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artistic-izzy-multifandom · 7 months ago

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Izzy's Heavily Improvised Essay on Bambi 2

(to folks who follow me for other stuff, I apologize right ahead of time, just doing my "multifandom" name justice XD)

Okay y’all, bear with me, this was written in the heat of the moment and therefore I might go around in tangents. I’ve been dying to write this essay thingy for months actually, but I kept chickening out when I went to try and just do it. And it was also inspired by Wreckham’s own Bambi post that I saw a while ago, so uh... Yeah.

(also this mainly features my opinions, don't take them as facts >_<)

So, starting things off with this:

It shall be no secret that I’m an avid fan of the Bambi movies (more the second than the first, but we’ll get to that in a bit).

It’s no surprise that visually speaking, Bambi is a spectacle from beginning to end, on top of having a beautiful soundtrack and a fascinating way of being the closest thing to an animated documentary with its environments.

However, it comes with the price of... Well, lacking a concrete plot. And by that I mean outside of just showcasing Bambi’s life from birth to adulthood. Not to say there’s no value in that, but I reckon it’s not the kind of movie lots of people nowadays would just want to watch multiple times in a row.

(plus considering how much of the novel’s plot they cut out when adapting it to the screens… That’s a can of worms for another day)

Yes, even I, the avid fan, will admit this flaw in the storytelling. And it’s a big reason why I maintain my statement on loving the second movie more than the first.

And oh where do I begin?

Namely how its plot is basically about the time that happened between Bambi’s Mother’s death and the scene with all those cheery singing birds — in other words, the period in which Bambi was raised by his father, the Great Prince of the Forest.

While animation’s changed significantly (given that, y’know, 64 years apart) and also different voice actors were hired for the characters (again, 64 years), I will come here and say that visually the movie did the original justice, and did it in spades!

Plot-wise? On one hand, there’s more dialogue and the humor is a bit more targeted for younger audiences, which in fairness will put off some who are more inclined towards the original.

On the other hand, the movie is also not afraid to explore some darker subjects, some indirectly (like the whole aspect of grief both for Bambi and his father and their respective ways of dealing with it), and some directly (such as the entire Deer Call scene).

And the fact that unlike the first movie, the characters here are more fleshed out, the main highlight of that is none other than the Great Prince himself; in the first movie he... Didn’t have nearly enough screentime or lines to justify his status as protector of the Forest, at best he was a minor character given too much importance, and at worst he was a living prop.

In the second? He’s the second main focus of the story, with a whole character development arc on how to be a father to Bambi despite his belief in tradition (aka the whole “the does care for the young” thing). In fact, I think I should dedicate this part of the essay on his character, shall we? Because years of rewatching the movie made me think a lot of things regarding him (which I don’t see many or even anyone talk enough about):

If we’re gonna think about it, we never really get to know the Great Prince too deeply prior to his mate’s death. Everything we do know about him personality-wise came afterwards, at a time when he had to look after Bambi while also looking after the Forest as a whole.

It’s incredibly easy to label him as a jerk and a deadbeat father when one fails to consider a few things:

1- His mate died, and given the timeframe, the Prince was unable to reach both her and Bambi in time before Man shot her; made worse when you remember that in the first movie he was able to save them both from Man. Literally, at the beginning of the second movie, one of the first expressions we see from him is sadness. Wouldn’t you think he was feeling not just grief, but guilt too?

2- He was left to raise his son alone, at one of the harshest points of wintertime, and only asked Friend Owl to find a doe because the owl offered some help in the first place; recalling the tradition thing, the Prince had no experience with children whatsoever, can you blame him for being baffled at the idea of him raising his son at first?

3- He’s the protector of a whole forest. That’s like, hundreds and hundreds of lives he’s dedicated to keep safe from Man at all times every single day, hundreds and hundreds of animals depending on him to not get shot. Even if he’s experienced at what he does, that’s still a huge pressure onto a single individual, and the fact that he can’t always save everyone every time Man is in the woods.

And a bonus: forget his status as the Great Prince of the Forest for a moment, and what do you have? A stag who lost his mate (whom he genuinely loved) and is left to raise their son entirely on his own.

If I were to guess, I’d say the Great Prince was far more serene prior to the tragedy; still a recluse, what with being the protector of the woods and then some, but less stern in general.

Everything we see of him before the completion of his character development, is him trying to make do with something that was out of his control and dealing with its consequences. (there’s a reason why ‘Parents as People’ is a trope, y’know)

Hell, it was all but stated that even before he became more open towards Bambi and embraced his role as a parent, he already cared about his son in his own way. I’m under the belief that he’s always been capable of raising him, all he needed was some time (and a bit of a nudge from Bambi himself at points).

Plus he was already regretting the whole “new mother to Bambi” plan and intending on calling it off by the time Friend Owl brought Mena, he only went through with it anyway because he thought he screwed things up with Bambi for good - btw I do not blame Bambi for being mad, poor guy’s spent most of the movie trying to impress his dad and taking every lesson to heart, only to find out about the arrangement at the worst time possible.

On another tangent, I feel like one aspect that’s often overlooked is how both Bambi and his father reacted to going through with the arrangement:

By the time Bambi was going to leave with Mena, he wasn’t even mad anymore, just downtrodden and upset that he wouldn’t get to see his friends as often, but otherwise resigned and accepting that it’s what he should be doing. Putting up a brave facade all the while, much like the Great Prince himself.

Same for the latter, he was trying to keep his regal facade up as well and insisting that “a Prince does sacrifices” - he was mostly talking about himself, having to give his son up so he’s raised by someone better than the Prince.

And let’s get one fact clear before heading to a main point in this essay: although Bambi did get mad at his father (down to even wishing his mother was there instead of him), he was far more upset at being separated from him and not getting to see him as often, and it’s made obvious he regretted yelling those words at his father.

Otherwise, Bambi wouldn’t have rushed back to nuzzle him goodbye, wouldn’t have thought of retaliating against Ronno when the latter taunted him about being “given away” due to his father “being ashamed of him”. And he certainly wouldn’t have run to another cliff to meet his dad after defeating the last of Man’s dogs.

In fact I more than believe that they would’ve reconciled on the spot as soon as they saw each other again, which was what likely gonna happen after Bambi saved Mena and got rid of all the dogs.

But then the cliff scene happened.

(aka one of my favorite scenes in the whole movie, and yes I will defend it right now)

Now, I can see why a good bunch of people hate that scene (namely the whole Disney Death thing), but allow me to say that it’s in the movie for a reason, and it’s not to trick the audience into thinking Bambi did die from the fall.

It’s to showcase the Great Prince’s character arc coming to fruition.

Remember when I said that the Prince did love Bambi in his own way despite not knowing anything about raising children? This is the scene where he finally realized just how much he did care all along, shedding away his “prince does/does not” mentality for good. Realizing that Bambi needed him as a father

There's so much that goes unsaid in the scene.

How the Prince’s voice nearly breaks when urging Bambi to get up, him saying “A Prince does not...” but never finishing it. What was he going to say? We don’t know, and that’s the point. Maybe even he didn’t know, maybe it was said out of reflex.

How he gets down and looks at his (seemingly) dead son before nuzzling him, keeping him as close as he could, and crying.

This all makes it more meaningful when Bambi does wake up and calls him Dad for the first time, showcasing how far their bond has gone and developed.

I believe, among other things, that the scene (and perhaps counting the dog chase as well) was also meant to be a mirror/parallel to the dream sequence from earlier in the movie. But that’s perhaps an essay for another day!

So, in conclusion… I swear I’m 100% normal about this movie, I totally did not spend days on end trying to make this improv essay as cohesive as possible-

[essay ends here, roll credits]

#Artistic Izzy Rambles #Izzy's Heavily Improvised Essay on Bambi 2 #Bambi #Bambi 2 #bambi disney

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bobbyinthegarden · 2 years ago

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My Review of The Secret Garden (2020)

Spoilers for The Secret Garden (both the book, and this film), and Jane Eyre by Charlotte Brontë.

I said that I wanted to do some in-depth reviews of the various different adaptations of The Secret Garden (the film versions and other retellings), and I thought it might be fun to work my way (roughly) back in time, beginning with the most recent adaptations, and working my way back in time. I do plan on also reading some of the sequels/retellings/graphic novels that exists as well, but I’m going to start with the film adaptations.

So… I re-watched The Secret Garden (2020) and I have some thoughts.

Before I get into all of my opinions, I’d like to highlight this clip of Mark Kermode talking about the film, I think he hits the nail on the head and is very fair about the film, I agree with him, here’s a link.

There were some things that I liked, which really stood out to me about the film, it is gorgeous, the aesthetics, set design and costumes are all really great, both for the interiors and the exteriors. The film looks beautiful, cinematography and editing were also good, the camera movements feel very dynamic and the editing around many of the more fantastical elements in the film was also clever. Likewise with the performances; nobody here is going to win any acting awards for this film specifically, but none of the performances are bad. There’s an Aurora song in the closing credits. I’m an Aurora fan, so that was nice.

There are things to like here, and I’m sure if I were a child watching this film with no prior knowledge of The Secret Garden, that I would have enjoyed it well enough, though I don’t think that it would have stuck with me in the way that The Secret Garden has stuck with me since I was a child.

The films has made A LOT of changes to the source material. I said in my review of the 2015 adaptation of Heidi that I’m not of the opinion that absolute fidelity to the source materials is necessarily the best way to adapt a novel to the screen. There are plenty of adaptations that I like which deviate significantly from their source material, either in tone or plot, Bladerunner and The Shining are both good examples of this, and in my Heidi review I also mentioned Anne with an E, which alters the tone of the original Anne of Green Gables to great effect. So the fact that this adaptation of the story makes changes to the original is not a great sin in itself, I simply feel that a lot of the changes that they do make are underthought and, in some cases, confusing.

For example, the events of the book have been moved forward in time, taking place in 1947, rather than the Edwardian Era. This could be an interesting change, as 1947 was the year that India gained its independence from Great Britain, and so could be used to serve as a commentary on the colonialism that is present in the book. It doesn’t though. The updated setting adds nothing to the story. @marysfoxmask made a really interesting post about this which I’ll link here, and I entirely agree, and I don’t think I need to add anymore commentary on the topic.

@isfjmel-phleg also wrote an interesting post unpacking her thoughts about this adaption and I agree with many of her points too. Here’s a snippet from that post:

Making Mrs. Lennox and Mrs. Craven sisters/twins is straight out of the musical and 1993 film, and it’s overdone. Lilias was Mary’s father’s sister, which actually is more thematically appropriate (of course she’s unrelated to the woman who’s the book’s worst example of parenting), and I’d like to see a version where this is the case. What if it’s Mary’s father who’s distant from grief over losing a sibling? There’s room in the text for that interpretation; he’s said to be “always busy and ill.”

And I completely agree with that as well. Mary’s character arc shifting from a story about a neglected and emotionally stunted child finding spiritual and emotional growth through the cultivation of a garden, into the story of a child who needs to reconcile with her dead, neglectful mother, seems like an extremely odd interpretation to me. Both Mary and Colin’s parents get way too much focus here and are framed much more sympathetically (they even show up as ghosts), to the point where the relationship between the two sisters feels like a more significant presence than the relationship between Mary and Colin. As a consequence of giving the parents more emphasis, there are a number of characters from the book whose roles are reduced, particularly Ben, who is not present in the film at all, and Dickon, whose role in the story is greatly diminished, we don’t even meet him until 50 minutes into a film - and we meet Colin at 25 minutes in (which annoys me personally, since Dickon is my favourite character in the book). All of this leaves Dickon feeling like a mostly superfluous addition to the story, which is a shame because I know Amir Wilson can turn in a good performance when he needs to.

One thing that Mark Kermode talked about in the video that I linked above is the framing of the ‘magic’ in the story. Here’s a quote from that:

“When we find the magical garden itself (…) what you get more of is the sense that this is the garden of [Mary’s] imagination, the garden of her dreams, and there is a magical element, which is played the up […]. What you lose is the central theme that is in the novel which is that toiling in the garden, it’s working in the garden, that makes the garden have it’s restorative powers.”

Here the ‘magic’ is much more literal, treated more like a mystical forest or fantasy realm (like Narnia) rather than a place that the characters might care for. This, to me, is the fundamental most flaw of the film, as it just completely disregards the themes of its source material, opting instead for a story that is significantly more escapist and fantastical in tone, rather than the grounded story of the novel.

Okay, heading into very spoiler-y territory now, so if you don’t want to know what happens in the end of the film, stop reading now. I’m also going to spoil the ending of Jane Eyre, so be aware of that.

Final warning.

So, in this version of the story, the house burns down at the end. On a level, I do understand why this change was made, it gives the third act a greater sense of danger and ups the stakes quite a lot. I very firmly believe that Frances Hodgson Burnett was heavily influenced by the Brontë sisters when writing The Secret Garden, there are a number of similarities between both Wuthering Heights and Jane Eyre, and I plan on writing a whole post about that at some point. For now, we’re just going to focus on Jane Eyre. Jane, like Mary, is an orphan, who goes to live at Thornfield Hall, a vast house in the moors. During her stay, she frequently hears mysterious wailing and crying in the night. In The Secret Garden, this is revealed to be coming from Mary’s sick cousin Colin, while in Jane Eyre, it is revealed to be a woman named Bertha, who is the wife of the master of the house, Mr Rochester, and who is plagued by violent insanity. At the climax of Jane Eyre, Bertha sets fire to Thornfield Hall, burning the house to the ground. I am almost 100% certain, that Misselthwaite being set on fire in this adaptation, is a nod to the influence of Jane Eyre on the original book – in this case, it is Mr Craven who sets fire to his own house, in a fit of drunken confusion and grief. As an element of the story, I don’t hate it, but I don’t think it was set up very well either. It just kind of happens randomly. Fire isn’t established within the narrative at all, it’s not set up, and it’s not part of a motif either. It’s Chekov’s gun, but you never see the gun before it goes off. In Jane Eyre it works since fire is a frequent motif within the story, often used as a metaphor for Jane herself, as the narrative repeatedly associates her with images of fire, brightness, and warmth. It could have worked here, but it mostly just feels random and not very well thought out.

With all of these underthought changes, I think that the thing this film suffers most from is the fact that it is an adaptation of The Secret Garden. The film disregards many elements the plot, themes, setting and characters of the original book, but fails to truly divorce itself from the source material. I think that the resulting film would have been better if they had simply disregarded the book entirely and instead used the story as inspiration to create something new and original. But that’s just my opinion.

I’m sure that I’ll have more to say about this film in the future, but I’ll sign off with another quote from Mark Kermode’s review, which sums up a lot of my feelings quite well:

“It’s a strange mix. It’s perfectly fine. I don’t think it’s one of the classic, timeless adaptations, but it is a story that will always work if you treat it with a certain degree of respect […]. It’s not great, but it’s not bad, it’s a perfectly workable adaptation of something which I’ve seen adapted better.”

I couldn’t agree more.

#Bobby speaks #2020 movie #the secret garden #the bronte sisters #jane eyre #tsg

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bipirate · 1 year ago

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Alright, how does one consume the untamed? I see that it’s like… a bunch of different forms and adaptations with various degrees of representation.

hi! this is actually a good question and really it mostly depends on what you're looking to get out of the franchise!

as far as i know, these are all of the major versions currently:

the original novel: mo dao zu shi by mxtx (also known as mdzs, tl/aka: grandmaster of demonic cultivation)

the live action drama: the untamed (chinese title is chen qing ling, aka: cql)

the donghua (chinese animation): mo dao zu shi

the manhua (chinese comic): mo dao zu shi (the only version i haven't read/watched)

the audio drama: mo dao zu shi

the untamed and the donghua are both censored so the gay relationship between wei wuxian and lan wangji (the main characters) is not explicit. the romance between them is still quite obvious in both versions though, it's just more in subtext rather than on-screen declarations/physical affection.

my favourite adaptations are, in order: 1. the untamed, 2. the audio drama, 3. the donghua.

i personally dislike the original novel and i cannot in good faith recommend it because the way the main relationship is written is quite fetishized and homophobic. i've posted about my opinions about this quite a lot, so feel free to search my blog if you're interested in what this means. the tldr is that there's a lot of harmful stereotypes and consent issues, especially in the extra chapters. the female characters also have a smaller role than in cql.

these issues are unfortunately also present in the audio drama and in the manhua. but to be fair to the novel, some scenes and themes etc that were cut/changed/simply not well adapted are pretty good and they definitely do have merit and can give you a new perspective on the story and characters. you could also listen to the audio drama instead of reading the novel, since they are Very similar (the only reason i have it ranked so high is because the voice actors deliver an amazing performance and it's a beautiful production with good editing and music).

since you're asking me personally, i would say to start with the untamed. it's the perfect introduction to the franchise imo and you'll get the most out of it. you can watch it on youtube, netflix or viki. even though it's censored, there's absolutely no question that the relationship between wei wuxian and lan wangji is meant to be romantic, if that's what you're looking for! what you want to do after that is up to you, but i would say either pick the novel/audio drama or the donghua (youtube).

i hope this helped, but let me know if you have any other questions!

#ask #themagicoakleaf

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popculturebuffet · 2 years ago

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Into The Spider-Verse: Spider-Man, Miles Morales (Ultimate Fallout #4, Ultimate Comics: Spider-Man #1-5)

Hello all you happy wallcrawlers! It's time to once again swing into the Spider-Verse as we cover the various people who've worn the mask across the merry marvel multiverse, all building to a look at Into The Spider-Verse in time for it's sequel.

So naturally after looking at the humble origins of the first spidey as he battled with loneliness, fame, dead uncles and of course Crackers and Milk, it's only fair we look at the actual protaganist of the film, the ultimate spider-man, the one the only Miles Morales!

To properly get into Miles and his origins in the comics though we have to talk about the world he was created for: The Ultimate Universe. The Ultimate Universe was the idea of then editor Bill Jemas, who felt Marvel's massive continuity could be daunting to the new readers the company badly needed after the comics crash and marvel's subsquent bankruptcy.

So he tapped writer Brian Micheal Bendis. Starting with Spidey.. honestly makes perfect sense to me, as while a major part of the marvel universe, his corner is diverse and unique enough to carry itself and to see if this could work, something EIC Joe Quesada had doubts about, doubts he somehow didn't have later for the character when he decided "Huh you know I don't like his marriage because my ship didn't win, maybe I should just have satan break it up eh?", born of a previous attempt, not helped by Bendis famous love of using decompressed storytelling, i.e. spreading a story out over several issues instead of packing it into one or two barring big sagas.

Despite these doubts from Quesada and from Artist Mark Bagely.. the book was a MASSIVE hit. It likely helped Ultimate's stripped down back to basics peter was a RELIEF after the complex shenanignas of the clone saga nad after. It was just what people loved: a down on his luck kid dealing with usual life struggles while also having to fight crime on top of that. It had a bunch of nice updates too that would become a staple of adaptations from here on out: Harry Osborn being a close friend from the start, MJ being a high school friend of peters, and Aunt May being a cool old lady instead of on the precipice of death, something that would carry over. This success helped revitalize the main spider-man with JMS' fantastic run.. that granted petered out into Sins Past and One MOre Day, but both are stories for another day.

Ultimate Spider-Man was such a hit the universe naturally expanded.. and that became a problem. See Bendis' ultimate spider-man really nailed the idea of the ultimate universe, a clean slate allowing the writers to really play around with things, while not threatning the main universe. Death was permenant, the stakes were high and it allowed new fans a godo start. Sure it buitl up it's own complex story, but with graphic novels plentefiul, it was easy to keep up. I read a good chunk of it in my teens and loved it and it seems to mostly still hold up.

The problem is out of the three spinoffs only one really got what you could do with the concept, Ultimate Fantastic Four, which simply made the team all teens connected to a fancy think tank while keeping the tight knit "family of choice" dynamic and adventure, simply in a more grounded context.

The other two were by mark millar

I'm not a fan of his, and these books are a large reason why. Ultimate X-Men is a mixed bag, having good ideas, such as a teenage storm and nightcrawler ala evolution along with a gay colossus, and the more military costumes ala new x-men, and is a book i'd love to review sometime now i'm more deeply entreinched in x-men, especially since I read that as a teen too, on the wohle it's got a LOT of edgelord in it's dna, with Jean sleeping with a 40 something year old wolverine, Wolverine trying to murder cyclops to get to jean, and Magneto being simply a racist dickhead. It has great parts and Brian K Vaughn's run after Millar's is even better, but it's just a bit too edgy for it's own good.

Ultimates however…

Ultimates is fucking awful. The designs and art are top notch, Thor , Cap , Hawkeye and Nick Fury all got their MCU designs here, but the actual story is a bunch of edgelord bullshit. IT's clear Millar at least had SOME respect for the x-men, but he hated the avengers and it shows: Tony is constantly drunk, Thor is a new agey asshole, Hawkeye and Black Widow are black ops murderers, and grossly the scarlet witch and quicksilver are mostly defiend by being a couple.

He also pissed me off personally as a fan of the ant family by making Jan an airhead, and making Hank's abuse and inferiority complex his entire character instead of the worst moment of life and his greatest flaw respectively, and had him ATTEMPT TO MURDER JAN. As you can probably guess i'll also have to tackle this at some point, and I wouldn't be suprised if one of my patrons inflicted this on me at some point via comission. Oh and of course we have Captain America, whose a racist sexist jingoistc asshole because Millar REALLY hates the character and considered the idealistic depecition of him being a progressive "unrelaistic. " It's bad and we'll get to it.

This edgelord apporach to these books worked at first as early 2000's audeinces ate that shit up, but eventually it reached it's apex, ironically after Millar had left. He was replaced by Jeph LOeb, who I don't care for as much these days but HAS made good stories. His ultimate work.. seems to be truly awful, with the confusing mess that was ultimates 3 and the utter nightmare that was ultimatium.

Ultimatium was a crossover event.. that started the universes march to death. Granted it took a while for it to kick in, but this crossover wrecked it so throughly it never really recovered> It was an edgelord mess where magneto killed most of new york, blob ATE the wasp on panel, and dozens upon dozens of characters died, with the x-men and ff utterly decimated and scattered as a result.

It killed Charles Xavier and Magneto which COULD'VE been intresting.. but in practice it just lead to more mediocre stories, a status quo no one liked, and exttra super duper mutant prejudice that was somehow legally legislated.

So why hash all of this out. It's simple, while the Ultimate Universe was in it's slow years long death spiral that would cumilate in the universe being wiped out in secret wars, though it may be making a comeback with Ultimate Invasion, there was one part of it that caught massive attention, did great sales and was critically loved. Just as he was the one to jumpstart the universe, Spider-Man was likely what kept it alive as long as it did, only the costume, and the person inside it both changed.

Miles came from editor axel alonso floating around the idea of a black spider-man in the ultimate universe shortly after Barack Obama won presdiency, though they decided not to introduce him post ultimatium as planned to give them time to work out the story for this. Bendis was further inspired by Donald Glover showing up in spider-man pajamas during the first episode of season 2 of community, a nod to Glover trying out for Amazing Spider-Man and somehow not getting the part. Glover would continue to be an influence on the character, and got to voice him in Ultimate Spider-Man and play his uncle aaron in Spider-Man Homecoming. Artist Sarah Pichelli designed his now iconic costume, smartly giving him the awesome looking black and red look, with the two color sbecome a staple of any version of miles costume while also serving as a nice nod to spider-man's orignal colors.

So now we have the behind the scenes stuff out of the way how did a 13 year old, yes really, from Brooklyn become the Ultimate Spider-Man? What happened to the previous one? And will anyone actually accept miles in the role? All valid questions, so swing with me under the cut as here comes a spider-man.

So naturally for Miles to take over… Peter Parker had to go. In this universe he was still a teen as like most comics despite a decade and change worth of continuity at this point, time moved slowly. But his life was going pretty well: he finally got back with Mary Jane Watson after a long time hinting towards it, Gwen Stacey, his friend and live in roomate, long story, forgave him, and after ultimatium new york loved the hell out of him.

So naturally this being spider-man, this coudlnt' last and soon his precious little life.. came to a tragic and epic end. This Peter was the character who really made Bendis' career, for better and for worse, so if he was going to die, Bendis was going to have him go down epically.

Like in our universe Peter's worst foe was the Green Goblin, only here he was more of a monster man and less a creepy guy in a suit, but no less psychotic or obessive, having attempted to kill MJ, actually killed his own son and peter's best friend, and in general been the worst. So wanting to kill peter once and for all, on his sixteenth birthday he broke out of jail, took the sinister six with him, and went on a rampage, heading straight for peter's loved ones. Peter went to intercept but had to stop the punisher from shooting captain america as a war between Frank's avengers and Captain America's ultimates, which was a thing that happened but I don't care enough to find out why. I have limits.

So while nursing a bullet wound, peter stared down his foes, with aunt may assiting by fucking shooting electro, putting him in a coma and as a result casuing his powers to go hawywire and narrow the fight down to just peter and Gobby. Sadly while Peter won… an explosion and his wounds from botht he fight and the bullet meant he didn't survivie it, but he got to go down defeating his greatest foe, saving those he loved like he coudln't save ben and in the arms of the girl he loved most.

So as a result the ultimate world was left a world without spider-man, and the ultimates themselves shook, paticuarlly cap who, as is his nature, was a massive dick to peter right before peter took a bullet for him. But it wouldn't be too long…

Miles was first intorduced at the tailend of ultimate fallout, a mini dealing with the fall out of this and setting up the three comics for the ultimate comics relaunch: ultimates by jonathan fucking hickman, which would end up vitally important ot his future works, x-men by nick spender and later sexual harassment brian wood and this very comic.

Miles part of it is very brief but well done: post peters death he shows up in the costume, battles d-list villian in any univers kangaroo, and admits the costume probbaly is in poor taste while taking it off to reveal a fairly young kid. and that spider-man is black. Which naturally isn't the shocker it should be after years of the character being rightfully promoted to hell and back.. nor was it then as it got revealed in the press ahead of time and was a big deal and put a LOT of expectation on the book.T here was also of course stupid racist idiot backlash about WEH THEY MADE SPIDER-MAN BLACK and your standard "people dont' get there's multiple versoins of this caharacter' misreporting, but it's best to plug your ear. My faviorite part of this coverage is that when I was binging it a while back, the comic strip baldo naturally comented on there being a prominent latino spider-man (again but we'll forgive cantu and costelanos for not knowing 2099 existed)

Tia Carmen being judgemental aside, it showed just how big a deal it was and thankfully the book was high quality enough to match thehype. So now we finally come to ultimate comics spider-man itself.

We open issue 1 with Norman Osborn citing the myth of arachne a while ago, back when he was a respectiable industrialist. This is how ULtimate Spider-Man #1 started though it almost feels like Bendis parodying himself as this time the guy listneing to osborn is bored and then thrown off when Norman threatens to kil lhim if he tells anyone this is how spider-man got his powers. Classic norman.

Anyways they do manage to make a new spider using peter's blood, as in this universe the oz serum was used on the spider, and then on norman himself instead of radioactivity and such. One of the spiders gets loose though with no one noticin

We cut to.. some time later as the Prowler, a masked thief in purple, breaks into Ozcorp.

Yeah it took a bit of googling to answer all of this, as I was confused both by Ozcorp still being around even after it's CEO publicly turned into a monster man and killed a bunch of his own employees, and by the spider somehow being ALIVE.

The former..was shockingly easy. It's nightmarishly hard, nay impossible to peg most comic universes into hard and fast years, with character ages being "whatever we need" and holidays being thrown around, not to mention countless time skips for story reasons to start off a run (Both Spider-Man and Fantastic Four just did this for their latest volumes). At this point i've just given up and say "it takes place because shut up" Granted I still peg peter parker as over 30 as anyone should, same with the original x-men and co, but that's not really the takeaway. So while a lot of stories have happened probably not a lot of time has passed.

Adding to that spiders live up to two years average according to a quick google and can live up to 20 in captivity… and of course this is a genetically altereted super spider, so in hindsgith I have to ask myself why that was one of my questoins to begin with.

Finally as for Ozcorp it's SOMEHOW still running. I mean a ceo's bad behavior not tankin ga company isn't unheard of: Papa Johns fired their racist as hell ceo and are doing just fine, and Tesla somehow manages to function despite it's ceo being Elon Musk. Really the questions I have say mroe about me than they do abotu the actual writing of htis comic.

Point is Prowler steals some neat stuff and accidently takes the spider with him. As for who he is.. well under the mask we'll naturally meet. As for overal the Prowler is new to this universe but is an old foe turned friend of spidey's in the main universe. Inventor Hobie Brown created a super villian persona in order to commit a crime, then return the money as himself to get funding. He fought spider-man about once, but the two became friends and Hobie wore the costume on and off. Prowler is also specail to mne as I had a guide to spider-man as a kid and the costume, backstory and intresting status as a former villian when most of spidey's foes really .. dont' stay reformed for long, comic books and all, have made him a faviorite of mine, and I ended up loving this version even more.

We then cut to our hero, Miles Morales, a kid about to enter middle school… and having to rely on pure chance to get into a good one. Miles is going with his parents, Jefferson and Rio to a charter school raffle something I still can't honestly belivie is a thing. A charter school is a fancy, private style school outside of the regular school system, that will have raffle for those in poorer areas and thus a child's future can literally be determined by a plastic ball. America everybody!

I love the choice by bendis to do this: Peter got to go to a pretty nice school simply by luck and where his grandma was, if a public one. For Miles to have a better chance.. he has to simply rely on luck and HOPE he gets it, and even fi he does.. it's at the expense of other kids who didn't quite make it.

You'll also have likely noticed the "Enter middle school part", especially if your more familiar with into the spider-verse, where he's 17 (even older than his 616 self), or most adaptations where he's a year or two older , usually to match peter. Yeah Bendis decided to further crank things up by making Miles way younger, forcing a child into this. I'm entirely used to this as most cartoons use 13 as the default age for their heroes, but it , like the ultimate universe did at it's best, uses htis realistically: this is a child thrown into this. Peter was only slightly older.. and the comic pulled zero punches showing how much this fucked with him. And now we'r ethrowing a younger chlid into an ultimate universe.. that's frankly only gotten worse; at this same time the goverments being torn down, more on that if I ever do any of the followup arcs, mutants are hunted and thrown into camps that are somehow legal, and new york just got flooded b y magneto 6 months ago. And i'ts only going to get somehow WORSE from there. A child is going to have to face all this.. and starts having to just wait for pure luck to get school.

While fate isn't on Miles side in inevetibly throwing him up against super villians, a collapsing us goverment and the end of the fucking world, TWICE, it is in getting into the Brooklyn Visions Academy. What I like is that artist Sarah Pichelli takes time to focus on two kids who DIDN'T get in and miles face after. It's simple but i'ts the clear guilt of a child who simply feels bad his getting a nice school means other kids didn't. HIs parents try to ease his guilt, but he ends up instead going later that day to visit his uncle Aaron. Uncle aaron.. both has solid advice.. and looks like this

Yup for whatever reason they decided to base Aaron on Snoop Dogg, and I for one loved his duet with kirby so i'm entirely for this

So i'm fully on board with this. Naturally Aaron is the prowler, and while he swipes whatever he stole from a curious miles, the spider bites his nephew, causing him to pass out. Naturally Aaron calls his brother.. who then accuses him of drugging his own nephew, yells at him, and is generally a dick, especially since while he told him to "stay away from my family".. MIles came here of his own free will and is ONLY here because Jefferson didn't tell Miles WHY he dosen't like his brother anymore. This naturally causes the small child to flee…., and to find out something new about himself.

Next issue Miles discovers he can also jump good and zap people, doing so when some idiots try to rob him.. but we also get a sense of WHY unlike both Peters, who were naturally excited to have dope new powers, Miles.. is fucking terrified. He thinks he's a mutant, and while we know he isn't, I was NOT joking about the camps thing. Since Magneto destroyed new yorks mutants are turbo hated and feared and if you've watched or read ANYTHING x-men related, you know the regular hated and feared is bad enough.

Miles goes to one of the best parts of this book and his best friend Ganke, a loveable chubby lego loving lad. It's a funny sequence at first as miles tries to do the invsiblity thing but instead looks like he's about to take a dump (Ganke's words) and then displays his other power by destroying.. something Ganke had been hard at work on with Ganke begging him not to try it again on something that took him three weeks.

Ganke thinks the powers are dope.. and is the rational one here, realizing that mutant powers wouldn't manifest overnight, and that he got bit by a spider with the bite suddenly disappering. They don't have time to figure things out as Jefferson tries to prove to his son he's a calm reatoinsal indivdual.. by barking at him to come with him and then asking him this

While Jefferson.. has good reasons… what I like about this is while he is sympathetic, something bad could've happened to miles.. and nearly DID had he not found out he has spider powers.. Jefferson is also an asshole, often far too stern and gruff at this point for his own good. It takes him a minute to get why maybe accusing his brother of hurting him, yelling at his son, then yelling at his son AGAIN and yanking him out of somehwere he feels safe might be rattling, and as we'll learn right after this.. Jefferson is a racist towards mutants, blaming them for things. What makes it work though is that he's complicated… his reason for being so hard on aaron.. is that both of them used to be criminals, which gives nice weight ot what Aaron said earlier: NEITHER of them want Miles to end up like them and to have a better life, not having to steal and do worse just to get by. The diffrence is Aaron stayed in the game while Rio convinced Jefferson to turn his life around. Granted his whole understandable speech about "You shoudl feel you can open up to me" gets ruined by his bigoted statments towards the all new all ultimate x-men a second later I hinted at, but it still shows Jefferson is'nt just an asshole or in the case of pre-character development 616 aunt may, an obstacle just so Miles can't easily reveal his identity. Instead Miles has good reason as his dad hates superheroes and may not have a heart attack but as we've seen can be quick to rash decisions. He'd come around eventually but to a 13 year old kid already scared at what he's becoming, this may not be something he wants to risk dealing with.

At any rate the next night Ganke texts miles with a bunch of message board bits that can basically be summed up as "Your a spider-man, spider-man, genetically altered spider-man" and a bit of celing crawling confirms this to Miles horror. Onto issue 3 as Miles naturally goes to Ganke again and I like the continuing contrast, likely mirroring the two types of reader this would hit: Ganke sees the escapism element and the awesome: MIles has fucking spider-man powers and now can be a spider-man. This is so cool! Miles… is the more realistic reaction, not wanting to throw himself in danger. Ganke also easily figures out that the spider was an experiment: miles mentioned numbers, normal spiders dont' have that, case closed. While Ganke is clearly operating off of a 13 year old nerd's perspective, he's not exactly wrong. He's also got a howard the duck shirt, which adds nothing to anything, I just think it's neat.

Ganke also convinces miles to go visit Aaron. Miles is reluctant given well.. everything that just happened yesterday, but Ganke has a point: he's the only one who'd know what the hell is going on and might be able to help them, sketchy or not. Naturally though after brothegeddon, Aaron has bugged out, pun not intended, as he had other buisness to attend to...

youtube

So Miles is on his own in figuring this out and finding a way to try his powers out

Cue plot convience as a fire has broken out and Miles charges in there to help… and once again we get a nicely realistic reaction: While Ganke is , like us an observer and sees what miles did as cool.. Miles is still a 13 year old that just charged into a burning buildling so while he did good and saved some people… he also is scared out of his mind, seeing the current spider-man as having action as his reward and loving it , not getting that peter was also scared out of his mind, but hey , that's part of why you wear the mask. He cries and decides not to do it and Ganke reluctantly agrees. It shows not EVERYONE would be super hyped to do this and not everyone has to: at the time there is STILL a spider-man. Ther'es no reason for miles to use these. .yet.

Our heroes get moved in, as naturally Ganke is Miles roomate along with Judge. He's mostly around to make hiding Miles identity difficult. He's alright. He likes legos. At any rate we get a nice montage of Miles having nice classes and being encouraged to read… before a not so nice nightmare of electro killing him…. and this turns out ot be prophetic as news of peter being shot has hit.. and his death is in progress.

Taking a moment between issues , i'd like to take a moment ot discuss how much I love the pacing here. While decompressed storytelling can be bad, there have been event comics that coudl've easily been a few issues shorter and didn't need tie in one shots and shit, this comic shows why when Bendis or others using it are at their best, it works well. We're three issues in and HAVNE'T seen miles really be spider-man yet. We saw it in ultimate fallout, but that was a jump foward and maybe a few pages, pages many readres probaly don't see. Yet everything here is important: it defines who miles his, who his family is, lets us meet hima nd get to know him as a shy, inquisitive, smart young man whose DEEPLY terrified of what he's been thrown into. Some comics would try to jam in flash fowards as him as a hero to get more action in.. but Bendis gets that's not really wha'ts important. It's awesome and the superhero stuff matters, it's why the comics called ultimate comics spider-man and not ultimate comics: miles morales, but who this character is, why he's doing this and why he does things matter> He's a kind, empathetic boy unsure of his place in the world. It's the key to a good superhero comic: you have to care about the hero or heroes at the core as a person, or it just dosen't work. And this.. this works.

So next issue, Miles has Ganke cover for him to go see what's going on and arrives just as Peter smashes norman's head in and collapses, being happy he could save those he loved as htey all sob. Miles saw peter's death and it was likely planned by Bendis he'd been there the whole time, but it's a nicely done retcon, if you can even call it that, as MIles is angeld off camera and the only thing we see from him is asking Gwen who he was.

And the next day… Miles blames himself. In a nice twist of fate… Peter is his uncle ben and his reasons for not having acted are way more undrestandable.. but it's understandable why Miles feels this way: he could've done something, he coudl've helped. Ganke does help again though.. this time not with wide eyed fanboying but again showing that while Miles is emotonally and empathetic and thus blames this on himself, Ganke his logical and thus uses the logic to help miles; He could've helped.. or he could've died too. He did get these powers for a reason.. but it wasn't to pitch in not knowing his powers and to die… but that with Peter gone… Miles can take up the mantle. It dosen't come off as wide eyed as before either but just one friend helping another realize both what he can do with his powers.. and that this death isn't his fault. Peter died a hero.. and while Miles could easily share the same fate he can also do what was right.

Miles isn't convinced though and they go to peter's funeral the next day. We do get a nice moment with Gwen Stacey. In this continuity Gwen was a close friend of peters, being his best friend besides MJ. They dated very breifly in the previous volume.. but it was clear Peter was still hunt up on MJ and only lasted to just before his death, and was never really something fans liked. Still she was close to him, a major supporting character.. and will continue to be here eventually. Not during this arc, she and Aunt Man, her legal guardian and surrgoate mom hence why the romance thing also felt kind of eugh, are going off to france for a bit to mourna nd do some work for tony stark (his mentorship of peter, while breifer and less involved, was taken from this universe), Miles does have a question: Why did he do it? and her answer.. is one of my faviorite moments int he book:

It sums up Spider-Man perfectly: He does it because something that wasn't his fault he still felt responsible for, it's the right thing to do and the mask is both because he wants to protect those close to him.. and because it looks fucking cool. As are you gwen, as are you.

That night Ganke brings Miles something from home: his halloween costume from last year.. the bombastic bag man@!

No of course it's spidey and this leads into the scene we saw earlier, miles first outing where he does beat the kangaroo if barely.. but everyone thinks him doing this is in bad taste. Aftewords Miles is understandably freaked given being told your disrepsecting the dead man your TRYING to honor isn't a great start, and the boys discover they can't lock the room as it isn't policy and the dorm guy's a real dick about it. Like.. did you tell them this at orentation? and if so WHY did you put locks on the rooms? I mean I get it if a shooter comes in or something but why not have electronic locks then. Also why would Miles being seen be an issue just say he was doing some cosplay, most people arne't going to connect the dots. What i'm saying is this scene, while necessary to set up the unique challenges miles has, is very dumb.

MIles decides to try again the next night though, and we get a nice bit of internal monologuin as he enjoys this… right before a bad case of boot to the head

It's obviously spider-sense. This isn't Funky Winkerbean.. but whose boot it is… isn't good for Miles

Okay so while the comic itself dosen't explain it, i'll explain who Spider-Woman is. In the Main Timeline it's.. a lot to unpack: She's a private eye whose dad experimented on her. It's a very long story ill get into more another time, possibly next year when we do this all again for Beyond the Spider-Verse with the spider-men and women from Across. I love her and her solo series which is on my very giant to do list.

This Jessica Drew has the same name.. but is actually a clone of peter complete with memories but as a woman, woh works closely with shield and has joined the ultimates. I don't know much about her, just that she saw peter like a brother for understandable reasons.. and that she's naturlaly very pissed at the small child wearing his costume without realizing it's a small child. So we've come to our final issue for today, and the confrontation.. goes how you'd expect. Jessica demands to know who Miles is… Miles not knowing there was a spider-woman or WHY she's taken this personally refuses, and it's a comedy of errors as she webs him up , he tries to go to the cops and she takes him to the Triskeleion, headquarters of the Ultimates and finds himself in a cell.. and in front of the ultimates, or at least Nick Fury, Jessica, Iron Man and Hawkeye. Cap is missing and that's a good thing. We'll deal with him, much like gwen, if we pick this up again another day.

For now Nick questoins what he actually DID, while Tony finds out he's enhanced to everyon'es shocked.. and Clint rightly points out Jessica could've asked him instead of laying in screaming. While it's understandable why she opened the coversation with boot to the head… it also meant MIles tried to you know run and get the police instead of actually talk to her. Nick Fury shoes everyone out. Nick is a bit more of a bastard here, and given 616 Nick Fury (the older one not the one resembling this nick whose that nick's son because comics everybody) tried to buy out Tony Stark's company to force him to make weapons again and once lead a bunch of heroes on an unsanctioned black ops mission he didn't tell them was unsanoctioned, that's a low bar to clear but manipulating other universers and basically telling Peter "When your 18 your ass belongs to me" before easing up into "Okay we'll just train you and stuff), he clears it.

He's more sympathetic here, clearly having grown a bit and thus is gentle with miles. While he's frustrated with miels just kind of nervously spouting off whatever, the humor in this book is really good and makes me question why Bendis is so awful at it not long after this, he's gentle asking if his parents want to let him know, letting him know he knows aaron was the one who gave him the spider.. and it turns out while Jefferson coudl've handled things better… yeah Aaron is an fbi wanted criminal not just a small time one so.. good call on keeping his son away. Or trying to anyway. Nick understands though: With great power comes great repsonsiblity. He also gets i'ts you know a child.

But naturally things can't go easy as Electro is under sedation..a nd the nurse gave him 10cc's instead ofa 100 meaning he's awake and pissed and starts rampaging through the triskelion, easily taking out iron man and hawkeye since… well Tony's suit runs on energy and Tony gets super cocky when facing electro instead of you know.. .readying a countermeasure, while Hawkeye.. didn't think to go get any arrows or equipment. EARTH'S MIGHTEST HEROES PEOPLE.

Jessica does slightly better but still gets jobbed out and Nick Fury, no matter the universe.. is still nick fucking fury and tries shooting him. It dosne't exactly work.. but ti's clear he's more trying to distract the guy and get his people clear than actually win. Unfortunately their in the chill of the night at the scene of a crime.. and while he may not be in a streak of light.. he's certainly arrived just in time

While obviously Miles isn't really on the skill level to beat electro normally, the combination of Electro thinking h'es peter and having a breakdown over it and a Venom Blast, the electricty thing hinted at earlier, powered punch get him weak enough for Nick Fury to play count the bullets with him. Electro is down and the next day Nick Fury says they'll talk.. and MIles finds out what that means that very conversatoin as jessica shows up with a new costume for him.

It's a nice parting and with that Miles now has his iconic costume, his one shot… and as Ganke puts it as his friend swings off having finally achieved his destiny

As you could probably guess I fucking love this arc and this run on the character in general. But this story well sets up who miles is, what the stakes are him for, stealthy sets up the big bad and miles first real threat for the next arc, and is an expertly crafted story about honroing legacy. While Into the Spider-Verse's story is mostly it's own, a LOT of the dna of who miles is was there at the start. As i've hinted at I do not like Brian Micheal Bendis, his writing took a hit and it was while writing several properties I loved with no regard for how to actually do that and he's only recently thankfully stepped away from the big two. But while he was there I can't deny he created two of the best spider-man runs of all time, one total if you count both spidey tenures together, and one of the best additions to spider-man period. Part of spidey's popularity is anyone could be behind the mask.. but this story made it a glorious reality, creating a spider-man just as compelling as one with a long storied history and tons of adaptations in 5 issues.

Will I return to Miles Story? Will you guys someday see what's up with his uncle, the country disolve, venom cost miles greatly, the rise of a new group of ultimates and so much more? Probably. When I can't say, that's up to either you guys to comission or me to fit into my schedule once this arc is done. But after reading this I was reminded how great this run was and how it deserved to be shared with webslingers all across the spider-verse

Next Time, we tackle our tritagaonist of this film series, as we look into the punkstastic origin of Spider-Woman, aka Spider-Gwen! Oddly not spider-punk, totally diffrent person we'll get to in that sequel I mentioned. Thanks for reading true beliviers.

#into the spider verse #miles morales #spider-man #marvel comics #brian michael bendis #ultimate comics

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signalwatch · 2 years ago

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Tarzan Watch: Greystoke - the Legend of Tarzan, Lord of the Apes (1984)

this is the most pretentious possible Tarzan poster

Watched: 04/10/2023

Format: HBOmax

Viewing: First

Director: Hugh Hudson

I can only imagine what the pitch meeting was for this movie, and I can totally see how it happened.

In 1981, Hugh Hudson had directed Chariots of Fire, a movie that was a smash hit about pasty British guys running foot races and worrying about religion. Like, you couldn't escape the movie, which I watched on TV once when I was sick as a kid and immediately erased from my memory. But it was a big @#$%ing deal when adults went to the cinema.

I'm sure it's great. But it was an unlikely hit, and won Best Picture. Career made for somebody.

So when the director of the footrace movie comes to you and says "we're gonna do Tarzan. But now it's a prestige costume drama about how Tarzan is, in fact, a very sad ape man. He is not a super-human living among men, continually pursued by hot women and fighting weird alien threats and large animals. Instead, he's a kind of skinny French guy who does stuff you've seen apes do at the zoo. But, you know, it's quite sad" I guess you trust and give that guy a sack of cash to give it a go.

A bunch of other people had seen this movie, and had more or less ape-blocked me from seeing it over the years as every time I said "I've not seen this, but I'd like to" I'd be told "No. It is not good." And I was like "okay, fair enough." But tonight that didn't work, and I settled in for 2 hours and 15 minutes of sad Tarzan.

Look, at the end of the day, someone needed to realize a grown man imitating an ape is not what Tarzan is, exactly. Or that this would be a good thing to see on screen when it did happen. I don't know if they thought they were getting the magic on camera by having Christopher Lambert oop every time he felt an emotion, or basically having him play an ape who occasionally mutters short sentences. Frankly, this Tarzan seems positively ready for an institution, and so it makes for an utterly unbuyable love story between John Greystoke and Jane Porter, but it's the sexy 80's, so you know they're gonna bang. And, indeed, they do.

I've read the first Tarzan book, seen a few other Tarzan movies and read (and re-read) a Marvel comics adaptation of the first part of the first novel a fair bit, and you kind of realize the quick pitch version of the Greystokes winding up in Africa and their time there before things go sideways is more crucial than this movie thought. Add in that this movie really, really struggles with whether Tarzan is a feral person or has the astonishing intellect of the Tarzan of the novel in order to hew closer to a very 1980's story about man and nature, man's nature and nurture, and lacking basic reasoning skills in early 20th Century Scotland.

I can maybe get with a "but what if Tarzan really happened?" angle, but you're in a constant state of "yes, but..." regression that more or less flatlines at baby John Clayton dead in the jungle two days after his discovery by Kala. So you have to maybe accept even more, but more nuanced, absurdities than even the original novel doles out in order to buy the film. The casting of Lambert is odd, in part because he's not exactly Johnny Weismuller, and it's difficult to believe this guy survived in the jungle against apes and leopards. But it's the fact that when Tarzan is home, he's both utterly alien to himself and the world around him, but no one seems to notice? As he's all but flinging poo, people are just jabbering away at him.

What's oddest is that because Lambert is fairly successful at becoming an ape(mentally), it feels as if there's no inner world to Tarzan in some ways. We have no idea if he understands anything said to him, or the complexity of his predicament. He self soothes by ooping and rolling around. It's incredibly weird that the movie doesn't seem to think this is a problem. Or maybe it's an unsolvable problem? There's just a peculiar distance between the characters and the viewer, all of them - not just Clayton, that it's a bit odd.

All of that is, in it's way... kind of passable. But the movie is also morbidly predictable. Maybe it's the era, or maybe it's that they treat Tarzan more like a cub in Born Free than a human character, but you know this shit ends with Tarzan seeing his kindly grandfather/ benefactor croaking and the demands of the world becoming too much so he wanders back into the jungle to sweeping orchestral music before our ape man ever leaves the jungle. You know Jane will stand there impassiveley while Tarzan chooses a swift death in the jungle over endless food, luxury and sex with an actual human. You know the noble Belgian will try to get him back to the jungle when, frankly, he's probably gonna get killed after living soft for a year.

I am sure this felt mind-blowingly clever as they were making it, but the end result is a sad man making monkey noises for 90 minutes, and then running away. And that's maybe not what people were thinking of when they showed up to see a Tarzan flick with a budget.

Jamie mentioned the movie felt weirdly disjointed, and upon review... yeah. It kinda was. The movie can feel like it's borrowing from movies you already know, but doesn't do much with those storylines, so it's like these barely realized vignettes. Like - the entire storyline of Jane having a suitor goes nowhere and doesn't really do what it's intended to do - ie: show Jane how Tarzan is more noble than the nobleman. She doesn't see him beat the young helper guy. She doesn't see Tarzan save the day. She just dumps the guy for reasons that are vague (I mean, except wanting to live in a sweet mansion). That's just an example. The movie kind of does a lot of this.

It's a shame, because there's maybe a path for a Tarzan movie that tries to ground itself a bit more. But the 1980's was probably the last decade to tell a story about Tarzan without culture's need to navigate and acknowledge Europe's fuckery in colonial Africa. I think now you'd need to set the story post WWII or something and be careful. ERB's original prose isn't quite as racist as you'd expect, but it's certainly a product of its time (ie: it's still racist, just not as nut punchingly straightforwardly racist as other things you'll stumble over).

I kinda liked the 2016 Tarzan, because (a) the casting was rock solid (b) 3rd reel animal rampage and (c) making Lord Greystoke here anti-Colonial and giving a convincing argument for his desire to return home. It's got issues, and I wanted more monkey-business, but it was all right. That said - it was still mostly a reminder: oh my god. This is really hard now.

Anyway, I'm glad I finally watched it. It made excellent use of Andie McDowall's frankly stunning hair. Rick Baker's ape suits were everything I'd read about. The set and locations look phenomenal. There were genuine moments of hope for me that this might be better than expected.

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from The Signal Watch https://ift.tt/2mAZjzG

#tarzan #movies #film review #film

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agentnico · 1 year ago

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A Haunting in Venice (2023) Review

Still cannot get over this movie's first teaser trailer that was released which made it seem like some Conjuring spin-off and then right at the very end we see Poirot and his moustache appear. People who knew nothing about Kenneth Branagh's Poirot movies would have been so confused as to who that man was.

Plot: In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a séance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.

I do enjoy a solid murder mystery movie, yet with Kenneth Branagh's take on the famous Agatha Christie sleuth, up until now I feel his adaptations have been playing it too safe and in the process losing the excitement of the source material. It doesn't help that both Murder on the Orient Express and Death on the Nile are based on the two most famous Poirot tales, as such the reveals in both weren't all that mysterious seeing as many people already knew what happens due to the books. However with this third outing, it seems Branagh may finally be finding his groove, as for starters this mystery is based on a lesser-known murder from the detective's adventures (a short book titled Hallowe'en Party), and more so the movie is not in fact a fully faithful adaptation of that story.

Both Christie's novel and A Haunting in Venice introduce us to a spooky Halloween-set mystery with multiple deaths and plot twists, as the famed detective tries to uncover the truth after being lured into the case by mystery writer Ariadne Olivier (played in the movie by Tina Fey). Yet there are not many similarities between the two stories. For one unlike the original novel which is set in the English countryside, the movie swaps that setting for the sinister Venezian palazzo. To be fair, Branagh evidently seems to be a fan of the 1973 occult-themed thriller Don't Look Now, as he tries to mimic that movie's style in portraying Venice as a place that has a sense of mystery and mystique in the air, with the ever-growing feel of dread and despair. That leads to the next point - the supernatural. Unlike the previous outings in these Poirot films, this one attempts to add something new to the murder mystery genre by adding a flair of horror into the mix. Set mostly at night, with creepy voices heard in the background and eerie imagery throughout, Branagh and cinematographer Haris Zambarloukus fill each scene with unsettling darkness, and there's even a shed of jump scares throughout. Also rain. Lots of rain, rain and rain. Visually this movie looks really good, and in fact, it is nice to see less use of CGI here compared to Death on the Nile where the green screen was basically the main star of the movie. The horror stuff didn't always work and I do believe the jump scares were a tad excessive and unnecessary, especially as the lighting and look of the movie already provided that needed sense of harrowing terror, but I do appreciate Branagh attempting to actually make something more original with his Poirot films.

Speaking of Branagh's Poirot, you can tell he absolutely adores playing this character, and to be fair he does a splendid job as always, with his lovely Belgian accent and adorable persona, so as always it was delightful seeing him chew up the scenery. The rest of the cast does well too. It's not as A-list as the previous films, but I think that was to the movie's benefit, for instead of focusing on the actors you actually can enjoy more connecting with the characters themselves. Tina Fey is out of her comfort zone by playing a more serious role compared to her known comedic performances. Michelle Yeoh is fantastic as the mystic psychic, and leaves an impression, especially during the séance scene where she completely loses herself in her 'possessed' madness'. Jude Hill, who's mainly known as the kid from Belfast, was great as the son of the doctor, as even though he's just a kid, he's very mature for his age and shows that he knows more than you'd expect, and Hill is great in delivering this and was one of the standouts.

The mystery itself is unfortunately pretty predictable. The journey to the reveal is solid, however, most of the resolutions are very easy to work out and I do wish there was a bigger plot twist than what we got, but overall I believe A Haunting in Venice is the best Poirot outing in Kenneth Branagh's trilogy, as it manages to finally find its own voice and take a risk of trying something different. It visually looks great (have I mentioned there is lots of rain??) Branagh's Poirot is adorable, but the narrative itself is a bit thin still. If there are more of these Poirot adventures made, I feel like Branagh should give directing duties to someone else, but still stay as the actor for Poirot, as from all three films the one thing that's always been a positive was his performance as the Belgian sleuth. But yes, this is a step in the right direction for this murder mystery franchise.

Overall score: 6/10

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minimafioso · 16 days ago

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I dont want to spoil but I love your detail about IRL Dazai's connection in the tag, Inked!

To the original person asking, I'm adding pages from the official LN translation and a couple pages from the (unofficial) 15 manga translation.

Inked pretty much explained it all but my brain thought "Hey I could include light novel images to help explain!"

Anyway so an hour+ later and several wikipedia links and a rabbit hole into mythological creatu-

Fair Warning, I was about to head to bed but I spent my time typing this instead...

We're going into spoiler territory which includes a bit of Stormbringer and quite a few images;

The first image is Paul Verlaine stealing Rimbaud's notes in the epilogue of "15" with the name "Arahabaki" printed on it

Randou isn't sure about the connection and admits that he used the name to build his scheme and lure whatever it was that attacked him years ago. When he's defeated more details are revealed.

Stormbringer LN came out a couple years later so we didn't have an idea of what Paul looked like. The 15 Manga Adaption gave us a flashback though! Randou, now known as Arthur Rimbaud, and his partner Paul Verlaine were spies tasked with an incredibly dangerous mission to steal a gov't weapon in another country (we could have had a European Soukoku...)

Here we can see the tense moment during their mission, conflicted on what to do with "That". A weapon? A child? Jus' lil baby Chuuya, I'm not miserable, shut up

I'm including this page because it made me emotional and I miss Rimbaud :(

"Arahabaki" was the original project name before the lab was destroyed. "Project Arahabaki? Wow, sounds bad ass. Sure we'll give you a bunch of money to make some crazy weapon, doesn't sound at all like a terrible idea."

It's probably harder to get gov't funding if your project name is "We're subjecting a child to inhumane experiments to play God with singularities."

---

Extras:

Both Verlaine and Chuuya are associated with rather aggressive sounding terminology with "Corruption" & "Brutalization"

In Storm Bringer we find out Verlaine's connection to 'Guivre', a mythical creature of legend in France. A wyvern! (Wikipedia link) So basically they both have associated terminology using Legendary Beings, Arahabaki and Guivre

---

Thank you for subscribing to "FACTS ABOUT DOOMED EUROPEAN LOVERS". In real life, Rimbaud and Verlaine had a... let's say complicated relationship... (Wikipedia link)

I'm going to bed

but i want to ask , in the ''Fandom wiki'' says is arahabiki is a go/d so what's the truth i dont know anything - ''i know he's not but the fandom wiki says so i want to know''

overall the fandom wiki is full of shit, dont trust it on anything. i can say more on that if anyone wants but i am. sleepy. so im keeping it brief

basically, no. its not a god, its not even sentient its just the name of Chuuya's singularity.

in 15 they refer to it as a god but at the time, none of the characters knew much about it save for Chuuya. and even he only knew that arahabaki was somehow part of him, nothing else.

#Me; foolish - I will add a couple pages to explain #Me; older wiser and sleep deprived - So anyway wanna hear about these disaster gays and how they could have adopted Chuuya and had a family #*Not me sobbing*#BSD #Long Post #Image Heavy #Spoilers #French #I am very normal about Rimlaine #A BABY. CHUUYA WAS JUST A BABY.#Once again BSD makes me miserable

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kdj-225 · 2 years ago

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um um short royalty isekai joongdok???? kdj transmigrating into a world where he is the emperor and yjh is his trustworthy knight 🤭🤭🤭 (its ok if you cant write this or if it's not exact, i love your writing so much!!!!!!)

[!!! I'm so glad you enjoy my written works, thank you so much!! I had fun writing this prompt, I hope you like it as well!! 💕💖💕💜]

note: this is first person POV, from KDJ's perspective!

cw for: passing jokes on death / dying

----

※DO NOT REPOST / HOST MY WORK ON OTHER APPS OR SITES

A year has already passed since my transmigration into this web novel.

A year of struggling not to fall into anxiety at my current reality as the emperor of a fictional kingdom, a year of fooling my own people that I was perfectly hale and healthy and not going insane at my own transmigration, and a year of me having to figure out just what I could do so I wouldn't accidentally set myself up with a death flag with the smallest of actions.

One damn year, and the heroine could finally take my dangerous knight commander away so I didn't have to keep being under his watchful eye, and they could have their happy ending.

For all that I'd read what felt like a million webnovels in my original life, and for all that I loved certain tropes enough to read them over and over in different stories, I could still remember the plot for this novel I'd been thrown into.

It was typical, for a romance fantasy fiction.

The heroine was a saintess born into the life of a commoner, with a heart of gold intent on serving the people. Her male lead was the cold and unfaltering Knight Commander, the youngest person to have ever received such a title in the empire, and her childhood friend. Both people skilled on opposing sides—one in saving lives, with the other in taking them—yet with loyalty similarly sworn to the kingdom.

And between them was the emperor, who sought to have the saintess to himself. For power? For love? For sheer greed?

I had no idea. I wasn't able to finish the webnovel, considering how it had been ongoing the last time I read it.

"Your Majesty. Stop shaking your leg."

I stopped shaking my leg, realizing a little too late that I'd been doing it at all. "I admire your gall to tell your emperor what to do," I said, frowning when I gave Joonghyuk a look. "Can't you guard me from the outside?"

"You have a window behind you."

"If I die, I die."

Joonghyuk scowled at me. Somehow, he could still look handsome while making such an ugly expression. "Your Majesty. I don't appreciate such jokes."

Oh, but were they really jokes? Maybe I could go back to my original world if I die. It wasn't like I was brave enough to test it out myself, so if someone else could do me a favor...

I smiled. Well, there was no point to thinking such things when my Knight Commander was so scarily efficient with his work.

"My apologies. I'll try to be more tasteful with my jokes next time."

"Please don't joke at all."

"Ah, but where's the fun in that," I sighed, finishing signing off on a document about opening an investigation for a potentially corrupt baron. "You are boring enough as is, Joonghyuk-ah. I can't let you get any more boring when you're with me."

He raised a brow. "Is that why you've set up a ball for me."

It wasn't even a question. This guy really was a weirdo, regardless of his status as the male lead.

"You're my favorite knight," I teased, putting my pen down so I could rest my cheek into my upright palm. "Isn't it only fair to celebrate you and your achievements?"

"You wish to marry me off."

"I wish to see you happy."

I received a mysterious look in response. If this series were a webtoon, then perhaps I'd have a better chance at deciphering his expressions, but it had yet to be adapted into comic form when I read it.

Ah, really. This guy was the one who made things so much more difficult for me than they needed to be. At least Lee Seolhwa was easier to deal with, given her prioritization of healing as a practice.

"How about Your Majesty?"

I cocked my head to one side in question. "What about me?"

"If marriage equates to happiness, I don't understand why you haven't chosen your own spouse yet."

I wanted to tell him that I had no right to such happiness in a world that isn't mine. That I didn't deserve to create a family here, when there was still a chance of me going back. That I wasn't meant for marriage at all.

But I couldn't.

So I said, "Your happiness is enough for me, Joonghyuk-ah."

"Is that so."

"Yes."

He gave me a long look. Again, it was difficult for me to decipher.

"Then you will not question my choice later," he said.

I blinked at him, then smiled widely. Of course, it was like that. Yoo Joonghyuk has known Lee Seolhwa for long enough even before my transmigration that he must have built up such feelings for her even without my meddling. He must be wary that his emperor would feel envious of his choice, right?

But I wasn't that emperor from the original novel. I wouldn't interfere with their happiness.

"I won't, Joonghyuk-ah."

He nodded.

Was it just me, or was he smiling a little?

"Good to know, Your Majesty."

---

I should have taken his words for the warning that they were. I should have realized that something was wrong from the start.

If I had prepared myself better, I would've known what to say now that my Knight Commander was kneeling in front of me.

I couldn't even swear.

"Joonghyuk-ah, what is the meaning of this..?"

My voice was shaky, for all my efforts to remain calm.

Joonghyuk didn't mind it, as he did just take my trembling hand. I had just announced what the ball's purpose was with him at my side, I had told everyone of his achievements—

Then he'd abruptly kneeled upon one knee in front of me, and told me that he wanted me.

This couldn't have been in the novel at all. The ball itself might not have been prepared by the emperor in the original novel, but surely, such a change couldn't have led to something this insane?

"I told you," he said, taking my hand closer to press a kiss upon my gloved knuckles. He didn't seem to mind the increase in volume from everyone else's gossiping and murmuring. "You are the person I want as my spouse. Did you not say?"

His eyes, dark and deep as they were, glinted brightly under the chandelier lights.

"You won't question my choice, Your Majesty."

Fuck.

#omniscient reader's viewpoint #orv #fanfic #my writing #request #kim dokja pov #joongdok #kim dokja

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shihalyfie · 3 years ago

Text

Kizuna itself vs. the two versions of the novel

Written on request from a friend who wanted to remain anonymous. This is more of an editorial than a meta, and while I usually have a policy of “this is an analysis blog, not a review blog” it goes into more of my personal impressions and opinions than usual, but it’s something I write hoping to be helpful.

There are basically three “official” full versions of Kizuna: one being, of course, the movie itself, one being the Dash X Bunko version of the novel, and one being the Shueisha Mirai Bunko version of it. While it’s certainly not to say that any of the three is an “incomplete” version of the narrative, if you really want as full of a picture of the story as possible, somehow, each of all three versions of the story happens to have really important information that the other two do not. If I had to pick only one of these three versions to recommend to people, I would of course pick the movie itself; it’s obviously the base story everything else is based off of and was the one the production centered around as a priority, but the novelizations have a surprising amount of info that provide a lot of insight into the movie’s story and themes.

I get the impression that the creation of Kizuna involved making a lot more story and background details than could fit in a 95-minute movie, so these novelizations, which were based directly off the original movie script, ended up being an outlet for a lot of these details (and as much as I could be harsh on the movie itself for being a bit “reliant” on extra material, I have to admit that Adventure and 02 were both like this too -- a lot of our current understanding of the series comes from the Adventure novels and drama CDs -- so frankly I’m thankful we at least got this with a 95-minute movie instead of a yearlong series). On the flip side, while I'm not going to say that the novels are completely and utterly inaccurate representations of the movie, in a perhaps too-close approximation of Adventure and 02's writing style, this is a movie where even the nuances in a single line or split-second moment carry heavy implications, which become much blurrier or harder to identify when they’re presented differently (or not even presented at all) in the novel’s context, especially when they emphasize very different things from what the movie itself was emphasizing.

The short version of this is that I believe the Dash X version contains the greater amount of “plot and story” information but significantly misses out on the emotional themes and presentation, whereas the Shueisha Mirai version abridges and cuts chunks of content but is much better at conveying the intended message. More on this below the cut. (Note that the following post spoils Kizuna’s plot events.)

The movie itself

Since the following parts are more “in comparison to the movie”, I’m not going to go too much into this in this section, but one thing I will say is that the official English subtitle translation for the movie is really not great. Even if you take out nitpickiness about the fact it misses several significant nuances (the difference between “unchangeable fate” and “changeable destiny”, or the fact that Gennai refers to partnership dissolution as a “case” and not like it’s something that happens overall) at really plot-important moments, some lines (thankfully, usually not plot-important ones) are just straight-up incorrect. And worse, there’s evidence the official English dub was based on that translation! (I’m not faulting the people in charge of the dub for this, but whoever handed them that translation to work with.)

The dialogue in the Dash X Bunko version is transcribed effectively word-for-word from the dialogue in the movie (or perhaps vice versa, given that the novel is based on the original script), so I highly recommend checking that version as a reference for dialogue or if you want to do any intimate analysis on it. I don't want to go as far as to suggest not supporting the official version of the movie because of this, but at least please be aware that the translation used there is not entirely reliable.

Dash X Bunko

If you talk about “the Kizuna novel”, this is the one that people usually tend to be referring to, for two reasons. Firstly, it was translated shortly after the movie’s release, and due to the unfortunate circumstances of Kizuna being delayed in accessibility outside Japan for several months, this basically served as the only comprehensive source of info about the movie outside Japan for a very long time. Secondly, in Japan, this one was marketed as “the one for adults” in contrast to the Shueisha Mirai one being “for kids”, which meant that a lot of people assumed that the latter one was just an incredibly stripped down version that was otherwise disposable or replaceable. (This is very, very much not the case, and is extremely ironic when it comes to a movie that partially centers around the dangers of looking down too much on things associated with childhood.)

When it comes to “plot and story info”, this is the one that probably serves as the best reference (especially for fanfic writers or those who need a refresher on certain plot events or to look up something quickly), and probably has the most “comprehensive” listing of plot events surrounding the movie. The dialogue in it is a word-for-word recreation of the movie’s script, and actually includes more scenes than the movie itself does, including two that I suspect to be deleted scenes (a detailing of the specifics behind the initial plan to pursue Eosmon, and a conversation between Koushirou and Tentomon) and adaptations of the first and second memorial shorts within their context in the movie. It also contains some interesting background details and extra context for some things in the movie that you might think would normally be animation flair or something, but take a very interesting implication of story importance if they’re going out of their way to write this in the script. (There’s a scene where Agumon and Gabumon appear in front of their partners when they’d been behind them a minute before, and it’s easy to think this might be an animation error, but not only does the surrounding context make this unlikely, the novel itself actually directly states that their positions had changed.) Given that, I think it was very fortunate that this novel was available to us for those outside Japan waiting for the actual movie to come out, because this level of detail was very important to have on hand rather than fragmented spoilers on social media.

However, the part where I think the novel is significantly deficient in compared to the actual movie (and also to the other version of the novel) is that it describes the plot events in too blunt of a manner and doesn’t bring out its themes very well. (It’s kind of like having a long and very detailed Wikipedia article plot summary; it definitely got all the hard facts down, but the emotion is gone, which is still a pretty significant issue when media’s all about the feelings and message in the end.) While “considering the movie to be more cynical than it’s probably meant to be” happens regardless of which version someone’s working from, I’ve talked to perhaps an unnervingly high number of people who started with the novel and were absolutely convinced that the movie’s message was about adulthood sucking and needing to just accept it, until they saw how the actual movie pulled it off and the surrounding atmosphere and realized it definitely was not. (I think one really big factor here is that a lot of the visual imagery makes it extremely, extremely hard to miss that Menoa’s mentality is completely screwed up and her way of seeing things was dubious to begin with; prose descriptions really just don’t capture the way they slam this in your face with visual and musical cues during the climax of the movie.)

You can figure this out from the novel itself, but you have to really be looking closely at the way they word things, and on top of that it’s hard to figure out which parts you should be focusing on and which parts aren’t actually that important -- in other words, the “choice of priorities” gets a bit lost in there. Even the little things lose a lot of value; it’s theoretically possible to use the novel to put together that Daisuke is wearing his sunglasses indoors during his first scene, but you have to put together the context clues from completely different paragraphs to figure this out, none of which compares to the actual hilarity of visually seeing him wearing the thing in a very obviously dimly lit restaurant because he’s our beloved idiot. (For more details, please see my post with more elaboration on this and more examples of this kind of thing.)

I wouldn’t say that the movie itself isn’t guilty of (perhaps accidentally) having some degree of mixed messaging, but I would say this problem is rather exacerbated by the novel’s way of presenting it due to its dedication to dropping every single plot detail and event without much in the way of choosing what to contextualize and what to put emphasis on (as it turns out, treating practically everything in the movie as if it has equal weight might not be a great idea). So, again, for that reason I think the novel serves as a good reference in terms of remembering what happened in it and knowing the movie’s contents, but I also feel that it’s really not the greatest deliverer of the movie’s message or themes at all.

Shueisha Mirai Bunko

The second version of the novel was not translated until several months after the movie first released, and shortly before the Blu-ray and streaming versions of the movie itself came out anyway, so my impression is that on this end a lot of people don’t even know it was a thing. On top of that, even those who know about it often dismiss it as the “kid version” -- and to be fair, it did baffle quite a few people as to why this version even exists (Kizuna is technically not unacceptable for kid viewing and its plot is still understandable regardless of age, but since the movie is so heavily about the millennial existential crisis, it’s not something kids would really relate to). So a lot of people tended to just skip over it...which is really a shame, because it contains some interesting things that actually aren’t in the other two versions at all. For instance, did you know that, as of this writing, this is the only thing that plainly states the specific explanation for why Yamato decided to become an astronaut, for the first time in 20 real-life years?

While there are still some things that weren’t in the movie proper (mainly the Eosmon initial plan and the adaptation of the second memorial short), for the most part, the actual events are somewhat abridged compared to the movie and the Dash X version, and other than a few stray lines, there’s not a lot of extra information that would be as helpful for referencing the events of the plot. The version of the novel here is rather broadly interpretive of the scenes in the movie, so several things are condensed or taken out (and, amusingly, because it’s assuming that the kids reading this don’t actually know the original Adventure or 02, it has to describe what each character is like in a quick one-liner).

However, interestingly enough, it’s because it’s so heavily interpretive that it illuminates a lot of things that weren’t really easy to glean out of the Dash X version. For instance:

Some scenes are described with “other perspectives” that give you info on someone else’s point of view. (For instance, we see more of Yamato’s perspective and thoughts when he has his first phone call with Daisuke, or a bit more detail in the process of how Eosmon kidnappings work.)

We get a lot more information on what’s going through everyone’s heads during each scene, and what emotions they’re feeling at a given time. (This is something that you could at least get to some degree in the movie itself from facial expressions and framing, but would often be a lot blurrier in the Dash X version; here, it’s spelled out in words.)

When things are abridged, you get a clearer idea of what the intended point and theme of the scene was because it’s stripped down to include only that part. In one really interesting case, the scene with Agumon finding Taichi’s AVs has a “censored” equivalent where Taichi’s pushed to a corner because he can’t find anything non-alcoholic in his fridge -- so when you look at the two versions of the scene and what they have in common, you can figure out that the point isn’t that it was a lewd joke for the sake of it, but rather that Taichi’s forcing himself into boxes of “adulthood” that are actually meaningless and impractical.

Some of the descriptions of the characters, scenes, and background information make it a lot more obvious as to their purpose in the narrative (it outright confirms that Miyako being in Spain means that her personality is getting overly enabled there).

The scene where the circumstances behind Morphomon’s disappearance are revealed makes it significantly less subtle what the point is. In the actual movie, a lot of this involved visual framing with Menoa seeming to become more and more distant, but in this version of the novel they basically whack you over the head with the final confirmation that Menoa is guilty of neglecting her own partner, which contradicts her own assertions that “they were always together” (maybe not emotionally, it seems!) and helps clarify the commonality between her, Taichi, Yamato, and Sora in what exactly led to their partners disappearing.

Bonus: this version of the novel really wants you to know that the ending of the movie is about Taichi and Yamato fully having the determination to turn things around and lead up to the 02 epilogue. (The movie’s version of this involves the extended version of Taichi’s thesis and the credits photo with Yamato obviously next to a rocket, while this novel’s version involves more detailed fleshing out of how Taichi and Yamato decided to use their experiences to move onto their eventual career paths and what kind of hope they still have at the end. The Dash X version...didn’t really have a very strong equivalent here.)

In other words, while this version of the novel isn’t the greatest reference for plot or worldbuilding, it does a much more effective job being straightforward about the intended themes and message of the movie, and even if the scenes in it are much more loosely adapted, it’s much better at adapting the emotional nuances of the things that would normally be conveyed via visuals, expressions, and voice acting. (Although I would still say that the movie itself is the best reference for that kind of thing, of course.) If you just want lore or plot ideas, I don’t think it’ll help you very much, but since this series is so much about characters that had their ways of thinking fleshed out in such incredible detail, and about strong theme messaging, this is all still very valuable information in its own way.

#digimon #digimon adventure last evolution kizuna #kizuna spoilers #shihameta

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i-want-my-iwtv · 3 years ago

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I hope the rumours of Louis being a brothel owner aren't true, but if they are I can sort of see why they're going for this route? I mean, with a black Louis they can't have him being a slaver anymore, so maybe they're trying to find something that is also morally reprehensible for him to be.

TL;DR: My kneejerk reaction was to be saddened, and I don’t like that this is starting up, and will continue to fuel, fandom drama. Ultimately, if we want peace, we’ll embrace the fact that the existence of this adaptation doesn’t take away from the existence of the books, and it also doesn't mean we have to acknowledge it.

It makes me wonder whether AMC wants us to make a storm about this. We’ll see...

After all, what makes this adaptation any more important than the graphic novels of the ’90s, the graphic novel Claudia’s Story, movie!IWTV, or movie!QOTD? In fact, many fans here on tumblr consider VC to be a trilogy only!!! and don’t accept the majority of the PUBLISHED CANON so what makes anyone think we have any obligation to swallow this AMC adaptation as some kind of gospel?

I see movie!QOTD as a buffet of ideas carried in an official fanfiction work, and I don’t accept as my headcanon the various things it changed about the books that I didn’t particularly like, such as merging Magnus and Marius (which, IMO, effectively made both characters more morally reprehensible). I accepted the things I did enjoy, like casting a Black/POC actress to play Akasha. I see this AMC adaptation as a buffet of ideas, some can be taken, and some not, it’s just another official fanfiction work.

[Anon, I need to catch other ppl up on the information, too.]

Deadline.com informs us that in the AMC adaptation for Interview with the Vampire, Jacob Anderson has been cast as Louis. I'm not familiar with him, but it looks like he’s a successful actor, from Game of Thrones and other things, he’s also joining Series 13 of Doctor Who. I’ll have to check him out from an acting standpoint!

Aside from his talent as an actor, this is by far the most controversial thing that's happened in VC fandom recently. I've been thinking about this for a few months now, talking about it privately online and offline, still gathering my thoughts. So this post is not engraved in stone, it’s initial thoughts on this.

I’m glad to see ppl talking about it and I’m sure we’ll have more public discussions. I’m trying to discuss it very carefully, but also, this is an entertainment blog, my opinions are mine alone, and I’m not looking for dogpiling on anyone, I have no obligation to respond publicly or privately to anything. Plenty of other ppl have differing opinions on this. So take all of the following with more than a grain of salt, I’m not being salty, I’m providing the links to the little info we’ve seen pulicly, I’m giving my initial thoughts, and I’m also trying to add a little levity because ultimately, again, this is an entertainment blog, and I try to add a little humor to help with such serious topics, humor can help ppl talk about controversial things.

-----

The casting of a POC/Black actor (I’m sorry I don't know the preferred terminology, let me know if you know what Anderson prefers) confirms at least one part of theilluminerdi articles that stated that Louis’ race will be different from the books. I didn’t post about these before bc I wasn’t sure how reliable theilluminerdi’s sources are (and I'm still not sure), but this was one major aspect that theilluminerdi announced before Deadline did, so now seems to be the right time to share those articles. For now, you can go check them out yourselves rather than have my reposting of the information, trigger warning: mentions of sex workers and race in the changes to the canon story of Interview with the Vampire.

>>>theilluminerdi articles from May 21, 2021 and July 15, 2021:

www.theilluminerdi.com/2021/05/21/interview-with-the-vampire-amc

www.theilluminerdi.com/2021/07/15/interview-with-the-vampire-amc-2

^Meme of Dr. Ian Malcom from Jurassic Park reads: “Your writers were so preoccupied with whether they could that they didn’t stop to think if they should.”

I’m using that meme with a little levity here, clearly an AMC adaptation of vampires in which the producers/writers have chosen to change the race of a main character (arguably the original protagonist of the series) isn’t in the same VICINITY as the dinosaurs in Jurassic Park that broke out of containment and killed visitors to the park, but John Hammond’s intention for the creation of that park was very good, as I assume this race change was intended. Time will tell.

“But with this place, I wanted to show them something that wasn't an illusion. Something that was real, something that they could see and touch. An aim not devoid of merit.”

“Creation is an act of sheer will.”

- John Hammond, Jurassic Park

Race is a more complicated subject than ever, so for AMC to make this bold change, I hope they have POC and Black writers on staff and are handling this very carefully. Even then, no racial group, including POC and Black people, are a hivemind, disagreements are bound to happen in the writing room, whether in good faith or bad. People have different intentions and motives, compromises will probably be made with the story in many ways, we all know how it goes with collaborations; the end product is a shared vision among multiple creators. This could be a potentially controversial adaptation, I don’t know whether they’re aiming for that or not, but with the elements it has so far, it seems to be headed that way.

Here's a comment by "Angellus" on the 5/21 article. It's undeniable that there's going to be the accusation of racism thrown at anyone who has any negative view of this change, regardless of their reasons. I find it unfair and narrow-minded that any negative response is automatically assumed to be coming from a racist point of view. To say that changing Louis' race is unequivocally an improvement fails to take into account how that change has a Domino effect on all of the other parts of the story. Not the least of which is that, if he is still a slaver/slave holder/plantation owner/(insert your preferred term) that adds a whole new racist element to his owning Black/POC people, even though, apparently there were Black/POC plantation owners.

Not the least of which: How will this change impact his relationship with Lestat? Particularly when Lestat has the added issue of being described in those articles as having “mind control abilities” and “insistent that he gets what he wants and when facing rejection,” a terrible combination in terms of consent, even in a relationship of the same race, let alone invoking Caucasian/white dominance over Black/POC people, AND Lestat being the catalyst to Louis’ questioning his sexuality:

Lestat is insistent that he gets what he wants and when facing rejection, petulance can quickly turn to ruthless rage which causes frenzied acts of horrifically brutal violence. Lestat also has mind control abilities. Lestat initially infuriates Louis, but this soon turns to fascination which leads Louis to question his religion and sexuality.

^Screencap reads: "I love how racist everyone is in the damn comments, this doesn’t pervert the story you’re all racist and it’s disgusting. I’m looking forward to it, I hope you keep crying your salty racist tears asswipes."

It makes me question whether Angellus truly believes what they wrote, if this is an ideology, or a troll. I would suggest their use of the term “pervert” is correct though, pervert means: “alter (something) from its original course, meaning, or state to a distortion or corruption of what was first intended.” That’s what this race change does, factually. Although, in this context, “distortion or corruption” carries a negative connotation. It would take a lot to show how this change does not meet the definition or “to pervert,” though.

I hope the rumours of Louis being a brothel owner aren't true

I agree 1,000%, I was hoping that these were just rumors. But, aside from the race change, if this were the only change, I find Louis being a brothel owner to be equivalently morally reprehensible to being a slaver/slave holder/plantation owner/(insert your preferred term). Ideally, they’d change his career to something that doesn’t involve benefiting from the bodies/labor of others in any morally reprehensible manner.

I mean, with a black Louis they can't have him being a slaver anymore, so maybe they're trying to find something that is also morally reprehensible for him to be.

He might still be a slaver. Who knows. Being morally reprehensible as a mortal man didn’t seem to me to be crucial to the story, but they still could have chosen something better. It seems to me like they want a brothel so they can have eye candy for an audience who want to see sex workers, maybe full frontal nudity.

-----

What also gets my attention is that Anne and Christopher Rice have not yet posted publicly about it, which leads me to believe that this change wasn’t their choice. They take every chance to brag when they’re proud of something, every chance to crowdsource about casting ideas or which VC books Anne’s fans liked best, etc., and in this case, as of Aug. 31, 2021, (and to be fair, maybe I missed it), I haven’t seen either of them post about this on the official VC FB, Anne Rice’s FB, Annerice.com, Christopher Rice’s FB, or christopherricebooks.com. If it had been their choice, I think they would have gladly trumpeted their credit by now, but maybe they’re waiting to do it in a specific venue. Time will tell.

#vampire chronicles #interview with the vampire #louis de pointe du lac #race #racism #tw race #tw racism #tw sex worker #jurassic park #memeything #ian malcolm #anon #ask #anne rice #christopher rice #long post #iwantmyiwtv has opinions #Jacob Anderson #vc casting

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nikadoesanart · 4 years ago

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My predictions on BSD getting animated going forward

I’ll be taking a look at the novel page counts (Japanese and English) and comparing them to the screen time they’ve gotten so far and then using this to predict how long the remaining light novel adaptations will be (approximately). At the end will also be my rough prediction/hopes for the order of some of these being adapted. I say some because I have yet to read what there is so far of the gaiden novel translations, the main story manga has essentially still been on the DOA arc almost since where the anime left off, and I personally think that it’s currently too soon for Storm Bringer (aside from money purposes).

Note, most of this was written well before the anime 5th anniversary livestream but the announcements wound up not affecting it. I then of course made adjustments as needed account for the novel content we do have so far, both in Japanese and in English (officially).

Page to Episode Count

Not counting the afterward, ads, etc for the English/US copy, Japanese is including it

Also all eng page counts are using the Yen Press release and jp page counts are taken from the fandom wiki

*148 is purely counting the Untold Origins portion of the novel. If we also count the A Day at the Agency short story that’s included before it (56 pages), then we get the full 203

Also the English page count for BEAST was noted before the English release date but after page counts have been posted by affiliated retailers, so subtract a couple pages from the written count of 176 for the time being to account for the afterward and possible character sheets being included

Now that we have our page to episode counts (as of April 5th, 2021), let’s find the actual content run time of what we do have animated so far.

Seasons 1-3 and the OVA all have the same episode length/duration. Each episode is 23 minutes, and we can subtract 3 minutes on average from that to account for the OP and ED being played. This leaves us with an average of 20 minutes of BSD story content per episode. So on average, each of the first 3 seasons contain 240 minutes, or 4 hours, worth of story content.

Dead Apple’s total run time is 91 minutes, with the OP and ED making up 9 of those minutes. However, we do have a bit of the story content being played while the ED is playing (as sometimes happens in the anime as well). To keep the math simple, I’ll be approximating story content time at 82 minutes.

Apply these numbers to the novels that have been animated so far and this is (approximately) what we get:

Now let’s use these numbers to predict the screen time needed for the other novels

Note that we can’t really use Entrance Exam as a fair measure because of how much got cut out (just compare the run time of it to Dark Era and it speaks for itself). However, the numbers for Dark Era and Dead Apple are the best ones to use, as they both have minimal changes between anime and novel and both have official English translations currently available. Take out the approximate time taken up by OP/ED and and the numbers pretty much match up.

So with that being said, we can estimate Untold Origins (only) at approximately 3 eps/60 min and 55 Minutes at 1h 40-55min/100-115 min or 5-6 eps if it doesn’t get a movie. We can also estimate the A Day at the Detective Agency short story at the beginning of Untold Origins to take up about 1 ep, probably even a bit less.

1+ 3 + 5-6 = 9-10 episodes which isn’t enough for a full single cour season unless they all get put into one big OVA season, but also 10-11 eps (or less) seasons are a thing (ie. Fugou Keiji: Balance Unlimited, Blood Lad, Black Butler: Book of Circus, The Seven Deadly Sins: Signs of a Holy War, FLCL)

My personal predictions/hopes for the anime adaptation timeline going forward

This is considering the manga content, current “pausing/stopping points” what wouldn’t be too awkward, each of the novels relevancy/necessity to the main story manga, and assuming we continue with single cour (12-13 ep) seasons

Hopefully/ideally a 55 Minutes movie

S4: ch 54-70

Early S5 (preferably) or end of S4: Untold Origins or A Day at the Agency

S5: ch 71-88/around where we are now?

A Day at the Agency can, in my opinion at least, be chucked in at any point either as a single episode OVA or as the light novel content for s4 (maybe not even taking a full episode and then starting ch 54 in the last few minutes for example). Keep in mind that the current DOA arc is a long one and has plenty to it, so personally I think it may even be better to not include a novel adaptation in a future S4, as it would likely already be a right squeeze content wise. Remember, we also have a few XX.5 chapters that are continuations of the chapter directly before them.

I still need to read what’s currently available of the gaiden novel fan translations but it can probably be adapted at any point as well. I’m estimating approximately 5-6 eps as an OVA series. I don’t really think it would get a movie, partially because you can make it only so long, especially since it’s an anime movie and unlike Storm Bringer, it doesn’t have Chuuya to practically guarantee the profit.

BEAST also doesn’t directly impact the main story and can be adapted at virtually any point. However, seeing as we do have a live action confirmed for it and it’s page count lines up very closely with Dark Era, it can be either 4 eps or (more likely in my opinion) a movie, as it can be considered almost stand alone content.

Personally, I believe it is currently way too soon to animate Storm Bringer as it came out only a little over a month ago (as of writing this) and has minimal plot necessity as of ch 91, but I do believe it should be either split into 2 movies (a part 1 and part 2) or it would need 8 episodes, likely as an OVA season. If it were to get animated sooner than 55 Minutes or Untold Origins, which I believe to be very unlikely, I feel that it would almost certainly be driven by the financial gains of Chuuya being included, and his popularity alone. Reminder, SB is about Chuuya and not SKK. Dazai’s appearance in SB is proportionally a very small percentage and he’s not even mentioned in the official plot summary.

However, you can argue that SB is starting to have some relevance now, with the recent mention of the Order of the Clock Tower in ch 90 and the increased relevance of sealed ability weapons in ch 91. However, I really do believe that you can’t adapt Storm Bringer before 55 Minutes because of Standard Island and its treaty, it also talks about sealed ability weapons, knowing who Wells is, and 55 Minutes canonically takes place during the “downtime” portion of S3. In fact, here’s Asagiri’s words directly from the Afterward (translation by Yen Press):

“this volume didn’t take place in the past, but rather sometime after the tenth volume of the manga. In other words, it’s a tale about the ‘usual’ detective agency in novel format.” (55 minutes, p 237)

Untold Origins also should be adapted sooner rather than later (at least compared to SB in my opinion) because it’s about Ranpo and Fukuzawa’s shared past, which becomes increasingly relevant ch 70 onwards, as well as the need for the ADA being founded (which ties in with Yosano’s backstory in ch 65-66).

In regards to whether I think each of these would be better suited to a movie adaptation or as multiple regular length anime episodes, it’s mainly due to page count and partly due to the budget difference between the two, as well as how difficult I think it would be to animate each of these based on what needs to be drawn. The anime industry isn’t the fastest to switch to newer technology, hence why we see issues with 3D blending sometimes. I really do think that at the very least, 55 Minutes deserves the movie budget because of how detailed and complex the architecture of Standard Island is described as, as well all the mechanical parts needed for the final battle of the novel. Hate the lizard mouths introduced in Dead Apple all you want, but you can’t deny that the 3D cgi was blended very smoothly. For any of the other novels to be movies, it’s more so because gaiden and BEAST can be considered their own stand alone stories that don’t rely too heavily on the main story in terms of when they take place and get adapted. I feel that SB is more likely to get its own season or an OVA season more so due to its length, but multiple part anime movies have also been done before (ie. the Fate/Stay Night: Heaven’s Feel movies), so it’s not entirely impossible. Especially considering that merely having any Chuuya screen time means that you can expect the profit and popularity to really go up, especially with SKK being on screen together (regardless of whether you love or hate how the fandom tends to push a shipping POV on them).

These are all of course just my hopes and predictions and estimates based on information currently available, so take them with some salt. I’d love to hear opinions on how, when, and why each of the currently non animated novels should be adapted going forward. Also please stop begging the relevant BSD official Twitter pages for SB to be animated next and go read the other light novels you Chuuya simp

#bsd #bungou stray dogs #bsd analysis #bsd theories #bsd dead apple #bungo stray dogs #bsd manga #bsd storm bringer #bsd light novel #bsd anime #bsd 55 minutes #bsd beast #bsd gaiden #bsd untold origins

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swallow-wind · 3 years ago

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Being the absolute nerd that I am, I managed to include Al Stewart in the most recent essay I wrote for my English class. I thought I'd share it here! It's about songwriting as a medium for storytelling, specifically looking at Al's song "Sirens of Titan" and how it adapts the Kurt Vonnegut novel of the same name. Fair warning, it contains spoilers for the book! Nothing major (except maybe for the ending), but if you'd like to read the book with no idea what to expect, maybe don't read this.

Ok, without further ado, here is my ~2000 word, 5 A.M. infodump essay! Check it out below the cut!

Drawn by the Sirens of Titan: Songwriting as a Form of Storytelling

“We’re gonna do a song based on a book—this is a book by Kurt Vonnegut. The song has got the same title as the book, and they’re both called ‘The Sirens of Titan’”. - Al Stewart, 1977

Al Stewart is a singer-songwriter whose career spans from the mid 60s to the present day. While many other brilliant artists emerged during that time, what sets him apart from the rest is the unique subject matter of his songs. Most pop hits tend to be love-stricken laments or breakup ballads, but Stewart prefers to sing about World War II, Merlin the Magician (the 12th century monk, not to be confused with the Merlin from Camelot), and being trapped underwater in a sunken submarine for 500 years. Through his poetic lyrics and folk-rock sound (which has shifted more into its own category of music over the years), Stewart makes his listeners feel like they, too, are trekking across Moscow in 1941, or are riding on board the infamous Marie Celeste.

His song “Sirens of Titan” is no exception to his masterful storytelling—although the story he tells is not his. Stewart condenses Kurt Vonnegut’s famous 1959 novel of the same name into a brief 2 minutes and 49 seconds. It was one of the first songs of Stewart’s that I fell in love with. I was amazed by the melody, piano riff, and lilting vocals, but most of all, I was completely swept away by the lyrics. Phrases such as “a kiss on the wind” and “yellow and blue of my days” were unlike anything I’d heard before (Stewart 5, 23). It was this song that led me to pick up the original book and explore the wonderful world of Vonnegut.

While the story remains the same, the way in which it is told has a great impact on the way it is experienced. Where a novel has more room for description, a song can fit a guitar solo. Looking at Al Stewart’s version of “Sirens of Titan” is a great opportunity to explore how songwriting is used as a medium for storytelling.

The original novel takes place in the distant future, known as the “Nightmare Ages”, or “sometime between the Second World War and the Third Great Depression” (Vonnegut 2). It follows a man named Malachi Constant—the richest person on the planet—and his accidental connection to the fate of Earth and its people. He meets Winston Niles Rumfoord who, due to a conflict involving a chrono-synclastic infundibulum, can see the past, present, and future (which is, coincidentally, the title of an Al Stewart album). Rumfoord tells Constant that he and his future wife are destined to go on a series of journeys, and live out the rest of their days on Saturn’s moon, Titan: the home of the mysterious and stunningly beautiful sirens. Constant tries desperately to avoid his destiny, and in doing so, he fulfills it. He spends most of the book with his memories muddled by the armies of Mars, trying to figure out who he is and find his way back home. After getting pulled through Rumfoord’s interplanetary traps, he ends up at the center of a new Earth religion and utters this famous line: “I was a victim of a series of accidents, as are we all” (Vonnegut 233). In doing so, he cements his fate as the mystical Space Wanderer, and realizes that nothing he could do or say can change his destiny.

Turning the story into a song would mean that there are choices to be made that would not otherwise be considered (or would be, but to a lesser extent) in a novel. Songs are much shorter than novels, which means that some details must be omitted. Al Stewart highlights a couple key points in Constant’s journey, but focuses mainly on his thoughts and actions. Stewart does this by having the lyrics be in first person, as opposed to the third person of the original book. This allows him to limit the story entirely to Constant’s perspective, without including the other characters. In addition, songwriting allows the artist to experiment more with words and phrases without having to describe or explain their meaning. Instead, they can focus more on the feeling behind the words, which is also strengthened by the music. Stewart sets a tone of urgency right away in the introduction of the song. The first two notes—a rapid octave with guitar, bass, and keyboard playing in sync—lead into a sprinkling piano riff, contrasting with the low notes before it. This is followed by a drum roll, before the whole thing repeats a second time. Throughout the whole pattern is one quickly repeating piano chord, like a panicked heartbeat. Then, Stewart jumps in on vocals:

I was drawn by the sirens of Titan

Carried along by their call

Seeking for a way to enlighten

Searching for the sense of it all

The urgency presented by the music is only heightened in the lyrics and their use of verbs like “drawn”, “carried”, “seeking”, and “searching” (Stewart 1-4). They imply continuous action; the non-stop search for meaning that follows Constant through his adventures. Stewart continues:

Like a kiss on the wind I was thrown to the stars

Captured and ordered in the army of Mars

Marching to the sound of the drum in my head

I followed the call

“Thrown”, “captured and ordered”, “marching”, “followed”... the music begins to steadily build up in intensity as more and more instruments join in—until they return again to the beginning riff, transitioning into the next part of Constant’s adventure (Stewart 5-8). The first verse introduces the basic premise of the story: the narrator is pulled into a celestial adventure outside of his control, then begins to search for some sort of meaning to his experiences. The next verse provides some more context for who the narrator is:

Only to be Malachi Constant

I thought I came to this earth

Living in the heart of the moment

With the riches I gained at my birth

He wishes “to be Malachi Constant”—to regain his memories—and is only able to guess at who he once was, before the Martian army implanted drums in his head (Stewart 9). In the novel, he (known then, and for the majority of the story, as “Unk”, the nickname given to him by the Martians after his identity was erased), discovers a long and detailed letter addressed to him. He is amazed by the emotion it awakens in him, and is convinced that “the writer was such a lover of truth that he would expose himself to any amount of pain in order to add to his story of truth” (Vonnegut 131). He pictures the writer “as being a marvelous old man with a white beard and the build of a blacksmith”, until he reaches the end and sees that the signature is of his own past self (Vonnegut 132). The letter inspires Unk—and therefore, he inspires himself—to continue on his journey and to search for his wife and son. In the song adaptation, Stewart chooses to have Malachi Constant (as he was on Earth) be the inspiring role model, rather than Unk’s past self behind the letter. While Unk does find out his true name at the end of the novel, Stewart’s version of him seems to know it right away, but still experiences the same sense of uncertainty as his counterpart. While this part of the verse still serves to explain who the narrator is, it does so through a lens of questioning. The line “I thought I came to this earth” especially shows how nothing is clear during this part of Unk’s life; not even the planet on which he was born (Stewart 10). The verse finishes off by jumping into the next part of Unk’s travels:

But here in the yellow and blue of my days

I wander the endless Mercurian caves

Watching for the signs the harmoniums make

The words on the walls

Despite being fascinated by the words, the meaning of these four lines was a mystery to me until I read the book. There is not enough room, in lyrics alone, to introduce and explain the small, paper-thin aliens known as harmoniums, which glow a pale blue as yellow cave walls shine through them. Hearing the lines “Watching for the signs the harmoniums make / the words on the walls” most likely would not be enough to evoke in somebody the mental image of glowing diamond-like shapes rearranging themselves to form the words “IT’S AN INTELLIGENCE TEST!” as Unk and a fellow ex-Martian try to escape the twisting caves of Mercury (Stewart 15-16, Vonnegut 198). Even so, there is a benefit to not quite getting the full context, and that is to be able to enjoy the song spoiler-free before reading the book, and witnessing the meaning of the lyrics gradually start to unfold as you grow to understand the story.

As haunting, wordless background vocals and many different instrumental rhythms layer and grow on top of each other, a harpsichord lick swells into a guitar solo, and the song reaches its climax. The notes ascend and descend rapidly, like a moving spaceship, and the urgency present at the start of the song is now audible in full force. Although the solo is not very long, it feels like it takes up just enough time for Constant (at this point aware of his true identity) to arrive at his final destination. As the solo ends, the descending bass and guitar echo the beginning of the song once more, and Stewart sings again:

I was drawn by the sirens of Titan

And so I came in the end

Under the shadow of Saturn

With statues and birds for my friends

The first line, same as the one in the first verse, offers a similar sense of closure to the book. Even though the song does not mention Constant’s experiences with being the center of Rumfoord’s religion, reuniting with and coming to love his family, and discovering that the Earth was created to send a message of greeting to the farthest point in the universe, there is still a similar feeling of completeness without the resolution of those storylines. The language used is final, and no longer a constant stream of action. When Constant’s life finally comes to a close, he is finally content with it for the first time.

Finding a home at the end of my days

Looking around I've only to say

I was the victim of a series of accidents

As are we all

The last line in the song, which is repeated until it fades out, is directly quoted from Vonnegut’s words. Although it is said more towards the middle of the book, Stewart’s choice to move it to the end and repeat it serves to emphasize its importance. This is the only change that Stewart makes to the order of events in the song, but it does slightly alter the final conclusion drawn from the story. In the novel, Unk utters the line when he returns to Earth and realizes that his life had never been in his control in the first place. He is then forced into the role of the Space Wanderer, once it is revealed that the exact words he would say had been prophesied. At the end of the book, Constant’s final realization is vastly different. “It took us that long to realize,” he says, after his wife passes away, “that a purpose of human life, no matter who is controlling it, is to love whoever is around to be loved” (Vonnegut 320). Although the world remains outside of his control, Constant comes to the conclusion that he can still be content with the life he has, by connecting with those around him. In the song, there are no supporting characters, only the “statues and birds” he calls friends (Stewart 20). For this reason, it makes sense that he never arrives at the same conclusion as his written counterpart, but instead remains on Titan and accepts his life as it is.

There are many methods of storytelling, none better or worse than any of the others, and each have their own strengths and unique qualities. When a story is told through different mediums, it feels to me like an invitation to explore the directions taken by each of them. In “Sirens of Titan”, Al Stewart does a wonderful job of telling Vonnegut’s story in a different voice; one backed by a variety of instruments and siren-like background singers. As I listen to the song for the who-knows-which time, I am once again fascinated by how well it achieves what it set out to do… as, I’m sure, are we all.

Works Cited

Stewart, Al. “Sirens of Titan.”

Vonnegut, Kurt. The Sirens of Titan. Dell Publishing, 1998.

#thanks for reading!#al stewart #kurt vonnegut #there was a footnote that i couldn't include because tumblr doesn't do that (i think)#it was me defining a chrono-synclastic infundibulum #so here's the footnote if you're interested:#A ''chrono-synclastic infundibulum'' is a science-fiction term defined by Vonnegut as a location in space and time where #everything is true simultaneously. Getting caught in one may cause omnipotence #at the expense of being scattered through the universe #unable to materialize anyplace in particular for longer than a brief period of time #(ok that's it i'm done now xD)

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