#the other flaw of the 2009 mini series is that it's a love story but I can forgive it

[archduchessofnowhere]

Your blog is incredible, I love it. Are there any books about Elisabeth that you absolutely recommend? I know films and series about her are not the best but are there any that are ok?

Hello anon, sorry it took me so long! And thank you so much for your kind words. I've already mentioned some books available in English that I believe are a must to learn about Elisabeth on this ask.

I would add to the recommendations Sissi ou la fatalité by Jean des Cars; while I found des Cars prose a bit too dramatic for my liking and I didn't agree with all his takes it's still a nice and solid biography of the empress. It was written originally in French and it also has translations in Spanish, Italian, Czech and Romanian.

I have another ask in queue about the films and series, but as a general answer for now: most of them are ok. The main problem with them is just how inaccurate they are, some over-romanticize her life and turn her into a fairy tale princess (Sissi Trilogy), while others modernize her to the point of making her unrecognizable to the historical woman (Sisi 2021, The Empress). But they're not unwatchable: for exemple, the Sissi Trilogy is a visually-lavish, feel-good coming of age story, Sisi 2021 is a hot mess but can have its moments, and I hated The Empress but every person that doesn't know the history that watched it said that they loved it, so it must have its charm.

Personally I recommend the German-language musical Elisabeth (which just happens to be my fav musical ever) and the 2009 mini series Sisi (not to be confused with the 2021 series). The musical covers her whole life since she got married until her death, with two particularities: first, that it's Lucheni, the man who assassinated her, who tells her story, and second, that Death is a character that lurks through out the entire show (and sings absolute bangers). It's only two and half hours long so a lot of things about Elisabeth are left out or simplified for dramatic purposes, and yet it is still one of the more nuanced portrayals of her life that exist. Meanwhile the mini series is the closest thing that we have to a historically accurate representation of Elisabeth's life; honestly I think its only major flaw is how short it is for the time period it covers (fourteen years in only three hours!), it feels rushed and some moments don't land because of how crammed the timeline is. But there was a real attempt to follow history and I appreciate that. Plus the costumes are gorgeous. You can find both of them on Youtube with subtitles in English.

Thank you for your question!

[aion-rsa]

Ghost of Tsushima Review: A Beautiful Homage to Akira Kurosawa

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Ghost of Tsushima is a daring departure for Sucker Punch, who since 2009 has worked solely on the Playstation-exclusive Infamous series. While those games were steeped in modernity, offering sprawling cityscapes players could explore from top to bottom via superpowered “conduits” Cole MacGrath and Delsin Rowe, Ghost of Tsushima’s open world is set in feudal Japan. It’s here that we meet young samurai Jin Sakai, who must defend his homeland, the titular island of Tsushima, from an invading Mongol army.

Right off the bat, the shift in time period and milieu to 13th century Japan is notable because Sucker Punch handles it so brilliantly, especially for the team’s first foray into the samurai genre. Japanese history and culture are woven into every single facet of the game so elegantly and organically that you’d think the team had been developing games set in feudal Japan for the past decade, not sci-fi superhero romps. More than anything, Ghost of Tsushima is a moving homage to Japan, its history, and its people.

The story opens with a massacre. A massive Mongol army, led by the cunning Khotun Khan, storms the beaches of Tsushima and is met by the island’s woefully outnumbered samurai contingent. When the leader of the samurai challenges Khotun to a one-on-one, fair fight, the Khan renounces the honorable gesture in gruesome fashion, literally setting the courageous samurai on fire in front of both armies. The rest of the samurai are obliterated on the beach, while Jin’s uncle, Lord Shimura, is taken prisoner by the Khan. Jin is also fatally wounded but is miraculously nursed back to health by a new ally, a thief named Yuna who needs his help in return.

These opening moments set the tone for the rest of the game. The philosophical conflict between honor and deception is the beating heart of the story and permeates the gameplay in riveting ways. As you fight to take back Tsushima from the Mongols, you can approach enemy encounters in two ways. You can choose to fight honorably, like a true samurai, and challenge enemies to a “standoff,” a quick-reflex mini-game of sorts in which you and one of the baddies face off one-on-one and see who flinches first before one of you slashes his blade through the other. You’ll then have to take on the rest of the enemies all at once, which is no easy task.

The other option is to fight like a “Ghost,” sneaking into enemy camps, killing the bad guys in their sleep, poisoning them, using intimidation tactics to scare them into fleeing battle. It’s an effective way of evening the odds between you and your foes, but it rails against everything the samurai stand for.

Countless games offer the player the option to approach combat either stealthily or head-on. This is far from a novel concept, and in this respect, the combat in Ghost of Tsushima offers little innovation. But what is innovative here is how Sucker Punch has taken the classic device of stealth vs. frontal assault and given it new life by expertly integrating it with the themes of the story.

Jin meets a handful of allies on his journey, each with their own multi-chapter story arcs that delve into their respective backstories. There’s sensei Ishikawa, a master archer whose protege has gone rogue and joined the Mongols. Lady Masako is a warrior and grandmother whose entire family was murdered by the Mongols, though she suspects they may have died after someone close to the family conspired with the enemy.

Each of the characters explores the honor vs. dishonor theme in unique and surprising ways. The dichotomy is most starkly represented in the clash of ideals between Lord Shimura, who is unshakably honorable and would rather die than gain an unfair advantage in battle, and Yuna, who understands that, to beat an enemy who fights dirty, you may have to put honor to the side for the sake of saving your people. Of course, Jin is caught in the middle and struggles to decide what kind of man he wants to be.

Aside from the ties to the story, the gameplay is fun and engaging. The swordplay combines parries and dodging with a more strategic approach to melee, as you try to find ways to build up your enemy’s stagger gauge. You can also use “ghost weapons” to give you an edge in battle, like kunai (throwing knives), smoke bombs, arrows, and more. There are also four stances to master, with each being effective against a different enemy type. Switching between stances is integral to combat and becomes second nature over time. There’s also an insanely cool fifth stance that I won’t spoil here, but it’s spectacularly badass.

Stealthing is strikingly similar to what you’d see in an Assassin’s Creed title (this is a compliment), and the game gives you myriad ways to kill enemies without raising alarms, like throwable wind chimes and firecrackers that allow you to manipulate their positioning or hallucinogenic darts that turn them against each other. Again, this is all stuff we’ve seen before, but it’s pulled off well here.

Release Date: July 17, 2020 Platform: PS4 Developer: Sucker Punch Productions Publisher: Sony Interactive Entertainment Genre: Action-adventure

Unfortunately, there are little gameplay flaws that needled at me, especially in the later hours of my playthrough (it took me around 45 hours to finish the game). The swordplay requires quick reflexes, and mastering parries and dodging is absolutely pivotal to your survival. The problem with the swordplay is subtle, and a little difficult to explain, but I’ll say it like this: in most games that are particularly challenging, when I die, I feel like it was my fault because I made a mistake, I just wasn’t fast enough, I hadn’t mastered certain skills. But on many occasions in Ghost of Tsushima, I felt like I died because the game didn’t give me a fair shot, like it was the game’s fault that I failed, not mine. It’s possible that I just wasn’t very good at the game, but it felt at times like I wasn’t given a choice in the matter. Your mileage will vary with the game’s difficulty level.

There are other things that bugged me, too, like the unreliable climbing mechanics (I swear, sometimes hopping onto a rope or branch that’s literally right in front of you is way, WAY too difficult). But overall, I had a great time playing the game and felt super powerful by the time I’d filled out my skill trees, which is no surprise considering the game was made by the same folks who made Infamous.

On a nuts and bolts gameplay level, Ghost of Tsushima doesn’t feel all that unique — there is some very familiar open-world stuff here. But on a presentation and storytelling level, the game is out-of-this-world amazing. Visually, the game looks stunning. The late-stage PlayStation 4 graphics really deliver, and coupled with the strength of the art design, Ghost of Tsushima is a true head-turner. The character models look fantastic and can emote on a level that supports the drama of the story. And while the different suits of armor that Jin acquires offer unique gameplay perks, I honestly just collected and upgraded them almost exclusively as an aesthetic indulgence. They look so freaking cool.

But the real stars of the show are the environments, which look picturesque from every conceivable angle. The wind-swept, verdant hills of Tsushima are intoxicatingly pretty, to the point where I’d get caught up ogling for minutes on end at the smallest of details, like the way the moonlight bounces off blades of grass or the way Jin kicks up crimson-red leaves that have blanketed the ground over time. I could go on forever about the dynamic day/night cycle, the beautiful rendering of different fabrics and materials, the horse animations. But instead, I’ll just say that this is the most breathtaking game, visually, that I’ve seen in recent memory.

A lot of love also went into infusing the game with Japanese cultural references, particularly in how the developers pay homage to the samurai genre. Each mission, for example, is bookended by cinematic intertitles that evoke old samurai cinema, Japanese characters, and all. But without a doubt, the most obvious/most amazing homage is “Kurosawa Mode,” which presents the game in black and white, with one of the best film grain filters I’ve ever seen in a game, resulting in an experience that looks almost exactly like a film from the iconic Japanese auteur’s oeuvre, right next to Sanjuro and Seven Samurai. If you’re a long-time fan of Kurosawa, turning the mode on may even elicit an “I’m not crying…you’re crying!” response — it’s that pretty.

I initially intended on playing the entire game in Kurosawa mode but quickly realized that it would be problematic to do so for a few reasons. Some missions require you to “follow the (insert color) flowers,” which is obviously impossible in black and white. And in combat, blockable enemy heavy attacks are signaled by a blue glint, while unblockable ones have a red glint. Combat is tough enough as it is, so…yeah. I only turned the mode on when I was riding on my horse through the countryside and I felt like treating myself to some eye candy.

Taking time to smell the cherry blossoms and have a respite from the game’s many missions and side missions is crucial because Ghost of Tsushima is a long, long game. The missions aren’t overly repetitive — most of them feel really special actually, like when you climb a mountain in freezing cold weather and must race from campfire to campfire on your ascent, or one armor quest comprised of several one-on-one duels with straw hat swordsmen scattered about the map, each with a distinct personality. But 40-plus hours is 40-plus hours, and while the main tasks of infiltrating enemy camps, liberating farms, and searching for special gear can lead to questing fatigue at the tail end of the game, the nice thing is is that you can always slow things down and just enjoy the scenery to break things up. There’s even a nifty photo mode to play with, and if any game warrants a photo mode, it’s this one.

Jin’s story isn’t just a means to an end, or a lazy excuse to drag the player from gameplay scenario to gameplay scenario. The story is incredibly well written and profound in its messaging and imagery, so much so that I believe it’s one of the best modern entries in the samurai genre, regardless of medium. All of the characters you meet and the little tales that unfold across Tsushima are filtered through Jin’s inner struggle with what honor really means and whether or not it’s worth dying for, which gives the story an incredibly strong narrative backbone. Despite the game’s epic scope, Jin’s journey actually feels quite intimate and personal. The same could be said of Kurosawa’s best work, and that’s just about the highest compliment I can give.

The post Ghost of Tsushima Review: A Beautiful Homage to Akira Kurosawa appeared first on Den of Geek.

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[babevogue]

Shows that made my 2017 better

So last year I made a list of shows that made my year better. Now I will say that 2016 was a FAR WORSE year than 2017 was for me. In 2016 I had academic pressure than was awful and I started a new school and all my friends ended up in different classes than me together, so that was fun. But then came 2017 and was all around just AWSOME and along with that awesome-ness came some amazing shows. Last year I just made a bullet list, but I thought that this year I should make some mini reviews, so here I go:

Fist off, my 2017 was dominated by animated shows/anime, so my eyes have really been opened to this amazing artform this year. HERE I GO:

 My hero Academia/Boku no hero Academia

What an awesome show. I watched this in November/December and I love the premise, characters and plot. It has really breathed some life into the superhero genre and is an all-together fun look at what it would be like if everyone in the world had different super-powers. It has stunning animation and the manga is also super-cool and goes in a great direction. Both the anime and manga is super-recommended.

 Favorite character(s): I love Todoroki, he is awesome (and I’m a slut for angsty backstory so…). Deku is great. Actually, can I just write every character here? except Mineta, fuck Mineta!

 Greatest qualities about the show: The character dynamics! The way the characters interact with each other is immaculate and they just fit together great. I also really like how each arc is structured and paced.

 Negatives: The girls are sometimes a little bit passive for my liking, and if there was an arc with Mineta dying I would not be mad.

Bojack Horseman

I binged this show and fell in love. What might just appear as just a wacky adult cartoon at first glance (and first couple of episodes) is actually a deep depiction of many modern-day topics and problematics such as depression, alcoholism, drug-use, sexuality, sex work, feminism, politics and of course life in Hollywoo(d). The human-like animals might be jarring at first, but it uses the character designs to its advantage with hilarious animal-puns and situations alongside making the show more lighthearted despite the shows heavy subject-matter.

 The show is about the horse Bojack who was a famous sitcom star in the `90s and his slump of a life post sitcom star life and his journey back to stardom. The blend between humor and chilling, haunting realism is amazing to watch unfold alongside clever and real character development that is beautiful to watch. Ironically the most aesthetically absurd looking show on this list has the most realistic story. Great social commentary disguised as a comedy.

 Favorite character(s): Everyone is flawed in Bojack Horseman, but the most interesting characters in this show for me are Bojack and Diane. So, I would say Diane is my favorite to observe.

 Greatest qualities about the show: The way it discusses social issues. Its stunning and thought-provoking.

 Negatives: It’s a little bit slow and odd in the beginning and some might find it a little too sad.

Rick and Morty

I discovered this show around Easter time and WOW! No show like any other on this list handles surrealism and absurdist comedy, parody and satire quite like Rick and Morty. The show about the scientist Rick and his grandson (with his grand-daughter Summer joining inn somtimes) Morty going on wacky space adventures. Ricks dick-ish nature contrasts Morty’s wide-eyed curiosity turned cynicism perfectly. The show has fun world building, alongside a great blend between one-off adventures and overarching plot. Visually the show is both stunning and disgusting making it an interesting aesthetic journey for the viewer. Funny, crazy and surprisingly deep at times. And btw watching Rick and Morty does not make you smarter nor require you to be a super-intellectual.

 Favorite character(s): Morty is always delightful.

 Greatest qualities about the show: Its really funny and has really great world building/concepts within the show.

 Negatives: It sometimes boards on a little to gross and has some growing pain in the start.

 This is kind of a shout-out to a second season of show from last year’s list so:

Stranger Things 2

Such a good “sequel”. I enjoyed every moment of the show (even the controversial Chicago episode). The characters developed, the plot developed, the new characters were amazing and tone and aesthetic from the first season was carefully preserved and used immaculately. The 80`s reference game was just as strong. For anyone who has lived under a rock the last year and a half the show (first season at least) is about the mysterious disappearance of middle-schooler Will Beyers. The year is 1983, location Hawkings, Indiana.

 Favorite character(s): Steve Harrington deserves the world in season 2. I also really like Mike.

 Greatest qualities about the show: Addicting story. SO BEAUTIFULLY SHOT! Amazing acting from everyone.

 Negatives: Ok, I lied the Chicago episodes stagnated the plot to some extent. I just don’t hate the episode as much as everyone else.

 And last but CERTANTLY not least:

 Ok so I’m cheating on this one I watched this show in January but I watched the first episode in December so I’m including it and also I’m so in love and I wanted to include it here rather than next year’s list because I want it fresh in my mind.

 Fullmetal Alchemist/Fullmetal Alchemist: Brotherhood

 So, this entry is technically 2 shows. One was created in 2003 based on a manga by the same name but diverges from the manga around the half-way point because it ran out of material to adapt and goes in its own direction. The other is from 2009 and is a straight adaption of the manga. This creates 2 shows with the same central characters, plot and starting points that diverges GREATLY from each other and they are both amazing!

 The plot goes like this; In a world where alchemy developed, you cannot create something with alchemy without having the materials that equals to what you want to make. Example: if you want to create a radio you need all the materials that make up that radio to create it. This is known as equivalent exchange and it cannot be broken.

 When the young brothers Edward and Alfonse Elric’s mother dies they try bring her back using alchemy. In the process Edward loses and arm and a leg while Alfonse loses his entire body and is only left with his soul which is now bonded to suit of armor. The brothers must seek out a way to find a way to get their bodies back.

 IT IS AMAZING! Both versions are amazing, but I slightly prefer the 2009 version also known as Brotherhood. It explores dark and philosophical themes and questions such as mass genocide, the life of the military, PTSD, fascism, war, politics, what is god/playing god, what is the price of a soul is, loss and most importantly daddy-issues.

 There is no end to how much this series deserves praise (mostly referring to Brotherhood here). From the way its gorgeously animated, to the pacing, the way it handles it subject matter and issues and has relatable characters. The character development is perfect, and the plot never meanders or goes into dead ends and concludes beautifully. Even the attention to details is impressive with examples such as the way it shows the characters physically aging and demonstrating where in timeline the scene takes place with subtle hair changes. Fullmetal Alchemist (brotherhood) is like watching someone pouring all the puzzle-pieces out on the table and watching someone cleverly and creatively putting them together, thus creating a magnificent art-piece in the in the process. I would also like to mention one of the most amazing aspects of both versions being the way female characters actions, traits, part in the plot, abilities and dialogue are some of the best female writing I have ever seen. Ironically enough in a work marked towards teenage boys.

Favorite character(s): Fullmetal Alchemist is the kind of show that I like to call having “parks and rec”-syndrome, where genually love everyone, however If I have to pick I might say Winry. I absolutly lover her and I think she is a great role model, hillarious and greatly written. 

Greatest qualities about the show: The way it deals with its subject-matter. And also everything else about the show, but especially that. 

Negatives: Nothing about the show, just a little girl and her dog that im a little tierd being meme-ed to death on reddit but also kinda laugh so im a little bit conflicted, but there is no negatives that I can think of. 

That was it, bye-bye 2017, I watched some fine televison in your year, and I hope to find some just as good in 2018. 

[phati-sari]

EXCLUSIVE: BARUN SOBTI REVEALS ABOUT HIS NEXT PROJECT AFTER IPKKND 3 ENDS!

By Ankita Bhalla -October 6, 2017 || Link to original article

Barun Sobti is probably Television’s Golden Boy. His journey began on small screen with a faith-oriented show in 2009, Shraddha. As the main lead, Barun was seen opposite Ankita Sharma in 2010 series Baat Hamari Pakki Hai. But he capitulated to envious fame and success with 2011 romantic drama Iss Pyaar Ko Kya Naam Doon? As the rich, arrogant business tycoon Arnav Singh Raizada, Barun swept off every fan off her feet.  Touted as the Mills & Boon ‘perfect man’ by his female fans, his chemistry with Sanaya Irani is considered among the best till date on small screen. Owing to Barun’s immense popularity, a mini-series titled Iss Pyaar Ko Kya Naam Doon Ek Jashn was aired on Hotstar followed with another web series Tanhaiyan where he was seen opposite Surbhi Jyoti. But created a stir was his return in Iss Pyaar Ko Kya Naam Doon 3, a new season, as Advay Singh Raizada.

However, today is the last day of  IPKKND3. The show which went on air in July 2017, will shut its curtain after a brief stint. Does Barun feel bad that the show which made him a household name, its third season came to an abrupt end? “No, it’s okay. The makers made a sequel and the whole hype attached to it. See, some things work out or things don’t work out. There’s hasn’t been one day of the show which I regretted, or not given my 100%. People have come back to me and said that you are amazing in the show. If still, it didn’t work out, then I have no other answer to it.”

While Barun stuck to a neat, prim & proper look in IPKKND season 1, in the third season, fans were in for a surprise when they saw him experimenting with his looks. From dhotis to harem pants, Barun’s wardrobe was a contrasting opposite to his real life image. “That was one of the key points initially, to separate the two characters. I never ever get into costumes. Trust me, whatever is given to me, I wear it. And that is my fundamental in life too. I am a big fan of business tycoon Warren Buffet. I once read a story about him that he has X number of companies and CEO’s and to all those, he writes only once in the financial year. His mantra is – ‘Hire the right person to do the right job.’ So for me, if I will get into fashion and styling my own looks, I will look like an idiot. Not known to many, but my wife Pashmeen loved my look is IPKKND3.”

As per fans, one of the key reasons why Iss Pyaar season 3 couldn’t work in the first place was the lead actress Shivani Tomar. While Barun’s pairing with Sanaya Irani and their scintillating chemistry in season 1 was the key factor of the show’s stupendous success, he and Shivani, together, failed to create the similar magic. However, Barun strongly disagrees. “Poor thing (Shivani), she didn’t do anything wrong. She was just looking for a job, got the part and did the show. As simple as that. People who out there are touting Shivani as the reason for the show’s end, is just not fair,” exclaims the actor.

So will Barun be seen soon on TV or is it just Bollywood for him now? “My career has been set up in a weird way. I tend to let go off biggest of things when I am not convinced with a project. I have friends, who are casting directors. Ask them. They say that we have already said no to a film on your (Barun) behalf because we know you won’t take up the part,” adds Barun.

We insist that unlike all his fans, we would love to see more of him onscreen and he jumps in, “That’s why, because I do good work. Either its TV, Web or Films my motto will remain the same – Good work!”

Tanhaiyan, the web series, fetched Barun positive reactions from all quarters. In today’s scenarios, with rampant censorship on films, mindless, infinite plots on TV shows, is Barun keen to take over the web world? “Shooting a web series has been a beautiful experience. There were no telecast problems. We shot it in a single go. We had our scripts beforehand. And I am always a game for such things. For my fans, I have something come up soon in that space, in a few months,” shares Barun!

Last but not the least, but if the makers of Iss Pyaar Ko Kya Naam Doon will come to Barun and Sanaya with a new season, will he be a game for it. “(Laughs) I can’t say. You even have to ask Sanaya. Dates bhi toh honi chahiye.”

Known for his intense, romantic scenes, is the otherwise shy Barun, open to get intimate on the big screen? Rumour has it, Barun’s reservations to not do such scenes is because of his wife Pashmeen. “No! She has nothing to do with it,” clears the actor and adds, “Rather my wife was the one who told me to go ahead and do a kiss scene, when and if required. But I am not comfortable with it. Though, my love scenes and chemistry with my co-stars onscreen suffices (Laughs).”

We wish all the best to Barun for his upcoming projects.

The bolding is mine, as is the italics of the show names.

Things I took away -- he’s again being very careful not to blame the channel or production house and is instead choosing language that implies it was a gamble that didn’t pay off. With Sobti, it’s always important to look at what he says AND what he doesn’t say. He lays the blame for making a sequel and hyping it up using IPKKND firmly at the feet of the makers though, which I found interesting. 

Unlike Dogra and Pansare, he’s historically been very careful about what he says regarding the channel and production house, which is likely the reason they keep casting him for things. He makes good relationships and is diplomatic. 

One thing I found interesting was that the article suggested that Ek Jashn was basically made because of Sobti’s popularity, which explains why Khushi was only present for two episodes. Perhaps the channel and/or production house mistakenly believed that Sobti was the reason people were tuning in, and interpreted the success of EJ as validation for this flawed hypothesis. This would then explain why the channel was so eager to relaunch IPKKND with Sobti only -- perhaps they genuinely didn’t realise that the popularity has less to do with Sobti’s hotness and more to do with the chemistry of the two leads, the amazing writing, and the superb performances they both gave. (I’d like to acknowledge that @puranijeans talked to me about this too!)

I think he would do well in another web series. I hope it’s with 4Lions again. 4Lions has proven that it is capable of delivering quality when it doesn’t have to pander to fandoms and ratings and censorship boards. I hope that, with practise, they’re able to usher in a new era for Indian television, one that isn’t so heavily reliant on ratings :)

I hope things go well for Sobti :)

[vohskyfire]

Zelda Countdown Review: The Legend of Zelda - Skyward Sword

-has prepared for many people to complain about this review, but, will proceed anyway-

...Sigh, here we go.

All right, the last time I talked a Zelda game, it was Twilight Princess. I talked about how when the game was coming out it was going to be a launch title for the Nintendo Wii, while also at the same time being a swan song title for the Nintendo Gamecube. Sort of like another Zelda game coming out this week. 

But let’s not get on about Breath of the Wild just yet, and focus on the now.

Since Twilight Princess was technically a launch title for the Wii, many people wanted to see an exclusive new Zelda for the Wii for couple of years since then. Buuuuut throughout the Wii’s life cycle, no original Zelda title for the system seemed to come. I mean, Cross Bow Training was just a mini game and for awhile there looked to be no original Zelda title for the Wii.

Until...2009.

There was a picture of Link, swordless, with a spirit behind his back. The two of them looking deadly serious. Many people wondered, who this spirit was, and why she was in place of the Master Sword. 

We wouldn’t find out anything more about this mysterious picture for awhile. Until in 2011, it was decided that next big 3D Zelda title in the series would be released on the 25th Anniversary of the franchise itself. It was going to be the last Wii Title, and one of the few that would take advantage of the new Wii Motion Plus adaption/controllers to the full extent.  This. Was Skyward Sword.

Many people were understandably, incredibly hyped up for this game. Many looking forward to what it was going to be. Why Zelda wasn’t a princess, why the Master Sword wasn’t there, and who the new antagonist was that they revealed in the E3 trailer.

But what surprised everyone though, was the news that Skyward Sword wasn’t going to be a new game, but it was chronologically the first Zelda game in the entire series. Hell, it was such a big deal that Ocarina of Time 3D on the 3DS had a little slip card that said “Be sure to play the game that tells the tale of the very beginning of the Zelda franchise! The Legend of Zelda: Skyward Sword! Coming out in November!”

I think Nintendo really wanted people to know that this game was the very first game in the timeline.

And...yeah, it really is.

Skyward Sword, for what faults it DOES have, is the very start of the entire Zelda series. Things that fans will know about when it comes to the series are referenced here, or explained as to how they were started.

The forging of the Master Sword, why every Zelda has such incredible magic power, why Ganon always, ALWAYS, comes back, why Sheikah named Impa always serve the royal family, how the people founded Hyrule, why every incarnation of Link is in a green tunic, it all is explained in Skyward Sword.

Now I’m gonna be up front with you guys right now. Skyward Sword is...

One of my all time favorite Zelda games.

-insert the boos from the Arin Hanson Fanboys and haters-

Yeah yeah, I know. Someone likes Skyward Sword? SHOWER HIM WITH HATRED FOR HIS OPINIONS!

But seriously. I love Skyward Sword. To me personally? It’s one of the best Zelda titles in the series. Right up there with both Majora’s Mask and Twilight Princess as my favorite title. (Though I’m certain Breath of the Wild will knock them all down)

“But Sky! Why would you like a game that most people on the internet have torn up?! Why would you defy the almighty EGORAPTOR?!?!”

Because I have opinions just as well as anyone else can. And yes, there ARE flaws about Skyward Sword. No Zelda game is perfect. Not even the precious Ocarina of Time. Hate to break that to you people.

Now then. Let’s talk about Skyward Sword.

Right off the bat I will say this. If there’s anything I will agree with the criticism for this game is the stamina meter, which drops way too fast in this game, should have been handled a lot better than it was. And that every time I left the game alone for a bit before coming back to it, that having to calibrate the controller again was a royal pain in the ass. And yes, fighting the Imprisoned 3 times is annoying as well. But each time gives you a different way to make it go faster anyway.

There. Those are the negatives to Skyward Sword.

“OH BUT SKY! WHAT ABOUT THE MOTION CONTROLS?”

Believe it or not? They’re fine. 

Look, Skyward Sword is no where near a game that is actually like swinging a sword. I own several of them, each one of them are heavy. Try doing the moves Link does with a heavy sword. They ain’t exactly easy to control.

But here’s the thing.

The controls in Skyward Sword, since the Wii Motion Plus is a more accurate with motion controls, are a thousand times better than what they were in Twilight Princess Wii. Does anyone remember how trying to pull off the complicated moves in Twilight Princess with the Wii Mote and Nunchuck felt? Sometimes they didn’t want to fucking work.

In Skyward Sword though? The controls are damn near perfect. If only it didn’t have to calibrate every time you left the game alone. 

Not to mention, Zelda games were never meant to be hack n slash games. Sure, you can swing your sword as much as you want to kill an enemy, but that’s not going to do anything in the long run. (Though admittedly a hack n slash Zelda adventure game would be pretty cool)

The way fights in SS feel a lot more like timing and planning. Sure you can go in swinging your sword like a madman, but that’s not exactly gonna work now is it? Taking your time with movements and slashes are the key to victory in Skyward Sword. So rushing in like a fool is not going to win you any of the boss fights.

The controls in SS are smooth, fine, and respond nicely. 

“WHAT ABOUT FI?!? SHE’S SO ANNOYING!”

Fi can be annoying. But here’s the thing. You don’t HAVE to ask for her help all the goddamn time. And unlike Navi, who is infamous for shouting “HEY” when you’re farting around, Fi just makes a ringing noise that you can easily ignore after a couple of times. 

Another thing to add the gameplay real fast is that this is the first Zelda title that take advantage of the items in different ways. You can upgrade the items that you find in dungeons, what you can buy from the bazaar, and from completing the trials of the goddess make SS the first in the series to allow you to upgrade your weapons in such a way. Breath of the Wild will continue that trend as well, which I look forward to immensely.

Now then, what about the story of the game?

Well, as I’ve said before, Skyward Sword is the very beginning of the series. It talks about why every Zelda is strong in magic, why each Link is reborn to fight Ganon/Ganondorf, why Impa is there, etc.

But besides all that lore that gets addressed and explained, Skyward Sword does something that no other Zelda did before. It makes you care.

And I mean, really care. 

In previous Zelda titles you were expected to save her because she was the Princess, you barely had any interaction with. Sans Wind Waker of course, but that took the game awhile to reveal who she truly was.

In Skyward Sword, Zelda isn’t a princess. She is your childhood friend that grew up with you since you were very tiny. And she is VERY precious to you in the game. So throughout the entire game, your reasoning for trying to get Zelda back isn’t just “Oh to stop the big bad from getting his goals.” it’s PERSONAL. You end up caring about this Zelda because her character is just so well done. The game does a fantastic job in making you believe that Link isn’t just trying to save her because she’s a princess. He loves her, and she loves him. So many games have tried to do this, but end up screwing it up somehow by something really stupid. 

Skyward Sword on the other hand, does it perfectly. The way the cinematic scenes are done in the game are just freaking amazing. They felt more alive than most other big named Triple A games from other companies. And this is a game that doesn’t even HAVE voice acting in it.

So yes, the story, cinema, and gameplay of Skyward Sword are some of the best from any Zelda game. It did so many things that I’ve wanted to see in Zelda games, and I enjoy that.

Skyward Sword may have it’s problems, and yes, it has its problems, but is it a terrible game that people have made it out to be?

Absolutely not. If anything, it is a game that deserves to be given its respect. Just because someone likes it too doesn’t mean you should shun them for liking the game. Don’t be an Arin Hanson who hates people who like Skyward Sword. Be respectful to their opinions, and understand why those who do love this game, love it.

A long time ago, I gave the game a ten out of ten personally. But replaying it for this countdown? I gotta give it a more fitting score.

Skyward Sword, despite its flaws, gets from me?

A solid.

9.7/10.

Thank you all for reading the reviews. It’s been a long fun ride, but I believe I’m ready for the next title.

Breath of the Wild. Here we come.

[recentanimenews]

Celebrating the Birth of a Legend with Hideaki Anno's Top 10 Works!

Whether you’re a casual anime fan or a diehard follower, chances are you revere, worship, or at the very least know the name of Hideaki Anno. As an eclectic and ambitious director and one of the founders of GAINAX studios, his career has had no small part in revolutionizing anime as we know it. His influence persists through some of the most memorable mecha anime and monster animation, dating back to Hayao Miyazaki’s classic, Nausicaa and the Valley of the Wind, where he received recognition for helping animate many of the more complex scenes in the film's climax. His style makes him a certified nerd genius, meaning he knows exactly how to make some of our favorite franchises and genres great because he grew up with them much in the same way we did.

To celebrate Hideaki Anno’s 59th birthday, we’re listing off our top 10 favorite works as we fondly look back on a filmography that is as timeless as it is visionary.

10) Rebuild of Evangelion

It’s difficult to gauge how good something is when it hasn’t finished yet, especially when its conclusion has been more than eight years in the making. So we’re settling with the reimagining of Anno’s most influential work at number 10. Whereas the original Evangelion broadcast lacked the budget to achieve Anno’s true vision, the Rebuild movies were able to capitalize on its popularity and create visual spectacles that were closer to his ambitions. The new story may take some controversial twists and turns, but Rebuild is certainly an experience that Eva fans shouldn’t miss out on.

  9) Love & Pop

In 1998, Anno made his first venture into live-action filmmaking, which expanded his passion for pop culture, and comes in at number 9. This harrowing coming-of-age story follows a group of Japanese high school girls who are embroiled in the seedy industry of compensated dating. In the transition from animation to live action, Love & Pop loses none of its creator’s creativity. The film was reportedly filmed almost entirely on handheld cameras, and uses odd perspective and camerawork to convey emotions. As a poignant commentary on Japanese society and the importance of self-worth, Anno succeeded in carrying out his patented brand of visual philosophy in his first live-action project.

  8) His and Her Circumstances

This 1998 anime comes hot off the heels of End of Evangelion, but represents a departure from Anno’s usual beat up until that point. Whereas he told very humanizing stories through the lens of sci-fi, His or Her Circumstances brought his drama back to much more realistic settings. The show focuses on a young girl who feigns perfection in high school despite her numerous personality flaws, and the relationship drama that she and her friends face.

According to Animefringe writer Adam Arnold, Anno did research on actual high school students in order enrich the anime’s plot and characters with a touch of realism. His introspection into the sociology of people’s relationships was supplemented by a unique art direction that featured scenes depicted using panels from the original manga, and lines of dialogue that featured little to no animation. Anno’s sense of style and storytelling is in full force, even without giant robots or monsters to complement the character drama, earning His or Her Circumstances a comfy seat at number 8.

7) Nadia: The Secret of Blue Water

For a series inspired by Jules Verne, conceived by acclaimed anime director Hayao Miyazaki, and directed by Anno himself, is it any wonder that 1990 anime makes number 7 on our list? The show revolves around the titular Nadia and her inventor friend Jean who join up with Captain Nemo and a host of other characters to try and stop the Neo-Atlanteans from taking over the world.

The series earned several Anime Grand Prix Awards in 1991, including “Best Work” of that year. It also placed at #72 in a 2001 Animage list of top 100 anime productions. It’s been lauded for its dark and mysterious narrative undertones being expertly woven into the show’s charming and upbeat nature.

6) Cutie Honey (2004 Live Action Film)

As another one of his live-action films, Anno took on the sizeable task of adapting Go Nagai’s classic and influential magical girl series. That’s a winning combination for number 6! The 2004 film stars award-winning actress Eriko Sato as the titular outfit-changing superhero, and features a ton of original character depictions, such as making Honey’s best friend,Natsuko Aki,a police inspector. Various scenes featured wacky visuals and magical action that oftentimes likened the movie more to a glorified motion comic than a film. However, a stylistic choice like this could be traced back to Anno’s love for classic Japanese pop culture stories, and a desire to bring that charm to life in its purest form.

5) Re: Cutie Honey

Of course, Cutie Honey shines as an anime, and Anno succeeded in bringing the project back to its roots. Re:Cutie Honey is a three-part OVA that came out only two months after the live-action movie. While the story remains the same between the film and the OVA, its characters received more development and many scenes retained the charm that Cutie Honey is known for.

  Though Anno is credited as the director, he worked with three different directors across each episode, each of them bringing their own style and polish to connect with Anno’s vision. Its stylized visuals, quirky anime dialogue, and homages to other classic anime make Re:Cutie Honey one of the more memorable works that Anno had a hand in.

  4) Gunbuster

This classic mech mini-series marked Anno’s directorial debut back in 1988. Inspired by 1986’s Hollywood film Top Gun, Gunbuster tells the story of Noriko Takaya, a clumsy but determined young girl who enrolls in a mecha pilot training school in order to follow her father’s footsteps in the battle against malicious aliens.

  As Anno’s breakout directorial work, this already featured many hallmark elements that we know him for today. From unique mecha and monster designs to a compelling and emotional narrative with a dash of fan service thrown in there, Gunbuster remains a pillar of 1980s anime and truly set the precedent for what Anno had in store for the world. The show’s final moments also featured his patented “vision exceeding budget” technique of having to cut corners on action sequences during the finale.

3) Neon Genesis Evangelion

  You probably saw this coming a mile away, because Neon Genesis Evangelion deserves no better place on this list than in the top 3. Anno and Evangelion are practically synonymous, as his show remains one of the most influential and memorable works in anime history. Evangelion dared to tell a harrowing and visceral introspection on depression and the human condition through the trauma of young and immature mecha pilots, reflecting Anno’s own depression at the time.

  Since its premere in 1995, it's been widely credited for revitalizing anime during a time where the industry was in dire straits. In a 2009 interview, anime producer and current AT-X President Keisuke Iwata once posited that it even played a major role in anime's initial global appeal. It challenged other creators at the time to tell stories of psychological depth and gave rise to more impactful and emotional anime. Acclaimed director Makoto Shinkai himself stated that anime as it is today owes a great deal to Evangelion. There’s really not much else to say about how revolutionary Evangelion is, or how imaginative Anno was in creating it.

  2) End of Evangelion

Of course, Evangelion literally wouldn’t be complete without End of Evangelion. With a proper budget and a reputation as one of the most popular and memorable creators of his time, Anno was able to transcend Evangelion’s controversial final episodes and deliver something truly special within this 1997 feature length film.

End of Evangelion marked a major achievement in Anno’s career by allowing him creative catharsis. The trauma and development behind the main cast is brought to a head as Anno’s vision is fully realized. Shocking and intense visuals and a healthy dose of Anno’s trademark psychological and existential drama made for a much more direct, if not considerably surreal, conclusion to Shinji Ikari’s tale.

1) Shin Godzilla

In his most recent 2016 live-action film, Anno adapted one of Japan’s most iconic pop culture characters, and he did it rather perfectly. Known as Godzilla: Resurgence in Western theaters, Shin Godzilla received critical acclaim in Japan for Anno's unique yet faithful take on the classic kaiju. Though the monster was generated with CGI, its visceral organic design was made to emulate the feel of a traditional tokusatsu monster suit as an homage to Godzilla’s roots. However, he also implemented his own twists on the character, showing off a gradual evolution of the monster and displaying considerably epic upgrades to his classic Atomic Breath.

  The film won an abundance of Japanese film awards, including the 40th Japanese Academy Prizes for Film of the Year and Director of the Year for Anno and Shinji Higuchi, a close friend of Anno’s who worked previously worked with him on several of Anno’s projects, including Evangelion.  

Reportedly, Anno initially turned down the project while he was in the midst of a depressive episode after completing Evangelion 3.0, citing that he didn’t feel confident enough that his film would meet the standards that previous Godzilla films have set. But with the love and dedication he put into the film along with the accolades it built up, its place as on our list one of Anno’s best works is a no-brainer for us.   

  Honorable Mention: Anno as portrayed in Blue Blazes

While Anno certainly didn't direct this 2014 Japanese drama, this endearing depiction of the acclaimed director deserves a shout-out on our list. Based on a semi-autobiographical manga by Kazuhiko Shimamoto, the show provides a fictionalized record of his student years at the Osaka University of Arts, which he attended alongside Anno and several other notable anime creators in the 1980s. 

  Anno was portrayed by Ken Yasuda, who presented a hilariously-dramatized version of Anno who would act out his favorite kaiju battles with his friends and flaunt his eclectic knowledge of animation techniques, character habits, and tokusatsu suit actors. The show also showcased many of Anno’s impressive animation assignments and even recreated his charmingly-homemade Ultraman student film project.

Hideaki Anno is nothing less than an iconic anime visionary, whose imagination and deep appreciation for pop culture knows no bounds. As a creator, he's spent his career constantly climbing out of the depths of depression to create impactful and outstanding work in both anime and live-action filmmaking. It's no exaggeration to say that anime as we know it wouldn't be the same without Anno and his boundless creativity!

Which of Anno's work is your favorite? How would you rank his shows and movies? Drop a comment and let us know!

----

Carlos is a freelance features writer for Crunchyroll. Their favorite genres range from magical girls to over-the-top robot action, yet their favorite characters are always the obscure ones. Check out some of their satirical work on The Hard Times.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[archduchessofnowhere]

What is the most historically accurate film of Sisi you have seen?

Can you rank all of them you have seen from most historically accurate to least?

what one is your favorite?

thank you!

Hello! One of my major goals (?) on this blog is to make an Ultimate Tier List of Sisi Adaptations, but I still haven't been able to. But here is an overview of the media that I've watched so far, ranked for most "accurate" to the least:

Sisi (2009): By far the most historically accurate Sisi portrayal that exists. I've already talked about it a bit the other day, but this mini series covers from Elisabeth's engagement until her coronation as Queen of Hungary, and includes important events such as her daughter's death in 1857, the Italian War of 1859, Elisabeth's illness and departure to Madeira, the abuse her son Rudolf suffered in hands of his tutor and her intervention to stop it, among other things. We even get as a side plot her brother-in-law Maximilian and his ill-fated adventure. It is clear that the writers knew the history they were adapting, and put care in having as much historical moments as posible. Which incidentally is also the series biggest weakness: it's too short for the amount of events it covers. The pacing is too rushed and many of the story lines are not properly developed. It is not entirely accurate either: the writers couldn't (or didn't want to) get away of the romantic myth and put great emphasis in Elisabeth's marriage as a great love story (weirdly this didn't stop them from romanticizing her friendship with Andrássy either). I pity that this wasn't a full series because it had the potential to be a great show.

Elisabeth das musical (1992-): my favorite piece of media about Elisabeth ever. I also already talked about it but for a musical whose argument is that the assassin of Empress Elisabeth is trapped in a loop in the afterlife in which he forever must tell her story while he's judged for his crime this is a surprisingly accurate and nuanced take of her life. While a bit outdated now (the idea that archduchess Sophie was an evil mother-in-law or that Sisi and her father had a close relationship have been disproved for a while, for example), I think this musical actually got her personality, or better, it got that we can't truly know her: she was a complex person, she was full of contradictions, she was human.

Sissi Trilogy (1955-1957): a classic is a classic. A heavily romanticized take on the early life of the empress, these movies are not particularly accurate, but they're fun to watch nonetheless (except the third one. The third one is a bad movie, fight me)

Sisi (2021-): I'm weirdly fond of this show, I'm sorry. Like I know that objectively is a very trashy, poorly written attempt at a historical drama, and yet I can't help but finding it fun to watch. And for all its flaws (which are PLENTY, and I complained a lot about them here), at least it tried to do something different with some of the characters. I vaguely remember someone saying that RTL is like the CW of Germany, so following the comparison I would say that this show is kinda like Reign: a hot mess that you either love to hate, or you learn to love with time.

The Empress (2022-): my deep dislikeness for this show is no secret to my followers. In fact I owe them a review, which I begun but never finished, because every time I enter the doc I'm reminded of how much of a disappointment this series was for me, and I don't want to keep writing (I will eventually I promise it). This series has all the problems of the 2021 Sisi series and none of its redeming qualities. If you go through my livebloging tag you'll find what I disliked, but to put it short: this series is so disconnected of reality that can't be enjoyed as a historical drama, but it is so poorly written that can't be enjoyed as a piece of fiction either. It's just not fun to watch at all.

The King Steps Out (1936): The only time in history that the USA attempted to make a Sisi movie, and yes it ranks even lower than The Empress that's how inaccurate this is. This was an adaptation of an operetta (that would end up being the basis for the first Sissi movie), and other than "emperor is expected to marry his cousin but end ups falling for her sister instead" the story has nothing to do with history. I also just didn't like this movie at all.

Not Sisi Media But Features Sisi As A Character:

Ludwig II (2012): I LOVE Hannah Herzsprung's Elisabeth. She gave us a Sisi we never saw before: the friend. She is Ludwig's friend and wants the best for him but this doesn't stop her from criticizing him; she loves him but also loves her little sister and is FURIOUS when Ludwig dumps Sophie. To me this is one of the most loving takes of her that exists, and for that I adore it.

Ludwig (1973): THE BEST enigmatic and mature Elisabeth, period. Romy is sublime, every one of her scene feels like a master class in acting. I don't rank her over Hannah's Elisabeth because I don't like much the plot they gave her (they turned her friendship with Ludwig into a sort-of-romance and she also mistreats Sophie), but in terms of acting this is by far the best performance.

Mayerling (1936): Elisabeth appears only for one scene played by a woman that looks nothing like her only to give love advice (???) to Mary Vetsera and then leaves. An absolutely boring and forgettable portrayal, I don't know why they even bothered including her (also fyi this movie is bad).

Ludwig II (1955): literally who is this woman. She's Elisabeth in name only, they stripped away everything that made her interesting and turned her into a cardboard cutout romantic interest for Ludwig II (who's straight here LOL). Worst Elisabeth that I've seen so far hands down (btw this movie is also bad minus some scenes).

Special Mention:

L'aigle à deux têtes (1948): This isn't a Sisi movie nor features Sisi at all, but the character of the Queen is clearly inspired in Elisabeth. Here we follow the widow Queen of a fictional kingdom and an anarchist that attempts to kill her but ends up being protected by her. It's the adaptation of a play and it shows: the action happens in closed spaces and it's made up mostly of dialogues. It is a psychological movie (and also an enemies to lovers romance lol), and it may be boring for some since it's mainly just characters talking, but personally I loved it.