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struwwelzeter · 4 years

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For a variety of reasons, I got into a bit of a rabbit hole about Richard's guitars, and my brain went "oh I know someone who will probably have opinions on this" so essentially, if you feel like it, pretty please talk RZK guitars to me? Favourite? Retired one that needs to come back? (Though I probably already know the answer, that fancy black one?)

Allrighty, buckle up because this is gonna be long. After much consideration I have decided to split it up in two parts because I don’t think I can make it fit into one post that is still vaguely tumblr appropriate, and I really wanted to do it some sort of justice. I still feel like I don’t. But oh well. Full disclaimer, I am NOT a guitarist, but I lived with a few, two of my best friends are pro players and I’m a sponge so I kind of soaked some bits and pieces up over the last 15 years. But in case any lost guitar hero finds this and disagrees with me over the finer points of tone wood: I know honey, I oversimplified, and I am wrong. I tried? 💜 for easier read I formatted everything specific to Richard’s guitars normally and anything general about electric guitars in cursive.

My main sources besides watching about a 100 a month of guitar tube videos (that is youtube for guitarists) with my ex, my main sources will be this interview and this.

Richard Z. Kruspe (of Rammstein and Emigrate)’s Guitars - In Order of Appearance, Part 1/2

Diamant (Les Paul Style)

“I traded the acoustic for a guitar called Diamant, which was like a Les Paul version in East Germany.” - RZK

Now I’m skipping the acoustic he started out with, because it’s basically impossible to know what that was, and go straight into the electric. Now presumably, it would have been something like this, a soviet build Les Paul rip off. The irony is that these still go for several thousands up on reverb today for being historical and collectors pieces. The thing is, that while anything east build might have used cheaper materials, I would assume this thing isn’t worse than any of the beginner/intermediate models sold today, if not better, and kids all over the world do decent stiff with those.

Something general about electric guitars is that you don’t really so much play the guitar, you play an entire system. The instrument doesn’t make the sound, it only influences it. You play a guitar - but you even more so play the amp. Which makes this a bit tricky, because an e-guitar is a slab of wood and a copper coil, and amps are way more complex. You can make the exact same guitar sound so many ways. Still - there are tendencies. The fact how and why and to which degree the shape and wood of a solid body (a guitar without a hollow wood piece) influences the sound is highly debated and can get a bit esoteric sounding to sane people non-guitarists, but there are some differences in how the general set up and build of the guitar changes things, and tendencies how they are traditionally outfitted. Les Paul style guitars are normally humbucker guitars, Stratocasters and Telecasters normally are outfitted with single coils. Usually a guitarist can switch - between using the bridge, the neck, or both (or more) pick ups and depending on where the pick up is located they pick up different frequencies, different aspects of the sound. Humbuckers produce a richer, deeper or fuller sound than single coils. Very roughly speaking, think the Stones vs. Metallica.

Fender Stratocaster

“Then in East Germany, we had this imagination to get one of the great guitars, to me it was always the Fender Stratocaster because it was the Jimi Hendrix guitar. I didn’t know anything about pickups or humbuckers or whatever. So there was this guy that I met in a café in my old hometown and he was buying all these books because he could get all the books out through customs and he would store them in my apartment. So we became kind of acquainted. He would come over and pick up the books. So one time he came over and I asked him if he could get me a guitar and bring it over. In East Germany, if you exchange money from East to West it would be like 1 East mark and 20 West mark. SO everything I had, I changed it to West Mark and I gave him the money and I gave him the money and asked him to please buy me a Fender Stratocaster. I gave him the money and I didn’t hear anything for like three months, nothing. I wasn’t able to call because we didn’t have phones and stuff like that – it was a different time. So I thought fuck, I gave him 1400 west mark and now he’s gone and never coming back. [...] Then my imagination was so high, I thought the guitar would just play by itself and I wouldn’t really have to do anything, which I found out was bullshit. I was really happy that I had the guitar but it wasn’t really the sound that I had in mind.” - RZK

The first time I heard that story, I literally went “no, no, no, don’t be stupid, don’t give him your money, you won’t even like that guitar, stupid, lost dumbass.” I can not, for the life of me, imagine him play anything other than humbuckers. He apparently does use single coils for some things today again in the studio, but still, it’s so obviously wrong. He did play one again sometime during the late 90s, but I couldn’t find anything on the pick ups he used with that, but can hardly imagine he kept the original, unless he needed it for a specific sound maybe in one or two songs. I get it though. For many, many people the Fender Stratocaster is THE guitar. Jimi Hendrix is the main reason for that, but it’s also the countless idols that picked it up after him for the same reason, people who ended up plastered on the walls of angsty teenagers in their own right. This totally has to do with the whole amp thing aswell. You see your idol play that type of guitar ... but it’s not even half of the sound, and it won’t sound the same. Maybe probably they changed the pick ups, they have an effect rig, the spend hours fiddling with the knobs on an amp you can never afford. It’s never the same. Which is why ...

Fender Telecaster Black Gold

Then I had a guitar that I was very fond of. It was an older black and gold telecaster – there weren’t very many of them made at that point. I put a Seymour Duncan Jeff Beck SH-4 in there, like a humbucker. I remember it was like my beauty guitar and I needed someone to put that pickup in and I was with Paul and he had more experience with that stuff than me so he would get out a hammer and a chisel and he start banging away on it and I was like ‘Fuck! Fuck! Don’t do that!’ but we put the thing in there and it was one of my favorite guitars” - RZK

... this one first didn’t really make sense for me for him. It’s even more a classic single coil guitar than the Strat is, and it only really started making sense for me when I learned he Paul indeed put a Humbucker in there. It’s a stunningly beautiful guitar, and weirdly non-modern for him. I don’t know why and this is completely instinctual on my part, but I find it fitting he played it during that time after the wall came down, which seems to have been a rough time for him generally, it seems like a somehow super emotional guitar, this relic. Telecasters were some of the first electrics ever build, it’s such a pioneer, but it’s also one that alot of punk bands used, possibly because they were old and cheap in the 70s and noisy and people customized it and put other pick ups in. The whole putting a chisel to it and adding a humbucker into it is such a “I’m gonna make whatever I have fit for me, and I’ll love it” move. If you look at it, a double coil pick up is really something you have to force to go in there, you really have to break it open. There is also this:

“... and then I think I had to sell it because I needed drugs or something. I was really sad that I sold it because I was at a very low point in my life.” - RZK

If I would get the chance to do one thing only for him to thank him for his music, I would go back in time to that Richard who is just sad about selling that guitar and hug him, and tell him he doesn’t need to worry, because they will name guitars after him in the future. It breaks my heart so fucking much. But of course, it’s what opens the doors to what happens next, which is ...

ESP 901

“That led me to my very first convention in Frankfurt. With guitars, it is like with women, you have to fall in love. Sometimes you get a guitar and you fall in love later but there has to be some sort of connection with it. So I was walking around that convention and I saw that guitar hanging at the ESP stand. It was a 901 ESP Sunburst and I was looking at it because it was such a beauty. And I was walking around for hours – they probably thought I was some weird guy who wants to steal the guitar. I bought that guitar and that’s how I got connected with ESP.” -RZK

He might have fallen for it because it is pretty, but it did come with a ESP double humbucker set up, with an added condensator to muffle up the sound, although not yet an active one (more on that later). It was a 90s metal guitar, one of those things marketed to the Metallica generation, something loud and heavy and full. Also, and this is where I will put in another general insert, there is something else about the choice of electric guitars that we haven’t talked about yet.

Now, I’ve discussed that you can push or pull the sound of a electric quite far in one or the other direction with what pick ups you use, what effects, what amps. But what this ignores is that especially standing up a guitar is a really shitty asymmetrical piece of equipment. And what that does to your body is that it needs to fit you, your hands, and your playing style. Some people prefer it chunky, others like sender. Guitarists, especially the 80s shredders, like to talk about a “fast neck”, which is another one of those things that get slightly esoteric, but which usually means a slimmer neck and slightly bigger frets, that need less way for your fingers to press until the string gets stopped. Someone who plays very bendy blues might dislike that and prefer something to dig in their fingers more down to the fretboard to get more control over how they bend the string. There are different neck profiles, there are different neck lengths, and all of it contributes to how comfortable someone might find their guitar.

I am mentioning this, because until today, Richard’s guitars are build very similarly to that ESP 901. His Eclipse Model is a tad different (again, more on that later), but the one he uses the most, the RZK I, has the same neck scale, similar frets, and that comfortable ESP slender neck. Even the shape seems to be inspired by turning it upside down. He has said in interviews that he hasn’t got very strong hands, and it makes perfect sense to me. I bought my own electric (again, more on that later) purely because I wanted to own one and not even so much because I ever had any real ambitions of learning to play it, but my friends at the time (10 years ago now) forced me to try out alot (!) of models (despite me knowing what I wanted), and the only guitars that I tried that had slimmer necks were Ibanez guitars, which in turn were wider. Ironically Frankfurt is my hometown, so the place to try a lot of different models is That exact convention Richard went to, and I haven’t skipped a Musikmesse in the last 15 years. I was at atleast one were Richard was too (I just didn’t care at the time, yikes), and it somehow greatly pleases me he found “his” guitar at that particular convention. Things have changed in recent years, but electric guitars always were in Hall 4.01, with ESP being left of center in the middle, and I don’t know, I can just see him walking in circles around it, and it makes me so emotional for him because it’s what musicians do at that place. It’s really loud, everyone is playing, there is someone better noodling around at every corner, and it can be quite an intimidating setting I think. And every year you see that one kid coming back and back again to that same stand, staring at that one guitar until they finally work up the nerve and ask to try it (or the staff takes pity on them and offer). And it’s the same everytime, they think “oh god they must think I am crazy” but really, nobody does. Everyone in that hall who owns a heart knows what those dreams are made of, and all it maybe does inspire is a “oh god, I hope that one makes it”. I digress. I think it’s more common now to look for different neck styles and companies started caring about it, but especially coming from Fender and Gibson guitars, that neck is honestly just very, very nice for weaker hands.

This is where I will stop, because it makes a good moment for a break and this post is honestly getting too out of hand otherwise. There will be a part 2 - where Richard starts using active pick ups, starts playing my favorite guitar in the whole wide world (and stops playing it), and finally, set up his own signature.

This is him with that 901 though: when he must have had it pretty much brandnew, while he used it, and right before he sold it.

#richard kruspe #rzk #richard zk #rammstein #esp #electric guitars #can you tell I love him very much #although i might love the guitars more than him #i keep meeting guitarists and I never know if i like them or the fact they play guitar

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hakasims · 4 years

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Shitty Luca Movie Recap, Episode 4

Can’t Watch Nina, Even For Luca?

Don’t Worry, Me Neither. Goodbye.

...

Ok, fine, I’ll talk about the damn thing.

So it’s a warm September night, and I’m in the mood for a Luca Marinelli feature. In my infinite wisdom I choose Nina. “It’s directed by a woman,” I reason, “and women know what’s up.” ‘What’s up’ in this particular case is code for ‘how to frame beautiful men for the female gaze’. Because women can be auteurs, too, and being an auteur means making movies about your own personal wank material.

Turns out, sometimes a woman’s wank material consists less of a gorgeous male form and more of fascist architecture. We’ll discuss the former in due time, but for now, what’s Nina even about? Well, at its core it’s a simple story about a young woman who doesn’t know what she wants, set against the backdrop of the Rome that is almost entirely empty due to most people leaving for the summer. This could have been a fairly straightforward coming-of-age film, but Nina is too indie and up its own ass for that. Literally nothing of note happens in this movie, and it’s all long static wide shots of empty streets, endless stairs, and domineering largeness of Rome’s most famous fascist buildings such as the Palace of Italian Civilization, the Sapienza University of Rome, Palazzo dei Congressi, and, most prominently, the Fountains Hall. (Google what they look like if you don’t know.) Now, I’m guessing those locations weren’t chosen by accident. They could have easily added to the creepiness of the movie — and I’m assuming creepiness was intended; otherwise how do you explain these hoverboarding nuns?

Anyway, the employment of the locations could have been atmospheric and thematic had the shots not been so bland. But they are. Bland, flat, and always looking the same no matter what is happening in the scene. Usually audiences are willing to sit through slow uneventful movies because of interesting visuals or characters worthy of attention, but Nina has neither. The titular character herself is tedious. Even her bad fashion sense is bad in a boring way that doesn’t tell you anything about her. Is she stuck in perpetual adolescence? Is she searching to get in touch with her sensuality? Who knows. The only thing I’m certain of is that she needs to learn to tuck her tops into her bottoms.

Nina spends her days giving singing lessons, going to Chinese calligraphy classes, eating cake, exercising and taking midnight walks in the empty city. She wants to go to China in September — it’s the closest thing to a goal she has — yet she’s done no preparations, and instead of learning Mandarin she’s studying calligraphy. And she’s real bad at it, too.

There are reoccurring visual elements in the movie besides the vast emptiness: stairs, white columns, a jogger, a red dress, animals… You’d think those were very straightforward symbols, but they’re used too sporadically and inconsistently to hold any meaning. For example, animals. Nina is tasked with both helping out in a pet store and house-sitting an apartment with a German shepherd (a good boy named Homer), a guinea pig and a tank full of fish. The instructions she’s given are absurd, like feeding the dog sleeping pills and putting the guinea pig on a diet. And then there’s a supposedly American TV show always playing in and out of diegesis about dogs living in cages and swimming happily in pools, and it looks and sounds like a video off the political section on the dog version of YouTube. It contains timeless classics like “You are a dog born in the age of consumerism” and “Depression is an evil illness now spreading amongst dogs of every breed, dogs belonging to every social class.” The butter commercial from Crazy Ex-Girlfriend could never. And I wish the whole movie was as surreal as this TV program but unfortunately it’s as bland and directionless as Nina herself.

And boy is it directionless. There aren’t any subplots in the movie, no cause and effect, no acts, no structure, no flow; only scenes that happen, and I can’t even find any reasons for the order in which they happen. The scenes also don’t start or end; they just interrupt each other, not leaving any emotional impact. For example, there’s a scene where Nina sees her future self. She’s on one of those midnight walks with the good boy Homer when she sees a couple being romantic. The woman is wearing a long red dress, and the man is in all black. The shot is wide, so it’s impossible to see their faces, but the woman is obviously Nina:

And the man is definitely Luca. I recognized his ass. I’m not joking, guys. It’s his ass:

Also I was later directed to the website of the photographer who took the set photos, and yes, it’s Nina and Luca.

I never forget an ass.

Anyway, Nina, who at this point hasn’t properly met Luca’s character, Fabrizio, sees herself from the future acting romantic with him, and doesn’t react. We don’t even know if she recognizes herself or him or whether it’s even a real scene or a dream. How are we supposed to empathize with a heroine who isn’t allowed to react to her environment?

Whatever, it’s time to talk about Fabrizio. He plays the cello and he’s obnoxious. That’s it. He first appears as a patron of Caffé Palombini, the real-world café Nina frequents (and buys her cakes at). She’s drinking her usual milk shake and reading. At some point, their eyes meet, but neither says anything, and then Nina gets up and runs after the good boy Homer who decided to take a little stroll by himself. She leaves all her things behind: her milk shake, her handbag, at least three books, a whole stack of paper for calligraphy, and her diary. It’s obvious she’s going to come back as soon as she gets the dog. And yet before her feet are even out of frame, Fabrizio gets up, goes to her table and fucking steals her diary!

His next several appearances are random and sporadic, and it looks like he’s stalking Nina, but by the time of his first actual scene she is following him for some reason. Obviously, he can’t let a woman outcreep him, so he ambushes her:

He tells her blankly, “You’re following me,” but I think this scene deserves better dialogue. Thankfully, we have a whole well of predator/maiden media to pull from.

Though I personally believe this is the most appropriate line:

Fabrizio lets Nina know he has her diary in the dickiest way possible: he quotes from it to let her know that he’s read it. He then informs her that he’ll only give it back to her if she continues following him. And it’s not blackmail; “it’s an agreement.” What an asshole! I’m weeping for the dignified cuckoldry of Joseph.

And what was the purpose of that “agreement” plot point if the next time they meet is by chance? Quirky love interest writing, duh. So quirky that the accidental meeting happens when Nina is walking past a phone booth where Fabrizio is… doing a phone prank? I don’t know, I got nothing. Anyway, he’s annoyed their meeting is unintentional on Nina’s part, but he returns her diary, and I guess they start dating? He watches her sing once with what could only be described as a complete absence of emotions:

In the next scene she watches him play the cello after which they go on a date. Nina is wearing the red dress from the vision, but Fabrizio’s shirt is different. I fucking give up.

Their next (second?) date is a romantic dinner on Nina’s roof, and they’re dancing for entirely too long. She then tells him she’s scared of how much she’s enjoying his company, gives him a ridiculously chaste kiss goodnight and… completely ghosts him afterwards. And if you didn’t dislike Fabrizio before, you will now as he starts calling Nina at ungodly hours (including 5:30 am) and leaving her very whiny and increasingly more passive-aggressive, entitled, and accusatory voicemails. At some point he even leaves a voicemail for the fucking dog! He’s like, “Homer, I’m worried, meet me at the café.” Again, quirky love interest writing: extortion, phone pranks and a voicemail for a dog.

Fabrizio then lets Nina know he’ll be leaving town in three days in case she’d like to see him one last time or whatever. And she never fucking does! In any other movie she’d be chasing through the airport, but here she just drops him like he’s a well-tucked shirt! She tells the kid she’s befriended (she hangs out with an eleven-year-old boy the whole movie, don’t worry about it) that she’s afraid to be “like everyone else”, with a job and a boyfriend, so she doesn’t even say goodbye to Fabrizio. At some point she goes for a walk with the good boy Homer, and Fabrizio is also there, and they just miss each other. Even fate isn’t interested in that romance.

And then all the fascist buildings get covered in gigantic paper figurines, and the red-dressed Nina runs into Fabrizio’s arms. Because of course.

Nina is one of those movies where the main theme — a struggle to grow up — is obvious, but the rest of the elements are a mess only the writer-director could decipher. And I don’t really care. Again, I had to read Japanese postmodernists at university. What I do care about is the male form I mentioned at the start. I know I have no one but myself to blame for my expectations of how the director should have framed Luca’s body or face, but it’s one thing to frame him blandly and a completely different thing to isolate him as the only character (or actor) she’s deeply uninterested in filming competently. Everyone else in the movie gets their fair share of close-ups and decent lighting whilst Luca — whose name is literally second in the credits — gets, um, neglected.

This is his introduction:

These are literally all his close-ups:

Should I even count this last one? What’s with the lighting? Like, this is as well-lit as his face gets:

Oh, the shot is too wide and you can’t see his face properly? Well, tough poop:

Are you kidding me with this shit?

Nina may not be objectively the most terrible of the movies Luca’s been in: I’d argue both Mary of Nazareth and L’ultimo terrestre are worse, as is Slam, whose time’s a-coming. Nor is it the movie where Luca appears the least (The Great Beauty’s literal one minute of screen time is saying hi). But it’s the only movie I have no reasons to watch: it’s blandly shot, poorly structured, badly themed — and it’s actively obstructing Luca’s beauty and charisma. So no matter which film you’ll ask me to do next, at least in terms of the visual component of my posts, we have nowhere to go but up.

#luca marinelli #nina #nina 2012 #sh*tty luca movie recap

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chalkrevelations · 3 years

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And finally, here we are, Episode 36 of Word of Honor, and I have some FEELINGS. Let me show you them.

There also will be Episode 37 here, btw, because I’m not gonna do a separate reaction for a three-minute episode, no matter how grateful I am that we got it.

(Spoilers, so if that’s not what you want right now, scroll on by and come back after you’ve watched it. Them.)

Let’s get to the meat of the episode right away: THE HAIRPIN. And Wen Kexing knowing Zhou Zishu would have it, because he’d definitely take it with him if he was going on a suicide mission! Y’all. I really have to yell about this for a minute: That’s how secure WKX has become in his knowledge of what he means to ZZS! After all that time angsting and hiding the truth of his identity and worrying that he’s not worthy of ZZS and that he’d be rejected if ZZS knew the truth about him! But now, WKX has finally reached a point where he understands and knows (zhiji, the one I know) he’s so important to ZZS that ZZS would never ever go off to die without taking his most precious possession, the hairpin that his husband gave him! I can’t. My heart. This is like a declaration, after all that time saying they were zhiji, that WKX finally is able to truly see ZZS as that, to know him in his bones, and all of this is also delivered in the middle of WKX in a strop, irritably chastising his husband as an evil brat for running away from home to get himself killed, with Gong Jun’s little >:( face in full effect, and I am so filled with love for this show and this couple at this point that I have to pause Youtube just so I can roll around on the sofa, clutching at my chest and scaring the cats with my inarticulate noises. This is so good, y’all. It’s everything I’ve ever wanted. Also, now you know how it feels, WKX, you asshole. Which I suppose is why you even confess that it will would be more painful for the one who survives when if the other dies. And you were prepared to do that to him a second time? I cannot believe you, you asshole. You get to sleep on the ice couch for a month.

And then there’s some Six Cultivation Power mind-melding and what looks to be an INCREDIBLY STUPID and HEARTBREAKING ending that would leave us Burying One of Our Gays, so it’s a good thing Episode 37 (all three minutes of it) exists. It would be nice, though, if the connective tissue from 36 to 37 made any sense. Or existed whatsoever. Just, like, throw me a bone, here, show. Some kind of explicit hand-waviness that actually gets mentioned for why Ye Baiyi apparently was not as smart as he thought he was and didn’t really know what he was talking about when he was doomsaying about how one of the pair will surely, oh surely perish. None of this “Sooooo, they managed to figure out the technique and master it?” from some random shidi who never actually gets an answer. I mean, the door was left open for fanwankery on this one, with what looks to be a very last-minute conceit of all this being a story told by grown-up Chengling to his disciples, which begs the question of how much of what he’s telling them is totally accurate, given any number of issues, including the spottiness of human recall, the possibility (based on the fact they’re still on the mountain in Ep 37) that Chengling never actually saw either of them again to get the full story, and the way Gao Xiaolian basically calls bs on the whole thing. But this is still a gossamer-thin thread on which to hang Ep 37. Ep 37 basically functions as reassurance because of the mere fact of its existence, because they’re clearly both alive, right there in front of your face, regardless of the other fact that it doesn’t actually make any sense, based on Ep 36. It ultimately doesn’t matter if there is no Step 2, because Step 3: Profit! is … right there. In evidence. Happening. On your screen. No matter how vaguely unsatisfying the lack of Step 2 may be.

I do feel like there’s an interesting meta thing going on here, in that the entire show has been about – let’s be honest, it was never really about the plot - queer-coding this couple in ways that supposedly fly just enough under the radar that people can handwave them as Just Good Friends and Brothers (I mean, I guess) with a Bury Your Gays tragic ending (ugh) for good measure. And Chengling is telling a story in-universe that seems to conform to some of this same formula. And yet, we all know well and good that these guys were husbands. (I mean, barring anything else, they’re a couple in the original source material, so checkmate, censorship.) So, are we supposed to carry the same assurance out of the show, on a meta level, that what appears to be happening at the end of Ep 36 - what we discover we’re learning through Chengling’s story-telling - isn’t really the truth? Just, look: While we’re getting the Good Friends and Brothers push, there’s stuff like obvious voice-over work that doesn’t match the much more queer version of what the actors actually said, which is apparently blazingly clear to any viewers who know Mandarin and can manage to lip-read. The show has literally put de-queered words into these characters’ mouths. You can’t trust what you hear. But apparently the show has also made this obvious enough that, if you’re a good enough speaker of the language the show is being told in, and you have a good enough eye, you can see what is actually going on. Are we being taught to trust our eyes more than our ears, are we being told that what we’re being told - by the end of Ep 36 on a meta level, by Ye Baiyi-through-Chengling’s-story on an in-universe level, and by what we learn about what happened from Chengling’s story, itself, also on an in-universe level - is inherently untrustworthy, but that if we “speak the language” of this show well enough, and have a good enough eye, we can decode it and see what “actually” happened and is later made explicit in Ep 37? Is Ep 37 canon? Does it matter, when “what is canon” is already so slippery on this show, where you can apparently lip-read something that’s different than what you’re hearing, and it functions as canon because of the mere fact of its existence, because it’s clearly … right there. In evidence. Happening. On your screen.

Anyway, just some thoughts on all that, which I guess is my own fanwankery work to join up the end of Ep 36 with Ep 37, which was, of course, delightful. No matter how much I might bemoan the lack of Step 2, I had a stupid, dopey grin on my face all the way through Ep 37 and might have even teared up a tiny bit at the very end. You can’t prove anything. Lemme tell you, though, it’s a good idea to have 37 on hand when you run into the brick wall of the end of 36, because while WKX’s willingness to sacrifice himself for love is theoretically great, it is not something I actually want to see come to fruition, given the pall it would cast over the entire joyous experience that the ZZS/WKX relationship is throughout the rest of the show. Sure, there’s always fic, but there’s a heaviness that hangs over the Bury Your Gays trope, and it’s retroactively ruined shows for me before. So THANK YOU, to those of you who hooked me up so I could immediately move on to Ep 37.

What else? Other things:

OK, so, first, I have to get this out of the way: Did we actually already see all of those “flashbacks” we get in the first part of the ep, during the conversation between Zhou Zishu and Jing Beiyuan, when all the political stuff is supposed to be finally falling together to give us the big picture? I would have to go back and scrummage through those eps to be sure, and I’m not going to spend time doing that (yet) when I still need to do some keysmashing about Zhou Zishu and Wen Kexing OH MY GOD, but I do feel like some of this was new information, not just stuff that I’d glossed over because it didn’t seem important at the time? If so, not on, show. I will be keeping an eye out for that on re-watch. I am, however, perfectly willing to accept – if it turns out to be true – that you utterly distracted me with the failboats-in-love storyline, to the detriment of my focus on, you know, plot or whatever. It’s happened before. (It’s one of the reasons I need to go back and watch The Untamed again, at some point.)

OMG FAKE KEY! And as ZZS points out, this has been foreshadowed for us from early on, with WKX’s fake Glazed Armors plot. :bangs table with fist: YES. This show is going to reward re-watching SO MUCH.

Duan Pengju, oh my god, this asshole. The look on his face when the Armory didn’t open was so gratifying. Also, ha. I wondered when ZZS was finally going to be done with his shit. In fact, so much gratification in this whole scene. Xie Wang’s face when he realizes WKX double-crossed him – what, did you think you were the only tricksy one in that little alliance, Xie’er? And, holy shit – I cannot believe that Xie’er actually words this as WKX failing him, taking us back around to this theme one more time again. I would maybe feel a little worse for you if you hadn’t been a hairsbreadth away from killing him before ZZS stopped you in the last ep, Xie’er. Also if you hadn’t helped get A-Xiang killed. So I think the fail in this relationship is going both ways. Unfortunately, it doesn’t look like you’re going to get the time WKX had to start untangling yourself from the ways your abuser has fucked you up and over.

It once again becomes blindingly clear why ZZS has been my ride-or-die during this whole thing: Under the grumpy, irritable, day-drinking yet somehow eminently practical exterior, he’s actually an idealistic do-gooder who just wants to make the world a better place for people and sacrifice himself for great justice. Never let it be said that I don’t have a type. Also, I mean. Zhang Zhehan’s FACE. Let’s don’t discount the power of that.

Final word: Don’t miss Ep 37. All three minutes of it. They are perhaps the most important three minutes of the entire show.

(I mean, not FINAL final word. I expect to be going back for a re-watch and posting more things, particularly on eps from before I started typing up 1000K-word reactions this first time around.)

#zhou zishu #wen kexing #zhang chengling #ye baiyi?#sure why not #ye baiyi #xie wang #duan pengju #word of honor #word of honor episode reax

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itsclydebitches · 4 years

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RWBY Recaps: Volume 8 “Divide”

Hello, everyone, and welcome back! It feels good to be doing some normal RWBY-ing in this strange world of ours. First, some supplementary materials.

Number One: In response to any (valid) questions along the lines of, “Hey Clyde, it’s now been a full year since Volume 7 was airing and you still haven’t answered my ask about it. Or the ones about Volume 6… what’s up with that?” I’ve created what I hope is an informative video detailing the problem:

vimeo

(I assure you, the Earth, Wind & Fire was a happy accident during the screen recording.)

Needless to say, there’s a lot and I’ve known for some time now that I will LITERALLY never get through all my asks. Which doesn’t mean I don’t want you to send future thoughts in! Just know that as we head into Volume 8 territory I’ll most likely prioritize those, as well as any Volume 7 asks that aren’t woefully out of date. But I do want everyone to know that I read all the asks I receive, appreciate them immensely, and think too much about hypothetical answers, even if I don’t have time to actually write them out 💜

Number Two: There’s a bingo board this year!

Jury’s out on whether I’ll remember to update it, but at the very least this serves as a decent glimpse into my — and others’ — expectations going into this volume.

Number Three: I’ve collected a list of things I’ve heard about Volume 8 from what seem to be reputable sources. I did this because RT is developing a tendency to talk up certain points and then fail to deliver, either because something was taken out of a volume/moved to another, or because RT apparently has radically different ideas about what including something means. So this might be handy to keep on file and ask ourselves two months from now, “Did RT actually deliver on what they promised?”

Emphasis on Ruby’s leadership and how Summer’s death has impacted her

Insight into Ren and Nora’s flaws

May Merigold will supposedly have a larger part

More information about The Long Memory (Ozpin’s cane)

Theme of the volume is that you can respect someone but that doesn’t necessarily mean you agree with them

Very short timeline (supposedly just two days)

Yang in particular is very suspicious and distrustful

I was also going to include a list of all the threads that need to be continued/wrapped up, but honestly that would have taken too large a chunk off my life. Let’s just throw out the highlights:

Are we really going to have Qrow gunning for Ironwood?

Clover is dead regardless. Press ‘F’ to pay respects

Oscar bb you got shot please acknowledge this

Ozpin bb you got done dirty please acknowledge this

Penny is a Maiden now. I feel like the fandom has been sleeping on this (myself included)

Queer baiting, queer baiting… you’re on thin ice at this point, RWBY. Just skate on over to the queer snack bar before you fall straight into the lake.

Ren spill your deep dark secret already and it had better be something more than just ‘Oh no Nora might someday die :( ’

Salem is here so how the actual fuck is the cast surviving this?

Will Ironwood likewise survive his descent into antagonism? Yes or please yes no?

I think that’s all the biggies. I strive to keep lists like this in mind while analyzing, but honestly RWBY has a hundred moving parts that are abandoned or changed or simply retconned at the drop of a hat. So an attempt will be made.

Number Four (last one I promise!): Normal disclaimers and reminders for Recaps apply:

Please don’t fill up the already full inbox with flames. It’s still 2020. No one has time for that nonsense.

There will absolutely be typos and wonky parts because I try to get these out the same day an episode premieres. I have now been working on this for ten hours, nearly straight, and have no more energy for edits. Apologies in advance and RIP to my Saturdays.

I reserve the right to use stupid GIFs and memes at my discretion.

I strive to keep my focus on recapping/analyzing but salt tends to worm its way in… If you’re a die-hard RWBY fan with little patience for criticism, let alone (at times) snarky criticism, please proceed with caution.

No wait I lied, this is the last thing:

Okay, got that out of my system LET’S DO THIS!

We start not with the episode itself but rather Rooster Teeth’s (RT’s) strange non-promotion of it. If you follow my blog you may have caught the post where I pointed out that there was nothing on RT’s website to suggest that one of their most popular shows—if not the most popular show—was premiering today. Nothing on the main page. Nothing on the RWBY page either, not unless you count the Volume 8 poster background (easily mistaken for the Volume 7 poster) and the trailer buried all the way down past Episodes, past Merch, in the Bonus Features section along with videos like Live From Remnant and the volume intros. RT… the promotion of your feature show is not a bonus. This should be front and center! Honest to god, five minutes before the episode dropped I was checking the website for a Volume 8 section, a countdown, anything that would tell me the episode was imminent without relying on fans on tumblr to keep me in the loop. We got nada, zilch. I’m not sure whether that speaks more to RT’s iffy management of the series or simply the website’s horrible design—RIP losing RWBY on Youtube—but I was surprised when I saw the episode a few minutes after 11:00am. At that point I honestly expected to hear about a dely.

So that’s the mood I entered the premiere in, but truly? We start off strong. Things take a pretty severe nosedive later on, we’ll get to that, but I was impressed with our beginning and that probably has a lot to do with the fact that we start with our villains.

We open on a Cinderella character, Cinder, and thus I’m immediately pleased that we’re getting something about her backstory after all this time. Seven years! She appeared in episode one, folks! To say we’re overdue is an understatement. There isn’t a whole lot to go on, just a younger Cinder sadly scrubbing the floor, poised under a spotlight. What we learn, or potentially learn, is based far more in cultural knowledge than this scene. We know Cinderella’s story, which includes the abusive family, the longing for more, the eventual escape, and thus we’re able to read all of that in this image, despite the image itself not telling us any of this overtly. That means we could be wrong in our interpretation, but if we’re not it’s an easy shorthand in an already packed story.

What I’m really impressed with is the sound bridge between the scrubbing and her nails on the back of Neo’s chair. Fantastic way to confirm that this is Cinder as well as showcasing just how far she’s come. The sound of her labor has been replaced with the sound of her power and given that Cinder’s power is stolen, tied to a grimm arm, the property of a genocidal maniac… that’s messed up. It’s a Cinderella story gone wrong.

So yeah, Cinder tells Neo to head straight into the creepy, grimm infested blood cloud to see Salem and Neo is like, ‘Uh… no thank you?’ lol.

RT does a good job this episode with her expressions, ensuring we know exactly what she’s thinking despite an unwillingness/inability to speak.

Poor Neo might be in too deep, but I quite like the overall atmosphere of this opening. Say what we will about Salem’s awful characterization, at least she has style. This woman knows how to make an entrance and, piggybacking off of the Apathy, RT knows how to infuse horror elements into their fantasy. The red and purple coloring of the clouds, spiked whale teeth peeking through, bright orange in the background looking like explosions… that’s all 👌 Including the intro card.

The only thing I want to gripe about is this:

I’m sorry, why does the whale grimm have landing pads? Or something like it?? The whale otherwise works because it’s poised between the natural and the fantasy synthetic. It looks like a real grimm whale on the outside, but is sporting a throne room, a control panel, and other unnatural elements on the inside. It’s a visual indicator of Salem’s ability to control and change grimm. Now though, the additions are wrong, infringing on the line between organic and tech, the line between what helps the grimm individually (giving monkeys wings) and what just helps Salem. Every other aspect of the whale straddles that line wonderfully, adding to the creep factor, like a grimm version of the Uncanny Valley: it’s not quite a whale anymore… but landing pads? That looks ridiculous. Why does Salem even have that? How many ships are her people feasibly using? Why are there five?

Take it away, please.

Cinder waltzes in like this is a normal home visit, but Neo has an appropriate ‘What the actual fuck?’ face going on.

They approach Salem on her throne where Cinder immediately kneels, greeting her with, “My queen.” I mentioned during my trailer breakdown that I think Cinder is lying her ass off here, and I still think that based on a line we’ll get in a minute, but now at least we have a sense of how she can pull this off. A woman who started out as a (presumed) servant is going to know how to mimic subservience, even if her heart isn’t in it. Salem is very good at playing the girl who will still kneel and scrub the floor for you. She will scrub the floor, she’ll do everything you want, she’ll just be plotting her own rise to power while she does it.

There’s quite a bit of interesting cinematography in this episode, not all of it good, and I think one of the mistakes is here when we get a closeup on Salem’s mouth as she greets Cinder. A closeup like that should be reserved for more significant dialogue—“Rosebud”—and yet we get this shot again when Cinder tells Emerald to be quiet. It’s awkward and coupled with the numerous eye closeups we got in the trailer, I think RT is playing a little fast and loose with the camera. Each shot should add something to the scene, not distract from it. If you don’t have a reason for including a technique like that then leave it be.

Back to the actual dialogue though. We knew that Salem knew Cinder was alive and now it seems that she just expected her to come back? I’m slightly lost. It feels like we’re missing something here. Cinder goes off to secure the lamp, fails, nearly dies, wanders on her own for months, and then randomly shows back up on Salem’s whale doorstep, yet Salem isn’t angry at all? Did she have faith that Cinder would return when she has something to offer? Did she just not care about Cinder, considering her return an unnecessary but otherwise welcome surprise? That would make the least sense given that she holds the key to accessing Beacon’s relic… but that circles right back around to why Salem is seemingly indifferent to Cinder’s comings and goings. Surely she can’t actually believe that Cinder is loyal?

“So I trust you wouldn’t return to me empty handed,” she says. Yeah, trust means nothing in this show, Salem, didn’t you watch Volumes 6 and 7? Again, I simply don’t know. I suppose I’ll just chalk it up to confidence, that if Cinder did bail Salem knew she could track her down again. Deciphering her motivations and beliefs is a lost cause when the show continually gives us so little.

The important thing now is that Cinder does indeed have an offering and you can see that Salem is somewhat surprised at being handed the relic.

Cinder, of course, takes credit for the victory and we’re given another wonderful shot of Neo. ‘YOU took it?’

Oh, Neo. Best get out while you still can.

Tyrian appears having obviously made his way to Salem’s ship sometime between her arrival and now. The exchange is pretty standard for this group. He insults Cinder for failing and needing this victory to make amends, talks about how any win against Ironwood says more about his lack of intelligence than her skill, and Cinder… doesn’t have a whole lot of comebacks, actually. I’d say Tyrian won that verbal spar, enhanced by a better use of the camera when we get his tail looming menacingly towards Cinder and Neo.

He goes on to say that Watts was a “necessary sacrifice” so, uh… I’m just going to toss out the ask I answered yesterday. Based on our intro I’d say Watts is still significant to the volume—hacking Penny is my guess—but by the end? He could be in trouble.

(As a side note: I plan to analyze the intro next week. It’s just easier when it comes first.)

Tyrian also calls Neo “little one” which I just found absolutely hilarious. In an on brand creepy manner, that is. Not that Neo couldn’t kick his ass, but there’s something wonderfully chilling about having the serial killer use an endearment towards a potential victim, one that comments on her size while he’s looming.

In contrast, Cinder refers to Neo as a “valuable asset” and we get our third mood of the episode.

Who’s going to start a Neo reaction image collection?

It’s true enough on the surface—who wouldn’t want an ally who can turn into anyone else?—but we’re still bumping up against question of why Salem needs this. She’s immortal! She has an endless army! Magic! This scene works well with a villain who needs a skillset like Neo’s to succeed, but Salem doesn’t. RT is doing a great job writing a story thus far, just not the story we’ve previously been given. This isn’t the story they set up.

This will come back up when we reach the RWBYJNOR group. Just wait.

Before that though, the gang’s all here as Emerald, Mercury, and Hazel show up, all in new outfits.

I think I like everything except for the weird Xs on Emerald’s jacket—it’s way too distracting and frankly makes an otherwise good look ugly—and the fact that she’s showing her midriff in Atlas. Hazel doesn’t have any sleeves! Oh my god, why doesn’t anyone dress for the weather in this show?

Frankly, I found their reunion to be kind of lackluster. I mean, there was nothing wrong with it. Emerald does sound briefly excited, she does run, and it’s in character for Cinder to cut her off… it just didn’t resonate with me emotionally. I thought after two volumes of thinking she’s dead, then working through the knowledge that she’s alive, that I would feel Emerald’s shock and relief more, but I didn’t. And I’m not entirely sure why. I don’t want to level any accusations at the voice acting because frankly I know next to nothing about that skill (and from what I’ve seen it’s usually praised in the fandom), but I will say that throughout the premiere I was noticing it more than I ever have before. The lack of emotion here and some awkward deliveries later, like when Yang goes, “Ruby, there is no way Ironwood will cooperate with us” and I immediately thought, “Wow, that came out stilted.” These observations stick with me because, as said, voice acting usually isn’t on my radar. It’s not something I’ve studied or had practice analyzing. If you’d never told me that Ren or Qrow’s VA changed then after a year hiatus I literally wouldn’t notice… but there’s something about this episode that didn’t sit right. Anyone else get that sense, or was it just me?

Regardless, the arrival of our other three villains really doesn’t amount to much, though I’m happy for all the Emerald and Mercury fans who get to see them in new outfits. The focus is still on Cinder as she delivers a line indicative of her true motivations: “That power will be mine.” Yeah, she’s not loyal to Salem, she’s just power hungry. Of course, Salem immediately takes note of this and raises her hand, in another nice use of the foreground, reminding her that she hasn’t given that order.

Cinder is shocked, angry even, but quickly covers it up with her “Without you I am nothing” line. If I caught it right I think she also calls Salem “Ma’am”? Hilarious. Again, skilled at playing the servant.

Also, before I forget, it’s worth noting that almost everything from our trailer appeared in this episode. Yeah, there are a few details like Nora attacking some tech and the group on their bikes, but on the whole we’ve already seen the majority of our promo material and will likely get most of the rest next week. It makes me both interested and nervous for what another twelve episodes are going to hold.

Salem opens her whale, or opens a portal type view in it, something that gives us a long-distance look at Atlas. I don’t know what exactly is going on here, but it’s pretty so I’ll take it.

She also delivers the frankly badass line, “Just because you’re more valuable to me than a pawn does not make you a player.”

She waves them all away with perfect ‘You mean nothing to me’ attitude and we sadly leave our villains.

Sad not because I don’t love my farm boy, but because things are about to get a whole lot messier.

Oscar has made his way to a camp of civilian survivors… all of whom are just hanging out in the supposedly deadly cold. Yeah, there’s a single fire, but at least four of them aren’t anywhere near it. Three of them also aren’t wearing gloves. What was that survival rate again?

A nice if gruff dude gives Oscar soup—water?—while showing off his… badger claws? I don’t know what kind of faunus he’s supposed to be, but he feels like the sort of two second, minor character who could easily become a meme lol.

Oscar thanks him (my polite son!) and hands the bowl back after a single sip. Which is impressive because I would have assumed the guy was giving me the whole bowl and just taken it. Hell, I’ve done that even when I didn’t assume it’s all for me. A Starbucks barista once approached me with a tray and a plate of samples, I knew I was supposed to take just one, yet for some reason my hand went to take the whole goddamn plate. He had to tell me off, then I was trying to explain that I didn’t actually want or think I should have eight shots of cappuccino all to myself, I don’t even like coffee, he clearly didn’t believe me… it was awkward. So good job, Oscar. You’re less awkward than me (though that’s not saying much).

Now a question, Oscar. Darling. Brilliant boy who has been through too much: why the fuck aren’t you talking to Ozpin? This will be A Thing later when he presents a lack of time to talk as justification for keeping more secrets (we’ll get to that too…) yet here is time! You’re just sitting there for who knows how long, with plenty of privacy to hide a supposedly one-sided conversation so the Mantle citizens don’t get weirded out or suspicious. Talk to Ozpin. Our headmaster gets two lines in this episode, utterly inconsequential lines like his airship scene, lines that feel like they exist to say, “See? He’s still included in the story!” even though he absolutely is not. Two volumes of mostly silence, a perfect setup to start the reconciliation process, but we’re going to put it off again?

Instead Ruby randomly and conveniently appears. I want to know how she found him. Oscar isn’t wearing a tracker. He clearly didn’t call them because he’s surprised when Ruby shows up. He fell alllllllll the way back down to Mantle and then wandered to a random part of the slums. You’re telling me they flew over the entire city—after beginning this search thinking he was in Atlas—and somehow managed to spot him from up in the air? C’mon. I would have rather had a beginning where Oscar makes his way back to the group himself, giving him and Ozpin time to hash things out.

“Need a lift?” Ruby says, eliminating that potential. Sigh.

Oscar immediately starts beating himself up when he gets onboard, saying that he “was stupid to think the General would listen.” Nah, you were stupid to buy into Ruby’s nonsensical confidence and for telling Ironwood he’s as bad as Salem. Sorry, Oscar, but everyone is written badly these days. I will, however, say that I am THRILLED at the group’s reaction to his return. Ruby says that she’s “just glad you’re alright.” Nora has a wonderfully tender moment where she hugs him gently rather than her usual glomp.

That? That added a year to my life. Everyone else seems relieved that he’s okay too, so kudos there. After four years of Oscar being an outsider in the group, this is one of the few moments that feel like he’s 100% accepted. Really glad to see it.

Now let’s see if it sticks after they learn Ozpin is back...

They fly to the Happy Huntresses’ base and I again feel like I’ve missed something crucial. When did they team up? I mean, RWBYJNOR was working directly under Ironwood up until the last hour and Robyn ran off to fight Tyrian/Clover in the last couple episodes. When did she have time to explain her (briefly) changed allegiance and why would the Happy Huntresses trust the group without that? Did Robyn share that Blake and Yang went behind Ironwood’s back for her? Do the Huntresses instinctively trust them because they’re now wanted by the military? How did they even run into each other?

Again, I think we would have been better served to have an episode before all this. Let Oscar make his way back and let the group struggle with the magnitude of their situation on the airship, before they find new allies. Transferring directly to, “They have help and a secret base and a plan in the works!” makes me feel like I missed the real premiere last week. You know, the one where Salem unexpectedly arrived and we left the group like this.

This is where we’ve ended up though. The group is cozy in this hideout, getting info from Joanna, and my only other thought is, “Why is she giving all this exposition?”

Shouldn’t it be May? I mean, we were told that she was going to play more of a role this volume, a promise that’s pretty important imo given her status as a (so far off screen) trans character, so why not put her in the role of mediator between the Happy Huntresses and RWBYJNR? Giving her that setup as a leader among her people as well as lots of lines would be meaningful. A trans character just existing and being a part of this fight! May could obviously still fill that role—I’m well aware that we’re only one episode in—but it just seems like a missed opportunity to me. Out of all the undeveloped Happy Huntresses, our premiere focuses on the one who has the least importance to the fandom.

As said, Joanna talks a fair bit but what it basically boils down to is trying to get everyone to the crater below Atlas. It’s apparently not safe, but it’s warm, which is what matters right now.

So… let me get this straight. You want to gather everyone into a not safe crater, by leading them through an army of grimm, so that they can wait there in case someone moves the Staff, thus dropping an entire city on top of their heads? That’s the plan? Which admittedly isn’t Joanna’s fault. This is another instance of RWBYJNOR having information that a leader does not and they should really consider speaking up about it. But of course they don’t.

Also, how long does everyone have in regards to the cold? Shouldn’t there be dead civilians by now? The time it would take to find the Happy Huntresses, team up with them, get settled in the base, and find Oscar says that things should be pretty grim right now (pardon the pun), yet every non-aura user in this city seems content to just hang out in the snow. Either the cold is deadly enough to justify moving everyone to the crater, or it’s mild enough to let everyone survive this long, not both.

After hugs are given everyone obviously wants to know what happened to Oscar. His response?

“It’s a… long story. I get the feeling there’s been a few of those tonight.”

That’s a check for the bingo card! We’re halfway through the first episode and we’ve already got another secret. Yes, this is a secret. Oscar actively chooses not to tell anyone that Ozpin is back—something Ozpin himself comments on—and then skillfully draws attention away from himself with “I get the feeling there’s been a few of those tonight.” Indeed, all eyes go to Penny. Oscar’s plight is forgotten, which is what he wanted. His justification?

Ozpin: “You’re not going to tell them?”

Oscar: “You and I aren’t done talking yet.”

Along with this look.

Oscar no. There’s so much wrong with this I don’t even know where to begin. Let’s create a list.

As said, you had plenty of time to talk to Ozpin and chose not to. Miss me with this excuse.

You are now doing to your friends exactly what you and your friends did to Ironwood, which in turn is what Ozpin did to you! I can’t believe we’ve got Oscar critically side-eyeing him when they are still—still—repeating the behavior they drove Ozpin away for.

What is there to even talk about now? Oscar didn’t punch himself/Ozpin (lol) but he did steal Jinn’s name from Ozpin in the first place. You got what you wanted, drove him away, and have been lying and keeping secrets ever since. The only thing they should be talking about involves apologizing. Any further criticism—which is what Oscar’s expression and curt reply suggests—is beyond hypocritical.

Seriously, what needs to be discussed? There’s no reason not to tell the group unless Oscar wants to talk about whether they should tell them. There’s no good ending here...

Don’t you think it would be nice to know that Ozpin is back and you’ve got super magic powers while making plans to save the entire world?

This is all especially stupid given Oscar’s “Salem wants to divide us” reminder to Ruby in a moment. Oscar, you are doing the most to divide the group right now. By not forgiving Ozpin. By refusing to work with him. By keeping him secret from everyone else.

This is bad, friends, I worry for what the rest of the volume will bring…

The story is done with Ozpin for now so I guess I will be too. The group continues filling Oscar in and we get some shots of the base, including a rather prominent poster of what I assume are two Happy Huntresses. Did they die in battle perhaps?

It’s a little strange.

Oscar: “Where’s Qrow?”

Me: “Likely still making bad decisions.”

No one knows so they just drop it. Which I kind of get, only so much you can do to find him if he’s not out on the streets like Oscar, but it still reads as kind of iffy that two nieces look down at the ground for a hot second and then move on with their plans, content to leave Qrow to whatever fate befell him. In a minute we’ll see Yang firmly take Ren’s side regarding helping the people they can in Mantle, which frankly comes out of nowhere for her. I think an easy motivation would have been Qrow. Ruby wants to save the world, Yang wants to find and save their uncle, and that just happens to align with Ren’s desire to save the civilians who need immediate grimm and cold help. Don’t get me wrong, I like that there’s finally some division between the sisters, I just wish it hadn’t come about so abruptly. Ren had setup for standing up to Ruby. Yang did not.

But I’m getting a little ahead of myself. Joanna lists the grimm horde and no heat as the major threats to everyone. The group agrees.

Me: What about Salem?

Joanna says that this is all doubly dangerous because there’s “no more military protection.”

Me: Oh, so now you want the military?

This is all so disjointed. Even more-so when Joanna mentions that Ironwood has stopped all evacuations to Atlas, likely due to the “hard light shields” that are the only thing standing between Salem and the city. Thing is, the show never makes this connection, I just did it myself based on this scene and the one that comes later. The show presents Joanna’s line as a pure condemnation. Ironwood won’t let more evacuees in because… he’s just evil, I guess. Yet there is a justification here, namely that continuing the evacuations even while he’s stuck without Penny leaves him wide open to a Salem attack, the death of everyone currently safe, but that argument is never presented to the viewer. I don’t need people to agree with Ironwood’s perspective, I just wish that perspective was offered as an option. The show is very good about acting like RWBYJNOR’s opinion is the only justified opinion, or simply the only opinion at all.

After everything is laid out Weiss goes, “We’re never going to sleep again, I just know it.”

I could make a crack about the lack of continuity and how the group should be collapsing right now… but that was a funny line. It can stay.

What is far more of a problem is the fact that no one is talking about Salem. Okay, that’s a lie. They do talk about her, but in a roundabout way like her presence isn’t impacting every decision they make. That’s the real issue. They’re acting as if Salem isn’t here right now, like she’s off far away, maybe approaching slowly, and they’re arguing over how best to prep the world for her eventual attack. There’s no emotion here—let alone action—to reflect that the series’ Big Bad has arrived and is poised to murder them all. Literally what is this? Ruby is yelling about warning the world and, ignoring the continued question of why that’s a good thing when the world can do nothing to stop Salem and knowledge of her continually drives people to horrible acts, she has yet to acknowledge that… she’s the world? Ruby is the world in this conflict. She, Mantle, and Atlas. Salem is here for you all. Right now. You are, this instant, in the situation you want to warn others about, so why don’t you try to do something about it? Or at least acknowledge it. Ruby wants to warn the neighborhood about a potential fire while her house is actively ablaze, and the fire could have totally killed her by now but decided not to for… reasons.

“Ruby’s right,” Nora says. They have to tell the world so “they can prepare.” How? How are they supposed to prepare for this? The story cannot continue ignoring Salem’s immortality.

“Ruby’s right,” is all Blake says and I’m starting to thinks that’s why her character exists now, to agree with Ruby. It’s great that she’s getting a little distance from Yang, but man.

As Ruby asks whether Pietro can get Amity up and running despite it not being finished (called it) we start an incredibly odd sequence of flashforwards to their individual missions. I’ve seen a lot of praise for this already and though I agree that, in theory, it’s a good way to save time, I found the actual execution to be jarring. Upon thinking back through our timeline, it became clear they were flashforwards, but while watching I thought they might be flashbacks (especially since that’s more common).

Some of the shots, like Nora’s, just look awkward when you’ve got the exact expression and pose transplanted from one scene to another, like she’s a cardboard cutout behind a green screen. To say nothing of how the flashforwards ruin any suspense (I use that word loosely) in the conversation itself. If the question is, “Will they decide to go to the military compound?” then that question is answered when we see Ruby scoping out the compound, not when the group actually decides on the course of action.

It just made an already muddled scene worse for me, so I hope this trend doesn’t continue.

And of course, Amity can be used despite all the info last volume claiming that it wasn’t finished. Pietro suddenly acts like it is finished and the only thing standing in their way is Ironwood providing access. If that were the case, he would have used Amity weeks or days ago like he wanted to! When was it finished? Not after Watts commented on how incomplete it was. When did they get back the resources they needed from Robyn? It’s as ridiculous and retcon-y as I thought it would be.

Yang points out that Ironwood will never listen to them and Ruby counters that “he doesn’t have to.” They’ll just take the access from him. Because why wouldn’t they in a series where they’ve already stolen two airships? Stealing from the super evil military that Joanna wishes were helping them right now is just the group’s go-to plan nowadays.

Pietro isn’t sold on this plan though. He lists at least three obstacles they’d need to get through “and then… oh boy, I might need to think about this some more.” “And just to clarify,” Oscar says, “This is the easy option?” Um...no it’s not? We also know there’s an access point in Ironwood’s office so… why not go there instead? They really think the Academy is less guarded than the military base? There’s a potential justification here along the lines of, “After Neo and Cinder broke into his office Ironwood will have the place on high alert,” but unless I missed it the group doesn’t assume anything like that. They just listen to Pietro point out all the ways they can’t get into the military base and jump straight to that being the best option. It feels like a transparent way to create conflict for the group. We’ll just have them taking the most dangerous route despite an easy route being offered alongside it. Why bother mentioning his office at all? Just have the access in the military base. Boom, done.

It’s that conflict and the fact that Ruby tends to hear “You can’t” and digs in her heels. You can’t go to Atlas. I’ll just steal a ship then. You can’t defeat Salem. Watch me. You can’t break into this base. Guess what I’m doing! She’s dangerous in her fairy tale, meta-driven insistence that everything will turn out her way because she wants it to.

Speaking of, we finally—FINALLY—get someone challenging Ruby. Sort of. Not actually but it’s the closest we’ve ever gotten:

Yang: “Ruby, when we came here we said we’d follow your lead… but things haven’t exactly worked out.”

Now, there are two things to take away from this moment. The first is how utterly shocked Ruby and the others are. I mean, take a look at these expressions.

Ruby straight up can’t believe what she’s hearing. Weiss put her hand to her mouth like this is the most dramatic thing to ever happen to her. Oscar looks down in a ‘Yeah, I agree but please don’t look at me and make me admit that’ way. And Nora looks indifferent in the screenshot but animated she goes sort of stern, likely pissed that Yang would dare say that given her own agreement with Ruby. This not only reiterates that Yang’s challenge came out of nowhere—seriously, how did we move from following Ruby no matter what to this? Last volume she asked a single question along the lines of, ‘You sure?’ and when Ruby said ‘Yes’ Yang was entirely on board—but also demonstrates that no one has EVER said no to her before. Ruby is amazed that someone would challenge her. The act of challenging Ruby is, in and of itself, shocking. This group has gotten so used to following Ruby blindly that the teensiest little pushback is greeted with this.

Because it is teensy. This is the second takeaway: Yang barely challenges her and that challenge leads nowhere. She doesn’t accuse Ruby of anything, she doesn’t question her continued authority, she just broadly implies that things could be better. We followed you, now things are bad, take from that what you will. It’s incredibly mild as far as criticism goes, making the shock all the more, well, shocking, but it also amounts to—wait for it—nothing! Because Yang didn’t truly challenge Ruby’s leadership. She’s still in charge, she’s still calling the shots, and they’re still listening to her. We might have gotten some change if this division had been allowed to play out, but instead Jaune comes in with a, “Let’s go for both!” solution. It let’s both groups get what they want which, in turn, releases them from the need to grapple with whether they’ll listen to Ruby when she’s advocating for something they don’t agree with. We have now lost the chance to see whether, when push comes to shove, Ren and Yang will cave to Ruby’s will or stick by their own beliefs.

Don’t get me wrong, it’s more conflict than we’ve gotten in years, but that doesn’t mean it’s particularly compelling conflict. It’s good by RWBY’s standards, which doesn’t necessarily make it good. The actual issues at hand—Ruby’s dangerous arrogance, the group’s loyalty, her choices up until now—are just swept under the rug. For all the visuals we get insisting that there’s this great divide in the group… there’s really not. Not in any way that matters.

Also, Ruby is an idiot. Okay, that was mean, but she really is in this scene. She’s actually not an idiot overall because she was written as wonderfully intelligent in the early volumes, but now? Lately? She makes me want to bang my head against a wall.

“But that’s how Salem got this far,” she cries. “By dividing us!”

Ruby… oh my god, Ruby. No one should have to explain to you that dividing people means turning them against each other, not literally dividing your team to complete separate tasks. This girl honestly thought that because there was this teensy disagreement and that half the team would complete Plan A while she and the other half completed Plan B, both of which notably work towards the goal of, “Protect people from Salem,” that this was somehow what Salem wanted. That is was dangerous. Honestly, it’s a scary look at her view of leadership too: If everyone doesn’t 100% agree with me and do what I say, that’s an objectively bad thing that the grimm queen wants, right? Does Ruby think that unification means following a single person (her) without question or variation? That would explain a lot...

The fact that Oscar needs to explain the difference to her is not good. It really doesn’t say great things about this version of Ruby. Though he was comparing Ironwood to Salem last volume, so really they should all be wearing dunce hats.

Penny offers to take the relic directly to Salem in exchange for her leaving the kingdom alone. I honestly didn’t expect that. If anyone took that risk I would have put my money on Ozpin (but of course, during all this talk of the women he knows best, he’s kept quiet). Oscar is again the voice of wisdom, pointing out that they have no reassurance that Salem will keep her word. At least Penny is thinking about Salem as a threat though, so kudos for that. When this plan is shot down she volunteers to get Ruby past the military security instead and, uh, she’s a little intense about it.

I’m not entirely sure what is going on with Penny. She disagreed with Winter but then seemed to come around to her point of view, enough to help anyway. They had another (stupid) disagreement about the value of individual lives, so that helps to explain why she’s teaming up with RWBYJNOR (if you ignore that Ironwood is also trying to save individual lives...). Did watching Fria die shake her up? Is it being the Winter Maiden that’s not sitting right? Does Penny have lingering feelings about the framing that haven’t shown up until now? Her status as a ‘real girl’? We’ve got a lot of reasons that could definitely explain this sudden need to fight, but we’re not told which—if any of these—is the driving force.

We’re then given a lot of little details. Someone points out that if Salem gets the staff and “create[s] anything else” then Atlas will fall (so yeah, let’s move the people underneath it). We still don’t know what exactly the Staff does because “creation” is kind of broad and “powering a city to float” doesn’t seem to sit within that category at all. Pietro gives Yang the keys to his lab so they can get the bikes. We see the group dividing in the flashforwards, something I do like, especially since the show has gone out of its way to break up most of the usual duos. Nora in particular is pissed at Ren for his choice.

“Oh, I’m saving Mantle because I actually believe we can do this.”

#yikes. Well, I did say I wanted a conflict other than ‘Oh no, one of us might die’ and it looks like I got it. But Nora, the only reason you can do this is because the plot is in your corner: none of you are collapsing from two major fights, you didn’t lose your aura so the cold isn’t a danger, the military is barely a threat all of a sudden, Salem is helpfully hanging out in her whale instead of killing you, and the story decided that Amity can function so long as you all are the ones who get to use it. That’s why you can do this. Ren, who follows in-world logic and doesn’t want to risk a whole kingdom’s worth of lives on a pipe dream, thinks differently, oddly enough.

As they leave though Penny gets a call from Ironwood. I know precisely what the fandom is going to say here: “This evil man is just trying to use Penny to open the vault!” Of course he is. He needs it open to save everyone he can, Penny included. Plus the concept of “using” her is a double-edged sword. What do we think the group is doing right now? Using her to get past the security. Penny’s power is a tool any way you slice it. Granted, Penny volunteers to help the group, but notably here Ruby speaks for her. Penny seems torn and Ruby takes the scroll away with, “She’s not going anywhere until you change your mind about Mantle.”

Sorry, Ruby, but coming from you that sounds less like a reassurance for Penny and more like just an order for Ironwood. Remember Harriet? We’ll stop attacking you provided you do what we want. Ruby has yet to learn about compromises, let alone acknowledge that she might be wrong. How about you let Penny decide where she goes, especially since by all logic she should have a lot of loyalty to Ironwood. She knew him before she ever met you. She’s worked with him since she was rebuild post-Volume 3. Despite what Penny has said, if the story would just let her think about his actions for a hot second—making her the protector of Mantle, sticking up for her after the framing, sending her to the party, teaming her up with Ruby, etc.—she might realize that the ‘He doesn’t want me to have friends’ and ‘He just treats me like a tool’ assumptions are just that, unfounded assumptions. But no, Ruby speaks for them both because Ironwood is evil now.

“If she makes it through our defenses,” Ironwood says, “everything that follows will be on your hands.”

That’s true! Kind of like how it’s own Qrow’s hands that Clover died. When you insist on making a bad situation worse you hold responsibility when the shit hits the fan. You know though that Salem won’t get through their defenses now, somehow, so that there’s no chance RWBYJNOR will be blamed for it. Or, by that point Ironwood will be so crazed that anything coming out of his mouth is dismissed, no matter how accurate it might be.

We then transfer to the Ace Ops who are, despite what the fandom theorized for many months, clearly upset about Clover. Also pissed. Which they have every right to be. Their friend and leader was killed. Imagine for a moment that Ruby had been murdered by Tyrian with an allies’ help. Exactly what do you think the group would do? Swallow it quietly and get over it? Ha.

I’ve already seen some speculation that Clover survived due to details like showing us the bandage and his room being listed as for a “Patient,” but he looks pretty dead to me.

He got gutted through the chest and left out in the snow for who knows how long. We saw him slip away. Qrow screamed over his dead body. He’s not breathing now. If RWBY suddenly claims he survived this, I’m calling BS.

Most of the other visuals we get here were already dropped in the trailer. Winter is pretty injured from her encounter with Cinder, likely permanently based on her new outfit. Ironwood had to replace his arm—and I am calling BS on that “Losing his arm is reflective of him losing his humanity” commentary from RT. Please go read up on a couple decades worth of ableism in media and then get back to me.

We get Ironwood’s line about the light shields and, notably, a whole lot of empathy. Regardless of what he might want Penny for, he still called her with compassion. He’s watching the Ace Ops mourn their friend. He’s talking about protecting his kingdom. The first thing he says to Winter is, “Thank you, Winter. I don’t know what I would do without you.” Ironwood has a heart! It’s always on display, which makes this scene utterly ridiculous.

I literally don’t know how to respond to this. The gunshot made me jump, both because it’s a gunshot and because, again, what the fuck? I know I said that next volume RT might just have Ironwood descend into full villainy, shooting whoever he pleases now that he’s shot Oscar, but I didn’t actually expect them to do it. Because he never should have shot Oscar in the first place! I wanted the story to let Oscar grapple with it a bit and then quietly backtrack, acknowledging it as the mistake it was. The concept that Ironwood, empathetic Ironwood, rational Ironwood, always thinks before he acts Ironwood, let’s kids yell at him Ironwood, tried to team up with Robyn Ironwood, did everything Ruby wanted Ironwood, won’t kill Watts after he destroyed his arm Ironwood would shoot this guy just to shut him up is absurd. It was absurd then, it’s absurd now.

That being said, there’s a possibility he didn’t actually shoot the council member, but rather just (“just”) gave a warning shot down the hallway. I say this because the reactions to this are pretty tame. Everyone looks startled, yeah, but after the initial shot there’s nothing that I would expect if there was now a guy bleeding out on the floor. The council woman doesn’t scream. Winter doesn’t seem overly shocked. No one is running to try and help him. Basically, if Ironwood had just killed a political figure in front of six witnesses, entirely unprovoked, I would expect a bit more of a reaction than this. This feels far more like a, “Damn he’s not joking around, letting off warning shots to get people to leave him alone” not “WOW, our general just killed someone in cold blood!”

What I really hate though—beyond just assassinating his character—is how many fans think my friends and I are delusional for calling it character assassination at all. I hopped onto the RWBY tag for five minutes this morning and was bombarded with posts about how Ironwood needs to be murdered horrifically, anyone who likes him is sick, the Ironwood stans are as bad as Adam stans, you’re an idiot if you want him redeemed… because apparently the concept of a story writing a character badly doesn’t compute. I’m not here to argue that Ironwood didn’t do these awful things (regardless of whether he actually killed the guy or not). I’m not here to argue that they’re not awful. I’m just here to say that we never should have gotten these scenes in the first place, or if we were going to get them, we deserved an actual descent into murder at the drop of a hat territory. I’ve already explained extensively on this blog how early Ironwood was not accurate foreshadowing for this, and Volume 7 certainly wasn’t setup, but it looks like the majority of fans aren’t interested in examining whether any of this adds up. Which makes my job, as someone trying to examine this series somewhat objectively—in as much as that’s possible for any single viewer—as well as simply enjoy it as a show, really hard. It’s bad enough when a story keeps taking the characters you love and villainizing them, and doing that badly, but then when you turn to the community and see them rallying around the idea that you’re awful for being dissatisfied—you’re the bootlicker, you’re the blind stan, you can’t see what’s ‘really’ going on here… that sucks. For those of you happy and satisfied with Ironwood’s arc, that’s great! I’ve also seen a lot of posts hyping up the complexity of his character now. There’s nothing wrong with enjoying what we’ve been given and I’d never want to imply that just because it’s not what I wanted it’s somehow wrong. I’m honestly thrilled that after a year of worry so many people have adored our premiere, including this scene. I just wish that I could say RWBY had given me something I didn’t want in a persuasive manner and that the fandom as a whole was a bit more welcoming of differing criticisms.

Not that I didn’t already know the RWBY fandom had its flaws, but still lol.

That’s basically it for our premiere. Nice note to end on, huh? Our final scene is of Salem using the lamp to set her bloodhound grimm on the city. Why doesn’t she just go herself? What was she planning to do here in Atlas in the first place, considering that getting the relic was a surprise? Who knows. Little about this holds together. But we do end with another awesome shot, so small favors.

It’s always strange concluding a recap, but even more-so when it’s a premiere, during a historical moment in the U.S., amidst all the nonsense that is 2020. So for now I’ll just conclude with three quick things:

The updated bingo board will be listed at the end of each recap, provided I don’t forget about it lol. Today I’m checking off tone (not nearly enough freaking out about Salem), the team keeping secrets (Oscar), and major plot point dropped (Amity is suddenly finished). I could also probably check off the cold not killing civilians and getting Amity up and running, but we’ll see if any changes with those.

I’m including my Ko-Fi link at the end of recaps now. Not with any expectations. Not with anything resembling pressure. I thought long and hard over whether to include it at all—let alone mention it here—because I love doing these and never want anyone to feel like it comes with strings attached. But life is a little harder and weirder than it was last year, so I figure it can’t hurt. Feel free to pass on by and I won’t be bringing it up past this note.

Far more importantly: thank you for reading! :D

(Bonus 4. Editing this was an absolute nightmare — damn you, tumblr! — so I apologize if anything is super wonky when I finally post.)

See you next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps

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pinkbean · 3 years

Text

More OMORI ramblings, but this time about the soundtrack!

OMORI absolutely has an incredible soundtrack, that even the most simple and short songs have a catchiness to them that make it hard to not listen to on repeat.

Take White Space for example, it's a very simple and short song yet it's so catchy and I love to listen to it on loop. Not only that, but it's a perfect and effective song for the place it's used at. Symbolizing the simplicity, yet safety of White Space itself. It's not full of luxurious things, but instead everything OMORI could need. A place to live, but not to survive. The fact the song can loop also I feel could symbolize the repetitiveness of White Space and how OMORI spends his days just sitting in White Space. (According to the laptop, anyway.)

And the take on it's alternate version, Welcome Again for Black Space is also so, so good. The lowered pitch, yet the same notes that bring a sense of familiarity but quickly unnerve you as you know this place is... something more. Something sinister, even. Just by a simple pitch change. Also it's name, 'Welcome Again'. Welcoming OMORI/Sunny back to Black Space and giving him a sense of familiarity with a similar look with simplicity as White Space. Oh, and let's not forget some of the other times you hear White Space mixed in with some other themes. Such as:

Not-So-Empty-House

A Place by the Lake

It's only in small portions of each song, but it's enough to make you go: "Wait a second..." and I loved it.

Away from the simpler songs, each song is so fitting for when they play and some are even more impactful than others. One song that I love to listen to is

It Means Everything

It's a beautiful arrangement, showcasing Aubrey's harder and more 'bad-girl' kind of side. Though the extra background noise adds flair as if to showcase her pain. Not to mention you're getting the commentary of the church-goers as the fight progresses. It's just overall painful, and it really stuck with me.

It shows you how far Aubrey's fallen from grace due to Mari's death and her feelings of abandonment. Yet showing that she's trying to stay strong and become that 'tough-guy' kind of persona to try to force herself to move on. It's just... perfect for the scene.

Then you have a song like

Numbers

It's a tranquil song, makes you feel calm. Yet still gives some sort of uneasy sense the deeper you go into HEADSPACE. Then you have the background noise. (Apparently it's German numbers? That's a cool detail if it is!) Not to mention all the white noise / background noise that goes into it the more it progresses. It starts to show that HEADSPACE isn't all rainbows and sunshine, and the depths is where everything is repressed. The depths is where things change.

Each song adds a layer of atmosphere to the game which immerse you even further into it. Which I love so much. Pedro Silva is an AMAZING composer, and did a phenomenal job with OMORI's soundtrack.

Oh and don't even get me started on Black Space's arrangements.

Fleur

Distance

Glade

Every theme in Black Space works wonderful for the locations you see. Hell, Glade is completely peaceful compared to all the others. Yet it holds some sad undertones. As you progress you get the lines "Liar." until it fills up an entire textbox. It makes you wonder, what? Then you find the key and Something appears. As you try to leave, Something continuously says "Sunny... I love you..." making you wonder.

A fun youtube comment even mentioned how the background 'thunder' sounds like someone falling down the stairs. And it just adds so much more pain and character to this track.

And for the Hikkikomori route... I can't forget

Playing Forever

Including parts of the trailer into it... Oh man... Hearing this just leaves an empty feeling. It's so... childish, like a circus even. Trying to give the illusion that everything's going to be a fun, happy time. When in reality it's just showing how Sunny is once again running from the truth. The inclusion of the Title Theme/DUET really adds to it too. Just... ugh... It hurts!!

And for the true route... One of my all time favorite final boss themes in any video game.

OMORI

I don't even know how to begin how perfect this is. Sunny is in White Space, and OMORI is looking on to where the lightbulb once hung. He turns his attention to Sunny, and everything begins to disappear around them. It's just them now. OMORI's portrait is shown holding a knife, and he gets ready for battle.

The UI opens up - and the violin begins. That first note ripping into your very soul -- your heart. Holding it there just as the note continues to move on to the next, adding insult to injury. Staring at that UI while the music continues, wondering what to do next. It's so... beautiful.

Final boss music usually has that absolute epic, guitar or some sort of orchestra to add to the dramatics. As if you're saving the world or quelling the biggest evil. OMORI's focuses on the violin. A huge plot point for the game, and a huge symbolism for Sunny. It represents his grief, his pain, his loss, his guilt. Everything he's felt and repressed for these four years.

Then the fight continues. OMORI did not succumb. The music begins to grow more intense. The violin remains the strongest instrument, but the background noise creeps in. OMORI himself begins to take change. Growing more and more distorted as the battle goes on, just as the music does. As if the voice in Sunny's head is growing louder and louder to stop him from accepting the truth.

He's facing his ultimate demon - his ultimate repression. Everything about this theme is just... Truly magnificent. It's beautiful, it's painful, it's energizing, it's a perfect reflection of the final battle for this game. A complete culmination of everything that's built up to this point. From the truth, to everything before. Absolutely incredible.

This game's soundtrack is another thing that just helps create the incredible experience that is OMORI. Everything flows so well together, and I'm happy that this is the product we received. It's magical, thrilling, and engaging. I love Pedro Silva for his compositions for this game. He was a perfect, and masterful choice to do the soundtrack, and I wouldn't have it done any other way. Thank you Pedro Silva. Thank you omocat.

#omori #omori spoilers #spoilers #omori rambling #omori ramblings

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bltngames · 4 years

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The Balan Wonderworld demo came out yesterday. If you haven’t been keeping up with this, it’s a game by Yuji Naka and Naoto Ohshima, two of the original creators of Sonic the Hedgehog. A lot of that original team has gone on to do solo work outside of Sega, but this is the first time two former members of Sonic Team have gotten back together to make a new game.

If the demo is anything to go by, Balan Wonderworld (which I keep trying to type as “Balan Wonderland,” because it has a much nicer rhythm to it) is a game that lives deep in the shadow of NiGHTS into Dreams and Sonic the Hedgehog. It is very clearly trying to be an “Old School Sonic Team” experience, which it... sort of succeeds at, for better and worse.

This feels like a game they ripped straight out of 1995, warts and all, and remastered it with modern-ish graphics. I say “modern-ish” because in broad strokes, I think Balan looks pretty good. The character designs are charming, the level themes are interesting, but if you really stop and look at the game, it’s honestly pretty ugly, with simple lighting, limited detail and blurry textures.

One gets the impression maybe that’s because Balan is on everything -- Playstation, Xbox, PC, and even Switch. The gross texture work could be to squeeze the game down for Nintendo’s handheld, but apparently it runs extremely poorly there. On the PS4 Pro, it sticks pretty closely to 60fps, though there are occasionally hiccups here and there. Nothing worth fretting over, honestly.

But how does it play?

This is where the shadow of Sonic the Hedgehog looms large. Balan is designed to be simplistic to a fault: You get one button to control your character. Or, more specifically, every button on your controller will do the same thing (for the most part). This is right out of the Sonic handbook, as that game was also designed to be operable with only one button, as well.

Now, what your one button does can change. Scattered around levels are different costumes for your character to put on, and each costume has its own unique ability. The full version of Balan promises 80 different costumes, and there’s probably half a dozen in the demo. Each one serves a unique purpose, and some of them don’t even have the ability to jump. Which is fine, mostly, because you can carry a stock of three costumes with you that you can swap between sort of like the team mechanics in Sonic Heroes. Once you finish a level, those costumes get added to your dressing room, allowing you to customize a loadout of costumes at any checkpoint.

On paper, that much sounds fine. But this is where things start getting weird.

Costumes are not freely available to pick up. The jewels that hold costumes are locked with a key. This creates an obvious gameplay loop: find key, unlock costume, use costume to solve puzzle, right? Right.

Except that, at least in the demo, most keys are only a few feet away from any given costume jewel. On top of that, keys respawn. Crack open a costume jewel, grab the costume, but hang out for a little while and eventually the key will reappear. In doing this, you can stock up on keys early on in a level, smoothing out the process of acquiring new costumes as you go. I’m not sure why Balan does this. The time between key respawns is a few seconds too many -- just enough that it starts to feel tedious. But, as far as I can tell, there is no penalty for farming up a bunch of keys from the first key spawn point, either. It’s the worst of both worlds. If it was trying to be convenient, keys would spawn more quickly, but if it was trying to plan puzzles around acquiring keys, you can completely side step that by just waiting it out and hoarding keys early on.

You’ll not only want to hoard keys, but hoard costumes, as well. If you’re unlucky enough to take damage or even die while wearing a costume, it’s gone. You can build up stocks of costumes so you’ll always have spares to pull out of the dressing room, but that requires you to specifically go out of your way to get duplicates and bank them. If you don’t, you might find yourself at a puzzle that requires a specific costume that you simply don’t have anymore. When that happens, your only recourse is to backtrack in the hopes of finding a crystal that contains the costume you need, and characters in Balan aren’t exactly fast moving.

The chances of you losing a costume seem pretty low, admittedly. Balan Wonderworld doesn’t really seem like it’s aiming for anything resembling difficulty. Enemies exist, but only in very small numbers, and they’re easily dispatched. Most of the game is more about exploring the dream-like environments and playing around with the various costume abilities in order to solve basic puzzles.

You aren’t working against a clock, there isn’t a scoring system, and you usually aren’t being graded on your performance. Talking it over with some others, the vibe is that this could be a good game for young children. It requires little in terms of controller dexterity and is generous in every sense of the word.

The primary complaint against that, I guess, is that Balan Wonderworld is a weird game. Like, “Elsa and Spider-man Finger Family Youtube Video” weird. Every level is packed full of gently dancing ghosts that phase out of existence once you get too close to them. They’re all the creatures your costumes are based on, but they don’t exist as NPCs in the world for you to touch and interact with. Like I said, they’re ghosts, and they disappear the moment you get within a few feet. Those same ghosts will suddenly materialize when you touch certain checkpoints, throwing you something of parade. They interrupt the level music and everything just to play their own special celebration song. Move more than a few feet and they will fade back out of existence again, taking their special parade song with them, never to be seen for the rest of the stage.

It lends a strangely “uncanny” feeling to the game. I think the dancing characters are meant to add a sense of carefree fun, but they look like people wearing mascot suits, doing the same basic scripted routine over, and over, and over, for eternity. They don’t look like they’re having fun, they don’t appear to be choreographed to the stage’s music, and yet there they are, eternally dancing the days away. It’s kind of eerie. They were performing before you got here, and they'll keep performing after you leave.

The demo pits you against a single boss, which is notable for being someone who has the same powers you do, but combined and amped up. Seeing the same costume motifs come up in the boss as they draw from the same abilities that you have is actually a really fun idea, and the game rewards you for getting creative and swapping between costumes when you deal damage.

Balan Wonderland is a very odd game, and I’m not sure what to make of it. It took me a while to start wrapping my head around its aesthetic and vibes. It contains shades of something like Super Mario Odyssey to be sure, but it feels like it’s trying to elevate itself above that. Again, it’s a game living deep in the shadow of NiGHTS and Sonic, and in particular, it feels like it borrows NiGHTS’ penchant for putting artistic expression at the top ladder rung. Balan often feels like a very inscrutable sort of game, but in a way that seems to be reaching for some kind of greater meaning beyond simply gameplay. Everything in Balan feels like it might be conveying a message of some sort, even if it’s not immediately apparent. Its ideas do not come from a vacuum.

But here’s the deal: even though a lot of people couldn’t grok NiGHTS into Dreams, I did. I love that game to death. But with Balan Wonderworld, even I’m often left scratching my head. Despite its dead-simple gameplay, it may be just a little too high concept for its own good.

But at the end of the day, it’s not a game I hate. It’s strange, and charming, and even if it feels sort of impenetrably "artistic," at least that makes it interesting. The simple gameplay works its magic, making it an easy game to drop in to even if you don’t necessarily understand what you’re looking at.

Like, what’s the deal with the “Isle o’ Tims” between levels? It kind of has the vibe of a chao garden from Sonic Adventure, but the individual “tims” creatures don’t seem to have statistics or anything like that. You feed them so they crank a wheel, which builds a tower that helps them crank the wheel better. It turns in to a bizarre sort of perpetual motion machine. To what end? I don’t know. And what exactly is Balan himself, anyway? Some of his visual cues call to mind character designs for NiGHTS, but he appears to be a different sort of creature altogether. There’s a rather lengthy intro FMV, as you can no doubt see from the Youtube embed, but it’s more about swirling colors and hyperactive animation than conveying what’s going on or who Balan is. How much of this is even really happening, and how much of it is purely metaphysical? It’s very unclear.

I’ll be interested in seeing how the full version of Balan Wonderworld fares. I get the distinct impression that this will be another NiGHTS -- a game beloved by a core audience of hardcore fans, but shunned for being “too weird” by the populace at large.

I’m not quite sure which group I belong to yet.

#balan wonderworld #square-enix #arzest #yuji naka #naoto ohshima #NiGHTS into Dreams #Sonic the Hedgehog #demo #Playstation #video #writing #preview

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aros001 · 3 years

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Going in blind: Watching season 3 for the first time. Random thoughts.

Episode 1: I know in the original series She-Ra was the sister of He-Man so I'm curious how much of that will be carried over to this series. Not saying He-Man has to make an appearance, same as how Batman didn't need to show up in Teen Titans. That was Robin's story, not his, and similarly this is Adora's story, not Adam's. Regardless, it makes sense why Hordak was so annoyed with the baby Adora in Shadow Weaver's flashbacks. To SW, there was something different and special about the baby, but to Hordak, whom seems familiar with the world before Mara separated Etheria from the rest of the universe, including Eternia potentially, Adora is just another "First One" child like he's seen many times before. Special in comparison to those who only know Etheria.

Great clap-back from Catra to Hordak, and not entirely unfounded. It's debatable how much he actually cares about conquering Etheria. He has others leading his forces in his war yet all his focus is on his portal creation.

According to Entrapta, productivity of the Horde is up 400% ever since Catra became Hordak's 2nd in command. I wondering how much of that is Catra's direct doing? Is she genuinely just that good of a commander? Is it because she's properly delegating and Scorpia has been handling most of the load? Or is this just because it's in comparison to Shadow Weaver? Entrapta said Catra's focus on First Ones' tech has been greatly aiding them and SW definitely focused more on magic, which was an aid mostly to herself since everyone else in the Horde seems to fight only with weapons and technology. And most of what she saw of SW while she was Hordak's 2nd was her being obsessed with bringing back Adora rather than fighting the war.

Episode 2: Let's see... Hordak's easily an adult and Entrapta is...[checks google] late twenties, early thirties. Oh good, then let's sail this ship!

But yeah, that was a heck of a backstory for Hordak. This reminds me of a video by a Youtuber named Savage Books comparing the villain Steppenwolf in the theatrical and Snyder Cut versions of Justice League and how, while he still wasn't a great villain, just a small addition made him a much better villain, that being a failure in his past and the desire just to go home. And in this case, Hordak is the much better, or at least way more developed, version of that. One of many clones of Hordak Prime but having a defect that labelled him a failure and had him cast out to Etheria, a "backwards world" as he's called it before. If he can conquer Etheria, perhaps by building a portal that'll bring forward Prime's army, he believes that'll prove to Prime that he is not a failure and that he can return home to rejoin his forces. Just this bit of backstory adds SO MUCH to Hordak, including new insights on his past interactions, and keeps him from being a flat character like theatrical version Steppenwolf. His lack of tolerance for failure makes sense when he himself is trying to prove that he's not. It gives him compelling motivation to want to conquer Etheria beyond just power and greed. Not motivation you're meant to agree with but one you can still understand.

I like the story with Huntara too. It's a nice little tie-in to something Adora was talking about with Glimmer and Bow last episode. Adora defected from the horde, not because she was different but rather very much in spite being very much like every other soldier there. She wanted to believe Shadow Weaver may have at least some goodness in her too and now we have Huntara as a fellow defector who realized the evils of the Horde, even if she chose to stay out of the war entirely after.

Episode 3: I legit thought Catra stabbed the goat lady for a second.

After Scorpia asking her why don't they just stay in the wastes I'm seeing a bit of a parallel between Catra and Hordak. They've both found a place where they can be the top dog, where they can do and have basically anything they want; her with the wastes and him with the Horde. They can be happy. ...But there's still this pull they're feeling to somewhere else. Catra back to the Horde and Hordak back to Prime. Because they feel they have to prove something; prove that they're not failures. They could be happy but they can't let go.

And that scene between Adora and Catra at the end. That was such a great line read from Catra's actor. "She left me for you. Everything that's happened is because of you." I got chills.

Minor note: While I'm only judging off the Mara hologram, which didn't have color, I do think the She-Ra outfit looks better with pants than shorts like Adora's She-Ra form. I think it makes it look sleeker, if that makes any sense.

Episode 4: Catra's spiral has turned into a drill and its taking her down as far as she can go. Though something I had to a laugh a little at myself over was that my biggest "Catra, no!" reaction wasn't to her wanting to open the portal but rather when she lied to Hordak and said Entrapta let the princesses in. She was actually a positive influence on Hordak's life and Catra with one move just destroyed that relationship and all progress Hordak had been making.

I'm guessing there's going to be some kind of long-term effect from Shadow Weaver continuously siphoning off Glimmer's magic. The woman is basically a parasite and the magic she uses is very different from the kind Glimmer does. I can't believe it never occurred to me that since Shadow Weaver trained Glimmer's father there might be a connection there between the two of them later in the story. While we don't know about anything that might've happened after she left, SW clearly had enough affection for Micah still to not kill him. I could see her trying to take Glimmer on as a student later like she did him.

Episode 5: There is something kind of hilarious about it being Scorpia's jealousy of Catra and Adora's closeness that causes her to be the first one after Adora to pick up that something is off.

11 is my favorite of the Doctor Who Doctors so naturally I'm comparing all this to the crack in Amy Pond's bedroom wall. Whatever goes in gets forgotten about and basically never existed. Though does that mean Bright Moon isn't going to remember the Horde? Basically that entire place got sucked up in the collapsing reality. There shouldn't be at war anymore because their enemy literally no longer exists.

Adora and Catra had their own little Star Trek 3 moment there.

Adora: "If we don't help each other, we'll die here!"

Catra: "Perfect! Then that's the way it shall be!"

Catra's just so far down her spiral she doesn't even care about getting her own win, just so long as Adora doesn't get one, despite just minutes ago clearly loving having Adora back in her life and on her side, to the point was trying to resist remembering the old reality. Her "perfect" world was them together again but when given the chance (another of many. I love those cuts to their past woven in there) she slapped the hand away.

I'm sure I'm wrong but I'm starting to theorize Madam Razz is actually Mara and just at some point went kind of crazy and started thinking as and Mara were two different people.

Episode 6:

"You are everything I ever wanted in a son. This... This is everything I ever wanted in a life. ...But I've got responsibilities, Van. And...I have to...go now."

-Superman, Justice League Unlimited: For the Man Who Has Everything

That was my favorite episode of JLU, where Superman is trapped in this world that isn't real but still perfect in every way, and the only way out was to give up everything he'd ever wanted, including a son he remembers watching grow up, even if it never really happened. With a similar premise, this definitely helped elevate Angela up a bit for me, whom I was kind just meh with before. I didn't dislike her but I didn't really care much for her either. This episode gave her a lot to work with though, with the heavy sacrifice she made. Not just saying behind to pull out the sword but just simply forcing herself to accept her husband is gone and not coming back. I was right that they wouldn't remember the Horde, but I definitely didn't think of the full effects of them never existing. They never exist, Bow never becomes a rebel instead of a scholar like his dads wanted. They don't exist, Micah never dies in battle against them. Glimmer gets to grow up with her father in her life. Everyone, most especially Angela, has to reject everything they would love to be real in favor of what actually is.

I'm guessing we're going to have Shadow Weaver taking advantage of this situation, trying to act like a teacher and mother-figure to Glimmer now that she's basically a orphan.

I talked before about how Catra and Hordak seem to have a parallel between them, especially regarding failure. Catra seems like she has a very hard time accepting her own failures and mistakes and thus why she more or less uses Adora as a mental scapegoat for all of it. Nothing is ever really her fault, it's Adora's, or Shadow Weaver's, or Hordak's. It makes for a great moment when Adora finally punches back, both literally and figuratively. She's not going to accept responsibility for Catra's actions anymore. She gave Catra every chance to make the right choice and she didn't, so now she has to finally live with the consequences. Heck of a glare She-Ra gave Catra at the end. Very much a "If I ever see you again..." and it certainly scared Catra, at least for a moment.

Now, someone go save Entrapta from Beast Island!

Season 3 verdict: Easily the best season thus far. I know this was technically the second half of season 2 but even in comparison to the full season 1 there was just so much that happened in this, so much that got revealed, and so, so many moments of emotion or tension. Weirdly I feel kind of disappointed that Hordak Prime is probably going to come in now and be the new big villain. I really like our Hordak's motivation and Prime seems like he might just be the generic conqueror for power that Hordak seemed like he was going to be at first. Not saying those types can't work. I love All For One from My Hero Academia and Frieza from Dragon Ball. Those guys are pure evil and selfishness, but they also have a captivating presence/charisma to them.

Naturally, since I bring her up the most out of all the characters, I'm very curious to see what happens with Catra now. She's basically nuked every positive relationship she had with anyone. Entrapta's gone, she threatened Scorpia, Hordak's not going to trust anyone including her anymore now that he thinks Entrapta's betrayed him, and Adora firmly sees her as an enemy. She has no one (those under her direct command don't count) and it's entirely her own fault.

Original Reddit post: https://www.reddit.com/r/PrincessesOfPower/comments/o0trfz/going_in_blind_watching_season_3_for_the_first/

#she ra #she ra spop #random thoughts #reddit repost

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tar-oh · 4 years

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Pick-A -Pile: What will the rest of November be like for you?

Howdy there, folks! Sorry it’s been a while. But here I am! I have 3 new decks, so I wanted to use those. I have the Cosmic Tarot deck, which I’m excited to use because it’s from the 90′s. It’s also based somewhat off of old movie stars, too. It’s one of the most interesting decks I’ve seen just because of the interpretation the artist had on some cards, but I find that they’re fun to read intuitively. I also got the Light Seer’s Tarot from my best friend for my birthday. That one is fun because the artwork is beautiful and it’s got a lot of bright colors. The last is a new oracle deck I got called the Seasons of the Witch: Samhain Oracle, which is based around Halloween/Samhain. t’s very much Halloween/witch themed and has beautiful artwork and poetry on it. I also pulled moonology cards for each pile.

The question I asked for each pile was just what the rest of November will be like for you. I think it’s just better sometimes to let what needs to come through come through, and I have to say that there was a lot of healing and change that came through for each pile.

Here’s the piles to pick from:

So:

Pile 1 is the Opalite

Pile 2 is the Rose Quartz

Pile 3 is the Carnelian

I need to say that this is a general reading. It’s for a bunch of different people, so it’s not specific, nor does it mean it will resonate with you. If it doesn’t, I have a few other readings on my blog that aren’t time-specific and may give you insight. Otherwise, I may not be the reader for you. If you would like to reach out for a personal reading, my DM’s are always open and I will try to answer it ASAP. I recently got a cashapp, so if you’d like to tip (it’s not necessary), it’s $sarams.

SO. THAT BEING SAID ONTO THE READINGS:

Pile 1: Opalite

Cards: strength, 6 of pentacles, the moon, 8 of wands, 5 of cups, page of pentacles, 2 of wands, banshee, new moon in sagittarius

There's one word that keeps showing up with these cards for me, and that's CHANGE. The Banshee warns of you blocking change. New Moon in Sag suggests you might change your mind on something. The strength card in this particular deck suggests the transformation of energy. So, the word for your November is Change and I think these cards are saying that there will be change for you, but how it goes, it's up to you. You're asked to get out there. And by that, I don't necessarily mean going out and about (especially for those that COVID is still around, be safe guys!). I mean whatever that means for you. So for some, you want to put something on the internet. For example, if you're thinking of starting a new blog or even a youtube channel, this spread is telling you to do that. There's a lot of pentacles and wands in this spread. That tells me there's a lot of creativity and abundance within this. I don't always mean material wealth, I mean whatever that could mean to you. This could be a passion project, that you work on for fun. Or it could actually be something you plan on trying to make money from. This pile needs to realize their own power. The fact that the lady in the strength card is holding a tapestry with a lion on it furthers this idea for me. Lions in historical terms have always symbolized strength. I'm reading this as if she had the tapestry covering her whole body up, but she appears to be moving it away. I'm also assuming she's naked behind it, too, so it's like, stripping away a mask you might have had on. This idea that you were toning yourself down for everyone else, but now you're letting that fall away. You're being you, and unapologetically so. You have a lot to share and a lot to give, and you're a little hesitant about this. Perhaps, in the past, you had things not go the way you wanted when you put yourself out there. But, this is telling you to forget that. A lot of you are changing or going through changes, whether it be inside or how things external to you. But, you're also denying these changes? Like, okay right now Make Way by the Front Bottoms is playing, and he sings "I make way for the expensive things in my head." You have dreams, but these dreams cannot come into actualization until you make room. The Banshee card can read as a warning, and I'll get to that later. In order for new things to come in, there needs to be room. This Banshee card hints that you're not allowing there to be room.

As I was writing that I started to think about the 4 of pentacles from the Rider-Waite deck. On the card, he guy's hoarding the pentacle and the chest underneath him full of who knows what (knowledge? love? money?) but that card isn't present. But, my eyes were drawn to the 5 of cups where she's looking down into the hole that the cups are spilling into. It almost looks like a bit of her soul is spilling into it too. I read that as someone who poured a lot of effort into those cups, a lot of their soul too. But, in the end, it was all for naught. At least, that's how they see it. So they dump out all those cups and their soul goes with them. But, that's not what I mean by making room. In this card, she's so focused on what's lost, rather than what could come in. Behind her, there's this path and wide-open space, and the stars are out. It's so beautiful but her backs to it. You need to be able to turn around and run into that unknown. The moon definitely supports that idea to me, also this 8 of wands. The moon in this reading, to me, is you embracing the unknown. Like, walking into the future despite it not having certainty yet. As unsure as you are about what tomorrow, next week, or even next year holds, you need to be able to crawl out of that pond like that lobster. He's kind of jumping out of that pond at the moon like "HERE I AM!" I also see him as reaching towards the moon that's made up of two fishes. So, almost like he's grabbing at them like a prize. So, I want to be cheesy and say REACH FOR THE SKY! And, I don't know. Perhaps a bit of corniness is needed in this moment for you? 8 of wands also gave me that feeling too. It's an image of a man jumping through the air with those 8 wands and he looks ABSOLUTELY THRILLED. These cards are telling you to be excited because when you reach out, good things reach for you if that makes sense. Page of Pentacles and 2 of wands show me that there's something you are or will be working on that you want to share. These also tell me it's something that you need to be practical about sharing. Like, the way you go about it. It's a bit like you need to make sure that when you jump through the air with those wands, you're calculating where you land. So, it's telling you to jump, but not to be The Fool about it. Don't jump without looking. But also, not to sit still like that girl in the 2 of wands. She's looking out the window wishing when she could be going. The 6 of pentacles tells me that whatever you share is going to be valuable. Usually, this card is about give and take. Or, about being compassionate and empathetic. Having what you need and sharing it too. It could also mean someone is helping you out. But, today I'm seeing this as you having something that would be valuable to others. So, maybe you want to make a fitness vlog or you have a large knowledge about rocks or something and you want to write blog posts about them. And, this specific version of the 6 of pentacles is that this man is standing under a crescent moon. It looks to me like it was recently a new moon, and I kind of see those pentacles as other phases of the moon. So, to me, it's like you manifesting. The act of placing an intention on what you want to do or achieve between the new and full moons. Like, this man is under this newer moon and he is manifesting what he wants. He's also excited about what's to come despite it being unknown. Those 8 wands are telling you to DO IT. START IT. You got New Moon in Sagittarius, which has the line "Luck is on your side" written on the card. In the moonology deck, I read this as the equivalence of the Wheel of Fortune tarot card. I mean, it even mentions the wheel in the guidebook. This card is telling you to GO! Do it! You've got luck on your side, but to also stay open-minded. I did mention that the Banshee does serve as a warning. The card's keywords are bad omens and wrath. I don't want this to scare you, rather, I want you to take this and hug it. I'm laughing at myself for that last part, but seriously. This card is, to me, just death reversed. When death is in reverse, you're denying a transformation that needs to happen. Even denying the ending of something. This is telling you that things are changing. They will not, cannot stay the same and that this warns you against denying this. Change can be so beautiful. Like, I mean, think about butterflies and the transformation they go through? You could have that! This change could be physical or mental or in your external world. Either way, if you're able to embrace this change with open arms, you'll find that there's a lot of joy that comes with this. I do have to say that there is the risk of you getting a bit of a big head. I want to tell you to stay level-headed about everything that comes your way. I also have to bring that 5 of cups back up along with the banshee. These suggest this idea that you're focused on mourning an ending, but that you should let it go. A part of me doesn't agree with that completely. There is a certain amount of need to allow these things to fall away and not to mourn forever. But also, if you're still grieving it once those changes come in, that's okay. That whole, making way for the expensive things is something that one needs to do, but there's also this thought I have about making space...to just...allow things to be. Sitting with something. The song Unsaid Emily came on from Julie and the Phantoms. The story it tells is heartbreaking, and I found it fitting. The song is about regrets and wishing you could say something you never got to say. There's a part where he sings "If you could only know, I'd never let you go." This ties in because you can still have that past with you. You don't have to let it go completely, but there's also a point where wallowing in it doesn't help. So, it's like, this banshee/5 of cups combo is both a warning and the act of acceptance. Like, this acceptance that this happened. It's over, and we will have these thoughts on it for a while (they'll probably transform through time). But, they're there, and while we're embracing it we're also taking them and moving forward. It's this act of leaving it behind while simultaneously leaving room for it in your suitcase. All seriousness aside now, I think November is going to be good for you. I don't know if it's going to be super major in any way, but I know that it's going to at least be a stepping stone for the rest of your life. Maybe a lot of little things will happen that will only be worked into your memory years later as things that you can attribute to where you are. I just see joy and creativity in these cards and maybe hesitation, but its that hesitation before you jump and I see that when you land (in that calculated spot), you're going to be okay. And, honestly, I think right now, that's all we want to hear. Right? That we'll be okay? Songs:

Make Way - The Front Bottoms Unsaid Emily - Julie and the Phantoms Soundtrack Makeup - Oberhofer

Pile 2: Rose Quartz

Cards: Queen of Swords, Two of Pentacles, Ace of Cups, Temperance, 4 of Wands, King of Wands, Full Moon Eclipse, Wolf One thing that's coming through strongly is that you need to follow your intuition. In the song Wild Roses by Of Monsters and Men, there are the lyrics "I followed a feeling". Even more, in the song Don't Give Up Your Ghost by Movements, they talk about not letting your demons get the best of you. Not letting those dreams you had go. And so, you follow them and chase that feeling, whatever that means to you. The card Wolf's keywords are instinct and freedom. It's the last card of the Seasons of the Witch deck, and with it comes this sense of completion. The Full Moon Eclipse speaks of conclusions being within reach. These conclusions are doors that have closed. But with these cards, while I see contemplation in some (queen of swords, temperance, even King of Wands), I also see movement. In 4 of Wands, they're dancing. In King of Wands, he does look stationary, but he also looks as if he's going to step forward at any moment. In two of pentacles, he's trying to keep his balance, but it looks like he's also trying to move forward too. So, there's a sense of forward movement, but with it comes this act of never looking back. There's a chance you'll face a decision in November. With the Queen of Swords and Temperance, you're asked to stop for a moment and be logical. To balance out the practicalities and the emotions. But, with it comes a beginning, one that can prove to be very fulfilling to you. There's a chance that this leads to a celebration, as well. Either way, you're asked to weigh the options while also keeping in mind that whatever you're leaving behind stays behind you. The last pile was also about moving forward and change. But, it was also a gentle reminder to hold your values and memories close to your heart. Whereas, with this pile, you need to hold those values and memories, but not as closely. At a distance where you can see them to keep perspective, but far enough away that they're not pulling you back to that door. And, by the way, that door will be locked. I don't know what this could be that you can't go back on. I mean, I guess it's like something that you just can't relive. Maybe it's that thing where nothing's ever the same again. Either way, it's like this spread is begging you to move forward. Ah! The song that came on is Kill My Time by 5 seconds of summer. There's a line, "Why don't you just say goodbye now. It's only a matter of time," which goes perfectly with what I just said. It's like, whatever is reaching it's conclusion. It's as if you've ridden that wave and you're at the end of it. You've run out of a wave to ride, so it's time to find another. On the wolf card, it says "Run wildy into the freedom of your knowing", so 1. definitely feeling the moon card here. But also 2. you're released from whatever is concluding. Also, the moon, it's about mysteries and the unknown and in the last pile they got it and it was telling them to jump into the unknown. I see that you guys are asked to jump into the unknown as well. Though something tells me that you guys have a bit more of an idea of what's going on. The queen of swords looks like she knows and that wolf howling at the moon knows something too. There's this feeling of the unknown but also knowing the unknown here. But, then with this unknown/decision you might have to make, you're reminded to keep balanced. In the temperance card, he's holding the moon in one hand and the sun in another. So, it's like night and day. I think that's suggesting this need for a schedule. Like, maybe a set bedtime? You guys could possibly be more of the night owl type. I guess, in that case, it's just a reminder to get an adequate amount of sleep. So, still setting a set time for sleep and a set time for waking up. Also, it's telling you to take care of yourself overall. The two of pentacles also brings that idea of balance because I mean, this card is about keeping up with everything. It's like, having two things and being able to balance them. Some of the versions of this make it seem like it's time to focus on one and stop trying to do both. In this deck, because the act of balancing is actually his body trying not to fall in the water, I see that this balance of keeping up different things at once is essential. So, say you're in school but you're also working. You're asked to keep up the hard work in both your school work and work-work, while also taking care of yourself. Assuring that you don't fall into the water. On the 2 of pentacles here, the pentacles are on his shirt. He already has these pentacles and I don't see him losing them. Unless he discards the shirt, so it's like unless you actually quit your job or school, you can't really lose them. You can lose the quality, but not the actual pentacle. My favorite thing about the Light Seer's Tarot is that each card has an affirmation. These sum up the card as a whole. Despite the 2 of pentacles being from the Cosmic Tarot, I think the affirmation is particularly noteworthy here: "I create an equilibrium in my life that allows me to be my best self." So, for November I see you going through a door that will close. This door is meant to be closed, but it doesn't mean it can't have a window you can peer into once and a while. You're just not meant to go back through it. Instead, you're meant to step forward into your future. I see that this is going to be abundant. You're asked to remember to follow your gut instincts, but also to keep balanced. To be honest, kind of like the crystal you chose, I just feel a lot of love. And I'm not really reading that as love from someone else (I mean, yes, there could very well be that), instead, I'm reading it as you just radiating love. So, I could say...November sounds lovely for you...lol Songs: Wild Roses - Of Monsters and Men Don’t Give Up Your Ghost - Movements Kill My Time - 5 Seconds of Summer Group 3: Carnelian

Cards: The Empress, The Lovers, Death, Queen of Swords, the Sun, 7 of Pentacles, New Moon in Virgo, Blue Moon, Journey Okay, I'm a little weirded out by the whole shuffling process. Several things happened that were kind of...Oof. First I kept seeing the Queen of Swords and was thinking "I bet that's gonna come out somewhere" and it DID. Then I saw that your Seasons of the Witch card was 24, which adds to 6, which in tarot is the lovers. I've read that 6s can mean journeys too. Well, THEN the lovers came out. Bottom deck energy for the Seasons of the witch is the All Hallow's Eve card. This made me wonder if your "journey" started on Halloween. Well, guys, then the Blue Moon card fell out, and that full moon on Halloween was a blue moon. Granted, all of these are coincidental, but it's just funny how those things work out. If you think something shifted for you on Halloween, then you're correct with thinking that. For some, it's with a love connection. For others, it was you just being able to figure out a little better on where you want to go in life, or where you're headed. So, jumping in, I want to focus on the Empress card first. I love this version because she looks so much more comfortable to me than any of the other empress cards I've seen. She looks relaxed like she has everything she needs. And, I do think one could say materially she has what she needs, but she also looks like she provided it for herself. Nothing on this card suggests it other than her face. She just looks sure of herself. Moving on to the Queen of Swords, while I get a colder energy from her, she also looks kind of similar. She's not in the same posture completely. Her posture could even be argued as not looking very relaxed, but her face makes it look like she's relaxed. She looks like she's content with where she sits. She's looking off into the sky, like, though she's content with where she's at, she's also looking for something. Maybe she's searching in her own brain or scanning the world off of where the card cuts us off from what she sees. They both have their hands to their chins, one seems more sure of herself, but the other still seems sure. So, what I take away from these two cards right away is that you know yourself. Maybe you're saying, "But Sara, I'm only just figuring out who I am?" And, yeah. So am I. Life is this process where we're constantly evolving. One week you have one belief, and the next that could have changed because you've learned 100 new things. You have both the Death and the Journey card. With the lovers and these two other cards, this is saying to me that you are changing. Nothing will be the same next week and nothing will be the same the week after, but you understand your goals and your values and at the end of the day, you're still you. I almost feel that I need to stop and reassure this pile that you're still you. Maybe you've been looking in the mirror lately and not recognizing yourself. Maybe people have been saying things like "I don't know you anymore", but you're still you! YOU ARE STILL YOU! And, this is also telling you to stop, take stock of who you are at this very moment. Be sure of it. That sounds hard to me, so I can understand if you think it does too. But there are things we're sure of. Like your values. Your sense of right and wrong. Hell, the music genre you gravitate towards the most. Those are you and you alone. So, take a moment, take a breath, and think about yourself. Now, I want you to take another moment to just love yourself. No if, ands, or buts. I mean, it. Stop and say to yourself "I love me." And I need you do to it with kindness. Forget the person you flipped off while driving yesterday. Forget that last mean thing you said to someone. Forget that bad grade you got when you were 13 because you were too focused on that band that came to town. Forget it all for a second and take this time to just breathe in and love yourself for who you are in the moment. Okay. Now that that's done. Onto what's coming. Well, like the other two piles change. Everyone today seems to be going through changes. Though, it's different for everyone. Pile one was asked to take a calculated risk, but still go for it. Pile two was asked to move forward and to not move backwards. You're asked to move forward gently. And I don't mean cautiously, though with New Moon in Virgo, I'd say there is some calculation needed here. But, I still don't mean cautiously. I mean, with love. With kindness. With you being the best that you can be to others and yourself. Something is just telling me that someone reading this is really upset with themselves, and I just want you to know that while you're still you and there are some of those core things that you still have, you're also not the same person you were yesterday or 5 hours ago, and that's okay. That's life. And you need to understand that we all fuck up and we all say things we don't mean sometimes, but that doesn't set anything in stone. That doesn't define you as a horrible person. Shit happens and sometimes that shit happens because we did it. But? I still love you and you should still love you too. The more you stop to love yourself and be kind to yourself, the more you're going to discover about yourself. And while you're discovering yourself, there's a need to look ahead while simultaneously staying present. On the Death card, there's a clock stuck in the ground, frozen. I almost want to say to you that time doesn't matter. I mean, yes if you have a shift that starts at 10, by all means, go to it on time. But, in the grand scheme of things, time doesn't matter, and for you, it means that your path is not linear, nor does it have a set schedule. God, I cannot believe I'm doing this, but I had a manager that I have to quote. He once said to me that he didn't believe in time. As a history major, that confused me to no end. Like, I got where he was coming from, but my whole life consists of time time time. I thought in dates. I know dates well and dates are time. But now I kind of see it. It's this idea that life isn't time, it's lessons. Does that make sense? And, I think that's what he meant, lol. He also tended to be really cryptic so, I could be totally wrong, but this is what I'm taking from the whole thing. The Journey card from the Seasons of the Witch deck says something along the same vein to me: "Daughters of our Mother, walkers of the unknown, take with you on this journey all that you hone." So, all we need is to live and take those lessons with us as we live. And, the Virgo card also reminds me of Virgos in general. They're known to be super analytical, so there's this thought that while you need to take lessons at their face value, you also need to dive into them too. It's like reading a book by its cover. There are things to take from that cover, like how the title font presents itself to you and what the illustration/picture is, but then there's also the content inside the book. Both the cover and the content matter. Don't judge a book by its cover, but also take in what's presented to you. The seven of pentacles always means have patience whenever I pull it for myself, so I read it that way for you too. There is no set schedule (like that whole time thing, right? it's nonexistent) and that might make you antsy. But, what good does that do? You could be chilling like the Empress. Or, you could be sitting and watching that cucumber you planted last week sprout, despite knowing that it's still going to take time. One definitely sounds more relaxing. 7 of Pentacles suggests this patience because it takes more than a week for a good thing to grow, you know? And, I mean, yeah you can make things in a day, but there's that saying, "Rome wasn't built in a day." Rome was built over a VERY long period of time, going through different types of governments and it switched around between paganism and Christianity. There were a lot of changes within that long period of time. I know I went on a rant earlier about time and how it's nonexistent, and blah blah blah. However, there's also this idea that even though you need to not be focusing on time, you also need to know that for things that are quality, it takes time. Like, time and effort. No half-assed shit, right? But, I mean that in a loving way. And, this, by all means, is about you changing. So, this is something that is going to take time to hone in on. Something that's going to take finesse. It's going to take experience and love. That may be something hard to hear. Trust me, I know this. Depression is a beast and I know how that and other mental illness can really fuck with you and your perception of the world and of yourself. But, both 7 of Pentacles and New Moon in Virgo suggest taking a moment and looking at where you are and where you're going. So, again, that idea of staying present while also moving forward. But, also being analytical (but not OVER analytical). And while you're looking at where you are, there's a need to stop and be okay with where you're at, too. This is especially for my buds who are having a hard time mentally. I know that when you're in the thick of it, it's hard to get out of the fog. That some days, or even weeks, you end it with tears and it's hard to stay motivated to do anything. With me, it's a bad cycle where I lack that motivation, but to feel worthy I need to be working. It's a cruel thing that I do to myself, because my worth is not within my productivity, and I think as a society that's something (at least for all my American friends) we need to remember. There are days when the only thing you do is just getting out of bed to get food and honestly, that's better than nothing. So, it's taking stock of the things, little and big, that you accomplish. Which, that definitely adds to that idea that time for you is not linear and that it's going to take you more time to do things other people can get done in a week or two. But, then on the flip-side, there are other things that will take you less time than it would for someone else. Nothing's linear and no one's the same. No one's path is a duplicate of someone else's journey. Harry Style's song, Golden came on. There's that line where he says "You're so golden", and I think you need to hear that right now. It definitely makes me think of the Sun card, which you got. It's this card of immense happiness. Abundance. It's a beautiful card and in this deck, it's bright, super bright. So, yeah. I'd say you're so golden. And I think this is more a matter of you being the sun like you need to stop and see yourself as that. Maybe you're someone that gives so much to others but not yourself. Honestly, from what I was getting earlier I can see that. So, maybe circling back to how relaxed both the Empress and the Queen of Swords look, maybe this is a message to you to relax? Relaxing and maybe taking stock of those lessons that have been presented to you. There's also a need to take care of yourself with the New Moon in Virgo. It just suggests eating healthier and what-not, so I'd add that to the relaxation. Like, relax and take care of yourself. And, gosh, again, I gotta bring up depression because it's really simple for me to be like "HEY YOU! Take care of your body!" but, I know what it's like to not want to exist. So, if that's the case, I want you to take it day by day, breath by breath. Start out small, get a glass of water, take some deep breaths. Do something that makes you feel good (that's also not detrimental to your health). I also think you're asked to believe that you can accomplish what you want to accomplish. It's like, you can achieve so much, but you also have to make sure that you're taking care of yourself on your way. So while there could be obstacles outside of you, you're your biggest obstacle. One thing I should note is that you got the Blue Moon card. This suggests that you may get an opportunity of some sort that's rare. Now, this could mean a lot of things with these other cards. One I can see is travel with the journey card. I see it more as outside into nature really, with the colors from the Virgo card and the forest on the Blue Moon card. Like, a camping trip? Honestly, right now I'd give anything to go camping, so if you go, send me pictures! Another for someone is maybe meeting someone you click well with, whether it be platonically or romantically with the Lovers. If that's the case, I see this relationship being really good, like nurturing and abundant. Full of joy and good times. Another is maybe just a chance to just take a step back and rest with both the Empress and the Queen of swords. Either way, I see this as being something that you consider to be good. It will also transform you in some way, more than how you're changing now. I can't really get into more because it just feels like this is super general because I feel like a lot of you are choosing this pile. I do suggest that if you felt called to the other two piles, I'd go look at them since they're all about change too. The bottom of one of the decks is the Star, so I see that there is a hopeful energy to this and that whatever is going to happen, you're going to start feeling more hopeful. But also, promise me you'll be kind to yourselves? Music:

Golden - Harry Styles Was It Something I Said? - Mykey

#tarot #pick a pile #pick a card #tarot reading #november pick a pile

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ichika27 · 3 years

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TWEWY 02

Already Day 4 and it’s just episode 2! I mean, I knew they were gonna rush it but this is really rushed. Is this just 12 episodes? They should’ve doubled it cause the story... but they’re trying to finish this up before the release of NTWEWY so...

I thought last week “I’ll make the next TWEWY anime post after each game weeks.” but I need to vent so here I am! Spoilers for the game below cause I can’t just not say anything.

To anime-only watchers, please play the game or watch someone’s gameplay of it! The story is way better told in the game.

Here’s the gang hanging out together. They do talk about some stuff about themselves with Neku telling them he likes it that no one can see him in the UG. Rushed but at least it’s here. Rhyme also mentions that she has no dreams for the future and Beat’s outburst afterwards hints at what Rhyme’s entry fee was. If it’s vaguely hinted in the game, this scene makes it a bit more explicit.

No Reaper Creeper. They didn’t adapt it probably to save time. Shiki used imprinting to help Ai and Mina talk to each other so the scene went by fast. Also, the surprise for Ai instead of 2 Tin Pin Slammer tickets are 2 tickets to a performance of 777′s band. It’s also a birthday gift (that Makoto is also aware of) unlike in the game where Mina gave her the tickets to help her get close to Makoto seeing as Ai has a crush on the guy.

The tickets are a little change but I guess this may also mean they’re not adapting Tin Pin Slammer in the anime. *cries* B-but Children’s card Tin Pin game is serious business!

Joshua loves playing that game, too... (I was hoping for an OVA version of “Another Day” after the series ends but who knows?)

Instead of helping Makoto make the Red Skull Pins popular, they gave the job to the Prince, Eiji, who gives them away at his little show. The mission this time is to make everyone look up at the Q building screen since they hear some guy tell Makoto to help him make everyone watch their video (instead of the commercial for the pins) to be displayed on there at the same time stated on the text message. Neku uses imprinting to make Eiji advertise it for them.

I guess this means Makoto gets less screentime and character development (even if he does have a little arc in the game). Him being the one whose job is to sell the pins and make them trendy is what gave him a confidence boost to change for the next weeks.

I didn’t notice this before... was it shown properly in episode 1? I was out of it for the most part due to excitement so I might have not noticed.

Anyways... 777 gave Shiki a freaking keypin that’s only to be used by Reapers and players obviously can’t have them. I get it though... the sidequests were cut off from the show to save time but giving them a keypin? It’s a big deal since 777 was erased after he gave them a keypin to help them in the final week.

This appears at the time the commercial should be on and some weird light destroys the other players. What was that?! That was more than just foreshadowing to what the Red Skull Pins are!

And Joshua stops it before it could make things worse and get to Neku and Shiki.

They also foreshadowed Joshua’s abilities! Are they trying to make the anime watchers catch on to who Josh actually is before even his week starts? I mean, I like that I’m sorta seeing Josh here but still!

Neku and Shiki having a little pep talk. It’s not as great as the game’s but at least it’s still here. Even if it’s rushed and stuff.

Eri is animated! The scene where Shiki hears about Eri’s thoughts on her is emotional with both girls crying and all unlike in the game which makes sense cause Shiki had just recently passed away. Some stuff to note:

-Eri is in a school uniform. They can afford this cause they don’t have to use the same sprite as what Shiki has in the game.

-Her uniform plus the fact that it’s a random character with her and not Mina means they probably go to a different school than Ai and Mina.

-This is where the reveal happens for Neku (and the audience) that all the players are dead instead of it being revealed by Higashizawa. I’m okay with this somewhat since it’s not really weird for Shiki to be the one to reveal it especially since they already gave her the roles of giving Neku the game explanations.

Also, we’re nearing the ending of Shiki’s week but Rhyme is still okay. I’m guessing they’re gonna have her and Beat attacked next episode instead of on Day 4 like in the game.

Oh yeah, since the planned OP for this was scrapped, they replaced it with something else. “Twister” is now the OP! I’m okay with that! Super ok! I’m sure there are other fans of the game who probably feel the same way since they were also hoping they use Twister as the OP. Glad they did this! I still feel the planned OP went to waste though.

“Calling” is officially the battle song. I wish they would also use “Someday”.

They also revealed the ED! The song is good (”Carpe Diem” by Asca) and the accompanying video is beautiful and it showed out main cast doing the same fighting poses they had in the game but with the anime’s art style (which is close to the game with only a little difference). They did some little foreshadowing again due to how they showed Joshua (seriously... did they want the anime-only watchers to suspect things this early? Week 2 hasn’t even started yet!).

I’m happy Ani-One is able to post the episodes on Youtube (which means I’m not watching this illegaly hehe) but the subtitles they have are off. They tried subbing the songs but they don’t seem to fit the actual meaning. Like there are parts of “Twister” and “Calling” that are in English (like, full sentences) but they “translated” those parts and the meaning is different. They also refer to Makoto as “Shin” in the subs which doesn’t make any sense. They misspelled Eri’s name as “Ari”. I hope they fix it.

I still enjoy the fight scenes and Neku using his psyches.

This would’ve been better with more episodes so they could focus on the story progression but I guess this’d have to do. I kinda realized this might be the case since the adaptation for “Devil Survivor 2″ with the same “7 days or it’s the end” plot but unlike DeSu2 which takes place for like, a week only (so 13 episodes wasn’t that bad) TWEWY’s entire story is worth an entire month. 12-13 episodes won’t cut it especially if they plan on adapting the “A New Day” scenario and since they’re trying to connect this series to NTWEWY, that’s probably what they’re gonna do. Oh boy...

Anyways, I guess this’ll be a weekly thing with me venting haha. I’d probably be fangirling when Joshua finally shows up on Week 2 though. I wonder if they’re gonna put JoshNeku ship tease in there like in the game? I’d be disappointed if they don’t since it’s Joshua’s thing lol plus DeSu2 did it for YamaHibi so I’m kinda... I now have standards hahaha.

Thanks for reading!

#the world ends with you #Subarashiki Kono Sekai #subaseka #twewy #sana_post

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midas-or-khaos · 4 years

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The Ones Above Us. Chapter 1

Date:- September 30th, 2008, 14 days after initial discovery.

Time:- 18:42 pm

Flicking a cheap Poundland lighter, sparks spat in the morbid matt of a pure black atmosphere out on location in the back arse of nowhere (somewhere far off Ireland’s version of the M6 he’d been told). Winter winds were of the worst kind: didn’t matter how far inland you made it, or how thick the walls on your house were, they traversed the land with albatross wings wide and undaunted by what they came into contact with, smacking into any surface with no regards to slowing down. They didn’t seem to have any regard for detective Arthur Fleming‘s Malboro either, a stiff left hand shaking at the switch, and the right vainly trying to create shelter for the cigarette.

“For FUCK sake.” Singed fingertips for his troubles.

“Serves you right. No smoking on the job detective, you know better.”

Head Forensic Pathologist Fatima Alvi. A 4’9 willowy thing with a short, plump bob, damn near bobblehead proportions and a tendency to get right under his fucking skin like the irritating shit she was. She’d succeeded young and now all that arrogance she hadn’t quite worked out her system from (what should be mandatory in his opinion) the hard labour of working up the social ladder had only boosted her tendency to tighten her favourite black brogues far too tight, straighten her back like a bloody ballerina and fix that rod she’d shoved up her arse however many years ago a little bit deeper.

“I’m ten yards from the sodding site and wrapped in a white, walkable body bag, I think we can both agree me being over here isn’t going to tamper with shit. And not to challenge ur dictatorship, luv, but you’ve got winged lashes big enough to take off under those goggles o’ yours. Now you go back under those useless gazebos, and I’ll happily freeze my arse off out here.” Turning back round to face the empty, Arthur cursed himself for getting a 4 buzz cut rather than a short back and sides a week ago.

Fatima despised this part of the job. Working with middle-aged, greying twats like this one that clearly hated their jobs, but seemed to have this vendetta against the mere mention of career change. Yes, she was aware as you age, getting a new job gets harder. Surprise though, so did being fresh out of uni. Life sends these little tests to fuck us all over, not just you mate. Must be the bitter taste of Thatcher’s rule that’s left him slow to change. Scarred from the days when not having a job meant not eating, full stop. Doesn’t give the trout-mouthed, once-upon-a-time aryan flag pole a reason to snap like Chihuahua.

“Why don’t you stop trying to get your next sad excuse for a hit from nicotine, and come over here and do your actual fucking job?”

“No respect.” Muttered Arthur to himself, giving up on his lost cause and unzipping the top half of his polymer suit to shove the cigarette into his oversized shirt pocket.

Finally the standing misery addressed the stout woman face to face, a shaking clinging to each syllable, “What the hell d’you need me for? It’s obvious this isn’t a normal murder case, IF we’re even call it a murder case. I mean for god sake, Fatima, the grave is over 50 feet long! Whatever we’re uncovering obviously isn’t a human, it’s a fucking dinosaur! Why am I here in the back-arse of all points nowhere, rather than a load of archaeologists?”

“Because what we’ve found so far isn’t making sense, and last time anyone checked, dinosaurs were fossilised. BONES, detective, not skin. This body is so fresh, there’s absolutely no decay at all! That’s impossible. Then there’s the skin, it hasn’t even been stained by acid or mud, like the skin is coated in some hydrophobic matter. None of this should be possible.” A sigh slipped the last of Fatima’s adrenaline-fuelled spitting out, she was tired. Tired of him, tired of working, tired of being in the cold. “Look, personally I think this is probably an elaborate hoax some twat on YouTube with a fringe or whatever has decided to plant in a well known historic location for views. The arseholes will probably be waiting for the news report on TV so they can have a laugh at our expense. None of this is natural, and frankly it’s starting to look ridiculous. However, so long as our shitty superiors believe this to be a murder case we stick to finding out how this thing died, understood?”

Scathing way of saying it, But a hoax was something Arthur was desperate to cling to. Of course, this was nothing but staged and faked beyond belief! None of this could be real. Give credit where credit’s due though, the bell-ends that did this were thorough. Tutting, Arthur knew he couldn’t argue his case anymore, and started to strut off on those stilts for legs back to the beams of spotlights, Fatima trotting along after him just to keep up.

“Glad to see you’re helping.”

“Just talk to me about what’s going on so we’ll be able to document this and go back to the hostel.” Spat Arthur in retaliation. He hated this job. These people. But most importantly, that thing.

Entering through the only available entrance, the two nearly ran into another detective. Useless idiot. Despite this temporary flimsy building being the size of a football field, there was barely enough space among the number of personnel of all ranks and professions, technology, storage facilities and dig sights to separate the wood from the leaves. To add to the misery, despite being as frosty inside as it was outside, the scent of dank earth and petrol from the excavation diggers still managed to permeate the trapped air. God it stunk.

Taking on a note of interest as she got into her element, Fatima called out as she moved out the way, “Right, so we are at the feet end, and up there at the other end of the canopy is our head. We’re going there first because that’s what the two witnesses found during their initial dig.”

Taking off briskly, the forensic pathologist seemed unfazed by the sheer size of the foot sticking out like a meteorite fallen to earth just a couple of meters from the entrance, not even gracing the thing a glance. Arthur had no such laissez-faire-attitude, frozen in tunnel vision. This is why he didn’t wanna come back in. The damn toes had the familiar, unique swirling pattern of calloused skin seen on humans, and blotches of brown that must’ve been freckles, as they lacked the blotchy, wet texture of mud. Veins passing like eels under ice became exposed near the epidermis, shining icy blue. On an intellectual level, the aged detective knew a foot his height in length couldn’t possibly exist in the real world. If they did, someone would’ve surely reported such a sighting.

On a primal level, instinct was sending adrenaline shooting to his heart, and his lungs could scarcely fill themselves in time to keep up with the demand of oxygenated blood. Those feet looked too alive. The raw power those hands must posses, accompanying such ginormous feet! All of it reminded him of his honeymoon with his wife on Safari, watching a pack of saltwater crocodiles descend in a snapping furry upon shared prey, crushing a zebra’s skull in its death roll, red and bloodied teeth and palate facing the animal’s terror-struck gaze whilst it still vainly screamed for its herd to come to its aid. The vocal cords snapped, eventually silencing under the sheer force of those jaws collectively ripping the head off n one piece. Two crocodiles sent the thing flying twelve feet in the air in pure territorial aggression, neither caring that they’d just murdered another being, before the Wiley victory went after the splattering mess to claim its prize. None of the herd even dared approach the brutality. Would these others do the same if he were captured? Would they leave him to the beast?

“Arthur, c’mon.”

Back to reality. “Sorry.”

Just focusing on Fatima’s back seemed to do the trick, heart rate levelling out below 100bpm. Don’t look round and it won’t be there. Arthur didn’t have it in himself to self scold for such a ridiculous reaction; he knew he should’ve stayed outside.

Still set on her headlong track, Fatima chose to not bother with looking back and risk painfully smacking into some poor soul, so delegated talking to the air in front of herself, hoping he heard her through the ruckus around them. “The head hasn’t decayed, following suit to rest of the currently exposed limbs, though there does appear to be damage. Face appears to be male, middle-aged 35 to 50’s. Noticeable marks being three precise third degree burns across the face resembling a striped pattern. No sign of healing or breakdown within the exposed areas either, which would suggest the burns were created after death.”

“Has anyone tested a sample of skin to see why there’s no breakdown?”

“We tried, but every single time someone has come in with a scalpel to remove a piece, once removed from the body the entire piece seems to crumble instantly to a fine blue dust and disappear.”

“What, Like Indiana Jones style? We found the crusader knight?”

“Please try and take this seriously Arthur, I wouldn’t mention our findings if they were false.” Tutted Fatima.

Arthur knew he was deflecting to shield himself. “I am. Can we at least try collecting the dust?”

“No use, I meant it when I said everything disappears.”

“So anything we test or observe must be on the body at all times or it’s essentially worthless?”

“Correct.”

Well that made everything just that little bit harder. JUST! They’d been reduced to the detective abilities of the bloody Edwardian period. No testing beyond what could be extracted from the soil (and judging by the lack of messy bodily fluids, the thing probably didn’t have any), and they had yet to uncover the rest of the body to see if there were any signs of obvious trauma that would account the reason behind the death. This was going to take forever. Every waking moment in this shithole was a second wasted. Whoever made this thing was one sick fuck.

“If I ever find the shitheads responsible for this prank, I’m gonna hand em a fucking life sentence. The law be damned.”

Just missing a collision with another photographer, the head finally came into full view. Even from this vantage point above ground, the thing didn’t seem small in any way. If he’d thought the foot was massive, the head was a new beast entirely upon its own pedestal. Surprisingly peaceful for a dead person, no expressions of pain or strain, just a suspiciously perfect sullen face (aside the burns of course). Knotted, greying-blond hair splayed out in dregs from the skull like old depictions of the sun’s rays, haloing the face and drawing you to the pair of closed lids. He wasn’t pretty by any standard, Arthur vainly self-noted. Weak chin jutting thin lips out from the round face, a high hairline accentuating the large forehead and a heavy brow ridge. If he weren’t the size of a four story building and significantly burnt, he’d have been extraordinary ordinary. Forgettable even. The detective knew he shouldn’t be saying that. It was a ‘victim’ after all.

“If we can’t remove any body parts, can we perhaps open the body up instead and take samples of anything inside the stomach, lungs, chest cavity etcetera?”

A grimace pulled at the woman’s lips, marring her usually stoic face, “Already done it, we had Liam go inside with a contamination dry suit whist you were outside. It’s the kind of stuff sewage divers wear at human waste plants.”

Arthur couldn’t help turning his own nose up at the prospect as well, shuffling unconsciously just a little further away. “And?”

“There were important pieces missing. A full, undisturbed respiratory system: lungs, trachea, the works. Oddly, absolutely no digestive or reproductive organs what so ever. Weirder yet, there were no signs of sabotage or surgical removal, it was like they were never there in the first place. What really caught my eye on the camera feed was that he had, what we think, are a series of air sacks integrated along the connection between the lungs and the diaphragm.”

“Meaning?”

Poor Fatima was looking at Arthur like she was trying to explain how to use the toilet to a three year old, a strong side eye from her place parallel to him

“MEANING this thing had an incredibly resourceful breathing mechanism.”

“So no basic necessary functions like the need to eat and reproduce, but a top quality breathing system. And you wonder why I’m not taking any of this seriously? Why couldn’t we just send a report saying it was a hoax and save time? It technically doesn't even come under the scientific detention of alive.”

“Well certainly not now it doesn’t.” Arthur gave his own stink eye back.

“... Look, why don’t we try and get the body transferred over to London? Our proper, large-scale testing equipment will be at our fingertips, and we’d be able to at least stick this problem on some stupid lab rats and be done with it, what d’you say?”

Fatima finally stopped half-hearting her disgust to focus on Arthur face to face. “Arthur, where d’you think that kind of space and discreetness would be possible in the middle of London city? This body is over fifty feet all, we wouldn’t even be able to keep it cool enough to stop potential decay-“

Arthur butted in, “- This thing has been out the ground for two weeks, Fatima, and hasn’t so much as lost a hair naturally. We don’t need to worry about decay. Yes, transferring the body would disturb the ‘crime scene’, but if we get this thing sent off as archeological dig remains, the disturbance won’t matter, and we’d be off the case. I don’t wanna be stuck with this shit anymore, do you?” Was he sounding too desperate?

She knew she shouldn’t mention it, not to herself and DEFINITELY not Arthur, but within her selfish consciousness, Fatima couldn’t agree with that. This may be a hoax to Arthur, but all these findings were starting to settle saplings in the garden of her imagination. These Findings weren’t Styrofoam cut outs painted with acrylic, nor were they polymer clay held together over a skeleton. whatever material this was, it was unlike anything she’d seen before. Maybe all this was a hoax, maybe all this was a waste of time.

But secretly, she wished it wasn’t.

“...I’ll see what I can do.”

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suzyundertale · 5 years

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tumblr user suzyundertale makes a post about Suzy from Undertale

Suzy masterpost, because people need to pay more attention to Suzy. This is not a theory post, but more of a collection of information on what we currently know about the Undertale character Suzy. Of course, due to the nature of Suzy as a very mysterious character, there will be slight speculation, but hopefully it’s clear what is canon and what isn’t.

Section One: The Beginning

When Undertale first released, there was very little that we knew of the character “Suzy”. Even less than what we know now, which is impressive. The only connection we had to her was word of mouth from an NPC with no name, but known in the files simply as “clamgirl”, found in Waterfall if your “Fun” value is between 80 and 89.

When you first talk to her, she says the following:

* I'm visiting Waterfall from the city. * Synchronicity...? * My neighbor's daughter looks about your age. * Her name is "Suzy." * I feel like you two should be friends. * You have... * A neighbor's blessing!!!

(”Suzy” here is written in yellow text.)

Talking to her a second time:

* Not knowing where I live is no issue. * Fate finds a way.

And, finally, talking to her post-pacifist:

* So you never became friends with my neighbor's daughter. * Don't despair. * This world has infinite opportunities. * But there's a limit to the things you can do. * Accepting this is healthy. * Take my neighbor's blessing! * And consider this blessing for anything you like!

(She has more dialogue, but this is all that you really need to know.)

Section Two: The Patch

In January of 2016, a couple weeks after Toby made (and subsequently deleted) a tweet about he wanted to “start something else” in 2016, a something which we now know to be Deltarune, Undertale received its first major update - version 1.01.

Here’s the relevant information.

Toby made two very, very minor changes to Clamgirl’s post-pacifist dialogue. Here is the new dialogue, with changes bolded:

* So you never met my neighbor's daughter. * Don't despair. * This world has infinite opportunities. * But there's a limit to the things you can do today. * Accepting this is healthy. * Take my neighbor's blessing! * And consider this blessing for anything you like!

He changed “became friends with” to “met” - emphasizing the fact that Suzy is not a character you can meet in Undertale.

He also added the word “today”, to emphasize the fact that this does not mean Frisk will never be able to meet Suzy.

This wasn’t the only Suzy-related thing in the version 1.01 patch, however. The patch added a well-known line of dialogue to the lab behind Sans and Papyrus’ house. Normally, when you examine a certain drawer in the lab, you get this dialogue:

* (There's a photo album inside the drawer.) * (There are photos of Sans with a lot of people you don't recognize.) * (He looks happy.)

However, from version 1.01 onward, if you examine this drawer after having spoken to Clamgirl, you will get this dialogue instead:

* (There's a photo album inside the drawer.) * (There are photos of... Huh?) * (A card is sticking out from the back flap of the binder.) * (It's a poorly drawn picture of three smiling people.) * (Written on it...) * "don't forget."

Again, I’d like to emphasize that this dialogue only appears if you’ve spoken to Clamgirl, if you know who Suzy is. In this way, the phrase “Don’t forget” is intrinsically linked to Suzy.

So, from all of this, we can gather a few things about this mysterious “Suzy” character.

She is a girl around Frisk’s age.

She lives in the capital.

She has at least one parent (who happens to be Clamgirl’s neighbor.)

Frisk is, apparently, fated to meet her.

Despite this, it is impossible to meet Suzy in Undertale.

Sans’ photo album will have a card reading “don’t forget” only if you know who Suzy is.

Section Three: Fast Approaching

Did you think that was the only Undertale update that added cryptic Suzy-related dialogue?? Guess again!

Fast-forward to September 2018. Undertale has just been released on Nintendo Switch! Almost immediately, it is discovered that the Switch version added this:

youtube

(excuse me posting my own video, but it’s really the best one on youtube...(side note; i’m not sure if she’s actually supposed to reappear when you exit and re-enter the room, that might be a side effect of me poorly emulating the game))

Anyway, this is what happens post-pacifist in the Switch version if your fun value is exactly 81. If it’s 82-89, Clamgirl has her regular dialogue from v1.01.

The Switch version of Undertale came out September (15 in Japan, 18 everywhere else) 2018 - A month and a half before the release of Chapter 1 of Deltarune. In hindsight, it’s obviously foreshadowing - but when you think about it, foreshadowing what?

A month later, we play Deltarune, and meet a brand new character named Susie. Not Suzy. (More on that distinction in a bit.) If that’s the case, why did Clamgirl claim that we were going to meet Suzy very soon?

Well, the answer is that we don’t know.

It’s important to consider what Clamgirl says from an in-universe standpoint. It’s easy to take this line as Clamgirl talking directly to us, the player, since she’s clearly hinting towards Deltarune - but in actuality, in the game, in-universe, she’s talking to Frisk. She’s telling Frisk that they’re going to meet Suzy very soon. It’s possible that, when it comes down to it, what Clamgirl said might not apply to us at all.

Section Four: Deltarune

In October 2018, Toby Fox not only released an entire demo for an entire new video game, but a video game with a major character named Susie. Not Suzy, but Susie???? What’s going on?

Since Deltarune seems to have an alternate universe thing going on, some people believe that Susie is simply the Deltarune universe’s version of Suzy. This is definitely a possibility, but there is also reason to believe that this may not be the case.

Deltarune also introduces a new character named Catti, who is Catty’s little sister. Like Suzy and Susie, their names are pronounced the same, but spelled slightly differently. This could be hinting at the difference between the two.

As it stands, however, we currently do not know the relation between Suzy and Susie, or if any even exists.

In any case, it is likely that Suzy will be a major part of the story of Deltarune, as the main theme of the game is called “Don’t Forget”.

Bonus: A Comment From Toby

To my knowledge, the only time that Toby has ever publicly spoken about Suzy is in this tweet, since deleted (not specifically, but because Toby wiped all his tweets before a certain date), from nine days after Undertale’s release:

Unfortunately, since we’ve lost the context, it’s difficult to know who exactly “yellow kid” refers to here. The tweet was most likely in response to speculation regarding Suzy’s identity. Since Suzy’s name is written in yellow when Clamgirl speaks about her, some people assumed that Suzy may be associated with the color yellow. “Yellow kid” could be referring to Monster Kid, Frisk, or the yellow human soul. (I’ve heard people say before that this tweet is specifically in response to people speculating about Monster Kid being Suzy, but I don’t know how true that is. If anyone has any proof of this claim, let me know!)

Conclusion

Generally, when you’re writing an analysis of a character, you’re able to say more than three facts about them. There is very little we can say about Suzy, however, without delving into pure baseless speculation. Hell, we know more about Gaster, who is generally regarded as the mysterious Undertale character.

It’s very likely that we will learn more about Suzy in the future, but right now, we don’t have much to go on. However, that also means we’re free to speculate pretty much anything we want. Essentially, until proven otherwise, Suzy is whoever you want her to be..!

#ut #undertale #deltarune #analysis #suzyposting #thats a tag now.#since my suzy tag is um. shitposts

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dax-micro · 3 years

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So I was watching the first hour of someone playing the Intermission DLC for FF7 Remake, and suddenly, I hear Yuffie say “Have no fear, Yuffie’s here!”

In my mind, it’s clearly a reference to all might’s catchphrase. “Have no fear, for I am here!” I immediately wondered if it was an addition of the english dub or if the reference was in the original japanese.

A few minutes later, in reply to someone telling her “ready to rumble” she replies “You better believe it!”

Naruto? what are you doing in Yuffie’s body? Stop possessing her!

Curious, I went to check the japanese audio on youtube (don’t have a PS5 or the DLC yet). and I’m not sure WHAT she says, but she definitely doesn’t says something that sounds like “ Mo daijoubu! Naze tte? Watashi ga kita! “ or “dattebayo”.

Even more curious, I went to check the french version

"La grande Youffie arrive à la rescousse." (The great Yuffie is here to save you.)

"J'ai de l'energie à revendre !" (I've got energy to spare!) (the original remark wasn’t ready to rumble, it was something along the lines of “damn girl, you’re full of pep”).

-_-_-_-_-

It is not the first time that I notice big discrepancies between the french translation and the english translation. of the game. Every time though, the french appears to be closer to the original japanese, (with my limited knowledge of japanese).

I was reminded of the case of Red XIII in the base Remake game. When they start to talk in Aerith’s bedroom in the Shinra tower. In English, Barret doesn’t accept Red XIII’s explanation on the Whispers, the plot ghost at first, retorting “I mean, aren’t you a Shinra lab rat — dog?” to which Nanaki replies “I’m not a rat dog” I’m not sure exactly what he says in japanese, but there’s clearly “shinra no inu“ (dog of shinra) in it. the reply in japanese is “inu de wa nai“ (I’m not a dog). Then, in the french version, Barret says “Ah, mais en fait t'es un clébard de la Shinra !” clébard is slang for chien (dog) and in context it's the same as “being shinra's dog”, “shinra's lackey” being loyal to shinra like a dog etc... the reply? "Je suis pas un chien" (I’m not a dog). Oh look it’s much closer to the japanese! no “lab rat dog” invention.

Later in the game, Barret, Aerith and Nanaki find themselves faced with Heidegger and surrounded by Shinra soldiers, when Heidegger asks them who they are the lab rat dog is back. In french, he just says he’s a “cobaye de laboratoire” so a lab’s test subject/specimen (yes, Cobaye (aka india pig (cochon d’inde) is also the french word for guinea pig but it’s clear from the sentence that it’s used in the sense “specimen on which experiments are done” cobaye to talk about the animal has declined a lot in every day speak in France).

I also remember the case of Palmer’s tea, that he enjoys with “butter” in english and “saindoux” (lard) in french. Let’s check the japanese real quick? what does Palmer say? “lardo” ah so lard...

-_-_-_-_-

I have seen a lot of changes like that in english translations recently, and have to admit I do not like them. The more of them you make, the more you risk of changing the tone and in the end the whole message. And those references to other IPs (here to All Might and Naruto), since they do not appear in the original text, are FORCED by the english translation, that doesn’t sit well with me, even when they are funny (and also here they are not, to me anyway).

I’m leaving that at the end of my queue, so it should be posted on the 26th of june, I’ll assume enough people who are interested in the DLC have played it or watched a let’s play by now.

#translation problems #Final Fantasy VII Remake #Final Fantasy VII Remake Intermission

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watching-pictures-move · 3 years

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Movie Review | The Decline of Western Civilization series (Spheeris, 1981-98)

Many years ago, before I sold out to the man, I have to admit I felt a certain attraction to punk music. No, I was never anywhere close to a full on punk (I was, and still am, extremely lame), but I have to admit the anti-establishment streak definitely resonated with me at a certain point of time. (Not that it still doesn’t, but in addition to selling out, I’ve softened with old age.) Like many people I’ve found appealing the political conscience and mix of influences of the Clash, or the boneheaded energy of the Ramones, but I also found my interest straying to hardcore punk. I remember the first time I listened to “Damaged II” by Black Flag and finding it unbelievably abrasive and foreign to my ears, yet it was something I couldn’t get out of my head, and returned to the song and the album it was from a few years later and appreciated it as one of the most forceful expressions of angst ever recorded. I remember first learning of bands like X and Fear, and seeing performance footage on YouTube and being thrilled by the rawness and danger, especially when they had to fight off their fans. This footage was from Penelope Spheeris’ cult classic documentary, The Decline of Western Civlization, which for years was not easily available but I have now finally seen in its entirety.

The movie is structured simply, moving from one band in the L.A. punk scene to another, interviewing them in their natural habitats and punctuating this with footage of their performances. Songs are presented in full so we can get the complete experience. The first band we see is Black Flag, then with frontman Ron Reyes. They are lively on stage but it’s interesting to note how different the energy was prior to the arrival of Henry Rollins, who brought a certain discipline and muscularity to their music. (One of the songs featured here, “Depression”, pops up again in Damaged, and the impact in the latter is noticeably more forceful.) The guys here come across as aimless and destitute, living in a decrepit church where they’ve turned the closets into makeshift bedrooms, seemingly losing money with every gig. But they are also quite affable (you can tell the lyrics of “TV Party” sprang from these minds) and do not have illusions about their situation, especially their difficulty in getting gags thanks to their rowdy fans. These scenes play like a moment frozen in time, right before the band’s most significant period would begin. We move next to the Germs, and these scenes play like a car accident in slow motion, with Darby Crash’s self-destructive tendencies on full display. This was a short time before his death, which occurred between completion of filming and the theatrical release (his image was featured heavily on the promotional materials), once again giving this a lost in time quality.

Next we go to the headquarters of Slash Magazine, the staff of which moonlights as a band called Catholic Discipline. The frontman complains about New Wave, claiming it doesn’t actually exist, yet they come across as downmarket New Wavers who are slumming it in the punk scene. Yet their love of music and their work is obvious and the frontman does possess a certain charisma. Much of what we see of the punk lifestyle is squalid and dismal, yet the music of X manages to poeticize this condition. Their unassuming demeanours during their interview contrast sharply with their vigour in their performances, during which they do their share of batting off overeager fans. We get a burst of political conviction when the Circle Jerks launch into the libertarian anthem “Red Tape”, but this dissipates by the time they start playing “I Just Want a Skank”. We spend some time with the Alice Bag Band and then are treated to a montage of interviews with punk fans. These are shot in monochrome with stark backgrounds and a single bulb providing the lighting, which has the effect of bringing them and their words into sharp relief. We hear similar stories again and again, of aimlessness and aggression, the subjects using the music both as an outlet for their frustrations and inspiration for violence.

Spheeris’ camera has been largely nonjudgmental, yet there’s an undeniable sadness in this sequence. But lest I make it sound that the movie makes punk seem uniformly depressing, the closing sequence provides a potent antidote. The electrifying final minutes of the film feature a performance by Fear (who are not interviewed). The atmosphere here is hostile, with the band riling up the audience with homophobic and misogynistic taunting and having to physically fight them off throughout their set list. It might be tempting to liken their shtick to cheap alt-rightish provocation, but I think that robs their music of the proper context. When almost all their peers and fans adopt an attitude of “everything sucks”, Fear’s ability to find the humour in that mentality is kind of refreshing. It also would ignore the sheer muscularity of the delivery, which almost turns the music into a form of violence. The film is undeniably a fascinating document, but while Spheeris may have had the good fortune of turning on her camera in the right place and right time (even if she had to pay to rent soundstages to film some of the performances), it’s moments like this of pure exhilaration that cement the film’s greatness.

Part II: The Metal Years takes place almost a decade later, with a drastically new context and perspective. This time the focus is on the L.A. metal scene, which was a dominant cultural force unlike hardcore punk ever was. And this time around Spheeris’ POV is less of impartial observation and more satirical condescension. Taken journalistically, the movie is obviously compromised, particularly in an interview of Ozzy Osbourne that’s misleadingly edited to make it look like he has the shakes. I wish the movie hadn’t done this, as Ozzy is a flamboyant enough presence that he’s already funny without needing to frame him into gags, something Spheeris acknowledged in an interview years after the fact. Ozzy and a few other veterans of the scene are not immune to metal culture’s innate ridiculousness (the movie’s biggest laugh for me was Spheeris’ deadpan reaction to Steven Tyler’s extended masturbation metaphor to describe the rock’n’roll lifestyle). It’s worth noting that Spheeris asked her subjects how they wanted to be filmed, leading to such choice setups as Gene Simmons in a lingerie store and Paul Stanley in a bed full of scantily clad models. (Lemmy allegedly took offense to how he was portrayed, claiming Spheeris shot him from afar to make him look stupid, but I don’t think he comes across badly. He’s low key and unassuming in a way that contrasts him from the other participants, at the very least in terms of appearance).

The structure of this entry is tighter, using snippets of different interviews to flesh out different ideas, exploring the decadence and excess of the music and the surrounding culture. We even hear from the anti-metal folks, particularly in one amusing scene where a woman describes the dangerous potential of metal fashion with the solemnity of a cop or anti-gun advocate describing illegal firearms. Performance footage is limited to brief excerpts, usually for comic relief (assless chaps and a limp attempt to set fire to a Soviet flag are highlights), although we do get an extended look at a sleazy stripping context. (The club owners featured seem as much into the metal lifestyle as some of the musicians and fans, in sharp contrast to the genial working class types featured in the first and third entries.) The most notorious segment of the film is the interview with Chris Holmes from W.A.S.P., who lounges in a pool in alcoholic self loathing, which probably went farther in deflating the excitement around the metal scene than any single moment. Yet like the first film, this one refuses to lock into too narrow view of its subject and rebounds with a Megadeth performance that goes a long way in showing that yes, this music can in fact be good. (I should say that I enjoy my share of hair metal, which Megadeth is decidedly not, but the songs earlier in the film don’t do the best job of selling the genre. Although anything would look lame with assless chaps.) This movie is more obviously flawed than the original, but I can’t help but kind of love it. The fact is that the metal musicians and fans, despite being somewhat boneheaded, are also full of good vibes and fun to hang around (more so than the self-serious punk fans in the original), and the movie is quite slick and stylish by documentary standards, which makes the film true to its subject matter in a a way. I mean, you open the movie with Motorhead and I’m half won over already, and I haven’t stopped thinking (and smiling) about it since I’ve seen it.

The good vibes don’t carry over to Part III, which follows a group of homeless gutter punks in L.A. around another decade later. Once again there’s a change in context and perspective, with Spheeris coming across as more compassionate and maternal. The musicians here offer a more sobering, grounded presence. The veterans here, Keith Morris and Rick Wilder, come across as survivors more than anything, particularly the latter with his skeletal, emaciated appearance. The music this time around is almost beside the point, although we do get the sense that it offers the main subjects one of their only sources of relief. Their stories are similar. Broken homes. Forced onto the streets. Substance abuse. The movie feels like extended versions of the Darby Crash scenes and the interviews from the original, but with the grim consequences covered in the final moments, and the film’s sense of despair is alleviated only by the compassion Spheeris brings to the material. I can’t see myself returning to this as readily as it’s more downbeat and less dynamic than the previous movies, but it is undeniably moving, and had a profound effect on Spheeris as well, who decided to become a foster parent after her experience making this movie.

#film #movie review #the decline of western civilization #the decline of western civilization part ii: the metal years #the decline of western civilization part iii #penelope spheeris

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