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unpassive-viewer · 11 months

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Across the Spider-Verse Review (mild spoilers)

I have finally seen the long-awaited sequel to my most favourite movie. Y’all, I am in love with what Sony is doing for Spider-Man these days. I have literally not been this excited to see a movie since I was 12 years old waiting in line in a themed outfit to see Catching Fire for its opening weekend, and I think this film lived up to that hype. I have some critiques, but overall it was really good. I won’t include any major plot spoilers, but I’ve tagged it as mild spoilers just in case you’re the type of person who doesn’t like to know a single thing going into this movie.

The good (not in order of importance):

1. More Gwen character development. She’s in this one in a much larger capacity than the first one, and all of her parts were awesome.

2. Soundtrack. I started listening it to it before I even went to see the film. It’s good music already, but it is such a different experience to hear it over the movie. The art direction for these films is SEAMLESS, the different elements blend so well.

3. The visuals. The animation is genuinely so beautiful, I would use literally every frame of this movie as a screensaver, and I would tattoo them on the inside of my eyelids if that didn’t mean I’d have to pick only one. I want to give the animators a big kiss on the mouth because this film is so visually incredible.

4. The fight scenes. I love animation because you can capture things that cameras just can’t. The pacing of the fighting was so, so good. It’s one of the only movies I’ve seen that keeps the momentum of its fight sequences and really lets you feel the energy of the actions you’re watching. It was unique from movies like the second Captain America, whose fight scenes I also LOVE, because of the way it followed characters with such fast and dynamic movement. Whereas the Winter Soldier had great representation of real fighting styles, Across the Spider-verse was able to make use of a lot of its characters uniquely-inspired movements like Gwen’s dancer style. It could also follow them while they did insanely complex movements - if you’ve seen Gwen’s first fight scene, you’ll know exactly what I’m talking about.

5. The new characters are unbelievably cool. All of them. From the design to their personalities to their theme songs, they were really well thought out. In particular Spider-Man 2099 and Spider Byte are so beautifully visually contrasted with the rest of the movie. The characters also felt very honest to their backstories. By that I mean it felt like the animators and storyboard writers really did their research into the people they were trying to emulate, both from a source material standpoint and a cultural standpoint.

6. Miles’ story in the sequel is still really interesting, despite him being established as a character now, and the additional dimensions this film brings to his character are super cool.

7. The humour is top notch, and very true to Spidey humour that has carried through all of its iterations. I especially liked the first altercation between Miles and the main villain. It reminded me of Letterkenney and VEEP in that I felt like I needed subtitles to get all of the jokes because they were so rapid-fire and because the characters were talking over one another. It’s a very organic brand of humour that I appreciate.

8. The inclusion of so many Spider characters was well handled. The MCU movies now essentially make no sense because of how much background knowledge you need just to watch one film. Comparatively this handled having literally hundreds of similarly designed characters really well.

9. It seemed like altogether (much like the first one) there was a lot of creative license for this film. My biggest critique of Disney movies is that they’re soulless because of how much they’re supposed to appeal to a wide audience to maximize profits, but this movie and its predecessor have actual soul. If I learn that all the animators were treated like trash and they considered this film their personal hell I will be crushed, because it looks like something that is the product of a lot of amazing minds coming together for an incredible project.

10. A lot of fun nods to the other Spider-Man films and games. Spider-Man PS2 is in there, and I think Yuri Lowenthal even does a voice cameo. I’m a big fan of the “don’t get me started on Dr. Strange and that little nerd on Earth-199999″ line.

The less good:

1. Way too long. This film did not need a 2+ hour runtime. After about 1h40 I started thinking at the beginning of every scene “this has to be the end now, right?” wrong. This film had a “first book of the Lord of the Rings technically just being exposition” feeling to it.

2. Too many heart to heart scenes. One of my least favourite things in cinema lately is trying to force feed you character development through dialogue. There could have been like... 10 fewer drawn-out heartfelt conversations and the movie wouldn’t have changed.

3. The two major conflicts kind of got lost in one another. I enjoyed both but after a point I was confused as to what the real issue was. I know we’ll see the resolution in the second part, but I felt at least from my first viewing that I was watching a second movie after a point.

4. No comparable “what’s up danger” scene. To be fair, I think that scene from the first movie is my favourite in literally all of cinema. I want to inject it into my veins, I want to breathe it like perfume, I want to wrap it around myself like a blanket. It is beautiful and perfect and amazing and I don’t know if it can be topped, but it was strange to have so many smaller moments that were supposed to be cool that were sort of lost in one another. HOWEVER I have to assume we will get another one in the second part next year. Miles’ character arc is obviously not done, so it makes sense that we will get something like that closer to the climax of the next movie.

Anyways, I will be seeing it a second time in theatres. I usually don’t see films in the cinema because it’s so expensive, but I will happily give this franchise all of my money. I cannot overstate this - I am genuinely looking at getting a tattoo for this franchise. Sony owns me and I am okay with that.

#across the spider-verse #miles morales #gwen stacy #peter b parker #spider byte #spider-man 2099 #mild spoilers #film review

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sonikadas · 7 months

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What are some examples of talents?

Defining talents and their significance

Talents are the unique gifts and abilities that we possess. They can range from creative skills such as painting or playing a musical instrument to more technical talents like coding or problem-solving. What sets talents apart is not just the ability itself, but also the passion and drive behind it. Talents are significant because they allow individuals to express themselves, pursue their passions, and contribute positively to the world around them.When we embrace our talents, we discover a sense of purpose and fulfillment in our lives. Our talents give us a platform to showcase our creativity, innovate new ideas, and leave a lasting impact on others. Moreover, honing our talents allows us to develop expertise in specific areas, making us invaluable assets in personal and professional settings alike.

At times, society may undervalue certain talents or deem them less important. However, it is crucial to recognize that each talent is unique and has its own significance. Whether someone excels in performing arts or has an innate talent for mathematical calculations, every individual contribution enriches society as a whole. By embracing and cultivating various talents across different fields, we create diverse communities where everyone's strengths are valued and appreciated.

In conclusion, talents define who we are as individuals by aligning with our passions and giving us purpose in life. They allow us opportunities for growth while contributing positively to society by sharing our unique gifts with others. Let us celebrate all types of talent while encouraging others to uncover their own hidden potential – after all, you never know what amazing abilities

Natural Talents: Inborn abilities that shine

Natural talents are like hidden gems waiting to be discovered. Some individuals have a natural gift for music, effortlessly playing and composing beautiful melodies that resonate with the soul. Others possess an exceptional ability in athletics, effortlessly maneuvering through complex physical challenges with grace and precision. These inborn talents are not only impressive but also captivating, as they showcase the prowess of human potential when combined with passion and dedication.

In addition to music and sports, there are countless other areas where natural talents shine. Consider the gifted storyteller who captivates audiences with their mesmerizing narratives or the skilled mathematician who effortlessly grasps complex concepts that baffle others. There are also those who possess a natural talent for languages, easily picking up new dialects as if they were speaking their mother tongue. These examples illustrate how diverse and unique natural talents can be, each one adding its own special spark to this tapestry of human abilities.

Embracing our own natural talents is key to unlocking our full potential. When we recognize these innate gifts within ourselves and nurture them through practice and dedication, we can elevate our skills to unprecedented heights. Moreover, celebrating the natural talents of others promotes a culture of appreciation for individuality and diversity within society. Let us embrace the beauty of these inborn abilities that shine and encourage others to explore their own unique gifts, creating a world where everyone's talent can brighten our lives in remarkable ways.

Learned Talents: Skills acquired through effort

Many people believe that talents are something we are born with, but this is not always the case. In fact, some of the most remarkable talents have been acquired through effort and dedication. These learned talents can stem from a wide range of skills, such as playing an instrument, painting, writing, or even public speaking.

Obtaining a talent through hard work often requires hours and hours of practice and perseverance. Take musicians for example. While it may seem like some individuals were simply born with an innate ability to play an instrument flawlessly, the reality is that they have put in countless hours honing their skills. Through consistent practice and determination, they have learned how to listen carefully, read music fluently, and manipulate their fingers or breath in a way that produces beautiful melodies.

Learning a talent also involves acquiring knowledge about the subject matter itself. For instance, someone who has become skilled at graphic design likely initially had no understanding of how to use complex software programs or create visually appealing layouts. However, by immersing themselves in books or online resources about design principles and techniques while also practicing regularly with different tools and software applications available today such as Adobe Photoshop or Illustrator; they ultimately develop expertise over time.

In conclusion: these examples illustrate that sometimes our talents aren't predestined from birth--we can cultivate them through effort and perseverance if we are willing to put in the necessary time and dedication!

Creative Talents: Artistic expressions that captivate

Artistic expression has long been a way for individuals to captivate and inspire others with their creative talents. From visual arts, such as paintings and sculptures, to performing arts like dance and theater, these forms of art have the power to move people on a deep emotional level. One brilliant example is the work of Vincent van Gogh, whose vivid brushstrokes and intense color choices in paintings like Starry Night continue to enthrall audiences today.

Another captivating artistic talent is seen in the storytelling abilities of writers. Through words alone, they can transport readers into entirely different worlds, allowing them to experience various emotions and perspectives. Iconic authors such as J.K. Rowling with her Harry Potter series or Gabriel Garcia Marquez with his magical realism novels have mesmerized millions of readers worldwide through their imaginative storytelling.

Aside from traditional art forms, innovative talents emerge with technology advancements. Digital artists create mind-boggling pieces using graphic design softwares while even incorporating virtual reality (VR) elements that enhance interaction between viewer and artwork. These new mediums open up endless possibilities for creativity that captivate audiences in ways previously unimaginable.

In conclusion, artistic expressions encompass a wide range of talents that have consistently mesmerized audiences throughout history. From visual arts like painting and sculpture to performing arts like dance and theater, each medium has its unique ability to stir emotions within viewers. Additionally, emerging art forms enabled by technology further expand the boundaries of creative expression. Through all these diverse avenues of talent, artists continue

Athletic Talents: Physical abilities that excel

Athletic talents are physical abilities that naturally excel in certain individuals, allowing them to achieve remarkable feats on the field, court, or any other sporting arena. These talents can manifest in various ways, such as speed, strength, agility, or hand-eye coordination. One example of an outstanding athletic talent is Usain Bolt, often regarded as the greatest sprinter of all time. Bolt's lightning-fast speed and effortless stride put him a cut above his competitors and allowed him to set numerous world records during his career.

Another remarkable athletic talent is Serena Williams' powerful serve and incredible hand-eye coordination. Williams' dominance in women's tennis can be attributed to her ability to deliver powerful serves consistently while maintaining exceptional accuracy. Her talent allows her to quickly assess an opponent's shot and respond with remarkable reflexes - a skill that sets her apart from others in the game.

Athletic talents not only captivate audiences but also inspire us with their extraordinary physical abilities. From the sprinting prowess of Usain Bolt to the unrivaled power of Serena Williams' serve, these individuals showcase what can be achieved when natural aptitude meets dedication and hard work. Their exceptional skills push boundaries and redefine limits within their respective sports - testament to just how awe-inspiring athletic talents can truly be

Intellectual Talents: Mental capacities that impress

Intellectual talents are some of the most fascinating abilities that humans possess. These mental capacities are not only impressive but also have the power to shape our understanding of the world and advance society as a whole. One such talent is exceptional memory, which goes beyond mere recollection of facts. Individuals with this talent have an astounding ability to retain and recall vast amounts of information effortlessly, making them walking encyclopedias.

Another intellectual talent that never fails to astound is extraordinary problem-solving skills. These individuals possess an innate ability to dissect complex issues and find innovative solutions. They can see patterns and connections that others may overlook, allowing them to approach problems from unique angles. Their sharp critical thinking skills, combined with creativity and logical reasoning, enable them to overcome challenges in ways that seem almost magical.

These intellectual talents are captivating because they transcend ordinary human capabilities, pushing the boundaries of what we thought was possible for our minds. The ability to remember immense amounts of information or solve intricate problems effortlessly ignites a sense of awe and wonder in those who witness it. Moreover, these talents remind us that there are depths within our intellect waiting to be explored and harnessed for the greater good of society.

Unconventional Talents: Unique abilities beyond the norm.

When we think of talents, our minds often drift towards the typical ones like singing, painting, or playing a musical instrument. But what about those individuals who possess unconventional talents that defy categorizations? These unique abilities not only captivate our imagination but also challenge our perception of what talent truly is.

One such unconventional talent is known as eidetic memory, or photographic memory. People with this exceptional ability can recall images and information with astonishing precision and detail. From the pages of a book to their surroundings on any given day, they have an almost supernatural knack for remembering everything they see. This incredible gift allows them to effortlessly store vast amounts of information in their minds and retrieve it at will—an invaluable asset in fields like academia or law enforcement where attention to detail is crucial.

Another fascinating example of an unconventional talent is synesthesia—a condition where the senses overlap. Synesthetes experience literal sensations when exposed to certain stimuli—for instance, tasting colors or seeing sounds. While this phenomenon may sound surreal to most people, synesthetes perceive it as a natural aspect of their daily lives. Beyond its captivating nature, synesthesia has also been shown to be advantageous in creative endeavors as it provides individuals with a unique perspective and heightened sensory experiences that can manifest in various art forms.

These examples serve as reminders that talent comes in many shapes and forms—some beyond what we commonly deem extraordinary. It's important to broaden our understanding and appreciation for these unconventional gifts

Talents are innate or learned abilities and skills that individuals possess and excel at in various areas. These talents can be diverse and unique to each person. Here are some examples of talents:

Musical Talents:

Singing Playing musical instruments like the piano, guitar, violin, or drums Composing music Visual Arts Talents:

Painting

Drawing Sculpting Graphic design Performing Arts Talents:

Acting

Dancing Stand-up comedy Sports Talents:

Basketball

Soccer Tennis Gymnastics Swimming Language Talents:

Linguistic abilities such as fluency in multiple languages

Creative writing Public speaking Scientific and Technical Talents:

Mathematics

Programming and coding Scientific research and experimentation Culinary Talents:

Cooking and baking

Culinary creativity Craft and Artistic Talents:

Woodworking

Pottery Quilting Jewelry making Interpersonal Talents:

Leadership

Empathy and emotional intelligence Conflict resolution Entrepreneurial Talents:

Business acumen

Innovation Sales and marketing skills Nature and Outdoor Talents:

Gardening

Hiking and camping Wildlife photography Mechanical Talents:

Car repair and maintenance

Electronics repair and tinkering Mathematical Talents:

Solving complex mathematical problems

Mathematical reasoning and logic Analytical and Problem-Solving Talents:

Critical thinking

Strategic planning Data analysis Comedic Talents:

Making people laugh

Impersonations and comedy writing Psychological Talents:

Counseling and therapy

Understanding and helping others with their mental health These are just a few examples of the many talents people can possess. Talents can be developed and honed over time through practice and dedication, and they often play a significant role in shaping an individual's interests, hobbies, and career choices.

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popmusicu · 10 months

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Why are so many songs about love?

– by Camila Torrico

I think most of us have wondered at least once why so many songs talk about love. If not, you might be thinking about it now.

The majority of love songs can be seen in Pop songs, with artists like Taylor Swift or Bruno Mars, or in K-Pop, where most groups sing about love, but if we take a better look, these types of songs are everywhere and in every genre. As we know, music has usually been used as a tool for expressing emotions and feelings and connecting with others, so, as expected, many artists tend to focus on love and relationships in their songs for various reasons. One of them is that these topics are universal experiences that most people can relate to in a way, and even though every relationship and type of love is different, we can all relate to certain ideas or feelings related to them regardless of our age, gender, or cultural background. We all have experienced or imagined love in our lives, whether it is love with our parents, friends, partners, animals, or even places, love is an emotion familiar to most of us. Another reason, and the most obvious one, is about the general interest, which also includes. Artists may go for a love song because it’s a safe topic to talk about since it’s been offered for years yet people still like them, and these songs are also normally well received by wide audiences. To wrap up, I wanted to share a few love songs that I've listened to recently:

https://www.youtube.com/watch?v=Uyq9OE8lIz8&list=RDKSypm3B0z5s&index=23

https://www.youtube.com/watch?v=Yn8MYn8zcII&list=RDKSypm3B0z5s&index=36

https://www.youtube.com/watch?v=xcY3SXDOvwg

https://www.youtube.com/watch?v=Jg9NbDizoPM

https://www.youtube.com/watch?v=LYAkY8Dh9CU

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caw4brandon · 2 years

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The Tunes from The Other Side

When it comes to the music industry, I barely know much about it. But what I am aware of is that, there are two scenes in existence. The mainstream and popular ones you hear on the radio and the ones that is niche within the Indie scene. Since in forever, I’ve always been a bit of a Weeb. Searching for Japanese music that is either mainstream or underground to mumble sing in my bedroom or in my car.

For this Odin’s Wednesday. I want to share about some of my favorite musicians that hails from the land of the Rising Sun. Since its founding, Japan has become the home to a wide range of young and aspiring musicians. So, let’s talk about a few. Starting with the woman who rolls dice with demons.

[Source image credits to Demondice]

- Excuse me a Moment of Unfiltered Honestly -

Demondice aka Karen is an American artist and animator who, after her studies decided to pursue her love for music in Japan under the rap/ hip-hop genre. Karen’s music in a nutshell, can be described as harshly sharp and realistic, riddled with unfiltered language. Started out in 2013, DD’s music mixes two languages of English and Japanese layered with catchy background music and the rap style that is reminiscent to other influential rappers like, Eminem with her own unique ethos (soul)

Aside from her own music, Karen is a talented artist and animator whose works can be seen through the music videos of other underground musicians that has also gained a boost in popularity recently; [TOPHAMHAT-KYO] and [FAKE TYPE] being the most popular of them all.

To give a taste of her own music. I turn your attention to her latest EP, under the track titled [Take The Bait] Karen used that song as an opportunity to dish out her unfiltered anger and opinions. Calling out the audience that has nothing better to say but just to provoke a reaction. Taking no crap for nonsense.

In a much older song; [You’re an Ace, Kid] Karen shares about the realistic hardships of starting out. Asking the audience, encouraging them and perhaps herself that the road is yet to reach its end, get up and go again. Her songs reflects her realistic and unflattering views on life and career as a musician which I think is more important than to show all the benefits and fame that comes with the job. As mentioned, the underground scene has achieved a rise as of late which (in time) could help others like Karen, rise to the surface for a bit of mainstream taste.

- 告白されたの、しょうがない… -

Translation: He asked me out, it ain't my fault

The girl group; ATARASHII GAKKO is one of the many successful examples of the Anti-Idol culture movement in the Japanese music scene. Using the typical school uniforms to represent the youths of tomorrow. The group writes and produces upbeat songs that expresses an often unseen view, the broken wonderland of Japan.

The group is made up by four members; MIZYU, RIN, SUZUKA, and KANON with MIZYU being the leader of the bunch when technically, its SUZUKA who sings the most. Since opening its borders, there’s always this so-called idea that Japan is a utopian society of technological advancements and perfection but ATARASHII GAKKO rejects that belief. Calling out the many terrible norms that occur in the country. Commenting on sensitive topics such as; Teacher-student relationships, school dramas and social pressures faced by the Japanese youths of today.

These girls are not your typical [AKB48] group. In fact, they are pretty much plain in contrast and yet, they’ve blown up to the western side as a cult favorite for their peculiar humor and messages of embracing the strange and the random. Suggesting SUZUKA as the potential successor to (the somewhat offensive in today) Filthy Frank.

As a group, ATARASHII GAKKO songs are complete bangers. Their dance said to have been inspired by the various sub-genres in hip-hop. Vocally speaking, ATARASHII GAKKO’s lead singer; SUZUKA’s range is filled with emotion in almost every note and very rarely, you get to hear the other girls sing as well. The girls are oddly quirky and they have their fair share of admires who loved the group’s randomness and complexity of iconography.

I would highly recommend [恋の遮断機 - Love's Railway Crossing Gate] to witness to their rather...odd dance cerography and I highly suggest their other popular song that got me into their music [恋ゲバ - Love Rebel] Bear in mind, its a little inappropriate since it deals with grooming but its more on the tame side.

- 愛してる, 愛してるなんて -

Translation: I love you, I love you

While to most people, Japanese music is often times associated with a certain anime and yes, I am one of the many dummies who started with that journey. It may come as a shock to you that Japanese music is not Anime music. Its just music in the country it is from.

While I would love to talk about some B-list or C-list Anime op that is made by great established or rising bands like [Lie and a Chameleon] which revived my love for J-rock back in the day with [UVERWorld] but I want to focus on a relatively new artist, Moka Sato.

I actually discovered Sato by accident through an Indie Japanese playlist as a way to chill but since hearing her hit single; [さとうもか - melt bitter] its been stuck in my head since. For about a year now, the song is just stuck on repeat replaying over and over. The message of the song is your typical “caught my man cheating on me” song but it also ends with a somber note. Saying that the victim of the cheat is more than happy to cut ties with her partner.

Thanking him for his time and passively wished him to burn. When its not about crap partners. Sato wrote calming songs; [さとうもか - Lukewarm] about falling in love with someone and the sensation of it as well as the song about the warm and unique color; [オレンジ - Orange]

Her music videos are adorably 2-bit like. Similar to games like Super Mario and other Game Boy based games. Vocals wise, Sato belongs in the, annoyingly high pitch range as commented when I played her songs in the car to my family. Nevertheless, I find Moka Sato’s voice adorable but its nothing new to the industry of poppy Japanese music.

What makes her in a sense, unique to the others is her use of child-like iconography to display a rather haunting feeling that a woman has lost her innocent and gleeful view on love and in life.

- Are you Ready for Dancing? -

Cha’know what? Let’s give UVERWorld more love! Starting out as early as the 2000s, the name of the band is a combination of the German word "über" (meaning "over") with the English word "world" to form a phrase that means "crossing above the world". I heard about UVERWorld way back when the song [D-tecnolife] was used in the second opening theme for the anime < Bleach > and heard their voices again in < Gundam 00 > and the now meme worthy OP that is used in the show < Blood+ >

The band’s lead singer has changed several times in its early days but, thanks to their permanent lead; [TAKUYA∞] The band has made its mark on the anime sphere and in the music sphere in general as a versatile band. Combining rock music or alternative music with electronics, a very sexy saxophone; Seika as support and the mad drummer, Shintarō

Outside of Anime OPs or EDs, UVERWorld has produced a fairly good amount of songs not related to Anime such as [IMPACT] and of course, a song that I talked about in the past [7日目の決意 Vol.2] Its a rather personal song about those who left and those who stay. Asking the question “what are we going to do next?”

I highly recommend finding the music video and reading the lyrics as it may help with coping the losses we suffered collectively for these past two years since the pandemic. Things live and things die. Its a part of nature but nothing is gone forever as long as we remember them.

The band is still making Anime songs as found in the popular anime; < My hero academia > and < The Promised Neverland > I can go on for just how good their music is for headbanging and how good TAKUYA∞’s vocal range is. The band’s stage presence is incredibly fun to watch and to be a part of but, I believe its time I stop right here.

What I will end with is, Japanese music is more than just anime OPs and EDs. They transcend past its show, with each artist being unique to the other. There is a lot more that I want to talk about so, I’ll leave you with a playlist of mine that I made and organized [RIGHT HERE] but now I’m curious.

What’s your go to Japanese musicians to listen to? Also if you’re into K-pop, give me some recommendations.

Thanks for reading

-Caw4B-

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ofcowardiceandkings · 3 years

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I think you mentioned listening to podcasts? Do you have any favorites to reccommend? I've run out of content :(

that i do !

im not entirely sure what kind of podcast you'd be interested in but i'll throw out a few of the goodies in my huge library of stuff , i'll miss out a few of the HUGE podcasts that have been all over tumblr though

a LOT of it is true crime or human interest stuff , or history because im nerd ,, and a few of these dont have nearly enough attention so [shrug] i'll try to keep this short i guess lol this isnt EVERYTHING ive got in my library or listened series' by any measure

i AM gonna pop a shout to both Stuff You Missed in History Class and Stuff You Should Know from iHeartRadio because their HUGE archives have kept me from losing my mind many times over , and they cover a wide range of both important and wacky topics

BomBARDed (ongoing) this is the only fiction podcast i have happening right now really but its DAMN GOOD ONE .... it's an actual-play D&D 5E podcast in the DMs own musically-inspired world, focussed on a group of multiclass bards going to music school !! and all players (+DM) are members of the Texas band Lindby !! and they actually use and play music in the show with one original song an episode !! Kyle's worldbuilding and storycraft are truly incredible, and (Nick) Goodrich, (also Nick) Spurrier, and Ali's characters are in depth and interesting as well as an absolute powerhouse :') i actually made a piece for its first fanzine, Bardic Dreaming, which published earlier this year and is free to view now, all the players and the community are super wholesome its just very good overall 💙

History & Humans;

Fall of Civilisations (ongoing) legit one of my favourite podcast finds, im so glad my youtube autoplayed one of these ... it took me like 2 hours to realise it was 1) not the same as what was playing before and 2) had been on for 2 hours and wasnt near finished lmao. anyway, this is a series by historical fiction writer Paul Cooper, and is honest to all thats good one of the best documentary series ive encountered in years - and ive consumed a LOT of documentaries. it covered the downfall of various civilisations through history, and the episodes run from an hour to FOUR hours depending on the topic. its so chill to listen to and just get done, but over the pandemic all of the episodes have been given full movie-quality video versions too on youtube if youre more of a visual person.

Casting Lots: A Survival Cannibalism Podcast (on series break) yeah that says that lol ... its a SUPER niche topic but its very interesting and treated very well despite being kind of comical at times, the hosts are just naturally funny lol ... it delves around from the history of cannibalism in whole regions to specific incidents as recently as the 1970s, and of course the first episode is about the Donner Party, and it covers things ive never heard of despite being kind of important ?? anyway Alix and Carmella are good eggs

Sawbones (ongoing) i probably dont need to mention much here other than say that Justin and Sydnee saved me from being SO BORED sooo often, the history of medicine is wacky as hell and its what most of my history GCSE was on so [shrugs]

Cautionary Tales (on series break) this was a wild-card find lol ... it's by Tim Harford "the undercover economist" who writes for the Financial Times, and its topics kind of weave modern topics and science with how to learn from historical errors ... its a bit weird but well worth a go, also each series has a few celebrity guest voice actors which is pretty awesome

Ephemeral (ongoing) this is a very strange but thought provoking series about sounds and other things just barely saved. topics include the last castrato, the hello girls, hand-stamped records, the spread of kīkā kila music, and acoustic fossils of wild places.

Neat! The Boozecast (ongoing) history and bartending whats not to like lol ... hosted by Teylor Smirl and now their dad Tommy, they're just digging around in how important booze is to human culture

True Crime (white collar and weirdness);

Swindled (ongoing) this is an amazing show full stop. A Concerned Citizen details some of the most impactful and unruly things to happen in white collar and corporate crime. very factually accurate but given the sheer bullshit of the topics the deadpan snarking is [chefs kiss] absolutely warranted ..

American Scandal (on series break) this one is a series within a series type, and spends a few episodes at a time poking holes in some of America's biggest scandals, from a dramatised but fact-based point of view. such as what the hell was going on with Enron, how big tobacco was forced to own up to covering its own ass, how Iran-Contra happened, etc. it also now has a sister show called British Scandal, which does the same thing for British cases but with a slightly different format.

Missing in Alaska (finished) this was a fascinating series, a deep dive into what happened to two US government officials who disappeared on a small chartered flight in Alaska in 1972. it goes some really strange places, but it actually turned up a lot of previously unknown information through the audience. John Walczak's new series in a new feed is Missing on 9/11 which looks into what happened to Dr Sneha Philip.

Pretend (ongoing) Host Javier Leiva holds interviews with anyone living a lie, or who have been touched by them. con artists, snake oil salesmen, former cult members, catfishing victims, anyone and everyone.

Power: The Maxwells (finished) hosted by journalist Tara Palmeri, the story of media tycoon Robert Maxwell from nothing to empire to mysterious death and the scandals uncovered after he was gone.

Lets Talk About Sects (ongoing) Sarah Steele covering cults from around the world, in particular those in Australia - where she is from. She often has former members on the show to share their stories, and share knowledge of how they left. each story has the relevant content warnings at the start of each episode.

Brainwashed (finished) investigation of the CIA's covert mind control experiments, centred on the experiments performed at a hospital in Montreal, and its cultural impact.

Dr Death (2 series finished) two series investigating huge cases of fraud and medical malpractice, and how they were brought to a stop. series 1 covers Dr Duntsch and his horribly butchered neurosurgery, series 2 covers Dr Fata and his fraudulent cancer clinic

The Immaculate Deception (finished) untangling the weird and disturbing fertility fraud of Dr Jan Karbaat, who fathered children himself through his fertility clinic, and the impact of his deception. later episodes also touch on other similar cases.

True Crime (Violent/General);

The Casual Criminalist (ongoing) Simon Whistler of-the-many-youtube-channels cold reads a script about the case of the day, with some of his daft commentary thrown in.

Southern Fried True Crime (ongoing) Crimes from the American South hosted by Erica Kelley, she puts all the facts out there but refreshingly for true crime she doesnt hesitate to tell you if she thinks someone is human garbage lol

They Walk Among Us (ongoing) probably one of the most popular UK crime podcasts, very measured and well put together, not weird or annoying about it either.

All Crime No Cattle (ongoing, feed slowed down for now) specifically about crimes from Texas, hosted by Erin and Shay, they're very sensitive hosts and a lot of the cases they cover shed light on why the Texas criminal system is how it is or show an impact at a national level

Canadian True Crime (ongoing) Canadian crime from an Aussie who's lived there for a decade, Kristi is again a sensitive and measured host covering some important topics

True Crime (Violent/Deep Dive);

Hitman (finished) journalist Jasmyn Morris digs around in the sticky tangle around a book published by fringe publisher Paladin Press, and its apparent use as a blueprint in the killing of a mother, her friend and her 8 year old boy for financial gain.

Camp Hell: Anneewakee (ongoing) this series is exploring how a wilderness camp "correctional facility" was endorsed by the Georgia care and juvenile reform system, despite widespread abuses and shady practices the whole time. warning for csa and child cruelty throughout.

True Crime Bullshit (on series break) this one is a huge huge rabbithole but a very interesting one where the host Josh Hallmark has spent years digging into the life and potential crimes of Israel Keyes. Keyes is often mentioned as a serial killer with no pattern, but in picking it apart thats not quite true, and has sparked some re-evaluations of missing persons cases and stumbling upon information the FBI has redacted organically. there's also a series in the middle looking into the crimes of Kelly Cochran

Forgotten: Women of Juárez (finished) this series looks into the huge numbers of missing women of Ciudad Juárez, the strange circumstances surrounding them, and the potential cover-ups and corruptions on both sides of the border, trying to give a voice to all of the forgotten women and girls and their families without answers. the series itself is finished, but a spanish language edition is being released every week now.

aaaaaand i'll call it there before i list everything lol, i hope you find something to plug your boredom hole with !!

#audio #rory's ramblings #podcasts #asks #anon #long post

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the-queer-observer · 3 years

Text

The TOXICITY of straight dating culture: Do you even realize what you teach?

A few months ago, a straight teenage girl explained her crush to me with the sentence “He’s so toxic.”

I know a 17-year-old girl with a little to no clue of how a non-toxic relationship should look like.

I started noticing a certain pattern online and in my real life too.

Now it’s a time for my first disclaimer: I am not straight myself. Nope. Not at all. Perhaps that’s why I see through it.

To this point, all I have done about this is that I have complained to some friends, got over it and went on with my life.

Today, a girl, no older than twelve, has told me about her crush on a “bad boy” and we talked about him for a second. He really did seem like what the definition of a bad boy is for tweens.

I snapped.

And here I am, writing my first tumblr post ever on this very topic.

I want to make clear, this is not an attack on those girls. This is an attack on the society, what it taught them and what it failed to teach.

The youngest girl and me, we talked about music. She said she liked “dramatic” songs and played me some of her favorites.

Disclaimer number two: I did know both the artists, but I don’t actually listen to them. The closest to mainstream music my playlists get is Take me to church by Hozier, the rest being a wide range of songs, interprets and genres from pop punk to death metal and everything in between.

I was actually surprised. One of the two artists she played for me was Billie Eilish. The beginning of the song went:

Don't be cautious, don't be kind

You committed, I'm your crime

Push my button anytime

You got your finger on the trigger

But your trigger finger's mine

The second song was by Maroon 5.

It was even worse:

So what you trying to do to me

It's like we can't stop, we're enemies

But we get along when I'm inside you, eh

You're like a drug that's killing me

I cut you out entirely

But I get so high when I'm inside you

Yeah you can start over you can run free

You can find other fish in the sea

You can pretend it's meant to be

But you can't stay away from me

I can still hear you making that sound

Taking me down rolling on the ground

You can pretend that it was me

But no, oh

I am not going to argue about whether it’s appropriate or whether she understands the lyrics the way I do. It doesn’t even matter. She understands the drama in the song. She understands it enough for me to be concerned.

There are other songs like that. There is a whole culture teaching pre-teen and teenage girls, that “they can’t get away”, romanticizing toxic people and toxic relationships, blurring the lines of consent and guess what? The girls believe it’s the way it’s supposed to be.

I texted my girlfriend and we spent some time looking for straight love-songs, celebrating healthy relationships. None of them were mainstream, but we found things like:

That the world is ugly

But you're beautiful to me

Are you thinking of me

Like I'm thinking of you

I would say I'm sorry, though

Though I really need to go

I just wanted you to know

I wanted you to know

I'm thinking of you every night, every day

(My Chemical romance)

And

Desperate for changing

Starving for truth

I'm closer to where I started

I'm chasing after you

I'm falling even more in love with you

Letting go of all I've held on to

I'm standing here until you make me move

I'm hanging by a moment here with you

Forgetting all I'm lacking

Completely incomplete

I'll take your invitation

You take all of me now

(Lifehouse)

First of all: Those are 4 extracts of songs, chosen by me to demonstrate my point and they may or may not reflect the reality, you (the reader) see: those two songs might be just an exception, but in that case this post is still not canceled, because there is enough of other correlations and causation for me to have a reason to write this.

Those songs are “dramatic”, but the drama shifts from the relationship itself and its toxicity to the circumstances and environment. My girlfriend even recommended a punk song called Ne touche pas moi (Do not touch me), which is entirely about consent.

I am not explicitly saying that the songs she played for me are bad. It’s not for me to decide.

But all Billie Eilish’ fans I ever met were in the age range between eleven and fourteen, so I am supposing that’s her target audience. As for Maroon 5, I have no idea. However, music influences us. The girl is old enough to know what kind of music she likes and wants to listen to and with the peer pressure going on there, her parents do not really have a say in what she listens to and they are not to be blamed for this.

It’s the culture.

Toxicity is not a positive trait to look for in a potential partner. Even if he is a good looking one.

Enough of music.

Do you know who the toxic crush was?

Draco Malfoy.

One of the most famous of all characters in media, famously portrayed by Tom Felton in the Harry Potter film series.

Disclaimer number four: I have a problem with the books and movies and I also have some issues with the author.

Still, I see a fandom celebrating the love of Severus Snape for Lilly Evans Potter. Except it’s not love and it’s not a crush either. It’s an obsession. One that has become so iconic, the word “Always” is one of the main symbols of Harry Potter.

It shouldn’t be.

It should have never happened.

Draco Malfoy is quite the same thing. He is a racist, a bully. He is raised to be one, sure... That’s not an excuse. He doesn’t actually have a canonical redemption arch (not counting the deleted scene from the last movie and the Cursed child). If he came up to Hermione, acknowledging his mistakes, apologizing for his behavior, then maybe. Perhaps... That’s another story though. My point is, Rowling fails to actually depict problematic characters as actually problematic, they are romanticized by her, the filmmakers, the fandom and the wider audience.

Girls are taught to be the ones to make the redemption arch happen, irl or in fiction. They are supposed to date whoever is into them, regardless of whether they like the person back, and it’s unbelievably often I see them crushing on villains and problematic people like Draco Malfoy, because they are taught, he would change for them or that they could change him.

Toxicity is not a positive trait to look for in a potential partner. Even if he is a good looking one.

Those together result in a complete lack of knowledge of how a healthy relationship should look like. That’s the case of the third girl I mentioned. Being best friends with both her and her current boyfriend, I had three points of view on their relationship. It’s only been the past few weeks, not more than two month it has shifted to a more positive, healthy relationship.

It’s not the girl’s fault. They learn what a healthy relationship is the hard way, mostly after going through a toxic one(s).

WHY?

The sentence: “I always fall for the bad guys.” lacks the essential: “because the society taught me to” part.

It’s so common.

It’s too common.

It’s not even that we wouldn’t talk about it: we do. But you celebrate it. And that is not okay and that is the reason I am typing this.

Disclaimer number 5: The gender roles in this post are based off of my observations. I do acknowledge the fact that girls can be and sometimes are the toxic person in the relationship and that the lesson boys are thought is no way better (more freeing perhaps, but not right either) . It might not be specific to the straight culture either, but again, my observations were.

I was about thirteen, when I figured out I was gay and I had to learn everything on my own. How the relationships should work out, what is healthy and what is not... I had to learn on my own because the society failed to teach me anything. I am yet to decide whether that’s better or worse than teaching the wrong one.

#lgbtq #spilled thoughts #punk #music #culture #society #feminist #teenagers #relationship #toxic is toxic #toxicity #gay girls #queer #random observations #harry potter #draco malfoy

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tamakiamajikistentacles · 4 years

Text

Rhythm Section {Poly BakuJiro}

A/N: Please be sure to reblog, comment, review, and like if you enjoy! Feedback is what keeps me motivated! Again, something different that I tried but still the self-indulgent train keeps a-rollin’ choo choo ya’ll

Class A’s contribution to the culture festival in their first year had become the stuff of legend at UA. By the time the next culture festival was approaching, they were all but told that they would be putting on another concert for their second-year program. Another hit song by Jiro and great routine by Mina might’ve been even more successful than the first depending on who was asked.

Third year was the same but not as much of a surprise—A Band would be taking the stage for the final time as UA students. As expected it was spectacular, cheers and compliments raising up from the audience before them while they stood in awe at the reaction.

Well, she stood in awe at something different. She was in awe at the sight of Bakugo and Jiro, both sweaty but energized from the performance and looking amazing. Handsome, pretty, beautiful, attractive… all of the above on both accounts really. That night had been the one that made her realize that she had two crushes.

She was okay with crushing on both a guy and a girl—she’d known about that aspect of herself for a while but hadn’t shared it with anyone quite yet—but did it have to be on the two people in the class who were effortlessly cool in everything they did? It was like they were both trying to kill her at every turn.

Studying with Jiro? She’s twirling one earphone jack around her finger mindlessly and biting her lower lip as she concentrates on the material in front of her. The wide neck of her ripped tshirt slips down her shoulder slightly to reveal smooth skin that she just knows is as soft as it looks.

Training with Bakugo? The muscles in his arms are flexing as they practice traditional hand to hand and the smirk on his face is wild. When they finish and he lifts his tank top to wipe sweat from his face she can see every ridge of abs and has to move away before he lifts it higher and makes her stop breathing.

It was difficult having crushes on the two hottest people in the class and having zero chance with either. No one knew she liked girls (did Jiro even like girls?) and stepping in the way of becoming Number One seemed like a death sentence.

“This is hard,” she groaned, dropping her face into her arms at one of the common room tables.

Jiro laughed. “Music theory can be, even if you’re a musician. I only know it because of my parents.”

“Do you think the greats struggled with it too?” she asked as she raised her head to look at her. “Like was Jimmy Page as done with this as I am right now?”

“Ohh someone knows her classic rock icons,” she teased.

“He was just the first name that came to mind! I should’ve said Bonham instead.”

“What, you’re not into guitarists?”

“I mean I don’t think I’m not into them?” she replied. “I just prefer the rhythm section, that’s all.”

Jiro raised a brow. “Yeah?”

“Well yeah, they’re generally hotter. Bonham is case in point.”

“Any other data points to back that up?” she asked curiously.

“There’s a lot but think Fall Out Boy, All Time Low, Zeppelin like I mentioned…” she trailed off as she locked eyes with the girl across from her.

Was this—was this an opening? Could she even…?

“And, you know,” she finally continued, “A Band.”

A smirk took over her lips and she tapped her pen against her notebook as she looked over her, the smirk growing every passing second.

“I think Kaminari would be a little sad to hear that,” she mused.

She shrugged. “Kaminari’s not exactly who I’m trying to impress.”

Jiro dropped her pen and crossed her arms on the table, leaning forward with interest sparkling in her eyes. She was grinning and looked like someone who couldn’t believe the luck they’d had. And the fact that she’d done that to her? Incredible.

A hand landed on Jiro’s shoulder making her jump, and when she whirled around in her chair she saw an annoyed Bakugo. His scowl deepened when Jiro tried to smile at him and from across the table she could see the muscle in his jaw jump.

“We need to talk,” he ground out through clenched teeth, squeezing her shoulder in warning. Then he let go and stomped towards the hallway to the elevators.

“Uh, sorry,” Jiro said with a blush as she began gathering her things. “I shouldn’t keep him waiting and knowing him it’s gonna be awhile. Sorry to cut this short, but can I text you later?”

“Oh, yeah, totally! I hope everything goes okay with Bakugo.”

She gave a weak smile as she stood, lifting two fingers in a wave before she went towards the elevators.

Watching her go made her frown as she too began grabbing her materials to head to her room. That was quite possibly the bravest she had ever been when talking to a crush and of course it had to be interrupted. It was likely for a good reason if it was Bakugo doing the interrupting but still.

‘At least she’ll text me later,’ she thought.

With a sigh she clutched her textbook and notes to her chest and started toward the elevators. But as she neared the corner she could make out a conversation that made her pause.

“…said I was sorry!” Jiro whispered. “She’s the one who—”

“Oh sure, blame her!” Bakugo snapped in a low voice.

Were they talking about her? Were they—was this a couple’s argument? Was she getting between them by essentially telling Jiro she was trying to impress her?

Her two crushes getting together and her inadvertently driving a wedge between them was the absolute worst-case scenario she could imagine. She was ready to faint.

“She brought it up, okay? I didn’t say ‘hey, who do you think are the hottest members of our class band? It’s totally me and Bakugo, right?’, she just said it and then it got flirty! Doesn’t it at least help to know she thinks we’re attractive?”

"That’s not—I thought we agreed that we would both be cool and not lay it on so damn thick? What happened to seeing who she likes more? You just took a fifty-meter head start and now I don't even know if she likes guys!" Bakugo hissed.

“I like both.”

They had both turned to look at her, surprised at her sudden appearance and declaration. Beneath that there was something else that she couldn’t quite place—hope?

“I… I like guys and girls. I’m bi,” she said for the first time out loud. Then, with a bite to her lip, she added, “And more specifically, I like the both of you.”

“Damn,” Jiro mumbled as Bakugo looked off to the side.

She had no idea what she was doing and was internally panicking. What was she supposed to say now? Should she say anything? Yeah, yeah she should. She had to.

“I do like you both,” she repeated softly, “but I also know you two are close. Don’t… don’t make it a competition. I don’t want to choose because you’re both amazing.”

Bakugo looked up at her, his eyes calculating. “Then don’t.”

Jiro went wide-eyed but covered it as she turned to her. “Maybe we should all talk privately. This isn’t something the class needs to hear.”

She nodded, following behind them as they made their way into the elevator.

As they stepped out on the third floor she could feel something shift between the three of them. With each step down the hall it got warmer, and she wondered if she was the only one who felt it. Bakugo’s clenched jaw and Jiro’s constant glances between them both made her think that no, it wasn’t.

It was only after they were all standing in Jiro’s room that Bakugo began to speak, his voice not as harsh as it usually was.

“You don’t need to choose,” he said again. “I like you and so does she. You like me and you like her. She and I get along just fine.”

“So by not choosing you mean…?

“I mean you can have both of us. Or neither of us. If you don’t want competition it’s an all or nothing type deal.”

She looked between him and Jiro. “You two have talked about this? And you’re both okay with it being all or nothing?”

“Yeah we uh, we’re good. Not like he and I haven’t done everything already, you know?” Jiro chuckled nervously, pulling her sleeves down over her hands.

“Okay,” she replied. “Then I’m all in.”

“Oh thank fuck, I wanna kiss you so bad,” Jiro sighed, starting towards her.

Bakugo grabbed the back of her cardigan and yanked her back to his side, glaring at her when she squirmed to try and make him let go.

“Keep your fuckin’ legs closed for five minutes,” he snapped, dropping his hand from the fabric.

She bit her lip, not sure what was going to happen now that the decision had been made. Plus she was a little disappointed; she wanted to kiss Jiro too.

“Listen, we gotta get some shit straight first alright?” Bakugo said. “This ain’t exactly the norm, so if we gotta start small, we do. First thing’s first, do you want us both at the same time or are we workin’ up to that?”

That had been the shift: sexual tension. And yeah, she definitely wasn’t the only one who felt it judging by the subtle tensing of Jiro’s thighs and the not at all subtle outline in Bakugo’s pants.

“Same time is what I want. I’ve… never done it with two people before and I’ve never been with another girl but I want you. Both of you.”

He nodded. “You been tested? You on anything?”

“Work study tests us all for literally everything imaginable each month so yeah, three weeks ago and I’m good,” she said, her skin hot. “I’m on the pill but I would really prefer you use a condom too.”

“Same,” Jiro offered with a smile. “On both accounts.”

“Tested last week and I’m good too,” Bakugo said. “Hard no’s for this first time?”

“Grabbing is the only thing that happens to my ass and if anyone hits me they’re losing whatever limb made contact.”

“No problem,” he shrugged.

Jiro laughed. “I think that tonight we keep it tame, yeah?”

With a smirk on his face Bakugo stepped out of his slippers and came towards her, laying a hand on her waist before stepping around her and pressing himself against her back. “Tame as a threesome can be.”

She could feel his breath on the back of her neck and she shivered, closing her eyes for just a moment. When she opened them, Jiro was in front of her.

Smiling, she brought her hands up to cup her face and kissed her. Lips pressed against the side of her neck too and she realized that stepping around that corner on the first floor was the best decision she could’ve made. If she hadn’t she wouldn’t be enjoying the two sets of hands slowly roaming her body or the two tongues that were sliding past her lips and tracing a reddening mark on her jaw.

Her shirt was gently pushed up and bunched around her stomach as large, warm palms slid across her skin and tried pulling her slightly away from Jiro, but her grip on her hips held her steady enough to not break the kiss. The hands dragged up to cup her ribs just below her bra and Bakugo rolled his hips into her from behind, making her gasp into her kiss with Jiro.

She smiled, eyes half lidded as her fingertips brushed against her cheek. “We’re gonna make you feel so good.”

“Wanna make you two feel good too,” she murmured, feeling the bites to her neck pause.

“Y’already are, just let us have our fun,” he mumbled before pushing her top up over her head and dropping it to the side. He pulled his own shirt off quickly and let his hands roam the newly bared skin of her back.

Shakily, she reached forward to tug at the hem of Jiro’s cardigan, receiving a smile and an easy shrug to remove it. A moment later the undershirt followed and she pulled her into a kiss again as the hands at her back lightly snapped the band of her bra.

She jumped, breaking the kiss. “Bakugo!”

“Tch, pretty sure we can go for given names now, right Kyoka?”

“Katsuki’s right,” she giggled, kissing her once more.

She felt overwhelmed in the best way. She was on a first name basis with both of her crushes and was between the two of them, holding Kyoka close and kissing her with everything she had while Katsuki ground himself against her and unclipped her bra.

With more gentleness than she expected, he guided the straps down her arms and lightly tugged her arms from around Kyoka so the loosened fabric could fall to the side. Kyoka took that time to step back to undo and shed her own which allowed Katsuki to spin her around to face him for the first time. He smirked, fingers gliding up her sides until he was able to cup her chest in large palms.

She cradled his jaw and brought him forward to press her lips against his, surprised at the lack of roughness she’d expected when he kissed back. Was it testing the waters or savoring the first taste? She was willing to bet both.

Cool hands smoothed over her back and slow, careful kisses trailed down her spine. The drag of lips against the curve of her lower back made her shiver and the nudge of fingertips just below her waistband made her heart race even more. Fabric slid down her legs to leave her completely bare and she felt her face heat up, self-conscious of being the only one, until a moment later she heard the soft sound of clothing hitting the floor behind her and felt bare skin against her back.

Breaking apart from Katsuki to breathe she leaned forward to press open mouthed kisses to his collarbone, the definition like he had been chiseled from stone. Her hands fell to his hips and hooked her fingers into his sweats and underwear, tugging them down to pool at his feet. She traced over the ridges of muscle across his stomach as she continued kissing up his neck, careful not to leave marks where his costume couldn’t cover.

She felt Kyoka rest her chin on her shoulder, then a brush against her arm and a twist of muscle beneath her lips. When she glanced up she saw her kissing Katsuki, one hand on his cheek to keep him turned towards her. One hand dropped from her chest and moved behind her, knuckles at her back and a soft gasp coming from Kyoka making it obvious where it had gone.

Then the hand still on her chest slowly slid down her body before settling between her legs and the hand at her back returned to her hip. Cooler hands would around her to cup her chest, a shudder running through her at the temperature but her fingers traced down the sculped stomach in front of her.

Two fingers pressed into her as she wrapped her hand around Katsuki, a soft gasp escaping her and a low groan coming from him. Kyoka’s light laughter followed and she began pressing kisses across her shoulders, mouth free from Katsuki’s head tipping back as more groans were drawn out from the slow stokes.

She bit her lip as the fingers between her legs curled perfectly and his thumb drew firm circles on her clit.

“Good with his fingers, right?” Kyoka whispered.

She could only nod with a whimper as she felt her thighs tense. Her strokes grew faster and she rocked her hips forward slightly to chase the feeling, her back arching at the two pairs of hands treating her so well.

She whined loudly as the fingers between her legs withdrew and the solid warmth disappeared from in front of her, but she couldn’t dwell on it as she was turned around once again and pressed against Kyoka. Their lips found one another’s easily and she felt those cool hands on her cheeks, her own fingertips tracing the soft skin of the curves of her chest and stomach. Even with inexperienced nerves tingling in the back of her mind she ventured lower to the apex of pale of thighs and reveled in the pleased hum into her mouth. Knowing what she liked for herself she rubbed familiar patterns and curled her fingers just so to keep the noises flowing, swallowing them proudly as they grew louder.

“I like how you sound,” she murmured breathily as they broke apart and dark hair tickled her chest as Kyoka rested her forehead against her shoulder with a gasp.

“And I like the view,” Katsuki chuckled from behind her, the crinkling of foil lost to the low timbre.

Hands came around to cup her chest from behind once again and those lips were back on her neck, the rhythm of her fingers stuttering slightly at the sensations.

“Let… let me show you what I’m good at,” Kyoka panted, kissing her cheek before pulling back. Their eyes stayed locked as she kneeled down, her palms gently widening her stance to make room between her thighs, and it was only at the first brush of her tongue on her clit did she close her eyes.

Her fingers dropped to thread through the dark hair that was just as silky as she’d always imagined, tightening slightly as fingertips trailed closer to where her lips and tongue were working her closer to cumming faster than she could comprehend. The teeth scraping against her neck and jaw gave just the right amount of pain to combine with that pleasure and her legs started to shake from the effort of standing.

Katsuki noticed immediately, the mark he’d been working on abandoned as he ordered, “Bed, Kyoka.”

The hum of agreement between her thighs nearly sent her over the edge right then, but the promise of experiencing even more was too alluring to succumb to it so soon and she let herself be guided to the bed on weak legs by her two partners. It was a bit difficult for the three of them to lie together in the small dorm bed but they managed to arrange themselves well enough to be comfortable and continue.

She was one more kissing Kyoka as they laid on their sides facing one another and Katsuki’s chest was pressed against her back, smooth latex brushing against the back of her thigh. Familiar rough hands parted her thighs, lifting one leg slightly, and she felt him move against her to position himself before rolling his hips forward.

A soft moan escaped her as her hand trailed down the soft skin in front of her, the fullness she felt something she wanted to share at least somewhat with Kyoka. She traced her tongue along her bottom lip as she pressed two fingers into her and began to draw firm circles on her clit, her pattern hesitant and uneven as Katsuki started to move. It took a few moments for them to sink into a rhythm that suited all of them but once they did it felt like everything had fallen into place.

Deep groans vibrated against her shoulders as he mouthed more bites along her back, the sting of his teeth and the soft pinches to her nipples from Kyoka giving her more sensations than she could comprehend. She had to break the kiss to rest her head against her collarbone, panting breaths making her chest heave and muscles clench as their newfound rhythm amongst the three of them sped up.

“That’s it,” Katsuki mumbled, his fingers ghosting over her hip to find a place on her clit.

One hand left her chest and a whisper of, “Katsuki,” over her shoulder let her know exactly what happened next when he shifted higher and so did Kyoka, her chest now directly in front of her. She took advantage, curling her fingers just so and laving her tongue over her left nipple; her free hand came up to knead and pinch her right.

Katsuki dutifully swallowed her moans but the trio each silently hoped that the rest of the class were still in the common room because there was no possible way for them to hold back the gratified sounds. As their rhythm grew steadily faster and the muscles coiled even tighter the louder they were surely becoming.

It was Kyoka who came first, tossing her head back and cupping the back of her neck to keep her to her chest, her hips rocking into her hand as she rode out the pleasure with breathy moans.

“Fuck!” Katsuki grunted, his fingers adding more pressure to her clit to bring her over the edge just before he himself toppled over, the tightness around him almost unbearable with how amazing it felt as he ground his hips into hers as they came.

The three of them collapsed into one another breathing heavily and weakly clinging to each other, willing their heartbeats to slow and their pleasure to linger. Easy kisses were shared between them and fingertips traced sweat-damp skin as they laid together for a few peaceful moments.

Kyoka nudged both her and Katsuki. “We gotta clean up.”

“Yeah,” he sighed, getting to his feet and helping them both up and into Kyoka’s bathroom.

Within ten minutes they were semi-dressed and piled back in the bed with Kyoka spooning her and her head on Katsuki’s chest. Fingers tangled in hair and lips pressed to exposed skin let that bliss continue in a sweet way as they laid with one another.

She giggled, thinking back to hours before in the common room when she wasn’t sure what was going to happen in regard to her crushes yet here she was cuddled between them after what was most definitely the most pleasurable night of her life.

“Oi, the hell you laughin’ at?”

“Yeah, no secrets between boyfriends and girlfriends,” Kyoka teased.

She smiled. “Just thinking about how this morning I had crushes on the two hottest people in the class and now I’m dating them.”

“Weird how that shit works out sometimes but I can’t complain when I got the two hottest girls in the class,” Katsuki smirked.

“I’m with you, babe,” Kyoka said with a kiss to her cheek. “I’m just excited I got the drummer and the groupie.”

Damn, she was lucky.

A/N: Please be sure to reblog, comment, review, and like if you enjoy! Feedback is what keeps me motivated! So yeah I love rhythm section members irl and no I’ve never written a threesome before, why do you ask?

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film10-siningsine · 3 years

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LEARNING LOG 6

For this week’s entry, allow me to take you to the world of fantasy. Our group has chosen the animated film “A Bug’s life”.

Comedy, Action, and Drama Analysis in animated films are some of the fundamental principles of animation that underpins all types of animation, which include: 2d, 3d, computer animation, stop motion, respectively.

Synopsis and lessons

One can observe the socio-emotional learning about courage, friendship, and teamwork in this featured 1998 animated film that runs 96 minutes. Much more, the moral-ethical emphasis on caring, responsibility, respect, and trustworthiness reflects in the way humans see history or if I may, the UP learners’ circumstances and conflicts.

The story is mainly about a colony of ants fighting to free themselves from the domination of locusts while Flik, a non-conformist ant, and his differences with other ants enable him to figure out a way to help his colony and beat the locusts.

Significantly, “A Bug’s Life” teaches respect for those who differ from the group, teamwork, and of course owning up to your fallacy. And through this animated film, the socio-cultural and political realities in a certain group are truly reflected.

Share and recommend your favorite documentaries, experimental and animated films of all time

Documentary Film

Liberation: Battle of Manila

The battle for the liberation of Manila is widely regarded as one of the most tragic events of the Second World War. From the enormous American shelling of the city, that the architectural heritage was reduced to rubble, within which numerous Manileños today know to be the major reason why the Pearl of the Orient was a Manila that only existed before the battle, never again to be seen.

The transition of every scene shows the key events of the timeline from the month-long battle which includes interviews followed by a sequence of the actual battles of the allied force “the Americans” on the side with the Filipino guerrillas versus the Japanese soldiers.

The battle of Manila raged on at Rizal Hall in UP Manila, and the film shows dozens of Japanese troops sung and then committed ritual suicide during the last night of the fighting on the campus.

Original scans of historical photographs were also presented and set against contemporary counterparts, colorized and relevant to our understanding of Manila’s changing sceneries and landscape brought by the War. Apart from that, beyond the destruction of buildings and institutional landmarks, roughly hundreds of thousands of innocent children, women, and civilians were killed during the liberation of the Philippine capital which highlights the documentary outset of the fate of War.

Experimental Film

Himala (1982)

“Himala” is a film that movie-goers should look into if a viewer wishes in exploring Philippine cinema. Himala is Filipino for "miracle" and that’s exactly what the film is. The sensible direction of the late Director, Ishmael Bernal, the austere creative camera, the obsessive music, not to mention the spic genius of Nora Aunor make "Himala" a truly great film that merits re-viewing and re-discovery, especially by foreign audiences.

The film is situated to a place located in a marginal town abandoned by God, "Himala" boasts of a richly textured milieu, a real Filipino Nowhereland that awaits a miracle. And the miraculous incarnation is Elsa played by the Philippine’s premiere actress, a simple yet stubborn young girl who claims to have seen the Virgin Mary and who begins a healing crusade.

Many fascinating and intriguing characters are taken in an ideological-moral inferno, the film highlights the complex and difficult social realities that poor people face and how such realities are reflected in cultural expressions such as religion.

The Via Dolorosa ending remains one of the most captivating scenes featured in the film. A cinematic miracle, indeed.

Animated Film

Urduja

“Urduja” is a 100-minute film that showed the life and struggles of Philippine legendary princess, Urduja, regarded as a warrior princess in Pangasinan.

The film is a result of teamwork among a group of Filipino animators, who used the traditional animation process of illustration and hand drawing.

In the story, which derived from its tale and Philippine literature, Princess Urduja grew up as a warrior with the ability and willingness to defend her people from their rival tribe, the Badjaos. Urduja is the only daughter of the Tawilisi tribe’s chieftain, Datu Lakanpati.

Due to the Datu’s failing health, which gave rise to finding a man for the princess and wants her to marry Simakwel, regrettably someone she dislikes, and instead, falls in love with Limhang, a stranger who escapes from the wrath of Wang and hides in Tawilisi’s place. Limhang’s kindness and good deeds won the tribe’s trust and respect. The tribe bravely fought against the Wang.

References:

Anniversary of the Battle of Manila, on the Presidential Museum and Library

Lee, Ricardo. "Si Tatang at mga HImala ng Ating Panahon - Himala", p. 54-93. Bagong Likha Publications, Inc. (1988).

Philippine Entertainment Portal | Movies | Regine Velasquez gives voice to Princess Urduja in first-ever Filipino animation film

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romadjpianobar · 11 months

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twentiethcenturymoviesandtv · 3 years

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Star Trek: Genre and Themes

Considering the fact that Star Trek was pitched as “Wagon Train in space”, it seems almost redundant to discuss the genre of such a show.

Since the beginning, Gene Roddenberry’s show’s genre seemed pretty obvious: science fiction-western. And really, it’s hard to argue with that. Kirk’s style has been outright referred to as ‘cowboy diplomacy’ by future installations of Star Trek. The adventures and ‘exploration’ of the new territory is very reminiscent of the western television shows of the time, and the setting of outer space would seem to place it pretty firmly in the ‘science fiction’ genre as well.

But, like always, there’s a little more to it than that.

As I’ve mentioned many times before, very few pieces of media can be categorized as only one genre. Even the most seemingly obvious and one-dimensional examples have elements of other genres. No show is designed to fit into only one genre, with any individual television program carrying many characteristics of one specific genre, while sharing many elements of other genres.

And while it may be easy to look at the setting of a film or television show and use that to determine a genre (space = sci-fi, medieval = fantasy), that doesn’t mean it’s terribly accurate.

Such is the case of Star Trek.

As a matter of fact, despite Roddenberry’s initial pitch to the studios, Star Trek actually doesn’t have a whole lot in common with the westerns of the day (Besides Spectre of the Gun). Kirk’s ‘cowboy’ nature actually doesn’t come into play nearly as much as one would think. Captain Kirk’s decision making isn’t quite the same as a traditional western lead, weighing more factors than just ‘frontier justice’. For another, the setup is totally different. The Enterprise is a military exploration ship, full of people on a mission, not just of exploration, but of diplomacy. Kirk’s job is not only to defeat ‘bad guys’, but to find the best solutions for problems of other cultures.

So while Kirk’s ‘good old fisticuffs’ solutions may seem a bit more of the ‘Wild Wild West’ than later incarnations of the show would resort to, it doesn’t make it a western. In fact, Star Trek has far more in common with future versions of science fiction shows than one might think.

Star Trek, at its core, is a show about an optimistic utopia, a future where humanity has learned to straighten itself out. A future where there is no oppression, no prejudice, no poverty, but of a unified, educated, compassionate Earth, reaching out into the galaxy to explore, extending a hand of friendship. This is Kirk’s job: being the hand of friendship. Set in a distant future, a twenty-third century where Earth’s problems are solved, as such, there is no need to examine humanity’s flaws as they are.

At least, not directly.

As is done with many examples of the soft science fiction (or speculative fiction) genre, Star Trek uses its setting and set-up to examine the problems with our own society through the disguise of another. Routinely, Kirk and the gang land on a planet or meet a people that represent a part of humanity that is less than pleasant to look at. Episodes like Let That Be Your Last Battlefield take a scathing look at racism, a huge social issue in the late 1960s. Other episodes examined topics like the Vietnam war, labor, and, a science-fiction favorite, the dangers of technology.

Add this onto the ‘traveling through the stars’ plotline of Star Trek, and you’ve got yourself a pretty good argument for a solid science fiction show, with or without the western elements to it. With that said, that doesn’t mean there’s more to the show than just sci-fi.

Star Trek’s storylines typically fell into the category of action or adventure. There were gunfights (or phaserfights), fistfights, chases, daring escapes, and space-battles galore. There was typically at least one hair-raising action scene per episode (with a few exceptions, such as The Trouble with Tribbles or The Way to Eden). Even the episodes without ‘action’ per say as it would later be solidified in shows like The A-Team or Magnum P.I. turned out a decent ‘adventure’ story, with emphasis on the journey and adventure as a whole, rather than action-packed sequences that kept audiences on the edge of their seat.

Star Trek was all about the adventure, as even the opening credits will make clear. The voyage of the Enterprise is aimed at discovery and exploration. The setup of the show is, at its core, the greatest adventure: exploring the unknown. Every episode is aimed at the exploration of the human experience and curiosity. By definition, an adventure is a risky undertaking, and the exploration of deep space and discovering new civilizations and planets is nothing if not risky.

It’s pretty easy to say that Star Trek fits pretty neatly into the ‘sci-fi/adventure’ category, although it does have shades of other genres. Episodes like Shore Leave, The Trouble with Tribbles, I Mudd, and A Piece of the Action have a distinct comedic slant to them, whereas episodes like Catspaw, The Enemy Within, Wolf in the Fold, and The Man Trap have a rather sinister, horror/thriller edge. Other episodes have dabbled into courtroom dramas, tragedies, westerns, and even war, giving all three seasons a wide range of types of stories that they tell. However, one genre that Star Trek has always been the absolute master of, even more than science-fiction or adventure, has been the genre of drama.

At the heart of every Star Trek episode, no matter how cerebral or action-packed, is an overarching sense of drama. Not drama in the ‘soap opera’ sense, mind you, but drama as in real character interaction and growth. The drama in Star Trek is in McCoy and Spock’s argument in Bread and Circuses, in the death of a recently married lieutenant in Balance of Terror, in the death of Kirk’s brother in Operation: Annihilate. Star Trek’s dramatic moments are rooted in character, from Spock’s admittance and sharing of Vulcan rituals in Amok Time and his muted desperation at thinking that he’s killed his Captain in a burst of uncontrollable rage to the doomed romance between Kirk and Edith Keeler in City On the Edge of Forever. The drama in Star Trek is in people, whether human or not.

The examples of Star Trek’s use of characters, be they regular or not, is truly groundbreaking. From Spock’s mind-meld with the Horta in Devil in the Dark to Kirk’s terrifying identity crisis in The Enemy Within, Star Trek’s strength is in the people, in the personal dynamics between the characters, most notably between the main trio of Kirk, Spock, and McCoy. Even the other, more minor characters on the show received levels of characterization unheard of for the time: Sulu’s love of botany and retro weaponry, Uhura’s musical ability, Scotty’s intelligence and romantic troubles, and Chekov’s obsession with spouting totally innaccurate Russian history, possibly just to annoy the rest of the crew. Even Nurse Chapel’s flashes of snark helped her stand apart from the many nameless crew members who came and went throughout the series.

In short, Star Trek’s characters were people. Nowhere was this more evident than in Mr. Spock.

By the 1960s, most ‘alien’ characters on television were either jokes or monsters, cast as gimmicks in My Favorite Martian or as evil conquerors in shows like The Twilight Zone or The Invaders. But in Star Trek, the ‘alien’ was as ‘human’ as the rest of us, if you’ll pardon the phrase.

A Mr. Spock type character was unheard of in 1966. A half-human, half-alien, treated as a respected equal of the rest of the crew, was a completely foreign concept at the time. Spock’s development as a character, and indeed, his criticism of the human condition proved to be one of Star Trek’s best elements of its use of character and drama. Spock as a character was constantly at war with himself, torn between the outwardly emotionless Vulcan half, and his emotional, illogical human half. Spock’s internal struggle proved to be one of the most gripping elements of the show, and as his interactions with Kirk and McCoy proved, although Spock did not like to be compared to humans, in many ways, he was more ‘human’ than we are. His subtle flashes of emotion and occasional bursts of illogical behavior proved repeatedly that there was a lot more to Spock than what he tried to let on. He, along with the other members of the cast, had layers.

And Star Trek was very good at exploring those layers.

No science-fiction show would introduce characters with layers to explore if they hadn’t had every intention of making the show hang on the relationships of the characters. And the relationships of characters is the absolute core of drama.

In the end, Star Trek is a science-fiction adventure drama, a speculative look at the nature of humanity and people in general. Star Trek is a look at a better future, an improved society turned to exploration. It’s about the new frontier, about the best and worst of humanity, about friendship, adventure, and morality, full of good and memorable stories and characters. It paved the way for even more complex shows to follow, and remains one of the most thought-provoking and earnest shows of all time.

Even now, audiences remember those characters, those stories, those little moments with these people that they grew to know. They hold up, remaining just as genuine and heartfelt as they were in 1966.

And they owe that, in no small part, to those wonderful characters.

But that’s a discussion for next time.

Thank you guys so much for reading! Don’t forget that my ask box is always open for conversation, suggestions, or questions. Stay tuned for the next article, where we’ll be looking at the crew of the Enterprise and their roles in Star Trek. I hope to see you there!

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bleachandgrenadine · 4 years

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Hopeful Predictions for the ATLA Netflix Adaptation, What They Need to Get Right, and How They Can Make it Work.

[Long Post]

**I had this post in my drafts, and after the announcement that Bryke are leaving, what better time to post this? All hope is not lost, maybe this is a good sign that it won’t go off the rails with Bryke’s shitty writing ability and bad ideas.**

Before I get into it, they pretty much need to take extra care to get everything right, because the show is nearly perfect and it is so beloved. To adapt what is widely considered one of the best animated TV shows of all time into a live action series, will be no easy feat. So here’s what I think they can do to make it the best it can possibly be. Their budget is unknown, so granted they’d need a fairly high budget to make this all work. Hopefully they do because the pressure of high expectations is on them.

The episodes will have a longer run time. Likely 30-48 minutes give or take, with some of the heavier plot-advancing episodes being closer to an hour or more. Some of the more ‘filler’ or rather side adventure episodes may be a two in one type of deal, or will simply be expanded on from the original 22 minutes to 30 minutes or so. Hopefully they will do this by adding more character moments to improve upon their development, and give the episodes a more significant connection to the main plot.

It shouldn’t be a copy and paste remake. They need to have a balanced and objective view on what elements need to be the most faithful and what can be changed and improved/expanded on. For example, I think they could add a bit to certain backstories and expand on some historical elements and lore. (For the love of god though don’t take the retconning lore from book 2 of Korra.) I’m actually going to add to this and make a Part II of things I’d like to see fleshed out.

Up the maturity of the tone a *little* bit. The majority of the audience and fans watching are going to be older, so tweaking it some may be appropriate. Many of the more mature themes and action in the original had to be censored to air on Nickelodeon. Not saying make it overly serious and dark, but adjusting it with higher stakes and suspense would make sense in the live action.

Casting. Casting accordingly to the characters’ ethnicities is a given, of course. But it might be difficult find child actors of the same age as the characters with the range needed to fill the role, including martial arts and stunt work. So I’m predicting that the cast may be a little older, and they might even age up the characters as well.

Additionally, it’ll probably take more than a year to film all three seasons, so if they cast 12-16 year olds it’ll be obvious that they’ve gotten older. SO they may have to extend Aang’s deadline to master all four elements. Idk maybe the comet is two summers away. We’ll see how they handle it.

Humor. The cartoon had, well, cartoonish moments that don’t translate well into live action if you try to recreate them. In the cartoon you had bigger and exaggerated expressions/movement accompanied by music and cartoon sound effects, not all of was like that but you know what I’m talking about. I think a good way to approach the comedic moments is *kinda* like how Marvel does it in terms of timing, delivery, how other characters react to it. This is just my personal two cents.

Bending and martial arts styles. One of the problems we saw in Shyamalan’s film was exactly how NOT to do fight/bending choreography. In the show, every movement has a purpose, and the element they’re bending has an equivalent reaction. In the film we saw a lot of over the top fancy dancy movements with no equivalent reaction. This is something most action and superhero movies get right, so they better not fuck this up.

Culturally accurate costuming but keeping the color palette of the original.

Speaking of color palette, I hope the director doesn’t go for the dark and washed out look. Don’t be afraid of saturation and a bit of stylized cinematography. It’s a fantasy world! Make it pretty!

CGI and special effects are another technical thing that could make or break this show.

Leave out the fan service, pandering, and shipping bait. If you’re not going to include certain things from the original (that are inconsequential to the series) don’t try to allude to or reference it or put in a little Easter egg. It’s awkward and more often then not disrupts the flow of whatever scene it’s thrust into, like it’s almost always an afterthought to please fans.

Script/dialogue: There was a lot of great dialogue in the original. (Iroh’s quotes should not be changed too much, that’s a given) I have a feeling that the writers may try to keep it close to the original, but I am hopeful that the end result is more depth, maturity, complexity, and more organic interactions between characters.

That’s all I got for right now, look for Part 2 soon!

#avatar #atla #avatar the last airbender #atla netflix #atla live action reboot #avatar live action #atla live action #netflix #avatar netflix #bryke #bryan konietzko #michael dante dimartino

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twiststreet · 3 years

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Question part! What do you think of Urasawa? I love his works because he constructs an entire world and has fully flesged out characters who drive the action through personal motivations. He can make some missteps story wise, but his stories feel like worlds you can fully live in. Just curious what your take on him is....

I wrote a whole career survey of Naoki Urasawa back in 2004-- nothing that’d age well or was worth reading, but that was before he was licensed in the US so I was just reading scanlations off of IRC (this was just at the cusp of Bittorrent if I remember right-- like, Youtube was a year old? My failure to buy Bitcoin cheap was years ahead of me...). He’d just started Pluto I think, and 20th Century Boys was at, I think, 15-17 volumes in. I remember what I wrote being kinda lousy but if I ever collect a best of, and tune it up and put together some kinda director’s cut, I guess I’d include that in there (it’d take a lot of tuning up!)... I was always proud of being ahead of the curve on the guy, though, and he’s one of my guys, because I like his work but also just for having had that experience.

I think people in the US have a very distorted picture of Urasawa though-- partly, at his design!-- because they haven’t brought over all his work, so things like Happy or Yawara, his comedic work, hasn’t been seen. I think that’s at his request...? (I hadn’t seen Master Keaton in 2004 or that Pineapple Army one, but I don’t really rank Master Keaton high anyways-- that’s not my book for him). (The bigger problem being where the hell is Billy Bat? I didn’t scanlate that out of respect, and because back when it started, I wanted to have a shared experience of it when it came out in the US with other US fans that I didn’t get to have with his other work. But maybe I’ll cut out that respect shit later this year because boy do I ever not want to share experiences with US fans anymore-- jesus). Anyways, not that I’m saying that Happy or Yawara changes the picture considerably but that... Urasawa to me’s a mass audience entertainer, he’s like a Stephen King type guy, or a Spielberg or something, more than some artiste, and I think only seeing him in thriller-mode in the U.S. just doesn’t present the full picture of the guy, his bedrock desire to just entertain a reader in any/every way possible to him.

That and I think how Urasawa was received was badly distorted by his breakthrough in the US work being Pluto. Because it was the closest to an Ultimate-style superhero comic. And it’s a nice book, but I wish it had been 20th Century Boys instead. So many people seem to believe there’s this value in “reinventing” or “Rebooting” or whatever, I saw Pluto cited in some discussions of books that were just rebooting stupid trash, that they miss that there’s a difference: Urasawa did a reboot when he was at the peak of his career from his own work, paying homage to Tezuka, who was a peak creator-- it’s two top creators having a conversation with each other. It wasn’t just that he was in an industry that was like “well, we need ___ number of Astro Boy SKU’s” and was incapable of creating a Monster, a 20th Century Boys, a Yawara, etc., or a career that varied or full or prolific. Boring Reboot XYZ is usually missing that conversation quality...

But overall, you know: I think Monster’s a mess but an enjoyable one; I liked Happy more than other people though it’s, you know, not essential comics; I like Pluto but I don’t like it as much as other critics because I get my back up about how they rep the “wrong” Urasawa pick; I had a nice time with Sneeze (and that comic about the little girl he just did-- that one I read the first volume of on scanlations actually come to think of it), though it’s all minor, minor key stuff; and for me, I think his essential work is 20th Century Boys. The problem with 20th Century Boys, maybe the same problem to Monster (though I think Monster is easily the less interesting of the two) is it just goes on so long that its strengths get lost in the pornography of its plot, all those apocalypses, all that rushing around into and out of virtual reality flashbacks, he gets undercut by how prolific he is (which is a weird thing to say when you’re 600 chapters into One Piece but), but...

At its core, 20th Century Boys is a kind of story that I get very excited about which is the guy who has succeeded as an entertainer kind of turning back and going “I don’t know if I feel good about all the time I spent consuming this entertainment even though I love it.” I always see a continuity to the stuff I like, like Kojima or Kill Bill (I’ve been thinking a lot about Kill Bill lately on my commute), so maybe it’s all in my head. But... 20th Century Boys, as the title suggests, is very much Urasawa going “being a kid and having this pop culture, we ended up pretty screwed up, huh?” There’s even that wonderful scene where the bad guy builds his own Gundam or whatever it is, and it’s all paper mache and run down and kinda sad.

And you know, I think the story is really about, if you don’t let that stuff go, it’s going to be the end of the world... It’s not subtle! It’s very much a “maybe this shit isn’t healthy to keep in your head too long” work (and I imagine that stuff lands harder in Japan with the stuff they’ve had to work through-- they’re ahead of the curve than we are with people just checking out and going to live in fictional spaces)(we’re not headed the right way, though, and god only knows what that looks like post-COVID... no guesses there... I miss the world but when it comes back, how long before the “don’t take just sitting in a bar for granted” wears off? This was the third act of Judd Apatow’s Funny People, the massively un-entertaining portion when Sandler gets better, the part where the girl I was with just kept saying “I don’t like this” out loud over and over in a crowded theater, to I’m sure the delight of many people around us, who shared her sentiments).

But until it winds its way to finding a reconciliation, and saying, “you know, it meant something to hear that rock music in that moment, and that feeling was what mattered” at the end. (I’m talking off my ass here, I don’t really remember it 1000% clearly, that’s just how i remember that end, how it ends... I remember not LOVING the end at the time I read it, but that was one that kind of worked better as I (a) forgot it and (b) sat with it...) (That hasn’t happened with Monster though... I still don’t really love the end of Monster...).

I don’t know-- I’ve lost track of what I’m saying. Anyways: I like Urasawa. I like when he just draws talking head stuff-- seeing him do that was a *BIG DEAL* for me in 2004. That was something that’s still a big deal for me. I don’t think I knew you could do that, really, you could just make a comic of two guys talking and talking and talking, and have it be riveting, as much as when I watched him do that back then. (He moves his “camera” in such careful ways, and he’s never just doing lazy ass wide screen or repeating panels like that Mark Bagley Venom thing that went around-- it’s always a varied layout but he’ll vary the angle from 3/4ths to profiles to head on shots, and change the panel shapes to themselves reflect the emotions of what’s being said and so on and so on and so on). (He talks in his master class about making sure the gutters horizontally are smaller than the ones vertically, so the reader instinctually knows to read a row before skipping to the next row...?). I read like all of Monster while I was super-sick with a head cold and could barely move, and it was one of the best “comic experiences” of my life so (which puts it above stubbing my toe and below a sandwich I ate once from Subway)... So yeah, I feel strongly about the guy. I just think of him biographically at this point. Good? Bad? Finding out about Urasawa was part of my life.

#Worst Hobby or Worstest Hobby?

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that-shamrock-vibe · 4 years

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Movie Review: Mulan (2020, Spoilers)

Spoiler Warning: I am posting this review the week following the movie’s release on Disney+ worldwide, so if you haven’t yet seen the 2020 live-action Mulan do not read on until you have.

General Reaction:

I had a very hard time deciding what I thought about this movie. I firstly had time to wait to see the movie as I didn’t watch it on Disney+ on the Friday it was released but instead got to see it for free the following Sunday night. But in that time all the reviews were coming out and while some of them were positive, a lot of them were negative.

I guess my feelings can be categorised into three pillars just as the oath sworn by the imperial army...loyal, brave and true, the first pillar is loyalty as in my thoughts on the original animated Mulan and how this movie holds up.

I will say, had I not seen the original I would probably just like this live-action remake fine enough but because I have not only seen the original 1996 animated version but have a strong connection to that version with it being the first movie I ever saw in theatres but also one of my favoured soundtracks of all Disney movies growing up, it’s difficult as we are literally comparing new for old.

That being said, a lot of what made the original so good for me has been completely gutted in this version. No Mushu, Cri-Kee or even Little Brother. It would be so easy to simply have a Shar Pei or a Shih Tzu roaming around Mulan’s home because they already had a spider taking the place of Cri-Kee in that matchmaker scene but no...we get the horse who isn’t even called Khan in this movie because the main villain’s surname is instead Khan rather than Shan Yu like the original, and a phoenix that...despite all the exposition and my movie trivia knowledge of what a phoenix can do...simply just flies around almost like one of those box kites and acts more like a drone than an ancestral family protector.

Also the grandmother from the original, who I loved because Disney has a habit of doing these elderly cooky women traditionally for comedy but also with some heart, is omitted from this version and instead seemingly replaced with a younger sister for Mulan. Now it’s not like the grandmother was integral to the original story other than giving Cri-Kee to Mulan and without Cri-Kee there is no need for her but if you’re going to replace her replace her with something interesting...this sister does absolutely nothing.

As for the songs, Everyone knew right from the off that this wouldn’t be a musical and so all those great songs from that soundtrack that I said at the time was one of my favourite Disney soundtracks were obviously out...but the way in which the score incorporated the main song “Reflection” is something we’ve already heard in the trailers and used very well played out here, then also two of the other songs “I’ll Make a Man Out of You” and “A Girl Worth Fighting For”, while not scored are referenced as lines from the songs are spoken by the Imperial Army soldiers at times.

Then speaking of ditching characters, Shang who is the main male lead of the 1998 animated Mulan is here split into two different characters. The commander of the Imperial Army played by Donnie Yen and then a soldier recruit in said army who acts as Mulan’s love interest...I think. I get the fact that these were the two sides of Shang’s character in the original...with the addition of dealing with the murder of his father...but it would have made more sense maybe to have the commander be “Shang’s” father rather than literally having Shang A and Shang B.

But while other fan-favourites were omitted, one new addition stole the show for me and that was Gong Li as Xian Lung aka The Witch as she’s referred to throughout in this movie. I thought the addition of magic to this adaptation was an interesting take because the original stands out for not relying so heavily on the fairytale aspects. I mean yes we have a talking dragon and ghostly ancestors, who also aren’t in this movie but are referenced a lot and responsible for the box kite phoenix, but the movie didn’t need magic per-say...here it is almost like the secret sauce for how the major players thrive.

This brings me onto my second pillar, brave...as in this movie takes some big old swings in the dark to not only try and stand out from the original but also be mature. Going back to the magic angle, chi is a massive part of this movie and it seems to be that if you’re an important fighter, you have it man or woman.

The only issue with that being the 1998 animated version of Mulan, despite being Disney, was one of the more grounded Renaissance movies as it didn’t rely heavily on the fantasy angle other than the talking dragon and ancestors.

So when you flip that around and tell me that not only does Mulan effectively have superpowers but also there is a major antagonist in this movie who can not only shapeshift but perform matrix-style Wire-Fu action which she somehow teaches the Rouran army, then it loses what made the original version special in that it didn’t rely so heavily on those fantastical elements.

That being said, despite a major problem with other Disney Live-Action remakes like The Lion King being that they rely too heavily on the source material, this remake is practically a different movie to the original 1998 version.

However, while a lot of the beats of the first half of this movie, and even the second half are met such as the Matchmaker scene, joining the Imperial Army, the avalanche battle and the Emperor being captured, the true emotional moments of the animated movie are completely gone.

That incredibly powerful scene after Mulan and her father argue and she is next seen crying at the Great Stone Dragon statue while watching her ailing father before deciding she must take his place and cuts her hair, disguises herself and leaves home in the middle of the night in the rain...here replaced with Mulan wielding her father’s sword, next she’s in the armor, then she’s travelling to the army camp...no powerful music, no visible emotion at how she comes to the resolve of leaving her family, nothing.

Even though there are no songs sung in this movie, the scene “Reflection” is originally sung in makes the song one of my favourite Disney Princess songs because of the fact it lyrically and visibly shows Mulan’s inner torment at being the outsider within her family and longing to be able to truly express herself. Here you have any resemblance of that scene taken out and instead go straight from the Matchmaker scene to the Imperial Army drafting scene.

As for the comedy, I understand the original animated version was more of a comedy-action movie as opposed to this one which is action-drama, but I don’t think I laughed once while watching this movie.

Yes, the original had Eddie Murphy as Mushu and that’s taken out here, but it also had the likeable funny trio of soldiers in the army. Here there are 5 of them, Shang-lite included, Yao and Chien-Po I think try to be despite not spending enough time on any of them to know who is who. There’s this newish character called Cricket who is supposed to be the substitute for Cri-Kee...but is a recruit in the Imperial Army instead of an insect and I had to look up to make sure it wasn’t Ned from the Spider-Man movies because they look so similar and try to force comedy despite not being particularly funny. Even the river shower scene from the original which was rather funny due to Mulan trying to hide the fact she’s a woman from the three guys, here it’s just Mulan and Shang-lite (Chen Honghui) and is played off more as some weird and awkward romance scene.

It is truly brave of Disney to try and appeal more to China than to Western audiences who loved the original movie and the comedy etc and this brings me on to the third pillar which is True, as in Disney trying to be true to China, it’s culture and respecting Mulan as a legend of China rather than a Disney Princess.

That being said, we definitely got more Chinese culture in this version than the original. Obviously you see a lot of China in the animated movie as the Imperial Army moves around a lot like they do here, but it’s never quite as cinematic as it is here. The 2020 live-action Mulan demands the attention of the big screen because for me watching it on my laptop, you can tell a lot of the establishing shots and landscape scenes were intended to be viewed on the silver screen.

Particularly the shots of people running up and down that vast staircase leading up to the Emperor’s palace, just imagining that in theatres impresses me.

Even shots like when you see wide views with either the phoenix or the witch in bird form soaring across the sky, you can tell it was meant to be viewed first on the big screen just to get that feeling of wonder because on a smaller screen it isn’t that impressive.

However, on the subject of “True” I do not understand how in-keeping with the original Chinese legend involved Chi being utilized as some sort of superpower equivelent to Avatar: The Last Airbender whereas in the original animated Disney version, which should really be the one emphasising the fantasy element, you’re either a good fighter or, in Mulan’s case for that movie, you’re not and have to train.

I understand how legends and mythologies can include fantastical elements because that’s what makes them as such, but if Disney want to tell me that in this movie Mulan is practically Wonder Woman because that’s how she is said to be in the legend then where the hell was that in the 1998 animated version because that Mulan is classed officially as a Disney Princess despite not being royalty or marrying royalty and having this type of power would at least qualify her to stand alongside the likes of Pocahontas and Moana.

Getting off the rant and moving to a compliment for a moment, I did appreciate the movie staying true to Chinese fashion because that really puzzled me about the original movie, how every man, woman and child effectively looked like they were wearing the same robes just in a different colour with maybe some different styling depending on if they were royalty or officials in some way.

But here, the Emperor definitely looked regal, the Witch looked regal but in that nomadic styling which was true to her character, and even though all the soldiers were wearing the same uniform, they all had something different enough about it.

Characters:

Alright so I’ve gone on enough generally, now I’m going to be more specific in terms of character, but because most of these characters aren’t fleshed out enough to warrant their own section, I’m listing who I feel are my three stand-out characters and then grouping the rest.

Mulan:

Obviously the movie is about Mulan so I have to start with her, and despite all the negative stuff which to be perfectly honest with you doesn’t overly concern me in regards to how Yifei Liu has been so adamantly in support of the Hong Kong Police drama, I’m judging her solely on how she plays the character here.

She was okay.

I mean this in the best way possible but, in a similar way to last year’s The Lion King remake, Yifei Liu was practically stone-faced the entirety of this movie. Good things happened, no expression, bad things happened, no expression, sad things happened, no expression. Especially when she was pretending to be a guy in the army camp it felt like her acting choice was “If Mulan was to show expression, it may give the game up”, it was just so rigid it made it hard to like her.

Speaking of her “undercover guise”, I know the original movie was animated and therefore the animators can get away with slightly altering the look of the character to make it believable and voices can even be changed as evidenced here with Jet Li...but I did not believe for a single second that Mulan could actually pass as a guy looking like how she looked. She didn’t cut her hair, her clothes weren’t particularly masculine, barely changed her voice and aside from having that leather brace/corsit to hide her chest there was no evidence as to how an entire army camp could not tell the second they saw her...maybe with the exception of Chen but I’ll get to that when I get to him.

Also, I touched on the Chi power thing beforehand, why was she was born with it? Why was it so powerful in her from an early age? None of this was explained, they hammered home the dangers of her having such strong Chi and that was also personified beautifully with Xian Lang aka The Witch as a kind of Ghost of Christmas Future visage, but the reason the original animated version worked so well was because she was flawed, clumsy and awkward yet also caring, strong-willed and outspoken. Really all they did here was take away all of those qualities that made her...you know...human and added the Chi power thing from the start so she didn’t have to learn to fight, she didn’t have to make this massive sacrifice as you know she’s probably going to prevail and again it made her unlikeable because there was no growth or real character development.

All except for the very end when the Emperor offers her a position on the royal guard rather than as an adviser like he does originally, and she rejects it here like she did then as well...but then she is asked again maybe two days later and we don’t get an answer but she probably says yes.

It’s quite clear they’re trying to tee up a sequel by the end of this movie, but there is so much negativity both to the movie and specifically the leading actress that I really don’t see this happening.

If a sequel was to happen it would most likely be Mulan’s struggles with being a female member in the emperor’s guard or even leading the team, but we saw her do that for the second half of this movie.

Literally the halfway point in this movie after a confrontation with Xian Lang, when Mulan’s father narrates how Mulan’s lie died but she herself lived and so she then decided to appear in front of the Imperial Army as a woman despite the obvious consequences I found stupid.

In the original it’s a mistake that she’s found out, it’s towards the end of the movie and she has to fight just for acceptance. Here she pretty much states the obvious in what she knows the villains are doing, suddenly she’s leading the fecking army...despite being told that if she shows her face again she will die...no death but just a promotion.

Finally while talking about Mulan, I can’t really not talk about that fantastic Ming-Na Wen cameo at the end of the movie. It was so great, I had heard prior to seeing the movie that she was going to be in it and so my eyes were peeled throughout the movie.

I love Ming-Na Wen and I do think she is one of very few to hit a Disney trifecta with being a Disney Princess, an MCU hero of sorts and a Star Wars character, though having recently finally seen The Mandalorian I have to say her part was exaggerated a bit considering the one episode she’s in.

It never dawned on me until it was brought up that I even needed Ming-Na to appear in this movie but having seen her I have to say I would be disappointed if she didn;t. Originally I would have suggested she maybe play Mulan’s mother as a type of passing on the torch, but the very fact that her one line and duty in the movie is to introduce Mulan to the emperor it does seem to have the same effect.

Xian Lang:

As I say, the Witch was my favourite character in this movie. Everything about her from when I first saw her in the trailers just worked for me. Her look was stunning, Gong-Li’s acting was on point, her story despite being a secondary antagonist based on the villain’s pet bird from the original movie was very compelling. The parallels between Mulan and Xian Lang were fascinating to see particularly with Xian Lang being a potential future cautionary tale for Mulan.

The first major scene when we see her use her powers was my favourite scene in the movie. I love a great power-set piece and we got to see a lot of the different fascets of Xian Lang’s power. From that gorgeous blend of coloured powders to act as a smokescreen for her shapeshifting, the weapon manifestation, using her sleeves as whips. It all worked so well and Mulan wasn’t even in the scene.

That being said, my next favourite scene is that confrontation between her and Mulan where Xian Lang is trying to get Mulan to admit who she is but she’s insistent on stating she’s her male name, so Xian Lang says “then you will die a lie” and knocks her into a rock which Mulan’s father then narrates “Mulan’s lie did die but Mulan lived”, it’s such powerful stuff and I wish the rest of the movie was as clever as that.

The Emperor:

The only other character I can really single out is Jet Li’s Emperor of China. I’m not a massive Jet Li fan, but I have seen him in a couple other movies and to my knowledge always in non-English speaking roles. However, I have also seen him in interviews so know the voice he has...this wasn’t it.

It was really distracting all the way through this movie because he looked regal, everything around him looked regal and powerful, but then he spoke and I was sat there pondering “Why is that not his voice?”. I mean I know how Hollywood likes to dub voices if the actors they hire don’t fit the roles vocally but do physically, but doing this not only to Jet Li who is one of the more famous Asian actors in Hollywood but any Asian actor in an entirely Asian cast does seem like a huge step backwards in representation particularly after Aladdin.

It reminded me a lot of Ray Park who is one of my favourite underrated actors. In some roles you see him and hear his voice like Toad in the first X-Men movie, however famously you only see him physically as Darth Maul in the Star Wars movies but have his voice dubbed by other actors.

All that aside, the actual character was a lot more fleshed out than in the original movie. I mean all you really need to know about him is that he’s the Emperor of China but here, because he’s Jet Li apparently in body only, he also has some kick-ass martial arts scenes.

Although, similar to the TV series Arrow, I do not understand how magic allows people to catch arrows fired at them, yet somehow Jet Li does and to be fair redirects it in a rather bad-ass way with Mulan doing a flip kick sending it straight into the chest of the main villain guy.

Hua Family:

As for Mulan’s family, I thought they were okay. Again I got more emotional from the original movie and I did miss the grandmother this time around and do not understand how the younger sister was a worthy substitute, but the actual parents were at least acted well.

It was great seeing Constance Wu in a dramatic role after seeing her in Freaky Friday, Tzi Ma was a surprisingly central role this time around as Mulan’s father with a lot more drama put on his character, in the original version you know Fa Zhou is injured from war so when he’s drafted again you can guess he may not survive. Here, Constance Wu states “Be brave for he won’t return this time”.

Imperial Army:

I didn’t like any of these guys, we spend little time getting to know any of them as individuals, maybe with the exception of Donnie Yen’s general character. Having said that, Chen either had to know that Mulan was a girl or simply be attracted to Mulan as a boy. But there were so many looks and so many times where you could tell that he knew but maybe wanted to protect her so didn’t let on.

Rourans:

I didn’t like the Huns in the original movie but at least they had individuality about them, the Rourans had nothing. Jason Scott Lee was obviously the Shan Yu of this movie but he did not have the intimidation factor that he had and really didn’t have a lot else to him.

The one plus about the Rourans is they seemed to take lessons from the Dothraki in Game of Thrones in how to not only ride into battle but battle while riding. It was very cool visually.

Recommendation:

By the time this review posts if you haven’t seen the movie yet you may not be inclined to and I don’t know if this review is really a promotion for it, but when someone asked me for my recommendation I did say it’s worth at least one viewing.

However, I would not pay the excess fee for it. I watched it for free and I feel $30 or however much it is here in the U.K. would feel a bit of a rip off despite the fact Disney+ allows for multiple users and so multiple viewings.

Overall I rate the movie a 6/10, it’s visually gorgeous, Gong-Li is the best thing about the movie and it is interesting to see what is different between versions. I just wouldn’t rank it up there as one of the best Disney Live-Action remakes, too much doesn’t make sense.

So that’s my review of Disney’s Live-Action Mulan, what did you guys think? Post your comments and check out more Disney Movie Reviews as well as other Movie Reviews and posts.

#disney #disney live-action #mulan #mulan 2020 #gong li #liu yifei #jet li #xian lang #li shang #mushu #shan yu

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socialyawkdude · 5 years

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A intro to manga, anime and light novels

Hello again, long and first time readers..

Its time for the long-awaited manga review section. Now before we get into the nitty gritty there a few things we need to cover first. Seeing that I will be coving light novels, mangas, and anime there are a few terms that we need to go over. Most of these terms will be covering the different genres and subgenres. Seeing that not everyone is literate in this word, it may be a good idea to cover this before we get into the good stuff.

What I'm about to go over are the genres of light novels, manga, and anime. Like many television shows and movies; manga and anime are broken up into different genres. Many of these are pretty self-explanatory, while others are more unique, as you are about to find out. I have included a few examples with of the sub-genres. I'm no expert, as I’m learning along with a few of you. Some of the examples I've given are some that I've read or heard of.

List of Major Anime/Manga Genres

Action

Adventure

Comedy

Drama

Slice of Life

Fantasy

Magic

Supernatural

Horror

Mystery

Psychological

Romance

Sci-Fi

Looking at this list you can see many familiar genres of movies and TV, that you may watch. I won't go into a detailed description of these, because everyone should know these. Now for the sub-genres, it's a bit of a different story. Many of these are unique to anime and manga. It is these that I will give a little description along with a popular anime or manga.

List of Anime Subgenres

Cyberpunk= This type of anime is a subgenre of sci-fi. It usually displays a future where society has become more ingrained with technology at the expense of social order. The setting is typically a dystopian future where the technology may be doing more harm than good.

Game= The game category encompasses shows revolving around the idea of gaming and playing. The anime can feature a card game, board game, puzzle game, or even a virtual online game. As long as it concerns any playable game of any kind, it belongs in this category. Sometimes, even video game-based shows can count in this selection.

Ecchi= The word ecchi comes from the sound of H in the word hentai, which in turn means pervert in Japanese. This sub-genre is generally accepted as being full of sexually provocative scenes (mild enough to be viewed by the general audience) and scenarios derived from innuendos and humorous situations. It’s a fact that ecchi shows are taking an upswing nowadays as more and more titles are produced every season. More often than not, ecchi is paired up with comedy as both genres compliment each other well. This, in turn, serves as a buffer that prevents the shows from crossing the line and delving into something less appropriate for general audiences.

Demons= Originally just an infrequent theme, the rise of demonic characters and themes have given rise to this sub-genre. The term demon does not only encompass literal demon characters. It also extends to other entities such as monsters, beasts, ghosts, and other demon-type figures. The demons present can come from biblical backgrounds or come from Japanese culture. Believe it or not, this category doesn’t just come hand-in-hand with the horror genre; it surprisingly blends well with other genres as well.

Harem= If you see a reluctant male character surrounded by multiple female characters who all adore him, then you’re probably watching an anime of the harem sub-genre. This type of show typically features more than two female characters go head-over-heels for a single male character. Anime in this category is typically within the comedy and romance genre. It's possible that a harem anime can have no romance and feature mostly slapstick comedy.

Josei= Josei is actually a demographic but is also considered a general category in anime. It specifically targets female viewers around the age range of 18-40. These shows depict life and romance in a more mature light, usually with more grounded realism and less idealistic fantasies. The sub-genre is fairly wide and doesn't necessarily have to focus on romance. It merely needs a narrative that caters to the mature woman. Josei originated from manga during the 80′s. Girls who grew up reading shoujo stories from previous decades wanted stories for adults.

Martial Arts= Martial arts play a big role in every anime that has fighting/battles in it. Whether it's hand-to-hand combat, swordplay, gun fighting, or armed combat, there’s some kind of martial art element that plays through them. But did you know that there are shows that are primarily focused on martial arts itself and their battle techniques? There’s a lot of them, and they mainly involve hand-to-hand combat and technician battles.

Kids= A lot of people say that anime is just for kids, but that’s not really true. As a matter of fact, there are only a few numbers of anime that are precisely catered towards children. These shows are contained within the kids' sub-genre. These shows are mild, light, and insightful, which makes them perfect for children 12 and under.

Historical= As the name suggests, historical anime revolves around events in history and moments of antiquity. Shows of this sub-genre are typically set in Ancient Japan and the feudal period. Other settings such as the Middle Ages and medieval period of Europe exist but they’re much more rare in anime. As long as the time or setting (or even elements) are old and ancient, then the series can be considered a historical anime.

Hentai= Hentai literally translates to "pervert" in Japanese. This is the R-18 (mature) domain of the anime world. This sub-genre commonly depicts nudity and highly explicit content. Unlike ecchi, the focus here is on explicit sexual content rather than on storytelling and narrative progression. That is why the shows in this category are usually brief and lacking in substance.

Isekai= Isekai translates to "another world." This sub-genre typically has a narrative where a protagonist somehow gets transported to a different world. The new world is more often than not in a fantasy setting, occasionally with traits pulled from JRPG games.

This category of anime exploded during the 2010′s and arguably dominated the decade. A good portion of isekai anime is adapted not from the manga but rather from light novels. The most popular series in this sub-genre maybe Sword Art Online. While the world featured there was just virtual reality, it did feature a fantasy setting that would be mimicked in other anime.

Military= As the name implies, this sub-genre involves the military in one way or another. War may also be a huge part of military anime. One thing to note about this category is that it is often coupled with the mecha and action genre.

Mecha= Mecha stands for mechanical (as in mechanical units or robots). You’ll never see a mecha anime without a robot or mechanical suit in it. That’s the most important element of it. And while this sub-genre is rising in fame as the days go by, it almost always uses a standard formula to carry the plot. As a general trend, mecha is often seen alongside the military, sci-fi, and action genre.

This may very well be the most iconic anime sub-genre as there is a multitude of memorable shows in this category. The mecha can be considered to be one of Japan's most popular exports. Some of the earlier iconic titles from the late 70s and 80′s include Mobile Suit Gundam, Mazinger Z, and Super Dimension Fortress Macross. Neon Genesis Evangelion is considered to be an iconic and dark deconstruction of the genre as it examined the psyche of young pilots. GurrenLagann was a massive hit that brought the genre back to its hot-blooded and idealistic roots. With a rabid fan-base that loves mecha designs, this genre is one that has been consistently popular over the years.

Music= Anime shows in the music sub-genre aren’t that popular nowadays, but they do exist and they are very timely. These shows typically focus on singing, dancing, or playing musical instruments. These usually fit within the larger categories of comedy and drama.

Parody= A parody anime is one where countless numbers of other anime references are showcased throughout the plot. It might be a popular running gag, a famous symbol, a character reference, or any other attempt at bringing another show into its domain. One anime worthy to note is Gintama. They often use similar elements from other anime to showcase in their own show.

Police= The police sub-genre emphasizes the life and struggles of law enforcement in their line of duty. Police-based characters have shown up in numerous shows and there are now anime that could be considered as police procedural. This genre isn't exclusive to police officers; detectives, investigators, and enforcers of any type are included as well.

Post-Apocalyptic= Post-apocalyptic anime basically show that is set in a world that is in a dystopian state. This could mean the world is destroyed and/or humans are nearly extinct. Post-apocalyptic settings were merely a theme in the past, but an influx of titles bearing this backdrop over the years have made it become a sub-genre on its own. This type of anime has become more and more popular by the day.

Reverse Harem= A reverse harem anime is typically a harem series where the gender roles are switched around. There is one female character surrounded by multiple male characters who are all potential love interests. Like the traditional harem genre, anime of this variety is usually within the comedy and romance genre.

School= There are countless anime that use the school as a setting. An anime can be considered a part of the school sub-genre if a school is the primary setting and the anime deals mostly with school and student life. This type of anime is usually seen within the comedy genre, though there are some entries in drama as well.

Seinen= Seinen is actually a demographic but is also considered to be a category in anime. It’s a sub-genre that specifically targets male viewers around the age range of 18-40. The shows here are depicted in a more mature light and often include more explicit content such as gore, sex, and violence. More cerebral narratives are present as well.

Shoujo= Shoujo refers to the demographic of young girls. This sub-genre specifically targets female viewers around the age range of 10-18. Most of the time, shoujo anime works hand-in-hand with the romance and comedy genre, particularly with the former. The protagonist is traditionally female and the narrative focuses on romance as well as personal growth. The world in these shows is often very idealized.

Shoujo-ai= Shoujo-ai literally translates to "girls love." The typically young female characters in shojou-ai anime show love and affection for each other. The romance is usually milder in comparison to the more explicit yuri genre. Shows in this category portray blooming feelings of love and romance rather than intimate relationships.

Shounen= Shounen refers to the demographic that this type of anime targets, which is male viewers around the age range of 10-18. These shows are usually a combination of action and adventure and are typically adapted from serial manga series. As such, these anime tend to have lengthy runs. One Piece currently has over 800 episodes and is still running. These shows are typically the most popular with mainstream audiences. They have done very well when exported to foreign markets thanks to their relatively simple plots and focus on action.

Shounen-ai= Shounen-ai literally translates to "boys love." The male characters (typically younger boys) in these shows display tender affection for each other. The romance in shounen-ai is generally milder when compared to the more explicit yaoi genre. There is usually more focus on developing romance than actual relationships.

Space= The setting of space has always been massively popular. With so much anime taking place there, it has become a sub-genre in itself. Any anime set in the cosmos can be labeled in this category. Space anime is often within the larger mecha and sci-fi genre.

Sports= Pretty much self-explanatory, sports anime are shows that cover characters engaging in athletic competition. Popular choices in this category include basketball, tennis, baseball, and soccer. Other sports exist as well (including those that you wouldn’t expect showing up in anime). As time goes on, more and more of these series are produced. Just like real sports, shows in this sub-genre are action-packed!

Super Power= You know you're watching a superpower anime if you're seeing an array of explosive superpowers scrambling right on the screen. If you see bursts of energy balls, death-defying attacks, and opposing forces battling it out throughout the story, then that means you're probably witnessing a show in this sub-genre. These shows generally fit in the action category.

Tragedy= As the name implies, the tragedy sub-genre revolves around tragic events or phenomenon where the characters are deeply involved and affected. Tragedy comes in diverse varieties such as disasters, accidents, misfortunes, and deaths. These shows are often very dramatic and can pull the heartstrings of audiences.

Vampire= As vampires have become so popular throughout the world, it’s no shock that they’ve also infested the world of anime. There are lots of titles now featuring vampires and they’re not just exclusive to the horror category. They’ve also manifested themselves into other categories such as comedy, romance, and drama.

Yuri= Yuri is essentially the more mature and explicit version of shojou-ai. The female characters are typically older and the series examines their more mature relationships.

Yaoi= Yaoi is the much more sexually explicit counterpart of shounen-ai. This sub-genre covers male-to-male relationships (typically older boys) in a more mature light. There is more emphasis on serious relationships and intimacy.

Well, there you go… a not so short overview of the genre and sub-genres of anime, manga, and light novels. Hopefully, this will help newcomers to this wonderful of books and tv. It is now time to reveal the first series in the socallyawkdude’s manga review….. Tales of Wedding Rings by Maybe. The volume 1 review should be up soon, as i’m finishing up the art work for the post.

Till then this is your friendly neighborhood sociallyawkdude signing off.

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musesthroughtheages · 4 years

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[Because I’m the only person in the world who cares this much about Pasco Acalon, and because I’m sure that no one knows what I mean when I say “dance magic” repeatedly, here’s a primer:

Magic in Emelan There are two types of magic in the Emelan/Circle of Magic series: academic and ambient. Academic magic is what most people would think of as traditional fantasy magic. It comes from an internal source, easily identified by mage seekers at an early age, and anyone with the gift can train at any mage school and learn a vast variety of uses for it. It’s well-known and easily quantifiable.

Ambient magic, on the other hand, is a little trickier. In the world of Emelan, it’s rarer and less well-known, and it’s much harder to identify, because the source of the magic is external, and traditional mage-seeking tactics won’t find anything. Ambient magic is power that comes from interaction with a craft, skill, or outside force--examples in the series include but are not limited to: thread/cloth/fiber arts, gardening/plants, metalsmithing, weather/seismic activity, cooking, woodwork, stonework, glasswork, and dancing. Ambient mages are no less powerful than academic mages, but because their power is tied to one specific thing, they are harder to find and even harder to teach. They cannot use magic except through their craft, though the limits thereof may surprise people. Once they are trained, though, they are both exceptional craftworkers and mages with unfathomable potential in their arts.

Dance Magic Pasco is the only known dance mage in the country of Emelan, and this rarity is remarked upon in the book. According to one of the senior members of the Winding Circle Temple, there is magic worked through dancing among the Qidao and Ugurulz people, both of which are far from Emelan, but these examples are described as academic magic--it’s internal and can be worked in several ways, dance being traditional in their culture. Absent a fellow ambient dance mage, Pasco requires both a magic teacher, to teach him the basics of controlling power, and a dance teacher, to give him the tools to use that power at all.

Just as a thread mage works her power by spinning, weaving, or stitching, a dance mage works their power through steps, movement, and rhythm. Pasco’s body is his mage kit--the physical actions he takes enact the magic he creates.

Powers I’m going to use specific examples from the book to demonstrate what the scope of his abilities are here, so I’m not pulling this out of my ass:

-Pasco has perfect body memory, as remarked upon by his dance teacher. He can remember a dance after only seeing it done once, and with a small amount of practice, he can hit an exact mark on a surface every time.

-Pasco can affect how others perceive him. In one example, he essentially makes himself invisible with a single dance movement. The motion is intended to redirect the viewer’s gaze, and by using it, Pasco made it so anyone looking his way would simply slide their gaze away, without seeing him. I’m extrapolating from this example that he could also direct attention to himself with little effort, as well as affect how he’s seen (alluring, fearsome, handsome, tragic, etc)

-Pasco can affect a wide range of targets. The first example is of him dancing luck into a fishing net, and attracting hundreds of fish to an entire fleet. Someone comments, however, that if he hadn’t focused on the dance’s intent, and instead thought of pretty girls, “he could have called all the girls of Summersea to him, whether they wished to be called or not.” Later in the book, he dances attraction into a net again, this time targeting specific criminals to be caught. His “audience” does not need to see the dance for them to be affected, but he does need to keep his goal in mind at all times.

-Pasco can affect people both emotionally and physically, regardless of their desires or natural laws. The thieves he caught in with his net dance most certainly did not want to be caught, but were compelled to come to where the net was. Likewise, when he lifted his cousins three feet into the air, they stayed at that elevation for hours until the magic was dispelled, and could not be pushed or pulled in any direction.

-as stated before, Pasco’s body is his mage kit. He doesn’t need anything else to enact magic, but his power can be enhanced by the use of existing patterns (a repeated dance, or a dance worked in a grid/pattern like the net), or additions like music or costuming, as is true of any dancer, magic or not.

Limitations I think it’s very plain that while it’s helpful that he doesn’t need any tools besides his physical body, Pasco needs to be able to move in order to do magic. If he’s restrained, he’s screwed.

His very power level, however, also limits him. He needs to be extremely careful when he dances so that his “audience” is not harmed. The hypothetical situation where he calls all the girls in the region to him is very very possible, and I think it’s clear that it would be very very bad. To put it bluntly, that’s some Pied Piper shit, and he takes that responsibility very seriously. He needs control when he dances, both in his focus and in his environment, so barriers/wards are used to keep his power from leaking out where it’s not wanted, and distractions are limited as much as possible.

Additionally, there’s a danger to him in the use of patterns. Any mage can get caught up in repeating a pattern over and over again until they’ve drained themselves without realizing what they’ve done, and a dance mage is no exception. Pasco could easily get caught for too long in a dance and not be able to stop himself until his body and his power entirely give out.

In Conclusion Dance magic is both weirdly specific and disturbingly powerful and I am obsessed with the idea of it and this minor character in a minor series.]

#ooc #(dance magic dance)#c: pasco

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