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writingwithcolor · 4 years ago

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Jurassic period alien interacting with key cultures and historical figures in Middle East & Asia throughout history

@ketchupmaster400 said:

Hello, so my question is for a character I’ve been working on for quite a while but wasn’t sure about a few things. So basically at the beginning of the universe there was this for less being made up of dark matter and dark energy. Long story short it ends up on earth during the Jurassic Period. It has the ability to adapt and assimilate into other life animals except it’s hair is always black and it’s skin is always white and it’s eyes are always red. It lives like this going from animal to animal until it finally becomes human and gains true sentience and self awareness. As a human it lives within the Middle East and Asia wondering around trying to figure out its purpose and meaning. So what I initially wanted to do with it was have small interactions with the dark matter human and other native humans that kinda helped push humanity into the direction it is now. For example, Mehndhi came about when the dark matter human was drawing on their skin because it felt insecure about having such white skin compared to other people. And ancient Indians saw it and thought it was cool so they adopted it and developed it into Mehndi. Minor and small interactions though early history leading to grander events. Like they would be protecting Jerusalem and it’s people agains the Crusaders later on. I also had the idea of the the dark matter human later on interacting with the prophets Jesus Christ and Muhammad. With Jesus they couldn’t understand why he would sacrifice himself even though the people weren’t deserving. And then Jesus taught them that you have to put other before yourself and protecting people is life’s greatest reward. And then with the prophet Muhammad, I had the idea that their interaction was a simple conversation that mirrors the one he had with the angel Jibril, that lead to the principles of Islam. Now with these ideas I understand the great importance of how not to convey Islam and I’ve been doing reasearch, but I am white and I can understand how that may look trying to write about a different religion than my own. So I guess ultimate my question is, is this ok to do? Is it ok to have an alien creature interact with religious people and historical events as important as they were? Like I said I would try to be as accurate and as respectable as possible but I know that Islam can be a touchy subject and the last thing I would want is to disrespect anyone. The main reason I wanted the dark matter being in the Middle East was because I wanted to do something different because so much has been done with European and American stuff I wanted to explore the eastern side of the world because it’s very beau and very rich with so many cultures that I want to try and represent. I’m sorry for the long post but I wanted you guys to fully understand what my idea was. Thank you for your time and hope you stay safe.

Disclaimer:

The consensus from the moderators was that the proposed character and story is disrespectful from multiple cultural perspectives. However, we can’t ignore the reality that this is a commonly deployed trope in many popular science fiction/ thriller narratives. Stories that seek to take religious descriptions of events at face value from an areligious perspective particularly favor this approach. Thus, we have two responses:

Where we explain why we don’t believe this should be attempted.

Where we accept the possibility of our advice being ignored.

1) No - Why You Shouldn’t Do This:

Hi! I’ll give you the short answer first, and then the extended one.

Short answer: no, this is not okay.

Extended answer. I’ll divide it into three parts.

1) Prophet Muhammad as a character:

Almost every aspect of Islam, particularly Allah (and the Qur’an), the Prophet(s) and the companions at the time of Muhammad ﷺ, are strictly kept within the boundaries of real life/reality. I’ll assume this comes from a good place, and I can understand that from one side, but seriously, just avoid it. It is extremely disrespectful and something that is not even up to debate for Muslims to do, let alone for non-Muslims. Using Prophet Muhammad as a character will only bring you problems. There is no issue with mentioning the Prophet during his lifetime when talking about his attributes, personality, sayings or teachings, but in no way, we introduce fictional aspects in a domain that Muslims worked, and still work, hard to keep free from any doubtful event or incident. Let’s call it a closed period: we don’t add anything that was not actually there.

Reiterating then, don’t do this. There is a good reason why Muslims don’t have any pictures of Prophet Muhammad. We know nothing besides what history conveyed from him.

After this being said, there is another factor you missed – Jesus is also an important figure in Islam and his story from the Islamic perspective differs (a lot) from that of the Christian perspective. And given what you said in your ask, you would be taking the Christian narrative of Jesus. If it was okay to use Prophet Muhammad as a character (reminder: it’s not) and you have had your dark matter human interacting with the biblical Jesus, it will result in a complete mess; you would be conflating two religions.

2) Crusaders and Jerusalem:

You said this dark matter human will be defending Jerusalem against the Crusaders. At first, there is really no problem with this. However, ask yourself: is this interaction a result of your character meeting with both Jesus and Prophet Muhammed? If yes, please refer to the previous point. If not, or even if you just want to maintain this part of the story, your dark matter human can interact with the important historical figures of the time. For example, if you want a Muslim in your story, you can use Salah-Ad-Din Al-Ayoubi (Saladin in the latinized version) that took back Jerusalem during the Third Crusade. Particularly, this crusade has plenty of potential characters.

Also, featuring Muslim characters post Prophet Muhammad and his companions’ time, is completely fine, just do a thorough research.

3) Middle Eastern/South Asian settings and Orientalism:

The last point I want to remark is with the setting you chose for your story. Many times, when we explore the SWANA or South Asian regions it’s done through an orientalist lens. Nobody is really safe from falling into orientalism, not even the people from those regions. My suggestion is educating yourself in what orientalism is and how it’s still prevalent in today’s narrative. Research orientalism in entertainment, history... and every other area you can think of. Edward Said coined this term for the first time in history, so he is a good start. There are multiple articles online that touch this subject too. For further information, I defer to middle eastern mods.

- Asmaa

Racism and Pseudo-Archaeology:

A gigantic, unequivocal and absolute no to all of it, lmao.

I will stick to the bit about the proposed origin of mehendi in your WIP, it’s the arc I feel I’m qualified to speak on, Asmaa has pretty much touched upon the religious and orientalism complications.

Let me throw out one more word: pseudoarchaeology. That is, taking the cultural/spiritual/historical legacies of ancient civilizations, primarily when it involves people of colour, and crediting said legacies to be the handiwork of not just your average Outsider/White Saviour but aliens. I’ll need you to think carefully about this: why is it that in so much of media and literature pertaining to the so-called “conspiracy theories” dealing with any kind of extraterrestrial life, it’s always Non-Western civilizations like the Aztec, the ancient Egyptians, the Harappans etc who are targeted? Why is it that the achievements of the non West are so unbelievable that it’s more feasible to construct an idea of non-human, magical beings from another planet who just conveniently swooped in to build our monuments and teach us how to dress and what to believe in? If the answer makes you uncomfortable, it’s because it should: denying the Non-West agency of their own feats is not an innocent exercise in sci-fi worldbuilding, it comes loaded with implications of racial superiority and condescension towards the intellect and prowess of Non-European cultures.

Now, turning to specifics:

Contrary to what Sarah J. Maas might believe- mehendi designs are neither mundane, purely aesthetic tattoos nor can they be co-opted by random Western fantasy characters. While henna has existed as an art form in various cultures, I’m limiting my answer to the Indian context, (specifying since you mention ancient India). Mehendi is considered one of the tenets of the Solah Shringar- sixteen ceremonial adornments for Hindu brides, one for each phase of the moon, as sanctioned by the Vedic texts. The shade of the mehendi is a signifier for the strength of the matrimonial bond: the darker the former, the stronger the latter. Each of the adornments carries significant cosmological/religious symbolism for Hindus. To put it bluntly, when you claim this to be an invention of the aliens, you are basically taking a very sacred cultural and artistic motif of our religion and going “Well actually….extraterrestrials taught them all this.”

In terms of Ayurveda (Traditional holistic South Asian medicine) , mehendi was used for its medicinal properties. It works as a cooling agent on the skin and helps to alleviate stress, particularly for the bride-to-be. Not really nice to think that aliens lent us the secrets of Ayurvedic science (pseudoarchaeology all over again).

I’m just not feeling this arc at all. The closest possible alternative I could see to this is the ancient Indian characters incorporating some specific stylistic motifs in their mehendi in acknowledgement to this entity, in the same vein of characters incorporating motifs of tribute into their armour or house insignia, but even so, I’m not sure how well that would play out. If you do go ahead with this idea, I cannot affirm that it will not receive backlash.

-Mimi

These articles might help:

Pseudoarchaeology and the Racism Behind Ancient Aliens

A History of Indian Henna (this studies mehendi origins mostly with reference to Mughal history)

Solah Shringar

2) Not Yes, But If Ignoring the Above:

I will be the dissenting voice of “Not No, But Here Are The Big Caveats.” Given that there is no way to make the story you want to tell palatable to certain interpretations of Islam and Christianity, here is my advice if the above arguments did not sufficiently deter you.

1. Admiration ≠ Research: It is not enough to just admire cultures for their richness and beauty. You need to actually do the research and learn about them to determine if the story you want to tell is a good fit for the values and principles these cultures prioritize. You need to understand the significance of historical figures and events to understand the issues with attributing the genesis of certain cultural accomplishments to an otherworldly influence. 1.

2. Give Less Offense When Possible and Think Empathetically: You should try to imagine the mindsets of those you will offend and think about to what degree you can soften or ameliorate certain aspects of your plot, the creature’s characteristics, and the creature’s interactions with historical figures to make your narrative more compatible. There is no point pretending that much of areligious science fiction is incompatible with monotheist, particularly non-henotheistic, religious interpretations as well as the cultural items and rituals derived from those religious interpretations. One can’t take “There is no god, just a lonely alien” and make that compatible with “There is god, and only in this particular circumstance.” Thus:

As stated above by Asmaa and Mimi, there is no escaping the reality the story you propose is offensive to some. Expect their outcry to be directed towards you. Can you tolerate that?

Think about how you would feel if someone made a story where key components of your interpretation of reality are singled out as false. How does this make you feel? Are you comfortable doing that to others?

3. Is Pseudoarchaeology Appropriate Here?: Mimi makes a good point about the racial biases of pseudoarchaeology. Pseudoarchaeology is a particular weakness of Western-centric atheist sci-fi. Your proposed story is the equivalent of a vaguely non-descript Maya/Aztec/Egyptian pyramid or Hindu/ Buddhist-esque statue being the source for a Resident Evil bio weapon/ Predator nest/ Assassin’s Creed Isu relic.

Is this how you wish to draw attention to these cultures you admire? While there is no denying their ubiquity in pop-culture, such plots trivialize broad swathes of non-white history and diminish the accomplishments of associated ethnic groups. The series listed above all lean heavily into these tropes either because the authors couldn’t bother to figure out something more creative or because they are intentionally telling a story the audience isn’t supposed to take seriously.*

More importantly, I detect a lot of sincerity in your ask, so I imagine such trivialization runs counter to your expressed desire to depict Eastern cultures in a positive and accurate manner.

4. Freedom to Write ≠ Freedom from Consequence: Once again, as a reminder, it’s not our job to reassure you as to whether or not what you are proposing is ok. Asmaa and Mimi have put a lot of effort into explaining who you will offend and why. We are here to provide context, but the person who bears the ultimate responsibility for how you choose to shape this narrative, particularly if you share this story with a wide audience, is you. Speaking as one writer to another, I personally do not have a strong opinion one way or the other, but I think it is important to be face reality head-on.

- Marika.

* This is likely why the AC series always includes that disclaimer stating the games are a product of a multicultural, inter-religious team and why they undermine Western cultures and Western religious interpretations as often (if not moreso) than those for their non-Western counterparts.

Note: Most WWC asks see ~ 5 hours of work from moderators before they go live. Even then, this ask took an unusually long amount of time in terms of research, emotional labor and discussion. If you found this ask (and others) useful, please consider tipping the moderators (link here), Asmaa (coming eventually) and Mimi (here). I also like money - Marika.

#alien character #historical fiction #science fiction #pseudoarchaeology #Middle-Eastern cultures #South-Asian cultures #Islam #writing with Islam #mehendi #cultural appropriation #areligious perspectives in writing #asks #WWC

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merryfortune · 3 years ago

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Enter! Muse Duellist: the Heroine Who Fights Armageddon with Song

Written for the 100ships Challenge on Dreamwidth

Prompt #31 Cadet

Ship: Petuniashipping | Gakuto/Romin

Fandom: Yu-Gi-Oh! VRAINS

Word Count: 5,622

Rating: T

Warnings: No Warnings Apply

Tags: Alternate Universe - Magical Girls, Aged Up Characters, Meet Cute, Sci-Fi Elements, Action, Affectionate Parody

AN: The AU is a mash-up of Tokyo Mew Mew & Megaman with other magical girl anime influences but Gakuto/Romin’s relationship is meant to imitate Ryou/Ichigo from TMM and Gakuto & Yuga’s relationship is meant to imitiate Dr. Light & Dr. Wily from Megaman

Yuga shook his head, “You are naive, Dr. Sougetsu,” he chided his dear friend who could only stand there, helpless, as Yuga lectured him, “the future is decided. I can see the end of my Road. The flesh is weak but the mind… the mind is unknowable, infinite. Humans may be finite but I shall not be. Nor shall my creations.”

Gakuto’s hand turned to a fist by his side.

“All our roads shall come to an end and they will be by my design, my creation.” Yuga told him.

Gakuto was unable to bring himself to say something. Not because there was nothing to be said but because there was too much to say. Too much to protest. The future that Yuga saw and desired to bring about was not one of coexistence between forces such as robotics, humans, and A.I. but armageddon. Pure and complete and total armageddon. He wanted to open that box, bring about the apocalypse, shiny and chrome. Yuga thought, at the very least, that it was shiny and chrome. Gakuto only saw rust and endless dust.

It broke his heart but Gakuto knew that he had to be the one to stop Yuga from piling high his monopoly and bringing about this end that he foresaw. But how? If the enemy was inhuman, the solution could only be uniquely human.

Parting ways with Yuga, and with such little time between their verbal and ideological sparring, Gakuto threw himself into art. Literature. Into what was sensitive and poetic; things that couldn’t be perfectly recreated by robotic touch. And in his immense and expansive reading, in every genre and every niche, Gakuto had the epiphany that he was after.

There was an archetypical champion that was trusted instantaneously by the public, adored and rarely ever turned against. Someone who was a paragon of goodness, morality, and put all humanity above themselves for little or more commonly, nothing in return. All because they had an everlasting love inside their heart and a belief in the inherent goodness of mankind. That person, that hero… no, that heroine was, of course, the magical girl.

Gakuto knew what he had to do. The revelation sank deep down to his theatrical bones. He needed to create, to assemble, his very own magical girl. Flashing in his glasses and in his brain, Gakuto already had a name in mind for this cadet to champion the continuation of humanity rather than its end: Muse Duellist.

Racing against his rival who aspired to the end of the world, Gakuto was highly motivated. He threw himself into creating as close to magic as he could using his breadth of scientific knowledge. After all, sufficiently advanced technology was indistinguishable from magic. He embraced those intelligent words from [guy] in the long hours that he slogged to create the perfect frilly armour, the perfect weapons to disarm technology, and so forth.

The only thing that Gakuto could not create, was of course, the girl herself. No, he needed to find her, his Muse Duellist.

He could just harass random young ladies on the street - and Gakuto knew that from experience as he had tried that. He got hounded on by many saviour boyfriends, a few policemen, and even some strong-armed ladies who would have made a brilliant Muse Duellist if only they listened, and believed, in him. The mad scientist on the sidewalk, spouting endlessly about the end of the world.

Yeah, Gakuto wouldn’t want to work with Dr. Sougetsu either, actually, but so went his eccentricity. He had no idea how his beloved Ranze and Rinnosuke put up with him but he was endlessly grateful that they did and were happy to go along with his insane ideas.

But then he saw her on the televisions in the electronics store window display. He was entranced by her music. Gaktuo stood there, enchanted, as he watched this rock and roller on the television slamming on her guitar. She looked like she was having the time of her life; the camera loved; Gakuto loved her. Her smile was wide and sparkling. She looked so good in her high heels and mini-skirt; the partial mesh body-suit and the loose, over the shoulder, 80’s style torn top.

With her wild pinky-purple coloured hair and her bright eyes, Gakuto could all too easily imagine her donning the armour of Muse Duellist. Gakuto had to have her. This… This…

“And that was Roa-Romin with their new hit single! Give it up to Kirishima Romin and her boys!” the announcer rattled off from behind glass.

Kirishima… Romin… Her name was sweet on Gakuto’s tongue. His eyes were all lit up. He had to meet her. How on Earth was he going to manage that? He was some washed up weirdo from the strangest parts of academia. This Kirishima Romin girl was a mega-famous superstar from the reception that she and her bandmates were getting.

So, he did what he did best. He threw himself into yet more research and he discovered something very, very usable about this Miss Kirishima Romin: she was an amateur food critic. She had a very widely known appetite reputed for being humongous and Gakuto didn’t consider himself too bad in the kitchen. Thus, a plan was hatched - and one inspired by one of the magical girl anime that he had watched in the first place in the beginnings of his plan to save the world.

Using what little of his dwindling generational wealth that he had left, and of course the assistance of his beloved assistants Ranze and Rinnosuke, Gakuto set up shop. Literally. He opened Cafe Muse from behind his house and he did his best to spread word of it as far and wide as he possibly could. All so that Kirishima Romin would be attracted to it - and pinging her across various modes of social media about it did help because she did, eventually, agree to come to the grand opening of it.

Kirishima Romin looked so fashionable in a beret and cut-out skinny jeans as she was escorted inside by Ranze, ahead of everyone else who lined up in a queue for the grand opening. She looked around the Cafe. It was a lot more saccharine-looking than she was expecting, she mentioned to Ranze. She sat back casually in a pink metal chair and slung her handbag over the back of it.

“I thought that a newly opened cafe was going to be more upscale than this,” Romin mused to Ranze as she waited hand and foot on her, “but so long as the food was good, I won’t complain.” She shrugged.

Ranze hesitated, “Yes, well, Master Gakuto has always had unpredictable tastes. I wasn’t quite expecting the architectural plans either and I’m one of his investors.”

Romin laughed at Ranze’s humour.

“Would you like anything to order?” Ranze asked sheepishly.

“Oh boy would I.” Romin was already all but slobbering. She ordered a lot of food, much more than Ranze was expecting but she diligently scribbled down every whim that Romin had for her stomach and then excused herself.

Ranze returned to the kitchen, the base of operations for Gakuto, both as chef and as a mad scientist looking to turn this rock star into a magical girl, Rinnosuke slunk out in tandem. He was performing a bit of reconnsanice and of course, he was the waiter and a few guests had already ordered food so that had to be delivered to him. He kept an eye on the one guest that they had been fishing for but his attention was truly hooked by someone else. A familiar face.

Yuga smiled blithely and flagged Rinnosuke down. “Yo.” he said.

“Hello Dr. Ohdo, I wasn’t expecting to see you here.” Rinnosuke tersely replied, his hackles raising. “Should I go fetch Master Gakuto for you?”

“No, no, it’s fine. I’m just here for a snack.” Yuga said and he drummed his hands on the table in front of him but he was wiggling in his chair, craning his head, trying to catch a glimpse of Gakuto who was out in the back. “Dr. Sougetsu and I had a very heated discussion about our irreparable differences of perspective last time we met, I don’t think it's wise but I'm glad he’s come around. Throwing in the towel, deciding to live the rest of his road to the fullest by opening a restaurant. It's unexpected but he’s always been a weirdo. I used to love that about him.”

Rinnosuke’s expression was dark behind his spectacles but he felt obliged, “Should I take your order, Dr. Ohdo?”

“That would be fantastic, youngest Nanahoshi.” Yuga teased him with a cruel, fox-like smile. “Now, do you guys have any udon or should I just order a strawberry shortcake?”

Rinnosuke gravely took Yuga’s order and scurried off. By the time he arrived back in the kitchen, Gakuto had already realised that his rival in the world’s final fate was here. He blamed himself for attracting too much attention. It was, in hindsight, ill-advised to stir such a hullabaloo but Gakuto was certain it would be worth it so long as he could get Kirishima Romin on board with his plan to save the world.

But how?

Walking straight up to her and asking, Gakuto had learned, was the quickest way to be slapped and disbelieved but deceiving her would be immoral and counterintuitive to his noble goals. It was all very difficult. If only Ranze hadn’t declined; stating she preferred to be the backstage hero, not the heroine on display front and centre amid the fray. They needed someone with a loud and bombastic and friendly disposition, someone exactly like Kirishima Romin.

Wary that he was going to run out of time or that this opportunity would slip through his fingers, Gakuto resolved to act fast. He had been hoping to save this maneuver for later but every episode one had a good, gimmicky little mascot character. It was time to introduce Kirishima Romin to her fateful and adorable little partner: Musa.

Discreetly as possible, Gakuto fed the Tuning Pick to Musa and then slipped over to where Romin was sitting. As soon as he left the kitchen, Gakuto realised that Romin had someone sitting with her. His blood ran cold as he approached her and Yuga.

“Oh, I didn’t realise that you two knew each other.” Yuga said to Gakuto as he inched closer to Romin’s puff pastry perfect table. “I was just saying hi, introducing myself… I’m a big fan of RoaRomin. Are you into them, as well, Dr. Sougetsu? Or should I just call you Gakuto since you don’t seem to be much of a professor these days, running a sweets shop.”

“I was just coming over to thank Miss Kirishima for her patronage. Her celebrity presence has increased our business tenfold from what we were expecting on our first day.” Gakuto said and his heart began to quake as he set down the little, fluffy trinket known as Musa in front of romin; a gesture that Yuga eyed with delight. Resistance, excellent, just what he was expecting. “Here,” Gakuto said, “a small token of appreciation, leftover from my bygone days as a scientist. It has no purpose other than to look cute and hold small items, like car keys, for example.”

“Oh, interesting.” Romin blinked as she picked up the item.

“Its name is Musa, but I suppose you are free to rename it how you please.” Gakuto said nervously.

Yuga cooed at them, “Aren’t you two sweet?” he teased.

“Musa is a cute name, I’ll keep it as is.” Romin replied as she admired the object in question.

It was almost keyring like in that it had a chain link and hoop at the end of it but other than that, it had a fluffy, little body and was a charming pink in colour. It had googly eyes and a cotton ball tail. It was everything that was meant to be cute or adorable, turned into one conundrum of an unidentifiable creature but it certainly served its purpose.

“Well,” Yuga said, “I best be going.”

“It was nice meeting you, Dr. Ohdo.” Romin said.

“And it was good seeing you again, old friend.” Gakuto added, his voice was bittersweet.

“Yeah, see ya.” Yuga said and he gave them both a two finger salute.

He got up and walked away, whistling a little tune to himself, his hands behind his head. The very picture of nonchalance. Meanwhile, Romin and Gakuto exchanged a very awkward look and Gakuto couldn’t take the pressure. He excused himself back to the kitchen, claiming he had much to cook and prepare, namely thanks to her, their current number one customer and Romin laughed half-heartedly. Her reputation, per usual, preceded her.

As Gakuto left the table, he could only hope that Romin would poke and prod Musa until its functions were revealed and Romin’s destiny would be all lit up in a blue hologram. Until then, Gakuto could only hope that everything would turn out alright - and that Yuga hadn’t gotten up to anything awry when they weren’t looking. It was already suspicious enough that he had puzzled out who Gakuto and his team were aiming to make their champion for the future of the world.

Back in the kitchen, Gakuto went through the motions of cooking and preparing food for the patrons to eat. The bombardment of popularity, in any other circumstances, would be seen as fortunate but this place was only meant to be a front for their saving the world efforts so it was more of a hassle than anything else. Still, busying their hands helped distract them from the possibility that Yuga might have something planned.

Throughout the afternoon, Romin single handedly depleted their larder. They ended up closing early because of it but that might have been a blessing in disguise, even if it was an expensive one. Still, within minutes of closing shop, glowing reviews were going out from Romin’s phone which was an appreciated gesture.

Gakuto met her again outside with a wobbly smile, “Thank you again for visiting our humble shop, Miss Kirishima.”

“No problem,” she beamed, chatting idly whilst she texted on her phone; organising for her private chauffeur to come pick her up, “I’m glad I took a chance on this place. Dr. Ohdo was telling me about how good his strawberry shortcake was and he wasn’t wrong. I went for thirds and fourths on it.”

She laughed and Gakuto laughed with her. It was weird to be with her but Gakuto found himself just a little bit infatuated with the rock star in front of him; just like he had been in front of the electronics store, seeing her perform on television for the first time. He took a deep breath.

“And thanks again for this little guy,” Romin said and she took out Musa, letting it hang off the hoop which she had threaded onto her finger, “he’s very cute. I can’t wait to show him off to my friends in the band. By the way, totally bringing RoaRomin ‘round here the next chance I get.”

“We will look forward to it.” Gakuto smiled warmly.

Romin replied with a small smile of her own and the conversation drifted off into silence. Romin was half expecting for Gakuto to disappear back into his own shop behind them but no, he seemed intent on sticking around. It wasn’t creepy, per say, but it was odd. Fortunately, Romin’s phone buzzed in her hand - spooking them both.

“Oh, it's my chauffeur saying he’s about to arrive.” Romin said. “I should get going.” She slipped her phone into her purse.

“Safe travels then, Miss Kirishima.” Gakuto replied.

“Thank you, er, um… I don’t know how to address you.” Romin rambled.

Gakuto didn’t know what to tell her. So he just stood there, awkwardly, weirding Romin out so she took a big, and exaggerated, step back. He waved her goodbye and across the road, he watched a limousine park. That must have been her ride and he really did wish her safe travels.

But she didn’t even make it to the ledge next to this side of the road before she needed such sentiments on her side. The purse that she had slung over her shoulder began to glow - and explode.

It happened in the blink of an eye. Shafts of bright, yellow light branched out from inside the clutch top of the purse and just expanded outward. Romin yelled and screamed as she rid herself of her purse and then there was the bang as something impossible happened. The explosion knocked Romin and Gakuto to their feet. It caused the whole street to tremble; branches on trees came loose and the rumble was felt for miles out.

It was blinding at first. Dizzying, disorentating but when the effects began to wear off, as blurry as that was, it was more than apparent that everyone in the immediate vicinity of Cafe Muse was in great, big danger.

“What is that thing?” Romin yelled as she stumbled to her feet. There were grass stains on her jeans and her wrists felt jarred. Her eyes were wide with defiant fear. “And why the hell is it my phone?!”

A giant monster loomed in front of them. It looked like a smartphone; slick black screen and a phone case on the back, it was even pommed with decorative charms. But there was something else latched onto it, at the top rim beside where the phone charms hung: it looked like some sort of drone had taken hold of it, like a parasite and its host. Thus, it donned abominable arms and legs, ready to rampage, giving a staticky screech.

Gakuto grit his teeth through the horrendous noise. Romin stood there, stunned, by the utter impossibility of a monster looming and screeching in front of her. A monster that had somehow spawned from her phone - and that was definitely her phone case and phone charms.

“I was hoping that Muse would do the explaining, but there’s no time for that.” Gakuto said, his voice projecting far and wide. He ripped off his Cafe Muse apron and replaced it with a lab coat. “Enter! Muse Duellist: the Heroine Who Fights Armageddon with Song! Musa, begin protocol M-U-Five-Three!”

The little animatronic known as Musa began to chirp and chatter. Its little fuzzy wings began to buzz and it revealed the maw that it hid. Romin squeaked in surprise as the little critter tried to escape her finger and it forced itself in her face. It bore its tongue at her and atop its tongue there was a strange, teeny-tiny item that looked like it belonged in some sort of dolly’s playset. It looked like a stick decorated with an… R?

Whatever it was, Musa spat it in Romin’s face and it hit her right across the bridge of her nose. She flinched and she had no idea what was happening next. There was another bright light - white, this time, rather than the yellow of the prior explosion - and then her body was just moving on its own.

The little trinket that had been inside of Musa became a scepter for Romin to wield and from the R-shaped charm atop its crown, ribbons flew out and captured her. The next thing she knew, she was all gifted up in pantyhose and frills. The fashionable, heavy metal style clothes she had been wearing before turned into something truly a one-eighty to her usual.

Romin’s hair, once down, was now up in twin tails adorned with red ribbons. She was wearing a frilly little dress that was pink and white with gold buttons down her sternum. The cherry red high heels were cute though, even if Romin had no idea where any of this wardrobe change came from - or how it had happened at all. She just felt like it happened in an instant, from nowhere but that white light.

Gakuto grinned, “Yes!” he yelled. “Yes, here she is! The magical girl who shall champion humanity and keep us on an eternal road: Muse Duellist.”

“Muse who?” Romin yelped as she scrambled in her ankle breakers close to Gakuto since he seemed to have some idea of what was going on, as insane as it was.

“Muse Duellist, of course, the one who will destroy Dr. Ohdo’s terrible Roads and save the day! The future! The entire world!” Gakuto said and he struck a sharp pose for emphasis.

Romin’s jaw just dropped. She could not take this man seriously at all.

“Now go, Muse Duellist, save us all with your song.” Gakuto said and he pointed at the monster.

The sun was glaring off. It leered and loomed and now that they were making a lot of noise, it seemed more than content to rampage. Merely taking a step forward with its gargantuan body was enough to crack and crater the pavement below.

Romin squeaked, “Play music? Yeah, that I can do. Dunno about that other stuff.” she said.

“I’ll support you as best I can,” Gakuto said and from inside his sweater vest, he drew out a handheld device, “this can detect any robot’s weakness, with just a mighty Scholar Scan, we’ll be able to take it down.”

Romin nodded her head, she had no idea why but she was going along with it. She may as well. It was likely her only option to get out of this crazy situation at all.

“Now go forth!” Gakuto yelled. “Sing your song, Muse Duellist!”

“Okay,” Romin said, her voice completely neutral, “so where’s my guitar?”

Gakuto blinked, “Your guitar…?” he echoed.

“Yeah, I’m lead guitarist, not lead singer, you know that, right?” Romin pointed out.

“But you're in a band, surely you can sing, right?” Gakuto said, blinking again. “Muse Duellist’s entire schtick is that she sings a song that reverberates at the correct frequency to disable and disassemble Dr. Ohdo’s Road.”

Romin blushed, she toyed with the scepter that she held, it was actually quite light-weight and even fun to play with, “I’m tone deaf. I can carry a tune with a guitar, not my vocal chords.”

“Pardon?” Gakuto said in a tiny voice.

“I’m a horrible singer.” Romin reiterated.

Gakuto’s eyes glazed over. He had done hours and hours of research into Kirishima Romin and the band she was a part of, RoaRomin. He learned all her favourite foods, that her blood type was AB, that her zodiac sign was Pisces. He had even happened across her three sizes and her grades even so far back as elementary school. He had scoured dozens of magazines and gossip websites and plenty more too.

Everything that he researched just confirmed in his mind that Kirishima Romin would make the perfect Muse Duellist; he even fashioned the accessory that adorned the Muse Scepter after her initial because of this certainty. Not once did any of these sources that he had inquired into ever mentioned that, apparently, famous guitarist Kirishima Romin was a terrible, no good, horrible singer. It simply did not compute with Gakuto who felt his heart and pride shrink in on themselves.

So, in an even tinier voice than before, Gakuto uttered, “We are so screwed.”

That they were, that they were.

The monster lumbered over and smashed an arm down through where they stood. Romin jumped out of the way, shrieking, but Gakuto was knocked down again. The telephone monster’s fist broke the pavement there, too. Shards of concrete spiked up from the ground. It gave another, awful screech which was raw and staticky.

Gakuto groaned. His pants ripped at the knees and he was seeing stars. Most of them around Romin, his dear Muse Duellist.

Romin felt her heart steel. Gakuto could be hurt. Severely wounded, even. And she had just dashed away like it was nothing, there was something about these clothes, as impractical as they were, which gave her an agility she didn’t realise she had. Gakuto was practically defenseless compared to her. She had to do something. He had entrusted her with this power for some weird, cosmic reason, so may as well use it.

“Hi-yah!” Romin yelled as she surged forward.

She ran towards the monster and hit it with the scepter. She bashed at its back side, over and over again. She grinned whilst doing it, her heart racing as she had an incredibly good time unleashing her inner brutality on it. Totally unafraid of either breaking the scepter or phone which had become the basis for this monster at all.

It was just a shame that it didn’t seem to be doing much at all. Nothing except annoy the monster. It shifted slightly, pulled its arm away from Romin and lunged at her with the other. She yelled as she gave it a great swack, like it was from a baseball bat, and it turned into a gritty parry.

Gakuto held his head and groaned. The Muse Scepter was not meant for close combat but he was suddenly glad that it was reinforced anyway. He knew that bright idea would come in handy for one reason or another.

“Muse Duellist!” he yelled out but his voice had a loose tremble to it. “Use your Maximum Song!”

“Who-? Oh right, me,” Romin murmured as she jumped back from the fray, trying to close in on Gakuto without luring the monster either, she turned her head, “wait, my what?” She took a few more steps back so she could regroup with Gakuto.

Gakuto sighed, “Your Maximum Song,” he insisted, “even if you can’t sing, surely it’ll still work. Put your scepter in front of you, line up your mouth with the R, and sing, Muse Duellist!” He then used that Scholar Scanner of his and lined it up with the monster, like he was trying to take a photo of it.

Romin screwed up her expression. It was a weird instruction but she did it anyway. There was a tremble in her forearms as she aligned her mouth with the R of the Muse Scepter. She swallowed and even though it was against the grain of her talents, she sang a note into the scepter.

Her off-kilter note that she sang warbled through the R but it came out the other side as something else. A weak sonic boom of all things. Her eyes went wide as she managed to shoot her shot though, damaging the side of the monster. But that just made it mad.

The monster shuddered and gave an even grander screech than before. It caused more branches to fall off trees and for tiles on the roof to come loose. It shook the foundations of the cafe, even. Gakuto and Romin could hardly withstand the aural assault but they managed.

Gakuto held onto Romin and he pulled himself up. Romin struggled with Gakuto’s weight but came good once he was on his own two feet. He placed his arm around her waist and brandished a fan - she had no idea where it came from - with passion.

“Seize the sonic wave, Muse Duellist!” he yelled in her ear with a flourish of his fan. “According to my Scholar Scanner, this monster’s weak point is in the middle of its top vertice so aim there.”

“Got it.” Romin nodded.

Gakuto held her steady whilst Romin wielded her scepter once more. Knowing it's true function as a long range, sound based weapon, having given it a crash test, she felt more confident with it. She took a huge breath and felt her diaphragm flex. Even if she didn’t know how to sing in a way that sounded good, at least she knew how to sing in a way that was good for her body.

Romin moved the scepter upwards, she tilted her chin up, too. She could see that funny little device at the top of her phone which had caused this monstrosity to become a monstrosity in the first place. The weak point, she didn’t even need the Scholar Scanner to realise that. Holding on tight to the sceptre, Romin used her finishing attack: her Maximum Song.

She sang the opening lyrics of RoaRomin’s most iconic song into the R of the sceptre and the effect was immediate. It wasn’t just a sonic wave, it was a sonic boom. It was enough to flatten the vicinity of the cafe, Romin and Gakuto barely holding onto each other through the immensity of the sound.

The monster screeched out but began to crack. The sonic boom had been concentrated, funneled through the hole of the R and it assailed the top vertice of the monster. It tried to resist but it began to buzz. To fumble. Its body fell away, piece by piece and Romin could hardly believe her eyes as every iota of the machine was just shed so easily.

Then poof! Another explosion and the monster disappeared. Became its omega and its alpha: in other words, Romin’s phone and Dr. Ohdo’s device that he used to turn it into a monster.

Romin squealed as she raced forward, catching her phone before it could crash land into the ground. Gakuto was also hot on her heels, catching the Road that had infected the technology. They both sighed in relief as neither seemed too damaged and then exchanged a smile.

“Well…” Romin murmured, her high heels clicking as she dawdled, “I think we can call that a success.”

“I think we can.” Gakuto said.

Romin leaned over and peered over Gakuto’s arms. She looked at what he was holding, cupped, in his hands. Some sort of tiny, green drone with frazzled, yellow eyes.

“What is that?” Romin asked, blinking.

“A Kaizo.” Gakuto replied gravely. “One of Dr. Ohdo’s favourite inventions. It's a versatile Road and seeing what chaos it caused today, one he has improved of late.”

“But we broke it, right? Destroyed it? So it's all good, right? We saved the day and never have to do this Muse Duellist thing ever again, yeah?” Romin asked, rambling.

Gakuto shook his head, “This fight was just the first of who knows how many. Your duty as the champion of humanity’s future, ensuring that we have one, just begun, Miss Kirishima.”

“Wh-What?!” Romin stammered in exclamation.

Gakuto put his hand firmly on Romin’s shoulder, “Worry not, you will do well. I shall assist you above and beyond all expectations.” His mind was already brimming with calculations and ideas on how to improve the Muse Sceptre now that he had seen Romin action as a close quarters combatant rather than a ranged attacker like he expected.

“That’s not really the-” Romin gave up mid-sentence. Gakuto was practically shining with his conviction so she sighed. “As long as it doesn’t interfere with any commitments I have with my band.”

“Thank you, Romin, I have no doubt you will be hailed and regarded extremely well in the future, once we have acquired its certainty. We will not allow Dr. Ohdo to end our road in armageddon.” Gakuto said firmly.

“Yeah…” Romin murmured and she looked around, her eyes went wide as she realised that two people were standing them, half-crouched, hands reached up and they were twirling brushes in their fingers like they were meant to be bouquets. “Um, who are…?” She looked around in panic and realised that the impacts and craters from their fight, the fallen branches, a lot of it had been cleaned up and away somehow.

“These are my trusty assistants, Ranze and Rinnosuke, they will be assisting us in our endeavour to protect the future as well.” Gakuto explained.

“Okay, well, good to meet you both.” Romin said.

They ceased their stagehanding with the brushes and got up. They saluted Romin and appeared to return her sentiments: it was good to meet her, too.

“So, um, how do I get out of this outfit?” Romin asked in a small voice. “Just by the way.”

“Musa, activate protocol Three-Five-U-M.” Gakuto recited.

“Mu-Mu-Musa!” Musa chirped.

Romin was flung asunder again, this time in reverse from before. The Muse Sceptre vibrated in her hands and began the de-transformation process. She was forcibly put through the wringer and when she came out the side, her hair was down, her beret was back, and she was wearing her cut-out denim jeans again. She couldn’t believe it.

Her sceptre had also become that tiny little charm again - the Tuning Pick - in her hand. Knowing the safest spot for it was inside Musa, she offered it to the little guy who was brimming with jubilance as it hovered around her like an enthusiastic fly. It happily swallowed up the Tuning Pick and Romin sighed, exhausted.

“What a day it’s been…” she mumbled and felt her stomach growl.

“And what a future it shall be,” Gakuto reminded her and Romin look up at him, the weirdo in a lab coat, shiny orange glasses, he looked bizarre but he also looked like he knew what he was doing, he offered her his hand, “and to thank you for your services, would you like an early dinner with us?”

Romin smiled and she took his hand, she felt her heart skip a beat and now she was the one enamoured with this person from an entirely different world to her, “That would be lovely, thank you. I’ll let my chauffeur know that I’ll be a bit longer.”

“Sounds good.” Gakuto agreed, squeezing her hand, noticing the callouses on her fingertips, and so ending the beginning of Muse Duellist’s saga to protect the future through song on a happy note.

#100ships challenge #petuniashipping #yugioh sevens #sevens #yugioh #gakuto sougetsu #romin kirishima #kirishima romin #sougetsu gakuto #writing tag #i had a lot of fun writing this fic and i hope the affectionate paordy elements convey that way

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podcasts-in-review · 5 years ago

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Wolf 359

Alright, to start out, let’s get into one of my favorite audio dramas of all time: Wolf 359!

Wolf 359 is a science fiction character drama about the crew of the USS Hephaestus, a deep-space research station orbiting red dwarf Wolf 359, and the daily struggles, funny antics, and life-threatening perils that come with their life among the stars. There are a total of 61 episodes across 4 seasons, with several hours worth of bonus content to supplement it, and the podcast is completed. Episodes range from 20 to 40 minutes long, and they noticeably get longer as the series progresses.

I personally love the way this podcasts blends comedy, horror, good character drama, and fantastic sci-fi action to create an incredible, character-driven narrative that packs a hefty emotional punch and will DEFINITELY leave you an emotional wreck. More than once. Don’t say I didn’t warn you.

Now, into the nitty-gritty:

Plot/Writing - 9/10 - The plot of Wolf 359 is intense and fast-paced, never really staying in one spot for longer than a moment. Though the podcast starts out slow, it quickly picks up around the end of S1, and never stops until the last episode of S4. Mysteries are continually established, explored, and revealed, leaving you constantly in suspense, and though W359 typically follows a more episodic format, the actions and character interactions taken in previous episodes have long-lasting ramifications and consequences on the world at large. Gabriel Urbina and Sarah Shachat do an excellent job in writing a very dialogue-heavy story, and integrating more monologue-y bits into the plot fairly seamlessly. I could definitely see this story being changed into a TV sci-fi drama series very easily, with only minimal changes needed to the writing.

Characters - 10/10: The characters of Wolf 359 are really a step above, to say the least. All of the crew of the USS Hephaestus are absolutely brimming with personality, and every major character gets at least some amount of character development, with Hera, Minkowski, Eiffel and Lovelace being the strongest on this front. The characters all have complex, meaningful relationships with one another that grow and change throughout the series, and lend so much emotional weight to the many hard-hitting moments of the series. While some of the characters may start out as one-dimensional tropes, they quickly grow to become so much more, and feel very much like real people by the end of the podcast.

Technical Aspects - 9/10: The voice acting in this show is simply fantastic, and the performances give plenty of life to every single character. Though Zach Valenti’s Russian accent as mad-scientist Alexander Hilbert occasionally comes across as corny and fake, my personal favorite performances are Zach Valenti as Doug Eiffel, Cecilia Lynn-Jacobs as Isabel Lovelace, and Michaela Swee as Hera. I never really had any issues distinguishing voices while listening, even with a large ensemble cast. In addition, the soundscaping and audio editing, from explosions to spacewalks to fights, is absolutely phenomenal and really helps to augment a purely audio story into something more. Using the same audio clips for similar situations (typing on a keyboard, opening a hatch, depressurization) can occasionally seem repetitive and annoying, but are crucial for establishing character action and a sense of place, even when we can’t physically see what the characters are doing. The music, when it comes in, is great and memorable, and includes everything from classical to ambient to more intense tracks.

Theming/Genre/Tone - 9/10: While in setting, Wolf 359 is strictly science fiction, it toys around with different elements of workplace comedy, character drama, action, and even horror to create a tone as varied and complex as its characters. I’ve been genuinely on edge listening to some of the scarier or more action-packed episodes, and the comedy in the lighter episodes is well executed and genuinely funny. This is the type of podcast that will make you laugh and kill off a character in the very same episode, and while these abrupt tonal shifts are common in this podcast, it only occasionally felt out of place. Also, so. many. pop culture. references. I swear to god, there are more pop culture references per minute than there are in Deadpool and it is a thing to behold. If you aren’t as familiar with a lot of sci-fi media, it can take some getting used to, but for me, at least, they didn’t detract from the story.

So, yeah, if you like Deep Space Nine, The Martian, or fantastic characters and a good plot that just so happen to be set in space, I would 110% recommend at least the first season of this show. Even if you only have a passing interest in sci-fi or have never listened to an audio drama before, I can guarantee there’s something in here for you to love.

#wolf 359 #podcast review #podcast reviews #audio drama #audio fiction #podcast recs #podcast recommendations #doug eiffel #alexander hilbert #renee minkowski #isabel lovelace #w359 hera #w359 review #alana maxwell #daniel jacobi #warren kepler #podcasts #podcast

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hopeymchope · 4 years ago

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Godzilla Singular Point

I came into Singular Point with some trepidation because Godzilla’s history in anime is both very recent and extremely bad. The three anime movies released between 2017 and 2019 are easily the worst work of famed writer Gen Urobuchi and honestly contain more bullshit than I can even get into here. Those movies and this series were both Godzilla anime properties commissioned by Netflix, which didn’t get my hopes up very much. Thankfully, Singular Point is a very different beast from the anime trilogy. One could argue it’s very different from most Godzilla media, actually — at least from my perspective. And I’m still a pretty entry-level fan of Toho’s Big G, all things considered.

Let me just warn you right up front: This smartphone-based virtual assistant is basically the breakout star of the series.

When you think “Godzilla,” you probably don’t think “incredibly dense sci-fi concepts,” but with the big G’s first-ever anime series, the writers clearly set out to change that perception. Before the first kaiju even appears, the lead characters are plucked from obscurity and dropped into a mystery that involves fourth-dimensional time travel, physical objects that look different from all sides, theoretical math concepts, self-propagating A.I., and a whole lot more. And it’s NEVER made clear how all of it connects to the rampaging kaiju! Although we spend a lot of time investigating a red dust or sand that is very obviously tied to the monsters in SOME way, no one ever makes a connection that explains the relationship. Maybe we’re supposed to wait for a later season to connect the threads... but let’s get into the idea of “another season” later.

I like to think of myself as someone who typically enjoys hard sci-fi, but even with the characters spending loads of time trying to explain the high concepts driving the story, I was never able to fully wrap my head around what was going on in the mystery at the center of GSP. I rewound and rewatched a few explanations, but I still walked away feeling lost. I eventually settled on some vague, loose understandings of most of the ideas mentioned, but those understandings were subject to being ripped apart in subsequent scenes when I was shown or told something completely at odds with what I thought I knew. I can’t say I was ever bored with the thick, dense scientific concepts on offer — trying to find purchase with these far-out ideas kept me glued to the screen — but damn, I sure wish I was able to comprehend them.

What do we want?! DENSE SCIENTIFIC DISCUSSION AND DEBATE! When do we want it?! AFTER THOROUGH RESEARCH, TESTING, AND PEER REVIEW!

Another weird thing about this show is that the lead characters remain in separate locations and on separate tracks for the entire duration. We have Yun — a mechanical engineer and programmer who has an amazing grasp on physics and human behavior. And we have Mei — a grad student who is deeply invested in theoretical science, UMAs, cryptids and other far-flung concepts. Both of them are basically geniuses in their fields, and even though they take opposing views of just how flexible reality is, their shared ability to think “outside the box” becomes the crucial component in solving the mystery at the core of the series. Because they don’t even know one another (despite being separated by like, ONE degree), they only ever interact via text messages and behind screen names, which feels pretty damn weird. At least I immediately liked both of them, with Yun being the standout to me because of how his lowkey reactions to crazy shit generates a lot of humor.

This soundtrack cover LIES; you will never see these characters in a room together like this.

Alas, we don’t get to know the characters a whole lot beyond what we learned of them in the first two episodes. It’s not long before they’re trapped in a series of complicated exposition dumps, endlessly attempting to explain the high concepts of the show to other characters as well as my dumb ass in the audience. The fact that I liked them in the first couple of episodes carried me through more than half of the show, but I was always hoping to see them share more of themselves or just display more emotion. Anime as a medium excels at emotional storytelling. But despite the major, world-altering events the characters are constantly warning us about, none of them seem to have many emotions about said events.

Further complicating matters is how, when major events finally occur in this show, they are often kept off-screen. One character shockingly dies, but the portrayal of that death is so piss-poor that I didn’t even realize it’d happened until someone mentioned their death in the next episode. After that vague death, I was particularly sensitive to anything that looked like it might possibly be lethal. Yet a later event that is played up as a tragic, fatal occurrence ends up... fine, somehow? It’s not clear how the character survives, because — even after one of our heroes is left screaming their name in despair as they seemingly die — nobody ever talks about or explains how he’s just fine a couple of scenes later. And near the end of the series, there’s a major transformation that occurs for one of the characters, and we never see it happen nor do we understand HOW it happened. It’s just that suddenly, this character is extremely different due to off-screen reasons that are only vaguely verbalized.

I guess these two really bonded at some point for some reason? And what you are seeing here is literally the height of emotion shown in the entire show.

Even though the overarching story of the series so far pretty clearly wraps up in episode 13, we then get a post-credits tease for a potential second season. So the question becomes: Would I watch that?

Well... Godzilla Singular Point is a series with a lot of issues that kept me at arms’ length from it — tons of extremely confusing dialogue, highly frustrating choices in direction that lead to baffling storytelling, characters who are mostly exposition-dumping — and yet there’s still some foundational work here that I appreciated a lot. When the action occurs, it’s pretty cool/fun. And when urban destruction occurs, it can be awe-inspiring. The human characters, though little-explored, have likable and interesting foundations to them that could be expanded upon. And I didn’t even mention the soundtrack, which features a variety of musical styles combined with the classic Ifukube theme music and an OP that is an absolute banger. (I have a weakness when it comes to music; a good soundtrack can carry me through even the blandest series sometimes.) Even the core idea of centering a Godzilla series around hard science and mathematical concepts is a compelling one, I think! I just hated the execution of it; they went waaaaay too far on poorly explaining incredibly complex, mind-bending concepts for my pea brain to handle it. They spend so much time trying to explain things, yet somehow they never succeeded for me.

Ultimately, I’d probably give the show another chance. But if I do give another season a chance, it’ll be on probation. I wouldn’t watch the entire season unless I could see within four episodes that they’d definitely improved things.

Would I recommend that anyone watch the series as it currently stands? I mean... not really? I guess if you really dig complex math, hard theoretical science, and/or Toho’s stable of monsters, then maaaaaaaaaaybe give it a shot. But otherwise? Naaaahh. It’s not good enough at anything to make it stand out from the anime crowd. I didn’t hate it like I hated the Godzilla anime films, but Singular Point is still something that both casual viewers and most fans can comfortably ignore for the time being. It’s not a complete disaster, and it’s not without its highlights... but it’s definitely disappointing in my opinion.

OKAYOKAYOKAY, so let’s talk about the kaiju for a bit!

Below will be SPOILERS revealing all of the kaiju that appear in Godzilla Singular Point and giving my feelings on them.

Godzilla — It’s interesting to see a version of Godzilla that borrows some ideas from Shin Godzilla. Shin G has been incredibly unique until now, but this Godzilla manages to fold some of Shin’s distinctive aspects in with the more classic/typical versions to build a fun new depiction. Be forewarned that Godzilla doesn’t show up until the series is halfway over, and he doesn’t get a ton of screen time, either. He’s used quite sparingly and kept in hazy settings, often framed from the neck-up when they show him. It’s a little frustrating that they felt the need to shroud him so much, but I respect the fact that whenever Godzilla is shown, the destruction he causes is on a scale far beyond anything that the rest of the kaiju ever do. He is pure devastation.

Rodan — He’s easily the biological kaiju with the most screen time in Singular Point. Rodan is first introduced as one gigantic pterosaur, but if you’ve seen ANY trailers for this show then you already know that his depiction transitions into an asston of smaller pterosaurs, all of whom are also called “Rodan.” (Apparently the word Rodan is both singular and plural, like the word “buffalo.”) Although he looks kind of cool at first, pretty soon Rodan showing up isn’t special or threatening anymore. Rodan appearances go from “a big goddamn deal” to “some bland background noise” before the series is even 1/3 finished. The design might be a little too far removed from the original for my own taste, but even if I didn’t think that, I wouldn’t be able to care for this Rodan simply because he’s rendered so unimportant and unimpressive.

If you go out in the woods today, you’re sure of a big surprise...

Anguirus — Now check this guy out! Anguirus gets one of the coolest fights in the show and also demonstrates some powers that are well beyond anything we’ve seen him do before. Because he sticks to unpopulated areas, we never see him do much damage to Japan, but he is definitely holding all the attention when he’s on-screen. He’s a highlight for me — a total badass who is very unique in his abilities. And the stated origin for his name is goddamn adorable.

Manda — Yup, Manda is in this series... but I don’t have much to say for him. It seems like the creators of the anime didn’t have much to say about him either. His role amounts to little more than a repeated cameo, and in most of those cameos you only ever see his tail. When we finally see his full body, it’s done so briefly and kept at a distance, leaving me with no real impression. I had to look up his design online and... yup, that sure looks like Manda. Final score: MEEEEHH.

Kumonga — I definitely did not see this appearance coming! Kumonga is much smaller here than you may be used to, but she gets to star in the most suspenseful sequence in the series and easily earns the most exciting cliffhanger moment at the end of an episode. I was utterly glued to the show during her screen time, which comes with a lot of icky twists. Good ones! I honestly like Kumonga here more than I ever have previously.

NEW PHONE WHO DIS

Salunga — Uh, who? This is the one monster that isn’t based on a classic Toho kaiju but instead is a brand-new creation. I suppose that everybody who touches the Toho Kaiju franchise wants to make their own mark on it in some regard. But a big part of the fun of this series for me personally was the anticipation of seeing new interpretations and designs of classic Toho monsters. And so, given that he kind of resembles both Baragon and Gabara, I never stopped wishing they’d just used one of those guys as the basis and namesake. Taken on his own, however? He’s... pretty neat. Not unique or exciting, but solidly above par. He resembles a cross between a lizard/dinosaur and an ape, plus his head has some nifty coloration.

Our Jaguar!

Jet Jaguar — I guess Jet Jaguar isn’t exactly a kaiju in the traditional sense because he’s a Giant Robot. However, if you want to consider him one, then I wager he probably gets even more screen time than Rodan! We meet him almost immediately when the series begins. Initially an odd pilot-driven robot that was constructed at the whim of a quirky old factory-owner with too much disposable income, Jet Jaguar grows and changes over the course of the show, ultimately undergoing a transition in episode 7 that makes him pretty damn impossible to dislike. In fact, I utterly adored him by then. This is definitely the best Jet Jaguar I’ve ever seen. His design is recognizably similar to the original yet utterly distinct, too. Like many of the other kaiju here, he’s not nearly as big as he was when he was first introduced to the movies, but his size is ideal for battling the smaller-scale monsters that we spend most of the series on.

#godzilla #godzilla singular point #anime #anime reviews #kaiju

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dswcp · 4 years ago

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Happy Clone Wars Friday!

This week’s theme: Siblings!

Of course the biggest and most tragic group of siblings in Star Wars is the clone army. Jay Shuster, one of the designers behind this creepy space, said:

“In time, the clone facility designs adopted their strongest and most apparent theme -- vast amounts of white space with strong graphic elements. It instantly conveyed the sterile conditions and eerie calm of the facility... We had to struggle with the bad design mojo of monotony and repetition. The battle for a solution had many forms: making the space ultra-huge, populating it with thousands of clones, and creating elements to break up the vastness and repetition without screwing up the overall scale.”

Designer Edwin Natividad researched “concepts of the symmetry naturally occuring in physics and nature” to achieve a sense of precision for “the mathematical minds of the Kaminoans, a species that may be pure science incarnate.”

These artistically challenging ideas of repetition, sterility, and Kaminoan culture were visually explored in Attack of the Clones and some other early clone-focused media, such as Genndy Tartakovsky’s Clone Wars series, but they have largely been replaced by an emphasis on individual personalities and Mandalorian culture in the computer-animated series, books, and general fandom. I think it would be more interesting to return to the disturbing, cynical origin of the clones, to really embrace the sci-fi horror of their creation and doom, than to go in the upcoming Bad Batch show’s individualistic action-adventure direction. Militarism is a scary, dehumanizing force, after all, and it would be compelling to see Star Wars take that aspect of its tragedy more seriously.

Concept art from The Art of Star Wars Episode II: Attack of the Clones, written by Mark Cotta Vaz. Drawn by Edwin Natividad. Published 2002.

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the-cyberpunk-zeitgeist · 4 years ago

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The Cyberpunk Zeitgeist

>>>𝕄𝕜𝕕𝕚𝕣 "𝕤𝕠𝕔𝕚𝕖𝕥𝕪"...

>>>ℂ𝕕 "𝕤𝕠𝕔𝕚𝕖𝕥𝕪"

>>>𝔻𝕠𝕨𝕟𝕝𝕠𝕒𝕕 𝕙𝕚𝕧𝕖𝕞𝕚𝕟𝕕.𝕖𝕩𝕖...

>>>𝔻𝕠𝕨𝕟𝕝𝕠𝕒𝕕 𝕔𝕠𝕣𝕡𝕠𝕣𝕒𝕥𝕖𝕜𝕝𝕖𝕡𝕥.𝕖𝕩𝕖...

>>>ℝ𝕦𝕟 𝕤𝕠𝕔𝕚𝕖𝕥𝕪.𝕖𝕩𝕖...

>>>𝕄𝕠𝕣𝕒𝕝𝕚𝕥𝕪 <𝕝𝕠𝕒𝕕𝕚𝕟𝕘-𝕗𝕒𝕚𝕝𝕖𝕕:

"𝕞𝕠𝕣𝕒𝕝𝕚𝕥𝕪.𝕙" 𝕟𝕠𝕥 𝕗𝕠𝕦𝕟𝕕>

>>>𝔼𝕣𝕣𝕠𝕣 𝕞𝕖𝕤𝕤𝕒𝕘𝕖: "ℂ𝕒𝕟𝕟𝕠𝕥 𝕗𝕚𝕟𝕕 𝕤𝕠𝕔𝕚𝕖𝕥𝕪.𝕖𝕩𝕖. 𝕎𝕖 𝕝𝕚𝕧𝕖 𝕚𝕟 𝕚𝕥."

>>>...

Flash into the past and look into the future. Recall the early stages of the digital age—the new millennium—and how, at the precipice of a thousand transformations, civilization was defined by its endless climbing innovation. In the 80’s and 90’s, when consumer use of the personal computer was infecting society like a virus, our entire idea of communication changed. The net became a pivotal point in shaping what it meant to be human. Through an ever-expanding web of information, human innovation seemed to spiral until promising “authorship over reality itself”. Those who felt constrained by the world, escaped into a fractal space with infinite possibilities of connecting with others.

Douglas Rushkoff termed it ‘Cyberia’—a dreamlike place offering “a way to crack open our civilization’s closed-mindedness, and to allow for a millennial transition that offered something a lot better than apocalypse: consciously driven evolution”, but the mesmerizing unity in this newfound cyberscape didn’t last. What followed—what we see around us now—may lead us to believe that all is lost, but perhaps there’s something more than war, corporate politics, espionage. Perhaps, there still exist some humans among us interested in a higher cause: unlocking the mysteries.

While the net was first adopted solely by military personnel and groups of scientists across academia who saw fit to interconnect themselves for research and communication purposes, it soon fell into the hands of the geeks using hypertext forums to discuss niche hobbies or send pictures to one another. The net became a mystic place of interlocking minds, where interconnected collections of data contributed to the neural network of humans that composed a global brain. As this paradise aged, however, the desire of investors to monetize and capitalize from the cyberscape arose alongside it. Advertisements flooded the web; businesses sprung up in every forum, website, and chat client. It wasn’t long into the 21st century that the nature of the web was forever molded by a greed to optimize its use for social credit, capital, and leverage for everything from corporate intelligence, to data harvesting, to control and censorship of media. The symbol of freedom and exploration was thus transformed into a stratified market and a subversive survival game. It’s all so… Cyberpunk.

In the 80’s and 90’s, alongside the rise of computers and the net, came the rise of Cyberpunk literature—a sci-fi subgenre defined by its retro aesthetics intermixed with contrasting commentary that showed us the wonders of new technology while simultaneously revealing the deep divide that emerged as a result of inequality. Pioneers like William Gibson in Neuromancer, Neal Stephenson in Snow Crash, and Katsuhiro Otomo in Akira revealed the true impact of this divide. In a world where everyone in the streets is chromed up with augmented cybernetic prostheses, but can still hardly afford to eat—a world where cities have been replaced by endlessly sprawling megalopoli—we’re left immersed in the aesthetics of ‘high tech-low life’ people struggling to get by.

Cyberpunk showed sci-fi fans what it might look like if kleptocratic corporations spiralled further and further into the power vacuum created by advancing technology. If caution and regulation aren’t put in place to protect the people from marvelous creations that humanity could hardly predict outside of science fiction, the people are further exploited and economic classes are further stratified. When this is combined with life-threatening dangers around every corner, the difference between economic class can mean life and death.

While the additional flourishes of weapons-grade cyborgs, sentient and sentimental artificial intelligence, and laser guns can make Cyberpunk seem like a farfetched reach into a future that will never come, I am here to tell you that this is Society, and we are living in it. Around the world, rising sea levels begin to swallow more of the coastline, and megafires consume any shred of nature or infrastructure in their path. Both of these events are spurred by human-driven climate change which is created in large part by first-world corporations churning out fossil fuels or slicing up rainforests for profit. The global hivemind that is the internet has become the limitless communications apparatus we wanted it to be, but it is covered in adverts and subverts its users attempts to harness its power with misinformation, propaganda, and profit-driven exclusive content. Riots over authoritarian state measures have propped up not only in the United States, but in Hong Kong, Belarus, and all across the globe. Pandemic disease and refugee crises displace hundreds of thousands of humans each year, and the rich keep getting richer by the billions.

In more recent Cyberpunk writing like William Gibson’s The Peripheral, Gibson describes the Jackpot:

And first of all that it was no one thing. That is was multicausal, with no particular beginning and no end. More a climate than an event, so not the way apocalypse stories liked to have a big event, after which everybody ran around with guns… or else were eaten alive by something that caused the big event. Not like that.

It was androgenic… that meant because of people. Not that they’d known what they were doing, had meant to make problems, but they’d caused it anyway. And in fact the actual climate, the weather, caused by there being too much carbon, had been the driver for a lot of other things. How that got worse and never better, and was just expected to, ongoing. Because people in the past, clueless as to how that worked, had fucked it all up, then not been able to get it together to do anything about it, even after they knew, and now it was too late.

...it killed 80 percent of every last person alive, over about forty years.

Jackpot. The repercussions of humanity’s actions finally catch up, and those bits of humanity that do remain are saved by an extreme surge in innovation that manages to save society’s elites. As Douglas Rushkoff puts it in his recent essay The Privileged Have Entered Their Escape Pods, more and more of those who have the capital to do so have already begun their plans, whether those plans are to escape to Mars or to set themselves up with a cushy work-from-home job while the lower class workers are forced into the public during the pandemic crisis. The need to automate away positions for the safety of our species is becoming even more prevalent than it once was in the minds of corporate conglomerates, but the cancerous overgrowth of our bureaucracy has become so bloated and tripped up in its own processes that we can no longer look to our political systems to keep up with the exploitation of innovation. Lo and behold, the world’s looking pretty CPAF to me.

Where have the visions of Cyberia gone? What happened to the early stages of internet punks, pushed aside in their desire to surf the datasphere purely for the rush of uncovering swathes of data? Where did visions of “authorship over reality itself” twist to become ‘authorship over reality by those with the capital to control’? It may seem that this explosive spiral of technological innovation in the new millennium is driving us towards extinction and only saving those with enough coins in their pockets to buy a ticket on the ark, but perhaps it’s not too late to change course and save ourselves from the ultimate Jackpot.

United by the global nature of the net, every one of us is connected as a single living entity that is the Earth—a Technogaia. Developments in artificial intelligence promises us exponential increase in information processing capabilities across all fields. Breakthroughs in genetic engineering could allow us to delete diseases from our genomes, and have already shown minor success in the de-extinction of species. With the first cyborg part already installed in each of our pockets, every citizen can extend their minds beyond capacity; each one of us becomes a journalist at a moment’s notice when injustice needs to be documented and challenged. Nuclear, hydrogen, solar, and wind energy lead us towards a cleaner and greener future. The rise of urban ecology shows a path to optimize the use of space to lower humanity’s carbon impact while providing more space for habitat rehabilitation and the reintroduction of lost biodiversity.

In the palm of our hands, humanity has taken control of the world. With science and technology, we’ve become the manipulators, but if we do not recognize what our impact is on the Dao of Earth, we may tip the scales too far into the Chaos. I’ll be honest in saying things look grim, but these same innovations that have paved the way for flying killbots and smoke stacks spewing gases into the sky have given us the power to reshape the world in a beneficial image. Futurist politicians call for universal basic income in a world increasingly run by machines. Transhumanists pave the way for the radical extension of the human lifespan. Technogaians design solarpunk arcologies to house a society ready to save their Earth rather than one intent on consuming it. Cyberians fight for our rights to privacy and the freedom of information. Just as the visions of grim dystopias in the 80's and 90’s saw themselves transformed into modern realities, we can use humanity’s greatest tool—this near-deific domain over innovation—to mold this fractal reality into our vision. But is it chaos, order, or some harmonious Dao in between that we seek?

No matter our choice, it’s going to take a lot of united high tech-low life cyberpunks to get there. This is the Cyberpunk Zeitgeist, and we’re living it.

For more works by The Cyberpunk Zeitgeist, see our Twitter page @CyborgZeitgeist

#cyberpunk #sci-fi #science #environment #technology

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jessica-harrison · 4 years ago

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Skills

Cover photo: https://www.ipr.edu/blogs/audio-production/what-can-i-do-with-an-audio-production-degree/

As mentioned in the 'Industry Research' section of this blog, it isn't just the technical skills future employers will want to see. They want to see how your passion and art is fuelled also!! Sound design is more than just a series of sticking sounds together in a DAW. It's all about creating the other half of the story!

Core values & necessary skills

In my blog's branding section, I spoke about core values and those I deem to be top of my list. Core values make us who we are. It's what drives ambition and our creative thought process.

Accountability is high on my list of values/skills. Being accountable for the amount and quality of work we do is crucial. Often we dismiss our failures because we won't hold ourselves responsible. Though, at the other end of the spectrum, we more often than not, sing our praises. So holding yourself accountable as an individual or team unit, is just as crucial during the failures as it is during the success.

Whilst, teamwork is a very cliché term used with regards to employability, it remains a massive part of my core skill set. Being surrounded by team members is an excellent way to find a creative place in a project. I can then take those ideas and present for peer review. Having people to work with not only makes producing a big project easier. Still, it gives me a tremendous sense of satisfaction that like-minded creatives have come together to create something incredible.

Passion is a big part of what drives me. Music and composing is such a wonderful expression of artistry for me. Not just the music side of things, but I then took my love for music (and audio in general) regarding sound design. I began exploring the more intricate realms of audio. Each day my passions grow, but I NEVER wonder why I love what I do, not even on my worst days.

Respect is a skill I'm continually re-evaluating. I think it is undeniably essential to respect other people and their creative differences.

Continuous improvement is about always finding new and exciting ways to work. Technology changes exceptionally fast these days, and in audio production, the skillsets also have to change. Keeping up to date on industry techniques, skills, and methods will ensure I stay relevant to the expected work output. There are some general skills required to be a sound designer composer within the creative industries. However, some more specific skills are necessary if specialising in TV & film or games.

Basic skills:

Creating, maintaining and backing of own original sound libraries.

Digital signal processing

Producing sound maps/ storyboards from scripts.

Mixing inside Digital Audio Workstations

Work along with side other members of the audio post-production team

Sector-specific skills

TV/Film and Game skills:

Compose and engineer music

improving sound quality

Spot, arrange and edit audio into video, or other mediums.

Use visual logic systems such as Max MSP.

Use of game implementation systems, i.e. Unity, Unreal, Fmod and Wwise.

Layering sounds to have a desired/or specific effect.

I have begun creating and collating my sound libraries last year. At first, I had incredibly long titles for samples and one-shots but started finding it hard to achieve all of the sounds (both RAW and edited). That was until I came across the word 'metadata'. Having a logical and easily navigable database of sounds is crucial to making my workflow more efficiently. I'm starting my journey into audio metadata with a free app called Soundly. Soundly offers a free-plan with up to 2500 local file storage and access to free cloud-based sound effects. To start, this will be ideal, but I would like to look at other plans that will include Cloud storage backup in the future. Currently I backup all of my libraries onto an 8TB desktop drive, another external HDD and my google drive.

What is digital sound processing or DSP, you may ask? Digital sound processing is where audio converts from analogue to digital signal. A series of mathematical calculations are then applied before the signal returns to analogue before final output. As a producer/composer/sound designer, I use various plugins to manipulate the sounds inside my Digital Audio Workstation (DAW). Plugins come in many forms. VST is the most common form of an audio plugin and is Microsoft's Virtual Studio Technology. Avid uses its plugin file system called AAX (Avid Audio Extension), and Apple uses its own AU system (Audio Unit).

Below is a small list of plugins that I utilise during my time working on projects in the studio:

Fabfilter Pro-Q 3

Waves H delay

iZotope RX8 - Music Rebalance

Facebook 360 Spatial Workstation AAX plugin (Pro Tools)

I use Logic Pro X as my music production/composition DAW of choice. I believe this offers a great deal of flexibility to music composers alike.

In contrast, I use Pro Tools as my post-production tool. Here, I produce final mixes of songs before proceeding onto the mastering process, which I also use Pro Tools. Pro Tools is also my DAW of choice for sound design work, purely because of its sheer power in dealing with raw audio.

During a mix-down phase of a musical composition, you should hear each instrument with clarity. Musical instruments all operate at different frequencies within the frequency spectrum. By respecting the base frequencies at which a particular instrument's audio outputs, I can make the final asset as audibly clear as possible, for maximum viewing pleasure.

When working on sound design projects, I will often improve the sound of my source audio captured when out in the field inside iZotope RX8. Here I will remove clicks, hissing, background hum, de-verb, and even isolate parts of dialogue to ensure that audio is optimal for project usage.

I do love writing music and producing sound effects! I like to create work for TV & film, animations, interactive media, audiobooks and more. I import video assets into my DAW (Logic Pro X or Pro Tools depending on projects final output).

This way, I have a visual in front of me from which to work. You can then lock the audio event in position with the video using SMTPE time code. This way, it keeps my music and sound effects in the exact place they need to be, without fear of being moved or adjusted in any way. Just don't forget to lock the positions!!

Max MSP is a powerful visual logic system for generating sound design and producing electronic music. I am new to this software and am learning new and exciting ways to integrate MAX MSP into my DAW workflow. I decided to explore the unique and intricate methods of composing music and designing sound for various media forms.

Examples of work

The best way to showcase both technical and artistic skill is quite obviously through social media platforms. Instagram has become a staple platform where businesses and creatives promote themselves and their craft. There are other platforms such as YouTube, SoundCloud, Twitter, Facebook (and don't forget LinkedIn!) to name but a few. With all of these beautiful places to promote me and work, I must consider the type of content I post to maintain maximum engagement with audiences and potential employers.

After many years of making and producing music at home, my interest in exploring the world of all thing's audio continued to grow. I purchased myself a simple, cheap portable recorder, some dirt-cheap microphones, and just went out and explored the world around me. At first, I made some novice mistakes in just aimlessly pointing and pressing the record button. Still, I soon learned that I merely heard things playback after recording. I never stopped to listen before I hit that big red button!

Slowly I got better (still, a long way to go), but most importantly I absolutely loved the process, and still am! I took great inspiration from reading the sound Effects Bible by Ric Viers (https://www.ricviers.com/sound-effects-bible) and Field Recording from Research To Wrap by Paul Virostek (https://www.creativefieldrecording.com/downloads/field-recording-from-research-to-wrap/). Both explain in great detail about how to get set up, get a recording and start collating my sound libraries.

With that said here's one of my first sound design projects. By this time, I had upgraded my audio recorder and had a few new microphone additions. Jez Riley French's D-Series Hydrophone, C – Series Contact mic, and his electromagnetic coil mic. Again, it was a learning curve starting with these new bits of kit, but I am genuinely pleased with how much this project turned out.

Without further ado, I present to you a lovely piece of animation by Polynoid, titled Mem. I create a gorgeous stereo cacophony of delicate sounds with Sci-Fi and electronic elements that lend itself well to the animation's energy.

ENJOY (with headphones is best!))

youtube

#skills #SoundDesign #composer #AudioProduction

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darylelockhart · 5 years ago

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Apple, Disney and Netflix's streaming battle isn't winner-take-all

by Amanda Lotz and Ramon Lobato

Apple TV Plus has focused on recruiting big names for its shows. AP Photo/Tony Avelar

With the recent launch of Apple TV Plus and the imminent arrival of Disney Plus, the video landscape has never looked so competitive.

These services join a crowded marketplace of subscription streaming services that includes Netflix, Hulu and Amazon Prime Video – with more to come next year. For viewers, the proliferation of services means more choice in shows and services. For the companies, it means increased competition for talent and escalating budgets.

Although many publications have described the situation as “streaming wars,” these companies have different goals for each of their video services.

We have been studying the recent boom in subscription video streaming to understand the implications for audiences and industry. Contrary to all this reporting, we find little evidence of a “streaming war.”

In fact, many of these services are playing different games.

Diverse strategies

The major streaming services – both old and new – all have different catalogs, pricing and strategies. While all services seek viewers’ time and attention, in other respects they are different beasts.

Take Disney Plus. Disney’s strong suit is kids, family and its popular Marvel and “Star Wars” content. It has also invested in a few original series such as “The Mandalorian,” a “Star Wars” spin-off.

But unlike Netflix, Disney Plus doesn’t offer a full-service entertainment package. With its lowball pricing of US$7 per month compared with $13 for Netflix’s most popular plan, Disney Plus is pitched as a service to have alongside Netflix, rather than a direct replacement.

Similarly, Apple TV Plus – which debuted on Nov. 1 for $4.99 a month – has a tiny catalog of high-profile shows and stars, such as Oprah and Jennifer Aniston. Compared with Netflix’s library of 5,000 titles, Apple TV Plus is a minnow. Its purpose is to add value and glamour to Apple device purchases not to replace another service.

In other words, neither Disney Plus nor Apple TV Plus is likely to be a “Netflix killer” anytime soon.

The growing number of streaming services can co-exist. Manuel Esteban/Shutterstock.com

Netflix is global

Another key difference between Netflix and services such as Disney Plus, Hulu and Apple TV Plus is the amount of global content in the former’s library.

Today, six out of every seven new Netflix subscribers live outside the U.S. The global market is essential for Netflix’s future growth.

To support this endeavor, it is spending considerably on producing shows outside the U.S., and this original content is available to subscribers worldwide. Of course not every viewer is interested in series produced elsewhere, but Netflix is making the bet that sci-fi fans will turn up for a good adventure whether it is produced in the U.S. or Brazil.

In contrast, Disney and Apple are following a more traditional U.S. export model of media globalization.

Room for other players?

Many questions remain about the future of Hulu now that its owners – Disney and Comcast – are launching other services.

Hulu provides a distinct service as a source of current series produced for Disney and NBC. Viewers that are cutting cable and satellite service – a trend that has increased in the last year – may find Hulu a good replacement.

And more change is coming. Comcast announced a service called Peacock for next year. Peacock will draw heavily from the library of shows Comcast owns as the corporate parent of NBC and Universal. It will be free to Comcast subscribers and possibly to everyone.

Meanwhile, AT&T will launch HBO Max – the new direct-to-consumer portal for HBO content, some original series and titles from the Warner Bros. library such as “Friends.”

Disney can use data collected from its streaming service for other purposes, such as driving people to the theaters to watch ‘Frozen 2.’ Photo by Arthur Mola/Invision/AP

What winning means

In other words, the question of who will “win” the streaming war is more complicated than it appears.

Rather than one service to rule them all, there may be many winners because most are playing different games. Netflix is the only “pure” subscription video-on-demand service – meaning its only business is streaming video. It wins when viewers subscribe or keep subscribing. Apple and Amazon are playing another game entirely. Apple wins if you buy a new iPhone, and Amazon wins if you start buying more from its online retail service. Similarly, Comcast and AT&T are likely angling to increase internet subscribers.

Disney also wants viewers to pay to subscribe, but it has other ambitions too. Launching its own streaming service allows Disney to collect valuable data about who is watching and what they like. This kind of data is useful for driving viewers to theaters as Elsa and Anna return in “Frozen 2” and enticing families to buy lots of stuffed toys and maybe even visit its theme parks.

In other words, this is not a single war so much as a collection of different media and technology businesses that are using video streaming to accomplish different goals.

About The Authors:

Amanda Lotz is a Professor of Media Studies at Queensland University of Technology and Ramon Lobato is a Senior research fellow at RMIT University

This article is republished from The Conversation.

#media #streaming media #ott #netflix #apple tv #disney +#hulu #prime video

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zombee · 6 years ago

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@pitirres okay -

WNYC does really good stuff in general, it seems to me they build their products with their hosts (instead of building the products and asking the hosts to adapt)

2 DOPE QUEENS is a comedy podcast. great for laughs, hosted by two black women, and a hugely intentionally diverse line up of stand ups & guests

SOOO MANY WHITE GUYS is the spinoff of one of the hosts of 2DQ. host interviews non cis straight white men, excepting one token a season. i thought it’d be along the same lines as 2dq, peen jokes etc, and those are defo there - but i didn’t expect to connect with these guests so intensely, and be challenged in my worldviews. phoebe robinson is a masterful interviewer and gets better each season.

for pop culture, i like METIS IN SPACE, which is two canadian metis women speaking about indigenous rep of all kinds in sci fi/fantasy media. the definition of this expands as the seasons continue. they’re funny and perfect for someone like me who likes to learn about identity around nerdshit.

similarly PRETTY FOR AN ABORIGINAL is two australian ladies, but it’s much more of a traditional “let’s talk about the issues” podcast. still delightful though, and i picked it up because my novel is set in australia and i wanted to make sure i brushed up on multiple perspectives.

if you like steven universe, tamora pierce, or the queen’s thief series, su has the official STEVEN UNIVERSE PODCAST, tammy has TORTALL RECALL, queen’s thief has ATTOLIAN ARCHIVES. oh, and THE GOOD PLACE PODCAST (the official one) is fucking amazing

for pop culture, i like WONDERFUL!. a husband and wife talk about wonderful things they love. it’s a great pick me up, feel good show.

dunno if you count this as pop culture or politics, but i also am loving OH NO! ROSS & CARRIE where the hosts take on claims of the supernatural, religious fringes, and suchlike. they attended scientology classes and got acupuncture and visited a pet psychic, in the eps i’ve listened to so far, that sort of thing. they’re affable and skeptical in equal measures, and you can defo pick and choose based on your own interests.

similar is SAWBONES, a “marital tour of misguided medicine.” doctor and her comedian husband tackle all kinds of Bad Medical History, so not for the weak-stomached, but still technically rated pg-13 (no swears basically). the back catalog stuck to mostly long-gone ideas & topics, but recently they’ve moved into more, i guess, controversial? topics, and that might scratch your pop culture/politics itch as well.

so those are my more specific recs, but then here are my generals that i just Really Love and Think A Lot of People Should Listen To (originally typed on reddit hence the grammar lol) -

NARRATIVE/STORY BASED -

The Adventure Zone: The podcast that got me into podcasts. Three brothers and their dad, with varying degrees of Dungeons and Dragons experience, set out to fill time so one of them could take a leave of paternal absence from their more famous podcast, My Brother My Brother and Me. What starts as dick jokes somehow turns into this incredible, character-driven, thrilling, mindful fantasy epic. I wept through the last dozen or so episodes. And, they did a 2.5 hour finale, so they could end on episode 69. The duality of TAZ. If you struggle with the more purely sophomoric content on the first arcs, my rec is to start with arc three, Petals to the Metal.

Alice Isn't Dead: A truck driver searches across America for the wife she had long assumed was dead. In the course of her search, she will encounter not-quite-human serial murderers, towns literally lost in time, and a conspiracy that goes way beyond one missing woman. The American landscape is its own character, it's only three total seasons and we're three episodes into season 3. So good.

Welcome to Night Vale: Small desert town radio show, except the town is a hotbed of eldritch activity. Very Lovecraftian, except hysterical and not horribly racist (the opposite, in fact!)

Bubble: post-apocalyptic radio play. hilarious and scathing.

MUSIC BASED -

Heat Rocks - The Podcast: Two hosts interview a third party on their personal "heat rock," an album they have a deep love for, for whatever reason. I despaired that my lack-of-knowledge of albums before 2010 would hinder my enjoyment of this podcast, but then I realized I could just listen to them before the episode.

Dissect - A Serialized Music Podcast: Long-form version of the above. One season, one album; each episode, a song. First season is To Pimp a Butterfly, second is My Beautiful Dark Twisted Fantasy. Third and current season is Blonde.

BARDIC GOODNESS -

The Myths and Legends Podcast: Writer and host stitches a narrative from myth/legend/folklore etc. Tells you about his research and where the versions differ, and is just generally a great writer and funny and engaging. Really took to heart crit and slowly expanded his repertoire beyond Western/white stuff, so there is some really obscure (for me) stories in there that I love alongside more typical Norse mythology or Arthurian tales or what have you.

Fictional Podcast: Same premise as above, but with classic lit. I don't ever want to read Dante's Inferno, but I for sure want to hear someone dad joke their way through fake arguments about the place of Greco-Roman allusion in a Christian text. Also pretty new, if you're like me and Have To Start At The Beginning No Matter What.

#podcasts #podcast recs

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vrcomputart · 6 years ago

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12.11.18

ASMR RESEARCH FOR GROUP PROJECT

Now You’ve Got the Shiveries: Affect, Intimacy, and the ASMR Whisper Community by Joceline Andersen 11/11/14

https://journals.sagepub.com/doi/full/10.1177/1527476414556184

ASMR - intention, affect

- This paper “examine[s] how ASMR videos create pleasure through a distant intimacy that relies on the heteronormative gender roles of care and the aural impression of the whisper for its implementation and how their shared space on YouTube further defines that intimacy as public and communal”

- The ASMR community creates and exchanges videos designed to trigger tingles through screens, denying its nonnormative intimate nature and “the transgressiveness of their digital pleasure”

- Relaxing head tingles helps with stress and insomnia, inducing comfort and bliss

- “In the case of ASMR, affect and emotion exist hand in hand, tethered by intentionality, memory, and nostalgia. In this paper, I will explore the connotations of intimacy and care that create the affective ASMR experience to examine the ASMR community on YouTube as sharing in a public and therefore nonnormative experience of distant intimacy that reflects, if reluctantly, the potential of digital communities to make us feel”

- Aural triggers eg whispering, rustling paper, tapping are physiologically charged - an affective experience (Massumi)

- “the intention of care has a role in the way that these experiences manifest an affective experience with a content of pleasure.” Some videos role-play everyday tasks, including sounds we may find annoying in our day-to-day lives, but the intention the viewer brings in (to relax) and the assumed intention of the creator (to help others relax) changes the experience to that of care

- Founder of ASMR research called it “a more polite term for ‘orgasm’. Tenuous links between sensation and science – it is claimed to be an autonomous response, but is ultimately fringe science similar to binaural beat listeners, which brings us back to the point about intentionality. Perhaps it is more of a placebo, and more about the community formed?

Community and Youtube

- ASMR is a public phenomemon, as it spread across all social media and not just niche sites: “The ASMR community is aligned not only by their quest for affective experience but by their desire to share it through online media…”

- Youtube is a big part of the community’s formation - “youtube is the most public home of asmr”, “an archive and a site of creative exchange”

The voice

- Usually delivered by female creators. Role-played performance rather than cold instructions.

- Voice is important – videos often only show certain body parts (hands, mouth). Focus directed to actions and gesures. Close-ups jar familiar conventions of how a person is framed on a screen. Meditative attention on body parts, sometimes to the point of abstraction.

- Sound over video: binaural recording is getting more popular; “increasingly sophisticated audioscapes while the video quality remains poor. The video component is secondary to the experience and exists primarily because of the affordances of YouTube”

- Whisper as powerful in a hypersonic world. The whisper requires a closeness between speaker and listener for communication. Connotations to intimate relationships like mother and child (or conversations you have at sleepovers with friends). “The whisper recreates intimacy without the need for physical presence”

- Whisper demands more attention, so the listener is more intent on sounds, and considering most people use headphones, the effect of whispers in one’s ear are more intense. Private and intimate exchange despite it being public.

- Quality of voice as carrier of meaning, rather than the words themselves.

- The whisperer is ‘hyper-present’, creating an intimacy, a presence made possible thru binaural mics and immersive headphone sound. Affect involves impressions, impression implies contact. Movement creates emotional content. 2 bodies are connected, are able to impress upon another.

Impression and non-normative intimacy

- Impression created thru affect at a distance is crucially aural. Body casts its impression thru voice. Voice implies flesh body. Listening as act of touch (sound waves). Thus impressions are created through the voice and video (though video is not as affective as we’ve discussed above)

- Affective impression at a distance – distant intimacy. Close personal attention is a trigger that suggests physical proximity, but is remotely evoked through video. And distant not only spacially but temporally too – you can watch a video a year later after it was released.

Distant intimacy can be useful for people who maybe experience social anxiety or cannot physically experience intimacy. Maybe it’s good cause it’s controlled (you choose when to watch, can pause if needed). And from the other side, you make one video and can touch many. Like an artwork, an encounter, a ‘disruptive’ force in a way.

Also interesting considering the emphasis placed on romantic, sexual relationships as the main, most valid source of intimacy and care. What about friendships and other platonic relationships? And what about a collective sense of care i.e. you don’t need to know someone personally to care about them

- Distant intimacy – experienced as a group in absence of normal definitions of physical proximity make it “nonstandard intimacy”

- Intimate experiences in heteronormative culture are limited to couples in private. So you can’t experience pleasure with strangers, especially sexual pleasure. ASMR falls into a zone where “the spillage of eroticism into everyday social life seems transgressive in a way that provokes normal aversion”

- ASMR pleasure ranges from relaxation to eroticism. A lot of creators claim it is non-sexual. The affective charge of ASMR emerges w/o standard ‘closeness’ (not in romantic couple context, not physically close in proximity) – so it is reluctantly placed in nonstandard intimacy.

- Even though it is non-normative, creators still rely on normative scenarios of intimacy to provide emotional content behind the affective charge. Intimate care is provided by females. There is often a child-mother relationship being built between viewer and creator. Even when men make these videos, they participate in tasks gendered as female.

But female creators are choosing to do this – some empowerment? Do they get paid?

Summary: digital and physical

- Tho enabled thru tech, ASMR still relies on attention to the body and its sensations. Exists thru video streaming platforms, low tech, is sensual thru reclaiming care paradigms of personal attention, touch and meditation thru distant intimacy. In sci-fi, digital pleasure enabled thru computers – films that imagine pleasure as a drug that hooks the brain to a computer, “a cyborg high”. Asmr stands between – addiction is not only pleasure but intimacy, relationship is not only distant but anonymous.

- Ideal cyborg – uses computer to reinstate the body in shared experiences, rather than leaving out the body purely for mental digital experience. ASMR follows this dictum to the letter, uniting a group of people who use the archive provided by the Internet to focus intensely on a sensation triggered by the impression of a body transmitted through the ear in a nonnormative public experience of pleasure and distant intimacy.

- Asmr relies on the intimacy and care. Relaxation carried through emotional content, not just the sounds. Asmr uses tech to create new access to pleasure. “the ASMR community allows us to examine what intimacy will look like as we are increasingly linked to each other through the Internet rather than in person.”

- Distant intimacy breaks with heteronormative culture, releasing a digital-enabled intimacy that is a queer intimacy. While ASMR videos as shared on YouTube draw on real-world paradigms of care, the attachments that ASMRers have to videos beyond their sensory power helps us as media scholars to envision a future where these queer experiences of computer-enabled intimacy are as emotionally compelling as those of maternal care, personal touch, or sex. Whatever the affect created, it is clear that distant intimacy carries emotional value, and that these sensations can be released, by strangers and acquaintances, remotely through digital networks.

There are more noteworthy things to discuss, but I’ll end the notes here as there is already more than enough to digest.

Ideas

Create art that lies between ASMR, oddly satisfying videos (another topic I researched that felt close to ASMR), trance/visionary art aesthetic, music video, and modern witchcraft – providing vids that can be of service, as a form of queer care (nonstandard intimacy). Because for me, behind art, is a desire to relieve suffering through providing pleasure, a desire to care for the world and its creatures, to disrupt the status quo.

Maybe create a device or a platform/software to share the videos in their own context?

#theory

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mostlysignssomeportents · 7 years ago

Text

Beyond the Coming Age of Networked MatterBy Bruce Sterling

I wasn’t too chuffed about the weird changes I saw in my favorite start-up guy. Crawferd was a techie I knew from my circuit: GE Industrial Internet, IBM Smart Cities, the Internet-of-Things in Hackney hackathons. The kind of guy I thought I understood.

I relied on Crawferd to deliver an out-there networked-matter pitch to my potential investors. He was great at this, since he was imaginative, inventive, fearless, tireless, and he had no formal education. Crawferd wore unlaced Converse shoes and a lot of Armani. He had all the bumbling sincerity of a Twitter Arab Spring.

Crawferd could see no difference between physics and metaphysics. The way he had it figured, all matter was code. If you suggested that his trippy hacker mysticism was not entirely plausible—that rocks were rocks and trees were trees, they weren’t “networks”— he’d brood at length, then chase you from the hackerspace, slam the door, and blog compulsively.

Given his deep unworldliness and his intense interior life, Crawferd was a pretty easy guy for me to manage. We got along okay, while Sophia and Fatima totally loved Crawferd. S&F were my two wealthy oil widows from Dubai. Their Gulf State pin money had to go somewhere that wasn’t Cyprus or Bitcoins.

So for a while things were cozy. I’d arrange funding brunches in Gstaad, where Fatima and Sophia went skiing. I’d wheel in Mr. California Ideology while they had their mint tea and shared the hookah. The sparks would fly.

Crawferd was cool about Sophia and Fatima. He never asked them for much, and he always brought them nifty digital fitness toys. All tech chicks kind of dug Crawferd. He had this spooky geek tenderness, a possibly sensual, my bits-might-turn-to-atoms thing going on.

So S&F hung on his every word, but the truth was, the guy simply didn’t know how to cash in. He was all sci-fi and no megacorp.

Then he missed a couple of gigs and he stopped updating on LinkedIn. I was busy helping Microsoft waste some Kinect money, so I didn’t bother him.

Then I breezed through Palo Alto and he spotted me on Foursquare. He shot me a mysterious, incoherent SMS full of sick Tweet orthographics. “W3 sh4ll overl4p time, space, and dimensions,

and with0ut bodily motion, peer to the .”

I got rid of that thing pronto. I always erase after reading, my lawyer taught me that. But seeing his freaked message, I took good care to meet him F2F.

Crawferd was lurking and had gone very downside-scenario. He had tinfoiled all the windows inside a nameless AirBnB, which he’d rented from some shivering TumblrGoth who was way into, like, black candles, inverted pentagrams, and big plastic 3Dprinted gargoyles.

Fancy LED lights in Shapeways Nervous-System lamps were segueing through every color in the spectrum, while Soundcloud was streaming the shriekiest works of Grimes.

This was not his customary scene, and I further perceived that my man Crawferd had shed several kilos, dyed his hair pastel, and failed to shave. He kept compulsively stroking the filthy screen of his Chinese-knockoff fondleslab.

“Buzz, old buddy,” he croaked at me, “it used to upset me, because I couldn’t deliver a massive breakthrough in the networked- matter space. I talked a great game sometimes. But I couldn’t execute. But now I’m so freaked out! Yes! Freaky from success! I have networked matter!”

Crawferd had this thousand-mile killer-drone stare now, and also that rigid, pedantic, coder tone of voice, that grammar-nazi thing you see mostly on Ayn Rand websites.

My deliverable seemed clear to me: reduce fever, resume chill, and restore functionality.

“Crawferd, pal, listen up. You’ve been way overdoing it in an overheated tech scene. I’ve got your back, and I’m thinking Oahu. There’s this cool yoga-hula ashram out there, no Internet connectivity, no cell-phone bars, nothing. Some exercise, brown rice, and vitamin B, and you’ll be the old Crawferd in no time.”

“Buzz, this matter is about matter. We see matter because we’re constructed from matter. We imagine we’re made from matter because all we can measure with our network sensors is a narrowly materialistic set of inputs. But that is not the cosmic truth, Buzz. A new science underlies ‘matter.�� It’s about a cellular- automata framework in which all material manifestations are computationally equivalent.”

I’d seen these sad symptoms in other guys like him. My fave Californian tech boy had gone straight off the ledge into full Erik Davis techgnosis. “Oahu’s just hours away. Beaches, blue sky, maybe a sweet, understanding hippie lady with some pakalolo.”

“I have found the grail for the coming age of networked matter, Buzz. I have seized its Philosopher’s Stone. I have found a way to transform all matter into network.”

“Why?” I said.

He got that look on his face. “What do you mean, ‘why’?”

“Where is my user benefit? Where is the business model? You can’t get VC backers for that scheme! That is pure Tim Leary mystic woo-woo! You’re a coder, Crawferd. I can hear crap like that from L.A. screenwriters.”

“Do I look like I’m handwaving at you? I have built a freaking demo! I can run it for you, right here, off my phablet.”

Crawferd was a proud and touchy fanatic, but then again, so was Steve Jobs. You can take one fatal step too far into the Reality Distortion Field, and all the typewriters will vanish. They don’t come back, either. “So, what does your demo, uh, demo?”

“You remember those two Maker kids? The ones I had hacking those beehives for me?”

I remembered his interns, all right. Two cute Millennial designer kids. Their names escaped me, but she was, like, very Kevin Kelly techno-emergence, while he was very Jussi Parikka insect media. They were Crawferd’s start-up slaves. Being Makers, they worked around the clock without a salary, just like bees did.

“Your beehive kids,” I said.

“Great design research team! They went deep into the bee ‘umwelt,’ that sensory world of bees that only bees can perceive. Bees are intensely illustrative of matter-networking principles. Bees scarcely have brains, yet they still assemble and congeal all the nectar and pollen within a given area.”

“So that’s your demo? It’s bees? Cut to the chase! Where’s the humming and stinging?”

“That’s not my demo yet . . . but here, look what they did on

Kickstarter. You’ll appreciate this.”

Crawferd caressed his cruddy little “phablet”—man, I really hate that word—and there they were, Crawferd’s two favorite Maker kids. Nicely dressed up in black and yellow bee-themed cosplay duds, with that embedded video that crowdfunding projects always do.

“Hi there, people of the Internet! I’m Adrienne, a graphic interface designer from Rocky Mountain College of Art and Design, and this is Julio, my coder and Significant Other!”

There followed ninety seconds of jerky handheld from Adrienne’s iPhone. Her pitch was all about the graphic interfaces through which bees perceive and manipulate matter. Bee sensors, mostly, their compound eyes, antennae, and their big tonguey mandibles.

Then Julio horned in, to vlog about the bee-code running on their tiny bee brains.

Bee brains lacked much processing power. Just enough hardware in there to run a high-level bee-dance language where the bees could clue each other in about tasty matter resources. Adrienne had mocked this system up on a whiteboard with boxes and arrows. Julio had coded it with open-source modules.

Then they’d created these 3Dprinted plastic “bee puppets.” Their fake plastic Maker bees were, like, awesomely effective at bee dancing. Their robot bees, set dancing by Arduino, were basically Trojan Bees. They had gotten root in the hive. They had powned the hive colony superorganism. Those bees would do whatever the hackers wanted.

“Their bee-swarm pitch is out of this world!” I told Crawferd. “I can’t believe I haven’t seen this idea before!”

The Maker kids ramped up to their triumphant climax. Being new to California, they’d noticed all the window-box marijuana plants. They’d hacked their bees to go out to forage for dope pollen.

They showed the camera their existence proof: a double fistful of honey-drenched Silicon Valley hashish.

Then little Adrienne and Julio modestly asked the public for twenty grand to go 3Dprint some beehives, so they could issue some royal-jelly marijuana prescriptions. A business-model screwup that was total facepalm. Of course their Kickstarter had exploded. Just gone ballistic. It had blown past twelve million USD in capital and was heading north at high speed.

“You have created a monster,” I told Crawferd. “I can see why you’re so upset now. This is not even funny. Where are those crazy kids? They’re gonna need to lawyer up.”

“They’re no longer with me,” muttered Crawferd. “That’s the bad part. That’s why I’m hiding in here.”

“So where’d they run off to?”

Read the rest:

https://boingboing.net/2013/07/16/bruce-sterling-from-beyond.html

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