#what an emotional and visual spectacle

[feline-ranger]

In light of the sad news about Bernard Hill, I feel like we should take a moment to really appreciate the acting performances in the LOTR trilogy. The fact that none of the cast got Academy Awards is well-known and I think even now the sheer visual spectacle of the trilogy can overshadow everything else, but the performances were SO crucial to what made the films great.

It’s easy to take the success of the movies for granted now, but that was never a guarantee. Aside from the practical aspects of portraying such an epic fantasy onscreen, the series is peppered with dialogue that is fine on the page but unbelievably difficult to deliver. As Harrison Ford famously remarked to George Lucas re Star Wars “You can write this stuff, but you can’t say it.”

From Gandalf’s “To the Bridge of Khazad-Dum!” to Elrond’s “It must be cast back into the fiery chasm from whence it came!” it would be so easy for the whole thing to collapse into farce. The only reason it doesn’t, is because of the talent and conviction of the actors.

Bernard Hill was tasked with one of the most objectively ridiculous lines in the entire trilogy. “The horn of Helm Hammerhand shall sound in the deep one last time!” And he delivered. BOY, did he deliver. He gave it all the gravitas and emotional weight of Shakespeare, he made it truly rousing instead of ridiculous, he took the audience with him to that moment, that place, right into Middle Earth with its people and its history, and made it REAL.

And for that, I thank and salute him. RIP, sir. Go now to the halls of your fathers. You earned it.

[kingofthewilderwest]

We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

[violet-moonstone]

once more defending my love, book!elphaba thropp

reading reviews of wicked and im seeing people say they hate book elphaba because she's "unlikable"

so many people love the feel good vibes of the musical while not seeing that they sound exactly like people who would have shunned elphaba at shiz for not being pleasant enough and making them feel unsettled instead of putting them at ease

I'm saying this because I find that people are often much more charitable towards fictional characters than real people -- and people IRL who have Elphaba's severe, unwavering personality and unwillingness to conform often face the same social stigma she did, no green skin required. Like yes, Elphaba was an outcast because she had green skin, but I don't think the green skin is the point of the novel. I think her being green is a visual manifestation of being so at odds with what you're "supposed" to be that people demonize you for it. Book Elphaba is queer and hinted to be intersex. I read her as neurodivergent, so this all tracks to me, and considering that other forms of oppression and stigmatization are very important themes in the narrative, I think the green-ness simply emphasizes to the other ways in which she's marginalized.

Trying not to go into the Wicked rant that I tend to do every few months but I feel it coming on

I'm all here for critiques of the novel, because it certainly has flaws, and I understand why people don't enjoy it -- but there is something funny to me about people wanting a narrative about looking beneath the surface to find true value but hating the version of that story that requires the most compassion to appreciate. Like the musical is fun and well-made but it does not require any effort to like musical Elphaba because she's conventionally attractive woman who's feisty and kinda quirky...oh and she's also green. And her being green matters more to the other characters than to us. We don't care that she's green (because we already know it would be wrong to judge her based on that) and the musical gives us no other reasons to judge her, so we don't really have to process any complex emotions.

(Sidenote, I think if book Elphaba were still green but more conventionally attractive, bubbly, and less political, she would not have been as much of an outcast -- at least not in her later adolescence. Her green-ness could have been a novelty or spectacle that she used to her advantage if she made up for it by being more palatable in other ways. Of course, she would never do this, because that's simply not Elphaba. She could never twist herself to be anything other than who she is, even out of social self-preservation.)

Book Elphaba is so much more prickly and unpleasant --and hell, so was I at the height of my social ineptitude and feeling like there was something so so wrong with me (because why for the love of God couldn't I just fit in and act the way the cool kids my age did).

Her unpleasantness and seriousness and insistence on talking about important things that make people uncomfortable are her green-ness imo. Those are the things that affect how we as the reader experience her, and we must experience her strangeness as well.

And while I understand that if the moral of the story is essentially "don't judge a book by its cover" then yes, you can tell a thematically sound story about a girl who is actually pretty cool but just happens to be green and talk about how she's ostracized simply because she looks different. That's a perfectly fine story -- but I think it can go much further -- because it's not only wrong to marginalize people who look different, it's also wrong to marginalize those who are internally different. Difference is persecuted whether its visual or behavioural.

Even if Elphaba weren't green, there are inherent aspects of who she is that prevent her from conforming to the ideal, both in her world and ours. And I think valuing her with all of those things in mind is a lot more rewarding than simply liking her despite the fact that she's green.

Anyway I love Elphaba Thropp and I don't think her being more palatable would have made the story better — it simply would have made it more popular, and I think on that at least, fans of both the book and musical should be able to agree is not an inherently better thing.

...

OK one last point, I saw someone saw they prefer the musical because it has more "girl power" meanwhile the book feels "obviously written by a man" and I just...dear god what a surface level take

Yes Gregory Maguire is a man (oh, the horror!), but he wrote the women in Wicked as people, without hand wringing about if they're likeable or pleasant enough. They are flawed and raw and not just there to make the audience feel warm and fuzzy. He writes about sexuality without making women feel like sexual objects -- I suspect because he also writes about the sexuality of his male characters (the women aren't just in the story to turn us on) and he himself is gay, so there may be less male-gaze going on than with a lot of men who write fantasy. Yes, characters are described in sexual ways, but this happens regardless of gender.

[starlattethesqueakwal]

Just noticed something wrong...

I finally watched Wicked (the movie) and I just realized something.

Vivziepop focuses on how a musical feels, but not how it makes us think. She thinks about the spectacle, the glamour, when in reality what matters most is that the music tell a story.

So far we got:

All of Stolas's songs, which are just emotional fluff that doesnt even have a story connection EXCEPT for mastermind. They just come out of nowhere to be "OH WOE IS STOLAS!" and nothing else. :/

Loser Baby, which just throws insults at Angel Dust and "empowering" visuals to look like theyre "bonding" when in reality Husk is just calling Angel a "whiny bitch!" for being a sa victim. (Gross!)

Loo Loo Land, once again, for spectacle and nothing else storywise despite easily having explained Blitz's backstory with RoboFizz a bit more or AT LEAST him threatning Blitz somehow.

-and besides that, I cant even name a song that has actual plot relevance besides Charlie's intro song and MAYBE Respectless.

Its honestly an insult to musicals. Really, it really is.

Musicals are so much more than "WOW! This looks and sounds cool!"

They tell a story.

Viv just wants the "WOW!" factor, not the story relevance or interesting storytelling as much as the actually decent musicals such as Cats or Wicked. Saying this all as a theater kid.

[marina41trench]

Izumi Iori - 16 STAR SIGNS RabbiChat

Nikaidou Yamato: Well then, Ichi-san. I’m looking forward to working with you for the “16 STAR SIGNS” interview.

Izumi Iori: Yes, I look forward to working with you as well.

Izumi Iori: I’ll ask just in case, are you not going back to your room?

Nikaidou Yamato: This is fine. Let’s have a RabbiChat together

You did it with Mitsu and Riku in the living room before, right?

Izumi Iori: Well, we did.

Izumi Iori: Nii-san and Nanase-san fill the gap with their energetic gestures, speaking what they type, and frequent changes in their expressions.

You don’t show much emotion, and your movements are very limited.

Nikaidou Yamato: So you mean that talking in a RabbiChat with me in the same room is not interesting,,?

Izumi Iori: I didn’t say that.

Or rather, please don’t suddenly make a pleading face

Nikaidou Yamato: That’s because you said that you prefer I change expressions

Izumi Iori: I didn’t say that either.

Let’s begin the RabbiChat interview.

Nikaidou Yamato: Thanks, Ichi 🥹

Nikaidou Yamato: Since we’re already doing a RabbiChat face to face, I’ll sit beside you~

Izumi Iori: Eh

Nikaidou Yamato: Feeling embarrassed?

Izumi Iori: I am not

Nikaidou Yamato: What a cute guy (laugh)

Izumi Iori: How vexing (angry)

Nikaidou Yamato: I wonder how we’ll start, though.

I’ll try imitating Manager from the previous project

Izumi Iori: I agree. Since we’re the first batch, let’s do it formally.

Nikaidou Yamato: Yes! This time in “16 STAR SIGNS,” a member of the same group will interview the birthday person as part of the project.

The interview will be in RabbiChat, so you’ll feel closer to the idols!

Nikaidou Yamato: Getting to the point, the interview contains 4 important points!

1. Thoughts on the opening

2. Your favorite visual displayed in the exhibit

3. Original question from the interviewer

4. Message to the fans

Nikaidou Yamato: Yamato-san will be in charge of asking these 4 questions to Iori-san.

Please treat them well! ✨

Izumi Iori: You

Izumi Iori: You even imitated Manager’s tone

Nikaidou Yamato: Oh, you’re smiling

I like the idea of doing a RabbiChat in the same room!

Izumi Iori: I was taken by surprise

Nikaidou Yamato: Okay, let’s continue while we’re at it.

Starting with the first question! What was your impression that you’ll have your own “16 STAR SIGNS” birthday store?

Izumi Iori: Of course, I was happy.

It’s not usual for IDOLiSH7 to be chosen for such a large scale project

Izumi Iori: I’m thankful that we could enjoy more things with the fans in different forms, not just on TV and concerts.

Nikaidou Yamato: Aah.

Moreover, it’s amazing that people come to the store just to celebrate your birthday

Izumi Iori: Yes. I will never forget this spectacle, and will continue to be more devoted from now on

Nikaidou Yamato: I see. I remember you went there secretly

Izumi Iori: I went there with Yotsuba-san and Isumi-san on our way home from school. I was relieved to see it was crowded.

I feel a bit embarrassed to see my merchandise lined up.

Nikaidou Yamato: Aaah, it’ll be same the for me when it’s my turn,,

Izumi Iori: Yes. It’s more stunning than you think.

Nikaidou Yamato: I-I’ll prepare myself…

Nikaidou Yamato: Moving to the second question, now that we talked about the store

In those displayed visuals, which one did you feel attached to, or your favorite?

Nikaidou Yamato: You’re going to put an autograph on it, right

Izumi Iori: Yes. There was a proposal that I will write an autograph on a visual I feel attached to, as part of the store’s enjoyment tied to the interview, so I put one before the opening day.

Nikaidou Yamato: So which one did you put an autograph on?

Izumi Iori: “16 PRODUCERS”

Nikaidou Yamato: Oh! That’s kind of unexpected

You’re the kind of person I’d expect to pick one where you look smart

Izumi Iori: Compared to the others, it’s certainly the one I look the most relaxed

Izumi Iori: Someone making a production for another. I didn’t have someone to call a friend so experiencing this was made possible because I met IDOLiSH7. It’s because I met all of you.

Izumi Iori: While looking at the visuals up until now, it strengthened my feelings

I chose this because it’s the one where I felt I was myself

Nikaidou Yamato: Can I pat your head?

Izumi Iori: Absolutely not.

Nikaidou Yamato:

Nikaidou Yamato: You certainly didn’t make that expression in front of others when I first met you.

That was the time when Mitsu and Riku produced you, huh

Izumi Iori: Please don’t say that as if you’re not involved.

Izumi Iori: You’re one of the people who changed me.

You, our leader, are indispensable in IDOLiSH7.

Nikaidou Yamato: Ichi..

Nikaidou Yamato: Thanks. You’re one of the people who changed me, too.

Really, a lot of things happened between us

Izumi Iori: I have a feeling I know the reason, but could you tell me?

Nikaidou Yamato: You’re making a really good face, Ichi..

Izumi Iori: You keep an easygoing attitude, so I can’t let this chance pass.

Just repeating Nii-san’s words

Nikaidou Yamato: These brothers are really something..

Nikaidou Yamato: You’re the guy who told me that when I get attached to IDOLiSH7, I’d fight for it no matter what.

Personally, that made me really shocked.

Being told that by someone younger than me, I thought I should change

Izumi Iori: Supposedly, even if I or the other members fail, as long as you’re firm, IDOLiSH7 will be fine. That’s how much you’ve changed

Nikaidou Yamato: Stop that~~ I don’t have that kind of confidence

Izumi Iori: Well, I have no plans of failing so I’m fine.

Nikaidou Yamato: I’ll rely on you!

Izumi Iori:

Nikaidou Yamato: Uhm, let’s move to the 3rd question, which is an original question from the interviewer!

Nikaidou Yamato: “Please tell me your wish to the shooting star,” as connection to “16 STAR SIGNS”

Izumi Iori: I see. This is a Nikaidou-san-like romantic question.

Nikaidou Yamato: You think I'm a romanticist?!

Izumi Iori: At your core, you’re pure and dreamy.

Nikaidou Yamato: Wait a minute this is making me embarrassed. When this interview ends tell me what you think of me…

Izumi Iori: I’ll answer the question.

Izumi Iori: I only have one wish. Which is to make people know, even if it’s just a single person, that IDOLiSH7 is the best idol group.

Izumi Iori: I know the appeal of IDOLiSH7 more than anyone. Their singing voices cross over the rainbow, charming everyone with their radiance, and these 7 members.

I would even wish for the shooting star to spread it around the world.

Nikaidou Yamato: So cool……

Izumi Iori: Thank you.

I have expectations when it’s your turn.

Nikaidou Yamato: I wonder if I can say it as stylishly as you

Izumi Iori: I’ll request Nii-san to dig you thoroughly.

Nikaidou Yamato: I’m scared. He’ll definitely dig me with a shovel or even a bulldozer

Nikaidou Yamato:

Izumi Iori:

Nikaidou Yamato: This is the last one!

This time give your message to your fans, not IDOLiSH7.

Izumi Iori: I see, I understand.

Izumi Iori: To those who looked at my merchandise happily while walking in the store. To those who went wearing items of my member color. I’ve seen all your smiles.

Izumi Iori: We have lots of opportunities to see the fans on stage. Now, seeing the situation at the store, it feels like we’re present beyond everyone’s daily life.

Izumi Iori: Studies. Work. Chores. Thank you very much for supporting and coming to see me in your respective lives.

I, Izumi Iori, will continue to devote myself as a member of IDOLiSH7 and as an idol, so that your everyday life will be painted with color.

Izumi Iori: From this point on, please keep liking me.

Nikaidou Yamato: My heart skipped a beat at the last part

Izumi Iori: Since this is a special project where I have my own store.

Nikaidou Yamato: I’ll take this as a lesson.

Alright Ichi-san. Since it’s lunch time, are you hungry?

Izumi Iori: Yes, a bit...

Nikaidou Yamato: Since today’s a special day, what’s your request?

Izumi Iori: Well, since I don’t have school today, I want to eat a bento.

Kinako charaben.[1]

Nikaidou Yamato: OK! Give me a moment then!

-

Translation Notes:

[1] Charaben is a short-form of “character bento.” It’s a customized bento (Japanese boxed lunch) where people decorate food that resembles characters.

UPDATE 2025/01/28 - Fixed grammatical errors on a few lines pointed by a fellow manager.

[theclownghoul]

Gratuitous

Opinion piece & analysis

I really hate how Jinx’s suicidality is portrayed in S2, largely in Act lll but we’ll talk about all of it.

In S1 we have about three moments (by my count) that show Jinx harming herself or trying to end her life. Hitting herself in episode 3, being careless with the staples in episode 7 and pulling the pin on the bridge also in episode 7. There is also a line she says to Vi “You’re the reason I’m still alive” in episode 9 which given other things she says in that moment could be interpreted as other ideations.

What makes these moments different from S2 episode 9? Well none of the three main writers were credited to those episodes other than the dialogue in S1 episode 9. Most of them are communicated through animation only. They also just feel different, they’re vulnerable, other things are the focus and her doing these things is just a reaction to those feelings. There was something to get from the scene besides a showcase of her pain.

Episode 9 of S2 is not that. It’s gratuitous, it’s a spectacle, it’s gory and somehow losing all its impact. There’s the music which is not what I’d call tasteful or subtle. It’s making an impression, wants to force a feeling or reaction. Make you sad or horrified and oh, I was horrified but not the way they wanted.

Even the way she digs her nails into her cuticles in S2 episode 8 isn’t really meant to show us anything about her. It’s meant to affect the audience.

In comparison I almost appreciate how people have read her pulling the pin in S1 episode 7 as trying to manipulate or take Ekko out too instead of being a completely clear cut attempt. Because it at least shows that there is enough going on with the character’s mindset that we can speculate on her motivations and how she’s reacting to all the emotions that came from fighting her old friend. If you look at her face it’s sadness and regret (S1 is also better at story through facial expressions since there was forethought). You’re free to have your own reaction, not the one that’s set out for you.

I have mixed feelings about her fight with Vi now and telling Vi that she’s okay to go out by her hand. It feels closer to the moments in S1 than later in episode 9. There’s more going on, we’re meant to consider multiple layers of both her and Vi’s feelings in the moment. It’s a non explicit parallel to the Bridge and does show a pattern of behaviour. It’s also not credited to any of the main writers.

The scene from the opening of episode 9 as a whole, is it romanticization? Heard differing opinions on this and I honestly don’t know where I stand. One one hand it shows how empty she feels and how everything has come crashing down despite trying and it communicates her emotions through the images and music. On the other the scene is meant to be visually appealing while also showing her detonating the bomb very explicitly, like you see her blood. I’m sorry but this is some 13 reasons shit. None of this is helped by the fact that Isha was killed purposely to get her in this state.

I had way more emotions about the actual story in the scene with Ekko in S1 and the scene with Vi in episode 3. Originally I liked this scene but I just can’t really remember why exactly, especially when compared to the earlier ones. The other scenes aren’t lacking in any way when it comes to showing her despair so I’m lead to believe it’s a stylistic choice in line with S2’s music video focus.

Then there’s Ekko… what did he do to deserve this? I’ve said before that if he had to he would save her but the reason he had to was because this scene sounded like a good idea. Saw someone say why is it his responsibility to save her and yeah why? He’s her romantic interest? Not from her perspective at this point and that’s a terrible reason anyway. Not only are we shown her blowing herself up in detail, being inflicted with it but he also has to see that, multiple times. Please don’t make me think too long about it… then we don’t see what actually changes her mind and actually see their bond. That also doesn’t give me a lot of faith is what they think is important to show.

Then she sacrifices herself at the end to “break the cycle” which no one is actually clear on what is meant by that and the same damn song is playing. It’s weird.

I’d like to compare it to the Poison sequence from Hazbin Hotel since that scene faced backlash for romanticizing abuse specifically in that scene. If I can describe what makes Poison not exploitative and what makes Wasteland so then I can safely say they are different and there is something deeply sinister about Jinx’s scene.

Poison benefits internally, inside the context of the story from being visually appealing and pretty. That tells part of the story in and of itself and eventually it cracks, mirroring how Angel feels in the scene and in his situation.

Wasteland benefits externally, it’s done for the audience as I’ve been saying. There is nothing about Jinx’s mindset or actions that we get a better insight into from the stylistic choices. We know “she loves a spectacle” but that’s the only internal explanation that I could make. Even if they wanted the cutting of her hair and the burning on the last drop but the framing could have easily been different.

Think about the staple scene for contrast, it has no interest in being something other than what it is, brutal and disorienting, just as she is feeling in that moment. Jinx would behave that way whether there were “eyes” on her or not. Poison is the same, Angel “performs” to keep his thoughts at bay regardless of an audience. Wasteland only exists in its current form to entertain.

The final “sacrifice” also falls into this, solely focusing on eliciting a reaction from the audience and making a spectacle of sadness. There is no resolution to Jinx’s earlier conversation with Ekko, we don’t see her reflect, we don’t see a change. We have no reason to believe she’s in any way in a better place. Her decision to give her life for Vi’s isn’t particularly fleshed out and this as a conclusion to her arc is bizarre at best and offensive at worst, suggesting she had to remove herself from her loved ones lives, something she simultaneously feared and was tempted by.

I probably shouldn’t feel the need to make such a caveat but I am aware that the could be a matter of preference when it comes to how scenes like this are portrayed but the way this scene was done continues to strike me as odd. I can’t help but think it maybe intentionally or unintentionally is playing into the “sacrifice” message where, it may be a sad thing but Jinx had to die. And that’s a horrible thing to say.

[steveyockey]

Some would rebut that “Oppenheimer,” being a Hollywood blockbuster with serious global reach (whether it will play Japanese theaters remains uncertain), will be many audiences’ only exposure to the events in question and thus might “create a limit on public consciousness and concern,” as the poet, writer and professor Brandon Shimoda told The Times. A corollary of this argument: The crimes committed against the people of Hiroshima and Nagasaki were so unspeakable, so outsized in their impact, that Oppenheimer’s perspective does and should dwindle into insignificance by comparison. For Nolan to focus so exclusively on an American physicist’s story, some insist, ultimately diminishes history and humanity, even as it reinforces the Hollywood hegemony of the great-man biopic and of white men’s narratives in general.

I get those complaints. I also think they betray an inherent disrespect for the audience’s intelligence and curiosity, as well as a fundamental misunderstanding of how movies operate. It’s telling that few of these criticisms of perspective were leveled at “American Prometheus” when it was published in 2005, that no one begrudged Bird and Sherwin for offering a meticulously researched, morally ambivalent portrait of their subject’s life and consigning the destruction of two Japanese cities to a few pages. That’s because books are books, the argument goes, and movies are movies — and this perceived difference, it must be said, reveals a pernicious double standard.

Because they seldom achieve the narrative penetration and richness of detail of, say, a 700-page biography, movies, especially those about history, often are hailed as achievements of breadth over depth, emotion over intellect. They are assumed to be fundamentally shallow experiences, distillations of real life rather than sharply angled explorations of it, propelled by broad brushstrokes and easy expository shortcuts, and beholden to the audience’s presumably voracious appetite for thrilling, traumatizing spectacle. And because movies offer a visual immediacy and narrative immersion that books don’t, they are expected to be sweeping if not omniscient in their narrative scope, to reach for a comprehensive, even definitive vantage.

Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision.

A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence.

That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not.

For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come?

I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.”

Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.

[cacti-are-like-flamingos]

Wasted Oxygen...

Gojo Satoru x Reader x Geto Suguru

The Cursed Trio | Mr. Sandman

...

Despite being the ever energetic guy he was, Haibara loved to sit down and people-watch. Silently observing others go about their daily business, unaware of their audience as they freely express themselves through large and small mannerisms.

He'd always make sure to find a nice cozy spot, somewhere a bit hidden so no one could see his lingering eyes. If Kento was here, he'd been stating how inappropriately creepy he was being. He could already hear him hehe

Regardless of what his partner would think, the raven-haired boy could easily spend hours observing the world interact with itself. If he was lucky enough, he'd see an entire movie unfold right before his eyes.

Most of the time, though, he tried to call upon his inner Sherlock. Using the art of deduction to figure out the possible stories from every passer-goer.

Usually, it'd be more fun with you considering your extraordinary ability to deduce people to downright filth.

The two of you hanging out, making up stories for every person that caught either of your eyes had become a little routine of yours, one that started from his days of teaching you Japanese. He'd tell you certain words while discreetly pointing to people who embodied said words --- he hadn't expected for you to suddenly start rambling about the possible nuisances of each and every person you saw

And the fact that you had no filter made it worse! The amount of times he had to cover for you after you'd accidentally said something rather insulting about a person who stood close enough to hear --- double digits!

Regardless, it's the same reason as to why you're the most attuned person in terms of others emotions --- once you notice the patterns, you'll see them everywhere is what you'd often say to him

Although, it did leave him wondering. Just how were you so good at people-reading? Is that how you got along with those two so well? Because you knew instantly what they were about the moment you met them?

No, that can't be. On numerous occasions, you've complained about how Gojo and Suguru confused you. You claimed that they were like a whole new different breed of soul that you've never come across before.

Haibara blinked

Souls. The first time he heard about your Cursed Technique, he had to admit --- he'd never heard of a technique like yours.

Cursed Sight: Chains, a cursed technique that bestows its user with the ability to perceive the spiritual and see the souls of living beings as well as curses. The way it works is rather simple, or so, that's how you mentioned it to be.

As one knows, everything is made up of energy. So by simply channeling your own cursed energy, you can manipulate the strands into forming objects. By focusing well enough, you could bring said objects into the physical world: however, there was a catch.

You could never break eye contact.

The technique had great potential. Just visualize the item you need and Wala! It's there. (You had a preference for chains ghost rider type beat. You'd chain curses down to limit its movements prior to going for the kill. In times where the Curse proved too strong, you'd hold it down while continuously attacking it with an already cursed energy-imbued weapon)

To be honest, your fights were quite the spectacle. The way you expertly used your chains to capture curses, the way you used the ends of the chains to destroy them with such force --- ooh la la (aizawa x ghost rider's love child)

We're getting side tracked --- point is, your ability allowed you to see people's essence. You knew when they lied, you knew what they felt, their soul usually said everything you needed to know (you confessed that the soul only shows the most general of feelings so that's why you depended on deducting to truly understand people's intentions)

One major down side, you could never turn it off. I don't think you've ever really seen someone's face much less your own. Bodies are shaped around the soul, and the soul is always so blinding with its different hues. At least, the silhouettes had somewhat of expressions. (Further clarification, it's like cutting out human shape out of colored paper. Just three-dimensional. AH, THINK GOD FROM FULLMETAL ALCHEMIST but include the shape of hair and outfits) You could see the shapes of their eyes, the slope of their nose, and the curve of their lips.

(and now, you're probably asking -- but OP, what about clothes? How do we have a sense of style if we can't see the look when we look in the mirror? That is true. Wearing outfits will just accentuate your soul's shape. But the moment it's off and on a hangar, you can see it plain as day since it's soulless on its own. Also Ieiri helps you, sometimes even Yaga if you're that desperate)

"You're going to hurt yourself from thinking so hard, Haibara." There you are! You even brought, "Hiya!" "Senpai!" Gojo glared at you, "Meh, why aren't you ever this respectful? Hm? You have to respect our customs, foreigner!"

You scoff, "I do respect your customs, just not you."

"Bitch."

"Masochist."

"Masochist?! The hell is that for?"

"You like me insulting you, your soul lives for it. Got a degradation kink, old man?" "Who the fuck you calling old man for?! I'm just a year old-" "Haibara~! Let's go get something to eat!" "O-Oi! Don't run away, pussy!" You stick your tongue out at him as you pull Haibara by the arm, dragging him to some nearby tall selling takoyaki

You spent the entire day ignoring Gojo, who sulked behind you and Haibara as you dragged said male all around Roppongi where you were supposed to meet up with one other. Yep, you guessed it!

Mei Mei!

(don't you just love mixing friend groups and praying to whatever god is out there that it all works out? 😁)

Mei Mei couldn't care less about Haibara, though she did seem to acknowledge him as somewhat worth having around in regards to his 'service potential', but honestly, her indifference was palpable

Instead, Mei Mei focused on you, whose face held a dreamy look as the pretty woman spoke to you with that lovely sing-song voice of hers (she still HELLA sus iykyk but for the sake of this, she ain't. She's just greedy here)

Gojo was irked by how close Mei Mei got to you, his face unbelievably stoic as he watched you and Mei Mei interact (cue that anime angry mark and eyebrow twitch)— Mei Mei acting like a sugar mama to you as the white-haired woman walked you around pointing at shit she knew you'd like.

Ah, I can already hear some of you confused --- specifically the ones who are really into canon.

You see, Mei Mei does nothing out of the goodness of her heart. No, no. Greed is the very foundation of her character. And so, it would make sense that she wouldn't just spend her money on anyone just for the hell of it.

And so, the truth. You and Mei Mei had this secret arrangement --- in return for a few favors and pieces of key-information that she can't quite get from her watchful crows, Mei Mei would pay for your services. Usually, she'd just send the cash over but whenever the two of you are together, she'd provide you a little shopping spree. (No-one knows about this btw)

Despite the previous, it was evident that Mei Mei liked you. She saw you as her favorite little Kouhai, mainly because of how resourceful you could be, and the way your personalities seemed to mesh well together was exquisite in her opinion.

(Side Note: Your relationship with her is incredibly on-the-surface. The reason why you get along so well is because you adapt yourself to her personality. I wouldn't say you're a people-pleaser, although you are, but more of a subtle manipulating type of thing. Idk how to put it)

You weren't at all annoying like the others. Additionally, you had a higher chance of reaching your service potential than any other (i don't even know if that's a compliment or an insult and I wrote it 🤪)

Gojo wasn't a big fan of Mei Mei spoiling you, and it led to a whole day of the two of them kind of fighting to show off who could spoil you the most (though it may or may not have been your plan from the get-go).

The situation became more obvious to Haibara when you wrapped your arm around his, a wicked smile upon your lips as you quietly inquired from Haibara what he wanted. Not fully grasping the scheme, he answered, and then you'd claimed as your current desire, which Mei Mei and Gojo would then buy immediately.

Eventually, Kento joins after receiving a SOS text message from Haibara. At the sight of the two wordlessly seething cotton swabs with you smirking in front of them, Kento dragged him away (he only greeted you, he could care less about the other two)

While Mei Mei was preoccupied with a phone call, and Gojo was off buying something sweet for you and spicy for Suguru, to eat together later — you found yourself sitting at the same spot Haibara had been sitting earlier.

There was someone next to it, but that didn't stop you as you plopped yourself down, attention focused on the people walking by. Blissfully unaware of the minor curses that plagued them.

Sometimes, if you felt merciful, you would destroy the curse. Weaker curses didn't require you to physically manifest your chains; a small, invisible chain was all it took to loop around the curse and squeeze them to death.

"Never seen a technique like yours, foreigner."

At the stranger's words, you paused. You hadn't sensed any cursed energy from the person sitting next to you, so how could they have known? Glancing to your side, you tilted your head in slight confusion as you examined the man sitting next to you

"what happened to 'hello'? 'how are you'? To introductions, in general?" There was a slight tease to your words yet your fingers subtly twitched by your side

The raven-haired man snorted in amusement, a slight smirk on his lips as he leaned back against the wall of the bench. His hands were in his pockets as he didn't once look your way.

"How long have you been here with them?" Something in his voice had put you on edge, but at the same time, you didn't feel imminently in danger.

"Long enough, give or take."

He made a face, "Like it, so far?"

You shrugged your shoulders, your eyes still on his silhouette as you answered, "Neutral, so far."

"So you haven't been here long enough," he sassed back earning a short snort from you.

"Oh? Why's that?" "You'll see, soon enough." And with that, he stood up, walking away from you without another word. You stared at his soul, watching it get tinier with every step he took.

You had met many dark blues, but the edges of his were... fuzzy. Not clearly definable. That was new.

Surprisingly, you didn't feel shook or concerned. You actually felt a rush of excitement, the sort you got from trying to solve the mystery of some crime show before the narrator could even reveal the truth.

Suddenly, Gojo appeared in the corner of your eye, his sunglasses pulled down his nose as his iridescent eyes gazed down at you.

His eyes were the only ones you had ever truly seen. You thought it was because of his Six-Eyes.

"Yo! Got the drugs," he said, to which you replied with a casual "Hm."

He narrowed his eyes, "What happened?"

So observant

You perked up, "What?"

He repeated, a small frown on his lips, "What happened?"

You shrugged, "Just an... interesting encounter, that's all."

Gojo knew better. But he also knew you.

"Alright, let's go. Mei Mei already left, and she wanted me to give you this," he said with displeasure in his voice as he threw a bag into your lap—a luxury brand bag. But not before handing you yet another bag, another luxury brand.

With a sense of curiosity, you gently untied the bag's ribbon and opened it, revealing a small box inside. Your fingers carefully lifted the lid, revealing the gift within as you opened the box

A single earring, a crescent moon hanging from it. It's metal glimmering under the setting sun (wow, time passed fast today)

"Now we can match!" Gojo said. Showing off his wrist, a silver bracelet with a sun hanging from it.

You snorted, "What about Suguru, hm?" (While you asked, you put the earring on without another moment's notice)

He rolled his eyes, revealing another bag matching your own, "His is here...ya like it, tho?"

Having stood up from where you sat, you smiled softly as you affectionately bumped your head onto his shoulder before motioning for him to walk with you. (You didn't get to see his grin, but you could feel it.)

"Let's go home, Gojo," you said, with Mei Mei's gift loosely wrapped around your wrist, knowing it could wait.

...

(A/N): Ugh, I keep having to come back to fix certain things so it can better fit my narrative. I keep writing these shits while being tired af, and when I wake up --- I forget my own canon 🙄

Anyways

Who do you think the rando guy is?

Also did you notice how you immediately checked Gojo's gift rather than Mei Mei's? In fact, you completely ignored her gift to you.

Moreover, have any of you noticed that whenever you get to know someone --- their name alters? I wonder what that implies for certain people.

And what does a fuzzy outline mean?

This was also supposed to take another turn but then the characters charactered and here we are now.

Drop a comment

Feel free to buy me a 🦩

Hope you enjoyed!

[selcouthself]

Reclaiming Leroux's Original Vision | part 1/?

Despite passionate pleas from dedicated Phans who have kept Leroux's original text alive through decades of discussion, fan works, etc., production companies continually choose marketable romance over authentic adaptation, perpetually ignoring the faithful rendition fans have been clamoring for. ***For the purpose of this discussion, I am excluding the 1925 silent film adaptation, which stands apart as perhaps the most faithful adaptation of Gaston Leroux's novel, and focusing on the grievances that Phans commonly express regarding other adaptations across various media.​​​​​​​​​​​​​​​​***

From the 1984 BANGER musical that prioritized spectacle over substance, to the 1990 miniseries that gave us a subdued, sympathetic Erik, to the 2004 film that turned Erik into a brooding, misunderstood hottie with convenient scarring, to various others, each attempt seems to misunderstand that fans don't want a dumbed down love triangle (Though it should be said that we do adore these adaptations for what they are-- Webber's music is undeniably beautiful, Dance's performance is genuinely moving, Chaney's makeup & dedication remains iconic, and not to mention the 2004 film is visually stunning)—we want the brilliant, morally complex, historically textured, genuinely disturbing masterpiece that Leroux wrote.

The recurring sins remain consistent:

The bastardization of Erik's character. Erik's horrific appearance isn't just physical description—it fundamentally shapes his entire psychology and justifies his isolation from humanity, making him simultaneously monstrous and tragic; when adaptations give us a handsome phantom with decorative/minimal scarring, they erase the lifetime of rejection and dehumanization that forged his broken psyche and twisted worldview. Erik is SYMPATHETIC.

The complete erasure of the Persian. Removing him not only gets rid of MAJOR PLOT DETAILS, but it also removes Erik's only genuine human connection and moral counterbalance, eliminating the character who humanizes Erik through their shared history while also serving as the crucial voice of reason who condemns his actions.

Christine's character being reduced to a silly little ingénue forced to choose between two love interests instead of a determined young woman making impossible choices while processing immense trauma and grief, despite the fact that she's a victim of severe emotional manipulation and abuse—which isn't romantic, it's horrific.

Raoul being flattened into a one-dimensional pretty boy when his character is much more complicated than that. He's driven by emotional insecurity, naivety, and a sense of duty. He's young, new into society, and wanting to prove himself. He wants to protect Christine. He's wants to understand the connection Christine shares with this Erik.

Completely abandoning Leroux's "this is a journalist investigating real events" framework that makes the original novel so unique and unsettling.

Philippe de Chagny mysteriously vanishing from adaptations despite his "mysterious" drowning being a major plot point.

The opera house itself losing its character as a place of history, secrets, and genuine architectural strangeness.

Should an accurate adaptation of Gaston Leroux's "The Phantom of the Opera" be considered, I believe it would seek to rectify these recurring issues. It should breathe new life into both dimensions of the original novel: the meticulous journalistic investigation and the heartbreaking tale buried beneath the Paris Opera House. Leroux himself should take center stage at times—chasing leads through dusty archives, interviewing reluctant witnesses, and piecing together fragments of evidence about a masked man who once terrorized the opera. These investigative sequences would illuminate how Leroux blended documented facts (the underground lake, the mysterious accidents, the architectural oddities of the Opera Garnier) with his novelist's imagination, creating a compelling framework that constantly questions where reality ends and fiction begins.

Parallel to this investigation runs Erik's devastating story—a tale of profound isolation, artistic genius, and doomed love that explores deeply human questions about appearance, acceptance, and redemption. By returning to Leroux's original character descriptions and historical inspirations—such as the real-life soprano Christine Nilsson who influenced the creation of Christine Daaé—this adaptation would strip away decades of reinterpretation to present these characters as they were originally conceived.

Through this dual narrative structure, viewers would gain unprecedented insight into what Leroux was trying to teach us about societal cruelty, the transcendent power of music, and the complex nature of love in its various forms—familial, protective, passionate, and obsessive. This dream project imagines bringing the authentic literary Phantom to life as Leroux intended, where the line between factual investigation and gothic romance becomes as murky as the waters of the underground lake itself.

I intend to explore what a truly faithful adaptation might look like by suggesting ideal casting choices, highlighting scenes from Leroux’s novel that deserve proper screen treatment, various references that I would love to see, and debating whether a tv series or film would serve the complex narrative and gothic atmosphere of the original work. My goal is to envision an adaptation that honors the psychological horror and the rich historical context that made Leroux’s novel a timeless classic.

[niceonet]

TRAİLERDB - DEVASA+ (2)

As the film industry continues to evolve, sneak peeks into upcoming releases offer us a tantalizing glimpse of the stories, characters, and visual spectacles on the horizon. Whether you're a fan of thrilling blockbusters, heartwarming dramas, or spine-chilling horror flicks, there’s something for everyone to look forward to. 

New Movie Trailers

As we dive into the world of cinema, new movie trailers are a crucial part of what excites fans and sparks discussions before a film's release. Each year brings a wave of trailers that not only provide a glimpse into what to expect but also set the tone for upcoming films. From thrilling blockbusters to indie gems, the latest movie trailers give us a sneak peek into groundbreaking stories, captivating performances, and stunning visual effects.

The anticipation builds as studios release new movie trailers, often showcasing the top talents in the industry. The art of creating a compelling trailer has become a skill in itself, as filmmakers and marketing teams work diligently to distill the essence of a movie into a short, enticing clip. Whether it’s the heart-pounding action of a superhero flick or the emotional depth of a biographical drama, these clips are designed to hook audiences and keep them talking.

Every film genre has its unique traits that shine through in new movie trailers. For instance, horror films employ eerie soundscapes and unexpected jump scares, while romantic comedies highlight heartfelt moments and witty dialogue. The best trailers leave viewers wanting more, teasing just enough to spark curiosity without giving away key plot points.

Moreover, latest movie trailers are a great way to gauge audience reactions. Fans often flock to social media platforms to share their thoughts and predictions, creating a buzz that can significantly impact a film's opening weekend. Additionally, trailers can also offer retroactive enjoyment, as audiences revisit them after watching the film to appreciate the marketing and artistry involved in their creation.

With numerous film festivals and award shows showcasing new movie trailers, the excitement only amplifies. Events like San Diego Comic-Con and the Sundance Film Festival are just a few examples where audiences are treated to exclusive previews of highly anticipated films. These moments not only build hype but also reflect the creativity and diversity of storytelling in contemporary cinema.

In conclusion, new movie trailers serve as a vital connection between filmmakers and audiences. They encapsulate the essence of what’s to come, setting the stage for cinematic experiences that captivate viewers around the globe.

New Movie Trailers 2024

As we step into 2024, the excitement for upcoming films is at an all-time high. New movie trailers are being released at a brisk pace, teasing audiences with glimpses of thrilling plots, stunning visuals, and star-studded casts. Below are some of the most anticipated new movie trailers 2024 that have already caught the attention of film enthusiasts.

1. Action-Packed Blockbusters: This year promises a wave of adrenaline-pumping action films. One of the standout new movie trailers showcases the return of a beloved franchise, with high-octane sequences that leave viewers at the edge of their seats. Expect epic battles, mind-bending stunts, and heart-stopping suspense.

2. Exciting Adaptations: Fans of literature and comics will not be disappointed, as several new movie trailers reveal adaptations of popular books and graphic novels. The trailers give us a sneak peek into how filmmakers are bringing these stories to life, with stunning visuals and captivating performances that honor the source material.

3. Thought-Provoking Dramas: 2024 also promises to deliver a slate of new movie trailers that focus on compelling narratives and character-driven stories. These films address contemporary issues and human experiences, showcasing talented actors in powerful roles that are sure to leave a lasting impression.

4. Family-Friendly Flicks: There’s something for everyone in the upcoming year, with new movie trailers featuring animated films and family comedies. These trailers highlight the creativity and humor that make them perfect for audiences of all ages, filled with endearing characters and heartwarming stories.

5. Highly Anticipated Sequels: Fans of franchise films will be delighted to see the new movie trailers for sequels that expand on beloved stories. With returning characters and fresh plotlines, these films promise to deliver the nostalgia and excitement that fans crave.

In conclusion, 2024 is shaping up to be a remarkable year for cinema, with a variety of new movie trailers set to ignite the passion of moviegoers around the globe. Stay tuned as more trailers drop and the release dates approach, because this year is sure to be unforgettable!

Latest Movie Trailers

As movie lovers know, the excitement for a new release often begins with the unveiling of its trailer. The latest movie trailers give us a glimpse into upcoming films that promise to captivate audiences and spark conversations. With a wide array of genres, these trailers highlight the creativity and talent of filmmakers, showcasing their unique storytelling approaches.

This year, we have seen some incredible trailers that have set high expectations for moviegoers. From thrilling action sequences to heartfelt dramas, the latest film previews provide tantalizing sneak peeks into the narratives we can expect to enjoy on the big screen. Movies like Dune: Part Two and Killers of the Flower Moon have already generated a buzz through their stunning visuals and compelling storylines presented in their latest trailers.

One of the most exciting aspects of latest movie trailers is seeing our favorite actors and directors return to the forefront of cinematic storytelling. Not only do the trailers highlight their impressive performances, but they also give insight into the dedicated craftsmanship behind the scenes. Whether it's a gripping suspense thriller or a light-hearted comedy, the trailers are carefully crafted to deliver maximum impact and entice audiences.

In addition to the theatrical trailers, some films also offer teaser trailers, creating an air of mystery and anticipation. These short clips foster an engaging conversation among fans, fueling speculation about plot details and character arcs. Social media platforms have become a hub for sharing these insights, leading to a vibrant fan community eager to discuss the nuances observed in the latest clips.

As we venture further into 2024, the influx of new movie trailers continues to build excitement for the upcoming releases. Movies such as Ghostbusters: Afterlife 2 and The Marvels are generating significant hype, with trailers that showcase not just the actors but also the innovative special effects that cinema has to offer. This wave of new trailers keeps audiences engaged and eager for more.

Stay tuned as we anticipate the release of these films. The latest movie trailers are just the beginning of what promises to be an exhilarating journey through the world of cinema.

[landofanimes]

My 2024 Anime Watchlist

Anime (and related media) I watched last year

Sailor Moon Cosmos (2023)

After 10 years Crystal finally comes to an end! The 2-part movie is cool, it gives us an epic streak of final battles in the second part, things feel very grand and it brings emotion. The ending is oh so lovely. Also I was happy to see some things animated for the first time! That said…Most of it goes by too fast, specially in the first movie. Too many beloved characters have limited screentime, which really brings the arc down. I know these are problems from the manga too, but damn…This solidified to me that in the manga/crystal version of events, Dream Arc is more enjoyable. That’s not the case in the 90s anime, which butchered a good chunk of the Dream Arc but has the characters around much longer in Stars (yes I know screentime in a movie is obviously shorter, but still). I think in the end the musicals brings us a good balance of Stars. If only they had included the Sailor Quartet in those myus, they would feel complete. But anyway… this was it. Could Crystal have been better? Yes. Should it have been longer? Yep. But overall? I really enjoyed the whole thing through and I’m happy it was made! Just really wish the last two arcs were seasons instead of movies, but oh well...What a decade!

I watched subbed and dubbed. Brazilian dubs are usually great but a couple choices sadly kinda killed this one, just like in Eternal (somehow I thought this time it was worse but I think it's just that in Eternal I was happy to see it dubbed, since Crystal wasn't). Unless they redub it, I'll stick to the subs.

Kaleido Star (2003-04)

Sora is a Japanese girl who finally gets to live her dream of working as a trapeze artist on Kaleido Stage, a famous american circus. Every spectacle means new challenges and lots of hard work. But some people want to see her (and even the whole circus) failing...

I used to watch this as a kid! Finally sat down to watch the whole thing, and it’s a great show. It has cool characters and it’s very entertaining to see them training and performing new shows at the circus. True, season 2 has some annoying characters, so season 1 is better...Except for the final arc, cause personally I found the end of season 2 much stronger than season 1 - it was a great way to end the show (I could see people prefering the s1 ending, it just didn't hit me as hard). There are also a couple of OVAs that take place after the ending. The first one is so-so, but the second is pretty cool and it works nice as a second ending/epilogue.

Watched it dubbed (except for the 2nd OVA since there is no dub)

Yu Yu Hakusho Stage Plays (2019, 2020)

Picking up from last year's Yu Yu marathon, I've watched the stage plays! First one is really just the beginning: Yusuke dies, comes back as a spiritual detective, and we get the Three Youkai mini arc. We also see Kurama and Hiei's first meeting, like in Two Shots. The second play covers both the 4 Beasts castle and Yukina's rescue (they basically skip the training). Since Kurama and Hiei are not much in the second half, their actors get to play a side character each.

Sadly I don’t think these were very good. Sure, visuals are cool, the characters are well done, and they have their moments, but overall these plays were not it, imo. The bit where they play the opening song with a fighting montage is great though, very entertaining.

Rurouni Kenshin (1996-98)

Another from my childhood I hadn't seen in full! First two arcs are good, specially the second one (plus you can notice there’s some filler in the first, but it’s ok). Third part diverges from the manga and is mostly anime original stuff - and noticeably much weaker. If I ever rewatch it I'll stick to the first 2.

Watched it dubbed.

The Apothecary Diaries (2023-)

I had been hearing about it and decided to catch up in January. What a Good series! I was impressed. Maomao is a great character, the court intrigue is a thrill and I’m looking forward for a better understanding between her and Jinshi, and yes, rooting for actual romance. The series got drama, mystery and comedy, it’s great. Happy for the upcoming second season!

Subs cause the dub only came later.

7th Time Loop Season 1 (2024)

Rishe is stuck in a 5 year time loop that starts at the annulment of her engagement with the prince. No matter what profession and life she lives, it always ends during a war. 5 years into her 6th life she swordfights Emperor Arnold, from the neighbouring country, who is responsible for the war - and is killed by him. In her 7th loop, she soon meets Prince Arnold (not yet emperor) and he unexpectedely is smitten with her and proposes. After working hard in her previous lives, she is determined to finally relax and hopefully find out more about how the war starts, so she accepts. As his fiancée she soon notices Arnold is not completly cold as she expected, wondering what makes him go down that path.

I believe I saw some posts here and then I saw a clip of Rishe dealing with poison and so I decided to watch. I loved it! It was not quite what I was expecting, but rather better. Rishe is a delight and the whole mystery surrounding Arnold’s past and future, which lead them to the war seen in the previous loops, is very intriguing. I’m also captured by Rishe’s past jobs (merchant, harbalist, knight, etc), they’ve made her very resourceful. I really like the court day to day stuff and the drama, and the way she navigates all that. The dynamic of her knowing certain people from past loops but them not knowing her is always intriguing – and we get to know a little more about her this way too. And of course, I love her growing romance with Arnold!

I watched a bunch of dubbed episodes but then I caught up and the subs come faster, so.

Frieren: Beyond Journey’s End (2023-)

This one seemed to be a fan favorite of the season and well, I can see why…While 7TL and tAD are more my vibe, I can’t overlook Frieren. The way it presents grief, time, connection, and the mortality of people through the eyes of this seemly apathic elf is very touching. It made me cry a few times! It also has cool action. And of course, I can’t resist a good medieval fantasy setting. I’m not versed in rpg but even I can recognize some basic elements, it’s pretty cool.

Watched it dubbed!

From Studio Ghibli

Only Yesterday (1991) - This one is pretty slow, contemplative. It’s also a little boring imo... I can see its value, but it’s not really for me. Subs cause there is no dub.

The Cat Returns (2002) - I didn’t intend to watch this one but changed my mind at some point. It’s pretty fun! Not sure what I expected but it wasn’t this haha I quite liked it!! Subs cause there is no dub.

The Tale of the Princess Kaguya (2013) - This is a pretty long one, and the different artstyle threw me off at first, I thought I might not like it... I finally got  to watch it though, and not only it is not boring, but it is visually very pretty. It could have ranked high but I didn’t vibe with the ending, so. I could see it being other people’s favorite though. Watched it dubbed.

Earwig and the Witch (2020) - This one’s got a bad reputation but I thought it was fine! Like sure, this 3D animation did not capture that Ghibli charm, but the character design does seem on point and I thought it  had an interesting setting. Overall I liked it, even though the ending is rather anticlimactic. Things shift abruptly and are over soon after, leaving some stuff unresolved too (I imagine there would be a sequel). It was still entertaining though. Watched it dubbed.

The Boy and the Heron (2023)

I think this was the first time I watched a Ghibli movie in cinemas! It’s a good film. Not among my Ghibli favorites, but it would rank in the upper half. I'm sure it's other people’s favorite. I think the relationship with the stepmom could have been better developed, but it's still cool. The crazy, whimsical world kinda reminded me of Spirited Away at times. It's got that Miyazaki balance of weird and wonder, with a rather unique mythology and intriguing characters.

I wanted to watch it dub but there were limited screenings and the day I went had only subs.

Buddy Daddies (2023)

A duo of assassins with very different backgrounds and personalities are sent to kill a criminal. The mission is accomplished, they just didn't expect him to have a little daughter. Now they have to figure out how to take care of a child.

I heard good things about this one - and I loved it! I wish it had been longer, I believe it could easily fill 20 something episodes, but oh well… The trio is very endearing, their dynamics are great.

Subs cause no dub.

Yona of the Dawn Season 1 (2014-15)

Princess Yona has to flee her castle with her chidlhood friend/bodyguard Hak after her beloved cousin Soo-Won murders her father, the king. While searching for the four legendary dragon warriors to help them reclaim the kingdom, Yona finds out her people have been suffering for years, and feels it is her duty to help them.

I was honestly surprised to see this series is already TEN years old. I remember people talking about it but I didn't remember it had been this long? Maybe I heard of it afterwards? Maybe not…Anyway. This series is great. I didn’t expect it to be so good. It’s an epic (east asian) medieval fantasy! It’s got drama, adventure, action, and I’m looking forward to the romantic plot development with Hak. It’s cool to see Yona growing from sheltered princess to a warrior. I’m honestly shocked they never made a second season, like, wtf. Fortunately they’ve started selling the manga in here, and I’ve been following it! Good stuff. I wish I could watch the plays, but specially the musical. Oh, I'm saving the OVAs for when I reach the respective manga chapters.

Subs cause no dub

Snow White with the Red Hair Seasons 1-2 (2015-16)

This one is also medieval fantasy, has plenty of drama, and while it does have action and adventure, it’s not so much in the epic side - it’s more…mundane? I mean sure, it’s got court intrigues, swordfights, and there’s a kidnapping at one point and whatnot… But the vibes are more on the quieter, lovelier side? I mean, there isn't an epic quest. But it’s cool to see Shirayuki’s journey in becoming a great herbalist while Zen trains in his princely duties and how they both fight to be together despite the obstacle of their different status (something which worries Zen's older brother and other influential people). Their friends also form a cool cast. Wish there were more seasons, but the ones we got are good. I’m not even mad at the misleading title cause the only reason I remembered its existence and watched it was because years ago I saw there was a Snow White anime. Alas, this has basically nothing to do with Snow White, but it’s so good I don’t even care. 

Subs cause no dub

Spy x Family - Code: White (2023)

Yes it’s filler but it’s fun! Plus it's not like Spy x Family plot moves fast anyway... So here we got a little winter family trip in search of a recipe (for the Mission!!!) turned into a crazy kidnapping and rescue as Loid and Yor separately go after Anya…it’s action-packed, whacky and fun! It’s Spy x Family!!! There are also a couple of cute Twiyor/family moments, which I love, of course. It’s a good pastime. Bring me season 3!

Watched it dubbed at the cinema!

A Sign of Affection Season 1 (2024)

A lovely show! It’s about the daily life of a deaf college-age girl, and her new romance with a guy who loves to travel, and how her world expands when meeting him and other people in college. I think most school settings stories I see are in high school or middle school so this is a nice change.

Watched it dubbed

Mobile Suit Gundam: The Witch from Mercury (2022-23)

People talked so much about this one I had to give it a go. The only Gundam series I had contact with before was Gundam Wing (watched some assorted episodes as a kid), so I thought that would be the first one I watched in full, but I still haven't done it, oops. And now I’ve seen Gundam Witch! Intriguing developments and characters! Deals with some serious issues, which apparently is an usual Gundam thing. It has some cool dynamics and the queer romance is cute, it has a good arc. The show is not quite my jam, so not a favorite, but it’s a good show, felt solid.

Watched it dubbed

My Happy Marriage (2023-)

Miyo lives in a Cinderella situation until she is engaged to Kyoka, a rich guy with a bad reputation… In a society where powerful families have superpowers, she’s got none, so her family wants to get rid of her…The poor thing lives with no affection and the guy is desensitized to previous fiancées chasing his status, but then he sees that’s not the case and is decided to treat her well AND to stand up to her family. Oh, and it’s got an historical setting. Also Kyoka is part of the special forces which fight evil spirits or something. He controls elements. I gotta say I was not expecting that kind of action in a Cinderella-esque story, ha! It was a good addition.

It's kinda tough to see Miyo so meek, but it's key to see she is not magically cured after the engagement, she still struggles from the abuse of her family, but with help, little by little she gains more confidence, which is lovely to see. She also finds her own way of helping Kyoka herself, the end of the season really makes it stronger. I don't think it's gonna be a favorite of mine, but it IS good. Season 2 incoming!

Watched it dubbed

My Happy Marriage Movie aka As Long as We Both Shall Live (2023)

The movie is basically a compressed version of what we see in season 1. As such, it is definitely inferior to the animated version, but it’s okay... Like, it has its moments but overall it really doesn't hit the same, specially the ending. I would say it has all the important bits of the first half of the season, but a lot of the second half is lost (Hazuki, you were missed, girl!).

Shaman King: Flowers Season 1 (2024)

I was entertained, I wanted to see more of the kids and their dynamics (and more of their parents), and I wish they would continue it…But I don't know, it's got some odd choices. Granted, it's a short season, if it had been longer it might have been more charming/intriguing. For example, Ren's son is the last to join so we don't see a lot of him, which is a shame. I also thought it was going to be a complete story but turns out the Flowers manga was continued in Super Star, and the season we got was really just Flowers…Also I still think it would have been a better investment to use the money to improve on the Shaman King remake, but anyway. I wonder if they will ever continue it.

Watched it dubbed

Saint Seiya: Knights of the Zodiac Season 3 (2024)

This was about the same level as season 2 I guess. Though back then they let the fights begin in one episode and end on the next, while here they kinda kept it in the same episode, which made them feel shorter :/ Like, it was cool but still not even close to the original series. It has its moments, but parts of it are too quick, there’s a lack of stronger soundtracks to enhance the scenes, etc. The original content was interesting enough, but we had so little time it would have been better to use it on canon events... or at least parts of it.

I would watch more if they made it but it seems they’re going to stop this version in this arc – and I get it, like I said, its really not as good as it should/could be. I’m glad they finished it though, it would have been a bummer to see the arc only halfway done. I hope we don’t have to wait too many years until a new saint seiya anime…also I wonder what it will be.

Watched it dubbed

Delicious in Dungeon (2024-)

Everybody couldn’t shut up about it so I had to watch it XD yes, yes, it’s good! Well made rpg-esque medieval fantasy setting. It’s got plenty of comedy, and the story is pretty different from the usual stuff… It wasn’t until things started to get serious that it really got me though, like halfway through the season. From what I’ve heard, it should be done by season 2. I'll be there to watch it!

Watched it dubbed

Sailor Moon: Musical Festival Chronicle (2022)

Finally could watch this one, yay!!! Story-wise it's not really impressive, but then again this one is more of a celebration of myu history than anything else. Cool to see the old numbers back, lovely to see Satomi’s guest appearance and, of course, the BANDAI MYU team, hooray!!!! Oh and we could see more of Riona’s Mamoru too! Since The Super Live full recording was never released, we don’t have much of that, so this is nice.

I honestly thought this would be the end of the myu/moon renaissance, but after the announcement of the long run of the new Super Live in London, I'm not so sure! But alright, let's not get ahead of ourselves...

Ranma ½ (2024-)

Ranma’s return!!!! Its been rather fun to follow Ranma and Akane’s shenanigans again. I’m glad I watched the full og anime a few years ago!!! I hope they get to adapt the manga until the end this time (I’ve never read it myself). Waiting for season 2!!!

Watched it dub (I’m so happy Netflix got the cast back!!!)

[koboldfactory]

Responding to the call for kind words, mostly, but; Everything doesn't suck. That's the thing. A lot of things suck. A lot of big things suck. But the beauty of life isn't often found in the largest swathes. It's the little moments. The tiny things. Sharing a fascinating conversation with a stranger online. Hearing a friend retell that same adorable story for the sixteenth time. Going to your favorite restaurant. These are the moments that show the glory of life. The genuine connections between you and your friends. You and the world.

One of my favorite little moments is going online and seeing all of the astounding art the various critters inside make. Your's is one of my favorites. Your style is rich and complex yet subtle and deceptively simple. The kind of intricate simplicity that displays real talent. You do movement and expression with an amazing ease. Even beyond the sheer visual spectacle, the concepts and characters you depict show an astounding inner world that I love seeing slices of. One I wish I could match.

I remember the piece(s?) that really floored me for the first time. It was the horror game mock up, the one with the telephone? The sheer vibes it radiated was astounding. The details, like the outline of the other player and the crosshair in the second piece, were captivating.

I guess I mean to say, you bring a lot of joy into this word, and I am grateful to be able to give some back to you in your time of need. Remember, you deserve happiness and love, but it is okay to be sad. It is okay to cry.

Forgive me for getting weird, rambling, and philosophical, but I do hope these words help. A last note, when I'm overcome by emotion, I find it helps to get lost in the minutia of life. Simple things like, planning tomorrow's lunch, can be grounding and therapeutic. To that end, I ask you; What's your favorite meal?

i really do genuinely appreciate your words, it does help put things into perspective. Having my art leave any sort of positive impression on others is all I've ever wanted. So thank you!

And to answer your question:

[rise-my-angel]

I blame the idea of the spectacle for the downfall in the franchise. Don't get me wrong, big moments can be great, but the constant striving for it to keep the audience addicted to adrenaline is what has caused the really shallow writing in my opinion. It takes a really self aware person to realise they are getting nothing but CGI keys jangled in their face as if they were a baby.

I think that's what the earlier seasons achieved, the perfect mix of much quieter moments with effective use of dialogue, writing and set to get their money's worth, and the big dramatic moments for the later parts, where they save their best for last and bring EVERYTHING to the table. It's all about having money to fund the big moments, vs having barely enough money to cover everything.

You have no idea how thrilled I am that you said everything I was thinking. The thing I hate about reviews of HOTD so far is how good things look. The dragon fight in episode four, oh but it looked so spectacular. But that's the thing, their effort was put all into making that fight look as wonderful as possible so that it avoided the simple fact that the story, characters, and action were all poor.

My best example, is actually probably unpopular beacuse I know people really liked the Battle of the Bastards. And I did too, the action cinematography, the chaos, one of my favorite shots of the show where the camera does a long take just following Jon through the chaos as he experiences it. It also looks good, they clearly made a great effort to make the battle as cinematic as possible.

But here's the thing. Hardhome is better. Hardhome does NOT look as good as the Battle of the Bastards. It is very chaotic, it is disorienting, fast paced, a lot of cuts and its very loud and there are so many bodies in the scene that it feels hard to keep track of how many people are even dying around them. But that's the point.

Hardhome takes you on a journey of chaos.

It's like a 20 minute sequence with an amazing build up. The meeting with the elders, it's a dark room of people standing around a fire. It doesn't look good, now it doesn't look bad it just isn't a cinematically pleasing shot. But it's over six minutes long of mostly Jon giving everything he has into convincing these people that he's being genuine. It's his passion and his raw honesty that Jon looks his enemy in the eye and tells them that they deserve to survive and that he wants to protect them. How when they ask how Mance Rayder died, Jon does not give himself an out. He is honest and says he shot an arrow in his heart, and how he stands there firm and not afraid when they start to threaten him, only to have Tormund put a stop to it and give context. Looking these parents and grandparents in the eye and telling them that if they don't let him protect them, their children won't even survive long enough to have children of their own. And pleading that even with all of them it may not be enough but "At least we'll give the fuckers a fight."

It is a fantastic scene filled with hope, that sets the stage for whats about to happen.

There's no dwelling on shots. The moment Longclaw clashes with the weapon of the Walker, Jon realizing whats happened and actually killing it occurs really fast in a manner of seconds. What it dwells on, is the aftermath of Jon so overwhelmed by what happened he falls to his knees, the snow misting around him that blurs anyone else from view. Even the moment where the Walker raises his arms and the dead rise, is not a dwelled on, cinematic shot. It is very raw, and rough and what it focuses on, is that close up of Jons face. And the realization in him of shock turning to a desperate despair that he could've gotten all of the Free Folk out of there and it still wouldn't be enough. It focuses on his face, beacuse the intensity and emotions are about him. Not the shots.

You remember the visuals of it, but really, the visuals aren't what gives you the emotions. Hardhome was not shot to be visually appealing, it was by design, extremely chaotic and overwhelming because not a single person in that fight had a chance to get the upper hand.

Battle of the Bastards on the other hand, is a cinematically amazing battle with a terrible story. The stakes mean nothing, because the story to get there was inconsistent, nonsensical, some people acting completely out of character and is won because of a deus ex machina. The story and characters surrounding it are completely not worth the quality of the battle itself. It's shallow. It's remembered as good because it looked good, not beacuse it was good.

That to me, is the House of the Dragon problem. Such a focus on making it look good, sweeping shots and amazing cinematic focus especially on the dragons, but it runs hollow. Because what do you have beyond the good looking shots? It's rare I ever feel the emotions of whats happening more then I do what the spectacle is showing me is happening.

The worth of a lot of these scenes, are rooted in a desperation to make a visually appealing story. When Game of Thrones was at it's best when it was people standing or sitting around a room and talking. It was the dialogue, the mystery, the intrigue. We never needed beautiful visuals for our eyes to feast upon because the spectacle was always in service of what the actual emotions of the scene was portraying. Not the stand out part in and of itself.

There's nothing wrong with spectacle alone, but House of the Dragon is relying on it to push through it's worst parts and hoping that the nice images and pretty colors is distracting enough that you forgive the poor story. Yeah the story and characters and writing is bad, but boy those dragons, look at them.

General audiences will fall for spectacle beacuse we appreciate good visuals, but general audiences didn't need spectacle to get them through season one of Game of Thrones. They were confident enough in what they already had, that they did not need to pad out the visual fluff to feast the eyes rather then the writing feasting the brain.

Audiences are smarter then to value visuals over writing, but House of the Dragon fans are relying on the visuals to get them through the bad writing because they have nothing left, and really, they deserve better.

I do not need spectacle to be impressed by the immense scale of a scene. Hardhome is a fast paced, confusing and chaotic sequence that has never left me since the day I watched it air live. Not a single one of these grand moments in either season of House of the Dragon, despite having more chances to use it's visuals to enhance it's storytelling, has come anywhere near as smart as Hardhome was.

Visuals do not impress me. Using the visuals to enhance the story you already are telling, is what impresses me.

Not using your visuals as a crutch to power through bad storytelling.

[cheatsru]

Battlefield 2042

Battlefield 2042 leaps into the future with an audacious blend of chaos and strategy, inviting players to redefine their approach to multiplayer warfare. With its expansive maps and dynamic weather systems, every match is a new adventure where unpredictable elements can turn the tide in an instant. The sheer scale of the battles provides not just a visual spectacle but also a canvas for tactical ingenuity that goes beyond traditional gameplay. Imagine coordinating with teammates through dust storms or utilizing massive skyscrapers as vantage points while battling hordes of adversaries — it’s this type of exhilarating freedom that elevates Battlefield 2042 from mere gaming experience to full-scale war simulation.

What truly sets Battlefield 2042 apart from its predecessors is its focus on community-driven content and continuous evolution. The introduction of Season Passes gives players the opportunity to shape their own narratives within the game, unlocking unique characters and equipment that enhance both playstyle and engagement. However, it’s not just about individual progress; it’s about forging alliances for survival amid relentless combat scenarios. As skilled squads emerge ready to embrace new challenges together, the emotional highs and lows they encounter forge bonds that resonate long after logging off. In this hyper-evolved battlefield, victory isn’t just marked by kills but by camaraderie forged in fire — a heart-pounding reminder of why we play these games: for connection, excitement, and ultimately, unforgettable stories crafted amidst digital warfare.

[emblemxeno]

Finished Aria of Sorrow!

-Got 100% map completion, and did a quick boss kill run through Julius mode!

-The story was better than I remembered, though to be fair, what I remembered was very little lol. I think what helps is that I was going back to Mina fairly often for the purpose of getting hints and having easy heals, but she also continually adds more haste to your goal given that she comments on feeling physically ill the longer she stays in the castle. It makes things more personal, especially when getting Soma's internal dialogue.

Soma himself, maaaaan, he's just a lil guy! He never asked to be Dracula reincarnated! He just wanted to wear his anime coat and bell bottom jeans in peace!

Being serious though, I really love Soma as a protagonist. I know some were probably annoyed by how confused and questioning he was when he had conversations, but I remember being 18 and man if only I had the confidence to actually ask what the fuck is going on.

Moreover, his design is just really good, he feels good to play (more than Juste, who I already thought was comfy to use), and he's so cool while also being a huge dork, and I find it really endearing and cute.

Side characters were pretty fun, if underutilized. Mina went up in the rankings, I really liked her as an emotional crutch and the primary force behind Soma finding an escape from the castle. Looking through the script, I found that I actually missed dialogue with her, specifically the one about Arikado being a family friend, the mystery of his identity (I know who he is lol), and his occupation, I wish I had gotten that earlier!

Soma's other allies were nice, I like how active Yoko and Julius are, since they also pretty clearly explore the castle as well, like Maria in Symphony and Maxim in Dissonance. Hammer was pretty cool, but ultimately kind of just became the Merchant Guy, and I was shocked every time he had new dialogue cuz it seemed so infrequent.

I was kind of disappointed with Arikado, because he only shows up again to help Yoko when she gets stabbed, and at times it feels like his presence was a victim of time constraints. Though maybe it's just because he was the main exposition guy at the start and for endings, so I guess I can't be too upset. I just wanted to see his beautiful face more though!

But nothing was more unimpressive than Graham, like this guy was so nothing. Maybe that was the point, because it's ultimately the castle itself and the chaotic power that's the main antagonistic force, however, I still can't help but feel let down by him as a villain. I don't really know his motivation for wanting Dracula's powers at all, besides maybe fanaticism? Idk, at least his boss fight was cool.

-Y'KNOW WHAT WAS A COOLER BOSS FIGHT THOUGH??? MY HUSBAND JULIUS BELMONT, HE IS THE BEST FUCKING BOSS IN THE GAME, BAR NONE! HE PUTS YOU TO THE LIMIT IN THE BEST WAY POSSIBLE, AND IT FEELS JUST LIKE A DRACULA V. BELMONT BATTLE AND IT'S SO FUCKING PEAK!!!

-Again, the game is the perfect balance of spectacle and simplicity. I'm astonished by the areas in the game, through the visuals, sounds, secrets, sprites... Everything in the game was a massive culmination of what came before it, and playing through it is just masterfully crafted.

-Normally, I'd be a bit miffed that the "Normal Best" ending is predicated on two drops that are random, but again, compared the CotM, the drops happen more often, and I learned that both the Succubus and Flame Demon drops are among the higher rate ones, so they're easier to get than like, 95% of the other ones, which I still had a good amount of by the end of the game.

Similarly, the game has hint books that almost explicitly tell you what souls you need to access the better ending, something that Harmony of Dissonance didn't do. Again, Aria improves on the shortcomings of its predecessors, while keeping and improving what works.

-The souls are just extremely fun to use. While I pretty much stuck with the Dracula-esque set by the end, I got use out of most of the ones I found. Mantle was funny, the vacuum was even funnier, the black cat soul was surprisingly pretty useful for grounded enemies, the Balore punch was fun, and the big minotaur Fuck You Axe Swing was satisfying, if really expensive MP wise.

For non offense souls, some are clearly mandatory (undine and skula, as an example), but even then, they feel good to use. I got lucky and got a Tsuchinoko soul to get discounts at the shop, Flying Armor was very useful before I got the mobility upgrades, iron golem was helpful when I was backtracking for 100%, and Headhunter added a nice bump to my stats before I faced against bosses.

Still though, it's more than just the best ending that's beneficial to having the three necessary souls equipped. Succubus helped me stay alive longer when dealing with normal enemies, Flame Demon was strong and cost effective, and the Bat Form ughhhhh I love the freedom that Bat Form gives you in traveling, plus Soma's Bat Form is so cute!!!

Shoutout to the Panther soul too though! Combined with Iron Golem, it made 100% completion near the end a breeze, plus it's just a neat speed boost that's good in the Julius fight.

-Julius Mode was neat, if a little underwhelming. I beat the last boss in like, an hour. The things that Julius can do really break the game in half, which is almost certainly why he doesn't have level ups or access to healing items, he's just that good. It's a fun little romp that's a good bonuse for beating the game, I feel.

-Last, but certainly not least, god if this OST was a person, I'd propose on the spot.

Along with the tracks I pointed out in the last post, I also love "Clock Tower", "The Arena", "Top Floor", "Dracula's Fate", "You Are (Not) Alone", and the Epilogue theme.

And of course, the theme song of my husband Julius Belmont, "Heart of Fire" is such a fucking banger, it's insane that Yamane cooked something like that up for GBA omg.

-I had such a fun time playing this game again. I played it once before because I had it on the Wii U virtual console, but coming back to it was like a fresh new experience and just as fun.

I'm gonna be taking a break from Castlevania for the time being, because Xenoblade X is coming out this next week, so I'll be all in on that lol. But I will be back, and the Dominus Collection will be next. I'm so fucking excited for those games.

[rickrakontoys]

Furiosa: A Mad Max Saga (2024)

9/10

Just let George Miller make whatever Mad Max movies he wants. I will witness it.

A very different beast than Fury Road, this is a sweeping, ambitious, character driven story of vengence and violence. Splitting the story into 5 chapters, each having their own narrative goals, makes the film feel very episodic. However, this structure allows each segment to have a distinct feel, while familiarizing us with the key players and the motivating events in young Furiosa's life that lead her on the path to Fury Road. The themes, visual motifs, and symbols woven through the story create a rich tapestry that, like Fury Road, elevates this beyond action spectacle and into something grand and mythic.

Anya Taylor Joy doesn't actually appear as Furiosa until nearly a third into the movie, but once she does, she commands the screen with a nearly wordless performance, glowering with intense resolve and roiling emotions. This gives the few words she does say more importance and weight. Joy has much more to do with the character here than Charlize Theron, and, while evocative of Theron's version, makes it her own. Alyla Brown as young Furiosa is terrific as well in the first two chapters, also saying very little while using only her eyes and body language to convey feelings.

While many of the Wasteland denizens new and old are portrayed impeccably with that signature manic "Mad Max" energy, it is Chris Hemsworth's Dementus that basically steals the show. Equal parts charismatic and menacing, intimidating yet vulnerable, he provides Furiosa with an interesting antagonist whose motivations are as nebulous and volatile as a desert sandstorm. Hemsworth plays Dementus as a true product of the end of the world: a sad, pitiable, broken man acting the part of a cruel, bombastic leader, allowing himself to be corrupted by the unforgiving reality around him, using humor and eccentricity as a thin veneer over his brutal nihilism.

Much has already been discussed about the film's look. While John Seale's cinematography is missed, Furiosa still contains some terrific and creative shots, particularly during its many action scenes. The wasteland is once again presented using a variety of highly-saturated colors, which is always a refreshing deviation from the typical, washed-out appearance of other post-apocalyptic movies. Yet, the compositing, lighting, and computer effects are a step down from Fury Road, and can be distractingly noticeable at times, especially due to the grander scale of the setpieces requiring more CGI effects and background replacements. But these are relatively minor complaints, as the practical effects involving smashing vehicles and flailing stunt persons are still astonishing to behold. Miller's skill in staging action remains some of the best in the business, as even the most chaotic of sequences remain visually coherent.

While not as laser focused as Fury Road, Furiosa is still an incredible achievement in both character and world-building. It is perhaps one of the best prequels made, as it not only expands what was seen before in a satisfying way, but its added context improves its predecessor.

It is rather odd that Miller chose to include a montage of Fury Road scenes in the end credits... This movie would make a perfect double-feature with Fury Road, except it decides to show you "Fury Road: Cliff Notes edition" right at the end...