and terrifying. But this focus has the downside of making almost everywhere else look and seem exactly the same. (I really would like to know how many viewers didn’t/haven’t yet realized that Kerch is an entirely separate country with different laws about Grisha.)

The utter destruction of the West Ravkan city of Novokribirsk at the end of the season is supposed to be really shocking and underline how depraved the Darkling is, but I don’t think it hits as hard as it should – part of the reason is that the show has plenty of other opportunities to show us the Darkling’s flaws, but it’s also because there’s no real attempt to give West Ravka any real sense of place or identity.

Shadow and Bone Ending Explained: The Stag, Sun Summoner, and Black Heretic

By Lacy Baugher

Shadow & Bone: Ranking the Ships

By Kayti Burt and 1 other

Question: What do you think doesn’t work?

Kayti: I think that some of the supporting characters from Shadow and Bone get lost in the shuffle here, as does the Ravka world-building, and I think that is partially because we spend so much time with the Six of Crows gang. There’s nothing to say that, even if Six of Crows hadn’t been incorporated into this adaptation, we would have had more Os Alta or that more would have been better. In both the source material and the adaptation, the Os Alta stuff feels perfunctory rather than inspired. I would have loved to see the adaptation breathe new life into it, similar to what they did with Mal in the translation, who is a much fuller character in the Netflix series than he is in the book.

Lacy: Kaz Brekker, unfortunately. I mean, I think part of this is because there are aspects of who Kaz is and what he’s been through that you just can’t find out right now because of the story that’s still to come in Six of Crows and how that all plays into things there.

This is probably the right decision, but it has the really annoying side effect of making Kaz the least interesting character in Shadow and Bone for me. And if you’ve read the books, you know that’s the furthest thing from the truth. But here, Kaz is basically just a dude with a cool walking stick who’s kind of super into Inej for some reason and hates a man named Pekka Rollins. There’s almost no sense of who he is on his own terms or why he behaves the way he does.

Kayti: As someone who has yet to read Six of Crows, the degree of mystery around Kaz’s character worked for me. The character performance was strong enough that, even though I wanted answers about his backstory now, it felt more in a “I am getting what I need, not what I want” sort of viewing experience—though I get how this could be different if you already know and love his character.

As a non-book reader, I love the tension of not knowing what the heck is up with Kaz because it seems so in line with who he is as a character—jaded, angry, and prone to pushing people away. Of course, if he didn’t have enough sense to be friends (or whatever) with Inej and Jesper, I probably wouldn’t have as much time for his bullshit. The fact that these two seem to vouch for him as a person worth standing by goes a long way for me, and makes his character all the more intriguing.

Question: Do you foresee any problems with this strategy moving forward?

Lacy: Where do they go from here? The end of Shadow and Bone Season 1 sort of puts all the pieces in place for what feels like it’s about to become the first novel in the Six of Crows series. The Crows gang is on a boat heading back to Ketterdam, Nina is on the same ship with them, clearly about to join their crew with her own Matthias-related agenda. Alina and Mal are heading off on their own journey, which will take them on a completely different path. (Both figuratively and literally speaking.)

Is Shadow and Bone just going to move up the timeline of Six of Crows and put the rest of that story as a sort of B plot to the elements of Siege and Storm that will inevitably drive any Season 2? Season 1 successfully managed to use these characters by basically inventing a backstory for them that wasn’t present anywhere else. (Though it should be noted that Nina’s does come from the books.) I’m not sure that I think they can successfully do that again. But if they do adapt Six of Crows, how does that story fit here – especially if it means they can’t easily cross back into the main narrative?

I’m nervous, is what I’m saying. But the show has pleasantly surprised me thus far, so I live in hope.

Kayti: As someone who hasn’t read the books, I am blissfully ignorant, though, as our two main groups of characters are heading in different directions (both figuratively and literally, as you say, Lacy), I’m not sure what Season 2 is going to look like. Are these characters going to be in completely different stories? Because that doesn’t sound like the best idea. Or is the world-changing stakes of The Darkling and his pet shadows big enough that it will pull all of our main characters in?

Whatever happens in terms of the Shadow and Bone/Six of Crows division, I am very excited to see Nina and Matthias fully engage with Inej, Jesper, and Kaz. Maybe they will spend Season 2 together, with the events of the Six of Crows plot, and come back together somehow with Alina & co. for Season 3?

Lacy: You know, I actually don’t mind that idea at all – sort of letting everyone be free to do their own specific series-mandated things next season and then come back together again in Season 3. Because I think what bugs me is the idea that we might have been sort of gifted this really nifty blending of the book narratives and then have it taken away with nary a mention again. (I also just really want Nina to meet Alina, sue me.)

The more I think about it, the more I don’t necessarily see why we couldn’t have some of the Six of Crows plot here – yes, technically it takes place later on, chronologically speaking, but the show itself has already moved up the timeline of Matthias’ impending imprisonment in Hellgate, which is a big initial mission the Crows crew has to sort of undertake. I don’t think he deserves to stay in prison for what is essentially two more books before they get him out. Maybe that’s a place Season 2 can easily start.

The World of Shadow and Bone Explained

By Kayti Burt

Shadow and Bone Review: Netflix Adaptation Brings the Magic

By Lacy Baugher

Question: Final thoughts.

Kayti: I can’t get over how well this integration worked for me in the second half of the season. This isn’t Stan Lee popping up as a random member of the First Army; Inej, Kaz, and Jesper are the ones to drive Alina out of the palace, and they get to be a small part of that final fight with The Darkling (while not taking away from Alina’s agency and power in that climax). Then, we get a family campfire at the end of the season that straight-up feels like fanfiction (which coming from me is not a dismissal, but rather the ultimate compliment).

Lacy: I can’t wait to really see Nina incorporated with the rest of the Six of Crows cast. She spends most of this season off in her own storyline, which is necessary and gives us a lot of great moments (Nina + Matthias 4-ever), but I am very much looking forward to seeing her friendship with Inej develop.

Also, if we’re going to keep the Six of Crows crew around for any sort of Season 2, which I think they’ll want to do to some extent, I really hope we spend some serious time in Ketterdam, exploring what Kerch is like and how it’s different from Ravka and Fjerda. The Ketterdam set looks amazing and we should get some use out of it.

Kayti: Yes to more Kerch! I am hoping that what we saw in Season 1 was just the tip of the iceberg for what they have planned in terms of the culture and world and that Ketterdam feels more lived-in in Season 2. Overall, the season finale definitely left me eager for more. More than after watching the first episode, after watching the eighth episode, I felt like this story was just getting started.

Looking back on this first season, I think one of the reasons why this show works so well is because it isn’t just a “Chosen One” narrative, and I think that is because it incorporates the Six of Crows’ heist-driven structure. The heist is, by its nature, an ensemble story, while the YA “Chosen One” structure is usually a first-person narrative, which doesn’t always translate so well to the screen. In addition to its amazing characters, this multiple POV, non-Chosen One sensibility is the most important thing Six of Crows brings to Shadow and Bone, and I don’t know if the adaptation would work half as well without it.

The post Do Shadow and Bone & Six of Crows Work as One Story? appeared first on Den of Geek.

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dweemeister · 4 years

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The Haunting (1963)

Why do people like being scared? I am not one to answer this question, but even a non-thrill seeker like myself can appreciate a decent fright. For centuries, humans have been imparting to others stories of haunted places, ghastly monsters, the occult. That storytelling tradition has long endured and, of course, it would someday touch cinema. As film matures as a medium, there are certain films that produce experiences that are uniquely cinematic, unconstrained by older mediums. One of those movies is The Haunting – released by Metro-Goldwyn-Mayer (MGM) and directed by Robert Wise in between his work on West Side Story (1961) and The Sound of Music (1965). Though the film may no longer be scary to those expecting machete-wielding murderers and torture-happy mannequins, The Haunting boasts a suffocating eeriness in what initially appears to be just another haunted house film. Its disturbing visuals break it from its source material’s (Shirley Jackson’s novel The Haunting of Hill House) prose, embedding itself into the imaginations of its viewers. No less significantly, The Haunting is a striking validation of the beauty and necessity of black-and-white film – it is impossible to imagine it as a color film.

In the prologue, Dr. John Markway (Richard Johnson) introduces our primary setting before telling of its violent history:

…Hill House had stood for ninety years and might stand for ninety more. Silence lay steadily against the wood and stone of Hill House, and whatever walked there… walked alone.

Dr. Markway is an anthropologist with research interests in the paranormal. To determine whether or not Hill House is haunted, he invites six individuals with extrasensory perception (ESP) or past history with paranormal events. Only two of those invitees arrive at this Massachusetts mansion: Eleanor (Julie Harris; whose character is often called “Nell”) and Theodora (Claire Bloom; whose character, heavily coded as queer, is often called “Theo”). Heir-to-the-house apparent Luke Sanderson (Russ Tamblyn) is also here. Following the opening narration, The Haunting shifts its perspective from Dr. Markway to Nell. What the four main characters find at Hill House is an estate with off-center perspectives; numerous rooms and ceilings without right angles; stylistically-clashing art and furnishings; and isolation from humanity (the house is far from the next town and is staffed by two individuals, who leave before sunset).

This is barely a spoiler, but let it be clear that Hill House is indeed haunted. What happens is no ruse, and there is no living being orchestrating the abnormalities that occur. Much is left to the viewer’s imagination – neither discovered by the characters nor explained by the filmmaking. Whatever lurks down the hall or the floor above is beyond any explanation The Haunting provides. Davis Boulton’s cinematography provides few comforts. Boulton, whose career was defined by still photography and not cinematic work, liberally employs low-angled shots and film noir-influenced chiaroscuro to highlight the house’s unusual structure and to intensify the contrasts between lit and unlit areas. Color film would make Hill House seem too inviting, too sunny, too earthly. Viewers may notice some spatial distortions along the left and right-hand side of the frame during scenes within Hill House. The effect is caused by the fact that Wise and Boulton used a technically unready 30mm wide-angle Panavision lens to shoot this film. But Wise and Boulton lean into their imperfect lens by keeping the camera moving as characters move, in addition to the unsettling Dutch angles and unusual tracking shots in the film’s second half. The widescreen Panavision format appears to be ill-suited for haunted house films, when a filmmaker may want the audience to feel as trapped as the characters. But in this exceptional case, it (perhaps unintentionally) benefits Hill House’s quietly spooky atmosphere.

Production designer Elliot Scott (1958’s Tom Thumb, 1989’s Who Framed Roger Rabbit) and set decorator John Jarvis (1953’s Knights of the Round Table, 1972’s Sleuth) have crafted a frightening set to accompany with Boulton’s cinematography. Hill House’s exterior were shot on the grounds of Ettington Park in Warwickshire, England; the interiors housing Scott and Jarvis’ work were shot at MGM-British Studios near London. The dark wood-paneled walls; the heaving large doors; dearth of right-angled corners; the creepily-placed and sad-eyed statues, limited light sources (a motley assortment of candles, gas lights, and electricity); and excessive dark-wooded furniture contribute to the house’s oppressive dread. In daylight, these rooms appear curious, eccentric. By night, the environment of the house is – at best – unnerving. The two most terrifying interior scenes during The Haunting involve interactions with the set itself. The first instance occurs in stillness, with a view of a bas relief bedroom wall. The second features a door moving in ways impossible.

The Haunting merges the paranormal and the psychological to the point where the two become indistinguishable. That may alienate some viewers, but it will certainly keep one on tenterhooks. This merger of the paranormal and psychological is mostly thanks to Julie Harris as Nell. We are not given Nell’s entire biography. Yet, the viewer can surmise that she has lived a sheltered life. Nell claims that her trip to Hill House is an opportunity for adventure, a departure from a homebound existence where she mostly spent caring for her late, bedridden mother. Harris also expresses her character’s noticeable sexual repression and need for nurture – no other actor in this film is doing as much (or as brilliantly) as she is. Nell’s tendencies and desires are sometimes articulated aggressively, without tact and consideration for the feelings of others. She can be downright loathsome as her grip on reality crumbles, with no apologies to give after a horrible remark. As Nell, Harris pushes hard against the audience’s desire to find a relatable, sympathetic central character – and thus makes the viewer question about which scenes presented from her viewpoint might be believed (days after watching this film, I am still having difficulty grappling with Nell’s unreliable perceptions).

In 114 minutes, Nell’s relationships with Theo and Dr. Markway (not so much the smarmy Luke) become more turbulent. We sense that Nell has had little interaction with people outside her household. For what might be the first time in her life, she finds comfort in both Theo and Dr. Markway. But her frustration with her family life is never far behind. Her idealization of human connection beyond the family sees her lash out at the slightest violation of said idealization. There is some mutual attraction between Nell and Theo, but the former cannot bring about herself to say anything (Nell also ineptly flirts with Dr. Markway, who thinks nothing of these advances). On occasion via voiceover, Nell reveals her inner thoughts. This is a clumsy device when first utilized, but as the film progresses, it accentuates Nell’s madness. Her thoughts become incomprehensible, contradictory, hypocritical, and divorced from observable reality.

The use of sound in The Haunting is deeply strategic. I can not write much on this without revealing much of what makes this film scary. But on multiple occasions throughout, there are wonderfully-timed sound effects – some as soft as a whisper; others as loud as thunder – that will jolt the audience from its sense of complacency and safety. Wise’s sense of timing in this regard originates from his work as director on The Curse of the Cat People (1944), the sequel to Jacques Tourneur’s Cat People (1942). Both those films shared a producer in RKO’s Val Lewton, a low-budget horror specialist. Both those films innovated the “Lewton bus” – the gradual buildup of tension, culminating in abrupt aural and/or visual terror. The Lewton bus is the progenitor of the modern jumpscare, which became de rigueur sometime in the late 1970s or early ‘80s. Compared to modern horror films, let’s just say that this Lewton bus does not mind taking its time to pull up to the station – the influence of Cat People and The Curse of the Cat People on this film is unmistakable. Through its use of its own versions of Lewton buses, The Haunting twists the terror into its viewers’ stomachs slowly, agonizingly.

English composer Humphrey Searle’s soundtrack has never been released commercially. Searle, an expert of serial music (a form of contemporary music; in brief, it is a reaction against atonalism through a form of fixed-order chromaticism), composes an uncharacteristic tonal score here. Yet, it is just barely tonal. The score mostly disappears after the opening few minutes, but it is colored by high string tremolos and runs, foreboding brass triplets, and tinny bells that are a valuable contribution the sound mix. It flirts with atonalism, but there is always some melodic sense to this score. Searle’s score is unorthodox without being experimental for its time. There appears to be no sign of motifs in Searle’s score, but the horror genre tends to resist such musical construction anyways.

Upon release, audiences and critics did not know what to make of The Haunting. Most detractors were hostile to its plot (or lack thereof). In the years since, the film has been reevaluated on how Hill House itself is a character – shrouded in the darkness, its worst secrets unknowable. Robert Wise, the cast, and the numerous technicians working on this film all contribute to one of the greatest, most spine-tingling haunted house films ever made. The paucity of its special effects and dependence on a superb acting ensemble – Julie Harris especially – have shielded The Haunting from aging.

The house or whatever is haunting it is the star of this film. It is actively searching to kill. It does so biding its time, wearing down the psychological defenses of those who, seeking excitement or a deathly fright, dare spend a night within its walls. One will see how quickly such barriers, created over a lifetime of traumas and broken dreams, can be breached. In the moody shadows that could never be created on color film, therein lies the suggestion – functionally similar to, but artistically dissimilar from Jackson’s original novel – of something sinister, calculating, and cold.

My rating: 9.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#The Haunting #Robert Wise #Julie Harris #Claire Bloom #Richard Johnson #Russ Tamblyn #Fay Compton #Rosalie Crutchley #Lois Maxwell #Valentine Dyall #Shirley Jackson #Nelson Gidding #Davis Boulton #Ernest Walter #Humphrey Searle #Elliot Scott #John Jarvis #TCM #My Movie Odyssey

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hatchermatches276 · 4 years

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How does gaming affect technology advance

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theseerasures · 5 years

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I think you should talk about the Frozen 2 deleted scenes now that you’ve seen them :)

right you are, Slagathor!!!

a few general things i noticed:

the majority of the cut scenes were from the first act, which corresponds to what Jennifer Lee said in other places about needing extensive rewrites just to get the kids out of Arendelle. given how much people already complain about the ~boringness of everything before Into the Unknown, i feel like most of the cuts there were justified.

they seemed to have REAL trouble pulling characters out of their First Movie Mindsets in the early drafts. there were a lot of iterations “Elsa/Kristoff keep secrets from Anna, Anna finds out traumatically,” and i’m not sad to see any of them go. the sequel still retains some of that flavor, but it’s more muted and makes movies feel more distinct from each other

there’s virtually no cut content about the Northuldra, which could either mean that they decided the plot and characters surrounding that very early on and were confident enough in them not to change anything, or…that Yelana, Ryder et al were tacked on towards the end. given how much changed with the Kristanna proposal storyline, i’m leaning toward the latter. either way, i don’t think the Northuldra were ever intended to have depth beyond “the people who need saving/the secret hidden heritage,” which is…certainly a thing

going scene by scene:

The Prologue: certainly has a nice moody epic vibe to it, but it’s SO markedly different from the rest of the franchise that it could have been the opening to any fantasy movie. i did very much like Mattias saving both kids tho. also confusing: was Iduna not intended to be Northuldra in the beginning? if she’s supposed to be Arendellian, why is there just a. non-royal child running around during these v srs diplomatic relations?

Home: Anna either mainlined every Studio Ghibli in one night or watched the dream flashmob sequence from (500) Days of Summer and unironically thought it was the greatest thing in the universe. i get what they’re going for, but the song REALLY doesn’t do it for me, and the storyboarding is just TOO bizarre–how big is Arendelle exactly? sometimes it looks like she’s just walking through town, sometimes it looks like she’s Naruto-running past several different climates

Unmeltable Me: like i already said: not a fan of “Elsa feels so stifled at the castle she sneaks out to do magic on the sly.” it seems especially egregious here, when Anna’s supposed to “catch” her, which feels too much like it’s Agnar and Iduna all over again. otherwise it’s just a time-waster when they really should be getting on with the plot

Secret Room: Sorenson Sorenson Sorenson!!! this must have been written back when I Seek the Truth was still in the movie. i…guess i have no issue with the scene itself, tho the setup feels weird, like it’s two students exploring Hogwarts instead of like, the sovereign of the land and her sister-heir doing some spring cleaning. ~Northuldrian is fORbidDEN because apparently Arendelle is ACTIVELY fascist and not just riding on the coattails of colonialisms past, and Elsa and Anna are like “¯\_(ツ)_/¯ what can you do rules are rules amirite”

Get This Right: i luff Kristoff and his hideous orange shoes and his ability to uproot an entire tree of flowers. i knew just from the song that this would be adorable, and it was! even though once again the rapid shifts in setting made my head tilt. was it supposed to be a You’re Welcome thing where he’s pulling her along various fantasy milieu? i do get why they cut it, since a whole number would have been harder to slot into Elsa’s ennui/Anna’s concern than what they ended up going with in the movie, but…c’mon guys! let Kristoff and Anna have this. give them SOMETHING in this movie.

Elsa’s Dream: wow this uh. this is some kinda fic fodder, i can tell you that. i’m VERY glad they cut this, because when i see “Elsa’s nightmares manifest in real life and she almost hits Anna with her powers again” i don’t think “wow! what a cool pretext for setting out on an adventure,” i think “wow! Elsa’s gonna have a fucking meltdown and lock herself in her room for a few more years”

The Nokk: i’ve like…had to make my peace with the Kristanna subplot such as it is in the movie proper, but i REALLY wish they’d gotten more to do together, or at least NOT decide to get engaged after repeatedly miscommunicating to the point of almost breaking up. this scene was a good way to give them more material! i don’t love the idea that Kristoff a) hates every aspect of court life or b) waits for THREE FUCKING YEARS to say anything about this fairly insubstantial issue, but the bones of the scene are REALLY good, and i wish they hadn’t just given up on it. it is very devastating though! does Jennifer Lee know what “funny” actually means

Love Like That: FUCK YES BURN THAT MOTHERFUCKING TOWN TO THE GROUND. i was VERY wary of this scene going in because a) i was worried it would lionize Agnar and Iduna and b) Anna shouldn’t need her parents’ approval to know she’d be a good queen at this point, but it was mostly not that! granted, Agnar and Iduna did come across as waaaaayyy less self-involved and terrible than i tend to picture them, but i’m willing to forgive that because their conversation still ends with them deluding themselves with “well we’ll fix it when we get back!!!” also, i get that having Anna and Elsa talk about “why Anna’s going back/why Elsa’s staying put” would have broken the momentum to the end, but at the same time it was VERY NICE to actually see that conversation happen, with them at last on equal ground, talking about their futures like adults.

#Anonymous #disney #helen writes meta

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dragimal · 5 years

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Longform Audio Creepypasta Recs

hey TMA fandom! as a new TMA listener but looooongtime creepypasta fan, I find it rly cool that ppl who aren’t into horror are getting into TMA! I’m hoping this will help bring fresh blood (hah) to the horror fandom, so if you’ve realized that you rather like audio horror but don’t know what else to look into, I’m here to recommend my favorite longform creepypasta narrations!

this is far from an exhaustive list of long creepypastas, but I just want to introduce some of the stories I consider to be the best of the genre. and while I’m just reccing longform in this post, there are plenty of short one-shots I could rec if anyone wants to ask me abt a specific theme/Entity or even a specific ep of TMA (there are several MAG eps that brought me straight back to a specific creepypasta or two, lmao)

also, I’ll just be linking to MrCreepyPasta’s narrations b/c I’m heavily biased so I mostly listen to him, but there are plenty of other great narrators out there like CreepsMcPasta, CreepypastaJr, etc. (most of their names are variations on a theme asdfgh). and if u just want the text version of any of these, every video I link has a link in its own description back to the original text posting of the story

THAT outta the way, here are my recs! I’ll try to remember all the trigger warnings I can, but keep in mind I tend to be p hardy to most horror content, so there may be some things that slip past simply b/c they don’t register to me. also it’s been a minute since I’ve listened to some of these, so some have updated or I may have just forgotten some aspects. I’ll also update this if ppl find it useful and I find more good long pastas~

Penpal (2.5 hrs, complete)

op recounts some of their odd experiences as a child, all of which stem from an elementary school project involving a pen pal. as he recalls these experiences, a horrifying picture of his past begins to emerge...

easily my favorite pasta of all time-- and that’s saying something, considering there are some damn good recs here. it’s one of the first I read so long ago, and few have come close to what this one made me feel. op does an incredible job of capturing the nostalgia and childhood wanderlust of youth, and the last few lines of each chunk of the story hit like a goddamned truck-- esp "Friends”, I cry like a baby every time, it just.... hits something tender in me...

TW: stalking of children, subsequent kidnapping and child abuse at the end (and while it’s not necessarily *confirmed*, heavy implications of child sexual abuse, for that last bit). implied cat death. some graphic description of the victim of a hit-and-run

Search and Rescue Woods (~5 hrs, ongoing?)

op recalls several of the strange and disturbing experiences (their own and quoted from coworkers) of working search-and-rescue for an unnamed national forest in the US

y’know that feeling u get when u see photos lawn chairs just sitting at the bottom of the ocean? even if there’s a perfectly good explanation for why they’re there, it’s still haunting b/c it feels wrong to see them there, in that context? that’s basically this entire assortment of stories-- the obvious example being the stairs, of course, but even a lot of the human elements feel so out of place and wrong. if you’re a fan of Spiral-type horror w/ a hard edge of Stranger, this is the story for u

TW: generally clinical but graphic descriptions of mutilated bodies. use of the r-slur against an nd individual (it’s during a story that the main character is quoting from a different one-off character, so it thankfully only happens the one time..). child death, in certain stories. some wild animal death

Borrasca (2.5 hrs, complete)

Sam moves to a small mountain town with his family after his father’s job relocates them. he hears some spooky legends about the town, but doesn’t think much of them... that is, until his sister disappears. as Sam and his friends dig deeper into the town’s history to find any clues to his sister’s disappearance, they begin to realize there’s something deeply deeply wrong with their quaint little home

I’ve always loved horror that’s ‘mundane’ enough to be done by regular humans, but vague enough that it could actually be supernatural, under the right circumstances-- and this is one of those mysteries that keeps u guessing until the VERY end. my mind felt like that Pepe Silvia corkboard meme the first time I listened to this, I was losin’ it. this is also prolly one of my favorite examples of MCP’s talent as a narrator, b/c he adds in his own subtle foreshadowing with his voicework, and it blows my mind every time I listen to it again

also worth mentioning there’s a (3.5 hr) sequel! since the horror/mystery is basically done after the first one, the sequel is mostly suspense/thriller and character closure. if ur just here for the horror/mystery and the gut-punch of that first ending, then the sequel isn’t necessary. but if you want more closure for our dear sweet cast who deserve so much better, then by all means!

TW: the ending involves heavy sexual abuse (involving underage girls, no less), part of which is graphic. like I know I joke abt having to take breaks after reading emotionally exhausting stories, but I genuinely had to take a couple days of recovery after this one-- and that’s from someone who’s p hardy to all kinds of graphic content. do NOT take this warning lightly if this is a sensitive topic for you

Tales From the Gas Station (10 hrs for free, otherwise ongoing)

Jack works at a gas station at the edge of a middle-of-nowhere town. Strange things happen at the gas station-- bipedal deer stopping by for a drink, dark gods leaving vague messages, fingers growing from the ground out back, sudden lawn gnome appearances-- All just a part of the daily grind, right?

so if I wanna be totally fair, this is more a rec for Night Vale fans than anything (tho the TMA/WTNV overlap seems to be p significant). the comedic, nonchalant tone taken towards everything supernatural and horrific is p much 1:1 WTNV. I’ve genuinely cried laughing at some of the fuckshit that happens, esp anything involving Jerry. not to say that GST doesn’t have its heavy-horror moments, but the frequency is more comparable to Night Vale’s approach-- dark comedy definitely takes center stage, here. tho this also varies by the POV-- the “Finding Vanessa” arcs are told from the perspective of a more serious character, so the heavy parts are far more frequent and hit a lot harder

as for the time estimate, here’s where it gets a littleee bit complicated. the first version was put out for free, and read for free by MCP (among a few other narrators). this came out in several different parts, and the one video I linked above has compiled *most* of volume 1, but not the Halloween story, featured here. HOWEVER, the author has taken a second go at v1 and beyond, which is currently ongoing and available to buy as books or audiobooks ALSO narrated by MCP!

as for deciding which version to listen to, I’ll just try to describe the differences here. the first version was written entirely via Jack’s online forum posts, which were subject to more direct reader interaction and Jack’s scatterbrain. thus, the first version leaves a LOT more details up to reader interpretation/theorizing, straight up doesn’t have or explain certain plot arcs yet, and is very disorganized in terms of timeline all due to Jack’s canon memory issues. this all, personally, made it v fun and silly to follow, but I’m aware that’s not for everyone. the second version is written from a more standard first person narrative from Jack’s perspective. while Jack’s memory issues still make him an unreliable narrator (often *upsettingly* so in this version), the actual narrative is far more organized, complete, and easy to follow. the fun thing is that the first version can still be considered canon material to the second version, as Jack references making those very forum posts within the second version narrative. so, personally, I consider the second version to be the core cohesive story, while the first version is supplemental, fun material that provides more context for a few of the strange bits that happen in the story (like Jack’s ‘secret admirer’ makes more sense if u’ve listened to the first version). either way, the second version is the only way the story is going to continue (as far as I’m aware), so if you’re ONLY going to listen to one version of the story, listen to the second version

TW: for the first version, there are some uncomfortable jokes/implications at certain points-- associating villains/assholes with fatness and/or personality disorders is unfortunately a running theme, and a few off-color jokes are made abt some of Jack’s conditions (general mental health and his brief use of crutches). there’s also a point at which it’s implied that a specific one-off arc is a ploy to rape Jack, tho nothing actually comes of it beyond awkward scheming (but just in case, that story is specifically “Death at the Gas Station” at the very end of that long compilation, if u wanna skip it). for the second version, I believe the author was made aware of these issues and either straight-up removed or fixed most of them in some way. there’s just one point where an intentionally-questionable character uses the g*psy slur, and a few points where a regular commenter on Jack’s forum posts has w*ndigo in their username

in terms of gore for either one, uhhh maybe some descriptions of injuries? body horror? this one’s a lot harder to call for me, b/c the comedy softens the blow on a lot of the horror

Accounts From a Lonely Broadcast Station (5 hrs, ongoing)

Evelyn is the new voice of a small mountain town’s local radio station. her job is to take calls, play music (ALWAYS play the music), and broadcast emergency warnings whenever the fog rolls in from the surrounding forest. pretty standard stuff. she tries to make the most of it-- if only that damn crow with human eyes would stop watching her...

this one’s similar to Gas Station Tales with its heavy reliance on dark humor, but it takes itself a bit more seriously, with a more even split b/t genuine horror and comedy. also MCP brings in wonderful extra voice talent w/ this one, I RLY love Evelyn's va ;w;

TW: graphic descriptions of mutilation and body horror

My Friend Has Been Living in an Alternate Reality (4 hrs, complete)

op’s eccentric friend, Clint, turns up on op’s doorstep unannounced after several years missing. Clint vanishes again just as abruptly, leaving op with a journal detailing a horrifying, dangerous journey that’s almost too bizarre to believe, yet...

so this one’s more like an action/thriller with horror garnish, tbh-- very exciting and suspenseful! I love the weird, apocalyptic world Clint describes in his journals, and the societies that have cropped up around these hostile circumstances

TW: graphic descriptions of mutilation/injury

My Name is Lily Madwhip (~8 hrs, ongoing)

Lily Madwhip sees things before they happen. they’re usually horrible things like deaths and injuries that she wishes she could prevent but often can’t. at least her best friend-- an angel possessing one of Lily’s dolls-- is around to provide advice

this one’s from the perspective of a little girl, and it leans into dark humor enough to soften at least some of the more traumatic moments. Lily’s young enough that she’s somewhat removed from the full gravity of the deaths around her, but the fact that it’s happening so frequently at all seems to be warping her perspective towards death to be more... casual? is that the right word? it’s just a rly interesting perspective to see for horror. also we’ve got another rly great guest va here for Lily~

TW: brief descriptions of injury, but they’re not graphic. frequent animal death.

The Showers (2.75 hrs, complete)

op recounts a scary story he heard from a teacher back in high school about a vague location and a terrifying encounter. he later ventures to find this location to see the truth for himself, but is it worth it?

this one’s a classic-- I think it was of the first creepypasta I listened to? not this version, but I wouldn’t be able to tell u which narrator it was at the time. I won’t say that this one’s the most unique story out there, but something abt it has always stuck with me?.... idk, I think the premise rly hooks me

TW: oh god it’s been a while, but I don’t remember anything particularly triggering? maybe body horror?

#creepypasta #creepypastas #the magnus archives #tma #shut up ashley #blease give creepypasta a chance I need more horror friends /wretched crying emoji/#also I would've recced 1999 but I JUST found out abt all the controversy over someone reposting and pasting in parts from other stories #I totally understand why op wouldn't want the story narrated anymore shit sucks

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awed-frog · 5 years

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When you say romance should be 18 and over do you mean the brand of romance we know today (aka toxic) or romance as a whole? If we wrote healthy romance aimed at younger crowds or presented unhealthy behaviour as unhealthy behaviour in regular romance (for older crowds) would that be a good solution?

Well - I see three questions here, all of them incredibly complex and beyond interesting: should art be political and is censorship ever a good idea and also is the romance genre okay? The answer to all of them, in my opinion, is ‘no but’.

1) Should art be political?

The stupid thing is, art is inherently political, whether you want it to or not, but art that’s deliberately political tends to be awful, and that’s a universal truth both for left-wing stuff and for right-wing stuff. When you willingly create political stuff, what you’re crafting is propaganda, and proganda is generally sad and bad. I guess there is propaganda that’s also good art - Victor Hugo’s The Man Who Laughs comes to mind - but the problem is, not all of us are Victor Hugo.

That said, since whatever we create is political (because man is a social animal) and will have some kind of moral message, yes - ideally we want more art with an ethically ‘good’ moral message than we want garbage, because art (and here I include everything: books, movies and so on) is perhaps the most effective and impactful mind-shaper ever. That’s why Disney is doing its very best to be a monopoly, after all. But: I don’t have a good solution for how to ensure art is nice. I think art is nice when artists are nice, and artists are nice when they grow up in good, healthy societies. So the more a society rots from the inside out, the more likely it is you’ll find art that’s also rotten. I mean, while romance as a genre was always a bit dodgy (see below), what that article was talking about - the rise of the possessive, violent boyfriend and domestic abuse as the great love story - is sort of a recent phenomenon, and goes hand in hand with the deterioration of women’s rights in (Western) society.

(As an aside, I’m not sure I agree (young) women are necessarily misogynistic for reading crap like Fiftfy Shades: I think (young) women are exhausted. Fifty Shades is, more than anything, an ode to undeserved capitalism - the only kind that seems open as an option today. After all, we know trickle-down capitalism doesn’t work and most of us will toil and toil for very little; Christian Grey is the antidote to that, the guy who shows up, basically kidnaps you, and smothers you in a life of riches for which the only thing you must do in return is give up. Having someone else decide on your job, your car, your possessions and clothes, where you’ll live, what you’ll eat and when, whether you’ll take birth control (lol: obviously not), when you’ll see your friends and family plus when and how you’ll orgasm - what women tried to escape for generations is suddenly the dream for many of us - not because of any new political ideology, but because we’re beyond tired. Women, like men, are now crushed in a neverending cycle of bs, underpaid jobs, and are apparently fed up enough in taking responsibility for anything that not only romance and ‘superhuman’ characters are booming, but a very specific kind of subset of that: essentially, slave fics.

Just give up your agency, and you’ll be taken care of and cherished - forever.

I understand a kink is not the same as your actual political opinion, but still - I’m not enthusiastic about this trend, and I’m even less enthusiastic when it gobbles up young women who haven’t had time to experience real life relationships.)

No, I think that in the end, the answer is - if you reverse the rotting of society, automatically - statistically - you’ll get healthier artists and a healthier audience. So, really, the fight is always the same: better paid jobs, better (and free) schools, more opportunities for continued education of any kind, more democracy and transparency, more green spaces and better living conditions.

2) Is censorship ever a good idea?

Sadly, no. You’d think the logical conclusion of what I just said would be, ‘In the meantime, let’s ban the most dangerous stuff’ or something, and while part of me is tempted to support that, censorship has a way of ending very badly no matter how good and noble your intentions are.

(Self-censorship should be more of a thing, though: not everything that goes through our minds deserves to be seen and shared.)

What sucks at the moment is that on the one hand, capitalism is operating its own censorship; and on the other, its desperate search for new markets has led to a disastrous disintegration of actual human interactions.

So, problem one is that we only publish and market what makes a lot of money, and while that’s normal, to an extent, the result today is that everything is ‘almost the same’ as the previous thing (think sequels, prequels, remakes, obnoxious book covers for books that are basically all the same). So if ‘asshole boyfriend who beats you up’ suddenly makes money, it becomes very hard to escape the trope, because what will be offered to you everywhere is exactly that. This was less of a thing back when our main sources of entertainment were shared (movie theaters, the one family TV, school libraries and so on); now, it’s an epidemic, and as we see with Youtube algorithms, a dangerous one, because this obsession with watching and rewatching ‘almost the same’ inevitably leads to more and more extreme stuff.

Meanwhile, problem two is that the more tailor-made our entertainment is, the less we connect to real people. I know I sound about 90 here, but when all family members are glued to a different screen - mom watching the 50th remake of Eat, Pray, Love, dad down the rabbithole of lizard conspiracy theories, big brother now exploring some milk&peanut butter weirdness on Youporn and younger sister 30 fics deep into Stucky high school AUs - what do they have in common? What do they talk about? What can they even learn from each other? Until recently, and for aeons, fiction was shared, and its primary goal was to form a connection between group members. Now, that’s gone. We destroyed it, without even realizing what we were doing, in the space of twenty years. And yeah - I know you can create new communities, but a) these communities are virtual (which means, for the most part: not real) and b) they tend to connect like with like, which is comforting, perhaps, but not very useful. The whole point here is that we need to learn how to feel empathy and trust for those who’re different, and build a community with them - instead, what the internet is doing is isolating us inside our little bubbles, so much so that any minor disagreement is now seen as good reason to break off contact.

Censorship, however, doesn’t solve any of this. For starters, we need more regulation on how big corporations can get, what social media companies can and can’t do and who can access what kind of material. And it’d be great if we could all unplug a little, but uh - fat chance of that.

3) Is the romance genre okay?

Again, just my opinion, but personally, I mistrust it. There are no romance books for men? Instead, books for men feature a Main Character doing stuff and improving himself while accidentally meeting a Sexy Lamp he can go home to at the end of the story. And, well, I can’t believe I’m saying this, but isn’t this a healthier way to look at life? While good relationships are very meaningful (or even the most meaningful) part of any human life, if your goal is to get them, they won’t grow right. You shouldn’t be hyperfocused on finding love; I think it’s much better to be like Main Character: you work on your drawing skills, try a new sport, read poetry, defeat evil Russians, thus developing inner happiness and self-confidence, thus leading you towards towards a partner who’ll fall in love with who you are - not a partner who was looking for some empty shell to fill with their own expectations and preferences.

And I know - romance books and movies are full of exciting non-romantic events and stuff - but still, the fact they’re classified and intended as romance does imply that finding a romantic partner is the ultimate goal. Which, I don’t know, I don’t think it’s healthy, and is a particularly inappropriate message for young women. After all, why is it okay that young men are encouraged to go on ghost hunts, study dinosaurs and save the world while young women are taught to wait around for a broken (possibly violent, but it’s not his fault) bad boy only they can fix? It’s messed up, is what it is, and I may be extreme here, but even the tamest, sweetest romance revolves around the same message: that you’re not complete on your own, and that you should focus on relationships as a way to become a better, happier human being.

Now, as much as I love this quote -

“It is what you read when you don't have to that determines what you will be when you can't help it.” — Oscar Wilde

- obviously there’s no direct cause-and-effect here - you don’t read one book and become a mindless Stepford wife - so I’m not saying, ‘no one should read romance ever’. It’s just - as I said in that other post, we should all enjoy diverse stuff. Read your romance novels, but also read the classics, read some philosophy, a random poem, a badly-written thriller - read Stephen King, read how the OED was written, or a Wikipedia article on the French resistance - anything and everything. Because of capitalism, because of this push towards personalized entertainment, we’re being forced and pigeonholing ourselves in smaller and smaller cages, and the worst thing is - we’re comfortable inside them, because this is the awful truth: cages are comfortable, and that’s why we need to get out before we forget what cages are for.

[As a final point: you say ‘if we wrote’, does it mean you’re an aspiring writer? If so, you shouldn’t worry about any of this. You write what you want, you write the stories you want to read. Just remember to get out of your cage as well - experience, discover, grow, read, dare - and then put all that into your books. I’m sure they’ll be great, whatever your favourite genre.]

#ask #books #romance #entertainment #capitalism #ya #fifty shades of grey #narrative tropes #old woman yells at cloud #the end is nigh #i miss the 90s #potentially unpopular opinion

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