#and the thing that creates the heightened and fantastical elements of the world

[queerpyracy]

i think what doesn't work for me when people talk about tsv supposedly being religious horror/making commentary about "religion" as a broad overarching category is that it's nonsensical to make commentary about "religion" in general. you can't do it. you have to pick one, and if you pick one it's going to show like black lettering under a thin layer of white paint. tsv borrows terminology, sure, it has its saints and angels--but they're deeply alien to saints and angels as they are understood in real world traditions. re-skinned catholicism this ain't

like this is what i mean when i say i don't think of tsv as being about its religions, but that it uses them as a vehicle to talk about (state/corporate/individual) power and violence. we see those themes of zealotry and clerical power struggles, but they aren't what the story's about. a story that is "about religion" isn't going to hand you catering staff being sacrificed to a fossil fuel god or incarcerated people being turned into public infrastructure.

and i don't think tsv would have the appeal that it does if it were about a specific kind of religion in that narrow way. because it's talking about these systems of power and violence that are very real, just made fantastical by the setting, it's much more biting than if it were trying to focus on religion. because tsv's gods and religions are strange and alien, the audience is able to sidestep a lot about real world traditions and engage more with the other themes, in a way that would be impossible if you scratched the surface and found "western christianity but weirder" under the paint.

[novlr]

How do you write a dream sequence?

Dream sequences allow writers to tap into the mysterious and sometimes bizarre world of dreams, exploring the subconscious and integrating symbolism and metaphor into their storytelling. Dreams can reveal a character's deepest fears, desires, and motivations in ways that may not be immediately obvious in the waking world. Writing a dream sequence can be challenging, but it's also an opportunity to let your imagination run wild, bringing your characters and stories to life in powerful and unforgettable ways.

What makes a good dream sequence?

Dream sequences should mimic actual dreams: chaotic, disorienting, yet meaningful. Readers should experience the same confusion and vividness they would in their own dreams.

A good dream sequence should give insight into a character's inner world while also advancing the story. To achieve this, it's important to strike a balance between the logical structure of the narrative and the illogical nature of dreams.

Vivid imagery: Dreams are often hyper-real, so the more vivid your descriptions, the more captivating and immersive the dream becomes.

Sensory details: In dreams, senses are often heightened, and evoking the senses can both enhance and subvert expectations

Symbolism: Everything has meaning in dreams. Dream sequences use symbols to foreshadow, hint, and reinforce.

Emotion: Using emotion in dream sequences allows characters to explore their heightened state, and expose their feelings on events.

Confusion: Dreams can be illogical and disjointed. By disorienting both your characters and readers, you can explore new narrative avenues.

Representation of desires or fears: Dreams often reflect our subconscious thoughts and emotions, and the images and events in the dream can reveal important information about the character's inner world.

Types of dream sequences

There are several different types of dream sequences that you can use in your writing. Each type serves a different purpose and can be used to convey different information about your characters and their inner worlds.

Foreshadowing: Dreams that set up or hint at future events in the narrative.

Nightmares: Dreams that evoke fear or anxiety in the dreamer and can reveal their deepest fears.

Lucid dreams: Dreams where the dreamer is aware that they are dreaming and can control what happens.

Fantasy dreams: Dreams that involve fantastical elements, such as talking animals or magical powers.

Recurring dreams: Dreams that happen over and over again and may represent unresolved issues in the dreamer's life.

Realisation dreams: Where something “clicks” for a character that they couldn’t figure out while awake.

Internal conflict: Dreams that give a colourful illustration of a character’s inner turmoil, letting the writer show, not tell.

Linked dreams: Dreams that allow two characters to communicate while asleep through a shared connection.

Quick tips for writing dream sequences

Dream sequences can add a unique and captivating element to any story, but they can be difficult to write. To ensure that your dream sequences are engaging, there are three things to keep in mind.

Firstly, apply logic, but remember that the dream needs to function as a scene and needs some sort of narrative.

Secondly, use narrative distance to create a floaty, dreamlike feel that makes your readers feel they're dreaming too.

Finally, use detail to create a certain atmosphere, either vague and eerie or overcrowded and stressful. Take care not to overdo it and make your readers uneasy to the point of wanting to walk away.

[manysmallhands]

FearOfMu21c #1

Lana Del Rey - Mariners Apartment Complex

Released - September 12, 2018

Highest UK chart position - #79

Spotify streams to date - 191,434,509

Of all the artists in this list, Lana has been the biggest pain in the arse. Despite being one of my favourite singers of the last decade, it has proved nigh on impossible to pin down the perfect Lana single. There are obvious choices to be made here but ultimately they don’t feel like mine; elsewhere there are fantastic albums that seem to work best as a whole, or where their best tracks are tucked away in the folds rather than placed out front. But just as I was ready to settle for something that wasn’t quite right, or maybe not even bother at all, a chance listen to Mariners Apartment Complex made me understand that the right song had been staring me in the face all along.

The first single off of what would eventually become Norman Fucking Rockwell casts Lana as mythmaker, one of the things where she truly excels. This is the beginning of her era as 70s revival queen, with the soft focus, soft rock vibes recreating a world of Laurel Canyon grandeur that almost existed but which somehow feels not quite the same; the production is just a little bit Disneyfied and there are even elements of clear cut, on the nose hokeyness which perversely only seem to heighten the impact. Lana herself is in commanding form: when she sings “You lose your way, just take my hand”, in effect she’s offering a manicured grip out to all of us, wrenching us back across the decades to a time when rock and roll still ruled and romance was the American way.

As is so often the case with Lana, it’s hard to know how seriously yr supposed to take it all but then that’s entirely the point: the artifice is part of what makes it convincing but without some sincerity at its heart, the song would be a hollow shell. Norman Fucking Rockwell was an album that took these apparent contradictions and ran long distances with them; Mariner’s Apartment Complex is just the best example of her creating something that’s even better than the real thing.

[dzzthink]

Movie soundtracks

I think movie soundtracks can be a greatly overlooked genre of music because it takes an immense amount of creativity and effort to compose the right melody to complement an emotional scene and even elevate the moment for the audience without the aid of any superfluous electronic synthesisers or even the need for lyrics but focusing solely on the purity of orchestral music. It is worth taking the time to watch a movie and listen to the score, and realizing how these tracks work within the context of the movie to create a more heightened cinematic experience, or even romanticize it further and imagine how it can be played out in sync with your own life.

Boy and the Heron (Joe Hisaishi) - If you like Ghibli movies, Hisaishi's scores never disappoint, but I’m going to look past the obvious choice of Spirited Away, to focus on The Boy and the Heron score, which really delivers many powerful notes that resonated with me when I was listening to the soundtrack by itself, conjuring a nostalgic and fantastical feeling of a boy about to mature and take action on his decisions, as well as bringing in elements of loss, courage, and finality. Check out these tracks: Ask me why (Mahito’s Commitment); The Great Collapse; The Last Smile; Feather Fletching; Farewell

Drive my car (Eiko Ishibashi) - The piano songs complement the road trip aspect of the movie, as we take a journey across the lives of a theatre director and his driver, as they ponder their experiences with grief and guilt. This brooding and serene collection of songs transports you through the artistry and philosophy behind the story, which makes this an extremely well-crafted and powerful album that meditates on the theme of finding purpose and consolation. Check out these tracks: Drive my car (Kafuku); Drive my car; Drive my car (Misaki); Drive my car (The most important thing is to work); We'll live through the long, long days, and through the long nights (SAAB 900)

The Brutalist (Daniel Blumberg) – I was quite impressed with the soundtrack just based on watching the trailer. The opening track is an immersive opening into the world of Laszlo following his immigrant journey through the emerging metropolis in America. Check out these tracks: Overture (Ship); Overture (Laszlo); Monologue; Bath; Stairs

Taxi driver (Bernard Herrmann) – Somehow jazz music works well with a story about a misanthropic man’s downward spiral through depravity and loneliness. Although many of these tracks follow the same tune, the sinister and chaotic nature of these tracks complements the soulful and harmonic saxophone sections. Check out these tracks: Main Title (From “Taxi driver”); Diary of a Taxi Driver; Sport and Iris; Betsy In a White Dress

Finding Nemo (Thomas Newman) – Newman is no doubt eternally famous for American Beauty, Road to Perdition, Shawshank Redemption, but it's his work on the Pixar classic that brings back so many sentimental childhood memories. Unfortunately, many of these tracks are only a minute long but they still carry immense depth and emotion. Check out these tracks: Nemo Egg (Main Title); Wow; First Day; Field Trip

Other great tracks

The Name of Life from Spirited Away (Joe Hisaishi) – one of Hisaishi’s masterpieces

In Motion from The Social Network (Trent Reznor and Atticus Ross) – a great track for the entrepreneurial spirit

Song on the Beach from Her (Arcade Fire with Owen Pallett) – peaceful and meditative

Jacob and the Stone from Minari (Emile Mosseri) – became quite a meme on the internet

aruarian dance from Samurai Champloo (Nujabes) – became even more famous outside of the anime it was featured in

Overture from Hero (Tan Dun) – along with Tan Dun’s work on Crouching Tiger, Hidden Dragon, this is an exceptional piece of art

One Summer Day from Spirited Away (Joe Hisaishi) – very Ghibli

Sunshine (Adagio in D Minor) from Sunshine (John Murphy) – filled with adrenaline and suspense

Epiphany from Soul (Trent Reznor and Atticus Ross) – quite a sad piece but still another great addition in the great body of Pixar music that has come out recently

Misato from Neon Genesis Evangelion (Shiro Sagisu) – rather famous anime song that has been used in other media

There are many other great scores (sorry to any Willams [Jaws, Schindler's List] or Zimmer [Inception, The Thin Red Line] fans) but for the sake of brevity these won't be mentioned as it is better to focus on some scores that might not have gotten as many listens.

[kimmellomida]

Rocketspin Rush: Experience the Thrill of Unstoppable Spins

When it comes to high-octane entertainment and the rush of endless excitement, Rocketspin offers a unique experience that keeps players on their toes. It’s not just about spinning; it’s about feeling the exhilaration of every turn, where the potential for massive rewards awaits around every corner. With Casino Rocketspin, the thrill of unstoppable spins is always within reach, ensuring that players are hooked from the moment they dive in.

Rocketspin’s appeal is rooted in its fast-paced gameplay and high-energy features. The moment you hit spin, you're immediately thrust into a world where every second counts. The vivid colors, engaging sound effects, and smooth animations all contribute to an atmosphere that is electric, creating a sense of urgency and excitement. Each spin is a moment of anticipation, as you wonder if the next one will lead to something spectacular.

One of the highlights of Rocketspin is its dynamic bonus system. Unlike other platforms, Rocketspin doesn’t just offer standard features; it takes things a step further by introducing innovative mechanics that keep the gameplay fresh and thrilling. Players can activate various bonus rounds that introduce multipliers, free spins, and other exciting elements that significantly boost their rewards. These features add a layer of complexity, where every spin has the potential to change the course of the game, creating an unstoppable rush of adrenaline.

The rewards on Rocketspin are designed to keep players engaged for the long haul. With every spin, players are presented with opportunities to unlock new features and rewards, creating an ongoing sense of achievement. This ensures that even the most seasoned players continue to feel the rush of excitement, as there’s always something new to discover and chase.

In addition to its innovative features, Rocketspin also offers a diverse selection of games. From themes inspired by science fiction to more fantastical adventures, Rocketspin has something for everyone. The variety ensures that players are constantly presented with new challenges, keeping the experience exciting and unpredictable. The rush of spinning takes on a new dimension as you dive into different worlds, each with its own set of rules and rewards.

One of the most exhilarating aspects of Rocketspin is the sense of progression. Every spin feels like a step closer to something bigger, whether it's unlocking a new level, collecting a massive reward, or triggering a bonus round. This continuous sense of progression ensures that players are always motivated to keep spinning, as they never know what exciting feature lies just beyond the next turn.

The community aspect of Rocketspin adds to the overall rush. Players can compete against each other, share their victories, and celebrate the thrill of each spin. The friendly competition heightens the excitement, as you cheer each other on in your pursuit of bigger rewards and higher spins. This sense of camaraderie adds a social element that makes Rocketspin more than just a game; it becomes an experience shared by a community of thrill-seekers.

Rocketspin’s user-friendly interface ensures that players can quickly jump into the action. Whether you’re new to the platform or an experienced player, the smooth design makes navigation effortless. The simple controls, combined with the fast-paced gameplay, ensure that the experience is seamless, allowing players to focus solely on the thrill of the spins.

At its core, Rocketspin is about the rush of the game – the excitement, the anticipation, and the satisfaction of rewards. The continuous cycle of spinning, winning, and progressing creates an experience that’s hard to match. With its dynamic features, diverse games, and community-driven spirit, Casino Rocket Spin ensures that the thrill of unstoppable spins is always just a spin away.

[anime14sblog]

Lie huo jiao chou: A Clever and Silly Japanese Animation Movie

lie-huo-jiao-chou is a Japanese anime television series that premiered on April 10, 1998. The show is known for its comedic elements, and it follows a group of friends who find themselves in various humorous situations. The anime's characters are all unique and lovable, and the humor is both clever and silly.

The show centers around a group of friends who live in a small town. The main character is, a young girl who is always getting into trouble. She is joined by her friends, each of whom has their own unique personality and quirks. Together, they go on a variety of adventures and get into all sorts of wacky situations.

One of the things that makes so special is the characters. Each character is unique and memorable, and they all have their own distinct personalities. The show's humor is largely driven by the interactions between the characters, and the writers do an excellent job of making each character's quirks and personality traits stand out.

Another thing that sets Let's lie-huo-jiao-chou apart from other anime is the humor. The show is known for its clever writing and silly moments. The humor is often slapstick, but it's also very witty and clever. The show has a way of making you laugh while also making you think.

If you're a fan of anime and you're looking for something that's both funny and heartwarming, is definitely worth checking out. The show has a lot of heart, and it's clear that the writers and animators put a lot of love and care into creating the characters and the world they inhabit.

Overall, lie-huo-jiao-chou is a fantastic anime that's sure to put a smile on your face. The show's characters are lovable, the humor is clever and silly, and the adventures they go on are always entertaining. If you're looking for an anime that's both funny and heartwarming, is definitely worth checking out.

The popularity of lie-huo-jiao-chou

The popularity of lie-huo-jiao-chou can also be attributed to its powerful soundtrack. The music serves as an emotional anchor, heightening the intensity of the action and evoking a range of emotions throughout the series. From epic orchestral pieces to hauntingly beautiful melodies, the soundtrack elevates the viewing experience and leaves a lasting impact on the audience.

Furthermore, lie-huo-jiao-chou the unique cultural aspects of its Chinese origins. It incorporates elements of traditional Chinese mythology and martial arts, giving the series a distinct identity. This cultural infusion not only adds authenticity to the storytelling but also introduces viewers to a different facet of the anime world.

Conclusion

lie-huo-jiao-chou is an anime series that deserves the spotlight it has garnered. With its breathtaking animation, captivating storyline, well-crafted characters, and powerful soundtrack, it has captured the hearts of anime fans worldwide. Whether you are a dedicated anime enthusiast or a newcomer to the genre, this enchanting series promises an unforgettable journey into a world teeming with magic, martial arts, and self-discovery. So, sit back, relax, and immerse.

[maacwanowrie]

The Magic of Visual Effects: How They Enhance Storytelling

A VFX diploma teaches students how to manipulate images on a screen to create things that are impossible to capture in real life. A VFX institute in Pune will prepare you to become an expert in this field.

Visual effects are a powerful tool in the hands of filmmakers, enabling them to weave fantastical worlds, create breathtaking spectacles, and enhance the storytelling experience. From subtle enhancements to jaw-dropping spectacles, visual effects have the ability to transport audiences to new realms and deepen their emotional connection to the story being told.

 One of the primary ways visual effects enhance storytelling is by creating immersive environments. Whether it's a futuristic cityscape, a mythical realm, or an alien planet, visual effects can bring these imaginative settings to life. They provide a visual language that helps establish the tone, mood, and atmosphere of a film, effectively setting the stage for the story that unfolds. By immersing audiences in these visually stunning environments, visual effects help suspend disbelief and transport viewers to the heart of the narrative.

 Visual effects also play a crucial role in character development. They allow filmmakers to seamlessly integrate fantastical creatures, supernatural abilities, or even alter the physical appearance of actors. These enhancements not only make characters visually striking but also provide insights into their personalities, abilities, and journeys. From the transformation of Bruce Banner into the Hulk in the Marvel Cinematic Universe to the enchanting creatures in the "Harry Potter" series, visual effects contribute to the rich tapestry of characters and add depth to their arcs.

 Moreover, visual effects can heighten the emotional impact of a story. They can manipulate the visual language to reflect the inner emotional states of characters or enhance dramatic moments. For example, the use of slow-motion or time manipulation in action sequences can intensify the tension and create a sense of spectacle. Visual effects can also amplify the scale of conflicts, such as the epic battle scenes in "The Lord of the Rings" trilogy, evoking awe and creating a visceral experience for the audience.

 In addition to creating fantastical elements, visual effects are often employed to seamlessly blend real-world footage with computer-generated imagery. This integration allows filmmakers to depict events that would be otherwise impossible or too dangerous to capture practically. Visual effects can extend the limits of what can be achieved on a set, enabling filmmakers to push the boundaries of storytelling and deliver awe-inspiring moments.

 Furthermore, visual effects can enhance the narrative structure itself. They can be used to convey abstract concepts, depict flashbacks or time jumps, and create visual motifs that tie different story elements together. The clever use of visual effects can add layers of symbolism and visual storytelling, enriching the narrative experience for the audience.

 In conclusion, visual effects are not just eye-catching spectacles; they are an integral part of modern storytelling. From creating immersive worlds and compelling characters to amplifying emotions and pushing the boundaries of what is visually possible, visual effects bring magic to the silver screen. They enhance the storytelling experience, captivating audiences and enabling filmmakers to realize their imaginative visions. As technology advances, visual effects will continue to evolve, opening up new frontiers for storytelling and captivating audiences in ways we can only begin to imagine.

[kyle-reviews]

Train to Busan Review

There's no doubt that Train to Busan is a great zombie movie, but I can't say it's the best zombie movie ever made, at least for me. It's a fight for survival as passengers ride deadly zombie-filled trains in the hope of finding a safe place to go. Even though it has a creepy and unsettling tone, it's definitely not as scary as it could be. This is probably because the director and playwright didn't intend to scare people, but to send a deeper message on the themes of family, love, betrayal, and the human instinct to do whatever it takes to flee from danger, all of which I loved. While Train to Busan's unique setting, trains, might be interesting to some, watching all those people squeezed into such a small area left me feeling tight and claustrophobic. What I liked most about it were the characters. You can't help but love Sang-Hwa played by Ma Dong-seok. There's just something so charming and endearing about him, and his love for his pregnant wife is so endearing. The shot compositions and cinematography were also sensational, but again, I don't think it was enough to blow me (or anyone) away.

One effective technique used in the movie is the use of non-diegetic sound when the woman first turns into a zombie. The eerie music in the background, which is not originating from the on-screen action, heightens the suspense and creates a sense of unease in the audience. The grim lighting and shaky handheld camera contribute to the movie's overall tense atmosphere. The use of close-up shots and the slow-motion scenes in the train further build on this tension, with the shadow and dark in the train creating a sense of claustrophobia, a feeling that the passengers on the train experience.

Furthermore, the movie's themes of family, betrayal, and egocentrism are communicated through the characters' actions and dialogue. For example, there is a romantic music when a character is infected, which highlights the love shared between characters. There is a subtle foreshadowing in the movie when Soo-an says, "you only care about yourself". This is an example of how the film uses dialogue to convey the theme of self-centrism, which contributes to the movie's overall commentary on human nature in times of crisis. The movie's shot composition and transition, along with the super loud music and shaky camera, are other effective film techniques that make Train to Busan an intense and thrilling movie. The final scene where the main character jumps on the train rail is both foreshadowed by previous Soo-an’s dialogue, which is meanwhile unexpected and provides a poignant and emotional conclusion to the movie.

Other zombie movies I've seen include World War Z, Zombieland, and Shaun of the Dead, which I enjoyed more than Train to Busan. I have to admit that World War Z takes the cake for me. World War Z had a fast-paced story that brought all sorts of action together, with so many things going on at the same time, which left no room for boredom. The editing in both movies was noteworthy, but the story of Train to Busan was not as complex as World War Z. I might be a little biased but Brad Pitt was fantastic as the lead in World War Z, and the supporting cast was just as good. I also liked that World War Z ended kind of open-ended. It reminded me of Christopher Nolan movies, where the audience is left to interpret what happens next. 

Having said all that, Train to Busan is definitely worth watching for fans of the zombie genre. While it wasn't my all-time favorite, it still had a lot of great elements, including complex characters, stunning cinematography, and an intense setting. However, in terms of sheer excitement and complexity, World War Z is the superior film in my opinion. I give it a strong 7.5/10 :)

[nanowrimo]

When Should You Worldbuild for Your Novel?

Every year, we’re lucky to have great sponsors for our nonprofit events. World Anvil, a 2020 NaNo sponsor, is a writing software that helps you develop and organize your characters, plot and world setting. Today, World Anvil Director Janet Forbes shares some tips for worldbuilding at all stages of your novel:

As a writing and worldbuilding expert, and the director of the award-winning worldbuilding and novel writing software World Anvil, I get asked this question a lot: at which stage during the novel writing process should you be worldbuilding? Should you be worldbuilding as you plot, as you draft, or as you edit? And—I see you out there, you glorious pantsers—what if you don’t plot? When should you be worldbuilding?

A quick disclaimer & explanation:

EVERYONE IS DIFFERENT! (Isn’t it beautiful?) This post is full of suggestions. If in doubt, try things out! But not everything will work for everyone. Experiment with these ideas, and develop a novel writing process that works for you!

Some of the best worldbuilding articles are only a few sentences—just long enough to document your ideas! You’ll probably expand them a bit through the drafting process as you discover or decide more details. But don’t feel you have to write the entire “Silmarillion” for your world! Longer articles often just mean more to read through when you’re in a hurry.

When to worldbuild as a Plotter?

Are you a plotter? Prefer to take a run at a first draft with a solid plan? Then here are some of the best places to work worldbuilding into your novel writing method!

Worldbuild the big stuff during the plotting phase

As a plotter, a lot of the big worldbuilding ideas probably come as you plot your novel. You’ll need characters who live in settlements, and were probably educated in organizations. They may or may not adhere to certain traditions or religions. You might add magic systems,  supernatural powers, and/or futuristic technology (which you’ll need to know the limitations of!). Writing down your ideas NOW means that you have them safe, and won’t lose them!

Worldbuilding your organizations, like Nations, Religions, Jedis, Police Forces and Universities, will help give them more impact, and make your world feel more dynamic and real!

Image Credit: Davina, made on World Anvil.

If your novel is an event novel—aliens invade, the Earth quakes, or a zombie virus is let loose—then write a bit about the nature of the threat. If you’re creating a character novel, make sure you have some notes on your main character’s background, mentors, relationships, education and skills. 

Worldbuilding these elements of your plot—even in just a few notes—before you start the first draft will really help you down the line! You can plan all of these out using the worldbuilding templates in World Anvil. They give you the freedom to create WHATEVER you want, help you connect everything together, and make everything searchable when you need it!

Worldbuilding during Draft 1—character experience and juicy details!

So, if you’re anything like me, you’ll probably find that something magical happens during your first draft. You start to consider your world through your character’s eyes! This means adding a lot of details to your worldbuilding—both SHOWING rather than TELLING, and sensory detail.

For example, you won’t tell your readers that an organization is evil. Instead, you can show a poor man in the stocks because he couldn’t afford his tithe or tax. Add that punishment to the  worldbuilding article about the evil organization, so you can remember it for later (or for book 2!).

Also, as your characters interact with places and people, they’ll feel, smell and hear (and maybe taste) details which heighten the experience. This makes your writing more evocative, and invites readers to feel they’re living in your novel, too! 

Add these details—you can even copy-paste relevant paragraphs as quotes—into your worldbuilding articles. Some Plotters prefer to do this scene by scene as they write their first draft. Others (like me!) prefer to do this as a separate stage, once the first draft is done. Read through the first draft, and add quotations or details into your worldbuilding articles. Future-you will thank you!

A fantastic example of a quick character profile! Hotlinks (shown here in red) help you link everything together in your world, so you can find things easily! 

Image Credit: ShyRedFox, created on World Anvil

Worldbuilding as a Panster!

If you’d rather fly by the seat of your pants than plot out each step of your novel, then congratulations—you’re a Panster! You probably love the exciting feeling of discovering your story as you write your first draft. So here are some ways you can work worldbuilding into your novel writing process!

Characters are worldbuilding too!

Most pantsers I know love to craft characters, even if they don’t know what will happen to them over the course of the story! And characters are full to the brim with worldbuilding opportunities! 

For example, the places your characters were born, went to school, travelled—they are all important locations to worldbuild in a few sentences. Which country is your character from? Do they fit in and, if not, which traditions or view points do they chafe against? These are all excellent places to start your worldbuilding, even before NaNoWriMo has started. You’ll still be pantsing—just Pantsing with Purpose! 

And remember, none of these ideas are set in stone - you can always change them later. It’s just a jumping off point, to give you inspiration. 

Characters are worldbuilding too! Writing out a detailed character profile is a great way to discover more about your main character. World Anvil provides prompts to help you flesh out your characters even more.

Image Credit: Dhelian, created on World Anvil

Plan worldbuilding using the “Jot, Bin, Pants” method!

The Jot, Bin, Pants method (originally developed by Cassandra Lee Yieng) is a way to plan without plotting! Once you have those scenes, scan through them quickly. You’ll already spot elements you can write short worldbuilding articles about! If a scene takes place in a ship, a smart townhouse, or an abandoned castle, write a few sentences about that space. What material is it built from? What feelings does it conjure up? 

Now you have a few notes on that location, you’ll be able to recapture the feeling much more quickly during crunch time, and get your words written!

Keep worldbuilding notes during Draft 1

Another helpful moment to make notes is at the end of each writing session during Draft 1. Try spending 5 minutes documenting the people, places and things you came up with. World Anvil’s tree layout can give you a lot of inspiration when you’re glancing over your setting to decide what should happen next! So if you mention a creature, a character, a location or a technology, scribble down a few notes about your ideas. You never know - it might save your character’s life!

With World Anvil’s novel writing software, you can easily reference your worldbuilding and update your series bible either AS you write, or after each writing session! 

The worldbuilding review phase 

Regardless of Plotterism or Pantitude, you should eventually have Draft 1 of a book! Granted, it probably needs some tweaks right now. But there’s a story there, characters, ideas, and an ending. Congratulations!

Now is a great time to take stock of your worldbuilding. As you read through your novel, build up your world bible or series bible. Make sure you have articles for each major character, for the places and things you’ve introduced - just a few sentences is fine. But as you edit and flesh out your novel, these will be great references to have, and it’ll speed up the next phase no end!

Worldbuilding and Structural Edits

During structural edits, i.e. re-editing the actual story and big ideas of your book, you’ll find that keeping an updated version of your series bible is really useful! You can do this as you edit (which is what I prefer) or at the end of each draft. 

By the time you’re at line edits, you’ll be done with your worldbuilding… and ready to get on with your novel’s sequel! And I can promise you - you’ll be thanking past-you for keeping such good worldbuilding notes in your Series Bible! 

If you want to keep your worldbuilding organized and instantly available in your novel writing software interface, then check out World Anvil! We’re recommended by Writer’s Digest, as well as bestselling authors like Brian McClellan, Chris Fox, Jenna Moreci, and literally a million other writers and worldbuilders! You can also pick up a 25% discount with the coupon code NANOWRIMO!

Become the ultimate writer and worldbuilder : NaNoWriMo participants get 25% off World Anvil!

Whatever you’re writing, and whenever you worldbuild, World Anvil will help to develop and organize your characters, plot and world setting, link everything together, and write your novel in our integrated novel writing software! 

And right now you can bag 25% off 6 & 12 month memberships of Master Tier and above, using the coupon code NANOWRIMO on checkout! 

Janet Forbes (pen name J.D. Blythe) is a published author and the Director of World Anvil, the ultimate worldbuilding and novel writing platform! This award-winning software helps you organize, store and track your worldbuilding as you’re writing your novel. Our novel writing software, accessible from anywhere, integrates stunningly with your worldbuilding. And when it’s time to publish, you can export, or publish directly on the World Anvil platform and monetize YOUR way! Check it out at World Anvil.

[astrochats]

Astro Scales: the breakdown by sign

In our first post, we introduced the Astro Scales system and discussed each element’s heart and head values. In this post, we will further break down each element into its three signs, and explain what distinguishes the signs from one another.

The Astro Scales system derives its name from a pair of scales, where we envision head and heart values being weighed against each other. Some signs weigh the head value above the heart value, some weigh the heart value above the head value, and some place an equal weight on both values, balancing the scales.

For example, while all fire signs struggle with the primary conflict of now vs. later, we argue that the charging ram Aries weighs now, the fire heart value, above the head value of later. By contrast, the archer Sagittarius believes in the value of biding their time, despite the draw of fulfilling their desires immediately; thus Sagittarius weighs head over heart. Meanwhile, proud Leo, king of the jungle, constantly balances immediate reward against delayed gratification. 

We observe these 3 configurations of the scales (heart over head, balancing both, head over heart) in all 4 elements, giving each of the 12 zodiac signs its own distinctive character.

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Fire signs (now vs. later)

Aries: now

The first sign in the zodiac, Aries the ram bursts into existence with an uncontainable life force, as if to announce to the world, “I am here.” It’s therefore no surprise that Aries leads with the heart value of now over the head value of later. Although Aries understands on some level that waiting can lead to greater rewards, the cost of forgoing the immediate rush of instant gratification is often too high for this impatient sign. More so than any other fire sign, Aries embodies the action principle of fire: a flame’s existence depends on a continued fuel source, or it will be extinguished. Thus it is important for Aries to feel a sense of forward momentum with all of their actions, and stasis is very uncomfortable for them. Aries may feel anxiety about not getting what they have set their minds to and if they cannot follow through with their plans, they can feel lost and unlike themselves. It’s instinctual for Aries to prioritize the desires of their heart above the head. This means that while Aries is very good at making decisive moves to instigate the outcome they desire, others can feel steamrolled or ignored in Aries’ hasty actions.

Leo: balancing both

Ruled by the Sun, Leo is a sign that flourishes when it’s in the spotlight. Leos are generous with their warmth and their love; being around them can feel like basking in warm sunshine. Leos shine brightest when surrounded by other people, and their need for continuous attention from others explains why Leos balance the heart value of now against the head value of later. For Leo, balancing these values means pursuing all of their immediate desires, while making concessions so as not to lose their audience. The lion is the king of the jungle, and like all kings, Leo walks a fine line between luxuriating in all the perks of being at the top, yet always being aware of the precariousness of their position. There is always someone next in line, waiting to usurp a king who shows weakness or loses the support of his followers, and proud Leo feels keenly the cold shadow that descends upon them when the spotlight is turned on someone else. For this reason, it is rare to see two Leos in one group of friends. Though people are quick to characterize Leos as overconfident and self-absorbed, these traits can be attributed to this sign’s tendency towards idealism and a general wholehearted optimism for life. 

Sagittarius: later

Although Sagittarians may be known for their impulsivity, a second look at this sign reveals a surprising willingness to bide their time. Note that of all the fire signs, Sagittarius is the only one represented not by an animal, but by the archetype of the archer -- the hunter, who must lie in wait for the perfect moment to strike, reflecting how Sagittarius weighs their head value of later over their heart value of now. Another aspect of the Sagittarian mythology involves the figure of the centaur, a half-human, half-horse. While Sagittarius may feel the primal urge of now from beneath its hooves, its higher faculties are able to temper these urges. Ruled by Jupiter, the planet of luck and expansion, Sagittarius is willing to take a gamble on waiting until later in the hope of reaping greater rewards. Sagittarius feels most like themselves when they have the freedom to explore various options and are able to escape when life gets too restrictive. These tendencies result in the endless optimism and adaptability Sagittarians bring to all of life’s ups and downs, but can also result in an impression of flightiness and unreliability.

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Water signs (feeling vs. fantasy)

Scorpio: feeling

Of the three water signs, Scorpio alone is represented by a non-water-dwelling animal. Compared to the dark, nurturing ocean depths where Cancer and Pisces live, the harsh, flat desert where the scorpion dwells contains few hiding places; here, everyone is stripped bare. Similarly, this sign favors the heart value of raw feeling over the head value of fantasy, which they see as a watery world of self delusions and concealments. Even as they are drawn to the boundless promise of the mystical and fantastic, Scorpio accepts that they live in the physical world and must adapt to its harshness rather than seeking escape in dreams. Scorpios feel things intensely, and they have a hard time hiding or masking their emotions, seeming even to revel in the darker side of their nature. Since they see the world and other people with clear eyes, without the veneer of idealism, they find trust and vulnerability difficult. Scorpio’s combination of intensity and penetrative perception gives them a magnetic quality, which can be attractive to many. But when tangling with this guarded sign, know that physical passions do not necessarily translate into emotional intimacy.

Cancer: balancing both

Cancer the crab walks between the watery world of fantasy and the earthly sands of real sensation. Though they are often stereotyped as sensitive and moody, this reputation stems from the tug-of-war between Cancer’s heart value of feeling and head value of fantasy. Far from being mutually exclusive, this sign’s heart and head values often feed into and build upon each other. For a Cancer, real-life feelings are heightened by their fantastical imaginings, while their fantasies are imbued with real attachment. For example, in everyday conflicts, it comes naturally for Cancer to cast others in the roles of hero and villain. Conversely, this sign’s romantic daydreams can replicate or even surpass the giddy euphoria of actually falling in love. Because Cancers attach equal weight to their fantasies and their lived emotions, it can be extremely painful and disappointing for this sign when experiences don’t live up to the expectations set by fantasies; this is when Cancer may retreat without warning behind a spiky exterior. However, a person who is able to coax this sign out of their shell will find a uniquely soft and nurturing nature: a Cancer’s affection is given wholeheartedly and without reserve.

Pisces: fantasy

Pisces the fish lives entirely submerged in the ocean depths of fantasy, so much so that Pisceans often seem to inhabit their own plane of existence. With this sign of dreams, the subconscious, and the spiritual, the head value of fantasy comes so naturally that they may have difficulty separating fantasy from their emotional reality. For Pisces, fantasy involves a predisposition towards creating deeper meaning from the apparent randomness and chaos of life. This may morph into existential dread if Pisces begins to consider the possibility that reality is actually random and devoid of meaning. Everyday, practical matters tend to fade into the background in the face of these looming existential questions, which may contribute to this sign’s “head in the clouds” reputation. While Pisces, like other water signs, is highly emotionally attuned, their fixation on fantasy can make it difficult for this sign to express or indeed, truly experience their immediate feelings. This results in Pisces’ susceptibility to absorbing the feeling currents of others around them, as well as their reputation for empathy and sensitivity. A Pisces who is too detached from the truth of their own feelings can become oversensitive and withdrawn.

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Earth signs (conviction vs. compromise)

Taurus: conviction

Famously stubborn, Taurus’s stability comes from their firm heart value of conviction, which they weigh over the head value of compromise. Because Taurus’s sense of identity is so grounded in their personal convictions, being confronted with the necessity of compromise can feel like an affront to Taurus’s self-image. This is why Taurus, more than any other sign, is known to fear change despite recognizing the importance of growth -- after all, compromise by definition requires us to leave our comfort zone in some way. Like the immovable bull, Taurus prefers to stick to what they know and trust, not only in their beliefs but also in their habits and environments. While they are aware, as all earth signs are, that there are times when we must prioritize practicality and/or the common good, it costs more comparatively for a Taurus to repress their innermost beliefs. Although this sign may come across as stubborn and obstinate at times, others know that they can trust Taurus to be honest and reliable.

Virgo: balancing both

The maiden associated with Virgo embodies purity of course, but also carries a sheaf of wheat, representing the harvest. These two symbols encapsulate Virgo’s balancing act between their heart value of conviction and their head value of compromise: while it is important for Virgo to uphold the purity and clarity of their personal convictions, this service-oriented sign may not always find it necessary or appropriate to impress these convictions upon others. The harvest is emblematic of humans’ interdependence with each other and with nature; Virgo’s approach to compromise follows a similar principle of being conscious of how your actions affect others. They are careful not to be offensive or take up too much space, and tend to disdain those who act rudely or thoughtlessly. Balancing conviction and compromise can be a struggle for Virgos, who feel they must remain true to themselves even as they wish to avoid making a fuss. This may account for some of this overanalytical sign’s tendency towards anxiety and neurosis. Virgos treat each word and action they put into the universe with extreme care, but even so, they may stay up late at night regretting their decisions.

Capricorn: compromise

Even as the mountain goat Capricorn steadily ascends the mountain, it never loses sight of its grounded perspective. Capricorns weigh their head value above their heart value; although they have as strong a sense of their convictions as other earth signs, it is unlikely that a Capricorn will allow these private convictions to interfere with their ability to compromise. Compared to other earth signs, Capricorns tend to come across as more patient when dealing with people because they try to accommodate everyone’s differences in order to move forward. Another way to understand this value could be “compartmentalization,” something that comes naturally to this sign. Some may call Capricorns cold because of their ability to put distance between their actions and their personal feelings/allegiances; they would simply call themselves realistic. Compromise serves most Capricorns well -- in the long term, they will be able to build respect, recognition and a reputation of dependability in the eyes of others.  

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Air signs (knowledge vs. faith)

Aquarius: knowledge

Ruled by Uranus, the planet of revolution and rebellion, Aquarius the water bearer is characterized by independence, originality and humanitarianism. Aquarians are not known to be followers; their determination to walk their own path emerges from their heart value of knowledge, which they prioritize over the head value of faith. If you want to recruit Aquarius to your cause or way of thinking, you’d better be prepared to explain every step of your logic. For Aquarius, blindly following a belief that is not their own feels like a betrayal of the principle to seek truth. Even if an Aquarius hasn’t yet developed their own perspective on a subject, they are eager to pick holes in someone else’s viewpoint in order to better understand the other person’s logic. Since Aquarians tend to forget that most people’s beliefs include emotion as well as logic, this sign runs the risk of coming across as cold or unemotional. Yet it is equally common for Aquarians to attract those who admire their unique perspective. 

Libra: balancing both

Portrayed as a pair of scales, it comes as no surprise that Libra is the air sign that balances the heart and head values of knowledge and faith. The heart value of knowledge gives Libra a clear view of their own beliefs, though they are unlikely to offer these opinions unless pressed or in the company of someone they fully trust. This is because Libra wishes to avoid conflict and maintain a sense of equilibrium in most situations, and it comes naturally to this sign to reflect other people’s opinions back at them, telling others what they most want to hear. Libras are seen by some as indecisive or “fake” because their behavior can change depending on their company. However, this is not to say that Libras are simply humoring the other party; they believe that each person has their own truth that they live by and they are willing to reconcile disparate opinions with their own, especially when faced with an emotionally charged appeal. In this way, this harmony-seeking sign can manage knowledge and faith simultaneously without sacrificing either; the result is Libra’s distinctive charm and agreeable nature. 

Gemini: faith

Gemini’s ruler Mercury is the fastest-moving planet in our solar system. Accordingly, Gemini, the mercurial twins of the zodiac, always thinks a million thoughts at once. Their talkative, loud exterior tends to mask their propensity to overanalyze and doubt their own logical flow. Gemini weighs their head value of faith over the heart value of knowledge: it is often easier for a Gemini to take someone else’s words as truth rather than stick to their own knowledge, unless the other person’s opinions strongly contradict systems that they already know to be correct. Although Gemini is much maligned for the stereotype of being “two-faced,” this sign isn’t being consciously duplicitous; they are simply so faith-oriented that it is difficult for them to maintain their former beliefs in the face of someone else’s forceful opinions. A Gemini’s fluid, fast-paced thought process can accommodate many different and conflicting truths in rapid succession -- to arrive at a single, final truth is the real challenge for this sign. For Gemini, knowledge seems less like a stable destination and more like a never-ending journey of considering each possibility and perspective.

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Thanks for reading! xxx fon & bells 

p.s. Our ask box is now open!

[moviesrotbrains]

DANIEL ISN’T REAL... but I’m so very glad this film exists.

After dealing with increasing anxiety and fearing a grip on reality, a college freshman turns to his childhood imaginary friend for comfort and confidence boosting… only to realize that his much cooler and carefree pretend buddy has an unsettling violent darkness about him. Could Daniel possibly be something more than a figment of his imagination?

DANIEL ISN’T REAL is an utterly surreal fever dream, channeling the best in cosmic horror, body horror, and psychological horror while also taking a bold look at deeper issues. It comes from Elijah Wood’s SpectreVision imprint, the same company that gave us such gems as MANDY, A GIRL WALKS HOME ALONE AT NIGHT, and COLOR OUT OF SPACE...  and this one’s right up there with those modern classics. And you can watch it now on SHUDDER!

Full review and some seriously kickass poster art below:

Directed by Adam Egypt Mortimer (and based on Brian DeLeeuw’s book, In This Way I Was Saved), DANIEL ISN’T REAL is a wonderfully fantastical ride through fucked up subject matter. It tackles mental illness, trauma, dual nature, identity, male toxicity, and empathy… with a good amount of Lovecraftian madness and trippy, yet terrifically disgusting Cronenberg-esque visuals thrown in for good measure.

It’s an engaging story too, about a young man, Luke, overwhelmed with life as his mother’s mental health condition worsens. He’s dealing with that on top of everything else college kids go through, lack of confidence, anxiety, etc. There’s also a fear of his own sanity. He keeps hallucinating and blanking out. His therapist suggests that maybe he should try to tap into that creativity he had as a child, where he’d regularly play for hours on end with his imaginary friend, “Daniel”. Only things got very weird and unsettling the last time he played pretend with his fictional playmate.

Once Daniel re-enters his life, things start to change. Luke’s mother issues get better. Luke suddenly feels more confident in life. Luke is finally doing well with girls. Luke’s getting creative again with photography... and all of his problems seem to go away… Only Daniel seems to want more credit and recognition. And Daniel seems to be getting angrier. And that’s when things get really fucking messed up.

This film is wonderfully acted by a mix of up-and-comers and veterans of the scene. Luke is played by Miles Robbins (HALLOWEEN 2018) and gives that immediate likeable and kind, yet also meek, portrayal that perfectly conveys what kind of a person that Luke is. There’s a lot of range in emotion in this performance, from hurt and confused to confident, to something else entirely. I always get a kick at seeing an actor completely flip their performance and style midway and totally embody something else, and this film has that and more.

Contrasting that likability and meekness is Daniel (played by Patrick Schwarzenegger, SCREAM QUEENS), the titular imaginary friend who’s pure Freudian Id. He’s cool, slick, charismatic, and always knows the right thing that Luke should say, or do, to get ahead. He’s helpful… when he wants to be… but he also has a lot of darkness. A scary darkness that seems to stem from… something else. Patrick excels when he taps into this dark alias. He’s evil as fuck. There’s a sinister glee in his manner. Epitome of “Chaotic Evil”. He’s such a great asshole. He really kicks it into gear when the audience fully know what we’re dealing with… 

Yet even then, nothing is over explained. And that’s the beauty of this film. There is no expository dialogue or wasted scene. Everything is laid out there and the actors just bring it. This film lives in a world of it’s own and the audience is a passenger for the unholy ride. It’s a very slick flick full of world building and the kind of outstanding performances that really make everything shine.

Rounding out the supporting cast is Luke’s troubled mother (veteran Mary Stuart Masterson, who powerfully played a similar and memorable role in BENNY & JUNE), Sasha Lane (HELLBOY) as the love interest, artist, and really, the heart and soul of the film, and Hannah Marks (DIRK GENTLY) as the other girl faced with Luke’s dark side. again, all perfectly played and perfectly cast, giving a much needed balance in this heavy film.

And it’s a very heavy film. The story was a deeply personal one for Mortimer (as he explained to us in 2019, when he brought the film to the Montreal FANTASIA film fest). The director drew from his own experiences from his youth, when a friend was similarly dealing with mental health issues. Mortimer had to help him, because his friend was “falling off the rails”, with no one around really helping him out, “not friends or professionals”. He talked of his friend’s life being in ruins, and how it just “spiraled off into mania”. 

That experience deeply impacted Mortimer. It was from this that Mortimer wanted to make a film about empathy and compassion for people going through severe mental illness issues. While Luke’s troubles stem from something more, the parallels are still there to people in real life going through non-otherworldy issues. The overall sense of helplessness, and a desire to be understood and taken seriously, is still there, and still a universal theme. Especially right now.

This film also tackles a lot more than just matters of wellness. Mortimer also wanted the film to deal with the “increasing danger” young men are in these days. “The Dangers they face and the danger many are to themselves”. 

Mortimer talked about them, “Living in a world where men have been driven insane by society. A society where many men are both the product and the villain of it.” A lot of this is seen on film when Luke battles for control with Daniel. Daniel representing that alpha and that Id. Luke grasping for control and trying to be that voice of compassion and reason. It’s a wonderful character study that is only heightened by the horror elements that come into play.

And yes, it’s an absolute horror fan’s delight and it’s visually stunning to boot, mixing psychological & psychedelic horror together. It felt like I was watching HELLRAISER again for the first time, but if that film was shoved in a blender with FIGHT CLUB, JACOB’S LADDER, and copious amounts of mind altering drugs. But comparing it to anything else does no justice to the wholly original eye-gasmic feast set before us. I keep saying this, but it truly is an utterly wonderful surreal fever dream. It’s so very layered and out there. 

It’s refreshing to see new films like this come about with something to say and looking as great as it does. Yes, this film looks very different from most things that are currently out there, with it’s violet texture throughout, and otherworldly feel. Mortimer, who came from a music video background, wanted his second feature to have a distinct look to it, saying that the “violet hue throughout had a very futuristic and contemporary colour about it”. He wanted to create the feeling of a manic episode, and overwhelm the viewer with colours and density. 

And he totally does. It’s such a beautiful looking film, and one you’ll definitely go back to just to soak in the wonderful hypnotic visuals. Much like MANDY, from the year before, DANIEL is a cinematic treat for your eyeballs.

And there’s also some deeply messed up visuals that mix in with that beauty. The FX on a whole are amazingly bizarre. There are visuals that are so jaw-droppingly good that you’ll permanently have them etched in your brain. It’s the kind of film where you’re watching and you immediately want to rewind and see that scene again.

From faces being merged into each other in a pink tentacled mess of VIDEODROME-esque flesh, to other visages literally being mangled like putty! Pure body terror. People crawling into other people’s mouths– I could go on, but I don’t want to spoil it. It’s icky and wonderful all at once.

And I can’t go on about the FX without mentioning the nightmarish and hellish creature design by Martin Astles (who also worked on the brutal and classic nightmare fuel that is EVENT HORIZON). The creature FX are so fucking out there, each very distinct and very memorable. The kind of things that if you confronted them in real life you’d be quick to claw them out your own eyes. 

One beast looks like a hellish death beast with a fleshy castle for a head-- an absolute architectural artifice. Mortimer said they attempted to convey that a whole universe was in its face, and it existed outside space and time. Another Face looking like piercing bullets poking through the flesh and protruding from his cheeks, like a moment frozen in time. They’re all so freakishly creative and disturbing. I can’t even describe them right. I’m not sure I want to, but they’re seared into my mind. Body Horror and Cosmic Horror at their best.

In addition to the visuals, this film also brings it on the sound design and score front. It’s got an incredible score by Warp Records act Clark. It contains synthy goodness along with manipulations of actual orchestral pieces. And it was Clark’s first time working on a film score, something Mortimer preferred. 

He wanted someone that wasn’t used to working on horror films, or films in general, so they’d throw everything they had into it from the get go. Mortimer told Clark to make it sound like Bernard Herrmann got stuck in some horrible industrial accident. A relentless sonic assault that tries to capture that same feel that Clint Mansell did with REQUIEM FOR A DREAM. The results are a superb original work of music that completely enhances and already spectacular looking film.

I was a fan of Mortimer’s SOME KIND OF HATE when I caught it six years ago at FANTASIA FEST, but DANIEL is an entirely different beast and next level filmmaking. He’s easily grown as a filmmaker and I’m totally on board to see more. I can’t wait to see what he tackles next, because DANIEL was easily one of my top Fantasia picks for 2019.

DANIEL ISN’T REAL is one of those dark films that will most likely be seen as a cult classic in a few years, right up there with DONNIE DARKO and movies of a similar ilk. It’s full of so much imagination and gusto, all while tackling important issues and core themes. All that and it remains highly watchable and engaging. It’ll satisfy any horror junkie while also winning over fans of thought provoking art. Daniel isn’t real, but I’m glad it exists.

-Theo Radomski, Movies Rot Brains 

Seriously how fucking awesome are these posters?  Why can’t more horror films hire the people that made these posters? Why can’t film in general hire these people to make better promo art? 

This article was previously seen on Mobtreal.com

[aion-rsa]

Doctor Who: What Makes a Great One-Off Character?

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Some Doctor Who characters are intended for greatness; some are intended to be killed off at the end of their first episode. Writers have a lot more control over the second than the first. What remains true for all characters, is the tension that exists between their function in the story and their potential to affect it. Even a guard who simply runs into a room to get shot could have dragged the story in another direction, should they be allowed (this stock background character was the inspiration for Terry Pratchett’s City Watch novels).

Successful one-off characters aren’t necessarily those who break away from their function, (or even those who aren’t strictly required, for example Binro the Heretic in ‘The Ribos Operation’), but those who make a story soar to another level entirely. More often, what makes them work is when their function in the story is disguised. There are plenty of ways to do this and most of them intersect: casting, costume, dialogue, performance…

Let’s first address the latter. Does the actor need to get under the skin of the character to create a nuanced and layered take that resonates utterly with the audience?

Nope. Doctor Who frequently embraces camp. Sometimes camp holds Doctor Who at gunpoint and sings piano ballads at it. The results vary. Richard Briers’ possessed Chief Caretaker in ‘Paradise Towers’ undermines the production (while not a production striving for kitchen sink realism, Briers’ parody-like performance still cuts against its Brechtian leanings) whereas Graham Crowden’s Soldeed is heightened and ridiculous among similar performances.

Other great examples of this stock character, which I am calling Ham-Err Horror without apology, include Professor Zaroff in ‘The Underwater Menace’ (intended to be driven mad by the death of his family, only for this to be cut from the script, rendering the character inexplicably inexplicable) and John Lumic from ‘Rise of the Cybermen’ (inspired to create the Cybermen by a fear of death, with actor Roger Lloyd-Pack citing Dick Cheney as an inspiration for the performance, but remembered mainly for the ripe delivery of lines such as ‘And how will you do that from beyond the grave?’).

Sometimes you don’t even need dialogue. Christopher Bowen, as Mordred in ‘Battlefield’, commits to a maniacal laugh so long that there’s a cut to another scene in the middle of it.

And yet there are places where camp or over-the-top villains work unironically, and some of the most hospitable are the Tom Baker stories of 1975-1977. Harrison Chase, Magnus Greel, Morbius, the Master… these characters fit into the Grand Guignol tradition of heightened and melodramatic performances (Just because something is dark and morbid doesn’t stop it being ludicrously tragic). As the tone of these stories is pitched at gothic melodrama though, the characters and setting cohere.

Returning to ‘Battlefield’, while there are some great individual performances from one-off characters, they’re not quite pulling in the same direction (Jean Marsh as Morgaine is playing an inter-dimensional sorceress as if it’s real, Marcus Gilbert as Ancelyn is saying ‘This is ridiculous, and that’s great’ and pulling along Angela Bruce’s Bambera in that direction too). ‘Battlefield’ is fun, but also disjointed.

Read more

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Doctor Who: Ranking Every Single Companion Departure

By Andrew Blair

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Some characters get by on the strength of costume or make-up, such as the Destroyer (also from ‘Battlefield’) or the Zygons. Broton, the latter’s leader, is a successful character who operates purely as a function rather than an individual. Played with haughty relish by John Woodnutt, Broton is a visual triumph, with the costume a collaboration between costume designer Jim Acheson, visual effects designer John Friedlander and director Douglas Camfield. At its best, ‘Terror of the Zygons’ oozes with tension and atmosphere, with some fantastic design work and enjoyable pulp runaround. This all distracts the viewer from Broton being a colossal idiot. Indulging in clichés such as explaining his entire plot, putting characters in easily escapable situations and assuming the Doctor is dead without proof, Broton has to do these for the story to unfold according to Doctor Who’s format. Fortunately few people watch ‘Terror of the Zygons’ for Broton’s unique take on planetary subjugation.

Some clichés exist specifically because that character has worked well in previous stories. Frequently in Doctor Who somebody would sacrifice themselves to save the day, someone else would comment on this, and everybody would look solemn for a few seconds before immediately moving on with their lives. ‘The Ark in Space’ features two people sacrificing themselves to save humanity, one with a quip about his union and the other fighting possession, and in 1975, a single line noting these acts was enough.

In 2005, TV had changed, and so Doctor Who threw more weight behind these deaths (boosted by Russell T. Davies’ seemingly effortless ability to generate a whole human life by adding three adjectives per character to the scripts). Jabe in ‘The End of the World’, Gwyneth in ‘An Unquiet Dead’, Pete Tyler in ‘Father’s Day’… these sacrifices were dwelt on, their weight became cumulative. From this, a subgenre of Almost Companions emerged with Lynda in ‘The Parting of the Ways’, Astrid in ‘Voyage of the Damned’ and Rita in ‘The God Complex’: all too doomed to step on board. Eventually the show acknowledged this with the Eleventh Doctor standing over the body of Lorna Bucket and observing “They’re always brave.”

Doctor Who was commentating on itself as early as its second series (in ‘The Rescue’ David Whittaker created Koquillion, a monster in a rubber suit that turned out to actually be a man in a rubber monster costume). In the 1980s, Doctor Who had become increasingly continuity-heavy, but what its final few series managed successfully was to comment on Doctor Who without making the stories’ success dependent on this. Characters such as Captain Cook offer up twisted reflections of the Doctor, with the Chief Clown, Josiah Samuel Smith and Commander Millington all tapping into the historical influences on the show, but crucially the stories still work if you’re not familiar with all this.

‘Ghostlight’, the most densely packed version of this approach,is still entertaining even if you don’t know what is going on. It’s played with such conviction and unity, with each character managing to feel both heavily symbolic but with a sense of inner-life. This is generally true of the Seventh Doctor’s era supporting characters, especially the guy who snaps “I can’t do anything without my list now can I?” in ‘The Happiness Patrol’.

But as we’ve seen, a standout character doesn’t have to be multi-faceted. Not every henchman can be Packer from ‘The Invasion’ (he’s not only sadistic and cruel, but Peter Halliday really commits to the undignified flapping when things go wrong), but most stock characters in Doctor Who work by being given ‘a bit’.

Usually this stems from their plot function. Harrison Chase, in ‘The Seeds of Doom’ is a plant collector and obsessive because the story is based around aggressive plant-creatures, and needs a simple way to bring the main human antagonist into the adventure. Here though it’s more than that. Lesser examples of this trick can be seen with Tarun Capel in ‘Robots of Death’, where his obsession with robots isn’t as unsettling as Chase’s obsession with plants (and then further down the line we have Magnus Greel in ‘Talons of Weng-Chieng’, who is evil because the story needs a bad guy). In ‘Seeds of Doom’, time is devoted to the idea of a man who considers plant life superior to humanity, and the script and actor Tony Beckley really commit to the comedy and horror of this idea. That’s his ‘bit’.

Perhaps the finest example of turning a character’s basic function into pure entertainment is Duggan in ‘City of Death’. Douglas Adams and Graham Williams, rewriting David Fisher’s scripts about aliens in Monte Carlo, took a Bulldog Drummond-inspired detective character and realised his primary function in the script was to be the muscle for the Doctor and Romana.

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There are other elements of of ‘City of Death’ that poke fun at television’s contrivances (The guard’s throwaway line saying Captain Tancredi will “be here instantly” just before the door opens, for example) and Duggan’s repeatedly punching people unconscious to move the plot along is not only revealed to be an example of Chekhov’s Gun, whereby it’s the solution to the whole story, but also the source of the best sight gag in Doctor Who when Duggan opens a wine bottle by simply smashing it open off the bar. Without providing him with much in the way of depth or backstory, by leaning into the character’s story function to almost absurd levels, ‘City of Death’ creates one of the most memorable supporting characters in Doctor Who history.

The post Doctor Who: What Makes a Great One-Off Character? appeared first on Den of Geek.

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[wonderfulworldofmichaelford]

Michael in the Mainstream: The Chris Columbus Harry Potter Films

Here’s a bold stance to take these days: I actually still really love the Harry Potter franchise.

Yes, this series hasn’t had a huge impact on my own writing; my stories I’m working on draw far more from JoJo’s Bizarre Adventure and the Percy Jackson series than they do Harry Potter. And yes, the author of the franchise has outed herself as a transphobic scumbag whose every post-script addition to her franchise has been an unprecedented bad move (save, perhaps, for allowing Johnny Depp the opportunity to work during a very trying time in his life). But while the author is a horrendous person and the story hasn’t exactly given me as much to work with as other stories have, there are so many great themes, ideas, and characters that even now I’d still say this is one of my favorite series of all time. The world of Harry Potter is just so fascinating, the usage of folklore is interesting, and it has one of the most menacing and disturbing villains in young adult literature and manages to play the whole “love prevails over evil” cliché in such a way that it actually works.

And, of course, then we get into what I’m really here to talk about: the adaptations. The movies are not entirely better than the books; while I do think most of the films are on par with their novel counterparts, and they certainly do a good job of scrubbing out some of the iffier elements in Rowling’s writing, I still think there’s a certain, ahem, magic that the books have that gives them a slight edge. But, look, I’m a movie reviewer, and these films are some of my favorites of all time, and as much as I love the books I’m not going to sit around and say the books surpass them in every single way. There’s a lot to love in these films, and hopefully I’ll be able to convey that as I review the series.

Of course, the only place to truly start is the Chris Columbus duology. Columbus is not the most impressive director out there – this is the man who gave us Rent, Pixels, and that abominable adaptation of Percy Jackson after all – but early on in his career he made a name for himself directing whimsical classics such as the first two Home Alone movies and Mrs. Doubtfire. Those films are wonderfully cast and have a lot of charm, and thankfully this is the Columbus we got to bring us the first two entries in Harry’s story. 

One of the greatest strengths of the first two Harry Potter movies is just the sheer, unrelenting magic and wonder they invoke. They’re so whimsical, so enchanting, so fun; they fully suck you into the world Rowling created and utilize every tool they can to keep you believing. Everything in these films serves to heighten the magic; practical effects and CGI come together with fantastic costuming and set design to make the world of wizards and Hogwarts school feel oh so real. And of course, none of this would be even remotely as effective if not for the legendary score by John Williams, who crafted some of the most iconic and memorable compositions of the 21st century for these films. In short: the tone of these films is pretty perfect for what they are, and every element in them works to make sure you are buying into this tone at every moment.

The other massively important element is the casting, and by god, the casting in these films is simply perfect. Of course, the title characters and his peers have to be unknowns, and thankfully they managed to pluck out some brilliant talent. I don’t need to tell you how good Daniel Radcliffe and Emma Watson are, even back in these films, but I do feel the need to say that Rupert Grint is vastly underappreciated; I really don’t think the films would work quite as well without his presence, because he does bring that goofy charm Harry’s friend group needs to balance it out. Matthew Lewis is the adorable coward Neville Longbottom and Tom Felton is the snotty brat Draco Malfoy, and though both of their roles are fairly minor in the first two films they manage to make their mark. The second movie pulls in Bonnie Wright as Ginny, and again, I’m gonna say she’s rather underrated; I think she did quite a fine job in her role.

But of course, the real draw of these films is the sheer amount of star power they have in terms of U.K.  actors. You’ve got Maggie Smith (McGonagall), Robbie Coltrane (Hagrid), Warwick Davis (Flitwick and, bafflingly, only the voice of Griphook, who was played by the American Verne Troyer in the first film for… some reason), John Hurt (Ollivander), Toby Jones (Dobby), John Cleese (Nearly Headless Nick)… and this is only the first two films. The movies would continue pulling in stars like it was Smash Ultimate, determined to tell you that “EVERYONE IS HERE” and be the ultimate culmination of U.K. culture.

Of course, even in the first few movies there are those who truly stand out as perfect. Smith and Coltrane are most certainly the perfect embodiment of their characters, but I think a great deal of praise should be given to Richard Griffiths as Uncle Vernon; the man is a volatile, raging bastard the likes of which you rarely see, and he is at once repulsive and comical. He’s pretty much the British answer to J.K. Simmons as J. Jonah Jameson. Then we have Jason Isaacs as Lucius Malfoy in the second film, and he is just delightfully, deliciously devilish and dastardly. Isaacs actually came up with a lot of Mr. Malfoy’s quirks himself, such as the long blonde hair, the cane wand, and the part where he tries to murder a small child in cold blood for releasing his house elf (which came about because he forgot literally every other spell and had just read Goblet of Fire, so...). Then of course there is Kenneth Branagh as Gilderoy Lockhart, and… well, it’s Kenneth Branagh as Gilderoy Lockhart. I don’t think you could find a more perfect casting choice (except perhaps Hugh Grant, who was originally cast but had to drop out). He just really hams it up as the obnoxious blowhard and helps make him much more tolerable than his book counterpart, though he does unfortunately have the lack of plot relevance Lockhart did in the book, which is a problem unique to Lockhart. Fun fact, he is the ONLY Defence Against the Dark Arts teacher in the series to not ultimately matter in regards to the main story.

Of course, the greatest casting choice of them all is most certainly The late, great Alan Rickman as everyone’s favorite greasy potions professor, Severus Snape. I think Rickman goes a long way towards helping make Snape one of the greatest characters of all time, with everything about his performance just being perfect, and what makes it even better is how it would ultimately subvert his typical roles (though that’s a story for a different review). I don’t think either of the first films is really his best outing, butt he first one definitely sets him up splendidly. Snape barely has a role in the second film – something that greatly irritated Rickman during the movie’s production apparently – but he still does a good job with what limited screentime he has. Then we have Richard Harris as Dumbledore. Due to his untimely death, he only played Dumbledore in the first two films, but he really did give a wonderful performance that had all the charm, whimsy, and wonder the Dumbledore of the first few books was full of. The thing is, I don’t know if he would have been able to make the transition into the more serious and darker aspects of Dumbledore that popped up in the later books. I guess we’ll never know, which is truly a shame, but at the very least he gave us a good showing with what little time he had.

My only problems with the first two films are extremely minor, though there is at least one somewhat big issue I have. You see, while I do like everything about these films, I feel like they’re a bit too loyal to the books, not doing enough to distinguish themselves as their own thing like films such as Prisoner of Azkaban would do. But if I’m being honest, this is seriously nitpicky; it’s not like this really makes me think less of the films, because they have way more going for than against them. Stuff like this and the cornier early performances from the kid actors are to be expected when a franchise is still finding its legs. It really is more of a personal thing for me; I prefer when creators allow their own vision to affect an adaptation so that I can see how they perceive and interpret the work, but at the same time the first two Harry Potter books are all about setting up and the main plot doesn’t really kick off until the third and fourth books, so… I guess everything balances out?

It is a bit odd looking back at these first two films and noting how relatively self-contained they are compared to the denser films that were to come; you could much more easily jump into either one of these films and really get what’s going on compared to later movies, where you would almost definitely be lost if you tried to leap in without an inkling of the plot. But that is something I do like, since the first two films have really strong plots that focus more on the magical worldbuilding and developing the characters, setting up an incredibly strong foundation for the series to come. There are a few trims of the plot here and there, but it’s not nearly as major as some things that would end up cut later.

But, really, what’s there to cut? Like I said, these movies are more about the worldbuilding and setting up for later plotlines. They’re relatively simple stories here, and I think that’s kind of their big strengths, because it lets the characters and world shine through. The first film honestly is just Harry experiencing the wizarding world for the first time, with him going from scene to scene and just taking in all of the magical sights. Most of the big plot stuff really happens towards the end, when they make the journey down to the Philosopher’s Stone. The second movie is where things get a lot more plot-heavy, with the film focusing on the mystery of the Chamber of Secrets and all of the troubles that the basilisk within causes. Despite how grim the stories can get, especially the second one, these films never really lose that whimsical, adventurous tone, which is incredibly impressive all things considered.

It’s not really criticisms, but there are a few things that make me a bit sad didn’t happen in the first couple of films, or at the very least offer up some interesting “what could have been” scenarios. I think the most notable missed opportunity is the decision to axe Peeves, despite him being planned and having Rik Mayall film scenes with him only to have said scenes left on the cutting room floor, never to see the light of day; Mayall had some rather colorful words to say about the film after it came out. Sean Connery passing up on playing Dumbledore is another missed opportunity, but Connery has always been awful at picking roles and hates fantasy, so this isn’t shocking to me in the slightest. Terry Gilliam being straight-up told by Rowling she didn’t want him directing is another sad but necessary decision, as was Spielberg dropping out; neither guy would have been a very good fit for the franchise, honestly. Alan Cumming turning down the role of Lockhart because Grint and Watson were going to be paid more than him is a bit… lame, but also I don’t think he’d have been as good as Branagh in the role; as much as I love Cumming, Branagh has this grandiose stage actor hamminess that Lockhart desperately needs. There’s a lot of fascinating trivia facts I learned writing this review, and a lot of it paints some pretty weird pictures of how this franchise could have turned out in another world.

Chamber of Secrets and Sorcerer's Stone are both absolutely fantastic, whimsical fantasy movies, and I’d definitely recommend both of them to anyone who likes the fantasy genre. It’s a great jumping off point for younger people who may not be able to handle something as intense or heavy as, say, The Lord of the Rings making it a very useful gateway drug into fantasy, though it still manages to work perfectly as fun, engaging fantasy on its own. I’m personally more of a fan of the third and eighth movies but I can definitely hear arguments for either of these two being someone’s favorites or even the best in the franchise, because they invoke a lot of nostalgia and charm just thinking about them, good memories of seeing them with my family when I was a kid.

Some have come to view Chamber of Secrets less positively over the years, seeing it as an awkward transitional phase between the lighter, more whimsical adventures and the darker plot-driven ones, but honestly, Between the Columbus films, Chamber is definitely the superior one. It takes everything that was great about the first film and builds on it, and also gives us Lucius Malfoy, Dobby, Gilderoy Lockhart, and way better special effects and a more consistent narrative. The first film is still a classic, of course, but it’s almost episodic in nature and a lot more focused on showing Hogwarts to us than delivering a story. Still, it definitely has the plus of having way more Snape than the second film did, and there’s no arguments against that from me! Both films are very good at what they do, and both definitely deserve a watch.

[twentiethcenturymoviesandtv]

Carnival of Souls: Facets of Film

The chief difference between watching a movie and reading a book is that in one, you have to make up your own visuals (unless you’re reading a picture book), and in the other, you get to see someone else’s visuals.  This can be either an advantage or a disadvantage, and the difference is made entirely thanks to the production team.

The people behind the camera who make the film work have quite a job on their hands.  Once the parts have been cast, the script written, and the locations selected, all that’s left to do is absolutely everything else, ensuring that the project is suitable for release.  And of course, as you probably know, this isn’t exactly a cakewalk.

A lot goes into making a movie into a movie.  There’s set design, music, camerawork and editing, costuming, performances, special effects, and it all has to come together in a consistent way that’s genuinely entertaining.  It is these elements, these ‘facets of film’, that can take a movie with great characters and a good script, and turn it into an unforgettable masterpiece.  This is the segment of filmmaking that lends us the unforgettable score of Jaws, the unbelievable visuals of Blade Runner, and the fantastic camerawork of The French Connection.  This is the storytelling shorthand that makes a movie memorable, that helps give the audience all of the information they need to have without spelling it all out in dialogue.

The mark of a truly great filmmaker is one who knows how to use these aspects of ‘storytelling shorthand’ well, not simply competently.  It is this movie-maker who understands the elements of his movie, and knows their places.  Too often, the mistake is made of focusing the film’s time and energy in the wrong place: the trimmings, instead of the tree.  It’s a common error, one that becomes more and more obvious as the range for special effects increases.  The temptation to put the focus on how a movie looks and sounds takes over, and before we know it, the movie that we’re watching becomes more concerned with being a huge, visual blockbuster extravaganza.

Now, there’s nothing wrong with being a huge, visual, blockbuster extravaganza.  It’s these types of movies that make movie history, movies like Jurassic Park, Star Wars, or Back to the Future.  But those movies all had something in common: a balance.

In the movies listed above, in the best movies, the visual storytelling doesn’t overshadow the story it’s trying to tell.  Even more subtle films like Casablanca use their camerawork extremely effectively, without making it the point of the movie.  In short, the trimmings of film are there to accentuate, methods used to tell the story in the most effective, and best looking way possible, without losing sight of the point: the characters and story.

It is those elements that we’re going to be examining today, figuring out the answer to a question: Does Carnival of Souls use its ‘facets of film’ wisely?

Let’s take a look, starting with an element that can occasionally be overlooked: the camerawork.  (Possible spoilers below!)

A camera in the hands of a competent director looks good.  Unremarkable, but good.  It is when it is in the hands of someone who knows what they’re doing that elevates it into something remarkable, using angles, lighting, and different shots to capture the look of what the director is looking for.

As it turns out, the camerawork of Carnival of Souls is one of its best features.

The camerawork in Carnival of Souls is utilized very cleverly.  Director Herk Harvey knew how to use a camera to heighten the sense of the uncanny, using shadows and close-ups to capture the eerie atmosphere that hangs over the entire movie.  The camera is alternatively uncomfortably close and far away, letting the audience experience Mary’s terror and isolation.  Add onto that the brilliant use of unconventional angles to frame our protagonist, and we’ve got ourselves a really interesting series of shots.

There are a few examples that stand out more than others, of course.  Especially interesting is the imagery of Mary at the organ, looked down upon by the audience as she plays in the center of a web of instrument, almost swallowed up.  Another excellent example is any of the scenes involving Mary’s visions.  The shots of the undead rising from the water to twirl in the pavilion are eerie, creepy, and weird, only further emphasized by the off shots of Mary’s ghoulish doppelganger.

Also of note (and my personal favorite) is the near-dizzying shot-reverse-shot of Mary, looking down the staircase at the boarding house, and spotting The Man on the ground floor, looking up at her with that Slasher Smile.  It’s a legitimately chilling moment, only heightened by the brilliant use of the camera, intensifying the close-up.

Of course, camerawork alone doesn’t set a mood.  The music has quite a lot to do with it as well.

The soundtrack for Carnival of Souls is extremely simple: it’s organ music.  Fittingly enough, as that’s Mary’s profession, and it enables her to take part of the soundtrack.  It almost plays a part in the story, first haunting her radio so only creepy organ music is playing, and then seemingly possessing her as she plays a wild, weird song on the church instrument, accompanying the visions she’s seeing of the undead in the pavilion.

Of course, there are also times where there is no music at all.

The scenes where Mary explores the abandoned pavilion are rather quiet, silent so that the audience can hear the strange noises at the same time that Mary does.  This emphasizes, again, that ‘off’ feeling, increasing the audience’s awareness of the ‘uncanny’.  The eerie music, paired with the creepy, surrealist visuals, make a chilling combination, further heightened by the sets and makeup.

There isn’t much ‘memorable’ where sets are concerned for this film.  The film was shot on location, with the buildings left as they were.  Even the pavilion was an actual abandoned Mormon dance hall that director Herk Harvey found.  The way these settings are shot definitely heightens the scare-factor, as the locations are typically rather sparsely populated in the film, and often filmed to accentuate the shadows that increases the creep-factor of the film’s mood as a whole.  

Of course, it helps if what’s in the setting is just as creepy as the setting itself.  Luckily, the makeup artists knew how to make a movie monster on a budget.

Unlike the masterpieces like the Frankenstein monster or the Wolf-Man from Universal’s golden horror years, there’s not a whole lot to The Man’s appearance, or the appearance of the army of the undead.  They look like our traditional zombies: pale faced, black-eyed, and awkward moving, nothing if not persistent.  Ironically, Carnival of Souls pre-dates most zombie movies by a good handful of years, and in fact was the primary inspiration for George A. Romero’s zombie-codifier: Night of the Living Dead, which came out six years later.  Naturally, this means that Carnival of Souls must have been doing something right.

It was.

There’s a reason the ‘zombie look’ so familiar now is so iconic, and that’s because it works.  Carnival of Souls hit that perfect balance of human and not, adding to the gothic look of the film.  The result is a genuinely odd-looking menace, albeit one without much in personality.

All of these features come together to create something legitimately important in the realm of filmmaking: a great look.

One of the ways that a film can truly stick out among the thousands is having a truly distinct look, and in that, Carnival of Souls succeeds.  Taking a page out of The Cabinet of Dr. Caligari’s book, the bizarre angles, weird music, and uncanny staging and sense of isolation truly emphasizes the surrealist horror of the film, making an otherwise okay film truly memorable.  Even without any special effects to speak of (besides the makeup, again, this movie was extremely inexpensive), the visual style of this movie almost seems like an arthouse film, helping it to stand out among the hundreds of horror films made before and since.  Every shot and every note of music is all pointing to one thing: something is not right.  Mary Henry never has to express this aloud to the audience, because we already know, from all of these hints, that the atmosphere is tense, that she should be frightened.

But there’s more to a movie’s ‘storytelling shorthand’.  All of the atmosphere in the world doesn’t do you any good unless it’s paired with some compelling performances.

Candace Hilligoss was the only professional actress in the entire cast, and it shows.  That may sound harsh, but not only is it true, it’s actually not a bad thing.  The slightly ‘off’ acting of most of the other performers really adds to that sense of uncanny, the sensation that something is wrong.  It also has the added bonus of further making Mary seem out of place, isolated, as though she is not welcome and does not belong.  It’s an extremely striking effect, off putting in the best ways.

As for Candace Hilligoss herself?  Honestly, she does an extremely admirable job.

Hilligoss is the centerpiece of this movie, capturing the audience with her wildly swinging performance.  Without much personality to work with, she portrays an unnatural character held at a distance from the rest of reality, alternating between being detached and alone, and terrified of the isolation, and of visions pursuing her.  In hindsight, the twist that Mary is dead makes a lot of sense, and a lot of it is thanks to Hilligoss’s masterful acting, lending an unforgettable Haunted Heroine performance to an otherwise bland character.

Every element utilized in this quirky little film comes together perfectly to elicit the desired emotions from the audience: discomfort, unease, and fear, which is very much the point.  Without much of a budget or access to materials that made other horror films unforgettable, the crew behind Carnival of Souls worked with what they had to create a genuinely disturbing surrealist horror film, full of clever scares to please any horror fan.  The sum is truly greater than the parts, fitting together to make up this cult horror classic that’s been remembered fondly, albeit a little late, for several years, and will continue to be remembered for several more.

Thank you guys so much for reading!  Don’t forget that the ask box is always open for questions, suggestions, discussions, or just saying hi!  Join us next time where we’re going to be discussing the behind-the-scenes story of Carnival of Souls in ‘Facets of Filmmaking’.  I hope to see you there!

[yegarts]

Fantastic Planet Art Installation: Meet Amanda Parer

Few things should come as a surprise this year, but giant illuminated humanoid figures invading the planet could be one of them. Fantastic Planet is that delightful surprise. Created by world-renowned artist Amanda Parer, this monumental public art installation features six impressively massive, ‘humanoid’ inflatables, the tallest of which stands 12 meters high. This spectacle of otherworldliness is part of the Downtown Spark event, a series of free, outdoor exhibits and activities meant to awaken the downtown core and bring it to life throughout March and April. What better way than with an invasion of gentle giants, sent to explore our ‘Fantastic Planet.’ We had the pleasure of chatting with Parer about her inspiration for this exhibit, the importance of shared experiences, and much, much more. Meet Amanda Parer.

The world and our public spaces have changed a lot since you first exhibited Fantastic Planet. After a year of many of us feeling invisible (at least from the waist down), the idea of feeling watched has a heightened layer to it. What does that narrative that add to this exhibit?

Parer: Sociologists may have already known this, but for us lay people, I think that, amongst other things, what the global pandemic has shown us is how being seen and seeing others is a big part of our human experience. It touches on the phrase ‘If a tree falls in the forest but nobody is around to hear it, does it make a sound?’ It symbolizes the ineffectiveness of unheard opinions/thoughts. Originally referring to physics, this can also apply to our current group experience. I think as isolation grew longer and so did our connections with people, it became evident that, as a species, we need to see and be in the same space of others, having shared experiences. From this grows our culture and history. To have my artwork, Fantastic Planet, as a focal point for folks to wander out to once again, bleary-eyed to have a (socially safe, of course) shared experience with is an honour, and I thank the Edmonton Arts Council for this opportunity.

What is it about public art that inspires you to not only create it, but also champion it?

Parer: Prior to being an installation artist, I was a fine artist exhibiting paintings and sculptures in galleries. This was extremely rewarding, and during these years, I developed themes, a style, and iconography to play with. The symbols I used were giant rabbits in a pristine or toiled landscape. Browsing the Internet one day, I came across images of the Macy’s Thanksgiving Day Parade in New York and realized that the inflatables were a medium that I could use to bring my rabbits out of the 2-dimensional and into the 3-dimensional space. I set about making my first art installation called Intrude. Exhibiting this work for the first time at the Sydney Vivid Festival in 2014, I realized this was a quite different way of presenting my art on all levels. The artwork was outside in the public realm, which meant the work was being experienced by people who didn’t just frequent art galleries—people were just there to experience and enjoy work. After this, I was sold. Luckily, this change in my practice coincided with my installation works becoming in demand, and I haven’t looked back or picked up a paintbrush since. I have made several other art installations since, and even through a pandemic, they continue to go buzzing around the world.

Many a selfie has been taken with your work. Are these pieces also meant to be touched? If so, what are guidelines for keeping the interaction respectful?

Parer: This is another element to why I have enjoyed making public art. In the public realm there is more scope to break the rules of the regular artworld, and one of these is the invisible barrier, which is more often than not present between the viewer and the art. Pre-pandemic, I invited people to touch my work, and during the exhibition we’d have chaperones to guide folks in how to interreact with “gentle touching,“etc. People have even been known to have dinner parties around my works. I came across a Japanese tea ceremony once in Sydney, with attendees in full geisha regalia. A couple of times there have even been lipstick marks on a bunny’s butt from someone feeling a bit amorous. In general, there’s usually a lot of hugging involved with my works, which I absolutely adore. But, of course, all of this is now on the back burner until the world gets of the pandemic.

The Edmonton Arts Council chose my work, Fantastic Planet, because it covers a lot of space and the pieces can be installed aerially—deliberately keeping them out of people’s reach. For this exhibition, some of the figures are being installed on rooftops, and my tallest figure is so tall at 14m high, that it’s naturally beyond reach. For the figures being displayed on the ground, folks will be guided in how to interact with the artworks in a Covid-sensitive manner—socially distancing from others and the artwork itself, and the pieces themselves will be regularly cleaned.

What does sending new work out into the world feel like? Can you compare it to anything?

Parer: Well, I liken it to having a child (I have three human ones of my own, too). The fun stuff happens at the start, i.e., having the idea, then you get busy making it, which has its challenges. This happens in my studio in Tasmanian, working alongside my team of lighting designers, makers, technicians, engineers, and producers. After this, it is ready to be ‘born,’ which means it’s ready to be exhibited. To achieve this, a supportive event holder has to take the initiative to hold the premiere of your brand new work. The installation then begins, which also has its ups and downs: long days, heavy lifting, directing teams, scheduling and planning. After all this, the opening night arrives and—ta-da!—your baby is born, out into the world (hopefully) being admired and also just ‘being’ in the world.

Many people have spent the last year looking to nature for comfort and questioning their relationship with it, often discovering they’ve been terrible partners. As someone who regularly questions that relationship with the natural world, what has it been like watching that light bulb go off for others?

Parer: I think that this is wonderful. Pre-pandemic, globally, we as a species were getting out of control, putting too much pressure on the natural world. What I find odd is that, generally, we knew where it was all heading—climate change, deforestation, overfishing the oceans—but the infrastructure in which we chose to run our lives does not support the amount of change needed for us to turn the tide on all of that. I think it is great that some awakening in this arena has occurred due to the pandemic, but, alas, I fear that we are creatures with short-term memories, and when the world ‘normalizes’ again, the old lifestyles and frameworks of living will too. It’s up to all us to keep mindful of this and do what we can.

To discover the locations of all six Fantastic Planet inflatables, as well as other Downtown Spark events, visit Explore Edmonton.

Artist Bio

Amanda Parer is an Australian artist who began her art career as a painter and sculptor in Sydney. Parer now resides in Tasmania, focusing her practice on creating large-scale illuminated art installations that explore the natural world, its fragility, and the role of humanity within it. Her inspiration for Fantastic Planet was taken from René Laloux’s 1973 stop-motion sci-fi film, Fantastic Planet (La Planète Sauvage), set in an unimaginably distant future, where human beings are a feral race in a world of gargantuan humanoids. Discover more at parerstudio.com.

[anime14sblog]

Nupu Nupu: A Clever and Silly Japanese Anime Series.

Let's Nupu Nupu is a Japanese anime television series that premiered on April 10, 1998. The show is known for its comedic elements, and it follows a group of friends who find themselves in various humorous situations. The anime's characters are all unique and lovable, and the humor is both clever and silly.

The show centers around a group of friends who live in a small town. The main character is Nupu, a young girl who is always getting into trouble. She is joined by her friends, each of whom has their own unique personality and quirks. Together, they go on a variety of adventures and get into all sorts of wacky situations.

One of the things that makes Let's Nupu Nupu so special is the characters. Each character is unique and memorable, and they all have their own distinct personalities. The show's humor is largely driven by the interactions between the characters, and the writers do an excellent job of making each character's quirks and personality traits stand out.

Another thing that sets Let's Nupu Nupu apart from other anime is the humor. The show is known for its clever writing and silly moments. The humor is often slapstick, but it's also very witty and clever. The show has a way of making you laugh while also making you think.

If you're a fan of anime and you're looking for something that's both funny and heartwarming, Let's Nupu Nupu is definitely worth checking out. The show has a lot of heart, and it's clear that the writers and animators put a lot of love and care into creating the characters and the world they inhabit.

Overall, Let's Nupu Nupu is a fantastic anime that's sure to put a smile on your face. The show's characters are lovable, the humor is clever and silly, and the adventures they go on are always entertaining. If you're looking for an anime that's both funny and heartwarming, Let's Nupu Nupu is definitely worth checking out.

The popularity of Let's Nupu Nupu

The popularity of Let's Nupu Nupu can also be attributed to its powerful soundtrack. The music serves as an emotional anchor, heightening the intensity of the action and evoking a range of emotions throughout the series. From epic orchestral pieces to hauntingly beautiful melodies, the soundtrack elevates the viewing experience and leaves a lasting impact on the audience.

Furthermore, Let's Nupu Nupu showcases the unique cultural aspects of its Chinese origins. It incorporates elements of traditional Chinese mythology and martial arts, giving the series a distinct identity. This cultural infusion not only adds authenticity to the storytelling but also introduces viewers to a different facet of the anime world.

Conclusion

Let's Nupu Nupu is an anime series that deserves the spotlight it has garnered. With its breathtaking animation, captivating storyline, well-crafted characters, and powerful soundtrack, it has captured the hearts of anime fans worldwide. Whether you are a dedicated anime enthusiast or a newcomer to the genre, this enchanting series promises an unforgettable journey into a world teeming with magic, martial arts, and self-discovery. So, sit back, relax, and immerse yourself in the mesmerizing universe of Let's Nupu Nupu.