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towns-end-bindery · 1 year ago

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1. What are you excited about binding right now?

I have a Divine Comedy text block I haven't cased yet, and I'm excited to see how it'll turn out.

2. What is your latest binding?

My most recent binding was of Paradise Lost by John Milton.

3. What was your first binding?

My very first bind happened when I was a kid. I used cardboard and cardstock and sticker paper and it all worked out pretty well. Then for a few years I stopped binding until someone came to my local library to teach bookbinding. We made an envelope book, which was a lot of fun. Then in April 2023 (probably a decade or so after my envelope book), I decided to start again. And I haven't stopped since.

4. What is your favourite binding so far?

I feel like each new bind I make keeps getting better and better. I'm pretty satisfied with my Paradise Lost, since it's the best looking cover I've made, but I was also very proud of my Pride and Prejudice bind, which was my first time trying to round a spine.

5. When did you get into bookbinding?

When I was in 5th grade, I remember we were given a project to write our own book. We had to type out a story and add illustrations. I was so excited because I thought we were going to make our stories look professionally published. But instead, they provided us with the pre-bound books (which did look really nice) and then had us GLUE our text and drawings into them. It was more like scrapbooking. I hated that. It wasn't what I wanted at all. I thought about that project for a long while after, and was determined to one day make my own beautiful books that would be 500x better. It took a while to get there. About 20 years. But I got there in the end. And here I am. All thanks to coming across one tiktok video by hana_bob, and my passion was revived.

6. What is a binding by another binder you really love?

That's a really hard questions to answer. I feel like people are making such beautiful books all the time, and so many of them are constantly blowing me away. One that I found myself staring at for a long minute recently was excineribusbooks' recent bind of symmetry by bleuett. I love the cover design so much. I desperately want to achieve a similar level of quality and class in my books.

7. What’s your favourite type of binding? (coptic, stab, fine, Bradel, etc.)

I'm most experienced with French link stitch with square backed bradel bind, but I do want to learn other methods.

8. What’s a binding type you’ve never done but that you’d love to try one day?

I really want to try them all. There's one I saw from one of bitter melon bindery's videos showing a method of sewing onto tape supports without kettle stitch that I plan to try next.

9. How would you describe your binding style?

I'm still so new to all this, but I guess my style tends to be bold and simple. I think a lot of people easily fall into the trap of doing too much to their typesets and covers, and it ends up being a little gaudy. I currently don't have the courage or the resources for more ornate decoration. I would love to one day get a machine for cutting/embossing in the future to make the HTV covers I see everyone else doing.

10. What’s your favourite bookbinding tool?

I recently got myself a punch cradle. It's not the easiest thing to use, but I love it anyway. It's saved me so much time not having to measure my sewing holes and hope they all line up. Thanks to the cradles, I'm now a little more prolific than before.

11. Do you have a DIY press/what is your press like?

I bought a finishing press and it's the only thing I have. It's really not the right kind of press for most of the things I do (I don't paint my book edges), so I'd love to get a proper press in the future. Maybe a vintage cast iron press from an antique store, if I'm lucky enough to find one.

12. What is your workspace like?

It's my kitchen table. And it's still not enough space. I would love to one day own a proper house (and not be renting apartments anymore). Then I could turn a room into a workshop and have lots of workspace and shelves and cabinets for all my supplies and tools. That's my dream.

13. Do you have a favourite cover material?

I have worked with a few different kinds of book cloth, and lokta paper. Honestly, they're both great. I do love that I can print onto book cloth for my covers though. Discovering that I can create beautiful cover designs without having to invest in vinyl and a cricut or silhouette has made this my new favorite way to make covers.

14. Do you have a favourite paper for textblocks?

Currently I am using cream-colored short-grain 24/60 lb paper from Church Paper. It's beautiful, and gives a very professionally published feel to my books.

15. What are your feelings about headbands?

I never gave much thought to them when I first learned to use them. I would never exclude them when I make any book, but I will admit that headbands are a very small detail compared to the rest of the book. Nonetheless, I can see the appeal of putting in the time to make beautiful headbands. It certainly gives a very traditional look (I don't recall ever seeing any mass market hardcovers without a headband). I hope to one day learn how to sew my own. For now I just use premade ones from Hollanders.

16. What type of text do you usually bind?

So far, I mostly make blank books or stories from the public domain. I aim to start doing some fanfiction in the near future, starting with Dirty Sympathy, by Ideny.

17. Do you match the aesthetic of the bind to the text?

If my aesthetic were more defined, I'd certainly try to be consistent, just as personal preference. But there are no rules. People should bind however they want, and if they want a goofy cover for a serious book, I'm all for it.

18. Have you ever done a rebind?

I want to! I've several books lined up. They are all waiting for me to find the courage to tear their covers off. I'll eventually do The Little Prince by Antoine de Saint-Exupéry, Circe by Madeline Miller, and A Hero Born by Jin Yong.

19. Do you have other craft hobbies besides bookbinding?

I've dabbled in paper cutting, drawing, and miniature painting.

20. If you had to give past!you one advice about bookbinding what would it be, and is it the same advice you give newbies?

I'm so new to all this! But I guess if I'm talking to my little elementary school self, then I think I'd show them the books I've made now. I don't want to give them advice as much as I want to give them hope that one day they're gonna make beautiful books. I want them to feel good about their future, and not despair about their own present. Things suck as a kid. Our life, and our skills suck. But in 20 years, they're gonna get so much better.

20 questions about bookbinding

What are you excited about binding right now?

What is your latest binding?

What was your first binding?

What is your favourite binding so far?

When did you get into bookbinding?

What is a binding by another binder you really love?

What’s your favourite type of binding? (coptic, stab, fine, Bradel, etc.)

What’s a binding type you’ve never done but that you’d love to try one day?

How would you describe your binding style?

What’s your favourite bookbinding tool?

Do you have a DIY press/what is your press like?

What is your workspace like?

Do you have a favourite cover material?

Do you have a favourite paper for textblocks?

What are your feelings about headbands?

What type of text do you usually bind?

Do you match the aesthetic of the bind to the text?

Have you ever done a rebind?

Do you have other craft hobbies besides bookbinding?

If you had to give past!you one advice about bookbinding what would it be, and is it the same advice you give newbies?

#book binding #arts and crafts #bookbinding #bookstagram #artsandcrafts #diy #diybook #handboundbook #handmade #papercrafts #book binder #diy book #hand bound book #hand crafted #hand made

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mcmoth · 3 years ago

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I've been thinking about headcanons and reworking my designs lately, so here's my latest take on c!crime boys ^^ Credit for the idea of c!Tommy having face paralysis goes to @ghostly-tart btw!

Oh, also, forgot to write this point, but c!Wilbur no longer wears a beanie because he likes to feel the sun in his hair ^^

ID (with the text, in case you can't read it in the image) under cut, since it's kinda long:

[ID: full body, colored illustrations of character Tommyinnit and Wilbur Soot from the Dream SMP. The background looks like old paper, and there is text placed beside the art.

Wilbur is a pale, tall man with curly brown hair that has a streak of grey. He is wearing a yellow sweater that has blue stiches in the chest area and that has blotches of the same blue on it like paint. He's also wearing a worn, brown trench coat, and ripped black plants. His skin has streaks of green and red, like a zombie, and his ears are furry and gray, like a fox's, along with a fluffy tail, which has a bloody bandage wrapped around a part of it.

The text says:

Fox genes (silver fox)

Tinted glasses to shield from the sunlight (senses sensitive after limbo)

Skin warped and discolored in places (after ressurection)

Sweater from Ghostbur (they merged, suck it cc!Wilbur /lighthearted)

Chest pains (due to getting stabbed)

Chronic fatigue (even before death)

Next to this is an uncolored doodle of young Wilbur and human Technoblade. Wilbur is looking up at the man with wonder, one hand reaching towards his ear and the other pointing at Techno as he speaks. The speech bubbles above him show a series of appendages - a wing being crossed out, sharp ears, sharp teeth, sharp claws and a tail. Techno, who is bulky, has sharp ears with various gold earrings, tusks, long curly hair, and sharp claws, is pointing to himself and looking down at Wilbur with confusion and discomfort, saying "heh??".

The text says:

Because Wilbur looked closer to Techno than Phil, he was eager for them to be related, for the sense of belonging. But since Techno's obviously not his dad, his next thought was "Brother??".

The habit persisted even after he realized they were different species.

Tommy is a blonde teen with a streak of white and a blue butterfly clip in his hair. He has a red and white baseball t-shirt, a green bandana around his neck, and a blue wool cardigan tied around his middle. The cardigan has simple lighter blue and gold patterns on it. His khaki pants have patches and stitches as visible mending. His clothes are dirty, and he has the same blue stains as on Wilbur on his shirt and bandana. His left foot is prosthetic. He has sharp ears, with a hearing aid in the right one, and his skin has various scarring - from a big, old scar on his left cheek, to faded burn scars on his other cheek, arms and fingers, to many faded cuts on the underside of his arms. Though the left side of his face is limp and expressionless, he looks happy.

The text says:

Partial face paralysis (from his final death)

Prosthetic foot (from walking through the snow barefoot after exile)

Hard of hearing (because of explosions)

Occasional shaky hands (especially when stressed/tired)

Self harm scars (started in exile)

Clothes still dusted blue from Ghostbur (can't be washed out)

Clothes also dirty from mud and grass because he's a gremlin :P

Wears cardigans because after limbo (and losing weight throughout the months) he is more susceptiple to cold + the weight of them is comforting. End ID.]

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starshipsofstarlord · 4 years ago

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Smooth as the nine realms

loki laufeyson x reader / masterlist

summary; the midguardian lifestyle is strange, but there is an aspect of it that loki is definitely not accustomed to, and he’s conflicted about whether he likes it or not / warnings; smut, talk about pubic hair, or lack of, oral sex (female receiving)

kicking off your leggings, you abolished them to the other side of the room, straddling loki as he abandoned his book, caring not that the pair of you were in the middle of the common room, nor the fact that he had lost his page. it had been a few months since loki had been forced to join the avengers on their next quest, thor had practically dragged him towards the bifrost.

but now, he didn’t mind earth so much. sometimes it could be quiet, that was when all members of the team were away on missions, and thor allowed him to be by himself. this though, the way you, an average, world protecting midguardian straddled him, after stripping out of your top and bra, in the middle of a public sector of the domain, was something that he sure as valhalla had no mind about.

in fact, he rather enjoyed the way that your hands roughed down the points of his shoulders, and trailed down his biceps, that were underrated, especially in comparison to his brother’s. the two of you had been playing a game since he attacked the planet, it was a chase of cat and mouse.

at first, he had envisioned you to be the mouse, but you no longer seemed meek and small any longer. instead, you were the feline that was cosying herself upon the perch of his royal lap, descending her grounding hips over the throne of his pelvis.

“what is it trickster, cat got your tongue?” you seemed rather confident with the way that his eyes remained glue to your mound, he realised that must have been quite a complimentary action for a mortal man to show to his partner.

to be truthful, it felt as though all speech was parched from his mouth, he had knowingly waited for this instance where you would deliberately rut yourself against him; like heimdall, he had a vision of the future delved in the reverse side of his eyes, though, his reaction was the most unexpected thing that he could had intended to paraphrase.

he trailed his hand over your mound, through the fabric of underwear, watching mercilessly as you bucked into his hand. midguardians were something else, they weren’t as sensual as others he had been with concerning their sexuality, in fact, as it appeared, some were desperate.

you were rutting in his grip, though he applied a stern hold unto them, forcing you to stop your ravenous movements, and pose stilly for the god beneath you. he gently, which was a surprise to you with how tender and kind his eyes had become, laid you down on the couch that stark has paid a pretty penny for, exchanging your positions so that you were the one under his demeanour.

“do something.” you eagerly insisted, lacing your mortal fingers through his midnight locks, tugging gently at his dark roots. a glassy encasement covered his eyes as he stared up at you, it was a mess to place the expression that was carried within them, gods were difficult, that much was clear. though, you weren’t seeking anything particularly intimate with the company of one, this had been inevitable though.

it had been like a kettle brewing, screeching like an applause when the pair of you had finally gotten to the point of no return. this was it, there were no divine interventions or avenging interruptions to discard this moment, instead you and loki were thrown this coin toss, given your desires in the aura of a wish fountain.

“humans.” his voice prowled, making bumps appear on your skin, as he blew a swift succession of cold air across your stomach, it sending a blizzard of coolness up the paving of your chest, making your nipples undeniably hard, their stiff peaks that beaded under his breath were almost painful as they stood obediently to attention. “always so demanding, why can’t your kind beg for a change, i know that would appease my hunger?”

“oh loki, please.” your tone was severely monotone, and caused the mischievous lord to roll his gemstone eyes, rendering their spheric pupils to glare in amusedly at you, though, he tugged your panties down, the sight leaving him breathless. he was enraptured with the sight, perplexed by it as his emerald eyes stared up at you for an explanation. though, you were not sure what he was expecting from you.

his throat dry, as for once, he was not able to comprehend the situation. his silver tongue had gotten lost, obstructed as he grew distracted by the visual that he was receiving. it was a cunt, he knew that much, but there was someone uniquely different about it, he’d assume it was scalped if her were to make verbal predictions. “what is this?”

“my attempts at deflating your ego. i am not going to beg for you to do something to me, i can easily find someone else.” you rested your head back, digging the crown of it further into the end of the couch, as you parted your legs a little further to resend an invitation for him to proceed.

“not that...” loki revealed, paving his icy hands up the roads of your thighs, letting his forefinger brush over your pubic mound, it was like the bifrost, a smooth pathing to a transportation of depth, one that he wished to investigate, though he was still stricken by the eventing shock that pulsed within his golden veins. he had always been a curious child, and he remained to be as keen to know all now, at centuries upon centuries old.

“have you never seen a vagina before?” you huffed, wanting him to do nothing more than devour your cunt, stabbing you with his vigilant tongue so that he could curl crude and priceless sounds out of your mouth. if anyone knew that you were about to participate in intercourse with the destructive, slippery handed body, they would surely judge you.

but they didn’t, and even if that were not the case, you wouldn’t care. your mind was far too preoccupied with the growing inclination to jump the god’s elegantly crafted bones, bury for now you, remained still, allowing him to assert his comfort within the situation. “what’s wrong?” this time, he answered you, looking almost like a dear kitten that was plodding through the bustling streets, seeking out attention from a kind citizen, having hopes to be taken to a home, and fed well.

“why-,” he cleared his throat, he never came across as this nervous to anyone, it was as though he feared what you may think of him if he were to speak his mind. “why don’t you have hair- here?” he stroked the pad of his thumb over the flat and bare crest, finding it to be one of the most peculiar things regarding humans that he had ever witnessed.

“because i shave.” it was a simple answer, whilst all while being not as direct as the god was hoping for. “it’s kinda a thing down here, some people let it grow out, others don’t. it’s whatever picks their fancy, and a lot of people, like me, shave so intimate partners don’t get grossed out. some guys are dicks and hate everything that is natural.”

“well i’d still be reaped with great, reprised regret, if i were to reform the idea of giving you satisfaction if you were to have a natural slate sheathing around your sweet cunt.” he inhaled, making your muscles wither with succumbed arousal. the god could smell your distinct scent of attraction towards him, and he was visually compelled by the aroma that invaded his senses.

loki, without warning, placed his palm over your clean shaven mound, holding you down as his tongue worked against your tender flesh, stroking it as though he bore a hand of intricacy, sketching out every detail of your skin, plucking the outer labia into the hatch of his often deceiving mouth. he had to admit, in his mind of course, he liked the access that he was granted by this strange human lifestyle.

the idea of pubic hair was one of parts of a woman’s body that usually fuelled the immortal man, however if you didn’t want to bear its follicles on your skin, then that was to it choice. he wouldn’t judge you for it, although he happened to judge midguardians on everything. you were different from the others though, despite sometimes bickering, and making stabbing jokes towards one another, he rather enjoyed your presence.

with you nearby, he finally felt seen. he was not only the immortal that had prided himself with almost crushing an entire mortal city, no. you saw through that, understanding that he was definitely not in his own mindset, he had been controlled. it was never in his plans to venture to midguard, even if it was to cause a ruckus. but now with you, he never wanted to leave.

despite your optimal obligations regarding the team, and villains much like himself, he felt accepted. thor too appreciated him, but that was far different, there had always been a means of competition between the brother, with you, that regard was not present. he could be himself, and appreciate your side silhouette, and demand the agents that passed by with wandering eyes with threats if they did not continue walking.

now that he thought about that, as he engorged on the taste of your cunt, sliding a prying finger through the door of your entrance, fumbling your clit with his bewitched thumb, he realised something. a great surprise to himself. he indeed cared about you, but far more than he had ever anticipated to. his fingers slowed as he became mesmerised with every small noise that projected from your mouth, wanting to drag this instance out for as long as possible.

not only did his self realisation show him that he found some calm in your lasting presence, but he had feelings. usually he blocked off such things, but the heavenly expression that illustrated itself upon your face had him inwardly swooning. he felt you comb your fingers through his locks, and he hummed. he wanted this moment to last forever, in it, he was not a god, nor an infamous trickster.

he was just a man swarming with irregular emotions towards a woman, a being of optimistic resort; if things were as simple, or if he understood as well, he’d ask to take you for dinner. but he didn’t know where to start with that, not only did he have a lack of wisdom when it came to human restaurants, but he had no clue as to how you would respond. he didn’t even think that you saw him as a suitor, he was simply a deliverer of teasing and now pleasure.

“fuck loki.” the mortal swear sounded like a spell, making his body overbear itself with a proud sensation as he pushed you over the edge, removing his fingers only for you to bring them to your own mouth and clean them off. “holy shit, that was so good. maybe i should have started with gods years ago.”

inherently the mischief source growled, his mind instantly going over to the idea of you choosing his brother; everyone did, they had a strong preference. from his family to his old friends, they all liked thor more, and that was how his resentment towards his brother had originally stemmed. he felt like an outcast, and from that reminded alone, conjoined with your interest towards his brother, he felt his eyes grow glassy.

“go to him. i’m sure thor would appreciate your partnership.” yes, he was acting like a sulking toddler, and it had your brow bone raising as you took in his words. it was his clap back response, and you grasped him, stopping him from leaning the room. you felt slightly vulnerable, being in the nude after such a small lash, but you knew something was bothering loki, and it was clear to what that was.

“i do not want your brother loki, nor any other god.” your voice bit back a strain to its tone, as you stared at the man, standing in your birthday suit before him. your hands splayed on his chest, feeling his heart through his attire viscosity beating. “there is no need to be jealous, it feels like we’ve playing this game for so long, and i intend for it to be over. i will be the first to admit it, i want you, all of you. from the dark corners to the hopeful light in your eyes.”

loki was astounded, nobody had ever been so straight forward with him. despite being the god of mischief, the half of the time it was him whom was the victim of lies. “you don’t mean that.” his hands lightly traced every dip in your hips as he searched your expression for certainty. “nobody wants me, i am the monster that had tales spread to fear the children of my people of a night. there is nowhere i belong, nor anybody whom i belong with.”

“that may be your mindset, or the one that you are speaking, but you are lying to yourself. i do want you loki odinson, please accept that.” he gulped, nobody had ever had he guts to tell him how it was, and here you were, simply speaking your mind before him. it was an admirable feature, something that he deemed to be a favourable quality. “now i think i’m gonna get dressed and head to my room, i am feeling a bit cold. come find me when you feel like admitting the truth to yourself, i’ll be waiting.”

as you went to turn, loki grasped your elbow, hushing your questions with his mouth, as he clutched your cheeks, passionately endorsing you in a meaningful kiss. he walked you backwards, until the pair of you once again fell onto the furniture. “you don’t have to wait y/n, because i do not want to.” he ushered pecks down your neck, as you grew warm from the disappearance of his usual cockiness, it being replaced with true confidence, that served as a show for no one, and instead was his own admittance to all.

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aer-in-wanderland · 4 years ago

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구미호뎐 | Tale of the Nine Tailed - Lost in Translation EP01

In which my sister and I sat down with a pint of mint chocolate chip and wrote down everything that occurred to us while watching the fan-subbed version of TotNT EP01. Contains mild spoilers.

Prologue

We open with an excerpt from the Hyeonjoonggi (현중기・玄中記), which the internet informs me originated in China sometime between 265-317 CE. In Korea in particular, gumiho are typically thought of as being female, but this is an example of a classical text that says they can be either. From what director Kang Shin Hyo said at the TotNT press conference, the premise of TotNT began with the idea of challenging this base assumption by making the gumiho male and placing him in modern-day Seoul. I would translate the passage as follows:

When a fox becomes 100, it can become a beautiful woman, or become a man who has relations with women. A fox that lives for 1000 years communes with the heavens and becomes a cheon’ho (heavenly fox). Its gifts are like that of a powerful shamaness; it can perceive things more than 1000 leagues distant.”

To my sense, the passage was introduced to show precedent for the existence of male gumiho in traditional folklore, as well as to illustrate that foxes over 1000 (cheon’ho) can be closer to deities than monsters.

On to the show. The year is 1999. I’m surprised the subs left ‘Fox Ridge’ untranslated as Yeou Gogae since it seems like it would be relevant information that the place where the accident takes place is somehow tied to foxes.

When the imposter parents (who I believe are also foxes) chase little Ji Ah up into her room and her not-dad says, “You little brat!” (or at least, that’s what the subs we’re watching say), this is an example of what’s called ‘code switching.’ His phrasing is somewhat old-fashioned, which in this case helps to give the impression that he’s not human since it’s the cant of creatures in traditional fairytales. For anyone studying Korean, the line is, “요 년 봐라,” where ‘nyeon’ might mean anywhere from ‘girl’ to ‘wench’ or even ‘bitch.’

Okay, I have to ask. Does no one else in Seoul drive on Fox Ridge? How did Ji Ah have time to go home, get attacked, and then be returned to the scene of the accident (I’m assuming by Yeon) before anyone came across it?

Also, how did Yeon know where to take her? He tells grown Ji Ah that he just happened upon her after catching the scent of blood, but I get the sense there’s more to the story than that. I feel like this is part of a larger pattern wherein Yeon goes out of his way to rescue someone and then pretends as if he didn’t.

Episode 01 Title Card: What Happened on Fox Ridge

According to Yeon’s alarm, our current timeline begins on Saturday, August 29, 2020, and he has a wedding to attend. 2020 yet no COVID19? I guess this really is a fantasy drama. ;p

The BGM playing while Yeon gets ready is called ‘The Fox's Wedding Day,’ or, more literally, ‘day when a fox goes to be married’ (Yeou ga shijip ganeun nal) and it’s actually Yeon’s theme. I was expecting his theme to be the track entitled ‘Gumiho,’ but I guess not lol

The sun-shower. In both Japan and Korea, a sun-shower is known as ‘a fox’s wedding’ (kitsune no yome-iri/yeou ga shijip ganeun nal), so this is already cluing us in that the bride is a fox (I say ‘bride’ because both these phrasings typically apply to a bride marrying into her husband’s house. The phrasing is different for grooms, who ‘receive’ the bride). This is what Yeon means when he arrives at the wedding hall and says, “That’s because a fox is getting married today.”

It’s strange to me that the bride’s identity has completely dropped out of the subs. She’s Yeou Nui (literally ‘fox sister’), a folklore character of the Brothers Grim-style horror school of fairytales. Her thing is that she’s a gumiho who preys on families with only sons who desperately want a daughter. She insinuates herself into their lives, brings calamity down upon them, and finally, eats their livers. Like most fairytales, there are many permutations of her story, but many of them feature her saying she’s consumed 999 livers. I understand where - absent this context - some people might have seen Yeon as the bad guy here (spoiler: he’s not).

The subtitle here for Yeon’s line says: “But you need to know that changing your identity isn’t as simple as you think.” What he literally says is:

Yeon: How did you go to ground so completely? You think that if you change your face and your identity, your blood-stained past will change too, right? But changing lives isn’t as simple* as changing subway lines. [*Note: ‘simple’ is in English]

This is the first real dialogue we get from Yeon, and one thing it’s doing very intentionally is showcasing just how much he’s adapted to modern life. It does this both with the content of what he says (talking about changing subway lines), as well as with the amount of English loan words he tosses around. So I personally would have kept the bit about the subway in if I had been translating.

Yeou Nui’s line was translated as, “Please forgive me,” but it should more properly be, “Spare me,” or “Let me live.” Yeon is an enforcer, not a judge. (Also, ‘forgive’ is another word entirely).

Yeon’s line that’s subbed, “Listen, you fox. How could you dare dream of having a happy ending after eating so many livers?” is the result of what’s called diagonal translation, which is an unfortunate side-effect of subtitling conventions. What he literally says is:

Yeon: Yeou Nui, after eating the livers of countless adoptive parents and older brothers* how can you dream of a happy ending?

[*Note: The word he uses for ‘brothers’ here is 오라비들, which is a semi-antiquated word, and again, the sort of language used in folktales]

Yeon’s line, “Here’s a piece of advice” is more literally, “Here’s a bit of advice stemming from experience,” which is the first hint we get in-drama that he’s been in a similar position.

Nam Ji Ah

We get our first introduction to adult Ji Ah as she narrates the script she’s editing for her TV program on her way to the wedding hall. When Jae Hwan worries about her changing the script without the writer’s permission (again lol), Ji Ah's response translated literally would be:

Ji Ah: Then let’s go with this. PDs’ livers have to be swollen or coming out of their bodies.

That’s a pretty disgusting image in English, so I don’t blame the subs for changing it to something more sensical and less graphic. But as a cultural note, in Korea and Japan, having a large liver means to be gutsy or brave. Ji Ah’s character description similarly describes her as, ‘a woman whose liver is [so large it’s] coming out of her body,’ meaning she’s about as gutsy as it gets.

Okay, call me a cynic, but I loved Ji Ah’s line about not being able to digest wedding food due to the choking atmosphere of forced happiness pfft

Jae Hwan saying, “Who knows? You may meet your destined partner at a place like this,” as Yeon walks by in the background = Jae Hwan unwittingly hitting the nail of the head #1

Lol Yeon acting like a bored kid held captive at a dinner party while the wedding takes place. Bless Lee Dong Wook because I’m sure it’s all ad libbed. I feel like this could be a game: spot the LDW ad lib.

The Wedding Hall Incident

When Yeon returns to her dressing room after the wedding, Yeou Nui changes tactics from begging to putting her hackles up and challenging Yeon. Linguistically, that’s marked by her code switching to an archaic cant. Yeon, however, remains unfazed and responds with the most modern thing possible, completely undermining her bravado:

Yeou Nui: Oh former master of Baekdudaegan, what authority have you to condemn us?

Yeon: Get a hold of how she’s talking (rhetorical). Hey, if it wasn’t for you I would’ve been watching American TV shows while eating ice cream today!

Okay, I love the way Yeon materializes his sword. I thought he was (un-)transforming his umbrella at first, but he later does it with a plank of wood so I assume he can do this with pretty much anything?

On the topic of his sword, I posted a gif set not long ago referring to it as a sa’ingeom (사인검), literally ‘Four Tigers Sword’ (referring to the year, month, day, and hour of the tiger when such swords were supposedly forged). You’ll notice it doesn’t have a cross-guard since they’re traditionally ceremonial swords rather than actual weapons. The first sa’ingeom were made during the reign of King Taejo (1392-1398), but I assume they gave him one despite it being somewhat anachronistic because they’re also said to cut down evil spirits and ward against calamity. Mostly, though, it looks really cool and is very traditionally Korean.

Not for anything, but I love this BGM track that’s playing during the wedding hall fight (‘The Uninvited’). This short action sequence was so great. I wish we could have seen more of Yeon hunting down supernatural baddies. Also more of those gumiho eyes. More gumiho everything in general.

As he stabs her, Yeon’s line to Yeou Nui in the subs was rendered as, “Don’t do something stupid like falling in love in your next time.” I would have translated this as, “If you’re reborn, don’t do something so [useless] as falling in love.” Again, for anyone studying Korean, the phrase is ‘사랑 따위" (sarang ddaui). ‘Ddaui’ means ‘such a thing as,’ and it’s always used to disparage whatever proceeds it. There’s no good way to communicate that disparagement in English grammatically, so I opted for ‘useless’ in an approximation.

The BGM that plays the first time Ji Ah spots Yeon leaving the wedding hall is called ‘White Pupils’ (or literally ‘white eyes’). The imagery typically associated with that is death, so I’m curious what inspired the track title. Maybe they mean ‘white eyes’ like the fortune teller since it’s used at fateful moments?

“Who knows? That may be the story you were destined to cover.” = Jae Hwan unwittingly hitting the nail on the head #2

“Were they mass hypnotized or something?” = Jae Hwan unwittingly hitting the nail of the head #3. Thank you, exposition fairy. ;)

Okay, when Ji Ah and Jae Hwan examine the scene, Ji Ah’s line is subbed, “I need to see what that woman of this love story looks like,” which is ungrammatical in addition to being wrong. What she actually says is:

Ji Ah: I need to see the face of that protagonist of the Romance of the Age. [And I believe the ‘protagonist’ she was referring to is actually Yeon ;) This is bordering on meta, seeing as he’s actually the protagonist of the epic romance that is TotNT]

Kim Soo Oh

The BGM playing while Yeon sits in the park people-watching and then looks pensively at his hand is called, ‘Thread Rings.’ Between that, what LDW alluded to in his VLIVE, and some still cuts I saw of deleted scenes from EP16, I’m convinced there was something more to those rings that got cut due to time constraints. ㅠㅠ

Fun fact: This scene between Yeon and Soo Oh was the first scene of the drama that they filmed.

When Soo Oh asks Yeon what he’s doing there, the sub for Yeon’s response was, “Nothing other than waiting for someone.” That strikes me as off in tone as well as pacing. I would have translated it as, “Just.....waiting for someone.” (which is literally what he says).

When Soo Oh asks Yeon why he’s waiting, the sub says, “Because a fox can only love one person till death.” I don’t really have a problem with that translation, but what he literally says is, “Once a fox takes a mate they never forsake them. Until death.”

Sub: “How are you coping with that?” / “Not well.” > Literally: “Are you okay?” / “I’m not okay.” I actually like the sub here since it better conveys how precocious Soo Oh appears in this scene. He seems to alternate between precocious and adorably dim throughout the drama depending on who he’s with, though when he’s with Rang, it’s mostly the latter pfft

When Yeon turns down Soo Oh’s offer of friendship he says, “Your nose. I’m not big on men with runny noses. And human lifespans are too short to be friends with me.” Yeon's use of ‘men’ struck me as funny since I guess to someone over 1600 years old, an 8 year old and an 80 year old aren’t all that different. Also, Yeon giving serious life advice to an 8 year old is adorable. He talks to him like he’s an adult.

The Afterlife Immigration Office

Between the BGM and the way the camera pans up the endless levels of shelving, did anyone else feel like Yeon entered Hogwarts for a sec? (not complaining) ;)

For the record, Yeon uses banmal with Taluipa and calls her halmeom (granny). In contrast, Hyeonuiong is pretty much the only character Yeon speaks to in jondaetmal and addresses respectfully as ‘elder’ (eoreushin). He speaks to Ji Ah’s parents politely as well, but it’s mainly because they’re her parents.

The text introducing Taluipa’s character wasn’t translated in the version we’re watching but it reads: ‘The god who rules over the River of Three Crossings (Samdocheon), the boundary between this world and the next.’ The hanja for her name (奪衣婆) refer to her traditional role, namely, removing the clothing of the dead for her husband to weigh on the Uiryeong’su (su = tree) to measure the weight of their sins. This is the same tree that the Uiryeong’geom (the wooden sword that appears in EP13), is allegedly carved from.

Lol Taluipa saying she has to keep up with the times but also using a computer that’s positively ancient (come to think of it, it’s probably from the 80s since that’s her favorite decade)

Again, I’m surprised that Yeou Nui’s character name dropped from the subs completely. The subs here just say, ‘the female fox.’

For Taluipa’s line, the subs say, “You’re to obey the order and capture who you’re sent after,” but that’s a loose approximation. More literally, it should be: “If the higher ups say to bring someone in, then you just have to bring them in.” I’m only mentioning it because the line implys that both Taluipa and Yeon report to someone higher up the chain of command. Otherwise they may be misconstrued as Taluipa’s orders.

Yeon’s line, “My compulsory military service has gone on for 600 years. How could I not go crazy?” is hilarious when you consider that Korean men are required to complete 2 years of military service, and even that often feels like an eternity, so I think for any Korean, the idea of 600 years of it is just exceptionally cruel. The line is iconic enough to have been included in Yeon’s character profile.

I noticed this a while back, but ‘mountain god’ is being consistently translated as ‘mountain spirit.’ Technically, Yeon is (was?) a god, if a low ranking one in the grand scheme of things (the Korean word is ‘sanshin’ where ‘san’ = mountain and ‘shin’ = god). I understand the use of ‘spirit’ though, since he’s not a god as gods are typically thought of in western mythologies.

Lol Yeon sticking his fingers in his ears (I would bet money this was also an ad lib)

Taluipa has a line that’s subbed, “Foxes never stay in debt.” More literally, it should be, “They say foxes repay eunhye no matter what.” You can find my explanation of eunhye here.

Wow, the subs really dropped the humour ball on Taluipa’s line here. First off, she says, ‘Right now’ in English. And while the sub says “Do you want your freedom back?” what she literally says is. “Do you want to be discharged?” (since Yeon had just likened his duties to military service).

On his way out, Yeon actually tells Taluipa, “Halmeom, you’re going to go to hell” (which is not the same as the underworld/afterlife as it said in the subs. Taluipa’s job is literally to ferry souls, so she goes to the afterlife all the time anyway). Also, when he says “I’ll pray for it everyday,” his phrasing is that of an elderly person pfft

As I mentioned, Yeon speaks formally to Hyeonuiong, who in return affectionately calls him Yeon-ie or Yeon-ah, which I find adorable.

Lol I’m not used to Ahn Gil Kang playing such a friendly character. Seeing him wheedle Taluipa with aegyo is hilarious.

Code Red

Somewhat of a side note, I can’t help but wonder, is Shin Joo’s last name ‘Gu’ because he’s a gumiho, a la My Girlfriend is a Gumiho (2010)’s Gu Mi Ho-ssi?

I wish the subs had just left ‘Lee Yeon-nim’ as-is, instead of changing it to ‘Mr. Lee.' As a general rule, I’m in favor of preserving character forms of address when translating.

Personally, I would have translated the name of Ji Ah’s TV program as: ‘In Search of Urban Legends’ rather than ‘Unveiling Urban Legends.’

I really like the dynamic between Ji Ah and writer Kim Sae Rom. “Should we fight?” / “Yeah, let’s fight~” How great is it that this drama doesn’t have a single catty, bitchy, stuck-up or otherwise obnoxious female character?

For anyone keeping track, Shin Joo speaks to Yeon in jondaetmal while Yeon speaks to Shin Joo in banmal, underlining their master/retainer dynamic.

Side note: There are actually multiple ‘types’ of jondaetmal: what I think of as ‘neutral polite’ (i.e. simply adding ‘yo’ to the end of all your sentences), the more formal polite (i.e. ending with ~[seu]mnida), that which elevates the subject, and that which lowers the speaker. The interplay of the four allows for varying degrees of politeness. The way Shin Joo speaks to Yeon is pretty much the highest degree. That doesn’t mean they aren’t close. Polite language can indicate distance but also level of regard irrespective of distance. This applies to Rang and Yoo Ri as well.

Again, Shin Joo calls Ji Ah ‘PD-nim’ but that became ‘that female director’ in the subs. PD-nim is a respectful (and non-gendered) form of address, and it’s perfectly suited to Shin Joo’s genial and deferential personality, so I wish the subs had just kept it.

I read an episode recap where the recapper mentioned she wasn’t sure what Shin Joo’s deal was. At the time I was confused, but now I think I get it. In the subs, Shin Joo says, “When I’m a seasoned veteran? I’m now up to the point where I’m wondering if I’ve turned into an actual person.” What he actually says is:

Shin Joo: No way~ How long have I been living in this (the human) world? Recently, I sometimes even have an existential crisis wondering, ‘Am I a person or a fox?’

[So he flat out says he’s a fox here, but that wasn’t reflected in the subs.]

Fun fact: this was Hwang Hee’s first scene that he filmed with Lee Dong Wook, and the BGM as they exit is Shin Joo’s theme.

I love the way Lee Dong Wook played this scene where they pay their tab. That is all.

It’s only as Yeon and Shin Joo exit the restaurant that we see that the sign out front reads ‘The Snail Bride’ (Ureong Gakshi). This is another folktale in-joke, since the snail bride’s whole thing is that she cooks delicious meals for her human husband everyday.

For the record, the Snail Bride (Bok Hye Ja) also uses honorific language towards Yeon and calls him ‘Lee Yeon-nim.’ I just assumed it was in deference to his ex-mountain god status, but it turns out she has a personal reason for holding him in high regard as well that we discover in the final episode.

As Yeon and Shin Joo walk away, Shin Joo’s line is subbed, “That show’s actually quite famous.” Since Korean doesn’t require a subject, the sentence is somewhat ambiguous, but I understood him to be referring to Ji Ah herself rather than the show since he says: “[Something is] really famous around the broadcast station.”

Lee Rang

Lol Kim Beom. How are you 32 years old?

I love how sharp and no-nonsense Ji Ah is. It’s so refreshing to not have to wait for the characters to catch up to what the audience already knows.

Rang’s theme that plays as he transforms back into his suave self is so iconic. The music director (Hong Dae Sung) really is a genius. It’s funny when you think about how different Rang’s theme is from Yeon’s.

Fun fact: Kim Beom shared in his Instagram LIVE that Rang ‘picking the wrong shoes’ was actually intentional. He was testing Ji Ah to see if she’d notice.

Okay, Rang says here that he likes, “everything about her (Ji Ah) from head to toe,” (not in a romantic way but in a grudging respect/she’s fun to toy with kind of way) but what happened to that? Are we supposed to assume that he would have liked her if she hadn’t been the object of his brother’s affection? But he approached her knowing that’s who she was...? I don’t know. I do know I wish they’d had more scenes together. Their verbal sparring is great.

Side note: One Korean fan nickname for Rang and Yoo Ri that Kim Beom liked was ‘Hoket-dan,’ playing off the Korean for pokemon’s ‘Team Rocket’ (Roket-dan) and mashing it together with the ‘ho’ from ‘gumiho’ haha

Yeon’s obsession with mint chocolate ice cream is a hilarious counterpoint to his status as a cheon’ho and his ex-mountain god title. Point to the writer. In Japanese, this would probably be called ‘gap-moe’.

When Yeon tells the man behind the counter, “When I’m indebted to someone, I’m obligated to return the favor,” he’s once again talking about eunhye. As a fox, he’s supernaturally bound to repay good deeds done for him. As far as I’m aware, this is unique to the drama and not part of the traditional gumiho lore.

Yeon eating ice cream like a happy kid XD Lol Lee Dong Wook, how are you 39?

Fun fact: Yeon’s line when he answers Rang’s call, “The number you have reached doesn’t exist, you punk” was an ad lib by Lee Dong Wook. The combination of the formal phrasing found in a typical voicemail recording followed by ‘you punk’ is particularly funny. It’s so witty I actually wouldn’t have known this was an ad lib if LDW hadn’t confessed as much himself.

“Let’s meet.” / “I refuse.” / “I’ll set your house on fire.” Hahaha What is with these brothers? Are they 1600+ and 600, or 16 and 6? Are the zeros silent??

Bus 1002

Ji Ah: “If possible, pick a different dream. I’ve been on the clock for 22 hours straight now.” I like Ji Ah so much. She’s unpretentious, intelligent, honest, driven, resourceful and witty.

Lol As Ji Ah struggles with the old man, you can hear Yeon offscreen urging the driver to get moving. Only he calls him, ‘driver yangban.’ Yangban is originally a word for a nobleman, but much like the word ‘lady’ in English, what was once a term of respect is now...not. lol Also, I’m pretty sure this was another ad lib by Lee Dong Wook since it happens entirely in the background.

This scene with Ji Ah piggybacking the old man is so classic spooky-folktale. I love it.

"You’re the only person I saw.” *Close up of the totem pole* They managed to make that whole sequence creepy despite nothing actually happening. Cool cool cool.

So our old drunkard is revealed to be a Mokjangseung (mok = wood). Jangseung in general are totems that stand at crossroads and the entrances to villages. tvN published some backstory info explaining Ji Ah’s past with this particular Jangseung and why he elected to save her which I translated here.

Aaaand we’re back at Fox Ridge. I can’t believe I only just noticed this, but the episode title could refer equally to the accident in Ji Ah’s past and this bus accident in the present.

Of course Rang staged the accident at the site of Ji Ah’s greatest trauma. Also, the fact that he knows that about her is telling.

Appropriately, the BGM playing as Ji Ah arrives at the scene of the accident is ‘Fox Ridge’ (Yeou Gogae). Iconic.

Back over to Yeon. The first time I watched this I wondered where on earth he was heading in that downpour but it turns out he was in pursuit of Rang, who had given him the slip.

Seeing Yeon limping injured through the rain ㅠㅠ Also, while Yeon later tells Ji Ah he carries his umbrella everywhere because he hates his fur getting wet, he clearly isn’t bothered here, choosing to keep it sheathed on his back instead. I guess all bets are off when he’s in Gumiho Mode.

Detective Baek and Ji Ah speak in banmal and he calls her ‘Nam Ji Ah,’ which I assume means they’ve been friends for a while.

Wow, good for Ji Ah for having made note of the exact number of passengers in the midst of all that chaos. I certainly wouldn’t have.

Hospital Encounter

So after Rang gave his brother the slip, Yeon realizes the next day that he’s at the hospital thanks to the news article Shin Joo reads out to him. Idk but I like that shot of the two of them heading out. There’s something vaguely Avengers about it. Which is maybe not surprising given that was another early influence for the show.

I liked this conversation between Ji Ah and ‘Soo Young.’ We get to see Ji Ah’s own resolve and drive in the advice she offers: “Even so, I hope you’ll become strong. It’s way more fun to be a PD than a victim.”

As with when he arrived at the wedding hall, the cinematography + BGM as Yeon approaches the hospital with his red umbrella is just A++

The BGM playing when Ji Ah spots Yeon approaching the hospital information desk isn’t on spotify or anywhere else that I’ve seen. It reminds me a bit of the ‘Tubular Bells’ theme from the Exorcist (a movie I actually haven’t even seen). If anyone knows what it is, I’d love to know.

“My only talent is my face~” pffft Also, decidedly untrue.

When Ji Ah tells Yeon, “Yes, I’m scouting you, but not for that,” She literally says, “but not for that genre.”

And now the subs say ‘Fox Ridge.’ Okay, then.

When Yeon says, “From the sound of it, it won’t be well made,” ‘well made’ is in English. Again, the peppering of English through Yeon’s speech makes him sound more modern.

When Yeon says, “Plus, I’m very devoted” his line is more literally, “Plus, contrary to how I look, I’m the devoted type.” Are you saying you look like a player? pfft

Yeon is such a big softie, so why does he keep threatening to kill people? Does he not realize they might take him seriously?

For this entire conversation (interrogation?), both Yeon and Ji Ah are switching back and forth between polite speech and banmal, almost on a sentence by sentence basis. On the whole, it gives the impression of a verbal sparring match.

“It’s not as if this was a blind date. No thanks on a second one.” lol I do enjoy cheeky Yeon.

Oh, I love that Ji Ah thinks on her feet. Using her leather bag to lift Yeon’s fingerprints was a smart move. Although, I’m not entirely convinced it would work that well in real life.

The ‘grim reaper’s outfit’ exchange was a coordinated ad lib between Lee Dong Wook and Hwang Hee. I mean, of course it was lol Casting Lee Dong Wook is the gift that keeps on giving.

Was that supposed to be Yoo Ri entering ‘Soo Young’s’ hospital room in those boots?

Minor detail, but ‘Soo Young’ calls Ji Ah ‘eonni’ meaning ‘older sister.’ It’s common convention in Korean to refer to people by familial ‘roles’ that fit their general age range even when you’re not actually related. I could digress, but I guess I just find it jarring when they have her addressing Ji Ah by name in the subs since Ji Ah is older and virtually a stranger.

Okay, when ‘Soo Young’ hears that Ji Ah lives alone, the smile she gives is effectively creepy.

The contrast between ‘Soo Young’s’ narration and the events of what actually happened on the bus that we see as viewers is great. Point to the director.

Wow, Rang really just slaughtered a whole bus worth of innocent people without a thought. I feel like we all managed to forget that about him as the show progressed. Hats off to the writer and to Kim Beom’s compelling performance. I actually worried initially that Rang would remain a one-note character because that would have been such a waste of Kim Beom, who is a fantastic actor. I’m so glad that wasn’t the case.

I love the subversion of viewer expectations when it turns out that Ji Ah knew all along that ‘Soo Young’ wasn’t who she claimed. This is something TotNT does repeatedly and well. We get both the dramatic tension of her being in danger and the satisfaction of her having had the upper hand all along. Point to the writer.

I’m pretty sure Ji Ah knocked that pitcher over with the express intent of using a shard from it as a weapon. Point for character consistency. Past or present, Ji Ah is apparently a ‘stab first, ask questions later’ kind of girl.

The Brothers

“Hey you! I clearly told you I didn’t want a second date?!” Haha Oh, Yeon.

I saw comments from Korean fans about how Yeon burst into her house with his shoes on here, and now I can’t not think of them when I watch this scene: ‘Entering the house with your shoes on...in the Republic of Korea...Ha...’, ‘Even if you bust the whole house apart, you have to take your shoes off before entering...’ lol

I love Yeon’s line that’s subbed as, “As if, brother.” In Korean, it’s “Do you want to die, little brother?” The word he uses for ‘little brother’ is ‘아우야,’ which, while still used occasionally today, is an antiquated word Yeon might just as easily have called Rang 600 years ago. It’s also, in contrast to the first half of his sentence, quite an affectionate term of address.

Rang’s line subbed as, “It’s a long story, but the family has a dirty past,” should more properly be: “It’s a long story, but you might say we come from a broken home.” Saying they have a dirty past makes it sound like they’re the mafia or something. Also, as a fun language note, the expression is literally ‘a bean-powder household.’

“Are you worried I’ll be sucked into the Underworld?” should be: “Are you worried I’ll go to hell?” Not sure where they got ‘sucked into.’ Rang just means when he dies. Also, I wish the subs would do a better job distinguishing between hell, the underworld, and the afterlife. They’re three different words.

“It’s because you embarrass me, that’s why.” Lol at the way Yeon covers his eyes. That’s definitely another ad lib from Lee Dong Wook.

When Rang calls time here, he actually calls Yeon ‘hyung.’ I suspect this wasn’t in the script but rather something that slipped out subconsciously on Kim Beom’s part, since the writer was clearly saving that word for when it would hurt us viewers the most. ㅠㅠ

Yeon’s line is subbed, “Old habits really do die hard,” but it should properly be: “You still haven’t fixed that habit?”

“If you don’t find it until the end of the next month, this woman will die.” This should actually be: “If you can’t find [that] by the next end of the month, your woman will die.” The subject is actually omitted so it’s unclear to what exactly Rang is referring, which is intentional. I also understand hearing ‘your woman’ (ni yeoja) as ‘this woman’ (i yeoja), but when they later flash back to this conversation they use a different take in which the line delivery is clearer and I’m confident it’s ‘your woman.’ This also explains Yeon’s confusion, since at this point he didn’t even know she’d been reborn.

I Waited for You

For anyone wondering how Ji Ah got into Yeon’s apartment, apparently his house code is 0000 lol

From his expression as he discovers and then watches the video she secretly took of him, I feel like Yeon is impressed with Ji Ah in spite of himself and I’m 100% here for it.

For the record, from this point forward, Yeon and Ji Ah use banmal with each other. Ji Ah has a tendency to speak to many of the supernaturals in banmal, which is honestly the opposite of what I would have opted for in her shoes.

Yeon’s question of, “How did you come here?” could mean either, ‘What brings you here?’ or ‘How did you get [in] here?’ in Korean, and honestly they’re both valid haha

Minor note, but she actually says his Korean age is 36, which would be 35 by the typical reckoning...except he’s actually ~1636 so it’s a moot point, really.

Ji Ah’s line, “Now I can proudly say that it’s fate,” translated more literally would be: “At this point, it really is fate and not coincidence.”

I feel like Ji Ah’s strategy of throwing herself off the balcony here is possibly the only thing she does in this entire show that strikes me as dumb. Like, I’m pretty sure if Yeon hadn’t been both benevolent and able to fly (and she had no guarantee that he was either), letting her just fall here would have been the easiest way for him to resolve the matter/the only thing he could have done.

Yeon’s line, “Did you just test me?” is one of the rare instances in which he code switches to archaic speech. I guess using his gumiho powers put him in a Gumiho frame of mind. ;)

On the whole, I prefer the instrumental OST tracks to the lyrical ones, but ‘Blue Moon’ is just sooooo catchy. I wish they had continued using it more.

And that concludes Episode 1. I’ve never posted anything like this before, but hopefully it was at least mildly interesting. Let me know what you think.

#tale of the nine tailed #totnt #lost in translation #I've never done this before so think of it as an experiment #this is what happens when language nerds watch dramas #korean language #korean culture #kdrama #구미호뎐

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angry-bartender · 4 years ago

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A Semi-Academic Essay on Wonho’s “Losing You” MV

Roland Barthes’s theory of the “Death of the Author” is often cited in academia in an effort to objectively critique a text. Even outside of academia, this theory is used as a way to rationalize separating the text from its author to justify its consumption. In the case of Wonho’s “Losing You” music video, the text and its author are inextricably linked. I believe a lot of the video’s affect comes from the knowledge of Wonho and his career, which is why I absolutely adore the opening shot of the music video.

For those who may not know (and those who do are welcome to skip this paragraph), Wonho is a Korean idol who belonged to a group called Monsta X. In late October 2019, allegations of debt and drug use rose around him. This prompted him to announce his departure from the group which in turned sparked a global fan movement to protest his exit. In March 2020, he was cleared of all charges and in the following month, it was announced that he would pursue a solo career. From October to March, there was no word from him, save one interview he requested be released once he was proven innocent. Fans were hopeful and determined, but there was also the looming fear that he could very well choose to leave the limelight for good. Of course, that fear dissipated with the announcement of his solo career. Now, he was free to create personal social media accounts and fans knew he wouldn’t stay away for long. During his time in Monsta X, Wonho established a strong bond with fans. A bond, Wonho explained in his interview, that saved him from his checkered past. Wonho ensured that his fans knew they were loved, which made those months of radio silence all the more difficult for fan and artist alike. During a chat held minutes prior to the “Losing You” music video’s release, Wonho asked fans to pay attention to the lyrics. They held a message specifically for them.

The music video opens with a black and white shot of Wonho hanging upside down with fairly loud room tone filling the silence. His arms hang limply above his head as he sways gently in place. His back is facing the camera and his head is raised slightly, contrasting the passivity of his limbs. To me, the pose brought connotations of meat at a butcher’s shop- hanging, waiting to be torn into and apart. The choice to have him shirtless with his back facing the camera emphasizes his vulnerability. He is exposed physically and emotionally as he prepares to sing a love letter to his fans- fans he wasn’t sure he would have after his departure. The shot fades to black and the song begins with a close up of Wonho’s face as he sings. The introductory scene is never shown again or referenced for the duration of the video.

The song itself is a self-sacrificing promise to protect an unknown loved one, retroactively explaining the introduction. When announcing his departure, Wonho explained that he was leaving in an effort to protect his group from receiving the public’s scorn and draw all negative attention to himself. Through “Losing You,” Wonho has essentially promised to do similar for fans. The opening shot illustrates this self-sacrifice. He is drawing attention to himself, even offering his back for one to stab, but he is not resigned. The simple detail of his head being raised shows that he is not defeated. This is his plan. He would rather undergo trial and tribulation for the sake of keeping his loved ones safe because “losing me is better than losing you.”

The “Losing You” music video is not just Wonho’s re-introduction to the industry. It is an acknowledgement of a dark moment in his career. It is his introduction as Wonho the Soloist instead of Wonho of Monsta X. And most interesting of all, it is a moment where Wonho decides to blur the distinction between author and text by merging his personal and onstage personas in his art. That is why I love the opening shot of “Losing You” so much.

#Wonho #Losing You #Monsta X #Original essays

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chiseler · 4 years ago

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Ophelia By the Yard

Cobwebbed passages and wax-encrusted candelabra, dungeons festooned with wrist manacles, an iron maiden in every niche, carpets of dry ice fog, dead twig forests, painted hilltop castles, secret doorways through fireplaces or behind beds (both portals of hot passion), crypts, gloomy servants, cracking thunder and flashes of lightning, inexplicably tinted light sources, candles impossibly casting their own shadows, rubber bats on wires, grand staircases, long dining tables, huge doors with prodigiously pendulous knockers to rival anything in Hollywood.

Here was the precise moment — and it was nothing if not inevitable — when the darkness of horror film, both visible and inherent, leapt from the gothic toy box now joined by a no less disconcerting array of color. The best, brightest, sweetest, and most dazzling red-blooded palette that journeyman Italian cinematographers could coax from those tired cameras. Color, both its commercial necessity as well as all it promised the eye, would hereafter re-imagine the genre’s possibilities, in Italy and, gradually, everywhere else.

When color hit the Italian Gothic cycle, a truly new vision was born. In Hammer films and other UK horror productions, the cheapness of Eastmancolor made it possible for blood to be red. Indeed, very red. And, while we shouldn't underestimate the startling impact this had, it was a fairly literal use of the medium. In the Italian movies, and to a large extent in Roger Corman's Poe cycle, color was an unlikely vehicle to further dismantle realism rather than to assert it. Overrun with tinted lights and filters, none of which added to the film’s realistic qualities, the movies became delirious. In Corman's Masque of the Red Death, we learn of an experiment that uses color to drive a man insane; it seems that filmmakers like Corman and Mario Bava were attempting the very same trick on their audiences.

The application of candy-wrapper hues to a haunted castle flick like The Whip and the Body adds a pop art vibe at odds with the genre, and when you get to something like Kill, Baby...Kill! the Gothic trappings are barely able to mask a distinctly modern sensibility, so much so that Fellini could plunder its phantasmal elements for Toby Dammit, fitting them perfectly into his sixties Roman nightmare.

Blood and Black Lace brings the saturated lighting and Gothic fillips into the twentieth century -- a sign creaking in a gale is the first image, translated from Frankensteinland to the exterior of a contemporary fashion house. A literal faceless killer disposes of six women in diabolical ways. The sour-faced detective remains several deaths back on the killer’s trail because the movie knows its audience, knows that it has zero interest in detection, character, motivation — though it’s all inertly there as a pretext for sadism, set-pieces of partially-clad women being hacked up, dot the film like musical numbers or action sequences might appear in a different genre.

Since the 19th-century audience for literary Gothic Horror was comprised of far fewer men than women, would it be fair to ask whether Giallo’s advent might be an instrument of brutal violence, even revenge against “feminine” preoccupations? Consider 1964’s Danza Macabra, the film’s amorous vibes finding their ultimate source in that deathless screen goddess named Barbara Steele, whose marble white flesh photographs like some monument to classicism startled into unwanted Keatsian fever. Her presence practically demands that we ask ourselves: “Who is this wraith howling at a paper moon?” In other words, is it a coincidence that Steele’s “Elizabeth Blackwood” — a revenant temptress and undead sex symbol — hits screens the very same year as Giallo, which would transform Italian cinema into a decades-long death mill for women?

The name “giallo”, meaning yellow, derives from the crime paperbacks issued by Italian publisher Mondadori. The eye-catching covers, featuring a circular illustration of some act of infamy embedded in a yellow panel, became utterly associated with the genre of literature. These books were likely to be by Edgar Wallace, the most popular author in the western world, or Agatha Christie: cardboard characters sliding through the most mechanical of plots; or classier local equivalents, like Francesco Mastriani or Carolina Invernizio. The founding principles laid down concerned the elaborate deceptions concealed by their authors, traps for the unwary reader, and the use of a distinctive design motif. The tendency of the characterisation to lapse into sub-comic-book cliché, the figures incapable of expressing or inspiring real sympathy, was, perhaps, an unintended side-effect of the focus on narrative sleight-of-hand.

When Italian filmmakers sought to translate sensational literature to the screen, they looked to other filmic influences: American film noir, influenced by German expressionism and often made by German emigrés (Lang, Siodmak, Dieterle, Ulmer); and the popular krimi cycle being produced in West Germany, mostly based on Edgar Wallace's leaden "shockers." These deployed stock characters, bizarre methods of murder, deceptive plotting, and exuberant use of chiaroscuro, the stylistic palette of noir intensified by more fog, more shafts of light, more inky shadows. A certain amount of fun, but different from the coming bloodbath because Wallace, despite somewhat fascistic tendencies, is anodyne and anaemic by comparison. No open misogyny, a sadism sublimated in story, a touching faith in Scotland Yard and the class system. In the Giallo, Wallace's more sensational aspects are adopted but made to serve a sensibility quite alien to the stodgy Englander: people are generally rotten, the system stinks, and crime becomes a lurid spectator sport served up to a viewer both thrilled and appalled.

The Giallo fetishizes murder. But then, it fetishizes everything in sight. Every object, every half-filled wine glass and pastel-colored telephone, is photographed with obsessive, product-shot enthusiasm. Here, it must be emphasized that design implicates the viewer as the Italian camera-eye gawps like some unabashed tourist. Knife, wallpaper, onyx pinky ring — each detail transforms into an object made eerily subject: a sentient and glowering fragment of our own conscience, staring back at us in the darkened theater and pronouncing ineluctable guilt. And yet, for the directors who rode most dexterously the Giallo wave, homicide was something one did to women. Indulging in equal-opportunity lechery was merely an excuse to find other, more violent outlets for their misogyny. Please enter into evidence the demented enthusiasm for woman-killing evinced by Dario Argento, Mario Bava, Lucio Fulci, et al. — whatever trifling token massacres of men one might exhume from their respective oeuvres are inconsequential. Argento’s defense, “I love women, so I would rather see a beautiful woman killed than an ugly man,” should not satisfy us, and hardly seems designed to (also bear in mind Poe’s assertion that the death of a beautiful young woman was the most poetic of all subjects).

Filmmakers like Argento have no interest in sex per se. Suffering seems inessential, but terror and death are key, photographed with the same clinical absorption and aesthetic gloss as Giallo-maestros habitually apply to their interior design. Here, it must be emphasized that design implicates the viewer as the Italian camera-eye gawps like some unabashed tourist. Knife, wallpaper, onyx pinky ring – each detail transforms into an object made eerily subject: a sentient and glowering fragment of our own conscience, staring back at us in the darkened theater and pronouncing ineluctable guilt. That’s one important subtlety often lost amid Giallo’s vast antisocial hemorrhage.

Like a river of blood, homophobia, in the literal meaning of fear rather than hatred, runs through the genre. Lesbians are sinister and gay men barely exist. As we try to work out what in hell the Giallo is really up to, little dabs of dime-store Freudianism seem sufficient.

The filmmakers’ misogyny could be suspect, a sign of compromised masculinity, so they need fictional avatars to cloak their own feverish woman-hating. The subterfuge is clumsy at best, the desultory deceit embarrassingly macho. Giallo’s visual force, powerful enough to divorce eye from mind, is another matter, leaving us demoralized and ethically destitute; our hearts beating with all the righteous indignation of three dead shrubs (and maybe a half-eaten sandwich).

The Giallo is founded on an unstated assumption: the modern world brings forth monsters. Jack the Ripper was an aberration in his day, but now there's a Jack around every corner, behind every piece of modular furniture, every diving helmet lamp. Previously, disturbing events arose from what Ambrose Bierce called The Suitable Surroundings, or what the mad architect in Fritz Lang's The Secret Beyond the Door termed, with sly and sinister euphemism, "propitious rooms." There's the glorious line in Withnail and I: "That's the sort of window faces appear at." But now, in the modern world, evil occurs in the nicest of places, and tonal consistency died in a welter of cheerful stage blood. One needn’t enter an especially Bad Place to meet one’s worst nightmare, or perhaps better to say: the whole bright world qualified as a properly bad place. Imagine the pages of an interior design magazine invaded by anonymous psychopaths intent on painting the gleaming walls red.

Though the victims are overwhelmingly female and their killers male (Argento typically photographed his own leather-gloved hands to stand in for his assassin’s), when the violence becomes over-the-top in its sexualized woman-hating (like the crotch-stabbing in What Have You Done to Solange?), it’s usually a clue that the movie’s murderer will turn out to be female: a simple case of projection. Only Lucio Fulci, the most twisted of the bunch, trained as a doctor and experienced as an art critic, not only assigns misogyny to a straight male killer (The New York Ripper) but plays the killer himself in A Cat in the Brain. Though, in another self-protecting twist of narrative, all psychological explanations in Gialli are bullshit, always. Criminology and clinical psychology are largely ignored, and Argento has a clear preference for outdated theories like the extra chromosome signaling psychopathy (Cat O’Nine Tails). Did anybody use phrenology, or Lombroso’s crackpot physiognomic theories, as plot device?

A tradition of the Giallo is that the characters all tend to be dislikable, something Argento at least resisted in Cat O’ Nine Tails and Deep Red. With disposable characters, each of whom might be the killer and each of whose violent demise is served up as a set-piece, this distancing and contempt might just be a byproduct of the form rather than a principle or ethos, but it’s of some interest, perhaps mitigating the misogyny with a wash of misanthropy. A Unified Field Theory of Gialli would find a more deep-seated reason for the obnoxious characters as well as the stylized snuff and the glamorous presentation. What urge is being satisfied, and why here, now, like this?

Class war? Though prostitute-ripping is encouraged in the Giallo, most victims are wealthy, slashed to ribbons amid opulent interiors. Urbane characters who might previously have graced the sleek “white telephone” films of forties Italian cinema were briefly edged out by neo-realism’s concentration on the working class. Now these exquisite mannequins are trundled back onscreen to be ritually slaughtered for our viewing pleasure.

Victims must always be enviable: either beautiful and sexy or rich and swellegant, or all of the above, so the average moviegoer can rejoice in their dismemberment with a clear conscience. Mario Bava bloodily birthed the genre in Blood and Black Lace (1964), brutally offing fashion models in a variety of Sade-approved ways, the killer a literally faceless assassin into whom the (presumed male) audience could pour their own animosities without ever admitting it, with the female killer finally unmasked to provide exculpatory relief.

If narrative formulas absolve the straight male viewer, compositions have a way of ensnaring him. Beyond that omnivorous indulgence of sensation for its own lurid sake one finds in Giallo, there is a more gilded emphasis placed on Beauty (in the Catholic sense), and it is only the women who are mounted upon its pedestal. That these avatars of beauty are to be savored, ravaged, and brutalized — in that order — is what concerns us. But the sex and the suffering that captivates most sadists is never what registers; no, it is the instance of death, the terror that afflicts the dying woman’s face that resonates. Once again, physical interiors become a negative form of emotional interiority, rooms amplified for the sole purpose of grisly annihilations; a kind of heretical, strictly anti-Catholic transcendence through amoral delight in what otherwise falls under trivial headings, either “the visuals” or “color palette” – neither of which touch the essential nerve endings of Giallo.

Swaddled inside an otherwise hyper-masculine castle lies a windowless chamber with feminine, if not psychotic, decor. Before he tortures and stabs her to death, “Lord Alan Cunningham” (fresh from his sojourn in the asylum) brings his first victim to this pageant of off-gassing plastic furniture, the single most obnoxious vision ever imposed on gothic environs. Risibly overblown ’70s chic rules The Night Evelyn Came Out of the Grave with nods to Edgar Allan Poe, as the modish Lord juggles sports cars and medieval persecution. Laughs escape the viewer’s throat in dry heaves when each new MacGuffin devours itself without warning. Take “Aunt Agatha” (easily two decades younger than her middle-aged nephews) suddenly rising from her motorized wheelchair, clobbered from behind seconds later, her body dragged into a cage where foxes promptly munch her entrails. Nothing comes of this. The phony paralysis, the aunt’s role in a half-dozen mysteries, which include a battalion of sexy maids in miniskirts and blonde Harpo Marx wigs – all gulped, swallowed.

About the only thing we know for certain is that “Aunt Agatha” is gorgeous. Though, in the end, she’s another casualty of the same nihilism that crashes Giallo aesthetics headlong into Poe country. That is into “Lord Alan” and his gaudy room crowded with designer goods to be catalogued in a horror vacui of visual intrusiveness – a trashy shrine to his late wife, the titular Evelyn. If lapses of good taste define The Night Evelyn Came Out of the Grave, they also reflect Giallo’s abiding obsession with real estate. After all, this Mod hypnagogia has to fill the eye somewhere. Why not bang in the middle of a castle? Poe’s The Fall of the House of Usher features a wealthy aristocrat burying his twin sister alive, thereby entombing his own femininity.

Evelyn represents both Usher’s primary theme of the divided self and the obdurate refusal to learn from it. “Alan,” who emerges a moral hero in the end (after his shrink aids and abets his murder spree), remains just as ornery, alienated, and vainglorious as Giallo itself. We’re never told precisely what the film’s fetish objects are supposed to mean. And since the camera seizes upon each one with existential grimness, we’re left with a visual style that begs its own questions.

Function follows form into the abyss. One Ophelia after another dies to satisfy our cruel delectation, even as will-o’-the-wisp light, taken from the bogs and neglected cemeteries of Gothic Horror, finds itself transformed into a crimson-dripping stiletto. Evelyn stands in for all Gialli, a genre which redefines film itself on the narrow front of visual impact: stainless steel cutlery and candy-colored light enact a sentient agenda as color becomes an instrument of hyperbolic misogyny that fills the eye and then some.

As with certain other Italian genres, notably the peplum, smart characterization, solid performances and decent dialogue seem not only unnecessary to the Giallo but unwelcome (the spaghetti western, conversely, in which many of the same directors dabbled, seemed to demand a steady stream of good, cold-blooded wise-cracks). Argento, in pursuit of that “non-Cartesian” quality he admired in Poe, took this to extremes, stringing non-sequiturs together to form absurdist cut-ups, torching his stars’ credibility merely by forcing them to utter such nonsense. And this wasn’t enough: from Suspiria (1977) on, the psychological thriller (which the Giallo is a sub-genre of, only the psychology has to be deliberately nonsensical) was increasingly replaced by the supernatural. So that the laws of nature could be suspended along with the laws of coherent motivation.

In Suspiria and its 1980 quasi-sequel Inferno, the traditional knifings are interspersed with more uncanny events, as when a stone eagle comes to life and somehow makes a seeing-eye dog kill his owner, and there are also grotesque incidents with no relation to story whatever: a shower of maggots, or an attack by voracious rats in Central Park. The Giallo’s quest for a solution, inspired as it was by the old-school whodunits, is all but abandoned, replaced by the search for the next sensational set-piece.

Argento’s villains are now witches, but, abandoning centuries of tradition, these witches show more interest in stabbing their fellow women with kitchen knives than with worshipping Satan or riding broomsticks. Regardless of who they’re meant to be, Argento’s characters must express his desires, enact the atrocities he dreams of. And inhabit places built for his aesthetic pleasure rather than their own. Following Bava’s cue, he saturates his rooms in light blasted through colored gels, making every scene a stained-glass icon, no naturalistic explanation offered for the lurid tinted hues. Just as no explanation is offered for the presence of a room full of coiled razor-wire in a ballet school, or for the behavior of the young woman who throws herself into its midst without looking.

Dario Argento’s true significance, at least with respect to Giallo, was perceiving in the nick of time the almost incandescent obviousness of its limitations; that Italian commercial cinema’s garish, polychromatic spin on the garden-variety psychological thriller – departing from its forebears mainly in the rampant senselessness of its “psychology” – had Dead End written all over it. It could never last. On the other hand, Giallo does take a fresh turn with Argento’s Inferno, thanks in no small measure to a woman screenwriter who sadly remains uncredited. Daria Nicolodi explains that “having fought so hard to see my humble but excellent work in Suspiria recognized (up until a few days before the première I didn’t know if I would see my name in the film credits), I didn’t want to live through that again, so I said, ‘Do as you please, in any case, the story will talk for me because I wrote it.’”

Daria Nicolodi

Nicolodi’s conception humanizes (it would be tempting to say “feminizes”) Argento’s usual sanguinary exercises du style, while at the same time summoning legitimate psychology. This has nothing to do with strong characterization – indeed, the characters barely speak – and everything to do with the elemental power of water, fire, wind.… Inferno rescues Giallo by plunging it into seemingly endless visual interludes, a cinema that draws its strength from absence.

by The Chiselers

Daniel Riccuito, David Cairns, Tom Sutpen, and Richard Chetwynd

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easinalif · 4 years ago

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5 Social Media Marketing Tips

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#Social Media Advertising #social media marketing

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jaremmywade · 4 years ago

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Modern Warfare Crashing on PC

Obligation at hand: Modern Warfare players are encountering horrendous arbitrary accidents on PC while doing combating their approaches to the top.

A wide range of Dev blunder codes, for example, Fatal Error: Dev Error 6178 or no mistake codes by any stretch of the imagination. It crashes even in single-player mode. In case you're encountering Modern Warfare slamming, here're a couple fixes you can attempt.

As a rule, most Modern Warfare Crashing on PC meets the base or suggested prerequisites, and check its extra proposals on the off chance that you have high designs settings turned on, for example, Ray Tracing.

Your Modern Warfare slamming can be brought about by the accompanying issues:

Obsolete video drivers or sound drivers

Texure quality

G-Sync or V-Sync

Degenerate game records

Programming clashing

In-game overlay

and so forth

It's difficult to find the specific reason, however you can attempt the accompanying workarounds to fix it.

Regardless of what makes your Modern Warfare crash, you can investigate and dispose of it without any problem:

Close the entirety of your experience Apps

Update your gadget drivers

Set surface quality to high or ordinary

Sweep and Repair your game

Quit Overclocking

Impair NVIDIA V-Sync for Modern Warfare

Impair Discord in-game overlay

Change Priority

Fix 1: Close all foundation Apps and fix your game

Close down all applications that are running out of sight by squeezing Ctrl + Shift + Esc, particularly your antivirus programming, which can be over-defensive and cause Modern Warfare smashing issues.

Fix 2: Update your gadget drivers

With regards to video game smashing, the most conceivable reason is your illustrations driver. Designs card (GPU) is the main segment to decide your gaming execution. Consequently, if the illustrations driver is obsolete or tainted, almost certainly, you will get tremendous Modern Warfare slamming. Present day Warfare smashing can be brought about by tainted designs card drivers.

To refresh your designs driver, you have two choices: physically or consequently.

Choice 1: Update your designs driver physically

Download the most recent and right designs driver from the producer's site:

When downloaded, open the driver record and introduce the most recent driver physically.

The manual refreshing cycle is tedious. You'll have to check for refreshes over and over since the illustrations card makers continue delivering new drivers to fix bugs and improve execution for specific games. You might be flabbergasted at how regularly you miss a driver update for your designs card.

Alternative 2: Update your designs driver consequently

Refreshing your illustrations driver consequently is very simple.

Basically download and run Driver Easy, and it will perceive your framework and locate the right and most recent driver for it. Likewise, you can likewise refresh other related drivers, for example, sound driver, console driver, and so forth

1) Download and introduce Driver Easy.

2) Run Driver Easy and click the Scan Now button. Driver Easy will at that point check your PC and distinguish any difficult drivers.

3) Click the Update button close to your designs card to download the most recent and right driver for it, at that point you can physically introduce it.

Or on the other hand

Snap the Update All catch at the base option to consequently refresh all obsolete or missing drivers on your PC (this requires the Pro form, which accompanies Full Support and a 30-day Money Back Guarantee. You will be incited to overhaul when you click Update All).

4) Restart your PC for the progressions to produce full results.

Fix 3: Set surface quality to high or typical

Many Call of Duty players may set their illustrations settings to Low, which can be the guilty party of the Modern Warfare smashing issue. Present day Warfare may crash for not having enough surface quality, particularly in the event that you get a mistake code Dev Error 6178. Numerous gamers discover setting Texture Resolution to Normal or High settled their smashing issues, contingent upon your PC specs.

Here's the means by which to do it:

1) Open your Call of Duty: Modern Warfare and go to Options > Game Settings > Graphics.

2) Under the Details and Texture tab, set Texture Resolution to High or Normal.

You can keep all the other things on the most minimal settings, aside from Texture Filter Anisotropic on High. Likewise, make a point to kill Sync Every Frame (V-Sync), which is best left off inside games.

Fix 4: Scan and Repair your game

This is the strategy you can generally attempt when you run into game slamming issues. Degenerate game documents can cause Call of Duty: Modern Warfare smashing issues.

In case you're on Steam: go to your game library and right-click Call of Duty: Modern Warfare and select Properties. At that point go to the Local Files tab and snap Verify Integrity of Game Files.

In case you're on Blizzard Battle.net, you can find Modern Warfare and snap Options > Scan and Repair.

Overclocking your CPU can improve your gaming execution yet may leave your game precarious, which may cause Modern Warfare slamming.

In the event that Call of Duty: Modern Warfare begins to crash after you overclock your GPU, you can take a stab at bringing it down to the default setting. This may sufficiently be to forestall or diminish the quantity of Modern Warfare crashes you're encountering.

The V-Sync in your game is G-Sync/FreeSync and it might meddle with Modern Warfare, so you can have a go at turning it off to check whether the smashing issue disappears. In the event that you have in-game V-sync turned on, you can impair it in Modern Warfare illustrations settings.

Here's the means by which to kill V-Sync in NVIDIA Control Panel:

1) Right snap your Desktop and select NVIDIA Control Panel.

2) On the left sheet, go to 3D Settings > Manage 3D settings. Select the Program Settings tab and add your Call of Duty: Modern Warfare.

Default Path: C:\Program Files (x86)\Call of Duty Modern Warfare\ModernWarfare.exe

3) Scroll down the rundown and select Off for Vertical sync. At that point click Apply.

Take a stab at dispatching your game again to check if Modern Warfare crashes persevere. On the off chance that this doesn't work, you can attempt these settings that turn out great for different players on Reddit.

In case you're utilizing any projects with overlay highlights, for example, Discord, impair the In-Game Overlay as it will cause arbitrary game accidents on your PC.

1) Open Discord and snap the settings symbol.

2) Navigate to Overlay tab on the left sheet.

3) Toggle off Enable in-game overlay.

In the event that you need to handicap in-game overlay only for Call of Duty: Modern Warfare, go to the Games Activity tab and switch off Call of Duty: Modern Warfare.

Setting Call of Duty: Modern Warfare to high need, as per a couple of players, lessens the quantity of accidents a smidgen. To do it, you need to open your game first since you will discover it in the Task Manager.

1) Press Ctrl + Shift + Esc to open Task Manager, at that point go to Details tab.

2) Locate Call of Duty: Modern Warfare.exe and right snap it.

3) Select Priority > High.

4) When incited for authorization to make changes, select Change need.

In the event that you actually have issues when playing Call of Duty: Modern Warfare, you can reinstall the game. Don't hesitate to leave us a remark or offer your workarounds with different players.

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mittensmorgul · 5 years ago

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I was watching the ep where they got Cas back after Lucifer stabbed him and I couldn't help but think "dang, it's a shame all this is still subtext." And then it dawned on me that it's not subtext. That if Cas were a woman, there'd be no doubt that her coming back was the pivotal moment for Dean that season. But they didn't outright confirm it because they don't think they had to. It's not subtext just because they don't spell it out. But we're conditioned to think that way with same sex ships.

hrrrrmmmmm... see I waffle back and forth between feeling like this is a postulation that could be useful for people who claim they don’t see it, and feeling like I need to douse myself with purell for even having to consider it, you know?

I tend to file this information under “things that make me slightly uncomfortable while also being a useful tool for people who are open-minded but just might need a little nudge into understanding what being bisexual feels like sometimes...”

I mean, dig back through my pages of posts in my “casual viewer stories with mr mittens” tag and somewhere there’s a post from like s9 (it was years ago) where he said “if Cas had been in a female vessel, he and Dean would’ve been married by now.” And somewhere else where he said, “too bad Dean’s straight.” And just... when he said these things (out of the blue, randomly) I’d been so caught off guard I kinda just blinked and stared at him like... who said Dean’s straight? but unfortunately didn’t actually say it out loud.

I was just... so dang flummoxed that anyone could look at Dean and not think he was a repressed, closeted bi. But then I remember straight people exist, and I’m married to one, and realize that yes, this CAN be a helpful tool to explain the dynamic we see constantly between Dean and Cas.

Because bisexual people exist. *waves hello* And sometimes bisexual people NEVER jump out of the closet. Sometimes we just think it’s easier to stick to what’s more socially acceptable (especially for someone like Dean who lived most of his life on the road with no attachments... strange small town where he’ll be for a few days at a time? Usually easier to draw less attention to himself by hooking up with a woman than DOUBLY putting himself at risk when he’s trying to maintain a cover id for a case and not getting himself run out of town for hitting on the wrong dude...). Not to mention the generation Dean was raised in, the lifestyle he has led (hunting seemed to be SUPER heavy on the dudebro types until their more recent reintroduction to the community through Jody’s hunder connections, the Witch Twins, etc.), and the transience of his life for years and years, believing he would never be able to actually HAVE any sort of long-term relationship at all. For a one-night stand? Sometimes it’s easier to play straight, especially in a lot of the sorts of towns we’ve seen them visit on the show (yes it’s 2019 and people need to wake up to the fact that bisexuality is real, but hooooooboy there’s still a lot of homophobia out there, and I get it).

SO! All that said... yeah, if someone REALLY just doesn’t understand where we’re seeing all this destiel subtext (and text tbh), then asking that simple question and inviting them to ponder the ENTIRE series again under that What If scenario... well, if that person STILL thinks Dean and Cas would just be pals, then I don’t think there’s any hope for them at all.

If their ONLY objection remains, “Well, but Cas is STILL in a dudesuit, and Dean is STILL straight, so...”, then I invite them to remember that bisexuality is a real thing, and that some bisexual people NEVER actually come out of the closet (which is TOTALLY FINE and A PERSONAL CHOICE and it’s always best to do what’s safest and most comfortable for yourself), and some only admit it to themselves later in life when they DO feel safe and comfortable enough to settle down that way... or until they discover they’ve fallen in love with their best friend and to their eternal wonder they discover their friend has also fallen in love with them...

Sometimes that’s just how things happen.

But I like to tell people to consider this bearing in mind that from the pilot episode, I completely identified with Dean Winchester... as someone who only came out as bi later in life, because when I was a teenager, literally did not even understand that was a thing someone could be. I was just really, REALLY confused for a long time. (and I’m five years older than Dean, and can completely understand the isolated way he was raised, his entire life one giant ball of intensely managed secrecy, that it’s absolutely something he would’ve believed best kept well squashed down and buried right alongside his memory of his mother and his own self-worth).

But just ponder for a moment, if Cas had always been in a female-presenting vessel-- which we have seen him in TWICE now (Claire Novak and the woman he possessed in the flashback scenes in 12.10)-- would he still have used male pronouns? Because he always did use male pronouns, independent of having a male-presenting vessel. (and yes, this opens a whole other can of worms which I already made one long post about: https://mittensmorgul.tumblr.com/post/174088047410/do-you-think-at-this-point-in-time-cas-thinks-of )

And all things considered, there was STILL the barrier Dean felt between them, clearly illustrated by his “last night on Earth” with Anna. It wasn’t her GENDER that kept him from being with her, but one she was an angel again... she pretty much instantly shut him down. She was also the one who explained to him what angels feel versus what humans feel, specifically listing the experience of sex as one of the reasons she chose the painful act of tearing out her grace, specifically to become human in order to feel that. So... what has Dean been left with regarding Cas’s OWN feelings about human intimacy in general?

Even after 5.03, when a female-presenting person was willing to have sex with him, Cas... didn’t even REMOTELY get it. In fact, he didn’t get it until he WAS human (which... 9.03 is its own horrific can of worms here, but this was the first time Dean realized that Cas MIGHT in some way at ALL be interested in human intimacy). And then almost as soon as he became human, Dean was forced to make the horrific choice (let Sam die on the spot, or kick Cas out). He gets ONE CHANCE to even SEE Cas during this time, and it’s a situation where Cas nearly DIES, bringing on a ton of guilt and making Dean feel like he made the right decision keeping Cas out of all the supernatural nonsense for his own safety. *cue rending of garments and gnashing of teeth*

And then the next time he sees Cas, Cas... isn’t human anymore... and Dean’s... resigned to that fact.

It’s always SOMETHING standing between them, you know? It’s not JUST the apparent physical gender of Cas’s vessel. But if playing a round of “what if” helps folks jump that hurdle for themselves, then I don’t see anything wrong with it. As long as the conclusion they draw isn’t “well then that’s the eternal barrier standing between them and we can’t do anything about that,” then refer them back to the above essay on bisexual people repressing the hell out of that until they feel safe enough or comfortable enough or just have REASON enough to step out of the closet. Okay. I guess that’s enough for that. :P

#dean winchester is bilingual #destiel #the scheherazade of supernatural #spn 13.05 #spn 13.06 #spn 13.03 #spn 13.01 #spn 12.10 #spn 4.20 #spn 5.03 #spn 4.10 #spn 5.13 #angels and souls #on the nature of angel grace #spn 9.03 #castiel winchester #you learned it from the goats #Anonymous

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villainever · 6 years ago

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God, We're All Tired: Female Conflict in Killing Eve's Season One Finale

So I'm sure 1x08 has been analysed to death, but seeing as we're winding up to the end of Killing Eve's second season (sad face), I thought I'd jump in with a completely unsolicited reflection on the ultimate culmination of Villanelle and Eve's mutual obsession and pursuit. I'll kick off by saying that from the start, we knew this moment would be interesting, for a whole slew of reasons: Firstly, from the get-go, we were shown that Killing Eve was here to subvert and reconstruct; it's deeply oriented within its genre, but it's irreverent, and even what I would describe as a reclamation of spy-fi. Specifically, it's a female-led narrative taking ownership of a set of texts and tropes that have consistently objectified and excluded women by turns. From its inception, the psychological thriller genre has delighted in a) withholding women's agency, and killing/torturing/assaulting them, both to shock viewers and to lend pathos to the motivations of male characters, and b) revelling in their "expiration" from sexual desirability, and casting the "ailing crone" as the villain orchestrating events. Killing Eve has absolutely no interest in ever reducing its women to their component parts. There are no pedestals, and there are no pitchforks. As a show, it hits all the golden points of suspense television, and completely reimagines the rest; it's a masterpiece balacing act of keeping the classic cat-and-mouse recogniseable, while allowing Eve and Villanelle to each be both the predator and the prey.

Secondly, our two protagonists are women. Highly unusual and exceptional women -- that's inarguable -- but nevertheless, they've been socialised in particular ways. What's so fascinating here is that both have been injected with a comfort in and enjoyment of theatrical violence that's usually reserved for male villains. However, even at their most ruthless, there's an innate intimacy to both of them -- unlike, say, for example, the Joker, Villanelle's flamboyance and love affair with destruction never manifest as mass-killings or the eradication of infrastructure (like blowing up a hospital). Villanelle exacts each murder with the creativity of the truly engaged and passionate, but it's always personal and unique, usually one-on-one. She doesn't have a vendetta against the world, either; she finds beauty in it -- in ice-cream and movies and nice architecture or fun clothes. Similarly, Eve is enthralled by Villanelle's flair for the deadly and the dramatic, but it's not born out of a spite for humanity, but a sense of artistry and a consuming need for some adrenaline in her otherwise numb and mundane life. These complexities muddle their emotions and motivations, and make it difficult for even the most television-literate to semi-accurately predict their storylines.

Thirdly, Eve and Villanelle are never positioned as diametrically opposed. This in itself is not exactly out of the left field -- a lot of media with a dark focal point or mature subjects introduce heroes and villains who share key traits (e.g. Sherlock and Irene, in CBS's Elementary), or even comparable goals (e.g. Black Panther's Killmonger and Nadia both want to open Wakanda's borders). In most cases, though, the antagonist will represent some kind of seduction to the 'other side', that the protagonist inevitably resists the allure of (e.g. Andy realising Miranda isn't who she wants to grow up to be -- successful but alienated -- and goes back to her excuse of a boyfriend in TDWP). But while Eve and Villanelle are very much established as one another's temptations, we also see that they'll grant the other access to a part of the world that is, for now, barred from them: Villanelle and Eve will stop each other from being bored. They "resist the allure" not because they fear moral wrongdoing, but because they cling to their respective images of themselves -- Eve, as someone "nice and normal", who happens to have a grey area for a hobby, and Villanelle, as someone independent, in control, with no lines she wouldn't cross. Way back in the pilot, we're shown that they don't actually WANT to destroy each other. Villanelle is too interesting to Eve, Eve is too attractive to Villanelle. Yes, they pose a significant threat to their respective lifestyles, but as we've had proven, they're becoming willing to risk that if it means gaining something more. They don't reflect a sinister alternative timeline of "look what you could've been" (which is inherently hero-centric, and Killing Eve pays as much attention to Villanelle as Eve), they offer each other a "look what you could still be", that is at once dark and hopeful -- something that they've really elaborated on in this second season. But 1x08, even though it is very much the symbolic collision that is the centrepiece of all chase stories, is not their first meeting. Villanelle goes to Eve's house in the (iconic) 1x05. So why not save that for the finale? Why not build and build and have that tension released right at the end? Because, crucially, 1x05 generated more tension. The show's writing is so substantial that it doesn't worry about losing its audience after the moment they've been waiting for happens. It's one of the reasons you could have the entire plot of Killing Eve spoiled, and then still enjoy every episode when you watch it yourself: it's the How that we love as much as the What. Killing Eve takes the time and space to revel in its style, characters, and setting -- but that's another essay. In 1x05, their meeting is high-octane, and crucially, it's brief. We get a snapshot of how their infatuation and fixation translates into chemistry. And they both become real to one another. Eve's last reservations begin to fade as she realises that she can survive an encounter with Villanelle, and her sense of self -- most importantly, the subconscious idea that she's somehow special -- is vindicated (Eve's slight narcissism, and how the show makes it compelling and intoxicating, is yet another thing I could go on about). For Villanelle, Eve is allowed to be more than just great hair and a worthy threat. She's someone challenging and entertaining. What's so incredible about that first meeting is that it's proof that this dynamic isn't running on mystery and fumes. It's sustainable. They continue to appeal to one another once they're in the same room together. They appeal even more. Their sexual tension skyrockets, and the whole dance becomes extremely personal. They can't write one another off as playthings, although they largely continue to attempt that, at least for a short while. With this in mind, let's move on to that finale. Not only is Eve trashing Villanelle's apartment hilarious, and a perfect articulation of the humour/danger cantilever that makes Killing Eve awesome, but it provides a critical catharsis for the audience before the actual confrontation. By this point, the price for Eve's obsession is starting to rack up -- her job is circling the drain, Niko's dodging her calls, her self-image is blurring. Eve has a whole lot of feelings, but she's allowed to express them on her own, symbolically taking them out on Villanelle by ruining her things, which become a vehicle for venting her frustrations without actually affecting their relationship. When Villanelle does arrive, Eve's ready. This scene would've worked if it was some sexy wall-leaning, banter, and Eve surprise-stabbing Villanelle in the middle of a conversation. I think that's probably how a lot of screenwriters today would've done it, scrawling it off by rote and relying on Villaneve's chemistry and Comer and Oh's excellent acting to nail the bit. Instead, we get this civil conversation, and then they lie down together, first relaxing, and then gravitating towards one another. I don't believe that Eve knew until the millisecond she decided to do it that she would actually try and stab Villanelle. I actually gave this mini-essay a title, and it's "female conflict". That's because I think that this entire sequence wouldn't have happened in a show created by men, or featuring male characters. In violent shows, we get violent conflict. Killing Eve is unquestionably a violent show, but it's distinct from its contemporaries in that the characters aren't there to prop up the violence; the violence is there to reveal and develop the characters. But after a whole season of elaborate murder and tyre-squealing pursuit, we get this stillness. Yet, it doesn't feel for even a beat like bathos. It's absolutely a climax, and it's both suspenseful and arresting. It really illustrates that the show is about fascination: they're hungry to know everything, like Eve says. There's no performative combat. We can't guess what's going to happen because neither can they. Their obsession isn't a "this town ain’t big enough for the both of us" situation. It's a "this town is only the both of us". Their worlds are reduced to each other and they don't want to squander it with fighting, because fundamentally, Eve and Villanelle are so much more similar than they are different. Again, I say this is so fitting for female characters because they see this co-existence as an option. It's so simple, but the idea of your protagonist and antagonist sighing, "Fuck, can't we just have a lie down after all this?" and making it satisfying is incredibly radical. Because it's so personal, and intimate, and human. At every interval, the writing asks, What would we actually do at this moment? Not, What precedent has popular culture set for this moment? Too often, I think we give characters responses that we've seen before in texts, because we watched/read it, accepted it, and just filed it into our own work, knowing it's what the audience expects. But this scene with Eve and Villanelle is so heart-wrenchingly in-character. It's two people charging at each other full speed, not to hit each other but to be close to one another. And like so many other tiny beats over the course of the season, Killing Eve luxuriates in this proximity. We get to breathe. It's gentle. It's a gentle pause between two people who could utterly eradicate one another, but choose not to. It's ladden as well with such a specific but familiar kind of exhaustion, and it's an act of defiance, too. Killing Eve rejects the hegemonic (and predominantly masculine) cultural assertion that conflict (or even sometimes, in the less typical texts, debate and negotiation) is the way to resolve difference, and indeed, that difference must be resolved. That one must overpower the other. That your enemy is an alien and cannot be connected with, related to. The fact is, a lot of even this first season isn't spent chasing, it's spent running. Eve and Villanelle take an interest in each other early on, and it quickly escalates from intellectual to sexual to emotional (insofar as either of them are capable of that). By 1x05, they've caught up to each other. The rest of the time, though, they're fleeing from how much they want each other, how alike they might be. And in Villanelle's Paris apartment, they concede: I love you more than I hate you. I need you more than I should. And it's with that concession that we as an audience can experience their relaxation, too. It's what we've -- consciously or not -- been waiting for. That acknowledgement. But Margot, you say, you've been talking about how this isn't about violence -- have your forgotten that Eve STABS Villanelle, literally three seconds after this? I have not, The Only Follower Who Read This Far. So why engineer all this, and then have Eve knife Villanelle straight in the gut? Because even though they have this liminal second together, their story isn't resolved. Killing Eve goes absolutely wild with power dynamics, and I could discuss that for hours, too -- Eve is older, but Villanelle is more experienced; Eve is more stable, but Villanelle is more adaptable, etc. But generally speaking -- partially because Eve is, at the beginning, something of an audience surrogate -- the scales are in Villanelle's favour. She's dangerous, clever, has no fear of legal consequences, and has more freedom and greater resources. Killing Eve is allergic to any pedestrian predictability, so it shakes up this arrangement. In stabbing Villanelle, Eve proves to both of them what she's capable of. Prior to this, they had an impression of their similarities, but this throws into sharp relief exactly how deep those run. Eve immediately regrets the stabbing, because it wasn't about getting rid of Villanelle. She doesn't want to hurt her so much as show her that Eve has power too, has recklessness too, can keep up. This interaction isn't the product of an inability to relate, but a desperation to connect. This joins them together, affirms their relationship. Eve isn't trying to dominate her, to win, not really. She's telling Villanelle what she's capable of, and equating them. We get this confirmed in how Villanelle perceives in the stab wound as a symbol of affection (2x02, 2x05), and how Eve says she continues to think about it constantly (2x05). I believe that while Villanelle always respected Eve, if Eve hadn't stabbed her, Villanelle would've remained confident that she, quietly, had the upper hand. That if ever need be, she could be more cunning and cruel and decisive than Eve. But Eve's put them in the same ring, and also removed one major wall between them -- Villanelle's murderous side is a key part of her character, and after this, she knows that Eve isn't intruiged by her despite this, but because of it, and because it’s at least partially common ground. Eve isn't Anna (another comparison I could go off on a tangent about, but I'll spare you). In sum, I think that the season one finale was beautifully rendered, and reflected Killing Eve's appreciation of itself. It let the characters interact genuinely, it refreshed their dynamic, and allowed them development separately (Eve's new understanding of her own capacity for harm; Villanelle's new experience with vulnerability, and not being able to predict others) and together (intertwining them irrevocably, further aligning them). It's one of those rare scenes where it's completely surprising at the time of viewing, but in hindsight, seems inevitable, and you can't imagine it any different. I can't make any predictions for the season two final episode other than I expect something equally unexpected, something just as loyal to the characters and their relationship, and their capacity to embrace and antagonise each other. This essay is probably borderline incoherent. It really got away from me. I set a timer for half an hour and told myself that whatever I got written in that time, I'd post. Thanks so much for your kind comments on my rant yesterday, and I hope this is at least vaguely what you were looking for, @ the people who said they'd read another. You're my favs. If you've got something else Killing Eve-related you'd like me to yell about, let me know! Or if you want to come chat, I promise I'm friendly! I’m using the tag “#villainever writes” for this rambly stuff atm, so if I ever write another of these I’ll have a digital drawer to put it in hahah

#villainever writes #villaneve #killing eve #killing eve essay #ke analysis #killing eve analysis #villanelle #eve polastri #eve x villanelle #eve x oksana #villanelle x eve #villainever #villanevest writes

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