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salvatoreschool · 4 years ago

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Kaylee Bryant On "Legacies," The Importance Of Queer Rep On TV, Hosie, And More

"I have so many people constantly telling me that watching Josie on the show has made them feel more comfortable in themselves."

This week, Kaylee Bryant squeezed us into her schedule to talk about their role as Josie Saltzman on Legacies. As a huge Josie fan, I couldn't think of a better way to spend a morning than talking to Kaylee about The Vampire Diaries, Hosie, our favorite books, and more! Here's everything we talked about:

1. What was your audition for Legacies like?

My audition process was very interesting because they kept a lot of it a secret. I had no script and a fake character name. And then I had my second audition, a chemistry read, which Jenny Boyd [Lizzie] wasn't even at. I walked in and immediately just flat-out asked, "This is for the twins, right?" So it was long, but short and intense at the same time.

BuzzFeed: Wait, did you know which twin you were going to be playing?

I initially auditioned for Josie, and then during chemistry reads, they started asking me to read for Lizzie. And then we had our final callback where I finally met Jenny and we both read for both roles. They never told us [who was playing who] until Jenny had her appointment to go dye her hair blonde.

2. What's a typical day on set like?

Gosh, it changes every time. If it's a busy day on set, we're talking like 8 a.m. call time where we spend about two hours on hair and makeup and go straight into rehearsals. If it's a big sort of episode that involves stunt work and wire work, you're talking about doing maybe two scenes in a day. But if it's an average day, we can do anywhere from three to five scenes and we can start at 8 a.m. and wrap at 8 p.m. It really depends. I'm surprised if I'm not surprised.

3. You’ve said you’re a huge fan of The Vampire Diaries. Josie played Elena in the musical episode — what was that like?

It was surreal for sure. They had talked a little bit about doing a musical episode since Season 1. And I always thought that they were joking when they talked about doing Salvatore: The Musical!, so when they said Josie would obviously play Elena, I was like, "Hahaha." And then I got the script and realized I actually was playing Elena. The musical aspect of it was the easy part. The difficult part was, I think, getting into the iconic Elena attire and trying to feel normal. Because we have a lot of crew members that worked on The Vampire Diaries, and they kept coming up to me being like, "This is weird. I feel weird."

4. Do you have a favorite scene you’ve filmed with Courtney Bandeko (Finch) this season?

I really did love the scene that we had in the town square [when] we got on a moped. There were so many fans in the town square that were huddled in the rain — it was pouring rain, freezing cold — trying to snap photos of us. And it was kind of one of those surreal moments where it felt full circle, that I was on a Vampire Diaries spinoff in town square. It was a lot going on, but it was a lot of fun. It's always fun working with Courtney.

5. You and Danielle Rose Russell (Hope) also have amazing chemistry — what’s your favorite scene you’ve filmed together?

Oh gosh, we have a lot that are pretty amazing. Honestly, I'd say [Season 3] Episode 14 — we finally got to do a lot more scenes together. And it's always fun, especially when it's Josie, Lizzie, and Hope, because we have so much history character-wise. Any time you really get to dive into that, we love it.

6. I know Josie and Finch are working through some things right now, but I gotta ask — how do you feel about Hosie?

I love it. Danielle and I loved the idea of Hosie starting from Season 1, and we kept asking and asking and asking for it. So it's kind of funny and full circle that now the fans have kind of taken our side with things, and now they won't stop asking for it. All we want is this beautiful, dynamic relationship. And I think that the fans want that as well.

BuzzFeed: Yeah, I mean, people have even been asking me about Hosie, and I don't work on the show!

Oh, I'm sure! [Laughs] Obviously I love it, though.

7. Is there a particular Josie moment you’re really proud of?

Josie has a scene coming up in Episode 18 — or 19? — I don't know, but it's good. It's sort of the pinnacle of everything that Josie has felt over the past three years kind of culminating into one moment. So, I'm excited for people to see it.

8. You recently came out as queer. How has playing Josie, who’s pansexual, impacted you personally?

I felt a lot of pressure when I initially booked Josie because I was still figuring out who I was and what my label was. And playing a character who was so comfortable in who she was, it was inspiring [to me] in a way that I think a lot of other people watching the show have been inspired. I have so many people constantly telling me that watching Josie on the show has made them feel more comfortable in themselves. It's kind of amazing that we all have the same experience in that having queer representation makes you more comfortable.

9. You’ve been vocal about your Asian identity, and your character has spoken Japanese on the show. Did you have a hand in incorporating that into Josie’s character?

No, not at all! So, I spoke Japanese a few times on the [Instagram] Live and one of our writers, Penny Cox, saw me speaking Japanese and immediately went to Brett [Matthews] and was like, "We need to make this happen somehow." And then all of a sudden, I had a script in my hands. So it was a surprise, but a fun one.

BuzzFeed: Are you fluent in Japanese?

Gosh, no! I'm barely fluent in English. [Laughs] I would say I speak at the level of maybe a second-grader on a good day, though.

10. If you could pitch any storyline for Josie, what would it be?

I always joke that I want an episode that takes place overnight. That way, we all have to be wearing pajamas the entire episode. I just want to wear some comfy clothes for a whole two weeks, that's my main goal. So we can have a pajama episode, that's my pitch.

11. What's it like getting into character for Dark Josie scenes?

It's different in the sense that I know Josie so well. And knowing Josie in turn makes me understand Dark Josie. I have a whole different playlist of music that I listen to for Dark Josie — and I have the wig, which helps a lot with getting into character.

BuzzFeed: Well, now I have to ask what music is on that playlist!

I think "Bury a Friend" by Billie Eilish is a great one for Dark Josie. Also, "Villain" by K/DA is a prime example of a perfect song for Dark Josie, so I listen to that one as well.

12. What's your go-to Starbucks order?

Plain black iced Americano. Aria [Shahghasemi, who plays Landon] says I drink coffee like a sociopath. [Laughs]

13. What TV show are you currently binging?

I just finished watching Alice in Borderland, which is a Japanese show on Netflix. And I know Feel Good Season 2 just came out, so I think that's my next binge.

14. Damon or Stefan?

Stefan! They're both beautiful and I love them very much, but I'm Team Stefan when it comes to Elena.

15. If you could work with anyone from The Vampire Diaries, who would it be?

Ian Somerhalder has a lot of dogs. So, maybe I want to work with him for the sole reason of just talking about dogs. [Writer's note: Kaylee revealed she has two rescue dogs, one whom was sleeping right next to them during the interview! Kaylee described the dogs as "both complete and total nuts," but said she misses them about five minutes after getting into the car to go to work.]

16. Do you think you’re most similar to Josie, Lizzie, or Hope in real life?

I would say I'm an eclectic mix of the three. I can be very headstrong like Hope, very outspoken like Lizzie, and I try to be as loving as Josie, but sometimes that doesn't always work. But I'd like to think all three.

17. Is there a role people would be surprised to learn you auditioned for, but didn't get?

I've been auditioning since I was eight, so there's quite a few Disney Channel shows and movies. And I'm sure people would be surprised because I think I auditioned for like, all of them. It's very funny, one of the first jobs I ever booked in television was Kickin' It with Leo Howard [Ethan]. Talk about full circle — going from being 12 years old and having no idea what I'm doing to being a series regular on [Legacies] and welcoming Leo to the set.

18. Who's your favorite Disney princess?

Oh, I love Mulan so much. She was, like, my first crush ever. I also love Moana, but it's Mulan 1,000%.

19. If you could only eat one food for the rest of your life, what would it be?

I mean, I do eat rice every day. So maybe just white rice — you can make rice into candy and...yeah, let's go with rice.

20. If you were stranded on a deserted island and could only bring one book, what would it be?

Oh no! I recently read The Long Way to a Small, Angry Planet by Becky Chambers, and I really enjoyed that book. Oh god, Is that the one that I want to bring, though? I mean, I really enjoyed it and it has many different aspects to it. I don't know. Or should I go with Harry Potter? I go through different genres too, like right now I'm in a big sci-fi phase, but other times I'll go the opposite direction and only read biographies. Yeah, that's super hard. I don't think I would know!

21. On that note, what's your Hogwarts house?

Initially, when I was younger, it used to just be straight-up Slytherin. And now, I recently took the Sorting Hat Quiz and I got Ravenclaw. So I'm going to go with Slytherclaw.

BuzzFeed: What's Josie's house?

Josie would be Slytherin. She tries very hard and, you know, not everyone in Slytherin is evil. She just, you know, has her way of going about things.

22. Has anything super funny or embarrassing happened to you on set?

I trip a lot on set. I get scared very easily — if I come around the corner and somebody is walking the other direction, I get scared. Everybody knows to walk slowly around me because I get scared so easily.

23. What's your wildest fan story?

I've had people cry before. And I'm an empath, so if somebody starts crying, I immediately am like, "Please don't cry, because I'm gonna cry." And then it turns into this whole thing. Once we were shooting in the town square and this young girl with her mom started crying, and I just hugged her and I didn't know what to say. So there's a lot of that. There's also the occasional, "Where's your twin?" and...I don't have one, sorry! But yeah, I would say the people who cry always throw me for a loop.

24. How do you unwind after a long day?

I have an hourlong drive home from work, so I usually listen to a lot of music. And by the time I get home, taking off all of my makeup is very therapeutic. Because over time, we're working 13-hour days, 16-hour days, and it's just powder constantly building up on my face. So, washing my face is always very therapeutic. And then just laying back and reading a book and petting my dog is the best.

25. Is there a celebrity you get told you look like a lot?

Most recently, Sara Waisglass [from Ginny & Georgia and Degrassi]. We follow each other on social media now and I completely messed up because I don't know how Twitter works at all. I forgot that there's a DMing interaction, so we followed each other and I was like, "Oh, that's nice." And then just recently, I saw that she had messaged me being like, "We're twins! We should be friends!" And I immediately messaged back, "I'm so sorry, let's be friends!"

26. Who's your biggest celebrity crush?

Oh, I have so many. But consistently since I saw Orphan Black, Tatiana Maslany. Hands down.

27. Finally, have you ever caught someone watching a TV show or movie that you're in on a flight or anywhere else?

We were all, as a cast, flying to — was it New York Comic Con, or San Diego Comic Con? — one of the Comic Cons. And we were all sitting there and we saw that Legacies was actually on the airplane as an option. And we were all just uncomfortably staring at each other. Yeah, that was surreal.

Be sure to catch Kaylee in Legacies, which airs Thursdays at 9 p.m. ET on The CW!

#legacies #theoriginals #thevampirediaries #tvd #kaylee bryant #josiesaltzman #siphoner #witch #gemini coven #lizzie&josie #saltzmantwins #salvatoreschool #mysticfalls #julieplec #thecw #queer

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immaturityofthomasastruc · 4 years ago

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(Accidental 150 Follower Special) IOTA’s Top 10 Best (and By That, I Mean Personal Favorite) Episodes of Miraculous Ladybug

Alright, I already covered what I considered to be the worst Miraculous Ladybug episodes in two parts, and now it’s time to talk about the what I consider to be the best Miraculous Ladybug episodes before I talk about... him...

I’m only putting one rule in place for this list. I'm going to try and list episodes with good qualities other than “cool-looking Akuma and awesome fight scenes”, and focus on other details like character moments and story.

Other than that, let’s get started.

These are the Top 10 Best Episodes of Miraculous Ladybug (in my personal opinion because your opinion is also valid)

#10: Mr. Pigeon

While Marinette works on sketching a design for a hat for a fashion contest where the winning design will be worn by Adrien (a rare example where the “Marinette does a thing to impress Adrien” plot actually works), a birdwatcher who loves feeding pigeons in the park is told off by the only police officer in Paris, causing him to get akumatized into the titular Mr. Pigeon, who has control over all of the pigeons in the city.

And by God, does this episode have fun with the concept.

In addition to constantly mimicking pigeon cries, Mr. Pigeon's movements are just so entertaining to watch, only aided by the creative ways he controls the flocks of pigeons.

I'm not kidding when at one point, Mr. Pigeon traps Ladybug and Cat Noir in a cage, and threatens to have his pigeons crap on them unless they hand over their Miraculous. Yeah.

This is one of the episodes that really set the standards for how outlandish the Akumas in Miraculous Ladybug could get. It kind of reminds me of an episode of the original Ultraman, where the SSSP has to find a way to move an incredibly heavy monster using increasingly abnormal strategies, like inflating it with air so it'll float like a balloon. It's clear it isn't taking itself too seriously, so the audience shouldn't either.

Admittedly, Cat Noir's feather allergy feels shoehorned in, and is only included to increase conflict, and you would think it would come up when Mayura, a bird-themed supervillain appears in the third season. But then again, that's just a minor nitpick.

It's just a really fun episode, and I wish we could see Ladybug and Cat Noir fight Mr. Pigeon again that isn't used for a cheap gag.

#9: The Puppeteer

After being told by her mom that she can't have a Ladybug doll made by Marinette, young Manon is Akumatized into the Puppeteer. But obviously, you can't have our heroes beating up a five-year-old, so instead, the Puppeteer has the power to exact control over past Akuma victims as long as she has the doll made by Marinette. So Ladybug and Cat Noir have to face off against Lady Wifi, the Evillustrator, and Rogercop, before the Puppeteer gets her hands on the dolls Marinette made of the two heroes and take control of them as well.

It's still kind of funny to think about the fact that of all the Akumas to become a huge threat to Ladybug and Cat Noir, it's a little girl throwing a temper tantrum. And like with “Mr. Pigeon”, the episode has a lot of fun with the concept, best reflected in the voice acting. You can tell that Carrie Keranen is having so much fun this episode with the stuff she says as Lady Wifi.

The fact that someone who was actually a major threat to the heroes with how she was able to easily outsmart them and also came really close to getting their Miraculous is now acting like a little kid using phrases like “super duper sorry” is even more hilarious.

I'm still a little confused as why of all the past villains, it's Evillustrator and Rogercop that get to come back, and I wish they had gotten more to say, but it's still a treat to see Ladybug and Cat Noir fighting four villains at once, especially since this was before “Heroes Day”.

#8: Sapotis

Hawkmoth akumatizes Alya's little sisters into Sapotis (supposedly based off a folktale, but I can't find anything about it online), who have the power to multiply and easily overwhelm Ladybug and Cat Noir, forcing Ladybug to recruit Alya to become a third hero, Rena Rouge.

I've been a little negative about Alya in the past, but this episode gives her some major character growth. One of the biggest problems I had with her character in Season 1 is how often she tried to figure out Ladybug's identity... despite claiming to be a huge superhero fan, who should know why superheroes keep their identities a secret. Thankfully, this episode mostly puts an end to this idea.

The episode opens with Marinette giving Alya some reasons why Ladybug would keep her identity a secret, and it actually plays into the episode.

Putting aside the stupid Rent-A-Miraculous system introduced in this episode, the idea of keeping secrets and how necessary they can be sometimes is reflected after the battle where Alya is hesitant at first to give up her Miraculous, but eventually concedes and keeps her identity a secret from Marinette (who ironically knows, but that's not important).

Even without that, this episode still has a lot of action with the three heroes fighting their way through an army of Sapotis, with plenty of banter during said action. Hell, at one point, Cat Noir says “gotta catch 'em all”. I don't have a joke here, that's just brilliant.

Out of all the introductory hero episodes, this one easily sticks out among most of them.

(Don’t worry, I’m going to talk about Rena Rouge’s character design in a later post.)

#7: Guitar Villain

I said before in an earlier post that Jagged Stone is one of my favorite characters in Miraculous Ladybug, so it's obvious that the episode where he gets akumatized would be on this list.

After a disagreement with his manager about trying to mimic the popular singer XY (who ironically lacks a Y chromosome), Jagged is akumatized into Guitar Villain, a rock star with a pet dragon who forces everyone to listen to his Awesome Solo (yes, he names his attacks too) to dance uncontrollably.

Honestly, there's not much I can really say about this episode. It's Ladybug and Cat Noir fighting a rock star who flies around on a goddamn dragon. That's one of the coolest things I've ever seen! Even the way they defeat him (which I won’t give away) is a fun jab at rock stars.

Admittedly, the episode does border on grouchy old man territory sometimes by complaining about how bad today's music is with the way they portray XY as a whiny and egotistical coward, but after watching “Silencer”, you'll be glad everyone hates him.

Overall, it's a rockingly awesome episode.

#6: The Dark Owl

Mr. Damocles, the principal of Marinette and Adrien's school, is akumatized into the Dark Owl, a corrupted version of his favorite comic book superhero (who would later turn out to be real in the New York special, but I don't want to acknowledge that), who uses his high-tech gadgets to trap Ladybug and Cat Noir, putting them in one of their toughest binds yet.

I'm a huge fan of the Adam West Batman show, so you could probably guess why it's on this list. This episode really feels like an episode of that show with how goofy and over the top everything is. Obviously, this episode has a few Batman references thrown in (even an Incredibles reference at one point), and they're all hilarious.

I just love how complex Dark Owl's traps for Ladybug and Cat Noir are, and the fact that he actually manages to outsmart them at one point. Like seriously, have you ever heard of a death trap that involves drowning someone in whipped cream? That’s totally something you’d see the Joker setting up.

I don't really want to give away the ending (which is why this part is so short), because I think it's a really clever resolution that you should check out for yourself.

#5: Gorizilla

Hawkmoth akumatizes Adrien's bodyguard into Gorizilla, whose sole purpose is to protect Adrien. His motivation? To see if Adrien is actually Cat Noir or not. So Adrien has to avoid this gigantic gorilla's wrath with Marinette, all while trying to catch a movie his late mother was in.

See this? This is Adrienette done right. This is the kind of interaction I like when it comes to romance. Marinette and Adrien spend a few scenes with each other avoiding Adrien's crazy fanbase, and Marinette doesn't stammer half of her words. Even when she interacts with Adrien as Ladybug, she still remains confident, and Adrien trusts her judgment when it looks like he might fall. I don't just want Marinette and Adrien to cuddle with each other or declare their love for each other when they get their memories wiped. I want them to interact like human beings before they actually start a relationship, and this episode is a good example of it.

Adrien also gets some good focus with the way he views his relationship with his parents, as does Gabriel with his relationship with his son. Granted, he's taking a pretty huge gamble trying to kill Adrien to see if he's Cat Noir or not as opposed to just... taking off his ring while he sleeps. Can we at least admit he's trying?

I feel they could have done more with the King Kong homage (guess who I'm talking about?), but I can understand there wasn't enough time to focus on that. It's still an important episode to watch for plot and character growth that will barely be acknowledged in later episodes.

#4: Sandboy

tHe SaNdBoY hAs ChEcKeD iN. nOw NiGhTmArEs CaN bEgIn.

Now that we got that obvious joke out of the way, let's talk about one of the most creative episodes of the show.

Tikki and Plagg, Marinette and Adrien's Kwamis (the magical beings that power their Miraculous) take part in a ritual with the other Kwamis inside Master Fu's Miracle Box to contact Nooroo, Hawkmoth's Kwami, on his birthday and get an idea of where he is. Unfortunately, Hawkmoth chooses to akumatize someone during the ritual, leaving Marinette and Adrien helpless to fight back against Sandboy, an Akuma with the power to make their worst fears come true.

I said before in my worst list when talking about “Ladybug” that there was too much going on for one episode, what with Marinette's expulsion, the attempted Scarletmoth attack, and the fake Ladybug plotlines generally being rushed through. This episode is basically the opposite of that (ironically, they're both the penultimate episodes of their respective seasons).

The Kwami ritual and the Akuma attack are perfectly staged together so one affects the other. Not only do the Kwamis have to risk aborting their ritual to reach Nooroo in order to fight the Akuma, but Marinette and Adrien have to deal without fighting off Sandboy's nightmares on their own. Both plots balance each other out into a well-crafted story.

This is also one of the only episodes in the show where the Akuma of the week isn't the man focus. Here, we don't even see what happens to get the kid akumatized into Sandboy, and instead, Gabriel senses someone with negative emotions and akumatizes the kid offscreen. This works, because it doesn't distract from the main plot too much.

Even Marinette and Adrien's worst fears beautifully contrast each other, with both managing to be unsettling in different ways, even if they both have different tones. While Adrien's worst fear is being imprisoned in his own room (the fear only made worse with Plagg's absence), Marinette's worst fear is... the real star of the episode. Ladies and Gentlemen, I think you all know who I'm talking about.

You can tell the animators had a field day with animating Nightmare Adrien. Just look at the way he moves around and the faces he makes. It manages to be terrifying and hilarious at the same time. Bryce Papenbrook's performance only makes it better, cementing this as the highlight of the episode.

This episode also does a good job at foreshadowing the main plot for Season 3 with Hawkmoth finding out about the other Kwamis and by extension, more Miraculous.

It's got plot, comedy, good action, and Nightmare Adrien, so how can you turn this episode down?

And no, I'm not talking about Nightmare Ladybug, mainly because I'm tired of all the evil doppelgangers from the worst list.

#3: Startrain

Yes, believe it or not, I managed to find a Season 3 episode that wasn't complete garbage, and spoiler alert, this isn't the only one.

Marinette and Adrien's class goes on a field trip to London by taking the train, until the driver is akumatized into Startrain, who wants to escape to the one place that hasn't been corrupted by capitalism... SPACE! So Ladybug and Cat Noir have to defeat Startrain while also finding a way to bring everyone on the train back home.

I like how this episode plays with the usual Akuma of the week formula. Unlike every other Akuma they've fought, Cat Noir points out that if they beat Startrain, everyone will die, so they have to be more strategic in their approach. They don't even fight Startrain for most of the episode, as they have to make their way to the front of the train to confront the Akuma. The action in this episode is very creative and really takes advantage of zero gravity, only aided by the design of the futuristic train the episode takes place in.

The new hero introduced, Pegasus (AKA Max, another student in Marinette and Adrien's class), is also really cool, being very intelligent and helping out the heroes progress through the train even before he gets the Horse Miraculous. It makes sense that his intelligence would be used rather than just his powers in this situation.

There are even some good character moments too. For once, Master Fu does something smart and loans the Horse Miraculous (which has the power of teleportation) to Marinette so she can still go on the class trip, trusting her and actually letting her have a life. It was also nice to see Alya stick up for Marinette by keeping Lila from interrupting her nap with Adrien.

This episode is basically like a refreshing glass of water to enjoy during the garbage fire that was Season 3.

(I’m going to talk about Pegasus’ character design later on too, don’t worry)

#2: Silencer

Lukanette shippers, ASSEMBLE!

Music producer Bob Roth and his son XY hold a contest for young artists to show off their skills, and Kitty Section, a band composed of several recurring characters, decides to enter, with Marinette helping to design their costumes. But as soon as they submit their video, they find out that XY copied their style, naturally pissing the band off.

Marinette and the lead guitarist of Kitty Section, Luka, confront Bob Roth and XY, who threaten to ruin their careers by claiming that they ripped off XY. Seeing Marinette getting threatened is more than enough for Hawkmoth to akumatize Luka into Silencer, who naturally has the power to silence and mimic the voices of others.

I talked about Luka and his relationship with Marinette in an earlier post (specifically the one where Astruc claimed that the fandom growing to like Luka counted as character development), and I said that this was one of the few good episodes this season because of their interactions. This episode basically made me realize how much Luka cares for Marinette, and the episode gives plenty of time to show the two spending time together and growing closer. It's basically everything “Oni-Chan” should have been about, giving some depth to Luka and not portraying him as a crazy person like they did with Kagami in that episode.

Silencer is also one of the more creatively designed villains this season, and has a really creative approach to achieving his goals. While the ability to steal and imitate someone's voice seems mundane compared to control over the weather, or making nightmares come to life, it's used very effectively. Silencer basically tricks the police into arresting Bob Roth while imitating the mayor's voice, and he threatens to make his life a living hell by using the connections to the voices he's stolen. Even with the hand puppet gesture, it's still unsettling to have Silencer speak in all these voices, and it would make for a really interesting horror movie.

Even Ladybug and Cat Noir's interactions are back to their Season 1 levels of enjoyment. Even though Silencer took her voice, Ladybug just makes so many expressions that do a great job at describing her feelings, which naturally plays off Cat Noir's motormouth tendencies. Whenever Cat Noir jokes about Ladybug's condition, he is rightfully called out on it and is reprimanded in some way, my favorite being when Ladybug uses her yo-yo to hit Cat Noir on the head to shut him up. Even putting aside that, they still work well together this episode and really feel like equals. I also love their silent fist bump when Bob Roth is exposed.

Again, the episode still takes the time to go on about how unoriginal today's musicians are, and how they lack artistic creativity and all that crap. Look, given how ham-fisted the writing in this show can get, are you surprised the commentary isn't subtle?

Even putting aside how much this episode made me appreciate Lukanette, it still has a lot of great moments that aren't even related to the ship itself, which is a real testament to how this show can perfectly balance romance and story when it's done right. Now if only the show could try this much with Adrienette, then people wouldn't hate the main pairing of the show this much.

#1: The Collector

Taking place immediately after the Season 1 finale, Marinette meets Master Fu and discusses the book she found depicting past Miraculous users. Marinette theorizes that since the book was in the Agreste mansion, Gabriel could be Hawkmoth. And to the surprise of absolutely no one, she's right, and in order to draw off suspicion, Gabriel akumatizes himself into the Collector.

This episode has several good writing decisions for both sides, and the choices the characters make feel natural. Gabriel akumatizing himself is such a smart move, and so is what Marinette and Master Fu do with the book at the end. This episode does a great job setting up future plot threads and establishes Master Fu's character and the mystery associated with him.

The Collector is a visually stunning villain, and his powers are really creative, leading to a great fight with Ladybug and Cat Noir, who use a great strategy to outsmart him. I also love how over the top he is in order to make the heroes believe that he's working for Hawkmoth, all with a devious smile on his face.

This was also the episode that really got me into Miraculous Ladybug as a whole. I checked out the first season on a whim after it was mentioned in a Pan Pizza video, but it was during the hiatus between seasons, and I hadn't really started using Tumblr yet, so it mostly stayed off my radar. When Season 2 started however, I really got invested in the story, and the way this episode turned out was a big reason why. I wondered what it would be like when Adrien finds out his own father is Hawkmoth, and how the story would play out after the reveal.

Despite what it led up to, I still consider “The Collector” to be my favorite episode of Miraculous Ladybug.

Well, now that I talked about that, not it's time to talk about what I consider to be the worst episode of Miraculous Ladybug, “Felix”. God help me...

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theyearoftheking · 4 years ago

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Book Eighty: Later

“...but grownups have a tough time believing, and I’ll tell you why. When they find out as kids that Santa Claus is a fake and Goldilocks isn’t a real girl and the Easter Bunny is bullshit- just three examples, I could give more- it makes a complex and they stop believing in anything they can’t see for themselves.”

Later has been sitting on my desk for several weeks, waiting for me to extol its virtues. Every time I’ve had a few minutes to blog, I’ve come up with a million other things to do. Oh, dishes? Yeah, better get those washed. We’re out of protein balls? Better make another batch. Oof, reallllly gotta get that laundry folded... sorry blog!

I’m not an idiot: I know I’ve been avoiding this blog because I’m bad at closure, and even worse at goodbyes. Not that this is the end... Steve’s next book is due to be published on August 3rd. And I’m sure there will be more books after that. But this is the semi-colon on what has been a very long and fulfilling project.

I have read several non-Steve books since finishing Later. I’ve read Midnight Sun by Stephanie Meyer. I was a huge Twilight (book, not movie) fan, and was really looking forward to coming back to an old, familiar series. But it was painfully long to read, and the world has moved on since Twilight. Since then we’ve had Fifty Shades, and all kinds of other romance tropes spawned by the Twilight franchise, and it’s almost quaint in its innocence.

I’ve also read The Perfect Marriage by Jeneva Rose. I’ll share my abridged Goodreads review with y’all: “Sometimes a book is so bad, it’s good. That’s exactly what The Perfect Marriage is. I lost count of the number of sharks this book jumped...This book was bananas. Like, super ripe, starting to smell bananas.”

And finally, I’m halfway through The Witch Elm by Tana French. This book might spoil me for anything else I read this year. Tana French is an absolute queen when it comes to setting, atmosphere and impending dread/doom. And in case you don’t believe she’s a queen, here’s Steve testifying to it.

So, that’s what I’ve been up to since Later. Oh, you want a review on Later? I suppose I can oblige. This is the third Hard Case Crime novel Steve has written; the first two were The Colorado Kid and Joyland. And I’d plop this one right in the middle of those two: I liked it more than Kid, but less than Joyland. Because... sentimental reasons.

Jamie Conklin has been able to see dead people since he was a little kid. He has horrible memories of seeing a bike rider that was hit by a car when he was small. And he was able to help his neighbor find his wife’s missing wedding ring, with a little help from her spirit. But his mom wants him to keep his talents a secret; until she needs him to bust out his skills to save her career. But his mom isn’t the only one that takes advantage of him. His mom’s old girlfriend, Liz, a disgraced police officer needs Jamie’s help with a bust that could set her up for life.

It’s a fast read, with plenty of suspense and enough supernatural elements to remind you this book isn’t all hard-boiled fiction, it’s also a Steve book. But in case you forgot, there was also a Shawshank prison reference. My favorite part of the book was when Jamie cited the Constant Reader mantra, “Books are a uniquely portable form of magic...” I’d recommend this as a beach read for any upcoming vacations you might have. And when you’re done, pass it along to a friend.

Total Wisconsin Mentions: 48

Total Dark Tower References: 76

Book Grade: B+

Rebecca’s Definitive Ranking of Stephen King Books

Doctor Sleep: A+

The Talisman: A+

Wizard and Glass: A+

11/22/63: A+

Mr. Mercedes: A+

End of Watch: A+

Under the Dome: A+

Needful Things: A+

On Writing: A+

The Green Mile: A+

Hearts in Atlantis: A+

Full Dark, No Stars: A+

The Outsider: A+

The Bazaar of Bad Dreams: A+

If It Bleeds: A+

Just After Sunset: A+

Rose Madder: A+

Misery: A+

Different Seasons: A+

It: A+

Four Past Midnight: A+

Stephen King Goes to the Movies: A+

The Shining: A-

The Stand: A-

Finders Keepers: A-

Bag of Bones: A-

Duma Key: A-

Black House: A-

The Institute: A-

The Wastelands: A-

The Drawing of the Three: A-

The Dark Tower: A-

Dolores Claiborne: A-

Blaze: B+

Hard Listening: B+

Revival: B+

Nightmares in the Sky: B+

The Dark Half: B+

Joyland: B+

Skeleton Crew: B+

The Dead Zone: B+

Nightmares & Dreamscapes: B+

Wolves of the Calla: B+

‘Salem’s Lot: B+

Song of Susannah: B+

Carrie: B+

Creepshow: B+

Later: B+

From a Buick 8: B

The Girl Who Loved Tom Gordon: B

Sleeping Beauties: B-

The Colorado Kid: B-

Storm of the Century: B-

Everything’s Eventual: B-

Cycle of the Werewolf: B-

The Wind Through the Keyhole: B-

Danse Macabre: B-

The Running Man: C+

Cell: C+

Thinner: C+

Dark Visions: C+

The Eyes of the Dragon: C+

The Long Walk: C+

The Gunslinger: C+

Pet Sematary: C+

Firestarter: C+

Rage: C

Desperation: C-

Insomnia: C-

Cujo: C-

Nightshift: C-

Faithful: D

Gerald’s Game: D

Roadwork: D

Lisey’s Story: D

Christine: D

Dreamcatcher: D

The Regulators: D

The Tommyknockers D

So, this is it until August. I’ll try to pop in with the occasional book update or movie review. But I fear we’re nearing the tower, dear readers.

Until next time, Long Days & Pleasant Nights,

Rebecca

#stephen king #later #constant readers #shawshank #tana french #the witch elm #the perfect marriage #jeneva rose #midnight sun #stephanie meyer #the dark tower

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jcogginsawriter · 4 years ago

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Hand to Hand: Mark Waid’s Flash

I have been a fan of comic book characters for a long time. I started with the cartoons, and as I got older, I began doing deep dives into wikis, reading fanfiction, and participating in that shallowest of internet past times, the vs debate. I dabbled in writing fanfic for myself, but I spent far more time thinking about writing fanfic instead. I would come up with all these ideas about what I would take from the various different versions of the characters, and don’t get me started on the idea of Crossovers. The point is, I knew a lot of what happened in the comics, but I never read many comics. I didn’t know where my local comic shop was, and even if I did, I wouldn’t have had the money to spend on them. The comics that I did read were usually fan translations of manga. I did read a few comics, big name stories like Death of Superman or Crisis on Infinite Earths, but they were few and far between.

Recently, I’ve begun to change that. I now follow several comics as they come out, most notably the current X-line. This change sprang in part because I began reading a lot more comics criticism. In particular, I followed the blog of a certain Superman fan, and began to eagerly digest his various takes. I wanted to be able to ask him questions about new comics without looking like an idiot (This is how 90 percent of my interactions on comics twitter go, BTW) and that was a kick in the pants for me.

After getting into a steady habit, I decided to look into reading some of the classic runs I’d read so much about throughout life. To go from knowing them second hand, to knowing them first hand. After a bit of hemming and hawing, I’ve settled on Mark Waid’s legendary run of Flash Comics to start off with.

(Spoiler Warning for some 30 year old comics, by the way)

As of this writing, I have read up to the final issue of his story arc Dead Heat, wherein Wally does battle with the speed cultist Savitar. Before we get into things like plot and characters, I want to discuss the art, because no discussion of comic books is really complete without talking about the art. Unfortunately, the art in this run hasn’t done much for me, but that’s not really it’s fault. I read this comics in manner that they were not created to be read, digitally and zoomed in. These comics were drawn with physical issues in mind, and I don’t doubt that they’re good in that format. It also doesn’t help that I’ve read far more manga than I have American comics. American comics have never clicked with me the way manga does. Even now, I still find the layout of manga more legible than the layout of an American comic. That’s not a value judgment, it’s just my personal experience.

I do distinctly recall thinking that the art was better up to issue #79 (The conclusion to the Return of Barry Allen storyline), than it was after. I prefer the less exaggerated character designs, and lighter inks, though it could very well be a case of me having gotten used to the initial style and not liking the change. One thing that thing I can say about the art is that it helped me grasp how Wally’s costume differed from Barry’s. Before this, I was incapable of separating them in my mind, but seeing them side by side made it clear to me how different Wally’s Costume was colored and shaded.

Now, onto the writing of the run, we’ll start with the lead, Wally West. My previous touchstone for Wally was the Justice League series from the DCAU, which I watched a lot as a kid. The Wally in these comics comes off as more serious that his DCAU incarnation. Not too serious, he still cracks jokes, but he’s more on the ball. He takes his adventures as seriously as any hero would, rather than the more carefree attitude I recall his DCAU version having. This is not unsurprising, Wally here is the lead whereas there he was part of an ensemble cast, and here we get his internal monologue which gives us a much more thorough sense of his headspace. Not to mention, the DCAU version was voiced, so we know with no ambiguity what tone his dialogue’s in. In text, tone is more up to interpretation.

Perhaps the biggest thing that set Comic Wally apart from DCAU Wally is that the Wally in the comic was more consistently angry and frustrated. While his DCAU incarnation had hidden depths, I can’t recall a time when he got seriously angry. This Wally is frequently irritated, usually by things which are enitrely understandable. On occasion, his irritability causes him to be rougher with the bad guys than he could be, and that feels uncomfortable sometimes, though thus far he hasn’t gone too far.

Going into this, I knew that one of the issues that Wally had to overcome was his mental block about surpassing Barry, and to my surprise, it wasn’t as much of a through-line as I expected. I was expecting it to be a reoccurring issue that was solved by the Return of Barry Allen storyline, but in reality there are only one or two times something like it comes up, usually in the context of him not being able to do the vibrating through walls trick. In the Return of Barry Allen, it feels more like an issue introduced in that story than a long running plot line. Granted, it may only feel this way because I’m solely reading Mark Waid’s Flash. I didn’t read the issues prior to his take over, so that storyline could have been more apparent there for all I know.

Moving on, starting with Waid’s run had another knock on effect, that being that the character introductions aren’t introductions. I came into this expecting to see when Wally met Linda, when he met Jay Garrick, when Pied Piper redeemed himself, but all of that happened before Waid took over the book, so they’re already part of the cast from the start. Again, not a flaw of the work, it’s just a result of my personal experiences. Now, let’s take a look at some of these characters.

I’ve heard a lot about Linda and Wally’s romance, and so far it’s not bad. I wouldn’t rate it as one of the best of all time, but I haven’t gotten to most of the major moments yet, so that’s not a huge surprise. One thing that’s very apparent is the Lois Lane DNA in her character. Some of that is to be expected, which the love interest to your superhero is a reporter, but I see a lot of similarities in their personality as well. There’s a lot of the same fire in her. Fortunately, the fact that Wally’s identity is public lends a very different arc to their relationship than what you see with Lois and Clark, so Linda doesn’t come off as a Lois rip-off. Linda’s concerns that there’s no place for her in Wally’s wild superhero life is the kind of relationship hurdle that isn’t present in Lois and Clark’s Relationship.

Next, let’s take a look at the first Flash, Jay Garrick. Within this series, Jay is perfectly pleasant, and by no means unlikable, but he also comes across as...kind of superfluous? There are three elderly male speedsters in this comic, and of all of them Jay is by far the least defined and has the least role. Max Mercury is the Wally’s mentor in the ways of speed, the one with the most knowledge of the Speed Force. He’s basically what I expected Jay Garrick to be going into this. The third of the group is Johnny Quick, a speedster who is the father of another speedster, Jesse Quick. Jesse is also very skeptical of Max Mercury’s teachings, which veer from the scientific into the mystical.

Because Johnny takes the role of skeptic, Jay is left without a role in the narrative because being the nicest of Wally’s friend group. Veering over to Hollywood for a second, whenever a book gets adapted into a movie or TV Show, minor characters get lost in the transition. Either they get composited with other characters, or they get cut entirely. Game of Thrones is the most prominent example in recent memory. I bring this up because, if Waid’s Flash were to go through that process, it’s hard to argue that Jay wouldn’t get the ax. Despite being the most important of them in the context of the universe at large, Jay is the least important Speedster in this narrative. Of course, Jay’s importance in the context of the larger universe means that in this hypothetical adaptation, he probably be composited into either max or Johnny. More likely Max, since mentor is the logical position for the first Flash to take in the Third Flash’s narrative.

I mentioned Jess Quick there, so let’s talk about her. Thus far, her most prominent role in the narrative has been to call Wally out and be his critic, though she does have very good reasons to be angry. In the Terminal Velocity storyline, Wally believes he’ll die soon, and tells the Flash Family that Jesse will be his successor, but it turns out to be a lie in order to motivate Bart Allen to take things more seriously. Jesse has remained angry with Wally since then, though it hasn’t seriously impacted her hero work. That’s good, because her continued competence lends legitimacy to her anger within the narrative. She’s not being punished for being mad at Wally for mistreating her. Hopefully it stays that way going forward.

Now let’s take a look at the character Wally chose over Jesse, Bart Allen AKA Impulse. I’ll say up front that I’m not reading Bart’s solo series during this read through, as I didn’t want the hassle of going back and forth between books. As such, the only issues of it that I’ve looked at are the ones that tie into the Dead Heat arc. I feel it’s important for me to say this, because I’m basing my opinions of Bart primarily on his showings in Wally’s book, not his own. In Wally’s book, Bart’s character flaws are more on display.

Bart is a character deliberately designed to be obnoxious, and such characters are a hard tightrope to walk in fiction. Gotta be annyoing enough to get the point across, but not annoying enough to turn people off from the work. Bart in Wally’s book isn’t perfectly balanced, and tends toward the too much pile. Not to an egregious extent, but a little bit. I found myself echoing Wally’s frustration with Bart more than a few times. In Bart’s defense, Wally does share some of the blame here. He doesn’t do a very good job as a mentor, and handing those duties off to Max is probably for the best.

I find it interesting, that a character like Wally who is so defined by inheriting a legacy is a poor mentor, to both Bart and Jesse. He makes different mistakes with both of them, but he still fails both of them. I’m eager to see how that plays out in the future issues.

Now that we’ve discussed the supporting cast, let’s discuss some of the book’s villains. We’ll start with the one who is most infamous, Eobard Thawne. Thawne’s spends the majority of his time in this book thinking he’s Barry Allen, and if I’m being honest, he’s more effective under that guise that he is as Eobard. The scenes where what appears to be Barry Allen turns evil out of jealousy of his successor are powerful, more so than the more traditional villain Eobard displays after the reveal. Not that it would have been a good idea for it to actually be Barry, of course. Much as I prefer Wally to Barry, having Barry go full supervillain would have been very out of character. In any case, this run had a profound impact on Eobard’s character going forward, solidifying him as an agent of toxic fanboyism, making him a dark mirror of Wally West.

The next major villain of the run is the cult slash terrorist organization Kobra. That might bring thoughts of GI Joe to your mind, and you honestly aren’t far off. So far as this run goes, the biggest differences between DC’s Kobra and Hasbro’s is A) DC’s version prefer green over blue, and B) Hasbro’s version has more in the way of distinct characters. Kobra thus far is more of a plot device than anything else. They’re generic terrorists with little to make them distictive. Their storyline, Terminal Velocity, is more notable for it’s introduction of the Speed Force, Wally preparing for his upcoming ‘death’, and Linda going on a revenge quest after said ‘death’. All things that Kobra is incidental to, any villainous organization would have sufficed.

The final, as of my current point in the run, major villain is Savitar. Savitar was formerly a soviet test pilot who gained a connection to a the speedforce, gave himself the name of Hindu god, and started a speed worshipping cult. It says a lot about my mind that my immediate thoughts upon reading Savitar’s origin were. “Huh, an AU where Hal Jordan became a Speedster the same way would be neat.”. Savitar is in some ways an improvement on the Kobra Cult from Terminal Velocity. This time the Cult has a more direct connection to the Flash and his mythos. Dead Heat is by no means a retread of Terminal Velocity, but if you wanted to mesh them into one story, it wouldn’t be hard. And it’d improve on both, in some ways.

One of the things I like to do in my fanfic ideas is connect the other speedsters to Thawne’s theme of Toxic Fandom, and it wouldn’t be hard to do that with Savitar. His entire motivation is to deprive those he considers unworthy of their speed, and that can easily by played as a metaphor for gatekeeping.

Over all, while the run is far from perfect, I must say I’m enjoying these comics a good deal, and if you’re like me and have read a lot about comics without actually reading them, I don’t think you’d regret jumping into them.

#opinions #personal experience #dc comics #The Flash #wally west #mark waid

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gffa · 5 years ago

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WHY I WILL ALWAYS DEFEND THE CGI IN THE PREQUELS--They were doing some pretty mind-bogglingly new stuff that had never been done before and creating all these tools and techniques that are still being used today and, honestly, while not everything holds up, a shocking amount of it does. The work that went into The Phantom Menace really was amazing: ‘ALL FILMS ARE PERSONAL’: AN ORAL HISTORY OF STAR WARS: EPISODE I THE PHANTOM MENACE [x] ‘Well, This is the Future’ Once in production, The Phantom Menace would lean heavily on digital effects and technology, with more visual effects shots than any film in ILM’s history. John Knoll: I think the first time I really got exposed to what was ahead of us — I suppose the first thing was we read the script. There were, I think, three or four of us: myself, [visual effects supervisor] Dennis Muren, I forget who else was there. I think there were three or four of us, went out to the Ranch. There was one copy of the script [Laughs] and so basically what it is, we sat together in a room, and somebody started and would hand off the page that they had just read to the next person in the line. I don’t know, I was third in line or something, and I would get the pages and read them and hand them on. It was pretty overwhelming. I had a million questions because you’re reading it written on a page, you can imagine a lot of different ways that that could be executed. That could be a full set, the alien character that’s being discussed, I haven’t seen a design yet so I don’t know whether that’s just a guy in a suit or what. Initially reading through the script it seemed like it was a pretty big and ambitious thing. Sometime later we had — and there’s video of this, I think it’s on the making-of video — we saw the storyboards. George had the art department draw up storyboards for the whole movie. It was 3,600 storyboards, something like that. George walked us through all the storyboards. It wasn’t just telling us what was going on and this is this and that, he was also kind of mixing in what he was thinking about [for] shooting methodology. He had a number of colored highlighters, he had a magenta, a blue, and yellow highlighters, and as he was going down, things that he was going to shoot in front of a blue screen he’d scribble blue where he’d imagine the blue screen would be, and I think yellow was for live-action, and magenta was for CG characters like Jar Jar or battle droids or whatever. He sort of went through that, he went, “Yeah, it’s going to be this,” sort of telling us what was happening in all the frames. I was used to a situation where almost every show we did there was something that we were doing that was new, that we’d have to develop new tools or new techniques to do, but it’s like almost every storyboard was something that we hadn’t done before or didn’t have tools that could do. I was taking notes the whole time, making note of all the things we were going to have to do in R&D, or new things that would have to be developed to handle doing dense scenes with thousands of characters in them, or robust cloth simulations, or rigid body dynamics. There was a pretty long list of things. I walked out of that meeting with my head spinning, because it was not only massive in terms of sheer shot number, but in terms of all the new tech that has to be developed to get it done.

Rob Coleman: I remember going back to California and building the team up, and doing the early animations, and as time went on, I started really suffering in terms of insomnia and stress and freaking out, and I knew the world was waiting for this film. After a couple of months, three months, I actually drove up to Skywalker Ranch to resign the job to George. So I booked the time in to see him, and I went in there and I started fumbling and saying all this stuff through three hours of sleep, or whatever I had. He’s like, “What are you talking about?” I said, “Well, just, the world is waiting for this, and the pressure of this, and I’m not sure if I can perform, and…” He goes, “Hey, hey, hey, wait. You’re working for one person. You gotta make one person happy. That’s me, and I’m happy. I think the animation you guys are doing is great.” I said, “Y-you do?” He said, “Yeah. It’s great. It’s my problem to worry about the world, and I’m not even worried about them. We’re making these films for me. You’re making me happy, so you can relax, and you can go back down to ILM and everything will be fine.” I was the happiest guy driving back down Lucas Valley Road. I was like, “Oh, my God!” From that point on, I was fine. I slept like a baby, I was able to do it, I was able to focus on it. George Lucas: You don’t really start something unless you think you’re right, and think that you’re on the right track and what you’re doing is going to be great. It never occurs to you that it’s not going to work. Otherwise you wouldn’t do it. That’s what keeps people from doing things. So I didn’t worry about that part. I knew that the process of making a film was very difficult, and most of it was grounded in nineteenth century technology — or older than that, actually. And it had just reached its limits and there wasn’t anything anyone could do about it. That was especially true in visual effects. And it was through visual effects that I began to realize we had the power and the knowledge to develop something that really would make a big difference. I started that whole process. I wanted to raise my kids, so I retired, but I spent my time building up the company and at the same time developing this digital technology. Rob Coleman: As reference, I think there were around 200 [effects] shots in Men in Black, and there were 2,000 shots in Phantom Menace. John Knoll: I’ll give you an example of some of the things we had to develop. I think prior to Episode I, the most complicated CG animation we had ever done was on Mars Attacks!, years before. We had one or two shots that had like 16 or 18 Martians in it, and they all had the little spacesuits and the helmets and their props and all of that. But that nearly brought the whole system down to its knees because having that many rigged characters in a scene at once just was more than the systems could handle at the time. I was regularly seeing shots where there were 50 battle droids, or a big battle scene where there are two characters fighting in the foreground, but the background had hundreds or thousands of characters back there. This is a whole order of magnitude of higher complexity than we dealt with, so we’re going to need to have systems for managing that level of complexity. And then a few years before, I think it was maybe ’95, we had done Spawn. There was a number of shots where Spawn’s cape does something magical, and we’d done cloth simulations for that that didn’t look super realistic, and it was fine for the movie because it was kind of stylized. The cape was almost a character in itself. We didn’t have a particularly good or usable cloth simulation system. But looking at the designs of the characters, they’re all wearing clothing. Jar Jar has clothing, and Boss Nass has clothing, and Watto has clothing, and we’re going to have to do digital doubles of the Jedi to do some of stunty things that we can’t shoot for real, and they need to have their cloaks and all of that. We’re going to need to have a good cloth simulation package in there. And we said, all right, we’re going to have to develop that. And then we had — there were lots of shots of Jedi cutting through battle droids, so the pieces of the battle droid clatter down onto the ground and that’s hard to animate completely from scratch, and there were so many shots, that, all right, we can’t fake it through that. We need to have a rigid body dynamic system. These were the things I’d been seeing at SIGGRAPH and technical papers about how to do those believable physical collisions, and we’re going to need a robust rigid body simulation system that’s integrated into our pipeline. It was just a lot of that kind of stuff. All these things that I knew were technically possible; we didn’t have any tools that did that. Rob Coleman: Part of my problem was, for months, there was no crowd system, which meant there was no Gungan battle. No ability for my team to animate hundreds of characters back then. It just didn’t exist. I remember there was one line in the script that said something along the lines of “The Gungan army walks out to battle.” That was six months of work — that one sentence. You were like, “Holy [expletive], how do we do that?” And that was one sentence out of a 100-page script. Ultimately, it was a matter of acquiring the right tools to accomplish what George Lucas was asking, using the latest versions of software already available, or developing new techniques. Rob Coleman: We had a database with all the different Gungan walks, runs, throws, falls, fights. We had little vignettes. We’d have Gungans and battle droids, upwards of five of them together in a little cluster, and we’d animate that. And then we could put that cluster into any shot, and we could rotate it, and it wouldn’t look the same to the camera. So we could create a finite number of those and then we could place them, and we’d actually get a fair amount of movement into the shot. We’d just be able to use it over and over again, and we’d put some hero work in the foreground, and the audience would never know. Jean Bolte: Back then they called it Viewpaint, it was the first software that was developed to paint onto computer graphic models. I was the Viewpaint supervisor. Most people know this, but Viewpaint was a huge leap forward in Jurassic Park. Dennis [Muren] has always acknowledged that. As I have stated publicly, I don’t want to make it sound like I think my job was the most important contribution to computer graphics, but it was a very important one. The work that we were able to do, because we could paint onto the models, transformed the look of everything. Up until then we’d had The Abyss water tentacle, we had the mercury man in T2, very simple, very rudimentary, you know, the shading on things didn’t allow for very much believability, really. What we were able to do with the paint software, even in the very early, early stages there on Jurassic — I didn’t work on Jurassic, but I was having a good look at it. They were able to contribute a bump surface and a paint surface to give things the scale pattern, the aging, obviously the color, the different qualities of specularity. And in addition to that, for anything that was hard surface, there’s the aging that comes into making something rusty or dented or scratched. And when you have that, suddenly a thing has a story. It has a history. In addition to it having the believability, you can introduce the backstory as to, why did it get dented here? Why are the scales roughed up in this area? What kind of creature is this thing? Is it dry? Does it hunt? Is it an apex predator? Is it moist? All of that stuff is the story. So even if you’re making a creature that has never been seen before, you can kind of establish what its niche is in nature, and then contribute all of that to the look of it. The dinosaurs in Jurassic, that was a huge breakthrough to be able to see that. So the software being very rudimentary still functioned and continued to update. Every project there were things that were written into the software and in our technique and approach that allowed us to get more and more realism. The Phantom Menace featured several completely digital characters. Jar Jar Binks, played through motion-capture by Ahmed Best, would be the most high-profile, a supporting character that shared screen time with our heroes. Initially, the idea was for Best to perform in a suit and have Jar Jar’s neck and head created digitally, but this proved more costly and labor-intensive than just using a full CG model. Watto, the junk dealer, and Sebulba, Anakin’s rival podracer, were two other completely CG characters that played prominent roles. Ahmed Best: George wanted a character that was part-Goofy, but very physically aware. He really moved me toward what eventually became the walk. He wanted me to move slower, longer. Jar Jar was taller than I am, so he really wanted Jar Jar’s head to move in a specific way, so that forced me to try to come up with a physicality so that Jar Jar could move in a way that would work once animated. But a lot of it was just a collaboration of movement, me giving George options, and him saying, “Yeah, more like that.” The voice was the same thing. It was just me giving George options, and he was like, “Yeah, do that one. Do that voice.” George Lucas: I was tired of putting masks on people. I was much more interested in having them be all-digital so you could do more things with them. More freedom.

Ahmed Best: Jar Jar’s character, the movement and the motivation, was really based off of Buster Keaton. George really honed into that aesthetic when it came to me. Jean Bolte: Casper had a speaking character, Dragonheart, that was a speaking character, but there was something about Jar Jar being a character in this film that was a huge step further. I mean, he had to work in so much of the film in so many different environments. He had to sit there and interact as if he was somebody George had cast and put into a suit. Ahmed Best: It was great. I loved it. It never really felt like I was this other thing. It felt like we were all actors in the movie working together. This whole idea of me being in the movie or not being in the movie never occurred to all of us while we were shooting. It was never a separate thing and, subsequently, that’s what mo-cap has become now. It’s become actors in the movie, doing the motion, and then animation later building the realized, fantastical look of the character. But the actors are an integral part of the filmmaking and an integral part of the collaboration. And that kind of started with Phantom Menace. Rob Coleman: I believed in my crew, and I believed that I’d understood what George was looking for from a performance point of view. Ahmed Best: After principal [photography], I spent probably another year and a half, maybe two years, going back and forth between ILM and New York working out some of the kinks. That final battle scene with all the Gungans and the droids and the battle tanks, that was me, George, Rob [Coleman], John [Knoll], everybody at ILM, up in San Francisco figuring it out. It was just us in a room, there was nobody else there. I was doing all the motion that Jar Jar did in the final battle scene. George really wanted that to feel like not only just a live-action battle, but he wanted it to have the same physical comedy as a Buster Keaton movie. We worked really hard on that final battle scene. Jean Bolte: One of the things about this film is that this is what George wanted. He wanted them to have a similar kind of quality to the animatronic characters who also were not necessarily always 100 percent believable. But they had a charm to them, they had a life in them. That was more important than anything. I think Jar Jar has this quality. Ahmed Best: For me, it was just such a joy to be as creative as I wanted to be because I knew I had so much room. And George was really generous with the amount of room he gave me to bring Jar Jar to life. Doug Chiang: Watto was completely out of nowhere, and that scared me, because the genesis of Watto was that I did an early trader baron portrait that George really liked. The story of that character changed eventually, but he liked that. One day he came in and said, “Remember that portrait of the trader baron? Take that portrait, let’s put on a body, and add the feet, and add bat wings.” And that was the brief! It scared me because it didn’t make any sense, and I thought it was going to be a complete cartoony character that people are going to laugh at. I remember we spent weeks and weeks designing it, trying to make it very real, and George kept saying the same thing. And then literally one day I said, “Okay, I’m going to take George exactly at his word, and draw exactly that.” And it worked. One of my big appreciations for George is that he can push us quite a bit. I learned to trust him that he knows what he wants, and he will then stop us if we’ve gone too far. And right now Watto is one of my favorite characters. Rob Coleman: The amazing thing about The Phantom Menace, I think, certainly for the ILM animators, is we were moving from putting creatures in scenes to actually being actors in the movie. This is what I was trying to get across to them. The notion of getting up and acting things out. Talking about what’s happening internally inside a character’s head. Do they believe in what they’re saying? What do they want from the scene? Everything you would talk to an actor about I was trying to teach these animators. Jean Bolte: The main characters, Sebulba, Watto, and Jar Jar, were things that I had painted. Those were great. I mean, Jar Jar, obviously, was an important character. I remember that Doug Chiang [paid] very, very close attention to him. After there was artwork from Doug, and the model, then I would do the texture paint on it, and then Doug Chiang would take a frame render and paint on it. The next morning I’d come in, I’d see what he had done, have a meeting with him, I would incorporate those changes into Jar Jar. That process went on every day for weeks and weeks and weeks. Rob Coleman: I remember showing [a test of Watto] to George, and he was so excited that he showed him to Frank [Oz], who was doing the actual rubber puppet of Yoda on that first one. And then Frank said to George, “Well, this is the future.” And George was just beaming. The centerpiece action sequence of the film is the podrace, a fast, furious race between Anakin Skywalker and a smattering of strange aliens, through a course that includes a stadium, caves, rocky terrain, and the occasional Tusken Raider sniper. John Knoll: I had been playing around with a desktop tool that did two-dimensional physics simulations. It was called Interactive Physics. You could draw 2D shapes and you could have gravity and drag, and you could attach springs or chains to them and let them collide, and kind of do what they do. Seeing the designs for the podracers, they’re supposed to be suspended on repulsors, like Luke’s speeder, where they just sort of hover, and if you disturb them they have a kind of springy action to them. So they’re supposed to be just kind of hovering there, and then the cables go back to the cockpit. I just kept thinking that they should be, as they’re driving along, bouncing and springing and kind of look like they’re being held up by springs.

I used this Interactive Physics program to build a top down version of a podracer in 2D, where I had two engines and chains that went back to a cockpit. Then I attached thrusts to the engines, and I hooked them together by a spring network. I would jostle them a little bit and they would have this nice secondary springy motion that you would never have the time and patience to animate believably. I just really liked the look of it. I talked to Habib Zargarpour, my friend that was doing all that [computer animation software] Maya beta testing, and I said I want to try setting something up like this in 3D where we make up a frame and we suspend the pods from springs that attach to the frame. Basically, what we’re going to animate is, we’re going to animate the frame, we’re going to jostle it around, and when we animate the pods we’re basically just animating this frame. The pods are just going to hang from that, and when we move the frame, they’ll kind of bounce around and we’ll get all this really nice secondary motion. So that’s how the animation system worked, we weren’t actually animating the pods directly. We’re animating this frame that was holding them up. That was, I think, the first time that we’d done vehicle animation that was all being driven by rigid bodies and dynamic simulation system. Jean Bolte: I remember the first time I saw the podrace come together on the screen, and I was like, “This is it. This is amazing and it’s a beautiful collaboration.” The model makers and the computer graphics department come before me in the [process]. It’s first artwork, then the model makers get busy, the CG model department gets busy modeling, then it’s passed off to paint. Often it goes back to model and back to paint and back to model. John Knoll: Yeah, it’s a mixture. Doug and the group had designed this racecourse that had all these very distinctly different-looking regions. It was all pretty deliberate because George wanted you — if you saw two racers in one particular terrain — to immediately understand where you were in the racetrack. “Oh, that’s the area right past the stadium,” or “There’s the arches,” or “That’s the area where they get into this narrow canyon.” So if you kind of understood what that racetrack is like, then you cut to this character and you kind of know, “Oh, he’s like 10 seconds behind Anakin because he’s still in the crater field,” and that kind of thing. We had all these different terrains we had to create, and some of them were more closed in than others. A couple of them, like Beggar’s Canyon, and there was another sort of cave, this stalactite cave, I figured were closed in enough that we could do in miniature.

(The stunning podrace arena miniature.)

(Thousands of painted Q-tips stood in for audience members in the podrace arena miniature.) The podrace stadium was another one where I really felt like we’d get a lot of benefit out of building a miniature of that. Partly I was kinda looking back at how people had done things in the past, and the Ben-Hur stadium from the chariot race, that always really impressed me. Those were done in miniature and they just looked amazing. We’ll build a miniature of that arena, and we’ll shoot all the elements outdoors, and we’ll get that really nice, realistic daytime look. And then there were other terrains where it was just wide open and we were going at 600 miles an hour, and it seemed like the only way to do it was this CG projection technique. It was a whole mixture of whatever technique would work. Ben Burtt: I followed through with the podrace from day one to however we ended it. [Laughs] Even in the earliest stages of temporary assemblies of the race I showed George, I always was starting to put sound in. I, of course, had a library to start with of aircraft, and some automobile, cars, and things that had high-speed racing-type sounds that I could manipulate. I would sketch those in a temporary way. As we went along and the podrace developed, I would go out and record new vehicles, as would [sound designer] Matt Wood and a few others. We’d send them out to races to get drag strips, cars, we did some — everything from antique biplanes with wires humming on them to running an electric toothbrush up and down a harp string. It wasn’t just restricted to aircraft or anything. We did a lot of cars, a lot of aircraft of different types, and then manipulated other sound effects. George Lucas: The podrace was the direct result of my lifelong fascination with racing. I thought it would be fun to build really intense race vehicles that were as much sort of chariots as they were anything else, like two horses and a chariot. I took that idea, and plot-wise, it was necessary to get them off the planet. Obviously, you could come up with a million different ways, but I have a tendency to always go toward the racetrack. It was very dynamic. And it’s fun. I love it. The digital revolution of which The Phantom Menace was part did not stop with effects; it played a big part in the editing of the film and the entire delivery method. Still, the movie was ultimately made utilizing techniques both new and traditional. George Lucas: I’m not sure where my embrace of technology comes from. All art is technology. Film, or the movies, were the highest point of technology in the art world. You just had to learn a lot, and there’s a lot of technical things to deal with. So that wasn’t the issue as much as it was the fact that I didn’t mind change. And I didn’t mind change because I actually physically worked in it. I worked as an editor, I worked as a cameraman, and I know how difficult it was just working in the medium where you have little splices of film, you can’t find them, when you go to look for something you have to go through reels and reels of film. It takes a long time and it’s very frustrating on lots of levels. Just the whole idea that back in the Kodak days, you’d shoot the film, and then you have to send it in to the drugstore to get it processed, and then bring it back to see what you have, is slow and frustrating. And the whole thing was built on that, whereas if you do it electronically, digitally, you can see what you’re doing as you’re doing it. So you know exactly what you’re doing. Ben Burtt: Phantom Menace was shot on film. It was the last of the ones shot on film, but it gets transferred to a digital form, then we’re cutting on Avid editing machines. Once you’ve got the image in the digital realm, rather than a physical piece of film, of course then it opens up the door to the amenities of working digitally. You can cut and paste images, and you can duplicate them, and you can flip flop and enlarge them and shrink them, doing all kinds of stuff with a lot of fluidity that you would never have if you were working on a physical film. George loved that world of manipulation after the fact. You learned working for George that no shot as the camera saw it was final. [Laughs] It could be thought of as just an element for further development.

(Jean Bolte paints a Sebulba maquette.) Jean Bolte: When Jurassic came out, the company offered to train those of us who were interested in making the switch — they referred to it as “making a switch to computer graphics.” I had no intention whatsoever of making a switch [from the model shop]. What I always wanted to do was to train on this, in the new technology, learn as much as I could about it, but also keep the door open in the model shop. I had to fight kind of hard to make that work. But I think I was fairly successful because during Episode I, I was still able to go back to the model shop and paint maquettes, sort of keep both doors open. I loved that. John Knoll: To be perfectly frank, I was getting a lot of pressure from George and Rick to do less with miniatures and more with digital techniques. And what George told me, this was, I think, during Episode II or III, he was pushing back on me wanting to do so much with miniatures. He said, “Listen, the future is in computer graphics with these digital techniques, and you’re using miniatures as a crutch. You’re going to have to get better at doing this computer graphics work and expand the palette of things you’re going to be able to do that way. And the way you’re going to get good at it is doing it, so I’m going to kick the crutch out from under you and it’s for your own good. Don’t build so many miniatures. Do this stuff more with digital techniques because you need to be doing that.” Even though my preference would have been to keep doing what I was doing on Episode I. I look back on a lot of the miniature work we did on Episode I and I think it still looks amazing. Like Theed city, I think a lot of those shots are completely convincing. You’d never know. And I think the podrace stadium looks pretty good, and the podrace hangar looks really good. And there’s a lot of extensions that I don’t think people even know are extensions that are in the Nemoidian ship, of the corridors and the bridge and all of that. You’d never know.

#behind the scenes #george lucas #ben burtt #doug chiang #rob coleman #john knoll #jean bolte #ahmed best #long post under read more

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fortunatelyhauntedblackcherry · 5 years ago

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Moonshine - A Beetlejuice Fanfiction 05

Warning: Swearing, mention of mental illness, Beetlejuice being smut and creepy... As always.

Ari was sitting on the side of her bed, head in her palms, breathing heavily.

- Either you are telling the truth or I'm going crazy. Or I'm tripping. Even though I don't do drugs. - Beetlejuice rolled his eyes. He was standing before her, with his hands crossed across his chest. His hair was in a light green shade with some light pink streaks in it.

- As I said previously, down in the living room you idiots, on purpose, bought a haunted house. - Ari looked up and nodded sarcastically. He was right, after all. - Seriously, what did you think, that you'll get unicorns?!

- Ghosts! - shouted Ari in a muffled voice. She didn't want her sisters to hear that she was talking to herself... But the hissing and scratching of Minerva before the door surely made a helping white-noise.

- Well I'm the leveled-up version of those suckers. - said Beetlejuice proudly and sat down next to Ari. - You might say I'm the ghost with the most! - the girl chuckled.

- Okay, if you really are the improved version of a ghost... - she shrugged - ...prove it!

- EEEEEH! - out of a sudden Beetlejuice imitated the sound of a siren which made Ari jump a bit. - Can't do that.

- Why?

- I can't interact with the human world. Only ghosts can do that. I can posess electronics and appear as smoke in mirrors, max. - Ari stood up and went to her full-size mirror.

- SHOW MEEEE! - she said in an excited voice. Even though she would really loved to talk to a demon, she thought this action would prove the fact that it's just her consciousness playing games with her and that she had to see a psychiatrist again, but a slightly human-shaped, green-ish white-ish smoke-shape appeared behind her and her lights started twitching.

- Helloouuu... - whispered Beetlejuice into her ear in a funny voice which didn't make her jump at all... No, it actually made her giggle. Beetlejuice raised his eyebrows. That was a first. Someone actually liked his jokes and funny voices. Weird.

- Ohmygodsthisissocool! - Ari was talking very fast and in a very high-pitched voice. She acted like a little girl, excited for her Christmas present. That made Beetlejuice smile. Nobody was that happy for him... Like... Ever. Ari turned around to where the voice came from the last time. - Gee I can't believe I am actually talking to a spectre. What are you doing normally? Just float around the house? Also, most of the time why do you sound like you just swallowed a cheese grater? - she stopped for a moment and continued in a more serious voice. - Also why do I hear you exactly? That bugs me a bit... to be honest.

- First: yeah, mostly I just follow you guys everywhere I can, floating around you. Watching. - he lowered his voice, his lips could almost touch Ari's ear. - I know. Very creepy. - Ari shivered like something just ran across her back. She hated being followed. She had bad experiences with that in the past. She noted to herself that she had to tell this demon not to do that oh so silently. - Second: you can't ask why does somebody sound like that, Karen! - he said sarcastically then went back to normal voice. - Also I'm dead, rotting, lower your expectations to that. Third: I have no idea but it's gonna be so much fun! - now he sounded like a child. He started to run around Ari in circles and clap little claps while he was talking. - It surely is interesting, but eh, who cares, the important thing is that now we can talk properly! And you can answer! And you can sing the songs I request! And react to my lewd comments! And we could have sleepovers and shit since now I can come in! - he changed into a more seductive tone and leaned closer to Ari. - Obviously R rated sleepovers cause I am a very sexual handsome being who you could totally not resist. - the girl blushed a little which made Beetlejuice even more horny than usual. But since he knew he couldn't do anything with her at the moment, he changed back to normal voice. - By the way I like what you did with the room, seeing it for the first time and I am shooketh how many stuff here is relating to the whole being dead thing. Babes, you have a problem. A cherishable, cute problem, but still a problem. - Ari laughed. Very loudly.

No surprise Beetlejuice liked her room. Although she followed her own path, she really liked the whole (kind of mainstream by now) witchy-gothic aesthetic and since horror was her sweet spot since she was a child, she had to decorate her bedroom in a certain way. Starting from the chandelier, which was basically a huge glowing pumpkin with wrought-iron tendrils all over it, the color of the ceiling changed from light orange to a pretty pumpkin colour, then continuing on the walls it slowly turned into a dark coppery reddish-orange. The hardwood floor was fully covered in soft grey carpet with little bats on it. There was a fake bat-skeleton, a fake raven-skeleton and little felted dolls in the form of the three witches from Hocus Pocus hanging from the chandelier. To the right of her door (which, by the way, was painted dark grey and had a "Sic gorgiamus allos subjectatos nunc" plaque on it), there was a big, wall-to-wall cabinet painted black with a full-size mirror on the right, and a dressing table in the middle embedded in it. Her makeup brushes and eyeshadows were already scattered around it 'cause she was messy. To the left of her door there was a shelf in the shape of the triple moon, with horror-movie figurines, crystals, Funko Pops and random skulls on it. Around it, family photos. Next to that, in the corner, there was a black, coffin-shaped shoe cabinet with pumpkin-coloured insides and leds in it, and with a sign that said "Dracula" on top of it. On the opposite wall, below the window there was Ari's sewing-corner with 2 sewing machines on the table. On the wall, opposing the wall-to-wall cabinet there was a ram skull, engraved with Edgar Allan Poe's s silhouette, with huge black horns curling backwards. Under it, on the wrought-iron bed there was a blanket with the bride of Frankenstein painted on it, and many pillows. On the two sides of the bed, there were little "nightstands" which were basically cages. One worked as a cat-prison for Minerva, padded with a soft mattress, with a night-lamp grabbed by a zombie hand on top of it. The other held Ari's favourite books, and had a little altar on it for her "weird witchcraftsy shit", as Rei said many times before. In front of the bed there was a black chest, filled with random pieces of fabric and patterns for clothes, the top of it covered in soft black and white striped velvet. Next to that, there were 2 Paris dolls, one on each side.

- Thanks, I am the breathing, living version of Halloween. - she sat down before her dressing table, looking directly into the mirror so she could see the shape of the demon again. - And... Yeah, please stop the creeping around. At least when you come into a room where I'm at, just whistle or something so I could know that you're there. - she turned around, facing the middle of the room and blinked sweetly. - Please? - Beetlejuice sighed with resignation. He couldn't say no to those pretty, living eyes.

- If your pets even let me near you, then okay. Your stupid cat always hisses at me and won't let me come into your room... I mean I could float above her but I'm legitimately afraid for my afterlife around her, it's weird, I don't get it either. And your actually scary dog... I'm not even sure that's a dog, that looks like a wolf, so yeah, that mongrel almost ripped my arm off last week! You have to convience them that I'm not trying to hurt you! - begged Beetlejuice. - I could only come up with you now cause I was faster than those suckers. - Ari stood up and went to the door where Minerva was still scratching the door into pieces.

- You know in many ancient cultures, dogs and cats were considered as guardians of the underworld or bodyguards for their owners against demons. For example in the Aztec religion, dogs were associated with Xolotl, the god of death. Or in Egypt cats were used as protectors against evil spirits.

- Thanks for the history lesson, miss-know-it-all. - said Beetlejuice sarcastically with a snort. Ari rolled her eyes.

- So I suppose they can see you, right?

- Yeah... I thought I'd use them to get you guys' attention but... - he stretched his arms out in Ari's direction. - ...I have you!

Ari smiled. She was still not sure he was not malevolent like those spirits from The Conjuring, but he didn't feel like someone with a super evil plan going down.

- You know maybe they just love me and want to protect me. - she sat back on her chair. - You know, Sirius is a tamascan, a guarddog, a wolf-type. He looks like he could rip you in half but actually he's a sweetheart. Yeah, his teeth are sharp as needles but he only uses them to chew up his toys. - Ari shrugged. - He doesn't even know how enormous he is. He looks very fierce and heisty but mostly he just sits on people's laps. - Beetlejuice floated right next to the girl again. He was so close Ari could feel that icy coldness on her skin again.

- You should sit on MY lap. - he said in an arousing voice. Ari looked the way the voice came from.

- Shut up. - she said in a sharp voice. BJ rolled his eyes and went a bit further. - Minerva would totally kill you though. She should be a very social breed, but she basically hates everybody and wants to kill everything that moves. So yeah, beware of the claws. They hurt more than you can imagine. - Ari held up one of her hands with a huge scratchmark on it. Beetlejuice chuckled.

- I don't feel pain.

- Oh you'd feel that, trust me!

Ari looked at her clock. It was almost 2 in the afternoon.

- Oh shit, man, I gotta go to work. First day, I can't be late. - she went to her bed and started to pack her sheet music rapidly into a red bag. Beetlejuice walked up to her and with hope in his eyes and fully green hair, he asked:

- Before you go... Can't you... Say my name 3 times? - Ari looked at his way with a raised eyebrow.

- Why do you want me to do that?

- Cause that would lift me out of this weird alternate state and I could roam earth while being seen! Now I can't leave this house but once being summoned, I could! And I haven't been out since literal decades! - he sounded so desperate. - Please don't make me beg... I will... I just... Okay you know what, I'm begging. - he threw himself on his knees and tried to grab Ari's trousers, but his hands went right through them. - I'm just so sick and tired of being invisible! - Ari made a weird little sound of shock.

- I don't even know your name, and you seriously think I would let you roam free? I just met ya...

- PLEASE! JUST DO IT!!! I WOULD DO ANYTHING, SCARE ANYONE, JUST PLEASE SAY IT! I SWEAR I'LL LEAVE SOON AFTER!!! - he was nearly crying, his hair started to turn into fully purple. Ari was thinking about her options. She could either let a wild entity roam free, or have someone murder her father or one of her exes and then just leave. That sounded good.

- That's a flattering offer so... Kay, what's your name then?

Beetlejuice stuttered.

- I... - he sighed. - I can't say it. - he said with total hopelessness in his voice and tears in his eyes. He sounded so miserable. Ari squatted down to him. She didn't even know, but she was looking straight into Beetlejuice's eyes. Her warm smile made him feel a bit better, but he was still miserable.

- Then how could I help you, Bug? - he stayed silent. That nickname actually sounded cute. - Yeah, I heard you munching on them. So let's stick with that name until I find out why do I hear you and what is your actual name, shall we? - she would've just pat his head if she could see him. He sounded so alone. She knew exactly how that felt.

- Kay. - said BJ in a repressed voice as he viped his tears and nose in his jacket. Ari wrinkled her nose at his direction, snapped up her bag and headed for the door. Beetlejuice got up quickly and floated before her, if nothing would've happened. - Wait, what am I supposed to do while you're gone? - Ari shrugged her shoulders.

- I don't know, haunt my sisters' electronics? Find out if they can interact with you too? - there was no answer so she just waved goodbye. - I'll be back at 11-ish. - and with that, she went to work.

But Beetlejuice was still there. He rubbed his hands maniacally and talked to himself in a very evil, raspy way.

- Oh I would love to do that. Of course, I might have to get a little... Mean... I might have to get a little... Nasty... But if you want me to act like a demon... Then I'll be a demon 😈

#alex brightman #beetlegeuse #beetlejuice #beetlejuice fanfiction #beetlejuice oc #beetlejuice the musical #fanfic #fanfiction #lawrence beetlejuice shoggoth #musical!beetlejuice

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dorizardthewizard · 5 years ago

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TLNM musings, part 2

Okay, here I ramble about problems with the movie. Ended up adding more stuff since I first wrote this :’P

Screentime and characterisation of the other ninja:

One of the biggest complaints from fans... they're all introduced individually with very different personalities, they’re told they each have a special element they control, making you feel like they should each get some moment to shine and affect the plot of the movie, but then none of that happens. Ultimately you could take out all the ninja and the story would be the same, you don't even necessarily need them for Lloyd's character since his journey of reconnecting with his father and bringing his family together can still work without them. It's so sad because if you read and watch extra material, you can tell thought went into their personalities, but we never get to see this as they're all just lumped together, mostly there to support Lloyd's development.

For someone who hasn't seen the show, it must feel a bit off seeing characters with distinguished personalities and no payoff for it; take Zane for example. Imagine not knowing anything about the characters and seeing one of them is a robot, for some reason? You wonder why he's a robot, what significance that has for the plot and why it's important for his character (I mean they missed a big opportunity to develop Zane from always trying to fit in and seem like a “normal teenager” to accepting that he's different but that that doesn't mean he's less valid), but then this really specific characteristic is never expanded on except for comedy purposes. People probably thought “oh, guess it makes more sense in the show”, but this just detaches viewers and makes them feel like they're missing something if they haven't seen the show beforehand.

Sigh, still gotta give the crew credit for fitting in a load of little subtle details about the ninja, I had to rewatch it a couple of times because there were things I didn’t notice at first, like Kai sliding down a bannister in the Temple of Fragile Foundations and falling off :’D

Group dynamic:

Another thing that bothered me is that the movie isn't that good at making you care about them as a team. They're already established as friends but I wish there were more material showing us how much they care about each other. The Kai hug scene was 10/10 but then when Chen and the other cheerleaders started picking on Lloyd, nobody said or did anything? In merchandise it said Kai is a hothead who isn't afraid to speak up or stand up to people, then show it in the movie! Him and Nya should have been on the verge of tackling that guy to the floor! Ok, I can see Lloyd asking them not to get into fights as it makes people hate him even more and he probably feels guilty if one of the ninja gets into trouble because of him. This would still have given more emotional connection between the characters but we're never shown it, except in the novelisation where Cole tries to block Lloyd from his locker so he doesn't see the insult written on it, I think. But again, we shouldn't have to read/ watch extra material for that.

Instead of moments showcasing the ninja’s friendship and close bonds, we got the opposite- everyone turned on Lloyd incredibly quickly for one mistake. Sure, it was a pretty big one and resulted in Garmadon taking over the city and their mechs being wrecked, but Lloyd was the only one doing anything about Garmadon at the time and he didn't exactly know what the consequences of using the ultimate weapon were; it's not like he knew it could potentially hurt his friends. In fact, how did the ninja know he used it anyway? That would mean they already knew about it and what it could do, yet Lloyd was not told? In which case, how can they blame him?? Damn it Wu, why couldn't you just tell Lloyd that using the weapon would unleash a cat that could destroy the city, instead of vaguely saying the weapon can be dangerous in the wrong hands. That's taking too many pages from TV Wu's book!

Honestly, it's like the ninja were just one character either shunning Lloyd or supporting him, depending on what the plot needed :/ That scene where they're talking with Garmadon while carrying him through the jungle really rubbed me the wrong way because first, no one seemed to care that Lloyd is so snippy because he's been forced to work with the man who made his life hell, and second they joke about Lloyd with that very same person and imply they don't respect Lloyd as leader, as Jay says he doesn't usually want to listen to him when he's talking? What??

Lloyd and Garmadon’s relationship:

I mentioned this in part 1, but they really didn’t execute this well- I feel like they had so much fun playing up Garmadon being the worst dad in the world that they forgot to give him redeemable qualities. It took me a second viewing to realise his relationship with Lloyd was actually pretty messed up, because they played off his despicableness as comedic and glossed over it by suddenly giving him a flashback to make it seem like he’s sorry. They wanted to go for the father-and-son-have-issues-but-reconnect story, and had Lloyd say “I wish we didn’t have to fight all the time” in his emotional ending, but that’s a line usually present in a daddy-issue story where both have a part to blame and there's issues with communication. In this, though? Lloyd did nothing wrong! It was just Garmadon being trash, and there wasn't even a particular scene of him recognising and apologising for his actions- not the bit about driving Misako away, but how he treated Lloyd after.

The message is all mucked up - hoping to find some good in neglectful parents is just gonna get you hurt, and in a story like this it would make more sense for the protagonist to realise they don't need validation from this guy, shouldn't feel like they have to keep connected with toxic relatives just because they're family, and that they should focus on the friends and family who actually love them (although, whether Lloyd's friends were even portrayed as liking him is a different story). I mean, Koko could just teach him to throw and catch! Does he have to have two parents just for that?

Tone and humour:

I think another main reason this movie didn't do as well was its more childish tone and dialogue; unlike the previous two movies, it was marketed at younger children. One of the main reasons TLM and LB were so successful is because of the self-aware jokes that could actually be enjoyed by adults too, while in this movie I may have properly laughed only a couple of times. Plus, in its effort to connect with kid's humour it just got cringy in some parts, like the Ultimate Weapon compilation. It would have been funny if it was ironic, like Amazing World of Gumball style, but it just didn't come across like that, so I can see why many jokes fell flat for older audiences.

People probably had different expectations for the overall tone as well- everyone loved the previous LEGO movies because of their constant barrage of action, witty jokes and a ton of references. This was never the selling point of Ninjago, but TLNM didn’t manage to capture the show’s dramatic style and deep lore-driven plot either.

The writers:

Okay last thing. This movie had three directors, six producers, six screenwriters and seven people working on the story. Compared to most animated movies, that's a lot, and its shows. It feels like they had a few different ideas and themes and couldn't quite patch them together, with vague messages like “looking at things from a different point of view” being thrown in as well to try and link it up. I guess at the end of the day, this is a father-son story, and that makes it very difficult to fit in a power-of-friendship plot at the same time, but still. Also, the shifting plot and ideas is really clear in the trailers, I mean half the stuff there wasn't even in the movie, it's as if the entire story was changed!

Final verdict? I think an overall theme with this movie is that the writers wanted to overhaul Ninjago to introduce it to new viewers, but also wanted to keep the fans happy so shoehorned in lots of elements from the show without giving them enough development. This just disappoints fans and alienates general audiences, which is a problem since Ninjago doesn’t have a huge following already backing it up like LEGO Batman did, and could have been the pilot for more original LEGO lines making it to the big screen. It was a technically amazing movie, with beautiful animation and visuals, an epic soundtrack and stunning voice acting, but it was also such a waste of potential.

The only other thing we can do is think about how it could have gone differently, so here's some of my ideas :'D

NOT using the deleted time travel plot. I know that after being disappointed in a movie you welcome any alternative, but giant mechs were already a big deviation from the ninja theme; flinging in time travel as well would be too much for non-show watchers. Plus, I thought we were all complaining about how time travel in Ninjago always just messes things up :'P

Also not following the show closer. We have over 10 seasons of the show, the whole point of a movie is giving a fresh take; using a giant snake or the Overlord possessing Garmadon again would just be boring.

Delete the first act? One of the best parts of the secret high school heroes trope is seeing how they juggle both lives, if you're gonna drop it after half an hour there's not much point of it being there.

Could instead just have Garmadon attacking again, the last invasion attempt being ages ago. Maybe the ninja rediscover a rich history of elemental masters protecting Ninjago when Wu decides to get a new team together to fight the new threat?

Make it about learning master building instead so they build their mechs at the end, and then gain elements in a sequel?

Or don't mention anything about elements and have every ninja individually go through an obstacle to obtain an elemental weapon, then they all lose them but don't know they're not necessary, so it's actually a surprise that the power is inside them? Everyone gets a sort of true potential moment?

Ninja having to warm up to Garmadon's son, so we have a plot of Lloyd slowly gaining their respect and becoming leader?

Higher stakes at the end, make the Shark Army more threatening and have them turn on Garmadon using Meowthra, so there's still an intense climax of the ninja fighting the army before Lloyd reaches Meowthra and gets his emotional ending?

Get rid of the live action sequence, or make it fit the message of the story more?

Feel free to add any ideas/ thoughts!

#ninjago #ninjago movie #lego ninjago movie #RIP lego cinematic universe v_v #my posts

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ournewoverlords · 6 years ago

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Rocketman is great, go see it!

I'm not the man they think I am at home Oh no no no I'm a rocket man Rocket man burning out his fuse up here alone

Oh man, I was surprised by how much I enjoyed this movie. I’m apathetic towards biopics and I barely know any Elton John songs outside the Disney ones (yes, I’m a heathen, my excuse is that I didn’t get to America until 1995 and some combination of Britney and N’Sync consumed my formative years) but I had a big doofus grin throughout this movie and discovered a lot more sympathy for a celebrity I had in the back of my head as “the eccentric old dude who seems nice enough but probably doesn’t have all his marbles?”. That’s not because the film glamorizes Elton John by any means - it literally starts out with him declaring he’s done a great many horrible things, and concludes with him sighing that he’s been a cunt since 1975 - but you see the man inside the glittery bird costume, broken but trying, and I think that makes it a success in my book.

It’s a “musical fantasy” - honestly, a straight-up musical - that hits some pretty familiar narrative beats: main character bursts into rehab in the opening, looking like he needs a shower, a shave, and a hug, and now we’ll learn how he got there. No surprises, but it’s a clever way of unspooling his character arc as the movie progresses, because we watch him start his account with flat-out lies - “my dad was great, always there for me” - and then as he keeps going, it starts pouring out of him and he can’t help but begin to confront the truth. One character arc, the literal arc, is about his downfall, but the other one - the one behind it - is about his healing. It’s not an “X happened, then Y happened” kinda biopic, the journey here is as much inward as temporal - this is Elton, coming back to face the words a musician early in his career told him: “You gotta kill the person you were born as in order to become the person you want to be.” But who is the person Elton wants to be? What if the person he wants to be is just... himself?

And who is that, anyways? What I love about the movie is how it’s interested in what’s behind all the glam, the glitter, the outrageous costumes and crazy heels and rock n’roll - but it’s not afraid of those things either. You don’t have to be one or the other, extrovert or introvert, dazzling showman or a shy kid who only ever wanted to play for himself. Because the man IS fucking fabulous, he clearly had big emotions and a big life, and what I love about this movie is how it’s not afraid to throw itself into that, the same way camp is a kind of defiance against both the people who take life too seriously, and the people who don’t take it seriously enough. It punctuates again and again that this whole thing is about the hole in Elton’s heart, the hole that one’s parents are supposed to fill, and how his outrageous talents both lift him out of there and then give him too many things to fill it with — luxury clothes, booze, sex, drugs, eating disorders, pushing away the only people who care for him as if self-hatred were its own addiction. It’s a bottomless pit, and the struggle Elton faces is whether there’s anything worth salvaging at the bottom of it. It doesn’t sound like a very heroic choice, but it is: choosing life.

Some notes I jotted down right after watching, spoilers under the cut:

There were some things I didn’t think worked as well, though it wasn’t that they were bad, just that I wish there was more there.

For example, I thought that the final sequence where the characters from his past re-appear in this kind of cliched therapy sequence felt a bit too on-the-nose and forced, or at least clunky compared to the deftness of many of the earlier scenes. As a climax, it didn’t really land for me. This is part of my general wish that the story had more “meat” on it — i.e., a bit more prose and less verse — because it feels like it should be building up to this realization that Bernie was the one who truly loved him this whole time (not romantically I mean, but, in the more meaningful sense, properly). Because Bernie essentially becomes a peripheral character after their initial honeymoon — he’s always kinda in the background, but they drift apart over the years to underline Elton’s fall — so their relationship doesn’t have as much weight as it could’ve to me even though it is a thread that runs throughout the movie.

Don’t get me wrong — the scenes they have together are sublime, especially that “Your Song” scene, where the look Elton gives him really makes me wonder if Elton’s aborted kiss really was just a young man confusing his momentary giddiness for a crush. Jamie Bell gives this wonderfully gentle performance that keeps him as this North star in your mind, the one you want Elton to find home by. I just wanted more, especially in the latter half of the film, because I think the core of this film is about a love story, between Elton John and the things that save him: his best friend, and his love for music.

That’s my critique of the film in general, if I had to have one — despite running over two hours long, there’s some parts that feel oddly compressed or skimpy. John Reid, Richard Madden in an incredible performance as Elton’s frighteningly intense yet undeniably attractive business (and pleasure!) partner with the Hugo Boss suit and smoldering black eyes, goes from what girls want the dude in Fifty Shades to be to an abusive, cold-blooded asshole in the span of what feels like two scenes and ten minutes. It’s like one second, Elton’s star is rising and he’s flying high — and then in the next, he’s snorting coke, fighting with John, and drinking too much. It is heavily implied that: 1) getting famous was synonymous with doing drugs at the time, and because of Elton’s personality he couldn’t brake (but I still wish they made this subtext a bit more text) and 2) that behind this lurch downwards is his inability to be honest about his sexuality — John, of course, wants him to marry a beard “for the business” — but it’s strange that that’s not brought up earlier as a theme, when he was secretly getting kissed by the trumpeter and then happily trysting with John.

“Living a double life”, though, is a huge theme in another way: it’s the contrast between Elton’s happy, extravagant show life and Reginald Dwight, a lonely little boy trapped inside a miserable man trapped inside a mansion that provides so much of the pathos in the “adult” years of the film. None of the fame and fortune have brought him love, only adoration. If that’s a familiar thesis in biopics about famous people, it still works for me here because Taron Egerton’s performance is just SO GOOD. He gives it his all in every moment, not just the big singing and dancing ones. Behind all the little drug-induced twitches and grimaces of self-loathing (but also just the tiiiny bit of ego all great performers have), you can see the sweet kid who deserved better, who just wants to “go home”, if only he could find it.

I think the fundamental reason behind my “I wish there were more stuff” is the fact the movie structures itself after a musical, and for musicals the non-singing parts are more about how you get from one big singing part to the other. That’s a hard space for a biopic, especially one that gets into pretty serious territory and has years to cover; song and dance end up competing with time for character work. But the director does something I think is really clever, though, and that’s to use those musical sequences as part of the story — the moments flow into the song, and the song crystallizes the moment/theme/feeling in this natural way. They’re not an excuse to check off Elton John’s biggest hits, but rather fulfill a cinematic purpose in capturing an emotional rather than factual truth.

Not just the songs, but there are a number of these deft little scenes I really liked because they make the “point” in a single shot/cut/image, with very little dialogue. Some examples:

- The first time Elton and Bernie meet, Bernie mentions the country song Elton’s prospective manager had just disparaged and Elton kinda smirks, then in the next beat realizes that maybe that was kinda asshole, and he clumsily hums out the first verse, and Bernie perks up and follows with the next, and soon they’re both banging on the diner table and singing it together with huge grins. What’s especially great about this scene is that you can’t figure out if they’re doing this in “reality” and everyone thinks they’re crazy, or if this is one of those musical fantasy sequences. The point is that the distinction between them doesn’t matter, because that sequence is about the feeling of the moment, and at that moment they feel connected. Love at first sight.

- The scene where many years later Elton, now successful and dare-we-say perhaps even hopeful that his father might accept him now, finds the man with his new house and family — and after the expected awkward intro it seems to be going ok, his father’s invited him to come sit and chat inside. So there’s his father sitting on the couch… and then this pair of boys, his new sons, comes over and he just wraps his arm around them so easily, and your gut sinks instantly, before it even cuts to Elton, whose face has shattered all at once

- Nice studio girl, lifting her voice with his in his darkest moment -> cut to wedding -> cut to morning at the house, each opening their own door and greeting each other with an excruciating level of politeness. Says it all in three scenes.

- The levitation during his performance at The Troubadour. PERFECT. You can say “this and this happened”, “and then he gave an amazing performance”, but that’s not as powerful as showing the feeling Elton John must’ve felt during that performance: a lonely little boy turned struggling young man who felt, for just a moment, that he could fly.

- Another musical sequence - Elton’s suicide attempt, where they carry him onto the ambulance and he keeps batting away the oxygen mask to keep singing. It works on so many levels because he’s just a kid who wants to sing, he’s the star who was born to sing, but he’s also a man who doesn’t want to live.

#rocketman #rocketman review #taron egerton #richard madden

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pinkcupboardwitch · 5 years ago

Note

Mind control, "always holding a torch for you"-type love, long-term captivity, brainwashing, andddd heroic sacrifice.

Of all the possible tropes, I’m flattered you chose to interrogate me about these

Mind control

I gravitate to these characters so much it’s not even funny. It’s the best kind of power fantasy, not to mention the most sensible: why wouldn’t you end a fight before it’s even started? The fact that it’s so often keyed as solely the provenance of the villains makes it even better. Did the mind control kink come first or the villain kink? is the new chicken and egg question.

I especially like it when associated with underdog characters: either those of less social clout and/or people who are physically weaker, to turn them from a complete nonentity into the most terrifying piece on the board. A way to not only even the playing field, but demolish it altogether.

“always holding a torch for you"-type love

Romance is pretty uninteresting to me as a topic, so there isn’t really much a canon ship can pull out to make me ooh and aah. I don’t hate it though.

The idea of it anyway. So often in media it’s portrayed as this consuming, yearning thing that dominates the whole character and that’s like. Come on now. You’ve got a whole world to meddle with and you’re worried about pining.

Edited: the implied bit in ACOL where Holland holds a torch for Talya is both interesting about him as a character and makes me crack up. It’s very telling that a thirty-seven-year-old man counts a flame he had at eighteen as his one true love and suggests a lot (he’s a romantic, he’s sentimental, he’s deeply lonely and starved for love), but also, A THIRTY-SEVEN-YEAR-OLD COUNTS A FLAME AT EIGHTEEN HIS ONE TRUE LOVE. It’s ludicrous. Especially when she is literally never mentioned once in the seven (?) hundred odd pages that came before. Gotta try harder than that Schwab.

This also suggests Holland does not consider drawing a knife on him while he sleeps a dealbreaker. Which. I like. For reasons.

Long-term captivity

If it’s done well, yes. Which rules out 90% of mainstream media: their way of handling captivity on the page/screen is either gross (meh) or boring (indefensible). One example I do like is Elektra King and Renard in The World Is Not Enough, and it’s probably not a coincidence that it deals entirely with the aftermath of their time together. The scene where she takes off her earring? Delightful.

In fic though, where you can dig into the emotions and the complexity and the gutwrenching horror of it? Fuck yes. There’s an astounding Bane/John Blake fic for this, Stiffen the Sinews, that I’m still not over. I didn’t even watch the movie but damn.

Brainwashing

Rather not if the character is being brainwashed, Yes/Fuck yes if the character is doing the brainwashing.

Rather not: it’s either glossed over if done wrong or else profoundly unnerving to me if the narrative doesn’t flinch. I prefer stories where the character knows they’re doing something wrong and does it anyway, out of love or weariness or whatever, fully aware of the wrongness all the time. Espionage fiction is a huge thing for me as a result of this.

Yes/fuck-yes: it’s mind control, but in the real world. That level of control and delicacy is very alluring.

Heroic sacrifice

In theory yes. In practice so much of mainstream media uses it as a gotcha for instant emotions that I’m wary now.

Media: heroic sacrifice! Look! Bittersweet! Turn on the waterworks!

Me: bold of you to assume I have emotions

(I was not a fan of the Kylo Ren ending, even though he was my favorite character and I fully expected him to die)

I don’t know. Heroic sacrifice when done well can be catharsis in the purest sense, but it’s so rarely done well.

And you of course know my thoughts on Holland’s alleged sacrifice, but to sum up again: IT WAS NOT A SACRIFICE because 1) he had no way of knowing his death would have that effect or any kind of effect on the world and 2) the narrative spent three books establishing he wanted to die. Getting exactly what your exhausted, traumatized, despairing psyche wants at the end of the series is not a sacrifice. It’s a lot of things, most of them shitty, but not a sacrifice.

(I would argue losing his magic isn’t a sacrifice either for him)

#karlacton #pink answers

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ibitchytimemachine · 6 years ago

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VBO Mini Bang Round-Up

I know that I had mini reviews of the art for the @vegebulocracy Big Bang this past winter, but there are SO MANY stories and pieces of artwork for the mini that I just can’t (minus one). What I will say is that the talent and artwork that was presented in this event was just amazing, and I am not sure I could pick a favorite nearly as easily as I did for the Big Bang! One thing that did bother me with SEVERAL of the stories, it the fact that they are broken into multiple parts. Not so much that they are broken up, but the fact that they are broken up in a way that doesn’t have a satisfying close to one part of the story. If you are gonna write for an event like this I think it is SUPER important to bring your story to some sort of conclusion, even if you don’t finish the story, just so people feel satisfied at the end. That is really one of my biggest criticisms of several of the works here. So with that out of the way, lets jump into the stories! There are probably spoilers below, so beware! (I’ll try to keep them light)

Dive

@rockykelboa

Rating: Explicit

Word Count: 13,448

This is a fun little one shot written as though you are watching a movie. I really got a tarantino-esque feel reading this story. The dialogue had that irreverent dark humor feel to it. Nothing was sacred and everything a joke. I really love the way characters interact with each other. The smutty sex scene is steamy and goddamn Bulma is bad…. Also something about the thought of Raditz listening in on them does things to me. I love the twist, and she sets it up so nicely in the story. If you are not thinking about the end game, you probably won’t even see it coming, but little things Bulma does and says throughout the story really set up the twist ending nicely. I feel like the delivery is a bit forced and feels a little out of place. But overall the story is very well written and I am honestly not sure I can give any reasons for anyone to not read it.

Blinded

@scarletraven1001

Rating: Teen

Word Count: 14,765

What happens when blind dates go wrong, and then oh-so right? And then maybe wrong again? This story is funny, sweet, and over all a wild ride. I have said it probably a million times, but I will say it again, I love how she incorporates nods to canon into her fics. And there are so many “easter eggs” in this story. I like how it doesn’t take itself seriously. It’s a dry humor but completely not dark. And Damn does this fic feel like the slowest burn ever. The whole first four chapters happen in one night but never have I needed them to get to the point more than reading this story. She builds the tension in the date night really nicely. Then you get the raging of the end of chapter 4. I know when I read it all I wanted to do was slam my fists against the keyboard. Another A+ story definitely worth your time reading.

Life at the Edge of a Blade

@bearstarseraphffxi

Rating: General Audiences

Word Count: 20,459

Reading this was like reading the weirdest filler episode ever. The plot is odd but shockingly believable in the DragonBall Verse. I mean if they had episodes dedicated to baseball between universes, I am sure they would get Vegeta figure skating in direct competition with Yamcha. Bear’s characterizations were done quite well. I really can’t think of a character that the author didn’t peg. There were some funny moments too, I remember at least once laughing out loud. There is some fluff between V/B but no romance really. It is a very dry piece, and a lot of the writing feels very technical, but if you like really canon characterizations and if you are interested in reading a piece that could really be a several episode filler for the three year gap, you may enjoy this one.

Within

Blacksheep115

Rating: Teen

Word Count: 11,020

Gosh, what an interesting story! In general I am in love with the interesting ideas blacksheep has in her stories. This is a story that could very well fit in the canon, it occurs during the three year gap and it really doesn’t follow a story about them as a couple, although there are some QUITE STEAMY moments in it (but no sex).Speaking of...I love the idea of Vegeta using his sexual energy against Bulma. You read so many fics of Bulma going after Vegeta and really amping up the sex appeal to get him to do things, but the idea of him pouring water all over himself ‘cause he knows she is watching him and later pinning her and using her attraction for him against her… just A+ and so in character for him. I don’t wanna give away the twist ending cause GODDAMN it is so good and unexpected… and just wow.. You really gotta read it.

#badman

@1vulgarwoman

Rating: Explicit

Word Count: 17,319

So I love everything I have ever read from 1vulgarwoman, she writes such fun pieces and I came into this one with images of Heavy Lifting and Fundamentals of Chemistry in mind. I loved the way the plot and the romantic subplot were equally interesting. The world was rich and vibrant, humor was on point. The handling of character relationships and interactions in this fic were done fantastically well. And then the smut scenes. I think anyone who has ever read any of her fics know that when it’s time for the smut, you need to prepare yo’ body cause its about to get real. She does not disappoint, with a STEAMY sexting/Facetime scene and then the last half of the last chapter is just splooshworthy. I will say that talking only about the smut really downplays the greatness of the rest of this fic though, and I would 1,000 percent recc this to anyone.

Z-Men

Super_Saiyanerd

Rating: Teen

Word Count: 8,290

I have some pretty big issues with this piece. As my faithful readers are probably aware, I really have a hard time with crossovers, because so often it is two things I love mashed together, and the spark that makes the things great is lost. That is one of the problems with this piece. It didn’t feel like either a Dragon Ball AU or an X-Men AU. But the biggest issue I have with this piece is scope and flow. This author is trying to tackle too much in the time and word limit provided. We are working on a love story between Vegeta and Bulma, but also the whole of the Dark Phoenix saga. It’s just too broad and because of that the flow is off. There are huge time jumps that don’t make sense, and while I get that we are seeing little vignettes of the story, it is confusing. I would have liked to nix the Phoenix storyline and go with OC X-Men, that are based off of the traits of the Dragon Ball characters. Bulma would make a great Beast for example. But then explore the characters relationships through a much simpler plot than anything Phoenix related.

War Thunder

@jonahwhalesw1

Rating: Explicit

Word Count:24,994

So this is a WWII all human AU. There are some really nice things going on set up for the plot, however it just never kicks in. We are 25,000 words into the story and most of the writing has been about sexual tension between Bulma and Vegeta. Now don’t get me wrong, I like a build up of sexual tension, it really makes the pay off of when they finally kiss or fuck or whatever they are gonna do so much better. I wish that maybe BSV had slowed down the romantic plot of this fic a bit and interspersed more of the other parts of the plot. Or maybe written some interactions that built up their attraction in a nonsexual way. It feels very Porn without Plot to me right now, and it is because the romantic plot is so in your face. I really want to know more about what the war is doing to the community. What kinds of changes in our history does having the Colds on planet and fighting with Nazis? Is there gonna be an extermination of Saiyans? I feel like with some of those war time plot bunnies thrown into the mix the story would feel more vibrant and alive, cause right now it is PWP, but also without porn at this point in the story. It was a fun read, it just left me wanting more.

Elusion

@piccoloisgreen

Rating: Explicit

Word Count: 19,550

So, I fucking loved this story. It shared shocking similarities to some of the ideas and themes in my story, which I loved reading about. I love the Bulma in captivity trope apparently. I really dont want to give too much away, but I love the beginning of the fic, this idea that they are instantly attracted to each other and there is no real dancing around the subject and they are just diving right into it is nice. I am not sure if it is because of the word count restrictions, or time limit or what, but I felt like the jump from the escape to the first death was a shocking break. I would have liked to see more of what was happening during those lost years. I appreciate the surprise of the killer, and their abilities, and I feel like it wrapped up nicely, but the beginning of the last chapter felt so rushed and leaves me wanting more information about thought processes and feelings. Overall, a fantastic fic, and worth your time to read.

Healing

@starrcrossrose

Rating: Mature

Word Count:

So when I first read this fic I was amazed at how well Starcross emoted. So many of the paragraphs just felt like being right inside Vegeta’s head as he was descending in this spiral of self loathing. The formatting choices were a nice touch, to show how he is quarreling within himself. I like the idea also of Bulma NOT being so happy go lucky and needing this kind of comfort. She is for all intents and purposes in canon alone so much. Yamcha comes around sure, but her friends are really never around. So she is alone a lot and life gets sad when you are alone. I think she caught this feeling and nuance really well. I really enjoy this story, it follows the timeline of canon pretty well, so if you aren’t super into AUs this is a good choice for you. It is pretty angsty, and with a title like Healing, you probably think it will have a happy ending, but if you think this has a happy ending, you haven’t been paying attention.

A Mermaid’s Tale

DBZVB1991

Rating: Mature

Word Count: 15,740

This is a Book One situation here. And the entirety of this submission is just setting up the intrigue of the story. I had mentioned in the Big Bang that it makes me nervous when I see crossovers between two things I love because so often it is just a mish mash of the flavors of two worlds that don’t go together. I do think that DBZVB1991 worked hard on worldbuilding a believable crossover world between the two. It is way more Dragon Ball than Little Mermaid and I am OK with that honestly. For most of the fic they follow The Little Mermaid storyline pretty closely. There are one or two plot bunnies that are different than TLM, but mostly it follows the plot pretty closely. I like where I think it may be going, but really it is so hard to review this properly because the story just hasn’t even really started yet. This is a story that is worth a read, but feels unsatisfying mostly because of how unfinished it is at the moment.

Beatae Memoriae

@ambrosiaswhispers

Rating: Explicit

Word Count: 15, 724

This is absolutely an amazing fic. The story follows Vegeta through losing his memory, and it just freaking brings the feels. Tashana really knows how to craft an emotionally charged story, and she brings bits of the canon back in a very organic way that doesn’t drag the piece down. There is a squidgeta cameo in the piece, so if you are into my wiggly boi, you are in luck! The pacing of this story is on point, she nails both sweet family man Vegeta AND feral angry Vegeta perfectly. I wanted more of the interactions of Gohan and Goten with Bra, but dammit I am so glad she didn’t give it to me, cause I feel like it would have damaged the pacing. This story was crafted so beautifully, and it is one that gives you this little insight into their lives and leaves you wanting more - but doesn’t drag on so you get tired of reading. Fantastically done, you really should go read it cause it is amazing.

Captive

@janxangel

Rating: Teen

Word Count: 24,979

SO one thing that I noticed while reading this fic is how BAD ASS the women are in the story. Like good grief, Chi Chi and Launch were just KILLER (Bulma too, but we are used to seeing her be cool)I like that this is a story with no romantic plotline. Like they are working together not because they wanna bone, but because it is the most strategic thing to do. And Janx writes strategy really well. I felt like the fight scenes drug on a little long, and I would have liked them to be shorter and interlaced with more emotion, instead of blow by blow. Plus I think with the word limitations they could have gotten more bang for their buck with some better wrap up. I wish that things had turned out a little differently, the events on Namek were so similar to canon, and I wonder what could have happened differently than canon with this AU. Overall a fun and easy read, if not a little dry - definitely something that I would recommend to someone who is not interested in a romantic plotline.

Revel (In Our Time)

@jadefyre

Rating: Explicit

Word Count:19,979

Ok so this has a full story arc and whoa buddy is it a doozy. Its intriguing, cause there is this wonderful mishmash of all these fantastic post-apocalyptic cyber-punky worlds and it just works really really well together. From the Big Brother aspect of 1984 to the Ghost in the Machine philosophy that spawned so much, it captures that feel of the grey maddening world. I loved and hated the first chapter, cause I thought the whole story would be written this way (which would make a really cool story BTW, just really hard to follow cause you have to really pay attention). I love the world, I love the plot and intrigue and how DARK it is, I love the mini romance, but I REALLY love the twist. I mean you kinda see it coming, but hope it doesn’t happen, but it is perfect cause it closes the story well, and then leaves you NEEDING the next part of the series. Really fantastic job, yall should read this one definitely.

Legends

LeonaHart

Rating:mature

Word Count: 6,172

When the outlines were dropped this was one that i was dying to read. I am super intrigued by this idea of the Saiyan creation myth. I am curious how the Vegeta destruction God and Bulma creation Goddess could come around later as some sort of destined lovers trope. I really liked the nods to cannon (omg buu being the God of Destructions bubblegum is awesome) i wish it was finished, so i have a hard time really commenting much more on it, but i definitely hope it gets finished cause it has such an interesting premise. I also have to say that while I like the story, the writing feels very proper and antiquated. Now it may very well be that this is a style choice because of the story, but I struggled with it a little.

The Dark Prince

EmbarrassedButKinky (I tried to @superbandanna but Tumblr sucks)

Rating: Explicit

Word Count: 18,241

The very first chapter of Dark Prince had me so nostalgic for Obsidian. The demon pact to save the company(world), the ability for Bulma to be taken care of “magically”. Then it splintered into this interesting mix of like… underworld mafia hitmen meets Death Note. I think that EBK is on point with all her references, something she does really well in her fics. I know a lot of people really liked this fic, but it just fell flat for me. Don’t get me wrong, it had some wonderful moments, and wonderfully smutty! It just felt so rushed. It was too insta-love for me, and I wished the development of the Ray betrayal scene, subsequent rescue and the aftermath all could have been developed and drawn out more. I liked this story, but coming from the writer of Stages of a Claim (my absolute favorite of hers, fight me) I just expected this to be a little more developed and polished.

Aspara, Queen of Sadala

@lisac1965-blog

Rating: Mature

Word Count:15,922

I liked this one. It is based off the book of Esther and I wish she would have adapted the story a little more to fit the characters better. Bulma seemed out of character a bit and I imagine her relying more on her own brains and technology to bring people through rough times than a God. I do think this book of the Bible works well as a VegeBul adaptation though, and except for a few things I really think lisa did a good job with it. The flow was mostly really good, I feel like she was battling word count, or maybe time limits cause some things felt so rushed. While I understand she is remaining faithful to the source, I wish some more creative liberties were taken. For example, I would either omit the Zarbon/Dodoria plot line and focus on Ray being the big baddie, he seems to just come out of nowhere as the bad guy and I wish there had been more foreshadowing of him being a douche than just “There are a lot of Saiyans who want to exterminate humans” The story however was very fun to read. Descriptors were vivid and made the world feel more real. The relationship felt forced, but honest - true, cause hell it was forced. The Epilogue of sorts was nice cause you got to see how their relationship developed and grew. Overall a quick, simple read that was fun!

Sanguinary

@ibitchytimemachine

Rating:Explicit

Word Count: 21,309

So this is my piece for the Mini Bang, and since I am biased, I will just tell you a little about the piece. It was inspired by RPG’s like Dungeons and Dragons (and you nerds out there may catch some of the DnD easter eggs I put in there) and epic fantasy. My main thought was, what if Bulma and Vegeta’s roles were completely reversed? So we tell the story of their lives with the idea that Bulma was in the PTO for years, while Vegeta has been living peacefully on his home planet. Not everything is OK on Vegeta-sei though, so trouble is brewing. As with a role reversal story, this is told through the eyes of the opposite person, AKA Vegeta. This is the first part in a trilogy that I have named Surgere et Cadere, and the next installment will be called Imperium. This first part follows us through the story of Vegeta and Bulma’s meeting, and the consequences of her being on Vegeta-sei. I really hope you enjoy my submission!

So I know that I had a top three for the Big Bang, but there are SO MANY fics for the Mini, I am gonna do a top five!! It was really hard to pick these, cause there are some really fantastic stories for this event!! In no particular order, the pieces that I think are the best 5 are: Beatae Memoriae, by @ambrosiaswhispers, Elusion by @piccoloisgreen, Revel (In Our Time) by @jadefyre, #badman by @1vulgarwoman and Sanguinary by ME ;P!

#BTM Fic Review #Vegebulocracy #vbo mini bang 2019 #fanfiction #fan fiction review #fan fiction recs

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dmydfilmreviews · 5 years ago

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MARVEL MOMENTS

So what they really did, as well as making a good load of films, was actually make a vast tapestry of genius interwoven moments like flicking through a big comic book! Ten years! Twenty something movies! A load of rubbish images at the end of the list because the last three films weren’t officially out on Blu Ray! Avengers assssssssssssssssssssssssssssssss

Tony Builds the First Suit

Really it was a stroke of brilliance to start the whole shebang with Iron Man the self-made superhero. The backbone of the whole universe is that of Tony making himself and that all kicks off here, in a sequence that’s hugely thematically satisfying given what comes later. There’s also the fact that back in the day all this construction stuff was just fucking cool, a Nolan-lite bedrock for a blend of realism and fantasy that comic-book cinema had never quite nailed before. Seeing Tony improve his tech step-by-step is a quiet pleasure of these movies, the suits getting more and more outlandish but staying absolutely believable, just like the films, and that all kicks off here with one guy and a non-magical hammer.

Pepper Pulls Out Tony’s Heart

I noted these all down before Endgame, honestly. Sob. It was always his story really. The best example of the foundational relationship of the MCU: They finish each other’s sentences!

‘Truth is… I am Iron Man.’

They knew what they’d got from the very first. This ballsy coda sets the tone for the whole MCU, one of backed-up swagger, a willingness to fuck with the source material in the name of story and the general feeling that Robert Downey Jr. was God. All in like two hours. That they flipped the egotistically iconic line into an era-defining declaration of responsibility, growth and heroism a decade later is nothing short of remarkable.

Hulk and Betty in the Rain

It’s uh… it’s a nice comic-book visual of a classic comic book romance, I guess? Look, Hulk came a long way later, but his forgotten love for Betty was the closest they ever came to the source material outside of the Hulk generally smashing and being awesome. It was sweet!

The Bit Where Hulk Suplexes a Giant Zombie Wolf on the Rainbow Bridge of Asgard

wait was this in the Incredible Hulk

I’ve Successfully Privatised World Peace!’ ‘Fuck you, Mr Stark.’

They got Garry Shandling in these movies!

The Suitcase Suit

Now that is a cool-ass adaptation.

Black Widow Kicks Asses

Yeah, after a whole movie of being reductive eye-candy she was still reductive eye-candy here. But the scene as a whole’s basically a perfect realisation of her moves in the comics, and showed Marvel were capable of doing someone who wasn’t Iron Man. Then they did EVERYYYYOONNNNNNEEE bonus points for Happy taking out that one guy and yelling ‘I got him!’

Tony and Rhodey in the Japanese Gardens

Look, they just look cool, OK? No one said this was going to be deep.

Tony and Pepper as the Stark Expo Explodes

They haven’t managed a lot of great romance, but this one hella works: Tony’s overblown mess of a movie expo exploding behind the true love of his life is a visual so great that Shane Black nicked it wholesale for the climax of Iron Man Three: Christmas in Croydon.

The Frost Giant Throwdown

Wait, what’s happening? I thought these were the movies where Jeff Bridges rode a Segway? Are we in SPAAAAACCCCCEEEE?

Thor Can’t Pull It Off

Out of the big three Thor’s arc of mythology to humanity might be the deepest and most satisfying of all. That starts here with his tearful inability to be worthy of his father, his world and, crucially, himself, leading directly into the first great Thor/Loki exchange, then a whole host of movies that eventually put him through the emotional wringer to self-acceptance. Hopefully?

Thor and Loki Battle on the Rainbow Bridge

Yeah, it looks kind of goofy, but this is pure sixties Kirby, shorn of the irony the series would develop later. Beautiful.

Erskine Points To Cap’s Heart

That’s it. That’s the character.

The Star Spangled Man!

Who’ll hang a noose on the goose-stepping goons from Berliiiin?

That Whole War Montage That Ends With Bucky Falling From The Train

Just smash after smash after smash of wartime Cap goodness that we’d never see again, ending with the ‘death’ that’d define the rest of his story. Steve lost as much as Thanos in his quest for peace but, y’know, he wasn’t a total fucking intergalactic dick about it.

‘I gotta put her in the water!’

Man alive he waited for that date... whether you think the ending of Endgame ruins the moment somewhat (it doesn’t. sort of), this was still the biggest heart-tugger in the MCU at that point, and defined the characters of Cap and Peggy for years to come. Watch Agent Carter! Just bloody watch it!

'Lemme Put You On Hold’

The stand out moment of The Avengers is basically all of it, but let’s start with the moment Black Widow finally becomes a character, a sequence of broad-strokes skill from Scarlett Johansson and Joss Whedon that begged for a movie she finally got way too long later. Bonus points for possibly the greatest Coulson reaction shot in a history of great reaction shots.

The Helicarrier Ascends

OK, shit – this is series is big now.

The Whole of Stuttgart

Whedon’s love of classical posh entertainment is seen in Angel’s superior ballet episode and his fondness for Sondheim, and he even gets a bit of the ol’ jewellery rattling in here in a perfectly pitched Loki-loving sequence that culminates in some fantastic bits for Cap before Iron Man AC/DC’s all over the place. This is where the comic book stuff really kicks off.

‘YOU COME HOME!’

This Hemsworth’s fella’s really got something...

Forest Bro Down

Oh my God, oh my God, oh my God. The first real Avengers mash-up is just wonderful. This is where the wish-fulfilment really begins, in a quiet clearing, where three superheroes nearly beat the shit out of each other in classic comic-book style. The Avengers assembled.

The Whole Fuckin’ Helicarrier Sequence

An absolute masterpiece of blockbuster juggling that had never been done before, this could be the third act of any other film. Over what plays out weirdly like a piece of theatre we get terrifying Hulks, mewling quims and awesome heroics, all expertly laced with wonderful character mash-ups and action we’d never seen before. Then Coulson dies. This is what Joss Whedon does.

‘There was an idea…’

Fuck shit yeah there was, and it made for a hell of an Infinity War trailer six years later.

ALL OF NEW YORK

Yep, all of it, but if we’re being picky it’s Hulk v Loki for the comedy side, the tracking shot for the action. As a sequence it’s never been bettered in the MCU, even in the open-mouthed joy-gush of Infinity War and Endgame. FIGHT ME

Go Fish

Iron Man Three is a wonderful movie that works best as the sum of its parts, but there’s one bit that’s up there with the pantheon: the sky-diving rescue above the bay is such a joyous subversion of the usual third-act super-fisticuffs that it’s like something out of a 70’s Superman movie, only with a hilarious capper at the end where Iron Man explodes under a truck. Beep beep!

Running the Lemurian Star

The Russo Brother’s action calling-card for their incredible MCU run, this sets up their vision of Cap’s super-subtle-super-serum-super-moves. From the off it’s a game changer in the way action’s shot across the MCU, clean-cut raid-alikes becoming the order of the day. AND THEN HE FIGHTS BATROC ZE LEAPER

Elevator Throwdown

Yeah, yeah, we all know the actual bit in the elevator that’s spoofed to tremendous effect come Endgame, but remember this sequence ends with Cap TAKING DOWN A FUCKING QUINJET SINGLE-HANDED. The look on his face at the end says it all.

The Winter Soldier Street Fight

HE FLICKS A KNIFE MID PUNCH

Come and Get Your Love

We’d seen a lot of cool shit from the MCU by this point, but this was something else again. It’s funny! It’s funny as fuck! What the fuck is this movie? And again, they know their own best bits: the return to this in Endgame is top drawer. What a moron.

The Kyln Sequence

This whole breakout is the Guardians at their very best; squabbling in space, reluctant teamwork, loads of cool shit and leg theft. The bit where it all goes anti-grav is a treat.

WE ARE GROOT

That’s it. That’s the movie.

…Stark…

It’s a shame they didn’t delve deeper into Scarlet Witch’s hatred for the man who murdered her parents, but her barely contained rage is the keystone for Age of Ultron: deeper, nastier, more questioning of it’s heroes and their heroism. This one they brought on all by themselves.

Sun’s Gettin’ Real Low

Yeah, maybe it’s for the best the slightly bumbled Hulktasha relationship was forgotten about, but this moment was pivotal in the character development of both. Beautifully shot, and leads to a primo Ragnarok gag.

Lift That Hammer

You genuinely could have made a whole movie of these characters hanging out at an open bar. The Stan cameo’s great, the War Machine story bit gets an Endgame alien planet boost much later, but it’s the drunken worthiness competition that’s the real highlight, a seemingly fun throwaway that actually almost single-handedly sets up the whole character of Vision and the most fist-pumping moment of Endgame, a movie nearly entirely composed of fist-pumping moments.

Hulk vs Hulkbuster

Pure comic-book wish fulfilment again, and how. From Hulk spitting out a tooth to Tony desperately pleading ‘go to sleep go to sleep go to sleep’, this mad clash of science pals knocks every Transformers movie straight through a freshly-bought-building. Veronica!

Well Done.

Alright, Vision’s no one’s favourite Avenger, but he’s one who’s the satisfying product of several movie plots, one beloved supporting AI and the combined brains, magic and cool red capes of his team. Whedon performs his own mad-skillz level script trick to make us accept this fucking weirdo, first by giving him Jarvis’ voice, then having him stare out at a world and see his reflection in it, then having him lift an unliftable character-establishment hammer. None of this could be done by any other film series.

The Geometry of Belief

Ultron’s climactic church-a-maggedon is short but perfect, a swirling mass of splash-page insanity that culminates in a glorious trinity of Vision, Iron Man and Thor blasting the shit out of their mad son like a magic triangle. The Avengers at their peak.

Vision and Ultron Have a Chat

Whedon pops out these gems of detached humanism from time to time, and his sundown final exchange between The Avenger’s success and failure is a doozy. The most poetic little scene in the whole MCU, voiced by two creatures who look like nightmarish dildos. ‘A thing isn’t beautiful because it lasts’ is an all-timer.

Big Bathtub

Ant Man’s bedrock might be its family values, but it’s the shrinking that makes it stand out. The first time Scott drops into tiny-town is a Pixar-esque fun-burst akin to Stephen Strange’s nutso jump into infinity later, with deadly bath taps, thunderclap vacuum cleaners and mid-day apartment raves (?) all bringing a new level of threat and adventure to a series already teeming with variety. They should carry these ones on foreverrrrr

Cassie’s Room

There’s something about this scene that sums up Scott’s whole character and hopefully sets up his daughter for future ant shenanigans: he is (was) unique as a hero with a family, and no matter how many Pym Particles he stuffs into his suit he’s always looked like a giant to his daughter. Plus, y’know, Thomas the Tank Engine.

Some Guy Crashes a Car at Night

The catalyst for the great middle schism. Civil War is a masterclass of twisting, gut-churning reveals, and this is the quiet moment that starts it all.

QUEENS

The perfect Marvel character, introduced into the perfect realisation of the Marvel Universe, perfectly.

Running Into Each Other At The Airport

LITTLE MAN IS BIG NOW I’M CLINT WE HAVEN’T MET YET I DON’T CARE WHERE YOU FROM KID QUEENS BROOKLYN I’M YOUR CONSCIENCE WE HAVEN’T SPOKEN IN A WHILE YOU GUYS KNOW THAT OLD MOVIE EMPIRE STRIKES BACK HOW OLD IS THIS KID ETC ETC OH MY GOD MY BRAIN HAS EXPLODED

Cap vs Iron Man

‘I don’t care. He killed my mom.’

The Big Brain Burst

They keep doing bits to expand themselves, and this is one of the best, with the most potential for the future. Fleeting, but dazzling.

New York Mirror Fest

If the next Strange movies delve into this deranged nonsense then they could end up the greatest of all of them. This is the tip of the iceberg, and it’s still unlike anything else being done in mainstream cinema.

Mr Blue Sky

In a movie that frequently reaches big and misses, at least it hits the spot at the beginning. This glorious celebration of family, space-craziness and genre subversion is everything Guardians does best. The Gamora / Groot bit is adorable.

Peter’s Civil War Adventure

The perfect tone-setter for the story’s most-average joe, this ground-level view of the universe’s biggest clash acts as a whippet quick intro to Peter Parker’s world in the big bad MCU. It’s always a thrill to see him where he belongs.

The Homage to Getting Buried Under a Tonne of Crap

Homecoming’s riffs on classic Spidey-lore are generally pretty subtle, but when it comes time to show what Peter’s really made of Watts rips directly from the best, first with the iconic Parker/Spidey face split and then with him holding up a whole fucking building like he’s nerd Hulk or something. The added ‘come on Spider-Mans’ are the adorable icing on the homage-o-cake.

Anytime That Immigrant Song Plays

Another!

Thor vs Hulk

Yeah, it’s not perfect and it’s a little CGIey. But it’s Thor fighting the Hulk in a fucking galactic gladiator arena place run by Jeff Goldblum and it smashes and it’s full of fun callbacks to previous movies. Yes! That’s what it feels like!

Thor and Loki Do Get Help

The perfect encapsulation of Waititi’s irreverent-but-with-tonnes-of-heart freshgasm on the story of Thor, this bit of hilarious dumb shit acts as amusing action beat and neat character resolution all in one. They’re friends again! They’re brothers! Thor throws him around like a rolled up carpet!

What Are You The God of Again?

Oh right, so he’s the best Avenger now.

Killmonger in the Afterlife

The bloody heart of the most emotional Marvel movie, when Erik Killmonger enters the Wakandan afterlife he finds himself in his own tiny Compton apartment, exiled with his father forever with the plains of eternity just out of reach beyond the window. Heartbreaking, and brilliant.

Thanos Arrives

The opening of Infinity War is another example of their absolute mastery of tone; after the megaton funblast of Ragnarok we’re thrown into the end of that movie being ripped apart, before Thanos appears, dragging a battered Thor into frame, beats seven shades of green shit out the Hulk and murders two beloved supporting characters, all without breaking a sweat. If you weren’t excited before you were now.

New York Tussle

The opening New York section of Infinity War is all very clever, acting as the only grounding Earthy moment in what’s a pretty out-there narrative in terms of existential stakes. You get Tony and Wong helping people off the sidewalk and Strange winking after halting the space-death-machine, but from there on out it’s full-bore comic-book smackdown fun, clashing characters who’ve never met and providing top-drawer banter about wizards and children’s parties. This is the page, up there on screen.

BRING ME THANOS!

The Thanos Fight

Jesus fucking Christ. Up there with the end of Avengers and the Civil War airport battle, this is a perfect realisation of superhero action, with a bigger dose of high-level insanity courtesy of the Infinity Stones and Doctor Strange. Sublimely realised, incredibly satisfying, with real weight and thought put into the spectacle, it’s also fantastic in the narrative of the film, the culmination of its themes of desperation and inevitability. The first time you saw them try to rip off the gauntlet was unbearable.

The Snap

Well, yeah. You’ll never get back the first time you saw this. And imagine seeing it as a fucking kid.#

Just a Girl

Sure the big level-up CGI fest at the end is good, but it’s the comedy smackdown on the Kree ship that’s the most satisfying part of Captain Marvel, the shit-eating joy on Carol’s face as she discovers she’s way more powerful than the assholes who’ve been holding her back. It’s corny sure, but it’s hella fun.

Thor Goes For The Head

Endgame is a shocking, disorientating blur to begin with, all the characters you loved acting in strange, desperate ways in a super-hero version of post-traumatic stress disorder. Tony’s meltdown is bad enough, but it’s when Thor just straight up fucking murders Thanos that you know this is going to get dark and serious. It doesn’t, it remembers it’s a Marvel movie, but the shot of him walking out into the blurred alien sun, cape aflutter, is a fitting goodbye to a more innocent time of heroics.

Ant Man and Cassie

A moment that could be worthy of a whole movie itself, a desperate Scott Lang meeting his five-years-older daughter gives a joke character a serious moment in the same way Infinity War did for Guardians. It’s very odd, very sweet and very Marvel.

Love You 3000

Morgan H. Stark is almost a little too on the nose as a wrap-up for Tony, but hell, she’s still sweet as all hell and a perfect capper to his story of fatherhood and responsibility. It’s a mark of the work they’ve put in that we’ll almost immediately accept the tired trope of kid-taking-over-mantle when she inevitably puts on the armour in a few years.

Steve and Peggy / Tony and Howard

This is the bit in Endgame where I finally started tearing up: a lot of it is too-neat fan-service, but fuck it, they’ve put in so much effort that it works. This is the scene where you realise both of these long arcs are coming to an end, the resolution of Steve quietly making his decision to go back to Peggy and Tony getting the closer of discussing parenthood with his unknowing father. It’s corny sure, but so are comic books, and setting the whole bit at the height of seventies Marvel Comics mania is a loving nod to the imaginations that made all these crazy possibilities possible.

Widow and Hawkeye

There’s a theme here. All of these moments are kind of cheesy and rely heavily on callbacks to previous bits… but at the moment it doesn’t matter because ENDGAME WOW. Maybe we’ll look back at it as a corny misstep, but for the moment, Clint and Tasha having one last, ludicrously overblown tussle for who gets to live is a sweet capper that never goes as deep as the others because they’re supporting characters. It still stings, and it’s a neat mirror to Gamora and Thanos in Infinity War. The red’s gone from her ledger! It’s on the rocks! Urrrgh

Nebula Kills Herself

Again, they’re so good that they can spend a big chunk of time in what’s ostensibly the last big movie for their most beloved characters on making a lesser character beloved. Endgame spotlights Nebula even more than Infinity War did Gamora, using her self-hatred and fear of her father for compelling, wibbly-wobbly plot and character beats. The resolution of her story and her newfound place with her team should make for a whole different Guardians before we even get to Fortnite-Thor joining up.

Cap Wields The Hammer

‘I KNEW IT!’

Thanos’ Army

One last escalation of scale. When Thanos’ army finally arrives it’s like something out of those apocalyptic Turner paintings, where the hordes of a ship-wrecked hell confront eternity under skies ripped from heaven. Only this time they’re facing one guy called Steve, and they’re fucked. Incredible.

Avengers… Assemble

It almost lives up to what you always had in your head. The Marvel Universe, somehow done right.

Tony Hugs Peter Back

Awwww!

New Avengers Run the Gauntlet

A surprising amount of Endgame’s grand finale is given over to the future hopes; while Strange gets stuck in with holding back a Biblical flood it’s up to Black Panther to grab the Infinity Gauntlet from Clint in a delightful callback to Civil War, before embarking on an intense relay race across the entire battlefield that begins with Scarlet Witch crushing the shit out of Thanos’ testicles and ends with Captain Marvel engaging the Mad Titan in a bone-crushing show of super-strength. And along the way if finds time to have Peter Parker dragged through the air by Thor’s hammer which was thrown by Captain America before landing on a Pegasus flown by Valkryie across an exploding sky of alien whales. Maybe the most satisfying run of action since the first Avengers.

I am Iron Man

It was always going to be him really. Bonus points for Downey Jr. originally telling Thanos to ‘Fuck off’. Did anyone else keep thinking he was going to wake up and quip and everything would be OK? That’s how you make movies.

The Funeral

It looks a little weird actually, like they weren’t all on set. But they were! The Marvel Universe again, holy smokes.

The Kiss

Now that’s how you end ten years and twenty one movies. They’re movies! It was romantic! It was exciting! It was fun!

For TEN FUCKING YEARS.

Swing a Ding Ding Sir

After five movies of fresh shit they've finally starting dumping some classic Spider-Man on us; the Euro stuff's fun and all, but it's Far From Home delirious climax that sees Spidey and MJ thwipping through the canyons of New York before bumping into ugly ol' J. Jonah JJ Jay Jay likes it's a freakin' comic book or something. Delightful, and also serves as a wonderful image of hope and joy post-Endgame.

What a fuckin’ ride. Here’s to the next... seventy six? Seventy seven?

wait did I leave any out

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uclaradio · 7 years ago

Text

Interview with City Girl

Interviewed by Jennifer Liaw

album art for Time Falls Like Moonlight, by vickisigh

City Girl is a rising LA-based lo-fi/chillhop producer that incorporates a lot of soft piano and guitar intertwined with electronic beats and vocals. Starting out on Bandcamp and Soundcloud only 10 months ago, they now have three albums out on Spotify, the latest being Time Falls Like Moonlight, released in April.

Tell us a bit about yourself. Where did you grow up? What was growing up in that city like?

I grew up in California close to LA. To be honest once I found music I never really went outside. Before that I was just playing video games and watching cartoons. I guess the internet was more of where I grew up, as opposed to any geographical place.

What music did you listen to a lot growing up? What were your favorite artists back in like middle school, for example?

In middle school it was John Frusciante, all day everyday. Something about his guitar playing really inspired me. It was soulful and beautiful and just felt perfect, like every note was exactly where it should be. In high school my music taste exploded, but John Frusciante was the majority of the first music I learned and played.

Tell us a little about how City Girl first got started.

I uploaded on the train somewhere between my apartment and you 10 months ago on Soundcloud and just emailed a bunch of Youtube channels that were taking submissions. Aurarian music accepted that first release and put it out on Youtube and got the ball rolling so City Girl could get some attention back when it was only 10-20 followers.

How did you come up with the name City Girl?

To be honest, its in honor of “City Girl” by Kevin Shields from the Lost In Translation soundtrack. I’m a huge My Bloody Valentine fan and that song of his is just so amazing.

When did you first start making music? How did you get into it, and how did you first learn how to produce a beat?

I got into guitar playing when I was 12 or so. I just played because my older brother had a guitar. I took it and just Googled how to play guitar and taught myself songs and chords. It was the most fun I’d ever had. It felt so special. I didn’t start producing for like another seven years though. I would just record onto a Tascam tape recorder and jam with friends in garages. I had friends who made lofi beats waay back when it was like CULP and Simo and Onra and john wayne and stuff, but I never got into it, I was more focused on improvising and expanding my musical repertoire in a more performance-focused way.

Are there any instruments that you would like to try out incorporating into your music that you haven't tried yet?

I want live drums but I live in an apartment. If I could record drums that would be so cool, since I play drums too and I miss it badly.

Where do you usually record your music? Describe your studio space to us.

It’s about five feet no joke from my bed haha. It’s a desk and a midi keyboard and some guitars and other little instruments like the melodica. I have speakers and an old mic. It’s super cozy, my bedroom at my apartment is just covered with vickisigh’s art, like everywhere you look it’s just cute sexy ladies in pastel colors, I love it.

vickisigh’s (Vicki Tsai) artwork, from her instagram

How would you describe the lo-fi/chillhop genre and subculture to someone who’s never been exposed to it?

It’s just a bunch of people who love making music on their computers, and to be honest only one percent is unique and actually worth your time, but the same goes for all genres, 99 percent of it is just not that good. I would be more specific but at this point lofi stands for so so much that you can’t really go much further than that.

What do you think of the lo-fi hip hop/chillhop genre in general? It's really popular right now what with the YouTube 24hr lo-fi hip hop studying beats stream and the Spotify lo-fi hip hop studying beats playlists as well... There's literally probably thousands of really similar chillhop producers on SoundCloud... does that ever make you feel swallowed up, in a sense? Or does it feel more like a really large community? How do you try to stand out as an artist among all these other producers?

It’s a tough question to answer, because you can go from quickly, quickly to in love with a ghost and still call it lofi if you want to. These artists share playlists together and Youtube mixes. Who’s to say quickly, quickly isn’t just jazz? Who’s to say in love with a ghost isn’t just electronic music? It’s not so much a genre as it is a movement of instrumental music becoming the focus itself rather than the singer/rapper. Staying unique seems simple to me as I grew up playing and learning music by ear, so I just follow my interests/inspiration and play whatever seems cool.

Which artists would you say are your biggest inspirations or that you're just blown away by and really admire within your genre? How about outside of your genre?

Well in love with a ghost stands out, like most peeps I found them on Youtube. All the tracks from Let’s Go and Healing by them are amazing. Just super cool textures and melodies, really lovely and creative music. Kupla is amazing too, he’s an amazing piano player, all of his music is great. Outside of my genre I’d say Sheena Ringo, especially her album Kalk Samen Kuri no Hana - it’s pretty much game over, this album does everything better in every regard imaginable than any other music I’ve heard. Don’t know if you can get access to it in US tho, the copyright lawyers are hard at work on this one.

What artist outside of the lo-fi hip hop genre would you really really love to collaborate with? Can you describe the kind of track you'd want to make with them?

With anyone, well shit Beyoncé right? I mean she’s the best vocalist alive next to Frank Ocean. I would just want to make something really beautiful, some In Rainbows type stuff.

Being an artist based out of Bandcamp/Soundcloud in this day means a lot of your career is kind of born out of the internet. What are your favorite and least favorite parts about the internet and spending so much time on the internet/interacting with people on the internet/sharing yourself through the internet?

I love the internet because I can share whatever I want when I want. I don’t feel a lot of pressure because I don’t have any personal accounts on social media and never have, I always just read a lot of books and listened to records and stuff. I’m sure some people think it’s mysterious or whatever that I never cared for social media, instead opting to just read Sartre or watch old movies, but nowadays all I do is make music and play Skyrim so it’s all good. The internet gives me access to all that goodness so I can find it offline.

What are your top five favorite artists right now?

Tom Misch, Swell, quickly quickly, in love with a ghost, and Sam Gellaitry

What are your top five favorite female artists?

Sheena Ringo, Beyoncé, Aivi Tran, MISO (from club eskimo - a collective including Crush, Dean, offonoff, 2xxx!, millic, and more), and tiffi.

Do you have a favorite spot in LA that you wouldn't want to share with anyone else?

Wherever YAYAYI and JALENTUNA happen to be any given saturday night in k-town is a pretty special vibe that honestly can’t be shared even if I wanted it to be. God there was this $5 flat pho place on Western Ave. that was run by this old couple but it closed like 5 years ago, that was the best place ever and it straight up was ALWAYS empty, no one ate there. I think it was like Pho 36 haha one of those LA pho places that has a random number after it.

What are some things that you really enjoy doing for yourself? When you need to take a day for yourself, what are things that you'll usually do?

Skyrim is a go-to. It’s usually video games but a lot of times it’s just making music. You gotta understand music is like an addiction to me. I never stop thinking about sounds and I feel uneasy not making music.

So we know you like video games… what are some of your favorite video games of all time? Do you have any funny anecdotes from playing games online with strangers?

Favorite of all time is Psychonauts. Such a creative game and Scott Campbell’s art is the absolute bee’s knees. Right now my favorite is Skyrim as mentioned. I love RPG and adventure games, the immersion gets me good. I loved games growing up, played anything. I have a lot of anecdotes about gaming but I honestly can’t think of just one. Haha well when Xbox Live came out online gaming was brand new and I remember my dad getting on the headset asking people not to cuss (since I was just a kid) and THEY STOPPED. They were like “Oh sorry dude we didn’t know there were kids playing we will keep the cursing to a minimum.” Can you imagine that nowadays? It would never happen. That shit still blows my mind.

Do you play Fortnite? If so, what are your thoughts on it?

I played Fortnite with Chance, thrash, and Maru the other night and I hate it so much lol. The vibe is so terrible, the aesthetic makes me want to barf it’s so ugly. That was the only time I’ve really played it and it hasn’t been on my mind, the itch isn’t there so I guess no hype for me.

What are your favorite K-Pop bands or members?

SNSD was the OG. That old video of Sooyoung going “OP-EHHHH! OP-EH EH EH EH EH” lol that shit is so funny. I don’t follow it much anymore but MISO is the queen right now, she’s the best. I watched all of Jessica and Krystal when it came out too, that’s good stuff.

Ok I also saw on Twitter that you have a cat... tell us about your cat!

Ah yes, Seymour, the Russian Blue. He is a very handsome and beautiful man. He is a shadow in the night. Every part of him is gray except his lil tongue which is pink and his eyes which are green. He lives at my parents house so I don’t see him except at holidays, but he is my good soft boy. I think of him very often.

art from Snow Rose, by vickisigh

What would you say is your favorite track that you've produced?

“Anything Like Her” with tiffi is prob my fav. Tiffi is so cool and that song is really different sounding from other City Girl songs so I think it’s cool.

What is your favorite track off of Time Falls Like Moonlight?

“Sunset Lullaby” is probably my favorite. The second half with the acoustic and electric guitar just feels really special.

What was your inspiration for Time Falls Like Moonlight?

I make so much music, the inspiration doesn’t really ever make sense, I am inspired by everything in each moment, I am inspired by my own passion to make music. Not understanding what is going on is really important to how I work, it makes things exciting. I just want the music to make people feel loved and understood for who they are, that there is a purpose for them, a life they can live and be loved in.

When you make songs, are they ever about specific things, people, or events in your life?

Not really, it’s just all my emotions sort of bleeding into the computer. I don’t know if I could write about any particular thing, but I do enjoy imagining lots of people and situations to my music after I made it. Like oh this sounds like Moonlight Hill (from Kingdom Hearts) or this sounds like a tender look from someone or this sounds like a lonely plaza in the middle of some city. It’s all free and open to interpretation.

“Winter Fields” is one of my favorite tracks of yours... mostly because of the lovely violin part by mklachu. It's so dreamy and kind of reminds me of some of my favorite Ryuichi Sakamoto pieces, too. Can you tell us a little about this track?

It’s random but the track started as a like, flex? I was watching Joji’s Youtube aliases and god they are just awful I mean like him fucking with people and being super lewd and nasty I hate it but I was watching it anyway to like fry my brain and I thought it would be fun to make a nasty trap beat that would fit with his videos and I made “Winter Fields” (I know it doesn’t make sense at all). The song slowly got more romantic as I added piano layers the next day and then mklachu tweeted at me out of nowhere and I asked her to play over it and yeah it’s just what happens when you work on music all the time, everything going on makes it into the song.

Another one of my favorites is “Chateau Fountain.” I love the slow buildup, and then the talking portion that kind of just emerges and goes into like an acoustic drop... ahhhh.. I was wondering where that talking portion is from actually. The guy is like, "Take the flowers," and the girl is like "I’m all right!" and it sounds like an uncomfortable struggle...a common pattern in society where... men force women to do things regardless of their autonomy or feelings (ha ha). Does it have any significance to the meaning behind the track? What were your reasons for choosing to put that particular snippet in this track? It's interesting because for me, I think I'm more sensitive than the average person to these kind of power dynamics or like...oppression against women in all aspects of daily interactions or media that I consume, so when I listen to this track it's like a soft buildup to this point of conflict that is kind of grating, but then evolves back into a calming acoustic melody. That's personal, of course, but it's interesting.

DUDE YOU HAVEN’T SEEN ATONEMENT? Omg that movie is so incredible. It’s James McAvoy talking to Kiera Knightley and they have all this tension because they love each other but they can’t be together and ooooooooooooooooooh it’s so good. Their love is so beautiful and honest but it’s injected with all this tension and conflict from society and politics. I felt that snippet fit so perfectly into the emotions of the song, it’s one of the few few times I’ve used movie snippets because I felt it actually added to the track in a creative way.

How do you think you've evolved from the first songs you put out on Bandcamp/Soundcloud, and your first album Loveless Shadows, to now?

I know a lot more about mixing, especially with bass and drums. I try to make more upbeat stuff now, but honestly I still end up making a lot of downtempo stuff. I know a lot more jazz piano than I did before so that’s nice too.

What are some artists that you think are really underrated that you'd like to give a shoutout to and encourage people to check out?

frenesi is criminally underrated.

What are your goals for City Girl for the next few years?

Just put out an incredible amount of music and keep building the world of City Girl. I want people to feel relaxed and loved and understood when they listen to City Girl. Honestly I just want to expand the harmonic and melodic depth of City Girl, I want people to head bump and cry in the same track, I want to find that fusion of beautiful and funky that all great music has for me.

I know you just released an album, but besides that, do you have any upcoming events or projects your fans should be looking forward to?

I have another album finished already, but with the way vickisigh (I won’t put out something without her art on it) works it won’t be out until probably another two-three months. So by the time that comes out I’ll have another album done and so on the process repeats. So just look forward to a new album every two-three months for as long as I’m rockin in the free world.

art from Loveless Shadows, by vickisigh

Check out City Girl’s latest album, Time Falls Like Moonlight, out on Spotify, Soundcloud, and Bandcamp! They also have two other albums, Snow Rose from December, and Loveless Shadows from August that are equally as beautiful. Follow them on Soundcloud for all their music updates and on Twitter for all their promo updates!

#vickisigh #city girl #time falls like moonlight #city girl interview #loveless shadows #snow rose #ucla radio #uclaradio.com #ucla #college radio #ArtistInterview

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pixelgrotto · 6 years ago

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D&D With My Bro: The Case of the Almost Assassination

For the last four months, my brother and I have been playing a Dungeons & Dragons campaign that I whipped up called The Case of the Almost Assassination, and we came to a triumphant finale the other night. My bro’s called it a “steampunk mystery set in a fantasy world,” which is a good description, but on a more detailed level, the campaign was also heavily influenced by the Ace Attorney and Professor Layton games and exists in the universe of The Thirteenth Hour, a series of fantasy stories self-published by my brother that are inspired by 80s movies and cartoons. So the whole thing is one huge ball of fun nerdiness, and figuring that it might be cool to chronicle the campaign as we played, I captured each of our sessions on video. You can watch the whole thing on YouTube here in convenient playlist format (listening to it in the background like a podcast is also pretty nice, I gotta say), and there’s over 20 hours there, which is longer than some of the video games I’ve blogged about!

This wasn’t the first time that my brother and I had played D&D, since I’d previously introduced the game to him via a small four hour mini-campaign last time I visited his house. (He’s written some great thoughts on that adventure, as well as the experience of missing out on D&D in his childhood but getting the chance to discover it as an adult here.) But this was certainly the first time we’d played something long that continued from week to week, and it was also the first time we’d used virtual tabletop software - in this case the very useful Roll 20 - to play online. Minus a few minor internet hiccups, it ran smoothly, and I think both of us had a great time. The experience also made me ruminate on three interesting facts about D&D that I think not enough people write about, and I’m going to jot off a few thoughts on them here. Without further ado...

1) It is perfectly possible, and sometimes even more fun, to play D&D with just one other person.

Normally, Dungeons & Dragons conjures up images of a bunch of people - usually three or four at minimum - sitting at a table listening to instructions given to them by the Dungeon/Game Master, or DM. But the hardest part of D&D isn’t juggling rules or even fighting Challenge Rating 30 monsters - it’s getting a group of three or four people to meet up together on a consistent basis! This is why you can tell that anyone who still thinks of D&D as an activity for anti-social basement dwellers hasn’t actually played it, because in truth, the game is a demanding social commitment, especially for adults.

Thankfully, while it might be a less common way to play, you can totally enjoy D&D with just two people. Usually this means that someone more familiar with the rules has to be the DM while the other person acts as the player, which is what my brother and I did. Sometimes, the DM will also have to create a player character for themselves, and I did that in order to assist my bro with various battles and tricky scenes. This is more work for the DM, since they’ll have to juggle both their own character as well as the various non-playable characters (NPCs) encountered in the story, but if you’re up for it, it’s a rewarding exercise.

The best thing about playing D&D with just one DM and one player is how efficient it is. Three or four player D&D (to say nothing of five, six, or even more players) can get slowed down by arguments about how to progress or share loot, not to mention downtime in battles when a player who has a bazillion spells at his disposal deliberates on the one he wants to use that will both do the most damage and look the coolest. Don’t get me wrong, I actually love these sorts of interactions, but it’s also nice to strip all that fat away.

When it’s just one player and the DM, the DM also has the chance to make that player feel pivotally important by basing the story around them. Usually, the “unit” of D&D is the adventuring party, but in a one person + one DM game, the player gets to shine as the main character. Thus, it’s a good idea to choose the sort of story that can emphasize the important actions of an individual, and in my opinion the best ones for this are heavy on role-playing and character interaction rather than dungeon crawling and monster slaying. For example, a rogue adventure in an urban environment might fit the bill...or maybe even a mystery. Which leads me to my second point...

2) If you’re a DM making a homebrew campaign, try utilizing a setting that your players are already familiar with.

When my brother initially agreed to play a long campaign with me, I first thought that we might attempt one of the many published Forgotten Realms adventures that have been released for 5th Edition D&D. But then I realized that while my brother is mildly familiar with the Forgotten Realms, thanks to old comics and fantasy art from the 80s and 90s, he’s much more familiar with the setting that he created for his own fantasy novel, The Thirteenth Hour. My bro originally wrote this book when he was a high school kid and finally published it a few years ago, and in the time since, he’s written some short spin-offs and outlined ideas for a sequel. In the mini-campaign we’d played in October, his character was actually a half-elf ranger named the Wayfarer who’ll play a pivotal role in book two, and I initially pitched the whole idea of D&D to him as “Hey, this can help you brainstorm your sequel concepts before you put them down to paper.”

Once I began toying with the idea of making a homebrew campaign set in The Thirteenth Hour world, I started worrying that my brother’s universe was limited when compared to the “fantasy kitchen sink” setting of the Forgotten Realms. I mean, my bro’s book didn’t even have orcs! Or dwarves! What was I gonna do! But then I stopped being reliant on fantasy tropes and actually re-read The Thirteenth Hour, quickly finding that there was plenty I could work with.The universe that my brother created doesn’t have all of the races that Tolkien coined, but it’s still full of magic and wonder - a place where crafty old wizards inspired by The Last Starfighter’s Centauri run amok, strange technological anomalies like hover boards occasionally pop up and an otherworldly gatekeeper known as the Dreamweaver lets the spirits of the deceased visit their loved ones in dreams. And there’s also a large kingdom called Tartec ruled over by a vaguely Trump-esque king named Darian, who thinks he’s found the elixir of immortality when actually all he’s discovered is coffee. (If you think this sounds amusing, you can pick up a digital copy of my bro’s book on Amazon for less than a cup of Starbucks!)

Darian’s a funny character, and in one of the spin-off short stories that my brother wrote, an older and slightly wiser version of him reflects on how an assassin nearly took his head off with a dagger. This one sentence got me thinking who that assassin might be, and before I knew it I’d come up with the basic hook of a campaign. At the time, I was also reading Xanathar’s Guide to Everything, a D&D book that introduces 5th Edition’s Inquisitive subclass, which is basically a fantasy Sherlock Holmes. Suddenly, the ideas began bubbling in my head - the campaign would be a detective story set in Tartec with two leads trying to determine the identity of King Darian’s would-be assassins. Once I had this hook, I decided to draw further inspiration from the two video game series I think of when I hear the word “detective” - the Professor Layton games (which I like the style of but am rubbish at, since puzzles confound me) and the Ace Attorney series, which I’ve written about before. My brother would be the main character Lester LeFoe (patterned slightly after Phoenix Wright, the star of Ace Attorney), and I’d be the spunky female assistant Claudia Copperhoof (a little similar to Phoenix’s assistant Maya Fey).

I hoped that situating these characters in my brother’s world would breed a quicker sense of familiarity than he’d get from playing a generic warrior in the Forgotten Realms, and I think it’s safe to say that the experiment succeeded. Thus, even though 5th Edition D&D products all use the Realms as their default setting, it’s worth remembering that you don’t have to follow this lead, and can always tailor your campaign to a world that your players are already familiar with. In my brother’s case, he’s a writer who made his own world, but for someone else this can easily be Middle-Earth or the Hyborian Age of Robert E. Howard’s Conan books. The D&D Player’s Handbook and Dungeon Master’s Guide actively encourage modifying published adventures to appeal to your players’ favorite settings, in fact, and not only will this potentially help to decrease the amount of lore you need to explain as a Dungeon Master, but it’ll also help keep the attention of everybody listening to you. Because who wouldn’t want to insert themselves into their favorite bit of genre fiction as a legendary figure? In many ways, the whole point of D&D is to give people a framework to do that!

3) If you’re DMing for someone who doesn’t have much time to play, remember that a linear campaign is not necessarily a bad thing, and simplify the more complicated rules - making stuff up whenever necessary!

On page six of the 5th Edition Dungeon Master’s Guide, there’s a whole section entitled “Know Your Players,” which is all about altering your game to appeal to the personalities at your table. If you’re DMing for people who like acting and appreciate in-depth stories, give them plenty of role-playing opportunities and narrative twists, for instance, and if you’re dealing with folks who’d rather just make their characters look cool, try having them fight lots of monsters who reward snazzy armor and weapons.

There should really be a sub-section there entitled “How to run a game for players who are low on time.” Because that’s my brother in a nutshell. He’s a late 30s dude who works a demanding job and has two small children to take care of, one of whom is barely half a year old. (You can hear my nephew gurgling in the background in a few of our videos, and sometimes we’d even have to stop playing when the baby woke up from a snooze, which is a situation that I’m sure all new parents can relate to.) I know for a fact that my brother is also the type of guy whose eyes will glaze over when presented with a lot of complicated rules - as is probably the case for anyone who only has at most an hour or two, often in the late evening, to sit down to play a game when the rest of the family is in bed.

In my opinion, the way to tailor your game to such a player is to make a brisk, well-paced story that they can actually see to a satisfying conclusion. This means that the campaign might be fairly linear - a word which seems to have bizarre negative connotations to some D&D players out there, who are always ranting about “railroading,” which is when a DM puts players down a predetermined path without any wiggle room. I think it’s important to note that “linear” does NOT necessarily equate to “railroading,” however, and that a sprawling campaign with a trillion different outcomes and choices to make at every interval isn’t necessarily the best approach for someone who can only play a little bit each week and might get bored if they feel like they aren’t making tangible progress.

Let me put it this way - the campaign that I made for my brother was tightly designed. Instead of giving Lester and Claudia a vast landscape to explore, everything was confined to the city of Tartec, and I made an effort to nudge the characters towards certain objectives that they had to complete in order to solve the mystery, such infiltrating a manor house in the upper class section of town. But I also made sure to flesh out these few areas (quality over quantity) and allowed a certain degree of freedom in how the objectives could be cleared. For instance, I initially thought that Lester and Claudia might sneak into the manor house through the sewers. But as I was brainstorming strategies with my bro, the topic of disguises came up, because Claudia owned a disguise kit. And eventually we decided to infiltrate the party with Lester masquerading as a nutty old lady and Claudia as his keeper, which was a fun improvisation that I never would’ve anticipated - but still a viable way to complete the main objective that didn’t negatively impact the story’s pacing.

On the topic of keeping the pace of the story brisk for a player low on time, I feel like it’s also important to minimize the number crunching and reduce D&D’s more complicated rules whenever possible. In practice, this meant that I took care of as much behind-the-scenes stats management as possible so my bro wouldn’t have to, though I did always try to explain to him what was going on (and what all of those funky dice rolls meant) so he’d have some understanding of the game’s mechanics. Also, whenever we were in a situation where I wasn’t sure of a rule, instead of wasting time looking at the Player’s Handbook, nine times out of ten I’d just make something up on the fly. For example, our adventure had a friendly NPC orangutan in it (specifically chosen because I know my brother likes backflipping primates) and she was supposed to be a super strong, unpredictable force of nature in the final battle. I’d lost the stats that I’d used for her when she first appeared, and instead of looking for them, I decided to just roll a d20 for her damage, figuring that the end result would be close enough. In that same vein, there were a few instances where I made mistakes, since I’m still a relatively new DM. Once I totally miscalculated a character’s special attack, leading to a funny NPC death (which I’d expected but not exactly in that way) and on multiple occasions I flat out forgot to apply modifiers to attack rolls. But instead of going back to redo everything I’d either just laugh it off or forge ahead, hoping that my bro didn’t notice, which he never did.

Ultimately, my philosophy for DMing is to not sweat the small stuff TOO much if it probably doesn’t matter in the long run, especially if you’re running a game for just one person whose free hours are precious. I believe this sort of approach might be sacrilegious to some of the more rules-oriented DMs out there, like the ones who spend hundreds of words arguing over damage variables on the D&D Subreddit. But I’m not one of those folks, and I’d prefer to follow the advice of Sly Flourish, a DM who has a great website where he advocates a “lazy” style of Dungeon Mastering which de-emphasizes nitpicking over rules in favor of just having fun.

At the end of the day, having fun is what D&D is all about. It’s a game of make believe that can really bring out your inner storytelling-loving child, and in an era where very few adults are encouraged to even consider the concept of “make believe,” it can be a truly wonderful breath of fresh air. And if you don’t believe me...I encourage you to watch The Case of the Almost Assassination and try not to crack up at some of the situations that Lester LeFoe and Claudia Copperhoof found themselves in. :)

The pics above are either art that I assembled for our adventure or screenshots that I took while we were playing! The little figurines I designed via HeroForge.

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