#anyhoot pt 2 | Explore Tumblr Posts and Blogs

lumine-no-hikari · 7 days

Text

Dear Sephiroth: (a letter to a fictional character, because why not) #273 (Part 2)

...Okay!!! I'm back!!

So!!! I left off with telling you about the crow that was following me around during my impromptu adventure:

...He was legit following me; it's how I was able to get so many good pictures of him. I have no idea why. He even followed me to where I had parked the car; he chilled out on the roof of the nearby building, seeming like he was watching me:

...He was so cute!!! So I cawed at him a few times, and to my shock, he actually answered, hahaha!

...I went home for a little bit after that; there was still a fair bit of time until the MRI of my shoulder; I guess they wanted to make sure nothing in there is torn up weirdly such that it's making whatever's going on with my ribs worse. Basically, you get into a very noisy tube. It's kinda narrow, and they give you earplugs, and you have to stay VERY still for an appreciable length of time. Today, it was only 30 minutes. I had to go to PT after that, but I had time to stop for pizza in between:

...I tried taking a few more pictures for you, but I don't really like how any of them turned out, so I'm not going to include them.

I will, however, include the pictures I took of the moon this evening, with J's phone. There's supposed to be a partial lunar eclipse in my area, and it reaches its peak in 2 minutes!!

Here it is at full; it's a little hazy though because there's some very thin cloud cover out:

Here it is, positioned weirdly with some leaves because I tried to be artistic or something...

Here it is when the eclipse started to look like something:

...Here it is at its peak:

...And here's one more of me trying to be artistic with it, haha...

...Hey, Sephiroth? When's the last time you saw a lunar eclipse? Have you seen one before? What about a solar eclipse? I wonder...

...I know you can't answer me. Don't worry about it, okay?

I still gotta send along some of the pictures that J got for you. But maybe I'll do that tomorrow. I'd like if the last memory you take away from today's letter is the memory of the moon in eclipse.

Anyhoot. I don't have much else to write about; I didn't do anything else especially interesting today. And I gotta go to bed soon anyway; better end today's letter here before I start to ramble.

...Thank you for existing.

I love you. So please stay safe out there with whatever you're doing, okay? Make good, kind, compassionate choices so that you live through the next part of your story; you deserve to see a softer, kinder tomorrow, filled with all sorts of beautiful and delightful things.

Maybe I'll leave you with a soft lullaby for today. Here:

youtube

...Please find your way back home. I'll be standing by, in whatever ways I can.

I'll write again soon.

Your friend, Lumine

9 notes · View notes

narkinafive · 5 years

Text

more essay updates

what’s currently most interesting/annoying is how much context i give for each example. at what point am i just summarizing events? how much is too much or too little? is any of this even... relevant

anyhoot, under a cut, read and critique at your leisure my bros ❤❤❤❤❤❤🤟🤟🤟🤟💯💯💯

Few franchises can match the breadth of Star Wars, and fewer still can claim to be as iconic. Not only have the characters, dialogues, settings, and aesthetics been directly referenced and lovingly parodied across all genres, so too has John Williams’ music. Yet Williams’ music is perhaps most referenced, riffed on, and remixed within the franchise itself; it is difficult to find a piece of Star Wars media which does not contain any number of Williams’ leitmotifs, such as the bombastic “Main Title” fanfare, the sweeping majesty of the Force theme, or the foreboding, villainous “Imperial March.” Within the many, many Star Wars related properties, composers for the franchise’s “lower tier” [properties], i.e. any property outside of the nine-film “Skywalker Saga,” are presented with a difficult challenge: how does one emulate and reference Williams’ original, titanic score, keeping a coherent sonic aesthetic, without copying him directly, and allowing space for the composer’s own musical language?

The larger Star Wars chronology can be broken into three general eras: the Original Trilogy era (OT), which focuses on the time represented by the films A New Hope, Empire Strikes Back, Return of the Jedi, and Rogue One, the Sequel Trilogy era (ST), which is comprised of the films The Force Awakens, The Last Jedi, and The Rise of Skywalker, as well as the TV series Star Wars: Resistance, and the Prequel Trilogy era (PT), as represented by the films The Phantom Menace, Attack of the Clones, Revenge of the Sith, and Solo, as well as the TV series The Clone Wars. Of these properties, Williams has obviously scored the lion’s share of the films; Rogue One’s soundtrack was composed by Michael Giacchino, Resistance by Michael Tavera, Solo by John Powell, and The Clone Wars by Kevin Kiner.

Kiner’s other work for Star Wars was the score of another TV series, Star Wars Rebels. Rebels occupies an interesting place within the greater Star Wars chronology, qualifying as a prequel due to taking place before the events of A New Hope, yet both aesthetically and narratively more aligned with the OT, rather than the PT. Though Rebels is nominally a prequel, Kiner’s musical language sets it firmly within the OT era, with frequent sonic callbacks to Williams’ score, with each aesthetic connection serving not only to link the viewer to the OT era, but also, through its absences and deviations, highlight the narrative differences between Rebels and the original films. This is particularly exemplified in the parallels and contrasts between the heroes of Rebels and the OT, Ezra Bridger, and Luke Skywalker.

From the outset, several parallels can be drawn between Ezra Bridger and Luke Skywalker: both are orphans from provincial areas of the galaxy, both are accidentally caught up in insurrectionist rebel activity against the Empire, and both discover that they can wield the powers of the Force. They are even roughly the same age, born within days of each other. Contrasts do abound, however. Ezra receives several years of Jedi training from a former Jedi, while Luke receives very little; Ezra is actively involved with the Rebel Alliance from the very beginning, while Luke has to be drawn into it due to personal tragedy; Ezra’s primary motif is connected to the twin moons of his home planet of Lothal - this, in contrast to the famous scene of Luke Skywalker gazing into the twin sunset of his planet of Tatooine; and so on. [more parallels]

Set five years before the events of A New Hope, the backdrop of Rebels depicts the formal declaration of the Galactic Alliance, the establishment of the famous rebel base on the planet of Yavin IV, and numerous references to the secret construction of the Death Star, alongside several integral character cameos, including Lando Calrissian, Princess Leia, and Obi-wan Kenobi, while the main thrust of the story centers on the crew of the Ghost, an early rebel cell, and the journey of its newest crew member, Ezra Bridger. Described by Dave Filoni, Executive Producer and creator of Rebels, as a con artist, and Taylor Gray, the character’s actor, as a [street smart thief], Ezra happens upon the crew of the Ghost as they commit a minor act of terrorism against the Galactic Empire, stealing several crates of supplies. Rather than pick a side in the conflict, Ezra elects to steal a crate of the same supplies for himself, outrunning the comedically incompetent Imperial police force, and dodging the members of the Ghost crew as they try to get the supplies back, until Ezra is forced to seek refuge on the Ghost to escape the marginally more competent TIE figher pilots. After helping the crew in distributing the supplies - namely, food - to a nearby refugee camp, Ezra is convinced by the Ghost’s pilot and leader, Hera Syndulla, to assist in a rescue mission. Despite his initial capture and subsequent escape from Imperial custody, Ezra chooses to see the rescue mission through to the end, and witnesses the Ghost’s second-in-command, Kanan Jarrus, wield a lightsaber, revealing himself as a survivor of the presumed-extinct and quasi-legendary Jedi Order. Recognizing that Ezra has the same gift as him, Kanan offers to train him to wield the Force in order to continue fighting against the Empire, dispelling any notion that the Jedi are gone with a triumphant declaration, “Not all of us.”

Initially, Ezra joins the Rebellion not because it is the right thing to do, but because it is convenient to him at the time; the Ghost functions as a roof over his head, its crew members as a new set of parents and siblings, and its missions as a source of food and income, along with the added bonus of learning how to use an incredibly powerful, specialized weapon, despite the target it paints on his back. Filoni himself states [need src] that Ezra decides to join the Ghost not only to learn how to use a lightsaber, but because he is in need of a family, having lost his own parents at the age of seven, when they were arrested for their underground, anti-establishment radio broadcasts. Part of Ezra’s journey over the course of Rebels is re-learning how to think beyond himself, and sacrificing himself for the greater good of everyone, and not just the good of his family and friends--but, as one would expect, at the very beginning of his story, he is far more selfish than selfless. It is more than halfway into the first season before Ezra begins to truly comprehend the Jedi lessons Kanan has attempted to teach him, beyond lifting rocks with his mind, as he finally admits and begins to face his fears while in the middle of a vision quest (presided over by the disembodied voice of Master Yoda).

Over the course of the series, Ezra has frequent, deep brushes with the “Dark Side” of the Force, becoming more inclined to fight, hurt, or even kill in the name of pragmatism and gaining victories for the Rebel Alliance.

Luke’s introduction to the Rebel Alliance is equally accidental, though arguably far more heroic. When his uncle and adoptive father Owen purchases a pair of droids for the farm, Luke discovers a secret message hidden within one of them: Princess Leia’s plea to a mysterious Obi-wan Kenobi for aid. Luke’s first instinct is to help her, seeking out the reclusive loner Ben Kenobi for more information. [more]

These parallels are further underscored by their respective musical motifs. Consider Luke’s theme, the “Main Title” fanfare. [GL quote, SWO 2, 20 min in]. Comprised primarily of perfect intervals, the theme begins with an ascending fifth, an opening salvo so famous that music students everywhere, yours truly included, use it to identify perfect fifths in other contexts. As Lucas notes, the principal instrumentation is in the brass section, immediately conferring an old-world heroic air to Luke. [SWO hero’s journey quote]. [insert sheet music here, recap] As a theme, it is punchy, energetic, deliberately and intrinsically tied up in the “Rebel Fanfare,” and generally underscores moments of onscreen heroism and valiant derring-do. [explain] [example] [example] [example]

By contrast, while Ezra’s theme is also played by the horns, they are muted, thinner, ringing out more softly over shimmering, sustained strings. [insert sheet music here, recap] Ezra’s theme mostly serves to underscore the character’s moments of emotional reflection, rather than his superhuman action. The first iteration of Ezra’s theme, in contrast to the above, plays as Ezra observes the crew of the Ghost handing food supplies from afar. His whole worldview has clearly been shaken; rather than abscond with the supplies stolen from Imperials--supplies that, Ezra’s presence notwithstanding, were difficult to steal--the crew of the Ghost chooses to give most of them away (though a crate of weapons is sold to a shady businessman for income). Ezra’s first instinct had been to sell them himself, to any number of the black market dealers with which he has become familiar growing up. Of the many confusing aspects of this situation, one thing which must be puzzling him is why the crew had even offered him refuge on their ship. Surely if they were like any other thief or smuggler, they would have left him behind to be killed by the TIE Fighter pilot, either as a punishment for stealing the crates in the first place, or simply to get him out of the way. (Later, he will be even more shocked that they turn around to rescue him from an Imperial Star Destroyer, one of the Empire’s largest and most heavily guarded space vessels, despite having accidentally left him behind earlier in their haste to escape.) Now, however, this emotional confusion, coupled with a handy tug from the Force, compels him to sneak aboard the Ghost and snoop, where he stumbles on Kanan’s lightsaber and holocron, a treasure trove of Jedi information that only Jedi can open, which he promptly steals.

Ezra was born on “Empire Day,” the day that the Clone Wars were ended and the Galactic Empire was declared by Palpatine, formerly Senator, then Chancellor, and now Emperor. (It was that same day that the Emperor launched his assault on the Jedi Order, wiping nearly all of them out in one overwhelming blow. It has been theorized that this mass slaughter resonated throughout the Force, causing unborn Force sensitive children to panic and induce early labor in the mother. Incidentally, Luke Skywalker and Leia Organa were born two days later.) For Ezra, Empire Day comes with its own baggage--this day is also the anniversary of his parents’ arrest for treason, which left him homeless and alone. This Empire Day, however, Ezra is not alone, but instead has joined up with a rebel cell determined to cause some mayhem and headaches for the Imperial occupiers. With Imperials distracted by preparations for a local parade, and their search for a particular Imperial data-worker named Tseebo, Ezra and the rebels happily ruin the parade, and, while hiding in the abandoned apartment which used to be Ezra’s childhood home, discover Tseebo already there. Tseebo was, by Ezra’s admission, a friend of his parents, though Ezra himself wants nothing to do with Tseebo now, who “went to work for the Empire, after they took my parents away.” (While it is left intentionally vague, there is a distinct possibility that Tseebo had a hand in his parents’ arrest and imprisonment.) In the years since, Tseebo had allowed himself to be implanted with cybernetic enhancements in order to increase his productivity, before downloading several caches of Imperial secrets, and attempting to flee. With all of the information in his head, Tseebo is little more than catatonic, able to walk and spout random information, but not truly understanding what is going on around him--until some turbulence aboard the Ghost appears to knock him back into consciousness. Seeing and recognizing Ezra, and perhaps knowing that he has a limited amount of time, Tseebo frantically tries to tell Ezra that he knows what happened to his parents, who had been presumed dead all this time.

Unfortunately, Tseebo cannot remain lucid for long, and Ezra must go and lure the pursuing Imperials off of their tail, in order to get Tseebo to Hera’s rebel operative, the mysterious Fulcrum.

#essay tag

2 notes · View notes