#The way it transitions from one shot to the next and between visual effects?

[artheresy]

Just saw the Black Swan trailer and I adore it. It's giving me very similar vibes to Blade and Kafka's trailers, in which it is very atmospheric, not afraid to play around with visual effects and certain cues in order to establish a feeling, very strong color choices like if you notice those trailers it seems like they're basked in certain colored light sources which I adore, and the music ties in so well with the video, managing to stand out while also not obscuring or taking away from what any of the characters are saying. I really loved it, I am WAITING for Black Swan's theme to be released in full to listen to, C'mon hoyomix where's that album. All around I just love it

There is one thing I'll say... and it's not necessarily about the trailer more about Black Swan herself and her design, and it's that I think her design and concept for me at least (very important to emphasize that this is based on my own taste and thoughts) would be like 10 times more effectively esp in conveying her mysterious nature if her eyes were obstructed. I do plan to explain that more in a later post, but yeah I think she'd fit the mysterious bill a bit more if her eyes were covered somehow

[jerejerejere]

Well.

I guess I'm doing this...collection of observations from the autiomaa mv (i'm not going to call it an analysis) tonight after all 😅

So the mv starting out with a really short flash of the tear-illusion shot, then some short bursts of him in 2 locations in the mv, followed by a longer pan on a cracking facade...

The light effects on the wall look like being under water, which also kind of replicated by the fabric of his coat.

The following couple of scenes establish where he is - aimlessly wandering in some abandoned house - we zoom in intensely, almost uncomfortably close to his neck and eyes - he's making almost pleading eye-contact. He is wandering further, through the house, arriving at and entering

A staircase through a door, which closes after him.

To me, this signifies his decision to enter esc. The staircase can take you upwards - maybe signified by the lighted glass wall above. But what we see is not him confidently walking upstairs but being caught in that hallway, traveling up and down the stairs. He hasn't reached the upper floor and is caught in limbo. Alone with himself.

The therapist scene starts. He slinks in, hunched, making himself smaller than he is, drowning in his clothes. The session also takes place in a warehouse but it's set up in a way that it might as well be an interrogation.

He is pleading again - spilling everything out in the hope he's understood. However, what we see next is him talking/singing to a mirror image of himself. Either to signify he is talking to himself because the therapist doesn't listen and/or only he himself can truly understand and listen to his problems.

We get the photo scene - that one has been talked about at length

And that flash seems to start a transition in the video from where flashes were mainly used as separating element between shots to actually flashing on him physically and more relentless than before.

He is transversing more rooms and hallways - followed and faced by dozends of flashes from cameras, spotlights follow and corner him - he can't hide or evade.

He keeps traversing hallways and empty rooms but he seems locked inside - restless and defeated at the same time - either visual for his mind that he can't open up about but also very much likely his real life situation not being able to leave the house in peace.

He longingly stares out of the window. This is where i'll stick my neck out and say they deliberately recreated the visual from his Vogue shot in profile. I can only speculate but to me, it's to put something into contrast, either between then and now/after or maybe between outside vs inside. I mean. Look at it:

We see him(?) as a shadow behind the upper floor glass wall in the light - he made it there after all but we/his mind is still watching from below and can't make contact with that person up above.

His dance moves get more and more erratic, a bit like someone waiting and slowly going crazy from it.

Watching the headlines with the therapist seems to upset him. They are projected in stark white and big - because they are important to him, because they are bigger than him or because he is watching his own life happening like a movie but not feeling any of it as real. Others can't relate to it because it's just too uncommon and crazy. He realizes this while looking at his therapist, seeing how could anyone ever get it who hasn't gone through the same thing - he'll not have a chance to get this across.

His dancing gets even more lifeless afterwards - almost swaying in a traumatized manner barely holding himself upright, especially after the therapist proves to be useless and making things worse even. (To me, it's not quite clear what the cigarettes offered by the therapist signify - pharmaceutical drugs/tablets? The only way out is returning to his old vices?)

We end a little like we started - with an intense stare into his eyes. They are not pleading. They know. They see. (They demand better.)

Aaaand that's it for now. (I'm sure there will be one or two ''AND ANOTHER THING!'' but i'd love to hear from you also!!!)

Thanks for listening to my TED talk <3

[shastafirecracker]

I've been feeling some kinds of ways since I finished Jedi: Survivor so I'm going to ramble some thoughts that other people have probably already had, about something that blew my mind as an extraordinary example of medium-as-storytelling. big honkin spoilers for Je:Su below.

So, "turning to the Dark Side" in SW is usually going to be a plot beat in the two primary forms that SW media takes, right: visual (movies, TV) or written (all the books, but also in fanfic). In both cases, as the audience, you're largely going to have to take the author's explanation for how it feels, why a character is doing it, and what the motivations are behind it. Even in visual media you're more likely to be told than shown, since it's established as an extremely internal, feelings-based experience for the characters. Because it's not a process replicable in real life, storytelling explanations for the difference between how light and dark side Force usage feels is going to have to rely on metaphor, and on the audience's willingness to engage in pathos. Which, to be fair, audiences are famously great at! There's been mixed results in SW media, but it's perfectly possible to make turning to the dark side a very engaging story beat that feels emotionally real and justified.

Then, there's interactive media. I'm fascinated by the storytelling potential of narrative games because of the different way they demand that the audience engage with the story, right, the way that physiological input from the audience changes the connections that the brain makes to the input it's receiving. The way having to press a button to make the next action happen manipulates the lizard brain into believing itself the cause of the effect, even though the forebrain understands that the story is just as predetermined as a published novel, so the button push is really not very different from a page turn. It's a potent tool for manipulating the audience's emotions and engagement, very easy to fumble but pretty mindblowing when executed well.

There were definitely moments in Survivor when I was like "ok am I going to be allowed to actually play this game some day" when control kept being taken away from me in favor of cutscenes. But as the story went on and I got into it, I stopped minding the times when my thumbs were still, and barely noticed the transitions between "I am making this happen" and "I am watching this happen." That's good narrative game storytelling, for sure. But it still felt like a good story that happened to also be a good video game, not quite meshing the two in a meaningful way. Until Nova Garon.

A lot depends on how you play this, I'm sure, but in my case I pressed through the end of the game from the last Dagan fight to credits in one sitting. Because of how tired my hands were from the physical demand of the Darth Vader fight, and because I had been maining blaster stance for much of the game, I made a semi-conscious choice when I reached Nova Garon to use my saber as little as possible. I one-shotted a lot of unarmored officers from across rooms, having decided that Cal felt cold with rage and tightly coiled, so it would make sense for him to not even give these people the honor of being killed by a lightsaber. So I'll grant you that I was adding my own hot sauce to the delicious angst recipe the game had already made for me.

Then you get to Bode and have a really long cutscene that doubles down on the idea that Cal's anger is, at that moment, cold. He's tightly restrained. For several back and forths in the conversation he even still tries to be neutral in front of Kata.

So, for me at least, it REALLY fucking worked as a storytelling move when Cal explodes. Bode runs off, you chase, and the very first thing you're faced with is a room packed with a comical amount of enemies, the kind of melee scrum you've been trained by the mechanics for the whole game to approach with a whirlwind lightsaber freakout using either double-bladed or dual stance, ideally using Slow to buy some time. I had truly played into the game's hands like a fool here because I only had blaster and single stance as options at the time. So I'm looking around my screen in that split second, considering my stance and Force and slicing options, prepared for punishment, barely registering the notification scroll on the right side of the screen because a whole bunch of new databank entries get dumped by the Bode cutscene - the last one of which is, iirc, 'Kata Akuna.'

So Kata Akuna fades upward and is replaced by the same size white text, relatively small, suggesting a button press to you, like it's done a dozen or more times before to say stuff like 'press O to dash' or 'press R1 to tame the creature,' relatively benign things that are always very useful tools that you use over and over and over as soon as you gain them. Except it says 'press [button command you already know and have internalized as your most powerful Force tool with the longest cooldown, which you were just thinking about using] to have Cal embrace his darkness.'

And like, the phrasing is fascinating to me there. It's always fascinating to me how anyone talks about playing a video game, anyway, like "I just beat Ganon" or whatever instead of "Link just beat Ganon," because of course you feel ownership of the actions of the protagonist of a piece of interactive media in a way you rarely feel ownership of the actions of anyone in a book or movie. Previous button instructions in this same game have said 'press [blah] to do [thing]' without a given addressee, leaving the player to probably interpret that, unconsciously, as the unspoken 'you' that is typical in English grammar. 'You press O to dash.' 'You press R1 to tame the critter.' But - 'press [dah] to have Cal embrace his darkness' is so - unsettling and offputting, separating you, player, from Cal, protagonist - and it's occupying a VERY important space because the buttons its asking you to press are ones you already probably wanted to press, but instead of doing the thing you wanted it to do it's going to do some kind of new, horrible, unknown thing that is almost certainly going to be bad for Cal.

Then you press it, because you have to, and it's the best fucking shit that's ever happened to you, the player. It jumps your level by 10, instakills half the people in the room, makes you fast and powerful and nigh unbeatable. Depending on what difficulty you've been playing on, it may make a combat encounter that looked like a surefire several-deaths-in-a-row run into something as trivial as a roomful of bugs. It lasts an insanely long time. It's godmode. It's a broken mechanic. It makes your screen bleed. The unbridled glee that you, the player, probably feel while killing that room full of people is at stark odds with the circumstance you are in, storywise, because you are supposed to be feeling grief and rage and driving urgency to hunt and catch your fleeing enemy. But instead you have a moment in this room of, if you're like me, hooting and hollering while doing a big old war crime, just because it's suddenly easy and fun.

It took me a couple more 'embrace the darknesses' to realize that Cal only has one stance in that mode. Anything you've learned before is thrown away - earned skill ditched in favor of brute strength. And I didn't really care? Even though I did really enjoy how skilled I had gotten with my favored stances, because the combat in Survivor feels really good, and also I knew they'd be back after no more than 2 minutes in dark side mode. So even though I didn't get to do the moves I'd spent so long mastering, every 'embrace the darkness' was a little indulgence of having my cake and eating it too. It started to feel like an insta-win mechanic against any enemy of a low enough level, and a safety/turtling mechanic against slightly more difficult ones. I wanted to trigger it as soon as the cooldown ended even when I didn't need to, just for the fun. I felt safer having it available.

And all of that - as a mechanic - is the single most compelling depiction of the Dark Side that I've ever seen in a piece of SW media.

The way it shows up as an understated suggestion in your periphery. The way it cuts through every Gordian knot in front of you. How fun it feels, how unfair it feels, how safe it feels to have it on your side. As a game mechanic it places the audience in the position of actually feeling what before only metaphor could attempt to describe - the way turning to the dark side is all about letting go and letting loose. Being a nuclear reactor mid-meltdown. Laughing and button-mashing and going "oh no, oh shit, I shouldn't be doing this" but not stopping. And also, as the player, your mind is not clouded by any mysterious outside control - you're aware of what you're doing, you're aware you're making choices here, you could definitely stop using the mechanic after the first instance where the game has to put a finger on the scale for a moment to teach you the controls. And maybe you do make that choice, idk how you play. But you get through the massacre and at the end when Merrin asks Cal not to kill one last person, and Cal agrees, it doesn't feel cheap? It doesn't feel like Cal 'snapped out of' anything. It doesn't feel like there was anything for him to snap out of, because he, like you, has just been making these choices for room after room of enemies, and frankly no one's been around to ask him to stop before now. He still seems reasonable, and so a reasonable request by someone he cares about still reaches him.

The Dark Side isn't the grief, pain, suffering, anger, etc. It's the release from those. And this one moment of a game mechanic explains that so powerfully and succinctly, in a way that other mediums can't replicate. It's one of the the best uses of a medium in the service of the story since House of Leaves. It's still making me have to lie on the floor and stare at the ceiling weeks later.

There's more to say about how the menu screen changes once Cal's embraced his darkness, altering his internal landscape in a way that doesn't change what you have access to but which can never be unseen. About how 'Slow' as a mechanic is gone forever, the most powerful Force ability Cal had just eradicated by an imposter version (a better version, the insidious inner voice wants to say). About the dramatic, overwhelming way the game chooses to command you to embrace your darkness next time, when the whole screen goes red and black. And the phrasing is different there, too, not 'have Cal embrace his darkness' but just 'embrace the darkness,' because this time you and Cal are not being treated as semantically separate entities. The first time, it's like maybe Cal wouldn't want to, so you, player, have to be the little Sithy whisper in his head that makes him do it. But the second time, Cal wants to do it so badly that his desire to embrace the darkness overpowers your, player's, agency to attempt to make any other choice. Even if you could have won that fight another way, Cal didn't want to win that fight any other way. He takes away your UI until you free him into his darkness, release him from his complex suffering into the simplicity of power.

It's just so fucking good, okay. It's such good storytelling, structurally. The way the player's choices and Cal's actions are on a surface level one-to-one correlated but actually form this intricate internal conversation. Using the most important thing a video game can be - fun - as a tool to describe a very dark place that anyone might go to internally, whether in a reality with space magic or not. But! Not by doing the thing that's been done before, the old "you [consumer] should feel bad because your act of consumption made the characters feel bad" fourth-wall-breaking meta thing that shames the reader for being entertained by others' pain (aka experiencing pathos, an extremely normal and not-shameful thing for humans to do). Survivor uses the audience's enjoyment of the medium against them narratively, in a gleeful and not-shaming way I don't think I've seen from media before, and I love it.

anyway I have no big conclusion here, I just am a writer who gets impressed when other writers do good writing. props to Respawn for making me writhe in my feels.

[slayerkitty]

Visual Effects in Only Friends MV part 2

The second song on the Only Friends OST dropped today; So What? by the amazing Ford Arun. Much like the first MV for Only Friends, this one is also has visual frameworks that made me stop and stare.

Just like my first post on this subject, where I talked about the late 90s/early 00s aesthetic of the show as well as controlled voyeurism (aka we only see what they want us to see), these themes show up again here, but a little differently. Unlike the Let's Try MV and the BTS vids which use multiple different effects and transitions as well as framing a lot of the scenes to look like (possibly) 90s camcorder footage, So What? has two visual effects (I think technically three, and I'll point out why I say it this way in a minute).

The first one is the camcorder footage effect. Except that it's even different from the Let's Try MV. While the Let's Try MV has the "play" prompt onscreen and time stamps, it now, to me, feels more like CCTV video than camcorder video. The video effect on So What? is definitely camcorder footage because it is time and date stamped.

Now, the time and date stamp is February 1st, 2020 at 6:06pm for every screen it appears on, which to me cannot be an accurate date/time for any of the scenes. Several of these scenes were from episodes 4, 5, 6, or potentially yet to air. Chuem drops info about Covid in episode one and in February of 2020, we were so early into the pandemic during that time that I'm not sure she would have referred to it so casually, plus with no Covid precautions being taken onscreen it does feel the show is set currently (aka 2023).

Why this date? Why 6:06pm? WHAT IS JOJO TRYING TO SAY HERE? Is this a specific reference to something upcoming on the show? Is this date famous in Thailand for something? Did he just pull a date and time out of a hat?

Onto the second effect: the yellow text on the screen is back! It was heavily used as a visual effect in episode one, and after a discussion with @ignoranaxed I did add it to my Narrative Frameworks post where I'm tracking visual effects on the show. We discussed whether or not this was an homage or reference to SKAM Norway, an extremely popular coming of age teen drama that had an amazingly done queer season (Season three. If nothing else, stop what you're doing and go watch SKAM Norway season three. You can thank me later). The show was so popular it has been remade in Spain, Italy, France, Germany (named Druck), Belgium (named WtFock), the United States and has even been announced as a Korean (BL?) drama for next year.

Is this an actual homage? I came down on the side of maybe. I can't swear it is, but I can't say it isn't. That yellow text on the screen is iconic due to SKAM Norway, and it is used in every single remake of the show (if Korea doesn't use it, I will cry. Also, if Korea doesn't release/air it in the same way, I will cry). Leaving that aside, the yellow text is in Thai, and as yet, I have no idea what it says because my subs only translated the song lyrics, not the onscreen words. If anyone who knows Thai can help me with this, I would love you forever because there's one other thing that shows up in yellow on the screen, and it's this:

WHY AN ELLIPSES, JOJO? WHAT DID IT SAY BEFORE THIS? I NEED TO KNOW WHY IT'S TRAILING OFF. IS IT TO BE CONTINUED? THE NOT KNOWING WILL DRIVE ME INSANE.

Onto the third , but maybe not really an effect: Is Ford photoshopped in here?

I ask this because if he is (and I can't quite tell but I think maybe?) then does that mean this is future footage coming up on the show? Or, like Let's Try MV did with it's extra SandRay footage in the car, was this just shot for the MV? I'm curious to see what people think on this.

Now for the rest of the MV where I just melt down because WHAT THE FUCK IS THIS DRAMA BETWEEN YO AND PLUG, JOJO? YOU CAN'T DO THIS. Also, is this Sand hugging Yo?

You can't do this to my girl. This will hurt.

Do we think this is Boston and Nick potentially going ice skating or roller skating? Because if it's roller skating, JOJO I WILL LOVE YOU FOREVER.

In summary, the visual frameworks are back in play once again and what they're choosing to show and how feel important.

Tagging the ephemerality squad: @waitmyturtles, @wen-kexing-apologist, @ranchthoughts, @chickenstrangers, @lurkingshan, @twig-tea, @clara-maybe-ontheroad, @distant-screaming

Apologies to anyone I missed. If you would liked to be tagged in my OF posts/meta, please let me know and I will add you.

[uugrtumb]

Rat Cosmos

Here’s the cave dark purple with smoothly curved walls open air above blank void floating red cubes. Red cubes glowing softly, rotate on move. Rare event known one in sixty five thousand five six five or thereabouts. No effect of global interest but still draws attention. Walk back and forth and cubes rotate in sync. Self interlocked with local environs depersonalization of interest wrt larger thematic purpose we consider the rarity and inexplicability of the event as signal Yume Nikki no 3D space Dream Emulator yes why here though not certain to be determined by following scenes. No mobs. Long tunnel strictly linear. Look mismatched texture right forward and below. Lower. Yes item pressed inelegantly against wall otherwise invisible. Borton’s Club collect. Plus fifty-three lightning interesting possibly pricey no use though as running strict Purity build need wisdom minmax. Can’t spare for whimsy in primary weapon slot. Other statistics nominal. Bottom of bag.

Keep going down cave longer than expected bored try to move faster now ignoring red cubes. Next sudden transition all white. No shadows consequently distance to walls cannot be determined. Tunnel one end brown door other, termina provide only positional grounding. Luckily straight shot. Hidden spatial information means likely secret. Press against walls and stare at tunnel exit watching for sudden slip of movement, move back and repeat, continue motion across one wall. Found nothing same other wall. Halfway through slip and tunnel exit no longer visible found it. Unfortunately now termina hidden by secret maze wall no longer capable of visual positioning. Move by touch. Small area and so quickly encounter a fairy.

Orange head green body. Says nothing but offers integration fourteen p at forty-eight percent. Dilemma. Fairy silence is ambiguous could be oblique nature or simply shy but more likely the former given hidden maze location. Check p, over one hundred twenty but painful finitude sense regardless no over one hundred twenty means hoarder instinct to be resisted. No fairy in seven plus hours means unlikely to find better options any time soon. Still ambivalent oblique fairy will be a nuisance until minimum three hours and might be dead by then anyway. Seven plus hours with no fairy contained pleasant simplicity realizing general dispreference. Might be a mimic fairy no mimics can’t have orange head. Decide against and walk backwards lack of visual positioning worse on the way back. Several minutes of bumbling between walls eventually catch tunnel exit. Other direction towards brown door.

Move to open door STOP shuddering effect black haze on edges circular particles drifting inward towards visual center. Garbage zone. Only single use poison cures and risk long vertical drop no means of spatial anchoring. Risk of bag golems. Low mood not ready nothing to really look for down there. Bag golems drop brown helmet twenty percent chance and higher wisdom than current but could likely purchase better within the hour w/ profits from lightning club. Turn around back down white corridor towards red cube tunnel.

Tunnel feels longer. Cube rotation angle may have changed but hard to tell. Suddenly need purpose. Where am I. Goals meanings goals. Purpose. Trying to maximize purity build for Fralzago. Higher. Higher. Check progress. Sixty-one percent. Higher. Higher. What is this where am I. Why. Phenomenal experience precedes conscious desire. Meaning inherent in ongoing production of sense-data. Sight sound touch motion. I am only shepherd. Higher. Higher. Wait no lower. Check progress. Sixty-one percent. It was sixty-three yesterday. Backsliding somehow. Something possibly lost stop in tunnel and check. Check. Check. No nothing lost all progress at expected points but additional requirements have been added. Dammit. All is obligation. Skim additional requirements but nothing severe likely to be fulfilled in natural course of events, still pained by backsliding. Speed up to compensate. Must be more efficient.

End of tunnel now return to red docks. Torches at regular intervals hung unsuspended above regular wooden texture but large intricate surface geometry when seen from above. Easy to get lost luckily nothing to do now but retrace steps. Ghosts flit by pay me little mind I return the favor. Proud. Non hostile ghosts difficult to maintain requires careful resource management up to approx twenty percent too easy to slip in managing cultural codes but well worth it never forsaken and well scaled trade. Yellow ghost I say hello it says yes I ask price for lightning club but no interest limited selection mostly tinctures and single use herbs I say thank you it says pleasure to make your acquaintance. Limited conversational options means likely non recurring. Loading zone soon as I approach boat and it will cease. Sad little creature I consider buying something to commemorate its existence but already in other direction not worth turning back too late now anyways there will be more yellow ghosts.

Boat slower than usual but nevertheless I choose Triania at ten point zero miles not Myceliorum at seven point four miles despite greater distance need a larger city at this dreary moment. Boat man elderly possibly early stage senility. Ask questions. Question one how long have you been working these docks question two do you have any kids question three have you ever considered getting into astrology question four where do you live spots contradiction. Question one answer forty three years since moving south but question four answer Doghouse Grove born ‘n raised ‘n gonna be buried there but Doghouse northwesterly one hundred thirty one latitude too far to be coincidence confirms early stage senility. Continue motion in silence.

Check progress again. Additional requirements more cumbersome than initial read incl. two kills in a row without weapon obviously expecting astral projection exploits will be unbearable to set up certainly easier with oblique fairy dammit dammit could be worth turning around. Maybe. Nevertheless continue slow boat ride lacking rational cause. Just not another long walk purple tunnel red cubes. Slow dreary want action. Where am I. Stop ask again question three. Skimmed previously but answer longer than expected. Same answer second time lucky early stage senility mitigates refusals. Old man says used to imagine astrology containing depths of beauty but preferred the imagining to the searching and so no attempt to practical application. Details of imagining forgotten leaving only imprint of lost fantasy like tears in rain etc. “Desire only the feeling of desire.” And folly of youth only now age perspective loss etc. Conventional conclusion for male boat drivers homogeneously depressive character. Still surprising length multi paragraph deliberate carefully sincere maybe autobiographical. Who is this talking. No name.

Seems increasingly slants towards desirelessness theme in conversation when exiting from red docks not matching all past data points so maybe noise but could be weighted random. Possibly overthinking. Red docks bleak sort of place transitional to hidden or esoteric as in the seen red cube and white hall events but alternative possibilities blue staircase and fallen bookshelf events similar in nature. Symbols suggest bleakness as precursor for insight or invocation to reach the unknown but spoils of exploration relatively bland one club and missed oblique fairy ultimately falls flat other areas do better six out of ten. And fucking garbage zone bag golems could have gotten lucky and rosemary island instead. If rosemary island and chance boot drop twenty three wisdom or higher could have Fralzago fight by now. Cruel fate to be rendered asymbolic. Deceleration. Where am I.

Finally in Triania thank you choose effusive over polite no good with subtlety for the old man in early stage senility. Large tip twenty five percent why not. Check time three AM and two. Rain appears in brief flashes against the white of windows in apartments but only light showers ground not damp and disappears against skin. Aimless wander. Need to be more efficient. Check need for sleep still rested from unconscious maintenance of various exhaustion management exploits must have been doing it on boat and in red cube tunnel while distracted. Still might be worth three to four point five hours at the very least a dream would be nice. Sell lightning club first. Spot apothecary. Serendipity.

Apothecary takes lightning club one hundred thirty three point three percent asking price claiming personal historical interest in Borton. Canned response stretches suspension of disbelief if these generic goods hawkers are to be believed half the city has personal historical interest in every single person who ever had a club named after them. Purchase tincture of blue mugwort. Buy one get one free. Accept. Walk outside turn to next store offers mechanical parts sell second tincture of blue mugwort for tiny profit hardly worth the opportunity cost. If you spot and pick up a penny on the ground the efficiency cutoff is approx 3 seconds past which point you would have been working for less than minimum wage. What is a penny.

Hotel for sleep. Drink blue mugwort effect sleep skip to REM next eight hours. Low quality taste expect seventy to eighty percent effectiveness given canned response in apothecary. New hotel visible in distance aiming for thirty hotels slept in total. Six of eight cleared in Triania chose bigger city for this and similar. Cut through alley, mugger. Blue orb blue orb. Small profits dropped knife. Ignore not worth clutter. Two more muggers but they run. One has blackened knife could kill take melt knife later for liquid obsidian. Check bag two liquid obsidian want five or six worth it. Look back muggers gone oh well. Revisionist instinct reframe as conscious mercy. Kindness to spare cowardly muggers. False. Muggers are killed but they do not die. Cannot have mercy without consequence.

Near hotel, step in mud. Slow for thirty seconds. Approach front door becomes glacial pace. Where am I. Retrospect red cube tunnel as subject of future dreams. Unlikely given last slept four days ago more fruitful materials available for unconscious regurgitation. Forgetful of details. Could be nine fire elementals altar of globes was ten AM and two nights past. Three AM and twenty four now so approx sixty five hour distance. Or something better but lost in memory fragment bubble. Blue mugwort tincture produces false lethargy intermittent bursts. Side effect not listed slipped out of mind. Will persist after wakeup could extend sleep. Can’t can’t can’t need to be more efficient. Dammit. Dispiriting but limited serious impact can push through. Unpleasant morning ahead. Already in elevator room ninth floor. Desk conversation automatic benefits of conversation in hotel strictly limited. Unable to encounter credulous or clueful options in hotel desk conversation tree. Could have encountered political. Many other chances for political in Triania.

Enter room wall texture identical to outside. Lazy. Ablutions and attempt ritual contact of tarantula goddess. Extraordinarily unlikely hail mary even repeated across months but quick ritual only two minutes. Reach in bag access discarded webbings burn with lighter scatter around mirror. Say the words. No room for decision in ritual invocation. Wait twenty seconds. Wait. Wait. Wait. Wait. Wait. Wait. Nothing. Disappointment muted by repetition. All for the best as answer whether to kill tarantula goddess still uncertain heard venom staff weakens every year. Eventual summoning unavoidable but multiple behaviors compatible with progress. Where am I goals meaning goals purpose sleep soon. Sleep now.

Sleep now. Blue mugwort hypnagogia direct into REM shuddering jolting sensation goes into red blue bubbling white white. Red cubes. Now time the intravenous arrangement get off my skin get off off you own this hold up IV bag fluid this is yours plus two in the bag. Need to work out twenty three plus seventy three ends in six eighty ninety but what question but forgotten means the butterfly count is off. The butterfly count is wrong too many. They swarm my head. Circle eyes grab one two more appear. “They lift me up in mercy”. What is above. Look but can’t. Eyes cast downward funeral procession. Who is dead I cannot look up to see. Why do we mourn when there is no more death. Someone up front stands at podium has the answer I approach. Looks so serious and this must be a punishment. Mourning is a curse that precedes death he grins wide and his pupils expand to fill his eyes and it seems he should be laughing but he does not so I laugh for him but it does not sound right he can see my laugh is false and his would be otherwise so I try to laugh lower or higher but still wrong and he reaches sharpness in bladder wake up.

Shamble to piss. Look in mirror. Looks alive. Shamble to piss but something is wrong. Not a hotel bathroom too dirty. Check mirror again. One hundred and forty four crisp frames per second. Can’t piss. Look down no lower body. Disintegrating upward soon nothing below shoulders. Not awake still dreaming. Red cubes in the mirror. Move and they rotate see self reflected in local environs. Red cube comfort dissolves nightmare. Only sleep. Phenomenal experience sight sound taste motion. Color. Purple tunnel red cubes. Color. Color. Only dreams. Watch texture on wall. Shape and geometry. Sudden clarity says sleep for approx three point five hours to maximize. Even in blue mugwort tincture REM dream modality there is no escape from clarity. Purple tunnel red cubes. What is being maximized.

[angletic]

How do you come up with the compositions for your comic pages? They look soooooo 👌

short answer is: i hardcore wing it

long answer: i have a very hard time visualizing things in my head. i go into something knowing the list of things i want to communicate and try to construct something thats aesthetically pleasing while accomplishing those goals. i personally think that its very good for me: i never feel bad for not reaching some insane standard in my head, because theres no standard in there. i just ask myself if i checked all the boxes on my list and if the page(s) look good, and if i did im satisfied!

as for page composition itself, thumbnailing is a super important part of the process for me. it helps me lay out not just the panels, but also the speech bubbles. never ever ever design a page and think you can add the speech bubbles wherever theres negative space: a comic is just as much words as it is art; treat them as equals.

i like to do thumbnails in batches (at least to the end of a scene) so i know how things flow together and i can ensure that the scene ends at the end of a page, and what pages are on an even or odd page (this informs the placement of page turns, which are very important when it comes to comics. theyre one of the few bits of control a comic artist has over their reader: the reader can turn the page whenever instead of having media happen At them as an a show/podcast. The reader controls the story and its flow in a sense. however, page turns reef control back from the reader and force them to engage with the author on their terms: you may get to control WHEN you see what comes next, but you do not get an inclination as to what that is. you allow them to subconsciously build up the the change/shift in space/jump in time in their head as a scene ends, or the suspense of what could be on the next page if your scene is dramatic. very important both for doing shocking scenes, but also for differentiate between soft and hard scene transitions.)

im also very careful to minmax the number of panels i need to execute a scene. use the minimum number of panels to communicate the most information possible. when i was first learning to comic way back in my syrup steals days, i had to teach myseld to not clutter a page with smaller panels (this was an especially frequent issue with eye panels. i looved having a small panel at the corner of a larger one just showing a characters' eyes reacting. while effective in small doses, this clutters up your pages like crazy). you have to be comfortable leaving things implied and trusting your audience will get it.

i also do not fuck around with establishing shots. even a lot of professional comic artists will only use them at the beginning of a scene and typically its just one big wide shot, which works for movies where scenes are in motion (motion inherently implies space better than a still image), but not so much for comics. i think its both more engaging and informative to microdose on establishing shots at all times. one establishing shot will never be enough to describe where characters are fully. i think its good to get in the habit of treating environments like characters themselves: you want everyone to see every angle of your oc? do that with your environments. it both breaks up the monotony/prevents you from shot-reverse-shot-ing, and also provides a lot of visual information about the space a character is in (and gives lots of opportunities to foreshadow!). this is especially important to do in action scenes: it is so damn easy to lose where a character is in a fight scene, to the point where it just becomes visual noise. you NEED the space characters are in to be well-established before and during a hectic scene, or readers will get lost and be unable to fill in the gap.

of course you need to be efficient here as well: minmax your panels! do establishing shots while characters are talking! explore the space in interesting ways even when something not that visually interesting is going on!

really, the constant dynamic establishment of location, minmaxxing of panels, and equal treatment of panels and speech bubbles are what i think are the most important things when it comes to page layout. this sort of became an Angs Guide To Comicking lol, but i tihnk its useful information. thank you for asking!!

[keziamediastudies]

Editing Techniques

Continuity editing: an early editing technique that ensures scenes transition smoothly without visual inconsistencies. for example, if a character is wearing a red scarf in one shot, they should still have it in the next unless the story dictates otherwise. this method helps maintain a natural and realistic flow in a sequence.

Cross-cutting: alternates between two or more different scenes, switching back and forth between them. this helps the audience perceive it that these actions are happening simultaneously or highlight connections between scenes, even if they occur at different times.

Cutaway shot: a quick shift from the main action to something else, highlighting a different detail in the scene. can be used for different effects, like adding tension in horror, enhancing humor, or creating irony. this technique often helps to contrast ideas or make the audience feel uneasy.

J and L cuts: use sound to create smooth transitions between scenes. In a J cut, the audio from the next scene starts playing before the visual change, building anticipation. An L cut does the opposite, the sound from the previous scene continues even after the visuals switch. these cuts are usually used in conversations to make dialogue flow naturally and keep scenes engaging.

Jump cut: creates a sudden shift between shots, making the action appear to jump forward in time. it disrupts continuity and is often used to speed up a scene. this technique is often seen in fast paced films or to create a sense of urgency or disorientation.

Match cut: visual or thematic element from one scene smoothly transitions into the next. for example, a shot of a donut could cut to a bagel due to their similar shape, or a city skyline in daylight might transition to the same skyline at night. this technique helps create continuity and symbolism between scenes.

Montage: a series of shots edited together to show a passage of time or a series of events in a condensed way. these are often used in films, especially in sports movies, to depict progress, training, or transformation. by combining multiple moments into one scene, a montage effectively speeds up storytelling while maintaining visual impact.

Standard cut: this is the simplest editing technique, where one shot smoothly transitions into the next. ensuring a natural flow, while maintaining continuity and keeping the story moving without distractions.

[purvianpat-asmediastudies]

Week 12- Editing

This week we were introduced to the vast topic of editing. We were taught about what editing is and the various ways of cutting between shots.

What is editing?

Editing is the post production process of enhancing and assembling all the raw footage and sound. It is done in a way that adds to the story, enhancing the effect on that shapes the audiences perception of the film and how they feel.

There are 2 editing systems:

Continuity- A system where time and space are consistent. All the scenes are happening in the same timeline, chronically. The storyline flows in a seamless manner.

Non-continuity- A system where time and space are NOT consistent. The storyline jumps back and forth in different timelines. This is usually done to provide backstories and context to the story.

Editing involves cutting and transitions.

Cutting

STRAIGHT CUT

A simple technique where one shot cuts to the next. They form a linear narrative and add continuity.

SHOT/REVERSE SHOT

This editing technique is usually used when characters are conversing. Two cameras are set-up following the 180 degree rule. The editor aligns the shots in a way that make sense sequencially, assembling the dialogues and the following reactions.

EYELINE MATCH

This technique is used to reveal narrative information. Here, the audience first sees the character looking at something that is not on-screen. This is followed by a shot of what the character is looking at. It ensures continuity.

GRAPHIC MATCH

This is a very creative cut used to transition between two scenes. It involves taking a shot of one object and then transitioning into another object with a similar shape. For example- Transitioning a tomato into the sun.

ACTION MATCH

This type of matching involves an action happening in one shot and continuing in the next. It adds seamless continuity without losing the audiences' attention. For example- The first shot is an extreme close-up of the character's hand picking up a glass of water. This is followed by a mid close-up shot of the character drinking from it.

JUMP CUT

A technique that creates the illusion of jumping through time. During the occurence of an action, parts of the action are excluded. But it is done so subtly that the audiences' minds fill up the gaps themselves. This is called ellipsis. It adds a sense of hurry to the action.

CROSSCUTTING AND PARALLEL EDITING

This technique increases tension, urgency, mystery, and juxtaposition in film. It's the assembly of two different actions that occur at different places either at:

The same time (Parallel cutting)

Different times (Crosscutting)

The shots cut to each action alternatively.

CUTAWAY

A cutaway is a shot that cuts away from the action for a small moment. This enhances the effect of what the action desires to give. For example- A student is waiting in class, impatient, looking forward for it to end. The shot then cuts to a clock that is ticking rather slowly. This heightens the impatience and the effect of the wait.

INSERT

A close-up inserted in a shot to being emphasis to a particular object, action or reaction. It adds context and provides additional information. For example- A man is shown reading a book. The shot then cuts to a particular sentence that is intended to be highlighted. This is an insert shot.

Editing also includes transitions like dissolve, fade-in and fade-out, wipe, superimposition, long takes, visual effects, short takes, slow motion, and post-production.

The pace of editing also plays a huge role in the effect on the emotinal response of the audience. Longer shots emphasize emotion. Shorter shots add a sense of urgency.

This is everything we've learnt about editing. This is a very interesting topic to learn about. With this we end the micro elements of media language. Thankyou for reading!

[tholly6]

Week 1

CGI

Week 1

This lesson we watched some graphic animation trailers, mostly at Saul bass. We had a selection of books to look at and I chose lord of the flies because ei likes the themes of

So I am currently key framing this scene. I am keeping in mind that I want to incorporate follow through and a minute level of squash and stretch as I want the characters to move more realistically than exadurated.

human nature and savagery and felt that I would visually be able to symbolise this. I also liked the themes of boyhood, which implies a level of innocence and nievety.

For my home work I will be reaserching into lord of the flies

Week 2

At home I reaserched into lord of the flies and specifically its symbols such as barbarism and civilisation, loss of innocence,the nature of evil,human nature nd free will, I tried making some sporadic images of things that it brought to mind, as well as different movements. So I filmed different movements some quick and hars and some softer, from what I have gathered from the story us far there are some juxtapositions and dramatic changes in the story, this could be shown through passing or harsh sharp imagery.

For this lesson we had an introduction guide into after effects where we where given some royalty free videos to help us along the way as well.

This lesson we looked into working with the puppet tool, where we manipulated text, I figured this would also be handy when working the limbs.

I found the puppet tool generally easy and didn’t experience many problems with it

At home I continues on my research as I felt like I still had quite a vague idea of the story

Week3

This week we looked into motion in motion graphics, I found his particularly interesting as movement is something that can be applied to all parts of the animation including the text, image and even sound

For instance sound can match the movement to create a specific atmosphere that the animator is trying to convey.

More specifically we looked into different movements and what the conveyed / symbolised, for instance linker movement represents progression, circular movements represent perhaps recurring happenings in the story line. I gathered from this that since are task is making a trailer we have to hint and forebode rather than blatantly show the reader what is going to happen, knowing that my strengths lie in illustration bovever I know that this is something that I want to enhance on to fordhadow / forebode.

This weekend I will be mainly working on my concept art.

Week 4

This weekend worked on my imagery that I drew from the story like and started to compose snapshots of what my story board and what some of the movements / what images I was gonna use from my concept designs . After doing reaserch into the story I desided that the conch shell was a symbol used throughout the story as a motif of the imbalance of power, for instance one had to hold the conch shell to speak, this rule later became ignored as the boys started resulting to barberry and desided nort to speak and do whatever they wanted.

This week we looked at types of cuts in film such as the standard hard cut, or cut o n action, after my lesson I looked over these and thought what would be useful in my animatic. I felt that a smash cut could be used effectively ( transitioning between two contrasting shots) for dramatic effect.

I want the start of my animatic to be smooth and gentle, then gradually speed up and turn into chaos just as the story does

Now I have do my story board, as stoary boards go it usually takes me 3 to 4 ruff attempts and samples to come to the right one.

Week 5

Over the weekend I make my story board whitch I moved around a lot as seen on my slides and began making my animations and images for after effects and will try and get this all done in the next few days. For this I will be mainly working on proctreate as it is more efficient and less time consuming.

For my concept art I did a lot of it will watcher colour and ink as seen on my slides, I want to curate this same gritty texture through textures that I have made and the use of new pens I have brought on procriate to immatate brush strokes and printing. I am running behind so I need to use my time wisely so I can get onto my animatic as soon as possible.

Week 6- ill and not in

Unfortunately I am ill so will have to attempt the animatic at a later date.

Week 7

This week we began with maya, I found it difficult to get back into since it has been nearly a year since I have used the software but throughout the lesson I found myself picking stuff back up. We followed a tutorial of curating an ikea dining room step by stem, I focused on the tools and what they did for future reference. Found the mesh tool hard to use at first but after using a few times I got the hang of it. And was able to produce the room in that lesson.

Week 8 – not in as I was in A and E- allergic reaction to some hair dye.

Week 9

This week since I wasn’t here for the last lesson because I was in a and e I had to catch up on last lessons work. Witch was making glasses, with a combination of watching videos and help from the teacher I was able to do this. I find with maya often you should mirror sides to they are the same in size and length so when using a mesh tools it wont go wonky.

Week 10

This week I began my room for my character, I planed last lesson the lay out of the room, and how I added a few separate elements to the room such as a bunny and more sewing stuff to the room to reflect my character and her environment, the bunny being for her son, and the sewing kit for her and her son ( she fixes things showing her stoic character) I managed to get help when making the layout of the room, to combat this I watch the YouTube videos on maya to help guide me.

Week 11

This week I managed to retreated work on maya I thought I had lost.i then began on making my set of draws for my character, when I ried to add a mesh tool to something that was unequally beveled it didn’t work. To combat this I first added the mesh tool and then beveled.

I watch some videos and used how to make a bowl as reference for my candle holder, to complicate this all I need to do is make a handle, add the candle.

From here I will make the bed bunny and sewing kit, for this I will need to learn how to make fabric. Then I will and colour and texture to everything and have the candle be the main worse of light.

Week 12

This week I am continuing to make my assets I have already make my candle and cupboard along with a mirror.

I am now trying to curate a needle and tread, I first was tying to make the tread however I wasn’t able to snap my face to my vertex curve, so for now I had the idea that I would make a basket full of needles and threads. The threads being thread wheels that I have already make, all I need to do now is make the basket and duplicate.

Week 13

This is my last week, I have had a few attempts at my after effects but I properly started it yesterday, however I am going to have to do my after effects again today as some of the files got delegated and files got moved to different comps so it was all mixed around.

Although I have been set back by a day reducing my animatic did means I was able to root out some problems. For instance I was trying to use a puppet tool on a lined object which as difficult as it only moved sorta in lined to combat this on procreate I was able to use an extreamply opaque paint brush and then turn down the opacity this way when transporting in into after effects it was still stranparent so I could see the textured background, but still use the puppet tool on it as a solid object ( the object was an arm and a hand holding the conch shell)

The puppet tool came in very handy in bless I was able to manipulate still images to add a slight bit oof movement here and there.

This week although I havent got as many assets as I would like to be done I have attempted to try and texture them all.

I ran into some real problems when texturing as some of the objects just weren’t letting me apply the texture, I tried to search this up however I couldn’t find anything on it.

There is a possibility that I wil not get this room done in time for the deadline, I will attempt what I can and make other things in the project better to avoid a massive dip in my grade.

[sabuj-media]

Blog 8

Editing Actions

Cut: The process of discarding portions of a clip that cannot be viewed or that may be necessary in shaping the final scene.

Copy: The action of making copies of clips with the intention of utilizing them elsewhere in the sequence but without affecting the original.

Paste: Adding a copied or cut out clip sequence which has been previously moved to a different position in the timeline to enhance pacing or storytelling.

Move: The action whereby clips are changed to other positions which in turn changes the order, the time will elapse, or the flow of the story.

Types of Cuts

There are two types of cuts, each with its function, serving to create the scene’s mood, continuity and sharply devised structure.

Standard Cut / Hard Cut

Definition: A transition, that means from one shot to another, probably due to change of scene. Purpose: This continues to keep it simple and never gets in a tangled position that is confusing; further, it advances the story nicely.

Match Cut / Graphic Match Cut

Definition: Establishes a link from one shot to the other by using a shape or colour overlap. Purpose: Brings together two sequences and joins them in such a way that one sequence sets the scene for the next.

Jump Cut

Definition: A technique in which the action of a film is broken and cut immediately to the same scene later with the missing meanwhile action leave out. Purpose: Used to relate energy or intensity such as time or to pick up tempo, up the speed.

Cut on Action

Definition: A hit made while the subject is still in movement (like turning), at the time the scene changes. Purpose: Maintains continuity but ensures that the movement of one plan to the other is natural.

J-Cut / L-Cut

Definition: In a J-Cut the sound from the next scene begins before the scenes actually begin to play out before the viewers. This sort where the audio from the next scene being joined to the visual from the current scene is called L-Cut. Purpose: Is very smooth, used where the narrative has to move from one point to another particularly in dialogue.

Cross Cut / Parallel Cutting

Definition: Interchanges between two parallel events that are simultaneously occurring in two different locales. Purpose: Establishes irony or continuity, and often makes people feel that something is happening simultaneously.

Cutaway

Definition: An short form for something which relates to the main procedure but does not always occur in it. Purpose: Includes additional information that can be useful in understanding some part of the scene on the screen.

Montage cut:

Definition: It's groups of smaller/short clips for showing time lapse or progress of something and have sound effect to make it more interesting.

Purpose: It makes scene more interesting and emotional showing the journey, shows growth and time passing.

[wagmi-mga2024mi5019]

My Ideas for the Animation (Each Hat)

I feel like using a mascot or character to tie the different segments together would indeed work well within the parameters of the brief, since it says we need to have Visual Coherence, Experimental Approach and also Conceptual Clarity. I would be employing match cuts as my preferred transition to have a seamless and interesting transition between the different scenes.

BLUE HAT: Introduction to BDD - Cutout Animation

In the first 5 seconds of the animation, I'll include a title and introduce the animation and the topic covered in it.

WHITE HAT: Factual Information - 3D

Since BDD is a clinically proven disorder and is still being actively studied, I want to give the idea of someone being tested, like a lab rat. There's a lot of statistical and quantitative data on BDD as a whole, and because of that, sometimes researchers might not consider the human aspect of these people.

Having a person standing in the middle of the screen while a few people dressed in lab coats study them, without paying attention to their sad expressions, would be a good way to show that BDD is a clinical disorder that is being studied and researched. It will also show how this person has a negative body image through contextual clues in the background and through the person's body language.

RED HAT: Emotional Aspects - 2D Animation

Negative body image and BDD specifically have a lot of emotional aspects to them. It's a disorder that affects a person's mood in a drastic way. Extreme emotions can arise for people suffering from BDD, so I definitely want to incorporate how this character feels.

The screen zooms into the character in the middle as a spotlight shines on them while the background slowly fades away into black. We see tears falling from the eyes of the character, showing their emotional distress caused by their negative body image.

BLACK HAT: Negative Consequences - Charcoal Animation

The consequences of poor body image and BDD, in general, are plentiful, with a low quality of life being one of the main drawbacks. You are less sociable and less confident.

This can be depicted well in the animation. As the camera pans out, it shows the character on a bed (top-down shot). The character is restless and is tossing and turning in their sleep, which indicates the low quality of life they are experiencing as a result of the stress. There can be several added effects that personify the voices in the character's head.

YELLOW HAT: Positive Effects - Collage Animation

There are multiple benefits to having a positive view of yourself. People suffering from BDD have a hard time doing this, but it isn't impossible. People with BDD can grow to love themselves and enjoy the benefits of a positive body image.

To show this in my animation, the character slowly starting to get up and socialize. I would like the other characters to be shown as simple shapes rather than humanoid, to subtly say that the character doesn't care what they look like. To him, they're all unique and different. He has learned to accept himself and also others around him.

GREEN HAT: Creative Solutions - 3D/2D mix

There are not many solutions to BDD, but new innovations can definitely aid people who suffer from this. Aside from CBT, we can think ahead and think about other ways people could get help, specifically from AI.

I feel like it would be pretty creative if the character were to appear in a therapist's room, lying down, next to a robot acting as the therapist. This symbolizes the AI aspect of psychotherapy and how it could be used to aid people who aren't comfortable with other people—personalized therapy, basically.

[just-a-keener]

Types of Cuts & Transitions

CUT ON ACTION: A cut that happens mid-action

CUT AWAY: Cuts to an "insert shot" of something, whether in the scene or somewhere else.

CROSS CUT: Cutting back and forth between locations/events (e.g. phone conversations)

JUMP CUT: Cutting within the same shot, usually to show the passive of time. Creates a jerky/jarring effect.

MATCH CUT: Cutting from one shot to a similar shot that is connected in some way (visually, compositionally, audio, etc.)

FADE-IN/FADE-OUT: Dissolving to/from black

DISSOLVE: Blending/fading into another shot. Can represent passing of time.

SMASH CUT: Intense transition (e.g. going from intense to quiet)

IRIS: Circle that closes in, to mimic eyes closing in.

WIPE: Screen wipes across.

INVISIBLE CUT: Cutting with the illusion to make it seemless, but really it's occuring in black screen, or in motion, or when an object passes across the frame.

L-CUT: When audio from one shot carries over to next shot. (can be used often for minor things like conversation audio)

J-CUT: When audio from the next scene plays in its previous scene.

Source: RocketJump Film School - Cuts & Transitions 101

[golfswingdoctorca]

Mastering Your Golf Swing: 3 Easy Steps to a Professional Swing Plane

A powerful and consistent golf swing is the Holy Grail for every golfer, whether you're a seasoned pro or a weekend warrior. One key element that can significantly improve your game is achieving a professional swing plane. The golf swing plane refers to the imaginary surface that your club head travels along during the swing. A precise and well-executed swing plane can lead to greater accuracy, distance, and overall performance on the golf course. In this guide, we'll explore three easy steps to help you achieve a professional swing plane and elevate your golf game to new heights.

Step 1: Establishing a Solid Setup

The foundation of a professional swing plane starts with a solid setup. Begin by addressing the ball with your feet shoulder-width apart, ensuring that your weight is evenly distributed between both feet. The ball should be positioned in line with the instep of your lead foot, allowing for proper alignment. As you take your grip, make sure your hands are positioned directly below your shoulders, promoting a neutral and natural stance.

Next, focus on maintaining a straight back with a slight tilt at the hips. This posture sets the stage for a more efficient and on-plane swing. Visualize a straight line running from the club head through your hands and up to your shoulders – this alignment is crucial for achieving a consistent swing plane. Take the time to perfect your setup, as it forms the basis for a professional swing that can be repeated with accuracy.

Step 2: Mastering the Backswing

The backswing is a critical phase that sets the stage for the downswing and impact. To achieve a professional swing plane during the backswing, prioritize a one-piece takeaway. Ensure that your club, hands, and arms move together as a cohesive unit. This promotes a smoother transition and helps keep the club on the desired plane.

As you initiate the back swing, focus on turning your shoulders while maintaining a stable lower body. Avoid excessive lateral movement, as it can lead to inconsistencies in your swing plane. A common mistake is over-rotating the club face, resulting in an open or closed position at the top of the back swing. To counter this, practice a controlled and controlled rotation of the shoulders, keeping the club face square to the target line.

Step 3: Executing a Controlled Downswing

The downswing is where the magic happens, and achieving a professional swing plane at this stage is crucial for a powerful and accurate shot. Start the downswing by initiating the movement from the lower body, allowing the hips to lead the way. This sequence promotes a natural inside-out swing path, contributing to a more on-plane delivery to the ball.

Focus on maintaining a smooth and controlled tempo throughout the downswing. Avoid the temptation to rush, as it often leads to a loss of control and balance. As you approach impact, ensure that your hands lead the club head, allowing for a crisp and well-connected strike. The goal is to deliver the club head to the ball on the same plane established during the back swing, resulting in a consistent and professional swing.

Conclusion:

Achieving a professional swing plane is within reach for every golfer, regardless of skill level. By mastering the basics of setup, back swing, and downswing, you can build a foundation for a repeatable and effective golf swing. Consistent practice and a focus on these fundamental steps will lead to improved performance on the course. Elevate your game and experience the joy of a professional swing plane with Golf Swing Doctor – the key to unlocking your full golfing potential.

[thecrownnet]

Congratulations to Adriano Goldman , ASC, BSC, ABC, Director Of Photography, for his Creative Arts Emmy win OUTSTANDING CINEMATOGRAPHY FOR A SINGLE-CAMERA SERIES (ONE HOUR) for season 4 episode 3 ‘Fairytale’ on September 11, 2021. Here are his insights on filming the episode with director Benjamin Caron.

‘The Crown’ Used Lighting and Composition to Trap Its Characters Inside a ‘Fairytale’

Director Benjamin Caron and cinematographer Adriano Goldman discuss how they destroyed Diana and Charles’ marriage before it even began.

Behind the Scenes of “The Crown” Season 4, Episode 3 Photo: Netflix

Over “The Crown’s” four seasons, the halls of Buckingham Palace have become familiar visual signifiers for both the grandeur and the pressure placed upon the royal family. But in the third episode of this most recent season, “Fairytale,” cinematographer Adriano Goldman and director Benjamin Caron stretched the limits of the show’s visual language to create — and then to destroy — Princess Diana’s (Emma Corrin) fairytale fantasies.

Much of the episode is given over to Diana slowly realizing that, like many princesses stuck in a castle before her, she has fallen into a trap. But Goldman and Caron opened up the ways they shoot their Buckingham Palace sets to show how the demands of the Crown consume everyone on the eve of the fateful marriage.

They force the jaws of the trap open wide with a pre-credits sequence of Diana’s night out with her friends after Charles (Josh O’Connor) proposes to her. The scene is a departure in every sense, not just to the swank ’80s members’ club that Diana frequents.

“You try to deliver something that is more romantic, a little bit more colorful, fun to start,” Goldman said of the sequence in an interview with IndieWire. “We wanted to not change the style too much, but there should be a transition from a very colorful pre-title sequence, a very interesting and more romantic beginning.”

That romance is on full display, most noticeably in the brighter, guadier colors of the club and much warmer tones of Diana’s Earl’s Court flat. But Goldman’s camera also interposes itself almost as a fourth (slightly intoxicated) friend, swinging around inside the girls’ cab to get a look at both Diana and Buckingham Palace, or flinging itself down onto the bed with the girls at the end of the night. The look of the sequence stands in contrast to the stately shots and slow tracks which are the show’s normal rhythm for everyone in the royal family. Well, for everyone in the royal family except maybe Princess Margaret (Helena Bonham-Carter), who gets to dance by a pool every now and again.

“We really considered how we could reverse [that fairytale opening] and be very present with her, and [how we could] make her feel young, actually. Part of this is she’s a young girl going into the palace,” Caron said.

Caron and Goldman gave the audience several visual signifiers that are easy to clock in this sequence, as well as Diana’s goodbyes to her friends that follows: the gold and neon hues of the night out, the warm, eye-level close-ups of Diana dancing in the club, and a signature spiral staircase Diana descends to begin her life as a princess.

Over the course of the episode, these colors will fade. The close-ups inch slightly above Diana’s eyeline, so that it feels like the camera, along with the rest of the Royals, is looking down on her. And when a spiral staircase reappears, it will lead to Diana’s lowest point.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

With Diana ushered inside Buckingham Palace to shield her from the press in the run-up to her and Charles’ wedding, Caron and Goldman emphasized how small and vulnerable Diana looks inside the palace walls. The opening of “Fairytale” had a long shot of the club, and Diana fit snugly within it. Once inside Buckingham Palace, the negative space often overwhelms Diana, and the camera backs away to show just how alone she truly is, perhaps best exemplified in the scene of her grandmother (Georgie Glen) physically tying her up while instructing her in how to speak like a royal.

Caron and Goldman deliberately call back to the romance of the opening to twist the knife, having Diana dance ballet inside the palace and then try to break out of the regimented structure of it as the pressure on her mounts. “I remember sort of holding the frame and I remember the camera operator was trying to follow us, but [I said no,] just hold the frame static and let her move in and around it,” Caron said. “So it really felt like someone trying to break out [of] somewhere.”

But of course, the camera never does let her leave the frame. Unlike the quick, fun cuts of Diana dancing in the club, there is no pressure release here. There is nowhere for Diana to go.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

Caron wanted to use visual features that would feel right at home in a Disney princess story to their most punishing effect and perhaps the most powerful one of these motifs reoccurs when “The Crown” has Diana descend another spiral staircase. “[Ben] was very specific about this spiral because she’s going down on a spiral emotionally,” Goldman said of the shot that leads Diana down to the kitchen, a moment of late night desperation that kicks off her eating disorder. “He didn’t want to follow her on the steps, like on a steadicam. He wanted [the camera to be] facing down and going down with her to the very bottom of her feelings and her emotions.”

Caron described it as going to the “bottom of a well,” once Diana enters the kitchens and becomes enveloped in darkness — except for the fluorescent blues of the refrigerator lights, which makes the space feel like a morgue. This strong use of color, like all the changes in the episode, is grounded in the reality of whatever space Diana finds herself in. But the emotion and, indeed, the foreshadowing that Caron and Goldman are able to imbue those spaces with give Diana’s spiral real visual potency and a visceral sadness.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

What is so thrilling about “Fairytale” is that it spares no one. Two striking scenes toward the end of the episode don’t have Diana in them at all, and yet push the series’ visual language to show how the palace and this marriage will swallow the characters who have been there all along.

In the first of these, Margaret tries to persuade Elizabeth, the Queen Mother (Marion Bailey), and Philip (Tobias Menzies) to call off the wedding. Caron wanted the scene to have a “conspiratorial, almost a Jacobian feel” to highlight the cold, businesslike calculations these four people are making for the happiness of two others.

“I remember saying to Adriano,’no no no, let’s go darker,” Caron said of this sequence and the next one. Goldman also recalled the desire to push the scene even further visually, lighting characters at harsh, dynamic angles or in almost complete shadow, so that the scene would feel spiritually closer to “The Godfather” than to the show’s usual style. The comparison is apt, given the mahogany browns and greens of the sitting room and the firelight that Goldman and Caron used to emphasize shadows falling into the crags on the characters’ faces. Vito Corleone could easily be sitting in a corner of one of those frames.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

The next scene — when Elizabeth goes to find Charles and offer him a final few words on his marriage — Caron and Goldman viewed as a way to visually crystalize their relationship and how it is marred by their obligations to the monarchy. “Wouldn’t it be painful if you had Charles looking out the window and he felt the reflections of the fireworks and the noise and the celebrations outside?” Caron said about how he started conceiving of the blocking and framing of the exchange between mother and son. Each cinematic choice builds from a sense of what would be more painful, what would put more strain on the relationship.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

The filmmakers created this visual strain between Queen and Crown Prince not just by keeping them at opposite sides in the composition, but by keeping one of the pair always just out of focus in the shots with the two of them — they can’t even occupy the same level of detail in the frame. Color plays a role, too, with bright blues and reds from the fireworks, reflections of the Union Jack, always being part of the light through which the audience sees the resigned sadness on Colman’s face and the abject misery on O’Connor’s. Goldman said this is the scene where he realizes he will never escape the system of the monarchy. “He realizes it’s too late. It’s a trap. He’s been trapped.”

“It always comes back to the Crown,” Caron said, and it is really from the perspective of the Crown itself that we watch the characters prepare to head to church on the day of the wedding. When the audience finally sees Diana in her dress, she faces away from the camera and moves into that oppressive cavernous space which has put so much pressure on her throughout the episode. It’s a slow, almost funereal march toward the fate the audience already knows awaits her. Charles, on the other hand, gets the close-up this time. But the camera, with equal grimness, tracks slightly down and in, so that his face begins to loom over the frame, making him look monstrous.

“The Crown” Season 4, Ep. 3 “The Fairytale” Screenshot

Of course by now, the visual choices that Caron and Goldman made for “Fairytale” have taught the viewer that there is another monster, a much more powerful one, looming over the episode’s final frame: The Crown is the monster that always gets you in the end.

[angelanimedesaray]

Wings in the Dark Chapter 4: Limelight

AN:  Ah...next chapter.  I keep finding myself thinking about/writing Wings in the Dark even though I’ve got so many other stories to keep up with, some of which are only one piece away from being done or oneshots XD

Also I apologize I keep forgetting to put Fem!Vampire!Reader, I keep getting lazy there...tagging error.

Characters:  Levi, Fem!Vampire!Reader, Erwin, Oluo, Petra, Gunther, Eld, Various BG Characters

Pairing:  (Eventual) Levi x Fem!Vampire!Reader

Warnings:  Language, Blood, Peril, Mentions of Death

Word Count:  6101

<----Previous Chapter    Masterlist    Next Chapter---->

*Reader’s POV*

Beneath you, Zephyr shifted from foot to foot, the crowding of Scouts in the street just before the gate looking disorganized, but each squad in specific places meant to make the transition once outside the walls much easier.  You knew where you were in the formation, right with the vanguard--not quite at the front though, since you were still a rookie.  Instead, you were in a message position.

Just a few horses in front of you, you could see Captain Levi and his squad, their gazes fixed forward like most of the Scouts.  Your hand fluttered briefly to your neck as you gazed up at the giant wall that was casting its shade upon most of the gathered Scouts, your heartbeat quickening as the reality of what was happening settled over you.

Decades without open air and sunlight before you managed to find the key that would allow you to walk on the surface in the sun once more.  Never before venturing outside the walls.  Now here you were, about to ride out beyond its boundaries into open, fresh air and sunlight where there was no edge where a wall or some other boundary of mankind kept you in.

As if sensing your restlessness, Zephyr pawed at the ground, antsy and ready to move forward.  The horse standing behind you at the end of a lead had been jumpy since being handed off to you, but its nerves were only getting worse between the aura you and Zephyr were radiating.  Your grip tightened on the reins, gaze fixated on that gate that you were begging to just raise already and let you shoot out into the world.

This was what you were here for.  You’d finally made it.  Now was the time to throw yourself all in for the cause.  Messenger or not, you were going to do everything you could to help.

The brick gate up ahead finally finished rumbling, and a pure white horse holding Commander Erwin Smith reared up.

“Forward!”

Your heart leapt into your throat, and it took everything inside you to wait until the people in front of you started to move forward before your heels pressed lightly into Zephyr’s hindquarters, urging the speckled grey mare forward.  Your breaths came rapidly as the brick gate approached, head tilting up on instinct as you went through the tunnel, momentarily plunged into darkness with light piercing through the end before Zephyr burst through, one set of many thundering hooves as you broke past the wall.

Green grass rolled out before you with towering trees dotting along the horizon, stretching as far as you could see, further.  The wind whipped at your hair, sun beating down on you harmlessly as you soaked in the unbridled rays, lips parted as you took a deep breath of truly free air.

This was a feeling you would never forget.  It was as if the wings upon your cape would emerge and spread wide, carrying you up into the blue sky far above and off to a land where there were no stifling walls real, social, or in your mind, no secrets and constant hiding of who you were.

Feeling eyes on you at your reaction to crossing beyond the walls for the first time, you closed your eyes briefly, the self-imposed darkness grounding you back to reality as you reminded yourself what the goal was here, what you were supposed to be doing.  You had a purpose out here, and the others couldn’t afford your distraction.

Your head lowered from its tilted back position, and your eyes opened with focus burning in your gaze, fixed forward as you leaned slightly over Zephyr’s neck.  Within a few minutes of running straight forward, the formation began to take shape, Scouts spreading out to the left and right while most of the cargo stayed in the middle.  You were one of the ones who went out to the right, falling into place at a relay point with your skittish extra horse trailing just behind Zephyr.  Off to your left, you could see Levi Squad, within eyesight but still quite a distance away and placed closer to command than you.

While everyone here had to depend upon smoke signals and their own limited sight to tell them if a Titan was approaching, you were at a unique advantage when it came to the task of spotting Titans.  You could hear them long before you could see them, but your sight was much better than the other’s here, as well.  You would be able to tell if there was a Titan approaching long before anyone else, which could drastically help the mortality rates of the Scouts if you could use your abilities.

Of course, the matter was complicated by the fact that you would have to wait until there was visual confirmation of a Titan if you didn’t want to look like you were firing flares into the sky for the hell of it, which you were certain would piss many people off very quickly.  So, you were restrained to detecting where the Titans were, and keeping track of them until they got close enough.

If it was a big enough threat, though, you would take the risk.  You would still have to wait if you wanted people to believe you, but you weren’t going to wait as long if it was something like a horde of Titans or a clustering of abnormals.

That part you had decided ahead of time.  The rest you would play by ear and see what happened, or simply play the role you had been assigned for this expedition.

*Levi’s POV*

While Levi and his squad had their duties that went with their position in the long range formation, Levi had his secondary objective to observe L/N from a distance, keeping an eye on her at least partially at all times while his squad handled much of the spotting and message relaying, Levi only giving curt orders when necessary.  They certainly wondered what was causing his distraction, but no one questioned it, especially from the serious look on his face.

He’d been watching L/N from the moment they rushed out of the gate beyond the walls, her reaction reminding him strongly of himself, Isabel, and Furlan when they’d first gone beyond the walls.

Before he could have someone snap her out of it so she was paying attention, she’d brought herself back around, snapping back to full focus on the task at hand impressively fast despite how swept away she’d been moments before.

With the more central position Levi’s squad held, they were better positioned to be sent whichever direction they might be needed if shit hit the fan, and the more protected position than the vanguard and the relay lines allowed Levi to put more of his focus on L/N without causing unnecessary risk.  No doubt that was part of the reason Erwin had arranged them the way they were for this expedition.

At first, there wasn’t anything out of the ordinary.  She kept her head on a swivel, fired the signal flares at the appropriate time to pass along the message to shift the direction of the formation.  However, Levi eventually began to catch the anomaly he might have overlooked if she’d been a little further away, or he’d been a little more distracted by what was going on in his position.

Her head stopped swiveling, her gaze fixing in certain directions for long stretches of time before she would fire off her flares.  At the most, her head might twitch in one direction or another, but nothing more.  The big give away, however, was the fact that he occasionally caught sight of her loading a flare into her flare gun long before the signals went off.  As if she knew it was coming.

Either she had insane intuition, or she was able to see something they couldn’t.

It was a good thing he'd noticed her focus and how she seemed to be picking up on approaching Titans before the vanguard, because it greatly effected how he reacted when she fired a shot before even the vanguard.  She went perfectly still, head turned forward right towards an outcropping of trees in the distance.  She stayed gazing in that direction for several long moments before she suddenly reached into her pack, loaded her flare gun, and fired a black smoke signal into the air.

Everyone reacted with surprise from the display, Levi included, considering no Titan could be seen, and she was not relaying a signal from the vanguard.  Immediately, the others began to grumble and complain at rookie audacity, what she thought she was doing, the usual complaints.  Levi, however, was staring hard at her back, noting how she was still staring in the same direction, thinking of how she'd been aware of every flare coming so far…

"Gunther, relay that signal."

The complaints about L/N stopped, the others looking at Levi in surprise.  "Sir…" Petra ventured to say in a cautious tone, clearly not wanting to question him but doubtful of the black flare's accuracy.  Still, Levi could hear Gunther preparing to fire the shot behind him, even as Petra continued.  "That signal is coming from nowhere, the rest of the vanguard haven't even fired anything."

"Because she's spotted something they haven't," Levi said bluntly, as behind him Gunther relayed the signal, which went down the rest of the line to Command.  Erwin’s green shot fired into the air shortly after what must have been a confusingly sudden short burst of signals.

Levi kept his gaze on L/N the entire time, except the direction change, looking for the payoff or justification for her sudden signal.  At first, he didn't think he would see it.

In the distance, within that outcropping of trees that had held her attention before and was now further away from them thanks to the direction shift she’d prompted, Levi saw something clear the treetops.  It was hard to catch at this distance, but the scattering of birds from those trees helped confirm what he was seeing.  Within a few moments, two fleshy figures of Titans burst through the treeline, one running sporadically forward and the other leaping around, both headed in the direction of the formation.

There was more distance between the formation and the abnormals, thanks to their shift, which gave them more time to respond, but they were still going to collide with the ranks.  He could see L/N coiling atop her horse, ready to leap into action if they broke past the vanguard and reached her position, eyes no doubt fixed on the incoming threats.

“Captain, should we go assist?” Petra asked from behind him.

“If they break through the vanguard ranks, yes,” Levi said, gaze sweeping over the other positions in the formation that held less skilled rookies.  He didn’t want to risk abnormal Titans colliding with the newbies, so he’d make sure they were stopped there, if the vanguard couldn’t handle them.  Instinctively, Levi tensed as the abnormals reached the front lines...and then burst right past towards L/N’s position.

Abnormal, indeed.

Oluo swore as they saw both abnormals barreling towards L/N, who was already kneeling on the saddle of her horse and waited a few seconds for the abnormals to draw a little closer.  Levi and his squad were already heading towards them before L/N leapt off her horse, one of her cables firing into the rushing Titan since it was at least keeping stably on the ground, swinging around and away from the front of the attacking Titans, firing the other higher up to try and get a quick shot in at the Titan’s nape.

The second Titan shot over the first in a leap towards L/N, forcing L/N to change direction and release her cable from the first Titan.  With a nimbleness that surprised Levi, she pushed off of the arm of the second Titan as it went by to add momentum in the direction she wanted to go, cables releasing again so she could swing between the legs of the first Titan and still avoid it’s reaching arms.

With her cables detached again, she rolled to a stop and got back onto her feet, taking a second to register her position before one of her cables sank into that first Titan's shoulder and she shot towards it again.

At that point Levi and the others were close enough to do something and had a good grasp on the situation.  At Levi's orders, Eld, Oluo, and Gunther broke off to deal with the jumping one while Levi and Petra rushed to intercept the one L/N was handling.  Levi had a pretty good idea of what she was trying to do, but expecting it to go terribly wrong, he was trying to reach her before she lost a limb. Or her head.

The Titan snapped at her as she came within biting distance, but she let loose a burst of gas at the last second to sail over its shoulder, twisting in midair as the men handling the other Titan let out an alarmed shout.

Both cables sank into the shoulder blades of the first Titan and brought her in close with her feet landed just below its nape, and she sliced neatly through, killing it in one stroke.  As she turned with the strike, the second Titan came into her view, ignoring Eld, Gunther, and Oluo entirely as it launched for her, still anchored onto the falling Titan.

The cables disengaged so she could fall back and drop out of range of its maw, feet barely missing the teeth as she dropped vertically and headfirst towards the ground.

Eld went in for a quick kill while it was fixated on L/N.

"No!"

"Wait!"

"Eld!"

At angles they could see where the Titan's attention was trained, L/N, Levi, and Perra, respectively, all shouted out for him not to go for the obvious kill. Its eyes had shifted in the direction the cable came from, towards Eld, and it swung out an arm that caught the wire.  Eld was sent careening to the ground, the jumping Titan punching toward him with jaw agape again as the now-injured man got up to right himself, cables still sliding back into place and unable to deploy yet.

Two blurs in opposite directions cut through the air at the front and back of the Titan.  Levi was at the back, slicing cleanly through the nape to kill it before it could kill Eld.  At the front and coming from the opposite direction, was L/N, slicing through arms and bottom jaw in a wide arc to render it unable to eat Eld.

As they passed each other in the air, they momentarily locked eyes, and instead of fear or anger which commonly filled the eyes of the recruits, Levi saw...exhilaration.

Considering one of his men almost got killed, she better be taking this fucking seriously.

As they both landed on the ground at opposite ends of the Titan body, Levi turned to see her already sheathing her blades and approaching Eld to make sure he was okay and help him to his feet.  Gunther and Oluo were close behind, pulling beside them as Eld was brought to his feet and Levi stalked towards them from behind.

"Are you both alright?" Gunther asked.

"That was a hell of a risky move you pulled there, rookie--your leg got cut open when you decided to jump right through its mouth!" Oluo chastised.

Levi’s gaze dropped to her leg, the large tear diagonally across her leg now clear, with bloodstains along the frayed edges of the fabric.  But the skin of her calf was unblemished save for a slightly angry red mark running parallel to the rip.

"Hm?" She asked in confusion, turning back to glance down at the offended leg before she twisted so the others could see.  "It was risky, and close, but it didn't draw blood.  Just a graze," she remarked, eyes lifting to see Levi approaching.

He was caught between angry and indifferent, with a bit of reluctantly impressed.  He couldn't exactly chastise her for endangering the others with that out in the open now, could he?  She'd been handling them alone off circumstance before they intervened, and when one of his men was in danger of dying, she'd apparently risked a leg to intervene.

It was still reckless, even if in the moment she'd deemed it necessary.  She was a rookie out here, she didn't know the full extent of her capabilities against the Titans yet.

Levi’s gaze slid momentarily to the two rapidly dissipating Titan bodies.

Or perhaps she did…

"Petra, help Eld.  Everyone, get a move on, before we're left behind," he said instead, turning back to his horse as L/N let out a sharp whistle to call her horse.  The dappled grey appeared with the spare horse in tow and still tied to the saddlehorn via the lead so it wouldn't run off.

Once he was certain everyone was mobile and Eld was being taken care of, Levi led the way for his group to rejoin the formation, L/N racing off to retake her position.

Levi’s gaze wandered back towards the pillars of steam that billowed into the air from the dead Titans.

Why had they both been so set on /her/ that they blew past everyone else?

*Reader’s POV*

"All right, we need people for the night watch, so if--"

"I'll do it," you said before he could even finish, standing up from your spot around the fire as you spoke.

All he had to say was night watch.  It was another one of the things you felt that you were the most suited for, considering you were a creature of the night.  You would do far better in darkness than anyone else around you.

After volunteering to be one of the people on night watch, you were sent up into the nearby trees to give you a better vantage point, able to gracefully find your way up onto a tree branch without issue.  Once where you were supposed to be, you took a seat, resting your head against the trunk as your gaze wandered across your surroundings, allowing your hearing to focus so it was listening for things in the distance or abnormal sounds within the vicinity of the camp.  As such, the cacophony of people speaking to one another before heading to bed faded away into a faint buzz in the back of your mind, allowing you to focus on your watch.

This also gave you a moment to reflect on your first day out in the field, and the unexpected consequence of your presence that you had discovered.  So intent on contributing to the Scouts and using your abilities to assist them, you'd forgotten some basic predatory instincts.

Out here, the Titans were at the top of the food chain.  Within the walls, it was vampires.  The Titans were mainly active in the day but quiet at night, and vampires normally thrived in the dark and could not go out in the sun--you were an exception, thanks to something you had taken from a vampire far older and more experienced than you.  There was a clear division between the two preventing them from coming into contact with each other, mostly the night and day difference and the literal wall dividing their environments.  But you had just entered their habitat, and you were well aware that a vampire could still be killed by a Titan if they got careless, or if the Titan got one lucky bite in.  As such, you didn't consider vampires at the top of the food chain when placed in the same space as Titans, but adjacent to them.

The Titans had focused on you, likely because you were an invasive, competitive predator in their lands.  You were a threat to them and their food supply, and they could not safely feed if there was a vampire in the area.

As such, if the opportunity presented itself, they were going to target you first.

Lovely.

This was new, dangerous information, and you were still deciding how to react to it.  Maybe not every Titan would completely ignore a meal in front of them if there was a vampire nearby, but today two abnormals had barged right through the vanguard to get to you.  It wasn't something you could ignore.

For a while, your watch went undisturbed, allowing you to quietly stew in your thoughts high up in the trees, before a sound broke through your filtered hearing, and your attention snapped into full focus.

Down below, hidden by the tall grass, darkness, and trees, you could make out the spread out shapes of a wolf pack stalking closer to camp, towards where some of the horses were hitched for the night.

Bold wolves.  Or perhaps they were desperate, or had yet to learn to be afraid of mankind.  Either way, you couldn't let the wolves get to the horses, the lifeline out here for the Scouts.

Quietly, since the way you wanted to handle this couldn't be seen by the other Scouts, you dropped down from the trees, crouching low to the ground and blending into darkness as you moved to intercept the wolves while they were still shrouded in darkness and the environment.  When you put yourself firmly in their path, the tension in the air shifted.

For the wolves, while they were in a pack, you were a more dangerous predator, one that they would normally avoid.  As such, the pack's attention shifted, and you let out a low snarl, red eyes flashing in the night and fangs barred as the wolves cautiously stalked closer to you.  They loosely encircled you, and you quickly tried to assess each one, looking for the alpha, the one who acted first that the rest followed.  The wolves got dangerously close before you managed to pick it out, and you spun around to face the alpha head on, making yourself look big and keeping that snarl.

It hesitated, stared at you for a few moments, and then the grey wolf leapt forward to attack. Anticipating the motion, you plucked it out of the air, arms wrapping around its furry upper body and slamming it into the ground, causing it to yelp and yip as you held it down, pinned, its throat exposed.

You held it there for several moments, making sure the rest of the pack could see the alpha had been bested before you let the wolf up, the large creature immediately taking the opportunity to run and letting out a high-pitched howl for the rest of the pack to follow as it raced away.

Composing yourself once again, you turned back to the camp, heading in the direction of the horses to make sure they were alright, several Scouts intercepting you just before you reached camp.

"We heard wolves."

"What were you doing out there?"

"I chased them off.  They were thinking about going after the horses," you assured them calmly.  "All it took was a well aimed rock and the sounds of quite a few humans from behind to chase them off," you said, explaining the yips and their sudden absence with ease.

"Right.  Back to your posts, or back to bed, whichever it is for you.  Go on," one of the senior officers commanded to get everyone to disperse again.  You didn't say anything more, feeling no need to as you instead used the ODM gear to return to your perch in the trees.

*Levi's POV*

While Levi was checking his gear to make sure it was still in peak shape for the rest of the expedition, his squad had their fireside discussion about the day's events, the topics free ranging since Levi seemed to not be paying any attention to them and was a fair distance away.

Mainly, they were talking about the display with the two abnormals.

"Did you see how they charged right through the line towards that rookie?"

"They were abnormals.  You have to stop questioning abnormals so much or you'll drive yourself mad."

"I'm more interested in that rookie.  Did you see how she handled those Titans?"

"No shitting herself or anything--perfectly calm, like she wasn't even bothered."

"It was almost like she was dancing around it for a few moments there--you could even call it graceful."

"And did you see how in sync she was with Captain Levi when they took it down? Even if it was brief?"

"It was still a risky move--she went right through its mouth!"

"That either takes a hefty set of balls, annoying levels of confidence, or sheer insanity."

"I still swear I saw her leg get cut open on those teeth."

"Clearly not. She showed us her leg, it came close and she was damn lucky or pulled it off that well. It was just the rip, the red mark, and some Titan blood."

"Still...she has to be that rookie all those rumors are about, right?"

"The ones about Captain Levi possibly letting a rookie join the squad?  Those are bullshit and you know it."

"I'm not so sure anymore, after seeing her in action.  It's not impossible.  They might wait until she's a little less green, but…"

"Captain Levi did seem a little distracted today.  And our position was right where he could see her at all times."

"So it is possible...it would be weird...and I still think they should wait until she's not so green...but I wouldn't complain."

"It'd be nice to have another girl on the squad…"

Levi stood up at that point, the group's conversation halting as Levi moved, then resuming when they realized he was walking away from the fire, not towards it.

Don't get attached, you idiots. If she's as dangerous as I think she is, she won't be around for long.

Moving further away from where his squad was chatting amongst themselves, Levi headed towards the trees where Erwin was taking at least one night shift, using his ODM gear to bring himself up to the tree branch beside the towering blond.

"I heard those abnormals caused a bit of a stir," Erwin said as Levi settled onto the branch beside him, hardly able to see one another with only faint firelight a ways behind them and moonlight mostly blocked from the trees around them.

"They barreled straight out of a treeline and through the vanguard.  Didn't give them a second thought and went right for L/N."

Erwin looked at Levi with the way he phrased that last line, like there was more to it.  "They were abnormals."

"Yeah...but even abnormals don't usually fixate on just one person.  Not to mention two abnormals at once."

Erwin turned slightly towards Levi.  "They didn't pay attention to anyone other than L/N?"

Levi shook his head.  "Not until Eld went in for a killshot on the last one.  They seemed...drawn to her."

"Interesting…" Erwin murmured, both of their attention drawn by the sound of wolves yipping and then howling, the sound getting further away.  There was a slight commotion at the edge of the camp, with L/N appearing from the darkness in the direction the howling had been and saying a few words before everyone settled back down.  She must have chased them off, then.

"There's more," Levi added, eyes following her figure as she disappeared up into the trees with ODM, apparently one of the few taking a night shift.  "This entire time, she's been picking up on Titans before anyone else sees them, even the vanguard.  She knew those abnormals were coming long before we had visual confirmation."

"That would explain the odd, lone black flare before the others started being fired," Erwin murmured, his gaze fixated in the same direction as Levi.  "Keep watching her.  We won't be out here too much longer, since we'll reach our destination tomorrow.  You can give me the rest of your observations in an official report when we get back."

"Right…" Levi muttered, turning away and heading back to the ground to admonish his squad about still being up and get them to get some rest before they talked the whole night away with their conspiracy theories.

*Reader’s POV*

When you returned from the expedition, you were surprisingly exhausted.  The Scouts had returned a few hours ago, and as soon as you were free of your duties, you headed up to the barracks so you could crawl into your bed and pass out.

While the first day had gone relatively well besides the obvious for all the horror stories about the Scouts and their expeditions, the second day had not gone so smoothly.  Even worse, when the Titans collided with the left vanguard, you couldn't do anything about it but watch Levi Squad break away as they were dispatched to go help.  You were, after all, just a messenger for the right side of the formation for this expedition.

Because of the attack on the left, the Scouts had accumulated a body count and ended up with quite a few injured.  It wasn't bad enough to cause the mission to fail, thankfully, as the Scouts still managed to reach the destination and set up supplies for future expeditions, but after a couple more incidents on the way back, a few more injured and dead were accumulated, and the Scouts were looking rough upon the return to the walls.

On the bright side, if it could be considered a bright side, you were already sitting on two solo Titan kills at the end of the expedition despite being a messenger, you made it through your first expedition, and you knew more about how you would fare against Titans and your usefulness to the cause.

Right now, that was all food for thought at a later point, as you quickly fell asleep once your head hit the pillow and you were finally given the chance to relax.

Unfortunately, it didn't feel like it lasted for very long.  You were woken up by one of your fellow new recruits attempting to get you out of bed, though a quick glance towards the windows told you it was now night--you’d been able to sleep the whole day away.  Yet you still felt groggy and tired.

"Hey, L/N.  L/N!  Get up, already.  Captain Levi wants to see you.  So get to it--last I saw him he was in the library."

*Levi's POV*

"Extraordinary reflexes, stronger than she looks, quick on her feet, calm under pressure, skilled and resourceful with the ODM gear, capable, patient, able to pick up on approaching Titans long before anyone else…" Erwin's fingers tapped lightly on top of Levi's official report of his observations about L/N, the papers sitting in front of him on his desk.  "All this time and all I can see so far are more reasons to make sure she's advantageously placed in the Scouts and used to her full potential."

Levi turned to give Erwin a disbelieving look before it fell into a scowl that was becoming quite common at these meetings between the two to discuss Y/N L/N.

"You can't tell me you're not curious about the how, that nothing about her raises questions?" Levi scoffed.  Erwin leaned forwards, fingers laced together in front of his face.

"Oh, it does.  It seems trying to find out more about L/N only raises more questions instead of providing answers, and I'm determined to start finding answers.  But I'm not talking about wanting to know how.  This started because you said you had a bad feeling about her, that her motives might be malicious.  So far, all you've given me is more material to believe her intentions are at least aligned with our own if not good, and more reasons to make sure she stays part of the Scouts, not anything to prove she's of ill intent."

Levi looked away, teeth grit.  He'd almost fallen into the same trap. Until…

"The night before the expedition, we ran into each other in the mess hall.  She'd just come back from the Underground, which I know because she still had that smell on her...as well as the smell of blood."  Levi turned to look at Erwin, gaze sharp.  "I doubt she was down there healing sick kids considering, as far as we know, the extent of her medical knowledge is the first aid she learned as part of her training."

Erwin frowned, his eyes probing as he studied Levi’s expression.  "That would have been nice to know, sooner."

"It hadn't come up, yet.  And it's not exactly something I can put in an official report."

"It's still not enough to go on, Levi."

"You don't think I know that? It's driving me mad catching these little pieces that suggest something's off about her, and then failing to get anything else.  It doesn't help that she knows I'm watching her."

Erwin sighed, leaning back in his seat with a thoughtful look, gazing down at the report on the desk.

"Go ahead and recruit her for your squad."

Surely he heard him wrong.

"I'm sorry?" Levi asked in surprise.

"Not as a fill member, not yet, anyway.  She's still too green to justify moving her to the special ops team even with how well she did on her first expedition.  Have her start as an aid for you and your squad, that way she's still in a learning and assisting position until she's more seasoned."

"And your reasoning for this is…?  What if she wants this?  Not knowing her motivations--"

"Gives us all the more reason to make this move.  As part of your squad, even as an aid, she'll be directly under your command.  You'll be able to keep a much closer eye on her, find out more about her--I'm sure your squad members will be able to find out things about her naturally on their own time.  Keeping her close is the best play right now."

Levi sighed in frustration.  Sure, he'd considered picking her for his squad already, but his suspicions had killed that desire, at least for now.  Plus, usually he got to choose if and when he added someone to his squad.  He wasn't too keen on being ordered to add her, even if Erwin had a good reason for doing it.

However, it wasn't like he was going to tell Erwin no.  He'd just have to deal with it.

Shaking his head and biting back the complaints he knew didn't mean a damn, Levi changed the subject.  Even though he didn't confirm that he would do as Erwin asked, they both knew he would.

"What about you?  Did your contacts manage to find anything?"

A frown returned to Erwin’s face.  "Like I said, more questions with very few answers."  He took a moment to open one of his desk drawers, pulling out a report and laying it next to Levi’s expedition report.  "I couldn't find a trace of her anywhere inside Wall Rose besides the last few years after she suddenly surfaced.  Even in the town she has listed as where she was born, the closest I came was a girl who shared a first name with her that died tragically over forty years ago.  Maybe it's where she got the name, considering it was a big deal in the town's history, but beyond that, nothing.  Before she appeared on the surface a few years back, she didn’t exist."

Erwkn held out the report for Levi to take.  "Her absence does, however, lend itself to your Underground theory.  Especially if you say she was in the Underground the night before the expedition.  I suggest you pursue that lead--you know the Underground better than anyone else here."

Levi hated the thought of going back down there, even if it was to find some answers.  However, he finally felt like he had something solid to pursue, and he wasn't going to let it slip through his fingers.  He was cornering her, and he was going to pull back the façade and find out what was really happening with her no matter how hard she tried to keep it concealed.

She couldn't hide whatever it was forever.  Especially with Erwin and Levi bearing down on her as hard as they were.

Enough questions.  It was time they started getting answers. 

Next Chapter--->

Levi Tags:  @clary-quinn @humanitys-hottestsoldier @whalerus @sunny-flo @thirstyforsometea​

Wings in the Dark Tags:  @regalillegal @animeluver23 @theshylittleelfgirl @queenthorin1 @dilucs-thighs @sociallyanxiousmouse

[raimispiderman]

From the booklet which comes with the Spider-Man Trilogy Limited Edition Collection blu-ray!

This talks about the making of Spider-Man 2, here’s the bit about the first Spider-Man movie.

Click for a transcript:

THE EVOLUTION OF A SUPERHERO

“It was truly gratifying and even a bit overwhelming to witness how strongly moviegoers around the world reacted to Spider-Man,” said director Sam Raimi. “As a filmmaker, I always want people to really enjoy my movies, and on that level, Spider-Man exceeded my expectations.”

After the triumph of the first Spider-Man, Raimi knew he had a responsibility to follow it up with a story that justified the fans’ enthusiasm and their built-in expectations for the next adventure. “There’s great interest in this movie, following the success of the first one,” he acknowledged. “For the kids who come to see it, Spider-Man is their hero. So while the job of making this movie is to provide entertainment, it is also to create a story that shows them a moral character, someone who has to make tough choices and the right decisions in order to continue to be worthy of their admiration.”

The wealth of detailed stories and characters in the Spider-Man comic book series provided a mother lode from which to cull the plot for Spider-Man 2. “The Marvel artists and writers have done a great job through the decades – I know, because I’m a big fan myself – so there’s a tremendous amount of good material to draw upon,” noted Raimi. “Finding a storyline wasn’t that difficult. It was finding the right story, the one that made for a proper follow-up installment, and provided a logical progression for the audience and a logical growth for the character. For the, I relied on the terrific storytelling instincts of my very fine producers Laura Ziskin and Avi Arad. Together with the contributions of our great writers, we found a plot line with ideas that reverberated.”

With the storyline of the new adventure locked, Arad looked forward to the reunion of the Spider-Man filmmaking family, not the least of which was Tobey Maguire. “Tobey was so happy to be Spider-Man again and to be Peter Parker,” said Arad. “As an actor Tobey relished deepening the audience’s understanding of who Peter Parker is and who is becoming,” added Ziskin. “Peter’s a man who is transition, someone who’s struggling with the choices he is making.”

Maguire added, “The theme ‘with great power comes great responsibility’ is never lost on Peter. It’s difficult to be a young man and have to sacrifice as much as he has – presumably for the greater good – and to neglect his personal desires. The struggle continues here and it’s quite complicated, because Peter’s searching desperately for a way to achieve some balance in his life.”

 As Peter becomes more immersed in his dilemma, it creates a rift between him and the important people in his life. Though his love for MJ is stronger than ever, she has moved on with her life, pursuing an acting career, living in Manhattan and moving in new social circles. “In this film, Peter is off in his own world and not a reliable presence in MJ’s life,” explained Kirsten Dunst. “She still loves him a great deal, so it has become painful for her to be around him. Though they’ve both done a lot of growing up in the past two years, at the same time, they’ve drifted apart.”

Then, as if Peter’s life were not complicated enough, the situation moves from bad to worse – much worse. Enter Doc Ock.

Dr. Otto Octavius (Alfred Molina) is a brilliant scientist whose life work has been dedicated to experiments utilizing fusion as a new source of energy. Charming, vibrant and energetic, Dr. Octavius is introduced to Peter by Harry Osborn.

“This movie is the story of Peter’s life, which is out of balance, and Dr. Octavius who, for Peter, represents someone who has achieved that balance,” explained Raimi.

“Peter sees Octavius as somebody who has mastered both his gifts – in this case science, through which he can serve the good of mankind, while also maintaining a personal life, a loving relationship with his wife Rosie (Donna Murphy). This leads Peter to the conclusion that it’s possible to have both.” Dr. Octavius, with the support of his wife, has been working diligently in his home laboratory, trying to perfect his groundbreaking fusion theory. But when a demonstration of his creation goes horribly wrong, Dr. Octavius undergoes a terrible transformation – evolving into the powerful, multi-tentacled Doc Ock.

In Spider-Man 2, the talented and versatile Molina brings this powerful adversary to terrifying life. “He is a formidable enemy for Spider-Man,” said Arad. “He can climb walls faster and better than Spider-Man. In fact, there’s nothing Spider-Man can do that Ock cannot counteract.”

Doc Ock, one of the most popular villains of the Spider-Man comic book series, first appeared in “The Amazing Spider-Man #3,” which was published in 1963. He immediately became one of Spider-Man’s most formidable foes. According to comic lore, each of Ock’s limbs can move at speeds of up to 90 feet per second and strike with the force of a jackhammer. The extremely powerful tentacles enable him to lift a vehicle off the ground, pulverize bricks, claw through concrete walls and hover above his victims by rising into the air.

The filmmakers were eager to attract Molina for the central role. “We needed someone who brought a palpable reality to the part, and who was also sincere, had a great sense of humor and personal warmth,” said Raimi. “Alfred is a brilliant actor, and what he’s brought so effectively to the character of Doc Ock is the sense of him as a misunderstood man who has turned into a beast.”

Molina confessed, “I’ve always been a Marvel Comic fan because their characters are so interesting. They have problems. They’re very realistic.” From him, the mechanics behind the role of Doc Ock was a true education. “It was mind-boggling, the breadth and the imagination that went into how each of my character’s actions – flying across the room, crashing through a plate glass window, smashing a taxicab – was to be executed. It’s a unique way of filming that’s not like anything most of us get to do really. It’s a very particular way of working, and absolutely fascinating.”

J.K. Simmons also returns in Spider-Man 2 as Peter’s gruff boss at the Daily Bugle, J Jonah Jameson. “I fire Peter several times in this movie. Every time I see him, I fire him,” laughed Simmons. “And then I re-hire him because there’s always some pressing need for his services.”

Principal photography on Spider-Man 2 began on April 12, 2003, in New York City, where the production spent approximately three weeks shooting at various locations in Manhattan, Queens and Brooklyn, as well as on a Yonkers stage. From ground-level street shots to rooftops high above the city, the filmmakers efficiently utilized the time they spent in New York, giving them the opportunity to expand on the city’s unique environment, which had lent such vibrancy to the first Spider-Man.

“In the first film we established New York as a character in the movie. With Spider-Man 2, we went even further,” said production designer Neil Spisak. “We used a lot more of the city, including [photographic] plates of real buildings and real streets. Improvements in technology over the past three years enabled [visual effects designer] John Dykstra and I to marry existing buildings to scenery buildings to CG buildings even better than the first time around. It’s a much more complete experience.”

“We got more of a feeling of New York in this movie,” added Ziskin. “The movie is being shot in widescreen, which is appropriate because this is a different story, so it required a different approach.”

Production began on the campus of Columbia University in uptown Manhattan, which served as the university Peter Parker attends while he struggles with the responsibilities of his academic workload and his superhero duties. The rooftop of the Hotel Intercontinental, across from the Waldorf Astoria, was the location where Spider-Man contemplates his next move, while downtown, in the Wall Street area, another rooftop served as the “launch-pad” for the Spydercam camera, as it dipped and swooped over several blocks to replicate one of Spider-Man’s high-stakes aerial journeys through the city.

“We executed one of the longest wire shots the Spydercam has ever done,” said executive producer Joseph M. Maracciolo. “The Wall Street shot was around 2,400 feet. I’m an ex New Yorker, so I didn’t find the location shoot particularly daunting. But there are always difficulties when you’re doing wire work in New York, including the placement of the cranes on the buildings, the movement of the cast, crew and equipment, and of course, the crowds.”

“It was a challenge for us to move our production to the tops of buildings, but we couldn’t have been happier, because rooftops are Spider-Man’s world and that is his view of the city as he swings through it,” noted co-producer Grant Curtis. “It was breathtaking to see the world from 70 stories up – a world unto itself. You can’t fully really appreciate the beautiful architecture of New York’s skyscrapers from ground level. We showed some of that in the first film, but we wanted to show more of Spider-Man’s vertiginous world, and I think we really captured that with this film.”

In Spider-Man 2, Doc Ock sweeps Aunt May off her feet – literally – and takes her up several stories of a tall building. Rosemary Harris performed her stunts in a variety of harnesses, but only after she had managed to talk the filmmakers into letting her give her stunt double a rest. “I was a bit miffed at first, because my wonderful stunt double was going to do a lot of these harness maneuvers,” recalled Harris. “So I asked Sam and Laura, ‘Why not let me have a go at it?’ At first they were reluctant. But I begged them to at least let me try and they finally relented.”

Returning to Los Angeles, Spider-Man 2 shot on several stages on the Sony Pictures Studios lot in Culver City. Stage 15 was home to the Daily Bugle offices, as well as Peter’s tiny apartment and Dr. Octavius’ elaborate home laboratory. On Stage 29, the Osborn mansion, where Harry Osborn now lives, was recreated. Stage 27 housed MJ’s apartment set, a giant spider web, the interior of the Planetarium, the massive clock tower set as well as various other set pieces. A series of elevated trains were built on Stage 14, where Spider-Man and Doc Ock match wits.

One of the most elaborate sets for Spider-Man 2 was the pier set, designed by Spisak and built over the course of 15 weeks on Soundstage 30. “In contrast to Dr. Octavius’ lab, which was part of his apartment – a streamlined, organized and clean space – the pier is a maniacal, decaying, decrepit space,” explained Spisak. “It follows his character development in terms of his becoming a wilder, more dangerous and more formidable adversary for Spider-Man.”

The set, approximately 60 feet wide by 120 feet long and 40 feet tall, was constructed over a water tank and enhanced by several different components, including CG/plate work and miniatures.

“Before we built the set, we created an exact ¾ scale model of it, about 7 feet long and 4 feet wide, from drawings and blueprints. The model was extremely useful to the carpenters, who could take measurements to help them construct the full-sized pier, as well as for the miniatures team, so they could ascertain the dimensions, textures and materials that were used,” explained art director Tom Wilkins. “We shot plates down in San Pedro, where we panned from a real pier to the water. In post-production a New York background was added. We also built a miniature pier – interiors and exteriors – to complete the composition on the East River.” The art department team designed a 136 foot by 40 foot-high vinyl backing to represent Ock’s view of Manhattan through a large window at the end of the pier set. Wave machines were rigged in the water to create movement under the pier.

The production then moved to the Universal backlot for two weeks of shooting. Several city streets were transformed into a variety of New York neighborhoods including the exterior of the Lyric Theatre where MJ performances in an off-Broadway production of Oscar Wilde’s The Importance of Being Earnest. Ari’s Village Deli and Bakery became the site of an extremely complex scene involving a quiet conversation between Peter and MJ, which is interrupted by Peter’s “spider sense” – and a car careening through the plate glass window, followed by the arrival of Doc Ock.

“It was a great luxury to be able to build that set from every aspect, so that we could do everything we needed for the scene,” said Spisak. “The walls were made of french plate so that when the car smashed through it, the buildings around it were protected. We were able to design what we thought it should look like visually, then as tricks, gags and stunts became clearer, we were able to add them to the set before it was completely finished.”

“The deli was a full, 360 degree set, with a kitchen, deli counters, pastries, ceiling fans and chandeliers,” added art director Steve Saklad, who worked closely with Spisak. “We dressed the exterior streets so that you could look out of the window and see the intersection of Lafayette Street and Astor Place. It required an enormous amount of signage, billboards, street dressing, trees and traffic lights.”

For Raimi,  “The diner was a complex technical scene, because it brought together so many different departments, each relying on the other to fulfil their function  and communicate with each other so that each individual shot would work. We utilized mechanical effects and the stunt department had to take an automobile, spin it and flip it through the deli window, with the prop department providing the breakaway items. What made it even more complex was that we had to fly Doc Ock in, using something we dubbed the “walk rig.”

The “walk rig” was created for Doc Ock, because the character not only moves himself, but his tentacles move him around as well. When he walks on the tentacles, they support his weight, so a device was constructed to harness him and move him through space as if the tentacles were supporting him. The visual effects department also created “virtual” tentacles where practical ones weren’t feasible.

When he was in full costume, Molina’s tentacles weighed between 75 to 100 pounds, depending upon the action required for the scene. Each of the tentacles was fully articulated. In their expanded, 13-foot length, each upper tentacle consisted of approximately 76 individual pieces Each vertabra was handmade, hand molded, sanded, individually hand painted, chromed, then painted again and assembled by hand. The entire collection of Doc Ock tentacles, bases, heads and wrists, if laid end to end, would be taller than a 20-story building.

Academy Award winning costume designer James Acheson welcomed the opportunity to further explore and improve upon the already classic Spider-Man costume for Spider-Man 2. “Creating the Spider-Man suit for the first film was a real challenge since we were designing for a kind of Cirque du Soleil acrobat, someone who had a unbelievable kinetic spiraling ability,” he said. “So the suit had to be extremely flexible. For the new installment we made several improvements, though you’d have to be a real enthusiast to spot them. The colors are slightly different, and we have made subtle changes in terms of the movement inside the costume’s hood. We also adjusted the eyepieces of Spider-Man’s mask as well as certain aspects of the spider design on the front and the back of the suit.”

For Spider-Man 2’s Doc Ock, Acheson and Raimi spent close to a year collaborating with Spisak and visual effects designer John Dykstra and working with Edge FX in what began as a series of “group think” sessions, according to Raimi. “I needed John Dykstra’s input, because it was John who was going to have to handle Doc Ock’s movements in CG, so he had to be involved in designing the character, along with Jim, who was going to determine the look of the character,” recalled Raimi. “Part of the look determined the movement, and what the arms look like began to govern how it functioned. Neil was involved because Ock had to be a part of Neil’s world in the film. A great interdependence developed among the department heads in order to achieve the complex nature and physicality of the character,”

“The challenge with Doc Ock is to visually create a believable world, focusing on a man with four tentacles growing out of his back,” said Spisak. “Now, that can be a tough swallow. So, in creating Ock and his world, we needed to design and play it so that everything was credible. Ove the course of several months, it became clear what was physically possible for Ock and what would have to be achieved via CG. We conceptualized the look and only then did we deal with the physical limitations, rather than letting them stop us at the beginning.”

Added Dykstra: “It was a huge challenge to make Doc Ock come to life. His tentacles had to meet several criteria. They had to be appropriate with regard to the world Neil had created for Spider-Man and Ock. The components of the costume – the texture and the weight – had to bed something an actor could actually wear. Since using the tentacles wasn’t always practical, we had to create ‘virtual’ versions with Edge FX. In the end, integrating the tentacles into the story was a marriage of all those components and the collaboration of everyone involved.”

Spisak and his team designed and dressed more than 100 sets and locations for Spider-Man 2. “There are probably 10 enormous sets, while some are simply street corners. We covered eleven blocks in downtown Los Angeles and used many rooftops, streets and buildings in New Yorj City,” noted Spisak. “This is certainly the biggest film I’ve ever done.”

Spisak worked with director of photography Bill Pope on the color palette for the sets, and they pored over research and location pictures to inspire them for the story’s lighting requirements. “In the first film, Peter Parker was younger, less aware and just beginning to discover his new powers. That was reflected in the overall look of the movie,” said Spisak. “With this film, he has been Spider-Man for a while, so his frustration over how to deal with his life versus his duty is more complex. That’s reflected in the color palette and the tone of this film – it’s a little more sophisticated, more complicated and deeper, in terms of color and look.”

Among the tools Dykstra and his team utilized to achieve the shots presenting Spider-Man’s point-of-view, while he is soaring over the city, was Earl Wiggins’ Spydercam. During the New York portion of the shoot, the specialized camera was launched using a remote-controlled computer suspended on a cable from a Wall Street-area rooftop more than 30 stories in the air, which recorded what DSpider-Man saw as he swung over the city. The camera traveled along a line suspended over four blocks, dipping down into the street and over the tops of several blocks of vehicles and background art that had been placed for the sequence.

“We were dropping the camera and moving it up and down over the course of the shot to follow Spider-Man’s trajectory as he swings through the arch, releasing a web, and shooting a new web as he swings into the traffic below,” explained Dykstra.

“One of the successes of the first film was the empathy the audience had for the main character. He was very sympathetic,” Dykstra said, “This movie explores the character in greater depth, and in terms of the visual effects, we’re hoping to give audiences an event more intimate sense of what it’s like to be Spider-Man. In the first film, we get to fly with him. The idea here is to make the flying sequences poetic enough and evocative enough that you will get an even stronger sense of what it’s like to fly like Spider-Man.”

That approach is reinforced by Raimi, said Ziskin, “One of the really striking aspects about Sam is that he is the audience for this film. He makes the movie for the audience, identifies with the characters and is always aware of the rhythms and how each sequence will play – both to him and the other members of the audience. That makes him the perfect director for this kind of material. Also, he’s at a point in his directing career where he’s at the top of his game. He is brilliant technically, but also works extraordinarily well with the actors. Ultimately, his personal connection to Peter Parker and the other main characters is a great gift to the audience.”

“These are tough, scary times and during such periods we look to heroic stories to give us hope,” noted Raimi. “Maybe that has something to do with why the audience was so taken with Spider-Man when he first appeared two years ago. With Spider-Man 2, I truly hope that audiences will feel that they’re seeing a love story, that they’re participating in another episode of Peter Parker’s life and are seeing the challenges and conflicts he faces and how he overcomes them. I hope it will leave them feeling uplifted and exhilarated.”