#and it's an important juxtaposition to all the other characters who took the change/threat on the chin

[lazyrezi]

You know what. I think Denethor got a bad rep. The movies made me think he was The Worst, but in the books, he is just kinda... mean? And the whole time we see him, he is grieving keep in mind! Especially the whole thing with him wanting to burn alive with his only son left barely holding on... I mean he IS wrong and that IS fucked up but. Also he WAS corrupted? and despaired and grieving.

I'm just saying. He wasn't his best self, and YOU KNOW WHAT I WOULDN'T BE EITHER if my child died and war was raging and my home/house was falling and people were dying. I get that a big theme of lotr is hope against hopelessness, and that is for sure very admirable, but. It is also very human to lose hope and give into despair, and I guess then you burn alive. If nothing else it's a good lesson. Keep holding on to hope or BURN.

[kemonododo]

Decided to rewatch the whole series after seeing the finale, here's my thoughts as they come along part 1

Razz tells Adora not to look for others to tell her what to do and asks her what she thinks. Adora decides she must fight the Horde. It's poetic that Adora gets so hung up on destiny and fulfilling her goal, when the final message she needed to learn was said in the third episode. Razz is the wisest of us all.

Angella repeats what she heard in the legends of She-Ra, notably that she is meant to "bring balance to Etheria". From Angella's perspective this seems like a good thing, but it's so much more sinister knowing that basically means "to turn the death star on".

Catra was pissed at Adora, but seemed willing to leave the Horde until Hordak elects her as Force Captain. This is the start of her conclusion that Adora was only holding her back, and so the decent of her madness. That little smirk kills me, because that face will shed a lot of tears from this point on.

Season 5 showed us what Adora's She-Ra looks like, without the First One's influence. It might be a bit blasphemous, but I think that reveal would have worked better if this early season She-Ra was the mini-skirt, cleavage design of the 80s. Have a bit of symbolism about societal beauty standards. Love the muscles though that part is perfect.

The first time Catra and Adora meet back up after their falling out is a little unremarkable, the wounds are still fresh and they're still angry at each other but I think both still don't understand how big this schism between them will be.

I just realized Entrapta's castle has a picture of a Tyrannosaurus rex with a unicorn horn and Pegasus wings. Is that what Mara's dragon was!? 😂

God I love Entrapta, even when I first watched this I was excited to see the purple Hatsune Miku in the intro. She always cared about people since the beginning, she just doesn't understand politics.

Castaspella and Angella were shipping Glimbow from the start lol.

The show gives us a full view of how Shadow Weaver's abuse affected Adora. Being constantly pressured to be the best and strongest at the threat of Catra's health has left Adora a jittering wreck. Call me sadistic, but I love that it wasn't resolved in this episode. Adora wins the battle against SW today, but all the way up to the series finale we see SW's dirty fingers clawing away at her conscious. It takes more than 20 minutes to escape a life of manipulation.

Princess Prom! This is when the show goes from a 7 to a 10. Not only the prom being a fun venue, but this is where Catra begins to get some agency. This is the first time she really feels like a main character, which is great because I love her more than anything. Also the first time we see Double Trouble and the Star sisters, which I guess are different from the Star Siblings in season 5? A bit of a continuity error.

Aww, Glimmer is jealous. I can relate to her fears of being pushed out, but the fact that she's pretty madly in love with him adds a whole new layer. Bow is right but he's being a bit insensitive here.

Let's just take a moment to appreciate how far we've come. Remember when this was the gayest thing in the show?

It's fun watching the princess alliance so early in their friendships, they obviously care enough to go with Adora on this mission to save Glimmer, but I love how annoyed and distracted they get with each other.

This episode is also really big for Catra, realizing she will never get Shadow Weaver's approval, that longing look at Adora, "this is not because I like you".

The Beacon is sandwiched between two great episodes that make it feel like filler, but a lot actually happens. We see more of Adora's insecurities, especially how she starts to take it out on herself when she runs into a problem out of her control. We got the formation of the super pal trio, a short lived group with an amazing dynamic. And we also have a huge moment with Angella that basically defines her entire character.

Entrapta's insecurities are revealed. She wants friends, she loves people, but they're complicated and hard and always seem to leave her. It's heartbreaking and something that comes to a head on Beast Island.

I love this scene with Catra and Shadow Weaver. It's clear she still loves her evil mom, and we see how SW has abandoned the idea of Adora for now and is now beginning to manipulate Catra. We also see another Catradora parallel, both of them tell straight to SW face that she has no power over them anymore, something we continue to see is not true.

Promise! 18 months later and it's still my favorite episode of the show. I like how it starts off with the anger they've been feeling up until now, but through the mind melting manipulation by skynet Light Hope, it's multiplied a thousand fold. Before this Catra was pissed at her friend, now Catra wants to murder the person she thinks destroyed her life. After this Catra isn't a cute tsundere, she's completely homicidal. She still loves Adora obviously, but Light Hope has corrupted that love into the most vitriol hate on the planet. It's wild to think they both love each other so much, and yet the abuse that have scarred them prevents that love from breaking free. This is the true moment where the show starts, this is where it became the best cartoon I have ever seen.

Also this is the only time since the first episode and Catra's redemption in season 5 where their chemistry is in full play. They just love each other so much, god I'm fucking tearing up again.

An important thing people forget about the Catradora dynamic is Catra's inferiority complex. She has been told since the day she was born that she is worthless, below Adora in every way. She loves and looks up to Adora, but her existing in Adora's shadow blackens that love. Which is why her joining the rebellion isn't a good ending for her. She needed time on her own, away from Adora, to carve out her own identity. It was her struggles as Force Captain that finally pushed her to start doing good, that realization that she is unhappy in that role. If she had left with Adora in episode 1, she would still be bitter and cruel and toxic, because she'd still be standing behind Adora.

Shadow Weaver's abuse goes both ways, as now Adora feels like she needs to protect Catra like a helpless kitten. That dynamic was not healthy, and it would not have lasted. Catradora can only exist now because they both accept each other as equals.

That final "you promise?", probably the most important words in the show. I've seen this episode a dozen times, but after seeing the finale the tears are running down my face again. Adora was the light of Catra's light, nothing mattered as long as Adora was there with her. She loved her so much. The Fright Zone, Shadow Weaver, her own insecurities, they all impacted Catra. But in that moment, them cuddling on their bunk, it didn't matter. Little did she know Adora loved her back just as much. Fuck I'm crying again.

Catra took that memory, tainted by Light Hope, and saw Adora as a monster. Someone who manipulated her like everyone else and abandoned her at the first opportunity. Someone who broke her most important promise, someone who broke her heart. Catra is probably the best written character in fiction, no I am not exaggerating.

It's a hard follow up after that episode, but the amazing juxtaposition of Entrapta and Light Hope telling the same story with different information is bone chilling and goosebumps giving.

Knowing the whole story of Mara, Light Hope's speeches are terrifying. Her manipulation makes Shadow Weaver look soft. Luckily we have an Alicorn to help, like all other abuse in the show it isn't over in a single dialog exchange, but Swift Wind is speaking the truths Adora needs to hear. The thing about Adora though is one of her main character flaws, she gives in to the doubt her abusers seed her. Her friends constantly tell her she has worth and deserves love, but she has it in her head that she must sacrifice herself for the greater good. That's another reason why Catradora works in the end, Catra helps bring out the selfishness she needs.

Battle of Brightmoon isn't a great finale, my time in the MLP fandom has soured me on "then all the friends came together and shot the villain with a rainbow" conclusion. Luckily, the show would knock the next three out of the park.

Catra starting the new season strong, I love the juxtaposition of the horde soldiers fearing her while the super pal trio doesn't. I love that little smirk, she thinks it's the first she wants yet we all know it's the later.

Frosta got a character change, I understand what they're doing where the other princesses are bringing her out of her shell, but it all happened off-screen so she just seems out of character. The little moment with her and Glimmer is great, and a little bit of forshadowing for Glimmer's queenly role.

Every Shadow Weaver and Catra interaction is fantastic, I love how SW gets so easily under her skin and how Catra pretends to brush it off. Those black tenticles still have a hold on the Kitty's heart.

Ties that Bind is a fantastic episode, especially seeing Catra's interactions with Bow and Glimmer. I love how this contrasts with the season 5 episode A shot in the Dark, here Catra is bullying the best friend squad with malice while the later has Glimmer and Bow playfully making fun of her with love.

Glimmer's actions here are also great forshadowing for her role as queen, especially how desperate she is to destroy the horde and how it affects her morals. Makes her decision to use the heart in season 4 very believable.

I love how Adora keeps referencing ghost stories she heard as a kid. I love the idea of her and Catra under the covers telling scary stories to each other until they'd both end up cuddling while insisting they aren't scared.

Entrapdak! Entrapta's love of science, complete lack of fear, and unending kindness can turn even a dictator cute. They have fantastic chemistry.

I love this little moment with Catra, Shadow Weaver correctly assumes that she's being pushed out and left behind by Hordak, and sure enough she finds Entrapta standing next to him in the lab she was almost killed just for stepping in. Her fears are repeating.

Ah! Goosebumps! The show is slowly moving to be more and more Sci-Fi, and that little shot of Mara's crashed ship with the fantastic music is just a hint to what's to come.

Roll With It is an absolutely adorable low stakes slice of life episode that shows how fun these characters are even when they aren't fighting a war. It's probably the funniest episode in the series, the 80s She-Ra segment is my favorite. There's also the wonderful moment of Adora's breakdown, the pressures of being the world's savior takes a toll on her.

White Out! One of my favorite episodes. The mostly self contained story, the new setting and outfits, great Super Pal Trio bonding, Scorpia being a lesbian, Sea Hawk, and the only time we see the corrupted She-Ra. It's a fantastic microcosm of the show itself, and it's really funny. The Scorpatra stuff is a bit sad knowing how it ends, but it is nice seeing how Scorpia can have a crush while still realizing the toxicity of her relationship later on.

Shadow Weaver's backstory and the biggest window into her head. She believes what she is doing is right, but her methods are full on psychotic, and she was power hungry from the start. I love her so much, she's so deliciously evil. The Eldritch horror that is the spell of obtainment is a treat, and SW's arrival at the Fright Zone is beautifully terrifying. This episode also has the best scenes with her and Catra, it's devastating to watch Catra continue to pine for SW's approval and how, after all this time, SW still only sees her as a tool.

Shadow Weaver is one of my favorite characters, literally every scene with her a amazing. "I can tell by how your voice turns shrill when you scream" what a bitch I love her. I also really like how you can tell Catra and Adora still love her, even after all this abuse. She's a monster, but she's also a mom, and both of those identities conflict in their heads.

Shadow Weaver's and Light Hope's reveal of Adora's origin is goosebumps giving. The revelation that there is a universe beyond Despondos is amazing, but I especially love Light Hope continuing to withhold information and effectively lie to Adora. Razz, Swift Wind, Angella, Catra, they all tell her to make her own decisions but this moment with Light Hope where she is told she doesn't have a choice is what Adora latches on to.

There's also the deal with Hordak, when Light Hope tells the story, she paints it as Hordak ripping the poor baby away from her family. We later learn that's wrong, Hordak saves Adora, he finds a tiny baby and even as a heartless destroyer he knows he can't leave her out there to die. He steals her away, but he does so from Light Hope, the original kidnapper. If Adora was raised by Light Hope, she probably would have fired the heart without question. The Horde was not a good environment to grow up in, but it was an important part in making her the hero the universe needed.

I love Hordak's monologue, the art style and music are fantastic and the whole thing is terrifying. To imagine the big bad horde of the show is just a tiny sliver of what is out there. It also shows Hordak's motivations, which don't excuse his actions but do explain them. This show does a fantastic job at letting us sympathize with the evil-doers, and that has only grown now that Wrong Hordak has shown what it's like to be disconnected from the hive-mind. Bonus points for explaining Imp's origin and showing how Entrapta is exactly the person that he needs right now.

Catra is being embarrassingly edgy here, but it is funny that she's talking about "lost it all" and she seems to think this is rock bottom, oh girl you are in for a ride awakening with how much farther you can fall.

Promise plays again as Adora has another break down. We finally see Mara, and as with everything to do with the First Ones it is chilling. I love this slowly unraveling storyline of Light Hope's true intentions. At this point it is clear she is not to be fully trusted, but we have yet to see how truly sinister her intentions are.

Catra, again, being one of the best characters ever written. She finds a minimum amount of happiness in the wastes, and immediately it all comes crashing down when her trauma resurfaces. That scene of the anger taking over is a masterpiece. I have said a million times that she'd never be truly happy in the wastes, and the later seasons confirm it, but it is heartbreaking to see how even the slightest hint of a smile is ripped off her face.

The Glimmer Angella arguments hurt, they're both right but it's sad to see them fight and how Angella takes Glimmer's advice while Glimmer doubles down on her faults.

Shadow Weaver back on her bullshit, manipulating teenagers to give her power. Noelle mentioned how she truly believes she's on the good side, and obviously she doesn't want the Horde to win, but you can't deny she has some selfish motivations behind recruiting Glimmer. That lust for power remains with her until the very end.

We see Adora getting to Entrapta here, people I think really didn't get their impressions of her right. Entrapta loves tech and science, and sometimes it blinds her, but she isn't immoral, she does care about the safety of her friends.

"You made me this way, and you get to be the good guy" "you couldn't wait to get away from here, from me. But you came back for Adora". You can see how SW's betrayal not only reaffirmed Catra's fears, but was probably just as much a force behind her decent into madness as Adora was.

There's also something beautiful about the symbolism of Shadow Weaver using her new victim like a battery to crush her old.

And Catra betrays Entrapta and Scorpia, this is officially the worst she gets, at this point her hatred of Adora is taking over her. We see more of it in season 4, but her desire to hurt Adora as much as Adora has hurt her causes her to crack like an egg. Scorpia's face says it all.

I love getting to see Catra and Adora in their element, completely in love with each other. None of the complexity of the world at large, just them two together. Even Shadow Weaver's approval of Catra, this is her dream world.

It's funny how Scorpia's first instinct upon seeing Catra is to hug her while her first reaction to Adora is to insult her. She has terrible judgement of character lol

Everyone's insistence that it's "perfect", watching the world shift and fall apart, the confusion, the panic, the show masterfully shows Adora's emotions in this mind-melding episode.

"Soon the two of us will be ruling Etheria together just like we always planned" "Is that what you really want, to rule the world?" "I mean, yeah, obviously. Isn't that what you want too?" God this little moment is perfect, it shows how much they're wavelengths differ. Catra focuses on the "together" while Adora focuses on the "rule the world". Like DT says later, Catra's heart was never truly in it. This thirst for power is just the world's most destructive coping mechanism.

[aion-rsa]

How The Walking Dead: World Beyond Expands the Zombie Universe with Its Unique Teen Characters

https://ift.tt/3kB7pU3

After its premiere was delayed by several months due to COVID-19, the two-season The Walking Dead spinoff series The Walking Dead: World Beyond finally makes its debut this week. The story expands the TWD universe in a unique way, taking place 10 years after the zombie outbreak and focusing on a predominantly teenage cast of characters. Unlike the battered groups of survivors from The Walking Dead and Fear the Walking Dead, these teens have been sheltered from walkers (or “empties,” as they’re called on this show) within the walls of a university in Omaha, Nebraska, a thriving colony that has afforded them a relatively normal, safe life post-outbreak.

But, as fans will learn from the very first episode, the Campus Colony (as it’s referred to) does have a seemingly precarious arrangement with the Civic Republic Military (CRM), whose ominous helicopters act as a narrative thread that ties the three shows together. It’s safe to say you’ll learn way more about this mysterious faction in World Beyond than ever before.

The show primarily centers on sisters Iris (Aliyah Royale) and Hope (Alexa Mansour), who leave the safety of the University in search of their father, brilliant scientist Dr. Leo Bennett (Joe Holt), who they’ve learned is somewhere in New York. Joining them on their mission are fellow student Elton (Nicolas Cantu), a resourceful scientist and historian (who also happens to know karate), and school janitor Silas (Hal Cumpston), a soft-spoken social outcast whose murky past has earned him a questionable reputation on campus. The teens are tailed by battle-tested adult guardians Felix (Nico Tortorella) and Huck (Annet Mahendru).

Last fall, I visited the show’s set in Richmond, Virginia, where filming was underway for episode 7 of the show (alas, there were no CRM helicopters in sight). The location was an old waterpark called Hadad’s Lake, which was appropriately creepy-looking. The abandoned facilities looked dreary and greyed-out under the looming rainclouds — the juxtaposition of a children’s park rotting in a post-apocalypse seemed to fit the show thematically as well.

Huddled around a table with other members of the press under a tent that sheltered our equipment from the occasional drizzle, we were joined by the cast members one by one to talk about their respective characters and what fans can expect from the show. Here’s what we learned:

Iris

“Iris is smart and caring and loving and doesn’t have a selfish bone in her body,” Royale says of her character. “She really wants to make sure that every single person that she encounters is taken care of and has what they need. At some point she realizes maybe it’s time to start doing things for herself and when she makes that switch, it is a roller coaster of events.”

Serving as the beating heart of the show, Iris is an overachiever on campus and a compassionate leader amongst her peers. She’s got a tight bond with Hope, and while Iris is generally viewed as the more straight-laced, level-headed of the two, the absence of her father compels her to make the drastic decision to venture out beyond the University walls for the first time.

“The mission for Iris is: where’s my dad at?” Royale explains. “I want my dad back. The other side of that is, Iris is following in his footsteps. She’s super involved in science, biomedical engineering, all of those things that her father’s brain is being used for…that’s exactly the path that she’s going towards. Saving the world.”

At the University, though the majority of students haven’t encountered empties, they’re trained by instructors like Felix to defend themselves against the dead, including with a weapon called an S-pole, a staff with a retractable blade at one end. Iris is a fast learner, although she quickly discovers that no amount of training can actually prepare her for the horrors that await in the real world.

“She’s got a lot of information stored up here,” Royale says as she points at her head. “But the minute that she encounters the first walker, it’s this just absolute fear. As much as you learn, as many books as you read, you could never feel [that fear] until you’re in that moment. You’ve got your four best friends next to you, and it’s you or the empty.”

Hope

“She doesn’t give a shit about anything,” Mansour says of the rebellious Hope. “She lives for today and I mean, realistically, she doesn’t think she’s going to live tomorrow. She’s pretty sure she could die at any moment and I don’t think she really cares. So she gets herself in trouble, doesn’t care what people say, and is always doing the opposite of what Felix tells her to do. It’s kind of ironic that her name is Hope because she really doesn’t have any of it.”

Hope and Iris have a tight bond despite their polar opposite temperaments and outlooks on life. “They’re complete opposites,” says Mansour. “Iris is the one that will be off studying until four in the morning while Hope would probably be partying until four in the morning. But they love each other. I think they really do balance each other out. Iris will bail Hope out whenever she is sneaking out and doing stuff that she should not be doing, and Hope would take a bullet for her sister.”

As for Hope’s lack of, well, hope, in human beings and their future prospects on the planet, Mansour made it clear that this speaks to a pressing real-world issue of mental health that affects teens everywhere. As someone who was bullied for her ethnicity (she’s half Hispanic, half Egyptian), she feels World Beyond and the platform it’s given her will allow her to help teenagers who are struggling like she has.

“I really hope they realize that they’re not alone,” Mansour says. “I think it’s important for kids who are watching this to take away that it’s okay to be open about what you’re feeling and it’s okay to feel what you’re feeling and it’s not the end of the world, it is going to get better.”

Felix

“Felix is the head of security detail at the university,” says Tortorella, who also reveals that his character identifies as queer. “He is kind of an adopted son to the girls’ dad. He had a troubled childhood dealing with his family coming to terms or not coming to terms with him being gay. He’s very much a hero. He protects the people around him in a way that’s contradictory to the stereotype of like what a gay character usually is on television. And that’s why I was really excited to play this role.”

Tortorella, who identifies as genderfluid, felt drawn to the show and the The Walking Dead franchise for its strong representation of marginalized communities. “The diversity was a huge thing coming into it, you know? We have people from all walks of life on this show. Genders, sexualities, race, religions. It was a no brainer for me.”

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Hope and Iris’s father took Felix in as family after the outbreak, and Felix’s made a promise to take care of the girls at all costs. Unlike the sisters, he and his partner Huck have seen action outside the Campus’ walls, which makes him a formidable fighter. When Iris and Hope escape the walls of the colony, Felix and Huck quickly give chase.

“Yeah, he’s in full dad mode all the time with these kids,” Tortorella explains. “I think that like after the first episode, the stakes are at maximum levels in terms of our safety and our fight for survival. And Felix is the one that has the most training in terms of any sort of military background that we know of.”

Huck

Huck is Felix’s right hand, dear friend, and confidant. She sports a sizable scar across her cheek, which all but confirms she’s been through some tough shit.

“Huck comes from a Marines background,” Mahendru says. “When you first meet Huck, you just know the scar. There’s a story [behind it]. She is an independent thinker. She’s really tough, but she’s really hopeful and really positive and warm and is adamant about bringing the world back to what it was. She wants as many people to live as possible.”

As for Huck’s relationship to the sisters, Mahendru says that she has a deep connection with Hope, who she sees herself in. “She was a bit of a rebel when she was young, [too]. They have a big/little sister relationship, and I train her how to fight. I want her to survive out there. I mean I’m going to send her out there and so I’m responsible for her. I really believe in her potential and I feel her pain. I’ve gone through the same similar things.”

Elton

“Elton is a very intellectually curious child,” Cantu says. “He has been sheltered from the world outside with a bunch of horrible, horrible things happening out there. So he’s kind of trying to understand the world for what it is and how nature is changing along with most of humanity. He’s on a journey to analyze and document and just see what this new world is about.”

A classmate of Iris and Hope’s who offers to join them on their quest to find their father, Elton admits that the outside world isn’t exactly foreign to him.

“Elton has been outside of the walls before because he does a lot of experiments outside,” Cantu explains as he motions to the mustard-colored, corduroy suit he’s wearing. “It’s bite proof, which Elton learned through controlled experiments. So he kind of has a little bit of a glimpse as to what the outside world is. But once he steps out there, it’s intense.”

Cantu says he sees a lot of himself in Elton. “I really do relate to Elton. I mean, he’s kind of got this view of the world where he’s very blunt with it. He knows a bunch of the threats out there. He realizes stepping outside of those walls is going to be a life changing thing. The world is brutal and he has just come to accept that. So if it’s coming down to survival, he’s ready, he’s prepared, he’s got everything on lock. And I feel like if I was in an apocalypse, I would prepare similarly to Elton.”

Silas

“He’s been shunned by the particular community they’re in. People refer to him as a monster or just completely shun him. It’s like a Boo Radley type of character,” Cumpston reveals about the quiet Silas. “No one knows his exact story, you know what I mean? When kids hear something then they exaggerate and that type of thing.”

Cumpston, a young Australian actor and filmmaker also feels he relates to Silas. “Yeah, everyone’s felt like an outcast. There’s definitely been situations where I’ve felt like an outcast. I’d be a funny kid at school. I joined a soccer team and there’s already these different funny personalities [on the team] and I’m just sort of like the quiet kid who’s also not good [at soccer]. I’m like, ‘Oh, fuck. I need to make up for it by being funny but there are no opportunities.’” 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Unlike his three teenage counterparts, Silas isn’t a student at the school, and he’s got little excuse not to join the others on their quest, seeing as he hasn’t got much going for him at the Campus.

“He’s just a janitor who no one speaks to and everyone refers to as a monster,” Cumpston says. “When he walks past people on campus, you can hear that people don’t have very nice things to say about him. He catches wind that there’s an [opportunity] to prove to himself and these other people that he’s not a monster.”

The Walking Dead: World Beyond premieres on Oct. 4 at 10 pm ET on AMC.

The post How The Walking Dead: World Beyond Expands the Zombie Universe with Its Unique Teen Characters appeared first on Den of Geek.

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[15hont1c]

Week 5: The End

Our reflective essay should:

Discuss set text and how your screenplay was inspired by it.

Draw specific links between screenplay + source text.

Show familiarity with relevant aspects of book (period, themes, genre, location, etc)

Discuss writing process and the creative decisions you made.

Reflect on your journey from first idea to finished script.

Use quotes/evidence from screenwriting texts to explain and support your decisions.

Refer to any other books, films, images, etc that influenced your writing process.

Discuss how film would be like?

Discuss animation style, aesthetics, material, color palette, lighting, soundtrack.

Think about intended audience for film.

The tone and style of the reflective essay should follow the appropriate academic tone with citations and bibliography. The reflective essay can also use first person as it is meant to be discussing and analysing our own experiences. 

The Last Night - Strictures of Victorian Society

Utterson is annoyed at the servants who are “huddled together like a flock of sheep.” 

Upkeep of the Victorian calm and self-contained attitude.

The housemaid breaks into “hysterical whimpering.” -> Mass Hysteria

“A rather wild tale.” 

Utterson stands for the audience as he expresses the same doubt/questions the readers ask.

“This drug is wanted bitter bad, sir.”

Depiction of drug addictions.

Victorians can buy over-the-counter heroin; frequented to opium dens and even babies who were born drug-addicts.

Stevenson himself is also a drug addict who was reliant on hallucinogens. 

Poole seeing the masked man who was much smaller than his ‘master.’

Referral as a symbol of something hidden/concealed (like door).

Description is evocative and deepens the mystery.

Upon breaking the door, there was no big reveal; no dramatic scene.

Instead, they found a mirror with their own reflection reflected instead, showing the “evil” duality of themselves. 

The scene also utilises the uncanny -> we expect the extraordinary, but is actually overwhelmingly ordinary in the scene, even though things are not ‘quite right.’ 

There is a duality/juxtaposition in the description of the scene: The twitching corpse and a defaced book as opposed to the boiling kettle.

Prompts the idea of “To what extent did Utterson cause the death of Hyde/Jekyll.”

The final two chapters were written in first person narrative:

Dr Lanyon revealing the core of the mystery.

Jekyll telling the chronological story that happened over the course of the novella through his perspective.

First Letter (Lanyon):

Lanyon receives a strange message, begging to carry out a series of specific and peculiar requests. 

Jekyll/Hyde begs Lanyon for help.

He goes to fetch a drawer containing powders and a test tube from his lab and goes to wait for the mystery man.

Hyde’s too desperate for the drugs, and gives him the option to leave to watch him ingest it.

Dr Lanyon is bound to secrecy - bound by the Hippocratic oath.

He is unable to reveal what he knows.

Even in a vulnerable state, Hyde presents himself as more superior  than Lanyon.

The format of an ‘objective’ third person narrative + ‘subjective’ first person accounts was a trope of Victorian fiction, but was also similar to the medical literature of that period. Anne Stiles (2006) observes that the book’s structure reflects the medical case studies of that period, but also subverts them. Jekyll’s character is both the physician and patient in the story.

Jekyll’s observation states that “man is not truly one, but truly two.” This reflects a Victorian theory that ‘each brain hemisphere might house a separate personality or a separate soul.’ It can be imagined that when a Victorian reads this, they may become afraid of their inner “Hyde” taking over. 

An example of this could be the case study of an injured French soldier called Sergeant F which was discussed in the medical Cornhill magazine.  According to Stiles in her book Popular Fiction and Brain Science in the Late Nineteenth Century on page 43, Sergeant F developed “two distinct personalities upon a gunshot injury in the left brain hemisphere.” His first state is known as intelligent and kindly, while his second state displayed “animalistic and automatic qualities along with impaired sensory impressions.” He is also resilient to pain in this second state. 

Even though Sergeant F was male and his condition was caused by an external factor (gunshot), the ‘multiplex personality’ was almost overwhelmingly a female condition. Felida X was an example of a female patient that was also discussed in the Cornhill magazine. Felida’s condition was natural occurring, exhibited hysteria and has another ‘peculiar secondary state of mind.’ She felt pain when transitioning between the two states. While she felt better in this second state, it had “unfortunate moral consequences,” such as when she got herself pregnant with a man whom she had no romantic interest in the first mind state. Her subconscious base instincts made her chase after the man and impregnated herself due to it.

Applying to Jekyll and Hyde, we can see that Hyde was wrestling against the approaches of hysteria. Hysteria is a centuries old illness that no one really understood at the time. It was usually diagnosed when no other cause could be found for its exaggerated symptoms. Examples include:

Salem Witch Trials

Occurred in 1692, over 200 people were accused of practicing witchcraft.

20 people were hung upon accusations from mass hysteria.

Neighbours and friends turn against one another.

Started because a group of girls exhibited convulsions and weird spastic behaviour -> epilepsy.

Most of them were girls and women.

Anneliese Michel

A German woman who was supposedly ‘possessed’ by a demon after a complicated series of illnesses early in her life.

Suffered a seizure and diagnosed with psychosis of temporal lobe epilepsy.

Took a lot of medication, but her condition worsened (as well as her mental health.)

Began to hear voices and became intolerant to sacred Christian sacred places and objects. 

Stiles (2006) theorised that the small, puny, right-brained Hyde has something of the Victorian femininity about him; emotionally unstable, physically chaotic and somehow ‘lesser’ than his male counterparts. In the novella, Poole describes Hyde as “weeping like a woman.” 

The nocturnal setting, theme of monstrosity and embedded narratives (i.e fragments, manuscripts and letters. 

Key Features of the Gothic

Wild landscapes vs imprisonment

Hyde was constantly ‘imprisoned’ by the duality in Jekyll’s personality. 

Other characters were also imprisoned by the Victorian society’s rules. 

The re-emergence of the past within the present (often represented by ghosts - the thing you thought was dead.)

Exploring the limits of what it is to be human.

Internal desires or forces outside our control.

Perverse, weird and dangerous kinds of sexuality - incest, abduction, violence.

The vulnerable of women in 19th century - the ‘triumph’ of young women over seemingly impossible force.

The Uncanny

Figures that are not quite ‘human’ (dolls, was works, automata)

May feature ‘evil’ doubles.

“Somebody who seems unfamiliar and strange in fact has an identity you already know.” 

No one in the novella could really describe what Hyde looked like; an uncanny physical description.

We can harness the power of the uncanny to enhance the story in our writing.

Less is More 

Planting the seeds and letting the readers’ imagination flow.

Stay Close

Use all senses when writing, stay close to the protagonist and allow the audience to feel their fear.

Make it personal

Use your own fears/phobias to make the scene more realistic.

Give the reader time to feel the fear

Place hints that something disturbing is going to happen.

Create a mood of tension/horror before it actually happens.

Provide something uncanny that is both familiar and unfamiliar.

Allow the sense of underlying unease to intensify over time.

E.g A radio turns on by itself, a child toy changes position.

The Birth of Urban Gothic Horror

Jekyll and Hyde is usually considered as the first ‘urban gothic’ novel. Gothic revivalists of the 19th century believe the threat is no longer an external force, but rather an evil that is curled inside the very heart of the respectable middle class person. This scared the readers at the time even more, as to some extent, the evil was inescapable. The progressive society with the advancement of the Industrial Revolution caused the dark progress of social and psychological effects. Moral decay was an obsession of the Victorians. By identifying and analysing that fear, they seek to control and contain it.

How to Write Dialogue

Unnatural is natural

Not real speech, but a representation of it.

Aim to capture the flavour of speech (without the boring stale bits)

“Natural speech is full of hesitation, repetitions, omissions... when we’re listening to it in real life, our brains filter this out and extract the essential parts (Pierre, 2011).

The S.A.D method

Dialogue is a function of character. Know the character well so their dialogue flows easily.

Status - Who was the upper hand?

Agenda: What is the purpose of the conversation?What do they hope to gain from it.

Desire: What do they want? (What is their ultimate goal/super objective.)

Inhabit their physical space

Listen to how differently different people talk.

Our physical bodies affect our voice. Spend time imagining yourself as the character.

E.g. Timid & trembling? Broad & bold?

Silence is gold

What people don’t say is just as important as what they do.

What are they avoiding to talk about?

Actions speak louder than words.

Explanation kills drama

Characters should talk to each other, not the audience.

“Good dialogue is a manifestation of behaviour, not an explanation” (Yorke, 2013, p150).

Dialogue is not just a Q & A

Good dialogue is surprising and unpredictable.

Promises excitement, but keeps us waiting for it.

Drip-feeds information but withholds answers.

Be ruthless

Dialogue should either move the story forward or reveal something about the character.

If it does not, take that out!

Always read the dialogue aloud.

Make sure the dialogue can actually be spoken/performed realistically.

Reference:

Stiles (2006) - https://books.google.co.uk/books?id=KyFrjbezjSgC&pg=PA43&lpg=PA43&dq=sergeant+F+brain+study&source=bl&ots=XgsrEFdmxR&sig=ACfU3U0cTzmOzIkZPnboQKh4FeOQA41Zzg&hl=en&sa=X&ved=2ahUKEwiC5dm7t4LgAhVho3EKHTYRAJcQ6AEwA3oECAUQAQ#v=onepage&q=sergeant%20F%20brain%20study&f=false

[sketchiedetails]

After finishing God Hand, it made me wanna play more of Capcom’s forgotten franchises and I moved on to the Onimusha series. I played Onimusha 2 a lot back in the day so it was interesting to see how relatively simple the first game is compared to its sequels.

I’ve always liked Onimusha’s tone because it’s this weird blend of hack n slash action within a survival horror framework for gameplay, while the story touches on historical fiction with some macabre elements but it’s not scary tense in the way the older Resident Evil games evoked since you have a better chance at defending yourself in these games whereas in RE you’re better off saving your ammo and minimizing combat.

Onimusha is set in Feudal Japan during its Warring States period, and the story supposes that Oda Nobunaga actually died in battle but got better after making a pact with demons, which requires sacrificing large numbers of humans as tribute. The game starts with wandering samurai Samanosuke Akechi answering a letter from Princess Yuki of the Saito clan regarding stories of monsters preying on her people.

I like the juxtaposition of that bombastic intro followed by the subdued delivery by Yuki’s VA to set the tone of the game. There’s gonna be highs and lows, and the characters are all gonna be melodramatic. Samanosuke himself is played straight as a knight errant who remains committed to rescuing Yuki and stopping the demons.

Onimusha starts off relatively tame by introducing Samanosuke and his partner the kunoichi Kaede as they enter Inabayama Castle. Not even five minutes into the game and Samanosuke faces demon ninjas and the even larger threat, Osric. I really like the boss designs in Onimusha, both in how they look like a mix of traditional demonic aesthetics but with accents of Japanese fashion and armor and how they just look so fluid when they move. I’ll probably go more into that detail later on with a couple of Onimusha 2′s  boss encounters.

Samanosuke’s valiant efforts at defending Yuki are met with a colossal bitchslap as he blacks out. A voice calls out to him in the void and bestows upon him the ability to defeat demons. A rival clan calling themselves Ogres gives him a gauntlet that will allow him to wield more powerful weapons capable of slaying demons and the ability to absorb their souls. This is Onimusha’s main gameplay conceit and it provides a constant state of tension between being defensive and aggressive against enemies while taking the time to absorb their souls and leaving yourself vulnerable to attack. I like how the gauntlet is implied to be sentient and alive with its blinking eye and it’s cool that it changes appearance over the course of the game as you absorb more and more souls. An interesting thing to note is that no matter what kind of armor you don it always appears as if your gauntlet arm’s sleeve has been torn off as if to imply that the gauntlet doesn’t like being covered up.

This is where Onimusha really starts. For most the game, you’ll navigate around the castle’s perimeter to slay demons and solve puzzles either by finding the right key for the right lock - and they won’t always look like keys or locks - or by performing simple tasks like sliding tiles or pulling the right lever. Its Resident Evil roots stand out the most during these segements. Boss battles punctuate key moments in the story and they’re all pretty interesting in their own way. I don’t recall any real low points besides the fight with your doppelganger since I think the game wants you to repel the magic he throws at you to win but it’s more reliable to attack him when he exposes himself, which is a tall order since the arena is cramped an he’s got the same reach with his weapons as you do and loves to turtle.

The souls you absorb from demons allows you to recover health and magic, but also more importantly allows you to enhance your weapons and their elements so that they deal more damage and open up stronger elemental locks you’ll face later in the game. The really cool thing I like about enhancement in this game is that you can use souls to upgrade recovery Herbs into Medicine and projectile weapons like arrows and bullets turn into more powerful versions by investing souls into them.

The hardest part for me to adapt to Onimusha’s controls was how strafing worked with the fixed camera angles. When you hold the Stance button, you lock on to the nearest enemy and the tank controls switch over to a strafing system that allows you to circle your target and avoid their strikes or look for exposed areas when enemies are blocking. It took a while to get where I wanted to move Samanosuke around in relation to which directional buttons I was pushing, and I’m still not sure if I’ve fully adapted. There’s some cool flourishes to the mostly simple combat, such as the ability to do a lethal counter hit if you lock onto an enemy and press the attack button just as they’re about to hit you. A flash of white occurs, and the enemy dies and leaves behind a more generous supply of souls than if you had fought them regularly, and it’s a simple yet effective risk-and-reward system because you could leave yourself to an attack and Samanosuke relies mainly on soul drops to heal with Medicine as a backup measure during boss encounters. Another important thing to consider during combat is that you need to press the block button again after deflecting the attack if you want to defend against a consecutive attack because the hits will throw you off your stance.

I love the demon designs here because they’re both grotesque and at some points comical and that tonal dissonance adds to their inhuman nature. The other thing is that for some reason all the higher demons are named after characters from Shakespeare’s plays. This laughing Void-knockoff is apparently called Guildenstern (I didn’t see any reference to his name at all in any of the in-game text, and I’m not sure if the manual spoils their appearance in the game so I can’t say for sure if there’s any supplemental material there), and the final boss of the game is named Fortinbras, Hamlet’s rival and thematic doppelganger.

(I’ve still got a few more things to highlight, but I think I hit the limit of how many videos I can link to in a post so I’ll show them off in Part 2)

[kierongillen]

Writer Notes: The Wicked + the Divine 28

Spoilers, obv.

I mentioned in the back of the issue that I was thinking that Imperial Phase Part I would just end with no climax. As in, what would be more proggy and self-indulgent than to do that? Just to assume that people would accept a whole year of issues as a single trade, and have that slow build. And if people are expecting a surprise, not having a surprise would be the bigger one?

Except I plotted out the fucker, and realised this issue would end the trade, and that works pretty well as a climax.  Not as big as any of the other ones, arguably, but wider and certainly a change of status quo. Plus it's an unexpected answer to the question of “Who's going to die?” undermining the assumption that it has to be one of our core cast.

This is probably a good example of how I talk about knowing everything in WicDiv, but the execution being more flexible. As in, all these beats are there, but working out how to play them came when planning these two arcs.

It's a hard issue for me, to be honest. WicDiv is definitely in a cause of anxiety place for me now, and thematically I can see why. WicDiv is always a juggling act, but I'm aware I'm juggling knives.

Jamie's Cover: The last of the first half of Imperial Phase. The design continues to the second half of Imperial Phase, with variations. I think this one is particularly beautiful, but pointed.

Elsa Charretier's Cover: We met Elsa when we were launching WicDiv in France. Glenat, our French Publisher, had commissioned her to do a WicDiv print. That was beautiful, and we asked her if she'd be up for a cover. And lo, this was born. The commission was glamour and sex – I think I suggested the idea of a sun in a martini glass. Elsa summoned this panorama that I just lose myself in.

It's also one of our rare Alt covers which is actually coloured by Matt Wilson, who took a pretty radical approach to the image. Matt Wilson for Eisner!

Page 1 Last time I talked about having a surplus of material and working out how to present it, and it actually all compressing down worryingly well. I had my list of things I wanted to happen before the party. I realised that some of them – mainly Sakhmet related – I could move into issue 29. Which left this, which I felt as an incredibly low-key mundane scene made a fun thing to hard cut from to the party.

Roehampton chosen due to me doing a seminar at the University there last year. I felt that Blake would be teaching in a place like it.

Jamie had a hefty re-write of this one when drawing it, and we chewed over the execution in chat a little. “The script is the start of a conversation, not the end of it.”

Wall stuff was also done in conversation. I gave Jamie a bunch of suggestions and we unpacked a little more.  Shall I go though and say what they all are? I'm not sure if I can recognise them in fragments. That's Girl's Generation, the K-Pop band on the left. They were the primary visual inspiration for the Valkyries. Oh – and Jamie tells me that's Katy Perry on the right.

Page 2 I am very fond of the side-eye of Blake in the second panel. Strong Jamie expression.

Behind Blake is... League of Legends, Ghost in the Machine and Voltron.

And another really strong face in the last panel.

Page 3 Oddly, Cassandra's habit of little encouraging asides to people seems to be a thing now. How will people read them in world? Actually sincerely or patronising? I guess it depends how defensive they were feeling on any given day.

Page 4 A call back to Larkin's This Be The Verse, quoted by Luci in the first issue, recalled by Laura in issue 6.

My first draft title was Pride, drawing a line between Blake's parental pride and Sakmet's pride of lions. And then we remembered it'll also call to mind Pride, which when there's a slaughter at a pansexual orgy, is definitely not a comparison we wanted to make. So we went to this.

I suspect these writer notes are mainly my “here are some of the landmines we nearly stepped on” log.

Page 5 Originally the line was a lift of Lady Vox's in Phonogram, but something more noxious was clearly better. I called for the cocaine-tool, and Jamie out-did himself. The mosquito-like device emerging from the helmet is quite the thing. I suspect this is a left over Iron Man idea.

The visual element of the performance of the colouring-stage added symbols came from Matt. He was playing with various overlapping shapes, which were beautiful, but didn't seem to be anything other than a cute aesthetic. And then we realised that if we made them all Amaterasu symbols it'll integrate into the whole book. And lo, it does.

When plotting this issue, it's very much a “okay, what order CAN they be in.” I suspect I'd have rather taken more time to get to the confrontation, but everything else is more important to be in its place. Space is the interesting one – I suspect given an infinite budget we'd have have played more space to introduce this party/temple, probably with a issue-8 style dance-floor shot. But we don't, so we go completely the other way with this very TIGHT open, and put you in the middle of this slightly disorientating party you build up piecemeal. 

Page 6 This involved some consultancy here, as I suspected (and I was right) that the original draft of Cassandra's dialogue let Woden off the hook too easily. We ended up tweaking a bunch to make her angrier to start, and still angry at the end, even after she takes Woden's point. I suspect I'd have gone even further given a chance to do it again.

(I mean, do you believe Woden that he didn't click? Plus that he knows the implicit threat by saying he didn't click – as in, he definitely could click if he wanted to. This is particularly noxious by Woden.)

End of the page is the closest we get to an establishing shot of the club/temple, btw.

Note that Jamie has moved away from a strict eight panel grid here, which suits the material. That panels two and five are these relatively smaller moments means that it would be dead space.

Page 7 And notice the strict eight panel grid here, which Jamie maintains as all these beats are basically of equal narrative weight.

Panel 7 is Jamie redrawing the splash from Brandon Graham's issue. Clearly relevant to what's coming further down the line.

In an issue of fairly bleak jokes, I think Woden's last panel takes the prize.

Page 8 The sequence is the last bit of set-up for the end of the issue. I suspect a re-read of the last couple of issues will see what I considered the necessary Sakhmet beats to get here. Next issue has more, but it's all very morning-after.

Special call out for Clayton for the second panel, which uses a PING! To basically split this panel into two panels in terms of reading. There's Amaterasu's first line... a small delay – and then the next piece of information. This is joined to the left-right movement across the panel from seeing the back of her head (I'm leaving!) to the right side of the panel (Where we then see she's looking at her phone.)

The softest beat of the issue, and probably one that I'd have stressed more if it was only a grace note, would be the reason for Baal's absence. Persephone assumes it's because that she is there, hence the segue in conversation on hurting people.

(In a boring practical way, Baal and Minerva not being here streamlines an issue which all the cast are present at. They don't need to be here, and their absence says more.)

The last three panels on the page are the closest that Sakhmet has come to a speech. Originally, there was about twice as much dialogue, but we worked it over obsessively to get to the core essentials (and try and avoid juxtapositions which we simply didn't want.) C and I shouting various takes and word-switches for about an hour in the living room.

All the WicDiv characters depress me. I think Sakhmet depresses me most of all.

Page 9 Anyway, yes, Sakhmet, that is a very good look.

Sakhmet's entry for the bleak joke competition, evidently.

Page 10 That we cut away from Casssandra means we get to cut back to her after the reasonable stage of an exchange and straight into this.

Hmm. There's something odd about this issue in terms of how pretty it all is, versus the emotions that are flying around. That's Amaterasu all over though.

The third panel was key for us to have Amaterasu's lines juxtaposed by Cassandra's response, so that it couldn't be taken out of context. A character responding to another character's incoherent racism is important context. I considered the archaic spelling “Moslem” but decided that while I'm sure that Amaterasu would use it, it wasn't worth putting in the text. It's offensive enough anyway.

Page 11 Some fascinating character work by Matt and Jamie on Amaterasu's speech to camera. The passive-aggressive nature of her threat is particularly sickly.

Cass' swearing is a delight.

I think I originally did something like “Clawing her eyes out” and tweaked as I) gendered ii) with where the issue goes, sets up all sorts of uncomfortable resonances with both Morrigan and Sakhmet. WicDiv is designed to be viewed as a hologram, so removing data strands that aren't intended is key.

(I mean, I talk about being anxious earlier? That's certainly a reason. There's so many moving parts in this fucker, and for all our efforts we can’t be sure that some of them are going to mesh awkwardly. We can always miss something.)

Anyway – there goes Cass, told to go home, the first of the people to leave the party. Everyone else gradually leaves, until it's just the people who remain. Woden doesn't get an exit, but let's be candid – no-one would have ever assumed Woden would be invited to the orgy.

And Dio takes over as the connective tissue. Hmm. Re-reading this after a few weeks is making me realise how tightly wound it really is. I had a friend write to tell me how many panels the last two issues had. 26 with 127 and 27 with 142. I did a quick count, and this one is (about) 119, so a little down, but when an average mainstream comic would have around 80 panels in (No more than a 5 panel beat, with average panel count lower than due to splashes, action pages, etc) it speaks to how compressed this is running on. No wonder I feel like it's going to explode.

Anyway, Dio. What have you seen?

Page 12 The main worry on this page was not making the storytelling too comic. The “someone leaves” And then “Someone unexpected follows pushing first person out of the way” can definitely come across as slapstick. Jamie doesn't do that, so phew. It's setting up for the destination.

The hyper-distorted close-up-to-reader Amaterasu symbols here are fascinating. Well done, Matt.

Page 13 And out in the street. Matt's glow from the door, into the cold blues of the street is strong. Immediate change of mood.

(Also, has me thinking of the break to darkness in issue 8 before going back to the party, as a structural parallel)

I don't actually use much contemporary slang in WicDiv. I suspect this isn't actually something people have noticed. As such, I had a good hard think before using Ghosting, but it's the right word and sentiment. And – well – Ghosting and Goths is an interesting line.

The goth kids absence from the comic have been notable. As they'd been major players earlier, they were always going to step back so other characters can move closer to the spotlight. I realised pretty early in planning Imperial Phase that the necessary retreat from the spotlight would be a way to explicitly introduce the plot. We could delineate their absence.

Page 14 Yeah, I'm uncomfortable too.

I don't think it's worth talking about this in any more detail now. Probably more later as we continue into the story.

Dionysus is the character who has most often surprised me in WicDiv. When he enters a scene, he goes in an unusual direction. He asks slightly different questions from most of the cast. “She chased him out the building and now he looks like this? Clearly...” seems a fair leap to make.

Page 15 “I love you, but...” is one of the more obvious bits of connective tissue in the issue.

Jamie does an interesting choice in terms of panel 4 and Persephone's response.

Another bit of peak Amaterasu here in the “What happened to my party?” response. Upset of her party not going according to her plans is, of course, how the arc starts for Amy as well.

Matt obviously gets the colouring interesting – all amber here – but Jamie is doing a lot to bridge the gap between two sub-scenes. That fifth panel re-sets it all, and hopefully Amaterasu's voice carries people back inside.

Page 16 The first panel landed very well. There's a lot of emotional weight that this has to carry, and suggesting of other things, and it seems to hold together. I suspect you can patch together all the Persephone Lines To Camera in WicDiv and get an interesting portrait of where she thinks she is.

(I mean, this is Jamie. It's never just about the line. I can't even imagine trying to write this stuff for another artist.)

My favourite person in all of WicDiv may be the guy in the hat in the bottom panel who goes “You know – actually, no, I don't think so. I think I'll have an early night” when presented with this offer. Good call, random person.

Interesting choice of panel breaking by Jamie on the last panel, which gets a sense of the rush of the response.

Page 17 Well, yes.

Page 18 When someone asked me about sex scenes a while back, this was already written and perhaps even being drawn, so I was aware of this in terms of a hypothetical WicDiv scene scene. Let's quote the thing here for reference...

We certainly don’t linger on the sex scenes. There’s an orgy in issue 11. There’s one beat where you see Morrigan and Baphomet in issue 16. There’s the repurposed Sex Criminal pages in 14. There’s very little kissing in terms of what you actually see  - there’s one in 20 and one in 24, so far. While at the same time, characters having sex with one another is one of the things which drives the plot.

Speaking generally, I’ve got no moral reservation about sex scenes in stories per se. It always speaks to the effect the story is trying to have. To state the obvious, in erotica it’s very much the point of the thing.

There’s a couple of problems specifically in WicDiv…

1) Seeings someone have sex has a tendency to make the scene about you watching. Our characters are often, in their own way, viewpoint characters. Anything which makes a character perform for the viewer is against our intent there. There’s times we’ve approached it, and Jamie has very much backed away when we approached the page, as it was just extraneous. Why do it if it serves no purpose? 2) Probably more importantly, sex is usually dead pages in terms of drama. The fight scenes WicDiv does are almost always not about fighting. They’re about a change of dramatic states, a visually interesting way to push the plot along. Go through a fight scene and note down what you learn about each character in it. You can certainly do that in a sex scene… but dramatically speaking, the “decision to have sex” and “how you feel afterwards” are the key beats. So we linger on them a LOT.

But there’s certainly sex scenes I’ve written in my notes, and they’re much more character driven things, one way or another. I suspect one will come up sooner rather than later, though watching how we do it will be the interesting one.

That “interesting” sits uncomfortably with me, as it sounds like I'm foreshadowing this awful mess, when I'm talking in terms of craft. How do you do that and stay to our aims? The things I'd point to here is primarily Jamie's choices – how he chooses to frame nakedness, how he chooses to frame sex. Generally speaking, this is an illustrative scene. The neutrality is key – Amaterasu's nakedness  in panel 6 would be a key one. There is no pose for the readers' eye's delight. This is a character who happens to be naked. Or at least, that's how we hope it's read.

(There's also other things – we thought that if Sakhmet is the first character to be shown naked just as she turns on a killing range, that has a lot of semiotics in there we'd like to avoid.)

Page 19 You know how life can just shatter in a second? I guess that's what we were going for here. Just one character being thoughtless, and...

(Fill in “That escalated quickly” gif, obviously)

For my money, perhaps Jamie's best art of the issue is the last two panels. The suspended glass, and then that close up – which is not one, but both of the best single expressions in the book.

Page 20-21 Amaterasu runs – I've seen some people think that Sakhmet killed her in this scene, which is one of those “you always must remember your audience is diverse in terms of how much they're aware of things like knowing what a character's power looks like, especially when a larger than normal percentage of your readers are new to comics.” I'm not sure there's much we could have done, except maybe a “come back!” from Sakhmet in the first panel. But  that feels too crass for the people who DO get it. Balancing what is too opaque and what is too crass is basically 95% of comics for me.

This spread was budgeted as a single page, in terms of the amount Jamie has drawn. I may have done it anyway, but it is a way to ensure that we have a page turn onto the image on page 22.

(Also visual symmetry with Sakhmet in issue 17, where the black out image is also used.)

Page 22 I like how careful Jamie is here as well. I suspect the page with the most colouring tweaks in it, as Jamie wanted it to have the correct level of horror to it.

I originally had a more on-the-nose element to the image – a message scrawled in blood – but as much as I like a good System Shock homage, it was decided it was just too much. It's a Grand Guignol beat, sure, but not like that. It seems that there is a thing such as “too unsubtle” even for WicDiv.

Page 23 When originally planning the book, I thought this flashback was going to be at the end of Rising Action. After writing it, we realised we didn't need it – Persephone terrible and resplendent, with all the awful potential didn't need anything else. This is probably a good example of what I talk about in terms of when we say “we know all the material – it's just a question of execution.” I find myself thinking of how movies are really made by the editor, cutting scenes around.

(There's certainly things I've wanted to get in this arc which I've lost as something else was always more pressing. You may remember me saying one of my worries about year 3 in WicDiv was it was mainly girls being involved with girls, and there wasn't enough male/male intimacy? That would be an example of something which I'd like to find a place for, but have failed to do so far. Still, onwards.)

As a craft note, I'd point towards “6 months earlier” as a choice worth considering for creators. If you just write dates to control flashbacks rather than stating the relative position, you will lose your reader almost completely. They don't remember what period a story is set in just via numbers. They need either word based hand-holding or something much more visual in the story. Be very careful with this shit.

Page 24 In an issue as compressed as this, a page of Ananke way back in issue 21 me a luxury. But for someone like Ananke, it's so rare I hope it's interesting. Some strong expression work in here.

Clearly the advantage of that mask of hers is that it means it's harder for people to see that she's been crying.

Page 25 A “free” page in terms of budget, though Jamie clearly committed to it  with the hand.

In the third year's hardback, we may include our somewhat hilarious lettering trial runs where Chrissy and Katie tried their handwriting. The final one is actually the work of Marguerite Bennett, who as a self-described Supervillain seemed a good person to ask to do it. Also, I've seen enough of her pen when signing issues of Angela, so knew she had a fascinating font. She was enormously ill and bed-ridden, so it was touch or go whether she would be able to do it, but thankfully it all came together. Thanks, M.

Page 26 A complete re-use of the opening of issue 21, with the final panel turned into a (tweaked) repeat of the penultimate panel. Once more we return and all that.

We'll be doing a little tweak to this page in the trade in the penultimate panel, to put a little glow on the machinery.

Page 27 We had to debate whether to put the present date or the flashback date here, but settled on this.

And that's it. Coming up shortly is the 455 AD special, which certainly fits thematically in with this arc and Andre (and Matt) have done wonderful work on. Then the trade in June, and back with Imperial Phase Part II in July.

Thanks for reading.

[theclacks]

Buffy Thoughts - Season 6

I’m splitting up my Angel Season 3 thoughts into a different post because I have too many feelings this time to cram them both together. In summary though...

Me at the beginning of season 6:

Me at the end of season 6:

Previous Seasonal Recaps: BtVS S1+S2, BtVS S3, BtVS S4 + AtS S1, BtVS S5 + AtS S2

Previous Episodic Recaps: S6E1-3, S6E15, S6E16, S6E18, S619, S6E20-E21

On Overall Thoughts

The was by far the weirdest season of any show I've ever watched, and that includes season 4 of Battlestar Galactica. A couple people have commented on my smaller, episode recaps that apparently there was disagreement in the writer’s room? And boy does that explain a lot because yeah. Tonal dissonance out the wazoo.

I liked the juxtaposition of smaller villains in contrast with the huge internal problems the characters were going through. And ultimately, had it been executed with a more solid vision, I think this might have been one of my favorite seasons because at the end of the day I kind of love soap operas in the vein of Downton Abbey and Gossip Girl, and season six was a soap opera but with punching. And vampires. And death.

And regardless of me simultaneously hating episodes and loving episodes, it was definitely the most INVOLVED I've been with the show thus far. I mean, I wrote six or seven "per episode" recaps? I POSTED A GIF OF “EVERYTHING IS AWESOME” SAYING “SEASON SIX DO YOUR WORST” AND THEN IN THE VERY FUCKING NEXT EPISODE TARA DIES AND SPIKE TRIES TO RAPE BUFFY. I ASSUME ALL YOUR GUYS’ “LIKES” ON THAT POST WERE MADE IN SAD, CRUEL IRONY.

I think a lot of Buffy’s depression was solid because it really hit close to home, “Going Through the Motions” in particular.

There was a good comment in one of the AV Club reviews in that the season itself is super meta because Buffy died and the show itself was supposed to be cancelled. Her resurrection was the show’s resurrection, so in a lot of ways this season was more like a sequel to Buffy than the next season? And it was a kind of “what now?” sequel, where there weren’t any good answers and life just kind of sucks sometimes.

Well, a lot of times.

But because a lot of it hits painfully close to home, like The Body, it's something that I’m not entirely sure how many time I want to rewatch.

So yeah. I’m going to go through character by character thoughts, then do a thing on general inconsistencies and plot holes that bugged me, and then do predictions for Season 7, and I’ll be done.

On the Trio

I loved them as villains. Their bumbling methods give a perfect excuse for why they're in some episodes and why in others they're not. (Contrast this to Adam in season 4 who just sort of “took a break” a lot of times.)

Plus, there can't always be escalating threats. After Glory, they were going to do... what? An even more powerful God? Going with a more down to earth threat gives room for other emotional arcs to breathe, and at the end of the day they ended up being more deadly than the villains of Season 4 and Season 5 (RIP Tara).

Also, I loved how they maintained their separate personalities. I loved that Jonathan was the most sympathetic, but that also he wasn't "good" either.

On Giles

I get actor contracts and needing to write him out, and the writers tried to smooth it over with him and Buffy sharing a hysterical laugh in the finale, but I still think Giles should've been chewed out

I mean, a watcher’s job is to take care of his slayer. Yes, Buffy’s an adult now, but she’s just come back from heaven. She showed suicidal impulses in Once More With Feeling, she would’ve committed suicide in OMWF if Spike hadn’t stopped her so WHY would Giles be all "i should go so that she can stand on her own feet." Like HOLY SHIT, there is a middle ground between enabling her out and FUCKING ABANDONING HER.

Also, he said he left so that Buffy took better care of Dawn, but guess WHAT? DAWN STILL GOT FUCKING IGNORED.

On Dawn

Dawn is the best. I love Dawn. I don't care if other people think she's "whiny,” I love her. Steal all the shit you want girl, it's not like people will notice until they've been magically stuck in a house with you for 48+ hours.

Which is ironic because I went into season 5 thinking I was going to hate her and now she’s in my top three faves with Spike and Anya.

I love her continued bro-ness with Spike. I think the very first episode of Season 6 was my favorite (more on that later) just because her friendship and brotherly bond with Spike just BLED through the screen... even though their screentime took a major hit when Buffy and Spike started their affair.

Also I like that her character arc was basically "please notice me, i'm still a character even though i'm no longer a plot point.” Because that’s a common flaw in ensemble shows when plot point character no longer become plot points. Also like, yeah, maybe it's annoying but being ignored and feeling inadequate is also a huge part of what being a little sister is like.

And the episode where they all got stuck in the house together was a FUN episode in a sea of NOT FUN episodes, so four for you, Dawn Summers, you go Dawn Summers.

On Anya

My fave, my love.

I like that everyone was banking on her to ditch Xander, for her to have cold feet at their wedding, but it ended up being the other way around.

However my thoughts on Anya’s character arc this season are mixed because although I loved her becoming a vengeance demon again, that pretty much WAS her character arc. Everyone episode leading up to Hell’s Bells was filler for her. Like emotionally she didn’t change from Bargaining: Part One until the altar.

BUT, Anya and Spike drinking together and being bros in Entropy was by far... well, my second favorite part of the latter half of season six. (My favorite being the wedding conversation Spike and Buffy have.) And I still stand by what I said in my episodic reviews that Xander left HER at the altar, so she owned him nothing and deserved NONE of his "how could you do this?!!?" chewouts whatsoever.

Which, speaking of Xander…

On Xander

I appreciate what the writers tried to do with him this season, but I didn't like the execution.

Like yes, he's the guy normal and had RIDICULOUS pressure on him in the sense that he's the ONLY one in the group who never has, had, or eventually received super powers, and there's definitely something to be said for the decision to keep him that way. Also, I liked how he was used in the finale, how he was the one who calmed willow down with their mutual friendship…. HOWEVER

That friendship bond was built on past seasons of interaction, not this one. Willow and Xander didn’t interact at all this season. (Or it was so minor I already forgot.) And, sure, you can argue that that’s the point, that the strength and tragedy of their bond is how old it is despite how neglected it’s become, but it’s my personal view that seasons should be somewhat self-contained? Or at least they should be given the way Buffy handles its seasons.

Because yeah. This season, Xander’s only scenes were worries with Anya, snippiness at Spike, and occasional worries with Buffy. He didn’t interact with Dawn or Willow or Tara or even Giles when Giles was still in the picture. Xander was just flat and rather unlikeable this season.

On Tara

I talked about Tara's death in my Seeing Red recap, so I'll leave this one note here.

I don’t think Tara was ever a fully developed character. She was a really good love interest, but the writers never let her blossom and play off the other characters.

And THAT was the most annoying thing about her death because SHE WAS JUST STARTING TO BLOSSOM.

Through the Spuffy affair, she got her own relationship with Buffy as level-headed confidant. She got her own relationship with Dawn as motherly aunt. And I wish they would've kept going that direction because Tara without Willow was really cool.

On Willow

I loved Willow's arc this season. It was my favorite arc because it was consistent, well-executed (ignoring the brief “drugs are bad, m’kay” episode), had a clear beginning, turning point, dive off a cliff, struggle back to calm floating, and then dive off a EVEN BIGGER APOCALYPTIC cliff.

Like, if all of the other plots lines had been as strong as Willow’s, I think this could've been my favorite season.

Unfortunately Xander/Anya and Dawn's were a little too shallow, so they had a lot of "filler" episodes for their characters. And Spike and Buffy’s were all over the place, bouncing back and forth thematically.

That said, I looking forward to seeing Willow's recovery in season 7.

On Buffy's situation and how it could've been avoided

I really don't know how to talk about Buffy herself, so instead I’m going to talk about her situation and how I think a significant portion of Buffy’s stress and angst this season was on her friends TOTALLY dropping the ball.

Let’s start with finances.

Willow and Tara can start paying some fucking rent, thank you. I don't care if they don’t have jobs, they were obviously paying for their dorm rooms somehow, they can pay for part of buffy's mortgage.

AND IF THEY CAN'T PAY RENT, THEY SHOULD GET PART TIME JOBS ALONGSIDE BUFFY. Lots of college kids have them. Just because they’re going to class and Buffy’s not isn’t an excuse. It's like "SORRY BUFFY, WE’RE TOO BUSY TO HAVE JOBS BECAUSE OUR TIME IS MORE IMPORTANT THAN YOURS EVEN THOUGH YOU TECHNICALLY ALREADY HAVE A FULL TIME JOB AS THE SLAYER" like jesus christ, Willow and Tara.

But even that, I could chalk up as Willow and Tara not thinking/being immature if it hadn’t been for Giles backing up their mindset. Like Giles gets a stipend for being a watcher. Why doesn't Buffy get a stipend for being a slayer? Have other slayers in history needed to support themselves with minimum wage jobs? WHY DIDN'T GILES GET WILLOW AND TARA TO PAY THEIR PART OF THE RENT?

Also Buffy’s dad and child support. GILES, SHE’S TAKING CARE OF A MINOR. AT LEAST HELP HER GO TO COURT AND CLAIM CHILD SUPPORT.

Like, just, fucking support group some of this stuff people.

Season 6 acted like it was just Buffy's mental state that made everything so shitty, and yes, it was, but everyone else continuously dropping the ball until Buffy got buried in a sea of dropped balls didn’t exactly help things either.

So yeah, on behalf of Buffy, "fuck you, all the other scoobies of season six". 

Except Anya. Anya did nothing wrong.

On Spike

Because I've talked loads about him in other recaps, I’m going to move straight past his season six stuff and talk about his arc going forward.

Because OH MY GOD that ending.

HIS SOUL.

I thought I’d gotten spoiled for season 6′s ending. Turns out I got spoiled for season 7′s re: the hellmouth opening. Because yeah, I kept waiting for evil!Willow to open the hellmouth and then she pulled up the temple instead and I started getting SO confused, and then Spike was in Africa and asking to go back the way he was and I'd ALSO gotten spoilered for Spike getting his chip out and I thought THAT'D be the big thing, which didn’t seem like it was big enough for giant Africa sidequest and then boom

SOUL.

But at the same time, I can't see Spike acting much different with it. Like my favorite parallel/difference with Spike and Angel is that Angel does a complete personality flip with or without his soul. Like total good vs total evil. But Spike is already grey. And I really like the idea of his causing him to flip... to more grey.

Like when Spike comes back to Sunnydale, will the other characters even know the difference? I'm predicting they won't. Im predicting he's going to hide it from them and then it's going to be a WHAM moment or something around episode 5… or 6… or 7? IDK, one of those. The show likes its WHAM moments between episodes 5 and 7.

Also, I have no idea if Spike’s going to get back together with Buffy? I'm thinking not based on the tone of posts i've seen, and also because season 6 is THE talked about season, so season 7 will be mellower? IDK.

But then, I've also seen spoiler screencaps of them just chillin' and honestly Buffy and Spike just chillin' and being at peace/trust with each other means WAY more to me than angsty sex and being physically together. Like, I just want them supporting each other and joking and making each other smile and groan and all that fluffy shit… and then occasionally fist fighting themselves into the dirt because Spike and Buffy.

I will though end on one very annoyed Spike rant, which is the writers insisting that Spike’s evil because he only ever did good things because he loved Buffy/wanted to get into her pants, to which I say BULLSHIT.

Go back to Bargaining: Part One. Buffy was DEAD. Stone cold DEAD. And she had been for five months. Spike was still taking care of Dawn for her. He was following her wishes. He knew she wasn’t coming back. He knew he no longer had a “shot” with her. And yet he did the things she would’ve wanted him to do because it was selfless fucking LOVE, and I think that more than anything else was what frustrated me the most about this whole season. Because although I’m looking forward to what souled!Spike entails, I don’t think he needed it.

Anyways.

Results of Predictions for Season 6 Finale

- Willow gets de-evil!Willow-fied (CHECK)

- Clem lives (CHECK)

- Anya lives (CHECK)

- Spike comes back to Sunnydale because otherwise wtf is the point of his mystical quest thing (NO CHECK)

- Jonathan lives  (CHECK)

- Giles gets chewed out for leaving ONE EPISODE AFTER BUFFY REVEALED SHE WAS SUICIDAL like come on wtf  (HE APOLOGIES, BUT STILL... NO CHECK)

- Dawn and Spike have one more moment of being bros. I don’t even care about Spike and Buffy anymore. Just let me have Dawn and Spike being bros (I COUNT DAWN BAITING XANDER, SAYING “SPIKE WOULD’VE DONE IT” AS A BRO MOMENT. CHECK)

Predictions for Season 7

- Spike comes back to Sunnydale and becomes tentative friendship bros with Buffy with continual underlying UST that's never resolved again because of the attempted rape and also because none of my ships can ever be happy

- Dawn and Spike eventually work through his attempted rape and become bros again

- Dawn takes a level in badassery, will fight things

- Buffy's perma-death/rebirth will be addressed re: slayer chain of dead slayers leading to new slayer

- Anya stays a vengeance demon because fuck Xander

- Willow finds a happy place between using no magic whatsoever and trying to fry the earth

- Giles hangs out in Sunnydale again because Giles

- Anya stays in command of the magic shop because it's her magic shop… even though Willow kind of destroyed it

- Clem continues to have cameos because he's Clem and he's awesome

[miakleine-blog]

Research Paper - Intro, Lit Review, and Methods

Mia Kleine

Writ 1133

Dr. KT

5/16/18

Research Project

        Serial Killers are represented in our society in more ways than just the fear that someone will sneak into our house at night and kill us. Popular culture has run on this idea and created countless book, movies, television shows, podcasts, and more that focus on serial killers. These vary in their composition. Some are fictional some are not, some focus on a singular serial killer while some are crime fighting and have a different murderer every time. Either way, people often seek out this kind of entertainment despite its dark nature. It creates a level of fascination with dark and mysterious people who commit crimes we are so very scared of.

One specific example that puts the serial killer in the limelight is Dexter. Dexter is an America television show that aired from 2006-2013. This television show specifically focuses on Dexter, a middle-aged blood spatter analyst that spends his free time hunting down and killing criminals, specifically other murderers. This show is an interesting juxtaposition between a crime fighting vigilante and a heinous serial killer. Dexter is the protagonist of the story. Just like anyone else he has a girlfriend, a job, and a family he loves and cares about. However, there is no much more to him than this. Dexter has created a character that we can sympathize with. A serial killer we feel bad for and can relate to. Dexter is an enigma of sorts, he is neither good nor bad. The fascination and sympathy we feel for serial killers and our ability to love a character like Dexter raises the question “In what ways do the depictions of murders in popular culture perpetuate our fascination with them and ability sympathize with them?”

When looking at an incredibly popular television show that focuses on a serial killer, Donnelly (2012) introduces the idea that we are able to watch these shows because we put a very specific label on serial killers. This process of “othering” them creates a boundary between normal civilians and the monsters that kill them. This means that by watching these shows we do not emotionally connect with the victims or the serial killers. However, we even go a step beyond this. Gregoriou (2012) suggests the instead we create some kind of justification. The viewers of these television show find a way to rationalize the ability to watch a human kill another one. In Dexter specifically, Donnelly (2012) states that the viewers other him by placing him in the category more legitimate than a serial killer. Instead we think of him as a vigilante. This affects the othering process even more because when a character is only committing crimes against other criminals, there is less to feel scared of. Smith (2011) speaks more to this process of othering, but instead she considers the idea that thinking about serial killers in this way stems from a reaction that attempts to create a boundary between what we are watching and what is a real threat. This puts the serial killers that are in television shows into a box that separates them from the average person because they cannot hurt an average person. That way when we are watching one of these shows there is more room to become even farther away from a potentially threatening situation.

When discussing the numerous television shows that depict serial killers, it is important to also touch on the role of sympathy in these shows. While some do not seem to have sympathy in mind, many shows that focus on a single individual do incorporate this aspect. For example, Dexter focuses on that one character, rather than other shows that have a different antagonist every episode. Because Dexter is seen as the protagonist it is easier for viewers to relate to him and sympathize with him. According to The Encyclopedia of Emotion, “sympathy occurs if another person is suffering or in distress” (“Encyclopedia of Emotion”, 2010). Using this description, it can be argued that the reason viewers may have sympathy for Dexter is because of his suffering. The show implies that Dexter is a psychopath, and every day he struggles with the thoughts he has. This is also done through revealing Dexter’s past and the events that made him the way he is. In the show, he reveals that at a very young age his mother was murdered right in from and since then he has had thoughts of hurting others. By learning his dark past and the struggles his mind puts him through viewers are able to sympathize with him. In “Sympathy for the Devil: The Nice-Guy Serial Killer Next Door”, Bellafante describes the fact that “killing gives Dexter a rush” but that the code he lives by is a sort of “method of conduct” that keeps his impulses in line as well as limiting those impulses to those who are criminals (Bellafante, 2007). While he is a gruesome serial killer, he has his boundaries that keep him from harming anyone innocent. Smith (2011) says that while serial killers represent menaces in our society they also “[remain] recognizably and disturbingly human, reflective of our own innermost, unchecked passions” (Smith, 2011). Smith brings up the idea that one of the reasons we may feel sympathy for serial killers is because we can find common ground. They face inner demons every day just as others do.

Another aspect of crime television shows is the fear that they can often cause. A lot of the material revolves around difficult topics for individuals to grasp. Not only does it show someone ending someone life, it also shows families and friends losing their loved ones. It’s hard to think about individuals watching and enjoying these shows when they do show so much pain. According to Ryan Lambie (2017), fear can often be avoided by showing viewers they are not different than the protagonists. He describes a specific television show where a young man is interviewing serial killers, yet if you look closely and him and his life, you begin to see that he has a lot of similar habits with the serial killer. Creating a common ground for the serial killer and protagonists/viewers gives the individuals who are supposed to be scared of the serial killers a way to find similarities between them, and as a result reduce their fear. For the show Dexterspecifically, the aspect of the show that is meant to reduce fear is pretty obvious. Most people who sit down and watch Dexterare not murderers. Because Dexter only kills those who have killed others, the general population doesn’t have to be worried about a person like Dexter coming to get them. The viewers can separate themselves from the victims. According to Gregoriou (2012), many viewers of the show have posted about his vigilante work. One even said that “’In a perfect world, [Dexter] would be given a medal for his fine vigilante work.’” Many individuals also expressed their desire for a real-life Dexter. Unlike some other crime centric television shows, Dexter doesn’t focus on the idea of catching the vigilante serial killer. Because of this, Dexter himself is seen as the protagonist despite his murderous tendencies.

        While there is already a lot of research on why we are drawn to these shows and why we are able to watch them without a direct fear of being murdered, it is still unknown why we sympathize with them. To an extent it is easy to see similarities between “normal” people and Dexter, but there is one very big difference that separates Dexter from the rest of society. With Dexter specifically, a lot of his internal struggles revolve around his side hobby. His moments of angst and anxiety stem from the moments he is about to be caught.

Methods

        The primary research for this was heavily focused on normal every day individuals. This is because those are the kinds of people that would experience this. It was important to focus on individuals who watch television shows, read books, and listen to podcasts because they are the individuals who have experienced sympathy and fascination towards a serial killer. The targeted audience for this research was originally meant to be young individuals who had most likely grown up with serial killers in popular culture all around them. The survey was targeted to younger individuals. However, as the research slowly became a case study on the television show Dexter the research changed. Because Dexteraired many years ago, the targeted group had not seen it. In order to get more responses from individuals who had seen the show, I opened it up to a wider age range in search of more data on Dexter.

        The research was separated into three parts. These parts were comprised of a survey with a goal of 100 respondents, an interview, and observations. The survey was comprised of the following questions:

1.    Have you ever seen the television show Dexter?

2.   If yes, how do you feel about the character Dexter?

3.   If no, have you seen other television shows or movies that focus on a serial killer? If so, what was it?

4.   Do you enjoy watching television shows/movies based on serial killers?

5.   Do you enjoy learning about serial killers outside of television shows or movies?

6.   How does watching shows about serial killers make you feel?

7.    Have you ever felt sympathy towards a serial killer in a television show or movie?

The questions are specifically meant to learn more about why each respondent chose to watch a show or movie, and how they felt and reacted to that. Each question had a list of possible answer, but each question also had the option to fill in a personalized answer. This was intentionally added so that the research could expand beyond yes or no and could get a better understanding of why each person felt the way they did.

  The second aspect of the primary research was an interview. The interview took place with a current professor of Criminology at the University of Denver. The interview consisted of the following questions:

1.     How do you think popular culture has portrayed serial killers in our society?

2.    Do you think the portrayal is accurate? Why or why not?

3.    How do you believe this changed our perceptions of serial killers in real life?

4.    Why do you think people are often drawn to serial killers and want to learn more about them?

5.    Have you seen Dexter?

6.   How does Dexter represent serial killers? Is it accurate inaccurate? How so?

The purpose of the interview was to get a better understanding of real life versus popular culture, and how the different understandings affect each other. I then asked about Dexterspecifically, and how that specific depiction relates to real life crime.

[thisisforfilmclass]

Honor Thy Father

Balita, Lyca 

TF 1:30-3:00

With a title that appears to be an irony to the protagonist’s irreligiosity and a mockery to the root of conflict of the film, Honor Thy Father, directed by multi-awarded filmmaker Erik Matti, provides a realistic narration of Edgar’s story as he desperately tries to recover huge financial losses to save his family from the deadly threats of investors to whom they owe money. To effectively narrate the film and portray core themes of greed and love of family, the film makes appropriate use of techniques in misc-en-scene, cinematography, and sound.

Misc-en-scene elements were mainly used with subtlety to describe characters and establish settings. In the beginning of the film, Edgar was shown working manual labor, specifically landscaping. In contrast, his wife Kaye was introduced walking out a building and donning a blazer and a luxury bag, a metonymic prop for wealth and the only item the couple fought for to keep their wealth when they were being robbed. The couple's differences lays the foundation for the contrasts in the couple’s religiosity and background further shown in the rest of the film. Subtle props also give information about other characters. Example, the presence of fishing nets in Mang Deng’s setting suggests that he is a fisherman, and the use of the license plate with a number 8 in Cedrick’s Hummer shows he is a wealthy congressman.

For décor, to show the couple’s being initially well-off, elegant furniture and paintings were displayed in their organized home, the first major setting in the film. This organized and well-designed setting is in contrast with their home after the angry investors’ attack. Their home afterwards was a mess: their items missing, the paintings on the walls unaligned, and the floor filled with scattered clothes and papers. This setting draws similarity with the messy house Edgar visited whose owner was presumably the man discovered dead in the consequent scene. The next major setting in the film is the church with extravagance shown in its exterior of a tall mansion-like building with a fancy staircase and pillars, and its spacious interior with tables of desserts or stacks of money. The purpose of showing these décors was to further the image of greed and corruption within the religion. The last major setting is Edgar’s hometown, a rural mining area with the presence of stacked sacks, tunnels, and men bearing pickaxes and wearing helmets with headlights. The poor setting prompts the question on how Edgar’s family will help him financially, hinting at the possibility of illegal activity. The tunnel in their hometown is differentiated with the church tunnel because the latter shows a small entrance accessible by a makeshift raft, leading to a tighter bug-infested space, a sign that it isn’t frequented by workers and they probably aren’t allowed there in the first place.

Generally, the light source was natural. Artificial lighting was used mostly in the lowkey lit tunnels where only lamps and headlights were used for illumination. The overall lighting configuration of the film shifted from highkey to lowkey when Edgar awakened after being beaten and robbed. The shift in lighting signaled conflict and a darkened mood.

Cinematography was used to smoothen the narrative flow. The film’s overall tonality is yellowish expressing warmth, and the shift from low contrast to high contrast and slightly desaturated tonalities occurred at the entrance of conflict, as aforementioned, to darken the mood. For framing, variety in framing height and angle were used most noticeably to show superiority/inferiority. Low height - low angle shots were used to show the angry crowd’s superiority over the couple before the crowd attacked and took their belongings; to show Cedrick’s dominance as he demanded payment within 2 weeks; and at the end of the film to show Edgar’s victory over the lifeless Cedrick. Conversely, birds eye shots showed inferiority or defeat, most evident when Kaye, isolated, was shown in despair as she sat on the toilet and held a knife she was to use for suicide; and when the pastor was shown tied and helpless on the floor as Edgar and his brothers stole from the church’s safe. The use of medium height - straight on framing was best used during the brothers’ escape after the robbery. The framing showed water taking up 1/3 of the shot, giving the feeling of being in the flooded tunnel and adding tightness to the space.

Perspective was mainly used to emphasize facial expressions, such as the racking focus from Kaye speaking about her miscarriage to Edgar’s sad expression. The shallow shot focused on Edgar’s indifferent expression and lazy posture as he stands in a crowd of blurred followers-slash-fanatics makes Edgar stand out in the enthusiastic crowd. Racking focus was also used in the scene where the focus shifted from Edgar, looking out the window, to the church in the background, revealing that the church is what they have been digging underground for.

As for mobility, the shots were generally static with occasional uses of mobile framing: panning shots to create establishing shots of the forest or to follow Edgar’s movements or vehicles, or handheld shots during the brothers’ escape after the robbery, creating a faster rhythm for the scene.

Sound was used intelligently throughout the film, especially with the play on musical motifs, overlapping sounds, and ironic juxtapositions of sound with shots. First, a noticeable musical motif throughout the film is the piano score, which is heard to signal upcoming danger and used to thread scenes. This sound motif was heard throughout the film, such as throughout the montage that compressed the cemetery, church, and courtroom events; when Angel was missing; when Edgar entered the church tunnel; as a sound thread to connect scenes such as the couple’s argument outside the church and the following scene when Edgar and Angel pack up. Because of the motif’s low pitch, minor key, and frequent previous use in moments of peril, it immediately evokes uneasiness and is associated with danger.

Second, overlap of sounds was used, and it was most prominent during Edgar’s bank robbery where the sounds of screaming children, telephone beeps, passing cars, and Edgar’s inner voice all overlap in loud volume. The dense mix juxtaposed with closeups of Edgar showing his wide eyes evokes the idea that his mind is in chaos and he is second guessing what he is doing, proven by the next scene where there is a sudden muting of sound as he leaves the bank.

Third, the ironic juxtaposition of musical scores with shots is best seen in the shot of Edgar and Angel’s bus ride to his hometown juxtaposed with the score ‘Ama Namin’, an irony because of Edgar’s irreligiosity and recent attack of a bishop. The score conveniently ends with “[deliver us from evil],” as Edgar and Angel arrive at Edgar’s home.

Speech was also used not only to show conversations to further the plot, but also to show settings. Specifically, the different dialect used by Edgar’s family shows that they’re in a distant non-Tagalog province.

The film also shows that it heavily relies on foreshadowing and symbolisms, as it begins with Edgar digging the ground, a subtle foreshadowing of important elements in the film – mining and death. Similarly, the most significant visual motif/prop is the pickaxe, as it was used in mining and killing Cedrick, the antagonist. The teacher scene gives an interesting juxtaposition of sound of a teacher scolding against violence and a closeup shot of Edgar reacting as if he were the one scolded, a foreshadowing of Edgar’s violent actions later in the film. The symbolism of Angel’s inability to get chicken earlier in the film and finally getting the last pieces of chicken later in Edgar’s hometown shows she’s treated better in Edgar’s hometown.

The theme of greed was evident throughout the film especially in the hypocritical churchgoers. The fact that they were more concerned with their money than the dead man, and they could beat, rob, and kill a man for money shows their hypocrisy as faithful people. This is not a surprise as the church itself was greedy and always out to collect money. On the other hand, the theme of love of family remains most dominant because Edgar's family’s safety was his primary motivation to go to such great lengths to collect the money Cedrick demanded. Edgar’s love for Angel was most explicitly shown when he shaved his hair so Angel would not be alone in being bald, and his love for his wife was best shown in the last scene when Kaye died and he burst into tears, a change from the violent, emotionless, and cold Edgar from previous scenes.

Overall, the film excellently delivered its message, with the appropriate use of film techniques to smoothen the narrative flow and deepen the story. The title Honor Thy Father as a religious reference is ironic to Edgar’s atheistic beliefs, and if taken literally mocks Kaye as it was her father who was the primary cause of conflict, making it ironically appropriate for the film.