#absolutely terrifying scene. incredible visual imagery. no notes.

[contakaidigon]

WE ARE GOING TO DIE HERE TOGETHER, RIZ GUKGAK

[sheikah]

Have you seen Rise of Skywalker yet? Im looking forward to your opinions!

I did! Thanks for your interest haha. I just wanna quickly preface this by saying that I know that SW is very polarizing and that the fandom can be very toxic, people are passionate about their opinions, etc. I don’t want to step on any toes with my opinions. I don’t often post in depth or candidly about SW because I have friends from all parts of the fandom and I’d hate to hurt someone’s feelings. But these are my opinions! (Under a cut :D)

I loved the movie. At first I wasn’t sure, but I saw it a second time with a friend and I loved it. Does it have plot holes, inconsistencies, and issues? Absolutely. It does. It’s far from perfect and I absolutely understand why so many people have such intensely negative reactions to it. 

But if I’m being 100% honest I just wasn’t one of those people. Yes, it was rushed. But that made it interesting from start to finish. I almost always step out to use the restroom during a movie in theaters. I think it’s a mental thing–I’m constantly thinking of how I DON’T want to step out to pee, so I always have to haha. But I didn’t even think about it once during this movie! I just had that much fun watching it. 

I can acknowledge that it had a lot of weaknesses, though, and I’ll talk about that first. I think most of the issues were a result of the film being the end of a trilogy that was helmed by two different people. It felt confused to me at points because I could see where JJ was trying to stick to what he clearly wanted to explore post-TFA while also trying to pick up where Rian Johnson left off post-TLJ. It’s like they had different visions and JJ was trying to include aspects of both in TROS. In a lot of ways, that didn’t work. I don’t want to go into too many nitpicky details but I can sum up my one big gripe by saying I think Finn was done wrong. 

I think this movie had a lot of big character moments for Rey, Ben, and Poe, but I don’t feel like Finn got his due. I also think that from a shipping standpoint he was treated really unfairly. I genuinely felt while watching TFA that JJ was trying to lay the groundwork for canon Finnrey. In TLJ, Johnson went in a different direction with Finnrose and Reylo. So the problem, to me, is that in TROS JJ tried to follow up with Johnson’s Reylo groundwork while still including nuggets of Finnrey. Watching the film, it seems abundantly clear to me that Finn was harboring feelings for Rey that were unrequited. His devotion to her felt one-sided and the almost-love-confession in the sinking sand seemed to confirm that for me. I realize at some fan panel JJ apparently said that what Finn was really going to confess was that he was Force-sensitive, not that he loved Rey. But any viewer watching the movie without that knowledge would not get that from it imo, so the average viewer is left thinking the writing left Finn in unrequited love with Rey. And the writing completely brushed the Finnrose relationship to the side. I’m a Finnrey shipper so I didn’t really love Finnrose to begin with. But since Johnson started it, I honestly don’t know why JJ didn’t just continue it if he was going to continue Reylo. It seems better than spending time establishing Finn’s continued feelings for Rey only to leave him alone, especially since TLJ ended with Finnrose: it should have been easy enough to pick up their relationship and carry it forward. I know unrequited love exists, and exploring it in fiction can be poignant. But in this case it just didn’t track to me, and felt like a slap in the face to Finn’s character and anyone who was shipping Finnrey, Finnrose, or even Finnpoe. There seemed to be no reason to write Finn’s actions toward Rey the way they did if they weren’t going to put them together. Finn wasn’t together with anyone in the end. And in the same vein, shoehorning in a past romance for Poe with Keri Russell’s character just felt like a cheap way to make sure Finnpoe wasn’t going to happen. Idk. But these were the only aspects I really didn’t like. 

I loved the many displays of Rey’s incredible power. I loved seeing Rey use the Force to heal, just like we saw Baby Yoda do in that week’s episode of The Mandalorian. I thought the scene where she accidentally used Force lightning was chilling and interesting foreshadowing for Rey Palpatine, even though I don’t really love that she’s a Palpatine. That being said, as a scorned Dany fan, I really enjoyed the message that who you are by blood should not define you. GoT ultimately ended with the message that your family and your family’s legacy are inescapable, grim realities. TROS had a much more hopeful message. This is also an important message to me personally because I have a lot of baggage with my father and his side of the family. It’s something I’ve struggled with. I never want to be like him. That aspect of Rey’s inner conflict was really beautiful to me and I think Daisy portrayed her struggle with darkness very well. I also thought her vision of dark!Rey was terrifying and really well done. The scene of her looking in the mirror at herself under Ahch-To in TLJ was probably my favorite scene of that movie so I liked seeing JJ utilize similar imagery there.

I loved seeing the trio together on a mission. The chemistry between Daisy, John, and Oscar is excellent and the comedy and wholesomeness between them is what made the movie so fun and memorable imo. I would have been happy with an OT3 for their characters, but c’est la vie haha.I loved the fan service. What can I say? I’m a fan: I like to be serviced lol. I know it was cheesy to some people, but Force Ghost!Luke lifting his X-Wing out of the water for Rey made me tear up. It was a nice callback to the moment with Luke and Yoda on Dagobah. Speaking of callbacks, I also loved the final shot with the binary sunset on Tatooine. I’ll admit I don’t really get why Rey has BB-8, or why she’s alone, or why she would choose to live in a place that even Luke wanted desperately to leave… but the visual and musical parallel to ANH got me right in the feels in the best way.

I loved seeing Ian McDiarmid return as Palpatine, who was as delightfully evil as ever. I don’t really understand how or why Palpatine had to come back, and I am not satisfied with the explanation for Snoke. But the Emperor is a classic and an iconic character I love. Having him as the ultimate baddy was satisfying in its own way. I also thought everything abot Exegol and the Sith fortress was terrifying and visually stunning. Even the sound effects of the lightning, and the way that blended with ominous music, was really interesting to me. I loved almost every sequence that took place on Exegol.

Lastly, (and this is the part I have been nervous to post about haha) I liked Ben Solo. I am not a Reylo shipper. That’s not something I talk about really because I have a ton of Reylo friends and I really treasure those people. The last thing I want to do is hurt their feelings or make them feel unwelcome on my blog. But In TFA and TLJ I didn’t really see that many redeeming qualities in Kylo Ren, and I certainly don’t ship him with Rey. I liked the character as a villain from the first moment I heard Adam Driver’s epic voice and saw Kylo Ren freeze Poe’s blaster bolt in stasis using the Force. I thought he was cool and I loved the crazy sound effects and unstable appearance of his unique lightsaber. But I just didn’t really romanticize him at all. I also thought TLJ ended on a pretty definitively negative note for the character. He told his men in no uncertain terms to blow the Falcon out of the sky with Rey in it. And I didn’t think killing Han and trying to kill Luke was something he was going to come back from. I didn’t really want “Bendemption.” 

I say all this because I think this is one of the reasons why TROS impressed me so much. When it actually happened, I was happy that Kylo was redeemed as Ben. The scene with Han reminded me that above all, this is Han and Leia’s son. No matter how much of a villain I thought Kylo Ren was, I didn’t want Han and Leia both to die and for their son to die in disgrace without ever having made amends for the things he’d done. I couldn’t love Han and Leia the way I do without hoping for some semblance of peace for their family. And when he took off the Kylo Ren getup and dressed more like a regular guy, when he adopted some of Han’s personality, when he stormed into Palpatine’s lair on Exegol blaster blazing, and most of all when he wielded a Jedi’s lightsaber alongside Rey, I loved it. I really, truly loved it. And for someone who went into the movie theater expecting to hate that aspect of the story, I think that speaks volumes. They won me over. They made me like Ben Solo. I don’t really think it’s a great social message for the real world in 2019 to forgive him despite all he’s done. But if I divorce it from real-world implications and just treat it like Star Wars, I’m actually glad it happened the way it did. Leia deserved to have her death mean something. She gave the last of her strength to reach out to her son. Not to Kylo Ren, but to Ben Solo. She and the audience both deserved to see Ben Solo before the end. And for him to make the ultimate sacrifice for Rey was, to me, the best possible way he could go out. I found it to be a very compelling end. His death made me surprisingly sad, but it was a noble death.

Anyway, like I said above, I know the movie has a lot of issues. I haven’t even addressed a fraction of the things I could say about this movie–both good and bad. But ultimately I boil it down to how a movie makes me feel. This one left a strong emotional impact on me and I was happy to watch it a second time. I laughed, I cried, I reflected on why I’ve loved Star Wars for my entire life. So I have to say I liked it. Sorry for the giant answer haha :P

[scribeofred]

2, 3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37, 41, 43, 47!

2. Whatis your latest fandom?

My latestfandom is Batman in terms of fic. There’s a wealth of reading material in it,and it is almost perfectly suited to my preference for brothers-relatedmaterial. There are also some very very very good writers to be found, and I’menjoying being able to consume in a large scale again, at least when I’m notsick of reading due to work.

3. Whatis the best fandom you’ve ever been involved in?

In termsof “this is my ideal place and I am never leaning,” absolutely Thunderbirds. It’salso a… very small fandom, and for a choosy consumer such as myself, that’sbeen a serious problem over the last year or two, what with the departure of alot of my favorite writers. Nevertheless, the world and the characters have embeddeddeep in my heart, and I’ll always be around somewhere in the fandom in one iterationor another.

5. Whichfandoms have your written fanfiction for?

A few! Ihave published fics for TRON: Legacy, Assassin’s Creed, FFVII, Star Wars, Sherlock,Thunderbirds, FFXV, and VLD.

As far asentirely unpublished fandoms… I have an enormous Merlin AU completelyoutlined, but I only wrote snippets of it. Too bad, because it was going to beSO GOOD. Alas, I am no good with monster projects, so it languishes, probablyforever. Unless I post the outline here. Hmm. I could do that…

7. Listyour NoTPs from each fandom you’ve been in.

Oh man. Well.Let’s see. Automatically anything incest or slash, they’re just not my mug ofpomegranate juice. Other than that, I’m relatively fluid when it comes topairings and tend to go in for anything that’s well-written and has dynamicsthat are to my taste, so I rarely hit upon pairings that make me nope entirely out.I tend to just not care about anything that doesn’t strike my fancy.

11. Whois your current OTP?

As notedabove, I am not a hardcore shipper. Favorite pairings come and go depending onmood and whether they’ve become boring due to overuse/overexposure/passage oftime or not. If I had to pick, I’d say I still default to Scott/Penny, though,because I’m still writing ’em.

13. Goon, who are your BroTPs?

Mostrecent fandoms only, in no particular order: Shiro & Pidge, Shiro &Hunk, Keith & Pidge, Keith & Hunk (VLD); Scott & Virgil, Scott& John, insert-all-possible-bro-combinations-here (TB); Dick & Jason,Jason & Stephanie, Jason & Cass, Cass & everyone, Jason & Damian(Batman).

17. Whatship have you written the most about?

I am stillinfluenced a ton by TOS, so as of the last five years, it’s Scott/Penny. They’rethe ultimate power couple, both heirs to enormous fortunes, and let’s face it:they look incredible on each other’s arm. The dynamics are lovely between them,very arch, very clever, and finding ways to make them relax around one anotheris just genuinely my favorite.

19. Anyships which you surprised yourself by liking?

Nyx/Araneafrom FFXV came out of the blue. I think I saw someone had written it once duringone of my only glances at the fandom’s AO3 section, and it lodged in my brain. Imean. I’ve read exactly one (1) fic for them and have written an equal numberof fics with them, and I don’t really think about them on my own time nowadays,but they did click with me, at least very briefly. I also super wasn’texpecting to like Shiro/Allura from VLD, but they touched hands in S2, and Idid that little flappy hand thing and made The Noise, and I knew I was InTrouble.

23. Whatfic do you desperately need to rewrite or edit?

See, I dothis thing. Where once I’ve posted a fic, I am disinclined to reread it withoutsome serious—usually external—prompting. Not because I hate it! But because I’vejust moved on to new ideas—that one has had all the hooks it had in my brainreleased by way of posting the story, and I don’t need to think about it anylonger. I’m not very interested in rewriting old material, although last week Idid reread Three Towels and a Tracy for the first time in a couple years, and Imade a few tiny tweaks to the AO3 version for improved readability. I edit soheavily while I initially write a story, though, that I really don’t leavemyself much room for editing/rewriting at a late date.

Arealistic answer would be “probably the first ten or so stories I posted becauseI know So Much More about writing, especially the technical elements, now thanI did then, and there are undoubtedly many missing/misplaced commas int them.”

29. Whatinspires you to write?

Sometimesit’s vivid mental images that I Must Put Into Words (an upcoming FFVII story);sometimes a piece of art or a song compels me to put words down. Imagery is abig thing in my writing, so it tends to be something visual that sparks aproject, although occasionally combinations of words just *sing* to be put downsomewhere. Truth told, I write for SS and no one else, so yeah, she’s myinspiration.

31. Doyou listen to music when you write or does music inspire you? If so, which bandor genre of music does it for you?

Music inand of itself rarely inspires me these days, with one notable exception, but I dousually listen to it while writing. Anything instrumental gets at least tried,but I lean toward film/game/TV scores (Hans Zimmer yaaaaaasssss), smooth jazz, epicproduction music, and some electronic music. If music is too much for onereason or another, I will pull up a soundscape generator—myNoise is amazing; I’vebeen all over the Black Hole soundscape recently—and let that run on animatefor an hour or two.

37. Doyou use established canon characters, or do you create OCs?

I alwaystry to write canon characters unless it’s necessary to create a person for aspecific scenario. OCs can be hard to connect with unless you’re very good at makingreaders care, so they’re a bit risky. I know I prefer to read about canoncharacters, though, so that drives my thinking when I create plots/scenarios.

41. Listand link to 5 fanfiction authors who are amazing:

@preludeinz is just… one of the best writers you’re ever going to find. The way she’sable to take literally any scenario or characters and make them interestingbaffles me even years into knowing her, and you will not find a better writer todescribe clothing. She’s as brilliant at handling character interactions as sheis at describing lasagna food. Also, her dialogue is A++

lurkinglurkerwholurksis another complete package. Everything about their writing is engaging andfeels so polished, and they have an enviable ability to capture characters’ voices.I’m constantly blown away by the quality of their work, and I’m waiting withbated breath for the next chapter of Nature and Nurture.

@headspacedad writes some of the best stream of consciousness I’ve encountered. The firstchapter of their story Falling took my breath away, and subsequent updatescontinue to knock the air out of me. Writing a character who’s lost a primarysense is no easy feat, but they make it incredibly easy, and indeed the storyis so rich with details that it’s 100% better that way.

If youwant a writer who’s going to challenge you with each chapter, each scene, eachparagraph, each sentence, pollywantsa is absolutely the writer for you. I’mperhaps a tiny bit traumatized by one particular work, but in general every storyis worth reading. There’s a sense of weight to each piece, a gravity that goesbeyond fandom trappings and sinks into your very bones, lives like mercury inthe bottoms of your lungs, dragging you down into the unshakable truths that areinescapably human. Real people make wrong decisions, destroy other people orthemselves; they are crude and profane and selfish and so very beautiful intheir imperfections, and polly will remind you of that with each tone-perfectword they’ve laid down.

Roundingout the list is @velkynkarma. Unusual stories and unique situations that I neverwould have considered reading are some of my favorite stories because of VK’sskill at finding the engaging threads to pull into the light. Space mouse vsCoran? Amazing. Keith + space mouse shenanigans? Incredible. Zarkon + eldritchhorror? Terrifying but so engaging. Slav and Sven AU? Worthy of popcorn. Heapsof Shiro angst? Sign me up. The high quality of both storytelling and technicalskill are not to be missed, and every new story and chapter updated is a TREAT.

(honorarymention: @deepwaterstars for being the sunbeam to my moonbeam

43. Whatship do you feel needs more attention?

Uh… I’mnot sure tbh. I’m not a “shipper,” and I tend to read gen fic as a wholesalerule. I wouldn’t mind seeing a bit more Virgil/Penny, I guess?

47. Doyou leave reviews when you read fanfiction? Why/why not?

Mmmm.See. This is the thing I’m trying to get better about. Because I tend to go ALLIN when I comment and drop a solid 300–500 words, and that takes time, even ifthe words are flowing. I find it hard to write something more modest, because Iknow exactly how much I drool over the writers who leave me enormous comments,and I want to give them the same feelings. I tend to only comment whensomething has truly moved me, especially since I’ve tried to move on from the unasked-forcritique-style reviews. Maybe one day I’ll find a happy middle ground.

ask me about fanfic!

[cookinguptales]

SO. Some thoughts on the shorts presentations.

(Note: I only go to the live-action and animated ones; the documentary shorts are harder to see in my city and frankly, they’re often too intense for my current mental health.)

I went to see the shorts yesterday and like I said earlier, I thought the live-action shorts were generally very good and the animated shorts were generally a waste of time and In A Heartbeat was fucking robbed. The live-action shorts were mostly based on true stories, oddly enough, but they were still beautiful.

(This is two years of underwhelming animated nominees and I’m like ughhhh bc some years everything is amazing but recently I’ve not been agreeing with their picks at all.)

I’m about to discuss like 13 shorts, so it’s all under a cut.

Live-Action Shorts

DeKalb Elementary

I have to be honest with you, considering our current political climate, I started crying from the moment this short started until it ended. Like I saw the title come up on the screen and I was like OH NO. The short is based on the real-life school shooting at Ronald E. McNair Discovery Learning Academy, and I teared up just typing that sentence. However, this school had one of the few “happy” endings of a shooting; a receptionist at the school started talking to the shooter and calmed him down until he could admit that he really needed medical help and didn’t want to hurt anyone. She probably saved a lot of lives, and this dramatic interpretation of her 911 call is really deeply touching. The acting was really incredible, and the connection between the two of them was palpable without lessening the terrifying suspense of the moment. A really beautiful and deeply affecting short.

(Though, all that said, I wonder at the decision to create a mostly apolitical short about school shootings in today’s climate…)

(cw: guns, threatened violence, mental health issues)

A Silent Child

Surprise, I cried through this one, too! A Silent Child is a short about a young deaf girl in the UK whose parents refuse to learn sign language or teach it to her. This is a depressingly common experience in real life, and watching this girl’s nanny teach this girl sign language and seeing her really come alive now that she could truly communicate, neither the mother’s jealousy and self-consciousness nor her eventual decision to fire the nanny and forbid her child from ever using sign language again surprised me.

To keep a somewhat objective approach, I do think the end of the short was a bit maudlin; it seemed kind of odd that the girl, in that situation, would choose to sign “I love you” — this seemed more heartstring-yanking than something that felt realistic. That said, the rest of the short was really heartbreakingly realistic. It’s a personal subject for me; deafness runs in my family and my little sister is profoundly deaf. My parents started learning sign language the day she was born and made sure I did, too. I grew up in a truly bilingual household and didn’t understand until I was much older that many hearing parents don’t do this for their children. At first I was sitting in the theater like “well, my parents knew it might be a possibility; they were prepared before she was born” but then it is revealed that the mother in this short knew of a family history as well; her utter self-involvement and ego become more and more clear throughout the course of the story.

The short presents a very complicated familial relationship that felt very foreign and very familiar to me at the same time, and I’ll admit I cried a lot. Despite some shortcomings in the character writing, it really is a very important topic to talk about. I think I would have preferred that the emphasis be a little less on the nanny’s feelings and a little more on the girl, but it was overall a very good short — and notable for using an actual deaf actress and real BSL.

(cw: Ableism, child abuse)

My Nephew Emmett

This is a dramatic retelling of the experiences of Mose Wright as he tried to save his 14-year-old nephew, Emmett Till. If that name is familiar to you (and if it’s not, google this important case — but guard yourself for some deeply upsetting events and imagery) then you can probably figure out about how this short went. The story is a familiar, if horrifying one, but this film is interesting in that it doesn’t show much of the part we’re all familiar with. There isn’t that much graphic violence (IIRC, punching a boy in the stomach, manhandling him, and threatening folks with guns is the extent of it), and the very famous pictures of Emmett Till post-attack are not shown. (Though they are evoked in animation during the credits.)

Instead, this film really focuses on the emotional build-up of the event, and very palpably expresses the horrors and tensions of living during this time period in this place while black. There is some absolutely gorgeous imagery in this short, and some of the images of Mose sitting up all night with a gun, waiting for his nephew to come home, will stay with me forever. The acting and cinematography are top-notch, and there is a sort of dignity to these people that is not always afforded in shorts that can easily become misery porn for fascinated gawkers. Really just beautifully, meaningfully done. Media based on true stories like this can sometimes be wooden or insensitive. This was neither. A familiar story, but a breathtaking short.

(Cw: extreme racism, including racial slurs, violence, child death)

The 11 o’clock

In a year full of strong contenders, this Australian short was a glaring weak point. It’s a film about a psychiatrist who gets a patient who believes he’s a psychiatrist, and the rest of the fairly predictable short is pretty much just who’s on first shenanigans that get annoying very quickly. Also, after the powerful DeKalb Elementary, it felt uncomfortable poking fun at people with mental illness and using personal delusions for comedy.

But hey, at least it was short.

Watu Wote (All of Us)

Though it was a great year, this was probably my favorite of the shorts. As the film introduced itself as being about racial tensions between Christians and Muslims in Kenya, I was kind of bracing myself for some of the frankly racist/xenophobic content I’ve seen in some past years. However, this short was actually about an event in 2015 during which the militant group Al-Shabaab stopped a bus with an eye towards killing the Christians onboard, but were thwarted by the Muslim passengers who protected their Christian co-riders with, quite literally, their lives.

The short follows a Christian woman who is traveling home to visit with her sick mother, and the trip clearly terrifies her. It is later revealed that her husband and child had been killed by anti-Christian radicals years before and she still views Muslims with a large amount of wary mistrust. She clashes with other passengers on the bus, but she is shocked when the bus is pulled over and the Muslim passengers immediately move to protect and hide her. There are some truly tense scenes during which she is hiding from the militants and Muslim passengers are arguing with them about how un-Muslim their actions truly are. The short is not without bloodshed.

The short could have veered into being preachy at any time, but was instead a very raw depiction of these religious and ethnic tensions in this part of the world. While you could not fault the protagonist for being wary after her experiences, a lot of catharsis is felt when she realizes that there is a large difference between the men who killed her family and the terrified yet heroic passengers on her bus. It’s a true story and one respectfully told. I’d heard about the event when it happened, but didn’t know all the details; it was nice to have these heroes (particularly the fallen ones) commemorated in a moving short like this. The acting and directing was incredible, and again, I cried. A lot. I cried through basically this entire shorts presentation with a short break during the psychiatrist one, during which I ???ed a lot.

In a time where there is so much anti-Muslim sentiment in the world, I think this film made a very powerful statement, and I was glad to see it. I cannot believe this was a student film.

(Cw: ethnic/religious discrimination, blood, violence, death, child endangerment, mentions of dead children)

Honestly, this was a very strong year for the live-action shorts, and I would happy if any of the non-Australian shorts won.

Who I think will win: My Nephew Emmett or Watu Wote

Who should win: Very, very narrowly, Watu Wote

Animated Shorts

Negative Space

This is a French stop-motion film, and probably my favorite of the animated shorts this year — not that that’s saying much. It was kind of slight, frankly speaking, but the animation was really inventive and it was a joy to watch, at least, even if it was mostly just a guy relating a brief anecdote about his deceased father. Besides praising the really visually interesting animation, I’ll admit there’s not much to say about this one.

(Cw: death, you see an open-coffin funeral)

Garden Party

Beautiful animation, for the most part, but like. The entire plot is that a bunch of frogs take over this rich guy’s house after he’s murdered, which is…again, not that much of a plot. I guess the main point of it was “nature doesn’t care about riches or human life” and “corpses are funny”, which I’d tend to agree with and disagree with, respectively. While I appreciated the rising tension as you notice all the creepy details of this broken-into house in the background of cute frogs cavorting, the “punchline” of this short, which was a detailed close-up of the prior resident’s mutilated, bloated corpse that’d been sitting in the pool is just like. Pointlessly disgusting, and after watching a short about Emmett Till, it felt almost unconscionably callous. Honestly I was like. Mildly interested for most of it, and completely repelled by the end. People talk about this short’s “dark sense of humor” and I’m mostly just reminded of all those edgy assholes I met in college and was happy to never meet again.

(Cw: violence, very, very grotesquely graphic depictions of a corpse)

Lou

This one is Pixar’s inevitable nomination, and it’s very… Pixar. Idk, this one was kind of fun to watch, had a typical slightly-maudlin moment of sentimentality at the end, but it really wasn’t Pixar’s finest. It’s a pretty slight film about a bully befriending a sentient lost and found and learning to Be A Good Dude along with some stuff about the cycle of bullying that was dealt with too briefly to really be hard-hitting. What was odd to me while watching it is that I found myself thinking “wow, this animation does not seem up to Pixar’s usual standard”, which really surprised me. Like, it’s by no means bad! It just reminds me of the work that Pixar was doing several years ago, y’know? All in all, kind of cute but ultimately forgettable.

Revolting Rhymes, Part 1

(Longer review because this one was a half hour long as opposed to the rest, which were all 5-7 minutes.)

Ugh, okay. So the Academy, in their infinite wisdom, keeps nominating children’s specials for this award. They’re typically long-winded, rhyming adaptations of children’s picture books with subpar animation, and while Revolting Rhymes was better than The Gruffalo or Room on the Broom, I still felt my eyes glazing over. Plus, frankly, I take issue with this “short” even being eligible. It’s not a short. Shorts (in the Oscars) are 40 minutes or less. Revolting Rhymes is a two-episode miniseries that makes up one hour-long children’s program. In other words, if you see this at the short’s presentation, you will only see the first half of the story. (I googled the second half when I got home so I could properly review it.) They just split it into two; that doesn’t make it two discrete shorts. But I digress.

So this is your typical fairy tale retelling, and while I liked some aspects of it, others were trite and overdone. It was fun seeing Red Riding Hood go full vigilante, I suppose. It was actually frustrating as hell, especially because of In A Heartbeat’s snub; Revolting Rhymes really seemed like it was about to go to the f/f place with Red and Snow White. I was starting to get interested. These women were fighting for each other, giving each other flowers, embracing, leaning against each other, they eventually move in together… Like it was pretty fucking gay. AND THEN THEY NO HOMO’D IT AT THE END. I even looked up the second half to be completely sure. So that was really going to turn me against this film anyway because there’s nothing more tiring of getting one of those “in the future, they are gal pals and Red grew up and had kids!!” epilogues, especially when an actual queer love story was utterly ignored in favor of subpar shorts.

That aside, though, it’s just overly long, predictable, and kind of dull after a while. Frankly speaking, it’s for children and it doesn’t really have great crossover appeal for adults.

(Cw: pretty intense non-graphic violence, some sexist overtones, no homo-ing)

Dear Basketball

This short is just incomprehensible to me. It’s a short poem by Kobe Bryant that’s animated by the legendary Glen Keane with music by John Williams. Which should tell you how bewilderingly weird this whole scenario is. The whole time I was like “Is this a vanity project? How did he get such talent to sign on for such a self-indulgent little film? Did he just start throwing money around? Are both of these men closet Kobe fans?” Like I really don’t understand what even happened for this film to get made. It was inexplicable.

I guess it’s exactly what you’d expect. Kobe Bryant has written a saccharine poem about how much he has always loved basketball, and how he is now sad he has to give it up. It’s beautifully animated with a sweeping score. I am deeply confused, and cannot understand why this was even nominated in the wake of the #MeToo movement, considering the allegations against Bryant.

*shrugs???*

(And the highly commended shorts. IN A HEARTBEAT DIDN’T EVEN FUCKING MAKE HIGHLY COMMENDED, FUCK THE OSCARS COMMITTEE TBH.)

Lost Property Office

Another short about a lost and found…? I mean, okay, why the fuck not, this year is clearly a debacle anyway. This one was basically about a guy who works for the MTA lost and found, and he’s being let go because no one ever claims anything. The film, to be fair, does have a really interesting visual aesthetic… But the direction it goes in, again, is just kind of like. Okay. Not exactly emotionally gripping.

(Cw: no one actually commits suicide in this, but the short very clearly utilizes imagery that conjures up suicide)

Achoo

Trite little film about a dragon I’m supposed to think is cute but I really thought was kind of gross and annoying. It’s this thing about how this annoying dragon wants to make a fireworks display better than the mean bully dragons and he sneezes goop everywhere and uses chemicals (which feels like cheating..?) and accidentally invents fireworks. It’s always, uh, awkward when there’s a piece of animation that does some cutesy depiction of another culture’s faux “mythology”, and this one really didn’t particularly do it well.

Weeds

Short about a dandelion (I guess? They didn’t really look like dandelions, but oh well.) trying to move from a dead yard to the yard next door full of sprinklers. It dies before it makes it and its seeds float over to the lawn. Then you get some inspirational quote about NEVER GIVING UP and I’m like okay but it died???? It didn’t make it????? Is this some really depressing point about the struggles of immigrant parents or something or did you actually think this was inspirational?

Forgettable.

Who I think will win: Negative Space or Revolting Rhymes Who I think should win: In A Heartbeat

IN A HEARTBEAT WAS ROBBED NEVER FORGIVE NEVER FORGET.

[nothingneverforever]

The Haunting of Hill House (2018)

I remember sitting through the first episode of this series with my mom, thinking that it wasn't the best option for us to commit to, worrying that it would be a waste of our precious mother-daughter bonding time. The pacing of the first/second episode was too.. American, the emotional expressions too unsubtle, leaving little room for my audience participation, the acting too stilted, and the actors behaving too much like stage thespians .. and because I'd chosen the series after seeing rave reviews online, I remember sitting through the first episode thinking, huh, this is the shit people been losing their minds over?

And then.... suddenly, quickly, it became one of the most deeply affecting and disturbing shows I'd experienced, and thus eventually, one of my favourites. I'm deciding to write this now, about 9 months after I finished the series, because I've just started on The Haunting of Bly Manor, which is described as a "follow-up" series to Hill House. The narratives are not connected, but much of the cast and crew are the same, which is nice because I was so so so so so impressed with the acting of these specific returning actors in Hill House, and after reading a little more into the production process, I've been allowed to understand that the crew is fucking epic and genius as fuck too. I love this series!!!!!

The title of a Youtube video that I love a great deal on this series, by one of my absolute favourite film analysis video essayists, Ladyknightthebrave, is: Stretching Genre - A Haunting of Hill House Video Essay. And maybe this is what I'll talk about first - genre. I've never particularly cared for 'horror' because I'd rather be able to engage with themes and tropes I can relate to in my own life, stories that resemble my own world from my own ever-romantic perspectives. I've always wanted to delve into horror, to appreciate the elaborately designed surfaces as well as be affected in whatever ways by any depth of conversation or concept, but I don't think I've ever been able to achieve any of this. I've tried to enjoy both superficially (i.e. entertainment value) and also more real-ly many horror productions, but always left with a deep sense of meh.  Crimson Peak (which I reviewed here back in 2016) might be the closest I've come to engaging genuinely with anything from this broad genre, but even then I think I liked it more for its kitsch value, its beautiful beautiful beautiful soundtrack, than for the genre-specific parts of the narrative. But I mean, everything makes a film right? The soundtrack and the costumes and the acting are the horror elements in themselves too, I know.

Even then, a lot of the simple reactions I've read for Hill House are ones of surprise, where audiences went in not realizing that a series with the words The Haunting of.. in its title would leave them feeling utterly heartbroken, distraught (sad), emotionally-invested as it were any other drama series. In that Ladyknightthebrave video I mentioned, at multiple points in her essay she says, simply, "hey,... I'm sad" when referencing a particular scene or conversation. And that was, too, my overwhelming reaction to the whole series.... I'm sad!!!!!

Perhaps I should describe the plot a little first.. so the Cranes are a family of 7, mother and father and 5 lovely children: in descending order of age, they are Steve, Shirley, Theo, and twins Luke and Eleanor (Nelly). Here is the official synopsis:

This modern reimagining of the Shirley Jackson novel follows siblings who, as children, grew up in what would go on to become the most famous haunted house in the country.. Now adults, they are forced back together in the face of tragedy and must finally confront the ghosts of their past. Some of those ghosts still lurk in their minds, while others may actually be stalking the shadows of Hill House.

And, from wikipedia, here are some of the notable reviews of the series:

Corrine Corrodus of The Telegraph graded the series with a 5/5 rating, calling it "the most complex and complete horror series of its time." Brian Tallerico of RogerEbert.com gave unanimous praise to the Netflix adaptation, describing it as "essential viewing," and stated that "[the show] contains some of the most unforgettable horror imagery in film or television in years." David Griffin of IGN gave the series a rating of 9.5 out of 10, calling it "a superb and terrifying family drama," and Paul Tassi of Forbes described it as "absolutely fantastic" and stated that "it may actually be Netflix's best original show ever."

Horror author Stephen King, who holds considerable admiration for Jackson's novel, tweeted about the series, "I don't usually care for this kind of revisionism, but this is great. Close to a work of genius, really. I think Shirley Jackson would approve, but who knows for sure."

Filmmaker Quentin Tarantino, in interview with The Jerusalem Post said, "My favorite Netflix series, with no competition, is The Haunting of Hill House."

Due to obvious reasons I give zero fucks about what either King or Tarantino might have to say about, uhh, anything on this planet, but YASSSS RETWEET everything above!!! It is essential viewing!!! Indeed the most complex and complete series of its time!!! Unforgettable imagery!!!

Okie so now on to my own original thots... 

My main learning was this: Horror, i.e. the presence of something horrific, for it's characters in the show/story, isn't about feeling frightened or them 'losing their minds' or being driven to questioning their own perceptions of reality or anything like what we've seen in the last 7 decades or so of seeing the genre develop and evolve. In Mike Flanagan's beautiful ode to Shirley Jackson's incredible story, we come to understand that horror is only ever about genuine trauma. I guess, like I talked about earlier, I never really understood what horror's raison d'etre was at all.. like... why?? What is the greater, lasting impact of having audiences shaking in their boots? What is intended by eliciting a gasp or a scream? WHAT IS THE MEANING OF ALL THIS?!

I asked, and I've been asking and asking for years, and finally Hill House provided: Horror is, in fact, about unspeakable pain.. Pain that has no outlet in a world that will only ever be skeptical of such experiences... it's about being genuinely haunted in such a way that you can never dream of stability in your life ever again; it's about developing into a closed-off, maladjusted adult, knowing that your experiences of early life cannot be related to anyone else's in any way, not even that of your siblings. I remember taking away this lesson very early on in the series, possibly midway through the second episode. Because the siblings (Steve, Shirley, Theo, Luke, Nelly) are all utterly flawed and thus 'real' characters, we're able to quickly why they are the ways they are. (Important note: the siblings are not flawed in ways that make them unlikable at all, or unrelatable, or downright unpleasant to watch - this is a flaw that other productions have definitely fallen prey to before in the name of achieving that 'realness' however Hill House judges things so perfectly that we are endeared to their flaws and never put off by them.) Their disparate experiences with Hill House growing up, their subsequent very personal meaning-making journeys (some looking more like denial, some resulting in substance dependency), their different levels of having access to the 'truths' about what went on in that cursed home, all of this meant that the siblings ended up, where we see them in 'current day', being broken adults with a lot of misplaced anger, unprocessed trauma, and resentment toward one another. It is the aloneness in all their experiences that is the true horror, and the horrors were a very personal, existential kind and so there was no room for mutual bonding and sharing until it was too late, until their babiest of baby sisters had lost herself to the pressures calling her ‘home’.

And suddenly, I realised: this is the true evil. Ghosts don't ruin lives by doing a good epic scare here and there or by turning your irises white by revealing some fucking scary shit: ghosts are seriously... so... fucking... evil because they ruin your whole entire lives..!!! Horrifying realities take the form of many different things, even if they all originate from one main source. The Crane siblings, as children, had to deal at once with their mother being predisposed to falling victim to the spirits of the house due to, as hinted, mental health conditions of her own, while also dealing with differently confusing aspects of a house and a home that taunted them by making them feel unsafe and secure all at once. Now I say all this from an.. artistic appreciation pov, because I am myself unconvinced that the 'supernatural' or anything of a spiritual realm influences our daily lives. Which is all the more significant, right? That a ""skeptic"" like myself (although I'm not an insensitive and stubborn over-rationalizing dumb male like Steve is in the show) could suddenly realise the tragic effects on many many vulnerable souls of a world that clutching on to its medical models and objective scientific truths.

From the series' wiki page: The Haunting of Hill House received critical acclaim, particularly for its acting, directing, and production values, with many calling it an "effective ghost story."

So yea... finally I know what that means. Finally I know what effect a ghost story can and should have. Finally I understand the potential of the genre!!! Sigh there is literally SO much I could say about how and why this is the best series in the world but maybe I'll stop here for now..? There would be no end if I were to discuss everything because it's one of those series that has 'easter eggs', in the form of hidden ghosts (visual) lurking in the dark or specific lines that foreshadow something else later on, but I've never really cared much to 'reveal' these things so yea, go forth and enjoy this best show everrrrr :-)

(For example there is a lot of discussion online about how each of the 5 siblings represent the 5 different stages of grief à la Kübler-Ross, with the eldest Steve being in complete denial that there was ever any supernatural presence to explain their experience, Shirley reacting with sheer anger to all around her, Theo bargaining her way through her own internal conflicts, Luke being surrounded by swirling depression fueling his drug dependency, and Nell eventually accepting the so-called inevitable, etc etc etc but this kinda analysis is a little too lowbrow and heavy-handed for me to get into so yea haha)

There is a specific dialogue that I want to reference however on my way out: when Nell's suicide/death is revealed early in the series, Shirley has the difficult talk with her young children about it. And these 2 simple lines umm basically summarize the entire plot:

Shirley's son: Why did she die? Shirley: I don't know.. I'm just so sad that she did

Everyone watching the show would relate to that immediately but also that sentiment rings more and more and more true as the episodes come to reveal what a painfully innocent and giving soul Nell was... :(

So sad !!!!!

----------

Edit: copying below my mom’s initial thoughts after I forced her to read this post hehe, because her words describe a lot of what I think and feel too, and because I want to remember our discussion and reflection forever!

Each of us -  lives scarred at some time – in some private way – religion drowns it, cosmetises – but horror – is the Couch of reflection, reliving and something of a letting it out.  Feeling again the horror/fear/anxiety/pain/aloneness of that  real trauma – but in an shared room, even if only shared with an older, saner, wiser, learning you.

[tyrantisterror]

THE ATOM Create A Kaiju Contest Masterpost

It’s done!  After nearly two months, the ATOM Create a Kaiju Contest has finally come to a close!  Now it’s time for the part of the contest that actually requires significant effort on my part: picking winners and giving out prizes.  This will be an incredibly difficult task because they’re all so fucking good.  You guys submitted dozens of original monsters to me, creating a bizarre and wonderful menagerie.  I wish they could ALL be winners, but I don’t have time to make 79(!!!) different kaiju files in a timely manner, so we’re gonna have to narrow it down a bit.

Of course, if you remember the rules of the contest, you know that every entry gets a prize by default: a sketch of each kaiju by me, with a few sentences or so of commentary as well.  So here, below the cut, are the 79 (!!!) different monsters made for the world of ATOM by viewers like you!

Two special notes before we begin:

First, for the written entries: I tried to interpret everything as faithfully as I could.  All the descriptions were wonderfully detailed, but as we all know, two people can read the same description and get two entirely different images in their head.  There are more than a few written entries where I wasn’t 100% certain my interpretation was correct - like, where I realized it could mean something very different than what I thought it meant.  So apologies if I got your vision a teensy bit wrong - I am a fallible man.

Second, for the illustrated entries: while I mostly tried to preserve your designs as they were presented, every now and then I threw out modifications - whether it was about translating between one artistic style or another, or because the concept you pitched for your monster reminded me of some things I have planned in my little fictional and haven’t thought of yet.  In short, any changes made were to make your monsters fit in the ATOM universe just a little better.  Again, apologies - I am a fallible man.

@raffleupagus‘s entries:

Engineered by a mad scientist to kill other kaiju with its single, enormous leg, Pogo Tomiyama is one of the weirdest concepts this contest threw out, and as you’ll soon see, that is saying something!  Mixing a giant bug with one of the most iconic toys of the 1950′s is such a strange idea, but also totally in line with the aesthetic of ATOM - it’s all about that atom age nostalgia.

Pogo’s nemesis, the heroic Kaerugon, isn’t quite as bizarre, but the fact that a big toad with an even more preposterously long tongue is the “hero” of this tale is still pretty excellent (and fitting, given Pogo’s status as a great big gnat).  Kareugon also reminds me, intentionally or not, of the heroic toad from The Magic Serpent, an obscure and weird little fantasy movie from Japan that ends in a pretty decent low budget kaiju battle, so props there.

@bugcthulhu‘s Entries:

Bloated and slimy, Bocagran is a prehistoric amphibian that floats because of his gassy innards.  He’s got a nice Rat Fink vibe to him, mixing creepy, pathetic, and cute vibes in a way I absolutely love.  His creator mentioned The Giant Claw as an inspiration, and despite one being a giant salamander and the other being a vulture, I can see it - both manage to blend “goofy” and “creepy” together into one lovable package.

A perfect companion to the Writhing Flesh and Pathogen, Dreg plays with the idea of nuclear strikes making kaiju more monstrous in an entirely new way.  Having been hit by a nuclear bomb while still in his mother’s womb (well, technically still in the egg that was still in his mother but whateves), Dreg’s kaiju physiology is dangerously and uniquely unstable.  He shifts between a pathetic fetal form and a mangy but dangerous fighting form depending on how well fed he is - which means he constantly has to devour flesh to maintain any semblance of power and security as a monster.  Monstrous in appearance and deed, but not necessarily by nature, Dreg is as pitable as he is terrifying.

@takingturnsatrandom‘s Entries:

An enormous echinoderm even by kaiju standards (it towers over Tyrantis by 50 feet!), Blasteroid gets around in an ingenious way that would make Godzilla and Gamera proud: it flies via a pressurized jet of water!  It’s one of the cooler kaiju powers I’ve ever heard of, and it’s made even cooler by the fact that Blasteroid is unambiguously heroic - continuing the ATOM tradition of non-humanoid monster being sympathetic despite their inhuman appearance.

Looking much like a modern day chupacabra sighting, Sibuan is the second (and far from the last) mangy monster in our list.  As you may know, I’m slightly afraid of/repulsed by dogs, so I kinda love that the first canine monster entered into the contest is so scuzzy.  Sibuan is definitely a tragic monster, though still a fearsome one with her toothy jaws and bristle-y fur.

Hammerbeak gives me a specific sort of Ultraman monster vibe - like, you can see the base animal (cassowary) in the design, but it goes down a lot of strange paths before it finishes its journey from beast to monster.  The long tail tipped with a thagomizer is a particularly fun touch - it’s not often you see a bird monster take after an ankylosaur.

I tried my best not to make Vermamand’s moth look inappropriate, but Planarians work the way they work, you know?  Since Planarians literally look like cheap, googly eyed monster toys, using one as a basis for an ATOM-verse monster is pretty ingenious - this fella would fit in well alongside Karamtor and Googora.  The ribbon-like body also gives this worm a very distinct visual presence.

There are a lot of ways you could make an arboreal creature like a chameleon into a kaiju, but making their tree-climbing adaptations suited for an aquatic lifestyle has to be one of the nuttier ones.  Turning those clasping oven mitts into flippers is such a weird idea, but it works so well!

@cerothenull‘s Entries:

A flying retrosaur that traded speed in flight for the ability to swim as well (and thus becoming triphibian), Aiguan ended up looking like the lovechild of Gamera and Gyaos.  I’m not sure if that was intentional or just a lucky accident of how I read the description, but its a point in her favor regardless.  I love how this takes retrosaurs - a fairly well explored monster type in ATOM - in an entirely different direction than we’ve seen in the canon monsters.

Osteogre is a strange blend of retrosaur, placoderm, and just a little bit of Creature of the Black Lagoon - ok, maybe more than a little in my rendering, but it couldn’t be helped.  As soon as you say “humanoid fish” my brain goes pretty hard on the Gill Man imagery.  I like that Osteogre’s chimeric build is left as a mystery - how did such different creatures get crossed together?  The world may never know.

Centipedes are generally considered pretty ominous animals, so of course an ATOM-verse centipede monster would be a giant sweet heart.  Scutlgor’s description had just enough specific details to set her apart from normal centipedes, allowing her to fit in with the other arthropod monsters in ATOM just fine.  I also like that personality-wise she’s basically the experienced nanny to Bobo’s teenaged babysitter - those two would get along really welly.

One of the missed opportunities of ATOM was the inclusion of one Japanese mythology inspired monster in the Japan arc - a King Shisa/Manda equivalent, basically.  I tried a couple of designs (both Kappa and Baku inspired kaiju were considered), but nothing gelled.  So it’s kind of awesome to see a monster filling that niche pop up here in the contest, and the idea of blending an Oni’s features with a sasquatch’s is pretty inspired.  Onigoro’s face was particularly fun to figure out - and yes, I worked just a little bit of Aku in there.

Cerothenull’s final entry also hits upon another monster I briefly considered but dropped from ATOM’s final lineup: the Jersey Devil.  The Frankenstein-style origin for Ublen is pretty inspired, and the manic personality caused by his hybrid brain would make for some pretty awesome and scary scenes of kaiju havoc.  He also maintains the idea that the scariest monsters in ATOM are also generally pitiable, which is important to me.

@skarmorysilver‘s Entries:

ATOM has been on the internet for over a decade now, albeit under different titles (from “Tyrantis’s Saga” to “The Second Age of Monsters” and on and on), and many kaiju have been added and cut from the story in that long stretch of time.  Skarmorysilver chose to take a couple concepts that had been dropped and rework them a bit, and one of the monsters he rescued was this lovely blue sabre tooth cat.  I’m surprised there aren’t more sabre tooth cat monsters, honestly - it’s such an iconic prehistoric predator, which you think would make it excellent kaiju fodder.  Julkath here is a solid take on the concept, mixing in bits of snow leopard and a hulking, almost bear-like physique as well as a lovably grumpy disposition.

ATOM shares a universe with a few other stories that belong to somewhat different genres, and has made a few winking references to them throughout its 50 canon kaiju files.  So it was to be expected that at least a few monsters entered in this contest would continue that idea.  Bamutan here, while considered just a weird long fish in ATOM’s modern (well, 1950′s) world, is actually a leviathan, i.e. a big sea serpent that survived the purge of magic in the world (it’s a whole thing, don’t worry about it).  Bamutan is specifically descended from the Jasconius breed of leviathans, and thus has a friendly disposition - which makes her sort of the “good” counterpart of Old Meg as far as ATOM’s sea monsters go.

Another monster saved from the scrapheap, Oz is reinvented here as a prehistoric flying marsupial - one with a whole litter of babies (not pictured here) at that!  We got a lot of weird Australian kaiju from this contest, and Oz makes for a Aussie good counterpart/foil for Ahuul.  Plus she adds another weird monster to the “prehistoric mammal” roster, which is always welcome.

While kaiju are defined as organic beings in ATOM, a lot of entrants tried to push the limits of that definition as much as possible, and Gnashphalt here is a pretty successful example of how far it could stretch.  A rotting heap of tar and garbage animated by kaiju-fied bacteria, Gnashphalt is a grisly looking monstrosity driven by an insatiable hunger for both oil and the Yamaneon that powers its fellow kaiju.  It is suitably revolting for a Hedorah/Blob expy, an archetype that ATOM doesn’t quite fill on its own.

@dinosaurana‘s Entries:

Karamtor used to have a lot of fellow Venusian monsters to keep her company, but their designs were a little redundant.  Barusstrakk avoids that pitfall by being really fuckin’ weird looking, with a body described as looking like a meteor and tons of “craters” that hide little secret tentacles.  Its most obvious physical trait, though are its hammer and sickle arms, which give it a sort of USSR vibe.  This is particularly appropriate given Barusstrakk’s chief opponent is:

Yeah that’s a rock-robot made out of Mt. Rushmore.  While not quite a kaiju per ATOM’s definition, it is powered by yamaneon, and also look at this crazy fucking thing.  President Rushmore reminds me of that one episode of Dexter’s Lab where Dexter and Mandark turn the Washington and Lincoln heads into robots to battle it out, only for the Rushmore bots to realize they’re both super honest dudes and bond as friends over it.  What a crazy show.  What a crazy monster.

@theload‘s Entries:

ATOM’s world is an alternate universe for a lot of reasons, one of which is that its mesozoic era was a lot different than ours - instead of being ruled by prehistoric birds, it was dominated by weird crocodile descendants called retrosaurs.  Birds still evolved during this period, but they didn’t dominate the world the way they did in our Mesozoic era.  Pengku fleshes out that alternate evolutionary path for birds by presenting a very different sort of ancestral bird than the ones we know existed - specifically one based on very old and outdated ideas on what the ancestral bird may have looked like.  Essentially a feathered, flying lizard, Pengku is as adorable as she is intriguing, and helps flesh out the alternate prehistory of ATOM.

Parakon isa Hoogah, i.e. a member of a group of dragon-like reptiles from the more fantasy-inspired part of ATOM’s universe.  I hadn’t quite nailed the design philosphy of Hoogahs yet when Parakon was entered in the contest, so I took the liberty of tweaking his design just a tad to better fit with his peers.  Like the magical monsters he’s related to, Parakon is sweet natured and friendly.  His dimetrodon sail styled wings make him just plausible enough to fit within the sci-fi aesthetic of ATOM, too!

@connorricks‘s Entries:

Dangalar’s entry is absolutely hilarious, as his pitch is basically “what if a giant monster actually looked like a giant marionetter puppet that was poorly composited into reality?”  He moves in a strange, jerky fashion, he’s held aloft by string connected to some invisible puppeteer, and no one knows what the hell he’s supposed to be.  It’s absolutely eerie and yet also incredibly hilarious - and somehow manages to be even more meta than is usual for ATOM.

If nothing else, this contest made a lot of great friends fro The Writhing Flesh.  Normus’s design was inspired by a picture of a half-dressed Godzilla suit actor - human above the waster, dinosaur below.  In story, he’s basically what would happen if someone tried to fuse a human with three different retrosaur monsters and kaijufied the result - the kind of mad science that’s horrifyingly common in ATOM’s world.  Normus is a pitable monster, but I like to think he’d eventually get used to his situation and find a way to enjoy being a giant freakish retrosaur-man.

@titleknown‘s Entries:

Our first monster designed to be ATOM’s equivalent of Ultraman, Malorel is also the strangest – and again, that’s pretty strange considering how this contest goes.  Part of Malorel’s weirdness comes from the fact that she also homages The Monolith Monsters as well as characters from a couple of shows I haven’t watched yet.  Like President Rushmore, Malorel isn’t a traditional kaiju, as she is mostly composed of inorganic matter.  The bulk of Malorel’s body is made of Yamaneon crystals and a second substance that’s sort of the anti-Yamaneon (implied by titleknown to be Magic), while only the chewy center of the being is made of a flesh and blood human.  Said human also directs Malorel’s actions, which is why she ends up fighting kaiju to defend mankind.  I took a few liberties with Malorel’s design – Yamaneon crystals have a very distinct shape, and if ATOM-verse Magic were to manifest physically it would be as a gas instead of a solid – but I tried to keep the spirit in tact.

Jimmy Neutron was a pretty fun show.  Panku is basically a kaiju-scaled version of the mech-suit wearing egg monsters from it, and since both Jimmy Neutron and ATOM are built on atom age sci-fi tropes, it meshes pretty well.

Based on a famous non-giant monster from the 1950’s, Jan in the Pan from The Brain that Wouldn’t Die, The Head is possibly the most explicitly villainous monster entered in the contest.  A megalomaniacal supervillain whose machinations affect the storyline of every monster Titleknown entered in the contest, The Head is a force to be reckoned with even before she kaiju-fies herself.  The visual of a big giant floating head battling giant monsters is pretty surreal, and the creepy neck tendrils make for a grisly visual that’s quite appropriate for such a sinister villain.

Javellaro forms an important bridge between the “humanity learns to live with monsters” story of ATOM and the “human hero kills monsters of the week” story of Titleknown’s entries. A pig whose artificial kaijufication was botched by The Head, Javellaro’s healing factor is degraded enough to not work fully, yet powerful enough to keep her going despite how painful her should-be-lethal wounds are.  Her pitiable condition draws audience sympathy while still making us comfortable with Malorel putting her down – it’s honestly a mercy in this pig’s case.  Tragic and haunting, Javellaro poignantly illustrates how a kaiju can invoke pathos.

A second pseudo-mecha, Playboy Rumble is similar to President Rushmore in that she’s neither a traditional mech nor a true kaiju.  Instead, she’s a super powered human piloted a hard light construct (which would probably be called a hologram in ATOM’s time period) via mad science. Her human form was created to be a minion and eventual replacement body for the Head, but, in true mad science fashion, turned against her master and joined with Malorel.  Playboy Rumble is also sort of our third Ultraman homage, being a human with a thing in her chest that lets her turn into a giant to fight monsters for a period of time.  Also she’s a giant bunny bot, and you gotta love that.

@canadian-tuxedo-mask‘s Entries:

A hybrid of a giant ground sloth and literally the entire audience of a drive in movie theater (or their ghosts?), X-Nertha is another monster that I’m gonna label one of the weirdest ideas submitted to this contest - though, like Pogo, that weirdness is totally in line with ATOM’s aesthetic principles of mixing kaiju with 1950′s nostalgia. X-Nertha’s personality is as unique as its design, as it is a perennial spectator of other kaiju fights, rather than a combatant itself.  I did my best to work in 1950′s car elements to the design, though I’m not particularly good at drawing cars in general.

Ok, nothing in Butch’s description said he was a Greaser, but nothing said he wasn’t a Greaser, and his name is Butch, so here we are.  Captain Sensation’s supernatural elements aren’t apparent in an isolated black and white sketch - you need color to see the green parts of him and another monster to realize he’s kaiju-sized.  I also didn’t realize until re-reading his entry that he’s got a superhero costume I could have drawn instead - look, some part of me just wanted to draw a giant Greaser, ok?  Is that ok?  I’m pretty fond of Butch.  He’s a giant dude who shoots hot sauce (well if you want to get technical it’s just the acid from peppers but shush) out his eyes like a horned lizard and punches monsters to save the world.  He’s our second or third (depending on how you count) Ultraman homage, and a damn good one at that.

An homage to the Wasp Woman (one of my favorite 1950′s monster concepts that sadly had a lackluster execution), Malzzang is an insidious Korean crime boss who uses kaiju-fied giant hornets to further her schemes, only to become one of them herself via a strange turn of events!  She’s wicked and sinister even before she becomes a monster, and is an excellent “heel” kaiju.  Also she gave me an excuse to draw a giant hornet with a woman’s head, and that’s always great.

Lance is another monster that takes its base animal in some weird directions, from his name-worthy pointy snoot to his slug-like eyestalks.  He’s also got a dog’s brain, which somehow just makes everything weirder.   He’s still got a lot of what makes an oppossum adorable though, and his personality is utterly charming.

This is one of the monsters where I felt I had a good feel of what they were going for until, like, the last sentence of the description that made me doubt the whole thing, but I liked how it turned out anyway.  There should probably be a moray eel head in there somewhere - let's say it's hiding behind the seaweed.  I love the idea of this giant heap of a sea monster made out of all these disparate parts - he's like the better aspects of Pirates of the Caribbean 2 rolled into one giant monster.

@highly-radioactive-nerd‘s Entries:

It’s a well-known fact that the original Baragon costume – one of the best monster suits ever made in the Showa movies – was used and reused to make so many different monsters that it was barely functional by the time Toho wanted to make Destroy All Monsters.  There are so many pseudo-Baragons out there, so it’s only fitting that ATOM got one of its own.  It already has a Baragon homage of course, but Blastra here is specifically designed to be a reused Baragon suit, complete with a new head and some extra doodads.

I love this guy because he does something fairly difficult: he makes me interested in duckbilled dinosaurs.  Sibelisaurus takes the idea that hadrosaurs had musical horns and runs with it, making a dinosaur whose body is designed to resemble a variety of musical instruments and even has some markings that look like musical notes and rests.  It’s a very clever idea that works way better than you’d think, and takes what could have been a plain retrosaur and instead makes it very interesting.

While there are lots of King Kong homages out there, surprisingly few use baboons as a base, which is shame because they’re utterly vicious and weird looking animals.  King Solomon takes that savage inspiration and adds an interesting layer of greed to it – he’s not just called King because he’s big and strong, but because he hoards shiny objects.  It’s like if King Kong was significantly more literal about his title.

Salagara captures the feel of a 1970’s Hanna Barbara monster perfectly, looking as if he just stepped out of the Godzilla Power Hour or The Herculoids.  He’d have good company in that regard, as many of the Beyonders’ monsters were also designed to fit that vibe.  His design is simple but effective, and I never tire of aliens with eyestalks.

A mummy, a landshark, AND a retrosaur, Tutandra blends three very different things into one well rounded whole.  He pulls in the “archaeology adventure” story that’s also common in atom age sci-fi and mixes it with ATOM’s giant monster narrative, and the result is pretty great.  Also, again, this is a giant mummified retrosaur that swims through sand like a shark.  What’s not to love?

@glarnboudin‘s Entries:

Salikor is a loose homage to the primary monster of one of my favorite obscure kaiju movies, The Legendof Dinosaurs and Killer Birds.  Like the plesiosaur in that film, Salikor emerges from a lake and proceeds to wreak bloody havoc upon the human populace, leaving a trail of blood and carnage in his wake until he finally has a fateful encounter with a flying retrosaur.  His design is suitably vicious looking, with lipless crocodile-style exposed teeth and an armored hide.

Terravia emerges around the same time as Salikor, but unlike the monsters that inspired them, the two end up becoming lovers despite being wildly different species.  It’s a pretty weird turn for a kaiju story, but not an unheard of one (more than a few lost Godzilla movie projects have similar premises).  Terravia mellows Salikor out a bit, and their story has a sort of sweet “make love, not war” theme that fits ATOM well enough.

A lot of people like the idea of making retrosaurs fill niches that dinosaurs eventually filled when they became full on birds, and Tabbaogen here is an answer to the question of what a retrosaur penguin might look like.  The answer is “pretty ridiculous and fun.”  As his name suggests, he uses his body as a sled, much as penguins do.  He’s also a lot more dangerous than he appears, which is always fun – he’d make a good tag team partner for Gorale.

@akitymh‘s Entries:

A vampiric newt from another world, Kabold’s head gives me a nice Wayne Barlowe vibe.  It also reminds me a bit of Irys from Gamera 3, which is pretty neat.  Its six limbed body is simple while still distinctly alien, and it has a nice collection of little tuber-thingies on its body.  I love those little tuber thingies.

King Horn reminds me of all the space gorillas from Silver Age comics despite not actually being a gorilla.  He’s very definitely alien, yet also unmistakably ape-y, and that’s pretty cool. Also, like a certain Ultraman monster, his name is slightly misleading, as his horns aren’t particularly prominent. I don’t know if that was intentional, but I like it.

Going with the Ultraman vibe of the last entry, Rampart here feels like a monster who was designed for a specific fight scene.  Those two enormous armored plates would make for some very unique battles, with the retrosaur in between them providing just enough normalcy to ground the design.  I also like how the taxonomic placement of this guy is unclear in-universe – it’s a nice touch.

I figured I took Martian anatomy about as weird as it could go with Podritak, but Sevarahz here might top that.  His phallic head section is wonderfully gross, and his pelvic section, while recognizably Martian, is distorted into a really weird shape.  The “tail” should probably have more limited joints since it’s technically a third leg (and Martian legs have a distinct bone structure and all), but it looks better as a serpentine tail, so we’ll let that anatomy slide a bit.

Akitymh’s final entry is Awkwas, and he’s basically a what you see is what you get monster: a great big retrosaur with a bearded dragon style frill, ready to fight other monsters and have a fun rowdy time.  He doesn’t have a lot of frills to him, but in a way that’s kind of refreshing – we’ve got a lot of weirdoes in this contest, so it’s nice to have a few simple monsters for contrast.

@quinnred‘s Entries:

The most Ultraman-looking of our Ultraman homages, Odinokiy Soldat still manages to be a very weird and unique take on the “human hero who fights kaiju” concept, with his jet black skin and bone-white armored plates.  The turtle-like beak is a particularly wonderful and unsettling touch. I love that, despite his grotesque mad scientist origins, he’s unambiguously a heroic monster, protecting the USSR from kaiju threats just as Tyrantis protects the US.  It’s important to me that ATOM doesn’t demonize the USSR, even though a lot of what they did with nuclear testing is great monster origin fuel.  I feel Odinokiy Soldat tows that line really well – his origin is horrifying, but at heart he’s a good person who happens to be loyal to his mother country, Russia.

I love plant monsters even though they’re often frustratingly hard to make – it’s so hard not to just make a new flavor of Audrey II, y’know?  Papaver Magnus here not only manages to feel entirely unique in design, but also brings an interesting story hook: she intoxicates other kaiju.  Sometimes this puts them to sleep, while other times it drives them into a rage.  She could be a useful tool for kaiju control, or manage to make a kaiju attack even more violent than normal.  A great design with a great story concept!

I didn’t expect to see an homage to my favorite sandsverse vendor in this contest, but here we are. Even if you don’t get the joke, King Bekantan is a great spin on the giant ape monster archetype in his own right. Instead of being a rough and tumble warlord, King Bekantan is a peaceful farmer who cultivates the earth (fruits in particular) and basically tries to protect the environment.  There’s something eerie and beautiful about the idea of some giant ape striding the land only to spend all its time farming – it’d be such a beautiful yet surreal sight.

A collection of massive crustaceans that pretend to be islands, the Humarr Petram take the medieval folktale of a living creature that’s mistaken for an island and give it a sinister atomic age spin.  These would be one of the scariest kaiju to encounter, and could make for one kickass standalone story in the ATOM universe.

Finally, we come to the Slickener, an organic giant monster who may not technically be a kaiju, as its powers seem to have a negative effect on most Yamaneon-rich organisms. While you can identify the different terrestrial animals who inspired its design, the Slickener’s design nonetheless feels incredibly alien and off putting.  It’s delightfully unsettling.

@godzillakiryu91‘s Entry:

Rayken takes a monster I’ve wanted to homage for a while - the titular beast from The Giant Gila Monster – and mixes it with the mythological amphisbaena to make a wonderfully lumpy monstrosity.  The fact that you could also call this a “Beast with Two Heads” adds to the delightful B-Movie vibe, and that false second head could definitely produce a lot of fun scenes, both with human victims and fellow kaiju. Imagine a human shrieking as they think the monster’s about to eat them, only to realize they were looking at the wrong end!  Hilarious.

@bowlofgabe‘s Entries:

A heroic pair of conjoined twin crabs.  Hell. Fucking.  Yes.  Clawdia is the hero kaiju of Mexico, and as far as I’m concerned she’s just as fit for the job as Nastadyne and Tyrantis.  Between her light psychic powers and love of luchadores, she has more than enough personality to carry her own series of adventures, and her sisterly bond with herself (Clawdia is technically two monsters in one) provides a nice emotional center for whatever those adventures may be.

Mixing a kaiju story with the darker sides of the space race, Eldritch Ed’s haunting origin story is paired with an oddly touching relationship between him and humankind. Despite being turned into a horrific monstrosity because of a botched experiment with Yamaneon and cosmic radiation, Ed devotes his life to protecting Earth from extraterrestrial threats, turning his accidental exile in earth’s orbit into guard duty.  It’s hard to get more heroic than that.

@iamthekaijuking‘s Entries:

Plume is about as “realistic dinosaur”ish as an ATOM kaiju can get, exploiting the loophole within ATOM’s prehistory that states that a small lineage of dinosaurs who were direct ancestors of birds did exist alongside the Retrosaurs.  She’s a pretty addition as well, a vibrant songbird of a monster who completes the trio of maternal monsters started by Bobo and Scutlgor.

Baby kaiju are adorable and I would have added more of them to ATOM if I wasn’t worried about their safety. Bubblor is basically an infant of a species very similar to Zillser, and takes everything cute about the later and amps it up a bit.  That’s a lot of cute, even in such a big package.

Shēnghuó tǎ (my Godzilla font doesn’t have symbols with the little marks) hails from Ugugular’s planet and inexplicably resembles Chinese architecture, which is pretty rad.  It’s the second of a trio of monsters that serve as “good” counterparts to the other Beyonder monsters.  They probably defected almost immediately when the Invasion started.

Dhyandogen completes that trio, being a peaceful counterpart to The Great Beyonder and a stoic counterpart to Pleprah.  His golden coloration gives him an almost angelic feel, and he makes for a good leader for this trio of extraterrestrial pacifists.

Essentially the Biollante to Tyrantis’s Godzilla, Unit 01 has one of the most tragic backstories of any kaiju submitted to the contest.  Created to kill other monsters and then forced into stasis when not in use, her life is even more miserable and battle-heavy than those of the Beyonder’s kaiju, and her story culminates in a vicious rampage that humanity frankly deserves to suffer from.

@virovac’s Entries:

Themed around its power, Artileron is basically a wholly organic dinosaur tank.  The heavily armored long necked goliath has head armor that coincidentally resembles a soldier’s helmet and shoots gastroliths at its enemies like tank shells, creating a pretty fun spin on the retrosaur concept.  I imagine this guy talking like the Soldier from TF2 and it makes me happy.

A synapsid that evolved to coincidentally resemble paleo tyrant retrosaurs (which in turn are crocodiles that evolved to coincidentally resemble therapod dinosaurs), it’s my head canon that Bajingis is a member of the same species that Dreg’s mother belonged to.  The idea of a big furry version of a retrosaur running around is cute, and could cause an interesting bit of confusion for the kaiju-ologists in ATOM’s world.  Also, Bajingis is a fun name to say.

This is one where I’m pretty sure I misinterpreted the description, as a friend of mine pointed out that it was probably an homage to the ratbatcrabspider from Angry Red Planet, but I liked what I came up with so I’m sticking with it.  Regardless of how off my drawing may be, Pomogitan is a crazy looking monstrosity of a kaiju, and definitely makes the extraterrestrial side of ATOM just a little crazier.

We’ve got more than a few apes in this contest already, but they’re kind of a male dominated archetype, aren’t they?  It’s nice to have a lady or two to even things out, and Hagayag’s lumpy, hideous appearance definitely keeps things monstrous in the process.  Since she’s described as being close to an orangutan, and since sasquatches are distant descendants of orangutans in ATOM’s world, I gave her a few sasquatch touches as well.

@plebeiantologist‘s Entries:

Mixing the vicious savagery of a hummingbird with the suave charm of a vampire, Nosferatu is an excellent solution to ATOM’s lack of bird monsters, as well as a clever and unexpected homage to Count Dracula.  I love the serrated beak that evokes fangs without actually being them, and feel the same about how the interior markings of his wings resemble a scalloped opera cape without actually being one.  He’s also not an evil monster – he needs to drink blood, sure, but that’s not lethal to most kaiju (just annoying), and he’s intelligent enough to smooth things over and even make deals with other monsters to get his sustenance.  Overall, a cool and clever take on the idea of a kaiju Dracula.

We’ve got a lot of sad stories and a lot of silly stories in the contest so far, but none mix the two together as thoroughly as poor Dromeo here.  A normal bee that was kaijufied, Dromeo wants nothing more than to find true love, mate, and die as a result of mating.  However, as the only kaijufied bee of his species, he can’t find said mate, which means he lives in a perpetual state of longing.  In addition to being extremely relatable, his situation is both hilarious and tragic.

I-Am-Fish-Mage’s Entries:

Another entry that plays with some of the more occult parts of ATOM’s universe, Gurt is what would happen if Pathogen used a dog instead of a retrosaur and the naturally occurring vampire virus instead of an artificial hybrid of different degraded strains of it.  Or, more simply, a great big vampiric doggo.  Gurt has the telltale signs of higher functioning vampirism, from the scar-like neck markings to the growth of bat wings.  Very interestingly, Gurt’s kaiju physiology keeps him from fully exploiting the malleable nature of a strigoi vampire – instead of being able to turn into mist, Gurt can only become a sort of vampiric sludge, as his kaiju physiology refuses to transform into a gaseous state (Yamaneon can only exist as a mineral).  It’s a really fun and well thought out cross of two very different monster types in ATOM’s universe.

While I haven’t made a file for them yet, between Promythigor’s file and various asks people have cleaned roughly how sasquatches work in ATOM.  Ignorilla takes one of the weirder aspects of ATOMverse sasquatches – the fact that they’re mildly psychic and make people forget about them as a defense mechanism – and runs with it. The result is a giant monster that people have trouble seeing or remembering, which proves to be quite the hassle when it accidentally strolls on a collision course with mankind.  It’s a great hook for a story, since it makes an otherwise fairly benign monster extremely dangerous through no fault of its own.  Ignorilla also has plants growing in its fur, which is a nice nod to some other obscure sasquatch myths.

@bonelessnerd‘s Entries:

I couldn’t resist.  Look, it was either this or drawing essentially the same pose as the original sketch – there are only so many ways to pose a hand that keep all of this glorious monstrosity’s anatomical quirks on display.  Manoamano not only fills a niche ATOM didn’t manage to cover – i.e. the living body part monster – but does so in a unique and scary way, with the implication being that it’s merely a part of a much larger kaiju drifting out in the cosmos. It’s such a creepy plot that you almost forget it’s basically a giant hand with crab claw fingers and googly eyes. But you don’t, because a giant hand with crab claw fingers and googly eyes is awesome.

Like Humarr Petram, Nogad updates the “this island is secretly a monster” myth, although in this case the twist is a lot more sad than scary.  Like the Writhing Flesh, Nogad’s bulk isn’t actually a positive, as the massive kaiju is stuck in a comatose state.  It would die if its kaijufied parasites weren’t keeping it alive, and instead spends its life in a state of suspended animation, providing humans the rare opportunity to explore the internal workings of a kaiju without (too much) threat of harm.  Nogad is spooky, sad, and intriguing, and would be a marvelously odd addition to ATOM’s kaiju ecosystem.

A size shifting dog with plastic skin, Rizablitz is basically Frankenweenie with an even bigger kaiju twist (and also less racism).  The resurrected pupper can size shift from a normal sized dog to a kaiju-sized monster, and together with his owner he protects humanity.  It’s a fun take on the “kid and their dog” story, and a nice light counterpoint to the previous two entries.

@polygonfighter‘s Entries:

A kaijufied personification of the La Brea Tar pits, Index is a mass of tar animated by kaijufied bacteria and wearing fossilized bones as armor. Its powers have a vaguely ghostly vibe, and it preys on its fellow kaiju with the aims of decorating its lair with their corpses even as they slowly turn into clusters of Yamaneon. Altogether it has a nice ghoulish vibe – the kind of monster that would make other monsters scared.

Another monster that has a great Hanna Barbara vibe, Volcanus’s bug-like appearance is mixed with some strangely human features to make it extra creepy (and also hard to place taxonomically).  While he’s posed as a rival for Index, he definitely isn’t the heroic part of the duo, as Volcanus is noted to hate everyone, kaiju and human alike, with explosive intensity.  Creepy and vicious, Volcanus is an excellent antagonist monster.

SirKaijuOfVaudeville’s Entry:

A great big subterranean monster, Torgong’s story is another one that brings in some Archaeological Adventure tropes to ATOM’s universe, providing a villainous contrast to the Reptodites with its society of subterranean mole people (mole in the “they live underground” sense, not the literal sense).  Torgong’s owners are wicked race of rock eating cave dwellers who have enslaved another race of more peaceful, slightly insectoid cave dwellers. Torgong is of course their bestial god, and looks nice and freaky as a mole monster should.

@scatha5‘s Entry:

Being a mammal, Cervere brings some diversity to ATOM’s pantheon of monsters basically by default, but his powers are what truly make him shine.  Cervere is designed to be a kaiju-repellant, with a scent designed to drive other kaiju away.  That’s right: it weaponizes the odorous nature of mammals.  Cervere releases this smell through a colored gas emitted by its mouth and ears, providing a nice visual for its power as well. Unfortunately for the lazy cat, the power can attract and repel in equal measure, and sometimes Cervere is forced to fight against monsters it was supposed to scare off.  It’s a really clever power that makes ties this punk rock kitty together quite nicely.

@cstalli‘s Entry:

As beautiful as they are alien in appearance, the Trifitan Arum are a gorgeous entry in the contest (make sure to check out the original drawing, which is a lot prettier than anything I can manage).  Though they appear humanoid, they’re entirely made of terrestrial (albeit hybridized and heavily mutated) plants.  They’re also a swarming monster – weak individually, but strong when collected in a large group, making them sort of a benevolent counterpart to the Heisei Gyaos.

@profcene‘s Entry:

A prehistoric aquartic hyena, Gevlek is yet another monster that feels sort of like a Hanna Barbara design (and that is always a compliment here as far as monsters go).  Contrary to stereotypes, Gevlek isn’t a malicious bully or a cowardly predator, but rather a social creature that wants a clan.  Like most ATOM-verse monsters, though, he’s also kind of socially awkward, so finding that clan is harder than it seems – especially since he’s the only member of his species around.  Still, he’s a clever creature, and, again like many of his peers, he proves a valuable ally once you get past his rough edges.

@ask-drakos‘s Entries:

There were far less birds than I was expecting in this contest, but on the plus side the ones we have are all varied and solid designs.  Okhalee is a victim of quick kaijufication, much like the Myrmidants and Girtabane, which means he resembles a normal animal with some sudden and extreme mutations. Most notably, he takes the vocalizations that make songbirds so interesting and weaponizes them into a sonic scream – a power that’s strangely absent from ATOM’s lineup of kaiju given how prevalent it is in kaiju media.  Kinda fills a couple missing niches at once, huh?

We end with Crab Voltron. Well, ok, technically Crustacean Voltron since they’re not all crabs, but Crab Voltron is more fun to write. It’s an appropriately weird idea to end with, I think, and like so many lunatic things in ATOM, this one is the fault of a mad scientist.  And y’know what?  It’s honestly not the weirdest thing mad scientists have done in this world.  In fact, Crab Voltron is almost a logical response, and I love that.

And that’s it!  That’s all 79 entries!  I cannot overstate my satisfaction with the results of this contest. The amount of creativity on display her is astounding, and I absolutely adore how game you guys were for playing with my little monster story.  Make sure to check out the originals, as linked to in this post, and stay tuned for the announcement of the winners and the presentation of prizes and all that! It should take me… oh, maybe a week or two?

“Why so long?” you ask. Well… look, this contest got roughly 4 times as many entries as I expected, and all of them are so high quality. I can’t limit myself to five winners - there have to be more, which means more work for me, which means I need some time to pull it off.  So savor these sketches while you wait, because this might take a while.

[terryblount]

Ori and the Will of the Wisps PC Review

It is hard to believe five years have passed since Ori and the Blind Forest debuted on our screens. Developers Moon Studios crafted a momentous game that not only reinvigorated the metroidvania genre, but also reminded gamers how beautiful and intricate these titles can be. Now the long-awaited sequel is finally on our shelves, but how could any studio follow up on lightning in a bottle like this?

The answer is in Ori and the Will of the Wisps. I mentioned in my Rage 2 review that all good sequels have the ability to reach the full potential of their I.P’s. It is not just about more, bigger or prettier. Good sequels elevate themselves to those untouched areas of gameplay that their predecessors never reached, and this is precisely what Moon Studios achievedwith their second Ori game.

Enjoying the pleasures of home

If ever there was a write-up willing to criticise Ori and the Will of the Wisps (hereafter Ori 2), you will not find it here. Perhaps this will not be a review of Ori 2, but my best attempt to express what a masterpiece this sequel has turned out to be. Moon Studios maxed out every strength from their first game, and remind us once again why metroidvanias can be some of the most fulfilling experiences in our industry.

A picture is worth a thousand words

One of the highlights from Ori and the Blind Forest was Moon Studios’s incredible talent for using visual language. Like many other metroidvanias, the first Ori game could impart a lot to the player using only modest resources. There wasn’t much exposition, there were limited snippets of dialogue, and the game had a very conservative use of cut scenes.

Nonetheless, it was still an experience you could get lost in. The devs allowed their game itself to communicate with the player on a visual level, and this design philosophy spills over into almost everything in Ori 2. In short, Ori 2 is a game that shows rather than tells in that the visuals of Ori’s story are a fundamental bridge between both the narrative and the gameplay.

Take the eponymous (and very cute) Ori, for example. Even a noob taking a cursory glance at this little critter would immediately tell there is something agile, yet vulnerable about… it. Hold on a second, is Ori a boy or a girl? Only thing I know is that the name has a Hebrew origin meaning ‘my light’, so perhaps Ori is Jewish?

Name of the game (Image from Ori and the Blind forest Wiki)

Anyway, I digress. True to the sloping lines and gossamer-like luminance of the character model, Ori once again felt super smooth and an utter pleasure to control for the thirteen-ish hours I spent leaping and bounding throughout the various biomes. There is a weightless momentum in how Ori handles, which encourages the player to keep moving and to experiment with acrobatics.

It seems that virtually niggles and annoyances have been ironed out from the first game, and it is clear the devs wanted to push the boundaries of traversal in this series to the next level. Moreover, Ori’s revamped animations are equally slick in this sequel, both in the twirls or somersaults when leaping weightlessly through the levels, but also in the combat or ranged attacks against enemies.

A battle in spirit

Ori has been given quite a substantial upgrade in terms of how players will fight against the malicious bugs, slugs and even bosses scattered around the world. Combat is now closer to the metroidvanias that have followed in the interim from the first game’s release (for example, Hollow Knight) in that Ori can now swap on the fly between a spirit sword, ranged spirited projectiles, heavy weapons, and more.

The player will really have their reflexes tested on normal or hard difficulties since the combat is fast and frantic. I strongly recommend a first playthrough on ‘easy’, particularly since you cannot adjust the difficulty later. Nonetheless, this spirit bunny is every bit as agile and responsive during battle as he is with traversal, and there is a decent variety of ranged and melee attacks to make up your fighting strategy.

The spirit trees that give Ori his abilities

It is from the combat I noticed that Ori 2 now boasts a more varied menu and progression system. Moon Studious have swapped out the linear style of the previous game, and have implemented something closer to an RPG’s structure, which allows for abilites and weapons to unlock quicker, and thereby leaving the choice to the player on what to upgrade and define their own playing style.

The forest lives on

The reason why Ori possesses these abilities and, frankly, why he glows in the dark, is because he was one of several spirits inhabiting a mystical willow tree – the heart of the entire forest’s spiritual energy. The first game saw Ori being adopted by a creature called Naru after falling out of the willow tree during a great storm, and eventually setting out to rescue the forest dying from a malicious corruption.

With the forest now restored to its lavish glory, Ori 2 opens with a touching scene of the pair living a serene life, along with their new friends Guma and Ku. All is well until Ku, who is the cutest little owlet EVER, finally becomes overwhelmed by the desire to fly. Unfortunately, Ku’s tiny little wing got mangled, leaving the owlet grounded and very depressed as it watches the other birds go by.

First flight

Ori and co. therefore try to help Ku with a makeshift wing which seems to work quite well until, during its first flight, Ku is caught in an angry storm, not unlike the one that shook Ori from its tree. With Ori riding on Ku’s back, the duo crash land in a desolate area of the forest, and they become separated.

The stage is set for Ori to embark on a rescue mission, and as a surprise to no one, Ori finds that all is still not well in the deep, forgotten places of the forest. The mission to rescue Ku therefore becomes intertwined with restoring the forest’s life force to an abandoned and hostile world, and Ori soon finds that it is not only Ku’s life that hangs in the balance.

In certain segments there are chase sequences. You really feel Ori’s vulnerability here, and it is utterly terrifying.

Thanks to absolutely superb animation and expert use of potent imagery, the story in Ori 2 is nothing less than sublime. Without spoiling anything, I will just say that the narrative plays out as a riveting and engrossing mix of fairy tale tropes, which are interspersed with gut-wrenching climaxes of triumph and failure.

The hauntingly beautiful soundtrack is also a crucial component here. The melody is a beautiful reflection of the game itself in that the orchestral swells alongside dream-like notes are constantly tinged with an undertone of sadness and melancholia.

In all honesty, I was taken on a rollercoaster ride of emotions during my play-through, and it has been a long time since a game has had this effect on me. Seeing that poor baby owl frightened and alone in the dead forest wasteland brought me right to verge of tears, while I beamed like adoring parent during the more happy moments. This is really fantastic story-telling.

Breaking boundaries

Both the story and the gameplay is of course sustained by two immaculate pillars: The graphics and the level-design. You often hear about video games blurring the boundaries between art and entertainment, but Ori 2 utterly shatters this division. This game IS art. The visuals are so imaginative and aesthetically pleasing that it looks like you are playing through Bob Ross painting brought to life.

With Unreal dominating the source-available market at the moment, I am really glad Moon Studios showed us how Unity still has a lot more to offer

Running on the Unity engine, the devs have created a massive world rendered with more detailed textures, a much higher particle count, and a more complex lighting system than the first game. The forest feels alive and breathing with several different biomes for Ori to explore, and each area has been coloured with a very distinct palette to reinforce the player’s awareness of location.

I mentioned visual language earlier, and it is in environmental design that Moon Studios have really put this to work. The greens, browns and blues represent colours that guide Ori, that beckon the little critter to safety. The reds, yellows and purples on the other hand represent danger, and it is astounding to see how consistently the devs have endorsed this system throughout the entire game.

I simply could not get enough of this beautiful world. From races against the ghosts of other players, to doing small quests for animals that inhabit in the forest, to feeling that satisfaction of nimbly making it through heavily-spiked, narrow corridors, it is mesmerizing that all of this is functioning so well in one game. It is a model of excellence in environmental design.

Ori, the paragon

We often hear people complaining that ‘they don’t make games like they used to’ and I somewhat agree. I feel like modern studios tend to put money before their vision for making their game because of how alarmingly competitive the industry has become. As such, games rarely take risks, and the industry often faces something of an identity crisis.

Ori and the Will of the Wisps stands as a shining contradiction to this ethos. This game oozes creative energy, and was quite obviously made by people who really have a passion for this genre. It shows how we can use technology not just to enhance everything in a game, but also how complex systems can be made to function alongside one other.

It is so rare that we see excellence in our games these days, which is why Ori and the Will of the Wisps truly is a non-negotiable moment. This is not just a game: It is an education to what gaming as a medium can accomplish. You simply have to play this.

Breathtaking soundtrack

Gorgeous art style

Immaculate level design

Great story

Controls well

Good dev support

Some bugs

Long start up loading time

          PC Specs: Windows 10 64-bit computer using Nvidia GTX 1070, i5 4690K CPU, 16GB RAM – Played using an Xbox One Contoller

The post Ori and the Will of the Wisps PC Review appeared first on DSOGaming.

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[terryblount]

Ori and the Will of the Wisps PC Review

It is hard to believe five years have passed since Ori and the Blind Forest debuted on our screens. Developers Moon Studios crafted a momentous game that not only reinvigorated the metroidvania genre, but also reminded gamers how beautiful and intricate these titles can be. Now the long-awaited sequel is finally on our shelves, but how could any studio follow up on lightning in a bottle like this?

The answer is in Ori and the Will of the Wisps. I mentioned in my Rage 2 review that all good sequels have the ability to reach the full potential of their I.P’s. It is not just about more, bigger or prettier. Good sequels elevate themselves to those untouched areas of gameplay that their predecessors never reached, and this is precisely what Moon Studios achievedwith their second Ori game.

Enjoying the pleasures of home

If ever there was a write-up willing to criticise Ori and the Will of the Wisps (hereafter Ori 2), you will not find it here. Perhaps this will not be a review of Ori 2, but my best attempt to express what a masterpiece this sequel has turned out to be. Moon Studios maxed out every strength from their first game, and remind us once again why metroidvanias can be some of the most fulfilling experiences in our industry.

A picture is worth a thousand words

One of the highlights from Ori and the Blind Forest was Moon Studios’s incredible talent for using visual language. Like many other metroidvanias, the first Ori game could impart a lot to the player using only modest resources. There wasn’t much exposition, there were limited snippets of dialogue, and the game had a very conservative use of cut scenes.

Nonetheless, it was still an experience you could get lost in. The devs allowed their game itself to communicate with the player on a visual level, and this design philosophy spills over into almost everything in Ori 2. In short, Ori 2 is a game that shows rather than tells in that the visuals of Ori’s story are a fundamental bridge between both the narrative and the gameplay.

Take the eponymous (and very cute) Ori, for example. Even a noob taking a cursory glance at this little critter would immediately tell there is something agile, yet vulnerable about… it. Hold on a second, is Ori a boy or a girl? Only thing I know is that the name has a Hebrew origin meaning ‘my light’, so perhaps Ori is Jewish?

Name of the game (Image from Ori and the Blind forest Wiki)

Anyway, I digress. True to the sloping lines and gossamer-like luminance of the character model, Ori once again felt super smooth and an utter pleasure to control for the thirteen-ish hours I spent leaping and bounding throughout the various biomes. There is a weightless momentum in how Ori handles, which encourages the player to keep moving and to experiment with acrobatics.

It seems that virtually niggles and annoyances have been ironed out from the first game, and it is clear the devs wanted to push the boundaries of traversal in this series to the next level. Moreover, Ori’s revamped animations are equally slick in this sequel, both in the twirls or somersaults when leaping weightlessly through the levels, but also in the combat or ranged attacks against enemies.

A battle in spirit

Ori has been given quite a substantial upgrade in terms of how players will fight against the malicious bugs, slugs and even bosses scattered around the world. Combat is now closer to the metroidvanias that have followed in the interim from the first game’s release (for example, Hollow Knight) in that Ori can now swap on the fly between a spirit sword, ranged spirited projectiles, heavy weapons, and more.

The player will really have their reflexes tested on normal or hard difficulties since the combat is fast and frantic. I strongly recommend a first playthrough on ‘easy’, particularly since you cannot adjust the difficulty later. Nonetheless, this spirit bunny is every bit as agile and responsive during battle as he is with traversal, and there is a decent variety of ranged and melee attacks to make up your fighting strategy.

The spirit trees that give Ori his abilities

It is from the combat I noticed that Ori 2 now boasts a more varied menu and progression system. Moon Studious have swapped out the linear style of the previous game, and have implemented something closer to an RPG’s structure, which allows for abilites and weapons to unlock quicker, and thereby leaving the choice to the player on what to upgrade and define their own playing style.

The forest lives on

The reason why Ori possesses these abilities and, frankly, why he glows in the dark, is because he was one of several spirits inhabiting a mystical willow tree – the heart of the entire forest’s spiritual energy. The first game saw Ori being adopted by a creature called Naru after falling out of the willow tree during a great storm, and eventually setting out to rescue the forest dying from a malicious corruption.

With the forest now restored to its lavish glory, Ori 2 opens with a touching scene of the pair living a serene life, along with their new friends Guma and Ku. All is well until Ku, who is the cutest little owlet EVER, finally becomes overwhelmed by the desire to fly. Unfortunately, Ku’s tiny little wing got mangled, leaving the owlet grounded and very depressed as it watches the other birds go by.

First flight

Ori and co. therefore try to help Ku with a makeshift wing which seems to work quite well until, during its first flight, Ku is caught in an angry storm, not unlike the one that shook Ori from its tree. With Ori riding on Ku’s back, the duo crash land in a desolate area of the forest, and they become separated.

The stage is set for Ori to embark on a rescue mission, and as a surprise to no one, Ori finds that all is still not well in the deep, forgotten places of the forest. The mission to rescue Ku therefore becomes intertwined with restoring the forest’s life force to an abandoned and hostile world, and Ori soon finds that it is not only Ku’s life that hangs in the balance.

In certain segments there are chase sequences. You really feel Ori’s vulnerability here, and it is utterly terrifying.

Thanks to absolutely superb animation and expert use of potent imagery, the story in Ori 2 is nothing less than sublime. Without spoiling anything, I will just say that the narrative plays out as a riveting and engrossing mix of fairy tale tropes, which are interspersed with gut-wrenching climaxes of triumph and failure.

The hauntingly beautiful soundtrack is also a crucial component here. The melody is a beautiful reflection of the game itself in that the orchestral swells alongside dream-like notes are constantly tinged with an undertone of sadness and melancholia.

In all honesty, I was taken on a rollercoaster ride of emotions during my play-through, and it has been a long time since a game has had this effect on me. Seeing that poor baby owl frightened and alone in the dead forest wasteland brought me right to verge of tears, while I beamed like adoring parent during the more happy moments. This is really fantastic story-telling.

Breaking boundaries

Both the story and the gameplay is of course sustained by two immaculate pillars: The graphics and the level-design. You often hear about video games blurring the boundaries between art and entertainment, but Ori 2 utterly shatters this division. This game IS art. The visuals are so imaginative and aesthetically pleasing that it looks like you are playing through Bob Ross painting brought to life.

With Unreal dominating the source-available market at the moment, I am really glad Moon Studios showed us how Unity still has a lot more to offer

Running on the Unity engine, the devs have created a massive world rendered with more detailed textures, a much higher particle count, and a more complex lighting system than the first game. The forest feels alive and breathing with several different biomes for Ori to explore, and each area has been coloured with a very distinct palette to reinforce the player’s awareness of location.

I mentioned visual language earlier, and it is in environmental design that Moon Studios have really put this to work. The greens, browns and blues represent colours that guide Ori, that beckon the little critter to safety. The reds, yellows and purples on the other hand represent danger, and it is astounding to see how consistently the devs have endorsed this system throughout the entire game.

I simply could not get enough of this beautiful world. From races against the ghosts of other players, to doing small quests for animals that inhabit in the forest, to feeling that satisfaction of nimbly making it through heavily-spiked, narrow corridors, it is mesmerizing that all of this is functioning so well in one game. It is a model of excellence in environmental design.

Ori, the paragon

We often hear people complaining that ‘they don’t make games like they used to’ and I somewhat agree. I feel like modern studios tend to put money before their vision for making their game because of how alarmingly competitive the industry has become. As such, games rarely take risks, and the industry often faces something of an identity crisis.

Ori and the Will of the Wisps stands as a shining contradiction to this ethos. This game oozes creative energy, and was quite obviously made by people who really have a passion for this genre. It shows how we can use technology not just to enhance everything in a game, but also how complex systems can be made to function alongside one other.

It is so rare that we see excellence in our games these days, which is why Ori and the Will of the Wisps truly is a non-negotiable moment. This is not just a game: It is an education to what gaming as a medium can accomplish. You simply have to play this.

Breathtaking soundtrack

Gorgeous art style

Immaculate level design

Great story

Controls well

Good dev support

Some bugs

Long start up loading time

          PC Specs: Windows 10 64-bit computer using Nvidia GTX 1070, i5 4690K CPU, 16GB RAM – Played using an Xbox One Contoller

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