#it’s like another new style of the genre distinct from the last which is itself distinct from the original | Explore Tumblr Posts and Blogs

mothpawbs · 1 year

Text

here's the rough draft of the mcr vs lord huron compare/contrast essay i'm doing for a college class bc i can't be stopped

it's under the read more, also i'm tagging the people who said in the tags of my last post about this that they'd like to read it, thanks for encouraging my chaos. enjoy :)

There are many bands and musicians in the world. Because of this, there is bound to be some overlap and similarities between artists eventually. But while this is usually confined to artists of similar genres, occasionally there will be two bands from completely different scenes who are remarkably similar. My Chemical Romance and Lord Huron are two such bands. Quite popular within their own circles, but scarcely heard of beyond pop culture references outside of their fanbases, both have somehow filled the same oddly specific musical and cultural niche while never once interacting.

One similarity they share is their origins, specifically of their respective founders. My Chemical Romance was founded in 2001 by New Jersey native Gerard Way, and Lord Huron was founded nine years later in 2010 by the Michigan-born Ben Schneider. Both dabbled in music from a young age, and eventually moved on to be educated as visual artists, something both would use later in the creation of album art and supplemental media for their music. Eventually, both ended up following their dreams of creating bands, with Way creating My Chemical Romance in response to witnessing the 9/11 attacks and Schneider forming Lord Huron simply because it was something he felt he needed to do.

A major difference between the two is their genre of choice. My Chemical Romance is a star of the alternative rock scene, with their heavy instrumentals and dramatic vocals, and has a sound and aesthetic inspired by the works of bands such as Queen, Misfits, Black Flags, The Smiths, and Ramones (La Bella, 2008). Lord Huron brightly contrasts that, with their classic indie folk twang and layered acoustics influenced by the likes of Bob Dylan, Leonard Cohen, and Kate Bush (Orlando, 2022). The closest they ever come in music style is Lord Huron’s third studio album Vide Noir, a vivid departure from their previous folk sound for a heavier, distinctively eerie and distorted garage rock vibe.

Likely the most striking similarity for their fans, both bands are well-known for their extensively narrative-driven concept albums, something which by itself could warrant its own essay. Both bands use their music to tell stories, with each having a surface-level meaning along with a deeper purpose within the overarching plot of an album, as opaque and those plots can sometimes be. My Chemical Romance tells fairly explicit tales, with the doomed murderous duo in I Brought You My Bullets, You Brought Me Your Love, the revenge-fueled mission to save a lost lover (likely the same from Bullets) in Three Cheers For Sweet Revenge, a cancer patient’s life, death, and subsequent trip to Hell in The Black Parade, and the Killjoys’ resistance against Better Living Industries in Danger Days: The True Lives Of The Fabulous Killjoys. Lord Huron, while having equally rich narratives, are much more vague with their storytelling. Lonesome Dreams tells of a man wandering the world alone, Strange Trails starts with a fast-paced and jaunty gang tale before diving into supernatural themes bordering on cryptid horror, Vide Noir is a bleak and psychotic search for a lost love influenced by drugs and cosmic horrors, and Long Lost seems to be the songs of radio ghosts who maybe don’t quite realize they’re ghosts. Both artists also have companion material for at least one album each, with the story of Danger Days continued through Way’s comic series Killjoys, and Lord Huron recently revealing the full story of Vide Noir with a feature-length film by the same name. Fans of both artists revel in analyzing every video, lyric, and promo piece for details on these stories, and it is the double meanings in their songs that keep many fans coming back for more.

Speaking of these double meanings, another major similarity the bands show is the themes often used in their songs. While their approaches may differ, both bands have one overarching theme that permeates most of their songs: death. My Chemical Romance approaches death from several angles: as a terrifying thing to fight against, and as something to ultimately be embraced. The best example of this is the narrative of The Black Parade, with almost the entire album beingdedicated to the experience and processing of death by the main character, known as the Patient. This is most apparent in the songs The End, Dead!, Cancer, and Famous Last Words. Lord Huron approaches this topic in a similar fashion, with death, as well as one’s memory fading and disappearing, cast as a somber inevitability. This is something the POV of a song is either avoiding (The Man Who Lives Forever, The Yawning Grave, Ancient Names (Parts I and II), and Not Dead Yet) or actively accepting and/or anticipating (The Ghost On The Shore, The Birds Are Singing At Night, Until The Night Turns, Way Out There, Wait By The River, and What Do It Mean). Schneider also adds a third angle, the horror of dying and coming back. This is explored most in the albums Strange Trails and Vide Noir, with songs like The World Ender, Meet Me In The Woods, The Balancer’s Eye, and Back From The Edge detailing what might happen if one dies and returns, for reasons of revenge, rejection by the powers that be, or maybe no reason at all. Another facet of death that both bands explore is death or disappearance of a loved one, with songs like My Chemical Romance’s Helena, The Ghost Of You, and Welcome To The Black Parade, and Lord Huron’s In The Wind, The Night We Met, and Drops In The Lake. In total, both bands have the topic of death covered on almost all fronts possible.

Despite the differences in their genres, influences, presences, and even statuses (with Lord Huron currently still a band and My Chemical Romance only becoming active again recently after an almost ten-year breakup), these two groups share a truly remarkable number of similarities in both their origins and approaches to writing songs and albums. Both explore similar topics, albeit in different ways, and use their chosen medium to process similar themes and bring their stories to audiences that can resonate with them. There is a non-negligible overlap of people who would consider themselves fans of both bands, which, though surprising at first, becomes less shocking when these similarities are weighed against their differences.

@mynervoussystemdoes @smugglerofsass @thatmivy

#moth mumbles #music #my chemical romance #mcr #lord huron #essay #like seriously this thing is easily the longest thing i've ever written for a class #kinda baffling tbh #also sorry for it being so goddamn wordy i'm just very long-winded #now if you'll excuse me i'm going to sleep i wrote this entire thing in about an hour and a half

5 notes · View notes

grandps5games · 2 years

Text

Ghostbusters Spirits Unleashed - The best to play this year

A first-person shooter is one sub-genre of shooter video games centered on guns as well as other weapon-based combat in a first-person perspective, aided by the user enjoying the action over the eyes of the protagonist, and managing the user character in a 3-D space. An FPS typically displays the protagonist's hands in the lower part of the actual display, carrying whatever gun is truthfully ready. The player is expected to move his avatar around the recreation by walking it forward, backward, and sideways such as making use of the game's game controller. Forward movements of the entire controller lead to the avatar moving ahead through the scene typically with a left-right rocking movement to mimic real human walking. To enhance the degree of authenticity some games incorporate sounds of breathing and steps along with the standard sound files. FPS, just like other shooter-game gaming titles, has a character, several guns, as well as a varied quantity of enemies. They are more logical because they are played in a 3D setting. It can be normal to have the main view show the character's arms and weapons, as well as a heads-up exhibit that shows health, ammunition, and location details.

Is Ghostbusters: Spirits Unleashed crossplay?

Ghostbusters Spirits Unleashed is an enjoyable new experience for multiplayer that captures the series' charm and keeps gamers interested having its well-thought-out gameplay physics. The multi-player gameplay and story are so enjoyable and well-constructed that big gamers of either will find a lot to appreciate in Ghostbusters: Spirits Unleashed. The game is a multiplayer affair. Ghostbusters: Spirits Unleashed game title manages to fully capture the franchise's charm with creative writing and carefully designed gameplay. Ghostbusters: Spirits Unleashed may be the new game title that displays asymmetrical 4v1 multiplayer from Illfonic. In addition to cross-gen multiplayer which permits players on previous-generation consoles to matchmake with video game players who are currently playing on consoles, there are full crossplay capabilities available for all platforms. You can find numerous venues for video game players to search for Ghosts in, like a prison, hotel, aquarium, and so on. Each one has its own distinct provides that the Ghost has to haunt as well as various things which could be taken. Ghostbusters Spirits Unleashed is another asymmetric multiplayer video game that sees four players face off against an unnatural adversary.

Is Ghostbusters: Spirits Unleashed single player?

At the end associated with the day Ghostbusters: Spirits Unleashed provides an enjoyable experience in tackling ghosts, either on your own or with a group of mates, while at precisely the same time imparting the player the opportunity to experience the other side as an ethereal tormentor. Spirits Unleashed does effectively emulate the sense and style of the original series, however, it doesn't fully capture the fun of Ghostbusters in the gameplay itself. In front of the release of Illfonic, the team behind Illfonic said that players could complete the campaign that is Ghostbusters: Spirits Unleashed entirely in single-player mode. In contrast to other asymmetrical multiplayer horror video games with video games that last longer than 30 minutes, Ghostbusters: Spirits Unleashed offers a more balanced video game title that balances the players. At first, Ghostbusters: Spirits Unleashed graphics may seem simple as well as some of the game's elements however underneath is a system that lets you live out a fantasy of becoming a member of the famed team as well as engage in lots of snarky antics as a mystical being. Ghostbusters Spirits Unleashed pushes the growing rise in popularity of asymmetrical multiplayer gameplay and blends it into the absurdity of its source material. Here you can buy cheap games, from all categories whether we are talking about action adventure, racing, sports, strategy, or shooters.

I am not sure if Ghostbusters is even near to supplanting it or not, but it may represent the only Illfonic game that isn't honestly attempting to. Refreshingly, it is an asymmetrical multiplayer video game in which video game players aren't cut limb from limb. Ghostbusters: Spirits Unleashed includes all of the legendary gear and devices, including Proton Packs, PKE Meters, along with Ghost Traps, that fans and newcomers to your series could be expected when playing as a Ghostbuster. The video game title is played by as many as four participants and makes them play as a ghostbuster Ghostbuster or a ghost. Such as the developer's previous titles, Friday The 13th: The game and Predator: Hunting Grounds, Ghostbusters: Spirits Unleashed is a 4v1 FPS multiplayer video game. Playing whilst the Ghost it's your responsibility to frighten objects, scream at civilians, and of course, make Ghostbusters slime. Ghostbusters: Spirits Unleashed is the latest video game title in the asymmetrical multiplayer category inspired by a well-loved property that has become quite the trend in the last few times.

As I could go on for hundreds of words explaining the hundreds of interesting objects, places, and decors that are adorning the rooms in Ghostbusters: Spirits Unleashed, the majority of you would like to be aware of the game title's mechanics. Ghostbusters: Spirits Unleashed is a wise amalgamation of game title concepts from contemporary video game titles such as Phasmophobia, and Dead by Daylight, as well as Friday the 13th. Ghostbusters: Spirits Unleashed brings a welcoming and whimsical way of the category of asymmetrical multiplayer but likewise ensures that it stays faithful to the franchise's incredible time in. I am enjoying Ghostbusters Spirits Unleased at this moment, due to the wide variety of game possibilities you might play with the Busters and Ghosts but it is not without its faults, unfortunately. In Ghostbusters: Spirits Unleashed you are either a member associated with the four-member team of 'Busters' or even the naughty Ghost trying to snare the location. It is easy to discern the numerous ways that Illfonic can improve on Spirits Unleashed to make sure an enjoyable experience for gamers over the long haul to ensure matches will not get old-fashioned, and I'm eager to explore the variety of ghost powers once enough time is. Ghostbusters: Spirits Unleashed, out a few weeks from IllFonic, just isn't the great Ghostbusters video game title that I may very likely have been hoping for all this work time. Ghostbusters is Illfonic's third licensed 4v1 multiplayer video game title after Friday 13th of the month and Predator: Hunting Grounds and they all appear to lend themselves quite well to the video game title's format. I played all three games as a ghost in fifteen minutes playing developer Illfonic's new asymmetrical Ghostbusters videogame Spirits Unleashed, so it is at the very least able to pass my amateur ghostology test, with glowing, slimy colors.

Spirits Unleashed is an appealing video game title for very long-time Ghostbusters fans, but it needs much more to supply to be able to entertain in the long term. The brand-new title from IllFonic manages to express its premiere qualities in short sessions spent in the lightheartedness of a casino game conscious of its limitations capable of challenging video game players of their beloved Ghostbusters brand along with its constant quotations, but additionally to entice gamers who aren't accustomed towards the series with the speed of gameplay and is easy to understand. Ghostbusters Spirits Unleashed is, first and foremost, a game title this is certainly a multiplayer title, and it may be bought with that in the back of your mind.

The gameplay of Ghostbusters is centered upon a first-person shooter concept, while the ghosts are controlled from a third-person perspective. Ray as well as Winston strive to keep the brand new ghost-eradication business alive by using gamers and the game title's well-liked cast of characters that are original to the franchise. Certain techniques may turn off the buster's equipment and confuse video game players long enough to cause a stage's haunted gauge to reach 100 percent which is a win for any supernatural and not a great end to a Ghostbusters sequel. Although the newcomer grabs their guidance through the legendary Ghostbusters of the original series. The ghosts get direction from a book possessed by the ghosts called Tobin's Spirit Guide.

In it, gamers can design custom ghostbusters, and team up with three other video game players to defeat a ghost player whose goal is always to completely terrorize one of the whole maps inspired by certain settings from the films. While playing Ghostbusters your job is to locate, capture the ghost, and then eliminate rifts in the map that are concealed in objects which act as extra lives of the ghost. With Ghostbusters: Spirits Unleashed, IllFonic has tried to make a truly competitive online Ghostbusters adventure to the table. Buy Cheap Games for PlayStation.

You may own a few out-there objects, such as dinosaur statues, and spew slime on all the Ghostbusters, however, gamers will rarely bust a laugh while busting ghosts. After a brief introduction, Spirits Unleashed starts players off on the ghost-busting team, which comprises four people who come equipped with traps and a proton pack. Character progression, continuous narratives, and daily challenges offer loads of replayability in Ghostbusters: Spirits Unleashed, but I am curious to understand what percentage of video game players will quickly get bored of the game's content at the beginning of the launch. It's a good thing, Illfonic captured the essence of ghostbusting and haunting with an extraordinary, instant-to-moment adventure for humans and otherworldly entities. The overall content package is a bit light however Ghostbusters: Spirits Unleashed is pure, unadulterated joy for multiplayer. The Ghostbusters' gameplay is inspired by the concept of a first-person shooter The ghosts are controlled from the perspective of a third.

Spirits Unleashed has a great amount of room to play the sort of slapstick comedy that I'm hoping will bring my buddies fun, sticky, and yes, even a little stupid - exactly what I would like from Ghostbusters. Spirits Unleashed takes a lot of the whole finest elements from game titles like Prop Hunt, Phasmophobia, and Luigi's Ghost Mansion from Nintendo Land and puts these into Ghostbusters which appears to be an excellent mix to play a game set within that world. Every one of the matches I played during my demo time culminated in a wild final few minutes where the Ghostbuster team raced throughout the museum to find and trap the ghost, pinging map locations where it absolutely was spotted and screaming gleefully into a microphone as we tried to smack it from a distance.

#Ghostbusters #fps games #fps shooter #spirits unleashed

1 note · View note

retrievablememories · 3 years

Text

what happens at night | taeyong

title: what happens at night

characters: vampire!taeyong, reader, BP jisoo, side character ocs

genre: vampire!au, fantasy, angst

summary: There has been a vampire sighting in a nearby town. You and a few other amateur vampire hunters flock to the area for fun, but are soon in over your heads when you come face to face with a real vampire.

word count: 2.6k

warnings: some violence, use of weapons, mentions of blood and blood drinking, cursing

a/n: i got the prompt for this fic from this writing prompt post

writing vampire fic just reveals that i am maybe a little too intrigued with finding different ways to describe blood, lmao

also, this picture...are you fuckin kidding me

"Y/N, look. You aren’t gonna believe this.”

Adrienne holds the digital ledger out in front of you, and you look at it with tired, uninterested eyes until your brain registers what you’re seeing. Your eyes light up as you recognize whose face is on the screen.

“Taeyong.”

You take the ledger from her as she offers it to you, holding it tight with both hands.

“The Vampire King?” Jisoo perks up and gets up from her seat to rush over to see the ledger, peering wildly over your shoulder. Likewise, Percy makes his way over to the rest of you at a slightly speedier gait than his usual unaffected amble.

“Can’t be,” he says, shaking his head in quiet disbelief even as he looks over your other shoulder.

“But it is.”

The ledger’s screen displays the seal of Hawthorn Academy and its vampire registry, which holds the name, age, suspected location, and family lineage of every registered vampire in the world, along with a plethora of other pertinent details. On Taeyong’s profile, there is the familiar portrait of him you’ve always seen—his hair styled perfectly and curling over his forehead, and his eyes dark, piercing, and shining vermillion.

Under the list of Status Updates, there is a new entry from yesterday—a sighting nearby in the city of Dresden. Within that entry, there is a blurry, zoomed-in photo of a man in a dark trench coat and black boots, walking away from the viewer and down a shadowy street lit up with lampposts, almost too vague to be worth deciphering to the average viewer; but that silhouette is unmistakable.

“When was the last time Taeyong was seen out in public? I can hardly believe it,” Jisoo says, her voice practically trembling with awe.

“If he’s letting himself be seen, he must have specific intentions...whatever those are,” Percy notes.

“Let’s go pay Dresden a visit,” Adrienne announces, darting off to her desk and starting to gather up her essentials—phone and silver staff among them.

“Go? Pay it a visit?” Percy echoes, his mouth rounding on the word go and his eyes widening.

“Of course! Why not? Isn’t this exciting? A sighting of the Vampire King so nearby, and so recently,” Jisoo replies, grinning with all her teeth.

Percy narrows his eyes at her, uncertainty marring his features. “Yes, but what about dangerous?”

“Come on Percy, it’ll be fun,” you chime in. “Think of it as a field trip for baby vampire hunters. Dresden is huge, anyway, there’s like zero chance we’ll actually find him.”

“Just take it as more skills training,” Adrienne adds, grabbing her backpack and heading off to her quarters to get the rest of her things. “Except this time, we’re actually in the field instead of that same boring facility.”

Percy grumbles to himself, but he knows there’s nothing much left to argue about; when the three of you outvote him on a topic, he has no choice left.

By the time the four of you arrive at Dresden, it’s dusk. The perfect witching hour for the vampires to be out, with the last bleeding streaks of the sun fading out of the sky. The lack of sunlight unnerves Percy even more—you can tell by his disturbed countenance—but he says nothing. He quietly follows you out of the train once it stops.

On the outside, you all look like four regular sight-seeing young adults, taking a trip from the next city over and ready for a night on the town; but most of your weapons and gear are concealed within your clothes and the backpacks you wear.

“There’s a slight blood scent here,” you note, taking in a deep lungful of air once you notice it. Indeed, there is the lingering hint of sweetness and iron, and something more musky and earthy underneath it—like decaying organic matter. The smell every vampire hunter is trained to be able to recognize—the odor of a vampire who hasn’t taken their scent blockers.

“There is, though I’m just barely picking up on it,” Jisoo agrees, waving her hand across her nose and screwing her eyebrows up. “God, I’ll never get used to that.”

“Do you think he’s been here?” Adrienne asks, leading the pack as you all walk through the train station.

“I would think a high-ranking, old-ass vamp would know better than to leave their funk trailing everywhere,” Percy disagrees. “Maybe it’s a younger one.”

“Maybe we could get an actual kill tonight, then. Our first,” Adrienne suggests, and though her tone is nonchalant, her expression betrays her enthusiasm.

You chuckle. “Wishful thinking, but maybe that would make the seniors stop treating us like children for once.”

Your group ends up bouncing from the train station to a pub and then to a nearby park, where a festival is being held. There’s bright lanterns, food, dancing, singing, and little kids running around galore, which makes you think these citizens either don’t know about the recent vampire sighting in their area or don’t care.

You all spend an hour mingling around and checking out the festival’s fun-filled offerings, chatting in low tones about the recent vampire appearance and trying to put your skills to the test to scout out any other vampires that might be hiding in plain sight within this mass of people.

“Hey!” Adrienne’s shout rings across the area, and you whip your head around in shock as you watch her take off running behind some teenage boy, maybe 12 or 13 at most, who has managed to nip the digital ledger from her belt and take off with it.

“What the fuck?” Percy barks, and you all shoot each other a wild, surprised look before you and him follow behind her.

“Guys, really? Don’t leave me here!” Jisoo calls out from behind you. “You don’t need three people just to get the ledger back!”

You and Percy round the alley corner that Adrienne disappeared behind and spot her farther up ahead, still hot on the boy’s trail and cursing him profusely. He’s a lot faster than he looks. Just before you can get a good look at him, he’s turning down another road with her behind him.

“Maybe we can cut him off. I’ll go down one of the connecting streets,” Percy suggests.

“Wait, what? Shouldn’t we stay together?”

“That ledger is too important to lose to some street urchin, and the seniors will never let us leave campus again if we come back without it. You go that way, I’ll be down here.” He’s ducking into an adjacent alley before you can even respond.

“Shit…” you sigh and shake your head before running down the road he indicated.

You unstrap your silver staff from a hidden section of your pants and extend it, just to be safe.

This land is not overly familiar to you, with you only having been to Dresden a couple times before. You carefully navigate your way through the maze of interconnecting streets, listening for Percy’s and Adrienne’s footfalls, which have become distinctive to you by now, and the sounds of Adrienne’s yelling. There are few people on the streets, most of them at the festival or in their homes, which makes it easier to navigate and watch for the others as you catch glimpses of them rushing past neighboring alleys.

Percy bursts into the same alleyway Adrienne is running down, finally trapping the boy between them on either end of the narrow passageway. However, the boy remains undeterred from Percy charging toward him as he deftly jumps up onto a nearby closed dumpster and uses it to launch himself over the older man.

“Shit!” Percy makes a mad grab for the end of the boy’s shirt, but the boy is a few seconds faster and narrowly gives him the slip.

“Are you serious? You can’t catch a damn kid?!” Adrienne shouts; Percy only curses again and whips around to follow the boy.

You hear the commotion from a few roads over, and you make a beeline for the area.

Just before you make it there, Adrienne screams. The sound almost startles you into dropping your staff, and you tighten your grip around it. “Adrienne?! What’s happened?”

You reach the alleyway, your shoes skidding on the ground as you nearly overshoot it, but Adrienne is nowhere in sight. You look around confused and alarmed with your chest heaving, but there is no trace of her — when she was there only seconds ago. “Adrienne?” Repeating her name still doesn’t bring her out, and you see nothing as you walk farther into the narrow back street and search every shadow and corner. Something dark and distressing settles in your stomach, and when you catch a whiff of that blood-decay smell on the night breeze, your unease turns into an avalanche of fear.

“Percy,” you whisper, and you take off again. “Percy!”

Your heartbeat rushes in your ears, nearly blocking out all other sounds, and your legs and arms burn as you run. You are abruptly stopped in your tracks as there is another shorter sound, like someone suddenly being cut off in the middle of a scream.

You desperately want to call out for him, and the syllables of his name crawl up your throat though you struggle to contain them. The blood-decay smell still inundates your senses, and whatever vampire is skulking around this maze of streets with you is likely still present somewhere. You don’t want to call any attention to yourself with a shout, though it may already be too late.

With a spiny chill driving itself down your back, you realize everything is suddenly silent. No insects, no night birds, no other people on the streets surrounding you.

Pushing the button on your staff ejects the silver blades from both ends, and you hold it for dear life as you stand in the middle of the dim alley, shivering despite your sweat and waiting for any hint that the monster is approaching you.

It happens so quickly that it’s almost outside of your perception.

The air around you grows significantly colder even with the existing chill from the early-winter season, and you shudder once more, your jaw clenching and molars chattering against each other. When you blink again, he is standing in front of you.

Taeyong.

Melting out of the shadows and becoming one with them all at the same time, a strange liminality similar to his existence—being alive and dead in the same time and space.

His mouth and chin are wet and red from blood, presumably that of your friends and teammates, which sends an intense ache through your stomach. The newness and excitement of the vampire sighting has drained out of you, replaced with stone cold dread. You’re not sure what any of you were thinking. Percy tried to warn you, but now he is likely dead for it.

Maybe it’s a foolish move. All your training has gone out the window in your panic and fear. You make a sloppy, sudden swipe at his front with the blade of your staff; and the next thing you know, it’s flying out of your hand and clattering feet away. Behind him, and out of reach.

It takes a second for you to realize he’s knocked it out of your hand without even touching it or you; his own hand is still raised with the movement of telekinetically shifting the object. “You came terribly unprepared. I guess I shouldn’t expect anything more from you fledglings.”

Your sweaty palm slides against the other leg of your pants where a smaller silver dagger is concealed in a tearaway pocket, but that idea is useless. In the time it’d take to get any weapon out, he could kill you.

“The Academy has really been in decline the last few decades. This is the caliber of hunters they’re putting out now?” Taeyong sucks his teeth, and he takes a step closer to you. Your entire body is on high-alert, but you feel too stiff to move a muscle, and you vaguely wonder if this is somehow his doing, too. Only in the stillness of this moment do you realize that you cannot detect any of that blood scent coming directly from him, though the putridness of it still lingers in your nose. It’s coming from somewhere else, then. This confuses you more.

When he realizes you aren’t going to speak, he stops approaching you and takes a moment to really study your face, his big and curious eyes blinking slowly. The redness of his irises and the shiny, pale quality of his skin from the moonlight shining on it make him look just as surreal as he truly is.

“You’re a pretty thing. Maybe I could make you one of mine.”

“Never,” you blurt out, and it’s the first thing you can bring yourself to say to the Vampire King.

“Oh, so you can speak.” Taeyong reaches for your chin. His fingers brush the underside of it, the coolness of his skin freezing you, before you snatch away from his touch, stumbling backwards. A flash of irritation sparks on his face.

His hand reaches for you again, this time clasping at the back of your neck, and it is impossible to move away quickly enough. “Don’t waste any more of your time fighting. This will all be over soon. Well—this life, anyway.”

His teeth in your neck are sharper than needles, making your nerves twinge with stabbing pain; and then it’s strangely pleasant, like having painkillers injected into your veins. You can’t feel anything anymore except warmth and endorphins and his fangs inside you as the alley around you smears into a bunch of incomprehensible shapes—bricks, streetlights, strewn trash, Taeyong.

When you wake up, you’re in an unfamiliar place. An unfamiliar bed. You startle out of unconsciousness sweating and frightened, but with barely enough strength to push yourself up on your elbows. Looking around doesn’t provide you with many more clues; this space is murky with darkness, and your vision is foggy. You think you can make out the rectangular shape of a large curtained window, but it’s unclear.

You’re still wearing your clothes from the trip, although your backpack is now gone. Your throat has never felt drier in your life, and the pounding in your head threatens to split it clean apart.

You feel sick and feverish, like your body is trying to fight against some virus it’s picked up, but you haven’t the slightest idea where you could’ve contracted anything—you didn’t even eat at the festival—until you remember—

A door opens with a bang somewhere in the distance, and it isn’t until the footsteps grow nearer and a blurry figure approaches the bed that you realize the door is the entrance of the room you're in.

“You’ll want to feed soon.” As soon as those words break the quiet, you’re struck by the pungent smell of blood. Unlike the relative lack of response it would elicit any other time, its aroma pokes at a sudden and peculiar craving inside of you, and you find yourself futilely scrabbling on the bed to reach the source. “Lucky you. I have just what you need.”

There is a cold hand tilting your face up, the press of equally cold glass against your bottom lip, then the tang of blood entering your mouth. It is the best thing you have ever tasted, and a slowly dying, still-human part of you is horrified.

You finish the blood quickly. It doesn’t really seem like enough, but it does make you feel a little less like you’re actively decomposing. Despite your hazy vision, there is no misreading the small smile on Taeyong’s face.

“Happy Birthday, little one.”

#taeyong scenarios #taeyong imagines #taeyong angst #nct vampire au #vampire au #nct imagines #nct scenarios #nct fic #taeyong fic #nct angst #superm fic #superm scenarios #superm imagines #superm angst

97 notes · View notes

imaginariumpod · 4 years

Text

A Tapestry of Lace and Silk : the visual aesthetic and costume design of Crimson Peak (2015)

In the dark corners of an ancient mansion, you hear the rustle of a long dress on the floor, there behind a closed door, lies some ghosts and secrets that should never be unearthed.

A woman walks in the silence.

Crimson Peak (2015) is a movie directed by Guillermo Del Toro, and is one of the most obvious mainstream examples of the gothic romance in cinema in the recent years. With a story full of ghosts, a secret, a haunted house and of visuals directly inspired by the mid-century gothic romance book covers. This movie is visually highly stylized and immersive in a way I think a lot of filmmakers and studios tend to shy away from.

While Guillermo Del Toro’s movies tend to always be very stylized and visually cohesive, Crimson Peak is truly the one, in my opinion, where the production design was at its most compelling and beautiful. To me, it’s obvious how much care and attention has been given to even the slightest of details, to create the perfect visual identity for this film. I have read once that the gothic was very decorative, as a genre. From the dark mansions, and the flowing nightgowns to the flickering lights of the candles and the creaking floors. The ~aesthetic~ is something that is very important to a gothic romance story. It’s all in the atmosphere, as well as some important elements of the story in itself, that make a gothic romance. Gothic Romance is a genre that you have to lean into, and Guillermo Del Toro perfectly understood it when it came to Crimson Peak.

Before we go more into it, i just want to warn you all that there’s probably going to be spoilers in this article. I will try my best to avoid being overly blatant about what happens in the story in itself, because that is not my focus. My focus during this article will be on the production design of the movie, the way this movie looks and has been designed, especially when it comes to the costumes and the outfits the characters wear throughout the movie. I mostly want to go deep into the visual aesthetic of this film, from the decors and visual themes to the dresses and outfits that were created for this story. I want to talk about the visual aspect of the movie and how it translates within the genre of gothic and the medium of filmmaking.

Guillermo Del Toro : the cineast

Guilerrmo del Toro is a mexican director mostly known for having a very distinct style of dark fantastical movies often featuring monsters, myths, the folklore and fairytales. His movies alternate between being made in spanish or english. His stories and movies often explore the dark side of the fantastical, of fairy tales and stories told after the dark. and yet. they have a hopeful side to them .

While a lot of his movies were successful, I do think it’s El Laberinto del fauno (2006) (Pan’s Labyrinth) that really established him as a thriving filmmaker, despite how niche a lot of his movies and stories are. Which, by the way, as a quick aside, Pan’s Labyrinth is a very formative movie to me, I watched the year it came out, when I was 11 years old, my dad brought the DVD home, thinking it was a movie for children. And well. It was not. I ended up being TERRIFIED and yet mesmerized and this was my first contact with Guillermo Del Toro as a filmmaker but it certainly wouldn’t be the last. His movies are crystallized in my memory, and they awakened in me a love of this more gothic and fairy-tale inspired horror. He's definitely a movie director that brings his unique touch to whichever work he’s doing.

The Gothic is a very prominent part of Del Toro’s work, which he calls Gothick (and is indeed a word that represents the genre that got started by Horace Walpole’s book The Castle of Otranto in 1764) and he describes the relationship he has with this genre as “a way to discover beauty in the monstrous” The protagonists of Del Toro movies often embrace the darkness that exists around them and within themselves. For Del Toro, the gothic is the “only genre that teaches [us] to understand otherness.” You can see it in the narrative of so many of his movies, which culminates in The Shape of The Water, where the monster ends up being the victim of society, and the real monster is the character of Michael Shannon, who represents the pressure of society, the norms and accepted and what can happen if you deviate from what is accepted.

The narratives of Del Toro’s movies reject authorianism in any shape or form, whether the societal authorianism or the narrative ones, and this makes for a way of storytelling that often turns around all expected tropes.His movies are, at their core, anti-fascist and, in my very humble opinion, very relevant during our current political climate on an global level. I really do not feel like I am the right person to dive deep into this subject in a small article on the visual aesthetic of one of Del Toro’s movies, but I want to recommend the thesis The Dark Fantastic of Guillermo Del Toro : Myth, Fascism, and theopolitical Imagination in Cronos, The Devil’s Backbone, and Pan’s Labyrinth by Morgaan Sinclair. That thesis is widely informative and interesting to read and will probably dive deeper in those themes that are always somewhat present in every Del Toro movie.

He loves using “typical” genre stories and making them his own. From folk tales, fairy tales, vampire stories, legends, he uses these narrative motifs as a template for his stories, but he always subverts them in one way or another, exploring the darkness within. And this is what he also did with Crimson Peak, but now with the gothic romance genre as his template. Gothic Romance is one of those genres that is very formulaic in some ways, it has very common tropes and themes that are often used. For example, the way he explores the gothic house and its entire symbolism in his early movie The Devil’s Backbone (2001).

[These old-Gothic notions insinuate themselves in the Gothick terrain of del Toro’s films. The Devil’s Backbone, a ghost story set in a remote orphanage during the Spanish Civil War, seems at first glance to be a classic Gothick romance, which, as del Toro reminds us in his commentary, focuses on the house, the domicile, as an emblem and warped container of the human self. This symbolically charged structure, he says, always conceals a “dark secret,” linked to a treasure and deep passions, “that is buried in the past and affects the people living in it.” At the center of the darkness stands “a very pure hero—a new set of eyes to explore the secret and through the purity of his heart unravel the mystery.”]

When it comes to his films, Del Toro tends to often use archetypes as a way to effectively communicate certain concepts, but more often than not, he will turn these archetypes upside down. Del Toro tends to also use a lot of symbols in his movies, weaving a tapestry of overarching themes and meaning. He gives depth to his stories by a use of various artistic and literary references, historical references. building a story that contains layers upon layers. This depth also translates to the visual aspect of his movies, as Del Toro movies tend to be carefully and precisely crafted. The aesthetic is, as one might say, on point. From the somber and fantastical creativity of Pan’s Labyrinth to the epic and vibrants colors of Pacific Rim. Crimson Peak is, to me, one of the most visually beautiful and compelling movies of Del Toro, and this is what we’re going to get into a bit later.

A ghost story:

This story starts at the end. This is a narrative device Del Toro also used with Pan’s Labyrinth, the movie starts with the final scene, and we know that something terrible is going to happen, and it just keeps the tension and stakes high during the entirety of the movie, as we keep wondering when things will take a turn for the worse.

We can see Edith Cushing (Mia Wasikowska ) wearing her white nightgown, in a scene of fog and piercing white. Her blond hair is flowing down on her shoulders, her face is pale, and her hands.

Her hands are drenched in blood.

The first sentence of the movie is then spoken : “Ghosts are real. This much I know.” This immediately sets the tone for the rest of the movie.

And then. It goes back to the beginning, when she was just a young child, at the moment her mother died, when the ghost of her mother, veiled in black lace, came to warn her, to beware of Crimson Peak…

Edith Cushing is a young woman living with her father and who dreams of becoming a writer. She keeps trying to publish her story, not a ghost story, but moreso a story with a ghost in it. “The ghost is a metaphor” she says. A metaphor for the past and for regrets and violence that still permeates a place. She then meets Thomas Sharpe (Tom Hiddleston), an english baronet without fortune, and his sister Lucille (Jessica Chastain). After the sudden (and suspicious) death of her father, she marries Thomas and follows him and his sister back to England, in their strange mansion that stands isolated in the midst of english hills, atop a source of red clay. The Sharpes are an aristocratic family with no fortune and a decrepit mansion where strange things happen, where ghosts roam.

There’s also a social commentary here on the changing social norms and social classes. While the Sharpes are an aristocratic family, owning land and a title, they are not rich. Their clothes are good quality, made from good materials and hand crafted, but they are also old and not of the current fashion. They are in a very strange place socially, being higher up on the social class and yet, being broke and trying to figure out how to get money to take care of their crumbling estate.

Ghosts are real, we need to remember, and are a reminder of what has been forgotten and what has died. The past is still lingering on in the present, and violence of the past will not go unpunished. The ghosts of Crimson Peak are terrifying. I do not want to say much about them, because it would reveal too much about the plot and the story, but I want to talk about them in terms of visual design. The ghosts of Crimson Peak are terrifying, they are skeleton-like, and red. Vibrant red. They are nothing like I have ever seen before in terms of ghosts, and this is yet another way Crimson Peak sets itself apart from other movies.

Lucille says something at the end of the movie, and I will not say anything about the plot, so fear not for spoilers, she says “but the horror… the horror was for love” and I do think it says so much about the movie and about the genre. Gothic romance is not really a love story, but it’s not strictly a horror story either. It’s a blend of love and horror. And sometimes… the horror, the horror will be for the sake of love.

The building of a haunted house

Production design, when it comes to movies, relates to everything that has to do with the visual identity of the movie. The look and the stylistic choices that are made to make the movie look the way it does. From the costumes, to the sets, to the decor, and all the small details, production design is one of the most important parts of constructing a movie. It’s those elements that make out how the movie will look and what it will communicate to its audience.

The production designer works on all the aspects that pertains to the visuals of the movies, along with the director of photography. They manage everything from the costume, the sets and the decor. And they work closely with the director to craft the visual identity of the movie. Guillermo Del Toro always draws from a very vast range of thematic and visual inspirations when it comes to his movies : from gothic architecture, symbolist art, the surrealists, but also more popular inspirations such as comic books and even video games. So many of these elements are brought and matched to visually create a layered look to the film.

The visual storytelling, the ambiance, the atmosphere, all of these elements are a huge part of what makes Crimson Peak truly interesting. The visuals of the movies were not an afterthought to the script, but were an integral part of how the movie was constructed. Under the directives of Guilermo Del Toro, Thomas E. Sanders [Dracula (1992) ; Braveheart (1995)] constructed an intricate and vibrant appearance for Crimson Peak, which I think is one of the most memorable components of the film.

This movie takes the canons of gothic horror and gothic romance and embraces them, whether it is narratively speaking or visually speaking. I always love a story that leans heavily into its genre and its tropes and convention, only to make use of them in a different and new way. I can mention The Man From U.N.C.L.E. (2015) as another movie who embraces its genre, here the corny 1960s inspired spy movie, and just GOES WITH IT. I do so much appreciate when any type of storyteller and artist fully work within the genre and then try to expand the boundaries of that specific genre, all the while trying to create a work that is definitely recognizable as a certain genre.

As I said, the visuals are obviously very much inspired by the canons of gothic romance, whether it's the illustrations that were in the book of the 19th century, as well as all the historical inspirations from the late 19th century in which the movie is set. There’s also the obvious references to the book covers of the gothic paperbacks of the mid 20th century, with their jewel tones, and their heroines escaping a dark and looming manor behind them. Or sometimes, she is exploring the dark winding corridors, with only the help of a few candles lighting her way.

There’s this dichotomy that sometimes occurs when it comes to movies, of style over substance or vice versa. Which to me is a moot and useless point, because style is a form of storytelling as well. The way you construct the visuals of the movies, the decors and the costumes, and the way the film is shot, all of this is a way of telling a story and is as essential to a good movie. Even a movie that doesn’t put the emphasis on “style” also makes a visual choice. Not focusing on the visual elements such as the costumes, or the decor, is also a stylistic choice in itself. Even if the choice is to make the movie devoid of any outlandish visual assets. Taking these decisions are what ultimately make the movie be the way it is visually. A film is a visual form of storytelling,

When it comes to the sets, the movie is set mostly in two diametrically opposed houses, the airy and light house of the Cushings in Buffalo, homey and comfortable, and the cold gothic estate of the Sharpes : Allerdale Hall. Where the house in Bufallo was full of light and a warm color palette, Allerdale Hall is the opposite. That house is the typical gothic mansion, and one of the most important elements of any good gothic romance. Imposing, dark, with twisting corridors and actually decaying above them. Visually, it’s also distinctive with the colder colors that are used when filming there. It’s the ideal setting for the gothic romance story to happen. Sanders says that the only reference that he was given by Del Toro for the design of this house was the painting House by the Railroad (1925) by Edward Hopper. This painting was the beginning of a very long and arduous process as Sanders tried to create this perfect haunted house.

The house of the Sharpes, is atop a source of red clay, hence its name. It’s decrepit, falling apart, cold. “colder inside than out” says Edith when she first enters it. The house is slowly but surely sinking in the red clay that once used to be the source of the Sharpes’ fortune. Visually, it looks as if the house was bleeding, as if the house was alive. As Sanders says during an interview with Slate :

“We felt that the clay is the blood of the earth, and it’s also the blood of the house, and that the house was a living thing that embodied the family over all those years.”

Within the genre of gothic horror and gothic romance, the house plays a very peculiar part. Whether it is haunted or not, the house is very much often an important character of the gothic story, on the same level as the heroine or the antagonist or the ghost. The spaces of Allerdale Hale are tight and menacing, the house is full of dangerous sharp angles. This is not a warm house. Del Toro said that he repeated the wooden pattern on the columns three or four times, so that it looks slightly out of focus, like something is wrong, but you cannot pinpoint what it is, exactly.

Allerdale Hall is thus the perfect setting for this gothic romance to unfold, through the sharp and twisting corridors, with the gaping hole in the ceiling through which the snow falls and covers the red crimson blood of the house.

A nightgown to explore strange corridors at night:

The main costume designer for this film was Costume Designer Kate Hawley, assisted by Cori Burchell. Even though they hadn’t worked specifically on period movies and historical movies or more fantastical movies prior to their job on Crimson Peak, I cannot help but think that they did a marvelous job when it came to the costume design for this particular movie. Hawley had previously worked on Pacific Rim with Del Toro, so she was familiar with the way he worked and envisioned things. Together, they truly created a wardrobe that was absolutely wonderful for the movie of Crimson Peak. Highly stylized. Imbued with the fashion and artistic trends of the era, without being exactly Literal to the clothing of the time. She used costume design as a vehicle to communicate ideas and moods that were intrinsical to the characters of the story.

Hawley worked closely with Del Toro to create the costumes that would be perfect to convey the personality of the characters and would help build the depth of the movie. In her interview with digital magazine JEZEBEL, she says that she definitely considers Crimson Peak to feel like an opera, a piece of music in which there’s two distinct acts, and so the costuming had to also follow those two distinct acts and those two distinct worlds that the characters inhabit. From the color scheme and mood, to the details of the historical period. But most importantly, especially for a Guillermo Del Toro movie, it was vital for Hawley to look at it thematically first. Del Toro movies are always chock full of references to art, folklore and literature, and there is no surprise that the costume design should follow the same direction.

The costumes are an important narrative device as well, the clothing a character wears reflects their personality as well as their narrative journey. It can inform on the status of the character, their place in society, it’s an effective tool of storytelling. A good costume designer will use the wardrobe of each character to say something about the character in themselves but also create a cohesive visual look for the ensemble. From the colors to the chosen fashion style and to the accessories, fashion is a silent mode of communication that we all inherently understand, even if not on a conscious level. The wardrobe of each different character is thought and designed, to fit the character but the movie as a whole.

As our queen and icon, legendary costume designer and winner of eight separate academy awards for costume design, Edith Head says : “Fashion is not the primary thing, the primary effort in motion pictures is to tell a story”. And clothing do tell a story, whether or not you think they do. This is comes back to what I was saying earlier, that sometimes, people tend to not put any sort of importance on the clothing, considering it shallow and superficial, but I would argue that it’s a very subtle way of storytelling that says more about the character in a single outfit than a whole scene of exposition ever could.

Edith’s clothes are all very modern and current to the era the movie is set in (ie. 1901) The silhouette of all the clothes she wears are very much within the fashionable silhouette of the era, with the gigantic sleeves, and the cinched waist and slightly flare-y skirt. All of the dresses she wears throughout the movie have the leg-of-mutton sleeves that were so fashionable during the late 1890s and early 1900s. The color palette of Edith’s clothes is very much within a very soft and warm-toned palette, with a lot of soft yellows, ivories, creams, mustards and golds. this very much visually set her apart from the Sharpes. Hawley says she imagined Edith as a canary in a coal mine, her vibrant yellows and gold outfits in the dark and somber walls of Allerdale Hall. Hawley and Del Toro also used a pre-raphaelite portrait of Helen of Troy by Dante Gabriel Rossetti (1863) as a visual basis to work on Edith’s aesthetic.

She’s a down to earth woman who is ready to make efforts and her dresses reflect this aspect of her personality, they are comfortable and practical, while still having that air of whimsy to them. From the gigantic buttons on her honey colored dress or the beautifully eccentric belt in the shape of hands. Kate Hawley, the movie’s costume designer, says that this belt is just an upscaled version of the small mourning jewelry in which a lock of hair of a loved one who passed away can be found in. “I took these little earrings, these little ivory hands, and we scaled them up so it was almost like a mother's hands clasped around her waist”. (I so desperately want a belt like that btw, it is creepy but i still want it, if any of you happen to find one, please do contact me, thank you so very much.) She matches her hat and gloves with her ensemble, and generally, Edith, is just very visually cohesive and coherent within her own style.

During a very romantically and sensually charged scene, she wears a beautiful evening gown in ivory satin and ornamented with pearls. She enters the room dressed in this lovely dress and a long satin cape of the same color and a pleated collar, her hair delicately swept up. This is Edith’s very own dramatic moment, where she gets to dance with her romantic lead and wears an outfit that is a bit fancier than her usual fare. This dress is still within the very soft and pale color palette that represents Edith. This particular dress is visibly inspired by a painting of the italian artist Giovanni Boldini : The Black Sash (1905), which furthers the fact that this movie’s visual aesthetic is deeper than what first meets the eye. From the delicate color and stark black ribbon down her back.

Edith, though, is our ingenue heroine of the gothic romance. One of the main archetypes in the gothic romance is the innocent heroine, a young woman thrown into a situation that’s claustrophobic, scary and dangerous. In every gothic romance, there comes a moment where the heroine leaves her bed in her nightgown, it’s a very striking visual that is the mark of the way we visualize gothic romance. She holds a candle, wearing only the lightest of clothing, and goes to explore the darkness within the walls she inhabits. Her nightgown ends up being the most significant outfit of the whole movie, it truly marks her as a gothic romance heroine, while she roams the corridors at night.

«I’ve never done so many nighties and nightgowns! It’s all about running around in night dresses through long corridors. That also blended to the fabric. When Guillermo said to me, “It’s about a house that breathes,” that’s why we chose the lightest fabric, just a little thing to try and help the storytelling with the idea of the house.»

Edith’s nightgown is striking, the movement of the heavily pleated garment fills the whole screen whenever she moves, it gives her a certain elegance and follows the cohesive silhouette and color palette that was established for her thus far, with its gigantic sleeves and the soft warm and earthy colors of the dressing gown she wears over her nightgown, as she goes down the dark stairs of Allerdale Hall.

Where Edith is the innocent ingenue, Lucille is the woman hardened by life and misfortunes. She is all sharp angles and contrasts, where Edith is soft and kind, with a seamless color palette. Lucille’s outfits are stuck twenty years in the past and this is very much a narrative device and tool that’s used through the usage of dress and costume design. By showing her in these lavish but old-fashioned dresses. it serves both the purpose of showing how rich and noble the family of the Sharpes is but also, it effectively communicates how they do not have the means to actually follow the current fashionable trends. It shows that Lucille is not one to want to have something of lower quality or cheaper than she thinks her standing deserves. Lucille is a woman that is stuck in the past and is not truly living in the current times. I think that even though these details often necessitate a basic knowledge of the dress silhouettes of the late 19th century and early 20th century, this tactic still visually works because it sets Lucille apart from the rest of the world. It expresses visually how she and her brother are distanced from the world outside.

Her dresses and outfits are dramatic and striking, with the sharp silhouette of the 1880s, with the bustles. The colors of her dresses are always in deep tones, like reds, blues or black. The colors are very rich and vivid. The first dress that we see Lucille wearing is the beautiful red dress during the scene where she plays piano. A silhouette typical of the 1880s with the bustles and the very extravagant detailing. That one dress is a striking red, with a skirt that has a long train. The one very important design detailing is the back of the dress, replicating a spine of sorts in the middle of her back. Those sharp angles forebode a sense of danger that is conveyed strictly through the construction of the dress, and the arrangement of the textiles, the various shades of red fabric intertwined to create this gorgeous pattern that goes down the skirt. Her hair is swept upward and decorated with fine red jewels, and the pale complexion of Jessica Chastain only make the whole ensemble more striking.

Compared to the two other components of the main trio, Thomas Sharpe’s outfits seem much more muted and sober. His clothes, same as his sister’s, are also too old to be fashionable, but made of high quality materials. The color palettes of his clothes are very dark and deep, with touches of deep blues and greens. When you transpose him into Allerdale Hall, he fits seamlessly within the decor, meanwhile he seemed out of space and out of time in the sunny and modern decor of Buffalo.

A desire for accuracy :

Historical accuracy is always a point of contention when it comes to movies set in a particular historical setting, in this case in the early years of the 1900s. And before we go any further, is historical accuracy even That important when it comes to an effective costume design ? I honestly think historically accurate costumes are very important when it comes to setting your movie. The visual immersion and world building when your story is set in a specific time and place, like for example, in this movie, set in Buffalo, United-States, and England, during the year of 1901, depends on these important elements, such as the costume design and the decor. Especially when a movie is not tending toward the fantastical. For this reason, I really do think that having period accurate costuming, design and makeup is incredibly important when it comes to immersion and creating a visually cohesive world.

Nonetheless, to me, this part of the costume design is less important than what the costume design says about the story and the characters. As I said earlier, costume design is a very subtle but powerful narrative and visual tool to use in filmmaking. And for this reason, I personally think it’s more important for a costume to be efficient when it comes to storytelling than to try to achieve perfect accuracy. Simply put, a costume designer is not someone whose aim is to recreate historical garments perfectly (if this is your jam, I follow a bunch of creators on youtube who actually do that, using historical sewing techniques as well). Their aim is to use the clothing for a storytelling purpose.

There is this thread by fashion historian and curator Hilary Davidson on the subject of ahistorical costume design and this is what she has to say about Crimson Peak:

“Kate Hawley's designs for Crimson Peak (2015) are immersed in artistic trends of the fin-de-siecle, making costumes that embody the period's aesthetic spirit without being completely literal”

When it comes to Crimson Peak, are the costumes historically accurate. For the case of Crimson Peak, the answer is yes and no, at the same time. More than creating historically accurate costumes, Hawley wanted to create an atmosphere, with dreamy costumes that would serve a narrative purpose, and use historical sources as a guideline and inspiration Liberties will often need to be taken to complement the story and to serve the purpose of storytelling nonetheless, I do think that the more researched and accurate the costuming is, the more complex and interesting it can be . and I do think it ended up being SO SO INTERESTING.

Costume design is more than simply making historically accurate costumes, a costume designer needs to know fashion history and fashion trends, but ultimately, their job is not to recreate exact replicas of the clothing of a certain historical period. What a good costume designer has to do, is to create a wardrobe that fits the story that is being told, and fits within the general universe it's set in and gives you information on the character. What Hawley did was to respect the silhouette of the period, from the foundation garments to the outer garments, and then, when it came to the actual costumes, she could play around with the details to convey a certain mood and narrative. The underpinnings always do define the general structure and shape of a garment, and it’s one of the most important elements when someone wants to construct a historically accurate costume. Even if, like Hawley, liberties are then taken when it comes to the actual clothing, the “spirit” of the clothes is respected. From the corsets and to the petticoats and all the subsequent layers, it was important for Hawley to have all of these elements in a historical accurate way, because it would change the posture and the demeanors of the actors. It shapes the way they stand and the way they move through the different spaces.

Visually, Crimson Peak is a masterpiece of a gothic romance. From the sweeping nightgowns to the imposing and sharp gothic mansions, and the scary ghosts behind the door, Del Toro and his team have created a movie that takes everything that is wonderful about gothic romance to the highest theatrical level, and I, for one, always enjoy this visual and cinematic experience.

#crimson peak #guillermo del toro #costume design #gothic #gothic romance #haunted house

58 notes · View notes

dweemeister · 3 years

Photo

The Five Pennies (1959)

Anyone with a passing interest in American music knows about Louis Armstrong, even superficially. The New Orleans-born cornetist/trumpeter/singer was a central figure of jazz music. His influence on the genre gifted him a popularity not afforded any other black artist in a segregated American popular culture. Armstrong’s renown saw him land numerous film roles – typically playing himself or a jazz band leader – such as Cabin in the Sky (1943); New Orleans (1947); and Hello, Dolly! (1969). He appears as himself, too, in The Five Pennies (1959), a film based on the life of a real-life cornet player. But The Five Pennies concerns not Armstrong, but a white contemporary in Red Nichols. Nichols, played by the effervescent Danny Kaye in this film, might not have been as virtuosic as Armstrong or Bix Beiderbecke, but he was a fine cornetist. For a time in the late 1920s and early ‘30s, he was hailed in Europe as the greatest living jazz cornetist – but only because the records of his African-American counterparts were not yet widely distributed across the Atlantic. Once European jazz fans were more exposed to the numerous black jazz greats, they turned on their regard for Nichols as quickly as they had built it up.

We first find Nichols (Kaye) moving to New York City in the 1920s, hoping to break through in the Big Apple’s thriving jazz scene. In what is probably a dramatization by director Melville Shavelson, Nichols receives that break during a Louis Armstrong show he attends. There, he meets and will later marry Willa Stutsman (Barbara Bel Geddes; in this film, Willa is a singer but was in actuality a dancer). The two are deeply supportive of the other, and will have a daughter named Dorothy (Susan Gordon as a child; Tuesday Weld as a teenager). In New York, Nichols will put together a band that may contain some familiar names to jazz aficionados: himself, pianist Arthur Schutt (Bobby Troup), clarinetist/saxophonist Jimmy Dorsey (Ray Anthony), drummer Dave Tough (Shelly Manne), and trombonist Glenn Miller (Ray Daley). They call themselves the Five Pennies in a sly nod to Nichols’ surname (five pennies equals a nickel), and the quintet tours the United States. At the height of the band’s popularity, Dorothy contracts polio. Nichols, unable to balance the demands of touring with the Five Pennies with the attention his daughter requires, has a crucial decision to make.

Danny Kaye��s comedic and musical abilities are the stuff of legend, in addition to his holding the distinction of being the first Ambassador-at-Large for UNICEF. In The Five Pennies, the audience saw glimpses, for the first time, of Kaye in a more dramatic role. This is not to say there aren’t any signature comedic moments by Kaye – far from it. In the film’s second half as a musical life wears down on Red Nichols, Kaye transforms from a dainty, energetic, and outgoing fellow to someone inhabiting weariness and harboring deep conflicts within his soul, disallowing anyone outside his family to look within. Any such transformation necessitates an actor who can believably and naturally transition between the two halves – and Kaye does just that. His expressive face helps to exaggerate emotion when needed; the studied change in his gait from the film’s first to second halves is something I never expected from him. Those only familiar with Kay’s comedic roles are in for a surprise – a pleasant one – in The Five Pennies.

She never really received top billing in her work nor was she primarily an actress in film, but Barbara Bel Geddes provides ample support for Kaye in this movie. The sincere, not showy, relationship between Willa and Red Nichols always feels authentic. Nichols spends most of the film reveling in his musical life; thus, Willa, as played by Bel Geddes, is responsible for much of the work here. Bel Geddes’ understated performance is wonderful complement to Kaye’s, and it only deepens my wish – when also considering her performance in one of my favorite films, I Remember Mama (1948) – that she starred in more movies alongside her accomplished stage career.

So while The Five Pennies might possess great performances, those performances are also what makes the film tolerable. It runs into trouble with an inert screenplay by Jack Rose and director Melville Shavelson (Rose and Shavelson also wrote 1955’s The Seven Little Foys and 1958’s Houseboat) from a story by Robert Smith (1952’s Invasion, U.S.A., 1953’s 99 River Street). Thus, The Five Pennies is a standard biopic about dreams deferred because of familial love, and it fails to distinguish itself when there is no musical performance on-screen. Too often I found myself wanting the film to hurry up its exposition so that Danny Kaye or Louis Armstrong could perform (Kaye’s cornet and trumpet playing was dubbed over by Red Nichols himself, but Kaye spent months learning the cornet so that he could accurately mimic the correct fingering) the next number. But Rose and Shavelson dedicate sufficient time to pore over Willa’s diagnosis of polio and how it irrevocably changes her life and those of her parents. This could easily have been maudlin, yet Rose and Shavelson provide enough space for this development without too much self-pity or undeserved inspiration.

Whether with or without lyrics, original or adapted material, there is music aplenty in The Five Pennies. Familiar songs such as “When the Saints Go Marching In”, “My Blue Heaven”, and “The Battle Hymn of the Republic” are all given jazzy renditions – and though it might not be as popular as those aforementioned songs, Louis Armstrong’s rendition of “(Won’t You Come Home) Bill Bailey” at the speakeasy in the film’s concluding minutes is a musical highlight. Armstrong, as always, is a joy to watch while in his element. Despite given relatively little to do in The Five Pennies, Armstrong brings the best with the provided material. The moody lighting often employed during the speakeasy and nightclub scenes adds to the unique ambience of the performances. There are a handful of original songs in the film, all composed by the eminent Sylvia Fine (Kaye’s wife, who always tailored her compositions to suit her husband’s singing abilities and musical style). Kaye’s novelty songs are not to everyone’s tastes (certainly not mine), but they are not prominent in The Five Pennies.

“Lullaby in Ragtime” is not even remotely related to ragtime, but it provides Kaye a tender lullaby, the likes of which he excelled in. It is an easygoing, heartwarming tune that boasts beautiful two-voice counterpoint. The film’s title song appears on a sleepless night for young Dorothy – yet another lullaby! Backed by orchestra, it is short, sweet, lovely. However, it is not the last performance of “The Five Pennies”. Do you recall the two-voice counterpoint mentioned earlier this paragraph? Sylvia Fine composes a third lullaby and combines all three lullabies into an incredible rendition of three-voice counterpoint – “Lullaby in Ragtime” (the best of the three), “The Five Pennies”, and Louis Armstrong with “Goodnight – Sleep Tight”. With amateur musicians, this is a difficult musical feat to pull off. And though they were professional actors, it is a great accomplishment to sing this successfully alongside Louis Armstrong: Kaye could not read music (yet Kaye, through observation and close listening, was masterful at internalizing rhythm and expressing his own musicality) and Susan Gordon was no older than ten when this scene was filmed.

youtube

The Five Pennies is one of several jazz musician biopics released during the Hollywood Studio System (see: 1945’s Rhapsody in Blue, 1954’s The Glenn Miller Story, 1956’s The Benny Goodman Story, etc.), but probably one of the least-known. That is almost certainly due to Red Nichols’ obscurity to even casual jazz fans today. Nichols did resume his touring career and revive the Five Pennies – its original members had long departed for their own storied careers – following his service as an industrial worker during World War II. But he never again reached the popular heights that he achieved prior to the mass distribution of jazz records featuring African-Americans performers in Europe. For Louis Armstrong, he remains a highly recognizable, central figure in the genre decades after his passing.

This decent film adaptation of Red Nichols’ life up to that point is perhaps not the best introductory film to Danny Kaye (I would recommend one of his comedies like 1955’s The Court Jester), but it is ideal for his fervent fans and those seeking any depiction of jazz figures in American cinema.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#The Five Pennies #Melville Shavelson #Danny Kaye #Barbara Bel Geddes #Louis Armstrong #Harry Guardino #Bobby Troup #Susan Gordon #Tuesday Weld #Sylvia Fine #Robert Smith #Jack Rose #Red Nichols #TCM #My Movie Odyssey

16 notes · View notes

passionate-reply · 3 years

Video

youtube

Great Albums is back! This week, we’ll take a look at one of the greatest electronic albums of all time, Kraftwerk’s The Man-Machine, and try to avoid getting sued by Ralf Huetter! Full transcript for the video can be found below the break. Enjoy!

Growing up, my main genre of choice was 80s synth-pop, and while the deep influence of Kraftwerk is as significant there as it is everywhere else in electronic music, I was one of those people who initially saw them as somewhat "intimidating." Today, moreso than ever, Kraftwerk are held up as one of those more high-brow or cerebral groups with a philosophy that transcends mere pop or dance music, which makes them seem respectable, a kind of “model minority” in the world of music outside rock. While I don’t buy into the judgmental quality of that sort of praise, which damns so many of Kraftwerk’s greatest fans and imitators, I did get the sense, as a child, that these hoity-toity Germans, working with primitive equipment way back in the 1970s, might not be what I was looking for in a new favourite band. That was before I heard The Man-Machine.

While it’s certainly true that Kraftwerk were a highly experimental band in their own time, they’re one of those acts whose ideas have deeply permeated contemporary music, to the point where their actual work is extremely approachable and listenable to today’s ears. Of all the fairly early electronic acts, who started making this kind of music before it began to become mainstream in the late 70s, Kraftwerk are almost certainly the ones people nowadays listen to for pleasure the most, and that’s no accident. While their earlier albums like Trans-Europe Express took more overt inspiration from classical music, The Man-Machine was their first great foray into the arena of pop, which I think is key to why it resonates with people. For evidence of that, look no further than the biggest mainstream hit of Kraftwerk’s career, “The Model.”

I think it’s easy to see why “The Model'' became a hit single. Sure, it may not have the most traditional pop song structure, let alone instrumentation, but unlike a lot of what Kraftwerk had done before, it’s got a lot of lyrics and a real sense of narrative. Plus, that narrative we get is about a person and not a machine--a good-looking person, in whom the narrator is sexually interested. It’s the perfect pop material. Of course, I would be remiss to mention that “The Model” didn’t achieve all of its success until the single was re-released in many markets in 1981, and in those few years, the idea of “synth-pop” advanced significantly in the charts and popular consciousness. By the time “The Model” was a hit, Kraftwerk admirers were already taking over: look no further than Gary Numan’s "Cars” or OMD’s "Enola Gay,” two synth-pop classics that, it must be said, are still about vehicles!

That aside, though, not everything on The Man-Machine sounds like “The Model”--in fact, it’s surrounded by tracks that have much more in common with Kraftwerk’s earlier LPs. Literally surrounded, in the track listing. I think that adds to this album’s appeal as an ideal entry point into their catalogue: it has some things that sound familiar, while also preparing you for what else you’ll encounter if you choose to probe deeper into the band. The Man-Machine has the least homogeneous profile of any Kraftwerk album. While most of their other classic albums are highly cohesive “song cycles” that almost blend into one long song when you listen to them in full, The Man-Machine doesn’t really have those repeated melodies and motifs that tie its tracks together. While many people, especially fans of psychedelic and progressive rock, really like those cohesive albums, I think this change is a welcome one. It gives the individual tracks a bit more room to breathe and express distinctive identities, and makes the album feel a bit more pop, even if the material itself isn’t always all that poppy. *The Man-Machine* actually only has six individual tracks; they range in length from the three-minute pop stylings of “The Model” to the urban sprawl of “Neon Lights,” which luxuriates in an almost nine-minute runtime.

Given that the average track length is around six minutes, I’m almost tempted to think of The Man-Machine as six tiny Kraftwerk albums, or at least, musical ideas that could have been expanded into full LPs in another universe. “Neon Lights” and “Spacelab” feel dreamy and easy-going, with floating melodies that draw from the “cosmic music” scene, one of the many emergent styles that began as something uniquely German and spread throughout the world--in this case, becoming an important forerunner to ambient electronic music through acts like Tangerine Dream. Meanwhile, the hard, tick-tocking rhythms of “Metropolis” and the title track point to the newfound focus on rhythm and the so-called motorik beat that made the music of Neu! so compelling.

The Man-Machine can serve not only as an introduction to Kraftwerk, but also as a sort of crash course in this entire period of electronic music, showcasing some of the most distinctive and influential features of the German scene, as well as the shape of synth-pop to come. It’s a complex and busy historical moment with huge ramifications for almost all of subsequent electronic music, and The Man-Machine really creates a microcosm of that whole environment. There’s also the fact that each side of the record has one track from each of my three broad groups, like an expertly-designed sushi platter or charcuterie board for us to sample from, and they both follow the same formula: a pop appetizer, a cosmic *entree,* and motorik for dessert.

*The Man-Machine* also has what is almost certainly the most iconic cover of any of Kraftwerk’s LPs. This is how lots of us still picture them in our minds, and it’s inspired tons of parodies and riffs over the years. I think all of that acclaim is deserved! Emil Schult’s graphic design for the album was heavily inspired by avant-garde Soviet artists of the 10s and 20s, chiefly El Lissitzky. These visual artists used their art to express their hope for a new world, defined by the promise of technology, and their literally revolutionary philosophy--so what could be a better match for Kraftwerk’s electronic revolution in music? Lissitzky used bright, primary colours, straight lines, and geometric shapes to convey the “built environment” of modern cities and man-made architecture, and you’ve got all the same sentiment on display here. The use of strong diagonals really draws the eye and lends this image a lot of continued visual interest. It’s also worth noting the extent to which Kraftwerk’s aesthetics inspired later electronic acts almost as powerfully as their sound. When you picture an electronic band, and get a mental image of stiff and stone-faced musicians behind synthesisers wearing shirts and ties, you can certainly thank Kraftwerk for that, as well.

I also love the title of The Man-Machine! The relationship between people and technology is one of, if not the, most central themes in Kraftwerk’s entire discography, which is full of references to anthropomorphic machines as well as mechanically-mediated humans. The particular choice of the phrase “man-machine,” as opposed to words like “android,” has a fun vintage flair to it, which matches the use of early 20th Century visual art quite nicely.

As might be expected from the album’s stylistic diversity, *The Man-Machine* would prove to be something of a transition point in Kraftwerk’s career. Their 1981 follow-up, Computer World, would return to the song cycle format, but with increasing emphasis on ideas from the pop sphere, championed by percussionist Karl Bartos. By the time of the last classic-lineup Kraftwerk LP, 1986’s Electric Cafe, they had not only amped up the pop, but also incorporated influence from the electronic dance music of the time. Ultimately, Bartos would leave the group, chiefly due to discontent with his treatment by founding members Ralf Huetter and Florian Schneider-Esleben, and their persistent lack of musical productivity.

On a somewhat lighter note, my personal favourite track on this album is its opener, “The Robots.” Per my typology from earlier, I classified this as a pop-oriented song, and it certainly is an approachable one that’s proven to be quite popular. But it’s got just enough more experimental touches to keep things quite interesting. From an ominous, dissonant intro, a slightly more pop form, hinting at a verse/chorus structure, soon emerges and contrasts. I love the groove of the rhythm and percussion here, as well as the very heavy vocoder, rich in texture and certainly a Kraftwerk staple.

While the lyrics can be read as sort of light and silly, I like to think that the robots in question might also be dangerous. The track “Metropolis” seems to reference the seminal 1927 silent film of the same name, which is famous for its portrayal of an evil, mechanical doppelganger. Likewise, the choice to translate the lyrics of the song’s interlude into Russian is likely inspired by another great work of art from this era: the stage play R.U.R.--Rossum’s Universal Robots. Written by Karel Čapek in 1922, it’s the progenitor of the “robot revolution” trope in science fiction, the source of the word “robot” for autonomous machines in almost every human language, and one of the first entries in the illustrious career of an author who helped make Czech a true literary language. While the titular robots take time to assure us that they’re programmed to do what we humans want, should we really trust them...?

#music #kraftwerk #great albums

14 notes · View notes

super-famicom-star-inactive · 3 years

Text

Friday Special #7

January 9th, 2021

So it has come to my attention that when people talk about RPG Maker the series, many aren’t aware of how far back the series goes.

Did you know that series dates back to almost thirty years?

That’s right, next year will be the 30th anniversary of RPG Maker!

So why don’t we have a history lesson into arguably one of the most important franchises in gaming history?

Alright, where does the story begin for this iconic series?

According to sources, there has been games similar to RPG Maker that were made by ASCII (the original company behind RPG Maker) and that were released as far back as 1988, with the following titles:

Mamirin (1988)

Dungeon Manjirou (1988)

RPG Construction Tool: Dante (1990)

Dante 2 (1992)

Chimes Quest (1992)

The very first official RPG Maker title came in the form of RPG Tsukūru Dante 98, released on December 17, 1992. This game, along with its 1996 sequel RPG Tsukūru Dante 98 II, was originally made for the NEC PC-9801 Japanese home computers at the time. It was originally made when ASCII pulled from other games (listed above) and combined them together to create a RPG-making development title with its own toolkit. The genre of RPG specifically was thanks to the rise of JRPGs in recent years like Dragon Quest and Final Fantasy to name a few.

The next major release of RPG Maker was in the form of RPG Tsukūru: Super Dante in 1995, which marked the very first time that the series has landed onto a console. The console was the Nintendo Super Famicom and it was later broadcasted a year later using the Satellaview service. While it did exhibit some restrictions in terms of content due to system limitations, it was famous for providing hundreds of character, monster and scenery assets with color swap palettes to save on memory in the cartridge as well as designing the stats of characters and monsters pre-determined by the player. It was said that the game was popular with players but sources are limited about actual reviews. RPG Tsukūru 2 is the sequel and it was released in 1996 on the Super Famicom as well.

Windows saw the release of the third installment with RPG Tsukūru 95, which was released in 1997 and was the first of many RPG Maker titles for Windows. Unlike its predecessors, it boasted higher resolution in sprites and tilesets as well as higher screen resolution. It also has the honor of being the first version to have an unauthorized English translation and release due to demand. Also with this version, the number of party members was boosted to 8 people with the first 4 acting as the main battle party. RPG Tsukūru 95 Value! was released not long after with the added bonus of having Windows XP support, which was new at the time and very valuable.

So when did the West finally receive an official version version of RPG Maker?

On November 27, 1997, Enterbrain released the following title RPG Tsukūru 3 for the original Playstation and chose to release the software simply as RPG Maker in the West three years later on October 2, 2000 under Agetec. This was the first time the West would finally receive a version of RPG Maker and experience the magic of RPG development, but it was reported that a limited run of copies were released outside of Japan. It was also one of thirty games that utilized the now-rare Playstation Mouse (which is usually an arm and a leg to import). Players got to customize their own assets using the Anime Maker that was also built into the game and, like the original Super Famicom versions, utilized color-swap palettes to save on memory. Another cool feature that was a first for the series was saving your created game onto a memory card so that you could share your creation with your friends.

One of the most beloved and popular versions of RPG Maker is next on the list and it is RPG Tsukūru 2000 for Windows on April 5, 2000. Despite the popularity, it was Japan-exclusive and it featured a lower resolution for graphics and assets overall than its RPG Maker 95 predecessor. Despite this, it boasted more functionality with unlimited sprite sheets and tilesets.

The last in that trio was RPG Tsukūru 2003, first released only in Japan in 2003 before being released worldwide in 2015. Improvements to this version included the side-view battle system that was popular in Final Fantasy, and interchangeable resources. From this point, the development company Enterbrain would take over RPG Maker as it was part of the ASCII company.

Starting with the released of RPG Tsukūru 5 on the Playstation 2 in 2005, Enterbrain was starting to look into developing the series for an international audience of players. They would beginning to craft titles that are now iconic in the RPG development community, with the first of these releases being RPG Tsukūru XP (RPG Maker XP as it was known world-wide) released on Windows in 2004. While many of the simplified features have been removed from this version, it was the first RPG Maker game to use Ruby, a type of programming language first seen in 1995, and it was the first title to distribute assets online amongst the community thanks to the rise of the Internet. It allowed greater control over sprite size other gaming aspects, which helped it become more versatile than previous titles. However, a drawback is the steep learning curve, which was intimidating to new players. It was released to Steam in 2015.

The next modern RPG Maker title was the release of RPG Tsukūru VX (RPG Maker VX as it was known world-wide) in Japan in 2007, world-wide in 2008. It has the one-up over XP for its more user-friendly layout and faster framerate of 60fps over XP’s 40 fps. The programming was completely done over to be more accessible in scripting and the battle systems were now similar to Dragon Quest with a front-view battle system and detailed text. Because of these aspects and other improved features, it became a popular choice for modern developers since release. However, one of the biggest drawbacks was the lack of support for multiple tilesets when mapping that frustrated players. It was released to Steam in 2016.

Right after that, RPG Tsukūru VX Ace (RPG Maker VX Ace as it was known world-wide) was a direct sequel to the version mentioned above. Described as an “overhauled version of RPG Maker VX”, it removed the multiple tileset issue that plagued players in the previous version and re-introduced battle backgrounds during battle scenes. Magic and skill systems were re-worked to have their own recovery and damage formulas in the programming, and a new set of music tracks were accompanied in the database files. It was released to Steam in 2012.

Having the distinction of being released by Degica for the first time world-wide, RPG Tsukūru MV (RPG Maker MV as known world-wide), underwent quite a few adjustments by introducing multiplatform support as well as side-view battles and high resolution features and assets. For the first time, JavaScript replaced Ruby as the default programming language. Players also saw the return of layered tilesets, which were missing from the previous installments. Not only was it released for Windows, but also for PS4 and Nintendo Switch (A XBox One version was planned but unfortunately scrapped), giving players new ways to share games. It was released to Steam in 2015.

The newest installment to the famous series is RPG Tsukūru MZ (RPG Maker MZ as known world-wide), and it was just released last year in August of 2020. Reviews for the game were mixed as players noted that the trailers leading up to release were very similar to RPG Maker MV. It did have some positively-received features such as autosave functionality and XP-style autolayer mechanics. It was released to Steam in 2020.

So with the history side taken care of, what about some of the most iconic games ever made using the software?

Good question! Given the extensive list of successful games to come out of RPG Maker, that will be a separate Friday Special so I can cover them more in-depth. Maybe next week perhaps?

So there you have it, a comprehensive history of RPG Maker!

(Now, there were some older Japanese titles that weren't mentioned because of lack of sources, I do apologize. I also wanted to stick more to the major installments of the franchise itself.)

Thoughts From The Head

I was formally introduced to RPG Maker by some mutuals of mine on Discord a few years ago when I expressed interest in wanting to create scenes like a movie of sorts. My software of choice is RPG Maker VX Ace as it was suggested to me for being better at creating events than any other version. It's understandably intimidating at first, especially for newcomers, but there are hundreds of tutorials on Steam, Youtube and all over the internet.

I also have other copies of RPG Maker, including the PS1 version of RPG Maker and even RPG Tsukūru: Super Dante for my Super Famicom that I just received a few days ago! It's definitely wild how much the series has grown and improved upon over the years.

From what I have been recommended by friends who are long-time players of this series, either go for RPG Maker MV (if you're interested in mapping) or RPG Maker VX Ace (if you're interested in creating events). From what I have seen, those two are some of the more popular choices. In terms of platform, always go for Steam (and get them on sale when you can) because you will have better accessibility and it's more user-friendly than the console versions. The abundance of community-generated assets also help.

To end this post, here's some pics from RPG Tsukūru: Super Dante!

#been wanting to make this for a while #hope you learn some new things!#my voice!#friday special #gif #gaming #retro gaming #irl

14 notes · View notes

queenlua · 4 years

Text

The Good Game Critics TM (a giant post o’ links)

yesterday i was complaining:

damn, how come the only people who are writing The Good Video Game Criticism TM are exclusively relegated to… abandoned Blogspots and Tumblrs that haven’t been updated in five years…?

and someone asked:

addadashofpepper: can you like, post links to some of these? cause the thing about these is that they are really hard to find!

oh boy, tumblr user @addadashofpepper, i would be DELIGHTED to share. i dug through my RSS reader / bookmarks, and here’s what leapt out at me:

[under a cut because this got LONG and i got EXCITED]

ella guro: indie dev and creator of Problem Attic, which made a splash back in the day (a somewhat Braid-inspired platformer iirc). she’s mostly removed herself from the game scene these days, but she still blogs about artsy-culture issues from time to time, and if you dig through the archives, some of her old posts on games (probably circa 2012-2015?) are so so good

prophet goddess / blood church: i discovered them literally two days ago, but i’m digging what i see (their ladykiller in a bind review was the first post i stumbled on)

dead genre chronicles: a group of three friends did a monthly JRPG podcast, where they’d play a JRPG in its entirety and talk about it. see, they found mainstream discussions around JRPGs annoyingly stilted, including the term JRPG itself—like, we’re still using the term “JRPG” to mean “turn-based combat with funky anime aesthetics,” but that airbrushes over so many weird and fun and distinctive mechanics that developers inside-and-outside of Japan have been experimenting with, right?

they had a blog attached to the podcast, and the blog was ALSO excellent

unfortunately, they took their main website down a while back :( however:

you can get some of the old blog posts by fiddling with the wayback machine

becky backed up a bunch of her contributions to the site (i particularly liked her ffxv post & this sort-of ffxiii post that punched me in the face in a good way)

leeroy, one of the other contributors, blags here, though i don’t think he backed up his stuff from the original site

the entirety of the podcast is archived on libsyn and is very good if you’re into podcasts!

no don’t die: okay, this blog/interview series is AMAZING. and still active!!! ahh!!!

the whole concept is, this dude finds people who work in games. or used to work in games. or who ran a weird fansite for video games back in the early 00′s. or curate some video-game-shaped things as part of a museum exhibit. and so on, and so forth.

the dude has a knack for finding really interesting people with all kinds of windows/perspectives on games, and manages to get them to talk about really interesting things. two of my fave interviews: rebecca heinman, who ported Doom to 3DO in ten weeks on her own in utterly batshit conditions, and mustin, because i’ve got that overclocked remix nostalgia

my friend pokey: so, they’re on tumblr, they write in all lowercase, and their writing style tends to be on the dense and referential side, which ordinarily has all the warning signs of “all pretentiousness, no substance,” right? (i am not exempt from this, by the way; look at me typing in all lowercase like a scrub.) but, i’ve reliably gotten interesting insights out of their posts & have been surprised how often i mention their blog to a Friend Whose Aesthetic Tastes I Respect and they’re like “ah! i LOVE that blog!” also i liked their notes on chrono cross at the end of this post because i literally want to talk about chrono cross every waking moment of my life, come talk to me about chrono cross friends, etc

em reed’s blog is excellent. i really liked this post about what the phone/gacha game experience is like

auntie pixelante: anna anthropy’s old blog; still not sure why she didn’t archive it somewhere? but whatever, the wayback machine has your back. this early review of Gone Home is reasonably representative

tim rogers: i have kind of mixed opinions on him, but i do find something in his work compelling enough that i keep coming back to him, so.

the dude made his initial splash with his extremely long mgs2 review back in the day; there’s a slightly more recent archive too; he also does a lot of sadposting on medium that ranges from “guy in my MFA” to “fuck i can’t believe this dude’s making me feel feelings” in quality, ymmv. (he also apparently does video reviews now? that are like many hours long? and i am just not the youtube generation so i tapped out on that one bud)

tevis thompson: another critic i have mixed feelings about, but if you’re the kind of dork that enjoys reading stuff that Made A Splash At The Time, and like, nerd subculture histories, you'll have to read his “on videogame reviews” for that reason alone. i also really dug his 100-word video game reviews series

ludus novus: i haven’t read this dude’s blog in ages, but i liked it a lot when i read it in 2012ish and there’s TONS in the archives

emily short: an IF writer who goes way back. i haven’t read her blog lately, but the archives / older posts definiely have cool thoughts on the structure of interactive fiction

jonas kyratzes: indie game dev, creator of The Sea Will Claim Everything. he tends to blog about lefty politics and general arts stuff more frequently than he blogs about games, but he does blog games from time to time. i liked [1] and [2], for starters.

adam cadre: this guy goes waaay back in the IF scene and has made a bunch of Inform stuff. i’ve never actually played his games! but i like his blog a lot (convenient tumblr mirror here). he almost exclusively blags about books and movies and such these days, but if you dig you can find him talking about games sometimes. (also, Masterchef Australia, which he loved so much he wrote over fifteen thousand words about it and it’s one of my favorite bizarre blog posts on the internet)

the fool reversed: this blog is focused on LARP game design & issues around that, but i’d say it’s relevant to anyone interested in game-y topics. as a mostly-outsider to that scene, i thought this was a fun find!

annnd a few last ones:

i haven’t kept up with critical distance in ages, but it used to be a great way to find new game writers, and quite possibly still is, i dunno

while i’ve personally bounced off timber owls a few times, i know some folks who like their writing a lot

hope this helps!!! happy digging through internet archives and such

#link post

13 notes · View notes

fyexo · 4 years

Text

191220 K-Pop Stars EXO Reflect on How Far They've Come — and How Far They'll Go

As Chen tells Teen Vogue, this year has been “a time for EXO to reflect” on their past, present, and future.

Chances are, even if you didn’t know it at the time, you’ve seen the members of the legendary K-Pop group EXO before. Their musical prowess speaks for itself, but even beyond that, their careers have taken over TV, fashion, celebrity culture, and more in the past year.

Maybe you've seen rapper and multi-instrumentalist Chanyeol, 27, shaking hands with Zendaya at Paris Fashion Week. Or perhaps it was breathtaking dancer and rapper Kai, 25, cracking 7th place on British GQ’s Best-Dressed Men of 2020 list. Or singer and composer Lay, 28, becoming Calvin Klein’s first-ever Chinese global ambassador. You might’ve watched rapper and youngest member Sehun, 25, on Netflix’s detective program Busted, or glimpsed leader and vocalist Suho, 28, waving from the red carpet as an honorary ambassador of the International Film Festival & Awards Macao. These are just a few of the places and memories that stamp the proverbial passport of EXO’s lives this year.

It’s been an equally powerful year musically for EXO too. With two members — Xiumin, 29, and D.O., 26, — currently completing their mandatory military enlistment and Lay promoting in China, the remaining six members of EXO have explored their own individual musical identities in 2019. Power vocalist Chen, 27, released two solo albums that chronicled love and heartbreak through mature, heart-warming ballads, while Baekhyun’s groovy solo album, City Lights, broke the highest monthly sales record for a solo artist in South Korean chart history with over 500,000 copies sold. Sehun and Chanyeol teamed up this summer for the debut of EXO-SC, EXO’s hip-hop sub-unit, while Baekhyun and Kai joined forces to “jump and pop” in SM supergroup SuperM.

As Chen tells Teen Vogue, this year has been “a time for EXO to reflect” on their past, present, and future as they reunite to promote their sixth album Obsession.

It’s December 4th, 2019, and the six members are dressed in thick, woollen, neutral-toned sweaters and trenchcoats to protect themselves from the arctic winds billowing throughout Seoul. There’s a warm camaraderie to their interactions as they laugh amongst themselves and take sips of their iced coffees. The atmosphere feels comfortable and familial, born from an understanding of each other’s mindsets and quirks that has been learned organically over the group’s career.

“It’s been seven years since we debuted and we’ll be hitting eight years next year; that’s a long period of time,” Chen says. His humble, calm demeanor is a balm for the rest of the group who cling to his introspective thoughts. “We reflected on our past journey and tried to make improvements in this new album. It’s been a grateful and fun time.”

This desire to continuously push boundaries both musically and creatively has been at the crux of EXO’s identity since their debut in 2012. Originally split into two groups, EXO-K and EXO-M, EXO performed their shared discography in both Korean and Mandarin in an effort to appeal to two major music markets simultaneously. The groups came together in 2013 to release their debut album, XOXO, and the album’s repackage released later in the year saw EXO’s popularity hit a fever pitch with the funky, dance-pop single “Growl.” Since then, each of EXO’s last five albums have sold over a million copies in South Korea alone, earning them the title “quintuple million sellers.”

The group is not only a staple in South Korea but across the globe too. From performing in front of the world at the closing ceremony of the 2018 Winter Olympics to becoming the first K-Pop group to have their faces projected on the Burj Khalifa in Dubai, EXO has stamped their name in the annals of pop history with their devotion toward their music, fans (called EXO-L), and each other. As they’ve matured over the years, that dedication hasn’t wavered.

“In our early years we just played together, whereas now we’ve grown up and matured,” Baekhyun replies. The singer’s personality is brighter than his shining white hair, and he thrives on the reactions to the jokes he makes throughout our chat. “We share a lot about where we’re headed in life, what we want to do for the upcoming album, and discuss how we can come together closer as a team to improve our teamwork.”

That tight-knit teamwork manifested itself in multiple ways throughout this year. From congratulating each other on Instagram like Lay did for Baekhyun’s solo debut to Xiumin and Sehun emceeing Chen’s solo album press conferences, the members have made it a point to support one another with every milestone they achieve, both individually and as a group. It also took center stage as the group embarked on their fifth world tour, Exo Planet #5 – The EXplOration, this July.

Part of the decision to go on tour, according to Suho, is because it makes the fans “happy,” which in turn makes EXO happy; this treasured time spent with fans also one of the reasons why the group worked tirelessly to release their new record in between their jam-packed personal schedules.

“Since the year EXO debuted, we’ve released an album every year. We’ve never skipped a single year,” Suho answers. With attention-grabbing ruby red hair, the leader holds himself with a quiet confidence and classic charm. “Even though it wasn’t a formal promise we made, it’s been a tradition to release an album each year, even if that means we have to make the promotion period short. Everyone’s been having hectic schedules, but it’s very meaningful for us to spend the end of the year with the fans.”

Heavily rooted in the group’s constant state of reinvention, the concept for Obsession sees EXO face off against their evil, superpowered doppelgängers X-EXO. Superpowers have been a common thread that has tied EXO’s music video multiverse together since their debut single “MAMA”, with each member utilizing their own signature power ranging from Chanyeol’s pyrokinesis to Kai’s teleportation abilities. When X-EXO arrives ready to destroy the planet in the group’s music video, the result is an explosive, superhero-style brawl between good and evil that leaves viewers enthralled.

In the lead up to shooting the music video, EXO emphasized the importance for both of their characters to have their own distinct, contrasting identity. While EXO dressed in weathered, straight laced black cargo pants and berets as if ready to march into war, X-EXO celebrated their eccentricities with jewel toned hair colors, white eyelashes, and uniquely cut clothing that bridged the gap between menacing and seductive.

“Our main focus was to draw a big contrast. All of us thoroughly discussed with our makeup and hair artists to bring that contrast, almost to the point of exaggeration,” Chanyeol says. He’s as jovial as his bubblegum pink hair and is openly expressive with his emotions, which light up his face whenever he speaks. “We tried to make X-EXO look very dark. EXO, on the other hand, was the good, righteous EXO like what fans have seen in the past. They came easy and naturally.”

“Like Chanyeol said, we discussed thoroughly with the makeup, hair, and costume team so that you could see the contrast right away,” Kai continues. Conscientious and thoughtful, Kai surveys the older members before answering so he doesn’t interrupt them. “Our attitudes also play a key role because they add to the strong visuals. Since it was a video, we all tried to make our performances convincing. X-EXO showed something that EXO had never done before — something mischievous.”

Amongst the members, X-EXO wins in a landslide over the team they liked the most.

“X-EXO had a stronger visual impact,” Baekhyun explains. “Personally, I wish that we made the plain EXO look cooler. That would have been right, because EXO was supposed to be the revolutionary army against X-EXO! I feel like they were visually weaker; I wish we had expressed more passion as EXO.”

With every album, EXO releases a bold title track that shatters the current K-pop paradigm, like the sinister “Obsession” or the reggae, EDM hybrid track “Ko Ko Bop." The remainder of the tracks on the albums typically allow EXO to explore new genres and make them their own, which range from hip-hop dance tracks like “Ya Ya Ya”, which samples ‘90s vocal trio SWV’s “You’re The One”, to heart-fluttering ballads like “Butterfly Effect."

Kai’s favorite track on the album is “Jekyll," which he loved from the first listen. “It starts off like a sweet R&B song, but the chorus suddenly changes into this shouting, which I think is in line with the duality expressed in the album,” he says. “I immediately thought that we could show a very different type of performance for this song — I can’t wait to perform this on stage and show the fans.”

“I like “Obsession” the most,” Sehun answers. Although under the weather, he makes a point to attend the interview to support his older members. “It was good enough to make the title track, so it’s my favorite.”

Chen picks the dreamy “Groove” because: “I love all the other tracks, but this song made me wonder if I could pull it off when I first heard it because it was such a different genre. It was challenging while recording it, but I love the result. It’s one of the songs that I feel most attached to.”

Chanyeol also fell in love with “Jekyll”, but is also partial to the similarly haunting reggae track “Trouble”. “The song came out to be great; I think we pulled it off pretty well,” he says happily.

“‘Day After Day’ for me,” says Baekhyun. While the other members have been discussing their favorites, he’s been silently exchanging silver rings with Suho. He nicks Chanyeol’s wire-rimmed glasses and puts them up his face backwards, reveling in the laughter he receives. “The song reminds me of a certain type of weather. I like songs that remind me of something — a song with a theme or story. ‘Day After Day’ does that for me.”

“I was going to say the same,” Suho says, shocked. A mischievous grin spreads on Baekhyun’s face. “Stop it,” he teases.

The room is whipped into uncontrollable laughter as Suho jokingly grasps the collar of Baekhyun’s sweater, as if he’s about to wrestle the other singer mid-interview. Suho’s faux fury only makes Baekhyun’s smile grow wider and he lets out a loud ahh, ahh! before Suho lets go.

“It reminds me of rain!” Suho complains, but a smile is working its way across his face too. “That’s because the lyrics have the word ‘rain’ in them,” Baekhyun dryly quips. “Choose something other than ‘Day After Day’,” Kai urges in between laughs. “Day after tomorrow? Two days after tomorrow?” The laughter doubles.

In the end, Suho chooses “Baby You Are." “The song uses band sounds and I really like the sound of the guitar,” he answers, before replying in English: “The intro is the best!” He flashes an assured smile and gives a thumbs up to further prove his point.

“The intro is your part!” Chen lovingly chides. “It’s because you sang that part!”

The most emotional track on the album is “Butterfly Effect," which is a direct callback to the group’s 2013 song “Don’t Go” (which literally translates to “Butterfly Girl”). The song, according to Chanyeol, was selected as a way to thank fans for their unwavering support over the last seven years.

“After viewing the different universes portrayed in EXO’s albums, you’ll be able to see a connection between Obsession and our previous records,” Chanyeol says. “In songs like ‘Don't Go’ and ‘Butterfly Effect’, there are butterflies that resist the Red Force [the canonical evil force mentioned throughout EXO’s music videos] and protect EXO. To us, these butterflies represent our fans, who are always beside us no matter what. They are why and how we exist.”

He continues: “Because of our fans — through their love and support — we are able to overcome any difficulties [we face as a group]. This is probably one of the biggest messages that we wanted to share on this album.”

Prior to their debut seven years ago, the members’ goals for the future were heavily built upon their dream to debut together. Chanyeol recalls that, before they were ever officially called EXO, each member was bonded together by a “common goal to create good music as one” as well as their frequent discussions while training to “work together for a very long time."

“At the time of our debut, we had achieved nothing and everything was up in the air. We talked about working together for a long time, hitting number one on the chart, winning awards, and more,” Kai replies, tone contemplative as he leans closer. “Personally speaking, when we eventually achieved all those goals, I realized, yes, winning awards and being successful is important, but more importantly being able to perform happily as an artist is what mattered the most. There were times when I obsessed over our sales record, stages, and something tangible, but now my goal and dream is to be a happy artist, being satisfied with what I do.”

At the end of Kai’s answer, EXO breaks out into a hearty round of applause. Kai bashfully shines on the encouragement with a soft grin. “He’s like a supervisor,” Baekhyun teases. Chanyeol concurs, “He’s like a CEO!”

Looking ahead, EXO’s goals for the upcoming year aren’t the grandiose, tangible achievements of their youth, but rather to keep the promise they made to each other all those years ago: to make music together for a really long time. “I’m wishing all the members’ health and happiness [in the future],” Chen says.

“Being able to perform for a long time as one, being able to meet the fans for a long time…” Kai reflects. “That’s the most important.”

source: emlyn travis @ Teen Vogue

#exo #suho #baekhyun #chen #chanyeol #kai #sehun #t: info

262 notes · View notes

aion-rsa · 3 years

Text

George A. Romero’s Twilight of the Dead: 13 Directors Who Could Helm the Zombie Sequel

https://ift.tt/eA8V8J

Legendary filmmaker George A. Romero may have left this plane of existence in 2017, but his legacy — the post-apocalyptic zombie movie genre that he created — lives on. According to the THR, Romero was working before his death on Twilight of the Dead, a film that would have been his final statement on the subject and the last installment in the series that included the groundbreaking Night of the Living Dead (1968), Dawn of the Dead (1979), Day of the Dead (1985), and others.

Now Romero’s widow Suzanne, who has been developing the script that her late husband started with three other writers, is ready to meet with directors for the project. Details on the plot remain secret, except for this tantalizing line: “The story is set in a decimated world. Life has all but disappeared. But there still may be hope for humanity.” Romero reportedly wanted to explore what came next after the end of 2005’s Land of the Dead, which saw the arrival of an intelligent zombie leader.

Romero’s zombie universe has been expanding recently — at least on the page. His son, George C. Romero, is currently writing comics for Heavy Metal magazine that tie into his father’s mythology, while The Living Dead, an epic novel started by the elder Romero but never finished, was completed by author Daniel Kraus and published last year. It’s only fitting that his final cinematic iteration see the light of day as well — even if he can’t direct it. The question is, who can?

We thought about who’s hot in horror now, who has the skills and talent, and who could have the vision, and came up with a list of directors we think could do Twilight of the Dead justice. See if you agree with our picks, and if you have some of your own filmmakers you’d like to see bring Romero’s last Dead film to life, let us know in the comments!

Well Go USA

Justin Benson/Aaron Moorhead

The pair behind the recent, excellent Synchronic — as well as other efforts like Spring and The Endless — have shown an increasingly ambitious vision over the course of their four feature films. They’re currently working on their biggest project to date: directing six episodes of Marvel’s Moon Knight series. We suspect that Twilight of the Dead would hit a genre sweet spot for this pair.

Universal Pictures

Nia DaCosta

Like Benson and Moorhead, DaCosta showed an incredible grasp of atmosphere and tone with her independent debut, Little Woods, which in turn led to her landing the upcoming Candyman sequel. Candyman isn’t even out yet, and DaCosta has her next job lined up: directing the Captain Marvel sequel, which is officially titled The Marvels. We’d love to see DaCosta combine the moody intimacy of Little Woods with Romero’s dystopian vision.

Neon

Michel Franco

He’d probably never do it, but after seeing Michel Franco’s devastating new film, New Order, we’d be very interested in what he would do with Romero’s material. New Order was a dark vision of a collapsing society (set a few years in the future in Franco’s native Mexico), hinting that what comes afterwards is only worse. The intense brutality of his film might shock even Romero diehards, but Franco has not shown much interest in genre films — at least not yet.

StudioCanal

Rose Glass

Glass made her directorial debut last year with the stunning Saint Maud, which wowed audiences at several festivals before finally being released earlier this year on demand. The deeply disturbing mix of psychological and visceral horror was a mix of the profane, the grisly, and the surreal, topped with an astonishing performance from Morfydd Clark in the title role. We have no doubt Glass would bring the same distinctive style to the conclusion of Romero’s story.

Universal Pictures

David Gordon Green

David Gordon Green directed comedies, dramas and thrillers before revitalizing one of horror’s most iconic brands with his 2018 sequel to the original Halloween. With two more Halloween entries and a follow-up to The Exorcist on his schedule, it only seems obvious that the filmmaker get a chance to bring his gritty, down-to-earth approach to the Romero mythos.

Shudder

Brea Grant

A talented actor, writer, and director whose big break came in the role of Daphne Millbrook on Heroes, Grant recently directed the pitch-black comedy 12 Hour Shift, and both starred in and wrote the darker Lucky. The former in particular showed her flair for juggling both the grisly and the humorous, as well as a sizable cast on a smaller budget — resources she’s probably ready to bring to a larger canvas.

IFC Midnight

Natalie Erika James

James blew us away last year with her first feature, Relic, a dread-inducing yet ultimately moving story about the grief and horror of watching one’s parent slowly deteriorate from dementia. James’ devotion to character and the film’s central metaphor — the house in which the parent lives slowly rotting and twisting in on itself — bode well for James’ ability to handle the more epic scope of Twilight of the Dead.

IFC Films

Jim Mickle

Jim Mickle has made a string of striking independent films like We Are What We Are and Cold in July, but the one that we should talk about is Stake Land, an epic tale of humans struggling to stay alive amid a pandemic of vampirism that was similar in some ways to Romero’s Dead films. He’s currently the creator and showrunner of the upcoming Netflix series Sweet Tooth, another post-apocalyptic allegory, and it’s not too much of a leap to see him helming one final zombie spectacle in Romero’s name.

AMC

Greg Nicotero

Greg Nicotero got his first makeup effects job on Romero’s classic Day of the Dead, so it would only be right in some ways for him to take the torch and direct his mentor’s final work. He’s still one of the top makeup effects wizards in the world, and he’s also directed some 31 episodes of The Walking Dead, so his experience with both zombies and filmmaking is vast — perhaps more than almost anyone else on this list.

YouTube

Jordan Peele

Jordan Peele’s brand of socially conscious horror has already been on display in two excellent movies — Get Out and Us — and jibes strongly with Romero’s own use of the genre as social criticism and commentary. Plus Romero cast Black men as the heroes in the first three Dead films — which was pioneering in horror even as late as 1985 — and arguably helped in some small fashion to pave the way for progressive filmmakers of color like Peele to do the same decades later.

Netflix

Remi Weekes

Making his feature directorial debut with His House, a frightening tale of two South Sudan refugees who discover evil lurking under their decrepit London flat, Remi Weekes showed an amazing flair for filmmaking soaked in dread and atmosphere. Weekes used a ghost story to tell an underlying tale of immigration, assimilation and racism, so we’d be intrigued to see what kind of direction he would take Twilight of the Dead in.

Blumhouse/Universal

Leigh Whannell

After working for years with James Wan on the Insidious films and others, Leigh Whannell directed the knockout The Invisible Man last year, imbuing the time-honored tale with a twist on the original narrative that made the story both fresh and genuinely frightening. Whannell knows not just how to tell a cracking good story, but how to extend and transcend the horror genre to break new thematic ground. His Twilight of the Dead would no doubt put a new spin on Romero’s themes and narrative.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Netflix

Ben Wheatley

Come on: who wouldn’t want to see the director of Kill List, Free Fire and the new In The Earth tackle the deeply pessimistic world of George A. Romero? Ben Wheatley has shown a willingness to tackle all genres in all sizes (his next film is The Meg 2), but he’s especially adept at horror — and at visceral violence that makes one squirm. He can also handle action, epic sequences and character moments, and knows how to tell a story…and the final story of the living dead is one we’d like to see him tell.

The post George A. Romero’s Twilight of the Dead: 13 Directors Who Could Helm the Zombie Sequel appeared first on Den of Geek.

from Den of Geek https://ift.tt/3aYsSUM

#aion-rsa #Den of Geek

2 notes · View notes

dailyexo · 4 years

Text

[INTERVIEW] EXO - 191220 Teen Vogue: K-Pop Stars EXO Reflect on How Far They've Come — and How Far They'll Go

"As Chen tells Teen Vogue, this year has been “a time for EXO to reflect” on their past, present, and future.

As Chen tells Teen Vogue, this year has been “a time for EXO to reflect” on their past, present, and future as they reunite to promote their sixth album Obsession.

Amongst the members, X-EXO wins in a landslide over the team they liked the most.

“I was going to say the same,” Suho says, shocked. A mischievous grin spreads on Baekhyun’s face. “Stop it,” he teases.

“The intro is your part!” Chen lovingly chides. “It’s because you sang that part!”

“Being able to perform for a long time as one, being able to meet the fans for a long time…” Kai reflects. “That’s the most important.”"

Photo links: 1, 2, 3

Credit: Teen Vogue.

#EXO #EXO K #EXO M #191220 #exo im #exo k im #exo m im #p:news #t:news #fs:teen vogue #comeback:Obsession

175 notes · View notes

sledgefuweek · 4 years

Text

Hi everyone! As we mentioned a couple days ago, Lea and I thought it’d be helpful for everyone if we made an informational post about the prompts for Sledgefu Week, just in case people were either confused about the prompt itself or maybe looking for some inspo!

Here is the AU prompt list: I’ll pop it under a read-more just to save your dashboards, but do go ahead and check it out! And as always, any questions or comments you may have, our inbox is always open :~)

PIRATE AU

Pretty self-explanatory, and a really popular suggestion on the google form that came before the poll, so I’ll assume most of you have a pretty good idea of what makes a pirate AU! This is a fun prompt to pair up with other ‘ocean’ themed prompts, I’m thinking of sirens, mermaids, sea monsters, however many tentacles you want to introduce into this thing. I think Pirate AU can encompass all of those, plus all the various different degrees of piracy that can be had, ranging from the big bad Captain Hook style of piracy down to something a little more Treasure Planet... the AU doesn’t stipulate anywhere that it has to be on land/water after all ;~) My favourite childhood pirates were the sky pirates from the Edge Chronicles series! Really, the only limit with this prompt is your own imagination, feel free to push the envelope!

SOUTHERN GOTHIC

This is one that I’ve seen a few people be curious about, and honestly as was I! Maybe if you’re American you may have a better understanding of what makes a Southern Gothic story different from a conventional (European) Gothic novel, but I know a lot of people here aren’t American, including myself and Lea, so! I did a little research (but if any of this doesn’t quite ring true to what Southern Gothic is, don’t hesitate to correct me! There’s only so much the internet can tell me haha). It’s my understanding that where Euro Gothic is more heavily rooted in the fantastic, Southern Gothic tends towards magical realism instead. It’s more heavily entrenched into the culture of the South than Euro Gothic is necessarily about European culture. Its essentially preoccupied with examining the values of the American south, so it’s important to exercise some sensitivity and care with some of the themes which can come up when looking at the history of the south; namely racism, and slavery -- for obvious reasons. There are plenty other ways to approach Southern Gothic without making comment on these aspects of the genre if you aren’t appropriately knowledgeable about them... the genre stems from European Gothic after all, which means that although it is focused on the south, it is also characterised by explorations of madness, fear of the outside world, decay and despair, the impact of the past on the present, and events stemming from or relating to poverty, crime, alienation, or violence. It has an absolute wealth of generic characteristics that, once combined with the magical realism that is unique to Southern Gothic, can be really fun to play with. Think Wuthering Heights, you know?

VAMPIRE AU

Another pretty classic one, and an AU that I think warrants very little explanation. I think the fun in Vampire AUs is in making it new -- there are SO many various vampire stories out there, what do you want to do with yours? Draw from popular culture, draw from history, draw from your own imagination... just as with the pirate AU, there’s really no limit to where you can take this prompt. Imagine the impact of an all-vampire company in a canonverse story! Or how would a newly-turned vampire navigate his new condition in the modern world? Plus, the whole immortality thing really lends itself to some great slow burn opportunities here. Or, hey, Twilight AU?

PARANORMAL AU

Okay, so: I know now that this looks similar to our Supernatural AU from last year, at a glance. Maybe it’s just me, but I feel like they’re two very distinct prompts! It’s always been my understanding that supernatural is monsters: werewolves, witches, etc. whereas paranormal means ghosts, and aliens? Either way, if you already have an idea planned for this that tends towards the werewolf rather than the ghost, don’t worry about it. However this is the time where the angst can come in... I feel like The Pacific is kind of a perfect piece of source material to base a ghostfic on -- not to be morbid but well, you know. And of course, it isn’t limited to one of the characters being a ghost -- as I said, my understanding of ‘paranormal’ always encompassed ghosts, but also aliens, and cryptozoology. Now, wouldn’t Eugene being so interested in birds translate nicely into cryptozoology? Wouldn’t Snafu, being the paranoid legend that he is, quite possibly be into weird internet forums about aliens? You can interpret the prompt as loosely or as closely as you like :~)

COFFEE SHOP AU

I feel like I don’t need to explain this. Do I? Are coffee shop AUs still as popular as they used to be? The real challenge of a coffee shop AU is actually this: how will you make the employee of the coffee shop feel anything less than distain for the customer that is the would-be love interest? Fellow customer service workers know exactly what I mean. (But for real, this can be a fun prompt despite how oftentimes overworked it can seem, and that’s because it leaves a lot of room for creativity. Is your character a poet doing a reading at a local coffee house, catching the eye of the person in the audience? Are they a musician, a stressed-out student, a caffeine-hater who is gritting their teeth after every sip just for a chance to speak to the cute barista? There’s tons of options, and I’m excited to see where people go with it.)

GHIBLI AU

So this is quite simply an opportunity to write an AU for any Ghibli movie of your choice! It’s actually my prompt (I was super happy to see it make it up there in the polls!) so I can explain why it’s nice and vague :~) I didn’t like the thought of having to limit every single person who wanted to contribute to the ship week to a specific AU for a specific Ghibli movie: they have such a huge catalogue of movies, and everyone seems to have their own particular favourite! So basically, you have the freedom to pick from any movie made by Ghibli to turn into an AU here. And these AUs can be as close to the source or as far away from it as you like. Want to write Gene and Snaf as background characters ordering bread from Kiki? You got it. Want to have them fighting in the war that features in Howl’s Moving Castle? Your mind. It’s completely up to you! And if you’re not familiar with Ghibli movies, you’re gonna have a great time if you do decide to watch a couple :~) They’re all on Netflix in the UK, but can’t speak for other countries sadly.

ENEMIES TO LOVERS

A time-honoured classic. Who hasn’t read an enemies to lovers AU? If you haven’t, and you’re unfamiliar with the concept, it’s pretty self explanatory! It’s pretty much about two characters who have an oftentimes very long history of conflict with each other, (though the ‘long’ part doesn’t really matter much) that eventually resolves into, well, love! The enemy relationship gets swapped for a romantic relationship. I always associate this prompt with slow burn fic too -- it’s always so good if it’s a gradual descent into affection. Now, this is a very broad prompt, which means it can be applied really nicely on top of other AUs! Just glancing at the list here, you wanna write a centuries long Vampire AU where they start out enemies and become lovers? Go for it!! It’s easily one that can be made unique and really fun by applying it to other AUs if you want to. I always think of Spy AUs or things within that genre too!

MYTH AU

This is another pretty broad one that I think covers a lot of bases, simply because there are SO many myths out there lol. If your culture has specific myths, this’d be a really nice time to get creative with them and also let people learn a little more about myths they might not know! There’s also obviously a ton of myths centralised around the American south so that would be fitting for both characters, but don’t be afraid to branch out! Really, you can apply this to any kind of folklore you want, and it’d be perfect! Obviously Greek myths are super popular and always cool too -- imagine an Achilles/Patroclus AU! But I think what makes this prompt really nice is tha it leaves you some room to actually have a go at making your own mythic tale up. So fall back on the real myths that kinda build up our world, but if you’re feeling really creative, take a stab at crafting your own!

#sledgefu week

16 notes · View notes

zsweber-studios · 4 years

Text

Ranking all of the Marianas Trench Songs, Part 1: The Masterpiece Theatre

Since the start of the quarantine, I have listened to the entire discography of the Canadian punk-rock band Marianas Trench more times than I can count, and in doing so, I’ve made myself fairly well acquainted with them. However, of the people I know in real life, I am one of three people who know about Marianas Trench, the other two being my younger twin sisters, who initially introduced me to them via a Homestuck Lyricstuck video.

No, I am not a Homestuck, I just know they exist.

However, being as I am greatly acquainted with Marianas Trench music and supremely bored, I’ve decided to go ahead and make my own ranking of all of the Marianas Trench discography, to show the maybe half-dozen people who will actually see this post why Marianas Trench is such a good band, and why they too should be listening to them during this hellish quarantine when the whole of the world is dying and at war with each other.

With that said, let’s get started with the rankings, starting with the first album by Marianas Trench I ever listened to: Masterpiece Theatre

1. Masterpiece Theatre I: The first movement of Masterpiece Theatre, it gives a good introduction to this orchestral-punk style that pervades much of the album. The verses skirt the line between a beautiful choral breakdown and a rock ballad, while the chorus hits hard and strong. About halfway through, it switches styles suddenly, with a more jazzy punk style, before finally landing on a strong choral breakdown that fades into a soft harmonic union. A great start to the whole performance, but also a good stand-alone. 9/10

2. All to Myself: The first song after Masterpiece Theatre I, it displays a much more classic punk-rock feel that feels distinctly of early 2000′s era music. It hits very strongly in nostalgia for me myself, and the lyrics and style are both very strong. However, it doesn’t really stand out too much compared to much of the discography by punk bands of the early 2000��s, as such it’s probably one of the weaker songs on this album. 7.5/10

3. Cross My Heart: Another song that feels distinctly early-2000′s era punk. It took me a dozen listens of the album for me to realize that the opening few chords of the song was making me think of Counting Crows’ Accidentally In Love, which was why I was hit by such a deja vu sensation. Also, the first song to display the running theme of this album, which is the use of lyrics and lines from the other songs on the album in the Masterpiece Theatre itself. Very energetic and enthusiastic, the lyrics are fun and creative, and is always fun to sing and listen to. 9/10

4. Beside You: A bit jarring to go from such a pump-up punk-rock song to a soft and soothing solo, but once you reach the chorus, it picks you right back up again. Trading out the guitars and drums for maracas and vocal breakdowns in the background offer a very different, but very pleasant sensation, one that fills with emotion and lifts you up. By far, the most emotional part is the bridge, with the singer’s desperate pleas in his evocative vocal breakdown. Overall, 8.5/10

5. Acadia: Upon first blush, not that intense of a song, though it does feel nice to listen to. It’s your classic coming-of-age song, looking back on childhood and the path you’ve forged since then. The real strong point of the song comes from the supposed ‘Acadia’ mentioned in the song, which is apparently a real place in Vancouver, British Colombia. At that point, the song takes on a far more heavy and emotional weight to it, as it is a song about a home that was torn down, and now literally all that remains of this person’s past is the memories he treasures so dearly. Of the songs on this album, it’s one of the weakest, but the meaning behind it brings it up a bit. 8/10

6. Masterpiece Theatre II: The second movement of Masterpiece Theatre. Frankly, the weakest of the three movements, in my opinion. It doesn’t really add anything new to the piece, and leans heavily on the first movement, and the parts from the other songs on the album. Despite that, it is still immensely enjoyable to listen to, especially with the choral breakdowns and background music the album is known for. With the rest of the album, it fits very nicely as the midsection of the piece, however on its own it has less legs to stand on. 7/10

7. Sing Sing: Back to the high octane rush of punk-rock and pop that the first two non-Masterpiece songs had, it’s a fun and fast song that pumps you up and makes you feel good. It is very indicative of much of early 2000′s punk, as with the others, however stands out again with the fun choral and vocal parts thrown in around the midway part of the song. It’s fun, fairly unique, and pumps you up--what’s not to love? 8.5/10

8. Good to You: Once more, right after the rush of punk, we’re brought down by a beautiful rock ballad. It’s slower and softer than the other songs on this album, but the chorus picks up as it embraces the rock part of the ballad. The duet is beautiful and loving, and feels strongly of the devotion meant to be portrayed in it. It breaks up the intensity of the rest of the album beautifully, while also keeping itself distinct and withing the overall theme and style of the album. 9/10

9. Celebrity Status: Right beside Cross My Heart, possibly one of my favorite songs on the album. The lyrics are smart and quick, hit hard and fast, and make it a fun listen, both in the actual listening, as well as the meaning--of gaining celebrity status, but in order to do so, cutting off everything that really matters. It stands out with the choral-harmonic style during the bridge that is emblematic of Marianas Trench, while still feeling distinctly of that nostalgia factor I’ve mentioned previously. Overall, a great song. 9/10

10. Perfect: Can I speak frankly for a moment? This song gets it. This song gets what it feels like to strive for perfection, or to have someone expecting perfection from you, and you having to strive for it over and over again, only to fall short. It’s presented in this fun and energizing song style that buffers the heavy message of the song--that is, that having such high expectations, and forcing others to try to rise to those, can be a form of abuse that tears them down and is killing them, makes them desperate. 10/10

11. Lover Dearest: I’ve come to notice that just before the last song of the album, Marianas Trench has one last sad and somber song. This one is seeped with bitter sadness. The absolute absence of all other instruments but the piano really drives home the loneliness and solemnity of the situation the song is portraying. Though it does eventually include the other members of the band, closer to the end, it comes across as feeling more of that desperation. Again, a beautiful song. 10/10

12. Masterpiece Theatre III: Here we are. The moment we’ve been building up to all along. Literally every line, every moment, every breath of this song is a line and moment pulled from another song in the album, rewoven into a new setting, a new style that drives up, and up, through different styles and feels that this song is offering up. This was the piece that made me realize Marianas Trench was what would happen if Bohemian Rhapsody was an actual genre of music--the interweaving of genre, style, and emotion all builds up beautifully, in what has to be the strongest and most beautiful song on the album. On it’s own, it’s fun to listen to. As the final song of the album? It is perfection. 10/10

#marianas trench #masterpiece theatre #ranking

12 notes · View notes

gamex2020 · 4 years

Text

Best SNES Games

List of All SNES Games Based on Movies

Here are the best SNES Games of all time. Check out our picks for the best SNES games!

3 Ninjas Kick Back

Release Year: 1994

Current Value: $60-$70

This is an action-platformer with co-op gameplay and great sound design. The graphics and controls are a little lackluster.

The Addams Family

Release Year: 1992

Current Value: $14-$17

Mediocre SNES platformers can often be saved with great mascots, and this is no exception. You only get to play as Gomez, and the only levels are in the family’s mansion, but it’s worth a play if you’re a fan.

Addams Family Values

Release Year: 1992

Current Value: $14-$17

This is A Link to the Past, but with Uncle Fester and friends. The password system is infuriating, but the game itself is solid. Bonus points to the developers for making an action RPG with the license instead of a platformer.

Aladdin

Release Year: 1993

Current Value: $15-$17

Aladdin is often considered one of the best licensed platformers of all time. The SNES version and the Genesis version have obvious differences, but they’re both masterpieces.

Alien 3

Release Year: 1992

Current Value: $18-$20

Ripley makes her way through a passable run-and-gun adventure. This port is leagues ahead of the NES version, which was only released a few months earlier.

An American Tail: Fievel Goes West

Release Year: 1994

Current Value: $70-$75

Fievel gets to take down some 16-bit bosses with decent gameplay variety. The colors are sharp, and the levels aren’t too long are hard; this title is very kid friendly.

Batman Forever

Release Year: 1995

Current Value: $8

This is a truly terrible game that’s great fun to watch during speed run conventions. Notably, there is a “training mode” that attempts to be a fully-fledged tournament fighter, but it fails miserably.

Batman Returns

Release Year: 1992

Current Value: $18-$20

Unlike Batman Forever, this is a creative side-scrolling action game that uses the Animated Series’ aesthetic effectively.

Beauty and the Beast

Release Year: 1994

Current Value: $40-$45

This side-scrolling game is rather generic. You play as Beast and try to save Belle, but there’s little to separate it from other games in the genre.

Bebe’s Kids

Release Year: 1994

Current Value: $33-$37

This is the slowest beat-em-up of all time. Walking is slow, attacking is slow, and enemies have seemingly infinite health. Stay away.

Beethoven: The Ultimate Canine Caper

Release Year: 1993

Current Value: $8-$10

A simple platformer where you can play as a dog that barks at enemies for damage. No, it’s not about the composer.

Bram Stoker’s Dracula

Release Year: 1993

Current Value: $8-$10

This is a semi-sufficient replacement for gamers that crave more Castlevania. The graphics are a little gaudy, but you came to fight Dracula, and fight Dracula you shall.

Casper

Release Year: 1996

Current Value: $85-$100

This plays kind of like A Boy and his Blob, with Casper tethered to Kat Harvey. Oddly, the Japanese Super Famicom Casper is different, with the roles reversed in an isometric perspective.

Cliffhanger

Release Year: 1993

Current Value: $5-$7

There’s less cliffhanging and more bad-guy punching. It’s a simple brawler based on a simple movie. Missed opportunity for a cliffhanger ending, of course.

Cool World

Release Year: 1992

Current Value: $10-$13

Although a mediocre adventure game, this stays pretty close to the source material. It’s a lot more kid-friendly, though, and appropriate for Nintendo.

Cutthroat Island

Release Year: 1995

Current Value: $8-$10

Lukewarm swashbuckling action is backed up by nice graphics and music. It’s button mashing, but hey, swords are cool.

Demolition Man

Release Year: 1994

Current Value: $15-$18

Mediocre platforming sometimes switches to decent top-down shooting. Don’t you wish it was one or the other? This could have been a decent Contra clone.

Dennis the Menace

Release Year: 1993

Current Value: $8-$10

You have to collect all of Mr. Wilson’s coins and find two of Dennis’ friends. Notably, there’s a timer; it’s just as anxious as the movie.

Dinocity

Release Year: 1992

Current Value: $13-$15

It’s based on the movie Adventures in Dinosaur City. The graphics and worlds are fun to explore, and the dinosaurs you choose actually affect gameplay.

Dragon: The Bruce Lee Story

Release Year: 1993

Current Value: $9-$12

Bruce Lee gets a well-deserved tournament fighter, but almost every aspect of the game is poor. At least Bruce Lee was given recognition by getting a character in every other fighting game series.

The Flintstones

Release Year: 1994

Current Value: $10-$13

This game uses its overworld as a sort of board game, where landing on a space decides the level you play. Sometimes it’s shops, sometimes it’s bosses, sometimes it’s a normal platformer.

Home Alone

Release Year: 1991

Current Value: $8-$10

Not only does it not follow the movie, but this game can be completed in less than half an hour. Even Macaulay Culkin hates it.

Home Alone 2: Lost in New York

Release Year: 1992

Current Value: $6-$8

There’s powerups, and this has a little more going for it than the first game, but it’s not a significant improvement. It’s a bit nice to powerslide into enemies.

Hook

Release Year: 1992

Current Value: $23-$26

The gameplay is standard platforming, but the graphics are outstanding for the time period. It almost looks like modernized pixel art made with decades of experience.

The Hunt for Red October

Release Year: 1991

Current Value: $6-$8

There’s side-scrolling and underwater action, with Super Scope bonus levels. If you enjoyed Jaws on the NES, this might catch your fancy.

Indiana Jones’ Greatest Adventures

Release Year: 1994

Current Value: $30-$35

Few movie games effectively used the Mode 7 functionality on the SNES, but this game is a joy to look at. It’s the second most iconic sidescroller featuring whip-based combat.

Judge Dredd

Release Year: 1995

Current Value: $7-$9

Run-and-guns don’t often give you the option to arrest the enemies instead of blasting them to bits. There’s hard bosses to make it worth strolling through the brightly-covered comic book levels.

The Jungle Book

Release Year: 1993

Current Value: $5-$7

This game picked up where the original Pitfall left off. It’s platforming with vine-swinging, so of course it’s satisfying. Is there any game with vine-swinging that isn’t?

Jurassic Park

Release Year: 1993

Current Value: $5-$7

Grant has a chibi sprite in this game that utilizes alternating perspectives. Top-down shooting with explosives and tranquilizers switches to first-person gaming when entering a building. No continues and no passwords; you have to beat the whole thing in one go.

Last Action Hero

Release Year: 1993

Current Value: $8-$10

Most of the Arnold Schwarzenegger games are shooters, but this one is a beat-em-up. The final boss of the game is the final boss of the movie to boot.

The Lawnmower Man

Release Year: 1993

Current Value: $8-$10

Nothing to do with the movie, and nothing to do with the book. Yet, it’s just as weird as both. This is a first-person platformer, a first-person shooter, a sidescroller, and a shoot-em-up (with two different perspectives and three distinct styles) all at once. Each level is different.

Lethal Weapon

Release Year: 1992

Current Value: $8-$10

It’s a platformer with shooting elements where you can play as Riggs or Murtaugh. Oddly enough, the developers opted for a more cartoony style than what you’d expect for an adaptation of the movie.

The Lion King

Release Year: 1994

Current Value: $8-$10

One of Disney’s best games, this sold over a million copies in the U.S. alone. It’s really hard, but not terribly unfair.

Mary Shelley’s Frankenstein

Release Year: 1994

Current Value: $18-$20

Thank goodness you get to play as the monster and not some boring human. You can attack all of the vengeful townspeople to your heart’s content; the plot closely follows the 1994 film it’s based on, rather than the book or the old-school Universal movie.

The Mask

Release Year: 1995

Current Value: $35-$40

Gamers would pick this up for the humor and goof factor, and The Mask delivers. It’s a side-scroller with whacky attacks and ammo meters to manage.

Mighty Morphin Power Rangers: The Movie

Release Year: 1995

Current Value: $40-$50

Beat-em-ups suit the Power Rangers cast. Much like other games in the genre, it’s repetitive, but great for fans of the series. There’s six characters, though they do play relatively similarly.

No Escape

Release Year: 1994

Current Value: $11-$13

No Escape’s graphics are really, really good, and it has awesome cutscenes to boot. Unfortunately, it controls really poorly. Something good got lost along the way.

Outlander

Release Year: 1992

Current Value: $10-$12

Outlander was originally developed as a Mad Max game before the developers lost the rights. There’s driving and shooting, and walking and shooting. It’s a bit repetitive, but maybe it would have sold well with an actual license.

The Pagemaster

Release Year: 1994

Current Value: $7-$9

Another Macaulay Culkin game with platforming, this time with magic combat and literature worlds. It’s not bad, but he hates this one too.

Pinocchio

Release Year: 1995

Current Value: $13-$15

Old-school platforming with an emphasis on puzzles. There’s storybook cutscenes too, which are a nice reward for finishing each level.

RoboCop 3

Release Year: 1991

Current Value: $13-$15

He’s slow in the movie, but does he have to be so slow in the game too? It would be funny if it weren’t so hard, though fans will get a kick out of it regardless.

The Rocketeer

Release Year: 1991

Current Value: $6-$8

Like many other games on this list, Rocketeer tries to mix genres; it’s half flying, a quarter shooting, and a quarter brawling. The flying segments would be interesting, but it asks you to look at a tiny camera window at the bottom of the screen instead of the big landscape that takes up the rest.

Snow White: Happily Ever After

Release Year: 1994

Current Value: $23-$25

Targeted at casual gamers, this sidescroller has three difficulty levels. Though the gameplay isn’t extremely unique, you have to give credit to developers that knew their audience.

Stargate

Release Year: 1994

Current Value: $10-$13

Though it controls decently, this is a run-of-the-mill platformer. They played it super safe with this one, considering Stargate lends itself to any number of genres.

Super Godzilla

Release Year: 1993

Current Value: $12-$15

Super Godzilla is hard to classify; half of it is a slow one-on-one fighter, and the other half is tactical tile movement. The bottom half of the screen shows tiles you can move Godzilla to, while the top half shows the actual actions Godzilla is taking. It’s methodical and appropriate.

Super Star Wars

Release Year: 1993

Current Value: $10-$12

Luke starts off with a blaster, and eventually upgrades to a lightsaber! There’s even more action than the movie for this sidescroller, plus a playable Han and Chewbacca. Even though it’s not subtitled, the game is based on Episode IV, clearly preparing for sequels. Don’t worry, there’s vehicle combat too.

Super Star Wars: The Empire Strikes Back

Release Year: 1993

Current Value: $11-$13

Episode V follows the gameplay of its predecessor, adding new weapons and special moves for the characters. Plus, there’s double jumping and a final boss fight with Vader. However, the story isn’t finished…

Super Star Wars: Return of the Jedi

Release Year: 1994

Current Value: $14-$16

Once again, this follows the Super Star Wars formula, but adds Leia and Wicket as playable characters. There’s more content and action-packed levels, and this is about as good as it gets for licensed games of the 16-bit era.

T2: The Arcade Game

Release Year: 1991

Current Value: $9-$11

This is a conversion of the lightgun arcade game; don’t bother playing without a Super Scope or a SNES Mouse. If you have either, this game is a super fun novelty.

The Terminator

Release Year: 1992

Current Value: $32-$35

Difficult side-scrolling with no continues are punctuated by fun driving segments. It’s harder than it is long, but you’d wish it was all driving.

Terminator 2: Judgment Day

Release Year: 1993

Current Value: $32-$35

It’s a sidescrolling adventure game, but half of it is escort levels. Plus, it’s not always easy to tell what you’re supposed to do. In short: quite frustrating.

Toy Story

Release Year: 1995

Current Value: $10-$13

Believe it or not, this is one of the best platformers on the system. It has awesome graphics, controls nicely and has fun levels. It sold so well, they ran out of chips to make more cartridges.

Toys

Release Year: 1993

Current Value: $5-$7

This game is seriously unimpressive. You have to collect toys to fight the enemy with, but most of the screen is covered up by isometric tiles coated in eye-straining blue paint.

True Lies

Release Year: 1994

Current Value: $30-$35

Reviews for this are polarized. It’s a top-down shooter almost reminiscent of modern games like Hotline Miami. It’s short, but very sweet.

Warlock

Release Year: 1994

Current Value: $10-$12

It’s repetitive and you won’t want to finish it, but the puzzles and spells of Warlock are impressive for a couple hours.

Wayne’s World

Release Year: 1993

Current Value: $10-$12

It’s hard to be accurate to a movie like this, but the Wayne’s World game is goofy and fun. The graphics are pretty good, but it’s hard to pay attention to them with the game’s difficulty.

We’re Back! A Dinosaur’s Story

Release Year: 1993

Current Value: $6-$8

It uses the movie’s characters, but has a new plot to follow. The graphics are nice, but it’s a rather simple platformer. Great for kids.

The Wizard of Oz

Release Year: 1993

Current Value: $20-$25

It’s got some cool ideas; the main cast is all playable and there’s new locations to visit in the World of Oz. Unfortunately, the platforming is broken and the foreground and background blend together.

#Best SNES Games #SNES Games #gamex

4 notes · View notes