#Cinematography 4K

[shortlystudio]

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[cinepughs]

starring emma stone ✰ poor things (2023) dir. by yorgos lanthimos

[of-two-lands]

43°40'39.8"N 4°37'49.7"E

youtube/oftwolands

www.oftwolands.com

[gossip-girl-of-middleearth]

Apparently they’re making a live action How To Train Your Dragon movie

How do we uh… all feel about that?

[andresylupin]

went to the cinema yesterday to see The Name of the Rose, which I had seen only once before, like ten or twelve years ago, and it was such an incredible experience to rediscover that film, and since i was in the mood i decided to start watching the new adaptation that came out a few years ago as a tv series and. it's a different experience for sure. i'm only 25min in, so i'm not really forming an opinion just yet, but i'm having thoughts. (also Michael Emerson is here, as the abbot, which surprised me because based on what i know about the character, it doesn't seem to require that "little freak" vibe that emerson has, but i am glad to see him there!)

also i have never read the original novel, which i'll rectify in the very near future.

[xyrw]

Working with colors is the best thing ever happened to me because y’all… the way you can create absolutely different vibe just from changing a few colors is insane. Love it so much!

Also this art was made inspired by “Peculiar and Beautiful” audio I listened to recently. First time I heard it when I was like 13 and my brain chemistry was altered forever lol.

[breonnick-digital]

Bushy.

[stormofneurosis]

*ahem* let me be COmpletetely NOrmal about this for a minute

Take a good look at the 4K crowd shot. Swap between that and the HD one. Do you notice anything? It's subtle, but I bet you can feel something odd, about how your eye kind of slides away from things in the 4K image.

Who's the focus of the 4K image? You know.

The problem with 4K and its' ilk, it's so visible right here.

Focus. Too much Focus.

Look at something with your boring human eyes, what do you see?

is it a single point with everything a little fuzzier at the sides? Not by much, but the thing you're looking at is clearer. Do you know what that is?

it's focus.

The problem with 4K that people seem to skip right over is that it gives the background way too much focus, meaning our brains struggle to figure out "what am I meant to be looking at here" a.k.a. "what am I meant to be focusing on". This isn't just a little thing, it produces a MASSIVE disconnect between the viewer and the story. The viewer CANNOT parse everything in a single shot. You cannot look around your room and know everything all the time. Sure you can know the layout, and where your things are. You may even notice if someone moved it or changed a colour, but you don't look at it all at once or all the time.

The same way beats of silence or low intensity music, or filler episodes in shows, or quiet scenes in action movies, our brain needs these unfocused areas to put everything into context. Think of the classic shot where something is in focus and something is blurred in the background, then the focus pulls to the thing behind it, like we would when we look at things.

I also want to make it clear that these are not faults with the cameras. Cameras still use lenses, and those shooting these shots know how to do this, but a demand from on-high to make everything crisper is the problem.

Have you ever watched a 4K scene and been left cold, wondering why the story didn't feel real anymore? it's because that crisp constant focus lets us see the boring realities in any shot, the ones a slightly less crisp focus point lets our brain fill in without seeing it. I remember VIVIDLY seeing the Helms Deep fight in 4K, and it went from a mystical moment of chaos against a foe to "the kids are muddling around the treefort again" because I could SEE the shifting of the actors as they waited juxtaposed with the perfect stillness of the AI when it wanted to wait. The human element made it earthly rather than fantasy

It was even worse in the Hobbit with the increased framerate. I don't need every blade of grass visible to me, because my brain literally can't find the focus point, and as a result the one I watched in that elevated framerate is just a mess of nothing. The only moment I can recall much of anything about is when they're in the barrels, and that's because of a greenscreen behind-the-scenes

Please!

Stop making everything so crisp

it's ruining the way you tell your films

I am in love w the way pre 2000s films have that hazy feel to them. hd honestly kills the vibe

[digitalagepulao]

My sincere Black Myth: Wukong review

Full disclosure! This is from a recent but earnest fan of JTTW as the original novel, as well as all the social, cultural and religious layers of it. I've seen my fair share of adaptations and derivative media, from shlocky to silly to grimdark to cutesy. I'm a bachelor in visual arts, with an interest in the field of game development since high school. I am also, white and brazillian, and have talked with other jttw fans, both Chinese and not, on this game. If any of these are for some reason motive to not read further, then fair enough. Hope you have fun and continue to enjoy the game, do not let me or my opinion stop you!

Now to the review proper <3

First things first, let the obvious not remain unsaid. This game, is supremely gorgeous. In every sense of the word, and I mean this fully, it's a work of art. The sound design, the character concepts and execution, the animations, the voice acting, the visual effects, the UI design, the cinematography, the 3D scanning of actual historical artofacts and heritage sites throughout China, and everything beyond and between, are phenomenal, full stop.

This was never a debate, I'm sure, but I don't think I can in good conscience not praise them for their work. It's no news that Asian talent, not just in China either, have been often hired to supplement projects on the West, and we can all agree it's about time they got to shine in their own AAA project. My issues with the international game industry notwithstanding, I hope this brings some much needed acknowledgment and appreciation for Chinese culture and arts, both traditional and modern!

Now, from this point on, THERE WILL BE SPOILERS, so proceed with caution!

(word count: +1.8k)

I also deeply enjoy their choices in arcs to revisit. Some like the Flaming Mountain arc are classic picks to adapt but still a very good match to the whole Six Senses throughline. I don't think you can do a JTTW 2 electric bogaloo without bringing up Niumowang and his family in some way (um, put a pin on that), but the other arcs like Yellowbrow or Black Wind Mountain aren't as explored imo, so it's nice to see them being given a bit of a spotlight.

(speaking of the Yellow Ridge arc, whoever made the executive decision of Lingji Bodhisattva being a Xaanxi singer is, genius!!)

I'm also kind of in love?? with Bajie's design and role in the story overall?? Gameplay wise he sticks around just enough to not feel lonely, but not too long to be a nuisance or overstay his welcome. He's no Atreus (GoW) or Ellie (TLoU) of course, but he doesn't need to be, and most importantly, he isn't trying to be, which I feel is admirable of the devs. Given the visible inspirations from the recent God of War games, it would have been easy to lean a bit too hard on it, but I'm glad they didn't overreach.

Him having a more complex love life is also a nice touch imo. It explores more his womanizer ways in an interesting way, and I appreciate it. I love when people complicate the pig! Also, the way he treats Xiaosheng (Destined One) like a nephew?? The scene on the Huaguoshan throne??? I'M GONNA CRY!!!

I think, I've run out of positive things to say.... time for the spicy takes.

I, kind of detest the premise by default. I'm not a big fan of "Superman is Dead" plots, cus it's usually either done for shock value, or taken so lightly that the weight is totally lost. I have such a love-hate situationship with the introduction cutscene because of this. On one hand, it's phenomenal cinema, and seeing Wukong stand up to the Heavenly armies in glorious 4K high fidelity graphics is delicious. On the other hand, the whole debate they are having has me going "?????", not because I don't get it but just, why?? Why did this have to be the premise?? (put another pin on that)

Also the set up and call to adventure is kind of blergh.

Now is as good a time as any to talk about the gameplay. It's, okay. If you enjoy trying to figure out the most stylish combos, or to mash buttons, then you'll definitely have fun. I was sorely disappointed that I pretty much have been going through the bosses rather easily. Chapter 1 it was mostly the struggle of learning the controls, but I never stuck to a boss for longer than seven tries (Whiteclad Noble, the snakeman that you are). Chapter 2 I only struggled on Tiger Vanguard, because I was sorely underleveled and had missed a pathway to explore before him. After that I second tried him. Chapter 3, I have and I'm not joking, gotten halfway through first or second trying every boss.

Mind you, this is not being some godtier gamer or whatever, I'm pretty average and only a recent player of soulslike games too (maybe playing Lies of P made too OP, but I sincerely doubt it lol). No, this is me saying that if you do explore the game and not rush through it, you won't struggle nearly as much as some people have and still are. Most of the final chapter bosses can be trivialized with the chapter's Obsession Realm gimmick artifact, which isn't in itself a bad thing, just feels like an odd choice personally.

Which leads me to, the level design. So far? Preeeeetty lame! It's very pretty and fancy, but so chockful of invisible walls that it feels stiffling and discourages exploration. I can never tell what is meant to be a path or just fancy scenery, and I never know when a jump will get walled or send me to my death by fall damage. When it's not being confusing, the level design is either a bunch of looping circles, or straight lines. And so far, besides a few interactables and loot, there is not much else to look at. That is, bad level design, plain and simple.

Also, the animations are glorious, but what is the point if I can't see the enemy?? That camera is my true nemesis, and I mean that. the fact that a boss can be beyond my field of vision at ANY POINT when I'm locked on and it strifes sideways, is dreadful. GameScience, FIX IT. It is also, very hard to tell what parts of a boss will damage me if I collide with them or not. The Kang-Jin Long fight was baffling on a design point of view, same for Captain Lotus-Vision. Some clearer hitboxes would be swell.

This is the point where I say my main issue with the game lies: it's very pretty, and adoringly crafted, but it lacks substance design wise. I feel like it needed to cook more, the level design polished more so I wouldn't get lost every five minutes, and clearer.... well, everything. Mechanic explanations, level progression, gimmicks, etc. It all needed to be less murky and convoluted to understand.

It also needed more meat in between bosses. I have yet to run into common enemies that give me actual trouble, so it ends up being just a jolly waltz from boss to boss. Boss rushes are fun and great, but not as the base game experience (for me at least). I had to stop one boss away from completing Chapter 1 cus I was just so exhausted. And I had been playing for like, an hour and a half?? That left a sour taste in my mouth, I'll be honest.

Okay, I'm gonna pick open those pins now.

#1 the Flaming Mountain Arc. I'm gonna be very real here chat, that was so cringe. What do you MEAN, Red Son wasn't Demon Bull King's biological son, and Princess Iron Fan was forced to drink from the Childbearing River??? And Red Son hates him????When I watched that cutscene, I had to pause and walk away for a moment, legitimately. This plotbeat is SO WILD to me, I got nothing to say. Just, why??Soooo bizarre. And that the Flaming Mountain Keeper has such a presence in Iron Fan's life is also, weird?? Not bad weird, just Weird, but that's like a nitpick more than an actual criticism. Ping Ping is fine though, I like that Bull has a daughter with Princess Fair Fox, that's cute and interesting. Wish she was in a better plot and adaptation but lol

And #2, the premise. Now we are getting to the meat of it all.

The underlying premise of the whole plot, including the true ending, is flawed by default. The premise runs on what is sometimes called as a "conspiracy theory plot", as in, "what if the gods were bad actually??". It's reddit movie theory content in very short terms, and while it had a place during the 00s grimdark years pre-Marvel, it's become quite a jaded and boring take nowadays. Now you may say that it comes from a genuine desire to show distrust and critique to insitutions and the powers than be, and I can see that.

There is a hiccup in that though.

In JTTW, Wukong is the Mind Monkey because of the religious text and subtext of the stories. Its interwoven in the whole thing, and makes it cohesive. It still offer critique and mockery to institutions, without entirely invalidating their foundations. Not only for genuine fear of prosecution, but because, shockingly, religion and belief is a major component of human society in general. But going back to my point, JTTW is *already* a critique of institutions and the power that be. Adding further layers into it feel like angst and edginess just for the sake of it, and that feels hollow to me.

To go further, this intent also clashes with their own plot. See, they bring up that Wukong's Mind, his Sixth Sense, died. Thus they need another Mind to guide his other senses and reform him, so that he may be reborn.

For one, that is such a convoluted way to do a reincarnation plot, it feels complicated just for novelty sake. Secondly, Wukong being the Mind Monkey, as I said, implies a tie to the underlying themes of the Journey as a person's path to enlightenment. If enlightenment itself is flawed because the gods are flawed/evil, then both themes are clashing. By making a "what if the gods were evil all along" plot while also going by the laws and order of said gods, then what are we even fighting against? What is the point of this whole rebellion between Erlang and Wukong??

my friend @ryin-silverfish said it best a while back, and I'm paraphrasing here (do pitch in or correct me if needed! <3), but the issue with these conspiracy narratives is the inherent anti-religion of them. They don't believe in anything, and thus they cannot properly retell the story of JTTW through a postmodern lense, because they refuse to engage with the religiosity that runs throughout the story.

It also leaves a sour taste in my mouth, because this game will likely be many people's first genuine experience with the JTTW mythos and story, and I tend to be concerned for how much this will "sour the pot" in the conversation. The novels are sadly innacessible enough as it is; the sheer size of them scare many people away, not even to mention the amount of underlying cultural context you'll miss out without proper footnotes and commentary. Most people will not engage with them directly, and certainly not most gamers.

While the narrative of someone embodying Wukong's spirit is not new in itself, I do find that it coexisting with such a poor premise and spin on it will be a sore first experience for new fans, and I can only hope that them meeting fans of the OG novels won't cause much friction in the fandom (we have enough as it is imo).

It also concerns me that, sadly, people and gamers in particular, get too swept up in the ooh-aah beauty of flashy sfx and highly detailed graphics, and fail to notice some of the underlying issues in game design. As I said, this game is a work of art, but it has flaws, and I don't think people are speaking of them enough. No, the issue is not "lack of diversity" or whatever the hell.

It runs deeper than that, and it's an issue I've come to see in recent movies as well. I'm aware it might just be different cultural expectations of the pacing and span of a story, and it may as well be! But I think if there was more care given to the bones of a media, it would bring much needed longevity and weight to these wonderful artworks.

All this said, I wanna see what acolades this game gets and see what the devs are cooking up with the DLCs (they said at one point the game was supposed to have 12 chapters and my god, that game would be TOO LONG. So glad it didn't get like that!), and further more see how this ripples in the eastern game dev scene. While this is a flawed game with a flawed story, it can be the first on a genuinely wonderful wave of new creations, not just by GameScience, and overall I'm hopeful for what might come next!

[toc-the-elder]

Okay no I need to talk about this.

Dune was just fucking perfect. I rewatched Part One in 4K last night and just saw Part Two in IMAX.

The cinematography was just absolutely stunning. Every single frame was breathtakingly beautiful and incredibly purposeful. The score was so intense and I adore it. Very Blade Runner 2049 in the desert. Just an overwhelming wall of sound.

And the violence seems so much more brutal and visceral this time around. Working within a PG-13 rating is difficult when your universe so heavily involves sword fighting, but the editing, choreography, sound design, and occasional splatter of blood really sold a sense of brutality that the oddly bloodless Part One lacked. My friend was surprised to find out it was a PG-13 after we left the cinema. I suspect that Part One was tamed to better fit a PG-13 rating, but they felt more comfortable in Part Two.

The visual design was stunning. Geidi Prime during the day was a highlight of the film. The stark black and white lighting and the insane scale of the structures on screen literally took my breath away.

And they cut all the stuff that annoyed me in the books. Like I am so glad they cut certain younger characters to give more of a fitting arc to our already established cast. And they really leant into the theme that Paul's quest for power is not an aspirational thing. The music and the cinematography never let you believe it's anything other that a cautionary tale.

Just holy shit.

Denis Villenueve does not miss.

My favourite director of all time just gave me a perfect adaption of one of my favourite books and I am so fucking happy. It was not what I expected, but everything I wanted.

[brokehorrorfan]

Alfred Hitchcock: The Iconic Film Collection will be released on November 26 via Universal. The 4K Ultra HD + Digital set collects six of the Master of Suspense's classic thrillers: Rear Window, To Catch a Thief, Vertigo, North By Northwest, Psycho, and The Birds.

Limited to 5,150, the six-disc collection is housed in premium book-style packaging featuring artwork by Tristan Eaton along with photos, bios, and trivia.

The uncut version of Psycho is included. Special features are detailed below.

1954's Rear Window is written by John Michael Hayes (To Catch a Thief), based on Cornell Woolrich’s 1942 short story "It Had to Be Murder." James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr star.

Rear Window special features:

Audio commentary by Hitchcock’s Rear Window: The Well-Made Film author John Fawell

Rear Window Ethics - 2000 documentary

Conversation with Screenwriter John Michael Hayes

Pure Cinema: Through the Eyes of The Master

Breaking Barriers: The Sound of Hitchcock

Masters of Cinema

Hitchcock/Truffaut - Audio recording from filmmaker François Truffaut’s in-depth interview with director Alfred Hitchcock about Rear Window

Production photo gallery

Theatrical trailer

Re-release trailer narrated by James Stewart

A wheelchair-bound photographer spies on his neighbors from his apartment window and becomes convinced one of them has committed murder.

1955's To Catch a Thief is written by John Michael Hayes (Rear Window), based on David Dodge’s 1952 novel of the same name. Cary Grant, Grace Kelly, Jessie Royce Landis, and John Williams star.

To Catch a Thief special features:

Audio commentary by Hitchcock historian Dr. Drew Casper

Filmmaker Focus: Leonard Maltin on To Catch a Thief

Behind the Gates: Cary Grant and Grace Kelly

A retired jewel thief sets out to prove his innocence after being suspected of returning to his former occupation.

1958's Vertigo is written by Alec Coppel (No Highway in the Sky) and Samuel A. Taylor (Sabrina), based on Boileau-Narcejac’s 1954 novel The Living and the Dead. James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, and Henry Jones star.

Vertigo special features:

Audio commentary by filmmaker William Friedkin (The Exorcist)

Obsessed with Vertigo: New Life for Hitchcock’s Masterpiece

Partners In Crime: Hitchcock’s Collaborators

Saul Bass: Title Champ

Edith Head: Dressing the Master’s Movies

Bernard Herrmann: Hitchcock’s Maestro

Alma: The Master’s Muse

Foreign censorship ending

100 Years of Universal: The Lew Wasserman Era

Hitchcock/Truffaut - Audio recording from filmmaker François Truffaut’s in-depth interview with director Alfred Hitchcock about Vertigo

Theatrical trailer

Restoration theatrical trailer

A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.

1959's North by Northwest is written by Ernest Lehman (The Sound of Music, West Side Story). Cary Grant, Eva Marie Saint, James Mason, and Jessie Royce Landis star.

North by Northwest special features:

Audio commentary by writer Ernest Lehman

North by Northwest: Cinematography, Score, and the Art of the Edit

Destination Hitchcock: The Making of North by Northwest

The Master’s Touch: Hitchcock’s Signature Style

North by Northwest: One for the Ages

A Guided Tour with Alfred Hitchcock

A New York City advertising executive goes on the run after being mistaken for a government agent by a group of foreign spies, and falls for a woman whose loyalties he begins to doubt.

1960's Psycho is written by Joseph Stefano (The Outer Limits), based on Robert Bloch’s 1959 novel of the same name. Anthony Perkins, Vera Miles, John Gavin, Martin Balsam, John McIntire, and Janet Leigh star.

Psycho special features:

Original uncut and standard re-releases version of the film

The Making of Psycho

The Making of Psycho audio commentary with Alfred Hitchcock and The Making of Psycho author Stephen Rebello

Psycho Sound

In The Master’s Shadow: Hitchcock’s Legacy

Newsreel Footage: The Release of Psycho

The Shower Scene: With and Without Music

The Shower Sequence: Storyboards by Saul Bass

The Psycho Archives

Hitchcock/Truffaut - Audio recording from filmmaker François Truffaut’s in-depth interview with director Alfred Hitchcock about Psycho

Posters and ad gallery

Lobby card gallery

Behind-the-scenes photo gallery

Production photo gallery

Psycho theatrical trailers

Psycho re-release trailer

A secretary on the run for embezzlement takes refuge at a secluded motel owned by a repressed man and his overbearing mother.

1963's The Birds is written by Evan Hunter (High and Low), based on Daphne du Maurier’s 1952 short story of the same name. Tippi Hedren, Rod Taylor, Jessica Tandy, Suzanne Pleshette, and Veronica Cartwright star.

The Birds special features:

The Birds: Hitchcock’s Monster Movie

All About The Birds

Original ending

Deleted scene

Tippi Hedren’s screen test

The Birds is coming (Universal International Newsreel)

Suspense Story: National Press Club hears Hitchcock (Universal International Newsreel)

100 Years of Universal: Restoring the Classics

100 Years of Universal: The Lot

Hitchcock/Truffaut - Audio recording from filmmaker François Truffaut’s in-depth interview with director Alfred Hitchcock about Vertigo

Theatrical trailer

A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people.

Pre-order Alfred Hitchcock: The Iconic Film Collection.

[poomphuripan]

Hey! Have you watched 'Your Name Engraved Herein' ? I did it last weekend, and I'm still feeling very miserable. Do you have recommendations for shows/movies that offer the same visceral kind of pain? I'm a sucker for angst so I really wanna see if anything can surpass what this movie did to me lol. ^_^

hi nonnie (❁´◡`❁)

Your Name Engraved Herein is literally an iconic queer film, who HASN'T seen it (┬┬﹏┬┬) It stills leave me reeling after so many weeks after watching it.

But I grew up watching sad angsty LGBTQIA+ films so I've grown accustomed to this specific genre of sad LGBTQIA+ films i wanna bawl my eyes out after watching. so here's a few recommendations you've probably seen already, but i'm just here to give you a nudge to watch them in case you haven't seen (though it's my personal recommendation to take a break or watch happy things in between these films or else after the first few films, you're just numb to the pain and misery, and won't be able to maximize emotional connectability with the characters).

1. Happy Together (1997) dir. Wong Kar Wai

Synopsis: Ho Po Wing and Lai Yiu Fai, a couple from pre-handover Hong Kong, visit Argentina hoping to renew their ailing relationship. The two have a pattern of abuse, followed by break-ups and reconciliations. One of their goals in Argentina is to visit the Iguazu waterfalls, which serves as a leitmotif in the movie.

my thoughts: i didn't know what the hype was with wong kar wai until i watched this film. 100/10 cinematography and it breaks me every time.

2. Brokeback Mountain (2005) dir. Ang Lee

Synopsis: Two modern-day cowboys meet on a shepherding job in the summer of ’63, the two share a raw and powerful summer together that turns into a lifelong relationship conflicting with the lives they are supposed to live.

my thoughts: not the best of its genre but i cried a lot watching it the first time so i'm giving it a little space here in this list. Ang Lee has delivered a lot more LGBTQIA+ films

3. Lan Yu (2001) dir. Stanley Kwan

Synopsis: Set in Beijing in the late 1980s and early 1990s, the film makes vivid reference to the Tiananmen Square massacre. Lan Yu, an architecture student in desperate need of money, finds himself in the bed of successful businessman Chen Han Dong. While Lan Yu falls in love, Chen tries his best to avoid emotional attachment, showering Lan Yu with expensive gifts and even getting married. However, as the years go by, Chen soon realizes that he cannot live without Lan Yu.

my thoughts: god i want to quote this entire film as i was watching it. THE ANGST. THE PAIN. it's been recently restored in 4k so i rewatched it a while back, god the pain is still visceral.

4. Farewell My Concubine (1993) dir. Chen Kaige

Synopsis: Abandoned by his prostitute mother in 1920, Douzi was raised by a theater troupe. There he meets Shitou and over the following years the two develop an act entitled “Farewell My Concubine” that brings them fame and fortune. When Shitou marries Juxian, Douzi becomes jealous, the beginnings of the acting duo’s explosive breakup and tragic fall take root.

my thoughts: pain. pain. pain. pain. pain. ABSOLUTE PAIN. but also i adore poetic and tragic films so this was THAT masterpiece for me.

5. Maurice (1987) dir. James Ivory

Synopsis: After his lover rejects him, Maurice, a young man in early 20th-century England, trapped by the oppressiveness of Edwardian society, tries to come to terms with and accept his sexuality.

my thoughts: hugh grant is gay af and i'm always here for it. i never fully bought him being charming male lead in all those het romcoms he got

happy watching! \(￣︶￣*\))

[cinepughs]

starring cailee spaeny ✰ priscilla (2023) dir. by sofia coppola

[of-two-lands]

44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

[astoundingbeyondbelief]

Kaiju Week in Review (March 3-9, 2024)

Shin Ultraman took an eternity to reach home video, but Godzilla Minus One will proceed as a more reasonable pace (by Japanese standards). Toho will release roughly one billion different editions on May 1, with Amazon- and Godzilla Store-exclusive physical bonuses both on offer. Godzilla Minus One/Minus Color is included with some of the pricier versions, or you can buy it as a standalone Blu-ray or DVD.

The black-and-white version of Shin Godzilla, SHIN GODZILLA:ORTHOchromatic, also hits Japanese home video on May 1. Like Minus Color, no 4K edition, just Blu-ray and DVD. A handful of new bonus features about ORTHOchromatic are included.

As is standard for Toho, none of these releases will be English-friendly. But given the films' popularity (and the lack of any legal way to watch Minus One since it left theaters), expect bootlegs to circulate at light speed.

Unsurprisingly, Godzilla Minus One cleaned up at the Japanese Academy Awards, with eight victories out of eleven nominations: Picture of the Year, Best Supporting Actress, Best Cinematography, Best Screenplay, Best Editing, Best Sound, Best Art Direction, and Best Lighting. That's one more than Shin Godzilla, and pretty much guarantees that the Toho Godzilla series will keep the prestige pictures coming. Strange times!

We'll see if Minus One can also capture Best Visual Effects at the American Academy Awards tonight. The Creator remains its biggest competition. The Gareth Edwards film is better-positioned by the usual metrics, with a second nomination for Best Sound and five wins at the Visual Effects Society Awards, but the enthusiasm gap for the films themselves may prove decisive. I'll be doing a much lengthier analysis during Wikizilla's Oscar stream tonight, which will start at about 6:00 PM ET, an hour before the ceremony begins.

Godzilla x Kong: The New Empire tickets may not be on sale yet, but Cinemark theaters have rolled out the above merch (much more efficiently than Target and Walmart have rolled out the toyline, if my local theater's any indication). I have a suspicion those plushies will be worth a mint a few years from now, small as they are; don't know about the other stuff. I bought the larger popcorn tin when I saw Dune: Part Two on Thursday. The promo image is deceptive, as the green area is transparent plastic and the Titan image is on the opposite wall of the tin, so that popcorn's either defying gravity or being held up by a hidden insert. There are Kong and Skar King variants as well, the latter revealing his height (318 feet). Poor Shimo; being the "secret" villain really narrows the amount of merch you get.

The other interesting GxK news this week (apart from the endless TV spot variants, which I'm not even trying to keep track of) is a collaboration with the American Red Cross, of all institutions. Donate blood, platelets, or AB Elite plasma from March 25 to April 7, get a free T-shirt. And for completion's sake, I'll mention the Roblox and Call of Duty cross-promos too.

Chibi Godzilla Raids Again, an unexpected delight last year, is getting a second season starting April 3. The official site revealed that Minilla is joining the cast, while those silhouettes to his right look like Titanosaurus (unjustly neglected in recent years), Gigan, and Gabara. Expect to follow the first season in being uploaded to the GODZILLA OFFICIAL by TOHO YouTube channel with English subtitles.

Here's another chance to watch Tsuburaya and Toei Animation's Kaiju Decode short, originally released in 2021. (It goes away at the end of the month, because every Japanese studio is apparently hellbent on making short films ephemeral, so download it now.) It's the basis for a recent mixed reality game for the Meta Quest 3 and Meta Quest Pro, hence its return to the spotlight.

UniVersus, a collectable card game predicated on pitting characters from various franchises against each other, is going all in on Godzilla after offering a couple of Minus One cards through highly convoluted means last year. They're releasing a couple of Godzilla Challenger Series (preconstructed decks) on June 21, one based around Godzilla and Mothra, the other around King Ghidorah and Rodan, with Mechagodzilla thrown into the mix for both. I've never played this game in my life, but the prospect of a shiny Godzilla card with James Stokoe art is sort of tempting.

[chuuyadelune]

now that i have recovered from the emotional shock of seeing *that* akutagawa scene from chapter 88 animated in HD 4K (i thought i’d have another week to emotionally prepare myself LMAO), i just wanna be a little bit of a nerd and say that i really liked the cinematography/composition this episode.

in particular, i really enjoyed the anime’s decision to draw visual parallels between this fight and previous fights (in particular, the fight against francis, which is important because it is the first time they worked together).

after all, this fight is the culmination of everything they’ve done together. from the combining of their abilities, coming to an understanding with each other, realising the potential of beast-beneath the moonlight-rashoumon… bringing back similar shots that were used in previous fights is SUPER effective at highlighting the parallels and how far they’ve come, in my humble opinion.

here are a few things i noticed:

- first of all, both of them activating their abilities one after another is an explicit nod to S2’s fight;

- the confrontation/conversation in the hallway from S2 (to an extent! they’re on the same sides, which caught my eye);

- akutagawa blowing up the engine room on the ship, and kyouka doing the same during the first fight between him and atsushi (S1);

- and a similar angle being used for black tiger claws / koukko zessou as a nod to the fight in the S3 finale.

the parallels — though maybe less explicit, *are* still there in the manga? like, the entire “structure” of the fight so to speak is very similar to the francis fight in S2 — akutagawa finding atsushi, taking place on a(n air)ship, breaking away from the fight to strategise before confronting the final boss (then, francis, and now, fukuchi) is undeniably a nod to that fight? i love that this is given its due in the anime as well.

another thing about the cinematography this episode i loved was them using the clock as being the indicator of fukuchi’s fuckass space-time sword doing its thing. that was a really nice touch, in my opinion; the cuts in between were jarring and disorienting and really helped put us into sskk’s shoes.

and as for the background design alongside the clock itself — there were a couple of things about them i enjoyed:

- the number of floors / levels of the ship in the back (5, as a nod to the five ways an angel decays, the DOA)

- the blue of the clock is meant to be reminiscent of fukuchi’s sword, i’d argue, with the way both of them pops out of the sunset/orangey-red lighting

- the clock’s design being super ornate and gold plated reminds me a *bit* of a tabernacle (where they keep unused eucharist in a church) — and thus brings up connotations of sacrifice. that white bridge-thing beneath the clock as well reminds me a lot of an altar, too (see the image above the last to see what exactly i’m referring to, because image limit)

okay, yeah, that one might be a bit of a stretch, sure. but its placement as being above them, combined with the two tables/boxes to the left and right of the ship’s bow (which looks very much like a cross, btw) gives it a distinctly religious, altar-kinda feel, i’d argue. and crosses have been used in S4 as symbolism as well!

(tbh, there could even be a bit more imagery i’m missing, because — the angels of the DOA refers specifically to the buddhist conception of an angel. i’m not too familiar with buddhist imagery, but i thought that this was worth pointing out regardless!)

the last thing i want to say is that the red and blue symbolism went CRAZY this episode. i don’t have much else to say because it was super obvious — they even reused the same “black tiger claws” shot from S3, after all — but i do wanna point out that the symbolism even went into the carpets. the fucking carpets.

like, the shift: it’s red when akutagawa’s leading the conversation but changes to blue after atsushi’s suggesting of the submersible as a strategy? i mean, i don’t know if this (or anything i’ve said, to be fair) was intentional or not, but it’s a cool detail anyway!

personally, i enjoyed this episode, the action was great, and all of this too was a really neat addition as well! and now… uh. we wait for the chaos to get worse i suppose !? (laughs nervously)