#in a world with very little consistency and a very long runtime: majority rules

[diltonsstrangescience]

Jughead Jones, famous woman-hater.

[the-infinite-jukebox]

Beyoncé - Renaissance (Album Review)

(Review #410, July 29th [2022]) Renaissance is the latest studio album from diva extraordinaire Beyoncé, as well as her first solo studio album since 2016's smash hit multi-medium art piece Lemonade. Announced on a whim shortly before its official release with very little in the way of teasing beyond the single "Break My Soul," Renaissance is one of Beyoncé's finest works thus far.

The musician's latest effort sees her place her artistic eyes on a club-based sound. Some have compared Renaissance to Drake's Honestly, Nevermind from earlier this year in the way that both were introduced as major artists' surprise-released albums that see them both take drastic turns to the world of dance-pop music. However, that's about all the two have in common. Where Honestly, Nevermind was a lifeless and limp excuse of a record that was only mildly groove-able at best, Renaissance is executed extremely well. Beyoncé feels less like she's trying to create a slew of hits for the dance floor and more like she is trying to continue to express herself and her personality in a different manner from what she has done in the past. Although this major change in tone could have easily been disastrous for her career, Beyoncé doesn't allow a somewhat shocking change in nature towards house-like sounds stop her from being just as striking as ever. Her performance on Renaissance is undoubtedly one of her most engaging and demanding to date. Beyoncé has always been a very self-empowered woman through her music. That quality has often influenced her work for the better, even in her most lyrically and sonically tender moments. Renaissance sees her use this to her advantage once again, as she rules over every concept she introduces with an iron fist. The confidence demonstrated with Renaissance is beyond the vast majority of pop stars relevant at the moment; and significantly more warranted as well. Whether it's the laidback and chill seduction of a song like "Plastic Off the Sofa" or a tighter funky number like "Thique," everything ends up working out in the end and culminates in one of Beyoncé's strongest performances to date. If Renaissance is anything, it is further evidence that Beyoncé is still one of the greatest diva-types and most distinct pop musicians in the music industry nearly two full decades into her career. While the phrase "one-of-a-kind" is perhaps a bit strong, there's no denying just how musically aware and conceptually focused Beyoncé is as a performer all of these years later Despite the fact that Renaissance is a house music-based listening experience, there is an immense amount of musical variety here. There are enough subgenre changes throughout the record's hour-long runtime that it feels more than worth returning to fairly often; all the while managing to keep its roots in that aforementioned distinct club sound. There's afro-centric sounds on "Move," disco influences on "Cuff It," and traces of European house music on "Break My Soul." While it isn't boundary breaking in the traditional sense of experimentalism, Renaissance is a highly successful balancing act between a foundation of dance-pop and a variety of other sounds from a number of different niches, making for one of the most unique and standout pop albums of the year so far. In conclusion, Renaissance is a fantastic example of just how much Beyoncé has been achieving artistically in recent years. Although it doesn't quite tackle the many deeply serious themes of Lemonade, nor does it capture the same theatricality of its predecessor, Renaissance is another excellent piece of artistic reinvention from Beyoncé. Renaissance manages to live up to its own name, as it feels like one of Beyoncé's most accomplished albums to date as well as among the most consistently brilliant releases of the singer's legendarily high-quality discography.

Final Rating: 4/5 (Great)

Essential Tracks: “MOVE,” “VIRGO’S GROOVE”

[autisticawesomeness-archive-blog]

I saw on your SpIn page that you like comparing written storytelling to other mediums. Do you mean like a book that was turned into a movie or something? Or could you give an example so I understand better? It sounds really interesting and close to one of my SpIns! (private response or not, doesn't matter to me)

THANK YOU FOR GIVING ME AN EXCUSE TO INFODUMP YOU WONDERFUL, WONDERFUL PERSON

And nope, that’s not what I meant (seriously, do NOT get me started on books that I’ve read that were turned into movies. it.... won’t end well), but it’s understandable confusion! 

What I meant is that every piece of media has a type of storytelling and certain narrative elements that are unique to them. Let’s compare books and movies for example: the reason you have to change books when turning them into movies is because books and movies are fundamentally different mediums. 

Books, for starters, are text-based medium. Books tell a story. While most writers know the ‘show, don’t tell’ rule, books are still ultimately told through words and not images. All images can to be described by words, but the reader will fill in the blanks with their own imagination. Books have the luxury of getting completely into the main character’s head, and can therefore make things very, very clear, by giving the character internal monologues, for example. It’s also generally understood that you’ll spend at the very least a couple of hours reading a book, most likely a couple of days, so books can go into great detail about the characters/plot/worlds, etc.

Movies, however, are a visual medium. Movies, unlike books, do not tell their story, they show it. While movies do have a point of view through which the story is told, it is usually less clear than in books; additionally, in movies, scenes can switch between characters on the drop of a hat, whereas in books, this would generally be discouraged unless you have a clear mark where the change can happen (between chapters, for example). Movies also have a shorter ‘runtime’ than books; movies can take up a maximum of three hours before the audience starts complaining that it’s too long. 

(Movies also have one other major advantage over books: audio. While certain audiobooks may have simple songs or sound effects, movies have an entire soundtrack. They have sound effects, they have hand-picked songs for scenes, they have completely new songs composed, etc. etc. The soundtrack is used to define the mood of any given scene and/or the entire movie. Depending on how good the soundtrack is, it can make or break a movie. This is not relevant to the comparison, I just wanted to point it out.)   

So, when adapting a book to movie, you will obviously need to deal with changes in medium. Because books have the time to be more detailed, movies will need to cut out subplots or even change the main plot in order to fit it into their own, much more limited, runtime. Movies also need to adapt the written descriptions to actual images; this can be a problem, if a) the fanbase is particularly picky, or b) if the directors/producers/whoever in the production staff is lazy. In addition to this, movies can show the story from more perspectives than the book usually can and/or will, so it will often give different characters a larger role in order to be more engaging to the viewer (for example, spending more time with the villain than the book does, in order to build suspense). This, too, will often lead to changes in the plot.

This is why change when adapting books to movies is necessary: ultimately, books and movies are different mediums that have different rules of storytelling, and what works in one might not work in the other. Anyone who demands that books cannot be changed when adapting to movie is quite frankly not thinking about it hard enough.

(That said, there’s also something called ‘I don’t care’ syndrome in Hollywood, where they only use big-name books to market their movie, rather than try to make it a faithful adaptation (see also: Percy Jackson). This, understandably, pisses off the fans of the book. Frankly, I hate this. If you’re gonna adapt a book, at least try and make it resemble the original, please and thank you.)

This example got out of hand, but my point is that all mediums of storytelling are unique. Some quick examples of how other mediums (can) tell stories (under the cut bc this is already way too long whoops):

Comics are a medium between books and movies, in that they are a visual storytelling device, but can spend more time on developing their characters/plots/worlds than movies, because people are willing to buy multiple volumes of a comic. 

American superhero comics are especially fascinating to me, because they’ve created such a vast universe that DC (and Marvel I’m pretty sure, though don’t quote me on it) have destroyed their entire universes multiple times just to try and get some control back over them (spoiler: it didn’t work). That stories can get so vastly out of hand seemingly without anyone noticing until it was too late is incredibly fascinating to me.

Video games are in a unique position because they are interactive; the player actively makes decisions in them. With some small examples like tabletop RPGs, visual novels (though you could argue those are games), and choose-your-own-adventure books, this is the only medium that has access to this. Because of this unique feature, they can incorporate things such as ‘karma’ endings (aka if you make bad choices you get a bad ending). They also have some other features they can utilize to make their storytelling more unique (such as the ‘save’ function, which Undertale did especially well), but I’ll leave that bc I suck at games so I know fairly little about them.

TV shows are like movies but better, imo. TV shows have the exact same advantages and disadvantages as movies, except that they have one thing movies do not: time. TV shows can take multiple episodes (the length of which varies, but serious adult shows seem to be around the 1 hour mark per episode) to tell their story, and thus they have the time to incorporate more detail/subplots than movies. Of course, this does mean that you need to learn how to pace TV shows differently than movies, and also you need to actually have the attention span to watch one (which. I do not. yikes).

Animation is yet another form of audio-visual storytelling, but this one has the added bonus of not needing to be limited by making things look ‘real’. In fact, it’s better if they do not. This makes animation one of the best types of media for fantasy/sci-fi shows that need more creative visual storytelling than live action movies/tv shows will allow.

Anime is a sub-genre of animation that I find particularly fascinating, because anime isn’t western, and therefore follows different storytelling rules than I’m used to. Just a little western animations vs anime comparison:

Western: moving characters, even in the background; animation quality is fairly consistent throughout the show (except maybe in the latter eps when they run out of budget); backgrounds are usually not that detailed; usually episodic rather than plot-driven; usually focuses primarily on humor rather than serious emotion/plot; primarily used as a medium for kids’ shows.

Anime: background is static, only lips of characters move; backgrounds tend to be very detailed; animation quality explodes during fight scenes/emotional climaxes; usually plot-driven rather than episodic; is more often used for serious storytelling than western animation; used equally as a medium for kids’ and adult shows (and can therefore delve into more mature themes than western animation generally does).

I know anime usually gets written off (at least in the west) either because people don’t like the art style or because of the ‘yaoiz/weaboo’ fanbase, but it’s a really unique medium of storytelling when it isn’t pandering to creepy men and/or pedophiles. 

(Houston the anime industry has so many issues I’m gonna cry)

I’m too new to Podcasts to know clearly what the rules, advantages, and disadvantages to this type of storytelling would be, but with the huge success of podcasts like Critical Role and The Adventure Zone, I think that there is certainly a draw to this type of storytelling that no other has. I really should start listening to see if I can figure out what it is.

So yeah that’s basically my main special interest! Lots of me thinking about what the most innovative use of HP would be in a game, what the uses of live action vs animation is, whether a certain story is better told through TV or book, etc. etc. I love it so much and PLEASE if you have any questions ask me! But! Again, thanks for asking I love infodumping!

[aion-rsa]

Attack on Titan Season 4 Episode 4 Review: From One Hand to Another

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This Attack on Titan review contains spoilers.

Attack on Titan Season 4 Episode 4

“It kinda feels like something is about to change!”

“Yeah. It does.”

There’s a moment in “From One Hand to Another” when Willy Tybur and Theo Magath look upon a statue of Helos, a renowned Marleyan hero and an inspirational figure for the nation. Tybur admires the statue and what it stands for, but Magath informs him that the attractive idol is hollow. It’s an empty monument with nothing on the inside.

Marley puts on a brave face and acts like their future against Eldia is under control, but the echoes that ricochet within these empty promises are beginning to get louder. Deafening, even. Marley, more than anything else right now, needs a new hero and symbol of justice. It’s a nation that’s been consumed by lies in regards to their history – who is actually in control, and what their plans for the future are against Eldia. Marley has gotten comfortable hiding under these lies because in some ways it’s less devastating than the larger truth. Marley is finally ready to rock the boat and come out of the shadows, but the only thing that’s stopping them is that they don’t know who will be the one to light the spark. The statue of Helos is hollow, but there’s someone in Marley that’s filled with courageous resolve and ready to make a difference. “From One Hand to Another” is about that individual finding their voice.

“From One Hand to Another” is a relatively peaceful installment of Attack on Titan , but it goes out on such a huge cliffhanger that deserves to be discussed first because it reframes so much of the episode. A character named Kruger has been present and acted as a sounding board of sorts for Falco as he grapples with his Warrior training. The series has shown just enough of Kruger that he hasn’t come across as a suspicious character or someone who seems like they shouldn’t be trusted. Well, it turns out that Kruger is Eren. 

That’s right, Eren Jaeger has actually been present for a while now as he orchestrates a long con and puts together a plan that seems to be several years in the making. Eren’s disguise as Kruger also acts as another glorious parallel to Reiner’s infiltration strategy to Wall Maria all of those years ago when he hid in plain sight under the “enemy’s” nose. Attack on Titan pulls the trigger on this at exactly the right time. There’s enough evidence to be aware of Kruger’s real identity, yet another episode or two that keeps up this charade would have likely made it too obvious.

Eren’s appearance is a major surprise, but the majority of Marley is more concerned with the arrival of the powerful Tybur family. Willy and the rest of his family are the people who actually call the shots in Marley, but they’re also ready to use the upcoming Liberio Festival as an opportunity to finally reveal their solution on what to do against Eldia and their Titans. 

One of the most satisfying things about this season of Attack on Titan is that these episodes don’t feel restricted to any kind of rules and they are entirely content to just explore different pockets of Marley. This season’s pacing has been varied, but it’s impossible to say that these episodes are wasting time or moving too slowly without knowing just how much needs to be accomplished before the finale. This freedom has been helpful to the series in terms of keeping the material fresh, but it also reflects a more confident level of storytelling where it’s not afraid to invest time in an argument of words and values rather than one of fists.

“From One Hand to Another” spends nearly a quarter of its runtime on Magath and Tybur as they trade policy. This isn’t necessarily thrilling, especially when it’s just two characters confined to a balcony, but Attack on Titan has figured out a way to make this world building just as exciting as any action sequence. All of the history and political subterfuge that fills Marley and Eldia always makes me think of the Star Wars prequels and their focus on policy and the Trade Federation. That material was similarly criticized, but it’s actually as important to the story as any lightsaber duel. Attack on Titan is no different and it’s fascinating that this episode can feature a debate by two new characters that the audience has never met before and it not only remains engaging, but it actually becomes thrilling due to the pressure that the Tybur family places on Marley.

An earnest bond continues to grow between “Kruger” and Falco and the injured soldier learns a lot about the Grice family. This includes that Falco and Colt are only training as Warriors in order to redeem their family’s disgraced reputation. Kruger/Eren’s simple requests of Falco to deliver his letters could be misconstrued as treason and put the Grice family back in hot water with their own people. Initially this just seems like a scene about sacrifice and responsibility, but it becomes considerably more poignant after the realization that this is Eren talking to his grandfather here. Eren helps the elder Jaeger open up and grieve a little over the fate that he prescribed for his children, which has inadvertently also pushed Eren to where he is in life. 

Attack on Titan has always been tremendously causal and there’s an extreme domino effect that’s present in every action and relationship that’s formed. But this innocent exchange between Kruger/Eren and Grisha’s father is one of the best examples of how everything here is intricately connected. This is another case where a strong scene delivers even more of an impact thanks to the powerful score. Jaeger’s scattered confession about his “life’s regrets” is complimented by a fanfare that sounds like a declaration of war. It marks the moment when he truly matures and hardens in a way that can’t be reversed. Additionally, this scene at the hospital is full of lost souls who wander the premises and bang their heads on walls because they can’t handle reality. It’s a very loaded environment that’s full of suffering, yet it allows this pain to normalize itself rather than acknowledge it.

“From One Hand to Another” is more of a subdued entry, but the other big event that takes place involves the changing ranks within the Warrior training. Much to everyone’s surprise, Falco actually starts to best Gabi in their training and it looks like he might now be the one to inherit the Armored Titan ability. This development works as well as it does because Falco is completely disinterested in power. He’s dedicated to win because it means that Gabi won’t be subjected to a truncated life as a Titan. 

It’s still so easy to see shades of Eren and Mikasa in these characters. These episodes excel with how they demonstrate that these new individuals are no different than anyone else. Gabi and Falco’s confrontation is the other big moment where Attack on Titan’s score is really exceptional. In this case it does a great job at conveying the different energies that drive Falco and Gabi. It begins as this strumming guitar piece that crescendos over their argument and transforms into this gentle use of flutes by its end.

“From One Hand to Another” maintains its focus on Marley’s plans for the future and the number of important people who have come to weigh in on the issue. There are some lighter moments devoted to the culture clash between these elite Ambassadors and the lowly Marleyans, not to mention the fun that’s had at the Liberio Festival. This extends to a very brief scene between Pieck and Porco where Pieck moves around on all fours like her Cart Titan counterpart. It’s a character beat that’s equal parts endearing and tragic. 

“From One Hand to Another” looks at how the lines are blurred when it comes to the Marleyan people’s beliefs over their rulers and enemies, but the lines between human and Titan are also blurred for characters like Pieck as they progressively lose track of what makes them human. Pieck and Porco are important characters, but they haven’t been able to receive the same level of attention that Gabi or Falco have. 

“From One Hand to Another” doesn’t change this and Pieck and Porco’s scene is more of a glorified cameo that fits with the episode’s greater theme. However, if Attack on Titan still turned out OVA specials like they did in their earlier seasons then they’d be perfect subjects for a deeper dive. If nothing else, Attack on Titan consistently leaves the audience wanting more with not just Pieck and Porco, but even Falco and Gabi to a certain degree. This season’s approach to characters is so thoughtful and delicate

This episode flexes some of Attack on Titan’s more restrained muscles and it does feel like the calm before the storm in many respects. “From One Hand to Another” almost teases its audience with how much it talks about the future and the changes that lie ahead while characters immerse themselves in frivolous festivals. This episode cultivates a false sense of ease, only to pull the rug out from not just Reiner, but the entire audience, with its bombshell ending that greatly accelerates the plot. Viewers have been wondering when these two disparate halves of Attack on Titan will cross paths and it turns out that this reunion is already underway.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The question is just whether Marley’s next statue is going to be of Eren or Reiner. 

The post Attack on Titan Season 4 Episode 4 Review: From One Hand to Another appeared first on Den of Geek.

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