#it's interesting noting all the little differences in the soundtrack versions vs. the in-show versions

[icedteaandoldlace]

The little "HEY!" in the soundtrack version of Falling In Love that isn't in the show is my favorite thing.

[lucky-sevens]

mechanisms basics & lore

welcome to my updated mechanisms intro post! this post will cover both the topics discussed in my mechanisms basics post, which is geared towards people who don’t know what the mechanisms are, and my deep lore post, which aimed to be a comprehensive compilation of all the important character and world lore. this post should serve the above group, but it’s geared towards people who have listened but feel there’s a lot of lore that seems to be common knowledge they’re missing. we’ll start out with a basic introduction, and then go into crew lore and a semi-comprehensive guide on where to go for further information.

basics

the mechanisms were a steampunk concept band, known for their queer representation and their tragic stories. they are no longer together, their last performance being january 2020, but several of their members are still creating related spinoff content.

they follow the trope many steampunk bands do, which is albums that tell a story; think similar to listening to a musical soundtrack, but geared to a visual-less experience. what distinguishes them is 1) narration tracks between each song, making the plot very easy to follow, and 2) being meant to be watched live, meaning there’s layers of meta that are more easily understood by watching recorded gigs rather than studio recordings of albums. specifically, there’s a focus on the narrators, known as the mechanisms or the crew of the aurora, who are immortal space pirates telling the stories and occasionally inserting themselves into them. though they are tragic figures themselves, their banter serves the purpose of bringing a lightheartedness and dark humor to the stories. if there’s an aspect of the lore you’re confused on, it’s probably related to the narrators!

to watch the mechanisms live, you can find recordings on youtube, dropbox, google drive, soundcloud, or vimeo, which are all compiled in this post (including transcripts!). if visuals aren’t your thing, i’ve linked the studio recordings later on in this post when they come up, and here are the mechanisms’ official spotify, bandcamp, and youtube, as well as an unofficial comprehensive lyric videos channel. 

the albums

regarding the albums specifically, there are 4 main ones (once upon a time (in space), ulysses dies at dawn, high noon over camelot, and the bifrost incident), 2 that are compilations of miscellaneous songs (tales to be told 1 & 2), 1 single (frankenstein), and 1 album that’s a high-quality recording of their last live show, including an alternative performance of the bifrost incident, 2 songs only performed at live shows, and 'the deathsong’, which details how they all eventually die (death to the mechanisms).

as you might have been able to tell from the titles, they’re all based off of various myths, folklore, literature, and/or fairy tales, using different genres on top of a sci-fi setting to add a fresh twist to them! for example, high noon over camelot is a western based on arthurian mythos, set on a space station. (the albums are known for all ending in tragedy, so be careful if that isn’t your cup of tea!) if your goal is to get into the mechanisms, i’d suggest sitting down and listening to them all in full; links will be provided below, or alternatively you can watch once upon a time (in space) live here, ulysses dies at dawn live here, or the bifrost incident live here. (there is no full live recording with visuals of high noon over camelot, sadly, but there are partial and audio only recordings.)

once upon a time (in space) - spotify/bandcamp/youtube

ulysses dies at dawn - spotify/bandcamp/youtube

high noon over camelot - spotify/bandcamp/youtube

the bifrost incident - spotify/bandcamp/youtube

tales to be told, volume 1 -  spotify/bandcamp/youtube

tales to be told, volume 2 - spotify/bandcamp/youtube

frankenstein - spotify/bandcamp/youtube

death to the mechanisms - edited video with the stream corruption fixed + subtitles / stream / spotify / bandcamp / youtube / transcript pt. 1 / transcript pt. 2

reading the fiction is integral to understanding both the albums and the mechanisms themselves. the fiction is a collection of short stories set in the mechanisms universe posted on their website here and compiled by me here, with an extra high noon over camelot story here. (there are also audio versions for ‘mirror mirror’ and ‘a rebel yell’ included on both the website and the compilation).

the crew of the aurora

as for the crew, at their peak there were nine members played by people, as well as the ex-member dr carmilla, who has extensive solo lore and is still active (which we’ll touch on in a few paragraphs). there is also their ship, the aurora, who is sentient and has her own lore. in fact, every member of the crew has their own backstory, set in a different genre or historical period; for example, nastya rasputina's is historical, jonny d’ville’s is a western and marius von raum’s is a mecha anime. however, they’re all still different flavors of steampunk! below, i’ll list each member, their performer, and the main sources of lore about them. for the majority of them, they have their own song in tales to be told, but there are a few outliers. everyone also has their own bio up on the website, which can all be found here. 

the aurora (n/a, ship)- on aurora (meta)

jonny d’ville (jonny sims)- one eyed jacks (song), jonny before he was mechanized (meta)

nastya rasputina (anonymous)- cyberian demons (song)

ivy alexandria (morgan wilkinson)- archive footage (fiction), crew bio

ashes o’reilly (frank voss)- lucky sevens (song)

drumbot brian (ben below)- lost in the cosmos (song), crew bio

the toy soldier (jessica law)- the story of the toy soldier (fiction)

gunpowder tim (tim ledsam)- gunpowder tim vs the moon kaiser (song/minialbum)

marius von raum (kofi young)- the death of byron von raum summary (blog post)

raphaella la cognizi (r l hughes)- crew bio

if you’ve noticed the crew bio doesn’t say much about raphaella, that’s because we know little to nothing about her backstory. the only thing we have to go on is a quote from the tv tropes page, which looking at the edit history, was likely written by one of the mechanisms. the quote is ‘Science officer who may or may not have cheated her way onto the ship after becoming a little too interested.‘ and the page is here.

the majority of fandom content is about the crew, working off of what we get from the tales to be told songs, the live gigs, and the fiction.

dr carmilla

speaking of characters with obscure lore, let’s talk about dr carmilla! rather than linger, i’ll just link my carmilla basics post, which is a comprehensive summary of who she is in and out of universe. to summarize, she’s a character based on the novella ‘carmilla’ by sheridan le fanu, commonly regarded as the first vampire novel, but her lore has diverged heavily from that original starting point since then. she is the oldest out of all of the crew, and made the majority of the other crew members immortal. she, as well as aurora, is from a planet called terra, which was destroyed partially as a result of her actions. her character is defined by her immortality and how she deals with it, her experiences on terra, her relationship with the mechanisms, and her dysfunctional relationship with her ex-girlfriend loreli, the last of which is the most covered by her songs. out of universe, she is played by maki yamazaki. all her lore lines up with what happened out of universe, and ties to the fact the mechanisms were originally dr carmilla and the mechanisms. she has two solo albums and two singles, which i’ll link below.

ageha (prototype edition) (album)- bandcamp | youtube

exhumed and {un}plugged (album)- bandcamp | youtube

the city {nex:type mix} (single, in-character cover)- bandcamp | youtube

eleven (single)- bandcamp | youtube

the majority of her lore is still to be officially revealed, and will be in the trilogy of albums maki yamazaki is working on.

further reading

if you’d like to delve further into the lore, there are a few sources i use! there are official, in-character, blogs, as well as things that are harder to dredge up; i won’t link them here, but some sources include @/thedreadvampy (the band’s artist, as well as morgan wilkinson’s sister and kofi young’s partner; don’t bother her for lore or anything, but she’s previously made posts sharing previously unknown information), old websites and deleted content found on the wayback machine, the tv tropes pages, and most notably the lore doc.

the ‘maki forbidden lore doc’ is an archive of all the lore maki yamazaki has shared on the mechscord, the official mechanisms discord which she’s on, and her own personal server, where she’s running an arg (alternate reality game) as a way of relaying more lore about the dr carmilla universe. for an idea of the scale, the doc is currently 91 pages and 28346 words, and recontextualizes much of what is known about dr carmilla and maki’s canon of the mechanisms universe. it is confidential to anyone not in her discord or the mechscord, as she’s said that this lore isn’t thought out nearly as much as the albums and is subject to change, so she’d rather it not be out in the open. however, information on how to join the mechscord can be found here. there is also a non-canonical fan project based on the arg in progress, but information on it is also confidential for now.

with regards to the above phrase ‘maki’s canon’ it’s worth noting that all of the individual band members have their own idea of what counts as canon and what doesn’t, and as you foray deeper into lore that division becomes more and more apparent.

with that, here are the mechanisms’ blogs. they are all both run in-character by the main nine band members and inactive unless i note otherwise.

twitter

tumblr

facebook

website/wordpress (run ic by tereshkova’s ghost, the blogbot, for the most part)

carmilla twitter (active, run ic by dr carmilla)

conclusion

now that we’re coming to the end of this, i’d like to thank whoever got this far, and to say a few words. my interest in the mechanisms has been slowly fading, and i’ve been writing less and less meta and lapsing in keeping up with new lore myself. honestly, i’m pretty worn out by how much i’ve done on this blog and in this fandom, and the commitments i’ve assigned myself. i do have plans for future meta, but it’s unlikely they’ll come to fruition. so, i thought i’d do a new version of my two oldest posts on this blog, and hopefully enable other people to look into the lore and theorize themselves with the new information.

to find more information, remember there’s a mechanisms wiki, and that my askbox is always open.

thanks for reading!

[gayhokage]

spoiler free thoughts on mugen train movie: it was great!! stunning animation, great new soundtrack, great voice performances (i watched subbed) paced the story really well. i went in with high expectations and wasn't let down! 10/10 can't wait for everyone to get the chance to watch it :D

spoilers (and more in depth) under the cut:

wanna say that i am being Incredibly nit-picky in some of this. the movie was truly amazing and i enjoyed every second of it. i'm just gonna graze through the manga chapters the movie covered to help myself remember / point out what i liked / disliked

the second demon rengoku killed on the train i didn’t really think was necessary? i think maybe they were just trying to fill up more time, have it make more sense why tanjiro & crew liked / thought rengoku was so cool (it did give rengoku a better chance to show off his power and skill to them for the first time)

the animation used to rengoku’s flames was GORGEOUS (of course) it looked so beautiful

the dream sequences were done so well!! honestly zenitsu’s dream was super cute and boss inosuke’s and his minions.. inosuke you are so important to me i hope he knows that. THANK GOD for shiny acorns!!! genuinely one of my fav parts in the manga it’s so cute and silly i love seeing inosuke being friends with nezuko

senjurou sounded Nothing like how i’ve been imagining his voice up to this point. i’ve always read his voice as very soft like a younger child since he’s so young and has a kinder nature, so i’m not gonna lie i was a little thrown off by that lol

tanjiro pulling himself into the water in his dream was so beautifully done honestly that was one of my fav scenes just bc it was so pretty

i was pretty upset that the detail about rengoku's spiritual core being brittle was left out, i feel like that's such a Huge detail about his character (since we only get to know him for such a short amount of time) maybe it was mentioned in the film and im just forgetting

nezuko's flames burning around tanjiro during his dream looked So Beautiful i was truly just awed throughout the whole film by how beautiful the animation was

tanjiro’s youngest brother crying when he was trying to leave the dream crushed me honestly that got the water works going lol i know the big moment of that scene was nezuko but; someone in the theater gasped Really loud when nezuko showed up in tanjiro's dream and it added so much drama lol so thank u to that person for upping the emotion

this whole part was the Real tear jerker of the movie^

i wish this scene had more been More? idk i was really looking forward to how this scene would end up in the movie and it was really just tanjiro screaming and then showed blood on the snow. i know it was shown multiple times later during the fight with enmu but. was hoping for something more i guess! esp i think the first time showing it should've been a Big Deal idk

during this scene tho i Loved that there was like a piano version of kamado tanjiro no uta and also a piano / softer version of gurenge; idk which played during these scene but i heard and picked up on both and really loved that

on another soundtrack note: the clarinet (or maybe bass clarinet) that played for what im guessing was enmu's theme was sooo good congrats to any composer that can get me to enjoy the clarinet lol

tanjiro's dream subconsciousness was sooo beautiful and so were the little fire spirits that lived there i think it continued to perfectly capture tanjiro's kindheartedness

tanjiro's nightmare was also so well done. i thought that was one of the best part of the movie tbh

actually my biggest complaint about the movie was how awkward and out of place the 3D / CGI looked compared to season 1 of the anime. the "guts" inside the train just looked really gross and poorly done

[anime vs manga comparison] (also my friend said that enmu made him think of orochimaru LOL)

another thing was the train being covered with enmu's flesh or guts after their head was cut off just looked so gross and weird, i wish that hadn't been changed / added in the movie

and with the weird / gross looking 3D it made tanjiro and inosuke's fight together to find enmu's neck just a little rough to watch. i think it would've been better if there wasn't so much of enmu's flesh all over the train

i wish this had been shown in the movie since it didn't make it into the story of the manga. the movie just showed nezuko burning inosuke and zenitsu with her fire (which is how she woke tanjiro up, so i guess it makes sense that it would work for those two as well)

after enmu was defeated i thought it was insane how clear of an image of kokushibo we got!!! we've only (barely) seen silhouettes of him up to this point in the anime, and since we also got such a clear picture of daki (with season 2 on the way) it makes me excited to think that we will see him in season 2 as well (along with the other upper moons; and hopefully get the whole series animated lol)

the fight against akaza was outstanding and amazing. truly have no words lol. unfortunately i missed a small part of the fight bc i had to go use the bathroom (my friend said i missed the coolest part of their fight) but akaza looked SO GOOD and the fight was so well animated and i Loved akaza's voice - not how i had been imaging his voice but it still fit him so well (wasn't such a major difference like with senjurou lol) and the music that played during their fight was great. the purposeful silence in some parts of their fight was perfectly placed to make it more tense and emotional (also rengoku blocking akaza's punches with his sword. king shit)

i really liked this detail, both with enmu and akaza, that their screams are apparently So Loud, i guess that's something you dont really pick up when you're reading

when rengoku's mother showed up and inosuke started crying that's what really did it in for me lol i tried to keep myself from crying too hard / loud in the theater but i know once i watch it alone im gonna be bawling

where the movie chose to end was really interesting to me. i thought for sure the movie was going to include tanjiro's visit to senjurou so im a little surprised that that's being held off until season 2. it really will make it mandatory for anime viewers to watch the movie before starting season 2

anyways if you read all of this ily and i am kissing you <3

[casualotptrash]

Why the Persona 3 FES vs Portable Debate Makes Me Want to Fly Into the Sun Pt. 3

Part 1 | Part 2 | Part 3

Da da da daaa!

Part 3 of this lovely emotional rant is here, for anyone who wants to spend their time reading these. With the last two posts, I have mostly tried to be informative or just complain a bit about why this debate makes me want to fly into the sun, but for this post it’s going to go a little different. Perhaps a bit more subjective than the others.

In this post, I’m going to go over everyone's favorite clusterfuck...a definitive version of Persona 3.

Now, as we established in the previous post, we know that the argument of FES vs Portable is essentially pointless because everyone’s opinion on either game is subjective. However, I have neglected to bring up this topic that puts a huge ass nail into this dusty old coffin: the fact that there is objectively no definitive version of Persona 3.

Everyone can argue all day and night about which version of P3 is better, but no one can deny that either version are “definitive.” By definitive, I mean that the game has the most content that is offered, like Persona 4 Golden or Persona 5 Royal. The reason none of the P3 games are definitive is because base P3 lacks stuff from FES and Portable, FES lacks stuff fro Portable, and Portable lacks things from FES. It’s a gamble of whether you want to experience cutscenes, an overworld, and The Answer, or a whole new route with the FeMC and the brand new option of dating male party members and saving...you know who.

One might be able to say FES is definitive because it has The Answer, which I believe is considered canon according to the Arena games. Another could say Portable is the definitive version because it came out after FES, added the FeMC (who is technically canon as per the second Persona Q game), and removes The Answer (which a lot of people said The Answer messed with the core theme of P3). However, the definition of definitive in this case, and with all of the other games, is that the game offers the most content. Arguably, FES and Portable provide the same amount of content, just in different ways. This is why this whole conversation of which one is better, or which to play first, spawned in the first place.

The reason I am bringing this up in this post, about why this whole discussion physically pains me, is because having a real, definitive version of the game could finally put this discussion to rest. At least, it somewhat would. People would probably still argue that FES is the best for some reason.

Now, the argument becomes...well, what does a definitive version of Persona 3 look like?

I have seen quite a bit about this topic, and people seem to really miss some common sense points. For example, they get caught up in whether it would be considered a remake or a remaster. I know some use those terms interchangeably, but the “official” definition for each is that a remake is a game that is made from scratch, while a remaster is made by updating the existing assets and engine. For example, the upcoming Nocturne HD release is a remaster. Personally I find it difficult to neatly fit the typical persona definitive editions, like Golden and Royal, into either of these categories. It may just be me not fully grasping the differences between the two, but I believe they would fit into more of the “remaster” category. It is true that there are new assets and content being added to the game, but it’s so minor that I’m not sure it could be considered a remake. On the other hand, because new content is added it couldn’t just be defined as a remaster because typically the effects and such aren’t even changed that much. It’s just gameplay and story content that is tweaked.

When people get so caught up in what it would be considered, logic seems to...go out the window? For example, in a debate between a P3 remaster or remake, a person made a comment that if a remake was to happen then people would demand that all of the social links be available to anyone. Now, that just isn’t possible for a variety of reasons. There’s no way we could ever mix and match social links to get a preferred grouping. Another issue with this is that if just a remaster was made, then one of the two games would be left out.

This is why I don’t really think about whether a definitive edition is a remaster or remake, because using such strict labels make it harder to judge what could, or should, be in one. This is why I’m just referring to this process as making a definitive edition. That being said, I would consider a definitive P3 game to be more of a remake (not that it really matters) because my ideas would essentially combine FES and Portable, in a way?

So here we go, into my idea of what a definitive version of Persona 3 would look like. (Warning: This will contain spoilers for all of the P3 story and *gasp* may be a bit biased toward Portable because I like it more)

1. Presentation

In simple terms, I would want the game to essentially be Portable...but with updated graphics, cutscenes from FES, and an overworld. It’s easier to use Portable as a base because it’s already closer to the format of P4 and P5, so then adding in the good parts of FES with the cutscenes and overworld are par for the course. As far as graphics go, I would like the models and environment to look more like P3D (aka whatever engine they used for Persona 5?) because damn did the characters get a glow up.

2. Gameplay

Along with the format of Portable, I would also want the gameplay of Portable to be in this definitive version. That means no jealousy system, no fatigue until after you leave tartarus, the vision quest, and the other changes I mentioned in the first post. Sorry FES fans, but yes...I would still want the option of controllable party members. However, a new change that should be added is backup members earning exp. I don’t think baton passes or anything should be added, we don’t want a clone of P5, and the combo attacks in P3P kind of fill this role anyway. The idea of having social links give certain perks with ranks, like how confidants work in P5, is interesting but I don’t think it would be necessary. I would also say that the soundtrack should be exclusive for each side, like how it is in Portable, and that there should be an option to choose which skills are inherited.

3. Social Links

The stance I would take with social links would essentially be how Portable did it, but with a slight tweak. No matter how much it would be cool to date Rio or Saori as the Male MC, or vice versa with Kaz or Keisuke and FeMC, I don’t think any mixing of the two sides would really be feasible. However, I would love to see cameos of those characters in the opposing routes. For example, you see Yuko and Kaz in the female route, but in the male route you could see Saori and Rio at school. That being said, and this is probably one of the biggest issues, I would want the male protag to be able to have social links with the entire party, men included. This brings up the issue of what social links you would cut out because you can’t have two social links be the exact same arcana. Unless they want to add more arcanas to the game, which would probably not go over well either, the best option is probably to prioritize the male party members and then have who would usually be in their place just show up sometimes. For example, Kenji would show up in the social link with Junpei instead of the magician social link just being about one or the other.

I know this seems weird, but it does kind of avoid shafting one or the other. If it was too hard to fit the two together (such as Chihiro and Ken both being Justice), perhaps a few more school scenes could be added where the MC interacts with the school friends that are not seen as much (Kenji, Chihiro, etc.) However, and this might piss off 1% of people but whatever, but the moon arcana with Nozomi (Gourmet king dude) could just be completely taken over by Shinji. Nozomi is a meme, but he is not needed in any way. Also, I would prioritize Yuko in the male route over Koromaru since, although he is a very good boy, he is still a dog. Also, please get rid of the option that you’re forced to romance every girl in the male route, and personally I would say keep in the fact that you cannot date Junpei. In a headcanon sort of way, I totally dig the idea of the MC being able to help Junpei through his rough time after Chidori dies (if she dies?) and feelings grow from there, but from a story perspective I think it’s integral to his character that he friendzones the player if they try.

So TLDR; who the social link is about would mainly stay true to the original route (male route with Kaz, etc. and female route with Rio, etc.), however in the male route the party members would take priority (so Akihiko would take the star arcana place and Mamoru (track guy) would just be featured in the link sometimes), and in both routes Shinji would take Nozomi’s place as the moon. Important note that besides including the other character, the main substance of the social link shouldn’t be changed; aka they should not change the format of the social links to operate more like P5 social links where the MC is just solving all of their problems.

(Sidenote: This is imply my idea on how to include party members into the social links for the male route, however if they just decided to keep the social links the exact same as Portable with no male party member social links with the male route then I’d be fine with that too. It wouldn’t really take away from the game as a whole for me, personally.)

4. Romance Options

Riding off of the social link talk...and I know this is like the least likely option of happening, but please make some gay options Atlus? If we can romance every single girl in the male route, why not just add the romance option for the men too? Yes yes there’s the whole argument about the issue of “making everyone bi” (thanks for erasing sexuality that care more about connections rather than gender?), but I say look no further than how Dragon Age 2 did it. Every romanceable option in that game can be romanced be either the male or female main character (barring a DLC character who is only romanceable by females), and it works just fine. Turns out, no one really gives a shit if it’s “realistic” enough (aka only having one or no bi/gay people apparently?) because it’s a video game and people want to romance whoever they want...because it’s a video game. Even if you really, really don’t like this approach there is also the option of going the Dragon Age Inquisition route, where characters are able to be romanced by certain genders and not by others (race also plays a role in this in the game, since there are elves and other fantasy races and such, but this is not applicable to Persona obviously). This is simply a hypothetical example, but how this would work is that like Fuuka can only be romanced by the Male MC, Akihiko and Yukari could be romanced by either MC, and Mitsuru could only be romanced by the FeMC. Obviously social links specific to a run would be a romanceable option to the MC in their route (as in Yuko would only be romanceable by Male MC because she’s only in her run, and social links like Saori could be a romance for FeMC because she’s specific to her route). I have a gut feeling this would cause an even bigger uproar with the fandom, so having any romance option (barring route specific social links for the route they’re not in) be available for either male or female MC is the best option in my opinion.

Take out Ken’s romance option altogether though. I know some of the language is different, so it doesn’t say you “spend a long night together” or whatever, but that doesn’t really make it any better. I do think it’s fine if Ken has a crush on the MC, and maybe has a whole Kenji thing of thinking they are together cause he’s 10 and kids can be like that, but the MC wouldn’t actually act on this and the player could be given the choice to actively dissuade Ken. The only good thing that came out of Ken’s romance option was the fact that him and Akihiko can argue in Tartarus if you romance them both, and I don’t want to lose that hilarious dialogue.

5. Tartarus

Tartarus...uh...to be honest I’m not really sure what to do with this beast. It’s boring and tedious in the first place, probably by design for symbolism in the game, but I’m not sure how to make it interesting without copying the dungeon/palace format. Perhaps the blocks could be restructured to act more like a big puzzle that needs to be solved, like certain sections of palaces in P5, but also have bosses and shadows thrown in. For example, perhaps one block could be more reminiscent of hide-and-seek stealth tactics while another is formatted like a series of arena-esque gladiator fights. Also probably lower the number of floors you need to climb? It gets a bit ridiculous when you realize there are 264 floors of Tartarus and 99% of them are the same but just with more funky music and slightly different decorations. This job is suited for someone with actual video game making experience though, and not me.

6. Awakenings and Pacing

Let’s talk about some quick fixes to awakenings and pacing of the game. Now, since this is a definitive version and not a true remake, I wouldn’t want them to rewrite the entire story or something. Most of the party member’s original awakenings happen off screen, which can be kind of lackluster. The MC’s and Fuuka’s are the only two we really see, and those moments were really cool in my opinion. Obviously we wouldn’t see Mitsuru’s, Akihiko’s, or Shinji’s original awakenings, but that is fine. Yukari and Junpei also fall into this boat because Yukari awakens before the MC gets to the dorm, and it would be hard to show Junpei’s awakening while also having his whole “reveal” moment when he comes to the dorm to live there. I don’t know if it’s ever mentioned when Ken awakens to his persona, but making a scene to show both his and Koromaru’s would be helpful instead of just saying Ken has the potential and he’s joining, and hearing about Koromaru awakening but not actually seeing it. As for the pacing, I’m mainly talking about the summer time where you can’t hang out with a good number of social links. I would just change this so that you can hang out with school social links during this time more readily, like if they’re just hanging out somewhere in town if they’re not at school. Like I said, this isn’t a remake (and I’m not a video game designer) so I didn’t want to get into how to fix the overall pacing of the story, which can be pretty slow until October or so. My one suggestion is maybe adding in a few extra scenes with Strega before October so it’s not like we run into them a couple times and suddenly they’re a major villain.

7. Shinjiro

(Spoilers for after October) I know certain people will definitely not like this point, but I think the option to save Shinji should remain in the game (and Chidori too). I’ll go into this in another post, but my main reason for keeping this in is because some people really do like this option, so it would be kind of unfair just to get rid of it because other people don’t like it. However, I would suggest a change to his social link so that there is the option to save him or not while also being able to complete the social link. Perhaps after rank 10 would be when you could give him the pocket watch, so that people could get the rank 10 and not be forced to save him. 

8. Extra Content

(Spoilers for the ending of Persona 3 and The Answer) Each definitive version has extra content in the “third semester” (because Persona 4 and 5 both essentially end after December), but in Persona 3 the natural game ends in January. I am not sure if they would try to add another whole months or so on, but because The Answer already exists, but I assume they wouldn’t add extra content in February or something for the MC. For The Answer, I would keep this in the game as sort of the “extra content” but add a FeMC version of this. Obviously it would be largely the same, except with the FeMC and perhaps the male party members could get more of a focus since the female party members get a larger focus in the male route (ie. Yukari breaking down with the keys. Maybe Junpei or Akihiko could take on this role as the people who don’t want to let go). Also, as a possible new addition to The Answer, Shinji could be a part of it if he is saved during the main game. In the NG+ run of Portable FeMC route, if you romance Shinji he comes to the rooftop for that final scene, so in a way it could be possible for him to recover by the time The Answer happens in March.

Now, if Atlus decided to add a more typical “extra content” thing, I hope they wouldn’t try to cram The Answer in on top of that unless they were able to do it cohesively. It might be a lot to have the whole ending of the game in January, come up with a reason to have extra content in February (presumably with the MC still alive, but also combat would need to be a part so then the issue arises of Tartarus coming back or something?), and then have the answer take place right after near the end of March.

Well that’s the end of that I think. This will also be the last post in this little “series” because I pretty much went over everything about this debate that makes me want to fly into the sun. I know the things I talked about in these posts will probably never stop, but I really hope that if a definitive version comes out at least the discussion will change to saying what is good or bad about each game rather than FES supremacy or whatever. That being said, above all I really hope this debate doesn’t discourage new fans from Persona 3 or the series in general, because that would probably be the worst outcome from all of this. It’s a great game, and it’s a shame that the game itself is kind of held back by being split into two (I’m not counting base Persona 3) different forms.

[thisbluespirit]

James Maxwell TV/Film List

More of a guide than a recs list, because old tv/film depends so much on availability.  It’s also hard as there’s nothing surviving that’s really like SotT for him (his voice is always slightly different, too & rarely the grand one from SotT) - I found it hard to find where to start back in the day, so I hope this makes it easier.  However, I have starred my favourites (rated for JM content only). 

I’ve divided things into categories and @jurijurijurious​ (or anyone) can make up their own mind as to what to go for.  (Also @jurijurijurious I have NO idea what old telly you’ve already seen, so forgive me if I’m telling you things you already know.)

Where to find it:  Luckily in the UK, it’s not too bad!  Network Distributing are the DVD supplier to keep an eye on (they do great online sales), you can find secondhand things cheap on Amazon Marketplace & eBay, and several Freeview channels show old TV & film, especially Talking Pictures.  I’ll note if things are on YT or Daily Motion, but they come and go all the time, so it’s always worth searching.

***

Film serials (ITC mainly)

British TV made on film in the US mode with transatlantic cash, so generally pretty light,  episodic (continuity is almost unheard of) etc.  Some turn up on ITV3 & 4 on a regular basis (colour eps). 

*** Dangerman “A Date With Doris” (ITC 1964)  James Maxwell is a British spy friend of Drake’s (Patrick MacGoohan) called Peter who gets framed for murder.  Drake goes to Fake Cuba to rescue him by which time JM is dying from an infected wound and faints off every available surface, including the roof.  It’s great.  On YT.  (The boxset is v pricey if you just want 2 eps.)

“Fair Exchange” (ITC 1964) JM is a German spy friend of Drake’s called Pieter who helps him out on a case.  Not as gloriously hurt/comfort-y as the other, but it does have some excellent undercover dusting. (Why  Patrick MacGoohan has JM clones all called variations on Peter dotted around the globeis a mystery.)  On YT.

The Saint “The Inescapable Word” (ITC 1965) This is pretty terrible, but  entertaining and James Maxwell plays the world’s most hopeless former-cop-turned-security guard. With bonus collapsing.  On YT.

“The Art Collectors” (1967).  JM is the villain of the week.  It does include a v funny bit, though, where the Saint (Roger Moore) goes for JM’s fake hair (and who can blame him?  How often I have felt the same!)  This one’s in colour so should pop up on ITV3 or 4. 

The Champions “The Silent Enemy” (ITC 1968).  Surprisingly good JM content as the villain of the week who drugs sailors and steals their clothes before realising that maybe he should have worked out if he could operate a sub before he stole it.

The Protectors “The Bridge” (ITC 1974, 30 mins.)  Not worth seeking out on its own, but ITV4 seems fond of it and James Maxwell gets to do some angsting and wears purple, so it’s worth snagging if you can, but too slight otherwise.

*** Thriller “Good Salary, Prospects, Free Coffin” (ITC 1975; 1hr 10mins, I think).  James Maxwell moves in with Julian Glover and runs an overcomplicated murdery spy ring where they bicker a lot in between killing girls by advertisement and burying them in the back garden.  What could possibly go wrong??  Anyway, it’s solid gold cheese, has bonus Julian Glover and a lot of natty knitwear.  What more does an old telly fan want?  (tw: Keith Barron being inexplicably the very meanest Thriller boyfriend.)  On YT but tends to get taken down fast.

***

Films

Design for Loving (1962; comedy).  Can be rented from the BFI online for £3.50.  Isn’t that great or that bad (or that funny either), but does have JM as a dim layabout beatnik, which is atypical.

***The Traitors (1962).  This is a low-key little 1hr long spy B-movie, but it’s also thoughtful and ambiguous with a nice 60s soundtrack and location work (it’s a bit New Wave-ish) and the central duo of JM and Patrick Allen are sweet and it all winds up with James Maxwell going in the swimming pool. One of the things where JM is actually American. (Talking Pictures show this occasionally & it is out on DVD as an extra on The Wind of Change.)  The quality of the surviving film is not great, though.

***Girl on Approval (1962).  A Rachel Roberts kitchen sink drama about a couple fostering a difficult teenager.  It’s dated, but it’s also really interesting for a 1950s/60s slice of life (and very female-centric) & probably the only time on this list JM played an ordinary person.

***Otley (1969).  Comedy that’s generally dated surprisingly well & is good fun, starring Tom Courtenay +cameos from what seems like the whole of British TV.  JM is an incompetent red herring & there are more cardies and glasses as well as a random barometer. 

Old Vic/Royal Exchange group productions

(Surviving works made by the group that JM was involved in from drama school to his death, made by Michael Elliott or Casper Wrede.  I like them a lot mostly, but they are all slow and weird and earnest & not everybody’s cup of tea.)

Brand (BBC 1959).  The BBC recording of the 59 Company’s (the name they were then using) landmark production, starring Patrick MacGoohan.  This was a big deal in British theatre & launched the careers of everybody involved.  It’s very relentless and weird but interesting & I’m glad they decided it was important enough to save.  First fake beard alert of this post.  It won’t be the last.  On YT & there is a DVD, which is sometimes affordable and sometimes £500, depending on the time of day.

***Private Potter (1962).  The original TV play is lost and this film has an extraneous storyline, but otherwise has most of the TV cast & gives a pretty good idea of why as a claustrophobic talky TV piece it made such an impact.  Tom Courtenay is Private Potter, a soldier who claims to have had a vision of God during a mission & James Maxwell his CO who needs to decide what to do about this strange excuse for disobeying orders.  Tw: fake eyebrows (!) and moustaches.  Only available on YT.

[???]One Day in the Life of Ivan Denisovitch (1970).  Again, no DVD release (no idea why), but it is on YT.  I haven’t seen this yet, but it’s another Casper Wrede effort starring Tom Courtenay and apparently JM is especially good in it.  (I’m just not good at watching long things on YT and keep hoping for a DVD or TV showing.)

Ransom (1974).  A more commercial effort starring Sean Connery & Ian McShane; it gets slated as not being a good action movie, but is clearly meant to be more thinky and political with the edge of a thriller. JM’s part isn’t large but Casper Wrede shoots his friend beautifully, & it’s a pretty decent film with nice cinematography, shot in Norway, as was One Day.  I liked it.

[I think this post might be the longest in the world, whoops.  Sorry!]

Cardboard TV (the best bit, obv)

One-off plays etc./mini-series

Out of the Unknown “The Dead Planet” Adaptation of an Asimov short story; this is very good for JM, but hard to get hold of unless you want the boxset.  I think someone has some of the eps on Daily Motion.  (His other OotU ep is sadly burninated.)

The Portrait of a Lady (BBC 1968).  Adaptation of the novel; JM is Gilbert Osmond, so it is great for JM in quantity and his performance, but depends how you feel about him being skeevy in truly appalling facial hair.  Do the bow ties and hand-holding make up for it?  but he’s in 5 whole episodes, and Suzanne Neve, faced with Richard Chamberlain, Edward Fox, and Ed Bishop as suitors, chooses instead to marry the worst possible James Maxwell.  Relatable. XD

***Dracula (ITV 1968, part of Mystery & Imagination).  JM is Dr Seward, fainty snowflake of vampire hunters, who falls over, sobs and can’t cope for most of the 1 hr 20 mins.  More facial hair, but not as offensive as last time.  Suzanne Neve is back again, although now JM is nice, she’s married Corin Redgrave, who’s more into Denholm Elliott. Anyway, I love this so much because it turned out that I love Dracula as well as shaky old TV with people I like in getting to fight vampires and all be shippy.  Good news - TP keep showing M&I, the DVD is out, and there are two versions of it up on YT.

The Prison (Armchair Cinema 1974).  This is the one with Lincoln in it, but it’s not that great & JM isn’t in it that much, so depends how curious you are for the modern AU!  (But my Euston films allergy is worse than my ITC allergy, and I watched this when very unwell, so I may have been unfair.)

Crown Court “Fitton vs. Pusey” (1973) - part of the Crown Court series, set in a town full of clones who all keep returning to court.  JM is on trial for his behaviour in (the Korean war?  I forget?) although he ought to be on trial for his terrible moustache.  It’s not that great, but it is nice JM content.  He probably did it, but for reasons, and he wibbles & panics whenever his wife leaves the courtroom.  Also on YT.

*** Raffles “The Amateur Cracksman” (ITV 1975) - He is Inspector Mckenzie in the Raffles pilot & is a lot of fun.  At one point when there was a Raffles fandom someone in it claimed he was too gay for Raffles, which I’m still laughing about, because Raffles.  Anyway, watch out if you try to get the DVD because it is NOT included in S1, whatever lies Amazon tells. It is up somewhere online, though, I think.

Bognor “Unbecoming Habits” (1981).  Some down marks for possibly the worst 80s theme & incidiental music ever, but fun & has been shown on Talking Pictures lately.  JM is an Abbot running a honey-making friary that is actually a hotbed of spies, murder, gay sex and squash playing.  This is the point at which he chooses to strip off on screen for the first time, because strong squash-playing abbots do that kind of thing apparently.

Guest of the week in ongoing series/serials

Since even series with a lot of continuity tended to write episodes as self-contained plays (like SotT), these are usually accessible on their own.

Manhunt “Death Wish” (1970).  This is one of the most serialised shows here, but this episode is still fairly contained.  WWII drama about three Resistance agents on the run across France.  JM is... a Nazi agent & former academic trying to break an old friend (one of the series’ three leads, Peter Barkworth) with kindness, possibly??  (Manhunt is very angry and psychological & dark and obv. comes with major WWII warnings (& more if you want to try the whole thing), but it’s also v good.)  Up on YT, I think.

Doomwatch “The Iron Doctor” (BBC S2 1971).  “Doomwatch” is the nickname of a gov’t dept led by Dr Spencer Quist that investigates new scientific projects for abuse/corruption/things that might cause fish to make men infertile etc. etc.  JM is a surgeon who comes to their attention because he’s a bit too in love with his computer for the comfort of one of his more junior colleagues.  (I think it’s perfectly comprehensible & a nice guest turn, but it is hard to get hold of outside of the series DVD.  Which, being a cult TV person, I loved a lot anyway, but YMMV!)

***Hadleigh “The Caper” (S3 1973).  Hadleigh is a very middle of the road show, but watchable enough (lead is Gerald Harper, who’s always entertaining) and this is pretty self-contained as it centres around an old con-man friend (JM) of Hadleigh’s manservant causing trouble by pretending to be Gerald Harper, for reasons.  JM seems to be having a ball.

Justice 2 episodes, S3 1974.  He guests twice as an opposing barrister & gets to be part of some nice showdown court scenes.  Again, a middle of the road drama, but stars Margaret Lockwood, who was still just as awesome in the 1970s as she was in the 1930s & 40s.  On YT.

Father Brown “The Curse of the Golden Cross” (1974).  JM is an American archaeologist getting death threats; stars Kenneth More as Father Brown.  Just a note, though, that 1970s TV adaptations tended to be really really faithful and this is one of the stories where Chesterton comes out with an anti-semitic moment...  (JM was unconscious for that bit and, frankly, I envied him.)  But otherwise lots of angsting in yet another fake moustache about someone trying to kill him.

The Hanged Man “The Bridge Maker” (1975).  Confession time, I have v little idea what this one was about apart from Ray Smith being an unlikely Eastern European dictator, as this whole series went over my head and was not really my thing.  (Ask @mariocki they’re cleverer than me and liked it & can probably explain the plot!)  I don’t know if it’s available anywhere off the DVD but on a JM scale it was v good/different as he was a coldly villainous head of security & it wouldn’t be too bad to watch alone, but there was an overarching plot going on somewhere.

Doctor Who “Underworld” (1978).  This is famously one of the worst serials in the whole of classic Who, but largely because of behind-the-scenes circumstances, not the guest cast.  There is some nice stuff, though, esp in Ep1 (JM is a near-immortal alien who’d like to lay down and die but still the Quest is the Quest as they say... a lot) & it’s bound to pop up on YT or Daily Motion.  The DVD has extras that include v v brief bits of JM speaking in his actual real accent (which he otherwise does in NONE of these) & making jokes in character.  Honestly, though, this is the only DW where the behind-the-scenes doc is genuinely the most exciting bit as they desperately invented whole new technologies & methods of working to bring us this serial, and then everybody wished they hadn’t.

*** Enemy at the Door “Treason” (LWT 1978).  This is a weird episode but I love it lots - from a (v v good) series about the occupation of the Channel Islands.  (So obv warnings for WWII & Nazis.)  JM is a visiting German Generalmajor, but he’s come for a very unusual reason - to ask for help from his brother-in-law, a blackballed British army officer (Joss Ackland).  It’s all weird and low key and JM is doomed and nevertheless probably my favourite thing of his that isn’t SotT.

* The Racing Game 2 eps (1979).  Adaptation of Dick Francis’s first Sid Halley novel Odds Against (ep1) + 5 original stories for the series.  This is an interesting one - JM plays Sid’s father-in-law & they have a lovely relationship that’s central to the book BUT Dick Francis loved this adaptation and Mike Gwilym who played Sid and was inspired to write a sequel Whip Hand, which he tied in with TV canon - and adopted at least three of the cast, including JM.  Which means that all the Sid & Charles fanfic is also JM fic by default and it’s quite impressive. (There’s not much but it’s GOOD.)  On YT.

Bergerac “Treasure Hunt” (1981).  Not a major role, but pretty nice & it’s one a Christmas ep of the detective show (also set on the Channel Islands) that involved Liza Goddard’s cat burglar, which was always the best bit of Bergerac.

His guest spots in Rumpole of the Bailey (1991) “Rumpole a la Carte” and Dr Finlay (1994) are both really just cameos, but both series come round on Freeview; the Rumpole one is funny and the Dr Finlay one his last screen appearance before his death the following year.

Not worth getting just for JM: Subway in the Sky; Bill Brand and Oppenheimer.

These films only have cameos but some quite fun ones and they come around on terrestrial TV: The Damned (1962), The Evil of Frankenstein (1964) & (more briefly) Far From the Madding Crowd (1967).  (I think his cameo in Connecting Doors must be at least recognisable as someone spotted him in it just based off my gifs, but it’s not come my way yet.)  I’ve never been able to get hold of any of his radio performances, not even the 1990s one.

ETA: I forgot The Power Game! This is the one surviving series where he occurs as a semi-regular (at least until halfway through S1 when he went off to the BBC to be in the now-burninated Hunchback of Notre Dame).  This isn’t standalone, but it’s a good series and it is on YT.  See how you go with crackly old TV before you brave it but it’s the snarkiest thing ever made about people making concrete and stabbing each other in the back.  JM is a civil servant who tries to run the National Export Board and is plagued by Patrick Wymark and Clifford Evans as warring businessmen.

***

[... Well, now I just feel scary.  0_o  In my defence, I have been stuck home bored & ill for years, and often unable to watch modern TV while trying to cheer myself up with James Maxwell, so I didn’t watch all of this at once.  It just... happened eventually after SotT. /waves hand 

But if anyone feels the need to unfriend my quietly at this point, I understand. /o\]

[zukadiary]

Mugen Musou / Krung Thep ~ Moon Troupe 2019

Over the length of my trip I saw a pretty fair cross section of this show—way back in mid-March pre-Krung Thep changes in Takarazuka; the live viewing of Takarazuka raku with Miya’s sayonara show included; and last week in Tokyo, the first full day of Reiko’s absence with the cast changes in place. 

I solidly did not enjoy Mugen Musou. I love Tamaki’s Tsukigumi, I love Miya Rurika and was so glad I had the opportunity to see her last show, and no one’s treatment in Mugen Musou was able to save it for me. I think perhaps if you read and enjoyed the novel, and also love Tsukigumi, there’s a decent chance that you’ll like this. I did not read the novel, and it felt very much like I had to as a prerequisite. 

There was an awful lot jammed into an hour and a half. The flow of the show bothered me; there were so many scenes, they changed so quickly, and none of them felt very substantial to me. In Saito-sensei’s attempt to cover as much plot as humanly possible, I think he lost the characters; while I understood generally what was going on, I did not immediately get who many of the characters were, how they knew each other, or why many of them were doing what they were doing. 

That provided a poor setup for my biggest gripe: I recognize that I am an American, and I am not necessarily the intended audience, and that this is certainly a big part of Japanese history and culture, but in the year 2019, the whole samurai honor I-must-kill-everyone-just-to-prove-I’m-strongest thing is not very compelling to me. If accompanied by moving character relationships (which, I hear, the novel has in spades), I can definitely give it a pass; but in the absence of onstage character development, that as the standalone force driving the story was simply not interesting or relatable enough to me to be enjoyable.

With a few exceptions—and this probably just goes back to the overall lack of character development—I thought most of the characters were ill fitted to their actresses. I don’t even think anyone did a poor job, everyone really gave it their best effort; my hang up lies entirely with the directorial choices, and I guess the choice of this show in general. I find Tamaki the most charming when she’s fully in wholesome ideal husband mode. I finally watched Elisabeth recently and liked her Tod a lot more than I expected also, so that was a fair out-of-the-box choice for her. The samurai with something to prove for no good reason other than that he’s embarrassed about his dad did not hit me where I want Tamaki to hit me. Otsu is not really presented with much depth; she’s pretty demure, and she spends the whole show waiting around for men to come back to her and gets sad when they break their promises. I was hoping we’d get something that would allow Sakura to show off her strengths a little more in her Grand Theater debut (although she did play the flute for real). I wanted more pining between Otsu and Musashi, but I didn’t really get it, and what there was seemed kind of one-sided on Otsu’s part. Kojiro, too, was one-note; I’m not sure what there was to him other than “the strongest dude” (oh, and he wears a cross, so he’s CHRISTIAN. That’s BACKSTORY). Miya did her damnedest, and she did manage a kind of cold sexy anime boy vibe, but again, especially for her last show, this was just not the kind of character I most enjoy seeing her play, nor did it play to her strengths in my opinion (with truly all the love in my heart for this woman, I have to say she cannot swordplay her way out of a wet paper bag). On my first viewing I thought Ari was the villain, but after the other two I don’t think there even is a villain; Ari seems to be just a stern guy from a dojo (that Musashi passed through when he was weak and thus *had to* defeat in its entirety when he got strong). Again, I don’t really know what his motivation was, and the character didn’t show off any of Ari’s charms, or challenge her in a meaningful way to try something different. Very few other people got roles substantial enough to be worth mentioning. 

I DID enjoy some specific things:

Reiko’s character, Matahachi, was my favorite, and her portrayal was my favorite. Matahachi had personality, and amidst all this very serious samurai glory business going on, he had sort of his own contrary subplot that I found much more entertaining. He’s a loyal friend to Musashi, but also lazy, kinda dumb, and utterly useless. He runs away from home with Musashi in the beginning, but while Musashi is off on his quest for ultimate strength, Matahachi pretty much gives up, spends a lot of time sleeping in a brothel, has to do manual labor for 5 minutes and gets tired of it, and eventually happens upon a dying man who is trying to carry some sort of scroll of certification to Kojiro. Matahachi is thrilled at his great fortune; he takes the scroll from the dead guy and uses it to steal Kojiro’s identity, attracting hordes of women and scaring away thugs on his “reputation.” His aging parents WALK OUT OF THEIR TINY HOMETOWN with the purpose of finding him and bringing him home, and successfully find him and embarrass him in front of all his swooning admirers. I saw Oda on the first day she took over this role, and I wish I could have seen her after a little more warmup. She didn’t have the charm that endeared me to Reiko’s Matahachi, but she sure can hold her own with the rest of the upperclassmen in terms of acting and stage presence. 

Toki-chan as Akemi, a girl who Sachika’s character took into her brothel and raised, gave me the heart-wrenching yearning I wanted from Musashi and Otsu. In the very first scene after the prologue, Akemi and Musashi are walking and talking (she’s taken a liking to him). Musashi finds a bell on the ground and sticks it into Akemi’s obi. For the remainder of the show, Akemi jingles softly with every appearance and every movement, haunted via sound by the reminder of her unrequited love for Musashi, making all of her longing looks more poignant. 

There’s a scene at the end where Musashi sees a ghost/memory of his father (Shimon). Dad is like WHY DID YOU DO ANY OF THIS? and Musashi doesn’t really have an answer. Same, dad. 

I loved Krung Thep so much the first time I saw it. Then it went through some changes, and I cooled a little on it, but still thought it was really good overall. 

It’s been a 2-act heavy year so far, and Estrellas and Krung Thep (as of me writing this 2 days before Yukigumi shonichi) have been our only revues. I thought that for the most part the music in Krung Thep was beautiful, not really in a jam to the soundtrack way like Estrellas, but in a really nice ambient way; there are a lot of bells and other interesting sounds that we don’t get as frequently. It also has a dazzling gold aesthetic, the kind of spectacle you want as a Takarazuka lover going into a revue.

There were for sure some questionable moments. The boy band number (albeit this time with Sakura at the center of the boys), which, much to my chagrin, seems to have become a revue staple regardless of director, was originally THIS SONG, which I happen to know and love thanks to this Japanese version, so I forgave its presence. This was one of the three numbers that got the axe before filming day, and they replaced it with a synth remix of the Takarazuka classic C’est Magnifique. That rendered it no longer forgivable. The chuuzume was very long and set to Shall we Dance, but like... only the chorus over and over and over and over again with varying flair. It was also turbans doing absolutely nothing to disguise Daisuke’s favorite Latin ruffles, and, if not for the King and I undercurrent, it wouldn’t have fit with the rest of the show whatsoever. A King and I medley maybe would’ve been nice?

Standout numbers:

The first or second number after the prologue (depending on when you think the prologue ends) is a Reiko vs. Ari kickboxing match. It’s hammy and ridiculous and goes on for two whole rounds, which seemed TOO LONG for how awkward it was the first time I saw it... but then when the fight ends, they break into a song about “male friendship” and how they love each other no matter who wins or loses. After that I was stoked, and on subsequent viewings appreciated every detail down to their girlfriends and trainers in the audience.

There’s a beauuuutiful barefoot duet dance between Tamaki and Miya

Mayupon in drag singing in at least 3 octaves flawlessly. There’s an alternate timeline, perhaps a brighter one, where I’m just in Mayupon’s club

Admittedly one of my least favorite revue tropes where there’s a nightclub and a girl and a terrible boyfriend and a new guy who shows up and someone gets jealous and has a gun and the wrong person always dies... but this time Ari is in hotpants

The Grand Hotel numbers in the sayonara show are probably too tough a contender, but the Krung Thep kuroenbi is not only great (messy tailcoats with rolled sleeves, mmmmm) but also almost the best little taidan gift for Miya in the whole thing. I don’t know how they’re going to splice the frames together for the DVD, but it opens with Miya singing a solo, and then she goes down into the floor as the kuroenbi is starting (making it look like she won’t even be in it). The rest of the otokoyaku dance a bit, then Miya comes back up out of the floor dressed to match, and everyone else hits one of those sexy lunges in formation, and then they all turn their heads to look at her in unison. Ugh.

I’m gonna miss Miya!!!!! And I hope Reiko is doing ok.

[firebirdtransam68]

Scene Comparisons From Transformers: Superlink/Energon (Episode 50)

I found two clips of the same scene, but with different languages (and graphics).  The scene in Episode 50 where Galvatron becomes enormous as well as Optimus Prime, and how the media went from CGI to hand drawn may be one of the best moments in Transformers: Superlink (Japanese with English subtitles) and Energon (English dub).  Although, personally, I have no problems with the CGI (it is not perfect, but I don’t think it is awful like many fans say it is), and I find it really interesting how a work has a mix of both 3D and 2D animation (mixed media).

I will start with the Superlink version, first.  Here is the clip:

In this scene, we see the behemoth Galvatron admiring his new super form, and declared himself “the Transcendent Emperor of Destruction, Galvatron-sama.”  Optimus Prime (hell, I will call him Grand Convoy in this version), while still big enough, declared he can do the same; so he became enormous like Galvatron, combined with the Grand Force, and declared himself “the [Autobot] Supreme Commander, Grand Convoy” while beginning the fight.  Note that both characters became hand drawn (probably because CGI couldn’t be THAT consistent with the animation).  Galvatron was actually really gleeful to fight Grand Convoy (he would get infuriated when anyone interferes with the fight, because he wanted to fight his rival one-on-one without anyone else joining the fight; he mentioned earlier that he wanted a fair fight, and he GOT a fair fight... maybe), and clashed with his old enemy.  Once their fists were together, they created a blueish lightning impact that crushed some of the rocks below (probably to show how forceful such impact is).

Snowstorm and Irontread were pleased that Galvatron was no longer possessed by Unicron, and he was acting like his old self, again (“although bigger,” said Irontread); by old self, meaning an agressive, impulsive, and stubborn Decepticon (or Destron) leader.  Rodimus Convoy was surprised that Grand Convoy and Galvatron were not only fighting each other directly, but also fighting off their possession from Unicron, who corrupted them with an ominous power; Hot Shot was also surprised.  Omega Supreme caught a sight on Grand Convoy and Galvatron fighting, also surprised.

Grand Convoy performed a “Grand Force Impact,” which shot off lightning bolts and another forceful phenomenon that caused an explosion; but it did not affect Galvatron, as he charged at the Autobot (or Cybertron) leader without a single scratch, and drew a blade at Grand Convoy, who was trying to block it with his arm.

One of the Autobots (I think it is Overdrive; there is also Wing Saber, and another Autobot in which I cannot decipher who because of the flames) was surprised that Grand Convoy was more aggressive, more powerful, and more determined than ever before; he really didn’t expect that.  Nightscream was surprised and nearly lost for words, while Shockfleet was just swooning over Galvatron (he has a crush on the Decepticon leader).

Grand Convoy and Galvatron were still fighting in their gigantic modes.  Galvatron diverted Grand Convoy’s attention, transformed, and kicked him, but Grand Convoy caught his balance, and kicked the Decepticon back, but it did not affect Galvatron as much (besides stumbling a little bit); suddenly, Galvatron stabbed Grand Convoy with his blade, and claimed victory, until Grand Convoy electrocuted him, and did the unthinkable: Combining their corrupted sparks (as well as his Combination Spark), sealing them into his body, and disappearing into the atmosphere along with Galvatron.  

I was stunned by not only the graphics and soundtrack, but by the fight scenes, the leaders’ determination, seeing Galvatron back to normal without being possessed by Unicron, and Optimus Prime trying to stop the corruption by sealing it into his own body (unless that was Primus, but it sounded like Optimus was declaring the fate).  Of course, there are still many awesome scenes and moments in Superlink, as well; not just this scene.

Now, let’s see the Energon version of the scene:

(The first time I saw this clip in sound, it was so horrible, I paused it before I saw the great battle; to me, that was even worse than some 4Kids dubs (individuals are different; sometimes we can tolerate certain works, but other times, it is far too much to bear); I wish I was brave enough to at least watch the clip with sound, but too bad I wasn’t; I am glad I saw the original version, first, though.  The good news is, there are subtitles, but I don’t guarantee they will be accurate, but I will try my best to decipher them.)

In this scene, Galvatron calls himself “the new-and-improved emperor of the dark side” (Star Wars reference, here), which did not sound as menacing as “the Emperor of Destruction,” rather, it was somewhat amusing.  Optimus Prime seems unconvinced, but then proceeds to battle Galvatron.  First, he combined with the Prime Force, said “let me introduce myself” (as if Galvatron does not know who you are), and called himself “supreme leader of the Autobots,” which sounds a little more boastful than the original version (Superlink sounded more determined, in my opinion).  Galvatron thought that was funny (as did I).  The fight began.  And, seeing how this version seemed choppy and less detailed, Energon, like Armada (originally Micron Legend), is rushed and not very smooth (the visuals are bad enough, already; don’t worsen the moment with the voice acting).

The reactions from Snow Cat and Demolishor are nearly the same (just with different wording), although Demolishor said Galvatron gained a few tons (as if to say Galvatron is overweight), which is lame, because Galvatron grew many yards or miles tall, NOT gained more mass or weight by a thousand pounds times 100 heavy; not even 4Kids would have made the pun slide if Energon were to be redubbed.  Rodimus Prime said, “since Galvatron was holding back on the power he stole from Unicron,” and Hot Shot responded with “yeah, and that’s what worries me;” which would have made sense had not the show been rushed (what do you mean by “holding back on the power he stole from Unicron?”  I don’t recall Galvatron “stealing” Unicron’s power, although he did use too much power, so that would be understandable; but the wording threw me off).

We see more choppiness when Optimus Prime was preparing the final blow, and the explosion was just a black puffball (how weak of an explosion!); and then Galvatron charged at Optimus in stills (one picture, then another, without any real motion).  There was no real force when Optimus blocked the blade (besides the expressions from Optimus and Galvatron).

One of the Autobots (presumably Cliffjumper) commented how pumped-up the Autobot leader is; he doesn’t seem too surprised like Overdrive was in Superlink.  Starscream didn’t say anything (but his mouth was moving; really bad lip synching, there); Mirage was cheering for Galvatron to win (in this version, Mirage doesn’t have an obvious crush on Galvatron, but there have been really subtle hints).

While Superlink went to black and then cut to the next scene with Galvatron and Optimus still fighting (probably indicating that time had passed), Energon cut immediately to the fight scene.  When Galvatron kicked Optimus Prime, you can see the blurr effects in stationary, and the motion was choppy, YET again.  When a flash appeared, the cut freeze-framed before we get to see Galvatron’s reaction to being kicked back.  Galvatron stabbed Optimus, claimed victory, and got electrocuted with Optimus saying the following line:

“It seems we’re both filled with the power of Unicron.  Well, it’s time I take it and put it in the maze” (didn’t make any sense, whatsoever; I don’t think even the subtitles thought it made sense, either).

We see Galvatron’s mouth move, but he didn’t say anything (more lip synching failure).  While Optimus and Galvatron were disappearing (or shrinking), we just see them dissipating into the atmosphere with no other surrounding light other than the yellow beam.

Yeah, the Energon version was (I will say this) awful.  No wonder this Transformers work was hated by many fans (especially those who saw the English dub first/only).  Since I saw Superlink first (which I thought could be better, even though it was still an awesome Transformers anime; I liken it to The Transformers: The Movie (1986), since they killed off my favorite characters, and there wasn’t enough character development for some of the newer characters (like Springer, Wreck-Gar, and Kranix), even though I wanted to see/know more about them; the film and the anime are very similar to each other), I wasn’t affected by the monstrosity in Energon.  Although, when I tried to watch Energon, it was too much to bear (some of the animation was bad enough, but the voice acting was worse); I starting watching other works (mostly movies and TV shows, as well as listened to music, and compared Sonic X sub vs. dub for humor (as well as hypothesizing what if 4Kids got the Unicron Trilogy and made it better, but not great)) to get the rushed dub out of my head, and I started to rewatch some clips from Micron Legend as well as Superlink (to me, the originals are more tolerable, and are usually the best). 

I have a recommendation: if you want to see a certain work, don’t look for the dubbed version, first; try out the original version, and maybe see the dub next.  You may like one better than the other, and some parts may be better than others, as well.  You may like the original, or you may like the dub; individuals are different, after all.

Looks like that is all I will be saying for now.  I plan to rewatch the two Transformers anime shows as well as watch Bumblebee (2018) again, and also Sonic X (original version with subtitles) during my spare time.  My next classes are coming up soon, so I may not post as much; but that doesn’t mean I won’t be back.  I have mentioned earlier that I am an on-and-off Tumblr user; having other things to do is one of the reasons.

Everyone else, have fun exploring more content you like, and please be cordial and respectful to one another.

Stay tuned for future posts.

This is FirebirdTransAm68 signing out.

[austencello]

Crossing Lines - Arrow Music Notes 7x03

The marries couples of Arrow wrestle with the lines of morality as they are willing to work with questionable allies for the greater good in order to protect their families and the world.  This episode brings a melody back from Season 3 and introduces two new ones.

Oliver in prison

The episode begins ominously with wooden blocks, Oliver’s guitar harmonics repeating the same note, and brass beginning to go up a scale making it unclear whether this is a nightmare or reality.  Is Oliver being a hero or a villain?  

Oliver confronts Brick about the information owed him after getting rid of the guard with the same music in electric bass used for their scenes in 7x02.  As Oliver waits in his cell for a meeting with the Demon, guitar harmonics (Oliver) and harp (Felicity) play a repeating motif over a single repeating drum as the audience sees the location and size of the prison from the outside.  As the shot focuses in on Oliver, cellos play as he looks at the picture of Felicity and William.  These are who he is fighting for and keeping him grounded. 

The percussion (wooden and metal) of the prison continue as Oliver and Stanley wander through, string patterns return as he fights Turner, and then the music changes a little as they talk.  Turner informs Oliver that he saved Lyla back when they were on a Suicide Squad mission together as brass and strings play, telling him that they might not be so different after all as the guitar harmonics and horns (instruments for Oliver and the Hood/Green Arrow) return insinuating that they all are criminals looking out for themselves but a few have brief moments of humanity still there. 

Oliver discovers that he was played twice as he enters the prison fight club to high electronics and he has no interest in fighting but they would not let him leave.  This leads to a visceral brutal fight as strings and electronics alternate between major and minor thirds almost mirroring Oliver’s struggle between the villain and the hero as he fights for his family and his survival.  A low brass glissando accompanies his jump up to confront Brick (usually it’s a higher gliss as the Arrow).  This is an angry desperate Oliver who is not interested in playing games.  The music from the beginning returns as Brick tells him that the Demon is on level 2 but that he won’t ever get there.  The wooden blocks is very reminiscent of Prometheus and mixed with his guitar harmonics reflects his inner turmoil from being a hero and going down a darker part, doing what he feels he must to protect his family from Diaz. Violins and brass play a melody out of the first four notes of a string pattern that has accompanied Oliver since the pilot “Five Years”  It has aspects of heroism and aspects of tragedy summing up the darkness of injuring all four guards to save his family.  It has been awhile that a new melody has been that strongly present in the show which makes it stand out even more.

Minor strings play as Stanley tells Oliver that he won’t be able to stay a hero in prison while the percussive beats from the prison view return.  The jail bars/metal percussion returns with a low distorted bass motif playing (reminiscent of the opening song in 7x01) as Oliver is escorted to Level 2.  In the midst of the darkness, a faint wandering melodic in higher electronics offers a contrast.  A little hope that Oliver clings to as he goes to level two of hell.

Felicity and the FBI

The episode picks up right from the conversation Felicity began last week with Samandra Watson.  Felicity wants desperately to help and find Diaz via the Longbow Hunters but Watson keeps telling her that they already have experts and to go home over electric bass and guitar harmonics (Oliver’s instrument).  Violins begin a new melody as Felicity lists the numerous ways her life has fallen apart while Watson has failed to keep her side of the bargain and catch Diaz.  The music then shifts into Felicity’s instruments (waterglasses and harp) reflecting her heart as she declares that her husband sacrificed six years for the city, now fighting for his life in prison while the monster responsible is still free.  That is not justice or right in her eyes and the heart-break is reflected in the violin melody.  This is the woman who believes in Oliver as a hero and who also misses her husband.  Who sees the things they fought for all stripped away in the name of justice while they had given everything to protect the city.  (I really hope we hear this melody again.  It was beautiful).

Felicity and Rene present an idea to set up a trap for Diaz at the CDC with Watson and Dinah.  As Felicity puts forth her idea, harp plays a 3-note motif over string patterns, emphasizing Felicity taking charge of this operation and setting forth a plan even though it is going against Watson’s boss.  As Felicity states that no-one has seemed to catch him yet, the guitar harmonics and harp meld together playing the same melody.  This happens throughout the series, often for Oliver but a little less for Felicity.  While Felicity’s instrument brings light and grounding to Oliver, Oliver’s brings fight and resolve for Felicity.  

Electronic notes and beats match the soundscape of Overwatch and Arrow missions as Felicity and Watson talk about their views of justice as they set up in the server room.  A version of the Longbow motif plays as the villains begin to take the vials, and the Silencer effect continues with the percussion sounding like it is under water as she fights Dinah.

Unfortunately, it appears that the mission was a bust and Watson is reassigned.  As she packs up, Felicity drops by and Watson tells her that while she believes in the justice system, she also believes that Felicity deserves to be with her family and that she is a good person.  As she says this, water-glasses and harp accompany the scene.  Felicity is moved to hear this mixed with a little guilt and lying, knowing that the capture of Silencer and keeping it from Watson affected her career.  Hearing this both grieves and resolves her to move forward to protect her family by any means necessary.

Diggle and Lyla

The Dyla theme is back! Their theme of strings, brass and bell-like electronics was present in Season 3 when Baby Sara was born “my whole world changed” (3x01), when they became engaged (3x08) and when Oliver told them to go on their honeymoon in 3x17.  In many ways, it is fitting for it to return as they joke about going on a second honeymoon and reminisce about their previous honeymoons.  It is also a little sad that it has been absent for three seasons in-between.  It represents them being happy together and on the same page. 

Of course, that does not last very long as Diggle discovers Lyla was copying information and giving it to a suspicious person.  He follows her which upsets her and he feels betrayed by her.  She shares her concerns about something big coming and being willing to cross the line for the greater good.  Diggle later comes back and apologizes as their theme returns.  He admits he was wrong and that he should have given her a chance to explain.  He worries about their son and trying to keep their family safe but is willing to trust Lyla and her decisions to keep the world safe.  They agree to share the secrets and burdens growing stronger together.

Extra Notes:

- Fun strings return as Diggle interrogates his son about eating the whole package of cookies which was cute.

- Diaz’s string pattern returns after he punches the wall due to an injection of super strong stuff.

- I’m a little under the weather so I really hope these Notes were coherent!

- There is slightly alternating information about the S6 soundtrack release.  The track listings are available currently and it will be available either next week or Nov 30th depending on Amazon vs La-La Land Records. Who knows? 

@smoakmonster @pulpklatura @withgraceandlight99 @ah-maa-zing @mel-loves-all @herskirtsarentthatshort @almondblossomme @scu11y22 @thegeriatricfangirl @jorahandal @green-arrows-of-karamel

[mmorgmotorcycle]

Proshow producer 6 vs producer 8

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This trial version expires after 15 days of use.With lots of effects, transitions, themes and output formats, ProShow is one of the widely used slideshow developer tool. If we just talk about image file format supported, it is worth to note that it can work with over 100 different picture formats such as JPG, BMP, GIFF, and TIFF. Concerning formats, ProShow Producer supports a compendium of images, video, and audio formats. By that, we mean cropping songs, cross-fade tracks, and others. More than that, it is also possible to customize them. Just with a microphone, ProShow Producer also enables to add soundtracks and voiceovers to the slideshow. Apart from that, users can also pan, zoom and rotate motion effects. It is even possible to create an effect, transitions and slide styles. Over 950 effects are available at users' disposal with ProShow Producer. It offers all the necessary tools to enhance output.

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If you do not already own registration keys, ProShow may not work on your computer. Their website closed permanently on January 31, 2020. Posts 1152 Registration date Wednesday NovemStatus Administrator Last seen October 28, 2021ĭisclaimer: ProShow Producer is a PhotoDex product. ProShow Producer is a great tool for slideshows but because the PhotoDex website is closed, you may need old registration keys to make it work.

[agentnico]

Spiderhead (2022) Review

No spiders were harmed during the production of this film. Should also note there isn’t even a single spider in the movie. A few heads though. For more useful facts, don’t come to me.

Plot: Two inmates form a connection while grappling with their pasts in a state-of-the-art penitentiary run by a brilliant visionary who experiments on his subjects with mind-altering drugs.

From a basic standpoint, Spiderhead feels like an elongated version of a Black Mirror episode. The principal of setting in a near-future dystopia and utilising a science fiction technology, in some ways being a form of speculative fiction of the horrors that await us and how the use of technology will in turn control us. However with mirroring (pardon the pun) Black Mirror, Spiderhead also suffers from a concept that from the get go is quite interesting, but isn’t something that is worth a feature length look at. For the movie does end up dragging in a few parts and you do feel the time. However the movie also suffers from a fairly weak script, as the central concept itself feels like it’s surface is scratched the bare minimum. There could have been some really interesting philosophical, moral and ethical ideas explored, but the movie very much decides to go the easy way of having a cliché good guy vs bad guy stand off conclusion that very much emphasised that this is after all only a Netflix movie. I think also the choice of having director Joseph Kosinski on board was a questionable one, as the guy does have talent in filming big spectacle visual vistas like he did in Oblivion and most recently Top Gun: Maverick with those spectacular aerial sequences. However with Spiderhead for the most part being set in the confines of the plain indoor rooms of the prison facility, the only time Kosinski gets to show off his knack is by endlessly rinsing out aerial sweeping shots of the facility from different angles and being like “oh look, there’s Hemsworth’s stunt double flying a little plane, look at him go!”. 

Speaking of Hemsworth, you can tell the movie mainly relies upon his and Miles Teller’s acting chops. Teller is perfectly apt at delivering those dramatic lines with the necessary sadness behind his eyes, and Chris Hemsworth is evidently enjoying playing a charismatically crazy mad scientist who naturally gets to do a cheesy evil villain dance, but then again, Hemsworth was a much more memorable and menacing villainous presence in Bad Times at the El Royale. Speaking of which, have you guys seen Bad Times at the El Royale? Now there’s an underrated flick. Very Tarantino-esque, if that’s your cuppa. But I digress. Spiderhead - it’s an okay film. Not great, but neither terrible. Features a good concept with strong potential that unfortunately isn’t used, and therefore we have a fairly throwaway Netflix film that has its moments, got a very game cast and a surprisingly top notch soundtrack. Feels like the producers spent most of the film’s budget creating their favourite Spotify playlist. Who can blame them though.

Overall score: 5/10

[scrawnydutchman]

Coco Movie Review

Note: this review contains spoilers highlighted by bold letters for readers convenience. If you have not seen the film yet skip the bold sections and come back to read them once you HAVE seen it.

So I just came back from the theater after seeing Pixar’s Coco with a friend. An adventurous little romp about a Mexican boys’ supernatural journey to find his destiny, Coco is a spectacularly colorful, visually stimulating, heartfelt and clever little masterpiece that shows that in spite of recent worries many people have been having (myself included) Pixar isn’t losing their touch in creating marvelously original animated pieces. Granted this film borrows a lot of stylistic choices from Disney Animation Studios as well as other animated films (cough *BOOK OF LIFE* cough) but it also arguably takes those choices and makes them better. I’ll delve into more detail about that in a bit, but let’s tackle this film one section at a time, starting with story.

Story:

Synopsis: Miguel is a young boy who is part of a large family in Mexico and has aspirations to become a great musician. But music is banned in his family due to an ancestor of his leaving his wife and child behind to selfishly pursue a career in it. This doesn’t stop Miguel from striving for greatness though as he feels it’s in his blood to play music. One thing leads to another and Miguel ends up transporting himself to the realm of the dead where he decides to learn more about his families past to find out just what happened all those years ago. But it’s a race against the clock as Miguel finds out if he doesn’t leave the realm of the dead fast enough he will end up staying there forever. Will he be able to find his destiny and discover the truth about his family in time?

This is a pretty typical Disney plot setup. Young protagonist wants to achieve something greater than what his family has planned for him, goes on big misadventure to discover his true destiny, his family learns an important lesson about letting their kid follow their heart. If you’ve seen a Disney movie you know the ropes. But while this storyline is undeniably common among Disney films, Coco actually has a unique take on the subject matter that I haven’t seen previous entries ever do before. The lesson of the family letting Miguel follow his dreams is still present, but this time around it isn’t as clear cut and dry as, say, Pixar’s Ratatouille, which also had an ongoing theme of passion vs. family. While in Ratatouille the family pretty much has to concede to Remy as the film demonstrates he was right all along, Coco has the angle that Miguel is also at fault for a lot of his actions and has to know the importance of family as well. The film also has a great plot twist that makes the point that there IS such a thing as going too far for your dream. Truth be told it’s probably the most refreshing take on the subject matter I’ve ever seen either Disney or Pixar do.

The plot twist in this film is arguably the most effective twist I’ve ever seen either a Disney or Pixar film pull off. Matter of fact it’s very similar to the plot twist in Disney’s Frozen, but I would argue Coco succeeded where Frozen failed. In Frozen the true bad guy is hidden through a cheat in the narrative. The prince acts all starry eyed and innocent even when in the context of the scene nobody is around him, and so it’s a bit of a cheat to have it be executed in this fashion. With Coco, the bad guy is shrouded in mystery for the majority of the film. Ernesto de la cruz plays a very similar role to Gusteau in Ratatouille, where he’s a role model the protagonist never really interacts with outside of watching films and pretending to be there with him. At least that’s what it is for the majority of the movie. But when we DO finally meet him and learn his dark terrible secret, and that he cheated and murdered his way to his success, it’s not unbelievable, because just like the main character we as the audience only saw what he wanted us to see. We only ever saw his on screen persona and heard other people talk about him, whereas again, in Frozen the context implies the prince is virtuous even behind closed doors. It doesn’t feel out of nowhere because the narrative doesn’t progress in a way where betrayal was ruled out. And this twist is beyond clever because, again, it takes the moral we all see coming and puts a completely different spin on it. There IS such a thing as going too far for your dream, and there IS a certain extent where you have to put your family before your aspirations. It’s a much more profound look than kids are used to.

Beyond the compelling plot twist and the clever spin on an otherwise overdone message, it’s a pretty cookie cutter Disney movie. There’s a comedic foil, an adorable sidekick, an ambitious young protagonist, and this time around more than a few tear jerker moments. But hey, if it ain’t broke don’t fix it. And man, when it comes to the tear jerkers, this film comes from the realest place since Pixar’s Up. The last 30 minutes are especially gut wrenching, which I for one think is a welcome compensation after Moana was pretty lacking in the sad stuff (though I will admit as a result this movie is lacking in the more comedic side). Also there’s a more than healthy dosage of Mexican culture to really break up the monotony of the story we’ve heard millions of times.

Animation/Art Design:

This. Film. Is. GORGEOUS!!! Absolutely colorful, inventive backgrounds, great use of contrasting blue with orange, dripping with Mexican atmosphere, and it really showcases some of the most impressive and inventive visuals I’ve ever seen in a Pixar movie. For one, this movie is not afraid to zoom in on all the intricate guitar playing, and for good reason. You can see every detail, every plucked string, every held note in the guitar playing. You might think this is a minor point, but take it from an animator; animating guitar or piano playing is EXTREMELY difficult especially if you want to make a point on being as accurate as possible. There’s a reason why in most animated media they zoom out, zoom in to the face or depict the playing from the other side of the piano to hide the fact that they probably aren’t hitting the right notes. Also, the way the skeletons move is wonderfully creative and interesting. So much thought went into how they walk, how they interact with their environment, how they rebuild themselves after splitting into several pieces. I especially love the squash and stretch the skeletons have; it makes them look appealingly jagged and really sells how lightweight they are without all that flesh and meat. This films is dripping with inventive visuals from beginning to end. The use of colous are on point, the lighting is great, the Textures are the best Pixar has pulled thus far. It’s a visual marvel. The character designs are great too, especially Dante the very derpy looking dog. The way his eyes and tongue look make for an effective comedic foil as well as the way his lanky scrawny body moves. In fact, the animal creatures in this movie are all very appealing in different ways. Many people including myself were skeptical about the designs of the skeletons, particularly with the big expressive Disney-esque eyes. While I’ll admit at first I thought they looked a little too odd they grew on me over time.

Also this movie is great at using it’s visuals to better progress the story, like how Miguel’s body is becoming more of a skeleton to sell the passage of time without verbally pointing it out too often.

There is just one very VERY minor issue I have with the visuals. I’m not 100% certain on this as I’ve only seen the film once thus far so it’s possible there’s just something wrong with my sight or some other reason, but I think the film uses motion blur to it’s disadvantage at times. There are scrolling shots in this movie that are supposed to showcase how massive an environment is and how many people are present in a location, but the use of motion blur makes it too fuzzy to really take in and I honestly think they laid it on too thick at times for how fast the camera actually moves. It got to a point where trying to follow the movement actually strained my eyes a little bit. It would have benefited the film more if they just left it out in certain points to make the image pop as clear as day. All well, it’s a minor knitpick that for all I know might not actually be a problem, but for the time being i’m docking a wee bit from the overall score. Besides that, it’s an undeniably beautiful flick.

Acting:

Pretty standard Disney and Pixar quality here. Every voice actor and actress in this movie does a stellar job. The cast is authentically Mexican and it shows (lncluding a Gabriel Iglesias cameo), making for greater immersion into the scenery. No performance seemed out of place, everybody got the proper emotions across. Not a whole lot else to say really.

Sound Design:

Again, pretty standard Disney and Pixar quality. Being that this movie has a heavy music theme in it, the soundtrack is beautiful and, again, authentically Mexican. The recurring song “Remember Me” is especially beautiful. This is one of those movies where the music is actually so good that I ended up getting the soundtrack on Spotify. Also, though it’s a minor addition, the mariachi cover of the music for the opening Disney logo is a nice touch. The sound effects were effective as always.

EDIT: I forgot to mention this the first time around. Not only is the music stellar but it actually plays into the plot as well in a way that’s very effective in retrospect. The song “Remember Me” has 2 versions; the opening bombastic one done by the villain of the movie and the softer, more sentimental version done by the real musician. This is actually brilliant foreshadowing to the types of characters each of them are. de la Cruz is a self absorbed, entitled asshole, and so his version of the song reflects that by being a big over the top dance number. The phrase “Remember Me” in this case is more about him telling his audience about how important he is. In contrast, the lullaby version is soft, sentimental and genuine. It isn’t superficial and it’s beautifully simple. This is a reflection of the writer. He didn’t write it to become a star. He didn’t write it because he wanted attention or glory. He wanted to make a connection with his daughter before he left. A touch like this is brilliantly subtle.

Conclusion:

Coco is tightly written with a clever and refreshing take on a recurring Disney trope. It’s visually stunning, very inventive, dripping with Mexican atmosphere and culture, and showcases some of the most heartfelt visuals and audibles I’ve seen come out of Pixar in a very long time. Really, my only problem with it was the use of motion blur at times, and that’s me REALLY stretching for something bad to say about it that I’m not even entirely sure I can back up. It’s a great film to take your kids to or to see for yourself if you’re an animation fan.

Story: 2/2

Animation/Art Design: 3.9/4

Acting: 2/2

Sound Design: 2/2

Final verdict; 9.9/10 - DAMN close to perfect.

[secretradiobrooklyn]

HALLOWEEN RADIO | 10.31.20

Secret Radio | Halloween special 10.31.20 | Hear it here.

Artwork by Paige, Liner notes by Evan except * means Paige

1. Sam the Sham - “Little Red Riding Hood” *

I had to make the case to Evan that this was a Halloween song, but I justify with the fact that 1.) this song uses the phrase “spooky ol’ woods” and 2.) many years ago, Sleepy Kitty played a festival on Cherokee Street that wasn’t a Halloween show but it happened to be the Saturday before Halloween. Recognizing our responsibility, we scrambled to throw together costumes and realized that if we just got a wolf mask and paws we already  had everything in our wardrobes to throw together the Sam the Sham and the Pharaohs LP cover drawing of Red and the wolf. Evan says he doesn’t like Halloween but it’s only because once he commits, he commits completely. One of my favorite moments of the night was spotting Evan that night, several hours after our set in the afternoon, having a completely serious and sincere conversation with a friend – wolf nose and paws still intact. This was pre iPhone days, but I tracked down an image and I’m gonna put it on our fake radio insta. Thus, Little Red Riding Hood is in fact a Halloween song. 

2. Roky Erickson - “I Walked with a Zombie”

Every year, reliably, Paige’s dad Ned tells us we should cover “I Walked with a Zombie,” and each year we somehow don’t do it. So this live version of the song is for him, just in case this is the closest we ever get. 

Halloween tag

3. Steve Martin - Little Shop of Horrors soundtrack - “Dentist!”

Sure, an alarmingly large and hungry, sharp-toothed plant is scary. But is it as terrifying as a dentist who delights in the pain he inflicts? “I thrill when I drill a bicuspid” — shiver!

4. Hocus Pocus soundtrack - “Sarah’s Theme”

Our definition of a good Halloween movie is way less horrifying than it is lightly spooky, so “Hocus Pocus” is just about ideal for our purposes. This is the sound of Paige’s delighted Halloween youth… though we also just watched it again. Holds up! 

5. The Beatles - “Mr. Moonlight”

Paige pointed out that this is essentially a religious song to the moon — a song of praise, devotion, and submission to a greater power. 

6. Quasi - “Ghost vs. Vampire”

I know that Quasi has had a long and illustrious career, but my fandom is frozen at this pinnacle of mystical bummerness. I learned so much about being creatively sad from Sam Coomes.

7. Rocky Horror Picture Show - “Sweet Transvestite” 

8. The Velvet Underground - “The Gift”

Didn’t realize this was a Halloween song until tonight. If Hitchcock is proper Halloween, which I vote a definite yes, then “The Gift” is ultra Halloween.

9. Bauhaus - “Bela Lugosi’s Dead” 

I feel like I have to say psychic hello to my friend Joseph Grady, who first introduced me not just to the coolness of Peter Murphy but to the allure of vampires generally. I wore my nails and my coats long. We talked about what the vampires were up to that night. We had some truly perfect nights together.

10. The Bitter Tears - “Murdered at the Bar”

An invaluable prize from being in a certain scene in a certain set of years in Chicago with the School of the Art Institute crowd — grad and undergrad. We all loved this song, and 15 or so years later, “we all” turns out to be a very specific and much-loved crew of people I miss and love. Except for Chris Shea, who I love and get to hang out with here in the city. This song is for him especially. 

11. Phantom of the Opera - Korean cast - “Point of No Return”

We had this epiphany accidentally. As I recall, we watched the movie version of “Phantom,” and I was distinctly not impressed, but then Paige put on the French-Canadian version and we were both fascinated by how different it was. That led us into Phantom Internationalé, wherein we just looked up versions from all over the world. It is amazing: each version is both militantly like and distinctly unique from the others. The Korean Phantom emerges as the most singular from among the versions we heard, and “Point of No Return” an emotional height.

Meet Me in St. Louis - “Tootie the Horrible”

One of the greatest Halloween scenes in the history of cinema in our book. 

12. Donovan - “Season of the Witch”

13. “The Dweller of the Cave” * I Found this tape at my parents’ house this summer while we were delayed in Illinois between March and whenever the van got fixed and we drove back. Rediscovering this tape may be why you’re listening to this whole fake radio spooktacular tonight. Hi to Stewart and Jill. 

14. Science Fiction Double Feature *

15. Dr. Who Theme Song*

16. Red Dwarf Theme Song* 

The previous 3 songs were woven into a medley for Sleepy Kitty’s KMNR Freaker’s Ball. It’s one of life’s great pleasures for a band to play Freaker’s Ball, we literally wound around a wooded road to find some Elk’s Lodge or something full of college kids DECKED THE HECK OUT in EPIC COSTUMES ready to freakin’ get down. Never have I been closer to being the band in the prom scene of a 90s movie than at a Freaker’s Ball. We met some rad folks through the KMNR scene, and if I’ve ever told you about my custom vocal pedals, Colin of CroyTone Audio was one of those rad folks we met one of those magical nights. Also, raise your hand if your love Red Dwarf!

17. Ghostbusters 

Paige: “I had this reflector, this flat reflector that was some scrap of something that Ned got from Honeywell. I would play Ghostbusters, and I was like: ‘This is a ghost trap.’ It was SO REAL to me. It was this flat reflector, like a bike reflector, and I would like, like, set traps. And I’d be like, ‘Don’t move my ghost trap!’ I would set the ghost trap, and it was like fishing for ghosts. But that was me playing. I would, like, wait. …I don’t know if it worked or not.”

“I’m not sure if this is me imagining this or not, but I’m pretty sure there was a day where I was like, ‘I feel like this trap’s not working.’ But I also feel like I was like, ‘But how would I know? They could be all inside. This is either full — or empty.’”

Vertigo soundtrack

18. The Fall - “Frightened”

“I don’t wanna dance, I wanna go home” — Fri-dund! 

19. Goblin - “Zombi” Title Theme

20. Karen Elson - “The Ghost Who Walks”

I think we got this record at Third Man Records when we were playing in Nashville. Sean’s new residence! 

Paige: “Karen Elson is tall, beautiful, an interesting musician, AND she has red hair. That’s crazy. What are the chances that you would have all of those things? Talk about a blue moon!”

21. Eartha Kitt - “I Want to Be Evil”

“The only etchings I’ve seen have been behind glass.” 

22. Jeffrey Lewis & Los Bolts - “The Pigeon”

“Old skies you flapped through are no more.”

We would like to give a heartfelt hello to Yona Schimmel, mostly out of reach for now. We mourn every missed knish.

23. Scott Walker - “The Seventh Seal”

Paige didn’t know this was a movie, she thought this was just a cool song about a guy playing chess with death.

24. Groovie Ghoulies - “(She’s My) Vampire Girl”

I love that he puts two Bazooka Joe jokes right in the middle of the song.

25. Black Sabbath - “Paranoid”

Sometimes you need priests to summon spirits. 

26. Fantasia - “A Night on Bald Mountain”

This is a song that seriously disturbed Paige when she was young. She thought that they did this whole demon thing every single Saturday. For me, it made such an impression that, when each of my young friends and I improvised who we were — “I’m Darth Vader!” “I’m a Cylon Raider!” my take was “I’m Night on Bald Mountain”! And I would open my arms wide and pretend that I was an entire sharp mountaintop transforming into a giant demon with wings, and I would always be the biggest and baddest and scariest creature of all, no matter what they thought. Bald Mountain beats Batman every time.

29. “Jump in the Fire”

Or as I say whenever the occasion warrants: “Jump in the show-AHH!” 

28. Rogers & Hammerstein “Pore Jud Is Daid”

29. Barry Adamson - “Something Wicked This Way Comes”

I cannot recall what brought this album to my ears… I suspect it was something I got in my inbox when I worked at The Rocket. This whole album is full of heavy musical grooves and heavy mental movement. It’s a rare pleasure in 

30. Screamin’ Jay Hawkins, “I Put a Spell on You”

This is straight-up one of my favorite recordings of anyone ever. And when I eventually saw it enacted in “Stranger than Paradise,” I was blown away by how fundamentally Eastern European it sounds. Every sound he makes with his voice creates new characters. 

31. The Shining, “Midnight, the Stars & You”

Happy halloween my friends, I wish we were all at an otherwordly dance together.

[thesummonerofaskr]

Salt 3: Fire Emblem Fates, the Story

Post under the read more

I decided to go ahead and make this since I am currently sick, agitated, and ready to rant about something. I've poked fun at Fates' narrative or outright insulted it before, but I've never said anything about why it's bad. Why is that? Well that would probably be because most Fire Emblem fans are expected to hate Fates' story at this point and so saying that you hate it is just a given. But you know what? I can do better then that. I've done it twice already, so why not? Now to be fair, I will admit I'm a bit spoiled. My first Fire Emblem game was Path of Radiance, a Fire Emblem game considered to have one of the best stories in the series this side of Genealogy of the Holy War. So when I went in and played Awakening, with its fun-yet-busted gameplay and yet still flawed narrative, I was slightly disappointed. I still love Awakening and how it helped save the series, but I'm not above saying it could've been better. Still, when Fates, or rather "if," was announced, I couldn't help but fall in love with the premise. Two families, two different storylines, and a choice to make on which side you would follow? The ability to customize your own personal fortress? It sounded like a dream come true. But then the game to the States and... it crushed sales. You know why Fates gets all the seasonal units in Heroes alongside Awakening? It's because those games sold well, so of course they're going to get more attention whether we like it or not. However, Fates did disappoint... a lot... with the execution of its narrative. I feel like we all convinced ourselves that this was going to be the best game ever only to get something sub-par, which to the hyped up fan can end up being the worst thing ever. Where did Fates fail and how can it be improved? Well that's what I'd like to explore.

Prologue: If It Ain't Broke, Don't Fix It

Fates may not have been the best game in the world, but it certainly wasn't the worst. If you ask some people in the fandom about Fates, they'll get onto their high horse and tell you that everything about Fates was horrible, there wasn't a single redeeming factor, and it single-handedly ruined the entire franchise to such a degree that it took Echoes being made to save it. (And if I ever get around to beating Echoes, I'm sure I could make a rant on how little fun I've been having with it, to the point where I can't beat it.) Those people are... exaggerating. So before we jump into the negativity, I'll offer some positives. For starters, much as with Awakening, I found myself getting attached to a good majority of the characters. Sure there were exceptions (Niles and Hayato), but there always are and that doesn't necessarily make the characters bad for the purpose they were created. Secondly, the village customization was everything I hoped it would be. Yes, I did enjoy playing around with the My Castle feature. I've always been a bit of a world builder, driving my interest in RTS games like Age of Empires and the original Warcraft, and even a small little thing like this got me thinking on how to make my castle pretty. Gameplay mechanics introduced in Awakening were fixed. Pair Up mechanics were no longer broken and allowed you to be more strategic regarding both offensive and defensive measure. Archers and Knights were made not only useful, but amazing, and so characters you wouldn't have used in other games suddenly becomes amazing in this one. Personal skills now exist and even a few of those aforementioned people will turn around and say they would bring personal skills back for future installments. The music... why would people even hate the soundtrack? It was absolutely beautiful. As a sucker for both Japanese and Celtic music, I can certainly say there was not a track in this game that I despised. And I know that some people like how battles get their own music in other games before Awakening, but I've never been fond of that. It feels like I don't get to hear enough of the music in game before it switches over to Battle and back, again and again, until the Enemy Phase... Thanks Echoes. Also, dagger weapons... I hope those return next game to be honest. I don't expect there to be a duality like in Fates, but I do hope there's at least some manner of throwing debuff weapon.

Perhaps this wasn't the most eloquently written paragraph in the history of the world, but I did want to at least start off on a high note... now let's delve into the topic at hand, shall we?

Chapter 1: Pre-Determined Destiny

One of the first issues with Fire Emblem Fates was how it was advertised versus how it was shipped. One of the things we saw leading up to the game's release was how there was going to be a choice between which side you wanted to affiliate with. Would you stand with your blood family, the Kingdom or Hoshido, or the family that raised you, the Kingdom of Nohr? It was a question that actually got a lot of people both excited and competetive, a light battle that I'd only seen in the Warcraft fandom, though not nearly as tense and hostile as Alliance vs. Horde to be fair. But then tragedy immediately struck when it was revealed that to make your choice, you had to purchase the right game for it, split between Birthright and Conquest. That's one hell of a way to make this seeming question lose its meaning. The first five chapters are spent introducing you to both Nohr and Hoshido and by Chapter 6 you're supposed to make your decision based on what you know and how you feel, but that will only work if you had purchased the Special Edition of Fates or, more realistically, if you'd ended up paying the extra $20 to put the other side on your 3DS digitally. Otherwise you'll end up with a 50% chance on whether you now want to side with the kingdom you bought ther version for still or if you'll end up like "wait no I actually want to side with the others," but you can't because this is the version of the game you paid for, kiddo.

It stank of greed to a lot of people and there were even comparisons made to Pokemon as a result. Now to be fair, these comparisons are still completely incorrect. Birthright and Conquest, and the third story released later in Revelations, do in fact tell different stories. There's more major differences in the narrative then which units you get. But it overall came up to $80 in total. Couldn't you have just put Birthright and Conquest on the same cartridge and then made Revelations cost $40 on its own then? Well no, that still would've pissed people off and for good reason. I feel bad for cartridge owners who wanted the game. I heard there was a way to get both on cartridge for $60, but I bought all my Fates content digitally, so I cannot confirm. There's no real way to improve this because it was on Nintendo's marketing for giving the illusion that the choice came in game, not immediately based on version.

Chapter 2: The Avatar of Salt

Honestly self-insert characters are the worst. In a game like The Legend of Zelda, it works because the story takes a backseat to gameplay and Link doesn't need to be anything more then the silent hero who will save the day and bring peace to Hyrule no matter what the challenges are that come to test him. Fire Emblem doesn't get that luxury. Being a tactical RPG that weaves both story and gameplay together as important as the other, it needs characters that can serve to further the narrative while still being interesting and enjoyable. None should be more so then the main character of the game, especially if they're a major talker in the story. RPGs like Suikoden and Persona can get away with not having the main character say much because the focus goes into secondary characters more so then the primary one and so you can enjoy them more extensively, watching them interact amongst each other as well, but Fire Emblem doesn't often bring secondary characters into the main narrative and usually reserves their development and storyline importance for supports to look into. Awakening and Fates are especially guilty of this, with the former utilizing mainly Chrom, the Avatar, Frederick, and Lissa over anyone else. In Fates, it would be the Avatar, Azura, and the royals. So it is important that these characters at least be able to carry the story well enough and... they don't always. But Awakening gets some leeway in that its self insert Robin, while plot integral enough to be a flaw on Awakening's story, is not the main character. That would actually be Chrom. Fates' Avatar, Corrin, serves as both the self insert... and the main character. It goes about as well as you expect.

Many consider Corrin to be the worst lord in the series, more so then even Roy, Eliwood, and Gaiden!Alm before Echoes turned him into a good boy. A lot of this is because of how static Corrin is. In the first five chapters, Corrin is given some leeway because they are still sheltered and naive. They were raised by the Nohrian royals, who are not complete monsters like their father, and so of course they would be horrified at the thought of executing prisoners for fun. After being kidnapped by Hoshido and shown around, they would of course expect to die, be confused by their circumstances, and only after a horrific traumatic effect bringing back their memories ends up disturbed by what happened to them. These five chapters were better storywise then the rest of the game by far because after choosing their side and going through an admittedly heartfelt battle... they seem to just settle in and end up a static character. Whether it's the justified avenger in Birthright or the suffering deceiver in Conquest, they never really show any change in their character. There's no major development for them as they have to stay in a certain role that is easy to insert themself into, even though in some cases they also fail in this.

Revelations is the worst in this regard. Corrin keeps their naivete to the very end. This gets them into a lot of trouble with a certain character who ends up betraying the group, yet this behavior is never called out on. In fact, their overtrusting nature is commended and encouraged, which I suppose is natural considering the fact that they were manipulated by both Hoshido and Nohr in their own right. Obviously Nohr was manipulating Corrin into believe they were of Nohrian decent, but Hoshido, or rather... only Ryoma, never bothered to let Corrin know the truth that they were adopted. I suppose they would want Corrin to remain the same way. It gives them further leeway over Corrin in the future.

I know there are people who like Corrin the way they are, especially the female Corrin, though how much of that is between her looks and the fact that one out of all six voices has the best performance in Chapter 5's cutscene and it's her default voice I don't know, but if I had to change the story without removing Corrin in order to preserve the original premise of choosing one of your two families, I would definitely have Corrin "mature" throughout each path in a different way. In Birthright, I would have them start off as bitter towards Garon for what happened to Mikoto, but still not hating Nohr and so being angry at characters like Hinoka, Takumi, and Oboro for their constant racist tendencies. As they progress, however, they see what Nohr has done to their people and so they feel that Nohr would be much more prosperous under Hoshidan rule. On the other side, Conquest's Corrin would still want to change Nohr from the inside and that would be the ultimate goal regardless, but going into Hoshido, they would notice all of these goods, all this food and luxury, that Hoshido's been hoarding to itself. They might think conquering Hoshido would be good for Nohr in more ways then one and so feel less sympathetic when going through the battles. Revelations' Corrin is such an enigma that I feel like the game would need to be drawn out longer to justify everything that happened in it. Corrin gets both families working together half way in, so I guess they would feel that being the same would work out. I guess you can't win them all.

Chapter 3: Black and White, for what is Gray and Grey?

Whenever you play a Fire Emblem game, you usually see multiple perspectives. The enemy's side has good people in it and so you might be inclined to sympathize with them to a degree while the good guys still have to deal with issues of internal corruption and strife. Tellius did a good job with this as there were people within Daein who could not stand Ashnard's rule despite being forced to follow him, such as Jill's father, while Begnion had its internal corruption in spades between the massive racism against Laguz that allowed slave trafficking to progress as far as it did, especially in the hands of senators like Oliver. Radiant Dawn furthered this by having Daein in such a state of suffering to Begnion after the war in the first game that our heroine Micaiah is leading a revolution within. Even Awakening did this to a small degree in its first third with the character Mustafa, a Plegian general who had been touched by Emmeryn's words after her death, offered to shelter Chrom and the Ylisseans if they surrendered, and who allowed his men to leave if they so desired because of how hard they found it to fight with the knowledge of what they'd done, though none of them ended up leaving after his compassion and so chose to fight and die for him.

You'd think with Fates' premise, it would be the perfect Gray on Grey story, with both Hoshido and Nohr having its goods and bads. Unfortunately that is not the case. In many aspects, it looks incredibly like Hoshido did nothing wrong and does nothing wrong ever while Nohr is essentially Nazi Germany. Hoshido wanted to stay out of a war. They even have a barrier around the country that makes enemy soldiers lose the will to fight, keeping everything seemingly peaceful. What a bloody MacGuffin that barrier is, but hey, the Nohrians found a way to combat it by calling upon the Faceless, soulless creatures that can rampage villages even in the barriers, though they are so monstrous they can even kill the mages that summoned them if not properly controlled. I wonder who the baddies are in this situation.

For starters, Hoshdio's food hoarding needs to be addressed by the Nohrian royals as a reason for Nohr to invade. Nohr's conditions as a practically barren wasteland where food cannot easily grow also needs to be brought up. Hoshido also needs an equivalent to Hans and Iago. Some might point out Kotaro, but he is not actually a part of Hoshido and so does not count. Even if they cannot be as bad as the aforementioned two, they need to be a driving force of antagonism that can make Hoshido at least look less then perfect. Perhaps their racism against Nohrians can make Oboro look like an equal opportunist. Or maybe they act nice on the outside, but are secretly plotting to usurp Mikoto and take the throne for themselves. Speaking of which...

Chapter 4: The Father, the Mother, and the Holy Spirit

What are the similarities between Mikoto and Garon? You might say that there is no simlarity, that both could not be more different in any single manner. But after Chapter 5 and in Revelations, there are two simlarities between the two. They also share these simlarities with Sumeragi. Both are dead and possessed by Anankos. This causes Mikoto be removed from the story and it is the reason why Garon is an old tyrannical cunt more one-dimensional then the inability to conceive the horizontal and vertical. These characters are nothing more then wasted potential. The former gives Corrin their memories of Hoshido back with her death and the latter is a walking giant with a sign pointing at him in neon letters saying "I'm basically Ivan the Terrible in Fire Emblem!" Certainly there must be ways to make better use of them, yes?

The first step is avoiding that anime urge to kill off Mikoto. That's right... don't have her die. Instead, let her remain the driving force for Hoshido as she is injured so much she cannot keep the barrier up, but otherwise remains alive. You might argue that this wouldn't be fair to Nohr as Garon is already the way he is and that it goes against the pre-determined ending of both Ryoma and Xander being made the kings of each country respectively, but it would also allow us to build up Mikoto more then just this "perfect messiah" figure in a similar vein to Emmeryn and maybe even make her more memorable as a character. Now in Revelations, she might get killed and brought back just because it is what it is in that damn story, but in Birthright, there's a chance for her to grow as a leader when she learns of how Nohr has been suffering and so does not hesitate in offering diplomacy when Leo is instated as King. In Conquest, we could see her being the driving force for Ryoma to be as uncharacteristically desperate to get Corrin back as he turns out to be, encouraging him to do whatever it takes, even if it means forsaking his honor. Sounds rather ruthless, I know, but hell hath no fury like a mother scorned after all.

But what about Garon? Well Garon's issue is that he has no traits outside of being evil. What he used to be like is all told in supports. And we all know that "show, don't tell" is the golden rule of writing, so why is Garon nothing but evil when an Anankos possessed Mikoto is able to act kind and loving? My proposal is that Garon is shown to have a more loving side. For instance, what if he actually expressed happiness that Azura was brought back as opposed to... brushing her off? It would be heavily out of character to how we know him now, but it would definitely fit the descriptions of him as a loving father we've been told by Xander, Camilla, and Leo. It would also make putting him down all the more sad in Conquest when we're revealed to his true form, building onto the whole "tragedy" feel that it's supposed to have all the way through as opposed to this cathartic break until possessed Takumi. "But then why would he be evil? Why would he want to conquer Hoshido?" If diplomacy failed and Garon was pushed to that point in life, he might've kept his new perspective on conquering in death. He has men like Hans and Iago around to give him the results he needs and they could be seen as the ones manipulating him into doing evil, except Corrin and Azura know the truth thanks to that crystal ball. All I'm saying is that making Garon less of a twat would give Nohr that push it needs to be more reasonable a pick. As opposed to picking it because your brothers are hot... oh, and about that...

Chapter 5: Genealogy of the Holy Fate

And now the Jugdral fans will tear me apart for that joke. Time to jump into the triggering topic of incest. Now I'm going to go ahead and make this section mercifully short, even if it still requires a trigger warning, but what I am going to say is that these supports were an utter mistake. For starters, on Hoshido's side, you initially believe you're blood related to them. Why is Mikoto writing letters to everyone but Ryoma on the off chance that they fall in love with their middle sibling? What kind of mother does that? That's just stupid. And even though Ryoma knows the truth, he should still see Corrin as a sister regardless. They're in-laws. Are you kidding me? On the Nohrian side of things, they may not have ever been blood related, but Corrin was raised there for so long that them developing any feelings for the Nohrian siblings is even closer to developing feelings for an actual brother and sister then it would be for Hoshido's side.

It's amazing that the actual incestuous couple is more understandable then the pseudo-ones. Corrin and Azura together were a very popular pair when they were first revealed in the same vein of Chrom and Robin being a popular pair. Two main characters, very close together, it all ends up working out in that manner. The problem is that Revelations drops in one line something that isn't stated in any support conversations, world building lines, or any part of the story apart from that one line, that one sentence of dialogue from a dying Mikoto that killed an entire ship. "Azura's mother and I are sisters." Corrin and Azura barely knew each other as they were raised in entirely different kingdoms. They were perfect strangers until Mikoto stated this. Now they're first cousins and so the once beloved ship is so problematic that your previous posts praising it are probably getting you anon hate even now unless you delete them.

The solution to this is obvious. Remove the ability to S-Rank them. Add in a few more characters if you need to, but no more Azzurrin, Corriander, Corryoma, Camillin, Hinokin, Takurrin, Correo, Sakurrin, and Corrlise... no more weird ship names in general to be honest.

Chapter 6: We Must Go Deeper

I love the children units of Genealogy and Awakening. I feel they bring in some neat personalities in the latter's case and in the former's case continue the story in a way that was never done before. However, Fates' case is... horrible. Just simply horrible. In an attempt to recapture some of the glory from Awakening's use of the children, without understanding why it worked in Awakening the way it did, the children units in Fates are literally child soldiers aged up to a proper age in Fates' equivalent of Hyperbolic Time Chambers. Sure they weren't intended to be, either in-universe or from the perspective of the writers, but that's sure what they look like when their presence is entirely optional, has no bearing on the stories whatsoever, and their existence is justified with one of the worst concepts I ever seen... the Deeprealms.

The Deeprealms as a construct are disgusting and unncessary. Their existence and the unit's use of them is actually harmful to the likeability of every single character in the game. They essentially place their own children in these pocket dimensions to be raised away from the horrors of their war without considering the ramifications of doing such a thing. It worked in Genealogy because they had no parallel dimensions to store their children in, having them sent to other lands away from where the fighting would be and them only growing after years of development proper. It worked in Awakening because the kids came from the future and so had already been through a world without their parents because of how Awakening's story functions. In Fates, however, they tried to combine the two and what we get are children who grow up with abandonment issues because that's essentially what their parents did. They abandoned the kids in worlds that have time streams that run slower then "the real world's" and caused them to age exponentially quicker from their perspective as a result. From this, we get Rhajat being older then her own father, Velouria being expected to break away from her parents despite barely getting to spend time with them and becoming obsessive to the point of... see the above chapter, Percy hating his father and considering him a villain, Asugi wanting to escape his identity as the next Saizo, and various other examples. Sure some of the kids continue to love their families like Midori, Soleil, Ophelia, Caeldori, and Selkie, but you'd still have to question if said families deserve it.

As much as we make like these characters, it would overall be better if they did not exist at all. It would cease being a stain on the first gen characters. If they had to exist, there could be DLC for them as opposed to them being in the base game.

Chapter 7: The Vallite Expedition

Valla's story is the worst story of the three. Conquest can still be enjoyable. Birthright is cliche, but simple. Revelations, however, is a story that utterly suffers from its incompetence. The characters are all swift to join Corrin's side due to the "chapter limit" that the games consistently hold themselves to, the Hoshidan and Nohrian conflict is explained to be the machinations of a bigger threat to life itself, and everything that we know from the previous two games no longer manages to be an issue because now there's something bigger we can blame. Revelations is to Fates what the end of Mists of Pandaria was to Warcraft and Anankos is essentially this game's Garrosh Hellscream. Why even worry about moral relativity, economic issues, and the bonds of family when it was all a dragon's fault?

Valla boasts bad writing from beginning to end and culminates in an asspull of epic proportions. It's true you see Anankos name dropped in Conquest, as well as get to see Valla proper, but neither of these needed to really be in the game. Anankos didn't need to be a thing. And if he did, then he needed more development or needed to be mentioned by Garon more. After all, Anankos is a very important character. He's Corrin's father for fuck's sake. Sadly Valla couldn't get any world building at all though because of a coincidental curse that kills anyone who name drops it. Really makes building it up into a proper threat difficult, doesn't it? It's a world you can't talk about unless you go there. So when you go there, you have no idea what to make of it because you've never heard about it before. And then you can't tell your friends or family about it because it'll kill you if you do, which means Corrin has to convince a bunch of people to jump into a bottomless canyon without name dropping it, except they're totally prepared to name drop it and die... only for said people to say they'll trust Corrin entirely.

Between that, Corrin being encouraged to remain trusting to the point of insanity, Anthony existing, the sentence that made a popular ship incestuous... I'm not sure there's even a way to save Valla. It pisses all over the premise that got people excited for Fates to begin with, that these two families who have good reasons for going to war want you to join only one of them to fight the other. Why do that when you can have both and fight against a big evil dragon?

ENDGAME: The Path is filled with Legos

I am by no means a professional writer. I've considered multiple ways to salvage Fire Emblem Fates' story. I've seen people say there is no way to salvage it and that it should burn. I've seen people state the only way to save it is to remove Corrin from it and make it more like Radiant Dawn with the two kingdoms being playable and having their own tales. I've seen people state the game is fine as it is already and that not too many changes need to made except removing the Deeprealms. I've seen people not mess with the story and only mention how much they hate the weapons now that they're unbreakable thanks to the stat issues on them. Fates is a game with many opinions on it because of how controversial it is. I suppose one could argue that this is a good thing. Fates will always have people talking about it. Even if it's mostly critique and anger, it's still publicity that'll get people looking at it. And if they find that they do in fact like what they see, that's another Fates fan added to the pool, which is not a bad thing.

For better or worse, Awakening saved the franchise and Fates made it popular. You can argue that this sucks because the S-Support and children somehow "makes it a dating sim." I take it as another chance, a potential to see more stories utilizing the Fire Emblem formula, and it's not like this salvation turned out to be for the worst. We got Heroes, which is currently going through some turbulent times and yet is still one of the best gacha games made. We got Warriors, which may be surrounded by controversy concerning its roster and yet is still a fun experience. We got Echoes, which I may not have personally enjoyed, but I've seen a lot of people happy for it and stating it has one of the best stories in the franchise. And we have Fire Emblem 16 coming out for the Switch at some point.

Fates' story is... problematic. It's very irritating as you expected a manga writer to do better then what he did. But I suppose if it didn't exist at all, things would've been for the worst. So I still love Fates. I still respect what it did for the series. Just... not enough to not make this post.

[potterblondie]

Magic Meeting

So I went to a Harry Potter convention here in Argentina, and it was really great. So I thought i would make a little review about it.

The Magic Meeting Argentina its held in a very old Hogwarts-like school in Buenos Aires, called San Jose, its been open since 1858. (You can look up pictures online if you are interested, the school is absolutely insane, and when its decorated like Hogwarts its even better)

At the Magic Meeting you can attend different lessons (DADA, Herbology, Potions, etc), you get to choose your house (you earn points in lessons, competions, games,etc), and at the end of the second day, the winning house gets to participate in a raffle to win Harry Potter merch.

Its the second time I went to the Magic Meeting, and as far as i can tell, every year they have the same system. You choose a house (each one have prefects who are part of the staff and help you along), each common room gets decorated by the house members (they create groups on facebook as far as I know), people participate with their house in mind to win different games and trivias, there are small shows at the stage and the host keeps people entertained. At the end of the first day the staff chooses their favorite common room, and the best one gets a bunch of points for their house. At the end of the second day prefects and professors get awarded, the 3 best professors get the order of merlin, and two prefects get to be Head Boy and Head Girl.Then the winner for the house cup gets announced (there is a counter next to the stage wich tells you how many points each one has) and the member of the winning house get to participate in a raffle to win Harry Potter merch.

Lets start with day 1, shall we?:

So the theme for this year was the 20 years since the release of the philosopher stone, and the 10 years since the release of the Deathly Hallows.

The first day was all philosopher stone themed,the trivias were from the books 1-4 and there was a small show at the begging where the host (who looks like Drell from Sabrina the teenage witch) used a time turner to get us all to 1991. He made a joke about not telling any Harrys about the future (which we all laughed about).

On the stage there were two shows that day:

One was a Dancing with the stars parody (or in the argentinian version, Bailando por un sueño, Dancing for a dream) where the Triwizard Tournament champions danced and got judged by Karkaroff, Madam Maxine and Gilderoy Lockhart. Favorite moments: In the Argentinian version (I dont know about the other ones) each star dances for an organization they want to help, one of them was to help the Weasleys. The points that Fleur got from Karkaroff was his phone number.

The other one was a Weird Sisters concert (with hits such as “Do the Hippogriff”)

The cosplays were quite good, As always there were a ton of Hermiones (more children than anything else), one of them had the Yule Ball outfit. Te most original one was a Fawkes costume (that worked great with the Golden Snidget costume that the host had) and a Minerva McGonagall half cat costume.

In the outdoor area they played quidditch all day (which again worden great for the Golden Snidget costume, as the seekers started chasing him around)

Weird parts from day one:

At one point the Gryffindors House points reached -40 for some reason (The host proceed to make fun of us, mostly because he is a Slytherin)

Day 2:

On day two we celebrated the 10 years since the release fof the Deathly Hallows.

This was the best day on my opinion thanks to the awesome shows they had on stage.

For the opening show the host announced that Dumbledore was trying to peacefully trying to solve the difference between the Order and the Death Eaters, so Dumbledore proceed to hold a contest between them.

Representing the death eaters : Voldemort, Bellatrix, Lucius Malfoy and a random death eater with a mask

Representing the Order: Harry, Hermione, Ron and Tonks.

They had a blow up the balloon and pop them between their bodies contest, a rock, paper, scissors contest (apropiately named, wand, stone and cloak), a miming contest and a dancing contest. The contestans bad mouthed each other and joked around during the game. It ended in the dancing contest (where jokingly Harry and Hermione copied the dancing scene from the movie while Ron threatened Harry). During the Harry vs Voldemort stage of the dancing contest (Both of them danced the Macarena) Voldemort killed Harry leading to a small video of Harry encountering Dumbledore and then resurecting. After he resurected they all proceed to dance, and hex each other at the same time, it all ended with Harry, Ron and Hermione standing like they did after the final battle in the movie.

The photo was in the middle of the contest, you cant see very well in the screen behind them, but the show is “sponsored” by “stupefy” (spotify) and “McGonagall” (McDonalds)

(For some reason Ron’s hair glowed under the black light)

As they all prepared for another short anouncement, the host proceed to entertain us by showing us different Prophet headlines. Because Slytherin was 1000 points behind everyone in the scoreboard (even though they had a lot of people) a special headline saying that Slytherin had finally won after taking out all the competion (The Magic Meeting has been a thing since 2011, not once has Slytherin won the house cup). There was another headline saying “19 years since the Dark Lord winning!” the explanation was that someone had told Harry what was going to happen, he got confused, and ended up fucking shit up. The last headline was “Cursed Child still sucks” (after the cheering stopped, the host asked if anyone liked it, a few raised their hand)

Then in the stage both the order and the death eaters asked everyone (in avery dramatic and cool way) to join them. (you could either join the order or the death eaters, they put a stamp on your hand and you could participate in a “Hunt the horcruxes” game.)

A few hours after that, a live band played the soundtrack from the movies (quite beautifully I must say)

Then another band called “Los tumberos de Azkaban” (I dont know how to translate this honestly, but they were basically playing the stereotype of the prision ex-con, disrepectful, still a criminal, etc) they played cumbia, with all the lyrics changed to Harry Potter stuff. They also did a parody of “despacito” which was quite hilarious. They were great, we all laughed and had good time.

The cosplays were also very good, we had quite a lot of couples in cosplay, Quini and Jacob and Tonks and Remus, for example. (Still isnt better than one of last years couples who went as Harry and Ginny, dressed in their Quidditch outfits, and kissed on stage). There was also a big cosplay group that went as the epilogue scene (During which James Sirius accidentally dropped his owl and trunk). The host this time dressed as Bellatrix (because he has the same hair as her), and him and Delphi shared quite a moment when she went up on the stage.

At the end of the day Ravenclaw won by just a bit of difference. 

End note: Im still annoyed because the Host asked how many people liked James Potter, and I raised my hand with a couple of other people. I still want to give a long ass speech about my love for James Potter and my hate towards someone I wont name.

End note number 2: If you want to see any photos, look at the #magicmeeting hashtag on twitter or look for CHPArgentina also in twitter.

[praphit]

Iron Fisted 2: The Immortal Snooze

Dag gon it! I've been iron fisted again!

Season 2 snuck up on us with barely any promotion. Marvel isn't even confident in this thing. I was actually all about season 1 - well, at least in the beginning. I remember that everybody was hatin on this series, but I wanted to give this man (Danny Rand aka Iron Fist) a chance. And for 8 of those 13 episodes I was in! But, you know, looking back on it I may have just been saying to myself "it wasn't THAT bad" at the end of each epi.

It was kinda like trying to be supportive of one of your siblings in something that they're clearly terrible at.

If you don't know the story of Iron Fist - think "Batman Begins". You know how Bruce Wayne ran off to train with ninjas. Here a rich white boy gets stranded with some kung fu fighting monks. The monks train him as their own, and in return he snatches the power of the Iron Fist ( a power that they pretty much worship and need to protect themselves) - He then abandons them (taking the power with him), and goes back home to be rich and white. And while being rich and white, he flashes around this particular Asian culture that he stole, and uses this new power of the FIST to beat up Asian gangs.

Well, I made it sound worse than it... well... it IS this, but...

...

... let's just move on.

I thought that season 1 was good until the last few epi's - which felt like they tied cement blocks to an already flimsy plot, and shoved those blocks off a cliff, and at the bottom of the cliff there was only pavement. As the plot hits the pavement in bloody splendor, the blood spells out the words "bleep you".

IRON FISTED, BABY!

Season 2 is in reverse. Most of this season is trash. You really only need to watch the last few epi's when it seems like they start having hope for this series again. BUT, though I say it's trash, even trash has hidden goodies in it. Have you ever been to the dumpster and seen a nice item?

- like a dresser or a lamp or a sweater? You think to yourself "If I can get those mystery stains out of that sweater, it'd look good on me." You want to do it, but you're afraid that someone will catch a pic of you shopping in filth and shame you online.

That's what we're going to do - look through this trash and find our nice sweater.

　

So, at the end of season 1, Iron Fist and his gf Colleen Wing enter IF's home (a secret, magical, kung fu place with monks, spells, and dragons). This seems like an awesome spot to start the next chapter right??

NOPE

Season 2 kicks off with IF and Colleen living together as boringly as possible in their apartment with little mention of their time in that interesting, magical place - this is not a plot hole, but a canyon!

On top of this, as I mentioned, is Danny's (IF) boringness. This here is his true super power; boring the audience to death. He actually makes other characters MORE boring; it's kinda amazing.

This is the plot - other characters trying to be interesting while Danny Rand weighs them down with his immense boringness:

Colleen (girlfriend who deserves better)- mysterious blood line, badass fighter, former member of a cult, and a knack for walking into crime. Seriously, every time she walks down the street a crime is committed in front of her. But, when she's in the room with Danny she becomes a nagging girlfriend character. BORING.

Ward ( like a brother to Danny). He's an asshole, but he's an asshole with flair. He's in rehab, but banging his sponsor. He's getting into drunken bar fights. He's buying guns off the streets. But, in Danny's presense, an overprotective brother/ insecure asshole. Bold asshole when alone, boring and insecure asshole when with Danny. SEEING THE PATTERN?

Joy - (like a sister to him)... to be fair, she is kinda boring on her own, BUT she's cute... cute and drunk. As soon as Danny shows up she gets shot - every time! Barely moving and in pain = boring.

Walker/Mary (one of the villains) - she is a badass who has been training to take down the Iron Fist, she also has D.I.D. Side note/plea: Hey writers! If you're going to write a character with a mental disorder, could you please write them so they are not defined by their disorder? And do they always have to be a villain? But, anyway, D.I.D. aside, an interesting character that we'd like to get to know. Around Danny she just wants to kill. The actress who plays her is excellent though.

Misty (from the Luke Cage series) - great chemistry with Colleen. I don't think she bothers much to talk to Danny - smart woman.

Then there's our main villain and Danny's brother from another - Davos.

Davos is a bit one note with always focusing on revenge, but once he finally gets it -whew! He became the Double Iron Fisted! He did things with that fist that Danny couldn't even dream of. It was at this point that I started rooting for Davos. Plus, once he gained this power, he wanted to clean up the streets - talk about a leader! Of course, he used his talents to go on a murderous rampage of gangs and a few innocents, but still.

In my mind, I totally changed the "Iron Fist" series. I had the pilot for whatever this new show of mine will be called, starting off with The Immortal Snooze vs The Amazing Double Fisted - Davos lands a punch on Danny, making IF's head explode - like BLAOW - like the goriest thing Marvel has ever done.

I want it in 3D! I want fake blood to shoot out intot eh theatres as it happens. I want four different angles simultaneously showing this display as The ADF ends the source of boredom in their city.

Then, Davos is a villain, but a villain that heroes call on from time to time.

I would also have Misty and Colleen have a buddy cop thing going on... and maybe a romantic relationship (their chemistry is just too good to waste). Or maybe it's one of those deals where the audience wants the relationship to happen, but they're too busy kickin ass; no time for love, just crime and comic relief.

Maybe it would just be their show, and they would call on The ADF every once and a while, but then he'd go back to killin for justice.

And there would be a soundtrack brought to you by Daft Punk and Drake; maybe they could even be in the series as Davos' sidekicks.

I've gone way down this rabbit hole - sorry, but you know my version would be a hell of a lot better. I keep waiting for Marvel to give me a call, but...

　

Instead we get 8 episodes of boredom with splashes of other characters (not named IF/Danny Rand) being interesting. And then, 2 episodes of good action and favorable plot developements.

Like Colleen now being the Iron Fist. BOOM!

And Danny Rand now being double fisted, but he uses his skills to shoot bullets. Idk how he went from chi and kung fu to gunslinging, but... idk people. I also don't know how something so sacred like the iron fist can simply be passed around like some good weed; seems like bad writing to me, but... you know what - I'm just gonna give this season its grade before it gets lower, as I continue to think about it.

Grade: D

Season 1 I gave an F, but with this season it seems like they've been listening to the fans complaints: the action was better, the dialogue though still kinda bad, was better and you can tell that they're trying. And even though I think the fist passing hands is stupid, they've passed the torch (kinda) to Colleen, who is Asian, which aides other issues (racially) that people had with this series.

And though I think as long as Danny Rand is around, boredom still lingers at every step, maybe they'll change that too if they get a season 3; it gives us chumps hope.

Speaking of anticipation, did y'all see the trailer for DD3? - that's what I'm talking about!

I'm hoping that the darkness within DareDevil leads him to end Danny Rand, and other annoying characters in these Marvel series'. It would be cool if all networks had a show within all shows, where a character hunts bad shows/characters down. Instead of the network cancelling the shows, this character would simply walk into their show and kill the characters off.

Another golden idea! Come on, Marvel! - where's my phone call?