#this being a remake most likely helps a lot since they can just directly lift the story from the original

[velvetjune]

i can confirm with last anon, i played bloober team's blair witch game and i dont know if uve ever seen it but. oh my god. what a way to completely split from source material and find a new horrible way to make a protagonist (its all about like. war ptsd for the main character but randomly in the midst of ooooh spooky woods and a witch ooohhh) im not sure i trust them at all with the sh2 remake.

I’m not familiar with any of their games (just looked them all up!), except that one Jerma clip of the kid running into a wall in Layers of Fear 😭 Sad for all Blair Witch fans out there. Haven’t seen the movie, but the original is a classic.

This entire Silent Hill remake is looking less and less appealing with every new thing I learn omg. It’s surprising to hear all this about the Bloober team because—just from a surface level look at their ratings—their games have all gotten pretty decent (above average) ratings. Although that’s definitely making me less confident in the remake’s positive reviews. While I don’t want to talk badly of a game I haven’t played, I’ll probably end up watching a playthrough to avoid buying it.

I appreciate the messages from you and the other anon!

[aion-rsa]

The Best Games of 2020

https://ift.tt/eA8V8J

Despite how almost every other aspect of the year went, 2020 was a landmark year for video games. Not only did it see the release of highly-anticipated titles like The Last of Us Part II, Animal Crossing: New Horizons, Ghost of Tsushima, and Cyberpunk 2077, but 2020 also marked the beginning of a new generation of console and PC gaming with the release of the Xbox Series X/S, PlayStation 5, and new GPUs from NVIDIA and AMD. We even got a new Half-Life game this year!

What would’ve made the gaming year ever better? Big-name video game companies could have done more to eliminate development crunch and be more transparent about their business practices with customers and the press. And we definitely could have all been nicer to each other.

But video games also helped keep us connected when we couldn’t see our friends and loved ones in person. They helped us travel to new and interesting places when we couldn’t leave our homes. Most importantly, all 20 games on our best-of-the-year list made us feel excited about this medium at a time when it was so difficult to enjoy anything else.

To that affect, Den of Geek is celebrating 20 video games our contributors and critics, as well as our community of readers, voted as the very best of 2020.

20. Star Wars: Squadrons

For the last decade or so, most Star Wars games have focused on the power fantasy of being a lightsaber-swinging, Force-wielding Jedi. That’s all well and good, but for a long time it seemed like everyone forgot that some of the most beloved Star Wars games of all time were actually space shooters like X-Wing vs. TIE Fighter and Rogue Squadron. In many ways, Star Wars: Squadrons is a throwback to those games, both in terms of gameplay and design. Controls are a pitch perfect mix of arcade simplicity and strategy, requiring quick thinking about whether to focus your ship’s power on attacking or defending.

Squadrons is also much more tightly focused than other recent games from large publishers, with a breezy yet enjoyable single-player campaign, and a multiplayer mode that, while light on modes, eschews the more annoying modern conventions of the online PvP like invasive microtransactions. But Squadrons is not stuck in its old school ways.

If you have the hardware for it on PC or PS4, you can jump into the cockpit of any of the playable ships for one one of the most immersive VR modes around. Similar to how The Mandalorian has rejuvenated the live-action side of the Star Wars media empire, Squadrons is a perfect mix of all of the best things we’ve always loved about Star Wars video games, and everything we want them to be going forward.  – CF

19. Journey to the Savage Planet

Science fiction writers have long held on to this idea that, if and when humankind eventually colonizes the universe, it will do so as some sort of united, utopian entity, like Starfleet. But that future seems less and less likely every day. If and when humanity spreads across the stars, it will likely be messy, absurd, and profit-motivated. Journey to the Savage Planet wallows in that type of future. As an unnamed human (or dog, if you choose), you’re dropped onto the planet AR-Y26 by Kindred, the fourth biggest intergalactic exploration company with the simple goal of collecting as many resources as possible and leaving.

The Metroidvania gameplay loop of crafting equipment to access new areas is compelling, a rarity for 3D games in the genre. And it offers plenty of surprises too. You’ll start off with the typical blaster and scanner before eventually unlocking a grappling hook that lets you swing around levels like Spider-Man. But it’s style that ultimately lifts Journey to the Savage Planet above so many other games released in 2020. For one thing, the world and the fauna you’ll encounter are incredibly unique, and well, alien. And the regular live-action updates from Kindred beamed directly to your ship are among some of the funniest and most bizarre cinematics out this year in any game, providing plenty of motivation to see this journey through to its end. – CF

18. Half-Life: Alyx

As VR gaming continues to evolve, it’s becoming clear that the technology is more than just one truly great game away from widespread adoption. If that were all it took, then Half-Life: Alyx would have put a VR set under a lot of Christmas trees. 

It’s truly wild to think that we got a new Half-Life game this year and that it sometimes feels like the game’s release was barely a blip on the cultural radar. While its somewhat muted debut can be attributed to its VR exclusivity (and the fact it launched at the onset of a global health crisis), Half-Life: Alyx surpassed all possible hype by offering a truly incredibly narrative-driven adventure bolstered by some of the cleverest uses of VR technology that we’ve ever seen.

Half-Life: Alyx isn’t the first great VR game, but Valve’s glorious return to form does shows how VR can advance fundamental elements of gameplay and storytelling rather than just show familiar games from a new perspective. – MB

17. Carrion

The indie game space is where you typically see the most experimentation, and this year proved no different when the gruesome and morbid Carrion released back in July. Highly inspired by the likes of John Carpenter’s The Thing, Alien, and other cult classic horror films known for their excellent use of practical SFX, this platformer cleverly flips the script, putting you in the role of the monster to dispatch helpless scientists in the claustrophobic depths of an underground lab as an ever-growing amorphous blob creature. What follows is a brief but effective 2D platformer that is fast paced and delectably gory.

The controls could have made controlling the creature a real pain, but Phobia Game Studio recognized that the key here was letting you move swiftly through the levels. As such, gliding through vents to take down scientists from above or underneath quickly becomes second nature. Encounters still pose a good degree of challenge, however, thanks to the heavily armed soldiers that show up later in the game, but this never stops Carrion from fulfilling every horror aficionado’s devilish fantasy of being the bloodthirsty monster. – AP

16. Kentucky Route Zero

Calling Kentucky Route Zero an homage to classic point-and-click adventure games is technically correct, but it doesn’t come close to doing the experience justice. Kentucky Route Zero is more like a poem or fable in video game form. It’s a feeling, a distillation of what it’s like to come of age in the Great Recession and its fallout over the last decade. Kentucky Route Zero is an epithet for rural America told through a fever dream, an examination of a version of rural Appalachia where talking skeletons and robotic musicians live alongside gas station attendants and truck drivers.

Nothing about Kentucky Route Zero fits the typical confines of what we expect from a video game, and that includes its release. Developed by a team of only three, the first episode of the five-episode experience was released in 2013, but the final product was only realized in early 2020. That lengthy development cycle meant that the game’s scope and story could grow to only better encapsulate this moment in time, and the final product stands out as one of best games of the year. To say more is to spoil its excellent story. – CF

15. Tony Hawk’s Pro Skater 1+2

Though it’s been a hot minute since skateboarding games dominated the console space, Vicarious Visions’ excellent remake collection of the first two Tony Hawk’s Pro Skater titles was a reminder of how the entire series captured a whole generation of players in the late ’90s and early ’00s. Whether it’s grinding down rails, performing kickflips, or landing the gravity-defying 1080 on a vert ramp, everything in Tony Hawk’s Pro Skater 1+2 feels and looks exactly as you remember it but touched up with modern flare. That’s the mark of any great remake, and why this game in particular was the best example of the practice this year.

Classic skating locations like Warehouse, School and Downtown have all been faithfully remade from the ground up for a 21st century audience, effortlessly delivering the same thrills and balanced challenge as they did before. The fact that select mechanical features like reverts, which wouldn’t arrive until later entries, have been retroactively added is also a nice touch, instantly making Tony Hawk’s Pro Skater 1+2 the definitive way to experience these skateboarding classics. – AP

14. Ori and the Will of the Wisps

The fact that Ori and the Will of the Wisps managed to usurp the critically acclaimed 2015 original in most design aspects speaks to just how well Moon Studios has mastered the art of the Metroidvania. Whisking players off on another tight 10-hour journey set within a mystical forest full of secrets to discover, this 2D adventure gives off a fantastical vibe in a way few others do. It’s an expert blend between smart combat mechanics, highly polished platforming, and emotional storytelling. That it runs at a silky 60 fps both on Nintendo Switch and Xbox is the cherry on top.

The major improvements Will of the Wisps makes over Blind Forest relate to saving and combat. Whereas previously it was the responsibility of players to lay down specific checkpoints, progress is now more in line with other 2D platformers and less punishing. Combat, meanwhile, has been completely revamped with the inclusion of special charms and upgradeable skills, most of which result in more flexible enemy encounters. These tweaks are implemented without ever compromising on Ori’s core hook of magical exploration and challenging platforming, instantly making it one of the best Metroidvanias out there. – AP

13. Call of Duty: Warzone

Call of Duty: Warzone was a natural and perhaps even necessary evolution for the long-running shooter franchise, carving out a space for it in the ever-crowding battle royale genre. While it’s largely derivative of battle royale titles that came before, the staggering 150-player count, always excellent CoD controls, top-notch presentation, and flexible cash system have made it eminently popular and fun for casual players and series vets alike. The CoD fan base feels vibrant again after years of stagnation in the shadow of breakout titles like PUBG and Fortnite, and that’s without going into how Warzone has revitalized the franchise’s presence in the streaming space.

One of the best facets of the game’s design is that the large player count all but ensures that, even if a player is new to the genre or series, the chances of them being the absolute worst player in the field is very low. Better still, the “Gulag” respawn mechanic opens up the possibility for ultimate revenge should you earn your way back into the match, which is a nice way to up engagement for those who suffer disappointing deaths.

The game doesn’t feel quite as dynamic or high-stakes as some of its competitors on the market, but it’s definitely one of the easiest to pick up and play. It’s no wonder Warzone has expanded CoD’s already enormous audience over the course of 2020. – BB

12. Astro’s Playroom

With launch lineups mostly filled with graphically enhanced releases of last-gen games, the release of the PlayStation 5 and Xbox Series X has been more than a little underwhelming. The one bright spot is Astro’s Playroom, a little first-party Sony game that received virtually no pre-release hype and comes pre-installed on every PS5.

While at first glance a typical 3D platformer, Astro’s Playroom soon reveals itself to be a fantastic showcase of what’s possible with the new DualSense controller. In one level, you’re feeling the resistance from the controller’s adaptive triggers as you spring jump through obstacles dressed as a frog. In another, you’re expertly moving the controller back and forth to climb walls in a robotic monkey suit. Even just standing in the rain causes the controller to pulse ever so slightly with each drop. And all of this takes place across worlds celebrating the entire history of PlayStation, where you collect classic consoles and accessories, culminating in an unexpected boss battle throwback to an original PSX tech demo.

Astro’s Playroom may be short, but it’s an oh so sweet and exciting taste of what’s possible with the power of next-gen consoles. – CF

11. Doom Eternal

It would have been easy for Doom Eternal to be more of the same. After all, 2016’s Doom became the surprising gold-standard for single-player FPS games by virtue of its clever writing and gameplay that blended the best of classic and modern design concepts. Yet, Doom Eternal proved to be something much more than “the same but bigger.”

With its arena-like levels and resource management mechanics, Doom Eternal sometimes feels like a puzzle game set in the Doom universe. While the transition to this new style can be jarring, you soon find that Doom Eternal is speaking the same language in a different dialect. The brutal brilliance of a classic Doom game remains but it’s presented in the form of a kind of FPS dance that puts you in a state of pure zen once you figure out how to make that perfect run through a room full of demonic baddies. 

Four years after Doom showed this old franchise could pull off new tricks, Doom Eternal proves that this series is at the forefront of FPS innovation once more. – MB

10. Demon’s Souls

Although initially released in 2009 for the PlayStation 3, Demon’s Souls would help define the next generation of gaming by establishing the Soulslike genre, which has influenced everything from recent Star Wars games to The Legend of Zelda. The “problem” is that the legacy of Demon’s Souls has been sort of eclipsed by the accomplishments of its successors.

That’s the beauty of the remake for the PS5. Aided by the power of the console’s next-gen hardware, developer Bluepoint Games pays homage to one of the most historically significant games of the last 15 years while wisely updating it in ways that show that the foundation of FromSoftware’s breakthrough hit remains arguably the best entry in a genre that isn’t exactly lacking in modern classics. 

In a year where finding a next-gen console proved to be more difficult than any Soulslike game, Demon’s Souls remains the best reason to battle the bots at online stores in the hopes of joining gaming’s next generation as soon as possible. – MB

9. Fall Guys: Ultimate Knockout

There were multiple times this year where couped-up players relied heavily on “bean” games to help maintain a human connection. Before Among Us dominated the Twitch streams, it was Mediatonic’s intentionally clumsy and hilarious Fall Guys: Ultimate Knockout that had us competitively raging with our friends. It did so by merging the wildly popular battle royale genre with the inflatable-fueled antics of early ’90s game shows, where dodging swinging hammers and battling giant fruit against 59 others became the norm for a few weeks – all in the pursuit of winning a highly coveted crown.

Needless to say, making Fall Guys free to PS Plus subscribers for a month turned out to be a genius marketing move, urging everyone to hop into the game’s inventive gamut of levels and make a fool of themselves. Much of what sets it apart from other battle royale attempts is its low-skill barrier to entry, and thanks to frequent seasonal updates, new unlockable outfits and fresh mini-games always being added, bumbling to the top of the pack as a colorful bean remains consistent fun. – AP

8. Animal Crossing: New Horizons

It’s not an exaggeration to say that Animal Crossing: New Horizons should be included in history books about the Covid-19 pandemic. Releasing just as lockdowns were being instituted across the globe, New Horizons provided the escapism we so desperately needed while quarantining, attracting not just the usual Nintendo fanbase, but even those who had never played games in the past but were now looking for something to occupy their time at home. Whether we played it with friends or alone, New Horizons provided the routine and distraction that so many of us needed in a world suddenly thrown into chaos.

Of course, it helped that New Horizons is the best Animal Crossing game to date, with tons of new ways to customize your island (and yourself). And as Covid-19 restrictions have stretched much longer than many of us anticipated, New Horizons has kept pace, with Nintendo releasing a steady stream of new fish to catch, fruits to harvest, and events to participate in throughout the year. It may not be the game that everyone wanted, but New Horizons is the game that 2020 needed. – CF

7. Cyberpunk 2077

When Cyberpunk 2077’s legacy is written, there’s no doubt that the opening chapter is going to focus on the bugs, technical shortcomings, and empty promises that have turned what looked to be one of 2020’s guaranteed hits into one of modern gaming’s most debated debuts. 

Yet, the reason that this game’s initial issues will likely not ultimately define it is that Cyberpunk 2077 reveals itself to be a special experience whenever you’re able to play it without crashes or bugs ruining your experience. From its stunning side quests that revive one of The Witcher 3’s best elements to its shockingly human narrative, Cyberpunk 2077 regularly showcases the undeniable talent of the individuals who battled internal and external factors to deliver their vision. 

Cyberpunk 2077’s technical problems wouldn’t hurt as much as they do if there wasn’t a truly great game at the heart of them that people are begging to be able to play as intended. – MB

6. Final Fantasy VII Remake

The pressure was on for Square Enix from the moment it announced Final Fantasy VII Remake back in 2015. For those who obsessed over the original back in 1997, the prospect of a remake was the stuff dreams were made of, and this year we finally got to relive Cloud, Aerith, Barret, and Tifa’s grand adventure (the first act of it, at least) with fully updated, well, everything. Astonishingly, the remake actually lived up to expectations and delivered not just a faithful update to the original game but a modern RPG that stands as one of its generation’s best regardless of nostalgia.

The key to Square Enix’s success was its approach, which aimed not to duplicate the experience of the original game, but to capture the essence and spirit of it while using modern game design to deliver the story in a way that doesn’t feel retro or rehashed at all. The game looks dazzling by 2020 standards (Midgar never looked better) but doesn’t compromise the integrity of the original designs, and the real-time combat—arguably the biggest departure from the original—is a blast to play.

Time will tell how exactly Square Enix will follow through with the rest of the remake as we enter a new console generation, but in the meantime, they studio has left us with a terrific reimagining of the most celebrated title in the studio’s expansive oeuvre. – BB

5. Assassin’s Creed Valhalla

Ubisoft deserves credit for keeping a franchise like Assassin’s Creed, which is 13 years old at this point, thriving in an industry that is flooded with more open world games now than it ever has been. The series is always competitive in the genre, and Assassin’s Creed Valhalla proves why: it’s as refined as any of its predecessors and delivers a balanced experience with a rich world to explore, tons of strange stories to uncover, and a mash-up milieu that combines the eerie atmosphere of 5th-century England with the otherworldly spectacle of Norse mythology.

No open world game is perfect, and Valhalla certainly has a handful of shortcomings. But it’s a bloody good time to play, and there’s so much to do that there’s no question that you get your money’s worth. Eivor’s quest for glory and domination is also arguably the most cinematic story in the entire AC catalog, with some truly breathtaking cutscenes that rival those found in more linear games that can’t sniff Valhalla’s scope. Some of the more otherworldly moments in the back half of the game are pure, unadulterated, nonsensical fun, and overall, this is one of the best entries in the series. – BB

4. Marvel’s Spider-Man: Miles Morales

Insomniac is one of those studios that you can always rely on to deliver fun, polished games that shine in every category, and Marvel’s Spider-Man: Miles Morales only adds to the team’s sterling reputation. Building on the already brilliant formula the studio created with the original Marvel’s Spider-Man, Miles’s story is one of loss, friendship, identity, and the strength of the Black and Hispanic communities of Harlem.

The side-quel is also one of the best launch titles arguably ever. While it is a cross-gen game, the PS5 version is currently the best showcase of what next-gen gaming is capable of from a visual and performance standpoint. You won’t find a better-looking New York City in any other video game, period, and Insomniac’s outstanding animation work looks insanely good when bolstered by the PS5’s considerable horsepower. Miles plays differently than Peter Parker did in the original game as well, with his Venom Powers giving enemy encounters a new feel and rhythm.

Insomniac outdid itself with an excellent follow-up that would’ve been a forgettable DLC expansion in the hands of a less ambitious studio. But Miles Morales is one of the best modern-day superhero characters ever created, and it’s only right that he get a game that lives up to his greatness. – BB

3. Hades

The popularity of roguelikes has been calmly bubbling up for years now, yet only in 2020 did it truly become mainstream thanks to an ideal balance between gameplay and story as demonstrated by Hades. Players who previously took umbrage with the genre’s nature to wipe out all progress at each run’s end suddenly had a reason to jump back in, now inspired by Zagreus’ various tries to escape hell and overthrow his eponymous father. This alone sees Hades tower over most of its peers in terms of balance, further backed up by rewarding gameplay and a gorgeous comic book art style that makes the well-worn mythological Greek milieu feel fresh.

Developer Supergiant Games proved its penchant for creating flexible mechanical loops in prior titles, and in many ways, Hades feels like a culmination of all those ideas distilled in one neat package. It’s a great example of semi-randomized systems layering perfectly on top of other systems, until players eventually find themselves completing runs using distinct weapons, upgrading persistent abilities and slowly discovering which of the god’s many boons gel best with one another. Hades is always a hellishly good time. – AP

2. Ghost of Tsushima

The concept of honor has never been explored in a game as lyrically and philosophically as it is in Ghost of Tsushima, Sucker Punch’s story-driven samurai epic. Jin Sakai’s grand adventure is both brutal and beautiful, stretching across the grasslands and snowy peaks of the titular island, as he pushes the oppressive Mongol army out of his homeland, all the while wrestling internally with the kind of man, warrior, and leader he ultimately wants to be.

This game is outstanding on so many fronts that it’s difficult to list them all here. Visually, it looks so stunning that anyone who walks past your TV as you play is all but guaranteed to stop and stare for a while. The combat is fast and challenging, the stealth mechanic is on-point, the score is sweeping and sentimental, the character models are incredibly realistic, the online multiplayer mode “Legends” is actually a blast to play…and the list goes on. This poetic, pitch-perfect modern masterpiece is emblematic of the soulful, cinematic storytelling PlayStation Studios is known for, and it’s a wonderful way to send the PS4 off into the sunset. – BB

1. The Last of Us Part II (Also Reader’s Choice)

You can’t even say the name of our 2020 game of the year without sparking numerous debates that often make it nearly impossible to have a productive conversation about the game itself. That makes it that much more tempting to somehow find a kind of middle-ground that will “justify” the game’s lofty position to everyone regardless of where they stand. 

The thing about The Last of Us Part 2,though, is that its divisiveness is very much part of the experience. Naughty Dog’s follow-up to arguably its greatest game is a bold attempt to live up to the franchise’s legacy by furthering what came before while trying to find its own way. Much like Ellie herself, The Last of Us Part 2 doesn’t always make the right decisions. Yet, at a time when bigger budgets are seen as an excuse to play it safe, The Last of Us Part 2 impresses through its willingness to present a big, bold, and personal adventure that is often anything but what was expected. 

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Anyone can generate a little controversy by saying something stupid, offensive, or hurtful. The beauty of The Last of Us Part 2’s controversy is that it stems from a heartfelt attempt to advance the conversation through indie-like passion and big budget production. – MB

The post The Best Games of 2020 appeared first on Den of Geek.

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[letterboxd]

More Foghorn: The Robert Eggers Q&A.

“I wanted to be able to laugh at misery.” —The Lighthouse director Robert Eggers answers your questions and ours about what he’s wearing on Hallowe’en, being cool with memes, and paying homage to Mary Poppins.

The Lighthouse, out now in select US cinemas and opening nationwide this weekend, is the follow-up to Robert Eggers’ feature debut The Witch, one of our highest-rated films of 2016 and the third highest-rated horror of that year.

Similarly, The Lighthouse is firmly in our top ten narrative features of 2019 and is absolutely tearing up the Letterboxd reviews section with reactions like “Eggers holds nothing back in this film. He takes things far past okay and doesn’t apologize for any of it,” (Logan) and “If a bearded, bulging-eyed Willem Dafoe talking like a pirate for one hundred and ten minutes, shot on high-contrast orthochromatically filtered high-resolution black-and-white celluloid that brings out every follicle and pore doesn’t deserve five stars, I simply don’t know what does” (Jonathan).

The film’s success lies in a combination of obsessively detailed production design, singular technical choices (“a black-and-white movie in a stupid aspect ratio”, as Eggers told Filmmaker magazine), the superb acting partnership of Willem Dafoe and Robert Pattinson as lighthouse keepers on a far-flung rock, a borderline-ridiculous amount of foghorn in the soundtrack, and—in spite of the characters’ miserable circumstances—a hysterically funny script.

When we spoke to Eggers’ brother and co-writer Max at TIFF, he told us that the writing partnership was “a perfect fit; we trust each other, and I think that’s the big thing about writing teams is you gotta trust each other”. Their brotherly relationship naturally enabled the film’s dialogue to head into comedic territory, even as the story itself descends into hallucinatory horror. “Comedy is about that. You’ve gotta be able to be honest and trust yourselves. We didn’t know how it was going to play but, thankfully, I think the fart jokes work.”

Not only do the fart jokes work; the poetically trippy 1890s dialogue became instantly meme-able. It was no surprise, then, that when we invited the Letterboxd community to contribute questions for this interview, many of them dwelled on the script. But first, with Hallowe’en fast-approaching, we needed to know what Eggers had planned.

A24 has put out a helpful guide for those who want to do Hallowe’en as a 19th-century lighthouse keeper. You’re in the middle of The Lighthouse promo tour, but have you managed to plan yours? Robert Eggers: Hallowe’en was my favorite holiday growing up and I made many elaborate costumes, but now that I’m doing this, I will agree with Marilyn Manson where he says: “Hallowe’en is my day off”. It’s time for everyone else to catch up!

At TIFF, we spoke with your co-writer and brother Max about your collaboration. Letterboxd members Kevin and MrRabbit7 are interested in what the writing process was like with Max. Does that relationship allow more of an ‘anything goes’ approach? I know my brother, so it’s easy for us to write together. My movie that was leaked in the trades a couple days ago [The Northman] I also wrote with another writer. I’m finding, as much as I like writing scripts on my own, it’s fun to collaborate. It’s actually joyful to pass the drafts back and forth and see how you’re lifting each other’s work up.

We had many questions (including from John, Austin and Tyler) about The Lighthouse’s dialect and vernacular. Can you tell us about the work you did in constructing dialogue in unfamiliar languages, including the sources you consulted? It’s a lot of research and there is some quoting the sources directly. There’s much more of that in The Witch, where sentences remain intact. There’s very few intact sentences from the research in this film. There’s certainly many turns-of-phrase. When I’m looking at my primary source material from the period, I’m writing down vocabulary words in my own thesaurus that I can turn to.

I tend not to write in modern English and then translate the dialect. I try to write in the dialect even as I’m learning to do it, so the thesaurus is organized more [as] moods and ideas. I’m washing my eyes with words and hoping something turns up that works as I’m moving forward. You’re studying the sentence structure and trying to find the rules.

Thankfully with The Witch, because it was written in early modern English, which was a golden age of English writing, there were plenty of books available to teach me what the rules were. In studying the various Puritans, I could find how different people broke the rules and did things their own way. With this film it was much harder to find that, but eventually my brother came across the work of Sarah Orne Jewett. She was writing in coastal Maine dialect, interviewing working people to get their dialect. My wife found a thesis written by Evelyn Starr Cutler where she provided rules for different dialects—where are ‘r’s omitted and where are ‘r’s added, so on and so forth—so we could create consistent dialects for both characters.

“Why’d ya spill yer beans?” “Wouldst thou like to live deliciously?” Everyone—even A24’s marketing team—has taken to the film with meme-able gusto (exhibit A: these goofy Lighthouse emoji). How does it feel to have your deeply researched script torn apart in this affectionate, ironic way by internet culture? Does it make you hesitate in your approach to writing and directing these types of lines? (This question brought to you by those who quoted those infamous questions in response to this AMA.) No, it’s cool with me. The Lighthouse was designed to be a black comedy and not just have moments of black comedy. The Witch takes itself very seriously, but I think that there’s something kind of film student-y about how serious it takes itself. I’m glad that people can make PlayMobil and Lego playsets as jokes. You need to be irreverent, and with The Lighthouse I was exploring misery again but I wanted to be able to laugh at misery. Werner Herzog talked about it like, you’re on the floor laughing, you know?

You and your brother both have deep roots in theater. After listening to your A24 podcast with brother-in-arms and Midsommar director Ari Aster, Solly F wants to know which playwrights you look up to, and who was particularly useful in your approach to The Lighthouse? I like Shakespeare [laughs]. I don’t know if he was particularly helpful for this, but he’s pretty good! Clearly [Harold] Pinter, Sam Shepard, and evoking the name [Samuel] Beckett is almost worse than evoking the name Shakespeare, but you know, they’re good at what they do, and for this two-hander about identity it was impossible not to think of those playwrights.

Many members are curious about the films that inspire you and, more specifically, your most influential Ingmar Bergman films. So, which Bergman were you looking at for The Lighthouse? Also, Evan McKenzie dares to ask, “Given the chance, which Bergman film should you like to remake?” Well, I would not remake a Bergman movie because that’s just insanity! Even though I dared to talk about remaking Nosferatu—which also probably does not need to be done—so I guess, yes, I am insane. Fair enough question. Obviously Persona and any of his chamber dramas would be the ones I would be thinking about here.

There’s a shot where Willem is knitting and Rob is smoking in the foreground, which Jarin [Blaschke, The Witch and The Lighthouse’s director of photography] and I referred to fondly as our Hour of the Wolf shot. Of course we’re using a much wider lens than Bergman ever would have done and had a different approach to lighting than he did, so it doesn’t seem all that Bergman-esque in the end, even though it was our homage.

Youssef asks: which foreign-language films are your favorites, or provided you an entry point into the non-English language arthouse? The arthouse films that I saw in high school were ones that just happened to be in my local video store. Only one of them is foreign language, The City of Lost Children, but that, Eraserhead, and Brazil were three movies that I can think of that made me ask: “Oh you can do that? Wow!” Julie Taymor’s Titus also was another film from high school that made me realize that there was something other than—and not to speak disparagingly—Spielberg and Tim Burton and whatever was more easy to see in rural New Hampshire cinemas.

Robert Pattinson and Robert Eggers on the set of ‘The Lighthouse’. / Photo: Chris Reardon

The Lighthouse has an ambiguity that has led to many of our members questioning its genre. Even Ari Aster wasn’t sure when he mentioned the film in his Q&A, and you’ve referred to it as a black comedy here. But we have to ask, for the sake of our community’s sanity: is The Lighthouse a horror movie? I don’t see it as a horror movie. But I’ve definitely spoken to people who get my intentions that think it is. So maybe? I don’t care what people call it.

It’ll probably make our top horror lists, if that’s okay. That’s fine.

Let’s not tease too many hypotheticals, since this question is based only on your two-feature output so far, but there is significant interest in whether you’ll branch out into other genres, specifically sci-fi, and other time periods, specifically the future. Well again, pointing to the leaked Viking movie, that ain’t a horror movie. And I’ve written other movies that aren’t horror movies. It’s just The Witch and everything that I’ve actually gotten made so far have been horror or horror adjacent. That’s just how it’s been—fine, happy about it.

Never say never because I am interested in sci-fi. I feel like generally when people are trying to ask big questions and challenge current philosophies, to look at things that are bigger than ourselves today, it’s always done with sci-fi. So for me, I’m enjoying doing that kind of stuff in the past just because that’s not how people often use historical movies today.

Writer-director Robert Eggers.

We love asking filmmakers this and Filbert wants to know: what are your go-to comfort films? The movies you’ve seen the most? Anything that could surprise us? The Big Lebowski I’ve watched a lot. We have a little bit of a nod to it in The Lighthouse when [Pattinson] throws their shit off the cliff and it hits him in the face. It’s pretty damn close to the ashes of Steve Buscemi. I think it’s not going to surprise anyone that I’ve seen The Shining a zillion times. I’ve seen Mary Poppins a lot, and we have a little nod to it with our weather-vane shot.

By the way, when I’m writing it I’m not thinking ‘this is the Big Lebowski scene’ or ‘this is the Mary Poppins scene’. I’m just kind of writing and you say, “well, I know where that came from.”

Finally, the 2010s are drawing to a close and many of us, including Max and John, would like to know: what are your essential films of the decade? I’d have to think about it more, but recently I thought Trey Edward Shults’ Waves is great, Hereditary is great, Parasite’s great… I’m sorry, I haven’t seen Parasite [laughs]. That’s a microaggression, I meant to say Burning is great. Anything by Ciro Guerra [director of Embrace of the Serpent and co-director of Birds of Passage] is great. Yeah, there’s a few.

‘The Lighthouse’ is in US cinemas now. All images courtesy of A24.

[randomfandomimagine]

What Matters Most (Leon x Reader)

Characters: Leon Kennedy

Fandom: Resident Evil 2 Remake

Tags: Reader Insert, Gender Neutral Reader

Warnings: Injury and blood

Requested by anon: Can I ask for a request where while fighting off a B.O.W in Resident Evil 2 the reader ends up injured a bit making Leon worry over her as he figures out he's been falling for her and somewhere down the line he finally asks her out??

A/N: Sorry if this isn’t perfectly accurate, I’m no Resident Evil expert :P

“Crap!” You shouted, rolling on the ground to avoid being hit by the monster. “Doesn’t this thing ever die?!”

“We’re doing great, Y/N!” Leon said tot encourage you, forcing a smile your direction.

The two of you continued to fight, shooting and dodging and trying to protect each other all at the same time. You were exhausted since that thing seemed relentless and very strong, but you thought you couldn’t be too far from ending it.

The monster backed up a little bit because of the aggressiveness of your attacks.

You ran out of shotgun ammo and so picked up your handgun, keeping in mind that you had a few grenades that you could use. You looked at Leon with the corner of your eye, noticing how he stopped to reload his weapons.

“Leon…” You muttered, restless as he focused his attention on his hands.

“I’m almost done” He told you, quickly looking up to keep track of it.

It was getting closer, heading with determination closer to Leon. Your heart picked up a fast pace, because it was moving fast and it was dangerously close to him. Restlessly, you threw a grenade to the monster, but much to your dismay, it only slowed him down for a couple of seconds.

It inched closer at a terrifying speed, and you noticed Leon hurrying up and grimacing in annoyance and stress that it was taking him so long to reload. The monster growled just as it lifted its clawed arm.

“Leon!!” You called for him, moving in an instinct.

Just as the bioweapon thrust its claw down on Leon with a terrible strength, you jumped in front of your friend to spare him from the blow. Tackling him to the ground, you fell on top of him, his arms wrapping around you in surprise as his gun fell out of his hands.

With the impact, your entire body shook, making you hurt there where the monster had reached. You could feel a painful sting there where a deep scratch formed in your stomach, lacerating the skin and causing blood to ooze out of it.

“Y/N!” Since you landed with your back against his chest, his arms grabbed your arms and carefully dragged you away from harm’s way.

“I’m fine” You uttered through grit teeth. “Finish it!”

At first he didn’t listen to you, not stopping until your back rested against a wall. Then he quickly jumped to stay in front of you, crouching to analyze the damage.

“Jesus…” He whispered, his hands hovering over your wound as he hesitated.

“Leon” You grabbed him by the collar of his shirt until his blue eyes locked with yours. “Go, it’s getting closer!”

He frowned, not really wanting to stay away from you not for a second. His eyes were drowned in guilt and concern, and even if he did look over his shoulder to track the menace, they soon returned to you.

“Go!!” You insisted, tugging at his collar once more before letting go of it. “I don’t want it to hurt you too!”

Leon paused for several seconds, clearly distraught. Then he sighed and nodded.

“Hold on” His hands fell on your shoulders, gently squeezing them. “I’ll be right back”

You were slightly relieved when he turned around, facing his back to you, in order to fight the monster again. You wished you could help him still, but you knew you couldn’t.

While Leon was busy, you took a quick look at your wound. The scratch followed the pattern of its claws as four parallel lines crossed over your stomach, reaching to your side and a little bit to your back as well. The blood had started to drench your clothes, staining them with an unpleasant crimson color that made you slightly dizzy. The pain wasn’t too noticeable for now as long as you remained still, but you knew it was because of the adrenaline. As soon as it would wear off, you knew it would hurt ten times more. It was also a pretty deep wound.

A loud commotion startled you as the monster fell limply to the ground, enveloped in a sea of fire. Your eyes moved to Leon as he saved the flamethrower and hurried back to you.

“Y/N” He dropped on his knees in front of you, breathing heavily. “Why would you do that?”

His hands were shaking as he looked for something in his back pocket. You saw it was gauze and a little bottle of what you assumed was some sort of medical liquid.

“You would have done the same thing for me” You forced a smile, even if you felt shaky and weak.

He paused for a moment to stare at you, speechless. Of course he would have, without thinking twice nor apologizing. And you wouldn’t apologize for saving his life either, no matter the fact that you got injured in the process.

“I’ll get you out of here, don’t worry” He moved his hand, but stopped when it was about to grasp the hem of your shirt.

You chuckled in amusement, lifting up your own shirt to show him your wound. Leon winced at the sight, and you refused to look directly at it. He gingerly placed the drenched gauze on your skin, pressing it against your wound and making you hiss when it smarted.

“Sorry…” He muttered as he delicately moved through every centimeter of the deep scratch.

“You know what?” You gasped, suddenly feeling even more exhausted than before, both from the increasing pain and the blood loss. “You owe me one, Kennedy”

“I sure do” Leon laughed a little, finishing applying the medicinal liquid to your side and back.

He took his shirt off, leaving him only in a white undershirt. Then he began tearing it, needing a lot of surface to cover your big wound. The adrenaline was starting to completely wear off, and hence the pain was starting to become unbearable.

The silence filled the room, except for Leon’s elaborated breaths and your failed attempts to conceal your groans of pain.

“Okay” He gulped, tightly wrapping the improvised bandage around your torso. “Okay”

Once the bandage was secure over your stomach and tied behind your back, Leon carefully lowered your shirt again so it covered the bandage that was already staining with red, and offered you a hand.

You started to feel a little drowsy and it took you a few seconds to comprehend what he was trying to do. Then you finally put your hand over his and tried to pull yourself up.

“C’mon” Leon grunted a little as he made most of the effort to get you to your feet again.

You leaned over him, breathing heavily, surprisingly tired due to that small effort. His arm protectively wrapped around your waist.

“You okay?” He asked you, even if his voice came out a little shaky.

“Yeah” You breathed out, holding your stomach with one hand and the other on his shoulder. “Let’s go”

“I can carry you…” He told you, astonished. “I-I… You don’t have to…”

“I can walk” You wanted to push through it, refusing to accept his help.

“But…” He stuttered, only walking next to you because your hand lingered on his shoulder.

None of you said anything after that, you just kept on moving, slowly advancing through the dim-lit corridors.

*

Your breath came in gasps, your legs were starting to stop supporting you. Your vision became a little blurry and your face was beamed with sweat. Leon’s makeshift bandage had definitely helped stop the bleeding, but your wound was too deep and you knew you needed stitches.

He kept speaking reassuring words, convinced that he would get you out of there safe and sound, that he would take you to a hospital to properly take care of you, to heal your wound. You weren’t so sure anymore, because it had started getting hard to even be on your feet, to even stay conscious.

“Y/N?” Leon worriedly called you, his arm each time tighter around you as your strength failed you more and more.

“Yeah” You whispered, unable to speak louder.

“How you holding up?”

“Not so good”

“Hold on, we’re almost out”

“You said that half an hour ago”

“I… You’re gonna be fine”

You didn’t have it in you anymore to pretend like you were okay, to believe his white lies. In fact, you dangerously wobbled when a strong dizziness took over you, and your body fell limply against Leon’s side.

“Y/N!” He wrapped both arms around you, holding you up.

“I’m okay, I’m okay” You forced to say, even if your eyes had closed themselves.

“Can you stand?” Leon shook you a little, scared that you had lost consciousness.

You feebly shook your head, admitting defeat and allowing him to carry you now. Automatically, Leon scooped you up in his arms and began walking faster than before, even with your added weight. You had surely been slowing you both down since you had to walk so slowly.

It was a big relief not to be supporting your own weight anymore, and Leon’s extreme closeness felt comforting and enveloping. You felt safe there in his arms, knowing he would do anything to take care of you.

“Stay with me, Y/N” Leon loudly gulped. “Stay awake, okay?”

“Okay” You forced your eyes open, making a great effort to put your arms around his neck to hold on to him.

“Talk to me, c’mon”

“About what?”

“Anything”

You considered it for a moment, analyzing the terror that had now arrived to his warm blue eyes. How his brows knitted together in concern, how his arms tenderly leaned you against his chest. How he was almost sprinting even if he was clearly winded from the physical effort.

“What are you gonna do if I die?” You joked, dedicating him a groggy grin.

“You’re not gonna die” He replied, adamantly, even if his eyes didn’t meet yours.

“Then whatcha gonna do if I survive?”

“I don’t know… Buy you dinner?”

“That sounds nice”

You smiled at the thought, shielding yourself in the warm fantasy of being away from that horrible place. Being somewhere safe, having dinner in a nice restaurant with him, knowing how polite, kind and gentlemanly he was. It would be a great dinner.

Leon leaned you against him, attracting you even closer until your head rested on his shoulder.

“Hey, Y/N!” He urged you, shaking you in his arms. “Stay with me!”

Your eyes had closed themselves, but you didn’t want to open them. You were so comfortable and so very tired. You were in pain too and you just wanted it to end. You just wanted to rest and get rid of the pain.

“Y/N?!” Leon sped up, bouncing you in his arms. “Don’t fall asleep!”

But you were already far away, finding comfort in the painless land of slumber.

*

You awoke next in somewhere bright, so much so that your eyes found the light disturbing and it was difficult at first to get used to it. It must have been day, because the warmth of the sun also bathed your skin.

You stirred, realizing you were lying down, and your hand immediately flew to your stomach when a sharp pang of pain spread through your torso. you carefully lifted your bloody shirt to see the skin of your stomach had been cleaned and stitched.

Then everything came back to you all at once. How you got injured, the dark underground tunnels you had been trapped in, the monsters and zombies, everything. Including Leon.

You looked around you, noticing an empty room that resembled that of a hospital.

“Leon?” You called out, needing to see him.

You swung your legs over the bed and were about to stand up when you heard the quick sound of footsteps. Leon was before you in the blink of an eye, smiling at you.

“Y/N!” He fidgeted around, something unlike him. “You need to rest”

“But…” However, you let him help you lie down again.

“No buts” Leon tenderly told you. “How are you feeling?”

“Tired and a bit weak” You sighed, obeying and trying to relax. “But much better, it doesn’t hurt as much anymore either”

“That’s a relief”

“What happened?”

“I found some help” He began explaining. “And brought you here so they patched you up”

You didn’t know what to say, you only stared at him. His hair was disheveled and there were dark circles under his eyes. Leon didn’t say anything at first either, but then he locked eyes with you.

“You scared me…” Was all he said, heaving a profound sigh of relief in which he let out all the pent up tension and anguish.

“S-Sorry…” You uttered, taken aback by his demeanor.

“It’s fine, I’m just glad you’re okay now” His hand timidly fell over yours, making you smile.

Leon plopped down in a nearby chair, still close to you, and lingered in a thoughtful silence for a moment. Then he sighed once more and looked at you.

“You know, I’ve thought a lot while you were unconscious” You nodded at his words, letting him know you were listening. It was all you could do in your stunned silence. “And I’ve realize what matters most”

“What?” You choked out, flustered by the intensity with which he looked at you.

“You” He replied simply, slightly shrugging his shoulders. “And how I needed to tell you how I feel if you…”

You noticed how his own words upset him, just the thought of being unable to talk to you again. You couldn’t help but to smile, endeared by how much he cared.

“What did you want to tell me?” You encouraged him, laying a hand atop his.

Leon paused for a few seconds, averting his gaze, before his eyes locked with yours again.

“That you’re smart and kind and brave and…”

“I’m none of those things, I thought we’ve established you would have done the same thing”

“You are all of those things” He sweetly smiled at you. “But you didn’t let me finish”

You nodded to let him know that you would remain silent and his smile widened a little. Although he seemed flustered as his hands gently moved until they held yours in them.

“And how I’m…How I’ve feeling falling for you for a while now”

“Oh…”

“It felt stupid that I never told you, and thinking that I never might broke my heart, it was… I couldn’t stand to think that”

“Leon…”

“I just… needed you to know that you’re amazing and that I’m crazy for you”

He looked away, feigning interest in a nearby window. You smiled a little, thinking he got a bit shy and it was honestly adorable.

“Hey” You squeezed his hand until he reciprocated your glance. “You owe me dinner, after all”

Leon chuckled, amused, and nodded effusively. His eyes sparkled with a certain happiness.

“Great, it’s a date”

“It sure is”

[sillyfudgemonkeys]

My stance on P5 (cause apparently I need to explain myself :/)

So someone just told me someone was vagueing about me on the confessions blog (can’t say my name cause it’s against the rules but they’ll try to get as specific as they can 🙃 if you have issues just be a real anon hater and send to my inbox directly you coward). And I’m not going to do a reblog to that post, because I’m pretty sure that person must be on my blog. Because the post they were vagueing me about was......not tagged.....in the P5 tagged (I did not tag it as P5 nor Persona 5), it was just a post that was on my blog (now if it showed up in the tag or search I dunno why but I didn’t tag it for P5 for a gd reason cause I keep it to my blog). The post was me pointing out how P5 when they first enter Futaba’s dungeon they didn’t have shoes on, but after the cutscene they DID. The post was more comical (with me getting salty in the tags, but then you’d have to go out of your way to read my tags). And tbh, I’m half and half, yeah I know it’s a nitpick, and I’d just chalk it up to an animation error and let it go usually, but it’s P5 and that game is already inconsistent with it’s plot/world building/characters/anything important that I’m like “nah I’mma rag on it cause it’s just one more thing they screwed up” so I’m like half let it go and half rag on it (fun fact, when I saw they didn’t have shoes on I was gonna make a post saying “hey look this is cool, nice attention to detail” and then they messed it up literally 2 seconds later so dklsjf;afa yeah). (oh and btw, it wasn’t just “one” character, it was the whole PT cast at the time 8U” at least get it right 8U)

But the thing is......that was just a post on my blog, I’m not me berating the P5 tag. So that means you, person who vagued me, tend to go on my PERSONAL BLOG. So like....why are you on here? No, don’t ask me about me and P5, I will answer that, but you answer why are you bothering looking at my personal blog? Is it cause of certain content I post? Then just blacklist certain tags (like my “silly plays” tag cause nothing really interesting happens in that tag, or my more negative “persona problems” type tags), I know I need to be better at tagging my asks, but if you like my original content then just.....go to the OG content tags (aka videos/pictures/edits/coloring)? That way you avoid anything not made by me? Or if you don’t have a reason and you’re just here to be mad cause someone doesn’t like your game, then block me. You don’t seem to like me, so just....why are you here? You seem to want to ask why I’m here with P5, and I have my reasons, but if you don’t have a reason to be on my blog then why are you on it?

I’m not saying this to be mean, but I don’t want to be policed, esp if someone is going to be hypocritical about it. And it’s annoying to see vaguing (cause imo you are as bad as someone who sends anon hate, but you don’t have the balls to just send it to me directly XP)

Ok now where’s my stance on P5? I don’t like it, but it’s a part of a larger series and lore which I do LOVE! Which means, considering I’m a LORE WHORE, it doesn’t feel right to just skip a game esp if it could contain info about the MegaTen/Persona lore (or even Character lore) I want to know. In fact, I really hate it when I’m talking lore with someone and if expanded info is brought up from a side game they are like “Oh I didn’t play that game so it’s not canon” No Bethany, just because YOU didn’t play a game doesn’t mean it’s not canon. And no, no one is bullying you over the fact you didn’t play it, you just don’t like being wrong and the person was like “Ok well it IS canon and it’s in the game, you don’t have to play it but you.....can’t ignore this fact, also why are you arguing this part of the lore when it’s heavily established in said game you ignored???? I mean you do you but don’t get mad when someone corrects you. No one’s forcing you to do anything.” Ahhhhrrrrgggh so many convos I’ve seen happen, I’m not going to be on the end that I hate. DX<

Also, P5 is not the entire Persona fandom, so while I put up with it and indulge in it by association, it doesn’t have the ownership of the fandom (like with all the original games+ spinoffs+all remakes/ports and P5S/P5R included, but not mobile games, it’s only 23% of all of Persona in terms of game entries, and that’s overlapping with crossover games, and if we included other stuff P5 is def a minor aspect in terms of entries). It’s not that hard, I’m just a bigger all around Persona fan than I am a Persona 5 critic (I don’t want to say hater, because it feels like it sounds like I’m hating it just to hate it, when really it was a game I was excited for and loved and then it just burned me bad and I’m just dealing with the scorn). Always keep in mind, I loved P5 before I hated it, it’s probably why I’m as salty about it as I am, because I love P5′s potential and....I was just let down (it wasn’t unrealistic expectations, like I said earlier, P5 contradicts itself.....all over the place, it’s hard to ignore and it’s not something that was as big of an issue, or even an issue at all, in other games). 

Why do I still post P5 stuff when I don’t like P5 (by which I mean...posting about the OG manga raws, or wanting to do a partial game to anime dub or even would be willing to help with editing a fandub for the anime)? Because I remember being a newbie Persona/Megaten fan, getting into the series, and wanting to know more about it and it’s side materials but then not being able to have access it any of it (because it was still prettty niche when I first joined and I had no money at the time). I want to give people access to it! Sure it’s harder for me to now to devote time to it (than it was a few years ago), but I want to help with giving access to this Persona/Megaten stuff now that I have some ability! And it also means P5 as well gets some of that love. 8U

As for why I was replaying P5, so this is one thing that’s making me wonder if you are a regular on my blog or not because I’ve been talking about playing the Korean version (but in my one post I forgot to type “silly plays P5/Persona 5 KOREAN” so yeah I forgot to specify Korean at the end). So tbh....I’m actually ignoring P5′s writing while I play (cause I’m just going through the gameplay motions), cause I don’t know korean. 8U And I’m mostly using that tag as a means to point out different things in the korean ver (no that much, but yes Ryu’s shoes ARE censored 8U). But why? Well.....I talk about it here and there but anon/person....1) I’m a trophy whore, I love plat trophies and P5′s is super easy I can get it (and I’m not above playing bad games, oh yeah burn, I’ve played a lot of bad games for plats, and I’ve also played the same games multiple times for plats, I do this to myself but really I don’t mind replaying P5 4+ times for 4+ plats esp since I don’t really have to pay attention). 2) I’m a big MegaTen/Persona collector, I want all the plats I can have (I plan on platting the other versions of the all the dancing games on Vita and PS4, P4G, and the versions of Catherine I don’t have, like I legit have a gd excel sheet keeping track of the versions of Megaten games I don’t have yet....I’m just doing P5 cause it’s 1) one of the easiest to do and 2) it was easier to get my hands on them atm). I don’t talk about my trophy hunting on here that much tbh, but that’s.....really a big reason why I’m doing it (plus with the Korean/CHinese ver I don’t have to pay attention to any story so it’s all good! :D) Yeah I do it to myself, but I don’t really mind. 8U And I mean I tend to keep most of my P5 issue on my blog too. I think the only two posts that I put in the P5 tag were 1) a few consistency issues I wanted to meme about (aka the I’m about to head out post, which was actually the 2nd post I made on that topic but I decided to just meme that one, so I thought it was better than me just bitching, at least I tried to make it a bit funny yet informational 8U), and 2) something that I tbh had an issue since I back when I liked P5 (aka wishing they worked on speeding up the loading times and the fast forward feature), so since I was playing the game I was like “That reminds me, man I hope they fix this in the re-release!”. As for english P5, the only reason I’ll be playing P5 OG in english is for either archiving reasons or research reasons (probably both at once so I don’t have to play through it more than once again).

As for P5R, uhhhhh I’m excited for Kasumi (Jose is cool too, and the new dungeon has me interested too, and all the P2 demons coming back to it makes me wonder what else is/if anything is coming back), she’s my main draw. Yeah it’s connected to P5R, but she looks so much like Hamuko I JUST HAVE TO KNOW WHAT’S UP WITH HER! Hamuko’s my girl, and I need to know if Atlus is going to do something with that, or if I need to be pissed for them literally lifting Hamu’s face! Am I gonna get pissy about P5R’s new add-ons (aka, I’m aware that P5R is probably going to keep the issues from OG P5, so I’mma just judge P5R based on it’s new content)? Yeah, if they kept up the same writing P5 OG had. So yeah, I’m probably going to get pissy if they eff it up, but I’m not going in pissy, going in with really low expectations tbh, but I’m giving it a chance. But if they don’t eff up the new stuff then......that’s good! It means they did something right. So far Kasumi is not Marie so we’re off to a good start. I’m hoping the keep that momentum. 8U

So yeah, I think I have valid reasons for staying, maybe you don’t like it anon/person, but they are there. 

tldr; someone feels like the need to police me despite the fact they could just ignore me (even tho it seems like they specifically came to my blog to get mad, rather than me clogging up the tag, like I post there maybe once or twice every 2 months). My stance on P5 is that I deal with it cause it’s part of a bigger fandom I’m a part of and the fact I love the lore of that bigger fandom so it’s not like I can ignore it. I also have a Playstation trophy problem. 8U And I’m excited for Kasumi is that so bad???? (also I didn’t mention it, but Anne/Haru are enough to keep me around 8U)

[theteaisaddictive]

okay but you can't just tease us with a wedding meme mentioning ejts in the tags. spill :D

ask and ye shall receive my dear :D

1) Who proposes? 2) How do they propose? 3) Reaction of the one being proposed to

in the middle of the chaos post-transformation, belle probably whispers to eve that she never wants to leave her side again. 

‘i know, i know,’ eve whispers. ‘i remember. i’ll never leave you again.’

‘no, i-’ belle says. ‘i mean, i want to stay with you forever’, and she drops to one knee right there on the newly-constructed balcony, still strewn with rose petals and the rosy-fingered dawn. she holds out her left hand palm-up. ‘do you?’

eve joins her kneeling on the ground, her legs still shaking from the transformation. she takes her hand, her eyes almost shockingly large now that they’re in a human face. ‘yes. yes. yes, belle, dearest, of course.’ she leans over and they kiss.

they kiss for quite a while. 

4) How they tell the others

chip, of course, asks as soon as the general excitement levels have gone down, ‘are they gonna get married?’

the senior staff all glance at each other wondering who’s going to have to finally teach this emblem of hope for the future about homophobia, but before the silence can get more than half a step beyond natural, eve chimes in with an ‘of course we are, chip. in fact, belle asked me not twenty minutes ago and i said yes.’

while mrs potts is relieved that eve is human again and that she’s no longer cold and cruel-hearted, she notices a certain fire in eve’s eyes that came straight from her father – the stubbornness which means she’s going to get her own way come hell or high water. it used to apply to hunting, and petty matters of daily life. mrs potts is proud to see it used to marry belle. 

(marie doesn’t find out that they’re married for … a while. how long an interval it’s going to be? haven’t decided yet.)

5) Who’d they choose as ring bearer

chip, of course! who else?

6) Who’s the one that spends the most time worrying about preps for the wedding?

surprisingly, there isn’t actually a lot of time to prep for the wedding. neither of them have much of a taste for fancy celebrations and would prefer a simple ceremony, so that’s what they choose. (but yes, eve does manage to get her bee in a bonnet regardless)

7) When they go looking for their outfits

it’s less ‘looking for outfits’ and more ‘repurposing old ones’. belle would be more than happy to just wear her best blue dress, but even though eve had a transformative experience shaped by queer love, she’s adamant that belle has a new, different dress she’s never worn before for the ceremony (so belle is in basically the celebration dress from the remake, and eve is in essentially ella’s wedding dress from the 2015 film but minus the train. yes i am trash. no i refuse to apologise.)

IMAGINE THESE BLUSHING BRIDES. ALSO YOU WILL HAVE TO IMAGINE THEM AGAIN FOR ROSES AND LAVENDER BUT PRETEND FOR A MOMENT THAT LILY JAMES IS PORTRAYING A GENDER-SWAPPED BEAST HERE AND NOT CINDERELLA

8) Fusses over the other before the wedding day

they’re both very concerned about each other and it’s very sweet. they both stay up the night before the wedding in the library, keeping close together as midnight approaches. belle rubs her fingers soothingly against eve’s head and intermittently finger-combs her hair, and eve absent-mindedly runs her hand in circles over belle’s back as they talk quietly about tomorrow. 

9) Reactions to their wedding attire

ok so how i picture it is that since neither of them have people to give them away (léon and cogsworth offered their services, but both women declined), they mirror the ballroom scene so their first glimpses of each other are as they go down the stairs to the landing before descending to the ballroom proper. both of them almost stop in their tracks because of how BEAUTIFUL and RADIANT and HAPPY the other looks to be marrying HER. eve cries two tiny tears before she even reaches the landing. 

10) Who whispers the other “you look great”

belle to eve. they’re holding hands as they walk towards the servants, lefou and stanley, wait why are those two there what plot points will they be relevant to and léon

11) How are they feeling during vows

nervous as all fuck. jittery. excited. overjoyed. eve actually does start to cry during her vows. belle doesn’t, but she gets very, very close. 

12) What do their rings look like?

simple, thin gold bands. they wear them on their right hands. 

13) The kiss

the vows are exchanged. the rings placed. cogsworth looks at eve, whom he’s known and loved for the best part of a decade. ‘and now, by the power invested in me by the princess of this realm, i declared you to be married. you may now kiss the bride.’

belle smiles so wide that it hurts her cheeks, and she and eve take a step forwards at the same time. eve sweeps her into the kiss, one hand resting on her waist while the other cups belle’s neck. belle rests her own hand on the plane of eve’s back, allowing her other hand to brush eve’s shoulder as she kisses her wife. and for a moment in that kiss, it’s like their first up on the balcony – uncertain and desperately tender. eve breaks to take a breath, and belle pulls her back in for another kiss, their lips moving gently as the gathered congregation cheers. because they kissed. because they’re married. because eve is her wife.

14) What do they whisper to each other after vows?

nothing. they just look at each other. they’ve already said everything. 

15) When cutting their cake, and afterwards

the wedding breakfast is basically a garden party in the grounds with the staff and aforementioned guests. there is enough food and cake and drinks for everyone, and as the afternoon fades into the evening the mood goes from bright and joyous to quietly happy, but in that way where the amount of emotion present is the same it’s just expressed differently if that makes any kind of sense. both brides make speeches, and both begin their speech with ‘on behalf of my wife and i …’ (they had to make lumiere flip a coin bc they both wanted to go first but didn’t want to take the chance away from the other and it was halfway to becoming one of those stupid fights that in a sitcom would be the episode one cliffhanger of the wedding two-parter, but luckily lumiere was in possession of the throuple’s two brain cells that morning so he managed to de-escalate the situation.) belle went first, but the line got the obligatory cheer from the guests both times. 

16) The two dancing together

chapeau (or a Chapeau-Adjacent Character bc atm i can’t remember if i wrote him in or not) starts playing the fiddle, and the wives take their place on the ballroom floor (the reception has moved back inside by now). think home (reprise), the high note then gently glissandos down to the beginning of beauty and the beast. (can you glissando on a violin? idk. maybe it’s just a piano thing but you know what i’m trying to get across here)

they dance the steps that they first performed while eve was still a bird, and then eventually devolve into a gentle waltz. 

after the first dance, it’s country dances for all!! poor chapeau has his work cut out for him, but léon can play and stanley brought his accordion so by the end of the night everybody who has to play gets to dance to at least three songs. 

17) Who takes a picture of the other

not applicable! HOWEVER plumette takes quick sketches throughout the day, and in later years belle and eve have official portraits taken in their wedding dresses on repeat wears, so between one and the other they have plenty of memories.

18) Who lifts the other up (bridal style)

eve sweeps belle off her feet (again) (it’s something of a recurring motif for them)

19) The reaction of the person being carried

belle laughs, shrieking a little because she was caught off-guard. she presses small kisses to eve’s cheek and neck until her arms give out and she has to put belle down again. 

20) Wedding night

( ͡° ͜ʖ ͡°)

no, no, no, i’ll be genuine (and mildly explicit). they leave (eventually). chip fell asleep about an hour ago. the night is (fairly) young. they go up to the west wing together. eve can’t stop grinning. she has a wife. 

once safely in the west wing, they help each other out of the fine materials of their dresses and remove their stays, but otherwise stay pretty much fully dressed. they pile up on eve’s bed, in a similar position to how they were in the library the night before; belle is lying directly on the pillows, while eve is resting with her head on belle’s shoulder and their legs intertwined. before long, of course, they start kissing. and they clutch at each other, pressing so close they can feel their heartbeats through the layers of muscle and bone and fabric. and eve takes a very long time to roll belle’s stockings down her legs, kissing each inch as it appears. and then she kisses several other areas of her wife’s body (and belle can barely look at her as she does it, but the sight of that blonde head between her legs causes her to dig her fingers into eve’s hair, and that was a rather interesting discovery for both of them). and then belle, after a moment to catch her breath, pushes eve over to her back and pulls off her chemise. and she is just as slow as eve was, tracing her hands over eve’s body, and when she does finally push eve’s chemise away to press her lips to naked skin, the look in eve’s eyes is one she never forgets.

and then, after a long while, eve says, ‘we’re married. you’re my wife.’

‘and you’re my wife,’ belle says just as quietly. she presses a kiss to the top of eve’s forehead. 

‘i never thought this would happen,’ she says. ‘not even before the curse. i thought i would be like my mother, and that the most i could hope for was either to have a husband who would be kinder or to live as an old maid.’

belle wraps her arm around eve’s shoulders a little tighter, as if she wants to protect the girl of eighteen whom she never even met. knowing belle, eve thinks, that’s probably the case. 

‘i’m so glad i met you, eve,’ she says. ‘i never thought this kind of love could be possible. i’m beyond overjoyed that it’s with you.’

she cards her fingers through eve’s hair, the glint of her ring catching in the moonlight. a few minutes later, eve rearranges their positions, so that they’re both covered by the warm blankets and she’s pressed into belle’s back, her arms draped around her. their hands find each other under the covers, and they fall asleep peacefully on their first day of married life.

[thelightningstreak]

In your defense of fanfiction, what is your opinion of fanfiction that breaks copyright law? Like, a word for word copy of the copyrighted stories for example, MST that reproduce the whole movie, books, or show, or just remake (Verbatim fanmake?) of the copyrighted story but name change, substitute char or a gender change, nothing else done. Or what about fanfiction that uses copyrighted song lyrics without permission? I don't think those types help our rep much, nor the bad attitudes towardcrit

Hi, anon. Thanks for your note!I appreciate it. 

“In your defense of fanfiction, what is your opinion offanfiction that breaks copyright law?”

To begin, I’d like to say I’mnot a lawyer and do not claim to understand exactly how the legal system workswith fanfiction. To the best of my knowledge, fanfiction, ever since theadvent of copyright law, has managed to thrive only by the grace of technicalityand IP Owners’ conflicting interests. And that colors my opinion of differentkinds of fanfiction, so I struggle to answer your general question about “fanfiction that breaks copyrightlaw.” 

As I understand it, fanfictionof any currently copyrighted materialbreaks copyright law, unless the Intellectual Property (IP) Owner has publiclystated that it accepts/supports the fanfiction endeavor. There is otherwise a legalcaveat called “fair use,” which is explained by attorney Rich Stim as a “copying of copyrightedmaterial done for a limited and ‘transformative’ purpose, such as to commentupon, criticize, or parody a copyrighted work.” (Stim, What is Fair Use?)

But there’s still a huge debateabout whether fanfiction genuinely is safe under “fair use.” Primarily, peopledon’t get sued for it because they’re not making a profit from their derivative/transformativeworks. The lack of a profit, and the resulting negative publicity, would make alawsuit usually pointless for the IP Owner. The moment someone tries to make aprofit from fan-related material, that’s when the copyright laws tend to majorlykick in against them. But even those people are protected sometimes, becausemany IP Owners see minor fan transactions as a way to boost awareness and fanconsumption of the canon. So some IP Owners (definitely not all) will turn a blind eye even when there is a smallprofit being made that breaks copyright law. Sometimes, the fan hype resultingfrom fanfiction/fanart is worth more than the potential gains from a lawsuit. 

Without arguments for fanfictionas “fair use” and other such technicalities, most fanfiction today would unquestionably break copyright law. AndI rather enjoy reading and writing fanfiction for several IPs with activecopyright, so I am very thankful for “fair use” and for places like theOrganization for Transformative Works, which is working to raise acceptance forfanfiction as a fair use/transformative pastime.  

“Like, a word for word copy of the copyrighted stories forexample, MST that reproduce the whole movie, books, or show, or just remake(Verbatim fanmake?) of the copyrighted story but name change, substitute charor a gender change, nothing else done.”

As long as that fanfiction isan unpaid labor, and as long as there is no cease-and-desist order from the IP Owners, then I would assume that such a piece of work flies under theradar, to the larger world, as just another fanfiction…another derivate work inthe sea of many. 

In general, I think word-for-wordis more likely attract unwanted legal attention, because a lot of “fair use” stuffends up being protected per being highly creative and different from the canon.This article by Brad Frazer states you can legally get away with copying 10-15-word phrases,tops? Under fair use? But then after that, an IP owner will have legal grounds to sue, apparently?Sounds like it’s a good idea to not lift someone else’s stuff word-for-word inany massive way. 

From my own perspective as areader of fanfiction, I find word-for-word works unengaging. I engage withfanfiction to see a canon concept taken to a different level—that it exploressomething in a different way, or challenges or further reveals something about thecharacters somehow. Word-for-word doesn’t allow for that. It’s not adding tothe overarching “transformative” conversation, in my opinion. And it also masksthe possible style/voice of the fanfic writer themselves.  

“Or what about fanfiction that uses copyrighted song lyricswithout permission?”

I’m not a lawyer, so I would take what I say here with agrain of salt. As I understand it, since fanfiction is not yet consistentlyruled as “fair use,” then using song lyrics word-for-word is just another way toinvoke a potential legal problem. Going back to that 10-word grace limitmentioned above in Brad Frazer’s article, if fanfiction is ruled as “fair use,” then you might be ableto get away with a few lines. But since songs themselves are so short and soidentifiable even within a phrase, I think there’s a lot more risk. I wouldn’tchance it. 

From my personal perspective, a story with only a few lines,especially when a character is actively engaging with those lyrics, is far moreentertaining than a story that directly copy/pastes in a whole song. A wholesong suddenly appearing forces me as the reader to consider two separate mediums atonce. Human brains are not geared for that kind of multitasked focus. I eitherhave to skip through the song to stay focused on the overarching story, or elseI break away from the story to read through the lyrics. The narrative momentgets broken either way, and I detach from that fictional world. I believe stories should keep their readers fully immersed in the narrative. 

“I don’t think those types help our rep much, nor the badattitudes toward crit”

I agree that the more word-for-word fanfiction is, generallythe more critical the outside world is going to be. An IP Owner can turn ablind eye to only so many things. And claiming fanfiction as “fair use” per its“transformative” presence seems like a poor defense when one is just switchingout a character name or gender and nothing else in otherwise a copy of word-for-wordsource material. It definitely cheapens the legal argument for fanfiction astransformative work. 

As far as criticism/constructive feedback goes, that’s a toughone. I’ve always invited constructive feedback on my work because I usefanfiction as both a place to have fun and to learn. If I’m not trying toimprove my writing/creative skills, then I feel I’m just unnecessarily spinningmy wheels. Many others, however, engage with fanfiction purely for validation/positivereinforcement and don’t want any constructive criticism at all. A lot of peopledo not see “criticism/learning” and “fun” as things that can coexist. 

I’m not sure what the right answer is there. Inmy own opinion, the very act of publishing a work assumes the desire for externalvalidation of some kind. Or else, one would be perfectly content saving thework on their computer for no one else to see. People naturally want to receivesomething positive in return for their work, and fanfiction tends to attract alot of vulnerable populations trying to find validation for their interests. But should one demand positive feedback only? 

I think demanding “positivefeedback only” is a cultural construct that keeps fanfiction as a second-classliterary pastime. Published books, movies, shows, etc. are all open tocriticism. If fanfiction wants to be treated with the same respect as sourcematerials, then it should be held to the same standards. 

At the same time, unlike most professionalsbehind published source materials, the people creating fanfiction are notalways professionally educated or trained in the medium of writing. Many arenot trained to mentally separate themselves from their created works. And coarsecriticism is one way to kill the very spirit of joy that fandom itself needs tothrive, because people in fandom certainly aren’t being paid to write their fanfiction,haha. 

In an ideal world, I think fanfic writerswould be open to helpful, constructive feedback to assist them with betterexpressing their ideas—to be validated for their thoughts while also empoweredto reach an even higher potential. And in an ideal world, I think reviewerswould provide that constructive feedback in a way that is geared for theencouragement and betterment of the writer. But I don’t see fanfiction functioningin this way. At least, not yet. 

Maybe if fanfiction were takenmore seriously as a legitimate outlet, and if there were more benefits thansimply an anonymous kudo or review, then people would be more inclined inimprove and accept criticism? 

Fanfiction has no quality regulation,and I think the current legal environment, where fanfiction exists in a grayarea that is neither officially acknowledged nor stamped out, is part of whatperpetuates quality issues/inconsistencies. Great gems, even better than published booksand shows, exist in the midst of, admittedly, painful works. And questionablethings are usually judged by their lowest common denominator, unfortunately. It’ssuch a cycle. 

Anyway, thanks for letting meramble. I hope this helped to answer your questions!

[theinquisitivej]

A Trio of Reviews – Catching up on Bumblebots, Peppy Maries, and the (Oscar) Favourite

I don’t go out to the cinema much in late December. I don’t drive, and I always visit family in a part of the country where a cinema isn’t exactly in walking distance. This hasn’t been much of a problem over the last few years, as there’s usually only one film out that I’m aching to see, and that’s often the one movie we all go out to see together. This most recent December though? It was nuts! All four of the big blockbusters that were playing were films I was interested in and excited to check out. Once the holidays were over, I had a lot of catching up to do. I’ve since seen all but one of the December releases (ironically enough the one I didn’t see was the one that, judging from its box office, everyone else went to go see – Aquaman), plus one other film that was weird, fascinating, and has been well received as a critical darling. So, here’s this week’s trio of reviews for The Favourite, Mary Poppins Returns, and Bumblebee, in the order I saw them in.

The Favourite

Artistically impressive but deliberately unpleasant.

         The Favourite caught my attention when I first saw the trailer because it was a period drama that revelled in the fashion, the art, and the general finery of the early 18th Century, and yet the camera angles were strikingly different from what I’ve seen in other period dramas. The genre can be hit-of-miss for me, but every shot I saw in that trailer was doing something that interested me.

         There’s a lot to chew on when it comes to the visual presentation of the film. Characters are often shot from low angles, and while this can make some characters seem confident and of noble stature, it also creates an uneasy feeling when we see people showing their vulnerability and flaws. Shooting people from this angle frames them as if they’re towering over the camera, and when you combine this with the magnificent attire on display, the visuals should, in theory, present the subject in their best light. But Queen Anne, played by the immeasurably skilled Olivia Colman, is often shown to be feeble and susceptible to manipulation from such angles, and we see many others be vulgar, cruel, and inhuman in ugly ways. The film shows a familiarity with the beautiful elegance of the film’s setting and other examples of the period drama, and it subverts your expectations time and time again by gradually turning your sympathies around on the characters you expect to like and expect to hate. It points the camera directly at the most horrible aspects of this world and its people, and there’s a strangely captivating quality to that. It’s ugly, but it’s magnetic as well.

         The three performances at the heart of the film are what sustain your interest throughout The Favourite, because all three of the actresses are on top form. Emma Stone plays Abigail in a way that has her act very differently depending on who she’s talking with, showing just how hard she’s working to stay afloat in this world of politics where she’s at a disadvantage, giving a performance that keeps you guessing what her true nature is for much of the runtime. Rachel Weisz evokes such commanding authority and confidence as Lady Sarah, wearing each of her impressive outfits better than anyone else in the film because you believe that she deserves the station she’s acquired for herself, even if she is ruthless. Olivia Colman has taken a lot of the focus as Queen Anne, being the one to snag the ‘Best Actress in a Leading Role’ category while Stone and Weisz have been relegated to ‘Supporting Role’ nominations. All three of them equally deserve to be called leads, and to tell the truth, I’m pretty sure Queen Anne has less screen time than either of the other two protagonists. Nevertheless, all three of these actresses deserve praise for their performances in these leading roles, and Colman is no different; she expresses a wide range of emotions with sharp sincerity, always making her scenes uncomfortable to watch because you really feel like you’re in the room with someone having an emotional breakdown and you have no idea how to help them. These actresses are excellent and make The Favourite worth watching even without all the other impressive features the film has to offer on top of this.

         The flipside of The Favourite doing so much to emphasise the rotten nature of this world and its characters is that, while the visuals and all the formal features of the film are praiseworthy, the final shape of the narrative has so little warmth to it that it leaves me feeling a little cold towards it. The film is a hundred percent committed to its vision of unflinchingly showing you the harsh ugliness underneath the elegant surface of this point in history, but because of this I felt disengaged with many of the character’s journeys because they would do awful things to other people for selfish reasons, and they did so with such little humanity that I simply didn’t want to see them succeed, nor were any of them appealing enough to make seeing them succeed feel satisfying. The only character I had any sympathy for by the end was Queen Anne, as she’s a woman in desperate need of help surrounded by people who’re only interested in her as a means of furthering themselves. There is some dramatic meat to that, and the bleakness of it is presented with enough purpose to make me think about the film for a long time after I was finished watching it. After all, history isn’t always satisfying, and it’s filled with people who did terrible things to get ahead, so this film would probably be compromised in its vision if it did try to make this unflinching look at this particular point in history and then deliver a narrative where good people are rewarded and bad people are punished. But there’s only so far that a film with as little compassion in it as this can go before my spirit gets tired of seeing mistreatment and hopelessness. The Favourite’s technical qualities are a treat for the mind, but its general outlook is draining on my soul.

Final Ranking: Silver.

The Favourite is coarse, and the emphasis of selfish people being terrible does wear on me and get in the way of me engaging with the motivations of several characters. But the technical skill on display in the cinematography, the lighting and colour coordination, and the three central performances come together to make an impressive piece that, even with my reservations about the story, results in a fascinating and distinct film.

 Mary Poppins Returns

Mary Poppins Returns is a sequel to a classic film that follows the framework of its predecessor so closely it’s almost beat-for-beat. And yet even with this deliberate mimicking of Mary Poppins, it also somehow tells a different story and doesn’t come across as if it’s resting on its laurels. At the point in the film where the original would be playing ‘A Spoonful of Sugar’, Returns has a song about putting an imaginative and fun spin on everyday activities. When you’re thinking that it’s time for a trip to an idyllic 2D animated landscape, Returns obliges. If you’re realising that we’re scheduled for a ‘Step in Time’ music number, Returns gives you one with lamp-lighters instead of chimney sweeps.

         But if you think that reprises of ‘Supercalifragilisticexpialidocious’ or ‘Feed the Birds’ would be an easy slam-dunk of nostalgic ecstasy that the film would be foolish not to go for, you’d be surprised. Apart from the odd line of music here or there that’s snuck in at just the right moment to make you remember the original film, none of the original songs are to be found, and that works immensely well in Returns favour. The movie is already lifting the structure of the original film wholesale; if it took anything else from it we’d be approaching live-action remake levels of similarity. Instead, the new songs are there to stand on their own, and they mimic the sound of the Sherman Brothers’ music closely enough that you feel elated when the film wants you to be having a good time, and deeply moved when it wants you to sob your eyes out. But they’re also different enough and of unique enough subject matter that the new songs by Scott Wittman and Marc Shaiman (whose previous song writing work includes the Hairspray musical) feel totally distinct, even if they do have a familiar sound to them. Some of my favourites include Emily Blunt’s playful performance of ‘Can You Imagine That’, the amazing choreography of ‘Trip a Little Light Fantastic’, and of course the tender bittersweetness of ‘The Place Where Lost Things Go’.

         The casting also holds up across the board. Pixie Davies, Nathanael Saleh, and Joel Dawson play Annabel, John, and Georgie, the three children of the now adult Michael Banks. They strike the right tone for the central child characters in a Mary Poppins story, demonstrating a decent balance between being impossibly sweet-natured but also strong-headed enough to say what they feel as they feel it and sometimes cause trouble because of that. It’s difficult for me to think of many distinguishing characteristics which mark each of them out, but in all honesty I could say the same about the original Banks children, even after all those viewings. Plus, having three children rather than two does shift the dynamic enough to make the experience feel different. Ben Whishaw plays the adult Michael Banks, who grew up to be an artist who’s struggling to make end’s meet through his work at the bank, so while he did pursue a creative life that marks him out as a different man to his father, he also resembles him in many ways, and clearly risks making the same mistakes that he did. But the thing that resonates the most about his character is the set-up that his wife passed away not too long ago, and the whole family is still coming to terms with the hole this has left in their lives. Whishaw’s performance stabs at your heart, conveying how helpless Michael feels without her, but also how hard he’s trying to not show this to the rest of the family. His resolve to soldier on reminds me of the long walk Mr. Banks takes at the end of the original, knowing he is most likely going to be fired, but moving on anyway. The connection between the two characters is well thought out, and Whishaw impresses immensely. There’s not as much time dedicated to the grown-up Jane Banks played by Emily Mortimer, which is a shame, but it does feel right to see her be inspired by her mother’s activism as a suffragette and campaign for worker’s rights. Lin-Manuel Miranda fills in the Bert role of the lovable guide who’s savvy to Mary’s unknowable nature as Jack, an apprentice that Bert seems to have more-or-less raised himself. Miranda sings his songs with such cheery charm that they instantly transport you back to the world of Mary Poppins, demonstrating his golden touch when it comes to musicals, surprising none of the fans of his previous work, including Hamilton and the songs from Moana. Finally, Emily Blunt is another transcendent Mary Poppins. Yes, we now have two cinematic portrayals of the same character which are different, but both stunning. She accentuates some of the aspects I most enjoy about the character, namely the prim, immaculate composure that oozes authoritative control, but can instantly, effortlessly transform into cheeky playfulness before your eyes. She nails it, and as far as I’m concerned, we now have two Mary Poppins performances that are practically perfect in every way.

         This review is already running long, so I’ll get through this quickly, but… my God, did seeing traditional 2D animation in the style of Disney’s original hand-drawn pictures on the big screen again in 2019 move me beyond words. There’s plenty of quality 2D, non-CGI animation out there in different forms, whether its in television, short films, the labour of love that animators are putting out there on the internet, or anime, but we really do need more of this mode of animation out there. There have been some truly beautiful 2D animated films over the last decade, but I want to see more of this kind of genuine effort from Disney, the company that put this cinematic hand-drawn animation on the map for western audiences. This beautiful artform needs to be preserved and cultivated, and I hope this is a step towards Disney doing more to help with that.

         I will admit that Returns following Mary Poppins’ structure so closely did take me out of the film to a degree, as it makes me more aware that I’m watching a sequel that’s very deliberately aping the film that came before it, which makes it feel less organic than it could have been. To be fair, I’m not sure what else you could have done to make it have as strong a connection as it does to the first film. There’s also an unnecessary sequence here or there which are intended to be thrilling but I never felt like there was much tension to them, such as the race against the clock at the end. It doesn’t reach the heights of the original, but wasn’t that always going to be the case? In every other respect, this film is a delight and a satisfying emotional journey.

Final Ranking: Silver.

You can’t watch Mary Poppins for the first time again. But this film nevertheless gives you a taste of what you felt, whether it’s that joyous exuberance of having a jolly holiday with Mary, or the bittersweet reflection of an adult acknowledging that time keeps pressing on, the seasons change, but you can still find the magic in today.

 Bumblebee

The director of Kubo and the Two Strings directed a Transformers movie.

I’m currently doing academic research into the history of American stop-motion animation. I plan for one of my chapters to be on Laika and their four (five by the time I finish, though I hope there’ll be even more than that) excellently crafted films, including Kubo. Watching Bumblebee, I noted a few similarities between it and Kubo, such as a young main character going on an emotional journey as they struggle to come to terms with the death of one or more of their parents, and a celebration of the emotive powers of music that enable us to express our inner feelings, as well as Travis Knight’s general appreciation for certain specific older songs in general. So yes, watching Bumblebee did make me reflect on the approach to filmmaking of a director I’m deeply invested in for my work at the moment. What I’m saying is that watching a Transformers movie was a productive part of my ongoing academic research, and that is a bizarre place to find myself in.

But what’s even weirder than that is that one of these Transformers movies turned out to be a legitimately great film that I kinda love.

         Everything that muddied the waters of past Transformers films that Michael Bay was involved in has been stripped away, and the simple narrative framework that exists underneath all of that has been strengthened by a script and style of presentation that knows how to make the most with very little. The majority of the film can be summarised as “a girl and her pet car”, and while the sceptical might call that inane, the people involved in making Bumblebee work hard enough with that premise to make it work for a full film.

         Charlie, a teenage girl and the human protagonist of the film, has lost her father and is upset that the rest of her family has moved on (her mother remarried). Her dad was very supportive of her, and now that he’s no longer around, Charlie is deeply dissatisfied with the person she’s become since her father died, and she doesn’t believe she can complete certain tasks that mean a great deal to her without her father being there to help. Charlie feels she hasn’t turned out to be the amazing person her dad believed she could become, and it’s possible that she’s afraid that she’s letting not only herself down, but the memory of her father as well. Meanwhile, Bumblebee is a Transformer that was tasked with going ahead of the rest of the Autobots to safeguard Earth and be ready for when the rest of his comrades arrive on the planet to continue the fight against the Decepticons. But soon after he lands, he gets involved in a fight to the death that he almost loses. Gravely wounded, he uses the last of his strength to disguise himself as a yellow 1967 Volkswagen Beetle. Some time later, Charlie finds him, and what she thinks is a broken-down abandoned car comes into her possession. Charlie fixes him up in the hopes of having a working car that she can use to get away from things, but in the process, Bumblebee instinctively transforms and reveals himself. Bumblebee’s injuries have destroyed his capacity to speak and have left him with no memories of his past. After cementing the connection between these two individuals who each need help in order to heal from the trauma they’ve gone through, the rest of the film takes its time to reinforce this bond, resulting in a touching family sci-fi film with a friendship that I believe will be just as enduring as its various sources of inspiration, from E.T. to The Iron Giant.

         Without being overstuffed, the film’s pacing benefits immeasurably, putting all its energy into making this friendship as sweet and fun to watch as possible. Hailee Steinfeld is fully engaged as Charlie, putting 110% into her interactions with the digital creation of Bumblebee. The emotions she displays at the different points of her relationship with the adorable Autobot are charmingly heartfelt. Whether she’s anxious about Bumblebee being discovered, jubilant at this chance of newfound freedom and a friend to experience it with, or angry and defensive when parts of her past with her father get unearthed, Steinfeld is always putting everything into this, even when her main acting partner isn’t there on the set alongside her. Which brings us to why having a director with a history in animation can do wonders for a film centring on a digital creation, because the Bumblebee in this movie is precious, lovable, and so captivating to watch. The design is streamlined so that every moving part serves a purpose, and that purpose is always to convey the inner thoughts and feelings of this robot. His expressions are dripping with soulful looks of his timidness, compassion, or mischievous side that never veers too far away from his well-meaning nature.  He may be made of metal, but this CGI creature is so full of life. Both the arcs and the performances of these characters are relatively simple, but they’re executed with such consideration that they hit home in a remarkable way for me.

         I could go on about how much I enjoyed the measured action that’s presented through restrained camera movements that clearly frame the subjects of the shot, or how I engaged with the action as much as I did because it consistently featured characters I was invested in or interested by, or how the actions characters took within these sequences offer insight into their general outlook, but I’ll leave it at that barely veiled summary. Bumblebee draws inspiration from several well received family sci-fi films with a lot of heart to them, and some of the positive parts of the action and general aesthetic of this live-action Transformers world are owed to the groundwork provided by Michael Bay’s films. But even if Bumblebee owes some credit to other films that have preceded it, it understands the deeper reasons for why the aspects that worked in these other properties were as successful as they were, and it weaves that informed technical prowess of storytelling and filmmaking with genuine love. Love for the idea of Transformers, love for coming of age classics with a fun twist to them, and a beautiful friendship between two characters who each heal from the love they show each other.

Final Ranking: Gold.

The film is a delight for its simplicity and earnestness, but that doesn’t mean there’s a lot of technical skill on display in the performances, the animation, or its use of colour and camerawork. It warms the soul, and my mind comes back to it more often than I’d ever expected. It’s got the touch.

[lightsandlostbells]

Skam Italia episode 9 reaction

shout out to the sheer number of snake emojis in the comments on any clip featuring or mentioning Martino

Episode 9

Clip 1 - Silvia spills the beans

Skam Italia being educational, kinda! I’m going to try out this headache technique. 

According to the subs I found, Sana’s janitor told her about it? … her housekeeper? That’s probably closer to what it was but I just like the idea of Sana going around striking up conversations with janitors.

But another version of the subs didn’t have that part at all so  ¯\_(ツ)_/¯

Dear Lord, Silvia, chill the hell out. Someone sitting in someone else’s car doesn’t mean they’re dating. Although lmao, Eva and Noora could have stood to learn that in season 2.

Actually, I do get how Silvia would be upset? She’s really jumping the gun but Edoardo just treated her like crap in front of people. I would probably be a little hurt that my friend was maybe hanging out with someone who hurt me. The problem with Silvia is that her motivation is less, “Eva, how could you associate with someone who’s treated me like garbage?” and more, “Eva, what were you doing with my mans???”

Evaaaaa, why did you trade that completely obvious look with Eleonora??? Just make it seem the most suspicious you can. I mean, if you don’t want to spill the whole truth about Edoardo digging for info on Eleonora, you can literally say “I studied for my exam in the car and he asked me about it” and technically that’s not a lie.

The flashbacks with Eva and Laura were pretty cute. Aesthetic hair-braiding!

I do like Sana immediately being like “lol why would you trust Laura” and bringing up the water throwing incident as a sort of logical evidence why Laura isn’t the greatest, as opposed to Vilde/Silvia saying something dumb and Islamophobic and Sana having to mention the water incident as proof of her loyalty.  Also Silvia looks humbled by Sana mentioning she was defending Silvia’s honor. 

Sana asking Silvia whether she has to meet her mother was a nice way of calming the situation for Eva’s sake while getting Silvia to leave before the problem can escalate. It was thoughtful for Silvia, too, as it gave her a chance to escape instead of digging the hole deeper.

I'm glad that the Edoardo lift had more plot relevance than just ship teasing (multi-tasking is A+) and I think that it’s good to illustrate how much it would break Eva is to lose a friend again. Her offering to let Silvia listen to the message she left Martino as proof is rather heartbreaking in its desperation. On the other hand, I don’t know how I feel about the emotional impact of this scene having to be more about poor Eva weeping and having to beg Silvia for forgiveness over something that was ultimately trivial and meant nothing, and that we as the audience know meant nothing, rather than Eva dealing with the guilt that she’s been carrying around for months over destroying her relationship with her best friend. That is the Big Secret Eva has been hiding from both her new friends and the audience so it probably needs more focus (which to be fair, is elaborated on in the bathroom scene later).

I saw some talk of how people thought it was an improvement that Silvia didn’t call Eva a slut, and while of course it’s nice that she didn’t do so, I don’t get why it’s better for Silvia not to call Eva a slut in this version since Noora directly confronts Vilde about it in the moment, it’s not like it was this casual misogyny in the show that went unaddressed. That was the point, it was a teachable moment. It’s certainly not worse that the moment wasn’t there, I just think it’s more about how it’s handled than anything else. (Also, I mean … Vilde being a jerk was specifically a tip off that something was going on with her.) 

Clip 2 - Eva talks to a friendly serpent

Martino knows all the school drama and social scene. It is pretty damn shady of him to be like oh yeah, they didn’t invite you because that girl whose boyfriend you kissed, her friend is organizing it, when he is responsible for the apparent non-invite in the first place, or so he would think. But he’s so casual about it. Not much guilt when he tells her that. Maaaaybe a little more when she starts to tell him about what she’s dealing with at school? IDK.

Eva sounds less angry or frustrated, more defeated.

I’m still wondering what her arc is going to be? Because there isn’t that pressing question of “who are you?” and her not having her own identity, it’s like … I guess she’s questioning whether she’s become a bad person? Sort of? She has Silvia making assumptions about her being a bad person, Laura thinks she is a bad person based on events that really happened, and Gio is questioning why she hangs around with bad people. That could be an area to explore in terms of her relationship with Laura but I’m not all that sure how it would play regarding her and Gio since Gio has made many of the same mistakes she has, he can’t exactly talk.

Martino trying to pull some reverse psychology is cute because he can’t quite keep a straight face. 

Sucks that this friendship is about to go down the toilet!

Clip 3 - Eva and the older girls

Heh, this angsty song gets cut off as soon as we establish that Maria does not give a crap who Eva is.

I always enjoy this scene and this advice. It’s one of the most underrated parts of season 1. These girls didn’t seem as invested as giving Eva some friendly advice but again, love that they get interested in their own sexual exploits rather than Eva’s and she ends up just walking away.

It’s nice that there was a totally logical, boring reason they didn’t get invites though how were they planning to invite everyone else once they stopped on Facebook? Word of mouth?

Mmm, I don’t know if I totally buy that Alice’s BFF doesn’t give a shit at all who Eva is? Of course her maturity is nice, and I can certainly buy that she doesn’t care enough to keep Eva from being invited to the party, but Alice got in a physical fight with this girl because she was that upset. . Like who were those girls accompanying Alice in the fight if not her friends? (At first they seemed like they wanted to hold Alice back but by the end it seemed like they were fighting as well.)

I think I’d have preferred if Maria was like, “Just between you and me, Federico is a fuckboy and I’m glad Alice can see the truth now,” or “I don’t like that my best friend was hurt, but I’m not petty enough to keep you off the list” or “I love Alice but she overreacts to everything and makes a lot of drama.” Or just some explanation for her total lack of fucks. The older Norwegian girls weren’t like, Iben’s best friends, correct? They weren’t even in the same grade? Maria has her BFF involved.

Clip 4 - Hippogriff

Fede, teach me your ways of absorbing information just as Sana showed us how to get rid of headaches.

Sana having an uncharacteristically soft moment and trying to deny it. She’s been really blunt with Silvia but their relationship has been all about helping Silvia with no apparent gain for Sana, except friendship.

Also she’s very reluctant to spread rumors, like this Sana goes from hard to soft pretty fast.

Federico and Laura leaving the men’s bathroom together sure adds a layer to Edoardo’s comment about Silvia hanging around the boy’s bathroom! That is just a thing these characters do, hook up in bathrooms. In S3 Martino can just wander into any men’s bathroom and find a girl to pretend to like.

Clip 5 - Eva and Laura and Alice

Nice use of music with the tense beat going as Eva drags off Laura, then it cuts off abruptly as Eva is about to get real and vulnerable.

This is easily the best acting Italian Eva has done so far. There have been a few “emotional” scenes where I thought she seemed too theatrical and not natural for the material but this was very good. I almost wanted them to stretch it out longer, as in the original, so we could get more of this performance.

And I’m pretty sure Laura was crying too by the end, which is very touching. I do think it’s one of S1’s best aspects how the Ingrid/Laura is not the villain, is actually the wronged party, but that she and Eva are able to come to a peaceful resolution.

It’s pretty sad that Eva made that little attempt at a wave back in the first clip. She really missed Laura.

Ha, I didn’t care for that Alice intro, though! Seeing her come up in the hallway definitely distracted from this intense, emotional acting between Eva and Laura. Especially because the moving music keeps going as she’s spying on them, and only cuts off when she throws her books down. I think it would’ve been more effective to keep the Eva-Laura shots going and keep us really engrossed in their dialogue, and then when Laura mentions Fede, suddenly cut to Alice standing like right there in the doorway and cut off the music, for a true jolt and change in the scene’s energy.

Alice’s actress looks so defeated as she realizes what a piece of shit her boyfriend is. And it’s nice that she apologizes and asks how Eva is doing. You know, before she inadvertently reveals Eva has been betrayed by a good friend.

“He looks like he cares about you” does that mean Martino looked pained when he told Alice about Eva and Fede? Boyyyy, why did you do such a stupid thing? (I know why, it’s still stupid.)

General Comments:

This has been a solid remake and overall they’re handling Eva’s emotional turmoil well. The point I’m wondering about is what Eva’s ultimate conclusion/personal statement is going to be since they’ve left out a lot of the questioning of her identity and insinuations that she is a follower not making her own choices. Season one’s strength lay a lot in that finale so I hope they have something cohesive for her character.

I am not Italian so if I misunderstood something or missed context, feel free to correct me.

If you got this far, thank you for reading!

[licencedtoretire]

With Brian moving on to Ranfurly the previous night we had the Tiroiti freedom camp  (#8352) almost to ourselves with just the caravan and car that had it’s alarm go off there for the night. During the 2 days we had been parked here we had seen the farmers coming to and from their farm with a friendly wave as they went past. The people in the South Island are just a completely different breed to those in Auckland. The farmer also mentioned that the most number of people she had seen staying at this spot was 7 but most nights was a lot less than this.

We were treated to a real sight this morning though with the sheep being driven past the van. They had been past the previous day for drenching then it was back to the fields in the morning. We really felt like we were in the country.

As well as the episode with the sheep we also had this helicopter buzzing around. Landing and then taking off in the next paddock over we think it was checking something but we don’t really know. However it was another thing that added to the days excitement.

It’s only a short drive from Tiroiti to the NZMCA camp in Ranfurly (#8760) but with hardly a cloud in the sky and amazing scenery on both sides of the road I could have kept driving for ages. The camp has a dump station right on it’s border so after we had emptied the waste tanks it was our choice of spots in a camp with tons of space. Brian later told us that he was here for the opening of this camp when there were over 60 vans here.

After we had the bikes set up I went looking for the Rail Trail as we weren’t sure where it was. Turns out it was less than 50 metres from the camp. With that sorted we set off back towards Kokonga the furthest we had got the previous day. Passing through Waipiata it was nice to be welcomed by Waipiata Man who has obviously been holding his arm out to cyclists for a number of years.

The trail is very flat on this section as well as very straight as you leave Ranfurly making for a very easy ride. I must say that all three of us are constantly remaking what a great trail this is with scenery that is ever changing and how lucky we have been with the weather.

The trail crosses numerous bridges as well as crossing the Taieri River a couple of times. The restoration of the old rail bridges adds some real character to the ride with the old steel work retained as well as in some cases the original wooden railings.

We came across these guys at the site of the original quarry. These blocks were all hand shaped from much larger ones then shipped to Dunedin where they built the famous Train Station from them. This is actually one of the major reasons that the rail link was built so the quarry could be connected to Dunedin.

We reached the lodge at Kokonga the point we had ridden to the previous day a place with special memories for Brian who had spent time here with a large family gathering 9 years ago. Turning around on the ride back to Ranfurly we discussed plans for the rest of the day. One of the things about the area is that it’s not just the rail trail being in these small towns gives you the chance to really explore the area. 36.5kms for the morning not a bad ride.

Before setting out with Brian in his car Sarah and I took the chance to wander through Ranfurly. The old train station has been turned into the I Site with a number of displays documenting the history of the area. You can also watch a short video that runs through the history of the rail line if you have 10 minutes to spare it’s an absolute must to watch as it covers all the areas we had been and will be riding.

There are a couple of art deco buildings including the Milk Bar a really prominent feature of the town right on a main corner. The Hotel across the road from the train station evokes a sense of a time long gone just by it’s presence.

Sarah was insistent that I have a photo taken under the John Street sign that we came across as we wandered around the town. The streets of Ranfurly have trees everywhere with this street lined with the red berried tree on the right of Sarah.

We jumped into Brian’s toad (a car towed behind a bus is called a toad) and headed for the hills to the old TB hospital a complex that is now a religious centre with open gates where you can explore the grounds and admire the old buildings. They also have an art gallery with some decent paintings by a couple of the residents on display.

From the old TB Hospital to the old cemetery at the top of the hill. What an amazing view over the plains below us. I know it seems creepy to some to visit graveyards but the sense of history that you feel in these places makes it well and truly worth while. This one is worth a visit just for the view.

We woke the following morning to this stunning sunrise over the camp. It had filled up a little during the evening with 18 sets of campers enjoying the facilities it’s a great part of being an NZMCA member that you can enjoy these sorts of places.

It was back on the bikes again to head up the trail to Wedderburn one of the few places left on the trail where the original train station still stands. It’s such a shame that when they lifted the tracks that they didn’t have the foresight to think to preserve this sort of history. Like most of the stops on the way the station has sign boards that give a brief history of the surrounding area as well as distances to the next stop.

With Sarah choosing to return to the camper at Wedderburn, Brian and I rode on to Ida Station the highest point on the Trail. Riding to there also helped balance the distances we are riding each day since we are riding there and back. The ride back was almost completely down hill so Brian and I powered back at almost 40kmph great fun as we went screaming down the hills.

With Brian again offering to play tour guide we set off towards Dansey Pass an area of extensive gold mining in the Otago region. First stop was the old graveyard where this signboard outlining the various charges to be buried depending on your age etc.

The whole area is covered in information boards with a number in and around the pass at the cemetery there is the tragic tale of two boys lost in a snow storm who along with a few of the people out looking for them perished from the cold. It makes really sad reading but it also makes it far more interesting than just turning up and seeing the graveyard without any explanations as to the history of the area or who is buried here.

As we drove along the road we spotted this fellow gold panning in the river. He told us that although he didn’t personally have a claim he had permission from the person who does to look for gold in this part of the river. He also told us that he does it for fun with only small pieces of gold to be found here he is lucky to find more than $50 worth in a day but he loves doing it. He did have some specks of gold in his sluice but that’s all they where specks.

We arrived at the Dansey Pass Hotel the last one standing from the days of the gold rush in this area. The original part of the hotel has been converted to accommodation with 19 rooms available for guests. The new part of the hotel built in 1990 forms the bar and restaurant area with the open fire blazing the place had a very friendly welcoming atmosphere.

The Manager was a fountain of knowledge telling us that the new part of the hotel was built of bricks constructed of local materials by a special machine imported from the USA just for the job with the amazing roof trusses recycled from a factory that was being demolished in Christchurch.

Also shown in the photos above are the ruins of one of the old buildings left standing in the hotel grounds as well as the huge Macrocarpa tree that was being felled a huge job as it’s right next to the hotel with it’s natural line of fall directly over the hotel roof.

To finish the day we took a drive into Dansey Pass an area of dramatic scenery with a very narrow road, not one that I would want to take the new Motorhome through but probably would have been OK taking the old Mitsi through as it’s smaller with a higher ground clearance.

It was then back to Ranfurly for another night at the NZMCA park with the plan to move up the road the following morning to start day 5 of the trail ride.

              Otago Rail Trail Part 2 With Brian moving on to Ranfurly the previous night we had the Tiroiti freedom camp  (#8352) almost to ourselves with just the caravan and car that had it's alarm go off there for the night.