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popculturebuffet · 4 years

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Hickman’s X-Men One Year In: Part 2: The Dawn of X

And we’re onto part 2. Since it took me a while to talk about Hickman’s Series outside of Giant-Size and the setup here, that’s in part one if your curious, I split this little retrospective into two parts, with this part here talking about the rest of the books. This isn’t to say they aren’t great, many of them are, it was just easier to do this as a two parter so with HIckman himself out of the way how did his hand picked batch of talented writers handle the lofty status quo he set up?Find out under the cut. Pax Krakoa baby.

Mauraders Okay just to get this out of the way this is my second faviorite x-book running, after X-Men itself and it often equals it and far and away the best tile of the run and restored my faith in Gerry Duggan. Duggan is not a bad writer and I blame the messy finish of his otherwise awesome guardians run with infnity wars on marvel trying to cram other characters into it and then a weird mash up idea that while cool, kept the guardians out of their own damn event and from confrting a now mad gamora, but that and deadpool made me forget the guy is a good writer and can do great things. Maruaders however won me back to him with intrest. A unique concept, the x-men as pirates helping ferry goods to krakoan allied states and ferry trapped mutants from hostile ones, is fucking awesome. The only thing missing is nightcrawler and it’s clear hickman has other plans, though I still feel he shoudl’ve been on the boat as he has both the relation to kitty pryde and pirate pedgree that fit in perfectly. Speaking of kitty after years of writers misusing her due to having a crush on her as a kid and shoving her into half baked romances with peter quill and her ex peter rasptuin, the latter failing so badly that marvel pulled the plug on their wedding because fans clearly didn’t want it, and battling my own reluctance ot see her front and center again, Duggan makes good use of her again: Kitty is given the unique hook of the portals not working for her and no one, even her old friend Doug after he gets back, being able to figure out WHY. Though I do hope Doug does show up here and explain it more, as him being kitty’s best friend once is rarely brought up since he got back and it’s silly it hasn’t been. But rather than take this on the chin Kitty strikes up a crew consisting of big sister Storm, first class graduate x-man, badass gay and kitty’s friend and ex iceman, bishop who reluctantly joins as her bishop more on that in a second and the best of them by a mile: Pyro. The original, finally brought back and given some intresting backstory: he was the first mutant brought back and felt good about it..t ill he realized that despite sacrificing himself to save a, if your familiar with the various cartoons this will be baffling but trust me, reformed senator kelly as Pyro himself was dying from the legacy virus, only to find out they did him first because they considered him expendable basically and naturally was upset over that, drunk a bunch of the liquor kitty smuggled in, for logan naturally, and passed out and then joined in on the rescue mission that formed the team because why not and stayed because it was a great offer. Speaking of offers with a new purpose, Kitty accepted her old enemy Emma Frost’s offer to be red queen, which includes a seat on krakoa’s council and was basically emma’s way of saying fuck you to her old cohort who she was forced to bring back on to handle the seedier side of Krakoa’s dealings via his underworld connections, sebastian shaw. Emma is the fincical backbone of krakoa, having the shipping connections to get the flowers in and out and now having kitty to handle the stuff she can’t and do some of the shipping, as well as again tell Sebastian, who naturally wants both gone and is pissy at Emma being so far ahead of him, wants gone. And while he’s seemingly succeded with kitty I not only have every expectation that while ressuection is failing to work on her she’ll be back, but that trying to murder one of the most beloved x-men whose consdiered family to among others three of krakoa’s captains, bishop after this series, four of their council, five if you include Doug whose best friends with both his left arm which is also a deadly space robot and the very place they live on. The only reason he’s not going to die 80 times in increasingily horrifying ways is because the five can’t take on that kind of workload and one murderous ass beating from half of krakoa and krakoa itself is close enough.

Emma is easily one of the books best parts, being written back as she should: An anti hero who while quick with a cutting quip, truly cares for her charges, and mutantkind as a whole and has grown from the monster she started as or even the kind of person who’d use a therapy session from a desperate man having issues opening up emotionally after apocalypse used his body as a rental car to convince him to fuck her. And yes that’s how things started with Scott and Emma and yes it’s really fucked up and yes the story treats it as such, though I still wish Scott would get actual therapy, but as Linkara recently pointed out in his House of M Review the Marvel and DC universes weirdly lack therapists for the most part and thus it was left on my mind the last two weeks.. and yes I know DC tried but when your final product at trying to serious tackle mental health is heroes in crisis.. I award you no points and god have mercy on your soul. But while Emma and Kitty get the lions share of the focus the rest of the group is enjoyable, well done and intresting, if not given many arcs to themselves, but still have enough character moments to counterballance that. The standout of the rest of the crew is easily Pyro, taken from “why is he still dead despite being super popular and used in a heavy role in X2 that’s garnered fans of that version to this day and bafflement he became a foot note in the next movie and used in every adaptation” to fun side character with a skull on his face and a love of booze and setting things on fire. He’s finally given the respect he deserves sorta and while I hope more is delved into his ressurection angst, he’s a ton of fun and it again makes me wonder why it took 20+ years to bring him back, but i’m glad the right person did it. The rest of the crew are fun with Bishop being another standout. That being said part of the reason there isn’t a lot of focus is simply because in additoin to our brave crew the book is juggling a LOT of characters.. the morlocks and calisto, both given a proper treatment after wya too long, jumbo carnation a minor character from morrisons run who was introduced in the same issue he died is emma’s designer, shinobi shaw and christian frost, the latter I question why a main relative of one of marvel’s a-list mutants who was one of marvel’s earlier gay characters hasn’t been used in a big way till now but no time like the present, Sebastian and the people he shares his big bad spot with Homines Verde aka those tweens who ran the hellfire club during jason aaron’s run because the man is nuts and who I only seemd to liked, brillinatly revamped as a racist replacemnt for the hellfire club and so far a clever threat. The book is just stuffed iwth good characters, beautiful art, and a great tone that combines spectacular humor with really good story and worldbuilding. It’s also a nice contrast to hickman’s stuff: don’t get me wrong I love hickman’s writing style but it’s nice to have something JUST as good.. but with a cheerier tone and less weariness to it, while still not lacking weight. I can’t wait to see where this goes.. it’s a pirates life for me.

Excalibur: Like most of the dawn of X-Line outside of fallen angels, more on that in a minute and even then that had an intresting new directoin for betsy braddock, I was pumped for this one. A team I loved: While I struggled to find a run I loved with Claremont’s run having Brian Braddock be a raging dick whose terrible to his girlfriend and gets away with cheating on her and Claremont not really bothering to explain Saturnyne or other characters and their history with Brian well to us yanks who never had the chance to read those tales.. though why stories by alan moore and chris claremont haven’t been republished properly or in epic collections is beyond me. Warren Ellis, who I now loathe for being a scheming weasel who treated women like garbage, had a decent run with plenty of warlock, in a weird phase where he thought he was doug, Moira and Wolfsbane stuff I loved.. but also had 30-40 something pete wisdom shacking up with 18 year old at most kitty pryde, with Pete at the time being basically Warren Ellis badass self insert character, and given recent revelations i’m pretty sure he damn well knew kitty was just 18 and even if he didn’t having his own fanfic character deflower her is just all kinds of EWWWWWW. He also had Colossus, fresh of being a villian for a while for understandable reasons, nearly beat pete into a coma in a jealous rage over the ex.. the ex he dated while she was still a minor, and left because HE , and editorial, was uncomfortable with it for damn obvious reasons. I can see why fans like to see her as bisexual and pair her with Illiayna.. I mean why the fuck not? They have better chemistry than most of he hetrosexual intrests and are paried because of that and not because the writer wanted to make out iwth kitty as a teenager and forgot “oh yeah she’s fictional and i’m 40!” Christ thank god for Gerry Duggan. But yeah moving on from that I was still pumped as a magical x-men book with Besty Braddock now captain freaking britan, and apocalypse on the roster. And rictor and jubille? nad rouge and gambit I guess.. I don’t knokw if they fit but whatever. Sign me up. The actual result is a mixed back. I do like Tini Howard’s work here to a point: Betsy gets good character stuff and theres actually good tension from the fact that the new captain britan is no longer primarily a british ctizen, and the book brought back a character I felt marvel needed to do more with: Jamie. if you don’t know, Jamie is betsy and brian’s, her brother and the former captain britian, older brother who went insane due to his powers and thus just goes around in his underwear convinced reality isn’t real and he can do what he wants and the tension with Jamie refusing to have anything to do with his brother for no good reason is really good. Rictor and Apocalypse are likewise good sensable additons: Rictor turns out to be a natural to being a druid which is a nice twist and makes sense given when he lost his powers the biggest issue with that was loosing touch with earth after having a connection to it be a vital part of him for years. Apocalypse as an ominus chess master slowly securing magic for mutantkind with some goal we’re about to get answers to is really investing and adds a layer to his character, that much like doctor doom he’s as much sorecer as he is scinetest and given the guy’s immortal, it dosen’t feel like it was pulled out of nowhere. The problem is the other half of the cast.. dosen’t really work. I fucking love Jubilee, a faviroite of mine as an xman despite not being a huge 90′s x-men cartoon fan, just feels kinda shoe horned in. Her son becomes a dragon and she worries about him constantly, but her worrying about her son possibly not being a mutant on mutant land could be done in any other x-book, and fraknly I feel her personality would fit better with the maruaders, and it’d be intresting to see kitty and her on the same team since both really haven’t interacted. Here she just feels like “well tini wanted jubilee and no one else did soooo I made her son a dragon to justify getting her”. I feel more could be done and hope Tini has better plans for her. Rouge is one of my faviorte x-men and All New X Factor and Kelly Thompsons work with him and Rouge made me like Gambit again, and I DO love their marriage and it was a way better idea than the one Guggenhiem had planned.. but while the idea of Rouge being reborn is intresting and all, she still dosen’t really get to do much and like Jubilee just feels weirldy out of place while Remy has that plus he’s annoying, as while he’s the only one rightfully supscious of apocalypse he also won’t shut the fuck up about it for five minutes. Ig et where he’s coming from but it dosen’t make him less annoying. These aren’t bad characters, but sof ar they just feel weirdly out of place in a magic based book and unlike Rictor tini hasn’t made any of htem but Rouge feel in place.

That being said I could ignore that more.. but the villians are also week. So far at least, as the return of Satyurne has given the book it’s first good antagonist.. but what I feel drags the book down the most from it’s potential is the bad guys; Morgan Le Fay is the first antaognist, being mad at apocalypse’s intrusions and corrputing Brian.. but her motives are just so boring: She wants power and to rule, she hates mutants... while “hates mutants” is a qualifier for every other antagonist so far, she just feels bland.. Tini just dosen’t make her feel like a good antagonist and it’s a shame as mutant hater or not she’s something DIFFRENT from the throngs of mutant hating conspiracies, mostly from russia in the other books... she’s just so bland it dosen’t work. And after her is Cullen Bloodstone who as far as I can tell is written out of character.. haven’t read his book but I had both a friend confirm it and having read his marvel wiki entry, it just seems like an odd turn to have him be a racist asshole. But even with all my problems and underwhelm here.. I still WANT the book to get from okay to amazing, and feel it genuinely has the potetial. I’ve seen books sharply improve after a rough first arc, Duggan himself showed me that with his Guardians run. Sometimes it just takes time for something to truly blossom and I have a feeling even with my issues, with x of swords coming up howard’s going to flip it all on it’s head and leave me standing there gasping like a moron. I have hope for that. And if nothing else the book is at least UNIQUE. And not in a trainwreck way: by giving mutants a piece of the magic pie and having them tackle far weirder threats, it’s at least doing something new and it probably lands for other people if not me, and if nothing else it does brian 80 times better than the claremont run did. not a high bar but I do like the character and it’s nice to see him take such an intresting path, and the same goes for Betsy. Tini’s still got magic to do, and I have a feeling it’s going to take me by storm very soon.

Fallen Angels: Now for the other half of the coin as it were. Some fans weren’t happy about Betsy getting her old body back, and yes Psylocke wasn’t orignally asian but a white british woman bodyswapped iwth a japanese assasian and yes that’s as ludicrious and unteitonally offensive as it sounds, because horrible implications of said Body Swap or not, Psylocke was one of the few asian superheros of note. So to compromise , Hickman and co decided to split the diffrence: Betsy would come back and get a rank up to captain britan, while Kwannon, said assasian, would take over as Psylocke. Hence Excalibur above and fallen angels here and I was excited about it. The Body Swap thing went on a decade too long and this way fans got the character they knew as Psylocke in another book while the face they recognized would finally get some fleshing out. I was excited about that and while probably the least excited about this book of the intitial 5, it did have an intresting lead, two characters I did like (Kid Cable I grant was only under hickman who turned him from that brat version of cable who killed the one I really love to a good character in his own right), and an intresting antagonist in a sentient machine. In practice it was okay. The best I can say is that writer Brian Hill DOES do a great job taking a mostly minor x-character and really fleshing her out and making her engaging and Kwannon’s quest to save her daughter is really compelling.. but the premise of those who don’t fit with krakoa dosen’t work with the roster given. Laura Kinney is not only sticking with the x-23 name after dropping the wolverine mantle for no reason previously, something Hickman fixed as soon as he realized how fans felt for her apperance in the main book, while Cable feels nothing like the far more fun version from Hickman’s X-Men and later Duggan’s Cable. Add in Husk and Bling who do deserve to be on a team but feel out of place here, and it just.. is okay. The book has an intresting angagonist and a great lead, but just dosen’t work as a team book and would’ve been better off being JUST about kwannon herself, who is far and away the best part about the book and i’m glad she got fleshed out. Not TERRIBLE but nothing special and it’s a shame given the antagonist, whose name I can’t even remember at this point, is intresting and ties into mutantkind’s greatest enmies being man and machine accoridng to house and powers.. basically a decent concep twith a flawed execution. Maybe hill’ sbatman and hte outisders run is better. I need to get on that. That being said the premise and idea is so far being done well in Hellions which we’ll get to, even if I’m being cautious really getting into the book with Zeb Wells track record. But more on that in a bit.

X-Force: Time to make noise, bad guys leave us no choice.. you know the rest. But yeah X-force. The concept here grabbed me, having X-Force rather than just be the black ops squad but be literal black ops for krakoa, was really great and fit the brave new world.. what worried me was the writer, Benjamin Percy. Now a lot of x-fans probably knew him from the much beloved “Wolverine: The Long Night” podcast, which i’ve heard is utterly fantastic as is it’s followup.. but I hadn’t heard it, and had only heard of Percy from DC comics where under his belt was an okay teen titans run and a not very good and politcally unsubtle green arrow book. And i’m not against politics in comics it just wasn’t done at all well there and the “oliver queen looses hif ourture due to a shadowy conspiracy thing” was already done better by jeff lemire. So yeah I was going to give this a chance but figured like those books it’d start strong and then peter out. I. Was. Wronnnnggg. X-Force is easily one of the best of the dawn of x and uses said premise well. It started a bit roughly, mostly becasue the first arc idnd’t make clear x-force didn’t exist yet but was a great origin story: a squad of military commandos working for a shadowy consirtum who become x-force’s big bad, plunge onto Krakoa and massacre a bunch of mutantas and assinate charles xavier. He comes back, though it’s trickier for obvious reasons, but it’s clear from this, and from wolverine and kid omega’s sucessful investigation and finding domino, that this can’t go on and thus X-Forces is formed; The intellegence and black ops arm of Krakoa and the one arm of it’s goverment exempt from the ‘dont’ kill humans rule”. What followed was nearly a years worth of fast paced adventures with good character stuff: Wolverine is in his element, kid omega, while I had my doubts due to quinten being way overused , turned out to be a perfect choice basically being a more compitent teenage sterling archer, cocky and loving this but also really good at his job, while Domino gets a great arc dealing with her trauma over her mutalation and having some of her power stolen by the shadowy masked dickheads while Colossus deals with his trauma over what went down when he rescued some Russian mutants, with the book slowly building up new threats and towards a showdown with Russia, something that’s also been built up by conflicts in Wolverine and Mauraders, which again makes the world of x feel more like an actual world instead a bunch of comics in one cast herd. Jean Grey is good for intellegence, though by now seems to have noped out as she couldn’t take the toll, it’s not for everyone and most notably after 5 or 6 years of being treated worse and worse and written worse and worse and becoming a bigger and bigger piece of shit Beast is FINALLY put in the right spot: his darker turns aren’t ignored but he’s back to being an actually intellegent hero as X-force’s director, still a bit greasy but now for good reason and without a god complex or some such bullshit and with a tiny bit of his humor back. Not much else to say really, X-Force is well paced, enjoyable and gritty, getting the spirit of the team at it’s best down right while doing something fresh with it.

New Mutants (Ed Brisson) Last one, New Mutants is the odd duck of the dawn of x line in terms of how it was launched. Fallen Angels ended up being a mini series both due to Hill being busy and it’s cast being needed elsewhere but will presmibly get a follow up later, but it’s not the ONLY mini series in the line with Fantastic four/x-men, the giant sized one shots and now Empyre: X-Men all debuting in wave 2. New Mutants however is the first book to change writers and said writer STARTED in the middle of hickman’s run, partly due to scheduling delays but even before that it was partly by design and those issues haven’t been collected yet, with hickman’s short run being collected first. So you have a run that builds off what Hickman started but with it’s own ideas that started insidei t and suprisingly it .. really works. While I do think there are better books in the line Brisson’s new mutants is enjoyable, combining humor and character work. New Mutants focuses on the sextant, which was first brought up in hickman’s run, the series of habitats for younger mutants on krakoa that the new mutants look out for, and while the original new mutants are in space, Armor decides to try and bring some old friends in to join in paradise with the help of Glob Herman, that big pink guy with a visable skeleton and eyes, and Maxine and Manon, who in the tradition of layla miller were created for an event and not great htere but turned out amazing under the right writer.. who I think also wrote that event but whatever, a pair of empaths and telepaths who have trouble grasping the right ethics for using their powers. The four go to get one of my faviorite x-men back: BEAK! I missed him even if he’s weirdly suddenly repowered. Beak and his wife Angel only haven’t joiend in with their kids because his dad’s sick, and things soon escalate when a bunch of criminals try holding them all hostage and it’s up to boom boom, bored since everyone left her alone, to save the day! After that we deal with Magik rangling them and the team’s new mission statment: not wanting ot mess up again like she did with beak, who did join them but not without loosing his dad and then his memory of his dad thanks to the twins misguided efforts, Armor still wants to try welcoming new mutants in with the vetrans help, and thus we have our puprose: focusing both on how these younger mutant 20 somethigns of various ages from early to late work together to make a better world nad help their own get back to this world. it’s intresting.. I’m not in love with it like mauraders or x-force, but it’s still pretty good and their first big foe so far, DoX, a blog that well.. doxes mutants that haven’t arrived yet, seems to be intresting. Not much to say just pretty good and and better at mixing comedy and character stuff, and getting the cast right. Ed Brisson had already proven himself on old man logan, but this cements him as one of the hottest new x-writers around and i’m glad he was given a book here. He’s also succeded in making me actually like Glob Herman so that’s a plus.

Fantastic Four/X-Men The first title of wave 2 and easily one of the best, right up there with mauraders nad probably JUSST behind it and ONLY because i’ts a mini series, giving the X-Men their first real step into the rest of hte marvel universe. Sure the 4 had cameoed in the first issue and there’s been mentions of krakoa in other books and one off issues but mostly Krakoa really hadn’t impacted anything.. but that first issue also set things up with Scott’s conversation with Sue Richards

Yeah and in case those who haven’t been aware of what’s going on with the FF lately and either remember franklin as a 6-11 year old or wondered why the hell he was suddenly a teen when they read this crossover, it’s actually simple; At the end of secret wars the Richards family was put on a bus, also so marvel could shove the ff as a proper team out the door due to the whole fox rights thing, and when Dan Slott had brought them back.. and cleverly had more time pass for the richards than for the 616 proper, so he could age Franklin up to his late teens and Valeria up to her early ones, allowing the richards children to actually age since Franklin’s age always had to stay vauge due to marvel’s vage and wobbly time scale. This way they get both consitant ages and more agency. But the return also came with a price as Franklin, who if you didn’t know is so powerful he can create whole universe and shape the sturcture of the universe, had his powers break saving his family, and thus since he came back, he’s onlyg got so much of them left in the tank before they run out entirely, and it’s been an issue for him in Slott’s run as he worries about being the normal human in a fantastic family and comes to a head here, though rather than Hickman himself, who as mentioned last time has a marvelous track record with the family or FF series writer dan slott Hickman choose a wild card for this, though had both Hickman and Slott’s permission to do whatever he wanted: Chip Zdarsky, a modern marvel for marvel who’d writtne the four in marvel two in one but for some reason didn’t get the main book and this book makes me hope whenever Dan Slott bows out he gets his turn and while this is his first x-men work, Zdarsky proves he’s just as good here as is in most of his work on Howard the Duck, Jughead and Star Lord.. a weird selection I know but all classics.

With this power outage, Franklin is worried his dad is, at least subconciously, not really trying to help him and to make matters worse teh x-men show up to offer their help.. and Franklin his birthright. The arguments made by both sides are great and I will be covering the series in full soon but in a nutshell the four dont’ want to give up their son/nephew, Reed dosen’t trust Xavier and feels he wants to use his son’s powers while the x-men feel it’s franlin’s choice and he’s old enough to make it, he belongs with them and he’ll be safer there. It also works because Franklin understandably isn’t swayed by either as neither is reallyt alking to him more at him, especially his parents .. and only tries the gate when Kitty Pryde, the two bonded back in the 80s and a young franklin stopped her from comitting suicide long story but really moving, is the only one to tell him it’s his choice. This dosen’t go quite well though since Reed Richards, father of the year, decided to make a device to mask his son’s mutant gene and no one, including his own family, is happy about htis. Naturally Franklin, with Val’s help, runs away.. and then as if it couldn’t get worse DOOM shows up wanting to help so now it’s a three way dance between them for hte fate of franklin. The series has gorgeous art form the dodsons a really damn compelling story and great setup for further stories for both lines and feels like the best of both franchises. It’s the x-men’s first huge impact on the rest of the marvel universe,a nd it feels like it with the ending showing that and showing this might not be the last time both sides crossover. It’s everything you could want from a crossover and i’m only being so brief because I want to review it soon as a huge fan of both groups. Easily one of the best x-men stories of the line and one of the best stories for both groups period.

Wolverine: We’re onto the final two, and Percy’s second book and the first solo.. and it’s logan again! Makes sense though: Wolverine only just came back from the dead, and while both is daughter and alternate future self carried the woverline banner for him, the original hasn’t gotten his own ongoing in some time. And so far.. it’s pretty good> the first issues a bit messy due to it’s lenght, but overall the book is intresting and has Logan graple with being the best at waht he does and if he can be better or if he deserves paradise while also delivering a compelling solo mission teaming Wolverine up with a federal agent who resents mutants. it also does some good world building, explaning why Krakoan drugs have things like wait lists (they want to control production closely both to avoid having the flower taken away and for quality control), and expanding the russia subplot while using Dracula of all people as a major antagonist, which is clever especailly since this isn’t his first rodeo with the x-men. Just a fun book wiht loads of promise.

Hellions: NOt much to say here as it’s hard to judge after two issues, buti f nothing else this series brought back the delightfully batshit Nanny, who just with last weeks issue offered to nurse Greycrow (who had his name changed from scalphunter because of course marvel did why wouldn’t they) and falling down. It combines humor with an odd but well thought out cast and makes Alex Summers intresting without making everyone else assholes, a hard but earned feet. If it continues to be good.. I dunno, especially since i haven’t been impressed by any of zeb wells other works especially his new mutants run, good god that one’s am ess, but so far he’s winning me over with a clever concept and roster full of deep cuts. Final Thoughts: I won’t be covering Empyre: X_men, though I did enjoy it and i’l save that one for next time. For now this has been a hell of a year of x-men comics, with even the weaker books still having something intresting and none being outright terribule and only one had a bad grasp on some of it’s cast and for a line this big and expansive, that’s a gold medal achivment. After YEARS of stasis the x-men have finally risen again better, bolder and stranger than ever. IS every book A+ gold star etc etc, no, but what’s important.. is that it’s all DECENT. There’s enough standout books to make it work but as i’ve made clear what isn’t the best of the best is still good or decent. There’s nothing bad, no one phoning it in or not giving an effort, everyone is trying thier hardest and succeding on SOME level even if not completely and that.. that’s truly amazing and I look forward to more of it as this line continues. Pax Krakoa and hopefully i’ll see you again.

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joan-frias · 4 years

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Falling Slowly

A Gohan x Videl Fanfiction

EAST DISTRICT, MOUNTAIN PAOZU

Gohan is training Videl and Goten how to fly. He starts by explaining the concept of what makes a person fly and what is needed in that technique.

GOHAN: Okay. Basically, flying is all about controlling your ki. If you know how to control your ki then it won't be difficult to learn how to fly.

VIDEL: Controlling your ki? What's that supposed to mean?

GOHAN: What... do you mean?

VIDEL: I mean, what is 'ki?' How would I control something that I don't know?

GOHAN: You don't know what ki is? Hmn... Maybe they call it differently at your place... Ki is essentially energy or power.

VIDEL: What? Energy? I don't get it.

GOTEN: It's like this.

Goten blasts an energy beam on a stone. Videl is dumbfounded.

GOHAN: Yeah, that's basically it.

VIDEL: That...

GOHAN: So what do you call that?

VIDEL: T-Tricks?

GOHAN: That's not a trick. It's power.

VIDEL: (embarrassed) WELL THAT'S WHAT WE CALL MAGIC IN OUR WORLD!

GOHAN: O-Okay... So you don't know anything about ki, huh?

Gohan stoops down to Goten.

GOHAN: Hey, I need to teach Videl how to control her energy. Can you play and let us train for a while first?

GOTEN: Okay.

Goten leaves them.

GOHAN: Okay. Let me show you how to control your ki. Let's sit down first.

Both of them sit down on the grassy ground.

GOHAN: Watch as I focus my energy on my hands.

Gohan holds out his two hands facing each other. He concentrates, then a beam of energy slowly emerges in the middle of his hands. Videl looks at the light in awe. She even moved closer to get a clearer view of the energy produced by Gohan.

GOHAN: Now, you try it. Just concentrate and you'll be able to control your ki just like how I did earlier.

Videl copies Gohan's actions and tries to concentrate. However, no matter what she does she cannot let out a beam of energy just like how Gohan did.

VIDEL: (frustrated) I can't do it!

GOHAN: Give yourself some time. It's really not easy controlling your energy.

VIDEL: Is there any way I could learn how to fly without going through this step?

GOHAN: I don't know any other way.

Videl suddenly remembers something.

VIDEL: So, that beam of light that you used during the fight against the zombies, it's not just because of your costume?

GOHAN: Yeah...

VIDEL: (on her mind) But… that was a powerful blast! If that's Gohan's energy then, does that mean he's that strong?

Goten comes to them.

GOTEN: Lunch is ready!

GOHAN: Let's go and have some lunch first.

VIDEL: Are you sure it's fine for me to join you to lunch?

GOHAN: Of course it is.

VIDEL: Your mother doesn't seem to like me.

GOHAN: Don't say that. Mom is just... like that. (laugh nervously) But she's kind. Really.

Videl looks at him with doubt. Gohan just grimaced.

GOHAN: Let's go?

Gohan stands up, then extends his hand to Videl. The latter looks at his hand, then looks away as she blushes.

VIDEL: I can stand up myself. (stands up)

GOHAN: Okay.

The two of them follows Goten back to their house. Chi-Chi has set up the table outside under the shade of the trees.

CHI-CHI: Come on! Dig in!

Videl stares at the table for a while.

CHI-CHI: (to Videl) What are you looking at? If you don't join now then you'll run out of food. These guys really eat a lot, you know.

GOHAN: Mom, you're embarrassing me a little.

CHI-CHI: Oh, what's wrong with that? You need to get strong for the tournament.

Videl joins in and sits by the table.

VIDEL: Thanks for inviting me.

CHI-CHI: Oh, it's alright. There are really no restaurants near here that you can go to.

VIDEL: Your place is really... far from... normal residence.

CHI-CHI: It's my husband's place. He inherited it from his grandfather.

VIDEL: Son Goku?

CHI-CHI: You know my husband?

VIDEL: I've read an article when he won the World Martial Arts Tournament.

CHI-CHI: Oh right! That tournament. You know what? That's where he proposed to me.

VIDEL: Really?

CHI-CHI: Yes... Oh, it seems like it was just yesterday when that happened. We were matched for the semi-finals. I was mad because he kind of forgotten about his promise to me. Then he realized who I was, and he recognized his promised and asked me to marry him. Uh! It was so romantic.

VIDEL: That was... weird...

Chi-Chi looks sharply at Videl.

CHI-CHI: Hmn?

VIDEL: (smiling fondly) Weird but... you're right. It seems romantic.

CHI-CHI: See? (to Gohan) I told you it was romantic.

Gohan just continue chewing his food.

VIDEL: I guess they really won't appreciate that thing because boys doesn't know anything about romance and love.

CHI-CHI: You're right. You know, I like you already.

Videl smiles awkwardly. She then goes on and eat the food that Chi-Chi cooked.

VIDEL: Wow! This is so good!

CHI-CHI: I'm glad you like it.

VIDEL: This is even better than the food our chef's cooking.

CHI-CHI: You have a chef? Does your family run a restaurant?

VIDEL: No, it's our in-house cook.

CHI-CHI: You have a cook in your house? Are you rich? How many rooms does your house have?

VIDEL: Hmn... I'm not sure... I think it's 50 or something...

CHI-CHI: Fifty! That's a castle! Gohan, when are you going to get married?

Gohan spits out the food on his mouth. It all fly towards Goten, making his face covered with rice and some other dish.

GOHAN: We're not getting married!

CHI-CHI: Oh, of course you need to propose first. Do you want to do it on the tournament? Oh! You're just like your father.

GOTEN: So Videl is going to be my big sister?

GOHAN: No! That's... that's...

Gohan looks at Videl who is curiously watching the skit that is happening right now to their family. Gohan blushes.

GOHAN: Let's just eat. We're training some more after.

All of them continue to eat.

After lunch, Videl's training continued. After some practice and concentration, she was able to control her ki and let out a beam of light from her hands.

GOHAN: You did it!

Videl smiles as she catches her breath.

GOHAN: Just take it easy. It really is hard at first, but once you get the hang of it, it will be easy breezy for you.

VIDEL: So can I fly now?

GOHAN: (grimaces) No, not yet. You first need to learn how to control your ki, that you can place it on whatever part of you body, particularly your feet... Why don't we call Goten so that I could teach the both of you at the same time?

Goten is currently playing around with the insects and some animals.

GOHAN: Goten! I'll now teach you how to fly.

GOTEN: Coming!

Goten joins them. He stands up beside Videl, and Gohan is a few feet in front, facing them.

GOHAN: Now, you need to concentrate and focus your energy onto your feet.

Videl tries to do what Gohan said. Goten, on the other hand, just jumps constantly.

GOHAN: Jumping does not make you fly, Goten.

Goten stops jumping. He does what Gohan told him about focusing the energy on the feet. And since by nature Goten can control his energy more easily, he instantly learns how to control it to make himself fly.

GOTEN: Look! I can fly now!

GOHAN: Wow! He really did it!

GOTEN: (flies around) Gohan! I'm like a bird! Look at me!

GOHAN: Way to go, Goten!

VIDEL: Shut up! I'm concentrating!

Gohan nervously covered his mouth.

It took a couple of hours before Videl was able to lift herself off the ground. It was a little lift as compared to Goten, but it definitely means Videl was able to fly a little.

GOHAN: You did it! You lifted yourself!

Videl was able to hold herself up a little more before she loses control and goes down slowly.

GOHAN: Way to go, Videl! You did it on one day.

VIDEL: Really? I barely lifted myself.

Videl looks at Goten, who is gleefully flying above them. Gohan follows her gaze.

GOHAN: Well, Goten knows how to control his energy longer than you do.

VIDEL: You have to teach me more until I could fly like that.

GOHAN: Eh... (laughs nervously)

VIDEL: I think for today, that would be enough. I'm going back tomorrow.

GOHAN: Do you really have to?

VIDEL: You promised me, remember?

GOHAN: Right...

Videl takes out her helijet capsule and opens it.

GOHAN: Oh, by the way...

VIDEL: Hmn?

GOHAN: Your hair...

VIDEL: Hmn?

GOHAN: It think it's better... if you cut it short.

VIDEL: (blushes) You think... it looks better short?

GOHAN: I don't know... but it's better for fighting. You see, it might impair your vision while you're fighting, and your opponent might grab it-

VIDEL: MY HAIR IS NONE OF YOUR BUSINESS!

Videl rides onto her helijet and leaves. Goten hears her screaming so he goes to Gohan.

GOTEN: What's wrong with Videl?

GOHAN: I... also don't know.

GOTEN: Girls are hard to know.

GOHAN: I guess you're right.

The following morning, Gohan continues his training with Goten. They are sparring once again, but this time in mid-air. When they were both exhausted, they come down and lie on the grass.

GOTEN: Gohan, I like training with you like this.

GOHAN: You mean just the two of us?

GOTEN: Yeah...

GOHAN: Me too... I also can't show my real strength when Videl is here.

GOTEN: Do you think she'll come back today?

Before Gohan can answer, Videl arrives through her helijet. The two boys go to meet her but were both surprised when they see Videl's new short hairstyle.

GOTEN: Who is she?

GOHAN: She's...

Videl hides back her helijet.

VIDEL: I'm ready.

GOHAN: Your hair...

VIDEL: I cut it.

GOTEN: Wait... you're Videl?

VIDEL: Huh?

Goten moves closer to Gohan.

GOTEN: (whispers) She looks different.

GOHAN: (whispers back) I know...

VIDEL: What are you two whispering?

GOHAN: (nervously) Nothing! I just... told him to play while I train you. Right, Goten?

GOTEN: Right. I'll go play now, Videl.

VIDEL: Okay.

Goten leaves.

GOHAN: So... uh... let's start?

Videl nods, signaling the beginning of their training for today.

At lunch, Chi-Chi once again set up the table outside their house.

CHI-CHI: (to Videl) You cut your hair.

VIDEL: Someone advised me that this is better for fighting.

CHI-CHI: You really are into this fighting thing very much, huh?

VIDEL: It's because everyone expects me to be there and win, especially my father.

CHI-CHI: Well, I'm sorry to say but you just won't win because my Gohan will be there.

VIDEL: Oh really? Let's see to that.

CHI-CHI: Oh girl, don't ever try. I apologize in advance to you and please extend my apologies to your father.

VIDEL: I'm sure my father won't accept it.

CHI-CHI: If he knows what you're getting yourself into, then he should.

VIDEL: Oh, he sure does. He's not the world martial arts champion if he doesn't.

CHI-CHI: Wait, what? Who's your father?

VIDEL: The world's champion, Mr. Satan.

Chi-Chi looks at Videl, seems dumbfounded for a while. She then looks at Gohan.

CHI-CHI: You didn't tell me you're dating Mr. Satan's daughter.

GOHAN: Mom, we're not dating.

VIDEL: He's right. We're not really dating.

Chi-Chi looks at Videl, quietly watching her eat. After a few seconds she looks back at Gohan.

CHI-CHI: Gohan, can you help me get something inside? It seems like I forgot to get that dish I cooked earlier.

VIDEL: I think this feast is enough for us.

CHI-CHI: No, it's not! You've seen these boys eat, right? Come on, Gohan. Let's go inside.

Chi-Chi goes inside the house, followed by Gohan.

VIDEL: Your mom really loves to cook.

GOTEN: Yes. It's her hobby.

Inside the house, Chi-Chi and Gohan proceeded to the kitchen.

CHI-CHI: Gohan, you didn't tell Videl about what really happened during the Cell Games, did you?

GOHAN: No, I didn't. Besides, she's too amazed with her father. She adores him so much.

CHI-CHI: So, how would that be? If you beat her or her father, do you think they would still accept you to their family?

GOHAN: Wha-

CHI-CHI: I'm just worried that if Videl realized the truth about her father, she will get depressed and since you're the reason she discovered it, she will hate you for that. How are you going to marry her then?

GOHAN: WE'RE NOT GETTING MARRIED!

CHI-CHI: Oh silly! Don't try to ignore the obvious. We better treat Videl very well. I have here a very nice dessert. Let's give it to her to get her favor.

GOHAN: Mom...

Later, Gohan continues training Videl. That afternoon, she was able to lift herself up more than what she did yesterday.

GOHAN: That's great, Videl! Your progress is amazing.

VIDEL: (goes down panting) It sure takes a lot of energy.

Videl sits down on the grass. Gohan follows her and sits a few feet away from her.

VIDEL: Your house is very nice. It's small, but it's so homey. And this… (indicates the surroundings) It's so beautiful!

Videl lies down and closes her eyes.

VIDEL: I could stay like this forever.

Gohan stares at her while her eyes are closed. He smiles as he listens to her speak.

VIDEL: I can't remember the last time we went on a picnic together. I mean, me and my dad... I guess it was back when my father is still a nobody.

Gohan's smile faded.

VIDEL: I guess it could have been different if my mother didn't die. At least she's there to take me to picnics and places like this.

GOHAN: How long was your mother dead?

VIDEL: She died a few months after I was born. My dad does not want to talk about it, so I don't know a lot about her. All I know is that she was a singer. And she is beautiful and kind...

GOHAN: Maybe she is like you.

Videl opens her eyes.

GOHAN: (blushes) I mean... you're kind and... well... you're... you're beautiful... (looks away)

Videl giggles. That made Gohan look back.

VIDEL: Thanks... well, you're good-looking yourself.

It was her turn to blush.

VIDEL: I saw your father's picture. You kind of look like each other.

GOHAN: Yeah... Mom always say that.

VIDEL: He seems to be a nice guy... just like you.

Gohan blushes again.

GOHAN: Well... yeah... he is nice... very nice... Kind. He's kind.

Videl stares at Gohan, quite enjoying his awkward moment. Gohan seems to sense it, so he looks back. That made Videl's smile fade slowly. Not because something bad is happening, but because her heart suddenly beat faster. She doesn't understand what's happening.

Gohan continues to stare, quite enjoying the view that Videl's beautiful face is giving him. He starts to notice every feature of her face - her big blue eyes, her cute nose, her pink lips. That's where his eyes landed last. It seems they do not want to leave that spot.

GOTEN: (voice over) Gohan!

Gohan looks away. Videl turns her head to the other direction. Goten is now in front of them.

GOTEN: Are you done training already?

GOHAN: Ah... we're... w-we're just resting. Right, Videl? (laughs nervously)

VIDEL: Yeah... (sits up) You know, it's airy and comfy here. I just... thought I might lay down for a while.

GOTEN: I think it's hot in here. Your faces are both red.

Gohan and Videl look at each other, and upon seeing each other's faces they blush some more.

VIDEL: I guess... it is... a little warm, yeah...

GOHAN: Yeah... let's head back to our house to drink some water. That might cool us off a little.

VIDEL: Yeah... (laughs nervously) Let's go.

Gohan and Videl leave.

GOTEN: Grownups are so complicated.

Days passed and Gohan continues to train Videl. She was a fast learner and she is improving more and more everyday. After just a couple of days training, Videl was able to fly more comfortably.

VIDEL: Gohan, look! I'm higher than the trees!

GOHAN: You're great! You master flying in just a week. Now you're ready for some more intense flying session.

Videl goes down to the ground. She seems not as tired as she was before. Still, she sits down on the grass and Gohan sits down as well.

VIDEL: So... I assume it's your father who trained you.

GOHAN: Yeah... and a guy named Piccolo.

VIDEL: How I wish I've met your father. If he trained and continuously pursued martial arts, maybe he has a great chance defeating my dad.

GOHAN: Videl, do you still train with your father?

VIDEL: No way! He's too strong for me, you know. He's the world champion. He will just crush me if we spar.

GOHAN: (on his mind) So Videl does not know that she is now stronger than her father.

VIDEL: No one even see him train these days. He always closes the gym exclusively when he trains.

GOHAN: So... what if... this is just hypothetical...

VIDEL: Huh?

GOHAN: What if in the tournament, someone beat your dad. Will you be okay with that?

VIDEL: You bet I am! I actually want to see him get defeated. Maybe that will reduce the ego he has right now on his head.

GOHAN: (on his mind) Yes! That means I could beat him and Videl will be okay with that.

VIDEL: But of course, that would be impossible. He's the strongest in the world right now.

GOHAN: Well, some guy might dream, right?

VIDEL: Yeah... that's also my dream myself.

GOHAN: (on his mind) If you only knew, Videl.

VIDEL: By the way. Can you keep this to him until the tournament? I want to surprise him when he sees me flying.

GOHAN: Oh sure! We don't see each other anyway.

VIDEL: It's not just that. If he finds out that I am seeing a guy like this, he'll freak out. He's too overprotective. He told me once that I could not date just some guy. He should be stronger than him, he said. Like, as if that would be possible. Like, no offense, Gohan. Sure, you're strong, but he sure is stronger than you.

GOHAN: Right... (smiles awkwardly)

VIDEL: Let's go! Let's continue my training.

GOHAN: Okay!

Some more days passed. Videl continues training until she was able to fly easily. Now she can fly with Goten with ease.

VIDEL: This is amazing! I really can fly now!

GOHAN: You're quite impressive. You did it all in one week.

VIDEL: It was all thanks to you.

Videl and Gohan smile at each other.

GOHAN: So... there's nothing else I could teach you with flying. What comes next is experience. You have to do it constantly for you to get more used to it and improve.

VIDEL: I guess I'll continue my training then... at home.

GOHAN: Right...

VIDEL: I guess... I'll miss this. (looks around) This is a great training place, you know. I will miss this. (looks back at Gohan) And... your mom's cooking...

GOHAN: You can go here anytime you want... I mean, after the tournament when we're both not busy anymore...

VIDEL: Yeah...

The two of them look at each other eye to eye. It was Videl who first looked away.

VIDEL: Ahm... I will miss Goten.

Videl looks at the kid who is now beside Gohan. She smiles at him.

GOTEN: You're not coming back anymore, Videl?

VIDEL: Well... I have to train on my own now. And, I guess your brother needs to train himself.

GOHAN: That's right...

VIDEL: So... (smiles nervously) I'm going now...

GOHAN: Yeah...

VIDEL: See you at the tournament.

Gohan nods. With a last glance, Videl takes out her helijet capsule and is about to throw it on the ground.

VIDEL: Or maybe I'll fly back home.

She flies up in the air.

VIDEL: Goodbye, Gohan! Goodbye Goten!

GOHAN: Bye!

GOTEN: Goodbye, Videl!

Videl leaves.

GOTEN: Now we can train together, Gohan.

GOHAN: Oh come on! She's not that bad.

GOTEN: I think you kind of like her here.

GOHAN: What! How can you say that?

GOTEN: I don't know. You seem kinda happy and excited when she comes every morning.

GOHAN: Well, because... because if I teach her fast then the soonest she can leave us alone training.

GOTEN: Really?

Gohan looks guiltily at Goten.

GOTEN: You're blushing again. Are you feeling hot?

GOHAN: No! Let's just... train!

Gohan transforms into Super Saiyan.

GOTEN: Now that's what I call training!

Goten also transforms into Super Saiyan and the two of them start sparring.

#db #dbz #dbs #gohan #son gohan #videl #govid #dragon ball #Dragon Ball Z #dragon ball super #chi-chi #chichi #goten #love #love story #fanfiction #teen fiction

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cooltrainererika · 4 years

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Alt-Lithuania Concept Art

I said I would write an introduction for Alt-Liet, but then I thought I could maybe do it in picture form instead! After all I would get less distracted that way probably, and show how he would look in my stories too! Consider this my first actual concept art (?).

(I’m sorry for the lack of posts. But I almost have another fic done. It’s just that these past few weeks have been emotionally hectic due to my councilor of 2 years leaving yesterday. I do hope to get the rest done today and after my dentist appointment tomorrow. Hopefully I’ll be able to submit more art too, but I overestimate myself.)

More description under the cut!

I’m not so sure on a lot of things yet, but here’s my ideas for him and his possible personality. Also I tried copying Hima’s style a bit but that was a bit hard (and I can’t draw chibi it seems). Especially in color. Also damn you eraser burn- And I wish I could get the ash grey shade I wanted for the hair... looks like I brought bad quality colored pencils. And I got a bit lazy at the end. And it’s a bit off-model. Yay.

Mainly I wanted to see if I could halve the length of his hair and change his eye color and his personality and still make him resemble Liet. And... I might have succeeded? Idk. But I think I did to an extent. Though I swear at times he started to resemble Switzerland or Hong Kong or even Japan. Or a Team Rocket Grunt. Though that’s probably a good thing since those definitely don’t look girly. Or even Adult!Red from Pokemon or Link.

But to explain: the hair is shortened due to the fact that his canon haircut would definitely get him labeled gay in his culture. I even saw a post on Quora specifically mentioning that long-haired guys are almost never seen there. ...Though I definitely struggled with how short or long his sideburns should be. Sideburns, especially huge ones, have long been a symbol of masculine hotbloodedness in anime (and I find nice, fluffy ones really cute), but I think I made them a bit too long so he still looks a bit girly/a bit too much like a rockstar... as for eye color, I heard that grey-blue eyes are common in the Baltic region, and they can be very striking, which depending on the direction I go with his character would be very fitting. But I might go with a pale greyish teal, invoking his forests. Both can give him a mysterious feel, something I also want to incorporate into his character. That’s why his face is shaded so heavily here (and why his eyes lack visible pupils) btw; I thought they would really bring out the pale eyes and give that mysterious, even slightly unsettling effect. Though since I also heavily shade Finland and Russia’s faces I might be overusing the idea. Just not jade green, since Hima overuses that color when that color is very rare in general, even in places where light eyes are common.

One thing I know for sure about Alt-Liet; he’s a pretty bad alcoholic. Nowadays probably even worse than Russia. Hence the ubiquitous bottles of mead and that one little drawing of him blacked out. He definitely gets “Oh, your capital is Riga, right?” or “Oh, you’re... Latvia?” a lot, to the point it’s basically his Berserk Button lol (Also included a reference here no one reading this would probably get). The “blyat” here because his curse words are... not very strong. And unfortunately by modern day he’d be aware of it so he wouldn’t go around shouting “Green rue!” or “Gritty flour!” when he stubs his toe or gets cut in traffic (Yes, really). I’m not sure whether he’d be as (apparently) fashion blind as his canon counterpart or actually be the least fashionably questionable of the three Baltics, since I may have heard the latter would be more accurate, but I wouldn’t be surprised if a lot of Lithuanian men are as blasé about their clothing as most Eastern European men are.

I’m thinking I would draw his teeth to look kind of jagged to give him a somewhat wild vibe. And combined with his rough hair as a child it would give him a “Wild Child” look.

Also have an earlier version too. Changed because an intended “game” face looked too scary.

I feel bad for adding the cap. Oh well.

#aphlietweek2020 #hws lithuania #aph lithuania #my art #alt-talia #alt-talia concept art

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cammcharg · 5 years

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A film composer interviewed me...

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

Interview with a Film Director Cameron McHarg

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#interview #conversation #blog #film composer #director #filmmaker #Cameron McHarg

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athyrabunlord · 6 years

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To the Stars AU: Ch2 - Contact

[Chapter1]

[AO3 link]

[Concept arts and related posts]

ghikiJ A/N: This story is proving to be very fun to write. So fun, in fact, that I may have written too much exposition in this chapter. This chapter is a lot longer than we have anticipated but hopefully this won’t be the norm. There are just a lot of things to cover so please bear with us.

athyra A/N: last chapter we told ourselves to try capping it at 10k but oh look what happened here lol We shaved as much as we could but it still exceeds the 10k barrier, so here it is! More and more to come as we go along; also they’re all cinnamon rolls, esp Nana.

Words: 11,027

It was difficult to see Acacia in such a state of damage.

To Hoshimi Junna, Acacia was a city of beauty where tradition and spirituality met seamlessly with iron and the unknown wonders of foreign places she could only dream of seeing. Its people were a warm and hardy breed that excelled in fishing the mighty river that gave Acacia its life’s blood as well as farming its fertile soil. There were artists and artisans as well who produced crafts sought and craved by the faraway lands of Albion; silk, songs, poetry, and script.

It was her home and she was proud of being part of her precious city.

That was why whenever it was ravaged by youkai, she felt sorrow.

Acacia was cursed by the Fog. Every so often, a thick mist would blanket the town and carry with it creatures of misfortune. Most frequently, the Fog would bring shadowy creatures, evil spirits, and monsters that struck terror in the hearts of the masses, but there were also times it would infect the surrounding wildlife or spirits with darkness that caused mad hunger for human flesh. Because of this, Acacia was endlessly gripped in a cycle of fear, tragedy and despair.

For years, Junna studied the phenomenon of the Fog Night to bring salvation to her precious city, but both history and folklore gave only one solution: Kill the Kyuubi no Kitsune. The Fog only appeared whenever the Kyuubi was at large and subsided whenever the demon fox was slayed. This was objectively observed after Saijou Elaine, the preceding generation’s Tenkai, slayed the great youkai three decades ago. Her victory won Acacia over ten years of fogless peace, a time now celebrated by the annual Hoshitsumi Festival. However, as predicted, the Fog eventually returned and the Kirin once again demanded young women to fill the esteemed positions of the Hachi, the Eight Guardians.

Junna would never forget the selection process. No regular girl would do. She would have to have the right amount of latent ki in order to begin training, and because of this requirement, the current generation of the Hachi took longer than usual to gather candidates. As expected, the Tendou and Hanayagi Clans were the first ones to offer their daughters for the cause. They were ancient families with ki running through their veins, and with Acacia’s peace and the honor of producing a potential Tenkai on the line, they were the first ones to elect representatives. Tendou Maya and Hanayagi Kaoruko were heiresses to their respective clans’ seats, both talented and magically powerful. They were interred as Hachi candidates at the tender ages of five.

Just at their heels were their fierce rivals, the Saijou and the Isurugi Clans. These two families boasted many warriors in their line, from honorable samurai to generals that had once made Acacia wealthy. More recently, the Saijou Clan could even brag that they had Gallian Knights in their bloodline due to Saijou Elaine--then Elaine Alsace-- marrying into the family. Saijou Claudine and Isurugi Futaba hail from these families and were also selected as candidates when they were very young. Futaba was a childhood companion to Kaoruko and had the latent potential and a warrior’s heart, while Claudine was practically bred to be one of the Hachi being the daughter of the most recent Slayer.

Junna did not have the privilege of being a member of such illustrious clans but her family have served in the Hachi for generations as well. Descended from exorcists, the Hoshimi Clan were rooted from the same stock as the Hanayagi Clan many eras ago. Known for their archery and purification spells, they have proved vital in the Acacia’s defense. The main branch members of the clan still displayed potent powers in their bloodline, but since they had no daughters to elect for the position of a Hachi member, the matriarch sent the next best thing.

Her.

Junna did not possess Kaoruko’s mind-blowing magical talents or the precise ki control that made Maya so fast and deadly. She was not as physically powerful as Claudine or Futaba either. All she had going for was that her ki had the Hoshimi line’s purifying properties. Everything else she had to study, practice, and labor hard to achieve. Even her own biology proved to be against her as well for her eyesight prevented her from completely mastering the bow and arrow that the Hoshimi Clan was known for. Looking back, nothing came easy for her.

At least she had plenty of help along the way.

There were two members in the Hachi who did not come from any of the noble clans at all. Aijou Karen and Tsuyuzaki Mahiru were the daughters of common families that were simply gifted with ki. Karen’s family were servants of the Kagura Clan, a wealthy family that periodically had representatives in the Hachi, while Mahiru’s were simple farmers from the outskirts of town. Due to their unconventional situations, the three of them often worked together as trainees and formed a bond of camaraderie that they enjoyed even now.

At the thought of Karen, Junna’s mind wandered towards the missing daughter of the Kagura Clan. Karen would sometimes tell her and Mahiru of a girl named Hikari, who was the only daughter of the Kagura family. They were childhood friends, the brunette had explained, but Hikari was moved to Albion by her father for additional training just before Karen had been discovered as a potential candidate. Hikari was supposed to be the eighth member of the Hachi until she disappeared several years ago.

Due to a lack of promising young women to take Hikari’s place and also because of Karen’s stubborn insistence, the eighth seat of the Hachi remained vacant to this day.

Maybe if we actually had a full roster, Acacia would not be damaged so much.

Junna huffed as she watched the fishermen repair roofs and rafters destroyed to splinters the night before. With a notebook in hand, she had been overseeing the reconstruction of Acacia’s dockside buildings and making sure that the process went as smoothly as possible. Many of the townsfolk were still rattled by the mizuchi’s attack last night, even more so because the youkai rampaged so close to residences. The most she could do was be present as they rebuilt their homes and businesses, and lend her managerial skills to make the experience less difficult than it already was. But it seemed like fatigue made her lose focus, her attention wavering too frequently.

“Junna… oi, Jun-na~ are you still awake or are you sleeping with your eyes open?”

She blinked her eyes rapidly to fight off sleepiness that had been creeping up on her for the past hour, and when she regained her focus, she found Futaba waving a hand in front of her face. The redhead was still in near complete regalia, minus her heavy armor, and was mounted on her trusty pinto steed. Her clan’s distinctive byakko tattoo was prominently displayed in red ink on her left arm, reflecting Futaba’s proud heritage. Her unique halberd was nowhere to be seen, however, and the horse was also lightly geared.

“No, I’m fine,” she responded a little too quickly now that she was caught zoning off, “I just have a lot in my mind.”

“No, you’re not fine,” Futaba clucked her tongue and nudged her mount to circle Junna in scrutiny. “You’re tired, Junna. What are you even doing here? Didn’t you use a purification spell last night? You should be at Seishouya passed out like Kaoruko.”

The thought was tempting for sure, but Junna could not afford to rest just yet. She could sleep as much as she wanted once the work was done. “I’ll be fine, really. I was able to sleep for a couple of hours earlier,” She reassured her comrade. “I still need to calculate how much we can get Seishouya and the clans to subsidize the townsfolk. After all, it was my fault that--”

“Oi, oi… none of that!” Futaba poked Junna’s forehead when the latter began scribbling on her notebook. “It was a rampaging monster. What happened here is no one’s fault, you hear?”

Wincing and stepping away from the mounted woman to avoid another strike, Junna rubbed her sore forehead. Though miffed at the grinning redhead, Junna could not help but appreciate how quickly Futaba tried to cheer her up after the fiasco last night. She gave her a small, tired smile, “...thanks.”

“Don’t worry about the finances. I’ll help you out as much as I can with my clan. I’ll also make sure Kaoruko does too, so why don’t you take it easy, alright? I heard you had quite the rodeo last night.”

At the memory of the mizuchi, Junna flinched and uncomfortably re-adjusted her glasses, which reminded her that she was now wearing her last spare after her other pair got damaged. “It’s not a ride I want to get on again. It caused Acacia so much. We ought to be preparing for the festival, but here we are stuck in a quagmire of repairs.”

Futaba patted her on the shoulder, “It’ll work out. The only way we’ll fail to commemorate Kyuubi’s last defeat is if you let yourself get sick. Who else is gonna organize everything, yeah? You shouldn’t push yourself too hard, Junna.”

Junna shook her head and said, “Don’t worry. I’ll hold out. Besides, Karen has been doing most of the manual labor for me.”

Futaba laughed boisterously at that remark. “I saw her on my way here, hammering away and patching up walls. I’m surprised she’s even awake.”

“Well, you know Karen. The annual festival is the highlight of her year and would stop at nothing to make sure it proceeds as planned. And I do think that she’s truly remorseful of scaring the fishmonger’s daughter after getting thrown through their shop’s wall.”

Futaba’s laughter took on a tone of disbelief, “It always amazes me how...uh… sturdy she is.” She then cleared her throat, “Well, I just wanted to check up on you girls before I return to the outskirts to oversee the progress there. Kaoruko is out of commission and Kuroko is… well…” Rubbing her nape, Futaba sighed raggedly and shrugged, “It is what it is.”

Junna did not have the heart to inquire about Claudine’s mental state given the circumstances. The blonde was grieving and angry, and that would not go away so easily. All she could do was ease the load on everyone’s shoulders. “Go on ahead then. Don’t worry about us here. As soon as everything settles down, we’ll return to Seishouya.”

“Alright… hehe, I really shouldn’t worry huh? After all Mahiru is here too and she has a way with people. Well, I’ll see y’all back home later then.”

“See you there,” Junna nodded and gave Futaba a small smirk of her own, “and follow your own advice and don’t overdo it.”

With a good-natured chuckle and a charming wink, Futaba nudged her horse and rode down the street, skillfully dodging carpenters who carried lumber for repairs. Junna watched on until her friend could no longer be seen, and inhaled deeply to recenter her attention to the task at hand. On her notebook were detailed lists of damaged buildings, the resources needed for those properties, and the names of the workers who labored there. Junna kept careful records for she intended to try and compensate them for some of the reparations, believing that the people of Acacia should not shoulder such expenses on their own.

Satisfied that she had most of the ones on this street accounted for, Junna pocketed her notebook and began her trek towards the river bank. She spotted Karen laughing along with some men by the shop she had been repairing. The brunette was exchanging stories over tea and snacks while on break it seemed, and her bright demeanor mellowed out the expressions of fear and anxiety from the townsfolk. With a fond smile, Junna left her friend with her acquaintances and proceeded with her task.

“How are things here? Do you still need more materials?” She inquired a carpenter a block away.

“Ah, Hoshimi-san!” The man stood up a little straighter and seemed embarrassed to be interacting with a Hachi member in his state of grime and disarray. “We’ll need some more lumber here, I think, oh and some whetstones to sharpen our chisels and planes. Other than that, I think we’ll manage.”

Junna nodded mechanically and jot that down on her notes. “I will get those for you as soon as I’m able. Would later in the afternoon be workable?”

The man suddenly bowed respectfully, “Of course!”

“Um… there is no need to be so formal--”

“Everyone, I’ve brought some food! I’m sorry to keep you waiting but here are your lunches.”

“Ah, Mahiru-chan! You really are a blessing. You didn’t have to bring this all to us.”

Junna blinked not only because of the change in atmosphere but also at how fond and familiarly the townsfolk spoke with her soft-spoken comrade. The people typically referred to Junna like she was superior even though she was nothing special. After all, she was merely a branch clan member and she was not one of the top ranking members of Hachi either. So even though she expected respect, she also secretly longed for warm recognition as well. Perhaps she was too austere? But then, Mahiru was a sweetheart with an angelic voice and a disposition to match.

Not to mention her warm maternal aura and her cooking skills.

“Junna-chan?” Mahiru looked surprised, “I thought you returned home already. You don’t have to worry, I’ll make sure Karen-chan--”

“...doesn’t cause any more trouble, I know.” Junna chuckled as she approached her long-time friend. Truly, without Mahiru around, who knew how she and Karen would have turned out. The three of them were the ones who worked the hardest to be in the Hachi because of their circumstances. And when things became tough to the point of despair, Mahiru was always there with a kind smile and a steaming roasted sweet potato to cheer them up.

“You brought so much food.” The other woman had a heavy basket of cooked produce on each arm. Amazingly enough, she did not look troubled carrying them around.

“It’s the most my family’s farm can spare for the time being.”

“Are they alright?”

Mahiru smiled and nodded as she folded the cloth that covered a steaming basket of tubers and vegetables so that the workers could serve themselves. “Thankfully, our farm was spared from the attacks but a couple of others were not as lucky. Obaa-san spared no time in having my siblings harvest what they could so we can at least help feed those in need and she insisted that I take some here.”

“Your grandmother is amazing.”

“Isn’t she?” Mahiru giggled as she filled bowls with vegetables sauteed with onions and a few cubes of potatoes smothered in a simple sauce. Simply watching her serve their people energized Junna and made her momentarily forget about her fatigue. “Would you like some Junna-chan? It seems like there’s plenty for everyone.”

“Ah, thank you but it would be put to better use if the laborers eat it,” she responded with a small smile. “You made sure I ate before we left Seishouya, remember?”

“But that was hours ago and you’re still recovering ki. You must eat!”

“I will, I promise. That would be the first thing I’ll do once I return to the dormitory.”

“You better!” Though her voice was firm, Mahiru’s gaze and smile were anything but. She was sincerely concerned for her, and Junna felt the warmth of her care. Once again, she felt so grateful to have earned herself a family in the Hachi.

“Well then, I should get going, Mahiru-san. I need to make sure everyone receives all the materials they need so the repairs would be finished by the time the festival rolls in.”

“Alright, but also make sure you take breaks, Junna-chan.”

With a respectful nod, Junna bid her farewell to Mahiru and the workers, and continued on. Nearing the end of her responsibilities on this side of town, she took a moment to appreciate the cathartic flow of the water in the river. It was truly hard to imagine that such a peacefully flowing river could house a fearsome creatures. Looking off to her left, Junna spotted the tree onto which she had jumped in order to escape death. Its scars were still green where her weight had torn off some twigs and ripped away some branches. Nearby, a couple of women were repairing the railing where Karen had leapt from after the mizuchi had bulldozed the metal pipes into grotesque shapes, while further down, some men were patching up a stretch of stone walls by the water that helped prevent erosion.

Indeed, it was difficult to see Acacia so damaged but seeing the collaborative efforts of its citizen also renewed Junna’s hope.

It made her even more driven into helping the Hachi slay the Kyuubi no Kitsune.

Junna leaned over a stretch of railing that was luckily undamaged by the mizuchi and closed her eyes, renewing her resolve and tempering it carefully. She must persevere. Soon, the Kirin would decide if Maya would remain the Tenkai or if a new one must be chosen. If the latter was to be decided, then Junna was determined to get the Kirin’s Blessing and pick up where her esteemed comrade have left off.

The Fog must be stopped.

The Kyuubi must be slayed.

Junna’s reverie only went undisturbed for a few moments because a rambunctious clamor encroached on her peace. Children fretted and hollered nearby, accompanied by a woman with a gentle, tinkling voice steeped in fondness.

The woman’s voice was laughing as she herded rowdy kids, “Ah! Settle down, everyone. Everyone gets a piece, okay? But after this you should all go home to eat a proper meal so you’ll grow as big and tall as a banana tree like me!”

A banana tree…?

“Banana! Banana!” Children’s voices were saturated with glee and giggles as they chanted and encircled their chaperone.

“Hai, hai~ here you go. Your reward for being so brave last night.”

That voice…

“That was very brave of you…”

Junna blinked her eyes open as a long cherished memory of a miracle came rushing back into the forefront of her thoughts.

==============

The deep forest loomed ominously only several yards away. It was so dense that light scarcely penetrated its canopy, leaving it looking like gargantuan shadows slowly creeping up towards the town of Acacia. At fifteen years old and training to become a warrior that braved the Kiri no Yoru, Junna was no stranger to its intimidating presence but it never failed to make her shudder in trepidation. That was especially true tonight, for tonight was when she would prove to the Kirin that she was strong enough to be one of the Eight.

Clutching her hankyu bow in a tight grip, Junna steeled her resolve.

The Kirin’s Trial was a ritualistic test for any aspirant for a position among the Hachi. A candidate must survive a Fog Night with nothing but her drive, skills, and her chosen weapon. She was tasked with a small stretch of land around Acacia to defend against any youkai that might come and if she was successful in exterminating them, they would rise with the sun as one of the esteemed Eight Guardians.

Junna had dreamed of accepting her own ki gem from the Kirin’s priests for years. She wanted to be one of the stars that protected the people of Acacia, one of those legendary warriors after which stars were named. Her excitement escalated when Maya, Claudine, Kaoruko and Futaba passed their trials the year before with great heroics and displays of competence. She would be one of them. She would stand beside them as they fought for the well-being of their hometown and of its people. And if fate was kind and the Tenkai defeated the Kyuubi no Kitsune, she would be honored to be the namesake of a star within the constellation the priests would reward the new Slayer.

Immortalized in the heavens.

Her name forever carried by a celestial body.

Indeed, glory awaited her. And if that was the one thing that Junna could claim as hers and hers alone--not some debt from her parents or her clan’s matriarch--then she would strive for it with her own efforts. She would shoot up towards the sky again and again to find her path to the stars.

For her trial, Junna was assigned to an unexpected part of town. While Karen and Mahiru were given posts near the city for their own tests, Junna was tasked with a wide swath of land by the border of the deep forest. She had scouted the place beforehand, like a good strategist. She even looked into the history of the place and what kinds of youkai tended to show. What she found was a tragic story of a necessary evil. These vast acres of land used to belong to the Norinaga family, a small clan of brewers who used to farm rice here for their renowned sake.

The rice paddies were gone now though, because the Norinagas have all been executed.

Junna glanced at the sizeable yet traditional house behind her, where a different family now lived. After Saijou Elaine defeated the last Kyuubi and peace reigned, everyone knew that it was only a matter of time before the great youkai would resurface again. The demon fox always returned, no matter how many times it was slayed, reincarnated every time. Its new manifestation was born in the Norinaga family. Records were vague, but it all concluded that the family was bewitched by the youkai’s powerful magic and went mad. Seishouya was forced to put them down for Acacia’s safety but even its pre-emptive strike failed to capture the revived demon fox.

And now that very same escaped Kyuubi no Kitsune thrived within those dense forests summoning the deadly fog.

Darkness came and with it the Kiri no Yoru. The Norinaga’s old farm was so close to the forest that it was choked by the Fog almost immediately, limiting Junna’s vision. Calmly recalling her training, she immediately switched using her ki senses instead. She saw the new family residing in the old Norinaga house huddling fearfully in their bedroom, their ki signatures stuttering like candle flame against a stiff breeze. She must not let them down.

She must not let herself down.

Junna jumped up on a tree’s branch for a better vantage point and rested her hand over the feathered fletching that protruded from her quiver. Even before she was chosen as a candidate, she had already learned to make the bow an extension of herself and even though she had poor eyesight, she had practiced kyuudo enough that muscle memory was usually enough for her to let loose an accurate arrow.

She was confident that she could take on whatever the Fog throws at her.

It did not take long before the first youkai screeched it presence. Junna momentarily froze at how loud it was, that deafening shriek of a giant black bird swooping down from above. With a wingspan longer than her bow’s length, it was the most massive crow she had ever seen. It also had five toes that ended in dagger-like talons and its beak was lined with fangs. She ducked and leapt onto another branch before the bird demon could snatch her away, trembling as the youkai ripped away a tree limb that was as wide around as her thigh.

Junna, focus!

She pressed her glasses snug on the bridge of her nose and notched an arrow. She aimed as the karasu beat its massive wings to gain altitude and let loose once she was confident with her shot. The arrow flew true and struck the bird in the breast, its silver tip multiplying the damage as it burned through the demon’s flesh. Junna was thankful she took time and wrapped blessed talismans on her ammunition.

The crow’s cries alerted the rest of its flock, so moments later, a whole murder of them was aloft. Junna’s green eyes widened in shock and trepidation. Three, four, no… seven! Seven pairs of wings were in the sky. Seven pairs of eyes trained at their flockmate’s killer.

All of the sudden, the only thing Junna could comprehend was fear.

Two birds dove at her and she narrowly escaped by jumping down from the tree. With adrenaline spiking and heightening her reaction time, Junna notched arrows, muttered long-memorized incantations and shot at the birds. She missed one by the feather but the second arrow found its mark and the karasu fell in a heap of black feathers on the ground.

Junna wasted no time in running away from there. She sprinted down the dirt pathways that used to border rice paddies, pouring ki into her legs so that she could run faster. It was a futile effort, she knew, for wings would always be faster than feet. Soon, the crows were right on her heels with talons at the ready.

She dove into the ground and lied there as low as she could. The crows clumsily collided with each other and crashed into the ground, rolling and squawking fearsomely as they snapped and clawed at one another. This gave Junna a chance to shoot them when they were grounded and easier to hit. However, she was only able to let one arrow fly before another crow dove behind her and nearly caught her by the braided locks of her hair.

Panting, Junna rolled over. Three… she was only able to get three and already fatigue was gripping her tightly. She pushed herself off the ground, grabbed her bow and ran. Ahead, she watched with dread as the rest of the murder perched on the house in the middle of the farm. They used their huge bills to peck at the wooden roof, eventually puncturing it. Inside, the farmer’s family cried in terror.

“No!” Junna screamed and angrily shot at the birds. One after another, she sent arrows their way, more concerned for the civilian’s safety than actually killing the youkai. The crows shrieked at the projectiles and a few flew away but one stayed behind and stuck its head inside the hole it had made on the roof. The ear-piercing scream of a child froze Junna in place. She stood there in the middle of the field, helplessly watching a demon crow fly off with a lifeless body of a little boy dangling between its toothed beak.

No… it can’t be…

Junna fell on her knees. This was her first test and already she had lost a life. In her grief, however, fury took root. She screamed as she stood and loaded an arrow, aiming at the karasu that had taken an innocent life. She doused the projectile with her ki, enough so that the crow would burn in holy energy, and let it fly. The arrow glowed as it left the bow and pierced the youkai’s eye. It fell down to the earth in ashes.

With it, the broken body of a child.

However, her anger dulled her senses and left her vulnerable to the rest of the murder. She was barely able to evade a set of talons that could have ripped her apart, but she was not so lucky when a second pair swooped and knocked her down a shallow ditch that used to be an irrigation canal. The fall bruised her shoulder and side, making her cry out in pain, while her bowstring snapped off the hankyu when its upper nock got caught in a piece of debris.

Blurs! Everything was a blur! Her glasses, where were they?

She froze when she realized that she had no means of fighting anymore.

It was over.

She failed.

I can’t fail… I must not fail!

Tears streamed down her face as she sightlessly stared up into the black sky. She could feel the stars twinkle beyond the thick mist, mocking her, telling her that she would never be one of them. Her other senses showed dark blotches flying in the night. In circles the crows flew, perhaps thinking of a way to dig her up from the ditch in order to consume her. Maybe it was better this way, Junna thought.

What good was a guardian who could not defend people unable to defend themselves?

The karasu squawked and then suddenly flew away from the trench Junna was trapped in. She sat up, puzzled, but unable to make out what was happening. She could not sense anything but nearby a youkai screamed and disintegrated, the darkness it carried dissolving into ether. Another followed suit, killed with such efficiency its vocalization was cut mid-screech.

Bewildered, Junna pulled herself up from the ditch, and once she had partially emerged, she perceived a shadow much larger than the crows she had been fighting with.

“The Oya…?” She whispered to herself in panic. How in the world would she be able to fight such a powerful being in her state? She squeezed her eyes shut and prayed that her comrades could find her and the farmers in time.

“Ne… you’re the one fighting them, right?” A gentle voice startled Junna for she had not sensed another presence around her aside from the youkai.

“W-what… who are you?” She turned her head this way and that, looking for the source of that voice but her ki senses found nothing. Instead, her blurry eyesight spotted a white figure standing not too far away. All she could make out in the dark was a woman of tall stature holding two blades.

“That was very brave of you,” the stranger said as she approached Junna with a steady, unconcerned gait as if there were no youkai around that could harm them. The stranger kneeled down and handed her a short shaft that she immediately recognized as a tanto sheathed in varnished bamboo. “It’s okay…” the woman spoke in soft, kind tones like she was speaking to a child, and patted her head. Junna could not clearly see her features but she could make out the mellow green of her eyes. “Everything will be okay now.”

Junna opened her mouth to question the stranger one more time, to warn her that it was dangerous and that the farmer’s family was in danger, but she was utterly silenced by a fierce golden light that burned away the Fog. It shrouded the white-cloaked woman like a flaming veil as she stood afterwards.

She was like a tower of white and gold, an awesome beacon in the middle of a black sea.

Junna tried to reach out to her but the force of the stranger’s ki was so overwhelming that nausea set in. Compounded with her fatigue and injuries, she found it difficult not to succumb. All she could utter was, “Save them…” before her consciousness surrendered to the warmth of the golden light and the calming scent of pine needles.

===============

“Can it be…?” Junna straightened and marched towards the group of children encircling a blonde-haired woman with a bunch of bananas in her arms. The said woman did not have the same silhouette from her memories due to her peculiar pigtails but she was wearing a white cloak and her voice was uncannily familiar. Logically, there was no way this could be the same woman. Junna was not even sure if she had been hallucinating back then. In fact, she was uncertain if she was not seeing things in the present as well.

“That was five years ago… there’s no way…” She told herself but her feet would not stop. If there was even a fraction of a possibility that it could be the same person who had saved her during her trial, then she must meet her. She kept her life and the rest of the farmer’s family survived because of that stranger’s intervention. She owed her a great deal.

Still, doubt filled her mind. This woman in front of her had a normal human ki. It was a muted shade of yellow, pretty but nowhere near the magnificence the stranger back then had.

“Ah, it’s Hoshimi-san!” One of the children exclaimed, then suddenly most of the kids took refuge under the woman’s cloak as if Junna was some sort of disciplinarian they all wished to avoid.

“Uh, um…” Junna stammered, unsure how to start a conversation which was odd since she was used to dealing with people all the time. “I apologize but… have we met before?”

The tall woman blinked and a glint of recognition flashed through those expressive jade irises. She smiled genially, as if she was only meeting an old friend, “I can’t say but here…”

Junna blinked in bemusement when the blonde offered her a banana.

“Don’t you want one, Hoshimi-san?”

Taken aback by the sudden gift, she just automatically took the fruit. “I… err… thank you, I guess.”

“I’ve heard a few things about you,” the woman chuckled, “It’s hard not to! You’re one of the Hachi, right? A hero!”

Junna found herself blushing at the earnest praise. “I-I’m nothing of the sort but um… I feel like I know you.”

The blonde’s smile took on a more mysterious air. “Maybe we have met somewhere before.”

Tongue-tied, Junna felt awkward at being unable to find anything to say to this friendly woman. “Right, uh…”

“My name is Daiba Nana.”

=======================================================

Already, warning bells are going off at the back of Nana’s mind, particularly in Hikari’s cold voice. It wasn’t the first time that her housemate had berated her about getting too friendly with the townsfolk of Acacia and their arguments had never ended well. Nana understood Hikari’s concerns and a part of her agreed that it was better to keep her distance for self-preservation.

But this girl… no, this young woman in front of her was the same brave warrior she had saved all those years ago. Her features had a sharper and more mature feel now, but Nana could recognize those same pair of green eyes even after the flow of time.

Full of conviction and hope.

Much like her own, before despair shattered her.

Before she knew it, she had already introduced her full name to the pretty stranger.

Ah, she could practically feel Hikari’s stiletto against her jugular now if the latter were to find out about her blunder.

“A-Ah! I’m Junna, Hoshimi Junna,” the shorter woman seemed anxious and couldn’t quite meet her gaze. Even then, she still politely held out her hand. “Pleased to meet you, Daiba-san.”

The simple gesture filled Nana’s heart with warmth as she readily grasped Junna’s hand. “The pleasure is mine, and please, call me Nana, Junna-chan.”

As expected, Junna appeared taken aback from being referred to so familiarly but Nana persisted by giving her an encouraging smile. Though proud of the surname she had chosen for herself, she rarely heard it and whenever she did, it tended to bring up unpleasant memories.

“Uhm, c-certainly, uh, Nana-sa… Nana-?”

The questioning tone at the end, combined with the slight reddening of her ears, was quite adorable really. Judging from the awed expressions of the children around them, it seemed to be a huge deal for the Hachi to refer to someone so directly.

“Good! Now that we know each other’s names, we’re no longer strangers, ne?” Nana gave her hand one light squeeze before letting go. She then gestured at the children, some of whom were looking at them with inquisitive eyes while some were happily munching on the bananas. “We’d love for you to join us and take a yummy snack break, don’t we?”

She was hoping the innocent chorus of the children’s cheers would help Junna loosen up, but the latter seemed as tense as ever even after she hesitantly stood closer to the little girl who waved at her.

As the children chatters around them, Nana couldn’t help but find herself comparing the bespectacled woman to the faint memory from years ago. The image of the teary, despairing new leaf was now replaced by this calm and seemingly assertive Hachi. Donned in a light blue vest and an elegant top complete with a star crest clipped to the frilly collars, Junna does appear to be the kind of supervisor or instructor that civilians would instinctively obey. There was something else, however, that attracted Nana’s attention. Junna’s very presence or ki felt serene like the gentle wash of moonlight.

It was a pleasant sensation.

Her hair has gotten longer too… the braid looks nice on her.

Nana smiled as Junna reprimanded a young boy for playing with food while gently cleaning his face with a handkerchief. Perhaps it was the spark of pride for being the one to save Junna back then and now witnessing the fruition. And since she still carried the tanto, Nana assumed that the archer had learned to wield it adequately at least.

She barely managed to not wince when she was caught staring and hastily commented. “You’re good with children, Junna-chan.”

“Fueh-?” The shorter woman let out an odd but endearing noise before averting her eyes, her voice lowering to a bashful whisper. “I-I think you’re better with children. If it weren’t for you and those snacks, they would have avoided me.”

Nana playfully quirks an eyebrow at that, to which several of the children responded with cheeky grins.

“Hoshimi-san is scary!”

“Very scary! But strong!”

“Super awesome!”

“Scary strong!”

“I heard one time she stared at a demon and it fled!”

“That’s so cool!”

Junna’s face turned several shades of red, either from annoyance or embarrassment. Even then, she didn’t get angry at the children and merely adjusted her glasses.

“See? They adore you.”

“D-Don’t make fun of me please.”

“I’m not,” Nana chuckled at her exasperated expression. “You’re one of Acacia’s guardians after all. I really respect that.”

“You do?” Junna relaxed slightly, the curiosity in her gaze more prominent now as she peered up at the taller woman. “Uh, not to be rude but, you’re not from around here are you, Nana? I-I mean, I haven’t seen you around town… not that I know the name of everyone who lives here but I would’ve recognized you otherwise…”

“Hmm~ You’re correct. I don’t live here. Do you know the land across the sea, Gallia? I’m from a place further than that. Have you heard of Vertalis?” Nana gestured at the direction of the port with practiced ease. It was a well-rehearsed cover story that she and Hikari had drafted over the years. While it invited a lot of questions about the distant land, people tended to be more curious than wary due to how rare it was to meet someone from that far away. No one would be digging at their tale for lies and it gave them the leeway to present themselves as simple travellers.

“I’ve… heard about Vertalis. I believe some of the vendors sell produce, such as carrots, from there but those aren’t direct imports,” Junna says slowly, as if digesting the information. “In fact, they had to go through several intermediaries to get here. You’ve come a very long way…”

Junna trailed off and took out a notepad, scribbling comments and sketching a map much to Nana’s amusement and the children’s fascination.

“Yup! I’ve been around. You know what people say - go out there and expand your horizons~ I’m on my way to Albion actually but I decided to stop by Acacia to get some supplies and,” she patted her knapsack, where only one hand of bananas remained after sharing her purchase to the children. “I’m glad I did! These are some of the most delicious bananas I had for a while.”

“I’m glad you’re enjoying your stay here so far.” Junna straightened up, her eyes gleaming with pride. Her gaze then trailed over to the twin katanas by her hip, which prompted Nana to add.

“For self-defense, though I haven’t had the need to use them much lately.”

Junna nodded slowly, seemingly deep in thought. While it was not uncommon for travellers to carry weapons, Nana realized that she probably stood out in this part of Acacia where there were mostly farmers and other more down to earth civilians. Youkai were known to prey upon other human settlements around the world too, such as Gallia and Albion, but those incidences were not as frequent as the Fog that plagued Acacia.

“Which is why I’m so amazed, great Hachi,” Nana tried to pull Junna’s mind away from her katanas, “I’ve been hearing about this Kiri no Yoru and how the guardians have to fight against packs of youkais to protect Acacia! It must have been quite the terrible fight last night.”

“It was…”

Nana’s shoulders drooped, for her remark only made Junna even more troubled instead of lifting her spirits. There was guilt in her visage as she surveyed the destruction around them.

“Oh oh! I saw one of the boss monsters! It was a huuuuge serpent-thing with antlers! But Hoshimi-san shot it down!”

“Yeah yeah! Hoshimi-san is so cool with her bow!”

Once again, Junna appeared at a loss at being the center of such positive attention. “I was just fulfilling my duties, it’s not that big of a deal-”

“But it is!” One of the smaller boys suddenly exclaimed. He cringed at the resulting silence and shrank behind Nana when Junna blinked at him. He was probably worried for interrupting the Hachi, but at Nana’s encouraging pat, he shuffled forward and gestured animatedly with his tiny arms. “You’re a heroine, Hoshimi-san! My dad’s a fisherman so I’m always scared that he’d get attacked by demons but you got rid of them! For us! I-I’m really grateful!”

Junna’s austere expression softened as she crouched down to the little boy’s eye level. “No, thank you, for believing in me, in us.”

Perhaps it was the circumstances, the way that the Hachi spoke, or even just that small gesture of kindness, for Nana felt a pang in her chest with a myriad of emotions. Relief that such an innocent young soul had such a dependable, sincere protector; envy that she was denied and robbed of a chance for a positive childhood; admiration for the woman with a noble heart.

“Well then, I should be getting back to work,” Junna straightened herself and motioned at the direction of the town. “You should all be getting back to your parents too. These areas aren’t repaired yet so it would make me feel better if you don’t linger for too long.”

A chorus of complaints was expected, though Junna patiently and firmly stood her ground until the children gave in. Still, it took more persuading for several to stop clinging to Nana. As she fondly watched the kids leave while waving back every few paces, she wondered if she would behave freely like them too, in another lifetime.

“So um, there are still a couple of errands I need to run,” Junna smiled up at her. “Thank you for the snack, Nana.”

“You’re welcome…” It’s been relaxing to converse with the Hachi and she didn’t want them to part yet. As she struggled to think of a reason to prolong their time together, Junna cleared her throat and averted her eyes.

“And since you’re new here, would you like me to s-show you around?”

Nana perked up, unable to contain her grin, though the timid and awkward part of her still compelled her to ask. “Are you sure? I mean, I’d love for you to accompany me but you have a busy schedule and I don’t want to be a bother… not to mention, you had a rough night, you should get proper rest as soon as you can.” She had noticed the bandaid on Junna’s cheek earlier and that her pale visage hadn’t improved over their snack break.

“You’re not a bother. Quite the opposite in fact,” Junna adjusted her glasses as she glanced over her notepad. “I just need to check in with some of the workers but I’ve done what I can for now. Talking to you and the children had re-energized me.”

“Really? That’s great to hear.” Chuckling in relief, Nana playfully curtsied. “Then please lead the way, Miss Hachi~”

Junna blinked at her antics but she unexpectedly took her arm in a light grip and began to lead her towards one of the arterial roads. It took a while for Nana to get used to following another person, for she had always been so independent and had to decide for herself which way she needed to go.

But this was refreshing, especially when her guide was so enthusiastic and obviously proud of her hometown.

While this wasn’t her first time in Acacia, it was certainly new to hear about brief backgrounds and highlights about specific areas of this culturally diverse place. For one, she didn’t know what the grand statue in the town square was supposed to be, and its significance to the residents. The abstract stone carving was a collage of the five mythical guardians that had protected the world in time immemorial: the vermillion phoenix of the Tendou Clan, the obsidian tortoise of the Saijou Clan, the white tiger of the Isurugi Clan, the azure dragon of the Hanayagi Clan, and lastly the center, the golden unicorn that was represented by the enigmatic Kirin and figurehead of the Hachi. She also learned about fun trivia such as the apothecary hidden from plain sight in one of the alleys and how it sold rare items like dried scorpions and apparently nekomata claws too.

Eventually, Junna led her to a boulevard teeming with people and carts carrying wooden planks and other materials. The hardworking Hachi excused herself briefly to speak with some of the workers about requests from the quartermaster as well as to confirm the allocation of manpower for the repairs. In work mode, Junna no longer stumbled over her words and spoke with the smooth confidence of someone used to managing people. It was inspiring really, just watching her.

If Nana remembered correctly, the market district should only be a few blocks down, where all sorts of vendors gathered in the form of actual shops, temporary stalls, or even just wares laid out on tarps on the side of the street. Her original plan was to go there to purchase food for her pantry and perhaps shop around for other necessities, and leave Acacia before noon. Alas, she had gotten sidetracked by the first grocery store that sold bananas and had soon found herself surrounded by children.

Now here she was, in the company of this well-adored Hachi.

Indeed, the workers and other passersby seemed humbled by having an esteemed member of the Eight amongst them. There was nothing but respect in the way they greeted Junna, from hearty words of gratitudes to sincere smiles. Apparently, she was the one who had established a program in which Kiri no Yoru victims can be treated cheaply at the town infirmary. Truth be told, Nana felt rather awkward standing off to the side, watching all these people vying for Junna’s attention.

Just as she was on the verge of simply slipping away into the crowds, Junna managed to extract herself and took hold of her arm once more. Though visibly tired, she also looked relieved now that she had completed her task.

“I’m sorry to keep you waiting, especially when I was the one who offered to show you around.”

“It’s okay, you have many things to do after all.”

“It’s all taken care of for now! Um, you had some supplies you wish to purchase, right? Let’s head over to the marketplace then. I need to get some spare glasses as well.”

Fleetingly, Nana recalled how the young girl she had saved fumbled in the darkness, yet the children had claimed her to be a great archer. Perhaps she could pinpoint ki better than mere sight could do?

How do you see me then, human… or youkai? Nana was distracted from that depressing line of thoughts when Junna hastily greeted yet another enthusiastic person thanking her for protecting Acacia.

“Hehe, Junna-chan is like a celebrity~”

“How so?”

“You have so many fans. Based on what I’ve heard earlier, you’re the reason why the injured folks were able to afford treatment. I think that’s really amazing.”

“Oh, that’s only possible because of the shared contributions from the four main families,” Junna shook her head and adjusted her glasses uncomfortably. “I didn’t do much.”

“Still, you started the program, didn’t you? Taking that first step is always something. Besides, everyone seems to… hmm, flock to you like bees to honey?”

“What kind of analogy is that?” Junna chuckled, her posture relaxing. “And I suppose it’s because the Hachi is usually not seen in public, especially not around this time. Because of our training schedule and nightly patrols, we don’t get to interact with the locals that often. They’re entitled to know more about the Fog, so naturally they would be coming to me to ask questions about what happened last night.”

“Hnn~ So modest,” Nana teased, leaning down so that she was peering up at Junna instead. “Maybe they want to talk to you just because?”

“T-That’s unlikely. I’m not Tendou-san or Saijou-san,” Junna frowned, her voice lowering rather wistfully, “I’m not like Karen or Mahiru-san either… people are more relaxed around them, while they always tense up around me. I wish they don’t have to be so reserved.”

“Is that so? I don’t get why though. I certainly don’t feel nervous talking to you.”

“Maybe it’s because you’re a traveler so you don’t have the preconception of the Hachi?”

“You should give yourself more credit. I think you’re a people person.”

“You’re better at it though, especially with the children earlier.”

“Like I said before, it’s only because of the bananas! Food helps along the process of making friends,” Nana twittered and patted her signature banana pigtails. “I suppose my special hairstyle helps too~”

“I don’t know how you got your hair to look like that. Karen wears her hair in pigtails too but… ah Karen is my friend, one of the Hachi that I usually team up with,” Junna shook her head, chuckling. She seemed rather fond of this Karen with the way her eyes softened even as she grumbled. “She is always so energetic and has a bounce in her steps so those pigtails sort of… flap like puppy ears.”

“Hmm, I can be a puppy too.” Nana pouted and pushed her pigtails upwards once more, smiling when Junna laughed at that.

“You really like bananas don’t you?”

“Yup! Not only they’re easier to find in the wild, they’re also quite nutritious. What’s your favorite fruit then?”

Junna fell silent for a moment, eyes furrowed as if taking this casual question as a serious inquiry. Nana patiently waited, even slowing down her pace for her companion.

“I don’t really have a preference but, if I have to pick something, it would be strawberries,” Junna says hesitantly, averting her eyes like a sheepish child. “I don’t really indulge myself often, since they’re rather expensive especially around this time of the year…”

“True, I like all kinds of food too but I rarely have funds to spare for the more pricey kind- urk!“ Nana was too immersed in learning more about her new friend that she inadvertently bumped into someone, right against her injured shoulder.

“Sorry about that!” The large worker struggled to regain balance with the various tools he carried, but he still managed to greet them amiably before continuing his way in a hurry.

Nana could only clutch at her shoulder and breathe deeply to suppress the burning pain.

“You’re hurt!” Junna quickly but gingerly ushered her away from the center of the road. “We must go to the clinic to get it checked out-”

“No, it’s okay, it’s not that bad,” Nana fought not to grimace and inwardly prayed that her scab did not tear.

“If you’re worried about the issue of being a foreigner, then it’s okay because I know the head physician. There’s nothing more important than making sure you get proper treatment.”

No one, especially not a medical professional, could see her wound. There would be too many questions about her accelerated healing and she certainly didn’t want Junna to think any different of her. Although, Junna’s sincere concern did make it difficult for her to lie.

“It was just a cut. It’s healing just fine - I had an encounter with… bandits back in Gallia. It’s been weeks. My shoulder is just a little sore, that’s all.”

“Oh… I thought maybe you fought against some youkais, ones that we Hachi failed to eliminate…”

“Youkai aren’t the only monsters out there,” Nana said quietly. “I just wasn’t expecting the pain. See? I’m fine.”

She carefully moved her arm, ignoring any stabs of pain, and mustered a small smile. Junna appeared unconvinced, though she seemed to be pondering over her words too.

“To my knowledge, there aren’t any bandits around these parts. Youkais have always been the main problem for us. I’ve never been out of Acacia so I don’t know what things are like out there…”

“Travelling is great, that I won’t deny. The adventures are fun and you learn so much about so many different things but still,” Nana’s smile dropped as she surveyed the busy street where people went about their daily lives with the certainty that they have a place to return to. “I’d rather have a… home, a place of belonging, y’know? Somewhere that would compel me to go back to if the trips become too much.”

“I suppose I’ve never really thought about such matters before,” Junna looked more troubled now but at least her attention wasn’t focused on the injured shoulder anymore. “I live at Seishouya, the Hachi’s headquarters, with my comrades, and my parents still kept my old room back at the Hoshimi compound. I guess I’ve taken things for granted, huh? Is that why you’re going to Albion?”

Nana had to take a moment to remind herself of her cover story. “Yes, sort of. I’ve never been there before, so maybe I’ll like it.”

“How about Acacia then? This is your first time here too.”

“Well, it’s only my first day so it’s hard to say,” Nana chuckled at Junna’s faint blush. The latter must have realized how brusque her question sounded, though Nana found such straightforwardness to be one of her charm points. It was true in a way that this was her first time here at Acacia, the Acacia that Junna was showing her. “Like I said earlier though, I’m glad I came here first. I got to meet you after all.”

“Aren’t you a flatterer,” Junna gave her glasses a habitual adjustment, her cheeks darkening.

“I’m just being honest. If I hadn’t met you, I would have left already without having enjoyed your company.”

“... I enjoy your company too.” Though a quiet mumble, Junna sounded like she meant her words and that truly warmed Nana’s heart.

Reassured that she really made a new friend, she allowed herself to relax more and chat about personal things, such as preference in clothing style and colors. She couldn’t remember the last time she talked this much about herself, about Daiba Nana, to someone who seemed just as curious to learn too.

As Junna led her around the marketplace and talked a little bit about each shop, she was making mental notes about the helpful archer instead of the surroundings. The basic layout hadn’t changed since her last visit, with commodities like rice, wheat and spice displayed on one side while handicrafts and tools were sold in more crowded formations on the other side. Junna’s love of literature and constellations were more fascinating than the stores.

She almost made a beeline for the book stall but sheepishly stopped in time to gesture at one of the cheaper bakeries. Under her recommendation, Nana managed to get a good deal on bread, cheese, a bag of flour and even some mushrooms. This was probably the best use of funds that she’s done in years. With her selling deep forest herbs and berries and Hikari selling the game she’s hunted, the two of them only managed to scrape by every day. They only invested in practical items like whetstones for their blades, rolls of fabric to mend torn clothes or to be used as blankets when it got too cold, and of course kitchenware.

Humming, Nana slung her knapsack over her good shoulder, pleased with all stuff she bought with more than enough funds to spare. Maybe she could buy one of the books that Junna spoke of. Fiction was a decent alternate reality to escape into whenever the real world got too stressful, and it was always fun to immerse herself in a good story. She knew that Hikari was an avid reader as well, from the rare times that she talked about her Albion days. Therefore, such extra purchase should be welcomed.

“What was that novel you mentioned earlier, Junna-chan? It was written by an Albion author, about a romance between two feuding families…” Nana trailed off at Junna’s silence, finally noticing just how pale the latter looked. “Let’s find a place for you to rest.”

“I’m okay…” Her wispy voice was the only warning Nana got before she swayed and toppled forward.

Nana instinctively caught Junna before she fell, though the impact jostled her injured shoulder and caused a groan to slip through her gritted teeth. Hearing that, Junna tried to pull away but she could only clutch at the taller woman’s cloak to remain standing.

“I’m sorry… I just n-need a minute…”

The sheer fatigue in her voice made Nana’s stomach churn. How could she not have noticed earlier? She should have insisted on making Junna go home to rest after her errands were completed. From the way she treated the people, it was obvious that she put them before herself and thus didn’t say anything during their shopping.

“Pardon me,” she lowered her voice firmly and wrapped one arm around Junna’s waist before the latter could react. While she wasn’t able to carry the shorter woman due to her injury and the full knapsack, she could at least support her weight as much as possible.

Awkwardly and slowly, the pair made their way towards an open area that had some benches and tables, most likely for customers of a nearby teashop. A few elderly men, upon noticing their approach, hastily vacated their spot for them.

“Thank you kindly.” Nana smiled as they fussed over the mortified Hachi, saying that they were about to leave anyway and she needed the seat more than they did, after everything she had done for Acacia.

“I can’t believe this… that elders would put me before them…” Junna sighed shakily, taking off her glasses to briefly rub her eyes. “Again, I’m sorry about-”

“That’s not what I want to hear, Junna-chan, and I should be the one to apologize. I didn’t realize just how tired you are.”

“No, that’s only because I purified the mizuchi…”

Ki depletion. That makes sense. So, she can purify youkais-? “We will take a break here, and then I’ll escort you back home, okay? You’ve done enough today,” Nana peered at the visibly dizzy woman, uncertain what she could do to help. After a moment’s hesitation, she unclasped her cloak and took off her coat to drape it around Junna’s slouched form. “I’ll be right back.”

“H-huh-? Where are you-”

Without giving her a chance to protest, Nana went to order a pot of hot tea. A nearby vendor caught her attention too, and she impulsively purchased the box of strawberries after a brief inner apology to Hikari about splurging their funds. Already, she could picture Junna’s visage lighting up with delight and that was enough of a reason. Truth be told, she felt self-conscious about this impromptu gift, considering they just became friends, but she couldn’t think of a better way to treat the hardworking Hachi.

Her money pouch was practically weightless by the time she was ready to return to the table. Junna looked rather small, covered by her large coat, and she was resting her chin on her interlaced fingers, valiantly trying not to doze off.

Before Nana could call out to her though, two women approached Junna and were greeted with a sheepish smile. The pigtailed brunette was gesturing animatedly while the dark-haired one was speaking in a quiet tone, both of them clearly concerned.

“We went all over the place looking for you, Junjun! Futaba-chan said she hasn’t seen you since this morning!”

“You should have gone back to Seishouya long ago. You must be terribly tired.”

“I can still-”

“Non non da yo, Junjun! You always tell us to take care of ourselves, so it’s Mahiru-chan and my turn to fuss over you now!”

“Karen-chan is right, Junna-chan. Come on, you can lean on us.”

Junna’s eyes were previously clouded in exhaustion but now there was a spark in them that could only be caused by the presence of her two friends. Even though Nana was only several paces away, Junna seemed so far out of reach then.

The pang of solitude reminded her that the Hachi had her own world and she was just a mere acquaintance. Therefore, she should act like one instead of overthinking things. She cleared her throat awkwardly, almost reluctant to intrude but still she would like Junna to enjoy the snacks she bought even if she wouldn’t be around to witness it.

“Here you go, something to give you a bit of energy!”

“Nana-?” The bespectacled woman blinked at the box of strawberries and pot of tea that she carefully placed on the table.

“Seems like your friends have found you, Junna-chan. Now that you’re in good hands, I shall take my leave.” She politely nodded at the two women, who looked surprised at their exchange. “Thanks for showing me around. I really appreciate it.”

“W-wait!” Junna struggled to stand up and might have stumbled if it weren’t for the pigtailed brunette’s reflex. “Your coat, thanks, um, for all of this… I-I’d like to repay you somehow. Oh, how about tomorrow? I’ll be functioning better by then, I hope, and besides there’s the upcoming festival that I’d like to tell you more about so, uh, if you’re fine with staying around Acacia a while longer?”

Nana was too taken aback by the invitation that she barely noticed Junna rambling and her friends exchanging significant looks.

“Of course. I’d love to spend more time here, with you,” she tried to keep her voice steady, accepting her coat back. “Please rest well, Junna-chan. I’ll… see you tomorrow then?”

“Yes, at noon… I’ll be here.”

Not trusting herself to speak properly, Nana could only nod at that and hurried away before her composure cracked. That fleeting bout of loneliness was washed away by the anticipation of seeing her new friend again tomorrow. Though emotional, the overall positive sensation was euphoric to the point that she felt as if she was skipping on clouds.

She considered her ability to mask her true feelings quite honed over the years but Junna easily pierced through her walls, like arrows even. That wasn’t a bad thing though, for a weight was lifted off her chest and this was definitely one of the most interesting days she’s had for a long time.

Nevermind having to hide her true identity. Nevermind that deadly duel against the strongest of the Hachi. Nevermind the countless problems that lurked in the future.

Instead of trudging through each day and simply surviving to maintain the facade of a peaceful life, she had something to look forward to at last.

I’ll be more observant tomorrow, Junna-chan. I’ll make sure you have a good time accompanying me!

A spike of angry ki caused her to tense for a moment but she dropped her guard slightly upon recognizing who was waiting for her by the edge of the town. She gulped nervously at Hikari’s icy glare and wondered if it was too late to beg for forgiveness. She did promise to would return before she woke up, with freshly baked treats too.

Not to mention I barely have any funds left… yikes.

“It is late afternoon.”

Nana tried to smile to diffuse the tension. “I’m sorry, I got caught up but uh, I promise I’ll whip up a delicious meal as soon as we get home… you must be really hungry.”

“I was.”

It was then that Nana noticed her companion wasn’t as upset as expected. In fact, having known the emotionless woman for years, she would even dare say Hikari looked… pleased? And what was the small white item clipped to her belt? Some sort of bear plushie?

“What is that-”

“Don’t ask.” Hikari hastily covered it with her cloak and stormed away. “Hurry up. Just because I got some stew earlier doesn’t mean I’m not hungry.”

“But really, where did you get-”

“Quiet. I do not want to hear another word from you.”

Grinning, Nana easily caught up to the fuming woman with a few strides but wisely remained silent as told. It was so rare that Hikari was in a good mood and she’d like to relish that for as long as she could. Their familiar bickering allowed her to calm down and regain control over her emotions at least.

It seemed like she wasn’t the only one who had a great time in town today. Once they had settled down and Hikari was more complacent with a filled stomach, Nana vowed to get the details.

She would really love for this quotidienne sort of life to become the norm.

#athyra writes #ghikiJ #To the Stars RSAU #tts_AU #junanana #yeah we failed at keeping it under 10k lololol #I was told this is the equivalent of 7-8 chapters worth of words on AO3 #>_>;;; oops #ahem yes more intro(?) ish chap but #something seems to be starting #it was fun writing #tho kinda mabushii #had to wear sunglasses #athyra is making pointless tags as usual #yes Hikari got Mr. White... from someone #futaba is such good bro DX #and yes Junna is very fond of Karen #hmm yeah more fun next chap for sure #ghikiJ is already having hella fun with it

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bb-ma-2 · 3 years

Text

industry feedback

Sabrina Cotugno responded, but as our correspondence occurred over a period of a week and several days, I didn't post all the feedback I received immediately. I believe we're done for now though, so here's what they've said:

March 23: "—Okay here’s some notes!! I’m feeling pretty tired right now so hopefully this makes sense!! —I’m interested to see where this story goes! The characters all have nice clear personalities, Agatha in particular is super charming. The glitch is an intriguing concept as well. —You introduce the setting twice—first in the initial establishing shots, and then through the main character’s eyes after she wakes up. I’d cut the first establishing shots and, instead, open nice and close on our main character. Only when she looks out at her surroundings do you cut wide to reveal the location. This way the audience is more in the character’s head, since we’re discovering the wider world at the same time she is. —On pacing: I’m working on the assumption that this is the beginning of the story. Disregard this is we’ve had previous time to get to know the characters and rules of the world…. But IF this is the beginning: You’re introducing a lot of unusual and interesting ideas that need a bit more visual explanation. I.E.: —What are the flowers growing out of the main character’s eye? What’s going on there? Is this a new thing for her? I admit at first I just thought some flowers had fallen onto her face, and it took me a while to realize they were a consistent part of her design. We see her interacting with them and trying to pull them out a few shots later, but that interaction is interrupted by: her reaction to the world around her and her reaction to the person with the bucket. Because it’s interrupted by that stuff, it’s difficult to clearly establish this important part of her design. I’d step it out like: —She notices the flowers. What the fuck?! She sits up, tugs at the flowers. They won’t budge. She gives up. THEN…. —She looks out and notices her surroundings. Big wide shot! Reveal the world! —Then, we get a nice close-up on her to see her clear reaction to her surroundings. —And then, in theory, she notices the bucket person? Honestly, I’m not sure if we need this character here? We meet them later anyway, and I’m not sure what they’re doing out in the wilderness. It took me a while to realize that the bucket character and Agatha were two separate characters. —Agatha throwing her skull as protection is really fun—is there a way to introduce the fact that she can detach her skull earlier? Maybe have her play around with her skull head in her introductory scene? —Here’s the most common storyboard note I give, it’s: switch up your medium shots. You’ve got several minutes near the end of JUST medium shots, which can feel repetitive and jump-cutty if used too frequently. Look for shots that are more about broad physical motion and turn them into wide shots. Look for shots that are more focused on facial acting and turn them into close-ups. —For your over-the-shoulder shots: as a general rule you don’t want the focus of the shot to be the over-the-shoulder character—because they’re turned away from camera, we can’t really see them properly. For instance, when the main character (Exa?) introduces herself, she states her name while facing away from us in an over-the-shoulder—which feels odd because she should be the focus of that shot. I’d swap that shot out for an over-the-shoulder from over Agatha’s shoulder or a single shot on Exa. oops, I meant "Disregard this IF we’ve had previous time to get to know the characters and rules of the world…."

I think I'm a little confused as to the purpose of this animatic? You mention that it's going to be a pilot eventually, but I think we might have a different definition of 'pilot'.....

Questions on that are: 1) Is this the entire animatic or part of a larger animatic that I'm not seeing? 2) What is the purpose of this project? I understand that it's for your school program, but what is the goal here? Is this basically going to be a thesis film? Is it a portfolio piece to apply to future jobs? Is it something you're planning on pitching to a studio? (If the latter, people don't often pitch shows to studios using animatics--they're way too labor intensive! and usually you'd want to go through several rounds of studio notes before committing to a pilot script/board) 3) What kind of program are you in? Is it an animation program or another kind of graduate program? I ask because you seem not entirely confident in your professors' notes, and that may be a good instinct--animation is a really niche industry and there aren't many teachers who are really qualified to teach in this area er, or rather.... I don't want to say 'they're not qualified' but they may not have the specific expertise to really guide you to to get the specific skills/portfolio you need

April 6: --So, I would definitely encourage you to do a bit more research on animated pilots! Pilots are generally one full episode length--either the first episode or an early episode (say episode 4). --The job of a pilot is to convince the studio that they should greenlight your show. That's what sets it apart from a "teaser"--generally speaking, you want to clearly establish all the major elements of a show in that first episode. the Steven Universe pilot is a great example ("this is a show about a human boy with three superpowered moms. Here are their powers. Here's how they work. There's going to be music. There's going to be action scenes.") The pilot of Hannibal is also a great pilot (it takes time to clearly establish all the main characters, their dynamics, and the major setpieces of the show--the big, artsy murders, Will's "This is my design" schtick, Will and Hannibal's manipulative therapy sessions) --Ah hah, actually shoot, reading through your previous answer, it looks like you already understood that a pilot=selling tool. But to expand on that: you want to avoid teasing. Instead, you should be revealing and dramatizing. A lot of pilots will END on a teaser that hints at the overall season arc, but ONLY after spending the majority of its runtime answering the basic questions of "What is this story? Who are these characters? How am I going to tell this story? What sets it apart from other stories in this genre?" (Again, to use Hannibal as an example, taking full scenes to demonstrate how Will's "superpower" works, how the murders are more like art pieces than your typical grisly CSI murder, how Hannibal is depicted as more of an ally and friend to Will than an adversary..... these are all things that clearly explain, "This is what an average episode of this show will look like. These are the things that set it apart from other crime procedurals.") Right now in your pilot you're teasing a LOT about the basic premise of the story but have not revealing a lot of answers. Again, you can have one or two things teased at the end, but not at the expense of basic clarity--and you have to reveal enough of the story/world/characters that the audience could feasibly start guessing what the answers to those teasers could be. --I may have mentioned this before, but generally speaking individual creators don't make pilots on their own--they're much too expensive. Generally, you make a 'story bible' with art and writing that explains the basic premise of the show, the characters, and world, and then pitch it to studios. If the studio likes it, they will option the project and then give you the budget and resources to make the pilot at the studio --An exception would be something like Hazbin Hotel, but that basically required the creator to create her own studio, funded by a very successful Patreon, with her own full crew of animators working under her. Honestly I would only recommend this route if you are very business savvy and would also be OK producing the ENTIRE show independent of a studio (therefore rendering a pilot pointless) --So overall, I would recommend using this project as A) a personal project B) a portfolio to sell YOUR SKILLS as an artist for future industry jobs--storyboarding skills, 2D animation skills, design skills. However, I would say that if you want to use this piece as part of a storyboarding portfolio, I would recommend going back in and cleaning it up to industry standards--referencing currently working industry board artists for that level of clean (i.e. Steven Universe, Amphibia, Rise of the TMNT, etc.). The goal you want to reach is for the person reviewing your board to understand the story clearly without having to read the dialogue or ask follow-up questions. Hope that helps!!

I then had some questions to wrap up,

"1) Do you think that, as it is, it holds up better as a mock series teaser then? Basically stop trying to call it a pilot and own the vagueness/mystery of it. In other words, if it's not trying to be a pilot, do you think it works/is engaging?

2) I have a written 'project proposal' that I have to arrange with my professors, instead of trying to sell this as an "animatic for a pilot", would you recommend I change it to "story bible with animatic"? That seems like the right path to me at this point but I thought I'd ask

3) And finally... Would it be okay if I sent you a sort of update in a few months (june-july ish) to get your feedback again? By that point I'm hoping to have redrawn the characters (so they actually look like their references) and implemented the advice you've given me for the animatic. It should be the last time as my school year finishes in September, but I I completely understand if you'd rather not. like I said earlier I know you're very busy"

To which she responded,

1) Hmm, this is a tricky question for me.... I would say my primary issue goes back to the fact that it doesn't feel like a complete statement. I feel the text of the animatic would need to answer a few more questions before it could properly "tease" an audience into wanting to see more. I'd say your meat-and-potatoes questions are: What does your main character want/need? How is she going to achieve it? What kind of obstacles is she likely to face? What are her flaws as a character? How do they hold her back? How will the world of the story force her to confront and grow from those flaws?

And for this story in particular, I'd want to reveal enough of the world that I could begin to guess at things like: What is the glitch? What kind of world is this? Um, this is a little trickier to explain, but since this story exists in a fantasy world and there are SO many mysteries--what is the glitch? who is the main character? Is she from this world or another world? Is this world real or does the glitch indicate that it's a video game or something? Incidentally, these are the kinds of questions I commonly ask students who are working on their own original stories. I find those students often have pretty clear answers when I ask them, at which point I say, "Cool. Now put the answers in the board." I think there's a culture online of "don't be obvious" or "don't spoil the audience"--I would say, when trying to sell a new story to an audience, don't worry about that kind of thing. Be obvious. Keep in mind that many animated shows are only 11 minutes long, and in the age of streaming, most showrunners only have one episode to convince an audience to watch THEIR show and not the dozens of other shows that aired the same month, or thousands of other shows they could access via streaming. Don't worry about giving too much away! Be stupid and obvious!

However, I am aware that as a student you only have so much time until your deadline--if you're in a phase where you should be finished with pre-production and starting production, I would not recommend making major changes to your story--that will only cause you to rush through your work later. If you need to finish the animatic soon and start on animation, I would recommend ignoring my advice above and focus on producing the animatic you have currently at the highest quality you can. Even if it doesn't necessarily work as a selling tool for the story--which is perfectly fine, I would strongly recommend pitching to studios right after graduating anyway (studios are complicated and predatory to young artists, and I recommend taking several years to work within the studio system to understand how it works from the inside before trying to be a showrunner)--it can still work as a portfolio presentation piece if you take your time on your animation and go back and polish this board 2) Story bible with animatic should work! 3) Yeah, feel free to send an updated version! Though again I am wary of deadlines and am a little skeptical that giving feedback so close to your deadline would be SUPER helpful--I may only be able to give 'polish' notes at that point that you would still be able to implement By “text of the animatic” I just mean that when I flip through the storyboard, I can understand the answers clearly without having to ask questions or read about it in the action notes. Personally I don’t recommend using board notes/action notes/descriptions at all. The only time I’ve used those are when working with an overseas outsourced contract animation studio. The function of action notes are essentially insurance—the board should read clearly on its own, but if an overseas studio misinterprets the board, you can point to the action notes and say, “you should have done what was in the action notes. Because this was a mistake on your end, you have to fix it on your own time (rather than requesting additional money to pay for a mistake on our end)”. In any other case, action notes are redundant and should be taken out of any portfolio or presentation

It was overall incredibly helpful and enlightening, especially with what pilots are and how they work. Sabrina's really helped me figure out what I thought I wanted to do, and what I actually want to do. I'll elaborate on this a bit more in my essay and how I applied it to my animatic directly.

#00

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ruffsficstuffplace · 7 years

Text

And The AWRD Goes To... (Part 14)

“There are those who say you must simply accept what you are given and make the best of it, but we here at Atlas reject that notion,” one of the speakers at Atlas Primary Combat Academy had said—Diana couldn’t remember who, there had been so many of them. “When faced with adversity, with grim prospects, with danger that threatens our very existence, be it from without or from within,…

“We survive. We adapt. We rise.

“Because there are those who say we should all be content, being at the mercy of Fate and the Gods, but here at Atlas we leave nothing to chance, we leave behind outdated and ignorant ideas and beliefs, we leave behind the boundaries of what everyone else once thought was possible.

“Here at Atlas, we shape our destiny with our own hands.”

Diana supposed that they would have been so deeply disappointed in her for simply leaving Nick’s office like that, for not letting Blake have her turn before she marched straight back in, retracted her earlier agreement, and put forth a new, much more powerful and convincing argument, going back and forth with Nick for as long as she needed to till he conceded the leadership position to her.

But then again, she supposed they would have been even more deeply disappointed to learn that she had enrolled in Haven, not Atlas Academy.

Diana had made her decision, however, and she was just going to have to live with it—or more immediately, live with her new teammates, in their new dorm. She stood in front of the door, her scroll in one hand, and the power core in the other, staring at the well-worn and ancient wood, the bronze plaque with their room number.

“Hey there, Diana!” Amanda called out. “Lock yourself out of your room on your first night?”

Diana turned to her, her expression turning concerned as she saw Yang and Jaune with Amanda. The two ladies had suspect smiles on their faces, while trapped in-between with both his arms locked with his teammates, Jaune had the expression of a man being carried off to the firing squad, a rabid pack of Grimm waiting to tear him to pieces, or perhaps even disapproving in-laws.

“… No, no I did not, actually...” Diana replied. “I’m just… hesitant to enter.”

“Well, we’re off to go have some New Team Bonding down in the lower levels, and since Sucy’s not allowed out, you want to be our fourth instead?” Yang asked.

Jaune looked at her with the shocked but delighted face of a man who had just been hit with a small ray of hope in what was once pitch-black darkness.

As Diana looked at him and considered his predicament, Beatrix’s words came echoing in her head: “Sometimes, you will see someone in great and dire need, someone you will want to drop everything and rush to aid, but you must stop yourself, for they are beyond saving, and any attempt at rescue will only doom yourself along with them.”

“… I appreciate the offer, but no thank you,” Diana said.

You could almost hear the shattering sound of Jaune’s hopes getting crushed.

“Eh, suit yourself!” Amanda said. “Guess we’ll just find a fourth once we’re there anyway!”

Jaune looked at Diana as he was carried past her, the face of a man who did not blame you, but dearly wished you had acted anyway. Diana mouthed “I’m sorry,” before she swiped her scroll over the lock, stepped in through the door, and closed it behind her.

She stopped as she noticed Ruby and Akko sitting in the center of the still undecorated room, the latter holding the Shiny Rod in her hands and staring at it with such incredible intensity, as if she were trying to unearth its deepest, most guarded secrets...

“Umeboshi!” Akko cried. “It’s pickled plums, isn’t it?!”

Ruby shook her head. “Nope! Strawberries.”

Akko frowned. “Are you sure it’s not pickled plums?”

“Nope, definitely strawberries.”

Akko groaned as she laid the Shiny Rod across her lap, Ruby took out her scroll and started taking notes with her “quill” stylus.

“What in the world are you two doing…?” Diana asked.

“Oh, Diana, hi!” Akko said, waving and smiling. “Ruby here was just trying to teach me how to talk with the Shiny Rod, like she can!”

“It’s a really good way to both teach her the skill, improve my own understanding of it, and try to figure out the exact mechanics of its communication!” Ruby added as she wrote. “Well, in a very subjective, topical sort of way, but it’s better than nothing, and you don’t need to fully understand the mechanics of something to apply it.”

Diana nodded slowly. “And how’s progress…?”

“Terrible!” Ruby chirped. “The Shiny Rod seems to be incapable of the abstraction and symbolism involved in written and spoken language, and can’t comprehend words or even just single letters when we tried to go through the alphabet. Now we’re just testing for images, ideas, and emotions associated with certain objects, but it seems something’s lost in translation within the Shiny Rod, as it’s accurately replicating the signals and sensations it gave me but Akko is misinterpreting them, it’s heavily reliant on the mind and knowledge of its current wielder in its attempts to communicate, or some combination of one or more of those theories!

“I think this mistranslation happened because I was banking on strong emotional associations—strawberries are my absolute favourite—and it seems that it either brought up pickled plums for Akko because that’s her favourite food; its attempts at replicating the concept of small, reddish fruits frequently had for snacks here in Mistral was misinterpreted by Akko as pickled plums; it’s incapable of understand the concept of sweet vs salty and sour for its own lack of taste buds, or again, a combination of any of the above!

“It’s all really confusing, and hard to make sense of.”

“It’s okay to tune out when Ruby’s explaining so your head doesn’t hurt, by the way!” Akko said. “She doesn’t mind.”

Diana nodded again. “Thank you for the advice… I can’t help but notice you still seem to be in great spirits, however.”

Ruby chuckled. “Why wouldn’t I be? We’re potentially breaking new ground in weapons engineering here! Or is this more a subset of archaeology considering that the Shiny Rod is a pre-War artifact? Or is this both, as this could potentially be an artifact reforged or modified using modern day equipment and techniques, seeing as Shiny Chariot wasn’t exactly shy in using a LOT of tech for her shows, before she stopped performing?” she looked deep in thought, before she she started scribbling and writing in her scroll, the world around her clearly completely tuned out.

“It’s a real shame that she took that break from performing,” Akko said as she held up the Shiny Rod. “Maybe we could have asked her about it...”

Diana sighed softly, her expression falling. “Akko, I understand that your love for Shiny Chariot is probably beyond words, but for the sake of having a peaceful four years together as a team, I ask you to please keep the fawning and the adoration to a minimum, at least when I’m around,” she said as she headed to their shared closet, where Weiss’ luggage and Diana’s own bags were waiting.

Akko blinked. “You don’t like Shiny Chariot?” she asked, putting a hand on the floor as she turned look at Diana.

“No, no I do not!” Diana said as she slid open their closet, noted the unclaimed shelves and overall space. “Fair warning: keep pressing the subject at your own peril,” she said as she laid out one of her two suitcases, the “click-click” of the locks audible for how silent it had suddenly gotten.

Ruby put her scroll and quill down on the side. “Hey Akko, you want try talking to the Shiny Rod again?” she asked, oblivious. “I’ve got a new idea that might...” she trailed off as she watched Akko suddenly get up, walk over to the closet, and sit beside Diana.

Diana noticed her, slowly put her neatly folded clothes back in her suitcase, closed the lid, before she turned to her, her expression serious.

“Why don’t you like Shiny Chariot?” Akko asked.

“Many reasons, but chief among them is her irreverence, turning the sacred institution of Huntsmen into a gimmick for entertainment. About the only festivity that should be tolerated are the regional tournaments and the Vytal Festival, and aside from the fact that they’re only once or twice a year, they serve the purposes of fostering unity among the kingdom’s peoples, and driving huntsmen and huntresses to always better themselves and never rest on their laurels.

“In other words, they have a practical, useful purposes.”

(“Girls…?” Ruby asked weakly, watching them with a worried frown.)

“Oh, and making people happy isn’t something worth doing in your eyes?!” Akko cried as she threw her arms up into the air. “Grimm are literally attracted to despair and misery—Shiny Chariot was giving people hope and happiness, how is that a bad thing?!”

“It’s not! I would have enrolled in Atlas if I thought the arts and culture were mere frivolities, and the fact that I’m here in Haven arguing with you already proves my point! What I’m trying to say, is that there are things and acts you may commodify and make circuses out of all you like, but your being a huntress is not one of them!”

(“Girls!” Ruby called out, nervously clutching her cape. “Akko…? Diana…?”)

“Shiny Chariot was the reason I became a huntress, too!” Akko cried. “She’s why I enrolled in combat school, suffered through training and the curriculum no matter how hard it got or how much it sucked, why I fight as hard as I do and keep on going in spite of what happens!”

“Oh, and are you going to follow exactly in her footsteps, too?” Diana snapped. “Graduate, and instead of slaying Grimm and helping people out in there in the real world, you’re going to spend your days destroying mechanical constructs for the delight of people safely holed up in the major cities?!”

“Why was is it so wrong that she did what she did?!” Akko screeched, tearing up now.

“I could explain it to you, but seeing as you obviously will just be arguing with me until one or the both of us die, why don’t you ask the Shiny Rod? Did it EVER occur to you that the reason you’re holding it right now, why we found it deep inside that cave out in the Celestial Hills of all places might be related to why exactly she mysteriously dropped off the face of Remnant a decade ago?!”

Akko looked like she had been just been slapped across the face, her tears beginning to trickle down her cheeks.

Diana saw, and looked horrified, before she turned away, got up and made for the door in a hurry. “… I’m leaving now…” she muttered, barely audible.

Diana slammed the door on her way out for her rush; the sound echoed in the room for a few moments, no other noise but Akko’s sobbing.

Then, she turned to the Shiny Rod. “… Shiny Rod…?” she asked as she held it up. “Why were you in that cave, and why am I holding you instead of Chariot…? What happened a decade ago, before she stopped performing…?”

Nothing.

“Ruby…?” Akko asked. “Can you… can you ask the Shiny Rod for me…?”

Ruby hesitated. “Uh… I can try! But, uh… are you sure you really want to know…?”

Akko opened her mouth, closed it, before she sniffed, and looked down. “… I… I think…” she frowned, and shook her head. “No: I need to know.” She looked up at Ruby with a determined expression, thrust the Shiny Rod out to her. “Ruby, ask it for me.” She sniffed, still crying. “Please.”

Ruby hesitated for a moment, before she took it, held it in her hands as she closed her eyes. “Shiny Rod, why are you here with us right now?” she asked quietly. “Why did we find you in that cave? And what happened between you and Shiny Chariot so many years ago, why did she stop performing, and why did she disappear…?”

Akko waited, until the silence kept on dragging on, and her fidgeting grew worse and worse, until she could finally take no more. “Well?!” she asked frantically.

Ruby opened her eyes. “Two theories: one, the Shiny Rod is trying to communicate with me right now in a new, incredibly complex and unfamiliar way unlike all my earlier attempts at talking to it, because of how much more information it has to transmit to me. Or two, it’s giving me the silent treatment.”

“What kind of silent treatment?”

“The ‘You’re better off not asking ever again and just forgetting the question entirely’ sort of silent treatment, I think—kind of like when I asked Yang what an Inappropriate Steamboat was!”

Akko groaned.

“Want to go back to trying to figure out basic communication again…?” Ruby offered.

“No...” Akko muttered.

“Do you need a hug?”

“Yes.”

The Haven Library.

Diana’s mother, and indeed, Beatrix herself just couldn’t say enough good things about it, one of the largest, most extensive, and diverse collections of almost every piece of culture in Remnant, stretching from ancient times to the present day.

Possibly even more than that, however, they loved the atmosphere: hard wood floors and walls, delicate carvings in the moulding and the bases of the columns, antique gas lamps providing a warm light that was perfect for reading and relaxing; luxurious rugs, antique wooden chairs with overstuffed cushions, lovingly woven fabrics providing hammocks or hanging perches; and of course, pieces of art on display everywhere, portraits and landscapes, sculptures, installations, relics, and what have you, modern or ancient, all of them protected by the expansive and extensive security system.

“There’s just something so comforting about being around so many old books and things, so lovingly taken care of, most of them still allowed to be touched and enjoyed by just about anyone,” Bernadette said.

Diana could have pulled out any number of those texts students were allowed access to; continued to catch up on the lessons she was missing; or even just wandered and gotten lost in the stacks, see where the winding and branching paths and stairs took her, as her mother loved to do.

But still, she just could not get the Shiny Rod out of her head.

Why did Shiny Chariot wield such an immense, great power mostly just for shows and entertaining people…? Why was its manifestation with Akko so different? Why was it so picky with its wielders, choosing her and Ruby alone? Why was it so violent and clear with its rejecting people it deemed unfit? Why be able to “talk” with just Ruby, and not Akko, even if the latter had possession of it the most? Why the vehemence that it not be taken to the Forge and examined properly? Why did Shiny Chariot lose it, and how did it find its way to that cave?

And most importantly of all: just what was it, why was it here, and why was it letting Akko and Ruby use it…?

Diana frowned, found the nearest information terminal—one of the few modern amenities allowed to “blemish” the ambiance—and started searching for the “Shiny Rod.” As she scrolled and scrolled, finding only news pieces about Shiny Chariot, declassified school records back when she was just Chariot du Nord, and not much else, she sighed, and started changed her search term:

“Ancient Weapons and Legends.”

It was unscientific, like Ruby had said, but it seemed Diana’s only real lead, too. And really, if myths and ancient texts alluding to direct dust infusion and ancient medical prostheses lead to her mother’s greatest work, it wasn’t entirely without merit.

She wasn’t surprised to see students at the appropriate section—many of the professors were infamous for insisting their students take advantage of Haven’s library, CCT research only for checking if the information was outdated or corrected. She was, however, surprised to find one of the professors there, several books and scrolls already stacked in her arms, the look on her face telling that she wasn’t particularly looking forward to reading them.

“Professor Ursula, may I help you with that?” Diana asked as she came over, already reaching out.

Ursula smiled. “Oh, that will be much appreciated, Cavendish, thank you!” she said as she unloaded off some of the lighter tomes. “May I ask if you’re here for school, or just pleasure?”

“Neither, actually,” Diana replied as she took them into her hands. “I’m here to see if I can’t find anything about the Shiny Rod.”

Ursula’s eyes widened, before she chuckled. “Ah, what a coincidence—that’s what I’m here for, too.”

“Would you mind if I join you in your research, then?” Diana asked as she gazed at the shelves and all the leather-bound books, paper scrolls, and the odd stone tablet.

“The offer is appreciated, but you really don’t need to,” Ursula replied cheerfully. “Dr. Schnee insists that I be as thorough as possible with any leads that may be even remotely connected to it, which makes me thankful the cafe here is open 24/7...” she muttered as she pulled out a new book, began to add it to her stack.

“Oh, but Professor Ursula, I insist,” Diana said as took it from her, took note of the title and the cover. “I feel like I won’t be able to get any sleep until I get at least some inkling of understanding about the Shiny Rod—perhaps even just what it’s really called, as I doubt that it’s true name...”

Professor Ursula chuckled. “Well, alright—I wouldn’t want to contribute to my student’s sleep deprivation; you’re already going to have quite a lot of that from all your reading assignments alone.”

“I’m well aware of, and prepared for that,” Diana replied.

They spent a while collecting more books and scrolls, until Professor Ursula thought that they’d had enough: two stacks of assorted texts that tested their respective upper body strengths.

“Still sure you want to help?” Ursula asked. “I won’t mind if you change your mind, and just help me bring all these books to a table.”

“I’m still sure, thank you for asking,” Diana said, feeling a bit of sweat begin form on her brow.

“Do you want to go call the rest of your team to help?” Ursula asked as they walked. “I’m sure Akko and Ruby would be interested.”

Diana frowned, hesitating for a moment before she replied, “No, no thank you; they’re busy with their own research with the Shiny Rod, actually. Ruby’s trying to teach Akko how to talk with it, you see.”

Ursula noticed. “I wish them luck in that endeavour, then.”

They walked and scanned the tables in silence for a few moments, before Diana broke it. “Professor Ursula, may I ask you a question about Shiny Chariot and the Shiny Rod?”

“Go on ahead,” Ursula replied as she slowed down.

“It’s just… I’ve been wondering, Akko managed to demonstrate the sheer extent of its power… why do you think Shiny Chariot used it mostly for shows, instead of keeping to the field, fighting Grimm? It seems the latter was a much better purpose for such a weapon, especially since it’s picky but not entirely exclusive with its wielders.”

Ursula got a thoughtful look. “I don’t know, Diana. Clearly there’s a lot we don’t know about the Shiny Rod… maybe its power was incredibly limited, it was more Akko’s power than it back in the Celestial Hills, or some other reason we can only guess at.

“Here’s to hoping our research turns something up!” she said as she finally found a suitably empty table, set all her books down.

Diana followed suit. “Here’s to hoping...” she muttered as she rubbed her arms, before they both got straight to work.

#little witch academia #rwby #and the awrd goes to #fanfic #dianakko #white rose #au

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alexllove-blog · 5 years

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It’s not an obvious place to come across a piece of art. At an abandoned school, I climb a staircase past ivy-covered storage rooms to a raised outdoor space – and the swimming pool comes into scene-stealing view. The pool, faded starting blocks still in place, has not been used by schoolchildren for over a decade, yet it’s currently brimming with life. Hundreds of wooden boxes line its edges, each neatly packed with fresh flowers and plants, a sense of nurturing reflected in rainbow shades of pink, yellow and purple with hints of rosemary. But most eye-catching of all is the surface of the pool: smooth and glassy in hues of green, with seamless reflections of the forests, rice fields and skies that surround it, creating the sensation of stepping into a vast theatrical tableau of Japanese rural life.

One of Yayoi Kusama’s pumpkins on Naoshima

Forget the minimalist white walls of a modern art gallery in some cosmopolitan hub. This artwork – by Italian Giacomo Zaganelli – is situated somewhere entirely different: Shodoshima, a remote island surrounded by the calm waters of the Seto Inland Sea in Japan. It is just one of 213 artworks scattered across the rice fields, ports, old houses, beaches and vacant schools of 12 islands and two ports for this year’s Setouchi Triennale – the fourth edition since its 2010 launch. The concept, according to its founders, is simple: the event taps into the power of contemporary art to revitalise rural communities hit hard, like so many across Japan, by depopulation, tumbling birth rates and economic decline.

And it’s not just socially impactful – it’s also beautiful. The Seto Inland Sea, cocooned by three of Japan’s four main islands, is the perfect backdrop for art, a symphony of blues and whites – the beauty of the light is impossible to ignore – with the silhouettes of 3,000 small peaked islands hovering on the horizon.

A street on Shodoshima

Art was added to this alluring locale in more recent years: Naoshima – also known as the “art island” – led the way in the 1980s, when Soichiro Fukutake, a Japanese billionaire and philanthropist art collector, began transforming the island into a haven of contemporary art, fuelled by the belief that art is better appreciated in natural settings than in cities. Today, it’s home to a string of Tadao Ando-designed museums and outdoor installations by world-class artists, with Yayoi Kusama’s oversized pumpkins greeting visitors arriving at the port. The launch of the Setouchi Triennale in 2010 further spurred the spread of art across the entire region with increasingly tangible results: from an increase in visitors to a surge in its population.

“Rural art festivals involve artists confronting real problems in society”

I’m visiting the region ahead of the festival’s official opening, and I first stop on Shodoshima, an island that – reflecting the region’s reputation as the Mediterranean of Japan – is famous for its olives. After a short drive inland, I find the swimming pool artwork Fluire. Florentine artist Zaganelli pauses from putting the finishing touches to the flower-filled boxes, once used to store local noodles: “In winter, the landscape was yellow, but now it’s so green. Everything is continually changing, but this swimming pool is always here,” he says. “We don’t speak the same language, but locals immediately understood what we were doing. Everyone helped and tomorrow we will cook Italian food – risotto, tiramisu – for everyone to say thank you.”

Fluire on Shodoshima

Venturing deeper into Shodoshima, I stop in a peaceful green valley filled with tiered rice fields, fruit trees and birdsong – as well as a towering fairytale-style structure handmade from 4,000 pieces of bamboo. It’s by Taiwanese artist Wang Wen-Chih and is his fourth iteration, a new design rebuilt every three years ever since the festival began. Stepping over a tiny knee-high gate with a slightly pointless padlock, I wander along a narrow bamboo pathway that leads into a vast central space, sunlight filtering peacefully through the towering ceiling, before I hear a booming “No shoes!” Quickly slipping off my trainers, I see that the voice belongs to Heiji Iguchi, a tough-looking 69-year-old local, a retired engineer and the artwork’s unofficial gate master.

Softening as he talks about his friendship with the artist, he says, “None of us knew anything about art at first. We were so surprised. Everybody said, ‘What is art?’” Laughing at the memory while proudly looking around, he adds, “I still don’t know what art is. But now at least I understand how the artist makes this structure.”

Bamboo artwork by Wang Wen-Chih

A quick lunch follows at nearby café Komame Shokudo, which offers jaw-dropping views across the valley and smiling female staff in tenugui headscarves (one made from a Yayoi Kusama pumpkin fabric, hinting at the region’s artistic pedigree). After enjoying a meal of rice balls and cold sesame somen noodles, it’s time to head to Teshima, just a short hop away by boat.

Despite its diminutive dimensions – Teshima is about 10 times smaller than Shodoshima – the island has become a textbook example of how art, architecture and nature can combine to sublime effect. Upon my arrival, it’s clear that art has become a comfortable part of daily life, as the elderly lady running the local bike rental store demonstrates by chatting easily about “the Boltanski down the road” (in reference to Christian Boltanski’s Les Archives du Coeur installation in a wooden house on a nearby beach) and urges me not to miss visiting Teshima Art Museum. The latter may not be new, but is a timeless attraction. And so, after cycling up and down hills, I stop by to gaze at the clouds while lying down in the soft-edged white space that takes inspiration from a drop of water.

UMITOTA by Akira Minagawa and Shinichiro Ogata on Teshima

Not far from the museum, a new addition for the current festival run is UMITOTA – a small house renovated by two leading Japanese designers Akira Minagawa and Shinichiro Ogata. The home – open for day visits and overnight stays – is likely to become a haven for Japanese design lovers. It has a façade of thousands of sparkling abalone shells; a tunnel-like wooden corridor at the entrance, which perfectly frames sea views when I glance back over my shoulder; a minimalist living area with warm chartreuse yellow textiles and an abstract wooden light sculpture by Morison Kobayashi; and a bath of Teshima stone.

That evening, I stay at Usagi House – an Airbnb homestay run by Japanese artists Shin and Emi Hirai, who moved to the island with their 11-month-old baby in search of a simpler, more creative life after six years living in Berlin. After picking me up in his small white truck, Shin – friendly and enthusiastic and dressed in a striped jumpsuit and cap – first takes me to a barn-style space they have transformed into a theatre to showcase their unique video and music performance unit called Usaginingen.

Artist Sarah Westphal

Unfortunately, I’ve just missed a show (there are several every week), but Shin takes me around the space, filled with cloud-like sculptural clusters of clear straws fashioned into Finnish-style himmeli (ornament) by local children. At the front, Emi, a former graphic designer, sits on a visual machine called TA-CO – consisting of a self-adapted bicycle that projects her abstract visuals onto the screen as she pedals. Later, at their home, we tuck into a dinner of cumin-sprinkled homegrown vegetables, soups and rice. “There are about 800 people [on Teshima] and most are over 60,” Shin explains. “But people are very friendly – we feel free here.”

Shin’s words reflect a general creative shift in the region, as the success of the festival appears to be working its magic and enticing a growing number of similarly open-minded Japanese to the region. The event – which has three seasonal programmes spanning over 100 days – is steadily growing. The number of artworks has nearly trebled from 76 in the first year. Visitor figures are also booming: a million people visited the last event in 2016 – and this year, over 300,000 visited during the festival’s first 10 days alone.

Sea Gulls Parking Lot by Takahito Kimura on Megijima

The next morning I take to the sea again, catching two boats to get to Ogijima. It’s a tiny island where clusters of old Japanese houses cling to narrow, steep hillside paths. After savouring the play of light and shadows at artist Jaume Plensa’s structure at the port, I wander up a steep path to a small wooden building, the former post office. Stepping inside, I’m enveloped in a warm, orange glow, as close-up video footage of a swirling octopus covers the far wall of a retro-style room and is reflected into an interior pool of water just in front of me. Its creator, Belgium-based artist Sarah Westphal – dressed in black, clutching tape and paper – steps quietly into the dark space beside me. “It’s a kind of longing for the sea,” she says. “Life is so loud and fast. I hope people can have a quiet, meditative experience when they come here.”

Continuing further along, I spy a stylish café with double-height ceilings, pendant lights and homemade breads and coffees. Inside, I meet 34-year-old Kaisho Damonte in his cap and apron. Together with his wife, Yuko, he opened Damonte & Co last year. The couple earlier gave up their busy jobs in Tokyo and spent a year travelling the world on the lookout for the perfect place to live, before stumbling across Ogijima. “We visited during the art festival in 2016 and instantly fell in love,” smiles Kaisho. “We moved here a few months later.”

Kaisho and Yuko Damonte from Damonte & Co café

Preparing a croque monsieur with wild boar he hunted himself (there are apparently around 300 wild boars on Ogijima, easily outnumbering the 170 residents), he adds, “What we love most is the atmosphere and the nature. People are so open and friendly, which is unusual for rural Japan. The school has even reopened, and there are 10 to 15 young families living here now.”

From Ogijima, a 20-minute boat hop takes me to Megijima and the geography shifts to windswept beaches, stone walls and pine trees. The hours pass quickly as I wander past spinning seagulls by artist Takahito Kimura and explore a former guesthouse turned arts hub called Little Shops on the Island. There are puddle-shaped ping-pong tables, Leandro Erlich’s spinning washing machines and tatami rooms with portraits of residents holding wedding photos.

A statue on Megijima

Sipping tea nearby at the new Megino café and guesthouse, I meet another example of the region’s revival: its owner, 31-year-old Satomi Mekada, who worked in Kyoto guesthouses before discovering Megijima. “When I first came here, it felt like home,” Mekada says. She aims to plant 100 lacquer trees – used in Japanese lacquerware, known as urushi – to revive local craftsmanship. “And people are so grateful – they all say, ‘Thank you for moving here.’”

At the end of a long day – and on my sixth ferry in total – I catch up with Fram Kitagawa, the festival’s visionary founding general director. As our boat pulls out of Tamano City’s Uno Port, the ever-dapper, refreshingly direct and often chain-smoking Kitagawa, wearing a light-grey suit, sinks into a seat and expounds on the Setouchi Triennale’s ongoing theme of restoring the sea. “We want to restore the islands, give them more vitality, make them less isolated,” he says from beneath a jaunty wide-brimmed hat. “There are positive changes already: Shodoshima’s population is increasing and newcomers are moving to Ogijima.”

The event has not been without its challenges: the deeply complex logistical implications of creating artworks in remote, rural settings; the practicalities of creating a festival spanning a large number of islands and ports; and conveying the concept behind the festival to local elderly communities unused to contemporary art. According to Kitagawa, however, it’s worth it.

“Art in the past was all about being understood, it was philosophical or conceptual and was put in a white cube,” he adds. “But rural art festivals involve artists going into the real world and confronting real problems in society. Art appreciation takes time. It doesn’t matter if elderly communities understand or not – they are simply happy to see more visitors. These encounters make them happier and healthier. This is the power of art.”

Kitagawa pauses to point towards the coast, where a neon sign reading “In Progress” lights up a dusky pink sky, part of a new artwork by Mischa Kuball. It’s a perfect summary of a festival whose deep-rooted impact on the region, reflected in the rising populations, the reopened school and the engaged elderly communities, is perhaps the ultimate legacy of contemporary art. And it’s only just getting started.

SEE ALSO: 5 art-driven islands near Hiroshima worth exploring

This article was originally published in the June 2019 issue of SilverKris magazine

The post The Setouchi Triennale and the power of art and nature in Japan appeared first on SilverKris.

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shippersark · 6 years

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Super Deluxe Review : In an Ensemble of Quirky Characters Vijay Sethupathi Reigns Supreme

The film can be seen as a spiritual successor to 'Aaranya Kaandam'.

The opening credits of Super Deluxe are reminiscent of Kumararaja’s earlier work Aaranya Kaandam, and are played over Senthamizh Paadum from Vaira Nenjam, if I remember correctly. The opening scene, too, reminds one of how Subbu was introduced in Aaranya Kaandam. There, the woman was treated like a piece of meat. Here, the woman feels pleasure. You hear the squeaky sounds of the bed. The camera slowly pans to establish every minute details of the room. All this happens over ‘I’m A Disco Dancer’ song, and the title card appears in a Kumararaja-esque style. Cast: Samantha Akkineni, Fahadh Faasil, Vijay Sethupathi, Ramya Krishnan, Mysskin and Gayathrie Director: Thiagarajan Kumararaja Storyline: Six actors. Four writers. Two cinematographers. One unusual film. In more than one way, Super Deluxe can be seen as a spiritual successor to Aaranya Kaandam. If the latter was about male impotency, Super Deluxe embraces the idea of sexual fantasies; Kumararaja delves deeper into the darker side of human mind, without being least judgemental about his characters. If Aaranya Kaandam tried answering what dharma is, Kumararaja takes it a notch higher in Super Deluxe and questions the concept of morality, and how humans derive their own boundaries, in a more exploitative way. It makes a comment about chaos theory and how meaningless life is. The film, in many ways, is the result of a confluence of four different world views (written by Kumararaja, Mysskin, Nalan Kumarasamy and Neelan K Sekar). And it’s amusing how Kumararaja connects interrelated themes and subjects within the confines of his milieu. He seems to rejoice the genre-hopping; the film begins as a black comedy and ends like a dramedy on life, sex and spirituality. And that's the least spoiler-free review one could write about a film that is overly layered. At its heart, Super Deluxe is about four stories that are interwoven together, making it hard to guess who wrote what. Mugil (Fahadh Faasil) and Vaembu (Samantha Akkineni in a remarkable performance) are in a marriage of convenience. Something terrible yet insanely-funny incident happens to them and that triggers a series of unwarranted events. Their conflicting-yet-affectionate nature makes you wonder as to what would have happened to Chappai and Subbu (from Aaranya Kaandam) had they lived together. Elsewhere, a motley group of sex-deprived teenagers visit a CD shop to satisfy their quest for bittu padam. For some strange reasons, I kept thinking about Chittu and his gang from Aaranya Kaandam, and what if it was their coming-of-age story, before they discovered the art of seducing older women? Kumararaja never really explored the warring relationship between Kodukapuli and Kalaiyan, and brushed it off with a powerful “avaru en appa”. But he does in Super Deluxe, which comes in the form of Shilpa (Vijay Sethupathi) and Rasukutty. Shilpa is the most honest portrayal of a transgender in a long time. She’s humanised; we see why she’s rejected by society. We empathise with her when she says this about sexuality: Serupa maathi podra mathiri. We sense her helplessness when she’s assaulted at a police station. It helps that Vijay Sethupathi was chosen to play this complicated, dark character. He brings a certain vulnerability, especially when Shilpa meets Arputham (Mysskin). Which brings us to the shockingly-delightful story about Arputham and Leela (Ramya Krishnan in her boldest role yet). Super Deluxe draws humour from the most unlikeliest places. When Shilpa demonstrates how eunuchs earn money with a sharp clap, Rasukutty says, “Ae...super pa nee.” The film, in fact, makes a self-reverential joke about Aaranya Kaandam, when a gangster prods an important question: kadaisiya enna padam paatha? Remember the Kamal-Rajini banter? A deeply religious person turns blind eye to an important piece of information. His whole life has been a lie. And when he breaks open the sacred sculpture, he finds diamonds in it. It's a brilliant touch. Another filmmaker would have explained the why. Kumararaja doesn't. Watch Super Deluxe Video Reviews Here No other filmmaker has probably romanticised the Tamil cinema universe with pop culture references as much as Kumararaja. Consider the scene where a character croons Vanithamani from Vikram before watching porn, or the one where a character drapes saree over the Maasi maasam song (It isn’t a coincidence that a doctor is named after MS Viswanathan). If Subbu went through a Baasha-like transformation in Aaranya Kaandam, a character here (ironically named Manickam) undergoes a similar transformation. There are inside jokes too. Arputham invents his own bible called Anjathey Nambu. Rings a bell? And these bits aren't added just to make them look cool. In one of the earliest stretch, a character says, “Dai rascal! Enna maranthutiya?” For a moment, it felt as though Kumararaja was asking this question to us: it’s been eight years since he made a film. If Super Deluxe is what you get from a filmmaker who was in exile, then you don't mind waiting a few years from now till he comes up with his next eccentric film. Credits: The Hindu

Super Deluxe Movie Review: Thiagarajan Kumararaja crafts a path-breaking film that deserves more than one watch to understand the depth in each characterisations, says our review.

Movie Name:Super Deluxe Director:Thiagarajan Kumararaja To appreciate or rave about Thiagarajan Kumararaja has become a cliche, but Super Deluxe gives you no other option. It is just the second film for the director but a giant leap for Tamil cinema - in terms of storytelling, editing, and more importantly, ideas. While sharing his initial reaction to the story of Super Deluxe, Nalan Kumarasamy, one of the writers of the film, said, "We feel that we are all playing the same game but when I heard the narration, I realised he is playing a different game altogether." Super Deluxe is a different game indeed. The film is like an alien in Tamil cinema, but, ironically, it is the closest depiction of Tamil society we have seen. Kumararaja has himself said that it is hard to pin Super Deluxe down under one genre. It is easy to call it a black comedy, but there are a lot of things at play here. Without a doubt, the film is dark. It looks at perversion, sex, cuckolding, porn, sexuality, and god with a big lens, unlike any other Tamil film has done before. But even in a film about gloomy things about life, there is a heart in Super Deluxe, a big one. The tone the film takes in dealing with the subjects is refreshing and unprecedented. Take this scene for example: As Shilpa (Vijay Sethupathi) comes out of the room after being sexually assaulted, her little son asks her "Adichaangala (Did they beat you)? Shilpa, wiping her tears, says, "Yes". He then asks, "What did you do in response?" Shilpa subtly puts, "Kadichaen (I bit)." Given the situation, the audience is left wondering how to react to such a joke. The film is eccentricity at its best. The story of Super Deluxe has many stories running parallelly. Each has some sort of connection to another. Shilpa, a transperson, goes back to her wife and son after seven years. Vembu (Samantha) and Mugil (Fahadh Faasil) are trying to get rid of a body. Three teens are in pursuit of a 48-inch TV, which has to be replaced before the parents of one of the guys return home. Their journeys make up for one psychedelic trip called Super Deluxe. The most surprising aspect of the film is Thiagarajan Kumararaja's social commentary. It is omnipresent in the film. Every street and gully has a poster of a B-Grade film or the other. Every scene has some noise that runs in the background. It could be a song from television or a recorded advertisement of a street vendor or a melodramatic dialogue from a movie playing on TV, the world of Super Deluxe is a symphony of noises just like ours. And the kids in the film! When Tamil cinema uses children only as instruments of love and melodrama, a boy in Super Deluxe keeps shouting 'f**k' a million times. Kids are just a reflection of adults in Super Deluxe. Their halos are mercilessly taken away. The aesthetics of Super Deluxe make all the difference to the film. The locations the director has chosen to even stage a mundane scene is so unique. Also, unlike the director's first film Aaranya Kaandam, Super Deluxe is more colourful. Each frame keeps reminding you that the film is quirky. At times even an unremarkable gully looks like something peculiar through PS Vinod and Nirav Shah's camera. Music or noise is omnipresent in Super Deluxe, and without Yuvan's BGM, a scene like Shilpa's meeting with Arputham (Mysskin) wouldn't have worked at all. More than the performance of Vijay Sethupathi, Ramya Krishnan, Mysskin, Samantha and Fahadh Faasil (who are incredible), the teary face of Gayathrie and the bulging eyes of Bucks with all his perversions and the super intelligent Ashwanth Ashokkumar make Super Deluxe a league apart. Super Deluxe is a leap, a giant one. Thiagarajan Kumararaja crafts a path-breaking film that deserves more than one watch to understand the depth in each characterisations, says our review. 4.5 stars out of 5 for Super Deluxe. Credits: India Today

Language: Tamil Cast: Vijay Sethupathi, Samantha, Fahadh Faasil, Ramya Krishnan, Mysskin Director: Thiagarajan Kumararaja How does one talk about Thiagarajan Kumararaja’s second film, Super Deluxe? A logical place to begin is perhaps the director’s first film, Aaranya Kaandam. Super Deluxe is certainly something of a companion piece. The monologue-y trailers are similar, as are the multiple storylines revolving around ensemble casts and bound by an overarching philosophy. (Remember “Edhu thevaiyo adhu dharmam” from Aaranya Kaandam?) There’s even the sense of a cinematic universe being created, one that contains both films (and maybe future films from this director). The women in these films have similar-sounding (and male-sounding) names: Vaembu/Subbu. From a poster on a wall, we sense that Jackie Shroff’s character from Aaranya Kaandam appears to have existed a little before this film’s timeline. I could even imagine the father-fixated little boy (a superb Ashwanth Ashokkumar) in Super Deluxe growing up to be the Guru Somasundaram character’s son in Aaranya Kaandam. And remember the little plane that the Ravi Krishna character “swallowed” as part of a magic trick? We get big planes here, and they perform their own bits of magic. And yet, the films are different. Aaranya Kaandam was filled with adrenalin-pumping pleasures: the pulse quickened at the pulp rhythms, the slo-mo stretches. And the film was emotionally direct: you felt for the Guru Somasundaram character and his son, and you laughed at the story about the gangsters named Gajendran and Gajapathy. Super Deluxe is far more ambitious, and moment for moment, far less instantly gratifying. It’s a long, slow fuse that keeps you on edge about when it will explode, and when it does, it’s a big bang. Or, perhaps, the Big Bang. WTF, right? More on that, later. For now, I’ll just say I’ve never seen anything like this in Tamil cinema, with its mix of the sacred and the profane, the epic and the intimate, the earthly and the otherworldly, the pop-cultural and the philosophical. It’s a film you want to view as much with a microscope (zooming in on the details) as a telescope (zooming out to the bigger picture). The characters, then, are as much microbes as stars in the cosmic scheme of things – as puny as the ants and centipedes we see in frames, and as vast as… Well, let’s discuss that after you watch the movie, shall we? But here’s a partial list of the people you’ll meet. There’s Vaembu (Samantha Akkineni), who’s married to Mugil (Fahadh Faasil). Another story involves Jothi (a very affecting Gayathrie), whose husband is now a transwoman named Shilpa (Vijay Sethupathi). A third story is about a bunch of hormonal boys, and the parents of one of them: Leela (Ramya Krishnan) and Arputham (Mysskin). Leela is a former porn actress, and Arputham has turned into a religious nut. He’s formed his own cult after a near-death experience at sea, which explains the marine-blue walls in his “place of worship”. Themes and motifs keep sneaking in and out of the various story threads. So the blue on Arputham’s walls bleeds into the shirt that Mugil wears and onto the sari on Shilpa, just like the mole on Leela’s back finds a twin in the one above Shilpa’s lip. If you like getting off on details like these, Super Deluxe is like Penthouse and Playboy rolled into one. All of this would be little more than postmodern pranks if not for the film’s magnificent design. This is not the first film to tell the story of three couples, but where earlier directors treated these stories like intimate domestic drama, Super Deluxe makes them something almost infinite, spanning the breadth of human (and other) existence I’m sure alert readers will chip with more of these “patterns”, but here’s a sampling. A corrupt cop (Bagavathi Perumal) is compared to a public toilet – and a public toilet is where Shilpa gets into trouble. The tears in Vaembu’s eyes CUT TO a teenager’s tears in another story. Two of the episodes feature an absent father. A man (Mugil) is humiliated by his wife’s doing, just like a woman (Jothi) is humiliated by her husband’s. The exquisite line that Shilpa uses to explain herself (“just like we sometimes slide the wrong foot into the wrong slipper, I was put into the wrong body”) is echoed in a sound thrashing delivered by a gangster. His “weapon”? A pair of slippers. A television programme about aliens is linked, later, to posters of Aliens on a dirty wall. And on the same wall, we see the poster of a film whose subject is life and its mysteries. The same could be said about Super Deluxe. This is a lip-smacking combination of “high” and “low” art. You could write essays about how this director’s vision is deliberate (perhaps even dictatorial, even though the co-writers include Nalan Kumarasamy, Neelan K Sekar and Mysskin). Note the careful use of deeply saturated colour by cinematographers PS Vinod and Nirav Shah. And note the very specific props, like the kuthuvilakku that acknowledges Arputham’s former self, from when he was a Hindu. And yet, at the same time, you could write essays about this film’s use of “matter songs”, whether ‘Vanithamani’ from Vikram or ‘Paal Vannam’, the wedding-night number from Paasam. A moment where Shilpa disrobes is set against ‘Maasi maasam aalana ponnu’, and the semi-clad images (what we see on screen, and what we recall from that older song) are such contrasts that it’s like listening to a bhajan at a disco. Also, recall that this song is from Dharma Durai, which is also the title of a… Vijay Sethupathi movie. All of this would be little more than postmodern pranks if not for the film’s magnificent design. This is not the first film to tell the story of three couples, but where earlier directors treated these stories like intimate domestic drama, Super Deluxe makes them something almost infinite, spanning the breadth of human (and other) existence. (Those ants! That centipede!) Thiagarajan Kumararaja has said he was sparked by the looping story-structure of Jafar Panahi’s The Circle, but I was equally reminded of something like Paul Thomas Anderson’s Magnolia, which gave the epic treatment to a series of mundane incidents that do not usually get the epic treatment on screen. (There’s also an equivalent, here, of Magnolia’s “rain of frogs” moment; I almost fell out of my seat.) But the Magnolia moment was Biblical. Super Deluxe, on the other hand, is casually dismissive of a judgemental being sitting up there in the sky. Everything’s just… chaos, as “random” as the design that created life on our planet. Which is why the film’s working title, Aneedhi Kadhaigal, would have been just as good a fit. Super Deluxe suggests something plush and expansive, like the priciest room in the kitschiest hotel. And yes, there will be those who say that there’s perhaps a little too much room in this narrative, which clocks in at nearly three hours. Perhaps you couldtake away the track revolving around Arputham — Leela would have still driven that story and brought it to its glorious conclusion. But without Arputham, we wouldn’t have had that connect to the oceans, which is, after all, where life apparently began. And we wouldn’t have had the connect between Arputham and Shilpa, through a line about forgiveness. Which is why you feel nothing could have been left out, everything has its place in this design. This sprawl, this “messiness” is part of this movie’s DNA. But Aneedhi Kadhaigal, which translates to “amoral tales”, would have pointed to one of the most rewarding aspects of Super Deluxe. The wife who cheats on her husband, the porn actress who’s unapologetic about her work (and how cheeky to see this character played by an actress known for her “Amman” roles), the man who did ghastly things to children, the teenagers who cheat and steal — they all come close to being punished, but they all get away with happy endings. This is Thiagarajan Kumararaja basically saying “fuck you” to conventional Tamil-cinema morality, where “loose women” and “evil men” end up suffering for their sins. Leela’s spectacular retort to Arputham, near the end, questioning his “God”, is one of the most thrillingly nihilistic lines uttered in our cinema. It’s not a message. It’s not a moral. And yet, it strikes at the very core of one’s belief systems. There’s a lot of everything in Super Deluxe. There’s a lot of entertainment. There’s a ton of black humour. (The name of a man who needs money? Wait for it… Dhanasekar.) There are elements from sci-fi. There are elements from noir. (Think of the dubious statue in The Maltese Falcon). There’s a farting corpse that functions as some sort of marriage counsellor. There are also gorgeous grace notes, like the child who does not discriminate, yet is very clear about what he wants. In other words, there’s a lot to take in during a first viewing. While watching Super Deluxe, I felt what Pauline Kael described in her review of The Godfather: Part II: “the exploding effects keep accumulating. About midway, I began to feel that the film was expanding in my head like a soft bullet.” If you recall, The Godfather: Part II is more leisurely paced than Part I, less immediately affecting, but by the end, far more profound. That’s how I’d describe the relationship between Aaranya Kaandam and Super Deluxe. Part of the emotional aloofness we feel comes from the slightly disorienting way the narrative plays around with timelines, and the shot-taking that follows this grammar. We aren’t “eased” into scenes. There are very few establishing shots, and we are thrust into interiors from which we view the action. (A lot of scenes, therefore, end up being framed by doorways, or else cramped in the alleys between tightly grouped buildings.) We get the sense of being trapped with these characters, and only when they inch towards liberation do we feel their freedom. The visuals, too, open up. The set pieces are not flashy (like in Aaranya Kaandam), but slow-burn beauties, like the sensational stretch of chaos (Sathyaraj Natarajan is the editor) that ensues when a boy sets out to kill his mother. Both in the writing and the making, the director is leagues ahead of the form he displayed in Aaranya Kaandam. The more logical (as opposed to the experiential) part of the brain keeps raising questions. Is the best way to wreck a car to park it across railway tracks and pray that a speeding train isn’t too far away? Would a man who evidently cares about his wife and son just take off like that, and not even send the odd “don’t worry about me” message? What functions do Mugil’s anti-Establishment rants serve – are they confined to his personality, or are they, too, part of the Big Design? (Fahadh Faasil seethes marvellously.) But piece by mysterious piece, everything comes together, and the smallest details pay off in the most delightful ways – like how Mugil’s acting classes allow him to “perform” (though off stage, and with no audience). Super Deluxe is produced by the director himself, and it’s interesting to note what his company is called: Tyler Durden and Kino Fist. The former is the id character from Fight Club, the ugly-secret part that few of us expose in public. The latter is what Sergei Eisenstein called his technique of intellectual montage, using editing not just to let the story “flow” but to manufacture meaning through violent juxtaposition of images. I’m not saying all of this actually happens all through Super Deluxe — these are, after all, philosophies. But there is the sense of a filmmaker who has unleashed his id, and is refusing to play by the rules (of Tamil society, and of Tamil cinema). There is the sense (though much gentler and subtler than with Eisenstein) of provoking reactions not just through the telling of a story but by slapping its components together and making us live spectators to whatever is taking shape. This is an utterly unique film, a brave film. We see this bravery in the songlessness, in how Yuvan Shankar Raja calls attention to a situation about infidelity by reusing his father’s classic song about infidelity (Ennadi Meenatchi). A less-secure composer might have fought harder to impose himself on the score, which is marvellously minimalistic. We see this bravery in Samantha, who does some of her best acting in the scene set in a warehouse. She unleashes her own Tyler Durden, doing an up-yours to conventional wisdom about what heroines (especially married ones) should and shouldn’t do. And we see this bravery in the spectacular Vijay Sethupathi, who makes Shilpa come alive through the tiniest, most offhand gestures – say, the way he gracefully adjusts his sari pallu. I thought that, for a Tamil-film leading man, the transwoman aspect of this character was itself an indication of ballsiness. But there’s more. That scene in the police station, with that corrupt cop? Wow. Most of our stars simply want to play-act as heroes, with punch dialogues and “mass” moments. Here’s one who emerges heroic even with his “masculinity” completely erased. Credits: Film Companion Super Deluxe Story: A couple try to dispose a dead body; a little boy gets a surprise when he meets his estranged father; a son discovers his mother’s other side; a religious man starts having doubts over his God… What connects these four stories? Super Deluxe Review: Super Deluxe gives us four stories and the protagonists in each of these stories are tested in their beliefs in the strangest ways. For the married couple Vembu (Samantha) and Mukil (Fahadh Faasil), the situation in which they get into is a test of their marital relationship. It is a test of her love for her son for Shilpa (Vijay Sethupathi), a transgender who has come back to her family. For Arputham (Mysskin), who has survived the tsunami and found a new God, and Leela (Ramya Krishnan), a former porn star who is desperately trying to save her injured son, Soori, it is a test of their belief in God and humanity respectively. And there are also three lads who face a literal test of bravery. Giving out anything more about the plot of Super Deluxe will ruin the fun and joy of experiencing something singularly unique. There is a heartless and horny cop, a quirky don, a publicity crazy politician, a greedy doctor, unwanted neighbours, a loyal Man Friday, and more in this crazy world that Thiagarajan Kumararaja has come up with. The performances are first-rate all around. Vijay Sethupathi’s Shilpa is a new high for the actor, while Fahadh and Samantha are instantly likeable. Mysskin and Ramya Krishnan are solid while the gang of boys are great finds. Then, there is Ashwath, who wins our hearts, and a cast-against-type Bhagavathi Perumal, who makes us want to murder him. There is black comedy, double entendres, swear words, WTF moments, political and social commentary, romance, sentiment and even a musing on what it means to be life on Earth. There is ambition, genius, and also a beating heart. Credits: TOI

“Got porn, Madam?” That’s what the high school boy known variously as Milk Carton and Egg Muffin asks a DVD store clerk after some stammering feints in the Tamil movie “Super Deluxe.” And, yes, Madam has porn. But, surprise: When Egg Muffin and his pals start to watch it, one of them becomes enraged. That’s his mother onscreen. This sets off a chain of mostly comic events that are, by turns, ominous, bloody and cosmic. And that’s just one plot strand. In another, a married woman’s ex-boyfriend dies in her bed, setting off a chain of comic, ominous events. In a third, a little boy pines for his father to return, and the father does — but now transformed into a woman. (Another chain ensues.) The director Thiagarajan Kumararaja, who also had a hand in the script, takes his time setting all these shaggy, laconic story lines in motion. Part of the movie’s pleasure in its early going is figuring out whether and how they will all merge. Another pleasure is visual. Colors pop off Kumararaja’s palette (the cinematographers are P.S. Vinod and Nirav Shah), and there’s always something to look at in his Chennai. This isn’t gleaming, ascendant India; it’s the lived in one, crumbling around the edges, a little romanticized but recognizable in its narrow alleys and concrete stairwells and power outages. “Super Deluxe,” Kumararaja’s second feature, has been a while in coming after “Aaranya Kaandam” (2010), which was a critic’s darling. No wonder — Kumararaja’s work is stylish and wry, with an indie-cinephile sensibility. (It’s no accident that “Kill Bill” and “Gangs of Wasseypur” posters hang on the DVD store’s wall.) Part of that sensibility is a frankness about sex that’s still unusual in Indian movies, especially commercial ones. Though nothing explicit is shown, all the story lines in “Super Deluxe” have a little sexual motor, and there’s plenty of frank, off-color language, too. Kumararaja also elicits some wonderfully deadpan performances from his actors. The teenage boys have a believably nerdy-raffish rapport And Samantha Akkineni, as the cheating wife, builds a character of unexpected depths. “Super Deluxe,” though, runs three hours, and Kumararaja loses his way in the draggy, overlong second act. It includes not one, but two drawn-out scenes of threatened rape. (We know the ugly outcome of one, though it happens off camera.) That these scenes, with their leering Bollywood-ish villain, verge on the cartoonish doesn’t save them. They’re part of a tonal problem — what was mostly delicate and offbeat tips into something cruder and messier. They also serve as a reminder: Cinematic sexual liberation for (and by) men can be punishing for women. Credits: NY Times Read the full article

#'SuperDeluxe'Review #SamanthaAkkineni #SuperDeluxemoviereview #VijaySethupathi

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81scorp · 4 years

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My Little thoughts on Slice of Life

(Originally posted as an editorial on Deviantart July 30, 2015. It has not been changed from how I originally wrote it.)

In 2010 Hasbro hired animator, writer and director Lauren Faust to breathe some new life into the My Little Pony franchise which, unlike fine wine had not aged well with time. Faust, a fan of the original show put together a team and based her version on the first generation of My Little Pony but put more emphasis on humor and gave the characters more in-depth personalities. The show was successful. So successful that it became popular outside of it`s target demographic and gained a following of young and middleaged men and women who call themselves "Bronies" and "Pegasisters". Aware of their unconventinal fans, the creators of the show sometimes put in a few nods to the older audience now and then. A while ago the show turned 100 episodes. That isn`t bad, it`s a good milestone for a show. At the hundredth episode the creators usually do something extra to celebrate that the show has lasted that long. Like: have a famous guest star, have two people who have been in love witch eachother for a long time finally get married or some other big thing. The 100th episode of My Little Pony Friendship is Magic gave us a fight between the main characters and a giant "Bugbear" (a cross between a bear and a bee) and a wedding between two donkey characters, helped by several ponies that usually just stay in the background. And of these two stories the episode focused on the latter. If what the creators did earlier was nods then the things they put in this episode counts as headbanging. Wether you like or dislike this episode I feel it`s worth talking about. So here are some of my little thoughts on the 100th episode: "Slice of Life". SPOILERS are magic

Derpy

I became aware of MLP FiM relatively late so I first found out about this crosseyed mare on fan art before I saw her in the show. I thought the idea of a silly, clumsy and ditzy pony sounded fun.When I saw Derpy in "The last roundup" I felt that it wasn`t bad... but it could have been better. Even if "I just don`t know what went wrong" is a cute catchphrase I felt like they may have relied a bit too much on the whole clueless and oblivious angle. Her voice almost sounded like she was supposed to be actually mentally challenged, combine that with her being oblivious to the disaster she creates and it makes her (to me at least) feel almost Jar Jar Binksian. I do like the later part of that scene though. Like when Rainbow Dash says to Derpy: "In the name of Celestia, just sit there and do nothing!" And Derpy does so and bad things still happen. That wasn`t her fault, just crappy wood. When people called Derpy a "controversial character" and wanted to get rid of her I remember the Simpsons episode where homer voiced the new character Poochie. There wasn`t anything wrong with Poochie per se (they could have toned down his EXTREME-ness a bit). In my constructive criticism of Phantom Menace I mentioned that unlike many others I didn`t feel that Jar Jar should be removed completely, but instead have the goofiness turned down a bit. Make him more competent but still kinda fun. "But hasn`t Derpy been portrayed like she was in `The Last Roundup` in fan comics?" Yes, but her being completely oblivious works better in non-official, non-canon standalone gags. Besides, not all ideas from the fandom are great ideas. Now, about Derpy in "Slice of Life". I liked it. This is a much better and more nuanced version of her personality. Smart enough to be aware of her surroundings but still keeping her silliness, clumsiness and childish side. In "The Last Roundup" Derpy sounded the way she did because Tabitha St Germain, her voice actress, thought that Derpy was a little boy. She voices Derpy again in this episode and her voice matches her personality perfectly. She`s like most Ponies, just a little ditzy. If Derpy was a bit "I am Sam" in "The Last Roundup" then "Slice of Life" makes her more of a "Forrest Gump". And yes, I know that her name in the credits was "Muffins". I`m not calling her Derpy because of some stubborn, fact-denying, fanboy refusal. But because I`m so used to calling her by that name. But I understand why the creators officially don`t call her by that name. I`m just glad they gave the character a second chance. Doctor Whooves

I like this character, but I have to admit it`s because how he`s portrayed in the fandom. I also have to admit it was fun that they made him as close to the Doctor as they could without infringing on copyright. Turns out he was inspired to become a scientist because of a childhood trauma. Not something I was expecting but I don`t mind a little backstory. Secret agent Sweetie drops

At first this felt odd because, to me, the world of Equestria feels like a simple world that doesn`t have all that secrecy and spy stuff like in Captain America: Winter Soldier. Personally I wouldn`t have made her a secret agent but instead just an ordinary pony who had lived in a different town a few years ago, a town that had been destroyed by the Bugbear. And since that day she had been searching for the Bugbear to get revenge. But I guess I can understand why they made her a secret agent. It allowed them to call her Bonbon, the name that the fans call her, while still calling her Sweetie drops, her official name. But now that I think about it, secret agents and spy stuff doesn`t seem that farfetched. In "MMMystery on the Friendship Express" Pinkie thought that Donut Joe was a secret agent. Technically it was just her imagination, but it shows that the concept of spies and secret organisations is not as alien to the world of MLP FiM as I first thought. Let`s not forget other stuff that feels closer to our world than a kind, friendly, fantasy-esque world with talking, singing ponies. Like video games (Hearts and Hooves Day) and cities with names like Fillydelphia and Manehattan. Manehattan feels different from the rest of the world of MLP FiM and closer to our own with it`s name, modern architecture, ponies in suits wearing earpieces and New Yorkish inhabitans. So technically, it`s not the existence of secret agents in Equestria that I find odd, but rather these two things:1: Bonbon being a secret agent. 2:This line: "Every last shred of evidence of the organization's existence was destroyed. Celestia demanded complete deniability." Princess Celestia, the wise, benevolent ruler of Equestria having a Nick Fury-ish side that hides big secrets from her subjects? You`d expect something like this from something like DCAU or Avengers: Earth`s Mightest Heroes, but in a show about magic, talking ponies? It feels like someting from a fan-parody. Hard to swallow, but at least it`s funny. From what I`ve heard, Bonbon being a secret agent was based on a fan theory, that I wasn`t aware of before watching this episode, that tries to explain why her voice sounds different in some episodes.When it comes to ponies with inconsistent voices in the show, my own theories are less dramatic. I just assume that they caught a cold the other day and... they`re just a little hoarse.

*Ba-dum-tish!* Vinyl and Octavia

These two ponies are a perfect example of the Odd Couple trope. One is calm, sophisticated and into classical music and the other one is more into modern, technological, rythm-based music. In many ways polar opposites but still willing to meet eachother halfway. Am I Okay with Vinyl being mute? Yes. It kinda makes her a Harpo Marx character, and characters who speaks little to not at all can be a lot of fun. Like: Harpo Marx, Wall-E, Mr Bean and Silent Bob. Would I have been OK if Vinyl talked and wasn`t voiced by Nowhacking? Yes I would. Even if it is fun that the fandom sometimes influences the show it`s not like they control it with an iron hand.

Gummy being deep

This part... this part... While it may change our view of this gator as an empty headed reptile it technically does not go against continuity. In this episode he sat with a vacant stare like he always does, the difference is that this time we got to hear his thoughts while he was doing it. But still... this part... this part... I don`t know what is real anymore. The changeling and Steven Magnet

From what I understand Steven Magnet`s name was based on something from the fandom. Before I watched this I wasn`t aware of that and just saw it as a callback to the first episode. I felt the changeling was also a callback, sort of a way for the writer to say "You remember these episodes? I just wanted to show you that I remember them too." I liked the part when Steven cut of a piece of his moustache to give to Cranky. Besides being a callback it also showed that he had grown as a person, putting his friends happiness over his own looks. But what was the deal with the changeling? Hello? A member of a race that tried to take over your world a while ago is just sitting there in broad daylight! Sure, he`s not harming anyone, just minding his own business. But still! Celestia and Luna From what I understand this is how they have been portrayed in fanfics and fancomics. But you don`t have to have seen any of those to enjoy it. Celestia and Luna have, up to this episode, always been portrayed as royal and nigh flawless (with a few exceptions) and we`ve never seen them interact with eachother in a more natural, sisterly way. So the humor in this scene works.

I think this is a divisive episode. Some people will hate it for the same reasons that others love it. Wether you love it or hate it I think that both sides can agree that it`s full of pandering. I can see how fun it is when the show takes ideas from the fandom (and I`m not just talking about MLP here, though MLP is where we see most of it), it makes the fans feel like they`re being listened to. Personally it`s not THAT important to me that a show or comic borrows heavily from the fans, only that they sometimes listen to constructive criticism. From what I`ve learned there`s at least two versions of a beloved show or comic. There`s the official canon by the creators and the fan-canon. I can use Ranma 1/2 by Rumiko Takahashi as an example. In the manga there`s a character named Ryoga Hibiki who has no sense of direction, he always gets lost on his travels. Before I read the manga I read a lot of fanfics where the writers exaggerated his "lostness" to the point of teleportation. (If he was in Japan in one minute he could end up Mexico the next, with no idea of how he got there.) Should Rumiko Takahashi have put this in her manga to lessen the difference between fan-canon and the official manga? No. The manga is fine as it is, and sometimes the fanfics tended to flanderize the characters, like I said: not all ideas from the fandom are great ideas. Not that taking ideas from the fandom is inherently wrong, or inherently right. When it comes to MLP FiM the close relationship between the creators and the fans has worked relatively well so far. A thought I have about the episode is that the ponies have a bit skewed priorities. A giant monster attacks their town and the most important thing is a wedding? I can understand Cranky and Matilda`s logic, a sort of "do something important that you`ve procrastinated long enough now that the town is being destroyed" kind of thing. But the other ponies? Oh well I guess it`s kind of a double meaning of the title: monster attacks has happened so often that they`re used to it. For them, it`s tuesday. Probably also explains why they didn`t panic over the changeling. Another thing that justifies the ponies priorities: there was very little to no destruction of buildings (sure, this is a kid`s show, but still). I guess the mane six (in some scenes at least) managed to direct the fight away from populated areas. Take notes, Goyer and Snyder, you might actually learn someting. This episode was built on a lot of ideas from the fandom. If you`re a fan who don`t keep up with the latest MLP fan-theories, memes and jokes, can you still enjoy it? I`d like to think so. It`s almost like that episode of The Simpsons when all the minor characters got a chance to be in the spotlight (except Professor Frink). Even if you don`t know about the characters and how they are usually portrayed in the fandom you can still enjoy the comedy of this episode. What did I think? Was this a great episode? I dunno. The pandering kinda works as a double edged sword. I still kinda like how it is aware of what it`s doing with that shark-jumping scene. In my opinion the greatest episode is still "Twilights Kingdom". Not just because of the Dragonball Z action but also because of the high stakes, Discord`s character development, Celestia, Luna and Cadence making themselves vulnerable by giving their magic to Twilight who later grows into her role as a princess. Plus: We got a scene where all the three princesses together sang a song to Twilight about how one day she`d get her chance to shine. Was Slice of Life good? Objectively? It feels more funny than good, at least it has humor for the casual viewers who aren`t familiar with the world. Since it is hard for me to be completely objective I can`t really say if this episode is objectively good or not. The only thing I can say with complete certainty and honesty is if I liked it or not. So, did I like "Slice of life"? Yes. Vinyl and Octavia`s musical collaboration was pretty sweet, and sorry for sounding like a Derpy fanboy, but some of my favourite parts were the ones with Dr Whooves and Derpy. I liked that they gave a second chance to a pony that got of to a rocky start. I`d be lying if I said that I didn`t squee on the inside when she hugged Dr Whooves. Keep calm and trot on.

#mlp #fim #my little pony #friendship is magic #editorial #81scorp

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angrycollectordaze-me-blog · 5 years

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Paper代写：Consumer concept

本篇paper代写- Consumer concept讨论了消费者的概念。消费者，指的就是为个人、家庭或家用而非转售目的而购买商品或服务的个人，以及为个人目的而非商业目的使用产品的自然人。有关消费者的主体范围，有人认为其原则上仅限于自然人，不应当包括单位。单位因消费而购买商品或接受服务，应当受合同法调整，而不应当受法律的调整，也有学者认为消费者不仅限于自然人，还应当包括个人、家庭需要或者团体消费。本篇paper代写由51due代写平台整理，供大家参考阅读。

So-called "customers", in accordance with the "black law dictionary" explanation, refers to "for personal, family, or household to purchase goods or services rather than for resale purposes of individuals, as well as the purpose for personal and non-commercial purposes of natural person", "consumer rights and interests protects a law" of our country on the definition of consumer is "for the life consumption need to purchase and use goods or accept service", surrounding the definition, legal science of dispute mainly has two points: one is the main body of consumers is limited to natural person, legal person and social groups whether belong to the consumer; Second, the law only protects whether consumers' "life consumption" is reasonable and how to define "life consumption".

Some scholars believe that the scope of the subject of consumers is limited in principle to natural persons and should not include units. Because the unit consumption and to purchase goods or receive services, shall be adjusted by the law of contract, and shall not be affected by the adjustment of the consumer rights and interests protection act, also the scholar thinks consumers are not limited to natural person, shall also include individual, family or community consumption. The author thinks that, with the development of science and technology, especially the popularization of Internet application, the "customers" is limited to the scope of a natural person, has not adapt to the development of the society, is unfavorable to protect the lawful rights and interests of the parties. This is largely because, first of all, with the improvement of product information degree of specialization, although buyers access to information ability improved, but its ability to analysis, identify the information, but relatively declined, ordinary buyers cannot rely on its own judgment of product quality, buyers and producers and sellers with unequal power, and the gap is widening; Second, the rapid development of network technology, make the third party trading platform to expand our reach, consumption way of trading, compared with the past, great changes have taken place by traditional goods money both face to face to many kinds of way to trade, such as shopping, buying, etc; Third, the consumption concept and the end consumer main body also had a big change. As the change of consumption concept, the part of the product is belong to the "cost of living" there are different views, due to differences in income levels, different economic level of a natural person's understanding of life consumption is put in bigger difference, such as buying tickets to the theatre and watching movies, whether this kind of consumer behavior belongs to the "cost of living", different groups have different opinions. The end consumer body has also changed a lot. The end consumer body of watching movies can be personal consumption, family consumption, or group consumption. At present, the definition of "life consumption" mainly includes the standards of subjectivity and objectivity, rule of thumb and final consumption. From the perspective of fuzzy jurisprudence theory, some scholars used different mathematical models to explore the true meaning of "consumers". The theory of fuzzy jurisprudence holds that legal concepts are a fuzzy set. According to the theory of fuzzy jurisprudence, the extension of consumers is uncertain. The author thinks that in actual judicial activities, the fuzzy theory with the practice of justice of law makes little sense to accurate use of the concept of law, and the fuzziness of fuzzy theory of law philosophy is not conducive to adjust and standardize the social relations and citizenship behavior and damage the authority of the law.

As for whether it should be on the "consumer" standards "consumption" as the limit, the author thinks that in the existing "consumer rights and interests protects a law" and "food safety law system, will be limited to consumers" life consumption "is necessary. In view of the existing law has to the "customers" to "consumption" as the constitutive requirements of clear limits, before lawmakers did not officially launched legal modify the program, change or even completely deny the content of the original law violates the legal theory, more will damage the authority of the law, undermine its credibility. , of course, as I mentioned earlier, in view of the consumer in the process of payment and the diversity of the terminal consumer, and consumers and producers and operators of widening inequality status, can be considered in the "cost of living, to adopt a more broad standards.

The supreme people's court in the relating to food and drug administration disputes provisions on some issues of applicable law, the third rule: "because of the food and drug quality problems involved in a dispute, buyers to producers and sellers claim, producers and sellers to the buyers know food and drug quality problems and still buy on defense, the people's court shall not support", which will officially introduced the concept of "buyers" food and drug case. Economic legal relationship, the word "purchaser" first appeared in China's "anti-unfair competition law", since "consumer rights and interests protects a law", "food safety law and so on all use the term" customers ", compared to the consumers' rights and interests protects a law "and" food safety "of the word" consumer "and" buyer "and its difference is mainly manifested in the following respects.

First of all, analysis from the aspects of arts and explain, "the buyer" refers to the buying behavior of people, can be a natural person, can also be a family, company or other organizations, and "customers" refers to the purchase and use goods or accept services, as a general rule, be a natural person. According to "consumer rights and interests protection law", "customers" to "consumption" as the constitutive requirements, while the "buyers" without this limitation, productive consumption can still set up purchasing behavior.

Second, from the analysis, the purpose of the judicial interpretation issued by the supreme people's court was needed at the judicial interpretation, one of the agent is trying to introduce the word "buyer", expanding "consumer rights and interests protects a law", "food safety" "customers" in the applicable scope, the unified judicial practice in the "customers" identity when processing standard is not unified, and better protect the legitimate rights and interests of the parties.

Disputes over the scope of consumer application and the concept of life consumption have continued since the beginning of the law on the protection of consumer rights and interests. It led directly to the local courts deal with related issues facing difficulties with applicable standards, supreme people's court, the paper introduced a concept of buyers, is hoping to "consumer rights and interests protects a law" and "food safety law has not yet been incorporated into units, groups such as the main body into the category of consumers, along with all the demands of this kind of main body to maintain their legal rights and provide legal support.

In addition, as the change of consumption concept, determine whether the parties to purchase a commodity consumption life more difficult, the past decision criteria such as subjective and objective consistent said, the rule of thumb says highlights its limitations. Supreme law through the introduction of the concept of "buyer", on the one hand, in the protection of the legitimate rights and interests of the parties has expanded, on the other hand also indirectly to give the court more discretion, allow the judge according to the experience of the social life, the values of specific case judgment, to determine the purpose of the parties to purchase goods and its identity. In other words, the Supreme Court's action means the expansion and revision of past judgment criteria such as "rule of thumb theory".

To be sure, the regulations of the Supreme Court, in addition to outside the third used the word "buyer" and other provisions is the widespread use of the word "customers", thus, the judicial explanation of indirect adopt the concept of general consumers, so that consumers and buyers tend to be uniform on the connotation and denotation. This means that as a "consumer" constitutive requirements of the standard of "cost of living", in fact, be able to expand, the past was left out in the consumer behavior of so-called "know the fake fake" behavior, included in the cost of living. Although this increases the buyers to according to the risk of malicious litigation, but relative to the national security of food and drug safety and health, standard and orderly market order maintenance, clearly the law is more focus on the latter.

For strengthening the protection of consumer rights and food and drug administration, the Supreme Court to know fake fake person included in the main body of civil compensation claim, but the concept of "consumer" and "buyer" coexist, could trigger for the judicial interpretation of new question: does not exclude the district court in the courts of the above two concepts still discriminate, make to the understanding of consumers and return to a narrow level, thus breaches the original intention of judicial interpretation. Of article 4 of the regulations, for example, "the food and drug producers and sellers provide consumers the gifts of food or drug quality and safety problems, causing damage to consumers, consumers claim, producers and sellers of gifts for payment of consideration by consumers of the defense, the people's court shall not support", some people think that the right subject of here since be expressed as "customers" rather than "buyers", means for buyers is not used for personal consumption, if its accept gifts of faulty cause person damage outside of its oneself, the buyer cannot claim; However, the victim has no contract with the food and drug producers or sellers, and can only claim product liability without the right to file a contract lawsuit.

The author suggested that the supreme people's court is necessary to further clarify the regulations in the application of the relevant concepts, and the burden of proof of the parties to make principled regulations, unifying the court's judgment standard. At the same time, in the determination of "life consumption", the judge is given more discretion, so that he can flexibly deal with the new problems in food and drug consumption cases.

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megamikethomson · 5 years

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Georgia toffolo on dropping herself after i’m a movie star, new relationships and why she’s bffs with boris johnson’s dad

last christmas day, in the early hours of the morning, georgia toffolo was on a four-hour road experience to her mum’s domestic in devon while she became too exhausted to pressure. She pulled into a carrier station, switched off the engine and closed her eyes. “i don't forget wondering: ‘i want to get domestic for christmas,’ but i was so worn-out,” she sighs. The 25-12 months-old joined itv’s this morning, offered at the ntas, landed a magazine column and designed a sixteen-piece line for undies emblem with love lillycredit: mark hayman jumpsuit, £49. Ninety nine from mango — buy now polo neck from primark— purchase now jewelry, £6 from river island — buy now boots, £90 from river island — buy now

“i had a half of-hour nap then arrived domestic for christmas day at 3 within the morning. That’s no longer regular. I must were home the day earlier than however i’d been working,

"then all christmas day i was so distracted and actually no longer nice employer. And that i went lower back to paintings on boxing day.”

winning i’m a movie star… get me out of here! In 2017 catapulted georgia, aka toff, to celeb heights beyond whatever she’d skilled on e4’s made in chelsea. In addition to countless media interviews celebrating her jungle victory, toff, 25, joined itv’s this morning as a reporter, supplied behind the scenes at the ntas, landed a mag column, designed a sixteen-piece line for lingerie emblem with love lilly and made her acting debut in an animated remake of the grinch. Georgia toffolo on losing herself after i'm a superstar, new relationships, and why she's bffs with boris johnson's dadcredit: mark hayman top from warehouse — purchase now skirt, £15 from pass over selfridge — purchase now jewelry from river island — buy now boots from river island — buy now

that’s on top of being signed because the face of favor logo very. Co. Uk and beauty powerhouse dermalogica, turning into an ambassador for amazing british racing, penning her autobiography constantly smiling and launching her very own youtube channel tofftube – in addition to continuing to megastar in mic. By means of remaining december, bodily and emotionally exhausted after grabbing “so many exquisite opportunities”, bubbly toff – who turned into so famous with i’m a superstar! Visitors that 71% voted for her to win – started out fading away.

“i think a touch little bit of my personality become misplaced,” she admits. “i’d be in a room however not be there due to the fact i used to be so worn-out. Ultimate yr i was running all of the time and work changed into over[powering] everything. Thank goodness my buddies and circle of relatives had been so supportive, and in fact pretty forgiving.”

nearly a 12 months on, the toff at our shoot is a one of a kind kettle of fish absolutely. She’s scaled returned paintings commitments and now simplest accepts projects that sense “real”. It is clear toff is still reigning very best as she pointers at a publishing deal and is bursting with ideas for her youtube channelcredit: mark hayman coat from reserved — purchase now sun shades, £7. 99 from reserved — buy now earrings from river island — purchase now

she attempts to hold her weekends paintings-loose, enjoys nights out with her friends again and doesn’t beat herself up over the occasional cover morning.

“ultimate yr if i’d achieved that i’d have concept: ‘oh my god, what’s wrong with you?’ the guilt that i used to be carrying all of the time…” she shakes her head with disbelief at how the balance become once so wrong. And now?

“i’ve honestly realigned the whole thing so that my personal happiness is on a par with my happiness inside my paintings lifestyles,” she says. “i’m toff once more.”

quitting mic last august after four years of sharing each spit and cough approximately her private lifestyles become, she admits, a calculated move to defend her intellectual fitness. 'i am toff again'

“i cast my profession out of giving the whole lot. While i was 18, 19, i didn’t provide a s**t. We signal our contracts and say: ‘we are able to provide you with our entire life.’

but now i don’t recognise whether being public property is conducive to being mentally satisfied. I just need to live happy and healthful in my mind. I’ve come to the conclusion that you have to maintain a bit bit for yourself.”

that “little bit” is her rumoured new courting with millionaire aristocrat george cottrell, aka “posh george”, a former senior advisor to nigel farage and deputy treasurer for ukip who spent 8 months in an american jail for cord fraud after explaining to undercover cops how cash could be laundered. He become released from prison in 2017. Toff and george, 26, reportedly met in march at a social event, however neither have confirmed or denied their relationship, regardless of pics aplenty suggesting they're together. As a teenager stunner toff suffered from horrible acne and become a target for bulliescredit: mark hayman

“i’ve attempted so hard to shield that part of my life. I simply feel as although i don’t want to talk approximately it,” she says, firmly. “i’m simply very satisfied in my private existence and i don’t want that to change.”

perhaps her reluctance to open up is also rooted in an awkwardness over george’s debatable beyond. In comparison to her other high-profile boyfriends, namely mic co-stars james taylor, james middleton and richard dinan, plus chelsy davy’s ex, jeweller charles goode, toff’s state-of-the-art suitor seems a bit much less clean-cut.

“i’ve by no means absolutely desired to talk about it… any time,” she insists. “i’m certainly sorry. I hate speaking about this.” difficulty closed. Her selection to take anything care essential to safeguard her mental health is understandable. Truth tv has confronted unheard of scrutiny this yr following the suicide of a visitor on the jeremy kyle display and the deaths of former love island contestants mike thalassitis and sophie gradon. I cast my career out of giving the whole thing. Georgia toffolo

in might also, the government released an enquiry into reality television’s duty of care to members, which includes assessing the psychological help offered to them by using manufacturing companies. Quickly after she joined mic in 2014, executives referred toff to the show’s psychologist when she found herself at a crossroads – whether to proceed with a law degree on the college of bristol or stay with television tube. She selected the latter and transferred to take a look at politics at the college of westminster, however she feels no uneasiness about her years baring all at the fact display. Even being dumped on small screen television is regarded thru rose-tinted glasses.

“all of us bloody realize how it hurts while you’re dumped or if a person runs off with a girl that you don’t like, and that i wouldn’t alternate it for the world because it’s made me have an appreciation for the u. S. And downs which can be inevitable throughout your 20s,” she laughs.

"high-quality, i did do mine in a genuinely bizarre public way, but i just wouldn’t trade it.” toff is also a lady dominated by means of her heart. It’s why the previous scholar of £30,000-a-12 months blundell’s boarding college in tiverton, devon, ultimately threw within the towel on university. Toff has banked a suggested £1. 8million since leaving the i'm a celebrity jungle in 2017

2 toff has banked a stated £1. 8million considering the fact that leaving the i'm a movie star jungle in 2017credit: getty - contributor

“thank god i did. 8million considering that i’m a superstar! She’s still obsessed with politics, although, and joined the conservative celebration as a youngster, however in recent times now attempts to be “as nonpartisan as possible”. What’s modified? “it’s tough because i’ve been really aligned with the conservatives, but i’m the primary to say that there are so many things i don’t trust,” she explains. “i suppose → the conservative birthday party could be very conventional of their thinking, so i wish they would modernise.

"when you have a look at westminster you suspect of it as faded, male and rancid and i hate that so much. What the ones human beings are talking about goes to have an effect on me and our generation a lot more than the fuddy-duddies in there.

"i might have greater young people in politics with hundreds of really different, out-there perspectives.” georgia is her rumoured to be in a brand new relationship with millionaire aristocrat george cottrell, aka 'posh george'

2 georgia is her rumoured to be in a new dating with millionaire aristocrat george cottrell, aka 'posh george'credit score: bguk

does that no longer make her, as young and lady, the right candidate for becoming an mp? She shakes her head. “i like what i do too much. Why might i alternate that during? Politics is so divisive. I simply want people to engage and have their own viewpoints.”

one mention of brexit and he or she winces. “oh my god. Christ, i don’t recognize,” she says, taking an urgent swig from her bottle of water. Firstly a remainer, she sooner or later switched allegiance and became firmly supportive of england leaving the ecu.

“i need human beings to be assured in our united states once more. I'd have been a remainer but i trust in democracy – 17. Four million human beings voted to leave.”

boris johnson could be chuffed. When she left the jungle, toff became called “boris in a bikini” – it’s a tag she nonetheless consists of round and thinks is “hilarious”. Given her former camp mate and close buddy is boris’ dad stanley johnson, 79, has she had an opportunity to speak about the funny story with the pm himself? Boris' dad stanley johnson is a regular at toff's mythical sunday lunch events

“i haven’t delivered up that word exactly. I’m sure he’s examine it,” she laughs, going coy when asked if she and bojo are pals. I understand boris, yeah. I haven’t visible him for the reason that he’s been prime minister but… yeah.” toff’s now not so coy approximately her bond with stanley. While she got the keys to her new one-bed room basement flat 10 months in the past, stanley turned into on your doorstep inside the hour. He’s additionally a regular at her legendary sunday lunch parties or even seemed in a few episodes of mic, such were toff’s powers of persuasion.

Toff and stanley united once more in channel 4’s superstar hunted in aid of get up to cancer – a reason she is obsessed with because of her eighty two-12 months-vintage grandfather bertie’s ongoing battle. And the duo’s stint on movie star gogglebox in advance this year had the nation in stitches, no longer least the episode when they have been filmed watching a steamy sex scene from ‘80s mystery deadly enchantment. The distinction in my happiness and confidence… i will’t positioned it into phrases. Georgia toffolo

“oh don’t, i died!” roars toff, burying her face in her fingers. “it become so awkward! And that i made them promise they wouldn’t show whatever untoward!

“i was a chunk concerned that there would be a ‘earlier than’ boris become pm and ‘after’ chapter of our friendship, and when we were at the run [for celebrity hunted] stanley stated: ’i assume i’m going to close down my twitter and forestall doing some of these stupid small screen television matters.’

the next week [he was] tweeting, instagramming and taking place the television tube. I notion: ‘thank goodness, you’ve now not changed one bit.’”

toff again to ozultimate yr to film i’m a celeb! Greater camp, however in line with reviews fell out with show host scarlett moffatt after scarlett made her sense “unwelcome and victimised”. Such became the severity of the feud, toff flew home and missed out on crowning jungle king harry redknapp. Triumphing i’m a movie star… get me out of here! In 2017 catapulted georgia to celebrity heightscredit: james gourley/shutterstock

“if i’m absolutely sincere, i didn’t have a completely nice time in australia and i used to be pretty unhappy about that due to the fact i glaringly had such brilliant reminiscences the year earlier than,” she says. “it changed into very tough.”

because of scarlett? “i don’t need to mention, however my enjoy in australia wasn’t very fun,” she says. “it was very sudden due to the fact, via nature, i do get on truely nicely with every person.”

the only child of her assets developer mum nicky, 53, and scrap metallic enterprise proprietor dad gary, fifty four, who split whilst she become a toddler, as a teenager toff suffered from horrible pimples and changed into a goal for bullies, who shattered her self belief. Before getting into the jungle, she turned into so self-conscious about her complexion she siphoned bottles of estée lauder double put on into a large micellar water bottle – her one luxury item. 'very tough'

the night earlier than filming started out, she was knowledgeable camp mates would best be reunited with their gadgets after winning responsibilities over a count of days. Toff informed bosses she wouldn’t be taking element.

“i was like: ‘no, no, no, no.’ i burst into tears and said: ‘sorry, i'm able to’t do it.’ i got my mum to get all my docs’ notes about my pimples for the past 10 years,” she recollects. “[then] they stated: ‘we do believe it’s a medical difficulty, we’re going to can help you placed on your double wear as soon as an afternoon in the morning,’ and i did. Thank god.”

nowadays, she arrives for her interview make-up-unfastened, some thing she says wouldn’t were viable a year in the past, and credit the transformation to a “virtually strong skin care routine”, ingesting lots of water, cutting out dairy and decreasing stress.

“i appearance in the mirror and in reality like what i see. If you’d have informed that to my 14-12 months-old self, i wouldn’t have believed you. I might have idea: ‘this is a lifelong problem you’re going to have – you’re going to be embarrassed, hate your skin and that’s the quit of it.’ she siphoned bottles of estée lauder double put on right into a giant micellar water bottle – her one luxury item, while at the showcredit: rex capabilities

“and but i’ve just accomplished an interview with terrifi mag with out a makeup on! The difference in my happiness and confidence… i'm able to’t placed it into phrases.” as toff teeters closer to 2020 there’s plenty more to smile about. Next saturday she finishes her stint as a roving reporter for amazing british racing at huntingdon iciness ladies’ day, where she may be focusing at the horses and their adventure from the stables to the place to begin.

“it just doesn’t sense like paintings,” she says. “girls’ day at chester has been my favourite. I love the fashion that is going with racing, however you don’t should spend a fortune. Beauty good buy lady bags herself £a hundred of makeup revolution merchandise for simply £30 at b&m

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naked necessity mum transforms conservatory into epic jungle smooth play vicinity for below £500

what a alleviation mum famous amazing tip for cleaning ‘ruined iron’ the usage of 29p paracetamol

aisle be damned visitor wears tiny white dress to wedding and you could ‘almost see her crotch’

pants concept sideflank is the new sideboob, however you cannot put on knickers to tug the appearance off

so inside the morning i went and purchased my whole outfit from a charity keep in chester. I spent £30 on everything, along with my bag!”

she pointers at a publishing deal to write a jilly-cooper-esque novel (“can’t let you know. Maybe!”) and is bursting with ideas for her youtube channel. Upload in a new home, man and outlook, and it’s clean – toff’s nonetheless reigning excellent.

● comply with @greatbritishracing for georgia’s record from huntingdon on saturday. Go to gbraci. Ng/toff

the final…

e-book you read? Sweet sorrow by david nicholls. I really loved it. Field set you binged on? The thick of it. I’ll watch box units on a hangover day. Movie you suspect? Up in the air with george clooney. Time you were drunk? Saturday night. Champagne doesn’t deliver me a hangover, are you able to believe? However it’s so expensive. Whatsapp message? Mum. My ex-headmaster known as her up asking me to retweet something. I imply, what the f**k? I left faculty seven years ago! Time you cried? I cried the complete manner via approximately time. I’m a sucker for a richard curtis movie. Hair: dino pereira the usage of kiehl’s considering the fact that 1851 magic elixir makeup: aimee adams the use of zoeva styling: nana acheampong

#boxing day #https://boxingday.in/#http://boxingday.in/boxing-day-definition/#http://boxingday.in/boxing-day-in-london-uk/#http://boxingday.in/boxing-day-premier-league-fixtures/#http://boxingday.in/boxing-day-2019/#http://boxingday.in/do-americans-celebrate-boxing-day/#http://boxingday.in/boxing-day-in-australia/#http://boxingday.in/boxing-day-soccer-tradition-in-england/#http://boxingday.in/boxing-day-in-uk-and-england/

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albinohare · 5 years

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Back to basics: Offshore sailing by celestial navigation alone

Navigating by sun and star in the electronic age is a big challenge. Andy Schell describes a voyage of discovery

Star sights need a visible horizon, which you only get at dawn and dusk. Photo: 59 North

I have tattoos of a rooster and a pig on my feet. They’re meant to protect me from sinking. I have a nautical star on my forearm, so I can always find my way home. I wear red pants at boat shows and lectures. I have a passion for the traditions of the sea.

Celestial navigation tops them, with its blend of romantic art and practical science. Since I first read Bernard Moitessier’s book The Long Way, long before ever going offshore myself, I’ve wanted to cross an ocean using only sun and stars as my guide.

In the spring of 2017, sailing north from the BVIs to Bermuda with the ARC Europe fleet, we raised the stakes – we’d sail the route on our Swan 48 Isbjörn navigating entirely by celestial means. We wanted to see if we could do it.

Isbjörn carries electronic equipment, but the crew revelled in navigating by the stars. Photo: 59 North

I first learned celestial navigation ten years ago from John Kretschmer at a workshop he hosted at his home in Fort Lauderdale. John is the reason I pursued a career on the ocean. He’s well known to most sailors in America and made history in 1984 when he sailed a Contessa 32 called Gigi from New York to San Francisco the ‘wrong way’ round Cape Horn, an adventure that is immortalised in his book Cape Horn to Starboard. The very day that Gigi rounded the Horn, 25 January 1984, was the day I was born.

During the weekend workshop I got to practise taking morning sun sights on the beach with the old Freiberger sextant that John had used to navigate around the Horn on that famous voyage.

John described celestial navigation in romantic terms, explaining it in a way that made it as inspiring as it was understandable. Here was someone who spoke my language, the language of the great sailing romantics like Moitessier and Sterling Hayden. John made celestial bigger than just navigating for, after all, the likelihood of a modern day sailor actually needing celestial is effectively nil.

Article continues below…

‘Did you sail that thing here?’ – solo across the Atlantic in a Folkboat

It’s a funny thing, the further I sailed away from northern Europe, the more attention my boat attracted in marinas…

Life-changing voyage: Sailing solo across the Atlantic in a 22ft sloop

On a cloudy midsummer afternoon, my best friend, Harry Scott, and I waved goodbye to our worried mothers and sailed…

Time is everything

“Has the boat motion really settled down a lot or am I just feeling better?” Tom, one of our crew, asked on the second morning of the passage north from Tortola.

He and Cheryl had the watch and were at the helm while the crew was gathered in the cockpit for the day’s noon sight. I led the process while eating a bag of corn chips in an effort to stave off the early-passage mal de mer. Thane had the sextant and Mike was note-taker and timekeeper.

“Is it the 8th? What’s today?” asked Cheryl. “It’s the 7th today, isn’t it? Or no, it is the 8th,” I replied, not so confidently.

Isbjörn is a particularly well-travelled S&S Swan 48. Photo: Tim Wright

Normally on an ocean passage the days really don’t matter. Not so when you’re using celestial navigation. A four-second error on the time you took the sight equates to a one-mile mistake in determining the sun’s geographic position. Time is everything.

Isbjörn had departed Tortola with the ARC Europe fleet and we’d initially sailed west down Sir Francis Drake channel, rounding Jost van Dyke to starboard and pointing the bow for Bermuda. The boat galloped north at first, carrying the easterly trades on a rhythmic swell under hazy skies. Our dead-reckoning plot was easy to keep track of as Isbjörn beam-reached up the rhumb line, full sail flying, at eight knots.

At just shy of 1,000 miles, the passage to Bermuda is long enough to find your sea legs, but short enough to forego that 5 o’clock cocktail without regret. The Gosling’s Family Reserve in Bermuda is worth waiting for anyway.

Photo: Isbjörn Sailing

But the Trades faltered sooner than we all wanted them to. Through the winter in the Caribbean, Mia and I had got so accustomed to sailing in 20 knots of breeze with small sails that it felt rather odd when we first sailed into an area off the coast of northern Florida more affected by continental weather than the tradewinds and lost the breeze for the first time in months. A weak cold front passed overhead and suddenly Isbjörn was on port tack.

Secret GPS positions

We had to eliminate the nearly-impossible-to-avoid GPS inputs while still maintaining some semblance of safety. The old Garmin chartplotter’s GPS antenna had given up the ghost, so we didn’t have to worry about that, or the VHF, which was integrated to it.

We had an AIS app on the iPad that allowed us to see targets around us and their CPAs, streamed wirelessly from the built-in Vesper XB8000 transceiver, but that would hide our own position. We had a paper passage chart, bound copies of the Nautical Almanac and the Sight Reduction Tables for Air Navigation.

Mia would keep a secret GPS record in a separate logbook in case of emergency. Ironically, friends and family following the rally from afar would know our position more accurately than we would through our YB tracker.

Thane had signed up for the passage in spite of the celestial navigation part of it, not because of it. He was an experienced offshore sailor, having sailed across the Atlantic westabout, double-handed with his wife, Brenda, on their Bavaria 37.

“Holy smokes, this is so cool!” he exclaimed the first time he managed to grab an evening twilight star sight.

Getting a reliable sight from the sun is tricky when it’s hazy or overcast. Photo: 59 North

The sun had only just sunk beneath the horizon to port. The western sky was painted an array of pinks, yellows and oranges, while overhead blue faded to black as night approached to starboard. If you looked hard enough, you could just make out the evening’s first stars. We were in that ethereal slice in time photographers call the magic hour and navigators call civil twilight.

Thane had used the ‘no scope, two eyes open’ approach on that first star sight that Moitessier had used on Joshua. ‘I felt that I was becoming an expert in taking star sights since I discovered that it can be done without the telescope, keeping both eyes open,’ Bernard Moitessier wrote in his book Cape Horn: The Logical Route.

‘In this way, a star can be brought down to the horizon because the latter can be seen quite clearly with both eyes open. It is impossible to do this properly while looking through the telescope where the horizon always looks hopelessly blurred. In my innocence, I thought I was the first to discover this method…’

During our one-day crash course in Tortola, I’d described to the crew this method in theory. With one sight that evening, on the rolling deck of a boat at sea where the accuracy of his sight had real-life consequences, Thane had instantly and enthusiastically bridged the gap to celestial in practice, experiencing the same joy of discovery that Moitessier had uncovered and written about some 50 years earlier. ‘Even the best navigators are not quite sure where they’re going until they get there, and then they’re still not sure!’

Sextant sights provide the raw data – you then have to try to work out where you are. Photo: 59 North

Breadcrumbs in the wood

Traditionally, navigation was about keeping a detailed record of where you’d been in order to plot a course to where you’d like to go. Hansel and Gretel knew how to navigate – the breadcrumbs-in-the-forest trick was the fairytale version of dead reckoning.

Navigation was rooted in superstition. Never did a sailor tempt fate by arrogantly declaring they were sailing ‘to’ a faraway port; it was always ‘towards’. This thinking contained equal doses of humility and flexibility that the modern navigator ignores at their peril.

Teaching celestial navigation in a modern context, then, involves filtering fundamental concepts through a particular lens. Take latitude, for example. It’s derived by taking a north-south cross-section of the earth and extending lines from the centre outwards, like spokes on a bicycle wheel.

AIS app on an iPad provides information on other vessels. Photo: 59 North

Where those spokes intersect the surface of the earth creates a given line of latitude, which is drawn on the earth’s surface around the world horizontally. The degrees between lines of latitude on the surface are actually the angle between those bicycle spokes.

Nautical miles on the surface of the earth, then, correspond to those angles. Everyone knows that one minute of latitude is equal to one nautical mile, and that 60 of these make one degree of latitude. But have you ever stopped to think how far a nautical mile is on the moon? Or on Jupiter?

A nautical mile on another planet is still derived in exactly the same way, but it’s the body’s circumference that determines the actual geographic distance of it on the surface of that body. A statute, or land mile, is contrived. A nautical mile is an elegant expression of geometry.

Dive a little deeper. The distance on the surface of the earth from 0° to 231⁄2° North, for example, is 60×23.5 or 1,410 nautical miles. It’s also 1,410 nautical miles from the moon’s equator to 231⁄2° north on the moon, but the distance as measured in feet or metres is much shorter because the moon isn’t nearly as big.

That 23 1⁄2° North, by the way, is the Tropic of Cancer. The Tropic of Capricorn, conversely, lies at 23 1⁄2° South. Those aren’t just made-up boundaries: the geographic tropics are de fined naturally by the limits of the movement north and south of the sun’s declination throughout the year as it traces a sine curve from season to season, due to the tilt of the earth.

The other half of the sun’s geographic position (GP) – longitude, or Greenwich Hour Angle (GHA) in celestial parlance – is directly convertible with time and changes by the second. The sun’s GP travels westabout through 360°, right around the earth, in 24 hours, or 15° per hour.

Logically, then, I can predict the sun’s GHA in my head if I know the time in Greenwich, 1400 UT, for example, would put the sun about 030°. GHA, unlike longitude, is measured through 360°; the sun can never travel east, after all.

In simplified terms, when we take a sextant altitude of the sun we’re creating a right angle triangle between it, the earth’s surface at the GP, and ourselves. Grade school geometry tells us that the two angles in a right-angled triangle must equal 90°.

Celestial navigation is very much a team effort – one crew member takes a noonsight while another notes the figures

So, the complement to the altitude projects an angle from the sun onto the surface of the earth which, just like in the latitude example above, can be converted to nautical miles. After accounting for the sun’s declination north or south, depending on the season, this is precisely how we get our latitude from a noon sight.

A single sextant sight produces a giant circle of position, with the complement to our sextant altitude describing the radius of the circle, the GP at its centre. If we had a large enough chart, and an accurate way to take a compass bearing towards the GP, you could plot this using the simplest of fixes, bearing and range, to pinpoint a position on that circle. Alas, we have neither.

So, in a nutshell, modern celestial using the Sight Reduction Tables for Air Navigation (Pub. 249 in the US), allows us to compare the sextant reading from our unknown location at a known moment in time, with a sextant reading from a known location that’s somewhere in our neck of the woods, called the ‘assumed position’, and plot the difference on a chart, producing a single line of position that just so happens to be a tangent to that larger circle of position… Deep breath!

In reality, none of this is important to the modern GPS navigator. But – and here’s why I love teaching celestial navigation so much – these Eureka moments about geography and geometry and the basic understanding the fundamentals of celestial makes everyone a better navigator, whether you actually ever pickup a sextant or not.

The ocean felt deserted. There were no other boats to be seen, and no more flying fish. No dolphins. Nothing but the routine.

I don’t stand a watch on our Isbjörn passages, instead maintaining a more traditional captain’s role, overseeing the big picture and forever on-call should the crew need me on deck. Again, I’m modelling Moitessier.

He wrote once that when the weather is nice and things are going well, the captain can sleep for 36 hours if he wants. On the other hand, when the weather is bad, and stress high, the captain must remain at the helm indefinitely.

When things are good, I’ll often take half of Mia’s nighttime watch. There’s something about being alone in the cockpit at night. It’s precisely why I go ocean sailing.

Sunrise and moonset

I relieved Mia pre-dawn at 0400 and settled in for my two hours outside while the crew slept. Firmly into the mid-latitudes, and after another clearing frontal passage, the sky had lost all its Caribbean moisture and haze, replaced by a clarity in the air rarely seen ashore.

The glimmer in the east came early that morning. In opposition, the full moon casually and simultaneously sank lower on the horizon. I couldn’t decide where to focus my attention; I wanted to witness that first glimpse of the sun piercing the eastern horizon, but didn’t want to miss Mr Moon dipping ever lower in the west.

Isbjörn sailed on a northerly zephyr and an oily sea, forcing me to concentrate on the helm in order to maintain her momentum, but distracting me from that beautiful sunrise and moonset. It was very fine light-air sailing, but there were troubles with celestial. Where were we?

We’d forgotten to account for the apparent altitude when taking the noon sight the day before, a correction to the sextant angle that’s applied to account for the refraction of the sun’s ray’s in the atmosphere. The log read 581 miles sailed since leaving Tortola when I wrote in the logbook on the morning of 10 May, our fourth day at sea. It had been overcast the day before, so difficult to take any sun sights, and the ones we did get were off.

Photo: Isbjörn Sailing

To boot, we’d gone 12 hours overnight, sailing well east of the rhumb line, close-hauled on a light northerly, which didn’t allow us to lay the course.

Non-sailors assume celestial is about navigating by the stars, at night. It’s not, of course – star sights do the job, but you need a visible horizon, which only happens at dusk and dawn. So it’s down to Mr Sun, who guides you most of the way, and on cloudy days Mr Sun is hard to find. You’re always sailing blind at night.

No matter. At 0300 on the morning of 12 May, just before the dawn of our sixth day at sea, Gibb’s Hill Light on the south-west corner of Bermuda hove into view right where we expected it to. The log read 838 miles sailed.

Accurate enough

Celestial navigation had gotten Isbjörn to Bermuda, legitimately, and with a crew of amateur sailors, two of whom had only just learned the methods literally the day before departure. I’d always wondered if we could do it, and now I know.

It’s certainly not a practical, efficient means, by anyone’s reckoning. They say that ‘close only counts in horseshoes and hand grenades’. And in celestial navigation.

Andy’s tattoos reflect his love of nautical tradition

The interesting part is that, without a GPS, we never really knew how accurate our sights were, and we still don’t. In the end Gibb’s Hill Light appeared where we expected it to. Our sextant sights, DR plots and LOP reductions were accurate enough to get us there successfully.

Nobody cared whether our individual LOPs throughout the trip were within two miles of our GPS position or ten, and the crew enjoyed stargazing at night, quickly forgetting the chartplotter gazing we’re all so used to.

Not unlike Heisenberg’s famous principle, perhaps the most profound irony of modern navigation is that the closer we get to perfect GPS accuracy, the farther we get from ever knowing where we truly are.

About the author

Andy Schell and his wife, Mia Karlsson, sail 10,000 miles per year on their S&S Swan 48 Isbjörn, taking paying crew on ocean passages in the Atlantic, Arctic and worldwide. Andy also hosts the On the Wind sailing podcast on his website (59-north.com) featuring interviews with well-known sailors from around the world.

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