#that arc could be in a transitional state between the two direction styles to show that shit is getting real. then BAM full s1 style either

[timeloop-angel]

Yooo csm movie announced just some days after i finished the manga!!! Lets gooooo!!

[chibivesicle]

Golden Kamuy 235 & 236:  Clint Eastwood as a postal delivery man and our pirate has domestic desires . . .

Hello all, I apologize for the delay in my posts.  I am one of the many people who had to change from a job of going into work to working entirely from home and online only.  I have found the transition to be incredibly difficult - I have always had a strict division in my work/home balance.  Add on top of that the fact that I live alone with my cat, my parents are almost 2,000 miles away and my brother is currently in Tokyo has made things very stressful.  I don’t mean to dump this on you [readers], but sometimes I think it is better to at least say these things since a lot of other people are dealing with this or some version of these situations.  It sucks, it is messing with my life and I am trying to deal with this situation.

Okay, enough about me, let’s get to GK.

Chapter 235 starts with Boutarou and Sugimoto about to have a showdown (to the death since Sugimoto just wants his skin). It starts out with Boutarou sizing up Shiraishi, he appears a bit playful and curious that Shiraishi is still in Hokkaido - based on Shiraishi pre-Asirpa/Sugimoto/Kiro he really was a self interested guy.  You’d expect he’d make his way back to Honshu and have some fun going to red light districts.  The fact that Shiraishi has a pensive look means he’s trying to think a way to deal with this situation and also reacting to the assumption of his personality.  He immediately sees Sugimoto reaching for his bayonet and realizes they need to ask him if he know more information.

I really have grown to like Shiraishi - he was a successful escape artist, indicative of being a smarter than average guy and he’s already putting the pieces together that Boutarou would have more information on the Ainu as he sees Sugimoto in his murder mode.

Shiraishi is able to de-escalate the situation by calming stating an assumption on his part.  It is gamble, but based on what he learned from Heita, it is a good gamble since the thought things over pretty well.

This is enough information to get the pirate to stop and then he’s excited that they are thinking the same thing as him.  Shiraishi is close enough to Boutarou to keep Sugimoto at bay who in this panel looks like a predator coming in for a kill after stalking.  Sugimoto is hunched over, almost creeping forward like a cat while Shiraishi is upright and super relaxed.

Shiraishi’s statement is enough to get more information out of Boutarou, he then tells them that there is a rumor that the tattoos are useless to figuring out the code.  This is enough to snap Sugimoto out of his murder mode.  Excellently played Shiraishi!

They are interrupted by the fact that the pirate gang notices another paddle boat is coming the opposite direction and there are soldiers on it and if they are from the 7th it would be bad news.  Only then does Sugimoto realize that of course Boutarou would have men working for him and it causes him to pause.

Boutarou has an excellent reaction to things, he calmly gets the boat moving again, and his men, keep the passengers under control.  The postman is the introduced, our Clint Eastwood stand in as he’s armed to protect valuables sent via the post.

We can see where this is going . .  . there will be a shoot out on the boat and Asirpa is still out cold.  It looks like they will be in the clear, they pass by the other boat as they wave over.

Shiraishi is nervous as he hopes the plan works with little issues.  Asirpa then wakes up as the postman readies his handgun.  The postman thinks he took out one of the pirate gang members and causes enough of a commotion that the other boat notices the gunshot.

Unfortunately, his “excellent” aim had nothing to do with him.  Instead, it was all from Vasily sniping them one by one from the boat with the horses.  This is the worst outcome possible, it makes a huge scene, escalates the entire situation, and takes out most of the pirate gang a disadvantage to Boutarou.

Sadly, our inexperienced postman makes terrible decisions wasting his ammo from his revolver for no reason and then someone finds Sugimoto’s lost rifle.  Cue Ogata lecture.  Oh wait, Ogata isn’t present, yet we as readers can hear his “tch” sound.  In the meantime, due to Vasily’s sniping, the other boat is worried about saving the passengers and turns back around.

Thankfully, Boutarou thinks quickly on his feet.  He takes control of the boat and he turns it so that he can ram into the paddle wheel of the other boat.

By incapacitating the drive system of the other boat, they can leave them stuck in the river.  Very clever moves and it additionally, breaks the rope that kept Vasily tied to the boat.  He’s now stuck in a small boat as they escape from him.

This all in all is a good situation for Vasily even if he doesn’t realize it, keeping him away from the rest of the group means, there won’t be another shoot first, ask no questions later situation.  The man he should have sniped was the postman, not the pirate gang.  As usual he goes for clean head shots, indicating he doesn’t snipe the same way as Ogata, who frequently thinks about his most effective way to do things.

Back to the action where our postman from hell now has Sugimoto’s rifle is and still fighting back awkwardly and is under the indication that his men were shot by him.  He goes into a calm mode as he looks at his options to take out the man.  Meanwhile, Sugimoto is just trying to dodge him and not die due to the man’s recklessness.

Boutarou has an expression of complete seriousness, he cares for his gang and he’s going to do what it takes.  Being the wild man that he is, he manages to swing the anchor into the passenger galley and Sugimoto luckily is able to yell to Asirpa to protect her as she gets the man down as he goes for the backpack.

Of course Sugimoto goes back to angry murder mode as Boutarou hits him in the face with the anchor as he gets close enough to punch him in the stomach under the pretense that he may have hurt Asirpa.

Yes, Sugimoto, you lost your rifle, and your inability to keep an eye on your firearms lead to this entire situation and he’s now back to “who cares - kill the man and skin him” mindset.

Quick summary of the chapter

1.) Shiraishi remains the brains of their group.  He was on the path for the most information and least amount of violence, but that didn’t work out. 

2.)  Boutarou is a clever guy.  He has a good balance of using his brain and calmly and effectively making decisions.  The fact that he’s friendly with Shiraishi tells me that he is a more complicated convict that some of the others and will continue to be a major force in this story arc.

3.) Vasily is a giant liability.  He can’t effectively communicate with the rest of the group.  He snipes the wrong people resulting in a more complicated situation and he eventually gets ditched.  His sniping style is clearly one of simple execution.   There is no way that he’s as intelligent as Ogata and lacks the ability to play a long game at all.  In a way, he may even make Sugimoto feel good about him being around b/c he can write off snipers as being all like Vasily and therefore, puts Ogata in that category even though he’s no way close to it.  The fact he wasn’t with the rest of the group to see what was happening made things far worse, what did he gain by sniping some of the pirate crew?  Nothing. 

4.) Sugimoto put Asirpa in danger.  By rushing off to deal with things and leaving her out of his sight, losing his rifle and being stuck in murder mode, he endangered her.  If he truly wants to protect her, he can’t just leave her out of his sight.  He deflects everything in the name of always following short term actions.

Chapter 236 starts with several pages of Boutarou and Sugimoto fighting each other.  Both of them have white murder eyes as they beat the shit out of each other.

I think the fight between these two is to show us how tenacious they are.  They are able to put everything into the fight - it is a brutal all out brawl between them and they hold nothing back.

In the meantime, the postman wastes his last shot with Sugimoto’s rifle and Asirpa is able to cleverly kick him off into the water.  Then Asirpa is able to stop Sugimoto as she gets onto the deck with her bow at hand (not sure where she put his rifle).  Sugimoto’s eyes return to round and black with a little sparkle in them, indicating that he’s out of his murder mode.

By her actions, she was able to get the postman off the boat and all the commotion can calm down, it gives Shiraishi the opportunity to also get Sugimoto to stop with reason to talk to Boutarou.

Boutarou seems unfazed by Sugimoto’s switch from murder to normal.  To me it indicates that they must have a lot in common as he looks at him with some sort of “kindred spirit” vibe.  It may just be me, but both men appear to have on/off switches for their murder modes.

Shiraishi then asks him about the rumor to be unable to solve the code, and Boutarou gives him what he knows.  We finally learn the origin of the Baroto skin; Wakayama had found one of the other convicts; he killed him and skinned him.

We get an extra image of a naked Boutarou as he reveals he lost it via gambling.  Wakayama states the odds of all of the convicts being alive to be found and skinned is too to low as two of our previous convicts are shown how they died.  He was confident that was a moot point and even went as far to see how Wilk may have just messed with everyone, because he could.

This then connects to what the candy peddler said - that Wakayama was disappointed; likely due to the fact he lost the skin and also the fact that if he thought about what happened to other convicts, it really is a pointless quest.

Despite all of the skins they’ve found, Wakayama and Boutarou have valid points.  Boutarou tells them that it gave him a reason to give up on trying to find the skins, but thought if he tried to figure out where Wilk hid the gold, it would be worth the effort.  He then asks them if they’d like to join forces with him.

To keep them intrigued in him and his goals, Boutarou tells them what he wants to do with the gold.  He wants to leave Hokkaido, move someplace warmer in SE Asia and then become a major producer of agricultural products.  He sees himself making himself the ruler and he wants to start a large family.

His idea is exceptionally childish and still is mis-placed colonial/imperial feelings but it is coming from his own personal experience.  Shiraishi is less than amused and Sugimoto tries to almost hide his feelings on the idea of why everyone wants the gold to rule a country.  Boutarou is very perceptive he asks Sugimoto about his family.  As Sugimoto states he has none, it leads him to ask what caused them to die and Sugimoto tells him it was due to TB.  He then reveals that his own family died of smallpox.  This lead to his childish dream of creating his own family that wouldn’t be shunned due to disease and he used this concept as the way to keep him going - the side effect is that he used his dream as his way to push through everything.

All of a sudden their brutal fight makes so much sense - neither of them have something to lose related to their family.  Their lack of a family back home allows them to be reckless idiots.  And this leads to a much awaited Sugimoto flashback!  Finally!  I have to admit that I’ve been waiting for this for a loooooooong time.  I was thinking it would happen on Karafuto due to Sugimoto’s vision during the snow squall - this just shows us how deep his denial of this is.

With Sugimoto’s dead looking black eyes, we can tell that even before his father died, he had reached the same mental state as many of our other characters where they “broke” inside.  Ogata around age 9, Tsurumi with the death of Fina and Olga etc etc.  We learn that Sugimoto’s family have a weakness for being kind and caring towards others, so his father feels bad for his situation.

I want to know exactly what his dad did that leads him to say that he was always helping people even if he shouldn’t.    Does this mean that his father got overly involved in things?  That he was also overly emotional and rushed into things without thinking them through.  Argh!  I want to know more about Sugi-dad.

Sugimoto sits outside of the house as a cat approaches him.  As stated in the footnotes at the end of the chapter, the cat is supposed to prevent TB.  Sugimoto then wonders if due to the cat’s aloof nature, perhaps it isn’t helping with curing his sick dad.  He tells that cat that it is useless too, this implies that Sugimoto himself feels useless to help his father. 

The cat then walks off to do its cat things as Sugimoto stands up and prepares himself.  His clenched fists and determined expression in the last panel show that he’s made a decision.  In an attempt to give him ‘release’ his father tells him to leave their home.

He is told that for him to live for his own sake isn’t a bad thing.  This tells us that Sugimoto has a hard time being selfish, he’s clearly done actions for the sake of his family without any regard for his own feelings and self care.  He leaves the house as his father coughs in the room.  He’s nervous and unsure of the decision at first.  He’s sweating as he holds his feelings in.  But the wind blows through the trees and he makes his verbal commitment to not lose.  He begins to cheer himself up and it leads to the dramatic panel.  He declares that he’s immortal!

So, before his father has died and he burns the house down, he has made his first declaration of how he will live his life - he will be immortal.  We now know this attitude was created before he enlisted in the 1st and fought in the war. 

He then snaps back to the present as Boutarou asks him what his dreams are.  The facial expression of Sugimoto is one of almost confusion/panic/thought

The fact that Sugimoto can’t answer him easily, indicates that Sugimoto has been living without any dreams for himself.  Just living without a long term goal.  His various shades of his eyes show us that he’s never been asked this question before so directly.  It isn’t about Umeko and Toraji.  It is about him.  And thus, his father’s statement makes more sense now; Sugimoto doesn’t want things to be about him; then he’d have to face himself.

The chapter then ends with them arriving at their destination.  Again, Boutarou is reasonable with the passengers; they just take the registered mail money and leave the passengers with their money and unharmed. 

Since the postman was looking in Sugimoto’s backpack he revealed what was inside of it.  Heita’s skin and his tobacco case.  So now, Boutarou knows that they ran into Heita and he’s clearly not alive anymore.  Good eye, Boutarou!

Clearly, the next chapter will have more drama in relation to this discovery.

Quick summary and conclusions;

1.) Sugimoto is most similar to Boutarou.  He spends so much of his time othering and making the convicts inhuman; just the skins.  Boutarou has too much in common with him.  The tenacity to fight to the death, carrying the PTSD from losing their families to disease and the feeling of helplessness.  The difference is that Boutarou thought deeply about his childhood motivation and has accepted it for his future plans and motivation.  Boutarou has the ability to self-reflect and use it in a pro-active fashion.  Sugimoto has revealed that he has been running away from facing himself since before his father died.  This is terrible - it tells us that Sugimoto’s problems go back even further than we originally realized and he went to war already wounded and broken.  No wonder he continues to be reckless; he was as broken as Ogata was going to war.  The Ogata-Sugimoto similarities gain another point for how they were both broken before enlisting in the army.

2.) Sugimoto clearly hates cats and the link to Toraji’s nickname of Tora-chan and Ogata add to it.  The black cat let him down unable to help his father recover from TB.  He’s been surrounded by cats, people with cat nicknames, or cat like characteristics.  It is obvious that he’d lash out a those with the overlap and Ogata is our most obvious easy target.  A random black house cat let him down.  All other future cats will let him down.  The link to Ogata is so obvious with his aloof attitude and ability to float between groups with little attachment.

3.) We finally learn the origin of the Barato skin.  I’m glad to know that it was a skin that was lost by Wakayama.  It shows that many of the more rational convicts knew when to give up with the hunt for the skins and it was key in highlighting the Hijikata-Ogata alliance of convenience.  It also highlights that with Asirpa knowing the code, it is likely that not all of the skins are critical.  @goldenkamuyhunting​ had an excellent meta post about what this could mean for the hunt for the skins.  I reblogged it before this post if you missed it.

That’s pretty much all I have for now!

[atsushishelteredinmoonlitjasmine]

Fire Emblem: Awakening Thoughts

As of the date May 20th, 2020, I finished my playthrough of Fire Emblem: Awakening on its one year anniversary of when I got it. It is now June 5th of writing this. This post will be my thoughts and feelings on Awakening, much like the KH3 Grievances and Blessings post last year. Let's get into some history between me and Fire Emblem before I go into Awakening.

As I've said before, Awakening was both my first Fire Emblem game and my first Tactical RPG. Smash Bros. was where I had heard of Fire Emblem but it wouldn't be until Ultimate came out that I would start to get interested. It was because of my friend's preference for Lucina that got me into playing as her in Smash and that's pretty much how she became both one of my mains and a favorite. It honestly wasn't till I listened to the Smash remixes of Id, Conquest, and Lost in Thoughts All Alone that I decided to play Awakening and then Fates. So thanks go out to both Smash and my friend Eric for converting me to Fire Emblem trash!

Much like the KH3 Grievances and Blessings post, I'll be going over every aspect of Awakening I can think of, from the graphics to the gameplay to the story. I'll even include a Best/Worst Girl and Boy of both generations because that kind of thing seems to matter to some people, along with my reasons for why X is Y. Keep in mind that whoever I choose as those categories, it is just my opinion and you're free to disagree with me. I say this because I know that, no matter what I say, some diehard fans will get pissed at me and come at me for daring to shit on their favorite character. I already know some people are gonna get mad because they think X should be Best/Worst and that'll be fun to see (You can interpret that as sarcasm if you want).

Listed below are Awakening spoilers, so if you want to play the game and don't want to be spoiled, now's your chance to stop reading. I know Awakening came out in 2013, meaning 6 or 7 years ago, but there may be some people who haven't gotten around to playing it yet so I want to be courteous to them. Here are my thoughts on Fire Emblem: Awakening!

First off, the graphics. I think they looked really nice for a 3DS game that came out in the early 2010's and I believe this was Fire Emblem's first fully 3D game as well so that's really impressive. The in-game models were nicely detailed, the in-game sprites were nice looking, and the prerendered cutscenes were beautiful. This doesn't mean they're not without their faults, though. I wish the in-game cutscenes were more animated because it's easy to tell when an animation's been used over and over again, I feel as if the in-game sprites have some dissonance with official art, and there are times where expressions or animations for the prerendered cutscenes have looked pretty awkward. In terms of the first and last point, I'm giving IntSys some slack because, as I stated earlier, they were developing a game for the 3DS, a powerful handheld device but it's still a handheld, and this was FE's first 3D game so there may have been issues transitioning from 2D sprites to 3D models. I'll explain what I mean by my second point. I've looked at Cynthia's official art and when I see her face, I tend to see what I'd call a baby face, pudgy cheeks and all. Her in-game sprite, however, her face is sharper, more mature, if that makes sense. Maybe it's the pigtails throwing me off or it's just a difference between two art styles, I don't know. I'm not an artist so there's not much weight behind this but I'm just saying there's somewhat a dissonance between official art and in-game sprites.

Secondly, gameplay. I loved how easy it was and how I could switch between a simple and complex UI if I wanted to see which attacks could hit or what the enemy's stats were. This may sound stupid but I honestly thought it'd be way more difficult due to this being a Tactical RPG. I know strategy's a big part of Fire Emblem but strategy's not a big problem if you're like me and you grind to hell and back. Speaking of which, I played on Easy Casual mode so that might be why it seemed so simple from the get-go. Just to give you an idea of how much I grinded, I put in 200+ hours and that mostly consisted of buying a shitton of Reeking Boxes, spawning Risen on some of my favorite grind spots, and fighting them over and over again. I went through the 3 basic classes each character could have, maxed out their default class one last time, promoted them to their advanced class, and maxed out those classes 2-3 times over. I have a video on my Twitter that shows the stats of these characters and most of them are over 220 (The shapeshifters 300). Needless to say, I loved each and every fucking crit I got. Cordelia even got what I call a miracle crit, which means she got 2 crits in one round and after the enemy attacked, she got another 2 crits. Level grind ain't a joke in this game.

Thirdly, the music. Considering it's part of why I got into this game in the first place, I loved it. As I'm writing this, I'm listening to the OST and it sounds so much better when you don't have the ambient sounds and you're not listening to it through the 3DS speakers. The song that hit me the most and just gave me the overwhelming feels was Id~Sorrow as it played in Chapter 21. It fit so well with the tone of the scene and I just sat there for a few minutes, letting it play in the background as I did shit. Other notable mentions are Id~Purpose, Destiny, Conquest, and the song that is just ellipses. If the music is this good in Awakening, I can't wait to see what's in store for Fates!

Fourthly, the voice acting. For a game where most of the voices come in forms of clips, I thought they were good. Each of the actors tried their best to convey their characters in the clips they were allowed to have and I think it shows. The only critique I have, and it's not the actors' fault, is that some of the characters' voices don't fit them. I'm not saying they miscast these characters, it's more like the direction was off, if that makes sense. Let me bring up Cynthia, Kjelle, and M!Morgan as examples. I don't think it's a stretch to say that, sometimes when you look at a character, you kinda imagine what they'd sound like before you hear their actual voice, right? I already brought up Cynthia's looks so I imagined her voice to sound very high-pitched and maybe a little childlike. I hear her voice and, while she's high-pitched and some of her voice clips do go into that childlike territory, she's nasally sounding and more mature. Kjelle is a complicated case in that, her voice fits her appearance (minus the armor) but not her personality. Her personality is similar to Sully's so I figured her voice would sound gruffer and not...cute, if that's the right word. M!Morgan's, I think, everyone can see the problem with. He's supposed to be the youngest of the kids, right? Since he's the only third generation character and all that? I think he just sounds a little too old for the supposed baby of the kids. Again, I'm not saying the voices are bad or that the delivery/emotion was bad, I just think the direction in which they were voiced don't fit some of the characters. Maybe I'm just thinking in terms of archetypes or something.

Now we move on to the story. I can't say as to whether it was good or not, mainly because I spoiled myself on it way before I decided on playing Awakening, so I don't think I can say much to the quality. The least I'll say is it's serviceable. I'll admit, the one thing I was shocked by was the appearance of the Grima Avatar because I thought Grima was inside Robin the whole time and I didn't think he'd have a separate vessel. I straight up thought Grima!Robin was either my mother or a twin I wasn't aware of so I'm giving credit to the writers for surprising me. Anyway, I think the only flaw I have with the story is with the pacing. I thought the first half was fine, it wasn't too fast or too slow. It was the second half that the pacing couldn't find a middle ground. Now I'm going to say that this half was stretched out over months of my playtime so whatever I say next might be exaggerated because of my procrastinating ass so... I feel like the Valm arc was way too slow and the Grimleal arc had so much trouble finding a middle ground. The beginning of the Grimleal arc was quick but Grima himself decided that I had to finish 2 and a half chapters before I finally got to beat him and you have to deal with constant reinforcements before you kill off the target. I think if it weren't for my overleveled as fuck units, I wouldn't have finished Awakening in time for my birthday.

Just for shits and giggles, I'm gonna say what I picked for my choice with both Luce's judgement and Grima's fate. I picked the self-sacrificial choices, which means I accepted Luce's judgement and allowed her to kill me and I dealt the final blow to Grima so Chrom didn't have to. While I knew the outcomes of both choices and them ultimately not meaning anything, I wanted my Robin to reflect what I would've done and I'm a very self-sacrificial person. Because I made Chrobin happen in my playthrough, which meant Luce was my daughter, I believe that, if my child who came from an apocalyptic world told me I was the reason for that happening and that she came back through time to stop that future from happening so she and the others wouldn't suffer, I would've let her kill me. Parents would and should do anything for their kids and if my death possibly gave my daughter the chance for a better life, I'd take it in stride. As for me dealing the final blow to Grima, if it was to save everyone I loved, I would've done it. Although there's some feelings of wanting to give a big "Fuck you" to Grima and to permanently end the problem so any future descendants wouldn't have to deal with it. This section may sound more philosophical and personal than I usually write but I think it deserved it.

Now we're on to Supports and who I chose to be together. I don't think it's wrong to say that this is where the characters really get to shine and it's because of the Supports I love these kids and how much I'm going to miss them when I move on to other FE games. As for the "canon" couples, I mainly went with characters that I thought would complement each other and this was one of the few things I tried to choose for myself. I tried my best to go for pairings that weren't fan favorites but I'm also not very connected with the fandom as of writing this so I may be completely wrong in which ships were favorites or not. So here are the pairings I got for my playthrough!

Chrom-Robin

Frederick-Sumia

Virion-Miriel

Vaike-Nowi

Stahl-Sully

Lon'qu-Cordelia

Ricken-Lissa

Gaius-Maribelle

Gregor-Cherche

Libra-Panne

Henry-Olivia

Lucina-Inigo

Owain-Cynthia

Brady-Nah

Kjelle-Laurent

Severa-Yarne

Obviously, there are some characters missing from this list and I can explain why. I didn't recruit Kellam and Tharja and it's because your girl is a dumbass. Kellam, I thought, was already on my team, he was just labelled as an ally so I didn't need to recruit him. They really should've made that clear. Tharja, on the other hand, was an even bigger dumbass than me because she decided to charge after Robin, who happened to be in front and was way overleveled, and got her ass promptly beaten with a crit. I regret not getting Kellam but after hearing how awful of a person Tharja is and how many fans are willing to put aside emotional abuse and stalker-like tendencies to have a chance to fuck her, she can stay buried in the sand where I electrocuted her ass. Unfortunately, this does means Noire didn't pop up in my recruitment list and that fucking sucks. The only characters left I didn't have a pairing were Gerome and Morgan. I think Gerome wouldn't really care for a romantic partner because he's all about not wanting to create ties in this time and shit and, since I see Morgan as the baby of the kids, I figured he'd be a little too young to be in a relationship. Despite that, I wish I got him and Nah together because I found out after she was shipped with Brady that Morgan's the only S-Support she'll say "I love you" to and I was immediately filled with regret.

Before I move on to the Best/Worst contest, there's something I need to bring up because I can see what sensible fans have shown now. This game is HELLA gay. Like, holy fuck, how many instances are there where you have two characters of the same sex and they have dialogue that seems to have been written with romantic intent but the writers decide it's meant to be platonic? Maybe I just have this weird line of thought on how straights are because there's no fucking way some of these gay moments would be a thing with even the most accepting straights. Maribelle calling Lissa darling and other pet names, Robin blushing from some of the girls and even mistaking Flavia's proposition for a marriage proposal, Severa looking at Kjelle's abs, the list goes on. I'm not straight because I'd be doing some of this shit with a potential girlfriend if I could! Why did it take IntSys until 3 Houses to implement LGBT+ pairings when this game is right here?! At least this game doesn't have the weird student/teacher relationships 3H has and believe me when I say that, if it weren't for the fact I could give less of a fuck for 3H, I wouldn't play that game for that reason! Anyway, Awakening is hella gay and it should've been the first LGBT+ FE game instead of 3H.

The Best/Worst contest... As I said in the beginning, there'll be a Best/Worst Boy and Girl for both generations because that's fun and it seems to matter a lot to some people. Repeating what I said, this is just my opinion and you're free to agree or disagree with me. One rule I'm putting in is I will try my best to not pick fan favorites. Don't get me wrong when some of the crowd pleasers are good but there are other characters that deserve just as much love as the fan favorites so this is why I'm putting in this rule. Without further ado, here are the rulings!

1st Gen

Best Boy-Lon'qu

Best Girl-Panne

Worst Boy-Virion

Worst Girl-Miriel

2nd Gen

Best Boy-Owain

Best Girl-Cynthia

Worst Boy-Inigo

Worst Girl-Severa

Let's see how many people I piss off with these judgements. So, my reasoning: Best Boy for 1st gen was a big toss-up. I kept wanting to choose between Chrom, Frederick, Stahl, and Lon'qu because they really endeared themselves to me but I chose Lon'qu in the end because he's honestly such a dork (I mean, all of them are) and I gotta admire how he tries to overcome his fear of women and try being there for his wife and daughter if he happens to have one. There's also the fact he has to literally psyche himself up to talk to women if you check in with him in the Barracks and I'm just like "Fucking hell, that's adorable and I GET it". Best girl is Panne because believe me when I say that the moment I see this woman and hear her voice, I'm immediately gay for her. Then she transforms into a giant rabbit, kicks so much ass, and I'm in love. Funny story, I'd talk to my friend about my progress in Awakening on Discord and the moment he asks me who best girl was and I answered Panne, he called me out for being a furry. Granted, I would've automatically said Luce but I'm trying not to pick fan favorites so I get his criticism. If a woman like Panne existed in real life, bunny ears and tail and all, I'd probably become a furry for her, no questions asked. As for worst boy and girl, Virion and Miriel are characters I honestly don't give much of a fuck about. Not that they're bad, I just don't care about their archetypes, if that makes sense. Miriel I found to be boring and Virion's of the Casanova archetype and I've always kinda hated that archetype so that's why they're on the ranking.

Oh boy, 2nd gen. So, best boy being Owain. This boy is going to kill me. He's so adorable and sweet and he's just a good boy. There are literally Tweets on my Twitter where I just gush about him and he deserves so much love. He's just a sweet boy who loves his parents so much and is so proud to be their son and how he manages to rope his cousins (Luce and Morgan) into going with his fantasies and how they just go along with it! Owain is a cinnabun and I want to protect him and love him. Anyway, best girl being Cynthia is sorta the same reason as Owain. She's just so bubbly and happy and just adorable. Yeah, she may get carried away with showboating but I just love her earnest desire to be a hero. I think everyone can see why I paired Owain and Cynthia up. Now for the worst. Inigo and Severa are probably the only characters in this whole game that straight up got on my fucking nerves and for different reasons. Outside of his supports with Olivia and Henry, Inigo's constant flirting with the girls and Robin and inability to take no for an answer just rubbed me the wrong way. I actually put out a Tweet saying how Inigo's like an r/niceguy and I still think he is one. Course, this doesn't mean I didn't have my fair share of laughs from him. I fucking died at his and Gerome's A-Support where he ends up pathetically crying after the emo loner got more game than him and Gerome has to comfort his ass, that was hilarious. It also helped the fact that Liam O'Brien, who I've only heard him as the brooding emo loner role, voiced Inigo as the complete opposite of that and I had a blast. Severa, on the other hand, was...really unpleasant. There's a reason I hate Tsunderes with a passion and it's because they're unnecessarily bitchy towards everyone they know, even if they have no reason to be. Severa, however, was somehow worse because she went out of her way to be horrible to people. My dislike for her was cemented the moment I saw her and Cynthia's C-Support and she chose to make fun of her, despite Cynthia minding her own business and Severa just going "fuck it". However, I should express that I understand why Inigo and Severa are the way they are and that's why I'm not being as harsh on them as I could be. They still have their good moments and I can appreciate them while also raking them over the coals.

So that concludes my review/experience of Fire Emblem: Awakening! Despite some moments of frustration and annoyance, I had fun playing this! I mean it when I say I'm gonna miss these kids but I had plenty of time to spend with them so it's time to move on to newer lands. Next up on the list is Fates and I think I'm siding with Hoshido first. It's funny how, despite me spoiling the story for myself 3 separate times, I still can't remember much, if any, of it so that may say something about the quality. I also know Fates is pretty divisive among the fandom but the thing I know it for is the weird pseudo-incestuous ships it has so that's going to be fun! Hopefully, I'll get around to playing as one of my other mains in Smash, my water horse dragon Corrin, sometime soon and I'll be sure to let everyone know when my journey will start!

[cogentranting]

Arrow Season 2 Highlights

As part of my countdown to the season 7 premiere, here are my picks for the best and most memorable parts of season 2. Though not one of my favorite seasons overall, it has some of the absolute best moments of the series. 

Top 5 Episodes

Keep Your Enemies Closer 2x06- Frankly, I just love whenever the show does anything to do with Russia or the Bratva. This one breaks formula a bit, which is fun. It’s got the reveal that Diggle and Lyla were married and has nice Dyla stuff in it, along with some of the earliest signs of Oliver having romantic feelings for Felicity. It also has strong Diggle character work, not just with Lyla, but also with Deadshot. It has Anatoly, who is a favorite of mine. And it has Oliver threatening people in Russian. 

State V. Queen 2x07- This episode has Arrow’s most interesting courtroom scenes until season 6. Moira gets to shine, and her relationship with both Thea and Oliver is important. Thea gets some nice character work. The vigilante story line plays out in a less conventional way with Felicity getting to a take action a bit. Laurel and Oliver’s relationship is put through some interesting tests. Oliver’s priorities are explored and he’s dealing with a lot emotionally. Seth Gabel is back as the Count. And, of course, there is a very important scene for Oliver and Felicity’s relationship. 

Three Ghosts 2x09- Barry Allen gets thrown into the world of vigilante justice and gets a look at the real Oliver. And really Barry’s presence and the lighter moments he brings are great when sprinkled through a more serious and a bit sad episode. Anytime Oliver hallucinates, I have a good time. His scenes with Shado are sad and lovely. The Slade hallucinations serve as a great tease of what’s to come. We get to see our beloved Tommy and he delivers what comes to be his defining line (even though he never actually said it...). Roy has an interesting arc. And we see the tragic death of Shado, followed by (in two senses) the birth of Deathstroke. One of the best episodes of the show. 

The Promise 2x15- the action in the flashbacks drives this episode and its such a fun spy-style adventure, with Oliver, Slade and Sara trying to break on to the Amazo, all while Slade is slowly losing himself and while Oliver and Sara lie to him. It’s also where we see the relationship between Oliver and Slade fracture and it’s immediately reflected in the fantastic present day story line that sees Slade reappear in Oliver’s life. The tension in the present scenes keeps you fully engaged even as most of what happens is just small talk with Moira and Thea. But you can feel Oliver’s fear and anger and the subtle menace Slade brings. 

Seeing Red 2x20- It’s a great exploration of Thea and Roy. It has good character moments for Sara as she tries to come to terms with the darkness in her. The scene in the tower where Sara and Oliver confront Roy is a great one. William is teased for the first time. But we all know that this episode is one of the all time greats for 1 reason: Moira. Her flashbacks with Oliver. The ways she reaches out to Thea. Her reveal that she knows Oliver is the Arrow and that she’s proud. And of course, her death scene. It’s a great swan song for one of the Arrowverse’s best characters. 

*Upon reviewing my entries in the other sections, it appears I also really like 2x04, so consider it an honorable mention*

Top 5 Fights

Arrow v Bronze Tiger 2x02- to be perfectly honest, I was struggling to come up with a fifth specific fight scene from this season that stands out for the fight itself. Without just listing every time Slade does anything. But this is a fun fight. Bronze Tiger is a nice villain of the week and with this scene they had a fun situation where it wasn’t so much a direct fight as Arrow just being unable to find Tiger and it gives this impression of being hunted which fits Bronze Tiger’s vibe nicely. 

Arrow and Canary v The Mayor 2x04- This fight is one of the first times (if not the first time) we see Canary and Arrow fight together and at the time that prospect was very exciting. In fact it was probably the first real superhero team up fight in the Arrowverse, unless you count Huntress in season 1 (or if I’m forgetting something). But the real reason it stands out to me,  is the fact that at one point Arrow and Canary drop their weapons, Arrow picks up the bow-staff, Canary grabs the bow, and they continue on like nothings happened. And it’s awesome. 

Arrow V Nyssa 2x13- Nyssa’s first major fight on the show (maybe first ever?) is also probably her best. It really goes out of its way to show how skilled she is and to make her into someone who rivals Oliver. Some fun acrobatics and clever moves make it fun to watch. And I just love Nyssa. 

Team Arrow v Deathstroke bunker fight 2x19- It’s like the first thing in the episode so it catches you off guard. It’s quick, it’s brutal and it’s terrifying how easily Deathstroke fends off all of Team Arrow in their own hideout. 

Arrow/Oliver V. Deathstroke/Slade Dual fight 2x23- The twin fights are so nicely juxtaposed. It depicts the relationship so well. It’s nice to finally see these two go head to head on an even playing field. And the contrast of Oliver chosing to kill Slade in the past, versus sparing him in the present is such a great moment. 

10 (+ a few) Great Scenes/Moments

Not a top 10 because I’m sure I’ve forgotten some. But 10 that I really like. Plus honorable mentions.

Oliver kills a man to save Shado 2x01-  In flashbacks, Oliver tries to save Shado from an attack, loses control and beats a man to death with a rock, ending up with blood all over his hands. This is only the second person Oliver has deliberately killed but already he’s turning into something else. Even hardened warriors like Slade and Shado look a little wary. It’s an important step in Oliver’s characterization-- if killing Fyers was a step toward heroics, this is a step toward being a monster. It also leads to a nice demonstration of the found family aspect of this trio. 

“It means strength” 2x04-  we meet Anatoly and Oliver pulls a bullet out of his own stomach. It always stands out to me as one of the defining moments of Oliver’s experiences on the island, and really its a testament to his strength, like Anatoly said. And it is the foundation of the friendship that he and Oliver form. 

“Five years where nothing good happened” 2x04-  Oliver reveals  that Sara is alive to Diggle and Felicity and they begin questioning him, leading to this line. It showcases Amell’s acting talent. It shows Oliver’s emotional vulnerability and gives a little glimpse at why he’s so closed off all the time. It’s also a good moment for Diggle and Felicity, even though the focus isn’t on them. You can see their doubt and frustration as they realize how little they know about this man that they’ve thrown in with. 

“There was no choice to make” 2x07- Not actually the scene that this quote is from (though that is a great one) but the one that precedes it-- Oliver saves Felicity from the Count by shooting his three times in the chest. With prejudice. Because nothing is going to stand in the way of Oliver protecting Felicity. It’s a defining moment of early Olicity and it’s so. so. good. 

Roy finds out Oliver’s identity 2x12- I just love secret identity reveals. I particularly love the shock on the faces of people (like Roy) who didn’t think Oliver was capable of being the Arrow. It also transitions the uneasy training dynamic Roy and the Arrow have into the actual mentorship role that Oliver takes on. And it’s always nice when someone takes a moment to love and appreciate Oliver, the way Roy does in thanking Oliver for saving him at the end of the scene. 

“I am done chasing after you” 2x14- Oliver and Laurel’s fight after the Lance family dinner. I think the acting in this scene is top notch. The emotions are raw and real. And I thinking it is a defining character moment for both of them. It’s where they finally stop chasing after who they used to be and are finally able to break free from the toxic relationship they’ve had. I define this as the moment these two break up, even though they weren’t dating. From here they could have rebuilt something better romantically, but instead they moved forward. And only after this break were they able to build a friendship. 

Slade in Queen Mansion 2x15- The relationship between Oliver and Slade is one of the most important of the show. And this demonstrates one aspect of that perfectly. The tension in the scenes, with Oliver unable to do anything to stop it, and Slade toying with him. And especially the moment when Oliver is so desperate that he tries to kill Slade with an icepick in his own living room, with his mother and sister right next door. 

“Can you imagine what it’s like to be him?” 2x19-  Quentin gives Laurel a speech about why he doesn’t want to know who the Arrow is talking about how he can’t imagine what it’s like to be the “man under the hood”. It’s a great look at Quentin’s perspective, and a nice outside analysis of how hard it is to be Oliver, which everyone needs  reminder of every once in a while. It’s a lovely little scene and it results in Oliver getting a much needed hug later in the episodes. 

Moira’s death 2x20- Moira’s death scene is powerful, and emotional and a testimony to her character. Her bravery, the brutality of the scene, and Oliver’s utter desperation and devastation make it easily one of the best Arrowverse death scenes. 

“You are not alone and I believe in you” 2x23 (I think. could be 22)- Another defining early Olicity moment. It’s a nice character moment for Felicity, it’s a nice shared moment between the two of them. It’s the belief that Oliver needs at that moment. 

Meet Barry Allen 2x08- Meeting Barry changed the Arrowverse and gave us the definitive Flash portrayal. 

“What’d you say” Please” 2x06-  Oliver threatening the guy in Russian and then shrugging it off to flirt with Felicity is just so great. 

Moira tells Laurel and Quentin about Sara’s death 2x13- It’s the first time we get a glimpse of what it was like for the families when they thought Oliver and Sara were dead and it’s such an emotional scene. 

[pinksuitpost]

Yemin Episode 19 264 Bolum English/Subtitles (FULL EPISODEs)

Yemin Episode 19 264 Bolum English/Subtitles (FULL EPISODEs)

⚜ Watch Yemin SeaSon 3 Episode 19 264 Bolum - Ep 19 264 Bolum | EngSub | Thai Drama Korea| Full Episode Online (HD) 📺 P.L.A.Y ►► www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

▶ Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama (Full Episodes) | Episode 1–2-3–4–5-6–7–8–9–10 (FREE) ▶ Full Watch Episode HERE!!! www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.

[livingwithashipname-blog]

Ermanda’s Inner Sanctum: Scorpion 4.08 “Faire Is Foul”

This episode was a really great showcase of Team Scorpion on the personal end.  On a whole, the episode could have been better but definitely worked as a transition episode.  I usually format my reviews around the storylines, but this one focuses on the characters and friendships.  

It’s Sly’s birthday, so let the revelry commence! 

Sly 

It’s Sly’s birthday and this episode epitomizes what makes him unique.  He is a nerdy germaphobe with a big heart.  The love he has for his friends has pushed him to be there in ways he would never choose 3 years ago.  Sly has an increasing sense of confidence and has accomplished so much in such a short period of time.  As far as I am concerned, he is the most successful team member right now in terms of accomplishments outside Scorpion!  And yet, he still finds joy in cosplay and comics!  It’s a wonderful juxtaposition showcasing Sly’s maturity, competence, and inherently good nature.  This is what I appreciate about a character in a story who is the youngest amongst his peers!

Papa Cabe 

Cabe & Sly 

Cabe has enough love to go around for all his children!  He works with each member of the team in a special way.  He has integrated himself into Sly’s world, granting him the name Magnus by Sly’s band of friends!  (Side note: One of those friends is Tom Massmann, one of Ari’s body/stunt doubles.)  We get evidence of Sly’s influence in Cabe’s life when Cabe lets his nerd flag fly and admits he loves Chair of Blades!  We see the reverse when Cabe encourages Sly to use his influence to rally his fellow nerds to capture the criminals and save the evidence.  They have this mutual camaraderie and respect for one another!  This will grow and be tested as Sly continues as Cabe’s lawyer.  I love how this has been extended from last season!  

Cabe & Toby

I think we can all agree that Cabe’s conversation with Toby about Quintis baby-making activities is the most hilariously awkward moment we have ever witnessed on this show!  I still die laughing when I think about it!  I will never look at sprinkles the same ever again!  I will be that weirdo in Menchies or Yogurtland grinning hard when I pass the sprinkles. 😂  I am also reminded of how this differs from 3.05 Plight at the Museum.  Toby told Happy that he was worried because she was, “carrying the product of [their] love.”  Then, he turned to Cabe and continued saying, “not to mention some vigorous whoopee-making, huh?”  Toby was building up his successful seed-plating exploits!  In this episode’s moment with Cabe, Toby is suddenly coy when Cabe talks to him in special detail about his baby-making skills!  Ha! Oh, man!  Cabe is trying to be THAT dad who makes sure his son has game! 😂😂😂😂😂😂  It’s done so well!  I just want to thank the writers for this.  PURE COMEDY!!!  I really like their growing relationship this season.  Cabe just isn’t concerned about his trial.  He wants to have full confidence that Sly will get the charges dropped.  I hope it creates more moments for Cabe to prepare Toby for fatherhood as Toby helps Cabe cope with the charges against him.

Solid Friendships 

Walter & Happy 

Time and time again, I make it known how much I love this friendship duo.  They are two peas in a pod!  It’s really sweet to see him seek Happy’s advice and Happy explaining the importance of speaking from the heart.  The moment is reminiscent of 2.23 Chernobyl Intentions.  The show is starting to highlight this relationship as an extension of the parts of the Quintis & Waige storylines that intertwine.  I have been eager to see this on screen and so stoked it is finally happening!  Anyone else notice that Happy makes hilarious comments to Walter when he says or does something silly this season? 

Toby & Paige

Their relationship is similar to Happy & Walter’s.  Even though Toby is as cerebral as the others, he relates to Paige as a behaviorist.  I love their various discussions about their respective lives.  They always share great advice with one another, especially when it’s directed at their love lives.  This episode revisits a relationship food descriptor that was first introduced in 2.17 Adaptation.  Toby said then that he and Happy were like peanut butter and chocolate - a good mix of two great standalone flavors.  Now he refers to Happy and him as double chocolate in reference to their inner cores, but he states that chocolate and peanut butter is as equally delightful.  It reinforces the reality that they can make it work and get on the same page even though they are different people.  Once again, Toby and Paige convos show the connection between Quintis and Waige.  Makes me wonder if these references will be reinforced in upcoming episodes!  Be on the lookout! 👀

Operation: Baby Quintis  

Toby and Happy are really taking every opportunity to get their Quintis baby!  It is unfortunate their hay loft hookup is disrupted due to criminal shenanigans, but their desire leads them to unconventionally buy pregnancy amulets at the fair for good luck!  This is so sweet!  The decision to do something like this is so Toby-like, but now it’s something we can expect from Happy as well!  They are really rubbing off on one another!  HOLY CHARACTER DEVELOPMENT!!!  Like I have said in other reviews, the arc is set up to show us how they are handling this new planned life choice as a means to test their perseverance as newlyweds.  Plus, anyone see the shift from Happy in 3.13 Faux Money Maux Problems in comparison to this episode?  Happy makes the advance to roll in the hay to get a good lay that will make a baybay 😉😂 whereas she suggests Toby come with her to the wine cellar as a means to get them out of perceived danger.  I love little changes like this!  Operation: Baby Quintis is soaring!!!  

Walter 

As I have mentioned numerous times already, this season is focused on Walter’s EQ growth and how that fits in his new relationship with Paige.  He decides to learn guitar and write a song for Paige after he screws up on a date in support of her friend.  Now I wanted to hear Walter sing a heartfelt song that would give us EPIC Waige feels, not a goofy one!  WE GOT BOTH!!!  The first song is sooo funny!!! 😂😂😂😂😂😂😂😂  Walter thinks he can serenade Paige with the same formula Happy used for her hit song in Portugal, but she bluntly tells him that doesn’t work.  He goes back to the drawing board and records something so beautiful and profound.  Let’s revisit these lyrics and more to understand why I consider them profound.

🎵 When I’m with you It soothes my mind And I feel fine, I feel fine When you’re with me My mind can rest My thoughts can nest, thoughts can nest With a calm I hold in my arms Peace that only you so disarm 🎵

Not completely sure about that last line, but I love these lyrics!  The genius mind is constantly flooded with thought, followed by a desire to explore them when they are leading to something of great interest.  I know from experience that I hate disruption when I am entranced by a task or deep in a thought process.  We were introduced to how this affects the geniuses, especially when the team had to work with Collins in 1.05 Plutonium Is Forever.  Collins’ intellect was so intoxicating to Walter that he neglected his own needs for the sake of science.  He went down the rabbit hole.  Happy essentially saved his life.  He had to commit Collins’ to asylum. He struggled to appropriately handle his team’s discomfort as the leader.  Walter was in an emotional conflict and didn’t realize it until the situation reinforced his decision to send Collins away.

Collins: I showed you the outer limits of your intelligence and you couldn't handle it. You couldn't risk me, or anybody else, jeopardizing your team, your precious cyclone. Walter: They are worth it. C: Why them? Toby, Happy, Sylvester... they can't touch my abilities. So why wasn't there room for one more? W: But there was. Paige. She binds us. C: I’m going away. But I'll get out... Maybe I'll see you back down the rabbit hole, Walter. W: I… hope not.

Walter knew that Paige was special.  Over time, he realizes that she introduces a calm and focus that he never knew he needed.  It creates space for him to expand his EQ and contemplate realities he once considered nonsense.  These lyrics show how much Walter values Paige’s abilities.  He doesn’t want to go back to who he was 3 years ago.  He wants to make her happy!  

Now here’s where things are going to come full circle to parallel earlier events!  Paige tells that she doesn’t want him to change simply because she asks for it or because it will make her happy for a moment - paralleling a similar tone in 2.15 Da Bomb (my all-time favorite Waige moment).  Walter took Paige’s words at face value and decided to nix his music project.  However, the tape bounces off the trash can and lands under the bed with his hidden guitar.  In 2.15, Paige catches Walter’s attention when she asks the pizza parlor if they have fermented fish (Walter’s favorite snack) as a topping.  The tape under the bed sets up a moment for Paige to find it by sheer happenstance and approach Walter about it.  While I wish Walter had decided to stick with the music project as a means of giving her something she would enjoy, the situation creates another learning experience for Walter to understand the value of “just because” gifts and gestures.  Are you excited about the anticipated Waige feels as I am?!  😍😍💙💙💙😍😍 Walter gonna get some “good good” if Paige listens to that tape!  I’m just saying’!

Drabbles...

Great argument, Sly! Now if you could just work on that delivery… 🤔

W: I’m making a song for Paige. H: Okay, what did you do wrong that now you have to do this? It’s so funny that Happy knows when Walter messes up! 😂😂😂😂😂😂

C: …cuz if you need any tips in the gooty department… T: I don’t need any tips. Please don’t ruin gooty for me. C: Just trying to help. Me: 😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂💀 Now Cabe is saying gooty! Who’s next?!

I am in love with Paige’s black flowery blouse! I want, I want!!! Btw, the whole outfit is a very common style for Paige in this series which expresses the character’s playful side. Check 1.14 Charades and 3.23 Something Burrowed, Something Blew for reference.

These costumes, the slow-mo entrance… 🙌🏾🙌🏾🙌🏾🙌🏾

Happy is not having it with the gender roles of the Renaissance! 😂👏🏾👏🏾👏🏾

Walter wants to give this place a history lesson! I feel him on this one! 😂😂😂😂😂😂😂😂😂

Once again, Toby is turned on by Happy in a costume! #KinkyQuintis 😍😍💚💚💚💚💚💚😍😍

Toby and Paige are just too stinking cute! 💛💛💛💛💛

The ladies and Sly during the band’s performance… 😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂💀💀

I just died when Toby answered Walter’s question as if he was talking about him and Happy’s steamy activity in the hay loft! 😂😂😂😂😂😂😂😂😂😂😂😂💀💀

Someone is always hampering the fun… BOO CRIMINALS! 🙅🏾👎🏾👎🏾

More Quintis exchanges! C: Why didn’t he slash the tires? T: Kevlar. You can’t pop them with a set of keys. You can’t be married to Happy Quinn without learning a thing or two about motorcycles. Me: This is ironically accurate considering that Walter, who was also married to Happy, uses a chain to stall the criminals’ motorcycles. 😂😂😂😂😂😂😂😂😂

The fact that Toby needs a very hot tool to cauterize the officer’s wound is somewhat reminiscent of the same suggestion he made for Walter in 1.22 Postcards From the Edge.

Team Scorpion: We need help to stop the criminals from killing us! Everyone else: Say what now? Yeah, see the way my health is set up… *facepalm* 😂😂😂😂😂😂😂😂😂😂😂😂💀💀💀

As much as I love Sly’s speech, I think it would have been better suited in the tent given that criminals were on the way there to search for that evidence bag.  But since it seems that everybody got in place before the criminal arrived, I’ll give it a pass. It was a cool moment for Sly! 👍🏾

Yay! Small moment of teamwork between Paige and Happy! This is what I want! 🙌🏾 

Cabe coming through on that horse should have come a lot faster! Great moment regardless!

This officer is awesome! 🙌🏾🙌🏾🙌🏾🙌🏾🙌🏾

He has to die?! Say what, Walter?! Oh lordt, here we go again! 😱😱😱😱😱

The way Walter took the bad guy out was really impressive! 😍😍😍🔥🔥🔥🔥🔥

This show really has an obsession with 💩💩💩

Aww Quintis! 😍💚😍💚😍💚😍💚😍💚😍💚😍💚😍💚

I love Elyes’ voice! So happy he was able to showcase it again! 😍😍😍

[eddycurrents]

For the week of 9 October 2017

My favourites this week are both endings; Rocket #6 by Al Ewing and Adam Gorham and The Woods #36 by James Tynion IV and Michael Dialynas. Published by Marvel and BOOM! Studios.

Since at least the “Grounded” relaunch/expansion of the Guardians of the Galaxy franchise titles, Marvel has been producing some extremely high quality, well-written, beautifully-illustrated series that I always feel cheated out of when they’re “cancelled” instead of rightfully referred to as limited series. Particularly those of these last two groupings including Star-Lord, Gamora, I Am Groot, and the two excellent Rocket Raccoon series, first Matthew Rosenberg and Jorge Coelho’s Rocket Raccoon, and now this, Al Ewing and Adam Gorham’s Rocket, which I’d wager could possibly be the best Rocket Raccoon series since Bill Mantlo and Mike Mignola’s series back in 1985 (which this series references and draws from).

Al Ewing crafted an interesting story with "The Blue River Score”, layering it in the genre trappings of a hard-boiled caper, including the typical hard-hitting narration of a Raymond Chandler or Richard Stark novel, a femme fatale in Otta Spice, and an impossible heist, and then mixing it with colourful “obscurish” Marvel characters like the members of Technet and setting it across the backdrop of the more zany corners of Marvel’s cosmos.

Rocket #6 even brings it back around to the original Rocket Raccoon mini-series and Rocket’s old continuity, behaviour, and such with the correlation a lot of people were probably wondering about regarding Otta and Rocket’s otter-love, Lylla, being revealed here as one and the same. Not only does it add Ewing’s penchant for mining the depths of continuity for story payoffs and inspiration, but it also makes the story resonate a bit more with emotional impact.

Adam Gorham’s artwork is wonderful. He excels at drawing strange and wonderful creatures, but also has an added roughness, a scratchiness to his linework that perfectly fits the hard-boiled narrative. His overall design sense, from page layout to panel transitions also make this fun to read. There appears to be extensive thought that’s going into how the story is being told, from both Ewing and Gorham, and it results in an immensely enjoyable comic.

Particularly, I think more comics, not just crime comics like Rocket here or much of Ed Brubaker’s work, could do with a “prose gutter”. I highly recommend this to people who love off-beat crime comics.

The Woods #36 is the conclusion to a series that has dabbled in horror, fantasy, and sci-fi, but at its heart has always been a coming of age tale centred around the kids who had their whole world upended by being stolen away to a strange and dangerous realm on the other side of the universe. The ending is suitably epic as the former children show that they’ve truly grown and matured as they fight to find their way home.

Michael Dialynas has been delivering some incredible art since the series began, but these last few issues have been truly breathtaking. The double-page spreads this issue alone, juxtaposing two different types of battle going on are a treat, showing an ability to make both the quiet character moments and the high action compelling and interesting visually.

The story James Tynion IV has been telling is largely one about growth and change, of transformation through adversity, and occasionally needing to fail. The finale throws the biggest roadblocks and gives the opportunity to show how far the characters have come since that first issue, even antagonists like Adrian get a chance to shine.

This issue also shows how seamlessly Dialynas and Tynion have grown as collaborators. The scene between Isaac and Ben works well both in dialogue and in art, giving a huge emotional impact both in how it appears and in the heartfelt conversation.

Overall, this has been a great series and this is a very satisfying conclusion.

Quick Bits:

Atomahawk #0 collects the shorts that ran previously in Heavy Metal. While a new series is being published in Image+, this is a good time to pick up what came earlier in one place. Aside from just a balls to wall story from Donny Cates, Ian Bederman’s art remains phenomenal. His style reminds me a lot of Peter Kuper and the way that he constructs his characters, action, and page layouts are just fantastic. Highly recommend this special and the serial in Image+.

| Published by Image

Babyteeth #5 gives us one of those game-changing reveals that Donny Cates should be known for producing now based on at the very least Redneck and God Country. Sadie’s world just got a whole lot bigger and a whole lot stranger as she starts getting clued in to what’s going on with her and her baby.

| Published by AfterShock

Birthright #27 reminds me that I probably don’t talk about the colourists enough. Take, for instance, Adriano Lucas’ work here. Andrei Bressan’s linework would still look good, but it’s Lucas’ colours that really elevate the story and put us in a more magical reality with a shift here from standard “realistic” colours to the brighter, softer, and more colourful world inside a more fantastical realm. It just shows the impact that the colourist has on the overall tone and atmosphere of the book.

| Published by Image / Skybound

Daredevil #27 continues the twisting arc of DD’s mentoring of Blindspot since the beginning of this volume. Charles Soule gives us a more thorough backstory for Blindspot and reveals what has happened since the “Dark Art” story-arc. It’s pretty...um...dark.

| Published by Marvel

The Dying & The Dead #6 is still the most beautiful, possibly inscrutable, hidden history comic being published. 

| Published by Image

The Family Trade #1 is something different. And pretty fantastic. The premise and setting of the Float, a kind of extension of some of the politics of the Italian city-states during the time of the Renaissance, is brilliant, serving as a perfect backdrop to the populist political allegory that Justin Jordan and Nikki Reed are presenting here. The characters, and the idea of a family of assassins meant to keep society in check is also compelling, particularly the lead, (Jessa Wynn, who I’m fairly sure isn’t even named in the first issue, I grabbed it from the solicitation info), in her somewhat bumbling way.

Morgan Beem’s art also adds greatly to the overall feel and tone of this world. She has an art style that looks highly influenced by European artists, with a soft watercolour palette atop, achieving a very distinctive look for the comic.

Oh, and there’s “talking” cats. Every book should have talking cats. Every one.

| Published by Image

GI Joe #9 concludes this volume from Aubrey Sitterson and Giannis Milonogiannis. The end features some really nice action in the art from Milonogiannis. It’s nice to also get another series up to speed finally for the First Strike crossover, even though the GI Joe: First Strike comic that also comes after this series is already out. ROM looks like it’s the only hold out still before I can finally start reading that. The other highlight of this issue being the revelation of the new Cobra Commander.

| Published by IDW

God Complex: Dogma #1 is an impressive looking comic. The artwork from Hendry Prasetya is slick and layered in thick solid blacks, highly suitable to the futuristic mystery presented in the story, which is then elevated by the colours and sheen that Jessica Kholinne adds on top. Visually, it perfectly evokes that kind of Blade Runner feel. 

The story is also pretty interesting, Paul Jenkins hooks us fairly well with the murder and mystery of the Church of Trinity. The mix of a mysterious, possibly fictitious “one god” and the real, tangible deities of Delphi’s Rulers is something we’ve seen variations on before, but it’s still a compelling examination of faith vs. direct knowledge. The world, based on Glitch’s toy line, is fairly broad. The lead, Seneca, serves as a bridge between the two aspects and Jenkins delivers a little twist on the narrative partway through that has you reexamine the narration itself, making you go back and re-read the comic in that different light.

| Published by Image / Top Cow - Glitch

Grass Kings #8 focuses on Pike and his backstory, giving depth to the Grass Kingdom’s man of few words. In addition to his history, it also serves as a broadening of the mystery of the potential serial killer among the people, showing the other perspective of the conversation from last issue regarding Ms. Handel’s “suicide”, making us question even more.

| Published by BOOM! Studios

Harbinger Renegade #8 finally gives us the reunion of Kris and her parents, a plotline dating back right to the first story-arc. As has been the case for much of this series, it’s not exactly pleasant. It is, however, still satisfying and probably one of the happier moments in the series, even if bittersweet. The push towards Harbinger Wars 2 is also more apparent, with a drive for a Renegade army and training becoming more imperative. Animalia is also one scary little kid.

| Published by Valiant

Harrow County #26 is heartbreaking, even if you’ve grown to hate the character who dies this issue, it’s still heartbreaking. Kammi’s assault on Emmy’s life, friends, and whole world grows this issue, even with the devastating blow in the beginning of the issue, and it raises the question as to how far Kammi is going to take it, how much more loss the series is going to deliver, and what it might drive Emmy to do. Cullen Bunn and Tyler Crook are firing on all cylinders with this arc.

| Published by Dark Horse

Hulk #11 is another dramatic shift in tone, suddenly reintroducing Jen’s ability to break the fourth wall, hitting for a story that is more humorous in tone, and in some cases being silly, as the last issue before the Marvel Legacy “relaunch” back to She-Hulk and legacy issue number. Personally, I’m not sure I like it. It’s by no means bad, but it’s still a dramatic departure from the more serious “Deconstructed” arc and continuing with the more ridiculous aspects of the last arc with the food vloggers. It works for what it’s going for, recapturing some of the humour that previous incarnations of She-Hulk have presented, I just find it a bit of a jarring change.

| Published by Marvel

Jimmy’s Bastards #4 finally clues in the leads as to what we’ve known since the announcement of the series. This issue also hammers home that I think the wider joke of Garth Ennis’ black humour and piss-take of current identity politics is missing the mark.

| Published by AfterShock

Mech Cadet Yu #3 is still every bit as fun and heartfelt as the previous two issues, this remains an incredible all ages story with giant robots and invading bugs. Greg Pak has created a character in Stanford Yu that you just can’t help but smile at his stumbles and achievements, so incredibly likeable that you want to read more as soon as the issue’s finished. Takeshi Miyazawa also gets to reveal the Sharg this issue, setting up what looks like a battle between the cadets and the monsters for next issue.

| Published by BOOM! Studios

Noble #5 is my first issue of this series and I feel in a similar position to ostensibly the POV character, Astrid Allen, a little in the dark. Brandon Thomas uses an unreliable narrator in Lorena Payan explaining to Astrid what has been going on with her husband, the titular Noble, and the changes that have turned him into a superhero and it’s fairly compelling. Certainly enough that I decided to pre-order the Noble: God Shots book out later this month collecting the first four issues. I wonder how this issue’s reality and the previous issues will align. The artwork from Jamal Igle is a high point. The action scenes of Noble trying to save a commercial airliner are particularly well done.

I also have to say that how they’re numbering these books is also interesting. They’ve got a main issue number for the overall series, but they’ve also got a volume and issue number for story-arc/trade as this is Volume 2, Number 1. It makes story delineations fairly easy to see where breaks and potential jumping-on points occur.

| Published by Lion Forge / Catalyst Prime

Optimus Prime #11 begins the “Primeless” arc, acting as a kind of non-branded tie-in to the First Strike event, covering what’s happening to the Cybertronians on Earth cut-off from Cybertron and left in the dark. I haven’t begun reading the First Strike crossover yet, as I’m still waiting for the last issue of ROM to land to be up to speed, but it doesn’t feel as though I’m missing anything here having not read it yet. In fact, in some ways, it puts me in a similar position to the characters in the book as I don’t know what’s happening either. In any event, John Barber does a good job of ratcheting up the tension between the different factions on Earth and amongst the rest of the Council of Worlds. I also need to reiterate that there really should be at the very least a Thundercracker mini-series.

| Published by IDW

Redlands #3 shifts point of view to Laurent, a bounty hunter without a license, gator man, and apparent lover of Bridget of the coven, who was introduced as a prisoner in the first issue. I really like how Jordie Bellaire is telling this story, in somewhat non-linear waves that keep rippling outward introducing new characters and interactions while still advancing the overall plot. The epistolary backmatter of clippings of gator man sightings and how to field dress a deer are also interesting touches. It adds a nice depth to the world.

And as since the first issue Vanessa Del Rey’s artwork is incredible. Dark, moody, and at turns erotic. This book is pretty much as sensual as it is horrific and bloody, and I think that’s a very welcome choice from Bellaire and Del Rey for this story.

| Published by Image

Retcon #2 is still...something. Between the first two issues, we’ve got some kind of government conspiracy involving black ops superhuman/magic-user teams. That seems pretty straight-forward and is fairly interesting. The problem is that the interviews and backmatter with the creators imply that they’re doing something else with the series and that just doesn’t come through in the narrative. So, if you’re looking for something that kind of taps the same vein as Doom Patrol meets Automatic Kafka, this is up your alley.

| Published by Image

Royal City #6 kicks off a new arc set in 1993, delving into the teenage years of the Pike children, back when Tommy was still alive. Jeff Lemire’s story gets more layers to it as it shows the personalities of the children in their genesis, and starts easily putting together some of the pieces as to what we’re going to see happen in the first arc, including Richie’s girlfriend, Tara’s relationship with Steve, their mother’s affair, and maybe what happened to Tommy. Lemire is great at weird, and great at small town family dynamics, and this series puts them all together in a beautiful illusory package.

| Published by Image

Sheena: Queen of the Jungle #2 adds some more depth to the story and more mysteries as Sheena chances upon the guy who’s been watching with drones and the two of them stumble upon unknown ancient temples in the jungle. Marguerite Bennett and Christina Trujillo are still treading common ground, but it’s still entertaining and they’ve managed to make Sheena a fairly interesting character in her own right, and, with Moritat’s art, great to look at.

| Published by Dynamite

Star Wars: Doctor Aphra #13 concludes the “Enormous Profit” arc and with it Kieron Gillen & Kev Walker’s run on the title. Gillen will apparently be back to co-write the next issue before fully transitioning to the main Star Wars title and I’m not sure what Walker is doing next. Suitably this issue features some nice action, some duplicitous intrigue, and the trademark sardonic humour. What the murderbots, Triple-Zero and BeeTee-One, have up their sleeves after being unshackled of morality earlier in this arc is a frightening prospect.

| Published by Marvel

Wormwood - Gentleman Corpse: Mr. Wormwood Goes to Washington #1 brings back Ben Templesmith’s comedy horror opus to tackle corruption in politics and it’s a very welcome return. It’s ridiculous, it’s over the top, and it’s actually scary that the bigoted plutocrat scrambling for more power in politics is now a believable reality and not just a caricature.

| Published by IDW

Other Highlights: All-New Wolverine #25, Alters #7, Amazing Spider-Man #789, Amazing Spider-Man: Renew Your Vows #12, Baking with Kafka, Black Science #32, Defenders #6, Despicable Deadpool #287, Eternal Empire #5, Falcon #1, First Strike #5, Inhumans: Once & Future Kings #3, Lazaretto #2, Runaways #2, Sacred Creatures #4, Scales & Scoundrels #2, Slam!: The Next Jam #2, Star Trek: Boldly Go #12, The Unbelievable Gwenpool #21, Uncanny Avengers #27, The Wicked & The Divine #32, X-Men Blue #13 

Recommended Collections: Animosity - Volume Two, Black Cloud - Volume One: No Exit, Coady & The Creepies, Harrow County - Volume Six: Hedge Magic, Ladycastle, Low - Volume Four: Outer Aspects of Inner Attitudes, Secret Warriors - Volume One: Secret Empire, Seven to Eternity - Volume Two, Star Wars: Screaming Citadel, TMNT Universe - Volume Two: New Strangeness

d. emerson eddy can both walk and chew gum. If he tries really hard, sometimes he can even achieve both at the same time. But only sometimes.

[doublehex]

Impressions of 7x02 “Stormborn”

So we got the second episode. Let’s have a chat.

Dragonstone:

We open up with a fierce storm raging outside Dragonstone, and I love this for several reasons. First off, the obvious allusions to the night that Daenerys was born, but most importantly I love the imagery of it. It is nearly black, save for the outlines of thunder strikes and the fire from within the Targaryen keep.

The scene opens with strife amongst Daenerys’ advisors. Elaria Martell has no shame over killing Tyrion’s niece Myrcella back in the final episode of Season 5, and I have to say I was disappointed by how it was played out. Tyrion seems to just casually accept what Elaria has done, a shrug off his shoulder. He should be pissed, and demanding from Daenerys some kind of retribution. I really do hope that something comes out from this, because otherwise it would just seem the showrunners are just waving off a critical relationship between characters.

Daenerys questions Varys about his loyalty, and I really do need to ask…why now? This is a conversation that needed to happen, but not after months of sailing together across the Narrow Sea. Why did Dany not speak with Varys in the final episode of season 6? It just seems awkwardly placed, although it is decently written.

Varys’ character suffers from cutting out the Golden Company plot from the books. Without Varys’ “perfect prince”, it doesn’t make much sense for him to have backed Viserys in the first season. He should have known that Viserys was the same kind of man that Aerys was, so why would he go for that? It feels like the writers are trying to salvage a ship that is made out of seaweed and is on fire.

I do however like Daenerys’ response – that if Varys felt she is doing a poor job as queen, he will say so to his face. And her threat of killing him if he should conspire against her shows she is not going to just accept his loyalty. Varys has jumped from monarch to monarch several times over now. He was essential for bringing Dorne and the Reach into the fold, and Daenerys is in need of a spymaster. But she does not trust him one bit, nor should see.

Then we get a Melisandre scene, where she reveals that perhaps Daenerys is the Prince(ss) That Was Promised. In the books, the revelation that the prophecy may have suffered a grammatical mistranslation came about as a sort of bitter moment…Aegon had been mistaken all along, and perhaps his error resulted in Rhaegar’s rash decision. Here it’s played as a mediocre female power moment.

Also, why is Melissandre in the throne room? Dany should be there on the stone throne, and Melissandre should be escorted in. Dany sees herself as queen – she should be showcasing that as much as possible.

When they plan for how Daenerys will retake the Seven Kingdoms, it is only her and Tyrion that vouches for the least amount of blood shed as possible. They realize that the Dothraki and Unsullied will only fan the xenophobic flames of the Westerosi. In order to establish Daenerys as a rightful ruler, it can’t be the Essosi that take King’s Landing. The Reachmen and Dornish will lay siege to King’s Landing.

This scene does a good job of showcasing what everyone wants out of Daenerys. Yara just wants the Iron Islands to be independent, she wants a quick end to the war. Ellaria and Olenna want Cersei to suffer, damn the consequences. Daenerys’ alliance is a fragile on at best. Besides the racial tensions between Dorne and the Reach, which have always been high, the alliance is split on how to proceed. It seems only the fact that Daenerys has dragons and a formidable army is what keeps the others from abandoning the cause.

At the end, Olenna tries to remind Dany that she is a dragon, so she must “be a dragon”. Olenna is trying to push Daenerys towards fire and blood, highest amount of casualties, giving the Lannisters as much misery as possible, and one can’t help but worry that this will be the show’s version of the “dragons plant no trees” from the books.

The Missandei and Grey Worm romance has finally come to it’s…blunt conclusion. Although it was good to hear Grey Worm speak of what the training of the Unsullied was like, the romance between these two characters have felt very contrived and forced. The sex scene is rather mild by the standards of the show, which comes as a relief, because the dialogue leading up to it was as awkward as one could get. One really has to ask just what this side plot added to the series, that couldn’t be better spent somewhere else.

Kings Landing:

Cersei seems to have taken Jaime’s advice to heart. She is doing her best to rallying the support of the Southern lords…and that seems to means just the Reach, if Randyll Tarly’s presence is anything to go by. The language she uses in her speech reminds me a great deal of Trump, where she is relying on an appeal of the Other and objectively false claims to secure a base.

It may have been unintentional or not, but I got several ISIS vibes when we had Qyburn defame Balerion’s skull with the ballista. They start off that scene with a bit of a history lesson, showcasing that Balerion is a big part of how the Seven Kingdoms were forged. It’s a priceless relic for all intents and purposes. Then we have Cersei deface it, and look pleased about it.

It seems to me that D&D are trying to create parallels between modern day and with Cersei. She has overturn the political system, going against the will of the people, to secure power. Now Trump did not perform a coup d’état like Cersei has. As far as we know, his election was legal. Influenced by outside forces, beyond a doubt, but legal. Most people did not want Trump as president, and almost nobody in Westeros wants Cersei to be their queen.

Another comparison between Team Lannister and the Alt-Right is the racist language Jaime has employed in recruiting Randyll Tarly to their side. Othering the Unsullied and the Dothraki in an appeal for Westerosi Nationalism (and luring the prospect of a new Paramount Lord of the Reach) seems to have worked on Lord Tarly.

One very keen thing to take away is that Jaime states that he no longer likes his sister. A rift is growing between the Lannister twins, and it will surely culminate in Jaime having to make a choice.

Winterfell:

Jon is finally starting to listen to Sansa. He speaks to her about the summon to Dragonstone, and she is wary. Despite her insistence that Tyrion is a good man, it is too risky. Sansa is still very much in bunker mode – after years of witnessing her family come under siege, she views anyone else but a Northman as a threat. She is not entirely wrong, but Sansa is also focused on the Southern threat, while Jon is focused on the Northern one.

In the end, Jon goes against the pleas of all his lords (including Lyanna Mormong) and accepts the invitation. Jon is getting flashbacks to his time as Lord Commander, when he is the sole voice for an unpopular action that must be taken. Even if it weren’t for Daenerys’ dragons, the North has been under siege for years. Food supplies are low, men are short. There’s a reason that boys and girls are being taught to fight. They need more manpower against the White Walkers, and Daenerys’ army is precisely what they need.

But once again, Sansa openly objects to Jon’s proposal in front of their lords. D&D continue to strike the same source of conflict between these two characters, in a way that seems artificial and forced. Especially when Jon rewards her with ruling the North in his absence. We just saw Jon seeking her counsel a scene earlier – why doesn’t he tell her his plans in private? The Starks look divided, and that won’t look good in front of the Northern nobility.

Petyr Balish also seems to be out of place this season. There is no clear understanding of just why, precisely, he is in the North, or what he is trying to accomplish. He may view chaos as a ladder, but the ladder doesn’t seem to be leading him anywhere. And the creep vibes he gives off does not seem to serve a purpose. In the earlier seasons, Petyr was very good at being everyone’s friend. That skill seemed to have evaporated by season 7 has rolled around.

Just what is Balish’s endgame plan? We are not getting much of a sense that he has one. Just like Varys, the changes to the narrative post season four has left Balish hanging.

Oldtown:

Sam’s arc is quickly becoming one of the best parts of the season. With an emphasis on being “hard rock Hogwarts”, the pacing of these scenes is stellar. They are glorified info dumps, but they are info dumps with style, and I am along for the ride. Maester Slughorn…err, Marwyn…no, Ebrose, sorry, is a darkly charming mentor for Sam.

The Grandmaesters actually had a good reason for hiding the greyscale cure – it tends to get the treater killed. But Samwell doesn’t have a say no attitude, and by golly he is going to save Ser Jorah. No matter what.

The cure for greyscale being entirely mundane instead of magical was a sigh of relief. And with the cure being to actually carve out the corrupted skin, one could not think of a better face for a character with morals are corrupted and dubious as Jorah Mormont. Next time, Ser Jorah, do not enslave people just to fulfill the debts of your wife. Also, don’t abuse the trust of a young woman and violate her privacy by kissing her without permission. No matter how sexily Ian Glen can growl “Khaleesi”, that is unforgivable.

And he does nothing for the narrative anyways, except slows it to a crawl.

Arya:

And the best scene transition goes to…pus soaked flesh into chicken pot pie! Mark Mylod had to be crackling as he directed that, and I wouldn’t blame him one bit. Grossing people out is a wonderful hobby to have.

Say one thing for season seven, and say that Arya’s arc has been on point, and her time in the inn is no exception. Watching her eat the pie surely made the entire audience hungering for something to stuff down their gut. You could hear every crunch, see the crumbs get stuck on Maisie Williams’ cheeks, and just get the sense that the pie was really damn good.

We also got a sense that the Hound had a profound impact on Arya. Her statement to having baked some pies is the kind of casual appeal to murder that sounds like it would come from Sandor Clegane’s mouth.

Arya also seems to have not realized that any of the Starks were alive, up until Hot Pie drops the fact that Jon took back Winterfell and was the King in the North. That changes her trajectory completely, from killing Cersei to reuniting with her family. Although that warms the heart, one has to wonder just what her last line to Jaqen H’ghar was supposed to mean. If she was “going home”, why was she not in Winterfell already?

The scene with Nymeria was, of course, wonderful, and D&D avoided the expected trap of having Nymeria rejoin with Arya. They haven’t been with each other for years, and Nymeria has long since found her own path in life. Nymeria has a pack, and Arya is on her way to reunite with hers.

Oh, of course this happens the moment Jon heads south for Dragonstone, but that’s plot convenience for you.

The Battle in the Narrow Sea:

So, we got one good scene and one bad one. The interaction between the Sand Snakes is almost…endearing. I actually found it a bit heart warming to see these three half-sisters are toying with each other. It almost makes one forget that they went and killed their nephew and joked about it.

But then we get the most awkward flirting with Yara and Elaria. “A foreign invasion is in progress”. Good god. They improvised most of those lines, and it really shows.

Once that nastiness is out of the way, we get a real sense of just what type of villain Euron Greyjoy is meant to be. The book version was an sorcerous pirate captain with delusions of eldritch power. Show Euron is the Mountain on the Sea. An absurd murderer with no desires to hold back his bloodlust. From the moment the Silence rams into the flagship of the Greyjoy fleet, Euron is an absurd villain.

And he rocks that role. Euron is utterly bloodthirsty that reflects the raised stakes of the series. Daenerys has brought dragons to Westeros, but Euron is showing us the true meaning “fire and blood”. Between the flaming ballista bolts and the Iron Islanders carving through each other, we get plenty of both.

The show does allude to how Euron from the novels would cut the tongue out of his crewmates. They are all silent, not speaking a single word, and one of the final shots is them cutting out the tongue out of the survivors.

The scene ends with Theon facing a new Ramsay. Seeing the way the Greyjoy loyalists are butchered by the crew of the Silence reminds Theon all too much of his abuser, and he can’t take it. Alfie Williams deserve an award for this scene alone. He utterly sells just the shame and fear in Theon.

When the episode draws to a close, Theon is left behind, just another bit of wreckage in Euron’s wake.

The episode opened with a storm of water, and it ended with one of blood.

[edenfalling]

For the DVD commentary meme - Chapter 7 of the Courting Dance (the wedding scene).

For @bluejayfic, forthe Fic DVD Commentary Meme (which is still open, fyi! just drop me an ask) 

TheCourting Dance: Marriage is a bit more complicated thanquarreling and making it up again, especially for the crown prince ofArchenland and an exiled Calormene Tarkheena. (21,000 words) 

Chapter7 - The Beating of Our Hearts: Running from your problems israrely a good long-term solution, but sometimes the change in environment canbe helpful – especially now that Aravis and Cor are on the same page. (1,600words) 

As @bluejayfic mentioned, this chapter is the one with the wedding scene. What was I thinking,putting the wedding halfway through the story? Well, I was thinking that theplot is as much about politics and worldbuilding as it is about romance, andthe wedding is a major symbol of Aravis and Cor deciding to commit to eachother despite various obstacles. Also, while it resolves their interpersonalproblems, it doesn’t resolve their external problems at all – in fact, itmakes some of them worse. So I figured it would make a good central turningpoint, where we switch from Aravis and Cor being pissed off at each other tostanding back-to-back against the world. 

———————————————Chapter 7 - TheBeating of Our Hearts, with commentary———————————————

Aravis disliked the journey into Narnia, though she had gonewillingly five times during her first year in the north, so that she mightspeak to Queen Lucy and spend a week or two in a place where her role wasclearly defined. The Narnians treated guests nobly and never begrudged herorigin, despite Queen Susan’s ordeal, whereas the Archens held ancient enmitywith Calormen and were rarely sure what to make of her status – somethingpartway between king’s ward, long-term guest, and unofficial hostage. 

This is a little repetitivein terms of story arc – we get it; Archenland has ISSUES with Calormen – butI needed to explicitly establish that Narnia, despite the Rabadash incident,doesn’t really share them. That will be important in future chapters. 

Even in the height of midsummer the mountain road was proneto enveloping fog, and the trees pressed thickly all around like disapprovingsentinels. Hwin and Bree passed the time trading gossip about their respectiveherds and territory negotiations with the centaurs and other grassland Beastsof Narnia. Cor rode silently, seemingly lost in thought. Aravis had nothing tocontribute to the Horses’ conversation and could not think of the right way tobreak into Cor’s reverie, not when they hadn’t spoken properly in so long. Sheheld her tongue until they were through the pass and safely down past thenarrow cliffside path, with the great valley of Narnia spread out before themlike a landscape on silk. 

She sat back in the saddle. Hwin took her suggestion andstopped. After a moment, Bree noticed he was walking alone and turned to eyethem questioningly, his nostrils flared to catch any strange scent on the wind. 

“We’ve crossed the border,” Aravis said. “Nowthat we’re nominally beyond Archenland’s reach, I want an explanation." 

Bree tossed his head. "An explanation of what? Youwanted to run away, Cor wanted to run away, Hwin and I offered to help, andhere we all are in Narnia. What could be simpler?" 

Bree is arefreshingly straightforward soul. *wry* 

Aravis ground her teeth. "I know why I wanted to leaveArchenland. I know why you and Hwin helped. Cor, on the other hand, has spentthe past two months treading dangerously close to denying me, which, after Iaccepted his courting gift, could well be considered grounds for blood feud. Iknow that you love your father and you wish to be worthy in his eyes,” sheadded directly to Cor. “I know why you were delaying, which is why I waswilling to take the dishonor of breaking the dance on myself. Yet here we are,fleeing Archenland as we once fled Calormen, with an even more uncertain futurebefore us. What changed your mind?" 

Context: culturallyspeaking, what Cor did was the equivalent of "it’s not you, it’s me”weaseling out of a betrothal, which is especially insulting after he’d put in afair amount of effort to buy some expensive and not-easily-acquired courting gifts,and by doing so had reinforced Aravis’s sense that he is the only other personin Archenland who shares her cultural background and perspective. Aravis hasevery right to be pissed off at him. 

Cor swung his left leg over the saddle and slid to theslanted ground. It was strange to look down on him from Hwin’s back. They hadbeen of a height as children, but he had three inches on her these days, justenough that she found herself tilting her chin when they spoke face to face. Itwas also fitting that he stand lower now, like a supplicant come to herfather’s court to beg her favor. There was no obligation to respond to theoverture of a dance, but Cor had met her, matched her, and then stepped back. 

“The king is under the law, for the law is what makeshim king,” Cor said slowly, stepping up the grassy hillside with his eyesraised to catch Aravis’s gaze. “Father said that to me on our first nightin Anvard – do you remember? A king in answerable to his country and hispeople. If he forgets that, he becomes a tyrant. I want to do right byArchenland. I wanted to make people see that you’re the best thing in my life,that you could never be a weakness. I wanted to obey the law, to work with theGreat Council rather than against it, and make Father proud." 

Hwin shivered and took a nervous step sideways. Aravisloosened the grip of her legs and held herself straight and strong under Cor’searnest gaze. "What changed your mind?” she repeated. 

“The law in Archenland isn’t the same as the law inCalormen,” Cor said. “It’s about personal honor as much as rules,just like debt and testimony – did you know that? What am I saying; of courseyou knew that. I should have known it, if I’d been thinking. The law is apromise between the people and the king.” He shrugged, a slightself-deprecating gesture. “How could anyone trust me to keep that promiseif I broke a more important one to you?" 

Cor’s reasoning hereis one of the major keys to the story. He is trying to balance two cultures,and realized he’d been swinging back and forth in response to each newstimulus, but really he needs to find his own synthesis and stand there. 

Or in slightly moreconcrete terms: when he accepted Aravis’s Calormene-style flirtation and madeher a Calormene proposal, he acted as if he were still in Calormen (whereAravis’s choice would have mattered a lot since she’s the daughter of a HighLord, and his would have been secondary at best since he was somewhere betweena peasant and a slave). 

Then he realized thatfrom an Archen perspective, he’d just made a huge decision of state withoutconsulting anyone, and that’s bad. (Slippery slope to tyranny.) Obviously theArchens have a bee in their collective bonnet about Calormen, because Aravis isobjectively a pretty good marriage prospect – she doesn’t have an inheritanceanymore, but she’s noble-born and grew up with court politics and such and cantherefore shore up Cor’s weak points, not to mention she and Cor are absolutelyunrelated which matters in the mountain kingdoms (I think their nobles are all cousinsof some sort at this point in history). 

But then Cor realizedthat Archen law is based on personal honor as much as an impersonal set ofrules, and if he broke his engagement to Aravis, he’d be breaking his honor andtherefore creating a hypocrisy at the heart of his kingship. (Plus he reallydoes think Archen prejudice against Calormen is wrong and wrong-headed.) So hefound the place where he said, "This is my line in the sand,” andrefused to be moved any farther. 

If Archenland won’thave him as he is, then they can’t have him at all. 

Aravis swung her leg over Hwin’s back and slid to the grassyearth. Cor stepped forward and took her hands. 

“Do you forgive me?” he asked. 

“We have two witnesses,” Aravis said rather thananswer directly. “Do you have objections?" 

Aravis understandsall the stuff I blathered about a couple paragraphs ago. She’s also bothCalormene (indirect verbal responses) and a fan of direct action, so herresponse is not to answer Cor’s question but to SHOW him the answer byessentially saying, "I not only forgive you, I want to make absolutelyclear that I stand with you, so let’s get married right here and now, and do itthe Calormene way to make an extra point.” 

For a moment Cor looked like the baffled boy she’d firstgrown to know on their journey. Then comprehension kindled a slow fire behindhis eyes, and his fingers tightened around hers. “Bree, Hwin,” hesaid, “will you stand witness to our marriage and attest its truth beforeany court?" 

Bree looked utterly confused, but he nodded his head. "Yes,of course, but don’t you need, oh, a dress, and some papers to sign, and anotherperson to say a bunch of nonsense to make it official? Possibly something withribbons or a fire?" 

The implication ofthe ribbons and fire, btw, is that northern marriages are not church weddingsas we know them; rather, they involve handfasting (tying ribbons around joinedhands) or jumping over a fire while holding hands. There’s probably also avariant where you jump over a broomstick, or just something to do with crossinga threshold, or crossing under an arch of flowering branches. Transitions andbinding, that sort of thing. 

"That’s only if they want to be grand,” Hwin saidfrom behind Aravis’s shoulder. “I saw humans do this in Calormen. All theyneed is themselves and a pair of friends to swear they said the words beforethey got down to mating." 

Horses, Aravis reflected, had a very earthy way of seeingthe world. She caught a blush rising in Cor’s cheeks and was grateful yet againthat her own slight embarrassment was not equally visible to him. "Wellthen,” she said, threading a note of challenge into her voice. “Willyou keep your promise?" 

Cor raised their joined hands to heart-height and said,"In the name of Soolyeh, I take you for my wife. May our marriage bewarm.” He stared into Aravis’s eyes, the slant of the hill putting themexactly on a level. 

Aravis held his gaze. “So may it be. In the name ofGarshomon, I take you for my husband. May our marriage be fruitful." 

The words were familiar. Aravis had heard them many times,for her father had been prone to grant the request of his slaves and thepeasants on his estate that he stand as their witness and thus bring greaterdignity to their unions. She had heard them again when Ilroozeh Tarkheena hadmarried her father, for though the trappings of the wedding might be grandbeyond belief, the rite itself was always the same. And she had been made toembroider them and paint them in calligraphy lessons as she grew to be ofmarriageable age, for no Tarkaan wished his daughter to embarrass him when sheleft his protection to join her new husband’s household. 

But this was a piece of Calormen, not of the north. To hearthese words, to speak the names of Calormene gods in the land of the Lionhimself, was vertiginously strange. 

Which is funnybecause Narnia is full of non-Christian gods and quasi-religious figures:Bacchus, Silenus, Pomona, all the various nature spirits, even FatherChristmas. And yet, it’s also a feeling I got while writing this, a sort ofnagging, "But is this really appropriate?” 

And that’s how I knewit was important to include this. Because religious pluralism is never inappropriate. (If Lewis just rolledover in his grave? GOOD.) 

“So may it be,” Cor said, his voice wavering as ifhe shared Aravis’s feeling of displacement. “In the name of your father, Itake you for my wife. May our marriage be honorable." 

Kidrash Tarkaan would approve of Cor, Aravis thought. "Somay it be. In the name of your mother” – whom she had never met, but KingLune had loved and respected her and therefore Aravis could but assume QueenElwen had been as bright and honorable as her sons – “I take you for myhusband. May our marriage be true." 

Someday I am going toget Queen Elwen textually into a story. Or else! 

"So may it be,” Cor said, and then paused, lettingsilence seep into the sunlit afternoon instead of continuing the last set ofpromises. 

“Is that it?” Bree asked. “Pretty enough, Isuppose, if you like that sort of thing. Only, don’t Calormene rituals go inthrees?" 

"They do,” Aravis said, knowing exactly why Corwas hesitating. She squeezed his hands, her sword calluses rubbing against his,and switched the lead. “In the name of Aslan, I take you for my husband. Mayour marriage be strong." 

She should have said Tash, but while she would alwaysrespect the god of war and vengeance, she had lost his favor when she gaveallegiance to the lands of his enemies. Even if she had still held him as theking of all gods, it would feel wrong to swear by his power in Narnia, and theLion was equally strong and fierce, his power more than enough to hold as asupport. Aravis had taken Aslan for her liege in the wars of heaven and so shewould make her future in his name. She would marry Cor by the ways of Calormen,but they belonged to Archenland too, now. It was fitting that she acknowledgethat heritage in her vows. 

And here again wehave the theme of finding a personal synthesis or balance point between twocultures. 

Cor blinked, and then smiled, a small, private curl of hislips just for her. "So may it be,” he said. “In the names of all the gods, I take you for my wife. Mayour marriage be forever.” He raised their joined hands, sliding hisfingers around to turn her hands palms upward, and kissed the soft inner skinof Aravis’s wrists: a feather-brush of skin on skin, his breath to the pulse ofher blood. His beard tickled across her open palms as he looked up into hereyes. 

I find beards hot,okay? There is no deeper motivation here. 

Aravis swallowed. “So may it be,” she said. 

She pulled; Cor came willingly. She met his breath with herown. 

Which is a veryroundabout way of saying, “they kissed,” but I dunno, this phrasingfeels a lot more emotionally and erotically charged to me. 

—————————————————————————————— 

The post-chapternotes are as follows: 

Cor and Aravis use a tweaked version of the Calormenemarriage ritual. The traditional version goes like this: 

Man: In the name of Soolyeh, I take you for mywife. May our marriage be warm.Woman: So may it be. In the name of Garshomon, I take you for myhusband. May our marriage be fruitful.Man: So may it be. In the name of your father, I take you for mywife. May our marriage be honorable.Woman: So may it be. In the name of your mother, I take you for myhusband. May our marriage be true.Man: So may it be. In the name of Achadith, I take you for my wife.May our marriage be strong.Woman: So may it be. In the name of Tash, I take you for myhusband. May our marriage be forever.Man: So may it be. 

And then they are married. The traditional divorce ceremonygoes approximately the same way. Either the woman or the man can end themarriage at any time by saying, “In the name of Nazreen, I divorce you. Inthe name of Nur, I divorce you. In the name of Azaroth, I divorce you” –again, three times makes it true. It’s not done lightly, since the person whoinstigates a divorce may start a blood feud with that action, but it’s stillpretty simple and egalitarian. 

I guess this would bewhere I explain some stuff about my Calormene pantheon? Okay. There are ninedeities: four goddesses, four gods, and Azaroth who is usually male but thereare some people who say otherwise. (Azaroth’s domain is death. Boundaries getfuzzy there.) The official mythology and theology are those promoted by Tashbaan,but there are hundreds of regional variants. 

Generally, Soolyeh isthe goddess of the sun, of marriage, and fertility/agriculture. Garshomon, thegod of rivers, earth, and agriculture, is her husband. (Soolyeh’s symbol is asun-disk; Garshomon’s is a bull. A sun-disk surmounted by bull horns isfrequently used on their shared temples and as a marriage blessing. 

Tash is the god ofwar and vengeance and generally regarded as king of heaven. Achadith, thegoddess of change, of victory, and of things out of place, is generallyconsidered to be both the queen of heaven and Tash’s wife. 

So the marriageceremony calls upon the deities most associated with marriage, as a generalblessing and also an indirect request for children; calls upon theparticipants’ own families as a reminder that marriage is ultimately a socialinstitution; and calls upon the two most powerful deities to sort of tie themarriage into the legal fabric of the Calormene Empire and also remind theparticipants that there are consequences for breaking their vows. (Neither Tashnor Achadith is a comfortable sort ofdeity.) 

The divorce ceremonycalls upon Nazreen (goddess of wisdom, memory, regret, and liminal periods),Nur (god of education/educated professionals, disease, and medicine), andAzaroth (god of silence, darkness, and death). Nazreen and Nur are also said tobe married, but their domains are more shadowy and associated with endings. 

Sokda and Zardeenah,the remaining two deities, have nothing to do with either marriage or divorce. 

—————————————————————————————— 

And that is pretty much that. :)

[titmasjack]

Metamorphosis Initial Ideas

Coming to the end of our first working week of the project, I wanted to get to a stage where I could feel comfortable moving forward to create the final assets for the production of my animation. Wanting to revise the TVPaint Pre-Vis I had made previously in the week, having come up with a range of new ideas I wanted to challenge myself in pushing the limitations of my imagination to incorporate elements such as perspective, depth and shot changes into my animation to create a more dynamic and fluid outcome. 

I felt that it was important to be influenced by my chosen film itself and gave myself the time to watch the film again to gain influence on any transitions, items, props and colours that heavily take place within the story. In case I wanted to change my mind in the early stages and production of my work. 

Whereas in my first pre-visualisation I focused on the key transitions in the metamorphosis this time around I focused on how I could manipulate the props themselves to show action. Taking away the static elements and a lifeless effect that I highlighted in the student examples we were shown from last year. I believe that to achieve a true sense of metamorphosis I need to show a constant state of change and evolution throughout my animation. 

Focusing specifically on the drumsticks, I wanted to challenge myself to create a sense of rhythm that I couldn't achieve from my first iteration. As this was the area of animation I wanted to improve upon, you can see from the outcome that the timing and drawn elements are a lot more refined compared to the segment of the metamorphosis including the hand. This is because I am overall satisfied in the hand's sense of motion demonstrated in the first iteration of my pre-vis and was included in the final version of my metamorphised narrative. 

Exaggerating a warped perspective, I wanted to create an animation that broke down the limitations of a 2-Dimensional plane. Bringing a sense of change of perspective my goal was to warp and challenge the audience's mind through altering shot in a rapid sense whilst still withholding continuity. This is further exaggerated by using emphasised arcs or motion to create a longer length of depth. Creating a larger field of view much like using a fish-eye lens. I feel that introducing a level of distortion to the objects will go aesthetically hand in hand with the transformation of the objects, but will also display a higher consideration of thought when producing my animation. To hopefully achieve the grading criteria of the top end. 

From working on the animation over the course of the day, I found that this new sense of perspective was difficult to grasp. Inherently warping and confusing myself on how the shift of perspective would change relative to the audience. It’s only from trial and error that I’m happy with the outcome I was able to produce highlighting this exaggerated distortion of perspective. 

From rough pre-vis to finalised concept. There's a jump in quality from seeing my rough beginnings to the final outcome in terms of conceptualisation. Without considering the array of notes that shroud my rough version, my final pre-vis indicates how I plan to use timing to show exaggeration and anticipation throughout my frames as well as an all rounded showcase of how I intend to transform one prop to another and back using alternate methods. 

Creating a final timed sequence gave me a better understanding of how to approach the project. Being a visual learner, taking the time to assess and create a rough version of my animation in a software I’m more comfortable grounds me with an idea I can visualise and use as a tool alongside me when I translate my ideas to After Effects. 

Exploring not only narrative but other elements I have to consider, I wanted to get a rough guide to the colours I want to explore. Limited to a select 4 colours of our own choice, I wanted to choose a palette that reflected the tones and thematic house style of the film, as well as a range of colours that supported the stylised aesthetic of examples I’ve had the opportunity to reflect and analyse over the past week. 

Having watched the film recently, the movie is heavily influenced by the use of tonal greens, reds and blacks. To give a tonally dark aesthetic that runs parallel to the themes conveyed within the narrative itself. To explore this, I used ‘Adobe Color CC’ to create a varying array of colour palettes that I believe represented the film correctly. And although these select choices aren’t final, they offer me a range of possibilities to the use of colour I want to explore. Wanting to incorporate a range of contrast, it’s important to my designs that I utilise both positive and negative space to demonstrate how I have considered the whole frame throughout my sequence. This is reminiscent of the film, as director Damien Chazelle uses negative space to direct the viewer across the screen. This leads me to the idea that to create a strong contrast I at least want to use black and white within my colour scheme to emphasise the duality and themes of contrast shown on screen. 

After thinking about it, I believe that going with a Green Colour Pallete would best suit the style of my work. Although my original intention was to go with red, due to the connotations of danger and passion, themes that are both presented within the film heavily. Going with Green gives me the opportunity to explore thematic tension portrayed in the film through envy and spitefulness. Which is not only conveyed through the narrative, but ties into the directors stylised utilisation of light and colour to showcase a scene. 

This is something I will want to specifically develop next week, as I begin to explore and look at the designs that minimalise my work to a degree that reflects the key examples we were shown at the beginning of the brief. This will allow me to create all the assets I need as shape layers so I can begin to look at animating my final outcome in ‘After Effects’.

To summarise;

I’ve planned out my finalised ideas for a successful metamorphosis between two objects in TVPaint.

I’ve begun to explore the use of colour, discussing how a film has influenced my choices by using colour theory.

Continued to use Paper as a form of expression to ensure that I am not limiting myself to a digital experience.

Considered how I can move forward in the upcoming weeks to produce all the neccessary assets for my animation.

[pinksuitpost]

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Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.

[pinksuitpost]

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⚜ Watch Yemin SeaSon 3 Episode 19 264 Bolum - Ep 19 264 Bolum | EngSub | Thai Drama Korea| Full Episode Online (HD) 📺 P.L.A.Y ►► www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

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Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.

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Episode 19 264 Bolum | Yemin EP.19 264 Bolum New’ Episodes ENG’SUB - On FOX’s

Episode 19 264 Bolum | Yemin EP.19 264 Bolum New' Episodes ENG'SUB - On FOX’s

⚜ Watch Yemin SeaSon 3 Episode 19 264 Bolum - Ep 19 264 Bolum | EngSub | Thai Drama Korea| Full Episode Online (HD) 📺 P.L.A.Y ►► www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

▶ Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama (Full Episodes) | Episode 1–2-3–4–5-6–7–8–9–10 (FREE) ▶ Full Watch Episode HERE!!! www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.

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Yemin ep19 264 Bolum - FOX - Finale engsub

Yemin ep19 264 Bolum - FOX - Finale engsub

⚜ Watch Yemin SeaSon 3 Episode 19 264 Bolum - Ep 19 264 Bolum | EngSub | Thai Drama Korea| Full Episode Online (HD) 📺 P.L.A.Y ►► www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

▶ Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama (Full Episodes) | Episode 1–2-3–4–5-6–7–8–9–10 (FREE) ▶ Full Watch Episode HERE!!! www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.

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Yemin Episode 19 264 Bolum “engsub”

Yemin Episode 19 264 Bolum "engsub"

⚜ Watch Yemin SeaSon 3 Episode 19 264 Bolum - Ep 19 264 Bolum | EngSub | Thai Drama Korea| Full Episode Online (HD) 📺 P.L.A.Y ►► www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

▶ Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama (Full Episodes) | Episode 1–2-3–4–5-6–7–8–9–10 (FREE) ▶ Full Watch Episode HERE!!! www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.

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Korean Drama Yemin Episode 19 264 Bolum (2020) New-Drama on FOX TV ENG/SUB

Korean Drama Yemin Episode 19 264 Bolum (2020) New-Drama on FOX TV ENG/SUB

⚜ Watch Yemin SeaSon 3 Episode 19 264 Bolum - Ep 19 264 Bolum | EngSub | Thai Drama Korea| Full Episode Online (HD) 📺 P.L.A.Y ►► www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

▶ Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama (Full Episodes) | Episode 1–2-3–4–5-6–7–8–9–10 (FREE) ▶ Full Watch Episode HERE!!! www.watchstreamonline.tvseriesnew.com/tv/7723-3-19 264 Bolum/yemin.html

Episode 19 264 Bolum | Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. » Watch Yemin SeaSon 3 Episode 19 264 Bolum | EngSub | Thai Drama Korea On FOX « 📽 Episode Info Show: Yemin Episode Title : Ep 19 264 Bolum Number: Season 3, Episode 19 264 Bolum Airdate: September 2020 Runtime: 60 minutes 📽 Yemin 3 Reyhan was born in the countryside; is a modest, young and beautiful girl who grew up in traditional style. Reyhan remains an orphan after her mother's death, and her life changes at an unexpected point. 📽 Show Info Web channel: FOX (2020 — now) Schedule: Today, September 2020 (60 min) Status: Running Genres: Soap Episodes ordered: 19 264 Bolum episodes Official Partner site: www.tvseriesnew.com A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend19 264 Bolums. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet. 📺 TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 131s. Televised events such as the 131 Summer Olympics in Germany, the 13111 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 13111 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 13111 World Series inspired many Americans to buy their first television set and then in 131, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 11, 131 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 131 Tournament of Roses Parade) in the US occurred on July 19, 131. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 131, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 13111, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in The Glow of Life, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[11][better source needed] while the later series Babylon 11 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 131, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 13111, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!.