#you have to portray the build-up with subtlety

[that-ineffable-devil]

I've praised George Rextrew a lot for the emotion he put behind various actions, and I stand by that.

But I also want to take a moment to appreciate Jayden Revri's ability to handle Charles' more explosive emotions.

In the Devlin house, you watch his anguish and anger build in equal measure. Unlike the characters, we get to see the build-up to the outburst that leads to him getting stuck in the loop. The first time he sees that man murder his family he wants to look away, he tries to look away. You can see how much it hurts him, but he turns back and watches anyway--and the horror turns to rage.

When the Night Nurse comes, he fights her off--very aggressively yes, but they didn't see what he did when she took him into his memories--and everyone looks at him like...like he's a bomb that may go off again? Like they've never seen him before?

The boy's just been through some of his most traumatic memories and committed an act of violence that probably only made that experience worse, and he sees his friends looking at him the way he'd always feared they would--like he's a bad guy. And Jayden portrays that grief and pain so beautifully.

And when he gives that little "no" while he's crying and jerks away from Edwin's outstretched hand?

My heart feels like it's been squashed and wrung out.

[finalgirlwillbyers]

Sorry if this has already been discussed but its so interesting to me how lucas is seen and portrayed through the lense of the fandom. It feels like in a lot of fandom works he either has to be the antagonist or the "perfect" one and he isn't allowed to be complex, fleshed out or built upon like other characters. In some works he's either the one who's homophobic, says something wrong/hurtful or he's antagonized for his plotline and wanting to conform (for good reason) in s4. In others he's max's "perfect boyfriend", a supporting character for mike who's just there to give advice, or just a character who's there to comfort and build up others in general. These choices definitely reflect the duffers writing of lucas but it's interesting that in so many fanworks that can build upon what's given in canon and expand on existing characters he's left so flat and is either the person who does something wrong or the person that can do no wrong ever and in both cases it's usually used to uplift a different character in some way.

Despite the sub-fandom's loud proclamations of all encompassing love for Stranger Things, analyses and fanfiction highlight this love's true limit. The limit being characterization outside of facilitating or validating the desired plot point. These characters frequently end up being depicted as shallow tools for individual fantasies.

Bylr, mainly Mike, is the center of many of these fantasies. You see this in how people write Max as Mike's therapist, treating her as an expository device for Mike's trauma. You see this in how people write Will as Mike's doormat, demurely soiled by Mike's foul behavior and happy to serve again. And, you see this in how people write Lucas as the malleable everyman.

On the one hand, this behavior is a reflection of the Duffers writing. Lucas is usually kept in the periphery, supporting but not centered. The writers focus on Lucas as an individual more during his S4 conformity plot line. The issue is that his character development is due to external force rather than introspection. Instead of fleshing out Lucas' understanding of the world, the writers reiterate what we already know about Lucas. Outside of basketball, there's no new information presented about his life, his interests, his family, or himself.

What we do get is a one liner with the subtlety of a sledgehammer, a reaffirmation of his love for Max, and a violently temporary resolution to the multi-functional Jason v. Hellfire conflict. Rather than address race, the Duffers prioritize geekdom. While it maintains the show's "sensibilities," the Duffers' cowardice proves their unwillingness to challenge the status quo, whether that be creating uncomfortable situations amongst the ensemble or compelling the audience to question their own assumptions about Lucas. Of which, they have many.

On the other hand, it's not like Lucas himself is uninteresting. He's a meta-textual underdog, once reviled by the audience for being skeptical of the suspicious little white girl. Lucas was known as the "aggressive" one, despite his character's S1 motivations being laid out clearly, not breaking limbs or making eyes bleed, or getting into more than one physical fight. When people reappraised the show after S4, Lucas (especially Caleb) garnered greater appreciation. How much of that being genuine is another topic, relating to performance in fandom and online spaces.

Outside of his valuable contributions to the group, Lucas has numerous qualities that make him an excellent brother, friend, and boyfriend. He's got a keen mind, always prepared with a retort (but less so than Erica). He's skeptical, balancing out the idealists, theorists, and dreamers in his friend group. He's pragmatic, providing common sense solutions for average to larger than life problems. He's bold, willing to pursue independent action despite the danger. He's got grit, an unwavering determination in himself and his judgment. He's stubborn to the core, making him a fierce protector. He's self aware, graciously accepting his mistakes and take immediate action to do better.

It's not just those personality traits that make him endearing but his perfectly imperfect contradictions. He's one verbal blunder away from a permanent break-up with Max, however he charms his way into her good graces time and time again. He's the Hawkins High's MVP, shooting a championship winning basket during his freshman year. Meanwhile, just a year ago, he used to get a thrill through karate kicking his way through Hawkins Middle classroom doors (then getting caught). No matter how "cool" he gets, Lucas Charles Sinclair is, and will always be, a dork.

It's difficult for people to parse out these aspects of Lucas, when their primary understanding of a character is derived from said character's relationships. It's one reason why shippers struggle with grasping a character's identity and motivations. They can't see the forest for the trees.

The sub-fandom's fixation on romance is a given but, per their self-appointed high level of "media literacy," it's worth noting for hypocrisy alone. "Media literacy" apparently only applies to a single, white queer, lens of interpretation. When you have a character like Lucas, who doesn't adhere to this limited scope of skill and interest, people will either disregard him or make him conform to the their expectations.

Look at how bloggers analyzed Lucas on the Line, when they weren't making it about Mike. People had a fundamental issues understanding Lucas' relationship with his Black peer mentor, Jermaine. What they thought was sexual attraction was actually admiration. He's in awe of Jermaine, who is a cool and confident Black upperclassman in a predominantly white community. That is why he becomes Lucas' role model, giving Lucas something to aspire towards.

This isn't me saying these bloggers are racist. This is me pointing out that race wasn't even a factor on their identity issue radar. To be frank, it isn't on the Duffers' radar either.

Ultimately, fandoms are places of habit. If people can't utilize Lucas as a means to resolve Mike's issues, such as his fandom-minted trauma or romantic angst, then Lucas is relegated as set dressing. The type of set dressing includes but isn't exclusive to: a plug-and-play dynamic with Max, the queer ally relationship counselor/therapist, or the scapegoat for an intra-party conflict.

While the first two are dull but harmless, the latter leads to some insidious scenarios, such as Lucas being cast as the homophobic party member. Lucas being homophobic is founded on assumption, not text! If you need to look for a homophobe-in-training, please look at repressed Mike Wheeler.

Lucas can't even catch a break when he's not being depicted as a homophobe. In an effort to minimize the collateral of Mike and El's break-up, as well as appease El stans, shippers paired up Max and El. Ironically, Lucas becomes a form of collateral himself. The only difference is that, unlike a single El, shippers can live with the fallout of him third wheeling his throuple or rationalizing Max's "amicable" break up with Lucas after the events of S4 and S5.

As I said in another post, it's never about Lucas. It's about what he can do for you.

[canmom]

watched a 30 minute video about hajime isayama and his development as a mangaka and a person. it talked a great deal about his self esteem and inferiority complex and anxiety, which i agree are all relevant to his work, knowing it's a lonely (maybe autistic? he kinda has the vibe) guy in his 20s trying to navigate a first serialisation explains a lot. but not a single word about his political ideology, and like. surely someone has asked him about it? at some point?

there was a period he was getting death threats from Korean readers after it came out that a positively portrayed AoT character was modeled after a certain Japanese general who participated in the occupation, it's not like it's a niche subject. and more generally there are points where AoT comes across almost as a roman à clef for the Japanese far right, the Marley arc onwards throws out all this Holocaust imagery, it's a story full of military coups and people getting radicalised into paramilitaries and geopolitical tensions and genocides and the bloody legacy of nation building, generally handled with about the subtlety of a train. he definitely was a nationalist at one point, and the general consensus on this website tends to be it's simply youjo senki levels of fash. I still feel like the situation is more complicated (at least there is a lot that would undercut a straightforward fascist reading), but I kinda want to hear what Isayama would say about it.

not that he entirely seems to have the strongest ability to discuss the themes of his work in explicit terms. like not even in a 'the work should speak for itself' sort of way, which i would respect - he seems to talk a lot about his hesitance over what readers would accept, his worries he didn't stick the landing, his difficulties connecting with his main character, how the anime adaptation affected his writing. he's happy to talk about a lot of things! and i don't mean some interviewer should corner him like 'so man, are you an actual fascist or what, the people are dying to know' - more I just kinda want to know what the hell he was going for with all this. whether he feels his worldview changed over the course of the story. if what I think I am picking up is what he thought he was putting down. because i can speculate and all, but... whereas with someone like Hayao Miyazaki, or Yoko Taro, they've talked quite a bit about their respective ideological development and how it's reflected in their stories, with Isayama there's just nothing I've been able to find...

[disturbingstar]

The last of us trivia

TV show

• Pedro Pascal agreed to play Joel within a day of being sent the script.

• Neil Druckmann (the writer and director of the games, and the co-creator of the HBO series) watched over 100 auditions for Ellie before seeing Bella Ramsey's audition, of which he said, “It didn't feel like I was watching someone acting like Ellie. I was watching Ellie.”

• The TV adaptation offered the opportunity to expand on characters' backstories like Marlene and Ellie's relationship - as they weren't limited to a first-person POV.

• Huge apocalyptic sets had to be made for the show that were only used once - like the interior of the Capitol Building, which was built on a soundstage from scratch. Matching the lushness of the game while making it more realistic was the end goal, and art books from Naughty Dog (the company that developed the video games) were used as a jumping off point.

• Tess is portrayed by Australian actress Anna Torv. She was aware of the games but had not played them and watched the cutscenes after her casting. Torv felt her performance required consistent truthfulness due to its subtlety.

• Anna Torv and Pedro Pascal who portrays Joel decided that Tess and Joel had been lovers for some time but, like in the game, were subtle about their relationship.

• Sarah is portrayed by English actress Nico Parker. Parker watched videos of the original game years before getting the role. She wanted to stay away from the game version and provide her own interpretation of the character.

• As the clickers were a “home run” in the games, prosthetic artists from Game of Thrones were brought on to make them look as close to the source material as possible.

• There was even a movement bootcamp to train extras how to move like infected.

• The art teams were given the direction to find the beauty in the fungus. As Neil Druckmann said, “When you see the beauty in these monsters, it somehow makes them creepier.”

• It was Bella Ramsey's suggestion to have Ellie sleep with a switchblade during her first night with Tess and Joel.

• Neil Druckmann always thought of Joel and Tess's relationship as romantic, and the TV show offered the opportunity to make that explicit.

• Neil Druckmann is open to a The Last of Us Part 3 game, but it depends on whether the team can “come up with a compelling story that has this universal message and statement about love.”

• Pedro Pascal was chosen to play Joel Miller because of his ability to portray a tough, tortured, and vulnerable character who suppresses his emotions until necessary.

• Pedro Pascal based Joel's voice on his own experiences growing up in San Antonio, Texas, paring it back from the Southern accent used in the games.

• Bella Ramsey was aware of the game before their audition, but was encouraged not to play it to avoid replicating Ashley Johnson's original performance, instead watching some gameplay on YouTube to get a sense of it. As of filming the series, they still hadn't played the game.Ramsey wanted their performance to be reminiscent of the games without copying them.

• Unlike his counterpart from the video game series, Joel is more vulnerable in the television series; he is hard of hearing on one side due to a gunshot, his knees ache when he stands and he also suffers from nightmares and panic attacks. Co-creator Craig Mazin felt Joel should be less resilient than in the game to show the toll that living in the post-outbreak world has taken.

• Tommy is portrayed by American actor and producer Gabriel Luna. About a month after the casting of Pascal and Ramsey as Joel and Ellie respectively, Luna was asked to submit an audition tape. He was familiar with the work of co-creator Craig Mazin and executive producer Carolyn Strauss, and had previously worked on HBO's True Detective. About a week after submitting his tape, he was offered the role and, according to Luna, they instantly knew he was the one. He was enthusiastic for the role, having lived in Austin, Texas—Joel and Tommy's hometown—around the same time as the show's setting. He was also given a PlayStation 5 during production to play the games as research.

[untitled-byler-blog]

Should there be a Byler Sex Scene?

ok now that it's not a such a Hot Topic of the tag, I'll reiterate my point for those of you who weren't around for my first spiel:

disclaimer, as a sex-repulsed asexual who does not like watching sex scenes, I acknowledge my bias on the subject

in an ideal world I'm ok with a byler sex scene existing; (apparently, can't speak from experience) teenagers experience sexual thoughts/feelings and I think it's perfectly normal to portray those feelings existing, going so far as something like the Jancy scene from s2 (I don't think that characters who are minors should be explicitly shown in sexual situations (re: st4ncy in s1) regardless of the age of the actors)

That being said, there is a different obstacle that byler faces: Stranger Things can be revolutionary by being a mainstream show with such a massive following with a canon queer couple at the forefront of it when it's not an inherently queer/romance-based show; but the caveat of this is that there are a lot of people who will not be accepting of a Byler relationship. Whilst some peoples' minds will not change, the incredibly slow build up of the relationship can serve to make it much more palatable to those who sit on the fence, or perhaps even just over it.

If the audience was predominantly queer (which it is not), then having a sex scene would not be on such a fence, as the majority of the audience would perceive it (queer sex) as something that just happens. But, as that is not the case, Byler should not even so much as have an implied sex scene (in my humble, and -- as previously mentioned -- biased opinion) because it reinforces to the general audience a harmful stereotype: that queer relationships are inherently sexual

Obviously, being queer is not something sexual in and of itself, but because of this stereotype (re: because of how queerphobes perpetuated hate surrounding members of the queer community/arguing (falsely) that they are "corrupting" children by saying that their (queer people)'s existence is inherently sexual) having a queer couple that (to much of the general audience) will be coming out of nowhere, having a sex scene would only be fuel for them to continue the argument that queer=sexual

Thus I believe that for Byler to have the profound impact on the general audience that we so hope to achieve from its canon confirmation, a sex scene must be avoided at all cost; if the directors are smart, they will make sure that the relationship is not oversexualised so that it could be understood that queer people are just people, they are no different from other het ships on the show (like Lumax, who have not been shown in any overtly-sexual ways; and, with the way Max's condition is, probably will never be within the timeline of the show); and, as much as I can understand (to an extent) the satisfaction that could come with such a scene, I do not think it is a smart move from the perspective of the queer community vying for recognition as something "normal" and not "x-rated"; nor (and, unfortunately, much more importantly to netflix) from a marketing perspective

I think that subtleties like the pizza kitchen scene will be the extent of the sexual side of their attraction that we will be "shown"; and I truly think that that is for the best for everyone

[assortedseaglass]

For The Seamstress & The Sailor, questions 2, 3, 4, 9, & 10, please 💜

Thank you most lovely person! Got carried away with the answers...

2: What scene did you first put down?

The opening scene! I wanted to write a Tom fic for a while. But wasn’t sure who to pair him against. I’d also had an inkling to write about three sisters, and eventually one day they came together.

Really, the story is about Bess more than Tom, and so I wanted her world to feel fully fleshed out before I launched people into their relationship with each other. Having the sisters sitting on the front step with their neighbours, I wanted to portray every key player in the story from the outset!

It’s no surprise to anyone that has read anything by me that I love world building and a huge part of that is the characters.

3: What's your favorite line of narration?

I really enjoy writing how Bess and Tom see each other. They’ve known each other so long there’s an existing intimacy that is fun to write. And that doesn’t always mean it is loving. I enjoyed Bess’ perspective here;

His head was leant against the brick of the house, exposing the lean muscle of his neck. The cigarette in his mouth was barely lit, and he pursed his lips to puff it into life. Bess watched the smoke unfurl in the air and caught site of his shadow against the wall. Sharp, harsh and angular. He looked like a Roman statue. Not one of a great emperor, mind. One of those spoilt man-childs that fucked their way around Rome before dying of syphilis. Bess snorted and sat on the bench beside him.

I also like writing Tom because I find him quite hard to read. I’ve said it before but even though Tom is a brash character, EM plays his emotions with such subtlety it's fantastic. I like this observation of Bess from his view;

Bess sat beside him and he passed her his cigarette. She placed it between her lips, Tom watching as she did. He didn’t comment on her dress, though admired it all the same. Her rosy face glowed in the low afternoon light and the smoke she exhaled cast a shadow around the plump lines of her face. Her long eyelashes were bare, as was the rest of her face. Youth exuded from every pore but, as always, her eyes were dark and focused. Bess seemed to have lived a million lives before she was given this one.

4: What's your favorite line of dialogue?

Basically anything Dot says! She is so open emotionally she just says whatever she’s thinking and I love that.

My all-time favourite bit of dialogue, though, goes to Claudette. I wanted Tom to have this realisation that he loves Bess, and for that to come when he meets this woman very similar to her seemed like the perfect time. And just as Bess always seems to floor Tom with what she says, Claudette does the exact same thing.

“You must love her very much. To see her faults and love her as you do,”

“You what?” Tom spluttered as he made to sip the flagon of water. “I-what? I mean, Christ-”

“Falling in love is easy,” Claudette continued. “People do it all the time. But staying in love, that’s a choice. The more we know someone, the more we see their faults. To want them despite that, that’s real love.”

It also seemed to resonate with people, and that is always lovely when we put writing out there.

9: Were there any alternate versions of this fic?

Were there! There were a few alternate ideas but mostly they went out the window pretty quickly because they didn’t make any sense!

The biggest change was that I was going to kill Fergal at the end of Volume I.

I made him an air raid siren with the intention that it would help his alcoholism, and that just as he had reformed himself he would be killed in the Manchester Blitz. However, the arc with Tom and Bess towards the end of Volume I is quite plot heavy, with Tom escaping occupied Europe, so I wanted to wait until Volume II.

My mum and I had a theory leading up to Word on Fire series 2 that Douglas would be killed in the blitz, then lo and behold Julia Brown revealed it was true! I grappled with killing both Douglas and Fergal, changing the story so that it was just Fergal who died, or keeping it in line with the canon of the show. I went with the canon because I think Douglas’ death is devastating to both Tom and Bess, and that is going to be interesting to explore.

I do miss him, though, and I really miss writing him. RIP Douglas <3

10: Why did you choose this pairing for this particular story?

I’m cheating here and taking my answer from your amazing Interview with a Writer series which everyone should read!

My take on Tom is that he was a confident child, and took this confidence and started to act out after his mother died. He says what he thinks and doesn’t worry about the consequences. War wakes him up to is faults. 

Bess, on the other hand, was not confident as a child, and only grew in confidence as an adult. She became sure of her place, whereas Tom started to question it. She rarely speaks her mind, only when she feels it is needed. War wakes her up to her strengths. 

In that way they are different, but they have common ground too. Both are incredibly loyal, lost their mothers young and have things to prove. Tom, that’s he’s not just a petty criminal with no direction, Bess that she is worthy of a place despite her difference to her peers. Both of them also want to prove that there is more to the working class than what society expects of them.

I think those core elements that are similar, but the small differences that challenge each other, make them an ideal fit.

Fanfic Asks

[feastofcadavers]

THANK YOU FOR KILLING OFF MY ARCH ENEMU (lemon cookie) ABSOLUTELY DESERVED FLAIL THAT CITRUS COOKIE AROUND AND CALL HIM A PRIDE FLAG WOHOOO YAAYAYAYA🎉🎉🎉I have been praying on his downfall for so long this is the best day ever i am throwing confetti and cheering

out of all seriousness, though your writing is absolutely beautiful, I love the way you write foreshadowing and the way you build up tension so much. As someone who struggles a lot with reading tone through text, I could tell exactly what was going on and what each character was feeling throughout the scenes, I've literally never felt so immersed in a story before I'm going to EXPLODE/POS your details are.AAAAAAAAAAAAAA your work is so cool Anywyas woogooo KILL THAT CITRON WOOHOO

Ah, it seems your bias against the citrus one has bore fruit! Seething through the tale in hopes for one's unfortunate fate... I can relate to such. Mine has, too, come to fruition. Not all of it, though... Not yet.

Your praise is taken with appreciation and grace. As one who had to analyze others in order to properly understand their emotions and how specific individuals would interact with specific events, it is very comforting to know that such attentiveness has brought about an effective means of portraying emotion and tonal indication without being obvious. Subtlety is always key in matters such as these...

Now, care to watch the ripples of aftermath with me? While we still have time? It would be nice...

[talkingbl]

The Good and Bad of Blueming

SPOILER WARNING. TW: eating disorders

The Good

The capturing of the Cha family dynamic. I want to start off by saying that the way Siwon's parents treated both him and his sister was shitty by any measure. That said, Blueming showcased an artfully crafted exploration of the interfamilial toxicity. Particularly revealing was the film-within-a-film. Those scenes where Siwon shot and exhibited his scenario were really the penultimate expression of Siwon's feeling's toward his mother. 2 things really got me: Siwon's stylistic choices with the film, and his mother's subsequent reaction to the film. Those two plot points demonstrated the power of subtlety in media. Siwon's feelings about his mother were deep and complicated yet felt simple to him. Siwon didn't hate his mother, he resented her. He didn't fear her, he wanted to be perfect for her. One scene in particular that stood out was the scene where his younger version is smiling as his mother forced him to drink the protein shake. It seems like, because of the divorce, he felt so sorry for her that he didn't mind when she began projecting all her insecurities onto him. All that mattered to Siwon, it seems, was that his mother was happy, even at his expense. And that feeling of wanting to see someone you love happy at all costs is extremely relatable.

Siwon's backstory. First off, we actually get a backstory that's not merely told to us but shown to us, like the adults we are. It's raw and compelling and shows us the uglier sides of humanity. But more than that, it gives us a look into Korean society that we never see--showcasing the blemishes on the veneer of perfection we see portrayed in Korean media. Another thing I loved about his backstory outside of the metacommentary it provided on individual choices was the fact that it had long-lasting and direct effects on Siwon's life. Siwon struggled with self esteem and feeling loved due to his abandonment issues and his mother's treatment of him post-divorce. This manifested itself whenever he'd jump to the worst possible interpretation of Daun's actions rather than assuming that Daun was approaching in good faith. That's a very real characteristic of people who struggle with low self-esteem. It also manifested itself as hyper-competitiveness with those he perceived as 'too good' for him or 'better' than him. Again, just a great way to communicate his lack of self-worth and fear of abandonment.

Daun as a concept. The best thing about Daun is how open he is with his feelings for Siwon. There's never a moment in the story where I'm left feeling confused about what he is thinking, which, IMO, is key to building a strong lead character. Plus, he's quite proactive and each of his actions have direct and measurable consequences that move the story forward. He is the living embodiment of this gif:

The mise en scene of Episode 9's intimate scene. Everything from the framing (the silhouettes), to the color grading (washed out moody blues), to the setting (beach house), to the tone (sleepy and playful) combined to create one of the most freeing scenes I've seen in a BL, ever. It wasn't just pretty to look at either--it took me to a completely different place outside of the show. It felt like that time around sunset when everything moves a beat slower, the wind is a perfect breeze, and soft background noise hums through the air. Truly gave the same vibes as 'the night feeling' (google it).

Daun's Episode 4 covered kiss. This was the moment I fell for Daun. I came into this show so skeptical and ready to be bored, but that moment changed me completely. And it wasn't the kiss itself that did it. It was the look on Daun's face as he did it, the words he'd muttered to himself up until that point, and the dumbfoundedness of Siwon. There was a childlike crush that had been growing on Daun's end and it just rose to a head. Such a beautiful moment, indeed.

The Bad

Siwon is a weak lead. Yes, I said it. He is so incredibly reactive that it actually hinders the plot. Any good writer knows that key to writing a good character is to make them do stuff rather than merely having stuff done to them. Even if the character is meant to be indecisive, they should do things that, you know, cause the the plot to happen. But here, Siwon barely moves the story forward. In fact, it's always someone else doing it for him. Whether it was his sister submitting his scenario or Daun progressing their relationship, siwon hardly did anything to give him a personality outside of his body image issues and general low self esteem. In other words, all his character development is in the past and doesn't particularly lend itself to moving the present story along..

What happened to Daun's villain arc? The moment Daun broke ole boy's phone, I thought we were in for a Ok Taecyeon Vincenzo-esque heel turn from Daun. Like the bad guy who'd do anything for his one true love. Sadly, I was wrong and we never explored that side of Daun again.

We still don't clearly know why Daun fell for Siwon in the beginning. Seemed a little too much like happenstance.

What exactly happened in the last 1-2 episodes? Girl, when I tell you I had no clue who was avoiding whom and for why in those last two episodes, I mean it. When I realized it was Daun who was avoiding Siwon, I was legitimately confused. Like, wtf? What did Siwon do to deserve this? Why was Daun doing this to himself? I honestly even feel like they should've cut the entire 11th hour betrayal plot out of there because we all saw that coming a mile away. It would've been more refreshing if Daun never went behind Siwon's back in the first place and they had some other conflict instead. But what do I know? I write blog posts not teleplays.

[themosleyreview]

The Mosley Review: Knock at the Cabin

Ya know, as far as apocalyptic films goes.....wait a second. Has it really been at least 5 years since we've had another one of these type of films. Yeah sure you could count the big blockbusters The Tomorrow War or maybe A Quiet Place, but those are more in line with post apocalyptic and time travel. I'm talking about the films that build to the inevitable destruction of everything we know. This film decided to go the other way and bring back that classic amount of tension and fear of the unknown. Is the apocalypse actually happening or are the antagonists of the film delusional? Is the evidence being presented as fact or a well crafted deception? Those are the many questions you begin to ask yourself throughout the film and I loved that. Although the tension, intensity and pain were very well portrayed, I couldn't help the feeling that the subtlety of each was quickly starting to falter and overstay their welcome. There are some moments of pure illogical behavior that were almost unforgivable and I won't spoil them here. Lets just say that there is an item that changes the tide in the struggle that any normal person would have ready to dispatch an intruder with at all times.

Ben Aldridge was great and combative as Andrew. I liked that he was the most skeptic in the couple as the clues presented themselves of whether what was happening was real or not. Johnathan Groff was loving and kind as his husband in the film, Eric. He represented the heart of the relationship and he was the most understanding and inquisitive. Kristen Cui was outstanding as Wen and I loved her pureness of heart. She was genuinely curious, but smarter than most kids in films like these and I appreciated that. The three of them were a lovely family and you feel the love they all shared for each other. Dave Bautista has continued to truly surprise me with the ever growing quality of his dramatic performances. As Leonard, he was so charismatic, heartfelt and remorseful as he reluctantly has to follow the path laid before him. I loved the opening scene with him and Wen as you see that friendly giant spirit within him shine. That scene set the tone of the film and he led it to so effortlessly. Nikki Amuka-Bird is one of the best at delivering true heartbreak, determination and yet care. As Sabrina, she did all of that and helped truly sell the nurturing nature of the character. Abby Quinn was excellent as Adriane and I loved that she was actually pleading for some sort of savior. She may be the very confident one of the group, but she really had a kindness in her eyes as she divulged her life before ending up in this situation. Rupert Grint blew me away as Redmond. He was a harder edged character that truly was full of pain, trauma and regret that I really felt sorry for. He nearly stole the film in his moments and it was great to see him back on the big screen again in a role I didn't know he could portray so powerfully.

The score by Herdís Stefánsdóttir was haunting, pulse pounding and emotionally charged in the best moments of the film. The only negatives I felt about the score is that it sometimes telegraphed or tried to force you to feel a certain way in a number of scenes. Sometimes a film can be over scored and I believe this one was one of them. The power of silence can really deliver the best tension or scares and I wish there was more of that in this film. Aside from one of the biggest mistakes a character could make happening in the latter part of the film, I did enjoy this apocalyptic tale. It delivers great tension and mystery, but it does lack some breathing room to truly make it as memorable as it could've been.

[number1villainstan]

AtLA Analysis Rewatch: S1E7: Winter Solstice Part 1, The Spirit World

Intro: Man, it's been a while since my last one! I have no idea whether I'll be able to do it all in one day, or start the day I'm starting this draft, but I think I should start anyways, just to make some progress. If I'm not mistaken, this is the episode with Hei Bei and the burnt forest around the village. But: let's get into it!

Let's skip the intro for now, because I procrastinated and don't think I have time. (This is two days after I wrote the intro, rip me.)

The Previously section: two focuses, on Aang being the Avatar and on Katara's necklace being lost. I don't think it's a coincidence that a lot of scenes used for the Avatar emphasis have a spiritual connotation; the statues in the Air Temple, the Fire Sages in their temple, Bumi talking about the duty of the Avatar.

It's interesting how "The Avatar must restore balance by defeating Fire Lord Ozai" is really blatantly stated. It makes sense--the series needs a direction to go, an overarching goal/plotline--but the directness of it, compared to the subtlety with which a lot of other aspects of being the Avatar and the setting and characters in general is approached, is a little odd. Or maybe that's just me having spend so long vibing with my fellow Ozai/villain fans and not watching the show in way too long.

What trees are those shown in the beginning of the episode? Obviously deciduous, with round and very thick canopies. Also, the hawks is bright red; is it the same species as the Fire Nation messenger hawks? It's almost certainly male, though.

Aang just jumps straight into the clouds--impulsiveness--but brings his staff--enough wisdom/foresight to not die. Thank god. Also, the 'turns out clouds are made of water' line--am I wrong? Is this the fortune-teller village episode? (Also, would you really get that soaked from jumping into a cloud? It's basically just fog but higher up, right?)

Okay, so it is the burned-forest episode, as I thought. Also, the forests themselves look very thick (and very green), which makes me surprised that the forest fire didn't reach a lot farther; thick forests like that are generally conducive to really strong wildfires, along with a high percentage of young trees that haven't built up bark to survive and--guess what?--suppression of smaller natural fires, which makes easily-burnable debris build up. I'm not going to go into a lot of detail here but forest fires are an important part of a forest's life cycle, and it looks like the forest here has seen a lot of fire suppression. Which is probably why the 'scarred' part of the forest looks so bad, with no trees that survived or anything. Although ash is full of nutrients, generally, so why haven't faster-growing smaller plants moved in yet?

But enough about the forest fire, I guess. Even if it's not accurately portrayed at all.

There is an interesting character/philosophical moment that goes on here. Aang feels responsible for this forest burning down ("how could I let this happen?") and while Katara feels otherwise ("You didn't let this happen") Aang doesn't listen to her, saying that it's his job as the Avatar and that he doesn't know how to do his job. Which is odd, because he's 12, he shouldn't have this responsibility--it's canon that the Avatar should only know they're the Avatar at 16--and because the burnt area is a tiny, tiny fraction of the world. It's a symptom, not the systems the Avatar is supposed to work on the level of.

When Sokka asks about how Aang is supposed to talk to Roku, you can hear the compassion in his voice--he's trying to be sensitive, obviously, but it's also in his nature to be practical and well-grounded.

We see Iroh again, but his antics in the hot springs make it clear that his character hasn't yet switched from the comic relief old man of the early episodes to the wise mentor figure he is in later seasons. Also, Zuko's insistence that his troubles "cannot be soaked away"-- is he refusing to rest or relax, no matter how tired or burnt out he gets? That sort of tunnel vision is not going to help him. At all.

Iroh also calls himself Zuko's 'teacher,' rather than Uncle. Not sure what that's supposed to say.

"Are you ready to be cheered up?" Katara doesn't jump straight into trying to make Aang happy; she knows the importance of grieving and letting yourself feel sad.

What was the old man doing wandering out there? What's his job? Why was he alone? He was probably looking for the flying bison, but again, why is he alone? Are there others searching for it? (Also, why aren't his clothes all ashy?)

The destruction Hei Bei caused, shown in the village--what stage of rebuilding are they in? Most of the buildings are fine, but one part of one of them is just a frame that's all broken--how the hell did it get like that??? Also, are those roof tiles the only thing the roof is made of? That doesn't seem like wise building sense, unless it's a cultural thing that I'm missing.

"It is the greatest honor to be in your presence!" Aang didn't even bat an eye at that. Maybe he's getting used to being the Avatar, or grateful that he has something he can do as the Avatar after running into the burnt forest and blaming himself.

How many people are in the hall? It doesn't look like a whole lot. I'm not going to do the counting like I did with the SWT. Are there any other families or people in other buildings? What are the people doing there in the hall? Is this an agricultural town? What is its source of income? Does it trade? How did they build those buildings and what are they for? I know I'm not gonna get answers but STILL

Oooh, Hei Bai, not Hei Bei. My bad.

Why doesn't Katara know about the Winter Solstice bringing the Spirit World closer? Does it not interact with the human world unless there are enough humans gathered? Perhaps it's a symptom of the cultural destruction of the SWT. (Or perhaps it's prompting exposition for the audience, which, fair.)

Katara again displays an ability to pick up on other's emotions, and Aang brings up his inexperience ("I don't know anything") at being the Avatar. But Aang tries anyways, because someone is in need and he is in a position to help even if he doesn't have the expertise.

Iroh doesn't seem all too concerned about missing Zuko's deadline, probably familiar with a teenager's empty threats. His interactions with the meadow mole give us the first (I think) glimpse into his later characterizations of 'wise mentor.' In fact, with the EK soldiers trying to take him prisoner (and calling him the once-great General Iroh) this episode also is the first time in which the series starts to take him seriously.

Should have written this earlier, but why is Hei Bai choosing to abduct villagers? And why only one at a time? (The probably explanation is to keep it kid-friendly, but what about in-universe?)

I find it funny how much grandstanding Aang did right before Hei Bai showed up, and also how oblivious he was to the massive spirit walking right behind him. Did the spirit's footsteps make sound? Did Aang just not hear him? (Also, why wasn't he more afraid?)

Aang trying to reason with something that is clearly acting like a wild animal (and therefore probably can't be reasoned with)--what is Aang's experience with spirits? Has he had any direct experience? What were the stories and lore surrounding spirits in the Air Temples?

Sokka holds back on going out to help until Aang gets hurt, and then he immediately runs out to try and fight Hei Bai. Loyalty and practicality.

Of course, Zuko's threat to leave without his uncle was empty, and Zuko went looking for him. I wonder how long it took for Zuko to suspect something was up. Not to mention that Zuko knew by looking at the rock formations that it was earthbending, even though his soldiers thought it was a landslide. (Unlikely, methinks.) Perhaps the person who brought up the idea of Zuko's crew being much newer than 3 years, and them being traded out as punishment/disgrace on the regular, was right. If so, that soldier would be a lot less experienced with earthbending than Zuko.

The EK soldiers use ostrich-horses while the FN soldiers use komodo-rhinos. Cultural differences in values (speed vs intimidation/fight capability) or differences in resources (which species is native to where)? Also, what is the armor they're using for their ostrich horses? How do they get the metal? (god i have so many worldbuilding questions--)

This is the first time that someone's mentioned what Iroh has done as a FN General: the Siege of Ba Sing Se. 600 days is a long time, almost 2 years, and it likely would have wreaked havoc on their food/water supply, especially if Iroh was smart and cut off outside sources. And Ba Sing Se is a big city, which means that hundreds, probably thousands, of people died during that siege, from hunger, thirst, or unrest. Unfortunately, while the Siege of BSS is a Thing Iroh Did, it's never really properly in the series; as much as I love the Dai Li as antagonists ("There is no war in Ba Sing Se" and "The Earth King has invited you to Lake Laogai" will absolutely give you chills if you know the context) that suppression of knowledge and talk of the war prevents the show from grappling with the long-lasting effects of that siege. Of course, most of the death toll was likely in the lower ring, among the lower classes, and we all know the lower classes don't matter! And if the lower ring's population depletes then BSS can just take in a bunch of refugees to replenish it and keep up a big workforce, right? God, the entire situation is fucked.

But. Back to the actual episode.

Iroh doesn't even mention Lu Ten dying. Smart, who knows what these EK soldiers know? Leaving the shoe on the ground after falling off the ostrich-horse, also smart.

So we have confirmation that spirits (or at least, spirit-touched humans) can walk in the human world undetected. (I doubt that Aang's statement of "I'm in the spirit world!" is fully accurate.)

Iroh canonically has stinky feet. June will show up later in the series, but I still find that funny. (Also, what if it's genetic?)

So, Roku's dragon appears, but without Roku. You might argue that it's because Roku is inside Aang, as his past life, but later Roku shows up outside Aang to talk to him in the Spirit World proper, so that theory, while still possible, doesn't have a lot of evidence for it.

Those spines on the dragon's back don't look so comfy to sit on. Do they stop near the neck?

So, Iroh can see spirits that other humans can't. This episode references/teases his past a lot, apparently, even if first-time viewers don't know his past.

Okay, why can the dragon and Aang go through walls/ceilings when it's convenient and then walk around like normal?

Given the significance of dates such as the winter solstice, the solar eclipse, it's no wonder that astronomy is so important in the worldbuilding of the spiritual side of AtLA. What I want to know is, what are the least spiritual days of the year? The solstices are both very spiritual, but what about the equinoxes? Eclipses clearly block spiritual power here (at least in the minds of the benders) but what about other celestial phenomena?

I also want to know how shrines and statues like the one in the forest interact with the spirits they're supposed to represent. Are they shows of respect from humans to spirits? Do they increase spirits' power? Do they 'anchor' a spirit to a particular place? What spirits like them? What about the shrines do they like?

That's some serious physical strength from Zuko, pushing aside a massive rock (that's being earthbent) and shattering a chain with his heel. What else can he do? In addition, where and when did Iroh learn to fight like that with chains?

Sokka's practicality again: "I need to use the bathroom," "You could give us supplies/money." Utterly shameless, too.

Where is Crescent Island on the map? Where is Hei Bai's village on the map? What's the distance between them? How far are they making Appa fly?

And that's the final credits! I ended up having to space this out over two days, so perhaps I wasn't as 'in the groove' as I hoped, but hey. Another episode that I managed to get out.

[lettersfromandie]

Slow Burn Melodrama: A Break from the Fast-Paced

Whenever I watch a Korean drama, sometimes I wonder how they structure and make the story progress so fast, that so much has already happened even if I'm still on episode 4 out of 16. It is not a surprise though since K-dramas are known to have a fast-paced build-up. I may have not watched most of what everyone has on their "Watched" list but I can tell that I've already seen a lot and they are mostly the ones that make me say, "What? Episode 2 pa lang marupok na si mareng Yu Na-bi ni Park Jae-eon?!" Cheka.

Seriously though, I've watched a lot of heavy and intense dramas (also recently finished The World of The Married) - which is also my liking but when I've already seen so much of that heavy-packed drama and conflict, I want to take a break. Not to mention, lately I've been super overwhelmed with school + org + household responsibilities so I wanted to find something, anything, that will serve as my breather.

Gasping for air, I was searching some music videos of K-drama OSTs because playing them are therapeutic for me. Then, I randomly discovered a really good soundtrack that led me to finding and watching my breather. The song is Rain or Shine by Elaine, from the K-drama, A Piece of Your Mind.

What exactly compelled me to watch the drama is this song and the scenes from timestamp 0:55 onwards in the music video. I was intrigued and fascinated of the mahinhin gestures and I can easily feel the tension when the person was silently watching the other from a distance. These are subtle actions that we don't really get to appreciate or take notice of because they don't seem obvious and deliberate. Personally, it's the little things, the subtleties, that soften me most. And I wanted to see it in third person.

I don't remember watching a slow-burn romance melodrama, so I guess this was a first. And since this was my first, I did not expect anything, but a precious Jung Hae-in that I know will surely melt my heart 😝💓 From not clearly understanding the background in the first two episodes, to realizing that there are other precious people aside from Hae-in's character, then gradually appreciating the sentimentality of a slow-paced development, and finally grasping the entirety of the story, here's what I can say about A Piece of Your Mind :

It's an underrated, heartwarming melodrama, which not everyone is ready yet to give the recognition it deserves. It gives me the warm fuzzies and the fresh air I had been longing for. Not only did it help me breathe better, it also made me appreciate the beauty of the quiet. Ha Won (played by Jung Hae-in) and Seo Woo (played by Chae Soo-Bin) showed that there's something so simple yet pure of looking at someone from afar - not expecting, but hoping, or maybe none at all. That there's so much respect and love of patiently waiting and giving them the space and time to take a break, to grieve, or to be at peace. No rushing, no forcing. 

This drama both calmed and fluttered my heart. Too precious, I can't take it 😭💗

There are also many scenes and lines that resonated with me. One of which is this:

Having a one percent chance on someone or something may be positive or negative depending on how we look at it. 

"At least I have one percent." 

"I only have one percent." 

Usually, it's the latter we tell ourselves. Knowing that we only have one percent can be disheartening and we tend to kill it since it's just close to none at all. But Ha Won reminds us to let that one percent be free. You'll never know, it'll grow when you leave it be. (So, Jung Hae-in, as long as you're alive, I'm still clinging to that one percent chance I have with you and leave it be. Chos. Nagbabasakali lang naman.)

There is so much understanding and emotional rawness portrayed in A Piece of Your Mind and I can't help but cry (I always do). I am relieved that this drama and its OST has somehow given me some healing. It has easily become my comfort K-drama and I definitely want to watch it again.

The perks of a slow-burn melodrama. Never fails to evoke such emotions. Letting us take the time to savor the softness and sensation of the slowness. If you need a break from the fast-paced, I can attest that a slow burn melodrama will give you a peace of mind. (Kahit mapapasabi ka na, "Three episodes left and wala pa rin kissing scene?"  HAHAHA cheka.)

Love, Andie

[denimbex1986]

'...The return to in-person movie theaters was a welcomed one. With the most unlikely crossover successes, films like “Barbie” and “Oppenheimer” made alliances, both to their commercial benefits...

“Oppenheimer”

“Oppenheimer” is a must-see film from the summer of 2023. It has everything you would expect from Director Christopher Nolan: multiple converging plot lines from different periods, fast editing, jarring cuts and, of course, white male actors galore.

But perhaps what is most impressive is the amount of suspense Nolan is able to build in a film about theoretical physics. “Oppenheimer” builds tension without any fight scenes or action, but rather, with clashes of personalities between the scientists, the government’s distrust of J. Robert Oppenheimer (Cillian Murphy) and the ever-present external pressure of the Nazis acquiring an atomic bomb. Through his excellent portrayal of Oppenheimer, Murphy portrays the pressure of leading the Manhattan Project. The genius of his acting lies in the subtleties since his character is not the most ostentatious of men.

In fact, the acting in “Oppenheimer” is both the film’s greatest strength and weakness. Because of the sheer number of great actors, not everyone can have the spotlight for long. I wish Florence Pugh’s Jean Tatlock had more screen time, as she shines in her few scenes . Emily Blunt also excels as Kitty Oppenheimer, giving one of the most emotional and heroic performances in the film as the only person who stands up for J. Robert Oppenheimer in the face of disgrace. The most underrated performance, in my opinion, is Jason Clarke as Roger Robb: his relentless grilling of J. Robert Oppenheimer during the scientist’s trial for security clearance is both frightening and electric — Clarke makes me feel the smothering, interrogational treatment endured by the main character.

— Samuel Bartlett, Staff Writer...'

[cobaltaris]

Aris 2023 Media #17: The Owl House

so i just saw the Finale, and, fuck this show REALLY resonated with me, and I'm so glad I listened to everyone who told me to check it out. even if Season 3 was kinda rushed because Disney Fuckin Sucks and Hates The GaysTM, the way this show portrays the kinda struggles I and others dealt with as our Autistic LGBTQIA+ Zoomer Selves, and so ACCURATELY depicts how it feels to be in that kind of life with the world it sets up, with the characters it sets up, and how engrossed i was for all of it. it. it is so good

the show kinda struggles a bit at the beginning since you know, Season 1 need to establish the world and being a Disney Channel show its pretty light-hearted, gag-heavy, but you can still see a LOT of good world building scenes planted, and there's more subtleties put in place to eventually leading the show becoming Gay as Shit But Also Incredibly Heart-Wrenching and Lovable (I binged the shit out of Season 2, NO REGRETS) but god, Luz's struggles are so relatable. her's, King's, and Eda's all really - SUCH a good main trio, and the supporting cast I also all really liked by the end, especially Lilith, Amity, and Hunter! the Boiling Isles themselves have such a cool art direction too, that I'm glad in hindsight so much of Season 1 was focused on it, to let it support Season 2 and 3 as much as it did - the work Dana and her team did to make everyone and everything endearing as it was, making even the most out-there stuff be close to our own personal struggles is. fuck. it got me several times, especially when this show wants to get dark and boy can it get fucking grim

but there's always such a sense of optimism and connection despite it all, I felt for everyone to the end! fuck, the midpoint of Season 2 might just be the best part of the show for that alone, they get you attached to these characters and they put you through the WRINGER with them, but it works so, so well. and I'm so glad the show ended as it did, hit me in all the right spots and that, even if it was rushed, i still felt really sad yet satisfied to see this lovable cast go; thank you Dana and the entire Owl House team for making one of my new favorite shows ever <3

show is definitely S grade btw, I need to internalize putting in the rankings for these now that I actually have character spacing ghfgjfgjfg

[sieora]

9 Essential Rules of Requirements Development For Electronic Products

With regards to electronic item advancement, many books have been expounded on the significance of venture prerequisites improvement before item advancement. Why? Since the necessities period of improvement gives areas of strength for a to a compelling advancement structure and eventually an effective item rollout. Prerequisites improvement fundamentally affects an association's improvement expenses and item quality as well as whether an item at any point really comes to showcase. Advanced necessities distinguish execution needs material principles and fills in holes, all with the advantage of improving, financial plans, plans, item achievement and quality. The key is with comply to these 9 essential standards of item Necessities improvement toward the start.

Electronic product design and development is the wellspring of its future to organizations and incredible fulfillment for creators as well as income for both, yet it can likewise be stacked with dissatisfactions and unseen side-effects ambushes. The way to quality electrical designing starts with fantastic necessities. Treated in a serious way and executed productively characterizing necessities will build the possibilities following through on-time, on-financial plan practically like clockwork. Fragmented or changing necessities and particulars are among the top contributing reasons for tested and in danger projects. As in building a house... the designer needs to create the diagrams before the establishment can be laid and before the walls and rooftop go up.

There are commonly a few sorts of vital and fundamental prerequisites engaged with electronic item improvement. Every individual could decipher "Necessities" another way. This is completely real; but an arrangement should exist to bring these various ideas together. Industry and item capability is the principal prerequisites to consider.

Buyer assumptions (What is needed)?

Business Prerequisites containing targets for the item. (For what reason is it required, what amount would it be a good idea for it to be sold for)?

Client Prerequisites that portray which capabilities can be performed by clients of the electronic gadget. (What is it that it need to do)?

Plan particulars, which include both the non-utilitarian and the useful prerequisites. These include: goals, execution, administrative consistence, plan and execution limitations, and client or other outer connection point necessities.

Broad exploration shows that opportune and solid information about the necessities is the absolute most vital area of data fundamental for electronic item improvement. Exhausting some additional energy on this step will take care of in lower improvement costs and a superior completed item.

Rule #1: Utilize Clear and Brief Language for Prerequisites

It is fundamental for Be explicit. Obscure or unclear words ought to be stayed away from while composing prerequisites. Words like "as well as" and "and so forth" ought to never be utilized. It's requesting inconvenience to consolidate words like "easy to understand, instinctive, limit, boost, streamline, fast, cutting edge, improved, productive or basic." Save them for your promoting effort. Some of the time obscure data should be forgotten about or the first necessities for items that are being created iteratively. It is satisfactory to embed "Yet to be decided (Not entirely settled) until the subtleties are worked out.

Rule #2: Allocate Needs

Explain which elements are needs so the improvement group isn't left with an issue of which highlights to exchange against. Not all errands turn out to be advantageous eventually. You might need to consider forfeiting them for additional significant ones if vital. A model is power financial plan; maybe you will need to surrender several chimes or whistles to get more battery duration for your item. Leave some space for changes since they will occur. New prerequisites, splendid thoughts or changes should be worked in.

Rule #3: Empower Partner Support

Sufficient partner contribution is significant while planning electronic items. Designers ought to get data and viewpoint from the proper partners prior to settling on any prerequisites choices. Shocks are seldom great ones toward the finish of a venture. Recognize your key leaders right off the bat in the undertaking so you realize who can settle on issues to permit the venture to push ahead. Likewise significant is recognizing who can drive a change or examination as this will influence timetable and cost.

Rule #4: Know Which Administrative Necessities Should Be Met For Your Industry

Administrative necessities are a significant driver in the improvement of any item. There are various government organizations that require wellbeing consistence for different items and ventures. These numerous guidelines should be recognized front and center during prerequisites advancement so the item can be intended to consent to those guidelines that are material. Items are tried and should pass explicit security guidelines before they are permitted into the market. A clinical gadget has quite certain and different arrangement of tests than a buyer gadget does and these influence pretty much every degree of improvement of an item

Rule # 5: Continue To move - Use Emphasis and a List of things to get

Holding back on prerequisites is never suggested yet nor is becoming deadened on some piece of the interaction. Assuming the improvement is postponed until all conceivable necessity adjustments or thoughts that you might at any point perhaps consider have been executed... It could slow down the venture. Continue so as to allow improvement to go on at palatable gamble level by utilizing emphasis and following precisely exact thing a correction is about on the first page with a "list of things to get" for future highlights toward the back. Long distance race examination risks slowing down a venture, ensnaring it in the necessities. When the rudiments have been caught, continue ahead with it; don't get trapped in a ceaseless re-compose of the ideal necessities record. Having a spot and a cycle to catch and crease in the data will help with this propensity.

Rule # 6: Watch for Tasks getting out of control

"Project requirements running out of control" is the expansion of thoughts and errands and may demonstrate a deficiency of concentration. This pushes expenses and timetables and may not actually support the "Higher perspective". Permit some space for development in your necessities, indeed, however gauge the advantages. Usefulness is generally being added or changed during the advancement interaction. In the event that the item extension was obvious toward the starting it will facilitate the aggravation of obliging continuous alterations while as yet complying with the time constraint or remaining on financial plan.

Rule #7: Look at Impacts of Changes

Deliberately audit the ramifications, everything being equal. Recognize works and errands connected with each change and figure out what the timetable and financial effects will before proceed. Embrace a characterized cycle for managing necessities changes.

Rule # 8: Make a hard copy of it

Documentation of where a prerequisite came from is dependably smart. Is it a more elevated level framework necessity, industry standard, business rules, unofficial laws or other practical prerequisites? There might be where it should be followed back to the first prerequisites so correlations and exchanges can be made.

Rule # 9: Characterize the Acknowledgment Test

The item necessities should be archived, quantifiable, significant or more all testable. In the prerequisites report itself, characterize the tests that will be utilized to show and demonstrate the item works to the expressed necessities. Characterizing the acknowledgment tests toward the beginning generally explains what the finished result should be.

Creating careful necessities toward the beginning of the plan interaction gives an unmistakable benefit to the individuals who comprehend the advantages of doing as such. The capacity to distinguish useful changes and add to or deduct from the necessities will guarantee that you are working inside the boundaries of a solid groundwork for electronic item improvement. Lay out model correspondence between the colleagues, since plan necessities now and again need to change rapidly to catch efficiencies. Adaptability and the capacity to make changes are essential all through the item improvement process and can be achieved all the more effectively when the necessities are deep rooted. Necessities the board and the utilization of laid out electronic item advancement system will go far toward staying away from ambiguities, dubious phrasing, provisos, or inconspicuous plan needs or deficiencies. Observing these guidelines as the necessities are created will begin the item on the excursion to progress.

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[thebandcampdiaries]

Clout God presents: "Click Clank Boom"

November 2022 - Clout God is a artist with a focus on making innovative and highly diverse music. The concept behind Clout God’s sound is to combine the fierce impact of metal with the fat groove, impact and punch that people have come to expect from contemporary trap and hip-hop

Now, the artist is back with a new studio release titled "Click Clank Boom". The sound of this incredibly well-crafted piece of music is direct and energetic, yet the sounds have subtlety and atmosphere, allowing the music to acquire a deeper dimension. This new studio effort represents a turning point of sorts for Clout God, who is eager to keep showing his commitment to quality music and create songs that set the bar higher in terms of quality production and songwriting artistry overall. "Click Clank Boom" is catchy, but it is not banal: it is a quality musical work with artistic integrity, and it blurs the lines between mass appeal and musicianship, showing that hooky music can also have integrity and it can bring some interesting ideas to the music scene without falling into the usual cliches. Clout God mastered the art of creating personable and unique sounds, and "Click Clank Boom" paints a truly vibrant portrait of the artist’s skills as a songwriter and music maker alike. This release in particular is a really perfect example of the artist’s creative vision and musical aesthetics, really hitting the mark with a fantastic tone and a really huge sounding production. The mix is warm and balance, allowing each element to sit in his right place. The song hits super hard right off the bat. There are some dark ambient synth pads, alternating with some heavy distorted guitars in the intro, as the vocals keep building tension and hype up the track. The beat kicks in, and the vibe gets just brutal, with deep, saturated bass sounding like a PA system that’s about to break down on a wild crowd! The vocals are raw and energetic, showcasing so much attitude, while still retaining the artist’s incredibly open and dynamic sound and energy overall. Clocking in at one minute and 43 seconds, this song is pure raw, and unadulterated intensity, which combines the most aggressive edge of contemporary rap with metal’s grittiest tones.

Ultimately, this release comes highly recommended to fans of artists such as CityMorgue, Kim Dracula, SadBoyJohn, XXXTENTACION, Michael Jackson and many more. This song is a fantastic achievement for this artist, and the quality of the production has got so much impact and vibe to it. Every element in the mix is tailored to perfection to fit the aggression of the style, offering a unique sound and a details-driven production that makes the listening experience all the more engaging for the audience, since there are many sonically intriguing moments through the duration of the album. From the atmospheric sounds of the introduction, down to the personable essence of the vocals, anything goes. Clout God is a skillful arranger, and you can tell that every section of the song was planned with a certain degree of purposefulness. In other words, this release is a song with a huge personality at the core of it it, and it was well-executed, making the song far from being an average copy-paste structure, like you’ve heard a thousand times before. The aesthetics of the production match the creative concept as well, giving the audience a truly unique perspective of what Cloud God is all about and the kind of mood that he really wants to portray with this particular studio work.

Find out more about Clout God and check out "Click Clank Boom", which stands out as a great introduction to the artist’s work. You’ll find this release on the best digital music streaming services.

soundcloud.com/8hN98xCkn7EFg6xH8

https://youtube.com/channel/UCwzR3_-RJktQDPKKDRHR9JA

https://instagram.com/imcloutgod?igshid=YmMyMTA2M2Y=

https://open.spotify.com/artist/6divph5UYrIJ56TsBUA01V?si=JmIWeSWtQwCX7c3b_XkRRQ

[solshineonyou]

You see, the thing about LUCY's music... well more specifically the mvs. Is about how it always has been about reminiscing on childhood and finding our inner child. And I think that they somewhat strategically paced out the mv concepts, is that makes sense.

We compare the stuff that came out before and after mid 2021. From Flowering/intro up to I Got U, it's always been this whimsical, fantasy like world. Where everything is magical and somewhat soothing to watch. I Got U, specifically, feels almost more realistic and less fantasy-like. And that's where they start transitioning in mv concepts.

Rolling Rolling portrays the mundane and monotone adult day to day life and builds up to their childhood memories and the passions that kept them going. Play portrays something similar, and it just feels warming and healing for someone who has forgotten what the innocence and carefreeness of childhood feels like.

the whimsical and fantasy mvs feel like it was metaphorical(?) and subtle when it comes to embracing those who have gone through a lot, it reminds us of our child-like fantasies and wonders and makes us revisit them.

The more recent mvs are more upfront on the message: reminiscing on our childhood. The subtlety of the past mvs (ignoring that one line in snooze) may have not reached everyone. So these mvs carry out the message LUCY wants to send literally. And I think that either way is beautiful.

LUCY has gotten me through so much this last year or so. A band that creates fun and youthful feeling music that washes away my worries at the end of a long day. I honestly wonder what kind of future will we see with their music and concept.