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transneonneko · 3 years ago

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Things from Archie Sonic that I would love to see return in the Mainline Games and/or IDW Sonic!!

Recently, I decided to read some of the Archie Sonic Comic, from like issue 186ish up until the first MegaMan crossover and the reboot, mainly because there were some gaps in my knowledge of those stories. Mainly Issues 198 till 235, which I never got to read as a kid and, I have to say, there were a lot of really interesting concepts during Ian's run of comics before the reboot that I really loved. There was a lot of really interesting concepts I love after the reboot too. I wanna celebrate that. A lot of these concepts and story idea I feel really deserve another chance.

So I wanna make this list of stuff I wanna see return in either for stories in the Mainline Games or the IDW Sonic comics. Before we start, I do wanna add somethings. This post isn't meant to be shitting on IDW and being like "IDW would be better if they did this". I really love the IDW comics and universe. I also know that some of these concepts likely can't be done due SEGA Mandates and I'm not gonna include stuff like "Bring back the Freedom Fighters" because I feel asking to bring back characters isn't gonna be very productive, as much as I would like to see their return. Anyways, let's begin.

The Fate of the ARK

One thing that really inspired this list was this scene right her. We'll talk more about Silver's Future later but for now, let's focus on the ARK. I'm gonna assume anyone reading this knows the story of the ARK from SA2 and Shadow. Sadly, the ARK hasn't really been revisited in the main canon since Shadow, despite how iconic of a set piece it is. In the Archie Comics, we get a look at Silver's future and one of things that may have been the cause of how bad things are is the ARK crashed. Sadly, Archie got rebooted before the writers could go more into it but, from SA2, we know that the ARK was set to crash into the planet if all 7 Chaos Emeralds are placed into it, wiping out all life on the planet. This could be an excellent premise of another Silver adventure, whether it be in the comics or games, where Sonic, Silver and some friends have to stop someone from making the ARK crash into the planet.

Expanding the Eggman Empire/Egg Bosses

Something I've always found a bit lacking in the game canon is how the Eggman Empire itself has been presented. In the games, the Eggman Empire is usually just made up of Eggman, Metal Sonic, Orbot, Cubot, a bunch of robots and (recently) Infinite. It's not really an Empire if it's just one guy and a bunch of robots. The main goal is the conquer the world but we hardly see Eggman actually see what happens when Eggman conquers a place, like what happens to the people who used to live there, besides like Colours and Forces, where the Wisps and Mobians are usually just seen being imprisoned. The Egg Bosses are the perfect solution to this and adds so much to Sonic's World.

The Egg Bosses are Mobians who, either willingly or unwillingly, aligned themselves up with Eggman for whatever reason, becoming commanders of the Eggman Empire. This usually comes about when Eggman has taken over a part of the region and the people living in that region have no choice but to join the Eggman Empire, for their own safety. Not only does this make the Eggman Empire feel more than just one person but it also makes Eggman more a villain himself. It able to portray Eggman as someone to be feared and, I mean, this is a dictator and genocider who is pretty much declaring war against the world.

It also brings up some interesting thoughts about the world. Characters like Maw, Thunderbolt and even Nephthys to a degree joined up with Eggman because they felt it was the right thing to do for the sake of the world, or in Nephthys case, to stop things getting worst later on, meanwhile characters like Grand Battle Kukku are plotting to usurp Eggman, with Clove and Beauregard only working for Eggman to protect family or close ones.

As I said before, having these Egg Bosses also makes Eggman look more threaten, both because he's able to look like a "bigger bad" next to these villains he has command of and, because almost all the Egg Bosses hate Eggman's guts, they are cyberized, a terrifying process in which those who work for Eggman are focus to have parts of their body replaced with cybernetics, with either bombs which will blow if they decide to leave or a locking mechanism that will paralyze their entire body, ready to be locked up.

If either in the game or the IDW comic, I would like to see the Egg Boss concept return. It doesn't even need to be the same characters or use the name "Egg Boss." It would help expand the army of the Eggman Empire, as well as provide some fun bosses for the games I think.

Mobians and Humans living together

This was always a weird hangup I felt the series had. In the case of games between Sonic Adventure & Unleashed, Sonic and friends were the only Mobians, humans made up the NPCs while Mobians were reserved for main characters. Then in Forces and IDW, Mobians made up the background characters, so then Eggman is the only human. I really prefer it when they have the two living together, it makes it seems more normal and, honestly, a better solution than the whole "Two Worlds" explanation.

Eggman Seemingly Defeated

Can I just that I love Issues 198-200? In these 3 issues, Sonic and friends Eggman's main base, the Egg Dome. This including fighting on the outside of the base, involving fighting hoards of the Dark Egg Legion soldiers and Eggman in the Egg Phoenix. After dealing with the outside, Sonic and friends raid the Egg Dome itself, taking different directions, with the Dark Egg Legion seemingly retreating, until they reach the center of the base, where they are blocked off by a barricade, which only Sonic can pass through, giving a "Point of No Return" vibe, Dark Egg Legion soldiers lining up and saluting Sonic. Then Sonic reaches the center and finds Eggman in the Egg Tarantula, starting their final battle which Sonic wins. This defeat is enough for Eggman to lose his sanity, seemingly ending the war Sonic and the Freedom Fighters have been fighting their entire life.

Of course Eggman returns but, god, it's just such a memorable couple of issues. There's a real sense of finality to it. I would a sequence like this in the games, something that feels like truly ending the Eggman Empire and defeating them once and for all. Of course, it wouldn't be the end, Sonic games are always needing to be made which would lead to...

The New Rulers of the Eggman Empire

In the comics after the defeat of Eggman, the Eggman Empire is taken over by some of it's Commanders, the Iron Queen and Iron King, who rules the Empire as their own until they are defeated and Eggman's return.

I love the idea that even if the Eggman, there will always be someone there to take his place. The games could do this by having Neo Metal or Infinite take his place. Hell, IDW did have Neo Metal take over but I think what made that less interesting was that Neo Metal wasn't doing it for himself, he was doing it for Eggman. I think this would work well if a concept like the Egg Boss was introduced in the games, maybe have one of the characters part of that group take over OR have a lot of the more ambitious Egg Bosses war against each other to take command, until eventually Eggman returns and puts them in line.

Silver's Future

Silver is one of the most recurring characters, who always joins the gang when his future is in trouble. The problem is that we never see his future besides 06. We have no idea what Silver's future is currently until it's in danger and, even then, we never see it.

We see Silver's Future in both continuities of the Archie Comic, with two different takes. Pre-SGW has a destroyed city vibe, like 06 but less lava. Post-SGW brought a whole new take where people are ruled by a corrupt council where people are put into class groups, and security robots will arrest if you are not at your job at the right time. They even re-contextualize Silver's bracelets as cuffs that the robots can activate. With Silver being my favourite character as a kid, I remember being obsessed with this new world and story, wanting to know more.

I'm not saying they would need to copy this world exactly but it would be nice if they gave us a concrete and consistence look for Silver's Future.

The Heroic Metal Sonic

Right before the SGW, we were introduce to Shard the Metal Sonic. His story is that he was the original Metal Sonic, the one that raced Sonic in Stardust Speedway. He appeared later in the comic, where Sonic made him realized there was more to life than just being Eggman's killing machine. He seemingly died, but was rebuilt to serve as a member the Secret Freedom Fighters.

This one would be tricky to be included. It worked in the Archie comic as they had been many Metal Sonics throughout the series, each one getting destroyed. Meanwhile, there's only officially been one Metal Sonic in the games made by Eggman (two if we count Classic and Modern). Admittedly, Gemerl fits Shard's personality and does need to be used more in the games but having it be Metal Sonic is just a cooler concept.

I think a solution to this is that we have Metal Sonic 1.0 made by Eggman and, in Rivals 2, we have Metal Sonic 3.0 by Eggman Nega from the future. But what about Metal Sonic 2.0? I think we could have a game where after Metal Sonic fails, Eggman builds a replacement, being 2.0, which would give reason to Metal Sonic wanting to revolt, which could lead to a redemption? While I am loving the IDW comics, I do really miss a lot of what both Archie continuities offered. I haven't mention the some other concepts and stories I liked that really focused on certain characters such as Naugus, Geoffrey St. John, Dimitri etc. Maybe I'll talk about that another day...

#Sonic #sonic the hedgehog #archie sonic #idw sonic #pre-sgw #post-sgw #sega #eggman #eggman empire #egg bosses #shard the metal sonic #silver the hedgehog

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jerusalismreview · 5 years ago

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Stuck in quarantine, I make a video in which I get romantic with a spoon. I send it to my friends, one of whom tells me to check out the video poems of Adeena Karasick. Some online digging tells me Karasick is a Brooklyn-based poet, writer, performer, and thinker whose work tackles the fun and the real. She also happens to be on the line-up for Mekuvan, Jerusalism’s first online reading series. In a cool combo of fate and query, I interview her and ask more about what’s happening between the lines of her words.

When Adeena sends me an email, she calls me “sweets” and “babe.” Though we think about speaking on Zoom, our interview happens over email, which is to say—text. I don my best quasi-professional internet speak while Adeena skyrockets into my gmail, peppering her answers with emoticons and parentheticals, taking me inside and outside her answers in a slightly overlarge Arial font. Her I’s are lowercase, her proper nouns uppercase. Her signature is one lone, light gray “a.”

I go deep into Karasick’s online corpus. Soon I’m floating. Her virtual vocals hold words fused across mediums, embodying a world intimate with its own supposition of depth. Within this world is the explicit understanding that depth is about layers, and its meaning comes from the interaction of all things—poetry, politics, kabbala!—not nearly as disparate as we imagine. Her work reminds me of the internet itself: obsessed by its ever-updating form and devoted to the process of making image meet word.

In our interview, Adeena tells me as much, making sure to blow my mind with the theoretical underpinnings of her playful, sexy, serious work. She signs off on our correspondence with ; ))))))) and !!!!!!! and xxxxxxx. Though we’ve finished speaking for now, I find myself again looking at her work, mesmerized. An in to the infinite. Here are some of her thoughts on the matter.

—

Joelle Milman: The infinite abounds in your work. What is your relationship to ein sof?

Adeena Karasick: I like thinking about ways in which ein sof is where all possibility erupts; everything that has been and will be created is housed in a kinda blueprint of potentiality. I think this sense of potent play is crucial, opening up dialogue for new possibilities of reference, connection, an “infinite” unfolding of semantic, syntactic (political) possibilities.

In the Zohar it says, “all binding and union and wholeness are secreted in the secrecy / that cannot be grasped and cannot be known, / that includes the desire of all desires. // Infinity does not abide being known, / does not produce end or beginning./ Primordial Nothingness brought forth Beginning and End? Who is Beginning?… It produces End… But there, no end.” ;)

I guess you could say this sense of questioning and a sense of endless opening really interests me. Take for example, how transliterated ein (nothing) is homophonically connected to ayin (eye) through which we can envision anything. Or if one shifts the letters to ani (i), then we are between being and nothingness, endlessly re-presencing. I’m interested in navigating this space between visibility and invisibility, what is revealed, concealed, veiled unveiled through the flux of form, emanation, re-formation. Recognizing, of course, that in order for anything to be manifested there has to be a limit, a concealment. I adore this ex-static play of expansion and contraction, where everything hums with a kinda vertiginous, vibratory edge.

JM: Who is your muse?

AK: Abraham Abulafia, 13th C. Kabbalistic mystic.

JM: Your ew hybrid poetic work, Salomé, takes a misunderstood character and gives her a new story. What was it like to work with such a specific character, attached to particular historical narratives?

AK: Well, it always bothered me that within Christian mythology and entrenched in history by writers like Wilde, Gustave Flaubert, Mallarmé, artists such as Gustav Klimt, Gustave Moreau, and Aubrey Beardsley, Salomé was seen as yet another Jewish temptress/Christian killer (which is not so great for the Jews ;).

But, in fact, there isn’t any evidence to substantiate this claim. I did a whack of research and according to apocrypha and Josephus’s Antiquities, she came from Jewish royalty and there is no evidence she murdered John the Baptist or even danced for Herod. The only historical reference that [Herod’s wife] Herodias’s daughter’s name was Salomé is from Flavius Josephus, who makes no other claims about her—not that she danced for Herod, not that she demanded John’s head, but only that she went on to marry twice and live peacefully. The other apocryphal reference is that a daughter danced for Herod, which caused him to lose his mind and kill John the Baptist. Thus, the conflagrated Salomé that appears in the Wilde play, [Richard] Strauss opera and all subsequent productions, is an amalgamated construct. Along with Klezmer/jazz god Frank London, I embarked on a 7 year journey to set the record straight.

For the record, there are three women named Salomé in Jewish history: Salomé, daughter of Herodias and Herod II (circa 14-71 CE); Queen Salomé, her great-aunt (65 BCE-10 CE); and Salomé Alexandra (139-67 BCE). Her great-aunt, Salomé I, was the powerful sister and force behind Herod the Great, king of Judea and Second Temple rebuilder. Salomé Alexandra (also known as Shelomtzion) was one of only two women who reigned over Judea. I wanted my Salomé, Salomé of Valor (pun intended), to carry the weight of both her genetic lineage and the cultural heredity of her name, embodying the legacy and power of the women that came before her.

JM: Your recent work, COVID/ KAVOD, pays attention to these particular times and the words we have created around it. Can you tell me more about the piece?

AK: You know, I was sheltering at home with my daughter Safia Fiera (Sefira) in NYC, and wrote a Facebook post thinking about the power of words and names. I was increasingly obsessed with how COVID transliterated in Hebrew as Kavod כבוד, which translates to glory, honor, and respect. When we congratulate someone we say כל הכבוד – ‘all the honor’ (Good job!)— or close a letter with the word בכבוד which means ‘with respect.’ Yet, ironically, it’s also related to kaved “heavy.” And throughout Exodus, the presence of God in the tabernacle is symbolized by the word ‘Kavod’ (which is also represented by a cloud!). Through a 13th Century Kabbalistic lens, Kavod כבוד refers to Shekhinah, the female revealed aspect of God, which is symbolized by the lips, the mouth, the wound, the word: gates of entry, gates of transmission. AND – according to the Zohar [3296b], the CORONA (crown) of the phallus. And most astoundingly, KAVOD as a technical term within the sefirotic system emphasizes the distinction between the 1st vessel of light and the other 9 – COVID19.

Superstar dub poet/producer Lillian Allen contacted me and asked me to record my thoughts. She had it set to music with a DJ and a cello; launched on Spotify and CD Baby…crazy! It was one of those things, where you never know where things might lead, the synecdoche of the ever-so prescient spread?! Really makes one think about the viral nature of everything, i.e. memes—units of cultural energy that virally replicate themselves; how à la Korzybski / Burroughs, “Language IS a virus…

JM: You work in performance, video, text—but everything seems grounded in words. How do words play differently in different forms?

AK: All my work is dedicated to highlighting ways in which language and being are so intricately entwined; how we are formed and reformed through the language we use; how language’s physicality / materiality / sonic qualities infinitely re-create meaning and being. Playing between and within language’s visual and acoustic space, underscoring how it’s all so viscerally alive.

I love the differences between them [mediums] and I love ways that they feed off and expand the experience of one another.

JM: What is your relationship to the individual letter?

AK: Kabbalistically speaking, if the world was created through letters, every time we read or write or speak, we are in essence re-creating the world.

I love thinking about the way each letter rubs up against another letter, how that modulates the overall feel of the way a line or a text plays itself like a score; how it asks us to renegotiate meaning and being. How every letter in a way contains every other letter and how they themselves hover, erupt as sparks of light.

My recent work Aerotomania, which investigates how the airplane is structured like a language, exposes how the shape of the airplane is reminiscent of the letter Alef, the first letter of the Hebrew alphabet, symbol of infinite and contemporaneous beginnings.

It’s constructed from two Yods י, one above and one below, with a diagonal line, the Vav ו, between them, representing the higher world and the lower world, separating and connecting the two Yods. And through chambers of light rungs of life ærotically connecting higher and lower worlds, all brimming with interior struggle and yearning, hiddenness, and longing—

JM: Tell me more about what you find sexy. What is the erotic up to when it shows up in your work, and do you find it particularly intertwined with gender? If so, how and why?

AK: HA! What I find most sexy are witty mashups of entwined letters. Ways references wrap around each other, the ways letters brush up against and wind around each other—ways meaning erupts in unexpected ways.

To this end, my new work Aerotomania really focuses on the erotics of meaning production. According to Marshall McLuhan, “the airplane is an extension of the body.” So, with it I’m exploring not only how the airplane is structured like a language but an extension of the body, specifically metonymic of the female body; flying through clouds of data, through a sultry and amorous mapping of light, “shade,” shadow, highlighting the relationship of how language becomes a shape-shifting trickster; an ever-swirling palimpsest of spectral voices, textures, whispers and codes transporting us to sometimes unknown destinations; flying through a variety of zones, registers, soaring to higher and higher levels, leading to radically transformative possibilities of passion, pleasure, power and promise, as we negotiate loss and light; opening up new ways of seeing and being. THIS is sexy ; )

JM: I love it. I haven’t seen anything that approximates the video poetry you make and they’re awesome. When it comes to idea generation, do you start with the medium or the message? What is your editing process like?

Well, in media ecological terms, the medium is always massaging the message. I’m always interested in the way information reads and is transformed through multiple platforms; whether on a page or a stage, a tablet, computer, or movie screen.

Videopoetry as a medium allows me exquisite axes of entry into a virtual arena. There, not only can the materiality of language be exposed, but through the conflagration of image, music, voice, text, sound and animation, a ‘textatic’ slipperiness of meaning appears. Each piece, operating with its own structure, codes, logic, idioms, reminds us how meaning-making is always a praxis of palimpsest and dissemination, generating a contiguous infolding of meaning.

But to answer your question—in almost every case, I start with a text that I want to multimodally play with. For example, right now I’m working on a videopoem for a Salomé track. I have my text, the recording of it, with the music (composed and performed by Klezmer / Jazz god, Frank London), and now have to assess what aesthetic feel is going to auratically transport it. So unlike writing the poetry, where I see and hear and feel the words all simultaneously, making videos is usually sequential.

Though I do all my own pechakuchas, it literally takes a village to make the videopoems! I write the text, communicate my vision, but I don’t have a lot of the technical expertise—so each one is a loving and painstaking process collaborating with musicians, animators, editors. Textual editing process parallels this in that I am a ferociously compulsive editor, renegotiating every syntactic reference, line break, lexical choice. And even though I have so much respect for Ginsberg’s “first thought best thought,” everything goes through a crazy amount of editing and re-editing until the last possible moment.

JM: So much of your work is mash-up, combining elements from other texts be they theoretical, visual, or otherwise. What is it like to combine existing content and bring it into new forms?

If everything is inherently intertextual and archival, my work celebrates a kind of parsed play of laced socio-political-lingual cultural shards and fractures, highlighting how all is pulsing with palimpsested resonance. This then inherently asks one to revisit and recontextualize, reframe information and thereby see it in new ways.

For example, I’ve been working on an ongoing collaborative project with famed critic / weaver, Maria Damon, on a piece we call: “Intertextile: Text in Exile: Shmata Mash-Up A Jewette for Two Voices,” where we investigate the relationship between text and textile. The whole piece is marked by a kind of intertextatic syntacticism; as we weave meaning through found data, shattered matter, shredded fragments, through all that is proper, improper, impropriotous, riotous, simultaneously celebrating and questioning all that’s filthy and wrinkled and inside out, all that’s unfolded, soiled, sullied, un-rinsed and uncomfortable. And it’s this sense of exploration and reformation, through research, inquiry and play where one can explore the impossibility of the possible, the contingency of our finitude, our brokenness, excess and exuberance, within the fissures of being.

What’s it like? In a word: textatic ; )

JM: Your work has uncompromising trust in its own voice and self-representation. For us just getting started out here: do you have any advice on how to commit to and advocate for your work, particularly in a world not always eager to support emerging artists?

AK: Trends, aesthetics, modes, schools of thought come and go, in and out of vogue, and if I’ve learned anything over the years is that everything goes in cycles. Or to use McLuhan’s terminology, systems get enhanced, reversed, retrieved or obsolesced, and so it’s so important to just trust your own mind. Regardless of what seems to be the genre, the praxis, procedure, fashion of the moment, write what you want. Read, as much as you can, go to readings, start journals, perform at open mics, gather community and share ideas, share work. But it’s so important that you trust your own vision, and just sometimes shut it all out and just create your own unique powerful universe that you want to inhabit.

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sonicfanj · 5 years ago

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I’m a big fan of AUs and the freedom that fans have to explore Sonic or any fandom in ways that diverge from the source material, but with AUs and more recent Sonic stuff being what a lot of new fans brought in from the movie will see, the possibility of providing false information is far to high if we are not careful. That SEGA also spreads misinformation only makes matter worse and it is the heart of this particular post.

One of the biggest misconceptions of Sonic that SEGA perpetrates both through retcons and from Sonic Generations onward is that Sonic before the Sonic Adventure (Adventure henceforth )rebranding back in 1998/1999 is that “Classic Sonic “ as he is dubbed these days is possessed of an age of around eleven and is even shorter than Sonic’s 1 meter/3′3″ height. The height can actually be sourced to a profile of Metal Sonic’s that lists him at around seventy something centimeters as well as Generations making him shorter to account for the difference in proportions. But the truth is, Sonic was always listed at 1 meter tall, both before and after the Adventure redesign.

[Character height chart for reference - http://info.sonicretro.org/images/9/99/Classic_character_heights.svg]

Age on the other hand is where things get really strange. Again, a retcon for Generations makes sense to an extent, especially when you consider that the characters had their ages shuffled around as it was with the Adventure redesign. Amy aged up from 8 to 12 and Knuckles aged up from 15 to 16. Tails remained the same but Sonic actually received a subtle change. Bios that listed Sonic’s age before Adventure typically listed him at 15 to 16 years old. That would actually make him the same age or older than his Adventure onward counterpart. But it gets even weirder. According to the Sonic Technical Files (currently hosted by Sonnic Fansite Sonic Retro here - http://info.sonicretro.org/Original_Story) Sonic was actually originally thought about to be even older, around 18 years old. Suddenly, Sonic from his typically dubbed Classic Era is actually definitively older than his modern counterpart, yet is portrayed as a younger bubbly child from Sonic Generations onward. And I assure you, this is a retcon.

If you grew up in the 90s like I did and were introduced to Sonic when he debuted back in 1991, then you will remember the western advertising over embracing his teenager with an attitude description. And it wasn’t just in game ads, it was in all Sonic media available in the west. The US cartoons, the Archie and Fleetway comics, and so on, portrayed Sonic as an uppity teenager with an attitude problem (some cases being far worse than others). That teenager of a high school age mentality was the backbone for why the Archie Sonic comics were littered with teenager romance drama, which would look rather distasteful if you think about it post retcons now. But they were not at fault for portraying Sonic based on being high school age. The material and information they were provided told them as such and so they based their interpretations off of that available information.

But it wasn’t just a western mistake either. If not for input from key members of SEGA of America (henceforth SoA) Sonic would be rather different and would even have had a human girlfriend by the name of Madona who was anything but a child.

[Pic here - https://vignette.wikia.nocookie.net/sonic/images/d/dc/Madonna.jpg/revision/latest?cb=20090313035151]

Madonna was not the only time it happened either as one of the last pieces of pre-Adventure release Classic Sonic material is the Sonic OVA or Movie produced by Japanese animation studio Studio Peirrot where a catgirl (read human girl with cat ears and a tail) was the main love interest and whom even Eggman/Robotnik wanted to marry (it’s weird, I don’t argue that). But more importantly, two of Sonic’s primary creators, Yuji Naka and Naoto Oshima, were listed as Production Directors for the two episode Original Video Animation (OVA) and were rumored to be involved quite a bit with the film. You can typically find it on youtube though I recomend the subbed version, bad video quality and all, to get a better representation of the Japanese perspective. It’s really eye opening and was very nostalgic in when I first watched it post Sonic Generations release.

The thing is though, the OVA released in 1996, years before the Adventure rebranding, and is strongly believed to be how Naka and Oshima see the character. This is actually reflected in the Sonic Adventure redesign as Yuji Naka on record (a shame I can’t find the link) has stated that Sonic was redesigned to bring him closer to the original character idea and to erase the growing cute identity that he was developing due to marketing. He even goes on to say that Sonic was never intended to be cute and that being a cute mascot character would inevitably pit him against Hello Kitty which would not have ended well. Yet, SEGA retconned the Naka/Oshima Sonic into being a bubbly hyperactive kid who was much shorter and generally hyper cute compared to his more modern interpretation of the character. This retcon is only made even more complicated when SEGA decided they didn’t like their “New” Classic Sonic being treated as the same character as their Legacy Sonic and even retconned that come Sonic Forces to say that he was actually from a different dimension. Years after Sonic Forces release that decision still riles up many more dedicated fans as it breaks the series continuity. Arguably, it has too. After all, if Naka/Oshima Sonic is older than Legacy/Modern Sonic and has the same height yet New Classic Sonic is shorter and strangely mute then something had to be changed or it just starts to fall apart for a cohesive narrative. Of course Amy’s four year gain already threw things into question but on it’s own was fairly harmless considering her role in the franchise as the main female lead and primary love interest. But New Classic Sonic’s muteness is what this post will be carrying on from.

One of the biggest misconceptions of Sonic before the Adventure redesign is that he did not speak. The primary reason for this misconception I usually attributed to him not speaking in the classics. this is actually a false statement as Sonic speaks in Sonic the Hedgehog CD, SegaSonic the Hedgehog, and is quite the chatterbox in a Japanese only popcorn machine. Admittedly, these are all difficult to experience items, especially pre-Adventure, but by the time of Soinc Generations’ release a good deal of these could be researched and Sonic CD was readily available to the public again thanks in no small part to Christian Whitehead of Evening Star Studios. but even outside of the games SOnic was shown to talk quite a bit before the Adventure redesign. Again both the western comics and cartoons and even numerous Japanese comics all showed him speaking quite a bit before the Adventure redesign. Of a more canonical nature however, the Japanese instruction manuals for most of the games from the original onward will show Sonic talking.

So, where did this misconception gain enough steam to become a retcon? It’s hard to say, but there are a lot factors that could lead to it. Major fan backlash was threatened when Generations was first revealed if they got Sonic’s voice wrong and hat it’d be better if he didn’t talk at all. SEGA is known for overreacting to negative feedback at odd and seemingly random times and this appears to me to be yet another case of it. But his muteness only got weirder when people started latching on to him being mute as a matter of shyness. I don’t know where that one originated from, but Sonic’s shyness is actually a trait of his, but it is specifically tied to how he feels about his self-proclaimed Amy Rose. When asked about, Yuji Naka once said that Sonic does likely like Amy deep down, but is too shy to act on those feelings. Naoto Oshima expands further on that stating that Sonic has a boyish immaturity in regards to his feelings and thus won’t act on them but should he mature in that regard he would end up with Amy. In other words, boyish immaturity and shyness are part of Sonic’s character, but they only reflect on certain facets of his character. His shyness and immaturity of his feelings for Amy though were instead stretched out to cover most of his character resulting in New Classic Sonic being a mute, when Naka/Oshima, Legacy/Modern, BOOM! (just to throw in another iteration where he is shy about his feelings for Amy), and even Movie Sonic are all rather talkative.

So that there is three misconceptions about pre-Adventure Sonic that are perpetuated officially by New Classic Sonic effectively being placed over Naka/Oshima Sonic. Again, I don’t aim to bash fanfics and AUs as I love them and the way they explore the characters in new ways, but for the sake of new fans not being overly confused, it should be noted if your Classic Sonic is New or Generations based, or the Naka/Oshima, pre-Adventure version. There are hugely massive differences between them with things like height, age, and talkativeness being hugely noticeable. Otherwise, keep writing, drawing and having fun, and may all of the movie’s fans who find their way into the fanbase enjoy themselves

#sonic the hedgehog #sonic misconceptions #misconceptions born of retcons #misconceptions #retcons #Naka/Oshima Sonic #legacy/modern sonic #boom! sonic #movie sonic #long post #long rant #thoughts #my thoughts #clarification

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armageddon-generation · 6 years ago

Text

Making an arc out of series 11 (and other fixes)

I DON’T MEAN TO HATE - I genuinely really liked this TARDIS team, Jodie has completely won me over and the episodes not written by Chibnall were great - but this series does have several frustrating Issues.

One recurring problem I see people having is that the finale didn't feel climactic because there was little build up.

A few ways to fix this :

The Woman Who Fell to Earth

Just improve Tim Shaw - alter his design so he’s not just a black robot-man - take the tooth idea and do something like the Sycorax?

Change the ball of electricity into an actual creature - then establish Tim Shaw’s abusive relationship with it, taking out his viciousness on this helpless slave, because he’s a coward

This mster/beasty relationship would give Tim more character and make him easier to hate

It also establishes the running theme of the Stenza altering/controlling other creatures - it gives them a distinctive ‘gimmick’ like Dalek extermination and Cyberman conversion, which we can expand on in The Ghost Monument, The Tsuranga Conundrum and The Battle of Ranskoor Av Kolos

The Ghost Monument

Establish the threat of the Stenza - ravaged worlds better (show us the flesh eating water instead of telling us about it and have more time with the Remnants instead of those boring robots)

Do this by giving Desolation (which is out of orbit) short, irregular days (5 hours, 3 hours) so the threat of the Remnants is always there - build tension and character at day (the “Mum told me to jump” speech) and have scary chase sequences during the two night sections

The Stenza using Desolation to create weapons of mass destruction reminds the Doctor of the Time Lords' tactics in the Time War, (that's why she's so interested in the planet) and establish that Yaz wants to know what happened to the Doctor's people/family

One of the racers should've had their planet stolen, not just enslaved, to establish the mystery of the planets Tim Shaw is stealing

Show their desperation by having the racers actually compete and fight with each other, with Team TARDIS stuck in the middle. Both characters believe they deserve the prize because they've suffered and lost more.

Yaz separates them, directly paralleling her intro scene in episode 1 - from parking disputes to this.

GIVE 13 HER BIG MOMENT because I waited until literally the last line of the series to understand where she's coming from. 13 is the joyous explorer, she doesn't have time for wallowing in angst, there's too much universe out there to see.

Something like: "It's not about what you've lost, that doesn't make you better than him! All that matters now is what's ahead. What are you going to do if you win, where will it take you? Have you even thought about it? Because maybe, just maybe, if you stopped pitying yourself you could make something good from this. Yes, you're family is gone and I'm sorry. But just because they're dead doesn't mean your life should stop too. Move forward."

This helps Chibnall's 'Fresh Start' mandate because it establishes 13 as completely different from RTD and Moffat's Doctors (especially 10 and 12) who felt a sense of superiority because of their past pain. It also ties into Ryan and Graham letting go of Grace.

The TARDIS went to Desolation in the first place because it wanted to help the planet (remember she has personality) - 13 realises this once they reunite.

We've previously established the TARDIS can change the weather, and it's had thousands of years on Desolation to prepare calculations etc, so have a sequence at the end where they show off to the new conpanions and terraform the planet, reversing the Stenza's damage

Post - credits scene / stinger - while the companions explore the TARDIS, show 13 viewing the footage the TARDIS collected over thousands of years of the Stenza violating the planet - she doesn't look happy, but then Yaz calls her for a tour and she puts on the bright smile again.

Yaz

I think Team TARDIS in series 11 was meant to be split between the familial relationship between Ryan and Graham, with the standard swept-off-her-feet almost-romance between the Doctor and Yaz in the background. They didn't focus on Thasmin much because I think Chibnall assumed 'oh, we've seen this before'

SHOW THE GROWTH OF YAZ AND THE DOCTOR'S RELATIONSHIP. IT SHOULDN'T BE ROMANTIC (YET) BUT JUSTIFY THEIR DEVOTION TO EACH OTHER

Because Yaz is a police officer have her 'investigate' the Doctor's past - especially her family, as that's an important part of her character and theme in the series as a whole. Since Chibnall loves Classic they could mention Susan

This makes 13 telling Yaz about her Granny in It Takes You Away an important milestone in their relationship

Yaz to Ryan about the Doctor's family:

Thirteen's character

People complaining Jodie isn't unique enough kind of have a point, but the seeds are there:

I like the idea of 13 being easily distracted and careless ("I'm almost going to miss you." / "Hi Yaz, forgot you were there."). Her being slow to trust contrasts nicely with Jodie's infectious enthusiasm. Have Yaz's role be keeping 13 focused, grounded and on-track when she needs to be.

Also! I've seen the idea thrown around 13 is only acting all bright and chipper. It'd be really interesting if she prioritises Team TARDIS' emotional wellbeing over her own

This way we have parallel arcs - Yaz gets the Doctor to open up as Ryan gets closer to Graham

13 and her Sonic

13 is meant to be a tinkerer, but we don’t see much evidence of this outside building the Sonic

So she wears a tool belt

The belt is TARDIS-like (bigger on the inside) and 13 pulls things out of it like Mary Poppins’ carpet bag

13 pulls bits of scrap out of the belt and cobbles things together when she’s excited / nervous / talking (pipe cleaner helicopters! Catapults! Wind-up mice!)

This distinguishes her from 11, who also did a lot of hand-flapping and is already superficially similar personality-wise

More floofy/fly-away haired 13! It makes her seem more energetic, constantly in motion, which really suits her.

The popular headcanon is that the Sonic works randomly (one episode it can do things, the next it can’t) because over the years the Doctor has added so many features they’ve overloaded it. So now she’s got a new Sonic, 13 is constantly fiddling with it/adding new features

Address the NuWho Doctors’ over-reliance on the Sonic - 13 keeps expecting the Sonic to do things but because it’s new hardware, it can’t, and she has to solve problems on her own

A running gag where 13 goes ‘watch this, gang’ and the Sonic does something completely opposite what she wanted and now they have to improvise

In the finale the Sonic finally works properly and 13 uses it to beat Tim Shaw

Occasionally (in an episode opening) 13 makes weird machines without knowing what the fuck they do:

13: [holding up a small device] Does this look familiar? Do you know what it is? Neither do I. I made it last night in my sleep. Apparently I used Gindrogac. Highly unstable.

Yaz: Doctor…

13 : I put at button on it. Yes. I want to press it, but I’m not sure what will happen if I do.

Ryan: [runs for cover]

13 and Graham

In Series 11, 13 always seemed annoyed by Graham (“Don’t kill the vibe”) and never seemed to grow past it.

Suggest 13 is living vicariously by helping Graham reconnect with Ryan – the Doctor first started travelling in the TARDIS to connect with their grandchild, so this is 13 coming full-circle

13 notices how good and Granddad Graham is trying to be for Ryan, and as he grows braver she comes to really respect him.

Graham becomes her confidant – he’s the only one 13 shows her age to, and she helps Graham begin again: They talk about how the Doctor has had to reinvent and regenerate themselves again and again because the universe needs them – much as Ryan needs Graham. 13 has lots of experience moving past loss, and they support each other through the pressure of being responsible (for Ryan and Yaz respectively)

Ryan

Have the Doctor and Ryan's relationship develop - in The Woman Who Fell to Earth they suggested 13 would take a nurturing parental role for him ("That's the kind of thing Grace would've said") but it's not really built on. All the pieces are there (him being immature and using weapons in the beginning)

Ryan and 13 have a sibling-like relationship - she teaches him about life and the universe - have 13′s use of slang (skillz with a z) come from Ryan having fun teaching slang to a socially inept alien

also maybe a reccuring joke about Ryan going for a fist-bump and 13 patting his fist, that pays off by the finale

Does anyone remember Ryan and Yaz went to Primary school together? Capitalise on that. When Ryan talks about how his Dad left him in Tsuranga and It Takes You Away, make it explicit that she understands because she saw Ryan go through it as a kid, and remembers what it did to him emotionally

A common complaint about Ryan is that he rarely actually does anything - he just stands there and says "they're gone!" or "it's a spaceship!". So have this be part of his character. In the early episodes have Yaz be the most active companion (allowing her to develop!), with Ryan (nervous about his dyspraxia) in the background, and have him become more and more active and competent as the series goes on.

Episode Order

For this to work I suggest shuffling the episodes - 1, 2, 8, 4, 6, 5, 7, 3, 9, 10

10 60-minute episodes to fit the new stuff in and give the large cast more room. The Woman Who Fell to Earth (60 minutes) was Chibnall's best script.

This way series 11 gets the same screen time as the 12 episode Capaldi series

Instead of 2 trailers for the next episode (one pre and one post credits) insert a post-credits stinger hinting at arcy things

The Witchfinders (We’re Going on a Witch-Hunt)

Swap Rosa and The Witchfinders around. We can get the 'female discrimination' thing out of the way faster (it felt weird they didn't explicitly address it until episode 8). Yaz and 13 can bond over their shared oppression (this is the first time the Doctor realises what history is like for her female companions - for the first time, they are of equal status and must work as a team).

Also have Yaz, the POLICE OFFICER, be personally offended by the miscarriage of Justice in the Witch Trials, and defend the victims - relate it to her experience on the job (maybe touch on domestic abuse?) instead of the cliche bullying story

The villains being escaped convicts from a prison also links to Yaz's character and job - contrast her applying police protocol to the Morax (she never had a case this big at home!) with 13's "fuck it, time to wave the glowy science stick' attitude - Yaz forces 13 to be disciplined, 13 forces Yaz to think outside the box and bend the rules

Arachnids in the UK (Spiders in Sheffield)

Still episode 4 - this needs a complete rewrite IMO, but for starters make the Trump parallel less explicit and cringey

Address Yaz has left her job as a police officer behind - she goes into work (with 13 as her ‘consultant’) and learns about people disappearing - we meet the spider expert at the Police Station, (because Yaz’s neighbour being the only victim AND working in that spider lab was too big a coincidence)

The expert is being ignored because the disappearances are higher priority, so low-ranking Yaz gets stuck with her

The spiders have spread all over Sheffield, not just the one flat and all around Yaz’s building

Have Ryan, Yaz and the Doctor go to meet Yaz’s mum at the hotel while Graham is mourning Grace in their nearby flat

When the spreading spiders reach Yaz’s family, Graham goes to help them, showing how brave 13 has helped him become.

We now have two tension-filled scenarios:

A home invasion subplot where Graham helps Yaz’s family keep the spiders out of their flat. Use this to flesh out and make her sister and Dad likeable - Graham comforts them when they’re scared, calling back to Grace's last line "promise you won't be scared without me" - 13 has helped him!

13 and Co being chased around the hotel (PROPERLY chased - the spiders use webs to cut off corridors and herd them around like rats in a maze)

YAZ GETS TAKEN BY THE SPIDERS - this is the moment 13 realises how attached she is to her new friends. She and Mrs Kahn work together to go and save Yaz from the Spiders’ nest (eliminating that annoying Jackie Tyler “you’re endangering my kid” trope) while Ryan uses his music to draw the spiders away

13 gets to see Mrs Kahn’s maternal affection and we see her desire for family. Ryan’s music draws the Spiders back and saves Graham and Yaz’s family

When Ryan and Graham reunite it’s very emotional - Ryan saved Graham’s life - ‘looking out for each other’

Finally have the Doctor save the Spiders by using the TARDIS as an Ark, instead of leaving them to die - call back to Planet of the Spiders and drop them off there

Since she's at home, once they’ve saved everyone have Yaz do girly things with the Doctor (because they haven't been able to rest since episode 1) - maybe nail painting? Only 13 starts using the varnish as finger paint. Also! I like the idea of them choosing 13's earring together bc 13 has no clue about jewelry

Demons of the Punjab

This should be episode 5, because it's connected to 4 by Yaz's family and together they provide a nice rounding-off of the half of the series more focused on her

The Thijarians have had their planet stolen, not just destroyed (it would still kill everyone)

That way when we see the hologram of what happened to their planet we establish the threat of what will happen to the Earth if Tim Shaw wins in the finale

(the powder they have can still be the stuff left over afterwards)

Also it's weird that Yaz goes to see her Grandmother, who she discovers remarried, and Ryan doesn't react at all.

Ryan has nothing to do in this episode, and because we're putting Punjab earlier in the series, Grace's loss is fresher. Give him a moral dilemma: He wants to go back and see her when she was young (and with her first husband - implicitly rejecting Graham) like Yaz is seeing her Gran

After seeing what happens to Yaz's family, and seeing Graham's caring reaction to Prem, he follows 13's advice and gives up on seeing Grace again - he's content with Graham

He bonds with Yaz over the episode and warns her not to take family for granted. At the end Yaz takes him to meet her Gran in the present day ("I was lucky enough to know yours")

The Tsuranga Conundrum (The Good Doctors)

Have the medical ship be a war ambulance helping victims of the Stenza's conquest

The general on board has fought the Stenza

Cut her brother and the 2nd nurse, they're unnecessary - have the ship be understaffed because of the strain the Stenza are putting on the medical service, give the engineering role to 13

The asteroid field they have to fly through (which we should ACTUALLY SEE) is not just an asteroid field but the wreckage left behind by another missing planet.

Replace the P'ting. It may be cute but the vast majority of people thought it was ridiculous. Instead have it be a Stenza weapon left over as the ship is flying through an old battleground - it can still be small and destroy the ship from the inside out, but its design can be more threatening and it can be more sympathetic (it was experimented on/created to kill, it isn't evil)

13 tries to pilot the ship first but can't because she's wounded. She has to rely on Team TARDIS and delegate the usual ‘Doctor’ roles. She faces off against the tactical P’ting, trying to fix the ship as fast as it disassembles it, while Yaz runs around trying to catch the thing, and Ryan and Graham take care of the passengers

The sonic STAYS BROKEN so 13 has to do this all by hand

Once 13 is told the Stenza are still out there hurting people, introduce a subplot over the next 3 episodes before the finale where she's sneaking off at night to go and help fight them (without the others knowing, because they're too emotionally biased)

The next episodes (Kerblam!, Rosa) gradually shift the focus onto Ryan's growth as he becomes more active

It Takes You Away

Add 13 and Graham - now close friends - talking about grandkids, and put more emphasis on 13′s reaction to the abandoned girl

This sets up the Solitract turning into Susan, the Doctor’s granddaughter, instead of the frog at the end

You don’t require previous NuWho knowledge to know about Susan - she has barely been mentioned.

Have her be played by the actress from An Adventure in Space and Time, like David Bradley as the First Doctor

This way we directly address the theme of grandchildren and family

The Solitract is a link to 13's childhood and family. It's also another omnipotent consciousness she can relate to (think 9 and Bad Wolf - "That's what I feel, all the time!"). Finding that and immediately letting it go must be traumatising

Have a quick scene of Yaz catching 13 crying, but she quickly covers up because Graham just saw Grace and he's distraught

Finale (Battle Phantoms)

When they arrive on the battlefield 13 accidentally reveals she's been helping fight the Stenza offscreen (which is how she knows about this battle - one of the ones she was too late for)

This lie infuriates Graham - she's been blocking his revenge for ages

BIG EMOTIONAL MOMENT

13: Maybe I am a liar, and I promised I wouldn't be, but that's because I know what it's like, Graham. To want to hurt the people who hurt you. How that anger burns like fire, like a supernova. And it took me so long to get over it, so long to move on. Whole lifetimes wasted hurting and hating. I didn't want that to happen to you. No one deserves to be broken twice.

This gives Graham a legitimate reason to go against 13 without announcing his intention to kill Tim Shaw like an idiot. It also plays up 13's hypocrisy, which was touched on in the original script

What was the point of 9 distress calls if they're all in the same place?? Use this pportunity to split team TARDIS up and showcase how they've grown as individuals before bringing them back together (Ryan and Graham, Yaz and 13) for the 3rd Act

Graham being on his own drives up the tension over whether he'll kill Tim Shaw - Ryan gets there just in time

Explicitly call back to the moment in The Ghost Monument when Ryan used a gun - highlight how far he's come because of 13, talking Graham down

Get rid of the robots, because they weren't in The Ghost Monument now, and they turned the intimate story into an action movie.

Over the series we've established the Stenza genetically engineer other creatures into weapons (the Remnants, the P'ting, the cable ball in The Woman Who Fell to Earth). Replace the robots with scary leftovers from the Battle of Ranskoor Av Kolos (because that title was irrelevant to the original episode) - Think the Hand Mines from The Magician's Apprentice

Have each of the missing planets throughout the series be named - that way when we discover the stolen planets in the finale there is emotional impact because their being stolen has caused so much suffering.

This way not only are the Stenza a lot more threatening because they are present throughout the series, there is more build up to seeing Tim Shaw again

Also, the subplot about returning the planets is more emotionally impactful - the Doctor is retroactively providing closure to lots of the side characters from the series

Finally the threat to Earth is much greater - the companions have seen what losing your planet does to a person emotionally, and they fear that

WHEN THE EARTH IS THREATENED CALL BACK TO YAZ'S FAMILY SO WE FEEL SOMETHING

Also the continuing thread of missing /lost planets could link to Galifrey, raising 13's emotional stakes

Multiple people have complained the plot thread about the planet attacking you psychically and erasing your memories went nowhere - when 13 and Yaz take those devices off they get slight headaches

Instead have the planet actually attack them - 13 and Yaz have to remind each other of their memories and their families - exposing Yaz to a rare snapshot of the Doctor’s lonely childhood on Galifrey

This gives Jodie the opportunity to do some SERIOUS DRAMATIC ACTING, and finally opening up about Galifrey to the whole TARDIS team at the end gives an emotional climax to her relationship with them, as well as the relationship between Ryan and Graham

The Fam line is cute, but we need ACTION to evidence this growth - this way throughout the series we’ve established how much family means to 13, how much she wants that, and Yaz saying “I’ve always liked fam” means so much because it means she understands 13 as a person

Resolution

Change how the Dalek got split.

Medieval humans killing a Dalek on their own is ridiculous and makes itr less threatening. Instead, have the Dalek be a scout from the Time War, looking to attack Earth to distract the War Doctor. The Doctor, furious, rushes over and helps the human armies divide it, to stop the Time War spreading to his second home.

We’re told this legend by the archaeologists, positioning the Doctor as a vengeful wizard. We can get a flashback with the War Doctor as a dark silhouette on a hill or something.

This makes the “it’s personal” stuff even truer

Use the archaeologists and dig site to expand on the Dalek race’s impact on humanity, because they’ve visited Earth dozens of times. I’m thinking wall paintings depicting the Dalek Shell as a Divine war chariot, and the mutant as a Cthulhu-like God

This way we’re really throwing Team TARDIS in the deep end - they are immediately aware of the number of times the Doctor has fought the Daleks, which is completely different to the rest of series 11, where 13 was encountering everything for the first time

Change the junkyard Dalek shell.

The Scout goes to a storage facility where pieces of its shell are stored. Now this place is owned by the modern incarnation of the cult we’ve set up who worshipped the Dalek in ancient times (their logo is the same symbol found on the wall paintings)

Instead of killing the gay (AGAIN), have the company staff welcome and exult the Dalek - only for it to turn around and kill them all, establishing its racial superiority complex. (This is something Chibnall glossed over - his Dalek wanted to conquer like anyone else, not exterminate)

The company has collected the remains of dozens of different Dalek models from invasions across the show’s history (we still have the parallel to 13 making her Screwdriver)

The Dalek reassembles itself not using Earth metal, but into a Frankenstein’s monster welded together from different Dalek designs (classic 60s, Imperial, Special Weapons, Time War, Supreme, Progenitor)

When the Dalek and 13 face each other this one Scout now represents the entire Dalek race, every type the Doctor has ever fought. The idea of it stitching itself together is also a nice parallel to Regeneration

Destroy the Dalek by separating all the different sections - use Ryan’s dad’s technical skills but don’t have all of Team TARDIS rush the Dalek without getting killed - them pushing it around immediately removed any threat.

Emotional Impact

Seeing the remains of all the Daleks the Doctor has killed at the storage facility and hearing the stories of the War Doctor makes Team TARDIS reconsider 13

Police officer Yaz realises she is devoted to a murderer, and considers whether she wants to get closer to such a person

To make the Dalek more impactful to both Team TARDIS and the new audience that has only watched Series 11, when Graham asks why it’s so dangerous have 13 say something along the lines of “the Daleks are my Stenza”

Graham realises why 13 stopped him killing Tim Shaw in series 11, and (considering his Dad must’ve fought in WW2) gains a new level of respect for her

Don’t have Ryan immediately forgive his Dad and declare that he loves him - set up that he’s willing to give his Dad a second chance as an arc for series 12 - the push and pull between Graham and Ryan reconnecting with his Dad

The Scout is trying to complete its original mission, bringing the Tile War to Earth - 13 has to literally defend her freinds from the ghost of the War and finally let go of her violent past (personified by the War Doctor). She’s also letting go of the deified, Messiah-like version of herself (represented by the wall paintings of the Doctor’s battle with the Dalek) that RTD and Moffat loved

13’s arc is worrying learning about the Daleks and their toxic relationship will change the way her friends look at her, because she’s been trying to protect them from this side of her life (it’s revealed she’s been deliberately avoiding places she’s been before because she’s looking for a fresh start)

By now Ryan and Graham are getting along fine, they’ve avenged Grace’s murder and Ryan is now talking to his Dad. 13 worries everyone has outgrown her, and they’ll leave

Have a scene at the end where Yaz comforts 13 and assures her she won’t abandon her - 13 doesn’t need to save their lives for them to want to travel with her - it’s their job to save her. They are here because they care about her.

This way we get a new emotional climax of 13′s emotional arc and reaffirm the status-quo for Series 12

Improving Matt Smith’s era here

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cutegirlmayra · 7 years ago

Conversation

A reasonable stance on Sonamy (Rant)

???: Sonamy can never even be a thing.

Me: Under reasonable circumstances where children's games allow a narrow field of expression it can be.

???: Are you a Sonamy shipper?

Me: A love interest brings the necessary human experience needed for a character to advance beyond his own self and to reveal more depth of 'flaws and strength' traits.

???: So you are one. You must be a crazy Amy Rose fan too.

Me: By insulting Amy, you're insulting Kenji Terada, Yuji Uekawa, Kazuyuki Hoshino, and Sango Norimoto who put into mind the characteristics that would attract Sonic to a character he could grow with. You blatantly are denying him the human experience of a crush. You ignore the many evidences that are lined within the very planned pairing that is known as Sonamy. Romance can be expressed within children's media with very strict rules in order. It can also be used to help children relate by having role models express the human experience in a way that is a learning experience for them. Sonic has always gone against tradition though, not being your typical 'role model' but being more the 'cool punk' that goes against the 'typical good guy hero' stereotype. That being said, you rob him of human experiences by taking away too much from his world. Walt Disney defined a story as having to include, "A world outside your character's." Each character in the Sonic franchise plays a role in exposing and helping Sonic's flaws and weaknesses; revealing what he needs and what he lacks, while also showing the corresponding strengths he then gains through these outside sources. Amy Rose helps bring out gentleness, kindness, selflessness, consideration, and mercy when it comes to Sonic's character. Without this, he would lose that very important 'heart' that most love to see a character be expanded upon.

???: But he acts like he hates her.

Me: It's stated multiple times that he goes on 'off and on' dates with her in canon. That most of the time, it's player choice whether to put them together or that he actually is attracted to her. "He may like her more than he let's on.", "How will Sonic save the world when he's falling in love?", Enchanted, love at first sight, "Amy, take care of yourself!", "Don't worry, Amy. I never will.", "Just don't hurt Amy!", "Amy... Okay, I guess I'll let him go then.", there are so many moments where Sonic reveals a tender care for her that isn't shown with other characters, but at often times does show a different side to Sonic.

???: Well, they don't just state he likes her.

Me: Sonic has a crush on Amy in Sonic Boom. Stated in his bio.

???: Well, Modern-

Me: Doesn't interact the same way with other girls as he does Amy. Growing nervous and uncomfortable because she's making him 'shy', Which has been confirmed by SEGA sources. I want Sonamy to succeed within the bounds of their genre. Like I said before, under REASONABLE circumstances. Within canon settings, especially.

???: then why do so many people make a big deal about them being weird together? Like kissing, or being 'official' and all that?

Me: Because people are people. And hedgehogs are hedgehogs.

#rant #cutegirlmayra #sega #sonamy rant #sonamy #sonicxamy #because I'm tried of people being unreasonable when they ship sonamy uncanonically.#They bother creators who look down on it because of their actions #I want it to succeed within the bonds of appropriateness to their genre.

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usashirtstoday · 4 years ago

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list as far as Academy award consideration although they don’t let me go to yeah darkness this is a dark grim trailer it took me a minute to even get into watching it because I love slow brooding Westerns the mean if you are alive back then you would be like that site note in the you would be me if we switch to chains like I get to see the parallels with her running with the storyline so is it all star cast can’t buy this an opportunityand I love I love Christian you watch the trailer how did your family feel about you watching the trailer to the last together that’s one of the things people need to realize is that I work for these trailers mean that as a market was was just good news is I like 4 PM I got you with grocery shoppingand everything elseand I’m alive but this morning took my phone to if I miss watching my daughter dropped me about 50 times but I did finish itand I love it right away but by right away thought of 310 to Yuma because of the Christian Baleand foster relationship but then I did absolutely think about last weekand the second so mysterious about underrated performance by him is in heat my comments he laid on the Albertina’s partner in crime so I I love West dutyand I love that he’s gonna be in this film is movie does look darkand does the directory look at his past work you knowand ends another collaboration here’s Christian Bale they know each other well they work together well it some it’s stepping up like slowburn you can tell that for sure but signed me up on the to go going you potentially how they are going to the grocery storeand sit in the car for two minutesand two of the trailer there when you just by yourself I would rather do a carpal video on my dashboard then to actually work store to see Ashley second light I style hostile hostile summary stay with 30 minute I was in there now I feel I was eating hostile hostile sonic boy my own the boy white paper looks really yeah like I feel awful that the board sign Rosenman Pike talking about deathand how she wishes it would come to the Internet were already you is over I was a running time on this to me this could be one of those you know whatever the shooting of the guy by the Coward Robert Ford the way however the assassination of the great were so amazing really work so long I don’t care what you 44 hoursand me good movie I don’t care but slowburn exiting this huge difference might my problem with the murder on your express is that it started I could start up moneyand sort of a really move meand then it got slowand I’m assuming a slowburn aware like investing a boring boringand a slowburn slowburn is like where were leading up to something were getting involved with the help give it takes to three hours to get there that’s fine as long as I’m invested that this was I invested 30 minutes I don’t I don’t mind slowburn to build a just the trailer load builds that dark moodand then as you see the characters are intertwiningand burping at the same time the movie is like a every reflux both my grandparents for her on the 3R movies again spent two minutes but the trailer in the bathroom window in the basketball story that you will finally going to take out years guarantor nimbly elaborate from the movie everything I’ve not been determined currently serving steps for traffic world finding they’re currently right here sign many personae by mean it’s a seam same take before by the love Kung Skyland but I did love Kings of summer which he directed at himand so I think he’s a really great directorand I still think that is more than he canand I want to see it in overtime at that the screenwriter but I was comes the screenwriter I always have to give it really looks for this fileand director by directors awareness can be working with that particular scriptand he’s going to bring a script on South Jordan believes that this script is the one he wants this day wants to write the script themand by that I do believe in him as a directorand I think that can’t Skyland had a lot of problemsand I know that we normally do the judging of the last movie but I’m enough to give them all againand I’m essay that maybe this is the one that he he takes in the second one right Chevy look at his interestand out of you are aware think the dark the writer did go to Miami so that changes your viewpoint I haveand I think that you have called Skylandand I like that movie I really enjoyed watching it I met my issue with each snap was that you didn’t have a whole lot of back story with any of the characters with metal gear solid it is such a immense worldand people love this they love metal gear so the going to show up in full forceand they want a great movieand I can accept anything last Connolly also worked on Jurassic world safety not guaranteed he’s one of the guys who was rumored to be working or doing a treatment of episode nine I don’t think that still happening but I know that he was working addressing profound kingdom to so he’s got some big blockbuster experience writing these think if we can get a little more meat on the bone when it comes to meeting these know your solid characters as opposed as a giant active these I think that’s gonna attract new viewers as well as a hard core metal gear fence I think of case in point is that Jordan Voigt Roberts loves metal gear solid is a big fan you play the game so hearty so doing has relied on the taxesand or Sally had a lot of different game but the days working with the same writer I feel like I like can’t Skyland yes the humans got the short trip Capt. THAT REGARD NEXT IS A COMMENTARY ON WHAT THE COMMUNIST PARTY IS IN THE WAY OF ANOTHER ARTICLE 9 COMMENTARIES ON THE COMMUNIST PARTY SO WE THOUGHT BOTH THESE ARTICLES KINDA GO HAND IN HAND BUT IT REALLY HELPS YOU UNDERSTAND WHAT COMMUNIST PARTY IS ALL ABOUT ESPECIALLY TODAY IN THEIR PRESENT SITUATION NEXT TO ANOTHER VIDEO FROM THE EPOCH TIMES AND DECLASSIFIED AND THIS IS ON THE CHINESE PROPAGANDA OUTLET PAID MILLIONS TO THE WASHINGTON POST AND THE WALL STREET JOURNAL NOW ALL OF THESE PAPERS HAVE SUFFERED SEVERELY WITH THEM THEIR AUDIENCE AND AND BASICALLY VIEWERSHIP AND GOING WAY WAY DOWN AND SO THE ONLY WAY SOME OF THESE ORGANIZATIONS CAN EXIST IS THAT GUY HAVE SUPPORT FROM OUTSIDE MONEY SO ON DEFTLY THE CHINESE HAVE BEEN PART OF KIND OF

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jerusalism · 5 years ago

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Adeena Karasick interviewed by Joelle Milman

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Joelle Milman: The infinite abounds in your work. What is your relationship to ein sof?

JM: Who is your muse?

AK: Abraham Abulafia, 13th C. Kabbalistic mystic.

JM: Your recent work, COVID/ KAVOD, pays attention to these particular times and the words we have created around it. Can you tell me more about the piece?

Superstar dub poet/producer Lillian Allen contacted me and asked me to record my thoughts. She had it set to music with a DJ and a cello; launched on Spotify and CD Baby...crazy! It was one of those things, where you never know where things might lead, the synecdoche of the ever-so prescient spread?! Really makes one think about the viral nature of everything, i.e. memes—units of cultural energy that virally replicate themselves; how à la Korzybski / Burroughs, “Language IS a virus…

JM: You work in performance, video, text—but everything seems grounded in words. How do words play differently in different forms?

I love the differences between them [mediums] and I love ways that they feed off and expand the experience of one another.

JM: What is your relationship to the individual letter?

AK: Kabbalistically speaking, if the world was created through letters, every time we read or write or speak, we are in essence re-creating the world.

JM: Tell me more about what you find sexy. What is the erotic up to when it shows up in your work, and do you find it particularly intertwined with gender? If so, how and why?

JM: I love it. I haven't seen anything that approximates the video poetry you make and they’re awesome. When it comes to idea generation, do you start with the medium or the message? What is your editing process like?

JM: So much of your work is mash-up, combining elements from other texts be they theoretical, visual, or otherwise. What is it like to combine existing content and bring it into new forms?

What’s it like? In a word: textatic ; )

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To join the Jerusalism Mekuvan Zoom session featuring Adeena, please see register: https://www.eventbrite.com/e/mekuvan-4-wadeena-karasick-tickets-107540472448

#interview #israeli culture #jerusalism #connectingliterally

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its-just-like-the-movies · 8 years ago

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May Viewing List

Given that I now have two jobs that occupy a good amount of my week I’m so genuinely amazed I was able to get this close to last month’s number.

Casting JonBenet (17, B+/A-): As intimate with the actors as they are with their parts. Life experience as credibility in interpretation. - May 1, 2017 (review)

The Fighter (10, A-): O’Russell realizes the best possible version of this script to create a stunning, spiky showcase for everyone involved. - May 2, 2017

4 Months, 3 Weeks, 2 Days (07, A-): An incredibly tense, textured portrait of two women in a time and place that’s slowly creeping back. - May 4, 2017

The Butler (13, C-): Gumpy, conventional plotting, odd casting & makeup undermines everything neat about Daniels. Amazingly broad. - May 4, 2017

Props to David Oyelowo for being the stillest thing in that movie, enhancing everyone else while giving a great, quiet performance.

Pitch perfect supporting acting. Great work, improves the lot, and you wonder why this isn’t a movie about him and the Black Panthers.

Don’t Think Twice (16, B): Spry cast, easy chemistry, remixed script beats elevate this tale of relocated dreams and success. Jacobs! - May 5, 2017

Nebraska (13, C-): Dern gets his Crazy Heart but instead fights flat, mean direction & plotting, false emotions & atmosphere, shitty musak - May 6, 2017

Face/Off (97, B+/A-): So deliciously, entertainingly Extra, finding the perfect tone to pull off this astounding nonsense. Cage! Allen! Woo! - May 7, 2017

Aladdin (92, B-): Feels like a different Disney musical than the 10′s movies. Lovely songs. Williams more magical than the Genie. - May 7, 2017

Guardians of the Galaxy Vol. 2 (17, B): Such a wide color palette! Shaky til “Come a Little Bit Closer”, then becomes the space opera it dreamed of. - May 7, 2017 (review)

Who else thinks Guardians of the Galaxy 2 should’ve been a musical, and that the next one should just go for it?

Florence Foster Jenkins (16, B-): Great fun, especially the leads. Generous, but overly so? Seems to resist a deeper dive into her rise. - May 8, 2017

And with that, I’ve seen all the 2014, 2015, and 2016 acting nominees!

Nightcrawler (14, B-): Provocative, in distinct and generic ways, but strained. Wonderfully lit, creepy, and blunter than Snowpiercer. - May 8, 2017

The Innocents (15, B): Textured like a Gothic horror story. Milieu I’ve rarely seen in this genre. Intertwined, parallel narratives hit hard. - May 9, 2017

Autumn Sonata (78, B+): Bergman, Bergman, Ullmann, and Nyqvist just beat the shit out of me for ninety minutes and it was an incredible experience. - May 9, 2017

Dheepan (16, A-): I noticed so much more in practically every aspect the second time around. Camera, Srinivasan my favorite elements. - May 9, 2017 (rewatch)

Blue Jay (16, B+): Another one that spiked up for me. Dynamics even richer the second time around. Paulson and Duplass are so lovely! - May 10, 2017 (rewatch)

Blue Caprice (13, B+): Hard, risky, genuinely nightmarish. Symbiosis, paranoia as real bonding. Finds so many questions in its own answers. - May 11, 2017 (rewatch)

The Immigrant (14, A-): An operatic marvel, moving freely through every period of cinema. And so gorgeous! God rewatching things is great. - May 11, 2017 (rewatch)

The House of Mirth (00, B+): A warmer, more conventional, but just as impassioned cousin to Portrait of a Lady. Great look. Gillian shines. - May 11, 2017

The Lady Eve (41, A+): Lord why don’t they make them like this anymore? Quick, witty, lovely, silly, paced like a dream. Superb. Stanwyck!!! - May 13, 2017

I get how problematic the setup could be if made today, but it’s hard to image a modern comedy with this much genuine craft at all levels.

The Stanford Prison Experiment (15, B): Every element builds & improves as it goes. Not sure how much to credit any one part over source material. - May 16, 2017

Maybe because the real thing is so pervasive in the culture already but I’m not sure what I got out of this. Already thinking about B-.

Cool Hand Luke (67, B+): Lots to say about people, about one among many, and how we treat them. Newman makes it about a man. - May 16, 2017

We Own the Night (07, A-): Technical prowess and directorial strength ably fight off genre cliche. Tense, captivating, and very much Gray’s - May 16, 2017

Network (76, B+): THIS was the film so many adults have said I’d be inundated to because of the world now? Friend, that makes it stronger. - May 18, 2017

Malcolm X (92, B-): Artistically and politically valuable even in the sequences Lee is less interested in. Not always both at the same time. - May 19, 2017

That being said, Denzel is incredible, giving a massive performance in an epic that’s sporadically as alive as he is.

The cinematography, especially the lighting, is also really spectacular. It’s artistically strong across the board, just conventionally told.

Secret Sunshine (10, B+/A-): Grabs you by the gut with bracing handlings of trauma and religion, albeit with small hiccups. Jeon’s a marvel - May 19, 2017

The Wolf of Wall Street (13, D+): Is there anything to even say about it? No new ideas from scene one. Boring depravity. So visually dull. - May 20, 2017

Melina, after making a joke about snorting coke out of a stripper’s ass: ”Can women really have it all?”

Alien: Covenant (17, B-): The case against humanity, by David. Human stupidity as real plot logic. Sets, VFX even better than Fassbender. - May 21, 2017

After the movie I realized I almost have the same haircut that Katherine Waterston has. So that’s neat.

August: Osage County (13, C): Not all the pieces fit, especially with so many sharp edges shorn. But Streep’s incredible, Roberts gets it. - May 21, 2017

Passion (13, C): Weirdly uninspired style for such a pulpy tale. Awful sets balanced by great clothes. Score works. McAdams on point. - May 21, 2017

Love & Mercy (15, B): Limited in scope but what textures it finds. Separates art and madness even as they feed each other. Great leads. - May 22, 2017

All three really blew me away, and between this and the Manson You Must Remember This episode, hot damn are The Beach Boys interesting.

And on a totally unrelated note, Paul Dano can fucking get it. Oh yes. Yes he can. Young Brian did have a sweet bed. I’ll stop now.

The Final Girls (15, B+): There’s an even more inventive script in here, but so much more going on visually than I realized. Åkerman! - May 22, 2017 (rewatch) (review)

The Iron Lady (11, C): Damp rag baby of La Vie en Rose and The Whisperers. Messy camera and direction. How much really happened here? - May 24, 2017 (review)

Sweet Bird of Youth (62, B): Scrumptious. Not quite the play but expands nicely. Page a delectably seasoned ham, Newman a sweet hunk of meat. - May 25, 2017

Stage Door (37, A-): Is it a bird? A plane? No! It’s the inner lives of over a dozen artistic, intelligent women, right there on the screen! - May 25, 2017

Is there any point in film history where this project isn’t a miracle? Why hasn’t this been remade every ten years? God, was I in heaven?

Caterpilar (11, B): So confrontationally severe in content and style, even as it dilutes itself in the final third. Iffy taste, but it hits. - May 26, 2017

Harry Potter and the Goblet of Fire (05, C+): No tweet (rewatch) - May 26, 2017

Me, watching Goblet of Fire: “Why couldn’t Ron have dated Hermione AND Krum?”

My mom, every time we watch a Harry Potter movie: “It shoulda been Harry and Hermione.”

Not to read too deeply into things but Ron being Harry’s person he has to save is Really Gay

Easy A (10, C+): Kinda spotty outside Stone, but boy does it care about her. And lord does she make it something special. - May 27, 2017

It’s abominable that with a filmography seemingly built on delightfully supporting women Stanley Tucci’s sole Oscar nomination is for Lovely Bones

The Banishment (07, B): Pace and length made me sleepy but Zvyaginstev’s formal control more than kept me awake. Oddly compelling. - May 29, 2017

The Miracle Worker (62, B+): Beats Arrival for conveying the power of language and understanding. Bancroft’s great, and Duke’s even better. - May 29, 2017

The Man With The Golden Arm (55, B): Sinatra does great work to elevate this semi-cliched tragedy, but Parker and the score hit a home run. - May 30, 2017

Paranoid Park (08, C+/B-): Never not overworked, especially sonically, but unbearable first half hour turns into a compelling yarn. - May 30, 2017

National Velvet (44, B): So kind to its characters, mature about their wants and ideas. Gorgeous, infectious, and well-acted to boot. - May 31, 2017

#my posts #month logs #my reviews #performance reviews

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voiceactinguk · 7 years ago

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THE DETECTIVE: Male and Female Voices Wanted For Action-Adventure Series!

Description I am looking to expand the cast of our pilot episode for a new action-adventure series called The Detective produced entirely using LEGO characters, sets, and models, and was hoping that you lovely people might be able to help. This project is still in the early stages. We hope to start shooting the pilot episode within the next month or two, but before that can happen we need to give all the characters a voice! So if you have a good quality recording setup and the desire to get involved with something a bit different, this is the project for you! If the pilot episode is a success, we would love to make a full series of The Detective. The series would follow the adventures of mega-rich film star Jason Winchester, who also happens to be a secret agent with an impressive array of vehicles and technology for taking down international criminals and ne'er-do-wells! He is supported by an ultra-intelligent computer known as The Investigator, whom he affectionately refers to as Invi. When he isn't busy saving the world, Jason is being hounded by his acting agent, Scarlett Winters - a southern belle who is sweet and determined in equal measure. Taking care of Jason's domestic life is his butler Gregory, who often struggles to keep up with the rigours of Jason's acting career, let alone his work as a secret agent. In the pilot episode, The Launch, Jason rescues the kidnapped commissioner of the Space Defence Organization. A top secret spy satellite is about to be launched and Jason suspects foul play. He attends the launching undercover and soon catches a saboteur in the act! I'm looking to pool this community's talents and am asking for auditions for all parts great and small. I'm looking for kind-hearted volunteers as this project is unpaid. If you are considering taking on a lead role, please keep in mind that if we make a full series of The Detective, this project could require your commitment for many months, if not years. Leading Roles Jason Winchester - Male, British English or American Midwestern - Aged 20-40 Handsome, charming, and smooth talking, Jason is a secret agent who can talk himself out of any problem - but when that doesn't work he's also a man of action. Lines: [flying his jet at super sonic speeds to intercept the kidnappers] Invi, I have visual contact with the speed boat. Can you confirm that Commissioner Mason is on board? We wouldn’t want to interrupt a pleasure cruise… - [discussing a script with his agent, Scarlett Winters] But Mrs. Winters, one of the reasons I pay you to be my agent is so that you can read the prospective screenplays that come my way in advance, and whittle away the dead wood on my behalf. - [Jason has just discovered a bomb at the rocket launch site, and the saboteur, Charles Summers, is getting away] Invi! Charles Summers has attempted to plant a bomb at the launch site just before blast off. He’s escaped, but I’ve got the bomb. There’s a 5 minute countdown and a combination to shut it down. Help me deactivate it. - [After successfully completing his mission, Jason is being congratulated by the Space Defence Organization] I can’t reveal too many secrets Doctor Tyler, but let me tell you that I have a very talented Investigator at my disposal. She usually steers me in the right direction. - ______________________________________________________________________________ The Investigator (aka Invi) - Female, British English or American Midwestern - Aged 16-30 The voice of Jason's ultra-intelligent spy computer, capable of hacking any network or device on the planet. Invi is cool, calm and collected at all times with the odd burst of a sense of humour here and there. Effects would be added to the voice to make it sound computer-like, but for the most part I am looking for a natural delivery of the dialogue to give the role some personality. Lines: Congratulations on a successful mission, Mr. Winchester. - You really should get a safety harness fitted to that elevator, Mr. Winchester. - The Commissioner is the head of a top secret committee planning the launch of the CJ2 spy satellite at 0300 hours on September 2nd. - Nobody outside of the CJ2 committee knows who the other members of the committee are. Even I shouldn’t be able to access that information. There has been a security leak from the inside. - [Jason has just found a bomb and needs Invi to help deactivate it.] There isn’t time Mr. Winchester. You couldn’t manually input all of the potential combinations before the detonation. Get the bomb as far away from the rocket site as you possibly can. - ______________________________________________________________________________ Scarlett Winters - Female, Southern U.S.A. - Aged 25-40 Scarlett is Jason's acting agent who remains oblivious to his work as a secret agent and is only interested in getting him starring film roles in Hollywood. Scarlett is a true lady - a southern belle with sophistication and beauty. She uses charm and flattery to get her way every time, and won't give up until she does. Lines: [Scarlett has just been invited into Jason's home by his butler, Gregory.] Thank you Gregory my dear. Jason, you look simply divine. A picture of good health you surely are. - [Jason is asking for information about a new script but Scarlett just wants to make herself at home.] Yes, yes, all in good time. Gregory, darlin’, a sip of ice tea would be just the perfect thing to quench my thirst. Anything for you, Jason? - [Jason has just completed his mission, but Scarlett calls in the middle of the night about an exciting new film role.] Jason my dear, I’ve found you a part in a space movie. Harry Graham just pulled out at the eleventh hour and they need you on set first thing in the morning. The producer’s a very good friend of mine. Will you do it? ______________________________________________________________________________ Gregory Tillman - Male, British English - Aged 35-55 Gregory is Jason's long suffering butler. He's a man of impeccable manners, breeding, and training, but isn't afraid to expose his dry sense of humour, or is disapproval at his employer's behaviour. Lines: [Jason has just arrived home after a dangerous mission.] About bloody time, sir. [Jason tells him off for being vulgar] Apologies, sir. I received an urgent phone call from your agent, she’ll be paying a visit within the next hour. ______________________________________________________________________________ Guest Roles - These characters feature only in the pilot episode, but if you are a versatile voice actor we would love to have you back for a variety of new characters as the series goes on. Commissioner Mason - Male, British English or American - Aged 30-50 Head of the Space Defence Organization, the Commissioner doesn't take much nonsense, but has great respect for Jason Winchester. Lines: [Speaking to his kidnappers.] You’ll never get away with this. I’m pretty high up in the Space Defence Organization you know. People might just notice that I’ve gone missing. - [Discussing the satellite launch with Jason.] We’ve had an urgent committee meeting. I’m sure by now you’re aware of my work on the CJ2. It was agreed almost unanimously that extra security precautions need to be taken when she’s launched into orbit. We need someone who can act with due discretion and be on the ground to ensure nothing goes wrong. - [Charles has just implied that the extra security hasn't turned up.] Look Charles, I know you were against the idea but I can assure you I’ve hired the best. That’s why you haven’t seen them. They’re undercover. ______________________________________________________________________________ Doctor Tyler - Male or Female, British English or American - Aged 20-50 A member of the Space Defence Organization committee. Lines: [Talking to Commissioner Mason about the satellite launch.] Yes, but where’s this extra security you were going to arrange? - [Congratulating Jason on a successful mission.] Surely you have a team of highly trained operatives on your side though? ______________________________________________________________________________ Launch Commander - Female, British English or American - Aged 20-50 The commander overseeing the launch of the satellite. Lines: [Preparing rocket for launch] Countdown, minus 17 minutes. Retract all fuel lines. - [An operative has just spotted an unauthorized aircraft on the radar] What are you talking about? - [Rocket countdown] 10, 9, 8, 7, 6, 5, 4, 3, 2, 1. Blast off. ______________________________________________________________________________ Carlson - Male, American - Aged 30-40 A tough criminal who has just kidnapped Commissioner Mason. Lines: [Threatening Mason with a gun.] Now I don’t want to have to use this Commissioner Mason. So you just sit tight while my buddy takes us to the hideout. If there’s any funny business just remember that I could have a bullet with your name on it. - [Getting impatient with his associate driving the boat.] Can’t you make this thing go any faster? - [Carlson has just been informed that they are approaching the hideout.] Good. Well Commissioner, it doesn’t look like the police are coming for you after all, does it? Once we get to the hideout we’ll take care of that tracking device of yours to make sure they never find you again. What do you have to say to that? ______________________________________________________________________________ Deadline: February 11th Email your submissions to: [email protected] When recording your auditions, start by introducing yourself (either with your name or your username), the character(s) you'll be auditioning for, and tell us one thing you love about being a voice actor. We want to get to know you! Feel free to audition for as many or as few roles as you would like. We want to hear from versatile voice artists so show us what you can do! Audio files sent via DropBox, Google Drive, WeTransfer, MediaFire, or as attachments are welcome! Good luck! http://dlvr.it/QCJzGF www.voiceacting.space

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