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blade-liger-4ever · 4 months ago

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Why I feel Jack Darby isn't like Orion Pax/Optimus Prime

This is probably not gonna do me any favors in the wider Transformers community, but that's fine; I don't want to be in the good graces of half those people. Besides, I've grown to really dislike Jack over the years, and now that there's a new TF film that actually shows us Optimus and Megatron's past that has everyone cheering, I can actually cite that film in my argument should I encounter any whiners.

Fair warning, this will not be in Jack's favor.

So, as we see of him in Transformers: Prime, Jack had a really poor life. His dad is missing for reasons unknown, his mother is working herself to the bone to keep the roof over their heads, and Jack himself is working a horrid job to try and lift some of the burden from her shoulders. A standard modern day life for teenage boys, right? Oh, and don't forget him going all gaga over prissy cheerleader Sierra; that's of course the icing on the cake of this cut and dry trope, because the loser boy has to have a thing for the social climber girl who he can't recognize as trouble.

However, when he crashes into the Autobot-Decepticon War, Jack is adamant against getting involved. He whines about his new lot in life, complains that he just wants "a normal life", and overall is ungrateful to the Autobots that saved his skin a short time ago. Yes, he pulled through in the five part premiere and did so at other points in the first and even second seasons - but those were all life or death situations.

Every other time, Jack caved to peer pressure and stayed inside the lines. He never stood up to the school bully, let himself get embarrassed by said bully in front of Sierra, and then broke his deal with Arcee by going to an underground race. Heck, if you ask me, the only reason he helped save the bully in that episode was because Jack didn't want to have a dead guy on his conscience. Sure he said "it's the right thing", but where was that nobility when you were ogling your crush throughout the episode, hm?

And to say that he's like Orion Pax after all of the above is an insult to Orion and Optimus' integrity. Can you truly see Optimus whining over his lot in life, being spiteful and rude to guys who were mean to him specifically and not his friends, or just losing brain cells when a pretty girl is involved and getting himself into trouble in a misguided attempt to impress her?

No.

Orion/Optimus would never do that. He'll take the hits to himself and make the best of it with a smile on his face, he'll fight for his friends rather than himself alone, and even if he's head over heels for Ariel/Elita One, he won't compromise himself or his morals just to impress her. Orion/Optimus is better than that, and would never stoop to such actions.

But you know who would do all of that?

This guy.

As TF One shows, Megatron in his youth was much like - gasp - Jack Darby. They both kept their heads low to avoid further ridicule and pain, they never wandered outside the lines for fear of the unknown/repercussions, and despite advocating for a change or better life, they didn't really lift a finger to do that. They both needed an outside force to push them onto a new path. And they both ended up having a low chance of heroism when there was pressure on them: Jack's was anytime Sierra or Vince the Bully was involved, and Megatron's was when the 'Bot responsible for ruining his life and all of Cybertron's population was at his mercy.

Speaking of, what are the odds Jack would have a similar reaction to meeting his father? Yeah sure, he spared Megatron in S1, but Megatron also taunted him by asking what Optimus' response would be if he killed him. Put Jack in a position where he gets to beat up his dad, and are we sure that Optimus would still have that sway over him?

Just ask Sentinel, he can tell you how well that turned out when Orion Pax tried talking down D-16 - oh wait, you can't, because D-16 killed him.

Honestly, there are far more similarities between Jack and Megatron than Jack and Optimus. I'm tired of Jack getting all the love and being heralded as Orion-like or Optimus-like when he never was. He's far closer to Megatron, and if I'm the only one who can see that, fine. I don't care.

These are my observations, my beliefs, and I'm sticking with them.

Now on the same token (but coming later), Smokescreen actually has more in common with Orion Pax/Optimus Prime, something the new TF flick has shown, even if I disapprove of a chunk of the writing and characterization in it. But, given I'm probably setting some people's hair on fire, I'll leave you alone for now to digest this post.

Good day, and remember:

"Autobots, transform and roll out!"

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chaos0pikachu · 6 months ago

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4 Minutes and the Cinematography of Nipples

I said before that I thought 4 Minutes was pretty instantaneously the best looking BL on the market for 2024 after one episode. Which, not gonna lie, is a pretty big fucking claim. There’s been a lot of BL that’s come out that’s looked good, and I do think there’s been a steady improvement overall in the market in the last few years. Personally I think Japanese and Korean BL have a stronger production quality over a majority of Thai BL but like, if that’s a hot take I guess I prefer my food spicy.

The point being~ if I’m gonna make such a hyperbolic statement, well I better back it up right?

So I’m gonna break down a few scenes from the first episode, what I liked about them, why they worked for me, and why on a technical level I think 4 Minutes has just got it going on.

For better readability you can also check out this essay here.

Sidenote: my google docs kept trying to autocorrect “Bible” to “the Bible” and idk how to teach google I mean the hot Thai actor and not the book of Jesus.

To start, I’m going to break down this scene featuring Great and his nepo baby cat:

I thought starting with this scene would be good because it’s such a low-key scene and honestly making these simplistic scenes visually interesting is very difficult! But if you have the basics down, the foundations of cinematography and film making, these simpler scenes can be really memorable.

Like yeah we’re all gonna remember this scene because shirtless Bible and oh my god Akira!? - I have only recently learned who Akira is; why is this cat getting a bigger bag than me? - but beyond that, what makes it cool to watch? What makes it interesting? What information does it showcase to the audience?

One thing I added to the video was a grid for the rule of thirds.

Rule of thirds is a shot composition technique applied to both film and photography. It’s the grid you see if you film a homevideo and helps a Director and Cinematographer figure out where to place the subject or subjects of the shot. The idea is the gridlines show you where you “should” place the subject(s) of said shot.

Like everything, the rule of thirds is a guideline in filmmaking, not a hard and fast unbreakable rule. Filmmakers like Wes Anderson like to play more with central composition shots, rather than ROT.

Anyway on to the opening shot, right after our credits and we’re moving into the shot.

To start, the first thing I notice is the scene’s color grading. Color grading in film is the manipulation of raw film footage to create specific color tones throughout a project. Sometimes this grading is more pointed and obvious, think The Matrix, while in other films it’s not as obvious but still very prominent, think Killers of the Flower Moon.

It’s not that the before credits scene looks entirely, jarringly different from the opening scene, but the hospital scene is surrounded by whites and blue tones, it’s darker, and only a single source of light exists. It gives the entire scene a much more frantic, uneasy aesthetic but it’s not so far off from the darker muted tones of the next scene that it feels jarring or out of place.

The second big thing I noticed in the episode is the use of aspect ratio. I’m not 100% sure what aspect ratio the production used exactly, but the use of widescreen as opposed to full screen in my opinion, gives the episode a more cinematic feel to it in comparison to other Thai BLs.

Example, if you look at Century of Love (2024) it appears to be filmed in the standard full screen - which I believe is 16:9? - while 4 Minutes is widescreen (thus the black bars at the top and bottom). Widescreen can give a show a more “movie like” quality to it which is part of the vibes I get from 4 Minutes.

(source)

Onto Great’s actual introduction scene.

We’re not starting the shot with static movement, but with a camera panning right. I’ve talked about camera panning and such in BL before and it’s something I’ve found doesn’t happen as often as it should. Which is a shame! It’s such a simple technique but it adds so much.

Imagine if we entered the frame with a static center shot, and then a cut to Great sleeping and turning off his alarm clock, and then another cut to above the bed. Think about how much more boring that could be visually.

Instead, we enter the scene with movement, panning over and creating some interesting visual framing.

So here’s our opening shot, do you notice anything interesting? To start, what I like about this shot other than the panning movement in, is that we don’t see Great’s face yet. In fact we don’t see his face in full until about 30 seconds into the scene. This builds anticipation, yeah we all know what Bible looks like, but for the audience who doesn’t this helps build anticipation.

Who is this character? What does he look like? What’s his deal?

It also engages the audience more, if you notice part of the composition of the shot has Great in the mid-ground slightly blurred out, while the foreground emphasizes the things on his desk. He’s distant from us, the audience, sleeping off his hangover not yet ready to “join” the world yet.

Here’s another two more things I like about this shot:

Lines.

Using lines and shapes can make a scene more visually interesting and invoke different feelings to the viewer. In this shot, I get a sense of symmetry, the camera panning right, lightly drags across the screen alongside the lines below and above Great, almost creating a frame within a frame effect. As if Great is boxed into a clock in and of itself.

You can also see the use of balance in the scene as well, connecting back to that visual theme of symmetry as well as blocking our view of Great’s face. The lava lamb and champagne bottle are almost the same height, which helps create balance in the shot. The champagne bottle informs us Great has been drinking or does drink since it’s positioned so close to his bed, whilst also continuing to hide his face away from the viewer.

I also like that the lava lamp is a bright spot of color. The tone of the scene is mostly muted greens, and gray, but the bright orange lava lamp and even the pink champagne bottle draw our attention but don’t overwhelm us either. It provides the scene with some warmth but doesn’t offset the overall tone of the color grading.

And then, the last bit of this shot:

We have Great knocking over the champagne bottom, and turning off his alarm clock. Notice that the alarm clock and the champagne bottle hit those ROT dots almost exactly. There’s also the use of lines by the length of Great’s arm - I just forgot to add a line I’m a failure, a fake, fml - we see him knock over the bottle, and then we follow the line of his arm directly to the alarm clock which is also a shape, a circle.

I like that they used a clock with a specific notable shape, since by the end of this scene the clock is relevant to the story as a whole. Using a shape makes the clock more visually noticeable and memorable to the audience.

So in the next cut we’re above Great - just like Great’s gonna be above Tyme, fuckin hell I’m corny - in a medium-full shot and there’s a couple things I really like here.

I really like the use of lines here with the bed going in one direction but Great’s body going another. It’s disconcerting, and off kilter a bit.

The use of patterns plus the opposing symmetry, whereas in the previous shot the lava lamp and champagne bottle were providing balance, here one side of the bed is patterned, while the other isn’t. This creates a sense of imbalance and makes the shot more visually interesting.

This medium-full shot at a high angle makes Great smaller, and continues to showcase his dishevelment, keeping him distant from the world itself. Also notice the lack of color here as well.

What could this say about Great as a character? Or his story?

So this next cut is the one that actually inspired me to write this essay to begin with and know what I’ma eat some crow here. I originally said it was a great ROT shot but I was wrooooooong. It’s definitely a center composition shot.

Notice as well, the bed itself is its own shape - rectangle - center in the frame, and yet the shot almost looks unbalanced again because of that singular patterned rug. It’s the only pattern in the entire shot, not even Great’s pillows have noticeable patterns on them.

The above view camera angle in a full shot creates almost an omnipresent feel, as if the audience - or something else? - were looking down upon Great. Whose face we still haven’t seen! It makes him smaller, less powerful, and almost vulnerable. Shots like this are often used in horror films like James Wan’s Malignant (2021) where the horror spector will be looking down above the would-be victim.

Another thing I like about this scene though is we have Great moving. It would be simpler and easier to have his phone just by his alarm clock, or under his pillow, but think about how much more visually interesting it is that he has to move down the bed and reach for his phone. It creates action in an actionless low stakes scene.

And now, 30 whole seconds in and we’ve finally seen Great’s face!

Fun fact, with the ROT grid the gridlines fall right across Bible’s nipples. That’s not a film analysis, just something I noticed entirely intentionally. Thanks Madam Director Ning Bhanbhassa Dhubthien.

The actual shot is in center composition again, as Great rolls over and reveals his face the camera begins to zoom in.

This creates movement in the scene instead of leaving the camera to statically observe it’s now, finally, inviting the audience to meet Great. Pulling us in towards him whereas before we were kept at a distance. Great’s awake and, well as ready to meet the world as somebody with a raging hangover can be.

I also like how Bible is moving constantly in this scene; he rubs his eyes and nose, he twitches his fingers, titles his head back and forth, etc it’s nothing revolutionary but it’s appreciated.

When the scene cuts, we get this shot:

I didn’t put the red dot on his nipple, it just landed there. This is all Madam Director Ning chepie.

But you can see how Great’s body is landing on all those gridlines pretty solidly. Also in the background we see his alarm clock again, a bright blurred circle in the distance. I also like the angle of this shot, as it creates depth in the frame, with Great’s head being in the foreground his lower body in the mid-ground and the background blurred out.

What follows is Akira appearing in frame. Which was really difficult to capture so I don’t have a screenshot. But what I really like is Akira entering the frame out of focus. They could have just cut to Akira, but instead they opted for Akira to enter the frame which is more interesting.

When we do cut, Akira is firmly on one of those dots so we don’t miss them in the frame. I think it’s also interesting that we’ve pulled out again, into a mid-full shot, hanging above Great, and we see that clear symmetry line again between the patterned rug and the regular carpet.

I also really love that when we got to Great sweet-talking Akira and feeding them we’re not just doing a cut, we’re panning downwards which continues to add movement to the scene. And we get that moneyed sponsor shot!

Durex can’t pay for everything okay?

So in the final bit of this scene we get focus on Great, who’s in focus, before he gets up and leaves the frame where the camera then focuses on the clock behind him.

See how in the first frame the background is all blurred out, but once Great walks out of the frame - again, great that he walks out, movement!! Y’all don’t understand how boring 1000 Stars was for me to watch because of the lack of this stuff okay? - and then the focus shifts to the clock. Which is round.

God I know that sounds so dumb, but imagine the clock without that ring light bit on it, it’s just a tiny little rectangle. Not as fun or interesting to look at right? Or as noticeable especially from a distance?

This shift in focus also tells us “this is important” whatever “this” is. The subject of the shot goes from Great to the alarm clock but they are positioned as equally important. We’re meant to pay attention to this seemingly innocuous item, which we learn later in the episode is time. We’re meant to remember and note that time will be important to the story - I know with a title like 4 Minutes you’d fucking hope time would be important but have y’all ever read Youtube comments? It’s rough out there for visual comprehension okay?

So all in all this scene is only 1 minute and 40 seconds give or take. It’s very short, but I don’t think it was boring at all. I think it’s a really solid introduction to a main character. Think, Korn didn’t get this much time to showcase his introduction, his scene is shorter - though also well done - which showcases which character is more of a story priority.

This scene eases the audience into the story, inviting us to wake up into the world like Great is. It uses techniques like lines, shapes, symmetry, color and focus to make what could be a very boring scene into an interesting one.

There’s so so much I probably and certainly missed, I’m far from an expert, but I hope I was able to articulate what I liked about this scene, and why I think it looks good.

Stay tuned for more if I can manage to focus long enough to breakdown more scenes lol

Also red dots on Bible’s nipples are just funny to me it be what it be.

Further Reading:

Composition in Cinematography / THE LAST OF US

Center-Framing vs Chaos-Cinema: Mad Max vs Transformers

Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]

The Ultimate Guide to Camera Shots (50+ Types of Shots and Angles in Film)

Color Grading 101 - Everything You Need to Know

Mixing Film And Digital Footage: Killers Of The Flower Moon

In Praise of Subtle Cinematography

#4 minutes #4 minutes the series #bible sumettikul #4minutes #jesbib #chaos pikachu speaks #pikachu's bl film series

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katzske · 8 months ago

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Thoughts on Earthspark Season 2 (first half)

Spoiler Free:

I must admit I’m dissatisfied.

The animation and rendering definitely looks cheaper. Sometimes it feels like frames are missing, animations not polished, scenes not fully rendered. 2d and 3d poorly blends. It’s quite noticeable unfortunately. Characters also do the TFP Megatron stare now.

That being said, time was taken to revisit old models of characters and give them a new appearance. (4 i’ve noticed) It makes sense given a lot has changed during one year time skip.

The writing often feels either like exposition dumping or naruto filler episodes. I was never at the edge of my seat even during the climax. I ended up skipping through episodes due to the lack of relevant plot information.

Something ES managed to maintain were carefully composed shots that make great still images. While that’s nice for screenshots and redraws, I also feel like it’s the only unique aspect of ES’ animation style that remained. The rest, as previously mentioned, has lost quality.

Character Details I’ve noticed and want to talk about (spoilers ahead)

half of season 2 part 1 is filler. optimus trailer episode, great america with cosmos, a pachycephalosaurus-truck fighting mushrooms, hashtag taking ten years to dispose of hard drives…. each episode did have a few minutes of either cute or important moments. but the majority is a waste of time.

I was hoping that we would learn more about the decepticons. now that they’re free, what are they up to? how are their dynamics? how did season 1 finale change their perception on things? would they try to convince the terrans THEY are the good guys? nothing like that though.

There is no satisfying character development for starscream. ES Starscream was perfect to explore a more neutral version of him, who does not do bad things out of pleasure, but due to necessity; following his desire to be free. In the show he mentions he wanted to get rid of his oppressors (in his eyes autobots and humans), but a real “bruh” moment was when he told Hashtag the only reason he opened up to her last time was to tell her “take care of yourself first”. It completely disregards the fact he came to help in the season 1 finale after reflecting on Hashtags words. It also aggravates me that the writing could have been a very easy fix. “hey i’m not being selfish by destroying this town. im doing this for the decepticons, we have lived under the control of the autobots and then of humans. this needs to stop, we deserve freedom and i will do anything it takes.”

the show managed to establish some friction between starscream and shockwave but for deception standards it was very tame. overall i think it was written okay; he purposely let the Terrans escape with the fragments, and he bailed on Starscream once he went bonkers. I hope that he gets to be a Decepticon leader in the second half; i don’t think we have seen that in any TF TV show before. i also like that his antennae and eye color give away his emotions now.

i feel like the autobots are treated even worse than the decepticons this season ngl. they merely exist; and when they do have the spotlight it’s often for comedy.

why the fuck did shockwave not wait for hashtag to just dump the hard drives and leave. if someone walked up to me yelling “give me your trashbag” as i’m trying to dispose of it i’d be weirded out too lol.

i hope the chaos terrans don’t return. aftermath imo was, plot wise, redundant. spitfire at least was interesting and had an impact.

i wish there were more interesting fights like in season 1 instead of, oh no they’re hitting the trailer with sticks, oh no we are an abomination of dinosaur and vehicle for what feels like 15mins straight. i miss seeing soundwave slay.

#transformers #transformers earthspark #earthspark season 2 #shockwave #starscream

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vaguelyaperson · 1 month ago

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the more i think about it, the more i like that izuku becomes a teacher as a quirkless adult, and that he supposedly never takes on full-time hero work

... it just wouldn't feel like such an odd ending if it wasn't such a sharp turn from the themes of the story.

it would beat a dead horse to get into such themes: the insistence that izuku could be a [pro] hero too, save to win win to save (implication of bkdk as hero duo), go beyond to achieve your dreams, ect. others have commented on this eloquently enough. i want to contemplate how 430/431 are a valid ending... if the story matched the conclusion.

bnha has themes that could've been developed to make 430/431 make more sense. there's the excellent theme that average citizens can be heroes through 'mundane' actions, and a suggestion that an ideal future would be one where heroes have too much free time (ie, pro heroes overall would be a defunded profession). i personally adore these themes, and was disappointed that the ending didn't explore more of what a better quirk culture should look like beyond 'uraraka reforms quirk education classes.' those themes (plus the commentary on villains) suggested an eventual overhaul of the current quirk culture - which we didn't get. which sucks. because these themes, properly developed, would make PERFECT sense of a protagonist who decides to be an 'average citizen.'

yet these ideas weren't quite attributed to izuku's character. he's the protagonist. he was set up for the big flashy future, right? which is why it feels like such a sudden slap to so many fans that he was supposedly content working as a teacher for eight years, that he wouldn't jump at the opportunity to become a full time hero.

now, a good bit of this can be attributed to story medium. bnha was skewed in the beginning to function as a standard shounen (boy has powers, boy works hard, boy achieves big dreams), and that it wasn't until about the last hundred chapters or so that horikoshi dug his heels in about writing the story he wants to write. so clearly if the story's endgoal changed in his mind (which stories often do, and manga is extremely restrictive in that an author can't rewrite the full story to make the plot consistent), then he only had so much leeway to lead to the eventual ending of a quirkless citizen izuku without taking the hardest turn from the standard shounen tone at the beginning.

but even then. even then, that's about a hundred chapters that bnha could've introduced the idea that IZUKU could be a hero in ways unrelated to professional heroism. that it's so unhealthy for this kid to sacrifice so much of himself that it would actually be better for him to pursue a different career.* or that it was even a valid career path for someone who initially dreamed of being a pro hero.

like, take lemillion; izuku's literal mirror. the story could've kept togata functionally quirkless, could've explored the full grief of such a big dream lost, could've explored the sheer injustice that this KID was put on the front-line and thus his quirk and dream were snatched from him... and then introduced a way that togata could use his skills to help people in a different career.

or take all might; izuku's mentor and cautionary tale. maybe have all might talk to izuku about grappling with being quirkless again. maybe have him find who he is beyond being of service to others (which is clearly these two born-quirkless fuckers dealing with massive self-worth issues, trying to justify their existence with heroics), and find relief in that. maybe have him wonder aloud if it might have been better for him to choose such a profession outright from the beginning, rather than repeatedly almost DIE as a pro-hero. maybe have the two revisit that conversation from the first episode, that being a [quirkless] hero IS dangerous, but that there is genuine fulfillment in other work - as all might has found in teaching.

then when it happens to izuku, it wouldn't be such a shock to the audience. and even if we don't see him change over those eight years of the epilogue, it wouldn't be such a shock that he turns down full-time hero work. we'd get it.

*because continuing off this point: the story very much established that izuku CAN'T be trusted 'unsupervised' as a pro hero. that ofa is almost a curse. how many fuckin fanworks reference an adult izuku who never stops putting himself into harms way, who keeps nearly fuckin dying (or does die) cause he never thinks of himself? the story could've EASILY built on this to the point that it would feel like a blessing that izuku loses ofa and can't become a pro-hero.

(instead of it being played in this.... extremely weird.... grieved not grieved, katsuki's sobbing but izuku 'started out quirkless' so it's fine??? like??? the tone??? is in shambles???)

instead, the story said "you don't have to fight alone, izuku, cause your friends are here." most especially that katsuki inserted himself as izuku's primary protector and competitor. that katsuki developed a whole ass power-up that could MATCH ALL FOR ONE'S power, that he CAUGHT UP to izuku as a hero. at large, class a showed the fuck up, more than once, to throw down on izuku's behalf. the story said, yes izuku is recklessly selfless, and ofa only exasperates this, but his friends are so determined to work hard to make sure there's always someone at his back. this will be the new generation of heroes.

... which... should've led to a completely different story conclusion. one that would've been just as valid as 'izuku finds more stability and meaning in being a teacher.' it would just need to be an ending that would have fit the established themes. i would've loved that ending too.

in conclusion! there's more to being a hero than flashy heroic acts. izuku is a selfless maniac who's probably safer in the classroom tbh. manga is a restrictive medium that can't be rewritten into a more consistent plot. nevertheless, given the amount of chapters horikoshi had to play with the story he wanted to tell, there was time to develop pre-existing themes that would better anticipate the conclusion we got. 430 and gods 431 especially - despite being arguably a valid ending for the characters - didn't have to feel like such sharp left turns.

... and despite learning to appreciate izuku turning down katsuki's agency offer, i still don't like 431. lmao

#bnha #mha #bnha 430 #bnha 431 #izuku midoriya #deku #all might #mirio togata #lemillion #katsuki bakugou #bkdk #bnha analysis #unrelated but gods even when rambling on tumblr #i find myself using topic sentences and other thesis shit #are my professors proud of me?#that i'm using these skills to ramble about the blorbos?

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gwenllian-in-the-abbey · 6 months ago

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Not fluent in English.

Please tell me I’m not the the only who noticed that team green characters in the show aren’t allowed to hate team black characters.

Like Aemond can’t even hate Lucerys for cutting his eye and disabled him for life.

And Alicent can’t hate Viserys for marrying and gr*ping her and forcing pregnancies on her, even though he have no intention to name any of their sons his heir, and treating her mostly like a caretaker and concubine rather than his lawful wife and the mother of his legitimate children.

Aegon and Helaena aren’t even allowed to hate Daemon the man who ordered the death of their Son.

Like why??? Why aren’t they allowed to hate them???

Hi aleksandra! You make a good point! I think there are a few things going on here.

For one, I think the writing is incredibly inconsistent across the board this season, and there are a lot of dropped plot threads. Some of it is intentional (like, I do think B&C was deliberately downplayed and undermined so that Alicent could have that Dragonstone scene, more on that in a bit), some of it I think is just bad writing and a kind of ... well, look, I can't speculate as to what goes down in the writer's room and have no idea what their workflow looks like or what processes they follow, but a problem going back to S1 is that characters and dialogue vary a lot from episode to episode. I don't think it's all that normal for a fandom to be concerned ahead of time about which writers will be writing which scenes and which episodes, but with HotD there seem to be huge differences in how each writer interprets the characters. Having worked on OFCIR collaboratively with @aifsaath, we work really hard to make sure the chapters are relatively consistent. I gave our first few chapters to my critique partner for original fiction, a guy who knows my writing inside and out, someone I've worked with for about 6 years now, @theravenpiper, and he could not actually tell which scenes were written by me, and which were written by Aife, which I took as a big complement to our collaborative process, and to our ability to edit to a uniform standard. Now I'm not saying we do it better than the HotD writers, but I do think that there is something missing from their collaborative process that makes the entire thing seem disjointed.

I do not think it is entirely that the whole of team green is not allowed to be angry at team black, although that is part of it, some of it is part of an overall bigger problem where major events are not allowed to resonate across the story, and I chalk some of it up to simple bad writing. Rhaenyra is apparently over Luke's death enough by E3 that she can seek out Alicent for some kind of vague "let's stop this madness" ploy, but still conveniently needs "a son for a son" in E8. Although Rhaenyra is negotiating from a position of power in E8, there was no reason for her to feel so desperate as of E3, when Rook's Rest hasn't even happened yet, that she would set aside her grief and anger and go seek peace. Peace was offered in E10 of season 1 and Rhaenyra turned it down after Luke died, so what has changed besides Rhaenyra's own husband beheading a toddler? Other events happen too and have little or no consequence. Rhaenyra and Mysaria kiss in E6 and it's entirely forgotten by E8, with zero follow up. Criston Cole is brought to his knees by the sight of Aegon lying injured by his dragon, but never even visits his bedside. Gwayne never interacts with anyone aside from Alicent and Criston. Rhaenyra sends her younger children to the Vale and never mentions them again (she is shown looking wistfully at a box of toys), nor does Jace. Laena in a vision berates Daemon for not looking after their girls, but does he ask after them when Broome shows up directly from Dragonstone? I could go on. Events just happening and then never really mattering again is a consistent problem throughout the season, which makes it hard to tell when it is happening deliberately and when it is happening because the writers can't get on the same page.

There are two things I do think are deliberate, however, one of them being the scrubbing of Viserys' image. While audiences loved Paddy's performance, a lot of viewers did pick up on how Viserys played favorites and neglected his sons, and I think when the show decided to switch up Alicent's motivation from "she wants to protect her children and knows they will face the sword if Rhaenyra comes to power" to "she misheard Viserys' last words," they knew that the natural question is, "why should she care about Viserys' last words?" A lot of the immediate feedback about that episode involved how Alicent was stupid for not knowing Otto planned to have Aegon take the throne, and a lot of people didn't think that Alicent (or Aegon for that matter) really believed that Viserys changed his mind, but apparently that was the writers' intention, that Alicent truly believed it and managed to convince Aegon (there's a lot I could say about how they could have included this deathbed misunderstanding into the plot without having it replace all of Alicent's other motivations, but they did not do that). So in order to drive home the point that the whole entire war is being fought due to this misunderstanding, they have to make sure the audience is clear that all of these characters considered Viserys a good king. Even if he was Alicent's rapist. Even if he was a deadbeat dad. Even if he was a terrible husband. We are meant to believe he chose Rhaenyra not because he was playing mindgames or out of guilt over Aemma's death, no we must believe he chose Rhaenyra because he was good and wise and to convince us he was good and wise we have to have the green characters reminding us constantly that things were so much better when Viserys was around, that Aegon is inferior to Viserys, that Viserys' wishes are all that matter. Nevermind that it goes directly against the book, never mind that it's not even a particularly powerful or interesting change, it's what enables Rhaenyra and Alicent's relationship to continue. Because here's the thing-- if Alicent put Aegon on the throne because she felt it was the only way to keep her family safe, and because she feels that law and tradition ARE on her side, and because absolutism isn't good (!!!) then there's no chance for her and Rhaenyra to ever reconcile. These are irreconcilable differences, not misunderstandings. And so the show has to glaze Viserys otherwise the basic reasoning falls apart.

And the second is the events like Luke's death, Blood and Cheese and Rook's Rest come in, events in which the greens or the blacks harm and traumatize each other directly. It is not that the greens are not allowed to hate the blacks, it is that Alicent is not allowed to hate Rhaenyra, and by extension, the people who Alicent cares about are not allowed to hate her (I would argue that Aemond is allowed to hate Luke on screen, he literally murders him, and I don't think the scene with the brothel madame is an expression of true remorse, it's more "I'm kinda sorta sorry there were consequences for my actions."). Alicent cares about Helaena the innocent, and therefore Helaena cannot be allowed to hate Rhaenyra (note Phia Saban's many interviews about how apolotical and neutral Helaena is). Aegon, on the other hand, can be affected by B&C because he is allowed to hate Rhaenyra. In fact, his hate for Rhaenyra puts him at odds with his mother, which is what the show wants. Aegon is gravely injured at Rook's Rest, but good thing Rhaenyra's forces did not cause the injuries, Alicent herself drove him to battle with cruel words, and Aemond burned him, which puts him at odds with Alicent too (and Helaena is allowed to express ire at Aemond by extension). If you look at S2 as an exercise in driving a wedge between Alicent and her family and downplaying what happens to them in order to justify their decision to have Alicent seek out Rhaenyra and surrender Aegon's life, it makes a lot more sense.

The thing is, it still doesn't work. Their efforts are much too transparent and require characters to act in ways that are simply not within the realms of how normal human beings would react to these situations, much less the characters established in S1. There is a twitter user, and I'm so sorry that I can't remember their name at the moment, but I've seen them express the sentiment several times that Alicent's character this season made them aware, in a way that a viewer should never be aware, that these are scripted lines coming out of her mouth. That is, a lot of the characters in S2 do not feel like actual people. Aegon is such a fan favorite this season because he feels real. Alicent garnered legions of fans last season because her struggle felt real, even if we didn't agree with it. She felt like a character who inhabited a quasi-medieval world, bound by restraints we are not bound by, but nevertheless a human with human reactions who had to make difficult choices and persevere through them. And any human would be angry beyond comprehension at Blood and Cheese, would lose all faith in Rhaenyra, would know that there can be no peace if she is ruling with a man that ruthless at her side. If she thinks her sons are devils (and mind, so far as king Aegon's most egregious action is executing a handful of ratcatchers after one of their number murdered his son, whereas Rhaenyra burned about 65 peasants alive in a quasi religious ecstasy-- will Alicent ever find out about that, I wonder?), they are at least the devils she knows. Better they all die than end up in Daemon's hands, surely? And so OP, you're right, they are not allowed to hate each other when naturally you, and many others, feel like they should. That is because they are writer creations who would never do such things as what happen in the books in the first place, acting out plot points of entirely different characters (their book counterparts).

#asks #aleksandravill #hotd critical #anti rhaenicent #blood and cheese #aegon ii targaryen #aemond targaryen #team green #anti alicent hightower #(show alicent only I don't know you girl)#anti rhaenyra targaryen

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alexandraisyes · 6 months ago

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What would happen if you were a writer for TSAMS?

I mean we'll never know unless we try, however-

God the temptation to make jokes about shipping ajfsdkg;ljfasd;l

In all seriousness I'm good at finding and fixing plot holes and writing consistent storylines. I've been writing solo for years, and recently I've been co-writing fics for this fandom. And stars I'll say it now, obviously I wouldn't drag fan ships into the canon lore, that would be stupid considering most of them just wouldn't work with canon.

If I had the chance to write for TSAMS I would definitely try to influence the way certain things (specifically things like mental disorders) are portrayed, because I understand being part of the audience and the frustration of only seeing part of the story and missing an entire important perspective. I personally find so much enjoyment in that because I get to tear everything apart, dissect it, and put it back together so the fandom can understand what the story is portraying, but the fact that someone is required to tear it apart to get what should have been an obvious message most of the time is an issue, in my opinion.

A consistent problem I've noticed with TSAMS is that it's overly omnipotent on some things while being too closed about others. This is a narrative problem that stems from not having enough time to figure out the best approach for new situations they want to incorporate. This is because the writers/VAs are so bogged down by personal projects, stream schedules, their servers, life, etc that they just don't have time to figure these things out. Especially when the company is pushing for more content/lore episodes and they're just a team of four. Four very very busy individuals that have to write AND voice act the entire cast of characters. I feel like having someone who is just a writer would help with a lot of the inconsistency and unresolved plot holes.

There's a lot of strong potential for things that would stem back as far as two years that would be so interesting to see incorporated, but they just don't have the time to work through those and it's easier to keep jumping on new boats and abandoning the ones they have to sink because of unresolved tears in the plot letting more inconsistencies trickle in like so much water. So I would absolutely work to correct those and clean up the holes and resolve unanswered questions.

I'd also push for more consistent characterization, or rather better worded, deeper characterization. Not that they don't have good characterization now, overall I think they do a decent job, but there are just some things that I wish they'd touch on more. Likes, dislikes, disorders, complications, relationships, etc. What really makes up these characters; I'd probably end up with a complicated character web for the main cast at the very least to help with consistent storytelling. I do this with my own AUs to keep characters consistent, including quirks (For example Solar Flare always refers to people by their full name in my writing). It would also be interesting to dig deeper into what makes the characters them. Their personalities, beliefs, interests, morality/standards (for those without morals), and what they did and didn't find traumatic (as well as what level of trauma).

God even just the thought of how I could potentially fix the dumpster fire (/affectionate /positive) of TSAMS and co is a little exciting because there's just so much potential lying around untampered with that I would happily dig my grubby little claws into.

#alex answers #answered ask #thanks for the ask!#tsams #the sun and moon show #sun and moon show #tsbs #petition to get alex on the tsams team real?#<-- this is a joke I don't think they'd accept a random ass person ajfdsklg;jafds #I mean okay I'm not that random #Friends with the mods #I've done art for Reed #And kat follows my thread in the server #but ough #okay now I'm just yapping #long post

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exaflux · 6 months ago

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How good is BTAA Scarecrow at therapy really? (An analysis) (Part 1)

So I naively thought that this'd be a laugh. Take the unethical psychiatrist, analyse his techniques, highlight what he's doing in real world contexts and give him a rating. After hours of working on this though I unintentionally managed to construct a theory on how BTAA Jon might approach therapy. Oop.

This part contains- a breakdown of some psychological approaches in therapy settings, character analysis/theory of Jon (in the conclusion), Jon being awful

Disclaimer- I am not a trained psychologist or therapist or anything of the like. I did study the topic under a teacher who was a trained psychologist though, and I still very much like psychology, so that basically makes me an expert in this field. This is a joke. Do not take my word as gospel. This post was written for fun and will probably have a mistake somewhere.

Harvey and Two-face will be referred to seperately in this analysis, but if referring to both Harvey will be used as default. Jonathan is Jonathan.

A-Level psychology don't fail me now 🙏

Session one/"two"-

The following all takes place in S2, Episode 5

The first section of our analysis takes place on March 4th and the time is 2:02pm, surprising no one as Two-Face is present. Jonathan begins the session by setting up a recording and going through standard legal procedure, following the “Code of Medical Ethics” (0:15) of Gotham. He also makes note that the first tape was destroyed, again probably for legal reasons. Good start.

Being that it was Harvey that destroyed the last tape machine due to a mishap of it not being the first session and Harvey refusing to perceive the number one, Jon asks him to elaborate- “tell me more about that” (0:56). Asking for more info on something a client has said often shows interest, which helps with relationship building, and on the mental health professional’s end would help build an understanding of the client. It has been established at this point that the session is for “introductory psychoanalytic examinations” (0:24), so that latter point is especially important. Killing two birds with one stone, very efficient. Whether Jon actually shows interest towards Harvey’s fascination for the number two though is a completely different matter.

In addition, throughout all this Jon also gives terse responses, “I see.” (00:49) (1:11), to Harvey’s statements to indicate he’s listening and doesn’t try to weigh in. One-sided conversation such as these allow the client to speak as much as they need to, the sessions are for them after all.

So overall, Jonathan is being very professional so far.

At 1:21 of the episode is when Jon finally decides to give his thoughts (after Harvey has finished talking) stating that "The best way for [him] to help [Harvey] is to establish a bond of trust between [them]” (1:26), something that Harvey agrees to. Truthfully, another thing that is important between client and mental health professional, so his approach isn’t wrong.

Upon Harvey agreeing to this, Jon promptly demands that he be given the coin, something Harvey doesn't want to do. At being told that he isn’t comfortable with that, Jon points out that "it's not up to [Harvey]" (1:46) and takes the coin anyway through it's infallible decision-making prowess and the full knowledge that Harvey relies on the coin for all his decision making. He successfully gets the coin, Harvey is unhappy, and trust is established. But not really because Jonathan didn’t respect Harvey’s personal feelings nor wishes. Which is a breach of ethics. Horrible decision really. Jon places the coin on the table, presumably in a place where both he and Harvey can see it, and he declares aloud that it's on the table. In any other context this might have actually been a good way to maintain trust while seperating an item of emotional importance from a client, but such actions should only be taken with the consent of said client. 🚨 JONATHAN IS BEING UNETHICAL HERE. 🚨

Afterwards Jonathan reopens the session, “We meet again for the very first time” (2:06) as though everything said and done previously never happened. He goes on to ask the pair to reintroduce themselves. He notably sounds more casual here and upon hearing that Two-Face is older asks “Harvey was here first, wasn’t he?” (2:21) in a tone that doesn’t sound genuinely surprised. The question was most likely asked as a method to fish for confirmation or another elaboration.

He then moves on after Two-Face is done speaking, very obviously not caring about the reasoning given for Two-Face's origins, to say that he heard “a horror story” (2:58) referring to the courtroom incident. Despite Two-Face's response being a positive one, claiming “That day set me free, like it was in the beginning” (3:11), Jon instead believes that the incident “found [Two-Face] in [his] hiding place” (3:17) and that he was hiding because he was, and still is, “afraid of what [he] would do without Harvey” (3:27). Jon weighing in should have ideally been avoided here. Therapy is normally approached with a mentality akin to teaching a man to fish, where the point is to teach a client how to identify and analyse their own feelings.

Instead of stating why a client thinks/feels as they do, a mental health professional will tactically ask questions in an effort to get a client to reflect. Jon asks some of these questions- “Do you ever wonder what if that acid had taken more than half of your face that terrible day? [...] What if when the acid had done its business, there wasn’t enough of Harvey left to do the serious work?” (3:30) which, in a way, counts. There is still criticism to be had here though as wording can passively influence how a client thinks. Describing the day that Harvey went through his incident as being “terrible”? Probably made Harvey view a day considers favourably as something more negative. Likewise, stating that Harvey could have somehow been lost that day from the acid in all certainty no doubt might have instilled some sense of unease in Two-Face. You should avoid making clients uncomfortable. Bad therapy moment.❌And then Jon follows these questions to Harvey up with another explanation, "You won't let it [cross your mind] because it frightens you [...] the thought of being alone." (3:50).❌❌

“Let’s try something. Bear with me” (3:58) Jon says next, reaching for the acid he inexplicably keeps in his draw. Upon being asked what he’s going to be doing with it by one (two?) Two-Face, Jon retorts with his own question, “What are you afraid I’m going to do with it, hmm?” (4:18) before pissing around with the acid and wanting Harvey to “Tell [him] about the fear” (4:29). This is an example of Jonathan being unethical again. Remember gaining the consent of clients of a therapeutic activity you want to do together is of utmost importance. Likewise, then Jon clarifies that he thinks that Harvey is scared of the “other” (5:05) attribute he acquired that day that wasn’t just the acid damage. Believing that tapping into this fear would cause emotional distress, he proceeds to dunk Harvey’s coin into the acid, destroying it. 🚨JONATHAN IS BEING UNETHICAL AGAIN, DO NOT DELIBERATELY CAUSE MENTAL DISTRESS TO CLIENTS OR DESTROY THEIR PROPERTY. 🚨 According to Jonathan himself he considers his actions “aggressive intervention” (5:30), but Jonathan’s judgement for considering this necessary can be called into question.

Finally, after everything is said and done and Harvey has in fact been reduced to “a puddle of quivering terror” (5:10) like Jon predicted, Jon is again back to asking Harvey questions about his feelings and acting like a good mental health professional. He even reassures Harvey that he understands! Creating an environment of understanding and lack of judgement is important in any therapy setting. And, further playing his role as a psychiatrist, Jonathan in all his understanding of Harvey’s inability to make decisions anymore prescribes him with meds of his own creation. He explains what the medication does positively, in fluffy terms rather than anything technical, and gets Harvey to take it. While Jonathan is allowed to prescribe medication like this being a psychiatrist rather than just a psychologist, the fact that he starts tooting his own horn about how good the meds are, neglecting to talk about the potential side effects, and then makes Harvey take them anyway is, again, unethical. Informed consent should always be taken from clients before prescribing and a therapy session is an inappropriate setting to advertise your products.

In conclusion:

Jonathan takes more Ls in this session of therapy than he has moments doing his job in the proper way, and his approaches to psychological methods indicate that he takes those Ls not from any amount of ignorance on his part but from a blatant disregard for the well-being of his clients. He plays nice and uses correct therapy techniques consistently only up until he establishes a "bond of trust" by removing Harvey's coin, despite Harvey's feelings. After, Jon can be observed descending more and more into ignoring basic therapy practices; providing his own viewpoints on events, outright stating why Harvey feels as he does, refusing to explain what he's planning to do, eventually getting to the point where he's talking more than the clients during the session. All this happens until Jon permanently rids Harvey of the coin for good, leading to an emotional breakdown in the clients and a subsequent administration of drugs.

If I didn't know any better I'd say that during these events, Jonathan goes from setting up the session like any mental health professional would to gradually steering the session into the direction he wants it to go. Even moreso if one regards how he brings up the court room incident of his own volition completely unprompted (2:50) which then leads that into bringing up the topic of fears. Which eventually leads to dropping the coin into acid... Now this idea is insidious enough as it is, right? I'm sure this Dr Jonathan Crane is a well meaning psychiatrist, I mean he's following Gotham's Code of Medical Ethics! So here's also a slightly different perspective to all this:

Jon is speedrunning therapy.

I mean think about it- not even two minutes into the session and Jon basically forces Harvey into "trusting" him. This is only the second time that they've had a session together mind and trust is a thing that often takes months or even years to form between a mental health professional and a client. The chosen method of building trust was to remove a valued item from Harvey and one that he relies on, again something that takes multiple sessions to build up to and- as had been stated- is a valid trust building technique. After taking the coin Jon still leaves it in a place where Harvey knows where it is, just like you'd expect in a therapy setting. Jon even asks the pair to introduce themselves before deliberately steering things into talking about the court room incident which is the nexus point for why Harvey relies on the coin as far as he's concerned. Even him outright telling Two-Face what his fears are could be interpreted as him not wanting to spend months doing the standard therapy approaches that aren't even a guarantee for any progress.

In fact, Jon doesn't even attempt to destroy the coin either until the following happens in order: he tells Two-Face he thinks the court room incident found him and he was hiding out of fear of what he'd do without Harvey, he then asks Two-Face if he's ever thought about what he'd do if Harvey was unable to do much of anything anymore, then outright tells Two-Face he's afraid of being alone before then saying "Let's try something" (3:54) as though he's about to demonstrate his point, forcing Two-Face to acknowledge it.

"I think we had a breakthrough" (5:36) indeed. Breakthroughs are when a client successfully identifies something about themselves, like where a thought or feeling or bad habit stems from. A client having a breakthrough is the point where therapy can progress. And, hey, Harvey probably did make a breakthrough from losing his coin, though it was forced. This breakthrough led to being given a special drug. Which is something to be explored in a later part.

Of course though none of this really matters. Therapy is about treating a person as a person and "teaching a man to fish". Apparently Jonathan doesn't care about fishing.

FINAL SCORE FOR THE SESSION:

🎊 3/10 ��

Jon is definitely not lacking in skills when it comes to psychology or therapy techniques, in fact he seemed decent enough for the first chunk before the session metaphorically drove off a cliff through his driving- intentionally no less. He simply lacks regard for the feelings of his clients and is a walking ethics breach. Likewise he took deliberate control of the session, and whether the end result was intentional or not this is definitely not something to do in a therapy setting. His approach to "therapy" may lead to breakthroughs, making his clients recognise the things he identifies, but it's not in the true spirit of therapy. It's doubtful that a client under him would ever learn the techniques they need to overcome whatever things they might struggle with.

...And this isn't even getting into how much enjoyment he seems to get from making his clients uncomfortable.

#Batman #Batman the Audio Adventures #BTAA #BTAA Scarecrow #Scarecrow #Jonathan Crane #text post #analysis #Character analysis #How good is Scarecrow at therapy really?

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annonymouslyannoying · 1 year ago

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Elite Commander Poki redesign and Invader Training Headcanons. (Futher info under cut)

Elite Commander Poki was Almighty Tallest Miyuki's second in command and most trusted advisor- As such she continues to wear the Irken Elite Miyuki Branding even after her death.

Her reassigning following the Initiation of Red and Purple involved the training of worthy soldiers to become Invaders for the upcoming Operation Impending Doom.

Much like Irken Slave Drivers and other Irkens in commanding positions, she wears a suit that makes her appear taller than she really is.

She's a no nonsense drill sergeant type- but below the surface she still hasn't gotten over Miyuki's death and often sees her failing students as a disgrace to her awesome legacy.

Contrary to what you might think, Irken defects are actually quite common.

The Control Brain's Irken Bioengineering Program contains an intentional margin of error- Allowing new or odd genetic properties to emerge and potentially be added into the base database for wide spread implementation.

The term "defect" however is reserved for specimens with genetic irregularities that are seen as problematic to the overall objective of the Empire.

But seeing as how defect Irkens are relatively common, it's no surprise that there were quite a few of them who were trained to be Invaders.

These 4 are proper defects in the sense that their irregularities are not seen as particularly useful.

Zim

•Intense and obessive thought patterns, for lack of a better word, Irken neurodivergency. Brilliant in some respects, but moronic in others.

•Capable of parental love from both ends of the spectrum. Looks up to his leaders much like one would a distant parent, and shows intense affection for his minions.

(This is very odd as most Irkens just see their helpers as tools and affection is looked down upon.)

•Selective hearing and auditory processing problems.

Skoodge

•Capable of romantic love and friendship. He is hated for this and seen as "soft"

•In love with ZIM specifically. He has such terrible taste that it counts as a separate defect.

•On the heavier side. He is seen as ugly for this but it actually makes him much more resilient to physical damage and can go without his Pak for much longer than 10 minutes.

(This is me attempting to justify that time they forgot to draw his Pak for a whole episode lmao)

Grinn

•Warped antennae. This distorts her senses and makes her very irritable to certain noises.

•A natural aversion to taking orders and a frequent questioner of the Empire's System.

•Covered in horrible red blemishes. She has an overactive immune system that manifests in extreme bodily reactions to minor stimuli.

(This is one of the worst defects to have when you drop out of the Invader Program and work in a literal garbage chute)

•Writes poetry

Skutch

•Actually evil. Like. Even by Irken standards.

•Will set things on fire for seemingly no reason.

•Rarely ever speaks and when he does it's incredibly vulgar. The only Irken that says Fuck.

•Has no soul, wants or desires. He only lives for the mild fascination elicited from watching the life drain from a living thing's eyes.

These 4 are seen to have more useful defects- Or in other words, they're "Gifted" Irkens. Okay not Gustavo but because he's tall he managed to not get lumped in with the last 4.

Grenty

•Intense regenerative properties. In fact, she struggles to control it properly and will just randomly grow new limbs.

Her regeneration is so good that she is essentially impervious to damage so long as her Pak remains intact.

•Irregular blood viscosity. Needs to be regulated with a patch.

•Overbite.

Mote

•Likes smooth Jazz

•Oversized antennae- He has insanely good sense of his surroundings and is tormented by having to accidentally hear everyone's horrible secrets he never wanted to know.

•Very frail

Fleep

•Abnormally physically powerful. She could break the arms of every other trainee here.

•Sort of capable of friendship but only the kind shared between High School Prom Queens and their evil lackeys.

•Otherwise very competent and professional.

Gustavo

•I hate Gustavo

•He's really friendly and normal by human standards but an UTTER FREAK by Irken standards.

•Joined the Invader program because he wants something to fall back on when he becomes a freelance advertising consultant.

•Gustavo must die.

•Is tall enough that the bias of the system has prevented him from being killed. (Unfortunately)

ALSO WORTH NOTING-

Zim is responsible for the deaths of most of the people here- The only ones to survive his Operation Impending Doom screw up were Skoodge, Skutch, and Grinn.

(Grinn never became a real Invader, Skoodge is basically immortal, and even Zim knows not to mess with Skutch.)

I imagine that most of the Invaders assigned to Operation Impending Doom 2 were from the generation after Zim and were still in training during the first operation.

Bonus content of Skutch setting fire to the wildlife

#invader zim #redesign #zim #elite commander poki #invader zim headcanon #iz headcanons #skoodge #skutch #grinn #invader zim oc

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oblivionbladetd · 9 months ago

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To put Lily's media illiteracy on blast I wanna break this down for everybody.

In order.

The sole positive- saying Marcille is a good character, while true, Lacks any qualifications that contextualize in what way. Notably in that three of the negatives of the show revolve solely around her. Which does contextualize that Lily's love of the character is remarkably shallow, or her hatred of the rest of the show remarkably petty.

The sole neutral- Episodic by itself is, yes, very neutral. Without any qualifications this is about as helpful as saying it's animated. You'd have to know that Lily hates episodic shows to know how this factors into the grade.

The many negatives-

Digimon level pacing is such a specifically vague statement. To understand what she means, know her point of reference is a 25 year old show that has an overall different tone, setting, age range, and story to Dungeon eats.so we're on some big brained or moon brained shit here.

The riff on the shows tone is weird because the show is a dark comedy. The intended experience is the huge contrast of it all. Like what?

The premise of the show is looking at the dungeon in terms of a food chain. The only way there would be a joke about the art quality of the food is if the rest of the show was rendered in Crayon scibbles.

Marcille is also an archetype at first. They all are. She is the snooty elf. They all gain more depth later, but this is not a debate here. The reason she was the butt of all the big jokes is complaining about a necessity of their trip for it's unorthodox nature despite explicitly signing up for it.

Death having consequences would basically destroy the tone and humor. Making the multi-day journey to save falin from permadeath into a bog standard revenge story.

Hey, this series has two sole jokes! Sarcasm aside it is a reductive view. Marrcile is at the butt of the bigger jokes because it's thematically appropriate. She is the most resistant to the reality of their situation. Not to mention that if the marrcile was the sole man in a group of women, the jokes would hit all the same. Not to mention that woe is evenly spread after the first couple episodes, I'd know I watched the whole show.

Lastly "elf torture cliche"? When has that been enough of a thing to be a cliche? I looked it's not even really a trope.

The, albeit very abridged, critique just screams the following, "I did not want to like this show, I have decided it was a waste of time before I even fired up Netflix." Right at dismissing Marcille's suffering as little more than torture of the female lead just because I had known that there wasn't even an attempt at any kind of fair play. It boils down to the show being hardly watchable because it isn't a totally different show, which as an opinion is actually super fuckin valid! Lily, by giving it a grade, claims an authority over it. An authority that equates to flunking a physics major over not being fond of their favorite color.

#lily orchard #lily peet #lily orchard is a bad writer #lily orchard is a bad critic #lily orchard is garbage and here's why

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snapscube · 6 months ago

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hey penny!! i hope you're doing good :] not sure if you're looking for any feedback right now for midnight snap so if this message is unwarranted then no hard feelings at all <3 maybe it's just me and tbh it's hard for me to tell bc it's probably subjective, but as someone who's particularly sensitive to sound it sometimes feels like your voice gets lost in certain game music in your videos. i've listened both on mobile and on desktop and i think it's worse on desktop, more comfortable on mobile (for some reason). like, i find myself straining to hear you and pretty often i need to pause to take breaks because i get easily overstimulated. it's definitely not sfx that get me, just background music you know??? i especially noticed it in your freddi fish video around the start of the second game, but it's in other videos too like when you played animal crossing. it isn't too bad though tbh, still overall a super cozy series and i'm grateful you're still doing it!! if everything stays the same, i'll still watch it. i'd really love to know what you think and if you can confirm if anyone else has said something like this, i wonder if there's any merit to what i'm saying cause i just wanna help ^^;

i appreciate the feedback! i'll admit i'm still definitely trying to nail down the sound mixing of Midnight Snap. there's a LOT that goes into it between recording environment, VST setups for my live microphone effects, post-processing effects when it makes it to the actual edit timeline, etc. also admittedly this is a genre of content i'm still relatively new to making (never dabbled in asmr or anything) and though it's easy to put out a super long video normally and have people say its good for sleeping as a fun side effect, actually trying to make something FROM THE GROUND UP for relaxation comes with a lot of consideration i'm still not quite specialized in yet haha, especially with how long the breaks have been up to now. none of this is meant to handwave ur issues btw im taking everything into account here, just wanted to explain why its somewhat in flux right now!

my approach for the last few episodes of the show has been to heavily compress the dynamics of the audio, which might contribute to what ur dealing with here. although at the end of the day there's not much i can do to anticipate literally every individual user's listening conditions cause there's gonna be sooo much variance there. i can definitely try to put more focus on maybe separating the heaviest frequences of the voice track vs the game track though. as it stands i tend to cut back on the high frequencies a lot in both cases cause i personally just find higher frequencies a lot more distracting and harsh and to me what ends up sounding soothing is a very smooth and rumbly kind of profile. but of course audio mixing is all about balance so i'll see how i can maybe dial that in a little more distinctly! hopefully as i continue to standardize what editing software i use for the show as well as how it's recorded i can do more to brush out any remaining issues in the sound design :) thanks again!

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38sr · 2 months ago

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same anon that asked about shadows ! , i have another question , how does different budgets for different animes change the way it is drawn , animated etc , like how does it go from average to ultra quality like demon slayer for example ..

Ah so with anime it’s a very nuanced topic. Firstly, I want to preface that what I am about to say is strictly from my experience working in anime for three years now and even then I would highly implore to study the Animator Dormitory Project to learn from animators who are PHYSICALLY dealing with the imbalanced system that is the anime industry. ALSO, it is important to clarify more money does not equal better art visually. More money means more time and resources. How you use said resources and time is what determines the quality of art (as well as the quality of work environment for the people making said product). If we were to follow the logic that more money equals better art, that would mean the average Family Guy episode should look like an average Demon Slayer episode. That is simply not the truth because 1) every production is different therefore their needs and overall artistic vision will differ 2) you’d be surprised on how the money is actually spent versus what you think it should be spent on (ie American animated films choosing to do celebrity voice casting which eats up a shit ton of the budget when that could have gone to the production crew’s schedule and needs). So with that, please understand money does not play in the ways you think it does (ie if it makes the drawings better) but it cannot be denied it’s one of many factors. Alright?

Basically, anime is funded through production committees which are a group of investors (such as manga publishers, merchandise manufacturers, tv broadcast executives, etc). In America, we have a similar system known as the AMPTP however unlike America where an investor can invest in cross industry projects (ie. Mattel can invest in toys and film entertainment) in Japan they can only choose one industry. This leaves budgets for anime to not become incredibly inflated like we have here in America (ie most blockbuster movies nowadays). BUT because of this rule along with the rule of budget caps, the actual budgets of full seasons of animes have not changed much since maybe the 1960/70s. To bring it back to Family Guy, the average episode of that show from script to final broadcast has been reported to cost anywhere between $1-2 million PER EPISODE. If you multiply that with the full episode order (let’s say 13 just to match the average season of anime), you’re working with $13-26 million FOR A SEASON.

Anime, specifically TV anime, is not seeing that. Shinkai’s Your Name was reported to have $4.5mil for actual movie production (not including the advertising budget which would make it 7.5 or roughly 8mil). $4.5mil. For an anime film.

$4.5 million is a good (and rare) budget by American TV animation standards for PER EPISODE. Unless you’re like, Disney or something you can afford to do that but most average American TV animation is anywhere between $1-3 million per episode. And the average anime is seeing that $1-3mil PER SEASON due to budget caps. So if we do the math of dividing that $1-3mil across 13 episodes (and I’m gonna do this evenly because this is a hypothetical and in reality some episodes do have more money put into for more TIME and RESOURCES)…that would mean your average anime episode, from script to final broadcast, is only seeing a couple hundred thousand dollars unlike here in American where we have a couple million.

And so at this point you’re probably thinking, “Wait, this doesn’t make sense. How can Your Name look like the way it is if that’s what America could spend on a single animated episode? Why is there such a wide disparity between the actual budget versus the final product’s visuals?” And that, my dear Shadow (sorry if that came off weird) is where we have to talk about communication. You see, even though Demon Slayer might not be seeing the same episode budget like we do in America what Japanese studios have in spades that American studios spent over 2 DECADES eradicating is in house layout and animation teams.

The reason why anime looks the way it is on such smaller budgets is quite honestly because they are communicating with each other in real time. In America, we ship our storyboards to a studio overseas (usually Korea, Philippines, India, etc) where we are basically playing a gambling game of whether or not the overseas studios produce the desired work we want. And spoiler alert: it hardly ever truly happens because of language barriers and these overseas are often not given enough money (remember that means time and resources) to actually succeed. Hence, you go into retakes which cost money and spend it back to overseas which cost money, and then it comes back and retakes are still needed which cost money yet again and I think you’re beginning to see why this system in American studios is awful.

Because the amount of money you spent doing that back and forth with retakes and shipping with an overseas studio who was not set up for success could have been spent on having an in house layout and animation team like they do in Japanese studios.

As someone who has freelanced on animes as well worked at vendor overseas studios for American made productions, I cannot understate how having that instant communication (as well as cultural understanding) can drastically change how things get animated. Being able to talk to your director about their intent for a scene at an instant is much more productive than waiting 6-8 months for a Russian roulette bullet. So my point is, the direct communication Japanese studios have within is the true unsung hero as to why 1) visually beautiful shows like Dandadan or Demon Slayer exist 2) they are able to have such a wide variety of visual styles under the anime umbrella because Japanese studios do value auteurship just a tad bit more than American studios who as of late is homogenizing our media cause it’s “safe”.

Also, another component that can factor into why anime looks the way it does despite smaller budgets is because Japan as a society heavily values reputation. On one hand, it’s cool that artists are willing to come together to bring the vision of an artist they admire to fruition. But on the other, it is often used to exploit these artists into very shitty work situations (ie me when I worked on JJK). It’s such a hard thing to talk about because as artists we do tend to sacrifice our well being for the sake of art but I could understand why someone on the outside might feel confused (or frustrated) that we would choose to put ourselves in a poor situation. Sometimes, you’re just willing to take a lesser pay and tighter deadlines to work on a project that speaks to you creatively. And it really do just be that. But for the case of anime, it is often because these artist want to work with a person they admire so who I am to judge them when I’ve done the same haha. But my point being, because Japanese studios have that in house communication and are more open to artist auteurship there’s just more room to have visually distinctive episodes, animated sequences, designs and so on despite the budgets not being the greatest (if we’re going by American standard of living because it is objectively true that Japan is not as costly as places like NY and LA).

I could go on and on about this but I think this answer has become way too long haha. But in summary, Japan isn’t seeing as big as budgets as you think you are from an American perspective. Anime budgets virtually have not changed that much for decades despite it being mainstream and incredibly profitable. I will add that studios like Kyoani and Ufotable have the advantage of potentially self funding their projects, which allows more creative power to the studio itself rather than having to comply to the production committee’s whims. But those studios are like….rare gems ‘cause they chose to nurture talent and be selective with their art over time as opposed to Mappa who is spreading the talent and production crew super thin by adapting too many shows. What makes the art in anime look that way is more so a result of passion and respect for the craft (as well as they’re just open to a lot more versus American execs who are risk-adverse). It would be great if they were given more money so they weren’t producing episodes on such tight schedules (usually a handful of months before official broadcast) but it’s really a testament of how they effectively allocate the money where it’s needed as well. It’s truly an amazing balancing act in a system that’s equally imbalanced.

Phew, that was a long one but I hope I answered your question. And with that, always remember kids that money does not equal better art. Money means more time and resources and how you use it is what determines the overall artistic vision of a production.

#ask #industryqs #anime #animation #animation industry #anime industry #txt

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kineticpenguin · 10 months ago

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So I finished the Fallout series

And that was a mistake.

You know how like, 2 episodes in I said "the only character anyone involved in this show seems to actually give a shit about is the Walton Goggins ghoul"? Yeah, that stays consistent for the whole duration. You know how people use "NPC" as an insult? Lucy is worse: she's a BethSoft Fallout PC. She just steps on out of that vault with generic do-gooder personality, and basically everything brought to that character is entirely from the person playing her, certainly not the goddamn writers. Let me be absolutely clear: this is not Ella Purnell's fault, she is acting her ass off. It's just the writers gave her such trash to work with and the only button they have on their keyboard is "well that just happened!"

It's almost as bad for Maximus the Hapless Brotherhood Dipshit (Aaron Moten) but not quite. The writers thought maybe they'd do a fakeout to make you question whether or not he's a good guy or not, and absolutely did not commit. Another character where the actor had to do their best with nothing.

So obviously Lucy and Maximus fall in love and... here's the thing. She's smitten from the moment he first shows up in power armor, calls him a "knight," even though she's supposedly up to speed on prewar history and knows T-60 armor when she sees it. Why she just got obsessed with this idea that this guy is a Knight and not a remnant of the US Army remains to be seen, but I'm pretty sure it's because Todd Howard hears "knight in shining armor" and gets a big fat chub and dreams of being carried off into the sunset.

I can't even say Walton Goggins steals the show as the ghoul Cooper Howard, because most of this show is actually really all about him. He is the actual protagonist.

Overall assessment, though? God, where is the copypasta about Fallout 3... ah, yes. It makes about that much sense. They retconned the NCR into a fragment and then finished it off out of what I can only assume is 14 years of pure spite from Todd Howard. Why? Because they want you to know that it seems that Vault-Tec is bad. Uh, very bad.

Vault-Tec's bad, huh?

HEY FRANK THIS GUY'S OVER HERE WATCHIN' AN AMAZON SHOW OVER HERE THAT SAYS THAT VAULT-TEC... IS BAD!

It's a show with nothing for everyone. It holds its cards close to the chest so non-fans won't understand what's going on, and shits all over existing canon which fans won't like.

And also it just sucks. The plot doesn't make any sense and the fight choreography occasionally achieves "acceptable" at best. Battlefields populate and depopulate and repopulate without explanation. There is no flow to the combat. There is a moment in the finale where banner-bearers with the BoS flag and the NCR flag just rush at each other. BECAUSE TROOPS ATTACKING BY HELICOPTER AND PEOPLE DEFENDING THEMSELVES FROM THEM, BOTH SIDES USING MACHINE GUNS, ARE SO WORRIED ABOUT BATTLE STANDARDS LIKE IT'S 1844

Fuck this show.

#fallout #amazon fallout

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