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soul-dwelling · 3 years

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Have you heard something about Ohkubo being racist? I saw some twitter links, which due to personal reasons I cant check for myself, but otherwise couldnt find anything on.

Shared September 18, 2021

I've sat on this question for a long time, and yet my answer will still be incomplete. As I am white, I want to be aware of the white privilege I have, and I anticipate I am going to give a response that fails to address certain topics and concerns--and is just going to be flat-out wrong in a lot of parts. I anticipate I will get things wrong below, I don't like that, but I want to be open to reading more and figuring out what I'm getting wrong so I can fix what I get wrong. And I want to learn from any responses I receive--so I encourage any responses, and I will read and consider them.

At the time when I received this question, I was not aware of any Twitter links regarding accusations of Ohkubo being racist. Despite being a huge fan of Soul Eater, this was something I was unaware of, and I was purposefully ignoring--because I was ignoring any discourse around Fire Force, not around Ohkubo or Soul Eater in general. While I have followed what Soul Eater stuff is out there, I have purposefully avoided a lot of Fire Force content since the anime was announced--including muting any Fire Force stuff on Twitter. While I do not regret avoiding Fire Force stuff (there is only so much annoyance I can take from that franchise), I do regret overlooking this discussion around racism in Ohkubo’s works, I regret that, and I apologize for overlooking it right now--and in the past.

Because I have overlooked racist elements in Ohkubo’s prior works, including in Soul Eater, including on this very blog. I don’t think apologizing is enough, and I am determining what steps I can take to handle this better--and that starts with acknowledging the racist elements in his works. I think some have unfortunate implications that need to be debated.

For example, one Twitter remark I read asked why the South American meister had to be Enrique instead of a human. (And, I anticipate, how that leads to its own set of unfortunate implications, associating being from South America to being a monkey, regardless Tezca, his visual conceit, and his powers being derived from, not South American cultures only or exactly, but from Aztec and indigenous Mexican cultures.) I don’t think adding Enrique as a meister is bad, when the joke works; I think adding Enrique, and not more South American human characters, is a problem, and when your one South American meister is a non-human animal, when no other meister in the series, especially of a Death Scythe, has been a non-human animal, this is going to stick out and be offensive. I have seen and written stories with animals as meisters to weapon partners; it is a great idea, having Enrique be that character is great, but it is a missed opportunity that erases a spot where a person of South American could have been. Having Tezca as one such South American person helps, but again, this is a missed opportunity.

As an aside, this also opens up unfortunate implications to having Black Star being mistaken by Liz as a monkey, given headcanon I’ve seen from fans about Black Star’s identity with regard to Japanese ethnicities and the fact that Black Star does have dark skin.

And another set of Twitter remarks focused on the stylized designs to the band playing at the DWMA Anniversary Party (and here). Regardless whether stylization was used on white characters in that scene, the stylization on the Black characters who were performing in the band is drawing upon a history of racist images (the lips on drummer and cellist) and is racist. I’ll get to this later, but I agree with this remark that it’s bizarre that Ohkubo did this despite what he has done well with inclusiveness amongst his cast. And like I’ll also say later, it’s like me sitting here thinking “How could he do so well at writing a girl lead like Maka in an action series, then fail so badly writing Tamaki in his follow-up series?” My pathetic answer is that no creator is perfect, they make mistakes--and it becomes infuriating when they screw up so badly and don’t seem to learn from that screw-up, don’t show regret, don’t fix what they broke, and don’t improve. I’ve ranted enough here on this blog that I don’t think Ohkubo has grown with his audience: I think he keeps making the same immature mistakes (immature in terms of his craft, immature as well in terms of his humor).

And since I did bring up the monkey remarks about Enrique and Black Star, there are the major sets of discourse around racism in Ohkubo’s works, that being Maka referring to Sid, who is Black, as a gorilla (not to mention “thuggish”), and Shinra in Fire Force referring to Charon, who has dark skin, as a gorilla.

Regardless the excuses made (“racism in Japan is not the same as racism elsewhere”--which, no, fuck that, people globally including in Japan know the racist associations made where being Black or brown is associated by racists with non-human primates), I don’t get why no one, from Ohkubo to his editors to distributors to audiences including me, do not say more about this racist detail.

And I don’t get why no editor or localization staff bothered to change it. I have not sat through the Fire Force dub, but I hope someone working at localization changed the line. (It’s one thing to change a subtitled line and avoid something offensive at the cost of accuracy in translation, including accurately translating content even when it’s awful, or else you’re just covering up for the awfulness in the original work. But it’s another thing to not revise the line for dubbing, when you should have more flexibility in that kind of adaptation.)

(And that’s not getting into casting white actors as Black characters in the Soul Eater dub, but I hope I can address that another time with more depth should Soul Eater ever get a continuation or a re-dub...which, given how enough of the original dub cast have fucked over their careers and revealed their abusiveness and toxic bullshit in their personal lives, either a new anime or a new dub sounds good right about now.)

The responses to this criticism have been to rightly point out that Ohkubo does include numerous varied portrayals of Black characters (also here and here and here), drawing upon Black identities from the United States and Africa, especially for characters like Kilik and Ogun. But, me personally, pointing out what is done well does not negate what is done badly. (And yes, just because I think Maka Albarn is a great representation of a girl character in shonen doesn’t negate how Ohkubo fucked up with Chapter 113 and all of Tamaki in Fire Force).

As a creator, you’re supposed to fix what you did wrong, you don’t distract from what you did wrong by doing something else well later. You fix the character in front of you, not only make new characters and let that distract the audience from what you did wrong. You fix Sid (which, for me, means some potential adjustments to character design and not calling him a freaking gorilla); you don’t distract by creating Kilik and Ogun. You fix Tamaki (give her more to do, don’t make every joke around fanservice, stop fucking sexualizing a 17-year-old); you don’t distract by pointing to Maka or Maki. That’d be like me excusing something I did wrong in one set of responsibilities by asking you to look at something good I did: that doesn’t fix what I did wrong by mistake. Asking people to “leave the medium” is not helping: this is a debate, you get to watch something, you get to decide for yourself whether you think something is racist or misread, I’m not up for gatekeeping people to block them from either criticizing something or enjoying something.

And while your enjoyment of something can reflect on your values (if you keep liking jokes calling Sid a gorilla, what does that say about you?), I said “can,” not “does,” it is by context and debate (you can enjoy slasher movies without being a serial killer, etc).

I wish I had something more meaningful to say, and I don’t like that I don’t. I want to be a better ally, but just being aware that there are racist elements to this series, and just stating awareness, is not sufficient for me. It’s one reason why my focus is on uplifting fan content that does far better at handling inclusiveness and representation in this series. But my focus has been on representations of gender in the series--and that is my fault for not doing more to focus on representations of race and ethnicity, and I wish my apology would be enough, and it’s not, so I’m trying to figure out what I can do that is better. I will read feedback to do better.

#soul eater #atsushi ohkubo #fire force #sid barett #kilik rung #enrique

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boyd-speaks · 2 years

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Welcome to the end of another year. This was kind of a weird one, because I found a lot of stuff didn't hit deviantart as soon as they were done. Things either never made it here, or sat around and eventually got posted in art-dump uploads. So I'm not 100% sure these match the month they're in, but I think they're accurate. As an overview, we can see a lot of the same style. What's odd, is when I was sifting through the months for images I noticed that it's not that I rarely did anything more detailed, but that when I did I clearly got inspired and did multiple pieces in the same month, so despite the quantity, very few got into the year in review. With all that said, let's get to the individual pieces.

January: A fitting start. I really thought I drew this later in the year. I like the poses and proportions I pushed out here. I feel like this one was pretty fast and done on a whim. Which is really most of my art.

February: This was timely. February was when I started running Rime of the Frostmaiden using Dungeon World. These are my player's characters, and i love them all. In classic rpg fashion, no one has opinions about what their characters look like until you draw them. Only then do they say, 'hmmm, nah, they're blonde actually' or whatever.

March: I also played a lot of Monster of the Week this year. While the Rime of the Frostmaiden game ran about 10 months, just finishing up in December, the Monster of the Week was much more episodic, and kind of just petered out after a few months. Anyway, this was one of the one-off characters I made who I adore. They met a cat.

April: More roleplaying games... It's also one of the group upload images. The featured image was character art for a West Marches style DnD game being broadcasted on twitch. This friend dies pretty fast. but I liked her a lot. If you click through you'll see fanart for the same game, and a monster I drew while gming monster hearts for the same session.

May: I love this pic! This was made to be a dramatic review of a monster in a different (yes a fourth) game, which this time I was running. The character was going to be a players new pc, that I wanted to reveal as this rad monster and see how everyone reacted, not knowing they were going to join. The result was less interesting than I hoped, but I still love this picture. Worth noting is that this one was competing with a very similarly drawn picture I drew for my brother's birthday. So check that one out too maybe?

June: It's father's day! I have already forgotten what else I drew this month that it went up against to get on this list. Looks like some very similarly drawn art (including more rpg characters) but it's nice using a drawing for my dad. I love my dad.

July: And here we see one of my month long challenges. I love doing these. I don't remember where this idea came from, but I'm so used to drawing characters I wanted to try little towns, like you might see as stylized impressions of them on a map that's not trying to be realistic. I dunno if that means anyone to anyone, but I know what I mean, and it was actually a very well received series. The featured image was my favourite one.

August: More DnD! This was actually my second character in the afore mentioned West Marches game. I did do some full body drawing of her, but when it came time to make a token, I just fell in love with this headshot I somehow came up with. The full image includes some more monsters for my own games (a sea hag, their child, a homunculus, and a creature made from a bunch of homunculi glomming together). The last image is another enemy monster that I sketched out mid session while running Monster of the Week.

September: It's my girlfriend! Not, the most accurate depiction, but I do like this drawing. I got her a skirt like the one she's wearing in the picture, for her birthday. Which is unfortunately cut off in the review image.

October: I don't really know why I used this image for October. I guess I just didn't want every picture to have the same art style given the opportunity, but october would definitely be better represented by the daily art series I did during it, which was all original monsters with no prompts. it was super fun.

November: For some reason I suddenly decided wild boars are cool and I needed a wild boar fursona. Because I have a lot of art friends, I sometimes feel like a should have, like, a definitive fursona, but, I just don't? Like animals are cool, and drawing yourself as an animal as rad. but none are like.. me. I guess? I dunno.

December: And then the next month I draw this! Heck yeah! Maybe I was just a fish the whole time and I never considered it! So yeah, I participated in an art secret santa this year, and the only thing I really had to go on was the recipient's favourite colours. As I sketched out this drawing and got inspired by a the idea of a mer-person with faux-facial hair modeled off of a lionfish, I just poured myself into it. I adore this drawing.

#boyd's scratchings #year in review #art summary #deviantart #dnd ocs #rpgart #rpg #2021 #year in review 2021 #art summary 2021

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egg-exe · 2 years

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For the Art Ask Meme:

1, 2, 4, 14, & 17!

thanks sylas! ^^

1. how would you describe your style

[stares into the aperture] i swap art styles like. every time i take a hiatus. which is /often/. as of now im trying to keep things a bit loose n sketchy - mostly bc i don't have the time to clean it up, nor do i want to lol. faces are a /bit/ more stylized atm than they usually are - which isn't to say i did /realistic/ faces, but i used to define the nose more, and have like, a defined jaw line. trying to go for good-shapes good-to-look-at over accurate-proportions, for the face and for the rest of the body. it's a work in progress! (also i haven't tried to like, full color something in /forever/ so i don't really know how my colors + shading go haha.)

2. what's your favorite thing about your style

a bit of staring into the aperture again for the above reason :^) but i've been pretty happy with how i've been doing facial expressions, at the moment. or the lack thereof, and still getting the feeling across, through body posture n stuff.

4. favorite thing to draw

good question. do i know?? uhhhhh. space has been pretty fun to draw - lots of pretty colors, and blending. not much form, so you can just slap some colors down for a while until it looks good. what i draw most /often/ is usually other people's characters, because most people are happy to have their oc's drawn. and it's a bit easier to draw, when you have that to look forward to, i suppose. i've been having fun drawing a challenger/player oc. i've given them one (1) eye and no other facial features. so they're easy to draw, and a fun challenge to show different emotions when they only have the one eye. plus that i get to scribble a bunch to color them in lol

14. digital or traditional

digital - although more recently i've done some traditional on sticky notes using pencil + pen + sharpie, because i lost my tablet pen for a period LMAO. i have a new one now, so i've been doing mostly digital again, but sometimes i grab a sticky note and do a little thing when i can't be bothered to plug in my tablet.

17. what do you love getting compliments about?

most things, i think? i don't have anything in particular i'm known for, as far as i'm aware. i don't have a particular aspect that i'm proud of, in my art, due to art-style-in-flux. lineart, when i do it, because i try to make it look good, and that's /hard/ and /time consuming/. basically anything where i spent a particularly long time on it would be nice, and that'll depend on the piece.

#egg.eml #thanks again!! gonna send you one also since u reblobbed it :^)

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mhalachai · 3 years

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advance snippet: Updating Wednesdays on Patreon (The Untamed)

So. Do I need to write an Untamed modern!AU with a college twist (Lan Xichen is a music professor in Canada) in which Wei Wuxian attempts to self-therapy himself by creating a graphic novel fantasy AU version of his life (aka the real story of Grandmaster of Demonic Cultivation) and Lan Xichen attempts to rebuild his life after a toxic relationship ended? I mean probably not but has that ever stopped me? here’s the intro snippet we’ll see how things go.

(Title is tentatively Updating Wednesdays on Patreon because i don’t know what to call this thing)

The first day of August finds Lan Xichen in a coffee shop, tinkering with the syllabus for his new music theory course, when his phone pings with a message.

> Lan Wangji: Brother.

> Lan Wangji: Wei Ying has asked me to inform you that he will be publishing the first collection of pages in his new graphic novel on Patreon this afternoon.

Lan Xichen smiles at Lan Wangji's tone. For all that his little brother is more verbose in electronic communication than verbal, he's always so exact.

> To Lan Wangji: Can't wait! What's it about?

The little cursor blinks for a while as Lan Wangji continues to type. Lan Xichen just hopes that his brother-in-law's creative enthusiasm isn't running up against Lan Wangji's sensibilities.

Finally, a reply appears.

> Lan Wangji: Wei Ying wants me to tell you that it is completely fictional.

This gives Lan Xichen pause. Why on earth would Wei Wuxian, or Lan Wangji himself for that matter, need to make that declaration?

> Lan Wangji: It is a high fantasy xianxia story.

Before Lan Xichen can ask why that is causing this odd message exchange, another notification pops up on his phone.

> Wei Wuxian: Lan Xichen! Lan Zhan types so slow! It's just a different art style I wanted to try out and it snowballed from there!

> Wei Wuxian: I know you follow me on Patreon so you're going to get the notification this afternoon so I wanted to warn you hahaha

> Wei Wuxian: All names and places are purely fictional. I don't really have a sword.

Another message arrives, with all the information Lan Xichen needs.

> Lan Wangji: This matters a great deal with Wei Ying.

Lan Xichen smiles at his brother's words. Lan Wangji and Wei Wuxian have been together since their junior year of high school, through a great deal of personal difficulties on both sides, and are still as fiercely protective of each other as ever. He loves them both for it.

> To Lan Wangji: Thank you for the information. I'm sure it will be great.

> To Wei Wuxian: Can't wait to see it! Anything you do is always great.

No more messages arrive, so Lan Xichen goes back to considering how to change the quiz structure of his musical theory class to avoid a marking crisis with the evaluation of his ensemble class.

Finally, as Lan Wangji gathers up his papers to leave, one last message comes in on his phone.

> Lan Wangji: Thank you for your support. We all appreciate it.

Attached to the message is a photo taken of Lan Wangji's family, he and Wei Wuxian holding Lan Yuan between them. The toddler grins at the camera, his arms around Wei Wuxian's neck. Wei Wuxian's looks at the camera, dark circles under his eyes like he's working through the night again, while Lan Wangji only has eyes for his husband.

It's so wholesome and loving that a sliver of pain rakes through Lan Xichen's heart. He's happy for his brother. His brother deserves the world. Lan Wangji deserves being loved, and to love.

Not everyone gets that. Sometimes, that falls apart.

Sometimes, for some people, love is just an illusion.

Lan Xichen tucks his phone away and leaves the coffee shop.

He gets home mid-afternoon, and spends a while stowing away the groceries he picked up on his walk. The neighbourhood has several Greek and Persian markets and he's able to buy most of what he needs on foot, saving the Chinese markets in Richmond for his weekly dim sum brunches with Lan Wangji's family when he can borrow the use of Lan Wangji's sensible and economical mini-van.

He doesn't drive any more, not since—

Lan Xichen stops and puts down the bag of avocados. His mind is a funny place, bringing up the oddest things at the most inconvenient of times.

He doesn't drive anymore. He doesn't need to, using the bus and the odd taxi to transport his instruments up to the university for performances. The public transit system is so much better.

Safer.

He goes back to putting away the vegetables, pulls out a cookbook (new, spine uncreased, bought for him by Lan Qiren for his birthday) and opens it at random. He's never had coconut curry salmon before, but he has all the ingredients.

Trying new things. He's supposed to be trying new things.

The recipes says it will only take half an hour to make, so he goes up to his office and turns on his computer to check his work email. The message fly fast and furious, some about the new department head, some about class enrollment, a few from students asking if they can get onto his waitlist. He replies to the most urgent, files the rest, then checks his personal email.

The notification from Wei Wuxian's Patreon is up, so Lan Xichen clicks it.

Then he sits back, frankly impressed. He's seen Wei Wuxian's comic style progress since the boy was drawing silly cartoons to entertain Lan Wangji in history class, but even he wasn't prepared for this.

The art is gorgeous. Stylized figures, intricate period costuming, rich backgrounds – it's truly a work of art.

Then he gets a better look the two characters' faces, and laughs out loud. It's Wei Wuxian and Lan Wangji, clear as day, with long hair and flowing robes. Wei Wuxian's even managed to capture that exasperated-yet-fond look Lan Wangji has whenever Wei Wuxian is being particularly loud.

The introduction is even better. "Join our hero Lan Wangji and dashing rogue Wei Wuxian as they battle deadly monsters and forge a path with demonic cultivation!"

Wei Wuxian hasn't even changed their names. True, he uses his mother's surname professionally, so Cangse Ying can't be easily tracked back, but still.

Lan Xichen wonders for a moment if Lan Wangji is okay with this, but then he notices that the project text is available in both English and in Chinese, with the Chinese written in Lan Wangji's style.

They worked on this together, then.

Trying not to think about why that makes his chest feel funny, Lan Xichen opens to the first page--

-- Which features a bruised and bloodied Wei Wuxian falling off a cliff while a horrified Lan Wangji screams after him.

Confused, Lan Xichen makes sure he hasn't accidentally read the last page first. No, this is the first. Still a little baffled, he clicks to the next page, sees the stylized banner that reads six years ago and relaxes. This is Wei Wuxian's style of using flashbacks to interrupt the narrative flow. Lan Xichen spent most of Lan Wangji's university years hearing his brother's despair for Wei Wuxian's artistic choices in essay form.

But enough about the past. Lan Xichen settles in to read the first chapter of the story, where Wei Wuxian and his siblings (Jiang Yanli drawn lovingly, Jiang Cheng with a bigger frown and more menacing eyebrows than Lan Xichen remembers) traveled to the Cloud Recesses (the sarcastic nickname Wei Wuxian gave to Lan Qiren's West Vancouver mansion) for cultivator lectures. Lan Xichen is there on the page, too, drawn taller and far more imposing than he is in real life.

The first encounter between Wei Wuxian and Lan Wangji is fantastical and improbable and, according to Lan Xichen's recollection, almost completely accurate. Wei Wuxian had mouthed off at Lan Wangji at the weekend orientation camp for their new arts high school, Lan Wangji glared the boy into submission, then later that night when Wei Wuxian tried to sneak back onto school grounds with alcohol, he and Lan Wangji had gotten into a fight. Verbal, instead of with swords, and without the supernatural murder victims, but Lan Xichen remembered everything else from Lan Wangji's indignant recitation on his return home.

He keeps reading, enjoying the art and the lyrical narration, and keeps enjoying it right up to the scene when Nie Huaisang appears on the page to offer Lan Qiren a present, Meng Yao standing right behind him.

Lan Xichen doesn't remember standing up, but here he is, two feet away from his computer, heart pounding. He hadn't—Why—

What was Meng Yao doing in a story about Wei Wuxian's high school years?

Taking a deep breath, Lan Xichen makes himself return to his desk. As far as he knew, he was the one who introduced Meng Yao to Wei Wuxian and Lan Wangji, when the boys were in university and after he and Meng Yao started dating--

Lan Xichen can feel his heartbeat slow, as he tries to breathe. He needs to stop this foolishness over Meng Yao. They dated before living together for a while, that was all. They broke up. It happens to people all the time.

Wei Wuxian and Lan Wangji were in college for most of that time, anyway, living their lives. They barely knew Meng Yao, even if Wei Wuxian's sister married Meng Yao's half-brother. They couldn't know how badly Lan Xichen had messed up their relationship, how terrible he had been to live with. It was his fault that—

Stop.

It's over. In the past. A story that has Meng Yao as a minor character isn't going to mess with Lan Xichen's head. He's not going to let it.

He exhales and makes himself look back at the screen.

Meng Yao only shows up a few more times. For some reason, he's the only character who isn't tagged with his own name. He's there handing over the present to Lan Qiren, standing in front of Nie Huaisang when the Wens arrive, then in two last panels in which he tells the on-screen Lan Xichen that he has to return to Nie Mingjue's side.

Lan Xichen's stomach sours. He and Nie Mingjue had been close, before Meng Yao came into Lan Xichen's life. After that, Lan Xichen hadn't had much time for anyone else. That was normal, Meng Yao always said. People in love only needed each other.

Lan Xichen picks up his phone, then puts it down. He can't ask Lan Wangji about this. It would be weird. Wei Wuxian must just be making artistic narrative choices.

The chapter ends soon after, with Wen Qing and Wen Ning welcomed grudgingly into Cloud Recesses. The next chapter is due up in two weeks, the page declares, and welcomes any comments or feedback. A few people are already posting, gushing over the art work and discussing the teaser from the opening page.

Wanting to be supportive, Lan Xichen writes a small review, complimenting the artistic style, the intricacies of the outfits, poses a query as to the different colour palettes between the first page (dark, red, menacing) and the flashback scenes in Cloud Recesses (light, airy, hopeful), then translates the comment into English and posts both versions up. If Lan Wangji is going though all the trouble of ensuring a bilingual experience, then he will too.

He should go start dinner, he really should, but some part of him is drawn back to the first panel in which Meng Yao appears. He's shorter than Lan Xichen remembers in life, the long hair and braids suiting his face.

It's been so long since Lan Xichen last saw Meng Yao. He's not sure what he's thinking. Is he wistful? Mournful? Sad?

He doesn't know. He never knows what he feels about Meng Yao, which was the problem. He's not normal about feelings. Even Lan Wangji, whose brain is a unique and complicated thing, looking for order and reason and patterns in an illogical and messy world, loves fiercely, feels passionately. Maybe he got all the love in the family, and Lan Xichen got stuck with the stunted and undergrown heart.

Stirring, he pages back to the first appearance of his on-screen twin. The Lan Xichen on the screen looks patient, kind, a smile hiding behind his eyes.

He hadn't realized this is how Wei Wuxian sees him.

He picks up his phone.

> To Wei Wuxian: What an incredible achievement! The art is amazing!

> To Wei Wuxian: Where is the story from? As it's a work of fiction and has nothing to do with your real life ;)

> Wei Wuxian: Oh hahahha the story is a collaboration of a bunch of ideas! I can't tell u more (sworn to secrecy by my collaborators) but so glad you like it!!!!!!

> To Lan Wangji: Did you do the writing? I love the dialogue.

> Lan Wangji: Wei Wuxian did most of the English. I made it better and did the translation.

> To Lan Wangji: Have you told uncle about this project?

> Lan Wangji: He prefers to speak of my composition achievements.

Lan Xichen puts his phone down and rubs his eyes. The old tension between Lan Qiren and Lan Wangji never goes away. It started in high school with Lan Qiren's disapproval of Wei Wuxian, continued into university with Lan Qiren's disapproval of Wei Wuxian as well as Lan Wangji's decision to attend a local university for musical studies instead of going to Julliard in Lan Xichen's footsteps, and outrage at the news that Lan Wangji asked Wei Wuxian to marry him before they even finished their undergraduate degrees.

The resulting years had been a long-standing cold war, with Lan Xichen trying to mediate in the middle. Even the arrival of Lan Yuan on the scene twenty months previous hadn't softened both sides into anything resembling ease.

If Lan Wangji doesn't want to tell their uncle that he and his husband are collaborating on a semi-biographical graphic novel, Lan Xichen isn't going to muddy the waters.

> To Lan Wangji: It sounds like you're enjoying the project.

> Lan Wangji: Working with Wei Ying on any project is enjoyable. I read that couples with young children should try to engage in a mutual hobby outside of parenting.

> To Lan Wangji: Very wise.

He wonders if he should ask about Meng Yao, types out a message to that effect, then deletes it.

> To Lan Wangji: I should start dinner – see you on the weekend for brunch?

>Lan Wangji: Yes.

Lan Xichen puts his phone down. The days are long in August and the sun still bright, but he's tired and he doesn't know why.

anyway that’s where this whole disaster is going. new fandoms are fun.

#the untamed #my writing #teaser snippet of a new story #i have 14000 words written #trying to get is mostly done before popping up on ao3

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moviemunchies · 3 years

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Outlaw King tells the story of Robert the Bruce, one of the national heroes of Scotland that fought against the English for Scottish independence. If you know anything about Scottish history, you know who he is; if you walk around in any major city in Scotland you’ll see a statue or two in honor of this guy. So yeah, it’s natural that there are a few movies about him.

During the siege of Stirling Castle, Robert the Bruce (at the urging of his father) and several other Scottish noblemen swear loyalty to King Edward I of England and beg pardon for rising up against him. Edward accepts and decides they’re all friends, while drawing out the siege to hurt the rebels as much as possible. Robert’s clearly unhappy with the arrangement, but wants to follow his father’s will.

Things aren’t great after that, exactly, but King Edward’s goddaughter Elizabeth is married to Robert as a show of peace, and she gets along pretty swimmingly with her new family and home despite some reservations about the unfamiliar environment. And after Robert’s father dies and he becomes head of the family, he intends to keep his father’s wishes for peace...until the English declare that the rebel William Wallace is dead, showing off pieces of Wallace’s body and stirring the population to rise up against the English again.

Realizing that he must do something Robert tries his darndest to to raise the Scottish people into an army against the English. It doesn’t quite work though, because the English are too powerful, and the people don’t believe that Robert can win. So without a large military group of allies, he instead wages a vicious guerilla war against the English occupation. But of course, this war has a cost, one that Robert doesn’t know if he’s willing to pay.

I was hoping for this movie to have awesome battle scenes. And there are battle scenes in this movie, and they’re well done, but they’re not stylized in a way that glorifies them. Which is fine, and I think it gets the point across very well: war isn’t glorious. It isn’t a cool, awesome action scene. It’s an ugly, dirty, mess where people get horribly killed and get left in the mud for the crows.

This movie’s tone in general tries to stick to something more realistic. That’s not to say that everything in the film is historically accurate--from what I’ve read, there are plenty of deviations, and in general I think it’s always a mistake to take a Hollywood film and interpret it as an accurate depiction of real history (and surprisingly, there are people who do that). But it certainly feels more authentic than the scenes I’ve seen of Braveheart.

[No, I haven’t seen all of Braveheart and one of these days I’m going to have to fix that.]

The violence in this movie reaches the downright brutal sometimes. Not often, but often enough that I feel like you should be forewarned. It’s not even the battle scenes that concern me--though there is graphic violence in those. There’s a graphic execution performed on Edward, Prince of Wales’s orders, and, uh, that kind of shook me.

There’s also the tension, the threat of violence that hangs over several scenes. When you don’t know if it will happen, but you know it’s very possible that it might. And it’s too the movie’s credit that it keeps tension in these scenes rather than making you think, “Well of course that won’t happen to him/her because that would be too cruel!”

Performances in this movie are good, I don’t know what else to say? I don’t know if Chris Pine is a convincing Scot to Scottish people, but I didn’t find any problems with his accent or performance throughout the film. And I buy him as a conflicted leader who sort of stumbles into the messy situations while still trying to do the right thing. He was probably

I will note Aaron-Taylor Johnson plays James Douglas and I had no idea it was him. Maybe it was the beard. Or maybe he just gave such a good performance that I didn’t recognize him at all. Maybe it’s a bit of both. I also highly encourage readers to look up the real James Douglas, who was absolutely nuts and

I also think that Florence Pugh’s Elizabeth was one of the more fascinating characters in the film. Elizabeth is Robert’s wife, in a clearly arranged marriage, but despite their initial hesitation they do end up loving each other very much, and very loyally. It’s a different kind of relationship than we usually see in fiction (at least, in the fiction I consume), where a medieval arranged marriage ends up working out. And she’s a very strong female character despite not having anything close to an action scene.

Billy Howle’s Prince of Wales is also a very good performance, in that he is a character that’s both very easy to hate and very easy to pity. Not that you ever want him to succeed, but he’s doing all of the horrible things he does in the film because he’s desperate to measure up to greater men (noticeably his father and Robert) and he just… doesn’t. So he devolves into screaming and more violence, which ends up blowing up in his face.

I enjoyed this movie as a serious historical war movie. I was hoping for something more deliberately epic, which Outlaw King isn’t trying to be. If you like historical pieces in the Middle Ages, and war movies, you’ll probably enjoy this one. Not one I can watch over and over again, but not because it’s not good, but because it’s heavier than a lot of the movies I review here

#Outlaw King #Robert the Bruce #Chris Pine #Movie Munchies #Scotland

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level247-table-tech · 4 years

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here are the sprites on their own! not all of them, but there are way too many to fit up there. i’m leaving the rest under the cut.

others include significantly asymmetrical sprites, as well as a bonus set. 8)

these don’t really clarify their relative heights. they are not adjusted to the bottom pixel i actually drew for sure, that’s not how i aligned them. i actually have a guideline in the file, but. i can’t really show that.

above are the regular sprites. it took ages to figure out what i wanted to do with virgil’s plaid, but it turned out going simple with it was the best plan. also it looked very bad until i figured out to use values correctly.

also, while we’re at it, i can tell you some things i changed between projects! this is a remaster of my last attempt at pixelology, and i do believe it’s an overall improvement.

virgil’s plaid, yeah, changed that, but also the colour of his hair, because the old one blended too much with his skin. glad that happened to virgil, because i was trying to keep the hair highlights the same for everyone, with differently-tinted shadows. i did give him a bat instead of the wings this time, because a, he seems like a bat kind of guy, and b, the wings sucked and i don’t think i could improve them. like, the best thing about those wings is that they were the ace flag colours, and since his general colour scheme is already like that, it’s not a spectacular saving grace. they also made the frame fit weird, but i don’t like drawing wings absurdly small, like why bother? i alos tried to be a bit more competent with the jacob lines in his shading. those are an indicator of fear so of course i wanted to keep them included, but last time i feel like i didn’t do great, and this time i think i improved. especially on the legs. it is kind of a pain how there are adjacent sections where the shadows are done in the same colour, but. that’s really who virgil is, let’s be real. wouldn’t be the same without the all-black clothes.

also, patton’s different skin tones were really bad, you could barely see the shadows, so i changed them. his overall shape also did not work, so this time i stylized it a bit more to fit with the pixels. also i gave him a different weapon. hopefully it’s still funny in its incongruity!

roman had very little change. like, i really like his original sprite! i did change some of the gold details, but the biggest thing is probably the pants. they’re white with a red stripe because, a, it looks very good, and b, it set up a parallel with remus.

and remus. most obviously in the first one, his different head angle super didn’t work. it was very bad! which, in his case doesn’t automatically rule it out, but this one looks way better next to the majority of these. i mentioned relative heights earlier and this one should actually be the same height as roman, you can align them by their chins. aside from that, i added a lot mor detail to his ruffles, i tried my best to maintain clarity on his torso, i got the sleeves just plain wrong, but it looks fine, and it happened to be very good art that led me astray on that, so whatever. i feel like his morningstar might have gotten worse between versions, but what can you do. maybe i accidentally put it at a slightly harder angle to make look nice. whatever.

logan! i don’t think i’m doing these in any real order, sorry. like patton, his shape has been changed to be more stylized to fit the pixel thing. like, a realistic taper on the legs, as it turns out, looks pretty bad! exaggerate it or make it just straight lines and it is better. i feel like i very much improved his hair, and i also added the belt that he wears which i forgot last time.

lastly, janus. well, lastly for now, but the next one won’t be a remaster of anything. i gave him his canon weapon instead of snakes, which, not sure what i was thinking gameplay-wise for those. [that’s a lie, i was thinking nothing about gameplay because i am no gamemaker. i’m not even an animator, much as i’d like to be.] when i made his last sprite, i forgot the lining of his cape is yellow. also last time i had not seen the magnificent longer cape from the game sections of svsr, which as i’ve mentioned elsewhere i am never letting go of, ever. so that features here. it kind of blends with the backgrounds i use for the vs character selection screens, but i don’t think that’s necessarily a downside. aside from that, i did remove some scales from his right hand because we have now seen it, and it’s proven bereft of those. as you’ll see in a second though, fortunately no such thing can be said of his legs. nor upper arm.

now for the bonus set. you may recognize this theme if you’ve followed this project awhile. 8)

some notes on these specifically:

-this is simply a complete set based on janus’ bonus sprite from the original project this is remastering.

-i tried to base the colours on their onesies. that proved harder than expected. remus and janus have no shown onesies, but

>i had janus’ previous sprite on hand, so that was him taken care of.

>virgil’s onesie didn’t really have multiple colours, so it’s just different shades of black, with some grey thrown in because white is already a base colour.

>logan’s, oh boy, i thought i remembered it having two colours, but i was wrong, it is just blue. and white, but again, that doesn’t work. so i gave him a couple of shades.

>patton’s, i didn’t really want to use grey as a colour, but it actually had two others, they were just in trace amounts. it was okay.

>remus. nghh. i wanted to use like, an inverted version of roman’s colours, but it turns out blue and yellow inverted is yellow and blue. so i used the orthogonal colours instead, and i’m not really sure it was a good look.

-aside from colour schemes, each of these has its own little variation, because i felt like having fun. aside from any kind of socks/leggings, because whatever, those are pretty variable anyway, each has one detail different. from most to least noticeable as i see it:

>patton has pants instead of a skirt. i just thought the look suited him better. the thing about patton is i always imagine him in Dad Fashion, which doesn’t have a ton of skirts in my mind. maybe that’s just my dad, but eh. i do think it’s a good look but i didn’t draw it very well.

>roman has a different crown. need i explain further? adding the others’ crowns was a bit of a pain considering how they interact with hair that isn’t drawn in anime style.

>virgil’s might not be too noticeable on its own, but the leggings kind of direct the eye there. he’s wearing his own boots instead of any variety of sailor scout ones. mostly because they are much, much cooler.

>logan has a different collar. closer to his usual polo than... whatever the sailor collar is actually called. he also might not have the same choker necklace as everyone else, but mostly you just can’t tell. still tied with a weird bow thing, though. how the hell do those bow accessories work?

>janus has a longer cape. again, need i explain further? he’s also the only one with a magical girl wand, because his colour scheme* was the most permitting and i really wanted to draw coily ribbons.

>remus is kind of like virgil with the leggings, but again, those don’t count, and with remus they draw attention away from his change. anyways, the different thing about his outfit is the sleeves. i only noticed long after i was out of the pixel stage that none of the sleeves are accurate, but his are even more not accurate, they do the poof thing. also his neckline’s a bit lower, but i mean, how could i not?

-i might assemble a full scene with these, if anybody asks. or nobody, i kinda just want to. it’s not too much trouble, but it won’t be animated this time, that took ages and i don’t think it even turned out well. i gotta find somewhere to actually get taught things about animation, though it also just does not gel with my medium.

-i can’t for most of these, but for janus i can talk about some improvements. his crown looks more visible, though that might just be compared to this side of his face. the skirt is not better and might be worse to be honest. also the bow on his chest. other than that it’s definitely better for the gloves actually being incorporated in this one.

*i do actually have set colour schemes for these. i tried to even limit the number of colours for each one. that said, most of them have exactly 17 instead of the nice power of two 16, and one of them couldn’t even fit that bill.

#sanders sides #tsfanart #pixel #my art #tabletech #8)

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introvertguide · 4 years

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Butch Cassidy and the Sundance Kid (1969); AFI #73

The next film for review is one of my very favorite Western style films, Butch Cassidy and the Sundance Kid (1969). This is an incredible film that is directed by George Roy Hill and stars the charismatic colossi Paul Newman, Robert Redford, and Katharine Ross. The film won four Academy Awards including Best Editing, Best Cinematography, Best Score, and Best Song. The AFI ranked the male duo #20 on the 100 Greatest Heroes list and the movie was ranked the 7th greatest western despite arguably not really being a Western but a semi-biography that is set in the Old West. As American as this film is, it actually did the best at the BAFTAs where it won 8 awards from 9 nominations and swept the major awards including Best Film, Best Direction, Best Actor (Robert Redford), and Best Actress (Katharine Ross). Before singing any more of the accolades for the movie, let me break down the plot. Of course that means...

SPOILER ALERT!!! THIS MOVIE IS GREAT AND DESERVES TO BE WATCHED AND NOT SPOILED!!! STOP READING AND WATCH THE FILM IF YOU HAVEN’T ALREADY!!! IT IS GREAT TO WATCH FIRST AND THEN COMPARE TO HISTORY AFTER SO GIVE IT A TRY!!!

The film is set In 1899 Wyoming, and begins with a quick sepia toned introduction to the characters. The major players are the quick talking Butch Cassidy (Paul Newman) and the quiet and short tempered Sundance Kid (Robert Redford). The color corrects and the two are riding together back to see their gang and it turns out that one of the other men wants to take over. Butch wins in a fight for the gang leader position by cheating along with the help of Sundance keeping the others at bay. Butch retains his job but he does like Harvey’s idea to rob the Union Pacific train. This robbery takes place with a comical interaction between Butch and an accountant/safeguard named Woodcock. The robbery goes well and the two celebrate at a whore house while watching the local sheriff try to enlist men for a posse.

This is the end of act 1 and it is punctuated by a musical number. This happens throughout the film. Butch rides a bike around to try to impress the lover of Sundance, Etta Place (Katharine Ross), after stealing her away in the morning before the Kid wakes up. It is quite unusual and stands out from the rest of the film as Butch is not the love interest of the woman and the bike does not show up again. The music number is “Raindrops Keep Falling on My Head” by Burt Bacharach with an almost Benny Hill style circus outro. It really exemplifies the experimental nature of the film as the scene would likely have been cut today.

The train robbery went so well that the gang tries it again, but this time everything seems to be going wrong. Woodcock is coincidentally guarding the safe again and one of the passengers starts mouthing off. Butch is able to get into the safe car, but the safe is much thicker forcing him to use a bunch of dynamite to break it. He uses too much and blows up everything sending paper money blowing around in the breeze. To make matters worse, another train pulls up releasing a posse hired by the owner of Union Pacific. This posse kills two of the gang and chase Butch and Sundance into the mountains and the two can’t seem to lose them. They finally are able to jump off a cliff into a river and escape back to Etta. The two are worried that the posse is still coming so they take Etta and go to South America. Cue the end of act 2 so we have a fun musical travel montage.

This is a travel montage shown through sepia tone still photos of the three going to New York and seeing the town before catching a boat south. Again, the music is far out of place for the genre and only works because of the overall experimental feel of the film. It is a very short interlude in slide show format and carnival music, but it does the trick and brings the group to Bolivia.

On arrival, Sundance is not impressed at the conditions. They try to rob banks and are at first held back because of an inability to speak Spanish. Etta teaches them and the two men rob banks becoming known as Los Bandidos Yanquis (American Bandits). Here is another music interlude of all the successful robberies set to pleasant choir music that sounds like something out of an industrial instructional film, which tells the audience the mood is again about to change. After a while, Sundance becomes paranoid because he sees a man that looks like the leader of the posse that drove them out of America and the two decide to go straight and get jobs guarding the payroll instead of robbing it. Unfortunately, the are held up on their first job and Butch is forced to kill which he reveals he has never had to do before. Butch wants to have one more big score and Etta heads back north, sensing trouble with a return to crime, while Butch and Sundance complete a “jungle robbery” of the payroll.

The robbery is a success and the two take the money and the mule to carry it. This is a mistake because a local kid recognizes the brand on the mule and tells the police who also inform the Bolivian military. This is bad news for Butch and Sundance as they are pinned down in a small church by what seems to be a hundred Bolivian men. Butch makes a run for the ammo but both are shot in the attempt and it seems there is no way out. The two continue to banter about going to Australia after leaving Bolivia, but they both know they are done. They load up their guns the best they can and run out into the massive volley of fire and the frame freezes not revealing the final fate of the two. Roll credits.

This seems like a strange way to end a movie, but it mirrors the unknown fate of the real Butch Cassidy and the Sundance Kid. The whole movie is pretty historically accurate as far as what is known about the lives of the three main characters, but the musical interludes and the quippy dialogue make the film feel much more fictional. The movie is also split into definitive chapters with music breaks so it really has good pacing. Fine visual story telling.

There is a strong connection between Paul Newman and Robert Redford, which is apparent throughout the film. Paul is the amiable people-person who likes to talk and be friends with everyone while Robert liked to keep to himself and was all business. It just worked well. Director George Roy Hill used this dynamic again when he had both men star together in The Sting, which was even more successful and garnered 7 Academy Awards. A great connection and an example of a cinematic “bromance” in which two lead male characters act almost like a married couple.

The film seems to be strongly inspired by the works of Sergio Leone like A Fist Full of Dollars; For A Few Dollars More; The Good, The Bad, and The Ugly; and Once Upon A Time in the West. It takes the western film and gives a more complicated plot, more stylized cinematography, and great soundtrack. The Leone films were shot in Italy and didn’t have all the restrictions that American films had in the 60s, so Hollywood looked to these films for content ideas when the Hayes code was finally replaced by the MPAA rating system in 1969. The major difference was American film makers had access to big name Hollywood actors and the actual American west. Also, Leone hired Ennio Morricone who used period piece instruments to give each character a theme while Butch Cassidy and the Sundance Kid was scored by a hipster and then shot in a way to try and incorporate the music.

In American film history, the year 1969 was very experimental with the Civil Rights movement and the “free love” hippies affecting the box office draw at the same time. The former group preferred a more realistic filming approach while the latter wanted a more psychedelic fantasy. Many of the films blended both and America ended up with The Wild Bunch, Butch Cassidy and the Sundance Kid, Midnight Cowboy, and Easy Rider. It was a year of genre mixing and experimentation that makes for some fascinating film watching. Really embodies the turmoil of the country and the new age of Hollywood films.

So should this film be on the AFI 100? Of course. It was experimental, influential, fun, and fascinating. It was perhaps the first “bromance” in Hollywood and a well established part of Americana. It also showed that context is completely unnecessary for a song to work in a film. Would I recommend it? How could I not? It is one of the few films that I have seen more times than I can count and still have not had to check the time while watching it. It is fun from beginning to end (sometimes weird, sometimes funny, sometimes dramatic action) and gorgeous to look at. It is a little anachronistic and abrupt with the music interludes, but engaging and enjoyable throughout. Definitely a film on the list that is more than just a time capsule or a lesson in film making (although it is that as well).

#paul newman #robert redford #katherine ross #butch cassidy and the sundance kid #westerns #1969 #hollywood #introvert #introverts #bromance #best song #Oscar winner #afi films

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allimariexf · 5 years

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Friends. I am so unable to have coherent thoughts about Arrow at this point. I wanted to do a little 7x19 review (not much to say, tbh fuck I lied), but then again I also wanted to do a 7x18 review, and a 7x17 review, and...also talk about Arrow ending and EBR leaving. Yeah, ‘cause I still haven’t managed to do those things.

I keep thinking I have to have all my thoughts in order and arranged before I can say anything valuable, but the problem is my thoughts won’t comply. They refuse to be orderly and arrangeable. (Also I’ve tried just typing whatever is in my brain, too, but all I have to show for it is about 10,000 words of semi-coherent babbling hanging out in my Drafts. Probably never to see the light of day.)

So anyway 7x19 (🤞 that I stay on track here - update: I fucking failed! 😱😱😱): it was okay I guess.

As we draw to the end of the season - of the show, really - a few things keep bothering me, and unfortunately they’re coloring any and all enjoyment I may be able to squeeze out of the episodes so I have to just get them off my chest:

1. I keep getting stuck on the terrible production value. I can’t help it! It’s gotten to the point where I cannot help but see the production as much as I see the story, and it’s so jarring. I see the sets, the stage, where I only used to see the setting. It’s the (lack of) camera angles, the lighting, and the very obvious reliance on sets, rather than location shoots.

And I can’t help but think: it didn’t used to be like this. Seasons 1-3 were so immersive, so atmospheric. Stylized? Yes, but in a way that was purposeful and enhanced the story.

The most recent seasons make production feel only like a means to an end.

I think the production budget got cut a little after season 3, but seasons 4 and 5 still felt epic and captivating enough. But season 6′s production values were abysmal. And I thought it would finally improve in season 7 with the new showrunner, but instead it has only gotten worse and I realize now that it must have everything to do with budget. (And maybe this is my bitterness talking, but I can’t help but suspect that part of it is that increasingly, more and more of each year’s budget is being used to fund the crossovers. 😠)

The EPs seem to have forgotten something critical about filmmaking - production is always going to be a crucial aspect of story-telling, whether it’s intentional or not. There’s no such thing as an “objective” camera angle or edit. Every non-decision has as much an impact on the story as a decision would have, and by forgetting that, they have vastly reduced the overall quality of the show.

Anyway, I feel like I have to make one thing clear, since after all, I WAS ON THE SET and I MET THE CREW - literally shook hands with and spoke to camera operators, lighting people, and all other sorts of production people: they work hard and take their jobs seriously and in no way am I trying to suggest that any of them are bad at their jobs. They were truly lovely and professional and I was so impressed by them. I truly think the lapse in production values is entirely due to decisions made at the very top about money. It just has a very unfortunate, very obvious impact on the quality of the show they’re making.

2. I can’t help but see and lament the effect of OVERPLOTTING and a lack of emotional foregrounding.

I comment all the time about how tight the story was in seasons 1-3:

Big Bads who had a personal connection to Oliver

seamless interweaving of the Flashbacks and the present

a clear, consistent, well-paced evolution of Oliver’s character that paralleled the action/plot

excellently-plotted storylines where all the characters were relevant to the plot - so that we had a reason to care, and focus on character actually forwarded the plot.

a good mixture of villains of the week that were both interesting unto themselves, and provided much-needed wins/breaks in the overarching plot, and allowed for plenty of character moments

generally, because of all of the above, a perfect sense of pacing and an excellent balance between plot and character, where plenty of time was given to dialogue and quiet character moments - which only served to enhance the plot

But then season 4 came along and things went south quickly, mainly due (in my opinion) to writing decisions that put plot over character, resulting in some seriously out-of-character stories that unfortunately had a huge impact on the show going forward. But even aside from Oliver’s uncharacteristic lying and Felicity’s unlikely decision to call the whole thing off, season 4 was already suffering from a clear lack of the things (above) that made seasons 1-3 so good.

It was the first time the BB had no real connection to Oliver’s past, which meant that suddenly the villain arc had to pull double-duty - drive the present-day plot and also somehow establish an emotional reason for us to care. Unfortunately, rather than pulling those two threads together into a tight, single focus, the writers created a sprawling story - a messy, confusing present-day arc and the absolute worst flashbacks of the entire show.

And it also saw the deliberate introduction of more comic-book elements to the show, with Damien Darhk’s (and Constantine’s) magic, which was a wrenching change in tone from the first three season’s grittiness. (I know a lot of the haters like to blame this shift in tone on Olicity - and even I will admit that the suddenly happy-go-lucky Oliver was a little too heavy-handed - but I fully believe the tonal shift has everything to do with the introduction of magic. And, of course, the horrible, clunky, meta-heavy crossover, which for the first time was used as a vehicle, rather than a chance for us to enjoy interactions between characters we loved.)

Then there was season 5. Lots of people love season 5, and I agree there were good elements, but for me it still suffers from a lack of those things that made seasons 1-3 so great:

most of all, with NTA there were suddenly too many characters - and they didn’t have a legitimate reason to be there. Their stories were arbitrary, inconsistently explored (or, more accurately, not explored), and had nothing to do with Oliver. And (maybe worst of all), their backstories/stories had nothing to do with the overarching plot of the season. So, again, the show’s focus was pulled in a million different directions, rather than the earlier brilliance of plot and character working together to drive the narrative.

the introduction of metas as major characters in Arrow (rather than only being used in the crossovers) continued the cartoonish atmosphere which, in my opinion, made the consequences of all actions feel slightly less real, less impactful. To me it felt like a betrayal of Arrow, at its core. Because Arrow was solidly gritty for the first 3 years - even the League of Assassins storylines of season 3 felt grounded and real. Even The Count, Cupid, the Clock King - comic book villains to the core - still felt gritty and real within the universe. But (for me at least) the casual reliance on metahuman abilities let the writers be sloppy and careless with their plots, their resolutions, and their consequences.

and I know most people love Prometheus, but I never loved him for two main reasons. First, while I appreciate the fact that they tied Prometheus’s origin to Oliver, the personal connection just felt forced to me. Prometheus, Talia, all of it felt untethered and hasty. I think they could have done a much better job grounding the story, planting the seeds earlier, but they didn’t. Second, Prometheus just won too much. The show had spent 5 years making us believe in Oliver’s abilities - as a fighter, an archer, and a strategist - and it was suddenly as if he were a bumbling idiot. The show made him seem incompetent in order to make Prometheus be always 10 steps ahead, and it was not only disheartening, it was unbelievable. Because not only did Oliver have 5 years more training than Prometheus did, he also had a team behind him.

Season 6 failed spectacularly in all ways, in my opinion. It was the ultimate example of overplotting, where the writers basically took everything that was so great about seasons 1-3 and did the opposite. Too many characters, uneven pacing, a sprawling, unfocused villain arc, and a lack of any given reason to care about any of it. And of course, everyone acting counter to their long-established characteristics.

I was really, really hoping that Beth and the new writers would use season 6 as a counterexample: what not to do in season 7. But (and again, I am not trying to place blame - I have no idea who is really in charge of these decisions, plus at this point there are already so many balls in the air that a lot of it is probably out of the writers’ hands anyway) as season 7 winds to a close, it’s clear to me that they’ve basically repeated a lot of the same plotting problems of season 6.

Which brings me to 7x19. (And all of 7b actually, if I’m honest.)

Because this was supposedly a JOHN DIGGLE-centric episode, but it was way too little, way too late. (Setting aside the absolute tragedy that it’s been 7 years and this is the first chance we’ve gotten to look in-depth into John’s backstory beyond Andy.) Like others have mentioned, the focus on John felt superficial at best. We have a character with 7 years of characterization to explore, but the episode hardly touched on John’s character, his emotions, at all. And the little we got felt superficial.

Instead, the episode was plot-heavy, convoluted, and tried to accomplish too many things. Things that, for the most part, had not been adequately emotionally foregrounded. By that I mean:

John’s story with his stepfather could have been awesome, except we’ve never fucking heard John even mention his parents before this episode. They planted and harvested those seeds all within a single episode.

Felicity’s struggle with her legacy...WOW. That was the first time we’ve ever heard her specifically say that she wanted her own legacy more than as Overwatch. Yeah, we have the “beacon of hope” stuff from 4x17, and some references here and there this season - and I don’t mean to be ungrateful - but I feel like there were ample opportunities to do a better job foregrounding Felicity’s struggle, yet they just haven’t.

Emiko and Dante. Yawn. Too little, too late - both in the season and in the series.

Emiko and Oliver. Same.

I have strong feelings about why it’s all going wrong, and for the most part I think it’s this: the writers aren’t trying to tell a complete, emotionally fulfilling story in season 7. Rather, season 7 seems to be divided into two discrete storylines:

7a, the prison arc, was pretty much its own thing. Sure, the writers attempted to establish a connection to 7b through the flash forwards, but it’s a very weak connection that relies on illusions and attempts to obscure the audience’s perception of events (mainly to do with the attempt to make us believe that Oliver’s prison stint caused a fundamental change in Felicity, making her become a villain in the future). But in reality, the 7a arc was pretty much self-contained - and, in hindsight, all the better for it.

7b, on the other hand, has lacked focus and direction, and as the season has worn on it’s become increasingly clear that rather than having purpose and emotional fulfillment of its own, it’s being used as a vehicle:

to drive the flash forward story, and/or

to drive next year’s crossover storyline, and/or

to drive season 8′s storyline.

(I’m using and/or there because I pretty much suspect all of those things are one in the same.)

Seasons 1-3 (and even 4 and 5, to some extent) built upon each other. The writers planted seeds in seasons 1 and 2 that didn’t pay off until much, much later, meaning that we were invested in that payoff. We were adequately prepared, through plot and character, for those stories. But rather than continue to reinvest and build on elements of the earlier seasons, the latter seasons - especially 6 and 7 - have gone off in completely unprecedented directions. And for season 7, this means they’re trying to do accomplish too much at the very end. Too much plot, too late in the game, with too little emotional foregrounding.

We have THREE EPISODES LEFT after this - only THREE EPISODES left with Felicity - and there are still so many unanswered questions. Not only for the season, but for the show. And somehow each episode still manages to feel stagnant, refusing to answer our pressing questions, or worse - introducing new ones.

And I guess that’s what’s really getting to me now. Because did I hate 7x19? No, not really. Aside from the general decline in quality discussed above, it was fine. I like the Team Arrow moments, I liked Olicity in the bunker, the team within the team. This is the sort of action and stories I wanted more of last season, and all this season too. It’s nice to finally have it again.

But it’s time for resolutions now, and we’re not getting them. It’s time they start answering our questions about the flash forwards, time they start resolving the Emiko storyline - or at least building up to that resolution. (Remember how tight 1x19 through 1x23 are? The threads unraveling, the ever-heightening intensity?? Nothing like the plodding, disconnected feel of these late-season 7 episodes.)

All of which makes me think they’re not really intending to resolve these questions this season at all. Rather than giving us a satisfying, complete story, they’re just rushing to the next thing - the next crossover, the next season.

And it just bothers me, because this is the end for Felicity. We deserve character moments, goddammit.

The showrunners seem to have forgotten that it was always character that made this show great. And it just makes me sad that it seems they won’t remember it in time to give us the proper ending that Felicity (and Oliver, and John) deserve.

#arrow meta #my meta #arrow 7x19 #arrow 7x19 meta #holy shit what have i done #top posts #selected favorite posts #on television #on production #on tv production #on television production

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aroworlds · 6 years

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Aro-Spec Artist Profile: Nate

Our next aro-spec creator is Nate, better known on Tumblr as @astriiformes!

Nate is an asexual, aromantic, neurodivergent and mentally ill trans guy/person continuing the tradition of aro-spec creators demonstrating an impressive diversity of talent. He writes, cosplays, creates filk music and produces visual art--and that’s when he’s not playing D&D and attending conventions!

You can find him on Twitter as planar_ranger and on 8tracks as azhdarchidaen. He’s also found on AO3 as azhdarchidaen, with a prolific selection of works for the Gravity Falls, Doctor Who, Critical Role and Pacific Rim fandoms! If you have a dollar or two you’re wanting to invest in worthy aro-spec talent, please take a look at Nate’s Ko-Fi!

With us Nate talks about expressing emotions through creativity, the intersection of aromanticism and perfectionism, the importance of storytelling as self-expression and his passion for D&D as a way of giving voice to his aromantic experience. His love for fandom, creativity and storytelling shines through every word, so please let’s give him all our love, encouragement, gratitude, kudos and follows for taking the time to explore what it is to be aromantic and creative.

Can you share with us your story in being aro-spec?

While I didn’t know the word “aromantic” until I was 15 or 16, and took a while to embrace it even then, when I look back on my childhood I can definitely see some of the earliest signs. Perhaps the most prominent was my mild disappointment at age 12 or 13 in discovering the Star Wars EU novels only to learn that Luke Skywalker, one of my most pervasively favorite characters since I first watched the movies and likely my earliest aro headcanon, ended up getting married! I ended up writing what was technically my first fanfiction after that discovery, an alternate take on the post-Return of the Jedi universe in which he didn’t.

But I didn’t really start to realize I was aro, or even know it was an identity at all, until two things happened. First, I joined an LGBTQA+ group on a writer’s forum I used to frequent and started to not only learn the vocabulary but also that identifying as something other than straight or cis was even allowed. Second, I entered what was essentially the closest thing to a romantic relationship I’ve ever experienced. By some measures it probably was one, but there really wasn’t much romance involved – because I wasn’t pushing it (for reasons that are now obvious to me), and the guy I was sort-of-dating was pretty respectful of my boundaries and was probably waiting for me to make some of those moves before trying himself. The relationship eventually broke off several months after he moved to Europe. He messaged me to say he felt bad about the fact that our long-distance “relationship” was probably holding me back from finding someone I could be happier with, and he would be more comfortable breaking it off. The fact that I felt no real sadness over that was a fairly big bit of evidence for my aromanticism, second only to the fact that I had actually become more comfortable with our situation when he moved across the Atlantic Ocean.

Clues like those eventually lead me to adopt the label and really begin to understand myself, I think around age 16 or 17. I went through a slow process of accepting all my queer identities one-by-one and kind of see them all as pretty interconnected. The aro one was in the middle.

Can you share with us the story behind your creativity?

I really like making things. For all the frustration I experience trying to write something I’m happy with, or panicked near all-nighters trying to finish props before a convention, I really am at my happiest when I have projects to engage in. I take a lot of pride in my identity as a content creator as a result, though it also means I can set discouragingly high standards for myself. That being said, there’s nothing that makes me happier that someone enjoying something I put time and effort into and being able to go “I made this.”

Writing was definitely my earliest outlet (I did draw things when I was younger, but I didn’t show my art to anyone until this time last year). I was posting fics (under a different username, fortunately; I don’t want my early teenage writing unearthed ten years later) on ff.net by early high school, a narrative I’m sure I share with plenty of other creators. I’ve done more interesting things with my writing since migrating over to AO3 though, and I continue to feel like my writing is growing (even if, sometimes, I worry it’s going too slowly).

Getting into cosplay was something I picked up only a year or so later, though again, comparing my current work to those first few attempts feels almost silly. My first cosplay was a patched-together Eighth Doctor mostly made out of thrift store finds that looked only debatably like the real deal. Since then, I’ve gotten better at sewing my own things and have realized one of my true strengths lies in elaborate props. My two most recent cosplays were Stanford Pines from Gravity Falls, with a fully-illustrated and screen-accurate copy of the third journal, complete with blacklight effects, and Taako, from The Adventure Zone, with an Umbra Staff that I had re-covered in fabric and had fully-functional LED “stars” built into it, stars I could make twinkle via a secret remote. I’m attempting two characters that are even more ambitious for conventions this year, but we’ll have to see how that actually goes…

My filk contributions aren’t massive, but the community aspect (and that it connected me to someone who is now one of my closest friends, who made me go from enjoying the genre to contributing to it) and some of the things I’ve done as a result of it make me feel it has a place as part of my creative identity. You haven’t lived until you’ve performed decades-old songs about space travel with your friends, in cosplay, in a crowded convention center! (Okay, a debatable statement. But a truly wild experience.) It’s also been a good outlet for me in some ways, because music is a powerful way to get across emotions. I play viola and piano, and have for years, so I knew that to some degree before I started writing my own lyrics to things. But personalizing songs by making them be about things you have really strong feelings for is another level entirely.

And then, art. Like I said, I never really shared it with anyone (or drew much at all) until about a year ago. Part of that was due to wanting to try my hand at digital art but not really having an understanding of what programs to use or how to get started with it, and part of it was the inertia of feeling like “if I’m not good at something immediately, I shouldn’t try at all!” The thing that really got the ball rolling for me is the long D&D campaign I’m currently in. When I was excited about other stories, chances were someone else had drawn art of it that I could enjoy and reblog. That’s not really the case with one you’re telling with only 5-6 other people. I had a sort of epiphany moment a couple months into the campaign, as the story really started picking up, that if I wanted to see the kind of art I appreciate for this new story I was falling in love with, I would probably have to do it myself. I’m still not incredibly happy with my work, since I’m surrounded by friends who are incredible artists and my style is fairly simplistic and oddly stylized, but I have gotten to a point where I draw fairly regularly, and generally put up what I create on our shared campaign blog. The same D&D game has wrenched over 15k words of original writing from me, which is pretty astonishing. Most of that isn’t anywhere to be found on Tumblr just yet, though – it’s largely still-top secret character backstory.

Are there any particular ways your aro-spec experience is expressed in your art?

The most obvious way is that I write fics about characters being aromantic and dealing with their aromanticism. All headcanons, unfortunately (I’m yet to find a canon aro in anything I love that I didn’t help create myself), but there are several stories on my AO3 about characters from Pacific Rim, Star Wars or Gravity Falls realizing they’re aromantic. And the fics that don’t deal with that are still all gen – I’m too romance-repulsed to write anything else, and I feel the world needs a lot more genfic anyways.

One other way, though I feel a bit silly calling it “art”, is that I am intentionally playing an aromantic character of my own creation in my current D&D campaign. I’ve been playing for several years now, and did have another character back in high school who I also imagined as aromantic. (Partially because of an awkward flirting mishap – an enemy tried to get my character off her guard with romance and it all backfired because she didn’t know how to respond. All my own fault – I don’t even know how to roleplay that!) But none of the campaigns I’ve played in until this one were particularly intent on exploring characters and their feelings all that deeply, or really making them a part of the story.

With my current character, it’s become incredibly validating to view him as aromantic and asexual, like myself. It’s that same impulse that got me started doing more art – if the fiction I like isn’t going to provide me with aromantic characters, I’ll have to make one myself! And it’s slowly leading to some very interesting explorations of aro identity and the normalising of it in our world. We’ve established that identifying that way isn’t particularly unusual for elves and talked about what that means for worldbuilding. Do they hold platonic relationships in the same regard as romantic ones? Is there a special kind of relationship that signifies that? What if we put friendship under the banner of the goddess of romantic love too? Though at the same time, I’m exploring some of the same feelings I experience with him – he’s a particularly lonely person, who worries about people actually wanting to stay with him, both of which are prominent features of my own aromantic experience.

What challenges do you face as an aro-spec artist?

Like many of us, I do worry that my genfics will be less enjoyed or circulated as a result of choosing not to include ships. And whenever I post a fic about a character actually being aro, I definitely get that little stab of “Someone is going to have a problem with this” fear.

I also feel that my experience with aromanticism has shaped a lot of my perfectionistic tendencies. Because I worry so much about trying to remain important in my allo friends’ lives, and because I think of so much of my identity as associated with creativity, I tend to get really wrapped up in my work needing to seem amazing somehow, to make people think I’m worth their time. It’s a silly thing to get preoccupied over, but it has had an impact on me. In some ways wanting my work to be really good is not a bad thing – it encourages me to do my very best whenever I can – but the motivation is really all wrong.

How do you connect to the aro-spec and a-spec communities as an aro-spec person?

I’m honestly pretty disconnected from them. I might be less-inclined to be if this website wasn’t suddenly experiencing such backlash against a-spec identities, but as is I’m almost afraid to engage with anything that might make me a target. Which is really unfortunate. That being said, whenever I do make any aro content and I see it circulated to other aromantic people, I get a lot of joy from it. The comments on my multiple aromantic-focused fics are some of my favorite ones I’ve ever received. If I can channel my experiences into something that elicits that kind of a reaction from our community, I consider my work well done.

How do you connect to your creative community as an aro-spec person?

When I’m able to talk to other aromantic people about headcanons (or even some of my very understanding allo friends who absorb them from me, too), pretty well! Unfortunately, that’s a pretty tiny fraction of my fandom experience. Even some of my interests where you’d think I wouldn’t run into problems have been difficult at times. I once had someone dressed as a character often (non-canonically) shipped with the one I was cosplaying, and they assumed that I would be interested in hearing that they shipped our character. Instead, they just made me very uncomfortable, particularly with the way they chose to do so.

In general, the expectation that as a member of fandom, producing fandom works, I will be interested in creating and consuming romantic content is hard to deal with. I’ve had people ask me to put ships in my fics, the aforementioned convention incident, and been heckled over having aromantic headcanons at all. That being said, aromantic headcanons were how I met at least a few of my good friends. Finding each other may be hard, but since we all feel so isolated I think that finding other aro creators inhabiting the same or similar spaces can lead to pretty quick bonding, or at least an appreciation of each others’ works. I do like that.

I’ve also, as I have mentioned a couple times now, realized the worth of telling my own stories, particularly if I have other people to share them with who will respond positively. Right now, most of my D&D group is not aro, but they are a group that respects my and my character’s identities, and being able to tell an aro narrative that means a lot to me and get a positive response is a breath of fresh air. I count them as fellow content creators and they’ve really encouraged the story I want to tell. I hope that someday the inspiration I’ve gained from that will lead me to publishing my own original fiction (with aro characters, of course), but it’s been due to this small start that I’ve decided that’s something I could realistically pursue.

How can the aro-spec community best help you as a creative?

Comments on my fics are one of the biggest things that keep me writing, so they’ll always be a boon to me. Even old ones. It makes me happy to see people still reading and enjoying them. Same goes for reblogs of any of my stuff – art, writing, filk, cosplay photos, anything else I might post. The biggest thing that keeps me wanting to create and share more creative works is knowing that other people are enjoying them, so if you do enjoy them, any way you can let me know that is wonderful.

I do hope that in some point in the future I’ll have original fiction available and a science writing blog (I consider non-fiction to be creative expression, as long as you’re putting your spark into it!), but neither exists quite yet. If you follow me on either of my main platforms though, those might pop up someday. Seeing either be circulated when the time comes would be massive. I also intend to, perhaps in the much nearer future, start publishing D&D content (likely homebrew 5e subclasses, but who knows) on the DMsGuild, starting with a pay-what-you-want model for downloading my content. If that goes up and I make something you’re interested in, and you want to pay something for it at all, I would be massively grateful.

Can you share with us something about your current project?

I’ve been working on a Critical Role Modern AU story since January or so that places heavy emphasis on the platonic relationships in the show (Percy and Keyleth’s is particularly dear to me, so they’re likely to get a fair bit of the spotlight) that’s my most current fandom fic.

I’m also tackling two ambitious cosplays at the moment, though the timeframe is making me wonder if I’ll actually pull either off. Especially given what I need to get done. One involves sewing pseudo-historical menswear, and I’m going to have to learn how to make armor for the other one. If I can figure it all out though, I’m really excited about them both!

Have you any forthcoming works we should look forward to?

Hopefully the next chapter of the CR fic, if I get hit with the inspiration (and motivation) to work on it soon. I also have another aromantic Luke Skywalker fic I really want to get down on paper at some point, though thus far it’s proven a little elusive.

My two big cosplay projects are Percy de Rolo (from Critical Role), which I intend to take to a local convention, and Erwyn, my own D&D character. I hope to do a photoshoot with the rest of the players as their own characters sometime late this summer.

As for art, I fully intend to keep drawing major or touching moments from my ongoing campaign, likely with much more frequency than any of the things above. It may not be as engaging for people to interact with as my fandom-focused projects are, but I still really do love sharing it.

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linkspooky · 6 years

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Speculation for the Next Arc

A lot of people suddenly jumped to the conclusion that Aoyama’s sudden focus would mean he would be revealed as the traitor. While my own thoughts are that Aoyama being portrayed suspiciously as the traitor are a red herring, it is also important to remember that characters who suddenly gain focus before an arc are likely to be important in the current arc.

That is because stories, even ensemble stories like “My Hero Academia” with large casts are meant to be tight. Stories should only give focus and time to characters, objects or details about the world that will somehow serve to flush out the story more.

“There is this great painting by Kramskoi,” he told the troupe. “It captures human faces very well. What if we cut out the painted nose on one of the faces, and poke a real nose out of the hole? What do you think? The nose will look very real! The painting itself would be utterly ruined, of course… The theater stage depicts the quintessence of life. Please don’t put any extraneous elements there.”

The fact that Aoyama opened up to Deku, and it was pointed out that he seems distant and lonely from the rest of the cast are details that serve to further his character, but unless those details turn out to be plot relevant in some way then the chapter is basically filler.

Remember Horikoshi went out of the way to draw a cover, and give an entire chapter to a character which has basically been a joke character up until this point. The only reasonable explanation for this is if Horikoshi was planning on giving focus to that character in the upcoming arc.

Introduce Gentle. Gentle parallels Aoyama in several ways. They both have light colored hair, they both slick back their hair except for a stylized part of their bangs. They both have incredibly overly eccentric personalities and mannerisms, and both ascribe to the same glitzy gentlemanly side of seeing the world.

They are even implied to have similiar motivations, to stand out. Though Aoyama’s are heavily implied to come from a lack of self confidence in his own quirk because it hurts his body.

Whereas, we don’t know the details of Gentle’s quirk yet other than it seems to involve some kind of warping but he similiarly is motivated by a need to stand out and be remembered.

However, considering how similiar both Gentleman and Aoyama look and act, and also the several darker indications of Aoyama’s character, if they are meant to be taken seriously and not as a joke I would take the connection between them one step farther.

While it’s doubtful Aoyama is the traitor, he could be connected to Gentleman still. He could even be Gentleman’s estranged son, trying to become a hero who shines brilliantly and is remembered to spite his thief of a father. If that were the case we might even find backstory reasons for why Aoyama is so invested in surprises.

Considering the fact that Gentleman also plans to make an online spectacle of the UA festival, I think this is where the increased focus on Todoroki and Bakugou might come into play as well.

Bakugou made strides in the provisional liscense tutoring courses especially in dealing with the way he sees himself, however the latest chapter proves that Bakugou is still bad at dealing with others.

A hero is somebody who saves everyone after all, not just the people they like or the people who suit their pride. Imagine if Deku had not bothered to save that unruly child whose parents had been killed by heroes, just because he told Deku that he hated heroes.

Yet we see once again Bakugou’s pride getting in the way of his progress. Though at least this time it seems to be the pride he has in his friends and fellow heroes that incites him when others start to look down on the hero department for causing trouble.

(Though it’s not like Bakugou is much better in this regard, he’s the one who called them all minor characters, and unimportant after all). A true hero is somebody who uses their powers to save everybody, not just to win, and not just to save the people that they personally deem as worth saving.

That’s the lesson that All Might was trying to impart on Endeavor, but as Endeavor has yet to face any serious consequences for his abuse of Todoroki, or even be exposed for what he did (Most of the adults still think Endeavor is a great father, really... the only people who know are Bakugou and Deku who are Todoroki’s peers... which is kind of ehhh but is a little bit accurate to real life as well).

Anyway, story wise it makes no sense for Endeavor to be able to just start learning without having faced a consequence. Especially since what he did places him roughly on Chisaki’s level of exploiting a child for their own quirk and acting like they belonged to him. In twice’s solo chapter, he goes out of his way to point out that Endeavor has a lot of social media presence and negative social media presence at that.

In the same exact chapter, we see Twice witnessing Dabi’s burning spree of several no name thugs. Story details are meant to be conservative after all, I think the fact that Endeavor is mentioned and Dabi is shown burning things in the same chapter is a clear indication to the reader that these two events are connected in some way.

Dabi’s motivations unlike the other villains are yet to even be made clear. However, he alligns himself with Stain as a person who wants to follow the ideal fo taking down corrupt heroes, and he also does not seem to care much for his fellow villains pending possibly the league.

I’m sure you’re all aware of the Dabi/Todoroki Brother theory. Considering the presence of social media this arc, the emphasis on Bakugou not really wanting to save people who displease him, the fact that Endeavor is just now starting to see the error of his ways. If the reveal of Todoroki as another lost son of endeavor, one of the children who was thrown aside for not being born with the proper quirk and displeasing him (after all even if Endeavor was to somehow improve his behavior towards Todoroki, he’d still be abusive because he does not care for all of his other children because they weren’t born with a quirk that he needed for his own goals), was to happen at the same time as Gentleman’s antics and spread out on social media that would be another major blow to the heroes organization in discrediting Endeavor and at the same time the long time punishment that’s been necessary as a narrative element for Endeavor’s abusive behavior as he would have to be held accountable by the other adults who would now know.

In conclusion, I’m convinced Aoyama and Gentleman are related, and for a long time I’ve speculated that Dabi and Endeavor are related, so if the two relations were revealed at the same time in an arc that seems to be focusing on social media, rememberance, stage presence and whatnot that would be a pretty effective one two punch of reveals.

#mha meta #todoroki shouto #dabi #aoyama #gentleman #meta

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intoxicatingimmediacy · 6 years

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You Have to Be Smart to Survive: Daveed Diggs and Rafael Casal on Blindspotting

During a press tour last month, Diggs and Casal spoke with RogerEbert.com about their meticulous approach to sound design, their seamlessly stylized dialogue and why having intelligent characters is a politically charged statement.

RC: The idea was to give every character their version of what was right in their mind. Early on, there are moments with Val where the audience is made to be pitted against her, and we make sure to eventually come around to her perspective, as well as the perspective of Miles’s girlfriend, Ashley. Even for Miles and Collin, it was necessary to have those moments. We liked the idea that it was messy and complex, because that is usually how perspective works.

DD: I am attracted to art that doesn’t present itself as an authority. As an artist presenting a piece of art, you have to be aware of your own blind spots. I think I am attracted to art where woven into the fabric of the thing is this fractured perspective, this idea that there are many ways to look at this thing that you are watching right now.

Your portrayal of the film’s inciting incident—the brawl outside the bar—is twofold: we first see it from a comedic angle, where the clueless white victim is dubbed “Portlandia,” and then from a tragic angle, as we hear the man echo Eric Garner’s cries of “I can’t breathe.”

DD: We do so much work early on to ensure that everyone can feel the world from Collin’s perspective, where we understand a lot of his reasoning for everything and for all of his choices. To present that moment in a way that is comedic allows you to really watch it without judging him initially. Then all of a sudden, you get to see the moment play out from Val’s perspective, in order for the audience to understand much more about her feelings, and also about the nature of this crime. If we’ve done our job right, this shift occurs without the audience realizing it. By the end of the film, you are rooting for a felon convicted of a violent crime, who maybe doesn’t get a lot of second glances in real life. We did a lot of work in the script to try and underscore Collin’s humanity and make sure that his entire self was represented. He is not only the crime that he committed, and even from one perspective, the crime is hilarious if you think about it.

RC: Our intention was to make the entire theater be on his side for most of that fight. Everyone in the room hates the hipster and thinks that Miles is being funny and the fire is entertaining. That flip on the perspective regarding the violence, depending on how we are encouraged to feel about it, matters. It shows how easily you can get swept up in a point of view if it favors your beliefs or is playing to your intuitive nature. We are giving you comedy, and so you are responding to the comedy, same as when you are watching the news. If the newscasters tell you that a person is a villain, you will treat them like a villain. The same trick that is happening in the film is what’s happening on the news every day.

I found the tonal shifts and lyrical dialogue in “Blindspotting” to be so much more seamless and assured than they were in a picture like Spike Lee’s “Chi-Raq.”

DD: We’re doing different things than Spike. “Chi-Raq” was an adaptation of a Classical Greek comedy, so the way he was attempting to use poetry was already forced. It was a forced situation that was meant to draw attention to the fact that the dialogue was poetry and not prose. We are doing the exact opposite. We’re trying to make you forget that you are listening to verse, but still have it function in the same way where it forces you to hear the important things and as a result, you sit forward a little bit in your chair. The writing is different, yes, but the biggest difference is in terms of performance. Carlos also played a big role in helping it feel natural when people are reciting verse but performing it as text. Rafael and I grew up doing that, so we’ve had a lot of practice. In many ways, the film is a reflection of how we grew up interacting with language. That is a big thing in the Bay Area, so we were really just trying to show off what we can do.

I particularly loved when Miles tells Val, “I am as moved by your greeting as you are moved by an elliptical.”

RC: It’s a joke that takes a couple seconds to register, and by the time it does, it’s more of an internal laugh. It’s a headier joke where you are like, “Oh, because an elliptical doesn’t move…” [laughs] But what I love about that line is it gives you a sense of the character’s vocabulary. One thing Daveed and I talked about a lot is how important it was for all of our characters to be really intelligent people. The Bay’s a very well-read place. A lot of the parents are very educated, whether traditionally or nontraditionally, and that savviness, that sophistication also coexists with the norm of city life and street culture. It doesn’t change it, it just gives it this nuance. That is a very heady joke for Miles to make and in any other movie, It would feel so strange for the street dudes to reference an elliptical as a joke in passing. Their intelligence has this broad stroke to it that allows you to watch them process things much faster, which also enables the verse. You know that they’re quick, witty and clever, but you don’t have a good sense of what their knowledge base is. You really just know a little bit about their behavioral flaws and not necessarily the limits of their intellect. For all we know, in every moment we don’t see him on camera, Collin sits around reading all day. There were versions of the script where that was the case. Miles and Ashley watch the news every night, and as younger people, that is not as common.

DD: I think it’s a politically left statement to not have stupid people in our work. We are existing in a world where there is this normalizing of ignorance, which is dangerous and actually untrue. That’s not how people are. I don’t know very many stupid people in my life, certainly not among disenfranchised people because it is hard to live that way. This normalizing of people being uninformed is dangerous because it presents it as okay, whereas that’s contrary to our survival mechanisms. You have to be smart to survive.

How involved were you both in the film’s extraordinarily visceral sound design?

RC: We were deeply involved from the beginning. All of those rhythmic musical refrains and elements to design Collin’s PTSD were originally in the script and decided on before we shot the film.

DD: We set the tempo months before we started shooting with members of my band Clipping. We did some rough passes on sound design elements, and though very little of that stuff got used, we recorded to them. When we performed the scenes, we had clicks in our ear. For the scene toward the end where Collin is in basement, I had that beeping sound in my ear to keep in line with the rhythm.

RC: I had a similar click in my ear during the dream sequence set in the courtroom. We knew super-super early on that both the score and the sound design were going to be essential in tracking Collin’s descent. We knew those PTSD moments were going to ramp up and climax in some of our final scenes, and that everything would have to get threaded back throughout the entire film, so we have alternating start points of when we learn about them, such as car horns or other sounds. We also had to make sure that the sounds were accurate in relation to where the characters were in Oakland, because we knew that people from the area would intuitively know if we had gotten something wrong.

DD: Getting to mix in Dolby Atmos was an extra sort of bonus after we received their grant. We worked with their artists while sitting on Michael Bay’s mixing stage and got to make adjustments like, “Can we throw that train noise back into the right because we know where this house is in relation to the actual train tracks in Oakland?” Coming from music, that was the sort of stuff that we were obsessed with. I am super-proud of the sound design in this film, and next time we do a movie, we’ll do more. We’ll actually start that process way earlier. I think there’s so much more we could’ve done.

RC: Even when we were doing our web series [“Hobbes and Me”], sound design was always our favorite part of the process. That is when everything on the screen comes to life, so when we got to sit in that room, that is where we, as filmmakers in post-production, really got to excel.

DD: That’s the coolest part to me. On my next film, I’m going to have composers onset the whole time.

#blindspotting #rafael casal #daveed diggs

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returnerofthewrites · 7 years

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Thoughts on Sonic Mania

This review/essay assumes that the reader has kept up with the social media releases in regards to the game, such as the reveals of Flying Battery and Stardust Speedway, the videos on the Special and Bonus Stages, gameplay videos of some zones released by Youtube accounts, and so on. However, it will not have any spoilers about zones, mechanics or things beyond this.

Everyone out there who’s already put out a review or video or whatnot on Sonic Mania has already started off by going into Sonic’s history, ups and downs and so on, so I won’t bore you with that. Everyone already knows about Classic Sonic, Sonic Adventure, Sonic 06 and Boom. There’s more interesting (and relevant) ways to do an intro for this anyway, and the 06/Boom stuff doesn’t bear repeating.

What does bear repeating, then? The fact that Sonic Mania is a very, very good game.

I’ve been a Sonic fan all of my life, starting with renting VHS tapes of both cartoons (AoStH and SatAM, not Underground) from the local Blockbuster, then eventually ending up with the PC versions of Schoolhouse and CD, and I’m willing to admit that, up until very recently, I was never particularly good at the games. As a child I always got stuck around Collision Chaos, and as I grew up and found out about emulation, I never exactly beat any of them, but it didn’t matter to me, because frankly, moving so fast, shooting through loops and the general feeling of momentum was so much fun.

The whole videogame news website meme of “Sonic was never good” thus understandably grates on me. The Sonic social media construct and everything else cracking jokes about his less-than-stellar outings and so on was cute at first, but it quickly gained that poisonous ironic tinge to it, like Sonic would never be able to step back out of the shadow of its own mistakes. Like when you see people on here or Twitter or whatever call themselves “furry trash” or “(X fandom) trash” or so on. Stop doing that. Don’t settle for acting like mediocrity.

Sonic Mania is the opposite of all of that. It feels like the freshest, most interesting, but most importantly, most earnest Sonic game in a long, long time. It was obvious to most people when the game was revealed that the game was going to be something special, and I think the hype for it only grew as time went on, even in the hearts of anyone who managed to be skeptical at first. There were no jokes, no self-deprecating wisecracks or memes, none of that. They simply stood up, head held high, and showed off gameplay after gameplay.

This game is exactly the game that Sonic has needed, now more than ever. This year in general has been great for games (between Breath of the Wild, Nier, Persona, and many other upcoming games like Mario Odyssey and the like), and Sonic Mania is another excellent chip to add to the pile. The sheer amount of passion and love for Sonic as a franchise that the developers (Taxman, Stealth, Tee Lopes and the rest of the Sonic 2 HD crew, and so on) have is palpable, and more importantly, it’s wonderful.

I have experience with Taxman’s work through the excellent Sonic CD port from back in 2011, so when I booted up the game and started a save file as Sonic and Tails, I felt right at home. Controls, as expected, feel very natural, and the physics and momentum are virtually unchanged from the CD port, which itself was already about as accurate as you could possibly get to the originals. I have the Switch version, which meant that I was primarily using the left buttons to play rather than the control stick, and while I would have preferred a normal d-pad, it worked just fine anyway.

There’s something to be said about how easy it was to pick up the game and slip into a groove. I had gone in intending to look at the same the way I had when I streamed Sonic 3 and Knuckles a while back (my first time completing that game, no less), looking at the level design and seeing how the game itself worked. Instead, I ended up getting completely sucked into each and every level I played, and I was completely enamored with the game as a result. While I could see the machine and its cogs all working together, I needed a couple days to cool off and some more time to play it after the initial rush to get my thoughts in order.

I suppose that, more than anything, is what speaks the most to the sheer quality of the game. The levels consist of a mixture of:

Recreated zones from older games, oftentimes with new mechanics or mechanics pilfered and repurposed from other games in the series

And entirely new zones like Studiopolis and Mirage Saloon, with their own unique gimmicks, setpieces and visual themes

And while it’s very easy to organize those things like that, the game itself is far more than the sum of those parts. Mania’s levels absolutely ooze with love and attention to detail, so much so that it took at least two full playthroughs for me to pick up on everything (and knowing me there’s probably more stuff I missed). The game feels like a best-of game, where it takes many of the fan-favorite or memorable things from all four of the classics (1, 2, 3&K, and CD) and mashes them together in order to get the most out of them.

Chemical Plant is probably one of the easiest examples to point to, and it’s just the second level. The second act’s arguably “major” gimmick is the chemical pools that can be altered into bouncy gel (both light blue and green), but it’s not the only gimmick the stage has on offer; there’s also sticky platforms that move on rails, pink bubbles that lift you from one area to another, as well as the classic pipes from the first act and the original zone.

That’s four different small mechanics, and I can happily say that all of them are integrated into the level design in very sensible yet surprising ways. The levels aren’t massive, but there’s still plenty to explore, and thankfully exploration isn’t quite limited to only Tails thanks to the addition of a carry ability you get when playing with Sonic and Tails.

Thankfully, the exploration never feels like it becomes the main focus (partly since the Special Stage rings are the only major thing to find, and partly because the game has a save system), and there were times during my initial playthrough where I was trying to explore but accidentally stumbled into a high-speed place, only to decide to just roll with it (hah) and see what I could find in the next section of the level I ended up in. It speaks to the heart and soul of Sonic as a game and as a character, and it’s a very, very happy feeling.

The game’s difficulty is also worth noting, mostly since it’s probably the smoothest difficulty curve I’ve ever seen in a Sonic game. I’m rather curious to hear how the developers picked the old zones to remaster that they did, since it often feels like they were chosen not just for their memorability and mechanics, but also for where they showed up in their original games. Zones like Green Hill and Chemical Plant are obvious choices; some of the ones that show up later on, when the game starts getting harder and nearing its finale, are not quite so expected, and personally are very welcome surprises.

This also goes for the bosses, which often feel like they were designed more to be interesting and engaging rather than simply difficult. None of them are all that complicated per-say, but around the end of the first third of the game, things start to become much more challenging, and by the final act everything reaches its peak.

That said, I never got a game over and actually ended my first run with my lives in the double-digits, despite having a few deaths in earlier zones and dying a few times to the final boss. I attribute this to the quality of the level design more than anything else, though. Bottomless pits are beautifully rare (aside from a couple sequences in Flying Battery, naturally), and all of my deaths were due to my own recklessness rather than unintentional crushes, spikes or enemy placement.

And best of all, the Special Stages aren’t annoying. In fact, I’d say they’re probably the best in the series, taking the best elements of the previous games’ Special Stages and mashing them together. They get tough, but still quite fair, and are rather exhilarating. The Blue Sphere bonus stages are quite nice as well, though I do kind of prefer the 3&K ones which get you shields and extra rings and lives. Mania’s bonus stages only give you a medal if you win, which counts across all saves towards unlockables, like the sound test and other, more gameplay-related specialties (which, unfortunately, can only be used in the No Save mode).

Also, have I mentioned the presentation? I talked plenty about the attention to detail in the gameplay, but the graphics! The music! Sonic Mania has catapulted itself into my top pixelart-y games ever. It is to 2D Sonic what Symphony of the Night is to Castlevania: rich, colorful, smoothly animated, and full of vibrant details and lots of foreground and background elements that are just as much fun to sniff out and spot as actual secrets in the levels. Seeing all of the goofy EGG TV things in Studiopolis, or spotting the ever-recurring Eggman face logo in various zones (stylized, of course, in the look of classic Robotnik’s face), had me smiling the whole way through.

The music, much like the rest of the game (as I keep repeating) feels like a mixture of the good of everything that came before it, and it’s often the highlight thanks to how the old zones, new zones, and their remixes/music respectively shake up the genres and moods. It’s very similar to Sonic CD’s soundtrack in that regard; the final zone’s music gave me a similar sense of foreboding that Metallic Madness’ US track did, and there’s the obvious, funkier comparisons to draw between something like Stardust Speedway and Studiopolis. And classic tunes remixed, like Chemical Plant and Flying Battery, amp things up nicely.

If there’s one aspect that I do feel like nitpicking, though, it’s the stage transitions. The game has an intro cutscene and does transitions between the acts and zones quite a bit during the first half of the game, but after a certain point things slowly start to go more of the Sonic 2 route of just going from zone to zone, with little tying them together aside from being in older classic titles. Like I said, though, it’s a nitpick, and certainly not enough to really put a damper on how good the game is.

On the whole, Sonic Mania feels like an absolutely triumphant thing, not just for Sonic fans but anyone who loves videogames. It really is like a bolt from the blue (heh), coming at just the right time to remind everyone, fans, non-fans and newbies alike, of just why Sonic was such a massive hit in the first place. By the time I finished my first run, I immediately had the urge to play it again, and the only thing that stopped me was the fact that I really needed to go to bed and get to work early the next day.

As for right now, though? I think I’m off to play through another zone or two of my current Tails run. Gotta speed!

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singingwordwright · 7 years

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Shadowhunters recap - s2ep18 “Awake, Arise, or Be Forever Fallen”

SHADOWHUNTERS Recaps Intro and Masterlist

These recaps may contain spoilers from the books (that may or may not happen in the show.) Proceed at your own risk.

Recap and meta under the cut.

Gotta give it to Max, he’s a little badass. Temper that with a bit of discretion and maybe he’ll actually live to reach adulthood, contrary to all book canon. Like, seriously Max, you couldn’t have gone to find Alec or Izzy once you realized what the hair leading you to Sebastian meant, instead of confronting Sebastian yourself?

Gratifying just how many times Sebastian gets stabbed in this episode. Of course, I’d prefer it if one of them was a mortal wound, but alas…

If Lindsay was lurking in the hall outside Alec’s office, she should have heard Max’s head crack against the desk. A blow hard enough to knock someone out and cause them to bleed from their nose and ears would be LOUD. I’ve literally heard real people hit their heads in ways that do much less damage and it sounded like a melon exploding.

Now that the banter and fun goofing around is back, so is Simon and Maia’s chemistry. I think this is the magic of Simon. I bought the Climon relationship the most when he and Clary were being giggly and having fun together. I found Simon and Maia’s chemistry in s2ep06 to be off the charts, again, when they were bantering and laughing. For some reason, whenever Simon forgets to be that guy whom women can laugh and have fun with, he loses a lot of what makes him click in his various potential pairings.

My frustration hit its peak with the fact that Sebastian was right there in the middle of everything while everyone was all, “Where is Jonathan?” There’s only so many times you can yell “HE’S THERE!!! HE’S RIGHT FUCKING THERE IN FRONT OF YOU!!!” at the TV before you just throw your hands up in the air and say, “You know what? Fuck it. You’re too stupid to live. I hope he guts you all.”

They carried this plotline right up to the brink of me hitting that point.

Current sexuality: Magnus saying, “m’lady.”

“Your crush” Oh, I’ll show you a fucking crush, you pint-sized wretch!

Let’s all take a moment to bow our heads and be grateful the producers are making a young-adult urban fantasy show and not a hospital drama. Because they would be really, really bad at it. Seriously I was cringing.

And what the fuck were the runes flashing on the monitor over Max’s head about? Are they there to remind the infirmary medics “This is how you draw an iratze. This is how you draw Nourishment. This is how…” (I’m not sure what that last one was, but it looked like some Shadowhunter stylized version of the Caduceus or the rod of Asclepius.)

Of all the times for Magnus to refuse to take Alec’s call.

Wow. I’d forgotten what an asshole Season 1 Alec could be. He’s come a long way, considering that in-universe it has literally been six weeks since he and Magnus met (No, seriously, check out my timeline if you doubt me. I did the math so you don’t have to.)

I say “asshole” in the most loving way possible, of course. He had his reasons, but he was indeed an asshole. It just goes to show how unhappy and uncomfortable in his own skin he was, and how much losing that burden of hiding himself away from the world impacted him.

Still, I sort of wanted Magnus to push back a little harder when Alec low-key threatened him. “If you let anyone know…”/“Oh, you’ll do what, Shadowhunter?” Because Magnus could almost certainly kick Alec’s ass with all but one of his little pinky fingers broken.

I’m glad we’re finally getting down to business with the whole Ollie thing. But IIRC it’s against the Accords (or Covenant?) to let mundanes know anything about the Shadow world. Which means Luke could be in trouble if the Clave gets wind of her finding out.

And why is so so eager to know, anyway? Like, why was she all up in his business?

I’m wondering if it doesn’t actually have something to do with Maia, considering the way Ollie zeroed right in on her. Say, Ollie’s a cop, but she also, idk, moonlights helping Sam (who maybe is a private investigator?) by taking on missing person cases at the behest of desperate families. Contrary to book canon, we’ve been given some indication that Maia’s parents may actually care for her, so what if they hired Sam and Ollie to track Maia down, and find out she’s gotten mixed up in what might look to be (on the surface) a weird wolf-worshipping cult?

IDK I’m just spinning bullshit theories.

I like how at SDCC Isaiah said that Luke is grooming Maia to take over the pack someday, and how we actually sort of saw that in action here.

I liked Jace’s distress here, because with the exception of s2ep08 and a pat on the head in the last episode, we haven’t really seen him and Max interact or gotten any impression of how his relationship is with Max. And his distress here feels a lot more…sincere? relatable, maybe?...than his oft-repeated bouts of brooding manpain over his upbringing under Valentine.

And, strangely, his pain feeling more genuine also made Clary’s empathy and support feel more genuine. This moment made me feel more of a connection between them than just about any other moment they’ve had on-screen together.

Funny how when you build a relationship between characters out of moments and situations that are arise organically within the plot—rather than forcing it—it just works better, isn’t it?

I feel like I should say something about Bat, but I just don’t have much of an impression of him or what part he’s going to play within the plot, yet. Kevin Alves seems incredibly sweet and eager to be a part of the show, however, so there’s that?

“Rebooting of the brain.” Really? (The part of me that actually knows something about medicine is rolling its eyes so hard right now. This was badly done. Suspension of disbelief in one area only works if you are meticulously grounded in accurate reality in other areas, and this would have been a good area to do that. Massive head trauma that can’t be magically woo-wooed away.)

I have lots of thoughts on the decision to keep Max alive, most of them not good. I was prepared for the pain of him dying, which would have struck pretty close to home because I have a 10yo son. And as a storyteller, I think it would have gone a long way to establishing the stakes for this story.

Like, Valentine wants to commit genocide, and Sebastian wants to help him. We all get that. And we’re all horrified by it. But genocide is a MASSIVE concept to try to really wrap your head around. The human brain, I think, tends to shield you from really grasping it. It’s just too much.

This is a problem faced often by storytellers who are writing stories in which the fate of the world is at stake. It’s too big. The audience can’t connect with it personally, can’t internalize it. So you take that, and you distill it to make the stakes personal. One death, of a character who is beloved by your protagonists and hopefully by your audience, an innocent with all the potential in the world that will now never manifest, stands in for the thousands or millions who will actually die if the bad guy isn’t stopped. That death becomes a rallying point for your protagonists, and a symbol to your audience of just how evil your bad guy is and how much he needs to be stopped.

In short, Max needed to die. He needed to die as tragically as possible. It would have had a lot more storytelling mileage.

God. This scene was just everything I could have asked for their first time to be. I’m pretty sure I wrote a line in a fanfic once about Magnus telling Alec that one of the rules of his bed was that you had to be able to laugh in it, so the giggling and giddiness was just so perfect. And the fact that Magnus responded “No such thing” when Alec expressed concern that he might be doing something wrong is really something else I could have written myself.

It was tender and sweet and sexy without being objectifying and I loved it.

I will say, though, I’m probably in the minority in that I never wanted or needed to see a scene where Alec was confronted with Magnus’s cat eyes for the first time and explicitly stated his unstinting acceptance of him. I always felt it would be othering to go that route. And I felt like this idea that Magnus, who is so incredibly powerful, would lose control so easily a little absurd. I always liked to imagine that the idea that Alec would find NOT being accepting of Magnus unthinkable, that he would be honestly and sincerely befuddled by the idea that Magnus’s eyes might be a Big Deal. “Yeah, he’s a warlock, he has a warlock mark, I’m not sure why that’s supposed to be something that matters.”

That said, if they were going to go there, then this was the way to do it. The thread that weaves through Magnus and Alec’s story in this episode and ties past to present is the fact that they come from different worlds, and with those different worlds come different obligations and priorities. So in this case, the othering was entirely the point and it played into that theme.

So, if it had to happen, I’m glad it at least happened within this context and wasn’t just schmaltzy.

I really loved Luke being such a badass here but I’m certain allowing Russell to live is a bad idea.

Seriously, though, Russell. Not only is Luke a badass just as a werewolf, but he’s got the martial training of a Shadowhunter. How do you imagine you’re going to win this?

Probably one of the most realistic fight scenes I’ve ever seen in terms of showing just how exhausting fighting becomes in very short order. Too many drag out too long before the combatants start to show fatigue.

I really want to know about the cooks at the Jade Wolf. Are they werewolves themselves? Is that why the kitchen staff never bats an eye at anything, including these people waltzing in and out of the kitchen and storeroom?

The scene with Maia explaining her backstory was extremely well done and Alisha Wainwright is all things wonderful and I love her.

“This is what love got me.” Let’s take a moment to recognize the symmetry of Maia and Simon’s stories though. Becoming a vampire, a Downworlder, is what love got Simon as well.

I can’t say anything about this scene that hasn’t been said before, and better, since they released it as a sneak peek. But it’s so beautiful and my heart hurts.

Magnus’s moment with the Lightwoods all together on one side of the hall and him by himself on the other is incredibly poignant but I can’t find the words to really examine it properly. This is the point at which things just began to hurt too much and my brain stopped being able to cope with it.

I’d really like to know how Jace, who can sense Alec’s happiness over things like having sex with his boyfriend for the first time, couldn’t sense the lack of a spike in grief that would have surely occurred upon Max’s death. Grrr.

The fight sequence with Sebastian taking out all the guards was amazing and Will Tudor is brilliant. Did he really use a sword that was still stuck through someone’s body to parry a blow?

What the hell was with him just using his hand to open the crypt, though? No rune or anything. Can Sebastian somehow channel magic?

This whole thing with Clary was awesome and for once she seemed to be working for her miracles so I’ll ungrudgingly let her have this. The one thing I don’t know is what finally tipped her off about Sebastian. Was the electrum nugget thing too warm after he handled it? Did she just realize she never saw his palm? What made her chase after him and check his palm?

I loved her stabbing him. Twice. I’m fully in support of stabbing Sebastian. Yes. Please. Let’s stab Sebastian more. Sebastian for Pincushion 2k17.

Sebastian continues to be a creepy-ass fuck. Seriously, WHY did they decide to go with the incestuous obsession thing? There are so many other places they could have taken that story.

I like that her Open rune that burned through Magnus’s wards also exploded the Institute security doors. I appreciated that for a couple reasons. First, because Sebastian taught her to do that, to use her runes and make them more powerful. Second, it’s also a nice little nod to the books, since we didn’t get that scene of Clary totally disintegrating and blowing up Valentine’s barge with that rune.

Sebastian has vamp speed, too?

I want to ship them, but I haven’t managed it yet. In-universe it’s been like, a week, since Clary and Simon broke up. And of course we know they’re not end-game. But the writers ended up making me buy Climon more than I ever expected to, so maybe they’ll do the same with this one.

I just don’t want to see either of them hurt, so if Simon ends up ending it with Maia, I’m going to be upset, and if Maia ends up ending it with Simon I’ll be upset. *sigh*

I hated seeing the home Simon has been making for himself torn apart like that.

This is the moment of my first death and the beginning of buckets of tears. This look on Magnus’s face after Alec says “our way back to each other.” I can’t. I just can’t. He’s just so heartbroken here.

And the way Alec’s eyes close when Magnus touches him.

And the way Magnus’s voice almost breaks when he says “I love you, too.”

And the way Magnus is trying to smile, just a little. To hold on to some of the joy he’s found with Alec. To file this portion of his life away as a happy memory. To remember Alec as a good thing and not a source of sorrow.

There are so many nuances here and every single one of them fucking slays me dead.

Alec’s disbelief and denial.

Alec’s youthful, naïve insistence that if they just work hard enough, if they’re just determined enough, they can find a way, and Magnus’s world-weary wisdom and centuries of experience telling him there’s just no chance for them.

“You once asked me what I was afraid of. It’s this.”

And here’s my second death. That all along we thought that Magnus was afraid of being alone, being abandoned, like Camille said, he never does well losing the people he cares about.

So, we’ve always thought he was afraid Alec would break his heart. Leave him. Be repulsed by him. Choose duty over him.

We should have known better. Magnus has lived long enough to have his heart broken before, and he knows he’ll survive it.

His real fear is inflicting that pain, that loss, on someone else.

My third and finale death. Alec stifling a sob is where I just lose it entirely.

So I guess what I’m saying here?

Yes, this is a break-up. That’s my read on it. Sorry. It just is.

I don’t believe it’s a permanent one. Of course it’s not. If they’re not back together by the end of the season, at least on some sort of tentative, provisional basis, I’ll be very surprised and extremely pissed off. If I’m left with this boulder sitting on my chest over the hiatus I’m not sure I’ll survive. This show is supposed to be my happy place and I think if they leave me in this hurty place for very long it’s going to ruin it for me.

I don’t think the producers will let this linger long.

But this scene right here? As far as Magnus is concerned in this exact moment as he’s walking away from Alec?

He thinks they’re done. He thinks they’re over. He means it to be that way.

Something will happen to make him change his mind, though, and that’s important. Because here’s the thing:

We’ve seen Alec choose Magnus over and over and over.

He chose Magnus in s1ep06 when he walked away from the Institute and duty to take an evening to at least investigate the possibility of doing something that wasn’t about duty.

He chose Magnus in s1ep12 when he walked away from his own wedding.

He chose Magnus in s2ep06 when he turned his back on his own fears and misgivings and plunged into this relationship.

He chose Magnus in s2ep08 when he challenged his mother’s lack of acceptance repeatedly and sent her a very pointed message about their relationship.

He chose Magnus in s2ep10 when he rejected Aldertree’s words about the impossibility of relationships between Shadowhunters and Downworlders.

He chose Magnus in s2ep13 when he risked censure from the Inquisitor to take a stand for what’s right.

Even when everything he’s ever been trained and brought up to do is telling him to do the opposite, he has chosen Magnus repeatedly.

The only time we haven’t seen him choose Magnus was with regard to keeping the secret about the Soul Sword, and even then, his choice was about Magnus, even if it was paternalistic and wrong-headed.

What we haven’t seen, though?

We haven’t seen Magnus choosing Alec. We see him clearly aware of the difficulty in their situation, especially since s2ep12, but he never really chooses to stand against it. Which is not to say he’s not committed, not at all. We’ve seen Magnus put himself on the line and expose himself and make himself vulnerable for Alec. That’s huge. But with the exception of his hesitation to keep pursuing Alec in s1ep12, we haven’t seen him make that same deliberate decision to damn the obstacles between them and make this relationship happen. His commitment has been more along the lines of ducking and covering and hoping whatever is heading toward them blows over before it pushes them to this critical juncture.

We need to see him make that choice. Everything since s2ep12 has been leading to him making that choice.

Now, I don’t want to step outside my lane, so I’m gonna tread carefully here.

The thing we have to remember is that Alec, coming from the privileged group, is much safer choosing Magnus than Magnus is in choosing Alec. He’s got that safety net built in, so it’s easier for him. He may face censure and perhaps a decrease in some of his advantages (like being passed over for job promotions) but no consequences that he might face are on the same level of what Magnus might face.

So the two dilemmas and the choice to stand against their respective obstacles are not equal. If Magnus choses their relationship over his people, he doesn’t just face censure, he faces genocide. Pretty big difference there. The only possible way he can justifiably choose Alec at all is if he somehow discovers that choosing Alec dovetails conveniently with the best way to protect himself and his people.

My prediction is that something in the next episode, or in the finale at the latest, is going to bring Magnus to that decision point and make him turn around.

But for the moment? Right now, this scene?

I know it’s going to be an unpopular opinion, but Magnus really does mean this to be a breakup.

#shadowhunters #shadowhunters meta #meta #s2ep18 #recaps #s2b

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synthaphone · 7 years

Photo

So my friend posted an influence board today and I realized that I haven’t made one of these since I was in high school, so I decided to make a new one for myself!

i talk forever under the cut

1. Lilo and Stitch- I love the character designs and backgrounds from this movie especially, and it was one of the first movies that I decided I wanted to go to the movies to see as a kid. I was obsessed with the characters for a really long time and loved the animated series a ton, so its definitely left an impact on me and is still probably my favorite Disney movie today (not including PIXAR movies)

2. Doug TenNapel - I no longer actively seek out this dudes work because he’s got some shit-ass opinions and I don’t like him, but his art style is really distinctive and has definitely influenced my work. The way he handled his brushwork in GEAR and the atmosphere and feel of The Neverhood are what stick out to me as favorites, as well as some of his character designs- I actively admired the way he draws legs and bug people in particular and tried to mimic those elements in my art while in high school.

3. J. Otto Seibold - I love Seibold’s approach to character design, composition, and the general aesthetic of his work. I don’t think his style carried into my work as much as I wanted it to, but he still stands out in my mind as one of the artists that inspired me most in high school.

4. Samurai Jack - I’ve only watched 7 episodes of this show, but the way it handles backgrounds and action scenes is absolutely fantastic. I usually don’t enjoy fight scenes, even ones that I know are supposed to be well choreographed, but I can watch that first big fight with the dogs and Jack vs. the robot bugs 40 billion times, and most of the other fights I can remember feel that way to me as well.

5. Neopets - For a long time as a kid, my highest aspirations were to work for Neopets and to learn how to draw as well as their site art, which I thought was the best artwork I had ever seen. Nowadays, I’m actually more often inspired by the older, more gradient-y artwork, because it’s really specifically strange and distinct looking.

6. Beanie Babies - I loved them as a kid and they heavily influenced the way I draw stuffed toys. I remember a lot of the places where they put the seams, and I feel like it led to me having a better understanding of construction somehow.

7. Tomokazu Komiya (and Pokemon in general) - Pokemon is a HUGE inspiration for the way I approach creature design and for the world the games take place in, but more recently I’ve been specifically fond of Tomokazu Komiya’s Pokemon card illustrations. They’re very dynamic and extremely stylized, and I just really love his approach to all of the Pokemon he illustrates.

8. Rodney Alan Greenblat - His art is so colorful and whimsical and I really love his sense of character design as well

9. Calico Critters/Sylvanian Families - I avidly collected these for years, and they kind of stand out to me as a sort of weird outlier among my interests? I tend to really love sci fi, bright colors, and fantastical things, and these dolls are really subdued and old fashioned by comparison. Something about how soft and mundane they are really speaks to me though, haha.

10. Spyro the Dragon - I would play this at my cousins house when I was 4, and I was terrible at it but I LOVED it. I discovered how much I loved dragons through it and it firmly cemented things like ‘gems’ and ‘orbs’ as magical, valuable objects for years. I still really love the style, music, environments, and sound effects, as well as how cute the model for Spyro is in the game. I only really remember the first game extensively though, since that’s the one I’ve replayed some of recently.

11. Steven Universe - LOVE the backgrounds and color schemes of this show, and the simple way they approach drawing people and humanoid characters was such a good influence for me. I tend to avoid drawing human characters, and this style is a way better stepping stone to figuring out a unique style than Invader Zim was (god that style held back the way I drew human beings for years, because they were SO stylized)

12. Homestar Runner - I loved the bright colors and weird, imperfect flatness of these characters, and it definitely pushed me into stranger character designs and also influenced my sense of humor quite a bit.

13. Kirby Superstar Ultra - The first Kirby game I ever played, and the one that stands out to me as ‘Kirby’ in my mind. The abstracted nature of the backgrounds and environments is really beautiful to me, and I would love to be able to incorporate more strangeness like that in places I design.

14. The Aquabats! - Their promotional material and aesthetic is so colorful and bright and kind of has a weird subtle edge to a lot of it that definitely influenced my artwork. They were the first really unapologetically goofy thing that I ever let myself enjoy un-ironically, which still means a lot to me today. I particularly love the album cover for VS The Floating Eye of Death and used to draw a lot of pictures based off of it.

15. Poo-Chi (and other robotic/handheld electronic pets) - Still a huge reason why toy design is so interesting to me; I loved these as a kid and they still have a weird grip on me that I can’t quite explain? I never had much fun playing with the robotic pets with the batteries in as a kid, I’d use them more as cool giant action figures. Robo-Chi toys basically embodied the way I wanted robots to look, especially those weird semi-translucent colored orbs on their joints.

16. Invader Zim - Invader Zim consumed my life for my first year of high school, and radically altered the way I drew everything- however, as embarrassing as it is for me to look back on, and as much as it pushed my artwork back in some ways, Invader Zim is what inspired me to make a DeviantArt account online and start making art super frequently. I got worse before I got better, but I also believe that trying to figure out how to draw the characters accurately gave me a better understanding of construction and using angular shapes than I would have had without it (not that I figured that stuff out while I was obsessed with Zim, but it left me with a ton of oddly-proportioned original character designs that I was forced to learn how to draw better later on)

17. early Fleischer Brothers cartoons - I don’t actually enjoy these as much as I enjoy the general animation style of them. The fluidity and absurdism makes them feel really eerie and unsettling, but they also have a cutesy-ness to them that was sort of the style of the time period, and I really enjoy it. I particularly love the nightmare hell labyrinth depicted in Bimbo’s Initiation.

18. Splatoon - This game is an aesthetic dream to me. I love all of the colors, the character design, how fluid it feels to play, and I ESPECIALLY love the fashion- this was the first game I’ve played where almost all of the clothes are things that I think look super cool and want to wear in real life.

honorable mention that didn’t fit on this image:

19. The Akiko book series by Mark Crilley - The way that Crilley depicts space is, along with Neopets, my primary fantasy space world inspiration. It's like a really cool road trip through absurd and interesting places. It feels similar to the way that Futurama, Star Wars, and Hitchhiker’s Guide to the Galaxy depict space as a huge living space with aliens constantly traveling between worlds, but without the sort of cynical and threatening tone that those depictions tend to have. Crilley’s Billy Clikk books were also really cool to me- the idea of a secret team of monster wranglers who have flying vans and underwater headquarters was so cool to me, and I remember rereading the part where the main character discovers his parents’ secret lives and gets to see the headquarters for the first time over and over.

#personal #i should be working i need to start working

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omaribrie · 6 years

Text

Art Style Struggles (Rant Edition)

Okay so I go to an art college that’s pretty well known and like any art college many people have an idea of what drives, inspires, and moves them. Through the small talks I've had so far with my critiques, it's quite evident that I have an anime/manga-like characterization and that I am heavily influenced by that style. Having little to no professional help before coming to to this art college, I was never taught to try and steer away from it and have sense then always incorporated it in a lot of my pieces. I've been struggling yet steadily trying to find my voice in my work but no matter what I do, someone always points out the oh so “forbidden” style. This is where my confusion began to lie.

Freshman year, my illustration teacher said that anime/manga styles are frowned upon because they all look the same and they copy one another. This also could apply to the Disney Pixar styles as well. I see where he came from with that because in that style certain tropes are re-used at verbatim. However, there are varying styles within that manga/anime genre that aren't the same as someone else's. Yes, it falls under that anime/manga style but no, it does not look like everyone else's take on that style. I get confused on why this misconception is so strong within the illustration department at my school. Why does everyone think that manga/anime styles ALL look the same when they are characteristically not the same?

However, I still understand the general understanding of trying to find your own voice in illustration or art for that matter. Keeping that in mind, instead of full blown using tropes I've seen through the anime/manga stylizations I would mix my observation of life and my comfort zone of the anime/manga style. I'm not a fan of realism because I like making characters but at the same time you want to be proportionately accurate if you plan on doing a stylized characterization. As a tester, every time I full blown steer away from what is considered the anime/manga style my work doesn't feel like me. Anime and manga were the soul reasons why I wanted to do art and hopefully lead to a career of comics and concept art for video games. Not being able to incorporate any aspect of what drives and motivates me ultimately leads me to be disheartened and questioning if I'm wasting my time here. I'm always conflicted because without art it honestly feels like my life has no meaning but I don't want to continue being placed in a position where I'm questioning everything either.

So for the past semester and a half I've been trying to incorporate more realistic features in my "anime/manga" style. To me, I've made such drastic and happy improvements with my style while continuing to get advice to make it stronger. But it always seems that when I present it for critiques, someone, mainly the teacher, points out the influence of the anime/manga style. They'll say how the nose is too small and the mouth is too simple or how the eyes are either a little too big or that style has been seen already. That brings me back to my point above about how the illustration department sees any form or fashion of anime/manga styles to all look the same (no matter how small the influence). But when someone may have the same simple mouth or small nose in their illustration but with a far more “cartoony” or “varied” take on style or eyes, they get nothing said about it and is told they have a lovely stylization. This confuses me greatly.

For me, I want to have a happy medium of what I love and a realistic approach. I've had upperclassmen tell me that if you present one project (particularly the first one that has people in it) that may have a little too much influence of the anime/manga style then everything else you make after that is all going to be grouped into it being anime/manga even if there's been a major style shift or it wasn't intended. I find this to be a bit flawed because it almost seems like the teacher overlooks the changes made and gives the same regurgitated advice over and over again that doesn't help the student. The number one heard thing is to look from life. I find this to be VERY important to do because it has helped me tremendously with not only characters but many other things like perspective, color, shadow/light, buildings, plant life, and animals. I've done SO many observations from life and try to add that into my work but it always goes overlooked because all anyone focuses on is the incorporation of an anime/manga style.

That being said, I've had teachers tell me to draw more like a westerner or in a western style. I had no clue what that meant and what kind of implications they were trying to intend, but, I'm not going to lie, I found that to be offensive having not been born or raised in the west a.k.a the United States and the like. In fact, the students who did follow under these guidelines all were influenced by western cartoons and were, for the most part, raised in the west. When they used the so called "Western Ideology" illustration style they got praised for it and were told that they have a good style going for them. This severely threw me off because the illustrative characterizations they were implementing for their characters were tropes or very similar to western cartoons I've seen already. So my question is what's the difference? Why can students incorporate pre-done western concepts but not pre-done eastern anime/manga concepts? Is there biased opinions forming? I just really need to know if I'm missing something.

In fact, I've seen very famous (not worldly known but famous in the area I want to career in) concept artists that have an incorporation of what this school considers "anime/manga" style and a realistic approach and succeed just fine because they make it their own style. That's what I'm trying to do. That's what I'm trying to strive for. I get teachers are trying to help but from everything I've experienced has been less helpful and more confusing. Why is it so wrong to have my style incorporate the anime/manga aspects as well has my characterizations of observed life?

Sorry for the long rant but I know I’m not the only one who feels this way.

#art school #style #anime style #manga style #confusion #personal rant #sorry for the rant #art struggles #western style

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