#the movie is either going to be mostly accurate with added fights/etc

[lavenderjewels]

why did geto do so much of what he did in volume 0, it was hilarious but,

[terubakudan]

This may be an old article from 3 years ago, but these cultural aspects/observations still apply even today. And though this is strictly a Chinese perspective, a lot of these everyday life bits are observed in Overseas Chinese communities in countries such as The Philippines, Malaysia, Indonesia, etc. as well as countries heavily influenced by Chinese culture like Taiwan, Japan, and Korea.

I've always liked learning about other cultures and making comparisons between how things are done East vs West. Which probably stems from growing up with two cultures and Mom raising me on American movies xD

So the irony is if you asked me how many Chinese, Taiwanese, or Hong Kong actors I know, chances are I know as much as you do xD Like Jackie Chan, Andy Lau, and that's about it. But if you asked me about Western (specifically American and British) actors, then I have a useless brain dump of movie trivia and who was with who in what movie xD

Hmmm, both Taiwan and the Philippines are two distinct cultures but both look up to a certain country and are fascinated by that. In Taiwan's case, Japan and the US for the Philippines. In both cases, this is due to being under the rule of those countries in their history. Taiwan being under Japan for 50 years, and the Philippines being under Spain for 300+ years, followed by periods of American and Japanese rule. To put it simply though:

Taiwan is "mini-Japan with a very Chinese culture".

The Philippines is "former colony of Spain with lots of American influences".

But unlike the author, I've never set foot in any Western country, so my understandings are strictly what I've observed in media, which while it can be accurate, doesn't compare to actually experiencing the culture.

Some further elaboration on most points:

#1 We quite literally use chopsticks for everything. We use it to pick rice, viands, vegetables, fruit, smaller desserts, almost all the food you can think of.

But where do you put your chopsticks when you're not using them? Just put them on top of your bowl or flat on your plate. But do not ever stick them vertically. It's taboo, since it looks like incense sticks, which we use to pray for those who have passed, like our ancestors or during funerary services.

#3 The majority of Asia is obsessed with fair/white skin. In my time at the Philippines, I grew up watching all these Dove Whitening commercials and my classmates often commented on how fair my skin was, how they envied it etc. In Taiwan, girls often say they don't want to 變黑 (biàn hēi) 'become dark'. Japan and Korea too are not innocent of this either (if their beauty/skin products weren't a dead giveaway).

People here at Taiwan often mistake me for being from Hong Kong or Japan (as long as I don't speak Mandarin with my heavy accent xD). A Taiwanese classmate of mine joked that she often gets mistaken for being from Southeast Asia due to having a darker complexion. And while I laughed it off with her at that time, looking back, I now realize she was lowkey being racist. xD

And believe me Filipinas have mentioned literally being told 'your skin is so dark' here in Taiwan, or being given backhanded compliments like 'you're pretty despite having dark skin' and...*facepalms*

My point is, beauty is not exclusive to skin color. People who still think that are assholes.

#5 Not to say we don't have salt and pepper, but yes soy sauce and vinegar are the classic condiments you see on the table, be it at home or at a restaurant.

And if I may add, Taiwanese love their pepper. xD If you ever get to eat at a night market or a smaller "Mom n' Pop-style" restaurant here, some dishes/soups tend to add quite an excessive amount of pepper. Not like anthills, but quite liberally and way more than average. Enough that you see traces of pepper at the bottom of the food paper bag or swirling in your soup. xD

#6 I know this all too well from personal experience. In my years of studying at Taiwan, I always had roommates. 3 in my first school (I graduated high school in the Philippines pre K-12 so I had to make up 2 years of Senior High), followed by 2 in college, with the exception of 1 in freshman year.

My college did offer single person dorms but at around 9000 NTD ($324) per month compared to around 6000 NTD ($216) per semester. Because I wanted to save, the choice was obvious for me xD. But ah, this doesn't mean I don't value personal space, in fact I love having the room to myself, and since both my roomies would go home to their families every weekend, weekends were bliss for me xD

And you don't have to be friends with your roommates (that's an added bonus however), you just have to get along with them. I was quite lucky to have really great roommates all throughout my schooling years.

#9 In the Philippines, we do. Owing mostly to American influences and maybe being predominantly Catholic? xD

#10 *sigh* Chinese parents and parents from similar Asian cultures tend to put too much emphasis on grades, so much that kids could get sent to cram school as early as elementary. This is because what school you get into could literally affect your future job opportunities, and while that's not exclusive to any particular country/culture, I feel it's especially pronounced here in Asia. I'm really lucky my own parents weren't that strict about it. However, if your parents don't point the mistakes out to you, chances are you'll do it yourself, if you're an Asian kid like me anyway. xD It just becomes a habit.

#11 My family is an exception to this. xD We do say 'I love you' directly, but complete with the 'ah eat well ok?', 'don't scrimp on food', 'sleep well' and similar indirect words/actions of affection. We were doing 'Conceal, Don't Feel' before it became popular. xD

#13 I'm kind of confused about this but this has sort have changed over the years in which eye-contact is now more encouraged. But don't stare, especially at elders and authority figures. Sometimes it's just shyness though. xD And I've observed this with my own Taiwanese friend, especially when I'm complaining or ranting to her about something. xD I'm a person who likes to express my opinions strongly, which tends to scare/alienate some of the locals here, as doing so is kind of frowned upon. Thankfully, she does listen and offers her take on things.

#14 Ah this. xD In the Philippines, this is a common greeting known as beso-beso, and I freaked out too when an auntie did that to me. xD Needless to say, Mom lectured me later on what that was. ^^"

#16 Along with #3 another crazy beauty standard. In my view, people always look better with a little meat on them and when they're not horribly thin. Asia still has a loonng way to go with accepting different types of bodies if you ask me. This combined with modern beauty standards has made the pressure for women especially to 'look beautiful' higher than ever.

I know many people love them but please, starving yourself or glorifying eating disorders is never OK just to get this kind of 'ideal' body. I'm not part of the Kpop fandom, but even I think when idols get bullied just for gaining the least bit of weight among other insensitive comments, that's really going too far.

#17 'If you want to make friends, go eat.' <- I couldn't agree more. In the Philippines we have a greeting: 'Kumain ka na ba?' (Have you eaten?) . Similarly in Taiwan, we have 吃飯了沒? (chī fàn le méi), both of these can mean that in the literal sense but are often used as greetings instead. By then which invitation to having lunch/dinner together may or may not follow. Food really is a way for us to socialize and to catch up with what's going on in each other's lives. Not to say we don't have regular outings like going out to the mall, going shopping, etc. but eating together is a huge part of our culture, be it with family or friends.

And while I'm at it, some memes that are way too accurate good to pass up xD

Parents, uncles, aunties alike will fight over the bill xD

Alternatively:

You just space out until your name is called xD

My parents are guilty of the last one. Logic how? xD

#18 True. xD I like giving compliments out to people but I have a hard time accepting them myself, though I've learnt how to accept them much more now than before. We're kind of raised to constantly downplay ourselves so we often say things like 'ah no no' or 'I'm really not that good'. The downside of this of course is that it can come off as somewhat fake. xD

Again from personal experience, that same classmate who made the lowkey racist remark, she was good, she was on the debate team, was a honor student, knew how to mingle with people, but she downplayed herself way too much, while praising me but I honestly thought that she never really meant it from how she treated me. She wanted to keep me around her yet make backhanded compliments at me and she didn't want me socializing with my other classmate who is now my friend. *sigh* It was only after discussing this with one of my roomies did I realize how this 'excessive downplaying' might come off to people like me who more or less grew up with a more 'Westernized' mindset. I'm not saying brag about your achievements but don't be overly humble about them either, which can also be a turn off.

#20 We do tend to be a lot more realistic on how we view things, neither entirely optimistic nor pessimistic. We try to think of things practically and often analyze things on pure logic. A downside of this however, is that Chinese people can be overly practical. Taiwanese for instance don't like to 'find inconveniences' and generally keep to themselves, meaning, they won't help you in your hour of need even when they do have the capabilities. Sounds really harsh I know, but in my 6 years of living in Taiwan, while this doesn't apply to all the people, a lot of them really do only find/talk to you when they need something.

So for some people saying Taiwanese are 'friendly', that's BS xD If you ask me, Filipinos are infinitely more friendly, and again while not all, generally make more of an effort to help you when you need it. I really felt more of a real sense of community during my years growing up in the Philippines compared to Taiwan.

#21 Children do tend to stay with their parents well into college and adulthood, since Chinese families are indeed very family-oriented, in a lot of cases, grandparents often live under the same roof as us as well! And it really does save a lot of money. I see there's a real stigma in the US when it comes to "living with your parents", but that's starting to change especially because of Covid and having more and more people move back in with their parents.

Housing unfortunately is pretty much hella expensive no matter where you go, and Taiwan is no exception. Steep housing prices and the very high cost of raising a child (schooling + buxiban fees, etc.) contribute to a very low birth rate and thus an aging population like Japan. It's not uncommon to see both parents working in Taiwan.

#23 I'm an overthinker myself, but I totally agree with the author that the best is to strike a good balance between these two. Which I guess is why I love drawing or any other related creative attempts, it helps me be more spontaneous or well, creative! I like to remain intellectually or artistically inspired.

#24 Is French high school really like that? xD My friend did watch SKAM France and more or less got a culture shock from what was depicted on the show. I can confirm however that most high schools both in the Philippines and Taiwan require students to wear a uniform, only in college is everybody free to wear casual/civilian clothes.

#26 Ah this is part of our Asian gift-giving etiquette xD We always open gifts later after the event/meeting and in private. Never open them in front of the person who gave it to you or in front of others. This is to prevent any 'shame/embarrassment' that may result both to yourself and to the gift giver. I know this may come off as something weird since some people may want a more honest response or immediate feedback when it comes to gift-giving, but that's just how it is in our culture. You're always free to ask us though (in private) if we liked the gift or not ^^"

#28 I want to say the same goes to drinking, partying, and drugs however xD Those are things which are still frowned upon in our culture. And to be honest, whenever I see those in movies, it does kind of turn me off xD It doesn't mean that we're "uncool" or "boring", we just think that there are much better or healthier ways of "having fun".

#31 Is this true in France?! Man I would kind of prefer that instead of people being on their phones all the time xD This kind of goes with #20 in that Chinese are overly practical or logical, and don't read fiction as much as nonfiction. My Taiwanese friend is an exception though, she's a bibliophile who loves the feel of paper books compared to e-books, and it's a trait of her that I like a lot. Both the Philippines and Taiwan however have a huge fanbase when it comes to manga and anime though.

I'm all for reading outside of "designated reading" at schools especially. Reading fiction improves your vocabulary too, and can be quite fun! It helps you imagine and really invest in a world/story, and if you ask me something that I feel Westerners are better at, they're more in touch with their emotions and creativity, and are thus much more able to write compelling or original stories. Believe me, I've seen a fair amount of Chinese movies that rip off Western movie plotlines xD

#33 Nothing much to add on here..except that since I'm a "weird" person, Mom often jokes that she got the wrong baby from the hospital. xD

#35 True. While I agree with the care and concern that your fellow community can give you, the downside of this is we tend to only hang out with our own people, e.g Chinese with Chinese, Taiwanese with Taiwanese, etc. I've seen too that it's especially hard to make friends in Japan and Korea as a foreigner. Not only is there the language barrier, but the differences in culture too. In a way, Asians can be pretty close-minded on getting to know other cultures or actually making friends with people from other countries. I know this all too well being half-Taiwanese/half-Filipino, being neither "Filipino" enough nor "Taiwanese" enough. xD It's more of people here being too used to what they're comfortable with.

#36 Oh this is something I feel that Chinese students and other students from similar cultures should really improve on. xD How will people respect you if you don't speak your mind?

I felt bad especially for my Spanish teacher in college, granted it was an introductory course (Spanish I and II) but the amount of times that our teacher had to prompt a student to recite/speak even with clear hints already made her (and me too) extremely frustrated. The thing is, these are college students, I personally feel they don't have any reason to be so shy of speaking and technically by not doing so they're slowing the pace of the class too much and a lot of time is wasted.

Unfortunately you can't always be very vocal with your thoughts and opinions in most Asian cultures. I would say strive for that, but at the same time, play your cards well, especially if you're in a workplace setting.

If you made it to the end, thank you for reading and here's a cookie! 🍪 I'm not perfect and there's bound to be something I missed so please let me know if you spotted anything wrong. Feedback/questions are very much welcome and please feel free to share about your country/culture's differences or similarities!

[thoughtsofanexcitedspacechild]

Writing Tips (Pt. 3): Writing Believable and shippable relationships in literature.

Hello friends! First of all, let me say a HUGE thank you for the support on the Kataang post! I worked really hard on it and it means so much to me all the little notes you give it and reblog it! I know it’s not at a huge number of notes, but I like knowing that people took time to read through the endless rant and reblog it! I’m planning on doing another full analysis on Zutara and why specifically it doesn’t work. I’ll make it respectful though as I know that a lot of Kataang fans are REALLY defensive and anti-zutara. I promise I’m not one of those people, and believe that no matter who you ship, your opinions on fictional characters are your opinions and you are FULLY entitled to ship and like whatever you want (as long as it’s not incest or a huge age gap. PLEASE don’t ship that stuff lol. U nasty mfs know who u are.) Speaking of ships, let’s talk about writing them. Writing ships for movies, books, shows, etc. can be surprisingly hard. Writing characters themselves can be hard enough as it is, but writing a pair of characters that fit together like a puzzle piece can feel impossible. Nevertheless, I’m here to make that process a little bit easier. When I’m trying to set up a relationship that’s going to happen, here are some things that I keep in mind to make sure that I and the audience of my writing  ship the characters I have end up together. 

DISCLAIMER before I get a’rantin: I am by NO means telling you how or what to write and am by NO means a professional writer of any sorts. I’m doing this mostly because I write a lot and speak from my own personal experiences with writing and because these are just the things that I found work best when writing my own stories. I also read and analyze a lot of others work on my own personal time, and these are just the details that I pick up on that I find makes a piece of writing effective. With that in mind, remember that writing is and art form, and the beauty of that is that there’s no one right way to do it. Ever. You can read the same thing as another person and interpret it in a completely different and unique way. 

1. Complementary Characters usually work out best. 

This is more than the classic��“opposite’s attract” theory, and characters don’t necessarily have to be opposite to be complementary. Some things to think about when thinking of and writing complementary characters:

-Complementary doesn’t necessarily mean complete opposite in every single way. Often times I find it much more helpful to have characters share a common interest in hobbies, upbringing, childhood trauma (that one’s a bit overdone these days), etc. so that they’re not butting heads all the time. Just like yin and yang, theres a bit of darkness in the light and vice versa. To keep the balance harmonious, you can’t have characters be polar opposites and have no common ground. That leads to what many people consider a toxic ship, and will either lead to an unrealistic balance that inevitably leads your characters to be fighting all the time. 

-Keeping common interests in mind, often times the paces where character’s contrast is in their personalities. (Shy and bold, heart and head, bubbly and brooding, quiet and gregarious, etc.) Different personalities often are able to balance each other out and hold each other accountable for their weaknesses.

-Going off of that, one character’s strength is another’s weakness, and all traits are both. A character’s empathy can lead them to be loved by many, but may cause them to starve themselves and drain their cup so there’s none left to take care of themselves. A character’s logic may lend them top of class or calm in stressful situations, but can lead them to be insensitive to others and even their own emotions. Your characters should balance each other out and work well together, and part of this is helping each other grow from their weakness. 

-This one isn't as important, but what I also find super compelling, especially in film and tv shows is when the authors/writers deliberately choose to give the characters complementary color palettes. (I dove more into this on my Kataang analysis so go read that if you’re super interested.) If the character’s look ascetically pleasing together, it makes shipping them a whole lot easier. Focus on orange and blue, yellow and purple, red and green, and any variation of those colors together. 

2. Buildup

Often times one of the biggest critiques of ships that just don’t work out is that there’s not enough buildup or foundation to have a romantic relationship. It seems obvious, but if you’re going to have them end up together, there’s going to need to be some buildup or else the entire relationship will feel wrong and contrived no matter how pleasant you make it. 

Some tips for increasing and establishing buildup:

-Have your otp spend time together as friends first. I personally find that the healthiest and most successful ships are friends before they’re lovers. This is why Kataang specifically works so well, but Korrasami, Romionie, and Liesel and Rudy from the Book Thief are all good examples. If you observe these ships, all of these characters spend time together as friends first. Korra and Asami were able to bond and become friends over a toxic guy (cough cough MAKO) and eventually developed feelings for one another. Ron and Hermione weren’t romantically interested in other people and were friends until they started seeing other people and found out they liked each other. Liesel and Rudy were best friends before anything else and Liesel didn’t realize her feelings until it was too late. 

-Time together. When your otp spends time together, make sure that whatever time is being spent together is time that they both enjoy. No, the activity itself doesn’t have to be enjoyable to both characters, but the time spent together should be. If the characters really aren’t enjoying the time spent together, then it’s never gonna work out. I’ll use the ship that I’m writing as an example. Currently, I’m in the process of writing a third atlas series and we’ll use my characters Liang and Hana. (Yea I used my own name for one of my characters. I think it suits her bc she’s basically my clone, just, she’s the avatar. I’m going to change both of their names once I do more research and can find culturally and historically accurate names.) Liang REALLY loves pro-bending matches. Hana, not so much. She still goes with him to see matches and attends his matches when she can. On the flip side, Hana really loves going to her favorite tea shop. Liang vastly prefers a strong cup of coffee, but he goes with her anyways. Why would they choose to do something that they don’t necessarily like? Because that’s more quality time spent with each other and doing something for the other person. 

3. Romantic Gestures

Going off of my last point, we have the art of romantic gestures. These can range to things anywhere from a hug, to an elaborate firework display, to a locket with both of their pictures in it. Make sure that the romantic gestures are there! It’s gotta be clear that both characters are thinking about one another and consciously choose to do something for the other person. Here are some fun ways to do it:

-Remembering a gift the other character wanted. This one’s cliche but it works, because often times the best way to show affection is through physical gifts and objects. Think coffee from a favorite shop, handwritten notes, that piece of clothing the other has been eyeing, etc. 

-~symbolism~ *add chime here* By that I mean have an object to symbolize their relationship with, like Korrasami’s iconic hair pin or Liesel’s book that Rudy retrieved for her. This way, the readers not only have a visual representation of their favorite ships, but the object can physically link characters together and make a vague relationship full cannon. (I know for sure that someday when I get a tattoo, I want the hairpin tattooed on my wrist, ankle or side of my body.) 

-PDAs. Works best in film and visual stuff, but still applies for everything. I’m talking cuddles, kisses, falling asleep in each other’s arms, the whole shebang. I mean how much clearer can you make it than a pda?

-Love languages. Each person loves in their own unique way. Have characters figure out and learn each other’s love language. It really shows and adds a whole other layer to the cake. This one can make a ship that feels a little bland have more depth and realism, because in the real world, healthy relationships are formed and aided by learning and applying each other’s love language. 

4. Dialogue. This one can be hard to master, but once you do, it’s a breeze. First off, I recommend getting all your ideas out, and editing. DON’T EDIT AS YOU GO! This is often tedious and super annoying, so get everything out first, and go from there once you have a decent amount to work with. Dialogue is tricky, because dialogue in and of itself is meant to communicate and express feelings. Here are some tips and steps to at least get a start: 

a. Know EXACTLY how your characters feel about one another, and make that evident through communication. It seems obvious (again) but this really helps and I find that putting myself in the character’s shoes for a second and really thinking about it helps to decide exactly what they would say in a given situation, especially if the scene you’re writing involves confrontation about feelings for one another. 

b. Dialogue is more than just talking. Body language, tone, facial expressions, etc. are all part of dialogue too and are SUPER important! In the real world, humans communicate through more than just words, and sometimes a playful grin, grimace, crossed arms, or pout is much more effective than a character outright saying something. 

c. Once you’ve written the dialogue out, be concise and smart about your dialogue and pare it down as much as you can. Often times, adding too much dialogue can make a scene boring and flat. Use your words sparingly! The purpose of writing is to covey a story or message and often times this can be done effectively with less words rather than more. The main point in dialogue itself is to provide necessary context and information. Otherwise, don’t use it.

d. Make sure the conversation is two sided. This (say it with me now) SEEMS OBVIOUS, but make sure that both people are talking/communicating. it’s a conversation, not a speech. (Unless it is a speech or declaration of some sort.)

Before I go: A QUICK (Long) PSA ON TOXIC SHIPS: 

The concept of a toxic ship is very common in a lot of literature. Often times writers choose to include elements that may be toxic to heighten romantic tension in a story. While I do recognize that this sometimes may be a stylistic choice, there are MUCH better and effective ways to create tension that having something be toxic. Toxic relationships in my opinion share one purpose, and that is to establish a relationship’s toxicity and ineffectiveness. I don’t recommend writing these into a story unless it’s an obstacle for your characters to overcome, and having a character forgive the toxic actions of another character and still end up with them isn’t the right move because it completely disregards and diminishes the effects of what happened previously.

One of the best examples I can think of is Reylo from the new sw trilogy. I did touch on this briefly in a couple of my earlier posts (The Effect Of Modern Day SW characters and My Tips for Writing (In General) which I highly suggest you go read bc they both took me a bit of time and state the purpose more in depth) but I think I’ll quick reiterate and say that it wasn’t a good choice on the writer’s part to have some of the dialogue be so intense and vicious and then have them end up together. I still like the idea of Ben Solo and Rey together and ship them together out of cannon, but in cannon, it’s the perfect example of an ineffective ship. There was little to no build up, the dialogue was often spiteful and sharp, and it escalated a bit too quickly. I would’ve liked to see more of Ben Solo (NOT Kylo) and him feeling sorry for and repenting for the bad that he’s done before he and Rey end up together. Yes, we’re all suckers for the enemies to lovers trope, but PLEASE make sure to filter out the toxins before boarding your ships and watching them sail. 

That’s it for now! I hope this helps a little when writing shippable characters! I’m always free to rant to and to critique. I’m going to start posting as much as I can, because these guides help me too! Check out my other ones if you’d like to know tips for writing in general and I made another one on how to write characters. 

[ziracona]

What are your thoughts on all the survivors that weren't mentioned in ilm? Like bill and zarina?

Well, I’m under-informed on a few of them. If I wrote a story including Bill, Heather/Cheryl, and Ash, I would do more research first, because I only have their DbD paragraphs and a little personal knowledge to go with, but I’ll still give you my current takes haha. 

I’ve never played Left 4 Dead, but from his perks and the little I do know, Bill seems gruff and rough around the edges, but like he’s got a good heart and while his paragraph describes him as wanting someone to fight more than anything, I’d argue it reads a lot more like he wants to see people protected more than anything. (I mean, considering he’s quite literally died for his friends before, and some of his perks are based around survival alone, but he’s also got Borrowed Time, one of the most altruistic survivor perks in the game). 

Heather I feel bad for more than anything else. Poor girl goes to hell once and what do you do? Ya send her back. It ain’t fair. I’ve /seen/ Silent Hill and never played it, so again I have very incomplete information, but I liked her, and mostly I just felt bad for her that her life was super messed up. Poor kid is extremely traumatized, but I greatly admire the resilience and how powerful she is when most people would pretty understandably curl up and die.

Ash, I’ve /only/ seen the first Evil Dead film, so I only know him as baby Ash/the world’s single biggest himbo. I’m losing it. In that film, he really does see a friend turn into a demon zombie (not the first time it’s happened either), attempt to murder him and another friend, then get decapitated but still be chattering on the floor, and when he asks what they’re gonna do now and his other (kind of dying at this point) friend says they have to bury the zombie still living corpse thing, dumb hoe really does go “But we can’t bury her! She’s our friend : (”.  He’s so stupid but I loved him. The movie was kinda too grody for my personal preferences--kinda icked me out--but I really enjoyed poor stupid Ash. I am lead to believe he is much more charismatic as an older dude though, so I’d have to do more research to have an accurate opinion on DbD Ash.

Yui I really like. Actually, I try not to play against Yuis when I play killer, or to like, at least not play Legion or Myers against them (I main Wraith/Myers/Legion, although I’m also learning Huntress, Nurse, Hag, & Spirit), because this poor girl got assaulted by a nasty stalker boy with a knife & half her character is about speaking out for women who get stalked & abused and thus I like, don’t feel super comfortable knifing a character who is written as a figurehead for “don’t abuse women or stalk/kill them” down as a slasher boy in-game? (Kind of a weird choice by the devs tbh). I like her a lot though. It’s cool that she rebelled against gender stereotypes even though it made home life really hard, and did it in a society where that’s even more complicated than where I’m from, and that she carved her own path despite a lot of obstacles, defended herself against a guy who was entitled to her body because he’d seen her, beat him, and then went through PT and recovery and got back to racing and was kind of a figurehead of speaking out against violence against women and had a whole biker gang devoted to that. She’s very hardcore.

Zarina is also cool. I like her whole “search for the truth” freedom fighter thing. Her perks are really neat & I think the way she’s tied to Caleb is cool. It’s been a while since there’s really been a connection between killer and survivor (I mean, ST I guess, but the Demogorgon has no personal connection to those two, it’s just from their world, so to me it’s been since like, Jeff), and this is an interesting way for them to be connected. You’ve got Nea having trespassed in the Nurse’s workplace, Benedict went looking for answers at the MacMillan estate, and Jeff having been friends with Legion in highschool, but other than that and the licensed survivors who get taken with the monster hunting them (Quentin, Laurie, Tapp, Heather, etc), most survivors have no connection. It’s neat that she went looking for truth and trying to see if Caleb was a monster like history paints him, and that’s why she got taken. Kinda sad too, because part of what made Caleb end so violent was that the justice system was super unfair to him, and probably if he knew all of Zarina’s history, he would appreciate her and get some weird small amount of solace from it (I’m not about to suggest he’d like, reform or something, but like, it would probably matter to him, and he’d probably take it easy on her in trials, even if his life didn’t fundamentally change much), but he’ll almost certainly never know that. Her backstory is brutal but kinda real, and it sucks a lot for her that her whole life has been unfair, and then she got snatched by the Entity too. : /  I like her though. 

Nancy & Steve I like, although it’s weird to me they were the pair taken lol. It would have made more sense if it was Nancy and Jonathan, or Steve and his bff Robin. ST seems like a weird addition to me, because I don’t think of it as horror, but that said, I really feel like they missed out by adding Steve & Nancy as their survivors period, even though these are both characters I like in the show. See, almost without fail before that, the licensed characters taken were either from stories finished being told, or dead/presumed dead, and that was really cool (I mean, Halloween I guess not, but Halloween doesn’t count because it’s already got like 6 timelines going--what’s one more?). It was great to see Quentin get a second life through DbD, and Tapp just dies offscreen presumably in Saw 1, so he was a great pick for someone to develop further in a different story--same reason he’s the first protag of the Saw video games. That was a really cool way to do things, and I think they should have stuck to it. It was smart, and awesome, and a lovely idea. ST, however, isn’t even finished getting seasons. And especially with that being the case, it’s weird to just have some totally undeveloped and unmotivated AU where part way between seasons...2 & 3? Nancy calls....Steve? And just Steve? To help her look something up? And they go missing together? Like, if you wanted a ST episode, which could have been really amazing, I’d have way preferred you stick to your OG, really cool guns & drag in a dead or underutilized character and give them new life than create an unmotivated AU where some probably happy in main-stream canon character is now trapped in hell for the publicity grab. I’m not actually, like, bothered about them being in-game or smth if that sounds harsh, I just am a little bit sad they didn’t go with their old modus operandi and do something really cool! Like, ST has a terrible track record for killing off characters for no GD good reason post season-one and DbD YOU COULD HAVE UTILIZED THAT FAILING SO WELL. You could have done amazing things!!! Like, Alexi gets to have a second life in DbD? Sign me the fuck up, he was my favorite character in Season 3! I fkn DIG that. OR UH. GIVE ME FUKCING BOB. I WOULD NEVER PLAY ANYONE BUT SEAN ASTIN AGAIN. I”M JUST SAYING. WHY TF DID YOU NOT PICK THE MUCH BETTER OPTIONS AND DO WHAT YOU USED TO DEVS I HATE IT.

So anyway none of this is revolutionary but here’s my short form thoughts on the other survivors that weren’t in ILM. Thanks for the ask! ^u^

[twentiethcenturymoviesandtv]

Ladyhawke: Facets of Film

There’s more to a good film than a solid story and compelling characters.  Otherwise, it’d be a book.

There’s a lot that goes on in the process of making a movie, in taking a story and putting it on screen.  There’s costumes, sets, props, special effects, camerawork, music, and, perhaps most importantly, performances that best get across what the script is trying to convey.  It’s a project containing a lot of different elements that all come together perfectly to tell a story in a visual medium in a meaningful way.  It’s not a movie without ‘movie magic’, after all.

Of course, some films do better with this than others.

See, the point of all of these things is for one simple reason: to better express the story and characters already present in the script. They are there to accentuate, to enhance, to be good enough to dazzle, but not so good that they overshadow the rest of the movie.  It’s a difficult balance, one that can be achieved if the same effort is put into both story and the actual movie-making itself.

The question today is, is that the case for Ladyhawke?

Does Ladyhawke use its storytelling devices well?

Let’s take a look, starting with one of the most important elements in a film: cinematography. (Spoilers below!)

The camerawork in a film can sometimes make or break it.  When done well, it is breathtaking, when done competently, it is adequate, but when it’s done badly, it’s really bad.  There’s more to camerawork than just pointing it at the action.  There’s a lot to consider.

The cinematography, teamed with the editing process, is designed to evoke a reaction out of the audience.  A good director knows how to use the camera to emphasize certain details, or overall feelings.  The camera is used to help tell the story, while leaving a visual mark on it.  Such scenes in Ladyhawke include the stunning shots of the landscapes, giving us wider looks at the expansive world that the characters reside in.

The camerawork in Ladyhawke is, most of the time, good.  Not fantastic, but good.  Most of the shots are standard uses of the camera to get us to take note of the dress in Navarre’s bag, or the emphasis on his sword.  The long takes in the fight sequence in the climax are notably impressive, building a steady rise in tension, as well as showing off the semi-realistic, brutal sword fight.

There are two scenes, however, that surpass ‘good’ camerawork, in my opinion, and become great.

The first occurs semi-early in the film, when the Bishop wakes up in a cold sweat in his bed.  He sits up, and we are granted a look at his bed and room: above him, carved into pillars, are birds of prey.  Hawks. Given his connection with Isabeau, it’s fitting enough, but then comes another work of brilliant editing.  Right after that shot, there is a wider one which reveals something else: carved into the bedpost are wolves, facing away from him. It’s an interesting and effective way to hammer home his connection with the pair before we even know what it is.

The other scene that I’m referring to is a little longer, but is, in my opinion, the best use of camerawork in this entire film.

It comes towards the end of the film, after Navarre (in wolf form) has been rescued from the ice-water and brought back to camp.  Isabeau waits with him as dawn nears, signaling both of their transformations.  There is an instant, made longer with movie magic, where the two watch each other transform, both fully aware of what is going on.  That moment is full of shots of their eyes meeting, and transforming, never actually showing the pair’s bodies change.  In another film, this edit would be an excuse to show off the transformation itself, but Ladyhawke doesn’t.

By using the camera effectively, this scene takes on a different emphasis, one of mutual love and grief.  This is the scene that fully drives home the couples’ love and separation, and the audience feels it, which, once again, is the point of good filmmaking.

Oddly enough, there are very few ‘special effect’ shots in the film itself.  It’s all very down-to-earth, with no outlandish creatures or large set-pieces. For being a film made in the era of big special effects, there’s nothing accomplished in the film that isn’t done with simple camerawork.  We never see a transformation in full, we only see before and after, with some clever shots in the middle to give us the idea.  While that may seem disappointing, it’s actually very smart to portray the scenes like this: it emphasizes the emotional impact of the sequence, and prevents any ‘dated looking’ special effects in hindsight.  It also adds to many of the film’s unique qualities and elements.

There’s more to a film than the camera, however.  Let’s talk about the rest of the visuals.

While nowhere near the iconography of The Wizard of Oz, Ladyhawke has its fair share of memorable images, notably Navarre’s black armor and gem-encrusted sword and Isabeau’s mid-air transformation into the titular Ladyhawke.

Part of what makes these images memorable are the distinctive looks of the characters, assisting with the expression of the character. Phillipe’s clothing is scavenged, looking appropriately thrown-together and unremarkable, further demonstrating his scrounging lifestyle and ‘normalness.’  Navarre is dressed in black armor, in a subversion of both the unscrupulous ‘Black Knight’ trope and the upright ‘Knight in Shining Armor’.  Neither villainous nor a champion, Navarre is a good man on a quest for revenge, a darker path than most heroic characters in fantasy films.  He rides a black horse and carries a unique sword that he plans to use in this revenge quest: once again, completing a memorable image.

By contrast, there’s Isabeau.

Isabeau doesn’t get armor, but she does get a simple, yet elegant enough, dress, combined with Navarre’s black cloak.  This gives her an ethereal vibe that slowly dissipates the more we find out about her, but still retains her sense of otherworldly dignity.

Speaking of otherworldly dignity, let’s discuss the score, which is anything but.

Now, I’ve mentioned this before, but it bears mentioning again: Ladyhawke’s musical score was recorded by Alan Parsons, and the result is a combination of orchestral instrumental and synth music. Does it fit?

…..Sort of?

Once again, the music is a part of the film’s individual identity, for better or worse.  Sometimes the music fits, (mostly the instrumental bits) but one of the biggest complaints about the film is, in fact, the soundtrack.  Many people’s complaint is that the music is incongruous, and takes them out of the film experience.  On the other hand, lots of people agree that it does add to the ‘individuality’ of the film.  So which is it?

Honestly, this one is usually personal opinion.  Depending on what one is looking for in a fantasy film, people either enjoy the soundtrack or dislike it.  Personally?  I enjoy it’s differentiation from contemporary fantasy soundtracks, but can understand why some would disagree.

No matter which way you feel about it, you do have to admit that it’s distinctive.

The musical score does rise and fall with the action, playing triumphant fanfares over battle sequences and quieter, introspective music over reflective scenes, and it does do what a soundtrack is supposed to do: get a reaction out of the audience, and help influence the emotion in a scene.

Another one of the odd things about this film is the lack of sets within it.

There are sets, obviously.  The cathedral, the prison, the barn, etc. are all examples of sets used within the film, but an equally large portion of it is set outside.  The film feels very natural in this sense, by using very grounded sets, further adding to the relatively realistic tone of the film as a whole.  The scenes in which the actors are performing are very tame, plain, and in a way, more accurate to the period and setting they are actually trying to portray. Unlike many contemporary fantasy films, Ladyhawke feels very real-world in comparison.  Being set in medieval Europe, there are no ornate palaces or magical caverns.  As a result, every set and landscape feels like it is genuine and solid, adding weight to both the story and the performances that are coming across.

And after all, the performances are arguably the most important element.

No matter the thought or quality put into sets, special effects, costumes, music or cinematography, in the end, it’s on the performances to sell the story and characters.  Each individual scene rests on the actors and their ability to compel the audience.

Matthew Broderick’s performance as Phillipe Gaston is charming, managing to pull off a semi-comedic character in fairy-tale circumstances. He’s sly and smart, but out of his comfort zone, rendering him rather helpless at times.  He is a character struggling to catch up with events, slowly becoming a part of the story and learning to do the right thing, even at risk to himself.  He’s humorous and later compassionate, expressive and outspoken to the other characters, and in his private discussion with God.

Navarre is almost the opposite, closed off and mysterious. Rutger Hauer’s turn as a good man cursed is very compelling, portraying both the grim determination for revenge, and the broken heart of one half of two star crossed lovers.  (Special mention goes to the above scene with the mutual onscreen transformation, appropriately heartrending, and his confrontation at the Bishop at the end.)  Hauer also has good chemistry with Broderick, depicting the growing friendship between the two very well.  He portrays the full gambit with restraint, giving the impression of emotion bubbling under the surface until his joyful reunion with Isabeau at the end.

Michelle Pfieffer as Isabeau is haunting and heartbreaking, a woman living a half-life, cursed to be with the man she loves, but unable to have a relationship with him.  Separated from all she knows, with little choice in her life’s direction, she also becomes friends with Phillipe, revealing the sad, borderline hopeless existence she is forced to live in.  (Again, special mention to that transformation scene, and her cold confrontation of the Bishop.)  She portrays a woman containing quiet strength, forced to go on and remain solid for both herself and Navarre’s sake in the face of the curse.

John Wood as the Bishop is appropriately disgusting, an old man motivated by jealousy and lust, taking out his anger on the couple.  He cannot bear to take rejection from Isabeau, and he remains obsessed with her after the curse that he dredges up.  He portrays a man attempting to retain control until the end. Unable to take Isabeau and Navarre’s bond, he attempts to break it, once and for all, leading to his own demise.

Leo McKern’s performance as Imperius is both comedic and remorseful, a man atoning for his past mistakes by trying to help the couple.  He contributes dry wit as well as his sincere services, and his connection with Phillipe allows him to help the couple. McKern shares many scenes with members of the cast that perfectly showcase his gravitas that effectively balance out his lighter moments, rounding out our memorable main cast.

Every character in this film is perfectly realized, coming together as a team against a rotten man.  There is no good vs. evil in this story, only the power of love over the power of jealousy and obsession.  These characters come across as slightly fairy-tale-esque, but slightly twisted in odd ways.  The performances are appropriately subtle and reserved, coming across as very genuinely human and understandable to a very genuinely human audience.

The acting, like everything else in this movie, is understated, and very simple.  It’s not bright or colorful, or loud, or epic, it is very down-to-earth and modest. It tells a compelling story with compelling people, assisted by the work done to make it (with the exception of the music) a very realistic and grounded story.  The performances perfectly match the rest of the movie, subdued, but genuine, and gripping to an invested audience.  Every element in this film is tailored to fit a specific mood, moving the plot along without being obvious about it.

Ladyhawke has been called a cult classic, unpopular upon its theater release.  It was greeted with mixed acclaim, labeled as ‘inconsistent’, and debated since then as to whether or not this film was actually good or not.   Yes, the music can seem a little incompatible with the film, but overall, it comes across as a reasonably consistent, grounded film with a compelling story and characters, and it really works.

Join me next time as we discuss the behind the scenes story of Ladyhawke with a segment titled: Facets of Filmmaking.  Don’t forget that my ask box is always open, and I hope to see you in the next article!

[kirbopher]

I went to see the "Mewtwo Strikes Back: Evolution" premiere at Anime-Expo!

Hey, everyone! I just returned from Anime-Expo where I was lucky enough to've seen the world premiere of the 22nd Pokemon film, Mewtwo Strikes Back: Evolution. Wanted to share some of my experiences on it!

I'll start with some information about the event, before going into details on the movie itself. First of all, this was (as far as I understand) the very first time any Japanese-language with English-subtitled Pokemon animation has been officially (and legally) released in North America (and possibly outside of Japan in general?) so I wanted to make sure I attended this pretty momentous occasion. The event itself was handled very well by the staff and there was a great bilingual host who oversaw the whole thing and really hyped up the audience. After the film screening was finished, the three related guests of honor, Kunihiko Yuyama (co-animation director), Motonori Sakakibara, (co-animation director) and Rica Matsumoto (Japanese voice actress of Satoshi/Ash) were brought to the stage to answer a few prepared questions and audience questions. Afterward, Rica Matsumoto performed "Mezase Pokemon Master" live for the audience, which was an absolute treat. Finally, after the reveal of Armored Mewtwo's upcoming appearance in Pokemon Go, we took a "family photo" with a mascot Pikachu making an appearance! The whole thing was a total blast.

Some key points involving the Q&A session:

Rica Matsumoto was in particular very excited to visit LA, especially because she had worked on the Japanese dub for Beverly Hills 90210 and got to visit the real location after wanting to for so long! In addition, she was so taken aback by the audience's enthusiasm for "Satoshi", knowing how they were far more familiar with "Ash", but felt a strong connection to them through the character and Pokemon in general. The two animation co-directors Mr. Sakakibara and Mr. Yuyama shared similar comments, being blown away by the audience's emotional reaction. The screening also gave them major nostalgic flashbacks to first working on the original over 20 years ago. They were also so grateful.

I was fortunate enough to be chosen to ask the first of the three audience questions. First, I thanked them for giving us the opportunity to see this film in its original language with subtitles, as this was a tremendous honor to begin with. After mentioning that the American fandom was very appreciative for the English dubbed version of the TV series and movies, I asked if they would be able to give us any other future opportunities to see ANY other Japanese-language Pokemon animation down the line. Mr. Yuyama said they have plans, with Rica Matsumoto following with "Count on it!!" Nothing further than that, but definitely a good sign!

The next question from the audience asked about a trailer featuring footage involving what appeared to be an older version of Misty, why it was cut and what its involvement was to the movie's early stages of development. Mr. Yuyama simply responded with (paraphrasing, here) "While that was meant to show the image of an adult, the character in question was not actually an older version of Misty. The haircut is very similar though, I can see why you would make that mistake!". Rica Matsumoto adds (again, paraphrasing) "It just goes show that there's so many pretty girls in Pokemon, it's easy to mistake them for each other sometimes!" (Personal note: obviously this is sort of 'dodging the actual question', but it's likely they either weren't allowed to go into detail as to what that early trailer was all about, or possibly forgot about the details since it had been so long ago.)

The final audience question asked about what led to the decision to re-do the original film with CG animation. Mr. Sakakibara mentioned that they had wanted to do a CG Animated Pokemon film for a long time, but thanks to the collaboration with the 3D animation studio they worked with (I've forgotten the studio's name unfortunately, sorry!) they were able to finally make it happen. They chose Mewtwo Strikes Back as the experiment piece in order to try pushing the original character animation even further with the expressiveness and emotion.

I'm sure fans of her know this already, but Rica Matsumoto is an absolute ROCK STAR on stage. She loved teasing the audience and getting them amped up, commanding us to get louder and louder! "When I say 'Pokemon', you say 'Getto da ze!'" was a real highlight. To her, "Mezase Pokemon Master" is THE defining Pokemon song.

Next, I'll talk about the film itself. To those of you who don't want to be potentially spoiled on some of the differences between this and the original movie, skip this part!

The subtitle track for the film used all of the official English names of all characters, including the humans, Pokemon creatures, attack names, locations and even the nicknames of the guest characters' starters ("Bruteroot" and "Shellshocker"). For the most part, the translation was very close to the original Japanese dialogue, but there were definitely a few liberties taken at times. Team Rocket's motto was changed to reflect the English adaptation ("Prepare for trouble and make it double" etc.) along with referring to Ash/Satoshi as "Twerp" (instead of "JARI-BOY!"). There was also a very obvious 'joke' on the translator's part involving a new scene where Brock/Takeshi hits on Neesha/Sweet, proclaiming something about his "jelly donuts" (ending in the ol' Misty-dragging-him-away-by-the-ear gag). As this scene had completely new dialogue, I wouldn't be able to cross-check whatever the 100% accurate translation would be off-hand. A couple other liberties taken (in a way), were that certain lines throughout the movie were word-for-word 'translated' as lines from the original English dub of Pokemon: The First Movie. Thankfully these were rare, but one that definitely sticks out was the "I see now that the circumstances of one's birth are irrelevant. It is what you DO with the gift of life, that determines who you are." at the film's climax. Lastly, Mewtwo's words asking "Was I created by God?" and the scientists' response, were adapted in the subtitles as "Was I created by nature?". (Personal note: Likely this was to avoid flat-out religious references.)

The film begins with Dr. Fuji and his crew retrieving the Mew fossil from the ancient ruins. The "Birth of Mewtwo" sequence involving Amber/Ai is NOT included in this version of the story; the following scene leads directly into Mewtwo's awakening in the tube, to which the movie plays out as you remember it.

Dr. Fuji's laboratory is tremendously redesigned, but the same events transpire.

Mewtwo's armor is, as you've noticed, also fully re-designed. We see many re-directed (in terms of cinematography) scenes from the sequence of his servitude to Giovanni/Sakaki, including Gary/Shigeru's from-behind cameo. The main element of difference in the armor's usage is, just before blowing up the Team Rocket base upon defying Giovanni, it transforms into a binding 'prison' sort of state, to keep Mewtwo confined if he ever fought back...of course, he breaks it easily and flies off, just as before.

The first sequence where we see Ash, Misty/Kasumi and Brock starts a little earlier than in the original, showing Ash more excited and offering to help set up the table for lunch. It then cuts to slightly later where he's tired and slumped over the table. The Pirate Trainer "Raymond" appears again (still with all his glorious Engrish), now with a slight redesign involving bigger hair and the theme song battle sequence plays out. Worth noting, during the 3-on-1 against Pikachu, his Golem is replaced with a Drowzee. (Personal note: Likely to circumvent the "Thunderbolt should be ineffective against a Ground-type" argument.) We also see glimpses of Mewtwo and the mind-controlled Nurse Joy viewing the battle. Just before Dragonite shows up to deliver the invitation, we also see a bit of the gang's other Pokemon used in the movie: Vulpix, Psyduck, Squirtle, Bulbasaur and Charizard, eating Pokemon food.

LOTS more trainers in the dock scene. The pier master Miranda/Voyager actually speaks of Wingulls showing signs of how bad the storm is, warning everyone again. We see a few more trainers attempt to travel to New Island, including one who tries Surfing on their Kingler and another who is carried by their Scyther...neither of them make it, along with whoever tried flying with their Fearow like in the original. RIP.

The Vikings-the-mostly-live-in-Minnesota are replaced with an equally-funny costume theme of the Team Rocket trio as some tourist-trap sailors utilizing a Lapras-shaped ferry service. Brock comments on how conveniently they showed up and they all get on. We then get a very Disneyland 3D Attraction-style sequence of the two trios riding through the storm before it crashes and Misty sends out Staryu to try and save the day. Another extended sequence of Ash, Misty and Brock clinging for dear life to Staryu plays out, including a really gorgeous orchestral arrangement of...the Sun & Moon Wild Pokemon Battle theme, of all things!

Ash and the others meet the other guest trainers. This is where the short added scene of Brock hitting on Neesha is added.

In general, while the grand majority of the things that happen in each scene are the same as they are in the original, a lot of the animation is expanded upon and really pushed in terms of expressiveness. Often this makes them longer than how they were before, but it's definitely paced out properly to fit with the adjustments they made.

The battle arena sequence plays out and all 3 of the battles between Venusaur, Blastoise and Charizard Vs. their super-clones are extended with new fight choreography and additional attack exchanges, including with later-added techniques like Energy Ball and Leaf Storm. This scene also features a completely new background music track from the one used in the original film (later used quite a bit in the anime).

The sequence of Mewtwo capturing all of the humans' Pokemon plays out, also with new background music as opposed to the original. A few new shots of the trainers trying to guard their Pokemon from being captured are added.

After the super-clones emerge, Mew appears to save Ash from being splattered against a wall, the Pokemon and their clones brutally beat each other, now with new sweeping camera angles and new music instead of the original.

When Ash rejoins Misty and Brock after climbing down from the castle, a few bits of dialogue are slightly played around with, but leads to the same untimely demise. Some new DBZ-esque glow effects are applied to when Ash is struck by the two psychic blasts and his turned-to-stone state is a bit more like crystal. Pikachu trying to Thundershock Ash back to life lingers a bit more, to show the desperation in Pikachu's attempt. When the other Pokemon begin shedding their tears, their actual sounds aren't heard and the scene is silent minus the background music.

The memory erasure happens yet again, sending everyone back to the docks. From just after Ash sees Mew flying in the sky, commenting on it, up through Team Rocket's sign-off on the now-abandoned New Island, the orchestral arrangement of the Pokemon Red & Blue Credits theme plays. For the movie credits, we're treated to a new remix of "Kaze to Isshi Ni" (featuring Shokotan) along with some 2D paintings of Ash, Misty and Brock traveling. One shows a flock of Wingull near the dock area! At the end, we see Mewtwo and the clones flying off to what appears to be Mount Quena from the "Mewtwo Returns" TV special.

Finally, as is always the case, a very short teaser of the "Pokemon 2020" film, showing a 2D-animated Pikachu in the style of the Sun & Moon series.

There might have been some things I missed, but that's everything I could recount! If you have any other questions, I'll try and answer them as best as I can. To anyone else who was there for the screening, feel free to add anything else you like! Overall, highly recommend folks who enjoyed the original Mewtwo Strikes Back movie to go see this when the English version comes out!

[amaliabalash]

It Chapter Two

Okay y’all I said I wanted to write a post of thoughts I’ve had on the movies (most the second, but here and there from the first), adaptation choices, etc., so here it is after five ten viewings of Chapter Two and a ton of viewings of the first movie as well. I stand by my initial sum up: I love it as a follow up if you’re watching it for the coming of age story of the group of friends that fight an evil being, but it’s mehhhh as a horror movie about a clown that kills children....which means I love it because I don’t give a fuck about the clown. 

I love the Losers love for each other. I hate any moment that separates them or causes conflict between them, because in the book they are magically, instantly united as they join together that summer, and nothing stops that, and that’s one of my favorite things about the book. So the movie taking that complete level of solidarity hurts. But even so, when it comes down to it, again and again we see how much they all love and care for each other and I am all about that. Now below the cut, have 4300 words of rambling thoughts in bullet point form!

Mike: I love and hate what he was given for this movie. Not getting incapacitated by Bowers and hospitalized (as in the book), and instead actually getting to be in the final confrontation? THANK YOU, YES. Lying to the Losers? No, not a fan. At first I was mostly focused on being grateful he was in the final battle because I think it’s awesome they’ve all together, but the more I’ve thought about it, the more upset I am that he still got kinda screwed. He had more to do than he did in the first movie, but then like...he doesn’t get a scene of going and finding the rock and having his own flashbacks, and then he doesn’t get a separate confrontation with Pennywise either once they’re in the sewers (like Ben and Bev, Eddie and Richie, and Bill do). Being the crazy librarian’s assistant is bunk. And the whole Native American ritual shit...

The Ritual of Chüd: I fully understand not doing the ritual exactly like in the book, because hello, a metaphysical battle of wills, biting each other’s tongues in your psyche and getting thrown around is just a wee bit complicated to film. But making it so that Mike got the ritual from Native Americans (the ~mystical face distortion especially bugged me), and then it also didn’t even work...ugh. And again, the lying, ughhhh. A battle of wills was still basically how they defeated It, at least? Also, like, maybe it’s iffy to use some ancient tribal ritual that Bill got from a book, too, but I think it works (in a story sense, I mean) because they’re kids when they first try it. They go “hey, there’s this thing, we believe it’s the answer” and so it works. And it works so much better as a thing the kids found in a book and believed in, than as a ritual adult Mike got from Native Americans that never even worked. However, James McAvoy’s delivery of the line, “You stole it...from Native Americans?” is incredible and hilarious. And on the note of the smoke scene...

The Clubhouse: I don’t fucking care how relatively little sense it made to include the clubhouse, and how Ben’s “the hole was already dug out and oh hey btw I like architecture we forgot to mention that in the last movie” was paper thin, because I AM SO HAPPY THAT THEY MADE THE CLUBHOUSE. I’m glad they didn’t retroactively have them do the smoke scene, because it REALLY wouldn’t have made sense with the first film to them suddenly have done that in the midst of everything and not used it, but I’m sad it wasn’t in the first film to start with. I understand that the budget, like, doubled for chapter two. Happy they included the clubhouse at all, but super eh on including the smoke scene in the way they did. Again, the kids going “hey let’s try this thing” and it working through belief makes so much more sense to me. BUT CLUBHOUSE! :D

Stan: fuuuuuuuuck. They gave Stan so much more in chapter two than in one, somehow? I hate that in the book, the only thing we get of adult Stan is from his wife’s perspective, and then he’s dead. By giving Stan the letter at the end, as well as his added kid scenes, I feel like Stan was given some justice. And on the small book nod end, I loved him doing the bird puzzle, because book Stan is a big ol’ bird nerd. Also when Stan asks what he looks like when he’s older in that first scene and Bev has that look and says like now but taller? OW. ALSO the head-spider thing, “so you don’t get spiders in your hair,” nice horrible touch there. And this isn’t a Stan characterization thing, but one of the legs going through Stan’s eye and Richie being the one to say “you’ve got to be fucking kidding me” also feels appropriate because eye horror is a book Richie thing. And on the note of the letter (which I love), I want to know what Stan wrote to Patty. Because like, wow, after her husband seemingly out of nowhere kills himself, she still sends these letters to his old friends. Patty Uris, you’re a good woman.  

Ben: I am generally in favor of Ben/Bev, and thought they had some nice moments in the new movie, but I haaaaate that Ben kept the yearbook page. It made no sense, and it was kind of weird for him to like...obsess over that for the next 27 years of his life when he hadn’t seen her? I think it would have been sweeter, honestly, if upon returning to Derry he was just HIT with how much he loved her, through that funky magic that bonded the Losers and broke them apart. Back in Derry, the feelings return freshly, even if they’re 27 years old (like happened for Richie, according to Bill Hader and my heart). If that had happened, and then they just...ended up sticking together afterwards, I’d prefer it. Lose the kiss, lose the yearbook thing, but keep the end scene with them on the boat, that’s fine. Also why the fuck was Ben in summer school, that flashback didn’t make sense, should’ve been in the library, please. If only we could have had a middle ground (aka the book) between the 1990 series where Ben was kind of presented as a manwhore and the movie where he’s still in love with the same girl from when he was 13 and that’s why he was alone. In the book he just...didn’t have much of an interest in the romance I think? Idk. Ben keeping the yearbook page is dumb and it was overdone but otherwise Ben and Bev are cute. But as for the first movie and flashback moments, I love little baby Ben Hanscom with all my heart, what a sweetheart. Sorry they made you creepily obsess on the same girl for the rest of your life, Ben. 

MEMORIES: THEY WERE ALLOWED TO KEEP THEIR MEMORIES! I AM SO GRATEFUL! Some people are like “but now Richie has to remember this” and I’m like, the book fucks me up when I read it knowing that none of them will remember each other, and that none of them will remember Eddie and his sacrifice, how bravely he fought, fuuuuuck. So I’d rather sad remembering and honoring than completely forgetting.  This is the happier ending, it really is. 

Bill: He wasn’t really sick??? ow??? Like it makes his determination to search for Georgie make more sense, but oof. I have mixed feelings on this because in the book Bill is genuinely too sick to go with Georgie, but like...the “just because you did x doesn’t mean this horrible thing is your fault” is a really poignant emotional point to make. On the acting side, both Jaeden Martell and James McAvoy did really well with the stuttering, not making it over the top or just...forgetting about it. It felt realistic to those I’ve known with stutters. I think I’m gonna make a separate bullet point for how the marriages were handled, but, it makes me sad that Bill and Audra weren’t shown to be loving like in the book. Bill actually had a good relationship with his wife and that’s a bummer to take away. The choice to have Bill’s fervor in going after It right then be about seeing another kid get taken instead of because he finds Audra’s purse, though, seemed like a solid choice, it worked really well. It keeps the story tighter in a sense, because Bill’s guilt about Georgie is shown to be one of his driving forces across both movies. And...okay that ties right into the marriages thing so...

Marriages: I am grateful that they didn’t have Audra and Tom go to Derry like in the book. There is SO MUCH book content that didn’t make it in, stuff that is really plot relevant, but like...fitting all of that in would have been crammed and we’d lack the emotional depth. Chapter Two is about the Losers, and the sacrifices that were made were there so that we could really focus on the Losers and their relationships with teach other and their experiences. It makes me sad that Bill doesn’t get his positive relationship with Audra, that they’re not shown to actually love each other, that he’s no longer wearing a wedding ring in that last scene with the phone call with Mike, but god. If they had had Audra and Tom come to Derry, it would have muddled the story more than it’d flesh it out. So not worth it to waste a single moment on that, as much as I wish Tom still got killed by It because it’s what he deserves. I almost wish that Bev’s relationship with Tom had been changed, but idk what I’d change it to. Including the abuse was rough, but at least it wasn’t as severe as in the book? It couldn’t be, anyway, because again, he doesn’t follow her to Derry, so he can’t be quite as evil as he is in the book or it’d be incomplete to expect her to just...leave him. Aaaaand Eddie and Myra. I CAN’T BELIEVE THEY CAST THE SAME ACTRESS AS MYRA AND HIS MOM. It’s completely book accurate, there’s that bit of narrative where he acknowledges that looking at a younger pic of his mom next to one of Myra and they could be twins, but damn, that casting choice. I feel bad for Myra, in all incarnations. A character meant only to be the embodiment of an oedipal complex...or, the projection of one? However you’d say that.

Bill & Bev: a whole bullet point just to say, thank god they didn’t sleep together, that one little memory based kiss and move on? THANK YOU. And that kiss worked, not like the wtf so awkward kiss between Bill and Bev at the restaurant in the mini-series. Also not driving home the “Audra looks like Bev.......” thing. I’m cool with that. Though I still think it’d have been hilarious if they’d cast Bryce Dallas Howard as Audra.

Beverly: I was talking to a friend about the first movie a few months ago and she said she hated how Bev was made into a damsel in the first movie, needing to be rescued...and I can get that, but compared to the book and the 1990 series, Bev gets SO MUCH MORE and I love her so much. I love that she’s pushing them to keep fighting against It in the first one, and that in the second she’s supporting the others still and encouraging, and in the final battle moments, she’s never a damsel. It’s just when she was in the deadlights. The scene with Mrs. Kersh was fucking insane though. Like, hugely increased budget from the first movie, and....they choose to spend it on a naked granny monster????? TWICE???? I feel like that scene could have been legitimately creepy but then NAKED. GRANNY. MONSTER. I have nothing deep to say on that scene but I’m so baffled. 

CGI and the Monsters: On the note of the atrocity of the naked granny monster...it must say a lot about what Andy Muschietti is afraid of that he includes these weird, gross CGI monsters. Also I feel like he’s afraid of old age, between the Mrs. Kersh monster and the focus on Mr. Keene’s old-ness. But like...the leper and the naked granny monster are both just really weird and gross, but not like scary? I mean, the leper being a physical representation of infection is specific to Eddie, and it sticking it’s tongue down Mrs. Kaspbrak’s throat is truly utterly disgusting, but...again, the horror of it is grossness, not scariness? And god the fucking naked granny monster just kills me because that scene would legit be scary if not for that. Instead, multiple times I’ve heard people in the theater whisper “what the fuck” during that scene. 

The Losers Fighting: Possibly my biggest complaint about the two movies is the choice to have the Losers have big fights.  For Dramatic Movie Purposes I get it, I guess, but in the book as each Loser joins, that’s it, there’s no question, fate is clicking into place, they are meant to be together. So the fight after the House on Neibolt in the first movie has always bugged me. Mike lying to them bugs me. Them being like, “fuck this I’m out” bugs me. However, the ONE concession I’ll make on this point is that at least the fight in the first movie was used in the second as an excuse to show new flashbacks. But the lack of unity is always gonna make me sad about these adaptations. 

Pennywise: I am NOT saying I want more Pennywise in the movie, but I think that there is a slight plot hole in the way that his motivations and his effect aren’t directly addressed in the films. Like, including the Adrian Mellon murder without including the whole thing where it’s relevant to It because It’s evil seeps into Derry and is an integral part of Derry makes the scene make less sense. Though, again, I’m cool with them not including Derry just completely falling apart when It dies because of that connection, bc that’d be too much time not about the Losers. But, yeah, motivation wise, it doesn’t feel clear why It wants the Losers to come home. Knowing in the book that It experienced fear and then true anger for the first time, that It wants revenge, makes the ultimately Dumbass Move of luring them back at least make some sense. 

Richie: I’m gonna try to focus on Richie things that don’t necessarily relate to Reddie first. I was super unsure about Bill Hader when I heard about his casting at first, because I’d never seen him do the drama I knew the role would need, but damn. He was a perfect Richie, from the comedy to the holy shit drama pain. And it’s a bummer that the whole cgi thing was needed (though, like, it was, because Finn Wolfhard does not look the same anymore) because I’d like to see the more nuanced version of his performance of the arcade scene and stuff. I’m so grateful for the depth given to Richie with the closeted storyline, as much as it hurts. This movie let (some) characters have some actual depth and it’s wonderful. Let’s see... I kind of hate that there was still the fatphobic focuses in the story as a whole, but like...those lines only coming from the trashmouth was at least appropriate. And his delivery throughout his whole bit with Bill outside the Neibolt house in Chapter Two about Richie said it best last time, is delivered so perfectly and I love it, particularly, “You’re lucky we’re not measuring dicks?” Excellent job, Bill Hader. And even though, as I said above, I am no fan of the Losers fighting and Richie trying to run off, the part where Ben says “at least I got Richie to stay” and then Richie bursts out of the back of the hotel to sneak off is way too funny to me. Him not writing his own material is kind of hilarious. And it goes in with a theme in the movie where the Loser’s adult success is a little bit tainted, which isn’t necessarily the case in the book - other things are off, no children, marrying their parents, etc., but their success doesn’t really have anything off about it. Book Richie finally does perfect his voices and that’s how he makes his money. But I’ll accept him not actually being great at comedy (not that the bit we saw at the start of the movie was great comedy) for the set up of the joke of Eddie saying “I FUCKING KNEW IT!” also oops mentioned Eddie. ¯\_(ツ)_/¯  So why not go there now! 

Eddie and Richie: I didn’t think they’d actually fucking do it. I saw a still of young Richie next to the R+ on the kissing bridge, and Reddies freaking out about WHAT IF, and I was like “that’d be cool but lol no they won’t actually do it.” But then they ACTUALLY DID IT. I’m grateful I saw the movie at the first possible showing because I DIDN’T see the still with young Richie where you can see the full R+E until after, so it was a surprise. This is again where I applaud Bill Hader’s performance, and the directing and script writing and all, because all of those little moments where Richie is just attuned to Eddie are so great. He’s always been the one Richie focused on most for jokes (defense mechansim!), but then calling out for Eddie every time there’s potential danger and they’re separated - when the bat wing fortune cookie is attacking Eddie, in Neibolt when the spider-head monster is temporarily gone, when the balloon starts inflating after the ritual and they’re moving apart. And then of course we have the whole end, his desperation over wanting to save Eddie, his inability to accept that it’s over. Fuuuuuuuuuuuuck! And god, like, he seems to just forget to even care about the whole Pennywise thing once Eddie’s hurt, he’s like “we gotta get him out of here” ignoring the “we still have to deal with this fucking clown” part of it entirely. On the lighter note though...the bickering! I LOVE THE BICKERING SO MUCH. In both movies, even during serious conversations, there’s so often Eddie and Richie bickering in the background (as well as main scene bickering, of course, like the hammock, or Richie teasing Eddie about getting married, his mom, his job, etc). In Chapter Two you can hear them bickering about Eddie saying he’s got these various ailments and Richie saying it’s in his head and he just reads shit on the internet while Bill and Bev talk about life, and down in the sewers Eddie has to pick on Richie bringing an actual token and they bicker about how that’s not gonna burn well neither will the inhaler. I LOVE IT. Also, in a story so focused on mirroring the past, Eddie should have kissed Richie out of the deadlights like Ben kissed Bev, that is all. I love every single thing about the scene with the three doors, but I especially love how those dumbasses, once Pennywise is no longer reaching for them, suddenly stop finding the dog behind a door deep in the sewers/cave/whatever suspicious??? They’re like, oh look this is fine, what a cute puppy that randomly made it down here??? What even, and I love it. The hammock scene is ridiculously adorable and Richie’s little sigh when Eddie’s sticking his foot in his face, so great. I have a lot to say about Eddie’s paralysis in the face of Richie being attacked, but honestly I feel that’s more Eddie than it is Reddie related so I’ll get there later, but Richie being the one to encourage him in this totally sincere way and then make the fat joke about Myra...in character af and a really charming scene despite the fact that, again, I am not a fan of fat jokes? That is just the language these two idiots speak. A moment of sincerity cannot possibly be left alone.  And on that note...

Eddie’s Death: okay that “paragraph” was very long so I’m making a separate bullet point for this, at least as it relates to Reddie. I could just quote line by line and be like “oh, shit, my heart” but that isn’t really relevant. Overall, that’s my sentiment as Richie is trying to save Eddie and so focused on him. But this is more about the “I fucked your mother” bit. I saw a lot of people upset about that, and others seemed to understand that it’s not a throwaway joke (like the post I JUST reblogged, but I was thinking about this before). Dumb jokes and bickering is their love language, duh. And I think in those moments, it legit made the most sense for Eddie to say “I fucked your mother” to Richie, the king of inappropriate your mom jokes (at least in reference to Eddie - I fucked your mom, Eddie’s mom’s vagina on Halloween, smells worse than Eddie’s mom’s slippers, etc.). I’m working on a theory that not only is that a communication of love/the importance of their relationship (like, he makes the effort to make that joke when he’s fucking DYING, something specifically for Richie), but about comfort. Dunno if it’s about comforting himself in the face of knowing he’s dying, or comforting Richie, or both, but...honestly, falling into a familiar pattern after all of this sincerity and fear just came pouring out of Richie makes perfect fucking sense to me. And, there’s also nearly a solid 2.5 minutes between cutting away from that scene and Richie running to join them in the final takedown (and tearing It’s fucking arm off, which is amazing, and I love Bev’s little shocked face right after that happens). There’s room for conversation, for sincere comments, if you want to imagine them there. But I’m not disappointed they didn’t do any real “I love you” moments or something, because I think we got a very in character and appropriate response. And I’ll say again, Richie’s anguish and denial, holy shit, my heart hurts. 

Eddie: Eddie Kaspbrak, my love. I was saving Eddie for last because I have so much to say but idek how to say it. I don’t know why, but I wasn’t expecting adult Eddie to have the same hyper, angry energy of kid Eddie, let alone an amped up version, but I LOVE THIS SMALL, ANGRY MAN. James Ransone was brilliant casting. When he was first cast (not that I knew who he was), I was like, eh he looks alright, we’ll see. But watching him in action and watching Jack Dylan Grazer in action, damn, they are well matched. And their eyes are very alike. But more than the physicality, just in general, damn he was a great Eddie. I’m not super solid on how well he matches up to book Eddie’s characterization overall, but if I see a major overlap in book and movie Eddie in any book scene, it’s when Eddie sprays his inhaler at the giant eyeball and just flips out: ““Fight It!” Eddie raved at the others. “It’s just a fucking Eye! Fight It! You hear me? Fight It, Bill! Kick the shit out of the sucker! Jesus Christ you fucking pussies I’m doing the Mashed Potatoes all over It AND I GOT A BROKEN ARM!”" But anyway. Movie Eddie. I love his angry bravado, because you KNOW so much is bravado. That one post that says Eddie has small dog syndrome is fucking legit. Eddie is hilarious throughout (again, kudos to James fucking Ransone), but then the emotional scenes? Oh my GOD the emotional scenes!!!  Eddie has moments of fear but still mostly maintains that bravado until the spider head thing attacks (even before it attacks Richie specifically, you can tell he’s pinned to the wall in fear). And after Richie is saved, and Bill comes to yell at him, BOOM the emotion kills me. That shield is gone and he’s just back to a scared little kid, and there’s such an emotional realness to the rest of his scenes (except when he’s bickering with Richie, of course). He’s scared and he’s hurt. And the way the Losers support him through that - Richie talking Eddie up to encourage him, reminding him all of the ways he’s been badass so far, and the entire interaction with Bev “This kills monsters” “Does it?” “If you believe it does.” His face, the gentleness of that scene, it kills me and I love them so much. It’s just a beautiful moment. Also beautiful on the other end of the spectrum is Eddie psyching himself up to save Richie this time, dammit, “IF YOU BELIEVE IT DOES! BEEP BEEP MOTHERFUCKER!” And then his face! Actually, his face when he first sees Richie in the deadlights is worth mentioning, and his “holy shit!” and then happiness after (you know, until THAT happens). IT GIVES ME FEELINGS. Ummmm let’s see, oh, I fucking LOVE that they referenced the gazebo line holy shit! Imagine being Jack Dylan Grazer and having your improv from when you were 11/12 become not only one of the most iconic lines in the first movie, but get referenced in the second!!! For mirroring kind of purposes, when they go down the well, Eddie is the one to mention grey water first in both movies, love that. Also love that in the first movie he has the line about how 89% or whatever of home accidents happen in the bathroom, then he gets stabbed in the bathroom. Which, like, that scene? Again, he is so fucking FUNNY. The initial shock of “HOLY SHIT HE JUST GOT STABBED IN THE FACE” fights with “HIS RESPONSE IS SO DAMN FUNNY.” His faces all the way through to “you should cut that fucking mullet, it’s been like thirty years man” is GOOD. SHIT. I love Eddie Kaspbrak so much. Also the delivery of “what the fuck!” after the leper run in as an adult. Oh, and speaking of the leper, Eddie Kaspbrak saves the fucking day by helping them understand how to actually fucking kill It, the way he almost actually killed it earlier. He’s fucking dying and he has this realization, this way to help them, and I’m just gonna be a broken record of I LOVE EDDIE. And I love James Ransone’s portrayal (and Jack Dylan Grazer, for that matter, since I am talking about both movies kinda though mostly Chapter Two). 

...and that’s more than sufficient for now. 

[speeps-highway]

Something I noticed about the way Sonic is portrayed nowadays is that he is pretty much All Might. Colors and Gens didn't have the plot to fully show it and Lost World put all the blame for his actions. Forces however, he keeps the same careless attitude from Unleashed to Gens, everyone looks up for him as their savior and role model and even when he makes bad jokes against the villains he still ends up recking them like trash. He went from Goku/Luffy type of shonen hero to literally All Might.

I barely watch Anime so I have hardly any idea what you’re comparing him too, but let me make it clear:

Sonic’s portrayal in games suffers in localization a lot.

Adventure -> Shadow Portrayal

From SA1-06 there was a pretty general issue in the main series with unsatisfactory translations - SHtH messes up a lot of lines, and SA2 is almost completely broken at times (Teria, KAFOW, saying a broken version of the Japanese word for “Damn” when getting grabbed by a ghost)

On top of that I’m not sure what exactly went on and if it’s on purpose or not, but there was some kind of this obsession with giving the character cheesy one-liners, like in the 90s cartoons. Lines like this include “Something Buggin’ you”, “Come and get some Eggman” and “Crack that Eggman wide open”.

Sure, you can argue “Western sonic is different” but look at how that’s turned out in the past, not including giving Classic Sonic a mohawk. I’m sure even those people can notice how much lines like “Something Buggin’ You” are made fun of by people both in and outside of the fanbase. They might have worked well for AoStH and Satam, but they certainly don’t in the main series.

Japanese portrayals of Sonic were far less aggressive than their English counterparts. In fact, he keeps his cool pretty well but boy does he sound pissed in the rare event he actually does get angry. He’s been pretty consistent in acting this way in most, if not all of his appearances. In fact, there’s a character script from SA2 describing the character in exactly this way - you can see it here.

In some cases, this causes the games to lose subtle details like nods to other titles. For example a boy in Station Square who references Little Planet, or Sonic’s reaction to seeing Shadow in Heroes.

Secret Rings -> Black Knight Portrayal

Sonic is a depressed lover boy in 06 IMO. I don’t really want to get into that, so let’s skip that one.

Starting around the time of Secret Rings, Sonic games finally started to get localisations that were pretty accurate in both English and Japanese. There’s a reason the storybooks and Unleashed aren’t brought up nearly as much as the other games are for Sonic saying dumb lines. I mean, there’s still word differences, but they don’t go full on adding in random one-liners.

In fact, the only concern seemed to be the voice actors. For Sonic himself, even though Griffith eventually improved he was still nowhere near what Kanemaru (and that guy who voiced the Werehog, but I guess the decision to not have a seperate VA for that in English isn’t his fault) did for the character. (Unleashed example (J) (E), Black Knight example (J) (E))

Colors -> Lost World Portrayal

Starting with Colors though Sonic’s character took a weird turn: He was suddenly shouting cheese more than ever, and they were even showing up in the Japanese version. I think this is largely because they suddenly decided to have Sonic games be written in America by people wholly unfamiliar with the franchise. (Though in defense they’re not the entire problem)

The Japanese/English translation was back to being very different as well, mostly because the scripts included many more jokes and puns that couldn’t be translated well between the two. For instance, Cubot is a Cowboy in the English version but he’s a Ninja in the Japanese one. “Baldy Nosehair” is translated as “Mustached Egg” etc.

In the past, there weren’t a lot of lines you couldn’t easily find a way to translate. I think like, the line that got replaced with Ah Yeah This is Happenin’ is one of the only ones I can think of.

While it’s easy to shit on Colors Sonic, I think he did okay speaking for the game itself - it was lighter than the darker games that had been going on for the last 5 years. The problem isn’t that Colors Sonic existed, it’s that they kept him.

Generations got away pretty easy - there’s not much to even write for that after all. The only real change is the Time Eater scene to omit the reference to Dr. Robotnik.

Lost World is where he really falls apart, that game tried to raise the stakes with the planet draining and Tails kidnapping but in the end he just… couldn’t take himself seriously enough.

For some reason, really starting with Lost World the Japanese script took a wild turn. While Colors and Gens were relatively in the same style, Lost World’s Japanese version improved script in that everyone was generally more in-character. Remember what I said earlier about Sonic getting angry? Compare what he says to the Deadly Six when he sees Robo Tails in the English version to the Japanese one.

Even the jokes in Japanese Lost World are more suited to the character than they are in English. Eggman’s Jetpack at the end for example (J) (E). There’s lots of examples of differences in Lost World, too many to sensibly list really.

Forces Portrayal

IMO Forces has largely the same localization problems as SA1 - the lip syncing is always synced to Japanese (though lip syncing has never been good for both languages in one game) and the English script has a bunch of dumb sounding one-liners that get made fun of.

By now I’m sure you’re probably familiar with the whole “Sonic was tortured” and “Tails went mad” thing, but there’s still a lot of bad apples in the English version that aren’t there in the Japanese version.

The scene where Zavok opens Sonic’s prison cell is very different between the two (J) (E). I mean there’s still the problem about being stuck for 6 months, but Japanese Sonic is notably less fixated on butts here. He also doesn’t mention Chilli Dogs in that scene above while fighting him, or that “It’s been Generations” comment when he meets Classic Sonic.

Forces is definitely a step in the right direction for Sonic compared to Lost World though, even in the English version he’s far less quick to make jokes as he was before.

The game even restores an aspect of Sonic that was absent in Colors and Lost World - starting (and even finishing) the game alone. He was getting kinda circlejerky with Tails in those games, whereas in pretty much every major game other than Sonic 2 and 3 he’s always shown doing his own thing separated from characters like Tails and Knuckles initially and meets up with them afterwards - even if it’s a game like Heroes where it happens all at once in the intro movie.

I don’t know how Forces’ script was made, but if Nakamura is saying that the script was passed between Pontaff and Goya with the two making changes, they need to make sure that they both end up with the same result.

Passing the script between America and Japan is fine, but at the end of the day they need to make sure that both sides have scripts that match each other as close as possible, in order to avoid these character and plot inconsistencies.

Either way, by now presumably Pontaff have had more experience with writing for and have more solid past material for this series than the people who localised the SA1-era games. Considering I’ve heard Pontac refuses to talk about Sonic and Graff’s twitter got trashed by angry fans when he announced writing for the game, surely they should be aware of this characterization issue by now, but I don’t blame them if it ends up being something beyond their control, such as a lack of communication between SoA/SoJ or being forced to write the character that way anyway.

I think ultimately what Sonic the character is dealing with right now is the rotting corpse of 90s American Sonic, who died, came back from the dead, then died and came back again - a zombie that won’t stop falling apart, and the stench is catching up.

[a-enc-2135-blog]

Animal Activism: Genres

Genres can be easily defined differently by everyone in their own ways. My personal definition of a genre is as follows: a specific category which can represent a larger category. Genres are found almost everywhere and especially in places such as communities. A community is a group of people who all belong to something or someplace. A community could be as simple as just the people you live with or it could be a group of people with the same beliefs, goals and ideas. The main quality communities must have is similarity. These community’s similarities are shown through many different genres within them.  

A community I belong to is the animal activist community. I have belonged to this community for about 3-4 years but just recently have been able to explore the genres within it more hands on. I currently took up the job of fostering a dog with Last Hope Rescue and I am also an active phone banker with the Humane Society of the United States. There are five main genres present in my community which range from small to large. In my paper, I will be addressing the following genres: flyers, newsletters, petitions, advertisements and protests. These genres are the main modes of communication present in the animal activist community. These are the ways animal activists communicate their message and ultimately achieve their goals.  

First, I would like to start small. Flyers are a very simple genre which often contribute to press and recruiting others for the community. Flyers are often put on public bulletin boards, lamp posts around the town or could even be sent out by email. These are a very simple way of getting the public to attend events and fundraisers or just getting a short simple message out. These flyers are the very effective if the creator makes an eye popping design which makes people stop in their tracks and check it out. For example, if the flyer was bright colors with cute puppies all over it many might stop and look. One could also take a different approach at it and create a more graphic looking flyer which will also catch the public’s attention and stay with them mentally. Often these strategies cause this genre to be quite effective but I believe it could be more effective if some changes were made. I think flyers could be more effective if they began to be more digitalized. A lot of genres within my community are becoming more digitalized nowadays because almost everyone’s on a computer or a smartphone at all times. It makes for a larger audience and more interaction between the community and the public. For example, if a flyer were to be posted on Facebook rather than on a bulletin board, many more people would probably pay attention to it as well as be able to reply to it with suggestions or RSVP’S. Also, Facebook gives the public to share the flyer with their personal friends which allows for a larger audience that might not usually see it.  It would be a great help to both the public and the community. Also, often when I see a flyer that interests me I will remove one of the paper strips with the information but then within the next week I will either forget I got it or lose it somewhere. Digitalizing these flyers will allow it to be more concrete and stick with people since we are always checking emails, social media etc. 

The next genre I would like to address is a newsletter. A newsletter can be easily compared to a flyer but with a little bit of added information. The main purpose of a newsletter is to communicate an idea or goal through short paragraphs and often pictures as well. Newsletters are often directed towards a smaller audience since most newsletters require free subscriptions. This genre is quite an effective form a communication but also for education. My community’s newsletters mostly include short paragraphs describing certain issues that we are currently working to fix and/or different achievements or goals the community has. For example, there was recently a scandal involving the new movie A Dog’s Purpose. A video was released of a dog being forced into rushing waters. After the video was released I received a newsletter from PETA informing me on the event and asking me to boycott the movie.  Most of these newsletters only describe a small portion of what the community wants to communicate and sometimes includes a link for more information. I find this genre to be very rhetorically effective because it addresses issues directly and relates to the reader’s interests. However, I do think that it could be more effective by using more logos and ethos to persuade the reader to take action. Often newsletters don’t provide enough evidence or credibility to convince the reader to continue reading more on the subject. Maybe adding in certain sources could give the organization’s newsletter more credibility which would build trust between them and the reader. This genre has recently been converted digitally to email newsletters which can cause some issues if they are sent to a spam folder but it still makes for a more effective way of communication. I am still aware of a few organizations within my community who still send out paper newsletters which many older audience members might enjoy more. In this genre, I think both ways of communicating the newsletters are effective since they are more for educating rather than recruiting.  

I’m would like with this pattern and now address a bit larger of a genre in the Animal Activist community. Petitions are a peaceful way of making a change and have proven to be quite effective. For example, in 2015, fifty chimpanzees used for medical research were released as a result of a petition which received more than 21,000 signatures. Petitions are often distributed online or in person at different events. Most petitions describe an issue, provide evidence and ask for signatures to initiate change. One of the first genres I used in my community was a petition. I found it to be very easy to get others to sign and gain interest in joining my community. Petitions often use logos to convince the readers of the petition that their signature will have a positive impact on the issue at hand.  The audience approached in this genre is usually the public. Any signature will do therefore as long as a member of the community accurately communicated the issue in a peaceful manner it will be easy to get signatures. Although this is a very effective genre, there are some constraints. If a petition is performed through an online source it can be hard to get enough people to view your ideas if not already involved with a larger organization. The main way to get signatures this way would be to go out in public and educate and recruit signers which can take up a lot of time. The most successful petitions are usually ones which are largely advertised and well known at the time in the community. 

Advertisements are one of the largest genres of communication within the animal activist community. Advertisements are often video evidence of an issue from an organization attempting to make a change. It could also be as simple as an organization flaunting what they have done for the community and encouraging others to join. These advertisements are often trying to encourage people to donate and make a change in their lives to help animals. Almost every has seen the sad commercials of neglected dogs on TV from the ASPCA. And, almost every has changed the channel during those commercials. That is the main issue with this genre. Using pathos can be extremely effective especially within this community. Often, people watch the commercials and immediately research more, take action and join the community. However, many of the videos shown are too graphic and encourage people to ignore it and turn it off. This causes many to feel upset but not the type of upset that might motivate them to take action. Advertisements could possibly be more effective if they were less graphic and showed how the organization does positive things while also showing evidence of the issue at hand. Even though the images shown can be quite graphic, they do have some logos involved. When you think about it, only certain animals really appeal to people's emotions. If someone was showing sad images of an insect someone might not feel as emotional about it than if they showed a sad, abused puppy. This is something which does cause people to pay attention and think about what they are seeing. 

Lastly, the largest genre in my community is protest. Protests are largely used in many organizations however mostly in the organizations which are a bit more extreme. Members of the animal activist community have had effective peaceful protests but there are often the chances of things getting too extreme and juggle with the law a bit. Certain organizations such as PETA, are known to protest in very harsh and sometimes ineffective way. This includes acts such as throwing flour at celebrities for wearing fur or barging in on conferences protesting with signs. This way of protesting appeals to pathos by addressing anger in the animal activist community. Some may think this is an effective way to communicate and while this may be true to some it is no doubt illegal to assault or harass others. The main reason these protests are ineffective is because of their inability to educate. The actions are mostly for either publicity or to make a statement. The groups do nothing to educate people on how they can actually make change but just harassing and assaulting others. PETA has had many peaceful protests however some of the acts mentioned above are considered acts of assault which can result in police action.  On a more positive note, protests when peaceful and legal can do a lot of good for the community! Protests are often advertised through another genre (flyers) and put across a strong message. During the actual acts of protests themselves, people often gather in large crowds at a certain location and fight for change. The participants usually make signs with chants on them and they present these signs while reciting the chants. Another example using PETA, is a protest which took place recently in Los Angeles, California. As I mentioned earlier, the new movie A Dog’s Purpose has been under fire from PETA and other animal activist organizations in my community. On the night of the movie premiere, a group of animal activist from PETA, peacefully stood in front of the movie theater holding signs which says like “A dog’s purpose is not to be a prop” while also streaming the video that TMZ released on a small iPad. This act of peaceful protesting caused many to realize that supporting a movie that uses animals as actors is not always the best idea. When people take their time, and put their message out there in a peaceful way it can make for a great change! The audience for this genre is usually another organization or the government whom they are trying to convince to change a certain action or law.  

There are many other genres included in my community but the few I discussed are the most relevant. Overall, all the genres in the animal activist community have the same goals. They all are aiming for change. Change can be small or large just like the genres which often correspond with one another. Whether change is achieved or not is based off how large of an audience the community can recruit and how many people they can seriously impact through the genres discussed.  These genres also are what allows the community to communicate. One organization might support another by seeing a flyer or newsletter. No matter how one looks at it the overall goal is always the same. Change for the people and the animals of the world.