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kyotakumrau · 4 years ago

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The World Unknown to Matsuko aired April 6th.

Music that ended up evolving A LOT in the age of social media Special: "The World of Visual-kei bands"

(I'll be just doing the main points of the program)

They start with introducing Fujitani Chiaki (藤谷千明) who's been following v-kei world as a fan and a column writer for 25 years now ('a former Self Defense Force member who came to love over 100 bands in 25 years').

The slogan on the screen that accompanies this is 'The great pick up of ultimate bands starting from legends to evolving styles (kei)'.

Chiaki's life changed after she saw LUNA SEA's "ROSIER" in junior high. When she was 18 Kuroyume announced they're stopping activities and shocked she decided to enter Jieitai (but it was also because there were very few employment chances in her hometown).

A message Chiaki wants to convey the most in the program: "I'm fed up with realistic times, let's experience the extraordinary more".

Matsuko commented that she also thought that the entertainment in Japan is very plain/reserved, that's why she thought about visual kei, she brought up Sawada Kenji (ジュリー). They talked about using make up talking about Kpop as well, that v-kei is so different.

Next came teaser "tremendously popular in the 90s" - "the word 'Visual Kei' became established overseas" (as background here they showed dir's footage and some foreign fans wearing vkei style).

Chiaki: nowadays Japanese people have an image of Visual-kei as 'old', 'scary', 'behind the times' and they both talk about tylhe extraordinary being important.

Next part "after 22 years the time has come when Visual-kei is necessary!" They talk about the chronology board prepared by Chiaki, she also explained that the genre was born in 89 with X and the term visual came from X's PSYCHEDELIC VIOLENCE CRIME OF VISUAL SHOCK.

1994 faced restructuring and unemployment crisis, they showed LUNA SEA's TRUE BLUE and commented how popular it got. 'how did Visual-kei fare in such difficult times?'

Matsuko brought up SHAZNA - everyone was shocked then how cute the vocalist was.

Then they talked about 1999 and Nostradamus and end of century, Chiaki sees 1999 as a peak of visual-kei. They talked about GLAY's legendary show at Makuhari with 200,000 people (they also show their best album sales, about 4,870,000 (the top 3rd in Japan)) and how much media attention it got.

Another legendary show that was held that year was LUNA SEA's 10th anniversary with a stage that costed hundred millions of yen. That stage got destroyed just 3 days before the concert due to a typhoon but band decided to go on with plan and held the concert as planned.

(haha I can totally see Chiaki's sparkling when she talks about LUNA SEA😆)

"Totally necessary for these times! Introduction of the legendary bands immersed in the extraordinary":

🌙MALICE MIZER: 'immersed in extraordinary with super extravagant costumes! ultimate visuals with extreme beauty'

Matsuko commented that performance (from merveilles~終焉と帰趨~l'espace) looks like Takarazuka. Chiaki said that for the sake of worldview they don't play instruments on stage and that Sho Kiryuuin from Golden Bomber was very influenced by them.

Matsuko said that fans of course want to see the artist perform, but also are happy to see them dance, that visual-kei is infinite.

Matsuko also compared Mana to Marie Antoinette.

🌹Chiaki then introduced Versailles as a band that still pursues such worldview. They are dressed as French aristocrats, are very popular abroad especially in France.

💀DIR EN GREY: 'extraordinary performance going to the very end'

Matsuko knows dir, Chiaki explained for the audience about their major debut with 3 singles produced by YOSHIKI, that they are popular overseas as well as in Japan. They express 'human pain' and 'the darkness of the heart', the peak of extraordinary. Chiaki talked about the situation with M Stage program when the tv got complains from parents after their kids cried seeing dir on tv, Mstage was on tv just before Crayon Shin-chan and many ended up seeing one of dir's songs (I love how someone burst out laughing in the studio here😂). Matsuko asked what kind of performance was it:

"The following footage contains material not suitable for all audiences"🤣🤣🤣

and of course it's 残-ZAN-

Chiaki: The shock received in your own living room...

Matsuko: certainly, suddenly seeing this kind of deathmetal

Matsuko: something that Tamori (Kazuyoshi Morita, tv celebrity/presenter/comedian) could suddenly introduce

the commentary: 'and even in recent performances' (they proceed to show dir's live footage from DSS in Nippon Budokan)

Chiaki comments that as dir's lyrics are about the pain and extraordinary, and how cathartic can be a very intense show, and she really loves how 'we love the extraordinary in order to deal with the ordinary life' (yes😭❤️)

Matsuko: ... really? But they have songs so deathmetal like. Ok, I guess I'll check them out.

Chiaki: I just heard from the staff that dir's vocalist, Kyo, is a fan of this program and is watching every week.

Matsuko: who's here connected with the band?? (asking the studio people)

Staff (from behind camera): when getting permission [to show dir's footage] I was told that.

Matsuko: so in a sense I'm deathmetal too. Ok, I think that's it.

Next the program moves on to "a mystery hot pot eaten in the dark of performance incorporating all trends and fashion"

Matsuko: is 'Yaminabe performance' a band's name? Ah, ok, no, we're changing the topic!

Chiaki explains that it's difficult to explain what visual-kei bands are like now because there are so many elements.

They show the Raid (manga style) and Kiryuu (Japanese horror) as examples of the 2nd generation of evolving visual style, and what elements entered visual-kei: rap, dance, underground idols, Japanese kimono, ???

Matsuko: is the bottom right visual-kei??

Chiaki: has common elements (くくり)

●they show NOCTURNAL BLOODLUST and talk about their image and Hiro, the vocalist. the ??? gets changed into 'muscles', they comment on change in the expectation that musicians are very skinny.

Matsuko comments she personally likes the look of the 'underground idols', like what are they actually doing there?

●They show 0.1gの誤算 performance and Chaki explained anything can happen there. They also showed their recent show where fans prerecorded their shouts and member calling on their phones to play them when loud response is not allowed due to covid.

●Alice9 represents 'dance' element.

●CHOKE represents 'rap'

●Mogamigawa Tsukasa for 'kimono', the drummer in THE MICRO HEAD 4N'S who's singing enka.

The 2nd half of the program introduced humanbeatbox topic (very cool to watch but no report from that part😅)

#dir en grey #luna sea #x-japan #malice mizer #gackt #glay #shazna #golden bomber #Versailles #the raid.#己龍 #アリス九號 #nocturnal bloodlust #0.1gの誤算 #choke #the micro head 4n's #translation

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meimae · 4 years ago

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Look at me, not being on time for my April Immersion Overview as is the usual. (・w・;

First, little blog updates to get out of the way:

I reached 100 followers! Got an influx of people checking out my 1 year update post, and got plenty of nice compliments on my data collection.

For those of you wondering just why I keep up with so much data, it's mostly because it can get really hard to notice how much you're improving in a language especially with something like immersion learning that for people who don't get it feels like a waste of time or a time sink.

Graphs showing consistency, improvement in reading speed, increasing vocabulary counts, and generally just seeing numbers grow turns language learning more fun and motivating for me, and if as a bonus, it encourages someone to try immersion learning then that would be cool!

With that said, whether you're here as a fellow language learner, graphs enthusiast (笑), or just want some Japanese media recommendations, ようこそ!

Also, made a tiny DP change - it’s チト from 少女週末旅行. Pretty sure it’s the first manga series I ever finished in Japanese (not the first one I started since ちはやふる is still ongoing), and I always felt a bit of a ☆connection☆ with her - between her book-loving personality and being a no-nonsense kind of person, there was no way for me not to enjoy her character. Great beginner anime/manga if you’re not into most beginner recommendations.

-☆-

April has been a pretty good immersion month, as I was able to dip my toes in a variety of media. A bit competitive, too! The club I joined has been pulling all the stops to get to the Top 20 Immersion Leaderboard in it’s first month. I was able to snag the 9th spot among a bunch of people of different comprehension levels (the majority being N1+ since they’re able to comprehend much more and in turn stand longer immersion hours). Lots of tiny complaints though of potential “whitenoising” content (”listening” and “reading” but not comprehending very well just to get a large number to post), but really what can you do? People lie all the time on the internet. Besides, it’s internet points that doesn’t do anything beyond being a little shiny I guess.

Enough about that, let’s get into the nitty-gritty details you came here for!

ANIME

フルーツバスケット

Might need to rewatch this one. Felt like I didn’t connect with the characters the way the rest of its fandom has. I’m kinda sad about it, since I normally love Slice of Life and Fantasy, and I know this is one of my friend’s diehard shows.

ラブライブ! School Idol Project S2

A filler anime to watch tbh. Nice and easy enough to follow for beginners. Pretty good songs. With regards to it being a show about music and moe, I still 100% prefer K-On! if I’m going to be honest, but for a show about non-toxic idols, it’s good!

魔法少女まどか☆マギカ

First read this as English translated manga when I was 13 or something. Mistakes were made. Let’s all just agree to throw キュウベえ into a pit of fire and never talk about it again. Great ending and a show that really reworked the magical girl genre. But seriously, I was traumatized by マミ’s death then and now, help.

四月は君の嘘

Already knew what was going to happen even before watching this so I didn’t ugly cry like I was expecting. Still got that awful sinking feeling though. 10/10 would recommend for a good cry. Also, I’m planning to read the manga, might enjoy that more, because I’ve always liked it more than anime actually. *shocked pikachu face*

ホリミヤ

Watched before I even finished the manga which felt like a mistake at first until I realized that it perfectly stops where I stopped reading. Nice and comfy anime, the kind I would have loved as a teen. Fun animation too, making parts very dramatic even though it wasn’t really that deep of an issue even in the manga. Just teens feeling feelings. Still salty that we lose bad boy styled 宮村, but I get why it had to happen.

AUDIOBOOKS

氷菓

Second re-listen. I understand it fine, but it’s very easy to drift off when you can’t catch all the words so I had to replay often. Will have to mine more from the anime/book.

君の名は

I mined from the anime, and was really pleased to be able to follow all 6 hours of this audiobook perfectly fine. Will need to read the book, because I realized just how seamless reading it would be after listening to it with hardly any issue.

BOOKS

キッチェン

Completed! Read my thoughts about it and see my stats on this post.

君の膵臓を食べたい

Still trudging on with this one. It’s not a bad story, it’s pretty well written actually, I just made the mistake of watching both the anime and live adaptation first, so I know exactly what’s going to happen and it’s killing my motivation to keep reading. I guess reading the book first before watching the movie still applies in any language with me. Really need to 頑張れ and finish so I can move on.

三日間の幸福

Started reading towards the end of the month, mostly because I realized that every chapter is only 5000-15000 characters long, and I was able to read up to 40k in a day with Island most days. Only two chapters read so far though because I got distracted by manga, but it’s shaping up to be a really good plot and potentially a really sad one, too, so I’m interested.

DRAMA

花ざかりの君たちへイケメンパラダイス

Heard this was a classic so I gave it a try. Loved 生田斗真’s character in this one the most especially all his internal dialogue acted out. Also, 小栗旬 in anything is bound to be a good watch. Simple and fun watch. They dragged the ending so much though lmao

ごくせん

Look, I see 松本潤, I click. Definitely the kind of show you should watch for some great life advice. Planning to watch the 2nd and 3rd seasons even if there is a terrible lack of 松本潤, because I love my strong female protagonists, and man, ヤンクミ is such a great character. Need to read the manga, too, if I can find it.

極主夫道

Oof, this was kind of hard. The yakuza talk was throwing me off, but the rest of it was enjoyable. Not really plot heavy as I thought it was going to be. The comedy side of it was fun and predictable after the first few episodes. Overall, pretty good slice of life, family story with a twist.

MANGA

Read a bunch of manga this month, mostly because I am struggling to find the next vn to read.

おやすみプンプン

Read a couple of volumes (6-7). This manga is so good, but it’s so depressing I need to stop to take a breather every once in a while. Please don’t leave any spoilers. The club has been reacting to me reading this, and it has mostly been a lot of crying emotes. It’s both been enjoyable to see and really worrying. 笑

チェンソーマン

Club recommendation. Only read the 1st volume so far. I really need to get into more 少年 anime/manga. That’s currently my 苦手 genre which is awful because literally all the top anime/manga is 少年 help. I just can’t enjoy it much still even though it’s comprehensible to me.

ちはやふる中学生編

Read Vol. 1, chill read to me at this point after reading 45 volumes of the regular manga. Look, it’s my favorite 幼馴染 manga in baby format, of course I’m going to read this! 太一 has been a flake way before season 3 confirmed. Don’t come at me たいちはや stans bc I also like his character.

約束のネバーランド

Volume 7. I’m taking my sweet time with this one, because I heard the anime for season 2 sucked, so I’m avoiding it like the plague. This is 少年 how am I enjoying this and not everything else what.

ヲタクに恋は難しい

Enjoyed the anime hated the movie why did they make it a musical that sucked (ps i normally love musicals hated this one)

The オタク jargon is kinda hard to read suprisingly but I do enjoy this ship very much. It’s a lighthearted take to otaku culture which is great because seriously it’s scary out there.

ツバサ -RESERVoir CHRoNiCLE-

It’s my childhood ship, obviously I will read this again (read in English several years ago). Still as plot twisty as I remember it being (now at a bonus hard level reading it in Japanese 笑). Really enjoyed reading this one (I finished it this May).

-☆-

I’m starting to really dislike furigana in manga. It was a great help as a beginner, but now it’s like training wheels that you can’t take off. I feel like the gains I’m getting from manga is much lower than it was when I first started which makes me both proud of how far I’ve come, but also sad because I love manga. Sad that I might have to start choose VNs over it, because it’s not going to challenge me as much going forward. I mean it didn’t stop me from reading a lot of it this month, but you get the picture.

VISUAL NOVELS

ISLAND

Completed! See my stats and read my long spoiler filled post here.

ファタモルガーナの館

Picked up this VN and finished two doors (15 hours) before stopping. On the fence about it, because it has been kind of predictable so far, and I don’t particularly enjoy the horror genre. That said, this is more psychological than anything, so it’s probably not that that’s putting me off. The language is not exactly difficult, too - maybe some oddly specific words because it is after all historical fiction (which is one of my favorite genres, btw), and 敬語 is definitely interesting to read for once after encountering so many お嬢様 characters in anime/drama so far.

I think maybe it’s the conversations that are kind of dull - dots (silence) every few clicks that keeps breaking the flow of reading. Probably judging it really harshly too early, because it’s rated so high everywhere, and I just have high expectations. Definitely not dropping it yet though, just taking a break and testing a couple of other VNs before I settle with whatever I end up choosing. It is, after all, going to be another 50+ hour read, and I just don’t want to not enjoy the process, because having fun with the process is a huge part of immersion learning.

Let me know if you’ve read Fata and if I should continue!

-☆-

That’s it for this month!

If you have any suggestions on what to watch and read next, please send me a reply, especially for VNs because I’m struggling over here.

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pompompurin1028 · 3 years ago

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Hi Kat! How about 3, 4, 11, and 15 for the ask game? <3

Thanks for the ask Coff! Sorry about the delay

3 things ask game

3. 3 songs that mean something to you

Music of the Night from The Phantom of the Opera

Pale Blue by Kenshi Yonezu

For Good from Wicked

4. 3 topics you’d love to learn more about

1. Art History

My friend took it and he had me help them proofread their essays and just hang out with each other, and the topics seem so interesting, it's not something I'm familiar with but I would love to learn more about it

2. Psychology

Behavioral psychology seem like an interesting thing to understand

3. Chinese literature

I am Chinese after all, and though I have studied some passages in and throughout school, I actually hated it, I felt that it was too difficult (and still do) since most texts are written in old Chinese which is so difficult to understand because a lot of times words with two characters are shortened to one character which makes them almost incomprehensible and you have to guess, and characters could have a very different meaning from what they mean now too and texts hadn't begun to be written in vernacular Chinese until the 20th century so the majority of the texts we studied are such, we also had to be forced to memorize all the passages and also had reading comprehension on unseen old passages which makes it even harder. But as I grew older, didn't have to study them for school anymore, and think back on the passages the more interested I got, things I didn't grasp and thought was quite absurd in the past had me intrigued, quite a bit of Chinese texts of the past at least the ones we learnt intertwine philosophy and literature as well. With the internet there are usually translations, maybe it'll make it easier to pursue them once again, just not in an academic setting

11. 3 books that you would recommend everyone to read

Once again I'll just be adding some books I enjoyed or found interesting, not in any particular order

1. The Metamorphosis by Franz Kafka

I read this last week and actually really enjoyed it a lot more than I imagined. It just gives you a moment to reflect on alienation (is work/school alienating you from your loved ones? your passion? you hobbies? society?), it also makes you think about what is humanity?

2. The Strange Library by Haruki Murakami

I found it an extremely interesting reading experience and I still think about it sometimes. There's this short of feeling like I hadn't grasped everything there is to this book. Is it about the dangers of the pursuit for knowledge? Or the effects of the loss of innocence from gaining knowledge? Was it just a dream, or a nightmare? Also it can be described to be Kafka-esque, so mentioning Kafka before this, this book came to mind. It's a very short novella (best read together with visuals) with a bit of horror elements, and my first step into Haruki Murakami's work as well.

3. Otogizoshi: The Fairy Tale Book of Dazai Osamu by Dazai Osamu

I did read this in my Chinese so the translations may differ in meaning, but I actually really enjoyed these stories, and when I read them I couldn't help but read through them in a couple days. It's basically four of Dazai's rendition of traditional Japanese fairytales, and I just found them so interesting to read! In his works, Dazai tends to add his own thoughts or feelings to his works and this is no different, if you've read No Longer Human, it's a bit different from it, although I too really enjoyed NLH, and at times you too can see some melochonic aspects you see in it, parts of it almost feels ironic, some are genuine and show the kindness in his literature. My favorites were The Stolen Wen and Urashima-san!

15. 3 quotes that have a special place in your life

1. 「請你更積極地愛這個俗世，恨這個俗世，一生都沈浸享受其中吧」 from Dazai Osamu's Blue Bamboo

It means "please actively love this world, hate this world, immerse yourself in it all your life" the actively sounds a bit weird but it makes more sense in Chinese😅. Although there is an English translation for this short story but it says "You must become even more attached to the world, and spend you life immersed in the hardships it presents you with", I just found myself liking the Chinese translation better

2. "You never know what's around the corner. It could be everything. Or it could be nothing. You keep putting one foot in front of the other, and then one day you look back and you've climbed a mountain." - Tom Hiddleston

This was a quote I loved when I was younger

3. "How we ought to live? No one can say. All we have is the right to waver, like stray dogs that have hit rock bottom" from BSD

#asks💌#Coff🪶

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sledgefuweek · 4 years ago

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Each year we take a close look at the prompts for Sledgefu Week, for those who may be stuck for ideas or not quite sure about what the prompts could entail. Below the readmore are all seven prompts, as well as a short write-up exploring what they mean and some ideas to help get the creative juices going. Enjoy!!

Sickfic

This is a really popular and well-known fanfic trope that I feel probably needs little explanation, but I’ll write a little bit about it anyway! It essentially covers fic where one character is ill and the other cares for them -- it could encompass any kind of illness at all, (including chronic illnesses) and there’s a lot of room to get creative with it. You can go for angst, hurt/comfort, or fluff: it’s just a really good general prompt that I think works nicely to kick the week off!

It suits for Sledgefu pretty well, considering Snafu’s canon mild hypochondria, as well as the fact that Eugene’s dad is a doctor. It could be fun to lean into it: make Eugene play doctor for an actually-sick Snafu, and it could be just as fun to subvert it! There’s really endless options for canon fic: shrapnel wounds turned bad, heat-sickness, seasickness, illness from bad food or bad water or any kind of tropical disease you can think of (malaria is a big one!). You could make one of them (or both) a medic; you could genderswap them and write the gay field nurse fic this fandom sorely needs. And of course if you choose to branch out into modern AU you can begin to think of what might afflict them outside of a war setting: has Eugene been working too much and come down with a cold? Are they hungover, and need mutual care (and lots of takeout)? A lot of the time sickfic focuses on one character doing the comforting and the other character feeling unwell, but there’s nothing to say they can’t both be feeling shitty! I think we say this every year but there’s really no rules at all, you do whatever you feel inspired to do. With Sickfic, just be mindful to tag anything that others might be affected by eg. vomiting, blood, needles, etc.

Tarot

I feel like Tarot is pretty well-known to the Sledgefu fandom, or at least to those who like to write Snafu or his family a little witchy. In case you just have a vague idea of what Tarot actually is and what its purpose or origins are, I’ll explain it as concisely as I can! Tarot decks started life in Europe as playing cards, but eventually began to be used for divination. It’s made up of four suits, or the Minor Arcana, (Wands, Cups, Swords, and Pentacles) as well as a twenty-two card Major Arcana (the imagery of which you’re probably very familiar with). Commonly, tarot decks and tarot reading is used as a means of communicating with the higher self, deities, or with the universe. They can be used as a way to see the future, answer questions, or to give/receive advice. There are different ways of reading them too, depending on how one lays out the cards: I don’t want to make this too wordy, but if you’re curious I encourage you to check out this site to learn more!

For writers, there’s a lot of places this prompt could take you! Probably the most obvious will be fortune teller fic; a classic. Lean into Snafu’s Louisiana roots and have him telling fortunes in the depths of the French Quarter, or go against the grain and have Eugene reading cards and palms and tea leaves as a practice passed down through his family. Or maybe more casual: modern AU Sledgefu flirting through amateur tarot readings with a deck picked up from a junk shop. If you read Tarot and have a connection to it, you can express that through writing! It’s a pretty open-ended prompt, especially if you consider some of the meanings of the cards; you could even write a story inspired by that! The Hermit: Snafu withdrawing, leaving Eugene on the train to spend the next few months in solitude, working through things. The Moon: Snafu and Eugene hitting a rough patch, hiding things from each other. The opportunities really become endless once you start taking the readings of the cards into account! And for visual artists, this must be such a fun prompt: I feel like it’s so a visually rich, whether you’re re-drawing the cards to encompass Snafu and Eugene within them, or making a collage based around some of the things mentioned above: fortune tellers shops, witches cottages, etc.

Trinket

Every Sledgefu Week we tend to have a couple prompts that are a little more open to interpretation, and this year’s ‘Trinket’ is one of those. It might be difficult to try and think of something to base a whole fic or piece of art around, but we really encourage you to let your imagination run wild! There’s already some great trinkets in the show itself: Eugene’s ring, the lighter that Gunny Haney gave him, Snafu’s stolen gold teeth, or their dog tags. Think of small, special objects that you might have: what imbues them with comfort or meaning? What makes you love them? You could have Eugene giving Snafu his ring, or have Eugene musing over war and death and loss while smoking a cigarette lit by his lighter. If you’re into Modern AUs, how could these objects carry through to modern day? Once you start thinking about it, the ideas start rolling in. Feel free to invent special trinkets for them: or maybe trinkets that they hate and want to get rid of, trinkets that remind them of bad times. Trinkets that remind them of each other, or family, or war. So much meaning can be held in the things we own, and I think it’s such a lovely concept to explore!

Crossover

So this prompt was born from the sheer number of suggestions we had for various movie, TV, and book AUs. We didn’t want to put them all to the poll and risk a lot of you feeling disappointed over the one you wanted not being selected, so thought it’d work best to condense them into a ‘Crossover’ prompt so everyone could do whatever they liked. So this is a very very broad one! It would be impossible for me to really go through the prompt and highlight some things that you could do for it, because you can really do anything you want to! Anything! It encompasses movies, video games, TV, books, musicals... if something tells a story, you can do a crossover. So if there’s ever been a film/book/etc. AU you wanted to do for Sledgefu Week but couldn’t quite get it to match the prompts, now is the time!

Vacation

A pretty self explanatory prompt, and one that I think can appeal to people who prefer canonverse and those who like modern AU too! Do you want to send Snafu and Eugene on the holiday of their dreams, or are they gonna be bickering in a gas station over who gets control of the map? Is Snafu gonna drive across a couple states to surprise Eugene by visiting? Is Eugene gonna do the same? There’s a lot of scenarios you can apply to the backdrop of them vacationing, and a lot of emotional journeys you can take them through! And for the canonverse crowd, you have the extra addition of letting them go have fun on an R&R, or taking a road trip post-war, visiting 1950s Paris... you can really do whatever you like!

Historical

This was another prompt like ‘Crossover’ that came from a lot of various suggestions that all boiled down to a similar thing: different historical events or periods. So like Crossover, I won’t linger too long on it (this post is long enough already) except just to say again: do whatever you’re inspired to do! There’s no rules here, you could even take everyone out of the Pacific and put them over in Germany: give them a different experience of war. In fact, you can do that with any war if you wanted to! Wanna do a M*A*S*H AU but made something else for Crossover? You could do it here! Want to put them in the 1920s? You got it. In the 1850s? Yeehaw, they’re cowboys now. 1969, Summer of Love? 1600s, make Snafu a prince? Literally the world is your oyster!

Horror

Past Sledgefu Week prompts have included things that could come under the horror umbrella (Supernatural, for example) but didn’t necessarily have to be made 'horrific’. For the ‘Horror’ prompt this year, we want to see frightening! Disquieting, uncomfortable; creations that either cross over with existing horror franchises, or lean on horrific things you come up with yourself. Horror movies, or TV shows, or books or podcasts or pieces of art all seek to elicit a sense of fear: this can be done by tapping into common phobias, or nightmares, those things which are universally and almost instinctively scary. We want to see things which lean into that, in whatever way you want to do it!

I’m no horror media expert (not by a long shot) but the opportunities for this prompt are really vast simply because horror has so many subgenres to work with. You could go gothic horror; Dracula, Frankenstein, Wuthering Heights (a personal favourite AU -- Eugene soaked out on the moors, searching for Heathcliff-Snafu? Divine). Or you could go to the opposite end of the spectrum: Jennifer’s Body AU, Final Girl AU -- there’s no set way to do horror, in fact you could even bring horror into canonverse if you don’t like AUs. Think the Terror: some unknown beast lurking beyond the borders of their camp on Pavuvu, or Okinawa. Or you could even take the prompt entirely literally and explore the horrors of war and the toll it takes on them both. Please don’t feel stuck into needing to do Scary: horror is about fear and revulsion and dread, and these feelings don’t necessarily need to come from a haunting! (This is also a prompt ripe for monsterfucking, just FYI).

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So that’s the prompts for this year! They’re all really really great, and have a lot of potential to make some fantastic stuff :~) And to reiterate something I said right at the start, there are no rules here! I think every year we normally get at least one person unsure whether their idea will be okay for the prompt they’d like to make it for, so I just wanna say here: don’t second-guess yourself! As long as it can be linked back to the prompt in some way or another (can literally be the vaguest way possible) you’ll be absolutely fine. We don’t vet submissions at all, especially not for their content relating to the prompts. All we ask is that you remember to stay respectful in what you’re writing, and when the time comes to post it, you tag and warn appropriately :~)

On the subject of writing respectfully, we’d like to just take a moment to link the document on mindful writing re: race and gender that was made last year. Please take a look at it, even if you read it last year! It’s always good to keep these things at the front of your mind, as fandom is a community sport and we want to keep it fun and safe for everyone involved! So thank you if you’ve made it this far through this whole post, check out the doc, and enjoy the rest of the run-up to Sledgefu Week!

#sledgefu #sledgefu week #mod talk #info #if you saw this post before yes you did no you didn't <3 it has the horror prompt on it now lmao

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afriendlyblackhottie · 4 years ago

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Ransom Drysdale Must Die (Chapter One)

Summary: Ransom Drysdale is a serial cheater. The only way to get him to pay for what he’s done is for him to die. Or at least be extremely humiliated. As long as you don’t fall for him.

Pairings: Eventual Ransom Drysdale x black!reader, Ransom Drysdale x Multiple OC’s

Warnings: Swearing. Eventual smut.

(Author’s Note: I was watching John Tucker must die and it made me think of my favorite sweater wearing murder daddy.)

Tags: @night-of-the-living-shred

Word Count: 2.0k

It's not that you were invisible. You preferred to think of it as keeping a low profile. Growing up, you didn't really have a choice but to keep things to yourself. What was the point of trusting people if all you were going to do was leave? You couldn't make friends or keep them if you'd be moving in another four to six months anyway. Not that it was your choice.

It started at a really young age. Technically before you were even born. Your mom had been a teen parent. Your dad didn't stick around which was all you knew about him. It didn't take long for you to get used to the myriad of men walking in and out of your life. Then you got used to seeing your mom, your only constant, getting treated like garbage over and over and over.

She never had an issue with dating. It was them sticking around that was apparently tricky. The problem is that when it would happen the same thing always happened. She'd binge on chocolate. Use you as a shoulder to cry on. Then you'd be moving to flee into the next city. It was kind of fucked up.

While she cried over the hundredth guy your nose was either buried in a book or painting which had been your only escape. You never wanted to judge your mom. She didn't deserve to always have her heartbroken. But, you also didn't deserve having a mom that wanted to pack up at the first sign of trouble. She didn't seem to get that.

As an adult, you promised yourself that you would find one place and stick to it. It might have hurt your mom a little to watch you go, but she understood that you had to go away for college and stuff. Which is how you ended up in Boston. You kind of remember living in Boston once back in the day. You liked the winters surprisingly and the way the trees looked in the fall. You remembered being happy which is why it sucked so much to leave.

You’d gotten your degree, but finding a job had been difficult. Which is how you ended up working at this country club. Though you could live without all the snobby rich people being total assholes, at least they tipped well. You mostly waitress in the clubhouse where it was usually the older crowd and the families that sucked up to them for the inheritance.

It was also how you first noticed him. Hugh Ransom Drysdale. From the moment you laid eyes on him you could tell he was dangerous. Just like those men, your mother would fall for that would inevitably break her heart. That same air of arrogance hanging over him like a cloud, except much better looking with a trust fund to go along with it.

He insisted everyone in the clubhouse call him Hugh. Which according to everyone is what he insists the help call him. God, he's a fucking asshole.

You remember the first time you talked to him. He was so enchanting. It was annoying. He was like Gaston come to life. Just as handsome, just as charming, just as scummy. Sure he made those white polos he wore to play golf look like he'd just stepped off a shoot for GQ. His gaze was enough to make any woman swoon. Even you as much as you hated to admit it.

It'd been one of the few times you'd worked at the bar. Someone had called out and being the new girl you were told to take their spot. "Sweetheart, be useful and get me a bourbon," he'd said in this rude tone.

"Not even a please?" You muttered under your breath as you turned your back to get a glass.

"What was that?" He asked, with a quirk in his eyebrow.

You kissed your teeth before turning back to him, "Excuse me?" You plastered a sweet smile on your face.

"You got something to say? Say it." He challenged.

You shook your head. "I didn't... I didn't say anything."

He chuckled. "Okay, lo-"

Your jaw dropped as you put your hand on your chest. "Oh my god, Sir, if you're already drunk I can't serve you. You'd be a liability."

"That's a big word. Did they teach you that in community college?" The glare in his eye was intense and you couldn't help it as a smile spread across your face.

"Actually I think I learned it from where you get your trust fund."

You were surprised when he laughed. But, not that little sarcastic chuckle. Like an actual laugh. "Usually I'd call the manager over and enjoy them firing you in front of me, but lucky for you I'm in a good mood and kind of enjoying this. Now get me my bourbon."

"One bourbon coming up." You shrugged.

You talked with him for the rest of your shift surprisingly. The conversation going from hostile to surprisingly pleasant. He’d told you about some issue he’d been having with his grandfather that he hadn’t told the rest of his family he laughed at the idea of them finding out. Said he couldn’t wait to see the look on their faces when they found out everything was going to the nurse.

It was the trashy rich people drama that you craved.

“I know there’s gonna be a lot of bullshit when they find out they aren’t getting that house,” he’d scoffed, looking up at you from his drink.

“I’d be pissed too,” you replied. “I’m sure that house looks like a museum. I’d love to see it.”

“It’s insane.” He nodded. “Imagine like a horror museum with one of those escape rooms.”

You laughed. “So like plastic spiders? Cobwebs? Ghosts!” What a turn around this had been from the initial conversation the two of you were having.

“Not at all,” he said laughing. “It’s more like everything he’s ever thought for his novels, he just adds to his home. Like he needs the visualization. He has a secret window and a chair with knives. It’s insane.”

“That actually sounds pretty cool. Your grandpa sounds like a pretty cool guy, you must admire him a lot.”

“I mean... yeah, but I’d never tell him that.”

“Why not?” You asked with a chuckle.

“It’s complicated,” he answered, before bringing his glass up to his lips. “Like, I love him, but....”

“No. I get it.” Of course, you did. Your mom was a complicated figure in your life, but you could never not love her.

“I’ve done a lot of shit.” He shrugged. “So, I think it’s mutual.”

“At least his house sounds interesting. Like a work of art. I’m kind of a sucker for art.”

“Do you paint? Draw? Doodle on an iPad.” The way he smiled up at you, you would have never guessed that he was the giant asshole everyone made him out to be. There was this softness there even if it was hiding under his arrogant exterior.

You chuckled. “I paint. Though I do partake in the doodling on iPads.”

“I’d love to see your work sometime,” he said. “Do you sell?”

“I haven’t,” you replied. “But, I’m open to it. I guess. I’d show you now, but I’m not allowed to have my phone on the floor.”

“Oh so I’m not worth risking being fired for, I get it,” he joked, shaking his head as if he was offended.

You laughed, tilting your head back. “I know right. I’m already risking it by even talking to you. Harrington is so strict.”

There was this squint on his face as he kind of looked you up and down. It felt like he was studying you and it made you feel like you were under a microscope. “You’ve got a cute laugh you know that?”

No. Don’t give in. You had to tell yourself. You didn’t want to get involved with anyone you’d have to workaround. Besides, it was Ransom Drysdale. You’d just seen him with a woman yesterday. “Thank you,” you brushed him off. “Can I get you another drink?”

He sighed, checking the time on his phone. “As much as I’d love to stay and chat. I have to get going. Maybe I’ll stop by soon so we can talk again. Maybe show me some of your work?”

“Sure.”

He’d left you a forty dollar tip. You were not expecting that.

You’d left work that night feeling pretty good. Not that you were expecting him to fall in love with you or anything. Or for anything to happen at all. It was just a nice encounter with the guy everyone was obsessed with here. Besides you promised yourself you’d never, ever fall into the same trap as Mom had.

It’s not that you didn’t date. You were picky, though. The few relationships you’d had were okay, but you didn’t want to get hurt so you never wanted to get in too deeply.

Then the next day you had come to work, he’d walked in with Marissa on his arm. That stopped any and all thoughts you may have had. It was during that lull between when they'd stopped serving breakfast and brought out the lunch menus. You weren’t surprised that a man like Hugh Ransom Drysdale would be dating a woman like Marissa Clermont. She was exactly the type of woman men like him go for. You know a model IT girl type of deal.

It wasn’t just because he’d been dating Marissa. Of course not. It was because the day before you he’d just come in with Amber Taylor. The daughter of a retired Boston Celtics player. Also, a beautiful woman (also a model you think) who clearly didn’t know her boyfriend was two-timing her.

“Fascinating isn’t it?” Your co-worker, Britt, interrupted your thoughts as she’d come back from taking their drink order. Her arms were crossed as she tried to not make it too obvious that was she looking over at them. “He comes in here with different women and none of them have any idea.”

You frowned as you saw him whispering in her ear, making her giggle, probably telling her the same thing he told Amber just yesterday. “Yeah, I see that,” you replied. “How does he get away with it?”

“Ladies! Back to work!” Harrington, your manager, barked towards the both of you which made the both of you scurry off before she even had the chance to answer. You didn’t even get to talk to her because her shift was over soon then you were off the next day. You weren’t even sure why you cared so much.

When you got back to work it was during that lull time. Ransom was there of course with a different woman. Chloe Daniels. A blonde that had been the sole heir to her husband’s entire fortune no matter how much his ex wife or adult children tried to fight it. You were happy you got to witness the drama for that.

“He messes around with girls that don’t talk to each other,” Britt was finally able to explain. “So, they never find out. At least, that’s what the story around here is.”

“Wow he has a whole system worked out...” you crinkle your nose. Ugh what a fucking pig. Just like your mother and those douchebags she dated.

“I mean, I kind of get it,” Britt said. “He’s hot. I might put up with being treated like trash for that much. Hell, I’ve put up being treated like trash for much less.”

You held in the laugh you wanted to let out as you could see Harrington lurking around, waiting to say something to the two of you. He never missed his chance to give out orders.

For as long as the couple sat through you couldn’t stop staring. Britt was right. It was fascinating.

#ransom drysdale #ransom thrombey x you #ransom x y/n #ransom drysdale x reader #ransom drysdale x black!reader #ransom drysdale x poc!reader #chris evans #chris evans x reader #chris evans x poc!reader #chris evans x black!reader

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cctinsleybaxter · 4 years ago

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2020 in books

2020 was a year of changed reading habits; people reading more than ever or not at all, some changing their tastes and others turning to old comforts. While there weren’t any huge overhauls on my end, more free time did mean a total of 32 in a wider range of genres. In the past couple of years I found a lot of the things I read to be kind of middling and ranked them accordingly, but this year had some strong contenders in the mix. With college officially behind me I love nonfiction again, and I really need to stop being drawn in by novels with long titles that ‘sound interesting.’ A piece of advice to my future self: they will only make you angry.

The Good

The Idiot by Fyodor Dostoevsky I loved the BBC radio play when I first listened to it back in 2017, but didn’t know if I could stomach the idea of actually reading the 700-page book, especially since I already knew the plot (spoiler alert: this had no effect and I gasped multiple times despite knowing what was going to happen; Fyodor’s just that good at atmosphere.) The story follows Prince Lev Myshkin, a goodhearted but troubled man entering 1860s Petersburg high society and meeting all of the wretched people therein as he navigates life, laughs, love, unanswerable questions of faith, and human suffering. I care about it in the same way I think other people care about reality TV shows and soap operas. I’m so personally invested in the drama and feel so many different emotions directed at these clowns that it’s like being a fan of Invitation to Love (with an ending equally upsetting to that of the show ITL is from, Twin Peaks.)

Salt: A World History by Mark Kurlanksy I adored this book. The first half reads a little like a Wikipedia article, and I was worried that it was leaning too clinical and would be disaffected with colonialism and indigenous peoples, but even that oversight is corrected for as the text goes on. It’s not going to be for everybody because it really is just the world’s longest encyclopedia entry on, well, salt, but it’s written with such excitement for the topic and is so well-researched and styled for commercial nonfiction that I think it deserves any and all praise it’s gotten. We have to talk about that time Cheshire was literally sinking into the ground, and companies who were over-pumping brine water to steal each other’s brine water said ‘no it’s okay it’s supposed to that’ so were legally dismissed as suspects.

Midnight Cowboy by James Leo Herlihy Cried. 10/10. The plot of Midnight Cowboy is very classic and actually has a lot in common with The Idiot, as 20-something Joe Buck moves from the American Southwest to NYC and meets myriad challenges as a sex worker. I’ve been obsessed with the movie for a few years now and the book made me appreciate it anew; I think it’s rare for an adaptation to take the risk of being so different from its source material while still capturing its spirit. The movie doesn’t include quieter moments like the full conversation with Towny or time spent in the X-flat, nor does it attempt to touch Joe’s internal monologue or his and Rico’s extensive backstories, but these things are essential to the book and are some of the best and most affecting writing I’ve ever read. Finally! The Great American Novel!

The Only Good Indians by Stephen Graham Jones I would firmly like to say that this is probably the best horror novel ever written. The setup is very traditional in that it’s about a group of friends facing supernatural comeuppance for a past mistake, but delivery on that premise is anything but familiar. A story about personal and cultural trauma that raises questions about what we owe to each other and what it means to be Blackfeet, with a cast that’s unbelievably real and sympathetic even at their absolute worst. Creepypasta writers trying to cash in on the cultural mythos of lumped-together tribes wish they were capable of writing something a tenth as gruesome and good as this. It could very well be a movie the visuals and writing style were so arresting, and I can’t wait to read whatever Jones writes next.

Found Footage Horror Films: Fear and the Appearance of Reality by Alexandra Heller-Nicholas This is the least accessible title on the list since it’s a college textbook for people with background in film, but it was so nice to read a woman unpacking film theory with the expertise and confidence it deserves that I have to rank it among the best. I had an absolute blast reading it and am going to have to stop myself from bringing up the horror of 1960s safety films as a cocktail icebreaker.

Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy by Heather Ann Thompson

The year’s toughest read by far, but also its most rewarding. Thompson uses mountains of documents, government-buried intel, and personal interviews to explain what happened at Attica from beginning to end, and does a fantastic job of balancing hard facts and ‘unbiased journalism’ with much-needed emotion and critical analysis. It’s more important reading in the 2020s than any kind of ‘why/how to not be racist’ book club book is going to be, and the historical context it provides is as interesting as it is invaluable. The second half drags a bit in going through lengthy trial processes with some assumed baseline knowledge of legalese (which I did not have. All that criminal minds in 2015… meaningless), but aside from that editing and prose are some of the best I’ve seen in nonfiction.

The Bad

The Woman in the Window by A.J. Finn A friend and I decided to read this together because I’m obsessed with how insane the author is and wanted to know if he can actually write.

He cannot.

The Beautiful Thing That Awaits Us All by Laird Barron Barron is an indie darling of the horror fiction scene, so I was excited to finally read one of his collections but can now attest that I hate him. If you’re going to do Lovecraft please deconstruct Lovecraft in an interesting way. I had actually written a lot about the issues I have with how he develops characters and plots, but one of the only shorthand notes I took was “he won’t stop saying ‘bole’ instead of tree trunk” and I feel like that’s the only review we need.

Bats of the Republic by Zach Dodson Look up a photo of this author because if I had bothered to glance at the jacket bio I honest-to-god wouldn’t have even tried reading this.

This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone I went in with high expectations since this is an epistolary novella I’d seen praised on tumblr and youtube but oh my god was there a reason I was seeing it praised on tumblr and youtube. This is bad Steven Universe fanfiction. Both authors included ‘listening to the Steven Universe soundtrack throughout’ in the acknowledgements, and to add insult to injury there’s a plug from my nemesis Madeline Miller.

The 7½ Deaths of Evelyn Hardcastle by Stuart Turton The premise of this one plays with so many tropes I like that I should have been more suspicious. It’s a dinner party with stock characters one would expect of Clue, and rather than our protagonist being the detective he’s a man with amnesia stuck in a 24-hour time loop. Body-hopping between guests, he must gather evidence using the skillsets of each ‘host’ until he either solves Evelyn Hardcastle’s murder or the limit of eight hosts runs out. I read a lot of not-very-good books, and it’s so, so much worse when they have potential to be fun. This is how you lose the most points, and how I abandon decorum and end up writing a list of grievances: • Our protagonist can only inhabit male hosts, which I think is a stupid writing decision not because I’m ‘woke’ but because wouldn’t it make sense for him to also be working with the maids, cooks, and women close to the murder victim? • Complaining about the limitations of hosts makes some sense (e.g- there’s a section where he thinks that it’s hard to be an old man because it’s difficult to get to the places he needs to be quickly), but one of his hosts is a rapist and one of his hosts is fat. Guess which one gets complained about more. • One of the later hosts is just straight-up a cop with cop knowledge that singlehandedly solves the case. We spend some time being like ‘wow I couldn’t have done it without the info all eight hosts helped gather’ but it was 100% the detective and he solves the murder using information he got off-screen. • The mystery itself is actually well-paced and I didn’t have a lot of issues with it (e.g, there’s a twist that I guessed only shortly before the end), which makes it all the worse that the metanarrative of this book is INSANE. No spoilers but the reveal as to why our unnamed protagonist is even in this situation is stupid. I just know they’re going to make it into a movie and I’m preemptively going to aaaaaaaaa!!!

Trust Exercise by Susan Choi The fact that this was the worst book I read all year, worse even than the bad Steven Universe fanfiction, and it won multiple awards makes my blood boil. I could rant about it for hours but just know that it’s a former theater kid’s take on perception and memory, and deals with sexual abuse in a way that’s handled both very badly and with a level of fake deepness that’s laughable. Select fake-deep quotes I copied down because at one point I said ‘oh barf’ aloud: -I’m filled with melancholy that’s almost compassion. It’s sad the same way. -[On a friendship ending] We almost never know what we know until after we know it. -Because we’re none of us alone in this world. We injure each other.

There are also bad sex scenes that I can’t quite make fun of because I think (HOPE?) they’re supposed to be a melodramatic take on how teenagers view sex, but I very much wanted to die. Flowers were alluded to. Nipples were compared to diamonds.

Honorable/Dishonorable Mentions (categorized as the same thing because, well,)

The Life and Death of Sophie Stark by Anna North This book was frustrating because the first third of it is fantastic. It’s set up to be a takedown of the manic pixie dream girl trope, jumping from person to person discussing their relationship with the titular Sophie, and indirectly revealing that she was just some girl and not the difficult and mysterious genius they all believed her to be. Then in the third act, BAM! She was that difficult and mysterious genius and she’s now indirectly brought all the people from her past together. I wanted to scream the plot beefed it so bad, but the good news is I really liked this octopus description.

It was the size of a three-year-old child, and it seemed awful to me that something could be so far from human and obviously want something as badly as it wanted to get out of the tank.

Radium Girls: The Dark Story of America’s Shining Women by Kate Moore Cool new nightmare speedrun strat is to hear a 2-second anecdote from a documentary that people used to get radium poisoning from painting watch faces, be curious enough that you buy a book to learn more, and be met with medical and legal horror beyond anything you could have imagined. This was almost one of my favorite books of the year! Almost.

Radium Girls is very lovingly crafted and incredibly well-researched; one of those things that’s hard to get through but that you want to read sections of again as soon as you’ve finished. The umbrage I take with it is that it’s very Catholic. The author and many of her subjects are Irish and their religion is important to them, but it casts a martyr-y narrative over the whole thing that I found uncomfortable. Seventeen-year-old girls taking a factory job they didn’t know was dangerous are framed as brave, working-class heroes, but there’s not a set moral lesson to be gained from this story. Sarah Maillefer didn’t make “a sacrifice” when she agreed to the first radium tests, she agreed because she was terrified. She didn’t think she was helping she was begging for help.

The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins by Anna Tsing Tsing is an incredibly skilled researcher and ethnographer; there are so many good ideas in this book that I’d almost consider it essential leftist text… if I could stand the way it was structured. Tsing posits that because nature is built on precariousness she will build her book the same way, allowing it to grow like a mushroom, and thus chapters don’t progress linearly and are written more like freeform poetry than a series of academic arguments. Some people are really going to love that, but I’m me and a mushroom is a mushroom and a book is a book. I don’t think in the way Tsing does, and while I tried to keep an open mind it’s hard to play along when something is this academically dense and makes so many ambitious claims. As if to prove how different our structuring methods are, I’ve made my own thoughts into a pros and cons list

Things I liked: • ‘Contamination’ as something inherent to diversity • ‘Scalability’ as a flawed way of thinking (Tsing has written whole essays about this that I find very compelling, but a main example here is that China and the US have come down on Japanese matsutake research for being too ‘site specific’ and not yielding enough empirical data) • Discussing how Americans were so invested in self-regulating systems in the 1950s we thought they could be applied to literally everything, including ecosystems • “The survivors of war remind us of the bodies they climbed over- or shot- to get to us. We don’t know whether to love or hate the survivors. Simple moral judgements don’t come to hand.” • Any and all fieldwork Tsing shares is amazing; I especially liked reading about the culture of mushroom pickers living in the Cascades and their contained market system

Things I didn’t like: • Statements that sound deep but aren’t, e.g- “help is always in the service of another.” (Yep. That’s what that means. Unless an organism is doing something to help itself which then nullifies your whole opening argument.) • A very debatable definition of utilitarianism • “Capitalism vs pre-capitalism,” which seems like an insanely black-and-white stance for a book all about finding hidden middle ground • A chapter I found really interesting about how intertwined Japanese and American economies are, but it tries to cover the entire history of US-Japan relations. Seriously, starting with Governor Perry and continuing through present day, this could have been a whole different book and it’s a good example of what I mean when I say arguments feel too scattered (the conclusion it reaches is that in the 80s the yen was finally able to hold its own against the dollar. Just explain that part.) • A chapter arguing that ‘true biological mutualism’ is rarely a focus of STEM and is a new sociological development/way of thinking which is just… flat-out not true

For all the comparisons art gets to ‘being on a drug trip’ this anthropology textbook has come the closest for me. Moments of profound human wisdom, intercut with things I had trouble understanding because I wasn’t on the same wavelength, intercut with even more things that felt false or irrelevant. I can’t put it on the nice list but I am glad I read it.

#2020 #books #long post #(in case the read more isn't working)

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flying-elliska · 4 years ago

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Seeing that post, I am actually curious, how do you go about writing a fight scene? How difficult is it to visualize everything that is necessary to paint the action effectively?

Anon ! Thank you for this great question which will allow me to procrastinate writing said fight scene for at least five minutes instead of setting my computer on fire :

For me, like most of my writing, it starts with the characters + the emotional dynamic of the scene. What is happening between them ? What emotional process do I want to convey ? And so when I imagine/brainstorm the story in my head, I often have ideas for action that are centered around emotion. It’s a lot like a stage choreography - the beats should illustrate the story.

For instance : the fight between Lucas and Thorston, it’s sort of a theatrical performance ; Lucas wants to prove himself to the Vallès people, so it’s a sort of demonstration. So it’s very staged - one opponent makes a move, then another. A lot of the time when writing action scenes the first thing I have in mind is the dialogue and the character interactions - and the setting that will fit - the rest comes later. It starts with this training sequence where I show that Thorston is a bully asking Eliott to hurt himself. The general concept is that Lucas is a knight ‘jousting for the honor of his ‘lady’ (Eliott) who has been slighted, bc the chapter has these allusions to knighthood. But he’s also an underdog so I wanted his final victory to come as a surprise - so at first it starts like an unequal fight and then Eliott realises Lucas has been hitting all these strategic spots and Thorston crumbles - this is an illustration of ‘brain over brawn’ (also very inspired by the ‘five finger death punch’ in Kill Bill) - Lucas is physically smaller/shorter than most of his opponents and he compensates by being extremely smart and quick . The end goal is a feeling of satisfaction due to this reversal + Lucas proving himself + then Eliott makes his speech which shows he has a ‘hold’ over Lucas + there is this whole thing where Vallès has orchestrated this on purpose to get rid of Thorston for being a nuisance.

The catacomb fight sequence, on the other hand, is very chaotic, it’s in the dark, through Eliott POV and he is terrified, and out of his depth, but at the same, he also trusts Lucas so a lot of that sequence is him trying to figure out where Lucas is and following his guidance. It’s a bit of a trust fall - this whole bit is them really being together outside of the prison for the first time, and the overarching emotional aspect is that, right away, they fall into this sort of ‘battle intimacy’ where they have to immediately trust each other and they find that they actually really work well together. It also being mostly in the dark pushes them to rely on touch and hearing, which adds another interesting layer of closeness. Meanwhile, Nikolai Magnusson, is like this terrifying assassin figure that stalks them in the dark, so there is a very ‘primal fear’ aspect, they’re under the ground surrounded by dead people, I wanted it to have a bit of a horror movie vibe, so there is a moment where Eliott shoots him and thinks he’s down but then surprise, he’s not and he goes for them again and it’s this ‘oh my gooooood the serial killer is actually behind me!!!!’ moment and they run away without really knowing if he is dead or not, which adds to the lingering threat and atmosphere of pressure.

So then when I actually sit down to write, I have this general idea about a vibe and some ‘high moments’ I want to put in ; I know the purpose I want the scene to serve, the starting and end points. Now I need to figure out how to get from A to B to C, which is A LOT HARDER. A few things to consider : the characters’ abilities, the weapons they have at their dispositions, the constraints (are they wounded ? in the dark ? restrained ? are there any rules or is it a free for all ?) the environment (anything dangerous ? they can use ? a time constraint ? a bomb ? somebody to protect ? etc) and again, the character’s psychology and emotions (are they angry ? scared ? determined ? too arrogant ? etc). I basically put myself in the mind of the POV character and imagine what I would think and try to do if I was actually living the scene, focusing on the practical details. I honestly don’t write a lot of intricate fight choreography because this is just not my forte and i don’t really have the knowledge. Mostly I think about what would be cool and how to fit it in, and what the character NEEDS to do

For instance, Eliott doesn’t have a lot of fight experience, so when he actually wins a confrontation, it’s often due to the surprise effect - he has a very fierce streak under pressure - but I can’t put him in drawn out fights (yet). He also has a tendency to be overwhelmed and to get into his own head, which is like, very normal for a person without training. Lucas is different - the dude is supposed to be lethal and a bit of a legend so I have a bit more leeway when it comes to him doing crazy shit that shouldn’t be possible (lol) but again, his MO is to be smart about fights so I have to think ok what funky trick is he going to pull this time. What would make him look the most badass. Really, Lucas is all about the power of surprise, because again, his adversaries almost always underestimate him (or they don’t even see him coming). He’s like a stoat, small and uncommonly vicious. (look up ‘stoat dance of death’ if you don’t know what I mean lol) or like a blackfooted wildcat (which is called ‘adorable remorseless killing machine’ and is the smallest and deadliest wild cat) so it’s a theme that you can be very small and also very ferocious, and yes, i have been on a stupid animal documentary binge lately (animal fight club !! so fcking stupid). anyway, there is often a ‘what the fuck’ moment when he fights and also use of distraction. But it depends on context - again in the aforementioned fight with Thorston he is very elegant and precise because he’s showing off - but he started as a street fighter, ; using everything he has at his disposal, being ressourceful/inventive, ruthless, efficient, etc. Like in krav maga ‘use a pen as a weapon’ etc. He’s also very very attentive to his surroundings, alert to see if there is anything he could use, and he tries to analyse the moves of his opponents. (credit to the 2 krav maga lessons i took in my life lol). And then there is Daphné who we haven’t really seen fight yet, but she’s an acrobat, so that would come into account, etc.

I also have to do a lot of back and forth because what often happens is I get an idea for a solution (really a fight scene is a series of problems to set up and solve) so I have to go back in the story and make sure they have their guns/whatever they need for the scene and that there is proper foreshadowing. It’s often the logistics that drive me a little crazy because I get to a point and I’m like...okay and how would they do the thing I need them to do ? And you always have to have this back and forth between the perspective of your POV character and their enemy because you don’t want either of them to be purely reactive or to act stupid just because it’s easier (i mean, if they’re not supposed to be stupid)

I read this good writing advice idk where that said, basically, in action scenes, the more details you have, the more it feels important. So like, when the characters are just trading blows, it’s ok if you’re not super precise. However when things change - like the balance of power shifts, there is an upset, something that carries character significance, etc - it’s good to be more descriptive -it’s like the writerly equivalent of slow mo when everybody is holding their breath. I mean, it’s good to have a general idea in your mind of where everybody is and how they react but it’s not like a movie, it’s ok if you don’t have a super precise beat by beat rendering in your head. At the same time, a fight scene is not the time for super introspective character beats, you have to kind of transcribe the fact that everything happens super fast and there is this sense of complete focus on the action and so you don’t want too many distractions where you pause to describe the scenery, etc etc.

So yeah idk I’m still trying to figure it out I guess ^^ because honestly I still feel like action scenes are some of the most difficult things to write, making everything make sense is hard !!!! hope this made some sense tho and was a bit interesting.

ok now i’m back to the story ^^ have a nice day/night anon ! <3

#diamants!au #fight scenes #writing advice

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thewebcomicsreview · 5 years ago

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So I've been following this one guy who gives really good writing advice, but lately he's been: telling people it's OK to skip the Intermission in Homestuck; defending bad writing as a "structural issue" (those poor writers, it's not their fault they've structured their story / writing process in a bad way); priding himself on making a half-assed "unfinished-on-purpose" comic review. This person was my main source of writing advice, so I don't know where to turn to. Any recommendations?

The only other webcomic review guys I’m aware of are the Bad Webcomics Wiki, but if you think I’m too nice on writers, they might be up your speed anyway and oh my god they just posted a review of a SpiderForest comic. Guess it’s time for

The Webcomic Review Reviews Webcomic Reviews

So, this is a review of a SpiderForest comic called “The Guide to a Healthy Relationship” which is a comic about LGBT people, and it’s being reviewed by the Bad Webcomics Wiki, so obviously there’s going to be a whole bunch of slurs, so consider that a content warning and I’m putting the rest of this behind a ReadMore

This is going to be slightly disjointed because the BWW review is disjointed, but I’ll do my best

We’re already in some factual trouble right on line one, since TGtaHR is a traditional webcomic and not a long-scroll mobile-friendly webtoon, nor is it hosted on webtoons.com. Is this nitpicky? Maybe a little, but we’re off to a poor start here.

This comic is just under 200 pages.

I feel like if you’re going to write a big thing attacking a webcomic’s story, you should try to have some kind of understanding of what that story is. I know what the story of Sinfest is, and Sinfest is a confusing nightmare.

Okay, so maybe the reason you think this story is bad is because it’s 2deep4u.

So, in the space of about twenty pages, we learn that Apollo had a friend named Julian who killed himself, and then we cut ahead to Julian drinking on the job, going to a party, taking drunks, and waking up naked in the bathtub covered in beer bottles, and the living room is full of too-hot-for-tumblr passed-out drunks. The Bad Webcomics Wiki calls this “Softcore porn that is never brought up again”, because the Bad Webcomics Wiki is written by high school dropouts for an audience they presume has never read the comic proper.

This debauchery is never brought up again because it’s not relevant to the plot, it’s relevant to the character. Apollo is fucked up because his friend killed himself when he was a teenager, and he deals with being fucked up by retreating into sex, drugs, and rock and roll. That’s what’s being established here. Also being established if you’re paying attention: Apollo has scars on his chest.

In chapter 1, Apollo goes to a party, the entirety of which is dedicated to him walking around naked, and we get a bunch of obviously sexual shots of his dick, clearly catering to the author's gay fetish. His boss goes to his place to check on him, and it is revealed he is a hoarder. This never comes up again.

1. In this scene, there are two panels where you can see Apollo’s penis, one panel where you can see someone’s vomit-covered dick, and two panels where you can see a woman’s breasts. None of these panels of flacid dicks or sagging boobs are sexual, though. The dicks are unpowered, it doesn’t make a bit of difference guys, the balls are inert.

2. What the fuck is a “gay fetish” and how it different from just “being gay”.

3. I don’t know the author, even though we’re both in SpiderForest, so I don’t know where Dani The Carutor lies in the whole gender spectrum thingamabob, but I will note that “Dani” is usually short for Danielle. So maybe it’s not a safe assumption that the author is a man? I dunno. That’s just me, guessing people’s genders by screen name is hard, so I try not to lest I embarrass myself.

4.So, when you say Apollo is a “hoarder”, you link to a page showing his room is disgusting and covered in garbage

Is your takeaway from these panels....that Apollo is some kind of fanatic garbage collector? That his room is full of garbage because he actively works at having as much garbage as possible because he wants it?

There are a couple pages explaining Apollo's purple special snowflake eyes with some snowflake "disability".

Apollo has Ocular Albinism, which is a real condition that really exists, and really does give you purple eyes. It also gives you major vision problems, which are the context in which it gets brought up, because Apollo needs help crossing the road because he can’t see well enough in the light. So I don’t know what the scare quotes around “disability” are for. He can’t see. You could, if you were so inclined, connect this plot point with the way the chapter titles are named after mental conditions, and start to formulate some coherent critique with the seemingly cavalier way this comic uses disability, but that would require thought. It might even require research into difficult topics, because you’d ideally not want to make a fool of yourself talking about things you didn’t understand well enough to talk competently about.

Chapter 2 is the most pointless, as it is basically there to confirm what we already know so the author can insert a cringy buzzword (see image below)

Okay, so a couple of things

1. In what fucking universe is “tranny” an SJW buzzword? What the fuck are you even talking about?

2. Having the protagonist of your comic say someone is “smart, for a tranny” is like the least SJW thing you could possibly do.

3. Perhaps “Apollo is asking someone for help but casually insults her causing her to leave” is some kind of “character” moment? The author of this review is so /pol/-poisoned that they have no ability to understand “context” or “characterization” or basically any thing that exists.

4.Your list of the comic’s characters includes this bon mot:

So what the fuck? That’s so stupid I’d think it was an intentionally hypocritical joke if I had any reason to believe you were capable of it.

Chapter 3 is dedicated to revealing the boyfriend shit

I should point out that Apollo and Julian being boyfriends is something the BWW invented, the comic itself clearly states they were “best friends”, not boy friends. Couple of dudes being prudes.

Apollo believes that Julian faked his own death, which fucked up Apollo for years, and now that they’ve met each other Julian keeps ghosting him. Apollo’s motives for chasing Julian around are extremely clear.

That’s a scene transition, bay-bee!

Apollo finally gets ahold of Julian. Julian blows him off and Apollo gives up. There’s then a clear scene transition to Apollo, at a restaurant, talking about what we just saw. This is a perfectly clear scene transition, with a transitory panel and everything to indicate that this is the next day. It’s certainly more clear than Apollo waking up in jail in chapter 2 which you skipped over. Are you actually reading this comic at all?

You are such a fucking moron, holy shit.

Julian got beat up for being trans. It’s unclear if he’s actually trans or just a feminine-looking cis dude, but regardless it was bad enough to traumatize him and this all happened when he knew Apollo, who calls Julian his “best friend”, and says things like

There’s literally two dots here, and you’re unable to connect them. Galia even has the same hairstyle as Julian to make it visually obvious This Is What The Reference and you still missed it.

Julian and Apollo walk around the woods in their underwear for no reason whatsoever. Julian takes some drugs or something, and passes out?

Hm. Why does Julian go outside at night? I wonder if that’s explained in the comic?

Oh, I see. He went outside to smoke. But why did Apollo go outside at night?

Oh, he was looking out the window and saw Julian mysteriously go off into the woods. I guess that’s explained, too. I guess you just missed those pages

Julian takes some drugs or something, and passes out?

Huh, I wonder why Julian was asleep

Oh, he has Insomnia, so he took something called Halcion. I wonder what that is.

Oh, it’s a prescription insomnia medication. And you shouldn’t take alcohol with it, wow Julian is dealing with a super pushy alcoholic I should file that information away for later, like how knowing Wellbutrin’s side effects in teenagers were critical to understand Drop Out. Luckily webcomics are comics, on the web, and I can look this up!

He is then woken up by the fatty side character punching him. Somehow, Julian destroyed the kitchen, even though he was passed out - this is never explained, and makes no fucking sense

Sigh.

So, here are some hints as to what happened.

Julian has bruises all over his body, which you have consistently failed to notice.

Daniel, Julian’s friendly boyfriend, has like no negative reaction whatsoever to Brandon, some random dude, punching Julian in the fucking face

He even takes Brandon’s side and basically implants the idea that Julian did it into Julian’s head, and that last panel is rather threatening.

Julian took insomnia medicine, and fell asleep, and then got wrongfully blamed for destroying the kitchen by Daniel, who know’s that Julian was passed out and couldn’t have done it. Who actually did destroy the kitchen is a mystery, but Daniel is the most likely culprit.

it transitions into this trippy bullshit with blood, and body horror, and Julian's hair is suddenly short

It’s short because it’s a flashback to when he was a teenager, and he had short hair when he was a teenager so that literate people are able to understand this without getting confuzzled.

Apollo turning into Daniel in this trippy dream sequence is also pretty relevant!

Also, we have random nudity and sexualization of this sick person.

No, we have reveals that he’s in worse physical shape than we thought.

By the way, in your character list, you describe Daniel as

Daniel (Side Character): He may as well be a wall. This guy has no personality whatsoever. No quirks, no interests, no purpose outside of causing superficial melodrama.

If you’ve made it all the way to this point and not picked up on Daniel being an abusive boyfriend and the primary antagonist of the story, you may be beyond hope.

The rest of the chapter is Julian being angsty, and SO ILL while everyone talks about how weird he is

Again, that’s very clearly and obviously not actually what’s happening in the story.

What’s happening isn’t “Julian is sick lol”, it’s “Daniel is working to turn everyone against Julian”. That’s why he destroyed the kitchen and blamed Julian for it; to ensure that the other boys all thought Julian was a nutjob and thus keep them from reaching out to Julian and providing Julian with a guide to a healthy relationship instead of the abusive one he’s currently in. Your inability to read even slightly between the lines isn’t just distressing in terms of your inability to think critically about stories, it’s maybe worrisome re your ability to think about the real world, too. How are you this dense? It’s like watching Star Wars and not picking up that the empire and the rebellion don’t like each other. No wonder you’re confused!

Chapter 5 is still in the works. It jumps the shark right away with Apollo getting drunk and sleeping with Julian's boyfriend. The author makes Apollo the guilty party and not the boyfriend

The comic is fairly clear that Daniel is the bad guy

This webtoon is so convoluted there is no saving it at this point. Each chapter is titled after some mental illness such as 'Monophobia', 'Anxiety', 'Psychosis'. You think they would have some thematic meaning with each chapter being about one of those things. Nope, they're just titled like that to show how EDGY this webtoon is! You can taste the cringe. Julian's mental shit has no rhyme or reason - he will act sick when the plot calls for it, and if it has anything to do with the chapter's title, it is also crazy inaccurate.

The author of this review somehow managed to read the entirety of The Guide to a Healthy Relationship without picking up that Daniel was an abuser. The comic thus seems convoluted to him because he thinks all the things happening are random events without rhyme or reason because he has completely failed to notice the whole plot, which is not subtle. Just....fucking staggering incompetence, as a critic.

Guess you’re stuck with me, anon.

#Anonymous #The Guide to a Healthy Relationship #bad webcomics wiki #The webcomic review reviews webcomic reviews

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reel-em-in · 4 years ago

Text

Peer Review: Sound Projects

Within our Sound Project crit, we were asked to add a quick post to our blogs about the other groups projects. So here we go:

Most of these videos are password protected, I assume this is so that only people on the course can access them. Sorry about that, but I guess anyone that finds this that isn’t on the course is just going to have to live vicariously through me :)

Group 1 - Cameron, Molly, Luke, Charlie, Alexander

vimeo

I like the use of music within this film, especially the diegetic use at the beginning. The vintage feel of the sound and the fact that it seems to be coming from within the character’s flat has a somewhat creepy feel to it. I also like the fact that when the camera cuts between the character in the stairwell and him sitting at the kitchen counter, the music also skips ahead to show that time has passed between the cut. The synchronisation of the sound with the visuals is also well done. I feel that the rain sounds are a little too high in the mix, though that could be a personal thing. They just feel as though they are kind of deafening in comparison to the earlier parts of the film. Another issue is the lack of sound when the bin gets tipped over, especially since the camera is right there with the action, the lack of sound is somewhat jarring. I also like the fact that the music returns at the end of the film as non-diegetic sound that fades in as the diegetic sound fades out. This also lets the lyrics of the song become more clear, ”would all this be true if I didn’t care for you”. This final line makes me feel as though this fits into the genre of romance, but with some sort of dark twist.

Group 2 - Jagoda, Laurie, Peter, Lilith, Gordie

The growling at the very beginning of this sets the tone of the film as being a horror. Something added to by the building score used whilst the character is sitting at the kitchen counter and continued when he first begins running down the stairs. My issue with the growling though is that it is difficult to work out where it is within the narrative. Is it something real? Is it something in his head? Wherever it is he doesn’t seem to be reacting to it in a way that is scared. Though this is something that comes from the fact that we were not able to create the visuals in this project. The synchronisation of sound and image is good throughout, as is the mix. I especially like the very clear difference between the sounds happening outside whilst the door is closed, this is very effective. Although I like the idea of the film coming full circle with the growling happening again at the end, it feels strange that it only occurs at the very beginning and very end. It could have been committed to a little bit more.

Group 3 - Elzė, Beth, Lucas, Jess, Josh

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I like the use of voiceover at the beginning of this one, especially the way that the emotion of the voiceover and the tension it brings build with the wind in the visuals. Going from what sounds like a couple talking about something good, to an argument, to the sounds of sirens and yelling, and finally an urgent government announcement. I also love the cut between this first shot, and the lift. The echo of the final “I don’t want to go!” can be heard in the silence and it really emphasises just how loud that first scene had become. The synchronisation is really good. The tone that has been given to the voiceover works well as it creates a clear difference between the diegetic and non-diegetic sound. There is a sound at 1:43 that sounds like a lighter being lit that I cant quite place, it feels too loud to be non-diegetic, yet doesn’t match the visuals. Overall I feel that the genre of this is a mixture between drama, and romance.

Group 4 - Dan, Will, Fraser, Alyssa, Emily

The sound synchronisation at the beginning of this one is very good, especially in the car. Even small details such as the sound of the beads hung up in the car have been thought about. Though the synchronisation gets lost when we see the character walking once he has got to his destination. The sounds of the footsteps on gravel (although good foley) don’t match the characters steps on screen, and the extra that we see does not even make a sound as he walks across the gravel. I like the use of the generator sound inside the tunnel, as it gives the impression that this place is off the grid and that some sort of illegal activity is taking place here. There are some issues with the mix in this section, with some aspects of the sound design that should feel close feeling a little too far away, and some aspects that should feel far away seeming to be too loud in the mix. I like the use of human screams when we see the animals. This is really unsettling and fits well. Another thing I really like is the sudden cut from the horrific screams and sounds of torture to the idylic sounds of nature at the end. The juxtaposition of the two really highlighting just how awful (in a good way) the previous soundscape was. If I had to give this film a genre, it would be an ecological horror.

Group 5 - Coleen, Josh, Kyle, Abigail, Kate

I really like the choice of score for this one ( I think it’s Aphex Twin ), as it works really well with the sounds of the wind, footsteps, and birds to give an almost dreamlike feel to the opening scene. Though there is something a little too jarring about the sudden cut from that scene and the music, to the purely diegetic lift scene. The main issue I found with this one is the spot effect used for the opening of the lift doors. Although the sound itself works, there is an issue with the recording and it has a lot of white noise in the background, making it stand out too much. This could have been fixed by fading the clip in and out in the mix, or finding a different sound effect if it was still too noticeable. The synchronisation of sound throughout is very good. I also like the building of the soundscape, with sounds from outside the apartment audible through windows, it really gives you a sense of the location. A city apartment, with the sounds of card drifting up from outside. I wasn’t as sure as to the genre as with the others, but perhaps some sort of mystery?

Group 6 - Mia, Dori, Tom (me), Maddy, Abbie

This is my group, so I’m not going to write about it in this post. See the next post, Sound Project Reflection.

Group 7 - Jemma, Laura, Bronte, Euan, Robyn

vimeo

I love the score for this one! Something that is helped by the fact that it was written for this project. I also like the use of the ringing phone, as this links in to the narrative later with the voiceover. I like the difference in the sound from outside when heard through the closed door, though I feel that the mix is a little bit too loud when the camera joins the character outside. The use of the answer-phone message as voice over is a really good idea, as it makes the narrative of the film much more clear, really hammering home the genre which i feel is a thriller.

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shemakesmusic-uk · 5 years ago

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After releasing her film Black Is King as a Disney+ exclusive a few weeks ago, Beyoncé has shared the visual 'Brown Skin Girl' on YouTube. Featuring SAINt JHN, WizKid, and daughter Blue Ivy, the clip features appearances by former bandmate Kelly Rowland, Noami Campell, Lupita Nyong’o, and more. The video coincided with a special message the star shared with Good Morning America. "It was so important to me in 'Brown Skin Girl' that we represented all different shades of brown," Beyoncé said of the video, crediting director Jenn Nkiru with the concept. "It was important that we are all in this together and we're all celebrating each other." [via The FADER]

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Eivør releases a new single and video, ‘Let It Come’, the latest lifted from her forthcoming album Segl. The transportive new clip - filmed in Iceland - is a prequel to the video for previous single release ‘Sleep On It’, which Eivør released last month. Both videos are directed by Einar Egils and feature actor Tómas Lemarquis (Blade Runner 2049, X-Men: Apocalypse). Speaking about ‘Let It Come’, Eivør says; "It’s one of those songs that took many shapes before it reached its final destination and I guess the opening line pretty much explains it all: “Sometimes I overthink the most simple things”. This song is a follow up to my previous single 'Sleep On It' - whilst that was about insomnia and making difficult choices, 'Let It Come' is about coming out at the other end of this struggle, embracing the uncertainties you might find yourself in and finding the courage to believe that something good will come your way." Of the interplay between the two music videos he has created for Eivør, director Einar Eglis adds; "'Let It Come' is a prequel to the end of the world that was portrayed in the ‘Sleep On It’ video. Eivør has been stuck in a loop of uncertainty for years, until she sees a vision that will end everything as we know it, and she is the key towards redemption. She must face these facts and embrace the golden idol she is to become."

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The gentle, hypnotic sway of 'god's chariots' is central to MaryLou Mayniel's first full-length project Galore. Her catalogue of experimental electronica is impressive whichever way you look at it. Creating everything from video game soundtracks to an EP sampling the likes of Miley Cyrus and Carly Rae Jepsen to vast instrumental odysseys and empowering pop anthems, Mayniel can turn her hand to almost anything. 'god's chariots' is at the helm of the singer-songwriter's latest drop of new music. “It’s a fantasy, a place you’re in to escape reality, but it’s also about being so lonely that you kind of lose your mind,” explains Manyiel. A fragment of her forthcoming debut full-length project 'god's chariots' is just one piece of the ever-expanding story which Oklou shares on Galore. With additional tracks 'nightmare' and 'rosebud', also out n ow, we get to piece more of Galore's narrative of emotional rebirth together. Already an illuminating experience with its first six songs out in the world, soon you'll be able to witness Manyiel's first masterpiece in all its glory when the rest of the project is released next month. [via Line Of Best Fit]

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Madeline Kenney has shared the visual for her Sucker's Lunch album track 'Cut the Real'. 'Cut the Real' is one of the most lyrically confrontational tracks on Kenney's new album Sucker's Lunch. Kenney has unveiled the accompanying self-directed visual filmed in Oakland that sees her dressed in a Rococo style suit and makeup, giving a heartfelt performance of the song's fierce lyrics. Madeline Kenney: "I wrote 'Cut the Real' when I was feeling particularly insane / depressed /"out of my mind" as I was starting a new relationship. I really struggle with self confidence and found myself spiraling out into deep holes of self-loathing -- even though I knew what was going on I couldn't stop that cycle. The concept was inspired by the aesthetic choices in recent Aldous Harding videos as well as old Annie Lennox videos. I wanted to put on a gender-neutral Rococo outfit and just really allow myself to ham it up, and occupy that same spinning-out headspace as I was in while writing the song." [via Line Of Best Fit]

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Four years after she released her solo debut Slugger, Speedy Ortiz leader Sadie Dupuis is getting ready to release Haunted Painting, the second album released under her Sad13 alias. The album comes out next month, and now we get another new song, and it’s got a pretty great music video attached. The new Sad13 track is called 'Hysterical,' and it’s a zippy synthpop track with layered lyrics: “I wanna see you disappear and laugh like I don’t need permission.” In a press release, Dupuis says that the song is about “unfunny comedians [who] love to argue that ‘PC culture’ destroys comedy.” Dupuis plays almost all the instruments herself. The video, directed by Kate Banford and Jamie Loftus, features Dupuis alongside comedy-world mainstays like Loftus, Mitra Jouhari, and Demi Adejuyigbe. Like the new horror movie Host, the whole thing takes place on a computer screen, and it’s all about what happens when a ghost shows up in a Zoom party and kills everyone. [via Stereogum]

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When Cross Record’s Emily Cross and Dan Duszynski teamed up with Shearwater’s Jonathan Meiburg to form Loma, it seemed like it might be one-off endeavor. But then last month we got news that they’d be following their 2017 debut with a new album, Don’t Shy Away. Along with the announcement, they shared a stunning new track called 'Ocotillo'. Today, they’re back with another one. The latest preview of Don’t Shy Away arrives in the form of 'Half Silences,' which the band shared an earlier iteration of last year. 'Half Silences' was the first song we recorded for Don’t Shy Away, and we kept tinkering with it after we soft-released an early version last year,” Meiburg explained in a statement. “When you start making a record, you don’t know which songs will make the cut — but this one always seemed to belong, and we wanted to give the final mix (and its DIY video) a proper debut. People have asked if the fireworks are CGI. They aren’t.” 'Ocotillo' was an almost foreboding song, cresting into horn arrangements that teetered on the brink of chaos. In comparison, 'Half Silences' is a dreamier and hazier composition. But in either form, Loma are making some gorgeous, otherworldly music. [via Stereogum]

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Back in June, the Bristol songwriter Fenne Lily announced her sophomore album, BREACH. So far we’ve heard advance singles 'Alapathy' and 'Berlin,' and today she’s back with another one. Lily’s latest is called 'Solipsism.' Here’s what she had to say about it: "A lot of situations make me uncomfortable — some parties, most dates, every time I’m stoned in the supermarket. 'Solipsism' is a song about being comfortable with being uncomfortable and the freedom that comes with that. If you feel weird for long enough it becomes normal, and feeling anything is better than feeling nothing. I wanted this video to be a reflection of the scary thought that I’ll have to live with myself forever. It’s surreal to realize you’ll never live apart from someone you sometimes hate. Dad, if you’re reading this you killed it as shopper number 2." The song comes with a video directed by Tom Clover with the non-profit Film Co. “I asked Fenne what products she wanted to be and then worked backwards from there with the illustrators,” Clover explained. “Most of the references came from Asian Supermarket packaging — they are way more interesting. The most important thing was making sure that it reflected upon Fenne’s personality — there’s a bunch of details you might miss on the first watch!” [via Stereogum]

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About two weeks ago Oceanator shared 'Heartbeat,' the third and final single from their upcoming full length debut, Things I Never Said and now it has a video. The highly anticipated album via Plastic Miracles captures Elise Okusami’s songwriting at it’s best, a strong effort that sits between pop, rock, fuzzy punk, and alternative radio gold. The video, directed by David Combs and Ben Epstein, is every bit as delightful as the song itself, opening with the same magnetic energy as we find Okusami seemingly lost and looking for companionship. She finds it eventually in the form of herself, quite literally, as she joins herself at a bus stop, and then again in a field, with ten of more copies, al rocking out, all enjoying each other’s company. There’s a brilliant barbershop quartet moment, cool animation, and enough smiles to keep you going throughout your day. Speaking about the song, Okusami shared: “This song is loosely about having a crush, and both the grounding feeling and the anxiety that feeling brings. We recorded it all together like a live performance, and then I went back and added the lead guitars and the vocals. Guitar and vocals by me, bass Eva Lawitts (they), drums Aaron Silberstein (he)." [via Post Trash]

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Ontario-based project Falcon Jane – the moniker for primary songwriter of the group, Sara May – have released their soaring new single, ‘The Other Moon’ via Pittsburgh-based label, Darling Recordings – you can watch the new video that comes co-directed by May and Dominique van Olm above. ‘The Other Moon’, which is lifted from a larger body of material set to come from Sara May further down the line, finds the artist exploring deeply sentimental and personal themes, from death to memory, and the miscommunication that can take place between generations. May has a penchant for unpacking these emotions in succinct and comprehensible forms, making something so personal and idiosyncratic to her feel so familiar to the rest of us. Much of May’s forthcoming work found its source of inspiration in early 2019 when her songwriting synched up with a string of deaths that occurred in her immediate family; ‘The Other Moon’ pays a touching testament to her Nonna with May lacing the track’s stark honesty with swooning guitar and her enchanting vocal palette, a sound that co-director, van Olm visualized as May’s DIY journey through space. Speaking about the new track, May says: “‘The Other Moon’ is a letter and tribute to my late Nonna whose death inspired me to start recording this album. Despite being from two completely different generations, and speaking two different languages, my Nonna and I had a very special connection. We understood each other and cared about each other, even if we couldn’t find the words to express it. My Nonna would always cheekily joke about her own death, and through her broken English, she claimed that when she died she’d be going to “The Other Moon”. This song is not a story about a happy-go-lucky relationship between grandmother and granddaughter,” May continues. “It accurately depicts the contrasting dynamic of a very loving friendship mixed with a lifelong trauma-ridden miscommunication. The big hole in my heart, the black cloud over our love. This song feels like the message I always wanted to send to her; pushing through the darkness to find the deep love we shared and continue to share now.”

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Baby Queen has released her third track 'Medicine' with a fab new video. The follow-up to ‘Buzzkill', it arrives ahead of her debut EP later this year. "It's about a tangle of mental health and navigating your way through this world,” Bella says of the song, “whilst being so unhappy and equally disillusioned with the cyber landscape that we are forced to live inside, and the different ways people might numb themselves, or try to find a place where they can exist in amongst all of this fucking chaos." [via Dork]

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Oklahoma-born, LA-based electro-pop songstress Mothica has released her debut album Blue Hour, accompanied by the official music video for her single 'VICES.' The album was written over the course of a few months, starting with one of the worst moments of Mothica’s life: a psych ward stay for self-harm and ends with a song about never wanting to feel the “crash” of drugs ever again. “Following that incident, I sought therapy and wrote lyrics detailing my journey into sobriety. I am now 13 months sober at the time of writing this, and have never been in a better place emotionally.” With her new album Blue Hour, she chronicles her deep struggle with addiction + mental health and the process of getting sober. “Someone told me that every artist has their ‘getting sober album’ eventually,” she explains. “I find it ironic that my debut album is my ‘getting sober’ album, because I think that’s indicative of how quickly I was forced to grow up."

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FKA twigs has always made incredible music videos, and 'sad day' ranks right up there with her best. For this clip, twigs worked with the director Hiro Murai, one of the best music-video directors to emerge in the last decade. Murai has mostly moved on from music videos in recent years. Instead, he’s directed episodes of Atlanta and Barry, two of the best shows on TV, as well as Donald Glover’s Amazon short film Guava Island and the forthcoming apocalyptic miniseries Station Eleven. The 'sad day' video is Murai’s first clip since he made the instantly iconic 'This Is America' with Donald Glover in 2018. I don’t want to give away much of the 'sad day' video, which starts out in a dingy takeout spot and transforms into a surreal dream-logic head trip. But you should know that twigs only made this video after spending three years studying martial arts at the Shaolin Wushu Center, and you can tell. A dancer named Teake, who twigs discovered via social media, co-stars. [via Stereogum]

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The latest of Silly Boy Blue's ongoing build is 'Hi, It's Me Again,' a song she describes as the "too long text I didn't want to send at 3 AM to my ex." Like the rumination behind a loaded, emotional message to a former lover, she adds that it took months to assemble the words in her head but only one night to write out the lyrics. "I needed to write a song about this, because it's a very special place between the hate and the void during a breakup." With an almost lullaby melody, the spacey tune slowly builds into the ultimate warning: "You'll be the one I always haunt," Silly Boy Blue sings, her voice beautifully layered and atmospheric. All her thoughts throughout the song are interlaced with the relatable, somewhat insecure backpedal, "I'm sorry," capturing the headspace "just before resilience," as she describes. It's "when you start to understand the breakup, but you still have so many questions popping in your head." In the 'Hi, It's Me Again' video, Silly Boy Blue says she "needed to show the different parts" of her identity. "Some of them are masculine, some of them are feminine, some of them seem confident, some seem shy, some seem to suffocate, some stand proudly." Much like the nuanced feelings during a breakup, she expresses without binaries — and especially through fashion, as she opens the clip in only an oversized men's button-down. Scenes in the new visual roll by like memories or fleeting emotions, ranging from subdued drama to full on meltdowns. At one point, she's shown with a plastic bag pulled over her head to capture the most extreme feelings of dread, juxtaposed against a more innocent shot of Silly Boy Blue in all white with two lone tear drops fixated on her cheek. The artist also loaded in "important" references to her favorite movies, from the Titanic's necklace to The Rocky Horror Picture Show's big mouth. [via PAPER]

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Dream Nails have released a video for their new single, 'This Is The Summer'. It's a song from their new Tarek Musa of Spring King-produced, self-titled record out now via Alcopop!. “[It's] a song about how our climate is breaking down irreversibly,” says singer Janey Starling. “Colonial capitalism, waged by UK governments and corporations for centuries, has ravaged our earth. “We need to be urgently fighting for migrant rights so the UK welcomes climate refugees displaced by countries hit by extreme weather. We must demand transparency from oil companies who relentlessly put profit before people, even as the world burns." Guitarist Anya Pearson adds: “We wrote ‘This Is The Summer’ in the heatwave of 2018, recorded it in another heatwave in 2019 and now we are releasing it in yet another heatwave! Our video for the track shows how the current pandemic, white supremacy and climate change are not separate issues but interlinked. The song is about the brazen complacency of getting drunk and catching a tan in the park while the world burns.” [via Dork]

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BBC Sound Of 2020 winner Celeste has shared her new single 'Little Runaway'. Out now, the single is about a crisis of faith, and features a towering vocal from the London artist. A song about succumbing to the depths before emerging renewed, 'Little Runaway' began as a jazz sample, before taking on a life of its own. Celeste says... “‘Little Runaway’ is a song about losing your faith, even if just momentarily, and seeking answers from spirits and ghosts as nothing seems to make sense on this planet. My favourite line in the song is ‘good news I could use some’ – I believe everyone has a guardian angel, a protector, and this is me talking to mine.” “The verses actually started as this saxophone sample we were playing around with and eventually it transformed into the melody. I always play the sax back in my head even though it’s not in the song.” 'Little Runaway' features an innovative music video, steered by Celeste’s frequent collaborator Sophie Jones. [via Clash]

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Anna Sofia released a brand new music video for her song 'Don’t Play Pretend'. 'Don’t Play Pretend' is from her latest EP Broken Perfection. Over a million streams into her career, Anna Sofia sings this song about her own life. She might not be perfect. She might make mistakes. All that said, at least she doesn’t pretend to be something she’s not. Sofia said she doesn’t have a message. “It’s just real life,” she said. “One day, I hope to fill stadiums all over the world. I want to have fans everywhere and have some way of helping them or guiding them through my music. My confidence comes from being myself and connecting with people.” [via The 360 Mag]

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Last year, the K-pop group BLACKPINK made big moves in America with their Kill This Love EP, becoming the highest-charting women-led Korean act on both the Billboard 200 and the Hot 100 (with its title track). They also played Coachella. Earlier this year, they had a guest feature on Lady Gaga’s Chromatica with ‘Sour Candy,’ a single that matched their previous chart record at #33. They’re releasing a new album in a couple months, which was led off by ‘How You Like That’ in June. Now, they’re putting out another song from it, a collaboration with Selena Gomez called ‘Ice Cream.’ The food angle of the track is appropriate for Gomez, who has most recently been in the headlines for her new HBO Max cooking show. [via Stereogum]

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Tel-Aviv based artist Noga Erez shares the next in a series of game-changing singles leading into her mysterious second album (details yet to be announced). 'You So Done' and its striking accompanying video are out now via City Slang. Following the sparkling sass of 'VIEWS' and the irresistibly upbeat lockdown anthem 'NO news on TV', Noga Erez and her collaborative partner Ori Rousso's latest offering 'You So Done' has been highly anticipated online since appearing on NBC's Good Girls earlier this year. It sees Erez shift from outward looking political themes to personal soul-searching, opening up for a stirring track about rejection, toxic and emotionally violent relationships, and ones own inner violence. Along with the track she has shared a moving statement, saying: "At some point, exactly one year ago, I started flashing back to one of the darkest times in my life. I was young, incredibly confused and lonely... There was a moment during this period where I was actually so weak, insecure and in need of love that I was not able to step out of what I know now to be an emotionally abusive relationship." She concludes: "It really, truly means the world to me to give this song to you. I hope this story can help some of you to realise that you are not alone. And I really do hope to make it clear that even the darkest places are not impossible to free yourself from. They are eventually an opportunity to learn, grow and to become a stronger person." Erez has created a reputation for the captivating videos that accompany her songs, and this latest video sees her step it up a level yet again. Her third collaboration with Tel Aviv-based director Indy Hait sees Erez as a puppet in a dystopian future, being violently flung to-and-fro by an unknown captor. "The video for 'You So Done' was a big risk taker for me" she comments. "Usually, I have an idea or I work with a director on an idea together. Since this was my third video with Indy Hait, I decided to let him do his thing. He offered up an idea that included a robot and I immediately hated it. I was just not able to imagine how it wouldn't come off as a science fiction video and felt it wasn't my style. But after talking and tearing the idea apart, I realised that this is a truly meaningful character. The robot in this video is actually not the violent character. Its job was to portray the act of violence through transferring the moves from an unseen character and helping them come alive visually. The video uses muscle memory as the 'engine' to that violent dance act, and muscle memory is something that fascinates me. Eventually this video is far from being science fiction, it is my most personal video to date."

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zachvillasource · 5 years ago

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interview | zach villa - schonmagazine.com

As the infamous Night Stalker, Iowa-born actor Zach Villa is a chaotic evil in the latest series of American Horror Story. Entitled AHS: 1984, the show plays off the hopes and tropes of the 1980s, incorporating elements from films like Friday the 13th and Halloween into a spine-tingling thrill ride. The chief villain of the series is Villa’s Richard Ramirez, a reality-based serial killer set on making the lead characters’ lives a living hell — quite literally.

In real life, however, Villa is an obvious contrast. A multihyphenate with a strong career across a range of disciplines, he first caught the attention of the mainstream from his collaboration with Evan Rachel Wood in the project Rebel and a Basketcase. Now, as AHS: 1984 keeps audiences around the world thoroughly spooked, Villa opens up to Schön! about growing up in Iowa, his willingness to collaborate with Taylor Swift, and the unexpected call that announced his role on American Horror Story.

How did you get your start in acting?

Well, I’ve been on stage since I was two, so the whole shebang started quite early. Acting, oddly, was an afterthought when I first started. I had been dancing and singing on stage for years, idolising great song-and-dance performers like Gene Kelly, Donald O’ Connor, and Sammy Davis Jr. when it occurred to me that I should probably focus on learning the craft of acting if I wanted to continue pursuing that particular path in the entertainment industry. I had focused intensely on two out of the three “triple threat” disciplines, so I guessed it was time that I figured out the third part. It was an accessory to being able to perform musical theatre roles more effectively, and I guess that backfired in a sense and became a more central focus as I developed.

Iowa isn’t the most common birthplace for a big-time actor. What does your family — and presumably other Midwestern relatives — think of your journey into Hollywood?

They are both thrilled and confused. Don’t get me wrong — my family is very happy for me, and while we have had our spats over the years about whether or not I should be pursuing a highly volatile, financial unstable career, they have ultimately come through and rooted for me and my success.

That being said, I think pursuing a career in the mainstream entertainment industry is a very singular experience. Unless you’ve lived it and hit the pavement in NYC, L.A., etc., it’s very hard to understand the day-to-day struggles of a performing artist. I think that certain regions of the country are — generally — a majority of media consumers as opposed to creators, and there is a disconnect between the public and those of us pursuing an arts career that propagates the fallacy of things being easy and breezy, since you don’t have to get up every day at 6 AM, go to the office, and then come home and make dinner. People see that lack of structure as undisciplined and fancy-free. Let me tell you, it’s anything but. Artists have to hit the pavement in a very different way that is highly varied from day to day, and that uncertainty introduces a unique kind of stress, in addition, to actually trying to be good at your job. I always say that booking work is my “job” as an actor, and when I actually book a gig, that’s where the job ends and the craft and career begins. Translating that to someone without firsthand experience can be infuriatingly difficult.

Where were you when you found out about landing AHS: 1984 and the scope of your role? What did you do?Who did you call first?

I was in the studio recording an audiobook — one of the many ways that this particular actor has been able to supplement their income, and it has been such a gift. I was waiting on the call, and I stopped narrating mid-sentence — much to the puzzlement of my audio engineer — and picked up. I got the news, opened the door of the vocal booth and leaned against the front wall, sliding down to a sitting fetal position, and started to tear up. I called a few close friends and family and walked around for the better part of an hour mildly freaking out. The studio staff secretly went and bought a bottle of champagne down the street, and after I finished my page quota for the day they surprised me with a toast. Then everything in my life became a blur.

Of course, without spoiling anything, what can you tell us about your role as Richard Ramirez in AHS: 1984?

Oh, that’s a very difficult question. Richard Ramirez was a real person. I am playing a character that shares his name and is informed by him and his history. Beyond that, you’ll just have to wait and see.

What was the most memorable moment from shooting the series?

I can’t say my absolute favourite without revealing secrets! But I’ll say that the encounter with the hiker in episode two was quite “fun” — if you can call pretending to murder someone “fun.” The makeup and FX team on the show is the best in the biz, and the blood rig that was used in that scene was just wild. It was messy and crazy, and [there was] high pressure to get it right in one take, and I loved it.

What’s your method for getting into character, both in the weeks and moments leading up to a shoot or performance?

I have to play these cards close to the chest. Some of it is instinct. I just feel as though I am inside the character’s head at some point after spending enough time with the material, but it’s different with each role.

Sometimes I need to know how they sound, sometimes it’s historical research. It’s ALWAYS spending an exorbitant amount of time with the script — that’s the golden rule for me. Whether its Shakespeare or the 200th episode of Friends, you have to start with the text as an actor, and the most minute differences in phrasing, punctuation, word choice, etc. are clues to how this person operates as a human being and in the world. I always come back to the text. Any other secret sauce that I do I’ll keep secret for now.

What’s been the most challenging part of playing a character like this?

I’ll modify the question to ask what’s the most important part of playing a character like this… and that, I think, is being able to let it go at the end of the day — which I don’t always succeed in doing. Sometimes after an intense shoot it takes me a minute to let go of the energy I was carrying around on set. I pride myself on being able to flip in and out, but that is challenging from time to time for me on this particular project.

If you could only watch one film and one television series for the rest of your life, which would you choose?

The Back to the Future Trilogy for movies and Battlestar Galactica for TV. Nerd alert.

Apart from acting (and dance) you’re also well-versed in music. How did you begin as a musician?

The same time that I started hearing it, so very, very early. Growing up with a dance studio attached to your house, you hear a lot of very diverse music over the years. That all seeped into my subconscious, and I was writing full-on symphonies in my head walking through the woods in Iowa when I was seven or eight years old. Mind you, I didn’t have the skills to put that into writing or notation — and still don’t, not for the symphonies anyway.

I learned how to read music by playing the violin in elementary school. I didn’t pick up a guitar or actually start producing original music in any tangible way until my junior year at Interlochen Arts Academy. There, my roommate Filip — a wildly talented self-taught metal guitarist and visual arts student from Macedonia — taught me things here and there, and I also taught myself by ear. The Internet, man.

Who are some other musicians with whom you’d like to collaborate?

St. Vincent. Top of the list. Blink 182 — a childhood dream. Jimmy Eat World. John Mayer but only if he lets me be in his next ridiculous green screen music video. Mac Ayers, Tears For Fears, Snail Mail, and oh, I dunno… Taylor Swift. Come at me.

Who are your biggest musical inspirations? And what have you been listening to lately?

Biggest? That’s tough because it changes with each project. Tower of Power is a huge influence for me. My first band was funk-based, and man, they are so groovy. If you don’t know, now you know go listen to them. St. Vincent. Jimmy Eat World. And, regardless of the drama surrounding this artist from time to time, John Mayer. He really is one of the great guitarists of our generation, and more importantly, the songwriting that he produces is top-notch. I’ve learned a lot from diving deep into his material over the years. Miles Davis, and jazz in general, is huge for me. Brain fuel. Listening lately to Sleater-Kinney’s new record, Knuckle Puck, and a lot of 2000s pop-punk.

What else can we look forward to from Zach Villa — be in 2019, 2020 or later?

World domination.

The track on the video content [for this shoot] is the first single — a tease if you will — of my new solo project. Go check it out. My band Sorry Kyle will be dropping a ton of music over the next few months if you’re into punk and emo.

And that’s just music. Acting-wise, post-AHS I’m waiting to see what comes down the pipe. I’m always creating. I want to be fluid in music, movement, film and TV, directing, etc. There’s no time like the present and the present is, well, now. So hang on tight.

#zach villa #ahs cast #american horror story #ahs 1984 #interview #photoshoots #*

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recentanimenews · 5 years ago

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Junji Ito’s No Longer Human

Of all the famous works of literature to get the Classics Illustrated treatment, Osamu Dazai’s No Longer Human is an odd choice. Its protagonist is Oba Yozo, a tortured soul who never figures out how to be his authentic self in a society that places tremendous emphasis on hierarchy, self-restraint, and civility. Over the course of the novel, he seduces a string of women, gambles, binges, joins a Communist cell, attempts suicide, and succumbs to heroin addiction, all while donning the mask of “the farcical eccentric” to conceal his “melancholy” and “agitation” from the very people whose lives he ruins.

Though the novel is filled with incident, its unreliable narrator and relentless interiority make it difficult to effectively retell in a comic format, as Junji Ito’s adaptation demonstrates. Ito’s No Longer Human is largely faithful to the events of Dazai’s novel, but takes Dazai��s spare, haunting narrative and transforms it into a phantasmagoria of sex, drugs, and death. In his efforts to show us how Yozo feels, Ito leans so hard into grotesque, oddly literal imagery that the true horror of Yozo’s story is overshadowed by Ito’s artwork—a mistake, I think, as Ito’s drawings reduce the character’s existential crisis to nightmarish images, rather than help us understand what it means to be someone who exists, in Peter Selgin’s words, in a state of “complete dissociation… yet still capable of feeling.”

In Ito’s defense, it’s not hard to see what attracted him to Dazai’s text; Yozo’s narration is peppered with the kind of vivid analogies that, at first glance, seem ideally suited for a visual medium like comics. But a closer examination of the text reveals the extent to which these analogies are part of the narrator’s efforts to beguile the reader by suggesting that his mind is filled with such monstrous ideas that he cannot be expected to function like a normal person. There’s a tension between how Yozo describes his own reactions to the ordinary unpleasantness of interacting with other people, and how Yozo describes the impact of his behavior on other people—a point that Ito overlooks in choosing to flesh out some key events in the novel.

Nowhere is that more evident than in Yozo’s brief affair with Tsuneko, a destitute waitress. After hitting rock bottom financially and emotionally, Yozo persuades her to join him in a double suicide pact. Dazai’s summary of what happens is shocking in its brevity and matter-of-factness:

As I stood there hesitating, she got up and looked inside my wallet. ‘‘Is that all you have?” Her voice was innocent, but it cut me to the quick. It was painful as only the voice of the first woman I had ever loved could be painful. “Is that all?” No, even that suggested more money than I had — three copper coins don’t count as money at all. This was a humiliation more strange than any I had tasted before, a humiliation I could not live with. I suppose I had still not managed to extricate myself from the part of the rich man’s son. It was then I myself determined, this time as a reality, to kill myself.

We threw ourselves into the sea at Kamakura that night. She untied her sash, saying she had borrowed it from a friend at the cafe, and left it folded neatly on a rock. I removed my coat and put it in the same spot. We entered the water together.

She died. I was saved.

As Ito recounts this event, however, Tsuneko’s death is caused by a poison so painful to ingest that she collapses in a writhing heap, eyes bulging and tongue wagging as if she were in the throes of becoming a monster herself. Yozo’s reaction to the poison, by contrast, is to plunge into a hallucinatory state in which a parade of ghostly women mock and berate him, an artistic choice that suggests Yozo feels shame and guilt for his actions—and a reading of Dazai’s text that makes Yozo seem more deserving of sympathy than he does in Dazai’s novel:

Throughout this vignette, Yozo’s contempt for Tsuneko creeps into the narrative, even as he assures the reader that she was the first woman he truly loved. Yet Yozo’s disdain is palpable, as is evident in the way he off-handedly introduces her to the reader:

I was waiting at a sushi stall back of the Ginza for Tsuneko (that, as I recall, was her name, but the memory is too blurred for me to be sure: I am the sort of person who can forget even the name of the woman with whom he attempted suicide) to get off from work.

Only a few episodes capture the spirit of Dazai’s original novel, as when Yozo’s father gives an inept speech to a gathering of businessmen and community leaders. Ito skillfully cross-cuts between three separate conversations, allowing us to step into Yozo’s shoes as he eavesdrops on the attendees, servants, and family members, all of whom speak disparagingly about each other, and the speech. By pulling back the curtain on these conversations, Ito helps the reader appreciate the class and power differences among these groups, as well as revealing that this episode was a turning point for Yozo: the moment when he first realized that adults maintain certain masks in public that they discard in private. Though this discovery can be a painful one for children—one need only think of Holden Caulfield’s obsession with adult “phoniness”—this discovery plunges Yozo into a state of despair, as he cannot imagine how anyone reconciles their public and private selves in a truthful way.

Ito also wisely restores material from Dazai’s novel that other adaptors—most notably Usamaru Furuya—trimmed from their versions. In particular, Ito does an excellent job of exploring the dynamic between Yozo and his classmate Takeichi, the first person who sees through Yozo’s carefully orchestrated buffoonery:

Just when I had begun to relax my guard a bit, fairly confident that I had succeeded by now in concealing completely my true identity, I was stabbed in the back, quite unexpectedly. The assailant, like most people who stab in the back, bordered on being a simpleton — the puniest boy in the class, whose scrofulous face and floppy jacket with sleeves too long for him was complemented by a total lack of proficiency in his studies and by such clumsiness in military drill and physical training that he was perpetually designated as an ‘‘onlooker.” Not surprisingly, I failed to recognize the need to be on my guard against him.

As one might guess from this passage, Yozo’s terror at being discovered is another critical juncture in the novel. “I felt as if I had seen the world before me burst in an instant into the raging flames of hell,” he reports, before embarking on a campaign to win Takeichi’s trust by “cloth[ing his] face in the gentle beguiling smile of the false Christian.” Though Ito can’t resist the temptation to draw an image of Yozo engulfed in hell fire, most of Yozo’s fear is conveyed in subtler ways: a wary glance at Takeichi, an extreme close-up of Yozo’s face, an awkwardly placed arm around Takeichi’s shoulder:

What happens next in Ito’s version of No Longer Human, however, is indicative of another problem with his adaptation: his decision to add new material. In Dazai’s novel, Takeichi simply disappears from the narrative when Yozo moves to Tokyo for college, but in Ito’s version, Yozo cruelly manipulates Takeichi into thinking that Yozo’s cousin Setchan is in love with him—a manipulation that ultimately leads to Takeichi’s humiliation and suicide. That violent death is followed by a gruesome murder, this time prompted by a love triangle involving Yozo, his “auntie,” and Setchan, who becomes pregnant with Yozo’s child. Neither of these episodes deepen our understanding of who Yozo really is; they simply add more examples of how manipulative and callous he can be, thus blunting the impact of the real tragedy that unfolds in the late stages of his story.

Ito’s most problematic addition, however, is Osamu Dazai himself. Ito replaces the novel’s original framing device with the events leading up to Dazai’s 1948 suicide, encouraging us to view No Longer Human as pure autobiography through reinforcing the parallels between Dazai’s life and Yozo’s. And while those parallels are striking, the juxtaposition of the author and his fictional alter ego ultimately distorts the meaning of the novel by suggesting that the story documents Dazai’s own unravelling. That’s certainly one way to interpret No Longer Human, but such an autobiographical reading misses Dazai’s broader themes about the burden of consciousness, the nature of self, and the difficulty of being a full, authentic, feeling person in modern society.

VIZ Media provided a review copy. You can read a brief preview at the VIZ website by clicking here. For additional perspectives on Junji Ito’s adaptation, see Serdar Yegulalp‘s excellent, in-depth review at Ganriki.org, Reuben Barron‘s review at CBR.com, and MinovskyArticle’s review at the VIZ Media website.

JUNJI ITO’S NO LONGER HUMAN • ORIGINAL NOVEL BY OSAMU DAZAI • BASED ON THE ENGLISH TRANSLATION BY DONALD KEENE • TRANSLATED AND ADAPTED BY JOCELYNE ALLEN • VIZ MEDIA • RATED M, FOR MATURE AUDIENCES • 616 pp.

By: Katherine Dacey

#Anime #News #Manga Bookshelf

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centaurianthropology · 6 years ago

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The Magnus Archives ‘Zombie’ (S04E02) Analysis

A statement about the living dead might be a bit on the nose, but there’s more than just a scary story this week. Things have happened over the six months Jon’s been out, and none of them seem good. Come on in to hear my thoughts about ‘Zombie’.

Aha, so we get a little more clarification about the Archival situation, and it’s … not good. Basira was the only person at this point who was both available and apparently capable of coming to deal with the aftermath of Oliver’s visit.

It’s been six months.

Shit’s gone sideways.

In spite of Jon being all but dead for six months, he sounded surprisingly okay. Hoarse, but with it. Intact memory, fit enough he feels like he should be able to go right back to work, everything. And after her encounter with Oliver, Georgie did not seem best pleased to find out how rapidly and completely Jon has recovered. She was already rattled by a man who felt like the End, and now Jon’s apparently back from the dead? I could definitely see how that had all her instincts up in arms. The last person she saw come back from the dead was the cadaver, after all, and with an emissary of the End preceding him, I have to wonder if she didn’t think Jon was just the same.

Whatever it was, it was enough for Georgie to leave very quickly, refusing to hear much more than Jon’s insistences that he was fine. For someone who had been by his side for six months, that’s a pretty strong reaction, and shows just how powerfully Oliver must have affected her. And her comment about this not feeling like a second chance definitely hit close to home. Because it doesn’t. It feels too deliberate, like something was holding Jon in stasis until it deemed him ready.

Ready for what? Well, that became quite quickly and horribly clear. Jon was barely awake five minutes before asking for the Statement that Basira conveniently thought to tuck into her bag. Far too conveniently, to my mind, and yet another sign that the Beholding used Oliver as the catalyst to get Jon over the final hurdle, and to make him make his choice.

And when he started to record his statement, his sign-on had changed: “Recorded by Jonathan Sims, the Archivist.”

Not “Head Archivist of the Magnus Institute, London.” Just the Archivist.

Jon, prompted by Oliver, made his choice. I don’t know if he realizes it yet, but he chose the Archivist. He chose to be monster enough to live. He fell into the Eye, and he gave himself over completely. What that means from here on out is anyone’s guess, but he knows when he’s near a statement. He’s potentially even less interested in those around him than he was before. What came back isn’t nearly as human as what went under six months ago. Is there still enough of Jon in the Archivist to give him a fighting chance? Damn I hope so.

And to his credit, I think Jon hopes so too. And it’s difficult to gauge how human Jon is just off interactions with other people, because Jon’s always been a self-centered prick. Demanding the statement before he asked after the wellbeing of his coworkers could be down to Jon being Jon. But the fact that his addiction’s been growing, and the fact that he only woke up when Oliver insisted he make a choice has me worried.

The statement itself didn’t help my concerns. Having the statement come from someone who has great difficulty empathizing with others or understanding that they might feel and exist as deeply as she does seems to strike awfully close to home for Jon, whose defining character trait is his self-centered coldness. I think that Jon likely also has difficulties empathizing with others, though he may also have difficulty empathizing with himself. I think Jon has always been at a remove from the world, and the Beholding is tugging him further out. Playing on natural tendencies. He watches people, but he’s increasingly not a part of them.

But it’s also true that Jon’s not nearly as bad as the statement giver. While he forgets to think of others, and tends toward stand-offish even when he’s trying to be kind, she has what feels a lot more like a disconnect that blossomed into a fixed delusion. Fixed delusions are a single, delusional thought that someone gets into their head and they can’t make it leave. In her case, it’s the shift from a difficulty in empathizing with others to a true belief that they are all philosophical zombies. That she is the only person in the world who’s truly real, who can feel and experience life. Even when she hurt people around her, she felt nothing, because they weren’t real enough to make her care.

That’s already a horrific mental place to be, but it seems that delusions are a siren song to the Spiral, because her stalker felt like something entirely different to her delusion. This was visual and auditory hallucinations (the Spiral’s stock in trade). The horror of this comes not from the delusion, but the thought that something could prey on that delusion, making it more and more real until the person’s entire reality is consumed by it. The Spiral would be just the sort to amp up her paranoia, convincing her that there truly was no life behind anyone’s eyes, and that the hollowness of the stalker was just the final touch to prove it.

Jon’s master, though cruel, at least isn’t playing on his perceptions so directly. He’s able to assess himself to a certain degree, and he’s lucid enough to acknowledge that his self-assessment might well be skewed. He has no way of telling if he really is the same man who fell asleep six months ago. He certainly seemed to go from half-dead to fully functional after the statement, which continues to bode ill.

That his first question to Basira was what had happened to him rather than the others also bodes ill. Particularly since he then answered his own question. Interesting that he does remember the dream, which is disturbing.

His reactions to the news about the others was also not terribly encouraging. He seemed merely resigned and slightly, distantly sad that Tim was absolutely dead (they found a body), and that Daisy was likely dead (definitely not; she’ll be back, and I worry that Basira will wish she wasn’t). Even his reaction to Basira refusing to talk about Melanie barely rose to the level of distress.

The first real, emotional response she got out of him was with the news that Peter Lukas had potentially done something to Martin. Finding out that Martin is no longer around the Archives much, but is instead stuck with Peter for unknown reasons got our first glimpse of something more than tired, sad Jon.

We got anger. His “What did he do to Martin?” was a proper growl, and his denial that Martin could be in league with Lukas seemed equally genuine. I’d like to say that I found it encouraging that at least Martin is still getting real, visceral reactions out of Jon (my stupid shippy heart would certainly appreciate it), but I’m worried it’s less a true attachment, and more the Archivist getting territorial.

Because Martin’s been bound to the Beholding for a decade. He’s comfortable and happy with it in a way even Jon might not be. The idea that the Lonely would try to steal him is an affront to the Beholding, and I worry that it’s the affront and not the caring driving Jon’s anger.

Finally, an odd note, but one that I found somehow even more concerning than Jon’s disconnect. There was something in the way that Basira refused to let him see his old clothes and said that she’d get him new ‘better’ clothes that had me inexplicably on edge. Maybe it was just that Basira never seemed the sort to care about fashion. Maybe that sort of snip would seem better suited to Melanie. Maybe it’s the fact that, in telling him all this, Basira was absolutely and completely evasive about herself.

But it all left me with the sense that something is very wrong with Basira. Just as wrong as things are with Martin and Melanie. It’s true that she’s never talked about herself much, and she lost Daisy which will inevitably leave deep scars, but I get the feeling this goes deeper. I just … really don’t like the notion that she wouldn’t let Jon have his old clothes. It makes me feel like there’s way more going on than meets the eye (no pun intended). I can’t explain it better than that.

Conclusions

I’m now officially worried about everyone. I’m worried that there’s more wrong with Basira than she’s letting on. I’m worried that Melanie has gone to the Slaughter with a willing heart. I’m worried about what sort of deal Martin’s made with Peter Lukas to keep everyone safe.

And I’m worried that Jon secretly doesn’t care about any of it. I worry that he’s as numb as the statement giver was, and just trying to go through the motions of attachment. The only hint we got from him that was anything more than tired sorrow at the fates of everyone involved in the end of last season was his “What did he do to Martin?” when he found out about Peter Lukas, and even that seems suspect.

I hope I’m wrong. I hope that Jon is just being Jon, and that he does care, even if it’s at a remove. I hope that he’s in shock from how wrong everything has gone, and it was just the news about Martin that was the first thing that really snapped him out of it. I hope Jon comes into the Archives fighting mad and wanting to get those few people left to him back. Whether it’s the Archivist or Jon himself, those people can only help, and he can help them.

I don’t know what’s gone wrong with everyone, but I get the feeling we’ll be spending the first good chunk of the season finding out, and dealing with it.

#The Magnus Archives #analysis

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