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armageddon-generation · 4 years ago

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Articulating Why His Dark Materials is Badly Written

A long essay-thing with lots of specific examples and explanations of why I feel this way. Hopefully I’ve kept fanboy bitching to a minimum.

This isn’t an attack on fans of the show, nor a personal attack on Jack Thorne. I’m not looking to ruin anyone’s enjoyment of the show, I just needed to properly articulate, with examples, why I struggle with it. I read and love the books and that colours my view, but I believe that HDM isn’t just a clumsy, at-best-functional, sometimes incompetent adaptation, it’s a bad TV show separate from its source material. The show is the blandest, least interesting and least engaging version of itself it could be.

His Dark Materials has gorgeous production design and phenomenal visual effects. It's well-acted. The score is great. But my god is it badly written. Jack Thorne writing the entire first season damned the show. There was no-one to balance out his flaws and biases. Thorne is checking off a list of plot-points, so concerned with manoeuvring the audience through the story he forgets to invest us in it. The scripts are mechanical, empty, flat.

Watching HDM feels like an impassioned fan earnestly lecturing you on why the books are so good- (Look! It's got other worlds and religious allegory and this character Lyra is really, really important I swear. Isn't Mrs Coulter crazy? The Gyptians are my favourites.) rather than someone telling the story naturally.

My problems fall into 5 main categories:

Exposition- An unwillingness to meaningfully expand the source material for a visual medium means Thorne tells and doesn't show crucial plot-points. He then repeats the same thing multiple times because he doesn't trust his audience

Pacing- By stretching out the books and not trusting his audience Thorne dedicates entire scenes to one piece of information and repeats himself constantly (see: the Witches' repetition of the prophecy in S2).

Narrative priorities- Thorne prioritises human drama over fantasy. This makes sense budgetarily, but leads to barely-present Daemons, the Gyptians taking up too much screentime, rushed/badly written Witches (superpowers, exposition) and Bears (armourless bear fight), and a Lyra more focused on familial angst than the joy of discovery

Tension and Mystery- because HDM is in such a hurry to set up its endgame it gives you the answers to S1's biggest mysteries immediately- other worlds, Lyra's parents, what happens to the kids etc. This makes the show less engaging and feel like it's playing catch-up to the audience, not the other way around.

Tonal Inconsistency- HDM tries to be a slow-paced, grounded, adult drama, but its blunt, simplistic dialogue and storytelling methods treat the audience like children that need to be lectured.

MYSTERY, SUSPENSE AND INTRIGUE

The show undercuts all the books’ biggest mysteries. Mrs Coulter is set up as a villain before we meet her, other worlds are revealed in 1x2, Lyra's parents by 1x3, what the Magesterium do to kids is spelled out long before Lyra finds Billy (1x2). I understand not wanting to lose new viewers, but neutering every mystery kills momentum and makes the show much less engaging.

This extends to worldbuilding. The text before 1x1 explains both Daemons and Lyra's destiny before we meet her. Instead of encouraging us to engage with the world and ask questions, we're given all the answers up front and told to sit back and let ourselves be spoon-fed. The viewer is never an active participant, never encouraged to theorise or wonder

Intrigue motivated you to engage with Pullman's philosophical themes and concepts. Without it, HDM feels like a lecture, a theme park ride and not a journey.

The only one of S1's mysteries left undiminished is 'what is Dust?', which won't be properly answered until S3, and that answer is super conceptual and therefore hard to make dramatically satisfying

TONAL INCONSISTENCY

HDM billed itself as a HBO-level drama, and was advertised as a GoT inheritor. It takes itself very seriously- the few attempts at humour are stilted and out of place

The production design is deliberately subdued, most notably choosing a mid-twentieth century aesthetic for Lyra’s world over the late-Victorian of the books or steampunk of the movie. The colour grading would be appropriate for a serious adult drama.

Reviewers have said this stops the show feeling as fantastical as it should. It also makes Lyra’s world less distinct from our own.

Most importantly, minimising the wondrous fantasy of S1 neuters its contrast with the escalating thematic darkness of the finale (from 1x5 onwards), and the impact of Roger’s death. Pullman's books are an adult story told through the eyes of a child. Lyra’s innocence and naivety in the first book is the most important journey of the trilogy. Instead, the show starts serious and thematically heavy (we’re told Lyra has world-saving importance before we even meet her) and stays that way.

Contrasting the serious tone, grounded design and poe-faced characters, the dialogue is written to cater to children. It’s horrendously blunt and pulls you out of scenes. Subtext is obliterated at every opportunity. Even in the most recent episode, 2x7, Pan asks Lyra ‘do you think you’re changing because of Will?’

I cannot understate how on the nose this line is, and how much it undercuts the themes of the final book. Instead of even a meaningful shot of Lyra looking at Will, the show treats the audience like complete idiots.

So, HDM looks and advertises itself like an adult drama and is desperate to be taken seriously by wearing its big themes on its sleeve from the start instead of letting them evolve naturally out of subtext like the books, and dedicating lots of scenes to Mrs Coulter's self-abuse

At the same time its dialogue and character writing is comparable to the Star Wars prequels, more childish than media aimed at a similar audience - Harry Potter, Doctor Who, Avatar the Last Airbender etc

DAEMONS

The show gives itself a safety net by explaining Daemons in an opening text-crawl, and so spends less time showing the mechanics of the Daemon-human bond. On the HDM subreddit, I’ve seen multiple people get to 1x5 or 6, and then come to reddit asking basic questions like ‘why do only some people have Daemons?’ or ‘Why are Daemons so important?’.

It’s not that the show didn’t answer these questions; it was in the opening text-crawl. It’s just the show thinks telling you is enough and never shows evidence to back that up. Watching a TV show you remember what you’re shown much easier than what you’re told

The emotional core of Northern Lights is the relationship between Lyra and Pan. The emotional core of HDM S1 is the relationship between Lyra and Mrs Coulter. This wouldn't be bad- it's a fascinating dynamic Ruth plays wonderfully- if it didn't override the Daemons

Daemons are only onscreen when they serve a narrative purpose. Thorne justifies this because the books only describe Daemons when they tell us about their human. On the page your brain fills the Daemons in. This doesn't work on-screen; you cannot suspend your disbelief when their absence is staring you in the face

Thorne clarified the number of Daemons as not just budgetary, but a conscious creative choice to avoid onscreen clutter. This improved in S2 after vocal criticism.

Mrs Coulter/the Golden Monkey and Lee/Hester have well-drawn relationships in S1, but Pan and Lyra hug more in the 2-hour Golden Compass movie than they do in the 8-hour S1 of HDM. There's barely any physical contact with Daemons at all.

They even cut Pan and Lyra's hug after escaping the Cut in Bolvangar. In the book they can't let go of each other. The show skips it completely because Thorne wants to focus on Mrs Coulter and Lyra.

They cut Pan and Lyra testing how far apart they can be. They cut Lyra freeing the Cut Daemons in Bolvangar with the help of Kaisa. We spent extra time with both Roger and Billy Costa, but didn't develop their bonds with their Daemons- the perfect way to make the Cut more impactful

I don't need every single book scene in the show, but notice that all these cut scenes reinforced how important Daemons are. For how plodding the show is. you'd think they could spare time for these moments instead of inventing new conversations that tell us the information they show

Daemons are treated as separate beings and thus come across more like talking pets than part of a character

The show sets the rules of Daemons up poorly. In 1x2, Lyra is terrified by the Monkey being so far from Coulter, but the viewer has nothing to compare it to. We’re retroactively told in that this is unnatural when the show has yet to establish what ‘natural’ is.

The guillotine blueprint in 1x2 (‘Is that a human and his Daemon, Pan? It looks like it.’ / ‘A blade. To cut what?’) is idiotic. It deflates S1’s main mystery and makes the characters look stupid for not figuring out what they aren’t allowed to until they did in the source material, it also interferes with how the audience sees Daemons. In the book, Cutting isn’t revealed until two-thirds of the way in (1x5). By then we’ve spent a lot of time with Daemons, they’ve become a background part of the world, their ‘rules’ have been established, and we’re endeared to them.

By showing the Guillotine and putting Daemons under threat in the second episode, the show never lets us grow attached. This, combined with their selective presence in scenes, draws attention to Daemons as a plot gimmick and not a natural extension of characters. Like Lyra, the show tells us why Daemons are important before we understand them.

Billy Costa's fate falls flat. It's missing the dried fish/ fake Daemon Tony Markos clings to in the book. Thorne said this 'didn't work' on the day, but it worked in the film. Everyone yelling about Billy not having a Daemon is laughable when most of the background extras in the same scene don't have Daemons themselves

WITCHES

The Witches are the most common complaint about the show. Thorne changed Serafina Pekkala in clever, logical ways (her short hair, wrist-knives and cloud pine in the skin)

The problem is how Serafina is written. The Witches are purely exposition machines. We get no impression of their culture, their deep connection to nature, their understanding of the world. We are told it. It is never shown, never incorporated into the dramatic action of the show.

Thorne emphasises Serafina's warrior side, most obviously changing Kaisa from a goose into a gyrfalcon (apparently a goose didn't work on-screen)

Serafina single-handedly slaughtering the Tartars is bad in a few ways. It paints her as bloodthirsty and ruthless. Overpowering the Witches weakens the logic of the world (If they can do that, why do they let the Magesterium bomb them unchallenged in 2x2?). It strips the Witches of their subtlety and ambiguity for the sake of cinematic action.

A side-effect of Serafina not being with her clan at Bolvangar is limiting our exposure to the Witches. Serafina is the only one invested in the main plot, we only hear about them from what she tells us. This poor set-up weakens the Witch subplot in S2

Lyra doesn’t speak to Serafina until 2x6. She laid eyes on her once in S1.

The dialogue in the S2’s Witch subplot is comparable to the Courasant section of The Phantom Menace.

Two named characters, neither with any depth (Serafina and Coram's dead son developed him far more than her). The costumes look ostentatious and hokey- the opposite of what the Witches should be. They do nothing but repeat the same exposition at each other, even in 2x7.

We feel nothing when the Witches are bombed because the show never invests us in what is being destroyed- with the amount of time wasted on long establishing shots, there’s not one when Lee Scoresby is talking to the Council.

BEARS

Like the Witches; Thorne misunderstands and rushes the fantasy elements of the story. The 2007 movie executed both Iofur's character and the Bear Fight much better than the show- bloodless jaw-swipe and all

Iofur's court was not the parody of human court in the books. He didn't have his fake-Daemon (hi, Billy)

An armourless bear fight is like not including Pan in the cutting scene. After equating Iorek's armour to a Daemon (Lee does this- we don’t even learn how important it is from Iorek himself, and the comparison meant less because of how badly the show set up Daemons) the show then cuts the plotpoint that makes the armour plot-relevant. This diminishes all of Bear society. Like Daemons, we're told Iorek's armour is important but it's never shown to be more than a cool accessory

GYPTIANS

Gyptians suffer from Hermoine syndrome. Harry Potter screenwriter Steve Kloves' favourite character was Hermione, and so Film!Hermoine lost most of Book!Hermoine's flaws and gained several of Book!Ron's best moments. The Gyptians are Jack Thorne's favourite group in HDM and so they got the extra screentime and development that the more complicated groups/concepts like Witches, Bears, and Daemons (which, unlike the Gyptians, carry over to other seasons amd are more important to the overall story) needed

At the same time, he changes them from a private people into an Isle of Misfit Toys. TV!Ma Costa promises they'll ‘make a Gyptian woman out of Lyra yet’, but in the book Ma specifically calls Lyra out for pretending to be Gyptian, and reminds her she never can be.

This small moment indicates how, while trying to make the show more grounded and 'adult', Thorne simultaneously made it more saccharine and sentimental. He neuters the tragedy of the Cut kids when Ma Costa says they’ll become Gyptians. Pullman's books feel like an adult story told through the eyes of a child. The TV show feels like a child's story masquerading as a serious drama.

LIN-MANUEL MIRANDA

Let me preface this by saying I genuinely really enjoy the performances in the show. It was shot in the foot by The Golden Compass' perfect casting.

The most contentious/'miscast' actor among readers is LMM. Thorne ditched the books' wise Texan for a budget Han Solo. LMM isn't a great dramatic actor (even in Hamilton he was the weak link performance-wise) but he makes up for it in marketability- lots of people tried the show because of him

Readers dislike that LMM's Lee is a thief and a scoundrel, when book-Lee is so moral he and Hester argue about stealing. Personally, I like the change in concept. Book!Lee's parental love for Lyra just appears. It's sweet, but not tied to a character arc. Done right, Lyra out-hustling Lee at his own game and giving him a noble cause to fight for (thus inspiring the moral compass of the books) is a more compelling arc.

DAFNE KEENE AND LYRA

I thought Dafne would be perfect casting. Her feral energy in Logan seemed a match made in heaven. Then Jack Thorne gave her little to do with it.

Compare how The Golden Compass introduced Lyra, playing Kids and Gobblers with a group of Gyptian kids, including Billy Costa. Lyra and Roger are chased to Jordan by the Gyptians and she makes up a lie about a curse to scare the Gyptians away.

In one scene the movie set up: 1) the Gobblers (the first we hear of them in the show is in retrospect, Roger worrying AFTER Billy is taken) 2) Lyra’s pre-existing relationship with the Gyptians (not in the show), 3) Friendship with Billy Costa (not in the book or show) 4) Lyra’s ability to befriend and lead groups of people, especially kids, and 5) Lyra’s ability to lie impressively

By comparison, it takes until midway through 1x2 for TV!Lyra to tell her first lie, and even then it’s a paper-thin attempt.

The show made Roger Lyra’s only friend. This artificially heightens the impact of Roger's death, but strips Lyra of her leadership qualities and ability to befriend anyone.

Harry Potter fans talk about how Book!Harry is funnier and smarter than Film!Harry. They cut his best lines ('There's no need to call me sir, Professor') and made him blander and more passive. The same happened to Lyra.

Most importantly, Lyra is not allowed to lie for fun. She can't do anything 'naughty' without being scolded. This colours the few times Lyra does lie (e.g. to Mrs Coulter in 1x2) negatively and thus makes Lyra out to be more of a brat than a hero.

This is a problem with telling Northern Lights from an outside, 'adult' perspective- to most adults Lyra is a brat. Because we’re introduced to her from inside her head, we think she's great. It's only when we meet her through Will's eyes in The Subtle Knife and she's filthy, rude and half-starved that we realise Lyra bluffs her way through life and is actually pretty non-functional

Thorne prioritises grounded human drama over fantasy, and so his Lyra has her love of bears and witches swapped for familial angst. (and, in S2. angst over Roger). By exposing Mrs Coulter as her mother early, Thorne distracts TV!Lyra from Book!Lyra’s love of the North. The contrast between wonder and reality made NL's ending a definitive threshold between innocence and knowledge. Thorne showed his hand too early.

Similarly, TV!Lyra doesn’t have anywhere near as strong an admiration for Lord Asriel. She calls him out in 1x8 (‘call yourself a Father’), which Book!Lyra never would because she’s proud to be his child. From her perspective, at this point Asriel is the good parent.

TV!Lyra’s critique of Asriel feels like Thorne using her as a mouthpiece to voice his own, adult perspective on the situation. Because Lyra is already disappointed in Asriel, his betrayal in the finale isn’t as effective. Pullman saves the ‘you’re a terrible Father’ call-out for the 3rd book for a reason; Lyra’s naive hero-worship of Asriel in Northern Lights makes the fall from Innocence into Knowledge that Roger’s death represents more effective.

So, on TV Lyra is tamer, angstier, more introverted, less intelligent, less fun and more serious. We're just constantly told she's important, even before we meet her.

MRS COULTER (AND LORD ASRIEL)

Mrs Coulter is the main character of the show. Not Lyra. Mrs Coulter was cast first, and Lyra was cast based on a chemistry test with Ruth Wilson. Coulter’s character is given lots of extra development, where the show actively strips Lyra of her layers.

To be clear, I have no problem with developing Mrs Coulter. She is a great character Ruth Wilson plays phenomenally. I do have a problem with the show fixating on her at the expense of other characters.

Lyra's feral-ness is given to her parents. Wilson and McAvoy are more passionate than in the books. This is fun to watch, but strips them of subtlety- you never get Book!Coulter's hypnotic allure from Wilson, she's openly nasty, even to random strangers (in 2x3 her dismissal of the woman at the hotel desk felt like a Disney villain).

Compare how The Golden Compass (2007) introduced Mrs Coulter through Lyra’s eyes, with light, twinkling music and a sparkling dress. By contrast, before the show introduces Coulter it tells us she’s associated with the evil Magisterium plotting Asriel’s death- “Not a word to any of our mutual friends. Including her.” Then she’s introduced striding down a corridor to imposing ‘Bad Guy’ strings.

Making Mrs Coulter’s villainy so obvious so early makes Lyra look dumber for falling for it. It also wastes an interesting phase of her character arc. Coulter is rushed into being a ’conflicted evil mother’ in 2 episodes, and stays in that phase for the rest of the show so far. Character progression is minimised because she circles the same place.

It makes her one-note. It's a good note (so much of the positive online chatter is saphiccs worshiping Ruth Wilson) but the show also worships her to the point of hindrance- e.g. take a shot every time Coulter walks slow-motion down a corridor in 2x2

The problem isn’t the performances, but how prematurely they give the game away. Just like the mysteries around Bolvangar and Lyra’s parentage. Neither Coulter or Asriel have much chance to use their 'public' faces.

This is part of a bigger pacing problem- instead of rolling plot points out gradually, Thorne will stick the solution in front of you early and then stall for time until it becomes relevant. Instead of building tension this builds frustration and makes the show feel like it's catching up to the audience. This also makes the characters less engaging. You've already shown Mrs Coulter is evil/Boreal is in our world/Asriel wants Roger. Why are you taking so long getting to the point?

PACING AND EDITING

This show takes forever to make its point badly.

Scenes in HDM tend to operate on one level- either 'Character Building,' 'Exposition,' or 'Plot Progression'.

E.g. Mary's introduction in 2x2. Book!Mary only listens to Lyra because she’s sleep and caffeine-deprived and desperate because her funding is being cut. But the show stripped that subtext out and created an extra scene of a colleague talking to Mary about funding. They removed emotional subtext to focus on exposition, and so the scene felt empty and flat.

In later episodes characters Mary’s sister and colleagues do treat her like a sleep-deprived wreck. But, just like Lyra’s lying, the show doesn’t establish these characteristics in her debut episode. It waits until later to retroactively tell us they were there. Mary’s colleague saying ‘What we’re dealing with here is the fact that you haven’t slept in weeks’ is as flimsy as Pan joking not lying to Mary will be hard for Lyra.

Rarely does a scene work on multiple levels, and if it does it's clunky- see the exposition dump about Daemon Separation in the middle of 2x2's Witch Trial.

He also splits plot progression into tiny doses, which destroys pacing. It's more satisfying to focus on one subplot advancing multiple stages than all of them shuffling forward half a step each episode.

Subplots would be more effective if all the scenes played in sequence. As it is, plotlines can’t build momentum and literal minutes are wasted using the same establishing shots every time we switch location.

The best-structured episodes of S1 are 1x4, 1x6, and 1x8. This is because they have the fewest subplots (incidentally these episodes have least Boreal in them) and so the main plot isn’t diluted by constantly cutting away to Mrs Coulter sniffing Lyra’s coat or Will watching a man in a car through his window, before cutting back again.

The best-written episode so far is 2x5. The Scholar. Tellingly, it’s the only episode Thorne doesn’t have even a co-writing credit on. 2x5 is well-paced, its dialogue is more naturalistic, it’s more focused, it even has time for moments of whimsy (Monkey with a seatbelt, Mrs Coulter with jeans, Lyra and Will whispering) that don’t detract from the story.

Structurally, 2x5 works because A) it benches Lee’s plotline. B) The Witches and Magisterium are relegated to a scene each. And C) the Coulter/Boreal and Lyra/Will subplots move towards the same goal. Not only that, but when we check in on Mary’s subplot it’s through Mrs Coulter’s eyes and directly dovetails into the main action of the episode.

2x5 has a lovely sense of narrative cohesion because it has the confidence to sit with one set of characters for longer than two scenes at a time.

HDM also does this thing where it will have a scene with plot A where characters do or talk about something, cut away to plot B for a scene, then cut back to plot A where the characters talk about what happened in their last scene and painstakingly explain how they feel about it and why

Example: Pan talking to Will in 2x7 while Lyra pretends to be asleep. This scene is from the 3rd book, and is left to breathe for many chapters before Lyra brings it up. In the show after the Will/Pan scene they cut away to another scene, then cut back and Lyra instantly talks about it.

There’s the same problem in 2x5: After escaping Mrs Coulter, Lyra spells out how she feels about acting like her

The show never leaves room for implication, never lets us draw our own conclusions before explaining what it meant and how the characters feel about it immediately afterwards. The audience are made passive in their engagement with the characters as well as the world

LORD BOREAL, JOHN PARRY AND DIMINISHING RETURNS

At first, Boreal’s subplot in S1 felt bold and inspired. The twist of his identity in The Subtle Knife would've been hard to pull off onscreen anyway. As a kid I struggled to get past Will's opening chapter of TSK and I have friends who were the same. Introducing Will in S1 and developing him alongside Lyra was a great idea.

I loved developing Elaine Parry and Boreal into present, active characters. But the subplot was introduced too early and moved too slowly, bogging down the season.

In 1x2 Boreal crosses. In 1x3 we learn who he's looking for. In 1x5 we meet Will. In 1x7 the burglary. 1 episode worth of plot is chopped up and fed to us piecemeal across many. Boreal literally stalls for two episodes before the burglary- there are random 30 second shots of him sitting in a car watching John Parry on YouTube (videos we’d already seen) completely isolated from any other scenes in the episode

By the time we get to S2 we've had 2 seasons of extended material building up Boreal, so when he just dies like in the books it's anticlimactic. The show frontloads his subplot with meaning without expanding on its payoff, so the whole thing fizzles out.

Giving Boreal, the secondary villain in literally every episode, the same death as a background character in about 5 scenes in the novels feels cheap. It doesn’t help that, after 2x5 built the tension between Coulter and Boreal so well, as soon as Thorne is passed the baton in 2x6 he does little to maintain that momentum. Again, because the subplot is crosscut with everything else the characters hang in limbo until Coulter decides to kill him.

I’ve been watching non-book readers react to the show, and several were underwhelmed by Boreal’s quick, unceremonious end.

Similarly, the show builds up John Parry from 1x3 instead of just the second book. Book!John’s death is an anticlimax but feels narratively justified. In the show, we’ve spent so much extra time talking about him and then being with him (without developing his character beyond what’s in the novels- Pullman even outlined John’s backstory in The Subtle Knife’s appendix. How hard would it be to add a flashback or two?) that when John does nothing in the show and then dies (he doesn’t even heal Will’s fingers like in the book- only tell him to find Asriel, which the angels Baruch and Balthamos do anyway) it doesn’t feel like a clever, tragic subversion of our expectations, it feels like a waste that actively cheapens the audience’s investment.

TL;DR giving supporting characters way more screentime than they need only, to give their deaths the same weight the books did after far less build up makes huge chunks of the show feel less important than they were presented to be.

FRUSTRATINGLY LIMITED EXPANSION AND NOVELLISTIC STORYTELLING

Thorne is unwilling to meaningfully develop or expand characters and subplots to fit a visual medium. He introduces a plot-point, invents unnecessary padding around it, circles it for an hour, then moves on.

Pullman’s books are driven by internal monologue and big, complex theological concepts like Daemons and Dust. Instead of finding engaging, dynamic ways to dramatise these concepts through the actions of characters or additions to the plot, Thorne turns Pullman’s internal monologue into dialogue and has the characters explain them to the audience

The novels’ perspective on its characters is narrow, first because Northern Lights is told only from Lyra’s POV, and second because Pullman’s writing is plot-driven, not character-driven. Characters are vessels for the plot and themes he wants to explore.

This is a fine way of writing novels. When adapting the books into a longform drama, Thorne decentralised Lyra’s perspective from the start, and HDM S1 uses the same multi-perspective structure that The Subtle Knife and The Amber Spyglass do, following not only Lyra but the Gyptians, Mrs Coulter, Boreal, Will and Elaine etc

However, these other perspectives are limited. We never get any impression of backstory or motivation beyond the present moment. Many times I’ve seen non-book readers confused or frustrated by vague or non-existent character motivations.

For example, S1 spends a lot of time focused on Ma Costa’s grief over Billy’s disappearance, but we never see why she’s sad, because we never saw her interact with Billy.

Compare this to another show about a frantic mother and older brother looking for a missing boy. Stranger Things uses only two flashbacks to show us Will Byers’ relationships with his family: 1) When Joyce Byers looks in his Fort she remembers visiting Will there. 2) The Clash playing on the radio reminds Jonathan Byers of introducing Will to the song.

In His Dark Materials we never see the Costas as a happy family- 1x1’s Gyptian ceremony focuses on Tony and Daemon-exposition. Billy never speaks to his mum or brother in the show

Instead we have Ma Costa’s empty grief. The audience has to do the work (the bad kind) imagining what she’s lost. Instead of seeing Billy, it’s just repeated again and again that they will get the children back.

If we’re being derivative, HDM had the chance to segway into a Billy flashback when John Faa brings one of his belongings back from a Gobbler safehouse in 1x2. This is a perfect The Clash/Fort Byers-type trigger. It doesn’t have to be long- the Clash flashback lasted 1:27, the Fort Byers one 55 seconds. Just do something.

1x3 beats into us that Mrs Coulter is nuts without explaining why. Lots of build-up for a single plot-point. Then we're told Mrs Coulter's origin, not shown. This is a TV show. Swap Boreal's scenes for flashbacks of Coulter and Asriel's affair. Then, when Ma Costa tells Lyra the truth, show the fight between Edward Coulter and Asriel.

To be clear, Thorne's additions aren’t fundamentally bad. For example, Will boxing sets up his struggle with violence. But it's wasted. The burglary/murder in 1x7 fell flat because of bad editing, but the show never uses its visual medium to show Will's 'violent side'- no change in camera angle, focus, or sound design, nothing. It’s just a thing that’s there, unsupported by the visual language of the show

The Magisterium scenes in 2x2 were interesting. We just didn't need 5 of them; their point could be made far more succinctly.

In 2x6 there is a minute-long scene of Mary reading the I Ching. Later, there is another scene of Angelica watching Mary sitting somewhere different, doing the SAME THING, and she sees an Angel. Why split these up? It’s not like either the I Ching or the Angels are being introduced here. Give the scene multiple layers.

Thorne either takes good character moments from the books (Lyra/Will in 2x1) or uses heavy-handed exposition that reiterates the same point multiple times. This hobbles the Witches (their dialogue in 2x1, 2 and 3 literally rephrases the same sentiment about protecting Lyra without doing anything). Even character development- see Lee monologuing his and Mrs Coulter's childhood trauma in specific detail in 2x3

This is another example of Thorne adding something, but instead of integrating it into the dramatic action and showing us, it’s just talked about. What’s the point of adding big plot points if you don’t dramatise them in your dramatic, visual medium? In 2x8, Lee offhandedly mentions playing Alamo Gulch as a kid.

I’m literally screaming, Jack, why the flying fuck wasn’t there a flashback of young Lee and Hester playing Alamo Gulch and being stopped by his abusive dad? It’s not like you care about pacing with the amount of dead air in these episodes, even when S2’s run 10 minutes shorter than S1’s. Lee was even asleep at the beginning of 2x3, Jack! He could’ve woken from a nightmare about his childhood! It’s a little lazy, but better than nothing.

There’s a similar missed opportunity making Dr Lanselius a Witchling. If this idea had been introduced with the character in 1x4, it would’ve opened up so many storytelling possibilities. Linking to Fader Coram’s own dead witchling son. It could’ve given us that much-needed perspective on Witch culture. Imagine Lanselius’ bittersweet meeting with his ageless mother, who gave him up when he reached manhood. Then, when the Magisterium bombs the Witches in 2x2, Lanselius’ mother dies so it means something.

Instead it’s only used to facilitate an awkward exposition dump in the middle of a trial.

The point of this fanfic-y ramble is to illustrate my frustration with the additions; If Thorne had committed and meaningfully expanded and interwoven them with the source material, they could’ve strengthened its weakest aspect (the characters). But instead he stays committed to novelistic storytelling techniques of monologue and two people standing in a room talking at each other

(Seriously, count the number of scenes that are just two people standing in a room or corridor talking to each other. No interesting staging, the characters aren’t doing anything else while talking. They. Just. Stand.)

SEASON 2 IMPROVEMENTS

S2 improved some things- Lyra's characterisation was more book-accurate, her dynamic with Will was wonderful. Citigazze looked incredible. LMM won lots of book fans over as Lee. Mary was brilliantly cast. Now there are less Daemons, they're better characterised- Pan gets way more to do now and Hester had some lovely moments.

I genuinely believe 2x1, 2x3, 2x4 and 2x5 are the best HDM has been.

But new problems arose. The Subtle Knife lost the central, easy to understand drive of Northern Lights (finding the missing kids) for lots of smaller quests. As a result, everyone spends the first two episodes of S2 waiting for the plot to arrive. The big inciting incident of Lyra’s plotline is the theft of the alethiometer, which doesn’t happen until 2x3. Similarly, Lee doesn’t search for John until 2x3. Mrs Coulter doesn’t go looking for Lyra until 2x3.

On top of missing a unifying dramatic drive, the characters now being split across 3 worlds, instead of the 1+a bit of ours in S1, means the pacing/crosscutting problems (long establishing shots, repetition of information, undercutting momentum) are even worse. The narrative feels scattered and incohesive.

These flaws are inherent to the source material and are not the show’s fault, but neither does it do much to counterbalance or address them, and the flaws of the show combine with the difficulties of TSK as source material and make each other worse.

A lot of this has been entitled fanboy bitching, but you can't deny the show is in a bad place ratings-wise. It’s gone from the most watched new British show in 5 years to the S2 premiere having a smaller audience than the lowest-rated episode of Doctor Who Series 12. For comparison, DW's current cast and showrunner are the most unpopular since the 80s, some are actively boycotting it, it took a year-long break between series 11 and 12, had its second-worst average ratings since 2005, and costs a fifth of what HDM does to make. And it's still being watched by more people.

Critical consensus fluctuates wildly. Most laymen call the show slow and boring. The show is simultaneously too niche and self-absorbed to attract a wide audience and gets just enough wrong to aggravate lots of fans.

I’m honestly unsure if S3 will get the same budget. I want it to, if only because of my investment in the books. Considering S2 started filming immediately after S1 aired, I think they've had a lot more time to process and apply critique for S3. On the plus side, there's so much plot in The Amber Spyglass it would be hard to have the same pacing problems. But also so many new concepts that I dread the exposition dumps.

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carriagelamp · 4 years ago

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November 2020: A Months of Familiarity

This November ended up being a month of me either rereading old favourites, exploring new books by favourite authors, or a mix of both.

…Be prepared for so much Terry Prachett, I found his audiobooks on Libby last month and since that I’ve been unstoppable.

The Amazing Maurice and his Educated Rodents

The first of my Terry Practhett books to mention! I chose to include this one on my list because it’s a beautiful stand alone novel, perfect to read if you’ve never touched on of Pratchett’s works before, and is often overlooked.

The book is about Maurice, an “amazing” cat by his own admission, who has teamed up with a stupid boy and his very own plague of rats. The moneymaking scheme is simple: set the rats loose on a town and after causing a panic let the boy stroll in and offer to play his pipe and lead them away… for a fee. This is working well, until Maurice, the boy, and the rats arrive in the town Bad Blintz. Here the rats are beginning to question the morality of their work, the boy gets entangled with a young, mischievous local girl, and they’re all shocked to find out that the town already has a real rat infestation… or so the rat catchers claim. Things quickly turn sinister and deadly as the group is forced to confront not only the cruelty of humanity, but something even more sinister living in the small, dark, hidden place of the town.

This is a YA book, unlike some of Pratchett’s other novels, so it’s a quick, fun read, while still having all of his dry wit and heavy, complicated thoughts about society, morality, belief, and what it means to be a person. It’s a genuine delight to see Maurice and the rats, recently made sentient by wizards’ rubbish, struggle to come to terms with who they were and who they are now.

Black Pearl Ponies: Red Star & Wildflower

Y’all it ain’t a secret at this point that I enjoy a stupid horse girl book, right? I picked up the first two books of the Black Pearl Ponies books from the library on a whim and they were basically what they promised. Girl lives with family on ranch, father helps train horses, girl goes on pony adventures with ponies. A particular focus is given to horse welfare and care. Very mediocre but a nice thoughtless covid read if you, like me, get a craving for animals books written for seven year olds from time to time. Plus this comes with the added humour of it being written, as far as I can tell, by a British author who thinks all Americans are stetson wearing cowboys which I find unreasonably funny.

Crenshaw

I love Katherine Applegate’s work; I read the Endling series earlier this year and they are overwhelmingly good. Crenshaw was also an enjoyable read, though not my favourite by her. It read a little bit like a book I read last fall, No Fixed Address, which was also a very good read though not my usual genre. Crenshaw is about a boy, Jackson, whose family, though close-knit and loving, is experiencing financial difficulties and struggle with food scarcity, homelessness, and all the instability and stress that results from this. During this tumultuous time, Jackson is surprised by the reappearance of a tall, bipedal, snarky cat — Crenshaw, his old imaginary friend. This is a charming book that blends genuine, real world hardships with whimsy and magical realism.

The Enemy Above: A Novel of WWII

Since it was Rememberance Day this month, I decided to pick up a holocaust novel. This book is about 12-year-old Anton, a young Jewish boy who finds himself fleeing from his Polish farm in the middle of the night with his old grandma when a German raiding party that attacks their village in an effort to make the countryside “judenfrei”. The book is, perhaps, not the most well-fleshed out, but it’s fast-paced and exciting for a child/YA audience that’s being introduced to holocaust literature, without trying to downplay the absolutely horror and brutality of the Nazis. It manages to strike a satisfying balance between fear, tragedy, and hope.

“Everything he had heard was true. He was just a twelve-year-old boy and yet they hunted him. He had broken no laws, done nothing wrong. He was simply born Jewish. How could anyone want to kill him for it?”

Gregor the Overlander

Somehow I never knew that Suzanne Collins wrote anything other than The Hunger Games? I stumbled across this series at a used bookstore and was first taken by the cover and then shocked when I realized I recognized the author’s name. Well The Hunger Games was such a good read, how could I not pick up a book with people riding on a giant fucking bat?

Such a good choice. I’m almost done book two and bought book three today after work. It is exactly the sort of low fantasy that I live for, when a fantasy world lives so close to the real world that you can practically touch it. I also love the fact that while all the wild fantastical elements are happening, you still have the main character taking care of his toddler sister the whole time. It’s at times charming, hilarious, and nerve-wracking!

It’s about Gregor, a normal kid who’s doing his best to help his mom take care of his two younger siblings ever since his father disappeared years ago. Gregor expected months of boredom when he agrees to stay home over the summer instead of going to camp like his sister in order to watch his baby sister, Boots, and their grandma while his mom is at work. He never could have expected that a simple trip to the apartment’s laundry room would lead to both him and Boots tumbling miles beneath the earth into the pitch black Underland, a place filled with giant rats and bugs and people with translucent skin who fly through the massive caverns on huge bats. He also could have never expected that he would get wrapped up in a deadly prophecy that would force him to travel into distant, dark lands into the waiting claws of an overwhelming enemy.

Kings, Queens, and In-Between

A Canadian queer novel that I’ve seen trumpeted everywhere. Libraries, classrooms, bookstore, this book got so much hype (and has such a pleasing cover) that I had to get my hands on it. Now, I’ve got to admit that it’s not really my genre; I don’t love realistic fiction. But that being said, it’s a fun, heart-warming, queer romp through that explores gender, sexuality, love, family, friendship… there’s a lot of lovable, quirky, complicated characters that get thrown together in unexpected ways at a local summer carnival. While there’s tension and misunderstandings and mistakes, this is overall a very optimistic and loving novel, and would be a great read if you want a queer novel that reads like cotton candy.

Love, The Tiger

This book is the graphic novel equivalent of a nature documentary. There’s no text, but you follow a day in the life of a tiger as it moves through the jungle on the quest for food. The art is honestly beyond outstanding, and though it’s a really quick read it is so very worth it. I’ve also read Love, The Lion in this series (also good, though a bit more confusing imho) as well as one of the books from his other series Little Tails which is still very nature and education based, though for a slightly younger audience.

Making Money

More Pratchett! Making Money was the first Discworld book I ever read, and it’s one of my most reread ones — it’s an ultimate comfort read! This is technically the sequel to Going Postal (another book I reread this month), in which conman Moist Von Lipwig is saved from a rightful death at the noose in exchange for agreeing to work for the city. Going Postal sees Moist narrowly dodging death in many varied forms as he tries to get the Anhk-Morpork postal service back on its feet and get the drifts of dead, whispering letters moving again. In Making Money things at the post office have become… too easy. Moist is bored, restless, until he finds himself thrust into a new job: head of the Royal Mint. There he has been given not only charge of the biggest bank in Anhk-Morpork, but also a dog with a price on its head, a lethal family with all the money in the world out for his blood, and the fear that his secret past life may be on the verge of being exposed to everyone, all while he’s desperately trying to make money…

The Moist series is honestly an example of Pratchett at his absolute best imo, and the amount of humour, wit, adventure, and scathing commentary he can build around a bank is outstanding. Cannot recommend enough.

The One And Only Ivan

Another book I’ve been hearing everyone talk about, as well as another Katherine Applegate book. It’s been on my radar for a while, but with the sequel and a movie coming out, it had everything at a fever pitch and I finally picked it up. Fantastic read, I definitely enjoyed it more than Crenshaw. This book was based off the true story of Ivan, a gorilla taken from his home in the jungle and sold to the owner of a mall, where he spent years of his life growing from child to adult silverback in a small, concrete enclosure. In this fictionalized version, everything changes for Ivan and his friends, when a new baby elephant is bought to help revitalize the mall attractions and Ivan makes a promise he doesn’t know how to keep: to protect this baby, and keep her from living the life Ivan and his friends were forced to. This book made me very emotional. Applegate’s picture book that goes along with it is also a great companion read.

Ranma ½

I realized that our library had the 2-in-1 editions of Ranma ½ and honestly that was it for me. This has been a favourite series of mine since I was in middle school and realized that the creator of Inuyasha had written other things. It is unapologetically ridiculous and larger-than-life and you have to love the shameless joy it has at being ludicrous. It does start to feel a little repetitive the further into the series you go, but at the moment, with covid, I find I have a huge tolerance for rereading slightly repetitive things so long as they make me happy. And boy howdy does the vaguely queer undertones, endless pining, and relentless slapstick of Ranma ½ make me happy. This is classic manga y’all and if you’ve never read it you should!

The basic premise, for anyone that doesn’t is that of an bonkers martial arts comedy. It follows Ranma and his father who, while training in China, fell into cursed springs. Each spring has the tragic legend of a person or animal who drowned in it, and if someone falls in they inevitably turn into that creature any time they’re doused in cold water. Ranma had the misfortune of falling into “The Spring of Drowned Girl” and, indeed, turns into a girl anytime he’s hit with cold water. Things continue to spiral out of control when Ranma meets his arranged fiancée, Akane, who is as exasperated by this situation as Ranma. Both would rather be fighting people than worrying about things like romance. And don’t worry, there is lots and lots and lots and lots of some of the goofiest martial arts fights that you can imagine for a bunch of high schoolers.

Through the Woods

A beautiful and creepy Canadian graphic novel. I honestly really don’t even know how to describe it in a way that does it justice. It’s a collection of short horror stories, with beautiful, flowing art style that draws you in and sends chills down your spine. I’ll let the art doing the talk, and honestly beg you to go find a way to read this graphic novel:

The Witch’s Vacuum Cleaner: And Other Stories

The last Terry Pratchett book on my list (though shout out to the others I’ve listened to this month: Wee Free Men, Hat Full of Sky, Men At Arms, and Snuff) and one that I actually physically, rather than listening to the audiobook. I included this one because unlike the others, this was a Pratchett book I had never read before. It collects a number of Pratchett’s short stories that had been written for children over a number of years. These weren’t necessarily my favourite examples of Pratchett’s writing (I prefer his longer work that can really dive into social issues) but it was such a quick, easy, fun read that you can’t really help but be charmed by it. I liked the stories that took place in “the wild wild west (of Wales)” in particular.

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focusfixated · 5 years ago

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fic rec post: bookmarks of 2019

hooo boy i really got through some fandoms this year. from right-on-time fandoms that i got to partake in as they were happening (good omens) to years-too-late fandoms i only just discovered (hannibal), there have been some real outstanding things to read from authors across multiple fandoms and genres.

i’ve put together a list below of some of the fics I bookmarked to my ao3 this year - some were written in 2019, some are older than that, but all of them left their mark on me these past 12 months.

i haven’t listed and reviewed every single story i have bookmarked this year, or else i’d be composing this post for weeks, so i’ve also put quick links at the end to other recs that you can find on my ao3 if you wish to peruse.

here’s the list, arranged by fandom, chronologically in the order i read them:

fandom: dirk gently’s holistic detective agency

interrogation by goingtoalaska – @holistick on tumblr

rating: G

pairing: dirk/todd

summary: Of course Dirk has some extremely important questions that can only be asked in the middle of the goddamn night, obviously.

notes: one of those dialogue-rich, beautifully-crafted, one-shot fics that just perfectly exemplifies the form. i’m always impressed by authors whose strength is in funny, well-written dialogue. it’s really one of the most difficult things to master. this is a well-observed rendering of these characters subtly done through conversation. comical, sweet, quick-witted, lovely.

fandom: hannibal

consenting to dream by emungere – @emungere on tumblr

rating: E

pairing: will/hannibal

summary: a seduction through physical objects. It starts with a scarf loaned to Will on a cold day, but Hannibal, as usual, isn't satisfied with anything small.

notes: a perfectly-crafted slowburn sugar daddy AU structured around gifts and offerings that tangle hannibal and will gradually into an ever darker, more complicated, more intense relationship. this was one of those fandom-transcendent stories that was of such gripping quality, i read the whole story and its sequel without having any knowledge of the source material and went to watch the hannibal TV series entirely off the back of having read the fic.

it's honestly stunning how beautifully this is written. the consistent characterisation, the slow development and revelation of the dynamic between the hannibal and will, and the powerplay between them is so utterly compelling. i'm so fascinated and enthralled by the exploration of power dynamics, the shifting balance between what hannibal wants, and what he wants to give, and how will is both subsumed by his need to please and be cared for, and is at the same time motivated so strongly by the desire to see hannibal out of control.

everything is just so perfectly on a knife's edge at all times, it makes the development of their relationship throughout totally riveting.

the wave at morning by emungere – @emungere on tumblr

rating: E

pairing: will/hannibal

summary: post-fall, Will and Hannibal strike a new balance in their relationship.

notes: i have probably re-read this one more often than anything else this year. more of a collection of scenes that build up the picture of a relationship than a whole story, this nevertheless has such a raw intensity, it’s one of my favourite things i’ve ever read in any fandom. a concisely-observed exploration of a developing dom/sub relationship which is based on both a powerful sexual desire and a compelling, psychological push-and-pull dynamic between the characters.

masterfully-written and searingly hot, it hits emotional notes with such accuracy and economy, leaving all this imaginative breathing room around the scenes which are remarkably stimulating. desire comes off this in waves and is so worth waiting for.

also, read everything by @emungere. a stunningly talented writer.

fandom: legend

you’ll find it funny (when you’re looking back someday) by th_esaurus

rating: E

pairing: ronnie/teddy

summary: It was around this time that Teddy Smith began his nightly habit of leaning on the wall across the road from Esmeralda's Barn with an unlit cigarette dangling from his lips and the top two buttons of his baby-blue shirt undone. He'd a mole dead centre on his neck and tilted his chin back to show it off, waiting for someone to come by and offer him a match.

notes: after watching the film and being left disappointed that we didn’t get to properly explore any of the fascinating characteristics of ronnie kray, violent gangster and known homosexual, this fic was bang on.

an insight into the dangerous, volatile connection between ronnie kray and mad teddy smith, and a thrilling exploration of desire and power between two unstable men. every detail in this story was so keenly-observed and delicious to read. the writing had a poetic flow to it that i enjoyed immensely, and i read it back to back three times in a row, just trying to absorb everything on offer here.

fandom: rocketman

what if the birds aren’t singing, they’re screaming? by th_esaurus

rating: M

pairing: elton/bernie, elton/john

summary: He is spectacularly good at making music and spectacularly good at making mistakes.

notes: an angsty one, but such a satisfying read. so achingly full of feeling, the whole story simmers like the film's version of elton john does, with a kind of raging disappointment and dissatisfaction. there is such a vivid sense of place here, such beautiful descriptions of scenery, and every snap of elton's temper against the backdrop of these warm landscapes is so keenly felt. incredibly well-observed.

the pace and flow of it, too, the way the dialogue moves, the barbs and quips and the push-and-pull of the dynamic between elton and bernie, makes for such a compelling characterisation. there is a palpable agony in the unrequited love here that anyone would recognise. the whole thing is so well-drawn, so achingly hurtful, and utterly wonderful to read.

also, do yourself a favour and read everything th_esaurus has ever written, because it’s always incredible.

fandom: good omens

ad astra by drawlight - @drawlight on tumblr

rating: E

pairing: aziraphale/crowley

summary: Some things can only be said in the dark.

notes: and so we come to the good omens portion of the evening. this has been an astoundingly creative and productive fandom to be a part of, and has been a really fulfilling, satisfying place to put a lot of feelings. there are so many brilliant stories i’ve read since getting into this fandom, it’s hard to pick a few, but i’ll start with this wonderful classic.

an incredibly-drawn portrait of the first tentative moments of something new. so beautifully full to bursting with images and ideas and feelings, so economic and poised in its language, it really sinks into the depth and detail of what makes these characters who they are, what draws them to each other, and it aches in the most heartfelt of ways.

the lightness of you by rend_herring

rating: E

pairing: aziraphale/crowley

summary: God should not have built them with such discrepancy, made them need for love, and long for wholeness, then left them to their own devices.

notes: this is so wonderful. the tone, the pace, the way it moves so trippingly and joyfully from thing to thing, crowley's continual internal monologue which is absolutely charming and very endearing, the lightness of the humour and at the same time the depth and breadth of feeling in this, the very concept of love and what it means to have god's love, and the love of another to fill the void. this made me have such Feelings about crowley.

also likens an orgasm to the cosmic altering of the very universe and managed to make it feel both evocative and true.

bent to the very earth by ark – @et-in-arkadia on tumblr

rating: E

pairing: aziraphale/crowley

summary: Use me, please, Crowley had said, so Aziraphale takes him at his word.

notes: a fantastic read. i am so absolutely here for the constant shifting dynamics between these two, the things you'd expect from angels and demons, and the circumventing of those expectations in aziraphale and crowley. all of it is absolutely delicious, so well-observed and beautifully-crafted.

written with all the humour and tenderness that makes them such enjoyable characters to read. also this is probably the key story that made me a fan of service top antony j. crowley now and forever.

lead me to the banquet hall by obstinatrix & wishwellingtons – @placetnemagistra and @scurator on tumblr

rating: E

pairing: aziraphale/crowley

summary: Crowley loves taking Aziraphale out to eat almost as much as Aziraphale loves eating, but it's always a bit of a one-sided affair. Aziraphale has never understood why.

notes: this story destroyed every single one of my corporeal cells and projected my soul directly into the ether. incredible writing. it gives me such visceral delight to read a story that puts so much effort into its reference points - all these joyful, ornamental little sprigs of detail throughout that make this universe thoroughly lived-in and a delight to experience.

the way this story deals with food - it's exceptionally, viscerally erotic, but it symbolises so many things too; love, indulgence, pleasure, deprivation, guilt. all the things that food does represent, in our daily lives. but it's somehow heightened here, used as a turning point, a metaphor, a symbol. truly one of the best things i’ve ever read.

a bookshop is not a business by anactoriatalksback - @itsevidentvery on tumblr

rating: G

pairing: aziraphale/crowley

summary: In which Aziraphale has no intention of selling books to anyone at all, let alone this infuriatingly persistent customer. No matter how nice his cheekbones are.

notes: absolutely delightful reading from start to finish. such a brilliantly witty tone, very pythonesque and also in keeping with the humour from the book, but also gives us all the added layers of gay disaster crowley and aziraphale from the tv series. i love every little detail in this, everything is just so well-crafted and funny, it’s really writing of the highest calibre. the back and forth of the dialogue between aziraphale and crowley is so enjoyable to read, with its quick, snappy, sparkling pace. wonderfully fluffy entertainment.

classics appreciation with a.j. crowley by yolkinthejump - @yolkinthejump on tumblr

rating: E

pairing: aziraphale/crowley

summary: Aziraphale lays a temptation for Crowley. Literally: lays himself down and waits and asks for something without actually asking, as is his way. Crowley, as is his way, is happy to oblige.

notes: thorough filth of the purest kind. this is intensely gorgeous. the glorious mess of it, the physical love and joy and the depth of their need for each other just sings off the page. an ode to form, to the body, this leans into touch and physicality in such a powerful way, but maintains a poetry and lyricism which is lovely to read. aziraphale, in all his lazy luxury, and crowley, scattered and overcome – both of these characterisations were so on point. This is such a stand-out thing, decadent and intimate and so wonderfully-written.

the curious attractiveness of others by giddygeek - @giddygeek on tumblr

rating: T

pairing: aziraphale/crowley

summary: “I’m rough,” Crowley argued. “A rough beast, and all that. Well,” he corrected himself, “an agent of the rough beast. Well, an associate. It’s all very complicated, as you bloody well know."

notes: a truly stunning piece of work that revolves around touch and the complicated sublimation of feelings that can’t be expressed. there is such a strong sense of character here, aziraphale's infinite softness in the face of crowley's wild, windmilling panic, and there’s a lushly detailed narrative full of little moments of humour that are a joy to read.

it’s a simple and beautiful expression of their relationship taking place inside a magical, miraculous world made up of mundane, ordinary things that are elevated by the author’s gorgeous narrative. there are so many stand-out moments in this; brilliant, sharp lines, beautifully executed, establishing both world-building and character-stuff in one, fluid motion. this is choirs-of-angels levels of wonderful.

it’s the beginning of a new age by fluorescentgrey - @yeats-infection on tumblr

rating: T

pairing: aziraphale/crowley

summary: In August 1970, Aziraphale and Crowley attend one of the Velvet Underground's final shows at Max's Kansas City.

notes: reading this fic was like listening to a really beautiful song. the entire thing is just suffused with meaning and emotion, and there’s such a powerful evocation throughout of the feeling behind art and music and connection. It gave me shivers. there’s a weighty, beautiful power behind the words here, chosen so carefully to their greatest effect.

this fandom has some incredible, creative ways of evoking symbolism or finding parallels between religion or holiness or ecstasy of a sort with other earthly feelings (sex, desire, servitude, love) but since reading this i've not yet found such a stunning evocation of this feeling of connectedness drawn through music anywhere else. this is beyond a beautiful good omens story. this has made me project directly into emotional existentialism. also i fucking love the velvet underground.

gorgeous details, perfect turns of phrase that are so precise and ringing with humour. heavy with longing and nostalgia, a sense of time lost, change, uncertainty. this story is a goddamn piece of art.

de bono coniguali by ineptshieldmaid - @ineptshieldmaid on tumblr

rating: M

pairing: aziraphale/crowley

summary: ‘Nonsense,’ Aziraphale says, briskly, ‘Monogamy has nothing to do with it. We committed sodomy twice last Sunday.’ Crowley goes to speak, but Aziraphale is nothing if not skilled in rhetoric, and he holds up a hand, ‘which, of course, does not invalidate the sacrament; it’s rather like baptism, it can’t be reversed, but it can be defiled, and I think all authorities would agree that vigorous sodomy on Sundays defiles the sacrament of marriage.’

notes: there is a fascinating concept being explored, here, in the interpretation of religious doctrine, and about how to exist as a queer person while also being a member of a faith community. it digs into ideas of sanctity and absolution beyond the usual handwavey explanations of “goodness” and looks more deeply at what religion means, culturally, for the people who might have difficulty reconciling these different aspects of their identity.

it’s a really brilliantly-written thing. there is such an enjoyable precision to the ideas being shared through aziraphale and crowley’s conversation about religious doctrine and its application. there’s so much rich historical detail here, a neat, precise pacing of dialogue, and is full of smart, witty and interesting asides. this is a story in which the two have a very clear dynamic as established partners and lovers – their conversational back-and-forth is easy at times, and at others has to be carefully extricated, but always in a way that you can feel the years of connection there.

fandom: the goldfinch

A Grand Inquisition: Being an Investigation and Evaluation of Certain Things Done and Undone, Said and Unsaid, Over the Course of Many Years (or Perhaps Merely in Dreams) by m_leigh - @morgan-leigh on tumblr

rating: T

pairing: boris/theo

summary: what r u doing for Christmas this yr? Come hang with me again I have nothing going on but big as fuck bottle of vodka with as you people are saying, your name on it.

notes: this is how we wish the book had ended. reading this just absolutely floored me. the complexity of sentiments in this, the span of time and the emotions caught in it, the poetry! the boris-voice is spot on – dark, messy and crooked, while also having this kind of gamely, optimistic attitude, never lingering too long on what can’t be changed. fantastic characterisation.

the details in the landscape and scenery around within this story were also stunning - all these different places, antwerp, amsterdam, berlin, vegas. just absolutely wonderful. economic and evocative all at once. read it and then read it again.

the ledge by fluorescentgrey – @yeats-infection on tumblr

rating: M

pairing: boris/theo

summary: In the hotel elevator, he stared at himself in the endless mirror. Thin man (Bob Dylan chords) in black coat, with little white dog. His nose was red from coke. Eyes red from maybe something else.

notes: is it weird to cry because you love someone’s words so much? this story is like a peeling-off of layers of skin to get at all the grimy, glistening rawness of feeling underneath. reading this kind of hurts, because it focuses in on this relentless, wild careen into self-destruction, but it's more than just the subject matter that had me repeatedly covering my face and muttering ohmygod. it's the shape of this whole story, the form of it brought together exquisite writing which is unconscionably good.

every sentence flows into the next one with such precision and depth of meaning, making each next thing more compelling and subtly significant because of what came before. it's impossible to pick anything out, it feels like pulling a thread and the whole thing unravels, because everything is so closely-connected, so elaborately woven. there is an effortlessness to the detail in this, in the way we dip and weave through these seething, living landscapes, elevated by observations full of poetry and feeling.

this goes without saying probably, but please read everything fluorescentgrey writes.

fandom: inception

pants on fire by helenish

rating: E

pairing: arthur/eames

summary: "Ah," Yusuf says, lifting a reproving hand, "are we calling less than 24 hours of memory loss amnesia now?"

notes: finding new stories to read in throwback fandoms is such a joy. this one is absolutely outstanding. arthur and eames both find themselves experiencing bouts of amnesia, and the concept is used as a tool to explore how their relationship appears to each other without baggage or bias in such a brilliantly-executed way.

the character exploration here is incredible, breaking open the layers of complexity of arthur and eames’ feelings and desires with such deftness. the dialogue is also marvellous, so engaging, witty and heartbreaking in turn. just an incredibly-executed, extremely compelling story.

breaking and entering by resonant

rating: E

pairing: arthur/eames

summary: Eames is very good at pretending.

notes: if you’re going to rewatch the film, do yourself a favour and read this afterwards. there is such fantastic detail here, and such a strength of character development, the pacing feels wonderfully measured, the story so full of life.

this is the kind of story where the author has such an enviable talent for richly-detailed, well-researched background information. the jobs they’re running, the locations they end up in, and the smaller details too – the items in a room, the clothes they wear. the world that’s built around them is tangible, and the emotion it’s infused with is too.

part of this focuses on the idea that eames being the forger/pretender archetype means he has this kind of detached observation of the disparate elements of what he’s feeling, his default mode always set to pretending and going through the motions of something without understanding the truth of it, and although it was perfectly in-character for him, it also felt like an extremely universal and human way of fumbling into relationships, which made it very moving, and a wonderful thing to read.

fandom: harry potter

grounds for divorce by tepre – @tepre on tumblr

rating: E

pairing: harry/draco

summary: Malfoy finds a coin. Harry finds a letter. A story about histories, a story about families. A story about a lemon tree somewhere in Upper Egypt.

notes: jesus christ this story. the detail and care with which the world is coloured-in here is just incredible. the added lore, the historical detail, the characterisation of people in the background, the thought behind the practical aspects of things like the curses and spells, the modes of travel, the administrative set-up of ministry departments, the daily grind of work, the science of potion-making, everything is so thought-through, whether it's a deeply important and relevant part to the story, or a passing detail in the background it all serves to make this thing such a rich, unique, fully lived-in world that expands out to the edges and even further, like there's even more beyond just the bounds of what this story shows us.

this story takes us on a journey. i forget how good a good bit of angst can be, but this story reminds me of how enjoyable it can be to give yourself up to an author's hands, and let them take you somewhere dark and painful, let them unpick the misery, the hurt, the fear, the trauma, and lead you out into the light, into healing and resolution.

this story felt so starkly real, a deeper and more honest look at harry and the life he’s experienced than any bullshit nineteen years later epilogue ever did.

the weather inside by earlybloomingparentheses - @ebp-brain on tumblr

rating: E

pairing: remus/sirius

summary: Sirius rides a flying motorbike, and snogs strangers in pubs, and strikes moody poses Remus finds irritatingly attractive. But for Remus, who drinks milky tea and wears flannel pyjamas, there's a chasm cracked right down the fault line between wanting and doing. How he wants, though. How he wants.

notes: a vividly intelligent, compelling looks at remus' desires and fantasies, at the way he navigates his own understanding of what being a werewolf means, and how it shapes him. the queer themes here are starkly present, the weight and baggage of desire, the complexity of sexuality.

sharply melancholic at times, this is also a really lovely, deeply emotional look at the stumbling, difficult way remus and sirius eventually find a path to each other. it’s ultimately optimistic in its portrayal of love and desire, and the feeling that you can be understood, can be known, can be found. just beautiful, a real hard-hitter.

fandom: IT

how much more than enough for both of us by pineapplecrushface - @pineapplecrushface on tumblr

rating: E

pairing: richie/eddie

summary: Richie has tried very, very hard to get laid over the last twenty years, but something has always gotten in the way.

notes: your guess is honestly as good as mine as to how i ended up in this fandom, but here we are, and there are some truly wonderful stories to enjoy. this one is beautifully-written – the longing, the aching, the sadness, i could feel it in my bones. deals with the concept of forgetting, and supernatural horror aside, there's something really simple and human about this mortifying ordeal of going for person after person and fucking it up each time and sabotaging yourself in the search for love. well-written, lovely, simple, tender.

also you should really read everything by @pineapplecrushface - both their work in IT fandom and good omens is stunning.

things that happen after eddie lives by ifithollers

rating: E

pairing: richie/eddie

summary: in a world where Richie manages to save Eddie from It after the deadlights, they still have problems on their to-do list. Featuring everything from Derry to Los Angeles—Richie Tozier's murder trial, Eddie Kaspbrak's divorce proceedings, bedsharing of the platonic and non-platonic varieties, an investigation of magic, a truly disgusting séance, the quintessential morosexual road trip, and OH MY GOD THEY WERE ROOMMATES.

notes: this is top-tier, next-level, Good Shit. a real satisfying slow burn full of incredible, nuanced character stuff, high-stakes drama, trial & error, with a real, tangible move towards understanding, and maybe healing. plotty, narratively compelling, manages to balance real-world, atmospherically humdrum details with some viscerally brilliant and strange supernatural elements.

also a masterclass in exploring self-loathing, trauma, and sexuality in a way that is necessarily uncomfortable, and fascinating and cathartic. the razor-fine line of being paralysed into inaction by wrecking-ball levels of want was powerfully compelling to read both as a look at a particular kind of queer-baggaged desire, and also as an exploration of who these characters are.

full of smart, brilliant banter and dialogue, i am always overwhelmingly grateful to authors who have the talent and fortitude to tackle a novel of a fic, to give us this much wonderful, quality entertainment absolutely for free. what a gift.

the kids table by stitchy – @stitchyarts on tumblr

rating: T

pairing: richie/eddie

summary: For the most part Richie and his sister have a doctrine of mutually assured destruction. They could obliterate each other with their parents given the slightest provocation. To keep things at an even keel, they steer clear of each other as much as possible every other day of the year, but on Thanksgiving? Kids Table is like their NATO.

notes: an observation of how things change within families as time goes on - people die, people get married, people get divorced, the family dynamic changes, and there's always a really painful process of trying not to get left behind, trying to change with it, but also trying to hold on.

i’m recommending this one, but honestly, do yourselves a favour and read everything stitchy has written for this fandom. this one particularly stood out to me because i’m an absolute sucker for sibling fic, especially when it’s written like this; emotional, witty, astutely-observed, resonant.

the core of the sibling relationship between richie and his sister here is a joy to read. this is a lovely, humorous and emotional story told in a series of thanksgivings, filled with keenly-observed, vivid, details, and written in a really sharp, concise style that cuts clearly to the truth of a feeling. absolutely wonderful.

---

okay! that took forever. i hope someone finds something in there to enjoy they maybe haven’t read yet. and if you’ve got your own fic rec posts, please link me!

quick links to more recs:

good omens

harry potter

the goldfinch

hannibal

all other fandoms

#good omens fic recs #it fic recs #hannibal fic recs #the goldfinch fic recs #harry potter fic recs #roundup post #fic rec post #jesus christ this took me a long time to put together

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official-brennivin · 5 years ago

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Until Dawn review

I’ve recently finished my full playthrough of Until Dawn and after going through the main story of the game multiple times and experimenting, I’ve compiled my thoughts! This action-visual novel was extremely interesting to play.

Firstly, the game is marvellous in terms of atmosphere. The sound design, acting and music all create a very strong mental image of the cold environment and the intensity of the action sequences. This game has hit the nail on the head in terms of tone and setting. The environments are crafted wonderfully, and a lot of the gameplay segments feel relatively realistic. When a character pulls off a feat, it’s never unfeasible or totally impossible in real life. When a character is hurt or feels the cold, they react in a pretty normal way. The choice of a ski lodge during winter as a setting really enhances the tension of the story, and even with occasional slivers of dark humour the tone is very much under control. I never felt like my immersion was broken because the game became “too ridiculous” and this can happen with action-VN games. From the moment the opening theme started and that intense and overpowering “Oh Death” started playing, I was hooked. It was amazingly put together.

The decision to use the wendigo as the antagonistic species was a bold move. It’s not often that we see the wendigo adapted to games or films, and I think the decision to use them instead of werewolves or some other cryptid was extremely creative. I already have an interest in wendigo from playing RPGs and reading myths about them, so seeing them in media always makes me happy. The wendigo were also animated in an extremely masterful way. They’re absolutely terrifying. The gory deaths they cause are extremely creative and intense, and they pose a very real threat. One wrong move and the wendigo can easily be the end of you. Those that know me through this blog are aware of my penchant for creative and unique gore, so naturally this made the game very captivating.

Onto the game design, I thought that even though there were a lot of playable characters it was handled quite well. No matter who I was playing as I never felt like I switched control too quickly, or like it was jarring. Each segment was introduced with care and getting into each character felt organic. I do wish that the game was not divided into arbitrary chapters, though. The reason I say this is that whenever I wanted to collect an item I’d missed I had to replay an entire section of the game right from the beginning. Other Action-VNs and even regular VNs either allow you to skip segments of dialogue you’ve already been through or to jump into different sections of a chapter to get to specific points more quickly. Having to play through an entire chapter again just to get a totem that is right at the end of the chapter is very tedious. This did make the game frustrating at times, as the gameplay is so unforgiving and precise that it’s very easy to make mistakes and miss the item you’re looking for. That means starting the whole chapter again and again.

The game is difficult, and I like that about it. It doesn’t hold your hand and doesn’t give you arbitrary button presses all the time. The quick-time inputs feel natural because the button that you will have to use often corresponds to a direction. (for example, if you’re climbing then triangle will be used while launching yourself upward whilst X and square will be used to control your legs) Sometimes, the best thing to do is also nothing - not acting on a quick time event can save your life, if the action is too dangerous. This was also very well-implemented.

My absolute favourite game mechanic is the “stay still” mechanic. Wendigo can not see you if you stand still, so the game requires you to hold your controller very still to avoid detection. Not only is this a very unique way to use motion controls, but it’s also very well-tied into the lore. This is an example of an innovation that pleasantly surprised me. The tension it creates is unparalleled by any other horror game mechanic I’ve seen. The first time I encountered it while facing a wendigo, my heart raced. I genuinely felt fully immersed in the fear of the situation. This was an amazing choice that ultimately made the game for me.

I also loved how the game adapted to me as a player. During the “therapy” segments of the game, while you’re being psychoanalysed by Dr. Hill, the decisions you make influence the game you’re playing. The fears that you express towards Dr. Hill will impact the scares used in the game. This is really interesting and I was really pleasantly surprised by it as well. Games that adapt to your psychology are far and few between, but I think analysing the fears you have and changing the content accordingly makes for a really unique experience for each player. I loved this personal touch.

The characters in this game are fantastic. They’re all very balanced and unique. Not one of them is an all-round likeable person. They all feel like very real young adults with flaws and their own motivations. The way they react to certain interactions is very natural and organic, and I’m really impressed by how well they are characterised and developed. Throughout the story their emotions and experiences feel very relatable and human. Their personalities are all so unique and fun that I found myself quickly latching onto certain characters such as Chris, Josh and Jessica. I really cared about what happened to them, and the way they were written influenced the way I played quite a lot.

My feelings about the dialogue are complicated. On one hand, I love that it was written as a homage to corny 80s horror films. That was a great touch. However, some lines felt off. Sometimes characters would say things that didn’t feel natural. For example, I don’t think it would be typical for an 18-year-old boy to call his girlfriend “hon”. I also didn’t like Mike’s little “oh hell yeah” catchphrase whenever something suggestive happened. Talk about cringeworthy. The dialogue corresponded quite nicely to the characters’ personalities and was believable for American suburban teenagers, but there were points where it felt a bit jarring. Another thing that stood out to me as irritating is that Mike makes a pretty tasteless homophobic joke at one point and it’s not addressed as bigoted - the other characters just kind of let it happen. It’s only one short moment, but I hated it. Whilst the dialogue is quite flawed and I can see a lot of players finding its corniness annoying, it had its charms.

The acting in this game is phenomenal, and it’s clear that the actors had a great time working on it. Everybody on the cast of this game loved being in it, and believed in the project’s creative vision. The facial and physical acting is extremely well-performed. The voice acting is spot on, and they portray their young and naive characters very well. Rami Malek did an especially good job at portraying Joshua Washington, as the role had a lot of emotional range to it and I can only imagine how much work he put into that performance. I also want to mention Peter Stormare’s portrayal of Dr. Hill, which was mindblowingly intense and extremely intimidating. He is a phenomenal actor and the way he pulled off the character’s mystery and powerful aura was amazing.

Overall, while there are times that the game feels corny or unappealing in its dialogue or slightly tedious to replay, it’s very worth playing for those that enjoy horror and/or action-VNs. The very first playthrough is always an intense experience. Even my partner, who normally hates action-VNs enjoyed it purely because the horror was that effective. This game was a really unique experience, and one of the better action-VNs I’ve played. If you haven’t played it and you’re interested in experiencing a creative and wild horror plot with very interesting execution, go ahead! I highly recommend it.

#until dawn #game review #review #brenniviews #I love this game!!!!#visual novels #action visual novels #video games #gaming blog

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mothermaidenclone-blog · 6 years ago

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Deadpool 2 or The Script Confiscated From A Year Nine Class

Deadpool 2 was a disappointment in my opinion. The original film took me by surprise with its love story plot and silliness outweighing offensiveness. It also included wonderfully unexpected, off-beat jokes about Judy Blume books and Ikea furniture. Whilst I still had some real chuckles at moments of Deadpool 2, such well written, humorous moments were in the minority. These were replaced by fourth-wall-breaking in-jokes about other Marvel franchises and witticisms acknowledging sexism and racism that were present in the film, without actually addressing the issues or making amends for how problematic they were. All of this, combined with the higher frequency of gore, made it feel like Deadpool 2 was written by a fourteen year old boy and a ropey A.I. that had been fed the first film.

*Deadpool 2 spoilers follow*

Deadpool 2 saw the return of Vanessa (Morena Baccarin), the partner of Wade Wilson aka Deadpool (Ryan Reynolds). Within a couple of lines of dialogue she establishes herself as an understanding person with a razor sharp wit, a cutting sense of humour, a libido and a desire to become a mother. Vanessa is built up as an incredibly three dimensional character in a very short space of time, all whilst displaying a combination of characteristics not usually afforded to women in mainstream cinema. All good so far, what could go wrong? How about she is promptly shot in the head to give Wade something to be sad about for the rest of the film. You did The Bad Thing, Deadpool 2! I feel as though the writers noticed the success of the love story angle of the first film, so they stuck a bunch of movie genres that Deadpool isn’t in a hat, pulled out “family film” and spent the rest of the creative process figuring out how to shoehorn a plot around that. Vanessa and Wade’s honest, raw and genuinely funny relationship was what made the first film so good, murdering Vanessa right at the beginning of the sequel is not the right way to keep that momentum going.

Furthermore, Vanessa isn’t even allowed to rest in peace. She becomes a metaphor for heaven, rather than a character. In her pink, fluffy jumper she becomes inseparable from her hazy, pastel surroundings - what happened to her amazing, grungy, leopard-print fashion? Her individuality is stripped away and she becomes a homogenous ideal of a stylised afterlife. Her acerbic humour is replaced by generic platitudes about how Wade can’t join her because his heart isn’t in the right place, which is nonsensical in itself because in life she loved Wade for all his flaws and foibles. In short, it is tragic to see Vanessa - one of the reasons that Deadpool was so original and funny - killed off almost instantly and then reduced to one of the most ubiquitous and boring tropes imaginable.

Another fabulous female character who makes all too short of a reappearance is Negasonic Teenage Warhead (Brianna Hildebrand). She is a fantastic comedy counterpart to Wade, dry and stoic where he is emotional and silly. The audience is not only treated to some great one liners from her, but also a brief display of her combat prowess and spectacular mutant powers as well as, if you wait until the credits, impressive technical capabilities. Negasonic continues to be a unique and strong addition to the unwieldy X-Men pantheon, my only real criticism is that we didn’t see more of her.

Negasonic’s personality is developed somewhat in Deadpool 2 by the introduction of her girlfriend, Yukio (Shioli Kutsana). Whilst it is always amazing to portray a lesbian relationship as the norm and not murder one of them (everyone needs to do this more please) it did feel a little like box ticking in this film. This is mostly because we don’t get to know Yukio at all. Once again, we see a small demonstration of her exemplary martial skills and supernatural abilities, but we don’t really see any personality. Basically all of her lines are a cutsie, cheery, “hi Wade” or “bye Wade.” On the one hand, this is a good comic balance to Negasonic’s broody attitude, but on the other hand, it does feel like a stereotype of a “kawaii” Japanese girl. If she had literally any other characteristics this might be excusable, but as it is, she remains a two dimensional character. On top of all this, she goes by what I presume is her Japanese given name, rather than a pseudonym like the vast majority of the other X-Men, hammering home the uncomfortable and somewhat fetishistic, Orientalist aura surrounding Yukio. I can’t wait for all the fan art of Yukio and Negasonic because it will undoubtedly be deeper and have more narrative than Deadpool 2 awarded the pair.

One final, returning female character reappears in Deadpool 2. Al (Leslie Uggams) returns as Wade’s elderly, black, blind flatmate, which in itself is positive to simply have someone so far from the white, young, able-bodied Hollywood norm included in a superhero blockbuster. Once again, Al has some excellently funny one liners, but these seem to be overshadowed by gags about her blindness, which places her more as the butt of the joke than the creator of the comedy. Furthermore, she only appears in one, brief scene, so I feel that Al was wasted somewhat on Deadpool 2.

Deadpool 2 did introduce a new, black, female superhero, Domino (Zazie Beetz). She has the unique superpower of being lucky, things just seem to work out for her. In addition to this power she is shown to be funny, brave and compassionate, as well as a skilled fighter. Most notably, in the final standoff which is comprised mostly of men battling each other, she goes to save the children from becoming collateral damage in the crossfire. Despite Wade calling out the sexism inherent in the X-Men and proclaiming that the X-Force will be “forward thinking, gender neutral,” Domino is the only woman in the original line up, being outnumbered 7:1 if we include Weasel (T.J. Miller) in the calculation. She is, however, the sole survivor of these new recruits, and undoubtedly steals the show in the ensuing action sequence. The second X-Force family is somewhat more balanced, but men still outnumber women 5:3.

Overall, the women in Deadpool 2 are mostly strong, capable and hilarious. However, the vast majority of them have very little screen time, sometimes due to their untimely and unjust murders, and the racial stereotyping cannot be ignored. All the elements for a great story are here, they’re just lost in the quagmire of self-referential almost-jokes. I’d like to see the version of this film conceived by queer fan artists, and not the rude, crude scribblings of teenage boys in the backs of their homework diaries that this film was.

And now for some asides:

Domino’s fashion was amazing, I want all of her jackets.

“Hands off that kid, John Connor” doesn’t make any sense as a reference! If you insist on all of your humour being referential, at least put in the nerd hours to get it right.

You know an ending is dragging on too much when you abandon it in favour of not missing the post-credits scene, because your broken body can’t make it through both without a toilet break.

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casualarsonist · 7 years ago

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Wolfenstein II, and the importance of tone.

B.J. Blaskowicz's pregnant lover, Anya, tears her burning shirt from her body as her grenades explode under the feet of the advancing Nazis. She straddles B.J's prone body and brandishes two machine guns aloft as blood showers her naked skin, and I roar with laughter. My girlfriend asks me what the f**k is happening. Hitler pisses into a bucket and vomits on the floor. B.J. rants against bourgeois pacifism in a drunken rage and passes out. And as the sword bites into his flesh, and his head falls into a pyre, only to be collected by a machine and reattached to a synthetic body, I rejoice at the moments wherein Wolfenstein 2: The New Colossus has the balls to embrace the absolute madness of its setting and take everything up to 11.

But something doesn't feel quite right. Its predecessor - The New Order - subverted and exceeded the expectations of everyone that awaited it; I don't think anyone could have imagined what Machine Games would do with the franchise rights of the world's first FPS. As a pitch, the idea of taking the inherently daft premise of a man fighting Nazi-zombie robots in a retro-futuristic 1960's and grounding it all in a real emotional place with characters that understand and communicate the gravity of their situation to one another and to the audience alike...well, it's mental. And yet it worked. It worked really, really well. The action was intense and bombastic, but when it was over and the game asked us to understand what was motivating these people to do what they were doing, the drama felt earned, and every enemy you defeated felt like a cathartic victory rather than an exercise in psychopathy. When a friendly character died, it hurt because you cared, and because the death felt like a genuine loss amongst all the well-written personalities. The New Order was dark and visceral and at times terrifying, but always a joy to play, and in the end, no matter which turn the story took, you were invested.

So why does The New Colossus feel like such a mistake?

To be fair to the game, as I've already said, there were moments that I was literally rolling in my seat with laughter, and it is certainly at its best when it says 'fuck it' to the concept of restraint and goes mental. It is, at times, incredibly fun, and funny. The aforementioned scene in which an insane, addled, syphilitic Hitler pisses in a bucket whilst auditioning actors for a terrible, terrible film he has written is one of the best in the entire game, not just because it makes an absolute mockery of the long-feared icon of human evil, but also because it is rendered and animated so well that looking into his eyes is genuinely chilling for how lifelike it all appears. But moments like these are few and far between, and it's regrettably rare that, buried amongst long, long cutscenes that have nothing important to say, one feels like they are genuinely being surprised and entertained.

I suppose it's all about on which end of the crazy scale you heap your content - balance is good, as is committing to one style and tone on either side, but to be indecisive, or to miscalculate and mistime and portion your moments improperly so as to leave your audience confused as to your intention can be fatal, and in the case of Wolfenstein 2, it very nearly is. Whereas The New Order balanced the silliness in its gunplay with sincerity and moments of genuine tenderness in its story, The New Colossus couples inappropriate moodiness and melodrama with the violent actions of its characters, and leaves them looking like hypocrites. After tearing through a gauntlet of soldiers leaving little but a hallway littered with bloody chunks of flesh, B.J. chooses to wax poetic about the loss of a friend's life and the loss of all her experiences with it, in turn completely ignoring the dozens of lives and thousands of experiences he just erased. The moment is timed so perfectly and the recitation of the lines so genuine that the juxtaposition almost feels intentional, as if the game wants you to scoff at his lack of self-awareness, and it might have been a nice subversive moment if this game’s immediate predecessor hadn’t pinned all its integrity on the fact that its characters and narrative were supposed to be relatable. Instead, B.J. comes off psychotic, annoying, and unlikeable, and the writers seem less like they’re in on the joke and more like they just don't know what their doing.

Which is rather baffling, given that it's the exact same creative team behind the The New Order - the same two writers that created a masterpiece of action storytelling, and somehow married an impossibly absurd premise with a genuine, heartfelt narrative. They created a terrifying villain, complex and likeable sidekicks, and together with the ambitious and intense soundtrack crafted a world that lived and breathed despite exploring all manner of ridiculous scenarios (moonbase FTW). The New Colossus is this, but less well made. It repeats a lot of the same beats of its predecessor, and so they all feel forced, unearned, and inferior. It's as if the setting of Nazi-occupied America wasn't fertile-enough ground for the creative directors, so they needed to borrow directly from their previous game. They delve into B.J's childhood and fill his backstory with caricatures that overstate the point they're there to make, and yet at the same time expect us to invest in a depressing world that is directly at odds with the light-hearted insanity of the rest of the story, and I think moments like this come from a desire to leave the tone of their previous game behind in favour of something a bit more fun, while still feeling like they need to bridge the gap with some kind of drama. Unfortunately, they fail to find the balance, and the attempts at seriousness reek of try-hard melodrama and smash against the humour like two cars travelling opposite directions down a one-lane road.

I could be mistaken of course; perhaps I’m just too thick to ‘get it’ and they were trying to ironically deconstruct their own work, but the drama is so heavy, and heavy-handed, that I just can’t believe that this is the case, which is such a shame because there are all the makings of an amazing game under the hood - fantastic components have been assembled together in a confused and chaotic manner, leaving the follow-up to one of the greatest shooters ever made (and one of the most unexpected underdog releases) feeling like a victim of its own success. And this is exemplified in no better place that at in the ending of the game, which is in almost every way the antithesis of that of The New Order.

A recap: in The New Order you must fight a super-robot implanted with the brain of one of your former comrades. After defeating it and ending the suffering of your friend, you’re attacked by the main villain - General Deathshead - as you fight amongst an increasingly unstable network of gas pipes and crumbling concrete. When you finish the desperate battle and kill Deathshead from within a conflagration of fire and flames, a short, poignant cutscene activates in which the game implies the end of one of the most important parts of the franchise. It’s a perfect example of why the game did best as a whole, offering the traditional trope of a boss fight with a new coat of paint, and then ending with a no-nonsense but impactful piece of genuine drama.

So how does The New Colossus conduct itself? Well not only does it unravel the risk of the previous game’s ending within the first few seconds, but it ends by making the player’s last interaction with its Big Bad a single button-press that then triggers a five-minute-long cutscene in which the characters stand around and spout cliche ideological platitudes about America rising up. Then B.J. stares at the corpse of his enemy like a fucking nutcase, before getting down on his knees next to the wrecked carcass and proposing to his girlfriend, which would be funny if this wasn’t the same character we were supposed to be rallying behind and is now clearly insane. It’s anti-climactic, tonally unbalanced, and boring, and worse than all this is that it commits the cardinal sin of second acts in that it ends unsatisfyingly whilst promising a third installment that will be much more interesting.

Fuck off.

This could all have been avoided if the creative rudder of the production had steered it directly into the eye of the storm - the setting, its violence, and its cast of characters are all ripe for parody, so why the hell did they feel like they had to spend so much time exploring B.J’s tragic upbringing in which his racist, wife-beating dad makes him kill his own dog? What purpose does that serve in a story that opens with a wheelchair-bound protagonist machine-gunning Nazis in the face? It’s just madness. And in my opinion it ultimately undid a lot of the good will that The New Order worked so hard at creating. Even if the incoming third game commits completely to its craziness, we’re still stuck with this strange Frankenstein’s monster, and the fact that from about the half way mark I was just waiting for it to end is, for me, a nail in the coffin. It’s just...it’s such a shame. The New Colossus is a smooth, beautiful shooter, and also an trainwreck of mismatched tones, confused pacing, regurgitated story beats, and an unsatisfying ending. It tries to vary its gameplay and somehow ends up feeling more of a generic shooter than it’s predecessor - a game that actually set out to reboot the world’s first FPS. It has moments of absolute brilliance that it just fails to perpetuate because it doesn’t let them gather momentum, which leaves it feeling starkly weak specifically in the areas that The New Order excelled, and that makes it a much larger kick in the nuts to me than it ought to otherwise be.

Of course, if you’re not a whiny little baby like me, or are like a friend of mine who’d never played a Wolfenstein game in his life before this one, you might just enjoy it for what it is - a gorgeous, ambitious, and gratuitous FPS set in a strange and fun alternate history, but if you asked me to recommend it as a sequel to it’s fantastic predecessor, I just can’t do it.

6.5/10

P.S. I think I’m going to remove the qualification titles of my ratings from this point onwards. I’m not 100% certain that I’m going to get rid of them forever, but between my poor attempts at thinking of ‘names’ for half-marked titles and the fact that I’m tied to classifying a 7/10 game as ‘good’ even though my subjective impression of the game might not agree with that, means that the more complex my feelings about a certain title, the harder it is to put a specific label on it. Wolfenstein II is a good example of this conundrum. I don’t think it’s objectively good at a lot of what it’s trying to do, and yet I don’t think it’s objectively ‘just okay’ across the board. With this in mind, if you refer to my review scoring system you’ll get a better idea of what each ranking means, beyond what a single word can convey. You’ll see that Wolfenstein II gets a 6.5 because I think it is largely unsuccessful in the pursuit of its intentions regarding its narrative and tone for the reasons I’ve detailed above, and yet I can’t at all say that it offers a poor return-on-investment for the average gamer. Hell, you might think it’s an excellent game and disagree with me entirely - this is just my opinion, after all - but given that I will obviously weigh certain aspects of a work’s design more heavily than other aspects, I still think this is the best way to understand what each score means for me (and thus for you), and why I might have come any given conclusion.

#wolfenstein ii: the new colossus #bethesda #machine games #video game #review #pc #b.j. blazkowicz #id software #fps #shooter #ww2 #gore #sequel #alternate history #imnotgoingtotagthefuckingnazisinthis #shitijustdid

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bishreview · 7 years ago

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Top 20 Films of the Year

I think it’s about time I did something about films so here’s my list for the top 20 movies. This year has seen a rise in quality superhero films, some strong horror flicks, but I’ve felt genres like comedies and science fiction have really dropped. This list will include films that were released to Australian audiences in 2017 but will miss the Oscar nominated ones at the start of the year because they were classified as 2016 still. Enjoy.

20. Spider Man: Homecoming

Superhero films really did well this year, with Spider Man’s first lead film in the MCU a pleasure to watch from start to finish. Focusing on the high school aspect rather than the superhero aspect (like all previous movies of the hero have done), Holland brings the role to new levels of excitement, humour and reliability, making this maybe the best film incarnation of the hero.

19. Split

Split is a different sort of film. It’s a super-villain film, disguised as a psychological thriller, disguised as a horror. James McAvoy’s role as the character Kevin, a person who has multiple personalities, is incredible as he switches between different personalities, with their own characteristics, with ease. M. Night Shyamalan looks like he’s making a comeback, and it’s exciting to watch.

18. Raw

Have you ever watched a film so gross but so engaging that you can’t look away even though you’re disgusted by what you’re watching? Because that’s Raw. Julia Ducournau’s unique film about cannibalism is incredibly unique and brilliant, whilst also being one of the hardest to watch films I’ve ever seen. Big warning to those with weak stomachs.

17. Star Wars: Episode VIII - The Last Jedi

The Last Jedi will probably go down as the most decisive Star Wars film ever. Disney have made it clear that they are avoiding canon in their trilogy, turning away from the comics and focusing on the films. With The Last Jedi they took it further, taking risks throughout the whole movie. In doing so, they made the most unique Star Wars film yet, and maybe the strongest since the original trilogy, focusing on the balance of the force instead of the usual ‘good vs. evil’.

16. John Wick: Chapter Two

John Wick is such a brilliantly written character. Although the second instalment in the hit-man, revenge franchise looks more into his past and the organisation he was a part of, we still know little about the ‘Boogeyman’. Keeanu Reeves is brilliant as the titular character and Derek Kolstad has again written another amazing story, creating one of the most interesting and unique cinematic universes.

15. A Ghost Story

There are some movies which capture your imagination and place you in a story that you can escape in. A Ghost Story is a different story. It’s heartbreaking but makes you feel warm. Casey Affleck and Rooney Mara are brilliant as the two leads, holding a chemistry which is hard to create so naturally. Although it’s slow at times, there is a certain beauty throughout the movie, drawing you into the love story even at it’s slowest moments

14. Logan Lucky

Logan Lucky is a really fun film. With a great cast including Adam Driver, Channing Tatum, Riley Keough, and Daniel Craig, the heist film is an entertaining watch. Although heist films sometimes feel cliched, Logan Lucky utilises the American car racing competition NASCAR as its setting, allowing the film to explore a different range of characters, making it one of the most intriguing heist movies in years.

13. Wonder Woman

The DCEU is getting really hard to watch. Justic League, released late this year, was more of the same average flicks which has plagued the franchise since Man of Steel. Before that though was Wonder Woman, the cinematic universe’s saving grace. Gal Gadot is incredible as the iconic superhero, carrying the movie all the way through with her engaging performance. Mid-way through the year I stated this film was the saving grace of the franchise, and that could never be more true now.

12. The Big Sick

Rom-com’s have never really been my thing. I often feel their stories have been done over and over again and that the genre doesn’t try to be do anything different. The Big Sick though is a story which hasn’t even been attempted by the industry yet, a movie about religious and cultural traditions and progressing forward with them. Kumail Nanjiani explores his real life story in such a tongue in cheek way that you can’t help but love the story and the characters.

11. The Lost City of Z

I was remembering this film the other day (I’ve only watched it twice) and the feelings I got from it still gives me the chills. The exploration of the jungle in James Gray’s film about real life explorer Percy Fawcett is gorgeous. It’s a slow burning movie that depicts Fawcett’s addiction to the Amazon rainforest in such a mesmerising way that you often forget that he’s searching for gold, rather just wanting to live in the Amazon. Charlie Hunman is brilliant as the lead and it’s a movie that will stick in your mind for a long time.

10. Thor: Ragnarok

2017 was a great year for the MCU, and Thor: Ragnarok was the shining light. Although the previous Thor films have been some of the more weaker entries in the franchise, Ragnarok was able to give the titular character his best story yet, combining the comic with the Planet Hulk storyline. With incredible performances by Chris Hemsworth, Cate Blanchett, Mark Ruffalo, Tom Hiddleston, Tessa Thompson and Jeff Goldblum, NZ director Taika Waititi created the best and most fun Thor that has ever hit the big screen.

9. The Beguilded

The Beguilded was a strange watch. Based on the 1971 novel of the same name, the film explores lust, forbidden love, obsession, fear and hate in a stable manner, balancing these themes effortlessly. Sofia Coppola has deservedly won awards for this film and will hopefully be nominated for a few more after being snubbed at the Golden Globes.

8. Silence

If I were to pick a film that I have seen this year that still disturbs me it would be Silence. Set in 17th century Japan, during the Tokugawa shogunate, Silence follows two Christian priests (Adam Driver and Andrew Garfield) trying to track down their mentor (Liam Neeson) whilst continuing to spread their outlawed religion. The movie is very graphic and doesn’t hold back on the Crucifixion techniques that were implemented during this period. Garfield also delivers the performance of his career, pulling you in emotionally to his character’s experience.

7. War On The Planet of the Apes

It was always going to be hard to complete the Apes trilogy, as the first two films of the franchise were both amazing. War though is best of the three. An incredibly emotional experience as we watch Caesar and his fellow apes fight for survival against humans. Andy Serkis is again incredible as Caesar, continuing to prove that he’s the best actor in a motion capture suit.

6. Logan

Superhero movies were truly a shining light in 2017. The fourth comic book movie on this list (and the highest), Logan (based on Old Man Logan comic) is an incredible experience. Allowing the movie to have a restricted rating was a risk but it paid of as it allowed the character to be at his brutal best. Hugh Jackman will always be Wolverine and Logan was a perfect way to send off nearly two decades of the character on the big screen.

5. A Monster Calls

A Monster Calls (can also be called How to Tear Someone’s Heart Out) is the saddest film of the year. It hits you deep in the feels, ensuring the audience cries their eyes out by the end of the film. Lewis MacDougall is incredible as the lead, and the supporting cast are brilliant, especially Liam Neeson as the voice of The Monster. The film blends a heartbreaking story about cancer with a beautiful fantasy world, utilising water-colour animations to bring the audience into the imaginary world.

4. T2: Trainspotting

T2 has been a long time coming. A sequel to the incredible original (Trainspotting) has been rumoured for a while, and Danny Boyle has finally delivered two decades on. Bringing back the beloved Scottish gang, led by Ewan McGregor, T2 doesn’t hold back on themes of getting old, reminiscing on youth, and trying to make up for the mistakes of youth. With all four of the characters being on a path which joins them back together, fans of the original will feel blessed with this sequel, whilst new fans will straight away connect with their stories.

3. The Disaster Artist

The Disaster Artist is a perfect homage to the greatest film of all time, The Room. Delving into the creation of the aforementioned masterpiece, The Disaster Artist is about more than having a laugh at the people who were involved in making it. Instead it allows a sympathetic view on the desire to be an actor, to create film as an art form. Both Tommy Wiseau and Greg Sestero are respectfully portrayed by the Franco brothers, allowing a look into the hardships they faced during the making of The Room. It’s a fantastic story, both hilarious and relatable, and could be the Franco brothers best performances.

2. Dunkirk

I’ve always felt like Christopher Nolan has an obsession with outdoing himself every movie. After the epic (albeit flawed epic) which was Interstellar, it looked like he was going to stick on the sci-fi route which had dominated so many of his previous films. Instead he made Dunkirk a history piece about the Allies biggest failure in World War II, the loss of France. The film is tiring to watch, moving slowly and feeling like it’s in a constant route, as every small victory is followed by the plan going wrong. Fionn Whitehead is terrific in his debut mainstream role, and Kenneth Branagh, Mark Rylance, Tom Hardy and Harry Styles also bring in strong performances, suggesting that Dunkirk may be Nolan’s best work.

1. Get Out

I watched Get Out again last night and it still hits me the same way as it did the first time I watched it. Jordan Peele’s directorial debut is incredible. The comedian jumps into a genre unfamiliar to him, in a horror/thriller, and he delivers. Get Out is a unsettling film, raising issues of racism (and anti-racism) without making it overbearing. Daniel Kaluuya is incredible as the lead and will hopefully get rewarded during award season, and the supporting cast of the film (notably Lakeith Stanfield and Betty Gabriel) help create a chilling atmosphere throughout the whole film. The twist ending also may be one of the most impactful non-events in film history, with the expectation of what is going to happen making more of a statement than what actually happens (it will make more sense once you see it). Get Out is an incredible film, close to the best for this decade so far, and my number one film for 2017.

That’s my film list. It came out later than I wanted it to but I’ve just been hammered with work at the moment. I’ve completed the Top 50 Singles of 2017 list and that will be released tomorrow so stay tuned for that. Thanks for the support and hopefully you’ve enjoyed this list.

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