#(if you have to tell a story about why the visual elements are all connected and you don't have One that people can look at and go

[marypsue]

A two-sentence thought/observation I had about Stranger Things’ Vecna is ballooning into a several-page thesis on how to construct a memorable villain, visually/aesthetically, and you are all going to hear about it. Eventually. 

[david-talks-sw]

"The Acolyte" wasn't 'woke' propaganda.

I had my issues with the show (you can check out my other posts to see what they were) but there's this notion that The Acolyte was created to spread The Message™ of "woke propaganda"... and I think there's a bit of a mix-up going on, there.

Because that's simplifying things a lot.

When you're a minority, you're not "being woke" when you're just being yourself! Conversely, you're not "writing to be woke" when you're a minority drawing inspiration from your personal experiences to tell a story.

I talked before about how George Lucas implemented elements of his personal life in his own films. In his own words:

"There's no way to write without writing from yourself. Y'know, the stuff gets made out of things that you care about… whether you've actually lived them or not. There are emotional issues that you deal with, and I think that's always a major factor with any writer. I don’t think— it's hard to write without having some kind of emotional connection to the material. I've never seen any reason not to. It’s easy to write that way. It's hard to write in the abstract. So when I write a scene, I write a scene that moves me or I care about, or is something that is personal to me." - George Lucas, Q&A with Lynne Hale, 1994 (StarWars.com)

Any piece of writing worth some salt needs to come from a personal place to some degree because that's where the heart of the story, the truth, lies. That's what an audience will relate to.

Example: The six original Star Wars films are purely George Lucas. As in, everything in those films, from the characters, to the cinematography, to the editing style, etc are all a reflection of who George is as a person and what he stands for:

anti-Vietnam / "fight the corporate & imperial machine"

60s-70s white kid from Modesto, California

single father of three

who defines himself as Methodist-Buddhist,

has an anthropology major and

a passion for Kurosawa,

cinema vérité,

cinema history in general

art and visuals and

car racing.

You see all that in those films.

Same thing with The Acolyte.

Leslye Headland drew from her personal experiences.

Among other things, Leslye is gay. So that's what she uses as inspiration to, for instance, craft Qimir's character motivation.

"I was on the treadmill being like, “What is [Qimir] gonna say?!” And my wife, who is a huge part of my creative process, finally she said, “What do you wanna say? Stop thinking of it like you have to somehow tap into a different guy.” [...] I was like, “I wanna say that people don't want me to exist as a gay woman, as a woman in this particular space, working in this wild sandbox.” There was a whole crew of people who believed in me, but deep down, I felt like, “I am unaccepted for who I am because of what I believe in and wanting to wield my power the way I'd like without having to answer to the legion of people that just exist out there.”" - Leslye Headland, Collider, 2024

She took this specific life experience of hers, and then made it more universal, so that a bigger audience could relate to it.

"By the way, I think everybody feels this way. I think that's why it resonates when you're honest about yourself, and you get personal about it. When [Qimir] says, “I want freedom,” that's what I want. I just want freedom. I want to be able to just be out there and be myself and be the type of artist I want to be without having to answer to anybody." - Leslye Headland, Collider, 2024

Same goes with Osha and Sol's relationship, or how she defines the Jedi Order. It derives from her own relationship with her father and how she felt being raised straight, in a Christian household.

If you have the time, listen to this audio clip where she describes that.

In the context of the whole interview, her voice goes down a few octaves and starts to crack a bit. This is a vulnerable moment, when she's talking about it... and it's this experience that she turned into fuel for her writing of Sol and Osha's father/daughter bond.

"There's this thing that's called benign sexism, and part of it is this paternal protectionism — it seems like this good thing, but like you said, there's this, “I have to protect you from everything. I have to make sure you're okay. I have to tell you what track to get on, and then once you're on that track, I need to support you.” Ultimately, what happens is — again, this is a father-daughter relationship — as women evolve in their lives and develop their own personalities separate from their fathers, at some point, they have to reject that protectionism. [...] She cannot stay a little girl or an adolescent or young adult. She has to, at some point, say, “I reject what you have told me I need to do to make you proud, to follow in your footsteps.” She has to do that." - Leslye Headland, Collider, 2024

Now... if we're talking consistency with the themes in Lucas' Star Wars, then yeah, The Acolyte misses the mark.

The Jedi Order isn't the patriarchy or the Catholic Church. They're more like Buddhist monks, George has stated so multiple times.

The Jedi teachings aren't narratively meant to be the same traits found in toxic masculinity or benign sexism.

When a Jedi tells you to be mindful of your emotions, it's not meant in the "boys don't cry" sense.

When they talk about letting go of attachments, it's not meant in a stoic "don't get emotionally involved" sense.

Anakin too, the whole point is that he's wrong, the narrative frames his fall to the Dark Side as his own fault, it's not meant to be perceived as a failure in upbringing.

But she's not the only one who does it. Filoni does it too, a majority of fans have this take on the Jedi.

And because of her experiences, I can see why her takeaway would be that. Same goes for Filoni, they're products of their generation, upbringing and experiences.

My point is:

Leslye Headland is writing from a personal place, when she's writing The Acolyte. It's partially informed by her politics because - like she quotes, "personal is political" - but when it comes to the writing of the show, it's personal first and foremost.

What this was, was a Star Wars fan (arguably the nerdiest one we've had so far, in terms of creators) putting all of herself in the creation of a show that perfectly reflects who she is and what she stands for, resulting in:

a story about growing past your father's paternal control and accepting that our guides aren't infallible,

where her wife holds a role and gets to wield a lightsaber,

a show about taking corrupt religious institutions to task

about the Sith and the Dark Side

and questioning the unquestionable

and exploring whether the good are really so good and if the bad are really so bad.

This was a project written from the heart, and regardless of whether the resulting art found its mark, I think it's important to note that it wasn't written to spread a propaganda message in some "pro-woke holy war" or whatever the hell the YouTubers are peddling.

[agatharkn3ss]

Episodes and story predictions (spoilers!)

My restless brain has been on another quest.

Full theory explanation and lots of plot side-notes included below, but the short of it - I think the episodes order is going to be something like this (including previous ones for completion):

Ep. 1 - Westview: Agnes of Westview Ep. 2 - Westview: Setting up the journey Ep. 3 - The Road: Water trial - Jen (blue road) Ep. 4 - The Road: Fire trial - Alice (orange road) Ep. 5 - The Road: Spirit trial - Agatha (purple road) Ep. 6 - Westview: Teen backstory Ep. 7 - The Road: Air trial - Lilia (yellow road) Ep. 8 - The Road: Earth trial - Rio (green road) Ep. 9 - The Grand Finale (Agatha all Alone?)

BACKGROUND ON THE SYMBOLISM First of all, thank you to the production team for their incredible attention to detail. It is clear they have done a lot of research and put a lot of thought into symbolism and telling the story from the visual point of view. This is what makes theorising so much fun!

The whole show seems to revolve around the Wicca religion (also known as "The Craft" - I see you Teen!) that uses the pentacle (5-pointed star inside a circle) and typically worships Triple Moon aka Triple Goddess aka Hekate (Maiden, Mother, Crone) and Horned God (could be Marvel Mephisto). The magic circle uses 5 elements - Fire, Water, Earth, Air and Spirit. Together they are believed to be the root of all matter. Each element has a set of values associated with them, often also colours. While the colours are not always coded in the same way, I found that this (totally Agatha-unrelated) graphic below fits so well with the show's imagery.

The moon phases also play a big role in here. There are 8 lunar stages, but only 5 elements, so it will be interesting to see how the show continues to link these two strands (so far we've had Full moon for Water trial and Waxing for Fire). Moon phases are also linked with the stages of life - I won't go into full analysis but check out @shutupineedtothink post who beautifully explained possible connections with our witches.

I only wonder whether the full moon in the first trial was maybe mistaken and it was New moon instead? So that we are just moving through the first 5 phases of the moon? After all, it was Teen who identified it - although he was correct about it being the Water phase.

Episode 3: Water Trial - Jen - Blue - Full Moon Colour: we already saw that as the events unfolded, the light took on the blue tint, because of the water outside. Jen's own nightmare was all in blue. And the road (leaves, roots, mushrooms) leading to the trial was all blue. Story: Jen being associated with Water elements makes sense. Healing, Expression, Peace and Compassion fit really well with her role as a midwife and influencer (did you all realise that it was the midwife work that Agatha referred to when she explained why she spared Jen and her powers because it was "good work that matters" - a nod to Agatha appreciating maternal values). I don't think we will see much more of Jen's backstory - at least not as a dedicated episode, but only through bits of conversations like by the campfire. It feels like Jen's struggles were to do with a mental block and I think Agatha's pep talk was the one that made Jen realise her real power and, though she might not realise it yet, she might be regaining her magic as she starts believing in herself again. Plus I like the idea of not giving an evil man too much of a screen time because it's not his story. Trial exit: oven... so into the fire (as next trial)

Episode 4: Fire Trial - Alice - Orange- Waxing Moon Colour: red/orange tints were so much more obvious in this trial and the road to trial was orange. Even Alice's hair have some red/orange streaks. And her nightmare in ep.3 had some orange tint to it. Story: Alice also fits so well with the fire element values. Passion, Inspiration, Intuition, Creation, Protection - all of these align with her role as an ex-cop, but also her emotional journey as she thinks herself responsible for everything. Then there is the nod to creation when she overcomes the curse with the aid of a song. She is also (except for Teen) the youngest of them all (Maiden). When she was playing, there were flickers of orange magic between her fingers. So I think she's had magical powers all along but just didn't know about it, because she didn't believe in it. Her Road wish was to break the curse, not to get powers. Trial exit: piano... so into the soul (as next trial)?

Episode 5: Spirit Trial - Agatha - Purple - Half Moon? Colour: post-fire trial the road is purple - the leaves as well as fluorescent mushrooms etc. The scenes look dark and it's hard to see if they have purple tint. Agatha's nightmare in ep.3 was very dark too though. Story: This is the 80s sleep over episode (judging from the episode 5 font). Spirit values are the Soul, the Devine, the Mystery. While it's true these kind of also remind me of Rio, I think it's fair to say that Agatha is a total mystery, with all those many layers and masks that she wears. She is also the soul of the coven and the guide of the trials so far. She might have lied and not have walked the Road before (although I begin to change my mind on that), but she definitely leads the coven. It was her pep talk who guided Jen to the solution. And it was her who figured out Lorna's protection spell and guided Alice to play the song. As the ballad says "(...) we carry on, Spirit as our guide" (for a long time I thought it would be the spirit of the dead guiding them). So in this episode we see Agatha's spirit becoming possessed. So the Road is not just testing Agatha, but the whole coven - see how they manage when their Spirit is not available to guide them - and I don't think it ends well. I believe this is the episode where Alice realises she has magical powers. But because she doesn't know how to use them yet, we might lose her. Peppered across the promos, we see images of Alice wielding her orange power - once inside the sleepover room and once when she's on a broomstick. We also get to see Agatha absorbing someone's power while wearing her 80s jersey. We also see at some point Agatha has a whisper of red/orange magic in her palm. My theory is that although the trial is Agatha's, Rio will play a significant role. After all, they are going to have ouija board that will spell "Death" was in the room with them. And one of the posters for the episode was Rio. Agatha will become possessed and everyone acts scared, and it will be Rio who talks Agatha down. I hope we will get some soft moments between them and that we see some flashbacks of their story to give it more meaning. But then maybe Agatha needs magic to return her soul. Rio can't give it to her (I wonder if they explain to the witches why), so Alice blasts possessed Agatha instead. She absorbs the magic and returns to normal. They exit the trial on broomsticks. However, I think as they are flying away, they get attacked by Salem Seven. This is where Alice tries to use her magic again, but she might be exhausted or just inexperienced and she falls off the broomstick and we don't get to see what happens with her? This is why I think Lilia from the future tries to send her the message "Alice, don't try to save Agatha!" (but it gets split in two visions). I also think we finally get to see Teen using his blue power - maybe to help defend from the Salem Seven? Then leave us all on a cliff-hanger when the other witches realise this. (This would explain why he's poster is for that episode as well - and he's dressed as Billy Maximoff Halloween costume - the Wiccan). The red moon silhouette shows only 4 witches in clear view - I think they are, from right to left: Agatha, Rio, Jen and Alice. In the far left, in the dark, it looks like Lilia is there as well. So maybe Salem Seven kidnapped Teen because he protected Agatha with his magic, and now the witches are chasing them? I think Lilia somehow ends up left behind (I'll explain in later episode).

Exit: On broomsticks - into the Air (next trial)?

Episode 6: Westview - Teen story The episode list has this one circled in red, so I wonder if it's the "odd one out". Maybe we don't get to follow the Witches on the Road, but see flashback to Teen's backstory, following his blue magic cliff-hanger from the last episode? Maybe we see his family car crash mentioned in episode 1. We see that his parents (the two "perps") maybe don't die, thanks to the air bags, but are in a coma? That's why Teen says he's 100% certain his parents are asleep (or he talks about Wanda and Vision who tucked the boys in their beds right before the end of the Hex). I wonder if the body that Agnes investigates in the woods isn't Wanda or Darkhold, as everyone thinks, but Rebecca Kaplan - Billy's mom. Anyway, Billy Kaplan is at the back of the car and dies. But then two things happen - Death appears (Rio) to collect him, but Billy Maximoff reincarnates into the body and he lives. Hence the "Near death in Westview" hint for Joe Locke's end episode credits. Rio is intrigued and sticks around, maybe finally finds Agatha who is no longer able to hide from her because she has no Darkhold. I think Billy will try to summon the Witches Road by himself - maybe he wants to find his brother Tommy, maybe he wants to bring back Wanda and Vision, or maybe he wants to get back his Kaplan parents? I hope we get introduced to the final character that's missing from the end credits!

Episode 7 - Air trial - Lilia - Yellow - Waning Moon? Colour: Lilia's nightmare in ep.3 had distinct yellow tint. We also see lots of promo material of scenes with very heavy yellow filters. Even the road is yellow-ish at some point. Story: Air values are Intuition, Knowledge, Renewal, Change - this fits well with Lilia's divination abilities, as well with her age. We know she is the oldest witch in the coven and has lived for some 450 years, through many tragedies and the many ways the women were persecuted. Lilia is also always so vocal about the negative stereotypes that surround witches - she mentions green skin, broomsticks, talking to goats. Episode 5 might already give us the broomsticks and in this trial we will actually see Agatha as the green-skinned Wicked Witch of the West, so maybe we will also have a nod to the goat talking bit? That would be funny! Anyway, in this episode we see that Lilia will be Glinda (the Good witch), Agatha will be Elphaba (the Wicked witch) and Jen looks like the Evil Queen from the Snow White, but in her old hag form. And even the "yellow" road would be a callback to the Wizard of Oz. So I think the trial will be about those negative stereotypes and how witches have been perceived. We know Lilia doesn't like having to predict all those tragedies and feels deeply for all the victims. So what if her tarot trial will be about her trying to predict something good because it's something she was never able to do? Or maybe about her trying to use her powers to manipulate the cards to change the prediction into a good outcome? Or - trying to reverse a tragedy that happened in the past. It's interesting that the card she holds in the promo poster is The Tower. The card stands for "sudden, disruptive revelation" - kind of like Lilia's 'blips', and the trial seems in a tower-like room. There will be swords sticking out of the ceiling, threatening to fall down. We also know Salem Seven make their appearance again. So I think Lilia tarot reading will be about sending all those messages to the coven in the past (check my other post to explain the detail) and to send herself the list of the witches name so she writes them down for Agatha. When she succeeds, the timer (sand glass) gets turn upside down, and everyone in the room gets inverted as well - so they are flying in the air? That could mean that the Salem Seven gets impaled on the swords... but eek, I hope Lilia doesn't share the same fate... I didn't see any other characters in the air though. There is also a rumour that we will get another version of the Witches Road ballad - this time focusing on Lilia, so we will hopefully see them using Patti's full potential.

Back to the rest of the coven... I think after the broomstick flight they get separated. Lilia gets to the tower/castle first as she was left behind. That's why we see scenes with only Agatha, Teen and Jen on the Road (yellow filter) and they somehow circle back to the start, where Agatha falls over a pair of shoes they left at the beginning. Alice and Rio are not there - maybe because Alice died and Rio is taking her to the underworld. Or maybe they just separated, fingers crossed. We also see Agatha and Teen looking at a castle in the distance - that could be the castle that Lilia is in, so that's how they rejoin her.

Trial exit: the ground - so that next trial is earth?

Episode 8: Earth trial - Rio - Green - New Moon? Colour: green? There are a few scenes with dark green filter but not much else has been revealed Story: Earth values are Fertility, Wealth, Abundance, Strength and Wisdom. I hope we get to see how Rio is connected to that. The trial itself is the one where we see Agatha and Teen inside a morgue. This ties in well with both Earth and Death - lots of buried bodies! So sometimes I think maybe Rio isn't Lady Death after all, but her powers make her connected to the dead bodies, maybe to bring life? Agatha has her hands on Teen's head, so I wonder if she's trying to finally get rid of his sigil. They somehow pass the trial - which they believe to be the last one. Maybe the trial room gets flooded with soil at the end, and they climb their way through it - back up to the surface in Westview - maybe we will find out that everyone else who "died" on the Road has actually just climbed back to Westview. But maybe Agatha doesn't get out that way and still has to find the exit. At some point she gets angry because she still doesn't have her powers back even though she passed her Spirit trial (she screams "I want my prize!"). Maybe she realises it's the hair locket (or the symbol behind it) that stops her from regaining her powers and she needs to sacrifice it? Can't really deduce huge amount about this episode yet, other than we see Rio in her full chaotic self. She blows a kiss to someone as well (Agatha?). I think this is going to be a big episode, where Rio's true intentions are finally shown.

Episode 9 - The Grand Finale I draw blank on that one. I don't want to guess how they tie it all those strands together and how they show the impact of the Road on the witches lives. But there is that thought that keeps eating at me - in ep.1 Agnes says "If there is one thing we can agree on is that these cases are always about the place. The specific small town, the history of it, the secrets buried beneath it. That's where the answers lie." I think this is important and there is some big foreshadowing going on in there. Because yes exactly - why did Vision choose Westview of all places for their forever home? (Was it even Vision who chose it or was Wanda just made to believe that? The reason she knew about the plot was that someone dropped a file in her car) And after the events, the traumatised people still choose to live there. And Mrs Hart mentioned she would've expected to see "remnants of a failed public transit system" under Westview. I mean, would such a small town need it? I think there is something going on with Westview itself, maybe there will be a big reveal about this Mephisto at the end?

But that essay will be for another time. For now, I think I need to give my brain some rest. What does everyone think? Have I missed anything or are the elements that don't quite line up with the above theories? I would love to know! Thanks to getting this far!

[chaos0pikachu]

Cinematography?? In MY BL??? Not as likely as you think.

TLDR: it's a joke!!! but also legit sometimes I see "cinematography in bl" and it's just some basic pictures with mid-tone lighting and blue t-shirts. Let's talk film terms like: aperture, panning, tilting, and movement in film so we can see what goes into cinematography (with sources!). Also if I name a show you like as "boring cinematography" don't send me hate mail I'll laugh

(examples used: Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign)

If I name a show you like in this post as "bad cinematography" be chill about it, like, I ain't saying you can't like it, I'm just talking about techniques here not personal likability or overall show quality. I like badly filmed shit too say hello to my collection of Friday the 13th Blue Rays we're just here to talk techniques and like, educational stuff okay?

So the straight (heh) textbook definition of "cinematography" is: the art of making motion pictures. Which, frankly, tells you nothing. Like it's not wrong~~ but it's not informative either. Cinematography covers a lot of what we, the audience, visually see on screen:

"Cinematography is the art of photography and visual storytelling in a motion picture or television show. Cinematography comprises all on-screen visual elements, including lighting, framing, composition, camera motion, camera angles, film selection, lens choices, depth of field, zoom, focus, color, exposure, and filtration." (source)

So let's talk movement in film.

So when I talk about movement, what do I mean? I mean the way the camera, the characters, and the environment moves within a frame.

This video on Akira Kurosawa's usage of movement in a scene is brilliant:

Something as simple as having rain or fire in the background of a shot can enhance the emotions of a scene vastly. it gives the scene depth - literal depth, not narrative depth - that would otherwise be missing.

The way the camera moves and transitions leading the viewers eye back and forth makes what you're watching more engaging. You aren't consuming these scenes, you are engaging with them. They are apart of the story itself, giving the environment life and texture so the characters within them matter more.

And, look, I get busting out Thee Akira Kurosawa might be unfair, but if we're gonna talk cinematography we can't not talk the importance of movement on film.

To understand good cinematography you have to understand what makes it good and as such what makes bad or mediocre cinematography.

In connection with movement we gotta talk about camera techniques like panning and tilting:

"Camera movements are a fundamental part of video production. They can be a powerful storytelling device, heightening tension, evoking emotions, and bringing the viewer into the action. Without saying a word, camera movements can transform a scene’s entire narrative, and direct audiences’ attention where you want it." (source)

So we have movement of environment, of characters, and we also have movement of the camera itself.

Ok so like, where does the BL come in Pikachu??

I'm getting to that, I'm going to start with a more general example: Our Skyy 2 (Bad Buddy meets 1000 Stars edition) vs Kinnporsche.

Starting at 5:17 we have Pran stranded or whatever, and this shot is like, it's fine. It's boring as hell, but fine. Why is it boring as hell? Well it's flat, it lacks movement, it lacks depth.

When the driver drove off the camera could have panned to follow his movement and then panned back to Pran at a different angle to showcase his isolation. Honestly since the scene starts with a mid close up of Pran, I would have had the camera behind Pran as the driver drove away, and had the camera pan around Pran 360 so we get shots of his environment, and him, while also emphasizing holy shit he's like, fucking stuck in the wilderness. 

In general, there's a big lack of movement in the scene. The camera remains almost entirely static, there's no attempt at zooming in or out, following Pran's movement, or showcasing his environment in any meaningful way. Even when Pran begins walking towards the camera the angle of the framing is still centered, rather than tilted downward or upwards to give us more dimension (non-BL comparison, the Book of Eli starring Denzel Washington does the "walking towards the camera" shots really well).

We get a cut of a medium close up of Pran, with a deeper focus so his environment is blurred out.

I understand the thought process of this shot, we want the audience to focus on Pran, but if the point of the scene is to emphasize he's alone, confused, maybe even a bit anxious at his new circumstances it could've been done better. Take a wider shot from this angle, open up the lens to allow for that background environment to come through and show him isolated. Maybe do a pan above him or tilt the camera up going from his feet up as he nervously ruffles his hair. There's options here.

This just adds more walking to the scene, which we already had. It doesn't enhance or emphasize anything about Pran's emotions as a character.

Anyway the camera continues to follow him and then we get another cut. And it's from the same angle as before, only this time we see a truck coming. The camera remains static, it completely stops moving, and we just wait for the truck to drive into the frame.

This whole sequence of events ends at 5:57 and while not a long sequence I find it frustrating because it's boring. The only way the audience knows that Pran is anxious is via Nanon’s acting, there’s nothing in the filmmaking that enhances or contributes to that feeling.

He’s alone, until he’s not, and that’s all the scene tells us. It leaves the scene lacking any tension as well, because we’re not getting a sense of isolation - how large is this space? How alone is Pran right now? What is the entirety of the environment? 

Contrast this with a similar scene in kinnporsche ep06 where Kinn and Porsche are alone in the mountains. I don't have a video of this specific scene so I have to link the trailer, starting at 1:48 to 1:52, but see how we start mid-close up of Kinn and Porsche, then pan out from above them? This is a better showcasing of just how vast the environment around Kinn and Porsche are.

They're still center frame throughout all of this, the depth of the scene is in mid-focus so nothing is blurred out and you can see the sharpness of the environment.

It also places the audience in the same space as Kinn, who is looking up at the sky while the audience looks down at him. It makes the audience a more active participant in the shot, emphasizes the state of the characters, gives the audience a sense of space & environment, and relies a sense of emotion.

The additional fast zoom out also adds to the scene by adding movement and making it more dynamic.

(my man pran looking like this 🧍)

Both these scenes are pretty short, but they're relaying similar information and one is way more dynamic and effective than the other. Both Pran and Kinn/Porsche are alone in the wildness, but in the latter there's a lack of space, a lack of movement, and a lack dimension. This is mainly a framing issue, so let's talk more about camera movement (panning, & tilting).

Here's a scene from 2gether vs a scene from Semantic Error.

(saw someone say 2gether had a high production value and chepie where??)

This entire scene with Sarawat and Tine is flatly shot. There is nothing in their background so no outward movement is happening, the lighting is even as are the colors, everything is at the same depth, and there's little to no motion in the camera.

The scene with Sarawat pushing Tine into frame. Why doesn't the camera follow Tine's motion of movement so the scene has more momentum? It just stops and the char falls out of frame before walking back into it. Then we get a series of cuts back and forth of close ups on Sarawat and Tine's faces. Back and forth, back and forth.

The editing leaves a ton to be deserved because if the back and forth did a quick pan back and forth with each beat we could build up tension, give the scene some texture, heighten the intensity of the argument. If we're going for something softer we could place them in on better set, or make the characters move themselves - have Sarawat walk away from the argument up those stairs, have the camera follow his movement as Tine chases him continuing the argument - or play with the lighting a bit, pan the camera down or tilt it something!

When Tine kisses Sarawat why doesn't the camera move with him in a more notable way? Why did we have a cut to a close up? And then we're back in a mid close up and more cuts and this editor is killing me!

This scene is 4mins long and the only engaging bit of filmmaking here is when the camera follows Tine when he steps closer to Sarawat putting the latter in the frame at 3:15, the entire scene is 4 minutes long.

I want to compare this scene to this scene in Semantic Error which is also all dialogue and also obviously filmed on a shoestring budget.

So right away the camera work here is smart, it starts off in an establishing shot, evenly lit, of Sang Woo and Jae Young both in the frame. Then we get a mid close up of JY looking down, then a tight close up of JY looking up.

The change in camera angle emphasizes his surprise at seeing SW here as he looks up at SW. The lighting has also changed, it's much brighter now. The camera also begins to move, where it was static before it begins to tilt and shift.

We get a cut to SW, the first one of this scene. JY is seeing SW in a new light for the first time, and as such so is the audience. By starting the scene off in an outward shot with both chars in the frame, they are placed on the same level and the audience doesn't see their expressions up close. So when we're hit with JY's close up of surprise and then SW's close up of his wet hair it holds way more impact. It enhances the feelings of JY's character for the audience.

The lighting behind SW has also changed, it's much brighter, and warmer compared to the cooler tones of light behind JY. The camera also slows, and continues to to tilt and shift. JY's world has literally been shifted on his axis.

We get another cut, this time medium on SW and notice, the camera stops moving for that moment and the light around him dims. It's not as saturated. We're moved out of JY's pov here and back into "regular" framing.

SW tries to make JY leave, we get a close up cut of the cut on JY's arm - hey editing used to display important and new information! - then the camera cuts to SW getting medicine and here's a small but important thing, when he tosses at JY the camera follows his movement. And instead of cutting away, when JY gets up thinking SW is hurt, the camera follows JY's movement back towards SW.

It would have been easy to make a cut there back and forth - like in the 2gether scene did over and over - but following the movement of the characters makes the scene way more interesting visually to watch.

Changing the angles of the camera from a lower angle (where JY is looking up) to a downward angle (where SW is looking down) makes the scene more interesting visually as well and enhances the storybeat of JY looking up at SW in a new light memorized. This contributes to the story as well, as it's JY who catches feelings for SW first so their are literally, on uneven ground until they're not later in the story. The camera is panning, tilting, moving with the characters even given the limited space. The lighting adds to the effectiveness, as do the minimal cuts.

On a technical level, the scene in Semantic Error is just better filmed. In my own opinion, the scene is far more engaging b/c the filmmaking is better, where in 2gether the reliance is almost completely on the actors to sell the scene with little help. And I'm not saying nothing about Bright and Win cause their stans wildin'.

Next, I wanna talk about aperture.

I saw a post that used this word and I didn't understand the context in which they were using it because aperture isn't a style of filmmaking its a camera setting or lens adjustment - it's the rate at which the camera opens and closes letting in light and focus.

"Aperture is the opening of the lens through which light passes. When you hit the shutter release button to take the picture, the camera aperture opens to the predetermined width, letting a specific amount of light through. A large aperture lets more light in, and vice versa. Aperture is calibrated in f/stops, written in numbers like 1.4, 2, 2.8, 4, 5.6, 8, 11 and 16. The larger the number, the narrower the aperture." (source) <- really recommend this article if you want to learn about aperture in film.

A great non-BL example of aperture used for style is One Piece Live Action where cinematographers Nicole Hirsch Whitaker, and Michael Wood love using deep focus aperture in a lot of scenes.

But let's compare The Sign vs 1000 Stars.

So when the scene starts, we're in mid-focus/aperture, everything is of similar sharpness and depth. Nothing is especially blurred out we're getting the full spectrum of Phaya and Tharn's environment.

When the camera switches to close ups of Phaya and Tharn however, we get a deep focus aperture. That's why everything behind them is so blurred out. In a close up of Phaya, even Tharn's face is blurred. The director wants the audience to focus specifically on these characters individually, so we can understand the weight of their dialogue. But when the camera wants us to see the characters as a unit, it cuts, pulls back out of that deep focus and everything is back in mid-focus again.

Here's another thing, it's subtle but it's important.

This scene also combines what we already discussed about movement. At :08 of the scene, in that first mid-shot the camera is actually zooming in closer on Phaya and Tharn. Not dramatically, subtly, but it is there. This is important, because at 3:23 we get another mid-shot of them, pulled out of that deep focus, and the camera begins to zoom out.

The camera also follows the movement of Phaya grabbing Tharn's hands, then pans back up to Phaya's face once again before panning higher into the frame and panning back to their faces and zooming in.

When we move back out of that deep focus, into a mid-shot the camera continues to zoom out on the two characters as they kiss.

I saw someone say that this scene wasn't "filmed like BL kisses" and, eh? Like it isn't filmed in that static style of filmmaking which has dominated BL filmmaking probably due to budgetary reasons. But

The Sign follows a similar filmmaking style as Kinnporsche and Domundi shows do. But also just like, basic filmmaking techniques you'd see in shows of the non-CW/soap variety.

The thing fans are seeing here is film technique (probably partially due to a larger budget). Movement, lens adjustment, panning and titling, lighting and color are all playing a role in this specific scene.

Cinematography baby.

(sidenote the VFX of The Sign is dope as fuck too)

Okay so let's talk Our Skyy 1000 Stars

So this opening scene follows a similar structure to the scene in The Sign: mid focus shot of the two chars, into separate deep focus close ups. It's also a dialogue heavy scene like the one with Phaya and Tharn.

So why does their scene work better on a technical level than this one in Our Skyy 2?

The scene in The Sign combines techniques of aperture, movement, lighting, color and framing to give everything more impact.

In this scene with Phupha and Tian we get a similar editing style as the scene in 2gether: lots of back and forth cuts, very tight close ups, static camera movement. Where as the camera zooms in and out during mid-shots, the camera doesn't move in Our Skyy 2. It remains motionless even though a zoom in as the two characters lay in bed would add a lot to the scene itself.

In the close ups the camera continues to remain static, only changing angles when there's a cut. At 1:22 Phupha moves his arm to wrap around Tian, the camera could have taken a closer shot at his arm, and then followed his movement as he wraps it around Tian. Like how the camera followed Phaya's movement when he holds Tharn's hand.

Instead it's just a flat shot, we see his arm wrap around in a mid-focus above shot. The camera does move to follow Tian a couple times - at 1:50 for example. But overall, the scene is stiff - who sleeps like this frfr - in framing, in movement, in depth.

I want to say that I don't think this scene is bad - like I do the 2gether scene or the earlier scene with Pran - I think it's just, okay~~

And no, for none of these examples did I pick "the worst" shots or whatever. I'm not out to get any specific show, but tried to find comparable scenes and compare and contrast the filmmaking techniques used in both and how effectively they were used.

I want to leave off with this.

There's a lot that goes into cinematography, yes this singular shot of Furiosa is amazing, but what makes the scene amazing?

Pay attention to how the camera moves (panning and tilting), when the camera moves (zooms in and out), the movement of the scene (the hair and sand moving), the lighting (Furiosa from behind is in darkness, her side profile more lit), the depth of the scene itself changing (as she walks away from the group the focus/aperture gets deeper on her, then when she walks out of the frame it grows larger to focus on the characters left behind).

All these little things make up what is "cinematography". The more you learn about the techniques used the more you can notice about film and what makes a scene powerful.

As BL gets more budget we're seeing shows expand their filmmaking catalogue more and more. Which is exciting! If fandom is gonna talk cinematography I think it's helpful to have the vocab to do so, and it's cool to watch a scene and be like "oh I see what they're doing here and why and how".

I mentioned other things that go into cinematography like framing, lighting, color, and there's also editing (which is separate). Idk if I'll make a post about those things cause I'm lazy and this shit takes forever to research and write but who knows~~

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[velvet-vox]

Why Doll perfectly exemplifies all of the strengths and flaws of Murder Drones as a series.

From the amount of posts present on my blog about the specific individual, it is rather obvious to assume that Doll Yurikova (I'm still convinced the fandom made up this surname) is my favourite character from Murder Drones and you wouldn't be wrong.

She just simply tickles my needy scratch for weird, cool complex villainess characters.

However, eventually I also realised that she more than any other character embodies everything that makes murder drones a great show and everything that detracts the show from being genuinely amazing.

Let's start off with the good, anything I say applies to the both of them:

Doll/Murder drones are generally cool, unconventionally attractive, have great potential (this point will be elaborated upon) and are very complex in both the themes that they bring to the table and the philosophical standpoints discussed.

Coolness factor is mostly subjective, but I am sure any Murder drones fan will tell you that the sci-fi/horror/mystery/romance/comedy show about sentient cannibalistic robots who fight against eldritch atrocities with Portal 2-esque music is an absolute blast conceptually and visually. In the same way the russian robo vampire who was previously a cheerleader before deciding to commit cannibalism to avenge her dead parents has swarms of fans simping for her.

Unconventionally attractive is determined by unconventional people, said people also have rewatched the show seventeen different times.

Now, regarding the great potential, although I've also elaborated the previous points, this is one that will carry over when discussing the negatives of both the character and the show, but as for positive, you can just feel that Murder Drones is so much different from anything else you have ever watched, it truly gives me haunted Ghibli vibes in the way the story plays out. It could really be amazing. As for Doll, every time I watch her in the show up to her death I just get really sad thinking about what could have been if she had a redemption arc or just a better life in general.

Murder drones has abuse as his main theme and how it circulates into destructive chains and Doll is definitely one of the more interesting examples of said theme, being part of the abused and mauled drone designation that became an abuser herself. I say one of the more interesting examples because her story is fleshed out better than someone else's, say Tessa or Alice.

And now for the negatives, we need to bring out the big elephant in the room:

The show is only 8 episodes long and they are writing the season one finale in the same way you would write a series finale since making Murder drones costs Glitch a crap ton of money when they could just lower the animation quality and allow the story more time to breathe (mind you this is also Liam Vickers fault). I just hate the 8 episodes 20 minute long formula, it has, in my opinion, destroyed modern show telling and I honestly can't bear it any longer.

Besides that, 8 episodes of 20 minutes means that Doll's arc has to be paced quickly in order to get all the other characters (particularly the main ones) and elements to shine and that unfortunately leads to the fact that both Doll and Murder drones lack the one thing that separates Doll from being a human being and Murder Drones from being an amazing show, and that thing is (drum rolls) the tissue.

To explain, they have the (exo)skeleton, the organs, the mandibles and all the things that would make a piece of fiction feel truly human, but without the connective tissue, the skin, they both end up just short of those standards and as a result I can't confidently say that they are truly evocative individuals. Tissue of course is a metaphor for quote on quote "filler" in regards to the show and "villain at rest" moments in regards to Doll and her arc. And let's talk about the ending of said arc because of its possibility of paralleling the conclusion of the show;

You can say a lot of things about Doll's death but one thing that's impossible to deny is the impact of her death in your mind, everything about its execution is just so brutal that it leaves you a lasting feeling in your body; in a similar manner, the show could end with an absolute gut punch that remains impressed in your mind for months to come.

Want more?

[that-dreaming-dragon]

My Draconic "Element" — Dream

I've talked about my relationship with the color orange, but somehow, I never really talk about me and the element, or perhaps the concept of dreams. And with the linking of the cosmos dragon, my connection towards stars has strengthened.

When we talk about dragons, people in general think of the association towards the basic four elements: wind, fire, water, and earth. Depending on the region, dragons are often tied to a specific element, like western with fire, and eastern with wind and water. Sometimes there's elements like lightning or ice, shadow and light. Sometimes dragons are tied to the four direction. Or just one. When you go into more complex elemental system, there are dragons with holy power, dragons that belong to chaos, dragons of arcane and magic. And well, a star dragon isn't all that uncommon.

It was easy enough to see where stars had been there all my life, and how it easily translates into becoming a identity.

Prior to Aurelion Sol, wei always had a bit of extra fascination with stars, space, and galaxy. The aesthetic and beauty are something dear to muis. Perhaps it's where the dreaming conscious goes, the wandering mind following the trail of comets, bursting new worlds of the solar systems, and the stories sung from the shapes of the horoscopes.

Excerpt from Birth of a Star, Cosmos Dragon

But dream, dream isn't usually thought of as a dragon element. Dream isn't usually thought of as a element for creatures and characters, period. And maybe calling it a element is rather misleading, yet the relation I have with it, calling it a element is so far the best word I can work with.

As a dragon, I do not have any breath weapon. I don't work with offensive magic, or actively controls or governs anything. You'd think with me being a dream dragon, I'd at least be something that has some power with, or over dreams. Unfortunately, it seems all I'm capable of is being a naturally lucid dreamer, has penchant for daydreaming, and perhaps the vivid mind visualization. Don't ask me how I associate that with the idea of dreams.

How did I land on "I am a dream dragon"? Honestly, couldn't tell you, I have even less of an idea in regards to that origin than my own appearance. At least I can trace where I realize orange is my color, and able to see where the element of stars came in (in regards to Aurelion Sol). I can figure out where birdness came from, and how I feel aligned to celestial and divine. But there's absolutely nothing I can see or remember that can lead to me finding dream as my personal element. Or perhaps it's just because how dream permeates everything in life, yet so mundane at the same time, that even if I do have a starting point, I'm unable to recall it in exact detail.

It's not really important though. I am who I am today, here and now.

SO, how am I a dream dragon?

While my feathered wing is tied to my birdness, I think it being white feathered has a bit of symbolic connection to the concept of dream. Aesthetic wise, people may thought of soft and fluffy when it comes to dreams, and maybe a little angelic in some way. I'm merely speculating, because why would a creature that have wings be a completely different color than their whole body? I'm once again a little baffled at my own appearance.

What really ties my draconity to dreams though, I'd like to say is the power of shapeshifting. Dreams are ever changing, shifting thing. Abstract in form, an ideal, a concept, a mere thought turned world, a inspiration, aspiration. All of these are mutable, fluid. And perhaps why my sole power as a dragon is shapeshifting. Yet dream, never mind how it changes, it is still dreams. Day dream, night dream, a dream for the future, a dream or idealized version of someone or something. There is something, a strong essence that ties all these together, I may not be able to word it, but I don't think I need to. It is something like "love", or even, "dragon". Well, maybe not so the last one.

If I say what is love, there will be a thousand and more answers, but everyone knows of it, regardless of the form it took. I think dream is like that. I am like that. Regardless of what shape I change to, whatever form I may be in, people know I am Ryuu, I am the dream dragon. There is this sense of core essence about me that stays the same. Maybe that's my essence of my draconity.

On a sillier side, apparently I don't fly, according to my noemata. I float. I think that sounds pretty dreamy.

Beyond that, it really comes back down to "it's all feelings". I feel that I am aligned to the ideology, concept, and overall essence of what "dream" is, so I am a dragon of dream.

[tornioduva]

Avatar the last airbender - a small thought on Aang design

....Ok, so, all the talking about avatar these past days made extremely inclined to rewatch clips and episode from theoriginal. and with that, i developed a particular opinion o a specific things: Aang's tatoos.

Now, we all like the lore and worldbuilding of this world; it has its issues, but it functions really smoothly (not considering Korra). I do think one thing we can all agree too: Aang's tatoos are how they are because they look cool by themselves more than for cultural reasons, but they do even more in his avatar state:

Aang is visually really cool and iconic in both forms, and that is in gran part thanks to the tatoos.

What i want to say with this is: why only Aang has them? or to be precise, why the avatar state interacts with a visual component of the body other than the eyes only with the Air nomads tatoos? other air avatars have them, so it seems to be a peculiarity exclusive to his people. why is that?

And why is that a "problem" with me.

I'll be short with this: i just think all the other avatars should have visually highlighted elements other than just the eyes like aang does.

I just see it as a wasted opportunity, both to add cool properties to the avatar state and to add cultural details to the avatars and their people.

Like, i don't know if it's explained somewhere, i don't remember all of the show by memory, but it don't remember to any explanations as to why. One could sayis because the air temple are the most spiritual one. are you sure? that in the whole world only them have figured out tatoos that connect to the spirit? come on.

it's shown multiple times that spirituality is something possesed by all nations, and each with their own interpretation and local declination, this is just the one of the air nomads. Yeah, maybe adding to the others would leessen the specialness of the air nomads, but i think we would only gain by more visually diverse avatar states.

Like, tell me to my face that it wouldn't be cool to have fire avatar with glowing flames pattern on their fists and feet (maybe face even), water avatars with flowing waves all over their body, and maybe earth avatars with patterns all over their chest and back.

also, one, could say that the tatoos are important to aang, and so maybe this is a uniquely his thing for some reason. well, this opens even more possibilities!

if the avatar state does make things on the avatar's body glow based on their history and feelings, we could have things like hair, fingernails, only hands or feet, the mouth, and stuff like that. something like Anne from amphibia.

Listen, i just want something as badass as this for tthe other avatars too.

This all train of thought started mainly after i rewatched some TloK clips, where i realized how plain she looks if compared to Aang.

Like, she does go hard visually many times (especially here), but Aang just sticks to you.

i'm not sure what i could give to korra that does not clash too much with her design; again, maybe some arm tatoos would do the trick, but, given how her story goes, i think it would be cool if she had something like glowing cracks in her skin, giving a hint on her depowered/unstable character state, overflowing from her.

or maybe even just a glowing shade on the end of her hair.

don't know, i just think this was kind of a waste of good design, there to look cool but to not expand this privilege to others as well.

[the-hidden-writer]

Lost in Translation

An Alan Wake 2 oneshot. Spoilers for Alan Wake 2!

Summary: After the events of the game, Saga casually asks Casey if he can he can speak Finnish. His response leaves her unsettled.

Words: 1,913 AO3 Link: [Here!]

Lost in Translation

They’d been working in their shared office for nearly four hours. Sorting files, sending emails, tying up loose ends on various older cases, etc. The admin part of the job that nobody tells you about.

Personally, Saga didn’t mind it at all. She actually found it quite therapeutic, as she did similar activities mentally all the time. It felt nice to get to handle physical papers and get to type visual notes. She felt as if she was in her element.

Her partner, on the other hand, was very vocal in his opinion that it was dull as hell.

Saga would often crack jokes or ask random questions to help lighten the mood. Many times they would lead into much longer conversations in which she’d end up learning a weird and wonderful fact about her partner. 

This time, she waited until he’d finished typing away at his computer and had stood up to go and refill his coffee (just to ensure she wasn’t disturbing him) before blurting out the first thing that came into her head.

“Casey, do you speak Finnish?”

A simple, innocent question- or at least, she’d intended it to be. But with the way Casey’s demeanor changed in an instant, freezing mid-step and a near-miss of dropping his beloved coffee mug, it was as if she'd caught a deer in headlights. A deer that would not normally turn his head slowly to stare at her with wide, haunted eyes.

There were a few tense seconds with only Casey’s heavy breathing filling her ears. She didn’t need to go to her Mind Place to instantly know that something was wrong.

“No… I don’t.” Casey’s reply was terse and strained, like he was having to force the words out of his mouth. There was also an element of uncertainty to his voice, as if he didn’t have total conviction in his answer. His hardened gaze shifted to look directly into her eyes, filling her with concern. “Why’d you ask?”

Why did she ask?

It was actually a question that had been simmering in the back of her mind ever since Bright Falls. She’d been enveloped in the whirlwind of the horror story at the time, tunnel vision to save Logan and Casey dictating her every move and helping her through the madness. There was so much going on around her but so much of it was quickly forgotten in an attempt to keep pushing forward. Her family came first, magic lakes and Wake’s inner demons be damned.

Yet there was one sight, spotted briefly in the basement of the nursing home, that she just couldn’t shake from her psyche. Gory images of her partner (whether it was actually him didn’t matter, he looked like him enough to chill Saga to her core) terrified and in tremendous pain while being dragged and stabbed by cultists, bathed in light as red as the blood spewing from his lips.

And the film was Finnish.

But she’d been alone in witnessing that. Casey wasn’t there, Casey couldn’t have seen what she had. A part of her had been satisfied with the assumption that it was just weird Dark Place trickery or something Wake had written in. Either way, it wasn’t real. She’d just been curious about the language.

Based on Casey’s reaction though, it clearly must mean something to him. Or maybe he had some other strange connection to Finland that he’d never told her about and it was all a coincidence.

…Yeah, Saga couldn’t convince herself that could even be a possibility.

Just in case, she put on a smile and tried to backpedal. “I don’t know, I just thought of it now.”

Still frozen in place, Casey threw her a pointed look and she could hear the unspoken dry words delivered through it. Don’t bullshit me, Anderson. We both know we’re way past that.

A small sigh of defeat escaped her lips. It had been worth a shot.

“I was thinking about Bright Falls,” she admitted reluctantly, the way Casey’s head dropped not lost on her. “With all the Nordic stuff going on there, I just wondered…”

She couldn't bring herself to tell him the whole truth. Not yet, at least.

“Yeah… I figured it’d be something to do with that.” He seemed to accept that answer at least and he finally finished crossing the room to refill his mug.

Saga offered an apologetic smile. “Sorry to bring it up.”

Waiting by the machine, he turned back to her and gave her one of his rare, small smiles in return. A soft little expression that Saga always treasured. “Nah, you're good. Just… caught me off-guard, that's all.”

That should have been it. She should have dropped it, should have accepted his convincing attempt at brushing it off for what it was. But she knew her partner better than anyone. She knew Casey, which is why she knew that such smiles were reserved for when something meant a lot to him, either positive or negative.

And judging by the way her skin prickled at his words, she had a feeling it was probably negative in this case. She felt the urge to enter her Mind Place and deduce what was troubling him. There was clearly more to this than meets the eye.

It sometimes slipped her mind that Casey could read her just as well as she could read him. Some of her concern must have shown on her face, because he started to elaborate unprompted. Saga had an inkling that it was in the hope that she wouldn't profile him if he offered the information himself.

“Look, it's uh… I don't really get it myself, so I don’t know what to tell you.” He gently set down his coffee mug on the table.

“Bright Falls?” Saga prompted. The easy answer to any horror or confusion.

To her surprise, Casey shook his head. “I’m not sure? It’s weird, but I don’t think it’s anything serious. It’s not even worth talking about.”

He was dancing around the point, opening up without opening up. Now Saga desperately wanted to profile him in her Mind Place, but knew that it would be painfully obvious to her partner if she did it mid-conversation. She continued to suppress the urge.

“I won’t push if you don’t want to talk about it,” she said, “but just know that your Christmas invitation will be officially revoked if I find out you’re bottling things up again.”

He let out a sound that was half a scoff and half a chuckle, and Saga herself relaxed a little upon hearing it. A small victory in diffusing the situation.

“Didn’t think you’d stoop so low, Anderson.” Casey said dryly. 

She doubled down with a hint of a grin. “Yeah, well then you’d better be honest with me because I am not bluffing.”

Another huff. “Fine.”

He walked toward her and settled down on the opposite site of the desk. He then took a long sip of coffee before making an even longer sigh.

“You’re gonna laugh.”

“Try me.”

His gaze shifted to stare into his mug. Saga watched intently as his brows furrowed, lost in his own thoughts. “I, uh… think I’ve had dreams… in Finnish or something.”

That was not what she was expecting. A smile tugged at her lips at being so taken aback.

“Saga.” Casey said with utmost seriousness, his tone causing her to actually crack up.

“Sorry! I’m sorry-” she quickly composed herself- “I just didn’t expect to hear that.”

That prompted an eyebrow raise from Casey. “What were you expecting to hear?”

“Not that.” Saga replied casually, hoping he wouldn’t pry further. Having strange dreams seemed much tamer than some of the possibilities she’d been imagining after seeing that movie. “What sort of dreams?”

He cast her a suspicious look but luckily accepted her attempt to brush it off. He shrugged. “Don’t really remember.”

The obvious lie lingered heavily in the space between them.

Casey then cleared his throat and stretched his fingers before beginning to use the computer again. “Well there you go, now you know.”

Oh, Saga could see what he was doing. He’d mimicked her casual tone of voice. He hadn’t pried when she clearly had more to say and now expected her to do the same. 

She desperately wanted more information, but he seemed to be pretty adamant on leaving it at that. If only because she didn’t want to risk revealing something about that movie if he didn’t know about it already, she decided to leave it be.

(In the conversation, at least.)

Once she was certain that Casey was engrossed in his work again, she entered the Mind Place.

Even though it was mostly behind them now, Saga had still kept various files open from the Bright Falls incident. The whole thing didn’t sit well with her and didn’t feel as though it had concluded in a way she was satisfied with. She half expected Alan Wake to knock at the door at any moment.

Moving over to the desk with profiles, she noticed Casey’s was already there waiting for her. She picked it up and studied it carefully.

What have you been seeing, Casey?

Instantly, a chill shook her body as it was spiked with a sudden anxiety. Casey’s voice echoed in her head. Saga shuddered where she sat. Not because of the fear that didn’t belong to her, but because the visions of her partner became more bloodied with each insight.

Not me. Not in those books. Not in my sleep. Just a nightmare. Not Wake, not Koskela. They aren’t sadists. My heart won’t stop pounding in my chest. Feels good. That feels bad. I try to speak and foreign words come out. I can’t understand it, but I know the words are mine. A bright light. A dark room. A friendly janitor. Those damn cultists. The fuck have you done to me, Wake? I’m trapped. I’m trapped. I’m trapped. I’m trapped. I’m trapped. I’m

Saga snapped out of her Mind Place, horrified. She quickly glanced over at her partner. Casey was still busy typing, none the wiser. Releasing a shaking breath, she leaned back in her chair.

So Casey had seen that movie. Or had dreamt about it. Had he dreamt about the movie or dreamt about the events? It wasn’t a memory or a vision, was it?

So much for it just being a part of her imagination.

“Casey?” she blurted out.

He peered out from behind the monitor. “Hmm?”

He seemed fine, either unaware or simply unbothered by the subconscious thoughts Saga had seen. She suddenly thought against bringing it up. How would she go about telling him what she’d seen if he wasn’t outwardly showing his troubles? Tell him that she’d peered into his private thoughts?

Frustrated that he was bottling things up after all, she sighed. “Nevermind. It’s nothing.”

“If you’re sure.”

She wasn’t sure, but couldn’t do anything about it. It would remain as a note under his file in her brain for the foreseeable future, only to be reopened during their Christmas get-together later that year.

After a big lunch and a lot of laughs, Casey had fallen asleep on their couch. She’d been placing a blanket over him when he began to mumble something. She paused, before realizing he was still asleep. That’s when it felt as if her own heart stopped in her chest.

The words were distinctly foreign.

The words were distinctly Finnish.

Thanks for reading!

[verycharismaticdragon]

Okay, thanks to like 5 people enabling me, the interactive Let's Play of On Air Island is a go!

Before we begin, I feel I should include the list of trigger warnings the game provides on the starting screen:

In this game, there are scenes that some users may find psychologically uncomfortable. Triggering elements include cyberbullying, murder, suicide, emotional abuse, violence and blood, drugs, visual and auditory horror scenes, etc. Please keep this in mind while playing.

Of course, I will do my best to additionally warn for the scenes which contain these elements, and don't hesitate to tell me if you think I missed a warning. For our very very first episode, though, I don't think any of these apply.

[story so far] - [next]

Then, let's tune in!

(the transcript is available below the poll, under keep reading)

[ Legend ]

In-game text

Character speaking: dialogue line

in-game chat messages

available donation messages

———— ———— ————

Ready or not, here I come Ready or not, here I come

The eerie cry is getting closer and closer. Hiding or running far away is of no use.

Stomp stomp stomp stomp Growl growl growl growl

They will never let go of their prey I can't help but ▧▧

Is that really the best thing to do?

… … … …

???: What shall I do? I am sure that was not my imagination.

???: We'll be dragged away. It will wake up from its sleep and find me.

???: This can't be true. It can't happen like this. Could it be... I've really... come back?

… …

… … … …

Honari's Voice: Wow! We're finally here!

soofarrr: Hi, hi! MoeGuy: Why did they start already?

Honari: The weather is so nice! But, what are we doing today?

PD: We're going to take a break first, then we'll gather up.

SignIn: NICE! Kard: ONE look at your phone! Carat: LMAO

PD: We'll start the broadcast at the same time, so do not start it first!

Staff with a camera: Do not worry about the videos I am shooting, they will be used for the edited version that will be uploaded later!

LoveHim: *cries* *cries* HeIsKing: Oh no, Silly Hanse

Mr.Fact: Oh, I could have started earlier, but how much content have I missed?

Ezra: Mmm~ The air is nice. It's because it's an island in the middle of a vast ocean.

2-1is0: Aaah!

Jin: It looks gloomy to me.

Naoto: That's what I'm saying. There's something suspicious about it.

MyKitten: Are they going to film it here? SirNine: Maybe? But they really did great looking for this place

Alice: Eek...... I just saw a really big bug!

[people laughing and talking] [some noise]

DUCKACOON: Hanse, what are you doing there quack?

bechill: Oh...

Hanse: Ah…………… Nothing, the camera just turned on by itself! 

Rolling: What a shame lol FactOppa: Hi Hanse!

Hanse: I'll be right there!

�������: &#104;&#105;

<Please check your connection.>

Screen Writer: <Never stop Watching!> Day 1 Settlement Announcement. The last place to carry out the penalty goes to......

RaMe: Show us more! besafe: Keep it coming!

Screen Writer: Han · se————!

TrashMan: I knew it. Glimmer: Hahaha, I'm going for a real, realityshow. Bye! yesHan: But honestly, we should have started with a topic where Hanse won't be able to perform well. 2-1is0: They always say there's something else that Hanse is good at. MyBaby: Not fun at all, Boring. oc'mon: Is Cleanbot not working?

Hanse: Ugh......! Can't believe that I got last place......

What the hell is going on?

I just came but what's with this mess;;

Come on, Hanse, I'm rooting for you!

[vaknewt]

One Piece: Vegapunk's Broadcast(Official Full English Translation)

I've stitched together an uninterrupted version of Vegapunk's broadcast as of now. Tried to get things accurate, but got a bit confused with the three Vegpunks during their 'Coffee Stream.'

Coffee Stream and Prep

Chapters 1108-1113

*Beep... Beep... Click...!! Zshk...!!*

Stella: Ahem!  Hello?  Check, check... Is this on?  Hello out there!  Come in, world.  Ahem... I am Dr. Vegapunk, a humble genius scientist.  While many of you will likely be shocked by what I have to say in this message, I assure you that it is the truth of this world!!!

Shaka: Come now, Stella. *ZSHK* You can’t just start this up out of nowhere.

Stella: Hmm?  What do you mean, Shaka?!

Shaka: Surely the audience will need to be adequately prepared to hear it.

Stella: You really think that’s necessary?  Some intelligence agency will pick it up and it’ll spread across the world by the next day…

Shaka: Are you certain about that?  What if they manipulate the information?

Stella: Hrmm. A good point… So what should we do?

Shaka: I’ll relay the signal through every naval base in the world and force them to output at maximum strength.  The transponder snails can receive audio signals, but the visual transponder snails will take time in order to be set up for viewing.  I suggest giving them an interval of one hour.

Stella: One hour?!  That seems long.  So long, in fact, that it will give those who might not want this message to be heard the time to interfere with it.

Shaka/Stella?: Very well!  Let us set the preparation period for the message to ten minutes!!  You hear that world?!!

Shaka/Stella/Pythagoras: 

-So, nine and a half minutes to kill.  What now?

-Want to invent something?  I’m rather busy.

-Why not have some coffee?

-Calculating the likelihood of signal jamming…

-The coffee will take ten minutes to brew.

-Then I won’t have time to drink it!!

-I calculate the chances of jamming are exceedingly low.

-What is that, Stella?

-Hmm?  Why, it’s the dream of all mankind: Vega Coffee!!  One little speck of this stuff dropped in water, and you’ve instantly got nice, warm coffee!!

-How many minutes left?

-It’s not like we’re on a strict timer.  Let’s wait seven minutes or so, and then we’ll begin.  Not that anyone will be close enough to stop us if they wished…

-I can’t help but notice you’re not drinking your Vega Coffee.

-It’s hot!  I have a very sensitive tongue!

-That’s mean, Shaka.  You knew that already.

-Four more minutes, Stella.

-*sip* YEOW!!

-Stella, there’s not much time left.

-Why not use thermoelectric elements to take the coffee’s heat and convert that energy into something--

-One minute left, Stella.

-I know!! *Slurp..* Well, it’s been such a short time that the coffee’s not even cool yet, but are they all set up with their video transponder snails by now, I wonder?

-Thirty seconds to go, Stella.

-I feel a bit nervous knowing this is going all over the world.

-Video will one day connect the entire world.  It will mean knowing, and the discomfort of being known.

Vegapunks Message

Chapter 1113

Stella: Can you all hear me?  Hello?  This is Vegapunk.  Hello world.  Come in world!!

Shaka: It’s a one-sided hijack of the waves, Stella.

Stella: I know that!  Well!  In that case, let’s get this message started!!  I have committed two sins.  Therefore, whether I am arrested or executed, I shall program this message to be broadcast when my heart stops beating.  However--!!  I want to make one thing very clear first.  Whoever may have rendered their judgment unto me, I am not trying to convince you that their intent is evil.  I will not apply the labels of good and evil at all, in fact, because I understand too little about him to begin with.  What I am about to tell you is so preposterous you might even burst into laughter.  However, you all have the right to know.  To make a long story short, the world as we know it will sink into the sea!!

Chapter 1114

Now, speaking of the near future for me, assuming that the sensors I built are functioning correctly, in the days after I recorded this message, there should be a most remarkable earthquake that strikes the entire planet!!  As a result of that, the sea should rise about one meter around the world rendering some islands uninhabitable.  Beaches around the world will be lost for good.  If I am wrong in this prediction, feel free to disregard the rest of this message.  If this has happened, however, you should heed my words very carefully!!  This particular earthquake is not exactly what I would call a natural phenomenon.  In my own way, I only ever hoped for peace, but this was the root of my first sin.  I dreamt of a source of endless, eternal energy, and in my desire to push the world forward into the future, I flew too close to the sun.  Allow me to explain just what it is that is happening to our world.  From about 900 years ago to 800 years ago--A period of a century, there is a span of history that is completely and entirely blank.  We call this the Void Century, because all records from this time were eliminated.  The only means to know this lost piece of history is to find a message from the past in the form of ponegliffs scattered across the world and decipher its contents!!  However, the World Government has made it a crime of the highest order to decipher the message of the ponegliffs.  And despite being a member of the government myself, I broke this law.  That was my second sin.  Through the sheer tenacity of a group of excellent archeologists, I inherited some texts and a number of ponegliffs, which I have deciphered and continued studying to the best of my ability.  I regret none of this!!  History, you see, tells a story, in other words, what I know is an incomplete story of that 100-year void!!  It would be dishonest to fill the blanks with my own speculation, so I will leave you only with the verified truth!!  The main character of this story was born into a kingdom with an impossibly advanced civilization, 900 years ago.  Like the Sun God Nika spoken of in legend, he fought with a body that stretched and contracted.  His name was Joyboy.  And he was the very first man on this sea to be called a pirate!!!

Chapter 1115

But as for why he was called a pirate… I have only read from a handful of ponegliffs, but what I found there was the record of a breathtakingly vast war.  Joyboy’s enemy… was the World Government of the present day!!  More accurately, it was the precursor to the World Government, a provisional army put together by 20 kingdoms known as the Alliance!!  You might say they had no other choice, so robust was Joyboy’s faction!!  Without knowing the spark that caused the war, I won’t say who was right or wrong, I’ll simply state that two competing ideologies came head-to-head.  As I mentioned earlier, for its time 900 years ago, the country of Joyboy’s birth was a startlingly advanced civilization.  And the weapons that were used over the course of this 100-year conflict appear to be impossible to re-create with the latest of modern science.  Even I, a humble genius, cannot replicate them!!  And therein lies the problem!!!  The Void Century came to a close with the defeat of Joyboy, but not before leaving vast, permanent scars of war across the face of the world!!!  The world is made up of a series of islands.  Sailing between them is difficult, and many people never experience anything but their own culture at home!!  But this shared understanding of the world does not necessarily apply to the world of a thousand years ago!!  Because a cataclysm occurred during the Void Century causing the world to sink once before!!!  We are currently living on the pieces of a continent that existed long ago!!!  The world of a millennium ago now slumbers unseen at the bottom of the sea!!!  In fact, one can assume that in the past there were a number of continents we know nothing about.  If the world were still the same as it was in the past, then the act of erasing 100 years of history would be simply unthinkable and impossible.  However, it makes much more sense when you understand that the rise in sea level over that century was 200 meters!!!  As for why the sea level rose so much during that century, it would be natural to assume the work of a sudden natural disaster, but I can state for a fact that this was a man-made disaster!!!  If such a cataclysm were caused by natural forces, then the initial disaster would have spanned several centuries and inflicted slow but continual damage upon the world!!  But by any measurement--climatology, geology, environmental and atmospheric science, this dramatic shift could not have happened within a single century!!!  So the cause is something else.  And when I detected the rise in worldwide sea levels the other day, I had my answer.  I knew the cause and confirmed its existence!!!  The ancient weapons that sank the world into the sea 800 years ago still exist today, and await the moment that they stir once again!!  In other words, the vast war that arose during the Void Century never came to an end!!!

Chapter1116

Sadly, I owe you all my deepest apologies.  But I need you to understand why!!  I wanted to create the energy that would power the industry of the world to come.  And though it is still incomplete, I have at last reached a practical stage of my life’s work, the Mother Flame, a fire that never goes out!!  It is an energy source that will one day in the future enrich the lives of people all over the world!!  Unfortunately, one little piece of that flame has been stolen!!  The fault of this lies entirely with me!!!  Around two weeks after the theft of the flame, the sky over Lulusia shone with a powerful light, and the kingdom vanished without a trace, according to reports.  After that was when I observed the first signs of worldwide earthquakes!!  As a scientist, and with utmost pride in its development, I can tell you this… Nothing but the Mother Flame could have created so much energy!!!  The flame that I created was used to activate an ancient weapon!!  I know nothing about who might have carried this out, but the results speak for themselves!!!  My actions have led, directly or indirectly, to the loss of many human lives!!!  A fact that weighs most deeply upon my soul!!  I am so sorry!!!  I have inadvertently proven that the man-made disaster that once sank the world is possible again!!!  In the past, there were three ancient weapons, and Joyboy attempted to preserve them for the future!!  Why would he do that for such dangerous things?!  Have we not sunk far enough?!  Who is the true evil here, and who fights the good fight?!!  The day will come when all of the answers are laid bare!!  And I warn you--That moment will happen when we reach the very precipice of the world’s drowning!!!  The Void Century is still ripe with mystery!!  However, there are some who have learned the truth!!!  The king of the pirate’s crew!!!  When they learned all of the true history, why did they drift apart without telling anyone?  Why didn’t they act on it?!

Chapter 1117

I know this information is in bits and pieces, but if I were to say more, it would be speculation.  Lastly, I have one final message to impart.  To those scattered throughout the world who bear the name of D, within you there is a-*ZRRKSH!!*

Chapter 1118

*ZSSK* That… name… *ZSHK*

Chapter 1119

…But actually… …nothing of the sort.  …Which you might consider a will inherited through the years. *ZSSHK!!* …can only pray that those at the mercy of this reason will be able to hear this message.

Chapter 1120

*Zrk* Someone once said that the voices of the past will be heard… History is told by the winners, and the voices of the losers at the bottom of the sea are so very faint, but the truth that was gleaned at the cost of so much sacrifice has at last been told to the world, just now… I can only pray that this message has made it safely out to the world at large.  It would be foolish to hear about a war 900 years in the past from only one side.  History requires a multifaceted approach to understand entirely.  If only I had more time on my side!!  Alas!  There are forces outside of my ability to stop.  Twenty-five years ago, the pirate Gol D. Roger, completed an unprecedented tour of the entire world.  And what he and his crew heard were likely the purest voices of the past.  In conclusion, as I’m sure you’ve all surmised by now, my view of the future is thus!!!

Chapter 1121

One day, the memories of the Void Century will be recalled, and mark my words, that day is coming!!!  The sinking of the world’s continents was a man-made disaster brought about by weapons!!  Weapons which, by someone’s design, still exist today!!!  The machinations of history and fate seem to insist upon the obliteration of those last descendants of rare races!!  If the worst should come to pass, I want you all to take care of yourselves!!  No matter what should happen, I believe in the intelligence of mankind!!  I believe in science!!! *ZRSHK* --ger died 25 years ago!! *ZZRK* Whitebeard died two years ago!!  But the fall of these legends was merely the prologue of a new era!!  And now, these people who refuse to buckle under any and all suppression… They are the ones who are closest to the truth, ironically enough!!!  Then again, perhaps it was Roger who sent them there.  The person who winds up with it may not be the one Joyboy desired!!!  There is no stopping the tide… The fate of the world now rests in the hands of the one who finds it!!  The person who lays claim to the One Piece!!!

Chapter 1122

That is simply the truth. *ZRTT* Joyboy is his-- *ZZZT* *BEEP* *BEEP*

This is when the Five Elders finally stopped the broadcast.

[infinitestarsdev]

Crafting Engaging Narratives in Games

Great games aren't just about mechanics or visuals—they're about stories that pull players in, immerse them, and leave a lasting impact. But what makes a gaming narrative truly engaging?

Here are some of the elements that we used in Infinite Stars to delight our players:

Player Agency Matters

The best stories let players feel like their choices shape the world. Whether it's a branching dialogue system or moral dilemmas, agency creates a sense of ownership and forms a connection to what is happening on the screen. It gives them a reason to care.

Relatable Characters

From heroes to villains, characters need depth. They're not just avatars; they're the story's emotional core. Villains shouldn't be evil just because they're evil. A good villain should (believably) be the good guy of his own story. A good hero should have flaws, potentially being the villain in someone else's story. Your characters should make players feel emotions (more on this further down.) They should be raw, 'human' and unforgettable. Incidentally, this is why stories about an emotionless rock or a lifeless spaceship don't do well. People need to relate to your characters, and unless you personify that rock or spaceship, no one is going to care about it.

Immersive World-Building

A compelling narrative is as much about the world as it is about the characters. Use the environment to tell the story, and use that tip from earlier: personify your world where possible. You want your players to want to explore every corner of the world you've crafted. You want to leave them wondering and theory-crafting. Be careful, though. Too much lore overwhelms all but the most dedicated players, and too many unanswered questions leave them feeling: "What's even the point?"

Emotional Resonance ❤️

Players remember how a game made them feel. Horror and Romance are popular because they make people feel something. The narrative of your game should make your players feel something. Emotions drive connection, and you want your players to feel connected to your game.

At the heart of it all? Your story should put the player first.

What are some of the most compelling gaming narratives you've experienced?

[princess-of-the-corner]

MLP Rewrite AU - Legend of Everfree (if you haven't done it already)

Okay okay okay so like.

I have rewritten this one once before and gone into more SO

My biggest change was re: the powers they were getting. Usually they only get powers when in their Pony Up form. But basically it's because the 'Pony Up' thing transforms them to be able to channel Magic where their Human bodies can't, and the gems that Gloriosa found are able to be used as a Magic Channel. It's being extra funky because the gems are obvs connected to the Elements which are connected to the Group so.....

Anyway!

They're not getting random superpowers, they're getting their Pony Magic. Just it's a combination of 'they haven't really been transformed long enough to use their Magic so they're unfamiliar with it' and also some of them are a touch funky. Let's go down the list

Twilight - getting Unicorn Magic, but it manifests easily as a levitation spell to move objects around

Rarity - Also Unicorn Magic, but as a very visual person she's creating Magic Constructs. At first the barriers, but when she concentrates instead of reacting in defense, she can craft hard-light projections of anything

Pinkie - So the short version here is that Pinkie is part Crystal Pony, which effects her Magic. She's using the Crystal Ponies' Emotional Magic, which means using gems/crystals even further as a conduit to turn into elemental spells. In this case she's picking up on Gloriosa's frustration and transferring it into /sugar crystals/, which causes explosions

Applejack - Earth Pony Strength!

Rainbow - Hers went extra funky because her flight speed is getting the wires crossed with cloudwalking resulting in running speed

Fluttershy - Actually she's 1/8 Siren, which results in Voice Magic, Aka: universal translator.

Sunset - Also part Crystal Pony! But her emotional magic is going into overdrive and turning her into an empath able to feel others' emotions and also sometimes see memories.

So yeah shit's funky! As for the plot:

Twilight's still panicking over the Magic stuff because of what happened with Midnight Sparkle and all. When she confesses to Sunset that she thinks Midnight is still in her head/infected her and is trying to come out and ruin everything and that's why there's Magic, Sunset does her best to assure her without directly addressing the real problem for now.

When weird non-magic shit's happening and everyone's blaming the 'Gaia Everfree' story, even though Sunset suspects the counselors, she's debating on if this is an actual Scooby-Doo-esque 'scare off the businessman to save the camp' scheme or if it's just a camp activity and tries to stay in her lane about it.

Lot of the major plot points go the same. Maybe one or two conversations about things that are from the bigger expanded universe(like the scenes with Flash from when I wrote this as a fic).

Anyway!!

Moving forward to the climax when Gloriosa goes full Poison Ivy:

When they're trapped in the vines and everyone's trying to fight back and Sunset's trying to get Twilight to fully use her Magic and help. Twilight's still terrified, worrying that Midnight will take her over again and make everything worse.

So, even though it's not the best time for this conversation, Sunset tells her the truth: There is no 'Midnight Sparkle'.

Twilight is confused by this, because hello?? All that stuff happened? She would never try to destroy this dimension! Even if she didn't believe in the 'power of friendship', she never would have-

Except she did. Because she used a very powerful type of magic with the exact opposite qualifications. She had felt betrayed, manipulated, hurt and broken and taken advantage of. And she poured all of that into the Elements, and it turned everything so intensely that despair was all she could feel and she'd do anything to make it stop.

Twilight tries to argue, that she had to be possessed. That she gets nightmares about Midnight taunting her, that she feels her trying to take over every time she uses her Magic.

Sunset's like 'Twilight, honey, darling, light of my life: that's what we call a hell of a case of ptsd!!'.

She's still terrified, because even if it's not possession, then how does she know that she won't become like that again when using her Magic?

Sunset, and the others, reassure her. Things are different. She's not alone anymore, she's not trapped in her own despair anymore. She's safe with them. And even if something somehow went wrong, they'd bring her back.

Twilight gathers her courage to use her Magic, only being a Unicorn not an Alicorn because no free Ascension for her.

Okay now for one of the bigger plots: What all's going on with the camp and also Filthy Rich.

So like. There's three things that bothered me in the movie about this situation.

1.) Making Rich the slimeball businessman villain trying to turn a nice camp into a spa resort when in all his other appearances he's actually pretty damn nice

2.) while we love the trope of 'get a fund raiser going to save the business', this doesn't always work. If the business can't make enough genuine profit to survive, a fundraiser only prolongs the inevitable.

3.) If the camp is a family business, why is it just Gloriosa and Timber running it? Especially since they're very young (we don't know their ages, but Timber is in the age range for Twilight's love interest, so he's gotta be under 20).

So here's the underlying story on it for me rewriting:

Gloriosa and Timber usually run the camp with their parents, but there's been a recent tragedy. Not fully sure, but they lost at least one parent and the other is at least very inured. So the inexperienced teens are trying to keep the place going on their own while also facing hospital and funeral costs. Not to mention figuring out how the bills go and getting behind on that and all.

In theory, if they could get an influx of money to handle all that and let them catch up, then they could run the camp like normal and make their usual profits. But the problem is getting that money. Which is where the fundraiser comes in.

Rich is entirely unaware of this, and ofc the siblings aren't exactly going to tell him. So he assumes it's that the business itself is failing, likely through lack of clientele interested in camping given the facility itself being fine. And if the family can't drum up business, why would he think he could do better? Turning the campsite into a spa resort is the next best thing, as he could keep a lot of the 'get away from the city and enjoy nature' thing while changing it up in a way that they'd have new people coming in to spend their money there.

So yeah he's not. He's not trying to run them out of business or anything. It's just that the business is already failing and if he doesn't buy the property than someone else will.

Ofc when he does hear about the fundraiser he does prod into things a little bit and does apologize to the siblings for making them feel even more despair when he could have helped, which includes a generous donation to the fundraiser.

[bybdolan]

As promised/threatened/announced, I compiled some of my favorite and least favorite metaphors/images/turns of phrases/everything that kind of falls under this category on Midnights and explained why they work for me and why they don’t. Enjoy! (Bevor we begin: @whiskeyswifty put together some of her least favorite metaphors on the album here and there probably will be some doubling. Points were made!)

FAVORITE

“From sprinkler splashes to fireplace ashes.” – What a genius way to signify the passage of time! Not only does it have a strong sensual element (the feeling of water on your skin, the smell and sound of a crackling fireplace), it also implies a certain loss of virility and innocence through going from an image usually associated to childhood to the scorched, burned wood of a fireplace. LOVE.

“The rust that grew between telephones.” – A little gem on a song I really dislike otherwise. It fits the color scheme of the song (very obviously the writing exercise Taylor set herself with it: “write about things that are red that you associate with the relationship” – not a bad approach per se but often led to weird moments on Midnights) and immediately communicates a loss of contact in a very sad, destructive way.

“I’m a monster on the hill. Too big to hang out, slowly lurching towards your favorite city. Pierced through the heart but never killed.” – LISTEN! I absolutely love this line because the idea of her as this large, scary being is thought through and expanded upon in a way that is so effective in evoking a very specific mental image in your mind. I can clearly visualize  this creature on all fours crawling towards a skyline or something 1930s-monster-movie like that. I also like this because it goes into this slight horror element that pops up at certain points on the album but is never all that realized and tbh… I want gore!

“Did all the extra credit, then got graded on a curve. I think it’s time to teach some lessons!” – again: a very solidly thought out use of school imagery that is gleefully condescending.

“I'm the wind in our free-flowing sails, and the liquor in our cocktails.“ – Great line in a song I never listen to lol. It is, again, kind of sensual (speaks to the feeling of wind on your skin, makes you think of the sea; there is the slight burn of alcohol) and just makes you think of freedom and fun and life being easy going, which is exactly what she is describing here.

“High Infidelity” – one of her BEST titles and arguably my favorite “writing exercise” song concept because wheeew! I know she was happy when she came up with that and rightfully so! Genius wordplay.

“And maybe it's the past that's talking, screaming from the crypt, telling me to punish you for things you never did.” – kind of using this as a stand in for the entire song because I find the war metaphor to work very well as a whole (although I carry sliiight issue with it from a personal standpoint, given that it feels very clearly connected to WWI instead of just ~a war~ and it’s a peculiar choice). It’s a very tight sing imagery-wise because every lyric connects back to the main theme in a way that also makes it makes sense on an individual level. I picked this lyric specifically because it reminds me a favorite song where the singer describes his duties yelling at him from beneath the floor but he can’t hear because he is hanging out with his favorite person. I like personifications like that, and the suggestion that these influences are outside of ourselves, rather than inside.

“The tomb won’t close, stained glass windows in my mind.” – Putting this one directly behind The Great War because a) crypt parallel and b) Would’ve, Could’ve, Should’ve also works sooo well as a whole because the imagery is so tight and is utilized perfectly. One of her strongest work ever in that regard, because it adds a very specific layer to the story being told without ever outright saying it.

[the entire chorus of Karma] – it’s soooo fun and tongue in cheek and every single comparison she does works so well to me. “Karma’s on your scent like a bounty hunter” is so good as well. The song genuinely has some very good metaphorical work.

LEAST FAVORITE

“He was sunshine, I was midnight rain.” / “All of me changed like midnight.” – I think my main issue with this song is also the underlying issue I have with all of my least favorite imagery moments on the album: It feels like they were forcefully included to fit the theme of the song or album, without actually thinking about how they work by themselves. Midnight rain as a concept is so broad that the lyric describing it feel weak? I suppose it is meant to signify that she is dark and moody, but it ends up feeling a bit basic (as weather metaphors sometimes do). And the idea of “changed like midnight” just escapes me because, apart from the striking of the clock in a New Year’s Eve or Cinderella way, I feel like midnights are not commonly associated with change. I get where she is coming from, but it feels so so flat to me. However, this is also the lyric I am willing to give grace considering it might simply. Idk. Go over my head.

“But your eyes are flying saucers from another planet.” – Hands down my least favorite lyric on the entire album (and one of my least favorite lyrics of all time). Again: I get the idea, but the mental image this puts into my head is just incredibly goofy. Joe Alwyn with big ol’ round cartoon eyes. Was somebody scrambling for a lyric that matched the cosmic imagery of the song but already blew “starry eyes” and “eyes full of stars” on two different songs? Mh? “Flying saucers” as an object and a word combo simply are not romantic to me. Couldn’t we at least have used spaceship to signify that he feels out of this world? Idk man

“Draw the cat eye sharp enough to kill a man.” – Do I have to say anything about it? By itself it would be okay I guess but using internet speech from 2014 as an opening line to a song is. A choice. Also… I thought we didn’t dress for men (or women for that matter)? Why are u then thinking about him while doing your makeup, babygirl?

“You know how scared I am of elevators, never trust it if it rises fast.” – overdone! This is not a bad metaphor per se but it sure is a familiar one and IMMEDIATELY leaves your brain. Never use a metaphor/an image you have heard before, or whatever George Orwell said. (Great writing advice!)

“Spider boy, king of thieves, weave your little webs of opacity.” – Another one of those lines where you can feel the forced concept. I know somebody was super happy with “Spider boy” and then went looking for something that fit. “Weave your little webs of opacity” is SO clunky and heavy handed! I do like “my pennies made your crown” though.

“Sit quiet by my side in the shade, and not the kind that's thrown, I mean the kind under where a tree has grown.” – Bad. Very unsuccessful way of incorporating online lingo, and the “having to explain yourself” thing through the “I mean” is sooo… scrap it. I like the tree idea though, having grown something together, nurturing the relationship like a plant, etc.

“Freedom felt like summer then on the coast, but now the sun burns my heart, and the sand hurts my feelings.” – ok including this with a caveat: I think this actually is a good metaphor. Evocative, sensual, well thought out. However! I personally think “the sand hurts my feelings” sounds goofy and I think this line also would have worked had we stuck to the “real” nature impressions. Sun burning skin, sand getting into every crevice. Something like that. I think it would have communicated the idea equally well.

FINAL THOUGHTS: Having looked at a very specific part of the album like this, I wonder about the “writing exercise” thing she mentioned on the Graham Norton show. Multiple people have said that the concept album idea does not work for them, and I think I personally agree, but furthermore, Taylor developing entire songs about a word or a specific image appears to be pretty hit or miss, since we sometimes end up with these forced lyrics where you can just tell they needed that line and wondered how to make it fit with the rest of the song instead of having it come naturally. That said: as the good examples illustrate, Taylor is a capable writer and knows what she is doing.

[thatonefangirlly]

ABCD- Nayeon Single Review (Revised)

Alright Twice fans, specifically Nayeon biases I promised you a revised version of this review of this song after a clear mind. So, here's the scoop on what this track is all about, revised of course!

Concept:8/10 "ABCD" brings a fresh concept to the table with its playful exploration of love and self-discovery. Nayeon takes us on a journey through the alphabet, cleverly weaving each letter into lyrics that tell a story of falling for someone in a charmingly quirky way. The concept feels light-hearted yet meaningful, showcasing Nayeon’s knack for turning everyday themes into something special. However, some might find the concept a tad too whimsical, longing for a deeper emotional connection.

Lyrics: 8.9/10 Lyrically, "ABCD" is pure gold. It’s fun, it’s cheeky, and it’s packed with clever wordplay that keeps you hooked from start to finish. Nayeon effortlessly blends cute and clever, delivering lines that are both relatable and refreshingly original. Whether she’s singing about butterflies in her stomach or the excitement of new beginnings, every word feels like it’s straight from the heart. The only downside? A few lines could have delved deeper into the complexities of love beyond the initial stages.

Beat:9/10 Now, let’s talk beats! "ABCD" serves up a tasty mix of pop perfection. The rhythm is infectious, with a blend of synth-pop elements that make you want to hit the dance floor ASAP. Each beat is meticulously crafted to complement Nayeon’s vocals, creating a sonic landscape that’s as catchy as it is captivating. While the song is undeniably catchy, some might feel that it plays it safe within the boundaries of pop music without pushing the envelope too much.

Visual of the Music Video: 8.2/10 Visually, the music video for "ABCD" is a feast for the eyes. It’s bursting with color, whimsy, and a touch of nostalgia that perfectly matches the song’s upbeat vibe. Nayeon shines as she effortlessly moves through vibrant sets and playful choreography, showcasing her charisma and star power. The visual storytelling is on point, though a bit more narrative depth could have enhanced the overall impact.

Overall Impression: In conclusion, "ABCD" is a delightful single that solidifies Nayeon’s status as a solo powerhouse. It’s fun, it’s infectious, and it’s everything you’d want from a pop anthem. While it doesn’t reinvent the wheel, it excels at what it sets out to do: deliver feel-good vibes with a side of Nayeon’s signature charm. Whether you’re a longtime TWICE fan or new to Nayeon’s solo work, "ABCD" is a must-listen that’s sure to leave you smiling and hitting replay. Here’s to more catchy tunes and colorful adventures from Nayeon in the future!

So there you have it, folks! It turns out I was sleep deprived and after listening to the whole album, it does make sense as to why ABCD is the title track. NOW, will I go out of my way and listen to this on repeat? Sadly, no for its still too girly/ girl crush for me. But "ABCD" gets a thumbs-up from me for its catchy beats, clever lyrics, and vibrant visuals. Pop it on your playlist and get ready to groove—it’s Nayeon at her finest!

Please remember to listen and form an opinion of your own!

Annyeong!

[amazonmarketingtips]

What Are the Benefits of A+ Content in Amazon Store Setup in Amazon App Marketing?

In the competitive world of Amazon App Marketing, standing out from the crowd can be a challenging task. Brands are constantly looking for ways to differentiate themselves and capture the attention of potential customers. One of the most effective ways to do this is by utilizing A+ Content in Amazon Store Setup. This feature offers brands the opportunity to enhance their product listings with rich content that can improve customer engagement, boost sales, and build brand loyalty. In this blog, we’ll explore the benefits of incorporating A+ Content into your Amazon Marketing strategy.

Understanding A+ Content

Before diving into the benefits, it’s essential to understand what A+ Content is and how it fits into Amazon Store Setup. A+ Content allows sellers, particularly those enrolled in Amazon’s Brand Registry, to enhance their product descriptions with additional images, text placements, comparison charts, and more. Unlike the standard product description, A+ Content provides a more detailed and visually appealing presentation of your products.

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Search engine optimization (SEO) is crucial for visibility on Amazon. A+ Content can contribute to better SEO performance by providing additional keyword-rich content on your product pages. This can improve your product’s ranking in Amazon’s search results, making it more likely that customers will find your product when searching for related items.

By incorporating relevant keywords into your A+ Content, you can attract more organic traffic to your product listings. This increased visibility can lead to higher sales and a better return on investment for your Amazon Marketing efforts.

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Conclusion

Incorporating A+ Content into your Amazon Store Setup is a powerful strategy that can provide numerous benefits for your Amazon Marketing efforts. From improving customer engagement and increasing conversion rates to enhancing brand storytelling and boosting SEO performance, A+ Content is an essential tool for any brand looking to succeed on Amazon.

By leveraging the full potential of A+ Content, you can create a more compelling and informative shopping experience that not only attracts customers but also converts them into loyal buyers. If you’re looking to elevate your Amazon Marketing strategy, consider partnering with a professional Amazon Marketing services provider. They can help you maximize the impact of your A+ Content and ensure that your brand stands out in the competitive Amazon marketplace.

For additional support in your Digital Marketing efforts, working with a Digital Marketing company can also provide the expertise needed to enhance your online presence across various platforms, driving even more traffic to your Amazon Store.

[jewishvitya]

Content warning: a picture of Nazi propaganda

Okay, so, I had a couple of replies from someone who seems genuine. These are all points either I or other people made before, but I'll try to collect them in a way that makes sense.

I'm not going to reiterate the list of antisemitic issues in the goblins narratively, I did that twice, here and here. I'm going to talk about why it's antisemitic despite this being a fantasy race with traits that commonly go together. I hope you'll forgive me if I'll repeat or quote things I said in other posts. I'll also use examples I've seen given by other Jews, like I did with theineffableshe (from tiktok) before. So, credit to her.

Fantasy and SciFi are speculative fiction. They take us out of our own world and our own familiar reality to allow us to explore ourselves. All stories we tell are stories about people. We only understand our own minds. You can't imagine a color that you never saw, you can't create a reality that isn't grounded in human experience.

That's why very often the struggles and the traits of a fantasy race are pulled from the real world. Either the real struggles of real people (with some exaggeration or magical/futuristic elements), or the caricaturized traits that were applied to a real group of people.

This is not inherently bad. This is just how stories work. All stories are derivative - they all pull from the stories we told before.

Here is what you said:

If you seriously connect jews with generic greedy goblin characters with huge noses that work in banks, then it honestly sounds to me like YOU are the one being filled up with these prejudices.

But here's what I need you to understand: we don't think we look like the goblins. We don't relate the goblins to ourselves. We relate the goblins to how we were portrayed in the past, to demonize us.

Goblins in other pieces of media can look very different. Because those are fictional, they can be made to look like anything. And they look like antisemitic caricatures.

To illustrate, here's a comparison between the game and Nazi propaganda.

The first picture is from theineffableshe. She traced some of these from stills of the game, and some of these from antisemitic Nazi propaganda.

I know which is which - because I've seen all of the originals. But if you never saw them before, do you think everyone would be able to tell which ones are from HL and which ones are 1930's propaganda?

And the two on top? One of them is the trophy you get for killing Ranrok, the main antagonist of the game. The other, is again, antisemitic propaganda.

Just a reminder that I'm not blaming Rowling of writing intentional antisemitic caricatures into her books. This is more complicated than that, and that complexity is what this post is about.

I showed in two posts the narrative similarities between the goblins and antisemitic propaganda. Here, I showed a bit of the visual similarities.

It's the collection of all the traits that creates the problem.

And you understand this. I felt encouraged when I saw you say:

This discovery honestly makes me feel uncomfy. Sure, it's just a generic animal horn, which isn't solely special to jews, but it kind of does start piling up.

Which is exactly the point. You get it. I just want you to see that it's still true if you disregard the horn.

You also said this:

Most greedy characters are portrayed ugly, which oftentimes includes large noses. And greedy people working in banks isn't a huge jump.

Greedy characters being ugly, ugly characters having large noses and greedy people working in banks are all stereotypes that are portrayed in media fairly often- How exactly is this case in particular offensive?

So. I'll start by saying again that the original books had no problem with the goblin's noses. They weren't even described. The antisemitism was in the other traits. But in these messages from you, there are a couple of issues: what we consider ugly, and equating beauty with goodness. For that, I'll get into the issue of the noses.

Beauty is cultural. I have a Chinese friend and we had long conversations about it, because it's something that fascinates me. The beauty standards around them are very different from those around me. We spoke about how it influences art and fashion and make up. You can see similar things throughout history. What we consider beautiful or ugly is not neutral.

I'm not talking about personal taste right now. I'm not saying "if you have certain preferences, you're a bad person and there's something wrong with you." I'm saying that culturally, some beauty standards come from racism. Others come from classism and prejudice towards poor people. Others, from ableism and prejudice towards sick and disabled people.

That's why the idea of ugliness being tied to evil is not neutral. People in reality treat beautiful people better. They're more likely to be assumed kind, to be assumed innocent if accused of crimes. It comes from a concept of purity, an assumption that moral corruption will be visible on you.

And it wasn't invented by white supremacists, but it aligns with their ideology. White supremacists put on a pedestal traits they consider better and purer. And traits that don't fall into that idea of racial purity, were the ones seen as ugly. If marginalized people's traits are considered ugly, and ugliness is equated with immorality - marginalized people are seen as immoral.

Exaggerating the phenotypical traits of a marginalized group to dehumanize it, is common. It's how racist (and transphobic, etc) caricatures are created. In terms of phenotype, Jewish people can belong to any race. There is no one way a Jewish person looks. But Jewish people tend to marry other Jewish people, so sometimes we don't completely look like the non-Jewish populations where we live. This was the case for Ashkenazi Jews in Europe. We were more likely to be shorter, to have darker and curlier hair, darker eyes, and there's much more. The "Jewish nose" is part of that.

European Jews were not considered white, they were racialized, and being racialized meant being subhuman. So the traits that the Nazis associated with us were demonized.

"They're shown as ugly, and that includes a big nose" is not a neutral thing. It has a very heavy history of white supremacy and antisemitism.

When you ask "it's a well established trope, so how is this case in particular offensive?" you assume every other case is harmless. I'm not accusing every single creator who made hooked-nosed villains of antisemitism. I'm saying that the pattern has pretty bad origins.

These traits that you listed commonly go together - but why? Most real rich people who hoard money don't fit that collection of descriptions. So where did this come from?

We pull narrative tools from the stories told to us, and we do that without always thinking about how those tropes interact with the real world. The idea of greedy bankers has been tied to the demonization of Jewish people for a very long time.

Rowling wanted to write a bank, and she wanted to make it magical, and she reverse-engineered her fantasy bankers from there. But when she did that, she did write an antisemitic fantasy race.

Goblins are portrayed in many different ways in folklore and in media. Goblin is originally a term used for a collection of creatures that have different traits, not all of them associated with love of treasure. They can be tricksters, but not necessarily bloodthirsty. And since it's such a varied mythology, there's no reason for them to look like this. There's no reason for them to be only loyal to each other. To either not care about human lives or enjoy the idea of humans getting hurt - which we see in the books.

She pulled more from antisemitic stories than she pulled from real folklore. And it was enough of a problem that antisemitic producers were able to pick up where she left off and make it as bad as they did.

So you're exactly right. It's how it piles up. I just hope you can see that the issue goes very deep.