#the last adaptation literally only finished in 2011

[madrewrites]

so my day has been irreversibly ruined

[grecoromanyaoi]

helloo since we're on the topic: top historical fiction (or adjacent) ? can be any time period I just really love your taste in shows/games/etc and am always on the lookout for history inspired media !

thank you!!! im rly glad im like. inspiring other ppl to engage w things im insane abt hudofajsdfdassfsad. anyways. i will probably expand that list bc i literally forgot every single thing i ever read. also i havent watched that many movies so far

ancient times: i havent really watched a lot of movies/series set in ancient times so far :(

rome HBO (2005-2007) (tv series) - OF COURSE. i personally think its one of the best series ever made. they combine political, miliatry history with the lives of every day people in an incredible way. they never let you once engage with the series through modern lenses. according to my teacher (a historian, archeologist & self described 'romaphile') its incredibly historically accurate, mostly the clothing, set designs, characterization, military practices, etc. except for the things they straight up made up, of course.

i really enjoyed gladiator (2000), i think its a masterpiece.

prince of egypt (1998) i guess?

all the asterix movies of course, all the animated ones and most of the live actions. but i wouldnt really call it historical fiction

ok i havent actually finished watching it for now but sebastiane (1976) - an erotic, x rated, gay interpretation of the martyrdom of st sebastian. its in latin also.

wait i cant believe i forgor about assassin's creed odyssey - so far the only one ive played. its so fun and incredibly immersive visually. especially pour moi who cries into the pillow about how ill never experience the ancient world. also you can b a faggot which is always fun. i have things to say about their portrayal of same-sex sexuality and slavery in classical greece but i get why they did that considering its supposed to like. appeal to a lot of people, and a more "historically accurate" portrayal (for example of pederasty or how common slavery was etc.) would b v difficult for a lot of their target audience. alas.

medieval and early modern era:

the name of the rose (1986) - my medieval history teacher literally showed us bits of this movie to teach us about monasteries and monks fhdosiasdjasd.

the borgias (2011-2013) - incredibly messy, lots of political intrigue, and so so fun to watch. about the history of the borgia family. filled to the brim with drama.

the three musketeers (1993) - my favorite adaptation, also coincidentally the one i grew up on. casting tim curry as richelieu was genius. he slays so hard.

i also like bbc's the musketeers (2014-2016) - a neat little series. very fun and entertaining to watch.

outlaw king (2018) - like i dont think most ppl heard of this movie. its about robert the bruce's fight to reclaim the throne of scotland. starring chris pine

vikings (2013-2020) - its fun. i havent watched the entire series tho. dont expect anything resembling historical accuracy

the northman (2022) - you will see something resembling historical accuracy

mihai viteazul (michael the brave) (1971) - a fun movie. very much romanian propaganda tho.

1670 (2023-) - such a fun series!!! incredible cast, shows respect to the actual history and the lives of historical people. really cute and funny.

caravaggio (1986) - a biopic about caravaggio.

wait i also forgor about pentiment - an intriguing, immersive, and incredibly beautiful video game! it has a lot of 'the name of the rose' vibes, with it being a medieval murder mystery taking place in a monastery. its incredibly touching and made me cry, and in the last few years i very rarely cry. also im 99% sure its an indie game? go support the creators!

vaguely-medieval/early modern fantasy:

mirror mirror (2012) - a retelling of snow white. a very fun movie imo, with incredible costume design. julia roberts plays the evil queen and she SLAYS. armie hammer is unfortunately in that movie.

stardust (2007) - one of my fave movies growing up. more modern-inspired but still.

the green knight (2021) - controversial i know but i actually loved this movie! i liked it both as a standalone movie but moreso as a 21st century adaptation to sir gawain and the green knight.

galavant (2015-2016) - !!!!!!! one of the most series ever! they manage to tackle such difficult concepts and conversations with a hilarious wit. so fun to watch. i listen to a lot of the songs still, and rewatch every once in a while.

disenchantment (2018-2023) - very fun to watch, especially the first season.

i also really liked the novel uprooted by naomi novik. its a polish-inspired fantasy.

modern era:

killers of the flower moon (2023) - of course. a masterpiece

aferim! (2015) - a romanian movie set in 19th century wallachia, about two officers, a father and son, who were sent by a nobleman to retrieve an escaped enslaved romani man. a lot of the people in the comments were calling the movie humorous and funny, maybe im missing smth (as im watching with subtitles n dont understand the original language) but it was a very difficult watch for me??

the handmaiden (2016) - need i say more

black sails (2014-2017) - a prequel to the famous novel 'treasure island'. not an easy series to watch. incredibly good.

the favourite (2018) - need i say more pt 2

the rabbi's cat (le chat du rabbin) (2011) - animated movie set in early 20th century algeria. a rabbi's cat learns to talk overnight.

the nice guys (2016) - a fun murder mystery set in the 1970s

o brother, where art thou (2000) - a retelling of the odyssey set in the southern us in the 1930s

victor/victoria (1982) - set in early 20th century paris. julie andrews pretends to be a man and takes on a job as a drag queen. extremely fun, extremely gay movie.

lady chatterley's lover (2022) - very much porn for moms but it was a nice watch imo

amulet (2020) - set in like. idk. sometime in the 20th century. this is a horror movie, deals a lot with misogyny, sa, and so on. i really like it, personally. a lot of people, mostly weird men, dont tho.

the great (2020-2023) - i have mixed feelings about this show. on the one hand, its really fun to watch. on the other hand, its basically ofmd for girls who have public mental breakdowns whenever someone claims corsets were oppressive. and theyre so weird about russians, jesus christ.

disses:

domina (2021-) - i just couldnt get into it, esp since i tried right after finishing rome hbo. it was kind of silly, and not in a good way. takes itself wayyyy to seriously.

i didnt like spartacus (2010-2013) - the dialogue was almost grotesque and the editing, especially the transitions, straight up killed me

damsel (2024) - holy fuck what a trainwreck of a movie. absolute waste of angela basset and robin wright. the only good thing were the costumes.

lancelot du lac (1974) - i just didnt like it at all. couldnt get into it. i guess it was way too french and artsy fartsy for me. a movie that was trying to say both too little and too much at the same time.

i didnt rly like bram stoker's dracula (1992) - i mean. it was a fine movie. it was definitely not the godfather. the movie itself was meh. the visuals tho? absolutely stunning

[nocompromise-noregrets]

3, 9, 14, and 25 for the fic asks! (I hope none of those are repeats — I actually wrote down the ones I saw you answer already to try to be sure 😅)

aaaaa, thank you! :D :D :D (haven't answered these ones yet! *cracks knuckles*)

3. What’s your favorite fic that you’ve written? Oh man. This is a tough one. I think I'm probably proudest of Empty Vessel, because it's the first properly long story I've ever finished, but I am useless at picking favourites. Although out of the Barduil Month stories, I think Yesterday, A Hundred Years Ago and paint the sky and burn the stars are my favourites, and I'm very fond of a kiss in the cold and dark 'verse because it's letting me unearth all sorts of ridiculous teenage memories (and indulge my 'modern!Bard is a biker' agenda) :D And outside the Tolkien-'verse, Six Bottles of Wine was huge fun (2011 Three Musketeers) and I am very fond of we could be happy can't you see (That Thing You Do!) and oh god like literally everything else I've written, I love my stories, I really do. :D

9. Do you write every day? If you wrote today, share a sentence of what you’ve written! Sometimes. If I'm doing NaNo, or Writers' Month, or something like that then yes, otherwise, much as I'd love to, I just don't quite have the spoons at the moment. But I have done some writing today (instead of working, oops), and here's a bit:

He talked about them as he drew, telling Thranduil - or at least, his presence - about their personalities, their hobbies, what they liked and didn’t like to do, and he tried his best not to include the shadow of grief that covered all of them now, darkening their eyes, pulling back at their mouths every time they tried to smile. Thranduil said nothing, and as he put the finishing touches to his drawing of Tilda, Bard began to feel self-conscious, as though he’d been talking to himself all this time. “Are you still there?” he asked, almost despite himself, and after another long moment of silence, Thranduil’s voice sounded in the centre of his mind. “I am here,” he said after a moment, sounding impossibly sad. “Forgive me. It is only - I loved them as my own, so long ago, and I had almost forgotten their faces. I cannot remember their voices, the sound of their laughter -”

14. If you could see one of your fics adapted into a visual medium, such as comic or film, which fan fic would you pick? Oooooh. I would LOVE to see Empty Vessel-'verse done with the movies' cast. :D :D :D

25. Have you ever upset yourself with your own writing? Not as a general rule, but Never Forgotten made me rather wobbly. (on the other hand, The Last Watch, which directly precedes that one, didn't - probably because I'd been thinking it over for a long time by the time I actually got down to writing it)

Thank you so much for asking! <333333 Anyone else fancies asking me questions about fic, do feel free!

[immaturityofthomasastruc]

#3: “I've done more for the entire comic book industry than anyone in 30 years!”

While he's not exactly as famous as Stan Lee or Jack Kirby, Mark Millar is a well known name in the comic book community. He's worked for both DC and Marvel, as well as some third party companies. He's written iconic stories that have taken the superhero genre and comic book medium to a darker level with stories like Civil War, Old Man Logan, and Superman: Red Son (their quality may vary, but the problems they had were buffed out when they were given film adaptations). He's also the creator of several original characters like the Secret Service and Kick-Ass. Then again, he was also behind Trouble (and a lot of other bad comics), but nobody's perfect.

Whether you like him or not, this is a man who's been writing for comic books since he was in high school, so it's safe to say, he knows a lot about the medium. But Astruc just has to be the one to say he knows more when Millar proposed the idea that all unique superpowers may have been thought of.

Yes. He really had the gall to say that his show is that groundbreaking to an experienced comic book writer.

Now, we could debate what kind of superpower or creative idea could be seen as “unique” or “original” for hours, but that's not the point I am trying to make. But I have an idea on how to rebut this argument. Astruc claims that his show has created more unique superpowers than the entire comic book industry in the past three decades? I'm going to show how the superpowers aren’t as original as he thinks they are by listing off examples from the past two decades.

Ladybug's Lucky Charm – The Tornado of Creation from Lego Ninjago: Masters of Spinjitsu (2011), the result of the Ninja combing their powers, which uses the area around it to create a new object or weapon to take down whatever threat they face (like turning random debris or rubble to create a giant slingshot. Yes, that really happened).

Cat Noir's Cataclysm – Kitazaki/Dragon Orphnoch Kamen Rider 555 (2003) has the power to turn anything he touches into ash.

Rena Rouge's Mirage – Neopolitan and Emerald's Semblances from RWBY (First used in 2014 and 2015 respectively). Neopolitan can use her Semblance to create illusions that shatter like glass when touched, while Emerald can induce hallucinations for a single person at a time.

Carapace's Shelter – Steven Universe (2013) can use his shield or bubble to defend himself and others against enemies.

Queen Bee's Venom – Ty Lee from Avatar: The Last Airbender (2006) uses chi-blocking attacks to paralyze her opponents, as well as prevent them from using their bending powers.

Viperion's Second Chance – Tracer from Overwatch (2016) can use her Recall to briefly jump back in time, reloading her weapons and healing any injuries she has.

Pegasus' Voyage – Cisco Ramon/Vibe from The Flash (first used in 2016, though the comic version first appeared in 2011) can create small portals called “breaches” to travel through.

Ryuko's Wind, Water and Lightning Dragon – Laxus and Juvia from Fairy Tail (both first showed their powers around 2010 in the anime) can transform into electricity and water respectively.

Bunnyx's Burrow – Professor Paradox from Ben 10: Alien Force (2008) has the ability to travel through time and create portals to other dimensions.

King Monkey's Uproar – Cicada, a villain from The Flash TV series (first appeared in 2018, with powers that differ from his comic book debut in 2001) has a dagger with the power to nullify the powers of other Metahumans.

Multimouse's Multitude – Slapback from the Ben 10 reboot (first appeared in February 2019, eight months before the debut of Multimouse) has the power to duplicate himself, with the clones becoming smaller and more dense in the process.

Hawkmoth's Akumatization – The Sorcerer from Randy Cunningham: 9th Grade Ninja (2012) uses his “stank” to transform innocent people into monsters. In addition, he usually uses it on people who are feeling negative emotions (and unlike Hawkmoth, he has Tim Curry voicing him)

Mayura's Amokization – Daiki Kaito/Kamen Rider Diend from Kamen Rider Decade (2009) has the power to summon other Kamen Riders to fight for him.

Hell, I can keep this up with every akumatized villain too, but then this post would take forever to finish.

The point I'm making is that except for Miracolonizer's Liberation (the power to free someone from any restrictions to let them reach their full potential, only it's used by a villain to erase any morals the victim has that keep them in line instead, basically driving them crazy), basically every power seen in Miraculous Ladybug has been used before.

The problem isn't that the powers featured aren't original. What makes a certain superhero or superpower interesting is the way it is used. The Black Canary from Arrow had a sonic device that allowed her to emit her trademark sonic scream instead of it being a natural superpower. Does that mean that Marc Guggenheim invented that power?

Of course it doesn't. So why would Astruc think just because he placed an interesting spin on some preexisting superpowers, that means he “invented more unique superpowers than the entire industry”? That is an incredibly egotistical way to think for a show that's only been on the air for three seasons. And I think it's pretty clear this show isn't exactly Avatar.

But if you really want to watch something with “unique” superpowers, watch Ultimate Muscle. A character in that show has the power to literally transform into a giant shoe. Yeah.

[thisisjustmefangirling]

I have just finished watching the first episode of The Falcon and the Winter Soldier and I really liked it. It takes the time to establish things, to let Sam do his thing, have action and also be with his family. We really see Bucky in his daily life, trying to adapt, trying to make amends, trying to connect to people. Hell, he got a date when Steve never could. But he’s also so lonely. We really see the fallbacks from “Steve” ’s decision to go live in the past and... It made me so sad and so freaking angry. Steve abandoned Bucky. It’s pure and simple. 

I might ship Stucky, but it doesn’t mean I don’t value friendship. Actually, friendship is one of the most important things for me. Steve and Bucky were childhood friends, then brother of arms. Steve planned to walk from Italy to Austria, with almost no training except basics, no bulletproof gear, no real shield, no real helmet, on the off chance that Bucky would still be alive and could be saved. Steve went from “I don’t want to kill anyone” to “I won’t stop until all of Hydra is dead or captured” when Bucky fell from that cliff. He mourned him. He crashed the Valkyrie while still being inside when Peggy was right there asking for his coordinates and he could have jumped. Steve was clearly suicidal, not trying to survive. He could have tried to have this life with Peggy after the war, and he didn’t try. He chose death. When he was defrosted, he couldn’t move on. He still acted recklessly, with little regard for his own safety. He couldn’t follow Natasha’s suggestions to find someone to date. He tried a bit with Sharon in Captain America : the Winter Soldier, but the deleted scenes and that kiss with her felt very forced and awkward and I died from second-hand embarrassment. He grieved Bucky until the Winter Soldier’s mask came off and Steve recognised him. Sam told him “He’s not the kind you save, he’s the kind you stop”. But Steve never gave up on Bucky. He fought him on the helicarrier, but always tried to bring him back, and never tried to kill him. He believed Bucky could return to him. He believed Bucky could recognise him, get his mind back, get his life back, be freed from Hydra and be with him again. Steve was defrosted in 2011. He spent three years in the present, without Bucky. After being saved from drowning in the Potomac, he looked for Bucky for more than two years. Then Civil war happened and Steve still believed in Bucky, he fought for Bucky. Steve lost half of the family the Avengers were, he opposed and fought half of his friends FOR BUCKY. He brought Bucky to Wakanda and they were surely happy there. Then there was the snap and Bucky was gone for five years (and Sam too !!!!) and Steve told everyone to move on but he couldn’t. Though he had evidently moved on from Peggy’s death. She had been dead and buried for years before Thanos appeared. 

And you want me to believe that Steve, who loves Bucky so much he did everything I wrote above, is going to go back in the past, fuck up a timeline or two, to marry someone who had had a full and happy life, with a husband and children, an amazing woman who had the time and strength to grieve Steve and move on from him ? That he is going to marry a woman literally living in the past ? A woman he saw in her last years and he buried ?

When Bucky has just returned, HE IS RIGHT THERE ? Bucky, unlike Peggy, didn’t get to live his life. He was brainwashed, tortured, turned into a killing machine. Bucky was given a second chance. Bucky can live the life he never got. Steve can be with someone he has deep affection for, someone with shared life experience, he can be with his best friend from childhood. The writers wanted to keep it heterosexual ? FINE. (No).  Steve could have perfectly returned to the present and found someone new to date. He would have been with his friends. He would have been with Wanda, with Sam, with Bucky. But that’s not the choice the writers made.

They made Steve abandon Bucky, his childhood friend, (one of) the person(s) he loves the most in the world, someone who was essential to his development as a human being but also as Captain America. 

I saw Bucky waking up from his nightmares, alone in a flat. There was no one there to comfort him. The entire time Bucky has scenes, I imagined how different it would be if Steve had been there. They would have been flatmates in Brooklyn. There would have been a bed, the appartment would have been decorated. There would have been pancakes on the kitchen counter. Steve could have helped Bucky. But no. Bucky is lonely. Trying to recover on his own. His therapist said she’s the only person he called in a week. You think he made a real friend but he’s trying to make amends because he killed his son. Guilt is eating him. He hasn’t replied to Sam (and I am so glad Sam is trying to take care of Bucky, at least check on him, since they were both Steve’s friends).

Steve abandoned Bucky. Bucky is lonely. And I am angry.

Friendship is so important. I met my best friend when I was 12. We became good friends when we were 14. We’re 26 now, going on 27. The age these two were when they went to war. If my best friend died, I would be devastated. If she abandoned me, I would be devastated and FURIOUS, I would be so angry at her.

I can’t imagine how Bucky feels about Steve leaving him alone in this new and surprising world, to fight off his own demons and nightmares. They said “til the end of the line”. Well mayyyyybe toxic masculinity and heteronormativity created the end of the line and ended the relationship for us.

Friendship is a kind of love. Amour. Amitié. I say “I love you” to my friends. In french, in english.

They made Steve abandon his friends, abandon Bucky, I am NEVER getting over it, and while I loved this episode, Steve’s absence is so obvious and heartbreaking. WHAT KIND OF DOUCHEBAG DOES THAT TO THE PEOPLE HE LOVES ?

We’ve all read the fanfics, since 2014. We know what it could have been like. Even without the queerness. But we’re not getting it on screen.

So, thank you, fanfiction writers. You are doing an amazing, necessary job. We love you. We are grateful for you. Every word you write is a gift.

[nialltlynch]

Mid-Year Book Freakout

@flitwickslittlebrotha tagged me so i gotta, thank u bee 💖💖

Best Book You've Read So Far in 2022?

cheating and saying our wives under the sea for how indelibly kk it was and also the locked tomb series for being. oh my god how to say...... well, all of that (reverent)

Best Sequel You've Read So Far in 2022?

harrow! thee! ninth! fuck!!!!!!!!!!!! that book!!!!!

New Release You Haven't Read Yet, But Want To?

i literally have no idea what was released this year but uhhhhh didn't ocean vuong release a new poetry collection? is the last book in the founders trilogy out yet ?? one of those probably.

Most Anticipated Release For Second Half of 2022?

off the top of my head: greywaren, the atlas paradox, and nona the ninth. actually.... those are the only ones im aware of being released.

Biggest Disappointment?

not really a dissapointment but i was very glad to be finished with speak easy not because it was like. bad per se. but it was a bit of an uphill trek to get through it.

Biggest Surprise?

negative space!! i went in knowing nothing at all and was enthralled.

Favourite New Author?

i don't know about favorite but i'm keeping an eye on julia armfield, catriona ward, and tamsyn muir

Newest Fictional Crush?

literally all the bitches in the locked tomb series...... i cannot choose just one. but ooooh the tridentarii. ooga booga

Newest Favourite Character?

if i had to play this by the rules and pick just one: harrowhark nonagesimus 🥰🥰

Book That Made You Cry?

negative space. i was in such a weird, overly emotional headspace when i read it so it really got to me okay?

Book That Made You Happy?

wowwwwww i am looking through the few book i've read this year and none of them are all that lighthearted or fun reads that make you feel good. whoops! closest is probably smoke gets in your eyes which was fun and kind of brainless (pun not intended..... punintended)

Favourite Book Adaption You Saw This Year?

i don't know that i've watched any (new) book adaptions this year but hey listen did you know that the movie drive (2011) featuring ryan gosling (you know with the scorpion jacket and the stunt moves) was based on a book?? i was unaware. i got the book and flipped through it and unless the author, who appears to be a well known pulp writer to begin with, was doing a tongue in cheek satire-esque thing then it was bad and i have no interest in reading it :))

Favourite Review You've Written This Year?

i don't usually write review but look at this lol

Most Beautiful Book You Bought So Far This Year?

hehe..... :^)

What Books Do You Need To Read By The End of The Year?

idfk bro give me some recommendations. i haven't read anything all month. blahh.

[m0e-ru]

eight months in somebody actually asked me abt visualive instead of me immediately annoying ppl about it without former notice. I might actually write properly for once 😳😳😳

OK OK!!!!! In this essay I will.... I will.... Visualive Adachi.... Visu/BURSTS INTO TEARS/

OKAY OKAY for real I just care Visualive so much (as someone who can’t fully understand Japanese AHAHA)

First I’ll add some foundation about what Visualive really is, then I talk abt Adachi in the latter parts of it because this is technically the first time I’m properly talking about this hehe 🐿

T....table of contents???

Visualive

Visualive the Evolution

Masami Itou

Visualive Adachi

Visualive the Evolution Adachi

Terms and Legend

VL - Visualive

VLE - Visualive the Evolution

stage - shortened for “stageplay”

面白い - omoshiroi (it’s just that specific)

Yuuya - VL Hero name

Hayato - VLE Hero name

Baba - Hero

Masami - Adachi

Taniguchi - Dojima

Saotome - Daisuke

Mamiya - Izanami

I add honorifics but sometimes I forget the hyphen intentionally or unintentionally I’m sorry if it makes it hard to read lol

all links have automatic timestamps for easy viewing. i mean. i hope the timestamps work

VISUALIVE “Persona 4.” A stage adaptation of SMT: Persona 4 by Atlus. It adapts the first part of the story, from the hero’s arrival to after recovering Mitsuo Kubo from the TV world. It also ends on a cliff hanger, showing a teaser of Shadow Naoto being projected on the screen.

It takes up a speedy recapitulation of the hero’s spring life, before slowing down and showing in depth his school life in summer. A day before Morooka-sensei’s death, there is a little skit with Kou, Daisuke and Adachi. The hero walks into the conversation before the two other boys leaving, and Morooka-sensei walking in on the student and detective. The next day follow’s the teacher’s death and the Investigation Team (IT) begin investigating their new lead.

From the words “visual” and “alive,” the niche of this stage was meant to be the fusion of live acting and visual digital projections. All seen from the stageplay with the colorful cast of actors and CG animations being projected on the screen. This offers an opportunity for characters to summon their personas, perform cool visual effects, change the backdrop, or even confront their own Shadows.

Performed in Sunshine Theater from the 15th to the 20th of March 2012. The screenplay was written and directed by Shintaro Asanuma from the theatrical group “bpm.” The video production produced by Shutaro Oku, a film director and visual planner. He later takes over as director for VISUALIVE THE EVOLUTION, the sequel stage. The stage music was produced by Shunsuke Wada, with a special show exclusive vocal track sung by Shihoko Hirata.

On this note, I haven’t seen any sort of original soundtrack released for any of the stages and I’m SO SAD. The last song in Mitsuo’s boss fight was such a BANGER and literally EVERYTHING ELSE Marvelous, Wadasan please take my MONEY

Regarding the cast, there were some special accommodations for Teddie, Rise, and Nanako, all of which did not have live actors at the time. During the casting, actors for the three characters could not be found or simply left the directors unsatisfied they couldn’t cast anybody. An exception for Rise, who was able to have a live actor in the sequel stage. It has been stated that there weren’t any “pretty boy” actors that fit the “Teddie Criteria.” While there weren’t any child actors that were believed to portray Nanako well.

Teddie was only ever seen in his bear costume while Rise was busy talking through a call, all voiced by their video game cast. Nanako has never appeared on stage, only being scarcely mentioned in the script. Again, this is different in the sequel stage where her role was extremely important and was shown as a screen projection.

VISUALIVE “Persona 4” THE EVOLUTION. A sequel stage. Beginning abruptly in the middle of Shadow Naoto’s boss fight, the story continues from there until the “true end” of the game’s original story. *Certain characters are introduced while others have been reintroduced. And on a personal note, when it’s all comedic in the beginning, it’s all for what’s coming right after.

I don’t know if I’m salty or just find it really funny AHAHA I might go talk abt it some other day with more context ehehe

Performed in The Galaxy Theater from the 3rd to the 9th of October 2012, only a few months after the PSVITA Persona 4 Golden release, which is July 2012. The screenplay was now written by Jun Kumagi while directed by Shutaro Oku. And music production finally taken over by Shoji Meguro himself.

---

HAHAHA this is starting to look like a wiki page. moving on. I might start rambling rn

(warning LONG !!!! aaa,,)

My thoughts on the stage adaptations. For the first Visualive (VL) I believe it’s pretty close to canon! I enjoy the characterization and how much love and care was present when handling the entire production.

Actors were busy playing the game itself, wherein a PS2 was present in the practice room. Along with magazines and game guides explaining the game’s story and the characters itself. Actors performing together and even improv acting together to get a grasp of their characters. All of them knowing well of Persona 4 as a well loved game, delicately handling their characters and hopefully performing them right while making the audience happy.

The staff taking care of each other while the director and video producer, Asanuma-san and Oku-san, working together well to make their vision into a reality.

The same thing happened with VL the Evolution (VLE) and literally every other good stage. Except... I feel the script kinda got out of hand with too much liberty where it feels a bit more disconnected from canon. But! It makes up for it in its content, whether comedic or (INCREDIBLY) dramatic! It’s great as its own story at that point. So in this case, I like to take the first VL and get to connect it canon, while I don’t know what the hell happened in VLE to the point I’ll just enjoy it as its own content.

These opinions deserve its own essay, post whatever bc I have SO much to say abt this. ANYWAY. VL ADACHI

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Tohru Adachi is portrayed by Masami Itou (伊藤マサミ), a screenplay writer, director and an stage actor himself. He does have a single character voice role along with a fellow troupe member in the same franchise, but mostly works as the former three. He is part of Asanuma-san’s entertainment group “bpm.” On a similar note, Masashi Taniguchi, Dojima’s actor, was also part of their group from 2011 to 2016, which may explain their good synergy as the boss and the bumbling fool dynamic. I mean, somebody’s gotta get hit in the head every few skits.

With Masami-san being an important part of the cast, he doesn’t appear as often as Taniguchi-san in backstage content like the VL bonus disk or the official blog. Mentioned in his own personal blog, he had been busy with his roles as assistant director (I am assuming also for VL).

Also fun to note, because his role is mainly comic relief, he has been using his liberty to change up the material almost everyday making each performance exciting. This also leaves some other actors jealous of his freedom in his role, such as Saotome-san, Daisuke’s actor.

---

VL Adachi really has a... how do I say this? an adorable speech pattern (THE SAME SPEECH PATTERN THAT DROVE ME MAD TRYING TO DECIPHER I THOUGHT YOU WERE A CITY BOY OSSU OSSU MY ASS /shakes you violently/). Overall, he really fits the loose lipped bumbling fool, and his accent really makes him seem more casual and invested. What I’m saying is... VL Adachi either actually has genuine empathy or he actually has more energy to fake it (compared to some other edgelord. i mean you saw my p4ga analysis. I’m sick of him lol ahaha).

One of my favorite ways to explain this (OTHER THAN CHAIR CAR ADVENTURE MY BELOVED WE’LL GET TO THAT LATER) is the rice field scene with him and Dojima. It’s overanalyzation time 🎉

(43:04)

While investigating, Adachi whines about being tired while Dojima smacks him in the head. In this case, it’s established that Adachi doesn’t want to be there, yes? It’s the country, it’s hot and it smells like green.

"Ah... Dojima-san..! Why don't we take a break? (...) There really is nothing out here... Is the criminal still even here at all? (...) I wonder if I've passed being a rookie yet. Haha, but this city doesn't even have convenient transportation. I can't go to leisure lands (recreation, amusement parks, arcades, ect.) and head home at all."

Adachi then tries to tell Dojima a story. “when I got to this city after being newly assigned, I met an interesting guy (...) Yeah, I remember that the cherry blossoms haven't bloomed yet. So, I was driving my car and got near the station and--” Dojima gets a phone call.

Adachi politely puts his hands down waiting for his boss to finish so he can finish the story. Again and again, Adachi attempts to talk to Dojima about a story he’s so persistent trying to tell someone about. It was so 面白い that he would find someone to talk to about it. Even being polite and patient enough to wait for a chance to speak. He even gets fed up with it and blows up in front of his boss, clearly irritated he’s not given a chance to talk.

Sure, it could be Adachi feeling fed up like a normal person where someone agreed he to listen to him, before being constantly ignored. Or Adachi trying to be a more annoying whiny brat, depending on where you look at it.

If the story wasn’t too “interesting” to Adachi, he would’ve just brushed it off and stopped talking to Dojima entirely, or start up new small talk, or even complain some more. But no, he had a story he wanted to voice out so bad that he got irritated that the one person in the vicinity couldn’t listen to him.

Only after Dojima told him to continue their investigation elsewhere did Adachi finally stop and focus on something else. Maybe that story was for another day, or maybe it was never meant to be told.

What if it was just original (game) Adachi? He’d find a way to squirrel out of the investigation as usual, or push Dojima to “investigate” elsewhere. “Hey boss, don’t you think it’s hot? Why don’t we go elsewhere? We’ve seen this place too many times to count and I doubt anything new’ll turn up. How about we take a break at Junes, y’know? Where it’s cool? C’mon boss,” something like that.

og Adachi is just really annoying and silly to me. Some grown man thinking he can freeload because he never gets anything out of putting in more energy and effort? I don’t care how tall he is, I will smack him in the head.

Yeah VL Adachi whines, too, but at least it doesn’t look like he’s going to escape and waste his time somewhere else. He just sucks it up stops trying to leave the situation.

Or maybe I’m getting this all wrong and VL is exactly the same and my rage just gets dampened because of Masamisan’s execution of character hmm...

SO. What was his story about anyway? The one he really wanted to share to Dojima?

I mean... it’s obvious enough

First day in town? Spring? Actually mentioned driving a car when literally out of every single persona 4 media at the time was there not a SINGLE mention of Adachi having a car OTHER THAN the same stageplay it’s being mentioned in?

A story, from somewhere around uhh four? five months ago? was something that he remembered so dearly and was willing to share despite it obviously embarrassing him even if he puts the blame on a certain somebody in the same story?

Or maybe it’s because he really had nothing to talk about ever since he realized all his stories from the city weren’t actually that funny or interesting in the first place.

BUT then that would mean out of all the things he could talk about—more whining, complaining, complimenting, small talk—he insisted about talking about this story in particular.

Okay, look. I’m just. Just. As someone who talks too much, of course I have things I actually want people to hear out of all the bullshit that comes out of my mouth. And if the thing I actually want people to listen to doesn’t even get heard, I’d go mad.

Sure, Adachi’d be fine when his complaints or intentionally unfunny jokes get brushed off. But a story of a guy that he thought was so funny, interesting, 面白い gets ignored, he really blew up, even just for a split second, maybe.

And ALL the things that happened in that story—on his first day in Inaba! His car got dented, he had to deal with a weirdo dumbass employee that knew zero personal space, yelled in his ear, who didn’t know how to do their job, got his station reputation messed up on the first day, got his ass grabbed, got (unintentionally?) mocked for his lame stories, and got his car dented for the SECOND time. Probably MORE

And he STILL wanted to talk about it /punches through concrete wall/

yes I’m overthinking about this of course i am

This little tidbit of VL Adachi kinda makes me go insane sometimes—his entire characterization in VL in particular. It was really refreshing to see and how they included both of his characters in it, his facade and how irritated he is of a lot of things underneath. And how flexible his character is immediately working with other characters when there’s sudden improv to balance the situation. Like him and Dojima, Morooka, the attendant, or even Yuuya (hero) himself.

I’ll take Taniguchi-san’s messing around in the VL bonus backstage disc in place of Masami-san being so busy he couldn’t appear in it as often as other characters.

For stagetime that lasted for fifteen minutes or less, my appreciation for VL Adachi, even if he was just comic relief, really rocketed. I say VL, bc Adachi the edgelord he’s supposed to be in literally every other media is something I analyze separately.

I haven’t even gotten to VLE oh my GODDDDD

Like I said, I don’t really regard VLE close to canon but as something to be appreciated for what it is by itself. But the way Adachi was characterized there, in or out of character, still struck me.

---

Yes, there was his strange fan-agreed-canon which is,,, now canon obsession with cabbages (not that that’s a bad thing lmao). There was also him being a lot more jumpy and intimate in a clowny way, patting people on the shoulder or even downright hugging them just to mess around. Even FORGETTING who the same goddam loser who grabbed his ass almost a year ago is. But like, can’t blame him they literally changed their actor (and screenplay writer) AHAHAHA

ha... no more comedy, only dorky sword fights now

(speaking of sword fights I think it’s a fun thought how Mamiya-san [Izanami, also one of the youngest in the cast] admitted it was his first time doing sword fight choreography and even thanked Masami-san and other staff members for guiding him)

One thing unintentionally in character was Adachi accidentally nabbing the sushi overdosed in wasabi. Masami-san didn’t actually account for a joke sushi and didn’t immediately eat it—until Taniguchi-san (who also made Dojima go off his shits compared to VL) jokingly yelled at him and even riled up the audience for him to eat it. He even went off stage to get water just for him to eat the goddam sushi.

And Masami-san did! (kinda choked, but he’s fine).

Continuing from the same scene, while being overly giddy about sushi dinner (and I mean overly--he was singing about it while hopping to the Dojima residence), he tried to remind the two, Dojima and Hayato (hero), that Nanako was sleeping. Probably where she was sick if the scene was translated from the game.

(30:07)

And... the dramatic parts of VLE

Adachi was the one who reported to the IT that Dojima was chasing Namatame in the rain. While Naoto was discussing Namatame’s journal entries, Adachi, as giddy as he is, took it from Naoto’s hands and reveled in the discovery of evidence so childishly(?). He even ran to Dojima when he began regaining consciousness and immediately called the nurses to help him wheel Dojima to the ER.

Then, The Hospital Scene™️, right after Nanako flatlines.

(1:02:02)

Adachi, who recently walked into the scene, immediately worries about Dojima and IT who were ALL crying. He looks down, devastated—before yelling how Dojima’s heading to Namatame’s room.

He yells in terror and the same grief at his injured boss, all while running past and even jumping over children, who fell to the ground sobbing, to get to him. He continues yelling in a pained fashion while immediately reprimanding Dojima to stop. He gets carried by the collar before being tossed to the ground at Hayato’s feet, all while being pat by the same boy.

Dojima makes his speech about how unfair it is for the ‘killer’ to be alive when his daughter isn’t. When he finally falls to his knees, Adachi rises from the ground, humbly saying he’ll do his best to take care of Dojima (or something like that I’m in tears I literally can’t do VLE’s hospital scene i h8 this). He finally starts crying along with everyone else, being pushed away again but still tries again, trying to usher his boss away from the door.

With the help of the guard in front of the door, they all disappear off stage

please... I know this scene doesn’t need that much translation because of how important this scene is in the entire story. and I know my narratives aren’t enough so just,,,, just watch it please it’s so much more than this. everyone’s acting was just spectacular

(1:08:47)

So, after the IT (YOSUKE. JUST YOSUKE. good job Mae-chan) stop themselves from k wording Namatame, it was ADACHI who reported Nanako’s miracle recovery. He ran to the same corridor where they all cried in, even panting and falling to the ground in relief trying to report the good news. Then he pats Hayato on the shoulder and says he’s going to Dojima.

With this... /slaps roof of half of VLE/ ALL of this....adachi.... adachisan.... he Cares™️..... holy shit.....

now. comparing to the game. do you even remember what og Adachi did? did he.. even do anything?????

(56:39)

NO!!! he just stood there!!!! being a bumbling fool but.... inappropriately!!! man. he didn’t act concerned enough.

adachi: /walks into a bunch of kids crying outside a hospital room/ “lmao why tf are y’all crying? did uhhh what’s her face uhhh nanako. did she d word or something? rip, I guess lol” LIKE????? CAN YOU IMPLY FASTER

and then he’s like “wgat hmm Where’s Dojima-san Heading Because That’s Not The Way To His Room 🤔” and only when he’s asked he actually mentions he’s heading to Namatame’s room and still needs to get choked by a first year for the room number like..... zero consideration

and his boss??? where his daughter he loves so much just??? di*s???? and he’s so devastated he’s doing what he can that very moment while he’s so numbed of thinking of the consequences???? And adachi goes “uhh boss that’s illegal” LIKE. BITCH. /punches through a concrete wall but harder/

---

And??? His confrontation scene??? Like, I know they mashed it up w his tv confession scene to save stagetime for other scenes BUT IT WAS SO MMBMBMBMMGN /gestures in a good way/

(1:15:56)

UM?? guy behind everything??? in a vulnerable area where he could easily get physically assaulted bc hes not in the tv world w his persona?? Trash talks women like he absolute misogynist he is??? getting yelled at by a bunch of kids and YELLING BACK IN THE SAME AGITATED MANNER even TAUNTING THEM then and there to GET HIS ASS?????

og Adachi was such a pussy he got caught and just scurried off into the TV world where he ended up having powers like...ok....scared of getting beat down by a bunch of highschoolers unless you have powers...ok....

he only taunted them to get him when he was in the tv world too.....he rlly couldn’t say shit in the real world huh... lol

(yeah yeah this shows how VLE Adachi knew abt his TV world powers which would make you think if he ever went into the tv world and came back out alive. Or he’s really just a badass who doesnt give a shit abt anyone’s opinions and CAN beat anyone’s ass. i have a separate thing abt this but bc i like to laught at vle rather than overthink its own lore i might. not. idk lol)

and ??? VLE Adachi can??? He can swordfight??? he doesn’t even NEED a gun—he even reflects bullets w his blade (but apparently he can still get slapped by a flying fan more often than any other attack). His fight choreo was just...so poggers. He’s like short villains done good—like??? he’s short compared to everyone else!!! but he makes up for it for stuffing all the energy inside him while is bursts out making him him the over energetic gremlin he is!!! go VL adachi!!!!

(am I low key making fun of Madono-san in the TUUSH stageplay I’ve seen four minutes of? maybe)

OK!!! Yes I was gushing abt Masami-san again back to Adachi.

It’s portrayed that while not being afraid to admit his crimes, he also goes out of his way to be a bastard and have the gall to get a bunch of kids to fight him, one on eight. He can use a katana, probably a narrative dark reflection of the hero, Hayato which I thought was nice—and he can fight!!! It also shows his persona, yes, but...it doesn’t make it clear if he’s overwhelmed by his Shadow like in the game, where his eyes were yellow and he was emitting a dark aura.

But it gets interesting how he sees he’s getting overwhelmed and starting to lose his edge towards a bunch of kids. He falls to the ground even banging the floor like a whiny brat while literally the IT tries to tell him to turn himself in. Again, like a brat he tells everyone to shut up—before getting incapacitated. While some of the IT rejoice, he bolts up unaccepting of his defeat—before getting hit in the stomach.

(1:23:54)

And his words from when he drops his katana, “Why..?” He grabs the foldable chair against his stomach, and with a remorseful look in his eyes, he says “I’m sorry..!”

THEN HE BACKFLIPS—then Hayato slashes him.

In a tone of disbelief, he goes “no way...” and collapses to the ground, being possessed by Ame-no-Sagiri.

Blah blah blah then Teddie rockets himself into the eyeball spy cam and then they both explode aaaaa

Teddie survives but I really don’t know where Adachi went. Not even a mention by Dojima if he turned himself in or was ever found—or I need to review VLE for the 48274827482nd time hehe

WHOO then the whole cast appears for the dance number at the end of show YAHOO

[woozapooza]

Moby Dick 1998 reactions

Literally just the notes I took watching the 1998 Moby Dick miniseries. I enjoyed it a lot but I like the 2011 one better.

Elijah is pretty goofy here

Note to self--find video of Henry Thomas talking in his normal voice. Is he doing a weird accent for this role, or is that just how he talks? He sounds almost Irish. [BTW after I finished watching, I looked up a video of him talking in his normal voice and he does not sound weirdly Irish-tinged in real life, so I have no idea why he was talking like that in this adaptation.]

They shoehorn some narration from the book into Ishmael’s dialogue

Not sure if the problem is with the actor or the dialogue, but Henry Thomas’s performance is...rather stilted

Here, Ishmael has no nautical experience. 

“I fear I must make a confession. I used to be a schoolteacher.” HE SAYS THAT LIKE IT’S SO EMBARRASSING 

When Peleg says that Queequeg “doesn’t look like much of a Christian,” Ishmael fires back with “HE’S KILLED MORE WHALES THAN YOU CAN COUNT” and seriously looks like he’s about to punch Peleg until Queequeg puts his hand on his shoulder.

Queequeg is less worldly here than in the book. Ishmael takes him to church to teach him about the concepts of God and souls.

STARBUCK IS PLAYED BY BUFFALO BILL FROM THE SILENCE OF THE LAMBS?!

Ishmael is so serious here

Stubb is perfect

Interesting that Ishmael is a brand-new sailor, but he already knows the song (shanty?) the other sailors are singing

The guy playing Flask could stand to rein it in a bit

Pip is younger than I imagined him. But then, I don’t think his age is specified in the book.

Ishmael’s hands are burned by the rope. Later, below decks, Queequeg patches them up :) 

One guy literally refers to Ishmael and Queequeg as “lovebirds” and another guy makes kissing noises at them

Those guys try (pathetically) to bully Queequeg. Ishmael says to Queequeg, sounding kind of ashamed, “You pagans should teach us Christians the art of kindness.” Queequeg reassures him that they (Q & I) are friends *emotional emoji*

This is so weird! There’s a scene where basically the whole crew converges on Ishmael and tells him scary whale facts while he looks terrified!

I feel like Ahab needs to have a beard. I forget if he has one in the book but he SHOULD.

Ted Levine has the absolute BEST judgmental face.

They keep the scene of Ahab throwing his pipe overboard!

Pip sounds like he’s from the Caribbean? Interesting. I looked up the actor and he’s from Wisconsin. 

Fedallah is east Asian instead of Parsi for some reason 

“There’s no savagery of beast that’s not infinitely outdone by that of man.” I love that they retain Ishmael’s bursts of human-phobia!

The little swing Captain Boomer uses to get to the Pequod looks like so much fun

After the encounter with the Samuel Enderby, Starbuck openly stands up to Ahab, but Ahab shuts him down. Then there’s a shot of Pip angrily throwing down his tambourine. I like that. It adds some depth to Pip.

Wait, Bulkington’s name is in the credits??? He’s here??? I looked up the guy who plays him and I don’t recognize him but apparently the character is here somewhere. 

The whale looks so silly

Pip is in Starbuck’s boat here, and the emphasis is on Starbuck, not Stubb, choosing not to bother helping him. That’s an odd choice. I like that Ishmael is trying to get Starbuck to go back for Pip. When the hunt is over, Starbuck proposes going back for him and Stubb argues against it. Now that I think about it, I kind of see what they were going for. Starbuck’s first priority is to get the job done and his second priority is morality. 

A SHARK ALMOST GETS PIP?! WHAT’S GOING ON

When the rescue boat approaches the Pequod, there’s a shot of Ishmael holding Pip in his arms <3

When Pip is lifted aboard, Stubb celebrates. Sir, kindly shut up. You were in favor of leaving him to die. Okay, to be fair, I guess the novel is coloring my view of the miniseries’ take on the character. Here, Stubb wasn’t the one who left him behind, that was Starbuck. Stubb just thought he was probably dead, which I guess is reasonable.

Out of nowhere (unless I’ve forgotten something), Bulkington is an actual character in Part 2.

I love the choice to literally film from Pip’s point of view to depict his terror and disorientation. 

I don’t love this portrayal of Queequeg, to be honest. He lacks subtlety.

Pip starts dressing up as Ahab. I’m trying very hard not to find this funny. I KNOW it’s serious. It just reminds me of when I was a kid and I would entertain my mom by putting on her hat and shoes.

Unlike in the book, here Pip doesn’t become...I don’t know the word for it. Disidentified with himself? He doesn’t talk about “Pip” in the third person or say that Pip is dead or missing.

I like that, unlike the 1956 and 2011 versions, this one is really making an effort to depict the bond that forms between Pip and Ahab. However, the fact that it only forms once Ahab sees Pip dressed up as him cheapens it a bit, I feel. 

Ooh, they have Queequeg stand up to Ahab! That’s a fun choice. 

Ishmael is very angry that everyone on the ship is going mad. 

Why do some of the actors pronounce Queequeg’s name “kee-quay”???

THEY HAVE QUEEQUEG DECLARE THAT THERE IS NO GOD ON THE PEQUOD AND THROW YOJO IN THE FIRE??? 

Starbuck catches Bulkington trying to jump ship and go home to his wife. Instead of trying to stop him, he gives him a letter to deliver to Mary. Bulkington suggests that Starbuck just come along with him, but Starbuck can’t bring himself to do that. That’s really interesting. I like that.

Starbuck comes into Ahab’s cabin, where Ahab and Pip are both asleep, and stands menacingly over Ahab. Maybe thinking murderous thoughts? I’m not sure, but DEFINITELY thinking malicious thoughts. But then he sees Ahab put his hand on top of Pip’s, and he softens. I love that.

Ahab takes the wheel in a storm. Major Flint vibes!

Patrick Stewart seems to be having a great time

I THINK QUEEQUEG JUST DECLARED AHAB HIS GOD? WTF 

Ishmael and Starbuck commiserate about how everyone else on this crew has lost their minds. In the book, Ishmael is clear about the fact that he was under Ahab’s spell just like the rest of the crew (minus Starbuck), but I guess they wanted to give him stuff to do in this adaptation aside from just being one of the crowd.

Whoa there is something weird going on between Starbuck and Ishmael. I’m starting to ship it, frankly. 

I don’t like what they did with the “let me gaze into a human eye” scene. In the book, it’s really moving. Here, Starbuck literally has a knife in his hand. Ahab puts his hand on Starbuck’s face and Starbuck looks extremely uncomfortable. However, as the interaction continues, you see Starbuck start to feel less murderous and try to reason with Ahab, so I guess that’s good. 

Oh snap! Starbuck holds the knife to Ahab’s chest...and then starts crying. And then voluntarily lowers the knife. This is wild. Ahab says “what have I done” and you get the sense that he’s on the verge of being persuaded...when the guy on the masthead spots the whale. 

I like that this version includes Fedallah at all but Kee Chan is simply not given a whole lot to work with. 

OH GOD QUEEQUEG GETS BADLY INJURED—I THINK HE SOMEHOW GETS HARPOONED?—AND HIS LAST WORD IS “ISHMAEL” AND THEN HE SINKS UNDER AND ISHMAEL SCREAMS AND DIVES AFTER HIM AND TRIES TO PULL HIM UP BUT QUEEQUEG SHAKES HIM OFF I’M GONNA DIE

AND THEN WHEN ISHMAEL RESURFACES HE SCREAMS AGAIN I AM DEVASTATED 

The cook and the carpenter are both trying to get the doubloon. Guys...priorities.

Starbuck is just hanging out inside the boat this whole time and then the whale rams into the boat and Starbuck and Pip both get overwhelmed by the water :(

As the carpenter dies, there’s a shot of the doubloon in his hand. I like that. 

As with the 2011 version, the “epilogue” feels a little rushed. I guess maybe it just doesn’t translate all that well to the screen. Oh well.

[ohnobjyx]

so, i am from the west and before cql it never crossed my mind to check out c-ent (i guess that's almost universal for white people over here) but i started watching cql because there's a lack of lgbt media in the world and now i got interested as a consequence in the rest of c-ent and learning chinese, so i wonder if it could happen in ten years or so that the government realizes they can export lgbt content, suck people into c-ent, get money & so they might relax on censorship, could that be?

Hi, anon! Just for your info, your ask made me think a lot in the past few days. I’m happy to see that there are more people hooked on c-ent! If I’ve to be honest, I consume much more c-ent than western. There’s a certain beauty and poetry that it’s really different from western dramas.

Okay, there are several parts in my answer, so I’d like to tackle them one by one:

Background and language

LGBT content and public stance

Money (I strongly recommend you to read this one and the next, this is your answer, anon)

Success

If any of you are interested, click to see below the cut!

Disclaimer: except actual numbers (some are from official reports, others from articles), the post does have a heavy coating of “my opinion”. Beware.

1. Background and language

If I’m not mistaken, anon (if I am, I’d like to be corrected), you may have watched only CQL and maybe The Guardian, which is another fairly popular among int-fans (I haven’t watched it yet, no spoilers, please!).

These two had a combination of factors that made it easier for int-fans to accept them: fantasy world + well-received lgbt subtext (wangxian!) + less amount of poetic and lyrical language + the plot is surprisingly good (at least CQL from my knowledge). But it’s not the case of the rest of the dramas, and it may not be of the future BL dramas.

When I say “fantasy world” (c-fans often debate in which historical period CQL is based upon, but mxtx never bothered too much with that kind of details), I mean specifically that there isn’t a preexisting set of rules that the viewer may not know about. It’s often commented how CQL never explained how their world works (so a lot of it is fanon) and that viewers had to learn the niceties and the conventions of the world by watching the show.

It’d be a slight problem if the show was set on a historical period and even in a modern setting. C-dramas in general, since their target audience is Chinese, never bother introducing any kind of background or cultural convention. This would be just a little problem, after all, if watching tv shows contribute to our knowledge, we get an unexpected gain. But for many people, if the background or the references are difficult to understand, they may feel discouraged to keep watching it.

(And the rythm of the c-dramas is often extremely slow for western standards, since you have 40-50 episodes to develop a single story, instead of one season of 12 episodes). 

The main problem I see is the language barrier. Something I (and mostly c-fans that speak English or int-fans that speak fluent Chinese) marvel everytime I think about it is how people could stand the subtitles. I’ve yet to find good subtitles (though the ones from the official Youtube channel do a passable job and I’ve heard that on viki the subtitles are good too).

The meaning is often twisted (if not outright reversed sometimes), the poetry is lost, the difference between levels of formality is also blurred, the way Chinese people address each other is also not respected (I’m looking at you, Netflix subtitles). So you can’t ignore the damage the language barrier does to the reception of a tv series.

You’ve said it yourself, anon, that CQL made you interested in Chinese as a language. Chinese, from my point of view, is a fascinating language, but it’s so difficult to translate.

Among other things, the main language barrier is the use of 成语 (cheng yu). They are traditional idiomatic expressions, usually consisting in 4 characters, and originated from ancient literature. Commonly they are created by succintly paraphrasing or summarizing the original text, so they convey information a lot more compactly than normal speech or writing.

From what I know, there’s a logistical problem: a cheng yu of 4 characters is often read in around 1 second, but if the translator wants to include the most complete translation, that get all the nuances of the phrase, it can often end up in a long phrase that take quite longer to read (I saw once a cheng yu literally translated and well... 无语).

This use of chengyu spreads from historical to modern to fantasy tv dramas. CQL’s dialogues use less of them (the novel was plagued with them), making it easier to sub. They also make less use of poetry and literature references that so often appear in historical dramas (just the reference, no context whatsoever, I despair sometimes too), thus making it easier to convey to int-fans.

2. LGBT content and public stance

You wrote at the end: “the government realizes they can export lgbt content, suck people into c-ent...”

This would be assuming that the government acknowledges it is lgbt content. Which they don’t. 

When they were making the adaptation from the novel to the tv script, they were very carefully thinking of how they would introduce the series to the regulation department that controls everything that gets aired in China. In fact, the target audience they specified was “teenagers and youngsters” because of its xianxia themes, its fantasy world and the whole adventure after WWX’s resurrection (but we know that the real target audience was female and mainly in their 20s).

So officially, even though it’s based on a BL novel (and the general public knows it), the government only acknowledged it as an xianxia drama. Even if someone points the BL elements out, they are ambiguous enough that they can avoid the questioning. And since it brings money, as you say, they may turn a blind eye to the people who points it to them now.

There’s another point of your ask I want to highlight: “if it could happen in ten years or so...”. Ten years is a lot of time. I trust their society to take steps in a much more lgbt-friendly direction in our globalized world, and maybe things will be different in a decade’s time, when the younger, more open-minded generation starts to take over the control. Censorship will one day be relaxed or even disappear (from my pov, this is possible with more time and a great change).

(We can’t forget about the propaganda here... so I’m unsure of how this issue will develop in the future).

However, I don’t think the change will come from the government realizing that it is very profitable, and this is the last point I wanted to talk about.

3. Money

Disclaimer: it’s difficult to find out how much a tv series makes as a profit, since they keep making money to this day, this minute, this second. It’s also difficult to find the information, since I don’t work in the industry so I’d to make due with what I have.

I won’t lie, anon, when I saw your ask the first time, I thought: they have no need. You talk about the government realizing that they can earn money with lgbt series, but the reality is, CQL, while one of the highest earning dramas from 2019, it’s not the only one capable of that.

Recently it was issued the list of the Top 10 Most Influential TV Dramas of 2019, in which CQL was top 7. “Not bad!”, one would say.

I’ve taken the data from a few others so you can make a comparison in their profit.

A c-drama usually earns money by selling the license rights to different platforms, commercials and merchandising. In the case of CQL, you can add the concerts, fan meetings and the different events and articles.

Top 1 in the chart was 都挺好 (All is well, I really recommend this one, it’s one of the best dramas I’ve watched). This drama was aired from March 1 to March 25 in 2019. The data from April 3, 2019 is a copyright profit of 667,000,000 ¥ (a total of 14,500,000¥ per episode, the total of what 2 tv stations, Tencent, Youku and Aiqiyi paid for license rights).

Around the time CQL was finishing airing (on Tencent), the copyright profit was around 156,000,000¥. For transparency: this data is from August 20, and CQL finished airing on August 25, while All is well data is from a week after the finale. However, I doubt that in a week CQL could reach a profit of 500,000,000 ¥ to match the profit of All is well (I don’t know how much Netflix paid them for licensing rights, but it may be a similar sum).

Top 5 in the chart is 庆余年 (Joy of Life, in this one XZ had a secondary role). This was has a fanbase too in int-fans, though smaller than CQL’s. The company that’s the main stockholder for this series made a profit of 4,420,000,000¥  in 2019, approximately 48% is copyright profit. The series that brought more profit was Joy of Life, though, of course, they produce more series.

By the time they finished airing, CQL had made a profit of around 400,000,000¥ (estimated), with predictions of it getting to 800,000,000¥ (taking into account license, commercial profit, merchandising and the concerts). I haven’t been able to find how much they made in the end, but it must be around 900 millions to a billion yuans.

I know 800 millions it’s a lot of money (more than what I’ll ever see), but if you take it and compare it with the 667 millions All is well made with just licensing the series, one can understand that a series like All is well is much more profitable than CQL.

However, there’s no need to rank in the top 1 to get this kind of profit. 如懿传 (The legend of Ruyi), a series from 2018 that was the continuation of a drama that had been wildly succesful in 2011. It ranked 5th on douban, but didn’t make it to the top 10 chart of the most influential TV dramas (in spite of a superb leading actress and supporting actors, the plot and the poor production didn’t get it as high as it could have been).

BUT. Just license rights to 3 platforms made them earn 15,000,000¥ per episode. For a show that wasn’t as successful as people had predicted it to be, their profit is quite decent (the production cost was also quite higher than CQL’s, so maybe the net profit wasn’t so high for a 90-episode drama, but they didn’t fail in this investment).

Nonetheless, not everything revolves around money. In my opinion, more than direct economic profit, for CQL their main gain was the fanbase they amassed, that has skyrocketed the actors’ careers, let them make a lot of profit with merchadising and the concerts, and the series still profitable to this day. They have also contributed greatly to the increased presence and popularity of Asian content in the West, which isn’t a small acomplishment.

(As I’m writing this, I’m also watching last week’s episode of TTXS. Guys, the garlic commerce in just 1 county made a profit of more than 9 billion yuans in 3 months. Just so you all have a reference.)

4. Success

Nothing guarantees that a BL drama will be successful. Though there isn’t a lot of BL dramas, The Guardian and CQL aren’t the only (nor the first) BL novels to be adapted into tv series.

In fact, just in 2019, there were 59 BL media (novels, games, manhuas) to be adapted into TV series. Of them, 3 have finished filming and have been aired. Of the 59, I had only heard of Winter Begonia, which has a historical setting and the two male leads are famed actors (one of them is YZ, dd’s motorcycle friend). So just the BL theme doesn’t ensure the success of the drama.

And yet, we haven’t caught news of it here. I didn’t know there were so many (for a country that has a strict censorship, 3 BL dramas in a year is a lot) until I was getting information for this post.

That’s why, in my opinion, if someone said “hey, let’s relax a bit the regulation, since CQL was so liked by the fans”, others may say “but out of 6 BL dramas, only CQL was successful... so it must not be the BL theme after all”.

CQL has many many factors that makes it as good as it is, wangxian being one of the main reasons I fell in love with CQL, but it’s true that it isn’t the only key to its success.

In summary

(I appreciate it if you have been able to read until here).

CQL (and The Guardian, in a lesser degree) had a very distinct set of factors and conditions that made it possible for it to have great success with int-fans. However, there is a trend: only dramas that have been highly rated in China to start with were able to stand out in western countries as well. In my opinion, that’s because people aren’t so different: what the general public likes is very similar, no matter if it’s eastern or western countries.

In fact, CQL has been more successful among the same kind of public everywhere: mainly female, from around 15 to 30 years old.

Moreover, this target audience is very restricted. It’s just a matter of numbers that a drama like All is well, which target audience goes from mainly females from 20 to x years old, is more likely to be successful (yes, at my home, all of my aunts, my parents and I have seen the drama, while only I have watched CQL).

I think I sometimes ramble a lot, so I’ll write down my point here: the entertainment industry is profitable just with the Chinese audience. If a good drama ends up getting famous Western countries, is just 锦上添花 (“adding flowers to the brocade”) or “the icing on the cake”.

CQL is the exception, not the rule. As a drama last year, it broke a record, going on hot search for 49 days on a row in China. It’s a incredibly rewarding show, and, because of that, incredibly lucrative as well. However, since all its accomplishments are very rare, I don’t think this boom will be easily reproduced with just any other drama.

So, to answer your question about whether the profit they can gain with BL dramas would make them reconsider the censorship issue... why would they?

(I’d put everyone to farm garlic).

[aion-rsa]

The Horror Movies That May Owe Their Existence To H.P. Lovecraft

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With Lovecraft Country finishing its acclaimed first season, you may be looking to fill that new gap in your viewing schedule with more content based on or inspired by the works of the enigmatic author from Providence, Rhode Island.

Let’s get one thing clear upfront: Howard Phillips Lovecraft was very much a product of his time and upbringing, and his views on race, ethnicity, and class — while commonplace for where and when he lived — were truly noxious, an aspect of his legacy that Lovecraft Country addresses in its own themes. But it’s also clear that Lovecraft was arguably the most influential horror writer of the 20th century, with a reach that extends to this day.

While there have been a number of movies based directly on stories by Lovecraft — including titles like Die, Monster, Die! (1965), The Dunwich Horror (1970), Re-Animator (1985) and its sequels, From Beyond (1986), Dagon (2001), The Whisperer in Darkness (2011), and Color Out of Space (2020) — you may be surprised just how many more readily available major horror films and cult favorites have been influenced by his writing in terms of plotlines, themes, mood and imagery.

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Here is a readout of 20 movies, spanning the last 60 years, in which the pervasive presence of H.P. Lovecraft had an undeniable impact, making many of these efforts into mostly effective and often great horror films. Even the Great Old Ones would approve…

X: The Man with the X-Ray Eyes (1963)

Legendary filmmaker Roger Corman had just adapted a Lovecraft story in The Haunted Palace (although the movie was marketed as part of his Edgar Allan Poe cycle), but this sci-fi film also clearly channeled some of the author’s sense of cosmic horror.

Ray Milland plays a scientist who invents a formula that allows him to see through just about everything, eventually peering into the center of the universe itself. What he views there leads him to a shocking decision that fans of Lovecraft’s work would appreciate.

The Shuttered Room (1967)

This British production was based on a short story by August Derleth, Lovecraft’s publisher and a noted author in his own right. Derleth based his story on a fragment left behind by Lovecraft after the latter’s death, with the movie expanding on the tale even further.

Read more

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Behind the Scenes on Inside No. 9’s Most Terrifying Episode

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Bram Stoker’s Dracula and the Seduction of Old School Movie Magic

By David Crow

Gig Young and Carol Lynley star as a couple who inherit Lynley’s family mill only to find something horrifying living at the top of the house. Lots of Lovecraftian elements — a cursed house, a family secret, and strange locals — are all here.

Alien (1979)

Lovecraft’s work arguably existed on that knife edge between horror and science fiction — the Great Old Ones of his Cthulhu Mythos were, after all, ancient entities that existed in the darkest corners of the universe.

One of the greatest sci-fi/horror hybrids of all time, Alien, clearly took a cue from Lovecraft’s work: the origins and motivations of its xenomorphs were utterly unknowable to human understanding, and even the look of the alien echoed the gelatinous, glistening flesh of the Old Ones (too bad later movies like Prometheus and Alien: Covenant ruined it by explaining far too much of the alien’s history).

Scorpion

City of the Living Dead (1980)

Italian director Lucio Fulci directed several films inspired by the work of Lovecraft, starting with this gorefest starring Christopher George (Grizzly) and Catriona MacColl. When a priest hangs himself on the grounds of a cemetery in the town of Dunwich (a town created by Lovecraft), it opens a portal to hell that allows the living dead to erupt into our world.

Read more

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Talalay’s Terrors! The Director Breaks Down Her 5 Scariest Scenes

By Kayti Burt

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Fulci’s movie is often nonsensically plotted and more reliant on gore than Lovecraft ever was, but the otherworldly, surreal atmosphere is definitely sourced from the master.

The Beyond (1980)

The second film is Lucio Fulci’s “Gates of Hell” trilogy (the third was The House by the Cemetery) is perhaps the most heavily Lovecraftian, with Fulci regular Catriona MacColl inheriting a hotel in Louisiana that turns out to be — you guessed it — a portal to the world of the dead.

Like the director’s other work, it’s inconsistently acted and directed, but it oozes with a surreal, unsettling atmosphere that almost becomes intentionally disorienting. Hell of an ending too — literally.

The Evil Dead (1981)

Sam Raimi was just 20 when he and friends Rob Tapert and Bruce Campbell set out to make a low-budget horror movie called Book of the Dead, based on Raimi’s interest in Lovecraft. The finished product, The Evil Dead, featured plenty of Lovecraftian touches: a book of arcane evil knowledge, entities from another dimension, reanimated corpses and more.

Read more

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New Evil Dead Director Has Been to the Woods Before

By Don Kaye

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Evil Dead Movies: The Most Soul Sucking Moments

By David Crow

It also became one of the greatest cult horror movies of all time, spawning an entire franchise and — even as it veered more into comedy — staying true to its cosmic horror roots.

Universal

The Thing (1982)

Even though it’s squarely set in the science fiction genre, John Carpenter’s brilliant adaptation of the 1938 John W. Campbell Jr. novella Who Goes There? (filmed in 1951 as The Thing from Another World) is unquestionably cosmic horror.

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Movies

The Thing Deleted Scenes Included a Missing Blow-Up Doll

By Ryan Lambie

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John Carpenter’s The Thing Had An Icy Critical Reception

By Ryan Lambie

Although the title creature lands on Earth in a spaceship, its immense age, apparent indestructibility, utterly alien intelligence and formless ability to shapeshift make it one of the most Lovecraftian — and terrifying — monsters to ever slither across the screen. The remote, desolate setting and growing paranoia among the characters add to the terror and awe.

Ghostbusters (1984)

Yes, it’s one of the best combinations of horror and comedy to ever emerge onto the screen. But Ghostbusters’ second half — in which an apartment building designed by an insane architect turns out to be a gateway to a realm of monstrous demons led by “Gozer the Gozerian” — is pure Lovecraft.

The monstrous nature of the menace, the ancient rites and secret cult used to summon it — all of this is still quite cosmically eerie even as it’s played mostly for laughs and thrills.

Prince of Darkness (1987)

The second entry in what came to be known as John Carpenter’s “Apocalypse Trilogy” is perhaps the least influenced by Lovecraft. But it still packs a cosmic wallop with its arcane secrets long buried in an abandoned, decrepit church, its portal to another dimension ruled over by an Anti-God, its mutated, reanimated human monsters and its mind-bending combination of religious legends and scientific speculation (credit as well to British writer Nigel Kneale, an even more massive inspiration here).

In the Mouth of Madness (1995)

Carpenter completed his trilogy (arguably his greatest achievement outside of Halloween) with the most Lovecraftian of the three, in which a private insurance investigator (Sam Neill) looks into the disappearance of a famous horror author and learns that his books may portend the arrival of monstrous creatures from beyond our reality.

Read more

Books

An Introduction to HP Lovecraft: 5 Essential Stories

By Ethan Lewis

TV

How Lovecraft Country Uses Topsy and Bopsy to Address Racist Caricatures

By Nicole Hill

Not only are the ideas right out of Lovecraft, but the movie oozes with allusions to the writer���s work and ends up being as disorienting and genuinely disturbing as some of his most famous stories.

Event Horizon (1997)

While we will always argue that the execution of this film was faulty, which stops it from becoming a true cult classic, we won’t debate its central premise: a spacecraft with an experimental engine rips open a hole in the space-time continuum, plunging the ship and its crew into a dimension that appears to be hell itself and endangering the rescue team that arrives to find out what happened.

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Movies

Exploring the Deleted Footage From Event Horizon

By Padraig Cotter

Movies

Event Horizon: From Doomed Ship to Cult Gem

By Ryan Lambie

Director Paul W.S. Anderson provides some truly macabre touches to an often incoherent movie, and again the whole invasion-of-evil-from-outside-our-universe concept points right back to old H.P. and his canon.

Hellboy (2004)

Hellboy creator Mike Mignola has often cited Lovecraft as a primary influence on his long-running comics starring the big red demon (Lovecraft’s vision has impacted a slew of other comics over the years as well), and it’s no surprise that Guillermo del Toro’s original movie based on the books touches on that too. The film’s Ogdru Jahad are a take on Lovecraft’s Great Old Ones, while the movie is stuffed with references to occult knowledge, forbidden texts, alternate realities and more.

Del Toro’s own direct Lovecraft adaptation, At the Mountains of Madness, remains abandoned in development hell, but his work here gives us perhaps a taste of how it might have looked.

The Mist (2007)

Stephen King has often cited the influence of Lovecraft on his own vast library of work, and both the novella The Mist and Frank Darabont’s intense film adaptation are perhaps the most overt example.

While the premise is vaguely sci-fi — an accident at a secret government lab opens a portal to another dimension, unleashing a fog containing all kinds of horrifying monsters — the mood and the entities are Lovecraftian to the extreme, as is Darabont’s unforgivingly bleak ending (altered from King’s more ambiguous one).

The Cabin in the Woods (2012)

Director/co-writer Drew Goddard and co-writer Joss Whedon take on two of horror’s most criticized subgenres, the slasher film and the torture porn movie, in this sharp satire that ends up being a Lovecraft pastiche as well. The standard set-up of five young, horny friends heading to a remote cabin in advance of being slaughtered turns out to be a ritual performed by trained technicians as a sacrifice to monstrous deities — the Ancient Ones — that reside under the Earth’s crust. The ending — in which the survivors decide that humanity isn’t worth saving after all — would have met the misanthropic Lovecraft’s approval.

Stephen King’s It (2017/2019)

The more metaphysical elements of King’s gigantic 1987 novel (such as the emergence of the godlike Turtle and the journey into the Macroverse) didn’t really make it into either this two-part theatrical version of the novel or the 1990 miniseries.

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How It Chapter Two Differs from the Book

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But the influence of Lovecraft is still felt in the title menace itself, an unimaginably ancient, shape-shifting entity that can exist in multiple realities and feeds on fear and terror. The way that It slowly corrupts the town of Derry and its inhabitants over the years has precedent as well in Lovecraft tales like “The Dunwich Horror” and “The Shadow Over Innsmouth.”

The Endless (2017)

Indie horror auteurs Justin Benson and Aaron Moorhead have touched on certain Lovecraft tropes in all their films, including Resolution and Spring, but The Endless is perhaps the most directly influenced by the author. The writers/directors also star in the movie as two brothers who return to the cult from which they escaped as children, only to find it has become the plaything of an unseen time-bending entity.

Genuinely eerie and more reliant on character and story than special effects, The Endless is a good example of what a modern twist on the Lovecraft mythos might look like.

The Void (2017)

A small group of medical personnel, police officers and patients become trapped in a hospital after hours by an onslaught of hooded cultists and macabre creatures in this virtual compendium of well-loved Lovecraft tropes and imagery. Writer/directors Steven Kostanski and Jeremy Gillespie channel an ’80s horror vibe, with all its pros (and some cons) but the overall atmosphere is surreal and the story taps effectively into the sense of cosmic horror.

Annihilation (2018)

Alex Garland’s (Devs) adaptation of Jeff VanderMeer’s frightening novel Annihilation is brilliant and terrifying in its own right, and both serve as loose rewrites/reinventions of Lovecraft’s classic “The Colour Out of Space.” In this take, four female explorers are tasked with penetrating and solving the spread of an alien entity over a portion of the coastal U.S. that is mutating all the plant and animal life within. The sense of awe and cosmic dread is strong throughout this underseen gem.

The Lighthouse (2019)

The second feature from visionary writer/director Robert Eggers (The Witch) is more a psychological drama than an outright horror film — or is it? The story’s two lonely lighthouse keepers (Robert Pattinson and Willem Dafoe) may be going insane or may be coming under the influence of an unseen sea entity and the beam of the lighthouse itself.

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A24 Horror Movies Ranked From Worst to Best

By David Crow and 3 others

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The Lighthouse: the myths and archetypes behind the movie explained

By Rosie Fletcher

With its black and white cinematography, windswept location, half-glimpsed sea creatures and sense of reality crumbling around the edges, The Lighthouse is just a Great Old One away from being a genuine Lovecraftian nightmare.

Underwater (2020)

It’s hard to believe that this Kristen Stewart vehicle came out in early 2020 — given the way the world changed since, it seems like it came out five years ago. Although its story of workers on a deep sea drilling facility battling monsters from the deep was an overly familiar one, the creatures themselves were more unusual than most. Director William Eubank took it a step further by saying that the movie’s climactic giant monster was none other than Cthulhu itself, the Great Old One sleeping under the ocean and namesake of Lovecraft’s entire Cthulhu Mythos — which takes us back to where we began.

The post The Horror Movies That May Owe Their Existence To H.P. Lovecraft appeared first on Den of Geek.

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https://www.talkhouse.com/on-the-virtues-of-cinematic-failure/

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Most journalists who have spoken to me about my new erotic drama PVT Chat (starring Peter Vack and Julia Fox and streaming now on most VOD platforms) assume it’s my first feature film. Actually, it’s my third. My first two features never played a single film festival and haven’t been seen by more than a few hundred people (mostly friends and/or curious followers of my rock band, Bodega). They were financial failures (even though they were made extremely cheaply), but you couldn’t call them critical failures because nobody has ever reviewed them. I spent the last decade working on these films and yet their cultural footprint is practically nonexistent.

Despite that, I still believe in them and hope one day I’ll make a movie (or record) that inspires people to seek them out. My early cinematic attempts certainly failed at behaving like normal movies, but to me it is precisely this failure that makes them interesting.

Godard said of Pierrot le Fou (1965), “It’s not really a film. It’s an attempt at a film.” This is a purposefully cryptic statement, but I think I understand what he meant. There is a sketch-like quality to his films from that period. He was less interested in following a particular plot through to its conclusion than suggesting narrative ideas and moving on. He enjoyed employing classical narrative tropes but didn’t want to waste screen time on the proper pacing required to sell those tropes to an audience. Instead he filled his screen time with spontaneous personal, poetic, and political ruminations that occurred to him literally on the day of filming. Many found – and still find – this approach infuriating, but for a select number of Godard disciples, like me, this type of filmmaking is still revolutionary. I remember seeing Weekend during my sophomore year of college at the University of South Carolina and having my mind completely ripped open. Suddenly the world wasn’t a small, mediocre, predictable place – it was full of music and color and philosophy and eroticism. There were people out there genuinely disgusted with the status quo and boldly proclaiming it with style.

Godard’s work is a fulfillment of the dream of the caméra-stylo – a term coined in 1948 by Alexandre Astruc that argued it was theoretically possible for someone to compose a film with as much direct personal expression as exists in prose. In order to achieve this level of expression, one often needs to move beyond the realm of mere plot and narrative naturalism, the principle that what you are seeing on screen is real. (On most movie sets, the filmmakers and actors work overtime to sell this illusion.) Films that focus solely on plot, character psychology, and one literary theme have to direct the majority of their screen time toward plotting mechanics and emotional manipulation of the audience. What you gain in dramatic catharsis you often lose in intellectual honesty. There’s always a tradeoff. I am invested in a cinema of the future that veers toward self-expression, but doesn’t need to avoid dramatic catharsis as Godard’s films did. Certainly many filmmakers my age are working to achieve such a synthesis of intellectual directness and narrative pleasure. Experimentation is required and many “bad” films need to be made to pave the way for future successes.

I graduated college in 2010 high on this dream of the caméra-stylo and philosophy (my field of study) and in 2011 started filming my first feature, Annunciation, with experimental filmmaker Simon Liu. Annunciation is an “adaptation” of the Mérode Altarpiece, an early Northern Renaissance oil painting triptych by Robert Campin. The film features three short separate narratives, one for each panel of the famous 15th-century painting. I wanted the performances in Annunciation to be controlled and somewhat surreal, as if the whole film existed in a heightened but slowed-down hypnotic state; I was thinking about Bresson, Ozu, Antonioni and, of course, Godard (particularly his work from the ’80s). There is some plot, but the main goal of the movie was to reveal the miracle of existence in the everyday. And because the Mérode Altarpiece depicts the scene in Christianity where the Virgin Mary was impregnated by light alone, the film had to be shot on 16mm film.

Now picture this: a 22-year-old walks into a conference room in Midtown Manhattan and gives this pitch to a producer who was then investing in thriller movies: “Every time light strikes a piece of celluloid, a miracle similar to the Annunciation scene occurs: an image appears in the likeness of man that redeems our fallen world and reveals it to be the beautiful place that we take for granted in our normal day-to-day.” This wasn’t met with the enthusiasm I was hoping for. “Don’t you see,” I said, “this is a film about the ecstatic of the quotidian! This is a film that audiences will flock to! It could do for Williamsburg and Bushwick what Breathless did for Paris!” Looking back, I am both shocked and charmed by my youthful naiveté, courage and idiocy.

I was laughed out of the room, but the producer was kind enough to wish me good luck and welcomed any future pitches, should I come up with something any “normal” person would want to watch. I never thought of films in the tradition of the caméra-stylo as being elite works only for the gallery or the Academy. I, like Godard before me, have always assumed that audiences are intelligent and long for thoughtful, challenging movies. That belief I carry to this day and thankfully it sometimes seems to be true. How else could you explain the recent success of heady films by Josephine Decker or Miranda July?

Thanks to small donations from family members (and credit cards), I was able to shoot Annunciation without any official backing. I cast the film with a mixture of non-actor friends and some undiscovered Backstage.com talent and dove head first into the production. Right as our principal photography began, Occupy Wall Street gained momentum, so Simon and I spent time at Zuccotti Park filming our actors experiencing the movement. The hopeful promise of OWS seemed to reflect the yearning desire of our film’s protagonists as well as our own idealist cinema experiment.

When the film was finished and edited, I naively assumed that we were well on our way towards global cinematic notoriety. Surely, I thought, this important film that manages to blend fiction with actual footage of OWS would premiere at Cannes or Berlin and the Criterion Collection would issue the DVD shortly after. In actuality, it was rejected from every single film festival we submitted to.

Undeterred, I conceded that maybe there were a few minor structural flaws in the edit. It was probably a little too long and perhaps the three separate narratives would work better if they were crosscut more. A year later, this new edit was again rejected from almost 100 festivals. Stubbornly, I thought that perhaps what could really bring the movie together was a comic voiceover by my then cinematic muse Nick Alden (who is a lead in both Annunciation and my second film, The Lion’s Den). Audiences seemed to ignore the comic tone underlying Annunciation. If only I could unearth it, they wouldn’t be put off by the pretensions to greatness the movie wore on its sleeve. There is nothing so offensive to American audiences as pretentiousness.

I didn’t send the overcooked voiceover version to festivals. I knew it was forced and worked against the core concept of the film. But it was then that I started for the first time to have doubts about Annunciation. Maybe my film wasn’t as emotional or clever as I imagined. Maybe it was bad? “No,” I decided. The film, whatever its flaws may be, has value. Herculean delusions of grandeur come in handy when you are trying to become an artist.

I opted to edit the film back to its original state, but without some of the weaker, obviously didactic moments, then hosted a few local screenings in NYC (most of them at DIY venues where my rock band would play) and put the film up for free on Vimeo. Around this time, it occurred to me that editing Annunciation had been my film school. Failure is a wonderful learning tool. Editing the same raw material in a myriad of different ways taught me about pacing and tone. Still to this day, when I find myself in a certain state of mind, I open up the Final Cut sessions and do a new edit of the footage just for fun, like some sort of DIY George Lucas tinkering with the past. Last year during quarantine, I did a new edit of Annunciation and uploaded it to Vimeo without telling a single person. It has become my own little cinematic sandbox to play in.

When people did chance upon one of my myriad edits, they often commented that they enjoyed its style but found the acting too unnatural. My response to this was to make my next film, The Lion’s Den, a cheaper HDV feature that doubled as a political farce and an essay about naturalism in cinema. The film is about a group of ding-dong radicals who kidnap a Wall Street banker and plan to donate his ransom money to UNICEF so salt pills can be provided for dehydrated children. The UNICEF plot was drawn from Living High and Letting Die, a 1996 work of moral philosophy by Peter K. Unger. It was both a serious attempt at political philosophy and a total slapstick farce; I was imagining the comedy of errors in Renoir’s The Rules of the Game mixed with the Marxist agitprop of Godard’s La Chinoise.

The acting style in The Lion’s Den was purposefully cartoonish; at no point in the film could an audience member believe that what they were seeing was real. I like to think that The Lion’s Den was an attempt at theatre for the camera, part Shakespeare and part Brecht. This was my own personal response to our epoch’s hyperrealism fetish. At the time, I believed that the current obsession with neo-neorealism, mumblecore and reality TV was worth combating. Art with a realistic aesthetic, I thought then, was inherently conservative and accepting of the political status quo (whether the artists were aware of this or not). Art with an imaginative anti-realistic aesthetic, so I thought, was utopian. It opened new vistas and ways of thinking and being. It dared to believe in a more beautiful world than the one we are living in.

The making of The Lion’s Den was extremely difficult. It was by far the hardest thing I have physically done in my life. At the time, I was malnourished and broke, not unlike the character of Jack in PVT Chat; my diet for that month we made the film consisted mostly of coffee, rice and beans, ramen, light beer, and the occasional waffle or fruit smoothie from the vegan frozen yogurt stall I worked at. Unlike Jack, my addiction wasn’t cam girls or internet gambling, but independent filmmaking. I begged, borrowed and scrimped $10,000 to make a film I knew I wouldn’t be able to sell. Despite having some key collaborators near the beginning of the shoot, most of the film was made with just me, the actors and a loyal boom operator, all living together in a house in Staten Island. This meant that I had to assemble all of the cumbersome lights for every setup, handle the art for every scene (which involved a lot of painting), block the scene and direct the actors, throw the camera on my shoulder and film, and then at the end of the day transfer the footage while logging the Screen Actors Guild reports and creating the call sheets for the next day’s scenes. Exhausted both mentally and physically, I often couldn’t stand up at the end of the day’s filming.

Once we’d wrapped and everyone had gone home, I stood in the middle of our set and played Beethoven on my headphones. Within seconds, I began bawling my eyes out, partly from exhaustion but also from the melancholy that all my friends had left and I was now alone for the first time in a month. I collapsed and slept for hours. When I woke up, it was my 26th birthday. I celebrated by watching Citizen Kane alone and then started the process of painting the walls back to a neutral white. The actor Kevin Moccia (who has been in all three of my films and actually works as a house painter) heroically came back to set and helped me. I told him that despite all of the agony of the past weeks (my bank account was now in the red, with overdraft fees piling up), I was happier than I had ever been. Working passionately on something that has great value to you is, without a doubt, the key to happiness.

Shortly after returning to the real world and my job at the vegan yogurt shop, I passed out while on the clock and was taken to a hospital by my very supportive girlfriend. Turns out, all I needed was an IV and some nutrients to get back on my feet, but unfortunately the trouble with The Lion’s Den had just begun. At some point, I formatted the production audio memory card and, in one instant, accidentally deleted everything on it. For the next two years, my friend Brian Goodheart and I worked with all of the actors to dub all of the dialogue and sound effects in the movie. Each actor had to completely re-do their verbal performance. It felt like remaking the entire movie. The result made the film especially un-naturalistic (which pleased me at the time) and it turned out far better than I think Brian and I expected.

By then, I had some hopes that The Lion’s Den could reach a small audience. It is aggressively philosophical but also features a love triangle, a car chase and a final shootout. Its comic style, I was hoping, would attract people who were put off by the purposeful flatness of Annunciation. Nevertheless, the movie was also rejected from every conceivable festival. I now realized that submitting an aggressively experimental narrative film without a single famous person in it to festivals is basically like flushing your money down the toilet. Yet I continued submitting, like an addict at a casino putting all of their savings on the roulette table. You never know, right?

In hindsight, I now see The Lion’s Den as a very angry film that perhaps uses comedy to soften the blow of some of its hotheaded fervor, and suspect some of its critique of capitalism and naturalism came from hurt and jealousy. “You think my work isn’t natural enough, eh? I’ll show you motherfuckers naturalism!”

Sometime in 2017, to my surprise I became smitten with certain neo-neorealist filmmakers (Joe Swanberg, in particular) and decided I wanted in on the mumblecore party, albeit from my own outsider perspective. I began to see how I could work symbolically with naturalistic performances, which led me to my latest film. PVT Chat is by no means a work of strict realism, but nevertheless focuses on believable dramatic performances. The film’s cast blends some actors from my past work (Kevin Moccia, Nikki Belfiglio, David White) with some heroes of the modern neo-neorealist indie cinema (Peter Vack, Julia Fox, Buddy Duress, Keith Poulson).

I want to end with a bit of advice to other filmmakers: Don’t put your self-worth into the hands of festival reviewers or distributors. The future of the moving image will belong to the films that are willing to risk cinematic failure. If you make an earnest film that doesn’t behave like a normal movie, I want to see it, even if it is full of technical or narrative mistakes (which it most likely will be). There’s no right way to make a movie. Follow the dream of the caméra-stylo and make a film that if nobody else made, wouldn’t exist.

[cawfulopinions]

Persona 4 Golden and the Problem of Appealing to a Wider Audience

I’ve been questioning how to go about writing this essay ever since I first finished Persona 4 Golden back in 2013. When I first finished the game, I came out of it not liking it very much – mechanically, it felt unbalanced; and writing-wise, I found it poorer than its original. My opinions on the game have shifted somewhat since then, helped along by the release of Persona 5 and the realization that many of the game’s mechanics were testbeds for that game. However, with time, I’ve found that I can articulate a lot of the problems Golden has with its writing a lot better. What I’ve ultimately settled on is looking at the Persona 4 we were originally given, then looking at its rerelease, and seeing what changed there and why I didn’t like it. Let’s jump in, shall we?

(Note: There will be complaining about Marie. My opinions on that subject sure as hell haven’t changed in the past seven years. Also, there will obviously be spoilers.)

I. A Brief History of Persona 4 as a Franchise

Shin Megami Tensei: Persona 4 (later spinoffs would drop the subtitle) released in the west in 2008 as a follow-up to the very strange (at the time) and very niche Shin Megami Tensei: Persona 3. Persona 3 was notable for deciding to go for an urban setting, an avant-garde aesthetic, and heavy philosophical themes, something that was rare for RPGs before 2010 (though not for its own franchise). While Persona 4 kept the philosophical focus of Persona 3, it decided to dial back some of the artsier aspects in favor of a more down-to-earth, focused story. Where P3 told a story about the inevitability of death and took place in a very modern Japanese setting, P4 decides to tell a story about the lies we tell ourselves and takes place in a rustic, rural setting.

Some of the first things that Persona 4 tells you after getting to its setting, Inaba, are that the town really only has one tourist attraction, it’s far from anywhere of real note, and its local businesses are all being driven out of business by the construction of a corporate superstore. It’s relatable, particularly to anyone who’s watched their local mom-and-pops go out of business after a Wal-Mart decided to move in.

The tone of this setting permeates through Persona 4 – all of its characters are pretty down-to-earth, and though there’s some cartoonish exaggeration in their writing, they feel more like real people than your average RPG character. Yosuke is the new kid in town who struggles with feelings of inferiority, something that’s not helped by his dad running the superstore that’s driving everyone out of business. Naoto is a girl with aspirations of becoming a detective, but hides her gender out of a belief that if she does so, she’ll be taken more seriously by the male-dominated police force. Even the game’s idol character, Rise, is someone who quit the business because the pressures of the idol industry became too much for her. Most games would take the opportunity to have an idol character written into the cast as an excuse for a pandering song and dance sequence and to play up her “waifu” aspects. Persona 4 spends the first hour after Rise’s introduced having her in and apron and slacks, serving tofu, and dodging paparazzi.

Persona 4 is not perfect in how it approaches its characters – in particular, Kanji and Naoto’s storylines have gotten a deserved level of flack for having essentially written coming-out stories for a gay man and a transman, and then immediately backing off and “no homo”-ing them. There’s a number of Social Links that end with the character deciding to go do the socially acceptable thing for them to do instead of following their own hearts, too – Yukiko’s comes to mind. But the character conflicts and stories told in the game’s Social Links are grounded and relatable.

The grounded-ness of Persona 4 was what really made it stand out in 2009, a time where RPGs and games as a whole were mostly concerned with showing off the cool things they could do with their engines (keep in mind, this was the early era of the PS3, and Persona 4 was a PS2 game). Looking back, it’s easy to realize that Persona 4 was made as grounded and rustic as it was because of budgetary concerns, but what was done with its limited budget was incredible. It looked at its setting and tone and embraced them, and that helped to make the game stronger.

And it worked! Persona 4 was easily Atlus’s biggest success in the PS2 era. Though the game was hard to find in the United States due to its short print run, it was inescapable online, and the early Let’s Play era helped keep it in the public eye. There’s a large number of people in the English fandom who only knew Persona 4 existed back in the day because of the hiimdaisy comic and the Giant Bomb Endurance Run. Meanwhile, the game was huge in Japan and topped sales charts for weeks.

Source: Gamasutra

And then Atlus almost went out of business! Oops!

Here’s what we know about Atlus at the time that Persona 4 came out: it wasn’t doing good. The PS2 Shin Megami Tensei games were all desperate attempts to try and find success, something that Persona director Katsura Hashino has been fairly public about in interviews. Dataminers examining the PS2 SMT games have found evidence that suggests every game was built on top of the previous, with every game using SMT: Nocturne’s models and basic gameplay system until after Persona 4’s release. Persona 3 and Persona 4 are so similar under the hood that model swap mods are everywhere for the two, with literally the only adjustments necessary being a reordering of animations to account for Persona 4 having a guard animation and Persona 3 not.

Persona 4 was a huge hit, but it wasn’t enough to save Atlus. The last games released under an independent Atlus were Shin Megami Tensei: Devil Survivor (one of my personal favorites) and Shin Megami Tensei: Strange Journey (a massive failure for the company). Following Strange Journey’s release, long-time franchise artist (and, more importantly, producer and creative designer for Strange Journey) Kazuma Kaneko near entirely disappeared from future SMT titles, only credited for writing the scenario concept for SMTIV and as a demon design supervisor for later SMT titles.

Soon after Strange Journey’s failure, Atlus was snatched up by Index Corporation. Very little is known about the internal culture during the Index era, but evidence suggests that it wasn’t great. The first few games Atlus produced after this point were all remakes, save for the strange, marriage-drama focused Catherine, a game that was assuredly in development before Atlus was bought out.

It was the original games and spinoffs that Atlus produced after they were bought by Index that started to show a shift in tone. Devil Survivor 2 is a notably different game than its predecessor (which was made while Atlus was independent). While I won’t get into that too much here (that game’s worth an essay on its own), it decided to trade it’s classical SMT-style aesthetic for something more bombastic and widely-appealing. Many of the characters in that game are better summed up by what anime tropes they appeal to than by their own character arcs, and the game’s plot is an unsubtle ripoff of Neon Genesis Evangelion. And it worked. Devil Survivor 2 very notably sold better than its predecessor despite being a DS game in the 3DS era.

At around the same time as Devil Survivor 2 was released, Atlus was preparing to release the first anime adaptation of Persona 4. Persona 4: The Animation was released in October of 2011, directed by Seiji Kishi (of Angel Beats! fame) and animated by AIC. I’ll leave my thoughts on Seiji Kishi as a director out of this and focus on the content of Persona 4: The Animation instead.

Let’s get one thing out of the way. Persona 4: The Animation is a comedy anime.

The anime is a fairly faithful adaptation of the game in terms of plotline. It follows the game’s story to the letter, hitting every plot beat. When it needs to get serious, it gets serious, and when it nails its emotional beats, it nails them well. While I’ll go on record in saying that I flat out dislike the anime, I won’t deny that certain episodes, like the Nanako arc, are done very well. However, when it doesn’t need to be serious, the anime decides to look at Persona 4’s subtlety in its character arcs, and says, “Subtlety is for cowards.”

There’s an argument to be made that there isn’t time for subtlety in a 24-episode anime, which is why everyone’s character arcs needed to be compressed and character traits shaved down to only the most exaggerated bits. I disagree. You can easily show character without exaggeration in short-form media – the entire short story genre is built off of that exact concept. The decision to shave everyone down to their most basic traits was a decision made to make Persona 4 more accessible to a general anime-watching audience, who likely came in expecting a more action-packed, high energy deal.

And it worked.

For many people, Persona 4: The Animation was their first experience with Persona, period.  The anime was incredibly popular, and it’s clear that at this point, Atlus (or, more likely, Index) realized they’d struck gold. Persona 4: The Animation was the start of a large spate of Persona 4 spinoffs, all of which adopting the character exaggerations of the anime in some form or fashion. Any time you see a scene in a P4 spinoff where Chie’s reduced to her love of meat and kung-fu? Blame the anime. Further original games after this point seemed to take a more mainstream shift as well – Shin Megami Tensei IV and its sequel, Apocalypse, are both very different games than their predecessors, with characters and plotlines seemingly written to appeal to Persona 4’s audience.

Atlus eventually managed to claw their way out from under the hand of Index, mostly because Index got caught up in a huge fraud investigation! Oops! Sega bought a whole bunch of Index at this point, and Atlus has more or less kept on trucking under Sega since. However, the shift in internal priorities hasn’t changed much – Persona 5, while still a good game, is much closer tonally to the games that came out under Index, Shin Megami Tensei V has been AWOL ever since its first preview, and the less said about Catherine Redux, the better.

II. Less is More, and Maybe Inaba Doesn’t Need A Nightclub

Which, after a long detour, brings us back to Persona 4 Golden.

Golden is a remake of Persona 4 with additional content, released for the Playstation Vita (RIP) during the height of its popularity in Japan. Like Persona 3 FES, a previous patch/remake for Persona 3, Golden primarily exists as a gameplay patch to Persona 4 with additional story content in places throughout the game. While most of FES’s additional story was segmented off into the controversial “The Answer” section, Golden’s additional content is peppered haphazardly throughout the game. Because of this integration into the main story, Golden’s issues are more pronounced than FES’s were – in FES, you could just not play “The Answer”. Golden isn’t letting you go home without at least pushing you toward Marie’s dungeon.

Golden feels like it was developed with an understanding that anyone who’s playing it has watched the anime, and decides to lean into chasing that mainstream appeal while also throwing out the intrigue of its plot and setting. This is first evidenced when you boot up the game and watch the opening. While it hits all of the same beats as Persona 4’s opening, Golden’s opening has a much cheerier tune to it, focusing on a dance sequence and colorful visuals instead of the larger tone of the game. It’s not like the Persona 4 opening is completely absent from the game, but you have to go out of your way to watch it, and first impressions are very important.

This change in opening tone is only one example of the general tone of the changes that Golden takes. While there are big issues with the game’s writing (specifically one big one, which, whooo boy, we’ll get to her), most of the issues are in the little things – the new gameplay elements, the new areas you can visit, and the new scenes that were added to the game.

I talked a lot about how important P4’s setting is to its game for a reason: most of Golden’s changes are ones that disrupt the carefully crafted tone and setting of the original game. From things like slice of life scenes about the party buying scooters for themselves, to a winter trip to a ski resort, to a goddamn idol concert on the roof of the supercenter driving everyone out of business, it feels like the game is trying to pull away from its rural setting and down-to-earth tone to appeal to the lowest common denominator: teenage boys who live in Japanese cities.

A big sticking point for me personally has always been that you can visit Okina City in Golden. In Persona 4, you visited the nearby city occasionally in social link events, but never explored it on the whole. It gave a sense that Okina City was somewhere inconvenient to go to – someplace worth going to for a day trip with your friends, but too out of the way to visit on the regular. In Golden, the city and all of its trappings are just a loading screen away. Having a larger setting change like this so easily accessible detracts from Inaba’s setting – it makes the anxieties that several characters have about being trapped by the town feel fake. It detracts from a feeling that’s so integral to the game’s tone.

Also, the first time you go there outside of a Social Link is because Yosuke wants to pick up chicks with his cool new motorcycle.

The first trip to Okina City is ultimately indicative of a larger problem with most of the added scenes in P4G have: because they were written after the anime, they’re written to appeal to anime watchers. You can immediately tell when you’ve entered a scene that is original to P4G because the writing almost immediately drops in quality – characters become less complex, scenes have nothing to do with the plot or character development, and, to be quite honest, the jokes get worse. The Okina City sequence ultimately just ends with a fat joke and another “no homo” moment with Kanji. It’s… really bad.

There’s four more of these additional sequences throughout the game, and they’re all similar slice of life sequences that rely on anime tropes to propel them. The next after this is a beach episode with the rest of your party. After that is the idol concert on the Junes roof, which gets a hastily written tie-in to the plot when an antagonist says that the concert was how he found the party. After that is the entire winter sequence of the game, which caps off with a ski resort trip that leads into the game’s extra dungeon (which we’ll get to), which THEN leads into the game’s second hot springs cutscene, which has even less purpose than the first one.

None of these scenes have any real substance – it feels like they were just included because they actually had the budget to include them this time around. It’s possible that Okina City and the nighttime areas in Inaba were originally intended for the original version of P4, and I’d believe it – the way nighttime jobs are implemented in the original version of the game is particularly awkward, and you visit Okina City enough times in Social Links that I fully believe it was intended for the full game. As for the idol concert sequence, it 100% only exists because they got Rie Kugimiya as Rise’s VA, but couldn’t fit a sequence where she sang into the original version of the game.

The problem is that these inclusions ultimately detract from the original story. They take a game with a pretty firm idea of what kind of tone it wanted to have and muddle it because, fuck that, we have a budget this time and we need more anime tropes, idols, and tsunderes for those kids who came in after watching the anime.

Which brings us to Persona 4 Golden’s biggest issues: its additional Social Links, the winter semester, and its new ending sequence.

III. We have to talk about Marie.

Like Persona 3 FES before it, Persona 4 Golden adds new Social Links to the game. The first of which is the Jester Social Link, which deals with Tohru Adachi, a local police officer and a major character. While I’ve never been a huge fan of this Social Link (I’ve always felt like it made the identity of the culprit too obvious), it’s fairly well received by the fanbase and I can see the argument for its inclusion, so I’m not going to spend time discussing it here.

The other is Golden’s new Aeon Social Link, who manages to encompass most of Golden’s issues in a single character.

Marie is a completely original character to Golden, the first of a long chain of Atlus “remake waifus” – characters who are added to a remake of a game that are intended to appeal to the otaku crowd, rarely fit in with the rest of the game, and introduce large changes to the game’s plot. These characters rarely work because the narrative wasn’t built around them, and the retcons these characters introduce are often detrimental to their games’ original plots or themes.

Marie has all of these problems. She feels like she was written by committee – designed to appeal to an otaku crowd with a fancy design and tsundere personality. On top of that, she’s voiced by a big name seiyuu (Kana Hanazawa), and her plotline is used to fill in gaps with the game’s ending sequence, since the original game struggled with setting it up and the anime barely even bothered to touch it (Persona 4’s True Ending was shuffled off into an OVA in the anime adaptation).

From the moment you first see Marie, it’s obvious that she doesn’t belong. It’s not that her character design is bad, but it doesn’t match with the rest of the game’s tone. This is something of a pattern for her. The first time you meet Marie, it’s in the middle of a scene that was originally dedicated to the protagonist meeting his new family in Inaba. It’s jarring, disrupts a scene that was about setting up the protagonist’s larger family dynamic, and interrupts the flow of the game’s opening sequence.

Personality-wise, Marie is probably the most tropey of Golden’s characters – she’s a tsundere with amnesia, has a mysterious past, writes bad poetry as a hobby, and has a very obvious crush on the protagonist. Romancing her is almost mandated – you’re required to complete her Social Link to access the winter semester of the game, and during the game’s new ending, she calls out the protagonist on television to talk about how much she loves him. You can choose not to romance her if you want, but the game does its best to push you into wanting to do so.

Marie ultimately becomes one of the Velvet Room’s new attendants, though a lot of the evidence suggests that she was intended to become one of your party members originally. This is partially because she has a unique Persona related to her, and partially because the game takes every effort to emphasize how much of a buddy she is to the party. Marie’s Social Link ranks are time gated, usually becoming available after a new party member joins your team. All of these early scenes are dedicated to the protagonist going on dates with Marie, and then a random party member will show up and immediately become friends with her. Probably the most egregious case is during any mid-game hangouts where you don’t rank up, because the entirety of your party will just show up at Junes at the same time as you and Marie. It’s so obviously artificially constructed and honestly feels insulting to the player.

This artificiality feels like it was a writer’s saving throw to justify why the team would go into Marie’s dungeon to save her. The problem is that it’s also an unnecessary move to take. The majority of Persona 4’s plot is about the party entering dungeons to save people that they don’t really know from a serial killer; it stands to reason that the party would decide to help Marie without that extra motivation. But no, it was important to the writers that Marie is also big friends with the party, so we got what we got instead.

Marie’s dungeon comes after the skiing trip that caps off the winter semester, a portion of the game that is only available if you’ve finished her Social Link. The skiing trip is mostly more slice of life/comedy scenes, right up until you get thrust into the TV World to help Marie. The dungeon itself is… notoriously bad. You’re stripped of your equipment and items, and can only use items found within the dungeon to fight back. On top of that, the dungeon constantly drains your HP and MP, and the boss of it can only be damaged by using items that give her elemental weaknesses, because she starts off immune to everything. Here’s hoping you didn’t bring Chie for that fight like I did!

As you go through the dungeon, it’s revealed that Marie was secretly Kusumi-no-Okami, a minor Shinto god in service to Ameno-Sagiri (the game’s first final boss). Kusumi-no-Okami’s purpose is that she’s supposed to observe humanity and suck up all of Ameno-Sagiri’s fog after the conclusion of the game’s plot, which will inevitably kill her. The dungeon ends with the party trying to appeal to Marie to convince her that she doesn’t need to die, and then beating her up to save her. It’s… not particularly well written, but if that was all to Marie’s character after that, it would be fine. Unfortunately, it’s not.

The game proceeds as normal after that point as you approach the actual final boss, Izanami-no-Okami. During the fight with her, there is a sequence where the protagonist is encouraged to keep going by all of his social links. In the original version of the game (assuming that you’ve done their Social Links), this sequence ends with Dojima and Nanako, the family he’s been staying with the whole game, encouraging him to keep going. In Golden, Nanako’s line is immediately followed by Marie showing up, once again taking a sequence about familial love to make it about Marie. It’s… kind of gross!

Then you beat Izanami, and in the scene immediately afterwards, it’s revealed that, just kidding, Marie wasn’t Kusumi-no-Okami after all! She was actually Izanami-no-Mikoto, the good part of Izanami that was shaved off so that she could do her whole evil plot. Once you beat Izanami-no-Okami, she absorbs that evil part back into her and everything is all hunky dory! Conflict resolved completely, no need to worry about it anymore!

The “Marie was actually Izanami all along” reveal undercuts the finale of the game significantly. It comes immediately after what was the final scene before the ending scene, where Izanami pledged to leave humanity’s direction to humans in recognition of your feats. It’s an unnecessary doubling down on a finale that was already pretty definitive, if somewhat bittersweet, by making it unambiguously happy. This remains a theme for Golden’s ending sequence.

Persona 4 ends with the protagonist leaving his friends behind at the end of the year. Though the killer is in jail and the mastermind defeated, Inaba is still in the same melancholy state as it was when the protagonist came to it, and ultimately, he has to leave his friends behind. There’s a bittersweet-ness to its happy ending – no matter what, you have to move on and trust that things will be okay without you. Obviously, the protagonist comes back – there wouldn’t be so many spinoffs if he couldn’t – but it’s important that Persona 4 ends the way it does at that point. It puts a definitive close on the game.

Golden, however, adds an extended epilogue sequence where the protagonist comes back a year later. In this sequence, you find out that Inaba’s businesses are recovering, Namatame (the false antagonist) is running for office with a lot of support from the town, Adachi (the actual antagonist) has been on good behavior in jail, and your party members are all making tracks toward happiness for themselves.

A theme of esoteric happiness runs through this entire sequence – it feels like it entirely exists just to tell the player not to worry, everything is fine now, don’t worry about any other points of conflict. If it was just one of these things, it would have been fine, but the gatling gun of happy endings makes every one of those little victories feel lesser for it. Marie, of course, is inserted into the ending sequence of the epilogue to cap off her involvement. The esoteric happiness started with Marie, and it ends with Marie.

Golden’s epilogue ties every conflict in the game up into a neat little bow, in a way that’s almost entirely at odds with Persona 4’s down-to-home nature. It’s a fantasy that doesn’t acknowledge the uglier parts of life that Persona 4 was all about confronting. It’s the same kind of lie that Izanami accused humanity of wanting to nestle itself into. Marie’s involvement in Golden sums up a lot of that game’s problems, but the epilogue brings them into sharp relief.

IV. So now what?

I wouldn’t call Golden a bad game – I’ve heard a lot of people call it the superior version gameplay-wise, and while I disagree with that (it’s got some balance issues thanks to its new mechanics), it’s definitely the most accessible version. But when it comes to how it relates to its original, Golden throws a lot of what makes it good out the window in favor of appealing to a more general audience with slice of life sequences, more familiar tropes, and a character who mostly exists to sell merchandise and tie up Persona 4’s ending in an unambiguously happy manner.

I realize I’m in the minority here when I talk about what I dislike about Golden – you’ll find a lot of people who dislike Marie, but not a lot who dislike the rest of the package. And if you have a Vita and haven’t played Persona 4 already, then you might as well use it as your entry point into the franchise. However, I can’t help but feel like Golden is the exact point where Persona as a franchise shifted from trying to tell philosophical stories with more grounded characters to chasing mainstream appeal. Even Persona 5, a game that tries to tell a story about very real societal problems, has a lot of the same problems as Golden does, and from what I understand, these problems only got worse with Persona 5 Royal.

At the end of the day, Persona is going nowhere anytime soon – Persona 5 is the best-selling game in the franchise period, and the influence Persona has had on JRPGs in general cannot be understated. But I wouldn’t mind if some of the things I disliked about Persona 4 Golden didn’t come back.

[dnmeinster]

Game of Thrones Runs Into the How I Met Your Mother Problem

It was 2006 and How I Met Your Mother had barely been on the air for a season, but the producers were already thinking about the ending.  You see, each episode included Ted Mosby’s son and daughter sitting on a couch and reacting as their father narrated that week's plotline, which was all supposed to be leading up to how he met their mother.  But after just a year, the kids were looking noticeably older.  Though they didn't know how long the series would last, the showrunners already knew what they wanted for an ending, and it included keeping those kids at the same relative age they were at the time.  So, in what must have been considered a wise move, they filmed the ending before the second season concluded.  And they kept it in a vault for the duration of the show.

Eight years passed, nine seasons were ordered, and finally, that ending would see the light of day.  There was only one problem.  It was 2014 and so many events had transpired on the show that it didn't really fit.  The showrunners must have recognized this, as they even cut together an alternate ending that made it to the DVD.  But they forged ahead with their original end and left fans...mildly disappointed.  It might've worked if we only got four seasons, maybe even six.  But it no longer worked and they used it anyway, because that had been the plan and they decided to stick with it.

Enter Game of Thrones.  When it first aired in 2011, there were five George R. R. Martin books for the showrunners, Benioff and Weiss, to work with, and two more were on the way.  Martin told them the general direction things were headed, but he had years to finish the books with which they could base their series off of.  But, after several years passed, Martin was nowhere close to actually finishing the next book, while Game of Thrones had caught up with what had already been published.

With no publication date, and an indefinite hiatus improbable, Benioff and Weiss forged ahead with the show without a text to base it off.  They knew the general plot points Martin wanted to hit and took it from there.

Of course, working from bullet points is a lot different than adapting a fully developed novel.  There are no scenes, no dialogue, and no nuance with which to work with.  Each episode has to include a major plot point, not a segment of a book that's leading up to something.  And when looking at how many plot points are left, maybe 13 episodes seemed like a reasonable amount of time to wrap up the series.  It wasn't.

Still, Game of Thrones' major error wasn't having too few episodes.  It was sticking with an ending that did not work for the series.  Daenerys becoming the Mad Queen may be Martin's plan, and it might work in the books and feel more earned, but it does not work on television.  After spending years with these characters, watching them evolve, seeing them become part of the culture, and rooting for them, we want them to have a sensible, and yes, satisfying, ending.

Sure, this show has thrown in twists and subverted our expectations.  But no matter how horrified we were by Ned's death or the Red Wedding, we kept tuning in.  Each act made sense, drove the plot forward, and kept us interested.  The penultimate episode of Game of Thrones failed to do any of that.  And while we may want to blame the writing, it comes down to a single decision to stick with an ending that was planned years ago.  And one that was intended for a book, at that.

Daenerys transformation from protagonist literally two episodes prior during the Battle of Winterfell to antagonist is abrupt, nonsensical, and not in keeping with the character we've spent seasons with.  It feels slapped on, like it was shot years ago and the show completely outgrew it but they had it in the can and needed things to end this way.  If we flashed forward to this scene at the end of season 2 or even 3, maybe it would've made sense.  But everything in-between seems disregarded.  Daenerys might be violent and entitled, but she's never been genocidal.  She'll go to war, burn people with her dragons, but she's never been mad.

We already had a Mad Queen in Cersei.  Instead of cowering for parts of the episode, she should have been the one to order Kings Landing burned.  And instead of dying in her arms, Jaime Lannister should have seen her give the order and become The Queenslayer.  Seasons of character development should have changed him.  But we get the same Jaime from seasons ago, like none of it mattered; like it was planned long ago that they die together like that and the showrunners stuck with it.

When starting any story, it's important to have a general idea where it's all going.  And I state that as a self-described author.  But sometimes things happen over the course of writing a novel that you didn't have planned and the ending changes.  It may change more than once.  Sticking with the original idea could even be to the detriment of the entire story.  That's what happened with How I Met Your Mother.  And it's what's happening with Game of Thrones.

[d00dt00nz]

Obligatory promo stuff at the top because it sucks and I hate it and let’s get it out of the way! follow me on twitter where I’m active, check me out on spotify for music, or like my facebook for sparse updates on music stuff. Thank you. The Cover art is by Ellie Tison

Okay!! Last song!!

Well, I say last song, but it's more like “last song”. There is one more song that I used as an epilogue, but I'm not going to get into that, and honestly if you've listened to 13 tracks without being sold (why would you do that?) one more track isn't going to sell you on it.

And would you look at that, the last song is a reprise of the first song. Wow, it's like Sgt Pepper... that's so cool. Now it makes sense why I didn't bother talking about that first song right? Not planned btw.

This song was one of the first songs I wrote for this album. I said this for a few. Truthfully I did four or so around the same time and they were all great. I had a few more tracks in the oven as well. Everything was going great. I was like “wow this album's gonna be done in no time!” Anyway that was like three or four years ago. I guess that's how these things tend to go.

This is back when I was trying to make a bit more of a straight ahead rock/indie rock sounding album. I'm pretty sure I wrote this song on guitar, lyrics and all, which is honestly (and sadly) pretty rare for me these days. I had this idea for repeated backing vocals and a call/response sort of song structure. I'm pretty sure this more energetic version of the song came first. I originally wanted a sort of Lou Reed feel to it, but once I wrote that groovy dancy bass riff it immediately lost that feel. Once I started recording electric guitars I accidentally did a grungy “brrroww” at the end of the phrase and really liked it. I replicated it throughout the track and in turn lost even more of that Lou Reed feel.

In my original recording process I had a damaged patchcord. I didn't realize it at first because I was trying out some new equipment. I just thought it was really quiet. That being the case, I had to turn it up way loud to get a good volume and that's actually where some of the guitar tone you can hear (mainly in the one playing a melody-line during the chorus) comes from. I actually really liked it, I thought it sounded like Pavement. Actually, my Tiff did too and that's probably the nicest thing she's ever said about any of my music.

At some point I added more guitar tracks to the track to make it sound fuller, and also replace some of the ones recorded with a broken patchcord. I honestly kinda liked the original tracks, which still had a little bit of that 70s glam grittiness to them, but I'm far too neurotic about this stuff to really sit with that. In the end it sounded less 70s and more mid 90s. It had a sound that I've actually been trying to get for a while, though not on this track – the sort of fuzzy swirling guitars with a groovy beat and bassline to it. Tiff described it as being “Like those music videos where everything is blue and everyone's got really baggy pants”, which, again, big compliment. I don't know if that one was actually a compliment, but I'll take what I can get.

The song had its genesis at that same party I mentioned last time. There's nothing specific really. We had my album on and it's got a pretty fun cool first half. The people there were enjoying it, but then it gets to the second half and it's a little bit more mopey. It's also completely sexless and uncool throughout. That being the case, one of the guys there was like

“Sorry Con-dog, the vibes are just not working with this right now,”

and I was like,

“Oh don't worry about it, I understand dude,”

And then he was like, “Right on man. I’m getting fucked vibes from those guys over there. Here, hit this for me.”

And then I did some coke off a Pulp Fiction VHS tape.

I thought to myself, “man it'd be nice to have music that you could put on at a party”. Which basically was the whole idea behind this album, conscious or not. I don't really know if it succeeded, but there's definitely a certain kind of party where this would play, and honestly I don't think I'd mind being at it.

The album was originally going to be more centered around the idea of the character described in this track. I mean, obviously he's me, but I'm trying to detach myself and make things a little more universal. I wanted to explore all the different traits and behaviors that this one person has. Some of them being mine, and some of them being not. Honestly, it didn't really pull through to the end. There's a little bit of that in here, but it's mostly just songs. I'm okay with that. They have some thematic cohesion. It's got this song bookending the album. Wow, it's like Sgt. Pepper.....

The ending is a little bit embarrassing for me because I do a bit of a scream voice, which, honestly I don't think there's anything actively wrong with it, I just cringe when I hear myself doing it because it's like “ah oh god I'm doing that”. I don't know. There's also the fact that, well, one of the things I yell is the word “Wasteman”, which is a little bit of an outdated slang right now, but when I actually recorded the song it wasn't. Whatever, this is an insanely white album from a white kid. I figure a lot of people who enjoy this type of music haven't actually heard that word. I wouldn't have, but I hang out with Tiff's cool friends sometimes. Honestly I think it's a cool term. I think the most embarrassing part though is I copy-pasted it so it repeats twice because I felt like I wanted more intensity. I don't think it's super noticeable, but the idea makes it a little disingenuous. During the outro I wanted to add a little more of that “90s blue and baggy” feel, so I plugged in a keyboard and freaked out on the organ setting. I think it really adds a lot.

The slower version of the song was written afterwards and I actually cheat because it uses some of the same midi tracks. I was super torn between the more exciting sound that I had and my original “vision” for the song, which was a bit more downtempo Lou-Reed inspired. I figured, why not do both?

There's not a whole lot to cover here that I haven't already covered. Mostly the backing vocals, but only because I think I did a worse job with them than the other version. There's nothing outwardly wrong with them per-se, but I think the blend is not good and that's gonna immediately stick out to some people. The middle section just kinda came about because the other version doesn't really have a proper chorus. It just has some guitar noodling. I played around with the chord progression of the middle chorus in the fast version and made something that was a bit more structured, then adapted a melody around it. Harmonies grew out of the melody. I felt like something was missing, so I took that same call and response idea from earlier and applied it here too. I really liked the interplay between the two vocal lines. The “Purify me” line was originally supposed to come up again and again throughout the album. One of the tracks that ALMOST made it would have been the song it was from, and then there would be callbacks to the melody throughout the album. It was kind of like a motif. That was unfortunately completely scrapped and this is the last trace of it. Maybe I'll work the idea into something I do in the future.

I like this song. I realized way too late that it massively rips off The Velvet Underground's Sweet Jane. I guess that “Lou Reed inspired” idea was a little bit too literal. Fortunately I would say the middle section saves it from being too much of a copy. I think it's a good way to start and finish the album. I also like the thematic notions of this album starting with the same track it ends on. Like these things work in cycles and you're never truly free of your own quicksand. Like an Ouroboros eating its own tail, like Sgt Pepper's Lonely Hearts Club Band. When one cycle ends, a new begins. The same, but slightly different – until it is completely undermined by the epilogue track that says “no this is actually the end”.

Hey congrats on making it through all of these entries! You may have only read this one, or even skipped to the end. If you did that, disregard that previous sentence and go back to read them. This album was the culmination of a lot of work and thought. 13 of these writeups was nothing compared to probably hundreds of hours spent working on this album, and probably thousands of hours thinking about it. I'm aware few people are reading these writeups, but it's honestly mostly my own indulgence. I gotta decompress this stuff and be free of this album. I can finally get rid of all this useless crap in my brain. I'll probably enjoy being able to go back and read this stuff once I've forgotten most of this, and once I've become a more mature person. I'll probably go “wow this shit is cringe. I can't believe he posted like 22 pages of cringe” but that's okay. The album's okay. I made for certain it was not, in fact, cringe before releasing it. And honestly I enjoyed writing these.

A part of me wants to get back to the freakish pace I had in like 2011 where this blog was nonstop content. I don't think it'd work so well in 2020 Tumblr because who even uses this site anymore? I think it's a little sad because it's pretty much the death of long form posting. Twitter is great because people pay attention to you, but sometimes I just want to write like two thousand words and have some psycho actually read them and respond to it. I think we've lost that on the internet. Sometimes I think of making youtube videos, but I'm no good in front of a camera. Sometimes I wonder, couldn't I just read something like this TO the camera? The answer is no, I can't. That'd be boring. I'm completely convinced nobody would watch that. I sometimes think that if I could add some editing and some visual component though, it'd work out. Some sort of... video essay. Some kind of... man with facial hair and left leaning politics who enjoys media and talks about both... Wow I wonder if that niche has been filled at all?

[natsspammityspamspamham]

Dino Watches Anime (April 26)

I haven’t made one of these for a while, and after the first draft went and deleted itself, I wondered whether it was worth making another one (I make these primarily for myself then get really surprised whenever people notice these). During harsh times like these, I find myself being drawn to the cheesiest and the most cringe-inducing shows, but maybe I just like them because you can put them on double-speed without missing a thing because you know what’s going on. It’s like instant noodle broth: satisfying, warming, but you know it’s going to kill your insides with self-crisis. Seriously, I didn’t come to terms that I really, really like romance as a genre until a little while ago. 

With that being said, I want to take a short break from romance now. 

I often ask myself, “Why are you watching these when you can be watching really good anime?” Well, that’s probably because I don’t want to have my analytical brain on right now. I want to watch an anime that takes two brain cells to enjoy. I only have two. Once I garden some more, maybe then will I get into the stuff I know I will enjoy like Hunter x Hunter (2011)

Things that I just started but couldn’t get into

NHK ni Youkoso! (1/24)

For one, I didn’t want to watch this before because it would’ve hit too close to home. The show’s about a NEET aka a freeloader (not in employment, education, or training), and I’m... almost that description (but that’s mostly because of the pandemic). Really, this show is riddled with paranoia, and it wants you to really know that with its changing art styles to its cynical script lines to its main character honestly needing some help (seriously, he needs help). I read further (aka spoilers) and realized that I probably won’t have fun with this anime right now, and I will never touch the manga because that stuff is even more insane than its adaptation. NHK ni Youkoso is about people who fall between the cracks of normal standard society and their desire to seek their own normal by any means necessary, and during stressful times, I think it belongs on the backburner.

Sayonara Zetsubou Sensei (2/12)

After seeing how much I enjoyed Kakushigoto (which will be mentioned later, I just thought, “Wow, I want to see that other really famous work!” I didn’t enjoy it at all. I forgot why I put the series on-hold. It’s about a suicidal teacher who will stop at nothing to die then ask people why they almost killed them. Through a bunch of errors, he ends up becoming some sort of a harem king to his students (and he attracts the weirdos). I enjoyed the lengths Studio Shaft went to to make this anime appear the way it does (which helps in a lot of ways), but I just can’t continue with it until a much later date.

Appare-Ranman! (2/?)

I just lost interest after looking at the rest of the cast. I’m all for being vibrant and out there, but some of those character designs imitate more of a “racial stereotype/caricature”. I’m not saying that I dropped the show only because of that (I’m quite dense when it comes to that), but I didn’t like the characters either. I can’t get behind a show that won’t let me enjoy it a single moment over two episodes. 

I’ll pick it up again later (probably)

Free! (5/12)

I feel like they’re shoving fanservice a lot. I try to skip every fanservice scene, and I managed to watch up to episode 5 in less than an hour, and I didn’t even get through them all. But I will say that ending is stuck in my head now. (humming)

This show has taken me at least two attempts to watch so far. Let’s see how many more it takes before I finish/give up!

Darker Than Black (18/25)

I’ll probably finish this one for the sake of finishing it. I just find that the episodic nature gets stale after a while, and the overarching story is often disregarded. In exchange, we do get some fun side stories, character development, and world building, but I’d like to settle down too, you know?

Clannad (1/23)

Yeah, I’m doing that now. I’m going to see whether my feels bones are as strong as they were before... after I take a hiatus because I’m not sure if I’m in the appetite for that kind of romance now that I’ve watched two shoujo in a row. 

Sousei no Onmyouji (20/50)

I bet you, someone was like, “Let’s throw all these shounen cliches into a pot then see what comes out!” Bruh, this is bordering that story I wrote when I was 14, and I’m not even dissing this anime. I enjoyed it but need a break now. It’s very cliche, predictable, and honestly, I can see why it has such a low rating. Studio Perriot likes cutting corners sometimes with their long-running series (*stares at Naruto*), and this anime is no exception. Sometimes, it feels like a visual novel. “We don’t need to animate anything if she’s so fast that no one can see her.” Dang, but it gets repetitive. It also has a magical girl power that only works when the main couple does it? Cool, but that also gets repetitive. I just didn’t see myself watching the same thing another 30 times (at least right now).

Maison Ikkoku

I’m actually on the fence about continuing this one. It’s really sweet, but I’ve had my fill of romance. I have been wanting to watch some more Rumiko Takahashi works though. There’s no reason for me not to continue this. It gives me strong Princess Jellyfish vibes (which I should also finish). 

Recently Finished

Itazura na Kiss

Just... end my suffering. It’s not worth it. The thing about shoujo anime is that I watch it late at night when my brain is at its worst when it comes to analyzing or taking in any emotional circumstances. Then I asked myself, “Would I want any young, impressionable people to watch this?” And my first thought was “F**K NO!” This anime was an absolute trainwreck. As my Discord friend put it “It’s so bad, yet you can’t look away!” But what makes this anime unique? What sets it apart? It shows life after high school. Just like Clannad, it shows that life is more than your secondary education. There is more to life than just being a teenager. I’m not saying these characters ever grew though because that’d be a FAT JOKE. 

Episodes 1-13: Girl gives boy a love letter. He laughs and doesn't even want it and goes "no thanks". Girl gets upset. Then they find out they're living under the same roof after the girl's dad made them a house out of popsicle sticks (because the dads are childhood friends). She keeps trying to push herself onto him, and his mom joins in and is plotting so much more than you'd expect. The best part is that this main girl already has a childhood friend who's like "please marry me. I'll cook for you, work for you, take a bullet for you, slice my head off if it means you won't chip a nail--" then the girl replied by chasing after the guy who calls her stupid on a daily basis and genuinely believes she can't do anything. 

Episodes 14-25: Guy gets dragged to his own wedding and generally does not care for the girl unless she’s either not looking or is on death’s bed. He practically deserts her every other time, and we’re supposed to think it’s romantic when he finally gives a crap about his wife (even when she’s pregnant). The show constantly reminds you that even other characters have doubts that our main character cares about anyone other than himself and his aloofness. They have a bunch of missed affairs including a hoe that tries to leave her husband on her honeymoon to get with Mr. Aloof and a nursing student that genuinely cares about MC and the fact that her husband doesn’t care about her at all.

The moral of the story of this anime: If you chase after somebody long enough, they will cave in and marry you even if they don’t like you, want you, insult you, bully you, or generally show all the signs of an unwilling partner.

Anyway, this anime is crap. I can’t believe I watched it. I want those few hours back (I fast-forwarded a lot, okay?) I can’t believe I finished it. Looking back makes me want to press undo. Having this under my history is a shame to my family. Even if I was sleepy and generally out of it, that’s no excuse for choosing this. Sayonara

 I will say that Daisuke Hirakawa and Nana Mizuki did give good character voices despite the circumstances. That, and I haven’t heard from Hirakawa besides those couple of scenes from School Days (which... is a different type of romance), Free! (which I dropped when his character joined), that gumball scene from Jojo, and that introduction to him being the new Demon Slayer villain. I didn’t realize he was that old though.

Special A

This is one of the anime that my sister watched, and I thought, “I need to be reminded of what a somewhat healthy relationship can be” I wasn’t disappointed because the last anime left such a bad taste in my mouth that literally anything could’ve soothed the aching wound which was bad decision making. Even under regular circumstances, I probably still would’ve enjoyed it, but since it came at the right time, I give it an extra nod of approval. I also never realized that the second opening was inadvertently drilled into my brain because I kept overhearing my sister watching it. Now that I’ve grown up, I realize I was listening to the voices of some of my favourite seiyuu. Go figure. 

The story was really sweet with characters that I genuinely liked by the end (not my favourite cast by a very long shot, but it was slightly above average). It was slightly above average for me in a lot of ways (ironically), and it was enjoyable. The art is very fitting for its time, the music was very... ordinary, and the story was simple enough that you knew exactly what was going to happen at any given moment. This show should be titled: Special A(ppreciation for those brave people who have fallen in the friendzone; we’ll get ‘em next time). 

Akatsuki no Yona OVAs 

Unlike the actual TV series, this stuff actually ends conclusively without ending on the CLIMAX OF THE BIG ARC. SERIOUSLY, I WAS ROBBED. You can say, “There’s a perfectly good manga right there.” Shut up. I want my fight scenes animated with a big helping of a strong female lead. It gave me a sudden appreciation for Hiro Shimono and his character Zeno who literally just inserted himself in last minute in the anime (but these OVAs perfectly explain everything). You probably shouldn’t watch the anime without watching these OVAs because they’re canon, funny, and touching at times. It enhances the series.

According to the animation, we know it can do fight scenes. Give us another season, cowards! Actually, it’s Studio Perriot, so if we ever get it, it might be two stickmen duking it out. 

Haikara-san ga Tooru Movie 2

You know, I really enjoyed the movie. The first one. This one? Not so much. Actually, I felt so done. I was looking forward to this so much. It’s like going to a restaurant, expecting really good pasta, and then being served some leaves from the weeds out back. Eventually, it tastes better when you add some dressing and cheese, but it still isn’t a bowl of pasta. This show casts aside everything I like about it (present-tense because they didn’t kill everything of it) and leaves one little inkling of its valued ideas. Instead, we get a romance-chasing movie that feels a bit more like an amnesia fiction that’s slightly higher quality than usual. I can’t say I regret watching the movie. There were some redeeming qualities, but they jumped from a 9/10 to a high 6/10 that managed to squeak itself into an overall 7/10. 

(This gif is from the first movie, but I can’t find any from the second movie anyway)

Currently Watching (Not Seasonal)

Samurai Champloo

This anime is a staple of Shinichiro Watanabe, and after this, I will probably watch Cowboy Bebop, Carole & Tuesday, and Space Dandy. I did enjoy Sakamichi no Apollon and Zankyou no Terror. 

Plus, after all that romance, I need some samurai slaughter. The fight scenes and the music get me every time. I don’t even need to say anything else about the anime. The fight scenes are enough to watch alone.

[callunavulgari]

YEAR-IN-BOOKS | 2019

So. Last year I read 89 books. The year before that I read 39. The year before that I read 23. This year I have (thus far) read 110 books out of my goal of 100 and will likely finish both The Secret Commonwealth and The Library of the Unwritten before the end of the year. I may even finish another depending on which audiobook I go for next. So I’m gonna talk a lot. Again.

1. a book you loved?

Again, I read a lot of books this year. It was a great year for books. I discovered Brandon Sanderson, which has been amazing. I reread at least two different favorite series, some graphic novels, a few books that would ordinarily be outside of my typical genre. But I’m going to pick Red, White, & Royal Blue, which was probably the one I loved the most. Casey McQuiston, for those of you who weren’t in The Social Network fandom, wrote a really fantastic RPF in like 2011 or so. It was gorgeous and while I’m sad that it was never finished, I can still appreciate the crap out of it. RWARB is a story about the son of America’s first female president falling for the Prince of Wales. It is everything I loved about fics like The Student Prince and Drastically Redefining Protocol and more. It’s best universe 100% and I will probably be rereading it within the next few months because I loved it to pieces. Also, it won both best romance and best debut novel on goodreads by a pretty large margin, which is amazing! 

2. a book you hated?

I think the only book that I absolutely hated this year was The Gunslinger. Which sucks because a lot of people recommended that one pretty highly, but I either reluctantly enjoy Stephen King’s books or I outright loathe them. My review, directly from goodreads, with a rare one star rating:  

“Thing number 1: same guy who did the audiobook recording for The Stand did this one as well. Bad enough. Thing number 2: I forgot how badly Stephen King writes women. I got to listen to this narrator read a scene where a woman has an orgasm because the main character is exorcising a lust demon out of her by shoving a gun into her unmentionables, and then I got to hear someone described as "falling whorishly." DNF at 75%. Sorry. I just could not do it. Falling whorishly was the straw that broke the camel's back.”

3. a book that made you cry?

I definitely cried when I finished The Hero of Ages, which is the third of the original Mistborn trilogy by Sanderson. Without spoiling things... I was definitely crying by the end of it. Might have been crying at the end of the first in the series too. The only other ones I can think of that may have made me sniffle are Everything I Never Told You and To Be Taught, If Fortunate. 

The first because it’s a wonderfully crafted little tale about a family getting torn apart when their daughter dies tragically. The whole thing is pulled wonderfully taut with tension, and each of the character’s snippets into Lydia’s life before her death leads you to more and more discoveries until finally everything comes together seamlessly in the end.

The second because it is a little, little book about a big, big universe and is just so achingly beautiful and big inside that it hurts.

4. a book that made you happy?

I mean, I’m tempted to Red, White, and Royal Blue again because it is 100% the one that made me happiest. I was grinning like an idiot half the time I was reading it. But, because answering the same book for two questions seems cheap when I’ve read over 100, so I’m gonna go with King of Scars, which is the sequel to the sequel of the original Grisha trilogy by Leigh Bardugo. It took the best things about the original series and combined it with the best parts of Six of Crows and left me with a super riveting, fun read.

5. the best sequel?

Gah, I read so many series this year, so this is kind of hard. I have two answers!

The Well of Ascension, which was the second of the Mistborn novels and probably my favorite and The Lady’s Guide to Petticoats and Piracy, which in my humble opinion was leagues better than The Gentleman’s Guide to Vice and Virtue. Not that it was bad, I’m just starved for stories about smart sexy ladies who become pirates and flirt with other pretty pirate ladies.

6. most anticipated release for the new year?

Return of the Thief by Megan Whalen Turner is still my answer to this one. The release date got pushed back to August of next year instead of March of this one, so provided it doesn’t get pushed back again - that is 100% my answer. Some others I’m excited about: The Nobleman’s Guide to Scandal and Shipwrecks, which I found out about two minutes ago, the as yet untitled Stormlight Archive #4 which is apparently coming out in November next year, and like six books that don’t have release dates yet so probably won’t come out until 2021. Oh, oh, oh, and The King of Crows, the fourth in The Diviners series, which I forgot was coming out in February!

7. favorite new author?

Easily Brandon Sanderson. Most of my other favorites that I really loved were all authors I’ve read before. Sanderson was my Rothfuss of 2019. Discovering his books changed my whole damn year.

8. favorite book to film adaptation?

I didn’t reread the series this year, but HBO put out their adaptation of His Dark Materials and it has been absolutely amazing so far! I’m blown away by every single episode and can only hope that the second and third seasons will be this good.

9. the most surprising book?

Okay, so there’s this book that I picked up randomly at the library because I liked its cover. It’s called The Hundred-Foot Journey by Richard Morais and it’s about an Indian boy who grows up to become a world famous chef. It’s so, so rich. The detail is wonderful. You can taste the food, feel the sun, be a stranger in a market somewhere in France. It was a true delight of a book and definitely one of my favorites. 

10. the most interesting villain?

I read Codename Villanelle shortly after I got into the TV show, and it was actually a surprisingly good book. She’s a great villain. However, I also read Forest of a Thousand Lanterns, which you don’t even realize is about the evil queen until you’re like halfway through the book. That one was really, really well done and I need to get around to reading its sequel.

11. the best makeouts?

I’m tempted to say Chilling Effect because there’s just something about a sassy space pirate making out with her alien crew member whose skin can make her go into anaphylactic  shock that really appeals to the part of me that shipped Sheppard/Garrus from Mass Effect, but there were two really steamy ones in The Hating Game (elevators) and Ninth House (slightly dubcon-y bit because one character is drugged, but super searing anyway?). 

Also the bit in Red, White and Royal Blue where they make out against a painting of Hamilton in the White House will probably get me every time.

12. a book that was super frustrating?

Again, But Better was a pretty decent book over all. But there were slightly too many pop culture references and listening to an audiobook where the characters are signing along to Blink 182 along with several other songs was a little cringey because the narrator did not actually sing, just kind of singsongy shouted. It was weird.

The Alchemist was also really slow going for such a short book but was over all pretty good.

13. a book you texted about, and the text was IN CAPSLOCK?

I have no real life friends who really read and it is fucking tragic, so the closest I got was recommending a bunch of books to my mom and going off on tangents about how good they were. I think I might have ranted to Nick about a couple of them too.

14. a book for the small children in your life?

I reread The Bartimaeus trilogy again this year and it’s a kid’s book series that I would recommend to literally anybody because it might be my favorite series ever? I also read Lockwood & Co, a kid’s series by the same author who did Bartimaeus, which was fantastic because I didn’t even know he’d written anything since Bartimaeus? It didn’t quite compare, mostly because I adore Bartimaeus way too much, but was still highly entertaining. Spooky kid detectives hunt ghosts! 

15. a book you learned from?

While I did not read a single non-fiction book this year (again, whoops), a lot of books are informative even if they’re fiction. Hell, I learned more about cooking from The Hundred Foot Journey than I have in any cookbook out there.

16. a book you wouldn’t normally try?

Maybe Challenger Deep? I’ve been branching out more, so it’s getting harder and harder to tell which books I wouldn’t normally try. I did read like three exclusively romance novels this year, which was a bit odd for me.

17. a book with something magical in it?

I still say all books are magical. And definitely a lot of the books I read were magical, but probably the one with the most magic was The Starless Sea by Erin Morgenstern, which was a meticulously crafted love letter to all stories and fairy tales. It was really magical and definitely lived up to The Night Circus. If she keeps up like this, I won’t even mind the decade between publications, because she has a hell of a way with words.

18. the best clothes?

Maybe either The Seven Husbands of Evelyn Hugo (the descriptions of her gorgeous silky green dresses made me deeply envious) or Three Dark Crowns (which had neat food and clothes from what I remember)

19. the most well-rounded characters?

All of Sanderson’s stuff has great characters, but Everything I Never Told You is still probably the one with the best. Celeste Ng is really, really good at making you feel each of her characters down to their marrow.

20. the best world-building?

To Be Taught, If Fortunate was very much wow when it comes to the world building. But so was Ninth Gate and The Alloy Era of the Mistborn novels (sequel series to the original series that takes place hundreds of years after the first series). I also read Saga this year, a graphic novel series about a man and his wife on the run from their governments with their baby daughter because their species are in a long standing war and nobody wants anybody to know that they can procreate. That has some fantastic world building.

21. the worst world-building?

Maybe What If It’s Us? I found that one largely boring.

22. a book with a good sidekick?

Definitely any of the Alloy of Law books. Wayne is a wonderful sidekick and all of the other “side characters” in that series are fantastic.

23. the most insufferable narrator?

Ugh, the Gunslinger. Both the character in the book and the person who narrated the audiobook.

24. a book you were excited to read for months beforehand?

I think the only ones I was really excited for head of time were the two Folk of Air sequels by Holly Black and The Starless Sea. I still need to read Call Down the Hawk, and I’m currently reading The Secret Commonwealth, the sequel to His Dark Materials which I’ve been excited about since I learned that it would be a thing.

25. a book you picked up on a whim?

You already know about The Hundred Foot Journey. We Are Where the Nightmares Go and The Monster of Elendhaven were also both randoms that I picked up during the Halloween season that I really enjoyed.

26. a book that should be read in a foreign country?

The Hundred Foot Journey. 100%

27. a book cassian andor would like?

I still don’t know what to make of this question.

28. a book gina linetti would like?

Probably any of the steamy ones? I honestly don’t know.

29. your favorite cover art?

Probably The Ten Thousand Doors of January. It’s very pretty and flowery and the book itself is fantastic. I also really like the cover of David Mogo, Godhunter.

30. a book you read in translation?

I think The Alchemist was the only book I read that was translated from another language.

31. a book from another century?

Ha! North and South was first published in 1854. Other than that the oldest ones I’ve got were written in the 80s (Shards of Honor, Ender’s Game, and The Alchemist) or the 50s (The Two Towers).

32. a book you reread?

This year I reread the Bartimaeus Trilogy, the Temeraire novels (and then finished the last two I hadn’t read yet), Sabriel, and The King of Attolia.

33. a book you’re dying to talk about, and why?

I have clearly talked enough at this point. I think the only one that I loved that I didn’t get a chance to talk about already was Horrorstor, which is a book about haunted Ikea (basically). It’s fantastic and hilarious and spooky and now that I think about it Gina Linetti would probably like it. Oh, and The Bear and the Nightingale trilogy, which was a retelling of an old Russian tale. It was great. 

TLDR; Read Sanderson’s books, Leigh Bardugo’s books, and whatever Casey McQuiston writes for the next 30 years.