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alatismeni-theitsa · 3 years ago

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Do you have any sort of, words of encouragement, for a Greek-American who is struggling to learn Greek? My family is pretty connected to our heritage but I was never taught to speak Greek. I am an adult now, and I know I'm at an incredible disadvantage trying to learn a new language. The most discouraging thing is when I try to pronounce a word with a sound that isn't really in English (like γ) and I KNOW I am not saying it right, but no matter how hard I try I can't pronounce it correctly.

Hello! I'm very sorry for delaying this answer for some days, but as we see here, Zeus was fucked this week 😅

I will pin my answer so you can see it when you return, and the rest will be under the cut.

I believe there are MANY reasons for hope in this situation. Of course it feels very discouraging that you don't know the language already and you might feel left behind in this process. Plus, learning a new language is not an easy thing to learn. But worry not!

You are grown, and that means you can learn a language better and with more consistency and discipline. Have trust in your skills as an adult. What is more, you have grown up around Greek speakers and you will pick up certain things faster.

You are not alone in feeling this way. Most of the world has to learn a second language (and a third, as it's usual for many) and that would be the language most dominant in the wider area. Almost every person in the West who is not an English speaker has to learn English and learn it well, otherwise we feel embarrassed every time we try and form a sentence. For example, we apologize to each other about our accents in English German and French, even though we speak Greek.

Surely there are some differences between your situation and ours, but I mentioned this to show you that most people will be very understanding with accents because they have the same struggle. I mean, I'm not going to make fun of someone for having an accent in Greek when I sound like a demented chicken in German, despite taking years of lessons 😵 I have more confidence in my English but even now that I'm writing to you in this language I have to quadruple-check my sentences and phrasing. The amount of times I apologized in advance for my accent to English speakers is higher than my credit.

I relayed your situation to other Greek speakers and non-English speakers, and ALL agreed the accent is not anything they would pay attention to and told me to write you that you shouldn't feel bad about that. I did that because I knew they would have words of encouragement for you. And it turns out they believe exactly what I'm writing in this answer.

Accents are natural. You cannot expect not to have an accent when you have been speaking a different language all your life. Beating yourself up for having difficulty with the Greek pronunciation is like beating yourself up for something normal like walking or laughing when hearing something funny. You lack practice with the pronunciation due to circumstances beyond your control. You are doing what you can to change that, and every small win is worth celebrating!

I found this post the other day:

The notes? The likes?

And NO disagreements in the comments and reblogs for OP’s statement! Look how many thousands are supportive in this! (And that’s a small fraction of people who understand accents are natural.) And some of the responses:

Sure, some mention they have met native speakers who made it more difficult to feel comfortable with their accent and phrasing. But those people are assholes in general, and not the people you want to surround yourself with. If a relative expresses disgust about your accent remind them you didn’t have any control of how much and how well you were taught Greek when you were a kid, and then tell them that if they are a true friend and relative to you, they should support you in your journey. And even if you had some control and chose not to learn, you are learning now. So they should leave their resentment behind because, honestly, what do they have to lose from you learning the language better??

For the embarrassment you feel for yourself: you wouldn't make fun of a Greek for having trouble with the “r”, "s", “ch”, and possibly the "h" when speaking English, so extend that kindness to yourself when you speak Greek. Not to mention that with enough practice and time you can nail the accent!

Worst case scenario, if the accent never leaves, that's no problem whatsoever. Anyone who thinks badly of you for your accent is probably a PoS and they don't deserve your time. No matter where you are from, if they make you feel bad for having an accent in Greek, block them from your mind forever.

But chances are that (from experience) if anyone laughs with how you said something, I guarantee they are not laughing at you but because of how strange the sound or phrasing was. The person doesn't think badly of you because of this. Making mistakes of any kind when learning a language is very natural and it's something everyone must accept. If you are not willing to make mistakes and expose your language vulnerabilities to people who know the language better, might as well not try improving at all.

If anyone corrects you, they are not doing it out of pity. The majority of Greeks do it because they are very happy you speak the language and want you to be even more fluent. Like, they are doing it as an act of backing you up, they are feeling like they are giving you that extra XP to reach the next level! Others - like me - get that rush of happiness when they get to share their language with others 😁

I remember a guy on Tiktok who was learning Greek and ordered a coffee "without sugar" in a Greek cafe but instead of saying σκέτο ("without") he said σκατά ("shit"). I mean damn that was funny! I remember it weeks after I saw the video of him telling that story and it always cracks me up. Do I still appreciate him the same as before and follow him? Absolutely! He just had an unfortunate - and funny - incident, not something that lessened his integrity as a person.

From tiktok again: An American girl wanted to pronounce γύρος correctly when ordering it, and she was mumbling to herself on camera: “yeero, yeero, yeero!!” When her time to order came she shouted “May I have a gairow? FUUUUCKK FUUCK FUCK I SAID IT WRONG” 🤣

Another example is Athena from the Bachelor 2! She has given some gems throughout the show because she doesn't know the language that well, but everyone still loves her because she spreads positivity and is so cute!! If we, as viewers, disliked her it would be because of her character, not because she doesn't know the language well. And if some of the other girls in the show don’t take her seriously is because she laughs too much and mentions feta too often, not due to her Greek level of literacy. Athena, even when she is hurting someone else’s feelings, is always so genuine and you just can’t be mad at her!

I really can’t stretch enough how people laugh at the mishap, not the person! Please don’t feel discouraged if you ever see a Greek laughing with the pronunciation of an English speaker when it comes to Greek words (which I have done as well) because we never laugh at the speakers. We don’t even know them! We might laugh at one mistake but then instantly want to become this individual’s friends because we think they are amazing (see the three examples I mentioned above, the sugar guy, the gyro girl and Athena). Because that’s the normal thing to do; laugh at fun stuff and not judge people for their small mishaps. (In a casual setting, and not to an uncomfortable degree ofc!)

There are so many things to a person other than their accent and the accent becomes old news really fast. What remains is how the presence of a person makes you feel and if they are a good individual. If an English speaking friend says yatakai instead of γατάκι that opens the way for sooo many jokes! Greeks will laugh, do some YATAKAAIIII screams - ninja style, and then continue being friends with that person!

Greeks makes these mistakes as well... A Greek once said "arrive arrive" (φτάνει φτάνει) instead of "enough" when an English speaker was filling his glass. A Lower English degree caught fire that day 🤣 I have many bad examples of Greeks’ mistakes in English but I can’t remember a lot. But I’ve seen many videos of Greeks mocking themselves for how they sound in English. You can take a look at Tsipras’ (our former prime minister) mistakes on youtube if you are feeling brave 😂 (Ο Τσίπρας μιλάει Αγγλικά)

So, own your possible mistakes, laugh at them and move on because everyone makes them and we better have some good while we are struggling!

(( For the record, we are not making fun of Tsipras because of his accent, but because 1) he doesn’t know γρι English and yet he rarely brought a translator with him in international meetings with world leaders, 2) he could absolutely not hold a conversation with negotiating or discussing 3) he didn’t take steps to improve or fix the situation (like bring a translator). 4) Instead, he chose to torment us all with mind-numbing hours of reading English texts and making other world leaders struggle to explain to him what they meant for the nth time and meetings move at a snail pace.))

Alright, now that I cringed with the memory of Tsipras speaking English, I’ll go though the recommendations for improving the Greek pronunciation.

1) Go to my resources for learning Greek (#learn greek) where I have many videos where you can hear the sounds individually or withing other words very clearly. Easy Greek on youtube has excellent videos about pronunciation!

2) Seek practice as much as possible. Some Greeks switch to English when they hear an English accent to make the conversation smoother for the other person. If Greek speakers insist on talking with you in English tell them that you would wish to speak in Greek. I've seen that people often mirror the accent of the native speaker when they speak to one, so this might work for you as well with hours of practice. If no Greek speakers are available to you now, you can find Greek Americans online – or go to their festivals – and start talking to them.

3) Listen to Greek podcasts, songs and shows. (In my blog you’ll find them at #greek youtuber #podcast #greek tv #greek movie #short film #greek music). You know when you hear a catchy foreign song and then it’s stuck in your head and you say all the words perfectly without even knowing what it means? Well, this helps with pronunciation!

4) If you had Spanish in school or have Spanish friends mimicking the Spanish accent might help you. (Our accents are extremely close! The Spanish are the best at Greek pronunciation, and vice versa!)

5) Find sounds in your native language that sound close to the sounds you want to say in Greek. In German lessons I had trouble with “ch” in certain words because I made it sound like χ and it was horrible. My Greek teacher told me to remember how χ sounds in χήνα (it sounds a bit flatter) and make that sound when I encountered “ch”. It worked actually!

To people who have English as their native language I often suggest they remember the sound of w for γ because, although not used the same in the word, at times they have the same intensity. Γ is pronounced more “to the front” of the mouth, so if you can bring that sound forward in your mouth you’ll be very close, if not accurate, to γ. (But don’t bring it too much forward, sometimes it can sound like a “y”, unless you are saying a word where γ sounds like “y”).

Greeks pronounce σ more closely to “sh” than to “s”, so you also might want to keep that in mind since σ often distinguishes the Greek accent in English for me :p

That’s all! If you have more questions or want to tell me anything else about your experience with learning Greek, feel free to send another ask or a DM!

#answered #learn greek #pronunciation #encouragement

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tl-notes · 3 years ago

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Kobayashi’s Maid Dragon S2 Episode 11 Notes

This is ラジオ体操 radio taisou, lit. radio exercise(s). Basically it’s a short series of light stretches intended for general health. It used to be broadcast over the radio (and I guess still is), but is also on TV and internet these days too.

It’s generally popular as a morning thing to kind of get the blood flowing—some companies (apparently around 1/3rd) even have a few minutes in the morning set aside to have everyone do it. Some neighborhoods will hold outdoor public gatherings during summer break, as a morning routine thing for children while school is out. It’s also a kinda stereotypical old-person thing to do.

There are two “sets,” known as radio taisou dai ichi, and radio taisou dai ni (basically “the first” and “the second”), and each has a standing version and sit-down version for improved accessibility.

“Pound (shoulders)” here is 肩たたき kata-tataki, a type of shoulder massage that involves lightly bopping the recipient’s shoulders with the bottom of your fists. It’s a stereotypical thing for kids to do for parents/grandparents (remember the shoulder massage tickets Kanna gave Kobayashi for Father’s Day in ep 8? same thing).

I honestly have no idea how effective it is.

小林さんは安く済ませようとして、色々物を買ってしまうタイプなんでしょうか？

For clarity here, the idea is less that Kobayashi tries to buy lots of stuff for cheap, but that she wants to solve whatever problem on the cheap, and ends up wasting a bunch of money on several cheapo purchases that don’t really help.

Another angle on it might be like:

“Could she be the type who tries fixing a problem cheaply, but ends up paying more for less?”

Just a bit of trivia, but in the manga Elma answers this question about computer chairs by saying “Yes, a good one costs as much as 1,000 cream buns.”

That’s our Elma.

Takiya’s word for “logic” here is 理屈 rikutsu. Rikutsu does mean “logic,” but it has another use too: referring to something that relies excessively on “theory” vs. practical application/real experience, or a kind of “forced” logic.

Basically here he’s saying this out of modesty, not like “the solution was only logical.”

This “concerning” is 危うい ayaui, an adjective describing something that’s in a perilous situation, kind of like something you’d say “balanced on a razor’s edge” of. It’s typically for less immediately physical types of danger (which would use 危ない abunai instead).

In this case, while it’s true such situations are typically “concerning,” he’s not saying this because he’s concerned per se; he’s saying that situations like Tohru’s, where emotions run high (e.g. romantic relationships), are often fragile because of that strength of emotion.

For “a little hard,” Tohru says グサッと gusa-tto. (“Sharp” was 鋭い surudoi, which is basically one-for-one.)

Gusa-tto is one of those sound effect words mentioned in previous notes, used to describe a heavy stab or pierce (literally or figuratively). (If you’ve seen that anime/manga visual gag where someone says something and the words/speech bubble “stab” the other person, that’s a more light-hearted use of this.)

I mostly bring it up here because the “he’s sharp”→”what he said cut deep” was a good pairing of evocative phrasing that we didn’t really get in the English.

この程度でいいですか？　kono teido de ii desu ka? この程度でいいよ。　　　kono teido de ii yo.

Kobayashi’s answer here is repetition of the question, but changing the “question” marker for a declarative one. Like “Is this enough?” “This is enough.”

I bring it up here for two reasons. One is just because I mentioned the whole repetition thing in a previous episode’s notes, so as an example to help drive that home.

The other is that I have a bit of an issue with the choice of the word “perfect.” Kobayashi is generally a lowkey person (with some exceptions), prone more to understatement than overstatement, so a relatively strong word like perfect is a little out of character for this scene, I would say—especially given the Japanese.

The use of the particle で de in these two lines is also worth noting. In this context (where you’re talking about whether something is what you want), de ii and ga ii have two distinct meanings. With de, it’s “good enough.” With ga, it’s not just enough, it’s actively what you want. If you’ve seen romance shows where one person has low self-esteem, you’ve likely heard a question like “boku de ii?” answered with ”kimi ga ii.”

If there’d been some sort of twist to the phrasing like that, “perfect” might have been a good choice, but as it is I’d have probably stuck with something like “Yeah, this is plenty.” (if maintaining that sentence structure anyway)

そういうもんですか？そういうもんだよ。分かりました。そうします。

Just one quick note for clarity on this exchange; the “that/this” they’re talking about is the “what Kobayashi wants” topic, not specifically this tail-chair thing or how fast the tail-vibrations are etc. You likely got that anyway, but I figured I’d mention just in case, since the Japanese wording felt more obvious about it.

Notably here Daddy Tohru says 知り合い shiriai, which is very explicitly a level or two removed from “friend.” (it’s often translated as “acquaintance”)

They might actually be friends and he just phrases it that way because tsundere, but either way I don’t know if I’d use “friends” here.

If you’ll recall from the Elma episode, “clairvoyance” there was 千里眼 senrigan. This is actually not that, but instead 未来視 mirai-shi, which is more or less literally “future sight.” It probably won’t really come up again(?), but just as a world-building thing I guess, know that this guy and Elma don’t actually have exactly the same power (at least in this instance).

The word for “lost control” here is 暴走した bousou shita, which does basically mean that.

I would, however, like to point out that he’s not necessarily saying Tohru lost control of herself. Bousou means that [whatever] is running wild, but that ranges from a runaway train, to someone going berserk, to someone acting rashly without consulting others.

My point in bringing it up is that “lost control” sounds like Tohru had little/no agency in the decision to storm the enemy’s home ground, which is not really the case and not necessarily implied in the Japanese.

When Kobayashi responds here, she says she, Kobayashi, will be the one getting looked after by Tohru, not the other way around. She flips it 180 degrees from how Dad here says it.

(Since, y’know, Tohru’s the maid and everything.)

Example alt text:

“Make sure you take good care of Tohru until your lifespan runs out.”

“Yessir, I’ll have her take good care of me.”

It’s supposed to give this very heavy and serious scene a bit of levity to end on.

(For the Japanese students: she says [面倒を]見てもらいます, meaning that Kobayashi is having Tohru do the “looking [after].” If she was the one doing the looking after, it would be something like 見させてもらいます instead.

When you stick もらう or いただく after a verb, it’s you having someone else do that verb, not you doing it, so to make it work for “you” being the verb-doer, you have to flip the verb to a passive form. It’s kind of like the difference between “please [verb]” and “please allow me to [verb]”.)

どうしてトールがうちに来てくれる気になったのか

Two small things about this line. First: the “came here” is うちにきてくれる uchi ni kite kureru. The two words I want to mention are uchi, which is like “my/our place” (like “wanna come to my place?”), and kureru, which is used as a helping verb to denote that a verb was done for someone else.

So basically the Japanese adds two extra layers of… emotion(?) to the “came here.” That is, “here” is specified as Kobayashi’s home (vs “here” being more vague and could just mean “this world”), and the “came” is conjugated in a way that expresses Kobayashi sees Tohru’s .

The second, more minor, is that it seems like the English took the 気になった ki ni natta and changed it from talking about Tohru to talking about Kobayashi.

Ki ni naru can mean to take an interest in something (“I’m curious”), or when attached to a verb, can mean “got the will/motivation to do [verb].” In this sentence, it’s attached to the verb phrase uchi ni kite kureru, so meaning more like “why you chose to come here.”

(That said you could easily leave the “curious to hear” part there in the English too though, since that still makes sense for her asking a question like this.)

(Basically the English reads like a translation of どうしてトールがここに来たのか気になった instead of the line in question.)

So like as an example alt:

“I’m curious what moved you to come live with me.”

Which still doesn’t fully grasp that kureru, since that’s a hard thing to just “slip in” in English, but does hit a few other relevant notes and should still be okay length-wise (cursed subtitle restrictions!).

The phrase for “[move] to the big city” here is 上京 joukyou. It combines the characters for “up” and “capital” (of a state/country) and is used as a verb for moving to the capital—these days, specifically Tokyo.

(It used to mean moving to Kyoto, and I’m told it annoys some old-school Kyoto-ites if you use it to say moving from Kyoto to Tokyo, lol.)

#maidragon #Miss Kobayashi's Dragon Maid #kobayashi-san chi no maid dragon #translation notes #anime

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popculturebuffet · 4 years ago

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Uncle Scrooge by Don Rosa: The Isle at the Edge of Time (Thank You Comission For Rosie Isla)

Hello all you happy people! Today’s review is a bit special as it’s the result of another review. See I had trouble finding a translation of the subject of last weeks’ mother’s day special, Family Ties.

No not that one. I have Paramount+. I can watch all the Family Ties I want and that’s a fact that i’m pleased as punch about.

No it was the story 80 is Prachtig, called Family Ties in the copy used, Della’s first major comics appearance and one that explains what happened to her in the classic continuity, one that clearly served as the foundation for her far more fleshed out 2017 versions personality and backstory. It also had Pinocchio in it for some reason, and spent most of it’s large run time on a meta comedy plot that had nothing to do with the reason anyone wanted to read this story in the first place.

But despite being a vitally important story, it never got an english translation, something that baffled me till I read the story and found cameos of the racist indigenous stereotypes from Peter Pan. In 2014. You may commence booing. Even with how weird the story was I simply couldn’t find the story googling it and the Della tag is too vast and deep to go spelunking in.

So what’s all this have to do? Simple I put out a post last month when neither I nor Kev, who wanted to comission it as part of Moons, Millionares and Mothers, my coverage of all three season 2 Ducktales story arcs, could find a copy and offered a review to whoever found it. Weeks passed I got nothing.. then in the 11th hour I got a break as the lovely @rosieisla found a translation that was on this very site, one she seemed to have helped with. As a result I could do the review and as a man of my word, offered it up despite her clearly having not seen that part of the post and simply having done this to be nice. Still she gladly took up the offer and offered me my pick of two stories: The Carl Barks Story Back to Long Ago or this one.

As for WHY I picked this one Back To Long Ago didn’t seem bad, i’m just not a fan of “The Cast is put in the past as their own ancestors” type deals. Or in some cases put the cast as people from that time period. It’s just not for me and is most often done in TV where it can get really goofy, Beverly Hills 90210 being a prime example of this, though Girl Meets World was no slouch in being embarassing... that being said I really need to finish that show and miss it.

So yeah when put up against a story with two intresting hooks and FLINTHEART GLOMGOLD, even if i’ts not the version that’s my boy, it was no contest. So what are these hooks you ask? Well join me under the cut and find out.

We open with a weird stylistic choice: This story has a narrator complete with caption boxes. Now for those of you familiar with comics or pastiches of comics in tv and film, this probably dosen’t seem like a big deal. It was a common thing in comics from their inception to 90′s to have caption boxes, big boxes of text narrating the action to help move things along faster. It did start to fade out by the 80′s and was gone by the end of the 90′s for the most part, replaced instead with first person narration. It’s the kind of thing you’d see most often in the Golden and Silver Ages, with stuff like tihs

It’s not a BAD device, it’s good old cheesy and bombastic fun and some writers did get clever with it.. like that time Chris Claremont used the narration to yell at a greiving cyclops after he lost a teammate early in his long and storied run on the uncanny x-men.

This is a objectively weird scene that’s still somehow effective by the by. On the one hand it does come off as Chris Claremont essentally bullying Cyclops who already feels guilty for a death that was not in fact his fault as Thunderbird was told the plane he was attacking with fleeing villian Count Nefaria was about to explode and refused to listen.. and that they needed to get rid of either him or Wolverine as both served the same purpose and chose the non-white guy.

On the other htough it comes off just as much as Scott beating himself up in his grief and anger over the event and his perceived failings as a leader. It’s good stuff and shows why this run caught on as this was only three issues in. Also the rest of the issue features the X-Men fighting a giant cyclopian demon that Cyclops accidently freed in his rage by destroying the stone thing keeping him imprisoned. No really here’s the cover

Huh so tha’ts what Nifty’s dad looks like. Neat. Also I REALLY hope we get the X-Men fighting aliens or demons in the MCU. Unlike the XCU the MCU isn’t alergic to getting batshit.. and for the record Deadpool and New Mutants are the exception, not the rule.

My point that I swear I do have is that this was common practice for most comics.. but never really for Disney Duck comics. It popped up ocasionally, like with Scrooge’s introduction, but Barks and those after him never really used them that much. Sure they’d have caption boxes for flasbacks and what not but Barks and Co geninely only used this sort of thing to set up a story. The most i’ve seen it in a duck comic is life and times and even then i’ts usually only used for gags or to set up the passage of time, as the story IS covering decades and thus often needed to have montages to show time passing, and in the case of chapter 11, had to cover decades in the span of a single chapter, so it’s not like they had many other options. So even Rosa as a personal quirk didn’t really use these often.

Rosa used this specifically because he felt the plot was complicated by the use of the international date line. As for what it is, it’s essentially a line marking calender dates from one side of the hemisphere to the others. To use the offical defentition from the National Ocean Service I found via a quick google:

“The International Date Line, established in 1884, passes through the mid-Pacific Ocean and roughly follows a 180 degrees longitude north-south line on the Earth. It is located halfway round the world from the prime meridian—the zero degrees longitude established in Greenwich, England, in 1852.

The International Date Line functions as a “line of demarcation” separating two consecutive calendar dates. When you cross the date line, you become a time traveler of sorts! Cross to the west and it’s one day later; cross back and you’ve “gone back in time."

Despite its name, the International Date Line has no legal international status and countries are free to choose the dates that they observe. While the date line generally runs north to south from pole to pole, it zigzags around political borders such as eastern Russia and Alaska’s Aleutian Islands.”

Rosa felt this made the story complicated.... and that... really isn’t remotely true. The narration is mostly used for gagas and really dosen’t clarify anything. it’s mostly used well in the opening.. but the actual explinations for the date line are clear enough in the story that even if I hadn’t looked the thing up, I still would’ve got it and i’m sure a kid would’ve too. It just feels like a weird thing to ruminate on, especially because he’s got actual things to make up for: while to his credit the native american characters he cribbed from carl barks are sympathetic, their culture respected and treated decently and used for a green aseop, their dialouge is stitled and sterotypical something he dosen’t even comment on (And these trades ewren’t THAT long ago)

And of course it dosen’t help that he dosen’t even comment on using a common device in american superhero boooks.. in the same volume where he ONCE again makes an unwanted and outdated diatribe about superhero comics. I’ll probably cover the Super Snooper Strikes again so I can throughly tear this apart but higlights include: Calling superhero comics “Unwanted” just because he dosen’t like them personally, when people like me would disagree and they’ve lasted through a LOT of highs and lows, outdately saying they took over the American market as the only suitable comics which while true for a TIME,but by 2015 when this book was printed is laughably out of date, as non superhero works like The Walking Dead, Saga, and Scott Pilgrim were massively popular, one of my faviorite comics that is entirely slice of life and would go on to bea huge hit, Giant Days, re-debuted that very year. He also has the fucking gal to insult The Uncanny X-Men by name and I swear to god I did not know this when I made those references earlier, but as you probably guessed REALLY god me livid.

And this is just on his COMMENTS on the story I can’t imagine just how bad the content itself is and having read the first few pages which come off as Rosa using Donald to essentially do an “old man yells at cloud rant” about superhero comics, I really don’t want to. Might make htis a patreon exclusive or again would do it on comissoin. You all make the call.... the point is I don’t likes his elitist bullshit about superhero comics, and this is clearly something that gets my hackles up as I just spent a good two paragraphs of an entirely unrealted review yelling at the guy for it. I don’t like when he does this and this authors notes entirley felt like an excuse. I GET the dark age of comics were bad, they REALLY were that bad, but I will NEVER accept painting an enitre genre as bad just because one work in it is bad. And I wont accept it from someone who himself writes about an often throughly unlikeable anti-hero for a living. Scrooge may not have a gun on his gun on his gun or get to stabbing or have pouches, but he DOES finacially abuse his nephew, scoff at people’s personal troubles, and often refuse to use his wealth to help others in general. So yeah in conclusion Rosa really needs to say less about this subject.

Okay so where were we.. right the story hadn’t even started yet. Jesus.

Okay so our story begins with the narrator. Whose going on about time and what not. The main point of this speech about time is that it’s night in Duckburg and Scrooge is going to bed as, even being the workhorse that he is, he can’t keep going 24 hours. While he’s snoozing though something major happens and it’s the hook that made me pick this story along with the international dateline one.. an island rises thanks to volcanic erruption.. and the lava is GOLD. That’s just pure unabashed classic Duck Stuff: a mysterious treasure or phenominon of gold bound to bring scrooge in.

But Scrooge isn’t stupid: the sun comes up and the world still spins while he sleeps, so he set up a satalite to monitor for this sort of thing. The thing naturally goes nuts.. and even more naturally breaks down becasue Scrooge bought cheap parts. A nice gag and a fully in character way to bring our antagonist into the picture, as the Satellite of Loaded falls in the middle of South Africa... right on the property of my boy Flintheart Glomgold.

This is something Rosa brought up in his commentary for the story i’d never thought about. It turns out Glomgold being a citzen of Duckburg WASN’T an invention of the original Ducktales but the comics: some overseas had understandably moved him from his home country of South Africa. Him bieing in the same town as Scrooge instead of half a world away allows for easier setups and more intresting ones.

Rosa however being obdient to Barks Version of things, ketp Glomgold in South Africa like barks did, which was an .. ifffy decision given Apartheid had JUST ended at the time of this story. Not so much in the reboot as not only had apartheid been long gone by the time of the reboot, but that’s more fair. Still we do get some gorgeous vistas as a result as Glomgold’s minon goes to look at it and finds it’s from McDuck Mining company... Glomgold’s reaction is obvious.

So on that note we cut to Scrooge rushing to Donalds house and forcing him awake and not telling him anything at first. Look his Ducktales Counterpart straight up kidnapped his donald in my last review, I’d call this a win. He also tries to dress Donald while explaning both his panic to find the crashed satlitle and what it found: the golden island. The end result of him dressing donald is worth a chuckle

So after Donald puts his shirt and little hat on our heroes get rollin rollin rollin what keep rollin rollin rollin who to Manilla. On the plane we get the scene I mentioned: The boys make a quip about Scrooge having lost a day and the group go over the international date line. It’s a fun little scene especially Donald trying to get paid early at the end. Classic scrooge and donald stuff without the abusive undertones some of their classic stuff has.

Meanwhile Glomgold works out the data and finds out about the gold island, and his excitement accidently wakes a giraffe outside.. welll it was nice knowing him, Giraffes are the deadliest species known to man.. here’s an educational video t back that up....

youtube

So at Manilla Airport, Scrooge finds out abotu the south african crash, figuring he’ll get a laugh out of glomgold being there ... only for Donald to spot the Jet. Scrooge figures this can’t be anything good... now come on man maybe he’s just promoting his energy drink.

As super sayin god super sayian as my witness, I will never get tired of Ultra Instinct Glomgold here.

Scrooge isn’t so nice about that though and figures he better find out if Glomgold knows about the island and bribes one of the fueling crew for his uniform. He sucesssfully eavesdrops on Glomgold talking to his pilot, finding out from him exactly WHERE the island is. He ends up hilariously botching the mission though: when getting ready to leave Glomgold complains abotu the price of gas and that naturally causes Scrooge, just as cheap, to join in... and Glomgold to find out it’s Scrooge. The two wrestle outside the plane but before this can progress to a game of Naked Robber an airport security guy comes up and Scrooge cleverly claims that Glomgold’s plane has an infestiation, requring it to be quanrantined and allowing Scrooge to jet on.. thoguh not with an actual jet. With Glomgold seemingly dispatched, he can afford to save some money and take his time with a seaplane and I know just the man for the job.

Oh nope looks like he’s busy. So one time related rambles later we meet Keoki, their asian pilot from the tiny island of Wookawooka.. and no that’s not a real place i checked... and no Fozzy dosen’t own it his check bounced. That being said it is a very well done represntation of someone from a smaller country: he’s doing this job to try and bring money back home, but being a seaplane captain just isn’t enough and his island is dying. Scrooge naturally is about as sympathetic as you’d expect, having apparently never even heard of the idea of a bonus when Huey, Dewey or Louie suggests it.

Even less suprising is that Glomgold streaks by in his Jet:turns out Manilla was already overun with the bugs Scrooge claimed and Donald rubs it in that had Scrooge got a JET this wouldn’t of been an issue.

So Glomgold easily beats them there, and to add insult and actualy injury to a cash based one, our heroes get blasted by golden lava on the way in and crash. Should’ve gotten launchpad... got the crashing professional. Keoki is dispondent as this means his people are doomed. He also dosen’t know waht staking a claim is when Scrooge mentions it and the boys bring him up to speed with the poor guy saying he wish he could for WookaWooka. Donald also makes a valid point about how greedy and heartlress scrooge can be.. and really billiionares in general.

No no YOUR the Grouch who refuses to have one drop of emapthy. Donald��s just pissed at your general selfish and terrible behavior.

Glomgold glomgloats and has seemingly won... but naturally that rant that seemed extranious at the time about the date line comes into play: turns out the Island is on it, and since glomgold put his marker int he west, Scrooge simply puts his in the east which is a whole day before. Now GRANTED there’s nor eal legal prescendice for the intetaoinal date line itself , as noted above... but there’s enough witnesses in Scrooge’s favor that it simply does not matter anyway. Scrooge SEEMINGLY wins.

But Huey, Dewey Or Louie instead backs another claim: Keoki’s from earlier. While it was made in gest, he and the others along with Donald back it as witnsses instad. WookaWooka is saved and SCrogoe ends the story yelling at the narrator.

Final Thoughts: Don Rosa.. did not like this story, feeling it wasn’t one of his best and apologizing for it. I however.. really loved it. It’s not PERFECT: the narration feels not entirely necessary and the gag isn’t as funny as he thinks, though the payoff of scrooge saying “it’s time for this story to end” is fucking hilarous. I also feel it’s a bit too compressed: the story is only 16 pages and was only THAT long because Rosa added a few for exposition, a worthy addition. This feels like one of his 30 page adventure stories but slightly crammed into half the length. I also feel the golden island bit was BADLY underused as it’s such a cool setting but barely shows up in the story.

But despite that.. it’s still a fun story: as is standard for Rosa the art is gorgeous and the humor is great. And unlike some stories where Rosa casually ignores how terrible scrooge is, here it’s his own greed and hubris that do him in: had he actually agreed to help Keoki, the boys likey would’ve let him keep the island but his own cold refusual to be a human being does him in, just as his cheapness nearly did. Flintheart is also decent here.. not the deepest foe but frankly most classical duck antagonists really aren’t all that fleshed out, and we still get some good bits with him. The dateline bit, while telegraphing that it will be important, as I said REALLY isn’t that hard to understand. All in all while i’ll agree with Rosa this isn’t his BEST, it’s still a really damn good story and one he shoudln’t be ashamed of.

Tommorow: Green Eggs and ham is back for some train shenanigans! Kay.

Saturday: The Tom Retrospective returns for it’s last detour! Eclipsa and Moon team up to stop meteora but grapple with diffrent wants: One to save her daughter.. the other to stop waht she clearly sees as an out of control monster. The result.. will only lead to tragedy and a hell of a two parter.

If you liked this review consider joining my patreon, patroen.com/popculturebuffet. At as low as 2 bucks a month you get accesss to my patreon discord, exclusive reviews, and to pick a short when I do one of my shortstragavanzas, a marthon of theatrical shorts honoring a characters birthday. And given Donald’s is next month, now’s the time to get on board.

But if you go up to 5 you get a guaranteed review of whatever you want every month, and will get me to my next milestone, which will give everyone including yourself a monthly public darkwing duck review, reviews of the two Ducktales minis’ I haven’t covered (Time is Money and SuperDuckTales) and a reivew of the Danny Phantom film the Ultimate Enemy. So please join today and if you cannot, like this review, subscribe and give me your opinions on it bellow. Or even if you can feedback is always appricated and I will see you at the next rainbow.

#donald duck #scrooge mcduck #don rosa #ducktales #huey duck #louie duck #dewey duck #flintheart glomgold #gold #island #volcaones

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lightsandlostbells · 6 years ago

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Skam France season 3, episode 9 reaction

Okay, I finally did this one! I’m not sure how many people still care since Skam France S3 ended back in March, but I wanted to complete the whole season. Sorry for the delay, anyone still interested! I apologize if I forgot some crucial details in writing this since there was such a large gap between viewing the rest of the season.

Episode 9

Clip 1 - Guru advice for a sad boy

Lucas is lying on the couch after his rough night. Are they still going to make him sleep on the couch after this shit went down? Why is he even there anymore after he told them sobbing that this was his room now a few episodes ago? Or when he stumbled in with his boyfriend to fuck on the sofa and Lisa was like, yeah, make Manon sleep on the couch instead since she’s not getting any? Because I refuse to believe that Lucas chose to camp there voluntarily either when he was a) getting laid or b) in the throes of despair.

Mika checks in on him and tries to comfort him. There’s a nice, humanizing part where he says just because he seems happy all the time doesn’t mean he’s never sad, and just because he sleeps around now doesn’t mean he’s never been in love. Lucas apologizes for saying a dumb thing and Mika says it’s OK to be dumb when you’re sad. But don’t be dumb too long, meaning don’t be sad too long. He gives Lucas a kiss on the forehead. So at least we’re getting some of this affection between them later in the season.

Lucas asks Mika how you move on and Mika is just like … shrug. Like he literally shrugs. I mean, I get that there’s no easy answer, but you could have said that instead of leaving Lucas hanging, dude, give the guy a little relief.

Clip 2 - Lucas’ dad suuuuucks

Lucas is doing laundry and looking up bipolar disorder on his phone when Eliott sends him a picture, kinda similar to the one on IG of his raccoon fursona throwing away crumpled drawings? I think it’s be the same one. It’s like he’s trying to say something to Lucas but doesn’t know what. He sends another pic where the raccoon seems to want to call out to hedgehog but the hedgehog spurns him and doesn’t want to talk. Eliott then sends him a bunch of photos at once and Lucas texts him not to contact him because he's not dealing well right now. Which is kinda different from Isak’s reply to Even the night after? It might be lost in translation, but Isak was more “I don’t know what’s going on” and Lucas is like “I’m not dealing well with this,” so confusion vs. hurt/upset feelings.

More dramatic piano music as Lucas gets another text. not from Eliott, but from his dad, asking if it’s true he has a boyfriend. OK, so Dad is a homophobe? Because he sure took a while to answer his son (compared to Isak’s dad who answered him immediately). Like did he need almost a full week to process that his son was dating a guy, he didn’t text or call in the meantime? Dad says if that’s true that Lucas has a boyfriend, it’s not a good idea to bring him to church. He attributes it to Lucas’ mom not being able to understand, but this seems way more like Lucas’ dad’s problem.

Isak’s dad wasn’t a great guy, but I think he genuinely didn’t have a problem with Isak being gay, or at least not a huge one. He responded to Isak’s coming out right away, said it was nice if Isak had a boyfriend and he would like to meet him, and checked in with Isak about whether he was sad about breaking up with his boyfriend. It’s very possible he wasn’t 100% fine with it, but it seemed like he was awkward at worst rather than actually disapproving. Lucas’ dad feels like he is seriously not OK with it even if he’s trying not to come across that way. He waited almost a week to respond to his son coming out to him and then didn’t say anything nice like “I’m happy for you” on top of that, he just said went into how it wasn’t a good idea to bring his boyfriend to church. Lucas’ mom’s possible reaction felt like an excuse for his own problem. And I don’t think it was even her potential response as a religious person, but maybe the dad thinking that Lucas should keep his gay relationship away from the church as a general rule.

Lucas starts to type out that it was a joke (about having a boyfriend), but deletes the message and doesn’t reply, then seems about to cry again. So like Isak, he can’t bear to say it wasn’t real.

Also, by this point in Isak’s season, Isak had come out to both his parents, and he got his mother’s acceptance text right at his lowest point, when he needed it. So at least that weight was off his back. Lucas hasn’t even told her about having a boyfriend yet, so it’s just pure misery for him with no relief. He’s probably even more anxious about his mom rejecting him because of his dad’s text.

Clip 3 - Charles is THE ACTUAL WORST, NO EXAGGERATION

Manon and Emma are talking about Charles when Lucas gets home. Can we please inform the remake writers that this storyline is not even necessary in adaptations where the William actors don’t leave the show? Remember how much Noorhelm there was in S4? If it’s like this in S3 what will the Manon and Charles drama be in Imane’s season? Or will it be toned down in that season and is only more prominent in this one as a way to incorporate the girl squad more in a boy’s season?

However, Manon says Lucas can stay to hear about what happened with her and Charles, which is seriously a sweet moment since it shows how close they are and how much she trusts him. Additionally, he gets to return the favor (of sorts), because Manon supported him and Eliott and was there for him when he was falling apart, so now Lucas can listen to Manon’s story and support her in her time of need.

Manon tells her story. At first it was great with her and Charles, then he got busy working for his dad and Manon had classes, and she didn’t make many friends. I like that she’s all “not my strong point” to Emma; that’s nice continuity, since Emma was the first friend she made at her new school, and they bonded over not having friends, heh. Manon got summoned to testify against Nico and she was upset about it; Charles noticed but she couldn’t talk about it. Then Charles went back to Paris to see his mom and Nico was invited without warning. They talked, Nico cried a lot, he was depressed and regretted what happened. Charles thought Nico needed therapy, but prison would fuck up his life. Especially because Nico didn’t even rape Manon. Yes, that is what Charles actually said to Manon. The fuck.

Charles said he would support Manon in whatever choice but really, while he didn’t impose anything on her, he also didn’t support her. The day of the trial, she went to court but ended up leaving before it happened. Charles asked how it went and she told him the truth, but that she wasn’t coming home, either. Manon didn’t tell anyone what happened because she was embarrassed about leaving for London with her dream man and coming back after only a few months. She felt so stupid. Manon cries, Emma is supportive, Lucas suggests they all drink. Emma is like YESSSSS. Lucas is not surprised Emma wants to drink.

Manon is like, the last time I drank wasn’t exactly great. I mean ... good point, maybe not the best idea to remind her of Nico right now. Except Emma is like, I won��t make out with you, OK? Lucas is like, neither will I. Heh.

I’ll pay a compliment before I get into my rant: Marilyn Lima did a great job depicting Manon’s breakdown. I really felt for her. And that made me angrier at this narrative choice, honestly.

OK, I’m just like ... exasperated. And disgusted. I am not a Noorhelm fan. I didn’t like this story in Skam about why Noora left London. I think it illustrated why Noorhelm were not compatible as a couple, because the same mistakes were happening in S4 that happened with them in S2; just like when he ditched Noora at school when he heard from Niko and then ignored her texts telling him it was rape for days as she begged with him to talk to her, this incident again showed that William was not capable of supporting Noora to the degree she needed it. Sure, it’s a lovely moment when he holds her as she’s panicking, but what about when he cruelly removes that tenderness and love when he finds out why she’s panicking? It was her sexual assault, not his, and I know it’s more complicated because his brother was the perpetrator, but he still needed to put his own feelings aside and support his girlfriend, the victim. When he can’t do that, repeatedly, then we really need to question whether he is the right person for Noora. Not to mention that this issue was resolved off-screen, with Noora being vaguely like “we talked and I understand him so much better now” as if Noora’s failure to understand William’s feelings is the real problem here. Not to mention any other criticism I could say about Noorhelm. And in some ways I think Marles was worse than Noorhelm; there were times when Charles was more of a domineering asshole than William (the scene where he leaves Manon crying on the ground, for example, is even nastier).

So I say this as someone who doesn’t really care about the pairing … did they have to make Charles so much of an irredeemable asshole here?

Charles probably has some “good” reason for his behavior that we’ll find out later. Too bad I don’t give a fuck what it is. He minimized his girlfriend’s sexual assault because the attacker - his brother - didn’t technically rape Manon, because the brother is just so upset about it and crying and he needs therapy, not prison. Fuck Charles. Nico is probably manipulating him, or maybe Charles is doing this for his mother’s sake so her son doesn’t go to prison, who knows, but whatever the reason, he basically planted the idea in Manon’s head that Nico didn’t need to go to jail. He downplayed her need for justice. He downplayed her trauma. Like … the only acceptable explanation is that Charles was replaced by a pod person or an evil clone in Paris, and in S4 the real Charles fights his way out of the underground secret laboratory where he’s being held hostage and tells Manon the truth. That is the only way I will accept Charles and Manon endgame after this.

I would not have a problem with this development were I confident that Manon and Charles were going to break up for good. Okay, that makes sense as a factor that permanently separates them. I do still think it’s kind of frustrating and pointless, like why the fuck did we spend a whole season on their supposedly great and epic love if Charles was going to commit the same selfish and hurtful mistakes he did in S2? I think it would be fine to do a storyline where Marles/Noorhelm doesn’t work out because Charles just can’t be the guy Manon needs him to be, but like … that should be the story of S2. When they’re the focus of a season. When you can develop that idea clearly because the POV allows it. You could get them together earlier in the season and do an arc similar to Eva’s where the Noora realizes that while she loves William, it’s best if they break up because they don’t work as a couple (even if this might be a redundant storyline after S1, I think it could still have value in trying to portray girls not putting up with their boyfriends’ bad behavior). But not “we spent a full season trying to convince you they belong together, but something happens off screen and they broke up.” That’s narratively unsatisfying. And anyway, this whole rant is probably pointless, because my issue is that I don’t think they’re going to break them up for good. Charles will come swooping back later in S4 just like William did. He’ll likely have some weak excuse that we’re supposed to accept as justified for putting Manon through all of this pain. For fuck’s sake, even if, IDK, Nico was threatening Manon if she testified against him, or something dire like that, so Charles had to find a way to discourage her - in what world is it not better to tell Manon about this than to keep it to himself?

You know what? Even if you have sympathy for Charles, even if you think it’s understandable that he doesn’t want his brother to go to prison, however loathsome said brother might be - that still doesn’t mean he’s right for Manon. Maybe they love each other, maybe it’s not fair, but if he cannot support Manon entirely over his brother here, then this relationship will never ever be healthy. She is a victim of sexual assault; Nico is the one who assaulted her. There is no grey area to this situation. So if Charles cannot accept that, then he and Manon cannot and should not be in a romantic relationship; Manon deserves someone who can support her through her recovery of a harrowing experience wholeheartedly. I do understand if Charles has complicated feelings about the issue, but frankly then he needs to go to therapy and work them out with someone who is not the victim of a traumatic crime.

I mean, shit happens, sometimes you have to account for sudden unplanned factors, like when Thomas Hayes left the show. But Michel Biel didn’t as far as I know, so there was no reason to insert this frankly evil drama into the narrative. There was no reason to send Manon to London at all? She was going to move in with Charles. That was literally what was planned for them after S2 to free up a room for Lucas. It’s just so goddamn dumb.

I’m trying to consider if maybe the purpose of this crap was to make a parallel to Lucas’ situation, maybe to show Lucas how Eliott must feel to be abandoned by the one he loves by showing Manon breaking down? But nah. If that was the case, it’s really not highlighted enough, I don’t think we see Lucas clearly link it to Eliott. I know subtlety isn’t this show’s strong suit, but this would have been so subtle as to not be present at all (which is why I don’t think it was intended). And it’s also way too big as drama not to have drastic consequences in itself.

God. I just. Why. Whyyyyyyy.

Clip 4 - Pity party turns to pity rave

They’re all hanging out and drinking, nice to see all three season leads so far get a scene together. Manon’s lying in Lucas’ lap, that’s cute. They’re bemoaning their love lives and it’s Emma’s turn to vent about her relationship with Alex. Manon suggests talking to him to find out if he has good qualities other than sex. See, I would buy this if all we knew about them was that they were hooking up, but we’ve seen through social media that they do hang out together outside of the bedroom? They go places together enough to document their experiences on IG. So they would’ve attempted conversations already, they would’ve tried to bond. I think it’s time for Emma to call it like it is: a satisfying sexual relationship, nothing more.

Lucas is like, you’re lucky, you have a boyfriend unlike Manon and I. Dude, Lucas, come on. Emma is just FWBing it with Alex anyway, according to her. He’s drinking and getting sloppy and telling them about Eliott’s freak-out and him being bipolar and Emma is like, I have it worse. Lmao shut up, no you don’t. I get it in the sense that having a bipolar boyfriend is not a terrible thing, but Eliott’s manic episode is certainly a more drastic and serious thing than just being with some conversational dud who knows how to maneuver his penis. Even Lucas is like BUT MY BOYFRIEND IS BIPOLAR, though in his case I think it’s still the ableism peeking out.

Manon is like, excuse me, I have it the worst. They agree. I also agree. Charles is undoubtedly the worst.

Mika and Lisa come home and join in the debauchery. They put on a disco light and everyone dances. It’s very tonally jarring and I think it’s supposed to be kinda not actually happening? Or rather, some version of this is happening but Lucas’ POV is exaggerating or distorting it because he’s drunk. The lyrics are like “Take control” so I suppose this is his desperate way of reclaiming his messy emotional state

I do like the shot of Mika showing off his nipples and Lucas seeing it and being like … nope.

Manon and Emma make out and Lisa and Mika make out and I’m kinda cranky about it, because I don’t need more straight girl hawt drunk make-outs or a gay guy kissing his female roommate, like what a double dose of bullshit. More generously, I can attribute this to Lucas hallucinating and being out of sorts while he’s drunk and so imagining “wrong things” like everyone around him standing still, Manon and Emma kissing when they’re not a couple, Mika and Lisa kissing when Mika is gay, etc.

It’s all fun and games and party electronic dance makeouts until Lucas slows down and gets miserable. Things get blurry. He can’t drink his angst away, not for long.

There’s a shot spliced in of Eliott making eye contact with him on the dance floor in episode 3, as Lucas is coming down from his high. Nice inclusion as Lucas is trying to escape his problems but of course he can’t get over Eliott or his sadness that easily.

There’s possibly more you could analyze about the composition of the ending but the editing kinda gave me a headache so I only watched the clip once, sorry.

Clip 5 - Basile isn’t a dumbass for once

Lucas is very hungover at school on Monday. Yann is like oooo, night out with Eliott? Lucas explains that it’s because of Eliott that he got drunk. He says Eliott is bipolar as Arthur and Basile sit down. Arthur is like, Kanye West is bipolar. Maybe not the best example to use in 2019, bro.

Honestly they’ve ruined Basile SO FUCKING MUCH with his horrible creepy sexism that I can’t even enjoy this moment from him where he talks about his mom. I mean, this is easily the best Basile has been all season, and if they hadn’t made him so disgusting, it’d be a great scene for him. And I completely understand people liking him in this moment. Hell, divorced from anything else in this season, I like him in this moment! But I cannot get over how atrocious their depiction of him has been elsewhere in the story, like I’m glad he dropped some wisdom on Lucas but this isn’t some magical fix-it that will erase my negative feelings about him.

Like for example, Basile says the first time his mom saw a Tom Cruise movie, she fell madly in love with him and flew to LA and went to his house and got removed by the cops. And not to be insensitive since this is an example of her mania, but my first thought was, “Oh, stalking runs in the family.”

The rest of the dialogue is pretty similar to OG where Basile inquires about how Eliott is doing and he suggests Lucas talk to Eliott, Lucas is a dumbass for listening to Eliott’s ex, etc. Basile says it seems like Eliott really wanted to be with Lucas, and that there are times when it will suck, but if Lucas wants to be with Eliott, he’s got to do it, you have to take people as they are. I dislike the music intruding over the end - I don’t think it’s well-timed and it feels forced - but other than that, the message is fine.

Clip 6 - Bye bye foyer

I like how Lucas and Yann are kinda cuddled into each other as they share earbuds and the couch. Lucas is still wearing his ROMANCE sweatshirt despite being deep in heartbreak. I admire his commitment to love.

There’s a little meta joke because they’re watching a show on Yann’s phone, and he says it’s episode 9, and it’s almost over. Which is of course a reference to it being episode 9 of Skam France with the season almost over, heh.

Lucas gets a text from his mom about going to confession and how God forgives those who deviate from the path as long as they come back to it. This leads into the coming out from his mom, and THAT GODDAMN TINKLY PIANO MUSIC starts up again. I do think it’s been used appropriately at times, but at other moments it feel so soap opera-ish and overly dramatic. Sometimes it seems like Skam France is a really insecure show, like how they have characters state the obvious like they were afraid the audience wouldn’t get it, or they go for the OTT music as if the writing, acting, and directing won’t be enough to elicit an emotional reaction.

I mean I realize it is Bad and Wrong to compare Skams but remember in the original version of this scene where Isak just sat and typed out this entire, very long message, and it was silent except for the cafe noises and the camera stayed still on him the whole time, because Julie trusted the audience not to fidget and for Tarjei’s acting and the importance of the scene to hold everyone’s attention? And in Skam France we get the music and the camera will not stop moving like they assume the audience is made of easily bored toddlers who need stuff swirling in front of their eyes at all times. Speaking of, WHY ALL THE FUCKING PANS, why does the camera need to move so much, whyyyyyyyy. It’s distracting and doesn’t even fit for the emotional tone of the scene, really? Like isn’t he actually pretty steady writing this to his mom? Shouldn’t the cinematography reflect that?

Lucas starts to type a text about how he met someone and don’t get mad at him, but he deletes it and just types out a message saying he’s gay, sorry if it hurts or disappoints you, see you on Friday, love you. And Lucas’ mom texts him back immediately to tell him she loves him, too, and that she’s proud of him.

Heavy sigh. I feel bad being negative about this scene because it is important and beautiful for Lucas to hear, he’s profoundly touched by his mother’s acceptance, but boy oh boy did they minimize the impact of this scene, even aside from my gripes with the cinematography and music.

So the Religion clip was the catalyst for Isak coming out to his mom, and he specifically uses Sana’s words to come out to her. None of the S3 remakes seem to understand that clip’s importance to the Isak character except that hey, talking about religion and homosexuality is good! It aggravates me because it makes it seem like the writers missed a basic connection within the story; they think stuff just happens in the season Just Because and don’t get the cause and effect (like the generalization dialogue earlier in the season, something both France and Italia included without really seeming to get why it was there other than “the message is important”). And I mean, you can adapt the religion scene so it’s not the same! You can adapt the message, it doesn’t have to be verbatim. But not connecting the religion clip to Lucas coming out to his mom makes that relationship between Lucas and Imane less meaningful. It makes the scene more of a tangent rather than an important stepping stone in Lucas’ coming out narrative. It’s just there.

Again, I hate being sour about this but it just makes me grumpy, like I feel this is a demonstration of the differences between Skam and Skam France. Skam did this simple, quiet coming out scene where we just lingered on the actor for a while and which was built up to within the narrative by a prior scene that linked the two thematically, and which delivered the “punchline” with some excellent pacing (where Isak’s mom didn’t reply until when we least expected it, and with powerful timing and execution, when Isak most needed to hear it), and Skam France flies by this pivotal scene and does it in under two minutes like it’s getting it out of the way, with nothing remarkable about pacing and timing, but with dramatic music and camera movement.

Part of my problem is that honestly, I feel like Skam France kind of ... doesn’t care about this moment. Consider the amount of time given to Lucas’ coming out to his mom and her acceptance, versus the amount of time for the foyer stuff that takes up the rest of the clip. I feel like other than Yann’s random initial rejection, all of Lucas’ coming out stuff has been so smoothed over and easy, not just from an outsiders’ perspective, but from a personal psychological perspective. And it’s not that I expect CONSTANT TORMENT but it feels massively oversimplified, like these scenes are just obligatory. I hate to say this because I know the screenwriter is gay and I don’t want to diminish any personal anecdotes on coming out he brought to the story, whether this reflects his own experience. But I almost feel like they knew the Evak fans would flock to this season (which is true, we know with all the behind the scenes stuff and cast interviews they were doing that were blatantly to appeal to shippers) and so they allocated some screen time to getting in the shippy romantic content while pushing aside some of the pesky, less exciting stuff that doesn’t have to do with romance. Like for instance, coming out to one’s mom.

I do like that when Lucas is crying, Yann asks him if he’s OK and Lucas is just kinda like, yeah, I’m fine, and Yann smiles at him. It’s a simple, nice moment.

But here I go again. Just the fact that this incredibly pivotal and meaningful scene is cut off so we can get to the fucking common room drama?? The common room is more important that Lucas coming out to his mom?? They could have at least made the coming out moment a separate clip from the foyer stuff with the principal. It’s not like they haven’t been doing that all season, splitting up big scenes into two or more clips. (And yeah, Isak’s coming out to his mom didn’t have its own clip, but the content surrounding it was at least extremely important and concerned Isak on a very personal level, compared to the foyer stuff.)

The principal storms in and yells because the students have been snatching the Wifi. Daphne takes the blame and gets in trouble for it. Then the principal hears giggling from another room and there is the nerd dude who set up the Wifi and Chloé’s friend Maria, getting cozy on the mattress. They get up and run off when the principal yells at them. Okay, who the FUCK thought it was a good idea to put a mattress in a room behind a closed door, in a school full of hormonal teenagers??? Did you not think this is where it would lead? Idiots.

The principal is roaring mad and yells at Daphne more. What’s next, a Fight Club (lmao, I wouldn’t be surprised) or a heroin den? He singles out the mural as peak bullshit and tells the students to pack up their things. The foyer is closed. And they have to come in on Saturday to repaint the mural.

Lucas is like, no, that’s where I lost my virginity! It’s a monument to my first experience with gay sex! No, actually he just defends it as an homage to Jackson Pollock. Yann defends it more calmly, but the principal gives them both detention. Well, that’s not fair, Yann didn’t deserve that.

Imane stands in front of the principal and gives a speech about how they all participated in the mural and how it means something to them and represents their differences, difference races and sexual orientations. It shows how they can all live together. And now he wants to paint over the mural in white, of all colors? It’s a good speech not because she means it, because L M F A O they did not all paint that fucking mural, Lucas and Eliott splashed some paint on the wall before fucking against it, but because it appeals to the principal’s sense of self-preservation. Does he really want to erase the mural that represents his marginalized students and the harmony and diversity of the school? Does he really want to risk the backlash?

The principal backs down from the mural and leaves. Wait a minute. Imane didn’t actually mean that speech did she? Because lmao, this mural did not mean anything about diversity. There’s an ass print on the wall, for fuck’s sake.

I think she was definitely manipulating the principal and going over-the-top, but the issue is that the rest of the season then tries to play her words as sincere, like that’s the whole point of them standing up for the foyer in the finale, that it’s a place that brings different people together.

Anyway, they’re all sad. The foyer is closing! Daphne says there will be a solution, the others comfort and reassure her.

Maybe because I’m in a bad mood from the coming out part of the scene but: I do not care about the foyer. Actually, I care about it a tiny bit in that Daphne would be sad if it closed and Daphne is my girl but other than that? Nah.

And you know what? The principal had a fucking point! Multiple points! They did host a party after school hours where dozens of students broke into the school and potentially caused mess or damage. They were stealing Wifi to the point where it was slowing down the network. They did have a room with a mattress where two students were just caught in the act of trying to hook up. He was being petty about the mural, but other than that? He’s not wrong. I love Daphne but looking at it from the POV of a meanie adult, she’s enabled a lot of irresponsible actions with this foyer regardless of possible negative consequences.

But mostly? I don’t care about this. I’m weary of how the foyer has encroached on Lucas’ season the way the bus took over Sana’s season. I only gave a shit about the bus because as it meant something to Sana with reconciling her Norwegian culture with her Muslim/Moroccan culture, and because I wanted to see the girl squad have fun in the bus, not because I cared about the bus in itself and how big it is or whether it has certain features or if they can afford a bus as opposed to a van. Likewise, I care about the foyer only in how it relates to the main characters, and so far mostly it’s just Daphne’s investment in it. Lucas’ investment in the foyer is mainly that he and Eliott did the mural and fucked there, a scene that was ridiculous in itself, so I have a hard time caring about it.

But like … if Lucas really cared about this foyer instead of seeming just along for the ride for most of its development? It would make more thematic sense in the season. Like if he and Eliott were more actively involved in fixing up the foyer all season instead of just the mural scene, if it really represented something to them. Say he and Eliott had more meetings and flirtations in there. Or Lucas secretly crashed here when he was having problems at home. If this foyer really felt important to Lucas. Because honestly, I feel like his involvement is mostly “the girls asked him to do something and he did it because he had nothing better to do/got railroaded into it.”

He does text later that the mural is all he has left of Eliott. But the mural is now safe? The principal backed down from painting over the mural. So again … who cares.

IDK, I feel like there were so many ways this could be better. For example, if the foyer was more actively a place that represented diversity and LGBT rights and anti-racism and political activism. If the mural had some legitimate political commentary behind it, or they’d hung a pride flag somewhere and the principal came in and told them to take it down. Or maybe he just got word that a gay couple (aka Lucas and Eliott) were being snuggly in here - not that they banged, just that they were kissing and holding hands in a place that made them feel safe and welcome, and he came in to shut it down in a way that was loaded with microaggressions against them. Then the foyer would genuinely feel like something that needed to be protected. As it is, I’m just like … he’s not wrong about anything he said, lmao, and the idea that the foyer is some haven of diversity and different people coming together feels totally tacked on.

Clip 7 - Lucas’ mom is great

Lucas goes to church and meets with his mom. His mom greets him warmly and hugs him, so that’s very sweet. But it turns out Lucas’ dad isn’t coming. Mama blames it on leaving too many voicemails for him, and that she thinks he doesn’t want to see her anymore since the separation. Nah, I think Lucas’ dad is just a turd, and probably a big homophobe.

Mama says people are the way they are, you can’t try to change them, they have good qualities and their faults. We just need time to understand. So kinda similar to what Basile said earlier about taking people as they are. Lucas ponders that and they go inside the church.

I’m kinda ehhh on them using a church for this scene, considering there hasn’t been as much religious symbolism in this season? Lucas’ mom did send him Bible texts, and there was the Lucas light/dark stuff, but that didn’t seem explicitly tied to religion the way the Isak birth/rebirth stuff was through the 21:21 reference, or the baptism imagery, Even’s Halloween costume, the presence of Christmas? However, I could totally just be missing something. And I don’t think it’s wrong for them to use a church, just that I think it’s a church because it was a church in Skam, rather than because they built up the religious symbolism in this season.

Clip 8 - Run for your love

Lucas and his mom are in church. There are some shots of candles so I guess that’s a tie-in to the light/dark imagery. Or that Lucas is finally seeing the light, heh.

The mass starts and soon Lucas gets a text from Lucille about how no one can find Eliott and they’re freaking out. So Eliott himself doesn’t send Lucas a text, let alone a goodbye text. He’s totally gone off the grid.

We get a montage through Lucas and Eliott’s relationship as the priest talks about how believers can find peace and comfort in God, God gives us the strength we need. No matter your sorrow, God accepts you and you’ll never be alone because God is with you. The church is your shelter. Mixed in with the priest’s words are images of Eliott, so it comes across pretty clearly that Eliott = God in this scenario? Lucas finds peace and comfort in Eliott, he gets strength through him, he’s not alone with Eliott.

I think this would come across a bit stronger if they had built up that religious symbolism throughout the season, because otherwise the Eliott = Lucas’ God thing is a little ... random. I get that they probably just wanted the priest’s words to resonate with Lucas rather then trying to say Eliott = God as a metaphor, but it’s one of those those things where they could have subtly planted connections all along. (I don’t remember any but I’m also finishing this recap like two months later, so I could’ve forgotten something.)

The montage is kinda funny if you consider that Lucas is in church, flashing back to the better times of him boning Eliott. I mean ... who wouldn’t, really.

I enjoy Seinabo Sey and appreciate Skam France using so much of her music, but at first I wasn’t sure how I feel about this choice of song. Is it too on the nose (“I’ll remember you” for a flashback montage)? Skam used plenty of songs with lyrics that described what was happening on screen. Does it fit the church setting? Eh, I don’t think a church scene needs a religious soundtrack. So the song choice has grown on me a bit since then.

I think the reason I was somewhat hesitant about the montage is that Lucas gets a text that Eliott is missing and he just sits there for a few minutes flashing back to the good ol’ days instead of reacting immediately like oh shit, Eliott’s disappeared. Even if they’re not in a relationship, that’s still cause for concern. Whereas with Isak, he didn’t quite understand Even’s text at first; he just smiled and sat down because Even loved him and he read the text in a purely positive way. It was when he realized Even’s text was a possible suicide note that he left the church to go after him. I guess because Lucas was remembering his relationship with Eliott, he was able to figure out where Eliott might be? But still, seems like he should’ve reacted instantly to Eliott possibly being in trouble.

Lucas decides to go and tells his mom. They exchange I love yous, which is sweet and a great closing note for this relationship. The shot of him walking down the aisle feels like a direct homage to OG.

“Remember me under the sun” - OK so I guess that’s another light reference.

The growing intensity of the music is good and I was getting into the scene but dear lord, the slow mo of Lucas running is ABSURD. Why did this turn into Chariots of Fire all of a sudden? Why is Lucas running through the actual street and not the sidewalk, he’s going to get by a car!

OH MY GOD HE ALMOST DID GET HIT BY A CAR, WHY WAS THAT NECESSARY, I STARTED LAUGHING MY ASS OFF

Like was that some outtake where Axel Auriant almost got mowed down because they asked him to run in the fucking street and they decided to keep it in for the ~drama? Talk about a mood killer.

I do like that Lucas knew where to go because he knew it was a place special to Eliott, and to the two of them. And that he found Eliott in the dark and that Lucas brings the light on both of them (literally, with his cell phone). Maxence does a nice job of crying and looking heartbroken.

This scene isn’t bad (except for the running and almost getting hit by the car…. why) but it does makes me think the remakes really need to start from scratch with the climax of this season. Not just recreate an O Helga Natt-ish clip with similar setting, music, dialogue, or story beats, but to look independently at what the themes of the season are - not OG, their season - and then build up something that’s consistent with that. That’s a big part of why O Helga Natt is such a masterpiece: It ties together Isak’s main lessons throughout the season, as well as paying off foreshadowing and incorporating multiple motifs and threads of symbolism that have been developed along the way.

So for example, just a small observation: Lucas tells Eliott he’s not alone anymore. Which is of course a line from O Helga Natt, and a line that does have a powerful meaning in this context. I’m not saying it’s a bad line in the slightest. But in O Helga Natt, Isak was saying it as a direct response to Even’s text message, in which he says “everyone is alone anyway.” And also in response to something Even said back in episode 5, about “the brain is alone” and being alone with your thoughts and the only way to escape is death. And to some degree in the hotel clip when Even said the alone way to have something forever was to lose it, just after they were talking about Isak and Even in infinite universes, as if Even was talking about losing Isak and being alone. It was established that Even had a fear of being alone. Here, Eliott does not send Lucas a text, so “You’re not alone anymore” is not a direct response to anything. And I don’t remember Eliott saying anything about being alone in episode 5, having that line of Even’s, or in episode 8 (Again, I took a long break between recaps so it’s very possible I just forgot Eliott’s prior comments about being alone to Lucas, feel free to remind me.) So while the line is sweet and supportive and powerful, IMO it lacks the extra punch that Isak’s “You’re not alone” did simply because Skam’s writing was tighter. I mean ... if Isak hadn’t said “You’re not alone,” would Lucas have said it to Eliott? Might he have said something else relevant to their relationship, rather than recreating an existing iconic line? I don’t know if I’m explaining myself clearly, and I truly don’t mean to make a mountain out of a molehill, because the line is perfectly fine here. It’s just that I think the remakes need to not lean on O Helga Natt so much, and instead rely on their own ingredients in the season to craft this climactic scene, if they want to create something with the most impact.

Social Media/General Comments:

Lucas doesn’t text Mika after the boat clip, he texts Manon. Which seems completely in line with those relationships, in my opinion. Isak texting Eskild and Eskild dropping everything to go home after the hotel is a testament to that relationship’s strength, but Lucas and Mika still don’t seem to have that degree of closeness, even if their relationship has gotten stronger. It’s Manon who Lucas seems closest to, the one who can cry with him and sit in silence together just for comfort.

However, Lucas doesn’t give Manon the details or even imply something is wrong in his text to her; he writes a (typo-filled) draft where he explains what happened on the boat and then deletes it. I’m assuming he told her afterwards, but this is a really good detail! Skam France and other remakes sometimes miss innovative ways to use social media to enhance the story, and I think this small touch is quite clever. Lucas is shaken and distraught after the boat and writes this messy draft of a text to Manon, spilling everything, but he deleted it and went with a neutral text, holding back the information. The reason I think he deleted his explanatory text is not just because of how messed up it was, but because writing out everything - Eliott disappeared, he’s bipolar - would make it more real, and Lucas cannot handle that it the moment, it’s too much.

Mika sends Lucas a link to a sad song, for help with his wallowing, I guess. Maybe not the best thing to send tbh, but it was kindly meant. And Lucas posted on his IG story that he was listening to it, so perhaps it helped him.

The pity party was documented quite well on IG. I wonder what Eliott thought if he saw any of it? Lucas drunk and dancing ... could go “he’s upset” or “he’s glad to be rid of me” which tbh I could see happening in a depressed mindset.

Eliott posted colors to his IG - like just colors - and deleted them really fast. Which is another good use of social media here, possibly to illustrate his changing moods, to hint at his mindset (like his depression being just a dark gradient) I’m kind of like ... why didn’t they do something like this last week to hint at his mania?

Lucas contacted Eliott via text, saying he wanted to see him or talk. That would’ve been good to see in a clip, really.

People using Imane’s BS speech on IG to promote the common room cause = LMAO.

Lucas says the mural is all he has left of Eliott, which is at least some reason he’d care about protecting it and the foyer. The boys encourage him to go to Eliott’s place, and Lucas is hesitant, saying he was told to stay away. However, then there’s an IG story of Lucas outside Eliott’s building.

Lol, OK, that’s something that definitely would be better as a clip rather than a stalker-y IG post. I mean, when you think about it, isn’t it kind of weird for him to broadcast that to the world? I guess he hoped Eliott would see it and know Lucas cares and wants to talk to him?

But sooo many questions. Like ... did Lucas try to ring the bell or contact Eliott while he was there ... or did he just stand looking up at his window like a creep ... how long was he standing there ... I don’t think they thought this one through. Yeah, absolutely should have been an actual clip so we know what the hell happened.

Ok I realize it is sooooo after the fact, and regarding this topic that has already been discussed to death, I hate to come back with another rant like AND ANOTHER THING!!!! but at some point I came to another realization about why Yann’s reaction to Lucas’ coming out is bad and stupid and I wanted to get it out because it has been bugging me.

Yann’s reaction is bad and stupid because the “you weren’t honest with me/told everyone else but me” reaction is often fake and disingenuous. Like I hate to generalize and I’m sure that somewhere in the history of the world, someone has genuinely been hurt that their friend came out to other people before them, but also, sorry, I don’t think it’s a common authentic reaction. It’s a smokescreen for homophobia.

So let’s talk about Please Like Me. Please Like Me is one of my favorite non-Skam shows ever. Like Skam S3, its protagonist, Josh, is a young gay man just accepting that he is gay and coming out (although he’s older than Isak). Like Isak, Josh has a mentally ill mother. Like Skam S3, Josh gets into a relationship with a mentally ill person. It’s less idealistic and more painful than Skam, but still completely worth a watch, I highly recommend checking it out.

At one point in Please Like Me, Josh goes with his boyfriend, Arnold, to Arnold’s birthday party with Arnold’s family. Arnold is not out to his family yet and is planning to come out to them at the party. However, in a previous episode Arnold told his friends that his dad has said he doesn’t like gay people and told Arnold to quit singing in a choir because people would think he was a (homophobic slur) and beat him up. So, Arnold’s dad is an established homophobic asshole!

At the party, Arnold announces to his family that he’s gay and dating Josh. Arnold’s brother and mom are like “Yeah, we knew,” which is not the best thing to say but they’re overall chill and supportive. Meanwhile, Arnold’s dad stands there with a sour look on his face. When he does finally speak, he says that he’s been “backed into a corner” - presumably because the rest of family supports Arnold, and because they have other guests with them looking expectantly at him waiting for him to say he’s OK with Arnold being gay. Like he’s basically saying he doesn’t have the freedom to react negatively. You know, something a total non-homophobe would say! Then he starts going in on Arnold for lying to him, and saying the biggest problem is that Arnold didn’t feel he could be honest with him. (Then he knocks over a croquembouche.) Arnold’s dad leaves, but not before telling his wife that Arnold should be gone when he gets back.

Why am I bringing up Please Like Me? Because Please Like Me, created-written-directed-acted by real-life gay man Josh Thomas, is smart enough to recognize that homophobes often direct their disapproval into other excuses to be upset when someone comes out. Arnold’s dad didn’t stand there and rant about how homosexuality is wrong or gross. He didn’t say anything about homosexuality at all. Instead, he funneled his feelings into the weaselly excuse of “you weren’t honest with me.” (This right after Arnold has said, in his coming out speech, that his best chance at happiness is to be honest. Honesty in this case acknowledging he’s gay and has a boyfriend.) But let’s be real: if that were the case, if Arnold’s dad were upset about the lying rather than his son’s sexuality, would he really get that angry? Enough to effectively kick his son out of the house? To knock over a goddamn croquembouche? No, this scene is obviously about a father being pissed that his son is gay. But he feels “backed into a corner” and it’s not like he can say he’s upset that his son is gay in front of everyone else, in front of the guests, his son’s boyfriend, his wife and other son who have known for a long time and are fine with it.

Circling back to Skam France: we had Yann upset enough with Lucas coming out to him, for Totally Non-Homophobic Reasons, to walk away from him because he was hurt Lucas didn’t come out to him first. And I do believe the writer intended for Yann to not be homophobic at all! But it’s such a shitty, cheap excuse for drama, such a flimsy rationale for Yann’s reaction, one that doesn’t fit his prior behavior at all, that frankly, it pings too close to a smokescreen. Like Skam France is trying to pass off this blatantly artificial reaction as genuine. If someone reacted like this IRL, my gut feeling would be that they were a fucking homophobe. They’re most likely homophobic but aware that openly saying bad things about gay people, openly expressing their disapproval, is not a good look for them. Or they’re homophobic but trying to tell themselves they’re not by channeling their disappointment into other reasons that don’t rely on discomfort with homosexuality. It’s completely plausible and even probable for people to have some homophobic hangups under the surface, that in theory they were OK with gay people but when your best friend is staring you in the face telling you he’s in love with another man, those hangups might suddenly rise up.

And if somehow we give these reactions the benefit of the doubt, that someone is truly upset because “you lied to me” or “you didn’t tell me first?” - that person’s still a selfish asshole. Think about it. Your friend is confessing an extremely vulnerable secret about themselves, something that may have caused them great internal stress and pain, and you’re mad that they didn’t tell you sooner? Fuck off.

Anyway. The point I’m making is: in a Doylist sense, I think Yann’s reaction is not homophobic. The Skam France team really didn’t think of it that way. In a Watsonian sense, I call bullshit. Yann walking off during the coming out scene is most plausible if Yann actually had a homophobic reaction to Lucas’ coming out, and needed some time to process it before accepting Lucas’ sexuality. His explanation to Lucas is weak and unlikely. If it is true, that makes Yann a self-centered asshole. I know people don’t react perfectly and obviously Yann stepped the fuck up for Lucas afterwards but let’s acknowledge it for what it is, prioritizing one’s entitlement to someone else’s deepest, most painful secrets over their comfort and safety in keeping those secrets.

To be clear, I don’t hate Yann, not at all, and I attribute this mess solely to bad writing. It’s one of those things where the intent is different from the finished product. In analysis of Yann or Skam France or whatever, I’d acknowledge the intended purpose of that creative decision to make Yann walk away. But I’m also acknowledging that this creative decision is some stupid shit, lmao. And I’m aware the screenwriter is gay, and for all I know this is based on personal experience, but for now this scenario feels fake and manufactured only for drama, and inauthentic to how people would genuinely think and react in these scenarios. Someone who walks out on their friend when said friend comes out is probably homophobic to some degree, or else self-centered as fuck. Simple as that.

I am not French, so please feel free to correct me on any translation or cultural notes that I missed.

Like I said, I took a break from recaps, so I also might have forgotten certain details of this season, feel free to remind me of any of those, too!

If you got this far - and if you are still reading this after all this time - thank you very much, I love you!

#skam france reactions #skamfr reactions

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min-hyun · 7 years ago

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[TRANS] Pann: Why did we believe in Kang Dongho? (+1453, -170) + Comments

23 Apr 2018

[People] asked how Kang Dongho fans could believe in him like that These kind of question posts came up on Talk Choice (t/n: On Nate Pann) So I wrote comments too… And I decided to write one post completely about him.

For the past 10 months, as I worried alone internally… Someday when things are resolved, I would tell this story to people when the day comes. I thought about that.

From when I was young to when I became an adult too… I suffered from sexual harassment no small number of times.

And so the thing that I got to know is In regards to sexual matters, the proposition of ‘[He’s] not that kind of person’, Is one that couldn’t be used.

No matter how good their social reputation is, Or how good their image is…

The part regarding sexual harassment is something that parents, siblings, and even friends couldn’t know. Because people other than that person and the other party wouldn’t know.

However I believed in Dongho. Just because I’m his fan or because he’s cool.. It wasn’t because of these pathetic beliefs.

It also wasn’t because of the blind faith that, ‘Dongho isn’t that kind of person.’

Like I said above, whether Dongho isn’t that kind of person or not is something I don’t know…

However what I and Dongho’s fans believed is that,

‘Dongho is not a person who would shamelessly lie and nonchalantly laugh in front of us and go on broadcast having done that.’

The image of Kang Dongho that was made from Produce 101 that the public knew is

A tough guy, a macho-style image, A big frame, strong strength, and strong personality, A person who seems to be like that…?

Is it something like this?

But the Dongho that fans know is…

A person that’s very different from the image that the public knows.

He laughs well, and he has a lot of mischievousness, And it’s hardest for him to hold in his laughter...

Picture: “Love you”

If he’s not on stage, he’s full of shyness… Although he’s the worst at aegyo or cheesy words

He’s a person who always expresses himself sincerely

In an indifferent and blunt way of speaking.

Picture: Staff - “That time, I wasn’t myself” Dongho - “No, that time was me! That was me.”

His personality is one that does not have a different front and back, and does not put on false pretenses about himself…

Picture: “I’ll work harder to present myself well. I did wrong”

He doesn’t obsess winning over others

And if he’s wrong, he’s the type to admit it right away.

He’s far from the strong image to the extent that even within NU’EST, he’s always ranked last.

His own member Minki said that if there were something with another member that hurt him, he would send a text to have a conversation separately.

But even while living together for a long time, Dongho did not receive such a text from Minki even once.

To that degree, even in daily life he is the type that does not often conflicts with others.

On a radio broadcast, he had to do a thigh battle with a female

If he won, it was a situation where the woman’s legs would have to be opened unflatteringly, so he put in just a little strength and said, “Sorry but I’ve won” to stop the game right after.

He’s a thoughtful person who said they should do the game again in the reverse roles.

When he said that he played kongi (Korean jackstones) and colored [his nails] with garden balsam (a flower) water. He questioned, ‘Why is that?’, at the response that it was girly.

And he’s a person who doesn’t hold stereotypes for gender roles, saying, “Between mom and dad, the cooking should be done by the person who cooks well.”

Even though he couldn’t do aegyo when put on the spot,

When he looks at fans, he’s a singer that looks at fans with a gaze sweeter than anyone else.

Even when hurtful posts came up in the fan cafe in a hurtful situation,

He’s a person who visited the fan cafe without missing even a day.

On one day sometime after the incident had came out, on a v-app they played a game with a lie detector.

On this day’s v-app, these are things that Dongho said:

-But I haven’t been caught once by this thing. -I really have not been caught by this thing before. -Because I always say the truth. I really haven’t been caught by this thing before. -I really have not once been caught by this. This thing. I’m very honest.

It could not mean much but…

As I watched Dongho who said this so many times it was strange,

I, and other fans, all probably had the same thoughts.

I’ve spent several all-nighters watching many videos.

The numerous videos that I spent several all-nighters watching,

From when Dongho was a minor and debuted, The time where he wasn’t popular… And until now where he started to gain popularity.

Within those numerous videos,

Dongho always showed a consistent image.

So that’s why I believed him.

Although I worried alone inside that me saying I believe [him] would even cause harm…

I’m happy that I can finally say it.

Although this has become a bit cheesy of a post…

I wanted to respond to the question of how we could believe in Kang Dongho like that.

I wrote a long post so that the people misunderstanding Dongho would decrease.

Dongho who made it through a difficult time… And the NU’EST members who I’m thankful for believing in and supporting Dongho… And the Dongho fans like me who held your breaths and cried for the last 10 months...

I wish we could all be happy now. haha

[+1453, -170]

Select Comments

+ It seemed like that. When the incident exploded, the public only saw that part, but fans believed because of the different image they saw normally

+ When there’s this kind of issue fans will leave fandom, but on the contrary I haven’t seen fans here leave. Instead, they got more firm. It’s cool/fascinating. I hope that you do as well as much as you have suffered hardships.

+ I’m thankful and comforted seeing the image of the other members believing in and watching over Dongho. And I haven’t said it but thank you so much to LOVE’s who’s #1 is other members and not Dongho, thank you for protecting Dongho till the end. As we have done so far, just like that lets happily be fans together for NU’EST.

+ Thank you writing this kind of post. I’ve been a fan of NU’EST for 6 years, and even when they weren’t famous, I’m a LOVE who saw NU’EST very closely for a long time, to the extent of seeing them 3-4 times in a week. For 6 years, it was difficult to get people’s interest no matter how hard LOVEs who were also together with NU’EST tried. And so it seems like that’s why Dongho also chose to go on Produce 101. Dongho came out on Produce 101 and finished the program with difficulty, and he finally was on the rise but this article exploded so at that time I really cried a lot. As soon as I saw it, I thought it was a mistake and I couldn't believe it. As the writer said, Dongho doesn’t have that kind of personality. No matter how hidden the personality is or how small, no matter how much I thought of his image in front of the camera and the image of talking with Dongho up close, he wasn’t that kind of person. I wanted this difficult matter to finish quickly. I liked [him] for a really long time, but my heart was so heavy and down because there was nothing I could do in that moment. Now that many people believe [him], my heart is at ease ㅠㅠ I’m so thankful for this post. I also have something I wanted to say. In the future, let’s be even stronger and only walk the flower path ^.^!!!

+ I believed him because he’s this kind of Dongho. To fans he also said “You should do what you have to do,” and even though he doesn’t like showing aegyo, he does it because fans like it. I believed in the Dongho who is like this (and did what he had to do)

(Post it: “I really don’t want to go to the office, please share a word of support!” “You should do what you have to do!”)

+ When there are posts about Dongho in Pann, my heart still jumps TT For 10 months Dongho, the members, and LOVEs all suffered a lot. Reading the post and comments, I can’t seem to sleep this late night because my tears are falling. In the future, let’s really be happy.

+ That Dongho is really a good person has even reached a non-fan like me. Fighting

+ For 10 months I was really hurt and upset, but I didn’t drop one tear and I held it in. Even at the concert. But last week on Monday at ~7, after seeing the article that said ‘free of suspicion’, I couldn’t control my tears at all. NU’EST and LOVEs, you all suffered a lot. Now let us move towards the day when we shed happy tears.

Translation by min-hyun | desertfoxhmh of @ForNuest0315 Please take out with credit Source: http://pann.nate.com/talk/341818798

#nu'est #nu'est w #nuest #nuestw #kangdongho #dongho #baekho #translations #j #was going to post on twitter #but it was already done >.<#but sharing here so my time isn't for nothing XD #please love dongho <3

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cleverthylacine · 2 years ago

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So I also took some classes on this in grad school (my degree was a masters in Mediaeval History) and there’s another important point here that has not been mentioned.

Early Christianity spread from person to person through marginalised communities, as mentioned above, all of which were largely oppressed by the Roman Empire.

And then the Roman Empire, under the Emperor Constantine, made Christianity legal.

Before the legalisation of Christianity, there were many different Christian groups, and the beliefs varied WILDLY between groups. Some Christian groups were completely pacifistic and members of these groups would not go to war even in self-defence. Some groups were completely anti-sex, because they thought the way to get to the end of the world and the kingdom of heaven was to stop breeding and trapping souls on the earth. Some groups abolished gender roles completely and treated males, females, and everyone else as absolute equals.

The Roman leadership did not like any of these things.

When Constantine became interested in Christianity, he had tried several other religious cults prior to it, including Sol Invictus, and then he had a vision in which he was told “in this sign (that sign being the Cross) you shall conquer”.

The vision said nothing whatsoever about truth, love or justice--only conquest.

Constantine did a lot of reading and he got together a bunch of the Christian leaders (bishops) that he liked in a town called Nicaea, and he told them to decide which of the texts and scriptures and groups practising Christianity were doing it right, so he could make it official, before he would legalise it. He did not invite people from the anti-war groups. Or the anti-gender role groups. Or the anti-procreation groups. (Some of these groups are mentioned in the books of the Bible written by Paul, who did not like them and thought they were Doing It Wrong. A lot of their scriptures were later found in a place called Nag Hammadi, and you should really read them if you’re interested in the history of Christianity.)

The groups he chose were in the tradition of Paul. Paul who said “slaves, obey your masters; children, obey your parents; wives, obey your husbands”. Paul, who said the only things that were said in the bible that were unambiguously anti-Queer. (The Hebrew of the Torah books that the Christians stole and usually translate as prohibiting “men who lie with men” does not actually say that. It’s old and there are disagreements about whether it’s a prohibition on male/male war rape, or whether it’s a prohibition on anal sex, specifically, and it says nothing about lesbianism whatsoever.)

Basically, he chose the most authoritarian Christian groups, because wanted to create a religion he could weaponise. He did not actually become a Christian himself until he died.

Once these guys all got together and agreed to exclude all the weirdo peacenik Christian hippies from the version of Christianity that would be legal throughout the Roman Empire, Constantine legalised his carefully curated Christian canon and the bishops who put it together, and then made it illegal to be a member of a “heretical” Christian group, which meant “Christians” started killing other “Christians” for being the wrong kind of “Christian” and have really never stopped doing that.

Christianity as we know it today was designed to be a spiritual and intellectual weapon of colonialism. It has very little in common with Judaism other than some stolen scriptures that are mistranslated and divorced from the rest of all Jewish teaching, scripture and practise. It is a Roman religion created for Roman purposes, and because of the Nicaean coup, we actually know very little about early Christianity today--they destroyed as much of the other groups’ teachings as they could, and continued destroying any information that came to light until the 20th century.

The Gospels, which purport to be eyewitness accounts, were not written down for a few hundred years after Jesus’ death, and the four that were chosen to be the official versions were contradicted by several others we’ve rediscovered bits of in the last century and a half.

The upshot of all this is that we can’t really accurately say for sure we even know what Jesus really said or wanted or did. We have a bunch of accounts that may or may not have been significantly changed since they actually happened and the supporting material was written by a very specific group of Christians who had been given the authority to erase all other Christianities and used it liberally.

This is why Islam doesn’t hold a candle to Christianity in the amount of colonialist bloodshed that it has inspired, although there has definitely been some; it was not deliberately and consciously weaponised by one of the most brutal and effective empires ever to exist on the planet.

I could never be a Christian. What does that even mean?

The more I learn about judaism the more I wonder where tf christianity got all its bad shit. Why is divorce a sin in christianity when judaism has recognized the right to divorce for nearly a millennia and has codified religious laws for it. Why does christianity consider sex to be dirty (to the point where puritans considered it a sin to enjoy having sex with your own spouse) when in judaism it's considered holy and it's a literal mitzvah to have sex with your spouse on the sabbath. Why does christianity consider it a sign that you're faithless if you question your religion when in judaism that's considered an essential part to developing your faith. I'm probably stating the obvious here but I still can't get over the fact that there's no historical basis to any of this shit before christianity started, it's like christians just said "hey guys what if we took the torah and built a new religion around it but this time it was actively hostile to human life"

#history of christianity

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xseedgames · 7 years ago

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Zwei: The Arges Adventure - Localization Blog #1

AAAAAAHHHHH IT’S FINALLY HAPPENING.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#xseed #xseed games #xseed blog #Zwei: The Arges Adventure #post: tom #long post #falcom

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artdjgblog · 4 years ago

Video

vimeo

Innerview: Sarah Benson / Kansas City Star - Ink Magazine

March 2010

Video: DJG & PJC Note: Questions about David Seume’s Will Ya Be My Friend music video.

01) Is this the first music video you’ve ever done? Have you ever animated before?

This is my first music video. I’ve always wanted to do one and would love to venture more. It was a great opportunity and exercise in collaboration and in personal patience as I typically can’t allow art projects to take up a lot of my time per day job, life stuff and other art projects. I’ve never animated before per lack of resources and know-how, but my flat work has always been animated inside of me. It’s so nice to fully translate this in video form for everyone to see. But, it’s not just my video. My friend Philip James Cheaney is animator/co-director and additional artist on David Seume’s “Will Ya Be My Friend” video. This is Philip’s second full-length music video, the first being for The Winston Jazz Routine. I believe he has another one in pre-production for Joel Kraft. He also has several short films under his belt while stationed in Portland, OR. Currently, he is studying for a masters degree at the School of Visual Arts in New York City. I hope this video lends him extra credit as he captured my insides, enhancing them greatly. We’ve known each other for over a decade and work well together, even completing each others sentences most of the time. And David’s wonderful song made it that much easier. David was so kind to let us pick the song that truly sung to us and it was a treat. Three years prior to working on this video with Philip, he and I actually swapped some fairly extensive brains on an animated short film starring Abe Lincoln that we look forward to getting to in the future. I hope to learn some tech or hands-on trickery by then. Philip also has two other short films featuring my art that are on the back burner. Our back burner is actually a bonfire. 02) How did the collaboration between you and David come about? David connected with me on email out of the blue in late November of 2008 while I was in Texas. We had never talked before and I didn’t know about him, but he somehow knew about me. Coincidentally, he was booked to play a set of music, as well as release his debut album “It Is What It Is”, the same night of my 6th annual December art exhibition at The Brick in Kansas City, MO. He commissioned me to make a poster for his show and I knew instantly via email and after meeting in the flesh at the show that we were on the same page in life and art. I believe it was the same night at The Brick that we talked a little about the prospect of a music video. So, it was only fitting we chose to have the “Will Ya Be My Friend” video premiere and video art production on display at The Brick…with extra special thanks to Sheri! 03) The video was released last weekend, right? The video was officially released on Friday, March 12, 2010 at The Brick and on the internet right away. It’s been fourteen months in the making, and apart from my production work online and a handful of news items on David’s site and my site, has been fairly tight-lipped/tight-eye’d. It’s really neat to finally get it out there, share with the public, and see our year-plus of work fly by in four minutes! Hopefully, it’s four minutes that people will come back to visit multiple times! Tell your friends! 04) How much of the imagery is drawn vs. found? There is a very large percentage of found imagery pieced together in collage. There are also some hand drawn elements and characters. The core landscape I made of multiple ink jet printed overlays of found medical/science and floral illustrations and photos. There are also blow-ups of actual locust wings that make lovely hills. The original landscape, which we call “the scroll”, is made from all these layered collage pieces. The scroll is roughly 22″ wide x 25′ long (give-or-take as it is hard to properly measure the length) , based on the landscape I had in my head and from early sketches that I drew/timed to the flow of the landscape of the song. At one time I thought about the prospect of shooting the video on a continuous scroll cranked by hand, sorta old-fashioned and in tune to how I like to do things, but I’ll save that for another something down the road. Going back to truly visualizing the music, I had a vision of the landscape going on one continuous shot with multiple zooms up ‘n’ down and back ‘n’ forth and with the ability for the viewer to see the entire landscape at once during certain moments to see the scope of the world, or at least the part of the world that we were showing. It was probably a little more adventurous and in-depth than what could have been done, but what we ended up with is great as Philip really captured it well and found great ways to compromise and add his own flavors. I’m very pleased! Once the art and my notes were in Philip’s hands, I didn’t worry about it because I have faith in his abilities. I just hope he gets well rested after this! 05) There are a lot of insects and anatomical drawings in the video. Where did that concept come from? In my initial video thoughts, and something I think about quite frequently, I wanted to not only visually stamp the song “Will Ya Be My Friend”, but what the music might sound like on the inside or outside. Whether it’s the soul or makeup of the song itself or any body or vessel in which the song is played into, anything, even that of the external, in-between or over yonder. The original idea actually incorporated a live-action scene that lead into what you see for the final. There was also an idea of capturing David in full body movement and inserting him into the video world. But, being a little limited, and with David and me in KCMO and Philip, our chief motion man being in NYNY, we slimmed our ideas down some. I did a simple action photo shoot of David and then got to work on the final art. Though, Philip did a great job with the introduction of David in the opening credits and a humorous fall into the video world, so he partially captured some of the initial blue print. In terms of conceptual makeup of the landscape, I love seeing split levels of earth layers and what might be under the surface. So, the medical/science/anatomical imagery just made sense with this and also with the idea of seeing the guts of the musical landscape, human landscape or in-between world landscape. I had a couple of underground or cave-like-dip-down moments in mind fused with an almost Super Mario Bros. feel and this idea of seeing more than what’s just on the surface worked well with it too. The insects included just made sense in complimenting the anatomy and floral arrangements. The introduction of “Will Ya Be My Friend” has locusts and I wanted to play off of that, not only with an animation of an actual one whose skid mark David is after, but a few others in interaction, so the insects and microscopic critters blown-up, worked well, as well as the skeleton hands that act insect and critter-like. The song also ends with the voice of a child singing along and we wanted to capture childlike innocence, wonder and discovery from many aspects of the journey. We wanted a video that would be seen as more than just a video for the song, but more like a personal adventure with an identity that anybody might attach to or become attracted towards. We also wanted to lay the foundation of creativity and imagination and a connection to something larger. In particular, that feeling of experiencing something that can live beyond borders, that can make a person wake-up at any point in a day and get wheels turning. Something that can keep breathing. Something all around us that we often overlook, even sometimes the most important elements of life. Even though online time goes by in a flash, and an overloaded four minutes of video time at that, maybe it will get people to come back for more or rewind to get a better view of something buried beneath the surface, or grab a friend to show them. Maybe even it will get people to be thinking or look at non-video life in new ways. Friendships, life, art, whatever, all have extra things and treasures buried beneath. Of course, there are always chances of the not-so special things lurking. But, faith in the extra good ones can cancel them out, we must hope. 06) Are those Paul McCartney’s eyes on that lion? Good question and shows you were watching and came back for more! No, those aren’t Paul’s eyes. Though, if I had to choose the eyes of a Paul, it would be Newman or Buzan. Actually, those are David Seume’s eyes! And actually, as David exits the cave, a picture of himself that makes up the landscape composition is in the ground. It’s the picture those eyes came from. Up until late in the production art I just had the regular “Lion Guy” eyes there, a frizzy-haired chap I came across in an old thrift store text book. I’m not sure what kind of book, maybe psychology, but this guy was chosen for something and then I chose him. He gave me a giggle with that lion mane hair of his and I found a frame to hang him and then drew a body. He makes for a good friend. I wonder who he is though. I’d like to meet him and hope he doesn’t sue me for extending his likeness because I just like him. 07) Have you found anything good recently? (I remember last time we met you had a cup that said “Your dumb” on it) I’m constantly walking with my head down for keepsakes that other people discard, or trash that turns into animals or art when I walk by, so my pockets always have things in them. There are some great weathered handwritten garage and estate sale signs out there left to dissolve. Also, since we’re finally all thawed out from the winter (maybe?) there is good pickings for pieces of cars that wrecked and weird pieces of trash that was chucked. Much of the stuff I’m finding will all fit well together in a singular piece of art, once I get it all spread out and find the right time for it. This town needs a good, hard rain to wash it up some, but it all makes up the city’s landscape. And for now I’ll take what I can get and make something pretty, at least to me. Thanks! -djg

#interviews #innerviews #musicvideo #design #illustration #kansascity

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sabrinamerican · 5 years ago

Text

HUP SENG - NOT JUST DIP N’ CRUNCH

“Not Just Dip N’ Crunch” is a mock campaign created for the brand Hup Seng. The objective of this campaign is to bring back the nostalgia of eating Hup Seng crackers and to eat it in different ways. We chose the newspaper print as it would reach our target audience of parents and grandparents who are the ones who normally buy the groceries for their households. “Not Just Dip N’ Crunch” is as straight-forward as it is, to show how you can enjoy your Hup Seng Crackers in many different ways instead of just dipping it in your drink or having it by itself.

Newspaper Print 1 (crackers with ice-cream)

Newspaper Print 2 (pasta toppings)

notes: images sourced from fairlynerdyfood.wordpress.com

CRITS

Eunice Loke

Her friend had done a similar Hup Seng campaign ad they went to an agency and talked to a guy who informed them that the reason Hup Seng does not do a lot of ads or see the need is because Hup Seng has established themselves for a long period of time. So they don't see need to do crazy ads to get a lot of people to love them. It’s still an exciting thing to do.

Do more research into different ways of eating hup seng, her friend did some research and found some people even eat it with red bean soup. It’s a pretty okay campaign but the big idea is there and it can be expanded to different mediums. She also says the campaigns will get bigger as we go through degree and if the big idea is not there, you get confused by all the different mediums that you might forget what your big idea is. If the big idea is strong it naturally expands to different mediums. So for this, it can be expanded easily. For example, a instagram series.

Adrina Binti Adam

Not just dip n crunch is very straight, I like it. It's like Oh you can do this and this too. It’s not just dip n crunch. It makes a lot of sense.

Adrissa binti Adam

Hup Seng - Not Just Dip n' Crunch

1. Hierarchy in Messaging

You could have put your logo at the bottom of the visual (bottom left on both newsprint ads) and enlarge it to about 15% so that consumers would be able to tie it to being Hup Seng after they are done observing the visual as this is more visual-based than copy-based like the LG campaign. The logo doesn't always need to be tied into your headline. It is usually ideal to put it that way in buntings, OOHM because of eye view as you would not want your consumers to bend over or to take a few steps back to see the overall visual but to let them see the essential messaging first before they proceed into reading the miscellaneous information when they want to. But considering that this is on a newsprint ad, it's fine to have the logo at the bottom because the consumers would not move 5 steps back to see the overall visual for this as opposed to a bunting visual.

At most visuals (that doesn't need to factor eye view) can be done as so:-OVERALL TOP VISUAL: [HEADLINE]

BOTTOM VISUAL: [LOGO] + disclaimers/t&cs/etc

OR it can also be done in this manner,

0.5/3 of the VISUAL: [LOGO]

1/3 of the VISUAL: [HEADLINE] + [SUBHEAD]

1/3 of the VISUAL: [PROMOTION VISUAL] (can be food, people, vector illustration, etc)

0.5/3 of the remaining VISUAL: Disclaimers/t&cs/etc

Provided as long as you give your consumers the ability to take time and to breathe in the messaging that you are giving to them through your visuals, then the overall visual wouldn't give the impression that it looks cramped or off-putting.

2. Typography + Eye Movement.

Your visual now doesn't look cramped but it is facing a rag with how you did your typography therefore it looks a bit off-putting. You could have rectified this issue if you made 'NOT JUST' bigger to perhaps until the N in CRUNCH that the rag wouldn't be apparent in the 1st visual. This ends up translating to your 2nd visual as it looks quite off-putting now because of how your typography is like whereas the DIP N' CRUNCH is way longer than your first line, 'NOT JUST'. If you enlarged the 'NOT JUST' then the 2nd visual would have probably looked better.

As you also need to factor how people read the English language, anyone who reads English is more inclined to read texts from left to right, top to bottom. Because of how the 2nd visual's typography design turned out, you end up having your eye movement to reading the biggest thing in the visual first which is 'DIP N' CRUNCH' here because of how long it is before reading the first message, 'NOT JUST'.

Lyla D. Murugayah

HUP SENG

1. I liked the concept of using the crackers in unconventional ways.

2. Colours could have been improved slightly, since you're using newspaper as your medium you could have created a vintage newspaper clipping but the ICE CREAM HUP SENG SANDWICH would be bright and highlighted.

3. Overall it's a nice concept!

Wan Rezal Ismail bin Wan Othman

Hup Seng:

I think Hup Seng is tastefully done. The copy is straight to the point and simple, letting the art direction lead the story well. That being said, from a visual perspective, the food photography aspect falls short because it's nothing special. It's artfully taken biscuits from angles that your audience has seen plenty of times by browsing foodporn profiles off Instagram. So, you could do with revisiting the art direction with the same copy.

Something like Aperture Science laboratory blue-prints of different iterations of the same Hup Seng cracker.

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watusichris · 8 years ago

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Becoming the Band: A Primer

Even today, nearly half a century later, one marvels at the mystery of the Band’s arrival on the music scene. They presented themselves as ciphers; though they seemed to have stepped right out of the past, they didn’t appear to have a past themselves. Oh, we received information about their history, but it seemed to conceal as much as it revealed. It was no surprise that the first major story about them, an Al Aronowitz piece in the Aug. 24, 1968, issue of Rolling Stone, swathed them in shadow. In the Elliott Landy photo that graced the magazine’s cover, the five members are squeezed together on a bench, facing a river or small lake, their backs to the lens.

When it materialized out of the ether in 1968, Music From Big Pink was hard to figure out on a first listen, or even on a tenth or twentieth. Who was playing what? Who was singing? How many singers were there? Where did those horns come from? Were all those weird sounds coming out a keyboard, or were they transmitted from Mars? And what the hell were those strange, cryptic songs about? Who were those curious characters that inhabited them: Crazy Chester, Miss Moses, Lonesome Suzie? What’s that Bob Dylan painting supposed to mean? Who are these guys?

The record conjured a powerful mystique, and its sound rippled through hippiedom like a musical smoke signal. Its sequel The Band, released 14 months later, was earthier, more straightforward; if Big Pink resembled some magical text translated from a hitherto unknown language, the sophomore album played like a raunchy history book. And yet, by the time it landed, we still knew very little about the Band. The vast majority of their fans, and they had rolled up a few by then, hadn’t even had a chance to hear them perform live – they had played just two concerts by the time the second LP reached stores in September 1969.

They had a secret history, it seems, a long one, one that predated their justly acclaimed debut, which could hardly be considered a real debut at all. Finally based in America after a long apprenticeship on both sides of the U.S.-Canada border, with side trips to Europe and the Antipodes, and a fateful siege of woodshedding in West Saugerties, New York, they weaved everything they had learned into their music. And they had learned much, for most of them were whey-faced teens, almost absolute beginners, when they began. It’s a rich tale, best heard in the music they scattered in the early days of their career.

Most now know that they had their genesis as members of the Hawks, the backup band for Ronnie Hawkins, an Arkansas native who discovered he could make more money playing rockabilly, blues, and R&B covers in the clubs on Toronto’s Yonge Street than in the buckets-of-blood back home. So he settled in up north, with fellow razorback Levon Helm serving as his drummer and musical director, reeling in young, feisty Canuck players to fill out his outfit.

They came aboard one by one, like the Magnificent Seven: Robbie Robertson, Rick Danko, and Richard Manuel, all in their teens and spoiling for adventure, were recruited by Hawkins and Helm. Keyboardist Garth Hudson, the senior member of the band, by then in his late 20s, completed the crew when he signed on in 1964.

Hawkins and his band, christened the Hawks, made music for clubs where chicken wire was strung in front of the stage to deflect flying beer bottles; in time, they would encounter the one-armed stripper who worked in Jack Ruby’s bombed-out Dallas joint.

The task of making music that would entertain some of the most drunken and pugnacious clientele in the Northern Hemisphere resulted in recordings, made for Roulette Records, the province of magnate/mobster Morris Levy, which displayed an intense ferocity and an authentic bluesiness. You can hear “Who Do You Love,” “Further On Up the Road,” and “She’s Nineteen Years Old” – covers of Bo Diddley, Bobby Blue Bland, and Muddy Waters numbers, respectively – on the superlative retrospective The Band: A Musical History. It was tough stuff, played with no frills.

Hawkins took the Hawks to finishing school, but the boss proved too parsimonious and dictatorial for their tastes, so they dropped out and went along on their own, cutting singles for Roman, Ware, and Atco Records under the names Levon & the Hawks and (ugh) the Canadian Squires. Their 1964-65 45s – “Leave Me Alone,” “The Stones I Throw (Will Free All Men),” “Go Go Liza Jane” – were written by Robertson, and display a folksiness as generic as their titles. They were more at home slugging it out in support of John Paul Hammond, the mush-mouthed, blues-singing son of Columbia A&R man John Hammond, who had signed Bob Dylan a few years earlier.

It may have been fated that the Hawks would end up playing with Dylan. A Canadian connection apparently brought them together. If working with Hawkins had been the musicians’ secondary education, they received their post-graduate degrees, master’s and Ph.D, behind Dylan, then entering his acid dandy period and looking for a band that could put electric flesh on the poetic bone of his careening new songs.

In the immediate wake of his uproarious debut with an electric band (mostly Paul Butterfield’s) at the 1965 Newport Folk Festival, Dylan enlisted the Hawks to back him on his first rock ‘n’ roll tour. Their initial American dates with him – which coincided with some ill-fated recording sessions for his next album – are poorly documented on recordings, but the limited evidence – most notably a date in Berkeley, California -- show the group groping toward a grander ensemble conception.

They tried their best in the studio, but they did not really succeed. They cut a venomous remake of Dylan’s “Can You Please Crawl Out Your Window,” but the single was a resounding flop. Worse, attempts to cut more sprawling, vaporous tunes like “Visions of Johanna” and “She’s Your Lover Now” came to naught; on the huge, comprehensive set of Dylan’s 1965-66 studio recordings, The Cutting Edge, you can hear him vibrating with frustration over his musicians’ incomprehension. He soon decamped to Nashville, bringing only Robertson with him, and employed Al Kooper and some top session men to bring Blonde On Blonde to fruition.

By the time more live dates began in February of 1966, Levon Helm – who had been hip-checked to the side by Dylan in the New York studio – had wearied of being booed and exited for a job on an oil rig in the Gulf of Mexico. First with studio man Sandy Konikoff and ultimately with Mickey Jones of the Trini Lopez and Johnny Rivers bands on drums, the rest of the Hawks played on in the U.S., Australia, and Europe.

Many of the outraged crowds spat fire and brimstone at Dylan and his over-amped punks, and they spat back. The often frenzied performances of ’66 were comprehensively compiled on a recent Columbia box, Bob Dylan: The 1966 Live Recordings; the best electric sets – Manchester, Paris, London – play with a silken grandeur, and sometimes with bristling animosity. (“Play fucking loud!”) In that day, hearing these high-volume shows must have been like sticking your head into a jet engine.

By late May, when the tour concluded in London, Dylan was hurtling toward a wall at light speed; you listen with horror to his incoherent stage rants during the final gig at the Royal Albert Hall. Two months later, he broke some bones in his neck in a bad motorcycle accident near his secluded home in Woodstock, New York. He burrowed into hiding to recuperate, but he soon would have the company of his backup band again.

They trickled into town. Robertson, who had grown close to Dylan on the European dates, showed up first, late in the year, ostensibly to help with the editing of an impressionistic film drawn from footage of the ’66 European concerts. In the early spring of 1967, Manuel, Danko, and Hudson reached Woodstock; they set up shop in a garish pink ranch house in West Saugerties. (Robertson was already ensconced with his fiancée in a house of his own, not far from the manse of Dylan’s manager Albert Grossman.)

Thus bunkered, far from the day-to-day tumult of the record biz, the Hawks began their doctoral work, sometimes in Dylan’s living room, more frequently in the basement of the communal Big Pink house.

What became known as the Basement Tapes (after a fraction of them were first bootlegged for the first time in 1969 on The Great White Wonder) can today be heard as a sort of private musical symposium. At first, Dylan and his group ranged through nearly every imaginable style of American music – blues, R&B, folk, country – and ran down some English and Celtic antecedents as well. (On their own, the group, who knew their way around horns, would bring jazz to the table as well.)

First came covers, but then new original songs followed: mostly by Dylan, but some of them penned with Manuel and Danko as well. Inspired now, with a world of music flowing easily through them, they began to write songs of their own – allusive, funky songs that veered afield from their earlier work on their own. You can hear them on A Musical History; a few are included in doctored form on the 1975 Columbia set The Basement Tapes. Some of these songs – “Word and Numbers,” “You Don’t Come Through,” “Ferdinand the Imposter,” “Ruben Remus” – would be demoed, only to disappear. Others – the ripping “Yazoo Street Scandal,” “Katie’s Been Gone,” “Orange Juice Blues” – would be professionally recorded but remain unreleased. Others still would form the basis of a debut album.

After the group was put on the market by Albert Grossman and signed to Capitol Records, the promise of that album finally lured Levon Helm back into the fold, and he settled in with the rest of them at Big Pink. The die was now cast: They were a new act now, and their old handle would not do. What to call something so rich and strange? Some jokes were proposed: the Crackers, the Honkies. In the end, the moniker they chose for themselves settled comfortably on their shoulders, at once generic yet encompassing everything that flowed into their music: The Band. And thus the mystery began.

(For more about the Basement Tapes: http://watusichris.tumblr.com/post/105449885597/a-dylan-a-day-annex-i-the-basement-tapes)

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