#but like. its pretty hard for me to find characters with such an exact replication of my body type. im kinda stout. | Explore Tumblr Posts and Blogs

red-dyed-sarumane · 1 year

Text

the official eng titles of magu songs make me so mad esp bc like. Technically theres nothing wrong with them & theres nothing i can do about it. but knowing the complexity in the jpn titles makes me so fucking feral.

the jpn titles follow certain trends a lot as well as often add certain context to the song thats not super obvious from the rest of it.

two most common trends are the 5 kanji songs which. okay yeah thats hard to replicate in eng bc if u want to keep the meaning u'd be hard pressed to find words with the same amount of letters across all relevant songs. the other is repeating first letters re: ma in marshall maximizer or a in unplanned apoptosis. again, cant do much about that when the words just dont work together in eng the same way. fine. i get that.

i start getting into problems specifically with aru sekai series main songs as the jpn titles intentionally start with the same kanji as lines from aru sekai shoushitsu. like. the amount of emphasis on kyuu in kyuuyaku hankagai to link back to the lines starting with kyuu in aru sekai shoushitsu is part of how i could tell it was a series. its something they actively use in their storytelling. pulling this off in eng is actively harder but not impossible. assuming the same translator or group is working on it its possible to work translations that will be obvious links like they are in jpn. using the same example rather than having kyuu be "past" directly u could have it as "old" if ur going to make the title of kyuuyaku use the phrase old testament. ou for oumen is pretty straightforward shuu is where its a little rocky. putting shuu as death isnt quite right but maybe stealing demise from shuuen, while also not exact, is maybe more forgiving in context. i think u get my point here now. (my one exception is kugutsu ashura just having ashura as the eng title. i still dont agree but hiimagus said if u dont know how to read kugutsu u can just call the song ashura. its funny so i can overlook it. in this area at least)

but then we get to the lack of context. esp the 5 kanji titles giving extra info that might not be there otherwise. kyuuyaku hankagai isnt just a link back to the kyuu lines. kyuuyaku being old testament we know theres some religious ties that might not be so obvious if u 1) dont read the intro text 2) are aware most of the lyrics are technical in nature in a sciencey way and 3) dont know oumen mokushiroku & kugutsu ashura are related. hanka being written as generalization lends itself more to the technical aspects of the song where gai we know we're talking about a specific town or at least area of a bigger town/city and not just a super specific building or location. additionally hankagai is also a play on a word said the same way meaning like business or shopping district for example. again leaning into that concept of it being in a wider but specific area. and yet the eng is just testament. which, at the very most, is telling me the song is this character's perception of the events. which is obvious when the lyrics are so subjective anyway.

next is shuuen touhikou. flight from demise, demise escape, whatever u want to call it theres how many translations of it. from the lyrics its so very obvious theyre running. to or from something, theyre hitting the bricks. okay sure thats not really new context. & just like the other songs the tones pretty dire & u can tell the stakes are pretty high. but to have it so blatantly in front of u telling u that this character is up again their own death and they dont want that so theyre running from it. thats a pretty powerful statement that really drives home a lot of the points in the song. and instead of that, the eng title is blade. nothing to do with the og title just a reference to the lyrics so its not entirely unfounded theres definitely swords brought up and used in the song, the charas even drawn with one. but as an eng speaker seeing a song called blade i expect it to be more about say courage or fighting for something. its a cool title but this one especially feels misplaced and misleading to me. knowing the lyrics, the swords are accessories to the story not the main focus and yet the eng title is blade. hate it.

oumen mokushiroku is almost acceptable to me since concave really only links back to it being related to aru sekai series i dont really have anything profound to say about this word choice in particular. maybe it gives that feeling that everything's collapsing in on itself, which fits the theme and lyrics, but i'll be honest with u i could miss that and im obsessed with these songs so i wont make a big deal about it. that leaves mokushiroku being revelation which ties both into the fact the character's an angel & enforces the old testament part of kyuuyaku so we can accept theres biblical/religious themes going on here even if the stories main focus seems to be a science aspects. its eng title is apocalypse. this is the only eng title i can accept not bc im biased to the character & song but because in aru sekai shoushitsu theres a line where the kanji is written as mokushiroku but its pronounced as apocalypse. so in this case this one actually is a very solid link back to the og song, proof of it being in the series as well as being a very accurate description of what the characters are experiencing. they really are at the end of the world. i cant argue against this one hiimagu thought this one through.

which leaves kugutsu ashura and as funny as it just being called ashura is it misses out on just a little tiny bit of context here. its these two very different words describing a state of something thats very similar to drive home the state of the song & character. which is VERY helpful given the song is. well. tongue twister wall of words difficult to get the implied meaning out of. ashura may not have the most control of themselves but then to add the context of a puppet, to be clearly saying there's no control over her own actions its all to someone or something else's will. that does add some context and weight to the story. but ashura by itself is funny for reasons i explained so im looking the other way.

#magu-san goto #aru sekai series #sorry i saw someone call shuuen touhikou blade and i need to get my opinion out #dont get me started on nadenna being pet me. wheres the dont. shes saying she DOESNT want it until the last lines of the song #anyway

2 notes · View notes

saby-chan · 3 years

Text

Fire Lord Ozai: A blood thirsty monster or the less fortunate “Zuko” of his generation?

Hello again and thank you as always for clicking and allotting some of your time to read my humble post! Since I’ve happened to notice quite an increase in posts lately regarding the controversial character and nature of the former Fire Lord, the now imprisoned fallen prince Ozai, and I’ve personally promised in my previous post that I will share my own analysis on him if people asked me to do so (which actually happened), I am here to deliver my own take on this very intriguing man’s character, while also building a potential past for him based on stuff gathered from the show’s cannon.

I would like to start this essay with what I find to be my favorite quote ever: ”Monster’s aren’t born, they are created.” ~ Naruto Uzumaki (Naruto) What I like about this quote soo much and find very inspirational is the truth it holds within its short, yet powerful message. We are often fast to judge a “book by the cover”, to reduce others to what we assume of them by their appearance or latest actions that we’ve seen them do, but never actually take a moment and wonder where they come from, if this person we soo harshly look down upon really has been this way since their very beginning?

I’ve come across many comments on social media related to ATLA, especially on YouTube videos on which people would throw with harsh comments such as “Aang being a coward for choosing to spare the villain just because they saw a dumb baby pic of them” or “Ozai is the essence of evil and even as a baby he’d been a monster”. I can’t help but wonder who hurt these people to make them be so cruel? Like, how messed up must you actually be to say that a baby, a friggin baby, is the embodiment of all evils? Or that a child was a coward for choosing to see his opponent’s last bits of humanity and opted to spare them?

Aang was soo morally conflicted about the idea of killing Ozai not only because it contradicted the morals of his people, but because he himself understood that this man hadn’t always been the cruel beast he came to met in their first and final showdown. It’s important to note here the fact that upon finding that picture, Aang was actually convinced it had to be Zuko as a baby since it looked so innocent and cute and was actually surprised to learn it was Zuko’s father. And that’s the thing, Ozai was born like us all as an innocent and sweet baby. Babies aren’t in any way evil or twisted, they don’t even have the notion of ‘good’ and ‘evil’ defined in their small, still developing minds. In fact, the very choice of the creators to add this picture in the show is meant to tell us this very thing: this man wasn’t always like this. But if he wasn’t always like this, then what happened to make him become this way?

Well, in order to find out the reason, we must go back in time to the very beginning: Ozai’s childhood and upbringing. For this next part I am going to solely focus on the show cannon, as the comics aren’t the products of BryKe and have a lot of inconsistencies to the source’s cannon (you can go and read my other post on why they fail when it comes to Zuko’s character and his family).

From what we know and can easily deduce by ourselves just from their appearances, Ozai and his brother Iroh have a huge age gap between them (somewhere between 10 and 15 years). This has to be our first red flag: isn’t it soo odd that this family opted to have their children at such a long distance between pregnancies? It almost feels as if Ozai hadn’t actually been part of his father’s actual family planning... In other words, he was a ‘mistake’ child (I actually hate having to use this terminology, but it will become relevant to when we expand on Azulon’s relationship with his sons). Sure, some may argue that Azulon actually decided to have two sons in case something were to happen to his first born, but wouldn’t it have been more logical to have his second born at 2-3 years max distance from his first? Why choose to have your second child when you are much older and thus risk having a baby with issues, if your sole purpose of this child is to serve as an insurance that you don’t ‘run out’ of heirs? It just doesn’t make much sense, so let’s go for the moment with the possibility that Ozai was an unplanned pregnancy.

This perspective actually gives way to another very interesting aspect: remember the infamous “Born lucky...Lucky to be born” quote? What if I tell you that there is a possibility that this quote wasn’t Ozai’s personal wicked invention, but actually something he himself heard from his very own father? It had been puzzling me for a long time why he choose to say “You were lucky to be born” to Zuko, which implies that Zuko wasn’t supposed to exist. I mean, it’s soo odd that Ozai went with something implying that Zuko was an unplanned pregnancy, since Zuko was the first born. So my theory is that maybe Ozai wanted to convey a different message to Zuko when he said that quote, but due to his anger he ended up replicating the same line he received from Azulon at some point in his childhood. We never got the exact flashback when the line was delivered from Ozai to Zuko, so we don’t have the exact context that lead to it (remember, we are excluding Yang’s take on the matter from the comics).

I mean, this feels like something that wicked old Azulon would have said to his least favorite child. Okay, so let’s go with the scenario that Ozai was an unwanted child, to which we could also add the possibility that Ilah’s health deteriorated after the first birth, which makes plausible the family’s initial decision of stopping at 1 kid.

Moving on, we know from the old ATLA character wiki’s that Ozai’s character design was made with Zuko in mind, being meant to be a grown up version of Zuzu, without the scar. An interesting choice indeed and even Iroh’s letter to Zuko on Ozai from one of the ATLA books describes Ozzy in a similar way to teenage Zuko in book 1: stubborn, feisty, determined and with a volcanic personality (easy to anger and competitive), so it means that these were intentional choices to imply that Zuko and his father are more similar than we were led to believe at first glance. Maybe Ozai was the “Zuko” of his generation. Also, in one of the interviews on the royal family, BryKe stated that Ozai worked very hard to get where he is in book 3, referring to his firebending specifically (we all know how Ozzy got the throne, so clearly, he didn’t “work hard” for that), so maybe he wasn’t always the strongest man alive, with the most exceptional firebending skills out there, like Azula who showed ease in her learning, but rather someone closer to Zuko’s weaker performance as a child, building his way to success through endless hard work until he became the prodigy we know today.

Continuing with our theoretical scenario, after his birth, the second child show’s lesser skills compared to his brother Iroh (by that I don’t mean that he wasn’t gifted at all, but that maybe Ozai wasn’t as fast and great of a learner like his big bro), so Azulon opts to just ignore him and continue focusing solely on his golden child. In my headcannon I actually think that Ilah survived the birth and so she was left in charge of the younger child’s education and upbringing. At this point Iroh is already 10 or older, so he is forced to focus on his development, which prevents him from spending time with his lil brother, but just for the sake of being positive, let’s assume that Ozai still had both his mother and his big brother to keep him sheltered from Azulon’s darkness for a small portion of his childhood.

I choose to believe that Ozai had his mother’s love for a small bit of his childhood due to his willingness in the show to allow Ursa (who mind you, as the granddaughter of Roku was considered a treacherous individual) to spend a ton of time with both Zuko and Azula and share her philosophy with the children, as seeing his wife playing with their children probably reminded him of his own bitter-sweet memories he had with Ilah. They also probably spent a lot of their time near the turtle-duck pond since that pond’s existence prolly dates long before Ozai and Ursa married and had their own children.

Unfortunately, Ilah dies and little Ozai remains all alone, to be influenced negatively by his father (and even by his grandpa Sozin, we don’t really know for certain when the old man died, so he prolly was there for a short time when Ozzy was still a child). Azulon most likely blames Ozai for his wife’s death as the second birth might’ve really had a huge toll on Ilah’s already fragile body, bringing her closer to death, so he still neglects and ignores the child, if not straight out bullies and abuses him for not being on par with Iroh. This prolly leads to Ozai becoming jealous of his brother since Iroh has their father’s love, pushing them further apart. I headcannon that this jealousy between the siblings led to Ozai complaining to his dad when he finally had too much of their father’s discrimination (at a similar age to when Zuko prolly did and got the infamous line, if not younger) only to get the “Iroh was born lucky, you were lucky to be born!” line with the sole purpose of hurting him since now the child knows that he was never wanted.

When Azulon scolds very furiously adult Ozai in Zuko’s memories for daring to ask to be named crown prince, he literally says something like “What, you dare ask me to betray MY own son?!” (this is like red flag number two), line that pretty much testifies how Azulon chose to pretty much treat Ozai as if he wasn’t his son too, showcasing how much he despised his second born and favored the first child over him. Since we are on the topic of their last conversation, the punishment Azulon gave to his son alone proves this man’s level of sadism, which leads me to be believe that Ozai’s childhood was full of this type of punishments for bad behaviors that could be easily corrected trough a long serious lecture or a lesser punishment focused more on teaching him an actual lesson.

The old wikis also mention on the page about the hall with portraits of the previous Fire Lords that it was the place where Ozai chose to spend most of his time in his youth, seeking advice from his ancestors. I mean, seriously now, if he had a good and supportive father and a present brother in his life, would Ozai had chosen to seek guidance from the dead instead of his living family? That piece of information that was easily overlooked by many proves how lonely this man was in his youth.

So for the most part of his life, Ozai grew up under the toxic influence and abuse of his tyrant father who refused to acknowledge him. Yet he managed to grow up still full of determination to one day prove his worth to Azulon and gain his acceptance (just like we saw with Zuko in book 1, who was desperate to regain his honor and be accepted by his father). But unfortunately, no matter how strong he became or how good of a firebender he was, Azulon was unmoved and unphased by his second son’s performance.

From what we could gather from the little info we received in the show, it seems that Ozai was never sent to the battle field to aid his older brother, being kept as a stay home prince, with the only occasion he actually left home being to search for the Avatar (I don’t think Iroh was sent to do his part on searching the Avatar since he strongly believed that there wasn’t going to ever be one, so it’s safe to assume Azulon assigned Ozai with this mission just to get rid of him for a few years) and the only purpose he ever served to his father was to become part of the old man’s genetics experiment in order to create strong unparalleled firebending offspring (which I am pretty sure were meant to be ‘biological war machines’ used by Azulon in the war, as he didn’t really seem to give a shit about Ozai’s children compared to Lu Ten). So just imagine the level of disappointment and dishonor Ozai must’ve felt as a man and young aspiring soldier to find out that he was going to be used like a ‘non-bending daughter’ in a strategical marriage and never get to serve his country in what he’d been taught was the greatest and most important war for their Nation.

All in all, this marriage didn’t really end up that badly because it seems he and Ursa were actually very compatible. The old wiki for Ursa states that she was a noble woman and the perfect match for Ozai, which leads me to believe that show Ursa was intended to be a very strong willed and determined woman who earned his respect. The show never stated that Ozai never wanted his first born or that he was disappointed with Zuko from birth like the comics say, so it’s safe to assume that Ursa and Ozai actually ended up falling in love at some point since they had not one, but two kids with relatively a short time in between pregnancies.

There are actually many signs in the show that actually prove that these two loved each other and Ozai didn’t abuse his wife: from the fact that they went every year to see Ursa’s favorite play despite Ozai hating the poor performance of the Ember Island Players (I mean, what man would do such a sacrifice as to endure the same torture every single year just to make his wife happy if he never loved her?), Ursa’s undeniable and sincere love for their children (in the show it was never stated that Ursa saw Zuko and Azula as someone else’s children, so if she were indeed an abused woman who was forced to have these children, she wouldn’t have ever loved them to such an extent, especially Zuko who resembled his father the most physically), the fact that Ursa had equal rights in their marriage and raising of their children (her even scolding and grounding Ozai’s favorite child without hesitation), to the most significant scene to the Urzai ship in Zuko’s flashbacks: Ozai sitting troubled all alone in Ursa’s favorite spot by the pond, in a sad and brooding atmosphere, after he lost her, instead of celebrating what had to be the happiest day of his life since he was finally crowned Fire Lord (it’s clear who had more importance in his heart: Ursa meant more to him than the throne, so losing her outshined his achievement). In fact, Ursa must’ve been the only thing that still kept him outside of the darkness that threatened to swallow his heart and once he lost her, Ozai had nothing else to keep him on the right path.

And even as a father, it seems that Ozai wasn’t always cold and distant to his children, as his true self depicted in Zuko’s memories on Ember Island shows him caring for both of his children, even holding Zuko close to him with a protective arm on the boy’s shoulder. Except the Agni Kai, there don’t seem to be any instances in which he was physically violent towards his son before the banishment (Iroh literally let Zuko in to join that faithful war meeting willingly. Would’ve he done that if he knew his brother to be very violent towards his children in case they disobeyed? If yes, then it would make Iroh actually very questionable on a moral standpoint) and even on an emotional level, I don’t really think that he was actually abusive to him (at least while Ursa was there) because from Zuko’s conversation with Zhao, he’s adamant that his father will take him back and even states "You don't know how my father feels about me. You don't know anything!", meaning that the father he used to know showed him a level of respect and genuine affection (if Ozai were to bully Zuko since the boy’s very early childhood, do you think this kid would grow up to be so sure that his father wants him around and would he defend this bully when someone badmouths them in front of him?).

Even with Azula, despite people demonizing her from early childhood and saying that she was manipulated since birth by Ozai to become a war machine, I do believe that she shows genuine love and affection towards her father. I do choose to believe that back in the good times when the family was happy, Ozai spent quality time with his daughter, filling in the gap left by Ursa’s neglect. I theorize that the reason why kid Azula badmouthed her grandpa and uncle was because she was being very protective of her father: since she used to like spying and eavesdropping, it’s safe to assume that she prolly witnessed many instances in which the old man bullied or insulted Ozai, favoring Iroh over him. It’s a bit harder to see it that way since her snarky comments involve dark topics, but since they live in a society governed by power and war, I see them as something similar to if Azula would’ve said “Uncle sucks and he will surely be fired from his job!” or “Grandpa is old and weak, he should leave the family business to dad!”. Even the fact that the only thing capable of shattering her to pieces was her father leaving her proves how much she cared for him. Ty Lee and Mai’s betrayal was a big blow on Azula’s control and sanity, but she didn’t breakdown until Ozai discarded her after his coronation as Phoenix King. There’s nothing more painful in this world than to be left behind by the person you loved the most and was there by your side your whole life, whom you wanted to follow to world’s end and back. That was the moment Azula finally realized that the father she used to know and love was actually gone and had been in fact, long gone for years at this point.

But if Ozai cared for his family what made him change? Easy, it all comes back to the fact that his father never acknowledged him. The throne doesn’t seem to be his ultimate goal in life since Ozai discarded of the Fire Lord title very easily, tossing it to Azula without any remorse or hesitation. It was more about the meaning behind getting the crown: replacing Iroh in the line of succession was the ultimate proof of his father’s acceptance, that he wasn’t only a “mistake” and “failure” in his father’s eyes, but since Azulon ended up saying and doing what he did, backfired Ozai and made him understand that no matter how hard he tried, the old man will never see him for what he is. So yeah, for a proud man like Ozai this was a hard defeat to swallow, which in turn sparked his strong desire of winning the war and becoming the king of the world: if Azulon wouldn’t accept him even in death, then Ozai will prove to the whole world that he was above his father and his “perfect” brother by accomplishing what they never could and even better and no one was going to stop him, not even his own family.

This is what differentiates Ozai from Zuko: while both had similar upbringings, Ozai never broke away from his obsession of gaining his father’s admiration, allowing himself to fall prey to the darkness left by Azulon in his heart and abandon his true self, only to become the copy of his abuser, while Zuko stood up to his dad and chose his own destiny. If Aang were to come back around 20 or 30 years earlier, then he might’ve actually been able to save Ozai just like he saved Zuko, but unfortunately it wasn’t this way.

Do I think that Ozai could still be saved and redeemed even after the events of book 3? Definitely! Since he’s actually a broken man and still has a tiny bit of humanity left within, I think he still has a chance to change his heart. The only thing is that it’d be a long lasting process: first off he needs to spend a long time in solitude and reflect on his life’s choices and his past, understand where he went wrong and that what happened to him in his childhood is called abuse, which he ended up replicating on his own children. After he understands his wrongdoings and becomes willing to rediscover his true self, he needs to understand the truth about the war, that everything he’d known was fake propaganda and that there was nothing glorious in what he, his father and Sozin did under the excuse of “sharing their Nation’s greatness with the rest of the world!”. But most importantly of all, the only remedy that could possibly save him is love. It sound cliche, but by responding to hatred with more hate like Zuko did in the comics would never change the world “for the better” or bring it “to reality”. The only way to save both Azula and Ozai would be trough showing them the power of love, hope and empathy, how they don’t have to struggle alone and push everyone away. And especially by redeeming Azula, she would be a very important piece in Ozai’s redemption: since he had a closer parent-child relationship with Azula and cared for her the most when he did care, realizing how much he made her suffer through his actions, that would probably break Ozai enough to make him admit that he was wrong all along.

So yeah, this is my analysis on Ozai’s character using the cannon information from the show and old wikis and why I think he is just the product of a very bad environment and an abusive parent who never showed him love (if there’s a reason for why Ozai might be uncapable of showing a healthy parental love to his children is because you can’t show what you’ve never learnt yourself), being the Zuko of his generation who never got to experience the positive influence of an “Uncle Iroh” to guide him on the right path.

You can agree with me or not on this one, but this is what I choose to believe. Maybe I am way too good by choosing to see any potential good in anyone, but I feel it’s a better way than to counter hate with more hate like Yang did in his monstrous portrayal of Ozai in The Search.

Let me know your thoughts in the comments and if you agree with anything I’ve said, feel free to leave a like and to reblog this post.

See you next time and stay safe! Bye-Bye!

Saby out.

#atla #atla rant #avatar the last airbender #ozai #azulon #ursa #zuko #azula

33 notes · View notes

something-very-special · 3 years

Text

Impressions

I know I’m way behind on progression through Replicant (insofar as anybody can be ‘way behind’ in the sense of playing a video game for personal entertainment), buuuut I figured I’d share a few thoughts.

Presently I’m doing sidequest mop-up post-Barren Temple, for reference:

So just to get this overall out of the way, I am legitimately fascinated by the differences between NIER and Replicant. This is something I picked up on when I played RepliCant to grab footage for my LP, but given my extremely limited understanding of Japanese all I could get was the tone between characters and to my unpracticed ear they sounded pretty different. I always assumed that Weiss was somehow even more condescending to Brother and hah hah, wow. Even kind of expecting the dialogue and delivery differences I was not prepared for some of the dialogue and delivery differences. Weiss just straight-up insulting BroNier on the regular, not even doing sarcastic eye-rolls like he does with Papa. I don’t remember the exact line that set me off but somewhere in the Barren Temple I was just laughing my ass off at how much of a dick Weiss is.

Thought the ‘miracles’ conversation in the Junk Heap was interesting, too. I remember Papa Nier telling Weiss to stuff it because ‘those kids need a miracle’ and Weiss kind of backs down-- obviously doesn’t believe it, but he knows better than to push. And Brother tries but Weiss is just not having this optimism bullshit. Little things, but the tenor of the relationship is definitely different.

One of the more interesting aspects early on is the way the Lunar Tear is treated. Obviously I don’t know if this was part of the original game or a script adjustment, but Brother talking about the Tear as a source of money as opposed to Father saying it can grant wishes was interesting. Maybe it was to justify that Kaine just has a whole necklace of the damn things and therefore it’s rare but not literally magic, but it always sounded like it was just meant to be taken as a myth to me anyway. Then again, it’s established in the Grimoire that Brother has a fixation specifically on making money so he can support himself and Yonah (versus Papa Nier, who has obviously already established himself as an adult rather than a kid still figuring things out and hoping that enough money will solve all their problems).

Where the dialogue doesn’t diverge is interesting, too. Mostly I’m talking about the scene after defeating Hook. I always found Papa Nier exclaiming “You’re going to live, Kaine!” and “Yes, we’re friends now!” to be obvious holdovers from a younger protagonist just goddamn hilarious when Papa Nier is saying them. They’re still really funny with Brother Nier but just remembering Papa Nier doing the exact same delivery in his deep, manly voice just re-elevated the whole scene into comedy gold.

All of that is really why I was interested in getting the game so already my money is well spent. But there’s some other stuff:

They butchered the OST! ...or so people keep telling me on Youtube. I admit I do think the re-orchestrations is largely inferior to the original (although there are some that are at least as good in a different way, and whatever they did to The Lost Forest -- which was one of my least favorite tracks in the original -- I really enjoy) but I wouldn’t call it a butchering and I highly suspect that if I didn’t have the eleven years of the original OST and its association within the game itself I wouldn’t bat an eye, it still all sounds great.

Also, a weird observation, but I found that the soundtrack sounds much better coming out of the TV speakers than through headphones. I’m not sure if somehow it was optimized for play through external speakers, or maybe just not hearing the added orchestration right up against my eardrums, but when I went to the Lost Shrine with headphones on I was admittedly disappointed, but going to it again and listening through the TV it worked significantly better.

(I’m not sure if this is necessarily a factor, but the booklet in the White Snow edition mentions that the new soundtrack was all studio mixed rather than having the individual tracks layered. While I don’t think that would have an impact on music quality it almost definitely makes a difference in the way it’s produced.)

I miss chest-thrusting to double jump Movement overall feels much more refined and polished. It’s not as slick as Automata, but it definitely feels like a natural evolution of the original game, and as an apologist for NIER’s combat I can appreciate that. A little more responsive, I appreciate being able to move while casting magic, and it still has a bit of a crunch behind weapon impact (although I wish it felt a bit heavier).

But goodness I miss the stupid animation for double-jumping. I mean sure, an aerial somersault is a classic indication of a double jump, but I just loved that Nier would chest-thrust so hard he would break the laws of physics and ascend higher.

It also feels a bit like the aerial dodge was nerfed for movement purposes? I really don’t feel as much horizontal thrust to get a running start after diving off the Library balcony.

Fully voiced? Fully voiced?! I knew this was happening but I totally forgot until the NPC villagers started talking to me! Some of the incidental deliveries are a bit awkward, but as somebody whose glasses prescription is a decade out of date I appreciate this immensely.

The item guy in Seafront just being from the goddamn Bronx is a thing of beauty.

BroNier does fit into the Village better. One of the little details I love in the game is that each bit of civilization has its own style. The maps aren’t large enough to really convey how long travel takes, but the different styles between the Village and Seafront just kind of helped to ‘place’ the characters in a really neat, subtle way (Emil’s sash identifies him as ‘belonging to’ Seafront, which is actually pertinent when you get that sidequest where you find the letter from his science-mom in town! I assume she always wore a kicky sash when she went to work in the underground child torture bunker.)

Facade obviously also has their own style, but it’s... hard not to appreciate.

Papa Nier’s dress doesn’t really ‘place’ him anywhere, which doesn’t feel weird for the main character, and I feel like it’s implied that he isn’t really from the Village in a meaningful way anyway and kind of drifted in at some point after Yonah had been born. But younger Brother Nier is actually wearing the local fashion and it’s a neat little detail that I didn’t appreciate back when I played PS3 RepliCant. (Probably because I didn’t bother talking to any NPCs what with not being able to read the dialogue, so I never really had him standing next to anybody for long enough to process.) Older Brother Nier takes on a very different outfit that winds up displacing him from the rest of the Village (and any other towns), which is a pretty nice visual metaphor, too.

I have a confession to make. I still enjoy fishing in this game.

Yeah I said it. I’ll say it again too-- I like the fishing minigame. I happily blitzed through the Fisherman’s available Gambits, and then just caught five sharks while I was hanging out, and then also caught the sandfish ahead of time, and also wound up with a half-ton giant catfish (??!?) trying to remember where the black bass are located.

Cart me away.

Related but I laughed far too hard when the fisherman says “the WESTERN beach”. I wonder why they changed that line. I just can’t imagine.

And those seals. Always a delight to go to early Seafront and just plant yourself between a couple of seals. Watch the ocean. Listen to the music and the waves. Watch the seals lazily roll around and make cute seal barks.

The most depressing thing about the timeskip is losing those seals.

My garden--! The gardening timeskip exploit was fixed due to a difference in PS4 architecture. :/ I know there’s still an exploit involving time zones but I didn’t go in knowing that and I was horrified when I adjusted the system clock only to find my crops weren’t growing. Is Legendary Gardener still a trophy? Fffffuuuuu

My BARREN TEMPLE. The Barren Temple is, to me, a legitimately funny dungeon, between Sechs getting himself abducted, Kaine getting herself abducted and Nier and Weiss just sighing in resignation, and the whole concept of the rules-based challenges. And the adjustment they made to the Prince’s dialogue before you meet him is so good-- the original felt a little disjointed and felt like it ended with the Prince being confused. It was still funny, but here Weiss just gives zero fucks about insulting the Prince (and presumably knows that’s exactly who he’s talking to) and it’s just great.

And I say all of that because I just died laughing when I got to the infamous Racing Wolf room and saw they outlawed evasion.

Evasion works differently in this game anyway so you wouldn’t have really been able to do the same trick before (dodge roll; in the original release you would dodge roll forward by tapping the button, but a default evasion has you backstep. Of course you could arrange BroNier to face away from the trap and then evade, but it would be significantly dicier, and I feel like the pattern on the shots was awkward enough that you wouldn’t have an opening in the second row (and probably would’ve have dodged your ass right into the bullets anyway). But just that they acknowledged the trick and then flipped you off with it was amazing. Aggravating? My amusement far outweighed my frustration since the Defend trick was still solid.

It also felt like more rooms outlawed jumping? That I can’t corroborate (I was really focusing on whether they did something to Racing Wolf, which is of course the most traumatic of the rooms) but I feel like it wasn’t as easy to cheese some of those rooms as it had been previously.

Dark Blast is amazing. Cheesed the shit out of the actual ‘Evasive Mouse’ room, though. I remember having some difficulties when the miniboss shows up since you can’t dodge out of the way of his lava pillar attack, but I just circle-strafed with Dark Blast and he died comically quickly.

This is actually more relevant to the magic as a whole, but in the time since I first played NIER (so... probably the time I fifth played NIER) I learned more about the little intracacies of the magic system. Like, really little intricacies, like how you can use magic with just a button tap and it actually has different effects... like Dark Blast dealing significantly more damage. It’s not as easy as just holding down the button and getting the multi-shot off the charge, but for a single enemy like that just rapid-fire tapping the button chews through the lifebar.

This tap strategy is really appreciated for Dark Hand (forward thrust punch) and Dark Lance (which is even better thanks to the game’s lock-assist-- a much appreciated quality-of-life adjustment), and I look forward to getting Dark Execution because of its fast activation feature (spreading the lances in a forward cone in front of you, extremely useful for crowd control when you can’t afford to wait for Execution to charge up).

Fragile Delivery still sucks. I don’t know why I had such a terrible time with the first Fragile Delivery but I broke that... Ming vase or whatever you’re delivering half a dozen times. Send that guy a steel rug instead, Guard #3, he is not worth whatever piece of art you had me destroy six times.

And the game still holds up. This is probably a ‘needless to say’ thing but yeah, this is still a great game. I always have a little bit of apprehension going back to something I loved just in case there’s a rose-colored effect going on. Not that I really expected that to happen with this game (I’ve played NIER recently enough that I didn’t think nostalgia would blind me) but, you know, always a possibility.

(That and that the remaster would be... perhaps of dubious quality. It happens.)

Nope! Still engaging. Still charming. I’m always impressed to go back to this game with all the knowledge of its inevitable misery and remember that it’s also just plain funny. NIER is one of those games that’s just like I remember it but better every time I go back to it.

I’m so glad that Automata did well enough to spur greater interest in this game. It really didn’t get the chance it deserved back in 2010 and now it’s topping some of the sales charts. That’s fantastic.

Just... fantastic.

#NIER #NieR Replicant #Musings #Now I just need Threads of Fate remastered and my life is complete #SE don't do that I know you'll ruin it

27 notes · View notes

felassan · 3 years

Text

Extended thoughts on the Dark Fortress preview pages [spoilers at link]

(Would I be an MJ if I did not do this? This post is under a cut due to spoilers.)

I like the preview pages a lot, I’m excited for release - roll on March 31. There’s a lot packed into just these limited pages, so I’m looking forwards to seeing the issue and its contents in their entirety.

A flashback to the Battle of Ostagar all those years ago is the last thing I was expecting when coming to this comic and it hit me with a one-two of feelings and nostalgia. Up there just off-screen, the Hero of Ferelden and Alistair have just lit the beacon in the Tower of Ishal. In these panels, the rain, the lighting, the atmosphere - it’s surreal (not in a bad way) seeing these fateful events again, back where it all kinda began really, and that page does a good job of replicating that cutscene and the heavy feel of it in a different medium. It’s a nice touch seeing surprise/unsureness and even conflict on some of the soldiers’ faces as Loghain gives the order to retreat. A couple of them even seen disconcerted as they walk away (looking at one another in askance). I like this take on Ser Cauthrien, and I wonder if Aaron ever encountered Aveline, Wynne, Carver or non-mage Hawke at Ostagar before the battle...?

Loghain’s words “He must do what his honor compels him to do” almost feel like a bit of metacommentary, i.e. on Loghain’s character in addition to obviously being about Ser Aaron.

In-universe before now, there have been varying accounts of Ser Aaron’s experience at Ostagar. Did he miss the fight, did he kill two ogres, etc. Now we see the truth of the matter is exactly as he told Vaea, which speaks of the trust and close relationship between the two. I’m not going to lie, the “I am coming my king” and subsequent panels make me cry on this re-read. Aaron reaching out for Cailan in his sleep with his other fist clenched, jerking awake from a nightmare in a cold sweat.. Aaron is so brave, he was the sole or one of the few soldiers in Loghain’s company to make this kind of stand (and you can see that there was a moment when he did turn to leave and considered it before turning back), and these panels convey the extent of the trauma that he experienced on the field of battle that day. I’m positive that in panel 2 here, it’s the exact moment when he sees Cailan die. It also hurts to think that not far from there, Duncan is seeing the same thing. They’ve done a good job integrating the new characters’ pasts with previous canon events with things like these. It’s like, expanding on things, but without anything conflicting.

When Aaron reaches for his alcohol skin I’m pretty sure his hand is shaking. Vaea is so tender and understanding/supportive at this part and it’s a really poignant and soft moment for them.. Aaron’s nightmares are a regular occurrence it seems. I love her and their relationship so much.. keeping watch over him while he sleeps a bit away from the others and the fire. ;; Also Autumn’s ears here, she’s lying down but still listening to what’s going on with and between her people. ;;

Brief pause here: I always appreciate getting a good sense where different events are taking place in the additional media. Also we now have in-universe confirmation that in the timeline we’ve now reached 9:45, as opposed to only external word-of-god. Do you guys ever think about your Wardens and how it’s been 15 years for them?

Aaron is like a father to Vaea 😭

Fenris has two daggers now in addition to his twohanded sword. The better for ending Danarius’ bloodline my dear 🔪

Have they tweaked Fenris’ hairstyle a bit, compared to Blue Wraith? Possibly also his skintone and eyebrows, compared to Blue Wraith? (I find this kind of thing hard to tell. If I’m incorrect here please feel free to correct me.) He looks good in this preview.

Poor Francesca. Tessa is really kind at this part and it’s nice to see more moments like these between female characters (women supporting one another). It reminds me of the moment in a previous issue where Vaea hugs Francesca on the ground. Tessa makes a great point here that true strength isn’t necessarily being stoic and unemotional, it’s standing up for what you believe in and for the greater good, even at great personal cost. It’s not 'not crying' and hiding your sadness. That’s a nice message, and again, Fran has really grown on me.

I also think it speaks well of Fenris and his character development after all these years in-universe that he was looking for a way to help Aaron, then immediately thought to go speak to Francesca when she was upset to see if he could help her in turn.

hhh brooding silent Marius staring broodily and silently into the flames and not responding to Fenris’ attempt at making conversation tho, the gentle lampshading.. That’s so true to his character. These might be my favorite panels in the whole preview. Fenris’ dry wit and facial expressions, the general composition, Fenris peacing out like “ok bye ig” lmao. You also get the sense that Fenris is reeling a bit and feeling abandoned since Hawke and co split up. After trying to do something to help both Aaron and Fran above, he then tries to make conversation with Marius. He’s trying to lighten the mood but also to connect after being alone for some time. He has missed having a group around him, and I suspect this group with its varying troubles and issues reminds him a lot of Hawke and co. That both the humor aspect and this characterization comes through in these 3 panels is pretty brilliant.

We reach the titular dark fortress! If ever there was a fortress for a bad guy, huh? x) The narrow exposed causeway being the only approach is a smart line of defense, strategically. Also, the realization that this is where Fenris lived while he was a slave of Danarius’ :| It’s a horrible-looking place and will be full of bad memories for him.

If this is how stormy the Nocen Sea gets in places - well, it reminds me of the lore that in Thedas naval exploration beyond the known map has been historically limited by different factors like pirates, Qunari dreadnoughts, stormy seas and sea creatures etc.

Characters speaking their native languages in places is always a nice touch. Now we’ve heard “By the Maker!” in Orlesian.

Aspects of the style and architecture of the Tevinter buildings in this preview, like the window shapes and the red lights and stuff, echo or remind me of what we’ve seen of Minrathous in the most recent trailer and some of the recent pieces of concept art for the next game. Neat.

We have our name and identity for the mage on the cover! Tractus Danarius, bastard son of Danarius. Danarius fucked around huh. “Tractus” has a Latin root, fittingly for a Tevinter name. Its different meanings are quite interesting: being dragged, extracted, plundered, an anthem sung in some masses, an elongated area or abnormal passage... I wonder if one of them will come into play somehow, the name possibly having been chosen for a reason? I also wonder how young Tractus is relative to Fenris, and if their paths have ever crossed in the past.

Tractus makes his entrance with two elven slaves or servants in tow. Like on the cover, his eyes are red. The head of his staff is a red sphere, also. Can we assume a connection to red lyrium, then, given these factors and the villains’ interest in using red lyrium to power the sarcophagus? I would guess that as normal magic was required to make it work with blue lyrium, the thing required to make it work with red lyrium is blood magic? A blood magic ritual. My guess is that the thing Tractus shows Marquette and Nenealeus is probably a chained up dragon or similar, which they plan to sacrifice and use the blood/power derived from that to fuel the magic/ritual. This is considering blood as a theme in this setting, blood as a source of power mechanically and the dragon-like beast on one of the covers which has clearly at one point been shackled and collared. (Here’s some previous speculation about Dark Fortress based on the covers.)

Although Tractus’ relative youth and inexperience compared to Nenealeus comes across in these pages, I get the feeling that Nenealeus will regret talking down in this manner to Tractus later in the comic.

It seems Tractus paints his nails dark. His commitment to aesthetic I give 5/5 stars

Remember the fall of Ventus/Qarinus to the Antaam invasion in TN? The Antaam must be progressing through Tevinter if people fear that Neromenian may soon fall also.

I appreciate that everyone’s horse is different! It’s a nice touch. A lot of the time in media groups of people ride identical horses like they’re clones or automatons as opposed to actual creatures.

Tractus’ smile when he’s asking if they’re going to wait for Qintara to arrive is slightly manic, lol, he’s giving off “Are we there yet?” car journey energy here. The doorway in this panel - is that a portcullis-style door? It seems like it has spikes at the bottom which would sink into the floor, and that there’s some kind of mechanism running along the floor towards it. Presumably to contain the [dragon?]?

I forgot Nenealeus has a sword - I guess then he knows magic artforms similar to those of a Knight-Enchanter or Arcane Warrior. Also here, Marquette echoes the Executor in TN, with the sentiment that Qintara fell with Ventus. Nenealeus is then referencing Gaius, the impersonator Qintara, right? That’s interesting; Gaius’ true master was Fen’Harel, on whose behalf he accessed important information about the world. This means then [?] that some of the time when Gaius believed himself to be working on behalf of Fen’Harel, he was really being manipulated by Nenealeus. Poor Gaius, at different points Fen’Harel and Nenealeus were pulling his strings. Does Nenealeus’ manipulation refer to Gaius trading it away to House Danarius for information?

Marquette references the red lyrium idol, and suddenly my Dragon Age 4 ears are pricking the way Autumn’s do. x) He mentions that it makes weapons, referencing I assume Meredith’s lyrium sword, Certainty and the ritual blade that pops out from the base of the idol during The Dread Wolf Take You. I wonder when the events of this comic take place in relation to the stories related at the spy meeting in TDWTY? Is this before or after the events of the Mortalitasi’s tale? At any rate, Marquette voices something we’ve been obsessing over: what else can and does the idol do specifically, beyond just making weapons and being Ominous and Powerful? Because whatever it is, it’s key to Solas’ ongoing plans, and Solas obviously knows.

So it seems that the villains’ plan is to use the red lyrium idol’s sword part with the sarcophagus, red lyrium, a ritual and [the thing Tractus shows them in that panel - the dragon?] in order to transform Shirallas into, essentially, a Red Wraith, a Red Lyrium Fenris. And then to arm him, under Nenealeus’ control, with the sword.

Does Shirallas still have his vallaslin - is it just the lighting and the angle in that panel? Also, that panel with Shirallas and Nenealeus looks so ominous and foreboding 😭 .. (and reminds me somehow of Fenris and Danarius when Fenris was still his slave and bodyguard) Shirallas, we really are in it now 😭 This is a really cool panel btw, like the composition, the lighting, the dramatic-ness.

Nenealeus is motivated by a desire to route the Antaam from Tevinter (like the mage in the Mortalitasi’s tale in TDWTY) and reconquer lost lands in order to restore the glory of the Imperium (which reminds me in a way of of Aurelian Titus, who also wanted to restore the Imperium to greatness). Classically Tevinter here.

“Danarius the Lesser” is a sick burn. I’d guess Tractus’ life thus far, as a bastard, has had themes and struggles with inferiority and consequent lack of power but desire for it (being disrespected, but craving respect, being connected to a certain world but not really part of it, in fact rejected by it). Venatori connection confirmed. That the Venatori had to be convinced to accept someone as a Danarius - implications for the role of the Venatori remnants and their role in Tevinter and things in general going forwards? Lightning flashes overhead as Tractus and Nenealeus have this face-off in that panel, emphasizing the tension between the two. I wonder what the magic in the fortress and in the courtyard can do? It’d have been no mean feat to escape from this place as a slave, it seems, especially bearing in mind there’s only one proper way out, that causeway (passage not included). Tractus’ staff-head lights up when he’s making a threat (uh-oh), and then wow! Shirallas moves so quickly, in the blink of an eye suddenly appearing out of nowhere and startling the guard-mage onlookers. He’s fast and formidable.

I wonder about Tractus. Is he a “half blood” because he’s a bastard and his mother wasn’t an Altus, or even wasn’t a mage, or because he’s a bastard and his mother was an elf? Or both?

Will we see a face-off between perrepataes (Marius and Shirallas)? Will Marius face-off against his former master, Nenealeus? Perhaps a showdown between the Blue Wraith and the “Red Wraith” is on the cards?

Back to our team in the tavern! There’s a looot of great character content packed into these pages, which is really cool. Each brief character interaction conveys a lot, and in general this sequence is just well-executed imo. How troubled and tired Aaron looks at the bar (my heart.. it hurts); Fran worrying for Aaron; Vaea knowing that she can’t pressure him too much because that’s just not how it works when it comes to folks who struggle with issues like these; Vaea asking after Fran’s wellbeing; Fran struggling to come to terms with what happened to her father; Fenris watching the door waiting for news (he’s so vigilant isn’t he? safety, an escape-route..); Marius Broods Harder; Vaea’s [relative] pacifism being highlighted; Vaea engaging Marius looking for reassurance; and the choice of having Marius break his silence now is meaningful and impactful in that it shows what happens when one becomes ‘numb’ to the constant murderizing of people, so to speak. Fenris then rightfully points out that becoming numb to killing and violence isn’t really a good thing and is worse, really, than being ‘soft’ or uncomfortable with it. I wonder if he’s speaking from experience here, given the hundreds of people Hawke and co kill their way through during the Kirkwall years, for example. Then Vaea’s concern for Aaron and his state of mind, and Fenris’ uncanny insight into that, of a man he’s only recently met.

Tessa looks so cute when she comes in the door! I love Vaea’s lil “:D” face when she sees her, and I wonder what the tavern food on the table is.

Those two panels, when Fenris talks about Hawke and Leandra, are the biggest emotional gut-punch in the preview pages 😭 omg.. I’m not strong enough for this.. bls... bruh... This is then compounded by (hitting me when I’m down!!) the look of sheer... fear, fury, alarm, upset, shock - that appears on Fenris’ face as soon as he hears “I found Danarius”. Seriously, look at his eyes here. He (understandably) still has a trauma-response associated with the name/man.

Bless Tessa.

I have to say, it’s very Metal of Fenris that not only did he kill Danarius in DA2 (in those universes), but he has also been going around Tevinter since then killing all of Danarius’ [adult] heirs, and that his response to learning there’s still one remaining is to grab his sword and go to march off with the aim of ending the bloodline a second time. Very metal

I love the final panels in the preview as well! Vaea’s sense/smarts and how she wasn’t afraid to tell Fenris no, Autumn’s giant ears, how Autumn also moves with Vaea to step in front of Fenris to stop him (SHE! HELPED!!!), Autumn’s Happy Face and furiously wagging tail and agreement with Aaron, and Proud Dad Aaron rising from his slump to praise Vaea with the most Proudest Daddest expression that you ever did see... ( ´•̥̥̥ω•̥̥̥` )

39 notes · View notes

mistersshelby · 5 years

Text

the woman assassin

um hello there i’ve never posted here before but i started writing this thing a while ago and i wanted to post it so let me know what you think!!!! there will be multiple parts unless y’all hate it in which case i will go back to writing for my own amusement lolol -S.

original character x tommy

warnings: violence & language

Thomas Shelby wasn’t sure what he expected to find when Aunt Pol rang him well past midnight to tell him she needed him.

No, no one could quite predict Aunt Polly, so he didn’t try to. But he was still surprised to walk in and discover a woman covered in blood, holding a knife sitting in one of Polly’s chairs.

He also rarely came across women covered in blood, holding a knife, that were smiling. No, this would be a first.

Tommy immediately cocks his gun and points it at her head, “Who the fuck is this?” Another thing that he finds unusual, she doesn’t flinch from the gun.

“I found her wandering the streets.”

Tommy nods, “And you decided it would be a great idea to bring her home?”

“I thought she was in trouble or hurt, but... Tommy, I don’t think any of that blood is hers.”

“It’s not.” She clarifies from her seat, “But I am in trouble.”

“Who’s blood is it, then?”

Her smile falters and she breaks eye contact with Tommy, “The blood of a man who would harm a child.”

After a moment, Tommy lowers his gun and sighs, “Do you have anyone you could call? Your husband, perhaps?”

“Don’t have a husband.”

Tommy eyes her wedding band, but doesn’t say anything. “What’s your name?”

“Clara.”

“What’s your surname, Clara?”

She hesitates, and he already knows she’s given him a fake name. “Whitmore.” She tells him.

“Right. Okay, Clara Whitmore.” Finally he puts his gun back in its holster, “You can stay here a night or two but I want your knife.”

She recoils when he puts a hand out to take it, clutching it to her chest, “No. This is the only weapon I have. I’m not staying in a strange place unarmed.”

“Then you can take your chances on the street where I’m sure the coppers will be looking for you. Which will it be?”

She swallows and hesitantly pushes the bloody knife into Tommy’s waiting palm. “When can I have it back?”

“When you leave.” He wraps the knife in a handkerchief and slips it inside his suit as he turns to go, “If she gives you any problems, call me.” Tommy directs at Pol, lowering his voice, “I’m pretty sure she killed her husband.”

Polly frowns, “Why d’you think that?”

“She said she doesn’t have a husband, but she has a wedding ring on.”

“That doesn’t mean anything, you still wear yours.”

“Yes, Aunt Pol, and Grace is dead.” She blinks at him and then glances back at her, “I’ll see you at the family meeting tomorrow.”

***

“You stay out here, understand?” Pol tells her as they stand just outside a pair of double doors.

She looks around in awe, “Shelby Company Limited? You’re a fuckin’ Shelby?”

“If you have a problem with that you’re more than welcome to leave.”

She narrows her eyes at Pol, “I’m not afraid of you lot.”

Pol smiles sweetly, “Oh, sweetheart, that’s your first mistake.” And then she disappears through the double doors, though Clara gets a glimpse of the few people inside and briefly makes eye contact with the man who pointed a gun at her the night before.

“Thomas bloody Shelby...” She murmurs to herself in disbelief.

***

“Right, I’ve called this family meeting to discuss what to do about Sabini being back in town. He’s been very vocal about wanting to kill all of us.”

“We can handle Sabini, Tommy. He’s no threat to us anymore.” Arthur says.

“Are you suggesting we kill him, Arthur?”

“I could dispatch him with me hand tied behind me back, eh?”

“I certainly don’t doubt that, I just don’t like the idea of being tied to murders anymore. We’re clean now, remember?”

Pol rolls her eyes, “Please, Tommy, we’ll never be clean. There’s always going to be someone who wants us dead, someone we need to exact revenge upon. I say let Arthur dispatch him. He’s become an annoyance.”

There’s a murmur of agreement around the table and Tommy sighs, “No. It’s too risky. We need someone who Sabini and his men won’t recognize. They’ll be expecting us.”

“I think I could be of help.”

Tommy’s eyes snap up to meet the eyes of the woman from Pol’s apartment the night before. She seems harmless now that she’s washed all the blood off of her. Pretty, even, if he allows himself to think so.

“Who the fuck is this, Tommy?” Michael asks.

“I told you to stay outside.” Pol hisses and Michael stares at his mother questioningly as she moves to push the girl back outside.

But Tommy holds up a hand to stop Pol, intrigued by the woman’s boldness, “And why would I ever dream of trusting you, the woman who turned up covered in blood in my Aunt’s apartment and lied about killing her husband and gave me a fake name?”

She goes pale at the accusation, but quickly recovers, “I lied to you because I didn’t know who you were or if you would turn me in, but since you’re all Shelbys and have done your fair share of murder,” She shrugs, “I figure now you won’t judge me.”

“Killing your husband is very different from killing a man in cold blood.”

She blinks, “My husband is not the first man I’ve killed.”

There’s silence in the room for a moment, “Right, well, assassination is not women’s business and this is a closed meeting for family only so if you could just—“

“I can fight any one of you,” She continues, “I’m telling you, I can help. Contrary to what you’ve been led to believe, women are good for more than just fucking and bearing your children.”

Tommy scoffs, “If I let you fight someone and you lose will you leave us alone?”

“Tommy—“ Polly starts, but Tommy holds up a hand to silence her.

“Of course, Mister Shelby. But if I win, you have to let me do the assassination.”

Tommy walks over to her, spits in his hand and holds it out to her. She doesn’t hesitate, replicating the action and shaking his hand.

“Wonderful. Michael?” He calls behind him and Michael Gray dutifully walks forward.

Clara eyes him and then shakes her head, “Too easy, I’ll have him pinned in ten seconds flat.”

Tommy chuckles and Michael’s lip curls. “You will fight Michael and if it is indeed too easy, we can find you someone else. Now, let’s go everyone.”

“Where are we going?” Michael asked

“Well it’s much too small to fight here, we’ll have to fight at the factory.”

“Tommy, that’s unprofessional, you’re just showing your workers you think of them as a joke.” Ada chimed in.

“Fine, Charlie’s yard it is then,” And he walks out without waiting for anyone to follow.

When they get to the yard, Michael takes off his coat. Clara does nothing to prepare herself, but carefully watch Michael.

“Do you have any weapons on you?” Tommy asks her. She doesn’t meet his eyes.

“You took my only knife.”

“You won’t mind if I pat you down then?”

She sighs, but spreads her legs and lifts her arms. Tommy searches her pockets and lightly pats down her sides and legs. “Don’t go too hard on him, alright?”

She frowns, “You… You think I can beat him?”

He shrugs, “Michael isn’t much of a fighter, he only does so when he has to.”

“I only do so when I have to.”

“Hmm,” Tommy muses, “Then why did you volunteer to kill a man you’d never met?” He walks away without waiting for her to respond and lights a cigarette. “Alright,” He announces, tossing his match to the ground, “I want a clean fight. And no killing anyone.”

“I wouldn’t kill a woman, Tommy.” Michael says.

“I wasn’t talking to you, Michael.”

Clara continues watching Michael, “I won’t hurt him.” She promises.

Michael frowns, looking from Tommy to Clara, but doesn’t say anything. “Okay.” Tommy says, throwing his cigarette to the ground, “Have at it.”

Michael stalks toward Clara, fists curled, but she ducks his first punch. Easily throwing him off balance, she punches him a few times in the stomach, knocking the air out of him. From there, it’s pretty simple to sweep him off his feet and she put a foot on his chest, keeping him on the ground as he coughs for air.

“Fuck.” Arthur curses and then laughs, “Michael just got his ass beat by a girl.”

Clara smiles sweetly at him, “Are you next?”

“No,” Tommy interjects before Arthur has a chance, “No, he’ll kill you.”

She shrugs, “I’ll be out of your hair then, yeah?”

“Clara, you do not want to fight him, I promise.”

“It’s alright Tommy, I’ll only rough her up enough to show her where a woman’s place is.”

Clara laughs and she thinks she even sees Ada roll her eyes a bit, but it doesn’t bother her. This wasn’t the first time she heard this kind of talk. It wouldn’t be the last time she was underestimated because of her gender.

“Let him fight me, Tommy.”

Tommy stalks over to her and grips her arm, “He will kill you and I won’t be able to stop him.”

She shook him off her arm and glared at him, “Heard you the first time. Still want to fight him.” She walks away from Tommy and to Arthur who immediately swings at her.

He’s been drinking, she can tell that much, which makes him slow. She’ll take her time with him, she decides. She really wants to humiliate him. When he punches for her again, she catches his wrist with both hands, twists, and then pulls as hard as she can. She hears the satisfying pop of his shoulder coming out of his socket followed by Arthur’s roar.

She turns her back on him, walking away, but she hears him when he angrily lunges for her and spins, turning just in time to butt her head against his.

She backs away from him as he falters, trying to regain his balance, “Do you give up yet, Arthur?”

He snarls at her and this time when he punches, she’s not fast enough and it hits her square in the jaw. She doesn’t give him the satisfaction of crying out. When she falls, she stays on the ground purposely, waiting for him to walk towards her, and when he does, she grabs his legs with her own and trips him.

They roll on the ground, Arthur punching her in the face a few more times, her lip splitting, as he yells, “Bloody whore!” among other things, but she can’t make out everything over the roaring in her ears and finally the anger inside consumes her like an inferno. She head butts him again, allowing her to pin him to the ground and she punches him repeatedly in the face as hard as she can. Her husband’s face flashes in front of her and she punches harder. Over and over and over—

Tommy’s arms are on her, pulling her off him and she struggles at first, until she sees Arthur coughing up blood.

“I’m fine, I’m fine.” She says and pushes Tommy off her, spitting blood out of her own mouth and walking off.

A few moments later, Tommy’s walking beside her, “So you’re like Arthur, eh?”

“Sorry?” She’s still wiping blood off her face and she winces when she rubs her jaw. She’s trying to walk normally, but as the anger flows out of her, the pain flows in. She doesn’t remember Arthur punching her ribs, but they ache now. She wonders if he kicked her.

“You’re like Arthur, you lose control.”

“I can control it when I want to.” She insists stubbornly.

“Where are you walking to, Clara?”

She sighs and stops walking, “I haven’t… I’ve avoided fighting with my fists since I was a girl, I used to pick fights a lot. I was an angry girl. So I would lose control a lot.” She shakes her head, “Dunno why I’m telling you this.”

“You volunteered to fight my brother knowing you might kill him.”

“I’m sorry, I thought I had it under control... He just...” She stares at Arthur now who’s being helped up by Michael and Pol, “He reminds me so much of my husband.”

He watches her carefully, “If you want to work for me you’re going to have to get that under control.”

She spits out another mouthful of blood, “Consider it done.”

“Eh! Tommy!” Michael stalks over to them, eyeing Clara with distaste as he approaches, “How could you let that monster stay with my mum?”

Clara moves threateningly and Tommy blocks her with his arm, “Don’t worry Michael, I’ll be taking her off Pol’s hands. And don’t speak to her like that, she’s a peaky blinder now. Come on, Clara.” Tommy begins to walk away and Clara hesitates before following.

“You’re going to let her be a peaky blinder? After that?”

“Arthur’s a peaky blinder, innit?”

“Yeah, but—“

Tommy turns quickly causing Michael to nearly run into him, “Are you questioning me, Michael?”

“I— No, I just—“ He looks at Clara before lowering his voice, “You really want her around the kids? Lizzie’ll have your head.”

Tommy forces a smile and claps Michael on the back, “Thank you for the concern, but I think I can handle Lizzie.”

“It’s not Lizzie I’m worried about—“

“That’ll be all, Michael. Same goes for the rest of you, go home.”

They disperse after a moment’s hesitation, most of them murmuring to themselves, but Tommy either doesn’t hear or he ignores them. But still, Clara marvels at the power his words have on them, though she doesn’t show it. She doesn’t want him to know she’s impressed.

She doesn’t want him to know anything about her, but she realizes now she underestimated him. She’ll have to be more aware.

But she’s under no illusions, she knows lying to Thomas Shelby will be the hardest thing she’s ever done.

#thomas shelby #thomas shelby imagine #thomas shelby fic #peaky blinders fic #peaky blinders imagine #thomas shelby smut #peaky blinders smut #peaky blinders #tommy shelby #tommy shelby smut #tommy shelby fluff #thomas shelby fluff #thomas shelby angst #tommy shelby fic #tommy shelby imagine #mine

388 notes · View notes

bigskydreaming · 5 years

Text

thatninja replied to your post:

I know I’m usually that guy who’s always...

Gambit is 100% riding on his charm and looks. Plus Rogue could punch a hole through just about anyone that could argue that, which is prolly some kinda factor.

someothermonstra replied to your post:

I know I’m usually that guy who’s always...

isn’t… isn’t that canon?

LOL it actually varies pretty wildly depending on who’s writing him. I mean, good luck finding consistent characterization with any popular comic book character that’s at least three decades old, but all kidding aside, I do love the guy and Gambit in particular is a frequent target of character assassination. There’s even a trope named after him, though I forget its specific name at the moment.

But its basically the idea that certain male characters who end up more popular with women than male comic book writers expect, or understand - like as in they don’t understand what about them appeals to female readers so much, or misunderstand the basis of that appeal - there’s this weird trend where some of them basically take it out on the character and kinda...do their best to sabotage them? Idk, its like, it frustrates certain dudes who have rigid expectations of what women want in a ‘ladies man’ type character, that when faced with characters who get that reception not because of how these writers WOULD write them, but for reasons they just...can’t put a finger on.....they basically get butthurt about it and are like ‘well what’s so great about this guy anyway.’

I mean for sure, being jealous of a comic book character - let alone one you yourself are getting paid to write - is pretty pathetic, buuuuuuut lbr, that describes a lot of dudes in that industry and I mean....there’s a pretty obvious and proven track record of characters like Gambit and Nightwing and the other well known ‘lotharios’ of the Marvel and DC universe regularly getting tanked in various runs and written as vapid airheads or thuggish jerks (not to mention cheaters), in ways that really don’t make any kind of sense from even a basic storytelling perspective and really seem to only exist to make them look bad.

One writer that always stood out in this regard for me with Dick Grayson was Chuck Dixon, who wrote his Nightwing solo comic for a long time in the 90s, as well as adjacent titles. And to be clear, it was always pretty obvious that Dixon WANTED Dick to be received by readers as a ladies’ man.....but for reasons and ways that Dixon wanted. Like Dixon was a pretty right wing, conservative d-bag at the best of times, (and also the one who made Dick a cop, which tells you all you need to know about what I think about him, lmao)....and so its not hard to guess what he THOUGHT an ultimate man’s man, macho but suave lady-killer James Bond kinda guy SHOULD look and act like, and how female readers were meant to like...swoon at his take on him.

Except....that’s not remotely Dick’s appeal, and why he’s so popular with female fans. If anything, that’s pretty much the exact OPPOSITE of the times he’s most popular with women, and like....you can kinda see throughout the course of Dixon’s Nightwing runs where that just baffles and frustrates the hell out of him....and with him then all of a sudden throwing curveballs into his OWN long-term character work and storylines, just to be kinda like ‘well what do you think of him NOW, huh?’ In particular, I’m thinking of this one infamous stand-alone issue, I think it was an annual or whatever, and it was a flashback issue that was written late in the 90s but meant to take place right before Dick was supposed to get married to Kory back in his Titans days. And it involved Dick going to see Barbara one last time before his wedding, and talking about their romantic history together and hand delivering to her the invitation to his wedding with another woman....and then she’s like wtf....and that somehow led to them sleeping together.....and then him waking up the next morning in bed with Babs and being like, well that was great, I’m off to go marry Kory now!

Seriously. That actually happened. That issue was thankfully considered non-canon by most readers and other writers and never referenced again (outside of occasional references to Dick being a cheater, but as I’ve talked about before, that BS existed long before that story and stems from the crap with Mirage).

But like....it made ZERO sense. In story, in context of the characters, in terms of how Dixon HIMSELF usually wrote both Dick AND Babs, which he’d done a LOT of....like he also wrote Birds of Prey for a long time? With Babs front and center in that? And forget about Dick even for a second, in what universe would SHE sleep with someone who was about to go marry another woman?

Like, it came absolutely out of NOWHERE, and made zero sense whatsoever, and tbh, Dixon didn’t even really try and justify it within the actual narrative, it was kinda a wham bam, well here you go, this happened, DEAL WITH IT. That story’s only purpose really was to make everybody in it look bad, b/c Dixon’s the kind of dudebro to throw a temper tantrum within his own work b/c his female readers don’t like Dick for the reasons HE thinks they should like Ultimate Ladykiller Fantasy Man Dick Grayson, but for reasons that don’t make sense to him and he CAN’T replicate because of that.

Its the same trope with Gambit. And it actually kinda originated with him, even though Dick is a vastly older character, because don’t forget, a good fifty years of Dick’s history was as a preteen and a teenager. He was only growing into that persona of the character with mass romantic/sexual appeal at the time that Gambit was created.....and right from the bat, Gambit’s creation and reception kinda threw writers for a loop.

B/c Gambit, as Claremont initially conceived him, was not SUPPOSED to be sexy. Like, he had really longterm, complicated and convoluted plans for Gambit originally, and how he was connected to Mr. Sinister and other characters, but like....in Claremont’s own words in past interviews, he’s basically said that like....Gambit was supposed to be more obnoxious than charming. Like, he kinda meant for him to be taken as this greasy, weaselly kinda sleazebag who was only ‘charming’ because of something to do with his mutant power, that much referenced but little canonized ‘charm’ ability he’s always been rumored to have in addition to his kinetic energy powers.

Except....between how artists throughout Gambit’s early years actually portrayed him, and the ways Claremont and other early writers wrote him and the things they had him saying all being taken entirely differently than they intended....Gambit was pretty much an instant hit, with female readers in particular....and just like Nightwing in later years to follow, this frustrated the SHIT out of certain writers, because they just DID NOT GET IT.

And so with Gambit, just like with Dick, half the time you have writers who are total fans and just want to show off those characters (and other characters that fit this particular niche archetype) to the best of their abilities, highlight just how competent and skilled and intelligent they are....with fans of course usually being very receptive to this and upholding these particular runs as iconic and fave portrayals, enjoying the characters here for the reasons they’re ‘naturally’ appealing to a lot of fans, etc.

Which of course, in turn, just kinda frustrates and annoys that Certain Dudebro Writer Type all over again. And thus the next time one of THEM gets their hands on these characters, there’s all these little digs built into the stories and the characters making mistakes that ‘reveal’ them as the kinda insensitive assholes they are, the jerks who don’t deserve the kind of acclaim they get, just like....Those Popular Jocks That Don’t Know How To Treat Women Right, Not like A REAL Nice Guy Like Me Would, and are really just kinda dumb airheads anyway and why do people even like them, ugh.

Anyway. So yeah. That’s definitely a thing that’s stood out for a lot of fans and readers over the years and been noted and talked about pretty extensively, with again, there even being a trope named after Gambit because of it. This weird, self-defeating obsession some guys have with making sure that like ‘Well if women aren’t going to like these Male Power Fantasy Characters for the reasons WE think they should like them, then we’re gonna make sure they just don’t like them at all.’

#thatninja

69 notes · View notes

irageneveart · 5 years

Note

hello! i was wondering what program&brush settings you use for your artwork? im new to digital art and i really like the way you colour! Especially those light effects they're so extra cool!

omg Anony you’re such a wonderful being, thank you for liking my art enough to ask me that!

now watch me failing trying to explain things to you lmao. I’m self taught and I’m in no way the best at this, so what I’m going to tell you might still be flawed but this is how I do things o/

hmm it’s gonna be long so I’ll put it under a cut!

1) I’m using Paint Tool Sai for everything in my art but if I still feel the need to, I’ll use Photoshop to correct colors and lighting. for example in this progress gif:

you can see where I decided “no, I don’t like this cold blue feeling” so I went to Photoshop (because it allows changes much easier than Sai when it comes to colors) and I changed it to a warmer purple! you can always play in Photoshop and try to see different versions of your art, different colors will give off different feelings

most of my artworks don’t look the way they do at the end because while drawing I tend to be focused on other things (line, where to place shades, lighting, etc) while when the picture is done I can focus on the feeling I initially wanted it to have!

2) My usual brushes are really basic. also ignore my ugly writing.

Sketch: I use this to sketch because it has a nice and easy flow, I can get messy lines that look good (the latest Brahms Heelshire drawing I did is entirely drawn with this one!)

you can always switch between your brushes depending on what feeling you want your art to have

Lineart: this one has nice, smooth and bold lines. I like to play around with it’s size. I believe it’s the basic one Sai has

little advice: if you’re not happy with your lineart try to alternate heavy lines with tiny ones. for example:

you can see how bold her hair is, but adding thinner lines to the glasses, the folds of her clothes, hair etc. it will create a better dynamic of your picture and will leave the eye of the viewer to run around it! I’m honestly awful at explaining stuff fdkjsnjkfds ofc this is a personal preference but my linework improved since I started to think like this

Base color: this is the color tool sai gives you, I changed my names so I can’t remember its default name. I like it to be bold because when I was little I used to color entire coloring books, so even now digitally I like to color every bit like I’m using crayons haha. time consuming and useless but shhh. basically I put down every base color with this one

Acrylic: now this one is tricky, when I got it the first time I wanted to use it to shade, but using it I discovered it’s much better for blending. after I put down the main colors and shades I just use this one to blend them together and I sometimes paint with it too

Blending: it’s literally the blur brush Sai provides you xDD

now keep in mind that using its settings (the things near the “Normal” option!) you can get different types of blur! always play around to see what looks good in your art. also remember that not every shadow has to be blurred or blended out, there are many ways shadows can look, using both blurred and heavy (cast) shadows in your art will definitely improve it. using real life references might help

Airbrush: the very brush Sai gives you. I’m using this one mainly for lighting. what I do is basically put down a hard light, like literally take a light color and place it where I see fit on the character, then I give it a bit of glow with the airbrush. one thing I noticed is that depending on the surface, the glow will change!

in this one you can clearly see the light on his cheekbone, but then there is a much weaker light on his face, that’s made with the airbrush and then blended into the structure of the face.the glow on the cheekbone and the ear is made with airbrush, using orange and playing around with the layer modes (overlay and luminosity, these are your best friends when it comes to lighting!)

lastly I want to present another best friend for us artists, the eraser

you can make highlights with the eraser too! you can cut the light in different shapes to give different feels and many other things, the eraser is definitely your best friend and not only in erasing mistakes. try to play around with it sometimes

Other things I learned:

try to use a different color for shading, using the exact color but darker will only make your art look dull, lifeless. the same goes for lighting! there are lots of tutorials on color theories and practices out there to help you with it

don’t be afraid to get wild, use oranges, reds, blues, purples in your skin and play around with the layer modes, you’ll see how much more alive it will feel. also don’t be afraid to try different styles, constancy is not the friend of a creative mind. experiment, try things, go out of your comfort zone. make it fun, make it personal. if you like drawing dogs then keep drawing dogs and enjoy it! don’t let labels and others to influence you and your spirit

ik this is obvious but never compare yourself with others. your journey is yours, you have a different hand, a different brain and a different being. this also goes to drawing things others did already! who cares there’s 0284e4895 other pictures with Kitbull already? draw yours, it will be unique and special because it has something from YOU in it, and no one can replicate that not even with tracing

watch people online! of course when you sit down to draw it will be completely different, but involuntarily you’ll learn and exercising you’ll find your own way of doing things. there might be much better ways for drawing lighting than I do, but this is how I feel good and I like to do it!

I know you hear this everywhere but really, practice, daily if you can! in October 2017 I tried to to the inktober challenge for the first time, I haven’t finished it and I was late anyway but I can tell you that trying to draw daily definitely improved my art. now I’m able to draw a picture per day with not much effort (yesterday I was able to draw three pictures with pretty good quality! o/ always start small and be proud of every step!!)

lastly, don’t be hard on yourself. every picture is a lesson, doesn’t matter how it came out. maybe the anatomy is wonky af, but you learned and your brain will remember what not to do next time. try and try and try and never say “my art sucks”, say “this pic doesn’t look how I wanted, but I still like it. I’ll do better next time!”. the moment you start to like your art you’ll see how much it will start to shine hehe

I might come out with more stuff but this is already really really long xD just be yourself, love your art and enjoy it!! lots of luck for you Anony, I hope I didn’t bore you and this will be helpful for you and others! :D

#ira geneve #art advice #tutorial #sai brushes #art tips #anon ask #ira rambles #wah this was long sorry #but it warms my heart to know some people look up to me for things #and I'll do all I can to help anyone

66 notes · View notes

professortennant · 6 years

Text

Sam/Jack Rec List, Pt. 1

This is mostly for me in case my bookmarks are lost but yeah! I’ve gone through like 90% of AO3, a good chunk of ff.net, and I just dived into LJ. But since I have 103 fics already bookmarked, I’m just gonna put this list up first and then add to it later.

Plz read the tags of each fic to avoid stuff you don’t wanna read. If you read something and love it, GO TELL THE AUTHOR SO THEY WRITE MORE.

Absolute Fucking Favorites (aka I have read these more times than I feel comfortable admitting)

We Made It Series: A series of connected episode tags beginning with Forever in a Day. Sam shows up on Jack's doorstep with a six pack of beer, a bottle of cheap wine and a package of chicken breasts. Jack's confused. They cook dinner.

Taking Christmas Off: How Sam and Jack end up spending Christmas alone together every single year, accidentally at first, and then very much on purpose. A fluffy/shippy Christmas fic in eight parts, with spoilers through season 8.

The Dreams We Left Behind: The day Sam Carter marries Pete Shanahan is not the worst day of Jack’s life; he’s already lived that day. But that doesn't make it easy.

Like Kissing a Stranger: There is not one day he spends on this planet, or any other, that his mouth doesn't get him into trouble.(An episode tag for Point Of View.)

Retrospective: Sam doesn’t give it a name, this feeling. She doesn’t even think about it much, preferring to glimpse it obliquely from the corner of her eye. It’s a secret delight that she shares with no one, scarcely even herself.One story in eight parts charting Sam and Jack’s relationship from the start of S1 to the end of S8.

The Short Straw: She hadn't set out to cheat, certainly, but had thought that she'd at least be able to interpret her own work in a way that would lead to victory. (Tag for Shades of Grey)

Post-Eps/Episode Tags (except for Threads, which is its own category)

The Price of Edora: Sam suffers the consequences of pushing herself too hard in order to bring Jack back from Edora.

For Just One Taste of This: After that, though, things got tricky and dangerous because they pushed a little more and went a little (a lot) further off that deep end, and soon it was the two of them alone in the empty barracks and this wasn’t wrong, was it, just sitting side by side in the darkness? (Post Divide and Conquer)

Let Your Demons Run: (here can't be that many eyes in the building that haven't noticed her. Post-ep for Entity.

Midnight at the Oasis: What if Abydos wasn't destroyed, and Jack and Sam really did go to Skaara's wedding? A short AU based on the wonderful (!) exchange among the three at the beginning of Full Circle.

Thyself, Unknown: And then they were strangers again and their world was brand new with signs of aging. Beneath the Surface

Unlearn your Stars: Thera turned her eyes toward the ceiling, as if she could see through the miles of earth and snow to the sky beyond. Something about her seemed to yearn, and for reasons he could not fathom Jonah felt like Thera belonged there. Among the stars. (Beneath the Surface)

Transcendental: Alternate Sam and Jack who got stranded in the alternate timeline in Moebius.

The Fundamental Theorem of Samantha Carter: Samantha Carter knew precisely what she wanted. And then she didn’t. S.8 Full Alert through Threads with references to Gemini.

The Rainy Season: Tag for The Light. Their arguing was beginning to grate on her nerves.

Icarus Ascending: What if Jack and Sam didn't keep it in the room after all? A/U tag to Divide and Conquer.

The Space Between: There's a little space between them on the bed. Small enough to be close, but enough space to remind them where the line should be. (tag for Death Knell.)

Mimesis: Jack tries to help Carter deal with her time spent with Fifth and the Replicators.

A Rush of Blood to the Head: "You volunteering to come with me, Carter?" Sam and Jack deal (or don't) with the creation of mini!Jack.

The Breaking Point: Daniel’s ‘death’ in Meridian forces Sam Carter to reevaluate her life and what really matters to her.

Window on a Room: The first time around, Sam had found that face the Colonel was making to be endearing, in the increasingly problematic way she found pretty much everything he did to be endearing. The second time, she had found it alarming - not the Colonel specifically, of course, just the fact that she’d already experienced that exact moment not ten hours earlier. She went from being alarmed on the second loop to being frustrated, baffled and discouraged in subsequent loops as their attempts to stop the looping had all failed. And now that they had settled into this routine, with Sam and Teal’c, loop after loop, learning to translate the altar text themselves, well now she was just tired. Not even the Colonel’s problematically endearing face was helping.Another loop, she thought to herself. Here we go again.

black holes and revelations: It’s late and dark and as far as she’s concerned, the world has stopped for them (they’d done the Earth a few favors, it's time one was returned).

Lifelines: Everyone expects her to be so resilient--but beneath her calm exterior seethe emotions beyond her control and understanding. Months post "Beneath the Surface", Sam finally has to face it all, and find a way to accept the way things have to be.

Reflections on a Broken Surface: Episode tag to Beneath the Surface. How Sam and Jack became a couple in the ep.

Tilting at Windmills: Jack's struggling to deal with the events of Euronda and Alar's people. Angry, depressed, and alone, he needs Sam's help to find his way home, literally, and figuratively.

untitled: Sam/Jack, word prompt- 'never' Episode tag to Death Knell

the art of reincarnation: Detoxing in a Goa’uld palace, Jack struggles with something he can't let go, and Sam struggles with everything.

Cracks in the Glass: Doctor Carter has stepped through the mirror-seeking refuge from her ravaged world. Her presence forces Sam and Jack to question their own decisions. Sam and Jack focused episode enhancement to "Point of View".

Before the Invitation: A chance meeting in the commissary leads to some unintended revelations. (Set just prior to 'Nemesis')

Threads

Full Disclosure: She looks at him with that complex expression that’s punctuated their relationship ever since Pete barged onto the scene. The one that looks like a question, or a plea – the one he’s never really understood and has never dared pursue.

Down to the Bone: She knows now, what’s essential.

Sooner: Some bonus scenes for "Threads," because a lot went on in and around that episode that we just didn't get to see.

an angel came down: The first Christmas after her father dies is rough. The second Christmas after her father dies is better.

Breathe In: It wasn’t an immediate thing, despite what people thought. They didn’t jump each other the second SG1 was on vacation, with her emotionally vulnerable after her father’s death and no longer engaged, or him now free of SG Command and DC-bound.

Sam or Jack are Tortured/Abused (but it ends happily)

Primary Emotion: After seventeen weeks of torture in a Goa'uld prison, Samantha Carter is rescued by SG-1. In the time that follows she must relearn how to relate to her team, reassess her relationships with both herself and others, and decide whether or not she'll continue to step through the Stargate. Luckily she's got the benefit of a good psychologist and the love of a great man.

Character: SG1 is kidnapped by an alien king who needs Sam to perpetuate his bloodline & will do anything to possess her. The team must find a way to escape before she pays the ultimate price for her defiance.

Compos Mentis: After Colonel O'Neill is stranded on a seemingly friendly planet, it's up to his team to rescue him. Who they find, though, isn't the man they left behind.

Crawl from the Chasm: After Jack's experiences in Ba'al's Abyss, he struggles to find peace. Angsty Jack/Sam Ship.

After All: They’d been trapped for a month. He’d been tortured within an inch of her life. And then their roles had been reversed.

All We Need of Hell: Jack is captured and tortured and when he returns, he just doesn’t see the point in following the regs anymore--Sam is essential. And he convinces her to forget the regs, too. (Dark fic). (chap 2)

Aliens Made Them Do It

Auctions and Consequences: Slavery has been abolished for good reason, but apparently not everyone got the memo… landing Sam and Jack in hot water.

Auction and Reaction (sequel to the above): Jack manages to get himself captured and Sam is sent to negotiate for his freedom. Unfortunately, the matriarch in charge of the male slaves is unconvinced of her claim and threatens to keep Jack as her personal slave.

Relief: How they'd managed to gate to a planet right in the middle of their annual fertility festival was beyond him.

in doorways and dreams i run to you: They had stepped through the gate together. They were looking for something.Light.There had been a blinding light and then nothing. Nothing but the heat and the taste of his skin on her lips. And now he was on his knees and she wasn't stopping him from sliding a hand underneath her.

Beautiful Far Away: While on a routine exploratory mission, Colonel Jack O'Neill and Captain Samantha Carter get caught up in a children's game that turns out to be the beginning of Rorilian marriage rites. When seismic activity starts to rock the village, the local leaders demand the ritual be seen through to its natural conclusion to avoid further angering their gods. Sam's equipment suggests the tremors are caused by an unidentifiable metal, but her science seems to be a point of contention amongst the leaders. She's convinced she needs just a little more time to figure out what is happening on the planet. Unfortunately, that means she's jumping into a ritual marriage with her new commanding officer. What could possibly go wrong?

Xanadu: The team travels offworld to take care of some mining negotiations, only to meet with an unanticipated challenge on P3X-427.

5 Times Fic

Five Times Jack Sees Sam Out of Uniform

The Nature We Leave Behind Us: 5 Times Daniel (and Teal’c) find out or suspect about Sam and Jack

Five Times Jack Came Close to Breaking the Frat Regs with Sam

Desperation: 5 times Jack kisses Sam

Ambient: 3 morning-afters that they miss and 1 they don’t.

5 missing ship scenes from s9/s10

5 times jack asked sam out and 1 time he didn’t have to

Stranded/Retired/Moved Off-World

My Scars Healed (aka the Cottage AU): Abandoned off-world, living is about more than just survival.

In Media Res: When Sam and Jack are taken captive and put to work in a mining camp, that turns out to be the least of their troubles. Forced by circumstance to live in close proximity, their time as captives has consequences neither one foresees.

Compliance: The end comes fast. One moment it’s a normal day with paperwork and bad coffee and the next it’s a scramble for the event horizon as the Mountain comes down around them. The base empties out with surprising efficiency, and by the time Jack hangs up the red phone on the last conversation he’ll ever have with the President, only Carter and Daniel and a couple techs are still in the gate room, the last of the supplies being sent through to their fall back site.

I Love It When a Plan Comes Together: Dear Airline, I was marooned on an alien planet…

And then I dreamt of yes: The universe has really bad timing, but neither Sam or Jack is ready to give it the last word.

The Final Straw: Sam's injured and trapped off-world.

Twilight: General O'Neill gets ansty to do some Gate travel, but a natural phenomenon on another world causes problems and changes things

Bird Stealing Bread: Jack had actually imagined being stranded off-world quite a few times. But he really, really, really hadn't counted on being stranded off-world with Sam. And Pete.

Under the Sun: ABANDONED FIC BUT IT’S SO GOOD. When lightning strikes the DHD and strands Sam and Jack alone on a planet, they must rely on one another to get through until help can arrive. Soon, though, they discover they're not alone on the planet and things change. Suddenly they're thrust into local politics and Sam is drafted to help save the locals' lives. Perhaps, if they play their cards right, all of it can help them get home.

Total AU

String Theory: Dr. Samantha Carter joins the SGC and discovers a life she never expected.

Imprimatura: Even in a completely different reality, where a strictly enforced color-based caste system stands between them, some things remain the same.

How to Start a Fire: She denies it's physical attraction. He denies it's anything but. Sam/Jack. Changeling Universe.

Convergence Series: Jack O’Neill is a man waiting to die, and she’s the only one brave enough not to look away.

Right as rain: Jack never went on the Abydos mission. Charlie never died. But when Jack accidentally activates a device that Kawalsky brings by the Academy, he catches the interest of a certain Major Carter. Soon he finds himself in for one hell of a ride, and if aliens and space travel and weird DNA weren't crazy enough, he might actually be falling in love with a theoretical astrophysicist...

The Dating Game: Catherine Langford had been instrumental in getting AU Sam/Jack together in There But For The Grace of God

Defining Family: Set after "Ripple Effect". What happens to Janet and the rest of the alternate SG-1 team after the episode? How does it affect our reality?

Worlds Apart: An Ancient device sends Jack and Sam to a world where everything is just a little bit... wrong. Why? Can they cope with the differences? And, most importantly, can they find their way back?

I don’t know what to categorize these as but they’re amazing

Deep City Lights: He picks her up in a blue convertible. (Road trip fic where they say ‘fuck the regs’ and then remember the regs)

we build then we break (and build up again): Sam’s last mission on SG-1, and the life that follows.

the slow revelation of self: In the beginning there was sex. And it was good.

untitled: on a mission, sam and jack are painting their mark on a wall.

things not dreamed: Daniel doesn't understand their need to fly.

Cultural Drift: Six days before the shit hit the fan and nothing was ever the same again, Daniel fell over a tablet on P3X-324. That was two years ago.

Concentric Unto Thee: Her attempts at normality have never worked before, and Jack won't stand for any attempts to apply the logic of command to their relationship.

the lesson: Jack and Sam haven’t wasted the three years they’ve been cut off from Earth…and though the price is high, they manage to teach that lesson to another couple who badly needed to learn it.

Escape Pod: "I just need," shift, "to move," shift, "a little." (Accidental Stimulation fic) Tonight: It's been too many years of it, the death, the resurrection, the sheer and aching loneliness, the hurt that comes from walking away.

Rocket Fuel: Sam and Jack get together after Heroes but also AU + Christmas.

Home Economics: He would never have imagined that the biggest problem Sam Carter would have with his house would be his toaster.

Atlantis/Continuum

Gravity Always Wins in the End: After Sam is held hostage, Jack takes an impromptu trip to Atlantis.

Backlit: Carter turns 43 years old on day 6 of a 14-day run to P98-007 aboard the General Hammond. The only events that mark the occasion are the little note Daniel must have stuffed into her pack before she left, a cheerful "Happy Birthday, Ma'am" from her second over a morning cup of coffee, and a long stare at herself in the mirror after she washes her face before bed. It's not like she expected more.

Yesterday’s Life: She feels frayed and faded, like a scrap of fabric accidentally discarded and forced to weather the elements. S/J, spoilers for Stargate: Continuum.

Distance: Sam contemplates the difficulties of a long distance relationship with Jack on Valentine's Day...

Post-Series

Look Again Into Your Heart: It's not that cold, not by the standard of some of the places she's been in the last decade or so of her life, but then again, she's not used to braving the weather in heels and an evening dress.

Follow the Star of the North: When Jack talked about losing himself in Minnesota, Sam never really understood the appeal.

Radio Silence: “It’s Mitchell.”He grabbed the phone out of her hand, smiling at the horrified expression on her face when he flicked it open and held it to his ear.“This is General O’Neill. Is the world ending?”

Rainy Days: Sam and Jack spend a rainy day at the cabin

The Lies You Feed Yourself: They simply aren’t part of each other’s worlds anymore. They haven’t been for years. Jack and Sam three years after they leave the SGC.

Bygones: He's a man of few words. Sam, however, wants to hear a couple of specific ones - at least once. It takes another woman to help her understand just how her husband communicates.

Twelve Years Two Weeks: She had finally 'switched off'. It had taken her a few days to rid herself of the itch that she was neglecting a to-do list the size of her arm.

DC Series: SG-1 is moving on, but Sam is standing still.

Interlude: Jack turns up unexpectedly, and he and Sam make an important decision.

fly me to the moon: Jack is baffled. What do you do for a woman's 40th birthday when she routinely explores alien planets, has blown up a sun, and raced in the Loop of Kon Garat? Give her the moon of course.

Folding a Map: Distance makes Jack an unhappy camper.

Taur’i Whispers: "He likes her throaty laugh. He likes that her voice has dropped and softened in the years he's known her." - Sam/Jack, romance and a bit of angst and hurt/comfort

Blue Dark: The sun’s barely peeking above the horizon and already she’s up, perched on a stool at the breakfast bar in his kitchen, her index finger circling the rim of her coffee cup.“And we have to go to this?” she asks, taking a sip of the hot beverage.

Un-fish: “Caught any un-fish?” she asked softly.Their lives would never be normal because of little things like fish that were or were not there and sometimes he wondered who had done what exactly to his pond to drive the fish away. He knew better than to ask, unwilling to listen to her explain to him the various possibilities of… whatever.

Real Life: This was what she'd been waiting for, held out for all those years. Someone -- him -- to come home with every night, to sink into after saving the world or spending three days dug in on an alien planet with fifty-odd Jaffa between her team and the 'gate, someone who knew just how she liked to be touched... She rolled onto her back, offering sleepy kisses when his lips crossed hers, sighing when his wandering hands brushed across her belly...

#sam x jack #sg1 fic #stargate sg1 #stargate #fic rec #rec list #jack x sam

228 notes · View notes

amplesalty · 3 years

Text

Halloween 2021 - Day 1 - Us (2019)

‘tis Halloween season once again!

It’s October, it’s Tumblr dot com and that can mean only one thing; another boat load of horror adjacent movies and possibly the odd TV show thrown in for good measure. And hey, we might have skipped out on the Stand finale and I didn’t do Halloween 1978 as I planned but I had a fair few entries last year. Christmas...not so much. Some of these years really seem to blend together because I thought for sure I had watched Get Out last year but, no, apparently it was 2019. Relevant because for this opening day I’m looking at Jordan Peele’s directorial follow up; 2019’s Us. Maybe next year I’ll watch 2021’s Candyman that he, whilst not directing, was involved in writing and producing. I love how certain sections of the internet immediately flipped their lids over that and were like “He’s going to make it political and about race. Stop bringing politics into movies!”. Ah yes, unlike the original Candyman which we of course know did not involve race in any way, shape or form.

This movies broader points about class structures and wealth ineaquality can easily be applied to all of society but it’s perhaps no coincidence that the protagonists are an African American family. Whilst the racial themes are quite as strong as in Get Out, it’s still evident to see the difference in opulence between the Wilson’s and their more wealthy white friends.

There’s a moment in particular when the Wilson’s are at their friends house and you get this shot of their two boats side by side. Their dirty speed boat that constantly veers to the left and with an engine that cuts out all the time is dwarved by the SS BYACTCH. It’s not something that’s dwelled on or talked up but I think it’s a nice little piece of visual universe building. And for that talk of wealth inequality, you can’t complain too much if you’ve got yourselves a summer house and a speed boat, no matter how shabby it is.

That boat does lend some measure of humour to the film that kinda threw me off guard given how tense the second quarter of the movie gets. There’s something really funny about this vicious killer stopped dead in their tracks when the boat cuts out, having to resort to the old bloke trick of ‘Technology doesn’t work? Smack it with your fist!’ It worked for the Fonz. I feel that’s something we’ve really lost in this modern age of techonological advancement, you can’t get any good surface area to give the telly a smack these days with all these LCD’s and OLED’s. You could really bring the smackdown on those old CRT’s.

That whole vicious killer thing is also something of a departure from Get Out which was more of a psychological trip. They both share these creepy elements but there’s something more immediate and visceral here when you have this family being stalked by these shadowy figures in the middle of the night before they start being set upon and this whole home invasion plays out.

Actually, the start of that scene is a bit of a mix between the creepiness and terror when they just see this family holding hands in their driveway in the middle of the night. I know I’ve probably touched on this before but you know where you stand when Michael Myers or Jason Vorhees are marching towards you with their bloody knives drawn. What the hell do you do though when there’s just bunch of people on your property at 2am, unmoving and smiling politely?

Not that they have polite intentions, when we find that these are the dopplegangers of this family referred to as ‘The Tethered’. Sort of like corrupted, shadow versions of their normal counterparts who have gone through near enough the same exact experiences but in a more twisted way. The normal person might eat a warm, delicious meal but the shadow consumes only raw, bloody rabbit meat. The normal person might meet someone, fall in love and get married but the shadow is compelled to meet with their partner based on the actions of their double. The normal family might give birth to beautiful, healthy children but the shadows are blessed only with wicked, sadistic offspring. And, again, it’s hard not to draw parallels when you have a black character talking about living this less privileged life in the shadow of the more well off.

It becomes infinitely more terrifying when you come to realise that this isn’t just isolated to the Wilsons, their friends have also been visited and killed off by their own evil selves. It’s like, even if you outrun your own shadows, it seems like there’s nowhere to run with the news showing shaky footage of similar red clothed people committing seemingly random attacks.

Small point on the other family but, between this and thinking back to her role in The Invisible Man remake, Elisabeth Moss just kinda ‘gets’ that whole facial expression thing. Whether it was the paranoia and fear of Invisible Man or the maniacal expressions of her evil version here, she does a really great job of selling it. Again, it’s only a small role in the grand scheme of the whole movie it’s pretty chilling to have her preening herself in the mirror to the sound of classical music. And then the Wilsons arrive to bludgeon everyone to death to the sound of ‘Fuck the Police’ by N.W.A so, you know, contrast...

I feel like parts of the finale are a little tacked on, like the whole story behind where the Tethered came from just feels a little thrown together, that they’re these clones that were designed by the government in order to control their counterparts on the surface. It’s just sort of left at that and not explained any further.

The setting is certainly very eerie though, a lot of strange imagery going when Addy ends up going through the underground complex with it’s singular escalator that is lit up like a Christmas tree, or the long, white corridors littered with rabbits. I’m not sure what the metaphor is behind the rabbits, other than her following one into the complex which is maybe a nod to Alice in Wonderland or the general idea of ‘going down a rabbit hole’.

Bit of a nod to A Nightmare on Elm Street too as she makes her way through a boilerroom.

The whole Hands Across America thing I’m a little confused on too, it’s something that’s focused on near the end that it’s something the Tethered have almost idolised with this one item they have referencing it. Quite why they’re replicating it though, maybe it’s symbolic of how the Tethered have all joined together in this one cause. Or, as the Evil Addy says she wanted to make a statement, maybe this was her way of doing that in a similar way to how Hands Across America was so widely covered in its time. It kinda goes along with the idea of the Tethered being this mirror image, them doing it now is like an inverse of the original idea of it promoting charity and helping the less fortunate. Now those truly less fortunate are using it to their own ends.

And that ties in to the coolest part of the movie, this general idea of symmetry. It’s something that’s touched upon near the start with the idea of symmetry and coincidences brought up, like when one of the kids points out the clock reads 11:11 which had up to this point popped up on a few signs referencing a bible verse. It affected me a little bit in a similar way to Invisible Man where I started to really look for things in the movie that were maybe going on in the background that were meant to be subtle hints. But as the movie wore on, I started to realise it was itself playing out in this mirrored way; like how it starts out at this fun fair at night but ends at the fun fair in day time. Or how the normal version of one of the kids is encouraged to snap along with some music at the start of the film, then near the end his evil version is snapping along too, only he’s mimicking a lighter since he’s a bit of a pyromaniac. That song incidentally being ‘I Got Five on it’ which is used near the start and then again near the end, only that time it’s an eerie orchestral remix that soundtracks the fight between the two Addy’s.

Which is a really neat fight scene as well, you’re used to these slasher type villains just overpowering their victims or brutally stabbing them but the evil Addy uses her dance background to gracefully dodge Addy’s attempts to attack her. It’s like a bizarre dance routine between the two of them, brings a whole new meaning to fight choreography.

Oh, and that ending too, that’s a whole different level of confusion too. Not in terms of what happens, more just the way it makes you feel. I saw it coming that the two Addy’s were switched in the incident that took place when she was a kid but it plays with your idea of a happy ending. Like, this whole time you were rooting for the ‘good’ Addy to overcome the evil version that had come to kill her and her family, but then you find out that she was the evil one all along. It’s not quite on that level of gut puncher as The Mist but still a neat twist.

But yeah, really cool movie on the whole. Aside from Candyman, I’ll also be looking forward to Peele’s next movie which is apparently slated for next year and will feature Daniel Kaluuya again.

#Halloween 2021 #Us #Jordan Peele

0 notes

weekendwarriorblog · 3 years

Text

The Weekend Warrior 8/13/21 - CODA, FREE GUY, DON’T BREATHE 2, RESPECT, THE LOST LEONARDO, WHAT IF, and More!

Well, that was kind of a disappointing last weekend as James Gunn’s The Suicide Squad pretty much tanked at the box office, making less than Birds of Prey did back in February 2020 with all sorts of backseat analysis explaining why it didn’t do well as anyone, other than a scant, few thought. I mean, I’m still kind of stunned, even though COVID and the Delta variant seem to be losing steam as far as being news. It certainly didn’t help that HBO Max decided to release the movie concurrently on HBO Max on Thursday at 7pm.

The nice thing about this week is that we have three new movies, none of which are on streaming or On Demand at the exact same time, so if you want to see any of them, you’ll have to put on your N96 masks and get yourself to theaters. Two of the three movies are originals, while the third is a sequel to quite an original horror movie from about five years back. All of them are pretty good, actually. We’ll get to them soon...

But first, let’s start with this week’s “The Chosen One” and it’s gotta be Siân Heder’s CODA i.e. “Child of Deaf Adults,” which will play in select theaters and on Apple TV+ starting Friday. If you hadn’t heard, it was the belle of the ball at this year’s Sundance Film Festival, winning the Jury Prize and Audience Award alike. Heder previously directed Tallulah and is the showrunner on Apple’s Little America, but this really is a very special film that I’ve enjoyed on repeat viewings now.

It stars Emilia Jones as Ruby Rossi, the sole hearing person in her family of Gloucester fishermen, who are out every day on the sea making the latest catch in their nets. Ruby has other aspirations, and when she joins the school choir, the teacher, Mr. Villalobos (Eugene Derbez) sees talent in Ruby that he thinks might get her into the Berklee College of Music. Ruby has to weigh that with her family’s need to have her as an interpreter while dealing with the other fishermen of the town.

I didn’t know what to expect when I saw this at Sundance back in January, and it still surprised me when I rewatched it again, because it’s a movie that involves a lot of elements that shouldn’t necessarily work, between the fishing and the singing and all the ASL between the amazing ingenue, Ms. Jones, and the deaf actors playing her family, including the one and only Oscar-winning Marlee Matlin. If not for these disparate elements, Coda might be a fairly standard indie family drama, but Heder finds just the right balance of showing how these disparities in Ruby’s life make it hard for her to pursue her dreams.

Ferdia Walsh-Peelo from Sing Street plays the classmate who Ruby is set up with to perform a duet at their high school recital, and of course, he also becomes an unwitting love interest. Unfortunately that’s the aspect of the film that’s the weakest, because Jones’ scenes with Matlin and the other actors, including Derbez, as well as Troy Kotsur and Daniel Durant, as Ruby’s father and brother, are just so powerful and moving even if they’re all in ASL with no dialogue or even incidental score.

Coda is Heder’s second film after Talllulah, a movie starring Elliot Page that never really connected with me, but Coda is such a strong and exceedingly crowd-pleasing film that I have to imagine that this would connect with everybody. I’m not sure if Apple’s gonna be able to get this movie all the way to Oscar night, but I do like its chances for Adapted (?) Screenplay, and maybe Matlin and Kotsur Supporting? I don’t know, because it’s so early and hard to tell, but hopefully the decision to wait so long after the virtual Sundance won’t hurt this movie as it hurt other Sundance award-winning films. Coda is just a joy that I’m sure will be many people’s favorite movie.

You can read my interview with Ms. Heder over at Below the Line.

Incidentally, in last week’s column, I talked about the 20th New York Asian Film Festival, but I didn’t realize that it was only running at Film at Lincoln Center for a week before going down to the SVA Theater on 23rd Street, and you can check out the schedule of movies playing there at the official site. And of course, there’s still the Virtual Festival that’s running through August 22. Also, Fantasia is still going on in Montreal, and I still haven’t had time to watch very much. What can I say? I suck.

Let’s get to some wide releases, shall we?

First up and probably the most likely to win the weekend is Ryan Reynolds’ new action-comedy, FREE GUY (20th Century Studios), directed by Shawn Levy and co-starring Jodie Comer from Killing Eve. The high-concept comedy has Reynolds playing Guy, a bank teller, who actually is a non-player character in a video game called “Free City” that’s kind of a cross between Grand Theft Auto and Fortnite. When he meets Comer’s character in the game, he falls mady in love and decides to do whatever it takes to get on her level. (Get it?) In doing so, Guy ends up becoming a hero for Free City, as well as a viral sensation across the globe as gamers thrill to Guy’s adventures.

Free Guy is Ryan Reynolds’ first live-action starring role theatrical release since…. Oh…. the action-comedy sequel The Hitman’s Bodyguard’s Wife a little under two months ago. Considering that barely made half of what its predecessor did, and that’s with Reynolds sharing the screen with Samuel L. Jackson and Salma Hayek, one wonders if his draw as an A-lister can be maintained during a pandemic. Before that, you’d have to go all the way back to 2018’s Deadpool 2 for a fully live Reynolds movie, because he wasn’t seen as himself for most of his role in and as Detective Pikachu. Of course, Reynolds’ unmistakable voice was back in DreamWorks Animation’s The Croods: A New Age, the sequel to the 2013 blockbuster that made the ballsy move to be one of the first movies to open during the pandemic. It grossed $58.6 million in theaters, which was slightly more than Christopher Nolan’s Tenet and even more than the Warner Bros. sequel, Wonder Woman 1984.

This is also a big movie for Jodie Comer, who won an Emmy and was nominated for two Golden Globes for Killing Eve, but hasn’t really been in too many movies, other than playing Rey’s Mum in Star Wars: The Rise of Skywalker. Later this year, she’ll star in Ridley Scott’s The Last Duel and may possibly be back in the awards game again, we’ll see. The movie also stars Lil Rel Howery, who seems to be everywhere and in everything these days, as well as Taika Waititi who is super-hot right now due to 2019’s Jojo Rabbit, and his various television projects, as well as having a small role in James Gunn’s The Suicide Squad last week.

In some ways, Free Guy is gonna be a test for a lot of things, the first one being whether Reynolds is a big enough draw when not playing Deadpool to get people into theaters, just as people are starting to get skittish again about going into movie theaters. More importantly, it will show whether not having a movie on streaming or VOD means that people who want to see it will put aside their fears and return to theaters… like they did with F9 and Black Widow and Godzilla vs. Kong. Is an original non-franchise movie like Free Guy enough to get people interested in getting their butts off the couch and into a far more comfortable movie theater seat? (I’m being facetious, if you didn’t guess.)

After The Suicide Squad last week, I’m really not sure whether I can trust my own instincts, but I also don’t want to lower my prediction to something ridiculous out of fear that the pandemic really is destroying any chance of the box office fully recovering. One thing working in Free Guy’s favor, besides its PG-13 rating is that it’s not available on streaming and VOD. Anyone who has been intrigued by the film’s great reviews will HAVE to go out to a movie theater to see it or else, they’ll have to wait 45 days.

Maybe if this opened last month, I could see it open in the $30 million to $40 million range, but with things being the way they are, I’d probably go with high $20 million, so close to $30 million but not quite.

You can read my review over at Below the Line, and I’ll have an interview with the film’s Production Designer, Ethan Tobman, fairly soon.

Also opening Friday is the horror sequel DON’T BREATHE 2 (Sony/Screen Gems), starring Stephen Lang as the blind former Navy Seal who terrorized a bunch of kids who broke into his house in 2016’s Don’t Breathe.

The original movie, which starred Jane Levy, reuniting with director Fede Alvarez after the two remade Evil Dead for producer Sam Raimi, opened in late August, on the fourth weekend of the original Suicide Squad, in fact, and it knocked the movie out of the #1 spot. Its $26 million opening in 3,000 theaters was impressive for the time, partially because late August has never been great. It stayed #1 for a second weekend, over Labor Day, and it ended up grossing $89.2 million in North America, which is great for an R-rated horror film.

Levy isn’t around for the sequel and Alvarez has moved into a co-writer/producer role for his creative partner, Rodo Sagayes, to take over the directing reins, but honestly, I’m not sure how many people will know or care, because Lang’s character and the film’s violence and chills are it’s real selling point. Like many horror movies, there isn’t much in terms of star power other than Lang, but that has never really hindered the success of a horror movie in the past.

As with every movie I cover in this column, there’s the pandemic in the room and whether that might hold people back from going to theaters. I wish there was a way to calculate the effect that’s had on moviegoing, because it seems to affect movies differently. For instance, the recent The Conjuring: The Devil Made Me Do It was able to open with $24.1 million just two months ago, although that was down from the $40 million of the previous two chapters. So that’s about a 40% drop-off in a similar five-year gap between movies. (Actually, it’s kind of strange that 2021 is replicating 2021 with three sequels to movies from five years earlier.) There’s no denying that the number of Covid cases are way up since June and movie theaters are still being painted as the “enemy” even though no significant cases have been traced back to the movies.

We also have to look at Sony’s last horror sequel, Escape Room: Tournament of Champions, which I quite enjoyed, but it ended up opening with about $10 million less than the original movie a few years back. We can probably expect Don’t Breathe 2 to have a similar pandemic drop-off even if it’s another movie that won’t be on streaming or VOD this weekend.

I think Don’t Breathe 2 should be good for around $15 million this weekend since it’s catering towards a young audience that’s a bit more devil-may-care about going out to theaters. It will also probably appeal more to older single guys than something like Free Guy, which seems different enough to pull in a different audience.

My review will be posted over at Below the Line later on Thursday, plus I have a bunch of interviews coming, including this one with Rodo Sayagues and Fede Alvarez.

Next up is RESPECT (MGM), the long-awaited Aretha Franklin biopic (for those that didn’t see Genius, like me, I guess), starring Oscar-winner Jennifer Hudson as the Queen of Soul. The movie directed by Liesl Tommmy was supposed to be released in January to take part in last year’s Oscars race, but I guess MGM wanted to make sure it got a proper theatrical release, which wasn’t possible since NYC and L.A. movie theaters didn’t reopen until March after the cut-off. But MGM had already decided to push the movie back to the summer in hopes of having more theaters able to play the movie, which is kind of true now?

It’s been a while since we’ve seen JHud in a high-profile theatrical release, and unfortunately, the last one was 2019’s Cats, a movie in which she probably was the best thing, although it still only grossed $27 million domestically, a flat-out bomb. Before that, she provided her voice for the animated blockbuster Sing in 2016, and then a bunch of smaller movies before that. She’s joined in the movie by the likes of Oscar winner Forest Whitaker, Marlon Wayans, Titus Burgess, Mary J. Blige, Marc Maron, and Audra MacDonald, quite an impressive array of talent that shows how many wanted to be involved with this project. Director Liesl Tommy is making her feature directorial debut after directing a ton of theater and TV shows like The Walking Dead and Jessica Jones.

Even so, it’s obviously that the ongoing popularity of Aretha Franklin, especially since her death in 2018, is going to go a long way into getting people into theaters, which includes a lot of older black women who really haven’t had much to get them out into theaters in recent months. Will this be enough?

Before Respect was delayed from its original January release, many thought that Hudson would receive another Oscar nomination for her performances. Having not seen the movie at the time of this writing, I can’t confirm or deny those chances. If that’s still the case, then releasing the movie towards the end of the summer (similar to The Help, successfully, and The Butler, not so much) is an odd decision rather than just holding the movie for festival season by holding until next month.

Either way, I think the love Aretha’s fans have for the Queen of Soul as well as Hudson’s fans, Respect should be good for between $8 and 10 million this weekend -- hard to pinpoint exactly without knowing how many theaters MGM is getting for it against the stronger summer movies.

Mini-Review: I wasn’t really sure what to expect from Respect, even after seeing the trailer a couple dozen times in front of other movies, but it’s a respectable biopic that cover 20 years in the life of the Queen of Soul from singing at a young age in her father’s church to returning to church for the gospel records as captured in the recently-released doc, Amazing Grace.

But first, we go back to 1952 where Aretha is a young girl (played by Skye Dakota Turner) is uncertain of her future as she’s being ordered about by her preacher father (Forrest Whitaker) and trying to find direction. The movie casually sets up the fact that young Aretha was sexually abused by a family friend, and maybe she got pregnant, too? It’s hard to tell and maybe a little odd since she would only have been 10 at the time, but it’s something that will be brought up (just as subtly) over the course of the film.

Jennifer Hudson takes over as Aretha as she turns 19 and goes to New York City to start recording, meets Marlon Wayans’ Ted White, makes him her manager and marries her, which basically has her going from one abusive man in her father to another one. It feels like the movie spends a long than normal time on the ‘60s, which is when Franklin’s career really took off with “Respect” and then a series of hits that took her all around the world. That whole time, she’s dealing with Ted’s abuses and jealousy while trying to write and record those hits, before her dark demons return and she starts drinking heavily.

As you might imagine, you go to see Respect to see how well Jennifer Hudson pulls off the Queen of Soul, and she’s an incredibly complex character that needs a nuanced performance, which Hudson tries to pull off by bringing different aspects of her life into different scenes.

There are some scenes that don’t work as well as others, and it feels like there’s a bit of time-crunching or futzing around so that at a certain point, her father seems to be de-aging, although I was just as impressed (possibly even moreso) with Forrest Whitaker, whose performance as Aretha’s father is more than just a full-on villain despite his violent treatment of his daughter. Wayans is also good and almost unrecognizable at first, and there are a few other nice performances in there as well, including Marc Maron as record label head Jerry Wexler.

But the performances Hudson gives as Franklin are goosebump-inducing, leading up to the recording of her record-selling gospel record as depicted in the aforementioned doc.

A fairly decent representation of Franklin’s little-known life leading up to her fame, Respect probably succeeds the most when Jennifer Hudson is performing as the Queen of Soul, but she’s also created a fairly moving portrait with strong dramatic moments that far outweigh any of the film’s issues. Rating: 8/10

With that in mind, this is how I see the weekend looking with two of the new movies bumping Suicide Squad down to third place where it will be facing off against Respect.

1. Free Guy (20th Century/Disney) - $28.5 million N/A

2. Don’t Breathe 2 (Sony/Screen Gems) - $15 million N/A

3. The Suicide Squad (Warner Bros.) - $10 million -62%

4. Respect (MGM) - $9.6 million N/A

5. Jungle Cruise (Walt Disney Pictures) - $8.7 million -55%

6. Old (Universal) - $2.5 million -36%

7. Black Widow (Marvel/Disney) - $2.4 million -39%

8. Stillwater (Focus) - $2 million -39%

9. Space Jam: A New Legacy (Warner Bros.) - $1.3 million -43%

10. The Green Knight (A24) - $1.1 million -56%

Donnie Yen stars in Bennie Chang’s RAGING FIRE (WELL GO USA), which premiered at the New York Asian Film Festival on Monday and at Fantasia in Montreal on Tuesday, and I’m not going to review this, because honestly, it’s such a cookie-cutter Hong Kong police action-thriller that I’m not sure I really have much to say about it, so I won’t.

On the other hand, I do have more to say about Andreas Koefoed’s documentary, THE LOST LEONARDO (Sony Pictures Classics), the Leonardo being Da Vinci, the master artist behind the Mona Lisa and many other works. Since I don’t really follow the world of art, I really didn’t know about the Salvator Mundi painting found about 10-12 years ago that was thought to be an original Da Vinci worth in the hundreds of millions, often dubbed “The Male Mona Lisa.” But it’s also a painting that was surrounded by controversy due to the 5-year restoring job that may have left very little of the original painting.

As the film began, I was groaning a little about sitting through another movie of art experts and historians talking about how important a find this is and why it’s either great or horrible, depending on who is being interviewed. Eventually, the film gets more interesting as it starts getting into the idea of selling it. After being sold to a wealthy Russian oligarch by an unscrupulous Swiss art dealer who made a nice profit on it, the painting ends up being auctioned by Christie’s, and the story just keeps getting more and more interesting as it goes along.

While I’m not one to go ga-ga over any painting by Da Vinci or otherwise, I do like a good mystery or suspense-thriller, so good on Koefoed for realizing about halfway through this movie that the talking heads will never be as interesting as actual footage. And that’s what happens here, too. I actually feel a little ignorant that I wasn’t aware this was going on as it was, maybe because I don’t really follow the art world in that respect. Maybe I just missed it, so it’s good that Sony Classics (who loves making movies about art) is giving this a fairly high-profile release following its premiere at the Tribeca Film Festival a few months back. In that sense, The Lost Leonardo is quite a gem.

Heinz Brinkman’s USEDOM: A CLEAR VIEW OF THE SEA (Big World Pictures) is a somewhat intriguing doc about the Baltic island of Usedom, the location of a number of imperial German health resorts, beaches and such, and how the Jews were kicked out by the Nazis before Usedom was split into a German and Polish half after WWII. I wish I could get into this more, but I just have a limited mental capacity for a lot of German talking heads.

Which brings us to Michael Tucker and Petra Epperlein’s THE MEANING OF HITLER (IFC Films), the new doc from the team behind Gunner Palace, which looks at the cultural fascination with Hitler and Nazism and the recent rise in white supremacy, antisemitism and the “weaponization of history itself.” I don’t know what that last part means, because I got so swamped this week that I didn’t get to watch this, and like another recent doc on the subject of Naziism and the Holocaust, I just couldn’t get into the right head space to hit play on this doc. Maybe I’ll watch it sometime down the road.

Similarly, I didn’t get around to watching Dutch filmmaker Jim Taihuttu’s THE EAST (Magnet Releasing), which I may like as a fan of Paul Verhoeven’s Dutch WWII films, and I probably should give this a look, but I just ran out of time this week. It’s about a young Dutch soldier who joins an elite unit led by a mysterious captain called “The Turk,” and it takes place in the Indonesian War of Independence after World War II.

As far as TV goes, Wednesday sees the debut of Marvel Studios’ WHAT IF...? on Disney+. I’ve seen the first three episodes, and I was a pretty big fan of the comics in the ‘70s (sadly, part of the giant collection that I sold a few years back), and I guess this is okay. The first episode is the one with Haley Atwell voicing “Captain Carter” i.e. Peggy Carter gets the Super Soldier Serum, which is one of the more obvious What Ifs that could possibly done, so that we can get another “women are as good as men, and they need to be heard” storyline that’s in 90% of the Marvel movies already. On the other hand, the first episode does include the voices of Sebastian Stan and others, so it’s quite a coup in that sense, but whoever wrote it, clearly doesn’t understand that people spoke differently in the ‘40s. I liked the 2nd episode, a mash-up of Black Panther and Guardians of the Galaxy, which is a fun idea that brings together a lot of great characters -- including Chadwick Boseman’s last voice performance -- but again, hearing the voices just isn’t the same when the writing isn’t as good as the movie. I feel like the animation for the show is okay, maybe not quite on par with some of the great Batman or Superman cartoons we’ve gotten over the years. On the other hand, the entire series features the great voice of Jeffrey Wright as The Watcher, acting kind of like the Rod Serling for the series, much like the Watcher does in the comics. I also dug the music by Emmy winner Laura Karpman (Lovecraft Country), and I’ll watch the rest of the series as it debuts, but I’m not sure it’s as much a rush to see each episode to avoid spoilers as with Loki or WandaVision.

Hitting Netflix this week is the limited series, BRAND NEW CHERRY FLAVOR (Netflix), starring Rosa Salazar, Eric Lange, and Catherine Keener. The tagline is: “Lisa Nova (Rosa Salazar) comes to LA dead set on directing her first movie. But when she trusts the wrong person and gets stabbed in the back, everything goes sideways and a dream project turns into a nightmare. This particular nightmare has zombies, hit men, supernatural kittens, and a mysterious tattoo artist who likes to put curses on people. And Lisa’s going to have to figure out some secrets from her own past in order to get out alive.”

Also, TITANS Season 3 debuts on HBO Max, but since I haven’t watched seasons 1 or 2 yet, it might be some time before I get to it.

Next week looks like it could be a bit of a dog with four or five new wide releases but nothing that really jumps out, plus I’ll be in Atlantic City all next weekend, so who knows how much I’ll be able to watch or write about?

#The Weekend WArrior #Movies #Reviews #Coda #Free Guy #Respect #Don't Breathe 2 #the Lost Leonardo #Box Office

0 notes

strangcrdoctor · 6 years

Text

∞Guardians commentary time, because I was honestly too wiped out to get to it last night but I’m still very up for it now.

1. So here’s my question about the opening sequence on Morag. If Ronan had hired the people that faced off with Quill in the opening sequence on Morag, was it just the case that Ronan’s men arrived 2.5 minutes too late, like Peter arrived just early enough to beat out Yondu? Because initially my impression was that they were indigenous and guarding it, but I know now that not to be the case because Korath is very much a devotee of Ronan, etc. But even if it is the case that Peter beat Ronan’s people, holy timing Batman. Seriously kudos to Quill for being even if incidentally two steps ahead of even Ronan’s game. 2. Okay one, Nova Prime Irani Rael is a hot piece and two she definitely deserves to be the girlfriend of General Leia Organa you can disagree with me but that makes you a suspect human being. Anyway, Rael making the diplomatic call to the Kree to denounce Ronan was not out of bounds for normal statecraft. Especially with a new and tenuous alliance, she’s not only right in calling bullshit that the Kree empire has said nothing to denounce Ronan, but she’s also right in advising they make a statement to stabilize their early peace because early peace is amazingly fragile. But like way to not maintain an alliance at all Kree Empire. You suck. 3. The actual diversity of felons on the Kyln is pretty neat, I’m not going to lie. Not just interspecies representation but also body type representation. There’s big very obviously non-straight criminals. There’s cool as shit looking alien species. There’s chubby feminine looking criminals! Tell me who they are Marvel! Tell me. 4. Now that Thanos’ real character has been revealed in the course of IW it is no damn wonder why Thanos thought of Ronan as a petulant child. Granted, Thanos’ logic is worse in that it is slightly better, but by comparison Thanos is an overly dire pragmatist were Ronan is very much just a racist bigot with a power complex. Thanos predictably find’s Ronan’s racial shortsightedness pithy, and I really have zero doubt that if Ronan had actually gone to piss on Thanos’ front lawn he would not have lasted long. 5. On the other hand, really Thanos. #1 piece of advice in the universe is don’t torture and dismantle women and then trust them to be complicit. You will die. 6. If anyone doesn’t feel pelvic sorcery during a close listening to Fooled Around & Fell In Love they are definitely soulless. 7. I also really really want to know what the hell they were drinking on Knowhere that got Rocket and Drax drunk (I mean who knows they might both be lightweights but I doubt it.), because Stephen wants some. 8. I’ll come right out and say it it’s a fucking shame that Tivan’s collection gets blown to hell. Not because Tivan isn’t twisted as hell keeping live specimens and slaves to himself, but more on the “holy crap what cool stuff just got destroyed that the universe will never see again” kind of way. It’s like the burning of the Library of Alexandria, only somehow worse. 9. The nods given to Thor: The Dark World and The Avengers are of course interesting given there’s a Dark Elf and a Chitauri, but I’m super curious about what made those particular specimens of each special enough for Tivan to keep them. Tivan deals with the depths and breadths of the universe coming in and out of Knowhere, and he doesn’t just snag one item from every species or race he comes across. So was there something interesting in particular about that Dark Elf and that Chitauri? Was the Chitauri one of the only remaining survivors after the nuclear explosion? Was the Dark Elf one of Malekith’s higher ups? I’m just curious about them, and curious about Tivan’s reasoning for keeping them. 10. Okay but adding to this whole Tivan’s collection tangent, Cosmo the Space dog cracks me up and not just because it’s funny for Tivan to have a doggie cosmonaut in his collection. Cosmo is a legit character in the Guardians comics, and he’s head of security on Knowhere and telepathic. So even if Tivan is keeping him in his collection or is just trying to keep him out of the way for something, just imagine what it’s like having an angry Russian dog thinking at you all the time because you’re getting in the way of him doing his job. 11. Slightly different bend on the Tivan train, but Carina legitimately just heard Tivan talk about how the stone was capable of destroying even a whole group of people who tried to wield it, and she was still willing to take the risk of being incinerated rather than living with her current conditions. Carina wasn’t resolutely making the hero play - she was making a suicide play knowing full well it would end that way if the hero play didn’t work. 12. When Yondu states that Peter doesn’t give a rip about Terra like. Dude. How many fucking references in this movie has he made to Terran culture? Music and movies and art and holy shit would you look at that, he sure as hell talks like a more culturally integrated human than anything else you twat waffle. Great way to piss him off though and get him to play it your way, which granted is what I think Yondu was probably doing the whole time but still. You don’t look at this boy who idolizes Footloose and knows who Jackson Pollock is and tell him he doesn’t care about Earth. Caring about Footloose and Jackson Pollock at all is a labor of love. 13. Speaking of Yondu, how the fuck is that the jewel frog bauble considered by anyone to be worth of the “high end” community? On top of it just hurting me, it does really raise the question of how is trite crap like that so valuable? Does it have some vector of worth and rarity because its origins are weird, obscure, or finite? Are the gems magical artifacts of some kind? Are the wealthy in space that mother-fucking self-ironic? Because if they are I want to know them. 14. Peter Quill, everyone, who makes a dick message to garner trust 15. Not for the first for for the last time will I say this, but Ravager tech is impressive. And I am amazingly intrigued at how Ravagers got such good technology and resources on their hands. True, they steal things and make money off of trades and pilfering. But that isn’t the only way to acquire goods and it’s not the only thing a viable pirating economic model can survive off of. Half the reason the Ravagers succeed is because they run like a business, have clientele, and are clientele for certain sects, right? So what kind of powerful connections do they have that allow them their advanced fleets? That’s the kind of shit I want to know about. 16. Also what the hell are Ronan’s pilots with the weird glowy psychic spheres on the Dark Aster? Is the Dark Aster itself Kree technology, or something Ronan got from Thanos who appropriated it from some other world he’s conquered? Because we know so little about the Kree in the MCU it’s hard to say, but I suppose we’ll have to wait and see if the Kree ever do become a part of canon so we can have more data with which to make a comparison. 17. Guardians does a pretty good job of taking at least some time to portray how terrible aerial dogfighting is on a mass scale because honestly it’s a bloody nightmare. It’s pictured so often and so carelessly in film that it’s not something we often think about, and the only movie I’ve ever seen that addresses how it feels in human terms is Dunkirk, but the intensity and messiness of it in Guardians is still pretty realistic and I give it props for that. 18. It occurs to me that maybe the younger, post-GOTG Groot is so bitter and antisocial for a while because of how giving the elder Groot was, and the seedling felt the sacrifice and his existence was under-appreciated? It was just a thought that crossed my mind. 19. Also Ronan you twat. “Engage Immolation Initiative” is just Big Mean & Fancy for “light ‘em up fuckers,” don’t pretend you’re any cooler than anyone else. 20. I really really appreciate the design that went into the Xandarian cityscape as a fully intergalactic multicultural society that shows it even in the way the city and buildings are assembled. The city isn’t uniform like a lot of science-fiction cities are - it’s got texture. Different sectors have different styles of buildings and different architecture. Like a real metropolitan area, it’s a patchwork of influences and it’s very well done. 21. Kudos to Rocket for identifying that ground-to-air is a super viable defense strategy. One thing that people tend to forget about ground-to-air is that aside from clouds, there’s no obstacles behind which to hide in the sky, so while ground defense might seem clumsy at times, air offense is hugely precarious because there is absolutely no defense mechanism against any attack except maneuvering, and when a defense is fully able to target that weakness it’s pretty damn effective. 22. It’s interesting to me how well superhero movies integrate climaxes within battle sequences? Some people might call it lazy but I call it interesting when when defense lines break, plans fail, and when teams encounter interference to push the plot forward. Plot movement in Marvel movies curry a lot of momentum from these events, but actually they’re pretty interesting replications of how modern society has been built on the results of such events within our own history. History has been moved by these exact same sorts of events, which is why they make sense to us in storytelling. 23. Peter protecting Groot from Rocket’s crash into the into the Dark Aster? Golden. And then Peter immediately going to Rocket from the wreckage? Stellar. Peter Quill you are a gem. 24. I will never forgive Marvel for hurting me as bad with “We are Groot” as Warner Brothers did with “Suuuuuperman” in Iron Giant. Stop giving Vin Diesel more opportunities to rip my heart out of my chest, please. 25. My mom and my uncle, her brother, both adored the entire GOTG soundtrack so much and it brought them so much joy watching it together that it got me into Motown. Even though it was oblique and dorky, Marvel did something amazing with this movie and gave my parents a piece of their own youth back, while giving me a chance to share in their knowledge and experience. It’s stuck with me ever since, especially because fundamentally that experience is the reason I got into Motown music, which I now adore with all my heart.

Alright, done with that. These are... just getting longer and longer I’m sorry guys no one should have ever allowed me to do this. Oh well. Too late to stop me now. Captain America: The Winter Solider is up next, and oh the pain.∞

#''the doctor is out #''marvel meta field notes #''MMFN

3 notes · View notes

halloweendailynews · 6 years

Text

The Year of The Shape continues, as a group of indie filmmakers who share a love for Halloween have teamed up to faithfully recreate four iconic scenes from John Carpenter’s 1978 classic, along with fifth scene of their own, to be released online for free this month as part of the ongoing 40th anniversary celebration.

Halloween Daily News caught up with the fan film’s co-directors Michael T. Lombardi (who also portrays The Shape) and Nils Toledo Jr. to get the scoop on this project, which used look-like actors and tried to match costumes, settings. lighting, and camera angles as close as possible to how Carpenter did it. We asked them about what the original Halloween means to them, what inspired them to take on this experiment, and the challenges it presented. Read on for their answers, as well as a teaser trailer and some pretty impressive promo photos.

Why did you decide to undertake this shot-for-shot recreation?

Lombardi: I’m always looking for new challenges as a film maker and actor. When I saw all the excitement surrounding the 40th anniversary of Halloween and the upcoming release of David Gordon Green’s 2018 sequel, I knew I wanted to somehow be a part of that. Since I and my production team are big fans of the original film and have been influenced by the film making style of John Carpenter, we decided to attempt to faithfully recreate several iconic scenes from the original film.

To say that this is not an easy task is an understatement, but we were intrigued by the idea and definitely always love a challenge! We are acutely aware that Halloween fans are intensely passionate and notoriously hard to please, but we are Halloween fans too, and we saw this as an opportunity to have a lot of fun honoring a movie we love so much. And let me tell you, we had a lot of fun.

In my career, I’ve produced only original films and television projects, which is how it should be for any artist. I’ve watched countless Halloween fan films over the years, all of which took their cues directly from the original source material. In 2012, I produced a four-episode limited event series called Haddonfield Hills, which was my own interpretation of the Halloween story. We had a lot of fun with that, and it had a modest online following. But this shot-for-shot project is very different.

Toledo: We’re all fans of the original movie, and it’s the one movie that we all wanted to recreate. It was groundbreaking for its time and continues to be.

What does the original Halloween mean to you?

Lombardi: As a kid, I was easily scared and did not fully see the appeal of horror films, but I eventually came to appreciate the genre in all its forms. Halloween was the first horror film I ever watched, and it left its mark on me. The film was produced with such a high level of artistry and craftsmanship, and did so much, with so little. I’m not a fan of horror films that emphasize gore over scares, so the fact that Halloween has virtually no blood in it was very appealing to me. It proved that less is more.

The mask was simple but terrifying. The attention to detail with lighting and camera movements was revolutionary. I also really liked that the film had a strong, intelligent female protagonist at its core, which most horror films still lack even to this day. But it was Carpenter’s iconic music score that really affected me. It was haunting – and still is – no matter how many times I hear it. For me, Halloween is as perfect as a horror film gets.

Toledo: It’s the first movie I remember from childhood. My parents allowed me to see the movie very young (they were big horror fans) and it became the family go-to movie not only every Halloween, but we would watch it throughout the year. We were all enthralled in the fandom, the characters, the story, and mythology behind it.

What were the challenges you faced doing the shot-for-shot recreation?

Lombardi: The first challenge was casting. Not only did we need to find actors who were strong performers, but they also had to resemble the original actors as closely as possible. That being said, I think we got very lucky in both departments.

The next challenge was the locations. Early on in the scouting process, we gave up on being able to find homes here in Connecticut that matched the look of the houses that Carpenter used in Pasadena, California. That just wasn’t going to happen. Interior wise, we had the same challenges, especially since this is a late ’70s period piece. Unless we built replica sets on a sound stage (and we didn’t have the budget for that), we were never going to match that look perfectly. What we did do was find locations that we felt allowed us to capture the same basic aesthetic as the original, and we then focused on duplicating the camera angles and lighting.

When people watch this, they may see that not every angle is exactly the same, or the lighting may be slightly different. We did have a few logistical challenges on-location, which were expected, and we did have to make compromises along the way. But I am very proud of what we were able to accomplish, and proud of our entire production team and cast. We can only hope that every Halloween fan out there who watches our little tribute will appreciate the incredible effort that went into this endeavor, and have as much fun viewing it as we did making it. This is an incredible year for Halloween!

Toledo: Originally, we wanted to exactly mimic this movie that we love so much. But since we had virtually no budget, you’re asking everybody to work for credit. The hurdle is to find actors and crew who are willing to work for free. The other thing is that we are attempting to recreate a movie which was shot on film, and employed a full production and lighting crew. We are shooting digital, utilizing modern-day lights, with a skeleton crew of five. We also had a challenge with shooting schedule, which was only four days.

The biggest narrative challenge we had was with the Annie Brackett scene. We wanted to shoot the laundry room scene, but we don’t have laundry rooms in a separate backyard location in Connecticut – that’s a California thing. So we had to get creative. Michael T. Lombardi was able to take that laundry scene, and two others featuring Annie (including her death scene in the car) and combine them into one big scene with some new, original dialogue, which allowed us to put our own unique spin on it. That was fun.

The official press release:

Michael T. Originals SHOT-FOR-SHOT in association with TNT Media presents John Carpenter’s “Halloween” will have its online premiere Friday, July 20, 2018. The independently shot “Halloween” tribute project is produced and directed by Michael T. Lombardi and Nils Toledo, Jr.

The short film project recreates four iconic scenes from John Carpenter’s 1978 horror film, with great care being taken to be as faithful to the original as possible. The production also recreated a fifth scene but put their own original spin on it. Local look-alike actors were cast, costumes were duplicated, and locations were chosen that allowed the filmmakers to capture the overall aesthetic of Carpenter’s classic. It should be noted that the production had virtually no budget, and was a true labor of love for all involved.

Lombardi and Toledo, themselves big fans of the original film, wanted to do something special to celebrate the 40th anniversary, and also to challenge themselves as filmmakers, with each scene being painstakingly shot to replicate the exact angles, lighting, and performances.

“As huge horror fans, the original ‘Halloween’ is our favorite film in the genre. It’s the perfect combination of great storytelling, solid production values, and an unforgettable performance by Jamie Lee Curtis. Our challenge has been to bring these five scenes back to life as accurately as possible and give the fans something to be excited about”, Lombardi said.

Prior to the premiere of the short film on July 20, “Halloween” fans can get a first look at the production with a Behind-the-Scenes “First Look” Special on Wednesday, July 11, 2018, which will include footage from the production and interviews with the cast and crew.

The cast includes Natalie Osborne as Laurie Strode, Emily Santarsiero as Annie Brackett, Patrick D’Andrea as Sam Loomis, Paul Noonan as Sheriff Leigh Brackett, Devin Murphy as Lindsey Wallace, Eli Wald as Tommy Doyle, and Michael T. Lombardi as The Shape, directed by Michael T. Lombardi (who is also Executive Producer) and Nils Toledo Jr. (who is also Director of Photography), and edited by Terese N. Toledo.

The short film can be viewed on the Michael T Originals YouTube Channel, Facebook, and other outlets.

#shotforshothalloween #halloweenfanfilm2018

For more Halloween news, follow @HalloweenDaily.

Fans Recreated Iconic 'Halloween' Scenes Shot-for-Shot The Year of The Shape continues, as a group of indie filmmakers who share a love for…

#Michael Myers #Shot for Shot Halloween

1 note · View note

nixonsmoviereviews · 7 years

Text

"Valerian and the City of a Thousand Planets"- A visual powerhouse filled with great entertainment value, though the story and characters are a bit wonky...

Inspired by the long-running French comic-book "Valérian and Laureline", director Luc Besson's "Valerian and the City of a Thousand Planets" is a peculiar film that was released to only minor fanfare in the summer of 2017, and became a minor box-office bomb thanks to its lower demand and massive budget. Met with a general apathy from audiences and critics alike, it failed to make any significant splash, though it was frequently praised for its high-end production values and awe-inspiring visual direction and design. It was sadly just the wrong film at the wrong time. Which is a shame, as now that I've finally given it a fair chance and watched it after having decided to skip it in theaters... I actually had a lot of fun with it. In a lot of ways, it shares some common traits with Besson's earlier and very well-received "The Fifth Element" in terms of both its broad themes and specific visual sensibilities. And much like that film, I could definitely see "Valerian" growing and maintaining a bigger and bigger cult following as time goes by. It's not a great film, mind you... just a very fun, engaging one that practically oozes with manic, creative energy. Several hundred years in the future, the massive starship "Alpha" drifts the cosmos, acting as a home away from home for thousands of different races and species from all over the galaxy. However, something is amiss... mysterious humanoid aliens begin to attack, seeking out a mysterious pearl-like energy source and an equally mysterious small creature whom has the ability to secrete exact replications of anything it eats. And it just so happens that both of these objects have been recovered by two hot-shot agents- the happy-go-lucky Valerian (Dane Dehaan), and his wildly intelligent and long suffering partner Laureline. (Cara Delevingne) However, Valerian quickly realizes something is a amiss, and that a conspiracy might be at play... as he has been having recurring dreams about the very same aliens that are now attacking... dreams that suggest they might be victims and not perpetrators... The film's strengths are in no small part thanks to writer/director Besson's wonderful and unique flair. The film is an absolute powerhouse in terms of pure entertainment, and its filled to burst with some of the most mind-bending action set-pieces and visual flourishes I've seen in years. From a stand-out scene early in the film set in a multi-dimensional marketplace, through a wild chase sequence through the bowels of the Alpha, to a brilliantly hilarious and hilariously brilliant scene involving Laureline being kidnapped by a race of peculiar and simple-minded hulking creatures looking for a tasty meal... it's just a ton of fun to watch. You'll certainly never be bored, and I liked how the film is almost divided up into episodic "mini-adventures" rather than following a more traditional narrative flow. Everything about the film's keen world-building works wonders, and its always a joy to behold from scene to scene. Besson is clearly trying his hardest to deliver something unlike anything we've seen before and I think he nails it. And this is no small feat in today's world. Every film has exceptional action and effects anymore. But Besson's visual sensibilities and quirky sense of humor help set "Valerian" apart in the best of ways. I also quite enjoyed the supporting cast, including a small but memorable turn from singer Rihanna, Ethan Hawke as a deliciously slimy pimp, John Goodman in a quirky voice-over role and Clive Owen as a military authority with a chip on his shoulder. They all do very well in their parts and they help contribute towards fleshing out the "world" of Alpha and its many citizens quite well. Where the film does falter, though- and this is a major issue- is our two leads in Valerian and Laureline and the central storyline the film follows. For all the rampant creative fun Besson has with the aliens and the action and the world around them, he really phones it in with what might be the most important pieces of the puzzle. Dehaan and Delevingne feel flat and miscast, seeming far too young and far too casual to be the super-agents they're portrayed as. It's hard to take them seriously when they both look to be about 19 at most and are going toe-to-toe with significantly larger, gruffer thugs and military superiors. If this was an origin story about how they became agents and partners, sure... but the film makes it seem like they've been doing this for years. What, did they get recruited when they were 8 years- old or something? And yeah, the central story, though not always the main focus, is about as basic as you can get. You'll be able to figure out who the good-guys and bad-guys are almost instantly and see most of the twists and turns coming from a mile away. So your enjoyment of the film is going to be about reconciling two key factors- a weak plot and weak leads against an incredibly entertaining and engaging sense of creativity. If you can't forgive the wonky casting and predictable central narrative, you're not gonna have a lot of fun with "Valerian." In fact, you might even hate it. But if like me, you can appreciate what the film does well and see its value despite the faults, you'll find plenty to love here. It's fast. It's wild. And it's mind-blowingly fun. And I give it a pretty good 7 out of 10. Check it out if you're interested but unsure... you just might like it!

#valerian #valerian and the city of a thousand planets #movies #review #imdb

4 notes · View notes

argentconflagration · 7 years

Text

wondergirrl said:

what is this about. anti what?? am confused please aid me VonBond

This is pretty long and I apologize, but I feel like I need to go all the way back and talk about TERFs, for reasons that will hopefully soon be clear.

As I'm sure you know, TERF stands for 'Trans Exclusionary Radical Feminist'. There are still TERF communities within feminism, but generally speaking, TERFs are far less numerous and their ideology has far less sway than it used to have. Part of the reason for this was people going out of their way to proactively explain why TERF arguments are wrong before their fellow feminists encountered TERFs, which made it a lot harder for TERFs to spread their ideology.

Which is great! But I think that for the most part, feminists have argued against the transmisogynistic aspects of radical feminism, and to a lesser extent the sex-worker-exclusionary aspects of radical feminism (SWERFs), but kind of failed to see the coherent whole that TERF-flavored feminism belongs to, what sort of thinking causes it, and why it's wrong. "Being anti-TERF" nowadays has largely been reduced to stuff like putting "no TERFs!" in blog descriptions and popular posts, and it rarely takes the form of scrutinizing TERF logic to understand how they went wrong and how we can avoid making similar mistakes against other people. Which is why I'm writing this now.

(I've tried very hard to articulate what I think are two distinct flaws in thinking that seem to me to give rise to just about every TERF position, but I do feel like I'm not quite right on the money, so if anyone has better ways to say these two things, I'm all ears.) In general, TERF positions are the result of 1) rigid, black-and-white, binary thinking and 2) ignoring people's consent, especially their 'yes'es. Take transmisogyny: they believe that trans women are men and therefore oppressors. Now, this belief is readily debunked by observing the world, but TERFs have divided the world strongly into oppressors and oppressed, and have a lot of rhetorical tools to dismiss and ignore anything said by "oppressors" or that seems to favor "oppressors". And because trans women are "oppressors", they justify violence and harassment that ordinarily common sense would never condone.

A lot of other central TERF positions have to do with ignoring people's 'yes'es. Sex workers say, "No, this line of work isn't without its problems, but I want to be empowered to address those problems, not kicked out of my livelihood." AFAB trans people say, "I'm not a woman, I'm another gender, and I want to transition." Subs (in BDSM) say, "I enjoy being submissive." Heterosexual and bisexual women say, "I want to date and/or sleep with men." And TERFs' response to all these people is, "That's just your internalized misogyny talking." (And when these people fail to stop wanting the thing they want, TERFs decide that they've taken the side of misogyny and are now valid targets for harassment.) TERFs don't pay attention to people's stated wishes and what they actually are or aren't consenting to. Instead, they decide what women must want, or what wishes would best further the cause of feminism, according to their views of feminism and patriarchy.

Which brings me, finally, to antis. Antis come from two main sources, and one is the anti-kink/anti-BDSM/anti-porn aspect of TERF-style feminism. The other is, as ridiculous as it sounds, ship wars. Ship wars have existed since the beginning of fiction, of course, and what's going on right now is that some people in fandom harass others using the intellectual framework laid out by anti-kink/anti-BDSM/anti-porn radfems. The targets are usually people who ship things (or create/consume other content) that's dark or unrealistic. (E.g. if you ship an abuser with his victim, that content is either going to be dark, if they have an unhealthy relationship, or unrealistic, if they have a healthy relationship. This also often includes non-ship-related dark content like characters getting killed.) The harassers believe themselves to be morally superior to their targets, based on the justification that "no one could really enjoy this content unless they were either enacting oppression or internalizing oppression".

This is particularly obvious when they talk about survivors of abuse and trauma. As you might know from debunkings of the "violent video games" moral panic, dark themes in media tend to be a way for people to emotionally process horrible things that happen in real life. There are lots of ways this plays out, according to the specific needs of the individual, but to speak from my own experience, taking things that were inflicted on me nonconsensually and fictionalizing them -- bringing them into a context where I have complete control -- is really important to healing and growing past that experience. Now, everyone, no matter their specific experiences, has fears that they might choose to process through fiction, but survivors of abuse and trauma are necessarily people who have experienced some of the worse things the world has to offer. Antis' response to this is the same as TERFs' response to people who want or need things that are politically inconvenient for them: "That's just internalized oppression." "That's an unhealthy coping mechanism." "You're taking the side of oppression, so it's okay to harass you."

Antis tend to have other beliefs that are inherited from radical feminism. For example, like TERFs, they tend to conceptualize heterosexism as "homophobia, which also hurts bisexual people because they're attracted to the same gender" rather than "heterosexism hurts people of non-heterosexual orientations in a variety of different ways". As such, they tend towards aphobia, biphobia, and nbphobia. Many of them are aphobes/exclusionists, and they tend to support a short list of acceptable non-straight identities (e.g. "LGBT") rather than accepting categories that are loose or flexible like "queer", "LGBT+", "QUILTBAG", etc. I've also found that, even when acknowledging NBs, they tend toward rhetoric that puts people into two categories based on their gender, like "men vs women/NBs" or "women/transfeminine people vs men/transmasculine people". Again, they have very binary thinking, and disregard people's stated wishes not to be put on one side of a gender binary.

They also have a particular way of talking that leans toward bullying and ideological abuse. They tend to interact with anti-antis even when they're not in a place to do so in a non-harmful way, and tell people who disagree with them to go kill themselves ("drink bleach", "jump in a fire", etc.). They tend to overuse words like "gross", "nasty", "scum", "garbage", etc. that provoke a disgust response, and generally exaggerate wildly ("literally advocating for child abuse", that kind of thing). There's a distinct lack of emphasis on anything that could potentially break the grip of black-and-white thinking, such as recognizing gradations of harm, or weighing the harm of something against the benefit it has.

I don’t want to go overboard and replicate the exact same patterns by implying that “calling something you don’t like ‘garbage’ is supporting ideological abuse” or anything like that. At the same time, I'm pretty sensitive to all this stuff, and pick up on it easily, even when I would rather ignore it. I can't stand to see people harassed for something as trivial as their taste in fanfic, and I also tend to be particularly vulnerable to ideologically abusive rhetoric because of some of the stuff I've gone through. An easy way to avoid interacting with people who harass others for their dark fic (or who support that framework of moral inferiority) would be to hang out with people who create and consume dark fic. But I actually find most of that content stomach-turning, so I wouldn't want to hang out around people who are posting it and talking about it all the time.

tl;dr: To avoid “TERFs minus (most of the) transphobia”, I might try hanging out with people who like fucked up fic, but I don’t want to do that because it would be unpleasant.

#bolding is to hopefully make it a little more readable #sorry for wall of text but i think this is important #i'm open to feedback on this #sj

6 notes · View notes