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solarpunkani · 1 year ago

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Solarpunk Ideals and Aesthetics in Sonic Colors

--according to one Solarpunk Sonic fan specifically but dude trust me on this.

This post is the sequel/follow up to my previous post on Sonic the Hedgehog (the character) and Solarpunk Ideals, feel free to give that a read for some context! But for a basic run-down--Sonic the Hedgehog (the Dude) embodies several core Solarpunk tenants in his personality, Dr. Eggman is the antithesis to Solarpunk both in personality and in resulting actions, and I'm such a big nerd I had to split this post into 2 parts and they're still long as hell.

Special reminder: I am a Sonic nerd, have been for 10+ years now. I also have Write Too Much disease. I am going to talk. A lot. Prepare yourselves.

Special reminder part 2: Sonic the Hedgehog is not a perfect franchise, and it's owned by a corporation in the capitalistic hellscape we call life and I promise you I am aware of that. I'm not saying SEGA is Solarpunk, I am saying that parts of their franchise have Solarpunk elements. If I post this and someone skips this paragraph to instead rant at me about some unrelated shit that SEGA the Corporation Guys did That One Time Months/Years Ago I may snap. You have been warned.

Shout out to @modern-solarpunk for being a beta reader for this! Thank you for making sure I was actually being legible and coherent with this.

Let's dive right in.

Sonic Colors Let's Go Let's Go

Sonic Colors came out on the Nintendo Wii in 2010, with an alternate version made for the Nintendo DS. I’ve only played the Wii version, so we’re going to talk about the Wii version. We later got an 11 minute 2D animated short about the game, to celebrate the release of Sonic Colors: Ultimate (which was basically a remake for the Switch). Basic plot synopsis below.

Dr. Eggman claims that he’s turned over a new leaf and has created the Egg Planet Park to make up for his past deeds. Sonic is inherently suspicious, so he and Tails sneak in and start busting up Eggman’s latest evil plot--tying down planets and kidnapping alien creatures called Wisps and harnessing their powers to charge up a mind control ray and make Earth the star attraction of his space theme park. Sonic and Tails promptly set about stopping him, destroying the Eggman robots on each planet and freeing as many wisps as they can while they do so. Feel free to check out this video to see all the cutscenes.

“Ani, what’s Solarpunk about that? A space theme park made by chaining down planets is already pretty unrealistic--” let me get there.

First off, the storyline has resistance and anti-industrialization baked into it. In a sense, we’ve got anti-colonialism too (though by all means DO NOT take this as me comparing the immeasurable harms done to colonized peoples by their oppressors to little fictional alien dudes getting their juices sucked out. But Eggman literally is colonizing several planets). Since Sonic is fighting a villain who’s trying to turn all of space into his robotic wonderland, we are too--and we see this guy as the villain, since he is, which can make people think about how these themes play into other aspects of life. Or at least I did in the fifth grade. Bear with me here.

If you don’t wanna watch 50+ minutes of cutscenes originating from 2010s-era script writing, let’s look at a quote that I feel boils the solarpunk-adjacent parts of the storyline to its bare essentials.

In the 11 minute animated short, Rise of the Wisps, there’s a bit more. First off, we see the aliens resisting a bit more--in fact, there’s a group of little Wisp freedom fighters working to save other wisps before they’re… harvested, I guess is the word for it.

Do they have names? No. But in Sonic Colors we don’t even really see any Wisps with characterizing traits aside from Yacker, so I think having the next few be a band of freedom fighters is pretty cool.

Asides from admiring the visual style of this short (because man Sonic in 2D animation just feels right to me), there’s a quote that I feel fits the Solarpunk outlook on community and problem solving.

“When the problem seems too big to solve on your own, you do what you can. And maybe ask for a little help from your friends. Right?”

Like if I put that in the middle of any other Solarpunk post no one would bat an eye but I’m literally quoting Sonic the Hedgehog here.

The series as a whole, especially Sonic Colors in my eyes, is imbued with hope and standing strong in the face of difficult challenges--leaning on your friends for help when you need to accomplish bigger and better things than you can do on your own. In Sonic, that means defeating giant mech bots or mutated lizards trying to crash land on Earth or purify the world of an out of control zombot virus. For us? That can be restoring a native landscape, vouching for clean energy, starting a community garden, and fighting for what we believe in.

Now let’s talk aesthetics

The Aesthetics of Sonic Color

So we’ve got 5 planets (Sweet Mountain, Starlight Carnival, Planet Wisp, Aquarium Park, and Asteroid Coaster) and two parts of the main park (Tropical Resort and Terminal Velocity) that are playable zones in Sonic Colors. But what’s the most Solarpunky area to me?

Planet Wisp

Planet Wisp is described in the fandom wiki as “a beautiful natural planet full of vegetation and tall trees. The Area takes place during daytime, though stars can also be seen in the sky.” Another page on Planet Wisp says “when seen from space, it heavily resembles Earth,” but its not very big--described as “tiny” in the game. However, it has a wealth of “untouched, unspoiled and unmatched natural beauty”, full of blue-gray rocky canyons and mountains with valleys and fields, rock pillars, etc. covered by plants. The trees are extremely tall, with platform-tops and no other main branches. There’s also lakes and creeks. There’s a minimal level of urbanized civilization--mostly tree slides made from branches and roots and platforms and such. Overall, simplistic stuff--”its untouched nature being largely preserved by the Wisps’ harmonious way of living in nature.” which sounds great! Except this is before interference by Doctor Eggman. Afterwards, “Planet Wisp has large amounts of factories under construction, tearing apart the original plant life and rock and replacing it with red metal.” Eggman Empire-style structures like towers, half-pipes, and roads are clustered around the landscape, and there’s an unknown purple liquid polluting several bodies of water. So! Not all that great!

‘Ani why do you find that Solarpunk?’ two reasons

A: We the player are literally here to defy the people building the factories so the planet can continue to be full of vegetation and home to its native creatures.

B: it’s pretty, okay? It’s fukin cool.

This map is so cool it was also featured in Sonic Generations (2011) and Team Sonic Racing (2019), so let’s find some pics!

But most of all, the music, you guys.

And here are some other versions of these tracks from subsequent games (Sonic Generations, Sonic Colors Ultimate) and tracks inspired by the Planet Wisp location (Team Sonic Racing)

These tracks. Especially the original ones, but oh my god these tracks. I cannot emphasize enough I feel like. These tracks feel like you uncorked a bottle labeled ‘hope, positivity, relief’ and put it to your ear. And what is Solarpunk about if not hope.

Speaking of Solarpunk and being about hope, let’s talk about the main theme for the Sonic Colors game--Reach for the Stars. If you couldn’t tell by the title alone, this song is also the embodiment of hope--in more of an upbeat, ‘we’ve got this together!’ kind of vibe, but it’s still important to me and also feels Solarpunky (at least Solarpunk-adjacent) so let’s talk about it!

(I ran out of audios I can add so we're getting Youtube Videos instead)

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“I’m gonna reach for the stars, although they look pretty far! I’m gonna find my own way, and take a chance on today!” - as Solarpunks, we are reaching for the stars (the sun in particular I suppose) to find hope in a brighter future and share it with others. We’ve all got our own way of doing it, with solutions varying based on individual situations as well as what community efforts can yield, but even still we are daring to dream of a brighter future than the one most often visualized in popular culture. No matter what, we’re gonna keep striving to make changes and create a brighter world for ourselves and those who come after us.

“Just take a chance, we’ll do it right again (we’re gonna reach for the stars!) Just take my hand, we’ll take a chance tonight, reach for the stars, tonight!”

You know what else Solarpunks go crazy about? Community building! You know what else Sonic Colors covers musically? Community building! Or, more so, being open to other people’s viewpoints and communicating to resolve problems, but still!

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Now keep in mind, this song is literally based around Sonic and Tails trying to communicate with an alien via a translator, but my point still stands let’s look at some lyrics.

“I’ve been here before, and I know that we must stand up tall! I’m not scared to ask when I’m not sure; we can overcome it all!” - what is community if not being able to lean on other people? Community support, mutual aid, working together to solve problems big and small, Solarpunks have got it!

“If you could tell me how to lend a hand, I would try to understand! No words could say how much I care! Together we can take a stand!”

And let us not forget the refrain! “Speaking from nowhere else except your heart, you’ll never know if you don’t try! Listen and see the voice I carry with me: ‘Speak with your heart! Speak with your heart!’” In my humble Solarpunk opinion, this feels pretty solarpunk. One of the main things about being Solarpunk--at least, in my experience--is unabashed enthusiasm about our ideas and the colorful sustainable future we’re envisioning! Encouragement from others is what brought me to this space and what draws others to join and stay in Solarpunk spaces! From our art to our writings to our technological concepts and even our arguments all come from sincerity and passion about what we’re doing and the future we want!

And keep in mind, these are the opening and ending themes of the game! These are the songs where the writers are trying to bottle up the essential vibes of the game into a few minutes of funky tunes! You open up the game for the first time, you hear Reach for the Stars! And after a wonderful story and the satisfaction of finishing a game, you hear Speak With Your Heart! Even the titles alone wouldn’t feel out of place in a discussion about Solarpunk ideals!

Final Words

The Sonic franchise has its flaws, but it sure does speak on hope and resistance. Is Sonic Solarpunk? Maybe not entirely, but I feel it’s got some core elements that are Solarpunk-aligned, even when it’s not always front and center like it is here. I’m not going to pretend that Sonic the hedgehog as a franchise is the pinnacle of a Solarpunk story/game--but it’s got some nice elements that could inspire other stories, and uses those elements in a way that makes people feel like they can and should take action against darker industrializing forces in their life.

Or at least it did for me, as a fifth grader. Maybe that’s not a lot. But if it can help open the eyes of a handful of kids and teens and make them feel hope? Make them feel like they could maybe find the courage to do something? Maybe that’s all we need from it.

#solarpunk #sonic the hedgehog #sonic #sonic colors #solarpunk aesthetic week #out of queue #ani rambles #ill accept critique i'll accept disagreements but if you call me cringe or dumb or stupid glick glock you're getting the block #thank you for coming to my tedtalk I hope this was a fraction as good as everyone excited about this was hoping for #and if this gets you into Sonic the hedgehog let it be known you are ENCOURAGED to talk to me about it #Spotify #Youtube #update: I added gifs because I like gifs #update 2: added a link to the first post because i have no clue why that wasn't there before.

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mermaidsirennikita · 1 year ago

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ARC Review: It Happened One Fight by Maureen Lee Lenker

3/5. Releases 7/11/2023.

For when you're vibing with... Old Hollywood, celebrity romance but make it vintage, oops! we're married, and light enemies to lovers.

Joan Davis has been unable to escape being paired with her screen partner, Dash Howard--no matter how much she hates him, they're box office gold together. She's hoping that her upcoming marriage to rising star Monty will give her a new image. Except, whoops, a prank gone wrong (by Dash) means that Dash and Joan are legally married. The only way to get a quick divorce is to star in one last movie with Dash in Reno, where they can split after six weeks. But during that six weeks... Joan begins to wonder if there's more to her irritating rival than what meets the eye...

I'm actually a really big fan of older cinema, and I love Old Hollywood. Unfortunately, while I think this is a well-done book and will definitely capture the hearts of certain readers, it didn't quite get me going.

Quick Takes:

--I really do love the premise here. The Reno divorce was something so many celebrities relied upon back in the day--and it's perfect for a romance novel. You can tell Lenker knows her shit about the tricks of the trade, too. Dash was just an everyguy until his first wife saw something in him and helped him remake his image, Joan's own image remaking with her engagement to Monty (who has quite the involved roommate)--those are all the beats of shit Old Hollywood used to pull all the time, and I like that.

--Where I think we're a little lost is in an uncertainty about the setting. It's definitely detailed like Old Hollywood should be, but it doesn't quite hit home for me. Some of it is in the dialogue, which is quite 21st century modern. There's a modern vibe throughout the book, and here's the thing: I normally don't care about that with historicals... To an extent. Very few historicals are truly accurate, you know? But it's easier to get a sense of a really well-tread setting like Regency and Victorian, I think--that's not Lenker's fault. What makes the 1930s, and especially 1930s Hollywood more challenging is that in the grand scheme? It's a lot more tangible. I can watch a movie and see... if not a depiction of how real people acted and talked, then at least how they wanted to be seen. It's more familiar, so it's easier for a book to feel not-quite-there, I think.

However, I also feel like there was a lot of grit taken out of the world, and I tend to wonder if 1930s Hollywood just might not be the right setting for a lighthearted historical romance. Perhaps a heavier historical romance would've made more sense. Maybe I'm just too aware. This reads more like a movie made in the 1930s than a book about people who made movies in the 1930s, if that makes sense, so perhaps my expectations were off in that sense. And to be clear, I'm fully aware that Regencies and Victorians gloss over the bad shit too--but I think there's a higher sense of stress in those I prefer, at least, and again this book suffers a little from being too recently-set.

--In that sense, I feel like it wasn't quite caustic enough for me. There's a sense of the screwball to this, which I think is easier to pull off onscreen than it is on the page, because you have charismatic actors doing hijinks and allowing you to suspend disbelief, whereas here I'm like "okay, this is a lot for a grown man to be doing". I just need to stay away from books where pranks are pulled--and that's on me.

--The writing is entertaining and it all makes sense. It hit all the right beats. I should have connected more than I did, and again, I feel like those who prefer lighter books will probably connect with it more. I just didn't get the sense that these two needed to be together, which is important for me as a reader.

The Sex Stuff:

There is one extended sex scene, which is good and covers a lot of the bases. But after that, you get a lot of closed door action, and I really don't understand why that is.

This is one of those books that I think could've been pushed an extra level; it almost had a thing, but for me, it didn't quite get there.

Thanks to Netgalley and Sourcebooks Casablanca for providing me with a copy of this book. All thoughts and opinions are my own.

#romance novel blogging #arc reviews #netgalley #book reviews #books

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ccthewriter · 2 years ago

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CC's Top 10 New Watch Ranking - February 2023

Every month on Letterboxd, I make a list of the 10 best films I’ve seen for the first time. It’s a fun way to compare movies separated in time, genre, and country of origin, and helps me keep track of what I’m watching! This is a breakdown of those films.

Wow! We're (mostly) back on schedule! What a delight. This month’s accidental theme is One Conversation Would Fix All Your Problems. Somehow each of these films hinges on some assumption that one (1) conversation could cure! But instead, our protagonists sail ships, throw tigers, and hop through dimensions before considering an awkward talk. That’s what the movies are for.

Click below to read the breakdown! Click HERE for the list on Letterboxd!

10. Banshees of Inisherin

2022 - Martin McDonagh

No one can create a tinderbox waiting to explode quite like Martin McDonagh. Especially on stage, his work lends itself to displaying the absurdity of interpersonal conflict, cycling in its madness until there is no solution but violence. Yet this film is so soft, so rich in color and beauty. It’s an ironic contrast to the central pair’s struggle - one simply wants nothing to do with the other, but in this tiny, pristine island, they can’t help but bump into each other. It’s insane that they can’t be happy with their peaceful setting. While I suppose that’s the ironic centerpiece of the film, the metaphor gets messy when you extend it to the real history of the Irish civil war, which this plot is clearly meant to evoke. There’s a lot to like in the film, but I must admit, I think this would be a lot more successful as a play. McDonagh’s visual style just works against the theme, and he doesn’t do enough visually to really celebrate the great performers he has in front of him. I have a feeling I’ll like it more on rewatch. Kerry Condon’s a gem.

9. Chimes at Midnight

1965 - Orson Welles

The role Welles was born to play! What else is there to say. To be honest I watched it over a long period because I couldn’t focus on it for too long, but frankly, with Shakespeare, I’ll forgive it. This is a very old-school stagey adaptation, and outside of Welles the performances aren’t clamoring for attention. But I love the ugly warts of all the visual choices. The RenFair-core outfits, the Paths of Glory-esque approach to the war, the grimy interiors and huge palaces. It builds up to a really singular interpretation of the Bard’s work. No Throne of Blood, perhaps, but still interesting. As I write this and post the gif above, I am now realizing that I wish I could pluck Orson from time and have him play Siegmeyer of Catarina in my Dark Souls adaptation.

8. The Palm Beach Story

1942 - Preston Sturges

Ranked highly because it has the funniest punchline to a film of all time. There are so many incredible jokes built into this thing. Sturges is a master of blending relentless comedy with romantic beats that win you over at the last minute. A lot of screwball comedies from this era have this problem where the main couple is at odds until the final minute, when a switch gets flipped and they’re suddenly gaga for each other. Sturges is the only one who can set up the pieces that make those moments believable. I want to remake these movies but make them explicitly poly and queer. The subtext is amusing, but c’mon folks, why aren’t we making these things gayer.

7. The Sea Beast

2022 - Chris Williams

I love an adventure on the high seas. In another age, where Netflix wasn’t drowning out their own content in a deluge of releases, this would be a shining champion of animation that’d be going toe-to-toe with the major Disney releases. In a world of leviathans, a ship of Hunters go on one last mission to defeat the Captain’s Moby Dick-esque nemesis. But a young girl stows away on the ship, instigating a cascade of challenges that make the Hunters question if their profession is as noble as they make it seem. I don’t think the movie’s doing anything incredibly groundbreaking, other than synthesizing some design and story principles that have been getting more popular in the recent past. But I am always floored by how common it is to see “Question Everything You Know” narratives in children’s media. There’s this speech at the end that really talks about colonialism, and how images of prestige can serve cruel tyrants who want to keep the people down, keep them asleep. I love thinking about what content like that is going to do for the next generation. I hope they keep those messages in their hearts, and come to rediscover these films and realize they contained lessons that have made the world better.

6. Everything Everywhere All At Once

2022 - The Daniels

Boy there’s a lot going on here!!! I have some trepidations about this film that I go into on my Letterboxd - basically, there’s some element that’s missing for me emotionally, particularly when it comes to the queerness of Stephanie Hsu’s character. I feel like I need to rewatch this again with a notebook in front of me to track all the beats that happen to her character. Despite the cold feeling it left me with, I was impressed by the scale of the whole thing. There’s an old joke that gets floated around about movies that don’t win Best Picture but could win MOST Picture. This one would sweep the board if we were giving awards for The Most in any category. Loved the editing, loved the direction, I *really* loved every performance within this. Somehow those pieces don’t add up to a movie I can unabashedly adore, but I am impressed by what this contains.

5. Mr. Arkadin

1955 - Orson Welles

This is specifically for the Criterion Comprehensive Edition! I hadn’t heard of the editing question surrounding this film until CriChan put up three different versions of this. I watched them all, and can say affirmatively that the Comprehensive Edit really is the best one. It doesn’t change anything very major about the work - all the same beats are there, the plot is really consistent - but simple camera moves and timing changes just make the work sing in ways the other edits don’t. Somehow this edit made me finally understand what was happening in the story, too. There’s a lot of duplicity and misdirection here, by design, but they didn’t really make sense to me emotionally until the full telling. This is a great film to break down in an editing class. I really want to figure out how such subtle changes can turn a film from an OK noir into a masterpiece.

4. F for Fake

1973 - Orson Welles

It’s been a Welles month! The first five minute is one of the best things ever committed to film - I will be rewatching that little magic trick endlessly. It puts you in the perfect headspace to receive the thorny, shifting narrative that follows. Welles is ostensibly playing documentarian, telling you the story of real-life art fake Elmyr de Hory, and his biographer Clifford Irving, who later publishes a fake biography of Howard Hughes. Over the course of the film Welles interrogates whether either of them were ever telling the truth, and where the line between fake and real ends. It culminates in, again, one of cinema’s great sequences and punchlines. I love the filminess of this movie, how proud Welles is to let you peek behind the curtain and see how the film you’re watching is being made. As I continue to study and learn about films, I am increasingly interested in the narrative of how the film was made, in addition to its content. I love directors that can synthesize the two. The production of a film is the film itself - the viewing of a film is the sum of every life that touched it. There are incredible paradoxes built into that knowledge.

3. TÁR

2022 - Todd Field

I’m trying to catch up on all the big Oscar players before the ceremony this weekend. The top 3 this month are all major contenders whose order and ranking shift whenever I think about them individually. TÁR contains perhaps the best performance out of anything in this list, though. Blanchett is working at her full power to depict an utter asshole, without turning her into a cartoon monster or misunderstood Joker. It’s a delightful character study that we really don’t get enough of. Lydia Tár is a world-class conductor who’s on the verge of completing her grand musical project. As she oversee the final chapter in this saga, the consequences of her past actions catch up with her, and the people in her live begin to realize what harm she’s been causing them throughout her career. While the film is reduced to being “about cancel culture” in some circles, what I really want to highlight is the ego that centers this entire performance. Lydia Tár just cannot conceive that what she’s doing is wrong. She accepts any evil as a necessity on the path to greatness - even when she is knocked low, she seems to say “this is just the process, this is just one step of many.” Her self-importance makes her the monster that she is. Blanchett nail the nuance of that mindset with incredible power, and I will be thinking about the punchline ending for a long, long time. Spoilers to follow - I did not realize that final scene was *literally* a Monster Hunter performance until I started reading reviews. Incredible stuff. Tár is trapped in a karmic hell where she is no longer seen by her audience, she is just a vehicle for delivering something else, this fandom experience that she has no influence over. Incredible.

2. RRR

2022 - S. S. Rajamouli

Oh gosh I already burned that “Most Movie” joke in the EEAO review, should have saved it for this one. They can share the title. They can share it by bungee jumping around a bridge and saving a drowning boy through an oil fire while waving big flags!!! This is an *incredibly* exciting film, just some of the best action I’ve seen in years. Its bombast, its huge emotions, and its relentless dedication to massive setpieces is really something to behold. There’s music!!! They dance!!! It’s not like this is the first film to blend badass action with romantic and musical elements, but I’ve never seen something do that so shamelessly. I’m glad it played like gangbusters around the world, I really want to see more studios use their overinflated budgets to create massive works like this instead of the lifeless, emotionally muted CGI gloop that comes out Disney’s live action arm. The thorny nationalistic elements definitely hurt the film, and I have a feeling they’re only going to get worse as the years go on. But that’s a subject best left to more informed writers than I. As we’ll be discussing in the next film on this list, it’s ok to hold paradoxes gently, and acknowledge how incredible the film is without ignoring the bad purposes it can be used for.

1. Top Gun: Maverick

2022 - Joseph Kosinski

Folks… what a picture. There’s so much greatness to be found in all the films on this list, but after careful meditation, it really is Maverick that synthesizes all of its elements into a cohesive, compelling whole. Far better than the original. Tom Cruise’s Mav, this film tells us, has been in a holding pattern since the first movie. He’s never moved beyond being a Captain, is still a test pilot after all these years. But suddenly the ghosts of his past return in the form of Rooster’s son, ready to fly a dangerous mission that only Maverick is able to teach. Together they have to face impossible odds while confronting the specter of disaster that could tear them apart at any moment. The film’s just a fine-tuned machine of gorgeous photography, compelling emotions, and huge, huge action. There’s a great ensemble. And the final sequence… gosh. The movie spends 60% of its runtime preparing for one mission, repeating over and over how impossible it is. And once it actually begins, you kind of realize, “Oh wow, they’ve *really* been priming for how utterly impossible this is.” It’s a delightful magic trick. They do the impossible, and then have even more impossible stakes that you couldn’t imagine them possibly beating. The ending feels truly triumphant. To be honest I’m at a loss of what else to say. It’s just so good! If you’re looking for an action flick with a lot more to it than guns and explosions, this is for you. It’s elegant, well-designed, passionate blockbuster filmmaking at its very best. No wonder it lingered in the box office for so long.

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Thank you for reading! If you liked any of these thoughts feel free to follow me on Letterboxd, where I post reviews and keep meticulous track of every movie I watch. Look forward to more posts like these next month!

#movies #film #letterboxd #movie list #film ranking #Top Gun: Maverick #RRR #TÁR #F for Fake #Mr. Arkadin #Everything Everywhere All At Once #The Sea Beast #The Palm Beach Story #Chimes at Midnight #the banshees of inisherin #cc oc

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x0401x · 4 years ago

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Kagerou Poject Reboot: RealSound Interview

Jin x Shirakami Mashirou x Yuumao

Their takes on the changes that each of them has witnessed in the past ten years and the things they have been seeing in the whirlpool that is the VOCALOID scene.

Translation commissioned by the amazing @sodasexual!

Celebrating the tenth anniversary of Kagerou Project, the Re:boot project has commenced. An interview has been carried out to ask about its background and prospects.

The ones we have interviewed are a trio consisting of the author of Kagerou Project and multi-creator Jin, as well as Shirakami Mashirou (bass) and Yuumao (drums/Hitorie), who are also production members of the original music piece and were listed as the performance team of “Children Record (Re:boot)”, which was released the other day as the first part of the Re:boot project.

We had them talk about the true intentions behind “Re:boot”, which means “to restart”, about the recordings where they created the concept of “overcoming the original composition” and about the near future, including the new song, along with the steps they have taken in the past ten years.

The “pain” that comes with creating something unprecedented.

——How did Kagerou Project’s Re:boot project begin?

Jin: Kagerou Project was set into motion back in 2011, so this year is the turning point of ten years since then. In that meantime, there were lots of things I fretted over, but as I discussed with the people around me about whether there was anything I could do, we came up with the idea of “remaking the old compositions”. I thought if that’s what we were going to do, then I wanted to try doing it with the original members of Children Record, so I contacted the two.

——How did each of you feel when Shirakami Mashirou-san and Yuumao-san received the proposal of a remake?

Jin: Regarding Mashirou-san, I was contacting him for the first in a long time. “Let’s go out for a drive,” I told him.

Shirakami: Right, right. We went on a car drive together. Just us seeing each other already felt nostalgic in itself, so we talked like normal about lots of things and were like, “Yeah, it was fun back then”. I felt that “Aah, I’m looking forward to this”.

Jin: While talking to the staff, I honestly felt uneasy about creating something new, even though it was a remake. If I had to use a word to represent these ten years in which I’ve been writing novels and making music for Kagerou Project, it was extremely “painful” to me. So I wanted to talk to Mashirou-san first-thing. On a different occasion, when a staff member asked me, “Have you been keeping in contact with Mashirou-san lately?”, I suggested, “If it’s okay, can I contact him myself?”, and then invited him for the drive. Rather than the request for the remake, I firstly wanted to discuss with him, “I’m planning on doing this thing; what do you think?”

Shirakami: There was one more person taking part in that drive, right?

Jin: That’s right. Since the coronavirus was going on, we went driving in three separate cars, and the third person was INPNE-kun, who made the video of Children Record Re:boot. That was INPINE-kun and Mashirou-san’s first meeting. At that time, INPNE-kun hadn’t started working on the video yet, but thinking back on it now, I’m glad the two of them were introduced to each other that way. It feels like our hearts bound the music and the video together.

——Yuumao-san, what about you?

Yuumao: Jin-kun and I were seeing each other constantly. I had received a request to tackle the recordings of the songs he had been making until now. Amidst that, there was a day when I received a request, amongst other matters, and was scheduled to “record Children Record”. Up to around three days before the recording, I spent my time wondering, “What’s this supposed to be?” (laughs).

——Jin-san, what did you think when choosing Shirakami-san and Yuumao-san, the original duo?

Jin: I only felt that I wanted to do it with these two. I didn’t have any other choice in the first place. I’m awfully fond of the contents that they performed in the original song, and I had no complaints other than towards my own abilities for making musical arrangements.

——You said earlier that “the past ten years were extremely painful”, but what kind of feeling was it?

Jin: The year when I began these activities, 2011, was the time when I was attending a vocational school; the band I was playing with back then disbanded midway, but by sheer coincidence, the older brother of a friend of mine was using VOCALOIDs and he taught me about them, so I really started doing it without any backing. Having played in a band until then, there was a lot of passion and many messages that I wanted to convey inside me, so this project was about me taking them and beginning to paddle off, and one of the aspects of it was that VOCALOID made the things I wanted to do into a reality. But that was a period where it felt like the VOCALOID culture wasn’t yet acknowledged. On top of that, other than the music, Kagerou Project had novels, and a lot of it had no precedents, so I believe there were parts of it that were difficult to understand for people who weren’t already into it. I didn’t know if the path I was going through was right or wrong. But the people around me kept telling me “not to take my foot off the accelerator”. In that sense, I definitely have negative memories of it. I also had the feeling that I was estranged from the music scene.

——Indeed, the music of Kagerou Project is unmistakably rock, and I believe it was something that pierced through Japan’s rock culture, but I think you might have felt that you were not understood by the rock bands of back then.

Jin: That’s right. Surprisingly, the people around me, including creators and those who were in bands, gave off an air of ridicule with a “he’s a faker” kind of nuance to it. I understood the awesomeness of rock bands, so of course, there were times when I’d wonder, “What is it that I’m doing?”. During these ten years, there was a moment halfway when I almost broke down. Due to many primary factors, I might’ve been unable to go on – like, there was a time when I found myself thinking that it was weird to keep it up while I was so at loss. There was also a period where I was unable to create anything for Kagerou Project.

——When did that happen, exactly?

Jin: Rather than breaking down all of a sudden, it’s more like I slowly became unable to create any more. Although I was being criticized on one side, I was also being demanded on another, so I was at a level where I was obligated to write. However, while all sorts of emotions were whirling up, I suddenly thought of something. There was a time when I got closure from that feeling of “not being acknowledged” that I mentioned earlier.

——When was that?

Jin: Around the time when I was making the previous album (“Mekakucity Reload”, which was released in November 2018). I was called “inexperienced” and “unskilled” not only in the rock scene but also in the light novel scene, so I made effort to sweep it all away. It felt like I was being treated like a tumor in everything I did. But then I suddenly thought, “Yeah, that’s fine”. There was a moment one day when the mists actually cleared, like, “What was I so at loss about?” It’s not like I’ve been going at it just so that someone would praise me. If anything, I lived my life constantly being made fun of. I’m no good at sports, I’m not smart, and I by no means did I ever excel at communicating with people at all. By the moment that I thought, if this is my character, then maybe being praised isn’t the only right answer, I was suddenly alleviated. If I’m being called a “child deceiver”, then I’m going to do that with all my might and apply myself to it, is what I thought. I refused to go to school for a while when I was in middle school, yet I had the feeling that I wanted to face this part of me, not in a fashionable or trendy way but in a miserable state, and fight him head-on. I guess that’s what suited me best. To me, Shirakami-san and Yuumao-san are people with a “chosen vision”. They have the sense to perceive beauty. I think I don’t have that in me. Which is why I was in pain. I was in a dilemma where I couldn’t grasp music as an art. However, it’s not like I’m making fun of hamburgers, but I started to think that I wanted to compete using something punk, something hamburger-like. It took me a while to get there.

——How do you feel after listening to what Jin-san just said, Yuumao-san and Shirakami-san?

Yuumao: Jin-kun said just now that he was “fretting” and “stuck”, but I knew about his circumstances to a certain extent, so I imagined that he was unable to move on. But while talking about all sorts of things with Jin-kun, when producing stuff in the last three to four years, we had the feeling that it basically boils down to “if we don’t provide this and that, it won’t be interesting”. This isn’t limited to KagePro – I just personally felt that the productions of his works were shifting towards not “making something good”, but rather making something that could be properly verbalized. For me, as someone on the performing side, I was also in a situation where, rather than just providing good content one way or another, I became increasingly able to explain it. In the end, we change just like that, is what I felt. And you base yourself on this to make new songs, right?

Jin: That’s right.

Yuumao: Thought so. That’s why I feel like the stuff that will come from you in the future will have stronger colors.

——Shirakami-san, what about you? How did the scenario change in the past decade and how do you think that you have been progressing as a musician?

Shirakami: The biggest change that I felt the most on my skin is that the huge Vocaloid movement itself has completely gained familiarity with the public in the last ten years. About a while after I had started associating with Mafumafu-kun, amongst the musicians that I’ve met, the number of people who came up to tell me, “I’ve been listening to Vocaloid” has increased. It’s been one round ever since we began doing this stuff, and the people who were the consumers back then became producers, is what I mean. That’s not us, the first generation – it’s a kind of follower generation, and we’ve completely permeated them. The context of what was born not only from VOCALOID but also the so-called internet culture has blended with the category named “ordinary rock bands”. That’s what I’ve been feeling for three or four years now. Therefore, the “feeling of being a knock-off” that Jin-kun innitially talked about has disappeared with the change of times, so to speak. I feel this keenly even in regards to myself and I think it’s an objective truth. However, from a personal point of view, even though changes are happening in many places, what is fundamentally required of us hasn’t changed much. For example, I believe that VTubers are also getting public familiarity now, but I think the reason why VTubers are trendy is that there are human beings underneath. For VOCALOID, too, the composers, so-called Vocalo-P’s, are the ones who get popularity, and one way or another, there’s also a phenomenom where the songs sung by popular Utaite become widespread. In the end, I think what matters is the fact that there are people behind it. I personally think we have to create stuff that we can be proud of while paying close attention to these things. In short, just because all internet content is intangible isn’t enough; we, the creators, have to carry the literacy of how society is going to approve of us.

Jin: That’s right. I think that VOCALOID music up to this point, Kagerou Project included, will have to be supplemented. Since we have words that are so easy to understand, such as “rock band”, “singer” and “songwriter”, for example, people go, “What the heck is a Vocalo-P, then?” At first, there was this impression that we were being given a weird alias by strangers, and I also felt like the adults, the people who are in control of the media, made us into something easy to digest. In regards to “deceiving children”, in order to earn money the fastest with it and make it spread the widest, the most effective method was probably to make it marketable, simple to understand and easy for adults to put labels on.

Therefore, I think that things such as “What is it that I can’t give up on?” and “What did I even want to do to begin with?” are the true identity of the realization that I mentioned earlier. It’s like wondering whether or not you can say aloud in the middle of a classroom that you “enjoy anime” or “really like cute characters”. Back in those days, I couldn’t to it at all. The class had castes. But I want to say this in a loud voice. Rather than trendy and fashionable overseas music, I much sooner believe in Summon Night EX-THESE’s theme song (“Byakuya” by Matsumoto Eiko) and other such music that I’ve always liked. Therefore, I want to start off from the fact that people think, “Aah, this guy has no sense”. It’s like I’m saying sorry to my middle school second-year self for almost forgetting the feelings I had back then. I seriously don’t care about winning. Being number one or being famous doesn’t matter at all to me. Only, I just don’t want people to act on their own accord like I’m a loser. I think that means I want to do something to fix this.

Earning recognition for creating KagePro content is still a few ways ahead.

——Back in 2013, we had a conversation between Jin-san and Suganami Eijun-san from THE BACK HORN, and back then, Jin-san said, “I’m handing bombs over to my grade school and middle school selves”. And that live concerts were the detonators.

Jin: That’s right.

——Regarding KagePro, I feel that this thing about “handing bombs over” is very prominent. Just as Shirakami-san said, VOCALOID “earned its own rights”, but in KagePro’s case, when I see the responses to the reboot, each and every one of the comments is very passionate.

Yuumao: Lately, be it with KagePro or Hitorie, the number of people who say either that they’re listening or had been listening to VOCALOID in the past year and a half has truly increased a lot. I kind of feel on my skin that many people are getting rooted in it.

——Jin-san, do you feel this too?

Jin: No, I don’t. This is a twisted way of putting it, but I think it’s a few ways ahead for us to receive that evaluation. I feel like it’s not over yet. When I started off by myself and decided to move on from my child self to the future, I wasn’t acknowledged by my elders and seniors. I feel inside me that this still isn’t over. I intend to be in a whirlpool. It hasn’t been proven yet whether I’m a knock-off or not. It makes me really happy that there are people who were influenced by us, but that opinion doesn’t make me change my mind.

——Jin-san, how do you think of KagePro in the near future?

Jin: When I look toward the future, I simply want to finish it. I will be taking my time to create content, but first things first, I want to devote myself to the completion of this project. I definitely won’t abandon it midway. I have this firmly in mind now. As for its contents, it’s mainly two things. For now, firstly, we have started the reboot from Children Record, but of course, there’s also a reboot for the project’s story. Moreover, there will be new developments coming next. There are also new songs and new stuff story-wise. And I want to do them with these two members, for as much as they allow. There’s the possibility that I’ll be making the drums play at 200 BPM when we’re in our 50’s. I think the announcements will be slow, but I’m very positive about this, so I myself am looking forward to it too. And, on the other hand, I also would like to ask these two for their ideas in regards to making music for this project and their opinions, like what they want to work hard on.

——What do you mean?

Jin: I honestly think that Children Record was extremely well-done. When it comes to creating something new, I want to destroy the approach that I’ve been using until now. How about it?

Shirakami: If we’re talking about approach, I believe we’ve been witnessing all sorts of possibilities. We went to studios together the past ten years for that, but we can also do it online like we did this time. Ah, we haven’t gone on a training camp yet.

Jin: I want to go on one.

Yuumao: For sure.

Shirakami: That might be interesting too. Now, if we’re talking just about the bass, it seems this production will turn out as one where I’ll get to confirm once again up to what point I can go – that’s what I thought when listening to you talk. I think the stance of trying to challenge yourself no matter how much you age is, of course, the way that musicians should be and I believe that challenging myself is the path I’m going to take, but there are genres, ideologies and aestheticss when it comes to music makers and performers. Personally, amongst the things that I’ve been producing together with Jin-kun until now, whenever we had a subject in front of us, we would only think about how to do our utmost to give a displayable form to it, but be it with the phrasing, nuance or melody, I feel like we have options for all of them. In a sense, there’s a side of Yuumao and I that has been branded as performers as we worked on productions with Jin-kun. So the extension of the straight line that we have been charting until now is, of course, still there. Now that ten years have passed, if I can make new songs with you from now on, I seriously think it might be okay to reflect once again on how my style is being processed. It’s as if it has matured. I have chosen this job out of free will, so one way or another, I’m aware that it’ll be important to keep polishing it from now onwards.

Jin: Thank you very much. That’s literally it. Even in the current Children Record, I think there’s some aspect of it that was made up from the minds of you two, the rhythm section members. Both Mashirou-san and Yuumao-san make new proposals every time. You never try to trace the past at all. The way you think about sound is insanely serious.

Yuumao: I’m planning to do my best to create sounds in a more loose manner from now on. As for what I mean by “loose”, to put it simply, I think it’s quite important to be inspired by present-time musical instruments, and that we get influence from that, when we’re making the sound details. I think it’s bad if we don’t accept and face these things. In particular, I believe that the bass and drums are the parts that change the most. KagePro won’t change yet it has changed, and I think we should keep bringing out that aspect of it.

――Indeed, as a concept, this reboot is not something made to arrange things in a completely different direction from before. Be it a ballad or programmed music, for instance, there would be nothing of that in it. It’s a remake, a rebuild – at any rate, it felt like you are building it up.

Jin: Thank you very much. In the end, we also shouldn’t think that we just perfomed it over again. So it felt like a rematch. We were all at home, but we did that recording ready to beat our selves from about eight years ago. What should I do to make the original members say that this one “was cooler” than the precious song called Children Record? I think I was able to find an answer to that one.

Shirakami: In a way, using VOCALOID might have been its forte. For example, whenever a band remade a song from ten years ago, I usually felt that “the vocals have none of the freshness that they had back then” or “the reckless feel from that time was better”. But because it’s VOCALOID, that part doesn’t change. It might be that we managed to grant positive changes only to the good points.

Jin: I see. I think that’s possible. My mindset this time was to play the guitar so much that my fingers would bleed. I want to take on more challenges from now onward too.

#kagerou project #kagepro #mekakucity actors #kagerou daze #kagerou project reboot #jin #shirakami mashirou #yuumao #realsound #interview #my translation

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fyeahsharonrooney · 4 years ago

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'Finding Alice' star Sharon Rooney on silencing the social media bullies and why her granny was her greatest inspiration (Sunday Post, 17.1.21)

'...Fire up social media on your phone and within moments you’re free to interact with a world full of people. Holiday photos from your cousin in New Zealand? Click like!

Your pal’s video of a Yorkshire terrier that sounds like Brian Blessed? Hit retweet! Don’t like the way someone looks? Tell them to lose some weight!

Hang on, that last one is probably a bit rude. You wouldn’t wander up to a stranger in the street and casually advise them to give the sweeties a miss, not unless you were desperately craving a sore face.

Yet that kindly advice is precisely what someone like Sharon Rooney is offered when she logs into sites such as Instagram.

Sharon, who starred in Disney’s recent live action Dumbo remake, E4’s My Mad Fat Diary and hit sitcom Two Doors Down has endured her fair share of trolling.

“It’s the unsolicited medical advice I enjoy,” she laughed. “Telling me not to eat jellybeans. Thanks!

“I learned quite quickly people will pick apart anything. They will find something. Even if I was five sizes smaller, someone will tell me I looked better before. You’ll never please everyone.

“There’s a lovely mute button now. If someone writes something rude I just quietly say ‘Shhh’ to them.

“With My Mad Fat Diary I’m already saying, ‘Hello, I am fat human’. What can they say?

“I have eyes, I know what I look like and I’m fine with that. Sorry if you’re not. I’m doing OK, so please don’t worry about me.”

Sharon, 32, is doing more than OK though, which you’ll see if you tune into new ITV drama Finding Alice tonight.

She stars opposite Keeley Hawes and it’s a role that saw Sharon cross the Bodyguard star’s name off a special list.

“I’ll let you into a secret. Every actor has a dream list of people they’d love to work with and Keeley was on mine,” she said.

“I told Keeley. She just rolled her eyes and told me to shut up.

“Why would you not want to work with her? She’s fantastic in everything she does.

“Keeley’s everything I thought she would be. Whe’s one of a kind. A special human being. Look, Keeley’s not paying me to say this! Maybe she should…?”

Praising a colleague is, of course, second nature to an actor. There’s a reason they call them luvvies; plus you don’t want to end up working with someone you’ve bad-mouthed on a project in a year’s time, do you?

This isn’t merely empty platitudes for a thespian pal. Sharon’s praise is warm, generous and genuine. It’s how she herself comes across, along with a dash of wry humour.

Perhaps it’s the influence of her late granny, who Sharon describes as her soulmate.

“This sounds so cheesy but she truly was,” she added. “You know you get one human who you just chime with? I just loved her. We were two old souls.

“She taught me so much. I think grannies have that magic where they teach you to deal with life after they’re gone. I just enjoyed every minute I had with her.”

The pain and sadness we’ve all experienced over the past year, along with the forced holiday she’s had to take with being locked down, has let Sharon think about the grief she felt when her gran died.

“Even if you’re preparing for a death I don’t think it’s any easier than if it’s unexpected,” she said.

“When it is unexpected, like the way Harry dies in Finding Alice, you’re left reeling from it for so long before you can take in what’s happened.

“With Nicola, the character I play, the initial shock has happened. Her big brother has died. So how do you move forward? Grief itself is such a complicated thing. There’s no guide book. When you feel sad, you feel sad.

“Grief sneaks up on you. You think you’re fine then it appears with a ‘Hiya!’

“I still get it. I’ll think I can’t wait to show my gran something before going, ‘Oh yeah’.

“My gran spoke about it before she died. We were talking about how thinking of someone after they’ve died is like ringing a bell for them.

“She said, ‘Don’t think of me too much, hen – I’ll get no rest.’”

(Sharon Rooney as Miss Atlantis with co-star DeObia Oparei in Tim Burton’s Dumbo)

Happily, Sharon brought her sardonic and garrulous Glaswegian spirit to the set of Dumbo, in which Sharon appeared alongside Hollywood legend Danny DeVito.

“You forget they’re still humans, which is easy to do when you’re standing in front of Danny DeVito. All I could think was that this was Danny DeVito. Has anyone told him?

“You just talk on set. Gab, gab, gab. That’s all we did. I was shouting over to Tim to ask for two minutes so Danny could finish his story.

“That’s Tim Burton, by the way. Listen to me, I just call him Tim now.”

Casting for a Disney blockbuster like Dumbo was straightforward, although it did come with an ironclad ban from telling her friends about the project until it was announced.

My Mad Fat Diary focused on the plus-sized character Sharon played but, since then, the roles she’s taken don’t normally specify anything about her character’s weight.

“A lot of parts I go for don’t say the character must be plus-size or look a certain way,” she said.

“I’ve only been doing this for eight years or so but for me it’s never been an issue but I know for some it has been.

“It’s about owning who you are. I realise that’s difficult because of social media. What I try to do is take jobs with people who are authentic characters.

“If it does specify a plus-size actor then my response is to ask why. Let’s investigate this.

“These days – well, before the pandemic – I would go to auditions and the room would be filled with so many different people, which I love. The room isn’t filled with girls who all look the same.

“And I love seeing a role that I didn’t get go to someone completely different to me. Well, I don’t love it because then I’ve not got the role, but it’s still nice to see.”

(The cast of Finding Alice © Joss Barratt)

A closeness with her other granny (the pair are bubbled up) has developed during the lockdowns of the past year, from which Sharon has taken heart.

Other than that she’s been enjoying her break ahead of Finding Alice’s release, as well as browsing social media.

Although these days she’s a lot wiser in how she does it; retaining the enjoyment with the help of that handy mute button.

“I used to follow every celebrity and every celebrity magazine,” added Sharon. “But it just made me doubt myself. I’d go to post a video then I’d wonder if I should put more make-up on first.

“I’ve stopped doing that. On Twitter these days I post videos where I’ve just woken up.

“I mean if you do post a video where you look great and have all your make-up on, then great, but I don’t know how you do it! I look forward to my no-make-up days.

“Oh you should see the state of me. I live in loungewear now. I put on jeans the other day. What are these things? What is this material we wear? These are awful!”

Finally, some feedback with which we can all agree...' X

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scotianostra · 4 years ago

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Happy Birthday pop star Rod Stewart, who turns 76 today.

Stewart was born in London, his father, a Scot obviously instilled in him what it meant to be a Scot, and the young Rod nailed his tartan colours to his mast and carried the pride it is to be Scottish, even if you were not born in the country, as seen in the pic below with the singer in the midst of the celebrations after a famous win against the Auld enemy at Wembley stadium in 1977.

His father was a master builder from Leith and mother was a Londoner, they had two sons and two daughters before Rod came along all four born in Scotland, so Rod was the odd one out!

Stewart performed in several bands in the 1960s including Python Lee Jackson and The Faces. He worked a series of odd jobs, including working as a grave digger, before his singing career took off

Embarking on a solo career, Maggie May became his first hit single in 1971, his first few singles saw little success, indeed the song itself was actually the B side of Reason to Believe, but Deejays began playing it instead and it reached the top of the charts spending five weeks there and launched a career that endures to this day, the song was also a number one in the US, Australia and Canada. He had a further two UK number one in the early 70's with you wear it Well, and the "anthem Sailing, which was written by Aberdeenshire singe songwriter Iain Sutherland of the Sutherland Brothers

Stewart moved to the United States in 1975. The next year, he reached the top of the U.S. charts again with Tonight's the Night from A Night on the Town. Stewart continued to have a slicker, more pop sound as the decade progressed. He also developed a reputation for his partying lifestyle and for dating numerous actresses and models. With 1978's Blondes Have More Fun, he had another smash hit single with Do Ya Think I'm Sexy?

The 1980s proved to be more challenging for Stewart. While 1981's Tonight I'm Yours went platinum, the albums that followed did not fare as well. He ended the decade on a positive note, however. His remake of the Tom Waits song "Downtown Train" in 1989 received a lot of radio play. A few years later, he released Unplugged and Seated, which was recorded at MTV Unplugged concert and featured the hit Have I Told You Lately.

With his distinctive throaty, almost scratchy-sounding voice, Stewart decided to take on some of the classic songs and make them his own with It Had to be You: The Great American Songbook . He recorded four volumes of the Great American Songbook series, and won his first Grammy Award (best traditional pop vocal album) for Stardust: The Great American Songbook, Volume III in 2004.

At the age of 60, Stewart became a father for seventh time. His son, Alastair Wallace Stewart, was born on November 27, 2005. This was his first child with then fiancée Penny Lancaster. The couple married in 2007 and welcomed a second son, Aiden, in 2011. He also has a daughter, Kimberly, and a son, Sean, from his first wife Alana Stewart and a daughter named Ruby with former girlfriend Kelly Emberg. Stewart also has two children from his marriage to model Rachel Hunter—Renee and Liam, he publicly acknowledged his oldest daughter, Sarah Streeter, in 2013. Streeter was born when Stewart was only 18 years old, and he and the girl's mother had decided to put their baby up for adoption. Stewart and Streeter first met in 2008.

In 2006, Stewart returned to rock music with Still The Same: Great Rock Classics of Our Time. The album reached the top of the charts in October of that year. Stewart put down the microphone and picked up a pen to write his 2012 memoir Rod: The Autobiography. The following year, he made an impressive return to song writing with his album Time. Stewart co-wrote of many of the record's songs as well as serving as a co-producer on the project.

Nobody can deny his Scottish heritage or love for Scotland, and I have chosen a song with that in mind.

#Scotland #scottish #anglo-scottish #singersongwriter #birthday

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skamamoroma · 5 years ago

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WTFOCK Season 3 Analysis- Touch and Distance - (Sander focused)

First of all, this will be long. As in, VERY long. If you know me and you followed me at ALL for Skam Italia or WTFOCK ‘analysis’ posts (which I WILL finish) then you’ll know the length to expect… so if you get even half way, you deserve a medal.

So, I have been promising this for a LONG time. I think I first said I’d write this when the reunion clip was released and I just… haven’t but seeing as we’re all in quarantine and I’m doing anything and everything to stay sane in my flat alone and we could all do with stuff to cheer us up, I’m offering this to fandom and I hope it makes you smile.

I think the reason I fell in love with Skam, the format and the intense character focus is because I love just that. I have always had an obsession with strong character driven TV shows/movies and even when I was tiny, I wrote an essay about Mary Poppins because I found her so mysterious and amazing. Shows like Skam and its remakes, when they’re GOOD they’re really really bloody amazing, mainly because they hone in on character detail and really use it for that perfect Skam-esque “show not tell” format. I’ve always found that kind of stuff so interesting and over the years have held this little collection of couples/characters/friendships from allsorts of shows/movies/theatre dear because they celebrate nuance… and Skam just spoils me!!

I have been MASSIVELY impressed with WTFOCK have done with Sander. He feels so fleshed out and dynamic as a character and in SO MANY DIFFERENT WAYS too. I think one of the things I was so giddy about was the way they still managed to keep the mystery there while also making it seem like we knew him so well. And we do. But I think that’s the reason it’s so cool because a lot of the things we know about Sander, he hasn’t really TOLD us. We’ve learned it through his actions or from reading into his words, from his reactions to people and the way he lives his life. That, to me, is like crack hahaha. I live for that stuff and for analysing a character and so I became a bit fixated on the way they used touch in season 3.

Now, it’s not just with Sander but with Robbe too. Touch was an ENORMOUS part of the season and we never really EVER had either of them talk about it. Robbe never really expressed verbal discomfort with touch early on but we saw it and Sander never expressed how important touch was to him but we witnessed it...and now we’re watching wtfockdown with Sander specifically struggling with lack of touch. Safe to say, I knew I had to write this eventually and after quite a few messages (you lovely lot), I am doing this for you. Enjoy!

SANDER FIRST...

SANDER.

When it comes to Sander, I feel like I have SO MUCH TO SAY but I think, the most important thing, is that touch is a cornerstone of character in terms of what calms him, what makes him happy, what makes him feel connected, what soothes him, how he expresses love, how he wants to show love, how he flirts… ALL OF IT, and distance is what plagues him.

I re-watched each clip in turn and I’m still obsessed with how they layered his character with this idea. No other Even and not even Even himself has this element so strongly emphasised. Yes, they all like touch and some of the parallels have specific things that form part of their character like Eliott and Lucas and the whole touch of skin thing and Cris/Joana with the hair/cheeks thing and Even always loved to ground himself in touching Isak ETC… but with Sander, it’s such a narrative and it’s woven in so beautifully. ABOVE ALL, what makes me smile and what is so meaningful is that as Robbe grows and opens up and learns about touch himself (see my Robbe post to come), we see that Sander is gifted this really sweet boy who LOVES to touch and who is incredibly affectionate and finds himself learning that he is INCREDIBLY good at providing comfort. So their love story also becomes a story of touch and navigating distance from those perspectives.

I guess writing it out helps to see it so I’ll go chronologically.

The first time we see Sander use touch is when he’s in the kitchen with Robbe. The entire scene is practically choreographed it’s so fluid but the lack of space, the shuffling around each other and the general ‘oh my god this person makes me feel things’ vibe makes the fact that when Sander purposefully touches Robbe for the first time, it’s a THING… that hand on his back. They do kind of brush up against each other a few times but that little linger of the camera on Sander’s hand on Robbe’s back makes me GIDDY because it’s all so intentional. It’s Robbe’s face that does me in. You don’t need his words because he does this sort of glance behind him and a bashful sort of dazed stumble… it’s so obvious that being touched like that by Sander got to him in an overwhelming way. It’s all electricity and that kind of giddy new love thing in the kitchen but that moment KILLS me because it’s touch that Robbe WANTS but doesn’t feel able to have… but Sander gives it because he’s SANDER. He’s demonstrable and purposeful (I will use that word a lot!) with touch.

Sander does stuff in a way that’s bold and purposeful (told you) and touch is part of that. ALL THE WAY OR NO WAY - right? So many times, you can see Sander decide and then act immediately. SO MANY TIMES. In the supermarket, feeding Robbe, in the bar when he decides to take Robbe off on an adventure, at the swimming pool ETC. SO MANY. And touch is a thing all wrapped up in that sense of purpose and spontaneity. His actions are mostly not overbearing or unwanted though which is so key. People seem to feel comfortable with him even if he is a little forward and NOBODY more than Robbe. Robbe doesn’t recoil, he lets it happen and not in the passive way we see him do early on but in the OH WOW HE TOUCHED ME way that can only come with attraction and early feelings. BUT THEY HAD KNOWN EACH OTHER HOURS. Hours, and Robbe was fine with it.

Sander and flirting... HE IS SO OBVIOUS and touch is part of it every single time. That whole ‘oops I rolled into you in the sand’ is just textbook, man! Hahaha. I laugh at him early on because he is genuinely adorable with how obvious he is. Same can be said for the “oops I just need to grab this bottle that just happens to be right next to you which means I need to stand so close to you and wrap my arms around you’ - hahahaha. Not to mention the ‘oh let me teach you to turn on the oven and lightly touch our fingers’. Purposeful.

Then you get the first time they’re together alone for their bike ride. I mean, we all know Sander is giddy. It’s what makes it so sweet to watch because he’s just SO HAPPY to have Robbe by himself and to go off on this adventure together. I LOVE the way he holds Robbe’s hand after they high five…. BOY. He takes advantage of stuff while he can. But when they get to the pool, it’s obviously an Even move and we all know how it goes but the first time he touches Robbe is to kiss him. We know it’s all he wanted, we know it was his plan, we know he’s been wanting to do it a long time but I LOVE that they kept in the recoil from Robbe because it is absolutely NOT a gradual progression for Robbe when it comes to Sander… it’s ALL IN and scary and overwhelming and Robbe’s instincts kick in but the second Robbe kisses Sander back, we get the start of seeing Sander and touch being a HUGE DEAL. Robbe is still learning and faced with the way Sander acts first, thinks later, the differences between them in this moment are STARK. It’s why it all goes so catastrophically wrong afterwards but why I understood what Robbe did even if it was so very wrong.

Sander is SUCH an Even and I’ve always said he reminds me of Even the most of all the parallels but especially when he kisses. He’s a passionate dude! He kisses with meaning and with all he has and it’s little wonder Robbe described it as his head exploding… poor guy! You get that first glimpse of Sander acting on his feelings and he’s overwhelming. In that pool, he grasps and holds on and Robbe’s hair becomes a total THING for him.

For me, I get most interested in touch from Chernobyl onwards. THAT CLIP. The stuff in it that’s so subtle but AMAZING when it comes to Sander makes me roll around in it, in the way it MEANS so much and says a lot about who he is. The DISTANCE he keeps from Robbe is not something we’ve seen from him yet. It’s clearly not comfortable for him but he deserves to keep it until he feels comfortable and I LOVE LOVE LOVE that he only moves closer but DOESN’T touch Robbe yet. And this next moment is what sparked my obsession…. The “i’m going to nearly kiss you and then not kiss you” moment. He uses touch to make a point. Purposeful. He stands close but they don’t touch and then he teases with it… tests Robbe’s response with it to see what he’d do. Robbe doesn’t move and allows it. He then clarifies how Robbe feels about stuff now and the second he gets his answer … fuck all of that noise and fuck all the issues I had in my head (a sentiment we KNOW Sander understands and grasps onto eventually - Chernobyl being the way he himself describes the effects of his bipolar disorder) he goes all in and closes the distance. KILLS ME. That use of touch to make a point is Sander ALLOVER. Never without purpose.

They don’t STOP touching AT ALL… until it’s used AGAIN. This time, this huge focus on pulling apart. It’s gradual. They disconnect from their bodies then they disconnect from lips and then that lingering shot on their hands and the whole holding on until the very last second…COME ON. It’s so perfect. So intentional and so meaningful. The fact that Sander holds on purposefully for so long until he absolutely can’t anymore, it makes him STUMBLE…. If that’s not a whole metaphor for who he is as a character then I don’t know what is! He WON’T allow that distance until he absolutely has to… and that fact characterises their ENTIRE story right up until wtfockdown!

Onto the cuddle scene and again, from Chernobyl, it’s full of poignant moments. It’s an overload in terms of seeing Sander respond to touch. There’s a lot of touching in this clip, a lot of playful stuff and kisses and cuddles but I think there are a few specifics that are in there for a reason that say so much. The first is the hair stroking. Now, we know Robbe and Sander LOVE touching each other’s hair and there’s a fair amount of pulling involved too… haha… but it’s so telling the way that Sander relaxes under Robbe’s touch. He spends most of that scene with his eyes closed. It relaxes him, makes him sleepy and comfortable and Robbe clearly realises it because when Sander seems distressed, Robbe goes straight to do it again. It’s all part of Robbe’s journey wrapped up in there too, learning how his touch can be soothing.I love that Sander barely moves from his position upside down on the bed. He allows Robbe the ability to do ANYTHING. He lets Robbs move around him, lets Robbe touch him and climb on top of him. He just basks in it and please go rewatch it and watch his eyes even when Robbe is talking… he closes them constantly like it’s making him fall asleep. He’s so comforted by it. When Robbe climbs on him, his eyes are even closed! He’s just VERY VERY happy allowing Robbe anything when it comes to moving around him and in his space. He lets Robbe koala himself on his back without a flinch, is so comfortable with the affection and clearly soaking it all in. I think the other moment is when Sander realises Robbe’s jealousy/upset and goes to very purposefully lie down against him to tuck his head under Robbe’s chin. The purpose in it, at the time, seemed kinda sheepish but we know better now. We KNOW Sander had tried to distance himself from Britt but she wasn’t allowing it and this is Sander purposefully closing that distance, taking it back and seeking Robbe’s touch again. It’s like he’s had that comforting touch now and, without it, it doesn’t feel right so he closes the distance the VERY SECOND he can. He does this a few times from here on out too… that lack of ability to stay apart from Robbe, the wish to keep that comfort coming.

There’s this struggle we see from him AGAIN and AGAIN. When stuff with Robbe suffers because Sander’s truth gets in the way (with Britt texting in the cuddle scene, with their distance before the reunion where Sander tried to leave Robbe behind etc)... he CANNOT wait to remove the distance as quickly as he possibly can. The only exception is when they’ve been apart post hotel and Sander is unwell… but we know he’s frightened, embarrassed, worried about hurting Robbe and we know that he’s trying to keep Robbe at arm’s length to protect him but… and I’ll get onto it later but it’s PERFECT to me that the second he has touch back, the second Robbe kisses him, he crumbles. It means THAT MUCH to him. It’s such a pattern with him and it starts here, with Sander crawling across the bed, not allowing Robbe to be too far away while he still has him.

For me, it epitomises that idea of “i don’t know if I’ll find someone like that, at least not someone who loves me”. Because, for Sander, he WANTS so badly. He wants to be in love and to find someone special and be able to show love but he’s terrified. For such a purposeful person, someone who acts on instinct, that is clearly so hard for him. He WANTS but he has to force himself NOT TO for all of the reasons he gives and for all of the reasons we can read from his behaviour. Those moments he stays away - aka post assault, post hotel - are all for a good reason and yet the second he realises that the worries that lead to his belief that he can’t HAVE are unfounded or resolved, he closes any and all distance and holds on for dear life. “I’m never ever letting go of you”. ALL THE WAY OR NO WAY. He either allows himself everything and that ‘all in’ sense of falling head over heels and clinging on for dear life or he cuts and runs… and the cutting/running part honestly must have hurt so badly for him. We know how much Robbe means to him and how much touch and comfort he gets from their relationship… to leave that behind when he can’t remain over the other side of the bed from Robbe normally must have been so hard for him.

ANYWAY. The date. I’ve talked about this endlessly but the first minute or so of this clip is some of the best chemistry I’ve seen in the SCU and, in general, to be honest. It hit me like a freight train when I first saw it. For LGBT+ folks, seeing stuff like this is impactful. Mainly because it’s shown as so natural and normal and given the same respect and focus on desire and sweetness and simplicity as hetero love stories have been given for millenia!

They touch constantly throughout this clip but I just LOVE the focus on it. The camera lingers. Every shot is there for a reason. Sander’s touch goes from playful to casually affectionate to passionate to suggestive within seconds and he drowns in it! It’s mesmerising to watch. Again, it almost feels choreographed. The moment that kills me is Sander just running one finger across Robbe’s collar bone. WHOEVER decided to include that --- director or writer or even actor --- it’s just perfect. It’s so Sander. He doesn’t stop touching and that little focus on the fact that he always wants to show how he feels through touching Robbe...the fact that it is on his skin when Robbe is wearing a full on sweatshirt shows how much Sander seeks intimacy out. It’s so purposeful once again and yet so simple… but the main thing is that Sander uses touch to keep that connection going. The music change at that exact moment is what does it for me. It’s dream-like, swoony and mesmerising. You can feel the dazed sense of love and adoration, the intimacy of the fact that Sander can’t help but hold onto Robbe’s hair again and even when he’s whispering to him, can’t help but chase it with kisses. Sander uses every thought and feeling he has inside and translates it directly into touch. He communicates with it!

Which leads pretty nicely onto the reunion… because the next time we have Sander able to reach out physically is SO MUCH LATER. The assault, the distance Robbe enforces (for good reason because of what he believes happened at the party) and then the confusion about the mural creates SO MUCH DISTANCE.

The start of the reunion clip is one of my all time favourite SCU moments from any remake. The acting is near perfection. I’ve posted tons about it before but GOD. I love that, to this point, after that intense, hazy kind of love they were starting in the bar… everything was torn away from them. As I said before, Sander is either ALL IN or not at all. When he’s in, he’s REALLY in and touch is fundamental.

So it KILLLLLLSSSSSS MEEEEEEE (Yes, I am being dramatic but GOD) that the first thing he does when he walks in the foyer of Robbe’s building, without explanation and after so long apart and so much mess existing between them is… close the distance between them physically.

This scene reminds me of the La Grotta scene from Skam It s2. Every touch and movement in that scene with Marti and Nico is a form of communication and it’s the same here. I guess it’s why I love both scenes so much because ‘show not tell’ is precious and intelligent and so so much more meaningful for a viewer. The way Sander just stands there and then without words, kisses Robbe and tries to do what he can normally do so easily and communicate through his touches is heartbreaking. But too much has gone on. It’s not possible to communicate that way after so much hurt and confusion.

Then that forehead touch. GOD. I remember watching it and being so bowled over without how much was SAID by both of them. The way that Sander leans into it like he KNOWS he can’t use kisses to sort it all out but just NEEDS comfort and Robbe’s touch… and the way Robbe lets himself have it for a moment but then makes genuine crying noises of frustration to get Sander to stop. The “I want this so much but stop, it’s not fair what you’re doing” is so obvious in his actions. It’s all because it’s how they communicate. BECAUSE touch is their love language, the fact that they can’t give into it is PHYSICALLY painful for them both. They both just stand there with their eyes closed. Sander looks exhausted, devastated but also so deeply comforted by Robbe’s presence and the fact that he can be close to him again in equal measure. Robbe lets out this big sigh and it screams “I know, I feel the same, this feels so right and I miss you so much but I can’t let you forget everything that happened” - YET THEY DON’T STOP TOUCHING. I love that regardless, they stay connected and cannot physically part themselves. It’s written all over Sander’s face how much it means to have Robbe so close and Robbe’s little nose rub is plain adorable. They are literally standing there comforting each other while at the same time trying to communicate through nothing but touch… and the RELIEF in those touches too.

It’s little wonder that what happens next happens in the way it does. Those few words from Sander and the touches between them are enough for them to just KNOW. Their connection is so fundamental that it’s worth fighting through and relying on that gut instinct for them.

Sander is then able to do what he’s good at and be purposeful, firm and to throw himself into it. ALL THE WAY. Once he knows he is ok again, that he has permission and is allowed to let his heart go, he just falls into it and it’s ALL TOUCHING from then on. Every kiss is so meaningful and there are a few specific moments that are really meaningful to me.

The first one is Sander’s smile when he lands on the bed. He is never happier than when he’s able to be free like this. He revels in the ability to throw himself into his feelings. He’s ridiculously enviable tbh. The next moment is the whole clawing, clinging thing he does. Yet again, poor Robbe’s hair gets yanked every which way but I love that we get that glimpse of ‘never letting you go’ mentality he has to keep Robbe as close as physically possible and the way he closes his eyes, smiles and loses himself in those moments. They’re so close to Sander POV it’s crazy. It reminds me of during the cuddle scene when he closed his eyes. Touch grounds him in the most astounding way! I LOVE that the lyrics during this as “take it how you want it, take all my love”. PERFECT, man. That idea of give and take is SO IMPORTANT for them, for Sander especially. The ALL THE WAY mentality he has means that he could only EVER fall in love with someone who is able to counter it, someone who is able to GIVE IN to Sander the way he needs and lose themself too the way he likes. He could only ever fall in love with someone as willing to give and take the way that he is with comfort… and Robbe fits the bill, which is obviously as much of a surprise to him too! I think that’s where their connection comes in. That spark between them and the way they feel for each other is one of contentment so they’re quite happy taking what they need from the other person because the other is SO GIVING. Robbe is so affectionate which is what Sander craves and Sander is so purposeful and bold in his ways which is what Robbe needs. The last moment is the hand holding. Again, Sander is grounded by that physical connection. He clings and holds on and receives so much comfort from it. The knowledge that they’re in something together is clearly huge for them both.

The morning after scene is most meaningful in terms of touch when they get into Robbe’s room. I LOVE how natural it all is. Sander is very happy letting Robbe do what he wants again and it’s almost seamless for Robbe just to sit on his lap. But he’s completely incapable of reigning himself in. The purposeful side of Sander comes out in full distraction mode with Sander genuinely incapable of keeping his hands to himself. The whole playful kind of sexy “I’ll throw you around” thing is not only them at peak comfort with each other but Sander’s way of physically showing he’s not going anywhere, of reminding Robbe that he’s all Sander’s attention is on and all he cares about and that he can DO this now, just toss Robbe onto the bed and crawl all over him - hahahaha. He treats Robbe like he’s precious and completely focused on but also treats Robbe perhaps the way HE wants to be treated… those promises followed by touching with a little possessiveness, that reminder that he won’t be left alone. He gives it all to Robbe and in true Sander style, tries to communicate through touch as much as he possibly can because words mean honesty and they mean a risk of losing it all.

The next notable moment is YET AGAIN, Sander playing with touch when he arrives at the flat. The “nope, Robbe, you’re not getting what you want until we do this fun thing I want to do with you to create a tradition”. He does it twice, playing with denying Robbe touch and physical contact. He has a task to do and he needs Robbe focused on it so he uses touch to keep that focus sharp… and then the fact that the VERY SECOND that task is done, Sander literally walks straight into Robbe’s arms and kinda carries him off towards Robbe’s room makes me laugh. He’s like “ok touching is allowed right this instant” … he knows himself. If he’d have allowed them to touch before he did his task, there’d have been ABSOLUTELY NO SHOE PUT OUT! He’s self aware ;)

Then the hotel… and oh my heart breaks and is soothed in equal measure because this evening was HANDS DOWN one of my most favourite Skam watching experiences. It is gut wrenching in real time and so beautifully acted, I can’t handle it, especially from Willem DS. That kid can act rings around most professional Hollywood actors. They both can. Yet another Skam remake showcasing young talent at its most special and honest. Anyway, I digress!

The shower scene has to be talked about. The show runners etc explained why they included it where the original didn’t (although planned to!) and I get why some found it a little too much but, for them, it worked. I mean, I’m not the person to talk about sex scenes but I definitely CAN talk tons about them when they’re MEANINGFUL and layered and this one is. It’s complete and utter trust. I love so much of the camera work here because you can see they tried to be as respectful as possible while also getting the meaning across and it worked so well… especially as the stuff that clicks for me is Sander’s behaviour. He’s so lost in it. Again, he’s someone who acts on instinct and needs someone who will respond to him with understanding. If someone’s not on the same page then he’s THROWN (and this is why the whole cyber sex things is killing me with its meaning for him!). Again with Robbe’s hair being pulled all over the place but Sander allows himself take and be taken and it’s so important to who he is that it’s ALL THE WAY kind of love and that he’s allowed to be both in control and also completely vulnerable.

The way they segue into the shot of the bed and sander is completely wrapped up in Robbe’s arms kills me. There’s no one right way for them. Touch comes to Sander in his ability to be DEMONSTRABLE and also to RECEIVE. In these moments, he just snuggles into Robbe and takes and takes and takes and takes… but only because Robbe is so perfectly willing to provide. It’s why they work. That balance is what is so key about their relationship. Sander feels ok to suddenly go from firm and handsy to extremely vulnerable and the shot when the camera closes in on his face so serene and at ease, happy to be kissed repeatedly on the forehead by Robbe is just incredibly meaningful and emotional. He is allowed to be himself and to fall into it without worry even when he’s at his most vulnerable. He basks in it and it’s so comforting to watch. I love that he plays with Robbe’s necklace because not only is it him looking at a guardian angel around Robbe’s neck but it’s like a tick to ground him and comfort him right back. A touch to something so fundamentally Robbe.

The segue into the second clip where Sander is even MORE wrapped up in Robbe’s arms breaks my heart. I remember seeing the og Skam cuddle clip all those years back and realising that my god, I’d never seen affection from an LGBT+ couple before in that innocent, gentle, normal way! It’s sad that this was the case but it’s why Skam got under my skin and why the s3 storyline is always so precious to me. This is yet another example but throw in the respect shown to mental illness in a really human and raw way and I’m gone. I love that Sander is able to be so cuddly and open without worry. He’s going through it, struggling and when this clip aired I remember almost every post in the tag was about his eyes, the frantic eyes showing that so much is going on inside his head while he lies there still, soaking up the comfort Robbe is willing to provide. The antithesis is insane but works so well. Robbe has no idea that he’s effectively holding Sander together. He’s clinging on. He’s doing what he always said he would and never letting Robbe go.

The night time switch into Sander’s struggles hurts because he’s still trying so hard not to let go but his brain is struggling, he’s panicking, he’s not in control of himself and he’s scared. You can see it all over his face, in his eyes and body language that he WANTS to stay with Robbe and when Robbe asks him to come back, tries to pull him back to cuddle, Sander goes because he ALWAYS DOES. He tries so so hard till he can’t try anymore and that distance is forced upon him. It was devastating to watch in real time because we all KNEW what was going to happen (we’d seen it all before) but, for some reason, the way Sander was and what we’d learned about him made him being separated from Robbe in this vulnerable state really upsetting. He was so happy in Robbe’s arms, so comforted and then all of sudden it was gone.

The fact that the cycle happens again to lead us into the next time we see Sander physically WITH Robbe is just crazy meaningful because this time, Sander’s truth is not able to be hidden. He can’t use touch to distract and to ignore his thoughts and reality. Everything about the way he acts is out of shame and embarrassment and fear of not being loved for who he is - flaws and all. When I eventually finish my analysis posts, I have SO MUCH to say about this but my goodness, Sander is the only Even aside from Eliott who doesn’t reach out and they both have that same feeling of shame in common. The difference is that Sander actively tries to hide away, to push Robbe away and ACTS on what the other Evens said aka I’ll hurt you, it won’t work, I should leave… he physically does that. The thing that makes me a little misty eyed is the fact that he also provides Robbe with information to help find him. He desperately wants Robbe to be the only one to find him while also simultaneously wanting him as far away from him as possible. He’s done it before with the mural, that “I love you and I need to show you but I can’t be with you”. It’s that desperate pull they have that just ends in mess but at the core has such love and comfort. Sander has run away from everyone, hasn’t reached out to any of them except Robbe and it’s his way of closing that distance even if he’s so sure Robbe is better off without him. Why else would he send Robbe that message, effectively using their history and experience to suggest where he is. Robbe was all he wanted, was all that comforted him (hence the drawings all over the walls) and the fact that when Sander is found, he kept pushing and pushing and pushing and resisting and falling apart through grief and pain and shame and every other negative feeling that overwhelms him… but STILL follows when Robbe asks. He’s trying so hard for the NO WAY of it all but it was never going to work. The fact that when Robbe properly touches him, he falls apart is just about the most obvious thing for me. Robbe is comfort and safety. He may not have all of the answers but just being close is so clearly and viscerally affecting for Sander that he collapses and lets Robbe take the weight of him both literally and metaphorically. That touch is all he needs to fall back into ALL THE WAY and let himself believe.

The fact that the next scene starts with Sander, completely wrapped around Robbe, their skin touching and Robbe stroking Sander’s hand just goes to show how much he allowed himself to use that touch again not only as comfort but as belief that he doesn’t need to mask things anymore. He doesn’t need to pretend and hide his reality, he can be open and vulnerable and also have the ALL THE WAY too. Robbe is that solid warm weight and reassurance. The purposeful Sander is still buried there, it’s just the vulnerability is too overwhelming and so he relies so much on Robbe here to provide what he needs. And god BLESS Robbe’s enormous affectionate heart because he’s perfect with him. Sander clearly meant the words from the day before, signifying he really expected Robbe to change his mind in the morning...those really quiet questions in the dark to Robbe are just heartbreaking because he needs reassurance. Robbe closes the distance to him, gets so close, kisses him multiple times, presses their foreheads together and doesn’t judge… and Sander is completely comforted enough to be able to fall asleep.

THEN… one of my ultimate favourite moments of Sander and touch. It’s like a culmination of EVERYTHING we’ve learned about Sander (and also it’s the same for Robbe but I’ll leave that for my Robbe post!!). He’s still vulnerable but getting back to his usual self a little playing games with Milan and you can see the spark in his eyes, the way he uses his words again to assert how he feels but, above all, it’s that contrast between him asking for a kiss and leaning back into Robbe in this purposeful way that’s perfectly softened by the fact it’s him receiving and seeking comfort too. It’s then that both sides of Sander come together and the fact he’s found what he seeks it in one person is so special. Robbe is EVERYWHERE. He’s all hands in Sander’s hair, legs either side of him, resting his chest against Sander’s back, holding his head gently, kissing everything he can get his lips on (mouth, nose, head, hair) and then settling with his arms around Sander’s neck. It’s EVERYTHING. Sander has shown from the start in most things he does how much touch is important in terms of asserting himself, seeking comfort and showing love and in this tiny little scene it has ALL THREE and is why they are both so dear to me as a pair. It’s INCREDIBLY romantic and very reassuring for anyone who has ever struggled in the way Robbe or Sander has… because it confirms that it is possible for people with specific needs and people who have been shaped by their experiences and come out of it with certain needs and vulnerabilities are able to be loved completely without judgement.

“In good time, you’ll come to know, when you release, when you let go, you can find yourself where you belong”

The best thing though is the way that Sander responds in this moment. He shakes his head and smiles to himself like he’s coming out of a trance. That little ‘yeah’ is adorable. That moment is enough to say all there is about what touch means to Sander as a human being and a partner. For a moment, Robbe helps him forget, sends him a little dizzy with love, gives Sander overwhelming comfort that Sander disappears into it and, as cheesy as it sounds, they fit. It’s exactly what all of the Even and Isak parallels had, that ‘i save you, you save me right back’ love story. They all did it in different ways but with these two, I was stunned with how much they put into the unspoken, especially with Sander. We don’t see him as much, we don’t get inside his head like Robbe’s but we still understand him, possibly more than any other Even parallel by the end of season 3 and this is the season closest to the original for unanswered questions! It’s why I don’t at all mind questions left unanswered and a lack of exposition and clean cut resolution because if the emotion is there and the nuance is there then it does half of it for you.

I love that the final scene of the season, for Sander purposes, is him wrapped in Robbe’s arms! It’s kinda poetic.

I love his character so much. He’s insanely expressive and complex and he’s fascinating to me and to have WTFOCKDOWN is a total gift...because not only does it give us insights we’d never have gotten otherwise, we get this continuation of Robbe and Sander’s relationship and what is it about…. TOUCH. Hahaha. I mean, I couldn’t have asked for a more perfect topic for exploration of who they are together as a starter for ten, not to mention it’s so Sander focused too!

When it comes to Wtfockdown, we get to see Sander operating in enforced distance. We KNOW that when distance has been a thing in the past, he has tried everything he can to make up for it (murals, drawings, reaching out to Robbe cryptically). That compensation for the distance never ever worked. It always made it so that when Sander eventually had Robbe close again, he threw himself back in head first and touch was HUGE when it came to that. Now, Sander has Robbe completely and vice versa and no doubt knows fully what it is like to have that comfort and touch all of the time… but now it has been taken away. For Robbe, he’s an affectionate koala of a human but his relationship with touch has been a journey of discovery and of self but he doesn’t depend on it like Sander does. He communicates with it but, for Sander, it’s a vital part of who he is. I love that the first clip has Sander asking to meet up… hahaha. I remember being so giddy reading that because OF COURSE. He’s trying everything he can again. Then he broke my heart because this time, his form of compensation is to take Robbe with him on his walks. It’s yet ANOTHER form of compensation to try to fill that void where touch once was!

Clip 2 starts their face to face journey and GUYS. I mean, Sander flat out saying that the thing he misses most about Robbe is his touch just about broke my heart and made me giddy once again! They really did that. He’s so happy to see Robbe, to spend time with him but over and over again he’s repeating ways to stop the distance like swapping places with Robbe’s mamma…! Bless his heart. The fact that he says “there’s nothing better than you”, he REALLY does mean it. We’ve seen a whole season of why that’s the truth! We’ve seen him reach that conclusion! Also, that compensation once again on dreams and daydreaming… ANY WAY HE CAN to stop the distance. He breaks my heart.

Clip 3...ONCE AGAIN. “The endlessness of this tunnel symbolises the physical distance between them”. He cannot cope with it. This one made me a bit emotional when I first saw it. They’re not just words for his fairytale; he means them. The distance is DIFFICULT for him. You can see it on his face when he says those words, he frowns. He’s speaking the truth even if he’s making it seem a little light hearted. Then that little private moment where it says he just wants to be with Robbe. It’s genuinely incredibly hard for him to not have Robbe nearby. For someone who thrives and depends so much on touch, the distance is painful and a genuine loss. It’s not just ‘i miss my boyfriend’ because there’s a real nuance there, a real part of who Sander is that prioritises touch and closeness so significantly.

Clip 4. It took me FAR too long to get through this clip the first time around because I SHOULD NOT BE SEEING THIS but hey ho. I watched it again for you, dudes. Sander’s on the quest for compensation for the distance again, this time trying something new and yea, it’s a risk but he means it. It’s something he wants to try because it’s Robbe and it’s fun and he loves him and misses him and feels like it’s another way to feel like the distance isn’t so vast. The moment Robbe tells him he’s not into it, Sander looks a little crushed but immediately understands and lies down. Now, for me, I might be reading so much into it but because we have seen what touch means, as a stand in for it, and Sander now feeling so comfortable with Robbe, that moment of ‘I’ve gone too far’, ‘we’re not on the same page’ is huge for them. Sander can’t find what he’s looking for during the distance and you can see he feels so embarrassed but the moment he laughs at himself, tells Robbe that just lying together is enough and respects Robbe, you can see him trying to get back on that even plane. He loves Robbe so much and would never want to make him feel uncomfortable but for that split second, the comfort they have built wavered and Sander’s ability to be completely vulnerable was questioned… until it wasn’t and all was well for the moment because they talk and love and try. I love that they did that. I love that Sander’s inherent need for closeness was brought to light and Robbe’s need to GIVE affection was shown to be so true… only in person. Robbe thrives off that honest touch whereas Sander is grounded by it, comforted by it and finds it necessary...so without it is left floundering. THE LAYERS, guys. Rolling around in them!!!!

Clip 5 and we see Sander questioning himself. Sander still hasn’t quite felt ok since the other night and he’s letting it affect him. That questioning himself is the same stuff we saw pre-final reunion where he allows his issues to cloud his judgement and he spirals a little when left to his own devices. It’s that insecurity that Robbe managed to settle in him, that push and pull they have but Sander is human and he’s struggling and Robbe’s not there to provide that settlement. He doesn’t RELY on Robbe so much as WANT him because he makes things better. The fact that all the while, Robbe is learning how far his own ability to provide affection and closeness from afar is able to go by seeking advice from Milan makes me want to weep… because the writing is perfect! Of course he is. Everything we know about him tells us he’d do this!

So we’re in present day and I can’t wait to see what they do next. The way they write these two separately and together shows so much understanding of who the characters are, what they mean to each other and this great respect for honouring what they’ve created with so much gentle nuance and emotion. If the past 50000000000 words didn’t suggest it clearly enough - I love what they’re doing so much!

If you’re still awake after all that, you’re super human. Thank you for reading and this post is LONG overdue but it’s here and as rambly as you’d expect. Robbe’s specific post will be along soon! <3

#wtfock

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liam-93-productions · 5 years ago

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Nearly five years ago, I saw One Direction live. Twice, on consecutive nights – on the first two dates of their On the Road Again world tour. Once was for work, to review the show. The other was for the sheer, heady, sugar-rush pleasure.

I was, I’ll admit, a little on the old side for a Directioner, even then. Most of the 45,000-odd crowd was much younger – not that that you would necessarily be able to tell from the saucy suggestions on their homemade signs. “I don’t want to draw attention to them,” Liam Payne had said fussilyon stage.

It was an on-brand comment for the then-21-year-old Payne, who, had the harried, slightly anxious energy of a father-of-four at Disneyland. And no wonder: it was clear, even to me, that Zayn Malik had checked out, barely bothering to conceal his rolling eyes. He would be gone within the month, marking the beginning of the end (or “indefinite hiatus”) for the biggest boy band in the world.

“It was a point where every day, you didn’t know whether it was going to be the end,” says Payne, sitting in the offices of his PR company in central London. “It was so touch and go, at every single show. I was slowly losing the plot.”

Now 26 and almost totally tattooed, Payne has a new album on which he raps about getting rowdy on Bacardi and being “free” from 1D. At the same time his very-nearly-naked form is plastered on buses and train stations in a provocative ad campaign for Hugo Boss.

Yet Payne is as polite and agreeable as if he were talking to his best friend’s mother. He is tired he says after an energetic early morning music video shoot. “There was a trampoline involved,” he says, sucking on his silver Juul. “It was hell – but it will look great.”

Gym beast and sex symbol are relatively new tags. His role as the diplomat of the group was established from the time they were first assembled from five solo applicants on The X Factor in 2010.

Payne auditioned when he was just 14, but was told by Simon Cowell to “come back in two years”. He did – and, eyes serious beneath his enormous fringe, blew the judges away with a brassy rendition of Cry Me a River.

Growing up in Wolverhampton, he had been a talented cross-country runner – making the reserve list for the British Olympics team. But a fan of Usher, Justin Timberlake and Chris Brown, he was drawn to singing as “the thing that made my parents proudest”. His backup plan, had he not got through on X Factor, was to follow his father into an aircraft fitting factory.

Once grouped in One Direction it took the five boys, then between 16 and 19, to pull together. “At the start we couldn’t get past our own egos,” says Payne. There would be fights over who got to sing what part, and even personal style. “Everybody had their own little thing – it was like having four older brothers.”

Payne went on to write songs for the group, contributing to two-thirds of their 2014 album Four (arguably their best) and even earning a production credit on 2015’s Made in the AM. But in the early days he would be the one to sing the opening part because, he was told at the time, he “used to settle everybody”.

Payne says he was a more experienced performer than the other boys, and a “bit more mature” – which he puts down to spending more time with his dad than his peers, and being so focused on a career in showbusiness. “I’d lived a different lifestyle from 14 to 16. Most kids try alcohol and experiment – I never did any of that because I thought there’s a chance that I might make it.”

Management took advantage of this, he says, telling him his “very specific role” in the group was to keep the rest in line. “I was like, that’s great, innit – because then everyone in the band thinks I’m a dick.” He remembers one of the band’s first hotel stays. “We’ve got plates being thrown out the window, mattresses being ridden down the stairs, and I’m getting calls from the manager saying: ‘You need to sort it out’.”

It wasn’t lost on the fans. Where Malik and Styles were the heartthrobs, Payne says he was classed as Mr Boring. “When you’re at the stadium, and if you get the least screams, it’s like: ‘For fuck’s sake.’”

After a year playing 1D-Dad he gave up and learned to have fun. “If you can’t beat them, join them” – at which point, he notes wryly, the band’s public image became more cheeky and carefree. “And the more fun we had, the more successful it got.”

He recalls performing to sold-out stadiums night after night, seeing “hundreds” of iPhones being thrown onstage in the vain hopes of their being returned with a selfie. “It’s like the kids just lost their minds.”

“There were parts of it that were a bit shit, like there is with anything,” he says, “and there were parts of it that was just euphoria.”

He recalls seeing 15,000 fans camped outside his hotel room in Lima, Peru. Security had advised them to stay inside all day, and because “they were the adults, we thought they were in charge. Then over time we started to figure out that they weren’t, and that’s when we used to run off.”

Yet the adrenaline peaks of performing, followed by long troughs of tedium, were akin to a drug addiction, says Payne. He turned to alcohol. “Doing a show to however many thousands of people, then being stuck by yourself in a country where you can’t go out anywhere – what else are you going to do? The minibar is always there. ”

For a time, he was also taking an epilepsy drug as a mood stabiliser that he says affected his cognitive functioning under certain lights. Payne says he had been well advised to take it, to counter the “erratic highs and lows” he was experiencing – “I just needed a little bit of help to keep me stable” – “but under certain lights on stage or during interviews, I wouldn’t be able to tell them my name”.

The day we meet, Payne has made headlines for telling Ant Middleton on the pair’s Sky One show that the loneliness of fame had “almost nearly killed” him. When Middleton asked Payne if he had ever wanted to act on those feelings, Payne said that he had: “100%”.

He is not inclined to discuss this today, “because it’s a bit dark,” he says, a touch brusquely – “but yeah, it was very touch and go at times”. This was both in 1D and afterwards, he clarifies. As One Direction got bigger and bigger, he says, “I was like: ‘I don’t really know how to deal with this’. Once you start, you can’t really press the stop button.”

The “indefinite hiatus” button, though, was easier – in mid-2015, four months after Malik’s departure, the band made the decision together. “It was a little bit dark and twisted towards the end of it,” says Payne, “but the last few shows were really beautiful moments because the pressure cooker had been let off.

“It was almost like counting down to holiday – we were going to wake up that Monday morning with no schedule.” Afterwards Payne was in therapy for two years, and took six months off. “It was difficult at the start, because I didn’t really know anything about myself. It was a bit of a numb feeling.”

(...)

That schedule is about to get busier, with Payne’s debut album as a solo artist finally out this Friday. Laden with chart-friendly trop house, trap and Latin pop influences, LP 1 plays like a water cannon aimed at commercial radio – there is even a Christmas song.

It has been a long lead-up: the first single, Strip That Down, was released nearly two years ago and established Payne as the 1D member most influenced by contemporary hip-hop – perhaps too much so. A picture he posted to Instagram of himself in February 2018 wearing a chain necklace, flipping the bird and bragging about travelling by private jet was quietly deleted following ridicule.

Amid the success of Strip That Down, which was streamed over 1bn times, Payne was also still “struggling” with alcohol: “I just hid it very well.” He went on to spend an entire year sober – a necessary if boring step. “My social life completely plummeted. I always feel like you never get past the awkward first 10 minutes at a party, when everyone’s like: ‘Do we get up and dance, or do we just sit here?’ I don’t know whether it made me happier, but it was definitely needed.”

His more recent stint of self-discipline was to prepare for his nude photo shoot with model Stella Maxwell for Hugo Boss. In the lead-up, he was in the gym between “five and eight times a week, sometimes twice a day” and eating mostly chicken and vegetables – with no carbohydrates after 2pm and nothing at all after 8pm. For the last “stripping” phase, he ate nothing but porridge and white fish for a month. “It was horrible – but it definitely works.”

The shoot had been his idea, inspired by campaigns featuring David Beckham and Mark Wahlberg – Payne’s role models, whose cross-disciplinary celebrity shapes his own career goals. Last year he auditioned in front of Steven Spielberg for a part in next year’s West Side Story remake, and has been submitting audition tapes irregularly since. “It’s just trying to manage the time in between (...), singer, model and whatever.”

Between the trap beats, tighty-whities and tattoos is he attempting to put across a new, more grown-up image? “Oh yeah, definitely.”

In One Direction, he was “Mr Vanilla – no one wanted to know a thing”. Then, with the “chain and rapper phase … I didn’t really know what I was aiming for, but it was actually exactly where we are right now. I just needed to find the right keys to make me feel like the man I wanted to be.”

Which is, he jokes, is “like a really English Magic Mike”. Do you like being objectified, I ask? “I think it’s quite funny,” says Payne, clearly delighted. The other day, he says, someone sent him a picture of an old lady walking past an enormous blown-up poster of him in his pants. Not bad for Mr Vanilla, I say. “Exactly.”

Liam Payne’s debut album LP1 is out on Friday 6 December

#liam payne #the guardian #one direction #lp1 #liam's interviews #02.12.2019

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hannibal-obsessed · 4 years ago

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30 REASONS WHY THE LAMBS ARE STILL SCREAMING!!!

- Celebrating 30 years of The Silence of the Lambs Movie -

The Silence of the Lambs is a pop culture phenomenon, who’s influence is still being felt today. It is considered one of the best horror/terror/thriller movies of all time!

Released in 1991 on February 14th, The Silence of the Lambs evoked a blood curdling Valentine’s Day scream!

Happy Valentine’s Day

1991-2021

Author – Harris worked the cop beat for a Texas newspaper and had an interest in the macabre, often freelancing for Men’s Magazines (Argosy, True), writing about some of the most gruesome stories.

1. Thomas Harris – As the author of The Silence of the Lambs and creator of Hannibal Lecter, none of this would be possible without Harris. He’s an impeccable researcher, studying the cases of the most notorious serial killers at the time. Harris was seen at parts of Ted Bundy’s Chi Omega trial taking notes.

Actors

2. Jodie Foster – Foster’s portrayal of rookie FBI in training agent Clarice Starling, is a spot on performance. Foster shows Starling’s vulnerability and how her abandonment issues and need to advance in the FBI, bring her under Lecter’s spell.

3. Anthony Hopkins – Hopkins portrayal of Hannibal Lecter left an indelible mark that still haunts us 30 years later. Thomas Harris wrote Lecter...Hopkins brought him to life. The duality of Lecter, which Hopkins plays to perfection, leads you into a false sense of security...that perhaps he’s not that bad...until he lets loose on the police officers during his escape from custody.

4. Scott Glenn – Glenn plays the head of the Behavioural Science Unit at Quantico, Jack Crawford aka the Guru by his agents. Crawford uses his father like status to entice Starling to interview Lecter thus hopefully gaining access, which Lecter had denied other agents.

5. Ted Levine – Levine‘s portrayal of Buffalo Bill has a creep factor that is impossible to put out of your mind, especially when the song Goodbye Horses by Q Lazzarus plays...and he dances...

6. Anthony Heald – Heald’s portrayal of Dr. Frederick Chilton oozes contempt and arrogance, which doesn’t make you feel a bit sorry him when he becomes Lecter’s meal.

7. Brooke Smith – The all American girl who’s kidnapped by Buffalo Bill and held in a pit for the harvesting of her skin. Catherine Martin is a clever one though and hatches a plan to escape using Precious the dog as a hostage.

8. Frankie Faison – The only actor to appear in 4 of the 5 Hannibal Lecter movies. Barney Matthews survives Lecter with his politeness as Lecter abhors rudeness. Lecter believes whenever feasible, one should eat the rude.

Art/Symbols/Theme

9. Basements – The basement is an underlying theme in The Silence of the Lambs: The BSU of the FBI work out of the basement at Quantico; Hannibal Lecter is kept in the basement of the Baltimore State Hospital for the Criminally Insane and Buffalo Bill’s sanctuary is the basement of the former Mrs. Lippman's house.

10. Death Head Hawk Moth/Transformation – The theme throughout The Silence of the Lambs is transformation. The Moth represents Buffalo Bill’s transformation from a pupae/chrysalis/cocoon into a beautiful butterfly.

11. Salvador Dali/Philippe Halsman – In Voluptas Mors/Voluptuous Death (1951), the most scandalous photo of it’s time was the brainchild of Dali and Halsman. Dali arranged seven naked women into a macabre skull. This skull is used as the marking for the Death Head Hawk Moth on the poster for The Silence of the Lambs, which has become synonymous with the movie.

12. Cannibalism – Lecter doesn’t keep trophies in the usual sense, he eats his victims ensuring they will be part of him forever and leaving no evidence behind.

13. Sketches – Hannibal Lecter is a gifted artist and uses his talent to escape the confining basement walls of The Baltimore State Hospital with sketches of the Palazzo Vecchio and the Duomo as seen from the Belvedere in Florence.

14. Music – Hannibal Lecter has an appreciation for the finer things in life like classical music in particular Goldberg’s Variations Aria. Catherine Martin rocks out to Tom Petty’s American Girl and Buffalo Bill dances to Goodbye Horses by Q Lazzarus.

Behavioural Science Unit – It was a new age of criminal behaviour which needed a new type of agent...a profiler.

15. FBI – The Federal Bureau Of Investigation was formed to combat the criminal Mob element by J. Edgar Hoover. It was only upon Hoover’s death that the FBI started exploring other avenues to catch a new type of killer, the serial killer. After Hoover’s death the FBI would start to hire female agents, which would spur Harris to write a story about an up and coming female agent in training.

16. John E. Douglas – Douglas is the real Jack Crawford, an agent who helped in the development of Behavioural Sciences to catch the newly ordained serial killer. Douglas was a consultant for The Silence of the Lambs movie and is an author of many serial killer/profiling books.

17. Robert Ressler – Crawford is also based on Ressler who was in charge of developing the BSU and was instrumental in the creation of profiling serial killers by interviewing them behind bars. Ressler is responsible for writing some of the best profiling books.

Production

18. Jonathan Demme – It’s Demme’s vision as Director of The Silence of the Lambs which is the magic that has cemented The Silence of the Lambs in the minds of all who watch and re-watch and re-watch...

19. Orion Pictures – The little studio that took a big chance. Unfortunately The Silence of the Lambs wouldn’t save Orion from bankruptcy and they’d be bought out by MGM, who would acquire their movie catalogue.

20. Ted Tally – The man who would turn Harris’ novel into a great screenplay, hitting all the major marks. Tally would pass on the Hannibal screenplay; being lured back for the Red Dragon screenplay.

21. Dino De Laurentiis – If not for De Laurentiis passing on the movie rights to Harris’ novel, The Silence of the Lambs, after the bad box office return of Manhunter, and for allowing Demme to use Hannibal Lecter, we wouldn’t even be discussing this 30 years later.

Quotes – The Silence of the Lambs gave us a few extremely recognizable quotes!

22. Chianti and Fava Beans – “I ate his liver with some fava beans and a nice Chianti.”

- Hannibal Lecter

23. Lotion – “It rubs the lotion on it’s skin or else it gets the hose again.”

- Buffalo Bill

24. Friendship – “I’m having an old friend for dinner.”

- Hannibal Lecter

Serial Killers – Harris based Lecter and Buffalo Bill on some very real killers...

25. Ed Gein – Buffalo Bill is part Gein for without the crimes of Ed Gein, Buffalo Bill wouldn’t exist. It was Gein’s skinning of corpses and his two murder victims that would inspire Buffalo Bill...

26. Gary Heideck – If Buffalo Bill is part Gein, he’s also part Heideck, who’d kidnap women and then tortured them in a pit in his basement.

27. Ted Bundy – Buffalo is also part Ted Bundy, who would lure his victims with injuries like an arm in a cast; he would seem vulnerable seeking help with books or a canoe and in Buffalo Bill’s case a chair.

28. Ed Kemper – What do Hannibal Lecter and Ed Kemper have in common? A high IQ., a fondness of co-eds and a love of cars.

29. Alfredo Balli Trevino – Harris met Trevino in a Mexican prison, mistaking him for a doctor who worked in the prison; Trevino was actually an inmate working in the prison.

Trevino was convicted of murdering then dismembering his lover. It was this encounter that would set the tone for Lecter.

30. Alonzo Robinson – Lecter has been compared to many serial killers over the decades, many of who’s crimes are too late to be included in The Silence of the Lambs novel (1988). It was most likely the story of Alonzo Robinson/James Coyner/William Coyner that planted the seeds of a cannibal killer in the young mind of Thomas Harris.

Influence – Every Serial Killer book written after The Silence of the Lambs was released in theatres, has a reference to it...even BTK referenced Buffalo Bill in his essay to FBI Profiler, John E. Douglas, among an impressive list of serial killers...Ted Bundy, Son of Sam, Ed Kemper, Steven Pennell and Gary Heideck.

Conclusion: Thomas Harris’ first Lecter novel, Red Dragon, turns 40 in October, so Hannibal Lecter has been part of our literary world for 40 years. Although Manhunter was released in 1986 as the first film featuring Lektor (spelling in the movie), it was Demme’s The Silence of the Lambs that will be remembered as bringing Lecter to the masses. Even though Hopkins would play Lecter two more times in Hannibal (2001) and in the remake of Manhunter, Red Dragon (2002), it’s Hopkins Oscar winning portrayal in The Silence of the Lambs that we will always remember and keep the lambs screaming...

Shannon L. Christie

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breadknight-likes-things · 4 years ago

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Bread’s Skate (?!) Journal 09/05/20: The Top 5 Best And Or Weirdest Tony Hawk Skaters.

Tony Hawk has always had secret skaters, and from Tony Hawk 2 and on, it's always had hyper bizarre secret characters. The first game had it's marquee character of Officer Dick who was....a cop. The second game? Spider-Man. With no further spoilers I think it's time to move down the list of the 5 best/weirdest secret characters that have ever been in Tony Hawk, because people, there have been some odd ones!

5. Shrek

Okay so the Shrek meme is a little played out at this point right? It's a weird movie, All-Star, Shrek is Love, we all know the memes. It's stuff like Shrek's inclusion in Tony Hawk's Undeground 2 that really makes the propagation of those memes possible though, because it makes zero sense to this day. Okay, so it actually makes a lot of sense, Shrek 2 was a huge hit and Activision was putting out the Shrek video games at the time, why wouldn't this seem like a natural idea to the marketing people? Throw Shrek into your skateboarding game! Why not?! Let me tell you though, even among all the other characters i'm about to get to on this list, Shrek looks wrong on a skateboard. He's simply too big, he looks like too much of a cartoon, it's too obvious his model is just ported in from another video game....he's just bizarre, and frankly he needs to get out of my swam-uh, Tony Hawk's Underground 2.

4. Wolverine

Not the only time a Marvel (or Disney Owned) character is going to appear on this list, let me assure you, but what the hell is Wolverine doing in Tony Hawk's Pro Skater 3 anyway? Like, I know Activision published X-Men stuff around the time but this is downright weird, hell you know what? Tony Hawk 3 has easily the weirdest guest cast of the entire franchise, I feel like this list will make that very clear. Wolverine is just the tip of the iceberg on this one! Needless to say though, Wolverine is cool as hell, and getting to skate around as him, especially him in his classic comic costume and not the leather jump suits of the movies at the time. Famously, Marvel and Tony Hawk had a little bit of a run there....damn I miss that. Wolverine may not have been the weirdest or most unexpected character from their roster in Tony Hawk, but he sure was a fun one!

3. Doom Guy

Yeah, Doom Guy. People don't often know about Doom Guy's inclusion Tony Hawk 3, because he was a PC exclusive character and who the hell played THPS3 on PC? In terms of character he's.....just Doom Guy. The Doom Marine, DOOM Slayer, whatever you want to call him, he's here. I used to not think of his inclusion as all that remarkable until one thing happened earlier this year. I found his damn skateboard in Doom Eternal. I've since come to the conclusion that Tony Hawk Pro Skater is in fact canon to the DOOM Slayer's journey through space and time battling demons and death at every turn. There was just a little break there where instead of chainsawing a baron of hell in half, he learned how to do a kick flip and took part in a skate competition in Rio De Janerio, Brazil. We all need some time off every once and awhile, I'm glad the DOOM Slayer got his.

2. Darth Maul

I did mention we weren't done with Disney characters right? Sure, Darth Maul wasn't a Disney character at the time of this games release, hell he wasn't a Disney character until after the Tony Hawk franchise was put on ice, but just think about these characters being used so freely in a Tony Hawk game compared to how they're treated now. Disney is so precious with their IP that even in their big celebration of Star Wars, Battlefront 2, they half ass all their celebrations to closely protect how their characters are portrayed, in a game that's supposed to be convincing you they're cool! Compare this to Darth Maul just being in a skateboarding game in 2001 and you couldn't have more different ways of doing things. Phantom Menace was two years old by the time of THPS3 but I know for a fact people still thought Darth Maul was cool as hell at that point in time. Hell, people still think he's cool. If there's one character safe from the cynical Star Wars group think, it's Maul. I happen to believe his sick ass ability to incorporate his double bladed lightsaber in his special move is the key to his continued popularity, but nobody will back me up on this!

1. Spider-Man

Who else was it gonna be? I challenge you, name one better guest character in any game ever. You've already failed, because there isn't one. Spider-Man in THPS2 blew 8 year old me's mind at the time. How could these two things possibly intermingle? The guy I watched scream at Shocker on Saturday mornings was in a video game that wasn't the official Spider-Man one? Was this allowed?! Looking back it's pretty easy to see how this one came about, considering Neversoft quite literally also developed that aforementioned Spider-Man game. Still though, it was huge to kid me! I got to skate around one of the most fun games ever made, as one of the best characters I had ever known?! He had a special move where he swung the board around with webs called "Does Whatever A Spider-Can" and I can remember it was the only special move I ever really cared to memorize how to do, because it was just so cool to me at the time! Though there's no confirmation as to if he isn't in the recent remakes somehow, I think we all know deep down those chances were zero from day one. The legacy lives on though, there's not a single person out there with fond memories of THPS2 that don't also have fond memories of skating around as Spider-Man, and that's the kind of memory that endures.

Honorable Mention: Kelly Slater

He's a pro surfer, his skateboard is a surfboard with wheels on the bottom.....he's maybe the actual weirdest character in the series, but he's not as fun to write about!

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ozis-paradise · 4 years ago

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ØZI for Tatler

published july 3rd, 2020

[translated by me, proofread by @baobeejun]

Free like water, a born star! From Irene Yeh's son to the new king of popular music, the dazzling star you need to know: ØZI!

Bright red highlighted hair, equally red earpieces hanging around his neck. The boy with eye-catching tattoos is sitting on the make-up chair, skipping his feet while eating breakfast and he exudes a rebellious and free, yet delicate and pure atmosphere. Soon after his debut, he was shortlisted for six Golden Melody Awards last year and won Best New Artist. At the mention of his name, everyone will exclaime admiration and excitement, ØZI seems to have become a synonym of "cool" and "red" among the younger generation.

"I think I'm too rational, 100% rational, I should also be a little sentimental." This cool-looking artist was told by his agent that "his temper is very good, he most likely won't look angry." Isn't it a little unexpected for a rational rapper to be so talkative? Doesn't he also like to drink beverages with either honey or strawberry? Everytime ØZI gives a new answer, people have to reconstruct the imagine they already had in mind of him, contrasting to his appearance there is a vibrant and rich soul ready to stir trouble (in a "catching peoples attention" kinda way). Speaking of his definition of freedom, ØZI jokes "Freedom means that my agent won't call me, no work, blocking my agent's calls!" But in fact, the interpretation of freedom in his heart is somewhat aloof and mature: "Because society has a lot of rules, as far as I can tell, no-one is free; from family, love to friendship, they all have their own rules. But freedom comes from inner stability, it should be "like water", just then you're free. When it is placed in different containers, it becomes it's shape, it can adapt to every environment; to me, this state is freedom, because you can be free from restrictions and confined space."

When asked if he's free now, he mutters "Not necessarily, sometimes I get stuck when my inspiration runs out. It's been a little better lately, it wasn't like water in the second half of last year, instead it was more like ice cubes!" Last year was too busy to think, it was described by ØZI "like the mind is drying out". And because of his plans to go to the United States to relax at the beginning of this year - he didn't expect the immediate outbreak to happen - he got more time to produce, "I'm free now, I'm simply water now!", he smiles.

Living in a prominent family of performing artists - his mother Ye Ailing is an all-round entertainer, his father Chen Wenbin is a well-known photographer - ØZI's creative path can be said to be expected. Because his parents are both in the industry, he grew up in a musical environment ever since he was a child. But when it comes to his own creations, in fact, ØZI liked to draw as a kid. In Junior High, he liked to make and arrange music, in High School he began to write melodies, lyrics, from drawings to producing movies, "creations" of change because as a child, he liked to be "original" about this. He had six Music Videos, all on his iPhone. "At first, my dad said that there were a lot of problems with my Music Videos, so I was trying hard to improve, I learned about lighting and so on, just to prove that my Music Videos can look good, I wanted to get his approval!"

The requirement of children of celebrities is a blessing but it's hard to hold a grasp of it, it's difficult to excuse mistakes. The music world describes it as "to be born a Super Saiyan (means something like "Second-Generation-Star" because he's the son of famous parents). ØZI explains: "I was just lucky to be born into a musical family, I have enough space to be understood and supported. My dad knows what it's like to be a creator, my mom knows what it's like to be a performer. So I had the chance to train to become a Super Saiyan." It's a double edged sword, everyone was paying close attention when ØZI was nominated at the Golden Melody Awards. "After the rookie award, in addition to putting myself under a lot of pressure, I didn't change any of my creative motives and I'm very expressive. So if you don't get rewarded, you get mad at yourself." Maybe stress occasionally hinders his creative work, but at the same time, it's also a sign of determination to succeed and break through the golden sunken ship.

ØZI's first well-known Chinese song "Title" is about not being bind by anything, about wanting to have more freedom, more creative freedom for everyone. He's been making music for his "mission to internationalize Chinese Music" from the very beginning. "The internationalisation is something that not everyone can do, we listen to music from Latin America, Hip-Hop, K-Pop, it's all because of their atmosphere. For me, every artist has their own way of interpretating their culture. It's very important to let everyone know "Oh, that's C-Pop!"" And the new plans of ØZI will be followed by the release of some singles, a new album will also be released this year. He also revealed that he's working on three different projects at the same time now, experimental and core concept types. There's even a project that's "looking for the next stage of ØZI" trying to give his music a new image. "There will be a lot of music you have never heard from ØZI before, some experimental music, I can't reveal much!"

He's 100% rational when it comes to his family, but his sentimental tone betrayed him; when he talks about music, he becomes serious. Introducing his new tattoo is as exciting as being a little boy. His soul is free, but "ØZI" still has a lot of unavoidable restrictions.

"ØZI is the character I created, he's the embodiment of self-confidence, he has to be perfect. The self-confidence this character needs will be infused into my spirit, but this is only one part of it", he says slowly. With his high and straight nose bridge and the fine and smooth line of his chin, ØZI looks somewhat like his mother Ye Ailing; but he has taken off the label of being a celebrity's child, that used to stick on him tightly, a long time ago already. He's ØZI, free like water, a born star.

TATLER discusses with ØZI

What do you do to pass the time that make a perfect holiday?

Go to the beach of an uninhabited island alone or with a group of friends, lie on the beach and drink cocktails, read a book, maybe listen to music, sleep.

What do you like to do the most when you don't have to work?

Playing video games, eating, getting a massage, sleeping, watching Netflix.

If you could have one drink with an idol, who would it be?

Canadian Rapper/Singer Drake! So I can understand his logic of running his OVO Empire and see if I can absorb it and apply it on my own label.

Your motto?

The tattoo on my leg, it's a famous quote from "Batman: The Dark Knight Rises": "Why do we fall? So we can learn to pick ourselves up."

Who is your life idol? Why?

Christopher Nolan, the director of "Inception"! Actually, everyone who gives me inspiration for a period of time is my idol.

What would you recommend to watch on Netflix?

I actually watch anything, from serious "13th" to pure entertaining "Too Hot To Handle", I want to absorb different elements.

Please define freedom in one sentence?

Be like Water!

Which abroad city do you want to visit first after the ban gets lifted?

Greece! I went there for the first time when I was shooting the MV to "Paradise Island", and I thought I have to come back when I get the chance to! It has a peaceful charm between the island and the city, it has their own ancient culture and beach parties, everyone is very relaxed and the atmosphere is very cool.

Favourite drink?

Apple Milk or Honey Water, I like the Honey or Strawberry kind.

When your mood is low, what do you do to cheer up?

Playing video games, hanging out with friends, working out.

What games have you been playing lately?

The remake of Final Fantasy 7, the graphics have changed very beautifully.

#øzi #ozi #tatler taiwan #tatler #interview #translated #200703

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harryp22h · 4 years ago

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[FGO Fan Servant Redux] King Sejong the Great (Genderbent)

안녕하세요!

This is a remake of last year’s attempt at making a fan Servant, intended for Hangeul Day to celebrate his legacy. (2 days late...) Probably the only Korean with an actual chance of making it into FGO, if DW ever allows that.

Introducing, King Sejong the Great! Genderbent, of course. Because this is Fate, what were you expecting? (I know it’s not completely historical, but it makes for a fun story.)

Name: King Sejong the Great

Class: Caster

Origin: Korea – Joseon Dynasty (1400s)

Alignment: Lawful-Good

Type: Man

Bio: Curiosity. Generosity. Spite. The 4th King of Korea’s Joseon Dynasty.

An insatiable thirst for knowledge, both scientific and magical, and knack for inventing that led to the kingdom’s first royal research institute. An all-giving kindness for her downtrodden people that weakened her status and health. A pure spite for the nobility, inheritance from her father and reinforced by tragedy. She sought to bring meritocracy onto an already stagnant society. Welfare for the poor. Knowledge to all. For in her eyes, all were genuinely equal.

She who utterly shattered the status quo and changed the course of a nation with just one invention, personally handmade by the King herself. Hangeul, a written alphabet for her people that even a peasant could learn in a week. An invention that may have saved them centuries in the future.

She truly earned the title of ‘The Great.’

[Skills, Additional Sprites, and Lore]

Class Skills

Territory Creation Rank A-: The Hall of Worthies, her kingdom’s first Royal Research Institute, which contained the King’s personal workshop and gave birth to many creations.

Item Creation Rank B: Was personally involved in the creation of Hangeul and many other projects at the Hall of Worthies in the fields of agriculture, astronomy, warfare etc.

Personal Skills

Patronage B: Served as patron to the Hall of Worthies, when she wasn’t busying herself there already. Heavily believed in meritocracy and held the belief that anyone, regardless of status or lineage, could succeed if given the chance. Personally, she handpicked a peasant for the position of Royal Engineer, a true embodiment of her beliefs.

Charisma C: Wildly popular amongst the populous, and able to persuade the fickle Royal Court, regardless of how many times she pissed them off.

Humanitarianism A: Improved literacy nation-wide. Supported paternity leave for both mothers and fathers. Introduced tax reform to reduce burden on famine-stricken areas. Funded many inventions to help improve citizens’ livelihood. She truly loved her people, no matter the costs.

Rapid Words of Casting EX: Invented an entire alphabet for the express purpose of easier and faster reading and writing. Duh?

Entertainment Revision EX: Gains access to skills she does not normally possess. Stronger the more dramatic and flashier the skill is. Similar to Imperial Privilege. (Blame K-Drama.)

Quotes

Edison: Anyone can learn my alphabet in a week. But moving pictures need no introduction. This would have been so useful for so many reasons! Show me more films, Mr Haechi!

Nobunaga: ...For both our sakes, that ‘monkey’ of yours better not show his face to me.

Shakespeare: This is the epitome of western entertainment? Fascinating. You know, I too dabbled in poetry a bit. Perhaps we can share notes?

Touta: The people are the roots of a nation, and those roots should be well-fed so as to create a peaceful nation. That rice bowl of yours is truly beautiful. May I look inside..?

Archer Gil: How could a king who should rule over all people and all things in the country with impartiality treat those of low birth any differently from the way he treats others? I am willing to bow my head towards my people if needed. What say you?

Babbage: ...I want that! To the Hall!

Bond 1: The third child of the third King Taejong (태종), three generations separated from their dynasty’s founder Taejo (태조). Ido was the apple of her father’s eye, her curiosity and (properly timed) rebellious spirit catching his eye, but was initially ignored regarding inheriting the throne. However, her two older brothers abdicated the throne to separate themselves from their father’s bloody legacy of murdering all his relatives and many more to maintain his power. With that, the path was cleared and Ido took to the throne upon her father’s surprisingly peaceful death, taking the name Sejong for herself. Contrast to the previous king’s blood-soaked reign, Sejong devoted herself to her people and to improving quality of life throughout the nation, even establishing the Hall of Worthies to advance the field of agriculture, astronomy, warfare etc. with her patronage and personal participation. She did inherit her father’s dislike for the nobility, and for good reason.

Bond 2: She did not care for social norms and promoted meritocracy, holding the belief that if anyone, regardless of status or bloodline, could accomplish anything if they were giving a chance to prove themselves. Her embodiment of this belief would be Jang Yeong-sil (장영실), a former peasant-turned-Royal Engineer and close confidant. Having heard rumours of his cleverness, she personally invited the son of an escort to the palace, where he managed to impress the King. Excited, she took him under her wing, despite the protests of the nobility. Nevertheless, he would prove himself a worthy ally, helping to create independent advancements in the fields of astronomy and meteorology using his knack for inventing. Bonding over their love of the pursuit of knowledge, he and the King shared a very close friendship, one plagued with hijinks, ‘SCIENCE!’, and ink-soaked robes. Her trust in him was absolute, even willing to forgive him immediately when one of his inventions proved faulty and injured the test subject… who just so happened to be the King herself. Unfortunately, the nobility, jealous of the inventor and fearful for their own positions, seized upon this opportunity, having him tried and imprisoned in spite of the King’s protests.

A betrayal unlike no other. A reminder of the callousness of the Royal Court and of her fragile power.

Bond 3: Noble Phantasm: [훈민정음 – 한글]

The Proper Words for the Instruction of the People.

Rank: EX

King Sejong’s most influential creation. The one that would forever earn her the title of ‘The Great’. Developed in secret at the Hall of Worthies, its very existence alone had the potential to put even a king’s life in danger. Penned by the King personally, it was a scientifically-designed featural alphabet with 17 constants and 11 vowels, created to replace the ill-fitting Chinese characters that had been in use up to this point, in spite of Korea having had a separate spoken language for centuries. Designed for ease of reading and writing, even a peasant could learn in a busy week, an afternoon for a noble. Upon its completion, it was initially announced to the Royal Court, who opposed its very existence. Even those loyal to the crown protested, fearful that a literate populous would prove unruly and rebellious. In spite of, or perhaps because of the protests of the nobility, it was released on October 9, 1495, immediate adopted by the public.

Bond 4: Literacy reached an all-time high. It would kickstart a literary Renaissance that would last for generations, as even the peasants, now literate, could participate, partaking in others’ adventures while sharing their own experiences. Even the nobility, initially disdainful, would later adopt it, both in private and public affairs. But their warnings were right, in a way. An educated populace with ease of communication and plenty of grievances (for future kings) meant many rebellions to come. But it also united a nation. There were no true boundaries between the rich and poor, city and rural. All could communicate to one another, and thus all were made equal. Whether they wanted to be or not.

It may have even saved Korea completely. During a time of both China and Japan pushing and pulling the nation apart, especially during Japan’s forced occupation and colonization, Hanguel allowed the culture and history of Korea to be safely preserved, when it might otherwise have been lost to history, losing them their future as a nation. They prevailed, all thanks to an alphabet anyone could learn, and were restored their heritage.

Bond 5: She claimed to have lived a sheltered life in the palace, but her love for her people far exceeded that of someone who only saw them from above and beyond stone and wooden walls. Nevertheless, she truly saw all as equal, never dismissing a complaint just because it came from a peasant or allowing people with power to abuse those who were underneath them. Sadly a quality lacking even to this day... She is one of only 2 Kings of Korea to have earned the title ‘The Great’ and for good reason. Wise beyond her years and even her society, she devoted everything for her people.

“The people are the roots of a nation, and the roots should be strong so as to create a peaceful nation.”

#FGO #Fate Grand Order #fan servant #OC #servants I want in Fate #Please excuse my poor drawing skills #Hangeul #King Sejong #genderbend

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