#such an old draft with twitter preview

[see-fee]

(Tweet text: I drew it in the opposite way from usual!)

Daneel: Elijah? Are you not feeling well?

Elijah: I’m fine~

[kirayamidemon]

I had to fucking double check to make sure I was on the right fucking site bc wat in the fucking hell is this bullshit

[kohakuriver]

Spirited Away Twitter Q&A Translations

Multiple theories debunked/confirmed and we're given answers on how Haku and Chihiro can meet again! Ghibli finally answered a lot of popular questions!

When the official Ghibli twitter was first active back in 2022, it held a Q&A during a Spirited Away rerun. I don't think anyone's ever posted about it on here so I thought I'd share these translations I found! Most of these answers are completely new information about the movie. Here's a site that archived all the tweets and trivia.

The credit to these translations and notes go to atrociouscheese.

Q: Is it true about the rumors that "Spirited Away" has an subsequent story about a phantom after, and that it was shown only in some movie theaters? Or is it just an urban legend?

A: It's an urban legend. Miyazaki: "At first, I was planning to start from Chihiro's house. Chihiro's room was a path for yokai, and she talked about going to a bathhouse with my mother. But I quit because it felt dull. So it would be interesting if such rumors were circulating!"

Q: Why did you decide on the title "Sen and Chihiro's Spirited Away"? (referring to the Japanese title of Spirited Away which is: Sen to Chihiro Kamikakushi) Were there any other candidates for the title?

A: At the stage of the completed proposal that was drafted on November 2, 1999, it was "Sen's Spirited Away". At some stage, the movie was titled "Sen and Chihiro's Spirited Away" because it was about Chihiro's story.

Q: What is the meaning of the mysterious Daruma-like rock in front of the tunnel?

A: The image board says "Stone person (actually a frog person)"...

Q: Do you have any plans to build that tunnel in Ghibli Park?

A: I asked Goro, who is building the acclaimed Ghibli Park under construction.

Goro said: "I'm making 'that tunnel' in 'that work'~ (laughs)"

Q: The mother feels a little cold to Chihiro. I've always been wondering if there's any reason or if she's a cool person by nature.

A: Animation director, Masashi Ando, said that he wanted to not have the image of father and mother that appear in Miyazaki's work, and he said that he set it with an awareness of "a person who is cool and not in a place where family harmony is disturbed".

Q: How did the main character come to be named Chihiro?

A: Chihiro was modeled on Miyazaki-san's friends who were around 10 years old at the time (including some of their names). After the first preview, Mr. Miyazaki was there before anyone else to hear the children's impressions of the film.

Q: I'd like to know more in detail about the objects and places you used as references in creating this work.

A: There is no specific location "here". Mr. Miyazaki recalls the places he once visited and draws while imagining places he cannot remember. The restaurant district in the mysterious town that appears at the beginning of the film was said to have been drawn with an image of the entertainment districts of Yurakucho and Shinbashi.

Q: Are Kamaji and the working soot sprites (Japanese uses makkuro kurosuke) the same species? Or are they similar but different?

A: The official name of makkuro kurosuke is "Susuwatari". That's what it says on the storyboard, so it's not wrong to say that it's the same species. Initially, there was a plan that rice and sesame were their favorite foods, but now konpeito became their favorite.

Q: Are the characters portrayed in human form like Lin, human? Or are they other creatures?

A: The employees of the bathhouse are frogmen for the men and female slugs for the women. This is symbolic of the fact that to the new employees joining Ghibli, all the uncles look the same. Lin may look human because she is a close senior. Doesn't that happen to you?

Q: I want to know more details about of the chicks who are crammed in the bath!

A: It's a chick god called "Otori-sama." By the way, the one who is also soaking in the hot water is the "Cow Demon." According to Miyazaki, he thought, "Today's Japanese gods must be having a hard time," and that's how the bathhouse was born, where gods and yokai can heal their fatigue. 20 years later, the bathhouse may be even more prosperous now...

Q: Why did Radish spirit (Oshira-sama is used here) follow Chihiro upstairs?

A: The spirit became interested in Chihiro and got on the elevator together with her, but they didn't like Yubaba's room, so they descended immediately (it's written in the storyboard).

Q: How many years ago was the world of the bathhouses set from now?

A: It's modeled on the "pseudo-Western" buildings that were popular from the end of the Edo period to the beginning of the Meiji period, so it can be interpreted as after that.

The actual model is Studio Ghibli. To work for Studio Ghibli, you have to go to Toshio Suzuki on the top floor and say, "Please let me work" (laughs).

Q: I really like the flood-like atmosphere of the flowers in the scene where Chihiro slips through the flowers before eating rice balls. Did you change the expression technique for only that scene?

A: For that scene, the flowers are drawn with paint and are then animated to have depth on the computer.

Q: I felt that the onigiri that Haku gave Chihiro were white rice balls, but did they contain any contents inside?

A: The storyboard says, "3 onigiri (without seaweed)". I'll leave it to your imagination to see whether it contained any ingredients in them (not that there was any wasabi).

Q: How many years has Haku lived approximately?!! He looks like a boy, but...!

A: His appearance is about 12 years old, but his actual age is unknown. He's kind during the daytime when Yubaba is sleeping, but is cold at night. According to Miyazaki, Chihiro is like falling in love with a manager. "What was that about last night?"

Q: Is No Face (Kaonashi is the original Japanese used)'s movement a little cat-like...? I personally think that, but are there any animals that you used as reference?

A: I don't have any "animals" as a reference, but the staff at that time said, "I felt like I was collecting the obsession that everyone had, the parts of people that were sick."

Q: I want to know the rating of the bathhouse bills! I wonder how many kinds there were and what rank of the tag Kasuga-sama was.

A: There are no ratings, but the efficacy of hot water is different for each tag.

Q: Is No Face a god? Is there a reason why they couldn't enter the bathhouse?

A: No Face is not a god, but Miyazaki said at the time that "No Face is inside everyone."

Q: Do many Ghibli staff have special feelings for Chihiro? Were there any celebrations among the staff on the 20th anniversary?

A: The studio does not do so-called "anniversary celebrations". Miyazaki and Suzuki's idea is to do what is in front of them without looking back on the past.

Q: I heard that most of the dishes that appear in the movie are made at least once, but was that big steamed bun (meat bun?) that Chihiro was chewing on also made by hand?

A: We don't cook all the meals that appear in the film. Miyazaki says, "Most of the food that appears in the movies are usually things I made and ate a long time ago."

By the way, the fried egg that appears in Laputa and Howl is said to have been drawn based on his memory of making a fried egg when he was a student, returning home from a long trip without any money and starving.

Q: Why is the name No Face?

A: At the drawing meeting at that time, Miyazaki said that Yubaba, No Face, and Chihiro are all "one aspect of the individual." Everyone has both good and bad points. I think he created a character called No Face as a symbol of human beings that cannot be drawn in a one-sided way (I answered seriously).

Q: When the film was released overseas, I was wondering what kind of responses and impressions people had about the unique concepts of Japan, such as Japanese gods and "spirited away/kamikamushi" had. Also, was it made in consideration of reactions from overseas at the time it was produced?

A: It varies from country to country. In some countries, the appearance of No Face became "silence", and other countries burst into laughter. Miyazaki does not make movies conscious of overseas reactions. Suzuki says, "If Japanese people make something that only Japanese people can do, it will become a global work."

Q: Why is Boh drawn so big?

A: It's a symbol of growing up as a child. It seems that Yubaba can't help but spend money on Bo.

Q: "Spirited Away" is the voice acting debut of Ryunosuke Kamiki, who has done voice acting in numerous anime. I heard that Ryunosuke was called to Ghibli's studio after recording his voice at home and sending in a tape because it was an audition. I would like to ask why you cast Kamiki in the role of Boh.

A: At first, people with big bodies were nominated for the voice of Boh. Miyazaki's face lit up the moment when he heard the voice of Kamiki who was eight years old at the time, he shouted, "This one, Mr. Suzuki!" and he decided.

Q: Please tell me how to distinguish between Yubaba and Zeniba.

A: At the image board stage, there was a clear difference between Zeniba and Yubaba. At the storyboarding stage, they thought it would be better to make them look exactly alike. One staff member said, "Yubaba has one wart on her chest and Zeniba has four warts on her chest." But I can't confirm it (laughs).

Q: Kamaji says that Zeniba is scary, but she is a gentle grandmother in the movie. Why did Kamaji say that Zeniba was scary?

A: People who look kind are the scariest when they get angry.

Q: Why did you make the scene of "I can't forgive you!" Dragon Ball-style? How did Yubaba hit such an orb?

A: The storyboard says "Dragon Ball style" (laughs). It's not clear why she was able to shoot an orb, but Miyazaki said, "Yubaba is an old woman who can swim in the air."

Q: I have a question about trains. Is there a reason why we used to come and return in the old days, but now we can only go one way? I would like to know if there are any settings.

A: During a drawing meeting, Miyazaki remarked, "All the employees of the bathhouse dream of saving money to open a store in the town beyond the bridge. Will they go for leisure? But if you get on the train you’ll never be able to come back and this will be gone.”

Q: Where was the scene that took the most time to draw?

A: If there are a lot of characters, the scene will take a lot of time, though I can't say in general that this cut took the most time. It is unclear what scene took the most time but Miyazaki often fixed Chihiro's small gestures, and in particular, Miyazaki seems to have, with all his effort, corrected the scene where Chihiro received the hair tie from Zeniba and tied her hair.

Q: What was the most difficult dubbing scene?

A: Kamaji, who is played by Bunta Sugawara, speaks a lot slowly, so it was difficult for Sugawara to get it on scale. Rumi Hiiragi was having a hard time with saying "one, OK?" from the line "one, OK? I can't call one flower a bouquet". And Miyu Irino tried many times with "Nigihayamikohakunushi"

(translation note: her line in Japanese, what "one, ok" sounds like is "ippon, ne." Japanese changes numbers when it comes to counting items, so one which is ichi becomes ippon when it comes to counting the bouquet. So instead of saying, "One, okay" she said "one okay") Additionally, I actually know what they're referencing and you can actually see the dubbing behind the scene difficulties they're talking about in this video uploaded on Youtube: video here

Q: How do you write Haku's real name "Nigihayamikohakunushi" in kanji (Chinese characters)? I am wondering if it is the characters for "amber river" (琥珀川) or "small white river" (小白川). I would like to know if there is a meaning to "Nigihayahimi"!

A: Although it is written in katakana in the setting, the name "Nigihayami" is said to be the composite of several gods including Nigihayahi (nigihayami-no-mikoto), the ancestor of the Monobe clan who fought against the Soga clan during the Asuka period, and Hayakitsuhiko, the river god and dragon incarnation.

Q: How did Chihiro find out that her mother and father were not inside the pig pen in the end?

A: I'm not sure of the reason, but please read the children's book called "Krabat", which Miyazaki was greatly influenced by.

Q: Is there any reason why Chihiro's hair tie sparkled brightly at the end?

A: That hair accessory is the only proof that Chihiro worked at the bathhouse. I think it can be said that it is a (choice by) stage direction to give that impression (of the sparkling).

Italics is my inference, but I'm not 100% sure.

Q: How many days did it take for Chihiro to get lost in the mysterious city, work in the bathhouse, and exit the tunnel?

A: Mr. Suzuki advocates the three-day theory. When her father and mother get into the car as if nothing had happened, the inside of the car is covered with dust, so the passage of time may be different here from the tunnel.

Q: Why is going into the tunnel different on the way back?

A: When I asked Noboru Yoshida, an art staff member, he answered, "It depends on the passage of time." Does that means that the "three-day theory" collapses...?

Q: Did Chihiro and Haku meet after that?

A: Haku was the spirit of the river that flows near the house where Chihiro used to live. If Chihiro ever visits the river...

[thankskenpenders]

I haven’t been keeping tabs on the man because that’s just... not a thing I do, believe it or not. Nobody has busted down my door to inform me of something insane like a new Scourge comic or more legal threats lately, so I haven’t looked at his Twitter. But I realized the other day marked the 12th anniversary of Penders first announcing his intention to make new comics starring Knuckles’ daughter Lara-Su, continuing his Archie Sonic run. The formal announcement of The Lara-Su Chronicles as a series would only come in December 2011, but in July 2010 his copyright battle went public via an announcement posted to his personal forum, which also explained what he was going to do with his newly copyrighted material

In that time, we’ve seen scattered individual pages, promotional art, script drafts, translation snippets in multiple languages, T-shirts, phone cases, masturbatory Screen Rant interviews, a bunch of con appearances on both sides of the country, the decision to make an Echyd’nya conlang, many Twitter ponderings on Echyd’nya reproductive biology and sexuality, and previews of a bespoke The Lara-Su Chronicles motion comic reader app that’s perpetually in early development. But Penders has yet to release a single chapter from what is apparently book one of a seven-part graphic novel saga after 12 years

By my count, in the time it’s taken him to make and release any new comics, 253 official English language Sonic comics have been released. That includes Archie, IDW, and the Forces miniseries. And of course, that number would be even higher had we not seen a 16-month gap due to Archie losing the license and the team being rehired by IDW

Despite the number of messages I receive wanting me to rag on him endlessly for every little thing he’s ever said and done, I don’t actually get off on kicking an old man when he’s down. But he’s apparently back to taking pot shots at the IDW comics (which he has not and will not read) for attention on Twitter, so I figured some perspective was due 💖

[star-firework]

wow, i watched a clip of paramore's song for twilight and it oddly threw me into nostalgia memory mode

i was in 7th grade and i remember hearing all the girls in my class talk about twilight and so i decided to pick up a book

but it was new moon and only once was i half way into it i realized "hey this might be the 2nd book...............and why i dont know whats happening" or i figured i could assume, idk

i still really liked it and so i picked up the first book

oh FUCK i was HOOKED, i would wake up at 4 am before school just to read!!!!!! I also had just discovered nico nico douga and so i would play the medley songs and read fjdsklfjsl

i mentioned i would wake up to read and teachers thought i was a smart kid finally but little did they know i was just reading twilight

then i would search fanart or anything i could to get visuals since the movie was only announced and no previews released

i found stephenie meyers blog and would read whatever i could, later on I remember she had the rough draft of the only just released edward book?? I remember reading it in 2007!!! so crazy!! its like food fight (2012)

once the trailer was released, i was a bit disappointed in how they looked, much diff than how i imagined, especially jacob!!!!! idk, i thought jacob in the first movie had such a distracting wig on so i didnt like his design LOL the later movies i was like hell YES

i was a jacob girl and my mom became a edward girl after the movies

i got the first round of twilight shirt merch with alice on it and a thin ass jacket with twilight on the back. alice's hair was becoming popular and i really wanted it too. I think I ended up getting her cut but obviously her hair is styled so my hair instead just looked like an avon lotion MLM sales lady...

The next few movies my mom was actually the one who would get us midnight screening tickets with her friend. i didnt even have to ask LOL! she was so into it, such a phenomenon

afterwards we would hit the kind-of-waffle-house and try to get sleep before school. For some reason couldnt miss it even tho we were out til 2 or 3 am lol

those years were such a rough, terrible, traumatic time in my life but the obsessions and internet roaming was some of the best times and memories.

i was also into gaia and would love walking around on the world, seeing cake-kun frozen on the waterfountain in the town square, and try to make friends and get a cool avi outfit

i remember someone named super? saia neko chan or something, i always thought of the shipping company, SAIA, and now I work w receiving from SAIA LOL, not a coincidence but a funny thought

iscribble.net was also around, i would DREAM, LITERALLY DREAM, of getting the full permission of all the tools once i drew enough or something like that. I was obsessed and would also wake up at 3-4 am just to draw. I wish wish WISH!!!!!!!!!!!!!!!!!!!!!! i had screen recorded the loading screen of my oldest draw room, "epic girls only"

we made an effort to never clear the board and let it have a history, an archive of our art. it would take foreeeeeeeeeevvvvverrrrrr but it was always so fun to watch our art over the years flash by and be erased and redrawn. there really wont be a time like that again i think, same with pretty much all the early internet era stuff like first era of youtube, tumblr, and twitter. they were just soooo different. tumblr wasnt callouty. youtube would let you edit the design of your channel like myspace and it was the best, the comments i would interact w were also different. I am now having kids today talk to my comments i made at their age on the same videos!??@?@?@ thats so crazy

a my melody opening video i commented on in 2007 or something is still up and so just a few months ago, young kids replied to the comment asking if i still am alive or old loooooooooooool so cool!!!!

interacting w the past and future in one

[pseudofaux]

I’m still working on requests, but I saw a hashtag over on Twitter I really liked (#OldContentOctober, started by enlightningbugs!) and have been pulling out old drafts to post every Friday this month. I plan to put up a few snippets in between those bigger posts. Some of what I’m posting is unfinished, but mostly they are just… old!

Two are up now on my Ao3:

October is a fall month where I live, so I went autumnal with these preview images for Twitter, but it’s really about the calendar so anything goes! I encourage you to make use of the OldContentOctober hashtag, too! It’s very freeing to feel like there’s a good time to bring this stuff out, and the word is content so this can be words, art, anything. ♥️

[immaturityofthomasastruc]

#10: Felix, Part 1: Introduction

Well, here we are. This is the big one.

This is what I consider be the worst episode of Miraculous Ladybug, because it is a complete microcosm of everything wrong with the show. Poor romance shenanigans, cheap recycling of past characters, Adrien and Gabriel whining about the loss of their mom/wife, and all of it driven by Astruc trying to push his agenda against a fictional character that he created. Well, sort of. Yeah, rather than talk about the episode itself, I want to to over the history of the character it's focusing on first, because you need to know to understand how insulting this episode is.

For those who don't know, one of the earlier drafts for Miraculous Ladybug gave it an anime-esque style as opposed to the CGI animation we got today. The dynamic between the characters who would become Marinette and Adrien was a lot different. Instead, the crush Marinette had on “Adrien” was much more blatant, with “Adrien” verbally turning down Marinette's advances instead of simply being oblivious to her crush.

Likewise, Ladybug and Cat Noir's dynamic was different than the final project. Instead of creation and destruction, Ladybug and Cat Noir's Miraculous has the powers of good and bad fortune respectively. Naturally, Cat Noir didn't want to wear a walking bad luck magnet, so his pursuits of Ladybug were motivated to get a kiss from the heroine so he can remove the ring, which he can't unless he gets said kiss.

The short preview is referred to by the Miraculous fandom as the PV, and has become the subject of several fanfics and AU's using the characters featured. While Marinette's counterpart was named Bridgette by the fans, Astruc officially named Adrien's counterpart Felix on Twitter. They're both like OC's shared by the fandom and are still popular to this day.

And ever since the official show started airing, Astruc had several opinions on Felix as a character. At one point, he said that even if he wasn't fit to be a main character, Felix was still an interesting character.

And then a month later, he said he wasn't an interesting character.

And then almost a year later, he said his dynamic with Marinette wouldn't work at all because Felix is a “weak character with cliché psychology”.

And a few weeks before the episode I'll be talking about aired, he said that Felix was flat-out evil.

Way to be consistent, Astruc.

Whenever someone asks about the PV, Astruc usually responds with scorn, saying how much he feels it wouldn't work like what we have now. I understand why Astruc doesn't like to talk about the PV, as nobody ever looks back fondly on their rough draft, but he always acts so negatively around PV fans as if they said they think Chloe isn't evil incarnate.

Yeah, about that last one...

Now, remember at the end of my “Animaestro” post, where I said I had a huge tangent saved for a later post, specifically on the footage used for the Ladybug movie?

Yes, despite saying how much he hated the PV, its artstyle, and the supposedly darker tone it was planning to take for years, he used footage of the PV for the in-universe Ladybug movie and framed his self-insert in “Animaestro” as being proud of his work that he supposedly spent three years on. There is no way that Astruc actually meant what he said in that episode all about his work, and the only reason he even touched the PV was so the animators didn't have to animate anything new for the movie footage.

Astruc, you really think you can claim that you actually like the PV after years of insulting anyone who brought up? Because after watching “Felix”, I don't think you're being honest here. You hate anyone who even mentions the PV because you see it as Miraculous Ladybug's awkward puberty phase. We're all embarrassed of the past, and we try to forget it, but it's not like someone mentioned an old girlfriend you had a bad breakup with. It's a simple animated short that shows a different way Miraculous Ladybug could have turned out. I have never heard of a creator who hates his own work like you do, Astruc.

As usual, I get that he doesn't like it, but Astruc just has to act like a jerk to anyone who brings up the PV because he didn't like it, yet is more than willing to take credit for it so he can look good.

So yeah, now that I've gotten that out of the way, I'm finally going to talk about “Felix” in my next post. Please pray for me as I try to explain how awful this episode really is.

Here’s Part 2

[pillowfort-social]

Community Update: September 2020

Hi Pillowfolks! It’s time for another Pillowfort Community update where we let you know what Staff have been doing behind the scenes, happenings within the community, and a preview of what’s in store for the platform.

Since July 2020 we have…

Added NSFW Labels to Communities

Added CAPTCHA technology to our payments page (details here)

Added a new filtering ability to filter posts from guest users.

Added the ability to ‘Like’ Comments.

Added Unfollow Button on the Followers Page.

Added Optional E-mail Notifications for Community Moderators.

Created Better Warning Pages for blocked content. 

Made improvements to both the Site Moderator and Community Moderators Panel.

Fixed a bug that caused posts to be missing on Home Feed.

Fixed the Report button in search results.

Community Stats:

As of September 2020, Pillowfort currently has over 99,900 registered users and 8,160 communities.

Welcome New Users!

Welcome to Pillowfort. We are so glad you are part of our community. If you haven’t yet, check out Pillowfort101 Getting Started Guide.

Developer Update

Our team held a meeting at the end of September to discuss our current developer pipeline. Like other small companies, we were met with unexpected challenges in 2020 due to the COVID-19 pandemic. Our founder, Julia Baritz, also had to briefly step away in the summer from their developer duties due to a family emergency. This changed our trajectory slightly on our upcoming site updates. In spite of all of the obstacles our team is still aiming for public release by the end of 2020. This is possible thanks to the generosity our community continues to provide. We are confident in launching free registrations for everyone as we finish developing our Premium Features Suite (this includes a separate portal for our Customer Service team to handle Premium Features Suite inquiries and a tool calculating & applying credit for users who have sent in donations in addition to the features themselves) which will enhance the user experience on Pillowfort.

In August we asked for feedback regarding our site-wide UI redesign. The response was loud and clear: our proposed changes did not align with what our community envisioned for user sidebars. We take your feedback very seriously. Our team is working with our designer to create another round of mockups for user sidebars. The revisions have put a slight delay on the launch of our site-wide UI redesign, however, it is important to our team that the proposed changes benefit our users. It is very possible the site-wide UI redesign may launch after official public release.

Our moderation team is in the final stages of finalizing our training program for volunteer moderators.  We will make another announcement soon with a definite date of when the volunteer moderation system launches.

In addition to the volunteer moderation system our team will also be releasing two-factor authorization, additional CAPTCHA technology, improvements to deactivation & deleted accounts, and a portal throttle daily registrations in the event of an overload to Pillowfort’s server capacity prior to public release.  We will be announcing our site updates as they are released on the platform. Stay tuned!

Upcoming Site Update

We are planning at least one more Site Update during the month of October. This update will include further improvements to community moderation, additional privacy settings, and additional bug fixes.

Terms of Service Revision Coming Soon

Our team will be releasing a small revision to our Terms of Service to help bring clarity for our community on one of our adult content clauses. We will elaborate how this clarification will be applied in our moderation decisions and address in advance some of the common concerns we anticipate in a separate announcement soon.

All questions regarding our Terms of Service can be sent to moderation@pillowfort.social

Help Us Keep the Lights On!

At Pillowfort, we do not receive any funding from venture capital or other outside investors because we are committed to keeping our user experience a priority, and not being beholden to outside interests. Pillowfort has been entirely user funded since the beginning. Because users are no longer required to pay for a registration link, we are largely dependent on donations to help us pay the bills until the release of our Premium Features Suite which is still in development.  We need your help. If you would like to support us, you can make a one-time or monthly payment to Pillowfort to help keep the lights on here. Any money donated to us now will be applied as a credit to your account when we release Pillowfort’s Premium Features Suite.

Follow Us on Social Media

Interact with Pillowfort Staff, ask questions, plus learn about upcoming features and more on social media.  We have recently launched an official Instagram page and plan to increase our social media activity this fall and winter.

Pillowfort: Staff Facebook: Pillowfortsocial

Twitter: @pillowfort_soc

Tumblr: pillowfort-social

Instagram: pillowfort.social

Coming Soon

Here’s a look at some of the exciting features, in no particular order, that our team is planning to make available before the end of 2020:  

Terms of Service Clarification.

More Community Privacy Options.

Volunteer Moderation System.

Official Public Release!

2 Factor Authentication.

Complete Site-Wide UI Redesign.

Coming in 2021:

Here’s a look at some of the larger scale improvements for the first half of 2021 & beyond

Search & Tagging Improvements.

Improved Mobile Browsing.

Premium Features Suite.

Media Kit Page

Monthly Donation Goal Page.

Multiple Account Management.

Queue & Drafts.

Improved general functionality & usability of the website.

A Special Thanks

Thank you all for your support and patience as we prepare to launch our platform for public release at the end of 2020. We recognize the importance of making Pillowfort readily available to everyone while other social media platforms continue to roll out further restrictions and are working around the clock to make this a reality.

As a reminder: Pillowfort is committed to creating a safe, user-friendly community for creators & fans alike. We do take all feedback to heart. Our team is constantly watching for feedback & suggestions within the BetaUsers community and on other social media channels in addition to the feedback we receive in e-mail. Thank you for continuing to share your feedback to help make Pillowfort even better.

Our team is eternally grateful for all of our users, both old and new, who have made Pillowfort their home in these uncertain times. Stay tuned for new features and improvements coming down the pipeline very soon!

Best, Pillowfort Staff

[mostlysignssomeportents]

20 years a blogger

It's been twenty years, to the day, since I published my first blog-post.

I'm a blogger.

Blogging - publicly breaking down the things that seem significant, then synthesizing them in longer pieces - is the defining activity of my days.

https://boingboing.net/2001/01/13/hey-mark-made-me-a.html

Over the years, I've been lauded, threatened, sued (more than once). I've met many people who read my work and have made connections with many more whose work  I wrote about. Combing through my old posts every morning is a journey through my intellectual development.

It's been almost exactly a year I left Boing Boing, after 19 years. It wasn't planned, and it wasn't fun, but it was definitely time. I still own a chunk of the business and wish them well. But after 19 years, it was time for a change.

A few weeks after I quit Boing Boing, I started a solo project. It's called Pluralistic: it's a blog that is published simultaneously on Twitter, Mastodon, Tumblr, a newsletter and the web. It's got no tracking or ads. Here's the very first edition:

https://pluralistic.net/2020/02/19/pluralist-19-feb-2020/

I don't often do "process posts" but this merits it. Here's how I built Pluralistic and here's how it works today, after nearly a year.

I get up at 5AM and make coffee. Then I sit down on the sofa and open a huge tab-group, and scroll through my RSS feeds using Newsblur.

I spend the next 1-2 hours winnowing through all the stuff that seems important. I have a chronic pain problem and I really shouldn't sit on the sofa for more than 10 minutes, so I use a timer and get up every 10 minutes and do one minute of physio.

After a couple hours, I'm left with 3-4 tabs that I want to write articles about that day. When I started writing Pluralistic, I had a text file on my desktop with some blank HTML I'd tinkered with to generate a layout; now I have an XML file (more on that later).

First I go through these tabs and think up metadata tags I want to use for each; I type these into the template using my text-editor (gedit), like this:

   <xtags>

process, blogging, pluralistic, recursion, navel-gazing

   </xtags>

Each post has its own little template. It needs an anchor tag (for this post, that's "hfbd"), a title ("20 years a blogger") and a slug ("Reflections on a lifetime of reflecting"). I fill these in for each post.

Then I come up with a graphic for each post: I've got a giant folder of public domain clip-art, and I'm good at using all the search tools for open-licensed art: the Library of Congress, Wikimedia, Creative Commons, Flickr Commons, and, ofc, Google Image Search.

I am neither an artist nor a shooper, but I've been editing clip art since I created pixel-art versions of the Frankie Goes to Hollywood glyphs using Bannermaker for the Apple //c in 1985 and printed them out on enough fan-fold paper to form a border around my bedroom.

As I create the graphics, I pre-compose Creative Commons attribution strings to go in the post; there's two versions, one for the blog/newsletter and one for Mastodon/Twitter/Tumblr. I compose these manually.

Here's a recent one:

Blog/Newsletter:

(<i>Image: <a href="https://commons.wikimedia.org/wiki/File:QAnon_in_red_shirt_(48555421111).jpg">Marc Nozell</a>, <a href="https://creativecommons.org/licenses/by/2.0/deed.en">CC BY</a>, modified</i>)

Twitter/Masto/Tumblr:

Image: Marc Nozell (modified)

https://commons.wikimedia.org/wiki/File:QAnon_in_red_shirt_(48555421111).jpg

CC BY

https://creativecommons.org/licenses/by/2.0/deed.en

This is purely manual work, but I've been composing these CC attribution strings since CC launched in 2003, and they're just muscle-memory now. Reflex.

These attribution strings, as well as anything else I'll need to go from Twitter to the web (for example, the names of people whose Twitter handles I use in posts, or images I drop in, go into the text file). Here's how the post looks at this point in the composition.

<hr>

<a name="hfbd"></a>

<img src="https://craphound.com/images/20yrs.jpg">

<h1>20 years a blogger</h1><xtagline>Reflections on a lifetime of reflecting.</xtagline>

<img src="https://craphound.com/images/frnklogo.jpg">

See that <img> tag in there for frnklogo.jpg? I snuck that in while I was composing this in Twitter. When I locate an image on the web I want to use in a post, I save it to a dir on my desktop that syncs every 60 seconds to the /images/ dir on my webserver.

As I save it, I copy the filename to my clipboard, flip over to gedit, and type in the <img> tag, pasting the filename. I've typed <img src="https://craphound.com/images/ CTRL-V"> tens of thousands of times - muscle memory.

Once the thread is complete, I copy each tweet back into gedit, tabbing back and forth, replacing Twitter handles and hashtags with non-Twitter versions, changing the ALL CAPS EMPHASIS to the extra-character-consuming *asterisk-bracketed emphasis*.

My composition is greatly aided both 20 years' worth of mnemonic slurry of semi-remembered posts and the ability to search memex.craphound.com (the site where I've mirrored all my Boing Boing posts) easily.

A huge, searchable database of decades of thoughts really simplifies the process of synthesis.

Next I port the posts to other media. I copy the headline and paste it into a new Tumblr compose tab, then import the image and tag the post "pluralistic."

Then I paste the text of the post into Tumblr and manually select, cut, and re-paste every URL in the post (because Tumblr's automatic URL-to-clickable-link tool's been broken for 10+ months).

Next I past the whole post into a Mastodon compose field. Working by trial and error, I cut it down to <500 characters, breaking at a para-break and putting the rest on my clipboard. I post, reply, and add the next item in the thread until it's all done.

*Then* I hit publish on my Twitter thread. Composing in Twitter is the most unforgiving medium I've ever worked in. You have to keep each stanza below 280 chars. You can't save a thread as a draft, so as you edit it, you have to pray your browser doesn't crash.

And once you hit publish, you can't edit it. Forever. So you want to publish Twitter threads LAST, because the process of mirroring them to Tumblr and Mastodon reveals typos and mistakes (but there's no way to save the thread while you work!).

Now I create a draft Wordpress post on pluralistic.net, and create a custom slug for the page (today's is "two-decades"). Saving the draft generates the URL for the page, which I add to the XML file.

Once all the day's posts are done, I make sure to credit all my sources in another part of that master XML file, and then I flip to the command line and run a bunch of python scripts that do MAGIC: formatting the master file as a newsletter, a blog post, and a master thread.

Those python scripts saved my ASS. For the first two months of Pluralistic, i did all the reformatting by hand. It was a lot of search-replace (I used a checklist) and I ALWAYS screwed it up and had to debug, sometimes taking hours.

Then, out of the blue, a reader - Loren Kohnfelder - wrote to me to point out bugs in the site's RSS. He offered to help with text automation and we embarked on a month of intensive back-and-forth as he wrote a custom suite for me.

Those programs take my XML file and spit out all the files I need to publish my site, newsletter and master thread (which I pin to my profile). They've saved me more time than I can say. I probably couldn't kept this up without Loren's generous help (thank you, Loren!).

I open up the output from the scripts in gedit. I paste the blog post into the Wordpress draft and copy-paste the metadata tags into WP's "tags" field. I preview the post, tweak as necessary, and publish.

(And now I write this, I realize I forgot to mention that while I'm doing the graphics, I also create a square header image that makes a grid-collage out of the day's post images, using the Gimp's "alignment" tool)

(because I'm composing this in Twitter, it would be a LOT of work to insert that information further up in the post, where it would make sense to have it - see what I mean about an unforgiving medium?)

(While I'm on the subject: putting the "add tweet to thread" and "publish the whole thread" buttons next to each other is a cruel joke that has caused me to repeatedly publish before I was done, and deleting a thread after you publish it is a nightmare)

Now I paste the newsletter file into a new mail message, address it to my Mailman server, and create a custom subject for the day, send it, open the Mailman admin interface in a browser, and approve the message.

Now it's time to create that anthology post you can see pinned to my Mastodon and Twitter accounts. Loren's script uses a template to produce all the tweets for the day, but it's not easy to get that pre-written thread into Twitter and Mastodon.

Part of the problem is that each day's Twitter master thread has a tweet with a link to the day's Mastodon master thread ("Are you trying to wean yourself off Big Tech? Follow these threads on the #fediverse at @pluralistic@mamot.fr. Here's today's edition: LINK").

So the first order of business is to create the Mastodon thread, pin it, copy the link to it, and paste it into the template for the Twitter thread, then create and pin the Twitter thread.

Now it's time to get ready for tomorrow. I open up the master XML template file and overwrite my daily working file with its contents. I edit the file's header with tomorrow's date, trim away any "Upcoming appearances" that have gone by, etc.

Then I compose tomorrow's retrospective links. I open tabs for this day a year ago, 5 years ago, 10 years ago, 15 years ago, and (now) 20 years ago:

http://memex.craphound.com/2020/01/14

http://memex.craphound.com/2016/01/14

http://memex.craphound.com/2011/01/14

http://memex.craphound.com/2006/01/14

http://memex.craphound.com/2001/01/14

I go through each day, and open anything I want to republish in its own tab, then open the OP link in the next tab (finding it in the @internetarchive if necessary). Then I copy my original headline and the link to the article into tomorrow's XML file, like so:

#10yrsago Disney World’s awful Tiki Room catches fire <a href="https://thedisneyblog.com/2011/01/12/fire-reported-at-magic-kingdom-tiki-room/">https://thedisneyblog.com/2011/01/12/fire-reported-at-magic-kingdom-tiki-room/</a>

And NOW my day is done.

So, why do I do all this?

First and foremost, I do it for ME. The memex I've created by thinking about and then describing every interesting thing I've encountered is hugely important for how I understand the world. It's the raw material of every novel, article, story and speech I write.

And I do it for the causes I believe in. There's stuff in this world I want to change for the better. Explaining what I think is wrong, and how it can be improved, is the best way I know for nudging it in a direction I want to see it move.

The more people I reach, the more it moves.

When I left Boing Boing, I lost access to a freestanding way of communicating. Though I had popular Twitter and Tumblr accounts, they are at the mercy of giant companies with itchy banhammers and arbitrary moderation policies.

I'd long been a fan of the POSSE - Post Own Site, Share Everywhere - ethic, the idea that your work lives on platforms you control, but that it travels to meet your readers wherever they are.

Pluralistic posts start out as Twitter threads because that's the most constrained medium I work in, but their permalinks (each with multiple hidden messages in their slugs) are anchored to a server I control.

When my threads get popular, I make a point of appending the pluralistic.net permalink to them.

When I started blogging, 20 years ago, blogger.com had few amenities. None of the familiar utilities of today's media came with the package.

Back then, I'd manually create my headlines with <h2> tags. I'd manually create discussion links for each post on Quicktopic. I'd manually paste each post into a Yahoo Groups email. All the guff I do today to publish Pluralistic is, in some way, nothing new.

20 years in, blogging is still a curious mix of both technical, literary and graphic bodgery, with each day's work demanding the kind of technical minutuae we were told would disappear with WYSIWYG desktop publishing.

I grew up in the back-rooms of print shops where my dad and his friends published radical newspapers, laying out editions with a razor-blade and rubber cement on a light table. Today, I spend hours slicing up ASCII with a cursor.

I go through my old posts every day. I know that much - most? - of them are not for the ages. But some of them are good. Some, I think, are great. They define who I am. They're my outboard brain.

[rpgsandbox]

Forge your legacy in the award-winning setting of the Iron Kingdoms with the celebrated 5th edition roleplaying game rules.

                                        (Delivering September 2021)

Embark upon a journey of adventure and intrigue in a world where steam power and gunpowder meet sword and sorcery. Armed with mechanika and accompanied by mighty steamjacks, explore the soot-covered cities of the Iron Kingdoms and the aftermath of the otherworldly invasion of the infernals.

Take on the persona of unique character classes, like the gun mage, who combines powerful magic with a deadly acumen for firearms, or the steamjack-commanding warcaster, who can command 10-ton autonomous machines of war with just a thought. Explore a fantastic world rebuilding itself after an apocalypse as it marches onward with its industrial revolution.

The Iron Kingdoms possess a rich history—and a tumultuous future—full of unique monsters, deities, heroes, and villains.

More than a thousand years ago, the land that is now called the Iron Kingdoms was western Immoren, a mire of warring human city-states. Then came the Orgoth, conquest-driven imperialists from beyond the sea who laid low the cities of man with forbidden magic and changed the face of western Immoren forever. The Orgoth Empire occupied the land for six hundred years before the people of Immoren banded together to defeat the invaders and drive them back across the sea from whence they came. While the rebel armies kept the peace, their leaders convened in a city called Corvis. This Council of Ten drafted the Corvis Treaties after weeks of furious debate, and the Iron Kingdoms were born.

Strictly speaking, the term “Iron Kingdoms” refers to the lands of humanity, those five kingdoms that signed the Corvis Treaties: Cygnar, Khador, Llael, Ord, and the Protectorate of Menoth. Other nations of western Immoren are commonly included in that description, although they took no part in the treaties. In the frigid north is the dwarven kingdom of Rhul. To the northeast lies the mysterious homeland of the elves, Ios. The last kingdom informally included when speaking of the “Iron Kingdoms” is the hostile island nation of Cryx, ruled over by Lord Toruk, the Dragonfather. All these nations—and many more—share the continent of Immoren.

The Orgoth were driven from western Immoren more than four hundred years ago, but the decisions made during the rebellion still echo through the world. There are many strange legends from the last days of that war—tales of dark, mysterious allies who helped drive off the invaders. Some say it would have been impossible to defeat the Orgoth without this help, that the rebel leaders had to make dangerous deals with infernal powers. These tales have proven true, and the Iron Kingdoms have recently been irrevocably changed by the Claiming, an attempt by these infernal creatures to take the payment they have long been owed—an unfathomable number of souls.

Full. Metal. Fantasy.

Delve into the award-winning world of the Iron Kingdoms with the latest edition of the Iron Kingdoms Role Playing Game from Privateer Press. Iron Kingdoms: Requiem combines this fantastic setting with the newest edition of the world’s most popular roleplaying game.

Inside this book you’ll find the history of the Iron Kingdoms and information describing the current state of the world following the Claiming. Alongside these chapters is an extensive gazetteer providing detailed information on the most notable of the world’s unique and fascinating locations.

When making a character, you’ll be able to choose from many of the familiar countries and cultures of the setting. Whether you want to be a human, gobber, trollkin, Rhulic dwarf, ogrun, Iosan, or Nyss elf, this book provides all the rules that make these different peoples unique. When choosing a class, there are options for many you’re already familiar with, from the stalwart man-at-arms fighter to the free-flowing monk of the Order of the Fist. Beyond these are brand new rules for playing the characters that make the Iron Kingdoms such a memorable setting. These new classes include, among others, gun mages, arcane mechanics, combat alchemists, and warcasters.

Alongside these options are new feats, spells, and backgrounds to make your characters feel even more a part of the world of the Iron Kingdoms.

Finally, within the pages of Iron Kingdoms: Requiem are extensive rules for the arcane technologies of the setting. These rules cover subjects from firearms and mechanika, like the galvanic arms and armor of the storm knight, to the mighty warjacks that accompany warcasters into battle.

"Before the Iron Kingdoms became a land dominated by industry and machines, it was the monsters that defined it."

— Professor Viktor Pendrake, author of the Monsternomicon

In the Iron Kingdoms peril lurks at every turn, as fearsome and terrifying creatures both great and small look to turn unwary adventurers into their next meal or enslave them beyond death. From ferocious packs of ravenous burrow-mawgs to deadly ethereal pistol wraiths that haunt the back roads and forgotten cemeteries, and the fiendish Infernals that still stalk the shadows, the Monsternomicon is filled with creatures both mundane and supernatural to challenge even the most experienced adventuring parties.

This legendary tome includes over 80 monsters, new and old, steeped in over 20 years of worldbuilding, now appearing for the first time with 5th Edition rules.

          Click to go to the Update featuring these two preview pages.

Discover the origins of the legend that started it all...

Twenty-one years ago, the Iron Kingdoms was introduced through an acclaimed series of adventures known as The Witchfire Trilogy. Now, the legend continues in the newest edition of the Iron Kingdoms RPG, written for 5e.

A girl, a sword, and a secret...

As a child, she lost everything when her mother was wrongfully executed for witchcraft and her soul was consumed by the most ancient of all weapons, the black blade known as the Witchfire. Hellbent to spare her mother an eternity of torture, Alexia Ciannor stole the accursed sword and set out to unlock its dark secrets. With the voices of the Witchfire's imprisoned souls raging in her mind, Alexia would eventually unlock the power of the Infernal artifact and command an army of undead to vanquish the villains seeking to use the sword to once again subjugate the Iron Kingdoms.

Nearly two decades later, the veteran of countless wars, Alexia returns to Corvis, the City of Ghosts, in search of help from the malignant forces that seek the return of the coveted sword. The Witchfire's true purpose is finally revealed, and only the courage and sacrifice of a small group of unlikely heroes can save Alexia from the brink of madness and prevent the infernal weapon from fulfilling its apocalyptic legacy.

The Legend of the Witchfire adventure will take players from level 1 to level 4, and is the perfect introduction to the action-packed and intrigue-filled world of the Iron Kingdoms!

==============================================

Kickstarter campaign ends: Fri, February 12 2021 7:59 AM UTC +00:00

Website: [Privateer Press] [facebook] [twitter] [instagram]

[shuahoonie]

you. [tom holland]  - one.

PAIRING: tom holland x female!celebrity!reader

SUMMARY: ah, to be young and in love. it sounds great if only you and tom were actually dating out of pure love and not for the sheer reputation of your careers. it also should be great if you two actually got along, but life isn’t that easy.

WARNINGS: mostly swearing! mentions of alcohol! a bit of fluff, a bit of angst. it’s haters to lovers / fake dating au so take that information as you wish! 

WORD COUNT: 1013 

SONG INSPO: tonight i’m getting over you - carly rae jepsen 

A/N: hello babes and happy new year! what a way to start the new year with such angst hey? this is the first part of this series that’s been sitting in my drafts for months now! i’m just a huge sucker for fake dating aus and not to mention, haters to lovers au lmao so i hope you guys enjoy this one! 

gif credits: @stallingdemons  

vanessa’s masterlist | preview | two | three | four | five | six | seven | eight | eight.5 [interview excerpt}

The day Zoë, your manager, pranced inside the office with a huge smile plastered on her face you knew your day was going to start off like a roller coaster.

There can only be two reasons that make Zoë smile: one, she got laid. How you knew that information was beyond you but it was a piece of fairly-valuable information nonetheless; two, she found damage-control whenever things got out of hand regarding you and the media.

You were hoping for the former.

See, last night was a nightmare for both you and Zoë, but mainly for Zoë. You weren’t really expecting things to get out of hand. Although you and alcohol don’t really go well together, it doesn’t stop you from taking in the pleasure that alcohol brings.

If Amy Santiago (from the show Brooklyn 99) had different personas for every drink she’d consumed, people would have to start calling you Amy now.

You had three drinks; three alcoholic drinks that rushed through your system. Three-drink-y/n was easily the snarkiest one, the bitchiest out of the three.  

You met up with a few old friends at a club that night, as you were meaning to catch up with them for quite some time now. Since your schedule was always in shambles and how your friends don’t have a lenient schedule either, it took you at least two months to plan this and you were glad you were able to hang out with people who kept you grounded.

A lot happened that night: one, you found out your friend was engaged.

“Wait a minute, we don’t talk for a month and you’re telling me you’re engaged?!” You asked Olivia in disbelief, as the ring on your friend’s finger glistened under your phone’s flashlight.  “Did you know about this?” You turned and asked Veronica who mirrored your expression.

“Uh- no? Do you think I’d be shocked if I knew?!” Veronica replied, equally shocked by the revelation that their friend made. “Livy, I thought you and Joshua were just ‘friends who occasionally hook up?’ I didn’t even know you were dating.” Veronica asked, putting air quotes on “friends who occasionally hook up.”

“Friends don’t fuck.” You commented before chugging down your martini and shortly regretting it- but you needed the kick.

Veronica looked at you pointedly but you just shrugged at her. “It just sort of happened,” Olivia mumbled.

“Oh god- you’re not being forced into marriage, right?”

“Veronica!” You gasped at your friend, who in turn just raised both of her hands in defence. “Well, you aren’t, right?” You then turned to Olivia.

Olivia rolled her eyes before saying, “You two are despicable.” She took a sip of her margarita then carried on “But no, I am not being forced into marriage. I’m twenty-three, I’m not a child-bride.”

Two, your friends had to dish you out on the current state of your love life.

“What’s all this buzz that I keep hearing regarding you and Spider-man?” Veronica asked you, with a teasing look on her face.

“God, that’s nothing.” You answered with a frown on your face. You signalled the bartender for another round of martinis. “People took it out of proportion.”

“Wait, I’m lost. What happened?” Olivia asked, finishing her drink and ready to grab another one.

“I was doing an interview for the Alchemist and they asked me a “would you rather” question. They asked me if I’d rather go on a date with Tom Holland’s Peter Parker or Tobey MacGuire’s. I answered Tom because I just saw Infinity War that time and he was brilliant, so automatically, I’d say his name.” You explained.

“See, this is why I can’t live your life, Y/N.” Veronica pointed out as you shrugged. She had every right to say so because sometimes, you really do wish that you didn’t venture into this route in the first place. “I’d never trade law school for that. Even if law school makes me want to claw my eyes out all the time.”

“Oh, please don’t give up law school, Ronnie. You are the only thing keeping our dreams alive.” You almost begged only to make Veronica laugh.

“Never too late to pick up that political science degree, babes.” Veronica cajoled. “Which reminds me, when’s your graduation again, Liv?”

“Oh, last week of May. Save the date, please?” Liv answered and you already pulled up your calendar to add a reminder in your schedule. You need to remember to tell Zoë about that.

Three, you bumped into Spider-man himself, Tom Holland.

“Shit-I’m sorry! I wasn’t looking and-” You quickly apologized as you collided bodies with someone only to look up into a pair of beautiful brown eyes. “Oh, Tom, I’m sorry.” You carried on apologizing, though you were internally grateful that your glass of water didn’t spill on him. In fact, the glass was just as full as it did before.

“It’s fine.” He mumbled and dusted himself off. “You’re Y/N, right?”

“Yeah,” You smiled. “I’m surprised you know my name. I’m so-”

“Yeah, I mean I should know the person who leeches off someone for fame. It’s the least I could do for myself.”

You had your eyebrow raised and your blood was boiling. You weren’t drunk. In fact, you have enough alcohol to garner some courage for the next thing you did.

“Asshole.” You spat as you put down the once filled glass on the table beside you. You took one last look at Tom Holland who was soaking wet.

People were staring, and you couldn’t blame them. Y/N, a rising celebrity, just threw water at Tom Holland. Imagine the news.

One thing led to another and then all of a sudden, you were trending on Twitter. It was a PR nightmare.

At this point, you’re practically begging to all of the gods to tell you that Zoë got laid. See, when things go out of hand, your manager tends to go overboard with the resolutions and if the smile on Zoë happens to be about your little accident, you already know you’re fucked.

[lastsonlost]

Oh gasps, I'm shocked.

Who would have thunk it?

The story:

Updated with Sunday figures: In the wake of Terminator: Dark Fate’s failure at the B.O., and Paramount’s recent decision to make Beverly Cops 4 for Netflix, we have the further breakdown of cinema IP in Sony’s Charlie’s Angels reboot, which is tanking with a God-awful $8.6M domestic opening, $27.9M worldwide (from 26 markets), 3 Stars on Screen Engine-Comscore’s PostTrak, and a B+ Cinemascore.

The Elizabeth Banks-directed-written and produced pic is also opening in 27 offshore markets,

China being one where it’s also bombing,

with a $7.8M 3-day take in third place behind No. 1 local title Somewhere Winter ($13.1M).

All of this is primed to further spur a WTF reaction and anxiety among film development executives in town in regards to what the hell exactly works in this have-and-have-not era of the theatrical marketplace. Many will make the hasty generalization that old, dusty IP doesn’t work, or is now deemed too risky when it’s not a superhero project. However, moviemaking is an art, not a science, and annoying as it might sound, good movies float to the top, and this Charlie’s Angels reboot didn’t have the goods going back to its script.

<Maybe somebody should have been working on a good story instead of pushing an agenda.

We’re going to break down for you what went wrong in another graph, but we don’t want to bury the success of Disney’s release of Fox’s James Mangold-directed Ford v Ferrari, which looks to be coming in at $31.5M, well ahead of the $20M+ many were seeing, with an awesome A+ CinemaScore and 4 1/2 stars and a 68% definite recommend on Screen Engine/Comscore’s PostTrak. After a franchise-laden summer which buried originals, now an original pic is sticking it to the IP.

When it comes to the bombing of Charlie’s Angels, the takeaway is this is what happens when you have IP, but there’s no reason for telling the story.

In the walk-up to developing Jumanji: Welcome to the Jungle, and in the wake of its near $1 billion success, a fever broke out at the Culver City lot in the post-Amy Pascal era to reboot former Sony franchises or extend them, i.e. Zombieland: Double Tap (well over $103M at the global B.O. now), the upcoming Bad Boys 3, and, of course, Spider-Man, the latter electrified by Disney’s Marvel. Development studio executives define their being by getting films greenlit, and whenever that happens, it’s 90% of the job.

And the pressure is on to fill a 10-12 picture annual slate in a world where Disney vacuums up all the best IP. A third Charlie’s Angels with McG directing and Drew Barrymore, Cameron Diaz and Lucy Liu starring, wasn’t made immediately after the second chapter, 2003’s Full Throttle, as the sequel turned out to be 29% more expensive than the 2000 original at $120M, and also made less worldwide, $259.1M to $264.1M. With Elizabeth Banks coming off her hot feature directorial debut with Universal’s Pitch Perfect 2 (which over-indexed in its stateside opening at the B.O., going from $50M projections to $69.2M, and finaled global at $287.1M); after she expressed interest in September 2015 in taking on a Charlie’s Angels reboot with a modern feminist spin, there was no question in Sony’s mind that the project should move forward.

<Yeah Sony, how's that working out for you? You think they would have learned their lesson...

Guess not.

Back to the story.....

However, there were script problems, I hear, that could never be resolved. A few months after Banks boarded, Evan Spiliotopoulos came on to write. By the time cast was assembled in July 2018, Banks had penned the latest draft off a script by Jay Basu (The Girl in the Spider’s Web), and earlier drafts by Craig Mazin and Semi Chellas. Andrea Giannetti oversaw the project on the lot. However, I hear that the script for Charlie’s Angels didn’t really attract top talent, i.e. Jennifer Lawrence, Emma Stone and Margot Robbie (a trio that would have potentially jazzed up business). Hence, why the production opted to go with largely a fresh face cast outside of Kristen Stewart. While we overwrite that stars mean nothing at the box office, they do, sometimes, when it comes to propping IP, and unfortunately and arguably, no one in Middle America knows who British actress Ella Balinska is, and they’ve only became recently acquainted with Naomi Scott from Disney’s Aladdin and Lionsgate’s Power Rangers. Stewart, who is hysterical in the movie and even needed more funny bits, is in a different place in her career professionally, publicly, and privately. It’s unfair to think that she could delver her Twilight fans now.

Had she done Charlie’s Angels promptly in the swell of the Twilight whirlwind (like Snow White and the Huntsmen) then maybe it would have popped.

But she has largely been dormant from popcorn wide releases for the last seven years since 2012’s Twilight: Breaking Dawn – Part 2, busy excelling and wowing in specialty awards season and festival fare like Clouds of Sils Maria, Still Alice, and this year’s Seberg, to name a few. Stewart needed to be paired with equal or bigger-name actresses.

was a one quadrant movie, eyed at women 13-39, especially given its lack of action scenes, and wisely limited their exposure to what I hear is 50%, with co-finance partners 2.0 Entertainment and Perfect World. Sony claims the budget is $48M net; we’ve heard in the mid $50Ms. Tax incentives were taken in the pic’s Berlin and Hamburg shoots. Perhaps Sony should have spent more, because Charlie’s Angels biggest problem is that it has very low-octane, we’ve-seen-it-all-before action scenes. Heck, there’s more action in a 1980s Chuck Norris movie. After watching Charlie’s Angels earlier this week, I put the first two McG movies on Netflix, and it was like watching Star Wars in comparison to this reboot, with his sharp production design, camera movements, unique action, and comedy set pieces, and, of course, the first movie blasted Sam Rockwell out of a cannon. Understand that the first two movies in the series were able to compete and hold their own in an action space where, yes, Mission: Impossible and Fast & Furious (the first two films came out in 2001 and 2003) also thrived. Mission and Fast sequels distinguish themselves on multiple 10-minute action sequences that we’ve never seen before on screen; it doesn’t matter who the villain is. This Charlie’s Angels doesn’t have that. And not even a super-duper hit song “Don’t Call Me Angel” for the movie from Ariana Grande, Miley Cyrus, and Lana Del Ray can trigger lines at the multiplex; the music video clocking over 116M views on YouTube, per entertainment social media monitor RelishMix.

Some will claim that Banks’ version was never intended to emulate the meat and potatoes version of McG’s films; that this version was expected to be more comedic, and more feminist. Unfortunately, after McG set the table here with the franchise as an action film, you can’t reverse it. You can only outdo him. And with a franchise movie like Charlie’s Angels, you can’t make it for a one quadrant audience.

The film arrived on tracking with a $12M-$13M start, and really never budged, but sank. That means marketing didn’t work. I heard that a $100M global P&A was first planned on Charlie’s Angels, with the studio now reducing that overall cost greatly to around $50M and pulling back on expensive ads. Another hurdle in activating the young girl demo is that much of the pic’s cast isn’t on social media. RelishMix says that Banks is the social media star with over 6.6M followers across Facebook, Twitter, and Instagram, with Scott counting 3.4M.

Sony kept pushing Charlie’s Angels, which in hindsight means there were development issues. In May 2017, a release date was announced for June 7, 2019. When the cast was locked down in July 2018, Charlie’s got moved to Sept. 27, 2019. In October 2018 when Warners pushed Wonder Woman 1984 from the first weekend in November to summer, Charlie‘s took over the autumn spot, which was the same exact place the original 2000 opened. However, when Terminator: Dark Fate moved onto the same first weekend in November, Charlie‘s relocated to this weekend as they vied for a China release which they ultimately got.

Charlie’s Angels drew a 66% female crowd, split between 36% over 25 and 30% under 25. But both demos respectively graded it low at 68% and 79%, with men at 35% giving it a 68% grade on PostTrak. Diversity breakdown was 52% Caucasian, 21% Hispanic, 14% Asian/Other, & 13% African American. Charlie’s Angels best markets were on the coasts and big cities. But again, nothing to brag about in Friday’s $3.2M gross, which includes $900K from Thursday and Wednesday previews.

Says RelishMix, which also foresaw this disaster approaching on social media chatter, “Angels is the latest example in a ‘woke’ effort to reboot a franchise that many were not all that interested in to start with. In fact, many references to the 2000 version get a call-out as a reason this one doesn’t seem to compare – whether it’s the cast or the action teased from the film.

And, as observed with other recent films, some action/adventure, unfortunately fans say they’re steering clear of this one because of its ‘girl power’ messaging.”

[radramblog]

More Inevitable Hot Takes- MTG Announcement Day edition

I only have myself to blame for this one. I forgot this was upcoming, and I went and blathered about dumb preview cards from most of a month ago anyway. Well, now I’ve got to spend two posts in one week talking about Magic cards. Woe is me?

Once a year, WoTC has a big day where they announce, like, everything for the next year’s releases. And with the picking up speed of set releases, there’s a lot there, and thereby I have a lot to talk about.

To be clear, I’ve deliberately avoided Magic Twitter and Magic Reddit for these announcements. Tis a silly pair of places.

Standard Sets 2022

In order:

Kamigawa Neon Dynasty is very concerning, as one of the people who’s a genuine big fan of the original Kamigawa block. The thing is, I like Kamigawa, with it’s spirits and artwork and samurai and the like. I like cyberpunk, with the aesthetic and the themes and the music. I’m not sure I’m going to like the two combined. We better see some fucking weird-ass spirits, and I’ll only be slightly annoyed if they’re cyber-ghosts or whatnot as long as they maintain that bomb-ass art design.

We have a new plane and a set to go with it, which is cool and nice. Urban Fantasy is a thing Ravnica already did, to be honest, but if I had to guess, Streets of New Capenna is going to be a much more low-fantasy, noir-y take on the genre. I think I saw something about Azra returning, which is cool. That one on the key art looks…very Ob Nixilis-y, though.

And then we’re going back to Dominaria and actually doing The Brother’s War, again? I think Urza block was about that arc, though the Dominaria United set might be like, before all that nonsense. They might have given details, I wouldn’t have seen them, I’m going based on someone’s TL;DR. I’m excited to finally have a Mishra card that isn’t the Time Spiral one, though I’m concerned about how they’re going to make an Urza and a Mishra that are both powerful enough for the iconic characters but not so powerful as to be dominant in the Standard they’ll be legal in.

So, so much Universes Beyond

I think the four Warhammer 40k precon decks is kind of exactly what I was hoping we were going to get for that particular crossover. Just enough to get fans happy and make some fun new cards, not enough that there’s a ridiculous influx of Tyranids into Magic’s annals. I’d be interested to see what regular Magic cards translate well into these decks, seeing as they’ll have to be 40k-ified.

I feel similarly about the Baldur’s gate Commander draft set. I remember fans of that particular D&D spinoff were frustrated with the lack of representation in AFR (I think Minsk was like the only thing they got), so now they have a whole set to work with. Ultimately, D&D is now already, and interminably a part of Magic’s multiverse, and more from those particular realms isn’t going to make anything super fucky. Also, Commander Legends was cool as hell, and this is going to be another one of those, so that’s a plus.

And…a Lord of the Rings set? Like, a full set? I’m assuming whatever got them 40K also got them rights to tabletop LOTR, seeing as Games Workshop has run the LOTR tabletop game for a while. Like with D&D, the medium-high fantasy of LOTR crosses over pretty well into Magic, so I’m not worried about that kind of cockup making things Feel Weird. I’m a little confused about the legality of the set, though, seeing as it’s in Arena, but not Standard legal, but it is Modern legal? What and why and what about Pioneer or Historic?

Secret Lairs

Few hits, few misses, though I remember seeing spoilers from a few that aren’t on this list. Presumably, the Art Series: Johannes Voss, Thomas M. Baxa, and Purrfection and Math is for Blockers were announced separately? Anyway.

Hits: The Kamigawa Ink cards look drop-dead gorgeous, holy shit. Add in the fact that I already play two of those cards and that the others are all cards I like? Might have to get that one. Math is for Blockers is a fun lineup though I don’t…really get the theme? Both Artist Series look incredible, though I’m not huge on the card lineups.

Misses: PURRFECTION would be great if it wasn’t apparently a convention exclusive and also if the art of cats were on cat cards. It’s cute as fuck, but eh. The old-format walkers are frustrating, but I’m not as against them as a lot of people are- like they’re ugly, but not worth throwing a fucking fit over. I weep for any new player staring one of these down, especially if they barely understand planeswalkers in the first place and/or haven’t seen one of these particular ones before. Also, the art is kinda just ugly.

And then there’s the Universes Beyond ones. Fortnite and Street Fighter, both with new cards that will eventually have regular versions (which leads me to wonder if TWD will do the same). There’s a clear attempt here to hit the zoomers and the boomers in the community, though the former probably won’t have the money to afford the Secret Lair if they’re burning all their cash on V-Bucks. It’s…not a great look? Like I’m not opposed to cartoony art styles (the Goblins Kaboom SL looked great!) but Fortnite’s in particular looks like dogshit in my eyes and I’m not looking forward to seeing it in a Magic frame. Street Fighter I’m more excited for, because I like Street Fighter, and because they confirmed Chun-Li is going to have multikicker which is kind of perfect. Obviously we’re going to have to see the cards, but in one case I’m dreading that, and in the other I’m welcoming it.

Other Cards

We have more Challenger Decks, for Pioneer this time. The decklists are already out, and they look pretty solid! The Challenger Decks have been pretty cool previously, a really solid set of lists that only needed a bit of tweaking to be FNM-viable, but they were held back by the fact that they were often released not long before rotation. With Pioneer being a non-rotating format, this is going to be great for getting people into the format.

Another Double Masters set is…egh. It’s another thing that’s not for me, I can’t afford to whale on that shit. With shipping and conversion those packs end up ludicrously expensive in Perth, and I’m pretty sure I only got to play with one the first time. Also, this one is going to have all the collectable nonsense of 2020/21 Magic, which is going to be A Lot.

And another Jumpstart. Eh. Don’t cock the shipping on this one up and it’ll probably be okay.

Commander Collection Black is here, and the list is already out. The Green one ended up way overpriced, but at least in this case the cards are all super playable. Actually, they were for Green too, I think, but hey there’s a Deluge reprint and a flip Lilli, so. I kinda miss the Signature Spellbook series already, though.

Finally, Unfinity. Another Un-Set. Unstable was a fucking incredible set, both on a comedic level and as one of the sickest draft formats in a long time, so I’m excited to see that one followed up. On the other hand, Unsanctioned kind of landed with a dull thud. Apparently though, they got some of the folks from LRR (among others) to help write names and flavour text for this set, and I love those guys to death, so I can at least guarantee the comedy element will be present for this one.

Other stuff?

Well we have a date for the Netflix series. I have a hard time believing it’s actually happening. When I first started playing was around when rumours and announcements were still happening regarding a full-on movie, and that basically didn’t go anywhere. So it’s a little surprising to have a solid, actual time frame for Magic Story Content in Video Form. I haven’t kept with the story for a fair bit at this point (since Dominaria, tbh), so I’ve got no idea if it’s been any good, and as to whether this will be any good. Considering apparently Gideon’s in the lead, my hopes aren’t huge.

The only other thing is Pins. I like Pins. I have a bunch of them on my bag. I would like to get more Magic pins. So this is good.

And that, I think, is the sum total of it. These announcements always end up with a combination of excitement, trepidation, and dread, but I think this is leading more on the positive end of that spectrum. There’s still way too many fucking sets, but I think that is largely at Hasbro’s feet. The money machine must keep churning, after all. Maybe someday Magic and WoTC as a whole will be able to unshackle themselves from that particular constraint, but I am not holding my breath.

[bawkrya]

ok so im just gonna pick at fr from a web designer pov because looking at this site on mobile will drive me into madness if they don’t fix it at some point. The rest of this post will go under a read more because it’s both super long and image heavy.

before i hit mobile though, I’m going to point out some things i just don’t personally like in general with the site design (and yes i am conscious that they are slowly updating to a new look)

this will come as a shock to no one, if you’ve seen previous web design related posts by others anyways, but i cant. stand this menu

[ID: A cropped screenshot of Flight Rising’s Main Menu]

fr, understandably, has a shit ton of links. it’s a petsite with lore and all that, whatever. The thing that bothers me specifically is the length of links and where some are placed.

1. i BELIEVE this counts as an accessibility issue where longer links kinda trap shorter links, goes into misclicks to other pages in the site, etc. etc.  2. i don’t think. the search link should be under library personally ? Maybe make it its own category. 

Dev Tracker & Media could go under this category, possibly add separate links to forum, player, and dragon searches with updated formatting

Dressing Room and Scrying Workshop could go under the “Play” category 

Forums can be it’s own category with possible subcategories being: Announcements & News, Help Center, and Flight specific discussion forum, maybe more 

Library category could then just be: Which Waystone, World Map, Game Database, and Encyclopedia.

Support should be it’s own category.

One thing on the shop category, and i hesitate to say this because im not CONFIDENT on this one, but I’m not sure Custom Skins exactly fits? or at least, it should be Purchase Gems -> Marketplace -> Custom Skins, not between crossroads and festive favors

Merch should probably go under purchase gems, and they should maybe uhh..... i guess change the name for it overall? because 1. “merch” alone does NOT look good with its placement, 2. its another actual money purchase thing and I think those should go on the same page

Along with that, in putting merch under that page, they could put previews of the merch with a button to go purchase instead of immediately going to their merch site (which to begin with it should open in a new tab if its going to a separate site?!!)

then this is a mix of both not liking it on laptop OR mobile, 

[ID: A cropped image of Flight Rising’s Clan Home page. The Bestiary link has a bright red box highlighting it]

Obviously these pages are old, but the graphics need to be updated, and there needs to be graphics for every link in the category-- seeing with this category alone there isn’t a graphic for the Bestiary already. On top of this they need to be in link order preferably. if they had a normal dropdown menu for mobile, mobile users wouldn’t be able to access the bestiary unless FR wanted to be STUPID and do further dropdown menus w their 200 links which would be STUPID and CLUTTERED

also in my opinion the Messages link isn’t necessary since we have the button at the top. If they put it there as an excuse for accessibility, they can just. add text to the buttons. like here’s a scuffed mockup but. 

[ID: Screenshot of Flight Rising’s Messages, Friend Requests, and Alerts icons edited to have Messages, Friends, and Alerts written next to the icons]

for the friends tab, they could prolly add friend requests at the top like they do for baldwin alerts, then have an online status thing for friends below with buttons to PM, trade, delete friend, etc. I think you’re already able to disable the online status thing with page visibility? but like, make those options separate if you dont wanna block off your entire page, but dont want to be seen online.

For mobile, they can just make the icons bigger.

then. i THINK. last thing on laptop site. 

[ID: A screenshot of Flight Rising’s Social Media links with old Logos to YouTube, Tumblr, Reddit, Twitter, Facebook, and DeviantArt]

update these fucking icons they are personally killing me, none of these logos are in use anymore (ALSO UPDATE THE TUMBLR THEME JESUS CHRIST)

ok now for mobile. what this post was originally for.

-

as you all know, if you visit this site on mobile, there is literally no form of a mobile version for it. It is just a condensed version of the computer version of the site which is...Very Bad! 

Most of a sites visitors are going to be through mobile, i forget the exact percentage, but like it’s almost a given that people more readily have their phones with them than their laptop or tablet (which. im not going to bother with the tablet version, you can apply both computer and mobile criticisms to the site). in fact a lot of my time on FR is through mobile since I’m not at home 24/7 and I don’t tote my laptop around. Playing this game through it’s mobile site is Not Fun! 

I like, won’t be too pissy or anything bc like. it’s a petsite and I’m making this post for fun. but also like it was made in 2014? 2013? so I’m not going to be u kno. angry. but it nearing the point of ten years with this site and there still isn’t a mobile friendly version. that is lazy. If anything, if they wanted a site update to be the anniversary thing, they should’ve made that update be

Mobile update as primary thing, because designing the site for mobile is a shit ton of work with the amt of pages they have to work through.

Dragon Profile page update (*LOUD SIGH*)

Clan page update

Hoard update (i have thoughts on this too but i wont dive into it this post)

Purchase Gems page update

Dev Tracker update

Forums update

“but that’s a lot to update” well. that wouldve made the anniversary being a website update considerably more worth it, because in my opinion having the dragon profile pages be the ONLY thing to happen during the anniversary was a waste and a bad decision, because other website updates are just. normal whatever updates. it made the anniversary SUPER underwhelming especially bc the past ones (to my knowledge) have only been major game mechanic updates like the eye & ancients update and i believe? the color wheel expansion was an anniversary thing? someone can correct me on that I haven’t played this game as long as most LMAO

as for how i personally would situate the mobile site. shitty graphic time, bc im not putting too much effort into this (warning this will be LONG)

[ID: Image 1. A crudely put together screenshot of the top half of a Mobile View of Flight Rising with comments on either side. It ends with the Latest News segments “Riot of Rot” and “Hoard & Vault Revamp”

Comment 1, Left side: “no banner make it a solid color that matches the burger menu. size the logo correctly etc. Comment 2, Right side: “burger menu w ONLY the categories, goes to the homepages of the categories” Comment 3, Right side: “TWO latest news posts, maybe a button to go see earlier news (which may b something to add to comp too)” Comment 4, Right side: “center dates and comments maybe idfk”

At the bottom of the image there is an added “button” that says “more updates button”]

[ID: Image 2. The bottom half of the mobile view with comments on the left side. There is a put together white box that has the Plague Flight Logo and “plage dom !” written in it. Below it are the Site Status, Random Dragon, and Exalt Bonuses boxes from the site. Underneath that is a red box with “ad space” in the center, with a red footer at the bottom.

The footer contains, “social media! (specifally made icons for site)”, “better formatted links”, and “copyright”.

Comment 1: “idk what they would caption it but the flashy can go here.” Comment 2: “ONE site status update if they keep this format” Comment 3: “probably center these links. i dont know what they use to build the site but im sure you can make icons for social media on just about anything unless this is all handcoded. just. make small icons it takes two seconds and you can copy+paste”]

i dont even want to THINK about how the lair and all that would look on mobile, it was a chore doing the home page alone SOBS

anyways, in ref to these images though--

this is just slapped together and definitely wouldn’t be a final draft, it could use some tweaking

the flashy i refer to is the box that’s above the user box that says what flight is in dom, what festival is going on, etc.

when i mention building the site and “you can make icons for social media on just about anything” im referring to wordpress, wix, whatever is used to format the site. I really only have experience with wordpress thru elementor and divi (so far) so im not CERTAIN about other places but I feel it would be pretty common to have that tool. if not, making icons (or snatching some) is rlly not that hard, probably only costly depending on what their webdesigner(s) charge for icons

I’m not like certain on who does what, how the webdesigner(s) work with/price this site, etc. etc. this is just. going off of my own knowledge. and in general this whole post is my own knowledge abt shit i did no further research to FRs team specifically 

i think this is basically it, i’ll reblog with more if i think of anything, but feel free to add things yourself or in general discuss things. again this post was made for fun so im not taking it seriously or demanding for these changes to be made, just personal annoyances and preferences.

This is also my first time doing picture IDs for a post so if I need to correct anything or the like let me know and I’ll edit it in the post!

[son-of-alderaan]

There’s a desert valley in southern Jordan called Wadi Rum, or sometimes “the Valley of the Moon.” There are stone inscriptions in Wadi Rum that are more than 2,000 years old. Lawrence of Arabia passed through there during the Arab Revolt against the Ottoman Empire. More recently, J. J. Abrams went there to film parts of the latest Star Wars movie, The Rise of Skywalker, because it’s largely uninhabited and starkly beautiful and looks plausibly alien, and one of the things that has always made the Star Wars movies feel so real—as if they had a real life of their own that continues on out beyond the edges of the screen—is the way they’re shot on location, with as few digital effects as possible. George Lucas shot the Tatooine scenes from A New Hope in southern Tunisia. For Skywalker, it’s Wadi Rum.

They don’t do it that way because it’s easy. Abrams and his crew had to build miles of road into the desert. They basically had to set up a small town out there, populated by the cast and extras and crew—the creature-effects department alone had 70 people. The Jordanian military got involved. The Jordanian royal family got involved. There was sand. There were sandstorms, when all you could do was take cover and huddle in your tent and—if you’re John Boyega, who plays the ex-Stormtrooper Finn—listen to reggae.

But in a way that’s the whole point: you’re out there so the world can get up in your grill and make its presence felt on film. “It’s the things that you can’t anticipate—the imperfections,” says Oscar Isaac, who plays the Resistance pilot Poe Dameron. “It’s very difficult to design imperfection, and the imperfections that you have in these environments immediately create a sense of authenticity. You just believe it more.” When Isaac arrived in Wadi Rum for his first week of shooting, Abrams had set up a massive greenscreen in the middle of the desert. “And I was like, ‘J. J., can I ask you a question? I notice we’re shooting on greenscreen.’ And he’s like, ‘So why the hell are we in the desert?’ And I’m like, ‘Yeah!’ And he said, ‘Well, because look: the way that the sand interacts with the light, and the type of shots you would set up—if you were designing the shot on a computer you would never even think to do that.’ There’s something about the way that the light and the environment and everything plays together.” It’s that something, the presence and the details and the analog imperfections of a real nondigital place, that makes Star Wars so powerful.

It was powerful enough to bring 65,000 people to Chicago in April for Star Wars Celebration, a fan convention where you could see a giant Stormtrooper head made out of 36,440 tiny Lego Stormtrooper mini-figures, which is a world record of some kind, though I’m not sure exactly what, and where people were dressed up as Muppets who were themselves dressed up as Star Wars characters. But the main event was the launch of the trailer for The Rise of Skywalker, which was held in a 10,000-seat arena and was such a big deal that even though the trailer was going to be released on the Internet literally seconds after it was over, I—an at least theoretically respectable member of the media—was not only tagged, wristbanded, escorted, and metal-detected, but sniffed by a K-9 unit before I could go in.

J.J. Abrams, alongside Stunt Coordinator Eunice Huthart, directs the Knights of Ren; elite fearsome enforcers of Kylo Ren’s dark will.

I sat down with Abrams a couple of hours later. For the occasion, he was wearing a suit so black and sharp, he could have been doing Men in Black cosplay, but his most distinctive feature is his dark curly hair, which is upswept in a way that is only slightly suggestive of devil horns. Abrams talks rapidly, as if he can barely keep up with the things his racing brain is telling him to say. When I told him that not only was Star Wars the No. 1 trending topic on Twitter, but that all 10 of the Top 10 trending topics were Star Wars–related, and that he personally was No. 5, he was visibly stunned.

Then he recovered enough to say: “Well, I aspire to No. 4.” (For the record, No. 4 was the late Supreme Leader Snoke, who frankly did seem beatable. If you’re curious, No. 11 was pro golfer Zach Johnson, who had just accidentally hit his ball with a practice swing at the Masters. Life goes on.)

Disney executives talk about how important it is to “event-ize” Star Wars movies; i.e., to make them feel not just like movies but like seriously momentous occasions. They won’t have much trouble with this one: The Rise of Skywalker isn’t just the last movie in the Star Wars trilogy that began in 2015 with The Force Awakens; it’s the last movie in a literal, actual trilogy of trilogies that started with the very first Star Wars movie back in 1977, which began the saga of the Skywalker family. The Rise of Skywalker will finally, after 42 years, bring that saga to an end.

FIRST LOOK Vanity Fair reveals Keri Russell as the masked scoundrel Zorri Bliss, seen in the Thieves’ Quarter of the snow-dusted world Kijimi.

We all thought the story was over in 1983 with Return of the Jedi, and then we really thought it was over in 2005 with Revenge of the Sith. But Star Wars has always been an unruly beast, too big and powerful (and profitable) to be contained in one movie, or even in a trilogy, or even in two trilogies, let alone numberless novels, TV shows, comics, video games, Happy Meals, and so on. Now Abrams has to gather all those threads and bring closure to a story that was started by somebody else, in an America that feels a very long time ago indeed. “That’s the challenge of this movie,” Abrams says. “It wasn’t just to make one film that as a stand-alone experience would be thrilling, and scary, and emotional, and funny, but one that if you were to watch all nine of the films, you’d feel like, Well, of course—that!”

Like a lot of things that we now can’t imagine life without, Star Wars came really close to never happening in the first place. In 1971, Lucas was a serious young auteur just five years out of film school at U.S.C. He had only one full-length movie on his résumé, and that was THX 1138, which is the kind of visionary but grindingly earnest science-fiction epic that only the French could love. (They were pretty much the only ones who did.) Everybody expected Lucas to go on and make serious, gritty 1970s cinema like his peers, Brian De Palma and Francis Ford Coppola. At the time Lucas and Coppola were actively planning a radical epic set in Vietnam with the provocative title Apocalypse Now.

FORCE MAJEURE First Order leaders General Hux (Domhnall Gleeson) and Allegiant General Pryde (Richard E. Grant) on the bridge of Kylo Ren’s destroyer.

But Coppola would have to finish that one on his own, because Lucas went a different way. “I had decided there was no modern mythology,” he said in 1997. “I wanted to take old myths and put them into a new format that young people could relate to. Mythology always existed in unusual, unknown environments, so I chose space.” Lucas tried to acquire the rights to Flash Gordon (that would’ve been a dark timeline indeed), but when he couldn’t, he came up with his own original science-fictional epic instead. He called it The Star Wars. Like The Facebook, it would have to shed a direct article on its way to glory.

Even though American Graffiti had made Lucas a bankable director, Star Wars still came together slowly. In the first draft, Luke was an old man, Leia was 14, and Han Solo was “a huge green-skinned monster with no nose and large gills.” Fox executives were baffled by Star Wars, and they squeezed Lucas relentlessly for time and money. We forget now how jerry-rigged the first movie was: the cantina aliens weren’t finished, and the monumental Star Destroyer that dominates the opening shot is, in reality, about three feet long. The Death Star interior is basically one set re-arranged several different ways. To make Greedo’s mouth move, the woman in the Greedo suit had to hold a clothespin in her mouth. “What I remember about working on the first film,” says John Williams, the legendary soundtrack composer, “is the fact that I didn’t ever think there would be a second film.” (He also, like everybody else, thought Luke and Leia were going to get together, so he wrote them a love theme.)

But wherever real mythology comes from, Lucas had gone there and brought something back alive. People wanted movies that gave them something to believe in instead of relentlessly autopsying the beliefs that had failed them. We’d had enough of antiheroes. We needed some anti-antiheroes. “I realized after THX that people don’t care about how the country’s being ruined,” Lucas said. “We’ve got to regenerate optimism.” Like American Graffiti, Star Wars is a work of profound nostalgia, a post-Vietnam, post-Watergate anthem of longing for the restoration of a true and just power in the universe—the return of the king. And at the same time it’s a very personal hero’s journey, about a boy who must put right the sins of his father and master the strange power he finds within himself, and in doing so become a man.

Star Wars is also an incredibly enduring vision of what it’s like to live in a world of super-advanced technology. Science fiction often ages badly, turning into kitsch or camp—just look at Flash Gordon—but Star Wars hasn’t. More than any filmmaker before him, Lucas successfully imagined what a science-fictional world would feel like to somebody who was actually inside it—which is to say, it would look as ordinary and workaday as the present. He even shot it like it was real, working close-in and mostly eschewing wide establishing shots, more like a documentary or a newsreel than a space opera. “It feels very grounded,” says Naomi Ackie, who’s making her Star Wars debut in Skywalker playing a character named Jannah, about whom she is allowed to say literally nothing. “There’s the kind of spectacular-ness, and the supernatural move-things-with-your-mind magic stuff, but then there’s also this really grounded, rugged nature where everything is distressed and old and kind of worn out and lived-in. And I think playing with those two ideas means that you get this feeling that it could almost be real. Like, in a galaxy far away, it could almost be the case that you could have this.”

When Lucas made the first Star Wars sequel, The Empire Strikes Back, he cheekily labeled it Episode V, then went back and re-labeled the first movie as Episode IV, as if the movies were an old-fashioned serial that the rest of us were all just tuning in to. Around that time, he also started talking about Star Wars as a nine-part epic—so in 2012, when Lucas retired and sold Lucasfilm to Disney, it wasn’t exactly heresy that Disney announced more movies. At the time, Kathleen Kennedy had just been named co-chairperson of Lucasfilm, and she tapped Abrams to direct the first Disney-owned post-Lucas Star Wars movie. It was a bit like saying, Make the lightning strike again, please. Exactly here, if you could. Oh, and could you also earn back that $4 billion we just spent to buy Lucasfilm? (Narrator voice: He could.)

At first blush, Abrams’s debut Star Wars movie, The Force Awakens, looked like an elaborate homage to the original. Just like in A New Hope, there’s a young Force-sensitive person on a poor desert planet—that’s Rey, played by Daisy Ridley—who finds a droid with a secret message that’s vital to the Rebellion (or wait, sorry, it’s the Resistance now). There’s a villain in a black mask, just like Darth Vader, except that it’s his grandson Kylo Ren (Adam Driver), né Ben Solo, son of Han and Leia. Kylo has a planet-killing weapon, much like the Death Star but way bigger, which becomes the target of a desperate attack by Resistance X-wings. There’s even a bar full of aliens.

Abrams also insisted on keeping to the analog aesthetic of the original trilogy: those aliens had to be latex and yak hair, not bits and bytes, and everything possible was shot on location using film cameras, not digital ones. Even Lucas had abandoned that approach by the time he made the second Star Wars trilogy, but many fans consider those movies to be a cautionary tale. “Famously, the prequels were mostly greenscreen environments,” Abrams says. “And that was George himself doing that, and it ended up looking exactly how he wanted it to look—and I always preferred the look of the original movies, because I just remember when you’re in the snow on Hoth, when you’re in the desert on Tatooine, and when you’re in the forests of Endor—it’s amazing. If you put a vaporator here, there, all of a sudden almost any natural location suddenly becomes a Star Wars location.”

But the more interesting thing about The Force Awakens and its successor, The Last Jedi, written and directed by Rian Johnson, was how they subtly complicated Lucas’s vision. Thirty years have gone by since the ending of Return of the Jedi, during which time the newly reborn Republic became complacent and politically stagnant, allowing the rise of the reactionary neo-imperial First Order, whose origins we will learn more about in Skywalker. “It was almost like if the Argentine Nazis had sort of got together and actually started to bring that back in some real form,” Abrams says. Just like that, the rules of the Star Wars universe changed. It wasn’t all over when the Ewoks sang. Obi-Wan Kenobi and all those Bothans had died in vain. Even Han and Leia split up. It’s all a little less of a fairy tale now.

The feather-haired godling Luke suffered the trauma of having a Padawan go bad on his watch. It’s an echo of what happened to his old mentor, Obi-Wan, with Anakin Skywalker, who became Darth Vader. But where Obi-Wan made peace with it, waiting serenely in the desert of Tatooine for the next Chosen One to arrive, Luke’s guilt curdled into shame. He hid himself away, so that his Chosen One, Rey, had to spend most of The Force Awakens searching for him, and then another whole movie convincing him with the help of Yoda’s Force ghost to keep the Jedi Order going at all. Star Wars arrived as an antidote to the disillusionment of the 1970s—but now, in its middle age, Star Wars is grappling with disillusionment of its own.

DESERT POWER Joonas Suotamo (Chewbacca), Ridley, Anthony Daniels (C-3PO), and John Boyega (Finn) await the call to action for a chase scene.

By dint of advanced Sith interrogation techniques, I was able to obtain valuable advance information about The Rise of Skywalker. Here it is: common emblem.

Anthony Daniels, who plays C-3P0, is the only actor who has appeared in all nine movies of the Star Wars triple trilogy, so if anybody’s entitled to leak, it’s him. Daniels says he loved the script for The Rise of Skywalker, but he didn’t get it until the last minute, right before shooting started, and for some reason he just couldn’t memorize his part. “My first line would not go in my head!” he says. In person Daniels is like a C-3P0 whose preferences have been reset to charming and voluble. “The line that I couldn’t say was two words: ‘common emblem.’ Common emblem, common emblem—I would say them thousands of times. My wife would say it back. I just couldn’t say them!”

Fortunately C-3P0’s mouth doesn’t move, so he could add the line in postproduction. Anyway, there’s the big scoop: “common emblem.” I don’t know what it means either. (Also I 100 percent guarantee that they will change the line before the movie comes out so that this scoop will end up being fake news.) Daniels also told me that C-3P0 does something in this movie that surprises everybody—but he wouldn’t say what. “He keeps his clothes on. It’s not like he suddenly does this thing, but …”

The only other member of the old guard on the set this time was Billy Dee Williams, who plays the charismatic Lando Calrissian. At 82, Williams has lost none of his roguish charm, but now it comes wrapped in a kind of magisterial dignity. People tend to remember Lando for the deal he cut with Vader in The Empire Strikes Back, rather than for his redemptive comeback in Return of the Jedi, and Williams appears to have spent the last 45 years defending him. “He’s a survivor. It’s expediency for him,” Williams says. “You know, he was thrown into a situation which he didn’t look for and he had to try to figure out how to deal with an entity which is more than just a human.” And, he adds, with the weary air of somebody who has spent way too much time justifying the behavior of a fictional character, “nobody died!”

HOT TAKE Members of the crew shade and shine Daniels, the only cast member to appear in all nine of the Skywalker films, while BB-8 looks on.

Chewbacca is still here, too, but it’s not the same man in the suit. The original actor was Peter Mayhew, a seven-foot-three-inch gentle giant who was working as a hospital orderly in London when Lucas cast him in the first movie. Mayhew retired after The Force Awakens, and he died on April 30 at 74. His replacement is Joonas Suotamo, a fresh-faced former professional basketball player from Finland who always wanted to be an actor but was hard to cast because he’s six feet 11 inches tall. “When I first met [Mayhew] he told me I was a wee bit too skinny,” Suotamo says. “But we also had a Wookiee boot camp, which lasted for a week. He told me all kinds of things about the moves that Chewbacca does, how they came to be and his reasoning behind them.” Suotamo has now played Chewbacca in four movies and enjoys it about as much as I’ve ever seen anybody enjoy anything. “It’s very much like silent-era film, with Buster Keaton and Charlie Chaplin,” he says. “He’s a mime character and that’s what he does, and I guess in that minimalism comes the beauty of the character.”

Other things we know about Skywalker: We can safely assume that the Resistance and the First Order are headed toward a final smash, which will be a heavy lift for the good guys because, at the end of The Last Jedi, the Resistance was down, way down, to a double handful of survivors. They’ll face a First Order who suffered a stinging but largely symbolic loss at the Battle of Crait, and who, I feel confident, have learned something from the previous eight movies. The Empire built and lost two Death Stars. The First Order has already lost one super-weapon in The Force Awakens. Presumably it won’t make the same mistake twice, twice.

But the stakes go even higher than that, cosmically high. Sources close to the movie say that Skywalker will at long last bring to a climax the millennia-long conflict between the Jedi Order and its dark shadow, the Sith.

HORSING AROUND Finn and new ally Jannah (Naomi Ackie), atop hardy orbaks, lead the charge against the mechanized forces of the First Order. “It’s extremely surreal to be in it,” says Ackie, “and see how it works from the inside.”

STAR CROSSED Kylo Ren (Adam Driver) and Rey battle it out with lightsabers in a stormy confrontation. Their Force-connection—what Driver calls their “maybe-bond”—will turn out to run even deeper than previously revealed.

The hottest area for speculation, however, is the identity of the titular Skywalker, because at this point there aren’t many Skywalkers left to rise. One is General Organa, the former Princess Leia, Luke’s sister—but Carrie Fisher, who plays her, passed away in 2016. That was a deeply painful loss for Abrams personally, but it also presented him with an impossible choice as a filmmaker. He needed Leia to tell the story, but Abrams didn’t feel like a digital Carrie Fisher could do the job, and there was no way Lucasfilm was going to re-cast the role.

But then a strange thing happened. Abrams remembered that there was some footage of Fisher left over from The Force Awakens, scenes that had been changed or cut entirely, and he dug them up. “It’s hard to even talk about it without sounding like I’m being some kind of cosmic spiritual goofball,” Abrams says, “but it felt like we suddenly had found the impossible answer to the impossible question.” He started to write scenes around the old footage, fitting Leia’s dialogue into new contexts. He re-created the lighting to match the way Fisher had been lit. Bit by bit, she found her place in the new movie. “It was a bizarre kind of left side/right side of the brain sort of Venn diagram thing, of figuring out how to create the puzzle based on the pieces we had.” Fisher’s daughter, Billie Lourd, appears in the movies as a Resistance officer named Lieutenant Connix, and at first Abrams deliberately wrote her out of the scenes in case it was too painful—but Lourd said no, she wanted to be in them. “And so, there are moments where they’re talking; there are moments where they’re touching,” Abrams says. “There are moments in this movie where Carrie is there, and I really do feel there is an element of the uncanny, spiritual, you know, classic Carrie, that it would have happened this way, because somehow it worked. And I never thought it would.”

The only other member of the surviving Skywalker bloodline—that we know of!—is Leia’s son and Luke’s former Padawan, the fallen Jedi Kylo Ren. Kylo probably isn’t capable of actual happiness, but things are definitely looking up for him: by the end of The Last Jedi he has taken control of the First Order and killed or at least outlived his actual father and both of his symbolic fathers-in-art, Luke and Supreme Leader Snoke. Sources at Disney also confirm that his long-rumored Knights of Ren will finally arrive in Skywalker. “And then he had been forging this maybe-bond with Rey,” Driver says, “and it kind of ends with the question in the air: is he going to pursue that relationship, or when the door of her ship goes up, does that also close that camaraderie that they were maybe forming?”

SANDBLAST Camera operator Colin Anderson readies a take for a chase sequence spotlighting the heroics of Chewbacca, BB-8, and Rey.

Darkness in the Star Wars movies tends to come from fear: for Anakin Skywalker, Kylo’s grandfather, it was his fear of losing his mother and his wife. After two movies it’s still not so easy to say exactly what Kylo Ren himself fears, even though he’s as operatically emo as Vader was stoic. He’s fixated on the past—he made a shrine to his own grandfather—but at the same time the past torments him. “Let the past die,” he tells Rey in The Last Jedi. “Kill it, if you have to. That’s the only way to become what you are meant to be.”

Presumably whatever’s eating at Kylo started in his childhood: maybe being the kid of literally the two coolest people in the galaxy isn’t as fun as it sounds. Driver—who has obviously thought this through with a lot of rigor—points out that, as cool as they are, Han and Leia are both obsessively committed to lifestyles (smuggling, rebelling) that don’t leave much room for kids. He also points out that, unlike Luke and Rey, Kylo never got to go on a nifty voyage of self-discovery. Instead he grew up under the crushing pressure of massive expectations. “How do you form friendships out of that?” Driver says. “How do you understand the weight of that? And if there’s no one around you guiding you, or articulating things the right way … it can easily go awry.” By the emotional logic that governs the Star Wars universe—and also our own—Kylo Ren is going to have to confront the past, and his fears, whatever they are, or be destroyed by them.

Where Lucas’s trilogies tended to follow the roots and branches of the Skywalker family tree—their personal saga was the saga of the galaxy writ small—the new movies have a slightly wider aperture and take in a new generation of heroes. There’s Rey, of course, who sources say will have progressed in her training since the end of The Last Jedi to the point where it’s almost complete. With that taken care of, all she has to do is reconstitute the entire Jedi Order from scratch, because as far as we know she’s the Last One.

If Kylo Ren can’t be redeemed it will almost certainly fall to Rey to put him down, in spite of their maybe-bond. Their relationship is the closest thing the new trilogy has to a star-crossed love story on the order of Han and Leia: a source close to the movie says that their Force-connection will turn out to run even deeper than we thought. They’re uniquely suited to understand each other, but at the same time they are in every way each other’s inverse, down to Kylo’s perverse rejection of his family, which is the one thing Rey craves most. “I think there’s a part of Rey that’s like, dude, you fucking had it all, you had it all,” Ridley says. “That was always a big question during filming: you had it all and you let it go.”

PUNCH IT! In a historic reunion, Lando Calrissian (Billy Dee Williams) retakes the helm of the Millennium Falcon, joined by Poe Dameron (Oscar Isaac), Chewbacca, D-O, and BB-8. “He’s a survivor,” Williams says of Lando.

Rey is also, according to totally unsubstantiated Internet theories, a leading candidate to be the Skywalker of the title, pending some kind of head-snapping reveal about her ancestry. (For the record, the other leading unsubstantiated Internet theory has the “Skywalker” of the title referring to an entirely new order of Force users who will rise up and replace the Jedi.)

Rey seems ready for it all, or as ready as anybody could be. “It’s nice having that shot at the beginning of the teaser,” Ridley says, over avocado toast at a fancy Chicago hotel, “because I think it’s quite a good visual representation of where she is now: confident, calm, less fearful.… It’s still sort of overwhelming, but in a different way. It feels more right—less like inevitable and more like there’s a focus to the journey.” Focus is a good word for Rey: on-screen Ridley’s dramatic eyebrows form a wickedly sharp arrow of concentration. I asked Ridley what she’s thinking about when Rey is using her Force powers, and it turns out Rey seems focused because Ridley is actually seriously focused. “I literally visualize it. When I was lifting rocks I was visualizing the rocks moving. And then I was like, Oh, my God, I made it happen! And obviously there’s loads of rocks on strings, so, no, I didn’t. But I visualize that it’s really going on.” (That scene, which comes at the end of The Last Jedi, is another example of classic nondigital Star Wars effects: those were real rocks. “It was actually really amazing,” Ridley says. “It was sort of like a baby mobile.”)

There’s also Finn, the apostate Stormtrooper, played by the irrepressible Boyega, who in person practically vibrates with energy and speaks with a South London accent very different from Finn’s American one. In some ways Finn has gone through a complete character arc already: he confronted his past—by beating down his old boss, Captain Phasma—and found his courage and his moral center. He has had a tendency to panic, if not actively desert, in clutch situations, but at the Battle of Crait he proved that he was past that. “I think he’s just an active member of the Resistance now,” Boyega says. “Episode Eight, he couldn’t decide what team he was fighting for. But since then he’s made a clear decision.” (Cast members tend to refer to the Star Wars movies by their episode numbers: four is the original movie, seven is The Force Awakens, and so on.)

Finn still has to make a clear decision about his romantic situation, though. As Boyega put it at Star Wars Celebration: “Finn is single and willing to mingle!” The movies have been teasing his emotional connections with both Rey and the Resistance mechanic Rose Tico, played by Kelly Marie Tran, with whom he shared a fleeting battlefield kiss in The Last Jedi. Rose seems like the more positive choice, given that she stops Finn from deserting early in the movie and saves his life at the Battle of Crait, and that the precedents for romantic involvements with Jedi are extremely bad. Tran is the first Asian-American woman to play a major role in a Star Wars movie, and she has been the target of both racist and sexist attacks online. But she has come through them as a fan favorite: when she appeared onstage in Chicago, she got a standing ovation.

Finally there’s Poe, who has mostly struggled with his own cocky impulsiveness, because he’s a loose-cannon-who-just-can’t-play-by-the-rules. Poe will have to step up and become a leader, because the Resistance is seriously short on officer material. In fact, some of that transformation will already have happened where The Rise of Skywalker picks up, which is about a year after the end of The Last Jedi. “There has been a bit of shared history that you haven’t seen,” Isaac says. “Whereas in the other films, Poe is this kind of lone wolf, now he’s really part of a group. They’re going out and going on missions and have a much more familiar dynamic now.” Star Wars has always been about friendship as much as it is about romance, and as of the end of The Last Jedi, Rey, Finn, and Poe are all finally in the same place for the first time since The Force Awakens.

The Rise of Skywalker introduces some new players, too. There’s a tiny one-wheeled droid called D-O and a large banana-slug alien named Klaud. Oh, and Naomi Ackie, Keri Russell, and Richard E. Grant have all joined the cast, though, again, we know practically nothing about who they’re playing. Going from being outside the Star Wars leviathan to being right in its belly can be a dizzying experience for a first-timer. “I actually tried to do this thing while we were filming,” Ackie says, “where I’d go one day, walking through London without seeing a Star Wars reference somewhere. And you can’t do it. You really can’t. So it’s extremely surreal to be in it and see how it works from the inside.

WELL MET Jordanian locals play the Aki-Aki, natives of the planet Pasaana.

If anything, Star Wars is only getting more omnipresent. The franchise under Lucas was a colossus, but he still ran it essentially as a private concern. He could make movies or not, as his muse dictated—he was beholden to no shareholders. But Star Wars under Disney makes the old Star Wars look positively quaint. Between 1977 and 2005, Lucasfilm released six Star Wars movies; when Skywalker premieres in December, Disney will have released five Star Wars movies in five years. “I think there is a larger expectation that Disney has,” Kennedy says. “On the other hand, though, I think that Disney is very respectful of what this is, and right from the beginning we talked about the fragility of this form of storytelling. Because it’s something that means so much to fans that you can’t turn this into some kind of factory approach. You can’t even do what Marvel does, necessarily, where you pick characters and build new franchises around those characters. This needs to evolve differently.”

A useful example of that fragility might be the relatively modest performance of Solo: A Star Wars Story in 2018. Solo was a perfectly good Star Wars movie that has made almost $400 million worldwide—but it’s also, according to industry estimates, the first one to actually lose money. In response Disney has gently but firmly pumped the brakes: the first movie in the next Star Wars trilogy, which will be helmed by David Benioff and D. B. Weiss, the duo behind Game of Thrones, won’t arrive till Christmas of 2022, with further installments every other year after that. There’s no official word as to what stories they’ll tell, or when a second trilogy being developed by Rian Johnson will appear.

But even as the movies pause, Star Wars continues to colonize any and all other media. In addition to video games, comics, novels, cartoons, container-loads of merch, etc., there are not one but two live-action TV series in the pipeline for Disney+, Disney’s new streaming service: The Mandalorian, created by Jon Favreau, and an as-yet-untitled show about Cassian Andor from Rogue One. I have personally tried a virtual-reality experience called Vader Immortal,written and produced by Dark Knight screenwriter David Goyer. At the end of May, Disneyland will open Star Wars: Galaxy’s Edge, a massive, 14-acre, $1 billion attraction where you can fly the Millennium Falcon, be captured by the First Order, and drink a blue milk cocktail (it’s actually nondairy) and Coca-Cola products out of exclusive BB-8-shaped bottles at the cantina. It’s the largest single-theme expansion in the park’s history: Take that, Toy Story Land. The Disney World version will open in August.

You realize now that, under Lucas, Star Wars always slightly had the brakes on—we were always kept a little starved for product. With Disney driving, we’ll really find out how big Star Wars can get.

ENCORE Composer John Williams conducting the Star Wars score, drawing on themes and motifs he has woven across four decades. “I didn’t think there would ever be a second film,” he says.

When people talk about the new Star Wars movies, they tend to talk about how faithful they are to the originals. What’s harder to say is how exactly the new films are different—how movies like Skywalker keep their connection to the past while at the same time finding a way to belong to the world of 2019. Because regardless of whether or not Star Wars has changed since 1977, the world around it has, profoundly. “There’s a loss of innocence, a sense of innocence that existed in the 70s that I don’t think to any extent exists today,” Kennedy says. “I think that has to permeate the storytelling and the reaction to the stories and how they’re set up. It has to feel differently because we’re different.”

We know things, as a people and as an audience, that we didn’t know back then. For example: back then it felt sort of O.K. to like Darth Vader, because even though he was evil he was also incredibly cool, and the kind of fascism he represented felt like a bogeyman from the distant past. But now fascism is rising again, which makes the whole First Order subplot look super-prescient, but it also reminds us that fascism is not even slightly cool in real life. “Evil needs to feel and look very real,” Kennedy says, “and what that means today may not be as black-and-white as it might have been in 1977, coming off a kind of World War II sensibility.” In the Star Wars–verse, Dark and Light are supposed to balance each other, but in the real world they just mix together into a hopelessly foggy, morally ambiguous gray.

But the changes are liberating too. Star Wars doesn’t have to stay frozen in time; if anything it’s the opposite, if it doesn’t change it’ll die. It will turn into Flash Gordon. For Abrams, that means he can’t go through this process so haunted by the ghost of George Lucas (who is of course still alive, but you get what I’m saying) that he winds up doing a cinematic Lucas impression. At some point Abrams has to let Abrams be Abrams.

The Rise of Skywalker might be that point. “Working on nine, I found myself approaching it slightly differently,” he says. “Which is to say that, on seven, I felt beholden to Star Wars in a way that was interesting—I was doing what to the best of my ability I felt Star Wars should be.” But this time something changed. Abrams found himself making different choices—for the camera angles, the lighting, the story. “It felt slightly more renegade; it felt slightly more like, you know, Fuck it, I’m going to do the thing that feels right because it does, not because it adheres to something.”

There are a lot of small subtle ways that Abrams’s Star Wars is different from Lucas’s, but if there’s a standout, it’s the way that the new movies look at history. Lucas’s Star Wars movies are bathed in the deep golden-sunset glow of the idyllic Old Republic, that more civilized age—but the new movies aren’t like that. They’re not nostalgic. They don’t long for the past; they’re more about the promise of the future. “This trilogy is about this young generation, this new generation, having to deal with all the debt that has come before,” Abrams says. “And it’s the sins of the father, and it’s the wisdom and the accomplishments of those who did great things, but it’s also those who committed atrocities, and the idea that this group is up against this unspeakable evil and are they prepared? Are they ready? What have they learned from before? It’s less about grandeur. It’s less about restoring an old age. It’s more about preserving a sense of freedom and not being one of the oppressed.”

FROM THE ASHES Mark Hamill, as Luke, with R2-D2. Speculation is rampant about who will “rise” as the Skywalker of the movie’s title—and how that choice will reflect the way the world has changed since Star Wars debuted in 1977.

The new generation doesn’t have that same connection to the old days that Luke and Leia did. It’s not like their parents destroyed the Old Republic. We don’t even know who their parents were! They’re too young to remember the Empire. They’re just here to clean up the mess they got left with, the disastrous consequences of bad decisions made by earlier generations, and try to survive long enough to see the future. Is any of this resonating with 2019? Might there possibly be a generation around here somewhere that’s worried about the consequences of its own decisions for the future? Star Wars has never been and probably never should be a vehicle for political arguments, but to paraphrase Ursula Le Guin, great science fiction is never really about the future. It’s about the present.

You could even—if you’re into that kind of thing—imagine the story of the new Star Wars trilogy as a metaphor for the making of the new Star Wars trilogy. In fact, I was totally prepared—because I am into that kind of thing!—to try to push this overthought metafictional hot take onto Abrams … but I didn’t have to. Abrams got there ahead of me. “The idea of the movie is kind of how I felt going into the movie as a filmmaker,” he says, “which is to say that I’ve inherited all this stuff, great stuff, and good wisdom, and the good and the bad, and it’s all coming to this end, and the question is, do we have what it takes to succeed?”

Kylo Ren has it all wrong: you can’t bring back the past and become your own grandfather, and you can’t kill the past, either. All you can do is make your peace with it and learn from it and move on. Abrams is doing that with Star Wars—and meanwhile the Resistance is going to have to do that, too, if they really are going to bring this saga to an end. Because we’ve been here before, watching a band of scrappy rebels take down a technofascist empire, and it seemed to work fine at the time—but it didn’t last. The same goes for the Jedi and their struggle with the Sith. To end this story, really end it, they’re going to have to figure out the conditions of a more permanent victory over the forces of darkness. Their past was imperfect at best, and the present is a complete disaster—but the future is all before them. This time, finally, they’re going to get it right.

[veryimportantsparkles]

Alright I’ve kept meaning to do sort of an infodump on my projects because I’ve been really slipping lately.  I dunno how obvious it is?  Probably kind of obvious.  I’ve also been really bad about checking messages and responding to people.  So I figure I can write up a status report and then point to it when I’ve been inadequate about communication.

My IRL job has been wiping me out.  I’ve been getting short, labor-intensive shifts in the evenings, and then random surprise morning shifts shortly after, which has been really hard to manage my time around.  My sleep schedule has been extremely broken and it’s affected my productivity a LOT.  Leadership in my department is about to shuffle around and I’ve been interviewed for the manager position.  If I get it I’ll be working an entirely different schedule, which could potentially be good for my sleepy brain but will definitely leave me with less art time overall.  I’ve also been enduring some back/shoulder issues over the past few months.  Nothing urgent, but it’s limiting how much I can draw each day.  I think replacing my desk chair is going to be a big factor but it’s not the only factor.  I just need to be a smart human and take care of my joints and not hunch over so much.  Working on it.

Here’s the current status of my various art projects:

Laserwing

I ended chapter 5 in June and said I would finish up some other side projects before I start concept work for chapter 6.  One of the projects I needed to finish was the Popkas Yugioh season 4 special, which I finished.  The other big one was my Neonmob card set, which is most of what I’ve been posting lately.  Once that’s out of the way (see below) I need to do concept art.  Chapter 6 will put all the Laserwing characters in new outfits which will need reference sheets.  I’ll need background sketches and layout diagrams so I don’t have furniture shuffle randomly around between scenes.  I also need to sketch out the chapter 6 draft page by page.  I’ve made Laserwing in GIMP up until this point and am going to try switching to Krita for chapter 6.  I might need to do a test page to make sure my process transfers over well into a slightly different system.  Once I’m ready to make real pages, those take a while.  Chapter 5 pages were going up maybe every 2-3 weeks.  I don’t know how many pages are going to be in chapter 6, nor can I say for sure how many chapters are in Laserwing.  An old outline had maybe 40 chapters.  It’s a story with a defined end point, I can say that for certain, but it’s intended to be long.

Popkas

I’ve had issues with Popkas for a while.  I keep picking new themes for dailies, thinking they’re going to be quick and easy, but then end up making them hard for myself.  It’s been to my benefit, I’ve forced myself into learning new art programs and techniques through Popkas.  But it’s hard to keep up the daily schedule.  Currently I’m doing the Paper Mario: TTYD bestiary, which has 124 enemies.  At a rate of one per day, by the time I’ve finished them, Pokemon Sword and Shield should be released and we’ll have all the info about the new Pokemon.  Those will be drawn in ‘Popka classic’ style (scribbly shitposts).  After those are finished, unless my IRL work situation dramatically changes, I’m considering putting Popkas on pause.  In order to do any other monster dexes I’d have to do a lot more research (for example, people have suggested Yokai Watch but I’ve never played one) in order to have anything meaningful to post.  Same deal with Popka Specials (the anime writeup things), those take prep time and anime-watching time that I might not have.  I don’t ever want to end Popkas, but a hiatus might be necessary.

Angelfire Hime

Did anyone even know about Angelfire Hime?  Well I want to post more but that involves finding, scanning, retouching, and transcribing my old high school scribble comics.  It takes as long as any other project but is also low priority because it’s all old content.  Nobody is waiting for the latest update because nobody but me actually knows what that content is, and possibly nobody but me can even read it.  It’s more a personal journey of self-reflection than anything.  I want to return to it but not at the expense of better work.

MeganFantastic dot com

I had a domain name linked to a tumblr that was supposed to be my news blog/front page and I barely use it.  Also, I let the domain registration drop.  Also, I had let a typo in my banner graphic go unnoticed for YEARS and still haven’t fixed it.  Even now, I’m writing this big post to my personal blog instead of the one for news.  The idea was to eventually buy some real hosting and make MeganFantastic a whole site of its own, but that’s a lot of work.  I’ve got a generally good idea of HOW I’d do it (probably wordpress) but I’m not a coder, it would take a lot of trial and error.  This would be a huge undertaking and eventually Laserwing, Popkas, and all my other junk would be contained on one big non-tumblr website.  But it’s uhhhhh not happening yet.

Hundera Youtube

My contribution to our LP channel is to show up, talk about video games, and then draw title cards.  All recording, editing, and channel management is maintained by Josh, and I can’t speak on his behalf about our update schedule.  I will say there are a lot of half-finished games we want to return to.  I will also say that when the new Pokemon comes out Josh is dead set on recording it.  I don’t know if he intends that to be a stream or a regular LP.  In the meantime he streams Minecraft with his friends every Sunday and we fit in our own streams and recordings when we can.

Commissions/Patron Art/etc

I’ve not been very good about this lately and I’m truly sorry!  I have a few things I’m working on, a few things I’ve promised to start working on, and a few things I’ve told people I can do once my workload lightens up, which hasn’t been happening yet.  I really don’t have an answer.  I almost never delete anything so if I’ve been sent a message in any form I should still have it, and I’ll be sure not to forget anyone.  And if I do forget someone feel free to throw rocks at me!

Rane Story 2

What the heck is Rane Story 2?  Well I guess I have to explain Neonmob.  Imagine if ChickenSmoothie and DeviantART had a baby.  It’s a virtual trading card site, which is fun and cute, and I’m drawing out a card series to release on there.  I’ve been using it as practice for painting backgrounds and to fill out some backstory for some 4th-string Laserwing support characters.  Before Mistaire came to Earth, she went to space high school, and that’s where Rane Story takes place.  You can preview the series, and when it’s finished I’ll post about it.  I’ll also repost all the art to DA.  If you scroll through the last several pages of this blog you’ll see some of the art.  I’ve put a lot of my brain energy into getting this done in spite of my work/sleep issues because I don’t want to resume Laserwing until I’ve finished it.  This is what’s stolen my life, guys.  Right now I have 6 more cards to make, and then I have to write and finalize all the text.  I should be done SOON.

Pokemon Nonsense

When my back and shoulder get too hurty and I have to take a break from drawing, one of the easy things to do is whip out a DS and play Pokemon.  I’ve done a lot of twitter shitposting about it lately.  I’ve also drawn up a bunch of gijinkas for my Pokemon.  I’m talking about it now because I also intend to draw up gijinkas for Pokemon to trade away.  I’ve already done a few.  However, I don’t know for sure how I’m going to distribute them.  The idea is people can trade actual Pokemon with me (in either X or Let’s Go Eevee) and the Pokemon they get will come with a character design for you to keep.  I was thinking I might do a discord server for organizing trades and such, but I haven’t yet.  Mostly because it’s low priority and I have SO many other things going on.  But actually playing Pokemon can happen when I’m too fatigued for real work, so the horde keeps growing.  Hopefully my posts and scribbles about it are entertaining.

I feel like there’s other projects on hold that I wanted to discuss, but right now I’m too braintired to remember, and some of my ‘projects’ never actually got talked about online so nobody’s waiting for an update.  My greatest problem seems to be that I try to juggle too many pointless side projects and then drop them all over the place.  Sometimes I’ll shitpost about an idea and even I won’t be sure if I was serious or not.  How do I end this post?  I don’t know.

tl;dr Megan is SLEEPY and dropped her spaghetti everywhere but somehow still has time to play POKEMON and WON’T STOP TALKING ABOUT IT