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yume-fanfare · 4 years ago

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hi i am that anon from like 29th Dec (last dang year) who said i read ur tsuki no hime and loved it and that u understand Aizou. i have read more of ur stuff since then and now i NEED to ask you for writing advice, on both characterization and general writing tips since I didnt mention it before. Sorry about that! i just forgot i sent an ask and i do not get notifs at all (or does anon asks not get notifs?) Also, ART STUDENT! That's why the nice art and art leaning!! I feel smart for sensing it

oh yup, tumblr doesn't send notifs for anon asks! but i'm glad you did see the answer anyway

this post is hideously long, so answer under the cut!

so, on characterization: it is mostly a matter of what would they say, rather than what you want them to say. the joke about "the characters do what they want to" instead of what the writer wants is pretty much true if you want them to be in character lol (that's why sometimes a little bit of OoC isn't too bad)

checking the source material is the most important thing: look at prior similar interactions the characters have had and how they reacted

this is kind of hard with LIPxLIP, as there aren't that many translated texts about them but with honeyworks the most canon and reliable thing to use as reference are the mvs. the mvs are drawn in a way that can pretty much be understood even if you don't have the lyrics, and sometimes it's even better if you can't read them, to properly focus on the images better

look at their expressions closely: while aizou is always explosive in his anger, yuujirou often has a more indifferent expression. so, when they fight, aizou is probably the one to blow up first while yuujirou maintains his composure better. it's kind of the classic "this was only a brief passing panel but i am going to expand on it" www

but the thing about fanfiction is that it's always a bit of a character analysis in itself. you don't start writing having already a color-coded folder of possible situations and reactions a character would have for each setting. you just throw the characters in a scenario and then think from there onwards, and eventually you'll be able to have the folder of situations and what you think their reactions would be like. (though, this links back to the prior point, if the characters have gone through a similar situation in canon, use that as guide! plus, finding little references to canon when reading is always fun)

for general writing, i'm going to mostly talk about my own experiences and process! i'm in no way a professional though

the basic is reading a lot. not just books but also fanfic. in fact, since you're writing fanfic, i Encourage you to read fanfic. even if your story ends up novel length, the way of treating the story is different from that of an actual novel. for example, because you're working under the premise that everyone knows the characters already. the general style of fics is different as well.

in fact, the style is the main reason i'm saying this slfkslfkslkf

read a lot of stuff and find a style you like. think of it as sewing together pieces from here and there to make a frankenstein amalgamation: this person's metaphors, the comparisons from here, the descriptions from there

personally, i adore the "long one-shot with a long title formatted (like this)" fics that are mostly feelings and descriptions and as little dialogue as possible, and some that occasionally play with the "show don't tell" rule, and some months ago i read a book whose descriptions amazed me because you could feel what the character was focusing on the most, rather than being general descriptions of the situation (i actually have a lot of thoughts about descriptions but that's a post for another day). but also i really like dialogue and plot-driven stories, descriptions can get boring and before trying to break rules, you have to be really good at following them

but, let's go step by step: developing an idea

for this i'm going to mostly reference the multichap i finished a while ago as an example

i started with just a few vague concepts in mind: non-idol au with aizou who does some sport and likes music but is insecure about his singing and yuujirou who does some music related thing and encourages him to sing in a way that's somehow related to the hozier song to noisemaking (sing), because it's what inspired me to write in the first place

then, from then onwards i wrote down what would happen in the first chapter of the story bullet-point-list-style, including things like the roommates part or the clubs the boys were in (at first yuujirou was in the choir club lol the change was a last second decision that idk why i took) and then bits of dialogue here and there that would be The Turning Points. those first dialogues were for the fight at the end of ch 1, the apology-date in ch 3 and then some vaguely unused ones for the "yuujirou encourages aizou" part, as those were the first key moments i thought of

because, since it's enemies to friends to lovers, an important aspect was character development

not all fics have character development bc not all of them are long enough (if you're aiming for short and sweet then there's no need). but if they do, i recommend you write down how the character was at the beginning of the story and then how they were at the end and then fill in the middle later, think of what those key turning points that made the character change were (the more little things you add, the more gradual it'll be)

samishigariya illustrates this very nicely: the song starts and finishes with the same lines, but the ending ones feel more light-hearted. the beginning has pre-arisa ken and pre-getting-along-with-yuujirou aizou, when they were the lonely people the title mentioned, and the ending, when they're not lonely anymore. the in between can be seen in depth during the other songs: ken before arisa was a playboy who didn't take love seriously, but after meeting her he realized that games were not all there was to love; and aizou used to be quite cranky and high-key a loner, but then he "meets precious things and knows of love". i will not elaborate on that because this isn't an aiyuu post but Oh You Know

for the fic, aizou would go through that same process, more or less: someone who doesn't really form meaningful connections with people but who, in the end, would end up having quite a bunch of people who care about him as his relationship with yuujirou advances too

since the relationship was the main focus, i wrote a very simple outline for how it would develop throughout 5 hypothetical chapters that was just: 1. civil w each other but mostly bad > 2. bad > 3. half friends > 4. pining > 5. date

and then with that in mind and the bullet point list, the final basic outline ended up like this:

there were scraped ideas and ideas that made it in later, but i believe having a simple outline, a bare skeleton to add things to, is important. stories need continuity, development requires a prior buildup

it's especially important in multichapter fics where you post as you write, you need to have a more or less clear idea of what's going to happen because you can't ignore scenes you've already posted

shorter stories don't need it as much, you can think as you go, but it's still helpful to know where you're going with things to avoid getting stuck

and, on getting stuck: don't be afraid of deleting things. if you can't figure out how to continue things, then delete the situation and start again. it might feel like you'd be wasting time but in the end, it is so much better than being stuck on the same scene for weeks

in fact, you don't have to write in order. jump to the next scene and you'll figure it out later. you Can write the scene you want to write and then build everything else around it

it's normal to write a scene and then realize it would make more sense later in the story, or that it would be better if you added another scene earlier, or sometimes you just find it easier to jump from one part of the story to another. rely on your outline to keep track of what you've written, what you have left to write and what's the best way to arrange your story. make your story understandable

which bring us to editing

there's a lot of much better posts on editing stories, but yeah ctrl+f is your best friend: don't repeat yourself too much. and be sure to vary sentence and paragraph length, as well as sentence structure, to give dynamism to the writing

now, i've mentioned before the show, don't tell rule, but i'm going to talk a bit more about it because it's quite important

once again there's a lot of posts that explain more in depth what it is, so i'm not going to expand too much on that, but, very basically, try to avoid things like "then some time passed and they became friends". explain it: what happened exactly? how did they become friends? if it's important, show it to us, instead of summarizing

since things like these make the story longer, it also gives room for more development and proper explanation for things that happen

for example, the fic was originally going to start with them already in the room, and the whole situation would have been explained in a single paragraph somewhere, but by actually adding the scene where they first arrive to the dorms and argue with the lady at the main desk, the story flows better and it let me actually describe their first meeting

and uuuhhh i think that's all? this took super long to write i hope i didn't forget any super basic stuff lol

i want to add that for enemies to lovers i greatly recommend this post bc it's super good but yeah i think that's basically it, if you have any more specific questions just shoot me an ask

#god this is so long #how should i tag this #tutorials #i guess #anonymous #preguntas

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overanalyzingelswordiswhatido · 5 years ago

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In Defense of Doom Bringer

Since I noticed a similar argument about Dominator and Doom Bringer that I did to Nova Imperator and Rage Hearts, I'm doing another analysis to explain why I think the canon path was the one that was picked to be it. I'm gonna do a similar kind of set up that I did comparing Nova Imperator and Rage Hearts. I'll first analyze and identify the problems with Dominator that make him... less "qualified" for the position of being canon based on the trends I noticed for both the canon and alternate (which I usually just call "alt") routes.

But first! Story time!!

I am an Add main. The thing that makes Add different than the other three characters I main though, is I ended up maining him completely on accident. See, my older sibling mains Battle Seraph Eve. And I made the mistake of partnering my Lunatic Psyker, who I was unceremoniously terrible at, with my older sibling's Battle Seraph. I googled him multiple times and just COULD NOT figure it out (my older sibling did the same and couldn't figure him out either) and I'm pretty sure it's because of all the fancy lengthy terminology cuz my eyes crossed at "Dynamo configuration mode". My older sibling ADORES Battle Seraph and wanted to play her every. Single. Day. And having partnered my Add with their Eve, I reluctantly played a character I was terrible at every. Single. Day. My older sibling carried me until... it was either late Lanox or early Atlas and I can't remember which exactly. THAT was when I finally managed to figure Lusa out. I came to really like playing Add once I finally figured him out. So yeah. I accidentally main Add.

ANYWAY, on to the proper analysis now. First and foremost. I've identified three problems?? Again?? Is that just gonna be the format for these??

Thing the first is Dominator's obsession with perfection.

I googled perfectionism for this analysis, just to be sure I knew what I was talking about. So enjoy this mini essay (paraphrased mostly from wikipedia) on that. Perfectionism, in its toxic form, drives the perfectionist to attempt to achieve unrealistic goals or unattainable ideals. It's also often accompanied with depression and low self-esteem (amongst other things those two are just the most common and I didn't want to list out every last thing). Perfectionists tend to dissociate themselves from their flaws and can not be very critical of themselves while simultaneously being overly critical of others in their attempts to achieve their idea(s) of virtue (or more accurately the illusion thereof) while hiding their flaws. "According to [Allan] Mallinger and [Jeanette] DeWyze, perfectionists are obsessives who need to feel in control at all times to protect themselves and ensure their own safety. By always being vigilant and trying extremely hard, they can ensure they not only fail to disappoint or are beyond reproach but that they can protect [themselves] against unforeseen issues caused by their environment."

The first part about seeking unrealistic goals or unattainable ideals is just a general Add thing tbh. They all do it and I'd be a fuckin hypocrite to claim otherwise in a character analysis. But the rest of that is all very specific to Dominator. He does not take criticism. He believes himself to be perfect while the world is what is wrong. And he hyper controls his environment to make it something he can feel safe in. And that kinda leads right into my second problem.

Thing the second is Dominator's need for a bubble. He literally creates his own virtual world just so that he can function. That virtual world changes to his whims. It is everything he needs it to be whenever he needs it. And he created it after the real world failed to accommodate him. After the real world failed to be what he needed when he needed it. I really get the feeling Dominator is trying to make a world he understands and can predict. He's trying to make the world he's ended up in through no choice of his own, one that he can be comfortable in.

Thing the third is the edge he's teetering on the verge of dropping off of. I really do get the impression that Dominator's entire route is scared and hiding behind confidence and a pretty face. As long as he's confident and seems like he's got his shit together, then he'll be taken seriously instead of being taken advantage of. But because of his bubble and his inability to take any sort of not positive comments about himself, he is probably the most severe case of character stagnation I've observed despite it being a trend in the paths I've put together into the alt routes. And a big trend with the canon routes is character growth. That kinda knocks Dominator off the possible list. On top of that, pulling him out of the bubble that causes his stagnation is more likely to result in a path to self-destruction that he won't be able to get off of before it reaches its end.

Now comes Doom Bringer. But first. I need to acknowledge a few things about him. He has also stagnated. The difference is in severity. Doom Bringer is more aware of the world and his place in it simply because he hasn't closed himself off to it (yet he might and I wouldn't be surprised). I think he'll also require being set on a path of self-destruction to get out of that stagnation. The difference there is, based on my analysis, I think Doom Bringer is more equipped to get off that ride so to speak and I'll be talking about that more a little later on in this. Doom Bringer also doesn't have nearly anywhere near Dominator's sense of responsibility and self-preservation or impulse control. Almost all of Doom Bringer's inhibition comes from something outside of himself, whether it's someone else or the situation he finds himself in (it's usually someone else probably). It also says a lot in Dominator's favor that he is the only Add that hasn't merged himself with something yet. Cuz I get the feeling that shit is REALLY dangerous. Also the fact that Doom Bringer merged himself with his Nasod Armor simply because he essentially got tired of it's upkeep says a lot about how well he thinks of possible consequences before taking an action (I'm pretty sure he just fucking doesn't). That being said, you can be completely irresponsible (comparatively speaking) and completely lack self control (again comparatively speaking) and still be farther along in your development than someone who has more control than you. And since Dominator is VERY focused on image while the only one who cares less than Doom Bringer is Mad Paradox, it makes sense that it would be like that.

The big thing Doom Bringer has going for him is his connections to the El Search Party. I'm gonna be honest. That's the only BIG difference between him and Dominator that I think makes him more "qualified" to be a canon route. I have no doubt Doom Bringer never intended to build connections with the search party (and I'll be doing an analysis later about those connections and how strong I actually think they are). He just wasn't as good as Dominator in closing himself off to them. The reason I've come to believe this is because I've noticed that in the Doom Bringer job path Add's face is very expressive, much more so than the other two. That in turn makes him easier to read whether he tries to hide things or not. People that are easily read tend to subconsciously drop their walls faster than they originally intend to and I don't think he was an exception to this. I think Doom Bringer accidentally got attached to the El Search Party and I'm not even sure he's FULLY realized it yet. But its that attachment and that relative openness (compared to Dominator we are still talking about Add after all) that puts Doom Bringer as the Add that is on the road to starting a recovery from all of his trauma. I think it's going to take slamming face first into the brick wall of failure and dealing with the resulting emotional turmoil but as I've said. Doom Bringer is the most equipped to be able to do that and come out the other side okay. Even if it is only because he has less reason to be apathetically accepting of it than the other two Add paths.

Anyway it was actually in trying to convince my younger sibling that Dominator was just as worthy of compassion as Doom Bringer and Mad Paradox that made it so I figured all of this out at all. And I honestly struggled with it a bit because while the canon paths are often the healthiest it was difficult to put into words why I think Doom Bringer fits that bill better because the two paths are so similar once you actually look past their exteriors. That and Dominator being the more responsible of the two made it harder for me to feel like I could adequately explain my thoughts on it without it sounding like I was just making excuses for Doom Bringer and/or hating on Dominator.

One last thing. I haven't really seen any other debates between character job paths that I think will prompt me to make another post like this one??? Like I saw something about Catastrophe deserving to be canon but it was just one person and it wasn't prevalent enough in the wider community that I feel the need to make a whole long winded analysis on it. So unless something new comes up or someone asks specifically I won't do another post like this. I'll be posting the path organizations I made based on the trends I've referenced both in this post and the Raven post in a bit. Once I finish detailing it out.

#elsword #elsword online #add elsword #edward add grenore #edward grenore #add grenore #arc tracer #mastermind #dominator #psychic tracer #lunatic psyker #doom bringer #oof this got long #its not my fault #i have a lot of thoughts on add #and eve #but eve is an analysis for another day

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linkspooky · 6 years ago

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Katharsis Opening Analysis

Brought to you by Funimation. (Joke).

In Aristotle’s Poetics, he describes the format of a perfect tragedy. In tragedy, when a hero succumbs to their flaw for the audience to see, he labels that stage as Catharsis. Tragedy was not just mere entertainment for greeks, it was a social and societal experience, you saw characters fall to those flaws on stage to purge yourself of your own flaws and then return to your daily life.

Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation [catharsis] of these emotions. By 'language embellished,' I mean language into which rhythm, 'harmony' and song enter. . . .

In other words, Catharsis refers to the point within the play at which the flaws become clear and brought to the open, of which they are purged, and acknowledged the audience is then able to get up from the seats and move on purified of those emotions. In order to move past those flaws, they must be first brought to the forefront, acknowledged, felt. Which is most likely why this final opening is an obvious reference to dragon, the greatest moment of catharsis in the manga where the protagonist’s flaws are acknowledged, brought to the forefront, and then the protagonist and audience both are finally allowed to step away from tragedy. Katharsis as an opening, depcits Kaneki’s emotional Katharsis and his journey away from tragedy and to the blue sky which is always next to tragedy as seen at the beginning and end of :Re.

Fatal Flaw, tragic reasoning, looking away from the reality, but thou must. Catharsis, and then a step away from tragedy.

The characters on stage fall to tragedy, so the audience can step away purified from that tragedy, that’s the greek approach to tragedy in a nutshell, that is katharsis. Tragedy was written to be applied to the every day life of every person in the audience.

With the connection to the title out of the way, let’s move onto the song itself, the combination of the lyrics and the visuals pay homage to all the previous openings. We’re going to discuss recurring motifs. Originally named after repeating themes in music, (like the fifteen second song that plays when you open a chest in zelda for example) that were meant to carry meaning through association with their preposition. It can also apply not only to reoccurring notes, but reoccuring imagery, patterns, themes, ideas, words. Repetition brings about meaning, basically, for a recurring motif.

mo·tif a short succession of notes producing a single impression; a brief melodic or rhythmic formula out of which longer passages are developed.

With the start of the opening we’re shown raindrops falling on water and rippling the surface of pitch black water, in time with the musical notes. Dark waters which slowly pan out to reveal another sky split in two.

It’s a bit hard to notice with how dark the animation is, but Kaneki is standing right on the horizon line, and everything below him is reflecting up. It’s the same as the intro to Unravel with Kaneki standing on a clear blue sky with the colors inverted. However, not only does it connect to unravel it connects to Asphyxia as well. In Unravel the entire time Kaneki stands on the clear blue sky, however in Asphyxia Haise begins in the clear blue sky, and by the end of the opening he’s moved to a red and black night sky. The colors of blue and white are associated with not only the “sky next to a tragedy is clear blue”, but considering the motif of water and illusions are recurring throughout pretty much every single opening, the blue sky is the conscious mind, while the red and black murky sea is the unconscious, primal shadow in a Jungian sense. I will get to this later, but the use of the horizon, and the water reflecting the horizon that Kaneki stands on top of is also Jungian symbolism, the water being again a symbol for the hidden depths of the shadow, an apparently shallow stretch of water that when you stare at it hides much deeper and murkier depths underneath. The moon in association with this is the card of illusions, dreams, delusions, a motif shared also in the lyrics in all four openings Unravel, Munou, Asphyixa and Katharsis.

Say I woke up and everything was an illusion I’d want my miraculous delusions to come true

Lyrics by @kenkamishiro here [x].

Kaneki referencing his own purposeful deluding of himself that led to Dragon.

The illusionary world is once again referring to the world that Kaneki wants, a world where he belongs and a world where someone will want him. Tokyo Ghoul is a story that starts out with two distinct worlds, the surface world where humans live in comfort, and the primal and hidden world of ghouls that most are not even consciously aware of. This is also, another reference to the Jungian idea of shadow, a split world one human and one ghoul, one conscious mind, and one hidden concealed and much more primal. Pretty much every opening addresses these two worlds in a way, or discusses being stuck in a world where you are helpless or you don’t know what’s going on what Unravel is primarily about, and what Asphyxia begins with. They also, use the motife of illusion, and water when addressing this, Aspyhxia is literally about drowning but I’m getting ahead of myself again.

At the beginning of the song Katharsis, we learn what Kaneki’s Catharsis is, that he wasn’t fighting for his real conscious reasons but rather chasing the world of his delusion, the world of his personal desire that he deluded himself into ignoring, this is also the reason that Dragon manifests in the first place. It’s pure shadow, comes from the depths (v14 and those underground passageway parallels are sewers, Kaneki literally hears water in the original V14, which the Juuzou fight was a parallel for). It’s raining again when Kaneki reappears before Juuzou.

Dragon emerges from the watery depths, in other words it’s the repressed flaws of Kaneki, the repressed shadows coming to the surface of the water uncontrollably. That is the catharsis once again, the flaws brought to the surface and acknowledged so that they can be purified. This is always associated with water, because once again, Jungian symbolism and the metaphor that Rize uses that he only sips “unsullied water” he looked at the pure and reflective surface and ignored the depths. That is also what we’re shown in Unravel and Catharsis, a pure and reflective surface of the water that matches the bright blue sky, that Kaneki eventually plunges into the depths of the water. In Unravel Kaneki starts in the pure blue sky and plunges into the depths of the water just as the opening reaches it’s ending, in Katharsis Kaneki starts in the murky pitch black depths and reaches for the surface and returns again to the pure blue sky. One must confront and accept the shadow, one must experience Catharsis and acknowledgement in order to be purified.

So, returning to the parallels between openings. Not only does Katharsis parallel Unravel, it also works as a continuation to asphyxia. Especially in a motif sense, Asphyxia begins with the clear blue sky that Haise is facing. Haise is remember, Kaneki’s controlled conscious, he’s the happiness that Kaneki wants and desires that is achieved by suppressing completely all his truamas of the past and his dark side. If Kaneki had completely conscious control of himself, he would be like Haise, a nurturing figure who arranges those around him in a family. The conscious mind is not wrong, it is just not the entire picture there is always the unacknowledged shadow.

Everything is hopeless, So, In this unchangeable world, I am drowning.

Lyrics by @lunaamatista here [x]

So, Asphyxia starts on a pure blue sky, but it also starts with these lyrics. Which are not nearly as happy as the imagery, however they do reflect the reality of Haise. Haise is a dream that Kaneki can only achieve if he gives up all of his agency and lets Arima and the CCG control him. “Drowning” is Jungian symbolism, of the unacknowledged depths of his shadow that Kaneki is struggling with, the surface of the water Kaneki peers at which belies an even greater depth. He is drwoning, because Kaneki has repressed his shadow so much he has absolutely no control of that depths.

He doesn’t acknowledge it so he can’t take control of it. Once again the world is referred to as an illusion, because Kaneki has yet to be able to manifest his idea world. In Unravel Kaneki is draggedinto the world of ghouls and has no idea how it works, that’s the point of the song he’s asking about it. In Munou as he leaves behind Anteiku the world of happiness he grasped becomes further an illusion, he refers to his past with Anteiku as a dream. In Asphyxia he’s literally drowning and pulled further into the depths of the world he can’t control. In Katharsis he finally wakes up from the dream and realizes he’s been chasing delusions all along. This is all a metaphor of course, dreams aren’t really controlled by the conscious mind, and therefore Kaneki who does not experience much self control over his own life and is constantly having agency taken away from him as he’s thrown helpless into the world therefore experiences the world like a dream. It’s illusory,it’s a dream, because he can’t seize control of the world. It doesn’t seem real because he doesn’t seem to be a part of it, he’s an outsider being pulled into it.

Anyway, Aspyhixa itself represents the journey from the pure blue sky, to the red and black murky depths we see at the start of Katharsis. It starts with Haise facing the pure blue sky, then he turns away from it to look at the camera.

Then, we see his ghoul eye revealed but the rest of him is covered in shadow. Haise’s ghoul side is repressed, and therefore the hidden, primal, and violent world of ghouls represents the shadow, colored in by reds and blacks while the conscious mind is a clear blue.

After his shadow is shown, the sun sets and the entire city becomes darkened for the rest of the opening.

Then as we see the moon appears again and again but only in association with ghouls. Seidou Takizawa who unlike Akira and Amon acknowledges himself as a ghoul and chooses to live is a ghoul appears looking at the moon, when it cuts to Akira and Amon the moon is out of frame. The moon, and dark colors are heavily associated with the Jungian concept of shadow. So,it makes a good symbol of the hidden and illusory world of ghouls (which is also symbolized by masks, ghouls pretending to be human and therefore having hidden depths and hidden lives, etc. etc.).

The Moon card shows a large, full moon in the night’s sky, positioned between two large towers. The Moon is a symbol of intuition, dreams, and the unconscious. The light of the moon is dim, compared to the sun, and only vaguely illuminates the path to higher consciousness which winds between the two towers.

In the foreground, there is a small pool, representing the watery, subconscious mind. A small crayfish crawls out of the pool, symbolising the early stages of consciousness unfolding.

The Moon can indicate a time of uncertainty and illusion, when nothing is what it seems.

Furuta, the character most associated with the moon and the shadow appears onscreen and not only is the city darkened, but it turns it’s most red, the deepest part of the shadow.

@tgcalendar2016

Then, by the end of the opening we see an explosion of Eto’s Kakuja in front of the pure red moon, and Haise as well standing in front of that same moon. By the end of the opening, Haise has turned away from the pure blue sky and instead has fallen into the world of illusion and shadow, forced to use his ghoul side entirely.

He’s now turned away from both the audience, and the pure blue sky and only sees the black and red one.

So symbolically, Asphyxia starts with Kaneki in the world of humans, and has him fall face first into the watery depths of the world of ghouls, which is where Kaneki starts at the beginning of Katharsis. This is also a journey that is encapsulated in Unraveling. Unraveling is one again, I’m not going to go lyric by lyric because I’m going to get to the lyric by lyric breakdown of Katharsis later but it’s primarily about Kaneki falling into the world of ghouls and realizing that the world is much more broken than he realized, but also believing the world to be imaginary because he has no control over it. Once again, the dream as a metaphor for Kaneki’s lack of perceived control over the world and his own trauma. He describes it as a world of someone else’s imagining. Unraveling the world has two meanings, Kaneki’s own perceptions of the world breaking down and being shown to have been an illusion to begin with as a result of living in the human world where he did not have to acknowledge the violence of ghouls, but also the world being so genuinely broken that it breaks Kaneki hismelf causing his mind to unravel. He learns about the world, he has to unravel the mysteries of the world, but while he does so he himself becomes unraveled by it. The darker things he learns about the world the darker things he lerans about himself as well, this is once again a journey of acknowledgement of the shadow.

Here in this broken down world, You laugh without seeing a thing. [...]

I don’t wish to hurt you in a world, Of someone else’s imagining.

Translation used here [x].

Unravel also starts with an inverse of Katharsis. In Katharsis the world is black and eventually becomes bright blue. In unravel, the world starts out colorless, because once again in the beginning Kaneki knows nothing of the world, and then suddenly the blue sky appears. The same motif in Katharsis of a hroizon split down the middle with the top representing the clear blue sky, the conscious world, while the bottom reflecting the consciousness is water the unconscious, primal, shadow world of ghouls that Kaneki will eventually plunge himself into.

Who is that inside of me?

Once again, that motif of Kaneki being unaware of his shadow. Learning more about the world, plunging into the depths of his world doubles as a journey where he plunges into the depths of himself.

Finally, a brief mention of Munou. This is still connected to the others, but it’s the least connected to the other three so I’m only going to mentionit a few times. Munou also, starts with a mention of a dream of an illusory world, and uses the same kind of dream logic for its lyrics.

I had a dream. It was of the time we were born. We lived such a beautiful life. In a city of wonbs.

So, that’s what I mean by recurring motif. Now that that’s elaborated on, let’s return to the step by step breakdown of Katharsis. The water cuts to a shot of a bare foot dancing on the surface of the water, I thought this was Rize at first but she’s wearing shoes lateron in the opening. Some people think this could be Ichika. Symbolically, the most important thing of thisshot is that it’s what Kaneki wants to achieve, to be able to walk on the surface of the waters of conscious mind without plung in. As seen in the Toriii gates sene where Rize can walk on the surface of the water that Kaneki just barely struggles to swim in.

I still think it’s Rize’s foot because she’s shown to be barefoot in the Torii gates scene, even though she’s wearing shoes in the opening (Kaneki is barefoot in the Torii Gates scene as well). Kaneki can barely swim in this water, because he hasn’t acknowledgedhis depths, and therefore can’t control it.

The next shot is Kaneki standing on the split horizon sky once again, though this time the sky is pitch black, and dark red, symbolizing the shadow and unconscious. It’s also an inversion of the way that Unravel ends, with Kaneki standing up on the surface once more after plunging into the depths of the ghoul world, his white haired form believing after facing those depths he now has control of them. Unravel ends with Kaneki standing in front of the pure blue sky, whereas Katharsis begins with Kaneki standing in the same position in front of the shadow black and red sky.

Kaneki then when he’sfinally shown in front of the screen, is shown with the broken glass motife behind him.

So, the broken glass and characters being overlaid over the city of Tokyo is a recurrring motif once again in Unravel, Aspyhxia and Katharsis and once again the meaning changes slightlyover the three of them. This breakdown is going to be shorter because I already covered the Jungian concepts involved I promise.

So, in unravel the glass windows are another form of the surface of the water reflecting the horizon symbolsim but showning the depths. Reflections are more illusory moon symbolism, once again water reflects light, the moon can only reflect it generates no light of it’s own. The shadow is a reflection of the subconscious mind, but in the low light it can reveal certain hidden aspects. The glass in Unravel always reveals the hidden ghoul side of the ghouls who appear through it. Kaneki appears as a human in both eyes on one side of the glass, his reflection reveals his ghoul eye, the same for every other ghoul character, the ghoul side is the concealed shadow, and the city of Tokyo reflected in the glass is the second hidden world of ghouls not seen by those who live and dwell on the surface of Tokyo. By reflecting the city of Tokyo on the glass, a symbol for the larger world in general, we are once again making the distinction between two worlds.

The glass is the neat and tidy lines between the two worlds, like the border on the horizon that Kaneki stands on between the opening drawing a line between the sky and the water. When the glass shatters, the two worlds become confused, and the ghoul side is revealed. When character faces are shuffling through the broken glass at the start of the opening, their ghoul side is revealed.

Because once again, the point of the series is to shatter this boundary between the human and the ghoul worlds, break the cage because ghouls should not have to hide their ghoul sides and exist within a secondary hidden world. The fact that there are two worlds is just an illusory distinction forced upon them by V, and the CCG and Washuu who forcethem into hiding. There is only one world that is carved up into two.

However, once again the central metaphor of unravel is once again the more the world becomes broken, the more you become broken by it as well. So, the cracks in the glass that come about by characters embracing their ghoul side are also superimposed on them, especially Kaneki and work as symbols for their own fracturing psyche as well. Then once again returning to Katharsis, the cracks are not superimposed on Kaneki but rather he stand in front of the cracks and the cracks are behind him. Because Kaneki has moved on, taken control of the world and using that power to shatter the cage of the world behind him. However that also has a double meaning, because in order to do that Kaneki had to first break the world further, which creats thedragon that attacks and literally breaks Tokyo, which is the sin the lyrics of the opening elude to. The cracks are behind him, because Kaneki is no longer being broken by the world, he breaks the world.

Just one more mention of Asphyxia, in TG:RE season one Kaneki is working with the CCG to defend Tokyo, so the city is shown in a much less darker light, and Kaneki and the Q’s are superimposed over the city to symbolize their job of protecting it.

In re2 he becomes the enemy of Tokyo, first as the one eyed king, and then as Dragon to shatter the world for the sake of ghoul kind and therefore the city is instead painted blood red as Kaneki is juxtaposed over it.

Oh, don’t disrupt the conclusion. Oh, with these sins I’ve painted

So, once again returning to the lyrics. Don’t disrupt the conclusion sounds like th mindset Kaneki had towards the start of Dragon, that he had to keep going forward to the ending no matter what.

Or, a more optimistc reading, Kaneki’s realization that with all the bad things that happened, there were good things that happened as a result of his life and what he had done as well which finally eases his burden and lets him continue forward for the sake of those good things. So it makes sense that even though he’s sinned, he wouldn’t want the conclusion to be interrupted.

With the sins I’ve painted. The clips that flash by at this point are animation from the first and second episode of Re, where Haise (the conscious mind) is haunted by his repressed memories in the form of an illusory Kaneki.

All three of these are reused animation from Re: season 1, Kaneki’s shadow imagining of his past self reaching forward with the chains from Yamori when he breaks down while preparing to fight Nishiki, Sasaki’s kakugan being shown to us for the first time, and Kaneki crying from the same eye (his ghoul eye) when he sees Touka again after having forgotten of her. All three of these scenes relate to repressed aspects of himself, his repressed trauma from the past, his repressed ghoul eye (Kaneki is most often seen covering it with an eyepatch) and even his beautiful memories from the past ended up being repressed as a result of this, as Kaneki’s desire is to repress his sins, but he can’t because say it again with me this is Katharsis and they come to the surface.

Kaneki falling backwards is once gain, the recurring motif of Kaneki falling and immersing himself into the watery depths of hisshadow, which he also associates withhis repressed ghoul side. It’s not only used in Unravel, it’s also used at the end of Re:1 when Haise finally goes to sleep and allows Kaneki to wake up from his dreams. Falling back helplessly into sinking waters, falling into a dream, all of this imagery repeats itself and is connected.

In Unravel, Katharsis and Ep 12 what Kaneki is falling into is always the same. it’s his ghoul side, which is symbolized by an inversion and reflection. In Katharsis when he fells, we’re shown clips of things Haise associated with (Kaneki) his ghoul side, his torture under Yamori, his kakugan, his memories of Touka.

I kept destroying, even when I’m trying to save something Before long it completely changed, the knife of revolution

Once again, this is Kaneki’s flaw. He wants to protect but he only knows how to fight what’s in front of him. It’s what causes Dragon, and what is acknowledge in the Torii gates scene.

He ends up with a result he didn’t want.

Kaneki wasn’t fighting for the sake of ghouls, and therefore his revolution changedout from under him and he got a result he didn’t want. His revolution was seized from him by Furuta.

The first image we see as these lyrics play is Touka, witnessing Kanekiand the city of Tokyo turn into dragon a clear reference to this panel in the manga. She’s even wearing the same clothes. Dragon is a direct result of Kaneki’s failed revolution, and that revolution being stolen out from under him the lyrics are rather clear.

Kaneki shows up within the water, because he’s disappeared inside dragon. Not only is he inverted to show he’s separated from Touka, but he’s submerged into the water because he’s disappeared inside the ghoul world of shadow entirely now. When he wakes up inside dragon not only is he in a the same utfit, a collared shirt and black pants, the first panel we see with him he’s also inverted.

This is also another reference to Unravel. Kaneki sinks into the depths, while Touka and Rize stand on the surface.

Rize is also wear

Rize and Touka also face opposite directions, because they have the same role but inverted. Both of them are Kaneki’s guides to the ghoul world, but Touka is his passive and willing guide the high priestess, whereas by attacking him Rize forcibly drags him into the world of ghouls. They also represent opposites as well, Rize wants to embraceher ghoul side and might makes right side of ghouls, whereas Touka wants the peaceful side of humans and cares more about a peaceful life where she can live without losing anybody than her strength as a ghoul.

Opposite desires that Kaneki at times finds himself being pulled back and forth between, Kuroneki takes the pacifist approach of Anteiku and simply wants to pass for human, Shironeki tries to live entirely as a ghoul and seize control and power in the ghoul world through might makes right philosophy.

It’s on Rize first that the glass shatters in Unravel, because Rize herself is Kaneki’s violent introduction to the ghoul world, she literally shatters his ignorance by attacking him because he was oblivious to the fact that she was a ghoul and living peacefully as a human. Rize also at times appears as a hallucination to point things out for Kaneki, shattering his own pre conceived notions.

However, the Rize in Katharsis offers a hand out instead. Because once again the Torii scene is about Catharsis, it’snot traumatic for Kaneki to acknowledge his flaws, he’s not further broken by them, they’re necessary for growth. So rather than breaking the world for Kaneki, this time around the image of Rize holds her hand out and invites him to the shadow. It’s also important that Rize and Touka both stand on the water but Rize herself is able not only to walk on it, but dance on it. Walking on water is bilbical symbolsim for one of the absolute control Christ had over himself, but also it’s symbolism for how Rize as a symbol of shadows is aware of these baser desires and embraces them rather then repress them like both Kaneki and Touka do, therefore on the surface of the water she has the most freedom of motion.

Water flashes by again as Kaneki accepts Rize’s invitation and plunges into the depths of his shadow, once again Jungian symbolism Brain Ghost Rize (not real Rize Kaneki’s perception of her) guides her into seeing his unseen thoughts.

Then, Kaneki cracks his knuckles and his kagune appears.

Pierce it so that it can be unraveled, a farewell full of light

The lyrics themselves are more Kaneki’s self discovery and Jungian symbolism. The farewell full of light is probably a reference to this scene. Kaneki says goodbye to Rize, and reaches towards the light immediately afterwards.

But that’s also the symbolic Jungian journey, to reach the light in the first place you had to travel through the shadows. Even if it’s always darkest before the dawn.

THe clips that play accompanying those lyrics are Kanekicracking his knuckle, which is another reference to season one of :Re where Haise did it.

The animation itself is a reference to asphyxia as well as Kaneki is shown in the exact same position, standing with his kagune emerging from his back at the end of the opening. However, Haise is quickly shown to have his image severed because Haise wished to separate himself from his ghoul side as much as possible.

Wheras, Kaneki in Katharsis who is embracing his ghoul side even to the point of overembracing it, has all of his connections to the ghoul world that he reconnects with through Goat reappear in his kagune itself, because it’s his connection to the ghoul world that allowed him to meet all those people appear in his kagune.

Again, the metaphor from this point forward is rather simple. The light Kaneki sees at the end of the tunnel that is worth persisting on this journey for, is the bonds he made along the way that gives meaning to his life.

It’s a light he only realizes after plunging to his lowest point. Also important to mention is that the Q’s don’t show up in Kaneki’s kagune, because they’re associated with his human side,his time at the CCG, and he represses his care for them during his time at Goat which is part of what leads to his downfall. That’s why the Q’s which were so important in Asphyxia the first Op of the season, are completely nonexistent in the second one, not even showing up in Kaneki’s kagune because Kaneki is repressing their importance to him.

Also, the use of the world unravel returns to that central metaphor of unravel, to understand the truth you must first be unraveled by it.

I’ll miss you, I’ll miss you Grant me punishment

The lyrics that play through the Kaneki progressiong through the individual stages of Ken scene, there’s a couple of different interpretations I have.

First, the scene itself start with Chibishiro standing in a field, not of spider lilies which is often associated with him, but rather Bletilla Strieta which are associated with Arima. The reason being that Arima is what ushered in Kaneki’s finalmoment of growth in the manga and ascension to his white haired form. His moment of self actualization. Chibishiro is also heavily associated with Arima. He received a color illsutration in the Christmas chapter which heavily featured Arima.

Then, the “I miss you, I miss you” could also be a reference to Kaneki initiating dragon to save Touka. His wish to be punished being shown in the Torii gates scene after that fact in the manifestation of his guilt for his role in dragon.

Can you still understand me? Reaching out to the light for the immaculate conception: If it’s not me, it can’t be me If it’s not me, collapse it

Kaneki reaches out towards the light, it’s a reference to this scene in the manga pretty clearly.

Also, a lot of people are saying the light Kaneki is reaching up towards is Ichika. That’s a lie, it’s actually the light of an eva reference. (Joke). Jokes aside though, reaching up towards a single point of light is a very clear eva reference to End of Evangelion with the scene in Asuka vs the Mass Production Evas, and the animators most likely intended it that way.

A hand reaches down between them and the light is shared. Once again a lot of people are saying this is Ichika, that’s probably right but not for reasons you think.

The immaculate conception is actually mistinerpreted a lot. A lot of people believe that it’s Mary giving birth to jesus while still a virgin, but actually that’s not it at all. The immaculate conception refers to the fact that Mary herself in order to be capable of giving birth to jesus, was born without original sin. Immaculate conception. Thematically, this is what Tokyo Ghoul is about the concept of Original Sin, that people can’t help but become sinners in such a twisted world.

Immaculate conception doesn’t mean virgin birth, it means being born without original sin. So, it means the future that Kaneki and Touka are both reaching towards, a future where they can have a child born into a world where they won’t be automatically born and forced to sin just because of how broken the world is. Where they’re not born into a life of violence, but born pure instead.

Even a knife pierced here will someday shine with light one day

The final part of the opening, which plays over Touka’s reappearance, and the return of the blue sky. In the sense of Jungian symbolsim, after journeying through the shadow, Kaneki is able to see the light once more and return to the conscious mind having learned something.

As for the themes of the series, once again repeating myself but the lightwhich Kaneki reaches towards is the friends he met along the way as a part of the ghoul world, and he considers that worth enduring the pain for.

Even if a knife pierced here, is a clear line for the wounds he suffered in the past, but he’s still able to look past to see the light. In 178 he reaches for the light, and it cuts to Touka gazing towards the sky.

And, we end finally on a shot of Kaneki at peace with his ghoul self. Compare this to Asphyxia when he uses his ghoul eye his entire human self is covered in shdaow, and Munou when he uses his ghoul eye he sheds a tear of blood, and Unravel where his ghoul eye is only shown when he plunges into the depths and his human eye is never shown at that time and they are seen as entirely separate things.

At the end of his journey, Kaneki is able to stand on the surface of the water again but this time he’s reconciled both parts of himself so standing on the surface of the water he does not have two human eyes, but rather one human eye and one ghoul eye shown in balance.

Thus, Katharsis not only pays tribute to the first opening but rather all four openings and shows us the conclusion to Kaneki’s journey to find balance within himself.

#meta #tg meta #tokyo ghoul re #tokyo ghoul #tokyo ghoul theory #asphyxia #unravel #katharsis #munou #kaneki ken #haise sasaki #ken kaneki #sasaki haise #rize kamishiro #kamishiro rize #tokyo ghoul re anime #tokyo ghoul re meta #kirishima touka #touka kirishima

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wazowskiofthemikevariety · 6 years ago

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BDRP wrimo Day 3: In script format, write the opening of your character in a popular TV series

The EX-Files, or The X-Files where Mike is Scully if Scully believed with her whole heart that not all demons/ghosts/ghouls were bad and where Sully is Mulder if Mulder didn’t believe in anything and was just using the FBI’s resources to kill everything he could find so they send in a lawyer to try and get dirt on him so they can finally fire his ass. (But spoilers, that I don’t get to since this is an opening,: They become best friends and Mike’s loyalties no longer belong to the Bureau.)

EXT. - NIGHT - WOODS

Surrounded by trees the only sound is a man struggling to run, his BREATH and FOOTSTEPS are messy. He breaks through the brush, finally visible, but only just. He is wearing pajamas and no shoes. Odd for a romp around in the woods. At night.

He's looking over his shoulder, looking but not seeing. Something is chasing him. He looks for too long and trips over something, a branch or a root or a rock, is unknown.

He looks up. A blinding light makes his features clear, there is blood on his forehead and scratches on his cheek. He has shut his eyes against the light.

LAUGHTER makes the man attempt to open his eyes. He shields the light with a hand, his palm is dirty and bleeding, too.

The LAUGHTER gets louder.

EXT. - DAY - WOODS

Laying face down is a man. Gloved hands turn him over to reveal he is the same man from earlier, still in his pajamas and the blood on his face has dried.

The coroner, LEONARD QUIGGLY, a middle aged man with greying hair and thick framed glasses that match his square face, is looking the man over, frowning.

A man is taking pictures. Uniformed officers are surrounding the area with numbers and caution tape.

Two men are looking down at the corner. VICTOR is balding and stocky, he is of the mindset that it's too cold and too wet to be standing out here doing his job.

JACOBY is only a few inches taller than his partner, biting his nail as he looks on with worry. This is his first dead body. It shows.

As the coroner works Jacoby gets restless.

Victor points to the man's face, stepping so he is standing directly over the man's head.

VICTOR

That's Nathan Weston.

LEONARD

Is that a positive I.D.?

VICTOR

He went to school with my son.

JACOBY

Was it an animal?

LEONARD

(Shaking his head)

No. These markings are too precise. See here?

Leonard lifts the man's shirt. The scratches are not like the ones on the man's face. They are, as the coroner said, planned. Almost like he was used as a canvas to a drawing.

Victor tilts his head at the display. He and Leonard exchange a knowing look.

VICTOR

Can you check his back?

Leonard turns the man in his pajamas over, lifting up his shirt. The markings are there too. But there's something else. Victor steps forwards and sighs.

Victor walks away from the scene quickly, not looking at the other officers as he passes. He has somewhere to be that is not there.

JACOBY

(Looking after his partner in confusion )

What does that mean?

Jacoby looks at Leonard but Leonard will not meet his eyes, he is too busy looking at the man. The boy, Nathan Weston, and the cuts that adorn his body.

INT. - DAY -FBI HEADQUARTERS IN WASHINGTON D.C.

A man walks up the stairs of the entrance of the FBI building. Around him men and women pass by as they go about their day. An elevator dings, heels clack against the tile below them.

He approaches the front desk with a bright smile for the secretary sitting there.

WAZOWSKI

Agent Michael Wazowski.

INT. - DAY -FBI HEADQUARTERS - OFFICE

MICHAEL WAZOWSKI, a young know it all whose courage outweighs his infinite amount of fear every time, walks through desks. He is taking in his surroundings, smiling at people he passes, while also making headway for where he is supposed to be.

He walks down a hallway until he stops at a door. He knocks gently three times.

V.O. MAN’S VOICE

Enter.

Wazowski opens the door. An older man reading a newspaper is sitting at an important looking desk is inside waiting for him. His name is LANDERS, a man who once loved his job but is too old to do anything else now.

Wazowski approaches the desk.

LANDERS

Agent Wazowski, thank you for coming on such short notice. Please, sit.

Wazowski sits as directed. His eyes drift to the two other men that are in the room. One looks younger, older than Wazowski himself, and is sitting in a chair just off to the wide of Landers’ desk. He smiles back at Wazowski when they make eye contact.

The other man is standing in the corner, not looking up from a spot on the floor. His arms are crossed and Wazowski can't really make out his expression. He can't look at him any longer, Landers is addressing him.

LANDERS

We see you've been with us just under three years.

WAZOWSKI

Yes, sir.

LANDERS

You went to Law School. Passed the BAR, but decided not to practice. How did you come to work for the FBI?

WAZOWSKI

Well, sir, I was recruited out of Law School, actually. I didn't think I would be cut out for the field work so I went ahead and took the BAR but after second thought I realized that the FBI could be a place where I could distinguish myself.

LANDERS

Are you familiar with an Agent by the name of James P. Sullivan?

WAZOWSKI

Yes, I am, sir.

LANDERS

How so?

WAZOWSKI

By...reputation. His family's name proceed's itself. He is a Yale graduated psychologist who wrote a monograph on serial killers possessed by demons, used to help catch and exorcise Jennifer Jordan in 2005. Generally thought of to be the best analyst in violent demon possessions. He had a nick name at the Academy. Scary Sullivan.

LANDERS

What I will also tell you is that Agent Sullivan has developed a consuming devotion to an unassigned project outside the Bureau mainstream. Are you familiar with the so called X-Files?

WAZOWSKI

I believe they have to do with unexplained phenomena.

LANDERS

More or less. The reason you're here, Agent Wazowski, is we want you to assist Sullivan on these EX Files. You will write field reports on your activities along with your observations on the validity of the work.

The man in the corner looked up then. Wazowski caught his eye, faltering for a moment before looking back to Landers.

WAZOWSKI

Am I to understand that you want me to find evidence to defraud the EX Files, sir?

LANDERSw

Agent Wazowski, we trust your education had provided you with to make give a proper analysis to the methods that are being used on the project. You'll want to contact Agent Sullivan shortly. We look forwards to seeing your reports.

INT. - DAY - FBI HEADQUARTERS - BASEMENT

An elevator dings. Wazowski steps out into a dingy hallway that is poorly lit. There are boxes of files lining the walls. He makes his way to the end of the hall where there is barely any light left.

Wazowski knocks, in contrast they aren't as sure to the ones he had made earlier.

V.O. MAN’S VOICE

Sorry, no body down here but the FBI's most unwanted-!

Wazowski pushes the door open anyways to find JAMES P. SULLIVAN. Bulky, spoiled, good at hiding inside himself. Confident in a way that is learned, not naturally born. He is sitting at his desk so his height is hidden for the moment. His back is turned to the door, the file he is reading open as he bends over to read it.

The office does not look like the professional ones upstairs. There is no method to the madness. Pictures of shadow figures, of pentagrams, of people adorn the walls. Files are spilling out everywhere. Wazowski is horrified.

Still he enters.

Sullivan turns, looking up from the file. Wazowski waves.

WAZOWSKI

(Walking forwards with his hand outstretched)

Agent Sullivan. I'm Michael Wazowski. I've been assigned to work with you.

SULLIVAN

(Taking Wazowski's hand)

Isn't it nice to suddenly be so highly scrutinized?

Wazowski's eager demeanor shifts.

SULLIVAN

(Going back to his file, dismissive)

So who did you take off to get stuck with this details? Wazowski?

WAZOWSKI

Actually I'm really looking forwards to working with you. I've heard a lot about you. And your family.

SULLIVAN

Oh, really? I was under the impression that my dad sent you to spy on me.

WAZOWSKI

If you have any doubt about my qualifications or credentials-

SULLIVAN

You're a lawyer. You teach at the Academy. Got your undergraduate degree in demonology.

Sullivan pulls a stack of papers from under a heap of files, the top few falling off. He stands, reading the top page.

SULLIVAN

"A proposal on legal processes of Demons, Michael Wazowski, senior thesis," now that's credential, humanizing demons.

WAZOWSKI

(Defensive)

Did you bother to read it?

SULLIVAN

I did. I liked it. It's just that in most of my work demons don't necessarily sit in a court room to stand trial.

Sullivan passes by Wazowski , walking to the door. He turns the lights off behind him leaving Wazowski to stand in the dark.

SULLIVAN

Maybe I can get your opinion on this though.

Sullivan moves back into the room, turning on a projector and returning to a laptop.

On screen is a body. Nathan Weston in his pajamas, face up.

SULLIVAN

Montana male. Age 22, no explainable cause of death. Autopsy showed nothing. Nada.

The picture changes, showing the cuts along Nathan's abdomen.

SULLIVAN

There are, however, these lines all across his body. Not deep enough to kill him, not even deep enough to need a stitch. Lawyer Wazowski, tell me, can you I.D. these marks?

Wazowski stepped closer to the screen, apart of the projection displaying on his body as he does.

WAZOWSKI

Claw marks, maybe? Or knife wounds made by the attacker. A rune of some kind?

Wazowski turns back to Sullivan, who changes the slide.

SULLIVAN

How's your chemistry? this is the chemical found on the surrounding tissue.

WAZOWSKI

It's organic. I...don't know, is it some kind of synthetic protein?

SULLIVAN

Beats me! I've never seen it before either. But here it is again in Astoria, Oregon, and again in Maysville, Kentucky.

The slides change. Two different bodies show on screen. Both with the same markings on their skin. Wazowski turns to look at Sullivan.

WAZOWSKI

Do you have a theory?

SULLIVAN

I have plenty of theories. Maybe what you could explain to me is why is Bureau policy to label these cases as unexplained phenomenon and ignore them and then expect the public to abide by laws to these creatures.

Wazowski has no answer, so he says nothing.

SULLIVAN

You're of the mindset that demons aren't all evil? Right? That we can just, sit down and have dinner with them? Have rational conversations with them?

WAZOWSKI

Logically, we as a society can not record all demon summoning, tears in the rift, or portal openings. We also cannot have a record of every possessed physical being walking around. And even then methods use for exorcism are barbaric, without any thought on the host until the demon is extracted. I could be a demon right now, and you'd be having a rational conversation with one, wouldn't you?

SULLIVAN

Conventional wisdom. You know this Montana male is the fourth person in his town to die under mysterious circumstances. Now when convention and the law aren't able to give procedure to these beings, are we to just stand by and allow these things to happen just because people like you think they deserve a change to explain themselves? Would you be saying that to a human capable of these things?

WAZOWSKI

The boy obviously died of something. If it was due to a demon it's plausible it was something missed in the postmortem, if he was murdered, it's plausible there was a sloppy investigation. What I find is the notion that you'd think an intelligent being that we know little to nothing about in the grand scheme of things would be lacking in empathy or emotion of any sort. Just because you've never run into one living a normal life here outside of the Underworld doesn't mean they aren't here. You just have to know where to look.

SULLIVAN

That's why they put the "I" in FBI.

Sullivan smiles and walks off towards the desk he had been sitting at.

SULLIVAN

See you tomorrow, Wazowski. Bright and early. We leave on the very first plane to Helena, Montana at 5 am.

Wazowski stands there for a moment longer unsure of what had just happened, but he smiles because whatever it was that had happened, he had won.

#bdrpwrimomary #i tried my best #and had to use sully because that's his partner in crime #and we don't have one so i feel as thought it was safe aha

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bulgedetective-blog · 7 years ago

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Tasco 119215 Camera Review

2010 Tasco 5MP 16 count Red Flash Camera Review

This camera is just a handful measuring 5 X 4 X 2 inches. We had this camera during the summer to do some prerelease work and found it basically not functional. When it became available I had it on the list of cameras we would test this year. The order arrived and we went through the initial inspection and right off we found that the good old boys failed to include the proper manual and sent a manual for a completely different camera. There are some simple incomplete instructions inside the door in faint 1/32 inch print. Next we attempted install the four AA cells to begin the programming. This did not go well. We have seen this exact same problem two times before. The battery box is more in tune with the Chinese sized AA cells which are a bit shorter. We were able to install the batteries but with great effort. The battery box was warped out of shape at the bottom. After a whole lot of effort we determined that the camera so far is not functional and does not work. Not holding the program when batteries are pulled is another issue. I have pulled it back down and am going to go through it about 4 AM in the morning with a very good cup of coffee and some special analyzing tools to see if I can get this camera to start sensing and taking pictures. These Superior Optics cameras are all about the same so I may be able to get it going.

Two long hours of meddling with this camera I finally was able to get it to work. When I say �work� I mean it does work but not well and without all the proper documentation and nothing on the web site I was on my own to figure it out. This is a little greener than a BTC and a bit smaller. The finish is non reflective and should be easy to hide. Latch pins are stable and did not seem to drift out of place with use. The seal is continuous and well in place. Inside the door is a small rubber foam block to hold the batteries in place but due to the tightness I have to use a tool to get them out. The warped compartment causes the door to drag a little at the bottom when opening and closing. I tried to reshape the battery contact area so this was not a problem. The front of the cam has a small panoramic (wide angle) PIR sensor at the top and the lens is just below that, The IR array and function indicator is at the bottom front. A small lock loop on the door is the only security. The back of the camera just has the belt loops for mounting. There is a USB cable in the box which may indicate that there might be internal memory. Without the documentation we do not know this but will probably test it though this cam does not appear to work if the card is not installed. It could also be used maybe to view pictures if there is no card reader on the owners PC. The only other thing in the package was the strap.

This is a basic camera but it will do video we assume because it appears on the menu. It is rated at five MP with a low option which could mean two different resolutions for pictures and maybe two different video resolutions. This is just a guess by going by the limited menu and the way it is displayed. The box indicates that the time/date and moon phase is displayed on the images and the max card size is 1 gig. It also says that an extra wide strap is provided to help prevent theft; hmm I wonder how that is going to work? Video option is pre set to 14 seconds in length. PIR sensing is supposed to be out to 35 feet. My testing this morning at 75 degrees was very hard to trigger at 18 feet but did a little better at ten feet. Walk tests seem to indicate that it may have a decent trigger time if the camera will sense. This time of year with the temperatures being so high the PIR function becomes weak but at a 20 degree difference between displayed body heat and a 75 degree background it should still function fairly well. Two hours on the un official trigger test bench and the results were zero. I could not get the camera to trigger even one time. The sensing seems to be broken. I have about 10 hours invested so far and very little results. It looks like this unit is going to have the same end result as the pre production camera and end up with out a review. I am going to take this to Anthony for a day but I feel we will close this review. We had one other fellow on our forum that gave his a day before returning it due to dissatisfaction. Before I could make the trip Anthony showed up here with an arm load of cameras and we took on the task of re evaluating this camera again. Going back to basics we took a 512 Scan Disk card and formatted it in the camera again and went through the program to insure that it was correct. We did get some results this time and now we figure that this camera may be partial to certain cards. As of now we could get it to only work with this one card. Further test will be done to see if other cards will work. The 4 other brands I have here would not work. The format procedure in the menu is also very questionable and does not always seem to take for some reason. Anyway it looks like we are again on our way and may be able to work our way a little way further before we forced to install it at the 100 yard line on the rifle range if it quits again. Another couple hours and we have determined that the rebuild this morning evidently saved the patient. The cam will now take the 1 gig cards we normally use and appear to have normal function now. The delay period can be set all the way down to 5 seconds (not recommended to go below that) which makes this cam kick Moultrie butt all day. The day range and 8 plate analysis tells us the color tones are close to nature and not saturated. They are not too bad for the price and above average compared to some other more expensive cams tested this year. Back to what we felt would be another hair pulling cam cussing trigger analysis and we are still cussing a little and we have to go back once we find out why this camera is giving us the results we are seeing. There appears to be a reverse in day/night times. The day trigger seems to be as much as a second more than the night with flash times which is normally the other way around but not by that amount of time.

Going back over all the notes and findings so far and I see a pattern of short periods of function followed by long periods of non function. We discussed this and were trying to figure why the formatting in the camera would work but not consistently. Then all of a sudden the camera worked with most all the 1 gigs we had. Further examination and the fact that it all of a sudden began to appear to have normal function led us to another area. This is the SD card slot, which was very stiff and hard to take the card when it came out of the box. We have had this happen before and function at first is intermittent and then greatly improved with use. This would also explain the difficulties during programming because the camera must see the SD card in order to begin function and programming. Further tests show that this camera does act like it has some type of light metering going on. If this is not aligned (in the firmware) correctly it tends to throw trigger times off when put under certain conditions, much like what we had happen with one of the top of the line cameras this last month. We are setting up now to see if there is a way around the previous trigger results. We had to pull out our special light metering system to get this cam to settle down. During regular lighting when the cameras light metering does not have to work the camera will have a trigger time of 1.6 seconds. If the light conditions force the metering to work conditions then the trigger times can be stretched over two seconds. We were able to provide those conditions and record repeatable tests of this fact. This is a firm ware bug and will eventually have to be addressed. Tasco should not feel bad because the Reconyx did the same but not out past the one second mark. We will just have to say that most of the time this camera will have under two second trigger time.

07-11-2010 update: Flash range was somewhat weak for the 16 emitters but some detail could be seen in the center at 40+ feet. The sensing was 55 feet at a little over 80 degrees. The eight plate had pretty good detail at a 200% zoom so that says that photo editing would work if more detail was needed at a greater distance. The performance of this cam started off pretty rocky but now that the card slot has settled down we are starting to see a degree of steady performance that in areas is weak but still somewhat functional. We do like the delay time feature on this priced camera.

07-12-2010 update: About dark we ran out of steam so we just stuck this cam on a stand with the hopes of getting our first examples of actual field pictures. We pulled the card at noon today and we did manage to capture a few. First off we see that this camera wants to stay in the day mode and not switch to night. We had a number of pictures that were color but black with some detail of the animal. The ones from the filtered sunlight through the canopy were somewhat fuzzy but readable. Color tones were not over blown. The night flash seems to do a fair job out around 25 feet as long as the animal was pretty well centered. The description we have heard in the past was �tunnel flash� where the array fails to spread the light and just shoots right down the center. We are coming closer to what I had earlier stated. This camera does work but just not very well in some areas except delay which seems to work just fine.

07-13-2010 update: After a hard fought battle to get this far we are going to pull this camera and end the review. There are some nice things we liked about this camera but the negatives so far with the black pictures and other marginal functions are just too much to keep on burning hours on a camera that has this amount of problems.

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